Books › Modern violin-playing, 1920 › scan 114
Scan 114
Modern violin-playing, 1920
14 lines. Read by computer on 3 September 2026. Printed page 54. See the scan on archive.org.
1like putting your chin on the chin-rest, do so. The next moment you may feel like putting the jaw there. And presently you may wish to leave the violin entirely free. Nobody will issue a summons against you as a criminal for any of these acts. And you yourself know by now that the important thing is to keep the shoulder loose at all times.
3Do not hold the violin too far either to the side or in front. A middle-position is more comfortable and better-looking. If you point your instrument earthwards, or skywards like an astronomer's telescope, you are only increasing your difficulties. For the bow is sure to work in the opposite direction, towards or away from the bridge.
5Breathe freely and regularly. Keep the throat always relaxed and open. And if the length of your neck causes anxiety, place a small round pad on the collar-bone, where its ridge is evident through the absence of muscle-fastenings.
7Do not stand with your eyes glued to those very vague and imperfect sound-symbols, commonly known as "the music." The practising of pure technique will compel you to stand stock-still. Otherwise, your mind would wander. But, between the bouts of technique, let your feet wander a little. Move about the room; take a look at the view from your windows; become less technical for the moment, and more human.
9Abandon the printed page at the first possible opportunity. If you do, your memory will be benefited. You will not go stale by constant playing in the same room or into the same corner of one room. And, when you are away from the desk, you will get a much better idea of what your playing-position is, and of how your playing is likely to sound at a distance.
11One of the greatest difficulties of all teachers is to get their pupils to listen to their own playing. A pupil will produce sounds that would horrify him if they came from another player—and will then turn calmly to his teacher for approbation and applause. It is obvious that he has heard nothing of his own playing. His mind has been completely absorbed by his intention. The result has been inaudible to him. This matter, so vitally important in teaching, is one that can only be mentioned here. Its daily enforcement by means of never-ending stoppages and comparisons must be left to those teachers who have the necessary patience and devotion.
13The tuning of the violin can be done quietly and quickly. It rarely is. The point to notice is that heavy slow bowing actually changes the pitch of the strings. A light moderately quick bow-stroke is all that
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