The violoncello and its history . s Musica Teutsch. The capability of tension of the Quint string was consequentlythe guide for the pitch in tuning the lute—beyond this therewas as yet no normal pitch—and in stringed instruments it wasin every case so maintained. In playing with wind instru-ments the stringed instruments had, therefore, to adapt thepitch to them. The great violins were, in the first half of the sixteenthcentury at least, according to all appearance played in twoways. From the drawing in Judenkiinigs treatise, a mode ofhandling is seen which requires no further
The violoncello and its history . s Musica Teutsch. The capability of tension of the Quint string was consequentlythe guide for the pitch in tuning the lute—beyond this therewas as yet no normal pitch—and in stringed instruments it wasin every case so maintained. In playing with wind instru-ments the stringed instruments had, therefore, to adapt thepitch to them. The great violins were, in the first half of the sixteenthcentury at least, according to all appearance played in twoways. From the drawing in Judenkiinigs treatise, a mode ofhandling is seen which requires no further the handling of the great violin represented byJudenkiinig without any explanation is treated of as notexceptional appears also from the accompanying vignetteof another publication of that period. The bass viol performing with the two lutists representsthe same position and manner of playing as the woodcut inJudenkiinigs treatise, with the sole difference that he isholding his instrument in the left hand, whereas the peg-box. of the instrument, bent sharply backwards, of Judenkiinigsplayer rests on his shoulder. It is very evident that inboth cases scarcely more could be executed than the simplestbass accompaniment. More, however, was eventually to beproduced according to the treatment of the great violin prescribed by Gerle. He says regarding it: When you have INTRODUCTION. 5 according to my instructions beschriben (noted),1 tuned anddrawn up the violin, and wish to begin playing, proceed thus :Take the neck of the instrument in the left hand and the bowin the right, sit down and press the viola between the legs, thatyou may not strike it with the bow, and take care when you playthat you draw the bow directly and evenly over the stringsneither too far from nor too near the bridge2 on which thestrings lie, and that you do not draw the bow over two stringsat once, but only over that which is placed under the figuringin the Tablature, and this must be especially attended to.
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Keywords: ., bookcentury1800, bookdecade1890, bookpublisherlondo, bookyear1894
