SX D? SPOR. Absa Sze amon Srey coansung hs Osmo fe FIL OF SRBYLONecto Renae SS aw, a ere swat PROFESSOR OF MUSIC; —~ ee Lae wee boat Nis Malt. Puli ” ule bv R. COCKS &C2 6, NEW BURLINGTON STREET. LLERSIN ORDINARY TO HEK MOST GRACIOUS MAJESTY, . QUEEN VICTORIAI.LIST OF PATRONS SPOHR’S GREAT SCHOOL FOR THE VIOLIN, NEWLY TRANSLATED FROM THE AUTHOR'S VERSION BY JOHN BISHOP. THE COMMITTEE OF MANAGEMENT OF THE ROYAL ACADEMY OF MUSIC. Choleman—The Right Honorable the BARL OF WESTMORLAND, Hor Majesty's Ambusudor st the Court of Praia * rorp sanrouN, [THE RIGHT HONORAULE SIE GEORGE WARRENDEE, BanT, SIR GEORGE CLERK, BART. Aoing Chirmn. MAJOR-GENERAL STR ANDREW BARNARD, Kc, MAJOR-GENERAL SIR J. CAMPBELL, KCTS, PldpalaMr, CHPRLAT POTTER. Genel Seen, The Aylward, Mr. W, P. Musieseller, Salisbury. “Arinstrong, Mr. Professor of Music, Kendal. Alaridgo, Mr, ELE, Leader of the Liverpool Pit Atkins, ReA. Esq) ‘Asaph. Abbott, Me ‘Ayton, Mr. J Stennist of the Cathedral, St Bird, Mr, Lewis, Herne Bay Browne, Mr. R. Jun. Lo Beswick, Mr. Musieseller, Sunderland, Beardmore, F. Boq, Uplands Park, near Farcham, 2 copies. Blackburn, Mr, Musieseller, Bradford, Beale, Mr. Musicseller, Wimbourne. Betts, Mr. A. Royal Exchange 6 copies. Blow, William, Eaq.St. Peter's College, Cambridge, ‘and Goodmanham Market, Weighton Hinged nee Willa, Profesor of Music, Chel tenho. eerie Bowman,Measrs, Booksellers, Richmond, Yorkshire, Blorsorn, Charles, Esq, A, Park Steet, Gros Blackman, Me. W. Musieseller, 6, Bridge Street, Southwark B copies. Balls and Son, Messrs. Oxford Street. Boosey anc Co. Messrs. 28, Holles Street, Cavendish ‘Square, 2 copies. Baker, Mr. Abraham, Bristol Clayton, Mr. Professor of Music, Bradford. Crossley, David, Esq, Bradford. Camidge, Dr. York Child, Me. E; Musicscler, Horoford, Cripps, RM, Esq, Novington, near Loves, Grater ad Co, Mists. 208, Regent StestLondon. Crowe, Mr. Professor of Music, Lancaster Cooley, Mr. W, D. 38, King Siceot, Bloomsbury. Chapman, Mr. Allen, Violinist, Rye Croft Place, ‘Ashton-under-Lyne. Gapel, General 14, Charles Street, Berkeley Square. Ghappells, 60, New Bond Street copies, Dungey, Mr. James, Brompton, Kent. Dyer, Mr. J.P. Organist to the Hon, ‘and Rev. B.C. Boyle, Marston, near Frome, Somerset, Davis, Mr. William, Coventry Stroot. Elston, Mr. John Leainington, Eager, MJ. Professor of Masie, Bainburgh. Edvards, Mr. Joho, Wrexham. Eyely, Charles, Esq, Oswestry. Eis Me, George, Rand Master. Bnnlian, Signor, 9, Bath Place, Cheltesham, Fagg, Mr. John, Professor of Music, Hull. isher, Mr, David, Jun. Norwich. irth, Mr. R, A. Hampstead. inlayson, Mrs. Musieseller, Cheltenham, Forster, Mr. Professor of Music, Ipswich, Fielding, Rey. Henry Farmer, Mr! Henry, Professor of the Violin, Not ‘tingham, 2 Gubbins, Mr, Professor of the Violin, Newport, Isle Wight. Gilling, Mr. J. Professor of Music, 95, Upper Northe gale Street, Chester. Greethead, Dr. acl Portsmouth Hurstbouriie Park, ‘Whitchurch, Hants. Gwatkin, Mr. Richard W. 26, Guildford Street, lett, Henry, Gilehrist, David, Glasgow. Hale, Mr. Charles, Chelténham, Harris, Mr. William, 76, Parrock Street, Gravesend. Hunt, Mr. York. ‘Holmes, Mr. Joseph, Clay Cross, near Alfreton. Hitchings, Rev. J.Wargrave Rectory, near Henley ‘on Thames, Higham, Mr. John, Professor of Music, Blackburn. Hardy, Mr. F. 20, Berwick Street, Belgrave Road, Pimlico, | Horne, Mr. Musicseller, NeweastleLIST OF PATRONS. Henshaw, Mr. Organist, Durham Cathedral. Hill, Mr. Joseph, Stockton. Holland, Mr. Professor of Music, Atherstone, Haydon, Mr. T. No. 3, Upper Gower Street, North, London University. Harton Ne Mosesller, Josey. Hodges, Brothers Messrs: Musictllers, Bristol Hentoare G8. Boy, Aukeruyeke Hose Bucks Hemmings tie, W.6. Penzance, Fimo atl Son, ests sealers Livers! Hamilton and Mller, Messrs. Musiesllers Dias ‘eae " Hartnell HG, Esq, Trinity College, Cambridge. Hiss ite Henry Lamond, Oresniste Professor ‘rhe Viein Se: Alnwick, Northuierland, Hayward, Mr. John, Professor of Music; Welling- ton Hoyward, Mr. T, Musicsoller, Wellington. Hewett, Mr. John, Library, Leamington Herbert, Mr. J. W. Montreal. B copies. Jay, Me. John, 36, Sloane Street. Jones, Mr. H. 44, Brompton Row, Brompton. Jarroid and Sons, Messrs. Booksellers, Norwich, Jay, Mr W, F. Noweastle on Tyne, Jolfroys and Co. Messrs. Soho Square, Keith, Prowseand Co.Messrs.48,Cheapside, London, : '3 copies. Knox, James, Esq.20, Jeflreys Strect, Camden Town. Keegan, Mr. Burlington Arcade. Love, Mr. Musicseller, Greenock. Lock'vood, Mr. William F. York. Lender, Mr. F. L, 63, New Boud Street, Last, Mr. Professor of Music, Huntingdon. Long, Mr. Professor of Music, Diss. Tueas, Mr. Charles, Macfadyen, Mr. Joseph, Musicseller, Buchanan Street, Glasgow. Geopies. I, Me. Augustus, 12, North Street, Portsea, Moses, Mr. Musicselier, Dublin, Mawkes, Mr. Thomas, Bel Mason, Mr. Professor of Music, Macclesfield. Morgan, Mr. James Arthur, 6, Highbury Place, Tslington. x. Musicseller, King Street, Yarmouth, Meyrick, Muskett, Mr. Bookseller, Norwich. Moutrio, Mr. T. B. Bristol. Monto and May, Messrs. Holborn Bars, Léndon. 6 copies. Morgan, Mr. Thomas, 96, Upper George Street, iryanstone Square. Metzler and Co. Messrs. Great Marlborough Street, Londot 6 copies Mori, Lavenu, and Co. Messrs. New Bond Street, Zeopies. Novela fr J. A Doan Street. Rovers, sq, Norwich Nevis, eR. Moma, Lows deli,'C.¥. Bag. Sommerd Street, Oxfor Terrace, Baystater cm tier Bs Ban Master Parkins, Joseph, Bsq. Bri Prothiero, Thomas, Es Padley, Alfred, Eaq. 25, Square. Palmer, Mr. H. Canterbury, Paterson and Roy, Messrs. Edinburgh. Pitcher, Mr. Thomas, Professor of tho Violin, Rams gale. Phipps. Mr. Osmoud G. Ramsgate. Palmer, Mr. J. O. Musieseller, Liverpool. Dhillips, Me. Musicselier, Wakefield. Phillips, Mr. Musieseller, Wincanton, Porey, Mr. Haleswort Suffolk. Pashley, Mz. C. Musie Mast Page, Mr. Musieseller, Lewes Paine, Mr, 92, High Street, Mary-le-bone. Perkins, Frederick, ¥sq._ Chipstead Place, Kent— High Sheriff of the County. Prangley, William, Bag. Salisbury age Strect, Northampton, rnivats in George Street, Postman Ridley, Mr. William, Newark. Robinson and Co. Messrs. Musiesellers, Dublit Reed, Mr. Masical Director, Theatre Royal, Hiay- market. Robinson, Mr. Musieseller, York. Rich, Mr. W. 41, Belgrave Square. Rolfe, Mr. Musieseller, King Street, Manchester. Shearer, Mr, John, 7, Salsbury St Strand, London, Stoker, Mr. Johny Theatre Royal, Searboroogh Stokes, Mrs Torin Ir Prinecy Street Gravesend. Smithy Ale, Je AMusesclier, 47; Bold Strack. and 68, Tord Street Liverpcol Stoker, Mr, W- H. Profesor of Mosie and Singing, , Devonshire Siroot, Queen Square, Bloomsbury, Staton, Me: Muesli, Bolton, Stamp, Fs Esy, Holl Sttgle Met Proto of Mase, King Sto, Strect, Ne Musiesllr, Yarmouth, Sippel, Mz, C. New Square, Cambridge, Shargool, Mr. H. Birmingham Stewart, Thoinas Ward, Bag, Westgate, Newcastle on Tyne, i copies, Sotuon, Me. W. W, Profesor of Music, Dover Simpron, Mr. Regent Steet Sykes ir, John, Atusicsller, Leeds. 3 copies. Tonkin, Sir Warwick Hale, Krit. G.C. St. Jn. de Ju. KL. &e, ee, &, Tanner, Mr. A. H. 12, Kensington Square, Thorne, Mr. Professor of Music, Colchester. Tucker, Mr. J. 89, Western Road, Brighton, Wood, and Co. Messrs. Musiesellors, Edinburgh, Weiss, Mr, W. G. Musieseller, Liverpool, Watson, Nir. Joseph, Professor of ‘Music, Norton Terrace, Malton, Yorkshire. Waite, Mr HL. Cheltenham. Wheailey, Me. Brompton Wornam, Major, Merion. Villa, Leamington, Woodward, Mr. Musicseller, Cheltenham. Wroe, Mr. Manchester. G copies. | Woods, Mr, Alexander, Solicitor, Yarmouth, 1 Willy, ts. 3.°2. Aldenham Terrace, St. PanerasTION Ee a. HI. my w VE. va. Sxeriow I. Preface TABLE OF CONTENTS. aildressod to Pavel = ceetneeeenteen VE Introduetion ae iatincennerenneseemenenee 1 On the construction and separate parts of the Violin... 2 On the arrangement of the VIOLIN sen sccnener nnn co 3 Oar steve ig to Vlad ee eee eee On the difference’ in the quality anf value of Viotins eeceeeete Direetions for Keeping the Violin ecvesnnesene : 8 OF the Bow : 9 Of Ro: ee ieseeeireett scaed oeeevemteeNE 110) ART i. . OF the Notes, Stave, and Chefs LZ, On holding the Violin and Bow 7 EEE. On the motion of the right arm IZ. On the motion of the fingers of the tett hant VF Ou the form aud duration of the Notes and Rests . FT. Of Bars' the different species of Time, aud the degree of movement. 27 VHT. On Triplets, Sextoles, dotted Notes and Resis, Ties, and Syeopat 33 VALE. Ou Seales, Keys, marks of Transposition, and Sigwatures 42 Ex. Section I. a. On Intervals, and on Major, Minor, Diatonie and Chromatic Seales 88 On the different Positions or Shifts, aud on Extensions and Harmonies... 76 On the mangement of the Bow, aud ox the different methods of Bowing....: 2 On double stops, broken Chords and Arpeggios accncnceseeeseneenne 196 On Graces or Embellishments eee 42 PART III. On Delivery or Shle of Performance. On Delivery or Style in General... = On the Delivery or Silo of performing Concertos .. On the mamer of studying ‘new Concerto compositions On the Delivery or Style of performing Quartetts .. 2 On Orehestral playing wing cece wenn Conelusion eee 4 on Accomae Las PARENTS. S, & TE EACHMEIRS » SS ee ‘The Violin School which I here present to the imusleal’ world,Is less adapted for self struction, than as 2 guide for teachers. It begins with the first rudiments of music, and by degrees proeceds to the highest refinement in Violin playing, se far as this ean bo taught in a book . 1 order to reider the first, dry slementary lessons, more agreeable to the pupil, the practical port of Violin playing has at once boon united with them, Instead of Being a0 rated as in other works. Menee, according to this method; the Violin ean be placed 1 the hands of the pupil fromthe very first. ‘To parents purpesing to have thelr sen instrueted according to this School, may hore be permitted t make the following remark "the Violin is 40 diffteudt-an ihe possession of superior talent stenment. that, in reality, it I= only fit for those who, from id a great. inclination for musle, ax woll as from being fi yorably situated for eultivating itj'seem destined by uature to follow the art. To the Amateur, éven if chdowed with talent, it ean only be recommended, when’ he is able. to set apart from his other oceupations, at least tho hours overs day for practice. This being attainable; — it, by wivearied dssiduity, he then arrivés at no. greater proficiency, he will at all erents he able to procure for himvelf and others considerable enjoyniont either in Quartett playing, by accompanyhig the, Piano forte; or by assisting in the Orchestra. ‘The parents? first care should bo; to, provide their son with x good teacher, whether he ahooses the Viol as the instrument of his’ fwture profession oF otherwise. For, from the complicate mechankm of Violiu playing and the grest difficulty in acquiring a pure into. nation, it is of the utmost importance that on this tustrument, more than, on any other, the first fustruetions be imparted in an~able and consefentious mamer, as faults and bad ha bite onco contracted, if not entirely beyond remedy at 4 future period, ean at least be corrected only by.extrome peracverence ind with much loss of time: Hence, it ts to the Advantage of the: parents themselves, to place their son onlj under auch « teacher who they have penton to believe will strictly “adhere to tho direction contained in this School, ab well as attend to the hints given below, ‘As it Is diffieult, or next to ts mpossible, before the commencement of instruction, to ascer. whether a boy possesses talent for music or nét, it will be well for the’ parents to let leir son begin learning, as soon ax he evinees a decided inclination for musie in general, and for the Ieaned answers to the requirements of thix School, in respect to the ‘manner of holding tho Violin and the bow, the motion of the right arm &e. If not,—-all faults must be corrected before proceeding aay farther; should he desire to be taught according to the folloying Kethod. All other pohuts relating to the mode of justruction, and which the Author considered de serving of attention, the” teacher will find explained in the Schoot itself; party in the teat and partly in the remarks appended thereto. Tin conelusion, the Author hopes that experienced toaehers, after having used this Schou for-some tine, will faror hin with their instructive hints, ax to the auitableness or éthervise of his Method of tuition; whieh, in the evént of a sceond etition Becoming necessary, may suist_him in improving the work. Particularly thankful will he be, for such as relate tv the first half of the work; for although he has finished s0 may pupils, yet never . having been engaged in elementary instruction, he is consequently wanting in individual expe rience in this particular. ; CASSEL Mareh 1832. : . Louis Spoun ‘tm become vequiinted, Hence, throughout tie hatyar ite sluvion fe made to 4m unequal tomperamentyas tu the distinction between sngjor etd minor xevni— fencatty elthee of which the ducteine of the unitiro taguitade of al the IY temituuchywould only be rendered contoved (2) Yhis being the eaueyd have prefered rendering the Gorman word “rein” by TAUK oF ConpWeTyas Beat wanted rect intonation, in ai abyobute vense, hasng iw exintenee aorul Hite ; Ns ivepiee2 Iu bringing betore ‘the musieal public ‘this ew edition of Spotir’s Viol serve that every endeavour has been made to give a 2 work, howerer, of throughout, nor i School, I beg to ob- ul rendering of the original. In J magnitude, a strictly literal translation ean hardly be expected jeed_ would.such alvays have been comprehensible. Nevertheless, trust it, will be found that I have. followed the German ax closely’ as possible, and that inthe few instances in which I have been coinpelled slightly to alter the form of language, the author's meaning has, at least, been serupulously preserved. Whatever feelings may be attributed to me for making these statements, 1 such a procedure absolutely necessary, on account of the great differe be observed between this and other editions; the cause above n consider ¢ whieh will & difference arising, on tho one ha tioned; and, om the other, from the (T may say) barbarous ‘iv whieh “this work has In some eases, heen handled: in proof of which assertion,1 nce only mention one iustanee, that of M.Heller the Freneh translator, who, by a series of the most wisparing mutilations, has contrived to compress the work into 196 pages! Tt wil not be requ ite for me to dilate here upon the merits of 2 work alreadyso well knowns I may, however, be permitted to remark, that the Author has given his utmost at~ tention to that most important part°i the mechanism of Violin playing — the managemes of the bows and that, in this edition, the English publie are presented, for the first time, with the Author's method of indicating the bowings, than which, nothing ean possi bly “be more simple. Had sueh, indeed, not been the-ease, It would il Fave beeome me to sot up my judgment, against that of one who ranks so high as a performer on the it he teats of, and to alter his method to suit my own fancy. thod adopted by Spohr, is briefly thiss— he uses the initial Letter of a word to express that word itself: thus, W.B. implies the whole bow; H.W. the half bows8.St. the ort strokes; and the small letters 1.m.u., respectively, the lower, middle, and upper parts of the bow. Wherever I have differed from the author, ,or have had anything to say in elucidation of the text &e,-I have inserted remarks at the foot of the pages, signed by the letters Th. Such observations, therefore, a are not followed by these letters, helong to the author himself... ‘Tastly; iunicrous accidentals “whieh, through oversight, were omitted in the German eo- vy, have, in this edition, been carefully inserted during the revision of the ‘plutess su that, in this respeet, I think 1 may lay: elaim to greater accuracy than'even the orl- inal itself. Jou Bisnor. CHELTENHAM. Jaureny 1843.wT \EVERODUCTION. ‘Among all the iwusiesl jnstruniete whieh ave hitherto been hivented, the pre-emincnee Is jist Wy te to the ¥ to this consist in the beauty-and