Spohr Violin School

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appeared, 3 1 the Sacred Harmonic Society, (Exeter

ON FRIDAY EVENING JULY ?.\? 1843.
conducting his Oratorio The FALL OF B/VBYION.

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TRANSLATED FRQK*THE ORIGINAL;
GRESHAM PROFESSOR OF MUSIC
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MUSIC SELLERS
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IN
COCK S
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&C f
NARY TO
HE
6,
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N EW
B U R
LI
MOST GRACIOU
QUEEN VICTORIA
I.
N G-TO N
S
STRE ET.
MAJESTY,
//.
LIST OF PATRONS
TO
SPOHR'S
R.
COCKS AND
CO.'S
EDITION OF
GREAT SCHOOL FOR THE
VIOLIN,
NEWLY TRANSLATED FROM THE AUTHOR'S VERSION BY JOHN
BISHOP.
THE COMMITTEE OF MANAGEMENT OF THE ROYAL ACADEMY OF MUSIC.

Chairman
The Right Honorable
the
Her Majesty's Ambassador
THE EARL OF FIFE,

LORD SALTOUN,
THE RIGHT HONORABLE SIR GEORGE WARRENDER, BART.
SIR GORE OUSELEY, BART.
SIR GEORGE CLERK, BART. Acting Chairman.
Principal
Mr.
EARL OF WESTMORLAND,
at the
WILLIAM CURTIS, BART.

THE HON. F. G. HOWARD.
THE HON. A. MACDONALD.
MAJOR-GENERAL SIR ANDREW BARNARD, K.C.B.
MAJOR-GENERAL SIR J. CAMPBELL, K.C.T.S.
SIR
CIPRIANI POTTER.
General Superintendent, The Rev. F.
Aylward, Mr. W. P. Musicseller, Salisbury.

Armstrong, Mr. Professor of Music, Kendal.
Aldridge, Mr. H. F. Leader of the Liverpool Philharmonic Society.
Atkins, R. A. Esq. Organist of the Cathedral, St.
2 copies.
Asaph.
Abbott, Mr. Thomas, 99, High Street, Poplar.
Ayton, Mr. John, 16, Warwick Row, Coventry.
Mr. Lewis, Herne Bay.

2 copies.
Browne, Mr. R. Jun. Lowestoff.
Mr.
Sunderland.
Musicseller,
Beswick,
Beardmore, F. Esq. Uplands Park, near Fareham,
Bird,
Hants.
Blackburn, Mr. Musicseller, Bradford.
Beale,
Mr. Musicseller, Wimbourne.

Mr. A. Royal Exchange.
6 copies.
Peter's
St.
William,
Blow,
Esq.
College, Cambridge,
and Goodmanham Market, Weighton.
Binfield, Mr. William, Professor of Music, Cheltenham.
Bowman,Messrs. Booksellers, Richmond, Yorkshire.
Bloxsome, Charles, Esq. 31 A, Park Street, Grosvenor Square.
Blackman, Mr. W. Musicseller, 5, Bridge Street,
3 copies.
Southwark.
Messrs.
Oxford
and
Street.
Balls
Son,
Boosey and Co. Messrs. 28, Holies Street, Cavendish
2 copies.
Square.
Mr.
Bristol.
Abraham,
Baker,
Betts,
Court of Prussia.
Clayton, Mr. Professor of Music, Bradford.

Crossley, David, Esq. Bradford.
Camidge, Dr. York.
Child, Mr. E. Musicseller, Hereford.
Cripps, R. M. Esq. Novington, near Lewes.
Cramer and Co. Messrs. 201, Regent Street, London.
6 copies.
Crowe, Mr. Professor of Music, Lancaster.

Cooley, Mr, W. D. 33, King Street, Bloomsbury.
Chapman, Mr. Allen, Violinist, Rye Croft Place,
Ashton-under-Lyne.
Capel, General, 14, Charles Street, Berkeley Square.
2 copies.
Chappells, 50, New Bond Street.
HAMILTON,
A.M.
Dungey, Mr. James, Brompton, Kent.

Dyer, Mr. J. P. Organist to the Hon. and Rev.
R. C. Boyle, Marston, near Frome, Somerset.
Davis, Mr. William, Coventry Street.
Mr. John Leamington.
Mr.
J. Professor of Music,
Eager,
Edinburgh.
Mr.
Edwards,
John, Wrexham.
Elston,
Eyely, Charles, Esq. Oswestry.

Ellis, Mr. George, Band Master.
Emiliani, Signor, 9, Bath Place, Cheltenham.
Fagg, Mr. John, Professor of Music, Hull.

Fisher, Mr. David, Jun. Norwich.
Firth, Mr. R. A. Hampstead.
Finlayson, Mrs. Musicseller, Cheltenham.
Forster, Mr. Professor of Music, Ipswich.
Fielding, Rev. Henry
Farmer, Mr. Henry, Professor of the Violin, Nottingham.
Gubbins, Mr. Professor of the Violin, Newport, Isle
Wight.
Mr. J. Professor of Music, 95, Upper North-
Gillins,
gate Street, Chester.

Greenhead, Dr. Earl Portsmouth Hurstbourne Park,
Whitchurch, Hants.
Gwatkin, Mr. Richard W. 26, Guildford Street,
Russell Square.
Gillett, Henry, Esq. Markshall, Norfolk.
Gilchrist, David, Esq. Dawsholm Print-works, near
Glasgow.
Hale, Mr. Charles, Cheltenham.
Harris, Mr. William, 76, Parrock Street, Gravesend.
Hunt, Mr. York.

Holmes, Mr. Joseph, Clay Cross, near Alfreton.
Hitchings, Rev. J.Wargrave Rectory, near Henley
on Thames.
Higham, Mr. John, Professor of Music, Blackburn.
Hardy, Mr. F. 20, Berwick Street, Belgrave Road,
Pimlico.
Home, Mr.
Musicseller, Newcastle.
LIST OF PATRONS.
Henshaw, Mr. Organist, Durham Cathedral.
Hill, Mr. Joseph, Stockton.
Holland, Mr. Professor of Music, Atherstone,
Gower Street,
Haydon, Mr. T. No. 3, Upper
North, London University.
Hartung, Mr. Musicseller, Jersey.
Bristol.
Hodges, Brothers, Messrs. Musicsellers,
S.
Harconrt, G.
Esq. Ankenvycke House, Bucks.
W.
C. Pen/ance.
Mr.
Hemmings,
Hime and Son, Messrs, Musicsellers, Liverpool
6 copies.
Hamilton and Muller, Messrs. Musicsellers, Edinburgh.

Hartnell, E.G. Esq. Trinity College, Cambridge.
Hixson, Mr. Henry Edmond, Organist, Professor

of the Violin, &c. Alnwick, Northumberland.
Hayward, Mr. John, Professor of Music, Wellington
Hayward, Mr. T. Musicseller, Wellington.

Hewett, Mr. John, Library, Leamington.
3 copies,
Herbert, Mr. J. W. Montreal.
Jay, Mr. John, 36, Sloane Street.
Jones, Mr. H. 44, Brompton Row, Brompton.
Jarrold and Sons, Messrs. Booksellers, Norwich.
Jay, Mr. W. F. Newcastle on Tyne.
Jeffreys and Co. Messrs. Soho Square.
Keith, Prowse and Co.Messrs.48,Cheapside, London,
3 copies.
20,
Street.CamdenTown.
Knox, James, Esq.
Jeffreys
Keegan, Mr. Burlington Arcade.

Love, Mr. Musicseller, Greenock.
Lock wood, Mr. William F. York.
Leader, Mr. F. L. 63, New Bond Street.
Last, Mr. Professor of Music, Huntingdon.
Long, Mr. Professor of Music, Diss.
Lucas, Mr. Charles.
Macfadyen,
Street,
Mr. Joseph, Musicseller,

Glasgow.
Buchanan
6 copies.
Islington.
Meyrick, Mr. Musicseller, King Street, Yarmouth,

4 copies.
Muskett, Mr. Bookseller, Norwich.
2 copies.
Moutrie, Mr. T. B. Bristol.
Monro and May, Messrs. Holborn Bars, London.
6 copies.
Morgan, Mr. Thomas, 36, Upper
Street,
George
Bryanstone Square.
Metzler and Co. Messrs. Great
Marlborough Street,
London.
(j
copies
Mori, Lavenu, and Co. Messrs. New Bond Street,
2 copies.
Novello, Mr. J. A. Dean Street.
Noverre, F. Esq. Norwich.
Newlove, Rev. R. Thorner, Leeds.

5,
Sommers
Street,
gate.
Osmond G. Ramsgate.
Mr.
J. O. Musicseller,
Palmer,
Liverpool.
Mr.
Musicseller, Wakefield.
Phillips,
Phillips. Mr. Musicseller, Wincanton.
Povey, Mr. Halesworth, Suffolk.
Pashley, Mr. C. Music Master* Eye.
Page, Mr. Musicseller, Lewes.
Paine, Mr. 92, High Street, Mary-le-bone.
Phipps, Mr.
Perkins, Frederick, Esq. Chipstead Place,

High Sheriff of the County.
Oxford
Kent
Prangley, William, Esq. Salisbury.

Ridley, Mr. William, Newark.
Robinson and Co. Messrs. Musicsellers, Dublin.
Reed, Mr. Musical Director, Theatre Royal, Haymarket.

Robinson, Mr. Musicseller, York.
Rich, Mr. W. 41, Belgrave Square.
Rolfe, Mr. Musicseller, King Street, Manchester.
Shearer, Mr. John, 7, Salisbury St. Strand, London.
Stoker, Mr. John, Theatre Royal, Scarborough.
Stokes, Mr. Thomas, 1, Princes Street, Gravesend.
Smith, Mr. J. Musicseller, 47, Bold Street, and 66,
Lord Street, Liverpool.
Stoker, Mr. W. H. Professor of Music and Singing,
6,
Mr. Augustus, 12, North Street, Portsea,

Moses, Mr. Musicseller, Dublin.
Mawkes. Mr. Thomas, Belper.
Mason, Mr. Professor of Music, Macclesfield.
Morgan, Mr. James Arthur, 6, Highbury Place,
Terrace, Bayswater.
Oliver, Mr. Band Master.
Palmer, Mr. H. Canterbury,

Paterson and Roy, Messrs. Edinburgh.
Pitcher, Mr. Thomas, Professor of Ihe Violin, Rams-
Devonshire Street, Queen Square, Bloomsbury.
Staton,
Miall,
Oldfield, C. F. Esq.
Parkins, Joseph, Esq. Bridge Street, Northampton.

Prothero, Thomas, Esq. Furnival's Inn.
Padley, Alfred, Esq. 25, George Street, Portman
Square.
Mr. Musicseller, Bolton.
Stamp, F. Esq. Hull.

Suggate, Mr. A. Professor of Music, King Street,
Yarmouth.
Street, Mr. Musicseller, Yarmouth.
Sippel. Mr. C. New Square, Cambridge.
Shargool, Mr. H. Birmingham.
Stewart, Thomas Ward, Esq. Westgate, Newcastle
on Tyne.
2 copies.
Sutton, Mr. W. W. Professor of Music, Dover.
Simpson, Mr. Regent Street.
3 copies.
Sykes, Mr. Johu, Musicseller, Leeds.
Tonkin, Sir Warwick Hale, Krit. G.C. St. Jn. de
Jm. K.L.H. &c. &c. &c.
Tanner, Mr. A. H. 12, Kensington Square.
Thome, Mr. Professor of Music, Colchester.
Tucker, Mr. J. 89, Western Road,
Brighton.
Wood, and Co. Messrs.
Musicsellers, Edinburgh.
G. Musicseller, Liverpool,
Watson, Mr. Joseph, Professor of Music, Norton
Terrace, Malton, Yorkshire.
Waite, Mr. H. Cheltenham.
Wheatley, Mr. Brompton
Wornum, Major, Merion Villa, Leamington.
Woodward, Mr. Musicseller, Cheltenham.
Wroe, Mr. Manchester.
6 copies.
Woods, Mr. Alexander, Solicitor, Yarmouth.
Willy, Mr. J. T. Aldenham Terrace, St. Pancras
Weiss, Mr.
W.
TABLE
Preface addressed
Author's
Preface
Translator's
to
OF CONTEXTS.
Parents and Teachers
_
_
_
_
__
Introduction
On
U. On
HI. On
.....
I.
......................... t ..................................... .................. _____
and separate parts of the Violin ..............................

the arrangement of the Violin .........................................................
stringing the Violin ......... ................................................................
On
V.
Directions for keeping the Violin
VI.
Of the Bow ................................................... .........................................

Of Rosin ................. : .............................................................................
the quality and value of Violins
I.
II.
.......................
......
............................................... ________
PART
._
the difference in
10
II.
Of the Notes,, Stave, and Clefs
11
'.
On holding the Violin and Bow

III. On the motion of the right arm
IV. On the motion of the fingers of the left hand
V.
On the form and duration of the Notes and Rests
VI. Of Bars, the different species of Time, and the degree of movement
VII. On Triplets, Sex toles, dotted Notes and Rests, Ties, and Syncopations
VIM. On Scales, Keys, marks of Transposition, and Signatures
IX. On Intervals, and on Major, Minor, Diatonic and Chromatic Scales
J.
On the different Positions or Shifts, and on Extensions and Harmonics
JCJ. On the management of the Bow, and on the different methods of Bowing.
XM. On double stops, broken Chords and Arpeggios
_
XUU. On Graces or Embellishments
13
14
17
25
27
35
V<2
'.
'
PAR T
On Delivery
I.
On Delivery
II.
IV.
On
On
On
V.
On Orchestral
III.
III
58
76
.
112
126
142
or Style of Performance.
or Style in General
the Delivery or Style of performing Concertos
the manner of studying new Concerto compositions
the Delivery or Style of performing Quartetts
Conclusion
the construction
IV.
VII.
SECTION
_.,...
PA RT
SjitT/OJV I.
...
playing and on Accompanying
181
18<i
231
234
233
235
>
*S'*V"C* -"-'-
'
here present to the musical world, is less adapted for self -inIt begins with the first rudiments of music, and
struction, than as a guide for teachers.
to
the
refinement
in Violin playing, so far as this can be taught
highest
by degrees proceeds
in a book.
In order to render the first, dry elementary lessons, more agreeable to the pupil, the
The
Yioliii
School which
practical part of Violin playing has at once been united with them, instead of being sepa
rated as in other .works. Hence, according to this method, the Violin can be placed in the
hands of the pupil from the very first.
To parents purposing to have their son instructed according to this School,! may here
be permitted to make the following remarks:
The Violin is BO difficult an instrument, that, in reality, it is only fit for thoso who, from
v
the possession of superior talent and a great inclination for music, as well as from being favorably situated for cultivating it> *eem destined by nature to follow the art. To the Amateur,
;
can only be recommended, when he is able to set apart from

his other occupations, at least tô hours every day for practice. This being attainable ;_ if,
by unwearied assiduity, he then arrives at no greater proficiency, he will at all events be
able to procure for himself and others considerable enjoyment either in Qtiartett playing, by
even
if
endowed with
talent,
it
accompanying the Piano -forte, or by assisting
in
the
Orchestra.
parents' first care should be; to. provide their son with a good teacher, whether he
chooses the Violin as the instrument of his future profession ox otherwise. For, from the
complicate mechanism of Violin playing and the great difficulty in acquiring a pure into-
The
nation, it is of the utmost importance that on this instrument, more than on any other, the
first instructions be imparted in an able and conscientious manner; as faults and bad ha-
once contracted, if not entirely beyond remedy at a future period, can at least
be
corrected only by .extreme perseverence and with much loss of time. Hence, it is to the
advantage of the parents themselves, to place their son only under such a teacher Atho they
have reason to believe will strictly adhere to the directions contained in this School, as
bits
well as attend to
As
it is
the hints given below.

difficult, or next to impossible, before the
commencement
of instruction, to ascer-
whether a
boy possesses talent for music or not, it will be well for the parents to let
their son begin learning, as soon as he evinces a decided inclination for music in general,
and for tht Violin in particular. After some months, the teacher will then be able to determine with certainty, whether his pupil is talented, and more especially whether he possesses
tain
an ear for pure intonation;

a qualification indispensable for this instrument.
If this be
found wanting, it will be better at once to abandon the Violin and take to that instrument
on vhich the intonation does not depend upon the player;
namely, the Piano-forte.
At what age the instruction
should commence, depends upon the boyi. phv_

sical structure. If this be strong, and the chest in a healthy state, it is even well to be_
at the age of seven or eight. In all cases, however, it must be in the period of youth,
in
Violin playing
5O77
II
the joints,
tht-n
being
more supple, and
tlie
fingers and
arins
more tractable than
in
after-
life.
I
il
nless the pupil be too diminutive in stature, an ordinary sized Violin should be given him. But
he finds that inconvenient to hold, then it is certainly better for him to begin on a smaller
one. It vili, however, be very advantageous to him, if he can at once commence oit a good, old
instrument, as the acquirement of a fine tone and a perfect mechanism, is thereby greatly fa-
the purchase of such should be made either under the inspection of the teacher,
or with the advice of a competent judge, as so much deception is practised in the fiddle trade.
But
cilitated.
and circumstances permit, the pupil should receive one hours instruction daily, for the
first few months. The correct position of the body and of the instrument, the management of
If time
the bow, in short, the whole

sistance of the teacher is so
mechanism of playing, is
much the more needful,
lapse between the lessons, the pupil too
not be entirely
As
so difficult to
acquire, that the daily asas, by suffering a length of time to e _

easily contracts faults which, at a future period, can-
rectified.
soon abates, and diligent practice between the hours

instruction being nevertheless very requisite, the parents should encourage and keep him
to it. This practice, however, must be so judiciously interspersed with the other occupations of
the- day, that neither mental nor
bodily fatigue may be caused by too lengthened a continuthe pupils first eagerness generally
ol
ance of the same.
The parents may
greatly influence the pupils advancement, by showing an interest in
his
exer-
sometimes attending during the hours of instruction, and, _ by way of encouragement and as a reward for his diligence,_by taking him to Concerts and .other places, where
he may have the opportunity of hearing good music. If the parents themselves are musical, it
tions; as, by
*ill
also be a
great incentive to the lad,
to
allow him to join in their musical parties,
ac-
to his
ability.
cording
On the use of this School, which I trust
will
considerably facilitate the labours of the

to
make
leave
the
observations:
teacher,
beg
following
If the pupil be wholly unacquainted with music, the teacher must
strictly adhere to the order
I
of instruction, 'as here laid down.
At the commencement, however, he
will
merely select
from
much as is necessary to give the pupil an idea of the instrument and its
mechanical details, and to render him familiar with the names of the separate
parts of the
Violin and the bow. The rest,
concerning the structure, the arrangement, and the stringing of
the Violin &c, may be deferred until a future
period.
Still, the teacher must not neglect to
return, to it and, as early as possible,
the
pupil to string his instrument himself, as
oblige
well as to keep it in order in the manner described in the 5*** Section.
the
first
Part, as
The second Part must throughout be proceeded
with, exactly as it stands. And here, it is

of the utmost importance, that the
pupil do not pass on to the following seetion until he has
thoroughly familiarized himself with the contents of the preceding. A repeated examination on
the lesson just given, will best convince the teacher whether all has been
clearly and fully understood by the pupil. The next lesson should then
commence
the
always
by
recapitulation of
*liat has been learned and
practised in the, former.
Hie greatest patience and perseverance must be

bestowed on the
4*!' Section, in
which the
for a perfect intonation should be laid. The teacher will also save
himself
much
ouhl. hereafter, if, in the
first
pupils
attempts,he rigorously insist on perfect purity of intonation.'
The like strictness is required in the 6th
Section, with reference to time- and
I'.unilatioii
intonation,!. n-tHrulJy und.-r.tood that of

c-qu.l
to,,,per.,,,,*,,t.*'>
no other b,i, lir
slll
tul,l, i,,r in.
Ill
the division of the
bar.
As several exercises are given
School for each object of instruction, whether eleinen

tary or otherwise, so as to bring the same immediately into practice; the teacher will not require any others, (at all events just at first,) besides those contained herein. Should he, however, be compelled to have recourse to others, in order to keep the pupil still longer to some
special object without wearying him, they must correspond in character to the exercises in
this work, being written and calculated for the purpose which he has in view. They should
likewise contain Nothing but what the pupil has already met with in the School, and the bow,
ings and positions should be marked with the same care as those here given.
this
in
of the same class, will often be found one more difficult than the rest.
Should the teacher consider the pupils execution insufficient for the performance of this, it
Among exercises
may be deferred
until
the
same exercises are repeated.
That such repetitions of old ex-
should frequently take place, scarcely requires to be mentioned.

pupil having arrived at the end of the 2*1^ Part, it will not only be allowable, but
even necess^ry^for the teacher to play other compositions with him, in addition to repeating the
ercises
The
becoming partial. Duetts for two Violins are best adapted

The
teacher, however, must previously mark the bowings, positions &c, in
purpose.
pupils part, according to the method adopted in this School, and then observe that tlie\
exercisptffso as to prevent his

s
are
carefully attended to.

the teacher, receives a pupil who has already been instructed in music andViolin playing, he should first of all ascertain, by a close examination, whether that which he has pro viously* learned answers to the requirements of this School, in respect to the manner of
When
all faults must

holding the Violin and the bow, the motion of the right arm &c. If not,
be corrected before proceeding any farther, should he desire to be taught according to the
following Method.
All other points relating to the mode of instruction, and which the Author considered deserving of" attention, the teacher will find explained in the School itself; partly in the text,
and partly in the remarks appended thereto.
conclusion, the Author hopes that experienced teachers, after having used this School
for some time, will favor him with their instructive hints, as to the suitableness or otherwise
In
of his
Method of
assist
him
the
in
event of a second edition becoming necessary, may

to
Particularly thankful will he be, for such as relate
tuition; which, in the
improving the work.

work; for although
first half of the
been engaged
in
elementary
he has finished so many pupils, yet never

having
he
is
in
individual
instruction,
expeconsequently wanting
rience in this particular.
CASSEL
March
LOUIS
1832.
SPOHH.
dei n music. It is also the only one -with which the pupil has need to become acquainted. Hence, throughout this
School, as little allusion is made to an unequal temperament, as to the distinction between major and minor semitunes; by either of >*hich,the doctrine of the uniform magnitude of all the 12 semitones,woiild only be rendered confused.
.
(ll )
tin-
AITHOK.
This, being- the case, I have preferred rendering- the German word "rein"by TRIK or CORRECT, as best suited
context: perfect intonation, in an absolute sense, having- no existence.
TH:
607T
In bringing before the musical public this new edition of Spohr's VioL'n
School, I beg to observe that every endeavour has been made to give a faithful rendering of the
original. In
work, however, of such magnitude, a strictly literal translation can hapdly be expected
throughout, nor indeed would such always have been comprehensible. Nevertheless, I trust
it will be
found that I have followed the German as closely as possible, and that in the
a
few instances
author's-
which
in
have been
has, at least, been
meaning
compelled slightly to alter the form of language, the

scrupulously preserved.
Whatever feelings may be attributed to me for making these statements, I consider

such a procedure absolutely necessary, on account of the great difference which will
be observed between this and other editions: a difference arising, on the one hand, from
the cause above mentioned; and, on the other, from the (l may say) barbarous manner
In. which" this work has
in some cases, been handled: in proof of which assertion,! need
only mention one instance, that of M. Heller the French translator, who, by a series of th
most unsparing mutilations, has contrived to compress the work into 196 pages!
It will not be requisite for me to dilate here upon the merits of a work already so well
known; I may, however, be permitted to remark, that the Author has given his utmost attention to that most important part in the mechanism of Violin playing
the management
of the bow; and that, in this edition, the English public are presented, for the
first
time, with the Authors method of indicating the bowings, than which, nothing can possibly be more simple. Had such, indeed, not been the -case, it would ill have become me
to set up my
judgment against that of one who ranks so high as a performer on the
instrument he treats of, and to alter his method to suit my own fancy.
he uses the initial letter of a word to
The method adopted by Spohr, is briefly this,express that word itself: thus, W.B. implies the whole bow; H.B. the half bow,-S.St. the
short strokes; and the small letters l.m. u., respectively, the lower, middle, and upper
bow..
parts of the
Wherever
from the author, or have had anything to say in elucidation

inserted remarks at the foot of the pages, signed by the letters
of the text &c,
TR. Such observations, therefore, as are not followed by these letters, belong to the
author himself.
"Lastly; numerous accidentals which, through oversight, were omitted in the German co _
so
py, have, in this edition, been carefully inserted during the revision of the plates;
I
have
I
that, in
gin al
this
differed
have
respect,
think
may
lay
claim
to
greater accuracy
than even the ori-
itself.
JOHJV
CHELTENHAM
January 184-3.
BISHOP.
INTRODUCTION.
^^^^^^^^^^^^^^^^^^
.
the musical instruments which have hitherto
been invented, the pre- eminence is just

claims
to
this
consist
in
the
ly
beauty and equality of its tone; the
numerous shades of .forte and piano which it is capable of producing; the purity of its
intonation, which, in so perfect a degree as oil it, the Tenor, and Violoncello, is unat-
Among
all
due to the Violin.
Its
tainable on
any wind instrument;
emotions of
the-
heart,
but principally in
wherein, of all instruments,
its,
it
suitableness to express the deepest

most nearly approaches the human
voice.
V'The
it
Violin,
is
true,
is
inferior to the^ Piano-forte in compass And the production of
massnc
in fulness and power; but in lieu of this, it possesses'

the
over
these
instruments
a
fullthe
of
so.uled tone, together with
advantage
power of sustainand
a
in
tone
sounds;
its
;dso,
closely connecting
throughout
ing
greater equality
compass, and an
harmonics, and to the Clarionet
equal command of all keys, even those the most remote.

