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P. 1
Geminiani - The Art of Playing Violin

Geminiani - The Art of Playing Violin

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Published by: Victor Correa Farías on Mar 27, 2011
Copyright:Attribution Non-commercial

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07/07/2013

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Playing
on
the
V
lOLlN
ottUi
ttttt
~tk~nea.
a;ym~m
af!/o/~onrAd.f7Y~t
nid
~~rr;..~~
wi/?
ako~
r:7LV#
k
~e~.
~rkV-~~..
sec-
Compofed
by
Opera.
IX.
LO~.DOJ'v.
MDCCLI.
 
p
R
E
F
A
c
E.
T
HEInten.tio.n
ofMufick
isnot
only
to
pleafethe
Ear,b.utto.cxprefsSentiments,ftriketheImagination,affec9:theMind,andcommandthePaffions.TheArtofplayingtheViolinconliflsingivingthatInfirumentaTonethatlhallina..Mannerrivalthemoftperfec9:humanVoice;andinexecutingeveryPiecewith.Exac9:nefs,Propriety,andDelicacyofExpreffionaccordingtothetrueIntentionofMufick.ButastheimitatingtheCock,Cuckoo,Owl,andotherBirds;ortheDrum,FrenchHorn,Tromba-Marina,andthelike;andalfofuddenShiftsoftheHandfromoneExtremityoftheFinger-boardtotheother,accompaniedwithContortionsoftheHeadandBody,andallotherfuchTricksratherbelongtotheProfeff'orsofLegerdemainandPofture-maftersthantotheArt·ofMufick,theLoversofthatArtarenottoexpec9:tofindanythingofthatSortinthisBook.ButIBattermyfelftheywillfindinitwhateverisNeceffaryfor
the
InftitutionofajuftandregularPerformerontheViolin.ThisBook
will
alfo
be
ofUfetoPerformersontheVioloncello,andinfomeSorttothofewhobegintoftudytheArtofCompofition.AfterthefeveralExamples,IhaveaddedtwelvePiecesindifferentStilesforaViolinandVioloncellowithathoroughBafsfortheHarpfichord.IhavenotgivenanyDirectionsfortheperformingthem;becaufeIthinktheLearnerwillnotneedany,theforegoingRulesandExamplesbeingfufficienttoqualifyhimtoperformanyMufickwhatfoever.Ihavenothingfarthertoadd,buttobegtheFavourofallLoversofMufrcktoreceive
this-
BookwiththefameCandourthatitisofferedtothem,bytheir
MojIobedienthumbleServant,
F.G.
ExampleI.
(A.)
A
ReprefentstheFinger-boardofaViolin,onwhicharemarkedalltheTonesandSemitones,withintheCompafsofthatInflrument,accordingtothe
Diatonick
Scale;theyare
23
inNumber,
viz.
threeOCtavesandaTone;andineveryOctaveofthe
Dta-
tonieR
ScaletherearefiveTonesandtwoofthegreaterSemitones.IwouldrecommendittotheLearner,tohavetheFinger-boardofhisViolinmarkedinthefameManner;whichwillgreatlyfacilitatehislearningtoftopinTune.
(
B.
)
BIhewsaMethodofacquiringthetruePofitionoftheHand,whichisthis:Toplacethe
nrR:
FingeronthefirftStringuponF;thefecondFingeronthefecondStringuponC;thethirdFingeronthethirdStringuponG;andthefourthFingeronthefourthStringuponD.Thismuflbedonewithoutraifmg
any
oftheFingers,tillallfourhavebeenfetdown;butafterthat,theyaretoberaifedbutalittleDiftancefromtheStringtheytouch-ed;andbyfodoingthePofitionisperfeCt.TheViolinmuftbereftedjuftbelowtheCollar-bone,turningtheright-handSideoftheViolinalittledownwards,fothattheremaybenoNeceffityofraifingthe
Bow
veryhigh,whenthefourthStringisto
be
flruck.,
Obf"erve
A3
 
