Vo '»-.ie I Dotzauer
62
Vo '»-.ie I Dotza uer VIOLONCELLO METHOD Revised and Amplified lay JOHANNES KLINGENBERG [English, French and German Texi) Published in Two Volumes **— * Volume One (03674) ^75 Volume Two (03675) 1.75 Carl Fischer INC. O 3674 62 Cooper Square, New York 3 BOSTON • CHICAGO • DALLAS • LOS ANGELES
Transcript of Vo '»-.ie I Dotzauer
Vo '»-.ie I
DotzauerVIOLONCELLO
METHOD
Revised and Amplified lay
JOHANNES KLINGENBERG
[English, French and German Texi)
Published in Two Volumes
**—* Volume One (03674) ^75
Volume Two (03675) 1.75
Carl FischerINC.O 3674 62 Cooper Square, New York 3
BOSTON • CHICAGO • DALLAS • LOS ANGELES
LIBRARY
Brigham Young University
GIFT OF
Paula Eid Dustin
MT
V,
DotzauerVIOLONCELLO
METHOD
Revised and Amplified
JOHANNES KLINGENBERG
(English, French and German Text)
Published in Two Vol\umes
Volume One (03674)
Volume Two (03675)
Carl Fischer, inc SCOOPER SQUARE. NEW YORK 3
Boston • Chicago • Datta* • Lot Angeles
r"
,
Reissued in 1951
by Carl Fischer, Inc., New York
HAROLD B. LEE LIBRARY8RIGHAMYOU .3ITY
PROWO, UTAH
Preface Vorwort Preface
While none of the Dotzauer
methods has proved serviceable for
modern requirements in their original
versions, the excellence of the material
contained therein has induced me to
select and edit that which has re-
mained of the greatest serviceability
for present-day needs and combine it
in the present method.
Much of the unnecessary material
has been omitted and replaced bysuitable selections from the works
of B. Romberg, J. L. Duport and
J. B. Gross and the whole has been
systematized and arranged in such
progressive order as to insure the
speediest and most satisfactory ad-
vancement of the student.
From the very start, the pupil's
attention must be called incessantly
to the importance of gaining surety in
the playing of major and minor
thirds, the entire technic of the 'cello
being based in a measure upon the
differences of these intervals.
The purpose of this method is to
provide a complete and thorough
course of instruction based upon the
fundamental principles of 'cello play-
ing and with the aid of the necessary
talent and application, the material
offered cannot fail but enable the
student to arrive at and master manyof the higher accomplishments of his
art.
Keine der Dotzauer'schen Schulen
schien nach dem heutigen Stande des
Violoncell-Unterrichtes zu uuveran-
dertem Wiederabdruck geeignet, aber
die Giite und Verwendbarkeit des in
ihnen enthaltenen Lehrstoffes veran-
lasste mich, denselben in vorliegen-
der Schule von neuem moglichst nutz-
bringend anzuordnen und zu gestalten.
Zur Ausfiillung der vorhandenen
Liicken wurden teilweise altere, oft
bewahrte Beispiele von B. Romberg,
J. L. Duport und J. B. Gross gewahlt
und fiir das Ganze eine systematisch
fortschreitende und iibersichtliche An-
ordnung erstrebt, die allein demSchiiler ein sicheres und schnelles
Vorwartsschreiten ermoglicht. Der
Lehrer versaume nicht, den Schiiler
im miihelosen Erkennen der grossen
und kleinen Terzen zu iiben, denn auf
dem Unterschiede dieser beiden Inter-
vals beruht die Violoncell-Technik
zumeist.
Zweck der Schule moge sein, demangehendenVioloncellisteneinesichere
und manierenfreie Grundlage zu bie-
ten, von der ausgehend es ihm bei
Talent und dem notigen Fleisse ge-
lingen kann auch hohere Staffeln in
der Kunst des Violoncell-Spiels zu
erreichen.
Aucune des diverses Methodes de
Violoncelle de Dotzauer ne semblait
pouvoir supporter l'epreuve de la re-
edition, etant donne le niveau eleve
qu'atteint aujourd'hui l'etude de cet
instrument. Et cependant l'excellence
pratique des exercices qu'elle contient
m'a determine a la remettre au jour,
en l'utilisant de la facon la plus pro-
fitable a l'eleve. J'ai comble les la-
cunes qu'elle presentait par des ex-
emples choisis de B. Romberg, J. L.
Duport et J. B. Gross, et je me suis
efforce de grouper ces differents ele-
ments dans un ordre systematique
et progressif, de facon a former un
ensemble qui fasse faire a l'eleve des
progres rapides et siirs. Le pro-
fesseur devra de bonne heure exercer
l'eleve a distinguer les tierces ma-
jeures et mineures, car la technique
du Violoncelle repose en bonne partie
sur la difference entre ces deux inter-
valles.
Le but de cette methode est done
d'offrir aux commencants une base
d'etudes, nouvelle dans sa forme et
eprouvee dans ses elements, qui, le
travail aidant, les conduira rapide-
ment a la virtuosite.
Johtinnts KHngenberg
The Violoncello,
which was developed from the formerBass -Viol, was first constructed in the
17th century, and is the instrumentwhich most resembles the human voice,
both in quality and expression.
The holdixig of the instrument.
