"'I now pass to the third essential part of a good performer on the Violin, which is the making of a good shake, and I would have you practise it slow, moderately fast, and quick; that is, with the two notes succeeding each other in these three degrees of _adagio_, _andante_, and, _presto_; and in practice you have great occasion for these different kinds of shakes; for the same shake will not serve with equal propriety for a slow movement as for a quick one; but to acquire both at once with the same trouble, begin with an open string, either the first or second, it will be equally useful; sustain the note in a swell, and begin the shake very slow, increasing in quickness, by insensible degrees, till it becomes rapid, in the manner following:-- [Illustration] But you must not vigorously move immediately from semiquavers to demisemiquavers, as in this example, or from these to the next in degree--that would be doubling the velocity of the shake all at once, which would be a skip, not a graduation; but you can imagine between a semiquaver and a demisemiquaver intermediate degrees of rapidity, quicker than the one, and slower than the other of these characters; you are therefore to increase in velocity by the same degrees in practising the shake, as in loudness when you make a swell. You must attentively and assiduously persevere in the practice of this embellishment, and begin at first with an open string, upon which if you are once able to make a good shake with the first finger, you will with the greater facility acquire one with the second, the third, and the fourth, or little finger, with which you must practise in a particular manner, as more feeble than the rest of its brethren. I shall, at present, propose no other studies to your application: what I have already said is more than sufficient, if your zeal is equal to my wishes for your improvement. I hope you will sincerely inform me whether I have explained myself clearly thus far; that you will accept of my respects, which I likewise beg of you to present to the Prioress, to Signora Teresa, and to Signora Chiara, for all whom I have a sincere regard; and believe me to be with great affection, "'Your obedient and most humble servant, "'GIUSEPPE TARTINI.'" INDEX A PAGE Absam, Thomas . . . . . . . . . . . . . . . . . . . . . . . . . 293 Acevo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Adam, as a Violist . . . . . . . . . . . . . . . . . . . . . . . 3 Adams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293 Addison, William . . . . . . . . . . . . . . . . . . . . . . . . 293 Aireton, Edmund, good work, Amatese model . . . . . . . . . . . 293 Alard, M., composer and Professor at the Conservatoire . . . . . 395 Albanesi, Sebastiano . . . . . . . . . . . . . . . . . . . . . . 77 Albani . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259