What people are saying - Write a review
We haven't found any reviews in the usual places.
Other editions - View all
action arpeggio artificial spiccato artist Baillot Berceuse Beriot bow hair Broken Chords Canzonetta Caprice Concerto crisp double stops down-stroke Staccato drawing the bow dynamic gradation elbow Etudes Fillebrown Finger Exercises fingerboard forearm Four Part Chords four strings FRITZ KREISLER frog glissando grace notes Gruenberg hammered stroke harmonics Illustration joint Kneisel Kreisler Kreutzer left hand legato little bow Major manner martele Mazurka means motion move muscles natural spiccato octave open strings Paganini passages performed Petit Detache piano Pieces pizzicato player portamento practically pressure produced pupil require root-joint rules Scales and Broken Scales and Chords semi-staccato semitones Serenade sforzato shifting single notes sliding slurred Sonata Song sostenuto sound Spohr Staccato stick Stopping Combination strike the strings style sustained stroke teacher thumb tion tonal character tremolo trill upper arm variant Vibrato Gymnastique violin playing Violin School Violin Studies violin's neck violinists Wieniawski wrist stroke
Page 114 - ... and is done by a trembling motion of the left hand in the direction between nut and bridge, back and forth. This motion should not be too strong, and deviation from the accurate pitch should be barely noticeable to the ear. The Vibrato can be divided into four kinds: (1) , Rapid, given to sustained notes strongly emphasized: (2) , Slower, appropriate to sustained notes of a passionate cantilena; (3), Slow beginning, accelerando in a crescendo; (4), Fast beginning, ritardando, in a diminuendo...
Page 113 - David recommends a controlled vibrato, the player being able to "make it rapid or slow, but should be on his guard against too frequent or unneccessary use of it." The views of Leopold Auer are similar to those of Joachim. He says "that only the most sparing use of the vibrato is desirable; the too generous employment of the device defeats the purpose for which you use it.
Page 46 - In going down, as at (b) the sliding finger must, at the moment of reaching the new position, leave the string as though about to pluck it, in order to make the concluding note B sound crisp and clear.
Page 19 - Now, about one thing there can be no doubt: the left hand should in no case be strained by the holding of the instrument, for its function is literally to play.
Page 81 - Stroke is one of the most valuable strokes and the least used by beginning players. This requires the bow's entire length with full cooperation of wrist, elbow and shoulder joints.
Page 74 - J. ^7 |"~*X |£ tne discussion of three funda— ' mental strokes: 1. The sustained stroke: Italian, sostenuto; French, soutenu. 2. The hammered stroke: Italian, martellato; French, martele. 3. The springing, bouncing or rebounding stroke: Italian, spiccato or saltato; French, sautille.
Page 117 - Many players make a totally unwarranted use of the vibrato, inasmuch as they keep it up uninterruptedly through passages and figures of all kinds.
Page 18 - We earnestly recommend this experiment to every one to see whether such a horizontal position is possible without a distinct forward thrust of the shoulder, and, indeed, a raising of it.