EDITION.

EIGHTH

THE

SECRETS

VIOLIN

PLAYING,
BEING

HINTS
FOR

FUr.L

TO

By

PLAYERS,

MASTERY

OF

OF

"the

VIOLIN

IXSTRUMEN'T

THE

professional

A.UTHOR

AND

VIOLIN

PERFECT

'HIE

INSTKUCTIONS

PLAYER,
UoW

TO

IT," ETC.

MASTER

CONTENTS.
I." The Turpose of the Work"
Violin Plaj-ers"The Triflor"
Chapter
Model
The Showy Player" The
Player" Holding' tlie Violin" Chin-Jtesta
The Spoon. Double
(Illustrated)"
Kid;,'e,
Spohr, Adjustable Voigt'sShoulder,
Vulcanite Chiu-Kests
Their Advantages and Disadvantages
New
Analysed and Explained.
II.
Variations of the Position of the Left
Chapter
Holding the Violin
The
Normal
Position
Position
Hand
The Pirm
The Free
(Illustrated)"
The Anticipating Position.
Position"
The Management
of the Bow
III.
The Action
Chapter
of the Fourth
The Left Hand"
Flexible
Finger (Illustrated)The Position of the Thumb
Cork
to attain it
Stretching (Illustrated)New
Fingering: How
Finger
The
best Exercise
written
for the Violin
ever
Stretching Exercise
Stretchingthe Thumb.
Select Strings" How
How
Chapter
IV.
to Judge and
to Keep and
The
Points
of
The
Good
Fourth
a
String
Improve Strings
String : How
"A"
to use it" Preparing Stringsfor Solo Playing The
String Catcher.
The
Chapter
V." Adjusting the Violin
Post
Bridge The Sound
The Strings--The Ba.^s Bar
Resetting the Neck and Finger Board
Lining
The
or
"Sandwiching"
Pegs The Patent Holdfast Peg the New
Peg
and

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

Turner.
Chapter

"

"

VI.
The
Violins,Old and New
for the Experienced
Mixed
Cremonas
reliable Experts
How
to Judge Old

Adjuster

Eusty Cremonas
False Tickets and Ileal
The most
Violins.
VII.
Frauds
for the Inexperienced Frauds
How
Chapter
in Bows
Preserve
Bow
to Judge, Select,and
a
Kestoring the Spring of a Bow
Cleaningthe Hair of the Bow.
Chapter
VIII.
Tone, Forced and Developed Cetting beyond Rules
Consolation to the Solo Player The Close Shake : How
it.
to Master
IX.
The
Earless
Chapter
Concluding Advice
Scraper Common
of Advanced
Faults
Players Duet
Playing Orchestral
Playing Solo
The
of
Effective
Solos
of the Violin
List
Powers
Playing
Appendix,
for Violin
alone
Women
Bach's Sonatas
Instrumentalists
as
Arpeggio
Staccato Playing : How
it.
to Master
-^Frauds

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

ONE

PRICE
EDINBURGH:

SHILLING.

E. KOHLER
1". K.

LONDON:

WM.

"

FOULSUAM
And

"

SON,

DUNCAN,
"

all Muskse

11
180

and

FLEET

CO.. 4 riLGlUM
his

and

12 NORTH

STREET;
STUEET.

Booksellers.

BRIDGE.

KT

t?^0
HINTS

PLAYERS.

TO VIOLIN

CHAPTER
The

Purpose

I.

of the "Work.

field
which my
THEhaveextensive
travelled has called forth

littleworks

over

very

appear to
of
great
amount

but generrdly
also
alwayseulogistic,
correspondence,
containing
in the
on
questions
pointsnot fully
explained
many practical
of these pointsthere must
be
books. On many
always some
difTerenceof opinion,
but so far as it is in my power I shall

cndeavoiir to make them clear in these pages in a manner

so
to
extent
that
the
reader
liis
a
impartial
great
relyiipon
may
of the hints. Many
or rejection
own
judgmentin the adoption
of them need not be placed
inasmuch
before a beginnerat all,
as

so

minute

many

details

It is therefore to violin
address myself,
and more

of violin

apt

to

scare

than

more
players
the
especially

The
Hundreds
instrument

are

young

player.

that
beginners

earnest

now

student.

Trifler.

so
called,
only triflewith
players,

the

not on it. They are a

theyplaywith the violin,
the
clog of all Amateur
imposition;
they are
in tune,
Orchestral Societies,
with their violins never
perfectly
and their fingers
alwaysdraggingand scumblingany passage
of moderate difficulty,
off half
their heads,and flying
or losing
in
a beat before
every one else when the notes happento be withtheir reach. Any one
make
mistake
at
a
times,but
may
and smiling
these triflersare alwaysmaking mistakes,
blandly
and plainly
over
them, or arguingthe pointhotly,
implying

fraud

"

and

that every

one

else was

wrong.

You

1831G"0

may

tell the triflerat

glancealmost
as

if it

with

were

coupleof

old

an

He

it.

the

by

boot, and he

hours

digs into

at

thinks
time, and generally

hard

at

the

hand

to the

His

instrument.

will tell the

instrument

The
A nuisance

playing
tremendously
the

sharp-eyedone

his

set of

he

that

is

Player.

Showy

in less degree is the

off his

show

playerwho

for the

execution

benefit

violins,
by making tremendous

second
into

to be

appear
he works

fingersand

very

player.

to

that

for

home

at

time, though he may

"

soilinghis fingers

exercises

severe

for that

not

afraid of

were

his violin

handles

he

which

in

manner

never

PLAYERS.

VIOLIN

TO

HINTS

harmonics,

which

all

after

so

easy

always anxious

of the

and

runs

are

is

over-awed

skimming

of

away

mastery that

to play a scale of them.

taught in ten minutes
The showy playerpractises
a deal,tut
mostly at trickymusic,
and generallydeclares
good muisc slow. He is a great man
the
but often a nobody on
behind
the scenes
at practices,
or
quicklythan a stupid
platform,where he loses his head more
player. He is always at his solo playing when there is an
interval,or when others wish to tune, and if he playsa solo in
with a pert air and knowing smirk, which
on
publiche comes

child

declare
music

at

once

can

strikes
he

there

that

never

ridiculous

is

These

within.

Great

is
poor tiling, Conceit
real artist ever
puts on airs

that

greatness. No
attitudes

soul

musical

no

of

out

come

allied to true

never
or

be

can

to

distract

tricks

attention

reserved

from

the

for the

showy
who
player,for the small-headed musician, and for ladyplayers,
and
have accentuated
exaggeratedthe stylesof their masters.
I have been
able to trace
the styleof one
great teacher thus
and
should recognise
burlesqued through several lady players,
held up.
That
it anywhere the moment
is
the violin were
forgotten,who
saddening. It reminds me of a tragedian,now
so
closelyimitated Charles Kean that he spoke with the snivel,
Kean's
thn,t
which was
impediment. It should be remembered
great players are
great not through, but in spite of, any
of style.
peculiarity
music

is

rendering.

Model

The
The

earnest

quiet and

student

unassuming

is
in

the
the

are

Player.
model

player.

company

of other

He

is

always

players,and

HINTS

generallybefore
tiddlo

and

showy

or

his

or

VIOLIN

TO

concert

gets

PLA

into

The

with

corner

hia

not
at all
passage
of great benefit to his fingers
instrument, and the player's

strings, the

for
fingersare thus prepared,
at home, and is not daintyin

qnict

intricate

at some
away
pleasantto listen to, but

scrapes

violin.

YERS.

what

is to

his selection

works

He

come.

hard

miisic,but will dig

of

steadilyinto anything which he finds trying to his fingersor

He thinks nothing of getting up in the morning two
his bow.
hours

before

other folks

bed, and

of

out

are

scraping away

at

Thus, when the slovenlyand sleepy

drone, who takes ten times as long as others to get out his
fiddle and
tune
it,is staring in dismay at a new
piece,your
the pages, noting
is quietlyrunning his eye over
model plaj-er
of studies.

the severest

and

the diihcult passages,

it at sight,while the drone or the

the

keys and

scramble

He

through.

handles

his violin

not

is
as

triflcr

ready to play
only make a wild

can

taken

never

if he

he is thus

surprise,and

by

afraid of

were

it,but

as

"

he
man

He is eager
to master.
horse which he means
spirited
to learn every means
by which his power can be extended and
He is not necessarily
increased.
a clever or experienced
player,

handles

but

he is certain

through

hints,feelingassured

that

him

to

accomplish in

with years
may

his

emidate

to

them

these hints but work

rest

or

necessary
rest, and

use

whether

anxious

]\Iadame

liar will be

her

shoulder

However,
ago,

even

I heard

her

at

read

eagerly ask,

as

all 1

"

There

is

no

Is it

"

best

chin-

cumstance
cir-

depends
a

upon
chin-rest

nor

dealer,in advertisinghis shoulderthem

without
is fast

violin-rest

"

in

some

hohl

no

Madame

favourite

necessary

Bertha

lady can
approachingwhen

terms.

synonymous

Mdlle.

only

is the best chin-

which

is necessary
neither
uses

Ncruda

that is not

not

Violin.

others

chin-rest

shoulder-pad;
yet a London
pads,coollydeclares that
violin properly. The time
and

example,and

know

to

chin-rest
a

brethren

to his less earnest

the

violin-holder,and
to

give these

out.

Holding
Many playersare

path and allow

might not come
friendlypoke in

which

that

administered

I have

them

rouse

him

his

smooth

they will

short time

To

both.

struggling. Possiblythe

of blind

the ribs which

to be

time

advertiser

Neruda

positionwith
cases.

tho

makea
ladies.

Twenty years

Brousil,of the Brousil

Family,

HINTS

perform Hauser's
Hall, Edinburgh.
dress, and

so

"

Bird
This

could

use

PL

VIOLIN

TO

in

A YERS.

Tree," violin

solo,in the

accomplisliedartiste
no

pad

as

violin ; yet
violin from
her

take her
not
tightening her bow,
chin, but held it there rigidand straightout, with
she

while

collar
the

bone

alone,without

left hand.

The

the

did

size of the

seen

of the

the

collar

and

chooses

the
the

cover

with

over

better

have

with

such

as

Salo

and

or

to

not

if

an

wieldy
un-

pasteboardstiffened scarf,
thus keep out the violin,he

Violins

chin-rest.

bulging breasts,

those

Gaspard di
the
Amatis,

of
of

some

exceedingly difficult

with

uses,

If the

plays.

develop,

to

bone

had

are

or

small, and

be

bone

collar

violin he

he

music

likely
player

shoulder

accompanying
adjustableSpohr
depends upon the

power
is
"Whether
a chin-rest
necessary
the
build of the
player'scollar bone,
and

and

chin

in the

figure,illustratingthe
full-length
chin-rest.

the

the

support of either

positionwill be

evening

an

the

to

support

wore

Music

the

holder.

performed

Again,

if the

be

difficult and

of

music

character, with

severe

grip

the aid of

without

chin

to

much

shiftingand playing upon

very
high positions,a chin-rest will
generally be an
advantage, if
not

an

absolute

shiftingdown
out
moving

"

easy

matter

necessity. The
of the
the

with

hand

with-

violin

is

without

or

an
a

ohin-rest,but. as I have already shown, side slipping that

the right hand
demands
is,the slidingof the violin towards
a
preventative, as in performing such a piece as Paganini's
"

"

*'

Moto

"

from
moment
Perpetuo there is absolutely not one
beginning to end during which the left hand is free to right
the
slip. I shall notice this piece more
particularlyiu
Chapter III.,while treatingof "Flexible Fingering."

The
The

the

shown

"

for 2s.

6d.,
Rest,"
Spoon

in the accompanying

engi'aving,which

is

modification

of

shght

the

"wiiich

Joachim,

be had

may
and

Chin-Rest.

Spoon

known

chin-rest

the

as

PL A YERS.

VIOLIN

TO

HINTS

Joachim,

and

costs

shillingmore, do not
absolutelyprevent side
unless a pad or
slipping,
a

handkerchief

along

with

used

be

chin-

the

Ko

rest.

The

Co'Jible-ridgeChin-Rest.

and
popular chin-rest,
is that made
prevents side slipping,
The

1.

most

one

which

almost

form

in the

entirely
in the

shown

engraving below.
be had

It may

with both

ridgescovered

rough surface of that velvet

under
slipping. This
ridgealso takes the place
of a pad, and allows the
head

of the

held

be

performer

higher.

usuallynecessary
the

velvet

from

It
to

on

the

velvet,and the

with

under

side

ridgeprevents
_

to

is
cut

neath
under-

the

ridges,
except at
edge,so that they may

the

rise clear of the breast and

back

of

the

violin,and

touch the instrument

above

the

objectionsto
to

stain

the
that

ribs.
the
shirt

only
The
velvet are, that

front,and

it is necessary
greasy,
have
the makers
suggestion,

so

to

it is often
soon
renew

therefore

wears

the

so

badly dyed

smooth
velvet.

produced

and
At

double

as

gets
my

ridge

rest

of the

and
ridges,carefully
indispensable roughness

^vith vulcanite

model,

same

PLAYERS.

VIOLIN

TO

HINTS

closely serrated so as to give the

for preventing side slipping. Tlie rest thus improved is cleanly
Care has also
and needs no renewing of surface.
and effectual,
been taken that the ridges rise clear of the breast and back of
that no cutting away
is
the ribs, so
the violin except above
impression
necessary to prevent muting of the tone ; indeed, my
is that

this

rest, as

well

vulcanite
as

No.

noticed

farther

rather

improves

6,
on,

and

gives compactness
the

proved
im-

This

tone.

to

chin-rest,which
in the annexed

is shown

engraving,
named

has

The

"

been
sional
Profes-

Player's,"and
may be had from Messrs
Kohler
cfeSon, 1 1 North
Ko.

Bridge,price 3s.,rough

3.

or

prevent misapprehension,I may

To

whatever

interest

and

the

in tlie manufacture

remark

same

applies to

smootli

that

state

of these

thing

every

surface.
I have

no

any chin-rests,
recommended
in

or

this work.
broader

The
is

patch

of the

chieflyrecommended

breasts
much

protector

The
But

the

of old violins ; and

broken
and
patched

such

some

by

the

would

end

in the

makers

as

certainlyif

first

engraving
preservativeto the

violin

had

immediately underneath

been
the

very

chin,

be necessary.

would

gained,by using

shown

Adjustable

Spohr

same

rest

the

Chin-Rest.

be

tages
served, and additional advannewly patented Adjustable Spohr

Brothers, 49 Theobald's
Road,
Chin-Rest, made
by Jenour
the
kindness
of
the
of
which, by
London,
jjatentee,I am
enabled

to

give engravings

this

chin-rest

and

feat

done

by

is

is shown

exactlythat

Mdlle.

Brousil

below.

in the
which
without

What

is

jiossiblewith
first engraving. The
position
noted
I have
as
having been
either pad or
chin-rest,but

IflXTS

tlicu every one

find that
and

is not
it is

VIOLIX

Brousil.

feat,-with

of tlic chin-rest

have

the

holder,

accomi)lishthe

to

the

tested

holder

adjusted as

above
in the

"

the

that

positionare

advantages of

The

PLAYERS.

perfectlyeasy

apparentlymarvellons
followingengraving

TO

this

plate

touches

the

end ; that
violin only at one
the
metal
attachment
is

fixed

that

on

violm

part of the

Avhich

at

solid block

there

of wood

neath, and

is

\nidor-

tliercfore is less

the tone
or
likelyto mnte
and
that
impede vibration,
besides

the

that

given, the

is

excellent

grip

violin

is

placed and kept at its proper

slopefor correct playing.

plate,which

of the

chin,

and

covered

this

with

has

plate

velvet.

No.

There

been

is real comfort

shaped

be
may
It is the

A.

had

with

of

in the hollow

great

diamonded

to

care

wood

the
or

adjustablepart of the holder,

however, Avhich will insure its adoptionby many players. One
wish the plate as I have
shown
it,another might prefer
may
of the two following
one
:
positions
"

Many
chin-rest

men,

will

many

minds.

probably

be

The
its

only objection to

appearance

on

the

this
violin

10

YERS.

PLA

VIOLIN

TO

HINTS

or

who

x;so

be

of

like

as

small

as

possible.

and

obtrusive
un-

The

shillings. For
own
part,I should prefer
double
narrow
ridge
holder

vidcanitc

noticed, to this
have

are

it, and

is six

price
my
the

players

chiu-rest

half-ashamed
it to

Most

size.

its

seen

but

already

or

any

that

tastes

differ

Avidcly.
Ko.

4.

Voigt's Chin-Rest.
Some

may

even

consider

an

unnecessary
their wants,

left han

view

meeting

to

as

designed. It
Shoulder
the

is named

Rest."

plate,which

By
here

an

holding up of the violin by the

labour
and
fatigue,and with a

the

"

the

chin-rest

next

Voigt'sViolin

Combined

the

placeof

the

for

has been

Chin

and

lengthening
or
ordinary screw

ingeniousarrangement

takes

shown

HINTS

kind

screws,

of

PLA

VIOLIN

TO

bracket,ending Avith

11

YERS.

velvet-covered

pad, is

projectfrom under the violin on to the left breast of

the pei-former.It is an ungainlycontrivance,but docs prevent
side-slipping,
thouglithe bracket is not acute enough to keep
made

the

to

violin

horizontal,and

holding np
than

figure
"

is also

docs

In the

body, or
with

even

the

in

more

the

violin chin-

to many
api)lics
violin ])laying,
no

movement

violin

nevertheless,

is allowed

from

these

slipsof

somewhat

of

elastic

violin,
bracketing
the

liampcrcdby this elaborate

of Voigt's. The
facture
manudesign is of American
of
metal
ished
part nickel plated; the chin-plate pol-

; the

black

There

Chin-Rest."

graceful; and it is recovery

the rigliting
of any minute

and

are

in

fuU-lengtli

the

this which
of

power

is not possible,
perfect
rigidity
greatest of players,

arrangement

vulcanite

]\Iessrs Alban

are

already shown
"Sjjohr Adjustable

chin, or

it be

movements,
which

the

gives no

as

"

strict school

the

would

nor

violin

objectionto

an

rests.

the

the

tlic invention

; and

the

price is 7s.

Voigt " Co., 25

Edmund

6d.

The

makers

Place,Aldersgate

Street,London.
The

last chin-rest

the engravino- No.

This is

an

violin breast

which

I need

notice

in
represented

G.

exceedinglycomfortable
over

is that

the

rest; rises clear of the

greater part of its under

surfiace ; and

improves the tone.

of polishedblack-vulcanite,
the screw
The chin plate is made
of polishednickel silver,and the workmanship perfect. The
price is 4s. The postage on any chin-rest is usually2(1. These
the makers, or from Messrs
from
Kohler
be ordered
rests may

does

not

mute,

but

rather

HINTS

12

North

Son, 11

"

the

As

seller.

work

present

sending
number

in the book.

objectionto all these

they do not allow of

by

but

chin-rests

the chin.

that

players
the
naming
by simply

order

the

violin

To

some

2 and

No.

"

has

in

small

brought
the

commanding

the

why

be

instrument

three

"

of

means

so

hand

much

; every

the

With

chin, when

half

inches

inch

and

in the

hollow

fingers,and

fully three

sight under

the

"

violin.

mere

the

inch

an

has

yet

of the

limit

the

long

No.

least

"

and

arms

tucked

violin

a
an

; the
to

thin

out

of

ment
instru-

him.

For

tliosc violin-holders

passing over

violin,namely

and

one

playing upon

to

violin

back,

chin-rest,

only

to his powers
"

as

left

left hand.

loss of at

the

the

is taken

plate,is

playerwith
of

Avith

powers
been offered

three-quarter

upon

are

hidden

so

of the

stronglyrecommend

limit

of the

"

no

end

position.

of

inches

chin, has

I most

place no

breast

his

is small

which

least cf its broad

ribs ; there is thus

over
half,which is equal with some
of

reason

such

the

viola instead

this

great artists appears

added
to tlie execution
power
eighth of an incli wliich the chin

biggestpatch that

he

power

more

reason

Every eighth of

hampering

nearer

is the true

at

G, fixed in

the chin.

much

so

means

the

sightunder

of all

inches

iSo.

out

Tliat

the

that

face,the

instrument.

hands

violin in the

his

to

as

this may
a trivial
appear
the really
knowing and

"

can

6, is
far as

No.

tucked

being

student
but the thoiightful
objection,
will,through time, discover
long-headedone
his left hand

music-

any

I
nnisicsellers,

most

illustrations,so

may

One

jxjssihlein under

is sold

the

to

distance

from

that

through

Bridge, Ediiiburgli,or

numbers

affixed

have

PLAYERS.

VIOLIN

TO

and

of the
No.

chin
6.

on

Of

to

all

HINTS

thus

which

holders

indeed,

"worst;

his

pass

it

on

Nor

front.

confined
for

hand,
of

gained

the

or

the

brought

that

and

with

line

in

either

the

of

the

over

the

towards

stick

player,

the

or

the
As

the

make

not

hastily,
test

the

what

up
but

tion,
objec-

student
his

mind

Iloliliiig
for

have

here

only

tlie

himself

Violin

h^'

tlic

aid

of

Xo.

onlv.

Cliin-Kest

of

soundness

advice

basis.

last

this

to

quitting
finger.

fourtli

let

the

straight

without

turning

draw

to

power

it further

the

from

nearer,

that

or

bow
much

away

much

of

so

tluit

player,

"--^

left

lost

means

further

the

eighth

every

taken

may

powers

in

the

inch

an

the

gained

or

to

stretching

average

is

Joachim

the

rest

is

lost

so

power

of

phiycr,

plate

and
breast

the

the

pletely
com-

the

holder,

this

iihiyer

i;

PLAYERS.

VIOLIN

hampex-

any

chin

over

of

TO

advance
if he

finds

1,

and

that

guided

be
it

is

built

influenced

and
upon

firm

by

scientific

HINTS

VIOLIN

TO

CHAPTEE

Holding

the

Violin

PLAYERS.

II.
of

Variations

"

Left

Having decided Avhether

best to (1)keep the violin

to

the

of

the

not, and

how

Position

Hand.

use

chin

rest

or

nearlyas possiblehorizontal,(2)
at its proper
slope towards the right hand for perfectand easy
command
of all the strings,and
(3) to prevent it slipping
either forward
however
to the side during any pei'formance,
or
rapidor long contimied,the player may consider the position
and

action

In the
Master

of the thumb

have

given

ing the positionof

This

may

and

of the
frontispiece

it,I

as

an

the

the left hand.

later editions of The

engraving from

the thumb

be named

fingersof

on

the neck

to

photograph,shovr-

of the violin thus

Position,and

Normal

Violin: IIoiu

is correct

"

for

But
rapid nature.
such
as Paganini's
to the performanceof a study
it comes
when
"Moto
Perpetuo,"all in semiquavers, and requiring firm and
a
stronger clasp on the neck of the violin is
rapid fingering,

the

performanceof

and
imperative,

the

all music

thumb

not

of

is bent

very

at
slightly

the

first joint

HINTS

so

Position,and

Firm

thumb

The

is

15

firmly. This may be named

iu the following
engraving:

more

is shown

tlio

"

really,

positionat
sole guide and

least,the

of

anchor

hand,

the

as

whole
very

any

strong pressure
the

"with

A TEES.

first

the

on

neck

the

grip

to

as

PL

VIOLIN

TO

grip

or

bottom

of

forefingeris to be
deprecated. Through
time, indeed,the player
the first posion
tion,
may,
perform many
the

notes, shakes, and

even

short passages Avith the

neck of the violin held

and

the

Free

thumb

the

solelyby

points of

fingersin use.
the
abilityto

the

Till

Position.

This
do

so

mny
is

be named

the

moro
acniiiix'd,

have

not
with those who
especially
begun to play at a very earlyage,
a good shake, close or
open, on the

first position,
is almost
The

an

annexed

impossibility.
engraving

"will illustrate this variation

position,and
forefingerentirelyfree

normal

"with the neck

Many
time

and

their

hand

some

never

amazed

to

pieces of

of certain

adjust
instinctively
to

the

changes

understand

remainhampercd for
and

through

of the normal

absolutely
necessary

execution

music,

of contact

realise

variations

positionare
the

the

shows

of the violin.

players

that

of the

at the

attributingto

but

them, and

life,astonished
execution

of

others,and

that
ability
superior

at

which

lengthdespairingly
arises
from
only

superiorknowledge.
The

by

majorityof

at least

the left hand

only perpetuatethe blunder,

positionof
rigidand immovable

the violin tutors

implying
is to be

that

one

adopted and

adhered

to.

