This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1905 edition. Excerpt: ...12. Exercise 12 is played with a half bow, or shorter length, according to velocity. The pupil should not raise his fingers without cause. In the cases of pupils who play half-steps with faulty intonation, a serious study of several exercises in Sevcik's Book I. might be advisable. EXERCISE 13. Exercise 13 is not easy for the average pupil. First of all, he must see ahead of where he is playing. Again, he must show economy in bowing. The tone should be uniform throughout. Fingers should seek their places before they are needed. Many pupils desire to play this exercise with four notes on a bow, at first. I should not, as Professor B once said, " make bridges over which donkeys may ride." Naturally the exercise requires the whole bow. EXERCISE 14. In Exercise 14 the staccato and legato work should be clearly defined. There should be decision in both. The upper arm should remain quiet, and the forearm should be well trained and free. In stretching the fourth finger, the wrist and hand should bend forward and be relaxed. EXERCISE 15. Exercise 15 requires clean-cut technic. It should be played with the whole bow. The trills should be played twice, and they should be accented. A smooth, flowing legato is required. Scales (Schradieck) in the fourth and fifth positions should accompany this exercise. EXERCISE 16. Exercise 16 is well marked by Mr. Saenger. The fingers which should remain down are marked with an asterisk. The hand should never leave its position until required. This exercise is an excellent one for training the pupil to pass from position to position with absolute ease and security. The whole bow is used. EXERCISE 17. Exercise 17 requires evenness of tone, firmness of fingers, quick position changes, and uniform tone...
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- 13 Sep 2013
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