Geminiani - The Art of Playing Violin

8/7/2019 Geminiani - The Art of Playing Violin

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Opera. IX.

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HE Inten.tio.n ofMufick is not only to p le af e th e Ear, b.ut to.cxprefsSentiments,ftrike the Imagination, affec9:the Mind, and command the Paffions. The Artof playing the Violin conlifls in giving that Infirument a Tone that lhall in a

.. Manner rival the moft perfec9:human Voice; and in executing every Piecewith.Exac9:nefs,Propriety, and Delicacyof Expreffion according to the true Intention of Mufick.But as the imitating the Cock, Cuckoo, Owl, and other Birds; or the Drum, French Horn,Tromba-Marina, and the like; and alfo fudden Shifts of the Hand from one Extremity ofthe Finger-board to the other, accompanied with Contortions of the Head and Body, andall other fuch Tricks rather belong to the Profeff'orsof Legerdemain and Pofture-maftersthan to the Art· of Mufick, the Lovers of that Art are not to expec9:to find any thing ofthat Sort in this Book. But I Batter myfelfthey will find in it whatever isNeceffary for th eInftitution of a juft and regular Performer on the Violin. This Book wil l alfo be of Ufe toPerformers on the Violoncello, and in fome Sort to thofe who begin toftudy the Art of

Compofition.After the feveralExamples, I have added twelve Piecesin different Stilesfor a Violin and

Violoncellowith a thorough Bafsfor the Harpfichord. I have not given any Directionsforthe performing them; becaufe I think the Learner will not need any, the foregoing Rulesand Examples being fufficient to qualify him to perform anyMufick whatfoever.I have nothing farther to add, but to beg the Favour of all Lovers ofMufrck to receive

this-Bookwith the fameCandour that it is offered to them, by theirMojI obedie nt h umb le S erv an t,

F. G.

Example I.

( A. )

AReprefents the Finger-board of a Violin, on which are marked all the Tones andSemitones,within the Compafsof that Inflrument, according to the Diatonick Scale;

they are 23 in Number, viz. three OCtaves and a Tone; and in every Octave of the Dta-tonieR Scale there are five Tones and two of the greater Semitones. I would recommendit to the Learner, to have the Finger-board of his Violin marked in the fameManner; whichwill greatly facilitate his learning to ftop in Tune.

( B. )B Ihewsa Method of acquiring the true Pofition of the Hand, which is this: To place the

n r R : Finger on the firft String upon F; the fecond Finger on the fecondString upon C;the third Finger on the third String upon G; and the fourth Finger on the fourth Stringupon D. This mufl be done without raifmg any of the Fingers, till all four have been fet

down; but after that, they are to be raifedbut a little Diftance from the String they touch-ed; and by fo doing the Pofition isperfeCt.The Violin muft be refted juftbelow the Collar-bone, turning the right-hand Side of the

Violin a little downwards, fo that there may be no Neceffity of raifing the Bow very high,when the fourth String is to be flruck. ,

O b f " e r v eA3



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Obferve alfo, that the Head of the Violin mull: be nearly Horizontal with that Part

which refts againft the Breaft, that the Hand may be iliifted with Facility and without any

Danger of dropping the Inflrument,

The Tone of the Violin principally Depends upon the right Management of the Bow.The Bow is to be held at a fmall Diftance from the Nut, between the Thumb and Fingers,

the Hair being turned inward againfl: the Back or Outfide of the Thumb, in which Pofition

it is to be held free and eafy, and not aHf. The Motion is to proceed from the Joints ofthe w sn and Elbow in playing quick Notes, and very little or not at a ll from the Joint of

the Shoulder ; but in playing long Notes, where the Bow is drawn from one End of it to

the other, the Joint of the Shoulder is alfo a little employed. The Bow muft always bedrawn parallel with the Bridge, (which can't be done if it is held ftHf) and mull: be preffedupon the Strings with the Fore-finger only, and not with the whole Weight of the Hand.