HINTS

16

The

third

PLA

VIOLIN

TO

of acquirement by all who

absohitely
necessary
be named
to really fine playing,and
may
AVhen

Position.

such

passage

Tirez.

containing two

rapid

shifts

his

surelyhamper
impossible. He must

with

Corde.

on

tlie fourth

the

Anticipating

string, faces the

positionalreadyshown

of the

if not

run,

the

from

thumb,

his

desire to attain

following

imc

execution

is

"

in the firm

student, to keep the thumb

would

the

as

which

positionis one

of the normal

modification

TEES.

make

first

it

note,

well over
anticipatewhat is to follow,by bringing the hand
the neck, as
further under
tlie strings,
and sinking the thumb
in the folio winii illustration

shown

The

for these

reason

everything in
being kept
themselves
hand
and

in

violin

variations

playing
"

"

hand

and

fingersof

go

the

to

make
indeed, will laboriously
we

frequentlysee
faced by

angle when

him
a

the

the mountain
turn

passage

up
on

the

and

strings

player,therefore
to the

the

violin

Mahomet

to

come

The

mountain.

for

reason

accommodate

themselves
not

violin

rigid,cannot

accommodate
fingersmust
will
mountain
strings. The
must

is

there

the

is that

position almost

to the

and

"

and

]\Iahomet

and

"

ignorant player,
to Mahomet

come

violin to

the fourth

more

acute

string,and drop

18

7//iV^T.S

TO

VIOLIN

PLAYERS.

fingerto quit the stick,^vhcn the extreme

point of
the bow is used, is to be regretted and deprecated. There are
things to be regrettedin violin playing, but of tAvo evils
many

the

little

it is

always best

with

long

the least.

to choose

Those

who

blessed

are

fingersAvill usually find that they can

draw
the bow to its point without
this quitting of the little
finger,and with only a slightturning over of the bow towards
the player as it nears
the point. One of our
greatest players
does so.
But all are not so blessed,and all do not approve
of
this slightturning over
of the bow
at every long stroke,and
the remedy of using a shorter bow
is a poor one.
arms

Third

The

Finger

Besides,when
the third

and

the

fingerto

Substitute

the

for

Fourth.

fingerdoes quit the stick,it leaves

work.
The palm of the point of the

little
do its

tliird

finger

is

then
the

pressedfirmlyupon
stick with

the firstjoint

and
slightly
dejDressed,
the

whole

acts

as

the

stick, in

finger then

the

the fourth.
to

sliow

while

the

balancer

place
The

the
bow

of
of

better

position
is thus

managed entirelywith
three

the hair and

of the
are

nut

of the

bow.

bow, the above

imperative,as the strokes
staccato

past the

middle

of

the

bow

fingers and the

thumb, I have removed
In executing the upward stroke
positionand action of the fingers
begin at the point and do not go
the fourth
so
finger,with
; and

hands, never
gets a chance to
many
balancer.
The
fourth
finger touches

its

resume

the

stick

placeas

chief

except wlicn

point of the bow is being used, but the chief

weight is borne by the third,as alreadydescribed.
held thus, perfect command
for any kind of
With
the bow
stroke with the upper
part is attained,and that without
any
and
stick
towards
the
of
the
over
tilting
consequent
player,
the

extreme

playing with the flat

the majorityof hands

of the
and

hair, or

arms,

on

its inner

if this method

be

edge. With
not adopted,

IILYTS

and

TO

VIOLIN

PLAYERS.

19

finger be kept supporting the stick during the

of the entire length of tlie bow
the strings,
across
a
passage
the
in
inevitable.
The
is
curve
possibleexceptional
bowing
where
the
has
and
cases
are
long arms
long fingers with
player
the foui-th

flexible

very

and
joints,

The
It is not

has

begun

Position

to

play in earlychildhood.

of the

Thumb.

which
the
point of the thumb
presses
inclined
to the
side. The
stick,but the palm of the point,
point indeed is thrust through xuider the end of the hair till
and
touches
the point of the second
it almost
meets
finger
round
the
the
side.
stick
from
Courvoisier
coming
opposite
recommends
that part of the point should
rest on the Avood of
the

the

nut, which

this

gives a

extreme

he wishes

for the purpose

away
of comfort
to some

cut

; but

though

degree
thumbs, it has.
the drawback
of seriously
hampering the bowing by the hard
ferule of the nut pressing the back of the nail,in placeof the
elastic hair.
will
Any serious discomfort or pain in the thumb
by using the side of the palm instead of
usuallybe remedied
the tip as the point of pressure, and by substituting
a soft bit
of leather for the metal-covered
thread
round
usually wound
that part of the stick,which
thread is often of base metal, and
corroded
and poisonous.
becomes
certain

The

It is difficult to

with
the
of

value

the

fourteen, and

the

left hand

united
hard

and

and

the

or

evil.

Madame

would

small

Neruda

Wait

especially
boys,to

generallymeans

To

inido

an

now

for

all that

requiresan

of
ever

player who

these

been

are

amount

about

years the
splitand set

have

practice which

find

more

tempt
parents give up the atmany
till he is a little older,and knows

during the lapse of

eight years,
To

"

little older

which

how
seven

stiffened.

work

and

Fingering.

steadily,and

words,

of it."

Flexible

"

get the young,

violin

practisethe

Hand

Left

lamentable

the age
muscles
of
free have

when

it is

dailypracticeduring

lost,would
has begim at

have
the

of

amount

sidered
con-

those

prevented

age

of six

"

is the
at that age
perfoi'medsolos in i)ublic
exception; to find them beginning at the ago of sixteen or even
later is painfullycommon.
Seeing,then, that the majority
"

IIIXTS

20

TO

VIOLIN

FLA

VERS.

begin too late,their first study should be to find out the best
for most
The flexibility
means
quicklyluidoing the mischief.
fingerand

of

looseness

of hand

-will never

be

quite so great as
and
been, by beginning young
keeping at the
of the
practice,but it will be very much
greater than if none
were
more
tried,and cei'tainly
followingmeans
quickly attained.
studies and exercises,
The playingon the fourth stringof severe
have

it would

requiringfirm fingeringand
Studies

noli's "Four
Cocks

London:

all be

may

advancement, but

of

stretching

such

CampagPlaying" (price3s. 6d.;

Burlington Street),which after
put on the fourth string^is a
"

as

Monochord

in

Co., New

mastered

they are
means

"

far

too little known

and

understood

even

difficult of
players. The fourth string is most
by professional
its entire length,
access
; therefore, to constantlycommand
entails muscular

exertion

greatest benefit

the

of the

to the

and

hand,
fingers,

player,who

will thus

left

of

arm,

fit himself

for

stringswhich would otherwise be impossible.

this,and, notwithstandinghis extraordinary
Paganini understood
self
length of fingerand peculiarlythin and bony hand, forced himdifiicult studies winch
his brain could
to perform the most
the fourth
on
string. In a letter to a friend
suggest, entirely
feats

he

the other

on

said
"

:
"

afterwards

weeks

few

produced a

sonata

on

the

fourth

string,which I entitled 'Napoleon,'and executed it on the 25th

brilliant audience.
Its success
of Augixst before a large and
far surpassedmy
expectation,and I may date from that period
for the lower string; and as my audience
never
predilection
my
of the pieces I composed for it, I have
at
seemed
to weary
which
to have
length arrived at that degree of facility
appears
so

surprisedyou."

much

practisingof three octave scales and broken chords,such

those given in the appendix to Boosey'sedition of
Spohr's

The

"

as

School," is another

Violin

hand-loosener, which

no

advanced

neglect. These ought to be gone over at

of three octaves
in one
least twice a week, taking the run
cular
bow, and giving no "undue prominence or accent to any partiaffoi'd to

player can

note

in the

scales.

Playing tenths
fingers;

and

Violin

for the

the
"

if slowly,firmness
exercises
result

now

the

on

shake

have
and

to be

will astonish

violin is also

good

in Kreutzer's

stretcher
"

for the

Forty Studies
been excelled for developing,surely
never
independence of fingering;but if the three
described
be taken
along with these,the

the

exercises

student.

IJL\T;S

Cork
first of these

The

the

left

It is best

cork last.
be

the

shown

as

in the

followinir

each

engraving:
"

the centre

at first
may
i)et\veen the fingers

minutes, but after

few

hand,

tnrcc

corks

The

simply kept

for

Stretching.

T;ikc
witli corUs.
finger-stretchiny
push one
right up to the socket of

i^ushin

to

"21

is

full-sizcil corks, aiul

fingerof

I'LAYEnS.

VIOLIN

TO

little

practise shutting
player may
gether
opening his fingers,first to-

and

cannot

and

then

at

first

he

obey,

exercise

in tlie
help them
may
with his right hand.
The

deeply

control

practiceis to split
muscles

tlie

which
fingei's,

the

connected

are

to
fingers

get the

effect of this cork

more

If he

separately.

at

the

which
muscles

knuckles

Oi

the

hand, and so to a certain extent

prevent the fingersfrom acting in
each

dependentlyof
respect, any
whole

of

most
helpless

How

by
may
prove
firmly down on those
one

hand,

shutting

his

us

in this

are

the

fingers,not

fleshycushions

at their

the

base,
Sun,

of Jupiter,Saturn,
palmistryas the mounts
and then tryingto extend the third or fourth finger
^lercury,

known
and

other.

in

without

moving

this

the others.

apparentlysimple

this connection

of the

Not

in

one

action,and

muscles

in the

thousand

the

body

cause

of the

plish
accom-

can

of fixilure is
liand.

The

for a sliort time daily,

if practised
soon
gives
cork-stretching,
besides
the
and
of
flexibility fingering,
independenceof action
abilityto stretch easilythe intervals recpiircdin the next
study.

Exercise.

Finger-Stretching
The

second

exercise

is

students,when
the

at

do

you
me

as

an

"

designing,and mos
on
it,are either appalledat
possible
bluntlydeclare that it is im-

of my

they first set eyes

led to
or
apparent difliculty,
of execution.

see

one

own

I don't believe

it

can

be done

"

let

mo

than
once
it,"has been more
triumphantlylevelled
apparent clincher by students,who changed their

22

PLAYERS.

VIOLIN

TO

HINTS

Finger-Stretching

Exercises.
Play each
wii hout

'

The

Position.

]?X. 1

twelve

times

stopping.

ISSfceE^t^^^^^^
The

The

Position.

Position.

Ex.

f: i^ H^ .f:f:

3.

-^^ .fA_t_fe_t_ti_t

="S=Eg=""=
^

JL

"

"

-^

.p. -^

-P-

-P-

-(*- -^

-^

-^

-^

,f: :^ f: :^ if: :?: if^

-P--P-

-^

f: -P- f:

"

HINTS

tone

quickly,wlicu

very

moment

the

beginning give
the
on
strings,and the
fingei's
then

whole

be

played

octave

The

special

first and
is first a

interval stretched

string.

one

The

in

fonilh

tenth,

ing
is cqiial
to stretchmust

interveningnotes

great distinctness, and the first and fourth

the strings with
great firmness, except in the

with

fingerskept

on

but

case,

them.

a twelfth,which
lastl}'

eleventh, and

an

with

of the
position

the

bars at the

to

power

23

YERS.

only played it

I not

transferred

two

oi-

FLA

VIOLIN

TO

on

third exercise,in which

the

liftingof

one

first fingeris

ative.
imper-

be placed
get the positionthe fourth finger must
back to its
the first finger drawn
and
upon the string first,
If it will not come
note afterwards.
back, push it back with
To

the heel of the bow

point of

the

got it

the

on

in the

righthand,

spot, keep it there.

proper

but
difficulty,
progressive

the

even

The

last is not

and

having

exercises

of

are

stupendously

so

In commanding
the low
it may
seem.
A
somewhat
be turned
its side.
on
notes, the first fingermust
bility
little practice
at this exercise will give great flexioccasionally
difficult of execution

as

fingers and looseness to the

the stretchingof an extra semitone,or
make
from the first positionquite easy.
to

Pagauini's
The

third exercise

had, with
musicseller,or
Street, London.
be

hand, and

whole

the

even

whole

tone,

Motion."

"Perpetual

Paganini's"Moto
Perpetuo,"which
pianoforte accompaniment, for Is. Gd., of
is

direct

from

Messrs

Schott

may
any

"

Co., 159 Regent

is
often
Though it
performed as a solo,there

is vei'y little music

in it. It is a mere
trick piece to show
rapidexecution; but it is the best exercise for the violin ever

written, whether
It is a kind

of

it

written
Spinyilied,

modulates
hand

with

Ninth,
look

not

into
Position

to every

on

reallycomposed by Paganini or not.

from beginningto end in semiquavers,
different keys,and takes the
a dozen

was

many

stretched

and
difficult,

it

through

smart

should

take

playerwho,

\dt\\

the

reallyis

less than
a

Second, from
to

notes,

its real

speed is attempted,when
it

but

week's

save

the

Frst

to the

shifting.It

does

difficult until the proper

nature
is revealed.
To play

not

five

minutes, but he will be a

can
practice,
get through it ia

ten.

The

real

singlepause
end.

The

of
difficulty
or

long

muscles

tlie

study

restingnote

of the left

lies in

from

hand,

the

however

there

being

not

beginningto
fatigued,
get

tho
not

24

the

slightestpause

fatiguing to play

less

but

and

is sounded.

heard.

never

It

its proper

speed in

best

the

same

this reason,
mastered, it is much

been

is the

selves
them-

exert

For

piece has

minutes, than

five

fifteen ; and

it

proper

must

fingering,at

ten
or
slowly and occupy
musical
speed is attained, the real

take

to

it at

A YERS.

recover,

last

-neck

when

or

rapid shifts

most

speed till the

by slow degrees the

break

PL

VIOLIN

recruit

to

the

through

is

TO

HINTS

of the

meaning

exercise

until

piece

for the

written

ever

the

(1) it is utterlyimpossibleto play it through at

its proper
speed and hold cither the violin or the left hand
to the fingers;
(2) it gives great agilityand flexibility
wrong;
wrist
practice for the right hand ; (4) it
(3) it is excellent
compels firm fingering,that the rapid notes may not degenerate
scufifle ; and
into a mere
(5) though there is not a shake in it,
The
to make
it gives the
a
study
good open shake.
power
should
be taken
being exercised in
slowly at first,great care
violin, because

choice

the

of

and

the

(held as

shown

passages

at

illustration

middle, and

the

third

upper

the

in

with

played

whole

If

part.

tions;
after alteraeasy to make
half of the bow
the
upper

it is not

fingering,as

the

given at
piano

played

all be

with

passages
bow
of the

perfect command

attained, the piece may

18),the forte

page

tlie

at

has

of the

being entirelycontrolled by the pressure

finger. It is to be played tln-oughout in what

named

"Rounded

the

Staccato"

tliat

"

bow

would

of these

be

and

express
the
hair

the
of

treatment

the

bow

with

rises

of the
that

the

bars

not

whenever

amenable
a

shift

to

that

no

the

from

string as in
little sharper
than

better

notes

little,but

word

are

Crisp, clean, and

dots.

(For

note.

ixiay be
neither

docs

neat

staccato,

entirely
explanation of

an

Staccato, see

not

Violin:

The

append the fingering of some

ordinaryrules, merely adding,

"

made

pains

on

should

an

open
be

string,either

spared

to

get

at

shift or
when
that
a
string for the purpose
; and
be saved,
can
string to another
crossing from one
avoided
blur
by stretching for a note, it nuist be done,
of a little delay in the mastering.
at the expense

an

open
awkward

or

even

be

can

ascending or descending,

the

notes

played only

are

each
string between
of the
the
difterent meanings
IIoiv to Master
it,page 101.)
leave

is,the

taken

the
"chopped," nor
staccato
ler/^jiew.The notes
marked
than
if they were
not
to

been

middle, the graduations

of tone

first

the

be

positionsmay

rest

should

ribs, is

the

on

stretcher for the

best

quit the neck of the viohn entirely

a
desperate remedy, and one which
all other

adopted only when

be

for

exercise

is

on

The

failed.

have

means

playing steadilyat any

fourth
the
string, such

thumb
up

suddenlythey

ease, liowever

with

commanded

have to be attacked.
may
to
To allow the thumb

and

PLAYERS.

VIOLIN

TO

HINTS

26

porised
extemas

the

following :
"

Ex.

1.
Repeat adlib.

"f*"^

rTTi

I 11

I'll

?S-^*'*.?~^
pra

P^

I i ! !

PP^

":l:^zqzM^

i44

Repeat

twenty
hand
may
neck

lib.

phraseswithin

The

kept

ad

times

down

with

after the
be

the

without

double

and
stopj^ing,

great firmness,to

position is

easilyplayed

of the

dotted

violin.

If the

the

The

removing

thumb

of

will

no

whole
the
not

be

repeated
finger must be
moving of the

may

first

ensure

gained.

without

bars

of this exercise
thumb

stretch

from
to allow

the
of

higher position being commanded, the followingarpeggio

for one
putting it cit first on the first
string may be practised,
string (E Major),and taking it graduallyback till the fourth

the

is reached.

HINTS

TO

VIOLIN

Ex.
4th

String.
ou-mg.
U

""

1^"

"-

^-

-^

The

notes

may
struig ^Yhich

one

thumb.

To

fail to

exercises

3.
n

"

"

be

played separatelyat

follows,is

also

average
for himself.

to

good

second

and
and

the

strands.

and

Judge

or

quite smooth
of

n**^2

violin.

third
and

When

should
polished,
of the

coil

first.

excellent

an

The

invent

for the
dozens

studies,cannot
of the left hand.

Select

Strings.

stringshould

be

show

round,
strings are

these

clear and

none

of

parent,
trans-

of the twists

yellowishhue
strands,they are old,
if they be put on a
a

it be
string, whether
feci firm in the fingers,
and when
cut the stringshould
bound out
are

good

scale for

IV.

and

first

!:"--^^

stretcher

intelligence
may

and show
the twists of the
opaque,
the tone will bo dull aud
thick,even

good

CHAPTER

".":

steadilypractisethese gymnastics and

surelyand rapidlydevelopthe powers

How

27

Any playerof

of these

A TUBS.

PL

rough
the

or

ings
fasten-

vcr^- much

28

IIIXTS

like
when

steel

and
bow.
also

white

VIOLIN

PL

when

set

free.

A YERS.

prefer first strings also

transparent, but there are exceptions. If the
be a
and opaque
it will generally
screamer,"

spring

they are

stringbe

TO

"

any but the strongest pressure of tho

feel in the fingers,and is
If it has a limp, soft greasy
be durable.
If a
dull in its transparency, it will not

will not

string

in

respond to

being

screwed

np

changes

from

transparent

to

it is bad, and the tone will be rusty if it does not snap

opaque,
before you can
get it up to pitch. A stringmay be dull in its
and yet be a capital
transparency (witlioutthe greasy softness),
and tone.
There
is a polishedIloman
stringboth for durability
stringof fine quality,usuallysold at ninepence, which feels
but which
in tone,
is delightful
soft and velvety in the fingers,
weak
and soft.
This stringis clear as glass,
though somewhat
and

pretty durable.

and
sold by J.
is made
string,resembling this closely,
the name
Edwin
of the
Bonn, Brading, Isle of Wight, under
the
"Premier
inert when
Violin String." It lies limp and
which
is
coils are
set free,instead of having that fine spring,
generallya sign of a lirilliant tone, and like most severely
polishedstrings,a good deal of the soul has been groiuidout
of it. It is a pretty stringto look at, and that is about all that
be said about it. The
can
price is ninepence for one stringof
three lengths.
A first string,which
goes up to pitch with but a few turns
The
first string is the
of the peg, will generallybe durable.
most
moment,
important, as it is apt to break at an awkward
he
discovers
should
till
therefore
the player
not
rest
some
he
the
dealer who
him
with
can
needs,
exactly
string
supply
that dealer.
Distance
need
and then keep by tliat stringand
be no
drawback, as the penny
post has brought all places
A

near.

be oiled after they come

from the
stringsshould never
maker.
Oiling dulls the tone, rots the string,and makes the
missing of notes in piano passages almost certain. 'Cello strings,
times
thicker,are somehowevei', which last longer, being so much
the
oiled
taken
off
'cello,
improved by being
lightly,
and
allowed
"rest"
for
before
to
a
night
being put on
wiped dr}^
as they are
again. Italian stringsare best (and dearest),
mostly
German
made
and dried in the open air.
strings,partlymade
made
and dried in the open air, come
next; and English strings,
last.
Of Italian strings
and dried entirelywithin doors, come
considered
those made
at Isaples
arc
best,those at Rome
next,
Violin

IllNTS

TO

tliose at Padxia

and

tliinl best.

Race, St. Jolin's,Isle of Man.

those

For

than

sold

by

Mr.

generallygood, and

Nethergate,

Thompson,
lengtlis). The same

dealer

Is. Gd.

sells

each.

silver, with

of Mr.

be had

gut and the wire, may

the

better

none

134

Dundee,
(two
silver Fourths, at
soft-toned
particularly
brilliant
toned
more
Fourth, of Florence
between

strings

I\lr. Edwin

'iliirds I find

and

1). L.

each

6d.

first

mv

of .'30
j, fntni

Tlieyare

Seconds

29

always get

biuuUe

(rougliNeapolitans,iSs. 6il. per

certainlycheap.

PLAYERS.

VIOLIN

Ed.

A
silk

Withers,

Street,London, price Is. 9d.

Every v'llin player should keep a string gauge carefully
marked
at the exact bpots for the sizes of the stringshe uses,
and use
it constantlyin selectingstrnigs, as tnc
eye is easily
This appliesmore
to the second, third,
deceived.
particularly
be gauged so as to give perfect
which
must
and fourth strings,
a
fifths at any part of the strings. Sometimes
string,which is
be put rightby being reversed.
with the rest, may
out of balance

Wardour

The

and

third

fourth

the

are

be

difficult to

most

got

to

agree

in fingering.
perfectly
with a specimen size,it
sti'ings,
thinner
that a stringgets slightly
should
be borne in mind
by
and
This
months.
for
the
violin
strained
on
stretching
being
with its
of
balance
much
make
out
often
a stringso
thinning
closer on the
the fingeringget so much
fellows,that is,make
first position,
that true fifths arc impossible,and the stringhas
the third
with
the case
ofiF. This is particularly
to be taken
and the second
strings. The fourth does not alter much, and
lasts long enough to be severelytried in this
the first seldom
In

sending to

the

might remedy
has

always

then,

is to

flatter than

it is

before

fourth

evil,but

the

rusty

change
its

for

is almost

third

particular.The
with

distance

tone

the

when

worn

certain

to

reversed.

string,as

out

of balance

Reversing the string

done.

string which

get
has

The

it is difficult to

been

fingered
alternative,
only
fingerone string

chords
in jjlaying
fellows,particularly

; and

iu

but one
where
fingercan be used,it is absolutely
playing fifths,
impossible.
be called cheap, but the}'are
Mr Thompson's stringscannot
fine in tone ; and as the second, third,and fourth
exceptionally
the
often as the first,
so
stringsdo not need to be renewed
Tested
difference in the price is triflingin the long run.
strings may be bought in sets from the principal London
dealers.
They are very dear (Is. 6d. each, I think),but are
that
wan-anted
to play perfect fifths
is, the iingeringis
"

"

"

HINTS

30

warranted

be

to

the

PLA

VIOLIN

TO

same

on

every

YERS.

string. They

are

also

durable,but the one given nie to test did not stand

is absolutelyreliable has yet to be
The
well.
string which
screamer,"
discovered,and a fine stringoften goes quickest. A
which
or
one
long. The
playsfldse,generallylasts intolerably
tested
.tone of these
clear,pure, and
strings is exceptionally
fine, and it ought to be, at the price. Tested
strings are
of
polished,and polishinga stringmust always wear down some
the string. However, each player
the strands,and so weaken
The majority
consult his own
must
likingand his own
purse.
of professional
playerspreferthe rough or unpolishedstringfor
the first. Tt is thought to be truer, to bite better, and to have
"warranted

"

life in

than mere
more
it,which means
durability.When
wanted
for a solo,however, the rough stringshould be put on a
day or two before, and ground down a little by jDractice.This
also prevents the annoyance
of the stringsinkingmuch
during
more

the
on

performance, and
the

day

stretch
deal
but

on

of it.

out

of the tone

out

simply kept
almost

seems

for the

preferableto putting on a new

string
it is to be used, and
tugging all the
thus
at a new
stringpulls a good
Tugging
which
has
of it. A string
not been tugged,
to

up

pitch and

played upon

through, will

worn

night'shard

is

which

playingbetter

concert.

to do

stationers'
The

sold.

new

last

through a whole
string put on specially
amateurs, though probably

but

buy

them

or

nearlyevery town, there are to be found

ironmongers'shops in which violin stringsare

shops know nothing about strings,

as
they would buy drugs, or tea, or anythingout
In such placesthe stringsare often put into the
play
glasscase to tempt buyers, as a grocer would dis-

owners

of their line.

window

In

more.
or

the

days,till it

strings of
the best that can
be had, and put on only an hour before
the concert, go snap, snapping all tlie evening, while the professional
looks
with
smile.
He
has
on
a
player
preparedhis
let the old one
take its chance, after a
or
stringdays before,
careful inspectionand calculation.
He is cooler too, of course,
and goes to his fiddlingas tinconcernedly
the amateur
as
goes
that coolness saves
the string
to his workshop or his desk, and
He knows
where
to buy his strings too, and knows
a little.
asks
exactly what the stringshe always uses will do, and never
them

Thus

than

often

for

of these

soul is sunned
When
out of them.
that
sugar, tillall the
and the stringsare plainlyshoutingout
has been accomplished,
"
!" they may
be brightI'm dead ! I'm rotten ! don't buy me
ened
up

with

dose

of

oil,and

put back

into

the

box to bo

IIISTS

the

palmed upon
buy strings

from

such

The

away.
he be

money
whether

first

riAYERS.

