Scan 63
The American history and encyclopedia of music .., 1908
8 lines. Read by computer on 11 September 2026. Printed page 39. See the scan on archive.org.
1Every step of the diatonic scale, beyond the b above the staff, the limit of the first position, adds one new position, a new realm to be covered. The difficulties arising from this new field of action are not so much of a technical nature as they are mental and aural; the tones which have, so far, been produced by one set of fingering are now given over for reproduction to another.
3There is no reason why the positions should not be learned in consecutive order. Students taught in any other manner avoid the second, fourth and sixth positions and always develop technically in a one-sided manner. The habit of teaching the third position before the second is reprehensible and may be regarded as an open acknowledgment of fear, as far as shifting is concerned. The principle of correct shifting should immediately be so well established that the matter of position becomes a question of secondary consideration.
5The natural limits (owing to location) of first and third positions are so well defined that the hand quickly feels at home in these positions, and with a rare excursion to the half position does not seek a lower position on fingerboard or, because of body of instrument, is not apt to creep above the third. The other positions do not possess these decided limitations and so offer more opportunity for inexact playing. However, the student cannot go far astray if he will use the same hand position as in the first and third, in all positions, with only the necessary change in the position of the thumb.
7The fear of letting go of one position to go to another, on account of the imperfect knowledge of shifting, is so great on the part of the beginner that the tendency is almost always in evidence to reach for a note in a higher or lower position by an extension of the finger instead of shifting the hand. This should be avoided and the shifting done with the hand, the finger to be used not being placed on the string until the hand is absolutely in the new position. There are
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