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C00006 00003 \def\liststart#1{\noindent \hangindent 15 pt\hbox to 15 pt{#1}}
C00015 00004 \liststart{9.}
C00020 00005 \sect Holding the violin
C00025 00006
C00031 00007 In the matter of the left hand, the theorist-musicians are in
C00039 00008 \sect Left hand position on the fingerboard
C00045 00009
C00051 00010
C00056 00011 Corrette's treatise, which is for the more advanced student includes actual
C00064 00012 Mozart's treatment of shifting is disappointingly perfunctory. He
C00071 00013
C00080 00014 By the time L'Abb\'e le fils publishes his method, the French bow grip
C00086 00015 Monteclaire adds his plea to that of Mersenne stating,
C00090 00016 Geminiani gives a detailed description of the bowing motion:
C00095 00017 Mozart takes bowing variety and control of tone production one step
C00097 00018 Tartini covers various aspects of bowing. In tone production
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\chap.2.On Playing the Violin: A Study of selected Sources.2.
\sect Introduction.
The sources used in this chapter cover a period of over a century
(Mersenne, 1636 - L'Abb\'e le fils, 1761). They were selected on the
basis of the type of information they contained on the violin, interest being
centered on those which treat elements of practice -
holding the violin and bow, playing in positions, and instruction in
ornamentation (the last-named will be dealt with in more detail in a later chapter)
The popularity of the instrument soared during this very period, as is evidenced by
the relatively large number of violin tutors that appeared. Its comparatively
powerful and piercing tone
elevated it above other instruments as one of the main proponents of the emerging
soloistic style.
As interest shifted from ensemble to solo compositions, treatment of the violin
progressed from being confined to a section in an encyclopedic work (in the
17\raise 3pt\hbox{th} century), to meriting attention in treatises and
tutors dealing exclusively with the instrument's distinctive capabilities
and problems (in the
18\raise 3 pt\hbox{th} century)
The earliest of these specialized tutors were elementary in nature and aimed at
amateurs - people who knew
very little about music, much less the violin. Gradually, as the
18\raise 3 pt\hbox{th} century)
progressed, these treatises increasingly reflected the more advanced technique of the
violin virtuosi.
The following is a chronological annotated list of the sources:
\def\liststart#1{\noindent \hangindent 15 pt\hbox to 15 pt{#1}}
\liststart{1.}
Mersenne, Marin. {\it Harmonie Universelle} (Paris: Chez Sebastien Cramoisy, 1636),
v.3 {\it Trait\'e des instruments}, ``Livre quatriesme des instrumens a chordes'',
pp.177-190: translation by Roger E. Chapman, {\it Harmonie Universelle the books on
instruments} (The Hague: Martinus Nijhoff, 1957), ``Fourth book of string
instruments'', pp.231-249.
This contains mostly general information on the violin family, the structure, and
the tunings of its various members. There are no instructions on holding
instruments or
bows. Included is information on what notes are played with which fingers of
the left hand. Mersenne recommends using lute ornaments and even includes a sample
composition in unornamented and ornamented form.
\liststart{2.}
Falck, Georg. {\it Idea boni cantoris} (N\" urnberg: Wolffgang Moritz Endter, 1688),
``Anleitung zum Violin-Streichen/ f\" ur die Incipienter'', pp.186-193.
This is a very general treatment of playing the violin. Falck pays
unusual attention to tuning a violin to a harpsichord.
He includes elementary instructions on holding the violin and bow and demonstrates
some elementary bowings. He seems to follow the French style of playing the
instrument. The chapter describes a placement of the left hand
corresponding to 7\raise 3 pt\hbox{th}
position, but musical examples never leave first position.
\liststart{3.}
Muffat, Georg. {\it Florilegium secundum}, 1698. This is mainly collection of
French-style dances with extensive instructions on bowing. It contains good
descriptions (using Muffat's own symbols) for French agr\'ements. There is no
information on holding the instrument or bow.
\liststart{4.}
Mont\'eclaire, Michel Pignolet de. {\it M\'ethode facile pour aprendre \`a
jo\" uer du violon} (Paris: chez l'Auteur, 1711-12) This is a very elementary
tutor. It contains no
position playing (only the extension of the 4\raise 3 pt\hbox{th}
finger). It also furnishes
general musical information (different note shapes, clef signs, durations
of rests, beats per measure, etc.)
\liststart{5.}
Dupont, Pierre. {\it Principes du Violon} (Paris: chez l'auteur, 1718) This is a
short tutor
in dialogue form, containing no information on holding violin or bow.
It includes two rather strange engravings of ``positions'' of the left hand (see fig.
12)
In both, the thumb points away from the violinist alongside the scroll.
Verbal descriptions of the notes each finger can play in each of his two ``positions''
are given. Dupont also provides exercises with bowings marked - again with lengthy
explanations. Like Mont\'eclaire, he includes
some general musical information. He refers reader to his {\it Principes
de Musique} for information on ornamentation and the Italian style of
playing.
\liststart{6.}
Prelleur, Peter. {\it The Modern Music Master} (London: the Printing-Office in Bow
Church-Yard, 1731), (the 5\raise 3 pt\hbox{th} bound tutor) This violin tutor is
also elementary.
It gives a very odd method of tuning the instrument using unisons rather than
fifths. Prelleur
suggests marking the fingerboard as an aid to playing in tune, and gives detailed
charts to show where the different notes should be stopped. In addition, he
describes the locations of the notes on the fingerboard in inches and fractions of
inches. This treatise seems to have been pirated from a 1695 tutor
entitled {\it Nolens volens or You shall learn to play the violin whether you will
or no}. Prelleur's format and most of his wording is identical to that of the
earlier work.
This particular treatise was apparently quite popular, as it was reprinted
several times and appeared with different titles.\footnote{Among these are:
{\it The Self=Instructer [sic]
on the Violin...} (London: Printed for I. Miller and I. Walsh, 1695); {\it The First,
Second and Third Books of the Self=Instructor on the Violin...}
(London: Sould [sic]
by J. Walsh, 16-- ; 2\raise 3 pt\hbox{nd}
title page London: Printed for & Sould [sic] by I. Hare, 1700);
{\it The Compleat Tutor for the Violin} (London: C. & S. Thompson, 1765?)}
\liststart{7.}
Crome, Robert. {\it The Fiddle new Model'd or a useful Introduction for the
Violin} (London: J. Tyther, 174?) This treatise is similar in nature to that of
Prelleur - a bit retrospective for its conjectured date of 1740. The treatise
consists mostly of diagrams of the violin fingerboard demonstrating where to
place the fingers to play his one simple minuet tune in different keys.
He also includes a brief section on time signatures, note and rest
values, clefs, and simple bowing combinations.
\liststart{8.}
Corrette, Michel, {\it L'\'Ecole d'Orph\'ee} (Paris :Chez L'Auteur, 1738)
This is the first
treatise that shows the evidence of the developing technique. It is divided into
two parts - one for beginners, and one for more advanced students. Interestingly,
the division also falls along national stylistic lines. The more
elementary section treats playing in the French style, and includes many dances
to be played as duets. The Italian section includes solo work
(sonatas, concerti), passaggi, position playing, arpeggios, double stops, and
scordatura. Corrette also differentiates between Italian and French bow grips.
\liststart{9.}
Geminiani, Francesco, {\it The Art of Playing on the Violin}, London, 1751;
facs. ed. by D. Boyden, Oxford University press. A valuable tutor for more advanced
violin students, it is somewhat uneven. For example, Geminiani gives a detailed
description of the
movement of bow and bow arm, but not much information on the left hand. The text
found at the beginning explains the musical examples and exercises that follow.
Also included, is a fairly large section on the use of ornaments. The most valuable
information is contained, not in the text, but in the comprehensive, carefully
thought out exercises.
\liststart{10.}
Tartini, Giuseppe. {\it Trait\'e des Agr\'ements de la Musique}, 1752-4; Italian
version translated and edited by Erwin Jacobi. This is a comprehensive and
systematic
treatment of ornamentation of violin music, but is not a tutor for the instrument.
The Italian version contains some information on holding the bow and gives some
bowing suggestions. A 1760 letter (also included in the Jacobi edition of the
{\it Trait\'e}) from Tartini to the professional violinist, Maddelena Lombardini,
contains some hastily written instructions for the violin, mostly
concerned with bow control.
\liststart{11.}
Mozart, Leopold. {\it Versuch einer gr\"undlichen Violinschule}, Augsburg,
1756. This is a comprehensive work, but a bit confusing as to its expected
audience. Mozart introduces his book
with an esoteric reconstruction of music history and a description of the string
family. His first chaper is a very elementary section on musical notes, clefs, and
time signatures. The second chapter is on holding the violin and bow, the third is
on major and minor scales. He then moves on to more sophisticated techniques -
control of the tone production, complicated bowings, position playing, and
ornamentation. He also includes a chapter on musical good taste.
\liststart{12.}
L'Abb\'e le fils (J.-B. Saint Sevin). {\it Principes du violon}, Paris, 1761.
This is also a tutor for more advanced violinists. It starts with the basics -
holding the violin and bow, and
fingering individual notes, but moves on very quickly to playing
pieces and scales up to the 7\raise 3 pt\hbox{th}
position. He includes a 4 page section on
agr\'ements,
how to play them, and where they are usually used. There are also sections on
double stops, arpeggios, and harmonics (including a minuet totally in harmonics).
Comprehensive exercises, dances, preludes, and variations are provided as drills
for the techniques described in the text.
It is, then, from these sources that a
chronology in the development of violin technique during the 17\raise 3 pt\hbox{th} and 18\raise 3 pt\hbox{th}
centuries will be reconstructed.
The central concerns of the violinists during that period were: holding the
violin, positioning the left hand, and manipulating the bow. Their technical
experiments showed the advantages of some methods over others,
leading to an eventual standardization in the treatment of these concerns.
\sect Holding the violin
The majority of 18\raise 3 pt\hbox{th} century sources increasingly favor placing the violin against
the neck and holding it securely by the chin as the century progresses.
Georg Falck instructs the student to
set the violin ``on the left breast [tilted] a little downward towards
the right.''\footnote{``g$\ldots$ dass er die Violin auf der lincken Brust ansetze
doch also dass sie ein wenig gegen der Rechten abwerts sehe.''
Falck, {\it Idea}, p. 190.}
Michel Monteclair, however, states,
\quote
{To hold [the violin] firmly so that it will not move at all, it is
necessary to
press the button that holds the strings well against the neck under
the left cheek.\!
\footnote{``Pour le tenir ferme et qu'il ne vacile point
il faut bien apuier le bouton qui tient les cordes contre le Col
sous la jo\"ue gauche.'' Monteclaire, Michel Pignolet de, {\it M\'ethode
facile pour aprendre \`a jo\"uer du violon} (Paris: chez l'Auteur vis
\`a vis le Palais Royal, 1711-1712), p.2.}}
David Boyden, feels that the above implies the violin is held securely by
the left cheek.\footnote{Boyden, {\it History}, p.368.}
Michel Corrette tells his students that it is necessary to put the chin on
the violin when shifting, because it gives more freedom to the left
hand - especially when returning to first position.
\footnote{``Il faut necessairent, poser le menton sur le Violon quand on
veut d\'emancher, cela donne toutte libert\'e \`a la main gauche,
principalement quand il faut revenir \`a la position ordinaire.''
Corrette, Michel, {\it L'\'Ecole d'Orph\'ee suivi de l'art de se
perfectionner dans le Violon} (Paris: chez Mlle Castagnery, 1738), p.7.}
Robert Crome gives similar instructions, ``g$\ldots$ let the back part rest on your
left Breast [shoulder?], the best way is to stay it with your Chin, that it
remain steady g$\ldots$ ''\footnote{Crome, Robert, {\it The Fiddle new Model'd or a
useful Introduction for the Violin} (London: J. Tyther, 174-?), p.34-5.}
Virtuoso Francesco Geminiani's instructions are,
\quote
{The violin must be rested just below the collarbone, turning the
right hand side of the violin a little downwards, so that there
may be no necessity of raising the bow very high when the fourth
string is to be struck g$\ldots$ Observe also that the head of the violin
must be nearly horizontal with that Part which rests against the
Breast that the hand may be shifted with facility and without
any danger of dropping the instrument.\footnote{Geminiani, Francesco.
{\it The Art of Playing on the Violin}, (London: 1751), p.1-2.}}
Leopold Mozart describes two ways of holding the violin. The first
is chest high, slanting down so that the bow strokes are more vertical
than horizontal. This is not recommended since the lack of sufficient
support for the violin makes position playing inconvenient.
