VIOLA LITERATURE.
| Methods | [179] | ||
| Studies | [180] | ||
| Duets. | |||
| Viola with Pianoforte accompaniment. | |||
| Step | I | [181] | |
| ” | II | [182] | |
| ” | III | [182] | |
| ” | IV | [184] | |
| ” | V | [185] | |
| Violin and Viola | [185] | ||
| Trios. | |||
| Violin, Viola, and Piano | [185] | ||
Footnotes:
[1] With the same intention, Mr. E. J. Bonn, of Brading, Isle of Wight, has produced a four-footed bridge, which, upon the testimony of those who have tried it, has in some cases effected an improvement. Testimonials from great artists concerning these and other attempts at improving the violin frequently appear; meanwhile, the artists themselves are well content with the bridge and the instrument generally as left by Stradivarius. One would not desire to deny the possibility of further improvements to the instrument, yet nearly two centuries of ceaseless experimenting have yielded no result that has been considered worthy of universal adoption. Tr.
[2] Regarding these two figures as sections of a trunk of maple the first shows how the slab back is obtained, (sur couche) and the second the other method. Tr.
[3] The semi-circular projection at the top of the back is also termed the button. Tr.
The quality of the wood in a bridge,—whether hard or soft—and its thickness (according to Otto, its weight), materially affect the tone of a violin. Bridges as supplied by dealers are usually almost twice the proper thickness, to allow for rubbing down with sandpaper. The best bridges are the genuine “Aubert” (with the name stamped inside an oval); those with large and decided reddish markings showing hardness of grain, and the less distinct markings a softer quality. When fitting a violin, a few of each should be tried, first cutting the feet to the approximate slope with a sharp penknife, then with a small piece of fine (No. 0.) glass paper held steadily between the ff holes, rub the bridge to and fro over the glass paper between the notches of the ff holes, until, on removing the glass paper it is seen to fit perfectly, standing upright when the instrument is level. The sketch shows the amount of slope to be made on the E side; the distances for the notches to receive the strings, and the amount to which the feet must be thinned in an ordinary full sized instrument. The height of the bridge is dependent, (for convenience of stopping), upon the height of the fingerboard. A high bridge gives more power, but often the quality of tone is not so good. The E string being harder to press down (by reason of its greater tension) is kept a little nearer the fingerboard than the others. From the end of the fingerboard, the E string should be about this distance
the G
On ½ size and ¾ size instruments for children these distances must be reduced about one-third. Tr.
[5] Box wood and rosewood are also frequently used for the pegs. The former gives a firm hold, but makes a creaking noise when tuning. Rosewood answers its purpose well, though it is not so strong as ebony, which however is more apt to slip. Tr.
[6] It is best to compare the ends before putting the string on, tying the knot at the end which appears thinnest. The last inch or so at each end of even the best string is often rough, and not so durable as the rest of it. Tr.
[7] To ensure equality of tone it is very important that the strings should be correctly guaged with regard to their relative thicknesses. If all the strings are too thick, the instrument will speak with difficulty in delicate passages, demanding a heavier pressure of the bow; if too thin, loss of power will be the result, though with a corresponding gain in sweetness and clearness, and if one string be much out of proportion to the others, the first finger when placed properly on that string and the adjacent one will not yield a perfect fifth, besides the inequality in power. The following diagram shows a set of strings of medium thickness, together with the distances apart near the bridge on a full sized violin, as suitable for ordinary hands. For fingers that taper much towards the tips, or for those that are very broad, the distances may be made a little narrower or wider accordingly. First strings of silk, known as “Acribelles” are in great demand by players with perspiring hands, as they are less affected by moisture than gut, but the tone is not so good. They possess certain advantages in durability, and standing well in tune, but are more difficult to tune, as a very slight movement of the peg will send them up half a tone. When frayed, they should be removed, the quality of tone they then yield being very bad, affecting the other strings. If gut strings of good quality are bought, and the strings carefully looked at before playing, breakages at awkward moments will seldom occur, as the strands generally give warning before breaking by showing symptoms of unravelling, especially at the knot end, or under the bow,—when they should at once be replaced. Tr.
[8] Kid of reasonable substance gives a pleasant hold for the fingers, although wire is in greater favour with bow makers for appearance sake. But it is apt to tarnish and unravel, especially where the thumb comes in contact with it. Tr.
[9] A convenient form is that provided by many English dealers, consisting simply of a round box,—preferably of tin,—with a hole in the bottom for the finger to push the resin up, preserving the upper surface level. Tr.
[10] New work is first prepared with a staining mixture to the desired depth of colour, smoothed and coated with hard spirit varnish, and again polished. Tr.
[11] The A may be taken from a pitch pipe, tuning fork, or piano, which should be maintained at concert pitch. In old violins, if the belly has yielded to pressure under the right foot of the bridge, it is well after playing to let down the first string. If a string is too flat, pull it up about a tone above the proper pitch, let it so remain for a few seconds and then lower it to the correct pitch. If too sharp, reverse the process. Only the A must be taken from a keyboard instrument, the fifths on the keyboard being not quite perfect, but “tempered”. Perfect fifths can only be obtained by a good deal of practice. Advanced students may test the tuning quietly by taking any two adjacent strings (with the little finger equally on both) in harmonics, or by beating lightly with the stick on the string. In the course of a piece, if even this is not possible, a slight pressure above the nut will sharpen a string, tugging it between nut and bridge will flatten; but this must only be regarded as a temporary expedient. Tr.
[12] The real “holding”—as regards the weight of the instrument—is done at the other end by the chin pressing the violin against the collar bone. What further steadying power is necessary, the lower joint of the thumb must supply, rather than the first finger. Players who have attained considerable freedom are able to play certain passages without any portion of the side of the index finger coming into contact with the neck. Chin-rests of various patterns should be tried, and that which best suits the particular player selected, as bodily proportions differ. Tr.
[13] The easiest keys for beginners are G, D and A major, as in these keys the open strings may all be utilized; the fingers fall more naturally into position, and do not require to be “set back” a semitone, as in C major (F on the E string) and in the keys with flats. The scales and easy melodies in G, D and A might therefore, be practised with the following exercises, or if deemed advisable, precede them. Tr.
[14] i. e. without the aid of the intervening fingers. Tr.
[15] Also known as the elastic staccato, Ricochet or Balzate. Tr.
[16] In the above examples the lowest note is played with a firm accent, beginning with the down bow, the wrist remaining flexible. In example e the bow should be turned over so as to bring the hair almost flat upon the string, (the hair preferably being rather tighter than usual). A slight “jerk” imparted to the down stroke sends the bow skipping over the strings of its own accord, on repeating the same arpeggio a few times. Tr.
[17] In Spohr’s method, and in a few other works, a wavy line ~~~ over the note indicates its employment. Tr.
Transcriber’s Notes:
The cover image was created by the transcriber, and is in the public domain.
Uncertain or antiquated spellings or ancient words were not corrected.
The illustrations have been moved so that they do not break up paragraphs and so that they are next to the text they illustrate.
Typographical and punctuation errors have been silently corrected.