The beft Performers are leaft fparing of their Bow ; and make Ufe of the whole of it, from

the Point to that Part of it under, and even beyond their Fingers. Inan Upbow the Handis bent a little downward from the Joint of the Wrill, when the Nut of the Bow approachesthe Strings, and the Wrift is immediately ftreightned, or the Hand rather a little bent b a c k

or upward, as foon as the Bow is began to be drawn down again.One of the principal Beauties of the Violin is the fwelling or encreaf ing and foftening the

Sound; which is done by preffing the Bow upon the Strings with the Fore-linger more or

IdS. In playing all long Notes the Sound Ihould be begun foft,and gradually fwelled tillthe Middle, and from thence gradually foftened till the ' End. And laftly, p articu la r C aremuft be taken to draw the Bow fmooth from one End to the other without any Interruption

or flopping in the Middle. For on this principally, and the keeping it always parallel with

the Bridge, and preffing it only with the Fore-finger upon the Strings with Difcretion, de-pends the fine Tone of the Inflrument,

( c. )C thews the 7 Orders. What I mean by an Order is a certain Number of Notes which

are to be played without tranfpofing the Hand. The firft Order contains 17 Notes, and theother fIXOrders contain no more than f ix teen,Under the Notes of the firft Order you will find their Names, and over the fame Notes

Figures denoting the Fingers with which they are to be fl:opped, and the StIings on which

they are flopped , •

Itmuft be obferved that between the two black Notes is the greater Sem itone, and betw eenthe others is the Tone,

The Mark (0) denotes an open String.From the firft Order you are to begin to play.

'Tis neceffary to place the Fingers exactly upon the Marks that belong to the Notes; for

on this depends the ftopping perfectly inTune,After having been practifed in the firft Order, you mull: pafs on to the fecond, and then

to the third; in which Care is to be taken that the Thumb always remain fa rth er ba ck thanthe Fore-finger; and the more you advance in the other Orders the Thumb mud be ata greater Diflance till it remains almoft hid under the Neck of the Violin.

It is a conftant Rule to keep the Fingers.as n rm aspoffible, and not toraife t h em, till thereis a Neceffity of doing it; to place them fomewhere elfe; and the Obfervance of this Rulewill very much facilitate the playing double Stops.

The fingering, indeed, requires an earnefl Application, and therefore it would be moRprudent to undertake it without the Ufe of the Bow, which you Ihould not meddle with

till you come to the 7th Example, in which wil l be found the necef fiu y andp rope :r Met hodof uftng it.

It



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It cannot be fuppofed but that this Practice without the Bow is difagreable, {inee it gives

no Satisfaction to the Ear; but the Benefit which, inTime, will arife from it, wil l be 11

Recompence more than adequate to the Difgufi it may give.

( D . )

D fhews the different Ways of flopping the fame Note, and difcovers at the fame Time,that Tranfpofition of the Hand conftfts in pa1fmg from one Order to another.

As for Exam ple.

If a Note ought to be napped by the fourth Finger on any String whatfoever, in the

lirflOrder, and the fame Note be flopped by the third Finger, it will pafs into the

fecond Order; and if by the fecond Finger into the third; and confequently by flopping

it with the firfl, it enters into the fourth Order.

On the contrary, ifthe firft Finger flopping any Note whatfocver falls under the fourth

Order; by flopping the fame Note with the fecond Finger it pafles into the third; by flop-

ping the fame with the third, into the fecond; and finally by flopping the fame with the

fourth Finger it enters into the firft. ,This is fufficient to fhew what Tranfpofition of the Hand is. I have only now to recom-

mend a good Execution of the whole, both in rifmg and falling; and great Care in conduct-

ing the Hand, as alfo in the placing the Fingers exattly on the Marks. With all thefe the

PraCtitioner mufl by Degrees acquire ~eknefs.

(. E . )E contains feveral different Scales, with the Tranfpofitions of the Hand, which ought to

be made both in rifing and falling. It mufl here be obferved, that in drawing back theHand from the 5th, 4th and 3d Order to go to the firft, the Thumb cannot, for Want of

Time, be replaced. in its natural Pofition; but it is neeeffary it Ihould be replaced at the

fecond Note.

A Sharp (i)raifes the Note.to which it is prefixed, a Semitone higher; as for Example,

when a Sharp is prefixed to C, the Finger mufl: be placed in the Middle between C

and D, and fo of the reft, except Band E; for when a Sharp is prefixed to either of them,

the Finger mull: be placed upon C and F. A Flat (,) on the Contrary renders the Note

to which it is prefixed, a Semitone lower: As for Example, when a Flat is prefixed to B

the Finger mull: be placed in the Middle between B and A, and fo of the Refl except F and C;for when a Flat is prefixed to either of them the Finger mull: be placed upon E and B

natural. This Rule concerning the Flats and Sharps is not abfolutely exact; but it is the

e a f i e f i : and heft Rule that can be given to a Leamer. This Mark ( • ) takes away the Force

of both the Sharp and the Flat and reflores the Note before which it is placed ·to its natural

~ality.

