Spohr - Violin Schule

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JS[ UK.

appeared, 3 1 the Sacred Harmonic Society, (Exeter ON FRIDAY EVENING JULY ?.\? 1843.

conducting his Oratorio The FALL OF B/VBYION. Sketchedfrom

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TRANSLATED FRQK*THE ORIGINAL;

GRESHAM PROFESSOR OF MUSIC

.

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/'////AV//V/ r/t/V

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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

GREAT SCHOOL FOR THE

VIOLIN,

NEWLY TRANSLATED FROM THE AUTHOR'S VERSION BY JOHN

BISHOP.

THE COMMITTEE OF MANAGEMENT OF THE ROYAL ACADEMY OF MUSIC. Chairman

The Right Honorable

the

Her Majesty's Ambassador

THE EARL OF FIFE, LORD SALTOUN, THE RIGHT HONORABLE SIR GEORGE WARRENDER, BART. SIR GORE OUSELEY, BART. SIR GEORGE CLERK, BART. Acting Chairman. Principal

Mr.

EARL OF WESTMORLAND, at the

WILLIAM CURTIS, BART. THE HON. F. G. HOWARD. THE HON. A. MACDONALD. MAJOR-GENERAL SIR ANDREW BARNARD, K.C.B. MAJOR-GENERAL SIR J. CAMPBELL, K.C.T.S. SIR

CIPRIANI POTTER.

General Superintendent, The Rev. F.

Aylward, Mr. W. P. Musicseller, Salisbury. Armstrong, Mr. Professor of Music, Kendal. Aldridge, Mr. H. F. Leader of the Liverpool Philharmonic Society. Atkins, R. A. Esq. Organist of the Cathedral, St. 2 copies. Asaph. Abbott, Mr. Thomas, 99, High Street, Poplar. Ayton, Mr. John, 16, Warwick Row, Coventry.

Mr. Lewis, Herne Bay. 2 copies. Browne, Mr. R. Jun. Lowestoff. Mr. Sunderland. Musicseller, Beswick, Beardmore, F. Esq. Uplands Park, near Fareham,

Bird,

Hants. Blackburn, Mr. Musicseller, Bradford. Beale,

Mr. Musicseller, Wimbourne. Mr. A. Royal Exchange.

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.

Clayton, Mr. Professor of Music, Bradford. Crossley, David, Esq. Bradford. Camidge, Dr. York. Child, Mr. E. Musicseller, Hereford. Cripps, R. M. Esq. Novington, near Lewes. Cramer and Co. Messrs. 201, Regent Street, London.

6 copies.

Crowe, Mr. Professor of Music, Lancaster. Cooley, Mr, W. D. 33, King Street, Bloomsbury. Chapman, Mr. Allen, Violinist, Rye Croft Place, Ashton-under-Lyne. Capel, General, 14, Charles Street, Berkeley Square. 2 copies. Chappells, 50, New Bond Street.

HAMILTON,

A.M.

Dungey, Mr. James, Brompton, Kent. Dyer, Mr. J. P. Organist to the Hon. and Rev. R. C. Boyle, Marston, near Frome, Somerset. Davis, Mr. William, Coventry Street. Mr. John Leamington. Mr. J. Professor of Music, Eager, Edinburgh. Mr. Edwards, John, Wrexham. Elston,

Eyely, Charles, Esq. Oswestry. Ellis, Mr. George, Band Master. Emiliani, Signor, 9, Bath Place, Cheltenham.

Fagg, Mr. John, Professor of Music, Hull. Fisher, Mr. David, Jun. Norwich. Firth, Mr. R. A. Hampstead. Finlayson, Mrs. Musicseller, Cheltenham. Forster, Mr. Professor of Music, Ipswich. Fielding, Rev. Henry Farmer, Mr. Henry, Professor of the Violin, Nottingham.

Gubbins, Mr. Professor of the Violin, Newport, Isle

Wight. Mr. J. Professor of Music, 95, Upper North-

Gillins,

gate Street, Chester. Greenhead, Dr. Earl Portsmouth Hurstbourne Park, Whitchurch, Hants. Gwatkin, Mr. Richard W. 26, Guildford Street, Russell Square. Gillett, Henry, Esq. Markshall, Norfolk. Gilchrist, David, Esq. Dawsholm Print-works, near

Glasgow. Hale, Mr. Charles, Cheltenham. Harris, Mr. William, 76, Parrock Street, Gravesend.

Hunt, Mr. York. Holmes, Mr. Joseph, Clay Cross, near Alfreton. Hitchings, Rev. J.Wargrave Rectory, near Henley on Thames. Higham, Mr. John, Professor of Music, Blackburn. Hardy, Mr. F. 20, Berwick Street, Belgrave Road, Pimlico.

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.

Hamilton and Muller, Messrs. Musicsellers, Edinburgh. Hartnell, E.G. Esq. Trinity College, Cambridge.

Hixson, Mr. Henry Edmond, Organist, Professor of the Violin, &c. Alnwick, Northumberland. Hayward, Mr. John, Professor of Music, Wellington

Hayward, Mr. T. Musicseller, Wellington. Hewett, Mr. John, Library, Leamington. 3 copies, Herbert, Mr. J. W. Montreal. Jay, Mr. John, 36, Sloane Street. Jones, Mr. H. 44, Brompton Row, Brompton. Jarrold and Sons, Messrs. Booksellers, Norwich. Jay, Mr. W. F. Newcastle on Tyne. Jeffreys and Co. Messrs. Soho Square. Keith, Prowse and Co.Messrs.48,Cheapside, London, 3 copies. 20, Street.CamdenTown. Knox, James, Esq. Jeffreys

Keegan, Mr. Burlington Arcade. Love, Mr. Musicseller, Greenock. Lock wood, Mr. William F. York. Leader, Mr. F. L. 63, New Bond Street. Last, Mr. Professor of Music, Huntingdon. Long, Mr. Professor of Music, Diss. Lucas, Mr. Charles.

Macfadyen, Street,

Mr. Joseph, Musicseller, Glasgow.

Buchanan 6 copies.

Islington.

Meyrick, Mr. Musicseller, King Street, Yarmouth, 4 copies. Muskett, Mr. Bookseller, Norwich. 2 copies. Moutrie, Mr. T. B. Bristol. Monro and May, Messrs. Holborn Bars, London. 6 copies. Morgan, Mr. Thomas, 36, Upper Street,

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.

Newlove, Rev. R. Thorner, Leeds. 5,

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.

Perkins, Frederick, Esq. Chipstead Place, High Sheriff of the County.

Oxford

Kent

Prangley, William, Esq. Salisbury. Ridley, Mr. William, Newark. Robinson and Co. Messrs. Musicsellers, Dublin.

Reed, Mr. Musical Director, Theatre Royal, Haymarket. Robinson, Mr. Musicseller, York. Rich, Mr. W. 41, Belgrave Square. Rolfe, Mr. Musicseller, King Street, Manchester. Shearer, Mr. John, 7, Salisbury St. Strand, London. Stoker, Mr. John, Theatre Royal, Scarborough. Stokes, Mr. Thomas, 1, Princes Street, Gravesend. Smith, Mr. J. Musicseller, 47, Bold Street, and 66, Lord Street, Liverpool. Stoker, Mr. W. H. Professor of Music and Singing, 6,

Mr. Augustus, 12, North Street, Portsea, Moses, Mr. Musicseller, Dublin. Mawkes. Mr. Thomas, Belper. Mason, Mr. Professor of Music, Macclesfield. Morgan, Mr. James Arthur, 6, Highbury Place,

Terrace, Bayswater. Oliver, Mr. Band Master.

Palmer, Mr. H. Canterbury, Paterson and Roy, Messrs. Edinburgh. Pitcher, Mr. Thomas, Professor of Ihe Violin, Rams-

Devonshire Street, Queen Square, Bloomsbury.

Staton,

Miall,

Oldfield, C. F. Esq.