With these advantages, the Violin has continued to maintain, to the present period, that sovreignty
over the other orchestral instruments which in former ages was conceded to it. Still it takes the lead
in all full
still it retains the same simple form which it had 3OO years ago,
other instruments then known, or since invented, have received innumerable im-
orchestral compositions;
and, notwithstanding
all
provements,
even now, acknowledged the most perfect instrument for soloplaying.
This
it
is,,
however, in the structure of the Violin, demands a
greater degree of accuracy, in the

and
renders
the
instrument
far
more
difficult
than any other. From hence
playing,
by_
it follows, that the
the Piano-forte
ordinary Amateur, who may perform on another instrument,
or FJnte for instance,
in a passable or eyen| pleasing manner, Mould be intolerable on the ^ io siiii|4icity,
mechanism of
Un, since
it
is
only by a thorough mastery
over the latter, that
its
advantages, can be
fully
displaced.
Success, therefore, can then only attend the Amateur who devotes himself to'the practice of this
instrument, when, to the requisite natural endowments, he unites also an tihwearied assiduity.
These qualifications, the young Artist, who chooses the Violin as his principal instrument,
must of course possess in a still higher degree, or he can never expect to soar up to the talented performers of the present day, whom, if desirous of distinguishing himself, he must yet
even strive to surpass.
Hut, in this endeavour, the true artistical polish (wanting alas! in so many Virtuosi) must
on no account- be neglected, particularly by him who devotes himself wholly to music; for
an undue labouring after the mere brilliant is the more reprehensible, as the Violin, beside
this,
admits likewise of the most intense
.mi!
and
pathetic, expression.
the cultivation, therefore, of mechanical derterity; that of taste, and
refinement of feeling, must alw;ivs he emrally united.
\> ith
the
awak
THK
t'O.VS'f Rl
Cl/OJV JtJVD
P^RTS OK THK
he \iolm
The Body, consisting
I.
composed of the following
an instrument of *ood,
is
sound-hoard or
of the arched
parts.-, (see
belly (c), and the
Plate
1.
Kig l)
:
back similarly arched,
ornamentally inlaid round the edges, and connected tog-ether by side pieces called ribs (b):
and 2. the Neck, to which is fastened the finger-board (c), and the mil (d). At the upper end
h,,th
the neck
ol
is
the
The neck terminates
serted.
are
in-
an elegant Binding, called the scroll (g). To the t>ntton,

fastened (by means of a piece of catgut) the tail - piece
at
peg- box* (e),
which the pegs (f)
info
for drawing np
the strings
in
the lower end of the body, is
\hich the strings are attached; and these again rest upon the bridge (i).
are t*o apertures in the belly for the emission of sound, called, from their
to
Near
shape,
(Ji),
this
holes.**
In the interior of the Violin, for the support of the bridge, and under the rig-ht
foot of the
sound-post; and under its left foot a small piece of wood

belly, termed the bass -bar. The projecting corners of the Violin, are
>.nne, is a little cylinder, called
the
glued lengthwise to the

filled up inside with little
wooden blocks, for the 'purpose of strengthening the instrument: and

to a similar, thotigh larger blocV, the necV is also fastened.
The bacV ribs, neck and bridge, are made of maple; the belly, bass-bur, and sound-post, of
,
deal; and the
order
In
varnish
On
the
been
has
to guard the instrument
lower
<-'a
fully
few
my own
damp
with
its
words
in
utility;
this
tail -piece,
fiddle -holder (l) , which, after having

years by myself, my numerous pupils and many other Violinists,
upwards of 10
proved
The modern
it
against
pegs, generally of ebony.

and dirt, its exterior is covered
representation of the instrument (r'ig:l), above the
part of the
contrivance of
<i>ed for
say a
tail- piece, button, and
seen
is
fingerboard, nut
invention, called the
and concerning' which, therefore,
may perhaps be
permitted to
place.
which the left hand so frequently changes its position, makes

and
absolutely necessary to hold the Violin firmly with the chin. To do this unconstrainedly
style of
playing,
uithout bending do*n the
head,
side of the tail -piece, or even
in
very difficult; whether the chin be placed on the right or left

on the tail- piece itself. Also, in suddenly receding from the
is
upper positions, we are constantly
danger of drawing- the
Violin from under the chin, or at

moving the instrument, of disturbing the tranquillity of bowing. These inconveiiien ces the fiddle -holder
in
perfectly remedies,- and, besides a means for supporting- the Violin
in
least, by
firm and easy manner,

presents
the
additional
advantage.
that
*c arc no longer compelled,
by the
pressure of the chin on the belly or the tail - piece, to obstruct the vibration of these
thereby injure both the quality and volume of tone. By it also,greater freedom
regularity in boding are obtained, the Violin
being held exactly in the middle above the
and
piece,
somevhat farther from the face.
parts, and
=",.!
t
.il-
The
<
.11.
annexed
rt
,1-.,,
MM
description
H n,,.
is
given for
'
the convenience of those, who, without havinir

previous-'
Th<
.!!-
UKrwlaC
f\lll('ll
HOPtlD
MOI.HS.
T,,:
PLATE
.
1.
I.
3.
Kg.IV.
.V
seen a Violin furnished *ith
ly
nient
it,
are desirous of applying the invention
to
their
own
insti.i.
II,
l,t,n,
The
fiddle-holder
is
made of ebony,
the form
in
and 'there seen from different sides.
in
represented
the drawing
originally occupied by the button, and the string to
Fig
the openingvhich vas

(a),
vhich the tail-piece is attached, runs round
fastened vith a peg
It is
in
peg in a groove made to receive it (b). The knot fc/ is tied above the tail- piece, but in
such a manner as not to touch the fiddle -holder. For the little nut on which the string of
this
the tail-piece
rests,
as for the
as veil
\hich the fiddle-holder can
fa)'
of the
Billftt
the opening
fit
groove
is
made (d) , by
The upper part is slightly hollo*,

may rest firmer and more comfortably upon it. Tin-
be fixed closely to the ribs.
ed .out jit the middle (e), that the chin
peg
of the Violin-, another
edge
in-
very exactly,
order that
may not be pulled out by the force
it
draught of the string.*
'"
."
">
SECTION
THE
By
the
arrangement
'
II.
ARRA^GKJIKSCT OF THE
of the -Violin
is
nieantj_ first, -the position of the neck and finger-board
above the finger- board, with regard to
the height of the bridge aud 'that of the striiigs
the con-
venience of playing; and secondly, the situation of the bridge
and sound-post, their strength and

height, as also the choice of wood for them, with reference to the tone of the instrument.
The former
is
certainly the work of the manufacturer; but
petent to superintend and
direct it, the following
as
the Violinist should be
com
remarks may here be very properly
in-
troduced.
The neck
of the Violin
must be
rection of the bridge, as
the thickness
sition of the
The
bridge
degree as
it
di-
rise, in the
requires, without the necessity of
this
inconvenience the
of the neck, and thereby
would destroy the just proportion
performer
w-hen changing the po-
hand.
is
rounded as
in the
annexed
figure, sloping
down on the right
side
in the
same
here approaches the dotted line.
The finger-board however
On
make the finger-board
as the height of the latter
between the neck and finger-board, as
putting a wedge
in
much
sufficiently set back, to
the finger-board of
is
my
shaped a
Violin,
little flatter,
becomes gradually smaller towards the nut.

vibrations of this
below the
the
following being a sketch of its
string, is the excava*
It affords the
advantat'
hr-re
i
broad
represented, which
an increased space for tin-
string, and thereby
prevents that disagreeable .ia.-ring so frequently heard under a strong pressure of the boW; whilst the D string, with shorter vibrations, lies so near
\:<>r
Illl
further inf.u m iti.,n on th- siili.jf-rt of this Scrtion.tnc- roudcr Is rt-fi-rrfH t> OTTO's THKUIM1M PKKSKKV4TION OK THK VlOI.IN .Mi AM. HOW
\s ,<l
NTS, published by Most,':" C'OCK S \ ('.
I
>l I-
\ TIIK *
inic -
liim't T-
tin-
cat*
.*
hoard, that
every position, made '.to' siinnil

shows also the distance of the string* from the finger-board, at
can easily be
it
Hie abo\e sketch
pressed
down, and
end neat-eat the bridge. Thus situated, the most powerful

to
in
stroke of the
bow
will
d<
li
tin-
not cause them
jar.
arranged for the coincidence of playing according to the foregoing directions, the bridge and sound-post must be so adjusted as to give it the best possible tone. The necessary experiments for this purpose, each Violinist must learn to make himself,
been
Alter the instrument has
and not leave
it
general, possesses neither the requisite

practised ear to decide on the right tone.
manufacturer, who,
to the
in
in
facility
playing the Violin, nor a sufficiently

In the first place, flic breadth and height for the bridge must be ascertained. The ride for the
bread tli is, that with equal distance from the
holes, the middle of the left foot of the bridge
must stand exactly over the J>ass- bar.*
fhe height is regulated by the arching of the belly;
with a
Violin
tion.
This
high belly generally
latter,
however,
The proper breadth
is
requiring a higher bridge' than one of a
tu-st^determined by experiment.
the-^bridge being known, get a number of bridges

soine strong, others weaker; _ some of soft wood, and others of that which
for
ever of the oldest and best seasoned wood that can be

'other on the Violin
The
and try with
feet of the bridge
edge being
which
it
produces the
with the inner notches
In trying the several bridges, the changes
of the
must be made
made
is
procured:- then set

best tone.***
must everywhere rest firmly on the
situated hi a line
construc-
flat
as
of the
belly
to that breadth,--
all how.
them one after an -
harder;
instrument, their hack
holes.
quickly
as possible, that
the
ear
judge with accuracy of the difference produced in the tone. To obviate, therefore, the necessity of letting down the strings each time, another equally high bridge is placed half an inch
before the one intended to be exchanged, thereby lessening the pressure of the strings on the
may
be removed, and the new bridge made to occupy its place. It is requisite, however, when removing the bridge, to raise it up with some force, that the sharp edges
of the feet may .not injure the varnish on the belly.
latter, vhich can then
Before any experiments can be made with the bridges, the sound-post must be fixed, for which
purpose the strings, tail-piece, and fiddle-holder, must be taken down. A sound-pnst-setter (see
Plate
Fig.-HI i&s) is then used, the point of which (a) is forced into the sound-post half aa
inch from the end intended to stand uppermost. In this manner it is
passed through the right
hole into the Violin, where the lower end is first
on the back, and afterwards,
1.
pressed firmly
by drawing out the tetter, the upper end forces itself against the belly.
The setter is now reversed, and the sound-post drawn forwards with the hook (b) , or pushed back
with the opposite semi-eircle (e), both above and
below, until it stands in the proper place. -Thi*
generally, close behind the right foot of the bridge, so that its
back part of the latter.
is,
fore-edge may be
in
line
with the
The sound
fit
post
must stand
the upper and lower arch
perfectly
upright, and the ends be shaped
with a fine
file until
they
with the
greatest nicety. This latter is very difficult, and can only

be accomplished
by looVmg into the interior of the Violin, through the hole in which the fiddle.holder (or the
button) is inserted. The upper edge of the sound-post must also be smoothed off a
f.M.itii,n is the intention of
B.R.imber^H'ho oriirin-..Uy ha.l it made for the C string of his Violoncello. I ^>
othe Violin fhe-.nd-twenl. years
o.sinre whirh tiino it hus proved of trrc-jt utility.
' P '""""
" ..... "'"' uf "'< b
-'' "
" bo best df.6Wrod with u thinwire, .umowh.t'bcnt.and fl,rni hc-d
;.
fc
it
the-
with
e-nd
* H..,,r,.
lt
h.jok
.,,,p,. <r ,,th.t
KK.HTS,
(o,
th,
.lt),, ( ,, Hh thebrides arc- *U to be of the S ,mo .RKAI.TH, ,,y lnll!>t nevertheless be made of
purpose of .,sr -f-rtiini.^ th.,t wh.rh ,s most s ,,,t ,ble lor the instron.ent
T
.
when
U may not
press into tilt' soft wood of the holly.

To ascertain whether tlje upper end of the sound-post stands in the right place, in .the dihole to the bass-bar, measure its distance from the edge of the
hole
rection from the
at
end
in
the
form
a'
the
of
bent
a
such
as
before
with
thin wire,
hook; -afterwards,
described,
littU-, that,
moveil,
hold the measure over the belly
and see
correct.*
it is
if
If so, the
lower end of
sound
the
easily
post must then be moved, and brought into the requisite upright position; which Is
at
the
end
of
and
the
the
the
hole
Violin.
aperture
done, by looking alternately through
The sound-post must neither be so -long as to raise up the belly, nor so short as to fall down
'
or even be displaced, by the breaking of a string, or any other concussion. When the strings
are off, it should but slightly adhere, and admit of being moved easily backwards and forwards.
it
Moreover,
must be so placed-
in the instrument, that
the grain of the wood
may be cross-
ed by the grain of that forming the belly, to prevent it from pressing into the latter.
Whether the sound-post should be large or small, of vide or close grained wood, can only be
experiment. In general, a Violin with a thick belly, will bear a thicker sound- post
than one which is weak in wood.
fdrcided by
after following the above directions,
It,
should be found that the Violin
it
either
does
not
then the sound- post must be moved backwards

sound freely, or that it is unequal in tone^
and forwards, until (by repeatedly trying the Violin) the place be discovered for it, in which
the most powerful and soirojrous .tone is obtained that the instrument is capable of producing x
and in which, also, the most perfect equality subsists on all four strings. The succeeding hints
to what has been previously
said:
If the tone, though equal, be neverthe
of the bridge a little backward. Should
and
the
foot
less rough
hard, move the sound-post from
the upper strings sound shrill, and the lower ones weak, move the sound-post towards the bass,
may here be added
but should the lower strings, on the contrary, be harsh, and the upper ones feeble,
hole.
bring it towards the
bar:
then
In making these experiments in the direction towards the j" holes, the sound-post must not
be moved too far from its original position,- otherwise, from the inequality in the height of the
belly, it will either
Should
be too short or too long.

different position of the sound-post
very
favourable
from
that
first
adopted, prove par-
to the tonej again take down the strings, and examine,through the
end
of the instrument, whether its length is suitable for the new
aperture
If not, it must
situation, and also, whether it adheres closely both above and below.
either be altered, or else a new one made.
ticularly
at
the
As the sound-post
fit
ger
contains
with-
the
the
jeasily
requisite
turns
round
in
being moved,
in
which
exactness, _ care must be taken
to
case,
the ends no lon-
keep the
*ide which
the original direction.

All such experiments with the bridge and sound-post, must be very cautiously per formed, lest any damage be done to the instrument. The sharp edges of the setter
must likewise be rounded off, to preserve the
holes from injury.
perforated hole, always
in
Lastly; _
becomes
too
many experiments
fatigued, and
is
then
should
not
insensible
to
be made
the
at
delicate
a time,
changes
as
the
soon
ear
effected
in
the
quality of the tone.
Or,
it the
in
other words, -see whether the distance of the back of the riirht foot of the bridge from th<' v<l<v
hole, corresponds with the distance of the upper end of the sound-post from the bjine pl.'r.
!
>
'
>
THK
Ihe \iolin
T'/o/./.v.
strung with catgut, the lonest string being covered with
is
platcd-coppcr
solid
in-
wire.
silver
preferable to the plated ones, as they produce a clearer sound, and

the latter, nor become red and unsightly through constant use.
silver strings are
The
ther corrode
We
nei-
selecting for it a gilt string which is gloson duly stretching the same before it is covered; and thirdly,
sy, knotless, and true; secondly,
on its being covered *itli the greatest equality, neither too tight, nor too slack. If covered too
tiuht.it sounds with difficulty, and continues rough in tone, even after much use; and if too slack,
of a co\ered siring depends;- first,
The goodness
when the gut dries
the wire,
oji
becomes loose, and causes a
up,
jarring
sound.
generally very indifferent, from the too frequent use

of the worst gut for them; the Violinist will do well to select some true lengths of gut from
of such
his 0*11 stock, according to the method described below, and superintend the covering
to
himself. Previously to the latter, hov ever, he should draw them up, on an unused
Violin,
made
\s the covered strings
the note C,
and keep
them
at
this
pitch
for
several days, that
they may
be suffi-
stretched.
ciently
The
for sale, are
size of the four strings as required by the instrument, as also the proportion
of their"*
size
In order to obtain a round and powerful

to
usual
each
Violin the largest strings that it will bear, viz: such as will easily
tone,
give
and quickly
produce all sounds, and not damp the tone of the instrument. If, however,the tone
to one another, can only be ascertained by experiment.

it
is
using smaller strings, those of a middling size should be preferred, for with
them , greater taste and elegance can be added to the performance
The relative proportion in the size of the strings must be such, as to give each an equal degree of power and fulness of tone. An inequality in the tone, which could not be remedied by
not impaired by
is
sound -post and bridge, may yet be often
the
vidual
equalised by the greater or less
power of indi-
strings.
Having once fixed the

large to small, or the
not be altered; for a frequent change from

detrimental both to the instrument and the player. Purchase,
size of the strings, let
reverse,
is
it
therefore, only such strings, whose size is adapted to the instrument on wliich you practise; and
in
choosing them, do not depend on the eye,_ which is easily deceived, and consequent!} affords
no. sure guide for
keeping to a uniform stringing, but make use of a guage, which consists f a
metal plate of silver or brass, having a graduated slit,
(see Plate I. Fi>: IV). By pushing
the string into this slit, with a moderate
pressure, the place where it stops will point out its
si/e. The guage should be marked with letters for all four
strings, (as seen in the Fig:) which
prevent the possibility of any
Hill
mistake.
'
,
In
purchasing strings, their quality must also be attended to; for though 'Italian ones
are
to
those
preferable
of, every other country, particularly for soloplaying, they nevertheless differ in excellence; the
Neapolitan being, in general, superior to the Roman, and the latter to those
Padua
and Milan.
Good strings are white, transparent, and glossy; but if the gloss has been
produced by furbishing them with pumice stone, they will always be false, and shrill in smmd.To
of
convince yourself thoroughly, therefore, of the

goodness and strength of strings, it will behest
to uiakc trial of one. Some fifths *
or 4 threads? that is, such
as are
(fc strings) have 3
made of 3 or 4 guts twisted together. The latter are
dearer, and held in higher estimati on,
Tht
i,
.,,,!<
,,t
the
l,,.,t
..C
P.U,..
Ill-
will
.K|iljin
!>>
th<-
E string JK-
hi-ti-
rjllocl
MKTH-.
T>
l>nt
by many Violinists;
eAperienee has proved, that
they sooner become fibrous and unfit
for
4>
thread tilths
are
seldom true, and
th
it
use.
As the gut strings
it
is
spoil, when long kept, (and the small ones soonest become injured.)
as
as
be
in
4
or
5
of
them
months.
rotten'
required
purchase
may
Old,
many
better only to
strings are easily
known by
their dull, yellow colour and want of elasticity.
up a string, observe that that portion of it which, .extends from the bridge to
first, true in itself,- and secondly, true in fifths witn the other strings.
In drawing
nut
is
when
the
are regular. These are so, when the string, as far as

Out of a whole length of
it sounds, is, eêryvhere, of equal size and compactness.
string
therefore, that part must be chosen which is most equal in sizej even if, by so doing, some i
it should be rendered useless: for, should it, in the first
place, be cut up into several equal
string
is
true,
its
vibrations
lengths, not one of them may prove true, and then it would all be spoiled.
Having found a piece of string wWch is glossy, knotless, and of a uniform and proper size; try,
nevertheless, before drawing it up, whether its vibrations are regular. This is done, by taking
the string between the thumb and fore-finger of both hands, at those points where it rests on
the bridge and the nut; straining it moderately tight* and putting it into vibration with
the
of
the
a
to
similar figure
the folloning, is formed
fourth finger
from
right hand. If, then,
its
vibrations; the
But
if
string is true, and fit for use.
a third line appears, as in the next figure; it
In the latter case, a truer
string must be sought
is,
on the contrary, false.
alter, as it would be
a waste of time
to
draw up the false one.
Two
adjoining strings are true in fifths, if they produce that interval perfect, in every poNow a string may he true in itsition, when pressed down together with the same finger.
self, and also with others, and yet be false in fifths. This is explained as follows: Nearly all
strings, (and consequently the majority of single lengths), are somewhat thinner at one end than
be gradual throughout the length of the string, it will neverin

theless make regular vibrations and sound true: but, in this case, the octave is not exactly
the centre, and the intervals lie proportionably nearer together at the strong, than at the weak
at the
other.
If this
decrease
in size
Two
of these strings, therefore, drawn up with their thin ends in opposite directions,
wjll,
though true in themselves, be yet always false in fifths. Consequently, if four strings cannot be
found of perfectly equal size at both ends, all the thin ends must be drawn up in the same diend.
It is best
rection, by which means the fifths will all be 'perfect.
to the bowing place, as the strings then sound the more easily.
Q,V TUK
DlkTXRKWK
/JV
to
carry these
thin
pnd
THE
VALUE OF
H\ery new Violin, even of the oldest wood, has, at first, a rough, unpleasant tone, and arrives
only, at one of a fine quality, after having been used a number of years. Old instruments, therefore, vhifh
have been brought to perfection by constant use, are the only ones adapted for soloare
playing. Of these, (and. indeed, of all which have yet been manufactured,) the most e'steemcd.
those ot the thr>e Cremona makers, ANTONIO STRADIVARIO. ..IIS.'PPK (it'ARNKRlo. and Niro I o
The
and the beginning of the IS ! century.
\iolins of these makers unite in themselves, especially if *ell preserved , all the advantages of a
and
tones of eaeh string
good instriiineiit viz: a htrong, full, and rieh tone:pcrfeet equality in the
in form,
a free emission of e\ery sound, from the lowest t> the highest. They differ, however,
AMAH,
*ho flourished
the latter half of the-
in
17*]',
and
in
the characteristics of their tone.
These excellent instruments are dispersed throughout Europe, but, heing mostly in the hands
of rich amateurs, are scarce and dear; and, as they yearly become still more so, a young beone. He must therefore conginner Mill \ery seldom meet *ith an opportunity of purchasing
tent himself *ith an instrument by a less eminent maker, the most distinguished of which are:
ANTONIO STRADIVARIO, ANDREA & PlETRO GUARNK!IO, FRANCESCO RUG.

(-KRIO, and GUADAGMNI, (Italians) JACOBUS STA1NER (Tyrolian);BVCHSTETTER, "VfAUSIELLj'ljOTZ,
\\ITHAI.M, and SCHEINLEIN (Germans); a(id of later times, two Frenchmen, I.UPOT, and Pic.* All
a second, but elder
these makers, and p irticularly

equal to those of the three
first
tlje
first
five,
have turned out
excellent instruments, though not
mentioned.
In order, however, that the opportunity of purchasing
a good instrument (should such fortunate-
present itself) may not be lost through ignorance; endeavour, as much as possible, to become
acquainted with the Violins of the celebrated makers. Seek anxiously to examine them, and carefully observe their peculiarities of structure, as displayed in the shape and height of the body,
ly
holes and scroll,

the .bending of the sides, the arching of the back and belly, the form of the
or
work
the
&c:
colour
of
varnish
and
the
on
the ornamental
impress
your ear, and me_
purfUng,
of
the
the
tone.
quality
mory,
This, followed up with perseverance
and attention, \ill gradually impart a knowledge of the in _

strument, wtiich having acquired, will secure you against the impositions so frequently practi .
sed in the fiddle trade. You will not then look upon those instruments as genuine, and be tempted to purchase them as
>ith their names;
have
been made
such,*hich are mere imitations of the old makers and furnished
only
be
of
which
misled, by any deceptive appearance
you
age
they may
to assume. Moreover, in really old instruments, you will easily discover, whe-
nor
will
ther they are still perfect, or have already been partly renovated.
Under the idea of improving their tone, many of the old Violins were
or 50
seriously injured about
t<0
Mood from the interior of the
belly. These scraped instruments may be instantly distinguished, as they produce, especially on the lower strings, a hollov*
kind of tone, which can only be heard at a short distance:
they also become duller and less sa-
years ago, by scraping off the
tisfactory, the louder they are played on.
Although, therefore, a Violin

a celebrated maker,
it
may have been
nevertheless loses
all
well
preserved externally, and also manufactured by

real value when it has suffered in the manner descri-
bed above.
Attempts have indeed been made of late, to restore such scraped instruments, by glen ing
on a lining of old wood, but without success.
They then give out their sound less freely, and the tone
becomes
thick and stifled.
SECTION.
W.
DIRECTIONS FOR KEEPING THE.

The
care
Violin is a brittle instrument, and, therefore, so
should be taken of
it
susceptible of injury, that
iîn.il,j
greatest
from the commencement.
To. these ,m,s1 b,-
the
udded the ,umc of VUI \A .AUME, whose beautiful

Makers
copies of the- Violins by the tr, e.ut
th- approbation of all
competent jiKltfe-,, us well for the perfcrt reseinbluiicf
hich they beun to the o
Cir the quality jnd fulness of their tone-.
llu-.e instruments
,,,
jy be hud of
M,
,s'?
foes
C'.'
price uith fuse
*.
TK:
kept, must be lined with some soft material, well locked, and pirt in a <1rj
place, not too near the fire. In addition to this, the Violin must ha\e a silk covering, to guard it
still further from the effects of air. Never let .^t remain out of the case after use; nor suffer it
I
ho case in which
it
is
packed and locked up.
to leave the house, without being first well
best to wipe the Violin, each time after playing, with a soft dry cloth, to prevent the accumulation of rosin and other dirt, particularly on the belly; as this not only disfigures 'the instriimcn't, but also obstructs the vibration and attracts humidity. It need scarcely be remarked, that
It is
and fjnger -board should always be kept clean.

.VMien any considerable repair is necessary, address yourself only to a maker of known experience and integrity, desiring him, moreover, to be very careful with the instrument. Should he
the,'strings
reside in the same town, let such repairs be done, as often as possible, under your own inspection.
The greatest care has already been recommended, in making experiments with the bridge and
sound-post. This
from the many
is
still
more especially
years' pressure of the
requisite with regard to very old instruments,
above
which,
pieces, have, generally speaking, already suffered
underneath the bridge.
considerably
SECTION
VI.
OF THE BOH\
The Bow
(se-e
Plate
which the hair (d)
I.
Fig:V.)
consists of the stick (a), the nut (b), and the screw
(c)
with
is
regulated.
fastened, at the upper end, in the projecting part of the stick called the head (e);
and at the lower end, in the nut. The stick is made of Brazil wood, and covered at the lower
The
hair
partMith
is
silk,
f) in order that the bow might be held more
firmly.
The nut
is
formed
either ofebonyor
and generally inlaid, as well as the screw, with mother- of -pearl.

th
If, since the 17
century, the art of making Violins has rather declined than otherwise, (owing probably to the cheapness of new instruments, and the few who are thus induced to manufacture thorn,)
ivory,
the structure of the bow, on the contrary, has been carried to such a degree of perfection, that, in
present state, it scarcely appeal's susceptible of further improvement.

The best and most esteemed are those made by TOURTE of Paris, which have acquired an
its
Euro-
the
pean celebrity. Their superiority consists,_first, in the trifling weight with sufficient elasticityof
the hair is
stick; secondly, in a beautiful and uniform 'bending, by which the nearest approach to
in the exexactly in the middle between the, head and the nut; (see Plate 3. Fig.-III.) and thirdly,
tremely accurate and neat workmanship.

