7 books Making Restoring Repairing Vintage Violin Fiddle classical music & more

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7 books Making Restoring Repairing Vintage Violin Fiddle classical music & more:
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Seven Wonderful ebooks on Violinmaking, repairing and restoring Violins, plus more Classical Music ebooks on CD
FREE SHIPPING AND HANDLING in the USA

Theseebooks were the classic DIY books in their day and are still veryrelevant.

You willneed to use Adobe PDF to read the Violin books, but the two booksconcerning composers and Music criticism are in Html and can be openedby any computer.

Book One

The Repairing &Restoration of ViolinsTableof ContentsCHAPTER Proper Sort of Glue—Its Preparation and UseCHAPTERIII.—Minor Repairs—Cramps andJoints—Violin Cases—Rattles and Jars—Loose Methods of Repairing—Modern Ways—A Loose NutCHAPTERIV.—Injuries to the Head orScroll—Insertion of Fresh Wood—Colouring of White Wood—Separation ofHead from Peg-box and Re-joining—Stopping Material for Small Holes orFractures—The Peg-box Cracked by PressureCHAPTERV.—Fracture of Peg-box andShell—Chips from this Part—Filling up of Same—Restoration to OriginalForm, after Parts have been Lost—Worn Peg-holes, Re-filling or of Junction of Graftwith Peg-box, and Refixing Same—Grafting, Different Methods ofPerforming this—Lengthening the Neck—Old and Modern Method—Renewal ofSame—Inclination of Neck and Fingerboard with Regard to theBridge—Height of Latter, and Reason for ItCHAPTERVII.—Finishing theFingerboard—Fixing the Nut—Size and Position of Grooves for theStrings—Filing Down the Graft—Smoothing, Colouring, and Varnishing SameCHAPTERVIII.—Injuries that can beRepaired from the Outside—Insertion of Fresh Wood in Fracture of theRibs—The Effects of Climate on the Glue in ViolinsCHAPTERIX.—The Glue Used by the EarlyItalian Makers—Insertion of Pieces of Wood for Repairing LostParts—Replacing Lost Rib and Repairing Interior without Opening whenPossible—Securing Loose Lower Rib to End Block—DifferentMethods—Treatment of Worm-holes—Fixing on Graft on NeckCHAPTERX.—Ways of Removing the UpperTable and the Neck—Cleansing the Interior—Preservation of the OriginalLabel—Closing of Cracks in Upper TableCHAPTERXI.—Getting Parts Together thatapparently do not Fit—The use of Benzine or Turpentine—Treatment ofWarped or Twisted Lower TablesCHAPTERXII.—Removal of Old SuperfluousGlue by Damping—Replacing Old End Blocks by New Ones—Temporary Beamsand Joists Inside for Keeping Ribs, etc., in Position while the Back toCorrect the Badly Repaired Joint—A Few Words on Studs—Filling Up Spacesleft by Lost Splinters—Matching Wood for Large Cracks, etc.CHAPTERXIV.—Repairing LostPortions—Margins of Sound Holes—Matching the Grain—Fixing and FinishingOff—Replacing with Fresh Wood Large Portions of Upper Table—Lost Partsof Purfling—Restoring It with Old StuffCHAPTERXV.—Repairs to Purfling(continued)—Filling up an Opening Extending to the Whole Length of theViolin—Fitting the Core—Fixing it in Position and Retaining itThere—Finishing the SurfaceCHAPTER XVI.—Repairing Undertaken byPeople in Business not connected with that of Bowed Instruments—Removalof a Fixed Sound Post—Fitting a Fresh Part of Worm-Eaten Rib—BringingTogether the Loosened Joint of the Back Without Opening the ViolinCHAPTER XVII.—Insertion of Studs alongthe Joint Inside without Opening the Violin—Lining or Veneering a ThinBackCHAPTER XVIII.—The Bar in Olden Times—The ModernOne—The Operation of Fitting and Fixing the Bar—Closing and Completionof the Repairs—Varnishing of the Repaired Parts having Fresh WoodNOTE: I reduced the size and quality of the photographs shown so they would load quicker in my ad.
Book Two
The Bow, Its History,Manufacture and UseTableof ContentsPART I.

The History of the Bow.

CHAPTERI.

ORIGIN OF INSTRUMENTS.FRICTIONAL VIBRATION. THE BOWDISTINCT FROM THEPLECTRUM. THETRIGONON. BOWING WITH VARIOUSOBJECTS.

CHAPTERII.

ORIENTAL ORIGINOF THE BOW. INDIAN, CHINESEAND OTHER EasterN BOWEDINSTRUMENTS.

CHAPTERIII.

THE CRWTH.FLEMING\'S \"ETRUSCAN RAVANASTRON.\"THE MEDIÆVAL BOW. UNRELIABILITYOF EARLY DRAWINGS AND SCULPTURES.

