Scan 9
Right hand culture, for violin, viola, and cello players, 1917
6 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1medium. May not this ideal singable perfection be within our grasp instrumentally when the right hand, hitherto only schooled by necessity, is adequately developed in a physical sense?
3An acquaintance with every exercise which has been devised for the development of the left hand of the string instrument player is a practical impossibility. It is sufficient to know the best, such as Carl Flesch's "Basic Studies for the Violin." Strange to say, however, there are few exercises for the right hand; indeed the right hand has only a small and partial opportunity for practice; and this in spite of the fact that the fingers of the right hand are as active as those of the left. Yet independence of the fingers of the right hand, suppleness and ability to combine as individual factors in the use of the bow, is imperative. That maximum freedom of motion demanded of the right hand can be obtained only by mastering the necessary practical means of securing it. Hence, to increase the right hand's reserves of muscular strength and elasticity, if not as much time, then, at least as much attention must be devoted to it as to the privileged left hand. This ambidexterity of the hands is essential in many sports, and it is surprising to find hardly any provision made for organic training of the bow hand in the case of the violin player, of whom so sensitive and delicate a use of arm and hand is demanded.
5Those who have been privileged to observe some of our great artists in their work-room intimacy, realize that intellect has given its final finish to perfection, that little is left to chance, and that it is not genius, but talent, that insists on the most thorough-going process of clarification.
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