The price, however, of such a bow (80
for the eighth part of this sum, which, in
very high, as we may purchase one in Germany

these hows
appearance, is but little different. Yet most of
francs)
is
are destitute of the above mentioned advantages of TOURTE'S, because the manufacturers-are mi,
of one of these be
acquainted with the true principles of making them- If , therefore, the purchase
decided. on,
which, though it may not possess all

of lightness and of a regular bending.
one,,
rit
The
tail hair of
*. Since
this
making the selection, and fix only on such

the good qualities of TOURTE'S has, at least, the
we should be exceedingly careful
in
must be
white horses is used for the bow, (a circumstance which
an
nu--
particularly at_
Vill.LAt MK, whose bows niu>

refer the readthose of any other maker. For a full description of them, I must
work wus written, farther improvements have however boon made by
be considered preferable
Me***- COCKS A C".', from hmnthes<
mj APPKMHX t> HAMILTON'S CATKCHIS* KOR THK VIOLIN published by
at the s-aine
K
price.
li.,s can be- procured, -price 3<> ? each: also, steel .bows; (invented by M.Vll I.I.Al
TR:
i,,,w
e,
to
t,,
>l
fin:-
*lnn renewing the same.) it being stronger, whiter, and less greasy than
tine and split hairs must also be- carefully excluded.
trmlril
All
tliat of
none crossing over the others, lint all

stretched, and occupying a breadth of nearly half an inch. \ew. hair takes hold of the
with difficulty at first, and produces besides, a rough and whiz/ing kind of tone. Before
of a Solo, it must be used for 3 or 4
ly haired bow, therefore, is fit for the performance
A good bow
contains from
100
to
110
hairs,
Fur kolo-pla) ing, the bow should not he screwed up too much, but only
so tight, that,
marcs
equally
strings
a ncw.
weeks.
when
placed on the strings, the middle of the stick may, with a moderate pressure, be brought to touch
the hair. If the stick possesses the requisite elasticity, the bow when thus regulated, > ill appear
as in
Plate 3. Fig: III.
For orchestral
advisable to unscrew the hair a
playing, a
somewhat tighter bow
is
required.
each time after playing, in order to preserve the

elasticity of the stick. Let the bow, also, he always fastened in its place in the case, and not
lie left upon the Violin,
as, by lying on an uneven surface, it soon becomes warped.
It
is
little,
S E CTION
OF
brown colour and transparent; but there is also some of a good
which
is
quality [jR*t*Umj
yellow and opaque. In a purified state, it may be purchased in little
boxes at any of the music shops. In applying it, the bow is taken in the right hand, and the rosin
in the left, and the whole length of the hair drawn across it 8 or 10 times, backwards and for('nod
rosin
is
usually of a light
wards, with a moderate degree of pressure.

>*hen new hair has been put in the bow, feoth sides of
ly
powdered rosin.
soft
The rosin-dust which adheres
to the
it
require, at first, to be rubbed with fine-
stick,
must be frequently wiped
cloth.
END OF THE FIRST PART.
.077
off with
II
SEC T IQ<W
OF THE
Before the Violin can be put
signs by which the acuteness,
.Vorj?s,
STAVE, AJSD CLEFS.
hands of the pupil, he must learn the notes.
into' the
gravity, and duration of sounds are represented.
after -the seven letters of the alphabet
C,D, E,F, G,A,B, which are repeated
ny times as the compass of sounds makes
it
necessary. Their pitch
which they occupy on the stave. This consists of
is
five parallel lines
These are
They are named
in this
order as ma-
determined by the
place
drawn above one another,
and their four intermediate spaces, both of which are reckoned upwards.
In order that
presented on this
same.
the
viz
the
the
I.'
Spuoes.
complete series of sounds, from the lowest to the highest, mi^ht be re _
stave, different
The young
Violin
.:
Violinist,
clefs
have been invented, each of which
alters the pitch of
however, has only occasion to learn one of these at present,
clef:
or
it
line
is
Mtn.itfl *jth
the
name
of
(i,
tlu-
lor
circular part, or
which reason
it
dot, on the
tin-
is
second line,
also called the
the commencement of the stave, the notes on the live lines
anil
clef.
V*
gives to the
hen
,ilaced
nott
therefore
are called:
1
those in
F.
and
the,
B.
CJ.
::.
the
lour spares:
A.
combination of them, proceeding

if
F.
i).
C.
K.
regularly
from
grave to
acute:
li
at
PLATE
ENGRAVED
FOR R .COCK S
AC? ''EDITION
OF
SPOHRS
2.
VIOLIN SCHOOL. TRANSLATED BY JOHN PISHOP.
PLATE 5
ENGRAVED FOR
.7
CO C K
S &.
C'' E
Dl T
-ON OF SPOHRS VIOLIN SCHOOL.T R A N5LATE D BY JOHN BISHOP.
HOLDING THE VlOLUS

(SEE THE
POSITION
IN
AA'D
PLATE
2.)
placed with the lower edge of the back on the left collar-bone, and held firm by the
of the chin, on the fiddle-holder * The left shoulder is a little advanced for the sup-
The Violin
is
port of the under part of the Violin, thereby giving it an inclination towards the right side, at
an angle of 25 or 30 degrees, (see 'Plate
^3 Fig: I.)
The neck rests between the thumb and fore -finger of the left hand, and is held lightly above
the first joint of the former, and at the third joint of the latter, but sufficiently firm to prevent it from sinking down to the bottom of the hollow between the thumb and finger: ('see the
II. Plate 3.)
left hand of Fig.
The part of the hand below, the little^ finger, is brought as near, to the finger-board
as
possible, in order that this shorter finger, as well as the others, may fall on the strings in
-
The
a bent position.
and the wrist, must, however, be kept at a distance from

elbow of the left arm is drawn inwards until it comes under
ball of the hand,
the under part of the neck.
The
must not lean against the performer's body, as that would

sink down too much towards the neck. (Vee Plate 3. Fig: II.)
the middle of the Violin; but it
cause the instrument to
The bow
is
held with
right hand of Fig: II.)
fingers of the right hand. f see Plate 3. Fig: III. & IV. and the
The thumb is bent, and its point placed against the stick of the bow,
all five
close to the nut, and opposite the second finger, which, with
V
*
stick, so that
it
rests in the hollow of the first
joint of
thje
"
first finger, encompasses the
each.
The other two fingers are placed loosely on the stick, and the points of the four
fingers
drawn close together. An elegant, curved position is given to the hand, in which none of
*'
the knuckles
project forward.
The upper part
of the
bow
is
&i
IV.)
(see Plate 3. Fig: II
now placed with the hair on the strings, at the
distance of
from the bridge, the stick being inclined a little towards the finger-board.
wrist must be held, high, but the elbow low, and as near to the body as possible.
an inch
The
left
performer should be dignified and easy, and the face turned towards
such a manner, that the eye may fall on the music over the bridge and the
position
the desk in
of the
hand, (sac Plate
If thjD .pupil
The
2.)
does not use the fiddle^liQlder.he must place his chin partly on the belly on the left side of the tail-piece,
and partly on the
tail-
piece itself.
placed on tluise degrees.

The different clefs h.i\e been invented, we are further told, in order that the" complete series of sounds, from the lowest to the highest, might be represented on the stave,' but this may vejpy reasonably be questioned when the Author
speaks afterwards of ledger lines, and explains their use.
I have already obsei v id,
It now only remains to give other definitions in place of those which have been objected to
But
when pâcedoiithe st.i\e,
of
sounds.
that,abstractedly,'iiotes merely represent,by their various forms, the relative duration
then
reckoned
indicate
different
and
the
lines
and spaces beingthey
acuteness;for
upwards, it fallows, that
degrees of gravity
.
the in/tes on the upper part of the stave must necessarily be more acute than those on the lower part, and VICE VKKSA.
Still,
however, no positive- degree either of gravity or acuteness is 'assigned them until a .clef is attached to the stave, whirh not only ap.
plies the letters A. B.C. Ac. to the notes, but also fixes their pitch, as in the Case of the clef mentioned in this Section
Lastly, the different clvfs adverted to by the Author were invented to suit the compass of the several kind* of voices,
B.u>s,&c. so that the notes luiifht be kept.as much as. uos&iblf, within the limit* of the stavr.
^.
Tre bit .Tenor,
Th:
SO 7 7
as
JCT/OJV*' n:.
O.v
rf: J/OT/OA- OK
r/-//-:
KIGHT
the pupil has learned to hold the Violin and Bov, in the manner described in the former
si-ction, and exemplified by the Figures in Plates 2 & 3, he may then commence drawing the
When
bow slowly backwards and forwards, from the upper third part of its length to the point.
these short strokes the back-arm remains perfectly still, and only the fore-arm is moved
and fro
the direction of the bridge.
The
first requisite towards, a
regular bowing
In
to
alwa}s
That
the
a
with
the
and
at
with
the
bow
the
right
angle
strings.
bridge,
parallel
keep
that
bow
is
the
move
backwards
hand may be able to preserve it in this direction, it
necessary
in.
is,
to
and forwards between the thumb and second finger. In a down -bow, therefore, the stick gracontinues to
dually approaches the middle joint of the fore finger, whilst the little finger
retire from
it;
but
in
an up-bow,
it
falls
back by degrees into the hollow of the
finger, and the little finger resumes its original

the
what above
stick, on the outside.
The following Exercises on the open strings; are designed for the
of the fore
first
position, with its point
-.
joint
some_
practice of the short bdw_

he must learn the names of the four strings of
ings; but, before the pupil commences them,
called
the Violin. The lowest, or covered string is
G, the next D, the third A, and the fourth
and smallest E.*
Their places on the stave

G.
The
are:
D.
''/
A.
E.
must endeavour, from the commencement, to produce a clear and fine tone. The first
requisite, as before observed, is straight bowing. But it is also necessary to ascertain how
light or how heavy the pressure of the bow on each of the four strings must be, in proportion to the rapidity of bowing, in order that they may sound easily and clearly,- and how near
pupil
the bridge the
hair
may
be permitted to approach on the different strings.
With regard to the former, the rapidity o.f bowing must increase in proportion as the
pressure of the bow on the strings becomes greater; and, as a thick string is more difficult to
be, put into vibration than a thin one, the bow must not approach so near the bridge on
the lowe^: strings as on the upper ones. If, however, "the want of a fine tone be felt, the
1
pupil
will
than by
this or that
The bow
French
be better guided by
his ear as to
the kind of bowing
necessary
to
produce
it,
theory.
either drawn downwards, or pushed upwards; the former is called a down-bow,(in

tire,) and the latter an up-bow. (po us se.)
is
'I he
first note of the following Exercise is played with a
is
do^wf-bow, after which, the bow
moved up and down alternately to the conclusion.
The bow-strokes must be all of equal length, and the notes of equal duration. At those notes,
however, over which the pause (/^) is placed, the bow is drawn slower, that their duration may
be as long again as the others.**

In England, France, and
Italy,the strings are
A, the second-, the 1), the third;and the
reckoned from acute to grave, so that the t string is considered the first:
T R:
G, or covered string, the fourth.
The teacher nukes the pupil stand at his left
side.that he may be the better able to inspect his bowing, uhich, together
ith the. manner of
holding the Violin and Bow, and the position of the body,mustbe in strict accordance with the foregoingdirections.
t.in the
T'IÎ s.the midtr

under states
staves are
Exercises.the
ure intended for the teacher,
tocher, who, by a(
accompanying in stri-t time, Causes thi -pupil to sus_
notes in e.|iial duration, and thus endeavours to create in
him a feeUW
Rliythm.
Deling for Uliyth
077
potissc.
4Cj|
1151
..,,._
from a lower t
has to be overcome,^, that of leaping
done by
the intermediate ones. This is
11U per st,i,,g, *.tlumt sounding
not be H ted up from
so, that the bow may
at the instant the bow chants place, yet
in a s.nnlar manner, by
from an upper to a lower string is accomplished
,a the next Exercise a
strings.
quickly
The
new
difficulty
!^jEf
leaping
raising the elbow.
tire'.
JVP3.
frr
|0
/r
When
pupil has learned to
tlic
make
the short strokes with the upper third part of the

bow, straight,
then attempt those with the whole
length of the bow.
and with a steady back- arm, he may

These cannot be made without moving the back-arm, so that, commencing with an up
-how, the pn.
as
must
follows:
The back-arm is kept steady whilst the first third part of the
proceed
pil
bow is pushed up, and it then moves on with the continuation of the stroke; by this, the elbon
is brought forward, but the hand maintains its original direction j'n its approach
towards the
When
strings.
the nut (in a constantly parallel position of the bow with the
bridge) has reachdown-bow is made in an opposite manner; that is to say, the elbow gradually
ed the strings, the
former situation, and there remains tranquil whilst the latter third
drawn down.
returns to
bow
is
its
What has been previously
part of the
said concerning the motion of the
bow between the thumb
and
se-
even more applicable in these long strokes than in the short ones. As the nut there.
fore approaches the strings, the little finger is extended more and more over the stick; but when
cond finger,
is
bow is drawn down to the point, it resumes, by degrees, its original position.*
For practising these whole bowings, the pupil must now repeat the 3 former Exercises, un_
til he succeeds in producing a. good tone with them.
The remarks already made on the equal duration of the notes, and on the pauses, must also be
the
attended to in these repetitions, only that the Exercises are now played slower than before,
account of the long strokes.
The
must not proceed
pupil
section, until he has acquired such a
to the following
ver the bow, as to be able, without

the fingers of the left hand.
prejudice to
movements, to direct
its
011
command
his attention wholly to
SECTION.
O./V
THE MOTIOJV OF THE
FIJVGERS
OF THE
HAND.
LEFT
It has
already been observed, that the part of the hand below the little finger must be brought
as near to the finger-board as possible; and also, that the ball of the hand, and the wrist, must
be kept at a distance from the neck. The fore-finger

first fingers, in a bent position, then place their fleshy
been first bowed open. Hereby, the four
this having
is
now drawn back a
tips,
little, and
one after another, on the
following notes are obtained: n
(1
"
E.
In order that the pupil

last,
string,
Jj;
i_
_JL
C. A.
F.
able to find the right places on the finger- b,oard for the three
informed, that the distances between the seven notes with which he
acquainted, C. D. E.K G. A.B.arenot all equal; two of them being only

others, viz: those between E_F, and iJ_C.**
is
four notes which have
now
to be
played on the
half as
string.^j
*T
E and
may be
he must be previously
Of the
the three
great
jj
E.
F.
F,
very near each other, but the following are as far again apart.
fore be stopped very near the nut, the G twice as far from F, and the A
lie
as the
the first tno,
A.~
The F must
G.
at
there,
a similar dis-
tance from G.
be necessary for the teacher to guide the pupils arm in his first attempts at whole bowing, and also to
Cure that the strokes .'re made straight, and that the elbow is not moved too far from the body.
It will
tjkc
**
(s.-t-
Thi-se short distances are, technically,

^. rti.,i,
Mil
of
this
Part.)
termed SKM1TONKS; and
the others, WHOI.K
TR:
4
f*
T 7
TONK8, or himply
TONKH.
AM,,.,,
tin-
pupil, with the
notes correctly
assistance of the teacher and guided by his own
tune, he
in
must
play the
following Exercise
stop thrse
accompanied by the teacher. In
over them, must always he
ear,
can
the notes with

bowings are employed, but
with such an equal division of the bow, that each of
slurred together in one stroke, and
S. St.
with the half of the same.* The notes marked
the two notes shall be performed
strokes: the two Ef with the lower third part of the bow,,
are to be played with short
to the imt,tr the preceding note: but the two
because it has already been pushed up
bow having been again drawn down to the point at the F.
with the upper .third part, the
thj*
the whole
**'*'
^ n
.V4.
'.
u'
a
8/A ~er
^.
'
^-^
O ^
/\
On
the
string, the semitone
falls
between
*/
ger, therefore,
is
placed at
and C.
A.
B.
C.
The
first
first;
and
fin
J>.
a distance from the nut; the second, close to the
the
from the second. When the pupil has learned to stop these notes,
the succeeding Exercise must be played. Here, the first four notes are ^slurred together in
one long bow;'but, for the two next, only a third part of the bow is employed, and so on;_
the groups of four notes, being taken with whole bows, and those of two, or single notes,
third, again at a distance
with short bows, which latter are made with a
steady
tire,
back -arm.
<o
W.B.
s.St.
s.&t.
pousse.
-_
-W.B.
S.St.
W.B.
S077
20
to attend to the different posi
both strings, the pupil has chief
(ions of the first finder, which, as he already knows, is placet! on the K string very near the nut,
other
these different positions follow each
but on the A string at a distance from it. At
In
the following Fxercise. on
I,)
Mirecssnely.
,V."
ft.
tire'.
r-^-j
To prevent
to
been
kept
on the
J.t-arn,
unemployed; but
must
it
fingers,
accumulation of too
tJie
at
liculties
once, the
that the pupil learn
fourth
to
use
bent
on the
string, so
it.
has hither
Like the other
be placed flat,
position, and never
in
linger
even
string.
at
first, to
take the K
n
A.
"ST.
(lit
now time
is
upon the strings
fall
*hen bowed open:
the E
it
many
Jthe
1)
on the
-i4-
" *G
as to
produce the same
<)
then, in
string:
Ej|
1).
the
similar manner,
and lastly, the
A
K
on the
on the
sound
as
1) string:
string:
1).
Q.
^J?
=1
R
fsp
tainty in
Afterwards, plav the following Exercise, fîth
short bo wings,) to acquire cer_
stopping these notes.
j.
U V)
O
i
ffr\
.^.
r~i
**J
S.St.
.^"
-O
<r
W.B.
"v3
til',
4
153:
icr:
3:::
*^*~&
O-
-e^-
-^TS- ST
lire.
'."
Or
12.-
-II" f
:i
<*
semi b re
he ni ol
?.
r.
uiiq'Kiit'f;
two
*ith
and vith
crutcliel
,"
quaver,
stem.
.Idilimi "I a
'In-
Jiy
Hie lath
called a
i\
>/
funned.
is
tails,
lour tails,
becomes
it
When
to
minim;
tins
'
rip tin
tail is
with three
semiquaver;
and by Jillmi
added.
it
tails,
deini-
semi -demisemiquaver.
eaeh other, may be learned from the following table.
Their relatiu- duration to
Seiniqn <vcrs
ini-
I)i
mi
i<
l\(l.l\
u jv ITS.
CIS.
From
the
above
equal the duration of a semi breve, two minims, or

crotchets, or eight quavers &c. are required; and that, consequently, the minims must be
ed as fast again as semi breves, the crotchets as fast
again as the minims, and so on with
succeeding species, until at last the 64 semi -demi semi quavers occupy no longer time in
it
appears, that,
to
four
play-
each
per-
formance than a semihreve.

In
%er
ancient music, notes of a different form
'3^*: tf * nic ''
iitoit<
en
is
are found.
The following ho*e_
the only one of these used occasionally
silence
oi:e
is
required, this
corresi-oiniini;-
tti
in
it
is
.!<
diir;i
m.ti-d by signs
1
m,
namely.
called rests; of which, each species of note
i
Minim
Cn.trhft
rist.
'"
in
compositions.
When
has
and duration
two semi breves,
equal, to
is
'
'" "
.-
-i
QIUMT
st*
Dcmisemiquavfr
ust.
n-vt.
i'
,i
inrd
ttni-
rent.
S( mi
demist- ini l(
rest.
OF
To
to
facilitate the
bars.
reading
THK DIFFF.RKJVT SPF.CIKS O

THK DEGREE OF MOVEMENT.
of the different J%inds of
These consist of
notes and rests,
all
musical pieces are divided in.
the groups of notes, with or without rests, vhk-h are included
the lines draun perpendicularly

I
across the **av*, called
bar- lines.
between
require four boats: three -minim ('%), three-crotchet

si\or
three beats; and two-crotchet
time
throe Burner
^),
(^),
(|),AlIahreve ((
(j*).and nine-quaver
two beats.
crotchct (.), and six-quaver time
(^) ,
and it
of the two latter times is to be played very slow,
either
V\ hen, however, a composition in
therefore becomes necessary to mark the six parts of the bar separately, the first two beats are
Konr-erotchc
'Cj.aml twelve -quaver time( ^
nude downwards, the
),
third towards the left, the fourth and fifth to the right, and the last
upwards.
r.
*>
When on
the contrary, a composition in C, 4, or %, time is to be played very quick, only two beats
are made in the first, instead of four; and in the others, instead of three beats, only one, at the beginning of every bar.
In order that the species
time in which a piece is written may be rendered clearly perceptible, the

first part of each bar, and that with which the second half of jt begins, are played somewhat louder
than the others: the former, therefore, are termed the strong; or accented parts of the bar;ajidthe
<if
weak, or unaccenttd parts. Consequently, in fonr-erotchet time, the first crotchet is acthe
second unaccented, the third accented, and the fourth again unaccented. In two-crotchet
cented,
time, the first is accented, and the second unaccented; but, in three- crotchet time, the first only is
latter the
accented, the two others being unaccented. In six-quaver time, the first and fourth quavers
cented, and the rest unaccented.
To determine the degree of movement (that
are ac-
the rate of slowness or rapidity) in which a musi _

at the
cal composition should be performed, certain Italian words are used, one of which is placed
beginning of each piece. At present, the pupil has only occasion to learn the following:
and
ver\ slow,- Andante, moderately slow,- *4lleg-retto, rather quick; Alle^ ro quick;
*
very quick.
But as such an indication of the degree of movement is very indefinite, the composer's intent ion
could, formerly, be onh
at
guessed
is,
from the character of his work, and the passages contained there.
in.
Frequently it was only ascertainable by the repeated performance of the piece, and was, at
times, entirelv mistaken This evil is now completely removed by the invention of the Metronome,
hy which the utmost |u,cision can be attained in the above particular. That of Maelzel has met
greatest approbation; hence, for the last 12 or 15 years, compositions, besides retaining
the before mentioned Italian words, have also been generally marked according to it. Thus, Andante
66 M.M. (Mael/els Metronome) signifies that the beats of the machine, when set at
with the
66, answer
to
The degrees
the duration of the crotchets.
of
movement are marked as abo\e, in all the following Exercises. At first, however,
practise them slowly, and not at the rate prescribed, until he can play them in
,
the pupil must

strict time, and perfectly
awaken
In order to
in
tune.
in the pupil
a feeling
for
time, and accustom him to
divide the bars
e-
"
quallx,
teacher
tiie.
him to beat
Th
lo
f.f
;n
iii
now play over the following Kxercises X / 13

manner before described, and count the beats
the
Hordg used for
;jth<'
*t
siiouM
the time,
I'm inance,
to
18 and cause
aloud.*
this purpose, as well us thoso which relate to the character of the piece,
the pupil will loam at a future period.
*^hcn
un/1
the
Those Instruments are imported and bold only by Mi-^s 1 5 COCKS & C sole agents for M r Maelzel;prir<
with the Bi-11, 3V/fi and without 3*i7: Read IUMli;i o.x's. Treatise on the use of tl
Metronome, price 9^ T(< ;
;
>
\Vhi
ii
!!<'
11
the assistance of the
Metoonaw may
.1077
be resorted to.
correctly, and likewise.point out the strong and weak

*
playing them himself
he can do
inenee
tins
parts of the bar, he ma}
Andante.
tire,
^r"
QG.'.HLJf.
"jS~
-^*
>r
Hitherto, the Exercises have all been played -with. a third-part of the bow, and the whole; bow; but,
in those which follow, strokes of various lengths, and with the upper, middle, and lower part of the
bow viil be required. The bjowings, therefore, will henceforth (or, until a more minute division of
the bow can be learned) be indicated in the following manner:
the whole bowings, as before, bj
W.B; and the short, or third-part bowings by S. St: the half bowings, with the upper part of
the bow, by H.B.u; those with the lower part by H.B.I; and those with the middle of the bow
by
H.B.m.
The
rules for the motion of the right hand and arm in these half bowings, are contained in. those
already given for the whole bowings: it is, therefore, only necessary to repeat hcre,that in strokes
with the upper third-part of the bow, the elbow remains

must be made in a parallel direction with the bridge.
Andantt'.\
perfectly
still;
and that
all
the
bowings
88.
tirci
must never give wuy to the pupil, but, from the commencement, insist upon the most exur-t division ofth<urrompuniment to the following- Exercise, the four parts of the bar must be murked as there indicated, in nitht > nuy be rlt-yrly |>eiceived by the
pupl: flti* method must also be adopted in the other Exercises, but unlj
The- tfar-her
b.ir.
In
the-
di r th.it
until Iif lii-yins,
without sii'h
a^si.-.tan<ê
tu
pl<y
r<Ji I
ertjy
ill
time.
**-Before
beat
it
tlie
teacher
^^-
proceeds to another species of time, he should first cause the pupil to mark
or
again.
Adag'io
50.
'
"
<>
The next Exercise commences with an

incomplete
fall on,
an
bar; and as in such cases the notes

usually
or at least conclude with^the unaccented
part of the bar, the Violinist takes them with
up -bow, in order that he may
employ the down-bow for the accented part at the bc#infollowing bar. The reason of this is, that, from the
proximity of the hand to the
the
strings,
pressure is naturally stronger in the down- bow, than in the
up-bow; and the old
uiHgof the
requires that every bar should begin with the former, and finish
with the latter.
modern style of playing, however, causes
frequent deviations from this rule, as
pupil Hill observe in the indication of the
borings i,, the following Exercises, the ne.
cessity ot which *ill be explained to him hereafter.
j
The
The notes
forming the
incomplete bar
IK., but played in two
separate
itl,
*ft-fcW,a
,i,,un-bow.
als,
the
first
By
this
note of
in
the
following Exercise
not to be slur
and must, according to rulc,bc eo,,,.

first note of the whole bar obtains the
bowings,
means, the
are
each succeeding
bar.
Allegretto
92.
tit,-'.
the upper third part ufthe
Andante
bow
100.
'.'27.
s'.'p.st.
^ ^
'i
ti..kos with
tlii
thitd-pjrt
*<'
the-
bt\.
iiiifir
tt
t*
"N
rt-
and
flf
-v
hci
t-
by
^.
St.
he first note
of the next Exercisers played with a short up-bow near the imt,iu onlt-r
Hut
whole bow may be employed for the six notes of the following bar. In the 5V and Ui
bar, at
the quaver rests, the bow is raised from the strings and passed on through the air, that, at the
conclusion of the bar, its whole length shall have been used.
1
tin-
.'
Adag-io
^=
9t>.
poussc'.^
to the rests, it
must here be observed,that the semibreve rest
v^W
^^
not only indicates

silence for the duration of a whole bar in four- crotchet time, but also in all other species: its value,
"Vîth
regard
which the piece is written; for example, in the first bar of the
accompaniment to the foregoing Exercise, it is only equal to six quavers.
When several bars' rest occur, the following marks are frequently used to indicate them.
therefore, depends upon the time
in
II
'-
still
greater number, are simply
marked
thus:
played throughout with the upper third- part of the bow, the back -arm
being iept steady. For the motion of the bow on two strings, the w-rist only must be employed;
and the elbow raised or lowered a little, only when the bow has to pass over three or four
The
following Exercise
is
strings.
each succeeding Exercise, the bowings now become more varied; the performance of them exactly as they are indicated, is therefore so much the more necessary, since, frin the omission of our
onl\ the others would be instantly changed throughout the whole composition.
In
'
'
0077
.V.}
OA- TRIPLETS, SEXTOLEX.
By changing the movement of the quavers

is
08
12
in
iorined called Triplets.
Any note divided
,\Vr>;s
AND
RKSTX, TIES,
notes
DOTTHD
01-6
parts, forms a
into three, instead of two
or
time, into (J
triplet, as
2
4
time, a
class
in _the following
of
<
Exam-
ple.
i
f
Triplets,
The
s.* is
fq
<j|
called a minim -triplet, the 2 I
is
rrl
rl
t*
a crotchet -triplet, the 3. a quaver -triplet, and the

are
They
distinguished from notes of the same shape, by the figure 3
in
quaver and semiquaver triplets the figure is frequently omitted,
However,
'.
4-M 1 a semi quaver- triplet.
placed above them.

or only placed over the first triplet, as these are easily known by their being grouped together in
threes;
rest often
supplies the place of one of the notes:
3.
contracted into one:
Sometimes, also, two notes are

3
By
rrm
doubling the notes of a triplet, a Sextole

3
is
formed:
.
\\
A
To
triplets are
6, like a
whereas,
l\
l\
frequently grouped together in this way, and marked (though improperly) with
They differ from the latter, by having the accent on the first and fourth note;
sextole.
in the sextole, it falls
on the first, third, and fifth note.