equality of ite tone; the rmmoron shadex of forte and piano which it fs capable of produeings the purity’ of its , which, in so perfect a dogree ax ow it, the Teuor, and Violoncello, i anat - ablenon to expire the deepest in. ts. lain intonati le on any wind instrument; buit principally ‘t, wherein, of all instruments, it most nearly approaches the hi emotions of the hi ¥The Violin, it is true, is-iuferior to the, Piano ¢ Clarinet in fulness and powers of massive ute in compass; and the pro tin Hew of this, it possesses the harmonies, and to avantage over these instruments of a fillsoned tone, together with the, power of susta ingg and elisely corinceting souidss also, a greater ‘equality br tone throughout its eompansyand a ‘equal command of ‘alk keys, even thoxe the most. remote. . With these advantages, the Violin has continned to maintain, to the present period, that sovreignty over the ther oreliesteal instruments which in farmer ages was conceded to it. Stil ittakes the lea! in all full orchestral compositions; —. stil it retaius the same simple farm whieh it had 300 years ago,— anv, uotwithstanding all over jnistrumeuts then kuosn, or shee invented,hare reeeivest rable i provemer even now, acknowledged the most: yerteet instrument for solo- playing, ‘This shuplicity, hawever, in the structure of the Violin, demands a greater degree of aceuvacy.in the, mcehanism of playing, and renders the instrument Ky. far more diffieuit than any other. From her Ht fullows, that the ordinary Amatenr, who may ‘perform.on another instrument, — the Piana-tinte for Finte for histanee,— iu a passable or even, pleasing mauier, would be intolerable on the Vio ~ lin, Siuee it is oily by @ thorough mastery over te latter be fully isp Suecuss, t “instrament; shen, to the requisite natural endowments, These quilitications, the yaimg Artist, who ehadses the Violin as bik priveipal dustenment, st of course possess in a still higher degree, or he can never expect to soar up,th the ta- farmers of the presentday, whom, if desivous of distinguishing: himself, he nust yet even strive ‘to surpass. t, In this esileavomn, the true artistieal polish (wanting alas! in so mauy Virtwisi) mast 1 acdount: be neglected, yartienlarly by him sho devotes himself wholly to. musies for brillant Is the more reprehensible, as the Vil tie. expressi (tof taste, au the awakens, that its advantages. ea srefore, can then only attend the Amateur sho devotes himself to”the practice af this nites also aur Viiwearied assiduity. eid am miduo Tabouring after the this. adwits Tikewise af the most intense. ani With the cultivation, therefore, of mechanical dexterity: cau refinement of fecting, must always he eunally united y Giuseppe GaccettaON THE CONSTRUCTION AND SErARATE PARTS oF THR VIOLIN od, composed of the following pyrts:.(see Plate 1. Fig.) 1. The Body, consisting of the arched sound-board or belly (a), ani the hack stu: uth ovamentally inlaid round the exges, ant omnceted together by site pieces called ribs: (b): i 2 the Neck, to wiiet is fastened the fuger-boart (c),and the unt (2). At the upper end ck fs the yose- box” (e), serted, The neck terminates in ah, elogant ining, called the seroll (g). To the turtton, at © Violin is an inst nent of 1) whieh the pees (f) for draving up the strings are” in- the lower end of the body, is fastened (by means of a picee of eatgut) the tall’ piece (h), ige (i). Near this are two apertures in the belly for the emission” of some, eslled, from their shape, ff to which the strings ave attached; and these again rest upon’ the br holes. Iv the interior of the Violin same, is alittle eylinder, ealled the somnd-yosts and under its left foot a small pieeo of wuad for the support of the brie, and miler the right foot of the © glued lengt jse to the helly, termed the bass-har. The projecting earners of the Violin, are filled up inside with Fittle woe bineks, for the purpose of strengthen the iustemuent: awl to a similar, though larger’ blaet, the week ix also fastened _ The back, ribs, neck, amd brilge, are made of mayles the belly, bass-bar, and somnd-post,” of f, tailpiece, huttin, aul pees, generally of ebony. strument against dimp and dint, its exterior i eovered wi ae M1 the fingerhourd, » In, wren to guard the Ou the loser part of the representation of the instrument (Fig:1), above the tall piece, is seenha contrivance of my om invention, called the fiddle-hulder (1), whieh, after bavinie ean hog for pwarts of 10 my other, Vieinists, tas by myself, my numerous pupils ly proveut ite utility; and eoneernig which, therefore, I may perhaps be permitted to say a few Gordy in this place The modern style of pl 1 abot ng, In whieh the left hand so frequently changes its: position, mabes y necessary to hold the Violin firmly with the ehin. To do this uneanstrainedly’ and Withoitt henting down the head, is very diffienlt; sbether the chin he placed on the right or let Side of the tail ieee, oF even on the tail-picce itelf, Also, in suldenly receding fram the Upper positions, we are eoustantly in danger af draning the Wolii from imder the el wast, by ces the joving the instrunient, of disturbing the tranquility of bowing. These incon lle-holer yerfeetly remedioss a 2 firm aoe easy ma hy the pressure ut the chin on the belly or the tail ploce, tw obstenet the vibration of these parts, saul thereby injure hott the reguterity in bos besides a meas for supporting the Violin in Her, presents the (ditional advaitage,— that e are mo Tonger competed, freedom ix are obtained, the Violin being held exaetly in the middle above the til pice, sim someshat farther from the fice. The am quality and volume of tone, By it alse, gre exe! deseriplion is given fur the eonsenience of those, who, without having previnas-!PLATE 1. Fig. I. Fig V.ly seen a Violin firmshed with it, are desir of applying the invention 0 their awa justi vent ‘The, {idle-holer is made of ehony, the form represented in the dl aul-there seen from difforent sides. oe Fig Hy ase. Iti fastened with & yer (@), tn ‘he opening hich was viginally ocenyied by the button, un the string to whleli the tall=picee. ts attached this peg in a groove made to receive it (b). The knot (¢)'is tied above. the tail picce,but in wich a mamer ax not to touch the fiddlesholier, For the little mut on whieh the string of piece ‘rests, as” well ax for the edge- of the Violin, aiiother grome i made (A), by lie the ftitestildes em be fixed elosely to the ribs, ‘The.pper part i slighty ed ont the mite (e), that the es imay,rest firmer’ and more comfortably upon it. The peg (a) must fit the opening very exactly, inorder that it of ‘the draught of the ‘string.* . the tai SECTION FF Ox THE Annaxe WENT OF THE VIOLIN. By the arrangement of tie-Viol Fics position of the neck and finger-bose. ere ies mic Fae we ration of the bridge and. som ost, their strength amt » with refereneé to the tone of the y the work of the ma Int,as also the ehoice of wool for th ‘The former is eort strument wfieturer; bn a the Violinist should be eom = potent to superiutend and direct it, the following: Femarks may here be very properly ine troduced “The neck af the Valin ist be, sutficently.sct bach, to make the finger board rise,in the ai rection of tie br ge, as meh as the height of the latter requires, without the necessity of putting wedge ‘between the meck and finger-board, as this woul! destroy the just proportion in the thickness of the week, and thereby i siti onvenionee the performer hen changing the po haf the hm The bridge iS vvimded as in the armexed figure, sla degree as It here approaches the dotted Line. The fiuger-board however Is. shaped a Little flatter, the, following being a sketeh of its broad eu. ng down on the right side in the same On the finger-board of my Violin, below the G string, Is the exeavat becomes gradually smaller towards the nit Tt affords the advantage 4 au fereased space fur the ibyations of this striug, and thereby prevents that disagreeable javring so frequently heard m- der a strug pressure of the bows whilst + hive represented, hi the D> string, with shurter, sibrations, ties” sa near SEE Luter intention an th ahve of thie Swett te neater by ae11 in exery position, mae 0" sound dete 5 fron ser boivil, at the nl stroke of thie how siLE aiateause them the ger snily be pressed down, 3 caleh.? fhe above sketeh shans feud nearest the brie. This sibiated, the most powe to jar ; ‘Atior the fustewnent has been arranged for the eonenienee of” playing ‘secoriling te the fare - iguing dircetions, the bridge anit sonnd-post must be so adjusted as to Kise it the’ best pussi~ ble tone. The necessary experiments for this purpose, each Violinist must Jearn-to make hinselt, dnd not leave it to the manufacturer, who, hn gencral. possesses neither the requisite facility in playing the Violin; wor a sufficiently practised ear to decide on the richt Sime. Tin the fiest lace, the breadth aud “height for the’ bridge must be ascertained. The rue for te breadth Is, that with equal distance from the Jf holes, the middle AF the Left foot of the bridge twust stand exactly over the bass-bar.**/ the height is regulated by the arching of the belly; ‘ fequiring @ higher brige® than oneof @ flat const “This latters however, is BESt determined by experiment.” = Thé proper breadth for thezbvidge being known,jcet & sumber of bridges made 46 that breadthe some strong,othors weaker; — Some of soft woods ant others of that exer of the oldost and. best seasoned wood that em thr ou the Vint ra, that it Iso the distance of the str a Viol ti all how. be procured:.then set theti one after ane tne est tone. ***~ The feot of the bridge must’ excrywhere rest firmly on the bey of thé instrument edge being situated in @ Live with the inner notehes of the J holes. In trying the several bridges, the changes must be made’ as qilekly as possible, that the ear ‘may judge with acenracy of the difference produced in the tone, To obviate, therefore, the me cessity of letting down the strings each time, another equally high bridge is placed half an belire the one intended to-be exchanged, therehy dessening the pressure of the strings on wand try with which it produces é theie! back, the latter, which cau then be removed, and the. new bridge made to occupy Hs ylaee. Ht is requ site, however, when rénoving the bridge, to raise it up with some foree, that the sharp edges of the fet, may jot injure: the’ varnish on the belly ~ Before ay experintents ean be made with the bridges, the sounl-postninst be fixed, for whieh purpose the stings, til=picee,and fiddle-holder,mnist be taken dann, A sownd-post-setter (see Piate,1, FigsIIT 142) is then used,the yout of whieh (a) is force huto the sound-yost half an “inch from the end inteniled to stand uppermost. Tn this’ mames it is passed through the right f tule into the Violin, where the lower gud is first pressed firmly ,on the back, and afterSurds, out the setter, the myper ed forces itself against the belly * The seller is now reversed,and the sonid-jost drasn forwards with the hook (B), or pushed back willi the opposite ‘Seimi-eirele (e), both above -and below, until it stands in the proper place. “This js, gencrallyclnse behind the Fight foot of the bridge, s0 that its fore-edge may be in a line the back part of the atter The sonal pint must stand perfectly uprights the emis be shaped with @ fine fey fit. the upper mf ower arch with the greatest wicety. This latter is very difficulty and ean be aeeamplisied by tubing Iutw the futerine of the Violin, throw the hole in whieh the fhtdtG. holder (or the button) is inserted. ‘The upper edge of tie somd-post must also be smonthed off a by dram ly hal tina for the © ating of his Vobancelton Taye ce which tine BU has prove af ecat tft. ied it totbo Vivlin five-udstwen 9 oe oe he pon ont bovalth ote Pet ace oie that he big se atLilley thatyahen move, it may not press inte the sott wool of the belly tain whether te upper end ofthe souid-post staids in the Fight place, fu the rectiou’ from the Jf holo to the bass-bar, measuce. its distance from the “alge of the ff he ‘th a thin wire, such ax betore described, bent at the ond in the firm of a° huoks -afterwards, hott the measure over the belly and see if itis eorrect.* It'so, the loner ‘end of the sunud post mist then be moved, and brought inte the ‘requisite upright position; whieh 1 eastly ono, by Towking alternately through the’ f' hole and the ayertire st the end ef:the Violin ‘The soun-post mast meither be so ong as tw raise up the belly, nor so short as to fall -down or excit be displaced, by the bréaking of a string, or any other eonciission. When the strings arp off it should but slightly. adhore, and anit of beingg moved easily hackwards an forwards. ‘Moreover, i€ must be so placed iit the husteiment, that the grain of the wood’ may be cross fot hy the grain of that forming te belly, to provent it*from pressing into the latter. Whether the somdyost should be large or small, of wide nr eluse grained wood, ean only be “decide by experiment. In geieral, a Violln with a tick’ belly, will bear a” thieker sor post than one whieh is weak 16, after following the abore sunt frealy, oF that it is unequal awit forwards, until (by repeatedly. trying the Violin) the place be discovered fur it, in which the most powerful and soneroiis tone is obtained that the instrument is capable of producing, Win whieh, also, the most perfect equality, subsists on all’ fonr strings. The suececding hints ro he added to what has bee previously said: — If the tone, though equal, he neverthie less rough and hard,move the sound-post from the foot of the bridge a litte backward. Should the upper strings sound shrill, and the loner nes weak, move the sound-post_ tonards the bass hats but should the lover stringsson the -eontrary, be harsh, ‘and tie upper ones feeble, then bring it towards the f hole. A bo Thi making tiese experiments in the direction towards the Jf holes, the somd-post must not be moved too far from its original position; othorwize, from the inequality iu the height of the belly, it wilt cithor be too short or tao” long. Should a very different position of the somnd-post from that first adopted, yrove par- ticularly favourable to the tones agsiu take down the strings, and examine,hrongh the aperture at the clit of the instrument, whether its length ix suitable for the situation, and also, whether it adheres closely both above and below, If not, it must cither be altered, or else a new one made, As -post_casily tens, romd in being moved, in which onse, the ends no lon. kor fit with’ the rogiisite exaetesss care must be taken to” Keep the side which contalis the perforated hole, always in the original dicetion. : AML such experi the bridge and sound-post, must be very cautiously yer- formed, test any damage be done “to the insten The sharp edges of the setter likewise be rounded off, to proserve the f holes from injury. . Lastly; — too many experiments should not be made ata time, as the ear soon becomes fatigued, and is then insensible to the delicate changes effected” in the quality of the tone. . rections, it should be found that the Violin either does nat. tonos— then the sonnd-post must be moved baekwants nents wi ’ sve whuther the distunce of tho back of the Fight font of the bridge from theese nt the f ote, currespunds with the distance Uf the upper ond uf thee 7 04, in other wonr 6 Bk AEE. THE Fron Ox seine nig with eatgnt, the lomest string be ‘The Viol is ster ng covered with plated-copper or Seti ‘The sitter -strings-are preferable tw the plated ones, av they produce a eleares ther corrode lite thé latter, Hor hecome red and mnsightly through constant uses ‘The gooduess of a covered st 45 on delveting for it a gut string which ix gles sys hwatlesss an trues sepnndly, on diy steetehing the same before it ved; and thinly, ou its being emered with the greatest equality, neither too tight, nor tow slack. If enveredl too tight, it soauls with difficulty, aude son and msg dependss fi es rowgh in tone, even after much cand if too slack, the sire, when the gut dries up, becomes Inese, and ¢: [AS the covered strings made for