CHAPTERIV.

THE BEGINNINGSOF THE MODERN BOW. ORNAMENTATION.A POSSIBLE STRADIVARIBOW. THEMOVABLE NUT. THE CRÉMAILLÈRE.THE SCREW NUT.

CHAPTERV.

VUILLAUME\'SFACTS. THE FERRULE AND SLIDE.JOHN DODD.

CHAPTERVI.

DR. SELLÈ\'SRECOLLECTIONS OF DODD. HISWORK AND POVERTY. DODD ANDTOURTE. THE CALCULATION OFFÉTIS AND VUILLAUME.

CHAPTERVII.

LUPOT. PECCATTE.SPURIOUS STAMPING. PANORMO.W. J. B. WOOLHOUSE\'SCALCULATIONS.

CHAPTERVIII.

A LIST OF BOWMAKERS.

PART II.
Bow Making.

CHAPTERIX.

MATERIALS.BRAZIL WOOD. HORSEHAIR. THEACTION OF ROSIN.

CHAPTERX.

QUALITIES ESSENTIALIN A BOW MAKER. SHAPING THESTICK. SETTING THE Cambre. THEFACES. THE TRENCHES. THENUT.

CHAPTERXI.

POSSIBLE REPAIRS.SPLICING. RENEWING CUPS. RESTORINGTHE NUT. RE-FACING.

CHAPTERXII.

RE-LAPPING.RE-HAIRING. CHOICE OF ROSIN.

CHAPTERXIII.

THE PERFECTIONOF THE MODERN BOW. DR.NICHOLSON\'S PATENT BOW. VUILLAUME\'SINVENTIONS.SELF-HAIRING BOWS. A FOLDINGBOW. THE \"KETTERIDGE BOW.\"

PART III.
The Art of Bowing.

CHAPTERXIV.

THE UNDECIDEDASPECT OF TECHNIQUE. IMPORTANCE OFA KNOWLEDGE OF THEANATOMY OF THE HAND.THE FUNCTION OF THE THUMB.INDIVIDUALITY IN TECHNIQUE.

CHAPTERXV.

BOWING HISTORICALLYCONSIDERED. THE OLDEST ENGLISHVIOLIN METHOD. SYMPSON\'S INSTRUCTIONSIN BOWING. THOSE OF MACE(1676). THOSE OF VARIOUSMODERNMASTERS.

CHAPTERXVI.

THE FINGERSOF THE RIGHT HAND. DIFFERENCESOF OPINION THEREON. SAUTILLÉ.THELOOSE WRIST.

CHAPTERXVII.

THE IMPORTANCEOF THE SLOW BOW. THERAPID WHOLE BOW. STACCATO.BOWINGSTUDIES AND SOLOS. CONCLUSION.

The Violin - ItsFamous Makers and Their Imitators
Table of Contents

SECTION I.—THEEARLY HISTORY OF THE VIOLIN.

SECTION II.—THECONSTRUCTION OF THE VIOLIN.

SECTION III.—ITALIANAND OTHER STRINGS.

SECTION IV.—THEITALIAN SCHOOL.

SECTION V.—THEITALIAN VARNISH.

SECTION VI.—ITALIANMAKERS.

SECTION VII.—THEFRENCH SCHOOL.

SECTION VIII.—FRENCHMAKERS.

SECTION IX.—THEGERMAN SCHOOL.

SECTION X.—GERMANMAKERS.

SECTION XI.—THEENGLISH SCHOOL.

SECTION XII.—ENGLISHMAKERS.

SECTION XIII.—THEVIOLIN AND ITS VOTARIES.

SECTION XIV.—SKETCH OF THE PROGRESS OF THEVIOLIN.

SECTION XV.—ANECDOTES AND MISCELLANEA CONNECTEDWITH THE VIOLIN.

ALSO INCLUDED:

NUMEROUS WOOD ENGRAVINGS FROMPHOTOGRAPHS OF THE WORKS OF

AMATI

GUARNERI

STRADIVARI

AND MORE!

ViolinMaking
Table of Contents

INTRODUCTIONCHAPTER I.—SELECTION OFWOODCHAPTER II.—THE BACKCHAPTER III.—PURFLINGCHAPTER IV.—BENDING THEPURFLINGCHAPTER V.—MODELLING THEBACKCHAPTER VI.—WORKING OUTTHE BACKCHAPTER VII.—THE BELLYCHAPTER VIII.—THICKNESSESOF THE BELLYCHAPTER IX.—THE SOUNDHOLESCHAPTER X.—THE BASSBARCHAPTER XI.—THE RIBSCHAPTER XII.—FIXING RIBS,ETC.CHAPTER XIII.—FIXING THEBELLYCHAPTER XIV.—THE SCROLLCHAPTER XV.—FIXING NECK,FINGERBOARD, ETC.CHAPTER XVI.—OF VARNISHAND VARNISHINGCHAPTER XVII.—FITTING UPFOR USECHAPTER Five
Violin Mastery - Talks with Master Violinists and Teachers

