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␈↓ α∪␈↓␈↓α␈↓ ελCHAPTER     1␈↓




␈↓ α∪␈↓␈↓α␈↓ ∧~On Playing the Violin: A Study of selected Sources␈↓





␈↓ α∪␈↓␈↓ αC␈↓αIntroduction␈↓


␈↓ α∪␈↓␈↓ αcThe␈α
sources␈α
used␈α
in␈α
this␈α
chapter␈α
cover␈α
a␈α
period␈α
of␈α
over␈α
a␈α
century␈α
(Mersenne,␈α∞1636␈α
-

␈↓ α∪␈↓L'Abb␈↓¬'␈↓e␈α∩le␈α⊃≡ls,␈α∩1761).␈α⊃ They␈α∩were␈α⊃selected␈α∩on␈α⊃the␈α∩basis␈α⊃of␈α∩the␈α⊃type␈α∩of␈α∩information␈α⊃they

␈↓ α∪␈↓contained␈αon␈αthe␈αviolin,␈αinterest␈αbeing␈αcentered␈αon␈αthose␈αexclusively␈αon␈αthe␈αviolin,␈αand␈αthose

␈↓ α∪␈↓which␈α⊂treat␈α⊂elements␈α⊂of␈α⊃practice␈α⊂-␈α⊂holding␈α⊂the␈α⊂violin␈α⊃and␈α⊂bow,␈α⊂playing␈α⊂in␈α⊃positions,␈α⊂and

␈↓ α∪␈↓instruction␈α⊂in␈α⊂ornamentation␈α⊂(the␈α⊂last-named␈α⊂will␈α⊂be␈α⊂dealt␈α⊂with␈α⊂in␈α⊂more␈α⊂detail␈α⊂in␈α⊃a␈α⊂later

␈↓ α∪␈↓chapter)␈αThe␈αpopularity␈αof␈αthe␈αinstrument␈αsoared␈αduring␈αthis␈αvery␈αperiod,␈αas␈αis␈αevidenced␈α
by

␈↓ α∪␈↓the␈α∞relatively␈α∞large␈α∂number␈α∞of␈α∞violin␈α∞tutors␈α∂that␈α∞appeared.␈α∞Its␈α∞comparatively␈α∂powerful␈α∞and

␈↓ α∪␈↓piercing␈α⊂tone␈α⊂elevated␈α⊂it␈α∂above␈α⊂other␈α⊂instruments␈α⊂ as␈α⊂one␈α∂of␈α⊂the␈α⊂main␈α⊂proponents␈α⊂of␈α∂the

␈↓ α∪␈↓emerging␈αsoloistic␈αstyle.␈α As␈αinterest␈αshifted␈αfrom␈αensemble␈αto␈αsolo␈αcompositions,␈αtreatment␈αof

␈↓ α∪␈↓the␈α
violin␈αprogressed␈α
from␈αbeing␈α
con≡ned␈αto␈α
a␈αsection␈α
in␈αan␈α
encyclopedic␈αwork␈α
(in␈α
the␈α17th

␈↓ α∪␈↓century),␈αto␈α
meriting␈αattention␈α
in␈αtreatises␈αand␈α
tutors␈αdealing␈α
exclusively␈αwith␈αthe␈α
instrument's

␈↓ α∪␈↓distinctive␈α∞capabilities␈α∞and␈α∞problems␈α∞(in␈α∞the␈α∞18th␈α∞century)␈α∞The␈α∞earliest␈α∞of␈α∞these␈α∞specialized

␈↓ α∪␈↓tutors␈αwere␈αelementary␈αin␈αnature␈αand␈αaimed␈αat␈αamateurs␈α-␈αpeople␈αwho␈αknew␈αvery␈αlittle␈αabout

␈↓ α∪␈↓music,␈α∀much␈α∀less␈α∀the␈α∀violin.␈α∀Gradually,␈α∀as␈α∀the␈α∀18th␈α∀century␈α∀progressed,␈α∃these␈α∀treatises

␈↓ α∪␈↓increasingly re∨ected the more advanced technique of the violin virtuosi.


␈↓ α∪␈↓␈↓ αcThe following is a chronological annotated list of the sources:

␈↓ α∪␈↓1.␈α
Mersenne,␈α
Marin.␈α
 ␈↓↓Harmonie␈α
Universelle␈↓␈α
(Paris:␈α
Chez␈α
Sebastien␈α
Cramoisy,␈α
1636),␈αv.3␈α
␈↓↓Trait␈↓¬'␈↓↓e
␈↓ α∪␈↓↓␈↓ αCdes␈α
instruments␈↓,␈α"Livre␈α
quatriesme␈α
des␈αinstrumens␈α
a␈αchordes",␈α
pp.177-190:␈α
translation␈αby

␈↓ α∪␈↓␈↓ εk1␈↓ S
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ D2


␈↓ α∪␈↓␈↓ αCRoger␈α⊗E.␈α⊗Chapman,␈α⊗␈↓↓Harmonie␈α⊗Universelle␈α⊗the␈α⊗books␈α⊗on␈α⊗instruments␈↓/␈α↔(The␈α⊗Hague:
␈↓ α∪␈↓␈↓ αCMartinus␈αNijho≥,␈α
1957),␈α"Fourth␈α
book␈αof␈αstring␈α
instruments",␈αpp.231-249.␈α
 This␈αcontains
␈↓ α∪␈↓␈↓ αCmostly␈α⊂general␈α⊂information␈α⊂on␈α⊂the␈α⊂violin␈α⊃family,␈α⊂the␈α⊂structure,␈α⊂and␈α⊂the␈α⊂tunings␈α⊃of␈α⊂its
␈↓ α∪␈↓␈↓ αCvarious␈α
members.␈α There␈α
are␈α
no␈αinstructions␈α
on␈α
holding␈αinstruments␈α
or␈α
bows.␈α Included␈α
is
␈↓ α∪␈↓␈↓ αCinformation␈α∂on␈α∂what␈α∂notes␈α⊂are␈α∂played␈α∂with␈α∂which␈α⊂≡ngers␈α∂of␈α∂the␈α∂left␈α⊂hand.␈α∂ Mersenne
␈↓ α∪␈↓␈↓ αCrecommends␈α≠using␈α~lute␈α≠ornaments␈α≠and␈α~even␈α≠includes␈α~a␈α≠sample␈α≠composition␈α~in
␈↓ α∪␈↓␈↓ αCunornamented and ornamented form.


␈↓ α∪␈↓2.␈α⊃Playford,␈α∩John.␈α⊃ ␈↓↓A␈α∩Breif␈α⊃[sic]␈α∩Introduction␈α⊃to␈α∩the␈α⊃Skill␈α∩of␈α⊃Musick␈α∩for␈α⊃song␈α∩and␈α⊃viol␈↓,
␈↓ α∪␈↓␈↓ αC(London,␈α13th␈αed.,␈α1697),␈α"An␈αIntroduction␈αto␈αthe␈αPlaying␈αon␈αthe␈αTreble␈αViolin",␈αpp.␈α59-
␈↓ α∪␈↓␈↓ αC72.␈α The␈α≡rst␈αedition␈αof␈αthis␈αwork␈α(1654)␈αcontained␈αnothing␈αon␈αthe␈αviolin,␈αbut␈αthe␈αsecond
␈↓ α∪␈↓␈↓ αCrevised␈α
edition␈αof␈α
1658␈αcontained␈α
a␈αchapter␈α
"Playing␈α
on␈αthe␈α
Treble␈αViolin".␈α
 This␈αtutor␈α
is
␈↓ α∪␈↓␈↓ αCat␈α∂a␈α∂very␈α∂elementary␈α∂level,␈α∂and␈α∂it␈α∂approaches␈α∂the␈α∂violin␈α∂from␈α∂the␈α∂viewpoint␈α∂of␈α∂a␈α∞viol
␈↓ α∪␈↓␈↓ αCplayer.␈α
 It␈αbegins␈α
with␈αa␈α
description␈α
of␈αthe␈α
tuning␈αof␈α
the␈α
instrument,␈αand␈α
suggests␈αthat␈α
the
␈↓ α∪␈↓␈↓ αCbeginner␈α⊂≡x␈α⊂frets␈α∂on␈α⊂the␈α⊂≡ngerboard␈α∂to␈α⊂make␈α⊂sure␈α∂that␈α⊂all␈α⊂the␈α∂notes␈α⊂will␈α⊂be␈α⊂in␈α∂tune.
␈↓ α∪␈↓␈↓ αCUsing␈α∞tablature,␈α∞it␈α∞notates␈α∂the␈α∞di≥erent␈α∞pitches␈α∞which␈α∞may␈α∂be␈α∞played␈α∞on␈α∞the␈α∂violin.␈α∞ It
␈↓ α∪␈↓␈↓ αCincludes␈αbrief␈αinstructions␈αon␈αholding␈αinstrument␈αand␈αbow,␈αand␈αends␈αwith␈αsome␈α
tunes␈αin
␈↓ α∪␈↓␈↓ αCtablature, and regular sta≥ notation.


␈↓ α∪␈↓3.␈α∞Falck,␈α
Georg.␈α∞ ␈↓↓Idea␈α∞boni␈α
cantoris␈↓␈α∞(N␈↓¬:␈↓urnberg:␈α∞Wol≥gang␈α
Moritz␈α∞Endter,␈α∞1688),␈α
"Anleitung
␈↓ α∪␈↓␈↓ αCzum␈αViolin-Streichen/␈α
f␈↓¬:␈↓ur␈αdie␈αIncipienter",␈α
pp.186-193.␈α This␈αis␈α
a␈αvery␈α
general␈αtreatment
␈↓ α∪␈↓␈↓ αCof␈α
playing␈αthe␈α
violin.␈α Falck␈α
pays␈α
unusual␈αattention␈α
to␈αtuning␈α
a␈αviolin␈α
to␈α
a␈αharpsichord.
␈↓ α∪␈↓␈↓ αCHe␈α⊂includes␈α⊂elementary␈α⊂instructions␈α⊂on␈α⊂holding␈α⊂the␈α⊂violin␈α⊂and␈α⊂bow␈α⊃and␈α⊂demonstrates
␈↓ α∪␈↓␈↓ αCsome␈αelementary␈αbowings.␈αHe␈αseems␈αto␈αfollow␈αthe␈αFrench␈αstyle␈αof␈αplaying␈αthe␈αinstrument.
␈↓ α∪␈↓␈↓ αCThe␈α∞chapter␈α∂describes␈α∞a␈α∞placement␈α∂of␈α∞the␈α∂left␈α∞hand␈α∞corresponding␈α∂to␈α∞7th␈α∂position,␈α∞but
␈↓ α∪␈↓␈↓ αCmusical examples never leave ≡rst position.


␈↓ α∪␈↓4.␈α⊂Merck,␈α∂Daniel,␈α⊂␈↓↓Compendium␈α⊂Musicae␈α∂Instrumentalis␈α⊂Chelicae.␈α∂ Das␈α⊂ist:␈α⊂ Kurtzer␈α∂Begri≥
␈↓ α∪␈↓↓␈↓ αCwelcher␈α∂gestalten␈α⊂die␈α∂Instrumental-Music␈α⊂auf␈α∂der␈α⊂Violin␈α∂pratschen␈α⊂Viola␈α∂da␈α⊂gamba␈α∂und
␈↓ α∪␈↓↓␈↓ αCBass,␈α∂gr␈↓¬:␈↓↓undlich␈α⊂und␈α∂leicht␈α∂zu␈α⊂erlernen␈α∂seye␈α∂.␈α⊂.␈α∂.␈↓␈α∂(Augsburg,␈α⊂1695)␈α∂ The␈α∂author␈α⊂of␈α∂this
␈↓ α∪␈↓␈↓ αCtreatises␈αestablishes␈αat␈αthe␈αoutset␈αthat␈αhis␈αtutor␈αis␈αintended␈αfor␈αbeginners.␈α He␈αincludes␈αno
␈↓ α∪␈↓␈↓ αCmusical␈αpieces,␈αstating␈αthat␈αthe␈αteacher␈αshould␈αprovide␈αthe␈αappropriate␈αexercises␈αfor␈αeach
␈↓ α∪␈↓␈↓ αCstudent.␈α Merck␈αcovers␈αthe␈αfundamentals␈αof␈αmusic␈α-␈αnote␈αand␈αrest␈αvalues,␈αtime␈αsignatures,
␈↓ α∪␈↓␈↓ αCand␈α
moves␈α
on␈α
to␈α∞directions␈α
on␈α
tuning␈α
the␈α
violin␈α∞and␈α
manipulating␈α
the␈α
bow.␈α∞ The␈α
most
␈↓ α∪␈↓␈↓ αCcommon␈α
graces␈αare␈α
mentioned,␈α
and␈α≡ngering␈α
exercises␈αtake␈α
the␈α
student␈αup␈α
to␈α
the␈αfourth
␈↓ α∪␈↓␈↓ αCposition.␈α⊃ There␈α⊃is␈α⊃a␈α⊃short␈α⊃discussion␈α⊃of␈α⊃the␈α⊃proper␈α⊃deportment␈α⊃of␈α⊃a␈α⊃violinist␈α⊃which
␈↓ α∪␈↓␈↓ αCincludes instructions for holding the instrument and bow.


␈↓ α∪␈↓5.␈α⊃Mu≥at,␈α⊃Georg.␈α⊃ ␈↓↓Florilegium␈α⊃secundum␈↓,␈α⊂1698.␈α⊃ This␈α⊃is␈α⊃mainly␈α⊃collection␈α⊃of␈α⊂French-style
␈↓ α∪␈↓␈↓ αCdances␈α∃with␈α∃extensive␈α∃instructions␈α∃on␈α∃bowing.␈α∃It␈α∃contains␈α∃good␈α∃descriptions␈α∃(using
␈↓ α∪␈↓␈↓ αCMu≥at's␈α∞own␈α∂symbols)␈α∞for␈α∂French␈α∞agr␈↓¬'␈↓ements.␈α∞ There␈α∂is␈α∞no␈α∂information␈α∞on␈α∂holding␈α∞the
␈↓ α∪␈↓␈↓ αCinstrument or bow.


␈↓ α∪␈↓6.␈α∞Mont␈↓¬'␈↓eclaire,␈α∞Michel␈α∞Pignolet␈α∞de.␈α∞ ␈↓↓M␈↓¬'␈↓↓ethode␈α∂facile␈α∞pour␈α∞aprendre␈α∞␈↓¬`␈↓↓a␈α∞jo␈↓¬:␈↓↓uer␈α∞du␈α∂violon␈↓␈α∞(Paris:
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ D3


␈↓ α∪␈↓␈↓ αCchez␈α
l'Auteur,␈α
1711-12)␈α
 This␈α
is␈α
a␈α
very␈α
elementary␈α
tutor.␈α
It␈α
contains␈α
no␈α∞position␈α
playing
␈↓ α∪␈↓␈↓ αC(only␈α⊃the␈α∩extension␈α⊃of␈α∩the␈α⊃4th␈α⊃≡nger).␈α∩ It␈α⊃also␈α∩furnishes␈α⊃general␈α∩musical␈α⊃information
␈↓ α∪␈↓␈↓ αC(di≥erent note shapes, clef signs, durations of rests, beats per measure, etc.)


␈↓ α∪␈↓7.␈α
Dupont,␈α∞Pierre.␈α
 ␈↓↓Principes␈α∞du␈α
Violon␈↓␈α
(Paris:␈α∞chez␈α
l␈↓¬'␈↓auteur,␈α∞1718)␈α
 This␈α
is␈α∞a␈α
short␈α∞tutor␈α
in
␈↓ α∪␈↓␈↓ αCdialogue␈α⊃form,␈α⊃containing␈α⊂no␈α⊃information␈α⊃on␈α⊂holding␈α⊃violin␈α⊃or␈α⊂bow.␈α⊃ It␈α⊃includes␈α⊂two
␈↓ α∪␈↓␈↓ αCrather␈αstrange␈αengravings␈αof␈α"positions"␈αof␈αthe␈αleft␈αhand␈α(see␈α≡g.␈α 12)␈αIn␈αboth,␈αthe␈αthumb
␈↓ α∪␈↓␈↓ αCpoints␈αaway␈αfrom␈αthe␈αviolinist␈αalongside␈αthe␈αscroll.␈α Verbal␈αdescriptions␈αof␈αthe␈αnotes␈αeach
␈↓ α∪␈↓␈↓ αC≡nger␈αcan␈α
play␈αin␈α
each␈αof␈α
his␈αtwo␈α"positions"␈α
are␈αgiven.␈α
 Dupont␈αalso␈α
provides␈αexercises
␈↓ α∪␈↓␈↓ αCwith␈α∞bowings␈α∂marked␈α∞-␈α∞again␈α∂with␈α∞lengthy␈α∞explanations.␈α∂Like␈α∞Mont␈↓¬'␈↓eclaire,␈α∂he␈α∞includes
␈↓ α∪␈↓␈↓ αCsome␈α⊂general␈α⊂musical␈α⊃information.␈α⊂ He␈α⊂refers␈α⊂reader␈α⊃to␈α⊂his␈α⊂␈↓↓Principes␈α⊂de␈α⊃Musique␈↓␈α⊂for
␈↓ α∪␈↓␈↓ αCinformation on ornamentation and the Italian style of playing.


␈↓ α∪␈↓8.␈αPrelleur,␈αPeter.␈α ␈↓↓The␈αModern␈αMusic␈αMaster␈↓␈α(London:␈αthe␈αPrinting-O≠ce␈αin␈α
Bow␈αChurch-
␈↓ α∪␈↓␈↓ αCYard,␈α
1731),␈α
(the␈α∞5th␈α
bound␈α
tutor)␈α
This␈α∞violin␈α
tutor␈α
is␈α
also␈α∞elementary.␈α
 It␈α
gives␈α∞a␈α
very
␈↓ α∪␈↓␈↓ αCodd␈αmethod␈αof␈αtuning␈αthe␈α
instrument␈αusing␈αunisons␈αrather␈αthan␈α≡fths.␈α
 Prelleur␈αsuggests
␈↓ α∪␈↓␈↓ αCmarking␈αthe␈α
≡ngerboard␈αas␈αan␈α
aid␈αto␈αplaying␈α
in␈αtune,␈αand␈α
gives␈αdetailed␈αcharts␈α
to␈αshow
␈↓ α∪␈↓␈↓ αCwhere␈α
the␈α
di≥erent␈α
notes␈α
should␈α
be␈αstopped.␈α
 In␈α
addition,␈α
he␈α
describes␈α
the␈α
locations␈αof␈α
the
␈↓ α∪␈↓␈↓ αCnotes␈α∞on␈α∞the␈α∞≡ngerboard␈α∞in␈α∞inches␈α∞and␈α
fractions␈α∞of␈α∞inches.␈α∞This␈α∞treatise␈α∞seems␈α∞to␈α
have
␈↓ α∪␈↓␈↓ αCbeen␈αpirated␈αfrom␈αa␈α1695␈αtutor␈αentitled␈α␈↓↓Nolens␈αvolens␈αor␈αYou␈αshall␈αlearn␈αto␈αplay␈αthe␈αviolin
␈↓ α∪␈↓↓␈↓ αCwhether␈α
you␈α
will␈α
or␈α
no␈↓.␈α
Prelleur's␈α
format␈α
and␈α
most␈α
of␈α
his␈α
wording␈α
is␈α
identical␈α
to␈α
that␈α
of␈α
the
␈↓ α∪␈↓␈↓ αCearlier␈α∞work.␈α
 This␈α∞particular␈α
treatise␈α∞was␈α
apparently␈α∞quite␈α
popular,␈α∞as␈α
it␈α∞was␈α
reprinted
␈↓ α∪␈↓␈↓ αCseveral times and appeared with di≥erent titles.␈↓∧1␈↓


␈↓ α∪␈↓9.␈αCrome,␈α
Robert.␈α ␈↓↓The␈αFiddle␈α
new␈αModel'd␈α
or␈αa␈αuseful␈α
Introduction␈αfor␈α
the␈αViolin␈↓␈α(London:␈α
J.
␈↓ α∪␈↓␈↓ αCTyther,␈α
174?)␈α This␈α
treatise␈α
is␈αsimilar␈α
in␈αnature␈α
to␈α
that␈αof␈α
Prelleur␈α
-␈αa␈α
bit␈αretrospective␈α
for
␈↓ α∪␈↓␈↓ αCits␈α∩conjectured␈α∪date␈α∩of␈α∩1740.␈α∪The␈α∩treatise␈α∪consists␈α∩mostly␈α∩of␈α∪diagrams␈α∩of␈α∪the␈α∩violin
␈↓ α∪␈↓␈↓ αC≡ngerboard␈αdemonstrating␈αwhere␈α
to␈αplace␈αthe␈α
≡ngers␈αto␈αplay␈α
his␈αone␈αsimple␈α
minuet␈αtune
␈↓ α∪␈↓␈↓ αCin␈α
di≥erent␈α
keys.␈α
 He␈αalso␈α
includes␈α
a␈α
brief␈α
section␈αon␈α
time␈α
signatures,␈α
note␈α
and␈αrest␈α
values,
␈↓ α∪␈↓␈↓ αCclefs, and simple bowing combinations.


␈↓ α∪␈↓10.␈αCorrette,␈αMichel,␈α
␈↓↓L'␈↓¬'␈↓↓Ecole␈αd'Orph␈↓¬'␈↓↓ee␈↓␈α(Paris␈α
:Chez␈αL'Auteur,␈α1738)␈α
 This␈αis␈αthe␈α
≡rst␈αtreatise
␈↓ α∪␈↓␈↓ αCthat␈α
shows␈α
the␈α
evidence␈α
of␈α
the␈α
developing␈αtechnique.␈α
It␈α
is␈α
divided␈α
into␈α
two␈α
parts␈α
-␈αone␈α
for
␈↓ α∪␈↓␈↓ αCbeginners,␈α⊃and␈α⊃one␈α⊃for␈α⊃more␈α∩advanced␈α⊃students.␈α⊃ Interestingly,␈α⊃the␈α⊃division␈α∩also␈α⊃falls
␈↓ α∪␈↓␈↓ αCalong␈α∞national␈α∞stylistic␈α∞lines.␈α
 The␈α∞more␈α∞elementary␈α∞section␈α
treats␈α∞playing␈α∞in␈α∞the␈α
French
␈↓ α∪␈↓␈↓ αCstyle,␈α
and␈αincludes␈α
many␈αdances␈α
to␈αbe␈α
played␈αas␈α
duets.␈α The␈α
Italian␈αsection␈α
includes␈αsolo
␈↓ α∪␈↓␈↓ αCwork␈α~(sonatas,␈α~concerti),␈α~passaggi,␈α→position␈α~playing,␈α~arpeggios,␈α~double␈α~stops,␈α→and
␈↓ α∪␈↓␈↓ αCscordatura.  Corrette also di≥erentiates between Italian and French bow grips.