sale,are general of the worst gut for them; the, Violh his own stock, according to the, 1 sex a jarring sound, very inufferent, from the too frequentuse ist will do well to, select some, tre lengthy of gut from thoi deseribed helow,'and, superivtend the covering of seh himself. Previously to the latter, hoveser, he should draw them up, on au,mnused Violin, ‘to the note ©, BES and hoc, tsi at “wis teh for severat days, that iy fh" wst ciently stretehed The size of the four strings as required by the instrument, ax also the proportion of to one anether, exh only be ascertained by’ experiment. In order to obtain a rowd and powerful tone, i€ is, sual to give each Villy the largest strings that st will bearyeiz: such a» will easily aint guiehly produce all sounds, and not dimp the tone ofthe instrument. If,howexerthe tone is not inyaired by usiig sinaitor strings these of a miiddling size should bo proferred, for ith then, greater tite and elegance ean be added to the performance: ‘The relative proportion in the size of the strings must be suet, as to give gree of power unl frlness of tone, AM ‘yan yal de quality ju'the tone, whieh could not he remedied by the sound-post and bridge, may yet be often equalised by the greater or less power of Indi Sidual strings. Having once fixed the size of the strings, let it nat be altered; for a frequentehange from large to small, or the worse, in detrimental both to the iustrument and the player. Purchase, Iherefore, only steh strings; whose size is adayted to the instrument on wiih yon practises and in choosing then,de not depend on the oye, whieh fs easily deceived, and eonsedentialfanh wwntre guide for Keoping to uniform stringing, but make we of & gages which eonnints of total plate of silver or brass, having a graduated ait. (sce Plate T. Fie LY). By pushing the string into this slit, with a moderate pressure, the place where it stops will point ont its size. The}inge, show be marked with letters for all four strings, (as-seen in the Fig’) whieh Will prevent the pussibiity of any mists ; fy yurehaning strings, Auatity must alse be attended tos fox though Watian ones “aK wreferable to those ifevery other comutey, partientarly for sole-playing, th fer in exeettence; the Neapolitan ein, in general, superior to the R 4 Padua avd Milan. Good steings are white, transparent, and glossy’; but Hf the gloss has sed by fn pumice stone, they will always be false,and shrill in swund. To umshice yourself thoruygldy, therefore,of the goodness and strength of striugs, it will be hest {u sishe telat of one, Some fifths,* (E strings) wave 3 or 4 threadss that isy sueh as are mate of 3. oF 4 guts teisted: tugether. Th wens lil= van, and the Latte to tase pre bishing them wi latter are dearer, und Nell! in higher éstimation,by may Vitinstn tnt “experenee haw prove that 4th vit for woe Tang Hept, and the small ouey soonest Become injured) Ht on Tnany of theis 26 may bo required Ina or 5 months, OW, wtte rings are cally Hoowu by thelr dll, yellow colour and wast af eatcity. : Iw drawing up a steings observe that that portion of it whieh,oxtends from the beige tothe Te = firsts tone in Mvelfsand’ secontly, ten in (iths wi the other stein." cal Aulths are sehlau ten they sooner become fibrous an As the gut strings sp it, wh better only tu purehase A string is true,,when its vibrations aro rogular. Those aro a0, show tho string, ax*fir, ax It sounds, ts, edeeywhere, of equal size and compactness. Out of & whole length of © string therefores that past must be choson hich is most equal In slzo; oven 4f, by so dobig,some ol it should be rendered useless: for, shoul it, in the Hirst place, be: ent up into several egal fengthis, not one of them may prove tue, and thon St would all be spatled : Having found a ploee of string, which fs glossy, huotloss, and of a novertheloss, befor’ drawing it up, iether its vibrations are regular. TMs ts done;by taking the string ;Betwoen the thumb: and fore-fhiger of both hands,iat” those “piiuts where it rests 0 the beige an derately Ughts and putting € into vibration “with ‘the Ah fing I, then, a similar figure to the fella formed. from ows the string 1s true, and fit for usc, ifurm and proyier sizes try, In tho’ latter ease, a truer string must be sou: alter, as it would be a waste of tine to Araie np the false” one . Set mer ‘Two adjoining strings are trne in fifths, if they pradace that Interval perfect, in every pou sition, shen pressed down togethei? with the sam finger! Now'a strivg may"be true in ite elf, amd alsa with others, and yet bé false in fifths. This is explained as follows:—Nearly ‘all strings, (and consequently the majority of single lengths), are somewhat . thinner at o at the wtlier, If this decrease in size be gra theless make. regular vib cn than fal thronghont the length of the string, it will ner. tions ant sound tenes but, in this ease the vetave is net exactly the centre, and the intervals Ife prapertionably newer together at the strong, than atthe wea ent. Two of these stvings, therefore, drasn np with their thin ends in apposite directions,” will, {tough ten fn themselves, bo yet alwayn false. fifths, Consequently if fone strings cannot be found of perfectly equal size at both end, all the thin ends must be drava. up. in the same di- reéton,hy which means the fifths will all be "perfect. Its bent to earry these to te bowing plaees av the strings then souni the re easily: m Ox THR DIFERRENGE IN THE guaLTY AND VALUE OF VIOLINS. y ew Violin, even of the aldest wand, has, at first, a rong, only, at one of a fine quality, after-having heen used a fore, which have been brought ti perfeotl ‘aying, OF these (and. indtecd,of att wh Munse atthe three Crewon’ makers. A id arrisey br of years.” OM instruments,theres * hy ewnntant axe, are the only ones adapted for sotn— jaetured,) the mast esteoct TONIO STRADIVARIG. “ICS; PPE, GeMRNERIO. al MEOLO have yet hes eave8 AMATL, Sli tourist i thee Jattor halt af the 17! olins af these makers unite ja th aud the beginning of the IN coating, The aselves, expecially if well proserveil all the advantages of a ood inst and riety tone pert 4 equality in the Tomes of each string 3 tbl 4 frce emission uf every suuud, from the lowest to the Wichest. They ditt aut in the eharaeteristies of their tone These exeeltent instr > however, in form raed thronzhnut Europe, but, being mustly in the hands ut rien mvi, ax they yearly became, still ore x0, a young hee frnuer iil ery selom meet vith an eyportimily of purchasing one. He tuist therefore con Cent himself with an instrument hy a Tess eminent the most distingitshed of which are:— 4 secondchut ekier ANTONIO STRADIVATHO, ANDRA & PIETRO GUARNENIO, FRANCESCO. RUG Gem, ind Goanacsant, (Italians); Jacones, STANEK (Fyrolimn)sBEcHSTRTTER, MacsIeLL. LAT, Mei, and SCHFANLEDS (Geémans); att of Tater times, tuo Frenehnen, LvP0r, and Pic.” Ald tuese makers, and particularly the First five have’ turned ont excellent instr earl ty there of the three, first mentioned In order, however, that the opportunity of purehasin ly prevent i aise jeuts are lis nteurs, are searee amt dear; ber ants, toomgh not 2 Good instrument (should sueh, fortunate. tself) may not_be lost through ignorance; endeavour, as much as possible, to become ith the Vidlins of the eelebrs \Seok a ‘them, aud care. fully observe their peculiarities of structure, as displayed in the shape and height of the bodys the herding of the sides, the arehing of the hack and belly, the form of the fi holes snd serail, 1e ornameiital work or purfling, the enlour of the v mory, te quality of the tone : jously to examin sh Se: aud linpress ow your ear, and me This, followed up with perseverance’ and attention, will gradually impart a kuowledjce uf the i ~ Wt, Which having aequived, will secure you against the’ impositions so. freq 1 then bok upon those fnstrume ed to purchase them as such, which are more imitations of the old x sith thelr i tly practi Is as genuine, and he tempt. ers ished only ines; nor will you be misled, by any deceptive appearance of age which thoy have heen made to assume. MéFeover, in really old instruments, yout will easily discover, whe ther they are still perfoet, or have -already eon partly renovated. Under the idea of improv ig their tone, many of the olf Violins were seriously: injured about 40 or 50 years ayo, by seraping off the wood from the > may be instantly distinguished, as they produce, especially on the Inver strings, a holla kind of tone, whieh Ga omly be heard at a short distance: they also become dul Aisfactory, the louder they are played om Although, therefire,a V Herior of the belly. These. sera. juste F aind Tess sa olin may have been well preserved externally, and also mannfiet 8 celebrated maker, It nesertheless loses all real value when it has ‘suffered in the manner des bed ahore. Attempts have indeed heen made of late,to resiére, such seraped instruménts,hy kglewing on a lining of old wood, but without stevess, They then give out thei ocnmes thiek and stifled, ‘sound lest freely, and the tone SECTION, Directions vor KREPING THK,VIOLIN, © ‘The Violin is 9 brittle, instrument,and, therefore, x0 susceptible oF fujury, that the greatest care shout be taken of it from the ‘eommeneeme * Tu these mart bee added the aime uf VUILLAUME, whose be ee eprobation of ull competent Judges, ax well fur the perfect reve s Giuseppe Gaccetta” the ease 0 Ube Ht Is kept, must he fined with some soft material, well Ioeked, aul put a dey viige,itot tuo ear the five, I addition t6°this; the Violin must have a silk eoxering,to guard it Mill further from the effects of air. Never let, {Wremain out of the eaxe ‘after uséswor fer it “to leave the houses without being first well packed and locked up. It is best to wipe the Violin, each time after playing, with.a soft dry cloth, to prevent the ac. cnuncation of rosin and other drt, particularly on tho bellys aw this not ony disiigurés the natn. Wert, but also’ obstructs the vibration and attraets humidity, It need searecly'be romarked, that thistrings aud finger -board should alvays be Reyt lean Wie any om \iress yourself ony to a maker of Kno Hewee and integrity, desiring him, moreover, to he very:earefil with the fist reside in the same‘towi, Tet auch ropairs be done,’ as often as possiblegunder your ow inspection, experiments with the bridge and iderable repair ix necessary, expe ment. Should he le greatest eare has already been recommended, in ma} soud-yost. This is still nore especially ‘requisite with regard to voryold instruments, whieh, from the many years” presoure of the shore pieces, have, generally speahng, already suffered considerably undersieath the bridge. 5 , - sECTIOW VI. Or THE Bow, The Bow (sea Plate I. Fig:¥) co sthich the hair (d) is regulated. ‘The hair is fastened, at the upper end, iu the projecting part of the stick called the'head (¢); and at the Iower end, in the aut, The stick is made of Brazil wood, and eoxered ht the Jower vat with sik, (7h over that the How might be Heid mare fivily. The mut is formed either of ebonyer inoryamt, generally If}sinee the 17% century, the act of making Violins has rather declined than otherwise, (owing pro banly to the ehesjness of new instruments, aud the few who are ths inuhiced to manufacture them.) the strneture of the bow,'on the éoiitrary, has been cairied to suel a degree of perfection, thats i its present states it searcely appears susceptible of further improvement.” The best and most esteemed are those made by TOURTE of, Parisywhieh have acquired an Euro. yom eGlebrity. The superiority consists, first, the trifling. weight with sufficient elasticity ofthe stick}. secondly, in a beautiful and uniform ‘bending, by which the nearest approach to the ‘exactly in the middle between thé head and the nut; (see Plate 8, Fig:IIK.) and thirdly, the ex. t ists of the stick (a), the nut (2), and the screw (o) with id,as well as the sere, with mother-of-pearl. ely accurate ani neat workmanship. The’ price, however, of such a bow (SO trans) is very high, as we may purchase oxi in Geran c t., Yet mostof these hows: fr the eighth part of this sum, which,in appearauec, is but little differe fave mentioned advantages of TOURTE’s, because the manufaeturers-are king them. 1, therefire, the purehase of one of there be in making the selection, and fix only, off seh am are destitute of the above m soqitsinted with the trie principles of a decided on, we shold be execedingly earel ‘one,-which, thongh it may not possess all the good qualities of TounTE’s has, at Teast, the me~ Fit of lightness and of a regular bending. The {ail haie of white horses is used for the bows (a circumstance which must be particulary at- + Stuec this work was writin further impeivemente have however Bee wade by: M.Verutstor whowe Bows way woos be comflered. prefer to these wf ary oer maker For w full exeigtion of thorn, T wnt refer the real thy APPHawn ty Hamsizexs Carmeuran Pox The Viowin published by Movs" Coons CY, fem price 3Uf tueh alee stood bows (hnvented by M-Varutaewe) at the seme pie ean be procww tenes to stew renewing the same) iE being Songer. whiter, and less greasy han that al mares All fine and split tales mst ats be earetully: excluded A goad bow contains from 100 ta NO hairs, none crossing over the otters, but eh. New hier taker hold of the strings ith difficnity at first, and produces hesites, a rongh aud’ sizzing kind of tone, Before a sien. ly tired bow, thereture,is fit fur the performace of Solo, it must he used fur 3 or dk Seeks: Fur solo-pliyinig,the baw should aut be serewed np too much, Dut oily so tight, that, she Moced on the strings;the middle of the stick stretched, and veenpying 2 breadth of wearty half aw th a moderate pressure, he brought to towel the hair, If the stick possenses the requisite elasticity, the buw shen this reutated, willapjear ite 3. Fig:1U. For orehestral plying, + somewhat tighter bow is required. 1 is advisable to mseren the hair a little, cach time after playing, in order to preserve the clasticlty of the stick. Let the bow, also, he always fastened in its place in the ease, and mot the Toft upon the Violin, as.by tying i imeren surface, it soon becomes warped. SECTION YM. Or Rosi. Good eusin is wally of a light brown colour and transparent; but there is alsi some ofa gout quulity (Russian) stien is yellow and opagie. Tn a purified state, it may be puréhased fn Title boxes al any of the'musie ships. Tu applying: the bow is taken fn the right hands and the rosin iw the left, and the whole length ofthe hair drawn across it 8 or 10 wards itl a moderate degree of pressure Whew new hair has been put in the bow, beth sides wf it requ ty powdered rosin, The rosin-dust or ott cloth . mes, backwards and for. ‘ey at first, to be rubbed with Fine. ich adheres to the stick, must be frequentiy’ wiped off with END OF THE FIRST PART.u SECTIOW I. Or THE Yorks, Stave, aND CLEES. t Before the Violin ean be put into’ the hands of the pupil, he must lear the notes. ‘These are signs by, which the acuteness, gravity, and'durdtion of sods are represented. ‘They are named ‘after the seven letters of the alphabet C,D,E;E,G,A,B, which are repeated in this order as ma- ny times as the compass of sounds makes it necessary. Thoir pitch is determined by the place whieh they oeetpy on the stave. ‘This consists of five parallel Imes drawn abov zone another, and tieir four intermediate spaces, both of which are reckoned upwards. || Iu ardor that tho complete series of somuds, from the lowest to the highest, might be re — presented on this stave, ‘different elefs hare been invented, each of which alters the pitel uf the samé. The younig Violinist, however, has only occasion to learn one of these at present, viz. the Viol n clef:7 It is stuatel with the eivenlar parton the dot,ou the seenul tine, an sgivey (0 the mate vi Chix G. for which reason it is also ealted the G ler: Wh ad thereture at se, the notes on the five Hinex are called: of th those in the fur spaces: an the, combination of them, proceeding regularly fram grave to acute: Hoc, DE But,as the Violin possesses a greater compass of sounds, both abore and below, in order twin dicate these also, short strokes called ledger lines are used, as a continuation or an extevs ot the stave: ta, above, and below which, the remaining notes are placed. ‘These are named: 2S sau VG AB. The whole series of mates, which the pupil has at present to learn, is, therefere, the followin Giicaegi ac mepi G@aA BC gE v. & = — a 7 There he must be able to name both’ in and out of the regular order, and to point out the place on the stave of any one iioned by the teacher, before proceeding to the next seetion.