Scan 27
21882.a.10 – How to hold a violin and bow / C. H. Mitchell., 1882
2 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1inversely as its diameter, directly proportional to the square root of the tension, and inversely proportional to the square root of the density; but it may be questioned how far these laws ought to influence the violin-player. We must of course, at least generally, place the bow between the bridge and the end of the finger-board. Now, if there is one place in this portion of the string better than all others, then it would seem that theoretically, and not to speak of degrees of loudness, this place must vary in distance from the bridge for each string, and also must vary on any single string for every different length from the open note to the highest stopped note producible. The author has even heard the theory propounded that the situation of the nodes ought to be taken into account in fixing the place where the bow should cross the strings. That players attend to such nice distinctions will not, it is presumed, be contended. Having regard to the conditions necessary for perfect vibration, the reader may imagine the effect which would be produced if the bow were made to approach or recede from the bridge with great pressure along a vibrating string. Still there is a practice which cannot be dispensed with. This is to lessen the pressure, and bring the bow near, over, or beyond the edge of the finger-board for certain passages. By this method a tone, which may be called a flute tone, well adapted for passages of a special character, can be produced. When a beginner, in ordinary cases, makes his first attempts in shifting, he will probably find that, not having the power of independent action, his bow will involuntarily approach the bridge with his left hand. This involuntary motion must be overcome. On the other hand, a more advanced student may find it difficult to make his bow approach the finger-board when he actually desires to do so. Care must be taken, in playing upon the E string, that the hair and first finger do not catch the right upper rim of the violin. The player may find, indeed, that on the E string he cannot descend to the finger-board. Perhaps the best practical rules deducible from the foregoing considerations are: (1) to make the bow cross the strings midway between the bridge and the finger-board, or a little higher, subject to the following rules: (2) that the bow shall approach the bridge in forte passages, the condition of that part of the string which is nearer the bridge being more suited to increased pressure, and if and when con-
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