Although the thumb possesses a cunning in movements far superior to the
other fingers, yet in Mr. Bull’s method the thumb, at any given instant,
is the fixed point or rest for the upper part of the violin, while the
fingers are left absolutely free and movable for the demands of
fingering.
Referring again to Fig. 2, it will be seen that the muscles of the
thumb, consisting of the Opponens Pollicis, Abductor Pollicis, Flexor
Brevis Pollicis, Flexor Longus Pollicis, and Adductor Pollicis, are
connected absolutely with the thumb, and in Mr. Bull’s method they move
it only sufficiently to constitute a movable rest.
The annular ligament consists of a dense, firm, white, fibrous band,
attached to bony prominences on either side of the wrist, thus forming a
strong membranous arch, which is capable of supporting the violin
without difficulty, while beneath and protected by it the long flexor
tendons glide uninterruptedly, thus permitting absolutely free flexion
of the fingers on the finger–board. Mr. Bull never grasps the neck of
the instrument between the thumb and fingers, since this would at once
put such constraint on the fingers as to prevent rapid and effective
action on the finger–board.
In fine, the violin _rests_ without restraint, like an obedient slave,
on a couch formed for it by the arm of its imperial master.
Nothing is more observable in Mr. Bull’s method than the peculiar
obliquity of the finger–tips when applied to the strings. Some have
claimed that the tips of the fingers when applied to the strings should
be essentially at right angles to the finger–board. Mr. Bull discovered
experimentally that such a method of fingering increased his nervous
exhaustion, and gave him positive brain–fatigue, frequently after only
moderate practice.
He therefore learned instinctively to give the fingers the pose seen in
Fig. 1, which he claims diminishes perceptibly nervous exhaustion, at
the same time that it insures to the fingers much greater freedom of
flexion. By consulting the cut it will be observed that the finger–tips
approach the finger–board with a marked obliquity, and that the points
of pressure are not on the tips of the pulps of the fingers, but on
their radial or thumb side near the angle of the nails. If we examine
the end of the finger we shall observe a series of curved lines or
ridges, which are made up of “papillæ tactûs,” or points of touch,
having a linear arrangement and acute sensibility. These ridges are
broader and better developed over the tips of the pulps of the fingers
than on the sides.
It follows that the sensibility, most acute at the tips, gradually
diminishes as we approach the sides. Moreover the epidermis, or
scarf–skin, gradually increases in thickness as we approach the angle of
the nails; hence the “point of election” with Mr. Bull in making
pressure on the strings is best adapted for the purpose, since the
points of touch are less sensitive, and their sensibility is still
farther diminished by an increased thickness of the epidermic covering.
In this matter, then, it would seem that Mr. Bull has anatomical
“justification” for the faith that is in him.
I was anxious to determine as far as possible the points of contact
between the “line of support” on the thumb and the violin, when the
fingers were at different points on the finger–board. It was a matter of
no little difficulty, since, as before observed, the thumb while playing
constitutes a movable rest, and glides with infinite ease and grace from
the head to the body of the instrument. Nor could the distinguished
gentleman himself afford me much assistance. The habit of a lifetime had
become a second nature; it could be done easily and gracefully, but it
was difficult to do it and analyze it at the same time. Nay more, the
very attempt threatened to throw us into confusion worse confounded. The
problem was at length solved in this wise. Standing behind the musician,
I requested him to entirely ignore me and my object, and to play some of
his most impassioned pieces, “the world forgetting and by the world
forgot.” Dividing the finger–board into four equal segments, I watched
the play of the left hand up and down the violin, and noted the
positions assumed by the thumb at different points.
By noting the points of contact and support when the index and middle
fingers pressed the strings at the upper part of each fourth, I was
enabled to establish four definite positions. It should be noted that
this division of the finger–board into fourths is not musical but purely
arbitrary, in order to establish the pose of the violin on the thumb
when the hand is at different points along the instrument. Thus we might
hope to get an approximate idea of the way in which the one position
easily glides into the next. The accompanying cuts may serve to
illustrate the four positions. Fig. 1, already several times referred
to, shows the first position. The index and middle fingers press the
string at the lower part of the first fourth of the finger–board. The
neck of the instrument rests along the whole length of the palmar line
on the thumb, as represented in Fig. 2. The curve at the upper part of
the body of the violin marked A (Fig. 1) is seen to rest against the
wrist. This is rarely the case when Mr. Bull is playing; but it became
necessary as a rest during the horrors of photographing.
[Illustration: FIG. 3.]
It is perhaps unnecessary to again call attention to the fact that the
violin rests on an inclined plane, its position being almost entirely
maintained by its own gravity.
[Illustration: FIG. 4.]