* #5 the dott Ue Fiat ware tb aya nates age by which sted” Now this struc ut U per, for sbatracteeyehey repre the different forte there mae to is next acre were gen. the notes and etefiare,te my ind sery ojectionsble I think i necessary te vais sujet seuteiens gravity and duntion of sods are repre = nothing mone th tho relative Curation of snnday hy in of thie Part.)PLATE 2.SECTION £2, On HOLDING THE Vi0LIN anv Bow. (Se€ THE PosiTION IN PLATE 2.) {ie itn Is placed with the lower edge of the back on th lett eollar-tomey ant Kel fem By the pvenre af the ein on the fldile-holder *, The left shoulder is"4 little adayced fur thy sup port of the miler part of the Violin, thoreby giving it an inclination towards the right side, at an angle of 28 oF 80 degree’: (see Plate,3 Fig: 1.) ; The neck rests between the thumb and fore-finger of the left hand, and is held lightly abine the first joint of the fornion;"and at the third joint of tie latter, but + ‘ent it from sinking down to the bottom of the hallow between th elt haut of Fig: IL. Plate’3.) + . The part of the he tlle.stinger, is brought as near to the fingerboard as qwssible, in order that this shorter Tinget, aswell ax the others, may fall on the strings in ah ficiently firm to-pre thumb sind finger: (see the and below nt position. The ball of the land, and the weist, must, hoxever, be Kept xt # distaicefm the under part Of the Hoek. The elbow of the left arm is drawn invards: until i comes under the midile of the Violin; but it must not lean agalist the performer's body, as that would cause the instrument to sink’ down {60 much towards the neck. (tee Plate 3. Fig: IL.) ‘The bow is held with all five fingers of the right hand. (see Plate 3. Fig: IS 1¥. and the righthand of FigsIL.) The tinmb is bent, and its point placed against the stickof the bow, close to the nut, and opposite the second finger, which, with the first finger, encompasses the: “Atiek,so that It rests in the hollow of the first. Joint of each. 2 ‘The other two fingers are pliced-loosely oi thé stick, aud ihe points af the -four drawn close together. An clegant;seurvell position Is. given to the hand, in. whieh n the Knuckles project forward. (see Plate 8. Fig: II & IV.) The upper part of the bow Is now placed with the hiir on the strings, at the distance af an inch from the bridge, the stick bolug. Inclined a little towards the finger-board. The wrist must be held, high, bit the elbow low, and as near to the body as possible. “The position of the” performer should be dignified and cary, and tho face turned towards, the desk. in seh a mauner, that the eye may fall on the mile over the’ bridge aud the eft hand. (soe Plate 2) . +1 0he pupil doce not aie the fiddle -holde sind partly on the Wale plese Hel, placed on those dogroes. “The diffurent eefs hows: been Invented, we ure firthortuld"in order that the” eamplete serios uf sound from the hi. ‘esto tho highest ight be represented un the ntael bat this may very eeasonubly be questioned when the Author sptaks afterword of ledgor Iitosjand Gxplane thelr we. Te naw only romata to xi’ other defatnny So glare of those which have been vbjeeted ta. Tuto alveudy obverse, thatrbuteuctedyynotoe mevel) reprorentsby the vane formethe relative doraion of syunds But whoa pred Us the we thay then ndieate dilfieent degrees f gravity atl scutenesrfir the Hoes and spuces Being reshuned upwards, it ulluns,thit the mjtes on the wpperpurt uk the sae mint necentelly be mre ae tha howe othe rece partuand yew views. SUL, honever no pote degven other of sly or atone Surrgned thew wt ele attached tthe stabi a ty a. vos theloters AA.C.Ses to the tent a fmt th pee inthe een ofthe el wantin the Seetion (GL) tH Lustiys the different cfets udvorted te by tne Authur wore invented ty sil Qhe coups of the sessed bind ‘WonnSe.e thatthe natcr might be hoptyen war ar oaibte, wit Ue inte ut the stavesBBCTION IE 7 ~ at ON THE MOTION OF THE RIGHT Akal. When the pupll has tearned to bold the Violin ani! Hass in the manner described in the former nection, and ekenptitied by the Figures in Plates 28° 8, he may then eonmenee drawing the how sloaly backwards and forwards, trom the upper third part of its tenth to the point, In these short strokes the back-arm remains perfeetly still,and only the fore-arm is and fro in the direction of the bridge. The first requisite towards'a rogular hosing s,always to keep the bow parallel with the bridge, and at u right angio with the strings. That the hand may be able to preserve it in this dircetion,it Is necessary that and forwards between the thumb and sceond fhiger, In a down-bow, Uerefore, the stick gia. finally approaches the middle Joint of the forefinger, whilst .the little finger coutimes to retire, frem it; but in an up-how, it falls back by degrees into the hollow of the’ first joint of the fore -tinger, and the Tiltle finger resumes its original position, with its pobit some. shat abore the stick, on the outside. - ‘The following Exeveises on the opon strings; are designed for the practice df the short bow. ings: but, betore the pupil commences them, he must Tearn the names of the four strings of the Violin. The lowest, or covered string is called G, the next D, the third A, and the fourth and smallest E* Their places on the stave are: waxed to 1e bow move buekwards So Ky. : . sto produce a clear and fine tone. The first also necessary to ascertain how The pupil m st endeavour, from the commonceme: requisite, as belove observed;is straight howing. But it light oF how easy the pressure of the bow. on -cach of the four stri tiow to the rapidity of bowing, in order that -they may somd easily the bridge the hair may be ‘permiited to approach on the different strings: “With regard to the former, the, rapidity of bowing must inerease in proportion as the” pres. sure of the bow on the strings becomes greater; aud, as a thick string is more diffienlt to be put into vibration than a thin one, the Bow must not approach: so near the bridge ou the Jowdy strings as om the upper ones. If, however, Ate vant af a fine tone be felt, the pupit will be better guided by his car as to the’ kind of “bowing necessary to proiluee it, than by this ur that theory. The bow is either drawn dow Freneh ¢iré,) and the latte The first note of the following Exercise i played with » dapaf-bow, alter wi moved up and dows alternately to the eonclusto The bow-strokes inst be all df equal Tength, aud the notes of eg however, over whieh the pause (2) is placed, the baw is dravn slowe be ais tong again ax the others. ** ° must be, in propor. 4 clearlys and how near rts, or pushed upwards; the former is eatlod a dowu-bors(in any bow. (poussé) hy the bow is sil duration, At those $n gud Fea Bly args are rechoncd fom soto te gency the Aythe vecundsthe Dy the thiedjand the Glur emered string the fourth Ta: 78 The turer mabe the pp snd thie sy oca he mate the bees slots pect hs Boning, hi ago ‘ith the, manor of hing the Violin wd Bow ad the potion of i the foe the string fy comidered the flat, © bods be see seeurdanee mth the fore 1 the Exercisesthc under stanes ane intended forthe tearhveywhosy accompanying tet in " . the tv foc dratonand th canoe erate in ture fooling for gins nnn Newtses ets ST Fu US As the foregoing Exercise is performed solely on the two upper strings, the in one. fixed position; but in the following, where the two lower strings arc thls ts no longer possible elbow ean remain Ukewise employed, The elbow, therefore, at the second note D, bs a little more at the third mote Gs and then it gfadually sinks down agai However, it must neithe: tr slightly elevated, at A and Ey be moved backwards nor forwards, as, otherwise the bowing would in straights it must also be onl der to reach the lower strings. The Viol ther playing on raised as much as is absolutely necessary.in or. must always remain in the same position, whe Iver or on the upper strings, and not be inelined more towards the ight side against the bow. . double.notes, where two str be equal om both, that Wgs are played upon together, the pressure of the how must ay not sound riore powerful than the other. 2 poussé,Pe Si that of leaping from 2 lower toa upper string, without sounding te ne by quickly depressing the el- it the bow changes place, yet $0, that the bow may not be lifted up from the wg is accomplished na si lity’ hay to be overenmez— In the next Exerelse a new diffi iMermediate ones. This 8 doi bow, at the Inst strings. The les quieMly raising the elbow. 1g from:an ‘upper toa lower striny tre.n 11 t9 make the short strokes with the apper thied part of the bus strat, aud with « steady back-ari, he-may: then attempt. those with the whole length of the bos These cannot be made without; moving the back-arm, x0 tht, eommeniig with an up-bow, the pie pil must proceed as follows:— ‘The back-arm is kept steady whilst the first third part. of the bow is. pushed uppand it then moves on with the continuation of the strokes by this, the” elbow is brought forward, but the hand maintains its original direetionin its approach towards the strings. When the {constantly parallel position of tie bow with the Bridge) has reach ced the strings,the down-bow fs made in au opposite mawer; that I to say, the elbow gradually returns to its former situation,and these remains trangiil whilst the latter third part of the bow is drawn dows, What has been previously said eoncerilig the motion of the bow between the thumb and se. cond finger, is even more applicable in these Toug strokes than in the short ones. As the nut there fore approaches the striugs, the Uttle finger Is extendpd more and more over the stick; but when the bow is drawn down to tho point,it resumes, by degrees, its original position.* For practising Uiese whole bowings, the pupil must now repeat the 3 former Exercises, un he succeeds i producing goad tone with them. . ‘The remarks already made on the equal attended ts in Wiese repetitions, only that the Bxereises are now pliyed slover. than before, on aecount of the Tong strokes. . ro The pupil snust not proceed to the following section,untit he has acquired such a eomiiaud 0. ter the bow, as to be able, without prejudice tits movements, to direct his attention wholly to the fiers of the left haud. Whew the pupil has teary duration of the notes, and on the pauses, must also be SECTION: 10 \ Ox THE Motion OF THE FINGRRS’ OF THE - 5 LRET Hann. *~ Tt has alrcady heen obsierved,that the part of the hand below the little tiger must be brought a5 near to the figer-board ax possible; and alo, that the ball of the hand, aiid the wrist, must be Kept at a distance trom the neck. The forefinger is now'drawn back a Uttle,aud the three first fingers, in a bent position, then place thelr, fleshy Uys, one after anther, on the E str this having been first bowed open. Hereby, the four folloyfig notes are obtaine 2 won roe In order that the pupil may be able to find the right places on the fingerboard for the three last, he must be previously informed, that the distances between the seven wotes with whieh he fs acquahited, C.D.E.K.G,A.B.arenst all equal; two of thom being only half as “great ax the others, wiz: those betweon EF, aud B_C.** . wAL 2 8 OF the, four notes which have now to be played on the E stri je first to, aa F and ¥, tle very near each othor, but the following are as far again apart, ‘The F must theie— fore be stopped very near the mut, the G twice as far from F, and the A+ at a similar dis. tance from 7 #1 Sit be nocestury fur the Cexchvr to guide the popilé orm in his first atemets. at whale bawing uke ture that the atrukew ore made ateaghty'nd that the efbow is not meved too far from the Body sd alte te (ove section NH af thie, Burt) ly, termed. sentronnn; and the uthoras "HOR Tox ur siuply TONIs “ashen the pupil, with the assistance of the texcher andl guided by his om ear, must play the following n stop these huotes coreeethy in tune, he Execreise accompanied by the teacher. In thin, the whule bowings are employed, but the notes with > over t must always be “sluveed together inoue stroke, and with seh an equal division of the bow, that ea half of the same.’ The notes snarked S. Ste are to de played vith short strokes: the two B% with the lower third~part of the bus, N ulveady, been pasted up to the wt,or the preceding note: but the two” G? with the upper bird part, the’bow having been gain drawn down to the point at the F. the two notes shall be performed with tt becuase it Sue shut bewin sir ue te hndinatolyin the Exercises, by the letters WR. Tw. My Ow the A string, the fally between Band C, $y The tivst in. w AR Cop os er, therefore, Is placed ata distanco from the nuts the second, ebise to the first; and the third, again at @ distance from the second, When the pupil has learned to stap these notes, the succeeding Exercise must be layed. Hore, the first four notes are slurred together in one long bew;-bit, for the two noxt, only a third part of the Bow ix employed, and x0 om; the groups of fonr notes, being taken with whole bows, and those of yo, oF singlonotes, h short bows, whieh latter are made with a steady back-arm, tire, Me 5. ae oe f20 In the following Faercise on both strings, the pnpll has chiefly to attend to the different posi tious of the first finger, whieh, a8 he already huows, is pluced un the E steiug very near the aut, bnt on the A string at a distance from it. AU** these dilferent positions follow each other snecessively. tire, < wea. ys the notes are stapped exactly the same as an the A string, and therefore they: do uot require to be practised by themselves. 7 out gg ‘The first fin a from the first; but the thied, eloseto the second. Ou the D string, the semiton is. Hkowise between the first and secon G Siving, however, the semito ‘The fultowing Exereise on the two lowest strings, is, commenced with whole bowings;-but al the part where cuch note reysires a separate bowing, short strokes. are employed with “a steady back-arm, ‘The charactors (fs ant l]) which oceur in the middle and’ at the end of the folloning Ex: Hed marks of repetition, and signity, that the notes included between the: are to be played twive over. When dots are placed but on one side of sueh a character oF the notes du that side omy, are then repeated; but when both, sides are dotted - :ff:- , the pro i peated; 7 coding a well ay the following notes must be twice played.The, succeeding Exereise on, all four tringn, is played throughout with hole boutugs, excey ihe few notes at the cid marked with dasheas (1101) °fation of tou anany diffienlties at onee, the fourth tinger hay hither me that the pupil Learn tw use it. Like the ot ‘To prevent the acon to been Kept mnemployed; but it is now fall upon the strings in a bent position, and never be placed flat, even fingers, it murst on the @ string. Hearu, at first, to take the Eon the A striug, so ax to produce the same the sen tne mys ZEEE then in & ier mamer, the A on the Dain GSS te Gre SSE nt mt oo Afterwards, play the following Exereise,(with short bowings )to acquire eer tainty in stopping these notes, ' ate Ss SS s nthe three following Exereises for the four fingers on all the strings, the notes are marked ax above. each time they oceur, to show whether they are # be taken on the open strings, or with the fourth finger on the -strings Jonmediately below. 1 Tlie long and short strokes of the bow, are indicated ax before, by W.1. aml 8. St.tee muapked oT are pled the first tin wathed Bane eubatitted Bor thew25 SECTION 7 ON THE FoRM aND DURATION OF THE 4 Mores’ -axp “RESTS As yet,the pupil kuows the notes with reference only to the places whieh they aceupy on the stave, and which fixes thelt piteh?