␈↓ α∪␈↓__________
␈↓ α∪␈↓␈↓ αc␈↓∧1␈↓␈α
 ␈αAmong␈α
these␈αare:␈α
␈↓↓The␈α
Self=Instructer␈α[sic]␈α
on␈αthe␈α
Violin...␈↓␈α(London:␈α
Printed␈α
for␈αI.
␈↓ α∪␈↓Miller␈αand␈αI.␈αWalsh,␈α1695);␈α␈↓↓The␈αFirst,␈α Second␈αand␈αThird␈αBooks␈αof␈αthe␈αSelf=Instructor␈αon␈αthe
␈↓ α∪␈↓↓Violin...␈↓␈α(London:␈αSould␈α[sic]␈αby␈αJ.␈αWalsh,␈α16¬␈α;␈α2nd␈αtitle␈αpage␈αLondon:␈αPrinted␈αfor␈α&␈αSould
␈↓ α∪␈↓[sic] by I. Hare, 1700); ␈↓↓The Compleat Tutor for the Violin␈↓ (London: C. & S. Thompson, 1765?)
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ D4


␈↓ α∪␈↓11.␈α∂Geminiani,␈α∂Francesco,␈α∞␈↓↓The␈α∂Art␈α∂of␈α∂Playing␈α∞on␈α∂the␈α∂Violin␈↓,␈α∂London,␈α∞1751;␈α∂facs.␈α∂ed.␈α∂by␈α∞D.
␈↓ α∪␈↓␈↓ αCBoyden,␈αOxford␈α
University␈αpress.␈α
 A␈αvaluable␈αtutor␈α
for␈αmore␈α
advanced␈αviolin␈αstudents,␈α
it
␈↓ α∪␈↓␈↓ αCis␈α∃somewhat␈α∃uneven.␈α∃ For␈α∃example,␈α∀Geminiani␈α∃gives␈α∃a␈α∃detailed␈α∃description␈α∃of␈α∀the
␈↓ α∪␈↓␈↓ αCmovement␈α
of␈α
bow␈α
and␈α
bow␈αarm,␈α
but␈α
not␈α
much␈α
information␈αon␈α
the␈α
left␈α
hand.␈α
 The␈αtext
␈↓ α∪␈↓␈↓ αCfound␈α∂at␈α∞the␈α∂beginning␈α∞explains␈α∂the␈α∞musical␈α∂examples␈α∞and␈α∂exercises␈α∞that␈α∂follow.␈α∞ Also
␈↓ α∪␈↓␈↓ αCincluded,␈α⊗is␈α⊗a␈α⊗fairly␈α⊗large␈α⊗section␈α↔on␈α⊗the␈α⊗use␈α⊗of␈α⊗ornaments.␈α⊗ The␈α↔most␈α⊗valuable
␈↓ α∪␈↓␈↓ αCinformation␈αis␈αcontained,␈αnot␈αin␈αthe␈αtext,␈αbut␈αin␈αthe␈αcomprehensive,␈αcarefully␈αthought␈αout
␈↓ α∪␈↓␈↓ αCexercises.


␈↓ α∪␈↓12.␈αTartini,␈αGiuseppe.␈α␈↓↓Trait␈↓¬'␈↓↓e␈α
des␈αAgr␈↓¬'␈↓↓ements␈αde␈αla␈α
Musique␈↓,␈α1752-4;␈α Italian␈αversion␈α
translated
␈↓ α∪␈↓␈↓ αCand␈α∪edited␈α∩by␈α∪Erwin␈α∩Jacobi.␈α∪ This␈α∩is␈α∪a␈α∩comprehensive␈α∪and␈α∩systematic␈α∪treatment␈α∩of
␈↓ α∪␈↓␈↓ αCornamentation␈αof␈αviolin␈αmusic,␈αbut␈αis␈αnot␈αa␈αtutor␈αfor␈αthe␈αinstrument.␈α The␈αItalian␈αversion
␈↓ α∪␈↓␈↓ αCcontains␈α∞some␈α∞information␈α∞on␈α∞holding␈α∞the␈α∞bow␈α∞and␈α∞gives␈α∞some␈α∞bowing␈α∂suggestions.␈α∞ A
␈↓ α∪␈↓␈↓ αC1760␈α∪letter␈α∪(also␈α∪included␈α∪in␈α∪the␈α∪Jacobi␈α∩edition␈α∪of␈α∪the␈α∪␈↓↓Trait␈↓¬'␈↓↓e␈↓)␈α∪from␈α∪Tartini␈α∪to␈α∩the
␈↓ α∪␈↓␈↓ αCprofessional␈α∞violinist,␈α
Maddelena␈α∞Lombardini,␈α∞contains␈α
some␈α∞hastily␈α∞written␈α
instructions
␈↓ α∪␈↓␈↓ αCfor the violin, mostly concerned with bow control.


␈↓ α∪␈↓13.␈α⊃Mozart,␈α⊃Leopold.␈α⊃ ␈↓↓Versuch␈α⊃einer␈α⊃gr␈↓¬:␈↓↓undlichen␈α⊃Violinschule␈↓,␈α⊃Augsburg,␈α⊃1756.␈α⊃ This␈α∩is␈α⊃a
␈↓ α∪␈↓␈↓ αCcomprehensive␈αwork,␈αbut␈αa␈αbit␈α
confusing␈αas␈αto␈αits␈αexpected␈αaudience.␈α
 Mozart␈αintroduces
␈↓ α∪␈↓␈↓ αChis␈αbook␈α
with␈αan␈αesoteric␈α
reconstruction␈αof␈αmusic␈α
history␈αand␈αa␈α
description␈αof␈α
the␈αstring
␈↓ α∪␈↓␈↓ αCfamily.␈α∂ His␈α∂≡rst␈α∂chaper␈α⊂is␈α∂a␈α∂very␈α∂elementary␈α∂section␈α⊂on␈α∂musical␈α∂notes,␈α∂clefs,␈α⊂and␈α∂time
␈↓ α∪␈↓␈↓ αCsignatures.␈α The␈αsecond␈αchapter␈αis␈αon␈αholding␈αthe␈αviolin␈αand␈αbow,␈αthe␈αthird␈αis␈αon␈αmajor
␈↓ α∪␈↓␈↓ αCand␈α∞minor␈α∞scales.␈α∞ He␈α∞then␈α∞moves␈α∞on␈α∞to␈α∞more␈α∞sophisticated␈α∞techniques␈α∞-␈α∞control␈α∂of␈α∞the
␈↓ α∪␈↓␈↓ αCtone␈α∪production,␈α∀complicated␈α∪bowings,␈α∪position␈α∀playing,␈α∪and␈α∪ornamentation.␈α∀He␈α∪also
␈↓ α∪␈↓␈↓ αCincludes a chapter on musical good taste.


␈↓ α∪␈↓14.␈α
L'Abb␈↓¬'␈↓e␈α
le␈α
≡ls␈α
(J.-B.␈α
Saint␈α
Sevin).␈α
 ␈↓↓Principes␈αdu␈α
violon␈↓,␈α
Paris,␈α
1761.␈α
 This␈α
is␈α
also␈α
a␈αtutor
␈↓ α∪␈↓␈↓ αCfor␈αmore␈αadvanced␈αviolinists.␈α
It␈αstarts␈αwith␈αthe␈αbasics␈α
-␈αholding␈αthe␈αviolin␈αand␈α
bow,␈αand
␈↓ α∪␈↓␈↓ αC≡ngering␈αindividual␈α
notes,␈αbut␈α
moves␈αon␈α
very␈αquickly␈αto␈α
playing␈αpieces␈α
and␈αscales␈α
up␈αto
␈↓ α∪␈↓␈↓ αCthe␈α
7th␈α
position.␈αHe␈α
includes␈α
a␈α4␈α
page␈α
section␈αon␈α
agr␈↓¬'␈↓ements,␈α
how␈αto␈α
play␈α
them,␈αand␈α
where
␈↓ α∪␈↓␈↓ αCthey␈αare␈αusually␈αused.␈α There␈αare␈αalso␈αsections␈αon␈αdouble␈αstops,␈αarpeggios,␈αand␈αharmonics
␈↓ α∪␈↓␈↓ αC(including␈α
a␈α
minuet␈α
totally␈α
in␈α
harmonics).␈α
 Comprehensive␈α
exercises,␈α
dances,␈α
preludes,␈α
and
␈↓ α∪␈↓␈↓ αCvariations are provided as drills for the techniques described in the text.



␈↓ α∪␈↓␈↓ αCIt␈α
is,␈α
then,␈α
from␈α
these␈α
sources␈α
that␈αa␈α
chronology␈α
in␈α
the␈α
development␈α
of␈α
violin␈αtechnique

␈↓ α∪␈↓during␈α∩the␈α∩17th␈α∩and␈α∪18th␈α∩centuries␈α∩will␈α∩be␈α∪reconstructed.␈α∩ The␈α∩central␈α∩concerns␈α∪of␈α∩the

␈↓ α∪␈↓violinists␈α∃during␈α∃that␈α∃period␈α∀were:␈α∃holding␈α∃the␈α∃violin,␈α∀positioning␈α∃the␈α∃left␈α∃hand,␈α∀and

␈↓ α∪␈↓manipulating␈αthe␈αbow.␈α Experiments␈αin␈αtechnique␈αshowed␈αadvantages␈αof␈αsome␈αmethods␈αover

␈↓ α∪␈↓others, leading to an eventual standardization in the treatment of these concerns.
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ D5


␈↓ α∪␈↓␈↓ αC␈↓αHolding the violin␈↓


␈↓ α∪␈↓␈↓ αCThe␈α∂majority␈α∂of␈α∂18th␈α∞century␈α∂sources␈α∂seems␈α∂to␈α∞indicate␈α∂a␈α∂movement␈α∂from␈α∂holding␈α∞the

␈↓ α∪␈↓violin␈α
at␈α
chest␈α
level␈α
to␈α
placing␈α
the␈α
violin␈α
against␈α
the␈α
neck␈α
where␈α
the␈α
left␈α
cheek␈α
or␈α
the␈α
chin

␈↓ α∪␈↓could be used to stabilize the instrument.  (see Figures 1-7)


␈↓ α∪␈↓␈↓ αCPlayford relates,

␈↓ α∪␈↓␈↓ β3The␈α
␈↓↓Violin␈↓␈α∞is␈α
usually␈α
play'd␈α∞above-hand,␈α
the␈α
␈↓↓Neck␈↓␈α∞thereof␈α
being␈α∞held␈α
by
␈↓ α∪␈↓␈↓ β3the␈α⊂left␈α⊂Hand,␈α⊂the␈α∂lower␈α⊂part␈α⊂must␈α⊂be␈α⊂rested␈α∂on␈α⊂the␈α⊂left␈α⊂Breast␈α⊂a␈α∂little
␈↓ α∪␈↓␈↓ β3below the Shoulder.␈↓∧2␈↓


␈↓ α∪␈↓␈↓ αCGeorg␈α
Falck␈αalso␈α
instructs␈α
the␈αstudent␈α
to␈α
set␈αthe␈α
violin␈α"on␈α
the␈α
left␈αbreast␈α
[tilted]␈α
a␈αlittle

␈↓ α∪␈↓downward␈α∂towards␈α∂the␈α∞right,"␈↓∧3␈↓and␈α∂Merck␈α∂also␈α∞describes␈α∂a␈α∂chest␈α∞position:␈α∂"Hold␈α∂the␈α∞violin

␈↓ α∪␈↓neatly below the left breast, leaving the arm free and not resting it on the stomach."␈↓∧4␈↓


␈↓ α∪␈↓␈↓ αCMichel Monteclair, however, states,

␈↓ α∪␈↓␈↓ β3To␈αhold␈α[the␈αviolin]␈α≡rmly␈αso␈αthat␈αit␈αwill␈αnot␈αmove␈αat␈αall,␈αit␈αis␈αnecessary␈αto
␈↓ α∪␈↓␈↓ β3press␈αthe␈αbutton␈αthat␈αholds␈αthe␈αstrings␈αwell␈αagainst␈αthe␈αneck␈αunder␈αthe␈αleft
␈↓ α∪␈↓␈↓ β3cheek.␈↓∧5␈↓

␈↓ α∪␈↓David Boyden, feels that the above implies the violin is held securely by the left cheek.␈↓∧6␈↓


␈↓ α∪␈↓␈↓ αCMichel␈αCorrette␈αtells␈α
his␈αstudents␈αthat␈α
it␈αis␈αnecessary␈α
to␈αput␈αthe␈α
chin␈αon␈αthe␈α
violin␈αwhen



␈↓ α∪␈↓__________
␈↓ α∪␈↓␈↓ αc␈↓∧2␈↓   Playford, ␈↓↓An Introduction␈↓, p.65.

␈↓ α∪␈↓␈↓ αc␈↓∧3␈↓␈α∂ ␈α∞"...dass␈α∂er␈α∞die␈α∂Violin␈α∞auf␈α∂der␈α∞lincken␈α∂Brust␈α∞ansetze␈α∂doch␈α∞also␈α∂dass␈α∞sie␈α∂ein␈α∞wenig
␈↓ α∪␈↓gegen der Rechten abwerts sehe."  Falck, ␈↓↓Idea␈↓, p. 190.

␈↓ α∪␈↓␈↓ αc␈↓∧4␈↓   Merck,␈↓↓Compendium␈↓, sig. C4 (verso).

␈↓ α∪␈↓␈↓ αc␈↓∧5␈↓␈α
 ␈α
Pour␈α
le␈αtenir␈α
ferme␈α
et␈α
qu'il␈α
ne␈αvacile␈α
point␈α
il␈α
faut␈α
bien␈αapuier␈α
le␈α
bouton␈α
qui␈αtient␈α
les
␈↓ α∪␈↓cordes␈α∞contre␈α∞le␈α∞Col␈α∂sous␈α∞la␈α∞jo␈↓¬:␈↓ue␈α∞gauche.␈α∞Monteclaire,␈α∂Michel␈α∞Pignolet␈α∞de,␈α∞␈↓↓␈α∂M␈↓¬'␈↓↓ethode␈α∞facile
␈↓ α∪␈↓↓pour aprendre ␈↓¬`␈↓↓a jo␈↓¬:␈↓↓uer du violon␈↓ (Paris: chez l'Auteur vis ␈↓¬`␈↓a vis le Palais Royal, 1711-1712), p.2.

␈↓ α∪␈↓␈↓ αc␈↓∧6␈↓   Boyden, ␈↓↓History␈↓, p.368.
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ D6


␈↓ α∪␈↓shifting,␈α
because␈α
it␈α∞gives␈α
more␈α
freedom␈α
to␈α∞the␈α
left␈α
hand␈α
-␈α∞especially␈α
when␈α
returning␈α∞to␈α
≡rst

␈↓ α∪␈↓position.  ␈↓∧7␈↓


␈↓ α∪␈↓␈↓ αCRobert␈αCrome␈αgives␈αsimilar␈α
instructions,␈α"...let␈αthe␈αback␈αpart␈α
rest␈αon␈αyour␈αleft␈α
Breast,␈αthe

␈↓ α∪␈↓best way is to stay it with your Chin, that it remain steady..."␈↓∧8␈↓


␈↓ α∪␈↓␈↓ αCVirtuoso Francesco Geminiani's instructions are,

␈↓ α∪␈↓␈↓ β3The␈α⊃violin␈α⊂must␈α⊃be␈α⊂rested␈α⊃just␈α⊂below␈α⊃the␈α⊂collarbone,␈α⊃turning␈α⊃the␈α⊂right
␈↓ α∪␈↓␈↓ β3hand␈α∩side␈α∩of␈α∪the␈α∩violin␈α∩a␈α∪little␈α∩downwards,␈α∩so␈α∪that␈α∩there␈α∩may␈α∪be␈α∩no
␈↓ α∪␈↓␈↓ β3necessity␈α⊂of␈α⊂raising␈α⊂the␈α⊂bow␈α⊂very␈α∂high␈α⊂when␈α⊂the␈α⊂fourth␈α⊂string␈α⊂is␈α⊂to␈α∂be
␈↓ α∪␈↓␈↓ β3struck...Observe␈αalso␈αthat␈αthe␈αhead␈αof␈αthe␈αviolin␈αmust␈αbe␈αnearly␈αhorizontal
␈↓ α∪␈↓␈↓ β3with␈α
that␈αPart␈α
which␈αrests␈α
against␈αthe␈α
Breast␈αthat␈α
the␈αhand␈α
may␈αbe␈α
shifted
␈↓ α∪␈↓␈↓ β3with facility and without any danger of dropping the instrument.␈↓∧9␈↓


␈↓ α∪␈↓␈↓ αCLeopold␈α
Mozart␈α
describes␈α
two␈α
ways␈α
of␈αholding␈α
the␈α
violin.␈α
 The␈α
≡rst␈α
is␈α
chest␈αhigh,␈α
slanting

␈↓ α∪␈↓down␈α
so␈α
that␈α
the␈α∞bow␈α
strokes␈α
are␈α
more␈α
vertical␈α∞than␈α
horizontal.␈α
 This␈α
is␈α∞not␈α
recommended

␈↓ α∪␈↓since␈α
the␈αlack␈α
of␈αsu≠cient␈α
support␈αfor␈α
the␈α
violin␈αmakes␈α
position␈αplaying␈α
inconvenient.␈α␈↓∧10␈↓␈α
The

␈↓ α∪␈↓description of the second way suggests that the violin is held in place by the chin:

␈↓ α∪␈↓␈↓ β3The␈α
violin␈α
is␈αplaced␈α
against␈α
the␈α
neck␈αso␈α
that␈α
it␈αlies␈α
somewhat␈α
in␈α
front␈αof
␈↓ α∪␈↓␈↓ β3the␈α⊃shoulder,␈α⊃and␈α⊂the␈α⊃side␈α⊃on␈α⊂which␈α⊃the␈α⊃E␈α⊂(thinnest)␈α⊃string␈α⊃lies␈α⊂comes
␈↓ α∪␈↓␈↓ β3under␈α⊂the␈α⊂chin,␈α⊂whereby␈α⊂the␈α∂violin␈α⊂remains␈α⊂unmoved␈α⊂in␈α⊂its␈α⊂place␈α∂even

␈↓ α∪␈↓__________
␈↓ α∪␈↓␈↓ αc␈↓∧7␈↓␈α ␈αIl␈α
faut␈αnecessairent,␈αposer␈αle␈α
menton␈αsur␈αle␈αViolon␈α
quand␈αon␈αveut␈α
d␈↓¬'␈↓emancher,␈αcela
␈↓ α∪␈↓donne␈α∂toutte␈α∂libert␈↓¬'␈↓e␈α∂␈↓¬`␈↓a␈α∂la␈α∂main␈α∂gauche,␈α∞principalement␈α∂quand␈α∂il␈α∂faut␈α∂revenir␈α∂␈↓¬`␈↓a␈α∂la␈α∞position
␈↓ α∪␈↓ordinaire.␈αCorrette,␈αMichel,␈α
 ␈↓↓L'␈↓¬'␈↓↓Ecole␈αd'Orph␈↓¬'␈↓↓ee␈αsuivi␈α
de␈αl␈↓¬'␈↓↓art␈αde␈α
se␈αperfectionner␈αdans␈α
le␈αViolon␈↓
␈↓ α∪␈↓(Paris: chez Mlle Castagnery, 1738),  p.7.

␈↓ α∪␈↓␈↓ αc␈↓∧8␈↓␈α∂ ␈α∂Crome,␈α⊂Robert,␈α∂␈↓↓The␈α∂Fiddle␈α⊂new␈α∂Model'd␈α∂or␈α∂a␈α⊂useful␈α∂ Introduction␈α∂for␈α⊂the␈α∂Violin␈↓
␈↓ α∪␈↓(London: J. Tyther, 174-?), p.34-5.

␈↓ α∪␈↓␈↓ αc␈↓∧9␈↓   Geminiani, Francesco. ␈↓↓The Art of Playing on the Violin␈↓, (London: 1751), p.1-2.

␈↓ α∪␈↓␈↓ αc␈↓∧10␈↓␈α ␈αDie␈αerste␈αArt␈αdie␈αViolin␈αzu␈αhalten,␈αhat␈αetwas␈αangenehmes␈αund␈αsehr␈αgelassenes.␈αEs
␈↓ α∪␈↓wird␈α
n␈↓¬:␈↓amlich␈α
die␈α
Geige␈α
ganz␈α
ungezwungen␈α
an␈α
der␈α
H␈↓¬:␈↓ohe␈α
der␈α
Brust␈α
seitw␈↓¬:␈↓arts,␈α
und␈αso␈α
gehalten:
␈↓ α∪␈↓dass␈αdie␈αStriche␈αdes␈αBogens␈αmehr␈α in␈αdie␈αH␈↓¬:␈↓ohe␈αals␈αnach␈αder␈αSeite␈αgehen.␈α Diese␈α
Stellung␈αist
␈↓ α∪␈↓ohne␈α
Zweifel␈αin␈α
den␈αAugen␈α
der␈α
Zuseher␈αungezwungen␈α
und␈αangenehm;␈α
 vor␈α
den␈αSpielenden
␈↓ α∪␈↓aber␈αetwas␈αschwer␈αund␈αungelegen:␈α weil,␈αbey␈αschneller␈αBewegung␈αder␈αHand␈α in␈αdie␈αH␈↓¬:␈↓ohe,␈αdie
␈↓ α∪␈↓Geige␈α⊂keinen␈α∂Halt␈α⊂hat,␈α∂folglich␈α⊂nothwendig␈α∂entfallen␈α⊂muss;␈α∂ wenn␈α⊂nicht␈α∂durch␈α⊂eine␈α∂lange
␈↓ α∪␈↓Uebung der Vortheil, selbe zwischen  dem Daume und Zeige≡nger zuhalten, eroberet wird.
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ D7


␈↓ α∪␈↓␈↓ β3during the strongest movements of the ascending and descending hand.␈↓∧11␈↓

␈↓ α∪␈↓Like Geminiani he warns that the violin,

␈↓ α∪␈↓␈↓ β3 ...must␈α∞be␈α∞held␈α∞neither␈α∂too␈α∞high␈α∞nor␈α∞too␈α∂low...The␈α∞scroll␈α∞of␈α∞the␈α∂violin␈α∞is
␈↓ α∪␈↓␈↓ β3then␈αheld␈αon␈αthe␈αlevel␈αof␈αthe␈αmouth␈αor,␈αat␈αthe␈αhighest,␈αlevel␈αwith␈αthe␈αeyes;
␈↓ α∪␈↓␈↓ β3but it must not be allowed to sink lower than the level of the chest.␈↓∧12␈↓


␈↓ α∪␈↓␈↓ αCL'Abb␈↓¬'␈↓e le ≡ls' instructions are a bit confusing;

␈↓ α∪␈↓␈↓ β3The␈αviolin␈αshould␈αbe␈αset␈αon␈αthe␈αclavicle␈αin␈αsuch␈αa␈αmanner␈αthat␈αthe␈αchin␈αis
␈↓ α∪␈↓␈↓ β3to␈α∂the␈α∞side␈α∂of␈α∞the␈α∂fourth␈α∞string.␈α∂ It␈α∞is␈α∂necessary␈α∞to␈α∂lower␈α∞the␈α∂side␈α∂of␈α∞the
␈↓ α∪␈↓␈↓ β3chanterelle [E string] a bit.␈↓∧13␈↓

␈↓ α∪␈↓Boyden␈α∞points␈α∞out␈α∞that␈α∞a␈α∞violin␈α∞held␈α∞in␈α∞this␈α∞manner␈α∞would␈α∞certainly␈α∞slide␈α∞away␈α∞from␈α
 the

␈↓ α∪␈↓player unless it was secured by the chin.␈↓∧14␈↓


␈↓ α∪␈↓␈↓ αCIn␈αthe␈αmatter␈αof␈αthe␈αleft␈αhand,␈αthe␈αtheorist-musicians␈αare␈αin␈αagreement␈αthat␈αit␈αshould␈αnot

␈↓ α∪␈↓grip␈αthe␈αneck␈αof␈αthe␈αviolin␈αtoo␈αforcefully␈αsince␈αthat␈αwould␈αtend␈αto␈αsti≥en␈αthe␈α≡ngers␈αand␈αthe

␈↓ α∪␈↓wrist.


