VIOLONHowe, Elias
* "* - italian colored violin string. italian strings. it, and it excites it had to stop there it has a disagreeable echo, and it has the instruction i then left i therefore, instead of it implies also it implies, indeed, it is a mistake it is common it is difficult to make this it is one of the it is peculiarly irritating it is safer it is soulless, and thoroughly it is taken for it is useless to it is usual to tune (he sec- " it is violin-teaching popularized by one it is well to it matters little what kind it may be said that the fourth it might be altered judiciously. itself. its purity. its vocal its work it will get inured to the task. joint of the first finger. ke fairly made the instrument speak." kinds of music exists. knowledge in --'lady's pictorial last chapter. leading. least sap in the tree. left left coiled around the scroll. left-handed. left shoulder, arm and hand. left side of legato playing. length, up and less than $200.00 let him now turn to example no. 5, and let him place letters of gold lias lias become lid, lies light hand and loose like like: like a glassy but like setting a like the strathspey, it is often ling. lingers over with a sponge linked on to it. little niceties little sharp. long long at the instrument; he long bow. lot* lower lower, or black ma3ter them. made made perfectly entrancing by the mainds make makers of varnish, make the much-talked-of amber making. making amber many many chemists, who readily under- many experiments mark, and mastered. mastered common time. mastering the bow. mastery materially in lifting materials may be may be drawn with may be found by may do much, may now maza's violin method. mellow and melodies and duels memory- orchestral ment ment." minerals, mirror, does mitchell, in mixture mny be mode modtrato. more more freedom more on the spot more secure grip more's the pity and crying most most em* movement mr. howe, however, \mtil much much in one lesson. music music. musical instrument musical notation. musician's omnibus, 7 numbers, must be played must now my own *nastered their performance. national music. nature [n choosing a first instrument. nearly neck of the needs no demonstration. ness and observation, it is. never having become popular, as new bow has generally newcastle style. new notations contrasted night no. 9, which noirs. noisier. no matter how soft the nor for fame. not against not a joint not alter not amber, notation-- how notations contrasted. note and 1 here give an exercise notes notes, notes. notes, as in the examples given below. notes detached into runs. note, showing the notes lower than not long ago, i not so much danger of not taking down the instrument novelty latelv introduced now some number of natural harmonics. obedienc* objection to t'e design occasionally of 4 fantasies each. of a driven note with an up bow. of all kinds. of artificial harmonies. of a teacher. of chord8. of hornpipes, of irish. jigs. of irish jigs-- the of irish reels. of scraping and tuning in public. of shifting. of solo playing. of studies. of the of the beat. of the bow. of the bridge. of the finest of the fingers well of the first of the hair of the hair. of the hait s should of the instrument of the left of the performer. of the player. of the position of of the post of the right of the right hand. of the rules of of the shoulder. of the thumb of the violin. of the violin-- self-tui- of the wrist- of this statement before of tone. of violin playing, of violins. oil, not a spirit varnish. oil of turpentine, " old masters." ond siring one. one length, one of the one of these, one will become only above the only perfect instrument. on no other instrument. on the on the back strings. they do not on the ear. on the fourth string to on their behalf. " musical times. on the level. on the sound-board on the string. open opinions of the press. orchestral playing. ordinary manner. or hankies in undoing the coils. or he may say originally in these times originnl or most trifling melody taken up or ribs of the violin. or spaces or they may be good on the or' wrist. ote, howevc r short, other. other instrument. other method would other three. ought ous bowing of scottish strathspeys outer out of one piece own bow. pad and thrust paid to the parents know this, and give that sum, part. part of nature. passing that over pass this through peculiar cat's-paw-like style of peg, and looking into the peggios, chords, percentage to perfection of bowing. perfectly any perfectly in tune on another. perfect unison performing. performing in public. perhaps the pernicious perpendicular. perspiring fingers. petrified that phatically to its value: pianoforte as well ?" pitcli-pipe or pitting the pegs- pitting the sound-post. pizzicato playing. place placed on an open string, placed the place in the place the fingers only place where the fourth finger plained! plan platform. played played. player player. players. player, who has playing playing. playing arpeggios. playing -- conclusion playing stretched notes. playing than for a solo. playing triplets. play pianoforte a r.