Chats to 'Cello Students
This edition features
• illustrations
• a linked Table of Contents
CONTENTS
Chapter I.—Preliminary Remarks—'Cello Difficult to Master—Choice of a Teacher—Choice of an Instrument and Bow
Chapter II.—How to Hold the Instrument—Attitude of the Player—Use of a Sliding Pin Recommended—Correct Way of Holding the Bow—Some Incorrect Sketches of Same
Chapter III.—General Knowledge—Eccentricity not Necessarily a Mark of Genius—Musical Notation—Common Errors with Respect to the Actual Position of the Various Clefs—Tenor Clef Indispensable to the 'Cellist
Chapter IV.—Early Attempts at 'Cello Playing—Firmness in Fingering—The Left Hand—Correct Method of Placing the Left Hand Fingers
Chapter V.—General Remarks on Bowing—Useful Method of Combining Scale Practice with Study of Various Bowings—Smooth Bowings—Crescendo—Diminuendo—The Slur
Chapter VI.—Bowing Continued—Martelé—Detached Stroke—Mixed Bowings—The Various Divisions of the Bow
Chapter VII.—On "Staccato" Bowing—Spiccato—Slurred Springing-Bow—Varieties of Phrasing Occasioned by the Portion of Bow Used—Sautillé—Dotted Notes
Chapter VIII.—On the Positions—The Individual Requirements of the Orchestral Player and Soloist—The Necessity of "Stretching" for the Intervals—The Locality of the Neck Positions—The Enharmonic Difference of Sharp and Flat Keys—Absolute Pitch—How to Leap any Awkward Interval—The Positions not Determined by Mathematical Rules, but by the "Ear"—Shifting—"Economy of Motion" v. "Effect"—Choice of Positions
Chapter IX.—Portamento—The Various Uses of Gilding—Some Exaggerations Exposed—How to Leap Great Intervals without "Howling"—Combination of Glissando and Sforzando
Chapter X.—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
Chapter XI.—Arpeggios—Their Evolution from Various Chords—The Bowing of Arpeggios
Chapter XII.—Graces and Embellishments—The Use of the Thumb—Extensions—Octaves
Chapter XIII.—Scientific Basis of Harmonics—Some Peculiar Laws which Govern a Vibrating String—"Natural" and "Artificial" Harmonics—Manner of Bowing Harmonics
Chapter XIV.—Special Effects—"Trick Staccato"—Various Methods of Producing Chromatic Scale Passages—"Sul Ponticello" Bowing and "Bowed" Harmonics—Flautando—Pizzicato Glide and Grace Notes!
Chapter XV.—Delivery—Style—"Form" v. "Feeling"—Conception—Essentials of a "Fine" Delivery—Orchestral Playing
1100289078
• illustrations
• a linked Table of Contents
CONTENTS
Chapter I.—Preliminary Remarks—'Cello Difficult to Master—Choice of a Teacher—Choice of an Instrument and Bow
Chapter II.—How to Hold the Instrument—Attitude of the Player—Use of a Sliding Pin Recommended—Correct Way of Holding the Bow—Some Incorrect Sketches of Same
Chapter III.—General Knowledge—Eccentricity not Necessarily a Mark of Genius—Musical Notation—Common Errors with Respect to the Actual Position of the Various Clefs—Tenor Clef Indispensable to the 'Cellist
Chapter IV.—Early Attempts at 'Cello Playing—Firmness in Fingering—The Left Hand—Correct Method of Placing the Left Hand Fingers
Chapter V.—General Remarks on Bowing—Useful Method of Combining Scale Practice with Study of Various Bowings—Smooth Bowings—Crescendo—Diminuendo—The Slur
Chapter VI.—Bowing Continued—Martelé—Detached Stroke—Mixed Bowings—The Various Divisions of the Bow
Chapter VII.—On "Staccato" Bowing—Spiccato—Slurred Springing-Bow—Varieties of Phrasing Occasioned by the Portion of Bow Used—Sautillé—Dotted Notes
Chapter VIII.—On the Positions—The Individual Requirements of the Orchestral Player and Soloist—The Necessity of "Stretching" for the Intervals—The Locality of the Neck Positions—The Enharmonic Difference of Sharp and Flat Keys—Absolute Pitch—How to Leap any Awkward Interval—The Positions not Determined by Mathematical Rules, but by the "Ear"—Shifting—"Economy of Motion" v. "Effect"—Choice of Positions
Chapter IX.—Portamento—The Various Uses of Gilding—Some Exaggerations Exposed—How to Leap Great Intervals without "Howling"—Combination of Glissando and Sforzando
Chapter X.—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
Chapter XI.—Arpeggios—Their Evolution from Various Chords—The Bowing of Arpeggios
Chapter XII.—Graces and Embellishments—The Use of the Thumb—Extensions—Octaves
Chapter XIII.—Scientific Basis of Harmonics—Some Peculiar Laws which Govern a Vibrating String—"Natural" and "Artificial" Harmonics—Manner of Bowing Harmonics
Chapter XIV.—Special Effects—"Trick Staccato"—Various Methods of Producing Chromatic Scale Passages—"Sul Ponticello" Bowing and "Bowed" Harmonics—Flautando—Pizzicato Glide and Grace Notes!