The pupil must sit on the border of
the chair, advance the left foot a lit-
tle and draw back the right one; the
Violoncello is held by means of the
legs, that is, in such a manner that
the lower edge of the back of the in-
strument touches the left leg, and the
upper edge of the back must lean ea-
sily against the body of the player.
When using the tail-pin of the in-
strument, it is necessary to have it
so long, that the lowest peg reaches
the left ear at about two or three in-
ches distance, so as not to run the
risk of striking the left knee withthe bow while bowing upon the Astring. (Fig. I)
The guiding of the bow.
The bow is to be held by the right
hand, in such a manner that the tip
of the thumb is placed sideways a-
gainst the corner of the nut; the fore-
finger must be placed in such a man-ner as to press the stick with the
upperjoint; the tip of the middle fin-
ger must touch the hair andtheother
fingers take an easy and natural po-
sition adjoining the nut. For thedownbow, that is, starting from the nut of
the bow, the wrist of the right handis to be held a little upwards, the el-
bows and the point of the bow mustbe lowered and the bow must be drawnacross the strings at about three inch-
es from the bridge,whilst the wrist is
gradually descending. For the up-bow,
that is, starting from the point, the
wrist must be raised gradually, so that,
the bow crosses the strings in a
straight line. The hair of the bow in
passing over the A, D & G string, is
to lean sideways towards the bridge,
but on the C string the bow is to beheld in such a manner that the full
breadth of the hair lies flatly on the
strings. (Fig.IVa and iyb.)
The tuning of the Violoncello.
This instrument is tuned in fifths:
d g c
ma
in beginning to learn it, it is advisa-ble to tune to the Piano or some oth-
er well-tuned instrument by givingthe above mentioned notes;when turn-
ing the pegs, one ought to press themas far into the peg-box as possible,as they are apt to slip. (Fig. IIa & lib.)
20501
-II-
Das Violoncell,
cine Umgestaltung der friiherenGanirba,ist im Anfange des 17. Jahrhun-derts aufgekommen. JEs ist dasjeni-ge Instrument, welches der mensch-lichen Stimme am nachsten ver-wandt und des hochsten Ausdruck-es fahig ist.
Haltung des Instrumentes.
DerSpieler setze sich auf den vorde-
ren Teil desStuhles, strecke den lin-kenFuss ein wenig aus und setzeden rechten Fuss weiter zuriick.DasInstrument wird mit denBeinen sogehalten,dass der untereRand desBodens an das linke und der untereRand des Deckels an das rechteBeinzu liegen kommt;der obereRand desBodens lehnt sich ganz leicht an denKorper. Wendet ?nan einenStift (Sta-chel) an, so wahle ?nan diesensohoch,dass der unterste Wirbel in gleicherLinie, etwa ein paar cm.votnlinkenOhr entfernt ist und?nan nicht bei?n
Anstreichen derA-Saite Gefahrlduft,an das linke Knie zu stossen. (Fig.I)
Von der Fiihrung des Bogens.DerBogen wird mit der rechten
Hand so gefasst, dass dieDaumenspi-tze ein wenig seitwarts an dieSpitzedesFrosches zu liegen kotnmf,derZeirgefinger so weit vorruckt,dass ermitderBiegung seines oberstenGelenkesaiffdieBogenstange,derMittelfingermit derSpitze an dieHaare und diezwei ubrigenFinger ungezwungenan denFrosch und dieStange zu lie-
gen kommen.DerBogen wirdaufderA,D undG-Saite so zumStrich ange-setzt, dass dieHaarflache demSiegezugekehrt erscheint; die C-Saite je-doch ?nuss mit der ganzen Haarfla-che angestrichen werden. Beim Her-unterstrich (d.h. vom Frosche zu rSpitze gezogen) biege man das rech-teHandgelenk ein wenig, senke denEllbogen and auch die Spitze des Bo-gens ein wenig, fiihre den Bogen et-
wa 3 cm. vom Stege entfernt iiber
dieSaiten und lasse dasHandgelenklangsam einsinken. I?n Hinaufstrich(d.h. von derSpitze zum Frosche ge-zogen) hebe man das Handgelenknach und nach, damit derBogen dieSaite immer gerade durchschneidet.
Von derStimmung desVioloncells.Das Instrument wird in Quin ten
:
" d g crgk
;°
ryrrr ° =gestimmt. Anfangs stitnme man wo-moglich nach de?n Klavier odernacheinem anderen Instru?nent ein,indcm?nan sich oben bezeichnele Tone an-gibt.Beim Umdrehen derWirbel ubeman einen festen Druck gegen denWirbelkasten aus,damit derWirbelnicht herunterschnellt. (Fig.IIa u. IIbJ
HAROLD B. LEE LIBRARYWGHAM Y0UN6 UNIVERSITY
PROVO. UTAH
Le Violoncelle,
qui est une transformation delacide-vant Gambe, fut construit au n^siec-le; c'est T instrument qui ressemble le
plus a la voix humaine et qui pos-sede les qualites necessaires pourexprimer le mieux les differencesdispositions de Tame en touchant le
coeur par des sons doux et melodieux.
Position du corps pourtenir Pinstrument.
II faut que l'eleve soit assis sur le
bord de la chaise, qu'il etende un peule pied gauche et qu'il retire le pieddroit. LI instrument doit etre place en-
tre les jambes,de maniere que le bordinferieur du fond touche la jambegauche, le bord inferieur de la tablela jambe droite. Le bord superieur dufond doit toucher legerementle corps.