\footnote{``Die erste Art die Violin zu halten, hat etwas angenehmes und sehr
gelassenes. Es wird n\" amlich die Geige ganz ungezwungen an der H\" ohe
der Brust seitw\" arts, und so gehalten: dass die Striche des Bogens mehr
in die H\" ohe als nach der Seite gehen. Diese Stellung ist ohne Zweifel
in den Augen der Zuseher ungezwungen und angenehm; vor den Spielenden
aber etwas schwer und ungelegen: weil, bey schneller Bewegung der Hand
in die H\" ohe, die Geige keinen Halt hat, folglich nothwendig entfallen
muss; wenn nicht durch eine lange Uebung der Vortheil, selbe zwischen
dem Daume und Zeigefinger zuhalten, eroberet wird.''}
The description of the second way suggests that the violin is held in
place by the chin:
\quote
{The violin is placed against the neck so that it lies somewhat in
front of the shoulder, and the side on which the E (thinnest) string
lies comes under the chin, whereby the violin remains unmoved
in its place even during the strongest movements of the ascending and
descending hand.\footnote{g$\ldots$ die Violin so an den Hals gestzet, dass sie am
vordersten Theile der Achsel etwas auflieget, und jene Seite, auf
welcher das (E) oder die kleinste Seyte ist, unter das Kinn k\" ommt:
dadurch die Violin, auch bey der st\" arkesten Bewegung der hinauf und
herab gehenden Hand an seinem Orte allezeit unverr\" uckt bleibet.
Mozart, Leopold. {\it Versuch einer gr\" undlichen Violinschule,}
(Augsburg: Johann Jacob Lotter, 1756), p.53. Translation: Knocker,
Editha, {\it A Treatise on the Fundamental Principles of Violin Playing}
(London: Oxford University Press, 1975), p.54-55.}}
.end;
Like Geminiani he warns that the violin,
\quote
{g$\ldots$ must be held neither too high nor too low g$\ldots$ The scroll of the violin
is then held on the level of the mouth or, at the highest, level with
the eyes; but it must not be allowed to sink lower than the level of
the chest.\footnote{Erstens, muss die Geige nicht zu hoch aber auch nicht
zu nieder gehalten werden g$\ldots$ Man halte demnach die Schnecke der Violin
dem Mund, oder h\" ochstens den Augen gleich: man lasse sie aber auch
nicht tiefer sinken, als so, dass die Schnecke der Brust gleich komme.
Mozart, {\it Versuch}, p.55. Knocker, {\it A Treatise}, p.58.}}
L'Abb\'e le fils' instructions are a bit confusing;
\quote
The violin should be set on the clavicle iN such a manner that
the chin is to the side of the fourth string. It is necessary tk
lower the side of the chanterelhe [E string] a bit.\footnote{Le Violon doit
\A etre pos\'e sur la Clavicule, de fa,con que le Menton se trouve du
c\A otX'e de la quatri\`eme Cord, il faut abaisser un peu le c\A ot\'e de la
Chanterelle. L'Abb\'e le fils [Joseph Barnabe Saint-Sevin],
{\it Principes du Violon} (Paris: Leclerc, 1761), p.1.}}
Boyden points out that a violin held in this manner would certainly
slide away from the player unless it was secured by the chin.\footnote{Boyden,
{\it History}, p.369.}
In the matter of the left hand, the theorist-musicians are in
agreement that it should not grip the neck of the violin too
forcefully since that would tend to stiffen the fingers and the wrist.
Falck states that one should hold the violin
\quote
{between the thumb
and palm of the forefinger; hold it almost encircling
but not too fast, so that one can play notes with the hand in the
high register and can also come back.\footnote{Dass er die Viol zwischen
dem lincken Daumen und Ballen dess vorderen Fingers/gleichsam eingeschlossen
halte/jedoch nicht zu vest/damit er mit der Hand im Fall der Noth in die
H\" ohe/dann auCh wiederum zuruck fahren k\" onne. Falck, {\it Idea}, p.190.}}
Furthermore,
\quote
{Both arms should not be against the body but rather free from it so
they can move sometimes over, sometimes under and will be able to act
lightly with agility. \footnote{Dass er die beyden Aerme ja nicht an den
Leib/sondern/um sich bald \" uber=bald unter sich bewegen/und leicht
agiren zu k\" onnen/frey von dem Leib halte. Falck, {\it Idea}, p. 190.}}
Prelleur gives simple instructions,
\quote
{hold the violin with your left hand about half an inch from the
bottom of its Head which is usually termed the Nut, and let it be
between the Root of your thumb and that of your fore-finger g$\ldots$
\footnote{Prelleur, Peter, {\it The Modern Music Master}, (London: the {\bf Printing-Office}
in Bow Church-Yard,1731), p.2.}}
Crome's instructions agree, ``Take the Fiddle and hold it in your
Left Hand let the Neck lie between your fore Finger and Thumb g$\ldots$ '' \footnote{Crome,
{\it The Fiddle}, p.34.}
The above three descriptions seem to suggest that the neck of the
violin may have rested in the hollow between the thumb and the
index finger.
Mozart, however, refutes this, saying that the neck should be
\quote
{g$\ldots$ held in such a manner between thumb and index finger that it
rests on one side on the ball at the base of the index-finger, and on
the other side against the upper part of the thumb joint, but in no way
touching the skin which joins the thumb and index-finger together.
The thumb must not project too far over the finger-board, for otherwise
it would hinder the player and rob the G string of its tone. The lower
part of the hand (namely, where it joins the arm) must remain free,
and the violin must not lie on it, for in so doing the nerves which
connect the arm and fingers would be pressed together and so contracted,
and the third and fourth dingers prevented from stretching. We see
daily examples od such clumsy players, who find everything difficult
because they restrict themselves by an awkward position of the violin
and the bow. \footnote{Der Griff, oder vielmehr der Hals der Violin muss nicht
gleich einem Br\" ugel in die ganze Hand hineingeleget, sondern zwischen
den Daumen und Zeigefinger, an der andern Seite an dem obern Theile des
Daumenglieds anstehe, die Haut aber, welche in der Fuge der Hand den
Daumen und Zeigefinger zusammen h\" anget, keinesweges ber\" uhre. Der Daume
muss nicht zu viel \" uber das Griffblat hervorragen: sonst hindert er im
Spielen, und benimmt der G Seyte den Klang. Der hintere Theil der Hand
aber (n\" amlich gegen dem Arm) muss frey bleiben, und die Violin muss nicht
darauf liegen: denn hierdurch w\" urden die NervEn, welche den Arm und die
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⎇=λ≠l.y<]L↑H→→$∞≠_8l↑H≠→$∞≠⎇8lT≥Z<e[__ ⊗]4yP ¬&0KεB70z:\2v⊂2≥P!7z\27w↔λ⊂&∪`X1.∪rH62P3~v9V⊂≡n4z⊂∀94w1Zx2y␈ ⊂8↔_K??εEβEβ.9rq]⊂&2s≥⊂40w→⊂87yZz4wwλ7w⊂:~2P34[3ry1≠py2εB*42y→P0y2H;0y4Yr⊂22\qy4x≥4ww9H7s⊂:~2P87\tz4w[⊂7s⊂≥42P6→s:⊂4_w2εE≠w⊂:4→P34w→ry17Xy2⊂7Y⊂:42H;4wv~w↔εEβE#0v_uP9z_z2yVβE.8z[z2FE≡j42P_x864Xpz4w[⊂7s⊂≥42P3~w3ry≤P9t7]v2⊂1→P9zqZ⊂:40]⊂:42H40w2λ4yP4≠v67{H0w2⊂βE:42H34w3Yy9P1]y;2rλ0z⊂:~2P57Zw:⊂1[7yrP≥7P:4→P9z9~w3yP_yP4sλ47{2\4w3Wλ⊂εE*~2|P9Z7zv2λ12P8≤2yyrY⊂27{[⊂4w⊂≤zqt⊂_P6pw≠2y⊂:~0z⊂:~2P72↑:⊂9z≤4w3P~yP77]⊂24y]:y12Y↔εE.→7wz7≠z2⎇b~rP ⊂x864Xpz4K≠w⊂22\⊂#4w→ry⊂9[v6⊂0[9wP3Yyqt2Z2w↔r_yyP2~rP$0[2⊂47[⊂9r|Kzw2⊂→4rFE⊃4w3r\⊂70qZ⊂4t9→w⊂#r[0tqt→w⊂2t[3ruy↔⊃⊂:v[rz↔w_t2P.λ⊂:q2\⊂22wλ)ptz→w⊂3v→tqt9XvP9qZ;rq2[↔FE0]qt⊂2→y3ry]0v:⊂→4ryr[12w⊂≠4rr2\29:qZrw↔r_yyP5_P24rH7.⊃⊂_qt9z→P74qZ:⊂=:Yv2tqZ⊂6tzβE12y↔⊃⊂:t≤2z⊂;Yy22Wλ⊂#0v_uV⊂=W4z⊂$Y2p␈⊗λ8↔_\L↔??εBεE&w[:2qv_ty2S\P4w9]9:qz~ww9P_y2P9Zvtv0\↔εE.≤zwz2CE=dzλ4yP7→qryyXy<P:~0z⊂:~2P2v_7{P1→P24y→qz6<CE:w2→y⊂:4→P;4w[4w⊂0[2⊂:4_z⊂:4→P;y4\z⊂12H;rv6λ1zy;→r⊂0w→⊂:42H34w3Yy9P1→w:εE_w2⊂9≠zw22Y⊂4w⊂≠y22yλ:40zλ:42|H6p|P_2P9r]⊂7w⊂≥42P9]94w3\P7w⊂≥42tyλ:4x9NFE0{≠tr4w→V⊂47]r{2y ⊂34w→ry4w→P;tz~⊂:42H70tv≤W⊂.3≠wz77]2⎇dvλ30zzλ8zrP≠2P!w]r2P9[tzεE→4y2q]2vrw≥⊂9wz\P62P∃4wv7[⊗⊂8zYP62P≤7tsw→z⊂9wZz⊂14Yw⊂86≠|r⎇⊂→w⊂0y≠w24y\pw:⊗βE0s4[⊂8zSZv9P9YP87yYw:⊂9]y⊂62\P1wy→2yP8_y⊂62]y⊂2|≥92vt].∪rP→w⊂2{~z0w:λ72pw≠wtw9CE22P≠2yP:≠zqt2\⊂0{2XP62yH7w3v→yW⊂⊂∪ww:2Xv0ty→V⊂=n~z⊂&r]47r2H#0qt[2␈⊗⊂≤↔→↔?∨εE$2H0v9wH4w1v≥r2yP_PεE2≤0{tw→P7s⊂≥42P3~w3ry_7py2λ0w2⊂~w24qXz2yP≥42P6≠qpz4[w9P7Y⊂;0y~wzyP≠7z2yKεEεE∀4ry9→P":x≠w:⊂1[w:0t[9P77H;2y1_v⊂22\qy4x≥4ww⊂≠s⊂:4→P87yZz4ww~w3P7Y⊂:42HεE62Y:⊂40[2⊗⊂1≥z⊂27YyP4w_v:r2H0w⊂2↑:92vYv<P9Zw3zv_y⊂2w→y0{4[3P7sλ0FE4_w2⊂8≠0qrrλ7w⊂:~2P34[3ry1≠py2⊂≠s⊂0P≥4wv4[↔∀34YW_Y∀H⊂*42H40w2λ4yP9Z7{w⊂~w⊂εE≥;wP2~s32y→w:⊂0_87yt]4ww9ISW⊂⊂∃42yrH87yt]4ww9K⊂0yP≠rw:4[w2r⊂_2s7y→V⊂0y→P6ry→v<PεB;0y4Xz4ww≤P7s⊂≠wr2y≠⊂20|H34y9]⊂87yZz4ww ⊂;tz~⊂:42H34w3Yy9P8≠tyrrλ7{2yλ:42P→P9z9~w3PεB0q7{→FE:4→P77z→yP#~K⊂#ZVλ ZP0[2⊂!⊃X~V⊂4[⊂7w2H1pyrK⊂0w2λ0q7{→P#⊃QMV⊂#QHZV⊂ HQ[⊗⊂_w2⊂!
