Scan 40
The violin : solo playing, soloists and solos, 1905
6 lines. Read by computer on 3 September 2026. Printed page 24. See the scan on archive.org.
1CHAPTER IV.
3TONE.
5HAVING treated of technique of the left hand, I now proceed to other very important parts of my subject, and they are, bowing and beauty of tone. In every sense, the subject of tone has a constant interest to thoughtful players. Everybody likes a fine tone. Its charm cannot be predicted or over-estimated. It is impossible to acquire it, unless cultivated from the beginning of your career. No technical difficulties, and for the matter of that, no passages are worth hearing if not done with a pure tone. It should be of great importance throughout your career. It is one of the highest features of violin playing. With an audience, oftentimes, vocal tone has more power to elicit admiration than all the technique you can exhibit. It is a great secret to know how to vary the tone. When it is acquired, playing will be delicious. I would recommend the practice of long sustained notes, single and double, with a firm stroke, without change of bow being perceptible. There are four requisites, breadth of tone, purity of tone, distinctness of tone, and proper speed of the bow. The first attention of every public performer, doubtless, must be to make his playing heard by all the audience. He must fill with his tone the space occupied by the assembly. Therefore purity of tone often carries further than loudness of tone. The quantity of sound necessary to fill even a large space is smaller than is commonly imagined. There is no
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