>. - pleyel's celebrated duets for two violins. position position. position as the cause. position of the position of the right elbow. position, the possible -- the practical. practically practice of scales practise with a practising of precision. price ? " price. price $1.00. price, 35 cts. price 75 cts. producing gradations properly hollowed out to public pupil above eighteen or pupils with the natural key, c. pure amber. purer tone quartette playing. quite another question. raise the raising; but generally rapid and easy. readers as friends. read instead of two reality really a pleasant, profitable, reason a second-hand recipes, rect. red specks throughout the coating. reel playing. refused, for instru regains regularity. re-hair a bow. reli- rendered by a full orchestra, every research rest rests -design for a new fiddle result result. result will at odco appear. ribs, rich ridge of the holder right right. right, and practice do the rest. righted. right to appear. right way, and be grateful- riht and a wrong way. rikm rise rise free of rosining the bow. round and mellow." rubbing the hand and rules apply also to running across the holder, might satisfactory place. say, says, "what of the second position? scarcely add *.hat when the scope, scottish. strathspeys seasoning strings. second secret of good violin playing. secure hold. see perpetually laying selection of solos. self-tuition possible. separately set the hand by an hour's practice. shame sharp, sharp, and e sharp sharp note shifting short example correctly he short stroke. should be the first attacked. shoulder. show shows on sible pci feet. side. side of sigh, that silent. simple; but sional players, sitting, size skilled player skill of the player. slackened immediately slide slide. slide is a sliding imperceptibly slightly slipping or bad stopping. sloped slope has caused smooth gliding of the finger so altered or soft soland sol-fa, as instrumental music. sol-fa notation solo described. solo instrument. soloists who indulge solo; it all solo playing from solo upon it in public. solved solvent for a fine some some extinct plant, which, from some idea some of whom sometimes a sometimes none at all. sonata raying. son the string. sound-post setter can be special occasions. spirit one. spirit varnish. spohr'8 style of shifting. spohr designed a spohr's style of shifting " staccato" staccato. staring or wondering remark. start was made steady application and steel strings. stick stick, store, mid, straight straight. strathspeys. string string, string. string a string, as string gauge, which stringing the violin. string only with string played upon. strings. strings and carrying strings are played. strings ; that is, " great durability.'" strings, the student may now proceed string that will not strni; five stroke. strong, strongly accent student can play even this student may student's study?" stumpie--strathspey, 2nd part. style, style. style and eccentric tricks. style in fingering. submitted to such a master. such impeding suddenly mix sufficient support the bow. in suppose that any sure mode sva. systematic arrangement \t1\ svwiltm. table of the natural harmonics tail- tail piece, tail-piece tail-piece cut tail-piece of the violin, tained tainly as extraordinary as takes take two tablespoon fuls taking taste and skill. technically called " half-strokes " technically called "slating" tee violin: eow to master tee violin: eow to master it. temperature, tune quietly thus tempted to be fingered tendency to tends to draw it forward. ter informed. ters like testing a bow. testing a violin. tha long bow than than thick. that be could that h, about 60 that is, that is, shaking that is the rule, exceptions that just as there that string be in -- that subtle that the chin completely that thought has that to acquire freedom and ease thcrring the three. the, the 5rst look at the acquisition the action the actual the age at which to begin. the american the back of the instrument. the back stroke the bastard staccato bow. the be3t keys the beginner the best being the best rosin to the biting staccato bow. the books the bow the bow from the -- the bowing the bowing the bow may now be the bow ought the brittleness of the buyer the cheapest house the chin. the chin inside. the choice the chord, and the collar bone the colum- the driven note the early use of this noble work. the end of the evil popularity the feet already mentioned. the finger the finger-board. the fingers on the the first the first fault the first string being the forefinger at too the forefinger, little the fourth finger. the french school of the front and the the gnger in use the graces the grain the hair the half the half stroke the instrument, the instrument slipping their chief study was their varnish was a simple one, their victims for life. the letters indicate the the listeners. them them. the maker. the making of the violin. the management the mark, and them, as in the violin. the mastery them away as soon them-- david's "violin school" -- the middle finger, the mnale, which the most experienced players. the most trifling mistake in the music for it is all the music stand then then, after then, again, the neck is the no. 40 the notes are to be found the novice, then place the then the fourth, the only the open shake. the open string note. the pernicious teacher. the platform. the player whose hands the playing the point of the second the position the powers the practice of the preceding directions. the pupil. the qualities the quaver with a light up stroke. there clearly out of the reflected bow. therefore, a violin the result the result is one of two the ring, or spirit, or the royal road to learning. the royal road to learning-- mus- the same direction the same gum the second. the second string and a these two books aro the shift. the shirt, though i the short stroke. the signature affected the keys the sonata ia the sound the sound of the open the staccato bow. the string. the string, letting the student. the study the subject, mr. mainrls says: the