YIOLTX

TO

buyer. No
places. It

dealer

of

one

is

experience would
than

worse

whom

from

31

buy

you

your

throwing
strings,

a stationer,
stringimporter,
ought to have (lirstand most important)a great sale,(second)
he ought to know
where
to get good strings,and
(third)he
how
to keep the strings while
they are in his
ought to know
possession. Strings will keep good for a whole year, and even
improve in tone and durability,if kept in a closelyshut tin
and
from
sun
air,with no
box, in a cool dry place,excluded

grease
For

oil

or

the

on

month

somewhat
described
better

in tone

there

is at

not

time

being made, violin stringsare

After
last well.
being kept as
harden

they

In

musicseller

one

to find

it is best

them.

covers

durable.

more

least

and
strings,

do

for
and

after

two

and

above

which

paper

or

raw,

musioseller, or

out

dealer
of

are

largetown

who

keeps good

these, and

send

to him

but there is
strings,
the
often nothing great about
strings but the price. If
cheapness be not an object,however, the player who prefers
London
house
should
to deal with
a
always buy from a firm
send

always. Many

of established
Hill

tfe Sons,

to

London

firm, and

nearly every

or

one

and

repute, such

as

for their

Edward

Withers,

Street, who

all of Wardour

make

high-classviolin strings,and sell such

strings may
reasonably be expected to

or

Hart,

or

specialtyof
quantities that the
be

both

good

and

fresh.

1\\e

of

Points

Good

String.

good stringis to be known

(1)by its appearance
the coils are
and hue, (2)by its spring when
set free, (3)
by its feel in the fingers(iftoo soft and limp it will not be
screamer
durable, if too dry and hard it will be a
"),and (4)
by its not showing decay,and the windings of the strands.
Sometimes
stringshave a suspiciouslook, and turn out good ;
To

sum

up,

"

but

it is

bad.
rather
must

sound

have

thick.

the

thinnest

than

player may

The

with
soon

find

always

than

"tubby."

huskiness

is

finer tone

thin

to

common

more

Some

to be

look

got

of the

stringsthat

tone

thick
know

them

is also

out

old
can

well

and

turn

out

strings selected
violins of high build
be got, or they will
of

clearer,and

less inclined

strings. Ly attending to
good string,and will be

these
able

to

hints
to tell

32

IlIXTS

almost
the

TO

exactlythe

VIOLIN

kind

of tone

it will

when

produce

put

ou

violin.

The

The

back

advisable
old

or

The

many
Fourth

common

covering, and
sometimes

There

with

like

not
"

apt

a
as

to

shrink

When

put

in

its metal

smooth

and

Fourth

string

rattle

Fourths,

is gone.

quite

some

; others
Some
violins

ringing

one

soft.

without

the

soft-toned

silver

Some

one.

certain

sound

players
of

amount

upon
the

heard
the gi-it
when
always make
they play
that
I
shall
notice
this
more
string.
particularlyin
Forced
and
chapter on "Tone
Developed." My own

idea

is that

"

in

others

fresh

again

on

Fourth
with
; others
copper
with a brilliant-toned
silver

others

do

is

by you any
breakage.
as
possible

sudden

be

great varieties of silver-covered

in tone as any twopenny
copper

are

one;

case

or

necessary

Keep

you.
of

always

string

weeks.

"gritty";

best

by

it is not

disagreeably. A rattling Fourth

may
it
off
the
violin
and
by taking
lettingit

cured

few

coarse

and

rattle

be

for

rest

should

this

as

on,

that

them

string,in

use

you

String.

long

so

of

keep

to

put

Fourth

strings last

Fourth

when

as

PLAYERS.

grit

the

it,and

"

there

when

tone

should

running

certainly difl'ers
reason

has whole

it,but

that

that

when

strings
"

tone
sweet

as

little difference

as

to the

on

character

from

and

passages

Fourth

possiblein

as

string. The
others, and

the

Fourth
for

that

pieces speciallyarranged

for

has

nothing to do with "grit." My meaning is,

fourth
is played upon
both
third
and
passage

such

the

as

Fourth

the

on

in

be

on

Beriot's

De
be

that

it is defective

allow

a
passage
difference
to strike

the

the

be

must
pressure
from
the bridge, to

art

to

with

Even

ear.

diminished,

the

or

Fifth

soft and

as

part of the third, and

any

such

Adagio in
string should

Air

smooth

while

the
and

performing
appreciable

any
soft-toned

bow

"

Fourth,
further

taken

To jar, or rasp,
accomplish that result.
or
bite,"on the Fourth
string at any time is vile,and quite
Fourth
string being
unpardonable with
string. The
any
"

more

difficult

wheedled

and

especiallywith
the

violin

(See The

"

and
be coaxed
get into vibration, should
Most
caressed, not torn at tooth and nail.

to

this

shall

Violin:

string
seem

How

to

should

the

breathe

to Master

bow
the

it,page

be

so

handled

first tone

48.)

And

it

that

gives."

should

one

HINTS

34

given, Avill
I'esembles

tlie violin

relieye

The

account.

sure

Rosin

appendix to

found

excellent

an

rosin,however, great
of the

hair.

the

from

the

sea, where

the

which

preparing violin
the slightestoverheating

heavy

collect

to

apt

at

of the

pressure

the

tone, and

harsh

will

In

fine rosin.

gives a

if,there

hard

rosin

flies too

the

bow

side

soon

of the

give a grating

only remedy being to scrape ott

back of a penlvuife.Rosin too soft,

the

localities near
the
sticky; and there are some
air is heavilyimpregnated with saline particles,

perfect distraction

in which

they

render

violin

the

to

the best

that
It follows,
therefore,

less.

to Master

is necessary,
as
in melting will render

with

and

gets greasy

manner

Hoio

care

It is also

accumulation

are

Violin

unbearable, the

almost

tone

that

on

Playing.

Solo

recipefor

rosin

under

strings,and

anxiety

somewhftt

for

The

mixture
Hard

brittle.

and

all

polished steel,and
to a pair of
pocket scissors wedded
teeth fitinto each other closelyto the very
grip. The priceis Is. 8d.,post free.

serrated

Fine

be

player of

of neat

point,and give a

In the

PLATERS.

is of

contrivance

pair

pliers. The

VIOLIN

TO

the

the

player,from

of rosin

and
stick}'

i;se-

rosin will neither

same

suit

player nor every place. For fine playing,the nearest

approach to that of which I have given the recipe are the
and
Bernard el, Paris, price 6d.,and
cakes
prepared by Gand
by Otto Schuster, which are wrapped in red leather,inside the
The latter is just crispenough, and is therefore
box, price6d.
best suited for orchestral playing. So sensitive is this material
every

that

cakes

two

no

dozen,

go over
desired

degree of
latelybeen

have

cleanly form
bobbin, with

during

the

inventors

the

of

rosin

made

to

china

seems

to

penny,

square

itself

seems

of
to

book

which

me

it
call

rosin
hair

attempts
and

handy
on

metal

slippingover
within

"Acme,"

is the

the

for

to

charge

the

costs

about

Is.
the

of

compounding

j^i'^^found

most

prepared boxes

these

rosin,which

in

the

unluckilythe ingenuity
entirely
expended upon the case

should

and

the

of

to

; but

rosin, whereas

the

rosin

placing the

as

be

A number

violin

put up

such

study. The price of all

proportion to the cost,
small

same

fineness be discovered.

miniature

of the

holder

the

by

even

might be necessary
maker, before one of
it

high edges to prevent

application,or like the

of

or

alike,and

ever

for use,

boards

are

or

is out
Is. 6d.
twentieth

in disguise.For
simplyi-obbery

of

all

for

of

few pence

HINTS

rosin to last

enough
I have

TO

given,

VIOLIN

lifetime

of the

use

orchestral

works

which

in

be

is to

mute

35

prepared,by

to overheat

not

Violin

Improved
The

be

may

being taken

care

PLAYERS.

rccipo

the mixture.

Mute.
all but

deprecatedin

the

the

those

effect is demanded.

sourdine

however, must have a mute, and he may as

Every violin player,
well have the best that has been designed that made
by Messrs
"

Wm.

E. Hill ""

is

neatlymade

it

can

be

put

gives the
under

Sons, "Wardour
of

vulcanite,and
nasal

or

priceis

violin

invention

mark

not

the

are

bridge ;

that
never

sound

of the

sti'ongpressure

This

its recommendations

noisclessl}'
; does

on

burring

or
legitimate,

Street,London.

peculiar to all other mutes

bow, and altogethergives a more

like,tone, than

the old metal

mute.

The

Is.

V.

CHAPTER

of

Most
mankind

"

the

old

rare

Violin.

the

Adjusting

violins

are

like

the

sensitive,"cranky," irritable.

easily;get out of
altogetherat times.

order

giftedof

more

They

take

offence

without

rebel
apparent cause;
any
will refuse to except any change of

One

and
will stick to the point
sound-post,
tillit conquers.
the Guarnerius,will resent
Others,particularly
neglect by becoming hoarse- voiced, and will only allow the
and malady to thaw
under
resentment
diligent
practice. Even

bridge or

with

every

alteration

of

attention, and

with

no

important

alteration

in the

adjustment,they will at times take a fit of the dumps, and

scarcelyallow themselves to be coaxed back into good humour.
the putting on
of a new
Very often they will resent even
reconciled
string,and become
only after a day or two's hard
playing. The best cure for these fits is to take no notice of
them
play away as usual,and let the freak evaporate. The
the master^'felt.
plaj'ershould always be master, and make
alteration in the adjustment is all that is
Very often a trifling
"

wanted

to effect

only comes
are
requisites

marvellous

after many
a

sharp

years
ear,

cure.

to the

Skill in
violin

and
patience,

adjustinga

violin

The

chief

player.

certain

neat-handed-

HINTS

33

wliicli

ncss

TO

inborn

is

violin

adjustinga

with

many.
be made
not

should

tired,and

becomes

less sensible

"

otlicr three

the

"

and
finger-board,
the thin
notice

may

worn

or

in the

these

violin

rule

the

as

eai-

effected in the

be extended
it may
re-settingof the neck and
maker

C'larles

Avhat

Picade

portionsof the back

order given above.

The
No

time,

violin

bass-bar, the

lining,or

at

in

changes
player is concerned, is
bridge,the sound-post,and the

as
Adjustment so
to tlu-ce things the
strings;but by the aid of a

limited

experiments

Many

to the

the

far

tone.

to

PLAYERS.

VIOLIN

or

calls"sandwiching,"
We

breast.

Bridge.

given for tlic shape or thickness of the

decide for the player vhat
bridge. Experiment alone can
kind of bridge suits his violin and
suits him.
Some
bridges
are

made

be

can

the

with
and

feet thick

and

wide

apart, others

with

the

together. The general rule as to the

width
of the feet is that it is governed by the positionof the
sound-post and bass-bar,the back edge of the centre of the
right foot of the bridge to be immediatelyin front of the front
edge of the sound-post; and the left foot to be immediately
feet of the bridge
the centre
of the bass-bar.
The
above
should
always be sloped, and fitted to the bulge on the breast
the ends of the sound-post are
of the violin,as carefully
as

feet small

fitted to

the

violins the

closer

slopesof

breast

and

breast

back

forward

is indented

inside.

old
In many
direction of the

in the

in
pull of the stringsthrough the carelessness of former owners
such
the
In
if
not
a
a
keeping
bridge perpendicular.
case,
from
it
the
came
bridge were
straight-footed
put on just as
forward.
would
tend
The feet must
it
to
maker,
always
hang
be slopedto fit the indentation, by being ground down
behind
be adjustedto the bulge on the breast
Avith a file. They must
the breast equally with every part of
to press on
as
a^so, so
the feet while standing perpendicular,llough or unpolished
stringstend to pull the bridge forward, and it is advisable to
witli the left hand
while
hold
the top of the bridge back
It saves
rough string for the first time.
screwing up a new

prevents accidents.

trouble

and

ought

to have

and
may

be

bridge of

sound-postof
made

more

soft

violin which

wood, and rather

pine. A violin which

soft

brilliant

by putting on

is hard

in tone

thin than

thick,

is soft in tone

bridge of

hard

inXTS

FLA

VIOLIN

TO

37

YE/!S.

inserting a sound-postof hard i)ino. If one string

two
or
stringsbe thick and unwieldy in tune, tlie defect may
modified
be removed
or
by thinning the bridge at that side
If the build of the violin be high,
with a file or emery
paper.
wood, and

and

towards

outwards,

the

probably be hard,
of

compensation.

the

edges

in

may

"

tone

be

often

strings,keeping

the

and

thin

putting on

instead

of

violin
A

will

tone

in the

tone

what

is

is

hollow

in tone

will

called,
well

as

as

entirelycured by stringing it with thiii

sound-post well back from the bridge,
and deeper bass-bar of
bridge and a new
dreadful

Thus

pine.

rounded

are

hollow, the

which

violin

treated, the former

changed into actual beauties; the loud

soft

back

is hard

which

is,deep and

that

"

and

be clear and
penetrating by way
may
modified
be
This hardness
by refitting
may
deep bass-bar of soft pine, and by stringing

strings. No
thick
strings.

"tubby"

breast

but

thin

endure

hard

with

violin

with

the

especiallyif

more

qualities are

loose tone

is compressed

well, and responds

instantly. It is a trick quite unworthy a genuine violin
player to put on a string thick in proportion to the others, to
than
its fellows, for by so
tone to a string weaker
give more
of the
strings is upset, and purt cords,
doing the balance
the fingering tf that
and fifths,
octaves
as
an
arc
impossibility,
So also is the
string is different from that on the others.
trick of leaving the bridge slightly
higher at a string which
into

clear

brilliant

which

one,

carries

"

in

is weaker

tone

practisedby
their
instniment
sliould

be

weak
is

than
dealers

These

its fellows.
in

are

high-pricedinstruments,

points, and are

bought and more

carefullyrounded

tricks

to

seldom

detected

closelytested.
the

lie of

the

larly
reguto

ceal
con-

luitil the
The

bridge
finger-board,

leaving it rather lower at the first string. This may be tested

smoothed
off,and
by putting on the bridge before it is finally
When
the
looking along the finger-boardfrom the scroll end.
shape and fit of feet and top are got, the top is to be
proper
round
smoothed
off with
fine emery
paper, being left rather
then be made
than sharp. Four
may
very slight indentations
at the
place for each string by rubbing the back of a
proper
the
knife
across
edge of the bridge. The pressure of the
with
these ; notches
a
deepen and harden
strings will soon
and
second
The
first
knife
not
so
strings
are
good.
are

gener-allykept

othei"3.

rather

closer

to

each

other

than

tho

38

HINTS

TO

The
The

rule may

PLAYERS.

VIOLIN

Sound-Post.

be

followed

with

the

sound-postas the
bridge. If the tone of the violin be hard, let the sound-post
be of soft pine, not too thick,and
not
streaky that is, not
having veins or layersof resin running through it. If the
tone be too soft,let the sound-postbe of hard pine and streaky.
same

"

Old

wood

wood.

is

best,but the

I had

rule holds

same

good, however

sound-postsent me from Russia, which

out of part of a pine table at least 200
years old.
hastened
to insert it in my
but found the tone
violin,
and

had

to take

and

it out

the old

restore

old the
was

made

eagerly
hard,

too

Hardness

one.

of

also be modified

by keeping the sound-post a littleback

foot of the bridge say a quarter of an inch behind.
Inequalityof tone may be modified,and sometimes
entirely
the
of
thus
If the
the
:
cured, by altering
position
sound-post
first and second
stringsbe weak, bring the sound-postnearer
tone

may
from the

"

"

the

hole

at that

let the

post be

wished

louder

vmder

side ; if the third and foiirth stringsbe weak,

the
be
bass-bar.
If the tone
placed nearer

all over, bring the

the right foot of the bridge

sound-post
say

"

sixtet'ath

of

an

inch

under

the

will

with

more

directly

its fi'ont

back

edge of the
will not
qiiality

edge

foot.

This

be so
give more
good.
tone, but the
Pusl ing the sound-postnearer
the bass-bar
often necessitates
the )Qaking of a new
post a slightdegree longer,as the distance
is increased between
back
and
the
breast.
Bringing it nearer
often necessitates the shortening of
right/ hole,in like manner
the post, so that the post may
fit too tightlyor bulge the
not
breast

of the violin.

bottom,
the tone

without
is

never

post should

The

the pressure

just fit easily,

top

and

of the

strings. If it be too tight,

so
good, especiallyif the violin be old and
slack,the least jerk will bring it down, and

fine ; if it be too
endless trouble will follow.
As

alreadynoticed

in The

Violin

How

to Master

it,the

ends

of the

be very
carefullysloped to fit the bulge of
post must
back and breast, and
in adjustingthese it is sometimes
necessaiy to take out the tail-piece
peg at the head of the violin,and
look into the violin in a strong light,to see that these ends fit
closelyall over their end surfaces,and also to ascertain if the
post stands perfectlyperpendicular.
The

sound-post

is the

"tormenting little demon

most

in the

irritating,
cranky,delightful,
whole

violin.

Sometimes

the

HINTS

rightspot for

it may
houi-s of

at others

VIOLIN

TO

PL

A YERS.

be hit upon in a moment,

sweating and excitement,
have

agonisingsuspense
result is attained.

by inspiration;
patient toil,and

as

the

before

expended

desired

adjusting,the post may bo

back
moved
forward
without
or
slackening the strings,by
spoon,
tapping it gently,top and bottom, with the handle of a tabledrawn
left with
the hooked
end of the
to right or
or
How
to make
a
sound-postsetter.
siniplesound-post setter, I
have

In

be

to

39

testing and

alreadydescribed

it.

The

that

of the

other

of the

with

set

violin,lest the

pencil round

or

pen
tlic back

readjustment,in

of the

IIuiv

the

blaster

to

grain crossing

should

one

of

case

In the

of raised

maker

not

Italian

and

bass-bars

of the

other

indent

the

that

size,or

monomaniacs
who

once,

by

tone

at the
to

The

ought

to

that

left foot of the

hint

darkly at

As

at

could
so

arms'

as

make

player

the

to

violin

run

any
from

to the

crescent

practise,but

imagination

which

flourishes

new
a
or

These
one

superiorin

the usual

place

oppositecorner,
I have

; and
method

moon

old

shape
I met

length.

mysterious sj'stem or

some

discovered,and
reveal.

like

bass-bar

generallyhas

with

finger-board. Another

shapes the bass-bar

ments
require-

"-ay. All the

of celebrity
have had

bridge across

the

modem

positionof the bass-bar.

kept

he

the

to

in connection

placingthe bass-bar

pass

or

be

matter.

easy

violin maker

amateur

length,or

or

who

have

by

the

little to

makers

is often

declared

under

on

sound-post

precaution makes

the
high shifting,
this point,as. a mere

violin,I have

craze

thickness

but

of the

"

violin
and

pitch

violins

inserted.

and

craze,

old

important part ;

plays an

That

Bass-Bar.

an

concert

end

accident, an

an

of

adjustment

the

violin.

The

of

Violin

that, I think, is putting too fine a point on adjustment.

When
the right spot is discovered,
it sliould be marked

touching

as

The

; but

by drawing

and

of

is sometimes

sound-post
breast

at p. 32

heard

so

of,

who
othei"s,
which

they

to speak
they
as
stronglyamong

refuse

violin

the patrons of quack medicines,these

playersas among
have
testimonials
men
generally numerous
certifyingthe
of tlieir labours.
perfectsuccess
They are generallychock-full
of theories
but
of

as

in violin

theory.

violins have

to sound

making
The
now

an

best
fixed

waves,

tones,

centres

practicalskill
and
professionalmakers
ounce

rules

of

of

upon

which

ic. ;
vil)ration,
is worth

they

ton

repairers of
work

in the

40

HINTS

of bass-bars

adjustment

if the violin be
of

amateur,

full of brand

valuable

one

bass-bars

cranky
the

wretched

thing

old

neck

and

there

If the

in tone

make

to

an

be not

violin

coarse

never

than

all the

"

than

it other

of

the old scroll.

bass-bar

new

in

really

generallythe setting back

of the

allow

of the

the

on

breast

and

easilycommanded
the
No

insertion

of

reallyskilled

by
a

the left hand.

neck

new

neatly
would

violin maker

told of a violin
been
of any other method
; but I have
who
in Aberdeen
adopted the brutal expedientof sawing

dream
maker
a

is

pressure

high positionsbeing more

This is generallydone by

joinedto

these, rather

Finger-Board.

insertion

the

to increase

violin ; and
the
safest to entrust
of the

it is.

the

violin

will

world

Neck

Accompanying

always
of

one

theories.

new

the

in

Tha

valuable

to

is,if it be poor and

that

"

it is

one,

bass-bar

new

PLAYERS.

models
particular

to

valuable

insertion

VIOLIN

TO

neck, slopingdownwards

slit in the

at which
finger-boai'd

then

when

the

wood

covered

That

man

cut

with

It must

have

it is joinedto

was

been

part under the

the body of the violin,and

he then

descended
a

that

deep enough, hammering

glue,which

have

must

from

relation

from
or

dressed
the

ancestor

in

wedge

of

oft'and varnished.

