Professional Documents
Culture Documents
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MUSIC SELLERS
R
IN
COCK S
OR
Dl
&C f
NARY TO
HE
6,
!<
N EW
B U R
LI
MOST GRACIOU
QUEEN VICTORIA
I.
N G-TO N
S
STRE ET.
MAJESTY,
//.
LIST OF PATRONS
TO
SPOHR'S
R.
COCKS AND
CO.'S
EDITION OF
VIOLIN,
BISHOP.
the
Mr.
EARL OF WESTMORLAND,
at the
CIPRIANI POTTER.
Bird,
Hants.
Blackburn, Mr. Musicseller, Bradford.
Beale,
6 copies.
Peter's
St.
William,
Blow,
Esq.
College, Cambridge,
and Goodmanham Market, Weighton.
Binfield, Mr. William, Professor of Music, Cheltenham.
Bowman,Messrs. Booksellers, Richmond, Yorkshire.
Bloxsome, Charles, Esq. 31 A, Park Street, Grosvenor Square.
Blackman, Mr. W. Musicseller, 5, Bridge Street,
3 copies.
Southwark.
Messrs.
Oxford
and
Street.
Balls
Son,
Boosey and Co. Messrs. 28, Holies Street, Cavendish
2 copies.
Square.
Mr.
Bristol.
Abraham,
Baker,
Betts,
Court of Prussia.
6 copies.
HAMILTON,
A.M.
Wight.
Mr. J. Professor of Music, 95, Upper North-
Gillins,
Glasgow.
Hale, Mr. Charles, Cheltenham.
Harris, Mr. William, 76, Parrock Street, Gravesend.
Home, Mr.
Musicseller, Newcastle.
LIST OF PATRONS.
Henshaw, Mr. Organist, Durham Cathedral.
Hill, Mr. Joseph, Stockton.
Holland, Mr. Professor of Music, Atherstone,
Gower Street,
Haydon, Mr. T. No. 3, Upper
North, London University.
Hartung, Mr. Musicseller, Jersey.
Bristol.
Hodges, Brothers, Messrs. Musicsellers,
S.
Harconrt, G.
Esq. Ankenvycke House, Bucks.
W.
C. Pen/ance.
Mr.
Hemmings,
Hime and Son, Messrs, Musicsellers, Liverpool
6 copies.
Macfadyen,
Street,
Buchanan
6 copies.
Islington.
George
Bryanstone Square.
Metzler and Co. Messrs. Great
Marlborough Street,
London.
(j
copies
Mori, Lavenu, and Co. Messrs. New Bond Street,
2 copies.
Novello, Mr. J. A. Dean Street.
Noverre, F. Esq. Norwich.
Sommers
Street,
gate.
Osmond G. Ramsgate.
Mr.
J. O. Musicseller,
Palmer,
Liverpool.
Mr.
Musicseller, Wakefield.
Phillips,
Phillips. Mr. Musicseller, Wincanton.
Povey, Mr. Halesworth, Suffolk.
Pashley, Mr. C. Music Master* Eye.
Page, Mr. Musicseller, Lewes.
Paine, Mr. 92, High Street, Mary-le-bone.
Phipps, Mr.
Oxford
Kent
Terrace, Bayswater.
Oliver, Mr. Band Master.
Staton,
Miall,
Oldfield, C. F. Esq.
Musicsellers, Edinburgh.
G. Musicseller, Liverpool,
Watson, Mr. Joseph, Professor of Music, Norton
Terrace, Malton, Yorkshire.
Waite, Mr. H. Cheltenham.
Wheatley, Mr. Brompton
Wornum, Major, Merion Villa, Leamington.
Woodward, Mr. Musicseller, Cheltenham.
Wroe, Mr. Manchester.
6 copies.
Woods, Mr. Alexander, Solicitor, Yarmouth.
Willy, Mr. J. T. Aldenham Terrace, St. Pancras
Weiss, Mr.
W.
TABLE
Preface addressed
Author's
Preface
Translator's
to
OF CONTEXTS.
_
_
_
_
__
Introduction
On
U. On
HI. On
.....
I.
On
V.
VI.
I.
II.
.......................
......
............................................... ________
PART
._
the difference in
10
II.
11
'.
13
14
17
25
27
35
V<2
'.
'
PAR T
On Delivery
I.
On Delivery
II.
IV.
On
On
On
V.
On Orchestral
III.
III
58
76
.
112
126
142
or Style of Performance.
or Style in General
the Delivery or Style of performing Concertos
the manner of studying new Concerto compositions
the Delivery or Style of performing Quartetts
Conclusion
the construction
IV.
VII.
SECTION
_.,...
PA RT
SjitT/OJV I.
...
181
18<i
231
234
233
235
>
*S'*V"C* -"-'-
'
here present to the musical world, is less adapted for self -inIt begins with the first rudiments of music, and
struction, than as a guide for teachers.
to
the
refinement
in Violin playing, so far as this can be taught
highest
by degrees proceeds
in a book.
In order to render the first, dry elementary lessons, more agreeable to the pupil, the
The
Yioliii
School which
practical part of Violin playing has at once been united with them, instead of being sepa
rated as in other .works. Hence, according to this method, the Violin can be placed in the
hands of the pupil from the very first.
To parents purposing to have their son instructed according to this School,! may here
be permitted to make the following remarks:
The Violin is BO difficult an instrument, that, in reality, it is only fit for thoso who, from
v
the possession of superior talent and a great inclination for music, as well as from being favorably situated for cultivating it> *eem destined by nature to follow the art. To the Amateur,
;
even
if
endowed with
talent,
it
in
the
Orchestra.
parents' first care should be; to. provide their son with a good teacher, whether he
chooses the Violin as the instrument of his future profession ox otherwise. For, from the
complicate mechanism of Violin playing and the great difficulty in acquiring a pure into-
The
nation, it is of the utmost importance that on this instrument, more than on any other, the
first instructions be imparted in an able and conscientious manner; as faults and bad ha-
once contracted, if not entirely beyond remedy at a future period, can at least
be
corrected only by .extreme perseverence and with much loss of time. Hence, it is to the
advantage of the parents themselves, to place their son only under such a teacher Atho they
have reason to believe will strictly adhere to the directions contained in this School, as
bits
well as attend to
As
it is
commencement
of instruction, to ascer-
whether a
boy possesses talent for music or not, it will be well for the parents to let
their son begin learning, as soon as he evinces a decided inclination for music in general,
and for tht Violin in particular. After some months, the teacher will then be able to determine with certainty, whether his pupil is talented, and more especially whether he possesses
tain
Violin playing
5O77
II
the joints,
tht-n
being
tlie
fingers and
arins
in
after-
life.
I
il
nless the pupil be too diminutive in stature, an ordinary sized Violin should be given him. But
he finds that inconvenient to hold, then it is certainly better for him to begin on a smaller
one. It vili, however, be very advantageous to him, if he can at once commence oit a good, old
instrument, as the acquirement of a fine tone and a perfect mechanism, is thereby greatly fa-
the purchase of such should be made either under the inspection of the teacher,
or with the advice of a competent judge, as so much deception is practised in the fiddle trade.
But
cilitated.
and circumstances permit, the pupil should receive one hours instruction daily, for the
first few months. The correct position of the body and of the instrument, the management of
If time
mechanism of playing, is
much the more needful,
not be entirely
As
so difficult to
rectified.
ol
his
exer-
sometimes attending during the hours of instruction, and, _ by way of encouragement and as a reward for his diligence,_by taking him to Concerts and .other places, where
he may have the opportunity of hearing good music. If the parents themselves are musical, it
tions; as, by
*ill
also be a
to
ac-
to his
ability.
cording
On the use of this School, which I trust
will
will
merely select
from
much as is necessary to give the pupil an idea of the instrument and its
mechanical details, and to render him familiar with the names of the separate
parts of the
Violin and the bow. The rest,
concerning the structure, the arrangement, and the stringing of
the Violin &c, may be deferred until a future
period.
Still, the teacher must not neglect to
return, to it and, as early as possible,
the
pupil to string his instrument himself, as
oblige
well as to keep it in order in the manner described in the 5*** Section.
the
first
Part, as
4*!' Section, in
which the
for a perfect intonation should be laid. The teacher will also save
himself
much
ouhl. hereafter, if, in the
first
pupils
attempts,he rigorously insist on perfect purity of intonation.'
The like strictness is required in the 6th
Section, with reference to time- and
I'.unilatioii
to,,,per.,,,,*,,t.*'>
slll
Ill
bar.
in
of the same class, will often be found one more difficult than the rest.
Should the teacher consider the pupils execution insufficient for the performance of this, it
Among exercises
may be deferred
until
the
ercises
The
are
When
following Method.
All other points relating to the mode of instruction, and which the Author considered deserving of" attention, the teacher will find explained in the School itself; partly in the text,
and partly in the remarks appended thereto.
conclusion, the Author hopes that experienced teachers, after having used this School
for some time, will favor him with their instructive hints, as to the suitableness or otherwise
In
of his
Method of
assist
him
the
in
been engaged
in
elementary
CASSEL
March
LOUIS
1832.
SPOHH.
dei n music. It is also the only one -with which the pupil has need to become acquainted. Hence, throughout this
School, as little allusion is made to an unequal temperament, as to the distinction between major and minor semitunes; by either of >*hich,the doctrine of the uniform magnitude of all the 12 semitones,woiild only be rendered confused.
.
(ll )
tin-
AITHOK.
This, being- the case, I have preferred rendering- the German word "rein"by TRIK or CORRECT, as best suited
context: perfect intonation, in an absolute sense, having- no existence.
TH:
607T
In bringing before the musical public this new edition of Spohr's VioL'n
School, I beg to observe that every endeavour has been made to give a faithful rendering of the
original. In
work, however, of such magnitude, a strictly literal translation can hapdly be expected
throughout, nor indeed would such always have been comprehensible. Nevertheless, I trust
it will be
found that I have followed the German as closely as possible, and that in the
a
few instances
author's-
which
in
have been
meaning
parts of the
Wherever
have
I
that, in
gin al
this
differed
have
respect,
think
may
lay
claim
to
greater accuracy
itself.
JOHJV
CHELTENHAM
January 184-3.
BISHOP.
INTRODUCTION.
^^^^^^^^^^^^^^^^^^
.
Among
all
Its
tainable on
emotions of
the-
heart,
but principally in
wherein, of all instruments,
its,
it
voice.
V'The
it
Violin,
is
true,
is
massnc
still it retains the same simple form which it had 3OO years ago,
other instruments then known, or since invented, have received innumerable im-
orchestral compositions;
and, notwithstanding
all
provements,
even now, acknowledged the most perfect instrument for solo- playing.
This
it
is,,
mechanism of
Un, since
it
is
its
advantages, can be
fully
displaced.
Success, therefore, can then only attend the Amateur who devotes himself to'the practice of this
instrument, when, to the requisite natural endowments, he unites also an tihwearied assiduity.
These qualifications, the young Artist, who chooses the Violin as his principal instrument,
must of course possess in a still higher degree, or he can never expect to soar up to the talented performers of the present day, whom, if desirous of distinguishing himself, he must yet
even strive to surpass.
Hut, in this endeavour, the true artistical polish (wanting alas! in so many Virtuosi) must
on no account- be neglected, particularly by him who devotes himself wholly to music; for
an undue labouring after the mere brilliant is the more reprehensible, as the Violin, beside
this,
.mi!
and
pathetic, expression.
the cultivation, therefore, of mechanical derterity; that of taste, and
refinement of feeling, must alw;ivs he emrally united.
\> ith
the
awak
THK
t'O.VS'f Rl
Cl/OJV JtJVD
P^RTS OK THK
he \iolm
I.
an instrument of *ood,
is
sound-hoard or
of the arched
parts.-, (see
Plate
1.
Kig l)
:
ornamentally inlaid round the edges, and connected tog-ether by side pieces called ribs (b):
and 2. the Neck, to which is fastened the finger-board (c), and the mil (d). At the upper end
h,,th
the neck
ol
is
the
serted.
are
in-
at
info
for drawing np
the strings
in
\hich the strings are attached; and these again rest upon the bridge (i).
are t*o apertures in the belly for the emission of sound, called, from their
to
Near
shape,
(Ji),
this
holes.**
In the interior of the Violin, for the support of the bridge, and under the rig-ht
foot of the
the
order
In
varnish
On
the
been
has
lower
<-'a
fully
few
my own
damp
with
its
words
in
utility;
this
tail -piece,
upwards of 10
proved
The modern
it
against
part of the
contrivance of
<i>ed for
say a
seen
is
fingerboard, nut
may perhaps be
permitted to
place.
playing,
head,
in
is
least, by
the
additional
advantage.
that
by the
pressure of the chin on the belly or the tail - piece, to obstruct the vibration of these
thereby injure both the quality and volume of tone. By it also,greater freedom
regularity in boding are obtained, the Violin
being held exactly in the middle above the
and
piece,
somevhat farther from the face.
parts, and
=",.!
t
.il-
The
<
.11.
annexed
rt
,1-.,,
MM
description
H n,,.
is
given for
'
Th<
.!!-
UKrwlaC
f\lll('ll
HOPtlD
MOI.HS.
T,,:
PLATE
.
1.
I.
3.
Kg.IV.
.V
ly
nient
it,
to
their
own
insti.i.
II,
l,t,n,
The
fiddle-holder
is
made of ebony,
the form
in
in
represented
the drawing
Fig
It is
in
peg in a groove made to receive it (b). The knot fc/ is tied above the tail- piece, but in
such a manner as not to touch the fiddle -holder. For the little nut on which the string of
this
the tail-piece
rests,
as for the
as veil
fa)'
of the
Billftt
the opening
fit
groove
is
made (d) , by
peg
edge
in-
very exactly,
order that
it
'"
."
">
SECTION
THE
By
the
arrangement
'
II.
ARRA^GKJIKSCT OF THE
of the -Violin
is
the con-
The former
is
as
com
in-
troduced.
The neck
of the Violin
must be
the thickness
sition of the
The
bridge
degree as
it
di-
rise, in the
this
inconvenience the
performer
hand.
is
rounded as
in the
annexed
figure, sloping
side
in the
same
On
putting a wedge
in
much
the finger-board of
is
my
shaped a
Violin,
little flatter,
below the
the
It affords the
advantat'
hr-re
i
broad
represented, which
prevents that disagreeable .ia.-ring so frequently heard under a strong pressure of the boW; whilst the D string, with shorter vibrations, lies so near
\:<>r
Illl
further inf.u m iti.,n on th- siili.jf-rt of this Scrtion.tnc- roudcr Is rt-fi-rrfH t> OTTO's THKUIM1M PKKSKKV4TION OK THK VlOI.IN .Mi AM. HOW
\s ,<l
NTS, published by Most,':" C'OCK S \ ('.
I
>l I-
\ TIIK *
inic -
liim't T-
tin-
cat*
.*
hoard, that
can easily be
it
pressed
down, and
in
stroke of the
bow
will
d<
li
tin-
jar.
arranged for the coincidence of playing according to the foregoing directions, the bridge and sound-post must be so adjusted as to give it the best possible tone. The necessary experiments for this purpose, each Violinist must learn to make himself,
been
it
manufacturer, who,
to the
in
in
facility
with a
Violin
tion.
This
latter,
however,
is
tu-st^determined by experiment.
The
edge being
which
it
produces the
of the
must be made
made
is
situated hi a line
construc-
flat
as
of the
belly
to that breadth,--
all how.
them one after an -
harder;
holes.
quickly
as possible, that
the
ear
judge with accuracy of the difference produced in the tone. To obviate, therefore, the necessity of letting down the strings each time, another equally high bridge is placed half an inch
before the one intended to be exchanged, thereby lessening the pressure of the strings on the
may
be removed, and the new bridge made to occupy its place. It is requisite, however, when removing the bridge, to raise it up with some force, that the sharp edges
of the feet may .not injure the varnish on the belly.
