Books › Modern violin-playing, 1920 › scan 45
Scan 45
Modern violin-playing, 1920
12 lines. Read by computer on 3 September 2026. Printed page 23. See the scan on archive.org.
1quite natural and proper. It is, in fact, a sign of grace—a sign that he is proceeding along the right road to violin-success. Nor should it be hard for him to understand why this lateral bending must take place. If he will look at Figs. 9, 10, 11, and observe what happens to the block when its weight is evenly balanced (Fig. 9), or is shifted to the right (Fig. 10), or to the left (Fig. 11), he will have no difficulty in explaining to himself the movement of his wrist.
3Fig. 9
5Fig. 10
7Fig. 11
9We have already alluded to the fact that the knuckles do not run across the hand in a straight line. Their order, from highest to lowest, is as follows: second, first, third, and fourth. This irregularity we have seen to be intimately connected with the question of getting the knuckle into the horizontal striking-plane. Its importance to us now lies in the fact that, when we are "setting" the finger and forearm, it involves a different adjustment for each finger in relation to the thumb.
11The hand is held diagonally to the neck of the violin. Provided it remains stationary, the fingers will all assume different curves, in order to reach their points of true intonation. It is, however, essential that
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