Dounis - The Artists Technique of Violin Playing Op.12

Dounis - The Artists Technique of Violin Playing Op.12. You can download the PDF sheet music Dounis - The Artists Technique of Violin Playing Op.12 on this page. The object of this work is to indicate a method of solving all the problems of higher technique of both hands, with the least possible expenditure of time and energy, and to provide definite suggestions for mastering all technical difficulties. In other words, this book aims to teach The true method of practising.
Most violinists believe that the solution of the problem of "How to practise" lies in repeating, every day, various finger exercises, scales, arpeggios, bow exercises, etc. But this supposition is a fallacy. No one will ever learn how to practise by repeating day in, day out, finger exercises, scales, or, in fact, the whole compendium of daily exercises for the violin. The result of such monotonous and arid study is usually worthless. This procedure explains why after years of intensive study, there are few violinists, very few indeed, who acquirc an infallible technique.

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Instrument part: 81 pages. 56001 K



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The true technical training of the violinist is not merely a training of the arm and the fingers but, principally, a training of the brain and the memory. The fingers and the arm should obey perfectly the intention of the player in order to be able to perform any movement with complete mastery. To accomplish this, a distinct and clear picture of the movement should be first impressed in the memory and then reproduced at any given moment under the impulsion of the brain. What we call technique is nothing but a scries of brain reflected movements. The secret lies in building up these movement pictures into a rational, logical whole —namely, technique. Psychology teaches us that one picture impressed on the mentality may be reproduced easily if it is the logical continuation of the immediately preceding mental picture. This is the reason why every new technical problem should be analyzed first and carried out rationally.
This work is based on the above principle. To present a definite example, consider the scales. To play a scale as it should be played means complete mastery of shifting and of the vertical and horizontal finger movements* which are absolutely necessary. The bow must follow the line of the bridge; hence, bow exercises should ALWAYS be practised on four strings.
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