␈↓ α∪␈↓␈↓ αCPlayford instructs,

␈↓ α∪␈↓␈↓ β3For␈αthe␈αposture␈α
of␈αyour␈αleft␈α
Hand,␈αplace␈αyour␈αThumb␈α
on␈αthe␈αback␈α
of␈αthe

␈↓ α∪␈↓__________
␈↓ α∪␈↓␈↓ αc␈↓∧11␈↓␈α
 ␈α
...die␈αViolin␈α
so␈α
an␈α
den␈αHals␈α
gestzet,␈α
dass␈α
sie␈αam␈α
vordersten␈α
Theile␈α
der␈αAchsel␈α
etwas
␈↓ α∪␈↓au∨ieget,␈α⊂und␈α⊂jene␈α⊂Seite,␈α⊂auf␈α⊂welcher␈α⊂das␈α⊂(E)␈α⊂oder␈α⊂die␈α⊂kleinste␈α⊂Seyte␈α⊂ist,␈α⊂unter␈α⊂das␈α∂Kinn
␈↓ α∪␈↓k␈↓¬:␈↓ommt:␈α∪dadurch␈α∪die␈α∩Violin,␈α∪auch␈α∪bey␈α∩der␈α∪st␈↓¬:␈↓arkesten␈α∪Bewegung␈α∩der␈α∪hinauf␈α∪und␈α∩herab
␈↓ α∪␈↓gehenden␈α
Hand␈αan␈α
seinem␈α
Orte␈αallezeit␈α
unverr␈↓¬:␈↓uckt␈α
bleibet.␈αMozart,␈α
Leopold.␈α
 ␈↓↓Versuch␈αeiner
␈↓ α∪␈↓↓gr␈↓¬:␈↓↓undlichen␈α
Violinschule,␈↓␈α(Augsburg:␈α
Johann␈αJacob␈α
Lotter,␈α1756),␈α
p.53.␈α Translation:␈α
Knocker,
␈↓ α∪␈↓Editha,␈α∀␈↓↓A␈α∀Treatise␈α∪on␈α∀the␈α∀Fundamental␈α∀Principles␈α∪of␈α∀Violin␈α∀Playing␈↓␈α∀(London:␈α∪Oxford
␈↓ α∪␈↓University Press, 1975), p.54-55.

␈↓ α∪␈↓␈↓ αc␈↓∧12␈↓␈α∪ ␈α∪Erstens,␈α∪muss␈α∪die␈α∪Geige␈α∪nicht␈α∩zu␈α∪hoch␈α∪aber␈α∪auch␈α∪nicht␈α∪zu␈α∪nieder␈α∩gehalten
␈↓ α∪␈↓werden....Man␈α
halte␈α
demnach␈αdie␈α
Schnecke␈α
der␈α
Violin␈αdem␈α
Mund,␈α
oder␈α
h␈↓¬:␈↓ochstens␈αden␈α
Augen
␈↓ α∪␈↓gleich:␈α man␈αlasse␈αsie␈αaber␈α
auch␈αnicht␈αtiefer␈αsinken,␈αals␈α
so,␈αdass␈αdie␈αSchnecke␈αder␈αBrust␈α
gleich
␈↓ α∪␈↓komme. Mozart, ␈↓↓Versuch ␈↓, p.55. Knocker, ␈↓↓A Treatise␈↓, p.58.

␈↓ α∪␈↓␈↓ αc␈↓∧13␈↓␈α
 ␈α
Le␈αViolon␈α
doit␈α
 ␈↓¬∧␈↓etre␈αpos␈↓¬'␈↓e␈α
sur␈α
la␈α
Clavicule,␈αde␈α
fa␈↓¬,␈↓con␈α
que␈αle␈α
Menton␈α
se␈α
trouve␈αdu
␈↓ α∪␈↓c␈↓¬∧␈↓ot␈↓¬'␈↓e␈αde␈α
la␈αquatri␈↓¬`␈↓eme␈α
Cord,␈αil␈αfaut␈α
abaisser␈αun␈α
peu␈αle␈αc␈↓¬∧␈↓ot␈↓¬'␈↓e␈α
de␈αla␈α
 Chanterelle.␈α L'Abb␈↓¬'␈↓e␈α
le␈α≡ls
␈↓ α∪␈↓[Joseph Barnabe Saint-Sevin],  ␈↓↓Principes du Violon␈↓ (Paris: Leclerc, 1761), p.1.

␈↓ α∪␈↓␈↓ αc␈↓∧14␈↓   Boyden, ␈↓↓History␈↓, p.369.
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ D8


␈↓ α∪␈↓␈↓ β3Neck␈α∂opposite␈α∂to␈α⊂your␈α∂Fore␈α∂Finger,␈α∂so␈α⊂will␈α∂your␈α∂Fingers␈α∂have␈α⊂the␈α∂more
␈↓ α∪␈↓␈↓ β3liberty to move up and down in the several stops.␈↓∧15␈↓


␈↓ α∪␈↓␈↓ αCFalck states that one should hold the violin neck

␈↓ α∪␈↓␈↓ β3between␈α∞the␈α∂thumb␈α∞and␈α∞palm␈α∂of␈α∞the␈α∞fore≡nger;␈α∂hold␈α∞it␈α∂almost␈α∞encircling
␈↓ α∪␈↓␈↓ β3but␈α∂not␈α∂too␈α∂fast,␈α∂so␈α∂that␈α∂one␈α∂can␈α∂play␈α∂notes␈α∂with␈α∂the␈α∂hand␈α∂in␈α⊂the␈α∂high
␈↓ α∪␈↓␈↓ β3register and can also come back.␈↓∧16␈↓

␈↓ α∪␈↓Furthermore,

␈↓ α∪␈↓␈↓ β3Both␈αarms␈αshould␈αnot␈αbe␈αagainst␈αthe␈αbody␈αbut␈αrather␈αfree␈αfrom␈αit␈αso␈αthey
␈↓ α∪␈↓␈↓ β3can␈αmove␈αsometimes␈α
over,␈αsometimes␈αunder␈αand␈α
will␈αbe␈αable␈αto␈α
act␈αlightly
␈↓ α∪␈↓␈↓ β3with agility. ␈↓∧17␈↓


␈↓ α∪␈↓␈↓ αCPrelleur gives simple instructions,

␈↓ α∪␈↓␈↓ β3hold␈αthe␈αviolin␈α
with␈αyour␈αleft␈αhand␈α
about␈αhalf␈αan␈α
inch␈αfrom␈αthe␈αbottom␈α
of
␈↓ α∪␈↓␈↓ β3its␈αHead␈α
which␈αis␈α
usually␈αtermed␈α
the␈αNut,␈αand␈α
let␈αit␈α
be␈αbetween␈α
the␈αRoot
␈↓ α∪␈↓␈↓ β3of your thumb and that of your fore-≡nger...  ␈↓∧18␈↓


␈↓ α∪␈↓␈↓ αCCrome's␈αinstructions␈αagree,␈α"Take␈αthe␈αFiddle␈αand␈αhold␈αit␈αin␈αyour␈αLeft␈αHand␈αlet␈αthe␈αNeck

␈↓ α∪␈↓lie between your fore Finger and Thumb..." ␈↓∧19␈↓


␈↓ α∪␈↓␈↓ αCThe␈αabove␈αthree␈αdescriptions␈αseem␈αto␈αsuggest␈α
that␈αthe␈αneck␈αof␈αthe␈αviolin␈αmay␈αhave␈α
rested

␈↓ α∪␈↓in the hollow between the thumb and the index ≡nger.


␈↓ α∪␈↓␈↓ αCMozart, however, refutes this, saying that the neck should be
␈↓ α∪␈↓__________
␈↓ α∪␈↓␈↓ αc␈↓∧15␈↓   Playford, ␈↓↓An Introduction␈↓, p. 65.

␈↓ α∪␈↓␈↓ αc␈↓∧16␈↓␈α∪ ␈α∪Dass␈α∪er␈α∪die␈α∪Viol␈α∪zwischen␈α∪dem␈α∪lincken␈α∪Daumen␈α∪und␈α∪Ballen␈α∀dess␈α∪vorderen
␈↓ α∪␈↓Fingers/gleichsam␈α∞eingeschlossen␈α
halte/jedoch␈α∞nicht␈α∞zu␈α
vest/damit␈α∞er␈α∞mit␈α
der␈α∞Hand␈α∞im␈α
Fall
␈↓ α∪␈↓der Noth in die H␈↓¬:␈↓ohe/dann auch wiederum zuruck fahren k␈↓¬:␈↓onne.  Falck, ␈↓↓Idea␈↓, p.190.

␈↓ α∪␈↓␈↓ αc␈↓∧17␈↓␈α ␈α
"Dass␈αer␈α
die␈αbeyden␈α
Aerme␈αja␈α
nicht␈αan␈α
den␈α Leib/sondern/um␈α
sich␈αbald␈α
␈↓¬:␈↓uber=bald
␈↓ α∪␈↓unter␈α∞sich␈α∞bewegen/und␈α∞leicht␈α∞agiren␈α∞zu␈α∞k␈↓¬:␈↓onnen/frey␈α∞von␈α∞dem␈α∞Leib␈α∞halte."␈α∞ Falck,␈α∞␈↓↓Idea␈↓,␈α∞p.
␈↓ α∪␈↓190.

␈↓ α∪␈↓␈↓ αc␈↓∧18␈↓␈α ␈αPrelleur,␈αPeter,␈α␈↓↓The␈αModern␈αMusic␈αMaster␈↓,␈α(L␈αondon:␈αthe␈α␈↓αPrinting-O≠ce␈↓␈αin␈αBow
␈↓ α∪␈↓Church-Yard,1731), p.2.

␈↓ α∪␈↓␈↓ αc␈↓∧19␈↓   Crome, ␈↓↓The Fiddle␈↓, p.34.
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ D9


␈↓ α∪␈↓␈↓ β3 ...held␈αin␈αsuch␈αa␈αmanner␈αbetween␈αthumb␈αand␈αindex␈α≡nger␈αthat␈αit␈αrests␈αon
␈↓ α∪␈↓␈↓ β3one␈αside␈αon␈αthe␈αball␈αat␈αthe␈αbase␈αof␈αthe␈αindex-≡nger,␈αand␈αon␈αthe␈αother␈αside
␈↓ α∪␈↓␈↓ β3against␈α
the␈α
upper␈α
part␈α
of␈α
the␈αthumb␈α
joint,␈α
but␈α
in␈α
no␈α
way␈α
touching␈αthe␈α
skin
␈↓ α∪␈↓␈↓ β3which␈α∂joins␈α∞the␈α∂thumb␈α∂and␈α∞index-≡nger␈α∂together.␈α∞ The␈α∂thumb␈α∂must␈α∞not
␈↓ α∪␈↓␈↓ β3project␈α∂too␈α⊂far␈α∂over␈α∂the␈α⊂≡nger-board,␈α∂for␈α∂otherwise␈α⊂it␈α∂would␈α⊂hinder␈α∂the
␈↓ α∪␈↓␈↓ β3player␈α⊃and␈α⊂rob␈α⊃the␈α⊃G␈α⊂string␈α⊃of␈α⊃its␈α⊂tone.␈α⊃ The␈α⊃lower␈α⊂part␈α⊃of␈α⊃the␈α⊂hand
␈↓ α∪␈↓␈↓ β3(namely,␈αwhere␈αit␈αjoins␈α
the␈αarm)␈αmust␈αremain␈α
free,␈αand␈αthe␈αviolin␈αmust␈α
not
␈↓ α∪␈↓␈↓ β3lie␈α∂on␈α∂it,␈α∂for␈α∂in␈α∂so␈α∂doing␈α∞the␈α∂nerves␈α∂which␈α∂connect␈α∂the␈α∂arm␈α∂and␈α∞≡ngers
␈↓ α∪␈↓␈↓ β3would␈α⊂be␈α⊂pressed␈α∂together␈α⊂and␈α⊂so␈α⊂contracted,␈α∂and␈α⊂the␈α⊂third␈α⊂and␈α∂fourth
␈↓ α∪␈↓␈↓ β3≡ngers␈α
prevented␈α
from␈α
stretching.␈α
 We␈α
see␈α
daily␈α
examples␈α
of␈α
such␈α
clumsy
␈↓ α∪␈↓␈↓ β3players,␈α
who␈α≡nd␈α
everything␈αdi≠cult␈α
because␈α
they␈αrestrict␈α
themselves␈αby␈α
an
␈↓ α∪␈↓␈↓ β3awkward position of the violin and the bow. ␈↓∧20␈↓


␈↓ α∪␈↓␈↓ αCL'Abb␈↓¬'␈↓e le ≡ls is also quite explicit in his directions,

␈↓ α∪␈↓␈↓ β3The␈α∞neck␈α∞should␈α∞be␈α∞held␈α∞without␈α∞force␈α∞between␈α∞the␈α∞thumb␈α∞and␈α∞the␈α
≡rst
␈↓ α∪␈↓␈↓ β3joint␈α∞(phalange)␈α∞of␈α
the␈α∞index␈α∞≡nger.␈α
 The␈α∞part␈α∞of␈α
the␈α∞neck␈α∞closest␈α∞to␈α
the
␈↓ α∪␈↓␈↓ β3thumb␈α⊂should␈α⊂be␈α⊂placed␈α⊂on␈α⊃the␈α⊂∨eshy␈α⊂protrusion␈α⊂(eminence)␈α⊂of␈α⊃its␈α⊂≡rst
␈↓ α∪␈↓␈↓ β3joint.␈α⊃ One␈α⊂must␈α⊃make␈α⊂sure␈α⊃that␈α⊃he␈α⊂places␈α⊃the␈α⊂thumb␈α⊃opposite␈α⊃the␈α⊂A-
␈↓ α∪␈↓␈↓ β3natural of the bourdon [G string].␈↓∧21␈↓



␈↓ α∪␈↓␈↓ αC␈↓αLeft hand position on the ≡ngerboard␈↓


␈↓ α∪␈↓␈↓ αCThere␈αare␈α
varied␈αdescriptions␈α
of␈αthe␈αposition␈α
of␈αthe␈α
left␈αhand␈αon␈α
the␈α≡ngerboard␈α
of␈αthe

␈↓ α∪␈↓violin.


␈↓ α∪␈↓__________
␈↓ α∪␈↓␈↓ αc␈↓∧20␈↓␈α
 ␈α
Der␈α
Gri≥,␈α
oder␈α
vielmehr␈α
der␈α
Hals␈α
der␈α
Violin␈α
muss␈α
nicht␈α
gleich␈α
einem␈α
Br␈↓¬:␈↓ugel␈αin
␈↓ α∪␈↓die␈α
ganze␈α
Hand␈α
hineingeleget,␈α
sondern␈α
zwischen␈α
den␈α
Daumen␈α
und␈α
Zeige≡nger,␈α
an␈αder␈α
andern
␈↓ α∪␈↓Seite␈αan␈αdem␈α
obern␈αTheile␈αdes␈α
Daumenglieds␈αanstehe,␈αdie␈α
Haut␈αaber,␈αwelche␈α
in␈αder␈αFuge␈α
der
␈↓ α∪␈↓Hand␈α⊃den␈α⊃Daumen␈α⊃und␈α⊃Zeige≡nger␈α⊂zusammen␈α⊃h␈↓¬:␈↓anget,␈α⊃keinesweges␈α⊃ber␈↓¬:␈↓uhre.␈α⊃Der␈α⊂Daume
␈↓ α∪␈↓muss␈αnicht␈αzu␈αviel␈α␈↓¬:␈↓uber␈αdas␈αGri≥blat␈α
hervorragen:␈αsonst␈αhindert␈αer␈αim␈αSpielen,␈αund␈α
benimmt
␈↓ α∪␈↓der␈αG␈α
Seyte␈αden␈α
Klang.␈α Der␈α
hintere␈αTheil␈α
der␈αHand␈α
aber␈α(n␈↓¬:␈↓amlich␈α
gegen␈αdem␈α
Arm)␈αmuss
␈↓ α∪␈↓frey␈α
bleiben,␈α
und␈α
die␈α
Violin␈α
muss␈αnicht␈α
darauf␈α
liegen:␈α
denn␈α
hierdurch␈α
w␈↓¬:␈↓urden␈α
die␈αNerven,
␈↓ α∪␈↓welche␈α∪den␈α∪Arm␈α∀und␈α∪die␈α∪Finger␈α∪zusammen␈α∀verbinden,␈α∪an␈α∪einander␈α∀ger␈↓¬:␈↓ucket,␈α∪dadurch
␈↓ α∪␈↓gesperret,␈α⊂und␈α⊂folglich␈α⊂der␈α⊂vierte␈α⊂oder␈α⊂kleine␈α⊂Finger␈α⊂sich␈α⊂auszustrecken␈α⊃Gehinderet.␈α⊂ Wir
␈↓ α∪␈↓sehen␈α→t␈↓¬:␈↓aglich␈α~die␈α→Exempel␈α→hiervon␈α~an␈α→solchen␈α→plumpen␈α~Spielern,␈α→bey␈α~denen␈α→alles
␈↓ α∪␈↓schwerm␈↓¬:␈↓uthig␈α∞l␈↓¬:␈↓asst:␈α∞weil␈α∞sie␈α
die␈α∞Violin␈α∞und␈α∞den␈α∞Bogen␈α
so␈α∞ungeschickt␈α∞halten,␈α∞dass␈α∞sie␈α
sich
␈↓ α∪␈↓selbst dadurch einschr␈↓¬:␈↓anken. Mozart, ␈↓↓Versuch␈↓, p.54.

␈↓ α∪␈↓␈↓ αc␈↓∧21␈↓␈α ␈α
...le␈αManche␈α
doit␈α␈↓¬∧␈↓etre␈α
tenu␈αsans␈αtrop␈α
force␈αentre␈α
le␈αpouce␈α
et␈αla␈α
premi␈↓¬`␈↓ere␈αphalange
␈↓ α∪␈↓du␈α∂doigt␈α∞␈↓αIndex␈↓,␈α∂la␈α∞partie␈α∂du␈α∞manche␈α∂qui␈α∞se␈α∂trouve␈α∞en␈α∂de␈↓¬,␈↓ca␈α∞du␈α∂Pouce␈α∞doit␈α∂␈↓¬∧␈↓etre␈α∂pos␈↓¬'␈↓ee␈α∞sur
␈↓ α∪␈↓l'␈↓¬'␈↓eminence␈αcharn␈↓¬:␈↓ue␈αde␈αsa␈αpremi␈↓¬`␈↓ere␈αphalange;␈αon␈α
doit␈αobserver␈αde␈αplacer␈αle␈αpouce␈αvis-␈↓¬`␈↓a-vis␈α
␈↓αLa␈↓
␈↓ α∪␈↓naturel du Bourdon.  L'Abb␈↓¬'␈↓e le ≡ls, ␈↓↓Principes␈↓, p.1.
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ 510


␈↓ α∪␈↓␈↓ αCFalck states,

␈↓ α∪␈↓␈↓ β3The␈αapplication␈αof␈αthe␈α≡ngers␈αshould␈αbe␈αsuch␈αthat␈αthe␈αhand␈αis␈αhollow␈αand
␈↓ α∪␈↓␈↓ β3the␈α∞≡ngers␈α∂curved␈α∞at␈α∞the␈α∂joint␈α∞close␈α∂to␈α∞the␈α∞strings␈α∂as␈α∞if␈α∂hovering.␈α∞ They
␈↓ α∪␈↓␈↓ β3should␈α⊃be␈α⊃pressed␈α⊃down␈α⊂in␈α⊃such␈α⊃a␈α⊃manner␈α⊂that␈α⊃the␈α⊃next␈α⊃string␈α⊃is␈α⊂not
␈↓ α∪␈↓␈↓ β3disturbed.  ␈↓∧22␈↓


␈↓ α∪␈↓␈↓ αCMonteclaire's instructions are similar.

␈↓ α∪␈↓␈↓ β3It␈α∂is␈α∂necessary␈α∂that␈α⊂the␈α∂elbow␈α∂be␈α∂directly␈α⊂under␈α∂the␈α∂violin␈α∂and␈α⊂that␈α∂the
␈↓ α∪␈↓␈↓ β3wrist␈αbe␈α
well␈αcurved␈αand␈α
the␈α≡ngers␈α
bent␈αand␈αrounded␈α
in␈αorder␈α
that␈αthey
␈↓ α∪␈↓␈↓ β3may␈α
be␈α
set␈α
on␈α
the␈α
strings␈αon␈α
their␈α
tips;␈α
avoiding,␈α
however,␈α
≡ngering␈αwith
␈↓ α∪␈↓␈↓ β3the nails.␈↓∧23␈↓

␈↓ α∪␈↓He also includes a drawing of the ≡ngerboard and indicates the locations of various notes.