Quand on se sert du ferret (goupille),
il faut qu'il soit d'une longuer, afinque la cheville la plus basse soit ala hauteur et eloignee a peu pres de2 cm. de l'oreille gauche,pour eviter
de pousser contre le genou gaucheen touchant la corde de LA. (Fig.I)
Maniere de tenir l'archet.
On tient l'archet par la main droite
afin que le bout du pouce s'inclineun
peu du cote vers le coin delahausse,l'index doit s'avancer de maniere quela jointure de dessus se place sur la
baguette et que le bout du doigt dumilieu touche les crins de l'archet, les
deux autres doigts doivent se mettreen meme temps legerement sur la
hausse et la baguette.En tirant l'arch-
et, c'est a dire,commencant au talon,
il faut qu'on tienne le poignetun peueleve, le coude abaisse ainsi que la
pointe de l'archet, qu'on meme a tra-
vers les cordes, eloigne a peu pres de
3 cm. du chevalet en observant que le
poignet s'incline peu a peu. En pous-
sant l'archet, c'est a dire,commencanta la pointe, il faut relever le poignetpeu a peu,pour que l'archet, en pas-
sant sur les cordes, soit en rectangleavec ces dernieres.Les crins de larch
et doivent s'incliner vers le chevalet
sur la corde de LA, RE etSOL,maissur la corde de TUT la tenue de l'-
archet doit etre telle que les crins
se trouvent justement au dessus dela baguette. (Fig. IV* & rvb.)
De l'accord du Violoncelle.
On accorde le Violoncelle en Quintes:*rt re sol ut-o3 «-
Au commencement on fera mieux d-
accorder d'apres le Piano ou de quel-
que autre instrument en touchant les
notes ci-devant nominees. En tourn-
ant les chevilles,pressez la maincontre la tete de Pinstrument pour $-
viter que les chevilles ne glissent en
arriere.(Fig.II a &IIb.)
The Violoncello and howit is held ; showing correct
position of the left hand, po-
sition of right arm while bow-
ing at tip and nut of bow, as
well as general attitude of
player.
FIG. I.
Das Violoncello und seine
richtige Haltung ; correcte
Position der linken Hand,
richtige Fuhrung des rechten
Armes am Frosch und an der
Spitze des Bogens, sowohl wie
allgemeine richtige Position
des Spielers.
L,e violoncelle et la maniere
de tenir 1' instrument; position
exacte de la main gauche;
direction a suivre pour le bras
droit, suivant que l'archerest
pris au talon ou a la pointe;
tenue generate du violoncel-
liste.
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The position of the left hand.
The left hand leans against the neck
of the instrument, so that the thumb in
the first positions rests on the back of
the neck opposite the fore and middle
finger; the fingers must be in an up-
right position and are to fallwith the
utmost strength and precision on the
strings. The left arm maintains an
easy attitude
Name of the parts of the
Violoncello and of the bow.
1. The top and on the opposite side the
2. The ribs.
3. The F holes.
4. The tail-pin.
B. The tail-piece.
6. The finger board.
7. The neck.
8. The saddle.
9. The peg.
10. The peg-box.
11. The scroll.
12. The bridge.
13. The bow- stick.
14. The head or tip.
15. The nut or frog.
16. The hair.
-III-
Von der Haltung der linken Hand.Die KnkeHand legt sich so an den
Hals des Instruments, dass derDau-men in den erstenLagen an derhin-
terenSeite ungefahr gegeniibcr derMitte des l.und 2. Fingers ruht.Die
Finger miissen gleichsam wicHam-mer auf die Saitenfallen.Der linke
Arm behalt eine ungezwungeneHalt-ung.
~14
Benennung der Teile des
Violoncells und des Bogens.
1. DieDecke undgegeniiber derBoden.
2. Die Zargen.
3. Die F-Lb'cher.
4. Der Stiflen oder Stachel.
5. Der Saitenhalter.
6. Das Griffbrett.
7. Der Hals.
8. Der Sattel.
For those who are interested in the
history of the Violoncello"The His-tory of the Violoncello byJ.W. v. Wa-sielewski": can be recommended.
The rudiments of music, necessary
for learning the violoncello.
The five lines employed in the nota-
tion as used at present are designatedas the staff.
The notes in the Bass-clef*): are called
De la tenue de la main gauche.
La main gauche doit se placer au
manche du Violoncelle de maniereque le pouce se trouve en jouant les
premieres positions du cote du man-
che a peu pres vis-a-vis de l'index et
du doi gt du milieu; les doigts,en se
courbant.tombent comme des marte-
aux sur les cordes. Le bras gaucheconserve une tenue degagee.
Les noms des parts du
Violoncelle et de l'archet.
1. La table et en has le fond.
2. L'eclisse.
3. Les F.
4. L' epine.
5. Le tire-cordes.
6. La touche.
7. Le manche.8. Le sillet.
9. Les chevilles.
10. La caise des chevilles.
11. La coquille.
12. Le chevalet.
13. La baguette.
14. La pointe de l'archet.
15. La hausse de l'archet.
16. Les crins.
Violoncello.
Wer sich filr denEntwicklungsgangdes Violoncells interessiert,dem mo-ge das Werk „Geschichte des Violon-cells von J. W.von Wasielewski" bes-
tens emjtfohlen sein.
Kurzgefasste fur denVioloncell-unterricht notwendigeElementar-Musiklehre.
