Violin Playing And Violin Adjustment Classic Reprint

Excerpt from The Technics of Violin Playing It cannot but be welcome to thoughtful teachers, who reflect on the method of our art, and I hope that your work will prove useful to many students. 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.

Excerpt from Handbook of Violin Playing The invention of stringed instruments is certainly of great antiquity, but exact information with regard to the origin of the violin has not come down to us. Although stringed instruments were in use before Christian times, we know that these had nothing in common with the violin, or that at any rate the bow was not then known. It is therefore presumed that its invention and use in connection with stringed instruments occurred in the first century of the Christian era. Many are, notwithstanding, of the opinion that the use of the bow was known in pre-christian times, - ih India and in Persia. Pictures of Indian and Persian bowed instruments exist, but the period when they were employed is not exactly known. See Fig. (2 and b of page 2. 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.

Excerpt from Violin Playing The rules and method, etc., set forth are simply the ordinary results of my own long experience as both teacher and public soloist, together with a keen selection of the best points peculiar to the most eminent violinists of our time. Each portion of the whole subject follows on in systematically arranged order according to the degree of difficulty, thus making reference to any particular point more easy. Without claiming to have founded any new system of technique, style or school, an honest attempt has been made to explain the most simple and natural method and means of obtaining such really correct technique as would form a sound preliminary towards attaining the highest degree of style and polish always noticeable in the very finest players. It is hoped that teachers also will find some useful hints to simplify their labours in the teaching of slow or difficult pupils, and should any struggling violinist by the perusal of this book be guided out of a fault or have his difficulties in any way lessened, the writer will be more than compensated for his small endeavours. 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.

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.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

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.

Excerpt from The Secrets of Violin Playing: Being Full Instructions and Hints to Violin Players, for the Perfect Mastery of the Instrument The extensive field over which my little works appear to have travelled has called forth a very great amount of correspondence, always eulogistic, but generally containing also many practical questions on points not fully explained in the books. On many of these points there must always be some difference of opinion, but so far as it is in my power I shall endeavour to make them clear in these pages in a manner so impartial that the reader may to a great extent rely upon his own judgment in the adoption or rejection of the hints. Many of them need not be placed before a beginner at all, inasmuch as so many minute details are apt to scare a young player. It is therefore to violin players more than beginners that I now address myself, and more especially the earnest student. 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.