* but he must now acquaint himself with the different forms of the same, by whieh their duration js determin ‘The note with whieh fe is already familiar, from the foregoing Exercises, SE iF calted a * peter the techer proceed tthe PtH Section, he shoul muke the pupil ply wer the farekulg Exceeise sand particularly the three Lata Ihe can instantly stp every nate wouclly in tune, Ie proportion aly an he faces in execution with his left hundsund to wenity of bowing, the Exorciaes muy be taken feat Bot only se much st euch Sncreaney an will nut prevent Nv paygthem throught ‘The teacher: must be varticubarly”cureful, that the ppl do, nut deviate, fy sition of the Vili, hesitowy nd She body mor aise hinwcit ty bad hl devs, wnehing graces, laed) breathing. Ae? hive shragiing up the shan nave Befure observed tn my remarks on See T uf this Paar, that the pitoh of the mutes fy determined byit heeomes a minions amd by Tithog semibretes Hy the sdition al a stom. SoH head at the Latte Sa erutehel ix formed. When to this a tail is added is called a quavers with ton tails, a semiquaver; with semi -demisemiquar senviquavers aust sith tony tails, Auvation te each other, may be learned from the following table. Their, velati Quavers a Krom the above it appears, that, to equal the duration of a xemibreve, two misims, of four erotehets, or cight qavers Se: are required; and that, eousequently, the minis must be play fed as fant again as semibroves, the erutehets as fast again ax the minims, "and so on with each 64 semidemisemiquavers oeeupy no longer tine in yer- suceceding specien, until at last th formauee than a semibreve. In ancient music, notes of a different farm and duration are found. The following howe is equal..to two semibroves, fs the only one of these used:oceasionally in "u eampasitio Scuipnce Domisemiquver StmiademisemiqniverOF Bas, THE DIKKRRENT SPECIES oF TiK,. ee OF MOVEMENT. Note ~ ‘To facilitate the ‘reading of the different Kinds of notes and rests, all musical picees are divided in. ty bars, ‘These consist of the groups of notes, with oF without rests, whieh are included * betwee the lines drascn_perpendiewlarly. aevoss the stave, called bar-Lines, AND THE DEGRE: ‘The number of parts contained in Gach bar, is determined by characters indicating the species of time, placed at the beximiiig of the -pleee; and these remain unchanged hroughout every bar uf the composition,or until a new time-mark appears. It follows, therefore, that-the bars are all of equal da ration, whether they eoitain many or few notes or rests. There are two kinds of time, viz: common and-triple, Common times are those whieh may be divided into two equal parts;and tile, sueh as are divisible into three equal parts, Allabreve time eee Compound common times, thus: These are citer simple or compound, Simple‘common times are indicated in the followinge mauner: — ‘otehet time ‘Two-crotehet Fi Simple triple ti =| Six-quaver tim jix-erotehet time §_____ = — 8s Twelve-quaver time ‘Threémininn time Three-erotehet ti And: the compound triple, utte-qnaver, time, thie To pertorm the parts or divisions of the bar in these difforent species of time, in such a mamesthat the proper" length shall be assigued to each and one bar be thereby rendered of precisely the same duration ow another, is called plying: in tine, and is that which the pnpll has next to learn. This may he greatly fseiltatot by the teachor,and the division ofthe different times” placed also ithe etearest point of view,by-at first shewing him how te beat the time. This consist in a sistbe,but in audible mating of the parts of the bar, extending the right hand, passing it, quiehly throngh the air, (about the distance of a foot) and tien remaining. immoveable rmtl the following beat is made. Tt neil searedly be remarked, that these beats must suceved-each other at perfectly cqral interval of tne In marking & bar covtaining 4 partssthe first beat ls made dowwards, tho second tovaris the left, the third to the right,and the fourth upwards. ‘The following figure Ill reider this elearer. Ko ‘hew eta pertained in the following manner: wards, and the seco! Gey oF Jn’a bar of 2 parts; the first boat is made dim upwards.28 ; Fuurcerotetet (Cand twelve-quaver time AZ),requ 8: throe-minim (3), three-eretehet ( tice user (2)au nine-guaver time (8), three beats; aul two-ervtehet (3)>Allabrexe (or $)ssix- ccotenet (J), a wer tinte (6), two heats. : When, luwever, 4 cnmpusition in either, of the tow latter thwes Is to be played very slow, and it tierefure becomes necessary to mark the six parts of the bar separately, the first two beats are fonrth and filth to the right,and the last tipwards. 1 fone bes inde downwards, the third towards the Left, th Wien on the eoutrayse compeiiton tn G, 2, of @, tne Ist be played very queen tuo bouts are made in the fiest,iatead af foursand iv the others fustead of three, beats,only one, at the bexin- ning of every bar. In order that the species of time in which apiece is written may be rendered clearly’ pereceptibie,the first part of eaeh bar, and thut with which the second-half of it Begins, are played somewhat Io than the others: the former, therefore, are termed the strong’ or accented. yarts of the bay; latter tie weak, or unaceented yarts. Consequently, In four-erotehet time, the first. eratenet ix ae- d,the seeond wiaccented,the third aecented,and the fourth again wnaecented. Im twa-eratchot «time, the first is aecented,and the second miuecented; but, in thrce.cratehet time, the first only is accented,the two others being naceented. In six-quaver time,th first and fourth quavers ave at cented, and the rest miaceented : To determine the desiree of movement (that isthe rate of slnoess oF rapidity) in whieh a musi astm shold he. performed, cesta align worls are nsedyone of which is placed at the ‘of each pleee. At present, the pupil has only aceasion' to learn the followings — Adagio, ery slows Andante, moderately stews: Allegretto, rather quick; Allegra quick; and Presta, very quick. * Bint ax auch an indication of the degroe of movoment 5x vory infetfuite, the composer's intenthn conkdformeris, be only essed at from the character of his work,and the passages contained there In. Froqucntly'It was anly. ascertainable by the repeated perforinanee af the piece, and wax, at times, entirely mistaken “This evil ix now gompetely removed by the hivention of the Metronnme, ‘utmost precision can be attained fn the aboxe particular. That of Maelzel has met sith the greatest apprabation; henec, for the last 12 or 15 years, composition, bexies retaining foned Malian words, have also been generally marked according to i. This, in dante j= 66 M.M. (Macizel’ Metronome) sities that the beats of the machine, when set at 66, answer to the duration of the erotehets.*? The dogrees nf merement are marked, as abote, in all the following Exoreives, At first, hovcver, the mupit must practise them slowly, and not at the rate preseribed, until he ean play” them in séviet time, and perfectly in tine F the by which 1 the before ni Ti onder ty awake 1 Jw the pupil a fecling for time, aud acewstom him.to divide the bars e- qually, tie. teacher stots now play over “the following Exereives NW 15 hin to beat tho time, in the manner before deseribed, and count the beats aloud.*** Whe to 18 and cause The pther wordieaned foe thie purponeyst will as thuse which relate inf perfinimance,the papid will Tear at 4 future period the chueaeter of the plecey ant the nmenis ane tnparted an eld ony hy Mens f# Cocks & CF sole agente fur ME Mactet;prine S/o snd withuwt 347 Road tawitsani Toate on the uae of Hr Metronome, price ny inh thes tt hem neensarysthe aasistance of the Metron dnay be resorted toy1 eo nil likewise,paint ont the strong and weak ‘parts of the bar, he may e the eaty dos this enrreetly, micoee playing them, himselt Andante. J 96.21. = tie’ WE. 7 ititherto, the Exereises hve all been played witha thirdZjurt of the box, and the whoté-hows but, in thoto which follow, strokes of various longthe, aud with the upper, middle, and lower part of the bow vill be required. The bowings, therefore, will henceforth (or, until a more ite division of the how ean be learued) be indicated inthe following matmer: the whole bowing, as before, by Wills and the short, or third-part bowings by 8.St: the half bowings, with the upper part of the how; by HB; those with tho Towér part by HB.L; and these with the middle of the. bow by WB . The rales for the motion of the right hand ant arm in those half bowings, are contained i those alrealy given for the whole hovingss It Js, Morefore, nly necessary to repeat Rere,that in sires i ‘all the bowings with the’ npper third-part of the bow the elbow remain ireetian with the bridge. inust be mate i a, paralled dndantes J =88. Ce ee so tthe teacher must never give way to the pupybut, from the bors the arrompasincnt tthe fallowing Fxcehesthe Gide parte the bur tnnat he surked we there ndieate sth anethid mast also Be adapted inthe, uthex Exercise bs i bes Hegny witht wr arsintanen te play raves ety in iwrary pupil to mark ov = % Se Ss The next Exereise eammnences with incomplete bar:and as in such eases the notes usually fall ov or at Least conetnde with,the unaccented part of the bar, the Violinist takes them with a4 up-bow, in order that he may employ the down-bow for the accented part at the b ingut the followinig bar. The reason of this is, that, fram the proximity of the haul ta the Strings, the pressure is naturally stronger in the downbow, than in the up-bows and the old rule requires that evéry bar ‘should begin with the former, and finish with the Latter.~ The modern style of playing, however, eauses frequent deviations from this the pn ley as will obscrve in the indication of. the bowings in the following Exereises, the ne, cessity of which will be explaiied to him hereafter. . The wots forming the incomplete bar iu the following Exereise are not to be sbi red toxetiier, but played in two separate bowings, d must, according to rute, be eon fenced with a down-bow. Hy this means, the first note of the whole bar obtsius the fwen-bow, as alsy the first note of each sneceeding bar.ettegretts j—92. Andante J = 100. eed, ST stoke WHEN the thin part of thehina. 88H38 Ihe tust note E 9f the next Hacreise,is played with @ shert up-bow near the amtsin onter that. the hale bow may be employed for the six notes of the following bar. In the St and 13!? bar, ut tho quaver rests, the, Bow Ix raised from the strings and passed on through the alr, thatyat the eomelusion of the bar, its whole Length shall have been uséd. Adagio Jax 96. Mo 18, eens aps. wR, gies. Wee ee . 1 x= WSC With coger tothe rests, must here be bsercodsthat the semibreve rest S not only indicates (cheats Geauga Geet = SE A still. greater mumber, are simply marked thus:— ‘The following Exereise is played throughout with the upper th being kept steady. For the mation of the’bow on two strings, the wrist oly must be employed aud the elbow raised or lowered # Tittle, only when the bow has to pase over three or.. f part af the boy, the huch-arm ste eet : cach succeeding Exereise,the bowings now become more varied; the performance of them exsct- Jy ay they are” indicated, is therefore so much the more necessary, sinee, from the wmissiow ot ow nly the others would be instantly changed throixghout the.whate eninposition.P19,BECTION lle . 8 On TevLers, SexXTOLES. Dorrky Norks Axo Kesrs, Tues, avo SYNCOPATIONS. nor & time, into © or Z time, a ctass 0 in Bor thwoyinto C or 2 time, a',ctase of Ny changing the movement of the quave notes is formed’ called Triplets. Any note divided into thres, instead of two parts,"forms a triplet, as In the following Exam- ile. & ae ee eee Triplets. The IS is called a minim-triplet, the 2" a crotehet-triplet, the 84 a quaver-triplet, and the 41! a semiquaver-triplet. They are distinguished from notes of the same shape, by the figure 3 Wf somiquater triplets the figure is frequently omitted, vineed above thom. However, in quaver tv only plaved over the first triplets as these are easily known by their being grouped together in threes : A rest often supplies the plaee of one of the notes: Sometimes, also, two notes are contracted into one: By doubling the notes of a triplet, a Sextole is formed: ye Tete Sexton aes eestor speed Two triplets are frequently grouped together in this way, and 4 6 like @ sextole. They differ frum the latter, by havinig-the aceon whereas, in the sextole, it falls on the first, third, and fifth note. igh Improperty) with fon the first and fourth notes = Triplets. “Sextote, : : af tt Sextoless are seve. The following Exereise is intended to instruct the pupil in the division of Triytets a these,therefore, are intermixed with the other kinds of notes. In the 104! 21% and 22) vol triplets in suceessivn,each begining with a restsand as, eonsequentlysthe notes are unaceented they np-bow. AL the rests, the baw is lifted ip,then drawn the sti ust according to rule, be alt played with a hack In the alr, and at each triplet, again placed with its point36 sindante m2.aT A dat placed,hy the halt of its driginat A dotted minim, theretore, is equal to three erotchets; and a dotted, erotchet, to three quavers. When 2 note is followed by two dots, the Second’ of them is half the length of the first: SSS ; Sy The likeeffect is produced by placing dats after rests: t The first dot is half the length of the rest; and the second,half the length of the first det, Where, hinsérer,a note could uot be prolonged by a dot, either-on account of the ineroase amounting fo.less than the halt of i value (1)5 0%, 0n account of a ba the dura eine tervening, (2); 4 seeond uote of the requisite length is written, which is eonnceted with the former by means of a’ tie, marked this + @ (2) All such tied notes. are performed as one. - Iusteadjof the the aeross the bar-liue (2), a dot is frequenty met witfotloving Exercise contains siygle and double dotted notes atl rests, tngether also with Uens ait i comm fanit sith Begimiers) to hurry dotted notes and thereby break in vm y_atend to this partientor how bowing tthe pupil. There, the notes have tw be ply with sacher Introduces, sone stoke of the bow, oach uf which must be distinetly heard, ax though it had a separate bow. Hefore the second uote’ fs played, the bow must theretore he Kept sUitl tor a momentthe ing. ost thereby o¢easioned shoul be very short; at most only @ demisemignaser vindante” Joes. ners ig ee vee TT — a . * When tio notes are tied together several times in stceesstait, the First of which fal{s cach tine ou a weak part of the bar, and the: second on a strong part, they are ealled Syuenpations wr syn- ga 3S eopated notes: that exeh note enumenees with the weak The method fro- The characteristic of synedpations consists “part of the bai quently: adopted in Violin. playing,.of marking the secon of the bow, n this, ‘on which, therefore, the aecent or emphasis most aturally. fall nal€ of each note (or that whieh falls on the strong part of the bar) by a particnlar press == > Hesteays, in some de.ree, the peenti is, theretore, fanltys hese40 ig himself in, the division and Je gives the pupil an appartanity of exerci fons, ay well as the other kinds of nates betnre a ‘The toltowing pi ance af syneupat pert =v. Andante. | ties 9 28.pousse! ious Before proceeding” farther, the teacher shold ease the pupil. to repeat the, last 10 Exereh util he ‘has not only Jearned’to play them perfeetly ‘In tute and with the preseribed bowing, but also strietly in time. In order to convinee hiinself whether he ean’ accomplish the latter; the-teachér may now aunt then allow him to play to the beats of the Metrénomesbut not too Jen, ov his yerformance vill soon become stiff and formal. Should his exeeution not adi oF his vlay'nng the: Exeveines 0 faut. as they are markeds the Motronome must bo tetas may degree suuwer as is fom necessary. 242 aa ON SCALES, KEYS, MARKS OF Trawsrosirion. 