Example II.

In This Example there are 13Scales, compofed of the Didton;ck. and Cromatick. Genera.

Many may, perhaps, imagine that thefe Scales are meerly Cromat i c , as they may not knowthat the Cromat i c Scale mufl: be compafed only of the greater and leffer Semitones; and

that the Octave alfo mull: be devided into 12 Semitones, that is, 7 of the greater and 5 ofthe Iefler; but the prefent 13 Scales being compofed of Tones and the greater and lefler

Semitones, and the OCtave containing 2 Tones, 5 of the greater Semitones and 3 of theleffer, I call them mixt.

Take



(4]

Take notice that the Sign (ma) lignifies Major or greater, and the Sign (m i) M inor or

leffer.

The Pofition of the Fingers marked in the nrft Scale (which is that commonly practifed)

is a faulty one; for two Notes cannot Deftopped fucceffively by the fame Finger without

Difficulty, efpecially in quick Time.

Example III.Contains 4 Scales of the D iatonicR G enus tranfpofed; and here, not to burthen the

Memory of the Beginner, a ll the Flats (b ) infiead of being marked at the beginning of the

stalf, are marked immediately before the Notes which they belong to; but their true Situa-

tion may be feen at the End of the Staff.

Example IV.Inthis Example are contained 9 Scales tranfpofed, and compofed of the DiatonicR and

CrfJ fl ta ti e Genera; I have ufed the fame Method of marking the Flats in the full: eight Scales,

and the Sharp in the ninth Scale, as in the former Example.

'Tis neceffary in this Example to be very exact in obferving the Diftance between one

Note and another, as alfo the Pofition of the Fingers, and the Tranfpofition of the Hand.

The Poiition of the Fingers in the laIl: Scale is extreamly. faulty and is fet down meerly by

Way of Caution to the Learner to avoid it. The Scales in this Example begin at the Mark

(f:\) and are to be praetifed backward as well as forward.

Example V.

In this there are 4 - DiatonicR Scales t ranfpofed, ' and with different Tranfpofitions of the

Hand. Let it be obferved that after you have prad:ifed them in afcending they Ihould bepraaifed alfoback again.

Example VI.This Example contains 6 Scales compofed both of the DiatonicR and Cromatic tranfpofed.

Obferve when the Sign (x) comes before C, your Finger mull: be put upon D; and when

the fame Sign is before F, the Finger mufl: be upon G.

Example VII.

This contains 14 Seales; compofed of a ll the Intervals which belong to the DiIItonicRGenus. In which are variety of Tranfpofitions of the Hand. I mull: here remind you to

let the Fingers reft as firm as poffible on the String, in the Manner already mentioned.

Thefe ScalesIhould be executed with tho Bow, and it wi l l be therefore neceffary to praCtice'for fome Days, all that is contained in the 24th Example, in order not to confound the

Execution of the Fingers with that of the Bow.

Example VIII.Inthis are contained 20 Scales in different Keys, very ufeful for acquiring Time and the

. flopping in Tune. Here it muft be obferved, that you are to execute them by d r aw ing the

Bow down and up, or up and down alternately; taking Care not to follow tha t wretchedRule of drawing the Bow down at the firft Note of every Bar.

Example



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Example IX.In this Example are contained 16 Variations, mofl ufeful in Regard to Timet to th e

Bowing, the ftopping in Tune and the Execution. Again you muft be careful to keepthe Fingers as firm as poffible on the Strings, and alfo in bowing employ the Wrifl:much;the Arm but little, and the Shouldernot at all .

Example X.This Example is compofed of Scales min with various Pa{fagesand Modulations,.which

are often repeated with different Tranfpofitions of the Hand; and is calculated to renderthe Labour of Practice more pleafant.

Example XI.This Example is tranfpofed from the other, a Tone higher, 10 that the Melodymay be

{aidto be the fame, but the Accompanyment is quite different. .

Example X II._ .

In order to execute this Compofition well, 'tis neceffary to examine very frequently theTranfpofitions of the Hand in it, until they are entirely impre f l ed on the Mind; and thento practice the 24th Example for acquiring the free U[e of the Bow, and after proceed toexecute this Example, which wil l be then found not [0 difficult as it may at firft be

thought.

Example XIII.

