Scan 10
21882.a.10 – How to hold a violin and bow / C. H. Mitchell., 1882
8 lines. Read by computer on 24 September 2026. No printed page number was found. See the scan on archive.org.
1incontestably true that many masters do not study the matter as deeply as they ought. In addition to this, some teachers altogether neglect instruction in several matters as to which the pupil ought to be closely watched. Hence it often happens that between books and masters the student struggles on, making little satisfactory progress, and this simply because, not being on the right road, advancement in certain directions is impossible. One might as well expect to become a firm and fluent caligraphist with the pen held between the little and ring fingers as to play the violin well with the faults that encumber a large number of those who have chosen that instrument.
3It is paramountly essential that the learner should not be left to grope his way as to the correct manner of holding the violin and bow, the joints to be used in the several kinds of movement, and other important matters. Yet, that numerous learners are so left is a patent fact. The directions contained in the present work, whilst in some measure supplying the desideratum, will indicate to teachers of the violin a plan of instruction which they would do well to elaborate. It is the part of a teacher, besides being able to perform the various motions used in playing the instrument, to be acquainted with the way in which he performs them. In addition, it is his duty to carefully watch the pupil, seeing that he uses the proper joints and no others, and that he is in every respect in correct position; for, whilst the position is false, there is not only impossibility of satisfactory advancement, but danger also.
5Let the learner, then, first make up his mind that the violin is worthy of his best efforts, and that, at least so far as regards a single instrument, if not indeed absolutely, it is capable of the climax of earthly sound; let him set apart a certain portion of each day for his minimum amount of practice, and conscientiously work accordingly, and then he may rest assured that, with at least average ability, he will ultimately feel amply rewarded. When he can take his part with other instrumentalists in rendering the works of the great composers, when he can sit down with three friends to the enjoyment of a string quartette by Haydn, Beethoven, Mendelssohn, or Schubert as a relaxation from the cares of the world, he will confess, if rightly constituted, that his enjoyments are the most fascinating, the most pleasurable, and the most ennobling that earth can supply.
7It will be found that in the following pages the injunctions
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