4ND SIGNATURES. * : The natural and gradual succession of notes,C.D.EEGAB and again to G, ts called a Seal The pupil already kuows, that the distances petween these Hotes are not all alike; and that EAE, and BC, are only bait as far apart as the oth ists of five af the givatér and two of the: iesser distances, whieh, arg termed respectively Lones and 8. The seate, theretore, 60 semitones. = a Ab first, two tones ogenr, viz: from C to D, and from D to 0 Ay aid A to By comes a'semitonc, from Eto F; then sigain three tones, from F to G, il lastly, the seeond semitone, from B to C. bes AS this se ies of notes coinmences with C, it is ealled the, Seale of C. 1e with other. But in order then to produce the necessary arrangement of tones 4 tes, and an to form new sealer M1 semitones for a seafe, Kowerer, we are frequently obliged toc It Is requisite that one or more of the notes he clovated or depressed a semitone. The elevation of @ note is effeeted by pl with a £, is therefore ealled C sharp; D. with a, D sharp, and ¥0 on The new seales, formed by sharp First, that of G, ax it requ ing tic chardeter 3, termed a sharp, before it. ing one 01 nore notes, are the following:— es bi i one: sharps Side, ta —_ = G. G D. 7 then that of D, with two sharps = = = al 1K ghurp. 7 C sharp, Fo 27 that of A, with three’ sharps Caen = Fore, Gohan that of E. with four sharps; 7 a Ze —— Fonurps Gshorp Catan. Dany,4s and that of By with five sharps. 7 : Caharp D charg ; Among these seates, the pup will miss that of F, This ean only he formed by depressing the ote Bw semitone; by which, after the two tones, the first semitone is obtained. The depression of a note is effected by placing the eharacter b, termed a flat, be Hed C flat D with a by D flat, and so on . The Gifst newseats, produced by flattening the note H, is consequently that of F. theretore ‘ea with a by B sua, Another new, seale edn now be formed, by enmme flattening the fourth note as before. . + Seale of His with two flats, 3, . with three fates inte, we farm she seale of Era. Ee. commencing with the third flattoned inate, that of Ab, with twilr Fates . cs mh f= Be, Deut, Bene, _ Agu utes that of DB, ith fire Ftats: and conmnencing with the fourth flatten pa . ‘run. E eit Gin, Aaa, Baw. Dawe. But new seales eam also he. furmed by commencing with the sharpened notes, eousequently the parks kere subjoined. . . seate of 5 with six shai Conanpe Dehonys Eotine Kokilus Awellth Seale, the while series of seates finishes. For were we yet to form another, commenting with the seem sharponed nate C2, xe shontd wuly obtain a similar one to that ly yossess commencing with DB; sinee CE -and Db, althowgh ditterenthy értheloss one anil the same net whieh we ale med, ave. “eran, in elevating © by a 2, anistepres = sing D by ak we arrive at the self-same we, nd-therefire the distivetion exists only tn name, not in soni Ii Tike avanwer, & seale coms jcing with the fifth flattened note Gb ~ wisely with that of FB. very enmposition; that of C, for instance, in the Kxereises -N% 3, 145165 17, 19; 20, amd 22, hence these pieces Fe said to be written In the Key of ©. ‘There are eonvequchitly as many Keys as. Seales, ‘waitkd add nothing'to the number; but enrrespond pi One of these twelre Seales: predominates’ in naively trelve. =. The sharps and flats necessary for the construction of scales, are wat eaustantly repeated thenughont the cutive ‘enmposition; but‘only. placed onee at-the beginning of it, i ter the clef, and their influerice then continues to ‘the end.** the predominant seule and the key of the picee eam be mediately af From the sigaature, therefore, vstantly aseerta Here follow the twelve Keys with their signatures, which the pupit must attentively observe. Sa ae: ae —_——| a Z x6 : a See ae Whew’ a. shaviy ag flat requires, to Ee contradicted, for the purpose of restor its original pitehy Ue following ’ wg the note, ty wietér 4, called a tural, is placed before it, ive sound dhargh not in mam = ure cated enhurson Ex:CE for 105, ue #S fur GP und the never 1 TEN imme eonnuet ides oF tt ad the oubattution iy termed an enburmen of ane for the hanke we teansitin, tery wil, 1 apprehend, be guthered from the followings —- her o fate bang tthe eH the persaro pac A tg fe whats called the wlewsrtatin, This titasted, thiyafloct all the tive uf the ab the linva.oF apicon on wAich-thy are plated, ter to the undo he came45 This, eharaeter,:th cefore, lowers 4 uote when it contradiets a shavyy anil raises oue whieh ths been previnusly ‘affected bya That, “The three ehafacters: #. by and fare called marks: of transposition.“ The signature oF the following Exereise consists of one:sharp only which applies to ¢F3the pa Pil aust Uerefore stop this note a semitone higher, throughout the piece. Cousequentiy.on the Estrhigthe first finger must no longer be placed. close to the wit,.but close to. the second fingers and on ie D string, the seeond finger, which -hithorto +has always. be ‘the finst, mus ced at a distance’ froti it, quite elose to the third. _ The fourth bar of the Exercise modulates into the key of D, so that.) this and the. fol set close ty now be towing bars, the seale of D with two sharps’ predominates; Besides the therefore, the pu- ll his also to stup) soft, pianissimo (Pp) very soft, forte (f) toud, fortissimo (ff) very ond, erescendo : (eres:) gradually increasing in power, and.decrescendo (decres:) gra ves its influence untiL superseded by some other. dually diminishing. Fach word eon In forte passages, the bow is pressed more firmly on the string ‘with the first finger, moved quicker, and brought nearer the bridges but, in piano passages,it is somewhat lifted up by pressure of the Tittle finger, moved slower, and earried farther from’ the bridge. Ta the ores: decres:, the performer gradually passes from one to the.other of theso methods. The pupil aust always be careful to draw a fine tone froin the instrument, both in’ the J> Wf A regular bowing, added to firmness in stopping the notes, are the first requisites tor this’ purpose. 5thax one flat for ity siguature;all the B's must therefore he stopped semi. ik of trans tone tio, numerous aceidentils occur, which the pupll inst carefully obserse. + Andante f= 100 — pousse. pousse. Phe letters Pant F apply to Moth partebt “The following Exereise has two flats for its sigiatures all the B's and ES must therefore he stopped a semitone lover, Allegro. j= 80. Fu Sst. HBu. 5.St. a _ nme Bu. 8.se,35has three flats for its signatures theretire,all the B's KS, aun Asim to.) = 108. powssé,. aT nnd prinBOTEON EX. Ox INTERVALS, AND ON Mason, MINOR, DIATONIC AND CuKoaaric Scares. is catled an Interval,and the mmber of dries whieh it mice from one note to anoth The dis ues ifs namos fur example, from Bz thirds trom GPS & fourth, ami 60. on Rut, as these nutes ean eithor he sharpened or flattened, a diversity in the Intervals is thes pra. cubraces,dete 4, whieh are the Intervals most gesiorally used. + expressed by the: epithets major, minor, augmented, and diminished. ‘The fullowine UNISONS SECONDS. \/THtrps. = FOURTHS.* ; : Y ‘ z = Fas ie = + + = rrerus, 0 Sixtus. I SkrENTHS. = Z zz # SS | Ocraves. —\/ WIN THS, Vestas. \ perfect, syrmented, When an inter stam exededs the compass of a Tenth, it is reckoned from the Octave of the fi ntal note and again ealled a Fourth, Fitth &e AI other practicable intérvals,.the pupil will I when he cuters upon the study of Har. mow's whieh study, be it here observed, he cannot dispense with, if desirous of bed Ahoronph nisi The seate whielh the seonds with the major Third and major Sixt pally from this, in havine the Third and ding only. There is however another seate, which differs prin Sixth minor; the former both in conting and deseenuling, bat the fatsy Besides, the Sixth; the pupil wilt observe, that, in descending, the Seventh is also flatter 1 1s scale, like’ the others, cousists of five tones ant tue semitones, but in a different order £ =a For, in, aseonding, the first tone ix. immediately followed by a omitones after which come fours tones; and Jastly, the second semitone, : at first,.two, tones; then a. semitmies then again tho toness after that the see and lastly, another tone, ‘The seale with the major Third and major Sixt 4 tir ascending, and the the Minor Scale. Is ealted the Major Seales ani that with the minor TI inor Seventh, m Sixth anf mhior Third in descending, ‘The Minor sealo, tke the Major, can be transposed eleven fines; eonseqt ajor cand 12 ‘Mnor ‘Seales. TRe former are alrenty kanes ta follow with Uiolr respetive signature ly, there are 12~ the pupit, and the latter here first, that of Ay in which “ho essential marks of teas. position are necessary, but whieh, nevertheless, requires two accid: Sixth and Seventh in ascending. ntsls for elevating the © GoVTERIED WERER, a bis Tatony ov Mesicu. Coerositiowubjict ty the Minor Sra we Niderto weed, and pros pone anuthery hating beth in ascending dd Jor Seventh fore he Ts wight in objecting 1 the sayjor Sixth in ascending and the minor Sexeuth in desrondingwas being foreign to the Minow Seale. Howesves es the Minor seals ie amost frequently empluyed ae» melody te the principal harman Ite hess(vtarto the Tried of the keg-notey) snd imat these he Aisaeif otatesy etal He sal feyboth in werende ing und descending och inal hey are composed? and tn Fae ecient ae Bat ly fn decending whet serwnspanied ky the aravony ‘the sie se hitherte Hyedyts comeequently Thaw preferved adhering te the ule woeoo Minor Seale of A. without signilure: of C2, with four sharps: it = : — eS $25 ; tu order to ‘elevate, the Severith of the next Minor Seale;(that of GF, sith five sharps,) a mark of 1h the pupil ix ngt yet acquainted. This fs the double sharp x stich clerates 4 note already sharpened by the signature si additions! semitone,nr altogether one trausposition is required, shule tune. The note tins clevated, recive: ot doicbles as, Fd The natur 3 1 addition to its former mame, the appeltation able sharp, C-double sharp Ee: : dott doubles “it (ht) iF only one of the sharps is to he re but! Ferinires a to be added to b schves ‘also to en Minor Seale of G2, with five sharpss . 6. ne as ~ sy : ir ra of Dy with one flats . 8. = SSof G, with two flats; : 61, of BD, with five flats; The! pupil wil have observed, that each of these Minor-seales has a“ corresponding signature ty 4 that, “Iu, deseonding, the notes ave affected by the same, marks of ne of. the Major sealess transposition: hence they are called ° relative. therefore, the relative of C major, E‘minor of G major, ‘and so Here follow “all the Major and*Minor Keys with the signatures commoit to both:—. fale Gs) os dao ee $ B major. tay F# major. F major. Gein GED D: widen GLE D mir Eb major. = Db inajory: = It will genorally be difficult for 4 young. Violinist not possessing any knowledge of Harmony, to ascertain from his part, whether a’ composition is written in the Major or in its relative Mi. nation on this subject, therefore, the following reinarks ‘are here intro Bo major G imino oe Key. For bis info duced. . The opening of most compositions is founded on the Triad or Chord of the Key in whieh they are ists of the key-nole, third ff an thout sien octaves and, in a piece This co s cither the’ Chord of © major <= or that of A minor these chords together, the pupit will observe that the two notes C ‘ure common to boths hurt that G betomgs nor chord. If, theretire, 4 piece writ tur I comparing ly to the Major, and A_only to the Mag : fo decides it to be in the Ma without signatire commences with G, this first mote at on antit sith A, it is.proved to be iu the Minor hey. It atter C or yor after both. ar A shout immediately oeeur, the key is generally decided at once by one or other of these nates. — When the meluly proceeds hy degrees, F and @ must he taken mutice of, in ascending; for, it SHER oF even the G only $5 then the piece is i we shops ae wot EERSTE or BESS wm tne ve. Jor key. When, however, the meludy descents, we must examine it tw the place where it either th both the Minor key: but i dircetion in order Wo ascertain the Key, whieh is then gene - > “Pan ead 9 35, ©The Rnkarmanie Healey fe not anentlgnedsay 6Giuseppe Gaccettaif) a fie: ae 186 (Y p Fe dee Hegre = ws 3 FFG -RENT POSITIONS OR SHIETS, AND Hansiontcs, On THE DIF AND ON ENTEN' notes from = te cmfineds the Violin possesses others, equally sonorous, exeeeding to which all the preceding Exercises hate heen the compass of an vetave:— Unt, as the hirhest of these notes, on account of the numerons ledger Imes, eau no longer he fe them an actave Lower, and to indicate their higher sitnation to wr read. quieklys it isu ed from all? ottara.) Kor exampte:— Beaten (abhresa oe ete : ez v Wien they are again to be played ax written, the word Loco is either employed, or the dat. ted tin diseunt . tuated above GE can ony ho vessel 6 Mopped by. the fingers, shen The notes There tens to he hand, relinguishing its usual! position, advances more as the bide positions are called Shifts, and were formerly divided into two classes, whole ant Hts. A half shift was that position of the han which the G of the E string Adittere first Huger: and a whole shift, that Is stopped with17 ker is placed.an tl A of Wie eine SESE. The fotos poo vas sein ewe 9 half shifts the next tw that a whole shitt. sua. I order, however, ta distinguish ‘om the lower ones ‘sinilarly named. they were turthe these upper positions the seeond half and seeond shale shit. But as this appellation af shirts ts i af the hand by iret Position, seeund Position Se. + TL have here adeyted the Frenet metludytieh ate listinguishes the various position “The lower position of the Mand, in wh ‘ure called the IM Positions When the h all the foreg Wis advanced s0° Exercises’ have been played,is >that in the 2 pos the first iuger falls on the G or GE of the Est nee ged beads = on = in the BE; os, p a the 5m os F 7 SE in the 8 oF Tn thiese upper positioys of the hand, not only the notes on the K string, b those also on with the the other three strings aro, now played, although the latter may be likewise reached assistanee of the E string, in a loner position. But contimeally adapting this method, would ease the hand te change its position too often, and Wereby greatly increase the diffieu!- rfeetly en. ty of playing, Indeod, miiny passages hien in a quiet position of the hand are p Sys would, in such a ease, dhe rendered wholly” impracticable wil nist at alt Iu the new Pasitions“o the following Exercises, ‘the Wl to hold the" haud in the nsual-way, and observe that the ‘fingers, beut at both joints, nd Position, the wrist must not press: against fall yerpendieutarly-on, the strings. Iu the deed, until the hand s advanced to the 3% Position, the ribs of the instrument; nots shove the ball of the hand adheres to the projection of the neck.ao Tey a s > ST Ee Le NT ais - ee Giuseppe Gaccettasor} ple, the last note of au ascending seale. of a passage in arpeggio. x Je on the Violin differ so mueh in quality of tone from But as many of the harmonies “praefie the natural notes of the instrument, that the ear Immediately reeagnises thin: ax fore subject. to the’ above objection. These are, Ml) the getave; @) the octave ith, or ts wt neler thus, on the G string Bee the D sting eS the A 2 sand on the E string = z £- The miaat tives, two-thirds of the same, the eetave-filth; and three-fourths, the double-oetave, whether mes~ the do of the string’ gives the ve- string the wut ar the briést..The serinones, however, must always be.tahen ci the shite of the “bridge, as they there come*ont meh easier and approximate’ nosrer tw the tune oF the’ , stayed uotes than those at the other end of: the string: Hence, al the harmonles whieh ive fit fare stouped at the same places as ‘the natur of harmonionaz mut materially iter fifcia harmon; must bis rejected wy uutlens; Becuive they vw telly differ feu ‘of the instrument. Tt iss dndeedys degradation ta this noble instrument; ta play” whe bh netcroponial somids. “The: cut sensation crouted hy the celebrated Paounin! in rocent tmes, By the 18 Sigal of the anelont and wholly forgotton, Raraiuncplytige and by Nie perfection therein, huweser ale wring sorh i example sg’ hey I twat nevertheless seriously advise sl young Vblinste nit to lose theie time fn such 7 pursuit ty the wegloet of that which fs of more-iupeetanee. Th support uf thie view of the matters” F may quote the retest peefurmers uf every ayes ut Peosant, Tartist, Conit, Worry, Eek Ronee leg after the manner wt Paevstniel@ toa ies tn auch child voony Bannon, Lavuse, Aer tnt nw f whom hae. played in harm avediE harwanie pling wore ess found to be of benefit uch a ond Cate might justify 1 mould, in sacrificing + fall round tone, he mevoetheless rucehaa at ue With thin 18 iy Incompatible, wu the atifiebd harmunien uly come aut an sory hi Shieh Hie nsibe te drawe fil tae (a) Titorenting moire uf these reat mastery togethor with much Curious and valushle Information ei Ing the fostenment fox which thie Schuol ts designed, will he found én MFG, Dewor nek work cit Viors"pubtished by Mess?