Scan 27
The American history and encyclopedia of music, 1908
19 lines. Read by computer on 11 September 2026. Printed page 6. See the scan on archive.org.
1The pupil must learn the difference between a soft-legato and a firm, steel-like staccato-bowing as soon as possible; he should learn by his exercises the different parts of the bow (nut, point, middle) and should play whole exercises, if their character allows it, with those bowings, also with upper—or lower half, or with a whole bow, both legato and staccato.
3Beginners show too often a tendency to play nearly everything, particularly detached notes, in the middle of the bow, making this part the central point for their operations, with an almost entire exclusion of bowings which require the extreme point or the nut.
5The teacher should not fail to encourage his pupil by having him occasionally study a small concert piece, as in this way the musical sense will be developed and expression and character become a reality to him. Pieces, which cover the requirements of this first grade in violin-playing, are written by
7Carl Hauser, Op. 2.
8Theo. Hermann, Op. 27.
9Dancla, Op. 86, Nos. 8 and 9.
10Dancla, Op. 123, Suites 1 and 2. (Fischer Edition.)
11Ern, Op. 22, Gavotte.
12Danbé, Op. 20, First Series: 6 pieces.
13Danbé, Op. 30, Second Series: 6 pieces.
14T. Miersch, Op. 33, Four little pieces.
15Borowski, Danse Rustic.
16Borowski, Three Morceaux.
18It is utmost value to the pupil to play his piece, after the finishing touch has been given and before starting on some new work, quite often with piano accompaniment. Getting thus acquainted with the complete music of the piece (viz., violin and piano) he will gradually gain the necessary freedom and self-confidence in his playing, qualities without which a fluent execution is impossible.
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