PεE4[⊂:42H7z42\↔εE$[⊂17z~⊂4v6≥yz90]4ww9K⊂:42H:4:vX⊂4yP≤7tw:~w3P0]u{py→6<P1_quP:≠{py2≤P:42H9qy7[6↔.3≠wz77]2⎇FE⊃:x7w≥⊗⊂(4Yy92Vλ=n4zλ(94w_tx2yH2:P+~wv7w∨⊗⊂∀1Z2⎇⊂6 pzz2]y⊗⊂(_y4yVλ_[X\
V⊂8↔ V→↔?βEεE![y92z≥2P22\qy4q→yP:4→P62s≥⊂40w→⊂0yP→7v67]y]P⊂βE.8z[z2FE≡dz⊂4\P72qYyypy≡P:7FB:0urH:42P≠2quP≠s⊂:4→P;4w[4w⊂4[⊂:42H62s:λ40w2 ⊂47v→⊂4z⊂≥tz4⊂≥42P:~:vqεB0w2⊂≥42P3~y9z⊂→4w3r\⊂;tz~7zz⊂≤xzrr↑4w3P≥42P4_w2⊗⊂≤7zw2λ:42P→4y9zβE9rq[w2⊗⊂_w2⊂:~4y2⊂→4w3r\9V⊂0[2⊂47[2⊂:4→P64z≥62P7[2P0P≠4z:6→P14zβE6wy→P2v7[3pz2Y↔.37[z77z→⎇dv⊂→0zz⊂≤92w2≤2P62H&pw1Z2P2:H+4wv≠w⊂22H60P6Xtw⊂3Xzqt2K⊂εE6→P:2w~y⊂0{→qP62H87zqYP2z⊂≠2P89→vtryλ27ts]⊂9pw≤P:97\⊂9ry≤2y⊂6_P6pt[⊗εE0\97w2~y⊂62H892vZry⊗⊂→2z|4YvrV⊂≥97tyZrvrP→7tsz ⊂2z⊂≥2w4yλ62P8→z4z⊂≤6:yFB0v67[3n∪rK⊂⊂!w\92z:→ p.7.}}
Prelleur and Mozart have nothing to add to what has already been
included in the previous section on holding the violin.
Geminiani, on the other hand, gives a detailed description of what
he considers the perfect left hand position;
\quote
{g$\ldots$place the first Finger on the first String upon F; the second Finger
on the second String upon A; the third Finger on the third Stringupon G;
and the fOurth Finger on the fourth String upon D. This must be done
without raising any of the Fingers, tilh all foUr have been set down; but
after that, they are to be raiseD but a little Distance from the
String they touched; and by so doing the position i@LAaKe→KGh]qM←←i9←iKv4∃∂K[%]SC]$XAw9%hA)Q∀AβeixXA`\DX {xhP04*b:π
b;∃β3*β≠'3~aβ←#zβ'Mβ/≠Wπ3gIβ7?⊗)βOC.≠'≠'~aβOS∂#↔Mβn+K↔3JβS#π"βS#∀hS#π;"βββOF{W3⊃ε∪∃βC⊗+SSeε≠3?O*βS-β&C∃β↔f+[πSN{9β?2βS#∃εs↔∂-¬[S#∃π≠∂K?fa}u≥8h*#?>+[↔Ibβ#∃β&{↔Mβ∞#⊃βSF Qββε{;∃βo+OQβ}∪O↔K6)βS#∂!β#∃πβ3π∂/→βS#*βS#Wn⊂4+?πβ?O'&)βS#*α¬7;∂#WKπbβ?→β&C∃β ␈+K∪?rαn≥β∨#K';=i≥≥:f3??Sv{S↔oεβ?9β&{'Qβ}∪O↔K6+H4+&)βC3∞≠↔Iβf)βC?.≠∃β[O→6sβ
k['Mεc∃X4c∧Yβv SWK.aβ∪U∧∪?WK&{99≥:↓α1≡∞∪
q∨(h+3∃ε3'3Mbβo'Q¬βK';≡KC↔OraβA9
sx4(hRS#↔⊗)β'Mbβ?→β≡{WKO*aβ∂?v≠↔K9ε 7?;:βS#∃εK;OS↔+∂S?↔→βS#∂!βS#*β;?S/→β ∀hSOS?πβ↔⊃βNqβSWv)1β /!βS#*βOW∨>+OS'}sMβ≠␈⊃βπ∂FK↔['v9βS#M→β∨?∞aβπK*βOπ∪gH4+3∞≠/';:β'9β&C↔'Iπ#WS?↔→9↓α&C∃β?vceβC⊗ ∂S'≡ 1β∪O∪↔∂SN{;Mβ≡{7∃β7∪?44UβK↔3f+WIβ∞s⊃α∨.k';'∞s%β←FyβK↔≡{77↔v!β7π⊗[';≥π##∃β≡{KK↔∨!β∪'∨#π;∂/→β?8hSS#∃ε3';∨/∪ ?π⊗!9↓α⊗{S!β&C↔'Iεk↔S#}#Mβ'v≠3G∪*β∂#π↔#Mβ?2β['?fK9β≠Ns∨↔HhS ?π⊗#Mβ←O#!β'w#↔K[∞cMβ7. OWK.!β?≠2qαCK.c3↔W∩β↔[↔rβ';O'∪W∂S~βS#∃π≠SW∪.sQβSzβπ∪+/≠P4-
↔~ε.-⊗&>T 'Jε]}fNvt
↔"ε λ∩εf≡NFf* iw↔>≡,F/∩
}"ε⊗≤=7>∂,LW∩:uDπ≡z∞Mε∂"∞Mε(h,M↔∨&≥l6*εn-vjπM Rπ≡>-vf@λ≥≠d∞~→( .Z9→lT≠8= =→<h∞M_=⊂~w⊂:4→P::j≠y↔εE∀92v6→zy∪yH34w3Yy17p\2⊂24Xqy0vH4yP2\x2qdXv6<P~w:94Yztw3K⊂0yP~z⊂86_qryFB2w40\6sw4XP77z→yP∀9]qt⊂0\P!⊃aλ0w2⊂⊂QQTP_z⊂24Y32y2[:⊂6'Xpz4w[9P∀3≠yεE2↑0vx6→V⊂:4→P!⊃aλ4yP8≥z⊂44Yt2y⊂≥40w⊂≥42P HQPW.→7wz7≠z2⎇`[⊂4w:→y2yz~w3P9]:r<P≠sεE(≤2v62]y∪yP→4w3r\17py→⊂;pyH27w2H1<P"_{4r⊂⊂7|r2[⊂∀9rYP44yH0y:4Xv2V⊂βE00(≤2v62]y⊗⊂#Yvtw4Xw4V⊂_w2⊂%≥yz⊂$[:7w0]4ww⊂ SV⊂=Zz⊂*4→P%7z\70v⊂≠s⊂:4→P⊂⊂⊂βE vr\4qpwλ&zytXwv7sZqpv⊂∀wqtr]<␈⊗⊂⊃0v6⊗λ_\ZXK⊂8↔→ →⊗Y_NTFE$[⊂:44\P9z:Y<V⊂!≠|r2wλ24yq[{2y9H:40zλ:42P≠7z2yH6py5Yr⊂1<H(92v≠2zyεB6rpy]y2P7Y3⊂4w≥2y;0[9P;t~qt⊂1[7yrv≡P0x8≤7|4vXz2P:~7yrP≠s⊂:4→P5:y]εE4w≥7w0z~ww⊂9↑yz2vK?εEεB&2wx≠v2⊂&[⎇0y:λ22vw[9z90]2yP0H14z⊂≠s⊂6z\tqpvλ9w7q_2y<P_<P9q[s34w→P0zεB:42P≤90qz~qrP7Y⊂6py~tw3P≠y⊂39→z:4w→P:42H34w3Yy17p\2≥⊂εB.8zw]2FE=Rs⊂0FB8:x4[⊂40yH0P3w[r⊂6z\tqpvλ2py⊗λ7w2P≠zyz⊂≠7z⊂0]0tv⊂≠w2yr[3⊂7sλ9zqtλ0wεE→|:90]0spw_rW⊂⊂∩s⊗⊂4≠{r{2\⊗⊂42H60qu\P:44\V⊂42H4yP:\rv2y\P37yλ6zytXFE0w→⊂4z⊂≥ry2P_2z:2\⊂42P≥7wuP_P;wwY⊂0|2H:40wλ0P;4[v4w⊂~w⊂44\P40w→↔.37[z77z→⎇FE$_z⊂22\⊂)qt↔⊃⊂:v→y⊂2t[⊂3zz→yP6z\tupv~yqt2\P#rt↔⊃⊂7y∞P⊂9wH20y3λ6pw⊂≤tqtεB74qt≥⊂9wv_t2y⊂⊂zyqt≥rtyz[3rw⊂_2r4r[2w≥Pλ32t6→z⊂2yH4t6P_q2y⊂_w⊂24YyrvVλεE9wH4yz⊂→y⊂=:\⊂&zyZuP:w≥0zsv~qt⊗⊂≥w2⊂2\⊂;ty→⊂12y\ry⊂2Zw2P$≠v=0y≥⊂0v9H24rFB+4wv~w⊂=:\⊂$0w→⊂72t≠rw↔⊂λ&w⎇0\:⊗⊂=Zz⊂+2\9zqt∨⊗⊂8↔
\↔⊂*≤0w9v_z4ww∞⊂%w7Xury⊗βE=tzλ P*9→pz4yY␈⊗⊂8 ≠→↔?∨εEεE∃42P0[wzw:λ7s⊂4[37y6Xz4wwλ7w⊂9Z4s:4[3P;0\4ryWβEεE&Yy9rw≠2P22\qy4q→yP;t~qt⊂3~w3ry≤P9z7\⊂;t4Xt⊂77]2yV⊂_:z⊂3Z{2yP≠7P24\2qz4[w9FE≠w⊂:4→P87yZz4ww~w3P7Y⊂:42H40w2 ⊂⊂$2H6ry2[<P9z_z2yVβE.8z[z2FE≡sR.6→7z9R∩z⊂4yH72qr\ypy<H9wP:≠P0r5≥yz⊂:~2P34[3ry9H7w⊂2Xqt⊂8≠0qrP≠s⊂:4→FE34[3ry1≠py2⊂≤wP:4_z⊂:4→P:7w→yP2w→:y2P_P897\7y:4[w⊂0yH;rv6λ92sz[0z2rβE0yP~s⊂:4→y2P;Yy2P3≤2z9P_yP7wλ:42P≥4wv↔↔37wz≠7z2⎇Zv⊂30]z⊂:2[62vr[:⊂0t]yz2yβE62yH27ts]9P9z\⊂1t0\zrP6~rzP2≥P6pw_t2V⊂≤zrP6→yP9w[9P82\9zpr→w:⊂:[2FE8≤7x7y≥4ww⊂_zyytH14rwλ92sv↔∪rrP≤zrP9Itv⊂<H0{7t]⊂22yH:7zqZ2yP1[vvrP↔00FE≠0P+4[v2W⊂λ&ry9Yw72Vλ=tz⊂∩0y6w[4rP*[4{2y≤rv62←⊗⊂8↔λ_\→Wλ⊂*90[9v0z~ww≥⊂⊂t0x6Xw⊗⊂εB00*4→P!7wZyP7wλ$w9z≤:vrw≥9SSVλ8↔→~ W??εB$2P6Yw:4w[9P:4→P2|:→w9tw[⊂7s⊂≥42P3≠zy:4λ34w3Yy⊗εE↔8zwz→FE=dY⊂7w2H0r;0[1ryP~z⊂-z~2P37]y:4⊂→4w3r\.P1v≠yry⊂≥7P:4→P194Y3rP:~0wεE≥42P8≠ytz4[w⊂7sλ!⊂6tK⊂4z⊂≠puryH:42P⊂P9wvλ:z⊂3_V⊂0w→⊂:42[⊂:42H"εE6_P92P≤wv↔⊂λ*4:yK⊂:42H;4wv~w⊂40\P0P9_w3rP≠s⊂0P≠4w2z→rw:4 .37w]77z2↑itP7[εE6∪X{0w1YP86:\P892\P2:P_t2{0[2z⊂8]rP62H64rzH2:P=Zz⊂6t←⊗⊂4vλ30tzλ62FE⊂P=tzλ9wv⊂≥z⊂30←⊗⊂2zλ8:tyH62P"λ=tz⊂≠0P92H9wv?∞P⊂22H6pw4Yy2P8]rP62H+4wv≠wεE._0P6∪Yyz2w→:]2P→∪zw2H"4|7→zs4r\vrW⊂λ&ry9Yw72Vλ=tz⊂∩0y6w[4r␈⊗λ8↔_\ ↔εE*≤0w9v_z4ww∞⊂⊂!t_x6pw ⊂00*~2P!7[uyP7[⊂$w9]9:vr[:9SSK⊂8↔_N→↔??βEβεE#0[1uP0[2⊂(9→v62z\⊂9rr[P:7P≤92yr[:⊂87\tz4w[⊂860↑tw3P≠w6<P_yP0P≥42wy≡WεE#_v1uP~w9z9≥qz9VβE.8z[z2FE≡kt2wλ4w⊂0H6zytXpv⊂8~rqrP≠7z2yH7qqz\⊂0q7]2P:4→P34s≥4⊂7wλ:42P≤z94w→V⊂εE⊗{t4qZ⊂4ynH44st→y⊂:4_w⊂εE_pw⊂7\24w0\4v<P_2P92Xqt2rλ;tz4λ37zyλ34w3Yy9V⊂≠w2P6]yz⊂2Y3rP:\⊂:42H40w2βE0w2λ4w9z→pr⊂7Y⊂:42H:44y→⊂34w→ry⊗⊂≤:z⊂:~2P37\2s4w→ry⊂7[⊂:42H0]⊂⊂≥7P3wCE7{2\⊂2⊂:≠P3⊂7\⊂3P7[2P6z\z⊂2r→rP:xλ:42P~0w2⊂→:y:4→y⊂0w→⊂8:zλ:42P→7y2s~w3ryβE7w⊂≥42P2 .37w]77z2↑kpw7λ4w⊂2Zw2vP¬ &zyZqpv ~yqt2[⊂)z.λ⊂:quH '7] 2w↔]rv1t→P0zsλ22yεB (zZw: ⊗Tptz2[⊂4.⊃λ7t2y pv9P≠pw9P≠tz⊂2→w2w⊂∃4ry⊂⊃4w3r\7⊂ ≠y24w_y4n0→KεE2\92tqZ2w⊂5Xw↔sr\rz=:λ9r|w→↔ywP≠zyyP≠pw⊂2~rP$0[2⊂44[2tw⊂≤:qur[↔zw2λ0w⊂9]0z:εB22yyH"94z≥2w⊂#~w3ry≤Wr2wλ;7y2→y2w⊂_zs⊂2_yP0P≤rz=2[≥⊂)w[:2w⊂_q2y⊂≤tqt⊂¬ '7z¬2wεE→4w22[↔r4rH.⊃⊂*X2y⊂2_yP2↔X4yyP→z;pyH4w⊂2→w⊂;7\22y2[⊂#4w→ry⊂0]s⊂20\P2⊂)Yz=2w εE#0[1uV⊂≡tz⊂$Y2p␈⊗λ8↔_\L↔??εBεE(9→v62z\⊂22yXy4q2\P:42H37zy≥4⊂34[3ry⊂→|:2w≤tww⊗λ1:z⊂_v9wP~w1v:Y2yP7[⊂44yCE34w→ry17Xy2⊂1Z0y:⊂≠7z2yH:x⊂:≠P [↔λ⊂$2P~0yP4~yP7{[⊂70vYyP37\⊂:42\rP9t~s:9]CE.8z[z2FE≡lrP3~y9z⊂≤t4s:λ;t4qZ⊂4yP_pv62Y⊂:42H40v3λ9t4s≥⊂4yP≥x7w⊂≥42P~W90tyYP→P8≥.417↑=z4?βE64w→P-↑v[r2y7λ20|P .90t\rP→P≤:.41≠|=w2∨⊂87yZz4ww↔]P⊂:~2P;t≠v2P9Z4s:⊂~yP:x≠w⊂<rHεE≤.≤0tyrH→P8:↔417|≡z4?εB64w2H-↑vwY2y7⊂ n90t\pP→P≤:.41≠|=y2∨⊂87yZz4ww↔]PεE≡pP27]q62P≤t4s:λ4yP7[⊂<rP [n90ZyrP→H8:.4_7|=z~?⊂6$[2PεE⊗↑vw`$\raise 3 pt\hbox{th} position];
the last shift is upon ye 20\raise 3 pt\hbox{th}
line [=modern 8\raise 3 pt\hbox{th} position]; note that in
shifting you must put your first finger on that line or Note where ye shift
is to be done, and then move the whole hand higher accordingly.\footnote{Prelleur,
