Scan 9
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.
1that its tones, except as to the low G, are not fixed, but above all to the beauty of its tone, and to its power of expression. Upon the whole, then, it is submitted that there is no other single instrument which can give such delight as the violin, and that the sound of every other instrument keeps, as it were, outside of the hearer whilst that of the violin can penetrate so as to create a sensation of the most pleasurable intensity. Even as to construction alone, without alluding to its speaking power, this instrument is acknowledged by scientific men to be a marvel of mechanical skill. Of course part of the foregoing observations respecting the violin apply in some degree also to the viola, the violoncello, and possibly to the contra-bass.
3Having regard to the high rank held by the instrument in question, one would naturally expect that the technical literature relating to it would abound in accurate directions for bringing out its capabilities. Such, however, is not the case. Almost all the best violin schools, whilst containing much valuable directory matter, are lamentably deficient on various necessary points. There is certainly an ample stock of suitable exercises, studies, and caprices, comprising those of Spohr, Campagnoli, Kreutzer, Fiorillo, Rode, and other well-known authorities, but most violin schools are deficient as to those indispensable aids which the student longs for, namely, intelligible and careful directions for handling the violin and bow, and producing the various effects. The learner needs in this respect warnings as to what to avoid, indications of the errors into which he is sure to fall if left to himself, and instructions whereby those errors may be corrected. It is true some violin schools contemplate supplementary instruction by a master, possibly under the plea of necessity, but when it is considered that at least some instruction is given, and that the omitted instruction is as capable of being verbally expressed as is that actually inserted, such a system of preparing a violin school cannot be justified. Moreover, the tuition by masters is in many respects often imperfect. A good violinist is not necessarily efficient in explanation, indeed, it is a well-known fact that many excellent players have no power to explain the very motions which they will perform before the questioning pupil with the greatest of ease. Much careful analysis is requisite in studying the motions used in playing the violin, and, without either granting or denying them the analytical capacity, it is
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