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New Violin? Restore The Old One. How To Fix Violins, String Instruments Cd-r For Sale

New Violin? Restore The Old One. How To Fix Violins, String Instruments Cd-r

Violins

How to Make, Repair & Restore

What'son theCD-R?

TheCD-R contains 5 Books that have been digitized which means they were painstakingly written word for word into Microsoft Word (Not Scanned) and converted in PDF format. See the eBook covers and Table of Contents below. NOTE: These are NOT paper books

What is PDF format?

PDF is an ebook format.PDF ebooks can beviewed and printed from yourcomputer (PC & Mac).PDF ebooks can also be read from other compatible devices such astablets (iPad) and ebook readers (Kindle). You're computer and device does needAdobe Reader installed on it which can be found at www.Adobe.com/Readerand downloaded for free.

Whenwere these books published?

They were published in the early 1900's andthe digital conversionhas notaltered them in any way and are complete with the original black and white photos. These ebooks are filled with fantastic Violin information that is still relevant today.The writers of these books were masters of their trade and did everything by hand which many talented Luthiers still do today. The tools used in these books are still made and sold online. These tools are common and widely available.

What about refunds?

If for any reason you are unhappy just send me a message and I will refund all your money without question.

SATISFACTION GUARANTEED!!!

What about shipping?

The CD-R will be shipped USPS First Class Mailin a white CD envelopeinside a bigger shipping envelope. Note:I do not use jewel cases because I consider it a waste of plastic.

Contents of the CD-R

1. The Repairing & Restoration of Violins

CONTENTS Accidents—Modern Restorers—"Chattering"—The Proper Sort of Glue—Its Preparation and UseCHAPTERIII.—Minor Repairs—Cramps and Joints—Violin Cases—Rattles and Jars—Loose Fingerboards—Atmospheric Temperature—Old-Fashioned Methods of Repairing—Modern Ways—A Loose NutCHAPTERIV.—Injuries to the Head or Scroll—Insertion of Fresh Wood—Colouring of White Wood—Separation of Head from Peg-box and Re-joining—Stopping Material for Small Holes or Fractures—The Peg-box Cracked by of Peg-box and Shell—Chips from this Part—Filling up of Same—Restoration to Original Form, after Parts have been Lost—Worn Peg-holes, Re-filling or Boring of Junction of Graft with Peg-box, and Refixing Same—Grafting, Different Methods of Performing this—Lengthening the Neck—Old and Modern Method—Renewal of Same—Inclination of Neck and Fingerboard with Regard to the Bridge—Height of Latter, and Reason for ItCHAPTERVII.—Finishing the Fingerboard—Fixing the Nut—Size and Position of Grooves for the Strings—Filing Down the Graft—Smoothing, Colouring, and Varnishing that can be Repaired from the Outside—Insertion of Fresh Wood in Fracture of the Ribs—The Effects of Climate on the Glue in ViolinsCHAPTERIX.—The Glue Used by the Early Italian Makers—Insertion of Pieces of Wood for Repairing Lost Parts—Replacing Lost Rib and Repairing Interior without Opening when Possible—Securing Loose Lower Rib to End Block—Different Methods—Treatment of Worm-holes—Fixing on Graft on NeckCHAPTERX.—Ways of Removing the Upper Table and the Neck—Cleansing the Interior—Preservation of the Original Label—Closing of Cracks in Upper TableCHAPTERXI.—Getting Parts Together that apparently do not Fit—The use of Benzine or Turpentine—Treatment of Warped or Twisted Lower of Old Superfluous Glue by Damping—Replacing Old End Blocks by New Ones—Temporary Beams and Joists Inside for Keeping Ribs, etc., in Position while Freshly the Back to Correct the Badly Repaired Joint—A Few Words on Studs—Filling Up Spaces left by Lost Splinters—Matching Wood for Large Cracks, Lost Portions—Margins of Sound Holes—Matching the Grain—Fixing and Finishing Off—Replacing with Fresh Wood Large Portions of Upper Table—Lost Parts of Purfling—Restoring It with Old StuffCHAPTERXV.—Repairs to Purfling (continued)—Filling up an Opening Extending to the Whole Length of the Violin—Fitting the Core—Fixing it in Position and Retaining it There—Finishing the Undertaken by People in Business not connected with that of Bowed Instruments—Removal of a Fixed Sound Post—Fitting a Fresh Part of Worm-Eaten Rib—Bringing Together the Loosened Joint of the Back Without Opening the of Studs along the Joint Inside without Opening the Violin—Lining or Veneering a Thin BackCHAPTERXVIII.—The Bar in Olden Times—The Modern One—The Operation of Fitting and Fixing the Bar—Closing and Completion of the Repairs—Varnishing of the Repaired Parts having Fresh Wood

2. Violin Making

CONTENTS

3. The Bow, Its History, Manufacture and Use


CONTENTS PART I.The History of the Bow.

CHAPTER I.

ORIGIN OFINSTRUMENTS. FRICTIONALVIBRATION. THEBOWDISTINCT FROM THEPLECTRUM. THETRIGONON. BOWING WITHVARIOUSOBJECTS.

CHAPTER II.

ORIENTALORIGIN OF THEBOW. INDIAN, CHINESE AND

CHAPTER III.

THECRWTH. THEMEDIÆVALBOW. UNRELIABILITY OFEARLYDRAWINGS ANDSCULPTURES.

CHAPTER IV.