␈↓ α∪␈↓␈↓ αCPierre␈α
Dupont␈α
contains␈α
no␈αverbal␈α
description␈α
of␈α
the␈α
positioning␈αof␈α
the␈α
left␈α
hand,␈αbut␈α
does

␈↓ α∪␈↓include␈α⊗an␈α⊗extremely␈α⊗singular␈α∃engraving␈α⊗of␈α⊗a␈α⊗hand␈α∃placed␈α⊗on␈α⊗the␈α⊗≡ngerboard␈α⊗of␈α∃a

␈↓ α∪␈↓violin.(≡g.12)␈α The␈αhand␈αis␈αshown␈αin␈αtwo␈αdi≥erent␈α"positions".␈α These␈αpositions,␈αas␈α
mentioned

␈↓ α∪␈↓before,␈αare␈αmerely␈αvariations␈αof␈αmodern␈αday␈α≡rst␈αposition,␈αwith␈αthe␈α≡ngers␈αpoised␈αover␈αthe␈αe

␈↓ α∪␈↓string␈α
above␈αthe␈α
notes␈α
F5,␈αG5,␈α
A5␈α
and␈αB␈↓εb␈↓5,␈α
in␈αone␈α
case,␈α
and␈αabove␈α
F␈↓ε#␈↓5,␈α
G␈↓ε#␈↓5,␈αA␈↓ε#␈↓6,␈α
and␈αB5␈α
in

␈↓ α∪␈↓the other.  In both illustrations, the thumb is pointing awkwardly back towards the scroll.␈↓∧24␈↓


␈↓ α∪␈↓␈↓ αCCorrette describes the left hand as follows;

␈↓ α∪␈↓␈↓ β3It␈αis␈αnecessary␈αto␈αtake␈αthe␈αneck␈αof␈αthe␈αviolin␈αin␈αthe␈αleft␈αhand,␈αhold␈αit␈αwith
␈↓ α∪␈↓␈↓ β3the␈αthumb␈αand␈αthe␈α≡rst␈α≡nger␈αwithout␈αsqueezing␈αthe␈αhand,␈αround␈αthe␈α≡rst
␈↓ α∪␈↓␈↓ β3second,␈α⊗and␈α⊗third␈α⊗≡ngers,␈α⊗and␈α⊗hold␈α⊗the␈α⊗little␈α⊗one␈α⊗a␈α⊗little␈α⊗bit␈α⊗more



␈↓ α∪␈↓__________
␈↓ α∪␈↓␈↓ αc␈↓∧22␈↓␈α∂ ␈α∂Die␈α∂␈↓αApplicati␈↓on␈α∂der␈α∂Finger␈α∞soll␈α∂also␈α∂geschehen/dass␈α∂die␈α∂Hand␈α∂hol␈α∂sey/und␈α∞die
␈↓ α∪␈↓Finger␈αnach␈αihren␈αGelaichen␈αeingekr␈↓¬:␈↓ummet/nahe␈α␈↓¬:␈↓uber␈αden␈αSaiten␈αgleichsam␈αschweben/␈αauch
␈↓ α∪␈↓dergestalt␈α⊃dieselben␈α⊃niederdrucken/dass␈α⊃ja␈α⊃die␈α⊃n␈↓¬:␈↓achste␈α⊃nicht␈α⊃zugleich␈α⊃ mitber␈↓¬:␈↓uhret␈α⊂werde.
␈↓ α∪␈↓Falck, ␈↓↓Idea␈↓, p.190.

␈↓ α∪␈↓␈↓ αc␈↓∧23␈↓␈α
 ␈α
Il␈α
faut␈α
que␈α
le␈α
Coude␈α
soit␈αdirectement␈α
sous␈α
le␈α
Violon,␈α
que␈α
le␈α
poignet␈α
soit␈αbien␈α
ployez
␈↓ α∪␈↓en␈αarondissant,␈α
a≡n␈αqu'ils␈αse␈α
posent␈αsur␈α
les␈αcordes␈αpar␈α
leur␈αextremit␈↓¬'␈↓e␈α
en␈αevitant␈αneanmoins␈α
de
␈↓ α∪␈↓les toucher avec les ongles.  Monteclaire, ␈↓↓Methode Facile␈↓, p.2.

␈↓ α∪␈↓␈↓ αc␈↓∧24␈↓   Dupont, Pierre, ␈↓↓Principes du Violon␈↓, (chez l'auteur, Paris, 1718), p.1,2.
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ 511


␈↓ α∪␈↓␈↓ β3elongated.␈↓∧25␈↓


␈↓ α∪␈↓␈↓ αCPrelleur␈α⊂and␈α⊂Mozart␈α⊂have␈α⊂nothing␈α⊂to␈α⊃add␈α⊂to␈α⊂what␈α⊂has␈α⊂already␈α⊂been␈α⊂included␈α⊃in␈α⊂the

␈↓ α∪␈↓previous section on holding the violin.


␈↓ α∪␈↓␈↓ αCGeminiani,␈α⊂on␈α⊃the␈α⊂other␈α⊃hand,␈α⊂gives␈α⊃a␈α⊂detailed␈α⊃description␈α⊂of␈α⊃what␈α⊂he␈α⊃considers␈α⊂the

␈↓ α∪␈↓perfect left hand position;

␈↓ α∪␈↓␈↓ β3 ...place␈α
the␈α
≡rst␈α
Finger␈αon␈α
the␈α
≡rst␈α
String␈α
upon␈αF;␈α
the␈α
second␈α
Finger␈αon␈α
the
␈↓ α∪␈↓␈↓ β3second␈α
String␈α
upon␈α
C;␈α
the␈α
third␈α
Finger␈α
on␈α
the␈α
third␈α
String␈α
upon␈α
G;␈αand
␈↓ α∪␈↓␈↓ β3the␈α∩fourth␈α∩Finger␈α∩on␈α∩the␈α∪fourth␈α∩String␈α∩upon␈α∩D.␈α∩ This␈α∩must␈α∪be␈α∩done
␈↓ α∪␈↓␈↓ β3without␈α∞raising␈α∞any␈α∞of␈α∞the␈α∞Fingers,␈α∞till␈α∞all␈α∞four␈α∞have␈α∞been␈α∞set␈α∞down;␈α∞but
␈↓ α∪␈↓␈↓ β3after␈α
that,␈αthey␈α
are␈αto␈α
be␈α
raised␈αbut␈α
a␈αlittle␈α
Distance␈αfrom␈α
the␈α
String␈αthey
␈↓ α∪␈↓␈↓ β3touched; and by so doing the position is perfect.␈↓∧26␈↓


␈↓ α∪␈↓␈↓ αCL'Abb␈↓¬'␈↓e␈αle␈α≡ls,␈αwho␈αis␈αusually␈αmore␈αspeci≡c,␈αstates␈αmerely␈αthat␈αthe␈αhand␈α"should␈αbe␈αpretty

␈↓ α∪␈↓close␈αto␈αthe␈αelevation␈αof␈αthe␈αneck␈α[the␈αscroll?]␈αHowever,␈αhe␈αdoes␈αadd␈αthat␈α"one␈αmust␈αobserve

␈↓ α∪␈↓that he places the thumb opposite the A-natural of the bourdon [G string]".␈↓∧27␈↓


␈↓ α∪␈↓␈↓ αCThere␈αis,␈αof␈αcourse,␈αconcern␈αamong␈αthe␈αinstructors␈αthat␈αthe␈αnotes␈αbe␈αstopped␈αin␈αtune,␈αbut

␈↓ α∪␈↓the␈α
suggestions␈α
for␈α
achieving␈α
this␈α
goal␈α
are␈αsadly␈α
lacking␈α
in␈α
their␈α
tutors.␈α
 The␈α
only␈αpractical

␈↓ α∪␈↓directions␈αcome␈αfrom␈αPlayford␈α(who␈αsuggests␈α
that␈αthe␈αbeginner␈αfret␈αthe␈αviolin),␈α
and␈αPrelleur

␈↓ α∪␈↓and␈α⊂Geminiani␈α⊂(who␈α⊂recommend␈α⊂marking␈α∂the␈α⊂correct␈α⊂distances␈α⊂on␈α⊂the␈α⊂≡ngerboard).␈α∂ The

␈↓ α∪␈↓Prelleur␈α⊗and␈α⊗Geminiani␈α⊗methods␈α↔include␈α⊗charts␈α⊗of␈α⊗violin␈α⊗≡ngerboards␈α↔with␈α⊗intervals

␈↓ α∪␈↓measured␈α
o≥.␈α
Prelleur␈α∞even␈α
instructs␈α
the␈α
student␈α∞to␈α
adjust␈α
his␈α
bridge␈α∞by␈α
moving␈α
it␈α∞"a␈α
little


␈↓ α∪␈↓__________
␈↓ α∪␈↓␈↓ αc␈↓∧25␈↓   Il faut prendre le Manche du Violon de la main gauche,  le tenir avec le pouce et
␈↓ α∪␈↓␈↓ β3le␈α∞premier␈α∞doigt␈α
sans␈α∞trop␈α∞serrer␈α∞la␈α
main,␈α∞arrondir␈α∞le␈α∞premier,␈α
deuxieme,
␈↓ α∪␈↓␈↓ β3troisieme␈α∞doigt,␈α∞et␈α∞tenir␈α∂le␈α∞petit␈α∞plus␈α∞allong␈↓¬'␈↓e.␈α∞ Corrette,␈α∂␈↓↓L'␈↓¬'␈↓↓Ecole␈α∞D'Orph␈↓¬'␈↓↓ee␈↓,
␈↓ α∪␈↓␈↓ β3p.7.

␈↓ α∪␈↓␈↓ αc␈↓∧26␈↓   Geminiani, ␈↓↓The Art␈↓, p.1.

␈↓ α∪␈↓␈↓ αc␈↓∧27␈↓␈α ␈α"on␈αdoit␈αobserver␈αde␈αplacer␈αle␈αpouce␈αvis-␈↓¬`␈↓a-vis␈αle␈α␈↓αLa␈↓␈αnaturel␈αdu␈αBourdon."␈α L'Abb␈↓¬'␈↓e
␈↓ α∪␈↓le ≡ls, ␈↓↓Principes␈↓, p.1.
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ 512


␈↓ α∪␈↓forwarder␈αor␈αbackwarder",␈αso␈αthat␈αthe␈αdistance␈αfrom␈αthe␈αscroll␈αto␈αthe␈αbridge␈αmatches␈αthat␈αin

␈↓ α∪␈↓the␈α⊂tutor.␈α⊂ Prelleur's␈α⊂≡ngerboard␈α⊂diagram␈α⊂is␈α⊂especially␈α⊂intriguing,␈α⊂as␈α⊂it␈α⊂places␈α⊂enharmonic

␈↓ α∪␈↓notes␈α(such␈αas␈αB␈↓εb␈↓␈αand␈αA␈↓ε#␈↓)␈αat␈αdi≥erent␈αlocations␈α(for␈αexample,␈αthe␈αB␈↓εb␈↓␈αis␈αput␈αhigher␈αthan␈αthe

␈↓ α∪␈↓A␈↓ε#␈↓).␈↓∧28␈↓


␈↓ α∪␈↓␈↓ αCLeopold␈α∂Mozart␈α⊂demonstrates␈α∂a␈α⊂bit␈α∂of␈α⊂musical␈α∂snobbery␈α⊂by␈α∂sco≠ng␈α⊂at␈α∂the␈α⊂practice␈α∂of

␈↓ α∪␈↓marking or fretting the ≡ngerboard:

␈↓ α∪␈↓␈↓ β3If␈α
a␈α
pupil␈α
has␈α
a␈α
good␈α
musical␈αear,␈α
one␈α
must␈α
not␈α
avail␈α
oneself␈α
of␈α
such␈αan
␈↓ α∪␈↓␈↓ β3extravagance.␈α⊂ If,␈α⊂however,␈α∂he␈α⊂lacks␈α⊂this,␈α∂he␈α⊂is␈α⊂useless␈α∂for␈α⊂music␈α⊂and␈α∂it
␈↓ α∪␈↓␈↓ β3were better he took a wood axe than a violin in his hand.␈↓∧29␈↓


␈↓ α∪␈↓␈↓ αCThe amount of information on shifting varies.


␈↓ α∪␈↓␈↓ αCMersenne␈α∪describes␈α∪which␈α∪≡ngers␈α∪stop␈α∀which␈α∪notes,␈α∪but␈α∪gives␈α∪no␈α∪directions␈α∀on␈α∪the

␈↓ α∪␈↓positioning of the hand.  He merely states,

␈↓ α∪␈↓␈↓ β3 ...It␈α
is␈α
necessary␈α
so␈α
to␈α
adjust␈αthe␈α
≡ngers␈α
on␈α
each␈α
place␈α
of␈α
the␈α≡ngerboard␈α
so
␈↓ α∪␈↓␈↓ β3that␈αthe␈αtones␈αendure␈αa␈αproportion␈αas␈αwell␈αregulated␈αas␈αif␈αthere␈α
were␈αfrets
␈↓ α∪␈↓␈↓ β3as on the viol.␈↓∧30␈↓

␈↓ α∪␈↓He mentions the extension of the fourth ≡nger,

␈↓ α∪␈↓␈↓ β3If␈αone␈αadvances␈αit␈α[the␈αfourth␈α
≡nger]␈αcloser␈αto␈αthe␈αbridge␈αthan␈αthe␈α
position

␈↓ α∪␈↓__________
␈↓ α∪␈↓␈↓ αc␈↓∧28␈↓␈α ␈αAn␈αinteresting␈αstudy␈αof␈αPrelleur's␈α≡ngerboard␈αwas␈αdone␈αby␈αDavid␈αBoyden␈α(see␈αhis
␈↓ α∪␈↓article,␈α⊗ ``Prelleur,␈α⊗Geminiani,␈α⊗and␈α⊗Just␈α⊗Intonation␈α⊗',␈α⊗␈↓↓The␈α⊗Journal␈α⊗of␈α↔the␈α⊗    American
␈↓ α∪␈↓↓Musicological␈α∂Society␈↓,␈α∂Fall,␈α∂1951,␈α∂p.202-219)␈α∂In␈α∂this␈α∂study,␈α∂Boyden␈α∂discovers␈α∂that␈α⊂the␈α∂notes
␈↓ α∪␈↓marked␈α∀by␈α∪Prelleur␈α∀measure␈α∪o≥␈α∀intervals␈α∪which␈α∀closely␈α∪approximate␈α∀those␈α∪of␈α∀the␈α∪just
␈↓ α∪␈↓intonation system.

␈↓ α∪␈↓␈↓ αc␈↓∧29␈↓␈α∞ ␈α∞Hat␈α∞der␈α∞Sch␈↓¬:␈↓uler␈α∞ein␈α∞gutes␈α∞musikalisches␈α∞Geh␈↓¬:␈↓or;␈α∞ so␈α∞darf␈α∞man␈α∞sich␈α∞nicht␈α
solcher
␈↓ α∪␈↓Auschweisungen␈α∞bedienen;␈α∞ fehlet␈α∞es␈α∞ihm␈α∞aber␈α∞an␈α∞diesem,␈α∞ so␈α∞ist␈α∞er␈α∞zur␈α∂Musik␈α∞untauglich,
␈↓ α∪␈↓und␈α∂er␈α∞wird␈α∂besser␈α∞eine␈α∂Holzart␈α∂als␈α∞die␈α∂Violin␈α∞zur␈α∂Hand␈α∞nehmen.␈α∂ Mozart,␈α∂␈↓↓Versuch␈↓,␈α∞p.58.
␈↓ α∪␈↓Translation: Knocker, ␈↓↓A Treatise␈↓, p.62.

␈↓ α∪␈↓␈↓ αc␈↓∧30␈↓␈α∩ ␈α∩il␈α∩faut␈α∩tellement␈α∩aiuster␈α∩les␈α∪doigts␈α∩sur␈α∩chaque␈α∩lieu␈α∩du␈α∩manche,␈α∩que␈α∪les␈α∩sons
␈↓ α∪␈↓persuadent␈α
une␈α
proportion␈α∞aussi␈α
bien␈α
regl␈↓¬'␈↓ee␈α
que␈α∞s'il␈α
y␈α
avoit␈α
des␈α∞touches␈α
comme␈α
␈↓¬`␈↓a␈α∞la␈α
Viole.
␈↓ α∪␈↓Mersenne,␈α∃␈↓↓Harmonie␈α∃Universelle␈↓,␈α∃v.3,␈α∃p.␈α∃183.␈α∃ Translation:␈α∃Chapman,␈α∃ ``The␈α∃Books␈α∀on
␈↓ α∪␈↓Instruments', p.241.
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ 513


␈↓ α∪␈↓␈↓ β3of␈α∞B␈α∞mi,␈α∞it␈α∂makes␈α∞the␈α∞C␈α∞sol␈α∂ut␈α∞fa,␈α∞and␈α∞then␈α∞the␈α∂D␈α∞la␈α∞re␈α∞sol.␈α∂ Thus,␈α∞the
␈↓ α∪␈↓␈↓ β3violin has a range of a nineteenth.␈↓∧31␈↓

␈↓ α∪␈↓but hints that an ≡ne violinist could extend this range a bit further,

␈↓ α∪␈↓␈↓ β3And␈α⊂the␈α⊂excellent␈α⊂violinists␈α⊂who␈α⊂master␈α⊂this␈α⊂instrument␈α⊂can␈α⊂make␈α⊂each
␈↓ α∪␈↓␈↓ β3string␈α∩rise␈α⊃an␈α∩octave␈α∩by␈α⊃means␈α∩of␈α⊃the␈α∩neck␈α∩on␈α⊃which␈α∩they␈α∩locate␈α⊃144
␈↓ α∪␈↓␈↓ β3semitones␈α∞for␈α∞transposing␈α∞the␈α∂twelve␈α∞modes␈α∞into␈α∞whatever␈α∞place␈α∂or␈α∞pitch
␈↓ α∪␈↓␈↓ β3they wish.␈↓∧32␈↓

␈↓ α∪␈↓Maurice␈α∪Riley␈α∪seems␈α∪to␈α∪feel␈α∪that␈α∪this␈α∪is␈α∪a␈α∪description␈α∪of␈α∪position␈α∪playing␈α∀rather␈α∪than

␈↓ α∪␈↓extension, and that therefore, violinists of Mersenne's time played up to the fourth position.␈↓∧33␈↓


␈↓ α∪␈↓␈↓ αCPlayford, Falck and Prelleur seem to present position playing only as a theory.


␈↓ α∪␈↓␈↓ αCPlayford is somewhat confusing,

␈↓ α∪␈↓␈↓ β3Fourthly,␈α∂when␈α⊂you␈α∂have␈α∂any␈α⊂high␈α∂Notes␈α∂which␈α⊂reach␈α∂lower␈α⊂than␈α∂your
␈↓ α∪␈↓␈↓ β3usual␈α
␈↓↓Frets␈↓␈α∞or␈α
␈↓↓Stops␈↓,␈α
there␈α∞you␈α
are␈α
to␈α∞shift␈α
your␈α
Fingers;␈α∞if␈α
there␈α∞be␈α
but
␈↓ α∪␈↓␈↓ β3two␈αNotes,␈αthen␈αthe␈α≡rst␈αis␈αstopp'd␈αwith␈αhe␈αsecond␈α␈↓↓Finger␈↓,␈αand␈αthe␈αrest␈αby
␈↓ α∪␈↓␈↓ β3the next ␈↓↓Fingers␈↓.␈↓∧34␈↓

␈↓ α∪␈↓It␈αseems␈α
that␈αhe␈αhas␈α
omitted␈αpart␈αof␈α
his␈αdescription␈αin␈α
this␈α13th␈αedition,␈α
for␈αthe␈α
6th␈αedition

␈↓ α∪␈↓used in Riley's thesis is much clearer.

␈↓ α∪␈↓␈↓ β3Next,␈αwhen␈α
you␈αhave␈α
any␈αhigh␈αNotes␈α
which␈αreach␈α
lower␈αthan␈α
your␈αusual
␈↓ α∪␈↓␈↓ β3Frets␈α
or␈α
Stops,␈α
there␈α
you␈α
are␈α
to␈α
shift␈α
your␈α
≡ngers;␈α
if␈α
there␈α
be␈α
but␈α
two␈α
Notes,
␈↓ α∪␈↓␈↓ β3then␈αthe␈α≡rst␈αis␈αstopt␈αwith␈αthe␈αthird␈α≡nger;␈αbut␈αif␈αthere␈αbe␈αthree␈αNotes␈αthat
␈↓ α∪␈↓␈↓ β3ascend,␈α∞then␈α∞the␈α∞≡rst␈α∞is␈α∞stopt␈α∞with␈α∞the␈α∞second␈α∞≡nger,␈α∞and␈α∞the␈α∞rest␈α∞by␈α
the
␈↓ α∪␈↓␈↓ β3next ≡ngers.␈↓∧35␈↓
␈↓ α∪␈↓__________
␈↓ α∪␈↓␈↓ αc␈↓∧31␈↓␈α ␈αSi␈α
on␈αl'avance␈αplus␈α
pres␈αdu␈αchevalet␈α
que␈αle␈αlieu␈α
du␈α␈↓↓mi␈↓,␈αil␈α
fait␈αle␈αC␈α
␈↓↓sol␈αut␈αfa␈↓,␈αet␈α
puis
␈↓ α∪␈↓le␈α∩D␈α∪␈↓↓la␈α∩re␈α∩sol␈↓;␈α∪ de␈α∩maniere␈α∩que␈α∪le␈α∩Violon␈α∩␈↓¬`␈↓a␈α∪l'estendu␈↓¬:␈↓e␈α∩d'une␈α∪Dixneu≡esme.␈α∩ Mersenne,
␈↓ α∪␈↓␈↓↓Harmonie␈↓, v.3, p.182. Translation:  Chapman, "The Books on Instruments", p.182.

␈↓ α∪␈↓␈↓ αc␈↓∧32␈↓␈α ␈αEt␈αles␈αexcellens␈αViolons␈α
qui␈αmaistrisent␈αcet␈αinstrument␈αpeuvent␈αfair␈αmonter␈α
chaque
␈↓ α∪␈↓chorde␈α∞iusques␈α∂␈↓¬`␈↓a␈α∞l'Octave␈α∞par␈α∂le␈α∞moyen␈α∞du␈α∂manche,␈α∞sur␈α∞lequel␈α∂ils␈α∞treuvent␈α∂144␈α∞demy-tons
␈↓ α∪␈↓pour␈α
transposer␈α∞les␈α
12␈α∞modes␈α
en␈α∞tell␈α
lieu,␈α∞&␈α
␈↓¬`␈↓a␈α∞ tel␈α
ton␈α∞qu'ils␈α
veulent.␈α∞ Mersenne,␈α
␈↓↓Harmonie␈↓,
␈↓ α∪␈↓v.3, p. 179. Translation: Chapman, "The Books on Instruments", pp.237-238.

␈↓ α∪␈↓␈↓ αc␈↓∧33␈↓␈α∂ ␈α∞Riliey,␈α∂Maurice␈α∞W.,␈α∂␈↓↓The␈α∞Teaching␈α∂of␈α∞Bowed␈α∂Instruments␈α∞from␈α∂1511-1756␈↓,␈α∂Ph.␈α∞D.
␈↓ α∪␈↓thesis, Universityof Michigan, 1954, p.350.

␈↓ α∪␈↓␈↓ αc␈↓∧34␈↓   Playford, ␈↓↓An Introduction␈↓, p.66.

␈↓ α∪␈↓␈↓ αc␈↓∧35␈↓   Playford, ␈↓↓An Introduction␈↓, 6th ed., p. 107.
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ 514


␈↓ α∪␈↓If␈α∂this␈α∂is␈α∂interpreted␈α∂to␈α∞mean␈α∂that␈α∂the␈α∂range␈α∂may␈α∞be␈α∂extended␈α∂three␈α∂notes␈α∂above␈α∂the␈α∞≡rst

␈↓ α∪␈↓position marked o≥ by frets, then Playford is describing fourth position.