™ Cocks & Cy,te which I bog to cull the cvaderk stentionGiuseppe Gaccettavey = ath rant_ Poa, BPs The! Gitowing Exerelie contain wetave-passagen; and_ss in ne interval besides the anison is the smallest deviation fro true tutovatih so wupleasaatly fellas in octaves, the pupil im proportion as it appros ‘ist bestow the greatest eare ‘in stopping them correctly. , This is here doubly diffi and ‘as; with cael new stop, the position of the hand varies ces the bridge, the fourth finger must he’ gradually drawn nearer the first. When several octaves of ug, in suecession, these two fingers are not lifted ups but, pressin the Strings, ‘are méved on together. 5 of the bow frum one. striug'te mupther Ws effected “sooly by the wrist, and facilitated by an almost inpercoptible ral ant lm In the sueceédi netare- passages, the, movemen ering of the clhoie, ax théugh it were shakey a : e acute E string, and then repeated onthe softer A_sivinyg. At the sage Is at flest played ow th fu simo iUis removed aid brought over the ‘end edge of the fi at the pianis- Wg and drawn shear the bridge, bu fe, the bow is pressed firmly on the’ ste gerboard and there passed lightly povoss thé. string. In the 224 bar; in slurring the harménie note A (eae — Steins be fem pressed on te stn a denn dnt» Fa gBSEESECAs whore the : oe second finger falls on C, 23.7 SS ae See mins PP ore, Tho list five notes of the 24! ba endo; that is, with decreasing power, ; are played, with a doxn-bow, slightly detacticd sind diminn - “Ty “Pig Iw the 26M! bar, the test Finger fs pushed.up on the A'steing from BtoB, ted tue: Mevenser, athe the apper F ts then taken forzando (fe)y'that Is, with “angen6 passage is marked forte, U «gliding upwards mst he done with the greatest force aml raph “4 fo Cod sity. By this means only, is it possible to hide the octave skip BEF=—= trum the hearer, and tead hin to believe that the sliding trom one note to another has been etteeted sithert interruption The three bars 26, 27 amt 28, must be performed with the fullest tone the instrument is dimins Mil J sy ha ar —t = ze = Se - md half of the 29! bar, which is played with a down- how,” ig of te 30! bar, the how having but capable of yielding: the power gradually diminishes; and at the hegi sible. The second of these to notes is market with a dot just below the slur, whieh im. Aistivet from the other. The gliding on of ies, that it is to be performed separate a the second finger to-the F, must therefore uot he! heard; henee, at the instant in whieh Fa ‘The poesia tram bar AL to hae.38 1 played Hike the beghming of the Exercises ‘ wn the thimer E string, the bow in making the erescendo may be branght neaver the bridgeTho F at the begining of the 40% bary must bo taken with 3 thied part of the ip-bows but: the By wit a very short down-bow. The skip trom B flat to A flat in the 418¢ bar, is made exactly as befure described, the 42M bar, the bow must only be drawn down two-thirds’ of ils lengths thew the last note bur receives a very short up-bow, and afterwards, for hs, B flat of the following bar, ~ ier third part of the bow is used. The 44%! bur anid the ‘beghining of the 45%, is on st Fe fas. yt 49. = os camer ee el Jn the’ second halt of the 45H har, two" nates are successive ertorimed ii a similar manner: Jy muted by a” particutar stu, and the, fingering shows that the passage ts to Be play ore, connected by a geitic, xtiding of ‘ng a momentary halt of the bow, that the D string. The to slurred notes’ E:8 are, thei and then the second F fs x0 taben the tinge the deaviug back of the hand is not hear 4 tay: 48. “morendo an Someone) : sting the sound The pemuttimate: bar isto he played morendas that is, dy unlit itis seareely andibte.us - how-instraments have over all others, consists in their great variety af hw. tebe wherety the p coh eave and tha rehess al c= proms gales 9 hi Alistinggnishes them, Great address in the most dit Imethads af bosiug i ore tis peusable tw the Vielinist, Inthe most Exereise, the pupil will be made aegnainted with the most elective buvings fv general use. Ka fh fine enmtains t00 of one abore aint another Welw the uutess Shieh iatter is played on’ the repetitina of the strain, The bowing’ a yimbered far the sake of the observatioas ithe tent. Allegero LQ ¢ ACNE, cach wate recelich a separate bowing, This’ Baw neh, detache’) is He, at the upper, part of thehow. The ion, ay sueceed- each othe ner that, in changing from the down fo the mp-baw OF the reverse, g (called by thee made willy a,stouly Nack-arn iil as! Iuitg strobe notes ust be yyrteetly equal both in gover ‘tind 4 in sueh‘a break or chasm may be abicinved. At the eratehet rest in the foneth bar, \e uw is raised from the: string and the tol- ling har commenced: with 3 down bow.—This method of bowing is always understood ,whew no uwings ave indicat N¥2. fs also male with the apper third pari of the bow and a steaiy backcarm. The fiat be ve otex obtain the dosn-steake to the point of the bow; then follow two xery shart steukes detached notes then again a long ane for the slurred notes, whieh is sneeeeded by the neat the short strates, Wow male more towards the’ mide of the hows so Wat the shut strokes are wade alternately, wee close at the pai N#3, com aud then mor towards the mia of the how, e* wilh the two short strokes, the remainder being played like the preceding, mill the only ditterence, that now the 381 a at, nd 7H & BEM qravors are given with the lone hawiugs and avcenteds whilst at N22, this ned to the IE & 284 and 5H 6 tl quayer bore . Giuseppe Gaccettaa 24 is hogun with the downchow,as is always thé ease where the contrary. not expréssed.tn this =bow and only one with the dowarboe (the method of bowing, ax thiee nates are taken with the u same length of bow being Suployed in both Instances) the latter must be drawn very quickly. AUNES,the-reverse tales pce? Hore the dewn,bow fy moved sloy‘and the up-bow qieks beans; in the preceding bowing, the first of every four Hates was played short, but inthis, the last requires te he so. given. : At N26, the second of the slurred notes fs each time trogy’marked by a prossire of the bow ‘This is indicated by the earacter <= below the mote AtNOT, the first note is smartly detached, Hoth these hawings Wilh the upper third part of the baw 3 (N086 &7) sre madte,.ike the form TFN = —- (ihe came stconipaniment ve bs Uy AUN28, a longer stroke is taker for the first four slurred notes, froin the middle to the polnt n follow four short stroker at the point: then 9 lone one to the middle of the bow, vr the slurred notes of the second har; then again tulir short strokes iu the middle of the bow, aul s0 ous the short strukes being taken alterviately at the point “audlin. the middle of the bew “£9 commenees vith four short strutes in the middle ot the bow, and-ethen played he fof the hows th the preceding smnber AUN#10, a whole bow is tuken tur the First seven notes; then follow, two short strokes at tHe points then aiaii a whole up- bow for the six starred siotess then two shart strokes wear aking the short strokes alternately at the nd the wat the mnt, and $0 0posses oc oe a ae : Ne MLE 12 are played ina similar manner. but, f-bow from the middle te the ‘points os ; AUNOS IS & 14 again, only the upper third part of the bow is wed with a Stealy back-arm The secoud of the tho slurred notes Is strongly marked hy a pressure of the: how. AUNGIS, a third-part of the how,— at NY 16, half; and at N21, a whole bow is used. Tu the first method of bowing (N215.), a° viol effect is praduced hy giving a pressure to the last ut the fair stured wites,'and with it causing the removal of the bow from the stving to be heal ALN®16, however, the cliauge’ inthe strokes of the how should be inaudible, and all the given with a porféet miformity of tone. This we must also endeavour to attain at NIT, by an equal disision of the Bow. . - i AC NIB, the bow iy placed wan the string near the wt, ad gradually drawn down to "the Potts about one-etghth of its Ievlh béing each tine used for the three slurred notes, and he single note detached ii a" very short itp bow . ALNY9, the contrary takes pluce, as wé there e witha’ short dowy-buw, ant so by degrees arrive at the unt. oa = AUNGS 20 & 21, the bow must-he used very. sp: fed Wan at the been Struck off shetty. AU NG 22, commences what is termed the stuceato taching of the notes, in on ingly, that the tone may not ho weaker at the XK The second of the slurred notes, wart, by raising the’ how a littles he sts in a li of bong. & oo _ The Stageato i well mat penduces abel it effect, and is one of the principal or ments’ ofsola-phiying. The abilly for it, however, must he to a ecrtain extent in ates for sureexperience proves, that trequcntly “the awat distinguished Violinist, notwithstanding thei wwst exertions, eam meyer #ttain ity willst greatly Inferior performers: aequive it without the slightest trovibte, Yat even sith the réquisite natural -qualit thie bat ied practice will Lead to the perfect’ mastery of it, an ible the pupil to make csery degree of "Fails 7 ere : The Stieeate is mide with the’ upper half of the up-bow. A. great ‘ Nit N6 used, evel H"two-and-thirty or more moter have to. be- played in-one, stroke... The publ should’ thevefore ‘accustom himself, from the bexinningsto use.ay liffte, bow ae possibles that iy uly so much a6 is necessary for the elear produetion of-the suits.” The Fishing on ef the how fe effeeted selely hy the wrist, the fore*and back-arm behig, Kept. steoiy: For each mote, thie tirst finger of the right hand fs sufficiently,,bressed on the bwwastick, to igy thé whole ‘idth of the hatr on the strings and for the detaching of the notes, the how vive¥'a litte each Time after it has been pushed forward, but not, so muigh, ay ta remove’ the. edge of the hair front the stving, “ 2 : + ha te The beanty of tg Staccato e stiletest time. At fest, it mat he practsed very sdow, and iwaree of movement may he gradually accelerated 5 : ALNO 22, two very short strokes are taken; at the Ave following numbers, third part howingss vi at the two last, half howinigs. The lengti of the dosn-bow ix regulated by the number ot” ats ehlofly I Bh. oquit,elody, aud, smart detsetig SF thé votes ii it is played clearly andi striet time, the rtaccaty notes which have to be taken with the “up-hbow: in N223, therefore, it 2s short as possible, because there ‘are fire notes for the dayin-bow, but only 1 ave in NW ST, on the equtrarys a long dows witless the up-bow hus six:Allegro p44. As this Exercise hoxins au te maceentéd” part of a bar, it mist, according te rules he cum ened each thie with a aychow. Where at exception t thls occurs, itis signified by the: word tire. At the detache’ if NYA, again’ observe, that the notes must be all of eqial powers also, thal it is a had, thong by ‘no means imeommun site of playing, ty mark the first af every three notes. ALN!S 2 KB, sco the explanation of the correspnding bowings (NO 2.& 15) in the pre- ine Exercise. AUNY4, the three stur cl wotes are played sith as short an up-bow as possible: so as ut to withdraw too far-fiom the point. — + AUNUS, tho same Femarks ave dypliéable to ‘the two shuvred notes; ax here iso. the bow: intain @ position near the point. ‘The first unte of ‘exch group must be smartly detached. At NY » the first three notes are likewise, taken with 4 short up-bow, and then a down! bow of the sam e length jx used for the single note marked >- AUNYT, a halt haw is taken for the sturred notes: e sequently, the two detached notes ave played alternately ia"the’ middle “and“at the point of the bow AENY8, the wholo how’ is used; hence, the detached utes are played near the wet ant at the point al AU NY 9 & 10, the pupil must bear in mind what tas been said of the Staceaty, i the preceding Exercise.a Toe RPO AR EP EP EP ap! aprip HP EP tp heey At than that of the ap- how, ‘There is also a down-bow Staccato, but it is still more diffi * in a quiek degree of movenient sounds, rather dull. It is therefore less ealeulated than the ter for the brilliant performance af an Allegra, thing productive of good otfeet inrmetolions tne gentle detaching. of the notes. passages, either in gliding from one note’ to anther, vr placed on the string in te q It is male exuctly as in the up-bow. At NOL, therefore, the bow short, sharp strokes to the the middie, and then drawn down AUN®12, the bow is placed very near the nut and gra nts a con drawn downto the pi 4 notes. siderable length of bow being eaeh time used forthe two sti The second half of this number, however, is made elase at the point, with a smart detach- ing of Gach third note. . re . AL Ne teruately in'the same Stroke of the boy.’ This method of bowiig ‘is extremely diffieuit,as the n upon by the two slurred notes. A diligent jractice (3, becurs a new kind of Staccato, in whieh, detached and slurred notes are played al- conse of the’ Bow is constantly brok HEIL Ts, however, very advantageous, as it imparts a great command over the bow. Inthe tast bars of this fhumber the bow Aust be slightly raised each time after the: two slurred nates. . . AUAEM, the the bu and a sh (Forsando) note is marked as strongly as possible by a longer stroke lengthened stroke; however, must nat ex p pressure af the same: th tend heyout the upper third part of the bow. sorIP sg, innrtelel segue. a Sete ep pFef oe SS ae py 73 Sp PL pp sPFP!. DF pp BF py PSPS BGPP B £. PF PS PS py, The first five parts of this Exercise whieh eee ther t inot be played too quiek,'as some of: the howings ‘ean only he well executed in a’moderate dexr of the howings are all played with a steady back- = part of the buw;,or eien shorter strokes The rocking of the how on the st wrist. e of movement and the upper 21, 1s produced entirely by a movement of the 5 thé'fiest tw notes ‘of cach bar are smartly detached. ~ The wiethid of bowing at N2: realy been given in the last Exereise but one, Tt serves ay an_intoduetion to 7°" 2" : { a0 Sea, whion 18 teria ‘Viowin's method of bowing, (coup dareKet de Viott,) either because it was fFe3t uneal”by" this” great ‘Violinist; of, ‘shieiis more" jrobable, was heautifully aul effeetively performed by him. OF the, two detached.notes.in ae stroke of the how, the first is given short ain! ‘sit, hut tie Seeoind, with a Longer stroke and a sharp pressure, of the how, is marked as strongly as pissible”™ Cae The bowing at N25, h school martelé (i.e: hariméred). Tt esinsists. in z HL ean play the mp allow him to try the ealoulated to The same shonld abso he done part of the above Exercise enrrectly; the teacher shonld ex- der part, as this. presents stops of u new diftienlty, which car in a stil Nigher degree. the following Exercise. his hycany, extended.) eonsegnentiy. implies’ a de= foment -someshat less stu Unwt that indicated by the latter term. at 56. appt AS SS, Ost et diinin130 ) jeated,) don ns shades of piano amd iy must be strietly attend lu: abuve all, ant neglee parity of Intonation: a ae ZT OD a3 Of BS Eee. Soo —= p= | dimin.BL dinin. _— 3sore PTS “Stee BT es ~ Le SE : i ie dite TRE Tee an os inca oe a1 Sra038 +0 a oN Pp —— dinin. ne Er ses SP Pe. 565 la ad Pm, poursé » 4, pousse thd aa E ores. foe used tir » p183pownss_ 235 [eSa 5 = Yer eee I = Core (Caer dimin cor er et tpt ep fo pte ge 5 ° =——_——__ =] dinins ~~ ~~~ - PP : ‘The following