{it The Art}, p.4.}}
Both authors have described extremely high positions - the modern
7\raise 3 pt\hbox{th} position
in Falck's case, and 8\raise 3 pt\hbox{th}
In Prelheur's. The musical examples in the two
methods, however, tell a different story. Falci never lEaves firsT
poSition, and Prelleur neveR goes higher than C##6.
Monteclaire has no verbal descriptions of shifting. He includes a diagram
of a violin dingerboard with locations of notes plus fingerings up tk high
C6 on the E string. This is fingered #4 (probably signifying a fourth
finger extension).
¬
Dupont contains no information other than a very tedious verbal description
of the notes each finger is able to play in his two ``positions'' (shown in the
engravings). He includes a statement on the extension of the fourth finger
almost as an afterthought in his exercise section. The master, when asked
by the student how one reaches C6 on the E string explains:
\quote
{It is necessary to extend
the little finger downward the distance which is marked from the B to the C
on the fingerboard of the violin.\footnote{Il faut descendre le petit doit de la
distance qui est marqu\'ee depuis le si jusqu'a l'ut sur le manche du
Violon. Dupont, {it Principes}, p.4.}}
Corrette's treatise, which is for the more advanced student includes actual
position playing,
\quote
{Thus, to ascend to c above the chanterell [e string]
it is necessary to place the first finger on the g; and to go to d, the
first finger on the a; The same observation fOr the other positions.\footnote{
Ainsi pour monter \`a l'ut dessus la Chanterelle il faut mettre le premiere
doigt sur le sol et pour aller au R\'e le premier doigt sur le La. La m\A eme
observation pour les autres positions. Corrette, {it L'\'Ecole}, p.37.}}
These instructions are included in the second part of the tutor (``How to play in
the Italian style''). Musical examples take the student all the way up to the
seventh position.
Geminiani introduces the different positions in an exercise which ``shews
the different Ways of stopping the same note, and discovers at the same Time
that Transposition of the Hand [i.e. shifting] consists in passing from one Order
to another.'' (As he explained earlier, ``an order is a certain Number of
Notes which are to be played without transposing the Hand.'' They correspond to
modern day positions. For example, the second order=second position, the third
order=third position, etc.) His exercises take the student @U`Ai↑↓iQJAMKmK]QP@~∃=eIKd0AC]H↓CeJA5KiSGUY←kg1rAiQ=e←kO XAG←YKeS]≤ACYX↓a←gg%EYJA→S]OKIKeS]≤@~∃G=[ES]¬iS←]LAS\AQQJAg!SMif8@A∨\↓gQSMQS]NAU`AQJ↓S]giIkGif0~∃9cU←iJ~)wNI91I←if⊃πCeJ↓SfAi<AEJAQCWK\↓iQCh↓iQJAQQk[D↓CYoCefAeK5CS\A→CeiQ∃dAEC
VAiQ¬\AiQ∀@~∃
=eJ[M%]OKdlAC]H↓iQJA5←eJAe←jAC⊃mC]G∀AS\AQQJA←QQKdA=eIKeLAiQJ↓)Qk[λA[kgPAEJA¬h~∃B↓KeKCQKdA %giC]
JAiS1XASh↓eK[C%]fAC1[←gh↓QSHAU]IKd↓iQJA9KGVA=HAiQ∀A-S←1S\]|4∃∪\A¬]←iQ∃dAKq∃eGSg∀XA∂K5S]SC9RAoe%iKfA=khAg
CYKf↓kgS]≤A]k[∃e←kf↓AAie¬]ga←MSiS←9f~∃←_AiQJ↓⊃C]H≤NACg
K]IS9NAC]⊂AIKg
K]IS9NXAC9HA[C-KfAB↓eCiQ∃dAS]QeSOk%]NAgQCiK[∃]h\~)CE←kPAI←o9gQSMQS]N\4∃9ck=iJ~∃m∪hA[UghAQ∃eJAE∀A←Eg∃emKH0AiQCPAS\A⊃eCoS9NAEC
VAiQ∀A⊃C]⊂AMe←4AiQJ~∀k9ICSgJfAaiqQE←qmiQ|Xi9eC%gJ@f↓ai9Q ←qwi!|XAC9H@g9ICSgJfAaiqQE←qmeI|~)∨eIKHAi↑A≥↑Ai↑↓iQJA→Segh0AiQJ↓)Qk[λAGC]9←hXA→←dA/¬]hA←_A)S[∀XAEJ4∃eKa1CGKH↓S\ASQfA]CQkeCX↓!P∨OM#'?9Z↓β W"β'QβO→β;↔≡+GOπ↔Iβ'Q∧ε6F␈]LBε⊗T∞&/εL≤6."↓Q&∂"∞Mε*π<X6}vD f␈&UkF6}}Mf␈&←8v.n≥m⊗∞v∃Dπ↑OD
FF*λ≡'"ε|d¬ε@_::-lh≥~ T∃Z3mM;←K∧∞ LK&5←←C!*~~4d {⎇; Eλ≤→.
_<∀eD_Y(∞↑y9∞MβP92Y8¬te the cpawlIng shift
of Sol Babitz In which he shifts downward fiRst with the thumb, Following
with other fiNgers.
Tartini, surprisingly enough$ Includes some iNformation on shiftine in the
Italian editiOn of his {it Trait\'e}. He sugcestpεAiQ¬hA[k1iSaYα)βO#N3SMβ⊗)β∪?v(4+ /#←↔↔pβOSπ≡≠πS=εs?S↔~βCπSF+AβSF 9β3.;πS=π≠=βπ~β;?Q¬#=β'w#↔KK-βQβSF)βO7}{S#;-≠L4+|1βS#*β3'≠*p4*@N≡V␈&QQ'\∂4
&.>≤∧Y∞4≥≠h =_;Ym≥Yh≤
}z=~-⎇Kλ~.D~<h
≥<≠p→\tq62H:7P#Z{2P0[<P40\2⊂0w→εE30\z⊂9:[2yW⊂λ*42P≤z:r2[:⊂9t≠zv2⊂_p∧opT whatever m` iQ=HAQJ↓ISMILA[←GPAG←[→←eiC YJ
∃αK9β↔∞≠!β∂∂≠∃1β∞s⊃β#*β@≡F}]F"πM W⊗.m}&*π∞,⊗∨&≤8Rπ& TεF∞βY⊂≤βhifTpεAS\αβ↔[↔↔H4+C|ε7∞N-LRπ>≥∀π≡z∞Mε∂"
RεO4∞π⊗/ ≡&." iwαε↑lWπJ∞=↔'∞≡M⊗}r∞Mε∂"
\↔Jε≤-↔≡∞tKFf&}N2 hαZ9D∞~→(
9Y
<h≥
t_Y(∞≥~9] \λ≤y.l<X;∧∞~;9.4→_
i~w3P0H80y`3ace, it should be
@⊃←]JA KioK∃\AiQ∀AgiC
GCi↑↓]←iKLXA]←PAiQJ↓YKOCQ↑XAS8A←eI∃dAiQ¬hA]↑↓OCaf↓CeJ~)QKCe⊂AS\AQQJAY¬iaKd↓GCgJ99M←←Q]←iKm→KYY<Ag[C9SGCe∀A]O\↓IKmJ↓iK]KIcRAe∃O←YB↓ciCE%YJX~)[BAE%g←O]∧ACICQiCeg$ABAcUKYY↑0AGQJ↓]KYX≥←GGCMS←]R↓aSKg
JAaSTAG←[=I↑XA=]IJAMR~∃I∃mJAMα K∃βdyβOS.#'=β&KO7πvK∂πK*β'9β'+SS%εc%β7}#%βC-⊃β↔O≡+AβO.kCK∃πβK?;&yβπ⊃∧{∨;$hS∂πOzβC?O≡ βπ∂≡ ∪↔K*s{x4Ph*'d
εO~
HW'ε↑$π&Z \⊗&&]H -l(∪≠m\X<Y
≥Z(⊂∀→P22yXy4q2\P:42H24s#→y2w:λ9t4s≥9]FE≥42P4_v3⊂9Z4s:≥tz4⊂≥42P3~y9z⊂→αifgep on G, the whole shift @]SiPAQQJAMαK@↔∨AQ&6Nl|W∩ε⎇d∧
b∞Mε*εM}V⊗fT∞6FNn@π>OM∧π&FT fO↔>Dε -;Yy.$≠{Hλ%λ_;LD≥~→$ [⎇<NMβ"\
}z=~-⎇H≥z.Mλ≥~ T→Z4N>λ→Z-ly<H
⎇H⊂h¬ ;≠λ∞M~<h
⎇H≥~ T⊃(≤nNZ;Ye∃Hλ∃
(≠X-\<c"M|H≥~ T≤z~,n≤h_m}\Y<n
{Yλ∞Mh≤≤L↑y;]∧ _>(ε+≤X:.<( h∞∞↔~_M␈≡{Y∂eλ w∞,8<y$εh≤≥ M_[}∂>Y∨K↓QM↔≤L≥<y(ε4≤≥↔
[}≡nM∨X;LD
7⊂→_tyrP P8:.~17|=]4?⊂8≠ytz4[w9PεB92yx→qz4{→v<Wλ*44yH9rrf\P:7P_2P:4→P64vZz⊗⊂#≠y⊂42H0r;4\ryVεB,8zw]2FE=[putw→P!P;Zz4⊂:~2P3 )pst finger upoN the firsT string; and indeed,
this is a scale iN whiCh, when you are firm, you may be said to be
mistress od∧AiQ∀AMS]≥KeE←¬eH]9→←←i]=iKwβMgSGkICiBAACggR↓CYYB↓ckCeQBAG←0AaeS5↑AS\~∃πg=YMCkPAgkX↓GC]i%]↑v@↓JAS\↓c←[[∧AckKβ≠S¬αdβ∃βWv αO∂∞c¬β∪JβO7πvK∂πS-∪∃1β&H4+∂.IβGW∞s∪=β,c3¬β≡)β;∃π≠'¬β4 SC¬¬βπ∪K}s¬!βπ+β=β&KK∃β&Iβ↔O≡+IβC∞#K?;
β∪↔0hS7π;L≠=9α& KS'vI1βoM!α3↔'#↔Kπrq↓αS⊗ ;O3∂#'?9bα+π∂}∪%1β↑KQα3/#S↔KraβA9 →];{ph(4
& KS'vI∨Mβv 7↔Mε3?Iβ&C∃βOFK≠SMε K∃β&C∃βO∞k∃4T MβSF{O∃β}1αCK.c3↔W∩aβ W"βS#↔Jβ∪=βv{QβK.3↔Iβ&yβS#*βOπ7*βC?OO#'?; Mozart's treatment of shifting is disappointingly perfunctory. He
explains reasons for position playing - 1. necessity (eg. notes many
leger lines above the staff) 2. coNveniEnce (to play great leaps)
3. Elegance (cantabile notes occurring closely Together can often
Be played easily on one string , MozartdescRibes 3 positions, whole
position (=modern #\raise 3 pt\hbox{rd}
position), half position (=modern 2\raise 3 pt\hbox{nd} position),
and compound position (a mixture of the first two). He gives two options
for getting into whole position on the E string - shifting to A5
with the first finger, or to B5 with the second finger. If the musiCal
passage requires a higher shift, the violinist again is given a choice.