Triplets.
i
ft
Sextole.
i
The
following Exercise is intended to instruct the pupil in the division of Triplets and Sextolcs;
d
4
21*^ and 22". bar,are seve_
-se, therefore, are intermixed with the other kinds of notes. In the 10
1
th
.'
r-il
triplets in succession, each
.iM'st
1
beginning with a rest; and as, consequently,tho notes are unaccenfed,tht'y

played with an up -bow. At the rests, the bow is lifted up, then drami
according to rule, be all

and at each triplet, again placed with
i"k in the air,
its
point upon the strim;-.
dot increases the duration of the note after which
is
it
placed, by the haU of
its
value:
1
r
dotted minim, therefore,
When
a note
The
is
two dots, the second 'of them
followed by
like effect
is
equal to three crotchets,- and a dotted crotchet, to three quavers.
is
produced by placing dots after rests:
fl
-*?-
s,
The
first dot is
Where, however,
the duration
half the length of the first:
is
,-
half the length of the rest; and the second, half the length of the first do!.
a note could not be prolonged by a dot, either on account of the increase
amounting
to. less
than the half of
its
value (l);
tervening, (2); a second note of the requisite length
former by means of
.a
tie,
marked thus
-x
is
or,
on account of a bar-line
written, which
is
'
(1)
(2)
i
All
such tied notes are performed as one.
Instead of the tie across the bar-line
(2),
a dot
is
frequently met with:
in
in
in-
connected with the
.vs
notes and rests, together also \itli tu-s

following Kxercise contains single and double dotted
and as it is a common fault with beginners, to hurry dotted notes and thereby break in upon
The
the time, the teacher must here carefully
attend to this
particular.
The 15*!' bar introduces a new bowing to the pupil. There, two notes have to be played vith
one stroke of the bo>, each of *Weh must be distinctly heard, as though it had a separate bo\_
Before the second note is played, the bow must therefore he kept still for a momcut.The
ing.
rest
thereby
occasioned should be very
Andante
short, at most only a
demisemiqiiaver.
w.FS.
titv'.
H.B.u.
tin.-.
S.St.
H.B.u
PIMISSI-.
S.St.
S'077
W.B.
When
tno notes are tied togetlier several times
on a weak part of the bar, and the second on a
copated notes:
in
succession, the first of which
fatik ettriuti
strong part, they are called Syncopations or syn-
4O
the
An Haute.
tin.
4-^v
.
-_
\=--
, .....
...f
Before proceeding farther, the teacher should cause the pupil to repeat the last 10 Exercises
has not only learned to play them perfectly in tune and with the prescribed bowing- *,
until he
but also strictly in time.

the -teacher
or his
In order to convince himself whether he can accomplish
may now and then
the
latter,
allow him to play to the beats of the Metronome; but not too long-,
performance *ill soon become stiff and formal. Should his execution not admit of his
playing the Exercises so fast as they are marked; the Metronome must be set as many degrees
singer as is found necessary.
KEFS, MARKS OF TRANSPOSITION*

SIGNATURES.
OA* SCALES,
and
he natural and gradual succession of notes, C.JXK.F.G.A.B
The
pupil already
ag-ain to
knows, that the distances between these notes are not

far apart as the others.
K_F, and B_C, are only half as
The
all
alike;
Scale.
and that
scale, therefore, consists of five
greater and two of the lesser distances, which are termed
nt the
C, is called
respectively
tones
and
niitones.
s<
tone.
ty
*/
tone.
.'semitone.
tone.
'
-i.
At
tone.
first,
two tones occur,
viz-,
from
again three tones, from
F; then
from
As
this
to
D, and from
G, G to A, and
to
to E; then
to
B; and
'semitone.
tone.
comes
a semitone, from
lastly, the
E to
second semitone,
to C.
series of notes
commences
with
called the scale of C.
it is
C',
However, we are frequently obliged to commence with other notes, and so to form new scales.
But in order then to produce the necessary arrangement of tones and semitones for a scale,
it
is
requisite that one or
more of the notes be elevated or depressed
senvtone.
The elevation of a note is effected by placing the character $, termed a sharp, before
C with a
is therefore called C
sharp; D with a #, D sharp, and so on.
The new scales, formed by sharpening one or more notes, are the following:-!
it.
First, that of G, as it requires
but one sharp;
'
.-
..
tone.'-.._
lone'.''.
_.
semitone:.
_.-'
tone.
~':\
..'"'
tone.'"'..
_.-'''
tone'.'"'-..
..'''semitone.'''..'
1
G.
A-
D.
E.
arp.
then that of D, with two sharps;

tone.
'..'
tone.
'..'
semitone.
''..''
tone.
'..''
tone.
'. .'
r sharp.
that of A, with
semi-
three sharps;
Fshurp.
sh.irp.
that of E, with
r shjrp.
four sharps;
G shjrp
.-117;
tone.
'.
.-'semito
shurp.
G.
/.v
and that of B,
five sharps.
\.idi
8c nn
toilC'.
1
(
Among
note
The
r shar.
J) sh ip.
|v
these scales, the pupil will miss that of
Ci
sh.tr.
.trp.
shar.
arp.
This can only be formed by depressing'

a semitone; by which, after the two tones, the first semitone is obtained.
The depression
it.
.^li
with a
first
of a note
new
scale,
with a
1)
produced by flattening the note B,
is
'
tone.
"'.
b,
'
tone.
effected by placing the character
therefore called
is
h,
is
F.
..'
flat;
semitone. '. ."
tone.
by
before
on.
consequently that of F.
'.."
"'..'
tone.
semitone.
*'
commencing with the flattened note BP,
and
before.
Scale of Btv
with
two
fiats.
I
Mil
tone,
1'ltlO.
1
B
Commencing
flat,
flat.
Another new^ scale can now be formed,

the fourth note as
flattening
termed
flat, and so
tone.
''.-''
=fc
\?
the
f I.**.
fi.it.
with the second flattened note, we form
'lie
sea o of
semi-
with three flats;
3,
torn-.
tone.
fi Jt .
i
*
Afi.t.
Eflut.
commencing with the
third
**=
iA
fiat.
flattened note, that of

sc^mitone.
fiut.
fi.it.
Efi Jt
Bfl.t.
**"""
-
But
IICH
scales
caji
i J..t.
Gfiut.
fljt.
also be formed by
of Fjf, with six sharps,
is
Afijt.
commencing
^
A
fiut.
and commencing with the fourth flattened note, that of Dt,
I)
flats;
S<>I1I-|
M
E
inr
with
P,
with
with the
five
j.
flats.
D fLit.
fi.,t.
sharpened notes, consequently the
here subjoined.
sojui*"""
\" ?-h it (>.
>>h.ir|>.
li
(' -.h.n
(i-
I) sh
.1
|>.
Ks-hut'.
>d
|>-
tins
III
twelfth soak-, the whole series of scales finishes.
ciimmcnciiig with the seeoiul sharpened note C'#,
For Mere we yet to form
we should only obtain
similar
one
.-mother,
to
that
commencing wilh \)\> ; since C$ and Db, although differently nabecause, in elevating C by a i, and depres _
med, are nevertheless one and the same note:
we arrive at the self-same note, and therefore the distinction exists only in
king D by a b
Qv
name, not in sound.* In like manner, a scale commencing with the fifth flattened note
which we alrcadv
possess
Mould add nothing
to
One
the number, but correspond precisely
of these twelve scales predominates
Kxercises
Key of C.
V! s
13,
14,16,
17, 19,
20, and
There are consequently
in
every
with that
of
composition; that of
F#.
C, for instance,
22, hence these pieces are said to be written
as .many
in
the
in
the
Keys as Scales, namely twelve.
and flats necessary far the construction of scales, are not constantly repeated
throughout the entire composition, but only placed once at the beginning of it, immediately afFrom the signature, therefore,
ter the clef, and their influence then continues to the end.*
.
The sharps
the predominant scale and the key of the
Here
follow the twelve keys
Without
signature.
piece can be instantly
ascertained.
with their signatures, which the pupil must attentively observe.
4.5
This character, therefore, loners a note when

been previously
it
contradicts a sharp, and raises one which has
affected" by a Hat.
The three characters #, b, and \, are called marks of transposition.

The signature of the following Exercise consists of one sharp
only, which
pil must therefore stop this note a semitone higher,
the
throughout
string, the first
the first, must now
The fourth bar
piece.
F, the pu
Consequently, on the
finger must no longer be placed close to the nut, but close to the second
finger; and on the
applies to
the second finger, which hitherto has always been set

be placed at a distance from it, quite close to the third.
string,
of the Exercise modulates into the key of
D,
so that in this
lowing bars, the scale of D with two sharps predominates. Besides the F
pil has also to stop C a semitone higher; and, on the A string, to place
al a distance from the first, close behind the third
finger. Li the four
the scale of G again predominates, and the C is therefore
stopped in its
Andante.
close to
and the
fol-
therefore, the pu.

the.
second finger
last bars, however,
former place.
50.
J^ *
'
The next Exercise has likewise one sharp for its

dominates. But in the 5V and 6
bar, and again
1
signature, consequently
in
the key of
pre-
a succeeding part of the Exercise, by
modulation into other keys, the scales of (', E,A, and D, also occur. The pupil, therefore, must
car* fully observe the marks of transposition; moving the finger a semitone upwards at each 3,
in.
In the S*.' 1 bar a modulation

returning to the original place at each
the Key of J), and the scale of 1) then predominates to the IT*.*1 bar.
.
ty
l<-
is
again
made
Allegro.
ntf
OOVftf.
- JOO
tin.
all
MM,,
Is
,,,,,1
i\
it is therefore
Kv,rcise has t*o sharps lor its stature;
the pi
must be .tupped a semitone higher, throiifchout
Allegro
/
."
ii,
the ke>
D, and
116.
re.
The sharps
which occiir
or flats forming a signature, are called

in tiie
course of a piece, accidental.
end of the bar, and must be renewed

the next bar, unless two notes
or
All notes of the
;,in
if
essential
The
the same note
happening
in
marks of transpositinn;hut those
latter only maintain their influence to tfv
required to be elevated or depressed in

different bars are connected together by a fitis
which case the second note also remains sharpened or flattened.*
same name within the
limits of a bar, even if they
occur
in
different octaves,
are affected by one accidental.*

In the 13V bar of the following Exercise, the
before
%
1
therefore, not only influences the first, but also the fifth note; and in the 28V bar, the
not only depresses the note before which it is placed, but also the 7V and 9*.n note.
1
A
".
The
of
essential sharps of the next Exercise
are
F#, C#,
arid
G#; hence
it is in
the
A.
In oaM'S of this kind, whore the two notes full on the sumo line or spare, the second note- would also remain
IVcted by the accidentul-fven if the tie were omitted.
TR:
That is
dll notes of the sume name which orcur AFTKR the accidental has been inserted.
TK:
5077
key
fire.
J
t
h^M
w"
J
'
J
I
'
.3^
The
tone
t..Ilniiig
I,.*er.
Kxercise has one flat for
Besides
this essential
mark
its
signature;
of transposition,
all
the B's must therefore he stopped a
numerous accidentals occur,
must carefully observe.
Andante
27.
w *.l3u>
r = 100.
crw '
pousse.
:7<y.'
H.B.I.
pousst
W.B.
* Thf
li-tti-rs
/3
JIK!
J'
jpply
t')
ln>th
parts.
hich the pupil
54
*
The
flats for its

follow!,* Kxereise has two
a semitone lover.
stature;
all
the B>
anrt
Es must
therefor* he
stopped
28.
u s St
H.B.u.
H.B.u.S.St
i
r
i<p" r- "B~
-0-i
devrca
^H
f
.^077
Tin- folio*!!!* i:\rrcis*' ln> three flats

hi'
for its
signature; therefore, all the K's
stopped a scinitiMn- lower.
.l//r'iv//o.
i,
108.
-077
s,
and A"s,inust
pousse.
'
ji**
Jt1
pousse
m *m
?
4
I
H.B.u.
W.B.
ix.
O.\'
LVTKRVAI.S, .-LVD o^r MAJOR, .

DIATOMIC AJVD CHROMATIC SCALKS.
The distance from one note

embraces, determines
C t,, F.
third;
from
an Interval, and the number of degree*, which
is
C to D.
from r3C=g
J
fourth, and MI
'.
I.
another
name; for example,
its
-flr-
to
r
second; from
is
t,,
i'
3tE
8.
I.
on.
V. 3. *.
Hut, as these notes can either be sharpened or flattened, a diversity in the intervals is thus pro.
dnced, which is expressed b\ the epithets major, minor, augmented, and diminished. The following
are the intervals most generally used.
SECONDS.
perfect,
augmented
minor,
111IIK
3|P
minor,
~\/
major.
FOURTHS.
perfect,
augment!
el
FIFTHS.
diiuinishod
or false,
augmented,
major,
THIRDS.
SIXTHS.
uULmontc-d
perfect,
mium-,
diminished.,
major.
minor,
major.
3*s
OCTAVES.
perfect,
minor,
aug'mentfd.
JV/JVTHS.
\7
major,
augmented.
TENTHS.
minor,
Jiiajor.
=3=
When
an interval exceeds the compass of a Tenth, it

damental note and again called a Fourth, Fifth &e:
is
reckoned from the Octave of the fun-
other practicable intervals, the pupil will learn when he enters

upon the study of Harwhich
be
it
here
mony;
study,
observed, he cannot dispense with, if desirous of becoming a
All
thorough
musician.
The
scale which the pupil has hitherto learned in twelve different

prt*itions, ascends and de_
ttccuds with the major Third and
major Sixth:
I.
2.
3.
Mr
There
Sixth
is
however another
minor; the former both
4.
B.
r r
fi.
3.
7.
rfr
r r r r r r r
scale, which differs principally

in
from
f
this, in
ascending and descending, but the latter
having the Third

in
and
descending only:
i.
p.t.
a.
8.
-*.
,tf.
ri-rrrrr
Besides the Sixth, the pupil
will
f-^.
tone.
semitone.
..'
in
r r r f
-^
ff
observe, that, in descending, the Seventh
This scale, like the others, consists
.'
-^*
of
tone.
five tones
'.-'
tone
is
and two semitones, but
tono.
font
also
flattened.
in a different
'..'
semitone
order
(if)
.Minor Srale of
"
'
"
.A
without signature;
'>-'--^*
t. L
._
"
of E,
-with
one
sharp,-
2.
of B, \vith 1\vo sharps;
of Ft, with three sharps;
V *d
'vfi
of G, with
t\u>
flats;
pp
of C, with three flats;

c
~frf
without signature
audit with A,
it
commences
proved to be
is
oeeur, the Key
iniiiiediately
is
the Minor key.
in
\Mion the meloxly proceeds by degrees, F and
the Minor key:
or even the
to he in the
it
closes or proceeds in
of, in
decided by A or G-.
As the above will be best illustrated
the piece
q=
in
should
ascending;for,
then
only
the melody descends, we must examine
another direction
one or other of these notes.
must be taken notice
ke\
Major
or K,or after both.G"or
no sharps are used
if
When, however,
key.
jor
but
after
It
decided at once by
generally
both are elevated, thus;
once decides
first note at
with G, this
where
the place
to
it
order to ascertain the key, which
Ma_
either
it
then
is
in
is
the
in
it is
ii
gene
rally
has
19, which the pupil

)
ote G)
proves the ley to be Major. In X? 14 JKT'

.
the key remains undecided throughout the first bar, as the notes of this melody
to
minor; however, the
note of the second bar (G) proves
first
third note points out
the Major ke
by the third note. In
18. afiffi
(A)
proves
it
to be
In
***
X?17.^-g-f
/it remains
C major
to
in the latter kev
In
or to
the
/j
to be
it
the first note at once indicates the Minor key; and in
whether the melody belongs
to
studied.
alread\
the second
Examples, we here select the Exercises N. s 13
h\
als.,
might
belong
In V.'
major.
\?
Major key
the
likewise announced
is
doubtful, to the end of the first whole
minor; but the
first note of the
the Major key
is
at
bar,
second bar
once decided by the
second note.
The
must now endeavour to ascertain the key of pieces with sharp or flat
signatures, acthe method described above; applying to each, what has here been said
the
pupil
cording to
key* of C
major
and
minor.
Should he even then be occasionally
in
respecting
doubt as to the key, he
order to convince himself, look at the last note of the piece; as all
regular compositions
finish in the same key in which
even
if
modulations
into
other
they begin,
keys are in some places introduced.* Also, the principal
part (or that played by the 1s * Violin) generally finishes, like
the under part, for Bass,) with the Tonic, i.e. with the fundamental or
key-note. The Exercises
above cited, \>s
to 19, will likewise serve to illustrate
for the whole of them conclude
may,
in
with
or
this,
A, according as they are
Major
or
Minor. **
The
following KXMCJS.-S are intended for the practice of the Minor

scales, both ascending and des .
rending; the latter, sometimes with the minor, and at others with the
major Seventh. The pupil must
theief-re bo part iciilarly. attentive to the

numerous accidental marks of transposition.
,*
.n-1
Mi, 1(>r
y frcqui lltjy ,.,,,, in tht Mjj,,r of tho SJ ,no ,,<-; K*

information on th, subject here treated
of, will be found in tho i,
i,,
,.
W.FOHOK
published by
M e..
COCKS *
C'.',
which ,he
pup,l
th,,s,. in
;,
...sting,,>
A *,.NOR
littjo
in
"Kss^
perus, with
J(
.-HAJOR.
ON THK
K,nt^..
TK:
30.
t*
^^*
rt
e^
'
.'
if.^C
J'
'-'"
s St
HM..
i^^gi^LL^
"
s
st -'*
S.St.in
tho
H
H "H.K.n.
ini.ldl.
=
~
^
j^ffp=t
1
-..^^
=^^
Fg
M4-M3
.^077
3
Cfm^-f^,
H.B.I.
S.St.in
<
~rTn
middle-.
Ai It pro.
^*S
U'".
^
'
IT*
4-
."-.(77
4-
J*LÛ-4-4-
In
the l..il*inu-
n,.tes
the
hi-l.irr-
limits ol
KxerHs.
the rule must be borne in
vhieh they stand, but/ also those

a bar: hence at the end of the
Andantt.
in
miml.that
the upper or
first bar, K!)
W^
tin'.
.-"77
ai-f idc-ntals
not only
afte<*t
|*er oetaxes orriirrinir within

and F# must be played.
In
1 '
flic-
I.'*'.
a new mark of transposition occurs

following Exercise,
semitone.
*hich verves to depress an already flattened note- an acMitionu!
as K double flat,
receives (as jn the ease of the X) the name of double;
h;ir <>f the-
flat (^^
note thus depressed,
hit-
double
When,
flat
\<-
after a double flat, the note is required in a simply

U
er
(5b)
is
placed before
it,
thus
flattened state, the compound charac-
~j~
the five marks of transposition;

Ihe pupil has now been made acquainted with the last of
;,
x.
b,
H>,
&
l|.
Allegretto
108.
o<>77
I
1*1,1,
and
Minor scales, consisting
of
and two semitones, arc called by the ge.

is, however, another kind, proceeding' en-
five tones
All
Major
noral
name
tirely
by semitones, termed Chromatic (or artificial):
of Diatonic (or natural)
There
scales.
p
As these scales consist, at
times, of the same semitones; they are, both in Major and Mi-
all
ascending and descending, always alike to the ear; though

ferent, i.e. written with other marks of transposition.*
nor,
in
The two
following Exercises
are very quick, observe as a
are intended for the practice
eye, they appear dif-
Chromatic scales. "When
more than one
rule, that
principal
of
to the
note
these
must never be stop -
being shorter and consequently less moveable than the others;

by each of which, two notes are played. The sharpened' note of the .fourth finger, must, therefore, be either taken on the next open string, as at (1); or by the first finger on the said string,
ped with
as
the little finger,
it
at (2).
The E$
(2J
4.
stopped with the second finger, because the same fing'er must never btemployed three times in succession.
As the open strings (particularly E &A) sound shriller than the stopped notes, they are a\oid
at
(2), is
much
as possible, in playing Chromatic scales. Consequently, in the 26 ." bar of the following Exercise, the Ep is stopped with the third finger, (as though it were D^, ) in order that
ed, as
the
E might be taken
with the fourth
Allegretto
Thr Enharmonic
tirjh-, is
=
\
finger, and not on the open
92
nut jn-ntioni-d,as.
it
nc\rt
\,<
<
utt
string.
at)77
Urfrti
tire'
on
~ -
=n
=gjf
-*
-ar
^=^r=r=r=n:
ff
5"
OA' THK DIVVKRKNT POSITIONS ORSHiFTS,
I!
from
sides the notes
l;
the Violin
which
to
to
_,
possesses others, equally
all
the
Kxercises ha\e been
preceding
sonorous, exceeding
compass of an octave:
the
ill
r t
-r
1
D.
C.
E.
F.
G.
A. B.
C.
D.
K.
But, as the highest of these notes, on account of the numerous ledger lines, can no longer
read quickly;
l>\
*'!"
is
it
------
usual
to
write them
an octave lower, and
aW
(abbreviated from
ted
line
r f ? f
The notes situated above
different
half
positions are
shifts.
is
either employed, or the dot.
!,
?=-,-
hand, relinquishing
loco
as:
Wf-
Ihe
4-
are again to be played as written, the word
discontinued,
indicate their higher situation
to
For example:
littaia.)
4
V\hen they
its
can
usual
called
half shift was
only
be reached ami stopped by the lingcTs. \lu-n
more or
ad\ances
position,
Shifts, and
or
were
that position
less
These
towards the bridge.
formerly divided into two classes, whole
of the
hand,
in
which
the
of the
ant
string
*<
is
't'U'1"
'!
b<
*ith
the
first
finger:
o<>77
anil
whole shift, that
in
which the same
fin
77
i
-f-
placed on the
is
gcr
the
of
string
Jf
The following
was again termed
position
^y
hall
shift;
next
the
that
to
whole
shift,
upper positions from the lower ones

the second half and second whole shift.
these
Hut
as
this
various
distinguishes the
The lower
of shifts
appellation
position of the
l s.t
therefore called the
hand, in which
Position.
"When the hand
is
or
G#
of the
-~-
on
':
}
I
I),
been played,
is
F"
^*
are
'"
*''*-'
Position;
2'l
'
_j
fcjg
'
_,
'
the
4 th
on
^-^7
tlie
',in
C, or
Cf
in
in
on
string
Ab, A, or A#
1-1
&c.
'
n- called
advanced so much nearer the bridge, that
frjg
the
in
i.<i
Position
Exercises ha\c
the first finger falls on the
distinguish
French method. wtm.-h
second
Position,
first
the foregoing-
all
turttsei
June here adopted the
hand by
positions of the
In order, however, to
named, they were
similarly
intricate, I
is
so on.
..MM)
the
or
Kb,E,or
h.
the
7l;on
F.or
E*f
the
8t"
and so
In these
upper positions of the hand, not only the notes on the K string, but those also on
strings are
the other three

assistance of the
string,
now played, although the latter may be likewise reached, with the
But continually adopting this method, would
in a lower position.
change its position too often, and thereby greatly increase the difficulof playing. Indeed many passages w hich in a quiet position of the hand are perfect!) eawould, in such a case, be rendered wholly impracticable.
cause the hand
to
ty
sy,
In the
new Positions
of the
following Exercises, the pupil must at
all
times he particularly
fall
the usual way, and observe that the fingers, bent at both joints,
nd
Position, the wrist must not pres* against
perpendicularly on the strings, Li the 2
the
ribs of the
careful to hold the* hand
in
where the
instrument; not> indeed, until the hand has
ball of the
hand adheres
to
the projection
advanced
of the neck.
to
the 3 1'.^
Position,
fire.
'
_L
'
*hi-
Îx^'
--r=r--fm
f^r-f-^-j
'
W^^^^^^^\
.-077
U^
r - r r*riWii" J r*i*i* l> rrri r
CCrU
*~r
[.
13
[D
i^^
-.frtr.f\?tfr.*r+rt
ifuJ [r^t
TCîPl^^
î^
M*
^*g
H.B.ii.
S.St.
H.B.I.
W.B.
"~L-
s/
5077
ol
Position.
H.B.u.
oV." -99.
S.St. H.B.l
staccato.
S.St. H.B.u. S. St. H.B.I.

to
rl
tire.
S.St. H.B.I.
S.St.l.
W.B
/-,.
I".'-
poi/.v.vr.
f^^^^j
S. St. in.
H.B.m.
S.St.
?^
fitN
SE
******
.-*.
38*
H.J5.U.
S. St.mv
jOi
"
^S
'
'
H.B.u.
H.H.I.
W.B.
6077
approaching (lit- hridge, the notes lie gradually nearer each other, the pupils t:ar will aK
lead him to drav* his finders closer together at each succeeding' Position. That finger in particular xincli has to stop the semitone must closely adjoin its predecessor; indeed, in very high
positions, it is even necessary that the latter be first removed before the other is pressed doxn,
Xs. in
in
order
()
to
ensure a correct stopping of the semitone. Kut it is impossible to determine in nhich

must begin; as pupils with thick and fleshy lingers will find it necessary in
Position this
positions
than those nhose fingers are slender and delicate.
All eg- ret to