This Movement ought to be executed in (uch a Manner as to refemble an affed:ingDif-courfe, and cannot be juilly performedwithout having firft well comprehended and oftenprad:ifedwhat is contained in the r Sth Example. . .

Example XIV.In this are contained 14 Scales; fome of which are compofed in Keys with a third Major,

and the others in Keyswith a third Minor. Thefe Scalesought to executed with ~icknefs,and in order to execute them well, you mull: take Care to put in Practice the Rules laiddown in the r sth Example.

Example XV.This contains the 7 Orders already mentioned, which proceed one after another without

concluding or making any Cadence. Here alfois introduced the Cromatic Flat, (") and the

eromatic Sharp. (I) The Sign (f:\,) fignifies the laft Note of the Order, and the Sign

(I )the f i F f t Note of the fucccedingOrder, upon which the Hand is to be tranfpofed.I am fenfiblethat the Modulation of thefeOrders isfomewhatharfh, but however very ufe-

ful; for a good Profelfor of the Violin is obliged to execute with Propriety and Jufl:nefs,everyCompetition that is laid before him; but he who has never played any other Mulick thanthe agreeable and commonModulation, when he comes to play at Sight what is dired:ly op--polite to it, muft be very much at a Lofs.

B Example



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Example XVI.This Example fhews inhow many different Manners of bowing you may play 2, 3, 4t 5

and 6 Notes. As for Inflance, 2 Notes may be played in + different Manners, 3 Notes in

eight, 4 in 16, 5 in 32, and 6 in 62. It mufl be obferved, that the Example mark-

ed with the Letter A is of 2 Notes, B, 3, C, 4, D, 5, and the Letter F, 6. The

Letter (g) denotes that the Bow is to be drawn downwards; and the Letter (s) that it mull:be drawn upwards. The Learner fhould be indefatigable in praCtifing this Example till he

has made himfelf a perfect Mafter of the Art of Bowing . For it is to be held as a certain

Principle that he who does not poffefs; in a perfea Degree, the Art of Bowing, wil l neverbe able the render the Melody agreeable nor arrive at a Facility in the Execution.

Example XVII.This Example only differs from the foregoing, as to what concerns Time and Compofi-

tion; in other Refpects it is the fame. ,

Example XVIII.Contains all the Ornaments of Expreffion, nece1fary to the playing in a good Tafte.

What is commonly call'd good Tafte in fmging and playing, has been thought for

(orne Years paft to dellroy the true Melody, and the Intention of their Compofers. Itis fuppofed by many that a real good Tafte cannot poffibly be acquired by any Rules of

Art; it being a peculiar Gift of Nature, indulged only to thofe who have naturally a good

Ear: And as moft flatter themfelves to have this Perfection, hence it happens that he who

f ings or plays, thinks of nothing fo much a s to mak e continually fome favourite Pa1lages or

Graces, believing that by this Means he Ihall be thought to be a good Performer, not pe r -

ceiving that playing in good Tafte doth not con f d t of frequent Pa1fages, but inexpreffingwith Strength and Delicacy the Intention of the Compofer. TID! Expreffion is what e V e r yone Ihould endeavour to acquire, and it may be eafuy obtained by any Perfon, who is not toofond of his own Opinion, and doth not obftinately refill the Force of true Evidence. Iwouldnot however have it fuppofed that Ideny the powerful Effects of a good Ear; a s Ihave foundinfeveral Inftances how great its Force is: I only affert that certain Rules of Art are ne-

ce1fary for a moderate Genius, and may improve and perfeCt a good one. To the End

therefore that thofe who a re Lovers of Mufick may with more Eafe and Certainty a rriv e a t

Perfection, I recommend the Study and Practice of the following Ornaments of ExprelIion,

which are fourteen in Number; namely,

1ft A plain Shake (~) 2d A Turn'd Shake (+) 3d

A fuperior Apogiatura (1')4th An inferior Apogiatura (J') 5th Holding the Note ( - ) 6th Staccato ( I) 7th Swel -ling the Sound (~) 8th Diminifhing the Sound (") 9th Piano (p.) 10m Forte (f.)

11th tho Anticipation (1' l12tb Separation (~) 13th A Beat ( H ) 14th A clofe Shake

( ...""..,)From the following Explanation we m ay comprehend the Nature of each Element inparticular.

(Firfl) Of the PLAIN SHAKE.

The plain Shake is proper for quick Movements; and it may be made upon any Noteobferving after it to pafs immediately to the enfuing Note. '

(Second) Of'the TURNED SHAKE.

