Make, Repair, and Restore Violins and Bows (5 Complete PDF eBooks on a CD)

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Make, Repair, and Restore Violins and Bows
Make, Repair, and Restore Violins and Bows Retailer!
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Full copy of Make, Repair, and Restore Violins and Bows in PDF eBook format
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5 Complete PDF eBooks on a CD in a CD Sleeve)
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Learn how to make, repair, and restore violins and bows with this complete 5 volume PDF eBook set! Includes photos and  illustrations!
The Repairing &  Restoration of Violins
CHAPTER I.—Introductory
CHAPTER II.—Slight Accidents—Modern Restorers—"Chattering"—The Proper  Sort of Glue—Its Preparation and Use
CHAPTER III.—Minor  Repairs—Cramps and Joints—Violin Cases—Rattles and Jars—Loose  Fingerboards—Atmospheric Temperature—Old-Fashioned Methods of  Repairing—Modern Ways—A Loose Nut
CHAPTER IV.—Injuries to the Head or  Scroll—Insertion of Fresh Woods—Colouring of White Woods—Separation of Head  from Peg-box and Re-joining—Stopping Material for Small Holes or  Fractures—The Peg-box Cracked by Pressure
CHAPTER V.—Fracture 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 Same
CHAPTER VI.—Loosening 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 It
CHAPTER VII.—Finishing the Fingerboard—Fixing the Nut—Size and Position  of Grooves for the Strings—Filing Down the Graft—Smoothing, Colouring, and  Varnishing Same
CHAPTER VIII.—Injuries that can be Repaired from the  Outside—Insertion of Fresh Woods in Fracture of the Ribs—The Effects of  Climate on the Glue in Violins
CHAPTER IX.—The Glue Used by the Early  Italian Makers—Insertion of Pieces of Woods 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 Neck
CHAPTER X.—Ways of Removing the  Upper Table and the Neck—Cleansing the Interior—Preservation of the Original  Label—Closing of Cracks in Upper Table
CHAPTER XI.—Getting Parts  Together that apparently do not Fit—The use of Benzine or  Turpentine—Treatment of Warped or Twisted Lower Tables
CHAPTER  XII.—Removal 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 Glued
CHAPTER XIII.—Re-opening the Back to  Correct the Badly Repaired Joint—A Few Words on Studs—Filling Up Spaces left  by Lost Splinters—Matching Woods for Large Cracks, etc.
CHAPTER  XIV.—Repairing Lost Portions—Margins of Sound Holes—Matching the  Grain—Fixing and Finishing Off—Replacing with Fresh Woods Large Portions of  Upper Table—Lost Parts of Purfling—Restoring It with Old Stuff
CHAPTER XV.—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 Surface
CHAPTER XVI.—Repairing  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  Violin
CHAPTER XVII.—Insertion of Studs along the Joint Inside  without Opening the Violin—Lining or Veneering a Thin Back
CHAPTER  XVIII.—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 Woods
Violin Making
INTRODUCTION
CHAPTER  I.—SELECTION OF WOODs
CHAPTER II.—THE BACK
CHAPTER  III.—PURFLING
CHAPTER IV.—BENDING THE PURFLING
CHAPTER  V.—MODELLING THE BACK
CHAPTER VI.—WORKING OUT THE BACK
CHAPTER  VII.—THE BELLY
CHAPTER VIII.—THICKNESSES OF THE BELLY
CHAPTER  IX.—THE SOUNDHOLES
CHAPTER X.—THE BASS BAR
CHAPTER XI.—THE  RIBS
CHAPTER XII.—FIXING RIBS, ETC.
CHAPTER XIII.—FIXING THE  BELLY
CHAPTER XIV.—THE SCROLL
CHAPTER XV.—FIXING NECK,  FINGERBOARD, ETC.
CHAPTER XVI.—OF VARNISH AND VARNISHING
CHAPTER XVII.—FITTING UP FOR USE
CHAPTER XVIII.—CONCLUSION
The Violin - Its Famous Makers and Their  Imitators
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.
The  Bow, Its History, Manufacture and Use
PART I.  - The History of the Bow
CHAPTER I. - Origin Of Instruments.  Frictional Vibration. The Bow Distinct From The Plectrum. The Trigonon.  Bowing With Various Objects.
CHAPTER II. - Oriental Origin Of The  Bow. Indian, Chinese And Other Eastern Bowed Instruments.
