HOW TO MAKE A VI O LIN

by JOHN BROADHOUSE

V IOLIN NOTES by OLE B ULL

Revised Edition

LONDON W ILLIAM REEVES B ookseller Ltd.

l No W I 6 a b r C esce S . . r u y r nt , Printed in Grea t B ritain by w m N W r e and B e e s e . . o Lo rydon (Print r ) Li it d , London , F ORE WORD .

H E demand for this little work On the

T construction Of the violin h as con

tinned steadily for years and f or a short

time has been out o f print . T his present editi on has been cons iderably improved a n d has had the advantage O f being revis ed by

- one of our well known violin makers .

With a V iew O f further improving this edi tion the outline ill ustrations O f the model s

O f s s Stradivariu , Guarneriu and Amati have been re-drawnand that O f a Maggini added

to the list .

CONTENTS

Int roduction

CH APTER 1 . The P a rts of the V iolin I CH APTER I . On the S el e ction of Wood

CHAPTER III . The Tool s Re quired

H A ER I C PT V . The Mode ls

A ER CH PT V . The Moul d

A ER I CH PT V . The S ide -pi eces a nd S id e - l inings

H P TE V I I C A R . The B a ck

A ER CH PT VIII . The B elly

R 1X CH APTE . The Thicknes s of the B a ck a n d B e lly v i CO N EN S T T .

PAGE

CH APTER X . The B ass B ar

CH APTER XI . The P urfli ng

TER CHAP XII . The Neck

HA ER C PT XIII . The Fingerboard

ER I CHAPT X V . Th e Nut a n d the Ta il P i ece Nut

ER X CHAPT V . Va rnis hing a n d Poli s hing

A ER X I CH PT V . Va rnis hes a nd Colouring Matte r

A ER V CH PT X I I . The V a rnis h

A ER CH PT XVIII . A M athematica l Method of Const ructing the Outli ne

A ER CH PT XIX . The Re ma in ing Access ori es of the V iolin ( in cl u din g V ioli n Not es by Ole B ull) I L T L I S T OF L US TR A I ONS .

Le Me rcure S trad Fr on tispi ece

S aw P l a ne side v i ew P a e tt m ie w l n , bo o v P l a ne showing loose pieces de tach ed P l ane r ea dy for u se S ide vi ew o f sma ll rounde d pla n e B ottom view of sma ll rounde d pl a ne K nife S cr a pe r S tee l compa ss es S teel t r a ce B e nding i ro n H a nd -v i ce Woode n b a nd scr ew Clip of wood S ound -post sette r S ou n d-post se tter u sed by S pohr La rge folding pl ate of outl in es of a n Amati S t a di a s G a e i s a n d , r v riu , u rn r u Maggini At end of r ola mo ‘ Outli ne of a v iolin 23 Mode l for the curve of the back a ndbe lly 24 “ Mode l for the curv e a t its gre atest width 4 i u s T O P I LL R A I N S v ii U S T T O .

The curv e ove r the I hol es Model for the c urve a t the wid est pa rt of the n e ck en d Mode l f or dr a wi n g a n d pl acin g the hol es Th e mould The counte r moul d The uppe r mould with piece s i n pos it ion Mould with th e blocks Mapl e piece The t wo mapl e pi eces i n position Anoth e r vi ew i n one p iece The ba ck -pl ate P u rflin g tool Cutters Pu rfling tool Chi sel-sh a rp en ed a wl The n eck A view of the foot of the neck Outl ine wi th measures ma rke d Ar c

Outline s howing the pos ition of the ba r Outline s howing va ryin g thickness B id e f a wit s e e st i s th e r g o viol h v n r n g , body of which i s n ot c u t o ut exce pt a t t he t wo s ides B e f w v ridg o a. v iol ith fi e s trings cut through i n e v ery p a rt 4 B s ma 5 . ridge of a ll pa tte rn viol in of the a nc ie nt school of An thony Ama t i B rid ge of a Nichol a s Amati B ridge of a S tra diva rius I NTROD UCTI ON .

0 much has been written upon the

, d , S violin, its history its evelopment its r beauties as a musical inst ument, its ec musical literature, etc . , that a coll tion of all the works to which it has given rise would form almost a library o f themselves . Its history has been ably treated in a Ger “ man ' V o ‘ r work called Die i line, Ih e Ges n Bau. T he chichte und Ihr o ly work, how ever, as yet given to English readers, I believe, which treats fully and concisely of the numerous details involved in making a is violin , the yery fine but expensive work o f H - — E . eron Allen a work complete in itself, but perhaps too costly f or some who would like to try their hand at fabricating 2 N RODUCT ON I T I .

H s s a fiddle . int are given in many book ,

“ a nd in some O f them a general outline o f the process is furnished ; the best I have i “ h V s s T e . een contained in iolin, by P

s B the David on . y far greater part of that interesting work is devoted to theoretical an s s w at d hi torical matter , hich , however,

s s tractive in them elves , are not trictly con

' nected with th e making of the instrument . My Obj ect in writing this boo k is to afford the amateur detailed information respect ing the various processes to be gone through

in the workshop, from the time when the wood in the rough lies on the bench to the moment when the finished a rticle is ready f to be fitted with strings or playing . I do not think I have allowed any detail to es

cape me, if I have I shall be grateful to any w t reader who ill communicate wi h me, so that the defect or defects may be remedied

in a later edition . I do not for a moment

s s wo uppo e that my rk is perfect, but I have

tried to make it as full . and complete as

possible, and to explain in detail every

a operation necess ry to construct a violin. INTRODUCTION. 3

It is presumed that the amateur is suffi ciently enthusiastic to make the attempt , and that he means not merely to make a common box o f wood which will sound

to instru when played upon, but produce

' to ' ut ments which will live after him, and, p his best work into every violin he finishes . V iolins are turned out by the thousand

s every year, but cheap as they are, mo t of them are dear at the price paid f or them becaus e they are made without artistic in telli ence s s h g , without enthu ia m, wit out love f or the beautiful , and without that minute attention to each particular instrument

% which alone can secure a perfect work . So

n s many backs, so many bellies , so many eck , so fin er- - many g boards , so many bass bars, so

- s many sound post , are shaped to a given

s pattern, fitted together, varni hed , and sent into the market as s o many violins ; but this is not the way to produce one good in T strument . he amateur who reads this book doubtless knows all that ca n be learnt about the old masters whose names are

s l hou ehold words in the violin world, and i N RO C ON 4 I T DU TI .

s o s tlz e o h , he know that y did not w rk on t is

s w on plan , but be to ed loving care every

s one ingle instrument , regarding the work in hand a s quite enough to tax all their energies a nd ab sorb all their arti stic know

ledge and experience for the time being .

T s i n to w hi is the spirit which ork, the spirit which will regard every detail as

s s w equally momentou , and be to as much time and trouble on the ins ide work which

s on w will never be een , as the outside ork

which will be seen . I woul d call the reader’s attention to the remark of the eminent sculptor to the effect that T rifles ” e o w make p rfecti n , but I ould at the same time caution him against misunderstanding the quotation In the making o f a violin ” trifles there are no , everything s een or

s o r s un een, great mall , beauti ful or not

is o f s T he beautiful , the fir t importance. mason who carved elaborate details on

figures . in a cathedral , placed so high that the beauty of his work could not be seen

e and admired, made his work perfect b ca us e {fie gods would s ee it does the amateur who RODUC INT TION. is about to begin to make a violin know what such enthus iasm means ? Is he pre

r not pa ed to produce a perfect work, merely r to make a profit by it, not to win admi ation

a for it, not to g in celebrity by it, but because — o f a n the doing genuine work, for the re so

is the a nd that it genuine work, is highest pures t pleasure known to the enthusiast ?

This ea t/z u ias m he is s . T work will not of necessity be bad if profit or fame result bad from it, but it will certainly be if this particular kind of enthus iasm do not inspire every s tep t aken in the process o f doing i t. Few s tories have been told o ftener than tha t which tell s how S ir Joshu a Reynolds informed an inquirer that he mixed his

with bra ins T n s colours . hat is the o e ingle commodity with which I cannot un dertake to s - NO upply the amateur violin maker . amount of instruction will enable a fool to make a fiddle. No number o f difficulties will prevent a “ man with a head screwed on the right ” way abo ut from working through failure T to success . hese instructions are only DUC ION 6 INTRO T .

meant for peo ple of the latter sort. For them the directions here given will be ample . T heories have been abundantly deal t with by other writers : this work is meant to be

practical . HOW TO MAKE A VIOLIN .

CH T R AP E I .

THE AR S OF THE VIOLIN P T .

K A EN to pieces, a violin would be found to consist of the following parts : “ Back 2 Pieces B elly (4 Corners and I top bottom blocks) 1‘ Sides Side Linin gs

B ar

I Purflings

The a is m t m i n n i e I t is b ck so e i es made o e p ec . ” t a The me ema a s he n c lled a whol e back . s a r rk l o a es to h e ppli t e b lly . “ B tto m s d e is metime ne e e nl 1 o i so s o pi c o y . I The pu rflin gs a re the n a rrow bla ck orna me nt al doubl e lin es running round th e oute r edge of the a n e m im s mi a d e . r t b ck b lly Th y a e so et e o te d . i in H ow to Make a V ol .

Neck 1 Pieces Pinger Board Nut B ridge T ail Piece Button for ditto S tring for ditto T ail Piece Nut Sound Post Strings Pegs

s o f : Four kind wood are used maple,

i o . p ne, eb ny and rosewood

M the aple is used for the back , the neck, side pieces and the bridge .

e is used for the b lly , the bar, the ‘ Pine

s s s . block , the side lining and the sound po t

o Ebony is used for the fingerb ard, the

th n nut, e tail piece, the tail piece nut a d the button . Rosewood for the pegs

H w to Ma ke i ol 1 0 o a V in.

cause natural mode of attaining this end, and I advise the amateur to avoid baked w or o ood , wood d sed with chemicals, as he w T he wo ould the plague. longer the od has been seasoned by being kept in a dry and

’ airy place and protected from extremes of

o heat and cold, the better will it be for vi lin making. wood must be perfectly free from

t w an d kno s , quite sound, not orm eaten, w ithout flaw o f any kind . The grain must be perfectly straight and run lengthwise .

T he a s n ot too to m ple mu t be hard or o soft, in the firs t case the tone will not come freely

o f the bow the i t at the touch , in s econd , w 1 f u ill be , mu fled and entirely witho t brillianc T his, like many other matters

w s s in connection ith our ubject, is a que tion

V illa me . u u of j udgment and experience , O f

F l s a w for ar , tr velled in Italy and S itzerland

ss o f w the expre purpose procuring pine ood ,

s s and bought chair , tables and other article . of furniture whenever he foun d the kind o f wood he wanted . As it is not possible for every would -be maker to follow his example ection o Wood On the S el f .

I recommend the amateur to buy the wood

- he requires from a violin maker of repute .

T hese are to be found in London, Paris,

M e and even at ir court, the French town where so many common violins are made by

i ' terial a machinery to order . For good ma

w a high price ill be asked, and very valu ble pieces o f back and belly wood are worth almos t their weight in gold . A maker in London once showed me two pieces of

f r maple sawed into shape o a back, which

s v the he said he would not ell, e en in rough , for twenty pounds apiece. ' It is not o f course necessary or desirable that the amateur s hould make his earliest

n on the experime ts on costly wood, other hand, I recommend him to make his first

o f fiddle cheap material, so as to familiarise himsel f with the tool s and the way to use them . When this experience ha s been ac

s t quired, it will be oon enough o try to turn valuable wood into an artistic and really excellent violin . wood must be cut from the south side

tree . T he old Italian makers took H ow to Make a Vio in 1 2 l .

i great care to select wood of this k nd, because they found it more sonorous and

T e brilliant in tone . h maple shoul d be free

s is O f from red or brown patche , that which an uniformly whitish tint is the best . Th e pine should be white and Of perfectly s traight grain throughout the length of the instr ume The very fines t grain is not s o good a s which has an open space be

he s fla w . T tween the fibres lea t knot, fault, or curve in the grain will render the piece

s NO o useles . other w od but pine is ever

s has u ed for the belly, though the back occas ionally been made of other woo ds than maple . Figured wood is advisable if its sonority is not interfered with , as the beauti ful and the u seful may readily be combined . Some of the backs of Stra divariu s combine

' beauty o f appearance and excellence of tone

the es in high t perfection . II CHAPT ER I .

E U ED THE TOOLS R Q IR .

OME o f the tools used in violin making are commonly used by cabinet

s and maker and carpenters, others are peculiarly fitted for their specia l pur

s T o po se . hey may be bought at a g od tool shop .

T he - e or not work b nch table, need be 2 larger than 4 ft . by ft . A wooden vice

t o e h shoul d be attached o n end . T e surface should be quite smooth and kept scrupulou s ly clean . T he following tools are required

T hree saws one o f the usual kind for sawing the larger pieces ( 2 4 inches o f blade

e will be plenty), a hand saw for the mor a I 4 H ow to M ke a Vi oli n .

' w s aw delicate ork , and a bow for outline work . 3 T C s s I hree hi el , 1? inch , 3 inch, and inch

s broad re pectively .

s c Eight gouge , ranging from in h to w % I s . inch broad, ill be neces ary

fl t- T e A a bottomed plane 8 inches long . h illustrations show the kind o f plane t e

2 s o f the quired . Fig . is the ide view body ; The T oo s uired l R eq . 1 5

i w a a . s e s Fig 3 the bottom vie , b ing the lit

s w for the blade ; Fig . 4 ho s the loose pieces

c w s deta hed, which , hen fixed , keep the blade in its place ; and Fig . 5 shows the plane

T he ready for use. blade must be kept very s o r w O f harp , it will tear the ood instead taking Off a thin clean s having .

s I f the maker buy his wood in the tree,

o s and decides to seas n it himself, he mu t cut his maple for the necks into pieces 1 2 inches

o z s 1 s l ng, i inche deep , and 2 inche broad ,

on the s s the grain running broade t ide . Stack the pieces so that the air gets freely to them . T he pieces o f maple and p i ne f or the back

s 16 s 6 s and belly mu t be inche long, inche

s broad, but conical in hape, the broader edge

e n w b ing inches a d the narro er i inch . Authorities are divided a s to whether the heart wood or the outer edge should be joined 16 H ow to Ma k e a Violin

Ma in th e m the s t . uz in iddle of in rument , a

a s a : I l s French uthor, ys faut avoir oin ' ’ de mettr e la partie du coeur de l arbre c est-a

i les i les é da ns le d re ve nes plus rapproch s, f ” i Mr . cen re l . de a table Dav dson, in the wo n ro o a rk referred to in the i t ducti n, s ys ” “ the two thick est edges shoul d be the ” ba rk side o f th e s s tree, and yet he ay later on i i i n , after giv ng d rect o s for planing and j oining the thicker edges to make the back “ an d bel ly : It will thus be seen that the centre of thi s joined plate contains the in t i ” er or ea oo . or h rt w d I f, as he says, the

Mic/test fire bark sid e two edges are , it is imposs ible that the centre of the j oined plate ’ c in int erior or hea rtwo d can onta the o .

As a matte r of fa ct th e he r ]: si de is in the centre o r ted ar t f the i st ment t is a lies join p o n ru , h pp to t a a n be bo h b ck d lly.

k e a i in H ow to Ma V ol .

A pair o f steel compasses for measuring * the thickness o f an d the back belly, shaped

a s . 10 T o f in Fig hese must , course, be l arge enough to allow the back and belly pieces to be measured with equal facility

from any point of the edge.

one r A steel trace, with leg sho ter than

1 1 . the other, Fig .

A bending iron , for giving shape to the e s e uired 1 Tb T ool R q . 9

2 . T he s . 1 ide pieces and side linings , Fig

B f a s C . 1 2 body ( ) is o n oval hape ( ), Fig , 6 and inches long, the length of the oval

e being 2 inches and the width 1 inch . Th handle (A) should o f course be long enough to prevent burning the h and when the ' boay

( B) is heated .