3'.
Position.
J=6<5
tire'.
-'177
f'O
1|1(
,.,
,<
l',sitio,,,
ver the edge of the
h , t>11
;,.,
lo.n-tl,
without being placed flat. At each

il
the left hand must

belly,
that the
Nc
rtevatcd
fingers may
suoeeeding Poriti.n,
rath,,-
more than
it
bo enabled to reach th,
this elevation of
the hand
has
In
constantly
is
of the ne,k, and the e.l

thumb being gradually draw,, round the projection
small hand, he will be cupelled,
m.der the Violin. If the pupil has a very
from under "the neck, and rest it against the
thumb
,..,-t...cd;tho
ried ff.nl.er
draw the
highest Positions, to
then necessary to hold
But
it
the
hand to the. lower

the
In
m ,,st
the
4.
is
7th
fourth*
from
finger for
its
the chin; especially

.instrument firmly with
Exercise, the hand,

place,-
nor again,
sharp.
Allegro
Position.
V. 43.
the.
in sliding d
Positions.
bar of the ,lext
not be moved
r,l
entirely
= 100.
in
in
extending the first
the
8t" bar
of
the
finger for
Part,
in
A
exten.lmg
ill
*>
'
-0-
rr-r
i
1*-
-F
j-JJ^r
So
,s mark,,. *.th
little
..ashes
iuthelulWlÊiarctee.mm.t
he ..hn,,, very short and -K-tad
III
the
a high
position of the hand,
next Position be
third Position above.
where the stops are very
reached hy extension, hut also

In the
following Exercise, for
seventh and eighth Position. But, let

belong
ing for them, the hand must not be removed from
to the
*tretched 'out as far as
is
required.
SOT'
sirch
close, not only
as
its
can the notes
are situated
instance, some notes
me here
'
in
of
the second or
Mill be found whirl
again observe, that, in extend-
place, but only
the fourth
finger
*>
'
S.SU-
uinisse.
H.B.,,
H.P1.
108.
3'lp.Sjt.\a
"
'
P.8t._WB.
H.B.u.
H.R....
'';p^T'fgg^gjg
'L*f* ,ixi
r
'
iffifS:
>
...
-^^^^
'Y^
Lrf.jf
pirrr from
Htc bciîiiiiiiij;'
Repeat the
tlif
MJÎI
^]
f" flic \*or<l

<l;c;il-s
tin-
;tt
f* t
nf vlnch
md.)
in-
N>hcn
tin-
hand, he must
l.v, ir t
then learn to
Kxerciscs
xill
pressing
it
But
as
string; anil
then signifies that
it
by
firmly on the fingerboard
many of the harmonics
the double-octave: thus, on the

O
usual.
;is
are chiefly
They
eirplAyeK*i
passage
in
ta\e:
instead
account
more predominant than the others;
of
exam-
for
arpeggio.
practicable on the Violin differ
so
much
in
quality of tone
from
and
recognises them as foreign
These
are,
string
(1)
the
octave; (2)
E|=E,'Oii
the
1)
the octave- fifth
string
Ljand on the E string
<
'
if
I
to-thirds of
tJie
or twelftlnand
:==
J?
"
',
t |le
>>
*J
,?""...- -',;
marled
the notes so
the others; the good School of playing only permits the use of such as are nut
'to
subject to the above objection.
-f-
(o) o\er
>ith the finger,
touching the string very lignth'
the natural notes of the instrument, that the ear immediately
Ui-ioir
zero
Harmonics.
in
note of an ascending scale, or of a
not belonging
frequently find a
their clearer sound, to render one note stronger and

ple, the last
another. For this purpose, the five fol_
the succeeding Exercises, he will
These harmonics are produced

"1
the
without iimx inn
the different Positions
pass quickly from one to
notes which cannot be placed on an open
are to be taken
in
serve him.
these, as well as in all
In
himself
exercised
pupil has siitliciently
The middle
JL
T-..._
of the string gives
the oc-
mea-
same, the octave-fifth; and three- fourths, the double, octave, whether
The harmonics, however, must always be taken on the side

they there come out much easier and approximate nearer to the tone of the
suring from the nut or the bridge.

of the bridge, as
stopped notes than those at the other end of the string. Hence,
fur use, are
The
jliuM-
been used,
all
the harmonics which are
fit
stopped at the same places as the natural notes of like sound.*
mentioned harmonies, us not materially differing
in
sound from the natural notes, hav e
at all
times
conjunction with the latter, by all good Violinists. All others, however, and particularly the sorailed artificial harmonics, must be rejected as useless; because they so totally differ from the natural notes
of the instrument. It is, indeed, a degradation to this noble instrument, to play whole melodies in such child in
heterogenial sounds. The great sensation created by the celebrated PAGANINI in recent times, by the reof the ancient and wholly forgotten harmonic playing and by his eminent perfection therein, however alluring urh an example jn.i\ lie, I must nevertheless seriously advise all young Violinists not to lose their time
in
uch a pursuit, t.i the neglect of th.it which is of mare 'importance. In
support of this view of the matter,
I may quota the
greatest performers of every age, as PuGNANI, TARTINI, COKKM.J, VlOTTI, EcK,RoDK,KRKl TX.KR, BAII.I.OT, I,*MINT, id not one of whom has
'
1" played in harmonics after the manner of PA64VUU
i>-h,
vi\.il
di
d,if harini.nir playing were even found to be of benefit to the art and an
improvement in Violin playing
nich as good taste might justify; it would, in
a
round
be
nevertheless purchased ut to,,
full,
tone,
sacrificing
hi<-h a rate; for with this it is incompatible, as the artificial harmonics only come out on
very thin string!., f " >"
which it is impossible to draw a full tune.
i
'
((I)
Intel ohting menroiis
in< the instrument
f..-
Vioi.l\"published by
of those preat masters,

together with
which
Mess
tliis
COCKS &
much curious and
valuable information respect designed, will be' found in Mr G. Dl'BOi nr;s work entitled "Tiih
C'.'.to which I beg to Call the readers attention.
School
is
TK.-
3 r : d Position.
;?.'l
7t.hp.,s:
3r.FU: _
r-.tp,,,
p, )s .
-t.h
j.-t
Pus:
Pos:
--
3 r.
Pos:
S'T'Po.s:
is.t
pu
t)
1
4-
4-
10 1
d3i
3 ld Pos:
3 r.d ,_
a".d,_ l^Pbs:
_ _
eVPus:
S^'lVs:
s1
.
POS:
_ _
a 1 .' ?,,*:-
r.u
3,'<!
P0!,.-_
th
_ 6 Pos:
.
_ _
_ 3*?' 1-os:
d Pos!_.
2'>.
i:
is*
Pus:
3VPos,
2?Pos:
2Pos:_
The
following-
the
is
Exercise contains octave- passages; and as
smallest deviation from true intonation so
must 'bestow the

with
as,
greatest care in
stopping them
Pos:-
in
bridge, the
octaves
occur* in
fourth finger must be
succession, these two
s*
Pos: -
no interval besides the unison
unpleasantly
correctly.
each new stop, the position of the hand varies; and
es the
TPos:,
felt as
This
in
is
in
octaves, the pupil
here doubly
proportion as
it
difficult,
approach-
gradually drawn nearer the first. VThen several

fingers are not lifted up, but, pressing firmly on
the strings, are moved on together.

In the succeeding
is
octave- passages, the
movement of the bow from one
string to another
effected solely by the wrist, and facilitated by an almost imperceptible raising and low-
ering of the elbow, as though
Where two
vers
is
notes
it
were shaken.
are slurre'd together in one bowing, an equal division of the semiqua-
especially requisite, to avoid their sounding
i077
at any time
li,ke
Y'/
'
i
!>
frj
:='
'
'_^fifc
:=:^^^>^
?<) 7 7
^J
IfeJ
'
in
pas> .u rN
.
.11
<>
in that
truths also, -such as ornir
manner
arc-
Allegro.
in
tin-
lu'xf
Kxrrri.sr,
tlic
lmr<'i'>
f'litiMiie
ur
-Ml.-
nimcil on
J,
80.
"
1*.
Pus:
MB
rr'23
.;''' P,
-il!
till'
hali'PoBi
- ost
,)..siti...i
of the hand,
q.uit..-
Huso
to
"thi-
nut,
is
1,,-st
di-iioiiiin at,
cl
the IMI.K
Potion.
3'^P.>s:
the ni-xt Exercise, a
Iii
and as
sitions;
these
in
notes, so as to produce them
is
it
slips
extensive
contains
preceding: indeed.it CM en
the
in
more frequent and rapid change
still
and
The
practised vith great care and assiduity.
from the loner
skips
difficult to obtain
extremely
harmoniously
Positions
of
-*ith
-oirreet
a firm
in
the upper Fo_
to
>f
stopping
has to
"the
hi; h
r: -quire to
intonation, they
which the hand
distai.ee
he ftH'ud.lh
*ill
sj.jp
must be
with the
calculated
after
the
When
nicety, so
greatest
that
from
being heard
in
slipping*
seek
is
to
one strike
in
played
it
from one
pressed down.
being
and 11" bar of the next Exercise,)
lO^J1
hand
of the
sliding
after
each other have to be
two notes lying at a distance from
9_
having occasion
finder, without
the
may remain firm and iirmoveable
right note,
the bow, (as in the
the
impossible to
of
ato-id
the other of them.
In
may not degenerate
order, therefore, that this
compJished
s<
far
place.
moved forward,
Thus,
the
in
The
following manner:
the
in
finrer \ith
disagreeable whining,
vhich the first note
it
must
is
has to stop the
9_" bar of the Exercise, the
first
second note
finger
is
falls
be ae
is
stopped
that which
until
into
naturally on
its
moved upwards from H
to
5*.
and the
second
fourth
finger
finger
is
then
falls
moved from
at
to
once on the second E:
-Mhich instant
so
quickly, that the
Kxample
finger
i,,
conseq.ientl)
SIIcn
to
in the
lit' 1
falh on the upper B.
finger has actually
It is true
skips
to
wjth the
perform the above
the
This shifting, however, must be done
shall be
in the first
unobserved, and the ear cheated
passed over the whole
that, in opposition to the foregoing

8jj(le
bar,
Position.
chasm or interstice between the small note and the

highest
sliding
highest note.
ous,m,ed
little
Tn
fourth, in the second an octave)
belief that the
the
the
similarly,
at
Position.
space
rule,
into the
from the lowest
many
to
Violinists are ae
f iigep
passages
in
employed for stoppjllg fhe upperilotc am

the
manner
following':
But as the unpleasant, whining before
must be
thod
and
6U1 bar
For the
of
the
production of the
ing, hell-lite
\Mien,
harmonic, the
and bow
Position
final
must be
The
the clear
By
be avoided
thp
5*!
if
resonance and correct
the finger be
finger must be lifted up at the
raised
from the string,
note of such
chosen.
arpeggioed chords
for instance, the
If,
semitone lower, they would be played with the
in
in
order
to
slidden quick-
moment
last
obtain a
riiigr-
sound.
however, the
different
as an harmonic, fas
permitted to move up that finger for the highest note
whining can then
and both finger
sliding,
it
be tal.cn
stop the one immediately preceding.
intonation of the harmonic, the

.
highest note can
the next Exercise,) is
of
which Mas used to
l\
me-
this
rejected as faulty.
cases only, where the
In those
cannot then be possibly avoided,
allmlcd to
Pos
s
:
'os: 3
Pos.-
is
not an harmonic,
two bars
before
totally
referred
to stood
following fingering:
IVPos:
Pos:
l
th,
+V
Pos.-
n Pos.ith
9\
pupil will already have observed, that such passages ,(and all similjr ones in the four
preceding and fidbe

in
the
also
with
which
Position
other
Exercises-,
frequently chang-es,) might
played
filtering-;. and hem.ij
l</\*iiij<should
here
be
the
1'ference
been
has
ther.efoi-e possibly expect, that reasons
stated, why
pi
g-ivon to that which
1
'
indeed be brought forward, but it would lead to prolixity, and after all be quite
soon understand why the prescribed Positions are preferable to others. Hi'
'with
re*t satisfied
the preliiniiury assurance, that, at all times, either the most convenient Positions
jn.iy
ha\e been chosen, or if not- so, then those with which the passages where they are indie ted Can be brought
set down.
is
Such
-ii;>erfl(ioiis, as
he
mi)rht
-himsc-lf will
>.
mit
nt
\Vheii the pupil has

h--
man nor.
made himself familiar with the
the clearest and most harmonious
will find,
once^
no difficulty
in
applying-
it
also
finêrintr systematically carried through this School,
to other compositions.
4th
w^
&
l".
fh
7 f.
fe-
_ _
V4L
:-
.1*3^
5 f.h
8*h
*t
Pus:_
4,th
gild
U4,
Mfc'"
^; v
i*
'
-'
,
1
>
J-1#*08+
SSt:
^f
..
1*
j4+tMLw#
-^-. -^**r
*'
i
P uh:
."
^;
fi
fi
7.
8.
Pos
'
5077
f*^ """SPL-MZt
C*.
at
nuist
it
.-..-ale-,
end
the
hero obserxcd
he-
the
ot
when
that,
it
the
vith
four finders
higher positions, until the
to
Hie
Chromatic
extends hcj ond the Position of the hand, fas
continued
is
it
peri. .nuance oi
respecting the
See: IX
in
Kxercise,)
preceding
change
alternately
been said
what has
to
addition
In
TOJV
and second tinker which
first
r-an
reach to finish the scale.
XI.
AND
O.V THK .V.*AH(.KJ/K.Vr OK THK BOH~,
O,V
THK /)/KKKK#JVT MKTHODS OF

The foregoing
the pupil
imparted
to
carefully
adhered
It is
ings.
were chiefly intended
Exerr-ises
a
the
to
degree of freedom
certain
rules
-hen
alread,
bow
not only
is
first
towards an
requisite
Correctness of bowing, the

thoroughly
pupil
right
Admit, ess of bowing, namely

and quickly,
slouly
and
sages,
the
.
at
the
>ill
lirst
also
which he
will
more refined
to a
vvith
y,
he has
which
is
he has
Sections
strictly
II
and
part, with
it
bow both
it,
in
in
equal facility;
Ion;;-
also
is
>
and
followed
for the
111
holding and management of the ho*
the knack of moving the
of
execution, and
of
the very soul of play in

if
-im-
management
Violin is susceptible; but
the rules laid down in
arm, and for the
if
of this all
cultivation
and adroit
correct
already have acquired,
the upper, middle and loner
and short
po.
strokes,-
piano and forte pasthe pupil wih learn by
Exercises.
Kxercise, the bars are numbered for the convenience of reference.
find the
is
of the how,
subject, and also to the prescribed bow.
near the bridge and at a distance from
study of the following
In
management
and soft of which the

delivt
they Mill also ha\e
the left hand; but
the
in
this
playing. For
expressive
himself
familiarized
and motion of the
sitiitn
Kmr
necessary for the production of a fine tone, neatness
for the 'various modifications of loud
the
on
now time, however, that He proceed
portant part of the mechanism of Violin

the
to
explanation of several murks
as yet unacquainted, and which
The
and technical terms occurring therein,
relate to
the different
gradations
in
the
pupil
with
power of
sound.
Before proreodintc
MM
it will bo well for tin- tojrhor to oxiimino whethor the

pupils munômunt
und irregular, (which easily
huppons when the attention is drawn off tl other
,md should surh he the r jt,e,the former rules and Kx'ir-ises on correctness of
bowing must be ie-
l.,,wh,,s
t-.)
-irmed
,,nd
,,.,t
'n
thor, h>iw(>vor,
IMT.HIIC. wild
persevered
in,
until thjt
which was
amiss,
hus bec'ii
.,
mended.
113
Bar
The character below
1.
gradually increase to the middle of
afterwards gently
fall
signifies that the
the note
sound must commence soft, then
duration where the greatest power
its
The bow
back again to piano.
is
is
proportion
as the power of sound increases,
it is
is
moved
act upon
On
it.
gradually lessened:
vision of the
bow
is
it
is
chiefly
requisite, in order t that
been completed at the half of the bow,
string and
lu
quality
the
bar 3, the
,e.
the
at
bow
is
Here, a good
half the duration of the note
whole duration
bridge
di-
may have
the end of the bow.
The
forte mi?st be particularly strong, preserving 'however, at all

of toijre. The delicate placing of the lower end of the bow upon the
gradation from piano

times, a fine
aiid its
portion
width of the hair is brought
by decrees moved farther from the brid
also
small
as slowly as possiblejbut,in
sound, the pressure and rapidity of
decrease of the
tlie
drawn quicker, carried nearer the
pressed firmer on the string; so that, at last, the whole
and
to
commencement, the bow
-At the
it.
and
placed close to the nut and at some
distance from the bridge, quite loosely on the string; so that, at first, only
of the hair touches
employed,
ti
gentle drawing of the same, require therefore to be diligently
bow must be drawn from the nut
to the j>oint
with continually
x
**.
strength and rapidity: but,
in
order that
it
may reach
practised.
to the end of the bar,
increasing
a
scarcely
As the bow has lint litmust have been used on commencing the second note.
tle weight at the point, the first finger of the right hand must be pressed very strongly on
the stick towards the end of the bar. Likewise at the beginning of the following 41" bar,
third part
which must commence with the same degree of power as the termination of the preceding.
At the decres.- of
this
bar, the
bow 'must be gradually
lifted up; for if,
in
...
approaching the
"
nut,
its
ano.
whole weight were suffered
In doing
coming
this,
!,
to
rest upon the
however, as well as
to a stand-still
in
string,
it
would be too heavy for a pi-
moving the bow slower, -we must carefully avoid
and thereby causing an interruptiqn of the sound.

""
5.
=Z1
<
6.
7.
8.
Ill
II.-
-.
JJ3
\.
For the
bow must be
of the* 16*!' bar, only half of the
During the crotchet rest, however, the second half

the beginning of the
and
tlie
bar, the
17*!'
following bar, miist be given

of the 19
pianissimo
is
forte, the bow
simo
played on
at first
it is
is
because
moved on above
On
acute
string, and then, at
The
J'orlc of
account
it
this
and the
also. the pas-
22.
string, and
then repeated oji-the softer
pressed firmly on
tlie
string and drawn
removed and brought over
tlie
end edge of the fiiigtfrboard
is
this
80.?
tlie
marked .piano.
is
contrast between
tlie
be the more apparent.
it,
tlie
again applied close at the nut.
as strongly as possible, that
and 20*^ bar, may

V
sage
bow
is
ust-d,
string. At the
near the bridge, but at the pianis-
and there passed
lightly
across the string.

In
tlie
22 1 -'
harmonic note
bar, in slurring the
A
'
"
with
tlie
below,
tlie
fourth finger, at the moment
'
of gliding,
must be firmly pressed on the string and drawn down
second finger
The
last
endo; that
lii
the
the
five
is,
'ict'
upper F
falls
24
with decreasing
is
E,
'
]*"
\
|
whereupon the
on C.
notes of the
bar,
to
* -*X *
tlie
then
first
tal-eu
bar,
are played, with a down -bow, slightly detached and
diminu-
power.
finger is pushed up on the
foi'zando
(J'z)
string from
that is, with
to
F, fe=*j
augmented tone. 'Moreover, as
tin
pass.-igc
is
markcMl furte. the gliding upwards must he done *ith the greatest force and rapi
from
Hy
ilit\.
this nu'uiis <nil\, IN it
from
the
hearer,
another has been effected
without
hide the octave skip
possible to
and lead him to believe that the gliding from one note to
intei rnption.
The three bars 26, 27
capable of yielding'; but,

the poner
two notes
sible.
The second
the second
The
is
performed with the
second half of the 29 1!
to
two notes
of these
fullest
bar, which is
of the 30th
tone the instrument
played with a
is
donn- bow,
from bar
slur,
which im-
performed separate and distinct from the other. The gliding on of

which
the F, must therefore not nc heard; hence, at the instant in
done, the bow must
pes-iod
marked with a dot just below the
is
be
finger to
mi the thinner
th. in
in the
28, must be
bar, the bow having but

gradually diminishes; and at the beginnjnjc
to play with its whole length, must be passed across the string as lightly as pos-
plies, that it
this, is
and
.'i2
make a
to
string, the
slight
bar 38.
bow
in
Ks,
stancf.
played like the beginning of the Exercise,- but here,
mak'ing the
hr-turc.
..'1-7
crescendo may be brought nearer
the bridge
The F
at
the
very short down
the B, with' a
The
skip
beginning of the
from
flat to
that the first finger
In the
42-
of the bar
is
bar, the
40
must be taken with
bar,
bow.
flat in the
here moved up
to
41?* bar,
is
made exactly
flat on the
receives a very short up- bow, and afterwards,
bow
The
and
In the second half of the
45 1!
used.
of
its-
length; then the last note
flat of the following bar,
for the>
44*1' bar
is
as before described, only
string
bow must only be drawn down two-thirds
the latter third part of the
third part of the up- bow; but
the
of
beginning
the.
45*",
is
*Ki
performed
a similar manner.
in
united by a
ly
The two slurred notes
J)
the
finger, and then the second
string.
the drawing back of the hand
is
is
bar,
two notes are successive-
fingering shows that the passage
particular slur, and the
the
F._l)
so
tat
is
to
be
are, therefore, connected by a gentle
en
,ip
played on
gliding of
during a momentary halt of the bow,
that
not heard.
47.
48.
^
morendo.
"I
The penultimate bar
until
ii
it
is
scarcely
is. to
audible.
be played
morendo:
that
is,
dying away,
diminishing the sound
Our
-
Is
|.
.nU.nit.ii;.-
,|.ercl>\
which
the
lt<
t..
the
performance
Violinist.
Hive bovings
in
In
is
in
Kxercise, the pupil
the next
in
others, consists inthur great
the
c,t
prcssioii
line
will
he
is
The bowings
with the
another
hi^li
most
below
arc numbered for
te\t.
/HI
of ln>\
therefore mdis-
made acquainted
contains two of them, one above and

of the strain.
variet..
gained.which so
the most different methods of bowing
placed on the repetition
sake of the observations
all
enlivened and that richness
general use. Kach
the notes, which latter

the
is
Ihem. Croat address
distinguishes
disable
bow-instruments have over
_X
it
35r
II
14.
lg
IK.
:ff_JL_rg
experience proves, that frequently -the most distinguished Violinists, notwithstanding their utst exertions, can never
;t.aiii
it; whilst greatly inferior
performers acquire it without
the slightest trouble. Yet even with the requisite natural qualifications, nothing but unwearJ
iiii
ied
practice
lead to the
will
of
every degree
perfect mastery of
it,
and enable the pupil
to
make
it
in
rapidity.
\ith the upper half of the up -bow. A greater length of bow than this must
not be used, even if tno-and-thirty or more notes have to be played in one stroke.
The pupil
should therefore accustom himself, from the beginning* to use as little bow as possible; that is,
he Staccato
much
is
as
made
The pushing on af the

effected solely by the wrist, the fore and back-arm being kept steady. For each note,
the first finger of the right hand is sufficiently pressed on the bon- stick, to
lay the whole
nidth of the hair on the string; and for the detaching of the notes, the bow rises a little each
inly
bow
so
it
has been
pushed forward, but not so much as
to
remove the edge of the hair from
string,
The beauty of
in
necessary for the clear production of the sounds.
is
time after
the
is
the
strictest,
first,
degree of
.'
the.
Staccato consists chiefly
in
an equal, clear, and smart detaching of the note's
time.
must be practised very slow, and when

movement may be gradually accelerated.
it
\2 22,
the
it
is
played clearly and
tw.- very short strokes are taken; at the five

following
The length
down-bow
in
strict time, the
numbers, third part bowings;
regulated by the number of

have to be taken with the up -bow: in N9.23, therefore, it must be
.'> short as
possible, because there are five notes for the donn-bow, but only three for the upt-i.v,
in VI 27, on
the contrary, a long doun-how is required, for whilst it has
but t\o
niiii-s,
the up-bo\* has six.
(.., i
;it
stficcata
t**o
notes
last,half bowings.
of the
nhich
077
is
14-4.
*'
'
_~"
There
is
a quick
in
also a
degree of movement sounds
ter, for the
in
made exactly
At NO
rather dull.
It
difficult than
is
performance of an Alleg-jro, though

gliding from one note to another, or
how
At NO
as in the up -bow.
middle, and then drawn down
the
more
is still
it
brilliant
passages, either
It is
down-bow Staccato, but
in
11,
therefore less calculated than the

productive of good effect
in
the gentle detaching
therefore, the bow
short, sharp
that of the up- bow, and
strokes to
the
is
in
lat-
melodious
of the notes.
placed on the strmg
in
point.
placed very near the nut and gradually drawn down to the point; a considerable length of bow being each time used for.the two slurred notes.
12, the
The second
ing of each
At
N2
13,
ternately
in
half of this number, however,
il
is,
In the
slurred
At
(,t
is
made close
at the
point, with a
smart detach-
third note.
occurs a new kind of Staccato,

the same
course of the bow

of
is
is
stroke of the bow.

constantly broken
which, detached and slurred notes are played
This method of bowing
is
extremely
upon by the two slurred, notes.
in
honever, very advantageous, as

last bars of this
in
it
imparts a
number the bow must be
al-
difficult, as the
diligent practice
great command over the bow.
slightly
raised each time
after
the tno
notes.
\14,
the bow
tend hc\ond
the
fz (forzctndo) note
and a
the
is
marked as strongly as possible by
a longer stroke
sharp pressure of the same: the lengthened stroke, however, must not ex
upper third- part of the bow.
jf-&
ft*
The bowing
of
&
8, might, analog] ca lly nith the hammered, be called the whipped(fon(fte),

marked r=- , is in a manner whipped with the bow. For example:- the
as the string, at the notes
bow
the
Braised above the string, and, in an up- stroke, thrown upon it with vehemence very near
point, so as to prevent a tremulous motion of the bow-stick. After thus throwing the howon
is
pushed on gently about 8 inches farther, and then drawn back in an equally
long stroke for the second. note. At N9 7, the third note of each bar is whipped in this manner,
and at V-' 8, the first and third note. The difficulty of this method of bowing consists principally in always raising the bow equally high above the string, and in employing the same length
of bow for each stroke. When well performed, it is of surprising effect.
Of the four notes played in one stroke of the bow at \. 9, three are slurred and the last
the
smartly and forcibly detached. For this last note, the same length of bow is used as for
the string,
first three
\.
10
.it
is
collectively.
performed in a similar manner* and differs only from the foregoing, in that the
mer slurred notes are now played Staccato with the down and up -bow alternately.
The
is
last
11 is
two parts of
this
lor
'
Exercise are taken rather quicker.
played with the half- bow;
N2 12,
and NQ 13, with
with third- part bowings;
still
short-
er strokes.
.
Li
\Q
14, the pupil learns another
RUDOLPH KREUTZERS
compositions,
method of boning.-
new bowing, which, from

is most properly named
having been first met with

after this celebrated Violinist.
its
in
two notes to each stroke of the bow, of which the two

si are (iftached and the
t
following slurred. The second of the detached notes is strongly
marked by means of a long stroke and firm pressure of the bow.
All these bowings must be practised with
diligence and perseverance, at first singly and
and
then
very slowlx.
gradually quicker and in connection with the others, until the pupil
has thoroughly familiarized himself with them
After this, he may then pass on to the
next Section,
Kretrfawr'a
It allots
507*
JOT.
.: :
O.V1JOIHI.K- STOPS, KROKEJS
CHORDS
.4.VD
ARPEGGIOS.
two n.U - at OIK-.;

advantage over wind instruments, of giving
even three or four notes, reand in quick succession, so as almost to sound simultaneously,
broken chords, or (when the seformer is called playing in double stops, and the latter in
The
Violin
possesses also
tlie
veral notes
Arpeggios.
distinguishable)
and
chief difficulty in these double, triple
The
From
are clearly
the
moment, therefore, that the
er must strictly and

ticularly, as,
commences the
pupil
insist on a
perseveringly
correct intonation.
is
quadruple stops
practice of double notes, the teach-
correct stopping of them; and this more
from the increased difficulty both for finger and ear,
if
the pupil
is
par
once permit-
be almost hopeless to attempt a reformation at a future period. We

but double stops, (without
not unfrequcntly meet with \io!iiiists who play single notes in tune,
correct stopping of two, three or four notes, is
being aware of it,) intolerably false. The
for senot only difficult on account of the ear and finger having to find the right places
ted to go astray,
it will
because the position so frequently changes, thereby obliging

close together.
the fingers to be sometimes unusually stretched out, and at others drawn
A second difficulty consists in giving the double notes with, perfect equality of power in all
veral notes
at once; but also
gradations of
piano and forte. This
is
pressing the bow equally on both strings,
attained by
ami thus throwing them equally into vibration.

