Scan 77
The American history and encyclopedia of music, 1908
12 lines. Read by computer on 11 September 2026. Printed page 52. See the scan on archive.org.
1to think of the content. This system of fingering by motive is often the only difference between a good reader at sight and a bad one. Scales should be practised regularly, every part of the fingerboard should be used, and the fingering should be systematized.
3Scales should be practised in all forms. It should be the regular study of the violinist to start each scale, not only on the key-note but each succeeding note of the scale, in order that, though habit or the position on the fingerboard may prompt another tonality, his intelligence and ear will enable him to play the required scale. For example, the D major scale may be played beginning on E or F-sharp, etc. Each scale should be played beginning in every position and with every fingering, because scale passages, especially in modern works, seldom conform to simple scale models.
5LESSON X.
7CHORDS AND DOUBLE-STOPPING.
9CHORDS.—The playing of chords is very often a bone of contention between the player and the instrument, partly due to a misinterpretation of the musical mission of chords, partly to misapplied bow technic. In the majority of cases the chord of three and four notes represents the same number of equally important voices which must be sounded simultaneously. This can best be accomplished by pressing down the outer strings to the inner, and only when the bow bites into or holds down all strings at once can a correctly played chord be produced.
11This cannot be accomplished, at least as well, with the bow tilted in the usual manner,—away from the bridge,—but it will be necessary to temporarily adopt a transitory position of hand which will permit playing with the hair flat against the strings. It is recommended to tilt the hand somewhat backward, the wrist a trifle in, i. e., below the normal level, this position permitting of more direct pres-
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