Scan 14
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.
1relieving the left hand, it contributes to correctness of intonation; possibly, however, its tendency may from another cause be in the contrary direction. Common sense points out that foreign adjuncts about the instrument may be in a sense incumbrances. Some of these adjuncts may be such that without them the violin can be got closer to the player, and he can more nearly make it a part of himself. In this regard it is not desirable to adopt anything which has a tendency to keep the player and the instrument apart—to prevent that affectionate hug, if the expression may be used, which favours control over the instrument. These remarks are confirmed by the facts: (1) that the plate form is now made to fit so that the chin may be as close to the instrument as possible, and (2) that Mr. Henry Holmes, in his excellent edition of "Spohr's Violin School," advocates the block form, and expressly mentions that it raises the violin close up to the chin of the player.
3The block form consists of two narrow strips of wood placed respectively on the upper and lower edges of the violin to the left of the tail-piece. Perhaps the best kind is that covered with velvet. The block holder seems better adapted than the other for keeping the instrument in one position, it effectually secures it from being drawn away when the left hand rapidly descends the finger-board, diminishes the elevation of the shoulder, and permits the instrument to be got closer to the player; but the arguments, with respect to vibration and varnish, do not hold here.
5Under all the circumstances it is suggested that if the player decide to have a holder, the low plate with figured surface to produce roughness should be adopted for good instruments, and the block holder for others, unless the low plate be found to cause no inconvenience whatever, in which event it may be adopted for any instrument. In either case, different varieties being manufactured, care should be taken to select a comfortable one, or the player may get a hindrance rather than an auxiliary. Before leaving violin-holders it may be mentioned that invention seems to be still at work in this department.
7In connection with the filling up of the space between chin and shoulder, the use of padding may be considered. The objects of such padding are to keep the violin firm and to diminish the lowering of the head and the raising of the
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