Before any experiments can be made with the bridges, the sound-post must be fixed, for which
purpose the strings, tail-piece, and fiddle-holder, must be taken down. A sound-pnst-setter (see
Plate
Fig.-HI i&s) is then used, the point of which (a) is forced into the sound-post half aa
inch from the end intended to stand uppermost. In this manner it is
passed through the right
hole into the Violin, where the lower end is first
on the back, and afterwards,
1.
pressed firmly
by drawing out the tetter, the upper end forces itself against the belly.
The setter is now reversed, and the sound-post drawn forwards with the hook (b) , or pushed back
with the opposite semi-eircle (e), both above and
below, until it stands in the proper place. -Thi*
generally, close behind the right foot of the bridge, so that its
back part of the latter.
is,
fore-edge may be
in
line
with the
The sound
fit
post
must stand
perfectly
with a fine
file until
they
with the
fc
it
the-
with
e-nd
* H..,,r,.
lt
h.jok
KK.HTS,
(o,
th,
.lt),, ( ,, Hh thebrides arc- *U to be of the S ,mo .RKAI.TH, ,,y lnll!>t nevertheless be made of
purpose of .,sr -f-rtiini.^ th.,t wh.rh ,s most s ,,,t ,ble lor the instron.ent
T
.
when
U may not
moveil,
and see
correct.*
it is
if
If so, the
lower end of
sound
the
easily
post must then be moved, and brought into the requisite upright position; which Is
at
the
end
of
and
the
the
the
hole
Violin.
aperture
done, by looking alternately through
The sound-post must neither be so -long as to raise up the belly, nor so short as to fall down
'
or even be displaced, by the breaking of a string, or any other concussion. When the strings
are off, it should but slightly adhere, and admit of being moved easily backwards and forwards.
it
Moreover,
must be so placed-
may be cross-
ed by the grain of that forming the belly, to prevent it from pressing into the latter.
Whether the sound-post should be large or small, of vide or close grained wood, can only be
experiment. In general, a Violin with a thick belly, will bear a thicker sound- post
than one which is weak in wood.
fdrcided by
It,
it
either
does
not
but should the lower strings, on the contrary, be harsh, and the upper ones feeble,
hole.
bring it towards the
bar:
then
In making these experiments in the direction towards the j" holes, the sound-post must not
be moved too far from its original position,- otherwise, from the inequality in the height of the
belly, it will either
Should
very
favourable
from
that
first
to the tonej again take down the strings, and examine,through the
end
of the instrument, whether its length is suitable for the new
aperture
If not, it must
situation, and also, whether it adheres closely both above and below.
either be altered, or else a new one made.
ticularly
at
the
As the sound-post
fit
ger
contains
with-
the
the
jeasily
requisite
turns
round
in
being moved,
in
which
to
case,
keep the
*ide which
in
Lastly; _
becomes
too
many experiments
fatigued, and
is
then
should
not
insensible
to
be made
the
at
delicate
a time,
changes
as
the
soon
ear
effected
in
the
Or,
it the
in
other words, -see whether the distance of the back of the riirht foot of the bridge from th<' v<l<v
hole, corresponds with the distance of the upper end of the sound-post from the bjine pl.'r.
!
>
'
>
THK
Ihe \iolin
T'/o/./.v.
is
platcd-coppcr
solid
in-
wire.
silver
The
ther corrode
We
nei-
selecting for it a gilt string which is gloson duly stretching the same before it is covered; and thirdly,
sy, knotless, and true; secondly,
on its being covered *itli the greatest equality, neither too tight, nor too slack. If covered too
tiuht.it sounds with difficulty, and continues rough in tone, even after much use; and if too slack,
of a co\ered siring depends;- first,
The goodness
the wire,
oji
up,
jarring
sound.
made
the note C,
and keep
them
at
this
pitch
for
they may
be suffi-
stretched.
ciently
The
size of the four strings as required by the instrument, as also the proportion
of their"*
size
is
using smaller strings, those of a middling size should be preferred, for with
them , greater taste and elegance can be added to the performance
The relative proportion in the size of the strings must be such, as to give each an equal degree of power and fulness of tone. An inequality in the tone, which could not be remedied by
not impaired by
is
the
vidual
power of indi-
strings.
reverse,
is
it
therefore, only such strings, whose size is adapted to the instrument on wliich you practise; and
in
choosing them, do not depend on the eye,_ which is easily deceived, and consequent!} affords
no. sure guide for
keeping to a uniform stringing, but make use of a guage, which consists f a
metal plate of silver or brass, having a graduated slit,
(see Plate I. Fi>: IV). By pushing
the string into this slit, with a moderate
pressure, the place where it stops will point out its
si/e. The guage should be marked with letters for all four
strings, (as seen in the Fig:) which
Hill
mistake.
'
,
In
purchasing strings, their quality must also be attended to; for though 'Italian ones
are
to
those
preferable
of, every other country, particularly for soloplaying, they nevertheless differ in excellence; the
Neapolitan being, in general, superior to the Roman, and the latter to those
Padua
and Milan.
Good strings are white, transparent, and glossy; but if the gloss has been
produced by furbishing them with pumice stone, they will always be false, and shrill in smmd.To
of
i,
.,,,!<
,,t
the
l,,.,t
..C
P.U,..
Ill-
will
.K|iljin
!>>
th<-
E string JK-
hi-ti-
rjllocl
MKTH-.
T>
l>nt
by many Violinists;
for
4>
thread tilths
are
th
it
use.
it
is
spoil, when long kept, (and the small ones soonest become injured.)
as
as
be
in
4
or
5
of
them
months.
rotten'
required
purchase
may
Old,
many
better only to
strings are easily
known by
up a string, observe that that portion of it which, .extends from the bridge to
first, true in itself,- and secondly, true in fifths witn the other strings.
In drawing
nut
is
when
the
is
true,
its
vibrations
lengths, not one of them may prove true, and then it would all be spoiled.
Having found a piece of string wWch is glossy, knotless, and of a uniform and proper size; try,
nevertheless, before drawing it up, whether its vibrations are regular. This is done, by taking
the string between the thumb and fore-finger of both hands, at those points where it rests on
the bridge and the nut; straining it moderately tight* and putting it into vibration with
the
of
the
a
to
similar figure
the folloning, is formed
fourth finger
from
right hand. If, then,
its
vibrations; the
But
if
is,
alter, as it would be
a waste of time
to
Two
adjoining strings are true in fifths, if they produce that interval perfect, in every poNow a string may he true in itsition, when pressed down together with the same finger.
self, and also with others, and yet be false in fifths. This is explained as follows: Nearly all
strings, (and consequently the majority of single lengths), are somewhat thinner at one end than
other.
If this
decrease
in size
Two
of these strings, therefore, drawn up with their thin ends in opposite directions,
wjll,
though true in themselves, be yet always false in fifths. Consequently, if four strings cannot be
found of perfectly equal size at both ends, all the thin ends must be drawn up in the same diend.
It is best
rection, by which means the fifths will all be 'perfect.
to the bowing place, as the strings then sound the more easily.
Q,V TUK
DlkTXRKWK
/JV
to
carry these
thin
pnd
THE
VALUE OF
H\ery new Violin, even of the oldest wood, has, at first, a rough, unpleasant tone, and arrives
only, at one of a fine quality, after having been used a number of years. Old instruments, therefore, vhifh
have been brought to perfection by constant use, are the only ones adapted for soloare
playing. Of these, (and. indeed, of all which have yet been manufactured,) the most e'steemcd.
those ot the thr>e Cremona makers, ANTONIO STRADIVARIO. ..IIS.'PPK (it'ARNKRlo. and Niro I o
The
and the beginning of the IS ! century.
\iolins of these makers unite in themselves, especially if *ell preserved , all the advantages of a
and
tones of eaeh string
good instriiineiit viz: a htrong, full, and rieh tone:pcrfeet equality in the
in form,
a free emission of e\ery sound, from the lowest t> the highest. They differ, however,
AMAH,
*ho flourished
in
17*]',
and
in
These excellent instruments are dispersed throughout Europe, but, heing mostly in the hands
of rich amateurs, are scarce and dear; and, as they yearly become still more so, a young beone. He must therefore conginner Mill \ery seldom meet *ith an opportunity of purchasing
tent himself *ith an instrument by a less eminent maker, the most distinguished of which are:
first
tlje
first
five,
mentioned.
present itself) may not be lost through ignorance; endeavour, as much as possible, to become
acquainted with the Violins of the celebrated makers. Seek anxiously to examine them, and carefully observe their peculiarities of structure, as displayed in the shape and height of the body,
ly
have
been made
only
be
of
which
misled, by any deceptive appearance
you
age
they may
to assume. Moreover, in really old instruments, you will easily discover, whe-
nor
will
ther they are still perfect, or have already been partly renovated.
Under the idea of improving their tone, many of the old Violins were
or 50
t<0
belly. These scraped instruments may be instantly distinguished, as they produce, especially on the lower strings, a hollov*
kind of tone, which can only be heard at a short distance:
they also become duller and less sa-
it
nevertheless loses
all
well
bed above.
Attempts have indeed been made of late, to restore such scraped instruments, by glen ing
on a lining of old wood, but without success.
They then give out their sound less freely, and the tone
becomes
SECTION.
W.
should be taken of
it
i^in.il,j
greatest
the
llu-.e instruments
,,,
jy be hud of
M,
,s'?
foes
C'.'
*.
TK:
kept, must be lined with some soft material, well locked, and pirt in a <1rj
place, not too near the fire. In addition to this, the Violin must ha\e a silk covering, to guard it
still further from the effects of air. Never let .^t remain out of the case after use; nor suffer it
I
ho case in which
it
is
best to wipe the Violin, each time after playing, with a soft dry cloth, to prevent the accumulation of rosin and other dirt, particularly on the belly; as this not only disfigures 'the instriimcn't, but also obstructs the vibration and attracts humidity. It need scarcely be remarked, that
It is
the,'strings
reside in the same town, let such repairs be done, as often as possible, under your own inspection.
The greatest care has already been recommended, in making experiments with the bridge and
sound-post. This
is
still
more especially
above
which,
considerably
SECTION
VI.
OF THE BOH\
The Bow
(se-e
Plate
I.
Fig:V.)
consists of the stick (a), the nut (b), and the screw
(c)
with
is
regulated.
fastened, at the upper end, in the projecting part of the stick called the head (e);
and at the lower end, in the nut. The stick is made of Brazil wood, and covered at the lower
The
hair
partMith
is
silk,
firmly.
The nut
is
formed
either ofebonyor
the structure of the bow, on the contrary, has been carried to such a degree of perfection, that, in
its
Euro-
the
pean celebrity. Their superiority consists,_first, in the trifling weight with sufficient elasticityof
the hair is
stick; secondly, in a beautiful and uniform 'bending, by which the nearest approach to
in the exexactly in the middle between the, head and the nut; (see Plate 3. Fig.-III.) and thirdly,
is
are destitute of the above mentioned advantages of TOURTE'S, because the manufacturers-are mi,
of one of these be
acquainted with the true principles of making them- If , therefore, the purchase
decided. on,
one,,
rit
The
tail hair of
*. Since
this
in
must be
an
nu--
particularly at_
be considered preferable
Me***- COCKS A C".', from hmnthes<
mj APPKMHX t> HAMILTON'S CATKCHIS* KOR THK VIOLIN published by
at the s-aine
K
price.
li.,s can be- procured, -price 3<> ? each: also, steel .bows; (invented by M.Vll I.I.Al
TR:
i,,,w
e,
to
t,,
>l
fin:-
*lnn renewing the same.) it being stronger, whiter, and less greasy than
tine and split hairs must also be- carefully excluded.
trmlril
All
tliat of
A good bow
contains from
100
to
110
hairs,
Fur kolo-pla) ing, the bow should not he screwed up too much, but only
so tight, that,
marcs
equally
strings
a ncw.
weeks.
when
placed on the strings, the middle of the stick may, with a moderate pressure, be brought to touch
the hair. If the stick possesses the requisite elasticity, the bow when thus regulated, > ill appear
as in
For orchestral
playing, a
is
required.
is
little,
S E CTION
OF
brown colour and transparent; but there is also some of a good
which
is
quality [jR*t*Umj
yellow and opaque. In a purified state, it may be purchased in little
boxes at any of the music shops. In applying it, the bow is taken in the right hand, and the rosin
in the left, and the whole length of the hair drawn across it 8 or 10 times, backwards and for('nod
rosin
is
usually of a light
powdered rosin.
soft
to the
it
stick,
cloth.
.077
off with
II
SEC T IQ<W
OF THE
Before the Violin can be put
signs by which the acuteness,
.Vorj?s,
into' the
it
is
These are
in this
order as ma-
determined by the
place
and their four intermediate spaces, both of which are reckoned upwards.
In order that
presented on this
same.
the
viz
the
the
I.'
Spuoes.
stave, different
The young
Violin
.:
Violinist,
clefs
clef:
or
it
line
is
Mtn.itfl *jth
the
name
of
(i,
tlu-
lor
circular part, or
which reason
it
dot, on the
tin-
is
second line,
anil
clef.
V*
gives to the
hen
,ilaced
nott
therefore
are called:
1
those in
F.
and
the,
B.
CJ.
::.
the
lour spares:
A.
F.
i).
C.
K.
regularly
from
grave to
acute:
li
at
PLATE
ENGRAVED
FOR R .COCK S
AC? ''EDITION
OF
SPOHRS
2.
PLATE 5
ENGRAVED FOR
.7
CO C K
S &.
C'' E
Dl T
POSITION
IN
AA'D
PLATE
2.)
placed with the lower edge of the back on the left collar-bone, and held firm by the
of the chin, on the fiddle-holder * The left shoulder is a little advanced for the sup-
The Violin
is
port of the under part of the Violin, thereby giving it an inclination towards the right side, at
an angle of 25 or 30 degrees, (see 'Plate
^3 Fig: I.)
The neck rests between the thumb and fore -finger of the left hand, and is held lightly above
the first joint of the former, and at the third joint of the latter, but sufficiently firm to prevent it from sinking down to the bottom of the hollow between the thumb and finger: ('see the
II. Plate 3.)
The part of the hand below, the little^ finger, is brought as near, to the finger-board
as
possible, in order that this shorter finger, as well as the others, may fall on the strings in
-
The
a bent position.
The
The bow
is
held with
fingers of the right hand. f see Plate 3. Fig: III. & IV. and the
The thumb is bent, and its point placed against the stick of the bow,
all five
close to the nut, and opposite the second finger, which, with
V
*
stick, so that
it
joint of
thje
"
each.
The other two fingers are placed loosely on the stick, and the points of the four
fingers
drawn close together. An elegant, curved position is given to the hand, in which none of
*'
the knuckles
project forward.
of the
bow
is
&i
IV.)
(see Plate 3. Fig: II
now placed with the hair on the strings, at the
distance of
from the bridge, the stick being inclined a little towards the finger-board.
wrist must be held, high, but the elbow low, and as near to the body as possible.
an inch
The
left
performer should be dignified and easy, and the face turned towards
such a manner, that the eye may fall on the music over the bridge and the
position
the desk in
of the
If thjD .pupil
The
2.)
does not use the fiddle^liQlder.he must place his chin partly on the belly on the left side of the tail-piece,
tail-
piece itself.
the in/tes on the upper part of the stave must necessarily be more acute than those on the lower part, and VICE VKKSA.