Parkins, Joseph, Esq. Bridge Street, Northampton. Prothero, Thomas, Esq. Furnival's Inn. Padley, Alfred, Esq. 25, George Street, Portman Square.

Mr. Musicseller, Bolton.

Stamp, F. Esq. Hull. Suggate, Mr. A. Professor of Music, King Street, Yarmouth. Street, Mr. Musicseller, Yarmouth. Sippel. Mr. C. New Square, Cambridge. Shargool, Mr. H. Birmingham. Stewart, Thomas Ward, Esq. Westgate, Newcastle on Tyne. 2 copies. Sutton, Mr. W. W. Professor of Music, Dover. Simpson, Mr. Regent Street. 3 copies. Sykes, Mr. Johu, Musicseller, Leeds. Tonkin, Sir Warwick Hale, Krit. G.C. St. Jn. de Jm. K.L.H. &c. &c. &c. Tanner, Mr. A. H. 12, Kensington Square. Thome, Mr. Professor of Music, Colchester. Tucker, Mr. J. 89, Western Road, Brighton.

Wood, and Co. Messrs.

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.

Parents and Teachers

_ _ _ _ __

Introduction

On

U. On HI. On

_

_

.....

I.

......................... t ..................................... .................. _____

and separate parts of the Violin .............................. the arrangement of the Violin ......................................................... stringing the Violin ......... ................................................................

_

6

On

V.

Directions for keeping the Violin

VI.

Of the Bow ................................................... ......................................... Of Rosin ................. : .............................................................................

the quality and value of Violins

I. II.

.......................

7

......

8

............................................... ________

9

.

PART ._

3

.

the difference in

10

II.

Of the Notes,, Stave, and Clefs

11

'.

On holding the Violin and Bow III. On the motion of the right arm IV. On the motion of the fingers of the left hand V. On the form and duration of the Notes and Rests VI. Of Bars, the different species of Time, and the degree of movement VII. On Triplets, Sex toles, dotted Notes and Rests, Ties, and Syncopations VIM. On Scales, Keys, marks of Transposition, and Signatures IX. On Intervals, and on Major, Minor, Diatonic and Chromatic Scales J. On the different Positions or Shifts, and on Extensions and Harmonics JCJ. On the management of the Bow, and on the different methods of Bowing. XM. On double stops, broken Chords and Arpeggios _ XUU. On Graces or Embellishments

13

14 17

25 27 35 V OTTO's THKUIM1M PKKSKKV4TION OK THK VlOI.IN .Mi AM. HOW \s ,ass- bar.* fhe height is regulated by the arching of the belly;

f

1

a

with a

Violin

tion.

This

high belly generally

latter,

however,

The proper breadth

is

;

requiring a higher bridge' than one of a

tu-st^determined by experiment.

the-^bridge being known, get a number of bridges soine strong, others weaker; _ some of soft wood, and others of that which for

ever of the oldest and best seasoned wood that can be 'other on the Violin

The

and try with

,

feet of the bridge

edge being

which

it

produces the

with the inner notches

In trying the several bridges, the changes

of the

must be made

made is

procured:- then set best tone.***

must everywhere rest firmly on the

situated hi a line

construc-

flat

as

of the

belly

f

to that breadth,--

_

all how. them one after an -

harder;

instrument, their hack

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.

latter, vhich can then

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.

f

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

a

line

with the

The sound fit

post

must stand

the upper and lower arch

perfectly

upright, and the ends be shaped

with a fine

file until

they

with the

greatest nicety. This latter is very difficult, and can only be accomplished by looVmg into the interior of the Violin, through the hole in which the fiddle.holder (or the button) is inserted. The upper edge of the sound-post must also be smoothed off a f.M.itii,n is the intention of B.R.imber^H'ho oriirin-..Uy ha.l it made for the C string of his Violoncello. I ^> othe Violin fhe-.nd-twenl. years o.sinre whirh tiino it hus proved of trrc-jt utility. ' P '"""" " ..... "'"' uf "'< b -'' " " bo best df.6Wrod with u thinwire, .umowh.t'bcnt.and fl,rni hc-d ;.

fc

it

the-

with

e-nd

* H..,,r,.

lt

j

h.jok

.

.,,,p,. 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

press into tilt' soft wood of the holly. To ascertain whether tlje upper end of the sound-post stands in the right place, in .the dihole to the bass-bar, measure its distance from the edge of the hole rection from the at end in the form a' the of bent a such as before with thin wire, hook; -afterwards, described, littU-, that,

moveil,

f

f

hold the measure over the belly

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 '

f

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-

in the instrument, that

the grain of the wood

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

after following the above directions,

It,

should be found that the Violin

it

either

does

not

then the sound- post must be moved backwards sound freely, or that it is unequal in tone^ and forwards, until (by repeatedly trying the Violin) the place be discovered for it, in which the most powerful and soirojrous .tone is obtained that the instrument is capable of producing x and in which, also, the most perfect equality subsists on all four strings. The succeeding hints to what has been previously said: If the tone, though equal, be neverthe of the bridge a little backward. Should and the foot less rough hard, move the sound-post from the upper strings sound shrill, and the lower ones weak, move the sound-post towards the bass,

may here be added

but should the lower strings, on the contrary, be harsh, and the upper ones feeble, hole. bring it towards the

bar:

then

f

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

a

be too short or too long. different position of the sound-post

very favourable

from

that

first

adopted, prove par-

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

exactness, _ care must be taken

to

case,

the ends no lon-

keep the

*ide which

the original direction. All such experiments with the bridge and sound-post, must be very cautiously per formed, lest any damage be done to the instrument. The sharp edges of the setter must likewise be rounded off, to preserve the holes from injury.

perforated hole, always

in

f

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

quality of the tone.

F

Or,

it the

in

f

other words, -see whether the distance of the back of the riirht foot of the bridge from th

'

>

7

t

THK Ihe \iolin

T'/o/./.v.

strung with catgut, the lonest string being covered with

is

platcd-coppcr

solid

in-

wire.

silver

preferable to the plated ones, as they produce a clearer sound, and the latter, nor become red and unsightly through constant use.

silver strings are

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

when the gut dries

the wire,

oji

becomes loose, and causes a

up,

jarring

sound.

generally very indifferent, from the too frequent use of the worst gut for them; the Violinist will do well to select some true lengths of gut from of such his 0*11 stock, according to the method described below, and superintend the covering to himself. Previously to the latter, hov ever, he should draw them up, on an unused Violin,

made

\s the covered strings

the note C,

T

and keep

j

them

at

this

pitch

for

several days, that

they may

be suffi-

stretched.

ciently

The

^

for sale, are

size of the four strings as required by the instrument, as also the proportion

of their"*

size

In order to obtain a round and powerful to usual each Violin the largest strings that it will bear, viz: such as will easily tone, give and quickly produce all sounds, and not damp the tone of the instrument. If, however,the tone

to one another, can only be ascertained by experiment. it

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

.

sound -post and bridge, may yet be often

the

vidual

equalised by the greater or less

power of indi-

strings.

Having once fixed the large to small, or the

not be altered; for a frequent change from detrimental both to the instrument and the player. Purchase,

size of the strings, let

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

prevent the possibility of any

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

convince yourself thoroughly, therefore, of the goodness and strength of strings, it will behest to uiakc trial of one. Some fifths * or 4 threads? that is, such as are (fc strings) have 3 made of 3 or 4 guts twisted together. The latter are dearer, and held in higher estimati on, Tht

i,

.,,,!<

,,t

the

l,,.,t

..C

P.U,..

Ill-

.

will

.K|iljin

!>>

th

4

l>nt

by many Violinists;

eAperienee has proved, that

they sooner become fibrous and unfit

for

4>

thread tilths

are

seldom true, and

th

it

use.

As the gut strings

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

their dull, yellow colour and want of elasticity.

