trigram

This is a table of type trigram and their frequencies. Use it to search & browse the list to learn more about your study carrel.

trigram	frequency
of the violin	198
one of the	165
part of the	126
of the instrument	109
of an inch	100
to have been	97
it may be	81
it will be	80
of the old	79
a piece of	72
of the wood	70
the instruments of	67
end of the	65
is to be	64
that of the	63
the upper table	60
there is no	59
out of the	59
in the year	59
of this maker	57
of his work	57
the end of	57
appears to have	56
said to have	56
the art of	56
a pupil of	56
as to the	55
of the back	53
of the above	53
aunt betty and	52
of the great	52
the works of	51
the work of	51
it is not	51
will be found	51
in order to	50
as well as	50
gasparo da salo	50
and aunt betty	50
some of the	49
of a violin	48
of the most	48
there is a	48
in the same	47
so as to	47
the name of	47
to be a	46
it must be	46
of his instruments	46
side of the	45
that he was	45
said aunt betty	44
will have to	43
it would be	43
the varnish is	43
character of his	42
it has been	40
according to the	39
his instruments are	39
is said to	39
in connection with	38
instruments of the	38
of the best	38
it is a	37
there will be	37
at the same	37
of niccolo amati	37
son of the	37
in new york	37
to that of	37
of the instruments	37
a maker of	36
of the peg	36
knowledge of the	36
the use of	36
that he had	36
guarneri del gesu	35
that it was	34
for the purpose	34
and it is	34
of the upper	34
will not be	34
of the neck	34
the construction of	34
to be the	33
with regard to	33
on the violin	33
of antonio stradivari	33
the hands of	33
the character of	32
the strad library	32
those of the	32
quality of tone	32
of the art	32
may be said	32
many of the	32
it was a	32
surface of the	31
of the bow	31
the whole of	31
as it is	31
parts of the	31
would like to	30
the possession of	30
the fact that	30
the old italian	30
of the same	30
have to be	30
down to the	30
portion of the	30
of the fingerboard	29
appear to have	29
must not be	29
said to be	29
that is to	29
of the amati	29
you will have	29
of the italian	29
the form of	29
at the end	29
of the work	29
but it is	28
it should be	28
seem to have	28
history of the	28
there was a	28
this is a	28
the violin and	28
more or less	28
a matter of	27
the time of	27
the history of	27
on to the	27
seems to have	27
the same time	27
up to the	27
be able to	27
in the first	26
that it is	26
i do not	26
the production of	26
on account of	26
so that the	26
maker of viols	26
be said to	26
the purpose of	26
upper and lower	26
are to be	26
of the bridge	25
in consequence of	25
the value of	25
belonging to the	25
the tone is	25
of the finest	25
i have to	25
in the possession	25
the duke of	25
back to the	25
to be in	25
character of the	25
as a maker	25
in which he	24
whole of the	24
the manufacture of	24
i am sure	24
in regard to	24
on the other	24
works of the	24
the violin is	24
the wood is	24
for some time	24
relative to the	24
the tone of	24
the instrument is	24
giuseppe guarneri del	24
instruments of this	24
the subject of	24
the rest of	24
in the present	24
the body of	24
he appears to	23
in the centre	23
in the morning	23
must have been	23
of the first	23
form of the	23
of the cremonese	23
connection with the	23
about the year	23
i want to	23
the centre of	23
the death of	23
of good quality	23
count cozio di	23
was in the	23
i would like	23
and in the	23
on the subject	23
that in the	23
at the present	23
at the time	23
regard to the	23
a few minutes	23
here and there	23
a number of	22
the part of	22
of the fiddle	22
for a moment	22
the th of	22
the progress of	22
will be a	22
most of the	22
it is to	22
of the present	22
a quarter of	22
piece of wood	22
the present day	22
of which is	22
middle of the	22
sixteenths of an	22
is one of	22
the case of	22
the date of	22
he was a	22
i have been	22
quarter of an	22
for the violin	22
