Books › Modern Violin-playing, 1920 › scan 57
Scan 57
Modern Violin-playing, 1920
18 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1mented in changing from one finger to another—always bringing the knuckle into the striking-plane. It is only when this perception of unity as between the finger and the arm has been established that the vibrato can be attempted.
3EXERCISE 10
5The same as Exercise 9, except that the thumb is first placed against the right-forefinger, which exerts a slight downward pressure on it, corresponding to the weight of the violin.
7If the thumb is held relaxed (see Plate 9), the right-forefinger will, starting at the third joint of the thumb, press down until it rests upon a fleshy pad that forms on the inside of the second phalange of the thumb. If the thumb is held stiffly, its rigid tendons will prevent the pad from forming, and the forefinger (or the neck of the violin) will slip downwards.
9This exercise is difficult: the greatest patience is needed in order to master it. The thumb has to allow the hand to make its necessary adjustments; for it is on these that the mental conviction of unity as between the finger, the hand, and the forearm depends. Furthermore, it has to "pursue its policy of non-intervention." It has to serve as a mere support. Unless it is isolated in this way, the violinist will never be able to differentiate sharply between it and the finger-plus-arm, which is his playing-medium.
11There are only four fingers to be trained. And, once they act perfectly in any and every order, the most difficult part of the left-hand violin technique has been learned. But, as this portion of the scheme of study is of crucial importance to the future of the player, it is advisable that he should make his first experiments with Exercise 10, then test each finger with the vibrato, taking care that it should always be started in the forearm, and not in the hand.
13If the vibrato is not successful, it is a sure sign that some element of the technique is wrong. The wrist may be flexible, or the knuckle misplaced. The fault may lie in the fact that the thumb is unconsciously interfering; or the impulse may be originating in the hand instead of in the arm.
15Whatever the cause, there is only one remedy—renewed practice, with increased watchfulness as to what the muscles are and are not doing.
17When some degree of success has been attained, it will be well to
The computer misreads some letters and numbers. Where a name matters to you, read the scan.