Goths

and

of this

Vandals.

maker

who

cheap expedientof raisingthe finger-boardby

inserting\inder it a thin wedge of wood, without settingback
of a higher bridge,
which
the neck at all. This allows the use
tone, though at the expense of the quality;
always gives more
the high positions.
but it increases the difficulty
of commanding
It also makes
the violin more
heavy upon strings.
discovered

the

Sandwiching.
expedients in the renovatingof old
than that of sandwiching. Very often in
is worse
violins,none
pla3'edupon, while admiring the
hearing a genuine Cremona
rich qualityof the tone, a suspicion creeps upon
the listener
On a particularstring or
dares to express.
which
he seldom
than
the tone
a little husky, as
one
seems
possiblyon more
if a hair were
fizzingagainst the stringor along with it. It is
But

of

all barbarous

"

"

but

seldom

of the

that

defect.

critic is

"

"

the

prejudicedowner

It is all

acute."
finically

will admit

imagination,"he
But

if the

will

existence

the existence

declare,or
of the

the

huski-

The

Tlii!-(",
i.sa

Pegs.

great dilTcrcnco iu the attitudes

shows

one

with

the

till!strings

witliout

tuned

tlie pegs so locked

that all four may
I liave
method
The

tlio pegs, the other with

that tlieynever
slip,and
lateral
33

pressure.
of The
Violi/i: How

already explained
page
M(!ssrs.
Is.
:
(price
J"](linburgli
at

IJridgi!).
Very
"work

very

lino

smoothly,
had

be

fingers,may

pegs
and
of

of
aro

those

over

of

Kohler

"fe Son, 11

North

dark

brown

rosewood,

which

comfortable
deli;;htfully

Messrs.

an

inch

easilywith
that
i"eg

The

ebony.
of

which

from

the

distance

hole

Jlill ",

in the
the

string.
a

sticks

new

in

smoothly by aj^iplyinga

it

to Masler

E.

2s. pcT set.

Street, London, ])ric(;
work
boxwood, dyed black, which

lock

the

"

The
vulgar, tlio oilier graceful and easy.
having the strings proplaycn-tuning without
perly

adjusted on

over

liore shown

i.sclumsy and

one

bo

PL A VERS.

VIOLIN

TO

HINTS

42

side

Next

to

well

ami

peg
of

When

hole

must

of

these
do

should

be

not

or

be

made
and

pegs of
split like
lie much

it will

worked

drilled

may
chalk

aro

the

Bond

New

never

tlio box
it has

its socket
mixture

Sons, 38

to

in
in

the
to

black

not

much
peg.
work

lead.

HINTS

TO

VIOLIN

A YERS.

PL

Jerking of the pegs is caused by the socket

all round.
not
fittingsinootiily
peg itself,
smooth

the socket

out

with

old peg, and then work

at tho
peg and socket
and

smooth

in

parts

will

save

will at

get

strongest fingerscannot

move

help of a pair
in studyingto

of

pliers.

allow

or

tho

is
rcnieily

to

surface

little attention

and

glossy
patieuco

Tarner.

Peg

times

show

contact

The

peg,

of irritation.

years

The
peg

peg

in

of the

au
paj)er glued round
witli black lead till both

emery

new

glass all round.

as

in this matter

lino

43

locked

so

This

in its socket

it back

without

forward

or

usuallyarises

that

tho

tho

carelessness

from

only as

coils of the stringto circle

many
A very
the peg inside the box as to lock it convenientlylirm.
has
been
invented
ingenious and neat contrivance
by Mr

George Withers, 51 St
which
is given below.
The
a

admits

soft

broad

violin

rcsendjh

engraving

an

viu]oncello

peg,

of

but has

head,

of the

head
with

peg, which

leverage thus lent

easilymoved, however

extra

be

can

tightlylocked.
lady playerswith

Aveak

this peg
2s.,is made

costs

and

Children

will find

the

Lane, London,

leather,wliicii

whole

the

of tho

the

in

lined with

the

somewhat

invention

hollow

Martin's

fingers
The
invention,wliich
a
great boon.
of ebony, with a strong ierule of brass round
of any musicseller,or direct from
be had
turner

head, :.nd may

the inventor.

VI.

CHAPTER

man's

But
violin.
that
There

Take

may
are

life is too
out

appear,
many

requisitetone

practice. One

Violin

youh

to

be

and

it is well

but
who

short

New.

and

Violins, Old

play

worth

fondlyimagine

l)y otlier
of these

means

is

all

than

that
hard

spent

in

adjustinga

strange advice
being put in cajjitals.
it.

they
work

can

and

tho
acipiire
persistent

44

HINTS

TO

The
Tho
amiable

and

fortune

Derazy,

describe

by recallingan

of my acquaintance. He
violin made
by a Frenchman

modern

best

can

amateur

earnest

to possess

Adjuster.

adjustingcraze

PLAYERS.

VIOLIN

pretty-lookinginstrument,
colour,shading off into a kind of pink.
It

was

orange
the first and

second

world.

He

scratch
him

on

its

to

and

poor
value
it

owner

did not

simplylove

its clear

surface,I

of

that

to the owner.
consequences
than
to more
triflingwith

satisfied with

the

the

his

violin

went

on,

fourth

was

about

best

have

He

was

spend

hours

upon
time
was

whole

boxes

and

or
throiigh,

of them

soft,hard, broad,narrow,

"

flat,thin, thick, seasoned

and

which

could

he told

had

never

the

on

He

to

by

hard

only come

had

since have

you
found

are

vainlyseeking in

the

work

in your
instead
of

noticed

that

his

do

little

played

on,

own

On

mechanism

on

One

end

wear

play
the

at

morning,

and

far into
"

help saying, Ah,

which

the

fingers.

you."

"

to

not

devoted
to adjustingyour
years
practice,what a grand playeryou would
which

Strings

time

not

playing.

many

tone

tried

had

get by

could
hours

violin.

"

demerits

to

sat for six hours

spent all the

but

He

high,

unseasoned

long enough

on

face.

having
the night adjusting his violin,I
had

one

wanted

of

me

in the

adjustablespot

flat

even

stringsthrough.

if you

in

"

every kind, and every

he tried all kinds, and

when

quite

hours

"

tone

the

caused

never

fitted in every
all their merits
and
with
and
way,
written upon
them
in shorthand.
Sound-posts he

the

in

bodily" I tremble for the

playingseldom amounted

violin.

would

the

no
luireadjusting.Six hours at a
stretch for him to closely
in this task, and this
engage
not for weeks, but always. Bridges he tried evei-y

kind; had
low, round

it

on

own

adjustingand
common

tone

skin ; and had

its ribs been staved in or

on

up
his

Yet

tone, and

the

convinced,would

am

burned

been

bright

violin,he worshipped it. A

"

instrument

shallow

"

than a real scratch

agony
had
mishap befallen the violin
whole

named

The

pricelessthe

was

more

any
the

the

good, though small, hai'd,and

stringswas

clear ; that of the third was

hard
and
wiry. The market

"3, 10s., but

of

had

have
for so
you
violin in good hard

now

have

been

violin,you would
You

another

want

The

long

the violin to

occasion, when

strings were
always i-ound in the face as
would
he asked, what
be the advantage

havincr the strino;

worn

flat with

the

friction of the bow

if
of

and

rLAYERS.

VIOLIN

TO

HINTS

45

surface
being told that the tone was fuller and better,as more
was
presentedto the hair of the bow, he eagerh-juuii)cdat the
idea by saying, Tlien perhaps I had better rub down
the fiico
of the stringswith sand-paper !" Mechanism
adjusting anything
"

"

I gave him u]) in desjiair. No

attention
and time in adjusting,
and

but

i)laying. Of
worthy so much

violin is
still less

Do

Take

possessionof
after

course,

violin.

new

you.
reasonable

"

let the

not

out

adjustingcraze

Violin

vour

and

take

play

If

it.

expenditure of time and pains in adjusting

the bridge,sound-post,and
still cannot
rest with
strings,
you
sell it" exchange it
be done with it.
your violin,get rid of it
As the editor once
advised,in regard to a horse which took fits,
a

"

*'

him

Take

him

to

at

and

thingunknown,
the notice

escape

Speaking
thick, and
of them

those

part with
have

Your

play upon
coollyspeak of
notions

while.
and

My

only a

and

weak

so.

and
have

trained

to

you

"

the

distinguishthe

violin

player; and
will often pleaseas
Strad.

others

flyto

this fact console

It all

solo
well

violin,and

ears

find

niceties

playedupon
as

bear
of

not

common

as

are

let it

to

rather

Rather

of tone
a

little

as

have

are

those

German

it

the ills
And

ordinarylisteners

been

taste

find,nevertheless,

know

you

of

if it had

to your

and

is its mission.

it, and

thready.

little

necessity,

strings,be content

you

that

of

suited

That

upon the player.

arts of a good solo

depends

of all the gi'aces and

as

and

virtue

happiness

violin.

your
certain

thick

than

pure
than

as

than

settles these

soon

will

another, wlio
abuse
it,and

of it at best for

more

much

of the

poor on
the tone

or

another

get

with

part

Take

loan

not

You

certain

of

no

claspshis
!

more

praise and
Death

Have

he

as

hands

make
Avell,
therefore,

requirements.
as
possibleout

remain

nothing

violin."

have

Get

If you cannot
that it is weak

is

eagerly

I could

Oh,

Nonsense

heart.

string it,and

; you

say,

be in the

scon

"

as

may as
Avith it now,

one

"

box

every

violins.

violin.

some

his

got all sizes,thin,

with

same

there

irritation

\o\\

is the

soon

it,and
it

always sold out

one
player,were

selling
your

will

You

part

and

it

violin

he

suit

not

faultyviolin to

will

absurd

It

about

part with

to

that.

did

that

it," I fancy I hear

and

fault may
altogether
actual beauty.
an
appear

to you

appears

I learned

which

then

compunction
beloved

another.

bought by

got a fit,and sell

in violins,as in wives, is a
not

another,or may
dealer in strings,
who

medium,

"

he has

Perfection

what

of

to

once

when

time

some

stranger."

"

let
not

of

fiddle

"700
a
upon
If lie hns full command

played

player,and

is familinr

45

"with the

HINTS

TO

instrument

upon

which

will think

only of

the

player

be

to them

as

the best

good

as

Frauds
There
of

some

at

are

from

is

for

kind, and I am
present hundreds

"40

to "200

woi'th

The

his power.
Cremona
ever

of

audience
violin will

made.

Experienced.
existence

which

exaggerating when
genuine old Italian

not

are

not,

far

so

as

old violin"

that

has

faults

not

I say that there

violins sellingat
the tone

is

cerned,
con-

high time
rusty old
fossils sank to their real value, and
that violin playersabove
all ceased
to sigh for their possession. It will be a boon
to
the world
when
dust.
crumble
into
In
they
selling these
instruments
all.
it is not
of
It is the
at
tone
a
question
"market
value" that rules the price. In plainerwords, "the
rare

each.

playing,the

he is

the

each, which

"5

YERS.

and

violin in

scarcelya

FLA

VIOLIN

It is

is worth

whatever

can

you

these

get for it.

old violin in every fiftysold as genuine Cremonas, with

guarantees by so-called experts, is a Cremona.
Many

copies,good in themselves,and now

ai'e
instraments; many
by other
reputation,doctored, altered,and
violins
have

of Stradivarius

and

that
spurioustickets,

nearlyequal
Italian

makers

reticketed.

to

of

Many

Not

one

written
are

old

the

real

inferior
of

the

Guarnerius, imdoubtedly genuine,

is

as

certain

as

that the instruments

without
the
genuine. These violins speak for themselves
in
to remain
to be allowed
too valuable
tickets,which were
less run
them, and have gone into instruments
by makers
ticket is undoubtedly genuine, be
a
Therefore, when
upon.
suspiciousof the genuineness of the violin. Separating
very
ticket and violin is creating two Cremonas
out of one, turning
are

"300

into

back, and

"600.

If the cheat

apportion the

can

ribs and

separate breast
these, and
among

also

neck

and
mix

out of
them, he gets three Cremonas
hundreds
of times, and
the frauds
has been
done
That
one.
command
in the face, and
stare
us
high prices,gravely
Fashion
rules in violins
guaranteedby (highlypaid)experts.

up

another

old violin with

of
other
collectingcraze, and the instruments
every
and
Antonius
Stradivarivis
being most
Guiseppe Guarnerius
as

run

in

upon,

are

fabricated

makers.

probably be

dear, so

A
far

on

every

hand

out

of those

therefore,at

"80

Guarnerws,
is concerned, at "5.
tone
as

of

temporary
con-

would
In

the

by these peerlessmakers the letters on the

if the stamp
tickets are so coarsely
as
executed, that it seems
had
been roughly engraved on wood; the spurioustickets are
real

instruments

HINTS

PLAYFAIS.

VIOLIN

TO

il

mostly printed from clean cut tyjic on dingy coloured ]ifipcr,

a
good paying fraud is being attemptc(l the
though when
cheat will even
block to exactlyimitate the original.
a
engrave
The

genuine Stainer

tickets

printed;the spuriousStainer
types.

giiarantce from

guinea, and

is often

tiling"which

only

present in

tickets

be

cannot

these

who

the

bridge. The
ff holes, and

tester

of the

looks

clearer

and

more

only at

the

of

of

the

thickness

applying

instrument

with

the

colour,bearing the
hold of

name

and

stuck

cheaply,nev/

auction

in

of

which

rooms.

into

old,and

or

Some

and

Panorma,
them

had

of James

violin

Avithin

paper
others

not

ago
a

spell

Edinburgh,
pale brown

he

sold for

Hardie's

be

of the makers

violin

any
them

will

in
of

his

will

fifteen years
used to be

located

the

measuring

be

instrument

About

time.

the

at

doctored

thus

responsive,but

shown

should

musician, bearing name

professional
to conjureby in regai'dto circuses,being
of tickets printedon
got a great number
upon,

at

immediatelyxinder

instrument

an

biit deteriorate

run

maker

it is new,
hard, and woody.
be
softened
somewliat
by

less

is

is the

tone

instrument
in
any
and Bcrf/onzis
betraj-s

Lvpots

breast

dreams

if such
tone

improve

wood

never

The

least

at

The

There

imitate

can

qualities may

thinning down

reach.

costs

England

callipers,even

Avritten,not

mostly printedfrom

farthing.

"

even

been

expert

imitated.

but the tone

of his
appearance,
the fraud
to the practisedear
But

have
are

London

worth

not

to

seem

coidd

get

good prices

violins

thus

were

be worth
more
doctored, and curiouslyenough Avould now
the
maker's
than
then
with
the
name
bearing
they brought
fraudulent

Bergonzi

ticket.
"

violin must

The

most

beyond

all

Bond
also

Street,
be had, for

all instruments
Mr.

J.

London,
sum
name

; and
and

M.

and
all

of Chanot

and

the

"

Carlo

are

An

fee

of five

violin
may
any
under
the following
shillings,

opinion

on

be

arranged,
be addressed, carraige paid,
submitted
must
Fleming, 29 Frampton Park Eoad, Ilackney,
for above
be accompanied by a postal order

"As

"

case

yet be fresh in the minds of readers.

in this country,
experts and dealers
Wm.
E. Hill " Sons, 38 New
Messrs.

reliable

doubt,

fomous

Lomlon.

conditions:

to

The

cases

address

personal interview^s

nf)

or

on

boxes
a

must

have

can

inside

separate label, in

attacLing to, or pasting on, the outside

for the return
journey. No package will
is not carriagepaid. A stamped addressed

the
form

of the

for

be

sender's
suitable

pa
received

"kag(;
if it

envelope to

be

48

IIIiVTS

with

along

sent

the

VIOLIN-

skilled, but

whose

privatefriends and
and

FLA

postal order."
such

gentlemen amateurs,

many
as

TO

Outside
the

as

services

of those

Rev.

there

quite
through

available

it otherwise, the

were

thrown

are

l\lr Hawies,

only

are

acquaintances;

labour

YERS.

them

woidd

spondence
corre-

be

quite
upon
of
human
The
beyond
or
sum
cation
applibeing.
power
any
of all this is
become
Look
own
at,
expert.
your
and
the
o
f
make
and
varnish
and
peculiarities
closelystudy
the

"

of every old violin upon

which
can
lay your hands.
you
done yon
will probably judge your violin more
by the
than
With
a
by any other characteristic.
genuine violin

tone

When
tone

playerthe
alone

maker's

ought

be

to

ought

name

his

of value

criterion

and

The
high-pricedviolin miist
powers.
in the dealer's saloon,but at home, and in

ing

both

powers

of

intending buyer and

compared and contrasted
diligently
granted that
prefera good

for

solo

old violin

though

here

He
so

declares

constructed

they receive
buyers

in the

wisdom.

No

their

he
the

be

gets

world

A'iolin that

have

ever

was

also poor
are
instruments

own

be counted

they must
quality. Counting

required to make
amount

leaves
above

good

the

violin

that

sum

be cured,
proarisen who

can

"75

as

any
in existence.

for
as

that

made

new

violin,

to the

prices

If this last

reserve.

great deal

there
more

is worth

altogetherin

time,

skill,and
is

margin

of

cost

violin

are

money

than

"75.

As

judges of tone, and can

to get the best
so
as
out

maker

with
'cello,

or

of makers

violin,"20

handsome

that

one

acceptedwith great
who

therefore

violin,and

taking it for
player would
always
am

prophets have
is in Germany

high

statements

only

not

the best Cremona

as

its carrj'-

be tested

correct, it only proves

rule violin makers

Any

There

make

can

that

must

be

of that

new

opinion.

; but

statement

adjust

there

qualityof tone, equal to

also

both.

to

the
purposes
to the best new

and

a
contrary
express
who
that he
asserts

desired

known

are

and

large and heated

an
obligingfriend,being
the
against other violins,

the

which

tone

worth, and in
mellowness, its

judging that it is necessary to consider its

body, its purity,its ready response to the bow,

hall,by

the

weigh as nothing ;

to

an

seldom

results,
estimate

of material

high pricefor
profitto

the

new

maker.

or
any violin is artificial,
the rarityof the instruments, the

paid for

acquired value, arisingfrom

demand
for their possessionby collectors,or the mellowness
One
need
imparted by their great ago.
only take the best
violin that can
be made
into a largeorchestra,
to discover
new

HINTS

50

There

is

the

as

models

best

does

not

mean

clean

cut

and

which

PLAYERS.

VIOLIN

in violin-making;
principle

new

no

departure from
are

TO

chief

of the

like

another

one

there

no

violins

stamped

biscuits

as

is

makers

Cremona

Collin-Mezin

inferiority.These
as

and

dingy hue, and rather

thin and watery-looking,
a paintedlook.
giving the instruments
differ but slightly
in tone, and
They are generally roarers
and to hear one
in quality,
tuned
suddenly is enough to make
Tastes
with a sensitive car almost jump ott"his chair.
any one
differ ; but, for my
own
part, I should preferto play upon a
50s. German
fiddle,
carefullypicked out of a dozen or two, to
-with

out

mould.

The

varnish

the
is

violins
of

taste

in the

good, and
Collin-Mezin

"5,

5s. with

to

either

sum

as

to

the

the

finer

back

mellow

They

and

France

or

of the

ear

young

he

will

probablybe

CHAPTER

for

Frauds

notice

the

class

denselystupidand
little of the

In many

of the

regularlyseen,

times
some-

that

than

of

plain,and

"5

at

is

cheat

is

him

almost
he

When

able not

to go

any

has

strument
in-

played
guish
distin-

only to

to draw

the

good

deceive

only

out

one.

VII.

Inexperienced.

of frauds

which

can

inexperienced,

in their

or

own

worse,

those

who

nature.

papers small advertisements

after the folloAving
:

leading

modelled

need

no

much

appreciate the difference,and

qualitiesof an old violin,but to pay for
There
is a providencein all things.

have

seen.

less to pay such a

playeris not very sensible

for one,

and

now

soft

sell

qualitiesof tone ; and for

or
old,is good enough.

twenty years,

I may
the most

the tone

; but

portraiton the back.

be wanted, however, there

The

new

for

I have

that

oil

Germany

"75.

of the

instruments.

violin

new

middle

more
certainly

the

violins

another

in oil colour

If

Collin-Mezin

Lowendall, "whose
maker, German, named
to me
seem
preferable. The varnish is made to imitate
with very questionable
the old makers, and
sometimes
portraitof one of the celebrated violin playersis painted

There

that

of these

best

"

"

using

is of

"

may

be

HINTS

TO

PLA

VIOLIN

YERS.

61

Sale.
IJieli Solo Tone, appears to be very old, after and
Violin
for
labelled "Antonius
Stradivarius,faciebat Creniona, A. D. 17'21." Splendid
"

instrument, and in perfectpreservation. Suit Young Ladj'or Professor.

With
good Bow, Case, and Sell'-Tutor,
only 25s. Sent on ai)proval.
To

these

Something

generallyappended a privateaddress,with

are
"

for the

leading bait, as if
unjjrotectedwidow, whom

ignorant,and
cheat,and

who

know

can

article she is

the

seller

Avero

it would

be

more

poor,

easy to
value of the

nothingof the enormous

sell so cheaply. Sometimes

willingto
takes a higher tone, and invests
after the followingstyle:

Mrs

"

the

tiser
adver-

in his advertisement,

money

"

immediate
disposal,owing to death of my great-grandmother,a
Solo Violin.
It is labelled after "Joseph Guarnerius
[a long way].

For

Grand

Fecit Cremona,

Hare

1725."

anno

handsome

antique-lookingorchestral

instrument; thorough preservation,

exquisiterich powerfultone; suitable
for professional,
with
snakewood
bow, resin,instruction
book, and niagbrass-mounted
Sacrilicc whole
uiiiceut
lot for 15s. 6d.,
lock-up case.
carriagepaid anywhere ; been valued at "4, 4s. Inspectioninvited,or
write early and secure
this genuine bargain.
It is of small
take

Avhat

moment

the

form

the

is the

advertisement

may

The

same.
"bargain"
"lock-ujjcase, resin,
from
the
be
thought,
might
persistencewith
which
they appear, to be enough to damn the whole thing,but
the trade goes on
The
novice
no
as
as
ever.
flourishingly
who
if he get anythingback
sends his money
to these dealers
will probablyreceive in return
3s. 6d., a
at all
a fiddle worth
worth
case
4s;,and a bow worth Is. The fiddles are made by
the gross, like penny
rare
antique appearance
pies,and the
be
done
with
white
to
seems
paint sputteredfrom the end of a
well-filled brush, to take the place of the powdering of resin
"

and

instructor"

"

"

"

"

"

about
victim

or

wishing
the

breast.

One

scarcely knows

whether

pronounce

him

rightlyserved.

It is

the

skin

to

of

trap

tender

were
simple sj)ider,

more

and

as

spider,

one

draw

to

juicj'-looking
fly,and

pity the

to

if

over

then

him

self
place him-

Come
temptinglyin sightof the other, as much as to say
and eat me."
The
simple spider thinks he is about to do a
clever thing,accepts the "sacrifice,"and
gets eaten up; but
who
observe,they are both spiders. The man
expects to get
"

"

such

list of articles

15s. 6d. is

nothing

if he

complain
experience.
who

at

can

widow,

or

gets

As

will
of

an

as

that

offered

in

the

last

in disguise,and
rogue
but
nothing for his money

but

for the other

draw

over

spider
"

him

the

specimen
can

for

scarcely
valuable

some

the offerer of the

bargain,
ignorant
.

skin

of

a
poor
musician
experiencedprofessional
"

he

must

52

HINTS

often

be

dead
and

pressedby

here

would
He

donkey.

of their cost, as
of money.
want
the

to

tradesman,
them.

used

the

front

the

match

to

is

wish

order
The

letters

of
be

might

he

has, like

turned

his

fine

friend

fourth

of

sensible

attention

old

to

and

violin

mine, wishing to
this

sound-post,thought

protest

about

of

were,

filled with

sameness

the

an

buy

to

but

examples;

such

them

never

course,

all.

instrument

heavier

through
violin

works

cheap violin,go to the best dealer in

neighbourhood, who will generallygive full value, and

exchange
grown

wretched

of

cheap violin,and sent the money.

sixpennyone painted red, with bow

common

wonderful

If you

your

the
; and
A book

answered.
there

was

and

the

with

demn
con-

all of us, tremendouslyin

widow
then.
Violins have

advertised

for 7s. Gd.

to

the life out

be sacrificed at

and

times

him

some

fiddle

like

however,

experiments
good chance of getting a
The

trying
in pianos,"with

always a

of

bow

to kick

was,

now,

customers, that

always to

were

was

one

silver-mounted

like

to deal

with

gone

PLAYERS.

his wrathful

owner

He

Lately

make

be

which

stickynotes,

come

VIOLIN

hard

so

him

TO

or

your

for
taste

better

more

advertisement, insist
sending the money,
days later,so that you

ten

is an
newspaper
transactions, and if the system
of that

managers
the buyer

can

advertisements
can

sale column

for

system above

of

the

it

office

post

recall.

to

for

such

deposit adopted by the

is almost impossiblethat
is also

paper

violins,and

almost

buy
testing the

have
time
may
medium
excellent

paper be followed
be robbed.
That

of old

instruments

date

or

has

purse
your
If you will

exacting.
on
seeing and

before

Bazaar

when

one
any
certainlybe suited

the

best

in want

of

for

such

by watching the
bargaining according to the safe
The
is jDublishedweekly,
paper

time, and

mentioned.

price2d.,at 170 Strand, London.

