Books › Essentials of music / 2 The American history and encyclopedia of music / W.L. Hubbard, ed, 1910 › scan 55
Scan 55
Essentials of music / 2 The American history and encyclopedia of music / W.L. Hubbard, ed, 1910
8 lines. Read by computer on 11 September 2026. Printed page 29. See the scan on archive.org.
1or other unnecessary movements of the body, are to be avoided, at least, until the player is a full-fledged artist and a law unto himself.
3LEFT ARM.—The position of the left arm cannot be absolutely fixed but must remain an open question largely depending upon individual needs. However, the left elbow should be neither too far under the violin nor projecting in the opposite direction lest it assume a strained position, a condition to be avoided at any cost. The ability to quickly and systematically get over the fingerboard depends in a great measure on the freedom of the left hand and arm (the violin should be held firmly by the chin and shoulder, for this reason, a pad being used if necessary); and on a free and correct manipulation of the left thumb in shifting.
5LEFT HAND AND THUMB.—The contact of the neck of the violin and the left hand should be between the second and third joints of the first finger, the thumb being applied a little above the first joint. The thumb should be placed opposite the first, or the first and second fingers, depending entirely upon the character of the individual hand. The player must find a natural and relaxed position for this most important member of the left hand. Pressure is not prohibited, but relaxation must always follow, in order that hand and fingers do not become strained.
7FINGERS OF THE LEFT HAND.—The left hand should be held in such a position that the fingers fall easily and naturally on b, c (c sharp), d and e, on the A string, in the middle of the tip of the finger. There should be no cramping, no adhesion of thumb and first finger, first and second, etc. Each finger should work independently of the others, and of the hand, from the third joint, the hand at absolute rest. Flexibility and velocity depend on observing the above, while body of tone, resulting from strength of fingers, is gained by practise, or repetition, and not by studied effort. The hand should be held in such a position that each finger
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