Still,
however, no positive- degree either of gravity or acuteness is 'assigned them until a .clef is attached to the stave, whirh not only ap.
plies the letters A. B.C. Ac. to the notes, but also fixes their pitch, as in the Case of the clef mentioned in this Section
Lastly, the different clvfs adverted to by the Author were invented to suit the compass of the several kind* of voices,
B.u>s,&c. so that the notes luiifht be kept.as much as. uos&iblf, within the limit* of the stavr.
^.
Th:
SO 7 7
as
JCT/OJV*' n:.
O.v
rf: J/OT/OA- OK
r/-//-:
KIGHT
the pupil has learned to hold the Violin and Bov, in the manner described in the former
si-ction, and exemplified by the Figures in Plates 2 & 3, he may then commence drawing the
When
bow slowly backwards and forwards, from the upper third part of its length to the point.
these short strokes the back-arm remains perfectly still, and only the fore-arm is moved
and fro
The
regular bowing
In
to
alwa}s
That
the
a
with
the
and
at
with
the
bow
the
right
angle
strings.
bridge,
parallel
keep
that
bow
is
the
move
backwards
hand may be able to preserve it in this direction, it
necessary
in.
is,
to
and forwards between the thumb and second finger. In a down -bow, therefore, the stick gracontinues to
dually approaches the middle joint of the fore finger, whilst the little finger
retire from
it;
but
in
an up-bow,
it
falls
of the fore
first
-.
joint
some_
The
are:
D.
''/
A.
E.
must endeavour, from the commencement, to produce a clear and fine tone. The first
requisite, as before observed, is straight bowing. But it is also necessary to ascertain how
light or how heavy the pressure of the bow on each of the four strings must be, in proportion to the rapidity of bowing, in order that they may sound easily and clearly,- and how near
pupil
hair
may
With regard to the former, the rapidity o.f bowing must increase in proportion as the
pressure of the bow on the strings becomes greater; and, as a thick string is more difficult to
be, put into vibration than a thin one, the bow must not approach so near the bridge on
the lowe^: strings as on the upper ones. If, however, "the want of a fine tone be felt, the
1
pupil
will
than by
this or that
The bow
French
be better guided by
his ear as to
necessary
to
produce
it,
theory.
'I he
first note of the following Exercise is played with a
is
do^wf-bow, after which, the bow
moved up and down alternately to the conclusion.
The bow-strokes must be all of equal length, and the notes of equal duration. At those notes,
however, over which the pause (/^) is placed, the bow is drawn slower, that their duration may
reckoned from acute to grave, so that the t string is considered the first:
T R:
G, or covered string, the fourth.
The teacher nukes the pupil stand at his left
side.that he may be the better able to inspect his bowing, uhich, together
ith the. manner of
holding the Violin and Bow, and the position of the body,mustbe in strict accordance with the foregoingdirections.
t.in the
077
potissc.
4Cj|
1151
..,,._
from a lower t
has to be overcome,^, that of leaping
done by
the intermediate ones. This is
11U per st,i,,g, *.tlumt sounding
not be H ted up from
so, that the bow may
at the instant the bow chants place, yet
in a s.nnlar manner, by
from an upper to a lower string is accomplished
,a the next Exercise a
strings.
quickly
The
new
difficulty
!^jEf
leaping
tire'.
JVP3.
frr
|0
/r
When
tlic
make
When
strings.
the nut (in a constantly parallel position of the bow with the
bridge) has reachdown-bow is made in an opposite manner; that is to say, the elbow gradually
former situation, and there remains tranquil whilst the latter third
drawn down.
returns to
bow
is
its
part of the
and
se-
even more applicable in these long strokes than in the short ones. As the nut there.
fore approaches the strings, the little finger is extended more and more over the stick; but when
cond finger,
is
bow is drawn down to the point, it resumes, by degrees, its original position.*
For practising these whole bowings, the pupil must now repeat the 3 former Exercises, un_
til he succeeds in producing a. good tone with them.
The remarks already made on the equal duration of the notes, and on the pauses, must also be
the
attended to in these repetitions, only that the Exercises are now played slower than before,
account of the long strokes.
The
pupil
to the following
prejudice to
movements, to direct
its
011
command
SECTION.
O./V
FIJVGERS
OF THE
HAND.
LEFT
It has
already been observed, that the part of the hand below the little finger must be brought
as near to the finger-board as possible; and also, that the ball of the hand, and the wrist, must
this having
is
tips,
little, and
(1
"
E.
string,
Jj;
i_
_JL
C. A.
F.
able to find the right places on the finger- b,oard for the three
informed, that the distances between the seven notes with which he
now
to be
played on the
half as
string.^j
*T
E and
may be
he must be previously
Of the
the three
great
jj
E.
F.
F,
very near each other, but the following are as far again apart.
fore be stopped very near the nut, the G twice as far from F, and the A
lie
as the
A.~
The F must
G.
at
there,
a similar dis-
tance from G.
be necessary for the teacher to guide the pupils arm in his first attempts at whole bowing, and also to
Cure that the strokes .'re made straight, and that the elbow is not moved too far from the body.
It will
tjkc
**
(s.-t-
Mil
of
this
Part.)
TR:
4
f*
T 7
TONK8, or himply
TONKH.
AM,,.,,
tin-
notes correctly
tune, he
in
must
play the
following Exercise
stop thrse
accompanied by the teacher. In
over them, must always he
ear,
can
thj*
the whole
**'*'
^ n
.V4.
'.
u'
a
8/A ~er
^.
'
^-^
O ^
/\
On
the
falls
between
*/
ger, therefore,
is
placed at
and C.
A.
B.
C.
The
first
first;
and
fin
J>.
the
from the second. When the pupil has learned to stop these notes,
the succeeding Exercise must be played. Here, the first four notes are ^slurred together in
one long bow;'but, for the two next, only a third part of the bow is employed, and so on;_
the groups of four notes, being taken with whole bows, and those of two, or single notes,
third, again at a distance
steady
tire,
back -arm.
<o
W.B.
s.St.
s.&t.
pousse.
-_
-W.B.
S.St.
W.B.
S077
20
to attend to the different posi
both strings, the pupil has chief
(ions of the first finder, which, as he already knows, is placet! on the K string very near the nut,
other
these different positions follow each
but on the A string at a distance from it. At
In
I,)
Mirecssnely.
,V."
ft.
tire'.
r-^-j
To prevent
to
been
kept
on the
J.t-arn,
unemployed; but
must
it
fingers,
accumulation of too
tJie
at
liculties
once, the
fourth
to
use
bent
on the
string, so
it.
has hither
be placed flat,
in
linger
even
string.
at
first, to
take the K
n
A.
"ST.
(lit
now time
is
fall
the E
it
many
Jthe
1)
on the
-i4-
" *G
as to
<)
then, in
string:
Ej|
1).
the
similar manner,
A
K
on the
on the
sound
as
1) string:
string:
1).
Q.
^J?
=1
R
fsp
tainty in
j.
U V)
O
i
ffr\
.^.
r~i
**J
S.St.
.^"
-O
<r
W.B.
"v3
til',
4
153:
icr:
3:::
*^*~&
O-
-e^-
-^TS- ST
lire.
'."
Or
12.-
-II" f
:i
<*
semi b re
he ni ol
?.
r.
uiiq'Kiit'f;
two
*ith
and vith
crutcliel
,"
quaver,
stem.
.Idilimi "I a
'In-
Jiy
Hie lath
called a
i\
>/
funned.
is
tails,
lour tails,
becomes
it
When
to
minim;
tins
'
rip tin
tail is
with three
semiquaver;
and by Jillmi
added.
it
tails,
deini-
semi -demisemiquaver.
Seiniqn <vcrs
ini-
I)i
mi
i<
l\(l.l\
u jv ITS.
CIS.
From
the
above
appears, that,
to
four
play-
each
per-
iitoit<
en
is
are found.
silence
oi:e
is
required, this
corresi-oiniini;-
tti
in
it
is
.!<
diir;i
m.ti-d by signs
1
m,
namely.
i
Minim
Cn.trhft
rist.
'"
in
compositions.
When
has
and duration
equal, to
is
'
'" "
.-
-i
QIUMT
st*
Dcmisemiquavfr
ust.
n-vt.
i'
,i
inrd
ttni-
rent.
S( mi
demist- ini l(
rest.
OF
To
to
facilitate the
bars.
reading
These consist of
all
bar- lines.
between
Konr-erotchc
),
third towards the left, the fourth and fifth to the right, and the last
upwards.
r.
*>
When on
the contrary, a composition in C, 4, or %, time is to be played very quick, only two beats
are made in the first, instead of four; and in the others, instead of three beats, only one, at the beginning of every bar.
In order that the species
weak, or unaccenttd parts. Consequently, in fonr-erotchet time, the first crotchet is acthe
second unaccented, the third accented, and the fourth again unaccented. In two-crotchet
cented,
time, the first is accented, and the second unaccented; but, in three- crotchet time, the first only is
latter the
accented, the two others being unaccented. In six-quaver time, the first and fourth quavers
cented, and the rest unaccented.
are ac-
at
guessed
is,
from the character of his work, and the passages contained there.
in.
Frequently it was only ascertainable by the repeated performance of the piece, and was, at
times, entirelv mistaken This evil is now completely removed by the invention of the Metronome,
hy which the utmost |u,cision can be attained in the above particular. That of Maelzel has met
greatest approbation; hence, for the last 12 or 15 years, compositions, besides retaining
the before mentioned Italian words, have also been generally marked according to it. Thus, Andante
66 M.M. (Mael/els Metronome) signifies that the beats of the machine, when set at
with the
66, answer
to
The degrees
of
movement are marked as abo\e, in all the following Exercises. At first, however,
practise them slowly, and not at the rate prescribed, until he can play them in
,
awaken
In order to
in
tune.
in the pupil
a feeling
for
e-
"
quallx,
teacher
tiie.
him to beat
Th
lo
f.f
;n
iii
the
;jth<'
*t
siiouM
the time,
I'm inance,
to
18 and cause
aloud.*
this purpose, as well us thoso which relate to the character of the piece,
the pupil will loam at a future period.
*^hcn
un/1
the
Those Instruments are imported and bold only by Mi-^s 1 5 COCKS & C sole agents for M r Maelzel;prir<
with the Bi-11, 3V/fi and without 3*i7: Read IUMli;i o.x's. Treatise on the use of tl
Metronome, price 9^ T(< ;
;
>
\Vhi
ii
!!<'
11
Metoonaw may
.1077
be resorted to.
he can do
inenee
tins
Andante.
tire,
^r"
QG.'.HLJf.
"jS~
-^*
>r
Hitherto, the Exercises have all been played -with. a third-part of the bow, and the whole; bow; but,
in those which follow, strokes of various lengths, and with the upper, middle, and lower part of the
bow viil be required. The bjowings, therefore, will henceforth (or, until a more minute division of
the bow can be learned) be indicated in the following manner:
the whole bowings, as before, bj
W.B; and the short, or third-part bowings by S. St: the half bowings, with the upper part of
the bow, by H.B.u; those with the lower part by H.B.I; and those with the middle of the bow
by
H.B.m.
The
rules for the motion of the right hand and arm in these half bowings, are contained in. those
already given for the whole bowings: it is, therefore, only necessary to repeat hcre,that in strokes
Andantt'.\
perfectly
still;
and that
all
the
bowings
88.
tirci
must never give wuy to the pupil, but, from the commencement, insist upon the most exur-t division ofth<urrompuniment to the following- Exercise, the four parts of the bar must be murked as there indicated, in nitht > nuy be rlt-yrly |>eiceived by the
pupl: flti* method must also be adopted in the other Exercises, but unlj
The- tfar-her
b.ir.
In
the-
di r th.it
without sii'h
a^si.-.tan<^e
tu
pl<y
r<Ji I
ertjy
ill
time.
**-Before
beat
it
tlie
teacher
^^-
proceeds to another species of time, he should first cause the pupil to mark
or
again.
Adag'io
50.
'
"
<>
an
employ the down-bow for the accented part at the bc#infollowing bar. The reason of this is, that, from the
proximity of the hand to the
the
strings,
pressure is naturally stronger in the down- bow, than in the
up-bow; and the old
uiHgof the
requires that every bar should begin with the former, and finish
with the latter.
modern style of playing, however, causes
frequent deviations from this rule, as
pupil Hill observe in the indication of the
borings i,, the following Exercises, the ne.
cessity ot which *ill be explained to him hereafter.
j
The
The notes
forming the
incomplete bar
IK., but played in two
separate
itl,
*ft-fcW,a
,i,,un-bow.
als,
the
first
By
this
note of
in
the
following Exercise
not to be slur
bowings,
means, the
are
each succeeding
bar.
Allegretto
92.
tit,-'.
Andante
bow
100.
'.'27.
s'.'p.st.
^ ^
'i
ti..kos with
tlii
thitd-pjrt
*<'
the-
bt\.
iiiifir
tt
t*
"N
rt-
and
flf
-v
hci
t-
by
^.
St.
he first note
of the next Exercisers played with a short up-bow near the imt,iu onlt-r
Hut
whole bow may be employed for the six notes of the following bar. In the 5V and Ui
bar, at
the quaver rests, the bow is raised from the strings and passed on through the air, that, at the
conclusion of the bar, its whole length shall have been used.
1
tin-
.'
Adag-io
^=
9t>.
poussc'.^
to the rests, it
v^W
^^
regard
which the piece is written; for example, in the first bar of the
accompaniment to the foregoing Exercise, it is only equal to six quavers.
When several bars' rest occur, the following marks are frequently used to indicate them.
in
II
'-
still
marked
thus:
played throughout with the upper third- part of the bow, the back -arm
being iept steady. For the motion of the bow on two strings, the w-rist only must be employed;
and the elbow raised or lowered a little, only when the bow has to pass over three or four
The
following Exercise
is
strings.
each succeeding Exercise, the bowings now become more varied; the performance of them exactly as they are indicated, is therefore so much the more necessary, since, frin the omission of our
onl\ the others would be instantly changed throughout the whole composition.
In
'
'
0077
.V.}
08
12
in
,\Vr>;s
AND
RKSTX, TIES,
notes
DOTTHD
01-6
parts, forms a
or
time, into (J
triplet, as
2
4
time, a
class
in _the following
of
<
Exam-
ple.
i
f
Triplets,
The
s.* is
fq
<j|
is
rrl
rl
t*
rest often
3.
By
rrm
is
formed:
.
\\
A
To
triplets are
6, like a
whereas,
l\
l\
frequently grouped together in this way, and marked (though improperly) with
They differ from the latter, by having the accent on the first and fourth note;
sextole.
ft
Sextole.
i
The
following Exercise is intended to instruct the pupil in the division of Triplets and Sextolcs;
d
4
21*^ and 22". bar,are seve_
-se, therefore, are intermixed with the other kinds of notes. In the 10
1
th
.'
r-il
.iM'st
1
its
is
it
its
value:
1
r
When
a note
The
is
followed by
like effect
is
is
fl
-*?-
s,
The
first dot is
Where, however,
the duration
is
,-
half the length of the rest; and the second, half the length of the first do!.
amounting
to. less
its
value (l);
former by means of
.a
tie,
marked thus
-x
is
or,
on account of a bar-line
written, which
is
'
(1)
(2)
i
All
(2),
a dot
is
in
in
in-
.vs
The
attend to this
particular.
The 15*!' bar introduces a new bowing to the pupil. There, two notes have to be played vith
one stroke of the bo>, each of *Weh must be distinctly heard, as though it had a separate bo\_
Before the second note is played, the bow must therefore he kept still for a momcut.The
ing.
rest
thereby
Andante
demisemiqiiaver.
w.FS.
titv'.
H.B.u.
tin.-.
S.St.
H.B.u
PIMISSI-.
S.St.
S'077
W.B.