Frauds
the

Though

often exercised
fraud

of

Dodd,
deceives

in frauds

in bows

as

bows

make

in violins.
with

any
sell

them

likely
but
only the inexperienced;
to

"

planned
intended

Bows.

gain is smaller,the ingenuityof

stamping cheap

"c.

in

to

and

elaborate

deceive

the

fraud

for

expex't. The

there
a

the

There
name

"

well,

cheat

Vuillaume,
and

is also

lady

as

is the small

which

the

higher stake,
same

is

fully
care-

which

friend

is

who

HINTS

deceived

was

bought

in the

bow

small

from

PLAYERS.

VIOLIN

TO

of the

matter

the

widow

of

genuine I'ourte,a

bow

makers

that

is,king of all.

that

mounted

in

Nicholas's

shop

of

bow

Anthem
The

well-known

Street, some

firm

them

rigid inspection,only excited

hard, they declared that the bow
therefore
the
leather, and that
induced

Something

her to

had

been

heel

suspect

been

dealer

Manchester

the

Followingup

Z.

home,

thus

intei'view.

I removed

as

it from

this

unsheathing
bow, Mr Z. ?

and

stammered

were

'

wife

it

excited.

asked

pieced.

I had

that

myself that
to the

late

him
he

the

heart

he

not

the

Rector, and

for the purpose

engaged
genuine
the
that
He
fine

skill

Tourte

bow

only

the lower

Tourte

which

end

and

false

hands
was

ones

for

been

had
*

at all.

an

most

it

had

been

was

so

I had

had

the

to

had

satisfied

the

bow

; that
fraud, Z

sale

thus
I

great

sold the bow

first taken

to

"

had

converted

ono

siibsequentlyplaced

was

on

told

by

au

called

to
upon
mounted
was

and
inscription Llvoflf",'
informed
afterwards
impostor again! I was
bore

was

manner

fui'tlier.

pale,

I told the

commission, stating
Tourte's,belonged to Llvoff,"fcc.

Shortlyafter
he

then

"

know

you
became

discomfiture
London

She

though

as

it tampered with

himself

Blank,

two

Chanot's

in

]\Ian-

bow, which

that

had

having

lend

of

into

sold it for "8.

Avhich

The

the

in

name

'I think

His

proceed

to

dealers

of

promptly refusing to

his

I may
took

feel

me

aware

was

guessed
employer

his

the

Tourte

"5.'

but

that

made

justice.

is not

was,

that

crimson, and

if he

not
"

of

whom

the lion in his den.

case,

worth

not

was

said

He

This

'

and

the

Tourte's.

answers,

I introduced

"

flushed

He

and

spiritedowner

bearded

its paper
the sword

out,

Rector's

and

inider

maker,

expert whom

trail,the

Chester

her way
on
describes
the

and

the

in

Pressed

was

well-known

managed to see, and from his manner

that the piecing had
been
his work,
Mr

be

to

pieced

alone

she

had

richly

was

peculiar smile.

was

experts in Wardour
the bow, which, after

London

which

"

plate indicated

buyer happened

after,and showed

time

makers

of the
composer
of the
Emperor

director

of

was

place among

same

1841," and

Mars

and

private band.
a

the

the bow

violin
occupies among
bore a gold plate,on

Llvoft",le 9

National

Russian

belief that

gold, includingthe point. The

had once
belonged to LlvofF,the

the bow

that

The

her

occupying

Stradivarius

de

"A

engraved

maker

7s. 6d.

painted fiddlo
The
for "b.
clcr;_'ym:in

in perfectinnocence, declared
seller,

53

expert of a
value, and
in
that

gold.
it

was

HINTS

54

sold for "20.

head

of

TO

When

firm of

not

called

the

the

world

for the

PLA

VIOLIN

in

YERS.

LiverpoollatelyI

dealers,Avho expressed

called

regret

the
upon
tliat I had

bow had
before,as a remarkable
passed
through their hands, an originalToiirte,gold mounted, with
He
!
an
more
once
inscriptionto Llvoff, "c.
My Towte
had sold it to a gentleman for "15, 15s.
I wonder
if I shall
hear
of it again?"
Since receiving the above
I see
account
that Mr Fleming has noticed the case
in his excellent articles
I have
often
on
Violin-Making published in the Bazaar.
wondered
what
the thoughts and
were
feelingsof Blank, the
of
the wood
across
Vandal, as he laid his fine toothed saw
that splendid wox'k of art to ruin it for ever.
had
If he
known
that he was
to be so well spittedup to the hootings of
thrown

week

outrage, I suspect the

would

saw

have

beeu

aside unused.

Another

species

of

fraud

the

on

experienced,is

that

name
practised by a certain maker, who
though his own
stands high enough, does not hesitate to stamp his bows
Avith
the
of Dodd, Panorma, d:c.,partly oblitei'ating
the
names
letters to give the appearance
of wear, and hand
these to his
worth
fetches
"2, thus
"3, 10s.
agents for sale. A bow
the
of the maker
is stamped on
or
"4, though the hand

work

much

every
from

the

than
truthfully

more

inch

of the

stick

shouting
vaniish

out

"I

heel, and

the

at

name

am

fresh

new!
"

The
scarcelydry !
bow
indeed
fetch a great deal more.
All depends on
may
the conscience
and
of the dealer,
the simplicity
of the buyer.
old
Dodd
Genuine
bows
be picked up by the dozen,
may
but

workshop

is

the

in

the

cases
many
and
balance
spring

again,however,
which

rules

! see,

of

it is not

the

my

spring
bow

old Dodd

bow

he

mounted,

and

labels it from

In

regard

to

is almost

that

the state

price,and

pattern,

It is in the
gone.
all the real value lies. Here

of

but
preservation,

whenever

simply clapsa
"3
I

modern
to

am

is

"10,

dealer

nut

on

the
hold

gets
it,silver

or

name

of

an

gold

accordingto conscience.

inclined

to

think

that

the

makers
for the
preference of the old good bow
septagon
sound
scientific
based
a
shape was
knowledge, and
upon
that
bow
a
so
shaped, all things being equal, will retain
its spring and its straightnesslonger than one
which
is round.
The
stick must
be straight as the stretched
hair, and the
downwards

strong and firm that for ordinaiyplaying

suflficient tightnessof hair is got when
the centre
of the stick
is only a quarter of an
inch from
the hair.
If that distance
curve

so

HINTS

condition

stick in that

exceeded

who

to

by

bow

should

artists

the

allow

movement

nut

may
suited

also

be

wide

enough

the

to

touched

always preferableto
tires the

thumb

It is asserted
and

I have

put right,but how

xmable

am

wood

of which

to the

be

restored

screwed

unscrewed
has

done

and

not

leave
that

to

ever

and

it

will

might

it with
two

never

heavy
and

ounces

quarters.

All

the

weight,
a
really

latter

discover

perfectly to

either

and

side.

is

that

the

stick,

the

so

to

as

The

source

the

That
say.
the stick was

of irritation

moments.

of any bow
may
of a valuable
bow

instance

long

constant

spring

spring
would

thus

be

restored,

being

recovered

thus

will last I

probably depend

made, and

upon

the

accorded

the treatment

spring by the player. The bow should never

tighter than I have indicated,and should be

playing. Many are

only screw
up the
was

about

old

fine

great artist be

from
than

the instrument

very

violin

new

three

of

must

produced with a light bow.

will generallyrequire a modem

up
tillthe hair touches

it thus

of

less

bow

be

the

one

hands
a

not

at awkward

that

known

be left

slightestyielding
the stick.
The depth of the nut must
the
size of the
player'sthumb, and
of a thin covering of leather at that part
and
is
fingers. Leather
by thumb
silver or gold thread, which
being hard

sooner,

through giving way

of

forced

was

student

to

to allow

stick

throiigh

curve

playerand

tone

; while

fitted

warp

the

bows

one,

slide

The

but

never

old

of the

ounces
use

can
an

is

last

The

forte note.

hand

weigh

the

time

nut, with
no

sudden

that

two

be

bow

good

proportion of the

plays.

vmtil

If the bow

of the

he

than

more

distance

above

ignorance of any one

spring in the stick may

The

fair

might in any
very heavy bow

great violin
and
through
powerful tone

of

bow.

the

screwing

which

real tone

yieldits
never

tlie

playing a
weight to the

in

upon
instiniment

bow.

through

it when

be suited

killed

that

really fine playing is an

up,
stick should also be so firm that no quiver

after

impossibility.The
disturbs

careful

impaired,and
Unless

lifetimes.
stick

no

the

use

become

never

many
the
m

time

any

chance

may

thus

at

is of

always be

will

screwing up,

of hair is got, tho

tiglitness
Any one possessgreat vakie.
ing
with
little
rcqnisite tightness

sufficient

gives the

which

boAV

not

before

exceeded

be much

56

PLAYERS.

VIOLIN

TO

when
made

done
could

the stick the

grosslynegligentin
bow

till it is

pla3'ing. No
outlast

the

moment

owner

this matter,

but
nearlystraight,

spring

such treatment.

in

any

bow

I give hero

56

HINTS

Mr

Fleming'srecipefor

in which
up
in
a

the

element

the restoration

is heat

the hair towards

PLA

VIOLIN

TO

the

:
"

hand, while you slowlypass

bright fire. Keej^it thus, passing
one

until the

stick becomes

inclination

or

and

cast

the

restore

Avhat that

was.

to

minutes

twenty

fire.

You

distance
from
the

reasonable

any

will

the

careful

save

not

as

arch

surface.

nor

suspend it against a

the

You

shrivel

of the

should

intensityof

the

sure

eye
that

in, leaving the

nut

Then

suspend

pass
the bow

piece

where

equallyover
anywhere while

hour

an

or

so

the hair

to expose

do not

it will remain

curve,

down

Half

not

rectified

it will cool

lay it

not

your

to make

whei'e

have

you

stick.

and

nut

wall.

it,and

Glance

nut.

the

to

When

drag the

to

also be careful

in order

your

the

to

it,and

the

by

if you
know
stick will occupy
from ten

the stick the proper

the hair and fix the

given to

quite loose,so
of stringunder
the
nothing will touch

it would

then

can

it to any
rectifythe

"

hair

must

bend

forwards

pass it before the fire at such a

the varnish
2 in.,3 in.,4 in.,5 in.,or 6 in.

Cai'efulh' uncoil

You

coil

originalcurve,

according

more,

and

can

you
You

ribs,according to the heat.

cast, and

so.

its

to

bow,

and

screw

backwards

curve.

heatingof

or

be

must

as

bow

Tlie

the

out

flexible that

so

spring of

hold it concealed
you can
before
the stick of the bow

that

tip,so

of the

Take

"

YERS.

suspend the bow

along the stick
have

you

hot

will cool it.

to the

by

all

the

before

fire,as

tip but
ing,
suspend-

properlyaccomplished

task."

In the

system practised
by the clever artisan whose success
I have just alluded to, dry heat, not steam, is also employed.
His address
is Mr
Edward
Brookfield,1 Railway Street,Birk-

dale, Lancashire.

He

is

and

neat

trustworthy repairer of
spring,or straightening

violins,and his charge for restoringthe

and 5s. for a valuable
a warped bow, is 2s. 6d. for a common
one
Dodd
as
a
or
Toicrte,the carriage both ways
one, such

being paid by
the least

bows,
or

sender.

injuryto

when

quality.
thin

the

the

varnish

In most

wood

may

the

post.

through

Cleaning
The
or

hair of the bow

kept as

to need

stand

will not

of the music
be

be restored

The

spring can
varnish,except in

the

got

shops

in which

the

Hair

should

cleaning,but

of

never

there

the

on

little

case

account
cases

bow

may

the

Bow.

be
are

so

of

without
common

of its poor

of

pasteboard

be

safelysent

handled
carelessly
careless

and

young

HINTS

58

TO

of tlie bow

pressure

stronglyas

VIOLIN

must

to act

as

and

the

be

never

damper,

FLA

applied so coarselyor
clog the vibration of

to

or

YERS.

drawn
forth ceases
note
instrument;
be elastic,
this killingof the tone
surely follows. Any
unfortunate
enough to get into this forced tone will never
a

solo

be

play solos

he should

and

above

speedilygets
student

one

"

There

with

to

every day of his life.

it must
be built up bit by
is like a fine cathedral
rules at the bottom, but the reallyfine player
are

fine tone

play

the

moment

player,though

bit.

so

the

the

the hair.

edge of

plays with

the

will be the fineness

these.

beyond
stick

In

of

The

bow

inclined

the
him

from

If the inclination

of the tone.

is to

proportion as

exact

the

first rule

be marked

clear,elastic,and ringing; if
little inclination,
there
be but
worse
or
still,if he should
How
play with the flat of the hair, the tone will be poor.
in that positionand yet get the full benefit
to keep the bow
and

decided, the

of the

width

whole

Violiyi: Hoio

to

all

will

tone

of the

Master

rapid passages,
of the hoiv,which

be

46.

it,p.

Avhich

The

rule

second

slurred,with

not

are

in The

alreadyshown

hair, I have

the

is to

play

xijyper

half

elas'^ic to the hand,

lighter and more
and more
pliant in quick crossingsof the strings,than the
marked
lower end.
The third rule is to play passages
a
^t'a^io
little furtherfrom the hridge,and
those marked
fortecloser to
the bridge,at the same
time
diminishingor increasing the
But when
pressure of the first fingeron the stick of the bow.
these rules,he
by years of practicethe student has mastered
have a long note
He
a whole
filling
goes beyond them.
may
bar of
on

eight slow

that

that

work

case

the

making
the

he

reason

to

the bow

plays

that

to

nearer

the

whole

diff"erence in the

first fingeron
than

play,with
performanceof

beats

note, in the

to
impossible

In

is

or

now

farther

from

close

solelywith

the stick of the bow.

The

He
hair

diminuendo

or

be

it would

which

note

tone

noticed.

crescendo

the

quite

bridge.
bridge,

to

the

the

pressure of
for another

does

so

of the

bow

can

be

kept close to the bridge a most vital

when
matter
a very
ment
long note has to be played. This acquireand
him
in
of
to
the
comes
a discovery,
light
by and by
he unconsciously
finds himself
playing at the best part of the
often near
the
stringto produce the tone required,and most
bridge. Again, he gets beyond a rule in regard to the use of
the heel of the bow, and
begin a note marked 2Jianissimo
may
better

with

upon

economised

the lower
it

as

it

when

"

part, close
nears

the

to

the

point.

thumb, and
It is

make

crescendo

clearlyagainst the rule,

UINTS

rules

but

only for

are

VIOLIN

TO

novices.

the superstructure is left to

what
understand
practically
necessary

to watch

Neruda.

Get

the

which

close

tone

here

tried to make

First

study of
the

Habit

and

now

that

it is

here

laid

to

'1u

rear.

down,

Joachim

Herr

only;

it is

only

Madame

or

if

I have
\\])o\\ the basis which
Technics
the highest art after.
first
"

of

The

is second

advance

words

an

he

finds

that

thought, and
through

he

can

by

and

half of the
their

as

take

certain

the

of

trillcs of
who

we

First

once

Primer,

difiicult words

most

English language ; so that

which
effort or attempt in violin-playing,
at one
period seems
will
another
executed
without
be
at
a thought.
daring itself,
novice
the
the
in
to
at
a
Thus,
violin,playing
high positions,
and shiftingwith perfectaccuracy from the bottom
the
to near
a marvellous
performance: yet
top of the finger-boaid,
appears
is mastered,
set of positionsafter another
as
one
very shortly,
possibleto

print

the

into
fearlessly

to-dayare
justas

effort the

in the

fingeringby

And

short

without

master

then

nature.

the

and

bowing

diificulties of

through
spelledpainfully
read

himself

art, built

mechanism

region beyond.

to-morrow.

foundation

incomparable artists,and

ordinaryrules, and

the

the

are

student

I have

these

clear.

the

master

the

playing of

to

refined

strength,but

They

69

in
righthand; and then observe the manner
is produced. The
producer is not brutal

their

at
possible,

the

A YERS.

PL

shifts without

of these

by them all,till at length he

high positionsin a piece without
and

name

number.

knows

He

play

may
even

membering
re-

by instinct,

it would

appear, but reallyby habit,exactlywhei'e the notes

to be found, and with what
arrangement of the fingersthey

are

best be

can

stoppedme

once

and

commanded,
in the

he takes

middle

of

that

position.

solo,in which

far

I had

pupil
played

the

on
long passage
finger-boardwitli the
pretty
up
"What
that?"
is
"Position?
question,
position
really I
don't know," was
though by thinking for a moment
answer,
my
and counting up I was
able to inform
him.
Technics
through
a

time
A

drop into oblivion.

peculiar drawback

instruments

from

suffer, is that

though
is
a

the

never

on

so

the

flustered

the audience

to

-same

far

right
solo

than

as

the

side.

they

the

they produce exactly as

is

wLich

the

The

is

will
tone

plajTrs
hear

never

audience

violin

player.

can

listener

This

all

hear
it

as

is

it.

be

The
the

to

concerned

the

consolation
is

upon
the

all
tone
tone

player,

difference
to

many
better
to
generally

it is to the solo violinist.

His

ear

is close to

GO

IIIXTS

the instrument
and

magnified

the

reach

little

every

"

VIOLIN

TO

The

audience.

YERS.

slipand scratchynote

him.

to

FLA

these

All

is ated
exaggerbefore
they

lost

are

the
from
often comes
very
his performance, only to
and

soloist

platformdisgusted-with himself
be astonished
by others congratulating him upon the delight
his fine playing. The
and pleasurethey have
received
from
graduations of tone
the player piano
fortissimoto them
of

an

the

more

swell

on

the

player
"

shake,

open

"

marked

more

false before it will

dreadfully
if this peculiarity
belongs to
of the fact

certain

far

so

that

not

the

the heat

by nervousness,

swallowed

mostly

are

listener.

of the

These

are

up
curious

The
It is

of every amateur
well.
"How
do you do
tremola V said an amateur
"

I have

sweated

studies

much

same

and
How

the

make

Master
few

foundation

the

that

How
me

in

once

aftbrd to

might think
best positionfor
he

distinct

making

79),and
waves
a

close shake

that
you make
orchestral societ}'.

do

an

close

one

shake

knowlcdo-e, and

that

time, and
that there

was,

of

having

beginner (seeThe
he

He

note.

slow

or

in the

placed his

minutes

was

rapid on

hand

Violin

thoupht

they

have

has

the

any note
the second

among
of violin players are

"

able to
laid

had

seat

so

that I had

put him

"

too.

so
a

so

say

in two

on

at

quicklyretorted

he

back
to his
position,and went
Hundreds
as
proiidas Punch.
exactlythe positionof that young man
the

and

worthy

any
violins

not

strongest desire

more

or

but

33).

earth

on

; but

could

it,page

for

Playing,page

Solo

the

to them

art, and

position,and
fingersin the
to

to

seen

Shake.

much
violin-playing

devoted

time

mastered

in

before

never

attempt for two hours

the secret."
Lly prompt answer
over

yet I can't get at

are

room

say

it?

him, it is

little

is to play the
violin-player

ambition

the

expression,

feeble to

facts,"which I have

to

of

am

slipscaused
or the sinking of the strings
of the
reaching the eai's

befoi'e

Close

exaggeration

no

arts

appear
that
any

(seealso PreparingStringsfor

noticed

aware

Let

is concerned.

violin

be

must

instrument, but I

other

any

beats

or

not

am

is

to the

noticeable

moi'e

excite comment.

effort may
though
and
further
to the listener,

so

furteto him

"

quiverings of a tremola
and rapid ; and a note

the

as

is

note

student, therefore,studiously
practisethese
certain

the listener than

palpable to
is jnanissivio
to them

to him

"

listener than

also

are

the

induced

in

ability,
me

to

HINTS

TO

VIOLIN

little space to the

The
alreadywritten.

devote

tremulous

which

wave

close

often

shake

is

Some
during tlic performance of a strained note.
through ignoranceor a pernicioustraining,introduce

often

they eventually

that

lose all control

of that

into tlie human

voice

so

to what

imitation

an

inibidden

comes

61

addition

subjecthere, in

have

A VERS.

PL

singei's,
this

wave

voice, and

of the

quiver
sing a note without the detestable and irritating
rattlingthroiighit. ]\fanygood tenor and treble singersremain
the
third class,who
in the second
or
might easilyadvanceinto
A
but for this wretched
and
fii-st,
singer
damning tremola.
cannot

afflicted,
or

thus
the

things which

two

from.

leagues away
and

without

the

to
therefox'e,

the

In

with

the

to the

it is often

are

done,
sadlyover-

throw

shake, but

do

to
note

injunction,
little light

earnest

let the

not

the

string,and

the

conclusion

press the
back and forward,"

wrist

close shake.

After

That

studyingthe

that

the

"

is told to

the

move

of the

waves

from

the

and
fingei's
but

waves,

reaches

student

closely,

matter

wrist has

and

or
fingers,

hand.

nothing

because

affects the

shake, and that

from
more
strictly

If the
the

wrist.

wrist

Far

be commanded.

the

begin

to

do

with

is to

What

the

movement

of the

the

readily
is wanted

han 1
nerves
give
free play to affect the fingeron the string,so as to cause
that
the
close
the
and
to alternately
to
rise
string
finger-board
press
from the finger-board,
and
this cannot
be done
with a deadly
clench of the fingeron the string. That the wrist has nothing
to

with

in the tone

that

pressing the
task,"the

fingerfirmlyupon the note, and "sweating over the

more
lightlythe finger is held to the string the more
will the variations

do

of the

motion

from

to

it is not

moves

trembling

to

seems

resultingin the close

comes

of the

cause

hand

the

movement

movement

to

close

stupid direction.

come

the

nerves

the

you.
instruction books

to make

I have

there

even

persistenttrembling. My
the student
before trying to

fingerfirmlyou
veiy

stop out,

master

some

tremola

Avith a sensitive ear wishes to be

any one
On
the violin this tremola
close shake
or

study,is, master

close shake

the

like the singersabove noted, seem

violinists,
of their left hand, and cannot
play a long

many
lose all control

Die

with

nearlyso intolerable,
yet

is not

on

harmonium

any

slowlyraisingand depressinga
it to

quit the string.

true

to false

The

of the close shake.

All

for himself
by
may
prove
without
finger
actuallyallowing
one

result

intonation, which
that

fingersand

will be that

reallyforms
is wanted

is

the
a

variation

from

quivering beats

power

which

shall

HINTS

62

make

these

to the

free

beats

the

VIOLIN

FLA

and

rapid enough,

of the

nerves

play

TO

lingersand

first condition
with

of contact

the

for that

hand.

violin.

Violin

to the

How

third

of the ribs of the

violin,and

described

allows

so

with
entirelyfree of contact
jDcdient
may be adopted for a time
trembling motion is mastered, but

temporary
touch

never

which

there

touch

there

violin

the ribs.

