LAOUREUX 1 PDF

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Caio Rodrigues , Henrique Carvalho. No Downloads. Views Total views. Actions Shares. Embeds 0 No embeds. No notes for slide. Having examined the Method by M.

Laoureux, l find that he has endeavored to correct these mistakes and has fully succeeded in doing so. In his Preface, by means of a cleverly adapted series of movements, he teaches the pupil how to hold both bow and violin in a wholly correct manner. The first exercises with the bow are excellently graduated, and highly important to insure suppleness of the right For the left hand, M.

Laoureux begins with the first finger and makes arm and a fine quality of tone. Thus, while giving the pupil a thorough training, he avoids monotony in the exercises. The same method is pursued throughout the course. New difficulties are always prepared by a series of practical exercises, and concluded by a Study contain- ing a review of the technical points just practised.

The various bowings are led up to by easy steps, and I am convinced that the pupil would understand the explanations even without the teacher's assistance. Part U is devoted to the Positions. Beginners gen- erally find them difficult to master, both on account of the different fingering and the changes of position.

This difficulty, of which the other violin methods take no notice whatever, is forestalled by the author; from the first position he goes directly over to the third, and then comes back to the second, in which, lying as it does between the other two, the pupil soon feels at home.

And in this Way the author is enabled to in- troduce immediately a good number of studies in shifting, and to emphasize the special use of each finger in manifold positions.

In a Word, the few pages devoted to these studies in shifting afford the pupil a complete view of the positions and the art of shifting. The progressive exercises, with similar fin- gerings in the first five positions, present the same ad- vantages, and at the same time train the pupil's ear. Double-stops receive special treatment in the Sec- ond Part. By this method the beginneHs ear is not led astray, and he more readily acquires perfect precision of pitch.

This Violin Method is, in my opinion, the only one which so skilfully prepares the study of one of the Chief difficulties of our instrument. Taken as a whole, this Method advances by very carefully considered gradations, and is, I think, the best adapted for its purpose of all the methods with which I am familiar, and calculated to do most excellent service in the cause of Violin-teaching.

Supported by the opinion of such a renowned vir- tuoso and expert, I can only concur in the praise which he bestows on the author of this Violin Method, and approve and recommend the use of this extremely interesting work for instruction on the Violin at the Royal Conservatory in Brussels. Signal F. In general, the correct posture of the violinist con- sists in throwing the weight of the body on to the left leg, which should form a straight line with the well- poised head.

The right foot, slightly and easily ad- vanced, maintains the equilibrium of the body. Before setting the violin in position the pupiPs left shoulder must be padded with a small cushion, so that he may not have to raise it, but can, on the contrary, draw it back a little while throwing out the chest.

The above advice is of vital importance in the matter of the pupil's physical development. We will now suppose the pupil to be standing easily with arms hanging down at either side.

First movement. The pupil takes the violin, with its back towards him, by the end of the neck next the scroll, between the first joint of the thumb and the third joint of the forefinger of the left hand. Second movement. He raises the left forearm to the height of the shoulder.

Third movement. He throws the left elbow slightly forward, away from the body, so that the neck of the violin rests on the palm of the hand. Fourth movement. The teacher will take care to press the palm of the G, Sheet Music" hand away from the neck of the violin, so that it may form a straight line with the forearm; and to turn it to the left, so that the fingers may come over the strings.

This position enables the player to hold the violin by the weight of his head alone, and without effort. The pupil must take care not to thrust his head forward, as this would tend rather to lower the violin than to keep it steadily horizontal. The body of the violin should slant downward to the right, so that when the pupil sets the bow, at the nut, on the G-string, the down-bow will describe a horizontal line from nut to point. Now bring down the other three fingers gently upon the pencil.

The four fingcrs, at first curvcd naturally, are now advanced till nearly straight the thumb retainiug its position , with the forcfinger further forward than the little finger; this throws the hand into a slightly oblique position, giving the precise shape for holding the bow properly.

The teacher will hand the bow to the pupil so that the latter may grasp it as he held the pencil, between the thumb which holds the stick at the nut and middle finger.

His right clbow should be close to his : ide: his wrist, gentlv curved upward, forms an 4. The entire breadth of the hair should rest on the string, and the bow must not be tilted sideways.

The pupil is wamed against that very common fault of beginners. This- position permits only a small portion of the hair to touch the string, and the slanting pull hurts the quslityoftbetone. Ournextnnovewillbetogetourfirsttoneonthe G-string.

III and II. The teacher will have noticed during- this exercise that the pupil tries to describe a hori- zontal line, but finds it difficult to draw his bow straight, that is to say, parallel to the bridge.

Little by little, as the pupil allows the bow to be guided without stiffness, he may be left to play unassisted. In passing from G to D, the pupil, during the rest, should slightly lower wrist. Fox- the D, A and E strings the elbow must he close to the side. Copyright renewed, 1. Schirmer, Inc. Sclzimner, Inc. Fullness of tone depends upon its purity. Whole bow on the quartennotes.

Take the eighth-notes at the point. The Legato In passing from one string to another adjacent string the pupil must lower or raise the hand by motion of the wrist only lower it to reach a higher string, raise it for a. Difsb Diminished Fifth The dimin. Nicolas Laoureux r A Practical Method for the Violin, Part l L e g a t o No t e s Use the whole bow, being careful to divide it into two equal parts, one for each note.

Preparation Nicolas Laoureux r A Practical Method for the Violin, Part 1 At first with separate bows for each note, With separate bows for each note, from middle to point. EE-AMZ um. Use the whole bow, - attack at nut and point, with a rest after each note.

A test of the proper setting of the bow on the string before the stroke is, that the string may be moved laterally an appreciable amount by the "bite" of the bow on the string, without sounding the note.

The staccato note short and Well marked.

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