Scan 26
Chats to violin students on how to study the violin, 1895
8 lines. Read by computer on 3 September 2026. Printed page 10. See the scan on archive.org.
1CHAPTER III.
3Of Faults and their Correction.
5AFTER having pretty exhaustively discussed the principal points in regard to the violin and the bow I will now try to point out the most likely faults to be met with in beginning to study, and how best to avoid and overcome them.
7First and foremost will come the holding of the violin—so much carelessness is found in this and, as I have stated in a former paper, great importance should be attached to holding it in a straight line with the centre of the player's body, the elbow being drawn well under. When this is attained the next point is to hold the bow quite correctly with the thumb bent at the joint. Be careful to keep the stick parallel with the bridge. Then comes the intonation, which is generally faulty and very trying under these circumstances to anyone with a trained ear. The ability to play absolutely in tune may be attained by very careful study and practice, but a naturally sensitive ear is almost necessary to secure it. Practising without being absolutely sure of correct intonation is almost as bad as no practice, and a master suffers more from his pupil's incorrectness in this par-
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