- . 1 the o enl n A hand vice, Fig 3 ; p g from

B s to hould be about 35 inches , and the C 1 breadth, to D , about inch .

o r - Sixteen eighteen hand screws, made of 1 wood, of the shape shown in Fig 4, and H t ak e a Vi l n 2 0 ow o M o i .

meas uring 3 inches from A to B . C should

- 1 n . s s s be i ch thick In using the e hand crew , a piece of Cloth mus t be put on t he violin to prevent marks of any kind

C of sh l e - A lip wood aped like a c oth s peg , l 1 1 Fig . 5, inch wide at A, 2 inches

B its s its to point at , length is 9 inche and

ess is for thickn 3 inch , and used glueing in f ss o . the ba bar, five these being required

s be m f w It houl d ade O hard oo d .

s Another clip of a imilar kind, but only

2 inches l ong . T he inn er surfaces of these Tbe T ools R e uired q . two little tools must be as smooth as pos “ ”

not C . sible, so as to hafe the violin

- o is o f A sound p st setter, which made

s . 16 teel and shaped as in Fig , where A s hows the surface, and B the bend of the

8 or 10 tool . It should be inches long . Another form o f sound -post setter was

It 1 s s 5 l v en . used by S pohr . hape g in Fig

T he B to 17 . bend enables the setter be applied to the head or foot of the po st at will. T he bes t tools should be procured which it is possible to buy ; the art o f violin making

not a n one ffi are is easy , and its di culties indefinitely multiplied by bad tools . CH APT ER IV

THE MODE LS .

Y a model is meant a flat piece of

1 wood , Fig . 9, about g; inch thick , which affords a means o f drawing the shape which any part o f the violin is to

s take . Great care will be required in haping

o f these models, as upon them the accuracy the finished work depends. While the amateur will naturally wish to copy the outline of an instrumen t by one of the not to s great masters , it is be upposed

or b that he will possess a back elly by Amati ,

S or s tradivarius Guarneriu . I therefore give the outline of a violin by each of these

s s ee la r e oldin la e master : g f g p t . A model of either may be made as fo l

s : tracm low draw the outline on g paper, or,

out the e better still , cut model chos n from T/z e Models .

o on the w odcut, and paste it a thin piece of

s the mahogany, having fir t made straight edge representing the centre joint quite s T mooth and even with the plane . hen cut

out re ul red e the mahogany the q shap , with scrupulous care, filing out the corners and inlet with a fine file . T he shape thus oh ta ined will answer very well if it is carefully done, and can be kept for future violins . T he name of the maker of the original in s trument taken as the model should be written on the mahogany in ink for identifi H ow to Ma k e a Vi ol m 2 4 .

is e r u a . c tion I f it pr fe red, the f l l model can

% be made in the same wa y by cutting out

t o f th e s e o f ano her piece paper, hap that

en w o - in tak from the o d cut, the follow g will t h en be the form of the model

Fig . 20 shows the m odel for the curve o f the back an d be lly taken len gthwise

2 1 o s th Fig . sh w e model for the curve o f

Fig . 2 2 the curve over the holes

2 Fig . 3 shows the model for the curve at t e i s - e en h w de t part at th neck d.

' H w to Make a Vi olin 2 6 o . the instruments Of the best period of S tradi v arius so , and are correctly made far as shape

s to i concerned . I f the amateur prefers make these model s o f arching by his eye

s alone, he mu t bear in mind that Stradi

a s w e vari , follo ing the exampl of the Amati

w s family , began ith a high arching, e pecially

w s a s a bet een the hole , but he g ined ex perience he found that the lowering O f the a rch contributed to fullnes s and brilliance O f

an d s O f s tone, the violin his be t period have the lowest arching of all . T he chapter on the mathematical method o f finding the out

' line gives a mode of determining the sh ape O f the arch lengthwi se ; this being once Oh ta ined v and the model made, the trans erse arching will o f course be determined by

as s that, the arche at the upper and lower widths and also at the holes must meces s arily fall from the given height of the w length ise arch to the level near the edges . T he scroll mu st al so be formed from a goo d pattern . A good neck a n d scroll can be bought at all instrument dealers and kept a s a model . Directions f or carving the dels The Mo .

V s croll will be found later on . arious methods have been devised for making a

o f model a scroll without a pattern , but those methods are very cumbersome in operation

s and uncertain in re ult, and I recommend

s H H the amateur to buy a croll from art, ill ,

C L o f hanot, or some other ondon maker

He s repute . can work from thi pattern, a lway s knowing that his model is as good

an one as can be obtained . CH T R V AP E .

THE MO D UL .

H E d moul , which, properly speaking, is a “ tool ” as much as those men

tioned C on o a in the hapter t ols, is piece o f wood cut in such a shape as to allow

- - be the blocks , side pieces and side linings to

h o a fixed in t eir pr per pl ces, so as to form the true foundations on which the violin is to be

s . built up . T his mould is repre ented in Fig tw 2 5. At A A are the inlets for the o top The uld 2 Mo . 9

s and bottom block , and the four pieces marked B are f or the corner blocks which

s id f - a n , fill up on each -tj hc c ew s wtwo mo circular inlets for the solid b asis on which the back and be lly are afterwards glued .

The mould is begun by making a model exactly the shape and size of that for the the . 1 . L a on e back and belly, Fig 9 y b nch the piece intended for the mould and put

o . 1 upon it the m del already made, Fig 9;

of the a mark the outline with the point tr cer, and with the saw and knife clean away the

o w od, and then with the file dress the edges until they correspond exactly with the pat

tern (the four corners may be left sharp) . T his piece will then be of the shape o f Fig .

2 6 th e , and is called e count r mould . 0 H ow to Ma he a Violin 3 .

Now take a piece of hard wood (walnut is the best for the purpose) 2 inch in thickness a nd a little larger than the model in Fig . 19.

T f or his piece is meant the mould itself . L ay it on the table, and the centre mould

o up n it, and trace on it the outline o f the T latter with the tracer. hen, with a rule, trace the inlets A A and four inlets at

B B B s i Th a n . 2 . e B , Fig 5 dark line shows the shape of the mould ; the dotted

' lines at B represent the corner blocks . Re move the superfluous wood with the saw and

n s ff h . kni fe, fi i hing O wit the scraper and file It is absolutely necess ary that the sides o f the mould , in all their extent, should be perfectly Square with the surface . Any deviation from this rule will throw the side pieces out of the upright when they come to b e o f fixed, the edges the moul d being the only means O f enabling the side-pieces to be glued to the corner blocks in an upright position .

Next pierce the eight holes shown in Fig.

T he 2 5. top and bottom holes are to be he ould T M . respectively I i inches (or 1 5 lignes French measure) from the inner edge o f the inlets

C 1 in A A , the four marked inch from the lets B B B B ; and the two in the centre 1 inch from the inner edge O f the C curves . Eight other pieces must now be added to the mould

T his figure shows the upper mould sur rounded by the eight pieces in question .

T s o f o f hey mu t also be walnut, and the

- s o f s es . I preci e depth the ide piec , viz , i s an d w inche , must be dressed ith the scraper and file till they fit perfectly Close to the f sides o the mould .

The e h th n xt figure shows the mould , wit B blocks (A A) ( B B B) fitted in their places . a 32 How to Ma he Violin.

e T hese blocks must be of pine, of p rfectly even grain and a trifle over I ri' inches high to

The h allow for trimming . blocks s ould fit

s perfectly in their inlet , and their grain and that o f the corner blocks also must run a cross the instrument T his gives solidity to the body .

The blocks being prepared , put a mere spot o f glue on the edge o f the mould in ' of each of the six inlets , and fix the pieces pine s o that they all stand exactly at the s T b ame height . hey should project eyond the s l urface of the mould underneath , but on y

fi o f an inch . ff When the glue is dry , trim O with the 1 knife and file the proj ecting 1 6 of an inch ,

H o t a he a iolin 34 w o M V .

8 inches long and 2 wide ; it is very brittle w and hiti sh at the broken edge . Common B gl ue is of no use at all . reak a quantity in small pieces and put it in cold water for

s w s s four hour , hich will often; and well it up . T hen take a s mall glue pot O f the or din ar w s y kind, but ith the inner ves el

na l d e e me l e . Add water s lowly ; when th glue is all dis solved it s hould be of the con

Ta he ca e h t sistency of very thick oil . r t a t i nev er boils T he s w s . glue hould al ay be

s b u ed very hot, but never oiling . While

s o f making, tir it gently with a stick pine w s ood , and in u ing it apply it to the wood w s ith a large camel hair pencil . In ummer, glue will dry in four h ours ; in winter i t

s w s need t elve, and, in the latter ca e, the edges of the wood should be carefully warmed before the glue is put on. When two s w pieces are glued together, crape a ay

w while with a chisel any drops hich escape, the a r h ot or w w y e , ith a pencil dipped in arm water . It cannot be too Often repeated that only the v ery bes t glue obta ina ble is of a ny

oli a in us e f or v i n m k g. HAP I C T ER V .

- DE- N N S THE S IDE PIECES AND S I LI I G .

0 AW out a piece of maple 3 inches long, 1 T he 4 inches wide, and 1 6 inch thick . w grain should run length ise. Lay it on the bench at one end and clamp it down

- with the hand vice . Plane the surface all

un over (going away from the vice), then

clamp it, turn it round, clamp the clean end

a n d . T down , plane the rest his time a flat bit of wood mus t be put between the hand vice and maple to prevent the planed surface

s from being marked . Plane the other ide in

wa e the same y, till the pi ce is reduced to a 1 s 9 thickne s of 3 inch . On account o f its peculiar grain maple 15

difli cult s f very tu f to plane, and .the plane iron must be dressed so as to project very 35 a i in 36 H ow to Ma h e V ol .

s h w w lig tly , or it ill tear the ood and not smooth it The mos t wavy and ornamental pieces are at the same time the most difi cult

s f or s . to plane, and be t suited the side piece

he is s m s T piece till too thick, but it u t be ca refully scraped till all in equalities left by planing are removed and the s trip is smoothed to a nice polish on the s urface

which will be outs ide the violin .

' Now take the tracer and mark your piece

into three strips o f equal width . Divide w them carefully ith a knife . T ake the

w e w plane bottom up ards, b t een your knees ,

s s and, holding each trip in your hand , move the edges along the plan e iron till each 13 I exact ly i inches wide .

T o t e divide hem into prop r lengths, measure with a strip of paper round the upper curve of the mould from the point where the neck is to join the block to the

o f corner the block . Allow for trimming

a n d join at thi s corn er. In the s ame way

s mea ure the inlet, allowing for trimming

t e and joining at bo h ends . T hen mea sur from the lower corner to the centre of the The S ide- ieces a nd S ide-linin s p g . 3?

c . Cut lower blo k two strips to each length .

Cut the ieces l on en ou h p g g . T he next opera

to n r tion is be d the st ips, which is done with

i

the . H it in s not bending iron eat a tove, but w hot enough to char the ood . Fix the

f th e - one o f handle in bench vice, and, taking th e s a n strip , dip it in cold water d bend it to

o u the required shape very gradua lly . I f y are too hasty you will certainly break the strip . Keep the strip damp by frequent

s dipping . A little practice soon renders thi operation easy , but care must be taken to

u s w w c rve quare ith the idth , in other words , w e s - s the hen b nt, the ide piece hould touch bench at every point o f its edge .

T he s - s w the ide piece can no be fixed . At four corners a n d at the point where the sides mee t at the lower block the joint must be

T he trimmed and filed til l it is perfect .

s w m o f eight piece of alnut before entioned ,

I s w n ow w . the depth of i inche , ill be anted

w a s . 2 1 s s Fig 7 (p . 3 ) ho them in their pl ce , and their us e is to hold the s ides to the blocks to which they are to be fixed by

n s Rub s o f mea of glue . the edge the ah a i n 38 H ow to M e V oli .

h ak mould well wit soap, t ing great care

that the soa p does not touch the blocks . C Glue the two blocks in the inlet, put the

- o th side piece in its exact place, fix up n it

o ak - walnut bl ck, t e a hand vice, and, putting / nearest th C the beak in the hole e inlet , fix the screw on the outside of the walnut block and tighten screw until the side-piece pres ses firmly against the soaped mould and C the glued blocks . 5 0 for the other

inlet .

the c Glue the upper block and corner blo k ,

the - s lay on side piece, add the walnut block ,

- a s clamp up with hand vices before, using h the holes nea rest to the glued block . T e

- o f side pieces will , course, be level with the

on mould the under side, and project

on the upper surface . At the upper block

o f a t ' w leave a space l; inch , the lo er

th e block joint mus t be perfect . T o do

s s thi properly , run the corner end fir t,

am glue the block and cl p, and do the same

- tw with the other side piece, leaving the o T ends free . hen bring them together at the lower block and make your joint perfect ’ Th e ide- ieces a na S ide-linin s S p g . 39 bef ore gluing the block ; glue the block and

n w clamp up. It is o clear why the eight

s hole were made in the mould .

dr When y and firm , remove the vices and trim the blocks to the level of the side pieces . It is hardly necessary to say that this must be done slowly and with exceed

- ing care, lest the side pieces should be dis

turbe d.

It is us ual to have the sides slightly nar rower at the neck end . T hi s na rrowing

s mu t now be done . With the knife and file take off the neck block and side not more tha n f t: of a n inch ; the height of the sides

n must the be gradu ated all round, starting . with I i inches at the lower end and finishing ’ T xv inch les s at the upper end . his opera tion requires great care . T he s ide- linings may now be made and —3 . T a put in hey are of pine, 1 6 inch bro d , ’ r r 1 inch thick at the thicker and 1 5 inch a t the thinner edge . T hey are bent

a s by the same means the sides , glued in with the thicker edge level with the edge o f the s ides and held in their places H w to Ma he a Vi olin o .

h s o . with wo den c ip When these are dry , take a fine knife and separate the blocks

off s from the mould , round the block with

u o f is a go ge, and the outline your violin complete .

2 H ow to Ma he a Vi olin 4 .

pos ition o f the arch . I f you decide to have

c s your back in one pie e, its size mu t be that o f t the other two laid toge her, and its shape

1 . thus, Fig . 3

ou s I f y use two piece , plane the thicker edges until they j oin perfectly . Glue them together. When the glue is dry, your back is ready for work . L a y the two pieces (now practically one)

s on the bench, and having planed both side perfectly, take the model (Fig . place it on ta hin a rticula r ca re tha t the flat side, g p the joint corresponds with the centre of the

odel ut m . With the tracer point draw the o

o f R in line the model . igid accuracy is dispensable .

S aw w th bow s aw round the outline ith e ,

o n e a s not g i g too n ar the line, the knife and file have to follow to give the exact outline

f s o the model . See that the edge are at all points square with the fla t s ide . O pen the tracer inch , take the back be tween your knees , and work a line all round a ch The B . 43 the edge at that distan ce from the flat sid

T his is the thickness the edge is to be .

Put the back on the bench, fix it with

- hand screws , and with a large gouge give to it a rough resemblance of the shape which it must ultimately take . Do not hurry over this work . It is hardly necessary to remind the careful workman that when all the

knifin gouging , g, scraping and filing have

s o t been done, a certain thicknes of wo d mus

one too be left, and that cut deep at the out set will necess itate a fresh s tart . Begin by w so orking along the ridge, as to give to the joint a rough resemblan ce to the model T of the arching lengthwise . ake short and s s h off hallow stroke wit the gouge, cutting

v a only ery smal l chips at time, and be sure and leave enough wood for the operations

' w W e hi hich are to follow . h n t s is done

w o v there ill , of c urse, be a ca ity, like a minia w ture rail ay cutting, getting deeper as you get further away from the centre .

Now - begin again from the centre, and work out in the rough the arching down to t he C middle of the inlets . H ow to Ma he a Violin 44 .

Next clear away from the point where th e two a s s s rching meet , four loping line diagon a m o f n d w lly , to the iddle the upper a lo er

- w w curves . T he back plate ill no resemble

w n 2 the follo i g figure, Fig . 3 .

Nex t cl ear away all the spare wood from the en e s hen w the c tre to the dge , and t ith s m s - me an e ma alle t round botto d pl , ke the wh e s a a s m o the ol urf ce toler bly o th , until h two model s fit with a ccura cy . T e place where the shorter model should fit mu st be he a ch T B . 45 found by taking the model of the holes and marking through it the two notches on

T he their inner edges . highest arch must

s be across these notche .