Vie fiinfLinien in derNotenschriftnennt man Notensystein.DieNoten heissen imBassschlussel^):
on the lines:
Auf den Linien:sur les lignes:
in the spaces: under the lines:in den ZwiscAenraumen: unter den Linien:dans les spaces intermediaires: au dessus des lignes:
9. Die10. Der11. Die12. Der13. Die14. Der15. Der16. Die
Wirbel.
Wirbelkasten.
Schnecke.
Steg.
Bogenstange.
Kopf.Frosch.Haare.
A ceux qui ont l'intention de s'in-
struire du developpement de l'art de
jouer du violoncelle, l'onpeut recom-
mander l'ouvrage: L'histoire duVio-
loncelle, par J.W. de Wasielewski:
Les elements de la musique,exposes
en peu de phrases necessaires pource-
luiquiveut apprendre ajouer duViolon-
celleLes cinq lignes del'ecriture^e mus
ique notee s'appellent le systeme de
notes.
Les notes s1 appellent dans la clef
de Fa: J'over the lines:liber den Irwtien:au dessous des lignes:
xx !i «L ±±S a "-»-XE^«-^ in_
g h(b) d f asol si re fa la
ala
c
ute
miSsol
20.101
f emi
XTdre
cut
h(b) c
Si ut ree
miI
f«gsol
ala
-IV-
The seven natural tones are called: Die sieben natitr/ichen Tone heissen: \ Les sept tons naturels se nomment:
m ir Tl~«» O o
c
utdre
e f Ssol
ala
h(b)si
These tones can be raised with the
sign # by half a tone and will thenbe called:
^mDieselben konnen durch ein vorste-
hendesZeicJien % (Kreuz) um einenhalbenTon erhbht werden undheissen:
% ;:me m
Ces tons peuvent etre hausses parle precedent signe
fy(diese) d'un de-
mi ton,et dans ce cas.ils se nomment:
is
C sharp. D sharp E sharp. F sharp. G sharp. A sharp. B sharp.cis. dis. eis. fis. gis. ais. his
Ut diese. Re diese. Mi diese. Fa diese. Sol diese. La diese. Si diese.
The tones can be lowered with the
sign \> by half a tone and will be cal-
led:
y lm n
Durch das Zeichen \> (Be) werdendie Tone um einen halben Ton er-niedrigt und heissen:
1»»j
t>o I'" ^
Par le signe bemol \> les tones sontbaisses d'un demi ton et alors ils senomment:
bo
C flat. D flat. E flat. Fflat. G flat. Aflat. B flat.
ees. des. es. 'fes, ges. as. beUt bemol. Re bemol. Mi bemol Fa bemol. Sol bemol. La bemol. Si bemol.
The double sharp (x) raises an in-
terval one whole tone higher.
The double flat (H?) lowers an inter-
val one whole tone.
The \ is called the natural-sign.
The value of notes and rests:
Das Zeichen x (Doppelkreuz) er-hbht die Noten noch um einen hal-ben Ton tnehr; z. B.
Les doubles dieses (x) haussent les
notes de tout un ton.
m rzxc MO MO 3XCetc.
Das Doppelbe (W>) erniedrigt dieNote ictn einen ganzen Ton.
2=* ' " **o- BEEetc.
Das Auflb'sungs- oderJViederher-stellungszeichen ist \.
Der Wert derNoten und Pausenist folgender:
Les douples bemols (W) baissent
les notes de tout un ton.
Le signe \\ se nomme un becarre,
qui replace la note.
La valeur des notes et des pauses:
Notes.Noten.Notes.
Rests.Pausen.Pauses.
^ Wf*/> '16 '32 '64 11 16 30
*or.oder. ou.
mm% I ± ]a etc.
The dot prolongs the duration of the
note or rest after which it is placed,
one half in addition to its originalvalue.
The second dot gives an additionalquarter to the length of the original note.
DerPunTct.nach einer Note oderPause verlangert dieselbe um dieHalfte ihres Wertes.DerDoppelpunkt verlangert die
Note wieder u?n dieHalfte derHalfte.
Le point apres une note ou pauseles allonge de la moitie de sa valeur.
Les deux points allongent les notes
de nouveau de la moitie de la moitie.
fequal to:
ist gleich:^/^egal:
?SE35E-O-*-
f r' -'if 'T f f
% "* 3/,16 etc.
w =e£ m £3E -O-
P Pf E#E rTT'P '
T- rp"f M"pffAbbreviations.
written.Schreibart:Exemple:
Abkurzungen in derNotenschrift. Abreviations.
mW^ £U*-^ Svnc
2E
Triplet.Triole.
'umui\ JJJJ JJJJitre
Syncopes.Synkopen.
ttttts £j£\SKmwmExecution.Ausfiihrung.Execution
20501
-V-
l! :H Repetition sign.
7* Sign of repose. (Halt.)o
Scale.
The diatonic scale consists of 5
whole and two half tones.
The half tones of the major scale
are "between the 3. and 4. and the 7.
and 8. interval.
The 6. and 7. interval of the mi-nor scale is raised while ascending;
the half tones are between the sec-
ond and third and the seventh andeighth interval.
The major- and minor- triad con-
sists of the 1. 3. and 5. tone of the
scale; for instance.
II: :
ll Wiedcrholungszeichen.O Fermate,Halt- oderRuhezeichen.
Tonleiter.
