Books › Modern Violin-playing, 1920 › scan 23
Scan 23
Modern Violin-playing, 1920
21 lines. Read by computer on 3 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1THE LEFT-HAND: THEORY one of two readings
3muscles are bound to tire, burdened as they are with the task of equalizing the swing-length. one of two readings
4muscules are bound to tire, burdened as they are with the task of equalizing the swing-length. one of two readings
6These difficulties disappear when the hand is swung from the elbow. For the thumb then acts automatically to limit the length of the swing.
8It is matter of common observation that players who use the wrist-vibrato frequently grip the violin tightly with the jaw, in order to free the hand for swinging. The results are dire. In the human body there is a natural tendency to equalize things between the two sides, either by a similarity of muscular contraction, or by a balanced distribution of weights. So that when the left collar-bone is held continuously raised, it is not long before the right collar-bone also raises itself—the very worst thing that could happen for the bow-arm. Even were the left shoulder alone held raised, the effort would be distressing. When both are lifted, it is utterly impossible for the player to maintain calm control over himself and his instrument.¹
10Furthermore, when the violinist grips the instrument tightly with the jaw, he also contracts his throat, particularly at crucial moments in the music. This interferes with proper breathing. It also puts an added strain on the heart, which is still further intensified by the pressure on the jugular vein, caused by the raising of the left shoulder and the pressure of the violin against the neck.
12The total result of all these mistakes on the player is a desperate state of fright. Nine times out of ten this can be explained by the physical factors which we have just described. But memory alone can engineer a collapse—the subconscious memory of past struggles and pounding arteries.
14Let it therefore be said again, explicitly, once for all. Anatomically and mechanically the proper method of producing the vibrato is by swinging the forearm and hand from the elbow.
16We can now turn to the florid left-hand technique, with the purpose of examining and defining its mechanism. In the course of this examination it will become abundantly clear that correct left-hand technique renders the performance of the wrist-vibrato absolutely impossible, and that those who advocate this vibrato—or, indeed, any but the arm-vibrato—are advocating a technique that is contrary to mechanical law.
18In order to clear the ground for this study of the florid left-hand technique, it is necessary to draw the reader's attention to two facts,
20¹ See page 34 for some remarks on neuritis, or, as it should be called ninety-nine times out of a hundred, vocational cramp.
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