Scan 146
Voice and violin : sketches, anecdotes, and reminiscences, 1898
8 lines. Read by computer on 3 September 2026. Printed page 126. See the scan on archive.org.
1intonation. During the four years that I had the honour of acting as violin solo to the Bohemian Orchestral Society my clever wife always presided at the piano, and I am perfectly convinced she contributed immensely to the remarkable success of that orchestra, of which I will say more presently.
3I am also of opinion that De Bériot made an important step in the right direction when he wrote piano accompaniments to his studies for young violinists. It was a great improvement on the second-violin accompaniment, and enhances the value of his Études Mélodiques very considerably.
5In studying scales, and double-stopping alone, that is, without an accompaniment, frequent use should be made of the open strings as a test of exact intonation; and the daily practice of the principal scales, taken rather slowly, will go far towards making perfect intonation the general rule.
7In double-stopping, as Tartini pointed out to his pupils, the notes are not perfectly exact unless you hear the "third sound." Some violins give this effect better than others, but in all good instruments it is more or less appreciable. Octaves are much easier to get well in tune in rapid passages, as we find in the finale to Vieuxtemps' Fantaisie Caprice, for instance, than in slow, sostenuto passages, such as that which terminates Papini's exquisite romance A une Fleur! One of the best exercises for acquiring true intonation in playing
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