As before stated it is usual to carry the bass clef as far up as A above three leger lines, this is really the treble A, and not an octave lower.
The following passage will show the necessity for this, and also the need of an intermediate clef, between the bass and treble.
Any pianist of ordinary ability would be able to play the above passage at sight, without the slightest difficulty, and according to theory it is correctly written. Now, if written for the violoncellist in one stave, according to the same rules, it would be extremely difficult to read at sight, the abrupt changes of clef being very confusing.
It would be possible to write this passage entirely in the tenor clef, using only three leger lines above.
In certain passages the introduction of the various clefs in rapid succession, materially assists the player to determine the pitch of the intervals, as
It will hardly be interesting to the violoncellist to pursue the subject further, its continuation applying more particularly to composers and music copyists, than to practical musicians.
EARLY ATTEMPTS AT 'CELLO PLAYING--FIRMNESS IN FINGERING--THE LEFT HAND--CORRECT METHOD OF PLACING THE LEFT-HAND FINGERS.
The first attempts at 'cello playing must be made with long, smooth bow-strokes, care being taken to have a nice even tone from heel to point; great vigilance is here required on the part of the master, in observing that the motion of the arm and wrist is correct.
The pupil must not think that practising these long, slow bowings is a waste of time, it is the only way to obtain a good round tone, and afterwards, when whole bows are used for a quicker tempo, a command of the bow.
In practising studies in detached crotchets after the style of Ex. 1, Dotzauer, op. 120, or Ex. 1, Schroeder, op. 67, great firmness is required to stop the bow suddenly at the point; _even_ pressure must be brought to bear on the bow, accompanied by great rigidity of the thumb. If the exercises previously mentioned, and similar studies are practised in this firm, detached, manner, it will prevent that "groping" for the note, a bad habit which the young player speedily contracts if not watched. The student being compelled to make a short pause between each note, will allow time for the hand to move into position, and the fingers to be firmly placed, before the bow is again set in motion.