Books › The Strad; a monthly journal for professionals and amateurs of all stringed instruments played with the bow, 1890 › scan 32
Scan 32
The Strad; a monthly journal for professionals and amateurs of all stringed instruments played with the bow, 1890
11 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1PHOTOGRAPHY AS AN AID TO VIOLIN TEACHING.
2Truly the path of the violin student is being smoothed down and levelled up to a most remarkable extent. Professors are continually devising new methods of imparting their knowledge according to their various experiences; and publishers, realising the enormous popularity of the violin, are not one whit behindhand in placing these productions on the market. The latest example is from the pen of Mr. J. B. Poznanski; and its being placed within the reach of all violin students is due to the liberality and enterprise of the St. Cecilia Music Publishing Co. The title of the work now before us is "The Violin and Bow, a treatise, with numerous copies of photographs taken from life, supplemented by various examples and original studies."
4The publishers have kindly allowed us to give the above facsimile reproduction of one of the photos from the magnificent series which forms the strikingly distinctive feature of this treatise in order to give our readers some idea of the character of the work. These photographs consist firstly of a series of no less than eighteen like the above, illustrating the various positions of the left hand. Then follows a series of ten of the right hand and bow; after that, a set of four of the entire figure and then one showing the correct position of a seated violinist, thus making a total of thirty-three exquisitely engraved plates. The first represents the correct position of the left hand as obtained by placing the fingers on the chord
6the second is a back view of the same showing the position of the thumb. Fig. 3 gives the correct position of the left hand in the second position, second finger C on the G string, and fig. 4 is the same from behind. Figs. 5 and 6 show similar views of the third position and figs. 7 and 8 give back views only of the fourth and fifth positions respectively. Fig. 9, which we reproduce above, shows the correct position of the hand with the fourth finger lightly resting on the harmonic octave of the E string, figs. 10, 11 and 12, illustrating the same action on the A, D and G strings.
8This illustrating of four only slightly differing positions is a good example of the completeness with which this part of the work is carried out. Fig. 13 shows the extension of the fourth finger to C# on the E string; fig. 14 gives the correct position of the hand, wrist and fingers in the chord of G, first position, the fourth finger being suspended over B# on the E string; and in figs. 15 and 16 are illustrated the positions of the hand, etc., in the chords of D and B in the first position. Fig. 17 gives an idea of the strained position a small hand assumes in stopping the chord
10and fig. 18, the last of the left hand series, shows the correct position of hand, wrist and fingers with the fourth finger resting on the double octave harmonic of the E string. After a few general remarks on bowing, similar to those on fingering which precede the first series of photos, we come to a set of ten photographs illustrating not only the correct, but likewise the incorrect positions of the right hand and fingers on the bow. Then follow those illustrating the
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