Now take the s ame plane and clear - out the groove or s light depression round the edge, so that the arching of the instrument fall s away all round to the bottom o f this little valley, from the level of which there will be a s light rise to the level of the outer edges . H aving thus got the outside of the back

s a s to the proper hape, as far the small plane w s off s ill do it, fini h it with the scraper and

- fine glass paper . You must now turn the plate the other

s . B ide up efore doing this , however, put a

o f on piece cloth or green baize the bench , to prevent the outer s urface of the back from

s U being cratched . nder this cloth pieces of w m s o f s ood u t be fixed all round, uch a

s height as to upport the outer edges, and at the s ame time allow the middle o f the back

s to re t upon the bench . T he reason o f this is obviou s ; i f thi s prec aution were not taken H ow to Ma he a Viol n 46 i . the back would not rem ai n still while the

s w outer ide was being hollo ed out. In

w s hollo ing out the inner urface, care must be taken to leave level places where the w c blocks ill have to be atta hed, and to leave more wood all over than will be the case w hen the back is fini shed . T he compasses

C . 1 0 referred to in hapter III , Fig , will enable you to obta in the requisite thick

s s w i o f s c n nes e , h ch are u h vital importa ce that I have treated the matter fully in a

‘ s eparate chapter .

Now C turn to hapter IX , and reduce the back to its proper thicknes s all over as

H r s there directed . aving car ied through thi

w ed e t a outer . Operation i h great c re, the g of the back should corres po nd exactly in

w s - ces outline ith the ide pie , which are

on already fixed the mould, and the back should proj ect over the side-pieces inch w n . No fin e all rou d take a good , , biting w file, and bevel very slightly round the hole

ns o f w i ide the edge, using a round file here th e short curves render it necessary , and a flat one everywhere el se ; finish off with The B a ch . 47

- s . medium and paper I f the fit is accurate,

is a w is the back re dy to be glued on , hich done as follows : lay the back upon the

- s s . ide piece , in the exact place it is to occupy Mark with a pencil on the edge of the back the joint where the s ide-pieces meet at the broad end o f the instrument and al so make marks at the four corners where the side pieces are joined at the extremities o f the t u C inlets . T hese markings are o enable yo

s to lay the back in an in tant, and without

w ou i t hesitation , in the place here y want

The s h to be . glue has to be used a ot as

s s w h s ou po ible it out boiling, and unle s y can lay down the back in its exact place ' the moment the glue is put on it will lose its heat and its tenacity while you are s huffling the back about to find its place . H d ave everything rea y , therefore, for a

s e rapid and preci e op ration, so as to be in readiness the moment the glue is laid on .

ou - When y are ready, take the camel hair

s hot s bru h , and lay the glue upon the ide

s a its e piece , put the b ck in place, and s cure

w w - ws two it ith the ooden hand scre , putting n 48 H ow to Ma he a Vi oli .

on two the w the upper block , on lo er, one

at m m a s ou each corner, and as any ore y

s w can place round the edges . Each cre s hould have a piece of cloth placed upo n t its s to s he . urface, keep it from brui ing wood T he glue which has been forced out by the pres s ure must be at once removed with a camel - hair brush dipped in the hot water of

- the glue pot . Let it stand till it is per f ectly dry T he belly is fixed in the same way when it is completed by the fixing o f the bas s bar

a w s s ho n later on . When bo th back an d

on belly are glued , any variation in the pro jection of either beyond the s ide- pieces must

s w so be adj u ted ith the knife and file, that the projection is perfectly symmetrical all

round .

t a a so How o M ke Violin. lest one unlucky gash should at the same t ime spoil your labour and your temper . T ake care that the j oint follows exactly

w s the grain of the wood, hich hould be

s to nd an d perfectly traight from end e , that you get a faultless j oint before glueing the pieces together. It is of great importance

a - o — in s th t the heart wo d other word , the part which grows nearest the centre o f th

of tree, and consequently is closer grain , should be on the side furthest from the joint . In regulating the thickness of the differ

o f ent parts the belly , follow the directions given in Chapter IX .

E TH HOLES . Before th ese are cut out the belly should in every other respect be finished . Place

f o the the model o the holes up n belly ,

v s ha ing, of course , fir t laid the latter upon the bench , taking care that the position of T the model is accurately adj usted . hen

s i with a pencil harpened to a very fine po nt , carefully trace out the interior of the holes in the model . the ll or B e y.

the First of all , pierce round holes above w w and belo some hat less than the tracing . T hen introduce a very sharp penknife blade and cut away, little by little, all the wood w ithin the tracing . P ER i x CHA T ,

E THE THICKNES S OF THE BACK AND B LLY.

H EN the belly has been finished all but reducing it to its proper

o thickness, draw a line acr ss the centre from the two in notches of

w s . the holes , and dra by mea urements T h a similar m ark on the back . e middle of this line will in each ca se be the s tarting-point of the operation for reducing t T the wood o its proper thickness . his

operation requires the most scrupulous care , as upon its success ful performance the

s u vibrations of the in trument , and co se

o f quently its quality tone, will entirely

depend . T he lines above mentioned must be drawn

i ns id w upon the e o f the belly an d back . No

s s t open the compa se exactly i inch , and , putting o ne leg of the compasses on 53 The Thichnes s o B a ch a n ll f d B e y. 53

the the off t centre of line, mark hat distance

on either s ide from the centre point . T hese

s 1 —} s two point will therefore be 2 inche , or double the distance between the compas s

Now points apart . with the ruler draw

o through these two points lines parallel with the joint 3 inches towards the top a n d 2 w t inches to ards the bottom . Joi n hese lines

m s a at their extre itie , and you thus have rectangular s pace 5 inches long and 1 % w o f inches ide . All the wo d o the belly in

s s a s thi p ce mu t be inch thick . T his thickness mus t be diminished gradu ally from i t inch (or 1 % lignes French measure) at the edges o f the recta ngular l s pace down to nearly al: inch at the points “ w o s here the belly j in the blocks, and the s ame thickness must be left all round the under surface of the belly where the groove or valley runs j ust within the outer edges o f

T a he are ha t this dim its upper surface . c t

inution is ra dual a nd not b um s a nd g , y j p

' S ome ma e s a d se l i ne s all o e but a k r vi } l g v r , tt e t i e b the d s t li l h ck r y soun po . H ow to Mah e a Violin 54 .

T he thickness o f the back is obtained in

s but the ba t h mus t precisely the ame way, ‘ be throughout a trifle ov er s r inch thit her

ha n the b l t el . s y In other word , the rec ’ tangular space on the back will be ar inch

a h on l thicker th n t at the bel y , the groove ‘ a h round the edge r inch t icker, and the gradual diminution from the one to the other a; inch thicker at the corresponding points . T o ensure these thicknesses being cor rectl s s y obtained , make a mall wedge of ome

o hard wo d inch thick at the broader edge,

r 1 f inch at the centre, and 1 3 inch at the thin

T the edge . his will serve to adjust com

e o f pass s , the buttons which must be put at the thickness required, and fixed at that position by the screw . Work with the small plane and scraper . Note the following : the strokes of the plane will take away your pencil lines , and fresh ones must be drawn at each measure

. r ment Do not trust you eye , but work rigidly to the exact rectangular shown bv l the penci marks . he Thichness o B a ch a nd B ell T f y. 55

T he plane and scrapers must not reduce your wood to the given thickness ; these must be finished and brought down to their proper

w - Th - gauge ith glass paper. e glass paper is

s o the la t tool to be used on the wo d , and w s hen the rectangular is thus fini hed , the compass buttons should move quite easily

but touch it a t a ll oints over it, p . Make a s econd hard wood wedge for the ' o f ar a ll s back , course inch thicker in part than that for the belly . CH T R AP E X .

THE B A S B AR S .

H E making a n d fixing of this impor tant member will finish the interior w i ork o f the violin . It s made of

n pi e , fixed parallel to the j oint and between

Its i it a n d the left hole . purpose s to gi v e depth and power to the third and

fourth s trings . T he bar should be l oginches to l oginches 1 long , inch thick , 3; inch deep at its centre, a n d taperin g off to the thinnest strip at T h s . e the end edge glued to the belly is ,

s fit s the of cour e, curved to preci ely , other

e is he edg straight . T centre of the bar fall s on the line j oini ng the inner notches o f the

T he holes . grain o f the bar must corres

o pond with that f the belly . T he measurements here given are fo r the thicknes s o f belly and back above in 56

t a he a V olin 58 H ow o M i . arily placed with its outer side on a line parallel to th e centre line or glue j oint o f the

to top , and at a distance from it about equal o ne - w o f the s hal f the idth bridge, mea ured

from the outer extremities of the feet . A / s s of light spring is given to the end the bar , so that when glued to the top it produces an

w ss the up ard pre ure at the centre, under foot

e T s o f th bridge . hi pres sure should equal

w w s the do n ard thru t of the bridge, the force o f which will depend upon the angle of the

strings over its top . Practice soon discovers a certain medium o f spring which agrees

ai l w f r y ith a certain height of bridge . An entirely successful result is not always

but . insured , a positive failure is avoided

B ut a s o f th e in the c e oblique bar, no such

common factor can be found to fit all cases , w even averagely ell . Each ins trument pre

he sents its own particular problem . T spring at each end must be accurately de

termined s by mechanical mean , which will take into account both the res i stance of the

top , due to its comparative strength of fibre and the resistance due to the form o f The B a ss B a r .

h modelling. T e same degree of obliquity and position relative to the foot o f the

w s s sw bridge hich it upport , will not an er

ses B ut equally well in all ca . when the

s the ~ obli ue required condition are fulfilled , q bar does beyond doubt very greatly in

a n d o f crease the depth volume tone, B w . Mr particularly of the lo er strings . ull spent many years in attempting to f ormu late the rules which govern this most per plexing part of the organism of the violin . H is observations and experiments demon strated to him the correctnes s o f the oblique

his w position ; and though , as was ont, he

t one frankly owned o more failures than , his instances of success ill ustrated by his Da S alo and many other instruments, bore most convincing witness to the truth o f his theory ” ’ Ole Bull s own Opinion on the matter i s thus expressed in his “ V iolin Notes “ The principal object o f the bar is to resist the pres sure o f the strings u pon the

to . to rebarred p All old violins require be , owing to the height of the present musical a i li n 60 H ow to M he a V o .

pitch over that of one hundred years ago . T he old short bars are no longer adapted to

ow the greater strain , and more p erful ones

- o are needed . From long c ntinued strain , the pulling o f the two extremes towards the

w w ss centre, and the do n ard pre ure of the

h s o ld bridge at t at point, the top of many violins have bulged up at the ends and sunk

h s o f down at the centre. T e adj u tment a new bar will tend to remedy this As the bar was originally placed by Gaspar Da

s o s n ow Salo, it hould be placed , that is , not

s to in the direction of the fibre of the p, but

en d obliquely , the under the fingerboard th being nearest e centre. In this pos ition it appears to give ample support to the bridge and to allow a fuller and richer tone . CH APT ER XI .

THE N PURFLI G .

HE purfling is the ornamental black lines running round the outer edge — o f the back an d belly made of two lines of black with a strip o f white wood between . T he wood for the purfling can be bought ’ s ready made at any violin maker , and it is better to buy it than try to make it, as good machinery is needed to do the work well . The grooves f or the insertion of the

e purfling are made with a purfling tool . Th distance o f the purfling from the edge is a

s . o matter of ta te When decided , pen the tracer to the required width and fix it with

s w s the cre ; put the violin on your knee , and trace the first line, running one limb

w is along the outer edge ( hich still square, 61 H w to Ma he a Vi lin 62 o o .

the rounding off comes later) . Then trace

. s h the econd line in like manner. T e purfling tool is then adj usted to the required dis w tance . The follo ing description of an

urfiin on excellent p g tool , directi s for use are ’ “ ” V Mr on T he . from . Davidson s book iolin “ B s w y thi instrument, it ill be perceived

can s we vary the distance from the edges,

to imitate any model chosen . T he two

s o f cutter are thin pieces steel , sharpened at

w o f neces an angle, ith a shoulder left the

so sary thickness , that the groove cut may h fit the indenting strips . T e two cutters are

w a a kept in position by the scre . Fig . 34

ne s represents o of the cutter , seen edge

b o f ways ; Fig . 34 shows the form blade The Pur in fl g.

and point . T here is a small screw for a d j usting the shoulder piece to any required distance the purfling may be intended to be

. b . T placed, Fig 33 his tool may be made

— o f from iron with the exception the cutters, — o f course and fixed in an ordinary tool

n . urflin ha dle Another p g tool , but much simplified, is shown in Fig . 35. The body o f

this too l may be formed from a piece o f b tw s s eech , having o cutter the ame as the

- . T preceding, fixed by a binding screw his s l imple too answers admirably, and may be

s or ea ily made by any amateur, can be pur chased for about three s hillings and s ix

The a s f pence . ngular part o the blades

s s mu t be made thin, and the edge kept very f keen . Either o those two tools is to be held w to a he a Vi olin 64 Ho M .

‘ s er quite teady , and a double cut of the prop depth run round the margin of the back and

s is w brea t, the interior wood after ards to be ’ - l cleanly cut out with a chisel sharpened aw . T he indenting groove must be cut gradually

w th e and carefully , never allo ing tool to

w s . tear the ood , or lip from the proper place At the parts of the back a nd belly oppos ite

s w in to the extremitie of the neck , here the

not two s denting tool does reach, pencil line

w s may be dra n through the paces, and the groo ve cut to s uch lines with a thin pointed w ” as v . knife, and the ood cut out pre iously When the purfling tool has been run twice

s along the intended groove, take a harp kni fe and cut away enough woo d from the w groove to allow the a l to enter. T he next figure shows the shape to which the awl should be ben t and the way the point should w w B . s s be ground A sho the ide vie , and w the front vie of the point . When you have

B y a chi sel -sh a rp e n ed a wl is mea nt a cob ’ bler s a wl a w e to e asi i n the widt , n rro nough run ly h of the g roove ma de by t he purfling tool but ground to a a t a nd sh ed e fl a rp g .

w to ah e a Vi o in 66 H o M l . any s uperfluous glue with the camel -hair w s . i bru h When the glue s dry, take a ay the projecting surface o f the purfling with a very s off harp knife, and finish with the scraper

- and glas s paper. CH APT ER XII .

H NE T E CK.

ma 10 c s AKE a piece of glg in he long, 2 w 1 s inches ide and 3; inche thick, and plane it smooth on all four

he f or s a faces . T maple the neck is u u lly s elected from wood well m arked and

u s o as a s ss fig red, to be ornamental as po i

he f the . T o ble purfling the body, and s crol l of the neck are the only parts of the in strument which are s imply ornamental

s is s without being u eful , but there no rea on why the u seful parts should not be as orna mental a s possible . T ake the finished neck which you have

as w o f bought a model , and dra the outline

the on o f T model the piece maple. hen with

T s w the quare, dra a line all round the wood inches from the end where it is to be

s w be fa tened to the body . T hi s line ill 67 i 68 H ow to Ma he a Viol n .

a at the point G , Fig . 37, which is the pl ce

- Where the peg box begins .

T the s . ake compasses, open the point 2

' inch which is half the width of the narrow s ide ; mark a point at each end a nd draw on each of the narrow sides a pencil line the w O th hole len gth of the piece . pen e com

s s s i one pa e h inch , place point at the angle where the long lin e meets the transverse

n a a nd a s li e t G , mark on th t tran verse line

on s s o f n w both ide the li e hich cuts it, a

point fi inch from the long line, between

o H . which p ints there will , of course, be inch The Ne ch . 69

T his {5 inch shows the width of the neck at

n the begi ning of the part held by the hand , a n d al s o the width of the M (the s mall piece o i fi gw mxfl ich the strings pas s

- out of the peg box) . O m ss an d pen the co pa es inch, put one leg o n the angle made by the long line and the cross line on the narrow s ide oppos ite to that on which you have been w a s s s orking, and mark before upon the cro line two points on eithe r s ide o f the long e w line, the distance betwe n hich wil l be I inch . T his i inch is to be the thickness o f the neck at the point where it j oin s th ' belly . Now fasten the neck to the bench with the

- th e ro s so a hand vice, b ad ide upwards, th t the sc roll end proj ects over the edge o f the

a w bow- s aw table, and cut ay with the all B the s uperfluou s wood . egin at point G

(Fig . 37) and proceed along the line F E up into the corner ; then start from C and work pas t D round the curve to the corner point ; s r C w s ta t again from , ork round the top pa t

B T s s down to A . hi give a rough outline, 0 H ow to Ma he a Violin 7 .

n ow from G round to A , which must , by

m s s ean of chi el , knife and file, be brought

to proper shape . T hen take your meas urements from the model ; cut away the wood from the point A

w s to the part here the neck j oin the body ,

and give to that part , and to the neck proper,

n its which is to be held by the ha d , proper

s n sh off s hape, fi i ing it to the greate t nicety w s s s a s s - a ith craper , file and gl p per . Now fasten the neck down to the bench a s

o ut s s before, and carve with gouge , knive ,

s s etc. , the curve of the croll , beginning at the

b w s d central utton hich, in Fig . 37, is cro se

B C a n d n a a bb by the line the dotted li e , , the point where these lines meet being the

the B centre of button . egin with the s s a n d as malle t gouge, take a larger tool

n s w the spiral requires it . Fi i h it ith great

a w s s s s c re ith the kni fe, craper and gla

B e n on e paper . efore b gi ning to carve side,

ou w o f s w s s the y ill , cour e, dra on both ide

'

B C a a bb. s lines and , I f thi precaution is w f not taken , you ill find it di ficult to make the centres of the buttons correspond . Be The Ne h c .

o B . careful , in widening down fr m to A , to maintain the gradual increase of thickness w ou hich y will find in your model , taking constant measurements as you proceed .