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

A

is

when

the

are regular. These are so, when the string, as far as Out of a whole length of it sounds, is, e^eryvhere, of equal size and compactness. string therefore, that part must be chosen which is most equal in sizej even if, by so doing, some i it should be rendered useless: for, should it, in the first place, be cut up into several equal string

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

string is true, and fit for use.

a third line appears, as in the next figure; it

In the latter case, a truer

string must be sought

is,

on the contrary, false.

alter, as it would be

a waste of time

to

draw up the false one.

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

be gradual throughout the length of the string, it will neverin theless make regular vibrations and sound true: but, in this case, the octave is not exactly the centre, and the intervals lie proportionably nearer together at the strong, than at the weak at the

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

8

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

the latter half of the-

in

1

1

17*]',

;

,

and

in

the characteristics of their tone.

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:

ANTONIO STRADIVARIO, ANDREA & PlETRO GUARNK!IO, FRANCESCO RUG. (-KRIO, and GUADAGMNI, (Italians) JACOBUS STA1NER (Tyrolian);BVCHSTETTER, "VfAUSIELLj'ljOTZ, \\ITHAI.M, and SCHEINLEIN (Germans); a(id of later times, two Frenchmen, I.UPOT, and Pic.* All a second, but elder

;

these makers, and p irticularly equal to those of the three

first

tlje

first

five,

have turned out

excellent instruments, though not

mentioned.

In order, however, that the opportunity of purchasing

a good instrument (should such fortunate-

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

f

holes and scroll, the .bending of the sides, the arching of the back and belly, the form of the or work the &c: colour of varnish and the on the ornamental impress your ear, and me_ purfUng, of the the tone. quality mory, This, followed up with perseverance

and attention, \ill gradually impart a knowledge of the in _ strument, wtiich having acquired, will secure you against the impositions so frequently practi . sed in the fiddle trade. You will not then look upon those instruments as genuine, and be tempted to purchase them as >ith their names;

have

been made

such,*hich are mere imitations of the old makers and furnished

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

seriously injured about

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

l

tliat of

none crossing over the others, lint all stretched, and occupying a breadth of nearly half an inch. \ew. hair takes hold of the with difficulty at first, and produces besides, a rough and whiz/ing kind of tone. Before of a Solo, it must be used for 3 or 4 ly haired bow, therefore, is fit for the performance

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

Plate 3. Fig: III.

For orchestral

advisable to unscrew the hair a

playing, a

somewhat tighter bow

is

required.

each time after playing, in order to preserve the elasticity of the stick. Let the bow, also, he always fastened in its place in the case, and not lie left upon the Violin, as, by lying on an uneven surface, it soon becomes warped. It

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

wards, with a moderate degree of pressure. >*hen new hair has been put in the bow, feoth sides of ly

a

powdered rosin. soft

The rosin-dust which adheres

to the

it

require, at first, to be rubbed with fine-

stick,

must be frequently wiped

cloth.

END OF THE FIRST PART.

.077

off with

II

1

SEC T IQ.

a distance from the nut; the second, close to the

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

with short bows, which latter are made with a

steady

tire,

back -arm.

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

until Iif lii-yins,

without sii'h

a^si.-.tan, 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

occasioned should be very

Andante

short, at most only a

demisemiqiiaver.

w.FS.

titv'.

H.B.u.

tin.-.

S.St.

H.B.u

PIMISSI-.

S.St.

S'077

W.B.

When

tno notes are tied togetlier several times

on a weak part of the bar, and the second on a

copated notes:

in

succession, the first of which

fatik ettriuti

strong part, they are called Syncopations or syn-

4O the

An Haute.

tin.

f

^

4-^v .

-_

\=--

9

,

, .....

...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

but also strictly in time. the -teacher or his

In order to convince himself whether he can accomplish

may now and then

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.

KEFS, MARKS OF TRANSPOSITION* SIGNATURES.

OA* SCALES,

I

and

he natural and gradual succession of notes, C.JXK.F.G.A.B

The

pupil already

ag-ain to

knows, that the distances between these notes are not far apart as the others.

K_F, and B_C, are only half as

The

all

alike;

a

Scale.

and that

scale, therefore, consists of five

greater and two of the lesser distances, which are termed

nt the

C, is called

respectively

tones

and

niitones.

s<

tone.

ty */

.

tone.

.'semitone.

m

tone.

*

'

-i.

At

tone.

first,

two tones occur,

viz-,

from

F

again three tones, from

F; then

from

B

As

this

C

to

D, and from G, G to A, and to

D

to E; then

A

to

B; and

'semitone.

tone.

i

comes

a semitone, from

lastly, the

E to

second semitone,

to C.

series of notes

commences

with

called the scale of C.

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

requisite that one or

more of the notes be elevated or depressed

a

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.

,

First, that of G, as it requires

but one sharp;

'

.-

..

tone.'-.._

lone'.''.

i

_.

semitone:.

_

_.-'

tone.

~':\

..'"'

tone.'"'..

_.-'''

tone'.'"'-..

..'''semitone.'''..'

1 G.

A-

D.

E.

arp.

then that of D, with two sharps; tone.

5

'..'

tone.

'..'

semitone.

''..''

tone.

'..''

tone.

'. .'

r sharp.

that of A, with semi-

f

three sharps;

Fshurp.

sh.irp.

that of E, with

r shjrp.

four sharps;

G shjrp .-117;

G

tone.

'.

.-'semito

C

shurp.

G.

/.v

and that of B,

five sharps.

\.idi

8c nn toilC'.

1 (

Among note

B

C

The

n

r shar.

J) sh ip.

|v

these scales, the pupil will miss that of

Ci

A

sh.tr. .trp.

shar. arp.

This can only be formed by depressing' a semitone; by which, after the two tones, the first semitone is obtained.

The depression it.

.^li

with a first

of a note

new

scale,

D

with a

1)

produced by flattening the note B,

is

'

tone.

"'.

C

b,

'

tone.

effected by placing the character

therefore called

is

h,

is

F.

..'

flat;

semitone. '. ."

tone.

by

before

on.

consequently that of F.

'.."

"'..'

tone.

semitone.

*'

m

commencing with the flattened note BP,

and

before.

Scale of Btv

with

two

fiats. I

Mil

tone,

1'ltlO.

i

/

^

1 B

Commencing

flat,

flat.

Another new^ scale can now be formed, the fourth note as

a

P

B

flattening

termed

,

flat, and so

tone.

''.-''

=fc

\?

the

E

f I.**.

B

fi.it.

with the second flattened note, we form

'lie

sea o of

semi-

E

with three flats;

3,

torn-.

tone.

fi Jt .

.

i *

Afi.t.

Eflut.

commencing with the

third

**=

iA

fiat.

A

flattened note, that of sc^mitone.

B

D

fiut.

fi.it.

Efi Jt

Bfl.t.

**""" -

r

But

IICH

scales

caji

i J..t.

E

Gfiut.

fljt.

also be formed by

1

of Fjf, with six sharps,

is

Afijt.

commencing

^ A

fiut.

and commencing with the fourth flattened note, that of Dt,

I)

flats; SI1I-|

M E

inr

with

P,

.

with

B

with the

five

j.

flats.

D fLit.

fi.,t.

sharpened notes, consequently the

here subjoined. sojui*"""

\" ?-h it (>.

G

>>h.ir|>.

A

li

i

(' -.h.n

(i-

I) sh

.1

|>.

Ks-hut'.

K

>d

i

|>-

tins

III

twelfth soak-, the whole series of scales finishes.

ciimmcnciiig with the seeoiul sharpened note C'#,

For Mere we yet to form

we should only obtain

a

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

Mould add nothing

to

One

the number, but correspond precisely

of these twelve scales predominates

Kxercises

Key of C.

V! s

13,

14,16,

17, 19,

20, and

There are consequently

in

every

with that

of

composition; that of

F#.

C, for instance,

22, hence these pieces are said to be written

as .many

in

the

in

the

Keys as Scales, namely twelve.