CHAPTER  III. - The Crwth. Fleming’s “Etruscan Ravanastron.” The Mediæval Bow.  Unreliability Of Early Drawings And Sculptures.
CHAPTER IV. - The  Beginnings Of The Modern Bow. Ornamentation. A Possible Stradivaribow. The  Movable Nut. The Crémaillère. The Screw Nut.
CHAPTER V. - Vuillaume’s  Facts. The Ferrule And Slide. John Dodd.
CHAPTER VI. - Dr. Sellè’s  Recollections Of Dodd. His Work And Poverty. Dodd And Tourte. The  Calculation Of Fétis And Vuillaume.
CHAPTER VII. - Lupot. Peccatte.  Spurious Stamping. Panormo. W. J. B. Woolhouse’s calculations.
CHAPTER VIII. - A List Of Bow Makers.
PART II. - Bow Making
CHAPTER IX. - Materials. Brazil Woods. Horsehair. The Action Of Rosin.
CHAPTER X. - Qualities Essential In A Bow Maker. Shaping The Stick.  Setting The Cambre. The Faces. The Trenches. The Nut.
CHAPTER XI. -  Possible Repairs. Splicing. Renewing Cups. Restoring The Nut. Re-Facing.
CHAPTER XII. - Re-Lapping. Re-Hairing. Choice Of Rosin.
CHAPTER  XIII. - The Perfection Of The Modern Bow. Dr. Nicholson’s Patent Bow.  Vuillaume’s inventions. Self-Hairing Bows. A Folding Bow. The “Ketteridge  Bow.”
PART III. - The Art of Bowing
CHAPTER  XIV. - The Undecided Aspect Of Technique. Importance Of A Knowledge Of The  anatomy Of The Hand. The Function Of The Thumb. Individuality In Technique.
CHAPTER XV. - Bowing Historically Considered. The Oldest English Violin  Method. Sympson’s Instructions In Bowing. Those Of Mace (1676). Those Of  Variousmodern Masters.
CHAPTER XVI. - The Fingers Of The Right Hand.  Differences Of Opinion Thereon. Sautillé. The loose Wrist.
CHAPTER  XVII. - The Importance Of The Slow Bow. The Rapid Whole Bow. Staccato.  Bowing studies And Solos. Conclusion.
Violin Mastery - Talks with Master Violinists and Teachers
In this book a number of famous artists and instructors discuss esthetic and technical phases of the art of violin playing in detail, their concept  of what Violin Mastery means, and how it may be acquired. Only limitation of  space has prevented the inclusion of numerous other deserving artists and  teachers, yet practically all of the greatest masters of the violin now in  this country are represented. That the lessons of their artistry and  experience will be of direct benefit and value to every violin student and  every lover of violin music.
I. EUGÈNE YSAYE The Tools of Violin  Mastery
II. LEOPOLD AUER A Method without Secrets
III. EDDY BROWN  Hubay and Auer: Technic: Hints to the Student
IV. MISCHA ELMAN Life and  Color in Interpretation. Technical Phases
V. SAMUEL GARDNER Technic and  Musicianship
VI. ARTHUR HARTMANN The Problem of Technic
VII. JASCHA  HEIFETZ The Danger of Practicing Too Much. Technical Mastery and Temperament
VIII. DAVID HOCHSTEIN The Violin as a Means of Expression
IX. FRITZ  KREISLER Personality in Art
X. FRANZ KNEISEL The Perfect String Ensemble
XI. ADOLFO BETTI The Technic of the Modern Quartet
XII. HANS LETZ The  Technic of Bowing
XIII. DAVID MANNES The Philosophy of Violin Teaching
XIV. TIVADAR NACHÉZ Joachim and Léonard as Teachers
XV. MAXIMILIAN PILZER  The Singing Tone and the Vibrato
XVI. MAUD POWELL Technical Difficulties:  Some Hints for the Concert Player
XVII. LEON SAMETINI Harmonics
XVIII.  ALEXANDER SASLAVSKY What the Teacher Can and Cannot Do
XIX. TOSCHA SEIDEL  How to Study
XX. EDMUND SEVERN The Joachim Bowing and Others
XXI.  ALBERT SPALDING The Most Important Factor in the Development of an Artist
XXII. THEODORE SPIERING The Application of Bow Exercises to the Study of  Kreutzer
XXIII. JACQUES THIBAUD The Ideal Program
XXIV. GUSTAV SAENGER  The Editor as a Factor in "Violin Mastery"
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Complete 5 volume set with photos and illustrations.