DOUBLE-STOPPING--USEFUL IN DEVELOPING THE HAND--HOW TO DETERMINE THE
FINGERING OF VARIOUS INTERVALS--GLIDING IN DOUBLE-STOPS--CHORDS--A
CORRECT MANNER OF PLAYING CHORDS.
DOUBLE-STOPPING.
In consequence of the great distances which separate the notes in
the neck positions on the violoncello, nothing very extraordinary is
written, or is expected in the matter of double-stopping. However as a
training for the left-hand, there is nothing to equal a series of well
planned studies in double-stopping; by practising such, the student
obtains a command of the various "stretches" necessary for a correct use
of the fingers of the left hand. Dotzauer, in his famous studies, seems
to have recognized this, and by the regular, systematical introduction
of double-stopping exercises of varying and increasing difficulty,
almost compels the absolute development of the left hand. In practising
double-stops, the student must always be careful to cause equal pressure
to be applied by the bow to both strings, so that each note of the chord
is distinctly heard. Some young players on the other hand, instead of
requiring to be urged to do this, are unable to give two strings a
continued even vibration, without expending an undue amount of force,
but this is really so elementary a matter that a little practice on the
open strings (sounding them in twos) should easily set right. Beyond
this the player should have all the varieties of light and shade just
as much at command in the bowing of double-stops, as in playing single
notes.
With respect to the left hand, the chief difficulty which first assails
the student is that of judging the character of the intervals, and for
their production--in knowing exactly in what "form" the hand should
be; thus in certain chords the hand has to assume its most "stretched"
form, for others the normal, or closed positions of the fingers are
necessary. This knowledge is really of great importance; both notes of a
chord must be sounded simultaneously, therefore even before the chord is
approached, the player must be conscious of the "form," as well as the
position in which the hand has to be, in order to play any combination
of notes. A few of the easier chords in double-stops may readily be
learned in the following fashion:
Taking the fifth as the basis, it will be evident that if any finger be
placed horizontally across two strings, in any part of the instrument,
a perfect fifth will be produced. To accomplish this the student will
have to depart from the rule respecting the stopping of notes with the
tips of the fingers, as it is impossible to produce a fifth except with
"flat" fingering, or of course the open strings.
From this it will be an easy matter to settle the fingering of a major
sixth; in the first position, a major sixth may be produced by using
a lower open string, and the first finger on a higher string, thus in
any position the fingering of major sixths is obtained on the same
principle, viz., the higher note is fingered a whole tone in advance of
the lower.
The same method may be taken to obtain the fingering of a perfect
fourth. In the first position, using the open string, a fourth in
double-stops is produced with the open string for the higher note, and
the first finger on the next lower string for the lower note; here the
lower note is fingered as far as position is concerned a whole tone in
advance of the higher note. Major thirds in the neck positions, have
to be played with the "set" fingering of fourth and first; using the
fourth finger for the lower note and the first on the next higher string
for the higher note.
A little time expended in the study of Ex. 39 will clearly illustrate
the preceding remarks, and at the same time will prove conclusively,
that if double-stops are only treated according to their harmonic worth,
that is as perfect fifths, fourths, major and minor sixths, thirds,
etc., the difficulties of extreme keys, and positions, will in a great
measure be cleared away.
[Illustration: EX. 39.]
Thus in any position the relation of two notes (providing the harmonic
value is the same) remains undisturbed, the only difference in the
fingering being in the lower positions where the open strings are
utilized, and the only modification being in the very high positions,
where the gradually decreasing distances of the intervals render the use
of the fourth finger unnecessary.
Before attempting anything great in the matter of double-stopping,
the student should practice various scales in sixths, thirds, etc.
(both notes being sounded together) and also any possible arpeggi in
double-stopping, after the manner of Ex. 40.
[Illustration: EX. 40.]
The student will not find any published arrangement of arpeggi in
this form, but he may easily construct them for himself, using only
the tonic, mediant, and dominant of the key. It will be found that a
little practice in this direction will amply repay, as to accomplish
the playing of arpeggi in double-stopping without scrambling and with
the intervals correctly in tune, means a command of the positions truly
remarkable.
In reading works composed chiefly of double-stops, it is at first rather
difficult to decide in which position any passage should be played.
The progression of both "melodies" has to be watched, as well as the
intervals which separate any given two part chord, the fingering is also
affected by the preceding and the following chord, as well as by the
introduction of passing notes, or such ornamentation as trills, turns,
etc., in either of the parts.
With respect to shifting, leaping, etc., in double stops, owing to the
choice of fingering being curtailed, the player must be careful that no
unpleasant howling is thus caused.
In passages composed of thirds (slurred), the player must leap firmly
and rapidly from one chord to another, and where necessary withdraw the
pressure from the bow, so that although the passage is yet slurred, the
connecting glide is not too much in evidence.
[Illustration: EX. 41.]
A striking example of the need of this advice is found in the Military
Sonata by Boccherini in G (Ex. 41). This passage is played throughout
with the first and fourth fingers--that is the first finger plays the
upper melody, the fourth finger playing the lower.
It will be evident that the beauty of the above melody will be
destroyed if no division whatever is made between the notes. This
must be accomplished without spoiling the legato effect of the three
slurred quavers. A skilful management of the bow may also serve to
hide a difficult and awkward move; thus in cases where the fingering
is reversed for two succeeding chords (Ex. 42), it is liable to let the
open strings be heard during the changing of the fingers, especially if
a big leap has to be made to reach the second chord. This will be very
slovenly, and on no account must be allowed.
[Illustration: EX. 42.]
The portamento may be introduced in double-stopping progressions for
effect, but more knowledge and judgment is necessary for its successful
use than in single melodic progression. It is generally safe to
introduce it on two chords taken with the same fingering in different
positions, with the exception, of course, of whole passages in thirds,
etc., like the "Menuetto" in the Boccherini sonata previously mentioned.
Occasionally, when moving from one position to another, it will be
found advisable, or necessary, to let one of the parts cease, until the
required position is gained, the glide being executed between the upper
notes only; the player must study any such special passages, trying them
over in various ways, until he is perfectly satisfied that the correct,
and yet most effective method, is arrived at.
CHORDS.
Owing to the arching of the bridge, it is impossible to sustain more
than two notes during the whole stroke of the bow. Therefore, three
or four part chords are only possible as "broken" chords (Ex. 43). A
bold attack is necessary to play chords at all effectively, the fingers
of the left hand should be placed simultaneously on the strings, the
necessary changes in fingering for a succession of chords, being
accomplished rapidly and neatly during the moment of reversing the
bow-stroke.
[Illustration: EX. 43.]
It is general to explain that although chords are written as in Ex. 43,
yet it is only possible to play them as in Ex. 43_a_. However, if the
chords have to be played in strict time, it will also be evident that
even this method cannot be followed--each minim would receive three
beats, one for the two lower notes and two for the two upper. A correct
way of portioning out the time to be allowed for each couple of strings
is shown in Ex. 43_b_. The student should here count four quavers to
each chord.
[Illustration: EX. 44.]
In some cases the chords are intended to be firmly and smartly struck,
such as repeated chords at the end of a brilliant allegro, the chords
should be divided, allowing half the time for the lower strings and
half for the upper, and instead of sustaining the upper portion, the
bow should be immediately taken off the strings, thus allowing them
to vibrate freely and vigorously (Ex. 44). Chords of this description
are usually taken with down bow-strokes. The player should take care,
however, not to make the chords sound too harsh, or crabbed.