Books › Essentials of music / 2 The American history and encyclopedia of music / W.L. Hubbard, ed, 1910 › scan 53
Scan 53
Essentials of music / 2 The American history and encyclopedia of music / W.L. Hubbard, ed, 1910
9 lines. Read by computer on 11 September 2026, twice; the two readings disagreed in places. Printed page 27. See the scan on archive.org.
1(no line here) one of two readings
2ADVANCED VIOLIN INSTRUCTION one of two readings
4The question of relaxation in spite of physical exertion is also important. Relaxation, to many, erroneously means limpness. It is an almost undefinable term and is neither limpness nor rigidity but a condition midway between the two in which the muscles remain firm but are allowed to move freely at any speed and with any amount of force. To trill rapidly and with sufficient force to make the tones distinct requires the highest standard of relaxation and great strength. It is absolutely necessary to drop the finger with sufficient force to clearly stop the string and yet it is as necessary that the finger move with great rapidity, a product of perfect relaxation. It can readily be seen, therefore, that relaxation and force are not incompatible allies in violin-playing, though the balance between the two is very finely hung.
6Closely akin to this is the independence of technic. Much bad bowing is due to the fact that upon the arrival of a difficult left-hand passage the player is unable to differentiate between the left and right arms and therefore shows in the right arm that which is bothering the left hand. A similar condition arises when the player finds that he is forced to play a passage at the point of the bow when he would rather play it at the nut, or similarly, when he is compelled to use fingering unsuited to his technical equipment. Practise should be had to remedy these conditions so that the arms and hands may be independent of each other and so that any passage plays as easily in any part of the bow or with any fingering.
8The province of interpretation, of musicianship, is such a big one that in touching upon it the writer is well aware of the utter impossibility of doing justice to it in a short paragraph. However, attention must be called to the ever-growing tendency of the young violinist to give himself up entirely to the all-engrossing pursuit of technic, that of a digital kind, and forgetting that all of this dexterity on the
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