Books › Essentials of music / 2 The American history and encyclopedia of music / W.L. Hubbard, ed, 1910 › scan 63
Scan 63
Essentials of music / 2 The American history and encyclopedia of music / W.L. Hubbard, ed, 1910
6 lines. Read by computer on 11 September 2026. Printed page 37. See the scan on archive.org.
1the glissando. In this form of scale the note itself is to be given the greatest possible amount of time and the shifting of the finger to be accomplished as rapidly as possible. The reverse is almost always to be noticed; namely, a slow groping or sliding from note to note, the note itself hardly being articulated. In playing the scales, in fact at all times, immediately after each tone is played, the finger for the next tone is to be placed in position, the bow never attacking the tone until the finger is firmly placed. This requires careful attention to the position of the finger so that the only time consumed is in the actual playing and not in the finding of the proper place on the string. It is wise to keep all of those fingers on the string, without tension, which are not being used, since in this way they are ready when needed.
3FAULTY AND UNUSUAL FINGER POSITIONS.—The first finger should be so held that the application to the string be directly downward and not drawn back so that it will have to seek a higher position on the string before or after falling. One cause of faulty intonation arises from drawing down or extending one finger, thereby pulling the others along instead of keeping them in place irrespective of the temporary change of position of the one.
5The young beginner who has not given sufficient attention to the mental preparation spoken of above (placing the fingers before the time of playing the note), will often forget that only perfect fifths occur opposite each other on the strings and that, therefore, when this interval is either augmented or diminished, it is no longer possible to simultaneously stop both strings with the same finger—but that an extension or a drawing back of the finger to be used is necessary before application to string is in order. The playing of these intervals (crossing over from one string to another with the same finger), is only advisable in rare cases, as in rapid passage work, for instance, this mode of fingering is not only awkward but untenable; the nearest finger being used to play the second note. The intonation
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