New and scientific self-instructing school for the violin

Sometimes a small note follows a large one, and depends upon that for its time, and always occurs on the unaccented part of the measure. Example: Written. Played. It is to be observed, that when the appoggiatura is before a note, it is always on the accented part of the measure, and should be marked more strongly than the nore before which it stands; and always with one bowing with the following note.

Of the Turn There are two kinds of Turns; common, thus ; inverted, thus. Example: The Trill, or Shake, indicated this, tr, is the trilling of two notes lying either a whole tone or a half tone from each other, and its duration is that of the note. Example: The short Shake is thus: The Tremolo, some-times indicated by this mark, (~~~~~~) consists in the wavering of a stopped tone, which alternately extends a little above or below the perfect intonation, and is produced by a trembling motion of the left hand, in the direction from the nut towards the bridge, and is generally used on long notes in slow movements.

On Holding the Violin. The Violin is placed on the left collar-bone, and is held fast by pressing the chin partly on the belly and the left side of the tail-piece, and partly on the tail-piece itself. The left shoulder is drawn forward, to support the violin. The right side of the violin must be dropped down a very little, to prevent

12 rasing the arm too much when playing on the fourth string. The neck of the violin rests between the thumb and fore-finger of the left hand, held gently over the first joint of the thumb, and at the third joint of the fore-finger, pressing it just enough to prevent the neck from sinking down into that part of the hand which connects the thumb and fore-finger. That part of the hand where the little finger is, should be held as near as possible to the finger-board, in order that this finger, like the rest, with bent joints, may also fall perpendicular on the strings. As there are various ways of holding the violin with the left hand, I would say that any positioning may be considered good, which will admit of playing the following Exercise; each finger, with bent joints, firmly placed upon one string, and all kept down while playing it. The figures 1, 2, 3, 4, before the notes, signify, first, second, third, and fourth fingers.

[Placed within the first bar, "1st string" is written on F (line), "2nd string" is wirtten on C (space), "3rd string" is written on G (line), and "4th string" is written on low D (space)]

The violin should be heald nearly level, with the head or scroll ranging in the middle of the left shoulder.

On Holding the Bow. Place the thumb of the right hand about half an inch from the end, on the stick, and close to the slide, or nut, and opposite to the middle finger. The fingers are placed close together on the stick, or rod, and between the frst and second joints; except the little finger, which merely rests the end on the stick. The hair is turned a little towards the back of the thumb, and the stick towards the finger-board, except when playing very loud, then it is held perpendicularly over the hair. The thumb and fore-finger must press the stick, and never the little finger, except for when the hand is close to the bridge, as it would spoil the bow-hang. The hand should have an easy curved forn, in order to prevent showing the knuckles. Care should be taken to have the bow work free and easy in the hand. As the hand approaches the bridge, the stick nears the first joint of the forefinger. and the little finger slides over the stick; and when the bow is drawn down to the point, the stick nears one second joint of the fore-finger, and the little finger is drawn back from the stick. The elbow should be dropped a very little below the hand, in general, but never raised above the hand; however, in playing ery quick notes, the elbow may be held nearly or quite level with the hand. The hair of the bow should be placed from an inch to an inch and a hald from the bridge, on the strings, and always drawn and pushed parallel with it. In order to prduce a full, round tone, the bow must be held firm upon the strings, and not taken off or lightened at the end of a note.

On Tuning the Violin.

The violin is tuned by fifths; the second or A string is tuned in unison with an A tuning-fork; the third or D string is tuned a perfect fifth below the A, or second string; the fourth, or G string is tuned a perfect fifth below the D string; and the E. or first string is tuned a perfect fifth aboe the A string. When a string is played without being stopped by any of the four fingers, it is said to be played open, and is frewquently indicated by the letter o, or character similar to it, thus, o. Example

[Treble celf notes: G string, D string, A string, E string]

The figures 1,2,3,4, placed over or under notes, singify the first, second, third and fourth fingers. The letter D signifies down blow, and U, up bow

Of Accentuation.

In Accentuation In common time, the accent falls on the first note of the measure, and on the one with which the second half of the measure begins; the first is always played the strongest. in 6/8 time, the first and fourth notes of the measure are accented. In 3/4 and 3/8 time, only the first note in the measure is accented.

Of Counting or Beating Time.

There are two methods usually practised to keep time, viz., counting and beating. Each measure, in common time, may be divided into two, four, or eight equal parts; either by counting, or beating with the foot. The 6/8 and 6/4 time into two or six equal parts; of 3/2, 3/4. 3/8, and 9/8 time into three equal parts. If any one of the four last-mentioned modes of time is plaved quick, then one beat, or count is sufficent.

18

PRELIMINARY EXERCISES

THIS exercise on the four open strings is played with the half bow, from the middle to the upper end, and without using he shoulder-joint, except raising and lowering the arm when changing the bow from one string to the other.

The following is the diatonic major scale of C. The semitones in this and all the succeeding scales are marked with a slur.

This scale should be practiced, first, with the whole bow, making a short rest between each note; then with the half bow, from the middle to the upper end. The bow must be held firm, and drawn and pushed steady on each note.

The following exercise is to be practised on all four of the strings alike, keeping all the fingers on the strings, ascending, and taking off only one at a time, descending.

Exercise No. 3 must be played very

slow, and with the whole bow, making a short rest between each note, thus . The bow must be placed on the strings close to the slide or hand, and held firm and steady throughout, starting and stopping the notes square.

Exercise No. 4 is played the same as No. 3 except the rest is left out, and the notes are played as close together as possible.

* It frequently becomes necessary to reach C with the little finger, from the first position. This is caled an extension, as it does not belong to the first position.

14 The six following exercises must be played very slow using about one half of the bow to each note, from the middle to the upper end, commencing with a down bow, from the middle. The shoulder- joint must not be used in any of the short bowings, except raising and lowering the arm, when changing the bow from one string to the other.

Count two in a measure.

Count four in a measure.

Count four or eight in a measure.

Count three in a measure.

Count three in a measure.

Count two or six in a measure.

The five following exercises are to be played with a short bow, near the middle; the half notes, at the end, with the half bow from the middle to the end.

15

The same exercise, played an octave higher.

The quavers in No. 16 must be playes very darting, and with nearly one half of the bow.

In No. 17, the crotchet, in the first measure, is played with the half bow, from the middle to the upper end; the four semiquavers are played with a short bow, close to the upper end; the second crotchet is played with the half bow back, and the last four semiquavers are played with a short bow, in the middle; the other measures are played in the same manner.