Bie diatonische Tonleiter bestehtaus 5 ganzen und 2 halben Tonen.In der Burtonleiter liegen die hal-
ben Tone zwischen der3.zur4.und7. zur 8. Tonstufe.In der Molltonleiter wird die 6.
und 7. Tonstufe aufwdrts erhbhtund liegen die halbenTone zwischender 2. zur 3. und 7. zur 8. Tonstufe.Der Bur- undMolldreiklang be-
steht aus dem 1. 3. und 5. Ton derTonleiter, z. B.
Il: :
ll Signe de repetition.
o fermate ou point de repos.
Gamme.
La gamme diatonique consiste decinq entiers et de deux demi-tons.Dans la gamme majeure les demi-
tons sont entre le 3. et 4., et entre
le 7. et 8. degre.Dans la gamme mineure le 6. et
7. degre est eleve en haut et les de-
mi-tons gisent entre le 2. et 3., et
entre le 7. et 8. degre.L' accord majeur et mineur con-
siste du 1. 3. et 5. ton de la gamme,p.e.
C major.C dur.
Ut majeur.
6 major.G dur.
Sol majeur.
D major.D dur.
Be majeur.
A minor.A moll.
La mineur.^ TT TV-O- ^=^ Tl~
D minor.D moll.
Re mineur.^r O-
G minor.G moll.
Sol mineur.
-o-etc.
>>
>>
>)
The keys.
There are 12 major and 12 minor-scales:
C major - A minor.
lit
- E >>
3#- B3#— F sharp minor.
- C >> >>
— G >» >>
6 8F sharp major - D sharp minor.
6bG flat major - E flat minor.
5 b- B >> >>
4b- F minor.
3b- c „
G
D
A
E
B >>
D „
A »
E >»
B »
F „
»)
2b,, - G
lb- D >»
The chromatic scale consists of
half tones:
Tonarten.
Bie 12 Bur- und 12 Molltonarten sind:
C dur - A moll.
G >> — E
B » - H3#
A » - Fis
*»E » - Cis
MH » - Gis
6#!Fis >> — Bis
6bGes >> - Es
5bBes» - B
4bAs » - F
3bEs „ - C
2bB » - G
lbF » - B
Bie chromalische Tonleiter besteht
aus halben Tonen:
Des tons.
On a 12 tons majeurs et 12 mineurs:Ut majeur - La mineur.
l*Sol >> - Mi „
Re » - Si D
3HLa >> - Fa diese mineur.
4#Mi )> - Ut » »
Si }) — Sol » >>
6#Fa diese majeur - Re diese mineur.
6bSolbemol maieur - Mi bemol mineur.
5bRe >> >> — Si )} >>
4bLa »> » - Fa mineur.
3bMi >> j> — Lt >>
2bSi >> >> - Sol >>
lbFa majeur — Re »
La gamme chromatique consiste
de demi-tons:
)= -||.. QtfQ » °H° "If" "° jJ§S§ Jh " "''" °..h.,bo..
Enharmonic tones are: Enharmonische Tone sind: Tons enharmoniques:
g tf.^o H^T» ||
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-VI-
Time.
Time is indicated by means of fig-
ures placed at the commencement of
a musical composition, designatingthe worth of the notes inside of a
bar; for instance C= 4/4 or Commontime standing for a whole measure;the other even measures consistingof 2
'4,6'8,
12'8,
2'*,
6'4time and the oddmeasures of 3 '4, 3/8,
9'8, 3 '2, 5 '4 time.
The natural accents of time of the
C= 4 '4 measure fall upon the Land 3.
beats; of the 2 '4,3'4,
2'2,and 3 '8 meas-ure upon the first; of the 6
'8, and 6/4
measure upon the first and fourth; of
the 9/8 upon the first, fourth and sev-
enth and of the 12'8 measure upon the
first, fourth, seventh and tenth beat.
The time is beaten in the followingmanner:
4'4
Vom Takt.
Die Taktart, die den Wert der No-ten innerhalb eines Taktes angibt,steJit zu Anfang des Tonstiickes z.B.
C = 4'4 oder ganzer Takt. Dann die
anderengeradenTakte wie 2 '4 6/8 12/8
z'i
6/4 und die ungeraden wie 3/4 3/8»/8
3/2 5,4 e(c
Der schwere Taktteilfallt im 4/4=C aufden 1. und 3. Taklleil,im 2/i3'i2'2
3'8 aufden ersten, im 6'8 6/4 auf
den 1. und 4. im 9*% aitf den 1.4.und7. und im 12'8 Takt auf den 1. 4. 7.
und 10. Taktteil. Der Takt wirdge-geben:
3/4 3,8 6/8 «/4
De la mesure
La mesure, qui indique la valeurdes notes dans Pespace d'unebarrede mesure, est ecrite au commence-ment de la piece, p.e. C= 4
'4 ou me-sure a quatre temps, alors les autres
paires mesures comme 2 '4 6/8 12/8 2'«6'4 et les impaires comme 3
'4 3'8 9/8
3/2 5 '8 etc.
Le temps fort tombe dans la me-sure a 4 '4= C sur la Let 3. part demesure, dan's la mesure a 2 '4 3 '4 2 '2
3/8 sur la premiere, dans la mesurea % 6 '4 sur la premiere et quatrie-me, dans la mesure a 9/8 sur la 1.4.
et 7., et dans la mesure a 12'8 sur la
1. 4. 7. et 10. part de mesure. On batla mesure ainsi:
'**'*
3
2
The clefs.