cozio di salabue	22
the great masters	21
in the hands	21
the attention of	21
found to be	21
of his father	21
to have a	21
of the scroll	21
in a very	21
in which the	21
at one time	21
it to the	21
it is the	21
attention to the	21
the upper and	21
and i have	21
gaspar di salo	21
of the family	21
on the th	21
the scroll is	21
to those of	21
to make a	21
of his master	21
in the case	20
of all the	20
answered aunt betty	20
for the present	20
of the whole	20
construction of the	20
on the contrary	20
of the ribs	20
the violin in	20
the th century	20
have been a	20
to see you	20
origin of the	20
and i will	20
of the table	20
the number of	20
is not a	20
in the world	20
has to be	20
i have a	20
the present time	20
as far as	20
at this period	20
considered to be	20
body of the	20
progress of the	20
member of the	20
when it was	19
with those of	19
art of violin	19
to be done	19
to take the	19
the course of	19
to aunt betty	19
as in the	19
the result of	19
you will be	19
of the various	19
with that of	19
the cause of	19
account of the	19
and you will	19
by this maker	19
the fresh wood	19
and a half	19
the middle of	19
centre of the	19
of the original	19
which it is	19
to the other	19
was a pupil	18
the model of	18
of the two	18
that there is	18
to the hotel	18
is of the	18
the model is	18
an excellent workman	18
that of his	18
of the kind	18
he did not	18
was to be	18
as much as	18
many of his	18
is in the	18
the presence of	18
by this time	18
maker of the	18
that i have	18
in a few	18
and that the	18
i shall have	18
than that of	18
there is not	18
the instrument to	18
is that of	18
would have been	18
to make the	17
of the sound	17
viol da gamba	17
in this country	17
for me to	17
much of the	17
this is not	17
in order that	17
if it were	17
and the violin	17
this part of	17
of violin making	17
brother of the	17
in the way	17
there are many	17
that can be	17
when it is	17
most of them	17
tone of the	17
high character of	17
the king of	17
is of a	17
the surface of	17
to have made	17
placed in position	17
sides of the	17
an excellent maker	17
it is said	17
i have no	17
the collection of	17
on the back	17
do you think	17
the style of	17
members of the	17
it can be	17
of his life	17
found in the	17
of this name	16
to allow of	16
a violin of	16
in the early	16
to be inserted	16
is a very	16
the first of	16
the musical world	16
rest of the	16
eighth of an	16
a great number	16
which has been	16
not to be	16
of these instruments	16
of the highest	16
position of the	16
you want to	16
that he would	16
and it was	16
those of his	16
by means of	16
the best of	16
of the different	16
from that of	16
of his own	16
was born in	16
it is very	16
was one of	16
at the upper	16
be said that	16
one of his	16
will be the	16
was an excellent	16
i am going	16
of this make	16
the upper part	16
in the manner	16
the old masters	16
of the strings	16
the workshop of	16
the music master	16
the aid of	16
the shop of	15
is made of	15
acquainted with the	15
this is the	15
in this respect	15
the makers of	15
pupil of niccolo	15
has been made	15
of the master	15
it is in	15
to be found	15
and a few	15
to the present	15
of the belly	15
made in the	15
a short time	15
of an instrument	15
maker to the	15
of such a	15
of one of	15
of the parts	15
the same manner	15
and on the	15
and i am	15
as soon as	15
as they are	15
of the th	15
of which was	15
in point of	15
should have been	15
of the grain	15
you will find	15
of gasparo da	15
and of the	15
the son of	15
possession of the	15
he was born	15
the making of	15
of count cozio	15
i have seen	15
three or four	15
and with a	15
in the violin	15
the back and	15
he died in	15
must be taken	15
he had been	15
are going to	15
a couple of	15
on the stage	15
the wood of	15
the names of	15
as to be	15
the work is	15
this is done	15
in relation to	15
name of the	15
and in a	15
more than a	15
we find that	15
there is nothing	14