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

the predominant scale and the key of the

Here

follow the twelve keys

Without signature.

piece can be instantly

ascertained.

with their signatures, which the pupil must attentively observe.

4.5

This character, therefore, loners a note when been previously

it

contradicts a sharp, and raises one which has

affected" by a Hat.

The three characters #, b, and \, are called marks of transposition. The signature of the following Exercise consists of one sharp only, which pil must therefore stop this note a semitone higher, the throughout

H

string, the first

the first, must now

The fourth bar

piece.

F, the pu

Consequently, on the

finger must no longer be placed close to the nut, but close to the second

finger; and on the

.

applies to

D

the second finger, which hitherto has always been set be placed at a distance from it, quite close to the third. string,

of the Exercise modulates into the key of

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-

therefore, the pu. the.

second finger

last bars, however,

former place.

50.

J^ *

'

The next Exercise has likewise one sharp for its dominates. But in the 5V and 6 bar, and again 1

.

signature, consequently in

the key of

G

pre-

a succeeding part of the Exercise, by

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.

I

In the S*.' 1 bar a modulation returning to the original place at each the Key of J), and the scale of 1) then predominates to the IT*.*1 bar. .

ty

i

l

r = 100.

:

J

crw '

pousse.

:7 three flats hi'

for its

signature; therefore, all the K's

stopped a scinitiMn- lower.

.l//r'iv//o.

J

i,

108.

^

-077

K

s,

and A"s,inust

pousse. '

V

~

ji** Jt1

pousse

m *m ?

4 I

3

H.B.u.

W.B.

ix.

:

O.\'

LVTKRVAI.S, .-LVD o^r MAJOR, . DIATOMIC AJVD CHROMATIC SCALKS.

The distance from one note embraces, determines C t,, F. third;

from

an Interval, and the number of degree*, which

is

C to D. from r3C=g

J fourth, and MI

a

'.

I.

another

name; for example,

its

-flr-

*

to

!

r second; from

a

is

t,,

i'

K

3tE

a

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.

J

perfect,

^

.

augmented

.

i

minor, 111IIK

3|P

minor,

~\/

major.

.

FOURTHS.

perfect,

augment!

d

.

I

el

\

FIFTHS. diiuinishod or false,

augmented,

major,

j

THIRDS.

\

SIXTHS.

.

uULmontc-d

perfect,

mium-,

j

diminished.,

major.

minor,

.

major.

3*s OCTAVES. perfect,

minor,

aug'mentfd.

V

JV/JVTHS.

\7

major,

augmented.

,

TENTHS. minor,

\

Jiiajor.

=3=

When

an interval exceeds the compass of a Tenth, it damental note and again called a Fourth, Fifth &e:

is

reckoned from the Octave of the fun-

other practicable intervals, the pupil will learn when he enters upon the study of Harwhich be it here mony; study, observed, he cannot dispense with, if desirous of becoming a All

thorough

musician.

The

scale which the pupil has hitherto learned in twelve different prt*itions, ascends and de_ ttccuds with the major Third and major Sixth:

I.

2.

3.

Mr There Sixth

is

however another

minor; the former both

4.

B.

r r

fi.

3.

7.

rfr

r r r r r r r

scale, which differs principally in

from

f this, in

ascending and descending, but the latter

having the Third in

and

descending only:

i.

p.t.

a.

8.

-*.

,tf.

=

,

ri-rrrrr Besides the Sixth, the pupil

will

f-^.

tone.

.

J

semitone.

..'

in

r r r f

-^

ff

observe, that, in descending, the Seventh

This scale, like the others, consists

.'

-^*

of

tone.

five tones

'.-'

tone

is

and two semitones, but

tono.

font

1

also

flattened.

in a different

.

'..'

semitone

order

(if)

.Minor Srale of "

'

"

.A

.

without signature;

'>-'--^* t. L

-

-

t

._

"

t

of E,

-with

one

sharp,-

2.

of B, \vith 1\vo sharps;

of Ft, with three sharps;

V *d 'vfi

of G, with

t\u>

flats;

pp

.

of C, with three flats; c

~frf

without signature audit with A,

it

commences

proved to be

is

oeeur, the Key

iniiiiediately

is

the Minor key.

in

\Mion the meloxly proceeds by degrees, F and

the Minor key:

G

or even the

C

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

the melody descends, we must examine

another direction

A

;

one or other of these notes.

must be taken notice

G

ke\

Major

or K,or after both.G"or

no sharps are used

if

When, however,

key.

jor

but

after

It

decided at once by

generally

both are elevated, thus;

once decides

first note at

with G, this

where

the place

to

it

order to ascertain the key, which

Ma_

either

it

then

is

in

is

the

in

it is

ii

gene

_

rally

has

19, which the pupil )

|

ote G)

proves the ley to be Major. In X? 14 JKT' .

the key remains undecided throughout the first bar, as the notes of this melody to

A

minor; however, the

note of the second bar (G) proves

first

third note points out

the Major ke

by the third note. In

N

18. afiffi

(A)

proves

it

to be

In

.

***

X?17.^-g-f /it remains

C major

to

in the latter kev

.

In

or to

A

^

|

the

/j

to be

it

the first note at once indicates the Minor key; and in

whether the melody belongs

to

studied.

alread\

the second

r

Examples, we here select the Exercises N. s 13

h\

\

als.,

might

C

belong In V.'

major.

\?

Major key

the likewise announced

is

doubtful, to the end of the first whole

minor; but the

N

first note of the

the Major key

is

at

bar,

second bar

once decided by the

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

A

minor.

Should he even then be occasionally

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

m

with

C

or

this,

A, according as they are

Major

or

Minor. **

The

following KXMCJS.-S are intended for the practice of the Minor scales, both ascending and des . rending; the latter, sometimes with the minor, and at others with the major Seventh. The pupil must

theief-re bo part iciilarly. attentive to the numerous accidental marks of transposition. ,*

.n-1

Mi, 1(>r

y frcqui lltjy ,.,,,, in tht Mjj,,r of tho SJ ,no ,,

A *,.NOR littjo

in

A

"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.

.

,

= ~

I

^ j^ffp=t 1

-..^^ =^^

Fg

M4-M3 .^077

*

3 Cfm^-f^,

H.B.I.

S.St.in

,

<

i

~rTn middle-.

Ai It pro.

^*S

f

U'".

^ '

^

IT*

:

4-

.

."-.(77

r

4-

1

J*L^U-4-4-

In

the l..il*inu-

n,.tes

the

hi-l.irr-

limits ol

KxerHs.

,

the rule must be borne in

vhieh they stand, but/ also those a bar: hence at the end of the

Andantt.

}

=

in

miml.that

the upper or

first bar, K!)

W^

tin'.

.-"77

ai-f idc-ntals

not only

afte\

*'!"

is

it

------

usual

to

write them

an octave lower, and

aW

(abbreviated from

ted

line

i

r f ? f

r

The notes situated above

different half

positions are

shifts.

A

is

either employed, or the dot.

!,

?=-,-

hand, relinquishing

loco

as:

Wf-

Ihe

4-

are again to be played as written, the word

discontinued,

indicate their higher situation

to

For example:

littaia.)

4 V\hen they

its

can

usual

called

half shift was

only

i

be reached ami stopped by the lingcTs. \lu-n

more or

ad\ances

position,

Shifts, and

or

were

that position

less

These

towards the bridge.

formerly divided into two classes, whole

of the

hand,

in

which

the

G

of the

K

ant

string

l

*<

is

't'U'1"

1

'!

b<

*ith

the

first

finger:

o77

anil

a

whole shift, that

in

which the same

fin

77 i

-f-

A

placed on the

is

gcr

the

of

E

string

-

Jf

~

The following

.

1

was again termed

position

^y hall

a

shift;

next

the

that

to

whole

a

shift,

upper positions from the lower ones the second half and second whole shift. these

Hut

as

this

various

distinguishes the

The lower

of shifts

appellation

position of the l s.t

therefore called the

hand, in which

Position.