H o ff s s w aving finished the ide , ork out the

' T he two grooves round the edge A B C D . h is now s out eck fini hed, except hollowing

-bo x the peg , and preparing the foot to j oin the T s to th body . hi foot will be glued on block , and level with it at the top , while the bottom will be glued to the projecting semi

on s circle the back of the violin , and mu t ,

s therefore, be filed until its hape exactly

s the corre ponds with it . From this point foot will gradually increase in size until it

w out w attains the idth already marked . Dra down the foot of the neck a line in continua

o f n tion that already draw , which divides it

s . T he o f into two part foot the neck, or in ot s her word , the surface which is glued to the block, will determine the height which the finger-board is to be above the body o f

e the violin, and b fore you glue the neck finally in its place you must finish your finger- board according to the directions 72 H ow to Ma he a Vi olin .

w t one i n given later, and , holding it i h hand the d d d place in which it is inten e to be, a j ust the foot o f the neck so a s to give to the fin ger-board its proper h eight when glue d 8 w on . Fig . 3 gives a vie of the foot of the

P B 3 S . neck (A B C D) the part above the line A B be ing the part which projects above the level of the block . T he mortis ing o f the peg -box and the placing and drilling o f the peg-hol es ought

f T he s to present no di ficulty . conical hape o f the peg- holes is obtained by means of a small tapered gouge .

on In gluing the neck , regard must be had to two points : T he central line o f the s ur face to be attached to the finger-board mus t

w - an d make a straight line ith the belly joint, that s urface as well as the end or foot must

H ow to Ma he a Vi olin 74 .

s the the in ide of the inlet, put the foot of

e on n ck in its place, but the piece of cork the

s o a s o back to c ver the button , and, placing

s o f - w thi cork on the beak the hand vice, scre w w do n the scre on to the end o f the neck .

' In h a lf an hour unscrew it an d see i f the

- fin er is . so g board at the right height I f ,

can s the glue be left to dry ; i f not, it mu t be

s the readj u ted , and operation gone through m until it is . In da p weather the end of the

s w me is neck hould be ar d before it put in , a n d the glue will have a more binding effect if a goo d number of holes are made with a

s knife in the end of the neck, and in the mall s w fits urface hich upon the button . CHAPT ER XIII .

TH E F NGERB OARD I .

H E finger- board is s o s imple and s o e as ily made that the best way will

s ne as The be to purcha e o a model . amateur who has followed me thu s far will h ave no diffi culty in making one exactly like

. m es it from a piece of eb'ogy It is hardly ec s ary to s ay that its width at the narrow end m s a s o f u t be dj u ted to that the neck , and that it mu s t fit the neck accurately at the s e s it so id s , and hould join closely that they

o o B e l b th appear a s ne piece . careful in g u in or fin er g it on , not to mark the neck the g w h f board ith the hand s crews . T e height o the finger-board varies according to the model of the instrument ; its mean height at 75 o Ma h Vi olin 76 H w to e .

1 the middle o f its upper curve should be 1 5

n s w i ch from the belly joint, but thi ill all depend upon the height o f the bridge and the depth of touch required for the strings . IV CHAPT ER X .

THE NUT AND THE TAIL PIECE NUT.

H E n o f wood

is the piecem res is ts the action o f the

T s button. ake a piece of ebony of the ize f or as w i w the nut, to h ch the eye ill be a i t w s umc en t guide. I ts len g h ill be deter m wi t the w w c ined by the d h of neck, ith hi h

s a I ts it hould ex ctly corres po nd. curve must corres pond ex actly with that of the huger

’ its 1- board, and upper surface be 1 6 inch hi h I w . ts s fin er g er front, again t hich the g

r is w be t boa d glued, ill perpendicular o the

s u w h neck, and the upper rface , in hic the s lits for the s trings are cut mus t slope gradu

n w s e -box s o ally dow to ard the p g , as to 77 8 H ow t Ma he a Violin 7 o . present a rounded surface on which the

s s trings may re t . T he string-guard is usua lly a small piece i of ebony about 1 inch long and nch square, which is glued into an inlet made in the

o r Its s block at the l we end . outer urface

. must be level with the side pieces , into which it mus t fit accurately . An edge should be

s left upon it to tand fl inch above the belly , and it should be trimmed to the s urface of the latter. The edge over which the strings pass mu s t be rounded s o that they are not cut . T he four s lits in the nut should not be

w - out . cut, but filed ith a rat tail file The making o f the button presents no

i f w - n n difficulty . It s a sort o dra er ha dle o w a small scale, made of ebony , ith a project

1 c ing limb about inch long, and 3 in h in

fits diameter, which accurately into a hole of that s ize bored through the s idepieces and

n ow into the block , and we are ready to begin to varnish . C V HAPT ER X .

ARN S NG AND O S H N V I HI P LI I G .

OWEV ER carefully the work has

been done . it is almos t certain that o n looking it over closely you will find s ome s light roughnes s or

n s s w u evenne , some place here glue has

out s the s trickled , ome part of edge not

or nicely rounded , some other fault over T looked . hese faults must now be s earched

s - or for and remedied by file, gla s paper

s s . i other uitable mean When all s perfect, polish with very fine glass -paper the whole surface .

Now s take a clean ponge, dip it in cold

s water, queeze it nearly dry , and gently

n e damp ( ot w t) the instrument all over . T hen p olish as before until the s urface ha s the appea rance o f having been covered with

a very thin coat of poor varnish . 79 he iblin 80 How to Ma a V .

The s ot t' making of the varnishe , b h spiri

a d a . n oil , is treated in the next ch pter The best too l to lay on the v arnish is a \ - s a flat camel hair or able brush, bout an w inch wide, and h ich has never been used .

T he ev arn ish being ready, take a small quantity in a glazed earthenware ves sel . H ave as little varni sh as pos sible at a time

two s s in the brush , and take only troke , one

w o f up and the other do n, over each part “ ff the wood . T ake care an d lay it o e — venly, as a painter would say that is, work s s s e s o that the mark of the bru h a r invi ible, and a s i f the varnish had all been put on

s r s with one imple stroke . T y your hand fir t

two o f h on pieces maple and pine, bot treated and prepared for varnishing j u st like

u the violin , and do not touch the instr ment with varnish until you have put two coats o f i o l varnish on each piece as an experiment . When you have succeeded in getting a

s - s brilliant surface, from which bru h mark

on are totally absent, you can venture your i . e o f s ir t sh violin After ach coat p varni , w polish ith a linen cloth , the older the

CHAPT ER XV I

RN S ES AND CO OUR NG M ER VA I H L I ATT .

Y the A ING completed violin, the

is s next step to varni h it, and there are two modes o f carrying

ut s T he i o h . s t i process one genuine, the other is a sham ; and if the a mateur has succeeded in making an instrument

s s worth varni hing at all , I strongly advi e him to varnis h it that it may pass f or w is new s an d n ot d hat it , a in trument, preten

be w s l n w n i a n o d o e . Ne i to hat it not, s truments are made to loo k old by colouring

w n s is a the ood before the real var i h pplied, and leaving those p arts un coloured which in an o ld violin s hows the effects of wea r and

T i n o tear . his fraud s o every gr und to be

for o w a deprecated , n thing ill be g ined by it,

n who s m while the genuine workma , care ore for turning out a good violin than he does 82 Va rnishes a nd Col ourin Ma tter 8 g . 3

s s s for making money by di hone t mean , will

feel that by s uch a fraud . he loses what

- he s s . T money can never buy , el f re pect proper way to varnis h the violin is to varni s h l w it a l over ithout any previou s colouring . T hi s may be done either with plain or

n s B e e coloured var i h . oth are qually genuin ;

s s s a s s the fraud con i t , I have aid , in making the violin look a s though coloured varni sh

s w w had been originally u ed , but orn a ay by

s now s long use . I hal l proceed to give preci e directions for making the two kinds o f var

s s . o il n s ni h u ed for the violin, viz , var i h and s s as as o f o pirit varni h , well the mode c lour ing the varnis h in various tints when colour in is s g de ired .

T he s m s m be t , though ost trouble o e, is

OIL RN S VA I H .

T s is s a s s as hi va tly better th n pirit varni h ,

is m a a it ore be utiful , more dur ble and more

s s s . ela tic ; moreover, it need no poli hing

T wo s w coat , properly applied , il l generally

s f w s s s be found u ficient, herea pirit varni h

r requires six o seven applicati ons . a e Vi olin 84 H ow to M h a .

T he ingredients of good oil varnish are

: s s a n d three amber, pirit of turpentine lin

oil. T he s seed latter, however, is uch a bad

s drier, that it mu t be used in the form known “ ” l T he o f a s o i . boiled operator could , ” s cour e, perform the operation of boiling it

s a s is ss him el f , but it very dangerous unle

w t t a as carried out i h grea c re, and boiled oil can be purchased rea dy for use without

s to any trouble or ri k, I think it better not give any recipes f or rendering linseed oil a

better drier. I strongly recommend that varnish that is

use sold, in any quantity , ready for , by M ’ ss s . o e r Wins r and Newton, artists colour

men L who , ondon , prepare boiled oil

s o f the very finest quality for arti ts, so that the violin maker may rely upon obtain

in s g the be t procurable . Cheap common

is s boiled oil is nearly black, and wor e than u seles s for the purpose under con

s ideration . T he following is the way to prepare oil

s The s varni h . material required are Va rnis hes a nd Colourin Matte g r. 8 5

Amber B oiled oil Oil of t urpe ntin e

Break up th e amber into pieces the size of

s pea , and having prepared a charcoal fire, put the amber into a glazed iron vessel

v s a nd a s o f ne er before u ed, with it poonful the a nd ot turpentine, put the p on the fire ’ and the cover on it: A quarter of an hour s

s f warming will u fice to melt the amber, but i t must now and then be s tirred with a s trip of pine wood . When the amber is melted

o ot th i t d wn, take the p from e fire, stir till

oo il o c l , and add the o very sl wly, stirring all the time so as to thoro ughly mix the in

redients g , and then add the turpentine, to which you have previously given the colour desired T he colouring matters mus t simply be powdered and put in the turpentine to dis

s s is w olve, ome time before it anted for

th he s making e varnish . T colouring matter are here given

Yell ow - c . Aloes, gamboge, turmeri s or s aff ron ; these will give various tints of i in 86 H ow to Ma he a V ol .

yellow, from light golden to deep , as may be

s T he f de ired . e fect of golden varnish is very brilliant . — ’ ’ R ed Dragon s blood or Saunder s wood . By mixing with yellow any tint of light red can be obtained .

B ro n — M w . adder or logwood . It mus t be remembered that each coat adds a slight depth o f colour to the previou s one. T hese colouring matters are s uitable f or

o il r s s is colouring either o pirit varni h . It sometimes the practice to make a quant of a ny colour in as s mall a portion rpen

as w s s tine ill di olve it, and keep it for dilu tion to the requis ite tint when required . T he following are recipe s for oil var ni shes of different kinds :

Am e a se owde e d b r , co r ly p r V e n ice t u rpe ntine Pre p a re d li ns eed-o il Oil of turp e ntine

Am e f s ed b r , u Oil o f turp e ntin e D rying l in seed -oil m e f se d A b r , u a nis h a C u in t r 8 V r es nd ol o r g Ma t e . 7

Le o D ryi ng linseed -oil Oil of turpe ntine

ss s Di olve the lac eparately, then add

amber and thoroughly dissolve by heat .

Clear a nd pa l e Africa n cop al T h F P a le drying oil Rect ified oil of turpe ntine

B an r - i oil the copal d d ying o l until stringy ,

w s then thin ith the turpentine, and train

m s im ediately into the s tore j ar . T his varni h

is a n d hard durable, and dries hard in from

w - t elve to twenty four hours .

Clea r pa l e ros in Oil of t urpe ntine

s so T s is s Di lve . hi the varni h generally

u sed on the cheap violins . — Col ourl ess Copa l Va rnish T o prepare this

a s s h v rni h the copal mu t be picked , eac piece

o wh two o f then br ken , upon ich a drop or rosemary oil is to be p oure d ; the pieces which beco me s oft upon the application of

T h s the oil a re thos e only to be used . o e pieces having been selected are to be grou n d H o a h io 88 w to M e a V lin.

to fine w and . the a po der, then sifted Place powder in a gl ass vessel and add to it a corresponding volume of the rosemary oil ;

few s stir for a minute , when you will have a

k the for thic liquid . Leave liquid to rest

t o f two or hree hours, then add a few drops

o h pure alcohol , and mix sl wly , a fter whic reduce with alcohol until the required con

is i T a s istence obta ned. his is clear and

e b autiful varnish . The following a re recipes for spirit v arnishes of different

Mas tic i n tears S eed-lac S a nda r ac V e nice turpe ntine Powd e red glass Alcohol

o a he a o in 90 H ow t M Vi l .

T his is the s pirit - varnish s o often seen

s upon the clear German violin . 1 C l ou r e iri V ni — 2 z o l ss S t a r sh ss o . p Di olve 3, picked orange lac in a pint of rectified

a n d w f o r f ew s alcohol , boil el l a minute / w n r entl with 5 oz . o f ell burnt a d ec y heated

m a m an ani al charco l . A s all qu tity of the s o s now n ot oluti n hould be filtered, and if

s colourle s add more charcoal . When colour

ss s s a f s le pre the liquor through piece o ilk ,

s and filter through fine filtering paper . T hi v a rni sh mus t be u s ed in a room where the temperature is about 60 degrees Fahr. It

s not in doe chill or bloom , and dries a few minutes . V CH APT ER X II .

THE RN S VA I H.

