Scan 27
Chats to violin students on how to study the violin, 1895
4 lines. Read by computer on 3 September 2026. Printed page 11. See the scan on archive.org.
1ticular than any other. It is of assistance to practise with a piano if the ear is not naturally acute, but of course a piano is not always in tune and may mislead the student. The correct timing of music is another very great point to be considered at the outset of study, the proper attention to different values of notes and rests is so important. By paying careful attention to this particular the difficulty will be easily overcome; but it is surprising how often pupils neglect to do so. Attention, also, to the bowing marks and all signs of expression is of prime importance and the student would give his master much more satisfaction and considerably less distress if he would be more careful in such particulars. These mechanical parts of the study could be easily corrected after one lesson, thereby leaving more time for the other parts of the work which require more than mechanical study. I have sometimes had to spend a whole lesson on one scale that was supposed to have been correctly prepared for me, and which I expected only to listen to and be satisfied with, instead of which all the time had to be devoted to correcting faults of intonation, etc., and no time left for studies or anything else. If such things as these occur from want of ear and capability of hearing that the notes are out of tune, it would be much better for such a student to give up studying an instrument like the violin. The piano or some more mechanical instrument he might be able to grasp, but not so exacting an one as the violin.
3After the faults of the left hand come those of the bowing. Squeaky and scream notes are always pro-
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