in front of	14
be described as	14
of the celebrated	14
to the best	14
that of a	14
of his varnish	14
place in the	14
to the violin	14
would be a	14
shall have to	14
it does not	14
these instruments are	14
do not know	14
to the back	14
work of the	14
that will be	14
that has been	14
on one side	14
the interior of	14
let me see	14
a portion of	14
it was not	14
maker of violins	14
of the makers	14
the days of	14
the grain of	14
the back of	14
a long time	14
of a high	14
to tell you	14
have not been	14
we will now	14
as he had	14
of which he	14
one or two	14
with the violin	14
of a very	14
may have been	14
at the part	14
be considered as	14
date of birth	14
the sounding post	14
to see the	14
known as the	14
as a matter	14
had not been	14
of the house	14
there are a	14
great number of	14
the fact of	14
eighths of an	14
wood of the	14
it was the	14
given to the	14
away from the	14
be found to	14
but a few	14
of the greatest	14
to say that	14
of the party	14
length of the	14
with a little	14
are of the	14
the neck and	14
of stringed instruments	14
in the collection	14
a few moments	14
which will be	14
that they were	14
can only be	14
for it is	13
as it was	13
be made to	13
the manner of	13
the united states	13
the brothers amati	13
grain of the	13
go to the	13
should not be	13
the way of	13
dorothy and aunt	13
in the following	13
of the subject	13
the violin has	13
each side of	13
pupil of antonio	13
the school of	13
to do with	13
may be described	13
the time when	13
seem to be	13
and his instruments	13
the quality of	13
the knowledge of	13
the thickness of	13
at this moment	13
in the night	13
the appearance of	13
to do so	13
they are of	13
into the room	13
violin and its	13
will be seen	13
in spite of	13
to some extent	13
there may be	13
i am glad	13
when she had	13
in mind that	13
it had been	13
if this is	13
have been made	13
work on the	13
the violins of	13
of an old	13
mention is made	13
at the hotel	13
the point of	13
the late mr	13
a little more	13
the varnish of	13
some good instruments	13
thickness of the	13
the church of	13
at each end	13
to have the	13
which is the	13
one of those	13
makers of this	13
which i have	13
to do this	13
i think you	13
to the end	13
front of the	13
back and belly	13
to the front	13
so that i	13
early history of	13
of the nut	13
what i have	13
known as a	13
again and again	13
i am not	13
of bowed instruments	13
seen in the	13
together with the	13
as if it	12
by the author	12
used for the	12
as regards the	12
was a great	12
all over the	12
that she was	12
in the construction	12
of the latter	12
that are to	12
which have been	12
of a rich	12
been a pupil	12
the exhibition of	12
the height of	12
to the right	12
the instruments made	12
the sixteenth century	12
the wood to	12
early part of	12
of the english	12
can be made	12
of nicholas amati	12
may be used	12
and that he	12
that may be	12
that there are	12
this maker are	12
the absence of	12
care must be	12
the other hand	12
of the part	12
end to end	12
the next morning	12
the origin of	12
in the art	12
of his time	12
of the city	12
in his own	12
the parts together	12
some of them	12
this will be	12
back of the	12
it will not	12
a member of	12
an instrument of	12
the action of	12
in the manufacture	12
this may be	12
when you are	12
was the first	12
of the king	12
appearance of the	12
a great deal	12
likely to be	12
jim and gerald	12
for many years	12
and at the	12
which is to	12
the leading instrument	12
than the other	12
as long as	12
there can be	12
there is much	12
at a time	12
must be made	12
the age of	12
and the varnish	12
use of the	12
the effect of	12
in such a	12
to the eye	12
character of work	12
held in position	12
the family of	12
which he had	12
am going to	12
at that time	12
the violin was	12
it seems to	12
the members of	12
as i have	12
in the matter	12
like to see	12
is to say	12
a knowledge of	12
of the early	12