Fig. 3 shows the second position. It will be seen that the pose of the
arm is essentially the same, but the thumb has glided up the neck of the
violin until the index finger rests at the lower extremity of the second
fourth of the finger–board. The neck of the instrument rests on the
anterior extremity of the thumb line, while the curve marked B (Fig. 3)
rests upon the annular ligament (for which see Fig. 2). Fig. 4 simply
shows the reverse of the position shown in Fig. 3. Fig. 5 represents the
third position. The index finger rests at the beginning of the third
fourth of the finger–board. The anterior extremity of the thumb line
supports the base of the neck adjoining the “shield,” while the curve
marked C rests against the base of the thumb and annular ligament.
[Illustration: FIG. 5.]
Fig. 6 shows the fourth position. The index finger here rests at the
commencement of the last fourth of the finger–board. The anterior
extremity of the thumb line presses against the base of the neck
adjoining the “shield.” When Mr. Clay reached the highest flights of his
eloquence, one of his admirers in the Senate said that he looked “forty
feet high.” Mr. Bull, who has been thought to resemble the great
statesman in personal appearance, makes somewhat the same impression on
the spectator when he reaches his highest notes. Involving, as these
notes do, fingering in the highest fourth of the board, it becomes
necessary for the musician to elevate the whole instrument, since it is
simply steadied against the neck by the thumb, as may be seen in the
cut; and by the time the highest note is reached, the grand proportions
of the Viking have towered to their utmost height. To one who has seen
Mr. Bull at such a time this will not, I am sure, seem an exaggeration.
[Illustration: FIG. 6.]
The last diagram (Fig. 7) is appended simply to show the reverse of Fig.
6.
[Illustration: FIG. 7.]
It is a well known fact that playing on the violin develops the muscles
of the arms and chest to a most remarkable extent. It is a matter of
some interest to inquire what effect, in the case of Mr. Bull, a
lifelong practice on the instrument has had. I append the sub–joined
measurements which I took from this gentleman.
The chest measure over nipples was forty–two inches on full inspiration.
On forced expiration the measurement was thirty–nine inches. The
measurement from the middle of the top of breast–bone to tip of shoulder
was the same on both sides, namely, ten inches. It is well known that
there is a normal difference between the right and left sides of the
body.
NOTE.—As Dr. Crosby’s paper is unfinished, we append to it a
letter from the celebrated Tartini, which was translated and
published by Dr. Burney in 1779, as “an important lesson to
performers on the violin.”
When Ole Bull was once speaking of his experiences in Italy, in
1834, he said: “I tried, if possible, to hear some player of the
old Italian school. I happened to come in contact with an old man
of ninety years, a pupil—amateur pupil, I will add—of Tartini. I
paid him my respects, and asked to see his violin and hear him
play, as it was my intention to study the Italian method. With
infinite grace he took up an old Amati violin, the sight of which
made my eyes water, and putting the bow on the strings, he
produced tones which were an exact reproduction of the Tartini
method as published by that great master in a letter which was
shown me. Ah! so different from the modern school! Why, the
violinist of to–day serves his instrument as though it were a
slave, and must be driven to duty with the lash. The player should
treat his violin as a tender child—fondle and caress it, not beat
it. The beauty of a performance lies in exacting from the
instrument tones corresponding with the deep love a true artist
feels for his art.”
The letter referred to by Ole Bull was the one translated by Dr. Burney,
which reads as follows:—
PADUA, _March 5, 1760_.
MY VERY MUCH ESTEEMED SIGNORA MADDALENA,—Finding myself at length
disengaged from the weighty business which has so long prevented me from
performing my promise to you, a promise which was made with too much
sincerity for my want of punctuality not to afflict me, I shall begin
the instructions you wish from me by letter; and if I should not explain
myself with sufficient clearness, I entreat you to tell me your doubts
and difficulties in writing, which I shall not fail to remove in a
future letter.
Your principal practice and study should, at present, be confined to the
use and power of the bow, in order to make yourself entirely mistress in
the execution and expression of whatever can be played or sung, within
the compass and ability of your instrument. Your first study, therefore,
should be the true manner of holding, balancing, and pressing the bow
lightly, but steadily, upon the strings; in such a manner as it shall
seem to breathe the first tone it gives, which must proceed from the
friction of the string, and not from percussion, as by a blow given with
a hammer upon it. This depends on laying the bow lightly upon the
strings at the first contact, and on gently pressing it afterwards,
which, if done gradually, can scarcely have too much force given to it,
because, if the tone is begun with delicacy, there is little danger of
rendering it afterwards either coarse or harsh.