THEBEGINNINGS OF THEMODERNBOW. ORNAMENTATION. A POSSIBLESTRADIVARIBOW. THEMOVABLENUT. THECRÉMAILLÈRE. THESCREWNUT.

CHAPTER V.

VUILLAUME'SFACTS. THEFERRULE ANDSLIDE. JOHNDODD.

CHAPTER VI.

DR. SELLÈ'SRECOLLECTIONS OFDODD. HISWORK ANDPOVERTY. DODD ANDTOURTE. THECALCULATION OFFÉTIS ANDVUILLAUME.

CHAPTER VII.

LUPOT. PECCATTE. SPURIOUSSTAMPING. PANORMO. W. J. B. WOOLHOUSE'SCALCULATIONS.

CHAPTER VIII.

A LIST OFBOWMAKERS.

PART II.
Bow Making.

CHAPTER IX.

CHAPTER X.

QUALITIESESSENTIAL IN ABOWMAKER. SHAPING THESTICK. SETTING THECambre. THEFACES. THETRENCHES. THENUT.

CHAPTER XI.

POSSIBLEREPAIRS. SPLICING. RENEWINGCUPS. RESTORING THENUT. RE-FACING.

CHAPTER XII.

RE-LAPPING. RE-HAIRING. CHOICE OFROSIN.

CHAPTER XIII.

THEPERFECTION OF THEMODERNBOW. DR. NICHOLSON'SPATENTBOW. VUILLAUME'SINVENTIONS. SELF-HAIRINGBOWS. A FOLDINGBOW. THE"KETTERIDGEBOW."

PART III.
The Art of Bowing.

CHAPTER XIV.

CHAPTER XV.

CHAPTER XVI.

THEFINGERS OF THERIGHTHAND. DIFFERENCES OFOPINIONTHEREON. SAUTILLÉ. THELOOSEWRIST.

CHAPTER XVII.

THEIMPORTANCE OF THESLOWBOW. THERAPIDWHOLEBOW. STACCATO. BOWINGSTUDIES ANDSOLOS. CONCLUSION.

4. The Violin - Its Famous Makers and Their Imitators


CONTENTS:

SECTION I.—THE EARLY HISTORY OF THE VIOLIN.

SECTION II.—THE CONSTRUCTION OF THE VIOLIN.

SECTION III.—ITALIAN AND OTHER STRINGS.

SECTION IV.—THE ITALIAN SCHOOL.

SECTION V.—THE ITALIAN VARNISH.

SECTION VI.—ITALIAN MAKERS.

SECTION VII.—THE FRENCH SCHOOL.

SECTION VIII.—FRENCH MAKERS.

SECTION IX.—THE GERMAN SCHOOL.

SECTION X.—GERMAN MAKERS.

SECTION XI.—THE ENGLISH SCHOOL.

SECTION XII.—ENGLISH MAKERS.

SECTION XIII.—THE VIOLIN AND ITS VOTARIES.

SECTION XIV.—SKETCH OF THE PROGRESS OF THE VIOLIN.

SECTION XV.—ANECDOTES AND MISCELLANEA CONNECTED WITH THE VIOLIN.

ALSO:

NUMEROUS WOOD ENGRAVINGS FROM PHOTOGRAPHS OF THE WORKS OF

  • STRADIVARI
  • GUARNERI
  • AMATI
  • AND OTHERS

AND ADDITIONS AND EMENDATIONS BY THE AUTHOR'S
SON AND TOWRY PIPER

5. Violin Mastery - Talks with Master Violinists and Teachers

TALKS WITH MASTER VIOLINISTS
AND TEACHERS

COMPRISING INTERVIEWS WITH

  • YSAYE
  • KREISLER
  • ELMAN
  • AUER
  • THIBAUD
  • HEIFETZ
  • HARTMANN
  • MAUD POWELL
  • AND OTHERS

WITH SIXTEEN PORTRAITS

YSAYEThe Tools of Violin Mastery
II.LEOPOLD AUERA Method without Secrets
III.EDDY BROWNHubay and Auer: Technic: Hints to the Student
IV.MISCHA ELMANLife and Color in Interpretation. Technical Phases
V. SAMUEL GARDNERTechnic and Musicianship
VI. ARTHUR HARTMANNThe Problem of Technic
VII. JASCHA HEIFETZThe Danger of Practicing Too Much. Technical Mastery and Temperament
VIII. DAVID HOCHSTEINThe Violin as a Means of Expression
IX. FRITZ KREISLERPersonality in Art
X. FRANZ KNEISELThe Perfect String Ensemble
XI. ADOLFO BETTIThe Technic of the Modern Quartet
XII. HANS LETZThe Technic of Bowing
XIII. DAVID MANNESThe Philosophy of Violin Teaching
XIV. TIVADAR NACHÉZJoachim and Léonard as Teachers
XV. MAXIMILIAN PILZERThe Singing Tone and the Vibrato
XVI. MAUD POWELLTechnical Difficulties: Some Hints for the Concert Player
XVII. LEON SAMETINIHarmonics
XVIII. ALEXANDER SASLAVSKYWhat the Teacher Can and Cannot Do
XIX. TOSCHA SEIDELHow to Study
XX. EDMUND SEVERNThe Joachim Bowing and Others
XXI. ALBERT SPALDINGThe Most Important Factor in the Development of an Artist
XXII. THEODORE SPIERINGThe Application of Bow Exercises to the Study of Kreutzer
XXIII. JACQUES THIBAUDThe Ideal Program
XXIV. GUSTAV SAENGERThe Editor as a Factor in "Violin Mastery"



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