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rasing the arm too much when playing on the fourth string.
The neck of the violin rests between the thumb and fore-finger
of the left hand, held gently over the first joint of the thumb,
and at the third joint of the fore-finger, pressing it just enough
to prevent the neck from sinking down into that part of the
hand which connects the thumb and fore-finger. That part of
the hand where the little finger is, should be held as near as
possible to the finger-board, in order that this finger, like the
rest, with bent joints, may also fall perpendicular on the strings.
As there are various ways of holding the violin with the left
hand, I would say that any positioning may be considered good,
which will admit of playing the following Exercise; each finger,
with bent joints, firmly placed upon one string, and all kept
down while playing it. The figures 1, 2, 3, 4, before the notes,
signify, first, second, third, and fourth fingers.

[Placed within the first bar, "1st string" is written on F (line), "2nd string" is wirtten on C (space), "3rd string" is written on G (line), and "4th string" is written on low D (space)]

The violin should
be heald nearly level, with the head or scroll ranging in the mid-
dle of the left shoulder.

On Holding the Bow.
Place the thumb of the right hand about half an inch from
the end, on the stick, and close to the slide, or nut, and oppo-
site to the middle finger. The fingers are placed close together
on the stick, or rod, and between the frst and second joints;
except the little finger, which merely rests the end on the stick.
The hair is turned a little towards the back of the thumb, and
the stick towards the finger-board, except when playing very
loud, then it is held perpendicularly over the hair. The thumb
and fore-finger must press the stick, and never the little finger,
except for when the hand is close to the bridge, as it would spoil
the bow-hang. The hand should have an easy curved forn, in
order to prevent showing the knuckles. Care should be taken to
have the bow work free and easy in the hand. As the hand
approaches the bridge, the stick nears the first joint of the fore-
finger. and the little finger slides over the stick; and when the
bow is drawn down to the point, the stick nears one second
joint of the fore-finger, and the little finger is drawn back from
the stick. The elbow should be dropped a very little below the
hand, in general, but never raised above the hand; however, in
playing ery quick notes, the elbow may be held nearly or quite
level with the hand. The hair of the bow should be placed
from an inch to an inch and a hald from the bridge, on the
strings, and always drawn and pushed parallel with it. In or-
der to prduce a full, round tone, the bow must be held firm
upon the strings, and not taken off or lightened at the end of a
note.

On Tuning the Violin.

The violin is tuned by fifths; the second or A string is tuned
in unison with an A tuning-fork; the third or D string is tuned
a perfect fifth below the A, or second string; the fourth, or G
string is tuned a perfect fifth below the D string; and the E.
or first string is tuned a perfect fifth aboe the A string. When
a string is played without being stopped by any of the four fin-
gers, it is said to be played open, and is frewquently indicated by
the letter o, or character similar to it, thus, o. Example

[Treble celf notes: G string, D string, A string, E string]

The figures 1,2,3,4, placed over or under notes, singify
the first, second, third and fourth fingers. The letter D signi-
fies down blow, and U, up bow

Of Accentuation.

In Accentuation
In common time, the accent falls on the first note of the meas-
ure, and on the one with which the second half of the measure
begins; the first is always played the strongest. in 6/8 time, the
first and fourth notes of the measure are accented. In 3/4 and 3/8
time, only the first note in the measure is accented.

Of Counting or Beating Time.

There are two methods usually practised to keep time, viz.,
counting and beating. Each measure, in common time, may be
divided into two, four, or eight equal parts; either by counting,
or beating with the foot. The 6/8 and 6/4 time into two or six
equal parts; of 3/2, 3/4. 3/8, and 9/8 time into three equal parts. If
any one of the four last-mentioned modes of time is plaved
quick, then one beat, or count is sufficent.