␈↓ α∪␈↓␈↓ αCFalck instructs,

␈↓ α∪␈↓␈↓ β3When␈αin␈αa␈αmusical␈αpiece␈αnotes␈αoccur␈αabove␈αthe␈α≡fth␈αon␈αthe␈αstring,␈α[which
␈↓ α∪␈↓␈↓ β3is]␈αhigher␈αthan␈αcan␈αordinarily␈αbe␈αreached␈αwith␈αfour␈α≡ngers,␈αone␈αmust␈αedge
␈↓ α∪␈↓␈↓ β3up␈α
the␈α
hand␈α
and␈αinstead␈α
of␈α
the␈α
third␈α
≡nger,␈αput␈α
the␈α
fore≡nger␈α
on␈α
the␈αa:␈α
 to
␈↓ α∪␈↓␈↓ β3go␈α⊃over␈α⊂d␈α⊃to␈α⊃f␈α⊂or␈α⊃g␈α⊃one␈α⊂must␈α⊃edge␈α⊂up␈α⊃the␈α⊃hand␈α⊂further␈α⊃and␈α⊃put␈α⊂the
␈↓ α∪␈↓␈↓ β3fore≡nger on the d.␈↓∧36␈↓


␈↓ α∪␈↓␈↓ αCPrelleur␈αdescribes␈α
the␈αfourth␈α
≡nger␈αextension,␈αbut␈α
also␈αincludes␈α
on␈αhis␈α
≡ngerboard␈αchart

␈↓ α∪␈↓notes up to A6.␈↓∧37␈↓ He has his own names for these shifts;

␈↓ α∪␈↓␈↓ β3Ye␈α
≡rst␈αshift␈α
which␈αis␈α
called␈α
the␈αhalf␈α
shift␈αis␈α
upon␈αthe␈α
5th␈α
line␈α[=modern
␈↓ α∪␈↓␈↓ β3day␈α∩2nd␈α⊃position];␈α∩ the␈α⊃whole␈α∩shift␈α⊃is␈α∩upon␈α⊃ye␈α∩8th␈α⊃line␈α∩[=modern␈α⊃3rd
␈↓ α∪␈↓␈↓ β3position];␈α
ye␈αdouble␈α
shift␈αis␈α
on␈αye␈α
17th␈αline␈α
[=modern␈α7th␈α
position];␈αthe␈α
last
␈↓ α∪␈↓␈↓ β3shift␈αis␈αupon␈αye␈α20th␈αline␈α
[=modern␈α8th␈αposition];␈αnote␈αthat␈αin␈αshifting␈α
you
␈↓ α∪␈↓␈↓ β3must␈αput␈αyour␈α≡rst␈α≡nger␈α
on␈αthat␈αline␈αor␈αNote␈α
where␈αye␈αshift␈αis␈αto␈αbe␈α
done,
␈↓ α∪␈↓␈↓ β3and then move the whole hand higher accordingly.␈↓∧38␈↓

␈↓ α∪␈↓Playford␈α∩has␈α∩described␈α∩what␈α∩is␈α∪probably␈α∩fourth␈α∩position,␈α∩and␈α∩Falck␈α∩and␈α∪Prelleur␈α∩have

␈↓ α∪␈↓described␈α⊂extremely␈α⊂high␈α⊂positions␈α⊂-␈α⊂the␈α⊂modern␈α∂6th␈α⊂position␈α⊂in␈α⊂Falck's␈α⊂case,␈α⊂and␈α⊂7th␈α∂in

␈↓ α∪␈↓Prelleur's.␈α∞ The␈α∞musical␈α∞examples␈α∞in␈α∞the␈α∞methods,␈α∞however,␈α∞tell␈α∞a␈α∞di≥erent␈α∞story.␈α∞ Playford

␈↓ α∪␈↓and Falck never leave ≡rst position, and Prelleur never goes higher than C␈↓ε#␈↓6.


␈↓ α∪␈↓␈↓ αCMonteclaire␈α∞has␈α∞no␈α∞verbal␈α∂descriptions␈α∞of␈α∞shifting.␈α∞ He␈α∂includes␈α∞a␈α∞diagram␈α∞of␈α∂a␈α∞violin



␈↓ α∪␈↓__________
␈↓ α∪␈↓␈↓ αc␈↓∧36␈↓␈α
 ␈αWann␈α
in␈αeinem␈α
␈↓αMusical␈↓ischen␈αSt␈↓¬:␈↓uck␈α
␈↓αNot␈↓en/welche␈αauf␈α
der␈α␈↓αQuint␈↓-Saiten␈α
h␈↓¬:␈↓oher/als
␈↓ α∪␈↓mans␈αmit␈α
denen␈αVier␈α
Fingern␈α␈↓αordinari␈↓¬`␈↓αe␈↓␈αerreichen␈α
kan/gesetzt␈αseynd/so␈α
muss␈αman␈α
die␈αHand
␈↓ α∪␈↓hinein␈α
rucken/und␈α
an␈α
statt␈α
dess␈α
Dritten␈α
Fingers/den␈α
vorderen␈α
auf␈α
das␈α
a␈α
setzen:␈α
Solten␈α
aber
␈↓ α∪␈↓sich␈α␈↓αNot␈↓en␈α≡nden/die␈α␈↓¬:␈↓uber␈αdas␈αd/biss␈αetwan␈αin␈αden␈αvorderen␈αFinger␈αauf␈αdas␈αd␈αsetzen.␈αFalck,
␈↓ α∪␈↓␈↓↓Idea␈↓, p.190.

␈↓ α∪␈↓␈↓ αc␈↓∧37␈↓␈α∂ ␈α∂Notes␈α∂will␈α∂be␈α∂described␈α∂by␈α∞note␈α∂name␈α∂and␈α∂an␈α∂octave␈α∂designation␈α∂based␈α∂on␈α∞the
␈↓ α∪␈↓piano␈αkeyboard,␈αand␈α
changing␈αon␈αC.␈α
 Therefore,␈αmiddle␈αC␈α
is␈αC4,␈αand␈α
the␈αopen␈αstrings␈αof␈α
the
␈↓ α∪␈↓violin are G3, D4, A4, and E5.

␈↓ α∪␈↓␈↓ αc␈↓∧38␈↓   Prelleur, ␈↓↓The Art␈↓, p.4.
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ 515


␈↓ α∪␈↓≡ngerboard␈α
with␈α∞locations␈α
of␈α∞notes␈α
plus␈α∞≡ngerings␈α
up␈α
to␈α∞high␈α
C6␈α∞on␈α
the␈α∞E␈α
string.␈α∞ This␈α
is

␈↓ α∪␈↓≡ngered ␈↓¬4␈↓ (probably signifying a fourth ≡nger extension).


␈↓ α∪␈↓␈↓ αCDupont␈αcontains␈α
no␈αinformation␈αother␈α
than␈αa␈α
very␈αtedious␈αverbal␈α
description␈αof␈αthe␈α
notes

␈↓ α∪␈↓each␈α
≡nger␈α
is␈α
able␈α∞to␈α
play␈α
in␈α
his␈α∞two␈α
"positions"␈α
(Figure␈α
8)␈α∞He␈α
includes␈α
a␈α
statement␈α∞on␈α
the

␈↓ α∪␈↓extension␈αof␈αthe␈αfourth␈α≡nger␈αalmost␈αas␈αan␈αafterthought␈αin␈αhis␈αexercise␈αsection.␈α The␈αmaster,

␈↓ α∪␈↓when asked by the student how one reaches C6 on the E string explains:

␈↓ α∪␈↓␈↓ β3It␈α∞is␈α∞necessary␈α
to␈α∞extend␈α∞the␈α
little␈α∞≡nger␈α∞downward␈α
the␈α∞distance␈α∞which␈α
is
␈↓ α∪␈↓␈↓ β3marked from the B to the C on the ≡ngerboard of the violin.␈↓∧39␈↓


␈↓ α∪␈↓␈↓ αCCorrette's␈α∪treatise,␈α∪which␈α∪is␈α∪for␈α∀the␈α∪more␈α∪advanced␈α∪student␈α∪includes␈α∀actual␈α∪position

␈↓ α∪␈↓playing in his music,

␈↓ α∪␈↓␈↓ β3Thus,␈αto␈αascend␈αto␈αc␈αabove␈αthe␈αchanterell␈α[e␈αstring]␈αit␈αis␈αnecessary␈αto␈αplace
␈↓ α∪␈↓␈↓ β3the␈α≡rst␈α≡nger␈αon␈αthe␈αg;␈αand␈αto␈αgo␈αto␈αd,␈αthe␈α≡rst␈α≡nger␈αon␈αthe␈αa;␈αThe␈αsame
␈↓ α∪␈↓␈↓ β3observation for the other positions.␈↓∧40␈↓

␈↓ α∪␈↓These␈αinstructions␈α
are␈αincluded␈α
in␈αthe␈α
second␈αpart␈αof␈α
the␈αtutor␈α
("How␈αto␈α
play␈αin␈α
the␈αItalian

␈↓ α∪␈↓style"). The musical examples take the student all the way up to the seventh position.


␈↓ α∪␈↓␈↓ αCGeminiani␈α∂introduces␈α⊂the␈α∂di≥erent␈α∂positions␈α⊂in␈α∂an␈α∂exercise␈α⊂which␈α∂"shews␈α⊂the␈α∂di≥erent

␈↓ α∪␈↓Ways␈αof␈α
stopping␈αthe␈α
same␈αnote,␈α
and␈αdiscovers␈α
at␈αthe␈α
same␈αTime␈α
that␈αTransposition␈α
of␈αthe

␈↓ α∪␈↓Hand␈α[i.e.␈αshifting]␈αconsists␈αin␈αpassing␈αfrom␈αone␈αOrder␈αto␈αanother."␈α(As␈αhe␈αexplained␈αearlier,

␈↓ α∪␈↓"an␈α⊂order␈α⊂is␈α∂a␈α⊂certain␈α⊂Number␈α∂of␈α⊂Notes␈α⊂which␈α∂are␈α⊂to␈α⊂be␈α∂played␈α⊂without␈α⊂transposing␈α∂the

␈↓ α∪␈↓Hand."␈α∞ They␈α∞correspond␈α∞to␈α∞modern␈α∂day␈α∞positions.␈α∞ For␈α∞example,␈α∞the␈α∂second␈α∞order=second

␈↓ α∪␈↓position,␈αthe␈αthird␈αorder=third␈αposition,␈αetc.)␈αHis␈αexercises␈αtake␈αthe␈αstudent␈αup␈αto␈αthe␈αseventh


␈↓ α∪␈↓__________
␈↓ α∪␈↓␈↓ αc␈↓∧39␈↓␈α
 ␈αIl␈α
faut␈αdescendre␈α
le␈α
petit␈αdoit␈α
de␈αla␈α
distance␈α
qui␈αest␈α
marqu␈↓¬'␈↓ee␈αdepuis␈α
le␈α
si␈αjusqu'a
␈↓ α∪␈↓l'ut sur le manche du  Violon.  Dupont, ␈↓↓Principes␈↓, p.4.

␈↓ α∪␈↓␈↓ αc␈↓∧40␈↓␈α ␈αAinsi␈αpour␈αmonter␈α␈↓¬`␈↓a␈αl'ut␈αdessus␈αla␈αChanterelle␈αil␈αfaut␈αmettre␈αle␈αpremiere␈αdoigt␈αsur
␈↓ α∪␈↓le␈α
sol␈α
et␈αpour␈α
aller␈α
au␈αR␈↓¬'␈↓e␈α
le␈α
premier␈αdoigt␈α
sur␈α
le␈αLa.␈α
 La␈α
m␈↓¬∧␈↓eme␈αobservation␈α
pour␈α
les␈αautres
␈↓ α∪␈↓positions. Corrette, ␈↓↓L'␈↓¬'␈↓↓Ecole␈↓, p.37.
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ 516


␈↓ α∪␈↓order,␈α∞and␈α∞are␈α∞meticulously␈α∞thorough,␈α∞covering␈α∞all␈α∞possible␈α∞≡ngerering␈α∞combinations␈α∞in␈α∞the

␈↓ α∪␈↓shifts.  On shifting up he instructs,

␈↓ α∪␈↓␈↓ β3 ...Care␈α∞is␈α∞to␈α∞be␈α∞taken␈α∞that␈α∞the␈α∞Thumb␈α∞always␈α∞remain␈α∞farther␈α∂back␈α∞than
␈↓ α∪␈↓␈↓ β3the␈α
Fore-≡nger;␈α
and␈αthe␈α
more␈α
you␈α
advance␈αin␈α
the␈α
other␈α
Orders␈αthe␈α
Thumb
␈↓ α∪␈↓␈↓ β3must␈αbe␈αat␈αa␈αgreater␈αDistance␈αtill␈αit␈αremains␈αalmost␈αhid␈αunder␈αthe␈αNeck␈αof
␈↓ α∪␈↓␈↓ β3the Violin.

␈↓ α∪␈↓In␈αanother␈α
exercise,␈αGeminiani␈α
writes␈αout␈α
scales␈αusing␈α
numerous␈α"transpositions␈α
of␈αthe␈α
Hand"

␈↓ α∪␈↓ascending and descending, and makes a rather intriguing statement.  about downshifting.

␈↓ α∪␈↓␈↓ β3It␈α∞must␈α∞here␈α∞be␈α∞observed,␈α∞that␈α∞in␈α∞drawing␈α∞back␈α∞the␈α∞Hand␈α∞from␈α∞the␈α
5th,
␈↓ α∪␈↓␈↓ β34th,␈α
and␈α3d␈α
Order␈α
to␈αgo␈α
to␈α
the␈α≡rst,␈α
the␈α
Thumb␈αcannot,␈α
for␈α
Want␈αof␈α
Time,
␈↓ α∪␈↓␈↓ β3be␈α
replaced␈α
in␈α
its␈α
natural␈α
Position;␈α
 but␈α
it␈α
is␈α
necessary␈α
it␈α
should␈α
be␈α
replaced
␈↓ α∪␈↓␈↓ β3at the second Note.␈↓∧41␈↓

␈↓ α∪␈↓This␈α∞could,␈α∞perhaps,␈α∞be␈α∞used␈α∞to␈α∞refute␈α∞the␈α
crawling␈α∞shift␈α∞of␈α∞Sol␈α∞Babitz␈α∞in␈α∞which␈α∞he␈α
shifts

␈↓ α∪␈↓downward ≡rst with the thumb, following with other ≡ngers.


␈↓ α∪␈↓␈↓ αCTartini,␈αsurprisingly␈αenough,␈αincludes␈αsome␈αinformation␈αon␈αshifting␈αin␈αthe␈αItalian␈αedition

␈↓ α∪␈↓of␈α∞his␈α∞␈↓↓Trait␈↓¬'␈↓↓e␈↓.␈α∞ He␈α∞suggests␈α∞that␈α∞multiple␈α∞shifts␈α∞be␈α∞done␈α∞between␈α∞staccato␈α∞notes␈α∞rather␈α∞than

␈↓ α∪␈↓legato so as not to interrupt the smoothness of the line.

␈↓ α∪␈↓␈↓ β3As␈αregards␈αto␈αchanging␈αposition,␈αit␈αis␈αimpossible␈αto␈αgive␈αany␈αhard␈αand␈αfast
␈↓ α∪␈↓␈↓ β3rules.␈α→ The␈α~student␈α→should␈α~adopt␈α→whatever␈α~method␈α→he␈α~≡nds␈α→most
␈↓ α∪␈↓␈↓ β3comfortable␈αin␈αeach␈αcase,␈αand␈αhe␈αshould␈αtherefore␈αpractice␈αthe␈αhand␈αshifts
␈↓ α∪␈↓␈↓ β3in␈α
every␈αpossible␈α
way␈α
so␈αthat␈α
he␈αis␈α
prepared␈α
for␈αevery␈α
situation␈α
that␈αmay
␈↓ α∪␈↓␈↓ β3arise...␈α∂ if␈α∂the␈α∂hand␈α∂has␈α∂to␈α⊂be␈α∂shifted␈α∂several␈α∂times␈α∂during␈α∂a␈α⊂passage,␈α∂it
␈↓ α∪␈↓␈↓ β3should␈αbe␈αdone␈αbetween␈αthe␈αstaccato␈αnotes,␈αnot␈αthe␈αlegato,␈αin␈αorder␈αthat␈αno
␈↓ α∪␈↓␈↓ β3gaps are heard in the latter case.␈↓∧42␈↓


␈↓ α∪␈↓␈↓ αCIn␈α∂his␈α∂letter␈α∂to␈α∂Maddelena␈α∂Lombardini␈α∂he␈α∂describes␈α∂the␈α∂di≥erent␈α∂shifts;␈α∂the␈α⊂half␈α∂shift

␈↓ α∪␈↓with␈αthe␈α≡rst␈α≡nger␈α
on␈αG,␈αthe␈αwhole␈αshift␈α
with␈αthe␈α≡rst␈α≡nger␈αon␈α
A,␈αthe␈αdouble␈αshift␈αwith␈α
the



␈↓ α∪␈↓__________
␈↓ α∪␈↓␈↓ αc␈↓∧41␈↓   Geminiani, ␈↓↓The Art of Playing the Violin␈↓, p.2-3.

␈↓ α∪␈↓␈↓ αc␈↓∧42␈↓␈α ␈αNello␈αsmanicare␈αnon␈αdeve␈αtenersi␈αregola␈αstabile,␈αma␈αbisogna␈αadattarsi␈αa␈αquello,␈α
che
␈↓ α∪␈↓nell'occasioni␈αriesce␈αpiu␈αcomodo,␈αonde␈αsi␈αdeve␈αfare␈αlo␈αstudio␈αdismanicare␈αin␈αtutti␈αli␈α
modi␈αper
␈↓ α∪␈↓esser sempre pronto ad ogni caso possa accadere.
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ 517


␈↓ α∪␈↓≡rst␈α≡nger␈αon␈αB,␈αand␈αthe␈αfourth␈αposition␈αwith␈αthe␈α≡rst␈α≡nger␈αon␈αC␈α(all␈αthis␈αon␈αthe␈αE␈αstring).

␈↓ α∪␈↓The␈α∃names␈α∃of␈α∃the␈α∃shifts␈α∃correspond␈α∃to␈α∃present␈α∃day␈α∃2nd,␈α∃3rd,␈α∃4th␈α∃and␈α∃5th␈α∀positions

␈↓ α∪␈↓respectively.  This seems to be the limit, for he advises,

␈↓ α∪␈↓␈↓ β3making␈α
C␈α∞with␈α
the␈α
≡rst␈α∞≡nger␈α
upon␈α
the␈α∞≡rst␈α
string;␈α
and␈α∞indeed,␈α
this␈α∞is␈α
a
␈↓ α∪␈↓␈↓ β3scale␈α
in␈α
which,␈α
when␈α
you␈α
are␈α
≡rm,␈α
you␈α
may␈α
be␈α
said␈α
to␈α
be␈α
mistress␈α
of␈αthe
␈↓ α∪␈↓␈↓ β3≡ngerboard.␈↓∧43␈↓

␈↓ α∪␈↓Tartini's␈αnames␈αfor␈αthe␈αshifts␈αare␈αthe␈αsame␈αas␈αthose␈αof␈αPrelleur,␈αbut␈αthey␈αdo␈αnot␈αrefer␈αto␈αthe

␈↓ α∪␈↓same positions.


␈↓ α∪␈↓␈↓ αCMozart's␈α∂treatment␈α∂of␈α∂shifting␈α∂is␈α∂disappointingly␈α∂perfunctory.␈α∂ He␈α∂explains␈α⊂reasons␈α∂for

␈↓ α∪␈↓position␈α
playing␈α
-␈α
1.␈α
necessity␈α
(eg.␈α
notes␈α
many␈α
leger␈α
lines␈α
above␈α
the␈α
sta≥)␈α
2.␈α
convenience␈α
(to

␈↓ α∪␈↓play␈α
great␈α
leaps)␈α∞3.␈α
Elegance␈α
(cantabile␈α∞notes␈α
occurring␈α
closely␈α∞together␈α
can␈α
often␈α∞be␈α
played

␈↓ α∪␈↓easily␈α∞on␈α∞one␈α∞string).␈α∞ Mozart␈α∞describes␈α∞3␈α∞positions,␈α∞whole␈α∞position␈α∞(=modern␈α∞3rd␈α∞position),

␈↓ α∪␈↓half␈α
position␈α
(=modern␈α
2nd␈α
position),␈α
and␈αcompound␈α
position␈α
(a␈α
mixture␈α
of␈α
the␈α
≡rst␈αtwo).␈α
 He

␈↓ α∪␈↓gives␈α
two␈α
options␈α
for␈α
getting␈α
into␈α
whole␈α
position␈α
on␈α
the␈α
E␈α
string␈α
-␈α
shifting␈α
to␈α
A5␈α
with␈αthe␈α
≡rst

␈↓ α∪␈↓≡nger,␈α∞or␈α∞to␈α∞B5␈α∞with␈α∂the␈α∞second␈α∞≡nger.␈α∞If␈α∞the␈α∂musical␈α∞passage␈α∞requires␈α∞a␈α∞higher␈α∂shift,␈α∞the

␈↓ α∪␈↓violinist␈α
again␈α
is␈αgiven␈α
a␈α
choice.␈α He␈α
can␈α
ascend␈α
using␈αthe␈α
≡ngering␈α
1,␈α2,␈α
1,␈α
2,␈α
etc.␈αor␈α
2,␈α
3,␈α2,␈α
3,

␈↓ α∪␈↓etc.  His musical examples take the student up to the 7th position.