Exercise is a Mi strains aud a Trio, after whieh the Minuet is played. over Capo (from the beginning) The appellation of Trio for the last two strains, ix of ancient date, asit ‘sas formerly usual to write them iu striet three part harmony. The Trio is generally eam. poscit in oue,of the Major.or Minor relatives of the «principal key jot, a stately, serions, yet graceful 4 ain, as indicated by the wards Da IW Symphoutes and Quartetts, the second oF third movement asitally consists of such a Minuct. But latterly, the original character ‘of the Minuet has been 80 properly denominated Scherzo. lost sight of, that it is now AL the four-part ehord in the first bar, the bow Is placed close to: the nut, firmly on the tho lowest strings, then with a strong pressure carried quickly on to the two: highest and there draw down steadily’to. the point: Although the two under notes of the chord are written as erotchets, still the bow must not dwell on them, for their duration, at most, amo mi nts to thatof a se- The second bar is played like the firstsbut with au-up-bow, and the third again with a down-huo. n like’ mamer, the first four bars of the second strain ave taken alternately witha down upsow. But the erotehict chords In the fifth and followinjg bars are all pla baw, which is pressed f ‘ed with the dew mmly on the strings so as to employ the whole width of the hair, and drawn quickly, in order Wat the notes of exch chord may be given as simultaneously as pos- sible: the strokes, however, must itét be too short, otherwise the chords will sownd dry and otached, At:each chord, the bow is again ‘applied close at, the nut. At the ‘octave double stops in the Trio, the notes mast he’ elearly artic ated. The fi xers; therefore, remain on each octave as long as possible, and then more ou very qu ly UW the next.136 Giuseppe GaccettaExercise consists of Arpeggios on three-strings. After the pupil has thoroughly ted himself with the stops, Iu doing this,’ he must attend: — Fi and pri practise the eight different methods of bowi ipally, to, correct intonation; secandly,.to of the how, the motion of whieh must’ be produced entire by the right arm, the body being key notes aud fou ly, to the exact obser feral kinds of bowi quite stils thirdly, te an equal divisonot the oe of all the preseribed shades of piano “aud139 After the foregoing eight bowings have heen well practised, the pupil must repeat the Ks excise pit moderato (i.e. in a more moderate degrec of movement) in semiqnaver triplets, ith the four following bowings.- : These also havi ng been well practised, the Exerdisé must be played for the third tine Alle~ ‘70, molto (very quick) uaverstrigles, with the following four bowings. Here oberve, that the 3 bowing Is made ontively with down-steokes else at the of the-bow, with down and u its but the 44 at the point -strokes alfernately. : Altcgro motto J=10. Pere eee eae os Now fellow Arpeggigy on thé fur sirhiga, wih ton diferoy Inethods of bowing. As the four notes of whieh these “e sist, 9 wot always. Ue Sit sine position, (as, for example, at the begin= of tho 2! bar, wliero the first tw moles belong to the seeoiid, and the two following to the third position,) correct I a nation iy here dou ly diffienlt. The Fupit should therefore play id his, fin Exereise very slowly at first, in order to fainiliarize-his Gar with the chords, ers wil the anusia stops. Having done this, he must then practise the different bowing» witte de atten forthe performance of the last Exerelse. 1 to the rules gi sorHo ——. ea tare ae cee ce RYa BE @ Ee a a ocr e ee F we > are ZS Nie NSN eS eS 2SES2Z ‘ZA ° PS hight easly have Bean in nd most effeeves for + to thuee-proseribed, as being cd the pei ond perbape hove. prevented Bim fiom fying them With pre iven more than he witl be tkely to meet with in pSECTION XIII. Ox Ghat SOR EMBELLISHMENTS. These serve to animate the melody, as also to heighten its expression. Jn former times, it was usual for the composer to write the melody in a vt ler, Ieaving the embellishment of it to the player or singer. Hence, a multitude af Graces wore gradually formed, for which names’ were invented, and whieh one player Teamned from another. But as suceeeding.porformers constantly endeavoured £6 surpass their predecessors in emVellishing, by the addition of new inventions; there at Jength arose swept freedom and con -¥ simple man — advisable to prescribe there sequent tastelessness in this partloular, that composers found ii quired embellishments themselves. At’ first, ihis was.done in stiall notes, the division being left nal Size, with a strict divisi to the player; but afterwards, in notes of the | OF all the Graces of fornier times? the following are the only exes now in use, 0m sehieh are indieated by signs, and otters in snvall notes...To the first class belong the shake (h), the transient of passing: shake (4),and the turn or mordent (wor ~);to the se. coud, the long: and short appoggiatura, and others without sane. The shake consists tion of two adjacent nates, of the note over which the fr is placed, and its an equal and frequently reyeated alte nor (a), or ite major secout (b)- “The daratish of (he shake 18 determined by the length of the notes and the iuber of its beats, by the greater or Jess rapidity with which they are made ; to rule, every shake should both commenee aiid eonchide with the principal note, ed to commence with the aualiary note for Bus : Accord the note to: whieh the shake is written** If requ ‘or.with the note below, this must be expressly indicate Hs plyys. vs phy 2 or inns written ut the period Such a are desirous of becoming susie’ with these, for the performance of com the find edition shen they were in sngucy will fd the reqiiate infiemation iy LDeoue Mozane’s. Vetin Soho OU hon appeared In the year ITB T° This rule wat first advanced by JAN Mowwkt, who fu given substantial ressony fr it thie Plan sortag The shake en fs with # kind of ern, biel serves to connect It with the following note. ce below. xt deg This turn is formed of the principal note preceded by that on the n In final or ‘eadenee-shakes, the following turn is also wed: — ~ Sie] ‘hie, turn (in modern compositions at least) fs generally written in small notes: but, where this ts not the cabesit mist be added hy the player. Tliere are however shakes whieh, ether on ac cout of their shortiess or of the comection in which they sted, admit of no. turn. To the, Violinist, tie shake is the most difficult of ll embelishments, and, ike-the Staceato, requires a naturat ablity for its attshmejit. By vteady practice however, it ean be more‘ea- sily orofeome than the latter. Abore all, the shake must be given with a perfectly correct intonation. The yupil, there should always observe, whethor the auxiliary note with which it"has to be played, lies a. semitone ora whole tone above the principal note, and then endeavour at each beat to, produce-this‘h terval exactly in time. oo It is 2 common fault with Violinists,—‘even with such as in other respects play correctly In time—to stop the anxiliary note too sharp, when making a shake with the semitone; so that, particularly towards the end of the shake it js, tno far removed from the principal note. the upper Positions, indeed, where the notes lic very near together, the shake with the whole tone is not mnfrequently made too high, instead of the Second, which sounds intolerable to every refined car, The pupil, therefore, must especially strive to acquire a eorreet Intonation in the shake, and then observe that the beats are made equally, so that neither of the two notes of which the shake cansists,may be heard to. predominate. \ .€. beat with the minor or even the major Third Further;— in order to obtain a briliait shake, he shonld accustom Nimself from the besin ning to raise the shake-fhiger very high, (i.e. to the first Jdint of the tinger employed for stopping the principal note,) and tet it descend with nergy upon the string. This, the ma- Jority of pupils wogleet, from thelr anniety to make at once a quick nerally follows, that in log shakes, the finger as i€ Jamed eloaes to the string, and a fine svt powerfel shake fs never acquired. The pupil must also guard against foreing himself into a quick and powerful shake by ov ~exertion and an unnatural” extension of the sinews, as thereby the free motion of the shak peded aid much seiner fatigued. He must likewise avoid finger would only: be the more i = 07714 ‘ ing against the other, and place that whieh stops, the prineipal note in stil one finger . ition that the shake-finger may be able to mave freely. ap ach finger must be diligently exereised ou the shake, but more partieularly the little fin ker, as it ix shorter and weaker than the others, and consequently less qualified for the per formance of this grace. For although with the utmost perseveranee it ean never be Brought to activity, (for hich reason, equal the second or third finger in power an in long and rapid shakes, one of these is, taken in its stead: hy “changing the Pésition,) its improvement must not on that aceount be neglected, as in double shakes and passiges ‘here’many shat ex sue eossively follow one another, it cannot possibly, be dispensed with. Even the first finger, single shakes is never used, (28 none are made on open strings) eaun whieh i t he spared in some double shakes. Concerning the rap mn eAllegro, ‘os of a spirited character generally, the shake should be quieker and mare pow. ty of the shake, obsere the following general rules: — aud in frfut than ii an Adagio, oF ina soft and expressive melody. In all cadence-shakessie, such «the IM & 25% bar of the next Exereise,) the Beats trom first as terminite a period, (s to tast must be equally quick. bv an Adagio, however, and in shakes ser ig to embel— stra melody, a good elfeet is often produced by commeneing slowly and gradually iverea- “sing in rapiditysthls admits of being united either with a crescendo or a decrescendo. A shake must never begin quick and terminate slow. Th general, shakes with the semitone should be taken somewhat slower than those with the whale tone, as the oar cannot xo ready isting an with the larger interval. Shakes also on the lower strings, (on aceomit.of their c ration,) should not be played so quick as those on” the A aud'E h the rapid change with the small parative slowness of strings. ‘The notes forming the turn must be played with the same rapidity as the shake. itself, shortest shake, they may always be distinetly ainible. lelusive of the turn, must ‘occupy the entire du yet 0 that, een in the Each shakey It stands. 1t Is thorefore very faully te tormiuaio (Wo stake Wa soon," a a break ix there. ation of the, note over which by caused betwedn it and the following note. Afier the pupil has duly considered the above, he may proceed to the following Ex- andante J ~ eres. Se dimin. SSeS aefo that yhich stops tlic principal’ nate. is performed as follows: — “The sixth ‘shake, on D sharp, is made with the litle finger: ‘Ths the pit must endeaour to verform a3 quick, distinct and powerful ax tho-others; for which purpose, ho wall bo compel led to practise-it separately.” : Iv‘the 7! bas, begins a shake with the whole tone in the second Positlon; having the note with whieh it’ shouid commence, expressly indicated: It ix therefore performed in the following: ‘The ausiliary ote E, must always be played with a perfeetly correct intonation, and as the shake fs too loug for one stroke of the bow, # change must be mde at the bogiuming of each bar., To noticed by the ear, attend to the following rules:— First, observe that \d in the same degree of rapldity: secondly, that the new bowing commences: immediately with the like power with which the preceding termi and thirdly, that the ehange takes plaee on the prineipal note, in this instance In the third bar of this shake, the sceond finger moves on to D sharp, without either ehéeking, inereasing, or slackening the beats of the third finger. To a beginner, this Is generally very dit ficult,and must therefore be practised with persoves advancing to the} D sharp, semitone, care must be taken do this,so as to be wholly the shake-finger eontiines its beats ‘wiinterruptediy eon D. nee. As, the shake Is no lager beaten ‘with the whole tone,” bit with th that the “auxiliary note, E remains perfeety in tun146 ee “Tne second part of the Exercise commences with a ekain of shakes, by whieh is meant mm. her of shakes following each other without any notes intervening. Iu auch a chain turn fin sally given only to the last shakos but when it consists of long shskos Like tho present, a good cffeet is produced by adding a turn to each of them, In shorter shaker, however, as in the 22! harsor im still shorter duos, ax in tho 264 bar, the turu is better omitted, Every” shake in such ehain bogins with the prineipal note, whether the proeeding has a turn oF wot. Tw the 14%! bar, a b Ys placed bofore the second Ir, whleh_s rust be B fat; consequent, the fore the shake sign in the 16! «The tae of this shake hoiug written i therefore uot be played quicker than semiguavors; #0 that the rule which diveets the turm to he played with the same rapidity ax the shake itself, is not applicable In the chain of shakes without turns in the 22! bar, the regularity in the beats of the F disturbed by the, moving on of tho hand lignifies that the auxiliary note ngr, the # be iary note G sharp3’henee, the shake is hake is made with the semitone. Iu like a bar, makes. the notes of the usual size, mast ‘this instance. ust neither be eheeked shake= fingerwar = ering in the 26% bar, belong to those whieh do not admit of any tur, Diiting the rests, the bow is allowed to remain on the strings, without being lifted”up. In the chain of shakes in the 28%! bar, proeéeding en Tho shakes first oct irely by semitones, particular a tention must be paid to the intonation of the. auxiliary note; eare being ‘also tak’ serve the utiost regularity: sudden changes in the positi ta pre the beats of the shake- finger, on aecount of ‘the frequr nt ofthe hand. a 7 : This last succession of shakes is however very diffieult, and requires to’be practised with great’ perseverance The 62M Exercise. alla Polacea, (that is, nthe style of Polish National dauge,) is fitend- fol for the practice of short shakes withoitt turns. From the shortness of the note'shakén,not ‘wore than to, 0r at most three beats ean be made, which, howerergmust he powerful ad distinet.se Alla Poracca, . = 10. The pupil should accustom himself trom the first, not to dwell on the shaked note longer thin its preseribed duration; for the beauty andclogance of these shakes, eniisints their being ced with lightness into the melody, without disturbing, ity vhythnieal division. The first shake is performed thus :— “tn the 1M har occurs the second of the hefure mentioned embellishmentThe beats must be powerful aid made with a hig! ly Faised finger: E hose auxitlury” note ie elevated by af, and in the 234 bar another, whose auxiliary uote ss depressed by a J pretived tw the de In the 16% and following bars are four shake130 TRIO. In the Trio, the short shakes occur on slurred notes. Here, also, the offeet ehiefly de- pends on not dwelling too Jong upon the note shaken, bi ess making both.beats distinetly. |. ‘The perfurmance is as follows:— erin the 4l! har, must be practised ‘with the great- The ‘shake on A for the little fi est assiduity. 7 The five passing shakes, iv the, penultimate bar uf each part of the Tria, are” perThe. 63% Exercise contains other kinds of shakes, namely, the double shako in -thirdsssixths, and octave the single shake in dlanbte stops: and, ante shake, or shake with an accompanying part. also applicable to the “présents fu addi- tion to whieh T would here remark that, in double shakes, the beats should be made with the most perfect eynality. Heneo, tiie The farmer observations on the single shake avs pil mist not suffer the seco finger to outstrip the fourth, bt must regulate the heats of the former by those of the Iatter-He shontd like ~ wise nat attenpt to play the dou tit the Jitite shake quick, Inger has aquired suttieies