THE VIOLIN and ITS COMPONENT PARTS

The inside of the Violin is like an empty box with a number of small corner-blocks placed at the top, bottom and sides, stabilizing the different parts of the Violin.

It also has a lining which follows the contour of the instrument.

The Bass-bar is a narrow strip of wood glued against the inner surface of the top and running parallel with the outside G-string. It serves to strengthen the top under the heavy pressure of the thickest string on the Violin (the G-string) and equalize the vibrations.

The Sound-post is a small round wooden prop set inside the Violin, between the Top and Back, just behind the right foot of the bridge. Its function is to brace the Top against the pressure of the strings, transmitting as well as regulating their vibrations. It is through this little prop that the whole body of the Violin is rendered resonant. Owing to its great influence upon the tone of the Violin it is rightly called "l'ame du Violon" (the soul of the Violin).

The End Button sets in the lower end of the ribs of the violin and serves the purpose of holding the Tail-piece to which it is fastened with a strand of heavy gut.

The Chin-Rest should have two different purposes:

1. Its first purpose should be to enable the Violin player to hold the Violin firmly and securely.

2. Its second purpose should be to protect the top of the Violin from being touched by the chin of the player.

According to the latest scientific research, the Violin loses more of its tonal volume when being touched on the top than on the back.

THE BOW and ITS COMPONENT PARTS

The Stick of the bow is made of Pernambuco wood. It is ordinarily round, but occasionally octagonal.

THE FROG AND ITS PARTS

The Frog of the bow is made of Ebony. Fine bows are mounted with silver or gold. The hairs are horse hairs.

Before using the bow tighten the hair by means of the screw in order to impart the necessary tension to the stick. This tension, however, must never be so great as to cause the stick to become straight; the latter should always remain slightly bent towards the hair. Before playing, the hair should be rubbed with a moderate amount of rosin, and after playing, the hair should invariably be loosened. When the hair becomes worn out, or shiny, and refuses to retain the rosin, it must be renewed.

Always Keep Your Violin and Bow in Perfect Condition and Spotlessly Clean!

Great importance attaches to the size of the violin and bow with which a beginner starts. Both must neither be too large nor too small and a mistake in this respect is liable to increase the difficulties of the pupil to a very considerable extent. To make sure, the teacher should always select the violin and bow, as he or she is best qualified to judge of the practical needs of the beginner.

The above is one of the first of Prof. Leopold Auer's teaching principles and remarks to be applied to the general instructive plan of this Method; others of equal importance are mentioned throughout this Method in his customary concise, authoritative manner and always signed with his initials: L.A.

The Authoress

HOW TO HOLD THE VIOLIN CORRECTLY

1. Stand erect, with weight of the body resting on the left foot. (See illustration 12, p. 13)

Stand erect, perfectly quiet, with freedom and ease, and always hold your shoulders well to the rear. Such a position will enable freer breathing and better tone production. L.A.

2. Bend the left arm well toward the right, in order to enable your fingers to fall upon the strings from above and with the necessary surety and strength; in fact your elbow must be drawn under the instrument to such an extent that you can see a little part of it. (See Ill. 1, p. 11) Never hold the elbow towards the left. Also remember, that the Violin should never be held in position by the left hand — only by collar-bone and jaw-bone. The hand should always be free and independent for the purpose of playing.

3. Hold the violin in a horizontal and slanting position — the right side lower than the left, place it upon the collar-bone and hold it firmly in position with the jaw-bone upon the chin-rest. (See Ill. 2, p. 11)

4. Never use your left shoulder to support the instrument and hold the latter firmly in position with aid of the collar- and jaw-bones only (see Ill. 4, p. 11). In fact do not allow the Violin to touch your shoulder or use a cushion to support the instrument, as such methods will invariably muffle the tone.

Drawing up of the left shoulder as well as the use of a cushion for supporting the Violin is absolutely wrong and both methods will tend to muffle the tone. A cushion will rob the Violin of a third of its tonal volume. L.A.)

5. The fore-arm, wrist and hand should form a straight line. (See Ill. 7, p. 12) Do not bend the wrist either too far out or too far inward, so as not to touch the body of the violin. Hold the neck of the Violin between the first joint of the thumb and the third joint of the fore-finger and never forget that there must be a very noticeable space between the thumb and neck. (See Ill. 8, p. 12) In addition, do not press the thumb against the neck of the Violin.

HOW TO HOLD THE BOW CORRECTLY

1. Place the thumb of the right hand, slightly curved, close to the nut, beneath the stick and opposite to the middle finger, with the other fingers placed side by side on the bow within touch of each other.

2. The thumb must be placed simultaneously against the nut and the stick at the point marked on the bow:

[ILLUSTRATION OMITTED]

5. Never forget that next to the fingers and the arm itself, the wrist is the most important factor for ultimate mastery of bowing. To play with a stiff or cramped wrist will not bring satisfactory results in violin playing as a loose and flexible wrist is one of the main essentials of correct and artistic bowing.

3. The bow must lie in a slanting position between the first and second joints of the index finger and between the end...