Books › Violin Mastery, 1919 › scan 52
Scan 52
Violin Mastery, 1919
6 lines. Read by computer on 3 September 2026. Printed page 30. See the scan on archive.org.
1strength which is necessary for the fingers to have; and the Kreutzer études are indispensable. To secure an absolute legato tone, a true singing tone on the violin, one should play scales with a perfectly well sustained and steady bow, in whole notes, slowly and mezzo-forte, taking care that each note is clear and pure, and that its volume does not vary during the stroke. The quality of tone must be equalized, and each whole note should be 'sung' with a single bowing. The change from up-bow to down-bow and vice versa should be made without a break, exclusively through skillful manipulation of the wrist. To accomplish this unbroken change of bow one should cultivate a loose wrist, and do special work at the extreme ends, nut and tip.
3"The vibrato is a great tone beautifier. Too rapid or too slow a vibrato defeats the object desired. There is a happy medium of tempo, rather faster than slower, which gives the best results. Carl Flesch has some interesting theories about vibration which are worth investigating. A slow and a moderately rapid vibrato, from the wrist, is best for practice, and the underlying idea while working must be tone, and not fingerwork.
5"Staccato is one of the less important
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