V o s O le H E MS . iolin N te left by B ull, contain the following inter es ting observations : In a sea rch after an elucidation o f this so- s called lo t art, three facts immediately

s : s present themselve first, thi varnish was employed by the very earlies t o f the Italian

s as w as s use maker ell the later ; econd, its was common only in Italy ; third, it ceased to

- A D 1 0 60. be applied to violins after . 75 In texture this varnish is extremely s upple ;

w s s a s s s it ill yield to pre ure, but bre k or cale w off under a sudden blo . It is entirely trans

s s w parent, and of all hade of bro n, red and h w yellow. T e vehicle in hich the gums and

s l colour are dissolved is an o i . Applied to a

s violin , it compact the tone together, without 91 2 H o to Mahe a Violin 9 w .

s rendering it shrill or har h, and gives addi

i al in t on beauty to the wood . T hat its gredients were indigenous to the Italian soil h i w t i s out o f t e questio n . It s well kno n hat much of the maple u sed by the violin -makers d o f that day came from T urkey . Importe

V con struc to enice, it was employed in the h . T e tion of oars , etc extremely curly w pieces, o ing to their liability to fracture

s s re under rough u age, were con equently

ected j , to be appropriated by the violin

s V maker . enice and Genoa held great com

s un mand over the entire Ea tern trade, and doubtedly through these ports came the various gums and colouring substances of

which this varnish was made. “ T urning to other countries of Europe' — Germany, France and England and exam ining the production s of their most cele brated violin - makers contemporaneou s with

C s s s the remone e chool , carcely a trace of the

is I n Italian varnish to be met with . Ger man instruments the varnish is distinguished

s a s s by extreme hardnes , gl as y lu tre, and an absence o f all delicate shades of

H ow to Ma h e a Vi olin 94 . the s election of ingredients or the method of preparation employed in the manufacture o f s s s so w w a n d w thi ub tance, ell kno n idely

e w B s s s . ut u d , ere in any en e a s ecret a little

a n later quite a ch ge is observable . From a hundred Italian ins truments o f thi s later

f ew s date, only a notable can be elected as possess ing the tru e varnish ; and that this marked characteristic in the cas e o f thes e f ew is not the res ult o f mere chance is ap parent from the fact that the artists who made them have cons istently applied it to

s 1 all their production . From about 74 5 to 1 60 about 7 , then , the manufacture of this

s s as varni h may be properly called a ecret, w being confined to a cho sen f e . “ A bitter rivalry had always existed

e the o V Cre betwe n Neap litan , enetian and

e s s s . s ro m ne e chool Ales andro Gagliano , p

s s bably a pupil of Stradivariu , had e tab

m Mon lished himsel f a t Naples . Do inico ta gn an a a n d Sanctu s S eraphino were the

s s V T he Cre ma ter of the art in enice . monese makers seem to ha ve relied on

s - c their onorous , well sele ted wood , their Va rnish The .

s o s o a n d es tabli shed principle of c n tructi n ,

a the V a s on their ancient reput tion ; eneti n ,

w s the beauty of their ood, and careful fini h ; and the Neapolitans on their exceedingly low price . “ As a knowledge of the varnis h became at

s f ew s s la t confined to a , in tance are not wan ting of the persecution of s uch by their

n - w is les s fortu ate fellow orkmen . It quite

n t s e s evide t, hat, apart from any con id ration

be o o f s as of auty , the imp rtance the varni h an a cou stic element was well recognised . The second question now pres ents itsel f howwas the secret lo st ? A careful and re

eated s p examination, extending to a va t

m e s s a nu b r of object , reveal the fact th t the varnish of the Ita lia n vi o lin - maker o f the time of Stra divariu s and b efore him wa s

mm n a s co o to the p inter, the varni her, and

the e a w n gild r s ell . Let an a cient piece of

a a c r a s It li n furniture, a hai , a cabinet , the c e

o f s o r s h be - a pinet harp ic ord , examined , an d provided it has escaped modern retouch

in th e a n s m be s g, v r i h ight by Stradivariu

m e s . s s hi lf Generally it is colourle , then the 6 H ow to Ma he a i i n 9 V ol .

s quality and texture are the indication , but

s is s n occa ionally it of brilliant hue , and the

s C L it proc laim itself to the Y at once . Let s e s 1 60 p cimen of a later date, say, 7 , be ex a mine d s v r s T , there is no uch a ni h . his is s mooth , fairly lustrous, hard and durable . T he chair o f 1 72 5 presents a s urface broken

w of 1 60 on e and orn away, that 7 , compara tiv el s y mooth, and fairly able to endure

further vicissitudes of time. “ B 1 0 1 60 etween the years 74 and 7 , great changes in the manufacture of varnish were

T he o ld introduced . soft gums and their

o f menstrua , capable in themselves dis

h in o solving t em, were discarded fav ur of newer and more complicated processes pro ducing a result more durable and unchange able under exposure and rough wear. “ The old fashion of ornamenting all ar ticles w of furniture, hether of ornament or

s utility, with carving , had given place to a

B e more sober style . road, unrelieved surfac s, depending on the intrinsic beauty of their material , were found a relief to the eye tired with unravelling the mazes of complex

ow to ahe a Violin 98 H M .

s . T ture , was forgotten here is no doubt that some o f the Cremonese and other makers

to e h as knew how pr pare it, but, as been

s w wa . ho n , its use s not confined to them

T he . new ingredients, the copals , amber, etc ,

' would naturally supersede the old as ar ticles d s of import , and so by egrees tho e

s s f or was who pos es ed the secret, a secret it ,

s s e o s certainly regarded by its late t po s ss r , would find increasing difficulty in obtaining M o ld s . s o f the con tituents oreover, the day

- violin making in Italy were over . England , France and Germany were eager competi

s tors , the tolid build of the first, the gaudy

the s o f colour of econd , the baked wood the

M w f B s itten alder, or artist o the lack Fore t, h s and the general c eapnes of all , held the market . And s o it has happened that the

s is s art of the old varni h not lo t, but buried

in the du s t under the wheel o f progress . For two hundred years it was in the hands o f a nation ; and though now a desire for this forgotten knowledge is confined to only

f ew w a s to s a ha a , it ould be b urd y t t per s is tent inquiry must fail to unravel a skein

o f s o s many end . he Va nis h T r . 99

T he third question now presents itsel f there any writings or clues for perusal

and examination ? T here are many . An

n ingenious Frenchma , who long ago wrote a

on treatise varnish , has given the following lis t of authors who have trea ted upon this subject

s d o s Alexi , Pie m nte e (real name of ‘ H R s author, ieronymus uscellai), Secret des ’ M 1 s a 0. Art , il n, 55

‘ Tiav oranti : Miroir Universel des Arts ’ et B 1 des S ciences, ologna, 564 Anda : Recueil Abré gé des Secrets Mer veilleux ; 1663.

“ ‘ ' ’ Z a O u Artifi ialis etc hn , Jean , c lus c , ;

168 . Nuremberg, 5 M ‘ ’ C. C s L n 1 6 2 . orley, , ollection ; o don, 9

‘ Coronelli V C s , incent, Epitome o mo ’ V 16 . graphique ; enice, 93 ’ H s é é des s Pomet, i toire G n rale Drogue ;

s 16 Pari , 94 (reprinted ‘ ’ B uouann i T é des V s , Phillipe, rait erni ;

R 1 1 . ome, 7 3 “ H is s e the ere a succes ion of treatis s, earlies t written about the time of Gas par da t he a Viol n 100 H ow o Ma i .

ale o f S , and the latest during that Stradi

s t e varius . Here are hundred of genuine

f one cipes . Is any one o them the right ?

ar P atience and perseverance are necess y, much fitting o f old names to their nomen

latures s s s c and many tire ome compari on , but

s s these once made , the de ired re ult may be

new ss s obtained, and the varnish may po es the old coveted lustrous softn ess and sup w leness . ? the p And the colours the bro n ,

w P— u red, and the yello hidden nder quaint an d s s ob olete name , they are all indicated

o f s by one and another the e authors , and

s all are oluble in the one vehicle, forming

oil a coloured varnish , clear and transparent , w t w hich, however long kep , ill let fall no

sediment . T here is still another branch of this s ub

ect w j hich has never, or very rarely, been

- s t is the round tonin . pecified , and his g g In all Italian instruments the wood appears to be permeated with a colour varying in in

tensity from p a le yellow to almost orange . T his colour is quite di stinct from that o f the

n h v s var ish ; for, owe er faded by expo ure and

CH T R V AP E X III .

A MATHEMATICAL METHOD OF CONSTRUCTING HE U NE T O TLI .

constructing an outline according to

th e to directions now be given, it is necessary to observe great accuracy in the working, to ensure a satisfactory result . First draw a perpendicula r line 14 inches 2 long, and divide it accurately into 7 equal t T d par s . hen raw at right angles to line, the following

A line through 8 oint No. A A See Illust a ion p r t . 14 13— 13 16 20 D—D 21} E—E 102 he tline Cons tructing t Ou .

A line through — in No F F S ee Illustra ion. po t . t

Open the compasses to the width of 9

s one b part , put Of the feet at point , and draw the two little curves a a .

‘ Open the compasses to the width o f 2 4

s one on 2 part , place foot point 4, and draw

a ba the arc . Open the compasses to the width of 2

a s off h p rt , and mark this distance upon eac

s f c o c . ide the perpendicular, as at

one c O Put foot of the compasses at , pen

106 H ow to Ma he a Violin .

O pen the compasses to the width o f 6

s one i part , and placing foot on po nt 55, mark on the line SS the two points xx . T ake each poin t x as a centre from x to v

s v as a radiu , and continue the curve from V V to the line . Open the compas ses to the width o f 4

s o n 6 part , place one foot point 5 , mark the

2 2 3 points to .

T a a s ake each a centre, open the com pas ses to the point where the arcs last drawn

s V V j oin the line , and continue the curve V V from the line to the line RR .

M O ff GG s 00 ark on line two po int , each di stant from the perpendicular 2 4 parts ‘ open the compass es from point 0 to point 7

s on either ide, and draw the curve from ‘ point 7 to the line FF . On line II mark on each side of the per pen dicular at the distance of 1 43,parts from the perpendicular 2 points mm ; open the comp asses from rn to where the curve j oins

H H on s the line , and trace each ide the cur ve from the last mentioned point to the

72 point . C nstructin the utline 1 o g O . 07

On EE 2 2 2 line , find points parts from the perpendicular on each s ide ao; open the compasses from point q to point p on line

EE r , and draw the small curve from p to on each side . O s 2 0 16 pen the compas es from point , §

s s s . part , and draw the two corners O n lin e QQ open the compasses 2 4 parts

a on from the perpendicul r, and mark each

n bb o bb the side the poi t ; from p int , open compasses to the point where the line RR

is V . R joined by the curve from to , and

cc d continue the curve from to d .

O n the line NN Open the compasses 167}

s part from the perpendicular, and mark on each s ide the point t ; open the compasses from point t to the point where the line PP is j oined by the curve from the point i and w dra the small curve .

O ss s to the 1 pen the compa e width of 9g 0 parts from point 5 , and trace on each side dd the corner .

‘ We Will n ow proceed to show hO w the arch o f the violin is made in the direction c of the perpendi ular. 8 H ow to Mahe a Violin 10 .

T of w -2 e ake a strip hard ood, inches wid , a ~ little a longer than the perpendicul r, and

s thick enough not to bend too ea ily , and t a w w n i s s . find centre, cros hich dra a li e

O s s s 2 16 pen the large compa e parts, that is m s o f er en , three ti e the length the p p dicular s , and , having fixed the trip upon the

aw a table, dr upon the table a perpendicul r line in continuation o f the line drawn acros s

o f s one the centre the trip , place end of the compas ses on the perpendicular line upon the

not too strip near to the upper edge, and the other point upon the perpendicular drawn

s upon the table, and draw upon the trip the

F

a r . 0 e shown in Fig 4 . When cut away this

r w a e ill give the proper a rch o f the violin . T he length of th e holes is 1 5 parts ; the in cision on the inner s ide - o f each should be exactly opposite point 40 ; the head commences opp os ite point and the foot ends opposite point T he diameter of 1 is 1 the hole at the head 3; part, that at the foot 12 parts ; the inner edge O f the upper

s s hole hould be 9 parts asunder, and the

i H ow to Ma he a V blzn. compasses describe from centre 42 a circle having a radius of 4§ parts ; all the wood

' contained in this circle sh ould be precise ly e s s 1 2 1 part thick . Then open th compa se parts an d draw another circle from the same

w o w will ' radua ll centre, the o d in hich g y fall off from 1 part thick at the edge of the inner circle to gof a part at the edge o f the outer

. s s s circle From thi line to the ide piece , the thickness will gradually fall away in all t directions o part (see Fig . Constructin the Outline g .

F E E THE THICKNES S O TH B LLY.

Point 40 is the point of departure . Open

‘ the compass es 4 p arts and draw a circle with

0 T he point 4 as its centre . wood in this circle must be 13; part thick ; open the com passes 9 parts, and draw another circle . T w off hen, as ith the back, gradually thin from the inner circle till the wood at the 1 is i outer circle 3, part th ck , and from thence

O ff the s s thin again to ide , where it should be a good part in thickness .

THE B AR .

T he 6 t 1 bar should be 5 par s long, part

2 s s thick, part high in the middle, dimini hing

to gradually gp ar t at the ends . Its position s in hould be parallel to the j oint, s lightly clinin a s to or b g inw rd at the p end, a out f ,

in w e inch its hole length, and precis ly upon f the edge o the inner circle . T he length of the bar can be readily gauged by measuring off 1 5 inch ( or 1 7 lignes French mea sure) from the top and from the bottom o f the belly, the ends Of the bass bar should come h be to these points . T e bar should never t Ma e a iol n 1 1 2 H ow o h V i . further away from the centre than 85— lignes T at the top and 95 lignes at the bottom . he s light s lope at the present time given to the

s bar should be in this proportion al o .

THE OUND-POST S .

T he sound - post should be 5 inch in dia meter, and placed behind the foot of the O bridge . ther particulars respecting this important part have been given in previous chapters .

THE BR D E I G .

The bridge should have 8 parts between outer edge of the feet ; its height should be

65 parts .

THE NE K C .

T he neck shoul d be 2 7 parts long from the extremity o f the peg-box to the sides of the violin .

1 H ow to Mahe a Violin 1 4 .

s ts es ential they may be, the par above “ named are only fittings . T he tail -piece is fastened to the button by

V o n a piece of ioloncell D string, the k ot O f which should be firmly tied . Different modes of fastening are a dopted . S ome tai l pieces have two holes pierced through them and in this case the ends O f the cord should be put through and tied so that the knot comes in the gr oove of the button . Others have the holes pierced in th e end Of

- w s o on th e the tail piece, and a hollo c oped unde r side to allow the kno t to stand within the level Of the wood so as not to touch the

The a belly . mateur will select the pattern he likes best. T he strings are a n important factor in the production o f the tone . T hey should always be gauged before they are put ori A string gauge can be bought for sixpence, and when the thickness and quality of strings best

to v suited a iolin are ascertained, no varia

s tion hould be permitted . T he following ’ o Mr passage fr m . Davidson s work will be us eful to the amateur s ies T he Remaining Acces or .

A good violin string ought to be perfectly

ext emif cylindrical from one r y to the other,

an d having a regular thickness throughout, t possess the necessary elasticity . A packe o f ed or strings upon being compress , bent

o to h Or the together, ught not c ange colour,

n united parts to break, but to quickly retur to to their original shape . T hey ought a lso e be transparent throughout their entire l ngth,

no like a thread of glass, and possess wavy or curled markings . The best second an d third strings are o f a transparent white ; the

not so but t first being white, perfec ly th transp arent . I f e first strings are very w hite, we may safely assume that they have been made from the intestines of animals which have been prematurely used by the manufacturer. The strings should be now

s il- r and again oiled , pre erved in o paper o

s bladder, and laid a ide in covered tin boxes , in a dry place . For oiling the strings a small piece of woollen or other cloth may be u few or sed , upon which a drops of Olive

- - il s . o almond oil are poured I f olive is u ed, it should be purified by a mixture of lime H t a he a V olin 1 16 ow o M i .

is . The and lead , until it perfectly limpid 1 firs t string should require a tens ion of 5 lb . to bring it to opera pitch ; the second 17 lb . the third and fourth about the s ame as the

first . We must carefully observe that the tone o f any violin is very perceptibly aff ected by

s s . the ize Of the string , as if not in due pro

one portion the to the other, no uniformity

e of tone or power will be obtained . Th peculiarities of the strings which prove in dividually suitable to the different classes .

s s s s of violins mu t al o be j udiciou ly tudied , as the instruments vary so much in this respect th at a string which is perfection to

is s one de truction to another, but generally s s u peaking, all the ancient in tr ments require u f to be lightly str ng, in order to e fectively evoke their purity O f tone and freedom of vibration . I f the strings are too thin or

the s w w light , tone of uch ill be eak and

w on too feeble, hilst the contrary, if . thick or

s s w heavy , the ound ill be hard and coarse, and an unnecessary strain an d pressure will be exerted on the bridge .

i i 1 1 8 H ow to Mahe a V ol n.

THE BRIDGE.

The position of the bridge should be such

a o u an d s to a ffect the wh le violin eq ally,

not to favour one tone more than another. “ The centre o f the bridge shoul d be dir l ect y over the centre line of the top . Whether it should stand slightly backwards or for

or a n ss wards of, directly on line draw acro

to the the p from the inner notches of holes , will depend upon the character o f the instru

ca ex eri ment, and n only be determined p I t mentally . should incline towards the tail piece in order t o better withstand the

forward pull o f the strings in tuning . The construction o f the bridge has great i nfluence upon the tone . Thinnes s of the centre of the bridge tends to make prominent any nasal quality o r shrillness latent in the

s s instrument. A proper olidity convey sweet

s a n d s too ne s compactnes , but great thick

s uffle ne s m s the tone. H igh-built violins mostly require low

s o bridge , and such sh uld be particularly thick at the edges where the strings rest . R e a nin ess ories The m i g Acc .

