Scan 30
21882.a.10 – How to hold a violin and bow / C. H. Mitchell., 1882
4 lines. Read by computer on 24 September 2026. No printed page number was found. See the scan on archive.org.
1of different lengths may be required, and, moreover, the artist will employ at one time the vicinity of the nut, at another that of the point, at another some intermediate part. Lastly, his object will be now to disguise the change of stroke, now to render it more or less apparent. Whilst, however, considering the normal bowing, in which different quantities of bow may be employed, and before proceeding to certain varieties of bowing which demand uniformity in the quantity of bow, such quantity depending for each case on the circumstances, it will be appropriate to offer some observations on that division of the bow which, as already stated, constitutes one source of beauty in violin-playing. It is a natural rule then that for several notes the respective quantities of bow used ought to correspond with the respective durations of the notes. Of course, the intensity of the sound is supposed uniform, for another natural rule is that speed in the passage of the bow and pressure ought to increase together. Exceptional cases to each principle may arise demanding variation. Now, as one method of increasing intensity is to increase the speed, a note may receive an extra quantity of bow if the loudness is to be increased, and vice versa.
3The passing from stroke to stroke may, likewise, be appropriately considered here, the normal bowing admitting of the two methods indicated, whilst what may be called the extraordinary bowings are of a detached nature. Both methods may be required according to the music. It will be necessary that the learner studiously practise the closing of the interval between the strokes. Let him, in fact, strive to render the change quite inaudible. There is a very common fault here. Some players, when in the up-stroke they arrive near the nut, seem to throw the hand round in a circular direction with increase of speed. This increase naturally affects the vibration, and the result is that the change is audible and the player defeats his object. In these cases, if the point of the bow be watched, it will be seen to diverge from the straight line at the change for the down-stroke, taking a direction from the player. Instead of seeking to hide the change by such means, the student should endeavour to compass his object by a relaxation of muscles and joints. The normal bowing, then, either as to whole bows or shorter strokes, may have the change of stroke disguised or prominent.
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