Books › Modern violin-playing, 1920 › scan 124
Scan 124
Modern violin-playing, 1920
18 lines. Read by computer on 3 September 2026. Printed page 60. See the scan on archive.org.
1Plate 31 shows the wrist drawn back. But, as the action has pivoted round the finger-tip instead of round the knuckle, the latter is moved completely out of the striking-plane.
3One of the bad consequences of this false position is that the fingertips descend to the string nail-first. The result is so much discomfort and inconvenience, that the third joint is frequently straightened in order to seat the finger—an uncomfortable position that is shown in Plate 32.
5The student may very profitably pose the left-elbow on a table; and, taking Plates 29 and 30 for his models, practise moving the left-wrist backwards and forwards, until the movement can readily be made from the knuckle, without disturbing the finger or moving the knuckle out of the striking-plane.
7The hand mounts from position to position. And, after the third position has been passed, the thumb is drawn round the neck; until, in the very highest positions, that part of it which lies between the third joint and the extreme tip supports the instrument.
9At present the student need go no further with the thumb-technique. But he should now experiment with the higher positions, bearing in mind the fact that, notwithstanding the changed position of thumb and wrist, the violin still rests on the thumb. Thus, there is complete freedom for its adjustment to the rest of the hand.
11At this stage some experimenting must be made with the higher positions. This is necessary before we face the added complication of shifting smoothly from one position to another. But it must be remembered that a knowledge of the positions practically means for us a knowledge of the extent to which the wrist is drawn back and the thumb drawn under.
13It is therefore best, now that the student is familiar with the first three positions, to begin—not with the fourth, in which the difference is very slight—but with a higher position, such as the seventh, the one in which the first finger rests upon the octave of the string. The difference in the wrist and thumb positions is here sufficiently great to be easily appreciated. And from this position the student may work down to the third and up to the highest.
15The logical course for him is simply to play the notes in the seventh position, noting carefully on what part of the thumb the violin may be conveniently supported; how far back the wrist is projected, and whether the knuckle is in the striking-plane.
17During the exercise the violin should be lowered several times, and
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