Scan 334
The American history and encyclopedia of music, 1908
6 lines. Read by computer on 9 September 2026. No printed page number was found. See the scan on archive.org.
1it has voiced the magic of ancient masters till the flying fingers stiffened and the bow hand lost its power. It is then bequeathed by him to some passionate enthusiast who makes it whisper his hidden love, or cry his inarticulate longings, or scream his untold agonies, or wail his monotonous despair. Passed from his hand to some cold virtuoso it perhaps slumbers awhile in its case, but comes to life once more and rides the stormy symphonies of royal orchestras beneath the rushing bow of their lord and leader. And so given finally into the hands of its present owner it pours forth under his touch in sweet and mellow tones all the harmonies which have kindled and faded on its strings."
3The bow arm should be free and limber, all its movements muscular enough to execute a long sustained difficult passage without the slightest unevenness in the quality of the tones; and the wrist must be flexible and strong so that the daintiest touches may not be marred by a harsh, uncertain touch. Passages in which several notes flow from a single stroke of the bow require great skill, while those in which each note is made by a separate stroke of the bow require a free, firm arm motion. A good player knows that by playing close to the bridge where the strings have little freedom for vibration produces a nasal tone; playing a little farther away from the bridge adds power to the tone, and it is sometimes harsh. But as the bow moves up toward the finger-board, the tones become less powerful and gain in mellowness. The soft, suggestive tones of a violin are produced by playing over the finger-board. Masters who understand the tone qualities of their violins combine the manner of bowing with these different positions on the strings, gaining thus a wide range of variety of tone character, and the individual tone coloring of each violinist is the result.
5Some of the effects to look for in violin playing are the tremolo, which is a rapid alternation of up and down strokes of the bow. It is used to express great agitation of feelings, whether from fear or sorrow or joy. It is usually
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