The bridge should be perfectly flat on

- the side toward the tai l piece . It may be s lightly convex on the other side . “ T he ma terial o f which the bridge is T t made should be invariably maple. ha which is known a s the silver -grey maple is w preferable to the brown or yello , as having

s a more close and ela tic grain. “ T he incisions in the sides o f the bridge should extend each one third o f the distance f toward the centre . The French model o

of M t Aubert, irecourt, hough open to some

one . objections in special cases, is of the best T hese bridges are made o f excel lent wood,

and are thick and strong . “ h T e o f should be . top the bridge . thick

Properly constructed, a bridge may be made

an d quite heavy , so made it will always con

e vey a rounder an d fuller volume of ton . The distance measured along the top be

h o 1 5 tween the G and E strings, s uld be 1 3 inch The G string should be 5 inch above the finger board at its larger extremity ; the “ s The a t E tring, s ; inch . aver ge heigh of the feet o f the bridge should be 1 2 0 H ow to Ma he a Vio in l .

3 . T he e about 1 6 inch thickness at the bas ,

“ 5 a s cant 5 ; inch ; at the top a full fl inch . Th 3 e s . feet hould be 5 6 inch long

THE OUND-PO S ST.

In general the sound -post s hould stand from 5 to 5 inch to the rear of the right f foot o the bridge . Its outer edge should be w in line ith the outer edge o f the foot . From

or o this position its upper l wer end , or both , may be moved with advantage to secure cer tain qualit ies o f ton e . It should in all cases fit the curves of the top and back abso M lutely. oving the lower end toward the centre favours the lower strings . I f the lower strings are weak and the upper at all s o s harp or hard in tone, then a very lo se po t

s s should be u ed . I f the rever e is the case, a long and tightly fitting s ound -pos t is M required . oving the upper end outward w s s n ill help all the tring , if the to e before wa s hard a n d s hrill ; but if the upper s trings

to a n d s happen be dull heavy , then the po t s hould s tand a little inside the line of the f o r . foot the bridge, and a little fu ther back

o M he a i lin 1 2 2 H ow t a V o .

at greater or less distances from the bridge. T he nearer we approach the bridge the more

the the upper overtones , and nearer the neck the more the lower overtones will be f a v

t . n a the ou ed In the first i st nce, resulting tone resembles that of the trumpet ; and in

of . the second, that the horn and clarinet

bow orte With a heavy , in f passages, only

slight ass istance is needed from the hand . T he wrist is not cramped or stiffened in pro

n a n th duci . i o a g the pressure In p p ssages, little finger should partially sustain the

an weight, d the stick should be inclined

so t o f the toward the neck, hat only part hairs act upon the strings . The great stiffness and elasticity of the

bow o heavy gives a freer, clearer t ne than can be produced by one o f a lighter and more sluggish na ture . Th 2 6 n s e length o f the bow is ft. i che ,

he . T o f 2 . the length the hair, ft 4 inches

H s number o f hairs is about 160. alf the hair

wa h . are put in one y, the ot er half the other

is s It known that the hair , as seen when mag n ified have little saw-like teeth running i n ni Accessories The Remai ng .

t i one direction . By hus div ding the hairs, they present the same friction on either the

Th s up or down stroke . e be t hair is from u Normandy . It should be ro nd and even, ” and not flat in places. T he importance o f a suitable bridge is

to u paramount, and further aid the amate r in its selection I append the following quo

: tation from Mr. Davidson “ The bridge plays a far more importa nt part than is generally attributed to it. Its incisions and form have a great influence h upon the quality of t e instrument . It

our att . merits, therefore, all ention I f we e d take a pi ce of wood , cut like a bridge, an

u i the gl e it upon a v olin, instrument nearly w loses its sound . It gets a little better i f e form feet to the bridge ; if we make lateral

s w incision in it, the sound improves, hich improvement increases gradually until the bridge assumes the ordinary form . It is an astonishing thing that by trial we gradually arrive at the form of bridge usually adopted , and which appears to be better than any other . A multitude o f trials have been made H w to Ma he a T/ i olin 1 2 4 o . before this important piece arrived at per

f tion . ec Everything has led to this result, that we cannot depart from the established form without detracting greatly from the B quality of the instrument . ridges have been made o f deal with their fibres perpen dicular the and parallel to the belly, but w t h sound as found o be altered . T e size

s and shape of the opening have been altered, but the beauty of the instrument has always been impaired . Let us examine the move w ment of the mo lecules of the bridge. I f e take a plain bridge with two feet and a s is ingle string, the movement tangential , parallel to the face o f the bridge . I f we

the o f make two incisions in it, nature the

s the s is movement change , and and seen to

s move in everal directions at once, while the bridge itsel f experiences movements of os cil

its s lation , and molecule appear to execute vibration s in a direction normal to the belly . T he effect a ppe ars to be to confirm the

ba normal movements of the tables . T he r

w c s s s ro to hi h the e o cillation are imparted, p duces in the belly a s imilar movement over

RI E r a B FI G . 43 . B DG or A v ror. w r n snv an s r m os , r a n ODY m on rs nor ou ou m en AT r r w u or w r r u m: o em .

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s te its a e s is s m a e ea se a s De pi g , thi book till of i port nc b c u it cont in a i a s ma m s a s w e p rt cul r of ny u ici n not listed el se h re .

e the Mem s 0 FROM MENDELSS OHN TO WAGNER . B ing oir M The Times com ilec J. . a s ea s s W D vi on , forty y r u ic Critic of , p his son f m Mem a a and by , HENRY DAVISON , ro or nd Docu 52 a s M s a s and Im a e e ments . With portr it of u ici n port nt L tt r u s e Me e ss e d ( previously unp bli h d) of nd l ohn , B rlioz , Gouno I e 539 a es e Macfarren S temdale e e . etc . Julli n , , B nn tt nd x , p g 8 v o 42 , cloth , / E m M U I AND M U I I N . ssa s and s s R O B ERI S C S C A S y Critici , by

E e and a e . H . a s a e . SC UMANN Tr n l t d , dit d Annot t d by F R ‘ w w 8 v ea mes o . KI IT ER . T o 5 volu , cro n , cloth , 3 / ch ’ Schumann s literary gifts and interests almost equalled his m he was aw e a e ess m s a es . u ic l on Fro boyhood dr n to lit r ry xpr ion , a nd his writings on music belong to the best among the romanti Th am fire e i n e a e f the 19 e . e s e e ess 0 lit r tur o th c ntury , po try , d r ct e ess the same i e e es s we e his m s s xpr ion , nv ntiv n lov in co po ition al so animates his prose . l t Doc . M Its . I M R E . P M US CAL ME O I S By WILLIAM S ARK , ( a h E i i . i O r anis t o the To wn H a ll L eeds . g f , ) Third d t on W t w v 10 s ee a s . 8 o ] ixt n Portr it Thick cro n , cloth ,

’ B io ra hica REEVES DICTIONARY OF M USICIANS . g p Accounts of about Noteworthy Musicians of the Pas E ED MUNDSTOU NE and e s and Present . dited by DUNCAN Oth r w 8 v o a e e s 4 Cro n , cloth , p p r cov r , / KE E EN EE M P E S TCH S OF GLISH GL CO OS RS . Historica l d - a a an a . m a 1735 186 Biogr phic l Critic l Fro bout 6 . By D

B APTI E. s 8 v o 10 Po t , cloth , / SOME M USI CAL RECOLLECTIONS OF FIFTY YEARS

HA FF . Mem i M Rs FF A By RIC RD HO MAN With o r by . HO M N . s a e i ma a w v W s . 8 o 10 Illu tr t d th ny Portr it Cro n , cloth , /

An interesting book of reminiscences by a prominent Anglo American pi anist and composer ( 18 3 1 He studied uncle e e M oscheles s ei and s a nd e ame a coneer Pl y l , , Rubin t n Li zt , b c ' a s in New a nd a s e w e fl i . H o pi ni t York , l o tour d ith J nny Lind ma composed and published many pianoforte pieces of the brillian i in V e at the k nd ogu time .

EE EN. H G a me B THOV By RIC ARD WA NER . With Supple nt the s a ks Philo ophic l Wor of Arthur Schopenhauer . Trans E R TH . w by DWA D DANNREU ER Third Edition . Cro n l 6 cloth , /

BEE EN AND N W K a as Cones THOV HIS PIA O OR S (Son t , a a s Des e and a d V ri tion , criptiv An lytic Ai to their U i and e e n s a d . T E TERB W t n ng R nd ri g By HERBER W S Y . it a E d of Princip l ditions an Bibliography . 3 illustrations

m s e am es . w 8 vo 10 u ic x pl Cro n , cloth , /

’ BEETHOVEN S PI ANOFORTE SONATAS Explained fo e s the M E T L L s a . E T ov r of u ic l Art By RNS VON L ER EIN . T w a e E. E T e a e UER . R l t d by HILL , ith Pr f c by RNS PA e E the e e s s e . a and Vie dition ( S v nth i u ) With Portr it , ’

eet e s se . w 8 v o 10 B hov n Hou Cro n , cloth , / NOTES O N THE INTERPRETATI ON OF 24 FAM OUS P N 1 EE J. F H SO ATAS BY B THOVEN . By AL RED JO NS a w 8 v o Portr it , cro n , cloth ,

’ es e BEETHOVEN S PIANO S ONATAS . A D criptiv ’ mentary on the Sonatas in the light of Schnabel s Inter; i s i an aes he re ia ea a a wi t on ; giv ng t tic App c tion of ch Son t , Outline of the Development of the Sonata Form in Beetho a a e a e an hands . With Biographic l Sk tch of Schn b l a his a as an e e a m se and tea ccount of ctivity x cut nt , co po r F a s a e A By RUD OL KASTNER . Tr n l t d by GERALD ABR 55 a es s 8vo a e p g , po t , p p r, A CRITICAL S TUDY OF BEETHOVEN ’S NINE S YMP IES w a Few ds His s and So a as a , ith Wor on Trio n t , Crit “ ” of Fidelio and an Introductory Essay on Music . By HE oz a th E I E BERLI . Tr n slated from e French by DW N w v 1 a . 8 o 2 Portr it Cro n , cloth ,

’ BEETHOVEN S NINE SYM PHONIES Fully Described ma Ma Analysed . A complete Accoun t of The tic terial a a M es an a a a ea Movemen uxili ry otiv , An lytic l Ch rt of ch e a es s f e e me s a u a s f T chnic l D cription o D v lop nt , P rtic l r o F

and m ea es E mi a a es etc . Illustrat Rhyth ic F tur , pito c l T bl ,

E I . l s a E E . 637 M am es . W u ic l x pl By D N VANS C oth , Vol I

2 1 . II Nos . 6 l to / Vol . ( to out of print

’ BEETHOVEN S SYM PHONIES in their Ideal S ignific E a PR xplained by ERNST VON ELTERLEI N . Tr nslated by an a c WEBER . With Account of the Facts Rel ting to Beeth m E en N H . e . C T th Sy phony . By L . O L S cond dition 8vo 10 , cloth , /

’ BEETHOVEN S SYM PHONIES Critica lly Discussed by

e a e H B ROADHO USE. Se ANDER TEETG EN . With Pr f c by JO N E v . s 8 o dition Po t , cloth , THE CRrrICAL WRm NG s or HEC TOR B ERLIoz A CRITICAL STUDY OF BEETHOVEN’ S NINE S YM N E wi a few W ds his s and a as and a PHO I S, th or on Trio Son t ,

. w v o 1 ti ism f de i . a 8 2 Cri c o Fi l o Portr it Cro n , cloth, /

K AND HI S E AS wi an u f ei Rela on GLUC OP R , th Acco nt o th r ti w 8 v to M sica Art. a . o t 18 u l Portr it Cro n , clo h , /

WEBE AND NE w a s he Ess a s MOZART, R WAG R, ith v riou ot r y w v M si al e s . 8 o 1 on u c Subjct Cro n , cloth, 2 /

The above three books form a full and rea dable translation by Edwin Evans of the justly celebrated critical writings of Hector “ ” Berlioz issued under the title of A Travers Chant .

B N THE M E AND HI S M U I ORODI CO POS R S C. A Descriptive and Critical Analys is of his Works and a Study of his Value an ma as rt orce . ith ny reference s to the uss ian Kouchka A F — W R e e a a e M ss s é sa Cui ms Circl of Fiv B l kir v, ou org ky, C r , Ri ky K and B . sa A B H . m s or kov , orodin By GER LD A RA AM With u ic exam es and 5 w 8 v a s . o 2 1 pl Portr it Cro n , cloth , E J NNE H M . R A d LIF OF OHA S BRA S By FLO ENCE M Y . Secon

E i i e se . Two mes em 8 v o 42 d t on , R vi d Volu , d y , cloth, / This work still remain s the mos t comprehens ive single work on the m e I co pos r published . t is based on mate ria l gathered at first a d n the rse se e a is s the i e and its h n duri g cou of v r l V it to Cont n nt, ’ value as a perso nal docume nt is enhanced by the author s own re o le s and m ess s f a ms whic we e the es 0 c l ction i pr ion o Br h , h r r ult e s na a w h and a tua e the ea p r o l cont ct it c l s tudy und r gr t master . I E C E AND N UNT H STORICAL, D S RIPTIV A ALYTICAL ACCO E W IN OF THE ENTIRE WORKS OF BRAHM S . By D E The s are ea e t e e s VANS . Work tr t d in he ord r of th ir Opu N m e s and e e m s is ea w in e a u b r , v ry Co po ition d lt ith d t il Complete in 4 volumes with altogether pages and over M s E am es and a es as l ws : u ic x pl T bl , fo lo A M CHAM BER AND ORCHESTRAL WORKS OF BR H S .

i s er es . 67 E W E S . 35 F r t S i to Op . By D IN VAN /

CHAM B ER AND ORCHESTRAL WORKS OF BRAH M S .

E E E . e e ies . 68 the nd. W A 35 S cond S r , Op to By D IN V NS 1

E N PI ANO AND ORGAN WORKS OF BRAHM S . By DWI

EVANS . 35/

K B M B EDwm E . VOCAL WOR S OF RAH S . y VANS 42/ INI E U . . IFE J. R WES T . OF CH R B By F C O . (Great Mus ici w v e es . 8 o 6 S ri ) Cro n , cloth , /

H ERUB INI . M emorials s a E e . illu tr tiv of his life . By BELLA Crown 8vo

’ IN E E K re es a a s N n HOP S GR AT R WOR S (P lud , B ll d , octur d r rk w h ul be nde stood . Polo naises M az u as . H o e s o U , ) th y B ’ S I i s N es a Me K LECZ YN KI . ncluding Chop n ot for thod ”

a s a N . ANOT HA . e E Methods . Tr n l ted by J S cond diti m s e am es w 8 v o With u ic x pl . Cro n , cloth ,

h n e r IN . T e s OW TO PLAY CHOP Work of Chopi , th i Pro

I K a a e . J. K LE Z YNS I . s nterpretation . By C Tr n l t d by A W w 8 TI HA E M I a s . NG M . Sixth dition . usic llustr tion Cro n

cloth , ’ Contains the crea m of Ch opin s instruction s to hi s own pu o admirers of Chopin and players of his music we should say k %o o is indi spensable . HOPI N AS REVEALED BY EXTRACTS FROM H I S DIAF K By COUNT TARNOWS I . Tran slated from the Polish by JAN H A OT . e w 8 vo a a s . e e s With ight Portr it Cro n , p p r cov r , I n the above notes Chopin alludes to many of his compositions ell a s e a i the i s u e w e we e wr e r l t ng cond tion nd r hich th y r itt n .

REDERI C IN d a an e a e E . . CHOP , Critic l Appr ci tiv ssay By J

. 8 v o DAVISON ,

a HOPIN THE COM POSER AND HI S M USIC . An An l e am s a s and I e e a s as exhibi Critiqu of F ou Tr dition nt rpr t tion ,

the a ea a s s as and esen . HN in Pl ying of Gr t Pi ni t , P t Pr t By JO 1 w 8v o T . a . 93 a es POR E With portr it p g , cro n , cloth ,

’ B O K K e a e c n IAND O TO CHOPIN S WOR S . A D t il d A cou t ll th m a ses a e Co positions of Chopin . Short An ly for Pi Student and Critical Quotations from Writings of W w M s s a s . a s kno n u ic l Author Chronologic l Li t of Work , w 8 vo . . 1 . e E . By G C A JONSON . S cond dition Cro n , cloth , Here in one compact volume is all that is necessary to kn . i and hi e si a bout Chop n s works except by the leisured nthu st .