"When the hand

is

G

or

G#

E

of the

1

-~-

on

':

I

} I

V

,

I),

.

been played,

is

^

F"

I

^*

are

e

'"

*''*-'

Position;

2'l

'

*

_j

fcjg '

_,

'

the

4 th

;

on

^-^7

tlie

',in

C, or

Cf

,

in

1

in

i

i

i

on

string

Ab, A, or A#

1-1

&c.

i

l

'

n- called

advanced so much nearer the bridge, that

frjg

g

the

in

V

i. rrri r

CCrU *~r

[.

13

[D i^^

-

-.frtr.f\?tfr.*r+rt ifuJ [r^t TC^iPl^^ ^i^ M*

^*g

i

H.B.ii.

S.St.

H.B.I.

W.B.

a

"~L-

s/

5077

ol

Position.

H.B.u.

oV." -99.

S.St. H.B.l

staccato.

S.St. H.B.u. S. St. H.B.I. to

rl

tire.

S.St. H.B.I.

S.St.l.

W.B

A

/-,.

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

:

J

' '

I

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

ensure a correct stopping of the semitone. Kut it is impossible to determine in nhich must begin; as pupils with thick and fleshy lingers will find it necessary in

Position this positions

than those nhose fingers are slender and delicate.

All eg- ret to 3'.

d

Position.

J=611

;,.,

lo.n-tl,

without being placed flat. At each il

the left hand must belly,

that the

Nc

rtevatcd

fingers may

suoeeeding Poriti.n,

rath,,-

more than

it

bo enabled to reach th,

this elevation of

the hand

has

In

(

constantly

is

of the ne,k, and the e.l thumb being gradually draw,, round the projection small hand, he will be cupelled, m.der the Violin. If the pupil has a very from under "the neck, and rest it against the thumb

,..,-t...cd;tho

i

ried ff.nl.er

draw the highest Positions, to

then necessary to hold

But

it

the

hand to the. lower the

In

m ,,st the

1

4.

1

]

is

7th

fourth*

from

finger for

F

its

A

the chin; especially .instrument firmly with

*

Exercise, the hand, place,-

nor again,

sharp.

Allegro Position.

V. 43.

the.

in sliding d

Positions.

bar of the ,lext

not be moved

r,l

entirely

J

= 100.

in

in

extending the first

the

8t" bar

of

the

finger for

Part,

in

A exten.lmg

ill

*>

'

s

-0-

rr-r i

m

.

1*-

-F

f

j-JJ^r

So

7

J

1

,

,s mark,,. *.th

little

..ashes

iuthelulWl^Eiarctee.mm.t

he ..hn,,, very short and -K-tad

I

III

the

a high

position of the hand,

next Position be

third Position above.

where the stops are very

reached hy extension, hut also In the

following Exercise, for

seventh and eighth Position. But, let belong ing for them, the hand must not be removed from to the

*tretched 'out as far as

is

required.

SOT'

sirch

close, not only

as

its

I

can the notes

are situated

instance, some notes

me here

'

in

of

the second or

Mill be found whirl

again observe, that, in extend-

place, but only

the fourth

finger

-

*>

'

S.SU-

uinisse. H.B.,,

H.P1.

,

108.

3'lp.Sjt.\a "

'

P.8t._WB.

1

i

H.B.u.

H.R....

'';p^T'fgg^gjg 'L*f* ,ixi r '

iffifS:

>

...

-^^^^

C

'Y^ Lrf.jf

8

pirrr from Htc bci^iiiiiiiij;'

Repeat the tlif

MJ^II

^]

f" flic \*or" which it is impossible to draw a full tune. i

'

.

((I)

Intel ohting menroiis

in< the instrument

f..-

Vioi.l\"published by

of those preat masters, together with

which

Mess

1

1

?

tliis

COCKS &

much curious and

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

A

d3i

3 ld Pos:

_

_

3 r.d ,_

.

.

a".d,_ l^Pbs:

_ _

.

eVPus:

S^'lVs:

_

1

s1 .

POS:

_ _

1

a 1 .' ?,,*:-

r.u 3,'.

i:

is*

Pus:

P

3VPos,

2?Pos:

l

.

2Pos:_

The

following-

the

is

Exercise contains octave- passages; and as

smallest deviation from true intonation so

must 'bestow the with

as,

greatest care in

stopping them

Pos:-

in

bridge, the

octaves

occur* in

fourth finger must be

succession, these two

1

s*

Pos: -

no interval besides the unison

unpleasantly correctly.

each new stop, the position of the hand varies; and

es the

TPos:,

felt as

This in

is

in

octaves, the pupil

here doubly

proportion as

it

difficult,

approach-

gradually drawn nearer the first. VThen several fingers are not lifted up, but, pressing firmly on

the strings, are moved on together. In the succeeding is

octave- passages, the

movement of the bow from one

string to another

effected solely by the wrist, and facilitated by an almost imperceptible raising and low-

ering of the elbow, as though

Where two

vers

is

notes

it

were shaken.

are slurre'd together in one bowing, an equal division of the semiqua-

especially requisite, to avoid their sounding

i077

at any time

li,ke

Y'/

' i

!> frj

:='

'

'_^fifc

:=:^^^>^

?s:

the ni-xt Exercise, a

Iii

and as

sitions;

these

in

notes, so as to produce them

is

it

slips

extensive

contains

preceding: indeed.it CM en

the

in

more frequent and rapid change

still

and

The

practised vith great care and assiduity.

from the loner

skips

difficult to obtain

extremely

harmoniously

Positions

of

-*ith

-oirreet

a

a firm

in

the upper Fo_

to

>f

stopping

has to

"the

hi; h

r: -quire to

intonation, they

which the hand

distai.ee

he ftH'ud.lh

*ill

sj.jp

I

must be

%

t

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

and 11" bar of the next Exercise,)

lO^J1

hand

of the

sliding

after

each other have to be

two notes lying at a distance from

9_

having occasion

finder, without

the

may remain firm and iirmoveable

right note,

the bow, (as in the

the

.

impossible to

of

ato-id

the other of them.

In

/

may not degenerate

order, therefore, that this

compJished s<

far

place.

moved forward, Thus,

the

in

The

following manner:

the

in

a

finrer \ith

disagreeable whining,

vhich the first note

it

must

is

has to stop the

9_" bar of the Exercise, the

first

second note finger

is

falls

be ae is

stopped

*

that which

until

into

naturally on

its

moved upwards from H

to

B

h

5*.

and the

second

fourth

finger

finger is

then

falls

moved from

E

at

to

once on the second E:

-Mhich instant

so

quickly, that the

Kxample

a

finger

i,,

conseq.ientl)

SIIcn to

in the

lit' 1

.

falh on the upper B.

finger has actually

It is true

skips

to

wjth the

perform the above

the

This shifting, however, must be done

shall be

(

in the first

unobserved, and the ear cheated

passed over the whole

that, in opposition to the foregoing 8jj(le

bar,

Position.

chasm or interstice between the small note and the highest

sliding

highest note.

ous,m,ed

little

Tn

fourth, in the second an octave)

belief that the

the

the

similarly,

B

7

at

Position.

space rule,

into the

from the lowest

many

to

Violinists are ae

.

f iigep

passages

in

employed for stoppjllg fhe upperilotc am the

manner

following':

,

But as the unpleasant, whining before

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

3

The

the clear

By

be avoided

thp

5*!

1

if

resonance and correct

the finger be

finger must be lifted up at the

raised

from the string,

note of such chosen.

arpeggioed chords for instance, the

If,

semitone lower, they would be played with the

a

in

in

order

to

slidden quick-

moment

last

obtain a

riiigr-

sound.

however, the

different

as an harmonic, fas

permitted to move up that finger for the highest note

whining can then

and both finger

sliding,

it

be tal.cn

stop the one immediately preceding.

intonation of the harmonic, the .

highest note can

the next Exercise,) is

of

which Mas used to

l\

me-

this

rejected as faulty.

cases only, where the

In those

cannot then be possibly avoided,

allmlcd to

.