When
copated notes:
in
fatik ettriuti
4O
the
An Haute.
tin.
4-^v
.
-_
\=--
, .....
...f
Before proceeding farther, the teacher should cause the pupil to repeat the last 10 Exercises
has not only learned to play them perfectly in tune and with the prescribed bowing- *,
until he
the
latter,
allow him to play to the beats of the Metronome; but not too long-,
performance *ill soon become stiff and formal. Should his execution not admit of his
playing the Exercises so fast as they are marked; the Metronome must be set as many degrees
singer as is found necessary.
OA* SCALES,
and
The
pupil already
ag-ain to
The
all
alike;
Scale.
and that
nt the
C, is called
respectively
tones
and
niitones.
s<
tone.
ty
*/
tone.
.'semitone.
tone.
'
-i.
At
tone.
first,
viz-,
from
F; then
from
As
this
to
D, and from
G, G to A, and
to
to E; then
to
B; and
'semitone.
tone.
comes
a semitone, from
lastly, the
E to
second semitone,
to C.
series of notes
commences
with
it is
C',
However, we are frequently obliged to commence with other notes, and so to form new scales.
But in order then to produce the necessary arrangement of tones and semitones for a scale,
it
is
senvtone.
The elevation of a note is effected by placing the character $, termed a sharp, before
C with a
is therefore called C
sharp; D with a #, D sharp, and so on.
The new scales, formed by sharpening one or more notes, are the following:-!
it.
'
.-
..
tone.'-.._
lone'.''.
_.
semitone:.
_.-'
tone.
~':\
..'"'
tone.'"'..
_.-'''
tone'.'"'-..
..'''semitone.'''..'
1
G.
A-
D.
E.
arp.
'..'
tone.
'..'
semitone.
''..''
tone.
'..''
tone.
'. .'
r sharp.
that of A, with
semi-
three sharps;
Fshurp.
sh.irp.
that of E, with
r shjrp.
four sharps;
G shjrp
.-117;
tone.
'.
.-'semito
shurp.
G.
/.v
and that of B,
five sharps.
\.idi
8c nn
toilC'.
1
(
Among
note
The
r shar.
J) sh ip.
|v
Ci
sh.tr.
.trp.
shar.
arp.
The depression
it.
.^li
with a
first
of a note
new
scale,
with a
1)
is
'
tone.
"'.
b,
'
tone.
therefore called
is
h,
is
F.
..'
flat;
tone.
by
before
on.
consequently that of F.
'.."
"'..'
tone.
semitone.
*'
and
before.
Scale of Btv
with
two
fiats.
I
Mil
tone,
1'ltlO.
1
B
Commencing
flat,
flat.
flattening
termed
flat, and so
tone.
''.-''
=fc
\?
the
f I.**.
fi.it.
'lie
sea o of
semi-
3,
torn-.
tone.
fi Jt .
i
*
Afi.t.
Eflut.
third
**=
iA
fiat.
fiut.
fi.it.
Efi Jt
Bfl.t.
**"""
-
But
IICH
scales
caji
i J..t.
Gfiut.
fljt.
also be formed by
is
Afijt.
commencing
^
A
fiut.
I)
flats;
S<>I1I-|
M
E
inr
with
P,
with
with the
five
j.
flats.
D fLit.
fi.,t.
here subjoined.
sojui*"""
>>h.ir|>.
li
(' -.h.n
(i-
I) sh
.1
|>.
Ks-hut'.
>d
|>-
tins
III
similar
one
.-mother,
to
that
commencing wilh \)\> ; since C$ and Db, although differently nabecause, in elevating C by a i, and depres _
med, are nevertheless one and the same note:
we arrive at the self-same note, and therefore the distinction exists only in
king D by a b
Qv
name, not in sound.* In like manner, a scale commencing with the fifth flattened note
which we alrcadv
possess
to
One
Kxercises
Key of C.
V! s
13,
14,16,
17, 19,
20, and
in
every
with that
of
composition; that of
F#.
C, for instance,
as .many
in
the
in
the
and flats necessary far the construction of scales, are not constantly repeated
throughout the entire composition, but only placed once at the beginning of it, immediately afFrom the signature, therefore,
ter the clef, and their influence then continues to the end.*
.
The sharps
Here
Without
signature.
ascertained.
4.5
it
affected" by a Hat.
piece.
F, the pu
Consequently, on the
finger must no longer be placed close to the nut, but close to the second
applies to
D,
so that in this
lowing bars, the scale of D with two sharps predominates. Besides the F
pil has also to stop C a semitone higher; and, on the A string, to place
al a distance from the first, close behind the third
finger. Li the four
the scale of G again predominates, and the C is therefore
stopped in its
Andante.
close to
and the
fol-
second finger
former place.
50.
J^ *
'
signature, consequently
in
the key of
pre-
modulation into other keys, the scales of (', E,A, and D, also occur. The pupil, therefore, must
car* fully observe the marks of transposition; moving the finger a semitone upwards at each 3,
in.
ty
l<-
is
again
made
Allegro.
ntf
OOVftf.
- JOO
tin.
all
MM,,
Is
,,,,,1
i\
it is therefore
Kv,rcise has t*o sharps lor its stature;
the pi
must be .tupped a semitone higher, throiifchout
Allegro
/
."
ii,
the ke>
D, and
116.
re.
The sharps
which occiir
;,in
if
essential
The
happening
in
occur
in
different octaves,
A
".
The
of
are
F#, C#,
arid
G#; hence
it is in
the
A.
In oaM'S of this kind, whore the two notes full on the sumo line or spare, the second note- would also remain
IVcted by the accidentul-fven if the tie were omitted.
TR:
That is
dll notes of the sume name which orcur AFTKR the accidental has been inserted.
TK:
5077
key
fire.
J
t
h^M
w"
J
'
J
I
'
.3^
The
tone
t..Ilniiig
I,.*er.
Besides
this essential
mark
its
signature;
of transposition,
all
Andante
27.
w *.l3u>
r = 100.
crw '
pousse.
:7<y.'
H.B.I.
pousst
W.B.
* Thf
li-tti-rs
/3
JIK!
J'
jpply
t')
ln>th
parts.
54
*
The
stature;
all
the B>
anrt
Es must
therefor* he
stopped
28.
u s St
H.B.u.
H.B.u.S.St
i
r
i<p" r- "B~
-0-i
devrca
^H
f
.^077
for its
.l//r'iv//o.
i,
108.
-077
s,
and A"s,inust
pousse.
'
ji**
Jt1
pousse
m *m
?
4
I
H.B.u.
W.B.
ix.
O.\'
from
is
C to D.
from r3C=g
J
fourth, and MI
'.
I.
another
its
-flr-
to
r
second; from
is
t,,
i'
3tE
8.
I.
on.
V. 3. *.
Hut, as these notes can either be sharpened or flattened, a diversity in the intervals is thus pro.
dnced, which is expressed b\ the epithets major, minor, augmented, and diminished. The following
are the intervals most generally used.
SECONDS.
perfect,
augmented
minor,
111IIK
3|P
minor,
~\/
major.
FOURTHS.
perfect,
augment!
el
FIFTHS.
diiuinishod
or false,
augmented,
major,
THIRDS.
SIXTHS.
uULmontc-d
perfect,
mium-,
diminished.,
major.
minor,
major.
3*s
OCTAVES.
perfect,
minor,
aug'mentfd.
JV/JVTHS.
\7
major,
augmented.
TENTHS.
minor,
Jiiajor.
=3=
When
is
thorough
musician.
The
I.
2.
3.
Mr
There
Sixth
is
however another
4.
B.
r r
fi.
3.
7.
rfr
r r r r r r r
from
f
this, in
and
descending only:
i.
p.t.
a.
8.
-*.
,tf.
ri-rrrrr
Besides the Sixth, the pupil
will
f-^.
tone.
semitone.
..'
in
r r r f
-^
ff
.'
-^*
of
tone.
five tones
'.-'
tone
is
tono.
font
also
flattened.
in a different
'..'
semitone
order
(if)
.Minor Srale of
"
'
"
.A
without signature;
'>-'--^*
t. L
._
"
of E,
-with
one
sharp,-
2.
V *d
'vfi
of G, with
t\u>
flats;
pp
~frf
without signature
audit with A,
it
commences
proved to be
is
iniiiiediately
is
in
or even the
to he in the
it
closes or proceeds in
of, in
decided by A or G-.
As the above will be best illustrated
the piece
q=
in
should
ascending;for,
then
only
another direction
ke\
Major
if
When, however,
key.
jor
but
after
It
decided at once by
generally
once decides
first note at
with G, this
where
the place
to
it
Ma_
either
it
then
is
in
is
the
in
it is
ii
gene
rally
has
ote G)
the key remains undecided throughout the first bar, as the notes of this melody
to
first
the Major ke
18. afiffi
(A)
proves
it
to be
In
***
X?17.^-g-f
/it remains
C major
to
In
or to
the
/j
to be
it
to
studied.
alread\
the second
h\
als.,
might
belong
In V.'
major.
\?
Major key
the
likewise announced
is
is
at
bar,
second bar
second note.
The
must now endeavour to ascertain the key of pieces with sharp or flat
signatures, acthe method described above; applying to each, what has here been said
the
pupil
cording to
key* of C
major
and
minor.
in
respecting
doubt as to the key, he
order to convince himself, look at the last note of the piece; as all
regular compositions
finish in the same key in which
even
if
modulations
into
other
they begin,
keys are in some places introduced.* Also, the principal
part (or that played by the 1s * Violin) generally finishes, like
the under part, for Bass,) with the Tonic, i.e. with the fundamental or
key-note. The Exercises
above cited, \>s
to 19, will likewise serve to illustrate
for the whole of them conclude
may,
in
with
or
this,
Major
or
Minor. **
The
.n-1
Mi, 1(>r
,.
W.FOHOK
published by
M e..
COCKS *
C'.',
which ,he
pup,l
th,,s,. in
;,
...sting,,>
A *,.NOR
littjo
in
"Kss^
perus, with
J(
.-HAJOR.
ON THK
K,nt^..
TK:
30.
t*
^^*
rt
e^
'
.'
if.^C
J'
'-'"
s St
HM..
i^^gi^LL^
"
s
st -'*
S.St.in
tho
H
H "H.K.n.
ini.ldl.
=
~
^
j^ffp=t
1
-..^^
=^^
Fg
M4-M3
.^077
3
Cfm^-f^,
H.B.I.
S.St.in
<
~rTn
middle-.
Ai It pro.
^*S
U'".
^
'
IT*
4-
."-.(77
4-
J*L^U-4-4-
In
the l..il*inu-
n,.tes
the
hi-l.irr-
limits ol
KxerHs.
Andantt.
in
miml.that
the upper or
W^
tin'.
.-"77
ai-f idc-ntals
not only
afte<*t
In
1 '
flic-
I.'*'.
flat (^^
note thus depressed,
hit-
double
When,
flat
\<-
er
(5b)
is
placed before
it,
thus
~j~
x.
b,
H>,
&
l|.
Allegretto
108.
o<>77
I
1*1,1,
and
of
five tones
All
Major
noral
name
tirely
There
scales.
p
As these scales consist, at
times, of the same semitones; they are, both in Major and Mi-
all
in
The two
following Exercises
rule, that
principal
of
to the
note
these
ped with
as
it
at (2).
The E$
(2J
4.
stopped with the second finger, because the same fing'er must never btemployed three times in succession.
As the open strings (particularly E &A) sound shriller than the stopped notes, they are a\oid
at
(2), is
much
as possible, in playing Chromatic scales. Consequently, in the 26 ." bar of the following Exercise, the Ep is stopped with the third finger, (as though it were D^, ) in order that
ed, as
the
E might be taken
Allegretto
Thr Enharmonic
tirjh-, is
=
\
92
nut jn-ntioni-d,as.
it
nc\rt
\,<
<
utt
string.
at)77
Urfrti
tire'
on
~ -
=n
=gjf
-*
-ar
^=^r=r=r=n:
ff
5"
I!
from
l;
the Violin
which
to
to
_,
all
the
preceding
sonorous, exceeding
compass of an octave:
the
ill
r t
-r
1
D.
C.
E.
F.
G.
A. B.
C.
D.
K.
But, as the highest of these notes, on account of the numerous ledger lines, can no longer
read quickly;
l>\
*'!"
is
it
------
usual
to
write them
aW
(abbreviated from
ted
line
r f ? f
different
half
positions are
shifts.
is
!,
?=-,-
hand, relinquishing
loco
as:
Wf-
Ihe
4-
discontinued,
to
For example:
littaia.)
4
V\hen they
its
can
usual
called
only
more or
ad\ances
position,
Shifts, and
or
were
that position
less
These
of the
hand,
in
which
the
of the
ant
string
*<
is
't'U'1"
'!
b<
*ith
the
first
finger:
o<>77
anil
in
fin
77
i
-f-
placed on the
is
gcr
the
of
string
Jf
The following
position
^y
hall
shift;
next
the
that
to
whole
shift,
Hut
as
this
various
distinguishes the
The lower
of shifts
appellation
position of the
l s.t
hand, in which
Position.
is
or
G#
of the
-~-
on
':
}
I
I),
been played,
is
F"
^*
are
'"
*''*-'
Position;
2'l
'
_j
fcjg
'
_,
'
the
4 th
on
^-^7
tlie
',in
C, or
Cf
in
in
on
string
Ab, A, or A#
1-1
&c.
'
n- called
frjg
the
in
i.<i
Position
Exercises ha\c
distinguish
second
Position,
first
the foregoing-
all
turttsei
hand by
positions of the
In order, however, to
similarly
intricate, I
is
so on.
..MM)
the
or
Kb,E,or
h.
the
7l;on
F.or
E*f
the
8t"
and so
In these
upper positions of the hand, not only the notes on the K string, but those also on
strings are
string,
now played, although the latter may be likewise reached, with the
But continually adopting this method, would
in a lower position.
change its position too often, and thereby greatly increase the difficulof playing. Indeed many passages w hich in a quiet position of the hand are perfect!) eawould, in such a case, be rendered wholly impracticable.
to
ty
sy,
In the
new Positions
of the
all
times he particularly
fall
the usual way, and observe that the fingers, bent at both joints,
nd
Position, the wrist must not pres* against
perpendicularly on the strings, Li the 2
the
ribs of the
in
where the
ball of the
hand adheres
to
the projection
advanced
of the neck.
to
the 3 1'.^
Position,
fire.
'
_L
'
*hi-
^Ix^'
--r=r--fm
f^r-f-^-j
'
W^^^^^^^\
.-077
U^
CCrU
*~r
[.
13
[D
i^^
-.frtr.f\?tfr.*r+rt
ifuJ [r^t
TC^iPl^^
^i^
M*
^*g
H.B.ii.
S.St.
H.B.I.
W.B.
"~L-
s/
5077
ol
Position.
H.B.u.
oV." -99.
S.St. H.B.l
staccato.
rl
tire.
S.St. H.B.I.
S.St.l.
W.B
/-,.
I".'-
poi/.v.vr.
f^^^^j
S. St. in.
H.B.m.
S.St.
?^
fitN
SE
******
.-*.
38*
H.J5.U.
S. St.mv
jOi
"
^S
'
'
H.B.u.
H.H.I.
W.B.
6077
approaching (lit- hridge, the notes lie gradually nearer each other, the pupils t:ar will aK
lead him to drav* his finders closer together at each succeeding' Position. That finger in particular xincli has to stop the semitone must closely adjoin its predecessor; indeed, in very high
positions, it is even necessary that the latter be first removed before the other is pressed doxn,
Xs. in
in
order
()
to
Position this
positions
Position.
J=6<5
tire'.