␈↓ α∪␈↓␈↓ αCL'Abb␈↓¬'␈↓e␈α
le␈α
≡ls␈αintroduces␈α
position␈α
playing␈α
with␈α≡ngered␈α
two␈α
octave␈αscales␈α
up␈α
to␈α
E6.␈α His

␈↓ α∪␈↓labelling␈αof␈αthe␈αpositions␈αis␈αrather␈αsingular,␈αfor␈αhis␈α"≡rst␈αposition"␈αcorresponds␈αto␈αthe␈αmodern

␈↓ α∪␈↓day␈α⊃"second␈α⊃position".␈α⊃ He␈α⊃also␈α⊃includes␈α⊂a␈α⊃≡ngered␈α⊃G␈↓ε#␈↓␈α⊃minor␈α⊃scale␈α⊃thus␈α⊃introducing␈α⊂the

␈↓ α∪␈↓modern␈α
day␈α
"half␈α
position"␈α
(he␈α
does␈α
not␈α
label␈α
this␈α
scale␈α
as␈α
being␈α
in␈α
any␈α
position).␈α∞ He␈α
also

␈↓ α∪␈↓describes␈α
the␈α
extension␈αas␈α
advancing␈α
or␈αdrawing␈α
back␈α
the␈α≡nger␈α
indicated␈α
by␈α≡gures␈α
"without



␈↓ α∪␈↓__________
␈↓ α∪␈↓␈↓ αc␈↓∧43␈↓␈α ␈α
Assicurata␈αpassi␈αalla␈α
quarta␈αcol␈α
primo␈αin␈α Csolfaut␈α
sul␈αcantino;␈α
 e␈αin␈αsomma␈α
questa
␈↓ α∪␈↓␈↓¬`␈↓e␈α∂una␈α∞Scala␈α∂di␈α∞smanicature,␈α∂di␈α∞cui␈α∂quando␈α∞ella␈α∂se␈α∞ne␈α∂sia␈α∞fatta␈α∂padrona,␈α∞pu␈↓¬`␈↓o␈α∂dire␈α∂di␈α∞esser
␈↓ α∪␈↓padrona del manico. Tartini, ␈↓↓Lettera␈↓.  Translation, Jacobi, ␈↓↓Letter␈↓, p.137.
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ 518


␈↓ α∪␈↓moving␈α∩the␈α∪hand␈α∩or␈α∪any␈α∩≡nger␈α∪other␈α∩than␈α∩the␈α∪one␈α∩being␈α∪used".␈↓∧44␈↓␈α∩ He␈α∪has␈α∩interesting

␈↓ α∪␈↓instructions on sneaking into positions,

␈↓ α∪␈↓␈↓ β3Sometimes␈α∞it␈α∂is␈α∞necessary␈α∞to␈α∂shift␈α∞the␈α∞other␈α∂≡ngers␈α∞immediately␈α∂after␈α∞the
␈↓ α∪␈↓␈↓ β3extension,␈α∞in␈α
which␈α∞case,␈α
the␈α∞extension␈α
is␈α∞marked␈α
to␈α∞make␈α
the␈α∞change␈α
of
␈↓ α∪␈↓␈↓ β3position less noticeable.␈↓∧45␈↓

␈↓ α∪␈↓Later␈α⊃in␈α⊃the␈α⊃tutor,␈α⊃his␈α⊃"roulades"␈α⊃take␈α⊃the␈α⊃student␈α⊃up␈α⊃to␈α⊃modern␈α⊃day␈α⊃equivalent␈α⊃of␈α⊂7th

␈↓ α∪␈↓position.



␈↓ α∪␈↓␈↓ αC␈↓αSummary ¬ Holding the Bow␈↓


␈↓ α∪␈↓␈↓ αCThere␈αis␈αmuch␈αinteresting␈αinformation␈αin␈αthe␈αtreatises␈αconcerning␈αthe␈αholding␈αof␈αthe␈αbow

␈↓ α∪␈↓-␈α
especially␈α
on␈α∞the␈α
di≥erences␈α
between␈α
the␈α∞French␈α
thumb-under-hair␈α
and␈α∞Italian␈α
thumb-on-

␈↓ α∪␈↓stick grip.


␈↓ α∪␈↓␈↓ αCGeorg␈α⊂Mu≥at,␈α⊂in␈α⊂his␈α⊂␈↓↓Florilegium␈α⊂secundum␈↓␈α⊂(a␈α⊂1698␈α⊂collection␈α⊂of␈α⊂French␈α⊂style␈α∂dances)

␈↓ α∪␈↓comments:

␈↓ α∪␈↓␈↓ β3The␈α∪majority␈α∩of␈α∪German␈α∪violinists␈α∩and␈α∪other␈α∩players␈α∪of␈α∪upper␈α∩string
␈↓ α∪␈↓␈↓ β3instruments␈α∂hold␈α⊂the␈α∂bow␈α⊂as␈α∂the␈α⊂French␈α∂[Lullists]␈α⊂do,␈α∂pressing␈α⊂the␈α∂hair
␈↓ α∪␈↓␈↓ β3with␈αthe␈αthumb␈αand␈αresting␈αthe␈αother␈α≡ngers␈αon␈αthe␈αstick␈αof␈αthe␈αbow....The
␈↓ α∪␈↓␈↓ β3Italians,␈α∂among␈α∂others,␈α∂di≥er␈α∂in␈α∂playing␈α∂these␈α∂upper␈α∂instruments␈α∂in␈α∞that
␈↓ α∪␈↓␈↓ β3they never touch the hair...␈↓∧46␈↓


␈↓ α∪␈↓␈↓ αCPlayford implies a French bow grip,


␈↓ α∪␈↓__________
␈↓ α∪␈↓␈↓ αc␈↓∧44␈↓␈α ␈α"...il␈αfaut␈αavancer,␈αou␈αreculer␈αle␈αDoigt␈αqui␈αest␈αd␈↓¬'␈↓esign␈↓¬'␈↓e␈αpar␈αle␈αChi≥re,␈αsans␈αd␈↓¬'␈↓eplacer
␈↓ α∪␈↓la main, ni aucun autre Doigt que celui dont on doit se servir."

␈↓ α∪␈↓␈↓ αc␈↓∧45␈↓␈α∂ ␈α∂Quelquefois␈α∂il␈α∂faut␈α∂d␈↓¬'␈↓eplacer␈α∂les␈α∂autres␈α∂Doigts␈α∂imm␈↓¬'␈↓ediatement␈α∂apr␈↓¬`␈↓es␈α∂l'Extension,
␈↓ α∪␈↓dans␈α∂ce␈α∂cas,␈α∞l'Extension␈α∂n'est␈α∂marqu␈↓¬'␈↓ee,␈α∞que␈α∂pour␈α∂rendre␈α∞moins␈α∂sensible␈α∂le␈α∂Changement␈α∞de
␈↓ α∪␈↓Position.  L'Abb␈↓¬'␈↓e le ≡ls, ␈↓↓Principes␈↓, p.18.

␈↓ α∪␈↓␈↓ αc␈↓∧46␈↓␈α∞ ␈α
In␈α∞Angrei≥ung␈α
dess␈α∞Bogens␈α
kommen␈α∞die␈α
meisten␈α∞Teutschen␈α
in␈α∞den␈α∞kleinen␈α
und
␈↓ α∪␈↓mittern␈α∀Geigen␈α∃mit␈α∀den␈α∃Lullisten␈α∀␈↓¬:␈↓uber␈α∃eins,␈α∀indeme␈α∃sie␈α∀die␈α∃Haare␈α∀mit␈α∃dem␈α∀Daumen
␈↓ α∪␈↓andrucken,␈α
und␈α
die␈α
andere␈α
Finger␈α
au≥␈α
dess␈α
Bogens␈α
Rucken␈α
legen.␈α
Mu≥at,␈αGeorg,␈α
␈↓↓Florilegium
␈↓ α∪␈↓↓Secundum␈↓, (apud Authorem, Typis G. A. H␈↓¬:␈↓oller:  1698), p.21.
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ 519


␈↓ α∪␈↓␈↓ β3The␈α␈↓↓Bow␈↓␈αis␈αheld␈αin␈αthe␈α
right␈αHand,␈αbetween␈αthe␈αends␈αof␈αthe␈α
Thumb␈αand
␈↓ α∪␈↓␈↓ β3the␈α3␈αFingers,␈αthe␈αThumb␈αbeing␈αstay'd␈αupon␈αthe␈αHair␈αat␈αthe␈αNut,␈αand␈αthe
␈↓ α∪␈↓␈↓ β33 Fingers resting upon the Wood.␈↓∧47␈↓

␈↓ α∪␈↓as do Falck

␈↓ α∪␈↓␈↓ β3Above␈αall,␈αone␈αmust␈αlearn␈αto␈αcorrectly␈αhold␈αand␈αsupport␈αthe␈αbow␈αin␈αsuch␈αa
␈↓ α∪␈↓␈↓ β3manner␈αthat␈αthe␈αright␈αthumb␈αsqueezes␈αthe␈αhair␈αnear␈αthe␈αfrog....␈α Then,␈α
one
␈↓ α∪␈↓␈↓ β3must␈αgrasp␈αand␈αhold␈αthe␈αwood␈α
of␈αthe␈αbow␈αbetween␈αthe␈αtwo␈αforemost␈α
joints
␈↓ α∪␈↓␈↓ β3of the ≡nger...␈↓∧48␈↓


␈↓ α∪␈↓␈↓ αCand Monteclaire.

␈↓ α∪␈↓␈↓ β3The␈αbow␈αis␈αheld␈αin␈αthe␈αleft␈αhand␈αthe␈αfour␈α≡ngers␈αplaced␈αon␈αthe␈αwood,␈α
and
␈↓ α∪␈↓␈↓ β3the thumb under the frog which supports the hair.␈↓∧49␈↓


␈↓ α∪␈↓␈↓ αCA␈αcomment␈αby␈αRoger␈αNorth,␈αan␈α18th␈αcentury␈αwriter␈αon␈αmusic␈αis␈αrevealing.␈α In␈αhis␈αpraise

␈↓ α∪␈↓of␈α
Italian␈α
violinist␈α
Nicola␈αMatteis␈α
he␈α
states,␈α
"He␈αtaught␈α
ye␈α
English␈α
to␈αhold␈α
ye␈α
bow␈α
by␈αye␈α
wood

␈↓ α∪␈↓only & not to touch ye hair which was no small reformation."␈↓∧50␈↓


␈↓ α∪␈↓␈↓ αCCorrette,␈αwhose␈αtreatise␈αgives␈αinstructions␈αon␈αplaying␈αin␈αthe␈αFrench␈αand␈αItalian␈αstyles␈αalso

␈↓ α∪␈↓includes␈αfairly␈αdetailed␈αdescriptions␈α
of␈αthe␈αFrench␈αand␈αItalian␈α
bow␈αgrips.␈α He␈αeven␈αincludes␈α
a

␈↓ α∪␈↓picture of a bow (≡g.13):







␈↓ α∪␈↓__________
␈↓ α∪␈↓␈↓ αc␈↓∧47␈↓   Playford, ␈↓↓An Introduction␈↓, p.65.

␈↓ α∪␈↓␈↓ αc␈↓∧48␈↓␈α⊃ ␈α⊃Vor␈α⊃allen␈α∩Dingen␈α⊃muss␈α⊃er␈α⊃den␈α∩Bogen␈α⊃recht␈α⊃fassen␈α⊃und␈α∩halten␈α⊃lernen/solcher
␈↓ α∪␈↓massen/dass␈αder␈αrechte␈αDaum␈αdie␈αHaar␈αn␈↓¬:␈↓achst␈α bey␈αdem␈αH␈↓¬:␈↓arp∨ein␈αetwas␈αeindrucke...dernach
␈↓ α∪␈↓muss␈α∞er␈α∂das␈α∞Holz␈α∂ dess␈α∞Bogens␈α∂zwischen␈α∞die␈α∞zwey␈α∂vordere␈α∞Gelaich␈α∂der␈α∞Finger␈α∂fassen␈α∞und
␈↓ α∪␈↓halten... Falck, ␈↓↓Idea␈↓, p.190-191.

␈↓ α∪␈↓␈↓ αc␈↓∧49␈↓␈α
 ␈αL'Archet␈α
se␈α
 tient␈αde␈α
la␈αmain␈α
droite␈α
les␈αquatre␈α
doits␈αposez␈α
sur␈α
le␈αbois␈α
et␈α
le␈αpouce
␈↓ α∪␈↓dessous la hausse qui ␈↓¬`␈↓el␈↓¬`␈↓eve le crin.  Monteclaire, ␈↓↓M␈↓¬'␈↓↓ethode␈↓, p.3.

␈↓ α∪␈↓␈↓ αc␈↓∧50␈↓␈α ␈αRoger␈αNorth,␈α␈↓↓The␈αMusicall␈αGrammarian␈↓,(1728),␈αedited␈αby␈αHilda␈αAndrews,␈αLondon
␈↓ α∪␈↓[1925], p.35-36.
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ 520


␈↓ α∪␈↓␈↓ β3The␈α
Italians␈α
hold␈α
the␈α
bow␈α
at␈αthree␈α
quarters␈α
[of␈α
its␈α
length],␈α
putting␈αthe␈α
four
␈↓ α∪␈↓␈↓ β3≡ngers␈αat␈αletter␈αA␈αand␈αthe␈αthumb␈α
underneath␈αat␈αB;␈αand␈αthe␈αFrench␈αhold␈α
it
␈↓ α∪␈↓␈↓ β3at␈αthe␈αside␈αof␈αthe␈αfrog,␈αputting␈αthe␈α≡rst,␈αsecond,␈αand␈αthird␈α≡nger␈αabove␈αthe
␈↓ α∪␈↓␈↓ β3wood␈α∞at␈α
CDE,␈α∞the␈α∞thumb␈α
underneath␈α∞the␈α
hair␈α∞F␈α∞and␈α
the␈α∞small␈α∞≡nger␈α
at
␈↓ α∪␈↓␈↓ β3the␈α∂side␈α∞of␈α∂the␈α∞bowstick␈α∂at␈α∂G.␈α∞ These␈α∂two␈α∞ways␈α∂of␈α∞holding␈α∂the␈α∂bow␈α∞are
␈↓ α∪␈↓␈↓ β3equally␈α⊃good,␈α⊃depending␈α⊃on␈α⊃the␈α⊂master␈α⊃who␈α⊃teaches.␈α⊃ The␈α⊃eighths␈α⊂and
␈↓ α∪␈↓␈↓ β3sixteenths are played at the end of the bow at HJ.␈↓∧51␈↓

␈↓ α∪␈↓The plate at the beginning of the tutor depicts a violinist using the French bow grip.(≡g.8)


␈↓ α∪␈↓␈↓ αCGeminiani simply instructs,

␈↓ α∪␈↓␈↓ β3The␈α⊂bow␈α⊂is␈α⊂to␈α⊂be␈α⊂held␈α⊂at␈α⊂a␈α⊂small␈α⊂Distance␈α⊂from␈α⊂the␈α⊂Nut,␈α⊂between␈α⊂the
␈↓ α∪␈↓␈↓ β3Thumb␈α∞and␈α∞Fingers,␈α∞the␈α∞Hair␈α∂being␈α∞turned␈α∞inward␈α∞against␈α∞the␈α∂Back␈α∞or
␈↓ α∪␈↓␈↓ β3Outside␈α∞of␈α
the␈α∞Thumb,␈α
in␈α∞which␈α
Position␈α∞it␈α
is␈α∞to␈α
be␈α∞held␈α
free␈α∞and␈α
easy,
␈↓ α∪␈↓␈↓ β3and not sti≥.  ␈↓∧52␈↓

␈↓ α∪␈↓The␈α∞violinist␈α∞of␈α
his␈α∞frontispiece␈α∞is␈α∞using␈α
an␈α∞Italian␈α∞grip␈α∞with␈α
the␈α∞thumb␈α∞between␈α∞the␈α
stick

␈↓ α∪␈↓and the hair, and the rest of the ≡ngers resting on the stick at the ≡rst joint.(≡g.9)


␈↓ α∪␈↓␈↓ αCTartini␈α⊃is␈α⊂also␈α⊃quite␈α⊂brief,␈α⊃"The␈α⊃bow␈α⊂should␈α⊃be␈α⊂held␈α⊃≡rmly␈α⊂between␈α⊃the␈α⊃thumb␈α⊂and

␈↓ α∪␈↓fore≡nger␈α⊃and␈α⊃lightly␈α∩by␈α⊃the␈α⊃other␈α∩three␈α⊃≡ngers␈α⊃in␈α⊃order␈α∩to␈α⊃produce␈α⊃a␈α∩strong␈α⊃sustained

␈↓ α∪␈↓tone."␈↓∧53␈↓


␈↓ α∪␈↓␈↓ αCMozart␈α_gives␈α_the␈α_most␈α_extensive␈α_and␈α_detailed␈α_instructions␈α_further␈α→elucidated␈α_by

␈↓ α∪␈↓illustrations.(≡gs.10,11,14)

␈↓ α∪␈↓␈↓ β3The␈α∞bow␈α∞is␈α
taken␈α∞in␈α∞the␈α
right␈α∞hand,␈α∞at␈α
its␈α∞lowest␈α∞extremity,␈α∞between␈α
the

␈↓ α∪␈↓__________
␈↓ α∪␈↓␈↓ αc␈↓∧51␈↓␈α ␈αLes␈αItalians␈αle␈αtiennent␈αaux␈αtrois␈αquarts␈αen␈αmettant␈αquatre␈αdoigts␈αsur␈αle␈αbois,␈αA,␈αet
␈↓ α∪␈↓le␈α
pouce␈α
dessous,␈α
B,␈α
et␈α∞les␈α
Fran␈↓¬,␈↓cois␈α
le␈α
tiennent␈α
du␈α
c␈↓¬∧␈↓ot␈↓¬'␈↓e␈α∞de␈α
la␈α
hausse,␈α
en␈α
mettant␈α∞le␈α
premier,
␈↓ α∪␈↓deuxieme␈α
et␈αtroisieme␈α
doigt␈αdessus␈α
le␈αbois,␈α
C,␈αD,␈α
E,␈αle␈α
pouce␈αdessous␈α
le␈αcrin␈α
F,␈αet␈α
le␈αpetit␈α
doigt
␈↓ α∪␈↓acost␈↓¬'␈↓e␈α
du␈α
bois,␈α
G.␈α
 Ces␈αdeux␈α
fa␈↓¬,␈↓cons␈α
de␈α
tenir␈α
l'Archet␈αsont␈α
␈↓¬'␈↓egalement␈α
bonne␈α
cela␈α
d␈↓¬`␈↓epend␈αdu
␈↓ α∪␈↓Ma␈↓¬∧␈↓itre␈αqui␈αenseigne.␈α Corrette,␈↓↓L'␈↓¬'␈↓↓Ecole␈αD'Orph␈↓¬'␈↓↓ee␈↓,␈αp.7.␈α Translation␈αfrom␈α Boyden,␈α␈↓↓The␈αHistory
␈↓ α∪␈↓↓of the Violin␈↓, p.371.

␈↓ α∪␈↓␈↓ αc␈↓∧52␈↓   Geminiani, ␈↓↓The Art␈↓, p.2.

␈↓ α∪␈↓␈↓ αc␈↓∧53␈↓␈α ␈α"L'Arco␈αv␈↓¬`␈↓a␈αtenuto␈αcon␈αforza␈αne'primi␈αdue␈αdita,␈αe␈αgl'altri␈αtre␈αleggieri␈αper␈αcavar␈α
voce
␈↓ α∪␈↓di␈α∩polso..."␈α⊃Tartini,␈α∩Giuseppe,␈α⊃␈↓↓Regole␈α∩per␈α⊃arrivare␈α∩a␈α⊃saper␈α∩ben␈α⊃suonar␈α∩il␈α⊃Violino␈α∩col␈α⊃vero
␈↓ α∪␈↓↓fondamento␈αdi␈αsaper␈αsicuramente␈αtutto␈αquello␈αche␈αsi␈αfa;␈↓copiate␈αda␈αGiovanni␈αFrancesco␈αNicolai,
␈↓ α∪␈↓p.3.   Translation by Erwin Jacobi in his edition of Tartini's ␈↓↓Trait␈↓¬'␈↓↓e des Agr␈↓¬'␈↓↓ements␈↓, p.57.
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ 521


␈↓ α∪␈↓␈↓ β3thumb␈αand␈αthe␈αmiddle␈αjoint␈αof␈αthe␈αindex-≡nger,␈αor␈αeven␈αa␈αlittle␈αbehind␈αit.
␈↓ α∪␈↓␈↓ β3...The␈αlittle␈α≡nger␈α
must␈αlie␈αat␈αall␈α
times␈αon␈αthe␈αbow␈α
and␈αnever␈αbe␈αheld␈α
freely
␈↓ α∪␈↓␈↓ β3away␈α
from␈α
the␈α
stick,␈αfor␈α
it␈α
contributes␈α
greatly␈α
to␈αthe␈α
control␈α
of␈α
the␈αbow␈α
and
␈↓ α∪␈↓␈↓ β3therefore␈α
to␈αthe␈α
necessary␈α
strength␈αand␈α
weakness␈α
by␈αmeans␈α
of␈α
pressing␈αor
␈↓ α∪␈↓␈↓ β3relaxing.␈α∪  ...The␈α∪≡rst,␈α∪namely␈α∪the␈α∪index␈α∪≡nger,␈α∪must,␈α∪however␈α∪not␈α∪be
␈↓ α∪␈↓␈↓ β3stretched␈α∞too␈α∞far␈α∞over␈α∞the␈α∞bow␈α∞or␈α∞too␈α∞far␈α∞from␈α∞the␈α∞others.␈α∞ One␈α∞may,␈α∞at
␈↓ α∪␈↓␈↓ β3times,␈α
hold␈α
the␈α
bow␈α
with␈α
the␈α≡rst␈α
or␈α
second␈α
joint␈α
of␈α
the␈α
index-≡nger,␈αbut
␈↓ α∪␈↓␈↓ β3the␈αstretching␈αout␈αof␈αthe␈αindex-≡nger␈αis␈αat␈αall␈αtimes␈αa␈αserious␈αerror.␈α For␈αin
␈↓ α∪␈↓␈↓ β3that␈α∂way␈α∂the␈α∂hand␈α∂sti≥ens␈α∂because␈α∂the␈α∂nerves␈α∂are␈α∂taut,␈α∂and␈α∂the␈α∂bowing
␈↓ α∪␈↓␈↓ β3becomes␈α⊂laboured␈α⊃and␈α⊂clumsy;␈α⊂ yea,␈α⊃right␈α⊂awkward,␈α⊂as␈α⊃it␈α⊂must␈α⊃then␈α⊂be
␈↓ α∪␈↓␈↓ β3performed by the whole arm.␈↓∧54␈↓

␈↓ α∪␈↓The␈α∂plate␈α∂shows␈α∂a␈α∂grip␈α∂much␈α∂more␈α∂akin␈α∂to␈α∂the␈α∂one␈α∂modern␈α∂violinists␈α∂use,␈α∂with␈α⊂the␈α∂stick

␈↓ α∪␈↓≡rmly␈α∞grasped␈α∞between␈α∞the␈α∞thumb␈α∞and␈α∂the␈α∞middle␈α∞≡nger.␈α∞ The␈α∞index␈α∞and␈α∞ring␈α∂≡ngers␈α∞are

␈↓ α∪␈↓draped␈αover␈αthe␈αbow␈αat␈αthe␈αsecond␈αjoint,␈αand␈αthe␈αlittle␈α≡nger␈αrests␈αon␈αthe␈αstick.␈α By␈αthe␈αtime

␈↓ α∪␈↓L'Abb␈↓¬'␈↓e le ≡ls publishes his method, the French bow grip seems to have gone out of use;