The turn'd Shake being made quick and long is fit to exprefs Gaiety; but if you make itIhort, and continue the Length of the Note plain and foft, it may then exprefs fome of

the more tender Paf l ions,

(Third)



(7'hird) Of th e S up erio r ApOGIATURA.

The Superior Apogiatura is fuppofed to exprefs Love, Affedion, Pleafure, ~c. It fhould

be made ~retty .long, giving it more than half the Length or Time of the Note it belongs

to, obfervmg to fwell the Sound by Degrees, and towards the End to force the Bow a little:If it be made {hort,. it will lofe much of the aforefaid ~ali t ies ; but will always hav e ap leafm g M ea , an d It m ay be added to aI)YNote you will .

( Fourth) Of th e Inferior ApOGIATURA.

The In fe rio r Apog ia tu ra h a s the fame ~alities with the preceding, except that it is muckmore confin'd, as it can only be made when the Melody rifes the Interval of a Iecond or

th i rd , obferving to make a Beat on the following Note.

( Fifth) Of Holding a NOTE.

It is n e c e 1 f a x y to ufe this often; for were we to make Beats and Shakes continually

without fometimea fuB:ering the pure Note to be heard, the Melody would be too much

dived if ied .

( Sixth) Of the STACCATO.

This expreffes Reft, ~ing B rea th , o r changing a Word; and for th is R ea fo n Singcra

ihould be careful to take Breath in a Place where.it may not interrupt the Senfe..

( 7th and 8th) Of SWELLING an d SOFTENING th e SOUND.

Thefe two Elements may be ufed a fte r e ac h other; they produce great Beauty and Varietyin the Melody, and employ'd alternately, they are proper for any Expreili.on or Meafu re .

(9th an d loth) Of PIANO and FORTE.

They are both extremely neceffiny to exprefs the Intention of the Melody; and as all

good M u fick Ih ou ld be c ompo f e d in Imitation of a Difcourfe, thefe tw o Ornaments are de-

figned to produce the fame Effects that an Orator does by raifing and falling his Voice.

(Eleventh) Of ANTICIPATION.

A ntic ip atio n w as in ven te d, with a View to vary the Melody, without altering its Intention:When it is mad e with a Bea t or a Shake, and [welling the Sound, it wil l have a greater

Elfea, efpecially if you obferve to make ufe of it when the Melody r u e s or defcends the In-te rv al o f a Second .

(Twelfth) Of the SEPARATION.

The Separation is only defigned to gire a Variety to the Melody , and takes place moA:properly when the N~te rifes a. Second or Third; as alfo when it defcends a Secon~, andthen it will not be amifs to add a Beat, and to fwell the Note, and then make the Apogtatura

to the following Note. By this Tendemeli is e.xprdS'd.

(Thirteenth) Of th e BEAT.This is proper to cxprefs fev era l P aflion s ; as fo r Exam p le , ifit be per form'd with Strength,

and eentinued long, it expre1I'esFury, Anger, Refolution, &c. If it be play'd lefs firongand



[ 8 ]

and Ihorter, it expre£resMirth, SatisfaCtion, ~c. But ifyou play it quite foft, and fwell theNote, it may then denote Horror, Fear, Grief, Lamentation, ~c. By making it lhort and

fwelling the Note gently, it may exprefs AffeCtion and Pleafure.

( Fourte enth ) Of the Clore SHAKE.

This cannot poffibly be defcribed by Notes as in former Examples. To perform it, you

mull: prefs the Finger ftrongly upon the String of the Inflrument, and move the Wrifi inand out flowly and equally, when it is long continued fwelling the Sound by Degrees,

drawing the Bow nearer to the Bridge, and ending it very firong it may exprefs Majefty,

Dignity, (#e. But making it Ihorter, lower and fofter, it may denote Affii8:ion, Fear, (§Ie.

and when it is made on Ihort Notes, it only contributes to make their Sound more agreable

and for this Reafon it Ihould be made ufe of as often as poffible.

Men of purblind Underflandings, and half Ideas may perhaps alk, is it poffible to give

Meaning and Expreffion to' Wood and Wire; or to befiow upon them the Power of railing

and foothing the Paffions of rational Beings? But whenever I hear fuch a ~efiion put, whe-

ther for the Sake of Information, or to convey Ridicule, I {hall make no Difficulty to anfwer

in the Affirmative, and without fearching over-deeply into the Caufe, {hall think it fufficient

to appeal to the EffeCt. Even in common Speech a Difference of Tone gives the fame Word

a different Meaning. And with Regard to mufical Performances, Experience has {hewn

that the Imagination of the Hearer is in general fo much at the Difpofal of the Mafler, that

by the Help of Variations, Movements, Intervals and Modulation he may almoft ftamp what

Impreffion on the Mind he pleafes.