-'177
f'O
1|1(
,.,
,<
l',sitio,,,
h , t>11
;,.,
lo.n-tl,
that the
Nc
rtevatcd
fingers may
suoeeeding Poriti.n,
rath,,-
more than
it
this elevation of
the hand
has
In
constantly
is
,..,-t...cd;tho
ried ff.nl.er
draw the
highest Positions, to
But
it
the
In
m ,,st
the
4.
is
7th
fourth*
from
finger for
its
nor again,
sharp.
Allegro
Position.
V. 43.
the.
in sliding d
Positions.
not be moved
r,l
entirely
= 100.
in
in
the
8t" bar
of
the
finger for
Part,
in
A
exten.lmg
ill
*>
'
-0-
rr-r
i
1*-
-F
j-JJ^r
So
,s mark,,. *.th
little
..ashes
iuthelulWl^Eiarctee.mm.t
III
the
a high
next Position be
is
required.
SOT'
sirch
as
its
are situated
me here
'
in
of
the second or
the fourth
finger
*>
'
S.SU-
uinisse.
H.B.,,
H.P1.
108.
3'lp.Sjt.\a
"
'
P.8t._WB.
H.B.u.
H.R....
'';p^T'fgg^gjg
'L*f* ,ixi
r
'
iffifS:
>
...
-^^^^
'Y^
Lrf.jf
pirrr from
Htc bci^iiiiiiiij;'
Repeat the
tlif
MJ^II
^]
tin-
;tt
f* t
nf vlnch
md.)
in-
N>hcn
tin-
hand, he must
l.v, ir t
then learn to
Kxerciscs
xill
pressing
it
But
as
string; anil
it
by
usual.
;is
are chiefly
They
eirplAyeK*i
passage
in
ta\e:
instead
account
of
exam-
for
arpeggio.
so
much
in
quality of tone
from
and
These
are,
string
(1)
the
octave; (2)
E|=E,'Oii
the
1)
string
<
'
if
I
to-thirds of
tJie
or twelftlnand
:==
J?
"
',
t |le
>>
*J
,?""...- -',;
marled
the notes so
the others; the good School of playing only permits the use of such as are nut
'to
-f-
(o) o\er
Ui-ioir
zero
Harmonics.
in
not belonging
frequently find a
the
are to be taken
in
serve him.
In
himself
exercised
The middle
JL
T-..._
the oc-
mea-
same, the octave-fifth; and three- fourths, the double, octave, whether
stopped notes than those at the other end of the string. Hence,
fur use, are
The
jliuM-
been used,
all
fit
in
at all
times
conjunction with the latter, by all good Violinists. All others, however, and particularly the sorailed artificial harmonics, must be rejected as useless; because they so totally differ from the natural notes
of the instrument. It is, indeed, a degradation to this noble instrument, to play whole melodies in such child in
heterogenial sounds. The great sensation created by the celebrated PAGANINI in recent times, by the reof the ancient and wholly forgotten harmonic playing and by his eminent perfection therein, however alluring urh an example jn.i\ lie, I must nevertheless seriously advise all young Violinists not to lose their time
in
uch a pursuit, t.i the neglect of th.it which is of mare 'importance. In
support of this view of the matter,
I may quota the
greatest performers of every age, as PuGNANI, TARTINI, COKKM.J, VlOTTI, EcK,RoDK,KRKl TX.KR, BAII.I.OT, I,*MINT, id not one of whom has
'
1" played in harmonics after the manner of PA64VUU
i>-h,
vi\.il
di
d,if harini.nir playing were even found to be of benefit to the art and an
improvement in Violin playing
nich as good taste might justify; it would, in
a
round
be
nevertheless purchased ut to,,
full,
tone,
sacrificing
hi<-h a rate; for with this it is incompatible, as the artificial harmonics only come out on
very thin string!., f " >"
which it is impossible to draw a full tune.
i
'
((I)
f..-
Vioi.l\"published by
which
Mess
tliis
COCKS &
valuable information respect designed, will be' found in Mr G. Dl'BOi nr;s work entitled "Tiih
C'.'.to which I beg to Call the readers attention.
School
is
TK.-
3 r : d Position.
;?.'l
7t.hp.,s:
3r.FU: _
r-.tp,,,
p, )s .
-t.h
j.-t
Pus:
Pos:
--
3 r.
Pos:
S'T'Po.s:
is.t
pu
t)
1
4-
4-
10 1
d3i
3 ld Pos:
3 r.d ,_
a".d,_ l^Pbs:
_ _
eVPus:
S^'lVs:
s1
.
POS:
_ _
a 1 .' ?,,*:-
r.u
3,'<!
P0!,.-_
th
_ 6 Pos:
.
_ _
_ 3*?' 1-os:
d Pos!_.
2'>.
i:
is*
Pus:
3VPos,
2?Pos:
2Pos:_
The
following-
the
is
as,
greatest care in
stopping them
Pos:-
in
bridge, the
octaves
occur* in
s*
Pos: -
unpleasantly
correctly.
es the
TPos:,
felt as
This
in
is
in
here doubly
proportion as
it
difficult,
approach-
string to another
effected solely by the wrist, and facilitated by an almost imperceptible raising and low-
Where two
vers
is
notes
it
were shaken.
i077
at any time
li,ke
Y'/
'
i
!>
frj
:='
'
'_^fifc
:=:^^^>^
?<) 7 7
^J
IfeJ
'
in
pas> .u rN
.
.11
<>
in that
manner
arc-
Allegro.
in
tin-
lu'xf
Kxrrri.sr,
tlic
lmr<'i'>
f'litiMiie
ur
-Ml.-
nimcil on
J,
80.
"
1*.
Pus:
MB
rr'23
.;''' P,
-il!
till'
hali'PoBi
- ost
,)..siti...i
of the hand,
q.uit..-
Huso
to
"thi-
nut,
is
1,,-st
di-iioiiiin at,
cl
the IMI.K
Potion.
3'^P.>s:
Iii
and as
sitions;
these
in
is
it
slips
extensive
contains
preceding: indeed.it CM en
the
in
still
and
The
skips
difficult to obtain
extremely
harmoniously
Positions
of
-*ith
-oirreet
a firm
in
to
>f
stopping
has to
"the
hi; h
r: -quire to
intonation, they
distai.ee
he ftH'ud.lh
*ill
sj.jp
must be
with the
calculated
after
the
When
nicety, so
greatest
that
from
being heard
in
slipping*
seek
is
to
one strike
in
played
it
from one
pressed down.
being
lO^J1
hand
of the
sliding
after
9_
having occasion
finder, without
the
right note,
the
impossible to
of
ato-id
In
compJished
s<
far
place.
moved forward,
Thus,
the
in
The
following manner:
the
in
finrer \ith
disagreeable whining,
it
must
is
first
second note
finger
is
falls
be ae
is
stopped
that which
until
into
naturally on
its
to
5*.
and the
second
fourth
finger
finger
is
then
falls
moved from
at
to
-Mhich instant
so
Kxample
finger
i,,
conseq.ientl)
SIIcn
to
in the
lit' 1
It is true
skips
to
wjth the
the
shall be
in the first
bar,
Position.
sliding
highest note.
ous,m,ed
little
Tn
the
the
similarly,
at
Position.
space
rule,
into the
many
to
Violinists are ae
f iigep
passages
in
manner
following':
must be
thod
and
6U1 bar
For the
of
the
production of the
ing, hell-lite
\Mien,
harmonic, the
and bow
Position
final
must be
The
the clear
By
be avoided
thp
5*!
if
the finger be
raised
note of such
chosen.
arpeggioed chords
for instance, the
If,
in
in
order
to
slidden quick-
moment
last
obtain a
riiigr-
sound.
however, the
different
as an harmonic, fas
sliding,
it
be tal.cn
of
l\
me-
this
rejected as faulty.
In those
allmlcd to
Pos
s
:
'os: 3
Pos.-
is
not an harmonic,
two bars
before
totally
referred
to stood
following fingering:
IVPos:
Pos:
l
th,
+V
Pos.-
n Pos.ith
9\
pupil will already have observed, that such passages ,(and all similjr ones in the four
'
indeed be brought forward, but it would lead to prolixity, and after all be quite
soon understand why the prescribed Positions are preferable to others. Hi'
'with
re*t satisfied
the preliiniiury assurance, that, at all times, either the most convenient Positions
jn.iy
ha\e been chosen, or if not- so, then those with which the passages where they are indie ted Can be brought
set down.
is
Such
-ii;>erfl(ioiis, as
he
mi)rht
-himsc-lf will
>.
mit
nt
man nor.
made himself familiar with the
will find,
once^
no difficulty
in
applying-
it
also
to other compositions.
4th
w^
&
l".
fh
7 f.
fe-
_ _
V4L
:-
.1*3^
5 f.h
8*h
*t
Pus:_
4,th
gild
U4,
Mfc'"
^; v
i*
'
-'
,
1
>
J-1#*08+
SSt:
^f
..
1*
j4+tMLw#
-^-. -^**r
*'
i
P uh:
."
^;
fi
fi
7.
8.
Pos
'
5077
f*^ """SPL-MZt
C*.
at
nuist
it
.-..-ale-,
end
the
hero obserxcd
he-
the
ot
when
that,
it
the
vith
four finders
to
Hie
Chromatic
continued
is
it
peri. .nuance oi
respecting the
See: IX
in
Kxercise,)
preceding
change
alternately
been said
what has
to
addition
In
TOJV
first
r-an
XI.
AND
O,V
the pupil
imparted
to
carefully
adhered
It is
ings.
Exerr-ises
a
the
to
degree of freedom
certain
rules
-hen
alread,
bow
not only
is
first
towards an
requisite
pupil
right
slouly
and
sages,
the
.
at
the
>ill
lirst
also
which he
will
more refined
to a
vvith
y,
he has
which
is
he has
Sections
strictly
II
and
part, with
it
bow both
it,
in
in
equal facility;
Ion;;-
also
is
>
and
followed
for the
111
of
execution, and
of
-im-
management
if
of this all
cultivation
and adroit
correct
and short
po.
strokes,-
Exercises.
find the
is
of the how,
In
management
the
in
this
playing. For
expressive
himself
familiarized
sitiitn
Kmr
the
on
to
The
relate to
the different
gradations
in
the
pupil
with
power of
sound.
Before proreodintc
MM
l.,,wh,,s
t-.)
-irmed
,,nd
,,.,t
'n
thor, h>iw(>vor,
IMT.HIIC. wild
persevered
in,
until thjt
which was
amiss,
hus bec'ii
.,
mended.
113
Bar
1.
afterwards gently
fall
the note
its
The bow
is
is
proportion
it is
is
moved
act upon
On
it.
gradually lessened:
vision of the
bow
is
it
is
chiefly
string and
lu
quality
the
bar 3, the
,e.
the
at
bow
is
Here, a good
whole duration
bridge
di-
may have
The
aiid its
portion
also
small
as slowly as possiblejbut,in
decrease of the
tlie
and
to
-At the
it.
and
distance from the bridge, quite loosely on the string; so that, at first, only
of the hair touches
employed,
ti
to the j>oint
with continually
x
**.
in
order that
it
may reach
practised.
increasing
a
scarcely
As the bow has lint litmust have been used on commencing the second note.
tle weight at the point, the first finger of the right hand must be pressed very strongly on
the stick towards the end of the bar. Likewise at the beginning of the following 41" bar,
third part
which must commence with the same degree of power as the termination of the preceding.
At the decres.- of
this
bar, the
in
...
approaching the
"
nut,
its
ano.
In doing
coming
this,
!,
to
however, as well as
to a stand-still
in
string,
it
5.
=Z1
<
6.
7.
8.
Ill
II.-
-.
JJ3
\.
For the
bow must be
and
tlie
bar, the
17*!'
pianissimo
is
simo
played on
at first
it is
is
because
moved on above
On
acute
The
J'orlc of
account
it
this
and the
22.
string, and
pressed firmly on
tlie
tlie
is
this
80.?
tlie
marked .piano.
is
contrast between
tlie
it,
tlie
sage
bow
is
ust-d,
string. At the
lightly
tlie
22 1 -'
harmonic note
A
'
"
with
tlie
below,
tlie
'
of gliding,
second finger
The
last
endo; that
lii
the
the
five
is,
'ict'
upper F
falls
24
with decreasing
is
E,
'
]*"
\
|
whereupon the
on C.
notes of the
bar,
to
* -*X *
tlie
then
first
tal-eu
bar,
diminu-
power.
foi'zando
(J'z)
string from
to
F, fe=*j
tin
pass.-igc
is
markcMl furte. the gliding upwards must he done *ith the greatest force and rapi
from
Hy
ilit\.
from
the
hearer,
without
possible to
and lead him to believe that the gliding from one note to
intei rnption.
two notes
sible.
The second
the second
The
is
to
two notes
of these
fullest
bar, which is
of the 30th
played with a
is
donn- bow,
from bar
slur,
which im-
pes-iod
is
be
finger to
mi the thinner
th. in
in the
28, must be
plies, that it
this, is
and
.'i2
make a
to
string, the
slight
bar 38.
bow
in
Ks,
stancf.
mak'ing the
hr-turc.
..'1-7
the bridge
The F
at
the
the B, with' a
The
skip
beginning of the
from
flat to
In the
42-
of the bar
is
bar, the
40
bar,
bow.
flat in the
here moved up
to
41?* bar,
is
made exactly
flat on the
bow
The
and
45 1!
used.
of
its-
for the>
44*1' bar
is
string
the
of
beginning
the.
45*",
is
*Ki
performed
a similar manner.
in
united by a
ly
J)
the
string.
is
is
bar,
the
F._l)
so
tat
is
to
be
en
,ip
played on
gliding of
that
not heard.
47.
48.
^
morendo.
"I
The penultimate bar
until
ii
it
is
scarcely
is. to
audible.
be played
morendo:
that
is,
dying away,
Our
-
Is
|.
.nU.nit.ii;.-
,|.ercl>\
which
the
lt<
t..
the
performance
Violinist.
Hive bovings
in
In
is
in
the next
in
the
c,t
prcssioii
line
will
he
is
The bowings
with the
another
hi^li
most
below
te\t.
/HI
of ln>\
therefore mdis-
made acquainted
variet..
gained.which so
all
is
distinguishes
disable
_X
it
35r
II
14.
lg
IK.
:ff_JL_rg
experience proves, that frequently -the most distinguished Violinists, notwithstanding their utst exertions, can never
;t.aiii
it; whilst greatly inferior
performers acquire it without
the slightest trouble. Yet even with the requisite natural qualifications, nothing but unwearJ
iiii
ied
practice
lead to the
will
of
every degree
perfect mastery of
it,
to
make
it
in
rapidity.
\ith the upper half of the up -bow. A greater length of bow than this must
not be used, even if tno-and-thirty or more notes have to be played in one stroke.
The pupil
should therefore accustom himself, from the beginning* to use as little bow as possible; that is,
he Staccato
much
is
as
made
bow
so
it
has been
to
string,
The beauty of
in
is
time after
the
is
the
strictest,
first,
degree of
.'
the.
in
time.
it
\2 22,
the
it
is
The length
down-bow
in
;it
stficcata
t**o
notes
last,half bowings.
of the
nhich
077
is
14-4.
*'
'
_~"
There
is
a quick
in
also a
in
made exactly
At NO
rather dull.
It
difficult than
is
how
At NO
as in the up -bow.
the
more
is still
it
brilliant
passages, either
It is
in
11,
short, sharp
strokes to
the
is
in
lat-
melodious
of the notes.
in
point.
placed very near the nut and gradually drawn down to the point; a considerable length of bow being each time used for.the two slurred notes.
12, the
The second
ing of each
At
N2
13,
ternately
in
il
is,
In the
slurred
At
(,t
is
made close
at the
point, with a
smart detach-
third note.
is
is
is
extremely
in
in
it
imparts a
al-
difficult, as the
diligent practice
slightly
after
the tno
notes.