’ I N E ME n t A D L S SSIAH . The Oratorio a d i s History . A H a i s and s its e ma e w use book of H nt Aid to Public P rfor nc , ith N es ea M eme as we as N me s R eferen ot on ch ov nt , ll u rou and m a I m S S a . J uch Origin l nfor tion By . ALLAN ON BEN % a s a e 4 Bo rd , p p r, / IS Z T M E AND N K , CO POS R, HIS PIA O WOR S . Descript e and a a s s w e a a and Guid Critic l An ly i , ritt n in popul r con

. T T M us . Ba c . n S e S Lo . et c . 5 i tyl By HERBER WE ERBY , , , llust m s e am s 24 es . 336 . wn 8 vo 1 tion , u ic x pl pp , cro , cloth , 8/

B OOKS AB O UT M US I CIANS

’ ’ “ Th e WAGNER S Ring des Nibelungen . Story of Wagner s R K N . M us . E s ea e s . Ba c . Cat for ngli h R d r By ILBURN , , w ‘ 8vo a e 2 Cro n , p p r, /

H G a s OPERA AND DRAM A . By RIC ARD WA NER . Tr n d h E M s The E s . e a an t e sse e into ngli h Op r nc of u ic , S and ama a e the s a e Pl ay Dr tic l Po tic Art in Ab tr ct , Po try Music in the Drama of the Future . 4 5/ HOW TO UNDERSTAND WAGNER ’S “ RING OF ” e An NIBELUNG . Being the Story and a Descriptiv “ ” “ ” “ ” the e d the a e e and the of Rh ingol , V lkyr , Si gfri d ” the o s M a E am es the ea M of G d . With us ic l x pl of L ding K w a Eac . e e of h Drama By GUSTAVE OBBE . Tog th r ith S ’

KI s . B ac antab. Se a ne s N . R M a . C fe . of W g r Li By LBU N ,

E . w 8vo dition Cro n , cloth ,

Description and analysis go hand in hand with the narrati the M story . usical examples are given as aids to the idem tion of the leading motives and an index makes it easy fo ea e an a u a m e s an r d r to turn up y p rtic l r otiv in t tly . O RCHEST RAL

NDU THE HE H IS . T CO CTOR, T ORY OF ART By HEC OR 1 a B RO U E. m a s e J. ADHO S 4 BERLIoz . Tr n l t d by With Diagra s

and E am es . w 8v o a e e s 5 x pl Cro n , cloth , p p r cov r , /

H NDB K O N THE E HN E N U T N A OO T C IQU OF CO D C I G ,

E e se . 5 S IR R A LT . e e d By AD I N BOU S v nth dition , r vi /

MEN AND RT THE INSTRU TS A OF ORCHESTRA. An In i troductory Study . W th Table showing Range of each Instru - men . . . M us . Ba c . v s 6 t By P W DE COURCY SMALE , 8 o board , / ,

H ow ite the METHOD OF I NSTRUMENTATION. to Wr for Il s Orches tra and Arrange an Orchestra l or Band Score . lu trated with Mus ic Examples and various large folding Charts

m 8vo two mes . E WI E S . e and e . Ind x By D N VAN D y , cloth , volu H ow e f s a eme n and Vol . I . to Writ or String , Arr ng nt of Scori g 0 a . 1 Preparation of Parts . With Ch rts / H ow te f d ass and ms and Vol . II . to Wri or Woo , Br Dru , 0 a e a s . 1 Arrange a Band Score . With l rg folding Ch rt /

N ES O N N C T AND N UC T N OT CO DU ORS CO D I G . By T . R . GROG ER a s the a si and , l o Org ni ng Con in f ma e r es as w ee l - a e l s a duct g o A t ur O ch tr , ith thr fu l p g Il u tr “ ” s the a s ea s and Plan the r es tion of v riou B t of O ch tra.

e ised and E a e . w 8 vo o a s 6 R v nl rg d Cro n , b rd , /

G N R . N CONDUCTING . By RICHARD WA E Tran slated by ea in EDWARD DANNREUTHER . A Tr tise on Style the Execution w f ass a Mus . E . 8 vo 12 o Cl ic l ic Fourth dition Cro n , cloth , /

ORCIE S TRAL AND B N N A D I STRUM ENTS . A Short Account f the s me s sed the r es a and ass and o In tru nt u in O ch tr , in Br

Mili Ba . a s . H M us B . d . BR A D m . Dunel t ry n By G F O D EA , , 24 a e M s E am With Illustr tiv u ic x ples . Pos t 8vo cl 5 , oth , /

OR ND MEN e and M de G I ES TRAL WI INSTRU TS, Anci nt o rn Being an Account of the Origin and Evolution of Wind D AUB ENY 11 s the Ea ies imes . . Instrument from rl t T By U ,

lates il s a 6 1 I s me s a s . 8 vo 25 p lu tr ting n tru nt or P rt , cloth, /

PRACTICAL GUIDE FOR THE CONDUCTOR and Use ful N - t s the I . h . MA A o e for Orchestra By F . W . DE SS HARDM N Wit MuS Ic E am es and i 3 x pl D agrams . / ORGAN

ART OF ORGAN ACCOM PANIMENT I N T HE CHURCH a n SER VICES . Wh t to Do a d what to Avoid : being a Guid the a s the effe e e e n the M to Org ni t in ctiv r nd ri g of usic . B

T . W N G a s WAL ER L T I NIN , Bo rd ,

TH E E EN I N UI E and ei s ARLY GL SH ORGA B LD RS th r Work , from the Fiftee nth Century to the Period of the Great Rebellion

D R E. IM B . R AU LT v . . s 8 o y o t , boards 12/ B F P ,

THE N UEN E TH E N IN I I FL C OF ORGA H STORY . By DUDLEY w 8 v o a 4 / . n s a e e s 2 BUCK Cro , bo rd , p p r cov r , /

IN N I N E E I E G UIDE s r a E a TER AT O AL R P RTO R ( Hi to ic l , duc ti onal a nd es e e s and me a D criptiv ) to For ign , Briti h A ric

W s . T ST . 4 2 1 ork By HERBER WE ERBY to , cloth , /

Describes the best Organ Music of foreign countries as well as 0 i ai and m i Br t n A er ca .

a e and ea ese e a w ust a e A l rg b utifully pr nt d qu rto ork , fully ill r t d b -six a es fine art a e m is se e E thirty pl t on p p r, co pr ing v n nglish an s ee f e a s -one a s and s a ixt n or ign org n , thirty portr it , illu tr tions of th ses a and a hou of B ch H ndel .

LECT E O N THE E N . I ts s Desi an UR P DAL ORGA Hi tory , gn

. H S ASS . m 8 V Control By T OMA C ON With folding Diagra . 6 cloth , /

T H . M ODERN ORGAN BUILDING . By WAL ER T OMAS LEWI E a a and es r 0 (Organ Builders) . Practica l xpl n tion D c iption Organ Construction with especial regard to Pneumatic Actio E R e and a e s u etc . Ch pt r on T ning , Voicing , Third dition , 1 16 I i n 76 aw ca e an se . s a s vi d llu tr t on , includi g Dr n to S l

e e m actual aw s . 4 h 35 R produc d fro Working Dr ing to , clot , ]

M E N N UN N T he Ho w and Wh Clea rl OD R ORGA T I G , y, Explaining the Nature of the Organ Pipe and the System 0 E a em e ame e e w an s e th qu l T p r nt , tog th r ith Hi toric R cord of E the a e m the ee e volution of Di tonic Sca l fro Gr k T trachord . w v T H . 8 o By HERMANN SMI Cro n , cloth , NEW ORGAN PRINCIPLES AND THEIR INTERPRETATION A Guide to and Suggestions on Phras ing a nd R egistratio E H T with a view to improved Organ Pl aying . By TERENC W I E m v o a e 54 m s e am es . e 8 e s 4 With u ic x pl D y , p p r cov r , /

Practi T H E ORGAN AS VI EWED FROM WITHIN. A ce H D Handbook on the Mechanism of the Organ . By JO N BROA w 8 v H S . e s a s . o 16 OU E With ov r fifty Illu tr tion Cro n , cloth , /

PIANO

A M Tom l THE APPRO ACH TO LB ZT . COtirse oif odem ' T eclm m r the Pn no m the rm f G aded a r e. fr m q fo , fo o r o D fi icn lt the M as ses t a na n to S ag . By H t l ES TER BY M at h e e c. io W . w Fo ,

Bamd on th e Smles and Bmkm Chords .

” f I “ m Fm M n to

tn F . R.C H O M M N TH E N . E W E S OW TO ACCO PA Y AT PIA O By D IN VAN . a m a me Fi urated m a me and ( Pl in Acco p ni nt , g Acco p ni nt a a m a M a m s s . 172 s E a Pr ctic l H r ony for Acco p ni t ) u ic x mples . r w 8vo C o n , cloth,

OW TO PLAY 110 FAVOURITE PIANO SOLOS . Being the “ e -K w a H w 4 Series complete in 1 vol . of W ll no n Pi no Solos : o w a i E ess and Effec to a em U e s . Pl y th ith nd r t nd ng, xpr ion t By w 8 vo H E . S . C ARL S W WILKIN ON Cro n , cloth , OW TO STUD Y THE PIANOFORTE WORKS OF T HE

M u . c . E M S E . T ST s Ba GR AT CO PO RS By HERBER WE ERBY, a M E a d B a a a z a leme . . e . H n l, ch , H ydn , Sc rl tti , o rt , C nti, C P W 123 M 8 v E am es . r w o Ba Bee en . s a ch, thov ith u ic l x pl C o n , t clo h,

' he followin iss ed s a e e s g u ingly , p p r cov r

1 . TT 1 E. A D J. . A H . . H N EL, / D SCARLA I , / S B C , C P H A A 1 T 1 M Z A T BAC ND H YDN , / CLEMEN I , / O R ,

I N . G IVIDUAL IT Y I N P A O TOUCH By AL ERNON H .

N . w 8v o LIN O and J. F H ST D AL RED JO N O E Cro n ,

' NT RO DUCI I O N U I N I N M I TO R SS A P A O US C. By HERB ER T ST R WE E BY, 1/ T A URAL TECHNI CS IN PIANO MASTERY. A Complete a nd a i a e Ma a e e e ase f ia uthor t tiv nu l , cov ring v ry Ph o P no — ’ Playing and Study tracin g in s imple Steps for the Student s Guidance the aes thetic Steps as well as the techn ica l Problems leading from Beginning Stages to Concert Artistry . By JACOB 55 v l t E N E G . w h S s a s . 8 o c o I E B R illu tr tion Cro n , ,

’ . A . a s a e IANO FO RTE TEACHER S GUIDE. By L PL IDY Tr n l t d 3 a e 2 w 8 vo a s , . R riT ER . / by F . R Cro n , bo rd / p p r, KEYE ’ M E m S VA PING TUTOR . Art of xte poraneous Ac com animent a Ear the a e a p , or Pl ying by on Pi nofort , R pidly Enabling anyone having an Ea r for Music (with or without any Knowledge of Musical Notation) to Acc ompany with E a a an K m ra a E a es . qu l F cility in y ey. P ctic l x pl By FRANCIS L 2 / TAY OR . Folio , STUDENT ’ S GUI DE TO TH E ART OF TEACHING THE

N TE . . . S PIA OFOR By CYRIL R H HORROCK , With an Extens ive and Carefully Graded ist es and th M L of Studi Course of e Great as ters . Numerous M E ca m es . s a e e e se . w 8 v o u i l x pl S cond dition , R vi d Cro n ,

EM O F S O F E AND SYST TUDY SCAL S CHORDS . Being a e s the E m e e s a e e h ue . Ch pt r on l nt of Pi nofort T c niq By B . ST N m s E am e d VINE WE BROOK , u erou x ples . R vise e i i 8 v o 3 d t on . , / Z ) PIANO

TECHNI CAL STUDY IN T HE ART OF PI ANOFORTE PI ’

. EHRE . INGJ Deppe s Principles) By C . A . NFECHT ER

E . w numerous mus ic examples . Fourth dition Cro n 6 cloth , / — — — CONTENTS ; Pos ition Arm Wrist Fingers ; Touch (Tone duction) ; Legato ; Equality of Tone ; Tension and Contract Five Finger Exercises ; Skips ; The Sca le ; Arpeggio Chords ; Chords ; High Rais ing of the Arm ; Melody and its Aecom ‘ ment ; Connection of Firm Chords ; The Tré molo ; The S

(Trill) ; The Ped al ; Fingering .

IN AND N E RE I N . AL U J. TO CH, PHRAS G I T RP TAT O By w v HN ST . 8 o JO ONE Cro n , cloth ,

UID E T HE N FOR YOU G COMPOSER . Hints on the m s w E am es f Eas of Co po ition , ith x pl o y Application . M G R EV . E . . L 5 a e H EL IN , Cloth , / p p r covers,

NDBO O K MU A I y OF SIC L FORM . For nstrumenta l Pla

and a s s . E. T T Voc li t By VAN DER S RAE EN . With Mus i

E am es 205 a es . w 8 vo a e 4 x pl , p g Cro n , cloth , p p r, /

NI I M I e HARM O S NG OF ELOD ES . A Textbook for Stud

an s . . w d e e . IST i E B ginn r By H C BAN ER . Th rd dition ,

me s M s E am es . w 8 vo m t 5 nu rou u ic x pl Cro n , li p clo h , /

E I AND E I E N E AR M O NY , AS LY PROGR SS V LY ARRA G Presenting in a Simple M anner the Elementary Ideas a m bc well as the Introduction to the Study of H r ony . With a LB ER 300 Music Examples and Exercises . By PAUL CO w 8 v o a e e s Cro n , cloth p p r cov r ,

M E I N T H E I M OW TO CO POS W THI LYR C FOR . E W E A S es e the e e a ea D IN V N , D crib d for G n r l R d Practica lly Exemplified for the M us icia n and Reduced th M e e e e . 60 s E am es Pr c pt for Stud nt With u ic x pl . Cro 8 v o 6 , cloth , /

OW TO HARM ONI ZE M ELODIES . With Hints on Writ

e m m . H EN for Strings and Pianofort Acco pani ents By J. m w 8 M s E a es . r G M us . Ba c. BRID ER , With u ic x pl C o n 6 cloth , /

I K MEM RI E M . . . W OW TO O S US C By C F ENYON . w 8vo 6 me s M s E am es . nu rou u ic x pl Cro n , cloth , /

OW TO PLAY FROM SCORE Treatise on Aecompanim i t re h a . T . T la from Sco on t e Organ or P no By F . FE IS rans ' E am es WHIT I I NG HAM . a . by A . With forty p ges of x pl Cro 8 vo , cloth ,

This popular and useful boo k might have been entitled The f Making Arrangements for the Organ or Pianoforte from F ” tr and It ta s all ha is e e a chestral Other Scores . con in t t n c ss ry now upon this subject .

M N MEN IN N HE MODAL ACCO PA I T OF PLA CHA T . E E a a ea se . W S e F. R. C . Pr ctic l Tr ti By D IN VAN , S nior, a 1 e e a a I I a a a Ch P rt , Th or tic l ; P rt , Pr ctic l School of Pl in m a me s s 240E e ses w an e Acco p ni nt , con i ting of x rci , ith App n w 8 v o 2 N es . 1 of ot Cro n , cloth , /

a ca e in Hat ODERN CHORDS EXPLAINED . (The Ton l S l M E am es m e s . TH T TE . s ony ) By AR UR G . PO R u ic x pl fro D bu n a v 4 a e s 2 a ss a d . 8 o e Str u B ntock , cloth , / p p r cov r , / TECHNI CAL AND TH EORETI CAL 23

' ’ M U I U I . ( e s elm z the S CAL ACO ST CS Stud nt H holt ) , or e me a as e e w M Ph no n of Sound Conn ct d ith usic . By JOHN

BROAD HO US E. m re a 100 s a With o th n Illu tr tions . Fifth Im w ess . 8 vo t 2 1 pr ion Cro n , clo h , /

M U N I . a f e s . . SICAL A ALYS S A H ndbook or Stud nt By H C .

