. Analysis and interpretation of eighteen violin compositions . mportant; there are two principal points—the many-tinted shaded tones and the sustained bowing. You must paintyour picture with a brush—the bow is your brush, but fortunately the de-mands are more simple than complex as far as the bowing is concerned, andought to give no trouble whatever. For preparatory practice I would sug-gest the simple drawing of the bow slowly, a la Viotti, viz: for its full lengthabove the strings, but not touching them; then on the open strings slowlywithout fingering; then playing through the entire piece
. Analysis and interpretation of eighteen violin compositions . mportant; there are two principal points—the many-tinted shaded tones and the sustained bowing. You must paintyour picture with a brush—the bow is your brush, but fortunately the de-mands are more simple than complex as far as the bowing is concerned, andought to give no trouble whatever. For preparatory practice I would sug-gest the simple drawing of the bow slowly, a la Viotti, viz: for its full lengthabove the strings, but not touching them; then on the open strings slowlywithout fingering; then playing through the entire piece on the open strings,imagining the fingering. The rippling motion for the violin with the original theme played thistime by the piano follows, and this leads to a beautiful passage in thirds forthe piano, making a little duet for violin and piano intertwining and unitingin the followins:: SPRING SONG 41 6ter— - i^ Wf jt ^=?^— -1—\—1 1> 1 : r—( H-^T^^J : 1 1^1 II . ==—==: ~^r ■ : , — 1 ^■^—ij- ^ — [V—jlv_ J-si^ =^=f *E 1 I i^tl V. Spring Song—Mendelssohn by E. Bruce Knowlton The general principles applied to the spoken language can be applied to thetone language—music. The spoken language is divided u]) into sentences, eachbeginning with a capital and ending with a period. Music is divided into sentencescalled phrases, designated on the printed page with a curved line. Somesentences are long, others short and have but one or two words. Some phraseshave many notes, covering several measures; others have but one or twonotes. Every sentence has a subject, or a principal word, which we accent; somehave several important and. therefore, emphasized Every phrase has itsclimax, its important note or notes, which are to be performed louder than theothers. Playing without these numerous climaxes of every size of force is asflat, unintelligible and inartistic as to talk in ])erfect monotone, without lettingyour voice rise or fall, throughout an e
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