Scan 8
Right hand culture, for violin, viola, and cello players, 1917
10 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1FOREWORD
3It is well that the young aspirant to musical honors does not always realize the sum total of work which a life-time of effort may proportion. Yet, looking back over a period of twenty years of study, a musician might easily be at a loss to suggest even a small additional contribution to the over-abundance of study literature already extant.
5I ask the matured violinist to recall how, in private, day in, day out, for hours at a time, his bow has glided over the strings—how a perfect rendering of even the simplest passage was attained only as a result of arduous struggle.
7The first object of this little volume is to shorten these nerve-racking practice-hours, and to allow for a freer development of the student's ability. In addition, it aims to do away with much unnecessary practice on the part of the advanced violinist and 'cellist by means of right hand studies (see p. 6), a few minutes devoted to them daily keeping the right hand fit and ready for its task.
9The point at issue is to call attention to the fact that not alone is the right hand entitled to as much consideration as the left; but that it is actually the "playing" hand. The making of music is a means of psychic expression, and the human voice is its ideally perfected
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