Scan 31
21882.a.10 – How to hold a violin and bow / C. H. Mitchell., 1882
4 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1Let us now proceed to extraordinary bowings. The beginner naturally commences with the normal style; he is apt to restrict that to an inch or two of bow, to be oblivious as to the joints of the arm, except that he is conscious of being unpleasantly cramped in his movements, and under such conditions he attempts music demanding bowings of all descriptions. But the normal style is adapted only for certain passages. For an allegro of common time in semiquavers, for example, that style would not be adequate, even though the execution were restricted to the fore-arm working from the elbow. It would cause too much fatigue, if, indeed, it could be used with sufficient speed. Such a movement might be done with the wrist and a portion of the fore-arm. The bowing is the plain detached bowing, or, as the French have it, détaché. Like all legitimate work on the violin, the effect of this mode of bowing is very fine. The fingers of the left hand must go with the bow, or the effect will be marred. If the bow get in advance of the fingers, any particular stroke will play the note of the preceding stroke, or an open string before its own note, according as the two notes are on the same string or on different strings. Beginners frequently have this fault. The fingers must be very expert before the bowing in question can be done well. Another difficulty with beginners is to pass from one string to another. One might fancy they were afraid lest the bow should not play the right note or catch the right string. They support the weight of the bow, whereas there is no necessity for carrying it. There ought, however, to be a relaxation of pressure in changing strokes. The upper portion of the bow, even to the point, ought to be used, and when some expertness is gained the quantity of bow should be diminished, except for special purposes.
3One of the most beautiful kinds of bowing is what may be called the staccato leggiero (light staccato) detached. For this the learner must find out where the maximum spring of his bow lies. The place required will be found to be at or about the middle. The wrist must be free: there is no time for any other joint to do the work. Opinions differ as to the little finger; in practice, however, it is often raised from the stick. Now it is the province of the little finger to aid in preserving the balance of the bow—this function being called into exercise when the vicinity of the nut is in use. But, in addition, it will be found
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