\14,
the bow
tend hc\ond
the
fz (forzctndo) note
and a
the
is
a longer stroke
sharp pressure of the same: the lengthened stroke, however, must not ex
jf-&
ft*
The bowing
of
&
bow
the
Braised above the string, and, in an up- stroke, thrown upon it with vehemence very near
point, so as to prevent a tremulous motion of the bow-stick. After thus throwing the howon
is
pushed on gently about 8 inches farther, and then drawn back in an equally
long stroke for the second. note. At N9 7, the third note of each bar is whipped in this manner,
and at V-' 8, the first and third note. The difficulty of this method of bowing consists principally in always raising the bow equally high above the string, and in employing the same length
of bow for each stroke. When well performed, it is of surprising effect.
Of the four notes played in one stroke of the bow at \. 9, three are slurred and the last
the
smartly and forcibly detached. For this last note, the same length of bow is used as for
the string,
first three
\.
10
.it
is
collectively.
performed in a similar manner* and differs only from the foregoing, in that the
mer slurred notes are now played Staccato with the down and up -bow alternately.
The
is
last
11 is
two parts of
this
lor
'
N2 12,
still
short-
er strokes.
.
Li
\Q
RUDOLPH KREUTZERS
compositions,
method of boning.-
in
It allots
507*
JOT.
.: :
CHORDS
.4.VD
ARPEGGIOS.
The
Violin
possesses also
tlie
veral notes
Arpeggios.
distinguishable)
and
The
From
are clearly
the
commences the
pupil
insist on a
perseveringly
correct intonation.
is
quadruple stops
if
the pupil
is
par
once permit-
it will
gradations of
is
attained by
in
previously been
in
(majestic.)
in
the
in
general,
following Exercise, is
appended
63
j?i.
*
/7>e:
the
Andante.
An da n te maestoso
x,*
er than an ordinary
be-
practice.
maestoso
observed
it
epithet
shall be
mii-.t
so that no break
".
^<>
4^L
m
ii
4-
3,
-..
.2nd
",--.
11 -c
the pupil fan plav the upper part of the above Exercise forrertly, the teacher should c\and allow him to try the under part, as this presents stops of a ne* difficulty, nhich
calculated to form his hand and ear in a still higher degree.
L(irht-(l<i
U'l-ce
ol
the diminutive
ln-hijr
movement somewhat
less
>1
slou
implies
de-
'
."
,56'.
*^T*
'
tireL.
1
x-^.O
rrr?s
crerf.
///<:
,' ~-
*
\
=^=B&?B*^ =
.^^>-S-^
^
*f
--
^^
T""
^^^LM
^
-9-
5t
UjT
h^
5*-
/.*>
^h-jt
f- M r
-I
3
f>
i
ea
4-
4-
.f
dimiti.
4-
i
4.
.>
the following KxcrHxe, tin- Rondo, (i.e. a lively and pleasing composition, the- theme or
leading subjeet oi whieh is often repeated,) double stops of greater ditt'ienlty arc introdiieed.
\s the posjtioiiN, bowings, and various shades of piano and J'ortt' are must farefiill> indieaIn
ted,
limits
here again
of
must be
s>trietJy
intonation.
'
Allegretto.
88.
attended
to:
above
all,
not
nej>-leetiii)-
/..
^F^E=
* 5"i
'
nff
7.V.3
ar
-t
'
tin'.
tire.
y.vr
TR 10.
4.
dim hi
Menuetto
Da
Capo.
an
easy
ly
by
must attend:-
the
in
and
principally,
to
the
several
exact observance of
kinds of bowing.
still;
all
the
bowing.
fnrtt
First
thirdly,
to
an
produced entire-
prescribed shades of
piano
and
^^
??_?_
\L
'
'
:*\ *"5i
ercise
with
bowings
in
of
movement)
in
semiquaver
triplets,
Piu moderate
These
also
gro mvlto
the
is
made
Alle-
3_ bowing
of the
J = 8*
entirely with
Here observe,
at the
that
point
Allegro molto J
= i6o
ff
Now
2 ll^ bar, where the first tno notes belong to the second, and the two following to
lie in
As the four
first, in
is
here doubly
difficult.
The
this,
due attention to the rules given for the performance of the last Exereise.
6077
his fin-
bowings
/JO
Anduntt
=6'.'i.
141
7.
r*)
The- buuings in the f'm-ojfoing- Arpi-jr^-ios, as well as in the Exercises N^S 5ii , B3 & 64,
might easily have been in
rrfjkfd: luit I have purposely confined myself to those prescribed, as being the easiest and most effective; for a
H'lcitci- number would hnc fjtigtied the pupil, and perhaps have prevented him from studying them with perse
\i'Miioe and accuracy .^'Indeed, I hjvc-
6077
-will
be likely
to
meet vith
in
pi.i'ti'e.
XIII.
QUACKS' OR EMBELLISHMENTS.
(Xv
These serve
to
In former times,
it
it
to
siir.pte
Hence, a multitude
man
of Graces
gradually formed, for which names were invented, and which one player learned from
another. But as succeeding performers constantly endeavoured to surpass their predecessors
*ere
in
sequent tastelessness
in
new
inventions; there
this
At
at
found
was done
it
first, this
small
in
notes.
in
To the
or passing' shake (/A), and the turn or mordent (<* or -v); to the second, the long- and short appog'g-iatura, and others without name.
The shake consists in an equal and frequently repeated alternation of two adjacent notes, viz:
(tr),
the transient
of the note
tf
is
placed,
and
its
minor (a), or
us played.
its
major
second (b).
us played.
a.
determined by the length of the note; and the number of its beats,
by the greater or less rapidity with which they are. made
According to rule, every shake should both commence and conclude with the principal note,
i.e.
is
is
written.
If required to
for
commence with
Ex:
us pluyed-.
who
6077
it
in his
J43
The shake ends
This turn
Iii
formed of the
principal note
to
connect
it
final or
is
also
used:
modern compositions at least) is generally written in small notes: but, where this
not the case, it must be added by the player. There are however shakes which, either on ac
The. turn
is
is
with a Joint of
(in
To the
Violinist, the
requires a natural
sily
shake
ability
Above
all,
is
in
for its
attainment.
all
embellishments, and,
By
it
the
Staccato,
latter.
it
has to be
this in-
exactly in tune.
terval
It is
to
tune,
Violinists,.
feven with
play
correctly
in
particularly
tone
like,
it
is
lie
must especially
beats are made
heard
to.
therefore,
strive to acquire a correct intonation in the shake, and then observe that the
equally, so that neither of the
two
predominate.
order to obtain a brilliant shake, he should accustom himself from the beginning to raise the shake -finger very high, (i.e. to the first joint of the finger employed for
Further;
stopping
in
the
it
make
at once
nerally follows, that in long shakes, the finger as if lamed cleaves to the string, and
and powerful
The
shake
must
is
a fine
never acquired.
also
guard against forcing himself into a quick and powerful shake by over
and an unnatural extension of the sinews, as thereby the free motion of the shakefinger would only be the more impeded and much seoner fatigued. He must likewise avoid
pupil
-exertion
6077
one finger
a
rubbing
against the
otlier,
principal note in
stops the
the
Her,
formance of
this
grace.
taken
is
in its
is
in
long
and
rapid
stead by
it
third finger in
equal the second or
perseverance
finger,
cannot be spared
in
In an Allegro,
rules:
Concerning the rapidity of the shake, observe the following general
of a spirited character generally, the shake should be quicker and more powand in
pieces
suc-h
than in an Adagio, or in a soft and expressive melody. In all cadence- shakes, i.e.
th
1
bar of the next Exercise,) the beats from first
as terminate a period, (see the llV & 25
erful
Adagio, however, and in shakes serving to embelproduced by commencing slowly and gradually increaa melody, a good effect is often
crescendo or a decrescendo. A
in rapidityr^this admits of being united either with a
to last
lish
sing
must be
equally quick.
In an
as
parative
strings, (on
as
those on
the
and
strings.
Each
stands. It
it
by
is
it
same rapidity
may always
as the
be distinctly
caused between
the
the
shake too
shake
itself,
audible.
the, note over
soon, as a break
which
is
there-
considered the
above,
ercise.
Andante
63.
6077
he may
proceed to
the
following
Ex-
The
first
six
shakes are all played with the semitone. The shake- finger, therefore, alnays
stops the
The
The
first bar is
principal
falls
note.
performed as follows:
sixth shake, on
sharp,
is
made
with the
as
little
finger.
7^!*
vhich
it
bar,
begins a
manner:
in the
It is
therefore
performed
-^^_^
l&C:
~
The
is
in the following
s-
must always be played with a perfectly correct intonation, and as the shake
one stroke of the bow, a change must be made at the beginning of each bar. To
auxiliary note E,
its
beats uninterruptedly
and
in the
same degree of
preceding termi-
1).
that
the
auxiliary
note
E remains
perfectly
in
5077
tune.
17
of the Exercise
is
22
bar; or in
produced by
but when
it
In
is
meant,a num-
in
the
still shorter ones, as in the 28*f? bar, the turn is better omitted. Every shake
such a chain begins with the principal note, whether the preceding ha> a turn or not.
In the 14-L" bar, a b is placed before the second /r", whic!h ^signifies that the auxiliary note!.
in
must be B
flat;
is
be-
6077
24
..--""
The shakes
first
occurring
must be
paid to
n the
26tn
bar, belong to
:.
is
the
intonation
of the
auxiliary note; care being also taken to preserve the utmost regularity in the beats of the shake- finger, on account of the frequent and
sudden changes in the position of the hand.
is
however very
difficult,
and requires to be
practised with
great perseverance.
The
62'!d Exercise
sor:
P-.u-ca.
100.
??^fc
-***^=*
,V "
ff
The
than
their
pupil
its
being
introduced
with lightness
division.
The
first
the
11 th
bar occurs
In
shake
is
the
beauty
into
its
rhythmical
performed thus:
second of the
6077
before
mentioned
siont or passing
The
shake, vhich
consists of a
single
beat, and
is
performed as follows:
l
.
a #,
ff.
TRIO.
In the Trio, the short shakes occur on slurred notes. Here, also, the effect chiefly depends on not duelling too long upon the note shaken, but nevertheless making both. boats
distinctly
The
est
Tin
heard.
The
shake on A
performance
for the
little
is
as
finger, in
follows:
the
4*.''
bar,
must be
assiduity.
five
passing
shakes, in
the-
penultimate
bar of each
part
of
the Trio,
are
per_
Jt*
II
Larg'hetto
'f=
-80.
63
JV.
pouer and
activity
is
frequently beaten with the whole tone and the other with the semitone, (as/ in the #'. bar of this
of the
attention must be paid to purity of intonation in the employment
Kxercise,) particular
shake
The turn,
fingers.
be
be
to
accomplished as quickly
let the
shake.
As
as
*ith
4^
bar.)
The
single
that here, on
heard
shakes
in
in
Position
to
may be
instantly united,
in
double stops
one continuous
shakes
are
also
applicable to the
the little
in a different
present, except
(ri:. three or
of the shake.
sustained note be
to
parts,
nd and
(See the 2
in twit
The
6077
require the
most diligent
practice.
/r
-1-3
/r
tire.
tire.
^
PctsWarco.
Vi 3
*
,
In
the
9'
In
this, a
string,
again immediately
brought upon
it
with
little
may
.'077
+-'
fiffTftp
i
first
^>-
The
j'
* /
in
the sixth,
in
tains t\*o
In
notes in
the octave
tJie
- sli;d
upper
c
part
in the 6.
to one. in
bar, the
the
under.
beats
-077
are made
\*ith
the first
'
\>*
* 4
as
imperceptibly as possible.
In .the accompanied shake f the second
the
second
strain,
finger *hich stops C must at first
approach the E string in order to take the
in the accompaniment, but witho.it
interrupting the
Nhake; in the last bar, houevc-r, it is moved towards the J)
string, for the purpose of taking
the K. This shake is also h
X ini. ^ilh the donii-boH, and divided into four
/Join
tin-
accompanying part
or pi::ic:)
he
produced by
tinued
When
is
pizzicato
used
making
*
arco
to
the
II
art-
con-
;>
the how.)
(with
Orchestra
in
abbreviated pi:::
is
as on the
string-,
coll'
it.
only
for
the
term
the
pi-.zic(ti
pulling
frequently
instructions
necessary
"'
pinching
contradicted by
until
As the
tin-
(it
and
pizzicato
played
the
coll' (trco
immediately suc<
near
ly,
the
first
Hut
if
The how
position.
of the
and
finger-board
hand; the
the
then
is
thumb bejng
end., of the
and the
the
but
(though
usual
finger.
thumb, the
this
first
coll
In
case the
this
edge)
method
preceded
bow
is
finger
arco
place its
back -arm.
the right
with
of the
instead
Vio'l.'n
it
body, supporting
fore,
its
in
jirtt,
placed against
the
retained
is
by .a
Vest, it
rigfit
is
is-
side
of
as'
he-
held
the finger-board
former; as the
the
preferable, to
is
pizzicato
with the
The
thuir.h,
sounds
of the
third
dom written at
length,)
is
middlemost
of which, the
and clearer
fuller
with
the turn
as
it
must
bejriH
Tho
and
sign
sel-
notes,
contiguous
some-
and commences
first little
gene-
that
Ext
for
fa
loner note: **
played
Author, both here and at the- commencement of this section, uses the words Tin* and MORDKNT as synoniThis is, incorrect.as the- mordent,
properly so Pallod.is a totally different g-rafo to the turn, and iiulkjtod
tin-
l>\
..
"
is
played,,
nith the
as
int.iis.
appended,
press this by
rally
is
finger.
indicated by
of three
consists
It
first
t|-,>
in,ik uhifh at P.
ftf
hool.)
*ilh otlii
is
\>i
1*8
ib given<
*y>
The
indicated simply by
without the cr o s s str o
>
iti
the reverse of thi> is exactly the case:
<v
passing shake
V>
mjy be sofn
5077
its<>lf,(as
tlu-Mi^h-
TR:
js
it
is
Call'il.
When
between two
added to
it
it
is
then
When
the turn
as
is
sustained according
to its
value.
played.
fourth note
its
is
mark of transposition
plafced
then
played.
Ex:
played
Ex:
is
in
,
as
is
brought
PS
When
is
Ex:
as
If
as played.
or
Marks of transposition above and below, affect both the auxiliary notes. Ex:
"
'
fr
as
played
The turn
is
or
r 1
:f
it
must
nevertheless sound clear and be perfectly equal in its three or four notes, both as regards rapidi
ty and power. Correct intonation is here also the first requisite; therefore, in making the
turn,
the essential marks ^of transposition which belong to the piece, as well as the accidental ones ad-
ded
to
the sign
itself,
thjt
ruiiiiiu-iir-iii^-
v^i
or
it
is
is
placed.
tho INVKRTKD
turn
or
th it bog-inning-
TR.
o<>77
7,5*
small notes, those of most frequent occurrence are
Ol
tin-
embellishments written
.UK!
tlie
ol
eatcd
in
in
modern compositions,
in
still
follows its
is
j-eiierall.}
occasionally in
know how
to
Hritten
modern ones,
execute
it.
Inti"*
tlie
in
it
notes
indi-
is
Here, therefore,
explanation.
.is
divisible into
J^
two equal
parts, the
appojo>-iatura receives
,r
as played
as played.
If
is
placed
be-fore-
then brought
upon the
in
-'dot.
as played.
'^gr
Ex:
J
it
..
'J=^
f T
or
as played.
\Mien there are tvo dots, the appoggiatura obtains the value of the note, and
the first dot. Ex:
as
^
When,
played
in double stops, an
together.
appojf^iatura
played.
