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Scan 8
The violinist, 1903
41 lines. Read by computer on 3 September 2026. Printed page 6. See the scan on archive.org.
1How Sevcik Teaches Beginners
3By Oscar Bush
5Continuing from where we left off in the last article, I wish first to state that after teaching the commonest spacings for semi-tones, Prof. Sevcik strikes out boldly to strengthen his pupil's left hand by giving them all the common intervals in double notes, also broken chords in the same way.
7Then come harmonic minor scales and a lot of melodies with second violin. These melodies are given with great regularity after each new difficulty and lighten up the severe tasks set by the master.
9These technical advancements come in about this order:
10Chromatics, separately with each finger.
11Augmented and diminished fifths. g to d#, b to f, etc.
12Two semi-tones on one string:
130.1—2—3.4
140.1.2—3—4
150.1—2.3—4
17Four finger exercises which bring the semi-tones each time in a different place.
18Scale studies, transposed into various keys.
19Two finger exercises, leading to trills.
20Exercises in the 2nd, 3rd, 4th and 5th positions.
21Shifts in these positions.
22Bowings from the "4000."
23By this time the pupil is no longer a beginner and so I have reached the limit of my subject.
25It would seem, to some, that possibly Sevcik neglects the bow; however this is not the case, as a little acquaintance with the 4000 bowings will demonstrate. I have not attempted their description because it would be well nigh impossible to do them justice, or to give even an idea of how he uses them without using ten times the amount of space at my disposal. The wonderful, swift lightness of Kocian's bow shows, to some extent, how carefully he coaches the bow arm.
27A Sensible Suggestion
29I feel safe in asserting that the Thomas Orchestra is not satisfied with the number attending their concerts given outside of Chicago. Living in a city en route, I am in a position to compare their advertising methods with similar organizations. Last season the Thomas Orchestra gave a matchless concert in our city to a fair-sized audience, but I regret to say that it is not the intention to visit us this year. Herbert's Pittsburg Orchestra played to a packed house and have promised a re-appearance. Public opinion was sensible enough to concede the honors to the Chicago orchestra, though thoroughly appreciative of the splendid work of the Pittsburg organization, which lacks the seasoning quality which time will yet confer upon them.
31Why did Herbert's management triumph in the securing of a larger attendance? Simply because he condescended to fully advertise his coming. The papers for weeks ahead were full of the capabilities of his orchestra and soloists and the public awaited his coming on the tip-toe of expectancy. Granted that it is more dignified and in keeping with art to put up a poster with huge white letters: "THE THOMAS ORCHESTRA, TEMPLE THEATER, NOV. 14," still that is not the way to secure the crowds in the smaller cities. We assure the business management of the Chicago Orchestra that their visits are an uplift to the communities; but for the good of their treasury and the furtherance of art in this portion of Hoosierdom, we beg that they condescend to more general and effective methods of advertising. HERBERT G. PATTON.
32Fort Wayne, Ind.
34Chamber Music
36Mrs. Wille Hutcheson, in the Houston Post, has this interesting reference to the subject of chamber music: "Kammermusik, or chamber music, is the finest form of absolute music, and absolute music means music without words or scenic illustration."
38It is interesting to observe, says the Minneapolis Tribune in speaking of a concert by the Hoevel String Quartet, how little the great mass of musicians and much less the music-loving public know of the chamber music of the great masters as compared with their other other forms of music. This is the greater pity in that the volume and quality of their chamber music compositions is higher than that of either their vocal, piano or orchestral works. Taking Beethoven, for example, one finds the mere bulk of chamber music to consist of sixteen string quartets, four string trios, eleven trios for piano and strings, fifteen sonatas for piano and violin or cello, and which embrace many of the highest marks reached by him in his second and third periods. The last five quartets form the closing works, interspersed by a few piano compositions, of his life. The string quartets of Haydn and the modern master, Brahms, contain more good music than do many of their symphonies, choral numbers, piano numbers or songs.
40An unexpected return to those having cards in the Directory (see page 16) has been the new violin music sent them by music publishers. The value of these solos, schools of technic, etc. in some cases has already amounted to more than twenty dollars.
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