Thefe extraordinary Emotions are indeed mofl: eafily excited when accompany' d withWords; and I would befides advife, as well the Compofer as the Performer, who is ambiti-

ous to infpire his Audience, to be firfl: infpired himfelf; which he cannot fail to be ifhechufes a Work of Genius, if he makes himfelf thoroughly acquainted with all its Beauties ;

and if while his Imagination is warm and glowing he pours the fame exalted Spirit into hisown Performance.

Example XIX.In this is fhewn how a £IngleNote (in f low Time) may be executed with different Orna-

ments of Expreffions.

Example xx.This' Example Ihews the Manner of Bowing proper to the Minim, Crochet-quaver and

Semiquaver both in flow and quick Time. For it is not fufficient alone to give them their

true Duration, but alfo the Expreffion proper to each of thefe Notes. By not confideringthis, it often happens that many good .Compofitions are fpoiled by thofe who attempt to

execute them.

You muft obferve that this Sign (~) denotes the Swelling of the Sound; the Sign (.......--)

lignifies that the Notes are to be play'd plain and the Bow is not to be taken off the Strings; .

and this ( , ) a Staccato, where the Bow is taken ojf the Strings at every Note.

Example XXI.In this are Ihewn the different Way of playing Arpeggios on Chords compofed of 3 or

4 Sounds. Here are compofed 18Variations on the Chords contained in N~.1.

b y whichthe Learner will fee inwha t the Art of executing the Arpeggio confifls,

Example



[ 9 ]

Example XXII.In this Example are contained all the double Stops between the Unifon and the O&'ve,

and thefe again are repeated many Times with different Pofitions of the Fingers; f6 that inany Order whatfoever where anyone of them is found you may know how to play it. Thofe

who, with ~cknefs and ExaCl:nefs, Ihall execute this Example, .wil l find themfelves fa r

advanced in the Art of playing double Stops.

Example XXIII.This contains two Compofitions of Scales of double Stops, which are thrice repeated with

dHferent Tranfpofitions of the Hand, in order to remove all Pain and Difficulty. in the Prac-tice. It muf\: be obferved, that after having lhifted the Hand, you muf\: purfue what follows

in the fame Order, till the following Number points out a new TJ'aIlfpofition.

Example XXIV.From this Example the Art of Bowing will eafUy be acquired, and alfo that of playing in

- Time. The Letter (g) denotes that the Bow is to be drawn downwards ; the Letter( s } that it muft be drawn upwards. The Sign (;S':) fignifies a Repetition.

You muf\: (above all Things) obferve to draw the Bow down and up alternately. The

Bow muft always be drawn ftrait on the Strings. and never be raifed from them in playing

Semi-quavers. This Practice of the Bow Ihould be continued, without attempting any

Thing elfe until the Learner is fo far Mafter of it as to be out of all Danger of forgetting

it.

Before I conclude the Article of Bowing, I muft caution the Learner againfl: marking

the Time with his Bow; for ifhe once accuftoms himfelf to it, he will hardly ever leave it

off. < And ithas a mof\: difagreeable Effect, and frequently deftroys the Delign of the Com-

pofer. As for Example, when the laft Note in one Bar is joined to the firf\:Note of the nextby a Ligature, thofe two Notes are to be played exaCtlyin the fame Manner as if they were but

one, and if you mark ..the beginning of the Bar with your Bow you dellroy theBeauty of

the Syncopation. So in playing Divi.fions, if by your Manner of Bowing you lay a particularStrefs on the Note at the beginning of every Bar, fo as to render it predominant over the reft,

you alter and fpoil the true Air of the Piece, and except where the Compofer intended it,

and where it is always marked, there are very few Inflances in which it is not very dif-

~eeal>le. .

N. B. In the twentieth Example the Word Buono , lignifies Good; Mediocre , Middling;

Catt ivo, Bad; C a tt ivo , ( )Pa r ti co /t lr e , Bad or Particular; Meg/io , better; Otlimo, verygood; and P e J l i m o , v.erybad.

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Geminiani - The Art of Playing Violin