.
CTM'
this
then comes
in
on
it
Ex:
as
played
|J
or
t^fc
\'6077
'
T7j
j: *'-^
*=
159
As the appo^giatui-u always falls on an accented part of t>ie bar,
phasis than the note before which it stands, with which however it
ing: because, as an appoggiatura, it belongs
The
Ibo
this note,
and
is
intended
in
always united
in
one b.ow_
marked with
to
in
a cross
stroke
f,
in,
order
know
still
small notes.
Larpfhetto
^_
76.
4
2.
f>07J
how
its
reading and execution of the difIf the foregoing pages have been at-
the
below
is
from the long one,) deprives the note before which it stands, of scarcely any of
note, it is' quickly and lightly connected in one bowing. Ex:
following piece
struction.
in it
it is
it
should be
appeared to require
explanation,
are
given
MiO
ere
Har 14.
see n
do.
Hi I
I lit-
l.irgt
dtlic-r
notes
as they are
inlu llislnnt'iits
still
greater
di\isi<in
use, are
in
small notes,
it
is
all
misconception
necessary
to
make
is
wi'itteu
in
prevented. But
oi
are intended to
quick., in
embellish, may
lose as
little
of
its
value as
which
they
possible.
It is,
difficult to
by
performing them:
part of them are played very
however, frequently
in
in
a v\
present
at
on this head, the most usual of such embellishments are here inserted, and Ihe
Andante.
as played.
Andante.
as played.
;.*^j
fa
T
Allegro modei'ato.
as played.
Alleg'ro vivace.
as played.
ax played.
Adagio.
or
To the
the
class of embellishments
same note.
The singer
the
in
its
struck bell.
erfully
This, with
tends
below
tion of
the wavering of a
in
true
the
should
stopped
and
intonation,
from the
the direction
in
sound, resembling the vibrations of u powpeculiarities of the human voice, the Aiolinist
many other
It consists
little
to
certain tremulous
voice
his
deviation
from
ex-
alternately
is
the
to
ntit
note, which
bridge.
purity of tone
scarcely be
may
or
compositions this trembling is sometimes indicated by a dotted line
by the word tremolo: but in modern ones its employment is left entirely to the player,who,
however, must guard against using it too often, and in improper places. In cases cor-
old
In
those
responding to
the \1olinist
in
which, as
abofVe
is
observed
in
the
singer,
may
himself of
avail
hence,
it:
it is
p
the
tremolo
the
cing
increase
duces a
The
introduced on
be
to
of
slowly
If a
power.
diminuendo
occur on
sustained
accented notes:
strongly
J2 .'",
the
thos:
note,
decrease
in
likewise provelocity.
the
in
1 .'
sustained notes
it
<:i'es -
4. , the quick commencing and gradually slackening, for such as are played
diminuendo. The two latter species are difficult and require much practice, in order
cendo:
that
and
the vibrations
may
at all
any
times
sudden change
from slow
to
quick, or the
perfectly
regular
reverse.
changing the
Ky
the Violinist
Though
pause
or a
in,
another
In
place.
this
fourth
change
with a steady
back or pushed
its
finger
usually
of
effects
bowing;
continuous
this
separation of two
notes
by a
short
here
it
is
finger "'which
has
to relieve
the
Ex:
example, the
may
equal
fall
5077
in
to
F,
so
that
to
li,
the
that
This
first
the
passage
fourth
on
gliding
its
may occupy
to
ma}
the
place:
mentioned
before
the
to
back from
(*)
be
heard,
nor
the
On
1}
drann
is
notes
following
first
K.
on the second
fall
pertormed similarly
made
quick, that
so
of this
wvwv\
the
gradually accelera-
been said, the changing of the finger will require no farther explanation. However, I would here again observe, that the finger which relieves the other,iiiust
not be pressed down until the hand has assumed that position in which, without being either extended or drawn back, it can command its proper place.
After what has
Moderate
)f* a g
<?<,
*V
J^'*
broken
ch-.rds..
It
is
played
The embellishments
before
written
staccato
not hitherto
in
manner
still
in
similar
more carefully
small notes
in
in
to
practised by the
that
attended
in
scale
to.
4077
in
performed
semiquaver
in
Hit-
triplets.
In the
latter
part
of
is
penul-
.-or:
la i)
=5
'
tmt**2,
!
^
5077
J.* _^Sf=.
Hi!
Thi-
hjst
four
uott-s
of the 50*/
bar
are played
077
in
the halt
Position.
111
60.
the
The
first
bar, at
each
half of the
gradually accelerating
the slow tremolo.
Finally,
must
still
is
1
B, in the 65V and 66
bar, is
tremolo,, and the second half dim. with
tied
note
played
mention an embellishment
which
ore*,
gradual
with
rttiirningto
is
often
sympathetic sound ceases, but as soon as the finger is raised, it again commence*; and this frequently repeated, produces the beating which I here caution against:
for
finders, its
it
easily
if
frequently
introduced,
is
then very
o
It
may perhaps
animated by any
string
tremolo.
next belon.
On
these, therefore,
it
is
disagreeable.
:*-
E=, as
produced by
these cannot
touching
the
be
open
\
Fxereise, (the Ttina con
As the unusual
taught
bonings
in
the
ll*.!
Section
are here
pupil
a
employed
connected format-
in
passages, they vill at first present fresh difficulties to the pupil, which hon_
practice, together with strict attention to the former and
ever, by diligent and judicious
present directions,, he Mill speedily overcome.
Where two different bowings are given in the Variations,; as before, the one above
the notes is played first, and the lower one on the repetition of the strain.
difficult
The greatest
los,
and
all
must
attention
other marks
of
still
be paid to the
expression.
Andante
III
the
first
drawn down
cieves a
76
to the
short, but
middle of
light up
similarly
and ingratiating
manner.
is
ha.'f
of
the down-stroke
is
remarks
marked.
That is,
simple melody with Vari
entirely to lose its reseiiibl'inr-e to
a.
-bow, and
These
its
bow
iti'jns,
thi'
which
ut
fuoh re-petition
original.
6077
is
more
s>o
as
not
/TO
marlele"..
'
'
"
fffrtt
In
the
'
.'
'
'
>
'
'
ana , ioil
"here the
'
l-.t
'
-^f4
th ,,
tliret-
Hhole boH
b lrrc.l
js
notes are
take,,
of the Jast
har
the sequel
"Hin s ,the .liin-cd and detached notes
must be well distinguished
Co,,cr,,ing the three kinds of bowing in the
Variation, I refer to the' remarks made
2d
I,,
271
thereon at \, s 4,5
The 3
&
6, of the
54^
Exercise.
usii, tf
as little hon as
possible
t 4.11
so/jro
4-
/'
po !<*,
_/;_r.'t-
f .?--"
The
first two
bars
of
the
Variation
arfc
forte, as it is impossible to prevent the shifting of the hand from being heard. This
houever can easily be avoided in the following (VlOTTl's) method of bowing, which therefore admits of all degrees of power. The first bowing is made with a very slight motion
of the hand.
The second strain is at first played with the bowing taught at NL 8 in
the 54*_ Kxercise. At the repetition, (which,on account of the change in the notes, was oblithan
ged
to
to the
prescribed fingering.
Piu Unlit
Supra
The
1
5 1 Variation
la
N
,
-104.
3 za
be played piw lento, (.loner). The first six notes are most conveniently taJen in
the half Position. At the skips in the third bar, the pupil must bear in mind what has previously been said
is to
to another. In gliding down from the upper harmonic E to the G sharp, the
must
the
press
finger
string firmly on the finger-board. That this gliding from one note to an-
774
o
iiKxit-ruto
JOO
/
,
Larghetfo
f =
88.
* hen the figure descends, as at the beginning' of the 2 'l strain, where it is commenced with the up boy,.
In the second bar of the 7_ Variation, the pupil is introduced to a new double, shake,
in which
the under part commences shaking- later than the upper one. In addition, .therefore, to the form-
remarks on the double shake, it is still necessary to -observe, that the shake begins in both
parts with the principal note, and that the uniformity in the beats of the upper shake, must not
in- interrupted
by the entry of. the second.
er
pizzic
The
8t!>
of the
putting
e.gg.gg gg
ami
refined
full of soul.
As the most
this
is,
delicate
management
of the
bow
is
But above
he
nitis't
;pay
observed, and the length of the bow as well as the rapidity with which it should be drawn, rt.-j.-u luted
according to them. The strictest time must also be preserved, when the accompaniment, as IN the
case here, consists of uniform notes or fijjiires.
6077
'
r.s
10
Tnitpn J"
76.
* '-*+*:-.
~^ ^-+
yii
->
The
inal
1
10 - Variation
lxrec
of
bcini-r
marVtri
movc-mont: that
last
perfect
Tempo
is.
equality.
l'L!<i
+.
-^
( primo ),
in
tlu-m-i
Andante.
Variation presents
notes vith
f.-mardsi this
equu'l
n|
tin-
Co/)./.
>
pousse.
**JL
-m-pf-g^z
9 ftCtf
*&&&
t
q
-j
Coda,
is
piece of r.Insie: consequently, in a set of Variano longer constructed on the Theme. In this case, the
principal fiunre ..f the last Variation is generaUy more developed, and thus a more
satisfactory conehision is tfivcn to the piece, than would have been
produced by ending with the Variation itself.
(
ailditjon,)
tions, as here, it is
one uhich
is
UVEtRY om'TYlEOT P
SJJCTJOJV
Ox DELIVERY
FOlRfifflANCI,
J.
OR STI-LK
GENERAL.
/jv
Ey
of the same, as expressed by notes, signs and technical terms, is called a correct style; but
if the performer,
by additions of his OHII. be capable of intellectually animating the work, so
hearer may be led to understand and participate in the intentions of the composer,
termed a fine style, in which correctness, feeling and elegance, are equally united.
that the
is
it
wise contain
all
their
requisite
it
only
remains
in
this
application.
of fine
is
style
however, confined
to
this;
of
discerning the character of the piece performed, and of seizing its predominating expression and transfusing the same into the performance. This, which elevates a correct to
a
fine
is
style,
never
An enumeration
the
pupil
entirely
.of
be
a natural
gift, which
fine
and cultiva -
taught.
all
cultivation of a
is
attained it,
style.
l*t
to
true intonation:
their duration;
3?
an exact
without
for It-
l-'or
quired:
fine
1
style, in
s*
.
more
preceding, the foil OH ing technical expedients are rerefined management of the bow, both with regard to the quality ;m<l
addition
to
the
3077
intensity of
particular, to the
tions,
tone,
* hi eli are
ami separation
accentuation
to
tye soft
of musical
fluty,
phrases; 2-L
n'ot
and
the
as
also,
in
slackening of
as the
But
all
these
it in
means
When,
finger.
of
therefore,
sensibility. This
style,
when good
will
taste watches
a fine
it
will
then
be time to
awaken
good music, as well as celebrated singers and instrumentalists,- the teacher, at the same
time directing his attention to the beauties of the composition, and also to the means of
expression employed by the
singer or player
in
of the
auditor.
II.
Guv
for
OF.
PERFORML\'(; CONCERTOS.
in
as the Violin
derable distance.
In Concerto-playing,
therefore,
its
softest
the performer
is
perfect
in
l? 7
an
7.S.V
meet vjth
expressive delivery, as, without this, the most brilliant execution will only
admiration, never
with hearty
Hence,
applause.
such applause,
selecting
eoll
full
composition
of
and genius
feeling
is
required.
to fix
on
one which not only affords him an opportunity of displaying his talent, but also possesses
sufficient intrinsic merit to satisfy the most cultivated ear, without reference to the abiof the player. *
lities
As the
means
of the
application
rules
By
this
attending to
style,
(enumerated
in
the foregoing
all
these
signs
of
two
as this could
strictly
due
and
fine
in the
where
the
such
of expression to a
has been
given.
will
assuredly arrive at
expression of these Concertos, provided he has been gifted by nature with the ca-
pability of acquiring
fine
style.
commencing the study of the above, he should observe what, here follows:
|st Ev er y period which begins with a whole bar, or with an accented part of a bar, must,
according to rule, be commenced with a down -bow: those periods, on the contrary, which
But, before
or
Whenever
pousse.
In
unaccented part of a
other
cases, the
bow
is
in the
original,
bar,
rule occurs,
it
is
signified by the
word
2- The appoggiaturas
in
are
all
for the
teacher.
.
fuvor hus,of lute, been almost entirely transferred from the works
brought forward
the
Solo
to
bo
accounted
for
from
the circumstance, that the majority of the Concertos
by
-players
Symphony, may
now hoard, arc to extremely dull and unmeaning-, thut thoy cannot possibly bear a comparison with the classical
a masterly composition, and his performance .will then not only crebut
will
even present an additional attraction, through the exhibition of his
Symphony,
The generality of Solo- players, however, not feeling the nfcossity of really good compositions, invariably
such only as they hope to astonish with; being either too idlo to practice with perseverance tho difficulties which they probably find in distinguished Concerto-pieces; or unable to withstand the vanity of performing
talent..
selec'i.
Concertos of their own manufacture, consisting of plagiarisms from works which thoy have incessantly practised,
meanly strung tog-other, and therefore devoid of all genius and inspiration, ovon though they may have b e'en arranged and instrumented by an experienced musician. That the public, after having- once become sensible of
tho beauties of a classical Symphony, must necessarily turn from such compositions with disgust)' even when
pot-formed by
a.
talented
5077
First
First
Tin- first
Allegro
of this
Concerto IMS
It
on
passages, with great emotion; though,
tJ.e
u *\loderatu
The
So/o.
serious, Hevated,and,in the theme or subject and its repea round,full tone, and, iu man;
requires to he played with
whole,
in a
tranquil
88.
'
-Oh
-p-
-f-
bars,) are
carried close to
the
bow as
possible.
is
*hole length passed across the string nith an equally strong pressure: the changes
quickly, that no diminution of power, much less a break or interruption between the notes, may be observed. In those places where the power is intended to be diminished,
%
ow is removed farther from the
the
bridge. For the concluding notes of the first three periods,only half the bow must be used; during the crotchet rest, therefore, the remaining half is pushed on above the string, and afterwards the bow is
close at the nut
At the first six notes
in
its
again 'applied
pushed
way up,- then a very short, down-stroke is taken for the last
note, and the second half of the bow used for the first two notes of the following bar
The pasn
ji,
at
the
with
the
the
of
16* bar, is played
semiquavers commencing
bov, as
upper half
of the M-*]
bar, the
bow
is
half
/S.,
Ir
lung strokes being taken as a steady back-arm will admit of. In order that .the
>hafces might be
and brilliant, half the value of the
note
has
been added to that upon which the shake
preceding
is made. The last four notes of the 19*J
bar, are again taken with the
holo bow.__ The shake in
the 23'
bar must commence slow and be
accelerated
The division of the bow in the
gradually
full
bar,
is
playing
is
called
tempo rubato.)
tint this
correspond with the decrease of poner. A considerable length of bow should be used
first notes, in order that the latter ones
may be very soft.
3077
fc
tjle
the
81.
^ pocu rilnrdandu.
r-ffrf-p
/k *
following bars, are played as loud as possible, using only the half bow *ith a
back-arm.
_
The staccato notes in the down -bow, at the 54*^ bar, must be very smartly
steady
and
"In the 58 _
of the 56ln bar
detarhed, so as to form a stronger contrast with the
80 \!' bar, the ninth note (G natural) should be dwelt upon a little, and the lost time regained
^P
'
fi()7T
('
yss
80.
