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Alexanian Diran - Theoretical and practical treatise of the Violoncello |
Alexanian Diran - Theoretical and practical treatise of the Violoncello
Alexanian Diran - Theoretical and practical treatise of the Violoncello. You can download the PDF sheet music Alexanian Diran - Theoretical and practical treatise of the Violoncello on this page. Here is the preface by Pablo Casals:
What does Diran Alexanian an offer us in his theoretical and practical treatise? Firstly a "Dictionary" of our technique. Everything worthy of note will be found in it, accompanied by the most circumstantial analytical details, with the result that everyone, be he teacher or pupil, will find instructive elements, (and will find them to a great extent only here). It would be a mistake to neglect the perusal of that of which one believes to halve complete knowledge, for one rarely works one's way through difficulties otherwise than by a "straight line", with the result that many things are passed by. Here, however, the whole field is covered. In other words, the method employed could be compared to the ever-widening circles created by the dropping of a stone in a pond. The stone is the "basis" or starting point of instruction. If we examine an object of small dimensions we are able to look at it from all sides. Could we do the same with a more voluminous one? Evidently not, as our minds would follow "diverging lines" so that certain things, except by a miracle, would certainly be missed. Therefore the best method to follow in the study of technique is to trace a spiral, starting from a sound basis and ending at the extreme limit of physical possibilities.
When Alexanian submitted to me a well elaborated plan for the analysis of the theory of violoncello playing, based on principals that I myself accept, I recognized that I had before me d serious effort towards the casting off of the shackles of the superannuated prejudices with which the above mentioned works were replete.
I therefore decided to go through the work page by page. As a result of this examination I can declare that nowhere in it is there to be found a precept of which the application, sustained by artistic taste, would not contribute entirely and exclusively to the formation of a technique in conformity with my conceptions, that is to say, giving to each of its factors an elasticity of a high standard, capable of adapting itself to the subtle diversity of expression of the same instrumental formula, according to its various "musical situations".
I would therefore recommend to all those who play or who wish to play the violoncello to imbue themselves thoroughly with the contents of this treatise. It would indeed seem strange that a student of talent should not obtain the best results from the deep study of this work. I also venture to predict that this book will be of the greatest documentary value, being as it is the only work of its kind concerning our instrument, and that even experienced virtuosos will find in it food for instructive meditation.
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Book: 214 pages. 17291 K
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I confess that I do not know all the "Methods" published, up to now concerning our instrument. However, a great number of them have passed through my hands, strengthening each time my conviction that only routine and empiricism contributed to the production of such works. I cannot say how many times I have felt inclined to anathematize this "fear of novelty" this timid and deplorable "stagnation that would astonish a Duport were he to come to life again. One could imagine him exclaiming. "What! the violoncello is still at the same point! I had therefore reached the limit of technical possibilities!" One hearing of a serious artist would suffice to prove the contrary to him. The logical question would then present itself. Why does written instruction find itself in opposition to practical instruction? It is to be noted that all tendencies have their origin in the atmosphere of a certain period. As regards the "classical" Methods that I have seen I would say that they do not represent any period, in that their authors, without any further research, have contented themselves with noting down the out-of date "laws" purposely ignoring the innumerable technical formulas of our times, under the pretext of their being "exceptions" or the result of "individual license" If I attack this absence of pedagogic progress it is because of the personal conviction that certain "rules" considered at one time as indispensible for perfect execution, are not only useless, but might in our day be considered nefarious. Instrumental music has gone through an evolution that the violoncello "Methods" alone have refused to follow.
Book Contents:
Preface
The Violoncello
The way of holding the Violoncello
The way of holding the Bow
Preparation for the use of the Bow
Definition of certain terms, signs and technical abreviations
First long drawn tones
Change of string on change of bow
Preparation concerning the use of the left hand
Exercises to render the fingers supple
First disposition of the left hand
Jumping with the bow over one or two strings to another
The"Legato"
Change of strings on the same stroke of the bow
Exercises of percussion
Exercises for developing the strength of the fingers of the left hand
Exercises to develops the independence of the fingers
Second disposition of the left hand
Preparatory exercises for the mixed use of the first two dispositions
The changing of place of the left hand at the neck of the Violoncello
Exercises for "mixed" changing of place
Exercises for all kinds of change of place
Arpeggios with the augmented fifth
Diminished sevenths
Modifications of the disposition of the left hand
Third disposition of the left hand
Major scales
Minor melodic and harmonic scales
Chromatic scale
Whole-tone scales
Rapid alternations between two given strings, and then between 3 and 4 strings
Chords
Intensities, Qualities of tone, Accents
The Vibrato
Study of the Trill
The Pizzicato
The harmonics of the neck
"Artificial" harmonics
Mixed use of the natural and artificial harmonics
Anomalies (Harmonics}
The Study of double notes
Mixed exercises for the combined use of double strings of several kinds
Natural and artificial double harmonics
Exercises in double strings with one part trilled
Articulated trills
Vibrated trills
Articulated double-trills
Vibrated double-trills
Preparation for the use of the nut-thumb
Arpeggios with partial changes of place on a single degree
Study of combined changes of place
Exercise to acquire ease in the creeping movement of the thumb
Preparation for complete changes of place
Mixed use of the dispositions
Irregular exietrsions
The harmonica of the "thumb-position"
Single-string exercise
Artificial harmonics of the thumb position
Anomalies (Harmonics of the thumb position)
Scales and double-notes of the thumb position
Octaves
Thirds
Sixths
Tenths
Double-notes of the neck alternating with those of the thumb-position
The "spiccato" and the "salielhtio" or "sautille"
The "Gefiato" or "Flying Staccato" The "Staccato"
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