It is
tween them. The change
in
All that has
previously been
in
(majestic.)
in
the
The former must be
in
general,
following Exercise, is
appended
63
j?i.
*
/7>e:
the
stately and dignified, and the latter slow.
Andante.
An da n te maestoso
x,*
bow and bowing
This refers not only to the style of performance, but also to
the degree of movement itself.
er than an ordinary
be-
practice.
To the word indicating the degree of movement
maestoso
observed
were, for the right stops.
it
said respecting the division of the
here be most carefully put
epithet
shall be
the stops and positions, must therefore be effected in a quick and
determined manner; avoiding the habit of feeling, as
mii-.t
so that no break
likewise difficult to connect the double notes
".
^<>
4^L
m
ii
4-
3,
-..
.2nd
",--.
11 -c
the pupil fan plav the upper part of the above Exercise forrertly, the teacher should c\and allow him to try the under part, as this presents stops of a ne* difficulty, nhich
calculated to form his hand and ear in a still higher degree.
The same should
aiso he done in the following Kxercise.
L(irht-(l<i
U'l-ce
ol
the diminutive
ln-hijr
movement somewhat
less
>1
slou
L(irgv (slow, heavy, extended.) consequently

than that indicated by the latter term.
implies
de-
'
."
,56'.
*^T*
'
tireL.
1
x-^.O
rrr?s
crerf.
///<:
,' ~-
*
\
=^=B&?B*^ =
.^^>-S-^
^
*f
--
^^
T""
^^^LM
^
-9-
5t
UjT
h^
5*-
/.*>
^h-jt
f- M r
-I
3
f>
i
ea
4-
4-
.f
dimiti.
4-
i
4.
.>
the following KxcrHxe, tin- Rondo, (i.e. a lively and pleasing composition, the- theme or
leading subjeet oi whieh is often repeated,) double stops of greater ditt'ienlty arc introdiieed.
\s the posjtioiiN, bowings, and various shades of piano and J'ortt' are must farefiill> indieaIn
ted,
limits
here again
of
oliser\e, tJiat they
must be
s>trietJy
intonation.
'
Allegretto.
88.
attended
to:
above
all,
not
nej>-leetiii)-
/..
^FÊ=
* 5"i
'
nff
7.V.3
ar
-t
'
tin'.
tire.
y.vr
TR 10.
4.
dim hi
Menuetto
Da
Capo.
The following Exercise
consists of .Arpeggios on three strings.
acquainted himself with the stops, he must

In doing this, he
an
easy
ly
by
must attend:-
the
in
practise the eight different methods of
and
principally,
to
right arm, the body being kept quite
the
several
exact observance of
kinds of bowing.
still;
all
the
bowing.
correct intonation; secondly, to
and adroit management of the bow, the motion of which must be
notes; and fourthly, to the
fnrtt
First
After the pupil has thoroughly
thirdly,
to
an
produced entire-
equal division of the
prescribed shades of
piano
and
^^
??_?_
\L
'
'
:*\ *"5i
After the foregoing eight
piu moderato (i.e.
ercise
with
have been well
bowings
in
more moderate degree
of
movement)
in
semiquaver
triplets,
the four following bowings.
Piu moderate
These
also
gro mvlto
the
practised, the pupil must repeat the Ex-
having been well
is
made
Alle-
practised, the Exercise must be played for the third time
(very quick) in quaver-triplets, with the following four bowings.
3_ bowing
of the
J = 8*
entirely with
down -strokes close
Here observe,
at the nut, but the 4*^
at the
that
point
bow, with down and up -strokes alternately.
Allegro molto J
= i6o
ff
Now
follow Arpeggios on the four
strings, with ten different methods of bowing.
notes of which these consist, do not always

ning- of the
one position, (as, for example, at the begin-
2 ll^ bar, where the first tno notes belong to the second, and the two following to
the third position,) correct intonation

this
lie in
As the four
Exercise very slowly at
first, in
is
here doubly
difficult.
The
pupil should therefore play
order to familiarize his ear with the chords, and
gers \i th the unusual stops. Having done
this,
he must then practise the different
due attention to the rules given for the performance of the last Exereise.
6077
his fin-
bowings
/JO
Anduntt
=6'.'i.
141
7.
r*)
The- buuings in the f'm-ojfoing- Arpi-jr^-ios, as well as in the Exercises N^S 5ii , B3 & 64,
might easily have been in
rrfjkfd: luit I have purposely confined myself to those prescribed, as being the easiest and most effective; for a
H'lcitci- number would hnc fjtigtied the pupil, and perhaps have prevented him from studying them with perse
\i'Miioe and accuracy .^'Indeed, I hjvc-
already g-iven more than he
6077
-will
be likely
to
meet vith
in
pi.i'ti'e.
XIII.
QUACKS' OR EMBELLISHMENTS.
(Xv
These serve
to
animate the melody, as also to
In former times,
it
heighten its expression.

was usual for the composer to write the melody in a very
n er, leaving the embellishment of
it
the player or singer.
to
siir.pte
Hence, a multitude
man
of Graces
gradually formed, for which names were invented, and which one player learned from
another. But as succeeding performers constantly endeavoured to surpass their predecessors
*ere
in
embellishing, by the addition of
sequent tastelessness
in
new
inventions; there
particular, that composers
this
At
at
length arose such freedom and con-
found
was done
it
advisable to prescribe the re-
small notes, the division being left

to the player; but afterwards, in notes of the usual size, with a strict division of the bar.
Of all the Graces of former timesf the following are the only ones now in use, some of
quired embellishments themselves.
first, this
vhich are indicated by signs, and others
small
in
notes.
in
To the
first class belong the shalce
or passing' shake (/A), and the turn or mordent (<* or -v); to the second, the long- and short appog'g-iatura, and others without name.
The shake consists in an equal and frequently repeated alternation of two adjacent notes, viz:
(tr),
the transient
of the note
over which the
tf
is
placed,
and
its
minor (a), or
us played.
its
major
second (b).
us played.
a.
The duration of the shake
determined by the length of the note; and the number of its beats,
by the greater or less rapidity with which they are. made
According to rule, every shake should both commence and conclude with the principal note,
i.e.
is
the note to which the shake
or with the note below, this
is
written.
If required to
must be expressly indicated;

us pluyed.
for
commence with
the auxiliary note,
Ex:
us pluyed-.
Surh us are desirous of

becoming- acquainted with these, for the performance of compositions written at the period
en they w*re in voûe, will find the
requisite information in LEOPOLD MOZART'S Violin School, the firsV edition
uf vhirh appeared in the year 1766.
This rule was first advanced by J.N .Hl'ffNKL,
who
has ifiven substantial reasons for
6077
it
in his
Piano -for to School
J43
The shake ends
This turn
Iii
formed of the
turn, which serves
principal note
to
connect
it
with the following note.
preceded by that on the next degree below.
cadence-shakes, the following turn
final or
is
also
used:
modern compositions at least) is generally written in small notes: but, where this
not the case, it must be added by the player. There are however shakes which, either on ac
The. turn
is
is
with a Joint of
(in
count of their shortness or of the connection
To the
Violinist, the
requires a natural
sily
shake
ability
overcome than the
Above
all,
is
which they stand, admit of no. turn.
in
the most difficult of
for its
attainment.
all
embellishments, and,
steady practice however,
By
it
the
Staccato,
can be mere ea-
latter.
the shake must be given with a perfectly
correct intonation. The ,pupil, therefore,
should always observe, whether the auxiliary note with which

or a whole tone above the
principal note, and then
it
has to be
played, lies a semitone
endeavour at each beat to praduce
this in-
exactly in tune.
terval
a common fault with
It is
to
tune,
Violinists,.
towards the end of the shake
the upper Positions, indeed,

is
such as in other respects
feven with
play
correctly
in
stop the auxiliary note too sharp, when
particularly
tone
like,
it
where the notes
is
making a shake with the semitone; so that,

In
too far removed from the principal note.
very near together, the shake with the whole

beat with the minor or even the major Third
lie
not unfrequently made too high, i.e.
instead of the Second, which
must especially
beats are made
heard
to.
sounds intolerable to every refined ear. The pupil,
therefore,
strive to acquire a correct intonation in the shake, and then observe that the
equally, so that neither of the
two
notes of which the shake consists, may be
predominate.
order to obtain a brilliant shake, he should accustom himself from the beginning to raise the shake -finger very high, (i.e. to the first joint of the finger employed for
Further;
stopping
in
the
principal note,) and let
it
descend with energy upon the string. This, the ma-
jority of pupils neglect, from their anxiety to
make
at once
quick shake, and hence itge-
nerally follows, that in long shakes, the finger as if lamed cleaves to the string, and
and powerful
The
shake
must
is
a fine
never acquired.
also
guard against forcing himself into a quick and powerful shake by over
and an unnatural extension of the sinews, as thereby the free motion of the shakefinger would only be the more impeded and much seoner fatigued. He must likewise avoid
pupil
-exertion
6077
one finger
a
rubbing
against the
otlier,
principal note in
stops the
and place that which
shake -finger may be able to move freely.

more particularly the little fin_
Kaeh finger must be diligently exercised on the shake, but
less qualified for the peras it is shorter and weaker than the others, and consequently
position that
the
Her,
formance of
this
For although with the utmost
grace.
taken
is
in its
is
in
long
and
rapid
changing the Position,) its improvement must

double shakes and passages where many shaUs suc-
stead by
not on that account be neglected, as in

be dispensed with.
cessively follow one another, it cannot possibly
uhich in single shakes
can never be brought to
it
po*er and acthjty, (for which reason,
third finger in
equal the second or
shakes, one of these
perseverance
Even the first
never used, (as none are made on open strings,)
finger,
cannot be spared
some double shakes.
in
In an Allegro,
rules:
Concerning the rapidity of the shake, observe the following general
of a spirited character generally, the shake should be quicker and more powand in
pieces
suc-h
than in an Adagio, or in a soft and expressive melody. In all cadence- shakes, i.e.
th
1
bar of the next Exercise,) the beats from first
as terminate a period, (see the llV & 25
erful
Adagio, however, and in shakes serving to embelproduced by commencing slowly and gradually increaa melody, a good effect is often
crescendo or a decrescendo. A
in rapidityr^this admits of being united either with a
to last
lish
sing
must be
equally quick.
In an
quick and terminate slow.
shake must never begin
should be taken somewhat slower than those with

general, shakes with the semitone
the whole tone, as the ear cannot so readily distinguish the rapid change with the small
In
with the larger interval.
as
parative
Shakes also on the lower
strings, (on
slowness of vibration,) should not be played so quick
as
account of their com-
those on
the
and
strings.
The notes forming the turn must be played with

yet so that, even in the shortest shake, they
Each
shake* , inclusive of the turn,
stands. It
it
by
is
it
same rapidity
may always
as the
be distinctly
must occupy the entire duration of
therefore very faulty to terminate
caused between
the
the
shake too
shake
itself,
audible.
the, note over
soon, as a break
which
is
there-
and the following note.
After the pupil has duly
considered the
above,
ercise.
Andante
63.
6077
he may
proceed to
the
following
Ex-
The
first
six
shakes are all played with the semitone. The shakefinger, therefore, alnays
stops the
quite close to that *hich
The
The
first bar is
principal
falls
note.
performed as follows:
sixth shake, on
sharp,
is
made
perform as quick, distinct and powerful
with the
as
little
finger.
This the pupil must endeavour to
the 'Others ; for which
purpose, he will be compel-
led to practise it separately.

In' the
\*ith
7^!*
vhich
it
bar,
begins a
shake with the whole tone
should commence, expressly indicated.
manner:
in the
It is
second Position, having the note
therefore
performed
-^^_^
l&C:
~
The
is
in the following
s-
must always be played with a perfectly correct intonation, and as the shake
one stroke of the bow, a change must be made at the beginning of each bar. To
auxiliary note E,
too long for
do this, so as to be wholly unnoticed by the ear, attend to the following rules:
the shake-finger continues

that the
its
beats uninterruptedly
new bowing commences
and
in the
same degree of
immediately with the like power with which the
nated; and thirdly, that the change
takes place on the
First, observe that

rapidity: secondly,
preceding termi-
principal note, in this instance on
1).
second finger moves on to D sharp, without either checking,

increasing, or slackening the beats of the third finger. To a beginner, this is generally very difficult, and must therefore be practised with
perseverance. As, in advancing to the D sharp,
the shake is no longer beaten with the vhole tone, but with the semitone, care must be taken
In the third bar of this shake, the
that
the
auxiliary
note
E remains
perfectly
in
5077
tune.
17
The second part
of the Exercise
commences with a chain of shakes, by which
ber of shakes following each other without any notes intervening

sually given only to the last shake,*
effect
is
22
bar; or in
produced by
but when
it
In
is
meant,a num-
such a chain, a turn is.u-
consists of long shakes like the present, a good
adding a turn to each of them. In shorter shakes, however, as
in
the
still shorter ones, as in the 28*f? bar, the turn is better omitted. Every shake
such a chain begins with the principal note, whether the preceding ha> a turn or not.
In the 14-L" bar, a b is placed before the second /r", whic!h ^signifies that the auxiliary note!.
in
must be B
flat;
consequently, the shake
is
made with the semitone.
In like manner, the
be-
in the 16^' bar, makes the

is
auxiliary note G sharp; hence, the shake
beaten with the whole tone. The turn of this shake
being written in notes of the usual size, must
therefore not be played quicker than semiquavers; so that the rale which directs the turn to
be played *ith the same rapidity as the shake itself, is not
applicable in this instance.
In the chain of shakes without turns in the 22"_d
bar, the regularity in the beats of the
fore the shake sign
shake -finger must neither be checked nor disturbed

by the moving on of the hand.
6077
24
..--""
The shakes
first
occurring
During the rests, the bow

In the chain of shakes
tention
must be
paid to
n the
26tn
bar, belong to
:.
those which do not admit of any turn.
allowed to remain on the strings, without being lifted up.

in the 28^ bar,
proceeding entirely by semitones, particular at-
is
the
intonation
of the
auxiliary note; care being also taken to preserve the utmost regularity in the beats of the shakefinger, on account of the frequent and
sudden changes in the position of the hand.
This last succession of shakes
is
however very
difficult,
and requires to be
practised with
great perseverance.
The
62'!d Exercise
alia Polacca, (that is, in the style of a Polish National

dance,) is intended for the practice of short shakes without turns. From the shortness of the note shaken, not
more than two, or at most three beats can be made, *hirh, ho*ever v must be powerful and distinct.
sor:
P-.u-ca.
100.
??^fc
-***^=*
,V "
ff
The
than
their
pupil
its
should accustom himself from the first, not to dwell on the
prescribed duration; for the
being
introduced
with lightness
division.
The
first
the
11 th
bar occurs
In
shake
is
the
shaked note longer

shakes, consists in
and .elegance of these

the melody, without disturbing
beauty
into
its
rhythmical
performed thus:
second of the
6077
before
mentioned
embellishments, the tran
siont or passing
The
shake, vhich
consists of a
single
beat, and
is
performed as follows:
must be powerful and made with a highly raised finger.

In the 16*.h and following bars are four shakes, whose
auxiliary note is elevated by
and in the 23
bar another, whose auxiliary note is depressed
by a J prefixed to the
beats
l
.
a #,
ff.
TRIO.
In the Trio, the short shakes occur on slurred notes. Here, also, the effect chiefly depends on not duelling too long upon the note shaken, but nevertheless making both. boats
distinctly
The
est
Tin
heard.
The
shake on A
performance
for the
little
is
as
finger, in
follows:
the
4*.''
bar,
must be
practised with the great-
assiduity.
five
passing
shakes, in
the-
penultimate
bar of each
part
of
the Trio,
are
per_
Jt*
II
Larg'hetto
'f=
-80.
63
JV.
pouer and
activity
As, in double shakes, one
to be able to maintain its beats with the second.
is
frequently beaten with the whole tone and the other with the semitone, (as/ in the #'. bar of this
of the
attention must be paid to purity of intonation in the employment
Kxercise,) particular
shake
The turn,
fingers.
that of the shake itself.
be
be
to
accomplished as quickly
let the
shake.
As
as
*ith
4^
bar.)
The
possible, in order that the turn
single
that here, on
heard
shakes
in
in
Position
to
may be
instantly united,
in
begin, the pupil must be careful

sound during the performance- of the,
double stops
one continuous
shakes
are
also
applicable to the
account of their increased duration, a
even four) can be made.
the little
in a different
shifting of the hand should therefore
other matters, the former remarks on short
present, except
(ri:. three or
must often be made
of the shake.
sustained note be
to
parts,
nd and
(See the 2
equal rapidity, to the heats

In the 5V1 bar, where the
to
in twit
The
greater number of beats

second and fourth of these shakes can only be
finger; consequently, they
6077
require the
most diligent
practice.
/r
-1-3
/r
tire.
tire.
^
PctsWarco.
Vi 3
*
,
In
the
9'
bar begins the most difficult of
all shakes, viz: that with an

accompany i'ng part.
be overcome, as neither the beats of the
shake-fing-er, nor
the progress of the
bowing must be checked or disturbed by the entry of the
adcompaioinr part.. _The second
finger, to be able to stop the C in the accompaniment without beinraised from the shake note G, must be so
placed on the latter, as almost to touch the A
that
*ith
a
string,
slight movement it may cover this also. __
During the rests in the ac
compliment, the bow must only be slightly raised above the A
in order that it
In
this, a
double difficulty has to
string,
again immediately
brought upon
it
with
little
may
motion, vhen the accompaniment
Hie change of bow alWays takes

place during the rests in the accompaniment; con.
the
shake
is
e|.u-ntly,
divided into four bowings, the first of which
in _
(a down-stroke ,
Miides four crotchets, the second
three, the third again three, and the last two.
Ho*
change of bow may be made unobserved by the ear, has
This
already been stated.
accompanied shake, well executed, should sound as if played
two
by
persons.
.'077
+-'
fiffTftp
i
first
^>-
The
j'
* /
fizzicbar of the second strain cgiitains a double shake
in
the sixth,
in
*fm-h the first and third
in the upper part, must be stopped vith the second

finder are exercised in equal beats. The B
conlinger, as the first is employed in shaking- on tle open string 1). The turn of this shake
tt
tains t\*o
In
notes in
the octave
tJie
- sli;d
upper
c
part
in the 6.
to one. in
bar, the
the
under.
beats
-077
are made
\*ith
the first
and fourth finder.
'
\>*
* 4
The chaise of bow takes place at the fourth crotchet
as
imperceptibly as possible.
In .the accompanied shake f the second
the
second
strain,
finger *hich stops C must at first
approach the E string in order to take the
in the accompaniment, but witho.it
interrupting the
Nhake; in the last bar, houevc-r, it is moved towards the J)
string, for the purpose of taking
the K. This shake is also h
X ini. îlh the donii-boH, and divided into four
/Join
tin-
accompanying part
sometimes occurs, which
or pi::ic:)
he
produced by
tinued
When
is
pizzicato
used
making
*
arco
the bow, the notes
to
and Quartett playing, here follow
the
II
or Guitar; and this
art-
con-
;>
the how.)
(with
Orchestra
in
abbreviated pi:::
is
as on the
string-,
coll'
it.
few Irotes have to Jbe
only
for
the
term
the
pi-.zic(ti
signifies that, instead nf using
pulling
frequently
instructions
necessary
"'
pinching
contradicted by
until
As the
foregoing Kxercise, the word
tin-
(it
and
pizzicato
played
the
coll' (trco
immediately suc<
cerds, the Violin
near
ly,
the
first
Hut
if
The how
position.
fingers of the right
of the
and
finger-board
hand; the
the
grasped and held firm-
then
is
thumb bejng
end., of the
string pulled with the point of

*
and the
pizzicato- be-oi tonger duration
the
but
(though
usual
finger.
thumb, the
somewhat farther from the
For long periods -therefore,
this
first
coll
In
case the
this
and the string pulled

1
edge)
method
preceded
bow
now placed against
is
finger
arco
back against the
place its
back -arm.
the right
with
of the
instead
from the chin and
Vio'l.'n
it
body, supporting
fore,
its
the lower edge
better to -withdraw the

the
in
by the last three
jirtt,
placed against
the
retained
is
by .a
Vest, it
rigfit
is
is-
side
of
as'
he-
held
the finger-board
with the thumb itself.

*
former; as the
the
preferable, to
is
pizzicato
with the
The
thuir.h,
sounds
before mentioned' embellishments, (usually
of the
third
dom written at
length,)
is
middlemost
of which, the
than that with the
and clearer
fuller
the turn or mordent.*

is
that to which the sign
times with the upper, and at others
with
adopted. That sign, therefore, which has the
the turn
must commence* with the upper note,
as
hut the contrary, that
it
must
bejriH
Tho
and
sign
sel-
notes,
contiguous
some-
and commences
Latterlyj we have begun to ex-
first little
gene-
hook bent upwards, shows
that
Ext
for
fa
loner note: **
played
Author, both here and at the- commencement of this section, uses the words Tin* and MORDKNT as synoniThis is, incorrect.as the- mordent,
properly so Pallod.is a totally different g-rafo to the turn, and iiulkjtod
tin-
l>\
..
"
laudable and deserves to be
is
played,,
nith the
as
int.iis.
appended,
the lower note.
the position of the sign; vhich method
press this by
rally
is
finger.
indicated by
of three
consists
It
first
t|-,>
in,ik uhifh at P.
ftf
hool.)
*ilh otlii
is
\>i
1*8
ib given<
to the passing shake,
*y>
The
indicated simply by
without the cr o s s str o
>
iti
the reverse of thi> is exactly the case:
<v
passing shake
V>
mjy be sofn
implying the DIKKCT turn
5077
its<>lf,(as
tlu-Mi^h-
TR:
js
it
is
Call'il.
When
the turn stands
between two
notes, serving to connect one with the other,
played immediately before the entrance of the second of them, the
added to
it
it
is
then
principal note being again
as a fourth note, thus:

tin.
When
the turn
as
placed over a dot,
is
sustained according
to its
value.
played.
fourth note
its
there are two dots, the turn
is
mark of transposition
per or loner note
plafced
upon this dot and
then
played.
the .second of them.
Ex:
played
above or below the sign indicating the turn, the up
Ex:
elevated .or depressed accordingly.
is
in
,
as
is
brought
then flayed just before
PS
When
is
Ex:
as
If
as played.
or
Marks of transposition above and below, affect both the auxiliary notes. Ex:
"
'
fr
as
played
The turn
is
or
r 1
:f
always played quickly, whether in a slow or 'quick degree of movement; but
it
must
nevertheless sound clear and be perfectly equal in its three or four notes, both as regards rapidi
ty and power. Correct intonation is here also the first requisite; therefore, in making the
turn,
the essential marks ôf transposition which belong to the piece, as well as the accidental ones ad-
ded
to
the sign
itself,
must be carefully observed. The turn
of the bow with the note above or after which
thjt
ruiiiiiu-iir-iii^-
with tho upper note; anil
vî
or
it
is
always connected in one stroke
is
placed.
tho INVKRTKD
turn
or
th it bog-inning-
with the lowf-r rutr.
TR.
o<>77
7,5*
small notes, those of most frequent occurrence are
Ol
tin-
embellishments written
.UK!
tlie
short appojrjriatura. Ttie former,
the usual size; but as in
ol
eatcd
in
in
modern compositions,
in
more ancient *orks. ami
still
small notes, the pupil should understand and
follows its
is
j-eiierall.}
occasionally in
know how
to
Hritten
modern ones,
execute
it.
Inti"*
tlie
in
it
notes
indi-
is
Here, therefore,
explanation.
VMiui placed before a note which

the half of its value. Ex:
.is
divisible into
J^
two equal
parts, the
appojo>-iatura receives
,r
as played
as played.
If
is
placed
a note folloned by a dot,
be-fore-
then brought
upon the
in
-'dot.
as played.
'^gr
obtains the full value of the note itself, which latter
Ex:
J
it
..
'J=^
f T
or
as played.
\Mien there are tvo dots, the appoggiatura obtains the value of the note, and
the first dot. Ex:
as
^
When,
played
in double stops, an
together.
appojfîatura
played.
.
CTM'
this
then comes
in
on
stands before one note only,
it
and the other note are
Ex:
as
played
|J
or
t^fc
\'6077
'
T7j
j: *'-^
*=
159
As the appo^giatui-u always falls on an accented part of t>ie bar,
phasis than the note before which it stands, with which however it
ing: because, as an appoggiatura, it belongs
The short appoggiatura, (which

to distinguish it
value. "With this
The
Ibo
this note,
as such, should always be
and
is
intended
tentively perused, he will
in
always united
in
one b.ow_
finds its resolution.
marked with
to
exercise the pupil
in
a cross
stroke
f,
in,
order
know
for the most part
Those passages, however, which
still
small notes.
Larpfhetto
^_
76.
4
2.
f>07J
how
its
reading and execution of the difIf the foregoing pages have been at-
the
ferent turns, as also of the long and short appoggiatura.
below
is
given with greater em-
from the long one,) deprives the note before which it stands, of scarcely any of
note, it is' quickly and lightly connected in one bowing. Ex:
following piece
struction.
in it
it is
it
should be
appeared to require
played, without farther in-
explanation,
are
given
MiO
ere
Har 14.
see n
do.
Hi I
I lit-
l.irgt
dtlic-r
notes
as they are
inlu llislnnt'iits
still
greater
di\isi<in
use, are
in
small notes,
it
is
all
misconception
necessary
to
make
is
wi'itteu
in
prevented. But
the following re-
oi
are intended to
quick., in
embellish, may
order that the note before
lose as
little
of
its
value as
which
they
possible.
It is,
determine, from which note, (whether the preceding 'or following^

performance of the embellishment should be taken: and as no general
difficult to
the time required tor the

rule can be given
modern composers, generally
by
of the bar, whereby
performing them:
part of them are played very
however, frequently
in
in
nou and then met with
stand, or which they
a v\
present
and with a regular
marks on the manner