The

be

best

hands

nerves

gets the

violin.

support

fingerbeing

The

no

so

of

great

same

ex-

in

forcing
performance of
use

"", in the

time

bring the
executing the

wrist up to
close shake

to

positionfor

vary

79 of The

at page

thus

positionwill usuallybe
Position" on page 15, more
and

the hand

the

the first

the "Free

with

the first positionuntil the

on

is often

marked

often

the

sible
pos-

beginner

of the first

as

expedientmust be only
good reasons
why the wrist should
the first positionis being played

shake

note

would

are

while

close

suddenlyon

tone

but

the

Besides,the

on.

on

as

one,

reason

wrist there

held

this

nerves

free

as

close shake

position,as
it,as the

to Master

To

For

apply

we
power
allow these

get the hand

is to

find it easier to make

Avill generally
advanced

YEES.

found

to be

that

with
especially

much

that

that

even

shown

as

beginner,
expedient

A player who
has begun at the age
always necessary.
of five or six has usuallyno
in mastering the close
difficulty
have
been
shake, the nerves
brought into play before they
could be hampered by stiftened muscles, and in such
it
cases
be clearlydemonstrated
that the trembling motion
can
ceeds
proalmost
from the fingers. Those
who have begun
entirely
is not

later may

often

have

to

begin

the

mastery

by exercisingthe muscles rather than

much
cases
study and practice will be
of this

command
and

delightfulgrace
position. When

on

every
is discovered, the

freedom

of the

the

nerves,

but

before
necessary
is attained,with every

the

best

followinghints

position for
may

shake

close

in

all

perfect
finger
perfect

be studied

with

making a close shake Avith any finger,allow the

three
disengaged fingersto quiver visiblyin the air. Thus
in making a shake with
the fourth finger on G on the second
second, and third
string.Third Position,quiver with the first,
fingers,and so on with any other finger or position. Some
when
making the close shake on the
especially
pupils,more
the finger
First Position,find it easier at first to keep down
for the shake, as the finger
behind
that which
is being used
thus kept down
then acts as a kind of fulcrum
to the leverage,
but that is only another
of those temporary expedients which
benefit

any

:
"

In

player may

find

out

and

use
justifiably

till the

art

o.

TO

HINTS

the

making
First

In

with

must

the

time

brunt

instrument.
next

best.

For

this

down,

as

the

of the

first

violin

work

of

is

shake

shown

is not

the
of

engraving,

is

much

at the close shake.

so

that

the notes

so

that

the

held

nerves

are

student

be

upside

in

hand

not

making

studied,the

the

soon
open shake
for the time being is the
"

hand

the

in the

the

intervals,
unwonted

exactly as

"

gets lamed, and

result.

the

fatiguedby practice
the study
from

recover

may

deavour
en-

to become

nerves

soon

must

It is advisable,therefore,to arrange
in at short
to be quivered on
come

fingersand
If this

of

easy

violin

power

induce the

more

and

muscles

more

then

rid of mascular

and

more

very light touch

shalce impossible.

the

the

is

graduallyget

practiceof

is

hampered by the pressure

absolutelyfree of contact except at
thumb.
After
learning to help the

but
finger,

trembling,and

exertion.

on

open,

in the

good

with

or
violoncello,

hand

Both

Avork

absolutelyfree

finger point and

quivering with the disengaged fingers,the

motor.

the

or

not

best ;

renders

pressure
the
close

the

to

do

close

as

63

steadyingand upholding

freedom

heavy
the

on

muscles

foretingcrbe

of the

of the

reason

execution

the

YEIiS.

shake, cither

Absolute
A

FLA

the
for
must
neck, but
jiress heavily on
the thumb,
in the
"AnticipatingPosition,"

allow
the

of

if the

the neck

never

bear

to

making

Position,even

contact

it

instead

nerves

acquired.

VIOLIN

in the

absolute

potence
im-

In

like manner,
as
be
turned
must
fingers

practiceof the open shake, the

well over
the strings,and
the thumb
be kept v.cll under
the
the "Anticipating"
neck, as shown in the engravings illustrating
The Close shake may
and the "Free
Positions,"pages 15-16.
be practisedat any time
and
with a bit
at any odd
moment,
of wood
office ruler held violin-wise to the fingers. Any
or
an
exercises
on

or

"Flexible

binding the
each
shake
often
which

studies,such

as

those

Fingering,"which
and
make
so
fingers,

other, also aid the student

alreadynoticed in the chapter

tend
to
splitthe muscles
them
more
independent of

in the

indeed, the most

rapid beats
materiallyaided by that nervous
;

should

be the

sole

motor

in the

acquirement
of the

open

of the close
shake

are

of the hand

quivering
production of

the close

when
the shake
has been a powerful
particularly
with the beats quickeninto 2}ici7ussi7no,
ing
one, and is dying away
rather than
close
the
shake
bo
must
retarding. Lastly,
until such
practiseddiligently
perfect control of the beats is
faint or loud, slow or rapid,
acquired that they may be made
with the closo
at will. Many seem
to imagine that their power

shake, more

HINTS

G4

slioke

depends

"with those
a

choose

attempt

and

often

VIOLIN

mood

the

on

who

faint

very

TO

of the
risk

to

the

at

A YERS.

PL

moment,

that.

Others

and

at notes

in spasmodically,

they put

in which

passages

with

content

are

quivering,which

does
I'eally

it

as

it is

clearly

place. Othei's,as I have noticed, go to the opposite

trol
short, till all conextreme, and qiiiveron
every note, however
of the hand
is lost,and like those benightedbeings trained
Italian style,"
to sing in the
they cannot
produce a plain
for these defects of styleare Practice
The remedies
pure note.
of

out

"

and

Good

second

Taste.

with

first is within

The
is

many

inborn, but

the

where

acquired by frequentlywatching and

players. It will then be discovered

nature

who

It is

depend

power

swellingto
exact, and
Avhich

is

play

to

only

and

burnt-corked

the

best

trick

who

before

the

now

minstrel

in his trade.

violin

Either

"

In
even

only one case

changed into

put

your

jyicmo

the

others

close
close

shake

shake,

altogether.

It

greater.
infinitely

terselyas possible
best, surest, and speediest
means

Violin

Earless

must

this advice

Put

larity
popuattraction.

clearlyand

as

The

"

this

instantaneous,

the

let it alone

Advice.

to

passione
im-

cheap

the

troducin
in-

more

with

chief

master

Concluding

out

"

in the faintest

IX.

playerthe

Take

their

CHAPTEE

of his
obtaining great command
hints are perfectlyunderstood, there

repeated

of

at

considers

of

be

great artists

the notes, is a field of true expression

explored,while every street player

Christy

tried

aim

as

then, and keep it in subjection,or

is a great acquirement, but there are

I have

others

forte,together with

seldom

too

; while

those

greatest

our

these

be

through,without

grace
elastic notes

stopping of

only

that

this

upon
smooth

the loudest
true

listeningto

The

it may

richlyand profuselyornamented

are

delightfulgrace.

of all.

it is not

movement

shake

single close

The

slow

entire

frequentlyplay an

reach

it away,

When

instrument.
remains
and

play

but

one

these

advice

to

it.

Scraper.
be
and

altogetherwithheld or
touch it again,"
never

66

HINTS

write

to

Never

immortal

an

scramble

rapid

the

accented

stand

is

and

clear

as

more

lost in

and

commonly the
rapid movement.

and

desire

articulation,
pure

force

to

intelligent
reading. There is
a delicious repose
or
masterlyease
is scrambling.

bad

habit

which

of

is

gradually getting sharp

shiftingoccurs
fall into

on

this

habit

when

force

all

haste

they do.

passage
unfortunate

Those

instead of
cause

Players.

long

of accent.

The

easily acquired

most

notes

quite outrun
time, true expression,

Advanced

string.

one

in

be

execution

feverish

note

unaccented

positionthan

intonation,strict

Faults

the

They should
ence
fellows,as tlie differ-

their

as

and

Common

whether

pure,

distinct

their

Many playersin
clear

Most

of order

one

and

A YERS.

devouring a juicy orange.

Play every note, however

music.

clean

unaccented.

or

PL

while

poem

movement,

out

VIOLIN

through

quite buried

are

TO

is

of

that

with

much

enough to
playing a long

surprised,in
monochord
or
they sound an harmonic
passage, to find when
flat. The
an
string that the note appears intolerably
open
explanation is that the notes
preceding, though true in
relation to each
less sharp
or
other, have been played more
in relation to the pitch of the string. The
only remedy and
careful that the startingnote
preventativeis to be particularly
is tiiie in relation to the open string,and to occasionally
test
the positionwith an
harmonic
an
or
string. Some play
open
for the
common
sharp only on the fourth string,but it is more
all the strings. The
over
perverted fingeringto run
player
thus afflicted will play sharp in orchestra,and make
himself
intolerable

to

all

often

are

him, though

near

his

ear

otherwise

may

be

good enough.
for

Feeling
Another
up

the

to

and

common

expi'cssion.This
but

the

is among

is

evil of the
such

evil habit

stopping of

true

one

habit

body

the

the

is that
note

of the
is

Notes.
of

way of giving more

tricks of street players,

by

cheap
only discovered

of instruments

slidingthe fingers

that

when

he cannot

the
hear

player
when

his

fingerai'rives at the true stopping. The fingersought to

the
descend
like little hammers, well wielded, upon
instantly,
exact
spot of true intonation,and the habit of playing thus
makes

it

matter

of indifference

to the student

whether

he bo

HINTS

TO

playing a

solo

feelingfor

the notes

has

no

of solo

Due
Next

to the

strong.

slide proper,

This
which

playing.

Playing.

playing and practising alono must

always be
duet
playing. The
harmony producible by two

to

reckoned
violins
full

hundred

relation

67

YFRS.

FLA

orchestra

an

of the finest graces

one

13

in

or

VIOLIN

is

little thin at

of sound

body

the duet

heard

violin

we

are

so

accustomed

and

duct, pure

to

simple,is only

remedy being to add to

a pianoforte.The
remedy is
much
than
the
The
of
disease.
worse
theless,
duets, neverplaying
violin
is one
of the greatest delightsof the true
player,and one productiveof the happiestresults. The persistent
duet player is always a good reader and a steadyman.
in orchestra,and alwayspla3-s
well in tune, the simj^le
reason
being that if he did not, no companion player would endure
him twice.
Of all the duets composed expressly
for the violin
can
approach those of Pleyel.
by the great masters, none
piecesof harmony, but on
Spohr'sGrand Duos are wonderful
be popular. Pleyel
of their difficulty
account
they will never
did not take a very high place as a composer,
but his violin
of harmonj', and melodic
daets for attractiveness,
simplicity
been
equalled. They may be had in five
b:^autyhave never
too

seldom

that

best, and

the

sets, in the

in

public,the
accompaniment of

usual

" Sons,
Collection,from ilessrs Enoch
This
Holies
Street,London, at Is. 3d. and Is. 6d. each set.
as
edition,besides being the cheapest,is the best published,
bar is indicated
in both parts by a letter,
a
every twentieth
Litolff

great convenience

to

playerswho

aj^tto lose

are

or

run

away

should

place
in
publishers,
may
six sets at the same
prices. They are pleasingand romantic
full of melody and good harmony, and have
in their character,
music.
much
soul in them
be exj)ectcd
in French
as
as
can
These duets may
be taken
in the followingorder,accordingto
of the players
the degreeof advancement
:
from

Maza's

each

other

in

Duets, which

duet.

Next

be had

to

from

these, I

the

same

"

1st
(1) Pleyel's
2nd
(2) Pleyel's
3rd
(3) Pleyel's
4th
(4) Pleyel's

book. No. 526"

book, No. 527"
book, No. 528"
book. No. 835

"

Maza's

1st

Maza's

2nd

Maza's

3rd

]\laza's 6 Duos
Nos.

(5) Pleyel's5th book, No.

83G"

book. No. 1123.

book. No. 1148.
book, No. 1149.

Maza's
Nos.

concertants,

1158-9.
6

Duos

1160-1.

brillants,

TO

HINTS

C8

There
and

is

the

alone.

the

poorest ducts

violin

are

been

duets

by

ever

independence in playing.
had

of

"wooden"

imparting

be
by Carrodus, may
London, at 6d. each.

tlic

to

two

degree

coinposeis,
of difficulty

players.
are

those

exercises
merely dry and mechanical
Viotti appeal's
knowledge of harmony.

therefore

for

the

very suitable for young

for the violin
written

are

destitute
entii^ely
are

good enough

YERS.

between

refers

airangement

into duets

have

comparison

first of these

Viotti, which

wedded
to

above
The

About
of

reallyno

TLA

VIOLIN

certain

Three
from

faculty;his
in the extreme, though
dexterityof fingeringand
the

melodic

duets, edited
F. Pitman, Paternoster
Row,
books

of tlaese

An
they are worth.
excellent book
of 20 operaticduets
is publishedat Is. 6d. by
Messrs
Boosey A: Co., Eegent Street, London.
They are
It is

as

much

as

and some
of them
make
excellent pieces for jDcrdifficult,
formance
in public. The
duets of Rode, Romberg, May seder,
follow
of these
Spohr, and
these, each
Campagnoli may
the study of which
having specialpeculiarities,
give
composers

not

great breadth
violin duets

of
are

style and power to the

usuallyso arranged as to

player. Good
divide melody and

duet

theless,
accompaniment pretty equallybetween the two players; neverit is a good practiceto exchange parts occasionally,
more

where
especially
Pieces

the

parts difficult.
also be had arranged for three and four violins,
a list

may
will be found

of which

choi'ds

are

intricate

or

the

catalogueof the Litolff Collection.

the harmony fuller,
These make
and perfectintonation
easier,
and are an excellent preparationfor quartette playing proper.
Quartettes for first and second violin,viola, and violoncello
the nearest
are
approach to perfect music which is to be found
earth next to that of human
voices.
It is a grand triumph
on
violin
to the
player,and great relief to his finelytrained ear,
"when he can
put aside the jinglingpianoforte,and revel in full
ment
deep harmony and perfect intonation without an accompaniThe
which
of sins.
is good only for hiding a multitude
violin playerought to put before him the formation
or joining
and
the
of
ambition
the
of a quartette party as
his
acme
be had
crowning joy of his life. Violin duets may
by the
bushel

in the

but as a
of all the great composers,
bearing the names
rule
they are adaptions "cnopped up" for the occasion by
musicseller's
hacks.
They are a fraud on the buyer, and a
whose
libel on the composers
are
names
appended to them, and
usually about as effective as The Messiah arranged as a duct
for two
Let the violin player beware
of these, for
flutes.

IIIXTS

as

rule

they

net, raid

are

PL A YEIiS.

VIOLIN

TO

meant

were

never

69

be, violin

to

ducts.
Orchestral

Playing.

duct

After

of advancement
comes
playing as a means
which
orchestral
duet
playing, for
playing is the best
preparation. The playersliould get into an Orchestral Society
soon

as

his

he

as

be

can

tolerated

neighbourhood,let him
road

will prove
a
sure
besides
being a

therefore

means

on
blessing,

to

try

orchestral

natural

step.

I have

given
add

I may
which

will

be

In

to form

if there

be

however

one,

and

in

none

it

poor,

musical

culture,

pleasure,and

others.

Playing-.
to

Violin:

list of easy
few more,
of

solo
How

and

found

; and

conferring innocent

playing
The

one

advancement

of

Solo
From

in

playing is
Master

to

effective

somewhat

equally useful

it

and

easy

(page 88),-

solos,and

better
as

an

to

these

class of music,

studies

and

effective

The

prices include a separate pianoforte part, and

the list is arranged in the order of difficulty.
"La
Colombe," Entr'act,by Ch. Gounod, price 2s. (Londun :
Metzler
", Co., 37 Great Marlborough Street).
Un
lUen," by Prosper Sainton, price 2s. (London :
Chappell " Co., 50 New Bond Street).
liomance
in F," by Charles
Fowler, price 2s. (London :
"
Weekes
Co., Regent Street).
"Meditation," by Ch.
Gounod, price 2s. 3d. (London:
Schott " Co., 159 Regent Street).
solos.

as

"

"

Rode's
New
"

"

"Air

Trovatore," F'antasia,by J. B. Singelee(London

Gavotte

Metzler

Raff's
"

G," price Is. 3d. (London: Cocks

Co.,

Schott

Regent Street).

Stephanie,"by
Co.).

A.

Czibulka, price

2s.

"Cavatina," price Is. Gd. (London: Schott

Two

(London
ct

priceIs.

Andre

S.

Bach,

Co., Hart

(London : Neumeyer
Street).
2s.
Elegia,"by Luigi Risegari,
price
(London : Ilutchins

Eomer, Regent Street).

"

Co.).

9d., Edition

Romances," by Beethoven, price

(London : Augener " Co., Fouberts Place).
"Aria," for the Fourth
String,from Suite, by J.
"

",

Burlington Street).
II

Co., 159
"

in

ifc

HIXTS

70

TO

PLAYERS.

VIOLIN

(London : Augener " Co.).

Legende,"by Wieniawski
"Adagio," by Louis Spohr, composed in Gotlia,1809, price
2s. 3d. (London : Schott " Co.).
Ernst's "Elegie,"
priceIs. Id.,Edition Peter's (Augener" Co.).
Nocturne
(Chopin's),by Aug. Willielmj,price Is, 6d.
(London: Stanley,Lucas, and Weber).
Mendelssohn's
don:
Concerto, price Is. Id.,Edition Peter's (Lonsolo for
Augener " Co.). The Andante makes a delightful
"

who

many

the

master

cannot

work.

whole

Borgia,"Fantasia, by Prosper Sainton, price43.

(London : Schott " Co.).
and
be discovered
Others
picked up from time to time
may
Li selectingsuch
the player progresses.
pieces it is well
as
duet
for violin
a
note
to
narrowly the difference between
and
solo accompanied by the pianoforte.A
and pianoforte
a
Lucrezia

"

duet

for violin and

music,

perfectburlesqueupon

ally
great the exponents. The attention is continuthe two
distracted between
instruments; the pianoforte
how

matter

no

malces

solo

and
violin,

foil to the

bad

instrument, and

well

in

As

duet.

to

give

it will not

the violin accompany

the horse.
to draw

duet, and make

settingthe cart
elevate
like

the

pianoforteinto

putting a

melody

on

crown

of

solo

to

late
assimi-

the violin the

tinklingnotes,
the

For

same

instrument,
When

fool.

the

do not

as

vtith the harp;

compare
here and
there, as in a

its

concerto

court

think

performed,you

the

is good
pianoforte

The

accompaniment

an

of the

it snatches

accompanying

violin,but they

is the

so

does Avell,
though
pianoforte
but

the violin

utterlydegraded.

seems
pianoforte
a

pianoforteis

to

reason,
to

seems

me

violin concerto

alone,

violin

is like

of

never

is
the

of the instrument
individuality
;
of
think
is given by the pianoforte,
more
when
a concerto
you
and
the
solo
the orchestra than of the pianoforte,
passages come
than enjoyed.
rather
which
is endured
in as an
interpolation
As a solo instrument, the pianofortenever
reallyshines except

orchestra, so

in

distinct

of the

giving music

by

is the

Ptubinstein

brilliant
and

that the ''instrument could

second-class
the

music

highest music

from
is

cry is
soulless ! "
that

against
Alas

is soulless

"

fireworks
These

Liszt.

do, and

second-class

the

school,as

knew

masters

it to do

all

more

"

Whenever

instrument.

cheat

strated
demon-

is discovered

and

the

enough,
revealed,but then, curiously

performer
"

! it is neither
it is the

"

asked

never

attempted,the

poverty of the instrument

the

"

the

miserable

"

How

cold

he

is ! how

performer nor the music

impostor of an instrument,

HINTS

TO

VIOLIN

PLAYERS.

71

pianoforte.On these points,however, so "touchy" are

be a lightunto
must
himself.
I
pianoforteplayers,
every one
give my impressionfrankly,but wish to force it upon no one.
the

the

present century the pianofortehas

and
of
performei'San amount
comjjosers

During
both

far

"worshipso

its

beyond

devotion

to the

bass

reaction

against that

before
true

fifty
years
place as an

and

drum

merits, that
would

"

gone
economical

and

tolerable

has

craze

have

cheap

be

soon

In

conclusion,I

have

fashion

only repeat

can

of the

of the

already addressed

to

the

child

student

The

harp,

day, and

the violin

to

little

orchestra.

fashion,but is
upon
off all that is false and unreal.

late shakes

or

be

small

and

begun, and
assigned its

imitation
for

substitute

change.

than

more

handy

Anything be3'oudthat is but the

perish. True art is not founded
and

welcome

pianofortewill

and

even

"

from

attention

anything

now

the

received

must

eternal,

playerwhat 1
in the Young

Violinist's Tutor.
Dear

You
have
laid a firm foundation
now
Student,
for the mastery cf the most
perfectand pleasingof all
heart
and
taken,
of the purest and
to your
one
instruments,
Fellow

"

of life

gentlestsweeteners
stage j-our upward
into the

work.

without
and

the

matchless

Violin

From

this

will always
progress is sure, but its rapidity
and
love which
proportion to the enthusiasm
you

be in exact
throw

"

Nothing
here

toil,but

delightswill unfold

Determine

to mastei'

command

of

that
at

to

was

every
to

cheer you

instrument

its powers, as
quivering strings and wood

great

advance

themselves

the

is

"

gain

to

be able

to

ever

plished
accom-

beauties

new
on

such

poi:r

your

way.

complete
through the
a

and

emotion
which
thought
Then
you are capable of conceiving or expressingin music.
will come
of having conquered;
to you the gloriousconsciousness
the proud knowledge of power.
You
will revel in that
glory
and be happy. In the drawing-room,in the orchestra,
in it
the platformyou will be able to thrill out on hundreds
or
on
every

"

"

the

attained
take

throbbings of your

inmost

all that

this

thought

in simshine
his side.
and

and
In

tiiicst

friend, when

always
meet

seems

him

in

the

ambition

or

heart,and

own

ardent

with

you from one

shadow, with this

violin you
have
friend that earth
can

love
who
tender

gained
bestow.

so

sigh for.

can

has

far will have

trodden

But

life both

companion ever by
best companion

the

And

as

human

and
sympathising with us alone,
communing
when
the same
a superior being to
we
person
in your study,in solitude
the world ; so your violin,

HINTS

72

and

TO

rise
retirement, ^svill

It will raise you above

in sorrow,
rejoicewith
cheer

in

that

and

great

devotion

it,and

heaps
you a mysterious kindred
life and
friend is
a
being. Such
devotion.
You
will give it that

desires.

can

be

king

players before
varietyof

But

each

possible for him

that

the

youth

student

young
be one

to

of the

eminent

most

of their

own

yours
you
and

now

in

after
It

life.

comes

will bless your

brain which
now

! when

Dear
but

unknown

once.

work

have

men

their

one

j)ower,
crowned

have

rise

greatest,as

among
and
powers

study,
advice

impossible that

never

should

you

that

gain

can

It is
can

hard

stylesand

to the

you

more

all

higher than

as

all
often

mission

hour's

as

more
you
itself into all

face

to

expressionAvhich

Water

Happy, happy golden youth

hundreds

have

of all instruments.

great violin artistes.

source.

You

is

upon,

the

companion,

attention

constant

very best of
and infinite
delicacy,

and

closely^vill it entwine

more

and

of the

violin

heart
your
the trvdy
upon

to

of this friend

daily practice,and

proves
idea in

you
lift
from
gently

and

study, once
fairlyentei'ed
and
elevating; and the
pure

the

sympathies

the

you
bereavein ment,

gladness,console

for the

now,

JS'ill
love

elsewhere.

sigh witli

liumanityever

ardent

most

fascinatingas
develop the powders

its

you

in

inmost

it is

your

earth, it will sob and

It will become

the

worthy

the

mean

pure.
spirit,
part of your

YERS.

grander proportionsthan

to

trouble,

yoii
calumny which

PLA

VIOLIN

if it

were

experience
had
on

study is

least
eartli.
worth

student
time
is
! that
young
and
of it,
Make
the most

adviser

long

after the

shape these thoughts are

poor

at rest.

hand

APPENDIX.

74

that

fingers,she

the

when

ill like manner,

of tone
power

and,

iktimp.