Three clefs are used for theViolon-
cello in accordance to the great tonal-
compass of this instrument. They are
herewith presented in the order as em.ployed:
Von den Schliisseln.
Bei dem Violoncett sindwegen desgrossen Tonumfanges des Znstrumen-tes drei Schlusselgebrauchlich. Siesind hier nach i7irem Einklang zu-sammengestelll.
Des clefs.
Pour le violoncelle on fait usagede trois clefs a cause du grand dia-
pason de cet instrument.Elles sont
exposees ici selon leur unisson.
Bass-clef. -yp-Bass-Schliissel^JE.Clef de Pa.
c d e f
utre mifa
Tenor- clef.
Tenor-Schliissel.Clef de sol.
3wg ah(b)c d e f
sol la si ut re mifa
1wTreble-clef.
Violin-Schlussel.Clef de Sol. *
ii§HlIg a h(b) c d e f g a h(b) c
sol la si ut re mi fa sol la si ut
2m mmjjjjjjj^r ^^
d e f g ah(b)c d e f g »re mifa solla si ut re miJit solla
! 'kmmMThe violin key or treble-clef of old-
er notation must be played one octave
lower, so that the first tone,for instance
G,must be considered as open string.
The positions
will be explained in detail in the sec-
ond part of this school; the follow-ing is only a plain example of thepositions most in use for beginningon the A and D strings.
DerViolinscJilussel hack altererArt ist eine Oktave tiefer zu spielen,
so dass Jtier der erste Ton (z. B.) Gals leere Saite zu neJimen ware.
Die Positionen
werden im 2. Heft dieserSekule ein-
gehend bekandeltjhierfolgtnur einkurzes Beispiel der Gebrduchlichs-ten fur den Anfang aufder A undD Saite ohne VbrzeicJien.
20501
A string.
A Saite.La corde.
D string.D Saite.Re corde.
^ f=HM^I. Position.
m P-F-E-U
mMM
La clef de sol de l'ancier ordredoit
etre jouee une octave plus basse, si
que le premier ton, par exemple sol,
doit etre considere comme la corde vi-
de.Les positions
seront expliquees en detail dans la
deuxieme partie; voici un exempledes positions les plus en usage pourcommencer sur la premiere et deux-ieme corde.
3
£III. Position.
\Flageolet.
!V. Position.
=£ 1Flageolet.
-VII-
In the fourth position the hand
rests against the body of the in-
strument.
Harmonics are produced by
touching the strings very light -
ly, without pressing them down.
In playing Harmonics, half
of the string will produce the oc-
tave of the same.
One third,the fifth of the string
in the second octave.
One fifth, the third of the string
in the second octave.
The half of the half,the second
octave of the string.
Pizzicato
Pizzicato is not produced by
playing with the bow, but by pull-
ing the string with the forefin -
ger, of the right hand, while the
thumb rests upon the side of the
finger-board.
Bei der 4. Position setzt sick die
Hand ayf den Korpus des Instru -
mentes.
Flageolet wird hervorgebraeht, in-
dem der Finger die Saite ganz
leicht beriihrt, ohne aufzudriicken.
Die Halfte der Saite gibt im
Flageolet die Oktave derselben.
Fin Dritte I, eine Quinte der Saite
in der 2. Oktave.
Ein FUnftelyeine Terze der Saite
in der 2. Oktave.
Die Halfte der Halfte, die 2. Ok-
tave der Saite.
Pizzicato
Die Bezeichnungpizzicato stent
bei Stellen, welche nicht mit dem Bo-
gen gestrichen, sondern mit dem Zei-
gefinger der rechten Hand ange -
spielt werden, w'dhrend der Dau -
men sich an die Seite des Griff -
brettes setzt.
Dans la quatrieme position la
main se met sur le corps de l'in-
strument.
Les tons du Flageolet (har -
moniques) sont produits en tou -
chant la corde tre siege rement du
doigt sans la presser.
Si Ion touche la moitie de la
corde en Flageolet, le ton est ce-
lui de l'octave de la corde.
Si l'on en touche le tiers,le ton
est celui de la quinte de la corde,
dans la deuxieme octave.
Si l'on en touche la quinte, le
ton est celui de la tierce de la
corde dans la 2.octave.
Si l'on en touche la moitie de
la moitie, le ton est celui de la
2. octave de la corde.
Pizzicato
Le nom„Pizzicato"est adopte a
des passages, qui ne sont pas joues
de l'archet, mais touches de l'in-
dex de la main droite, durant que
le pouce se met sur le cote du
manche.
Liby. 823
30601-41
8Signs and Abbreviations
Zeichen und Abkiirzungen —«- Signes et Abreviations
n Down bowV Up bowW.B. Whole bowU.H. Upper half of bowL,H. Lower half of bowN. Nut of bowM. Middle of bowP. Point of bowr* Keep the fingers in position
n Herunterstrich
V Hinaufstrich
W.B. Ganzer BogenU.H. Oberer halber BogenL.H. Unterer halber BogenN. Frosch des BogensM. Mitte des BogensP. Spitze des Bogensr~ Liegenlassen der Finger
H Tirez
V Poussez
W.B. Tout l'archet
U.H. Moitie superieure de l'archet
L.H. Moitie inferieure de l'archet
N. Talon de l'archet
M. Milieu de l'archet
P. Pointe de l'archet -
l~~ Laissez lesdoigts en place
The Open String's
^Die leeren Saiten
4a 33 2a-e—
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Bowing Exercises Strich-Ubungen Exercices de l'archet
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First Position
X Short stretch, minor third
Finger - Exercises
2.