[2]
Obfervealfo,thattheHeadoftheViolinmull:benearlyHorizontalwiththatPartwhichreftsagainfttheBreaft,thattheHandmaybe
iliifted
withFacilityandwithoutanyDangerofdroppingtheInflrument,TheToneoftheViolinprincipally
Depends
upontherightManagementofthe
Bow.
TheBow
is
tobeheldatafmallDiftancefromtheNut,betweentheThumbandFingers,theHairbeingturnedinwardagainfl:theBackorOutfideoftheThumb,inwhichPofitionitistobeheldfreeandeafy,andnot
aHf.
TheMotionistoproceedfromtheJointsofthe
wsn
andElbowinplayingquickNotes,andverylittleornotat
all
fromtheJointoftheShoulder;butinplayinglongNotes,wheretheBow
is
drawnfromoneEndof
it
totheother,theJointoftheShoulder
is
alfoalittleemployed.TheBowmuftalways
be
drawnparallelwiththeBridge,(whichcan't
be
done
if
itisheld
ftHf)
andmull:
be
preffedupontheStringswiththeFore-fingeronly,andnotwiththewholeWeightoftheHand.
The
beftPerformersareleaftfparingoftheir
Bow;
andmakeUfeofthewholeofit,fromthePointtothatPartofitunder,andevenbeyondtheirFingers.
In
anUpbowthe
Hand
is
bentalittledownwardfromtheJointoftheWrill,whentheNutoftheBow
approaches
theStrings,andtheWriftisimmediatelyftreightned,ortheHandrather
a
littlebent
back
orupward,asfoonastheBowisbegantobedrawndownagain.OneoftheprincipalBeautiesoftheViolinisthefwellingor
encreafing
andfoftening
the
Sound;whichisdonebypreffingtheBowupontheStringswiththeFore-lingermoreor
IdS.
InplayingalllongNotestheSound
Ihould
bebegunfoft,andgraduallyfwelled
till
theMiddle,andfromthencegraduallyfoftened
till
the'
End.Andlaftly,
particularCare
muftbetakentodrawtheBowfmoothfromoneEndtotheotherwithoutanyInterruptionorfloppingintheMiddle.Foronthisprincipally,andthekeepingitalwaysparallelwiththeBridge,andpreffingitonlywiththeFore-fingerupontheStringswithDifcretion,
de-
pendsthefineToneoftheInflrument,
(c.)
C
thewsthe7Orders.WhatImeanby
an
OrderisacertainNumberofNotes
which
aretobeplayedwithouttranfpofingtheHand.ThefirftOrdercontains17Notes,and
the
otherfIXOrderscontainnomorethan
fixteen,
UndertheNotesofthefirftOrderyouwillfindtheirNames,andoverthefameNotesFiguresdenotingtheFingerswithwhich
they
aretobefl:opped,andtheStIings
on
whichtheyare
flopped,
It
muftbeobfervedthatbetweenthetwoblackNotes
is
thegreater
Semitone,andbetween
theothersistheTone,TheMark
(0)
denotesanopenString.FromthefirftOrderyouaretobegintoplay.'TisneceffarytoplacetheFingersexactlyupontheMarksthatbelongtotheNotes;foronthisdependstheftoppingperfectly
in
Tune,AfterhavingbeenpractifedinthefirftOrder,youmull:pafsontothefecond,andthentothethird;inwhichCareistobetakenthattheThumbalwaysremain
fartherback
than
theFore-finger;andthemoreyouadvanceintheotherOrdersthe
Thumbmud
be
at
agreaterDiflance
till
itremainsalmofthidundertheNeck
of
theViolin.ItisaconftantRuletokeeptheFingers.as
nrm
aspoffible,andnottoraife
them,
till
there
isaNeceffityofdoingit;toplacethemfomewhereelfe;andtheObfervanceof
this
RulewillverymuchfacilitatetheplayingdoubleStops.Thefingering,indeed,requiresanearneflApplication,andthereforeitwould
be
moRprudenttoundertakeitwithouttheUfeoftheBow,whichyouIhouldnotmeddlewithtillyoucometothe7thExample,inwhich
will
befound
the
neceffiuyandprope:r
Method
ofuftngit.
It

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