To

enough
though

the

"

which

has

to

When

the

use

are

conception

listeningto

to

and

Hallfe

be

in

In

the
as

How

"

the

of

the

sweet

word,

is

reason

of

has

to

plain

and, therefore,

the
hands
woman,
to the listener.

played by

great

mnsie

is, but

of tvro

one

woman,

how

matter

pianoforte
muscles

sexes,

conception

violin

in

"

the
the

the

executive

how

thin

her

execution is good, but how

harshly she plays."
or, second, "Her
to produce good music, as
first,the player is probably content

tone;"
far

player: first,

the

two

brain

the

critiijisms is generally expressed, no

abilityof

the

the

so

hand

physiology
in

equal

may

produce on
get with

wci"j;ht of the

convey
solo on
the

wishes

h;.s studied
not

reproduce it, and

cannot

woman

Riihinstein

who

one
any
muscles

the

her

muscular

her

allows

strength

of tone, she

in

the

determined

second,

to

music, forces the tone beyond her

get
and
harsh
She
muscular
noise.
the
cannot, as with
gets only
power,
but
she
and
screech
and
bite out the notes,
can
pianoforte,thump,
press
fulness

is

which

another

only

Is there

of saying that she

way
for this ?
I am
not sure

remedy

no

that

not

sacrifices the

will
collectively,

women,

suppose
muscular
power
could be
power

developed

fingers,hands,

and

I do

more

They

arms.

the

trapeze

bar

horizontal

sillyabortion

the

is

I do

none.

equal

to-

in

men

their muscular
most
of the
particularlythe muscular
power
can
swim, drive, or ride ; they
row,

the

or

be

ever

that
religiously

believe
"

from

swing

can

; but

force.
that there

can

golf (the
putter) ; they

they

with

can

legitimatelong game,
played
nails,do cabinet work,
play cricket and tennis ; they can hammer
wood
floors,brush
carving,or brass retroussfee work ; they can sweep
and
exercise
carpets, hoe weeds, and dig garden plots. Such work
from
must
continued
childhood
to womanhood
produce a good result,
muscular
music
in a word, give
to produce more
and give the power
not

can

"

Even

more

power.
produce the

full

man,

could

execute

any
his

tone

who

one

not

has,

muscular

unless

hand

has

he

gain

in

The

as

of the whole

tliat there

direction

rich

and

full,round,

secret

be noted
one

the violin,but
upon
who
had been a
I knew

anything

Another

was

violoncello.
here it may
we

of

tone

almost

woman's.

and

man

has

those
I have indicated.
such means
as
by some
thin
little
with
as
follow,
light
lingers almost

muscles

as

who

is

is in

one

absolute

no

threads,

as

was

in

violin
in

the

knew

once

as

who
thin

his youth,
had

muscle.

gain

lose in another, and

we

joiner

word"

not

developed

his tone

if the

as

will

been

However,

physics where
"

vice versd.

fingeringgenerallypresent fewer difficulties to a woman

her fingersare
thinner
and less stifiened in the muscles
than a man,
as
than those of the ordinary man,
but this very physical peculiaritytells
in which
of chords
one
against her in playing fifths and masses
finger
has to command
The
too
two
are
narrow.
fingerpoints
strings.
refinement
of instincts which
has a delicacyof touch and
A woman
and
though
give her a tone altogether difi'erent from that of a man,
Intricacies of

that

tone

and

the

some

is weaker, it is often sweeter

and
and
broadens
deepens, but

tone

extent

disappears. There

of weak

muscles.

muscles

is often
must

would

draw

be

let

Here
more

up

the

forcing the

than

sudden.
to

Develop

the

muscles,

this subtle characteristic to

to the woman
consolation
therefore,
is,
of
word
Forcing the
warning.
give one

disastrous

steady, not

himself

mo

purer.

chin

friend

by

one

of

tone.

mine, a
hand, and

The
violin

he

development
player,

burst

the

APPENDIX.

to

wrist
and
crippleilit for life; another, a pianoforte
of his little lingersby pulling on
strengthen the muscles
he lamed
of them, possiblyfor life.
We
his boots with them, ami
one
in
and
both
of
born
with
certain
men
a
muscle,
varying
are
power
of
of development, and
and a certain power
beyond that none
women,
for
sake
of
is
To compare
the sexes
tlie
disparagim^ one
us
can
go.
meant
foolish. They were
to be compared.
They arc dilfcreut,
never

of the

muscle

player,would

and

always

power

weak

different; both

remain

must

in their different

spheres.

and

illimitable in

is here

there

and

there

be
indicated where
one
armour
may
of
but
for
of
the
not
battle
lor
one
life,
only
strengthened
and
most
eutrauciug arts which God has shed upon this
; and

joint in the

found,

both

admirable,

in both

But

here

I have

the sweetest
beautiful world.

Staccato

Arpeggio

Playing

I have been frequentlyasked

delicate and fairy-like
staccato

"35i^

T^9-

I"

-iB^.

tf^rr^

-^-v

^1**,
^^^

it.

Master

that
to explain how
bj'correspondents
springing of the bow used in arpeggio

-sdzr*

^,^_^,

to

How

~-^

s'^:

-^li

ti

^**T*^ a*^'*^

^^f^S

-It ^

^^^-^^

^.=^:3_e^
^.^.^.^ ^f^-^
-J
i
"

"

i-Q" ="--""

!~?

1-1
J
"

f-^"

"

I
"

I
"

\-g-----m-i"-\"i
"

i-f

"

jZH"

"

"

I
"

i-M

|-*

ri"

1~

"

i~1 i
"

'

"

i'ij
!

"

sH" iH
"

-^--a-

-9-9-

l-q-a-

?" I

"

i-q, J

j-c
g-q-pl-

jii|-g
gzjJ"

\
^^r\

is

playing
of

but,

give

of

some

as

the

is

indeed

so

the

explain

to

bow

alone,

hair

of

keeping
bow

the

will

bow

the

this

arpeggio

"c.)
third
accented

note

have

arpeguios
the
to

is

groin
irm

the

out

the

cause

at

stiff

every

and

finically

notes

lower

down
taut.

in

true

part
bow,

this
of

easiest

or

method

sure

delicate
the

keeping

of

the

arm,

whole

forcing
and

staccato,

right

be

to

the

near

of

the

upper

example

in

in

atrocious
the

wrist,
muscles

below
and

tune

keep

the

or

remainder

chords

the

will

result

the

the

finger

of

fingering
the

In
to

Ciaconna,
the

melody,
and

melody.

that
are

The

effect.

listener.

dull-eared

most

pick
to

be

must

which

chords
the

produce

to

to

upon

introducing

with

the

to

underneath,

though

melody,

the

accouipanimenl
those

chosen

ready

be

may

the

chord

the

still

bass

and

delicate

Bach's

Concerto,

elective

an

string,
the

works

though

accented,

the

finished

jiroduced

be

can

classical

many

Mendelssohn's

as

forms

thus

In

strongly

is

effect

the

on

the

having
been

player,

the

with
of

part

and
has

stutter

part

same

two.

upon

note

and

part,

on

The

(such

staccato

lowest

the

an

bar

trick

necessary

third

stiff,

first

of

attempt
Tlie

marked

is

upper

here

no

thought

example

to

Bridge),

itself.

have

the

begun
the

must

rather

arm

Violin:

work,
be

that

the

before

have

effort

desired.
even

or

do

with

riglit

almost

accord

own

notes

strings,

three

tight

without
of

separation

its

of

wrist

the

that

easiest

The

North

Son,

seen

the

of

played

be

"

writers

bar

first

to

are

little

of

produce,

will

These

slurs.

ordinary

few

that

The

page

will

of

101

there

effect

bow

this

explained

have

not

the
the

slur,

simple

method.

on

KiJiiler

may

produce

the

ridiculously

already

Edinburgh:

To
in

notes

had

example

an

correspondents

my

example.

fuller

separate

to

giving

Is

(price

it

that

thought
by

bowing

of

Master

to

executed.

tricks

all

lioio

of

rPKXDIX.

76

most

staccato

even

bow
it
to

of

to

doing
strike
the

to

begin
so,

the

right

Now

Ready,

Fifth

One

Price

Thousand.

Shilling.

ROMAHTIC STORIES OF STAGE AND

RING;

OR,

GLIMPSES
BY

BEHIND

WANDERING

OPINIONS
anfl

'Love

MUSICIAN.

OF

PRESS.

THE

Stories of

intcrniin^Iein "Romantic
Wandering' Musician
giving many

"

Ring,

SCENES.

THE

sorrow

glimpses of life behind the

performers. Grapltic.

scenes,

with

sad

and

Stage
few

patheticsketches

some

and

comic
of child

'

"

'

There

but

flavour of rouge,

decided

side of stage life.'

comic

has

captivating stories
whose

with

in this book,
bringing together a

in

the serious

well

as

as

the

Literary World.

"

Sixteen

sawdust

paint,and

succeeded

Wandering
of entertaining
stories,
dealing with

number

'

is

Musician

from

the

clever

pen

of

William

C.

readers have
capacityfor story-telling
for many
familiar.
been
Few
fictionistj
in
the
can
day
equal,
present
years
much
less surpass, Mr Iloneyman in abilityto impartdramatic
interest to
his narratives,and hence the wide poimlarityof his tales.
In this vohime
'Ihe phase of life he has chosen to depictis full of
he appears at his best.
brightlightsand dark shadows, and these he has set forth with rare skill
It does not at all surpriseus to learn that no
and truthfulness.
fewer than
four thousand
and
sold
before
of
the day of
were
Stage
Ring
copies

Iloneyman,

unrivalled

"

"

"pv\i\\z2i'i\ox\.''
^People's Journal.
The
and

humorous, sad, and

pathetic,

circus

in tone

and
'

delight.
"

not

teaching,the
To

incident.
'

in these stories

are

come

A'oi-wich

The

stories

one

without

for road,

across

are

delineated.

author

having the
worth
shilling's

Alercury.
evidentlythe

work

strong interest,and

river,or

occasionally
joyfullife

admirably

of
the

They

are

skill to teach by
of stories such

of the stage
all liealthy

example
these

as

and
is

There
is
]iractised
story-teller.
is a capital
one
altogether

book

rail.'

Evening I'elegrapii.
Written
with much
and ability,
infused with interest,
and clever,
spirit
the volume
is altogethera most
enjoyableone.' Glasgow Herald.
*
and most readable stories,
A series of reallyinteresting
vivid
containing
and life-likesketches of character,and romantic
incidents in the lives of
A/iddlcsex
in music halls,circuses,
"c.
Standard.
performers
Sixteen clever and entertaining
stories,written with marked
ability,
both humorous
and patlietic. A'eivcastle Chronicle.
written with force and vivacity,
and with a decided
They are original,
and attractive style
of their own,
and the pictureswhicli they present have
all the semblance
of reality. These
stories are
also pervaded by a strong
of human
sense
sympathy, and by the influence of an acute obscr.-ation,
of much
and
manners.'"
sources
drawing upon
experienceof men
"

'

"

'

"

'

'

"

'

Whitehaven

News.

EDINBURGH
LONDON:

and

GLASGOW:

SIMPKIN,

JOHN
MARSHALL.

MENZIES
"

"

CO.

CO.

30 til EDITION,

THE

WITH

NEW

VIOLIN:

HOW

BY

find

TO

IT.

MASTER
PLAYER.

PROFESSIONAL

OF

OPINIONS
"

Is.; Cloth, Is. 6d.

APPENDIX,

THE

PRESS.

practicalguide to any branch of study is

quite a rarity,for generally so-called guides are so filled witli technical
and ambiguous phrases, as often to puzzle the most
skilful expert.
terms
To

In the present
before his
way
all who

work, however,

pupil

to

as

love the

violin,but do
book, and

away."
writer

The

of this book

his

not

of

many
World.

Pictorial

"

places his instruction in such a

meaning clear at a first glance. To
to master
know
how
it,we would
say,

the author

render

this little

procure
smoothed
"

really plain and

difficulties will

the

be

instantly

difficulty
accomplisheda task of no common
structio
that of givingsuch verbal inuncommon
singularsuccess
in an
the student
and
art
as
can
clearlyunderstand
put to
practicaluse with certaintyand safety. He leaves no point untouched.
The
reader feels as if being talked
whose
to by a teacher
sympathies are
alive
if
violin
and
bow
doubt
and
to
as
a
keenly
difficulty
;
every possible
with

has

and
ability

being put

were

surveillance.
hands

of every

"

into

therewith
his hand, and his every
act
indeed
It is a book
that ought to be, and
either

who

one

most

the
comprehensive,

book

of instruction in violin

most

playsor means
precise,and

withal

issued.

"

be, in the

will

violin,being the
least costlyof any

the

play

to

strictest

under

the

Advertiser.
playing ever
will do well
"The
work
deserves to be known
by all players. Teachers
teach more
of their pupils. It will enable them
to put it in the hands
to
and
receive
while the pupils will be more
to
instruction,
intelligently,
apt
Norzvich
it."
to profitlargely
by
Weekly Joia-nal.
information
A
valuable
handy, sensible book, furnishingmuch
very
about
the
observations
The
on
bowing are most
king of the orchestra.
"

Dundee

"

"

'

'

and

clear

point.

handled."

There

care,

equallywell

are

good

are

constantly desire

to

ask

here

are

in works

than

salutarycautions

with

instrument, and

an

Standard.

questions students

very

plainlyanswered

its masteiy and

with

is dealt

playing,'too,
preservation of

and

with

topicsconnected
Musical

"

"The

Harmonic

choice

The

lucidity.

other

many

the

to

admirable

'

of the greatest authorities upon

observations
of an
the
choice
on

againstthe

tricks

of

more

ment.
instru-

the

instrument

unscrupulousmanufacturers

; many

tuning, bowing, "c. ; and

practicalhints respectingholding, stringing,
of study to be pursued,the
to the course
some
as
very useful directions
books
in
standard
recommended
order.
systematic
Many students
being
will thank
"

the author
of shrewd

Full

supplement
author

is

" "

and

regular manuals,
to

make

well

with

"

Mtisical

and
instruction,

such

as

Spohr's and

Times.

veiy

valuable
'1 he

Loder's.

well

readable and interesting

as
Scotsman.
enthusiasm."

his work

his theme

treats

their behalf."

on

real

as

"

"

packed,comprehensive,and thoroughlypractical.

Pictorial,
whom
know
to be a prowe
teachingpopularisedby one
ficient
is as
player, and whose understandingof the instrument
which
possibleperfect. To this he adds a styleof lucid exposition

is violin
and

nearly as
enables

He

wonderful,

Lady's
"It

the

advice
practical

contrived

has

instructive.
"It

to

for his labours

skilful

him

thorough
of all who

to

make

in treatment

line and
every
and exhaustive

desire to become

EDINBURGH:

E.

sentence

in scope,

understood.
and

should
"

players.
reallyproficient
KOHLER

"

SON,

"

NORTH

The

work

be in the

is

hands

Evening Telegraph,
BRIDGE,

Elghteanth

T HE

Edition,

Now

Beady.

YOUNG

Full

Music

Slzo.

Prloo

VIOLINIST'S

2?.

TUTOR

DUET^BOOK:
A

Collection

of

Easy Airs, Operatic Selections,and Familiar

Slelodies, harmonised
Violins, witli simiile Scales and
Progressive Exercises, and full
directions for Parents, rupil, and
Teaclier
whole
arranjred on an entirely ne\"
; the
for the use
of Ueginners.
principle,in a pleasing and attractive manner,
Duets

as

The

for

Two

Br

THE

AUTHOR

"

OF

which

principles upon
pupil

Giving the young

alphabetically and
two
strings most

THK

this

VIOLIN:

hook

HOW

TO

arranged

is

IT,"

MASTER

he

may

ETC.

summarised

thus"

I.

practice tlian theory." II. Teacliiiig liini the n.otes

only to the extent
required at each stage. III. Placing oidy the
and
short
easily reached
by little hands
fingers" tlie first and
second
before
him
at first,and
the strings till
taking liim gradually backwards
on
he can
command
the wlwle
four.
IV. Giving him
the easiest scales in fingering and
for setting well the hand."
V. Training him
the fourtli finger witliout
to use
sliiftiof the hand
violin witli tlie first or second
ness
by always giving him
a grip of the
melodies
and
more
exercises."
VII.
pleasing airs than
finger. VI. Giving him
the first to play concerted
him
from
Accustoming
music, thereljy training the ear
and
for future
and tone in orchestral
laying the foundation
firmness, power,
playing.
VIII.
ducing
Making him early to play upon the shift by giving liim easy melodies, introthe Third
and
Fifth
positions, thus setting tlie liand and thumb
properly to
the ujiper as well as the lower
part of the finger-board.
more

"

"

"

"

"

The

book

is

arranged

as

First Tutor

or

Primer,

to teach

the

art of

playing the Violin

reading of music
by the simplest and surest steps ever
devised, and though
is eminently suitable
for beginners of any age.
speciallydesigned for the young,
form
The
of the woik, are
and
a leading feature
Duets, which
adapted for teacher
advanced
than
pupil more
pupil, for two pupils practising together, or for one
another
the younger
Even
advanced
students
will
superintending
player's studies.
find many
of the Duets
of passing a pleasant hour.
an
agreeable means
and

the

CONTENTS.
Hints

Introduction"

Scale, A
Air.
and

Major.

Tlie Blue

to

and
First
Beginners. Open String Exercises.
First Melody.
Indian
Finger-Board for First Scale.
Scotland.
Rouseau's
Hymn.
Cuppie Shell. Study in Notes
of

Diagram
Bells

of

Parents

their

John
and
Ann.
Scale
of D
tended
E(iuivalent Hests.
Major.
Nelly Ely. ExScale of D Major.
Scale of D Major.
Diagram of Finger-Board for Extended
West
End
Coal Black
Be Kind
to tliy Father.
First Exercise
Rose.
for
Hornpipe.
First Exercise
the Fourth
in Slurring.
Grandfather's
Cloclc.
Scale
of G
Finger.
of Finger-Board
for Scale of 6 Major.
Scale Exercise
in G Major.
Diagram
Major.
Sweet
Ten
Little
Home
witli
Niggers.
Swing Song.
Home,
Easy Variation.
Andante
Oberon.'
from
the
Mermaid's
Second
Song, from
Surprise Symphony.
Exercise
in Slurring.
Annie
Laurie.
A
Wae's
Me
for Prince
Highland Lad.
First Exercise
in Shifting. Easy Melody, introducing the Tliird
Charlie.
Position.
Extended
Exercise
in Slurring Fifths.
Scale
of D Major.
Exercise
in Shifting on
Hussar.
Exercise
in Sharply Defining Semitones.
Two
The
Strings. The Wounded
Blue
Bells of Scotland
and
(arranged as an Easy Solo, with Variations). Ye Banks
AVhen
Braes.
To
the Kye Comes
Ilame.
!Mary in Heaven.
Daily Exercise.
Olga
Waltz.
Little Liza's Hornpipe.
in Linked
Dotted
Exercise
Notes.
The
Keel
Ptow.
Staccato
First
Study.
Legato
Study in the Shake.
Lannigan's Ball.
Study,
Extended
Meditation.
Toddum's
Polka.
Scale of G Major.
First Study in crossing
the Strings. Second
I Know
First Scale of C ilajor.
a Bank.
Study in the Shake.
Scale of C Major.
German
Easy Melody on the First Scale of C JIajor. Extended
Fifth
the Imperfect
of C M.ijor. Second
in Fingering
Study in
Song. Exercise
ilarch.
in Legato Bowing.
Silver
Crossing the Strings. Blucher's
Daily Exercise
Duet
Bell Schottische
from
(introihicing Melody by Spohr).
'Itigoletto.' Extended
Scale
of D Major, introducing
the Fiftli Position.
and
Easy Melody on the Third
Fifth
Scale
of
F
Life
Let
Positions.
C'lierish.
us
Major.
Pleyel's First Duet.
ilarch
of the
Men
of
Daily Legato Exercise,
Melody from Loder
(Harmonised).
Harlech.
for Setting the
Scale
of B Flat
Hand
to B Flat.
Easy Melody
Major.
'

'

Duet

from

'Don

First

Scale

of

the Extended

Pasqu.ale.' Flora
Flat.

Scale

EDINBURGH

of A

Shells

of

Major.

E.

M'Donald's

Ocean.
Second

KOHLER

'

Lament.

Extended

Study
"

Duet

Scale

of

in Stretched

SON,

NORTH

from

'La

Notes.

Traviata."

Exercise
Conclusion.

Major.

BRIDGE.

ou

VIOLINISTS

YOUNG

THE

TUTOR

AND

DUET
THE

BY

AUTHOR

BOOK.

"THE

OF

HOW

VIOLIN:

THE

OF

OPINIONS

MASTER

TO

IT," "c

PRESS.

"'The
Young Violinist's Tutor' should be placed in the hands of all
of tlie pleasingand
attractive manner
in which
it is
beginners, on account
hints
Introduction
useful
the
The
on
some
gives
study of
arranged.
very
well played." Giiiphic.
this instrument, so charming when
"The
author has evidentlydevoted
a
large portion of his time to closely
in entering
children
ha\e
to
encounter
observing the difficulties which
the
time
has
and
this
work
been
not
this
to
judge
study,
by
spent in
upon
"

This

vain.

"The

of

beginners and

for
a

has

we

As

to

make

easier

of the

most

"

it

heartilycommend

can

as

an

the

instruction

experience,and the book

thorough knowledge of his subject."

for young
intend
or
old, who
of airs is most
and
attractive,

of the

one

it to

RevLiu.
been

of the

knowledge on the part

which, like this, begins at

work

be

to

heartilyrecommend

of

amount
a

found

be

the

work

both

of

books

take

for

pupil,there

beginning.

furnishes

violinist of

of his

"We

author

of the teacher.

certain

is

author

the

will

public,and

made

"

aim

granted a
ample room

been

parents." Saturday

and

teachers

of instruction

method

rational

best that has hitherto

abundant

dence
evi-

Scotsman.

efficient and

trustworthy guide

violin. The
learning
play
all
pleasantlyharmonised
they are

collection
as duets.

the

to

is

The

in every page.
author
has put clear-headed
It
juaclicalinstruction
Friend.
decidedly give a great impetus to violin playing." People's
well arranged
book
is thoroughly practical.All the tunes
This
are
follow
vicious
that
the
need
the
of
master
not
as duets, so
covering up
plan
his pupil'sfaults by superior playing,for he has the means
in a
at hand
simple accompaniment for giving needful help in masteringthe difficulties
The

will

"

"

of time
"As

N'orzuich

"

]\lerciirv.

beginner'smethod

reduced

tune."

and

it could

not

be

easier.

minimum

The

difficulties are

and

a
by an exceedinglygradual
highly pleasurable
The
study, and by the plainest possibleverbal instruction.
enthusiast
is clearlyan
and
most
a
capable instructor ; and the
of study is almost entirely
through familiar airs set as duets,selected

to

of

course

author
course

with

remarkable

aptitudeto

safe and

ensure

smooth

progress."
"

Diindei

Advertiser.
"To

the

learn to

only

road

play

marked

to

is the violin

where

is universally
admitted
young
instrument
abilitywith that wonderful

the violin while

which

tutor

The
author
beginning to reel?
take
for
credit
much
fairly
may
witliin

which,
is

'

the

past few

with

arranged

manner,

what
on

for the

Violinist's Tutor.'
"

years, answers
take
to
we

entirelynew

an

any
of

of

use

child

could

look

'The

Violin

of

the
this

be

How

without

its brain

Master

to

be
but

it,'who

violin

impetus given to
playing
question by producing a tutor
of

touch

in
principle,

beginners.'

at

to

Certain

sly humour,

pleasingand

success

awaits

he says
attractive

'The

Young

"

s Journal.
People'
and has our
Thoroughly practical^

warm

EDINBURGH

"

"

E.

KOHLER

commendation."

SON,

NORTH

"

The

BRIDGE.

Queen.

Edition, Now

15th

Pictorial

Beady;

BROUGHT
OF

OPINIONS
"That
come

vie

may
sensation

for

CITY

of

DETECTIVE.

Down."

Hunted

"

PRESS.

THE

daily proved by the episodes

fiction is

of the

the notice

under

of M'Govan

OF

is stranger than

truth

Author

By James M'Govan,

which

BAY;

TO

EXPERIENCES

Or,

Gilt. Ss. Gd.

2s. 6d.; Cloth

Boards,

force ; and
the experiences
with
the most
startling

detective

excitement

variety and

The Graphic.
novel."
with their alternations
fascinating,
indeed, have we found these stories,
the graphic and
of the tragic,the humorous, the pathetic,and
of their relation,
occasionallyeloquent stylewhich characterises the method

creations of
"

"

So

that

have

we

found

it difficult to

lay

the book

without

down

straightthrough." Liverpool Albion.

