VIOLIN.

  1. PRACTICAL RULES for producing HARMONIC NOTES on the Violin, with a Theoretical Explanation of the manner in which Musical Notes, natural and harmonic, are produced by vibrating Bodies, composed and arranged by an Amateur. (Cramer, Addison, and Beale.)
  2. PAGANINI’s Method of producing HARMONICS, exemplified and explained in a Series of Exercises, to which is added the Prayer from Mosè, as performed on the 4th String by that extraordinary Violinist, arranged by C. H. MUELLER. (Purday.)
  3. TRICKS ON THE VIOLIN, Introduction to and Variations on ‘Nel Cor,’ in which are introduced some Imitations of Paganini’s Style, by C. H. MUELLER. (Cocks and Co.)
  4. SONATA on the Prayer from Mosè, SOLO, for the VIOLIN on one String, &c., by C. H. MUELLER. (Purday.)

Now and then, though very rarely, it may be desirable to have recourse to the harmonics of the violin. In certain passages they prevent the inconvenience of taking the finger from a particular string, and obviate the necessity of sudden and extreme shifts, but it is a question whether such passages should ever be written for the instrument; more especially, as is commonly the case, when they introduce notes so high as to be almost inappreciable, and so weak as to be scarcely audible. The compass of the violin, including nearly three octaves of distinct and easily produced sounds, is surely range sufficient for all rational purposes; and it is our decided opinion that, except in a few instances which just serve to prove the rule, an extension of the scale of this instrument beyond what may be called its natural boundary, is of no practical utility, and would scarcely ever be resorted to, but for the purpose of displaying the dexterity of the performer.

The author of the first of these works was induced to inquire into the manner of producing harmonics in consequence of hearing so much of Paganini’s performances, and repeated trials led to the rules he has here laid down. But, resolved to test the accuracy of his practical results by philosophical investigation, he submitted them to a friend skilful in the theory of vibrations, who demonstrated their truth, and has furnished Part III. of the present publication,—‘An Account of the Theory of the Vibration of Musical Strings, explaining the production of the Harmonic Notes on any Stringed Instrument,’ which is executed in a scientific manner, though it will not be so clear to the mere violinist as probably the author expects[56].

Part I. of this work consists of ‘Practical Rules,’ &c., which are clearly delivered and satisfactorily illustrated. Part II. is a continuation of the first, therefore it was hardly necessary to separate it. This includes a few good examples, and a very useful table, calculated on divisions into tenths, eighths, sixths, &c. of the fourth open string, and showing in notes, the harmonics resulting from the string when touched at any of those points of division.

No. 2 is chiefly made up of materials furnished by the author of No. 1. The latter, however, finding that what he supplied had been published in an incorrect, incomplete manner, determined on printing his own system, or that which we have above noticed.

The titles of Nos. 3 and 4 fully describe the nature of the two publications, which, we will add, display great industry and no little ingenuity.