TALKSWITH MASTER VIOLINISTS
AND TEACHERS

Table of Contents

CHAPTERS:

I. EUGÈNE YSAYE The Tools of ViolinMastery

II. LEOPOLD AUER A Method without Secrets

III. EDDY BROWN Hubay and Auer: Technic:Hints to the Student

IV. MISCHA ELMAN Life and Color inInterpretation. Technical Phases

V. SAMUEL GARDNER Technic and Musicianship

VI. ARTHUR HARTMANN The Problem of Technic

VII. JASCHA HEIFETZ The Danger ofPracticing Too Much. Technical Mastery and Temperament

VIII. DAVID HOCHSTEIN The Violin as a Meansof Expression

IX. FRITZ KREISLER Personality in Art

X. FRANZ KNEISEL The Perfect StringEnsemble

XI. ADOLFO BETTI The Technic of the ModernQuartet

XII. HANS LETZ The Technic of Bowing

XIII. DAVID MANNES The Philosophy of ViolinTeaching

XIV. TIVADAR NACHÉZ Joachim andLéonard as Teachers

XV. MAXIMILIAN PILZER The Singing Tone andthe Vibrato

XVI. MAUD POWELL Technical Difficulties:Some Hints for the Concert Player

XVII. LEON SAMETINI Harmonics

XVIII. ALEXANDER SASLAVSKY What the TeacherCan and Cannot Do

XIX. TOSCHA SEIDEL How to Study

XX. EDMUND SEVERN The Joachim Bowing andOthers

XXI. ALBERT SPALDING The Most ImportantFactor in the Development of an Artist

XXII. THEODORE SPIERING The Application ofBow Exercises to the Study of Kreutzer

XXIII. JACQUES THIBAUD The Ideal Program

XXIV. GUSTAV SAENGER The Editor as a Factorin \"Violin Mastery\"

Book Six

GEORGE GEMÜNDER\'s

PROGRESSIN VIOLIN MAKING

WITH

INTERESTING FACTS

CONCERNINGTHE ART

ANDITS CRITICS IN GENERAL.

By GEORGE GEMÜNDER.

Table of Contents

BIOGRAPHY OF GEORGE GEMÜNDER

PROGRESSOF THE STRUCTURE OF VIOLINS—THEIR CRITICS.

A TREATISE UPON THEMANNER IN WHICH MASTER-VIOLINS ARE RUINED.OF THE CAUSES WHY THE JUDGING OF VIOLINS AND THEREPAIRING OF THEM IS LESS UNDERSTOOD THAN OTHER ART PRODUCTIONS.ON THE PRESERVATION OF VIOLINS.TO ILLUSTRATE HOW VIOLINS OF MY CONSTRUCTIONMAY BE COMPARED WITH THE OLD ITALIAN MASTER-VIOLINS.ART EXHIBITIONS.—HOW VIOLINS ARE EXAMINED ANDJUDGED.NOTE ABOUT DILETTANTI VIOLIN MAKERS.GOOD LUCK AND ART, AND REMARKS ABOUT VIOLINS.OF THE MANNER OF PLAYING—TREATMENT OF BRIDGESETC.CIRCULAR WHICH ACCOMPANIED MY \"EMPEROR VIOLIN\"IN THE VIENNA EXHIBITION OF 1873—AN INTERESTING EXPLANATION ABOUTVIOLINS AND OF THE SCIENCE OF TONE.A REPLY TO MR. E. SCHELLE\'S CRITIQUECONCERNING THE VIOLINS IN THE EXHIBITION OF VIENNA IN THE LEIPSIG \"NEUEZEITSCHRIFT FUR MUSICK,\" No. 52, 1873.
Book OF TWENTY MODERN COMPOSERS
BY
PAUL ROSENFELDThislast book is not a book on violins, but is a forgotten treat I wouldlike to share with you if you have never read it. Paul Rosenfield wasan important and major music critic of of the early 20th century.While Mr Rosenfields essays are very opinionated, they are veryintelligent,constructive and very passionate. After reading this book I will challenge you to think the same wayabout the composers in this book. I have a new appreciation for myfavorite and well known composers, and a wonderful sense of discoveryabout composers I had forgotten about or dismissed. If you likeclassical music, you will enjoy reading this book. One of the best things about the book is you do not need to be a musicmajor to enjoy it.Table of Contents
· Wagner
· Strauss
· Moussorgsky
· Liszt
· Berlioz
· Franck
· Debussy
· Ravel
· Borodin
· Rimsky-Korsakoff
· Rachmaninoff
· Scriabine
· Strawinsky
· Mahler
· Reger
· Schoenberg
· Sibelius
· Loeffler
· Ornstein
· Bloch
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