Leopold Auer-Tone Production
Leopold Auer-Tone Production
Leopold Auer-Tone Production
VII
Play as slowly as possible the sustained notes of a scale, in the
following man- ner: Very slow:
and so forth, first through two octaves and later, when you feel
greater confidence, to the third-octave G, taking care, while
increasing the tone, to augment it only by finger-pressure, not
by arm-pressure, thus avoiding forcing the tone which otherwise grows rough. Transpose as you may see fit. Once the
habit of drawing a pure, colourful tone from the strings has
been established, you may pass to sustained double-stops, to be
played in accordance with the principles already laid down.
VIII
Play between the bridge and the fingerboard, for it is within
this compass that the tone is most full and sonorous. Only when
it is desirable to secure a very
soft, sweet tone, pp, may you play near the fingerboard and even upon it. On the other hand, as soon as you play
near the bridge with any degree of strength the
tone grows harsh. When playing absolutely pp, no more than br
ushing the strings, the effect known as the flautato, which imitat
es the timbre of the flute-tone, is ob- tained. In each and every
stroke, the bow should move in a straight line running parallel
with the bridge.