Books › Violin tone and violin makers, 1916 › scan 134
Scan 134
Violin tone and violin makers, 1916
7 lines. Read by computer on 3 September 2026, twice; the two readings disagreed in places. Printed page 112. See the scan on archive.org.
1VIOLIN TONE
3elements of a conflicting nature which, in their efforts to dominate each other, all but destroy the carrying ability; that tone, when "pure," is divested of these elements, or most of them, and is naturally less in quantity, or loudness, but greater in penetrative ability; and, finally, that pure tone requires no forcing, or undue pressure, to create a carrying power entirely beyond the possibilities of most loud-toned fiddles. These facts are rarely appreciated save by artists, whether players or singers, and it is seldom that amateurs, or some who rank as professionals, understand purity of tone sufficiently well to recognise what degree of carrying power it will possess. In fact, a loud-toned violin, although lacking the finer elements, is more suited to such players than a purer-toned instrument. It is better that they possess a fiddle with the tone with which they can be satisfied than another which is belaboured with the bow in the vain effort to create what is considered an effective, or "big," tone. In justice to the player it must be said he is not wholly to blame. Wrong ideals of tone and carrying power are easily formed through the use of an unsuitable instrument. And it must be remembered a player can never "hear himself as others hear him."
5Quantity versus Quality.—"Ruggeri," writing in the Strad for February, 1913, says: one of two readings
6QUANTITY versus QUALITY.—"Ruggeri," writing in the Strad for February, 1913, says: one of two readings
The computer misreads some letters and numbers. Where a name matters to you, read the scan.