Erste Lage( Kleine Spannung, kleine Terz
)
Finger - Ubungen
Premiere Position(Petite Extension, Tierce mineure
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Exercices de doigts
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20601-40
10 Notesof different values
All bowing exercises are also to be
practised on all the strings.
Notenvon ungleichemWerte
Samtliche Strichubungen sind auch
auf den anderen Saiten zu studieren.
Notesde valeurs inegales
Tous les exercices de l'archet a tra-
vaillersur toutes les cordes.
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Grande extension, Tierce majeure.
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Die halbe Lage
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La Demi - Position
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. Enharmonic. -Enharmonisch.-Enharmonique. 47
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List of the Principal Words used in Modern MusicWith their Abbreviations and Explanations
A to, in or at; a tempo, in timeAccelerando (accel.). Gradually increasing the speedAccent Emphasis on certain parts of the measureAdagio Slowly leisurelyAd libitum (ad lib.) . At treasure: not in strict timeA due (a 2) To be played by both instrumentsAgitato Restless, with agitationAl or Alia In the style ofAlia Marcia .... In the style of a MarchAllegretto Diminutive of allegro; moderately fast, lively;
faster than andante; slower than allegroAllegro Lively; brisk, rapid.Allegro assai .... Very rapidlyAmoroso AffectionatelyAndante In moderately slow timeAndantino Diminutive of andante; strictly slower than an-
dante,but often used in the reverse senseAnima, con | . . . . With animationAnimato )
A piacere At pleasure: equivalent to ad libitumAppassionato. . . .Impassioneddrpeggio A Broken chordAssai Very; Allegro assai, very rapidlyA tempo In the original tempoAttacca Attack or begin what follows without pausingbarcarolle A Venetian boatman's songBis Twice, repeat the passageBravura Brilliant; bold; spiritedBrillante Showy, sparkling, brilliantBrio, con With much spiritCadenza An elaborate, florid passage introduced
as an embellishmentCantabile In a singing styleCanxonetta A short song or airCapriccio a ... .At pleasure, ad libitumCavatina An air, shorter and simpler than the aria,
. and in one division, without Da CapoChord The harmony of three or more tones of
different pitch produced simultaneouslyCoda A supplement at the end of a compositionCol or con WithCrescendo (cresc.) . .Swelling; increasing in loudnessDa >or dal FromDa Capo (D. G.) . .From the beginningDal Segno (D.S.). .From the signDecrescendofdecrescJDecTe&Bing in strengthDiminuendo (dim.)- Gradually softerDivisi Divided, each part to be played by a sep-
arate instrumentDolce (dol.) . . . .Softly; sweetlyDolcissimo Very sweetly and softlyDominant. The fifth tone in the major or minor scaleDuet or Duo .... A composition for two performersE AndBlegante Elegant, gracefulEnergico With energy, vigorouslyEnharmonic. . . .Alike in pitch,but dilferentEspressivo With expressionFinale The concluding movementFine The endForte (f) LoudForte -piano (fp) . .Accent strongly, diminishing instantly to
pianoFortissimo (jf). . .Very loudForzando(fz>) . .Indicates that a note or chord is to be
strongly accentedForza Force or toneFuoco,con With fire; with spiritGiocoso Joyously; playfullvGiusto. Exact) -in strict timeQrandioso Grand; pompous; majesticGrave Very slow and solemnGrazioso GracefullyHarmony In general, a combination of tones, or
chords, producing musicKey note The first degree of the scale, the tonicL.argamente . . . .Very broad in styleZarghetto Slow, but not so slow as Largo ; nearly
like Andantinolargo Broad and slow; the slowest tempo-markLegato Smoothly, the reverse of staccatoledger-line A small added line above or below the
stafflento Slow, between Andante and LargoZ'istesso tempo. . . In the sajne time, (or tempo)Loco.' In place. Play as written, no longer, an
octave higher or lowerMa ButMa non troppo. . . Lively, but not .too much soMaestoso Majestically; dignifiedMaggiore Major KeyMaroato .MarkedMeno LessMeno mosso . . . .Less quicklyMazzo Half; moderately
in notation
Mezzo-piano (mp) . Moderately softMinore Minor KeyModerato Moderately. Allegro moderate, mod-
erately fastMolto Much; veryMorendo Dying awayMosso Equivalent to rapid. Piu mosso, quicker.Moto Motion. Con moto, with animationNow NotNotation The art of representing musical sounds
by means of written charactersObbligato An indispensable partOpus (Op.) A work.Ossia Or; or else. Generally indicating an
easier methodOttava (8va) • • • -To be played an octave higherPause (/T\) . . . .The sign indicating a pause or rest.Perdendosi V7^nJS away graduallyPiacere, a At pleasurePianissimo (pp) . .Very softlyPiano (p) SoftlyPiu MorePiu Allegro More quicklyPiii tosto QuickerPoco or un poco. . A littlePoco a poco. . . .Gradually, by degrees; little by little
Poco piu mosso . .A little fasterPoco meno A little slowerPoco piu A little fasterPoi Then; afterwardsPomposo Pompous; grandPrestissimo . . . . As quickly as possiblePresto ........ Very quick; faster than AllegroPrimo (l™o). . . . The firstQuartet A piece of music for four performers.Quasi As if; in the style ofQuintet A piece of music for five per-
formersHallentando (rail.) Gradually slowerReplica Repetition. Senza replica, without
repeatsRinforzando . . . .With special emphasisRitardando (rit.) .Gradually slower and slowerRisoluto Resolutely; bold; energeticRitenuto In slower timeScherzando Playfully; sportivelySecondo (2d<>) . . .The second singer, instrumentalist or
partSegue Follow on in similar styleSemplice Simply; unaffectedlySenza Without. Senza sordino without muteSforzando (sf) . . .Forcibly; with sudden emphasisSimile orSimili. .In like mannerSmorzando (smorz) Diminishing in sound. Equivalent to
MorendpSolo For one performer only. Soli; for allSordino A mute. Con sordino, with the muteSostenuto Sustained; prolonged.Sotto Below; under. Sotto voce, in a subdued
toneSpirito Spirit, con Spirito with spiritstaccato Detached; separateStentando Dragging or retarding the tempoStretto or stretta. .An increase of speed.Piu stretto fasterSubdominant . . . .The fourth tone in the diatonic scaleSyncopation .... Change of accent from a strong beat
\ O A. \tTAAiK OH
6
Tacet "Is silent" Signified that an instrumentor vocal part, so marked, is omittedduring the movement or number in question.