surface of the wood. the tail-piece. the third bar of no. 2. the third string the thumb of the right haud. the time the tone the top of the stick. the upper the v10lis: the value the violin the violin: the violin. the violin a hopeless task. the violin a lady's instrument. the violin alone the violin case. the violin: hok to master the violin: how to master the violin: how to master it the violin: how to master jt the violins at a public concert. the violin school, by carl henning. the whole of the fingers are the word face. the "work the wrist they they are composed of strands they are made they are now used by they have it not. the young breast. thf bow is being lwd. thick bridge thickness thinly spread, golden, (third third is in use third joint, indeed, third position. third string. this "this this bowing of spohr's though this contortion this discovery this done, he had this effectually prevents this holder this is a masterly this is a powerful grace of art in this is not easy in regard this is specially to be guarded this reason one half this seems to this state of things, spohr this suggestion this the wrist alone this thought this to a lady's hands. this would those higher those two thumb thumb " thumb and the thus, thus, if the student had to play thus, in making an ordinary run tically realize the tightness. tight position. tinsel-like effects. tion tion proceeds entirely tions, and so on, successively. .--*t &>* ir>sun tlie tne playing tne power to acquire a graceful to acquire it, there to adjust them. to all, therefore, i would say, begin to attract or retain damp. to begin to begin with. to cut the strings. to each note, care being to finger them as indicated below. to gain power. to get them and to have a number of to its full to make the violin vibrate to master to master it to master the old tone tone. tone imparted by spirit varnish tone, or high in price. tone, the ton-urn's took to dissolve amber. too soon expended. to overcome this to place to play chords well to play the to practise. to produce them to re-hair his to shift by the wrist. to sum up, to the close shake. to the conclusion that to the first position. to the first violins to the position. to the violin, to tune hurriedly. to tune quietly. touch the where found tourte, dodd, vuillaume, to use, transparent or so traveller to face treatise a tric tricky solo, full of nimble pizzicatos and trie tried triplets triplets. tru'h tune tune. tuned by tunequietlv-- to j une hurriedly tune the tuning-fork, then to tune tuning the vi"lin tuning the violin. twenty-five cents. two strings to be tuned (first tyro of a buyer. u a theatrical scene underlies the whole. undoubtedly an unlearning of evil habits of style. unsatisfying. upon upon or written ural use and "where used used by used by the cremona makers. used by them all. useless for varnish making, use no chin-rest use of the jmt string. using the bow. using the bow -the action of the usual avay, two to each bow. utterly fallacious. variegated easy tone pieces." varnish varnish. varnish, however, varnishing varnish, the simplest varnisli velvety high upon the shifts. very very effective, is given in example no. 3. very good note for the vibration of the fibres. vibrations violin." violin as a voice trainer. violin cleaning violin-holder. violinists, are violin method. violin, price 75 cts. violins as solo instruments. violins vary greatly violin to the largest viola. voice. volumes might be was not a complete gain. water, weight weight of we know to be a proficient and well, it cannot exactly we may were a short were named, g, d, were only selected coarse when when a number of bars are when compelled, for when i was young i when the when the point when the up when the wood where found -- which which a teaciier which makes slipping which run straight in which thus forms a bottom which was fixed above the which will be while the fourth while the h" 11 ' who can use the wrist who consequently was whom wide circulation."--art journal. will be found to be serrated will be, i suspect will be seen. will discover will find will give will hear the commonest will not do). will realize the truth will show how an wish the with with another soft cloth. with a spring to execute with a strongly accented with dozens of with the woman, and showy and wonderful instruments. wo-n to about half work much worshippers. would never have attained would play the wrist wrist. wrist in the glass. wrist of the right hand. written. yarnish. year's practice, but to yet if any one has yet it is they you give you may say i am young you should surely" />
The Violin: How to Master It
Howe, Elias - The Violin: How to Master It
Violon seul


VoirPDF : Partition (110 pages - 4.78 Mo)2 689x
MP3
Compositeur :
Elias Howe
Howe, Elias (1820 - 1895)
Instrumentation :

Violon seul

Genre :

Methodes

Arrangeur :
Editeur :
Langue :Anglais
Droit d'auteur :Public Domain
Ajoutée par FS, 01 Jun 2016
Source / Web :archive.org
Partager cette partition
email
< Partition précédente   Partition suivante >
Signaler un problème de droit

Niveau de difficulté :
Évaluer :
0 commentaire


"Depuis plus de 20 ans nous vous fournissons un service gratuit et légal de téléchargement de partitions gratuites.

Si vous utilisez et appréciez Free-scores.com, merci d'envisager un don de soutien."

A propos & Témoignages de membres

Partitions Gratuites
Acheter des Partitions Musicales
Acheter des Partitions Digitales à Imprimer
Acheter des Instruments de Musique


© 2000 - 2024

Accueil - Nouveautés - Compositeurs

Mentions légales - Version intégrale