True Principles Of The Art Of Violin Playing Classic Reprint

Excerpt from True Principles of the Art of Violin-Playing If such a student has the courage to undergo entire reconstruction at Berlin, and, after a course of several years at the Hochschule, wishes to inquire into French methods, he will be told at Paris that he has not arrived at any true appreciation of the higher art of violin-play ing, and that he must adopt a different course if he hopes ever to become an artist in the truest sense of the word. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

True Principles of the Art of Violin-playing by George Lehmann. This book is a reproduction of the original book published in 1899 and may have some imperfections such as marks or hand-written notes.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This text offers an exposition of the essential features of the system of technical instruction pursued by Joseph Joachim (1831-1907). Discusses tone formation and production, attitude, and position of the body, arms, hands, and more.

Excerpt from Modern Violin-Playing Well, the strict and truthful answer to this query is that, first of all, nobody is born with a divine gift of violin-playing any more than he is born with a divine gift of walking, or of talking the language of his own parents. He has to learn all three. About once in a hundred thousand times it happens that a player hits on the correct mechanical procedure by accident, just as about once in a hundred thousand times an engineer might guess the tensions of his steel bridge correctly. The engineer can only repeat his success by the miracle of a second lucky guess. In that respect the violinist has the advantage over him. When once he has hit on the right method, he recognizes its value by its artistic results. He tests it; and finds that, with him, it always works. That gives him the one thing for which he is searching - personal security on his instrument. The physical why and wherefore of the matter never crosses his mind. But observe the vast difference between the two cases from the teacher's point of view! N 0 one, out of a lunatic asylum, would ap point the guessing engineer to a university chair of engineering. The violinist, on the other hand, though he is certain to have all the artist's distaste for definition and all the artist's confusion as between means and sensation, is immediately labelled genius. N ow, so long as he remains in the genius-business, there is not one word to be said against him. But as soon as that cap is stuck on his head, he becomes a potent money-drawing attraction as a teacher. And there the trouble begins. He collects a great many expensive pupils, who come to learn the mysteries of his art. In the class-room they all stand round him, open-mouthed with the words How is it done? And he has not the remotest idea of any satisfactory answer to these terribly searching words. He may Show them how, of course. He may play the actual passage under discussion. If it comes off the first time, all he can answer to their question is, Like that. If it doesn't come off the first or second time, he has to try again, blaming his bow or perhaps the weather for his earlier failures. And even if he plays the passage finally - nay, even if he plays it finally with the most perfect and con summate art - his pupils have learned nothing technically. After the exhibition, one can only say that he differs from them in that he can play the passage sometimes, and they can not. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

First published in 1925, this renowned reference remains unsurpassed as a source of essential information, from construction and evolution to repertoire and technique. Includes a glossary and 73 illustrations.

For more than a decade, Clear and Simple as the Truth has guided readers to consider style not as an elegant accessory of effective prose but as its very heart. Francis-Noël Thomas and Mark Turner present writing as an intellectual activity, not a passive application of verbal skills. In classic style, the motive is truth, the purpose is presentation, the reader and writer are intellectual equals, and the occasion is informal. This general style of presentation is at home everywhere, from business memos to personal letters and from magazine articles to student essays. Everyone talks about style, but no one explains it. The authors of this book do; and in doing so, they provoke the reader to consider style, not as an elegant accessory of effective prose, but as its very heart. At a time when writing skills have virtually disappeared, what can be done? If only people learned the principles of verbal correctness, the essential rules, wouldn't good prose simply fall into place? Thomas and Turner say no. Attending to rules of grammar, sense, and sentence structure will no more lead to effective prose than knowing the mechanics of a golf swing will lead to a hole-in-one. Furthermore, ten-step programs to better writing exacerbate the problem by failing to recognize, as Thomas and Turner point out, that there are many styles with different standards. The book is divided into four parts. The first, "Principles of Classic Style," defines the style and contrasts it with a number of others. "The Museum" is a guided tour through examples of writing, both exquisite and execrable. "The Studio," new to this edition, presents a series of structured exercises. Finally, "Further Readings in Classic Prose" offers a list of additional examples drawn from a range of times, places, and subjects. A companion website, classicprose.com, offers supplementary examples, exhibits, and commentary, and features a selection of pieces written by students in courses that used Clear and Simple as the Truth as a textbook.