A NEW CLASSIFICATION OF VIOLIN LITERATURE

“What I am inclined to consider, however, as even more important, in a sense, than my editorial labors is a new educational classification of violin literature, one which practically covers the entire field of violin music, and upon which I have been engaged for several years.  Insomuch as an editor’s work helps in the acquisition of ’Violin Mastery,’ I am tempted to think this catalogue will be a contribution of real value.

“As far as I know there does not at present exist any guide or hand-book of violin literature in which the fundamental question of grading has been presented au fond.  This is not strange, since the task of compiling a really valid and logically graded guide-book of violin literature is one that offers great difficulties from almost every point of view.

“Yet I have found the work engrossing, because the need of a book of the kind which makes it easy for the teacher to bring his pupils ahead more rapidly and intelligently by giving him an oversight of the entire teaching-material of the violin and under clear, practical heads in detail order of progression is making itself more urgently felt every day.  In classification (there are seven grades and a preparatory grade), I have not chosen an easier and conventional plan of general consideration of difficulties; but have followed a more systematic scheme, one more closely related to the study of the instrument itself.  Thus, my ‘Preparatory Grade’ contains only material which could be advantageously used with children and beginners, those still struggling with the simplest elementary problems—­correct drawing of the bow across the open strings, in a certain rhythmic order, and the first use of the fingers.  And throughout the grades are special sub-sections for special difficulties, special technical and other problems.  In short, I cannot help but feel that I have compiled a real guide, one with a definite educational value, and not a catalogue, masquerading as a violinistic Baedeker.

VIOLIN EDITIONS “MADE IN AMERICA”

“One of the most significant features of the violin guide I have mentioned is, perhaps, the fact that its contents largely cover the whole range of violin literature in American editions.  There was a time, years ago, when ‘made in Germany’ was accepted as a certificate of editorial excellence and mechanical perfection.  Those days have long since passed, and the American edition has come into its own.  It has reached a point of development where it is of far more practical and musically stimulating value than any European edition.  For American editions of violin music do not take so much for granted!  They reflect in the highest degree the needs of students and players in smaller places throughout the country, and where teachers are rare or non-existent they do much to supply instruction by meticulous regard for all detail of fingering, bowing, phrasing, expression,