The
at
on this head, the most usual of such embellishments are here inserted, and Ihe
which they should be
played, shown by a regular division of the bar.
Andante.
as played.
Andante.
as played.
;.*^j
fa
T
Allegro modei'ato.
as played.
Alleg'ro vivace.
as played.
ax played.
embellishments written in small notes, must not however be performed so

quick as the foregoing. Such as serve to ornament an Adagio or other slow and expressive composition, must be
played proportionably slower, according to the character of the piece; for Ex:
Ail
Adagio.
or
To the
the
class of embellishments
same note.
The singer
performance of passionate movements, or when forcing
the
in
highest pitch, produces
its
tremolo, and the changing of the finger on
belong also the
struck bell.
erfully
This, with
tends
and above the
below
the left hand
tion of
the wavering of a
in
true
only be slight, in order that

observed by the ear.
the
should
stopped
and
intonation,
from the
the direction
in
sound, resembling the vibrations of u powpeculiarities of the human voice, the Aiolinist
many other
It consists
little
to
certain tremulous
can closely imitate.

a
voice
his
deviation
from
ex-
alternately
produced by a trembling mo-
is
the
to
ntit
note, which
bridge.
This motion, however,
purity of tone
scarcely be
may
or
compositions this trembling is sometimes indicated by a dotted line
by the word tremolo: but in modern ones its employment is left entirely to the player,who,
however, must guard against using it too often, and in improper places. In cases cor-
old
In
those
responding to
the \1olinist
in
which, as
abofVe
stated, this trembling
is
observed
in
the
singer,
employed only in an impassioned

style of playing and in strongly
accenting notes 'marked with fz or >
Long sustained notes may likewise be animated and reinforced by it; and: should a swell from
also
may
himself of
avail
hence,
it:
it is
p
the
tremolo
the
cing
increase
duces a
The
such a note, a beautiful effect is produced by commento

and gradually accelerating the vibrations, in proportion
introduced on
be
to
of
slowly
If a
power.
diminuendo
occur on
sustained
good effect to begin the tremolo quick ami gently

tremolo may therefore be divided into four species:
1
accented notes:
strongly
J2 .'",
the
slow, for the
3 r a the slow commencing and gradually
thos:
note,
decrease
in
likewise provelocity.
the
in
passages of deep pa-
1 .'
sustained notes
it
quick tremolo, for
accelerating, for long notes played
<:i'es -
4. , the quick commencing and gradually slackening, for such as are played
diminuendo. The two latter species are difficult and require much practice, in order
cendo:
that
and
the vibrations
may
manner, and without
at all
any
be accelerated and retarded in a
times
sudden change
from slow
to
quick, or the
perfectly
regular
reverse.
upon a note, another property of singing is likewise imitated,

viz: the separation of two notes on the same degree of the stave, caused by pronoun _
cing a new syllable on the second of them, both being sung in one breath.
changing the
Ky
the Violinist
Though
pause
or a
in,
another
In
place.
this
fourth
change
with a steady
back or pushed
its
finger
usually
of
effects
bowing;
continuous
forward, until that
this
separation of two
notes
by a
short
here
accomplished by substituting one finger for

motion of the bow. The hand is therefore so far drawn
it
is
finger "'which
has
to relieve
the
first, falls naturally on
Ex:
second finger is drawn back from K (+) to C,

on the second K; then the third is pushed forward from
example, the
may
equal
fall
5077
in
order that the

(TIT)
to
F,
so
that
to
li,
the
that
This
first
the
passage
fourth
on
gliding
its
may occupy
to
ma}
the
place:
mentioned
before
the
to
back from
(*)
be
heard,
nor
the
On
the contrary, the change of finger must be

observe when the first note is left.
1}
drann
is
must not however
notes
following
first
K.
on the second
fall
pertormed similarly
and lastly, the
made
The following Exercise serves for the practice both

The quick tremolo is indicated **w* , the slow
and the
ting wwvwv
gradually slackening WWW\A.
,
the ear may scarce.
quick, that
so
of this
and the tremolo.
wvwv\
the
gradually accelera-
been said, the changing of the finger will require no farther explanation. However, I would here again observe, that the finger which relieves the other,iiiust
not be pressed down until the hand has assumed that position in which, without being either extended or drawn back, it can command its proper place.
After what has
Moderate
)f* a g
<?<,
*V
J^'*
This Fxorcise commences with

in
broken
ch-.rds..
It
is
played
the spring of the how to be
The embellishments
before
written
staccato
not hitherto
in
manner
still
in
described; the first
similar
more carefully
small notes
in
in
to
practised by the
that
attended
in
scale
passages, hut requires
to.
the 4*." ami 8*!1 bar, are
demisemiqiiavers, the second
4077
pupil, viz: that
in
performed
semiquaver
in
Hit-
triplets.
X/VW V\AAA/VVVW WVWWVWWN
In the
latter
part
of
the 14_h bar
the second finger
is
used for the
penul-
timate note, as the major third from G

sharp to E can thus be stopped truer and more
easily, than by employing the third finger: mean while, the hand remains unmoved in tlie.2'.
In the 15*-!' bar, the two D
1'ositjim
sharps are separated by a change of finger. The first
and
with
a
.brîi.s
slow
r<
I
whir-h
becomes gradually quicker until tlie second 1) sharp
/J
tnolo,
1
.-or:
la i)
=5
'
tmt**2,
!
^
5077
J.* _^Sf=.
Hi!
Thi-
hjst
four
uott-s
of the 50*/
bar
are played
077
in
the halt
Position.
111
60.
the
The
first
bar, at
each
half of the
gradually accelerating
the slow tremolo.
Finally,
must
still
change of finger the hand
moved down one position.
is
1
B, in the 65V and 66
bar, is
tremolo,, and the second half dim. with
tied
note
played
mention an embellishment
which
ore*,
gradual
with
rttiirningto
introduced by many Violor at least of warning against its
is
often
but only for the purpose of dissuading from it,

frequent use, vizt the beating on a sympathetically sounding string in sustained notes. The
pupil will have observed, that the open string vibrates by sympathy, when the unison, the
octave, or the fifth of the same is sounded.
Now, if this string be touched by one of the
inists,
sympathetic sound ceases, but as soon as the finger is raised, it again commence*; and this frequently repeated, produces the beating which I here caution against:
for
finders, its
it
easily
becomes a habit, and,
if
frequently
introduced,
is
then very
o
It
may perhaps
animated by any
string
be used on the three harmonic notes
tremolo.
next belon.
On
these, therefore,
it
is
disagreeable.
:*-
E=, as
produced by
these cannot
touching
the
be
open
\
Fxereise, (the Ttina con
Variaziuni*) all that the

practised separately in the preceding sections, is now reproduced in
ter the manner of hrilliant Concerto - pieces.
In the following
As the unusual
taught
bonings
in
the
ll*.!
Section
are here
pupil
a
employed
has learned ami
connected format-
in
new and more
passages, they vill at first present fresh difficulties to the pupil, which hon_
practice, together with strict attention to the former and
ever, by diligent and judicious
present directions,, he Mill speedily overcome.
Where two different bowings are given in the Variations,; as before, the one above
the notes is played first, and the lower one on the repetition of the strain.
difficult
The greatest
los,
and
all
must
attention
other marks
of
still
be paid to the
prescribed bowings, fingering, tremo-
expression.
TK.MA CQJV VARIAZIOWI.
Andante
III
the
first
drawn down
cieves a
76
bar of the Theme, the
to the
short, but
middle of
light up
used for the last note.
similarly
and ingratiating
manner.
is
afterwards the second
ha.'f
of
the down-stroke
is
remarks
marked.
That is,
simple melody with Vari
entirely to lose its reseiiibl'inr-e to
a.
placed close to the nut upon the string, and

length for the first tuo notes; then the third note re-
-bow, and
These
to all other bars
its
bow
iti'jns,
thi'
apply also to the up-bow in the second bar, and

The theme must be played dolce; that is, in a soft
which
ut
fuoh re-petition
original.
6077
is
more
richly embellished, jet
s>o
as
not
/TO
marlele"..
'
'
"
fffrtt
In
the
'
.'
'
'
>
'
'
ana , ioil
"here the
'
l-.t
'
-^f4
th ,,
tliret-
Hhole boH
b lrrc.l
js
used thronghoiltj Hjth tte

exceptioil
notes are
take,,
w ,'th third-part bowing.
of the Jast
har
the sequel
"Hin s ,the .liin-cd and detached notes
must be well distinguished
Co,,cr,,ing the three kinds of bowing in the
Variation, I refer to the' remarks made
2d
I,,
271
thereon at \, s 4,5
The 3
&
6, of the
54^
Exercise.
Variation nuist be placed with

lightness and elegance,
lor the Staccato.
!'
usii, tf
as little hon as
possible
t 4.11
so/jro
4-
/'
po !<*,
_/;_r.'t-
f .?--"
smartJy detached, (martele.) The slurred notes

of the following bars, must, as already observed in the Exercise on Octave- passages,be played
with a perfectly equal division, dwelling' the requisite length of time on the first of each two
notes. On the repetition of the strain, the bowing in the first bars is better made piano
The
first two
bars
of
the
Variation
arfc
forte, as it is impossible to prevent the shifting of the hand from being heard. This
houever can easily be avoided in the following (VlOTTl's) method of bowing, which therefore admits of all degrees of power. The first bowing is made with a very slight motion
of the hand.
The second strain is at first played with the bowing taught at NL 8 in
the 54*_ Kxercise. At the repetition, (which,on account of the change in the notes, was oblithan
ged
to
be written over again,) attend strictly
to the
prescribed fingering.
Piu Unlit
Supra
The
1
5 1 Variation
la
N
,
-104.
3 za
be played piw lento, (.loner). The first six notes are most conveniently taJen in
the half Position. At the skips in the third bar, the pupil must bear in mind what has previously been said
is to
to another. In gliding down from the upper harmonic E to the G sharp, the
must
the
press
finger
string firmly on the finger-board. That this gliding from one note to an-
about gliding from one note

little
other should never degenerate into a

shilling kind of sound, has already been observed.
6077
774
o
iiKxit-ruto
JOO
/
,
Larghetfo
f =
88.
* hen the figure descends, as at the beginning' of the 2 'l strain, where it is commenced with the up boy,.
In the second bar of the 7_ Variation, the pupil is introduced to a new double, shake,
in which
the under part commences shaking- later than the upper one. In addition, .therefore, to the form-
remarks on the double shake, it is still necessary to -observe, that the shake begins in both
parts with the principal note, and that the uniformity in the beats of the upper shake, must not
in- interrupted
by the entry of. the second.
er
pizzic
The
Variation consists chiefly of passages of tenths, in which the bow has to

leap over one
string. To do this clearly is very difficult and requires
persevering practice, commencing in the
slouest time. The bow should not be raised in
leaping over the string, but, whilst standing still,*hich, as before stated, it does at the marttle after
every note,_ should sink down from the
loner to the upper string over the intermediate
one, and without
this -latter into vibration.
8t!>
At the place where
of the
bow begins, the
putting
this leaping over the intermediate
string ceases, and a quieter aiotioo:
must especially guard against hurrying.

h
The direction for the 9* Variation to be
'
played con espressione v with'
may
expression)
appear superfluous, as a Solo -part ought never to be
without
due regard to this
performed
pupil
e.gg.gg gg
particular: here, however,
ami
implied a heightened degree of expression, at once bolh
refined
full of soul.
As the most
this
is,
delicate
management
of the
bow
is
required for a correct and expressive delivery of

made on the 51** Exercise in Sec: XI.
Adagio, the pupil should again read over the remarks
But above
he
the greatest attention to the change of bow, as a

single alteration of the
doHii
strokes
would spoil the whole
up and
must be strictly
Moreover, the shades of f> and
all,
nitis't
;pay
observed, and the length of the bow as well as the rapidity with which it should be drawn, rt.-j.-u luted
according to them. The strictest time must also be preserved, when the accompaniment, as IN the
case here, consists of uniform notes or fijjiires.
6077
'
r.s
10
Tnitpn J"
76.
* '-*+*:-.
~^ ^-+
yii
->
The
inal
1
10 - Variation
lxrec
of
The II" and

1
bcini-r
marVtri
movc-mont: that
last
perfect
Tempo
is.
equality.
l'L!<i
+.
-^
( primo ),
must Consequently ho played
in
tlu-m-i
Andante.
Variation presents
the left hand; as the frequent
notes vith
regard to honinj^, than in regard to

rhange of Position renders it very difficult to play all the
The pupil's endeavours must therefore he particularly directed
less diflieiilty in
object, the teacher accompanying him throughout in the strictest time.

Here, nhole bowing* are constantly employed, whether eijfht, sixtfen, or thirty-tno notes are
required to be played in one stroke. In these, as frequently observed, the most
division
f.-mardsi this
equu'l
n|
tin-
bou must be attended to.
Co/)./.
>
pousse.
**JL
-m-pf-g^z
9 ftCtf
*&&&
t
q
-j
Coda,
is
the frt-e -conclusion of a
piece of r.Insie: consequently, in a set of Variano longer constructed on the Theme. In this case, the
principal fiunre ..f the last Variation is generaUy more developed, and thus a more
satisfactory conehision is tfivcn to the piece, than would have been
produced by ending with the Variation itself.
(
ailditjon,)
tions, as here, it is
one uhich
is
END OF THE SECOND PART.
UVEtRY om'TYlEOT P
SJJCTJOJV
Ox DELIVERY
FOlRfifflANCI,
J.
OR STI-LK
GENERAL.
/jv
or player performs what

style or delivery is signified the manner in which the singer
has been invented and written donn by the composer. This, if confined to a faithful rendering
Ey
of the same, as expressed by notes, signs and technical terms, is called a correct style; but
if the performer,
by additions of his OHII. be capable of intellectually animating the work, so
hearer may be led to understand and participate in the intentions of the composer,
termed a fine style, in which correctness, feeling and elegance, are equally united.
that the
is
it
performance must naturally be preceded by a correct style j to this, therefore,

relates the greater part of what has been taught in the foregoing sectionsrbut as these likefine style of
wise contain
the technical expedients
all
place, to point out
their
The whole doctrine
requisite
for a fine style,
it
only
remains
in
this
application.
of fine
is
style
however, confined
to
this;
namely, the capability
of
discerning the character of the piece performed, and of seizing its predominating expression and transfusing the same into the performance. This, which elevates a correct to
a
fine
is
style,
ted, but can
never
An enumeration
the
pupil
entirely
.of
be
a natural
gift, which
fine
and cultiva -
taught.
all
that belongs to a correct
may judge whether he has perfectly
cultivation of a
may indeed be awakened

style
is
attained it,
here inserted, in order that

and so qualified himself for the
style.
To a correct style belongs:

members of the bar according
l*t
to
true intonation:
their duration;
3?
an exact
division of the several
strict keeping of the time,
without
either hurrying or dragging; 4 / an exact observance of the prescribed shades of

.mil
5JJ of the borings, slurs, turns, shakes A^c.
piano, as well as
for It-
l-'or
quired:
fine
1
style, in
s*
.
more
preceding, the foil OH ing technical expedients are rerefined management of the bow, both with regard to the quality ;m<l
addition
to
the
3077
intensity of
particular, to the
tions,
Irom the strong or even coarse,
tone,
* hi eli are
ami separation
accentuation
to
tye soft
of musical
fluty,
phrases; 2-L
employed on account of their facilitating
n'ot
and
the
as
also,
in
the artificial posi-
performance, hut for the
which may be added, the gliding from one note to another,

and the changing of the finger on the same note; 8- the tremolo in its four degrees;
and 4^ the accelerating of the time in furious, inipctuoiis and passionate passages, as well
sake of expression and tone; to
slackening of
as the
But
all
these
it in
means
over their application,
When,
finger.
of
such as are of a tender, doleful or melancholy cast.
expression conduct only to
therefore,
sensibility. This
style,
when good
and when the soul of the performer directs the bow

the pupil
will
taste watches
and animates the
has so far advanced as in some degree to have overcome
the mechanical difficulties of playing,

his
a fine
it
will
then
be time to
cultivate his taste and
awaken
be best effected by affording him frequent opportunities of hearing
good music, as well as celebrated singers and instrumentalists,- the teacher, at the same
time directing his attention to the beauties of the composition, and also to the means of
expression employed by the
singer or player
in
order to work upon the feelings
of the
auditor.
II.
Guv
THE DELIVERY OR STTLK
The Concerto being intended
for
OF.
PERFORML\'(; CONCERTOS.
performance before an audience
in
large room and with
numerous Orchestral accompaniment, requires, above all things, to be

given with a grand
and powerful tone. This, however, by no means excludes the more delicate shades of
playing,
a
as the Violin
possesses the peculiarity of making even
derable distance.
In Concerto-playing,
therefore,
its
softest
tones heard at a consi-
the performer
may avail himself of every

modification of forte and piano of which the Violin is
susceptible.
As the essential object of Concerto
-playing is to display the ability of the performer, an
entire command over all technical difficulties is
The pupil, therefore,should
indispensable.
not venture on the public performance of a Concerto or other
Solo_piecc, until he has so
thoroughly practised it, that its success cannot be affected by such outward circumstances as, great heat in the room, the embarrasmcnt
usually attendant on a first appearance
in public, or an
unyielding accompaniment.
It
is
not however sufficient
with elegance and apparently
perfect
barely to conquer difficulties, they must also be performed

without exertion; for then only, will the hearer experience a
and undisturbed delight
from the performance.
To the highest mechanical perfection
in
Concerto -playing, must therefore he united
l? 7
an
7.S.V
meet vjth
expressive delivery, as, without this, the most brilliant execution will only
admiration, never
with hearty
In order to call forth

in
Hence,
applause.
such applause,
Concerto for public
selecting
eoll
full
composition
of
and genius
feeling
is
performance, the pupil must be careful
required.
to fix
on
one which not only affords him an opportunity of displaying his talent, but also possesses
sufficient intrinsic merit to satisfy the most cultivated ear, without reference to the abiof the player. *
lities
As the
means
of the
application
Section,) cannot be taught by
the pupil with

well
rules
By
this
attending to
style,
(enumerated
in
the foregoing
precepts, but only by examples,- I have furnished
all
these
signs
of
two
be done by notes, signs, and technical terms:
as this could
was found insufficient, a detailed explanation
strictly
due
and
fine
following pages, by indicating the style of performance
in the
known Concertos, as near
where
the
such
of expression to a
has been
given.
and directions, the pupil
will
assuredly arrive at
expression of these Concertos, provided he has been gifted by nature with the ca-
pability of acquiring
fine
style.
commencing the study of the above, he should observe what, here follows:
|st Ev er y period which begins with a whole bar, or with an accented part of a bar, must,
according to rule, be commenced with a down -bow: those periods, on the contrary, which
But, before
begin with introductory notes, or with an

an up -bow.
tire
or
Whenever
pousse.
In
unaccented part of a
an exception to this general
other
cases, the
bow
is
cording to the prescribed kinds of bowing.

ones found
in the
original,
bar,
rule occurs,
it
is
signified by the
word
regularly drawn backwards and forwards ac-
2- The appoggiaturas
being .here written
must be commenced with
in
are
all
shortj the -long
full-sized notes, according to their value.
To each Concerto, an accompaniment has been added
for the
teacher.
.
The reason why the public
fuvor hus,of lute, been almost entirely transferred from the works
brought forward
the
Solo
to
bo
accounted
for
from
the circumstance, that the majority of the Concertos
by
-players
Symphony, may
now hoard, arc to extremely dull and unmeaning-, thut thoy cannot possibly bear a comparison with the classical
Symphony. Lot the Virtuoso make choice of

ate tho like interest as the
a masterly composition, and his performance .will then not only crebut
will
even present an additional attraction, through the exhibition of his
Symphony,
The generality of Solo- players, however, not feeling the nfcossity of really good compositions, invariably
such only as they hope to astonish with; being either too idlo to practice with perseverance tho difficulties which they probably find in distinguished Concerto-pieces; or unable to withstand the vanity of performing
talent..
selec'i.
Concertos of their own manufacture, consisting of plagiarisms from works which thoy have incessantly practised,
meanly strung tog-other, and therefore devoid of all genius and inspiration, ovon though they may have b e'en arranged and instrumented by an experienced musician. That the public, after having- once become sensible of
tho beauties of a classical Symphony, must necessarily turn from such compositions with disgust)' even when
pot-formed by
a.
talented
Virtuoso,) can be very easily imagined!
5077
First
First
Tin- first
Allegro
of this
Concerto IMS
tilioiua ioniewlurt melancholy character.
It
on
passages, with great emotion; though,
tJ.e
u *\loderatu
The
So/o.
serious, Hevated,and,in the theme or subject and its repea round,full tone, and, iu man;
requires to he played with
whole,
in a
tranquil
and dignified manner.
88.
'
-Oh
-p-
-f-
bars,) are
carried close to
the
first fifteen bars^vith the

exception of the concluding notes of each period of four
played with as long strokes of the

bridge, and
bow as
possible.
At the jforfa^the bow
is
*hole length passed across the string nith an equally strong pressure: the changes
quickly, that no diminution of power, much less a break or interruption between the notes, may be observed. In those places where the power is intended to be diminished,
%
ow is removed farther from the
the
bridge. For the concluding notes of the first three periods,only half the bow must be used; during the crotchet rest, therefore, the remaining half is pushed on above the string, and afterwards the bow is
close at the nut
At the first six notes
in
its
boning must be made so

I)
again 'applied
pushed
way up,- then a very short, down-stroke is taken for the last
note, and the second half of the bow used for the first two notes of the following bar
The pasn
ji,
at
the
with
the
the
of
16* bar, is played
semiquavers commencing
bov, as
upper half
of the M-*]
bar, the
bow
is
half
/S.,
Ir
lung strokes being taken as a steady back-arm will admit of. In order that .the
>hafces might be
and brilliant, half the value of the
note
has
been added to that upon which the shake
preceding
is made. The last four notes of the 19*J
bar, are again taken with the
holo bow.__ The shake in
the 23'
bar must commence slow and be
accelerated
The division of the bow in the
gradually
full
bar,
is
precisely similar to that in the 14*-h bar. __
The second half of the 28 th and 30* bar

must be so played as slightly to
augment the duration of the first notes beyond their exact value,
for
the
time
thus lost, by a quicker performance of the
compensating
following notes.(This
playing
is
called
tempo rubato.)
tint this
acceleration of the time
correspond with the decrease of poner. A considerable length of bow should be used
first notes, in order that the latter ones
may be very soft.
3077
fc
tjle
must be gradual, and

for
the
81.
^ pocu rilnrdandu.
r-ffrf-p
/k *
The 53- and t\o
following bars, are played as loud as possible, using only the half bow *ith a
back-arm.
_
The staccato notes in the down -bow, at the 54*^ bar, must be very smartly
steady
and
"In the 58 _
of the 56ln bar
detarhed, so as to form a stronger contrast with the
80 \!' bar, the ninth note (G natural) should be dwelt upon a little, and the lost time regained
^P
The semiquavers in the 61^ and 6Si L bar,

by increasing the rapidity of the following- notes.
must he detached in a very short and abrupt mannerjbearing in mind wliat has been previously s;iitl
1
r's|ccting the nifit'ttle'.Thv notes forming the scale of B in the 63 !'' bar, must be perfectly -qii;il both
in
..<!
and rapidity.
1
'
fi()7T
('
yss
80.
Thi melody from the 65L' to the 80^' bar requires to be played vith great expression, nhirh the
pupil nill not fail to do, if he carefully to lions the prescribed signs. _The first four bars of the
'
p.-issa^-f
*ith the
rdiiiiiu'iifinif
piano
at the
of the
84^
SOf
bar, must be played extremely loud, in order that the contrast

bar may be the more striking. The six notes of the broken chord
1
077
If
'.,
quavers of the 81_ & 83^ bar are t< be slijj-htly prolonged, yet so as not to occasion any marked difference in the time._ At the triplets in the 85 _
bar, the bow is gradually pushed up to the nut, in order that its vhole length may be used for
the down-stroke in the 86t!1 bar.
unit.! all
be, clearly heard.
The
last two
5077
SO
790
^X
"
'
'
1.0.
^dal
.f
SKCOM)
SOJ,O.
The introductory note

from
eat-li
other
h}'
is boxed close at .the

nut, and the three fo lion ing minims are separatt-il
short rests. At the third ininini, the bow, for the first time, is <1ravm donn to
the point, and then aûin instantly applied close at the nut, to the lower G sharp. For the last
three notes of the broken chord, a whole bow is taken; then, on the first double-stop, it is drann
half way down, and after a short up-stroke, the remainder of its length is used for the third don
The first note of the 9t!' bar must be given *ith a gradual increase of poneivyet not
Mc-stop
much as to prevent the following staccato from being played itill loader. The greatest force
s<
'
>!>; 7
note of the 10th bar.