Tempo Movement,' rate of speed.Tempo primo . . .Return to the original tempo.Tenutojten.) . . . .Held for the full value.Thema or Theme . .The subject or melody.Tonic The key-note of any scale.Tranquilto Quietly.Tremolando, Tremolo A tremulous fluctation of tone.Trio A piece of music for three performers.Triplet A group of three notes to be performed
in the time of two of equal value in theregular rhythm.
Troppo Too; too much. Allegro^ ma non troppo,not too quickly.
Tutti All; all the instruments.Un A,one,an.Una corda On one string.Variatione The transformation of a melody by means
of harmonic, rhythmic and melodic changes„. , and embellishments.Veloct* Quick, rapid, swift.Vibrato A Wavering tone-effect, which should be
sparingly used.Vivace . , With vivacity; bright; spirited.%>"?• a k-i • yrc- -M^Ji Spirited, °volti Subtto V. S. . Turn over quickly.
*t Joseph
NIGUN (Improvisation) from "Baal Shem"(B2772) Ernest Bloch
GAVOTTA from the "Classical SymphonyIB2773) Serge Prokofieff ....
GRAVE (B2774) Giuseppe Tartini . . •
S 33
Carl FischerINC.
62 Cooper Square, New York 3
BOSTON • CHICAGO • DAUAS • IOS ANOEIES
I
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CELLISTSFIRST CONCERT ALBUM
A COLLECTION OF FIFTY-FIVE
TRANSCRIPTIONS OF
OLD and NEW MELODIES
FOR
CELLO and PIANO(CELLO IN BASS CLEF)
BY
ALVIN BUECHNER
PUBLISHED
TWO BOOKS
!
S
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Lithographed in U.S.A.
S 36
DATE DUE
DEMCO 38-297
FOR THE CELLISTMusic Educators Basic Method
by Nino Marcelli
Published in Two Volumes
BOOK I: Natural First Position, Lowered and Extended First
Position, Half-Position, Fourth Position.
BOOK II : Third Position to Seventh Position, including the Inter-
mediate Positions from the "Second-and-a-Half" to the "Sixth-and-
a-Half' Position.
170 Foundation StudiesProgressively Arranged for Violoncello
by Alvin Schroeder
Published in Three Volumes
Selected from the foremost instructive works of Buchler, Coss-mann, Dotzauer, Duport, Franchomme, Grutzmacher, Kummer,Lee, Merk, Piatti, Schroeder, and Servais.
Cellist's Solo Album24 Original and Arranged Compositions
(in Bass Clef)
for CELLO AND PIANO
Compiled by W. F, AmbrosioCONTENTS: Orientate, Cui—The Palms (Les Rameaux), Faure—An-dante Cantilena (A minor Concerto), Goltermann—Au Matin, Godard
—
Chanson d'Amour, Grieg—Solvejg's Song, Grieg—Largo, Handel—Ber-ceuse, Hauser—Berceuse, Jarnefelt—Intermezzo Sinfonico, Mascagni
—
Melodie, Massenet—On Wings of Song, Mendelssohn—The AutumnFlower, Popper—Slumber Song, Saenger—Death and the Girl, Schubert
—
Chant du Berger, Schulhoff—Traumerei (Reverie), Schumann—Romanza,Simonetti—Good-Bye, Tosti—Ye who have yearned alone, Tschaikowsky—Introduction and Song to the Evening Star, Wagner—Walther's PrizeSong, Wagner—Siegmund's Love Song, Wagner—The Shepherd Boy,Wilson.
SONATAS and CONCERTOSfor CELLO AND PIANO
Sonata in F Major, Op. 6 Richard Strauss
Ed. by Wm. Willeke
Concerto, No. 1 in D Minor Edouard Lalo
Ed. by Wm. Willeke
CARL FISCHER, Inc. . SttStt,NEWYORK
BostonChicago
S 1Lithographed in U.S.A.
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