␈↓ α∪␈↓␈↓ β3It␈α∞is␈α
necessary␈α∞to␈α
place␈α∞the␈α
tip␈α∞of␈α
the␈α∞little␈α
≡nger␈α∞on␈α
the␈α∞part␈α
of␈α∞the␈α
bow
␈↓ α∪␈↓␈↓ β3which␈α
holds␈α
the␈α
frog.␈α
 The␈α
index␈α[≡nger]␈α
should␈α
be␈α
positioned␈α
in␈α
such␈αa
␈↓ α∪␈↓␈↓ β3way␈αthat␈αthe␈αbow␈αis␈αin␈αthe␈αmiddle␈αof␈αthe␈αsecond␈αjoint␈αof␈αthis␈α≡nger␈αwhich,
␈↓ α∪␈↓␈↓ β3in␈α
order␈α
to␈α
have␈α
more␈α
force␈α
should␈α
be␈α
a␈α
bit␈α
removed␈α
from␈α
the␈α
others.␈α
 The
␈↓ α∪␈↓␈↓ β3thumb␈αshould␈α
be␈αopposite␈α
the␈αmiddle␈α≡nger␈α
and␈αsustain␈α
all␈αthe␈α
weight␈αof
␈↓ α∪␈↓␈↓ β3the␈α∀bow.␈α∀ In␈α∪placing␈α∀the␈α∀bow␈α∪on␈α∀the␈α∀strings␈α∪the␈α∀rod␈α∀should␈α∀not␈α∪be
␈↓ α∪␈↓␈↓ β3perpendicular␈α∞to␈α∂the␈α∞hair␈α∂but␈α∞it␈α∂should␈α∞tilt␈α∞a␈α∂bit␈α∞toward␈α∂the␈α∞side␈α∂of␈α∞the
␈↓ α∪␈↓␈↓ β3≡ngerboard.␈↓∧55␈↓


␈↓ α∪␈↓__________
␈↓ α∪␈↓␈↓ αc␈↓∧54␈↓␈α∂ ␈α∂Der␈α∂Bogen␈α⊂wird␈α∂an␈α∂seinem␈α∂untersten␈α∂Theile␈α⊂in␈α∂die␈α∂rechte␈α∂Hand␈α⊂zwischen␈α∂den
␈↓ α∪␈↓Daumen␈α∪und␈α∩zwischen,␈α∪oder␈α∩auch␈α∪ein␈α∩wenig␈α∪hinter␈α∩das␈α∪mittlere␈α∩Glied␈α∪des␈α∩Zeige≡ngers
␈↓ α∪␈↓genommen.␈α...Der␈αkleine␈αFinger␈α
soll␈α allezeit␈αauf␈αdem␈α
Bogen␈αliegen␈αbleiben,␈αund␈α
niemal␈αvom
␈↓ α∪␈↓Bogen␈α
weg␈α
frey␈α∞hinaus␈α
 gehalten␈α
werden:␈α
weil␈α∞derselbe␈α
zur␈α
M␈↓¬:␈↓assigung␈α
des␈α∞Bogens,␈α
folglich
␈↓ α∪␈↓zur␈α⊃n␈↓¬:␈↓othigen␈α⊃St␈↓¬:␈↓arke␈α∩und␈α⊃schw␈↓¬:␈↓ache␈α⊃durch␈α⊃das␈α∩Nachdr␈↓¬:␈↓ucken␈α⊃oder␈α⊃Nachlassen␈α∩sehr␈α⊃vieles
␈↓ α∪␈↓beytr␈↓¬:␈↓agt.␈α ...Man␈αmuss␈αaber␈α
auch␈αden␈αersten,␈αn␈↓¬:␈↓amlich␈αden␈α
Zeige≡nger␈αnicht␈αzu␈αsehr␈α
auf␈αdem
␈↓ α∪␈↓Bogen␈α
austrecken,␈α
und␈α
von␈α
den␈α
␈↓¬:␈↓ubrigen␈α
entfernen.␈α
 Man␈α
mag␈α
alsdann␈α
den␈α
Bogen␈α
mit␈αdem
␈↓ α∪␈↓ersten␈α∞oder␈α
zweyten␈α∞Gliede␈α
des␈α∞Zeige≡ngers␈α∞halten;␈α
so␈α∞ist␈α
die␈α∞Austreckung␈α∞ des␈α
Zeige≡ngers
␈↓ α∪␈↓allezeit␈α
ein␈α∞Hauptfehler.␈α
 Denn␈α∞dadurch␈α
wird␈α
die␈α∞Hand␈α
steif:␈α∞weil␈α
die␈α∞Nerven␈α
angespannet
␈↓ α∪␈↓sind.␈α Und␈α
der␈αBogenstrich␈α
wird␈αschwerm␈↓¬:␈↓uthig,␈α
plump,␈αja␈α
recht␈αungeschickt:␈α
da␈αer␈α
mit␈αdem
␈↓ α∪␈↓ganzen␈α⊂Arme␈α⊂gemacht␈α⊂wird.␈α⊂ Mozart,␈α⊂␈↓↓Versuch␈↓,␈α⊂p.54-55.␈α⊂ Translation,␈α⊂Knocker,␈α⊂␈↓↓A␈α⊂Treatise␈↓,
␈↓ α∪␈↓p.58)

␈↓ α∪␈↓␈↓ αc␈↓∧55␈↓␈α ␈αIl␈αfaut␈αposer␈αle␈αbout␈αdu␈αpetit␈αdoigt␈αsur␈αla␈αpartie␈αde␈αl'Archet␈αqui␈αtient␈α␈↓¬`␈↓a␈αla␈αHausse;
␈↓ α∪␈↓l'Index␈α
doit␈α
␈↓¬∧␈↓etre␈α
plac␈↓¬'␈↓e␈α
de␈αfa␈↓¬,␈↓con␈α
que␈α
l'Archet␈α
se␈α
trouve␈α
au␈αmilieu␈α
de␈α
la␈α
seconde␈α
phalange␈αde␈α
ce
␈↓ α∪␈↓doigt,␈α
lequel,␈αpour␈α
avoir␈α
plus␈αde␈α
force,␈α
doit␈α␈↓¬∧␈↓etre␈α
un␈α
peu␈α␈↓¬'␈↓eloign␈↓¬'␈↓e␈α
des␈α
autres.␈α Le␈α
pouce␈αdoit␈α
␈↓¬∧␈↓etre
␈↓ α∪␈↓vis-␈↓¬`␈↓a-vis␈α
le␈α
doigt␈α∞du␈α
milieu,␈α
et␈α
so␈↓¬∧␈↓utenir␈α∞tout␈α
le␈α
poids␈α
de␈α∞l'Archet:␈α
en␈α
posant␈α
l'Archet␈α∞sur␈α
les
␈↓ α∪␈↓Cordes,␈αla␈αbaguette␈αne␈αdoit␈αpas␈α
se␈αtrouver␈αperpendiculairement␈αau␈αdessus␈αdu␈αCrin,␈α
mais␈αelle
␈↓ α∪␈↓doit pancher un peu du c␈↓¬∧␈↓ot␈↓¬'␈↓e de la Touche.  L'Abb␈↓¬'␈↓e le ≡ls, ␈↓↓Principes␈↓, p.1.
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ 522


␈↓ α∪␈↓␈↓ αC␈↓αBowing␈↓


␈↓ α∪␈↓␈↓ αCInstructions on bowing are often amusing, particularly in the elementary tutors.


␈↓ α∪␈↓␈↓ αCMersenne␈αsuggests␈α "...the␈αhand␈αwhich␈αholds␈αthe␈αbow␈αought␈αto␈αbe␈αat␈αleast␈αequal␈αin␈αspeed

␈↓ α∪␈↓to the left..."␈↓∧56␈↓


␈↓ α∪␈↓␈↓ αCPlayford follows his description of the bow grip with:

␈↓ α∪␈↓␈↓ β3Your␈α␈↓↓Bow␈↓␈αbeing␈αthru␈α≡x'd,␈αyou␈αare␈α≡rst␈αto␈αdraw␈αan␈α␈↓↓even␈αStroke␈↓␈αover␈αeach
␈↓ α∪␈↓␈↓ β3␈↓↓String␈↓ severally makeing each ␈↓↓String␈↓ yield a clear and distinct Sound.␈↓∧57␈↓


␈↓ α∪␈↓␈↓ αCFalck's observations seem a bit obvious,

␈↓ α∪␈↓␈↓ β3The␈α
stroke␈α
lasts␈α
the␈α
note's␈α∞value␈α
long,␈α
satisfying␈α
and␈α
even␈α
on␈α∞the␈α
strings,
␈↓ α∪␈↓␈↓ β3not too close to the bridge, but also not too far from it.  ␈↓∧58␈↓

␈↓ α∪␈↓He␈αsuggests␈α
playing␈αcoloratura␈α
passages␈αand␈αquick␈α
runs␈αat␈α
the␈αtip␈αwhere␈α
the␈αbow␈α
is␈αlight.␈↓∧59␈↓

␈↓ α∪␈↓He␈α⊂also␈α⊂gives␈α⊂some␈α∂elementary␈α⊂bowing␈α⊂rules␈α⊂(downbow␈α∂at␈α⊂beginnings␈α⊂of␈α⊂measures␈α∂except

␈↓ α∪␈↓after a rest and for groups of odd numbers of notes)


␈↓ α∪␈↓␈↓ αCMu≥at states:

␈↓ α∪␈↓␈↓ β3 ...all␈α
the␈α
≡nest␈α
masters,␈α
regardless␈α
of␈α
their␈α
nationality␈α
agree␈α
with␈α
each␈α
other
␈↓ α∪␈↓␈↓ β3that␈α
the␈α
longer,␈α
steadier,␈α
sweeter,␈α
and␈α
more␈α
even␈α
the␈α
bow␈α
stroke␈α
is,␈αthe␈α
≡ner
␈↓ α∪␈↓␈↓ β3it is considered;␈↓∧60␈↓

␈↓ α∪␈↓__________
␈↓ α∪␈↓␈↓ αc␈↓∧56␈↓␈α∞ ␈α
"...la␈α∞main␈α
qui␈α∞tient␈α
l'archet␈α∞doit␈α
estre␈α∞du␈α
moins␈α∞esgale␈α
en␈α∞vistesse␈α
␈↓¬`␈↓a␈α∞la␈α
gauche..."
␈↓ α∪␈↓Mersenne, ␈↓↓Harmonie␈↓ p.183. Translation, Chapman, ␈↓↓The Books on Instruments␈↓, p. 241.

␈↓ α∪␈↓␈↓ αc␈↓∧57␈↓   Playford, ␈↓↓An Introduction␈↓, p.65.

␈↓ α∪␈↓␈↓ αc␈↓∧58␈↓␈α ␈α
die␈αStriche␈αnach␈α
der␈α␈↓αNot␈↓en␈α␈↓αValor␈↓␈α
und␈αGeltung␈αfein␈α
lang/satt␈αund␈αgleich␈α
auf␈αden
␈↓ α∪␈↓Saiten/nicht zu nahe am Steeg/auch nicht zu ferne davon f␈↓¬:␈↓uhren

␈↓ α∪␈↓␈↓ αc␈↓∧59␈↓␈α
 ␈α
"die␈α
␈↓αColoratur␈↓en␈α
und␈αgeschwinde␈α
L␈↓¬:␈↓au∞ein␈α
vornen/wo␈α
der␈α
Bogen␈αleicht␈α
ist/machen
␈↓ α∪␈↓und streichen."  Falck, ␈↓↓Idea␈↓, p.191.

␈↓ α∪␈↓␈↓ αc␈↓∧60␈↓␈α ␈αDe␈αplus␈αquoyque␈αtous␈αles␈αmeilleurs␈αma␈↓¬∧␈↓itres␈αde␈αquelle␈αnation␈αqu'ils␈α
soient,␈αtiennent
␈↓ α∪␈↓d'un␈α⊂commun␈α⊂consentement,␈α⊂que␈α⊂plus␈α⊂le␈α⊂trait␈α⊂est␈α⊂long,␈α⊂ferme,␈α⊂egal,␈α⊂et␈α⊂doux,␈α⊂plus␈α⊂il␈α⊃est␈α⊂a
␈↓ α∪␈↓estimer... Mu≥at, ␈↓↓Florilegium Secundum␈↓, p.45.
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ 523


␈↓ α∪␈↓His␈αtreatise␈αis,␈αof␈αcourse,␈αmost␈αwell␈αknown␈αfor␈αits␈αinstruction␈αon␈αthe␈αbowing␈αof␈αFrench␈αdances

␈↓ α∪␈↓-␈α⊃the␈α⊂tyrannical␈α⊃"rule␈α⊃of␈α⊂the␈α⊃downbow",␈α⊃designed␈α⊂to␈α⊃coordinate␈α⊃the␈α⊂bow␈α⊃strokes␈α⊃of␈α⊂large

␈↓ α∪␈↓groups of string players.


␈↓ α∪␈↓␈↓ αCPrelleur␈α⊂gives␈α⊃no␈α⊂instructions␈α⊃on␈α⊂holding␈α⊃the␈α⊂bow␈α⊂or␈α⊃on␈α⊂the␈α⊃bow␈α⊂stroke.␈α⊃ He␈α⊂merely

␈↓ α∪␈↓includes␈α
a␈α
section␈α
(very␈α
similar␈α
to␈α∞that␈α
of␈α
Falck)␈α
on␈α
various␈α
common␈α∞bowings.␈α
 Monteclaire

␈↓ α∪␈↓adds his plea to that of Mersenne stating,

␈↓ α∪␈↓␈↓ β3It␈αis␈αnecessary␈αto␈αcoordinate␈αwell␈αthe␈αtwo␈αhands␈αtogether␈αin␈αorder␈α
that␈αthe
␈↓ α∪␈↓␈↓ β3bow␈α
does␈α
not␈α
go␈α
more␈α
quickly␈α
or␈α
more␈α
slowly␈α
than␈α
the␈α
≡ngers␈α
of␈α
the␈α
left
␈↓ α∪␈↓␈↓ β3hand,␈α∪for␈α∪it␈α∪is␈α∪this␈α∪which␈α∪comprises␈α∪the␈α∪beauty␈α∪and␈α∪di≠culty␈α∪of␈α∩the
␈↓ α∪␈↓␈↓ β3violin␈↓∧61␈↓


␈↓ α∪␈↓␈↓ αCCrome␈α∞states␈α
that␈α∞the␈α
bow␈α∞is␈α
"of␈α∞the␈α
utmost␈α∞consequence␈α
because␈α∞it␈α
is␈α∞in␈α
a␈α∞manner␈α
the

␈↓ α∪␈↓Tongue␈α∀of␈α∃the␈α∀Instrument,␈α∃and␈α∀pronounces␈α∀every␈α∃thing␈α∀we␈α∃play."␈α∀He␈α∃emphasizes␈α∀the

␈↓ α∪␈↓importance␈α
of␈α
practice␈αin␈α
perfecting␈α
the␈αbow␈α
motion␈α
since␈α
"using␈αthe␈α
Bow␈α
regularly␈αwill␈α
make

␈↓ α∪␈↓the␈αArm␈αNimble".␈α He␈αrelates␈αthat␈αCorelli␈αwould␈αallow␈αhis␈αstudents␈αto␈αdo␈αlittle␈αelse␈αbut␈αdraw

␈↓ α∪␈↓the bow over the instrument for 3 or 4 months.␈↓∧62␈↓


␈↓ α∪␈↓␈↓ αCCorrette instructs:

␈↓ α∪␈↓␈↓ β3To␈α
draw␈α
the␈α
sound␈αof␈α
the␈α
violin␈α
it␈α
is␈αnecessary␈α
to␈α
pull␈α
and␈α
push␈αwith␈α
large
␈↓ α∪␈↓␈↓ β3strokes␈α→of␈α~the␈α→bow,␈α~but␈α→in␈α→a␈α~gracious␈α→and␈α~agreeable␈α→manner....In
␈↓ α∪␈↓␈↓ β3sarabandes,␈α
largos,␈α
and␈α
other␈α
pieces␈α
of␈α
taste,␈α
it␈α
is␈α
necessary␈α
to␈α
play␈α
whole
␈↓ α∪␈↓␈↓ β3notes,␈αhalf␈αnotes,and␈αquarter␈αnotes␈αwith␈αlarge␈αstrokes␈αof␈αthe␈αbow␈αand␈αswell
␈↓ α∪␈↓␈↓ β3the␈α
sounds␈α
at␈αthe␈α
end.␈α
 But␈α
for␈αthe␈α
ends␈α
of␈α
songs␈αit␈α
is␈α
necessary␈α
to␈αbegin
␈↓ α∪␈↓␈↓ β3the␈α⊂bow␈α⊂strokes␈α⊃with␈α⊂sweetness,␈α⊂strengthen␈α⊂it␈α⊃at␈α⊂the␈α⊂middle,␈α⊃and␈α⊂≡nish,
␈↓ α∪␈↓␈↓ β3dying.␈↓∧63␈↓

␈↓ α∪␈↓__________
␈↓ α∪␈↓␈↓ αc␈↓∧61␈↓␈α
 ␈α
Il␈α
faut␈α
bien␈α
acorder␈α
les␈α
deux␈α
mains␈α
ensemble␈α
a≡n␈α
que␈α
l'Archet␈α
n␈↓¬'␈↓aille␈α
ni␈α
plus␈α
v␈↓¬∧␈↓ite␈α
ni
␈↓ α∪␈↓plus␈αlentement␈αque␈αles␈αdoits␈αde␈αla␈αmain␈αgauche,␈αcar␈αc'est␈αen␈αcela␈αque␈αconsiste␈αla␈αdi≡cult␈↓¬'␈↓e␈αet␈αla
␈↓ α∪␈↓beaut␈↓¬'␈↓e du Violon.  Monteclaire, ␈↓↓M␈↓¬'␈↓↓ethode␈↓, p.3.

␈↓ α∪␈↓␈↓ αc␈↓∧62␈↓   Crome, ␈↓↓The Fiddle␈↓, pp.47-48.

␈↓ α∪␈↓␈↓ αc␈↓∧63␈↓␈α∞ ␈α∞Pour␈α∞tirer␈α∞du␈α∂son␈α∞du␈α∞Violon,␈α∞il␈α∞faut␈α∂tirer␈α∞et␈α∞pousser␈α∞de␈α∞grands␈α∂coups␈α∞d'Archet,
␈↓ α∪␈↓mais␈α⊃d'une␈α⊂maniere␈α⊃gracieuse␈α⊃et␈α⊂agr␈↓¬'␈↓eable....Dans␈α⊃les␈α⊃sarabandes,␈α⊂Adagio,␈α⊃Largo;␈α⊃et␈α⊂autres
␈↓ α∪␈↓Pieces␈α
de␈αgo␈↓¬∧␈↓ut,␈α
il␈αfaut␈α
faire␈αles␈α
Rondes,␈α
Blanches,␈αet␈α
Noires␈αavec␈α
de␈αgrands␈α
Coups␈αd'Archet␈α
et
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ 524


␈↓ α∪␈↓␈↓ αCGeminiani gives a detailed description of the bowing motion:

␈↓ α∪␈↓␈↓ β3The␈α⊂Motion␈α⊃is␈α⊂to␈α⊂proceed␈α⊃from␈α⊂the␈α⊃Joints␈α⊂of␈α⊂the␈α⊃Wrist␈α⊂and␈α⊃Elbow␈α⊂in
␈↓ α∪␈↓␈↓ β3playing␈α∂quick␈α⊂Notes,␈α∂and␈α∂very␈α⊂little␈α∂or␈α∂not␈α⊂at␈α∂all␈α∂from␈α⊂the␈α∂Joint␈α⊂of␈α∂the
␈↓ α∪␈↓␈↓ β3Shoulder;␈α∞but␈α∂in␈α∞playing␈α∞long␈α∂Notes,␈α∞where␈α∞the␈α∂Bow␈α∞is␈α∞drawn␈α∂from␈α∞one
␈↓ α∪␈↓␈↓ β3End␈αof␈α
it␈αto␈α
the␈αother,␈αthe␈α
Joint␈αof␈α
the␈αShoulder␈αis␈α
also␈αa␈α
little␈αemployed.
␈↓ α∪␈↓␈↓ β3The␈αBow␈αmust␈αalways␈αbe␈αdrawn␈αparallel␈αwith␈αthe␈αBridge,␈α(which␈αcan't␈αbe
␈↓ α∪␈↓␈↓ β3done␈α
if␈α
it␈α
is␈α
held␈α
sti≥)␈α
and␈α
must␈α
be␈α
pressed␈α
upon␈α
the␈α
Strings␈α
with␈α
the␈α
Fore-
␈↓ α∪␈↓␈↓ β3≡nger␈α∪only,␈α∪and␈α∪not␈α∪with␈α∪the␈α∪whole␈α∪Weight␈α∪of␈α∪the␈α∪Hand.␈α∪ The␈α∩best
␈↓ α∪␈↓␈↓ β3Performers␈αare␈αleast␈αsparing␈αof␈αtheir␈α
Bow;␈αand␈αmake␈αUse␈αof␈αthe␈α
whole␈αof
␈↓ α∪␈↓␈↓ β3it,␈αfrom␈αthe␈αPoint␈αto␈αthat␈αPart␈αof␈αit␈αunder,␈αand␈αeven␈αbeyond␈αtheir␈αFingers.
␈↓ α∪␈↓␈↓ β3In␈α∞an␈α∞upbow␈α∂the␈α∞Hand␈α∞is␈α∂bent␈α∞a␈α∞little␈α∞downward␈α∂from␈α∞the␈α∞Joint␈α∂of␈α∞the
␈↓ α∪␈↓␈↓ β3Wrist,␈αwhen␈αthe␈αNut␈αof␈αthe␈αBow␈αapproaches␈αthe␈αStrings,␈αand␈αthe␈αWrist␈αis
␈↓ α∪␈↓␈↓ β3immediately␈αstreightned,␈αor␈αthe␈αHand␈αrather␈αa␈αlittle␈αbent␈αback␈α
or␈αupward,
␈↓ α∪␈↓␈↓ β3as soon as the Bow is began to be drawn down again.

␈↓ α∪␈↓He has much to say on the importance of bowing in beautiful sound production.

␈↓ α∪␈↓␈↓ β3One␈α
of␈α
the␈α
principal␈α
Beauties␈α
of␈α
the␈α
Violin␈α
is␈α
the␈α
swelling␈α∞or␈α
encreasing
␈↓ α∪␈↓␈↓ β3and␈α∂softening␈α∂the␈α∂Sound;␈α∂which␈α∂is␈α∂done␈α∂by␈α∂pressing␈α∂the␈α∂Bow␈α⊂upon␈α∂the
␈↓ α∪␈↓␈↓ β3Strings␈α∂with␈α∂the␈α∂Fore-≡nger␈α∂more␈α∂or␈α∂less.␈α∂ In␈α∂playing␈α∂all␈α∂long␈α∂Notes␈α∞the
␈↓ α∪␈↓␈↓ β3Sound␈α∂should␈α∂be␈α∂begun␈α∂soft,␈α∞and␈α∂gradually␈α∂swelled␈α∂till␈α∂the␈α∂Middle,␈α∞and
␈↓ α∪␈↓␈↓ β3from␈α∞thence␈α∂gradually␈α∞softened␈α∂till␈α∞the␈α∞End.␈α∂ And␈α∞lastly,␈α∂particular␈α∞Care
␈↓ α∪␈↓␈↓ β3must␈α
be␈αtaken␈α
to␈αdraw␈α
the␈αBow␈α
smooth␈α
from␈αone␈α
End␈αto␈α
the␈αother␈α
without
␈↓ α∪␈↓␈↓ β3any␈α
Interruption␈α
or␈α
stopping␈α
in␈α
the␈α
Middle.␈α
 For␈α
on␈α
this␈α
principally,␈α
and
␈↓ α∪␈↓␈↓ β3the␈α∞keeping␈α∞it␈α
always␈α∞parallel␈α∞with␈α
the␈α∞Bridge,␈α∞and␈α
pressing␈α∞it␈α∞only␈α
with
␈↓ α∪␈↓␈↓ β3the␈αFore-≡nger␈αupon␈αthe␈αStrings␈αwith␈αDiscretion,␈αdepends␈αthe␈α≡ne␈αTone␈αof
␈↓ α∪␈↓␈↓ β3the Instrument.␈↓∧64␈↓

␈↓ α∪␈↓He also cautions:

␈↓ α∪␈↓␈↓ β3The␈αBow␈αmust␈αalways␈αbe␈αdrawn␈αstrait␈αon␈αthe␈αStrings,␈αand␈αnever␈αbe␈αraised
␈↓ α∪␈↓␈↓ β3from them in playing Semi-quavers...

