Читать книгу Chats to 'Cello Students - Arthur Broadley - Страница 16

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To a great extent the work of the left hand is mechanical, and like everything which is mechanical in true art, must only occupy a secondary place. This is particularly true about the elements of fingering, i.e., placing the fingers on the strings in the proper manner, fingering the intervals in tune, etc., but does not apply to the close shake, gliding and various vocal effects obtained by changing the fingers on one note, or playing passages up the strings in various positions, which might be executed in a more ordinary way. All this is high art, and helps to reveal the true artist by his manner of introducing the beautiful effects caused by the means previously mentioned. However, to consider fingering pure and simple, a 'cello player of the first rank does not constantly think about his fingers, his mind is occupied with the phrasing and the correct interpretation of the composition. A good knowledge of the fingerboard is best learned at the instrument, no amount of diagrams or lengthy description of chords in the various positions, etc., being of much use in real work. The violoncellist has quite sufficient to think about without carrying diagrams of the positions in his head, even the old method of pasting such diagrams on the fingerboard of the instrument must be denounced, as this only causes the student to watch his fingers, a most objectionable habit. But again, a good player would be able to instantly place the position of any playable chord on the violoncello, or would be able to tell the sound effects of any two or more notes played in any position. This knowledge must come with practice, or it will take no small amount of trouble to make the theory fit the instrument, especially in quick passages at sight. The only way to obtain this mastery of the fingerboard, is by always adhering to one way of fingering, when practising scales and exercises. If a passage of extraordinary difficulty presents itself, stop and analyse it, then decide upon some way of fingering. Whether the best way will be adopted is another matter, and a matter in which our first class artists disagree, but the chief thing is to adhere to the fingering adopted.

The fingers must be firmly placed on the strings; to allow this, and so that the tips of the fingers are used, the joints must be bent outwards. This will allow the fingers to fall and rise like little hammers; and also if properly accomplished, will cause the strings to pass under the centre of the tip of each finger, in an almost parallel line with the tip edge of each finger nail. A very important rule, is to have as many fingers placed on the strings as possible, thus when playing the fourth finger, do not have the other three pointing upwards in as many different directions, they should be placed in semitones on the string, ready for use if a descending passage happens to follow. In some cases of vibrato, and always when playing harmonics, the fingers behind the one used must be kept off the strings; even then it is advisable to have them only slightly raised, and bent ready for use. In descending passages as previously hinted, the fingers must be placed simultaneously on the strings, the necessary fingers being raised as the passage proceeds; the student will find it rather difficult at first to place the fingers in tune behind the one actually played, but constant practice will accomplish this.