Читать книгу Chats to 'Cello Students - Arthur Broadley - Страница 18

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The student should always strive to produce a beautiful pleasing tone from his instrument. Rapidity of execution can be acquired with downright hard work, but great skill, prompted and controlled by a fine sense of tone quality is necessary to obtain a full tone, without it partaking of a hard, forced quality, or accompanied by scraping so pronounced as to be most unpleasant except perhaps to people at a great distance from the player. To acquire this skill, and also in some measure to educate the ear to the various tone-colour effects which are possible on the violoncello, much thoughtful practice is necessary. The student must not only know the correct movements which the hand and arm are to make in performing any particular style of bowing, but with much practice, he must so develop the muscles of his bow-arm, that they respond instantly to effect the slightest change in the amount of pressure required for the different degrees of sound-volume, or for the various parts of the bow used.

Eventually it will be found that it is possible to produce a complete change in tone-colour, which will prove a great relief to a continued tone of one character. Thus by using a whole length bow, without any pressure for a note of a certain description, the quality of tone produced will be far different to that obtained by using half the length of bow, with pressure applied to make up the sound volume. This and other changes in tone-colour will gradually unfold themselves to the student, if after thoroughly mastering the correct way of holding the bow, he practises the following bowings according to the directions given.