Music in the making; The scale, as played by Ysaye

Music in the making. Produced by Millikan university under a grant from the Educational Television and Radio Center in cooperation with the National Association of educational broadcasters. The Milliken School of Music presents Professor Clyde hiss chairman of the violin department in a recorded consideration of the scale as played by IIS II. Perhaps I should explain that professor has as more than an academic interest in this subject. In fact is interest is very personal because it was his good fortune to have studied with IIS II. One of the great violinists of modern times. It's interesting to note that ees I was a pupil of your TA and one of your time's most skillful interpreters and E's eyes a figure to be reckoned with in the evolution of violin playing. Professor His will explain and illustrate the essentials of his method and in closing will play the UN Dante movement from Tom's Concerto in F

sharp miner Eugene he's one of the greatest violinists that has ever lived. His style was lofty and noble in the highest degree. He possessed a coom of rare beauty. He was a large power of a man. He wore his hair long hair down he shoulders. And he walked out in front of a symphony orchestra. He made the most striking apparence. It was his practice to engage a symphony orchestra to play his accompaniments when every gave a concert to hear these I played for all evening with orchestra was an experience long to be remembered. Ironies I play for the first time in 1913. The program consisted of the sound sons B minor concerto the brute G minor concerto and the Enter duction Rondo could be she also sent us

on to say this concert was a revelation to me is an understatement. His manner of buoying was different from that of any violinist I had ever heard. You could neither see nor hear a change when his beau passed from one string to the next. Most students practice drawing the boy in a plane equidistant from the neighboring strangeness. When they're ready to play on the next training the boys moved into the central plain of the news training for e-zine each training had many planes. For instance. If he played the note the open he first finger have sharp second finger and third finger each note was played in a different plane and the plane for the G would be so near to the plane for the air open that one could neither see nor hear the chain. He's I planned

ahead so his ball would be so near the next ring that there was no visual or auditory chain. And 19 18 he's I was drinking the Cincinnati Symphony Orchestra and teaching at the Conservatory of Music. I wanted very much to study with him but was concerned as to whether he would take me as a pupil. After a session with the D-minor concerto by your time with these I playing the piano accompaniment he turned to me and said you are Lou. With that he left the studio. Not much conversation but two of the most pleasing words I have ever heard. As a boy I had heard a violinist say that a great artist could hear a student play a scale and he would know exactly how I was to and could play the violin. This I never could understand. However

after ironies I teach and play scales. It was quite evident what was meant by that statement. He had one exercise that he used all the time during lessons. No pupil ever got through a lesson without playing this exercise many times a skill or an or and I paid you for ease I did not represent a plane for each string used. It was rather a curve that encompassed all the planes of the strings involved. All too often the student delivered the scale in four sections. The exercises used by these I had to cover this difficulty was as follows. The exercises practiced using the first finger only until the timing

required by the ball and finger is mastered. As the ball begins its curve resulting from the lowering of the arm the finger must be coordinated with this curve. Each string must have the same amount of time and the distance from one string to the next is divided into two parts one part for the open string and the other for the note played with the first finger. After this has been practiced until mastered the next step can be taken. This is the use of the first and second fingers together. Here again timing is the chief concern. The distance from one strain to the next is now divided into three equal parts. Again the bow and the fingers must be perfectly coordinated. If the ball travels too fast for the fingers it will arrive at the next string too soon as the fingers go too

fast. The ball will be late and arriving at the next train. Finally I have to this is been mastered the third finger can be added to the exercise. Now the distance from one stranger the next is divided into four equal parts. These four parts do not represent four different planes but a curve made by the ball that covers the four plane. Once the timing and the proper coordination have been mastered it can be applied to all scales and arpeggios. This principle of timing can also be applied to all crossings one from one string to the next. The advantage of E's eyes manner of buoying is evident. All the energy of the ball goes into the pool across the strings. Easy I realized that the distance from one stranger to the next could be infinitely small. He always planned to be so near the next

train that it could be taken with the least amount of motion of the ball. One could say easily as Boeing was streamlined. It was in the connecting of the many planes of the strange cities I was so unique. I asked my friend the late Albert bawling why more violence did not follow his eyes met the boy. He answered that was unique with no one else could master it. I can't say that I agree with his opinion for e-zine his grade pupil William Primrose has mastered it completely. I had the privilege and pleasure of directing an orchestra concert at which Primrose was soloist in the early Middle East symphony by Barry O. Watching and listening to this may never as an artist brought back memories of the concert I heard e-zine I gave many years ago. Ees I was a pupil of your time. When your time

was on his deathbed due to a stroke he requested that ease I come and play his compositions for him. I have to view his death EAS I carried his Stradivarius violin in the funeral procession. Ees I was recognised in his day as the greatest player of his music. If artists today add to play their works as ease I played them before they perform them in public. I'm afraid our opportunity to read music would be rare indeed. With this in mind I have the courage to play a movement from one of the concerto. This is the Andante in F sharp minor concerto. Why.

Move. Her.

Name. Professor Clyde hiss has brought you a recorded consideration of the scale as

played by. Music in the making was produced by Milliken university under a grant from the Educational Television Radio Center. This program is distributed by the National Association of educational broadcasters. And this is the end network.