Scan 583
The violin: its famous makers and their imitators, 1909
2 lines. Read by computer on 27 September 2026. Printed page 505. See the scan on archive.org.
1"With regard to the finger-board, or carriage of the left hand, I have one thing strongly to recommend to you, which will suffice for all; and that is, the taking a Violin part, either the first or second of a concerto, sonata, or song—anything will serve the purpose—and playing it upon the half-shift, that is, with the first finger upon G on the first string, and constantly keeping upon this shift, playing the whole piece without moving the hand from this situation, unless A on the fourth string be wanted, or D upon the first; but in that case, you should afterwards return again to the half-shift, without ever moving the hand down to the natural position. This practice should be continued till you can execute with facility upon the half-shift any Violin part not intended as a solo, at sight. After this, advance the hand on the finger-board to the whole-shift, with the first finger upon A on the first string, and accustom yourself to this position till you can execute everything upon the whole-shift with as much ease as when the hand is in its natural situation; and when certain of this, advance to the double-shift, with the first finger upon B, on the first string; and when sure of that likewise, pass to the fourth position of the hand, making C with the first finger upon the first string; and indeed this is a scale in which, when you are firm, you may be said to be mistress of the finger-board. This study is so necessary,
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