Scan 54
American history and encyclopedia of music, 1910
8 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1the entire twelve lessons. Being a summary, rather than a discussion of principles and effects, the lessons should be considered as a whole and not section by section.
3The student is not to be offended by the constant reiteration of certain technical points since they may be regarded as the pivotal principles in the technical development. In a written work, where the personality of the teacher cannot be injected as at the private lesson and where words may mean much or little, depending on the individuality of the reader, every sentence should be carefully read and examined and the principles applied only after concentrated study.
5Though it is believed that these lessons contain all of the essential ideas necessary to the development of a satisfactory violin technic, yet there are certain fundamental principles existing beyond mere technical development which have an important bearing upon the subject. The question of mental preparation, of relaxation, despite the exertion of muscular force and of equalization of technic rightly belong in a method of violin study and yet in a technical treatise of this length the consideration rightly due them is almost an impossibility.
7No technical or musical subject in violin-playing should be approached without the necessary mental preparation, that is, a mental conception of what is to be done. Putting aside the question of knowing what one is to do when trying to acquire a tone, or a certain position of the left hand, as an obvious necessity, it should be just as obvious that no passage should be approached until the brain has first mastered it and directed its performance in a certain manner. For example, a rapid staccato passage, a glissando run, or any similar technical feat, will suffer in clarity, evenness and distinctness unless a definite mental conception is had of each note before it is played. The brain must be kept alert and ever in advance of the fingers and must definitely direct every physical and emotional portion of the musical expression.
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