. Chats to 'cello students. ound too harsh, or crabbed. CHATS TO cello STUDENTS. 6j CHAPTER XI. Arpeggios—Their Evolution from Various Chords —The Bowing of Arpeggios. Arpeggios. ARPEGGIOS are chords, the notes of which aresounded separately. A modified way of express-ing that chords are to be played in arpeggio, isby placing a curved line immediately preceding thechord, thus: Ex. 45. Written. Played. i xs^ ^5^^^ Key arpeggi are formed from the common chord, thatis the tonic, mediant and dominant; they may bepractised as running arpeggi in three octaves. Thesearpeggi are pubHshed for cello in
. Chats to 'cello students. ound too harsh, or crabbed. CHATS TO cello STUDENTS. 6j CHAPTER XI. Arpeggios—Their Evolution from Various Chords —The Bowing of Arpeggios. Arpeggios. ARPEGGIOS are chords, the notes of which aresounded separately. A modified way of express-ing that chords are to be played in arpeggio, isby placing a curved line immediately preceding thechord, thus: Ex. 45. Written. Played. i xs^ ^5^^^ Key arpeggi are formed from the common chord, thatis the tonic, mediant and dominant; they may bepractised as running arpeggi in three octaves. Thesearpeggi are pubHshed for cello in a very useful form,together with the major and minor scales, etc., by theSt. Cecilia Music Publishing Co. ; the arrangement isby Coward Klee. The notes of a chord which are to be played asarpeggios, are sometimes interspersed with notes foreignto the chord in the form of passing notes, and nearly F2 68 CHATS TO cello STUDENTS. always one or more notes of the chord are reiterated(Ex. 46). Ex. 46a. Ex. 46b. ?J—^R-T, ^. Ex. 46 will illustrate how arpeggios are usuallyevolved from a chord. First is shown the G majortriad ; 46a gives the three part chord played in arpeggiform ; 46^ has the mediant and the dominant repeated,and 46c introduces the C and the A+t, both notes beingforeign to the harmony, but used as passing otherwise difficult passages, are rendered quitesimple to the student, who only considers of what chordthe scattered notes form the harmony. In playing arpeggios the hints previously given in theremarks on the Left hand, Positions, Double-stops and Chords, concerning a correct management ofthe left hand fingers are applicable. The remainder ofthe present chapter will be chiefly devoted to themanagement of the bow, in several of the standardforms of arpeggio. Arpeggios (Bowing). The manner of bowing the various forms of arpeggio,offers difficulties of a peculiar nature to the student; thisis chiefly occasioned by the crossing and recrossing ofthe strin
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