"He
has a rich deep vein of pathos running, like

reading it

"

golden thread,

in depicting
of the tales, with a tenderness
through the greater number
that
is both
of
criminals
who
under
fell
his care
the unfortunate
some
Advertiser.
touchingand beautiful." Dundee
"
Graphic and deeply interesting
experiences. Some of the narratives
"

grotesquely humorous
; but in
and
trace
a genial spirit
a
can
sympathising
The
patheticpicturesof sin and sufferingwhich he presents
can
scarcelyfail to create or deepen those feelingsof sympathy

exceedinglytouching, while

are

all of them

heart.

to his readers

for the
"

"

thus

"

very

of

and

of them
to

efforts for their

true

Temperance
they strike us as stories which
fairlyrepresent circumstances

Marvellous

some

precede all

must

tion."
reclama-

Record.

the notice

under
"

erringwhich

London

In the main

which

are

the influence of

we

others

might

have

been

which

characters

and

true

and
come

policeagent in the Scotch capital."Literary World.

graphicallytold tales,always intensely interesting,
"

not
humorous, others deeply pathetic,
vicious taste.
Peoples Friend.

very

one

of them

dering
pan-

"

"

man

fertile in device

more

it would

be hard

to

find."

N'onvich

"

Mercury.
"

There

is a realism

atmosphere
of

some

of adventure

and

sin,and

without

of

more

forgiveness,which
parental
feelingsbeing deeply touched."
and

Herald.

M'Levy

the

has

of stories."

"A

scries of

dramatic

so

as

be

strikingand

one

now
"

ex-detective."

volume

before

fascinating
collection
fascinating

claims

be

cannot

Ardrossan

"

"A

appeared

touching tenderness, of deep

of

passages
sorrow

since the days of

Never

romance

are

the reader is lifted into the

than fiction. In
wonderful

; and

emotional

the

Saltcoats
"

and

tales there

the

penitence for
read

in all his sketches

us."

of detective
"

Aberdeen

experiences
Journal.

Courant.

by
stories,told with spirit,

one

who

Sunday limes.
extensivelyread in South Australia that it is
Mr
for
their character.
to say anythingrespecting
us
scarcely necessary
M'Govan
much
of
his
scenes
being hi;;h!y
literary
ability,
many
possesses
realistic ; and it is quiteevident that he must
have been personally
brought
into contact
with the characters
whose
lives he so vivedly portrays. The
stories are
M'Govan
is
Mr
intenselyinteresting; in pathos and humour
South
Australian
Advertiser.
home."
at
equally
to

"They

an

have

been

"

so

"

EDINBURGH

and

LONDON:

GLASGOW:

JOHN

SLMPKIN,

M.'\RSHALL,

"

MENZIES
"

CO.

CO.

OF

SECRETS

THE

FULL

BEING

HINTS
For

PLAYERS
of

Mastery
"

of

Author

By the

AND

VIOLIN

Perfect

the

PLAYING,

VIOLIN

INSTRUCTIONS

TO

Violin:

The

Is.; Cloth, Is. 6d.

Photos,

frcm

Zngravirgs

20

with

8tli Edition,

the

IIow

Instrument.

it,""c.

to Master

CONTENTS.
I." The

Chapter

Player"
Spoon, Double
Rests

Their

"

Chaptfr

of

purpose

Model

The

the

Violin

Work"

Showy

Trifler" The

Players" The

Violin"

the

Holding

Player"

Chin-Rests

(Illustrated) The
"

Chin-

Vulcanite
Ridge, Spohr, Adjustable, Voigt's Shoulder, and New
Advantages and Disadvantages Analysed and Explained.
it.

the

Holding

"

Violin

Position

Normal

(IlIustrated)^The

Variations

"

The

"

the

of

Position

Position

Firm

the* Left Hand

The
Position

of
Free

The

"

"

Anticipating Position.
III.

Chapter

The

"

"

How
The

attain

to

it

IV.

Chapter
The

Left

Judge and Select Strings How

Fourth
String The
String:
The
'A' Spring Catcher.

to

of

Fourth

of the

Hand

Finger
Fingering;

Flexible

"

"

How

"

Action

The

"

The

"

"

"

"

"

"

"

"

The

"

and

New
"

to

Bridge The Sound

Finger Board
Lining
New
Peg Turner.
"

"

The

False

Adjuster
and

Real

"

"

'

or

Rusty

"

Tickets

it

use

Post

"

The

"

How

and

Keep

to

"

Good

Exercise

"

"

Strings
Strings for Solo Playing
Chapter
V.
Adjusting the Violin
The
Bass
Bar
Resetting the Neck
The
Pegs The Patent Holdfast
Peg
Chapter
VI.
and
Violins, Old
Cremonas
for the
Experienced Mixed
Violins.
to Judge O.d
Experts How
"

the Bow

Thumb

written

ever

Points

the

of

Finger Stretching
Stretching (Illustrated) New
for the Violin
Stretching the Thumb.

Cork

"

best Exercise

of

Management

Position

(Illustrated) The

"

Improve
Preparing

The
Strings
Sandwiching'
"

"

Cremonas
The
most

"

Frauds
reliable

"

VII.

Chapter
the

for

Bow

"

the
in Bows
How
to
Inexperienced Frauds
Restoring the Spring of a Bow
Cleaning the
"

Judge,

"

"

Hair

o"

Bow.

VIII.

Chapter
to

Frauds

"

Preserve

Select, and

the Solo

IX.

"

"

"

Powers

book

with

"A

book

large

The

of

its

with

violins

are

Consolation

Faults
of
Scraper Common
Solo Playing
List of Effective
Sic.
Instrumentalists,
"

as

to both

amateur

fully,and

very

The

amusing, and

and instructive."
interesting
will be

Rules"

"

"

practicalillustrations.

purchase of old

which

Women

subjectis dealt

number

both

conveys

Earless

Playing

confidentlyrecommend

we

the sale and

which

"

"

which

will be found

and Developed
Getting beyond
Shake : How
it.
to Master

The
Concluding Advice
Duet
Playing" Orchestral
of the Violin.
Appendix

performers.
contains

Forced

Close

"

Players
The

"

The

"

Chapter
Advanced
Solos

Tone,

"

Player

"

and

chapters dealing
the whole

IVhilcha-'en

both

work

News.

greatly relished by violin playerseverywhere, and

'tips'and hints,and

cautions

ami

lessons, in such

forcible
with

sional
profes-

the first part

language, and in such a felicitous style,that the book may be

interest by any one, though no violinist will scan
its pages
save
Advertiser,
pleasure and profit." Dundee

clear,
reacl
with

"

"The

author well understands

the method
of making a technical subject
interesting.Violinists will find the book a complete repertory on the most
of the bow, the
approved styles of holding the violin,the management
selection and care
of strings,the best method
of practice,
"S:c." People's
"

Friend.
EDINBURGH

E.

KOIILER

"

SON,

NORTH

BRIDGE.

Seventh

Edition.

Full

Music

Sizo.

Price

Is.

Postage

lid.

THREE EASY FANTASIAS ON SCOTTISHAIRS

For

the

with

VIOLIN,
By

Author

of "The

professional

Violin:

How

Tutor

No.

Iloose," "Ye

Banks

!"

Gregor,

"Auld

Robin

"Comin
Dance."
"

Admirers

of the

of

whole,

Violin

Violinist's

luck about

nae
"

Rob
"

Hielant

the
Mac-

Roy

Lad,"

Keel
"The
No.
Row."
3, introducing
Flowers of the Forest," and "The
Fairy
whh

Part

accompaniment, ONE
the above

to

Fantasias.

easily-set
popular melodies

will be

Just

shilling.

Price 6d.
pleased with

these

Graphic.

"

is pleasing,
and

arrangement

of young

"There's

o' Bonnie

Braes

Pianoforte.

Young

Doon," and
introducing"Logic o' Buchan,"

2,

Second

Master
it," "The
Duet Book," "c.

to

and

Gray," and
the Rye," "The

Price

Fantasias."
"The

No.

thro'

published, a

and

for the

PLAYER.

Mai-y in Heaven,"

introducing"To

I,

Accompaniment

an

of the violin."

students

"

well within the capacity

fingering
Weekly Joii7-nal.
compositionsin a popular stylewill

the

Not'djich

Young violinists in search of easy

study in these Fantasias."
Glasgow Mail.
The
selection is excellent,
and will prove good practice
both instruments
on
for juveniles." Daily Review.
and
"Delightful exercises for young
violinists,
capitalpiecesfor performance
either in publicor the familycircle." People's
Friend.
"These
Fantasias
well adapted for playersat an earlystage, as they
are
"

find suitable

"

"

"

"

marked
carefully

are

Second

Edition.

THREE
On

throughoutwith

Full

technical

Music

Size.

BRILLIANT

Scottish

and

directions."

Price

Is.

VIOLIN

"

Con rant.

Postage

IJd.

DUETS

Irish

Airs, arranged for the use of Amateur

ProfessionalPlayers. {Without Accompaniment).
a

By

Author

of

/\lbie by the Author.

violins is
than

ear

been

done

professional
"

The

Violin

and

PLAYER.
:

liow

to

Master

it,""c.

capable of being produced by two

less distracting
to the untrained
delightfully
pure, and
much
of that having a pianoforteaccompaniment.
Little has
The

"

sweet

as

music

and

yet in this direction

and
by composers,
with which
the enthusiasm

I have

been

induced

they have invariably

and
in
received when
ducing
been
by
public
myself
perfonned
my girl. In introthe novel and pleasingeffects of two quartettes,a flute accompanied
by a harp, a tenor singeraccompanied by a harp, "c., I have only shown
time
of two violins,and indicated how others with more
feeblythe power
efforts.
With
and
follow up my
such
abilitythan I can command
may
of
bad
and
mayed
undisalso
are
a
players
quite
pieces
independent
accompanist
to

publish these

by

duets

the absence

EDINBURGH:

by

of

E.

pianoforte.

KOHLER

"

SON,

NORTH

BRIDGE.

Pictorial

Ready;

Edition, Now

lOth

TRACED

Boards, 2s. Cd.

; Cloth

Ciit, 3s. 6d.

TRACKED;

AND
OR,

OF

MEMOIRS

CITY

M'GOVAN,
Down,"

By JAMES
of

Author

"Brought

"

Bay,"

to

M'Govan

"Mr

so

we

good

work

to

It is

Clues."

PRESS.

with

with

book

"Strange

vein

the

success

with

whicli he

it is unnecessary
to criticise.
it is eminently readable, written
with good sense
and
well.

say that
taste, and deals

When

THE

OF

continues

already done

and

Hunted

OPINIONS

has

DETECTIVE.

which

difficult

subjectswith much
than justiceto
more

tact,

have

we

not

done
a
very praiseworthy
gone beyond the truth nor
volume.
Spectator.
the best specimens of the class of literature to which
"They are among
Mr
is a genuine artist in the detective line,and
M'Govan
they belong.
"

"

puts into his stories

'Traced

"In

Tracked'

interestingnarratives.

most

of

those

Mr

M'Govan

than

There
real

in

one

very
at

fix the

once

satisfyhis judgment.
suffer for

be

found

The
the

with

which

' '

sympathy
he

know

in the

which

Saturday
as
detectives,'

KcznrM.

"

which

that

they

but

gives

he

without

has

feature

been

is his

proof of the

A
fact

Mr

of his

seldom
of

writes

admirable

"

with

ease

and

the detective's
surpass

genuine ability. They

he

own.

languages."

into Continental
"

and

reader's attention, excite

One

fault of their

no

is to

tales

of

Dickens

the rest

For

bounds."

pietywithin

narratives

interest

of
stories

well

are

ref'ay

"

into sentiment.
digressions
"'The

Scotsman.

"

some

detective

no

are

found

"M'Govan

keeps his

be

to

are

high degree, and so well told

Advertiser.
perusal." Kollterham
does
not
keep strictlyto crime,

fascinatingto
more

nature."

of real human

touch

and

occasional

and
affectation,
well

called, his

his

sympathy, and
feelingfor those who

popularityof M'Govan's

that

they are
being widely translated
Sheffield
Tele.:Taf"Ii.
M'Govan
retains his hold on the imagination

readers,is hardly

fails to unravel

less wonderful

mystery."
"

A'ai-vieh

than

the

skill

Alereury.

other

detective who
could clothe his memoirs
in
here than intense realism.
language so simple and effective. There is more
is a vein of humour, and
There
occasional
an
gleam of pathos which we
We

look

may

in volumes

is in

"It
free

for in vain

no

these

of

sealed

tapping
pathos and goodness

the

M'Govan's

higherpretensions." Aberdeen Journal.

fountains
of true
hamanity, and setting

that

"

have

been

hid,

that

the

secret

of

lies. Many of the tales are

touchinglybeautiful,and
also gleams of humour
are
here and
appeal direct to the heart. There
interest in every page." Dundee
Advertiser.
there, and there is fascinating
success

"

"They
from

are

the firstword

"M'Govan
the

to

the last."
"

discovers

life-like and
"

the

story kept boiling

Ccurant.

amazing insightinto the ways, the thoughts,

fallen humanity, and wields the ready
s Journal.
composition." People'
sustained
do\vnrightability,
interest,and healthfulness of tone,
of no stories superior to these experiences
of M 'Govan, and
the
an

and
feelings

pen of
"For
we

mastei^piecesalways
"

know

the frailties of poor

of narrative
master
perfect

present volume

is eveiy

EDINBURGH

whit

AND

LONDON:

equal to

GLASGOW:
SIMPKIN,

"

its predecessors."Inverness
"

JOHN
MARSHALL,

MENZIES
"

CO.

"

Courier.
CO.

Keady, Sixth Edition; Pictorial Boards,

Now

Gd.; Cloth Gilt, 38. 6d.,

MYSTERI

SOLVED
REVELATIONS

Or,

2s.

CITY

OF

ES;
DETECTIVE.
"

James M'Govan, Author of Brought to Bay," Hunted

Down,"
StrangeClues," Traced and Tracked,"":c
"

By

"

"'

OPINIONS

OP

"Inspector M'Govan's
under

the

exaggeratedand
is a far

citydetective,which
do not
Mysteries,'
belong

revelations

title of

of

'Solved

sensational

stories

PRESS.

THE

much

so

he

lishes
pubthose

to

in vogue, in which
tion
imaginaOn
the contrary they are
life,
bearing the stamp of

potent ingredientthan fact.

faithful transcripts
of the seamy
side of human
in
It
almost
is long since
line.
actuality
every
more

read sketches
Marked

exhibiting
Ca.'-h-bag,'
pathos as 'Meg
A Small Bread-stealer,'
and
Father.' As a rule,detective stories
Billy's
minister
excitement
to an unhealthy
to read many
only
; but it is impossible
of these pages
without
the
finer
emotions deeplytouched,or confessing
feeling
of those Mhose
lives are cast in criminal
to a sympathy with some
grooves." The Academy.
such

and

true

natural

and

'

we

Jess,''The

'

"

"The
been
from

main

stories

the best of the sort which have ever

unquestionably
dramatic they are absolutely
free
theyare entirely
the
a
nd
show
close
with
both a
feature,
acquaintance
any objectional
of
human
life
and
in
action,and a rare ability the art of
springs
are

written,and

narration."

whilst

Whitehaven

"

"'Solved

News.

has in it stories as
Mysteries'

curious

and

as
interesting

that M'Govan

has yet given to the world.

Those
who
series will welcome
renewal
of
their
a
pleasure. Those

any
the former

know
who

have

as

yet

of this clever

writer's work
to be envied.
are
even
more
To the experience
of a detective he adds much
of a humorist.
of the power
has this natural touch,although the interest is
Every story in this volume
much
varied."
Scotsman.

knowledge

no

"

"The

stories

of varied

but one, 'A Small Ereaddegreesof interest,

in
the
the
to whom
a
pathetic
extreme;
poor little wretch
workhouse
haven
last
of rest, at
takes refuge from his
a
seems
]nisonor a
mother's grave, and is only carried thence
step-mother's
crueltyon his own
die."
to
Literary H'oiIJ.
are

is
stealer,'

"

is in

"Each

itself a

in which

manner

they are

takes up the volume

can
which his eyes firstchance to
actual

has

experience;

relieve him
tlie

this

of any

strain

of
responsibility

so

in the extreme, and no one

fascinating
it
down
without
the story upon
put
finishing

alight."Sheffield
Telegraph.
"

advantage

his

exciting. The

and
interesting

told is

who

"M'Govan

both

romance,

on

over

books

note

his

his
and

that he writes from

imitators,
recollections of actual service

facultyof invention,and

his facts and

presenting

incidents

leave
as

to

him

only
them

make

and
felling

effectne.
Ifroad comedy and the deepesttragedy,the blackest
of
criminal
character
and
the redeeming trials so often found side
phases
side
with
follow
another
in M'Govan's
by
them,
one
pages, while each
story has
tales are

unfailingvigovirand
as

full of

narrative

charm.

genuinepathos as anything we

Two

or

ever

three of these

read."

"

Scottish

Leader.
EDINBURGH

AND
LONDON:

GLASGOW:

JOHN

SIMPKIN,

MARSHALL.

MENZIES
"

CO.

"

CO.

ISili Edition, Now

Ready; Pictorial Boards,

HUNTED

DOWN
OF

RECOLLECTIONS

Or,

By

OPINIONS

thrilling
story of
turning thieves

"'A
avoided

and

numerous

drawn

from

turned

to

so

life,and

many
down'
awful

determination

the

and

now

wife of

its detection.

of

; but

again

this
and

bits of

mischief

the

the

alone.

In

of intense

with

deals

of their

these

is

'

author

hunt
with

out

that

tiie

edly
undoubt-

introduced,and

Pi/oi.

criminals, without

There

Lien

to

sujiposed

the

excitement

Leith

"

carried

be

so

dcatli,and

to

of the thief
was

are

having heeu

obtained

so

down'

to

not

fiap]"ily

has

incidents

materials

gang

It is

genuine humour."

of heroes.

The

resolve

his

and

scences

Bay."

to

Tiie author

heroes.

is littledouht

effectiveness.

are

Down'

"'Hunted

the laurel wreaths

into

how

sketches
i^athetic

there

ought

thief is 'hunted

succeedingstories show
author

DETECTIVE.

PRESS.

have
very skilfully
Pictorvil W'orld.

"

consists of

excels

and

and

first ta!e, the

of the

volume

crime

of *'Bi

THE

scamps
that there
striking;,

account."

the

"In

OF

Gilt, 3s. 6d.

CITY

Author

M'Govan,

James

2s. 6d.; Cloth

them
investing

with

strange interest attachingto the

to tlie fact that the remarkable
ters
characa

perhaps due
speaks reallyhad an existence."
Literary World.
"If there be a fault to find with it,it is that it is too fascinating.
The
and
the
the
the
in
these
blended
are
comic,
curiously
tragic,
grave,
gay,
Recollections,in the record of which there is much evidence of descriptive
narrative, and

this is

of whom

the author

"

imaginativepower, and of intimate

of the human
good and bad qualities

and

knowledge and close experienceof

heart."
the
LiverpoolAlbion.
The
best of their class, written in a genial style,
grave or gay, pathetic
tender
the
or
as
demand.
M'Govan
is
or
humorous,
stern,
subjectmay
of
the
effective
him
with
facts
an
ally
temperance reformer, furnishing
and
and
arguments, and expressinghis teaching with a power
eloquence
which
platformorations cannot
surpass." Dundee Advertiser.
"There
is a pathetic touch, here
and
or
there, worthy of Dickens
fine
the
and
and
delicate
of
the
author
taste
transfuse
Thackeray,
humanity
of elevated
with a savour
the whole
thought,calculated alike to impress
"

"

"

benefit."

and

"The

skilful

full command

and
that

of

is tempted

one

Free

Afidland

"

same

Press.

delineation,abilityto intenselyinterest

the reader,
is
and
its
so enthralling
pathos apparent ;
are
contents,
to lay it down
until every
not
JIiill
is read."
page
"

Times.

Full of
the reader a
"

and told
graphic experiences,
sympathy for the erring,and

reforming their
styleis natural

M'Govan's

sketches

manner

desire

earnest

as

to

to

aid

displaywonderful

ways.
and
and
simple,frequently
pathetic,

incidents."

of humorous

in such
an

beget
them

power,

in
in

his

relieved by narrations

Conrnnt.

"

"Interestingand
from
"

exciting,
thoroughly well-written,and altogetherfree
the
book
slang,
positivelydoes not contain a dull page." Bookseller.
Besides
this
moral
effect,they are
having
possessedof great literary
"

merit, are
the

skilfullyconstructed,
pervades them,

which
spirit

taste,

warm

tender

all that is fair and

heart, and
beautiful."

EDINBURGH

"

show

told.
felicitously
that

generous

Their

the writer has

diction, and

cultivated
pure
in
sympathies,clearly love with
a

Friend.
People's

GLASGOW:

AND

LONUO.V

and

SIMl'KIN,

JOHN
MARSHALL,

MENZIES
"

CO.

"

CO.

12tlx Edition,

Pictorial

Heady;

Now

STRANGE

CLUES;

CHRONICLES

OR,

'"

OF

BAY,"

TO

ERO'JGHT

in the

"Nowhere

Any
there

of

Here

which

as

know,

we

and

there any

are

genuine ability.

"

we

much

stories

that

so

of

master

perusal,but

one

'

sketches

many

humour.

pathos and

Waters,' will admit

that

works

of

ahead

of the earlier narrator."

Equally

sketches
related

has

have invited

second."

"

World.

Pictorial
"A

M'Govan

Mr

"

have

we

satisfied with

been

gauged the depth c^ijj^man

are
graphic,vigorous,and intensely fascinatmg so
taken
the book
again ; nor have we
up again and

well

how

shows

feeling.The

"

far

is in them

the author
"

PRESS.

for interest

these

equal

can

ETC

rushes through them

discover all the teaching
not
siinply
may
reader
will
fail to see that,while
the
not
but
thoughtful
;
the book is telling
Scolsj?:an.
a story, he is pointing
a moral."
and
of
then
sketch
the
some
a
humorous,
patheticstory
get

who

one

THE

OF

DOWN,"

"HUNTED

English language, so

stories which

DETECTIVE.

CITY

M'GOVAN,

JAMES

OPINIONS

dectective

OF
BY

AUTHOR

Gilt, 3/6.

2 G; Cloth.

Boards,

home

are

realitywhich,

under

before

come

other

unsurpassablein

is

M'Govan

once-popular

humorous,
or
tragic,pathetic,
As
the
adventures
high degree.

personal reminiscences, they

and

the

Edinburgh detective is a long way

Mercury.

the

Nor^uich

"

know

the

with

fascinatingin

are

freshness

at

who

Those

the

incidents

reader

with

circumstances, would

his

particularline

of his

most

and

of

be

sible.
impos-

literature."
"

Advertiser.

Rotiierham
"That

genius

M'Govan

surely the

"

of

Dickens

very

detectives."

"

Peof-lesFriend.
and so well told,that it was
with the gi-eatest
So intenselyinteresting,
until
had
could
our
we
we
reading
completed the volume.
difficulty
stay
stories are
The
pathetic,pungent, eloquent, forcible,and to the point,and
of concentratingthe attention of the reader not often found
possess a power
novel or story." Liverpool Albion.
in the modern
"

"

"The

ingenuityof the detective

of evidence

in the
"

fascination.
"The

"

best

pursuitof

in

followingup
criminals,gives to

the most
the

shadowy

narrative

trail

strange

Bookseller.
detective

stories (truestories,
we

esteem

them) that

we

ever

Publishers^ Circular.
with."
"The
stories written by this author are about the purest and best of the
kind which have been published." Daily Review.
"
the best and
kindliest feelingsof
Many are of a character to awaken
met

"

"

our

and

nature, to draw
admiration
our

into human

good
charged.

lot of
is

out

our

towards

sympathies

towards

for his

M'Govan

the

sense

characters

described,

of humour,

his

insight

and the
nature, his mastery of pathos, his graphicdescriptions,
which
this
human
with
detective
nature
keen-eyed Edinburgh
It is the

best

book

of the

kind

we

read."

ever

Newcastle

"

Chronicle.

EDINBURGH
LONDON

GLASGOW

and
:

SIMPKIN,

JOHN

MARSHALL,

MENZIES
"

"
CO.

CO.