␈↓ α∪␈↓␈↓ β3Before␈α∩I␈α∪conclude␈α∩the␈α∩Article␈α∪of␈α∩Bowing,␈α∩I␈α∪must␈α∩caution␈α∪the␈α∩Learner
␈↓ α∪␈↓␈↓ β3against␈αmarking␈αthe␈αTime␈αwith␈αhis␈αBow;␈αfor␈αif␈αhe␈αonce␈αaccustoms␈αhimself
␈↓ α∪␈↓␈↓ β3to␈α⊂it,␈α⊂he␈α⊂will␈α⊃hardly␈α⊂ever␈α⊂leave␈α⊂it␈α⊂o≥.␈α⊃ And␈α⊂it␈α⊂has␈α⊂a␈α⊃most␈α⊂disagreeable
␈↓ α∪␈↓␈↓ β3E≥ect, and frequently destroys the Design of the Composer.␈↓∧65␈↓

␈↓ α∪␈↓His␈α∞Examples␈α∞exercise␈α∞the␈α∞player␈α∞in␈α∞various␈α∞combinations␈α∞of␈α∞bowings,␈α∞and␈α∞he␈α∂exhorts␈α∞the


␈↓ α∪␈↓__________
␈↓ α∪␈↓en∨er les sons sur la ≡n. Mais pour les ≡nalles et terminaisons de chants, il faut commencer le
␈↓ α∪␈↓␈↓ β3coup␈α∂d'Archet␈α∞avec␈α∂douceur␈α∞le␈α∂forti≡er␈α∞au␈α∂milieu␈α∞et␈α∂le␈α∞≡nir␈α∂en␈α∞mourant.
␈↓ α∪␈↓␈↓ β3Corrette, ␈↓↓L'␈↓¬'␈↓↓Ecole␈↓, pp.7, 34.

␈↓ α∪␈↓␈↓ αc␈↓∧64␈↓   Geminiani, ␈↓↓The Art␈↓, p.2.

␈↓ α∪␈↓␈↓ αc␈↓∧65␈↓   Ibid., p.9.
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ 525


␈↓ α∪␈↓student␈αto␈αpractice␈αbowing␈αexercises␈α≡rst␈αonly␈αon␈αopen␈αstrings␈α(Exercise␈αXXIV)␈α"in␈αorder␈αnot

␈↓ α∪␈↓to␈αconfound␈αthe␈αExecution␈αof␈αthe␈αFingers␈αwith␈αthat␈αof␈αthe␈αBow"␈α-␈αan␈αecho␈αof␈αMersenne␈αand

␈↓ α∪␈↓Monteclaire.␈α In␈αone␈α
Example,␈αhe␈αshows␈α
de≡ance␈αof␈αthe␈α
French␈αdownbow␈αrule␈α by␈α
instructing

␈↓ α∪␈↓the␈α
student␈α∞to␈α
alternate␈α∞bowings␈α
"taking␈α∞Care␈α
not␈α
to␈α∞follow␈α
that␈α∞wretched␈α
Rule␈α∞of␈α
drawing

␈↓ α∪␈↓the Bow down at the ≡rst Note of every Bar.␈↓∧66␈↓


␈↓ α∪␈↓␈↓ αCMozart␈α∞takes␈α∞bowing␈α∞variety␈α
and␈α∞control␈α∞of␈α∞tone␈α
production␈α∞one␈α∞step␈α∞further␈α∞than␈α
any

␈↓ α∪␈↓other␈α
tutor.␈α
 Whereas␈α
the␈α
treatises␈α
of␈αCorrette,␈α
Geminiani,␈α
and␈α
L'Abbe␈α
le␈α
≡ls␈α
describe␈αa␈α
messa

␈↓ α∪␈↓di␈αvoce␈αtype␈αof␈α
sound␈α(weak␈αat␈αthe␈α
extremes␈αof␈αthe␈αbow␈αand␈α
strong␈αin␈αthe␈αmiddle)␈α
as␈αbeing

␈↓ α∪␈↓the␈α
ideal,␈α
Mozart␈αproposes␈α
in␈α
addition,␈αpracticing␈α
bowings␈α
which␈α
create␈αthe␈α
e≥ects␈α
of␈αa␈α
strong

␈↓ α∪␈↓sound␈αtapering␈α
to␈αweak␈α(≡g.15),␈α
weak␈αgrowing␈αstrong␈α
(≡g.16),␈αand␈α
a␈αweak-strong-weak-strong

␈↓ α∪␈↓sound␈αwithin␈α
one␈αstroke␈α(≡g.17)␈α
-␈αall␈αof␈α
these␈αpractised␈α
on␈αboth␈αthe␈α
upbow␈αand␈αthe␈α
downbow.

␈↓ α∪␈↓He␈αalso␈αrecommends␈α
practicing␈αthe␈αproduction␈α
of␈αa␈αsound␈αwhich␈α
is␈αperfectly␈αeven␈α
from␈αone

␈↓ α∪␈↓end␈α
of␈α
the␈α
bow␈α
to␈αthe␈α
other␈α
(a␈α
bow␈α
defying␈α
act,␈αgiven␈α
the␈α
resilient␈α
springiness␈α
of␈α
its␈αaction

␈↓ α∪␈↓resulting␈α
from␈α∞its␈α
convex␈α
construction).␈α∞ Mozart␈α
sees␈α
the␈α∞mastery␈α
of␈α
the␈α∞bow␈α
as␈α∞essential␈α
in

␈↓ α∪␈↓the␈αproper␈αexecution␈αof␈α
an␈αAdagio␈αpiece.␈↓∧67␈↓␈αHe␈α
considers␈αbowing␈αimportant␈αenough␈αto␈α
devote

␈↓ α∪␈↓5 chapters to the subject.


␈↓ α∪␈↓␈↓ αCTartini covers various aspects of bowing.  In tone production

␈↓ α∪␈↓␈↓ β3To␈α∩draw␈α∩a␈α⊃beautiful␈α∩tone␈α∩from␈α⊃the␈α∩instrument,␈α∩place␈α⊃the␈α∩bow␈α∩on␈α⊃the
␈↓ α∪␈↓␈↓ β3strings␈αgently␈αat␈α≡rst␈αand␈αthen␈αincrease␈αthe␈αpressure.␈α If␈αthe␈αfull␈αpressure␈αis
␈↓ α∪␈↓␈↓ β3applied immediately, a harsh, scraping sound will result.␈↓∧68␈↓



␈↓ α∪␈↓__________
␈↓ α∪␈↓␈↓ αc␈↓∧66␈↓   Ibid.,  p.4.

␈↓ α∪␈↓␈↓ αc␈↓∧67␈↓   Mozart, ␈↓↓Versuch␈↓, p.102-105.

␈↓ α∪␈↓␈↓ αc␈↓∧68␈↓␈α∞ ␈α∞Per␈α∞cavare␈α∞dall'Istromento␈α
buona␈α∞voce␈α∞bisogn'␈α∞appoggiare␈α∞l'Arco␈α∞con␈α
delicatezza
␈↓ α∪␈↓prima,␈α∂e␈α∂poi␈α∂calcar␈α∞lo,␈α∂altrimenti␈α∂appoggiandolo␈α∂subito␈α∞con␈α∂forza␈α∂si␈α∂cavarebbe␈α∂voce␈α∞cruda
␈↓ α∪␈↓stridola.  Tartini, ␈↓↓Regole␈↓, p.2.
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ 526


␈↓ α∪␈↓Signi≡cantly,␈α
he␈α
gives␈α
no␈α
rules␈α
for␈α
beginning␈α
a␈α
passage␈α
with␈α
an␈α
upbow␈α
or␈α
a␈α
downbow,␈α
but

␈↓ α∪␈↓suggests␈α∩practicing␈α∪all␈α∩passages␈α∪both␈α∩ways␈α∪to␈α∩increase␈α∪facility␈α∩with␈α∪the␈α∩bow.␈α∪ (He␈α∩does,

␈↓ α∪␈↓however, later suggest bowings for some situations).␈↓∧69␈↓


␈↓ α∪␈↓␈↓ αCL'Abb␈↓¬'␈↓e le ≡ls includes fairly extensive instructions:

␈↓ α∪␈↓␈↓ β3The␈α
bow␈α∞should␈α
be␈α∞drawn␈α
with␈α
≡rmness␈α∞without,␈α
however,␈α∞sti≥ening␈α
the
␈↓ α∪␈↓␈↓ β3≡ngers.␈α On␈αthe␈αcontrary,␈α
all␈αtheir␈αjoints␈αshould␈α
be␈αvery␈αfree;␈α in␈α
observing
␈↓ α∪␈↓␈↓ β3this,␈α⊗the␈α⊗≡ngers␈α⊗will␈α⊗make␈α⊗naturally␈α⊗imperceptible␈α↔movements␈α⊗which
␈↓ α∪␈↓␈↓ β3contribute␈αmuch␈αto␈αthe␈αbeauty␈αof␈αthe␈αsounds.␈α The␈αwrist␈αmust␈αalso␈αbe␈αvery
␈↓ α∪␈↓␈↓ β3free.␈αIt␈αshould␈αguide␈αthe␈αbow␈αstraight␈αand␈αdirect␈αit␈αover␈αthe␈αf-holes␈αof␈αthe
␈↓ α∪␈↓␈↓ β3violin.␈α∪ The␈α∪forearm␈α∪should␈α∪only␈α∪act␈α∪and␈α∪follow␈α∪the␈α∪wrist␈α∪in␈α∪all␈α∩the
␈↓ α∪␈↓␈↓ β3operations.␈α⊂ The␈α⊂arm,␈α⊂properly␈α⊂speaking,␈α⊂should␈α⊂only␈α⊂yield␈α⊂in␈α⊂the␈α∂cares
␈↓ α∪␈↓␈↓ β3when␈α
one␈α
uses␈α
the␈α
bow␈α
from␈α
beginning␈α
to␈α
end;␈α
 the␈α
elbow␈α
should␈αalways
␈↓ α∪␈↓␈↓ β3be␈α∀away␈α∀from␈α∪the␈α∀body.␈α∀   One␈α∪can␈α∀call␈α∀the␈α∪bow␈α∀"The␈α∀Soul␈α∀of␈α∪the
␈↓ α∪␈↓␈↓ β3Instrument"␈α∩which␈α⊃it␈α∩touches,␈α∩since␈α⊃it␈α∩serves␈α∩to␈α⊃give␈α∩expression␈α∩to␈α⊃the
␈↓ α∪␈↓␈↓ β3sounds,␈αto␈αspin␈αthem␈α
out,␈αto␈αswell␈αthem,␈α
and␈αto␈αdiminish␈αthem.␈α
   To␈αspin
␈↓ α∪␈↓␈↓ β3out␈α∂a␈α∂sound␈α∂is␈α∂to␈α∂sustain␈α∂it␈α∂for␈α∂a␈α∂certain␈α∂[amount␈α∂of]␈α∂time␈α∂through␈α∂the
␈↓ α∪␈↓␈↓ β3same␈α∪degree␈α∪of␈α∪force.␈α∩   To␈α∪swell␈α∪and␈α∪diminish␈α∩the␈α∪same␈α∪sound␈α∪it␈α∩is
␈↓ α∪␈↓␈↓ β3necessary␈α∀to␈α∪start␈α∀feebly,␈α∪swell␈α∀by␈α∪degrees␈α∀to␈α∪the␈α∀point␈α∪when␈α∀it␈α∪fully
␈↓ α∪␈↓␈↓ β3explodes,␈αthen␈α
soften␈αit␈αin␈α
a␈αsimilar␈α
manner␈αby␈αdegrees␈α
in␈αsuch␈α
a␈αfashion
␈↓ α∪␈↓␈↓ β3that it ≡nishes imperceptibly.␈↓∧70␈↓



␈↓ α∪␈↓␈↓ αC␈↓αConclusion␈↓




␈↓ α∪␈↓__________
␈↓ α∪␈↓␈↓ αc␈↓∧69␈↓␈α ␈αIntorno␈αall'Arco␈αno␈αvi␈α␈↓¬`␈↓e␈αregola␈αdeterminata␈αdel␈αcominciare␈αl'Arcata␈αin␈αgi␈↓¬`␈↓u␈αo␈αin␈αs␈↓¬`␈↓u,
␈↓ α∪␈↓anzi␈αbisogna␈αesercitarsi␈αin␈αtutti␈αli␈αpassi␈αper␈αdritto,␈αe␈αper␈αrovescio,␈αper␈αessere␈αfranchi␈αdell'Arco
␈↓ α∪␈↓con la stessa prontezza tanto in gi␈↓¬`␈↓u, come in s␈↓¬`␈↓u;  Tartini, ␈↓↓Regole␈↓, p.2.

␈↓ α∪␈↓␈↓ αc␈↓∧70␈↓␈α ␈αL'Archet␈αdoit␈α␈↓¬∧␈↓etre␈αtenu␈αavec␈αfermet␈↓¬'␈↓e,␈αsans␈αcependant␈αroidir␈αles␈αdoigts,␈αtoutes␈αleurs
␈↓ α∪␈↓jointures␈α→doivent␈α_␈↓¬∧␈↓etre␈α→au␈α_contraire␈α→fort␈α_libres,␈α→en␈α_observant␈α→cela,␈α_les␈α→doigts␈α_feront
␈↓ α∪␈↓naturellement␈α⊂des␈α⊂mouvemens␈α⊂imperceptibles␈α⊃qui␈α⊂contribueront␈α⊂beaucoup␈α⊂␈↓¬`␈↓a␈α⊂la␈α⊃beaut␈↓¬'␈↓e␈α⊂des
␈↓ α∪␈↓sons:␈α le␈αPoignet␈α
doit␈αaussi␈α␈↓¬∧␈↓etre␈α
tr␈↓¬'␈↓es␈αlibr␈↓¬'␈↓e,␈αil␈α
doit␈αconduire␈αl'Archet␈α
droit,␈αet␈αle␈αdiriger␈α
toujours
␈↓ α∪␈↓sur␈α
les␈α␈↓αOuies␈↓␈α
du␈αViolon.␈α
L'avant-bras␈α
doit␈αseulement␈α
agir,␈αet␈α
suivre␈α
le␈αPoignet␈α
dans␈αtoutes␈α
ses
␈↓ α∪␈↓op␈↓¬'␈↓erations,␈α
le␈α
bras␈αproprement␈α
dit,␈α
ne␈α
doit␈αse␈α
pr␈↓¬∧␈↓eter␈α
que␈α
dans␈αles␈α
cas,␈α
o␈↓¬`␈↓u␈α
l'on␈αemploye␈α
l'Archet
␈↓ α∪␈↓d'un␈α∪bout-␈↓¬`␈↓a-l'autre;␈α∀ le␈α∪Coude␈α∀soit␈α∪toujours␈α∪␈↓¬∧␈↓etre␈α∀d␈↓¬'␈↓etach␈↓¬'␈↓e␈α∪du␈α∀Corps.␈α∪  On␈α∀peut␈α∪appeller
␈↓ α∪␈↓l'Archet,␈α␈↓αl'Ame␈αdi␈αl'Instrument␈↓␈αqu'il␈αtouche,␈αpuis␈αqu'il␈αsert␈α␈↓¬`␈↓a␈αdonner␈αl'expression␈αaux␈αsons,␈α␈↓¬`␈↓a
␈↓ α∪␈↓les␈α∞≡ler,␈α∞␈↓¬`␈↓a␈α∞les␈α∂en∨er,␈α∞et␈α∞␈↓¬`␈↓a␈α∞les␈α∂diminuer.␈α∞   Filer␈α∞un␈α∞son,␈α∞c'est␈α∂le␈α∞so␈↓¬∧␈↓utenir␈α∞un␈α∞certain␈α∂tems␈α∞au
␈↓ α∪␈↓m␈↓¬∧␈↓eme␈αd␈↓¬'␈↓egr␈↓¬'␈↓e␈αde␈α
force.␈α  Pour␈αen∨er␈αet␈α
diminuer␈αle␈αm␈↓¬∧␈↓eme␈αson,␈α
il␈αfaut␈αle␈αcommencer␈α
foiblement,
␈↓ α∪␈↓l'en∨er␈αpar␈αd␈↓¬'␈↓egr␈↓¬'␈↓e,␈αjusqu'␈↓¬`␈↓a␈αce␈αqu'il␈α␈↓¬'␈↓eclate␈αpleinement,␈αet␈αensuite␈αl'addoucir␈αde␈αm␈↓¬∧␈↓eme␈αpar␈αd␈↓¬'␈↓egr␈↓¬'␈↓e,
␈↓ α∪␈↓de fa␈↓¬,␈↓con qu'il ≡nisse insensiblement.  L'Abb␈↓¬'␈↓e le ≡ls, ␈↓↓Principes␈↓, p.1.
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ 527


␈↓ α∪␈↓␈↓ αCThe␈α∞handling␈α∞of␈α∞the␈α
violin␈α∞and␈α∞bow␈α∞showed␈α∞de≡nite␈α
trends␈α∞through␈α∞the␈α∞late␈α∞17th␈α
and

␈↓ α∪␈↓early␈α∪18th␈α∪centuries␈α∪corresponding␈α∪to␈α∪the␈α∪demands␈α∪of␈α∪more␈α∪advanced␈α∪technique.␈α∪ This

␈↓ α∪␈↓progression is evidenced in the treatises of that period.


␈↓ α∪␈↓␈↓ αCThe␈α∂need␈α∂for␈α∂stability␈α∂in␈α⊂virtuosic␈α∂passages␈α∂showed␈α∂the␈α∂advantages␈α∂of␈α⊂positioning␈α∂the

␈↓ α∪␈↓instrument␈αby␈αsupporting␈α
it␈αnot␈αon␈αthe␈α
chest,␈αbut␈αon␈αthe␈α
shoulder␈αwhere␈αit␈αcould␈α
be␈αfurther

␈↓ α∪␈↓steadied by the chin or cheek.


␈↓ α∪␈↓␈↓ αCThis␈αsame␈αneed␈αdemonstrated␈αthe␈αsuperiority␈αof␈αthe␈αItalian␈αbow␈αgrip␈αover␈αthe␈αFrench␈αin

␈↓ α∪␈↓controlling␈α∪the␈α∪action␈α∪and␈α∪sound␈α∀production.␈α∪ There␈α∪has␈α∪been␈α∪much␈α∀discussion␈α∪among

␈↓ α∪␈↓modern␈α∂scholars␈α⊂as␈α∂to␈α⊂the␈α∂handling␈α⊂of␈α∂the␈α∂baroque␈α⊂violin␈α∂bow␈α⊂and␈α∂the␈α⊂type␈α∂of␈α⊂sound␈α∂it

␈↓ α∪␈↓would␈αhave␈αproduced.␈α David␈αBoyden␈αhas␈αpointed␈αout␈αthat␈αif␈αthe␈αnatural␈αinclinations␈αof␈αthe

␈↓ α∪␈↓convex␈α∞bow␈α∞were␈α
followed,␈α∞the␈α∞result␈α
would␈α∞be␈α∞a␈α
more␈α∞detached␈α∞bowing␈α
and␈α∞the␈α∞messa␈α
di

␈↓ α∪␈↓voce␈αsound␈αproduction␈αdescribed␈α
in␈αmany␈αof␈αthe␈α
treatises.␈α Mozart's␈αtutor,␈αwith␈α
its␈αemphasis

␈↓ α∪␈↓on␈αdynamic␈α
tone␈αcontrol␈α
within␈αa␈α
single␈αbow␈α
stroke␈αshows␈α
that␈αhis␈α
main␈αconcern␈α
was␈αthat␈α
the

␈↓ α∪␈↓player␈αexercise␈α
complete␈αcontrol␈α
over␈αthe␈α
bow,␈αnot␈α
allowing␈αthese␈α
natural␈αtendencies␈αto␈α
dictate

␈↓ α∪␈↓the sound production.


␈↓ α∪␈↓␈↓ αCA␈α∞further␈α∞blow␈α
for␈α∞independence␈α∞from␈α
tyrannical␈α∞dictation␈α∞of␈α
bowing␈α∞is␈α∞made␈α∞by␈α
such

␈↓ α∪␈↓virtuosi as Geminiani and Tartini in their rejection of the rule of the downbow.


␈↓ α∪␈↓␈↓ αCThe␈αexpansion␈αof␈αthe␈αrange␈αof␈αthe␈αviolin␈αthrough␈αshifting␈αshowed␈αa␈αgradual␈αmerging␈αof

␈↓ α∪␈↓theory␈α
and␈α
practice␈α
as␈α∞the␈α
treatises␈α
went␈α
from␈α
description␈α∞to␈α
actual␈α
use␈α
of␈α
the␈α∞technique␈α
in

␈↓ α∪␈↓exercises␈α_and␈α_pieces.␈α→ These␈α_exercises␈α_and␈α_pieces␈α→are␈α_themselves␈α_the␈α→most␈α_eloquent

␈↓ α∪␈↓demonstration␈αof␈αthe␈αtechnical␈αadvances.␈α They␈αprogress␈αfrom␈αsimple␈αdance␈αtunes␈αentirely␈αin

␈↓ α∪␈↓the␈α∂≡rst␈α∞position␈α∂to␈α∞complicated␈α∂works␈α∞involving␈α∂ornamented␈α∞passages,␈α∂often␈α∂with␈α∞multiple

␈↓ α∪␈↓stops, exploiting the extreme reaches of the ≡ngerboard.
␈↓ α∪␈↓αOn Playing the Violin: A Study of selected Sources␈↓ 528


␈↓ α∪␈↓␈↓ αCAs␈α⊃we␈α⊃will␈α⊂see,␈α⊃even␈α⊃these␈α⊃demanding␈α⊂works␈α⊃did␈α⊃not␈α⊂approach␈α⊃the␈α⊃virtuosity␈α⊃of␈α⊂the

␈↓ α∪␈↓performances of the foremost violinists of the early 18th century.