Pos

s :

1

1

.

'os: 3

.

Pos.-

is

not an harmonic,

two bars

before

a

totally

referred

to stood

following fingering:

IVPos:

6

Pos:

l th, +V Pos.-

n Pos.ith 9\

pupil will already have observed, that such passages ,(and all similjr ones in the four

preceding and fidbe in the also with which Position other Exercises-, frequently chang-es,) might played filtering-;. and hem.ij l.

mit

nt

\Vheii the pupil has h--

man nor. made himself familiar with the

the clearest and most harmonious

will find,

once^

no difficulty

in

applying-

it

also

fin^erintr systematically carried through this School,

to other compositions.

4th

.

w^

&

l".

h

fh

7 f.

fe-

.

_ _

V4L

:-

.1*3^

5 f.h

8*h

*t

Pus:_

4,th

gild

^

U4,

Mfc'" ^; v

,

i*

'

-'

, 1

v

*

>

J-1#*08+

SSt: ^f

-

..

-

_

1*

j4+tMLw#

-^-. -^**r

*' i

P uh:

.

_

."

^;

fi

fi

7.

8.

Pos '

i

5077

\

f*^ """SPL-MZt

C*.

Q

at

nuist

it

.-..-ale-,

end

the

hero obserxcd

he-

the

ot

,

when

that,

it

the

vith

four finders

higher positions, until the

to

Hie

Chromatic

extends hcj ond the Position of the hand, fas

continued

is

it

peri. .nuance oi

respecting the

See: IX

in

Kxercise,)

preceding

change

alternately

been said

what has

to

addition

In

TOJV

and second tinker which

first

r-an

reach to finish the scale.

XI.

AND

O.V THK .V.*AH(.KJ/K.Vr OK THK BOH~,

O,V

THK /)/KKKK#JVT MKTHODS OF The foregoing

the pupil

imparted

to

carefully

adhered

It is

ings.

were chiefly intended

Exerr-ises a

the

to

degree of freedom

certain

rules

-hen

alread,

bow

not only

is

first

towards an

requisite

Correctness of bowing, the thoroughly

pupil

right

Admit, ess of bowing, namely and quickly,

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

holding and management of the ho*

the knack of moving the

of

execution, and

of

the very soul of play in if

-im-

management

Violin is susceptible; but

the rules laid down in

arm, and for the

if

of this all

cultivation

and adroit

correct

a

already have acquired,

the upper, middle and loner

and short

po.

.

strokes,-

piano and forte pasthe pupil wih learn by

Exercises.

Kxercise, the bars are numbered for the convenience of reference.

find the is

of the how,

subject, and also to the prescribed bow.

near the bridge and at a distance from

study of the following

In

management

and soft of which the delivt

they Mill also ha\e

the left hand; but

the

in

this

playing. For

expressive

himself

familiarized

and motion of the

sitiitn

Kmr

necessary for the production of a fine tone, neatness

for the 'various modifications of loud

the

on

now time, however, that He proceed

portant part of the mechanism of Violin the

to

explanation of several murks

as yet unacquainted, and which

The

and technical terms occurring therein,

relate to

the different

gradations

in

the

pupil

with

power of

sound.

Before proreodintc

MM

it will bo well for tin- tojrhor to oxiimino whethor the pupils mun^omunt und irregular, (which easily huppons when the attention is drawn off tl other ,md should surh he the r jt,e,the former rules and Kx'ir-ises on correctness of bowing must be ie-

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

The character below

1.

gradually increase to the middle of

afterwards gently

fall

signifies that the

the note

sound must commence soft, then

duration where the greatest power

its

The bow

back again to piano.

is

is

proportion

:

as the power of sound increases,

it is

is

moved

act upon

On

it.

gradually lessened: vision of the

bow

is

it

is

chiefly

requisite, in order t that

been completed at the half of the bow,

string and lu

quality

the

bar 3, the

,e.

the

at

bow

is

Here, a good

half the duration of the note

whole duration

bridge

di-

may have

the end of the bow.

The

forte mi?st be particularly strong, preserving 'however, at all of toijre. The delicate placing of the lower end of the bow upon the

gradation from piano times, a fine

aiid its

portion

width of the hair is brought

by decrees moved farther from the brid

also

small

as slowly as possiblejbut,in

sound, the pressure and rapidity of

decrease of the

tlie

A

drawn quicker, carried nearer the

pressed firmer on the string; so that, at last, the whole

and to

commencement, the bow

-At the

it.

and

placed close to the nut and at some

distance from the bridge, quite loosely on the string; so that, at first, only of the hair touches

employed,

ti

gentle drawing of the same, require therefore to be diligently

bow must be drawn from the nut

to the j>oint

with continually x

**.

strength and rapidity: but,

in

order that

it

may reach

practised.

to the end of the bar,

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

bow 'must be gradually

lifted up; for if,

in

...

approaching the "

\

nut,

its

ano.

whole weight were suffered

In doing

coming

this,

-

!,

to

.

rest upon the

however, as well as

to a stand-still

in

string,

it

would be too heavy for a pi-

moving the bow slower, -we must carefully avoid

and thereby causing an interruptiqn of the sound. ""

5.

=Z1

<

6.

.

7.

*

^

8.

Ill II.-

-

-

.

-.

-

JJ3

\.

1

B

For the

bow must be

of the* 16*!' bar, only half of the

During the crotchet rest, however, the second half the beginning of the

and

tlie

bar, the

17*!'

following bar, miist be given of the 19

pianissimo

1

?

1

is

forte, the bow

simo

played on

at first

it is

is

because

moved on above

On

acute

string, and then, at

The

J'orlc of

account

it

this

and the

also. the pas-

22.

E

string, and

then repeated oji-the softer

pressed firmly on

tlie

string and drawn

removed and brought over

tlie

end edge of the fiiigtfrboard

is

this

80.?

tlie

marked .piano.

is

contrast between

tlie

be the more apparent.

it,

tlie

again applied close at the nut.

as strongly as possible, that

and 20*^ bar, may V

sage

bow

is

ust-d,

A

string. At the

near the bridge, but at the pianis-

and there passed

lightly

across the string. In

tlie

22 1 -'

harmonic note

bar, in slurring the

A '

"

*

with

tlie

C

below,

tlie

fourth finger, at the moment

'

o

of gliding,

must be firmly pressed on the string and drawn down

second finger

The

last

endo; that

lii

the

the

five is,

'ict'

upper F

1

falls

24

with decreasing

is

E,

^

'

]*"

^

\ |

whereupon the

on C.

notes of the

bar,

to

* -*X *

tlie

then

first

tal-eu

_

bar,

are played, with a down -bow, slightly detached and

diminu-

power.

finger is pushed up on the

foi'zando

(J'z)

;

A

string from

that is, with

B

to

F, fe=*j

augmented tone. 'Moreover, as

tin

pass.-igc

is

markcMl furte. the gliding upwards must he done *ith the greatest force and rapi from

Hy

ilit\.

this nu'uiis \

which

the

lt<

t..

the

performance

Violinist.

Hive bovings

in

In

is

in

Kxercise, the pupil

the next

in

others, consists inthur great

the

c,t

e

prcssioii

line

will

he

is

The bowings

with the

another

hi^li

most below

arc numbered for

te\t.

