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

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

sharp minor Eugenides I was 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 powerful man. He wore his hair long hair down wee 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 plays it complements when ever he gave a concert to hear these I played for a whole evening with orchestra was an experience long to be remembered. Ironies I played for the first time in 1913. The program consisted of the seven sons B minor concerto the baroque G minor concerto and the Enter duction and Rondo could be she also sent us

on to say this concert was a revelation to me is an understatement. His manner of bowing was different from that of any Lyle in this diet ever heard. You could neither see nor hear a change when his boat passed from one string to the next. Most students practice drawing the boy in a playing 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 an e-zine each training had many planes. For instance. If he played the note the open he first finger have sharp second finger and the third finger each note was played in a different plane and the plane for the G would be sawn to the plane for the air open. That one could neither see you 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 dragging 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 know 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 heard a violinist say that a great artist could hear a student play a scale and he would know exactly how I was tune and could play the violin. This I never could understand. However

after I heard these I'd 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 a reason 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 with

choir by the bow 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 North play to the bridge finger. After this has been practiced untill mastered the next step can be taken. This is the use of the first and second fingers together. Here again timing is a 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 bow travels too fast for the fingers it will arrive at the next ring to suit as the fingers go do

vast. 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 strain to 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 strains of these I was so unique. I asked my friend the late Albert bawling why more violence did not follow he XYZ mother 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 you XYZ 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 burial. Watching and listening to this may never as an artist brought back memories of a concert I heard EAS I gave many years ago. Easy I was a pupil of your time. When Verdine was on his deathbed due to a stroke he requested that

ease I come and play his compositions for him. I have to have your down his death ease I carried his Stradivarius violin in the funeral procession. Easy I was recognized in his day as the greatest player of his music. If artist today had to play beer with works as easy I played them before they performed them in public. I'm afraid our opportunity to Terry's 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 from the F sharp minor concerto. Professor Klein his has brought your record of 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. The preceding program was made available to the station by the National Association of educational broadcasters. This is the Radio Network.