A T . M s m S E a es . w 8vo im 5 B NI ER With u ic x pl Cro n , l p cloth, / a e e s p p r cov r ,

MU I E ES S N E AND EN EN S CAL XPR IO S , PHRAS S S T CES , w e es E a e s e e ma and ith th ir Corr ponding quiv l nt in Fr nch , G r n

I a a . . G . 8vo t li n By F BER ER , cloth ,

M U I N UN N I T N . D R L Y S CAL PRO O CI G D C IO ARY By . DUD E E Edi w the ise E a a and BUCK , ighth tion , ith Conc xpl n tion m a f ea e . E e and e sed Pronunci tion o ch T r dit d R vi by A . I w H TT G H . 8v o W IN AM Cro n ,

M E IN 'I H E U MEN S M U PRI ARY COURS R DI T OF SIC, With Hints on Answering Questions (Written Work) for All Exam inations the ma E eme ta and e a a a in Pri ry , l n ry Pr p r tory Gr des . W L M ANHI RE etc . 2 By I SON , /

600 QUESTI ONS AND 600 EXERCISES I N ELEMENTARY w M U HE . . 8vo 3 SICAL T ORY By W . H . PALMER Cro n , / Intended as a help to the private student and to the candidate pre

paring for the several musical examinations .

THE R RUDIMENTS OF GREGORIAN M USI C. By F ANCIS 2 G E S cot . w 8vo l m 6 a er BUR SS , Cro n , i p cloth , 1 ; p p ,

U I MEN M U I Set f aded E T S R D TS OF S C, orth in Gr QU S ION w W Use a da es e a the ith ANS ERS, for of C ndi t pr p ring for HOW T . C . L . . M . and Examinations of R . C . By B TH and w 8 vo 2 AR , Cro n , / The Answers are always on the right hand page and ca n be . e e e es e the es s e the corres ondi n cov r d ov r if d ir d , Qu tion b ing on p

left hand pages . S CHUM ANN ’S RULES AND M AXM S FOR YOUNG MUSI

CIANS . ewe 6d . S d ,

E M s E a a E am es ST PS IN HAR ONY . With Copiou xpl n tory x pl a t B e s . nd Graded Test Exercises . A Handbook for S ud nt y

D E am es . R H HI I . M s . C URC LL S BLEY With u ic x pl throughout w 8 vo a ds 6 Cro n , bo r , /

’ THE S DEN S B K an Ex a a 0 TU T OO OF CHORDS . With pl n tion e d e s s an e AS A N H A . th ir Inv r ion R solutions . By P C L EED M w 8vo Cro n , TECH NICAL AND TH EO RETICAL

STUDIES IN HI STORI CAL FACTS AND M USICAL F Be ing a Guide and Note Book for a more Systematic paratio n of the General Knowledge Pa pe rs now set a d U ers es a n e es M s . niv iti Coll g of u ic By PERCY BAKER . C 8 v 3 o , /

STUDIES IN M ODULATI ON for Practical and Theor 3 P ses . Y etc . urpo By PERC BAKER , / 102 TEST QUESTIONS O N THE GENERAL RUB IN EN

MU I . I n s ea Less e S C Group of Six ch on , for Writt n or M 6d . U se . LS ANHTRE By WI ON ,

I THEORY OF M USIC FOR YOUNG M US CIANS . swe s i e all the es s and a An r g v n to Qu tion , Diction

M H P . necessary Musica l Terms . By ARY S AR

I e s the O r ai TRANSPOSIT I ON AT S GHT . For Stud nt of g w . H E num E. N . a e . Pi nofort By H IC OL Fourth dition , ith w 8 v 2 M usical E e ses . o x rci Cro n , / The practice of tra nsposing upon the lines here laid “ ” e e s the me a ear e s the m s a e e n d v lop nt l , quick n u ic l p rc ptio i es ase s ea as is e e a the s en g v c in ight r ding ; it vid nt th t , if tud trans ose at S he w a e m f me e l p ight , ill not h v uch di ficulty in r ly p u is ma e the ol-fa well as the ta at Sight . Free se d of tonic s as s a notation in many music l examples .

THE HI STORY OF TH E VIOLIN and other Instruments PI on with the Bow from the Remotes t Times to the Pre I ‘ A SO an Account of the Principal Makers . Coloured Fro

e e and me s l s a and u es . pi c nu rou I lu tr tions Fig r By W . S

and . m v 3 R TE . e 8 o 5 S . A FO S R D y , cloth, / s we - n w s is ed in 1864 is es en Thi ll k o n book , fir t publ h , p valuable in connection with the instrument makers of the En s and is the c ef l te a s e i f ma conoei chool , hi i r ry ourc of n or tion v It ea m a as our old nati e craftsme n . is good to b r in ind th t S Forster was a skilled and experienced instrument worker technical notes to be discovered in the pages of this book in

he collaborated are worthy of attention .

R e M KE IN J. B ROADHOUS E. HOW TO A A VIOL . By

E . a es and ma a ams es dition Folding Pl t ny Di gr , Figur , w 8 v o Cro n , cloth , — — CONT ENT S : Introduction Th e Pa rts of the Violi n O n — — Selection of Wood The Tools required Th e Models — — — Mould The Side-pieces and Side Linin gs The Back 01 — — Belly The Thickness of the Back and Belly The Bass Bar — — — Purfling The Neck The Finger-board The Nut and S — — Guard Varnishing and Polishing Varnishes and Colo M a e —The a is — A Ma ema a Me f Co nstru tt r — V rn h th tic l thod o the Outline The Remaining Accessories of the Violin .

T HE I e h HOW TO PLAY F DDLE. For B ginners on t e V

and . RESS W ELL . . E E . By H W G G . ighth dition Crown 2 a s a s e e ea . p rt , p p r cov r , ch HOW TO REPAIR VIOLINS and other Musica l I nstrun w v F N a ams . 8 o AL RED F . COMMO . With Di gr Cro n , g/h AN IMPO RTANT LESSON TO PERFORMERS O N

the e e ate A N . rai . a VIOLIN. By C l br d T RTI I Port t Tr n Y iss ed i a 1779 to et e wit D . B UR E by R N , u orig n lly in , g h r 6 ina a ia . 8vo a s orig l It l n , bo rd , /

I N M I N E w e s ea ers and M FOR AT O FOR PLAY RS , O n r , D l w me f B o I s s a s M a a ers . o n tru nt , l o for String nuf ctur

m e s a E e e es es and se a s . fro P r on l xp ri nc , Studi Ob rv tion

A H EPW TH . w 8vo WILLI M OR Cro n , cloth, MAS TERPIECES OF T HE ITALIAN VIOLIN MA KERS I i 4 FR DOL IN HAMMA. W th 50 pla tes illustrating 200 ta ian s 11 9 i c es o be s ed h violin , x n h , cl th , to publi h s zl ‘l

M t - A USICAL Z O O . Twen y four Illus trations displaying Orn amental Applica tion of Animal Forms to Musical In me s l s da am as a s e e Ser nt (Vio in , Viol G b , Guit r , Poch tt , Drawn from the Carved Examples by HENRY S

G . l 6 a e GEOR E C oth , / p p r, VIOLIN AND S TRI NGED I NS TR UM ENTS 27

N N : H ow a OTABLE to l y hem. hree eries .VIOLI SOLOS P T T S si s i 44 es e l es a l . A (con t ng of d criptiv Articl in ) By E. V N D ER TR E A . ea se es . s m e e a s w S TEN ch ri Al o co pl t in bo rd , ith t ai s Por r t , 15/ NOT CE OF AN H ONY TR R I T S ADIVA I . With a Theoretica l a si s f the B ow and ema s e . J. An ly o R rk on Tourt By F . m 8 v o clo ET IS . De th 2 1 F y , , rs s ed 1864 s is of a a Va Fi t publi h in , thi book p rticul r lue be cause the facts and ideas co ntaine d in it were given to the a th ea ma e V uill u uthor by e gr t violin k r a me .

NS AND N RE am s Ma e s Cre O LD VIOLI VIOLI LO , F ou k r of mo a and es a and f E a a e and e ma n Br ci , o ngl nd , Fr nc G r ny w a a a am s a e s and a e s ( ith Biogr phic l Diction ry) , F ou Pl y r , Ch pt r w 3 - a s s and ws 1 a e a es . on V rni h , String Bo , ith full p g pl t By D v 25 HAW EIS . em 8 o H . R . y , cloth , / de f ma a f am us ma e s a e s and A light ul infor l ccount o f o k r , pl y r ma rs r a i ns the a is w l t s . te e col ec or In t p t in ng to old violi , uthor kno n as a s e a is and m e e one who w es a easa fl w p ci l t , or ov r, rit in pl nt o ing s e w a be sa all s e a s s . He s ses a tyl , hich c nnot id of p ci li t di cour bout a a e and E s s a a s s i s ws It li n , Fr nch ngli h violin , bout v rni h , tr ng , bo , m fine a es ea e s e s and ama e s . e e are s e violin d l r , coll ctor t ur Th r o pl t , s is o ne a dictionary of violin makers and a bibliography . Thi book f ea i and a s e e e e and in its e a es or r d ng , l o for r f r nc , light r p g for ea recr tion . PLAYI NG AT SI GHT FOR VIOLINI STS and Others in an

es a . a i M Orch tr V luable Hints and Aids for ts astery . By T W I N v Y N . s 8 o 3 S DNEY Po t , / 70 PREPARATORY VIOLIN EXERCI SES for Beginners in the s si i a e a ua e eme a t Fir t Po t on , c r fully Gr d t d , Suppl nt ry to he

i s s . L M ANH IRE F r t In truction Book By WI SON ,

etc .

’ ROYSTON S PROGRESSIV E VIOLIN TUTOR (with Illus tra

s n C e os n f a s and i e s . tion givi g orr ct P itio or H nd , Wri t F ng r ) l 3 Fo io , /

KE S TCHES OF GREAT PIANI STS AND GREAT VIOLINISTS . a a and e a w c the and Biogr phic l An cdot l , ith A count of Violin Ea ll s s . a a D e Beriot O le Bu rly Violini t Viotti , Spohr, P g nini , , , eme Moscheles ma e a nd a a Cl nti , , Schu nn ( Rob rt Cl r ) , Chopin ,

a E . e s a s S . Th lb rg , Gott ch lk , Li zt . By G . T . FERRI Third dition w 8 v o Cro n , cloth ,

N I TO AL SCALES AND ARPEGGIOS FOR VIOLIN. ntro ductory to the Unusual Intonation and Finger-grouping of a M e M W 3 e s . . Adv nc d od rn u ic By SYDNEY T INN Folio , / VI OLIN AND S TRINGED I NS TR UMENTS

REATI S E O N THE STRUCTURE AND PRESERVATION nd l w A THE VI OLIN a a l other B o Instruments . By J e w t an n he m AUG USTUS OTT O . Tog ther i h Accou t of t ost C brated M akers and of the Genuine Characteris tics of t

a a HN H . i Instruments . Tr nsl ted by JO BIS OP Fourth Edit wn 8 vo Cro , cloth , N AND E VIO LIN AND CELLO BUILDI G R PAIRING . 2 a m a w T LT 8 d a s nd 2 a es . 8 ROBER A ON. With i gr pl t Cro n 16 cloth , / Rob e rt Alton gave forty yea rs to the study of the violin ts s a nd was ose w ma e s con truction in cl touch ith k r , b

e a nd ess o a all e the w . He inv en mat ur prof i n l , ov r orld ev eral s ea s n f a a e e e e at the e a tool by r o o ctu l xp ri nc b nch , as proved that they are entirely sa tisfactory for the w H e has a e me a e e a s equired of th em. c rri d out innu r bl r p ir iolins ws and e s and is e e a a . , bo c llo , ntir ly pr ctic l

TH E e a B is i VIOLIN AND OLD VIOLIN MAKERS . B ing to M A and Biographica l Accoun t of the Violin . By A . M as t CLARKE . With Facs imile of La bels used by Old w 8v o 10 Cro n , cloth , /

T HE IN N E . T he e S o f T a ris io VIOL HU T R Lif tory Luigi ,

ea C e f s . L E A Gr t oll ctor o Violin By W . A . SI V RM N . D 8 v o 30 , cloth / Luigi T ariS I o h ad a fasc ina ting ca ree r in the ea rly 1 ce ntury di scovering Cremona violi ns in Italy where they Ia f o e a nd a er us f ears a nd tl in org tt n g th ing d t or y , bringing the dea e s and e s f a a n d l r coll ctor o P ris d Lon on . In to bo ma e and s the a o e s ok on violin ro nc hi tory , uth r t ll L ’ Tarisio s e lif story for the firs t time .

VIOLIN MANUFACTURE IN ITALY and its German Ori

. Sec e . E. W E. S CHEB EK . a s a By D R . Tr n l t d by W LA SON 12 mo 6 / a e E . a e dition Squ r , cloth , p p r, E E HNI H ow e me a s . I I N T C CS , or to B co Violini t V OL I s s e e its m s me W i t n truction , St p by St p , for Acco pli h nt “ ”

t a T h r T N . 3 withou eac e . By FIRS VIOLI /

’ VIOLINIST S ENCYCLOP/EDI C DICTIONARY . Contai the E a a a s ases s xpl n tion of bout Word , Phr , Sign , R n t well En li h use the e ces e c . e as as s , , For ign , g , d in Stud the n and als a e s e e a Violi , o by String Pl y r g n r lly , by F w E 246 . E M . A w and e e e . Y . Ne a M R , nl rg d dition pp , cro n 15 ed I a a e s a e s en Cloth , / or print on ndi p p r, uit bl for tud a e 15 tr v l , /

E - W H ow a W LL KNO N VIOLONCELLO SOLOS . to Pl y

E ea se ies . DER T ETE . Three Series . By . VAN S RA N ch r m ete in t w a s co pl clo h , ith Portr it , 15/

30 VO CAL

SUCCESS IN AMATEUR OPERA . Instructions on Auditi E me the e and the Allocatio quip nt of Soci ty Conductor, R Oles e ea sa s a s s Conduct , R h r l , Tr ining of Soloi t , Diction , i etc T W . I a Se a e Man . By HUBER BRO N nclud ng ction on St g

m . TOY w 8v 6 e . o nt , by H G Cro n , cloth , /

TEXTB OOK OF VOCAL TRAI NING AND PREPARATI a e sho FOR SONG INTERPRETATI ON. With S ction how to Determine Accurately by Pitch and Curve Graphs special Suitability of Songs selected for particular V e M s I a s and es e D ia r' Requirem nts . u ic llus tr tion D criptiv g

B A HI P . 8 vo 15 y FR NK P LI , cloth , /

THE IN I TS W TH ROAT RELATI ON TO SINGING . By

A . M . M D I a . w v F E ARD . . s s r 8 o I LD W , , llu tr tion C o n , cloth ,

O N T HE N N B ’ I E I E TRAI I G OF OYS VO CES . TR AT S Examples a nd Exercises and Chapters on Choir -Organiz ai h om e f t e Use f mas e s . C pil d or o Choir t r By GEORG E T . F

ING . w 8 v o 5 a e Cro n , cloth , / p p r,

E N é TWELVE L SSO S O N BREATHING AND BREI N i e s ea e d s an ea e . CO TROL for S ng r , Sp k r T ch rs By G EORG w H P . 8vo a er e s 3 T OR Cro n , p p cov r , /

TWENTY LESSONS O N THE DEVELOPMENT OF G d ea e s . I E. e s ea e s an VO C For Sing r , Sp k r T ch r By P w 8 vo m H . T OR Cro n , li p cloth ,

THE I E AND N I N . a a E a e e VO C SI G G Pr ctic lly xpl in d . Cond m re e s e ea se es e a but Co p h n iv Tr ti , d ign d princip lly for Stu and ma e s an E e e e e and ea e A t ur , by xp ri nc d Sing r T ch r (C

A . 5 a e P LMER) Cloth , / p p r,

H M u VOCAL SCI ENCE AND AR T . ints on Production of ’ M sc 6 18 . T he s e R EV . H S . Tone . By C A Boy Voic , u e a a ee ea E f r R l x tion , Art of D p Br thing, locution or O din w 8 v o 6 a es . Candid t Cro n , cloth , /

U E and ee and S VOCAL S CC SS , or Thinking Feeling in Sp ch i i a a B nclud ng Ch pter on Idea l Brea thing for H ealth . ) R EV . H IB w v 2 S . G . 8 o 5 a e e s C A Cro n , cloth , / p p r cov r ,

VOI CE PRO DUC TIO N FOR ELOCUTION ' AND SING] ’ 3 1 a es a E. . M L . M s E am es . REV . I G f By H EL N u ic x pl p g , c p 4 a e e s 2 cloth, / p p r cov r , / W I L L I A M R EEV ES

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