I

/HI

of ln>\

therefore mdis-

made acquainted

contains two of them, one above and of the strain.

variet..

gained.which so

the most different methods of bowing

placed on the repetition

sake of the observations

all

enlivened and that richness

general use. Kach

the notes, which latter the

is

Ihem. Croat address

distinguishes

disable

bow-instruments have over

1

_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,

and enable the pupil

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

I

much

is

as

made

The pushing on af the effected solely by the wrist, the fore and back-arm being kept steady. For each note, the first finger of the right hand is sufficiently pressed on the bon- stick, to lay the whole nidth of the hair on the string; and for the detaching of the notes, the bow rises a little each inly

bow

so

it

has been

pushed forward, but not so much as

to

remove the edge of the hair from

string,

The beauty of in

necessary for the clear production of the sounds.

is

time after the

is

the

U

strictest,

first,

degree of .'

the.

Staccato consists chiefly

in

an equal, clear, and smart detaching of the note's

time.

must be practised very slow, and when movement may be gradually accelerated.

it

\2 22, the

it

is

played clearly and

tw.- very short strokes are taken; at the five following

The length

down-bow

in

strict time, the

numbers, third part bowings;

regulated by the number of have to be taken with the up -bow: in N9.23, therefore, it must be .'> short as possible, because there are five notes for the donn-bow, but only three for the upt-i.v, in VI 27, on the contrary, a long doun-how is required, for whilst it has but t\o niiii-s, the up-bo\* has six. (.., i

;it

stficcata

t**o

notes

last,half bowings.

of the

nhich

:

077

is

14-4.

*'

'

_~"

There

is

a quick

in

also a

degree of movement sounds

ter, for the

in

made exactly

At NO

rather dull.

It

difficult than

is

performance of an Alleg-jro, though gliding from one note to another, or

how

At NO

as in the up -bow.

middle, and then drawn down

the

more

is still

it

brilliant

passages, either It is

down-bow Staccato, but

in

11,

therefore less calculated than the productive of good effect in

the gentle detaching

therefore, the bow

short, sharp

that of the up- bow, and

strokes to

the

is

in

lat-

melodious

of the notes.

placed on the strmg

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

half of this number, however,

il

is,

In the

slurred

At (,t

is

made close

at the

point, with a

smart detach-

third note.

occurs a new kind of Staccato, the same

course of the bow of

is

is

stroke of the bow. constantly broken

which, detached and slurred notes are played

This method of bowing

is

extremely

upon by the two slurred, notes.

in

honever, very advantageous, as last bars of this

in

it

imparts a

number the bow must be

A

al-

difficult, as the

diligent practice

great command over the bow.

slightly

raised each time

after

the tno

notes.

\14,

the bow

tend hc\ond

the

fz (forzctndo) note

and a the

is

marked as strongly as possible by

a longer stroke

sharp pressure of the same: the lengthened stroke, however, must not ex

upper third- part of the bow.

jf-&

ft*

r

1

The bowing

of

N

7

&

8, might, analog] ca lly nith the hammered, be called the whipped(fon(fte), marked r=- , is in a manner whipped with the bow. For example:- the

as the string, at the notes

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 '

_

Exercise are taken rather quicker.

played with the half- bow;

N2 12,

and NQ 13, with

with third- part bowings;

still

short-

er strokes. .

,

Li

\Q

14, the pupil learns another

RUDOLPH KREUTZERS

compositions,

method of boning.-

new bowing, which, from is most properly named

having been first met with after this celebrated Violinist. its

in

two notes to each stroke of the bow, of which the two si are (iftached and the t following slurred. The second of the detached notes is strongly marked by means of a long stroke and firm pressure of the bow. All these bowings must be practised with diligence and perseverance, at first singly and and then very slowlx. gradually quicker and in connection with the others, until the pupil has thoroughly familiarized himself with them After this, he may then pass on to the next Section, Kretrfawr'a

It allots

507*

JOT.

.: :

O.V1JOIHI.K- STOPS, KROKEJS

CHORDS

.4.VD

ARPEGGIOS.

two n.U - at OIK-.; advantage over wind instruments, of giving even three or four notes, reand in quick succession, so as almost to sound simultaneously, broken chords, or (when the seformer is called playing in double stops, and the latter in

The

Violin

possesses also

tlie

x

veral notes

Arpeggios.

distinguishable)

and

chief difficulty in these double, triple

The From

are clearly

the

moment, therefore, that the

er must strictly and ticularly, as,

commences the

pupil

insist on a

perseveringly

correct intonation.

is

quadruple stops

practice of double notes, the teach-

correct stopping of them; and this more

from the increased difficulty both for finger and ear,

if

the pupil

is

par

-

once permit-

be almost hopeless to attempt a reformation at a future period. We but double stops, (without not unfrequcntly meet with \io!iiiists who play single notes in tune, correct stopping of two, three or four notes, is being aware of it,) intolerably false. The for senot only difficult on account of the ear and finger having to find the right places ted to go astray,

it will

because the position so frequently changes, thereby obliging close together. the fingers to be sometimes unusually stretched out, and at others drawn A second difficulty consists in giving the double notes with, perfect equality of power in all veral notes

at once; but also

gradations of

piano and forte. This

is

pressing the bow equally on both strings,

attained by

ami thus throwing them equally into vibration. It is

tween them. The change

in

All that has

previously been

in

(majestic.)

in

the

The former must be

in

general,

following Exercise, is

appended

J

-

63

.

j?i.

* /7>e:

the

stately and dignified, and the latter slow.

Andante.

An da n te maestoso

x,*

bow and bowing

This refers not only to the style of performance, but also to

the degree of movement itself.

er than an ordinary

be-

practice.

To the word indicating the degree of movement

maestoso

observed

were, for the right stops.

it

said respecting the division of the

here be most carefully put

epithet

shall be

the stops and positions, must therefore be effected in a quick and

determined manner; avoiding the habit of feeling, as

mii-.t

so that no break

likewise difficult to connect the double notes

*

".

,

*

^

4^L

m ii

4-

3,

-..

^

.2nd

",--.

I

r

11 -c

1

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.

The same should

aiso he done in the following Kxercise.

L(irht-(l 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;

consequently, the shake

is

made with the semitone.

In like manner, the

#

be-

in the 16^' bar, makes the is auxiliary note G sharp; hence, the shake beaten with the whole tone. The turn of this shake being written in notes of the usual size, must therefore not be played quicker than semiquavers; so that the rale which directs the turn to be played *ith the same rapidity as the shake itself, is not applicable in this instance. In the chain of shakes without turns in the 22"_d bar, the regularity in the beats of the

fore the shake sign

shake -finger must neither be checked nor disturbed by the moving on of the hand.

6077

24

..--""

The shakes

first

occurring

During the rests, the bow In the chain of shakes tention

must be

paid to

j

n the

26tn

bar, belong to

L

^

:.

those which do not admit of any turn.

allowed to remain on the strings, without being lifted up. in the 28^ bar, proceeding entirely by semitones, particular at-

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.

This last succession of shakes

is

however very

difficult,

and requires to be

practised with

great perseverance.

The

62'!d Exercise

alia Polacca, (that is, in the style of a Polish National dance,) is intended for the practice of short shakes without turns. From the shortness of the note shaken, not more than two, or at most three beats can be made, *hirh, ho*ever v must be powerful and distinct.

sor:

P-.u-ca.

=

100.

??^fc -***^=* ,V "

ff

The than their

pupil its

should accustom himself from the first, not to dwell on the

prescribed duration; for the

being

introduced

with lightness

division.

The

first

the

11 th

bar occurs

In

shake

is

the

shaked note longer shakes, consists in

and .elegance of these the melody, without disturbing

beauty into

its

rhythmical

performed thus:

second of the

6077

before

mentioned

.

embellishments, the tran

-

siont or passing

The

shake, vhich

consists of a

single

beat, and

is

performed as follows:

must be powerful and made with a highly raised finger. In the 16*.h and following bars are four shakes, whose auxiliary note is elevated by and in the 23 bar another, whose auxiliary note is depressed by a J prefixed to the beats

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

practised with the great-

assiduity. five

passing

shakes, in

the-

penultimate

bar of each

part

of

the Trio,

are

per_

Jt*

II

1

Larg'hetto

'f=

-80.

