Scan 43
The American history and encyclopedia of music, 1910
17 lines. Read by computer on 11 September 2026. Printed page 19. See the scan on archive.org.
1gance, or vice versa. That gives the student a breathing spell and forces him for the time being, to cultivate an opposite element and thus broaden his playing.
3To be considered yet are the many, more or less valuable works which treat finger-technic as a specialty. The teacher, naturally, and for very good reasons, will not overburden his pupil with these studies, if the desired results are to be accomplished. And again the pupil will not feel the dryness of these studies, if he goes ahead with them rather slowly. Also the physical conditions of the fingers differ so greatly that strong and supple fingers need less of this kind of study, while the pupil with weaker fingers will achieve only the very best results after a careful study.
5The following are some of study works of merit and to be highly recommended:
7Sevcik. Development of the left hand.
8Schradeck. Scale studies.
9Schradeck. School of Violin technic.
10Eduard Herrmann, 25 Double stop exercises, second book.
11Lichtenberg. Scale studies.
12Keller and Schell. 275 Studies (books 3, 4 and 5).
14Only one work need be studied, as they all pursue the same aim, starting from the easiest and gradually leading to all imaginable technical difficulties. The teacher, who is familiar with these works, will easily find the most useful for his pupil.
16Before the pupil ends his regular study courses, he should acquire some knowledge of ensemble-playing (piano and violin). In sonata-playing the teacher should start him with works of our classical composers, particularly of Mozart, and Beethoven, and only gradually advance toward compositions of our own time. The technic of those older works requires well-trained, solid fingers, perhaps in a higher degree than that found in more modern works.
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