Books › A dictionary of music and musicians, 1926 › scan 73
Scan 73
A dictionary of music and musicians, 1926
27 lines. Read by computer on 11 September 2026. Printed page 51. See the scan on archive.org.
1FINGERING
3SCALE OF A.
48va……………………
6ARPEGGIO.
78va…………………
9SCALE OF B.
108va………………………..
12ARPEGGIO.
138va………………………..
15HARMONICS. See article under that heading.
16This system of fingering applies equally to the VIOLA, but as its compass is limited, the scales and arpeggi must be only of two octaves, and between two and three octaves. Scales of C, D, and E, with their arpeggi can be played in three octaves. The chief point of difference between the two instruments is the production of tone.
17The scales and arpeggi, the chief subject of this article, form the systematic fingering of the violin, and with some well-chosen exercises to develop the percussion of the fingers should be sufficient for their purpose. The great classical studies should go hand in hand with them, Kreutzer, Fiorillo, Rode, Gavinies, the Solo Sonatas of Bach, and the Caprices of Paganini. The first requirement of interpretation is mechanical skill; there is a time of life for working out difficult technical problems and playing compositions of extraordinary brilliancy and daring, but as the artist comes to maturity, if the true spirit animates him, these things having served their purpose in training him to overcome difficulties will no longer interest him, the great classical works will attract him more and more, and his artistic sensibility will be trained to the highest point of pure refined taste. A. G.
18FINGERING OF THE VIOLONCELLO.—Besides the differences in size and length of hands and fingers, there are some other influences which modify the fingering in general use, such as: the strength of the fingers; their stretching capacity, as gained by practice; the example of the teacher; the course adopted as to the kind of studies; and the inevitable tendency towards what gives the least trouble. All complicated fingering, therefore, will be more or less individual, and will vary according to the ability, the experience, and taste of the player. The fingering of the violoncello was originally taken from that of the violin, as that of the Viol da Gamba was obviously not suitable, owing to the smaller intervals between the pitch of its seven strings. The principle of the present system is the normal distance of a semitone between two adjacent fingers. The interval of a whole tone is taken, either by leaving out one finger, which is kept in reserve for the semitone, or by the first and second fingers only (as in the A flat and E major scales, see page 52), very seldom by the second and third, or third and fourth fingers. The first and fourth fingers, therefore, take the interval of either a minor or a major third, in the 'normal' and 'extended' positions of the hand respectively. Large hands may even take a fourth.
19According to the oldest school, Corrette, 1741, the fingering for the diatonic scale was:—
211st position . . 1 2 4
222nd ,, . . 1 2 4
233rd ,, . . 1 2 3 4
244th ,, . . 1 2 3
26The thumb acts as a moveable saddle in the higher positions, being placed across two strings. It was early in use for this purpose, but up to the end of the 18th century the fourth finger was not employed in the thumb-positions, being considered too weak. With the help of the thumb, thirds and octaves, fifths, sixths, and even tenths can be easily played, as the thumb affords a firm hold on the strings. It could be as easily used in the lower positions.
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