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.