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Violin Vibrato
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Excerpt from Violin Vibrato: Its Mastery and Artistic Uses; Practical Suggestions for Correct Technical Development and Good Violin Tone Production It is only in recent years that the problems of violin technic have been given more careful consideration than was formerly thought necessary. It is true that directions for overcoming certain technical difficulties may be found in the many schools of violin playing, but they rarely touch the essence of the difficulty, and usually neglect entirely to analyze and separate a difficult passage into its simplest forms. The number of works which treat only of violin technic is small in comparison to the great number of theoretical works at the disposal of the pianist. This may, in part, be due to the more difficult and complicated movements necessarily connected with the playing of the violin, the holding and supporting of which alone result in complications of the technical apparatus which do not exist in the case of the piano or 'cello. The playing of either of these instruments permits of a hanging position of the arms, and the movements of playing do not make such great demands upon the strength of the player. Although the movements of playing the piano are comparatively simple, they are considered of special importance. In fact, they form the basis of the method of a master. In playing the violin, the problems of technic are made more complicated by the fact that each arm performs a different function. Naturally, a large number of treatises give attention to the problems of bowing and of the left hand. It is strange that one function of the left hand, and the most important one, has rarely been mentioned. In the following, I wish to call attention to a point which is of the greatest importance to the whole technical apparatus employed in playing the violin. I will say at once, however, that we are concerned here with a purely technical problem, and not with the interpretive side of playing, nor with the declamation of an art work. We will discuss here only those functions and conditions which enable us to express what we feel through the medium of beautiful tone. It is time that we finally determine what belongs to the spiritual side of music, and what, in contrast thereto, belongs alone to the technic of playing. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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