HOW TO ACQUIRE AN IDEAL TONE
To give expression to an ideal tone one must possess a tone ideal. If
not a natural gift, it may, under favourable circumstances, be acquired.
It is not given to all to appreciate art in its higher forms, and the
purely technical side of violin playing may be cultivated to such an
extent as to appeal, finally, only to the few; whilst tone, no matter to
what extent it is cultivated, appeals invariably to the many. It is that
quality in violin playing which holds the attention of the major portion
of the audience, and, whilst a sound technical training is a necessary
part of every player’s equipment, it is the fault of some amateurs that
they rely too much upon it. So frequently is the “show piece” offered,
full of fiery technical gymnastics, that violin playing has been looked
upon (by more people than is generally supposed) as a sort of exercise
in string-plucking and bow-jumping. It is said of Dr. Johnson that he
once complained of this very thing, and was told that the piece was
extremely difficult, to which he replied that he wished it was
impossible!
The cultivation and building up of a tone ideal is divided into two
parts. First, the development of tone-sense; the ability to appreciate
what is meant by purity, delicacy, grace, tenderness, appeal, depth, and
power in tone--not only from the violin, but from every source. As the
student cannot see his model it must, perforce, be carried as a memory
and the mind trained to recall, and remember with as much accuracy as
possible, the exact impression and “aspect” of such tone as may be the
subject of study; for it is necessary to _study_, not merely to hear,
all tone.
The best subjects for tone-study are these: A really fine organ--not one
of the “brassy” instruments now so frequently erected. The human voice,
particularly the singers of operatic music, and most particularly the
soprano singers in grand opera, this being preferable to hearing the
same singers on the concert platform, where, it has always appeared to
me, the singing loses much of its purpose, and consequently something in
richness and colour. On the other hand, the concert should be visited
when violinists of renown appear on the programme, for then will be
heard tone to its greatest advantage. The novice should, as far as
possible, avoid hearing the violin except when played by the famous
artists. Later he will become immune, and the sounds produced by the
most tone-deaf of fiddle players will leave his ideals unsullied--may,
indeed, become useful lessons in what to avoid. Confine attention to
tone, and not the method of its production. Do not allow the mind to be
diverted from its object. Much advantage may accrue by not looking at
the player at all. Everything in the nature of tone should be carefully
studied; not only the tone of instruments, but the sounds heard in field
and forest.
Now, it must not be supposed the pupil should attempt to reproduce,
parrot-like, anything he may have heard--least of all the tone of the
great players. The purpose of tone-study is to create original ideals,
and not to imitate the ideals of others. What he should try to produce
from the violin is simply the best tone he is capable of demanding from
it. _This will be his ideal_--when he begins to possess one. It need
hardly be said that practice should be continued, for, without ability
to play the fiddle, even the highest ideals could not be expressed; but,
until these ideals of tone begin to take form, it is as well to confine
the practice solely to technic, under a good teacher. Why? Let us
endeavour to explain.
There is a difference between the kind of tone which the violin will
yield to technic alone and the kind it will yield to technic and ideals
combined. The first may be likened to an outline drawing, and the last
to the same filled in with colour. However perfect the former, its
appeal is small and its influence evanescent, and it is a mistake to
give such tone any consideration apart from that technic to which it
owes its existence, especially whilst engaged upon the spade work
preparatory to the expression of something higher. As the student
progresses this technical tone naturally improves. The “drawing,” so to
speak, becomes more forceful and accurate. To the enthusiastic novice it
appears, in time, almost virtuosic, or at least pointing the road to
supreme artistry. Herein is found the reason for that absence of really
great tone which characterises so many players who, otherwise, are
excellent and accurate performers on the fiddle. Such tone as they
possess is solely and purely technical in character, good enough, or
even perfect, as a succession of correctly phrased sounds, but so far
removed from the tonal requirements of solo playing as to make efforts
in that direction almost a travesty.
For these reasons it is advisable that the beginner should, when
_practising the violin_, confine his whole attention to technic. When
not thus engaged, and when opportunity offers, let him hear and
carefully study the tone-picture presented to him by music from one or
another of the sources I have indicated. In due time he may begin to wed
his ideals to his technical abilities, selecting a simple aria, and I
venture the assertion that both he and those who hear him play will be
highly gratified with the result.