Of this first contact and delicate manner of beginning a tone you should
make yourself a perfect mistress in every situation and part of the bow,
as well in the middle as at the extremities; and in moving it up as well
as in drawing it down. To unite all these laborious particulars into one
lesson, my advice is, that you first exercise yourself in a swell
upon an open string, for example, upon the second string; that you
begin _pianissimo_, and increase the tone by slow degrees to its
_fortissimo_; and this study should be equally made with the motion of
the bow up and down, in which exercise you should spend at least an hour
every day, though at different times, a little in the morning and a
little in the evening; having constantly in mind that this is, of all
things, the most difficult and the most essential to playing well on the
violin. When you are a perfect mistress of this part of a good
performer, a swell will be very easy to you; beginning with the most
minute softness, increasing the tone to its loudest degree, and
diminishing it to the same point of softness with which you began, and
all this in the same stroke of the bow. Every degree of pressure upon
the string which the expression of a note or passage shall require will
by this means be easy and certain; and you will be able to execute with
your bow whatever you please. After this, in order to acquire that light
pulsation and play of the wrist, from whence velocity in bowing arises,
it will be best for you to practice every day one of the _Allegros_, of
which there are three in Corelli’s solos, which entirely move in
semiquavers. The first is in D, in playing which you should accelerate
the motion a little each time, till you arrive at the quickest degree of
swiftness possible; but two precautions are necessary in this exercise:
the first is, that you play the notes _staccato_, that is, separate and
detached, with a little space between every two, for though they are
written thus—
[Illustration]
they should be played as if there was a rest after every note, in this
manner—
[Illustration]
The second precaution is, that you first play with the point of the bow;
and when that becomes easy to you, that you use that part of it which is
between the point and the middle; and when you are likewise mistress of
this part of the bow, that you practice in the same manner with the
middle of the bow; and above all, you must remember in these studies to
begin the _Allegros_ or flights sometimes with an up–bow, and sometimes
with a down–bow, carefully avoiding the habit of constantly practicing
one way. In order to acquire a greater facility of executing swift
passages in a light and neat manner, it will be of great use to you if
you accustom yourself to skip over a string between two quick notes in
divisions, like these—
[Illustration]
Of such divisions you may play extempore as many as possible, and in
every key, which will be both useful and necessary.
With regard to the finger–board, or carriage of the left hand, I have
one thing strongly to recommend to you, which will suffice for all; and
that is, the taking a violin part, either the first or second of a
concerto, sonata, or song, anything will serve the purpose, and playing
it upon the half–shift, that is, with the first finger upon G on the
first string, and constantly keeping upon this shift, playing the whole
piece without moving the hand from this situation, unless A on the
fourth string be wanted, or D upon the first; but in that case, you
should afterwards return again to the half–shift, without ever moving
the hand down to the natural position. This practice should be continued
till you can execute with facility upon the half–shift any violin part
not intended as a solo, at sight. After this advance the hand on the
finger–board to the whole–shift, with the first finger upon A on the
first string, and accustom yourself to this position till you can
execute everything upon the whole–shift with as much ease as when the
hand is in its natural situation; and when certain of this, advance to
the double–shift, with the first finger upon B, on the first string; and
when sure of that likewise, pass to the fourth position of the hand,
making C with the first finger upon the first string; and indeed this is
a scale in which, when you are firm, you may be said to be mistress of
the finger–board. This study is so necessary, that I most earnestly
recommend it to your attention.
I now pass to the third essential part of a good performer on the
violin, which is the making of a good shake, and I would have you
practice it slow, moderately fast, and quick, that is, with the two
notes succeeding each other in these three degrees of _adagio_,
_andante_, and _presto_; and in practice you have great occasion for
these different kinds of shakes, for the same shake will not serve with
equal propriety for a slow movement as for a quick one; but to acquire
both at once with the same trouble, begin with an open string, either
the first or second, it will be equally useful; sustain the note in a
swell, and begin the shake very slow, increasing in quickness, by
insensible degrees, till it becomes rapid, in the manner following:—
[Illustration]
But you must not vigorously move immediately from semiquavers to
demi–semiquavers, as in this example, or from these to the next in
degree—that would be doubling the velocity of the shake all at once,
which would be a skip, not a graduation; but you can imagine between a
semiquaver and a demi–semiquaver intermediate degrees of rapidity,
quicker than the one, and slower than the other of these characters; you
are therefore to increase in velocity by the same degrees in practicing
the shake, as in loudness when you make a swell. You must attentively
and assiduously persevere in the practice of this embellishment, and
begin at first with an open string, upon which if you are once able to
make a good shake with the first finger, you will with the greater
facility acquire one with the second, the third, and the fourth, or
little finger, with which you must practice in a particular manner, as
more feeble than the rest of its brethren. I shall, at present, propose
no other studies to your application; what I have already said is more
than sufficient, if your zeal is equal to my wishes, for your
improvement. I hope you will sincerely inform me whether I have
explained myself clearly thus far; that you will accept of my respects,
which I likewise beg of you to present to the Prioress, to Signora
Teresa, and to Signora Chiara, for all whom I have a sincere regard; and
believe me to be, with great affection,
Your obedient and most humble servant,
GIUSEPPE TARTINI.