Chapter XV.—Delivery—Style—"Form" v. "Feeling"—Conception—Essentials of a "Fine" Delivery—Orchestral Playing
Chats to 'Cello Students
This edition features
• illustrations
• a linked Table of Contents
CONTENTS
Chapter I.—Preliminary Remarks—'Cello Difficult to Master—Choice of a Teacher—Choice of an Instrument and Bow
Chapter II.—How to Hold the Instrument—Attitude of the Player—Use of a Sliding Pin Recommended—Correct Way of Holding the Bow—Some Incorrect Sketches of Same
Chapter III.—General Knowledge—Eccentricity not Necessarily a Mark of Genius—Musical Notation—Common Errors with Respect to the Actual Position of the Various Clefs—Tenor Clef Indispensable to the 'Cellist
Chapter IV.—Early Attempts at 'Cello Playing—Firmness in Fingering—The Left Hand—Correct Method of Placing the Left Hand Fingers
Chapter V.—General Remarks on Bowing—Useful Method of Combining Scale Practice with Study of Various Bowings—Smooth Bowings—Crescendo—Diminuendo—The Slur
Chapter VI.—Bowing Continued—Martelé—Detached Stroke—Mixed Bowings—The Various Divisions of the Bow
Chapter VII.—On "Staccato" Bowing—Spiccato—Slurred Springing-Bow—Varieties of Phrasing Occasioned by the Portion of Bow Used—Sautillé—Dotted Notes
Chapter VIII.—On the Positions—The Individual Requirements of the Orchestral Player and Soloist—The Necessity of "Stretching" for the Intervals—The Locality of the Neck Positions—The Enharmonic Difference of Sharp and Flat Keys—Absolute Pitch—How to Leap any Awkward Interval—The Positions not Determined by Mathematical Rules, but by the "Ear"—Shifting—"Economy of Motion" v. "Effect"—Choice of Positions
Chapter IX.—Portamento—The Various Uses of Gilding—Some Exaggerations Exposed—How to Leap Great Intervals without "Howling"—Combination of Glissando and Sforzando
Chapter X.—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
Chapter XI.—Arpeggios—Their Evolution from Various Chords—The Bowing of Arpeggios
Chapter XII.—Graces and Embellishments—The Use of the Thumb—Extensions—Octaves
Chapter XIII.—Scientific Basis of Harmonics—Some Peculiar Laws which Govern a Vibrating String—"Natural" and "Artificial" Harmonics—Manner of Bowing Harmonics
Chapter XIV.—Special Effects—"Trick Staccato"—Various Methods of Producing Chromatic Scale Passages—"Sul Ponticello" Bowing and "Bowed" Harmonics—Flautando—Pizzicato Glide and Grace Notes!
Chapter XV.—Delivery—Style—"Form" v. "Feeling"—Conception—Essentials of a "Fine" Delivery—Orchestral Playing
• illustrations
• a linked Table of Contents
CONTENTS
Chapter I.—Preliminary Remarks—'Cello Difficult to Master—Choice of a Teacher—Choice of an Instrument and Bow
Chapter II.—How to Hold the Instrument—Attitude of the Player—Use of a Sliding Pin Recommended—Correct Way of Holding the Bow—Some Incorrect Sketches of Same
Chapter III.—General Knowledge—Eccentricity not Necessarily a Mark of Genius—Musical Notation—Common Errors with Respect to the Actual Position of the Various Clefs—Tenor Clef Indispensable to the 'Cellist
Chapter IV.—Early Attempts at 'Cello Playing—Firmness in Fingering—The Left Hand—Correct Method of Placing the Left Hand Fingers
Chapter V.—General Remarks on Bowing—Useful Method of Combining Scale Practice with Study of Various Bowings—Smooth Bowings—Crescendo—Diminuendo—The Slur
Chapter VI.—Bowing Continued—Martelé—Detached Stroke—Mixed Bowings—The Various Divisions of the Bow
Chapter VII.—On "Staccato" Bowing—Spiccato—Slurred Springing-Bow—Varieties of Phrasing Occasioned by the Portion of Bow Used—Sautillé—Dotted Notes
Chapter VIII.—On the Positions—The Individual Requirements of the Orchestral Player and Soloist—The Necessity of "Stretching" for the Intervals—The Locality of the Neck Positions—The Enharmonic Difference of Sharp and Flat Keys—Absolute Pitch—How to Leap any Awkward Interval—The Positions not Determined by Mathematical Rules, but by the "Ear"—Shifting—"Economy of Motion" v. "Effect"—Choice of Positions
Chapter IX.—Portamento—The Various Uses of Gilding—Some Exaggerations Exposed—How to Leap Great Intervals without "Howling"—Combination of Glissando and Sforzando
Chapter X.—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
Chapter XI.—Arpeggios—Their Evolution from Various Chords—The Bowing of Arpeggios
Chapter XII.—Graces and Embellishments—The Use of the Thumb—Extensions—Octaves
Chapter XIII.—Scientific Basis of Harmonics—Some Peculiar Laws which Govern a Vibrating String—"Natural" and "Artificial" Harmonics—Manner of Bowing Harmonics
Chapter XIV.—Special Effects—"Trick Staccato"—Various Methods of Producing Chromatic Scale Passages—"Sul Ponticello" Bowing and "Bowed" Harmonics—Flautando—Pizzicato Glide and Grace Notes!
Chapter XV.—Delivery—Style—"Form" v. "Feeling"—Conception—Essentials of a "Fine" Delivery—Orchestral Playing
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Chats to 'Cello Students
Chats to 'Cello Students
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Product Details
| BN ID: | 2940016302942 |
|---|---|
| Publisher: | VolumesOfValue |
| Publication date: | 03/21/2013 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| File size: | 756 KB |
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