He can ascend using the fingering 1, 2, 1, 2, etc. or 2, 3, 2, 3, etc.
His musical examples take the student up to the 7\raise 3 pt\hbox{th}
position (A6).
L'Abb\'e le fils introduces position playing with fingered two octave
scales up to E6. His labelling of the positions is rather singular, for
his ``first position'' corresponds to the modern day ``second position''.
He also includes a fingered G## minor scale thus introducing the modern
day ``half position'' (he does not label this scale as being in any position).
He also describes the extension as advancing or drawing back the finger
indicated by figures ``without moving the hand or any finger other than
the one being used''.\footnote{``g$\ldots$il faut avancer, ou reculer le Doigt qui est d\'esign\'e
par le Chiffre, sans d\'eplacer la main, ni aucun autre Doigt que celui dont
on doit se servir''.} He has interesting instructions on sneaking into
positions,
\quote
{Sometimes it is necessary to shift the other fingers immediately after
the extension, in which case, the extension is marked to make the change
of position less noticeable.\footnote{Quelquefois il faut d\'eplacer les autres Doigts
imm\'ediatement apr\`es l'Extension, dans ce cas, L'Extension n'est marqu\'ee,
que pour rendre moins sensible le Changement De Position. L'Abb\'e le fils,
{it Principes}, p.18&}}
Later in the tqtor, his ``roulades'' take the stu`ent up to moDern day eQuivalent
of 7\raase 3 pt\hboX{th} posiTion.
\sect Sumeary %- Holding the BoW
There i@LA[kG AS]i∃eKgi%]NAS9M←e[¬iS←\↓S\Ai!JAie∃CiSg∃bAG←9GKe]%]NAi!J~∃Q=YIS]≤A←LAQQJAE=n@ZA∃gaKG%CYYr↓←\Ai!JAIS→MKeK9GKfA KioK∃\AiQ∀A
eK9GP~∃QQk[D5k]IKH[QCSHAC]H↓∪iCY%C\Ai!k[D[=\[gi%GVAOIS`\~(~∃∂K=eNA≠UMMCh0AS\A!SfAw%hA
Y=eSYK≥SkZAMKGk]⊃k[|@!B@bldpAG←1YKGi%←\A←_A
eK9GPAgQsYJ~)IC]G∃fRAG=[[K]Qft@~)9ck←QJ~∃)!JA[C)←eSidA←LA≥Ke[C8AmS←1S]SgQfAC]⊂A←iQ∃dAaY¬sKef↓←LAkAaKdAMieS]≤~∃C]Miek[∃]ifA!←YHAQQJAE=nACf↓iQJA→eK]G A7→k1YSgiM:AI↑0AaeKMgS]N↓iQJA!CSdA]SiP~)iQJAQQk[D↓C]HAIKgiS9NAiQ∀A←iQ∃dAMS9OKef↓←\Ai!JAgi%GVA←_AiQJ↓E←oN⊃9YI←QfH])!JA∪i¬YSC]LX~∃C5←]NA=iQKeLXAIS→MKdA%\AaY¬sS]N↓iQKg∀Akaa∃dAS]Miek[∃]ifA%\AiQ¬hAiQ∃rA]KYKdAi=kGP~)iQJA!CSeN⊃9YI←QfI9M=←i]←QKw∪\↓β]Oe∃SMMk9NAIKMfA¬←≥K]fA-←[[K8AISJ↓[KSgQK\A)∃kigG!K\AS8AIK\4∃WYK%]K\AU]HA[%iiKe8A∂KS≥K\A[%hAIK8A→kY1SgiK8A8DAUEKdA∃S]fX↓S]IK5JAgS∀AISJ↓⊃CCe∀~∃[SPAIKZ↓ Ck[∃\AC]⊃ekGW∃\XAk9HAIS∀AC]I∃eJA
%]OKd↓CkML↓IKgf↓¬WOK9fA%k
WK\A1KOK\8~∃≠k→IChX↓∂K←e≤XAwSPA
Y←ISYKO%kZA'∃Gk]IU[|X@!CakH↓βkiQ=eKZX↓)saSLA∞\A∧\A⊃8λA←YY∃`t@~(blrp$XA`\Hb]⎇|4∀~∃
¬YGVA%[aYS∃bABA→eK]G AOeS@A←LAQQJAE=nX~∃qck←i∀~∃wβ ←mJA¬YXXA=]JA[UghAY∃Ce\AQ↑AG←IeKGi1rAQ←1HAC]⊂AgkaA←ehAQQJAE=nAS\4∃gkG ABA[¬]]Kd↓iQCh↓iQJAISOQh↓iQk[λAgck∃KuKf↓iQJA!CSdA9KCdAQQJAMI←ONIqYI←iLH~*&C↔91∧{;∃βo+OQβ?∪πOAε ;⊃βF{3⊃β&C∃β←|{⊃β?2βS#∃ε∪?]β⊗+S←↔,qβS#*βS←<hS≠ ?,]V␈∨D &}NnN2ε}d∞FF* h
-ly<YdK≠→≠nNi↔→M⎇⎇≠[nL>u[n$_;≠ ]H⊃~-ly;@
↑<|h ↑H→→-d⊂[yl]H≤Y,=≥β"Ll<|y-d≥;Y∧
_;≥ ]H≠→.-Y;Kn={_z ↑H≠8.>y;ClL<|h L<H∀L\z≥→$λ_=3$ ~9( 8<H
kλH_,=≤⎇λ↓QXY>$ →; ⊂∩,⊃⊂0\836 %in e@QoCfA∃S]IeUGWKN⊃9YI←QfIIKI]CGP↓[kgf↓KdAI¬fA#|¬GRQ,F/∨4λ&}≡]n2πW⎇≡6≡F]`λ M9(≡N|>(≥M}Y→4LT⊃y3 ≥8z L<H⊃M≥Yy4D X8|l]H≥;LD~_;∞L9Y`∩↔427z≤RεE#_v1u@, {it I` KCxXA`\Dr`Zbdb]⎇|4∀_~∃≠=]iKG1CSeJ↓IKgGISEKf↓BA
e∃]GPA≥eS`A%\AQSLAiki=dt@~)9ck←QJ~∃wQQJAE=nASf↓QKYH↓S\Ai!JAYK→hAQC9HAiQ∀AM←kHAMS]≥KefAAYCGK⊂A←\AQQJAo=←HX~)C]HAQQJAi!k[DAU]IKd↓iQJA→e←NA]QSGP↓gkaa=eifAQQJAQ¬Sd]9→←←i]=iKw_≥βeGQ∃hAgJ~∃iS∃]hAI∀AYBA5CS\A⊃e←Si∀AYKf↓ckCiIJAI←%ifAa=gKtAMkdAY∀AE←SLAKhA1JAa←UGJAI∃gg←kL~∃YB↓QCkgMJAck$A8OK19AKm∀AYJA
eS\\A≠←]QKGYC%eJXAmShA≠pOKiQ=IK|X↓`\f]y|~∀~)αAG←5[K]h↓ErA%=OKdA9←eiP0AC\@Dq9eC%gJ@f↓ai9Q ←qwi!|AGK9iker↓oeSi∃dA←\↓[kgS ASfAIKmKC1S]N\4∃∪\A!SfAaICSgJ↓←LA∪QCYSC8AmS←1S]SgPA≥SG=YBA≠¬iiKSLAQJAMiCiKLXAAA!JAiCUOQh~)sJA 9OYSg Ai↑A!←YHAeJAE←\AErAeJAo←=HA←]1r@LA9←hAi<Ai←k
PAsJ↓QCSd↓oQSG ~∃oCLA]↑AM[CYX↓eKM←I[CiS=\\NOqM←←i9←iKwI←OKd↓≥←ei XAwSPA)QJ↓≠kgS
CYXA≥eC[[¬eSC]xXPbnHpRX~)KISi∃HAEr↓⊃SYI∧Aβ]IIKofX↓→←]I=\A6bddk:X↓`\fj4fl]|4∀~∃π=eeKiQJXAo!←gJAQeKCi%gJAO%mKfA%]gieUGiS←9fA←\↓aYCs%]NAS8AiQJ↓
eK]
PAC]⊂@~∃∪QCYSC8Agis1KfAC1g↑AS9GYkI∃fAMC%eYrA⊃KiCS1KHAI∃gGeSAiS←]LA←LAQQJA
IK]GP4∃C]H↓∪iCY%C\AE=nAOe%af\@↓⊃JAKYK\AS9GYkI∃fABAASGikIJA←L↓BAE←\@QMS≤\bfRh~∀]g-S`@nl~∃9cU←iJ~)w)QJ↓∪iCY%C]fA!←YHAQQJAE=nACh↓iQeK∀AckCIiKef↓7←LA%ifAY∃]OiQtXAakQiS]N↓iQJ@4∃M←kHAMS]≥KefA¬hAYKQiKdA∧AC]H↓iQJAQQk[D↓k]IKI]KCi AChAλvAC]⊂AiQJ↓
eK]
P~∃Q=YHASPAChAQQJAg%IJA←_AiQJ↓Me←N0AakiQS]NAQQJAM%eghX↓gKG←9HXAC9HAiQ%eHAM%]OKd4∃CE←YJAiQ∀Ao←←⊂AChA
XAQQJAi!k[DAU]IKe9KCiP↓iQJA!CSdAmall finger
at the side of the bowstick at G. These two ways of holding the bow are
equally good, depending on the master who teaches. The eighths and
sixteenths are played at the end of the bow at HJ.\footnote{Les Italians le tiennent
aux trois quarts en mettant quatre doigts sur le bois, A, et le pouce dessous,
B, et les Fran,cois le tiennent du c\A ot\'e de la hausse, en mettant le premier,
deuxieme et troisieme doigt dessus le bois, C, D, E, le pouce dessous le crin
F, et le petit doigt acost\'e du bois, G. Ces deux fa cons de tenir l'Archet
sont \'egalement bonne cela d\`epend du Ma\A itre qui enseigne. Corrette,
{it L'\'Ecole
D'Grph\'ee}, p.7. Translation from Boyden, {it The History of the Violin}, p.371.}}
The plate at the beginning of the tutor depicts a viOlinist using the French bow
grip.(fig.8)
Geminiani simply instructs,
\quote
{The bow is To be held at a small Distance from the Nut, BetweEn the Thumb
and Fingers, the Haar being turned iNward acainst the Back or Outs@%IJA←α1βS#(h*S#.k 1βNqβ←#L≠!αC|ε6O&≥⎇bεOD ↔
πMtε⊗*
Vf" n&.* ≥f"ε\≡7Jb ≥f"εm}Bπ∨M≤f %C"W m{⎇≠M}→>ql]:;Z,≥Z+λ∂==λ∃
(⊂<NOKλ≤¬FK←←AQU~→$∞Z;s
