Books › Chats to violin students on how to study the violin (1895)
Chats to violin students on how to study the violin
Carrodus, J. T. (John Tiplady), 1836-1895. London: The Strad Office, 1895.
On archive.org as chatstoviolinstu00carr.
50 pages read (scans 15 to 113)1 name found3 makers on this site cite it
Towns it names most
Pages
Scan is the archive.org leaf number. Page is the number printed on the page, where the reading found one.
| Scan | Page | Starts | |
|---|---|---|---|
| 15 | CONTENTS | Read | |
| 16 | CHATS WITH STUDENTS ON THE VIOLIN. | Read | |
| 17 | HOW TO STUDY THE VIOLIN. | Read | |
| 18 | 2 | work is satisfactory, such as the length… | Read |
| 19 | 3 | it is necessary to refer to the gauge an… | Read |
| 20 | 4 | The correctness of the student's ear is,… | Read |
| 22 | 6 | CHAPTER II. | Read |
| 26 | 10 | CHAPTER III. | Read |
| 27 | 11 | ticular than any other. It is of assista… | Read |
| 28 | 12 | duced at first. These must be carefully… | Read |
| 29 | 13 | There is always something fresh to learn… | Read |
| 30 | 14 | CHAPTER IV. | Read |
| 31 | 15 | C Major. | Read |
| 32 | 16 | Arpeggios should be studied with each sc… | Read |
| 33 | 17 | studied with the scales and arpeggios an… | Read |
| 35 | 19 | CHAPTER V. | Read |
| 36 | 20 | Ernst, Paganini, etc. De Beriot's studie… | Read |
| 37 | 21 | violin and bow (of which I have spoken a… | Read |
| 38 | 22 | use that term). Every student must requi… | Read |
| 41 | 25 | CHATS WITH STUDENTS ON THE VIOLIN. | Read |
| 42 | 26 | followed by such men as Spohr, Molique,… | Read |
| 43 | 27 | details cannot be too strongly impressed… | Read |
| 44 | 28 | appearance" in my native town, Keighley.… | Read |
| 45 | 29 | CHAPTER II. | Read |
| 46 | 30 | and single harmonics) startled and amaze… | Read |
| 47 | 31 | perfect intonation on the violin than to… | Read |
| 48 | 32 | to be inaccurate.* He highly complimente… | Read |
| 51 | 35 | CHAPTER III. | Read |
| 52 | 36 | carefully studied—that is to say, the ma… | Read |
| 56 | 42 | as leader of the orchestra, also at the… | Read |
| 57 | 43 | Many of our theatres now require really… | Read |
| 58 | 44 | CHAPTER V. | Read |
| 59 | 45 | playing second violin with him in Spohr'… | Read |
| 63 | 49 | concert of the Musical Society of London… | Read |
| 64 | 50 | Since then I have often repeated the exp… | Read |
| 65 | 51 | CHAPTER VI. | Read |
| 66 | 52 | the varnish, in all of which (especially… | Read |
| 67 | 53 | him is accredited the development of vio… | Read |
| 69 | 55 | CHAPTER VII. | Read |
| 70 | 56 | the instruments, and the perfection of h… | Read |
| 73 | 59 | powerful tone, is said to have belonged… | Read |
| 74 | 60 | varius, whose style he copied, although… | Read |
| 76 | 62 | CHAPTER VIII. | Read |
| 77 | 63 | makes it very probable. The tone of his… | Read |
| 78 | 64 | equal to Lupot's for tone, in my opinion… | Read |
| 79 | 65 | CHAPTER IX. | Read |
| 80 | 66 | a different class of work, having studie… | Read |
| 81 | 67 | being Sebastian (from the Tyrol). His pa… | Read |
| 82 | 68 | instruments in many ways resemble the Ma… | Read |
| 113 | ADVERTISEMENTS | Read |
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