Scan 56
The American history and encyclopedia of music, 1910
12 lines. Read by computer on 11 September 2026. Printed page 28. See the scan on archive.org.
1part of the left hand is worse than useless when either the right arm has not been properly developed, or what is even worse, the musical foundation has been sadly neglected. The study of theory, ensemble practise, a few years spent in a first-class symphony orchestra, membership in a string quartet with high ideals, a teaching experience, these are the real fountains of technical knowledge and experience and the broadening effect of such experience upon solo playing is immeasurable. It is unfortunate that the value of these experiences is not recognized until they have been neglected and it is too late.
3However, the individuality of the student, together with the opportunity of hearing great artists and studying with a teacher, himself an artist and serious musician, is after all the question of paramount importance. This work is, therefore, not intended to replace the teacher either from the standpoint of technic or musicianship. It is only to supplement his work and act as a reference of authority to those in doubt.
5LESSON I.
7RELATION OF BODY TO INSTRUMENT.
9The more natural the positions assumed in the playing of the violin, the better the results attained. There is no instrument which responds more quickly to proper handling nor which demands more ease and relaxation in position.
11The Spohr position, the weight resting mainly on the left foot with the right slightly advanced, still remains the most sensible one, freeing the right arm, though the position in which the weight is evenly distributed on both feet rightly has its advocates. As a rule, each player should assume the position which gives absolute freedom to the right side of the body, and therefore the right arm, and, at the same time, gives stability of poise. Swaying from side to side,
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