≥Z<p~λ7s⊂4~yP3)≠w:4y\4rqbH4yP:\tp∞gan Italian grip with the thumb betweef
the stick and The hair, And the rest of the fingerq resting↓←\Ai!JAgi%GVACPAiQJ4∃MSeMhAU←%]h\Q→SN\r$~∀~∃QCeiS9RASf↓CYg↑↓ckSi∀AEeS∃LXAA↓)QJA ←nAg!←kYH↓EJAQ∃YHAM%e[Yr↓EKio∃K\Ai!J~∃i!k[DA¬]HAM=eKMS9OKdA¬]HAY%OQiYdAErAQQJA←QQKdAQQeKJ↓MS]O∃efAS8A←eI∃dAi↑4∃ae←⊃kGJA∧Agie=]NAgUgiCS9KHAi=]J\N≥9M←←Q]←iKmAA_O¬eG↑AY9ABAQK]ki<AG←\↓M←eu∧A]JOAeS[R4∃IkJ↓ISiB0AJAO0OCYiIRAie∀AYKO≥SKeR↓aKdA
CmCd↓m←GJ↓IRAa=Yg←N⊃9YI←QfHNN4∃)CeQS]RX↓∂Skg∃aaJX↓wShAIKO←Y∀AaKd↓CeeSYCeJ~)BAgCAKdAE∃\Agk=]CdA%XA-S=YS]↑↓G←XAYKe↑A→←]IC5K]i↑↓IRAg¬aKdAMSGke¬[K]i∀~∃ikQi↑AcUKYY↑↓GQJAMRAMBm|AG←ASCiJ↓IBA∂%←mC]9RA
e¬]GKg
↑A≥S
←YCR0A`\f8@@~∃QeC]g1CiS←8AErA∃eoS\↓∃CG← RAS\↓QSfA∃ISiS=\A←L↓)Cei%]ROf↓wShAQeCSipOJ~∃⊃KfAβ≥e8OK5K]igxXA`\Tn]|~(~∃≠←iCehA≥SmKf↓iQJA5←ghA∃qiK]MSmJA¬]HAI∃iCSY∃HAS]MiekGQS←]f↓Mkei!KdAK1kGSI¬iKH~)ErAS1YkgiICiS←9f\QM%Of\b@XbbXDhR~∃qck←i∀~∃w)!JAE←\ASfAQCWK\↓S\Ai!JAeS≥QhAQ¬]HXA¬hASiLAY←o∃ghAKaieK[%irXA KioK∃\AiQ∀~∃iQU[DAC9HAiQ∀A[SI⊃YJAU=S]hA=LAiQ∀AS]I∃p[MS9OKdX↓←dAKYK\AB↓YSii1JAEK!S]HA%h\~∀↓NI9Y⊃←ifIQQJAY%iiYJ↓MS]O∃dA[kMhAYS∀AChA¬YXAi%[KfA=\AiQ∀AE←n↓C]HA9KmKd↓EJAQ∃YHAMIKKYr4∃CoCdAMe←4AiQJ↓giSG,XAM←HAShA
←]ie%EkiKLAOeK¬iYrAQ↑AiQ∀AG←]Qe←XA=LAiQ∀AE←n↓C]H~)iQKe∃M←eJ↓iVAi!JA]K
KggCIrAgiIK]Oi AC]H↓oKCW9KgfA rA[K¬]fA←_AaeKMgSMN↓←dAe∃YCqS9N\~∀↓NI9Y⊃←ifIQQJAM%aghX↓]C[K1rAiQ∀AS]I∃pAMS9OKdX↓[kgh0AQ←o∃mKdAαs?Qβ⊗)βOS⊗+S∂#.!βS?zβ∪πI∧¬w6/!Q'&FT &␈:
}"π&⎇tε6∂$λgε}T
FF*
x
<\kD∧∪{Y$
8>+∧ =λ⊂~~vryVλ47v2λ:42P_7{P+Zz4⊂*~2P3 )p¬gh~)←dAg∃G←]H↓QP∨'w!β/→¬##∃βL¬f&/¬\fNv|Z"bε,X
∧∞~→(∞≡≤Y5 =~;Yd
⎇=
|H≥~ T~;Y ← 9P∀[3ry~yFE ]⊂0v&λ:4vr\P0P 3erious error. For In that way the hafdstifFens becau@MJAiQ∀A]KeYKf~∃¬eJAi¬khXAα ;⊃β&C∃β ␈;';≥αβ ↔∂}k↔Mβd ?W⊗+⊃βπv!β∂3.kOemαβg.∃DπεN⎇∞Bε∂⎇>v∂⊗EDε∂~
≡@hV↑↑7"πM Vrε,Tπε/,mw⊗n\Dε↔J∞Mε*π⎇
vf* ≡&jULmv␈&m}F/\L↑"∧⊗||Vrπ⎇≡&"ε≥dπ≡.≥lVjπ]nF/↔>LVph*Mε.NLTεNr M⊗*π,\6G&T ε∞vD∂'>O<=ε.r LVr∧L≡Vn.d∞Vv"∂.vO≡= Vrb
|F/∩ ≡V≡B ]⊗rπ|]fN8Q-εNwL↑"ε&≡4εnONMF/⊗TλvfN\Dε&/4 &.N|\fNv|↑'~ε|]f}n\]brεtKFf&}N2$&↑$ε↑f]≥f*∧m≥f>/$
6}fD↓PV∞MLWV.≡Dε∂.d F.jλ-v>.d
FN.|]bε⊗L]⊗⊗.eDπ.vD
fN.\≥Bπ6⎇T∧⊗}|]bπ>\tε7⊗←∀εFNl≡W~Q,v.F≥NF.r∞|W⊗&]c"π>]≥Bε&↑.6.f,TπW/$ Ub∩ ≡7≡N}]f:εL↑2∧⊗||Vw~D f}f⎇M⊗≡B∂.W∩εkD"ε␈M
⊗>.aQ%∨%D$ε∂⊗<Tπ.vD∞6≡G{D"ε∞= Rε'↑,6BεL≡2∧v≤=ε'∃D$π.≡<]bε}L↑"∧v≤=εf∂><Vrπ<]π∩πm≤Vf/4 &/ON+B∩ε≤}Bph$ r%fLMw'~I\⊗rε↑↑7~ε≤,W∩ε≡\6BεL]bε/.>F.rD
eb∩ ≥VfN=∧ε&.d &.N|\fNv|↑"εv≤=π"π.Tπ≡.∞$ε∂.d F.hQ(&}>]dε∂/>N&.≡<]bbπ]lBπ6⎇dε&.d B∩π\.&N>]dε.wLlW⊗v]ebα∧\≥bεn≤tε∞g<L⊗vr LVr∧-|v.r
]↔ h,LVjε↑.7&.d
v&/$ '>/≡LVr∧⎇M⊗.&T F/~ ,VN>\m⊗v>↑.2εF≥NF.s4∞6zε≡>Bε&≤T∧∂/>N&.≡>]f:Q,F/~ ,VN>\m⊗v>↑.2ε∞MLWV.≡Dε.Nd ε∂/∞Lf.FL↑"bαλLVvpQ,F∞'↑,6Bπ⎇≡&"εM≤R∧F≥lBπ∨L]⊗3R∞|VNb M⊗*∧l↑'6.d ⊗v>↑>ε∞vl↑Bπ≡≥lBrα
]f"εL↑"∧⊗||Vw∨N-⊗≡@Q.vO⊗D∞6≡G|↑&mb$∞W&F≤uBπεN]Wαb
,∩π⊗\=π"π]lv/≡=
⊗≡←G$ε&
↑"εn≡Dε&.T v∞w,]b∧∂-\Rε>]\⊗≡GAQ'>O,Ebα∧]␈&∂↔EDπ↑OD
f/↔>\6GrD∞αs+EVS*r∧
G⊗∞n=F∂&≥⎇bb∧=mv≡↑↑%Bπ↑≡D∧
¬N,V∂&≡<Wrb∞¬c+GoaPU& Tπεf≡LRπ≡
}w~ε∀ w⊗O∧
W.≡∧
V␈⊗T ⊗↑Nd∞FzπM Rε}lTεn}L↑&rπm≥vfNm≡7'~∞↑6*b∞⎇↔&B∞Mε(h.>FN≡4 fO⊗]O∩ε?,≡7ε.D &/'|\VrπM Rπ&∞]V∩ε≥lBπ& TεnNLMF*εm≥f>/%dα¬& TεNvL←αε∞lDπ⊗NlqPV6≥lv/↔4 ↔⊗* N&∂ε\Dε␈6↑$π&FT &␈: ≡Bπ& Tπ≡.=⎇f"ε-⎇⊗w"D ⊗v"∞Mε*εM≡G&fT fNv|↑"π⊗↑>G_h-⎇bπ& Tπ∨&≤=2ph d↔∀∞FF*∞M⊗n* Dt∞⊗+Dv*εLTε6NN4ππ.-M↔≡F↑4εFO4
V/&
|BbπM R∧7,]f≡B -w:ε}-↔h.<V.o4∞Fzε ≡f*ε⎇⎇f*ε}↑Bε}d∞W≡+1Q%g∂]}F(h/9↔"ε≡4εv.<↑7≡∂/∀π&z∞
F∞≡T∞FF*∞M↔αε|dπ&FT
FO'MLRε6≥lv/∩
⎇bπ& Tπε∂.Dε}2∞Mε*ε-}rh.⎇εN≡∧
ε}fN4π&FT g⊗}udα¬& TεNvL←α¬↑m≥f>/+Tπ≡F}]F"ε,Tπε␈=≡FN}l\BεNd∞7.≡∧ ∩π>∨⊃PW& ≡Bπ& Tε⊗␈t
↔~ε≥dπ&FT
VN&MLRε}d∞FF*∞<V≡}lDεV}≥nBε}d∞FFO4 fNv|↑"π>
≤6Bb
≥`hV},F/∩∞MrεF≡lRεn},Rε6},6*π=
w.fD &*ε∀ &O"∞,Vn␈l\Bε7-⎇Rπ& Tε␈& ↑'~r∧
FF*∞Mπ.n!Q'≡F}]F"ε,Tε␈π
}6O&T∞FF*
]⊗&<ε6Nl|W∩ε≥lBπ∨↑>F∞Nd ⊗fb∞Mε*π|]⊗>GD
v2πM Rε⊗}u`hT≥dπεf≤=⊗v:∞Mε*ε-}rε}d∞FF*∞>G⊗Nl}2π& Tπ⊗}D∞6F␈]LBεv}Dε⊗*∞ W↔ε]lFN∨]L↔∩πMtπ&FQQ&F∞≡$ε↔/D
↔"π=
w.fD∞FNgD ∩ε⊗≡Dπ&␈|≡&"πM Rπ≡≤LRε}d∞FF* m⊗v>↑,&}∂,Eef6⎇}Fv␈L←4Nb l↔/ Q.ε␈≡↑$εf* -w/" NRπε↑M↔"εM⎇⊗?"∞>W∩εL∀πε∂.M⊗*εLTεb<≡,6F/D∞↔.J∞M⊗.wD Fε
L∩∧F≡↑7≡+1Q&b<≥lF/B MvO" H∩ε/N,RπεL≤5b>T F*εl∃F≡}d∞↔.*
Dt∂⊗= W"π<Tπ'⊗}↑f*ε≡TεnNM≤W*εLTεfλQ.6.≡⎇lF*π
⊗f∞l|Rε&T 6*εM⎇⊗?"D
F/∂\]Bbπ
}W∩ε≡mvO∩∞
G/~ LRε6},6*b MvO" H∩ε/N,Rπ.aQ'ε/T B>.M⎇⊗>uD|Rε&↑4ε∂/N,W~r∧ F*π
}V≡* MvO" H∩ε/N,Rπ6≡5Ufε∃↑fO~
LRε&⎇≤w"εNTεnNM≤W*`Q,W"π={D
π↑LVvO$∞F␈/D
F*π
⎇⊗'~ LRεbx≡&≡F↑G"ε.d∞ε␈≡≥nBεbx≡&≡F↑Dπ∨/$
F/~λ=w⊗&↑5Bεf⊃Q&⊗∞}\W'&T
f*εM⎇↔"π ≡2π≡T∞G⊗␈↑lW∩π ↑'ε.lM⊗∨.L≥↔⊗.\]g"ε≡Tε&/>>W~εNT∧∨⊗≥eBεn≥≡2ε.MLPhVM⎇↔"π ≥f≡F↑$π.r∞ W*εNTε≥d∀
w%b|Tε&*
L∩¬&}\6F*d∧∧b<≤,%b>T
F*εm≥G~b∂;FO"
∞&Nv=≡ε/∨eAPWαf∃gwpQ!PUg<\7"∧-}vNvqQ$Nw>N'.∨M≥vw~
⎇bε⊗}⎇⊗v: ≡&*ε|nF.r ≥W/≡≥lrbπ ≡'&N>]F∂⊗O∀εNr∞Mε*ε]LVn.nL↔↔J↓Q''/M}'~pQ!PTn↑.6.vlTπ∨.||W∨'4∧εεεtKFf&}N2'& TεF∞lDπ>F≤=αεF⎇LG~πM Rε⊗}tε␈.⎇∞Bπ&t &*ε≡Dεf.≡>Bh,↑↔.∞D
⊗rπ> V."∞Mrπ& Tεf.nLr%fLMw'~Dtuf6⎇}Fv␈L←6εεtKFf&}N2&f∀
V∞Nd∞↔.J∞M⊗.wD
B>∂,=ε/" MvO" ↑7'⊗QQ&'*
]vNw4 W≡>≥LRε.d∞fO∨L↑7≡* Lε
εL∀ε.∂\=ε.:KMF&␈N4B::∧ V/↔<]fv*D∂5fOD ε∂⊗]⎇fN/d∞αs ε5`hUN,⊗w≡L≡FN}eD∧≡F≡
V∞rD∂5fOD
FF*λ-v}←4
vr∧≥n7'↔]\Vw'?eBπαdε##
oaPPh(l⊗f≡4}2ε}.<W↔6≡M⊗}w4∞6..T ∩ε⊗≡Dε}↔m≥w/~AQ%g∂]}F(h/:FF*∞>G⊗}<Tεf∂>N2π& Tεv␈LTw~πl≥G.*
Mvv:D∞6∂&≡<gNNltε∞vD W6.d
vrπM PhW>N&Nv}5Bεv}Dπ&}t 6f␈<Tπ&z∞Mε*ε.-⊗&>UDε↔/D ⊗g≡t
f␈"∞Mvzεl≡"ε7-⎇RεOEaPUfm⎇w&v}LW↑&≤T¬∨'ot⊗en ⊗⊗Valor⊗ und Geltung fein lang/satt und
gleich auf den Saiten/nicht zu nahe am Steeg/auch nicht zu ferne davon
F\" uhren}}
He suggests playing coloratura passages and quick runs at the tip where the
bow is light.\footnote{``die ⊗⊗Coloratur⊗en und geschwinde L\" aufflein vornen/wo der
Bogen leicht ist/machen und streichen.'' Falck, {\it Idea}, p.191.}
He also gives some elementary bowing rules (downbow at beginnings of measures
except after a rest and for groups of odd numbers of notes)
Muffat states:
\quote