On commencing the staccato, be eare_
fill not to give a
to
the
pressure
preceding note, for although it certainly assists the tripping
of the bow in the staccato, it is, nevertheless,
The f>f> of the 12 fj
faulty in the extreme
bar, is played like all pianissimo passages, at a great distance from the
The pebridge
riod i i-oin. the 17th to the 20*!1 bar, is at first
played very loud and piquant, but, on the repetition,
as soft and delicate as possible
The passage from the 29*_h to the 39^ bar, is played as
strong as possible, with half bowings. For the four F sharps in the 38*1' bar, the bo* must be
raised a little above the strings, and then thrown upon it with force close at the
point; but so,
that no trembling of the bow-stick
may be caustyl thereby.
must be reserved for the
first
martele.
1
The melody fomineiK-ing

\ers
tin-
in
the 55
hack -arm
and
at the 4-Ot! 1 bar,
three
folio
vhen kept steady
must be given
nitli
m'ng bars, are played with a

viil
permit.
The martele
in
poner and emotion. The seniiqualong strokes as

the 59\l' bar then comes out the
flat bow; and
as
^T7T!
-4j^-
63.
S
shorter and more piquant. The first note of each of the semi
quaver- triplets in the 61 J bar, must be
dnelt upon a little, and the triplets themselves be so connected
the
together, that not even
shortest rest may be observed between them.
To the following passages apply the remarks which have been made on similar ones
S
6077
in the first
74*.
077
Sopra
la
The
ADA G JO
graceful melody, nhich must be performed in a simple, unassuming,yet feelThe

is
nhich
JMK/Jor,
ing style.
played throughout on the G string, is of a more passionate character, and
must therefore be delivered >ith greater emotion, by means of a fuller tone and an increased rapidity of
consists, in the JWT<vjor, of a
the tremolos.
The smooth' gliding from one note to another, must not only take place upwards, as in the first bar from
G to K; but also donnvards, as in the same bar. from C to the open K, and in the forioHiiig,fronifrtoB.
The introductory notes of the several periods, are all played vith short homings near the nut.
I he
shal.e in the V6km- commences slo.uly, and is then gradually accelerated.
}
5077
inn
/'
Cow up in In.
/)
The
RO *~ D
has a spirited character, fanciful and melancholy in its. theme, and must be played in a lively and
The introductory notes commence
energetic manner, though at the same time also with elegance
down -stroke, close at the point of the bow. For the first three slurred notes of the I 8-*
whole bar, the half of the bow is taken, then a short down-stroke for the C, and afterwards the
second half of the bow is used for the tno quavers. The 2-'' bar is performed in like manner,
lint with the down_bow; and the a !*1
again as the first. The last note of each of these bars,
marked with ,< and a tremolo, must be given with as strong an emphasis as possible.
The gliding upwards from E to A in the 4*_n bar, must not be done too suddenly; and attherfiw:
the bow is gradually withdrawn from the
bridge. The three following bars are played with a soft
with a
:md ingratiating kind of tone, the
^c: notes being less forcibly accented than in the first thr077
bars marked
mf._ _ At the three slurred notes of the
and IS 1!1 bar, the bow mus t be kept

back as much as possible, that the performer may again return to the
point of the bow at the
detached notes which immedJately follow.
The gliding of the finger both upwards and downwards,
in the 28^ 29^ ami 30^
The four semiquavers in the 31*1 bar,
bar, must be distinctly heard
are played very short. For the
the
whole
bow is taken; but in the 34*^ bar,
strokes,
following
1
it**
38^
only the half bow._In the

The F sharp of the 3dtJ> bar, is
er,
so as to
bar, a strong pressure is given to the first note of each triplet.

somewhat dwelt upon, and the .following five notes played a little quickIn the 44th aiid 45*1' bar, the last of the three slurred notes must
regain the lost time
be strongly marked, using however but little bow in so

doing, in order that at the three detached notes,
the point of the bow may, as much as possible, be
returned
to
The scales in the 46^ and following
again
bars, must be performed in a round and smooth manner, and the power
greatJy augmented at the latter
in.tr
-0:7
^ 1
di
J
f-Jr
N =
-j
f*
P<><'
>' >
t(t
r(l:
a Tempo
80.
7S.,
90 _ poco ntardan
o
For the notes marlved
>
in the
83 r-^ and
three
f'oll^HJng'
bars, a
much longer bouing
is
of the others, so as to play alternately in the middle and at^the point of the bow.
The- crotchets* with tremolos in the 88*^ and 89*1' bar, must be strongly accented. In the
used than
fi
:iny
(di'iinuendo coinmeiices at once

IIH
the ritardando, and the original degree of

of
the theme.
three
notes
d at the
introductory
nitJi
077
90* bar,
movement
is
resu
Un noco
.
'tempo
lento.
pii(
}=58
63.
IJJ-J
The M(ijnr must be played a little slower and very melodiously- consequently, with long flat b OH'.
ings. The poco piii lento, in particular, must be given with a very full and noble tone.
From the SH* to the 38 _ bar, the peri'orinaucc must be delicate and ingratiating, and the bon
.
Kept at a distance from the bridge.

At the passage beginning at the 38 th bar, the time is again quickened.
'I lie
three slurred notes in the 40 tn and 41^ bar, and particularly the first of them, must
be
207
d*elt upon rather longer than their value requires, and the three
following detached notes play.
oil
much quicker.
jirst as
h
distinguished from the 38*_ , by placing the accent on the second note, which
beiVire fell upon the first.
The two slurred notes (G sharp and A) of the 46^ and following bars, must each time be
strong,
ly accented with as long an up -bow as the down- bow
for the first four notes of
Thu 42 ".
([
bar
is
employed
each bar. In a similar manner must be marked

i>
all
attached.
5077
the notes of this passage to nhieh the sign
>
h-i
At
the-
From
J->/>
of
the 65L
scTM-d, that
tin-
the-
\r\~r~ t
5T*P bar, the bow must be very far removed from Uie bridge.
former part of the movement occurs; but here
bar, a repetitidii of a
6'6'"'
bar Hitlers
f'riuii
tlie
86'J
tmir mites, must be marked by a longer and
in the
it is to
beob_
first Solo, in that i>ou only two, instead of
more powerful stroke

5077
^wi
of tlie
bow. Consequently,
as
,0
4.
long iip-strokcs nov succeed each other/it is hnpossible to avoid

extending- to the middle of
or even farther, at the
note
of
the
concluding:
passage in 'the 67^ bar. At the foJloniiitf
rrst,tlifrefore, tJie bon must be- drawn back above the
strings, and then again applied close at
i-fc
the
II..H
the point.
077
THH
'Ilif
c-haracter of the first
Allegro
is
serious, but impassionedjthat of the
Ad(if*'i<>,
mild and serene;
The first movement must be played with a full,

and that of the Hondo, agitated and impetuous
round tone, and unabating vigor; the melody very smooth and connected, and the passages nith fire
and animation: the Adagio with mildness and tranqiiiiity, except in impassioned passages: the theme
of the Rondo melodiously: the following; Solo in B minor and the corresponding one in
major
HI th extreme" ardour, amounting almost to nildness; but the middle subject in a calm and ingrati-
ating style.
As the technical performance of the prescribed
marks of expression
in
Rode's Concerto
and se-
veral of the foregoing Kxercises, has been fully pointed out in the explanatory observations, it may
be reasonably inferred that, by this time, the pupil has no need of such assistance: here, therefore, all remarks have been omitted. The pupils attention, however, must now be redoubled, in order
that no such marks, nor any indications of the fingering -or of the positions, may be overlooked.
In this Concerto, the time remains unchanged throughout an entire movement. Indeed, the compositions of the Author, very seldom require an acceleration or a retardation of the time in or
dertu enhance the expression. This, generally speaking,is only necessary in such compositions as
are not of a uniform construction and have not been imagined in one regular degree of moveThe pupil, therefore, should rarely have recourse to this means of expression; and even
ment
'when prompted by his feelings to employ it, he should observe moderation, that the unity of the
composition might not be destroyed by a degree of movement wholly dissimilar to that firstadopted.
Chosen on account of its affording- the pupil an opportunity of practising- several difficulties which are not
met with in the preceding- Concerto; as chronutt if scalus, double-stops staccato passages &c:
r
L.
Allegro
SPOHR s
CONCERTO.
= 126.
6077
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be
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'
/'_
.*
u<n-
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222,2
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sopra una Corda
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i.
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sorr
III:
1 Soft
THE JM<\\\'KR OF ifTLDl' l.V(,

C'aVCKKTO COMPOSITION'S.
If all
were as accurately marked as the preceding Concertos, the
solo- parts
would be easily ascertained without any explanation. Kut. the

in
most
.VAVT
inli
ation of the
of the published Violin compositions, although improxcd ot late, is still
style of
performance
marks of expression
very faulty and in-
complete,- arising either from the negligence of the composer, or from the carelfssncssoi. the en-
graver and reviser, who pay too
little
attention to this matter.
In the majority of Concerto pieces therefore which the pupil
attempts, he will havfr to ascertain
the marks of expression which have been omitted by the composer, and to supply the indi-catioii of
them himself.
In doing this, he should proceed in the
following manner:
As the notes must first be practised, he should primarily seek for the most favourable Positions
for vanquishing the difficulties of the left hand, and
whilst playing, endeavour to
mark them down. This being done, he must,
ascertain the best division of the
bow
for the performance
various traits of melody, and the most effective kinds of bowing for the passages.
of the
He must next
consider how the performance can be enriched and the expression heightened by the artificial
positions and that which belongs to them, (viz. the changing of the finger on a note, and the gli-
from one note to another,) by the judicious use of tremolos, and by still finer shades
forte and piano than the composer has introduced. When all this has been ascertained and
dii.g
ot
in
dicated,the whole must then be practised with the utmost perseverance, until the highest finishes
well as the most refined and heart-felt expression is brought into the performance.
Of all the foregoing requisites, however, a good division of the how is the most essential for a
fine delivery; and yet, from the
given for
it.
passages, a
great variety
in
All that can be said in general on this head, consists
more frequent change
of
can
musical phrases, no special directions
bow must take
place, than in
in
the following:
piano ones:
be
In
forte
S-^for
single
1_*
notes, as also for the conclusion of such phrases as are to terminate very delicately, the down-bow
is
taken; but, for
suitable:
3^,
all
the
up-bow
is
likewise employed for
all
final
be strongly accented. Where these and similar remarks are inapplicable,

accordance with the old rule, the up-bow must be used on the unaccented parts, and the
when they are required

then,4<ly, in
crescendo, the up-bow is more

notes of broken chords and scales,
notes, scales, and other figures, to be played
to
down-bow on the accented parts of the
bar, and, as often
as possible, each bar
commenced with the
down- bow and finished with the up -bow.
On account
of the scantiness of these directions, the pupil
will, at first,
be obliged to yield, for
the most part, to that routine of playing which he will already have acquired by a strict
vance of the several marks contained
in
the preceding compositions.
From
these, and from a
obsercompa-
rison with similar works already practised, he must not only ascertain the best division of the bow,
but also the proper places for the application of all other means requisite for a fine style, until
such time as he shall be guided entirely by his own taste and feeling,
The pupils labours will be facilitated, by comparing the foregoing solo-parts with the printed copies of the
Iwo Concertos, and carefully observing the additions which have been made for the ex-
act indication of the style of performance.
r o
rM.tr.
LJ :
(Av THK DELIVKR*- OH Hrri-K OK
A new
/V-.WOK..W/.AY;
ûartett has latterly been invented, in which the first Violin performs the solo part, and the other three instruments merely an accompaniment. In order "to distinguish compositions of this kind from genuine Quartetts,they are termed Solo-quartetts (Quatuors
brillans).
ot
species
They are designed to give the Solo-player an opportunity of displaying his talent in small musical assemblies, and they therefore belong, in so far as regards their performance, to the eatei
u<>ry of
Concerto-pieces; hence,
ail
that has been said of the performance of Concertos
the
in
foregoing sections, is applicable not only to these, but to all similar Solo-compositions vith a
three or four part accompaniment, (as Variations, Pot-pourris &c.) with the single exception, that
here, in a
space and with a weaker accompaniment, the tone of the instrument must not
the fullest power, and all roughness in playing, which is .lost in a Concert room
sr.ialler
be dravtn out to
on account of the distance of the audience,
The genuine
tyuartett
demands quite
must be most carefully avoided.
a different, style of
performance. In such,
it
is
not in-
tended that any single instrument should predominate, hul that all should alike enter into the
idea of the composer and render the same intelligible. The first Violinist, therefore, should not
aim at distinguishing himself above the others, either by peculiar strength of tone,or
his
by
he ought rather to unite cordially with them, nay, even to be subordinate^ in

passages where he has not the principal melody.
As the style of delivery should always proceed from the idea and spirit of the composition,
style of delivery;
manner of performing Solos,

and accommodate himself to the character of the Quartett under performance. Until he can do
this, he *ill neither succeed in clearly depicting the character of the several movements of the
the Solo-player must, in Quartett playing, lay aside his peculiar
Quartettjiior in marking the difference of style in the works of our classical Quartet! writers.
The pupil will perceive from this, that although probably less mechanical skill is required
for the perfect delivery of the tyuartett than for the Concerto, it nevertheless
qualifications which can be
gree of
sensibility, a
more
dispensed with
readily
more refined
taste, and a
demands
in the latter; especially
other
higher de-
knowledge of composition.*
these qualifications, collectively, first produce a finished Quartett player, so nothing is

more calculated to impart and perfect them, than a diligent performance of Quartetts themselves.
If then
If the pupil has not already entered
upon the study of Composition
it is
now high time
that
he should do
so.
At'THORS RKMARH.
For
bi
this pin
in the
pose the Translator

English language.
beg-s to
recommend
th
8
following works published by Mess'.
HAMILTON'S Miniature Course ..f Harmony & Composition,

consisting of fixe Catechisms,
1. On Harmony and Thorough R-i^s
..
.".
2- On Counterpoint, Melody & r
,,s
COCKS
under:
On Double Counterpoint
beingthe
s.
d.
2.O.
2.O.
2.O.
3.
<fcC., as
t.i;u-
On.-the Art of wilting- i'..r an Oirhi-ti

Ac
...
,
'.<).
'o
On the invention, exposition, development, and cunctftonxtion of Musir.iJ Ideas
J.O.
Al.BKhTHTSBKKGKR's Complete Th< or etical Works translated from the last German Edition
by A.Merriok Esq.
with the remarks of M.Choron the French
Editor, 2 Vols 8X
.*.<).
CHKRUIIMS Course of Counterpoint and Fugue,
second Edition, a Vols: 8\
1.11.6.
4iid lastly:- CARL CZKRH 's
School of Practical Composition, in 3 Vols: f,,lio Op: fcoo .
b.
4
I
4-.
.:
should therefore lose no opportunity of joining in a good Ouartett. He ought, hoc\er,

to foiiiiiienoe uith the second Violin, and learn, at first, the difficult art of accompanying. This con-
The
pupil
the facility of agreeing with the first Violin in all points, as closely as possible; for in stance, in the poncr of tone, in the slight changes of time: which the first Violinist may possibly
introduce, as also in the delivery of passages of imitation, should any such occur in the second
sists
iii
part: further, in the strictest adherence to the prescribed bowings and slurs, as well as to the various shades of V) and f, without however rendering the latter shrill and prominent, unless the
passage
The
expressly demands
pupil having
it.
accompanying for some time, and having become ac-
thus prepared himself by
quainted with the true style of Quartett music, may
then feel desirous of trying the first Violin:

at the commencement, however, it is absolutely necessary that he should previously mark and
study his part, exactly as in the case of a Concerto -piece.
Our most esteemed Quartett composers were no
Violinists, or at least not sufficiently acquaint*
cd with the mechanism of playing; hence, the indication of the bowings, artificial positions &c,
is, in general, even more imperfect in their Quartetts than in their Concertos, and must therefore be necessarily supplied by the performer. But in so doing, still greater care and consideration are requisite, than with Concertos; as here, the object is not to display the talent of the
Violinist, but to call into life the ideas of the composer. The Quartett player must likewise be ve-
ry cautious
in
the application of the other
means of expression fesorted
to in Solo-playing, since
ensemble may be easily destroyed, and the meaning of the composer perverted. Only such periods in which he has a decided Solo-part, and the other instruments merely an accompaniment,
the
can he be allowed to embellish

able to
in
mark a Quartett correctly,
intimately acquainted with
manner of Sole pieces. In order, therefore, to be

necessary either to examine it in Score, or to become
the ordinary
it
is
'
frequently performed.
A scrupulous indication of the bowings, Positions &c, as described above, must precede the performance of each Quartett, until the pupil has acquired the facility, whilst reading the notes, of
it,
by hearing
it
ascertaining' also the best divisions of the bow, as well as the application of other means calculated to enhance the delivery. This, the pupil will .at first naturally accomplish in a coarse and ordinary manner, but, in proportion as his taste becomes refined and his knowledge of the art in
creases, he must continue to perfect himself;

of playing.
until, at length,
.
he arrives at the most finished style
,
.
E C T I O JV
Ojv ORCHESTRAL PLAYING
AND
V.
QJV
ACCOMPANYING.
Orchestral playing differs principally from Concerto and Quartett playing, in that the same part is
-performed by several together: Each player must therefore endeavour to agree as much as possible'
vith the others, in intonation;
of the same;
in the
in the timing of the several
members
of the bar,--in the accentuation
performance of the prescribed shades of ft and f;
and
finally, in
the divi-
sion of the bow.
As regards the
intonation, it must be perfectly true; hence, the more each individual performer
the
surer
will he be of agreeing nith the others.
this,
timing of the several members of the bar according to their duration, must, in Orchestral pip-
aims at
The
ing, be strict in the
Conseextreme, or unity could not possibly exist amongst the performers.

quently, the tempo rubato, (that is, the tarrying upon one or more notes,) which in Solo-playing,
is frequently productive of
great effect, cannot here be permitted.
i<)77
'*
accentuation must, on Ukt whole, be confined to the strong parts of th iv.i Ot'i-r accents used
render the performance more piquant, an- here iiiadmissihlciiiiilc.ss, inin Solo-playing, in order U
deed, they are expressly indicated, arid intended to be performed hy all.
In like manlier, the Orchestral player must content himself with the prescribed indications of -p
I
lie
and f,
add other modifications of loud and soft, as
and not arbitrarily
But the task of greatest

the division of the bow: In
in Solo-playing'.'
consists in coinciding exactly with the other Violinists

in
even
much
to
be
desired
is
stiil
in
the
best
this respect, there
pracdifficulty,
The difficulty, however, chiefly arises;-first, from the bowings being generally
marked in a still more negligent and imperfect manner in Orchestral parts, than in Concertos and
Ouartetts; and secondly, from the Violinists of an Orchestra, not having been formed in the same
tised Orchestras.
schoolf and each therefore possessing
a different
method of boding, and as
necessary conse-
quence, a different division of the bow.

And yet, it is not 'only very pleasing to the eye, but also of the greatest importance as rein a word, for the
gards accentuation, and for the uniform production of forte and piano,
whole ensemble,
that the up and down strokes of all the Violinists performing the same part,
'should always coincide. In order to attain this object as much as possible, the Orchestral player must strictly adhere to the old rule, which prescribes the accented parts of the bar to be taken with the down -bow, and the unaccented parts with the up-bow; and consequently, each bar to
commence with
the former, and to finish with the latter.
indication of the bowings devolves upon the leader,

coincidence in the division of the bow, particularly
The duty
of correct/jig the imperfect

must endeavour to effect the utmost possible
who
when several rehearsals take
place, as in Operas,
Oratorios and Symphonies.
.
Further rules for the Orchestral player are: to abstain from all additions of appoggiaturas,timis,
shakes &c, as well as all artificial positions, the gliding from one note to another, the changing of the
from every thing appertaining to the embellishment of Solo- playing,

and which, if transferred to the Orchestra, would destroy all unity of performance. The appogjriaturas and turns occurring in an Orchestral part, require that the leader should precisely determine
finger upon a note,
in short,
the duration of the former, and the style of performing the latter ; according to which they must be
uniformly played by all.
With respect to the time or degree of movement, the Orchestral player must be guided entirely
by the conductor, whether he leads or simply wields the baton. It is also his duty frequently to
cast a glance at him, in order that he may not only remain true to the time, hut also immediately fall in with any retardation or acceleration of it.
In accompanying, he
must render himself
subordinate to the Solo-player, according -to

whose tone, he must regulate that of his accompaniment, taking care never tn overpower : the
or fz 5 therefore, ought never to be played so loud and coarse as in the Tutti. The power of tone
perfectly
should always be regulated by the species- of music, and the size of the place in
which
it
is,
per-
formed.
The Accompanist must be
careful not to hurry or retard the Solo-player, though he must instantly follow the latter, whenever he slightly deviates from the time. This, however, does not apply to
the tempo rubato of the Soloist, during which, the accompaniment must continue its steady,mca-
sured course.
The above directions are likewise applicable

time
is
generally
beaten, so
all
that relates
to
to the
the
accompanying of singing; with which, as
same may be gathered by attending
tlic
to, and.
carefully following, the baton of the conductor. One species of music is, however, particularly (lit
ficult to accompany, viz. the Recitative, from its
having no uniform measure of time. In order
therefore to lessen the difficulty, the Vocal partis usually added to tire accompaniment, on a se*
The Orchestra* uf the
("onset vutorios of PARIS, PRAGI-K uiid NAPI >s, miibt bo

exreptod
in-iimer in whi'rh the Yi..ljnis.U there pjjy in concert. is

truly admirable.
from
this rum.it k
,-li<
lire, the
885
pa rate ktavc. This the accompanist must keep his eye upon, and at the same time constantly at-,
tend to the signals employed by the conductor for marking the entry of the
accompanying notes.
As these signals vary nith different conductors, nothing further can here be said of them. An
attentive player, however, *ill soon understand and learn to follow those of the conductor of the
Orchestra in >hich he is engaged, provided they are natural and unchangeable.
The tuning in the Orchestra should be as quiet as possible. The leader should get the A from
the Oboe, or better still, from all the Mind instruments together., and then to his A, let the Violins, Violoncellos &c, be tuned. Those who have done soonest, should not,
by useless preluding,
disturb the tuning of the others. After the tuning, a few moments silence should be
kept*
as the effect, on commencing the performance, is thereby greatly increased.
If the pupil again peruses the
foregoing rules for Orchestral playing, he will find, that the
chief merit of a good Orchestral player, consists in freely rendering himself subordinate for
the sake of the general effect, and in renouncing the desire of appearing as a Solo-player.
This, therefore, the pupil must do, so long as he continues to assist in the Orchestra
*
CONCLUSION.
:
,
As the Author must now
leave the pupils further improvement to his own exertions, he feels

bound to offer him a few words of well -intended counsel.
My
dear young fellow- artist
You have now surmounted the greatest
difficulties in your walk
up the steep path of Art. In prosecuting your journey, great and increasing enjoyments await
you at every step! Courageously press forward then; do not tarry! Standing still would be but
the precursor to your going backwards.
instruments, upon which it is only possible to make
by constant, daiprogress, or, indeed, to retain in after years vhat you have already acquired,
as
one
Your
of
as
well
the
nhich most
the
instrument
most
ly practice.
is, however,
any,
perfect
amply repays the trouble of learning, but not until the player has attained the full command of it.
You have chosen the most
difficult of
all
Never, therefore, lose sight ef this object.

Strive, at all times, after that which is noble in Art, and disdain all kind of charlatanism. He \h<
Be also considerate in your
seeks only to please the multitude, will sink ever lower and lower.
choice of music, and perform only the finest and best of each species. By this means you will
most surely succeed in promoting your further improvement.
This, however, is not confined simply to Violin playing, it rather embraces all that is of utility to the Artist; under which must be ranked, in the first place, a knowledge of Harmony. Having acquired this, you should next ascertain by several attempts in composition, whether you pos_
sess the gift of musical invention and are qualified by nature for a composer. Even if such be
not the case, a well-grounded study of the Theory of Composition should not be neglected, it being
absolutely necessary,
if
you aspire
to the office of
leader or conductor of an Orchestra.
Lastly, when you have attained the highest point of perfection as a Violinist and Musician \hich
your talent admits of- think kindly on him, who has endeavoured, in this work, to smooth your path
and facilitate your career as an Artist.
,
HE
E XD.
5O77
SO 9
PLEASE DO NOT REMOVE
CARDS OR SLIPS FROM THIS POCKET

UNIVERSITY OF
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I

appeared, 3 1 the Sacred Harmonic Society, (Exeter

conducting his Oratorio The FALL OF B/VBYION.

TRANSLATED FRQK*THE ORIGINAL;

GRESHAM PROFESSOR OF MUSIC

GREAT SCHOOL FOR THE

NEWLY TRANSLATED FROM THE AUTHOR'S VERSION BY JOHN

THE COMMITTEE OF MANAGEMENT OF THE ROYAL ACADEMY OF MUSIC.

The Right Honorable

Her Majesty's Ambassador

THE EARL OF FIFE,

WILLIAM CURTIS, BART.

General Superintendent, The Rev. F.

Aylward, Mr. W. P. Musicseller, Salisbury.

Mr. Lewis, Herne Bay.

Mr. Musicseller, Wimbourne.

Clayton, Mr. Professor of Music, Bradford.

Crowe, Mr. Professor of Music, Lancaster.

Dungey, Mr. James, Brompton, Kent.

Eyely, Charles, Esq. Oswestry.

Fagg, Mr. John, Professor of Music, Hull.

Gubbins, Mr. Professor of the Violin, Newport, Isle

gate Street, Chester.

Hunt, Mr. York.

Hamilton and Muller, Messrs. Musicsellers, Edinburgh.

Hixson, Mr. Henry Edmond, Organist, Professor

Hayward, Mr. T. Musicseller, Wellington.

Keegan, Mr. Burlington Arcade.

Mr. Joseph, Musicseller,

Meyrick, Mr. Musicseller, King Street, Yarmouth,

Newlove, Rev. R. Thorner, Leeds.

Perkins, Frederick, Esq. Chipstead Place,

Prangley, William, Esq. Salisbury.

Reed, Mr. Musical Director, Theatre Royal, Haymarket.

Mr. Augustus, 12, North Street, Portsea,

Palmer, Mr. H. Canterbury,

Devonshire Street, Queen Square, Bloomsbury.

Parkins, Joseph, Esq. Bridge Street, Northampton.

Mr. Musicseller, Bolton.

Stamp, F. Esq. Hull.

Wood, and Co. Messrs.

Parents and Teachers

......................... t ..................................... .................. _____

and separate parts of the Violin ..............................

Directions for keeping the Violin

Of the Bow ................................................... .........................................

the quality and value of Violins

Of the Notes,, Stave, and Clefs

On holding the Violin and Bow

playing and on Accompanying

can only be recommended, when he is able to set apart from

accompanying the Piano -forte, or by assisting

the hints given below.

an ear for pure intonation;

At what age the instruction

should commence, depends upon the boyi. phv_

more supple, and

more tractable than

the bow, in short, the whole

lapse between the lessons, the pupil too

acquire, that the daily asas, by suffering a length of time to e _

soon abates, and diligent practice between the hours

ance of the same.