Violin Questions Answered
Question One
A. W. A.—1. The so-called "open shake," is a trill, marked "Tr." above the note to be trilled. The so-called "close shake" is what is known as the vibrato, or "tremolo." American writers do not use the terms "open" and "close" shake, as is quite common in England. The notes on which the vibrato is to be employed are rarely indicated in violin music. If so indicated, a marking like the following would be employed. A quarter note, marked with three strokes over the stem, would be divided into thirty-second notes, that is, the note would be played eight times.
2. Tbe term SFZ means that the note over which It is placed, should be played with explosive force. SFZ passages are bowed in different ways according to the passage being played, but where possible a blow on the string at the frog with a hammered effect, produces the best result.
3. Where a sliding effect or gllssando is desired, an ordinary slur is used to indicate it, frequently with, the word gllssando marked above the passage. In shifting, where a single finger is employed, a sliding effect is produced as in tbe following;
Question Two
F. D.—The six sonataa for the violin alone, by Bach, are the most Important works in the classics which are designed to be played without accompaniment. Separate movements from these sonatas are often played in public by concert violinists without accompaniment.
2. As your letter gives no hint of your age or stage of advancement, I cannot advise you as to specific works for learning sight reading. If you are sufficiently advanced, you would find the sonatas of Haydn, Mozart, and Beethoven, written for violin and piano, admirable for practice in sight reading, especially if you are lucky enough to find a good pianist to play them with. Playing violin duets, trios, quartets or the violin parts in a string quartet, is excellent practice for slght reading, as is playing In orchestra. The most important thing to observe in practicing1 sight reading, is to play music a grade or so easier than you are able to play. If the music is so difficult that you have to stop every measure or so. to practice It out. you will not get ahead very fast with your sight reading.
Question Three
M. L. C—The reason why both forms of tbe minor scales, harmonic and melodic, should be studied, is because both forms are often met with in the music you play. Either form can be studied first, but possibly it would be best to begin with the melodic form, because the intervals of this scale are often more easily grasped, and It Is more frequently used in constructing the melodies of a composition, than the harmonic.
2. No rule can be laid down as to the exact length of time strings can be used, before they lose their tone and become lifeless. Change your strings as soon as they lose their tone. Any good music house can supply steel E and Aluminium D strings. There are many good brands.
3. Unless you have classes in theory and harmony, or your pupils take several lessons a week, you will not have time to teach mnch of these branches in the first and second year of violin playing. However, you can always find time to give your pupils a few of the fundamental rules of theory and harmony. It is absolutely necessary to teach enough theory to make the pupil understand his work.
4. Your trouble with the vibrato Is no doubt caused, as your teacher says, by want of relaxation. This Is why your arm becomes so tense. Try practicing it silently (that is, without using the bow) for a few minutes each day, with tbe wrist joint relaxed, so that the hand swings freely. Use a chin rest and a shoulder pad, and do not over-do the pressure on the chin rest.
5. Both the Lupot's father and son, made excellent violins. Lupon violins have advanced in the past five years.I could not estimate the value of your violin without seeing it. 5. I do not think the climate you describe would Injure your violin.
6. For pieces of about the grade you mention, you might try: Souvenir de Wieniawski, by Haesche; Rigoletto Fantasia, bv SSingelee; Boy Paganini, by Mcllenhauer; 5th and 6th Air Varie, Op, 80, by Dancla; Faust Fantasia by Singelee; Gay Senoritas,, by Atherton; Koboldtanz, by Eherhardt.
Question Four
M. H. F.—For the requirements of the pupils you would be likely to get in the locality you speak of, the following course might do as well as anything. For the beginning use Wohlfahrt's Easiest Elementary Method for Beginners, Op. 38; this might be followed by the Kayser Studies, Op. 20, Book 1. For position work you could use the Herman Violin Schools Book 11. After the pupil has mastered the first five positions fairly well, the Kayser Studies, Books II and III, could be employed with profit, together with Schradiecks' Scales. There is a vast amount of teaching material of every grade with which you ought to make yourself familiar. You can obtain all the above works from your publisher and also catalogs of violin pieces of every grade. Write to this firm also for the Teacher's Year Book.
Question Five
L. B. P—There are many left-handed violinists. The technic is the same, but the violin must be changed so that tbe strings reading from left to right will be E, A, D. G, instead of G, D, A, E. as in tbe case of a v:olin which is normally strung. The positions of the bass bar and sound post are also exchanged. Any good violin teacher could instruct a left-handed pupil, since the principles involved are the same, but, of course, It would be preferable to get a teacher who has had experience in teaching left-handed pupils. However, since your son is only eight years of age I would strongly advise you to have him taught in the normal way, holding the bow with the right hand. Being so young the chances are that he could be taught successfully to bow right-handed. One of the most brilliant pupils I ever taught was left-handed, but as she commenced at a very early age, she had no difficulty in bowing with the right hand. She mastered all the principal violin concertos and expects to make a success on the concert stage.
Question Six
R. T. H.—The prices of many of the cheaper grades of violins, and also bows, cases, trimmings, etc., have. In many cases, practically doubled, since the war started. This is due to the fact that such a large proportion of these goods were made in, Europe and trade in them practically ceased during the war. It will probably be many years before these goods will decline to their pre-war prices, since wages and raw materials have advanced in Europe almost as much, If not quite as much as they have advanced here. This being the case, it is an excellent idea to try and secure good, used violins, which can often be picked up for pre-war prices, and can be put In good order by a good repairer.
Question Seven
O. L. J.—It is very important to start with the right material at the very beginning. Many of he "first" books and primers for the violin are simply impossible, although some of them were written by noted violinists. Wohlfahrfs Easiest Elementary Method is as good as any for the start.