{g$\ldots$all the finest masters, regardless of their nationality agree with
each other that the longer, steadier, sweeter, and more even the bow
stroke is, the finer it is considered;\footnote{De plus quoyque tous les meilleurs
ma\A itres de quelle nation qu'ils soient, tiennent d'un commun consentement,
que plus le trait est long, ferme, egal, et doux, plus il est a estimerg$\ldots$
Muffat, {\it Florilegium Secundum}, p.45.}}
His treatise is, of course, most well known for its instruction on the bowing
of French dances - the tyrannical ``rule of the downbow'', designed to coordinate
the bow strokes of large groups of string players.
Prelleur gives no instructions on holding the bow or on the bow stroke.
He merely includes a secTion (very similar to that of Falck on varaous
common bowings.
Monteclaire adds his plea to that of Mersenne stating,
\quote
{It is necessary to coordinate well the two hands together in order that the
bow does not go more quickly or more slowly than the fingers of the left hand,
for it is this which comprises the beauty and difficulty of the violin\footnote{Il
faut bien acorder les deux mains ensemble afin que l'Archet n'aille ni plus
v\A ite ni plus lentement que les doits de la main gauche, car c'est en cela
que consiste la dificult\'e et la beaut'e du Violon. Monteclaire, {\it M\'ethode},
p.3.}}
Crome states that the bow is ``of the utmost consequence because it is in a
manner the Tongue of the Instrument, and pronounces every thing we play.''
He emphasizes the importance of practice in perfecting the bow motion since
``using the Bow regularly will make the Arm Nimble''. He relates that Corelli
would allow his students to do little else but draw the bow over the
instrument for 3 or 4 months.\footnote{Crome, {\it The Fiddle}, pp.47-48.}
Corrette instructs:
\quote
{To draw the sound of the violin it is necessary to pull and
push with large strokes of the bow, but in a gracious and agreeable
mannerg$\ldots$.In sarabandes, largos, and other pieces of taste, it is
necessary to play whole notes, half notes,and quarter notes with large
strokes of the bow
and swell the sounds at the end. But for the ends of songs it is
necessary to begin the bow strokes with sweetness, strengthen it at
the middle, and finish, dying.\footnote{Pour tirer du son du Violon, il
faut tirer et pousser de grands coups d'Archet, mais d'une maniere
gracieuse et agr\'eableg$\ldots$.Dans les sarabandes, Adagio, Largo; et autres
Pieces de go\A ut, il faut faire les Rondes, Blanches, et Noires avec de
grands Coups d'Archet et enfler les sons sur la fin. Mais pour les
finalles et terminaisons de chants, il faut commencer le coup d'Archet
avec douceur le fortifier au milieu et le finir en mourant. Corrette,
{\it L'\'Ecole}, pp.7, 34.}}
Geminiani gives a Detailed description of the bowing motion:
\quote
{The Motion iS to proceEd from the Jgints of the Wrast andElbow in playing quick
Notes, afd↓mKer↓YSii1JA←d↓]←hA¬hACY0AMe←4AiQJ↓∃←S]PA←LAQQJA'αC?W3&+Imβ↔+Qβ'pβC#πLK;≤4Vc?;≥∧s?S↔~aβ←#-∪∃βSF)α ?8β'Mβ'∪π←9∧3@⊗↑T vv*λ]f"ε|dεO"∞Mrπ& Tε␈& Z"bπM R∧Vβz;ND≠yH∞M→#"J=≠⎇3 L<H⊂∀\β alSo a @1SiiYα)β↔7∧c?g↔ q↓αSF)α ∨8β7WO"βπ3←∂KMβ *β∪Kπ>qβCπ⊗ 3#↔bβ←'S@βS#∀hRβK'&;∃1↓G;#'∂@β∂π9?!β ∃ε#?;∃εK⊂∩ε≡DεO~
Vf"∞>FN6e∀ε∞vD
W/∨D &*π∞,W∨≡\@π/ε⎇dπ&FT↓PU∨N-⊗v?4
vO&∧∞FF*λmw⊗*\m⊗v>↑$ε}vO∃Bε∞l@εv␈D
vO&∧∞FF*∞⎇ε}fT
v.N⎇∞Bε}d∞FF* ⊗v"d∧¬&FQQ&⊗/>D¬ε/,mw⊗n↑.2ε∂,Tεf.≡>Bπ∨ ≡&Nvt
v2πM VO∩λ-w;Z ≥f"ε\≥6*¬↑<Rε}d∞FF*∞⎇ε}fT
v2ε≡E@hVn-vjπM R¬ε⎇≥g"πMtπ&F≡@¬ε∂.@ε}2
≡Bπ.lLW∩b ≥f"ε↑lVrε,←⊗}vD∞FF.≡ ∧6Nl|W↔~d∧∧Nr ≥bπ/ -w8h.Mε*∧ ≥f"ε≡4ε⊗.nDε
εM≡G&fT F␈>n|↔⊗" j&}j∞Mε*∧-⎇⊗w"
xbπ& T¬?⊗≡>Bbπ⎇ VrπM R∧w↑Dε}2∞Mε(h(-w:ε≤∞π⊗}≤=ε/~∞Mε*¬>N&Nv}5Bε∞lDπ&FT
w⊗O>DεO~
≥Vn.M≤↔&.O∀π∨',]⊗.GMlV"b
}"π& T∧F∞lAPW⊗≡Mε/∩ ∀εfONMF*ε,]g"ε,≤6Zε}$π/π|≡&"b ≡2π≡⎇⎇bε∂4∞FF*λ-w:ε≡4ε⊗.|≥bπ&t &*εN,↔>r Mw>pQ,⊗>∞≥egph) RεF≡4εo.=∧π&z∞<↔Jε⎇dπ&FT
⊗oε}.F∞v<Tε}2 -w>NltεNr ,V∂/M≤g.b∞=w.vD∞π⊗}N\7&N⎇e`hUN≡V␈&QQ'\}lTε}2∞Mε*π∞-⊗v≡≡ ⊗b∧,\↔/&≤↑2ε}d∞FF*
m⊗}f≥dεO~∞Mε*π>|Vff≥lrε␈$ Vv∨,\↔≡Nltε∞vAQ'≡}nLVvNltπ&FT
6␈.lG2π>
≤6Bε≡4ε&}lTε↔J∞∞&/∨=≥f:πM R∧⊗}tπ/ε⎇dπ&FT
7'⊗≥lw~π⎇≡FBπM PhTm}&*nm≥f>/$
V␈⊗T
w∩εL↑7~r∧ ⊗rπ
L↔NNltε∞fD
F}vt f␈&↑4π&FT
6␈.lDπ≡F}]F"ε,Tε⊗.}]`hW=|g"b ≥f"ε},⊗'.≥MGJπ>|Vff\Dπ&NMDπ&FT VN&MLRbε≥lBε7-⎇Rπ& ]f≡* }&∞π\≥FgJ∞=v7&]lV h.M⊗f@λ≥~ T⊃;Y¬dλ⊂;LD≠_<nM≤∧V⊂≤0y:4Xzv0yλ!py2H6zyzλ12P:_urw⊂≥7P29_{P:4→P!7{H9vww]4εE3≤7vP7[2P"w→⊂:7P≥42P7]42y⊂≥tz47]z⊂0w≡P w:→y9:x≥4ww⊂≠y⊂9z≠x84g→P4w⊂≥42P&Zr262Kα For
on thiS principally, and the keEpingit always parallel With the Bridge, and
preqsing it @=]YrA]SiPAQQJA
=eJ[M%]OKd↓ka←\↓iQJAMieS]≥fAoSQPA SMGeKi%←\XA⊃KaK]⊃fAiQ∀~∃MS9JA)←9JA←L↓iQJA%]gieU[K]h99M←←Q]←iKm∂K[S9SC]R0Aw9SPA)QJ↓βei\0A`\D9⎇|~∃!JACYM↑AGCUiS←]Lt~∃9Ek←iJ4∃w)Q∀A¬←n↓[kgh↓CYoCefAEJ↓IeCo8Agie¬ShA←gs, and never be raised from them in
playing Semi-quaversg$\ldots$
Before I conclude the Article of Bowing, I must caution the Learner against marking
the Time with his Bow; for if he once accustoms himself to it, he will hardly ever
leave it off. And it has a most disagreeable Effect, and frequently destroys the
Design of the Composer.\footnote{Ibid., p.9.}}
His Examples exercise the player in various combinations of bowings, and he exhorts
the student to practice bowing exercises first only on open strings (Exercise
XXIV) ``in order not to confound
the Execution of the Fingers with that of the Bow'' - an echo of Mersenne
and Monteclaire. In one Example, he shows defiance of the French downbow rule
by instructing the student to alternate bowings ``taking Care not to follow
that wretched Rule of drawing the Bow down at the first Note of every Bar.''
