FOOTNOTES:[42]Cf.Vol. VIII, Chap. I.[43]See Vol. I, Chap. VII.[44]The various ‘positions’ in violin playing indicate the positions which the left hand occupies in reaching the different parts of the fingerboard. The first position is that in which the thumb and first finger are at the extreme end of the instrument's ‘neck.’ With the usual tuning the compass controlled by the first position is from a to b".[45]Leopold Mozart (father of Wolfgang Amadeus) referred to it in his method for the violin (1758) and sharply condemned it. ‘Some teachers,’ he remarked, ‘in their desire to help pupils, label the names of tones upon the fingerboard or make marks upon it by scratching. All these devices are useless, because the pupil who is musically talented finds the notes without such aid, and persons who are not thus inclined should learn how to handle the ax instead of the bow.’[46]George Hart: ‛The Violin and Its Music.’[47]Parry in ‘Grove’s Dictionary,’ Vol. 4.
FOOTNOTES:[42]Cf.Vol. VIII, Chap. I.[43]See Vol. I, Chap. VII.[44]The various ‘positions’ in violin playing indicate the positions which the left hand occupies in reaching the different parts of the fingerboard. The first position is that in which the thumb and first finger are at the extreme end of the instrument's ‘neck.’ With the usual tuning the compass controlled by the first position is from a to b".[45]Leopold Mozart (father of Wolfgang Amadeus) referred to it in his method for the violin (1758) and sharply condemned it. ‘Some teachers,’ he remarked, ‘in their desire to help pupils, label the names of tones upon the fingerboard or make marks upon it by scratching. All these devices are useless, because the pupil who is musically talented finds the notes without such aid, and persons who are not thus inclined should learn how to handle the ax instead of the bow.’[46]George Hart: ‛The Violin and Its Music.’[47]Parry in ‘Grove’s Dictionary,’ Vol. 4.
FOOTNOTES:
[42]Cf.Vol. VIII, Chap. I.
[42]Cf.Vol. VIII, Chap. I.
[43]See Vol. I, Chap. VII.
[43]See Vol. I, Chap. VII.
[44]The various ‘positions’ in violin playing indicate the positions which the left hand occupies in reaching the different parts of the fingerboard. The first position is that in which the thumb and first finger are at the extreme end of the instrument's ‘neck.’ With the usual tuning the compass controlled by the first position is from a to b".
[44]The various ‘positions’ in violin playing indicate the positions which the left hand occupies in reaching the different parts of the fingerboard. The first position is that in which the thumb and first finger are at the extreme end of the instrument's ‘neck.’ With the usual tuning the compass controlled by the first position is from a to b".
[45]Leopold Mozart (father of Wolfgang Amadeus) referred to it in his method for the violin (1758) and sharply condemned it. ‘Some teachers,’ he remarked, ‘in their desire to help pupils, label the names of tones upon the fingerboard or make marks upon it by scratching. All these devices are useless, because the pupil who is musically talented finds the notes without such aid, and persons who are not thus inclined should learn how to handle the ax instead of the bow.’
[45]Leopold Mozart (father of Wolfgang Amadeus) referred to it in his method for the violin (1758) and sharply condemned it. ‘Some teachers,’ he remarked, ‘in their desire to help pupils, label the names of tones upon the fingerboard or make marks upon it by scratching. All these devices are useless, because the pupil who is musically talented finds the notes without such aid, and persons who are not thus inclined should learn how to handle the ax instead of the bow.’
[46]George Hart: ‛The Violin and Its Music.’
[46]George Hart: ‛The Violin and Its Music.’
[47]Parry in ‘Grove’s Dictionary,’ Vol. 4.
[47]Parry in ‘Grove’s Dictionary,’ Vol. 4.