Thi melody from the 65L' to the 80^' bar requires to be played vith great expression, nhirh the
pupil nill not fail to do, if he carefully to lions the prescribed signs. _The first four bars of the
'
p.-issa^-f
*ith the
rdiiiiiu'iifinif
piano
at the
of the
84^
SOf
077
If
'.,
quavers of the 81_ & 83^ bar are t< be slijj-htly prolonged, yet so as not to occasion any marked difference in the time._ At the triplets in the 85 _
bar, the bow is gradually pushed up to the nut, in order that its vhole length may be used for
the down-stroke in the 86t!1 bar.
unit.! all
The
last two
5077
SO
790
^X
"
'
'
1.0.
^dal
.f
SKCOM)
SOJ,O.
eat-li
other
h}'
the point, and then a^uin instantly applied close at the nut, to the lower G sharp. For the last
three notes of the broken chord, a whole bow is taken; then, on the first double-stop, it is drann
half way down, and after a short up-stroke, the remainder of its length is used for the third don
The first note of the 9t!' bar must be given *ith a gradual increase of poneivyet not
Mc-stop
much as to prevent the following staccato from being played itill loader. The greatest force
s<
'
>!>; 7
first
martele.
1
in
the 55
hack -arm
and
three
folio
must be given
nitli
permit.
The martele
in
as
^T7T!
-4j^-
63.
S
shorter and more piquant. The first note of each of the semi
quaver- triplets in the 61 J bar, must be
dnelt upon a little, and the triplets themselves be so connected
the
together, that not even
shortest rest may be observed between them.
To the following passages apply the remarks which have been made on similar ones
S
6077
in the first
74*.
077
Sopra
la
The
ADA G JO
the tremolos.
The smooth' gliding from one note to another, must not only take place upwards, as in the first bar from
G to K; but also donnvards, as in the same bar. from C to the open K, and in the forioHiiig,fronifrtoB.
The introductory notes of the several periods, are all played vith short homings near the nut.
I he
shal.e in the V6km- commences slo.uly, and is then gradually accelerated.
}
5077
inn
/'
Cow up in In.
/)
The
RO *~ D
has a spirited character, fanciful and melancholy in its. theme, and must be played in a lively and
The introductory notes commence
energetic manner, though at the same time also with elegance
down -stroke, close at the point of the bow. For the first three slurred notes of the I 8-*
whole bar, the half of the bow is taken, then a short down-stroke for the C, and afterwards the
second half of the bow is used for the tno quavers. The 2-'' bar is performed in like manner,
lint with the down_bow; and the a !*1
again as the first. The last note of each of these bars,
marked with ,< and a tremolo, must be given with as strong an emphasis as possible.
The gliding upwards from E to A in the 4*_n bar, must not be done too suddenly; and attherfiw:
the bow is gradually withdrawn from the
bridge. The three following bars are played with a soft
with a
^c: notes being less forcibly accented than in the first thr077
bars marked
it**
38^
so as to
-0:7
^ 1
di
J
f-Jr
N =
-j
f*
P<><'
>' >
t(t
r(l:
a Tempo
80.
7S.,
90 _ poco ntardan
o
>
in the
83 r-^ and
three
f'oll^HJng'
bars, a
is
of the others, so as to play alternately in the middle and at^the point of the bow.
The- crotchets* with tremolos in the 88*^ and 89*1' bar, must be strongly accented. In the
used than
fi
:iny
077
90* bar,
movement
is
resu
Un noco
.
'tempo
lento.
pii(
}=58
63.
IJJ-J
The M(ijnr must be played a little slower and very melodiously- consequently, with long flat b OH'.
ings. The poco piii lento, in particular, must be given with a very full and noble tone.
From the SH* to the 38 _ bar, the peri'orinaucc must be delicate and ingratiating, and the bon
.
be
207
d*elt upon rather longer than their value requires, and the three
following detached notes play.
oil
much quicker.
jirst as
h
distinguished from the 38*_ , by placing the accent on the second note, which
beiVire fell upon the first.
The two slurred notes (G sharp and A) of the 46^ and following bars, must each time be
strong,
ly accented with as long an up -bow as the down- bow
for the first four notes of
Thu 42 ".
([
bar
is
employed
all
attached.
5077
>
h-i
At
the-
From
J->/>
of
the 65L
scTM-d, that
tin-
the-
\r\~r~ t
5T*P bar, the bow must be very far removed from Uie bridge.
former part of the movement occurs; but here
bar, a repetitidii of a
6'6'"'
bar Hitlers
f'riuii
tlie
86'J
in the
it is to
beob_
^wi
of tlie
bow. Consequently,
as
,0
4.
the
II..H
the point.
077
THH
'Ilif
Allegro
is
Ad(if*'i<>,
HI th extreme" ardour, amounting almost to nildness; but the middle subject in a calm and ingrati-
ating style.
As the technical performance of the prescribed
marks of expression
in
Rode's Concerto
and se-
veral of the foregoing Kxercises, has been fully pointed out in the explanatory observations, it may
be reasonably inferred that, by this time, the pupil has no need of such assistance: here, therefore, all remarks have been omitted. The pupils attention, however, must now be redoubled, in order
that no such marks, nor any indications of the fingering -or of the positions, may be overlooked.
In this Concerto, the time remains unchanged throughout an entire movement. Indeed, the compositions of the Author, very seldom require an acceleration or a retardation of the time in or
dertu enhance the expression. This, generally speaking,is only necessary in such compositions as
are not of a uniform construction and have not been imagined in one regular degree of moveThe pupil, therefore, should rarely have recourse to this means of expression; and even
ment
'when prompted by his feelings to employ it, he should observe moderation, that the unity of the
composition might not be destroyed by a degree of movement wholly dissimilar to that firstadopted.
Chosen on account of its affording- the pupil an opportunity of practising- several difficulties which are not
met with in the preceding- Concerto; as chronutt if scalus, double-stops staccato passages &c:
r
L.
Allegro
SPOHR s
CONCERTO.
= 126.
6077
to
be
m
'
/'_
.*
u<n-
cies.
=$
*tt~r-
w.
S.
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"fr?
/m-i
-':
fc|
^ nit en
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do
sopra la
Pousse.
^ Opj,
M^
222,2
-do.
ere- _ seen _
^U^5
So/.o.
)!/< .>.<
SV!.
di/nun
R
i.
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j =
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oft
DO
Tidti.
4-04.
4.
4-
It
t.077
r^t
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sorr
III:
1 Soft
solo- parts
most
.VAVT
inli
ation of the
style of
performance
marks of expression
very faulty and in-
complete,- arising either from the negligence of the composer, or from the carelfssncssoi. the en-
little
the marks of expression which have been omitted by the composer, and to supply the indi-catioii of
them himself.
In doing this, he should proceed in the
following manner:
As the notes must first be practised, he should primarily seek for the most favourable Positions
for vanquishing the difficulties of the left hand, and
bow
various traits of melody, and the most effective kinds of bowing for the passages.
of the
He must next
consider how the performance can be enriched and the expression heightened by the artificial
positions and that which belongs to them, (viz. the changing of the finger on a note, and the gli-
from one note to another,) by the judicious use of tremolos, and by still finer shades
forte and piano than the composer has introduced. When all this has been ascertained and
dii.g
ot
in
dicated,the whole must then be practised with the utmost perseverance, until the highest finishes
well as the most refined and heart-felt expression is brought into the performance.
Of all the foregoing requisites, however, a good division of the how is the most essential for a
fine delivery; and yet, from the
given for
it.
passages, a
great variety
in
of
can
place, than in
in
the following:
piano ones:
be
In
forte
S-^for
single
1_*
notes, as also for the conclusion of such phrases as are to terminate very delicately, the down-bow
is
suitable:
3^,
all
the
up-bow
is
all
final
to
On account
will, at first,
the most part, to that routine of playing which he will already have acquired by a strict
in
From
obsercompa-
rison with similar works already practised, he must not only ascertain the best division of the bow,
but also the proper places for the application of all other means requisite for a fine style, until
such time as he shall be guided entirely by his own taste and feeling,
The pupils labours will be facilitated, by comparing the foregoing solo-parts with the printed copies of the
Iwo Concertos, and carefully observing the additions which have been made for the ex-
r o
rM.tr.
LJ :
A new
/V-.WOK..W/.AY;
^uartett has latterly been invented, in which the first Violin performs the solo part, and the other three instruments merely an accompaniment. In order "to distinguish compositions of this kind from genuine Quartetts,they are termed Solo-quartetts (Quatuors
brillans).
ot
species
They are designed to give the Solo-player an opportunity of displaying his talent in small musical assemblies, and they therefore belong, in so far as regards their performance, to the eatei
u<>ry of
Concerto-pieces; hence,
ail
the
in
foregoing sections, is applicable not only to these, but to all similar Solo-compositions vith a
three or four part accompaniment, (as Variations, Pot-pourris &c.) with the single exception, that
here, in a
space and with a weaker accompaniment, the tone of the instrument must not
the fullest power, and all roughness in playing, which is .lost in a Concert room
sr.ialler
be dravtn out to
The genuine
tyuartett
demands quite
a different, style of
performance. In such,
it
is
not in-
tended that any single instrument should predominate, hul that all should alike enter into the
idea of the composer and render the same intelligible. The first Violinist, therefore, should not
aim at distinguishing himself above the others, either by peculiar strength of tone,or
his
by
Quartettjiior in marking the difference of style in the works of our classical Quartet! writers.
The pupil will perceive from this, that although probably less mechanical skill is required
for the perfect delivery of the tyuartett than for the Concerto, it nevertheless
gree of
sensibility, a
more
dispensed with
readily
more refined
taste, and a
demands
other
higher de-
knowledge of composition.*
it is
that
he should do
so.
At'THORS RKMARH.
For
bi
this pin
in the
beg-s to
recommend
th
8
following works published by Mess'.
,,s
COCKS
under:
On Double Counterpoint
beingthe
s.
d.
2.O.
2.O.
2.O.
3.
<fcC., as
t.i;u-
.:
The
pupil
the facility of agreeing with the first Violin in all points, as closely as possible; for in stance, in the poncr of tone, in the slight changes of time: which the first Violinist may possibly
introduce, as also in the delivery of passages of imitation, should any such occur in the second
sists
iii
part: further, in the strictest adherence to the prescribed bowings and slurs, as well as to the various shades of V) and f, without however rendering the latter shrill and prominent, unless the
passage
The
expressly demands
pupil having
it.
cd with the mechanism of playing; hence, the indication of the bowings, artificial positions &c,
is, in general, even more imperfect in their Quartetts than in their Concertos, and must therefore be necessarily supplied by the performer. But in so doing, still greater care and consideration are requisite, than with Concertos; as here, the object is not to display the talent of the
Violinist, but to call into life the ideas of the composer. The Quartett player must likewise be ve-
ry cautious
in
to in Solo-playing, since
ensemble may be easily destroyed, and the meaning of the composer perverted. Only such periods in which he has a decided Solo-part, and the other instruments merely an accompaniment,
the
in
the ordinary
it
is
'
frequently performed.
A scrupulous indication of the bowings, Positions &c, as described above, must precede the performance of each Quartett, until the pupil has acquired the facility, whilst reading the notes, of
it,
by hearing
it
ascertaining' also the best divisions of the bow, as well as the application of other means calculated to enhance the delivery. This, the pupil will .at first naturally accomplish in a coarse and ordinary manner, but, in proportion as his taste becomes refined and his knowledge of the art in
until, at length,
.
,
.
E C T I O JV
AND
V.
QJV
ACCOMPANYING.
Orchestral playing differs principally from Concerto and Quartett playing, in that the same part is
-performed by several together: Each player must therefore endeavour to agree as much as possible'
vith the others, in intonation;
of the same;
in the
members
and
finally, in
the divi-
As regards the
intonation, it must be perfectly true; hence, the more each individual performer
the
surer
will he be of agreeing nith the others.
this,
timing of the several members of the bar according to their duration, must, in Orchestral pip-
aims at
The
'*
accentuation must, on Ukt whole, be confined to the strong parts of th iv.i Ot'i-r accents used
render the performance more piquant, an- here iiiadmissihlciiiiilc.ss, inin Solo-playing, in order U
deed, they are expressly indicated, arid intended to be performed hy all.
In like manlier, the Orchestral player must content himself with the prescribed indications of -p
I
lie
and f,
in Solo-playing'.'
The difficulty, however, chiefly arises;-first, from the bowings being generally
marked in a still more negligent and imperfect manner in Orchestral parts, than in Concertos and
Ouartetts; and secondly, from the Violinists of an Orchestra, not having been formed in the same
tised Orchestras.
a different
necessary conse-
commence with
The duty
who
when several rehearsals take
place, as in Operas,
Oratorios and Symphonies.
.
Further rules for the Orchestral player are: to abstain from all additions of appoggiaturas,timis,
shakes &c, as well as all artificial positions, the gliding from one note to another, the changing of the
in short,
the duration of the former, and the style of performing the latter ; according to which they must be
uniformly played by all.
With respect to the time or degree of movement, the Orchestral player must be guided entirely
by the conductor, whether he leads or simply wields the baton. It is also his duty frequently to
cast a glance at him, in order that he may not only remain true to the time, hut also immediately fall in with any retardation or acceleration of it.
In accompanying, he
should always be regulated by the species- of music, and the size of the place in
which
it
is,
per-
formed.
careful not to hurry or retard the Solo-player, though he must instantly follow the latter, whenever he slightly deviates from the time. This, however, does not apply to
the tempo rubato of the Soloist, during which, the accompaniment must continue its steady,mca-
sured course.
is
generally
beaten, so
all
that relates
to
to the
the
tlic
to, and.
carefully following, the baton of the conductor. One species of music is, however, particularly (lit
ficult to accompany, viz. the Recitative, from its
having no uniform measure of time. In order
therefore to lessen the difficulty, the Vocal partis usually added to tire accompaniment, on a se*
from
this rum.it k
,-li<
lire, the
885
pa rate ktavc. This the accompanist must keep his eye upon, and at the same time constantly at-,
tend to the signals employed by the conductor for marking the entry of the
accompanying notes.
As these signals vary nith different conductors, nothing further can here be said of them. An
attentive player, however, *ill soon understand and learn to follow those of the conductor of the
Orchestra in >hich he is engaged, provided they are natural and unchangeable.
The tuning in the Orchestra should be as quiet as possible. The leader should get the A from
the Oboe, or better still, from all the Mind instruments together., and then to his A, let the Violins, Violoncellos &c, be tuned. Those who have done soonest, should not,
by useless preluding,
disturb the tuning of the others. After the tuning, a few moments silence should be
kept*
as the effect, on commencing the performance, is thereby greatly increased.
If the pupil again peruses the
foregoing rules for Orchestral playing, he will find, that the
chief merit of a good Orchestral player, consists in freely rendering himself subordinate for
the sake of the general effect, and in renouncing the desire of appearing as a Solo-player.
This, therefore, the pupil must do, so long as he continues to assist in the Orchestra
*
CONCLUSION.
:
,
My
up the steep path of Art. In prosecuting your journey, great and increasing enjoyments await
you at every step! Courageously press forward then; do not tarry! Standing still would be but
the precursor to your going backwards.
instruments, upon which it is only possible to make
by constant, daiprogress, or, indeed, to retain in after years vhat you have already acquired,
as
one
Your
of
as
well
the
nhich most
the
instrument
most
ly practice.
is, however,
any,
perfect
amply repays the trouble of learning, but not until the player has attained the full command of it.
difficult of
all
if
you aspire
to the office of
Lastly, when you have attained the highest point of perfection as a Violinist and Musician \hich
your talent admits of- think kindly on him, who has endeavoured, in this work, to smooth your path
and facilitate your career as an Artist.
,
HE
E XD.
5O77
SO 9
MT
262
S82
TORONTO LIBRARY
Sphhr, L.
Violin school
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