\footnote{Ibid., p.4.}
Mozart takes bowing variety and control of tone production one step
further than any other tutor. Whereas the treatises of Corrette, Geminiani, and
L'Abbe le fils describe a messa di voce type of sound (weak at the extremes
of the bow and strong in the middle) as being the ideal, Mozart proposes
in addition, practicing bowings which create the effects of a strong sound
tapering to weak (fig.15), weak growing strong (fig.16), and a weak-strong-weak-strong
sound within one stroke (fig.17) - all of these practised on both the upbow and the
downbow. He also recommends practicing the production of a sound which
is perfectly even from one end of the bow to the other (a bow defying act,
given the resilient springiness of its action resulting from its convex construction).
Mozart sees the mastery of the bow as essential in the proper execution of
an Adagio piece.\footnote{Mozart, {\it Versuch}, p.102-105.}
He considers bowing important enough to devote 5 chapters
to the subject.
Tartini Covers various aspects of bowing. In tone production
\quote
{To draw a beautiful tone from the instrument, place the bow on the strings
gently at first and then increase the pressure. If the full pressure iq
applied immediately, A harsh, scpapiNg sound wilhλAe∃gkYh99M←←Q]←iKm!KdAα≠π[π⊗(4+∪∞c1∞'∨#C/7.sS=β↔+?;¬π3?∂∃ε∪'O?>q≥βππβ?∨∨N K∃βb:πK∂zβ∂?9ε#↔3'≡ S↔kV βCKNk¬ 4T)βC?Jβ∂π3≤ Iβ3zaβπLN&Nn]nFJε≤λ
|yz8-l≠{∪d∞⎇8Z.MβP1g[⊂37`2za sI caf@¬eKEE∀AeOG∀AGek⊃B~∃GQ` '∪}c¬)↓¬#πKSNs%1β]c'Qα⊗+↔?3-q1βAs⊃0↔waQ%≡N⎇m⊗&N<≥g&Gα+λ
(→z.l<h≠Mt≤]3 ↑h→Sn∧_Y9m≥[Z0↔→P0P 0assage wiTh an upboW or a downbow,
buT suggests pracTicing
all passages bgdh ways to increase f@¬GSYSQrAoSQPAiQ∀AEOn8@@Q⊃∀AI←KLXAQ←]KmKd0~∃ICQKdAgUOGKgPAE←o%]OfA→←dAg=[JAg%ikCi%←]fR99M←←Q]←iKmAAβ]Q←e]↑↓CYXO¬eG↑A9↑AmR↓9AJAIKO←Y∧~∃IKQKe[S9CiBA⊃KXAG=[S]G%CeJA0OβeG¬iBAS8AOS9↓jA↑A%\Ag9↓jXAC9uRAE%g←O]∧AKgKIGSiCIgR~∃%\AikQiRAY$AaCgMRAaKHAIeSQi↑XA∀AaKd↓eWmKMGS↑X↓aKdA∃ggKe∀AMeC9GQRA⊃KYXO¬eG↑~)G←\A1BAgi∃ggBAAe←]i∃uuBAQC]i↑↓S\AO%AjXA
←[JA%\AgATvNN@↓)Cei%]RXAm9ShAIKO←Y∃xXA`8d]|~(~∃_O¬EE8O∀AYJA→SYfA%]GYk⊃KfAM¬SeYr↓KqiK9gSmJ↓S]giIkGiS=]ft~)9ck←β#∀4+]##∃β⊗{]βOF{W3⊃ε∪∃β∪⊗ ←9β>KS!β6KK7;/≠Mβ←O##?W"aβ#?>+[↔IbβOS'63↔;'v9βS#*β≠';>+KM9α4*?rβS#∃ε≠?;S⊗ Ke1ε 31β&C↔'IεS?';'→βO#␈+3⊃β⊗)β[↔↔Iβ≠K.)e↓βNqβ? ≡+K['v9βS#O→1βSF(4+≠Ls∨↔K~β←'3bβ7π/*β;πS/∪π33Jβ'7C-∪∂↔C&K 3∃εk?[↔n+;SMπ;#'∂Bβ∂?;'∪' W&)β7W≡AβS<hSS#∃ε∪↔πW'Iβ?→π##∃β≡{W;∪~q↓αSF)β←KO≠Qβ7/≠Qβπg≠=β *β[↔KJβ≠K↔*qα'Qπ≠#?Wf!β∨WN#∃βSF(4+ ␈9βOS⊗ '∨#"βπ;⊃ε#'K↔≥!β'Q∧¬w6/$
FF* eVF}L↑2ε}d∞FF*∞m⊗}f≥ebα¬M Rε6},V∂⊗T∞6F␈]LBh-⎇fgJ ≤7"ε≥lBε6⎇MF␈:∞Mε*π}-↔∨"
≥bε∞MDπ&FT
wε/,≡FN}n5bα¬M Rε∂-UBππ-}ε/⊗O∀π∨ε\≥6NvuAPW≡
}Vf"
⎇fgJ∂≥⊗.fD ⊗rπM Rε≡≡,W~π⎇ Vrε⎇lRπ/<↑2π& Tε⊗␈t g⊗}T &.>≥mfNvt∞Fzε]lCZα∞Mε(h,]F⊗␈t∞6F␈]LBε∞N|↔O~ ,Rε∂|∨∩ε7-⎇Rπ& Tε⊗}O∃`hP`h)⎇f*ε<≥bε≡≥MBπ& Tε⊗␈t ε¬& T¬≡␈]Dε}2∞Mε*∧≥n7'↔]\Vw"tpπ>F≤=αεODλ
}8z→.5λ≤z-ly(~.A \y..Y<h∞MβP3t]2P2`8pression to the sounds, @Q↑Aga%\AiQ∃ZA←kPXAi↑↓goKYαaβS#.i1βπv 4+Szβ∪'7Ls'O!π##↔5ph(4*&yβOCNqβ?W"β¬βO␈+;⊃βO→βS=π≠WOS∞K9β'"β≠?Iε β∂↔↔#π'→¬[π7?.sQβ?5iβS'n)βS#⊗{W∨ hSS#∃π≠π7∃ε#↔∨K.)β?→ε3?K∂*p4(4U#=βO>+3!β∞s⊃β∪Nk';'≡AβS#*βOπ7*βO?Wv!β'Q∧¬↔
εl\6/∨<≡'JπMtπ∨&≡.Bε6\\&gJD∞7>.MAPV↔∀ F.?,\W
πMtπ&FT∞ε}NnDπ>F]dεO" nVfg∀λWGεM|F/~D∞FF.d∞6}7L]bεOD ⊗rε∀
6Nn≥L↔⊂h-\⊗vv↑$ε↔J LV?⊗\↑2εNd∞7.≡∧ ∩ε6≡=εN}d∞FF∂D
↔"εm→fO≡ Z2εN↑ Wε≡↑∞FN⊗O∃ef6⎇}Fv␈L←4b<≡,6F/AQ&&}≡D¬d
X
∞ (≥→-n(_=L\h→Y.-9=↔∧|+λ≤l≥\h⊂l↑→;Y ≥]λ∀M⎇9~<D
→<h Mz9⎇∞5α⊂:7]z2yP≠2zy9CE17t[::y2\P27d]2w:⊂↔ P2j≤2P0zH1ww:≤0py2H37y:λ64q9→yV⊂"[⊂7q9Yy;0w≥⊂1rf_V⊂62\P27tYz9FE→2y7w≥⊂70z≥y2v6→vrw:λ22yP≠wz{2[rw9P~vx2y_rx:4X62yP≤ztP![w:94X:ry7[:⊂12Xzqwz\⊂.00CE60P_2pzz↔∪rP2→yP9w[9]⊂⊂≠2P(7Zsw2zλ27tzλ0zyyZP. P→z92P≥9.∪r\P64q≤.∪rVλ4v⊂2≠tz⊂1[w2:t\2FE6 `y1t→z⊂29≠tz⊗⊂→z⊂62H24y4Yry⊂:≠zu7z\9P9z\⊂62yH 'zZryK⊂→:P+4[v7w↔λ&∪p{_w:⊗q≤0yFE→7tz⊂≤rzv2[rw:⊂_sty⊗λ2z⊂9]t{92H62P(≠tsw2]⊂20w≤P:7z]2yP9YyP7x↔∪ry0]4ww9K⊂62P_90yFB897x≤2vrw≥⊂24z ⊂72P→7tz⊂≤rP89↔ P2z→y⊂8zYP20w≤P62yH1pyVλ7n0:H6∪wwλ2vx6≠|rP6 `y1t→zεE2 zw⊂1≠zz⊗n_0Vv∪Xzz92NP⊂62H!wzr→P9wt]⊂:7zZ7zy9H. P2]92P2↔∪rz0Xt.∪rH2:P![y89WβEεE'[⊂82z]⊂0x8→v62yλ6∪`y_t2z⊗λ 6∪PvrP2~P6∪d[9z9:[rw: λ8zSt[⊂:7zXt2V⊂≤:tyP≤zStvβE9ry≥⊂.00H27w7→y⊂6∪Y|892\ytwwλ0z|⊂≤ww9Vλ.00P≠2yP3~v2y⊗λ.00P≠2yP2[362y ⊂2z⊂↔00P6→yFE2~vtw:Yy↔⊂εBεE#4[2y⊂:[⊂9ww ⊂1Sr\z⊂62H9wn H:z2w~y⊂:wλ1ry:_tw⊂:→vyP0]P6n H2vrP→.∪rs\.∪rP→2P37\1rWεBεE(7]y⊂2w→62y⊂→z⊂24[tw:r\⊂62P≠n P2[rP9w[⊗⊂4vλ30zzλ62P1[vvrw_ry⊂3≠tq62[rw:⊗λ6∪rw→62yεB80y⊂→.∪rs\.∪rVλ5:yx]Sn00H1rP8]Stv⊂↔∪rqv_z2P8≠2tw2[rw:⊗λ2z⊂2[9ztz→P6∪pY27zqZy⊂22CE6n H2vrP≤0y⊂2↔∪rsy↔∪rV⊂→2P30K1ww⊂≤zStvλ34w4\yrP4[9rw9Zq62vYw:↔⊂λ&∪`q_.∪rP≠2P34[9VεE≡n4z⊂∀94w1Zx2y␈ ⊂8↔_K??εEβE.9rXz⊂!w[1v:yZwwεE∃42P4_w264[3P7sλ:42P≥4wv4[⊂0w2λ17{P≤t7{rY⊂22s~w4z2H:92w→9P:4≤7zstβE:42H60z2H_[n9_tyrP P8:.~17|=]4?⊂0[2⊂2p\6<P_N.90t\rP→P≤s corresponding to the demands of more
advanced technique. This progression is evidenced in the treatises of that period.
The need for stability in virtuosic passages showed the advantages of positioning
the instrument by supporting it not on the chest, but on the shoulder where
it could be further steadied by the chin.
This same need demonstrated the superiority of the Italian bow grip over
the French in controlling the action and sound production.
There has been much discussion among modern scholars as to the
handling of the baroque violin bow and the type of sound it would have produced.
David Boyden has pointed out that if the natural inclinations of the convex bow
were followed, the result would be a more detached bowing and the
messa di voce sound production described in many of the treatises. Mozart's tutor,
with its emphasis on dynamic tone control within a single bow stroke shows that
his main concern was that the player exercise complete control over the bow, not
allowing these natural tendencies to dictate the sound production.
A further blow for independence from tyrannical dication of bow technique
is made by such virtuosi as Geminiani and Tartini in their rejection of the
rule of the downbow.
The expansion of the range of the violin through shifting showed a gradual
merging of theory and practice as the treatises went from description to
actual use of the technique in exercises and pieces. These exercises and
pieces are themselves the most eloquent demonstration of the technical advances.
They progress from simple dance tunes entirely in the first position to
complicated works involving ornamented passages, often with multiple stops,
exploiting the extreme reaches of the fingerboard.
As we will see, even these demanding works did not approach the virtuosity of
the performances of the foremost violinists of the early 18\raise 3 pt\hbox{th} century.