63

JV.

pouer and

activity

As, in double shakes, one

to be able to maintain its beats with the second.

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.

that of the shake itself.

be

be

to

accomplished as quickly

let the

shake.

As

as

*ith

4^

bar.)

The

possible, in order that the turn

single

that here, on

heard

shakes in

in

Position

to

may be

instantly united,

in

begin, the pupil must be careful sound during the performance- of the,

double stops

one continuous

shakes

are

also

applicable to the

account of their increased duration, a

even four) can be made.

the little

in a different

shifting of the hand should therefore

other matters, the former remarks on short

present, except

(ri:. three or

must often be made

of the shake.

sustained note be to

parts,

nd and (See the 2

equal rapidity, to the heats In the 5V1 bar, where the to

in twit

The

greater number of beats second and fourth of these shakes can only be

finger; consequently, they

6077

require the

most diligent

practice.

/r

-1-3

/r

r

tire.

tire.

^ PctsWarco.

W

Vi 3 * ,

In

the

9'

I

bar begins the most difficult of

all shakes, viz: that with an accompany i'ng part. be overcome, as neither the beats of the shake-fing-er, nor the progress of the bowing must be checked or disturbed by the entry of the adcompaioinr part.. _The second finger, to be able to stop the C in the accompaniment without beinraised from the shake note G, must be so placed on the latter, as almost to touch the A that *ith a string, slight movement it may cover this also. __ During the rests in the ac compliment, the bow must only be slightly raised above the A in order that it

In

this, a

double difficulty has to

string,

again immediately

brought upon

it

with

little

may

motion, vhen the accompaniment

Hie change of bow alWays takes place during the rests in the accompaniment; con. the shake is e|.u-ntly, divided into four bowings, the first of which in _ (a down-stroke , Miides four crotchets, the second three, the third again three, and the last two. Ho* change of bow may be made unobserved by the ear, has This already been stated. accompanied shake, well executed, should sound as if played two by persons.

_

.'077

+-'

fiffTftp i

*

first

^

.

^>-

/

The

?

j'

* /

fizzicbar of the second strain cgiitains a double shake

in

the sixth,

in

*fm-h the first and third

in the upper part, must be stopped vith the second finder are exercised in equal beats. The B conlinger, as the first is employed in shaking- on tle open string 1). The turn of this shake tt

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

and fourth finder.

*

'

\>*

* 4

The chaise of bow takes place at the fourth crotchet

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

G

/Join

tin-

accompanying part

sometimes occurs, which

or pi::ic:)

he

produced by

tinued

When

is

pizzicato

used

making *

arco

the bow, the notes

to

and Quartett playing, here follow

the

II

or Guitar; and this

art-

con-

;>

the how.)

(with

Orchestra

in

n

abbreviated pi:::

(

is

as on the

string-,

coll'

it.

few Irotes have to Jbe

a

only

for

the

term

the

pi-.zic(ti

signifies that, instead nf using

pulling

frequently

instructions

necessary

"'

pinching

contradicted by

until

As the

foregoing Kxercise, the word

tin-

(it

and

pizzicato

played

the

coll' (trco

immediately suc<

cerds, the Violin

near

ly,

the

first

Hut

if

The how

position.

fingers of the right

of the

and

finger-board

hand; the the

grasped and held firm-

then

is

thumb bejng

end., of the

string pulled with the point of *

and the

pizzicato- be-oi tonger duration

the

but

(though

usual

finger.

thumb, the

somewhat farther from the

For long periods -therefore,

this

first

7

coll

In

case the

this

and the string pulled 1

edge)

method

preceded

bow

now placed against

is

finger

arco

back against the

place its

back -arm.

the right

with

of the

instead

from the chin and

Vio'l.'n

it

body, supporting

fore,

its

the lower edge

better to -withdraw the the

in

by the last three

jirtt,

placed against the

retained

is

by .a

Vest, it

rigfit

is

is-

side

of

as'

he-

held

the finger-board

with the thumb itself. *

former; as the

the

preferable, to

is

pizzicato

.

with the

The

thuir.h,

sounds

before mentioned' embellishments, (usually

of the

third

dom written at

length,)

is

middlemost

of which, the

than that with the

and clearer

fuller

the turn or mordent.* is

that to which the sign

times with the upper, and at others

with

adopted. That sign, therefore, which has the

the turn

must commence* with the upper note,

as

hut the contrary, that

it

must

bejriH

Tho

,

and

sign

sel-

notes,

contiguous

-

some-

and commences

Latterlyj we have begun to ex-

first little

gene-

hook bent upwards, shows

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>\ ..

"

a

laudable and deserves to be

is

played,,

nith the

as

int.iis.

appended,

the lower note.

the position of the sign; vhich method

press this by rally

is

finger.

indicated by of three

consists

It

first

t|-,>

in,ik uhifh at P. ftf

hool.)

*ilh otlii

i

is

\>i

1*8

ib given<

to the passing shake,

*y>

.

The

indicated simply by without the cr o s s str o > iti the reverse of thi> is exactly the case:

mjy be sofn

implying the DIKKCT turn

1

I

5077

itslf,(as

tlu-Mi^h-

TR:

.

js

it

is

Call'il.

When

the turn stands

between two

notes, serving to connect one with the other,

played immediately before the entrance of the second of them, the

added to

it

it

is

then

principal note being again

as a fourth note, thus: tin.

When

the turn

as

P

E

placed over a dot,

is

sustained according

to its

value.

played.

fourth note

its

there are two dots, the turn

is

a

mark of transposition

per or loner note

plafced

upon this dot and

then

played.

the .second of them.

Ex:

played

above or below the sign indicating the turn, the up

Ex:

elevated .or depressed accordingly.

is

in ,

as

is

brought

then flayed just before

PS When

is

Ex:

as

If

|

as played.

or

Marks of transposition above and below, affect both the auxiliary notes. Ex: " '

fr

b

k

as

played

The turn

is

_

or

r 1

:f

always played quickly, whether in a slow or 'quick degree of movement; but

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,

must be carefully observed. The turn

of the bow with the note above or after which

thjt

ruiiiiiu-iir-iii^-

with tho upper note; anil

v^i

or

it

,

is

always connected in one stroke

is

placed.

tho INVKRTKD

turn

,

or

th it bog-inning-

with the lowf-r rutr.

TR. o77

7,5* small notes, those of most frequent occurrence are

Ol

tin-

embellishments written

.UK!

tlie

short appojrjriatura. Ttie former,

the usual size; but as in

ol

eatcd

in

in

modern compositions,

in

more ancient *orks. ami

still

small notes, the pupil should understand and

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.

VMiui placed before a note which the half of its value. Ex:

.is

divisible into

J^

two equal

parts, the

appojo>-iatura receives

,r

as played

as played.

If is

placed

a note folloned by a dot,

be-fore-

then brought

*

upon the

in

-'dot.

;

as played.

'^gr

f

obtains the full value of the note itself, which latter

Ex: J

j

i

m

it

..

'J=^

f T

i

I

I

or

i

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

f

stands before one note only,

it

and the other note are

Ex:

J

as

played

|J

r

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 short appoggiatura, (which to distinguish it

value. "With this

The

Ibo

this note,

as such, should always be

and

is

intended

tentively perused, he will

in

always united

in

one b.ow_

finds its resolution.

marked with

to

exercise the pupil

in

a cross

stroke

f,

in,

order

know

for the most part

Those passages, however, which

still

small notes.

Larpfhetto

^_

76.

4 2.

f>07J

how

its

reading and execution of the difIf the foregoing pages have been at-

the

ferent turns, as also of the long and short appoggiatura.

below

is

given with greater em-

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

played, without farther in-

explanation,

are

given

MiO

ere

Har 14.

.

see n

do.

Hi I

I lit-

l.irgt

dtlic-r

notes

as they are

i

inlu llislnnt'iits

still

greater

di\isi