Scan 61
The American history and encyclopedia of music .., 1908
16 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1(thumb, first and little fingers), at end of stroke, the arm not to be brought into action during the lifting of the bow, the bow leaving the string wherever the stroke ends. In the attempt to take the bow from the string do not farther extend the arm.
3EXERCISE IV.—Apply the martelé principle of pressure, stroke and relaxation to hand or wrist stroke only, leaving thumb in place. This martelé hand stroke should be done at the point and frog.
5EXERCISE V.—The same application to the full arm stroke with hand extension and without removing the bow or thumb. This may be considered as a martelé stroke though it leads to the legato.
7EXERCISE VI.—As a means of illustrating to the pupil that the hand must be in the same relation to the bow at all times, draw the bow up and down over the string as slowly as possible, causing him to note the unchanging position of the hand at all points.
9LESSON III.
11THE FIRST POSITION.
13There must be one position in which the hand of the beginner adjusts itself to the violin and, of necessity, this is the first position, not because it is lacking in complications or is musically limited, but because, as in everything else, one must begin at the bottom to conquer the ground step by step. Two octaves and a major third from the open G string to the b natural above the staff is the range of that musical territory known as the first position on the violin, and its conquest represents laborious and crucial efforts to the beginner and problems of no mean technical difficulty to the student of classic literature.
15The open strings, tuned in the perfect fifths, G, D, A, E, are at once made the medium of the early bow exercises, as
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