the property of	12
to show the	12
far as the	12
associated with the	12
been able to	12
is the only	12
that she had	12
a very good	12
have made a	12
made some good	12
would have to	12
violins of the	12
of the bar	12
it is so	12
might have been	12
matter of course	12
for the time	11
of the late	11
it in the	11
width of the	11
dear aunt betty	11
the business of	11
of fresh wood	11
the first time	11
said that the	11
of the royal	11
would seem to	11
the beginning of	11
a few of	11
of the string	11
be of the	11
which it has	11
this maker is	11
that would be	11
a man of	11
the most part	11
the great cremonese	11
to the great	11
in this way	11
the advantage of	11
of italian violins	11
the side of	11
a great many	11
are a few	11
to look at	11
get to the	11
we are all	11
maker of lutes	11
to the left	11
on each side	11
was a very	11
for the instrument	11
manner in which	11
of the brothers	11
of the fresh	11
foot of the	11
an italian violin	11
or the other	11
of those who	11
and the wood	11
the german school	11
of the pine	11
the early history	11
and there is	11
for a long	11
will tell you	11
the workmanship is	11
the other end	11
the size of	11
the productions of	11
aunt betty had	11
and when the	11
worthy of the	11
from end to	11
they do not	11
of his violins	11
the direction of	11
of the middle	11
some of his	11
could not be	11
makers of the	11
which can be	11
was born at	11
in any way	11
i am so	11
of the former	11
in position and	11
it must not	11
the selection of	11
in search of	11
is necessary to	11
when he had	11
in accordance with	11
them to the	11
but there is	11
for the most	11
with the same	11
there must be	11
which may be	11
they may be	11
he made a	11
of his art	11
nor in the	11
the first place	11
and all the	11
you are going	11
to go to	11
at the conservatoire	11
the house of	11
been made to	11
of the other	11
seemed to be	11
of the new	11
not appear to	11
as it were	11
betty and the	11
viols da gamba	11
does not appear	11
of the french	11
in one of	11
have been the	11
of the manufacture	11
not have been	11
of jacob stainer	11
are of a	11
in the middle	11
in some instances	11
of the cremona	11
early in the	11
off into the	11
one of them	11
may be taken	11
edge of the	11
of the matter	11
junction of the	11
lutes and viols	11
ought to be	11
of which are	11
and with the	11
i have made	11
to be taken	11
in the work	11
art of making	11
the necessity of	11
the city of	11
as a whole	11
the top of	11
of the day	11
we have seen	11
one of these	11
the early part	11
owing to the	11
born at mirecourt	11
on the part	11
in which they	11
as well to	11
that the violin	11
will now be	11
half of the	11
of the repairer	11
there was no	11
evidence of the	11
jim and ephraim	11
the depth of	11
of stradivari and	11
he was the	11
we are going	11
the flat model	11
of that of	10
be as well	10
may not be	10
at once to	10
if it is	10
as they were	10
about the same	10
two or three	10
of the three	10
the service of	10
by his father	10
he had a	10
to be glued	10
the pupils of	10
so that when	10
the harp and	10
to be very	10
no matter how	10
be necessary to	10
of the varnish	10
what is it	10
for this purpose	10
attention of the	10
to come to	10
they should be	10
which he has	10
he could not	10
will be that	10
be the case	10
as to make	10
i think it	10
dorothy and jim	10
the manner in	10
a lot of	10
which he was	10
instruments of his	10
the condition of	10
which must be	10
it cannot be	10
the girls were	10
of the united	10
but i have	10
i want you	10
the position of	10
of the body	10
known by the	10
and may be	10
which he made	10
the mind of	10
the application of	10
little or no	10
from the fact	10
than any other	10
there are several	10
in the other	10
that aunt betty	10
and the whole	10
it is quite	10
this is one	10
this must be	10
made for the	10
the junction of	10
in the direction	10
top of the	10
in a great	10
in conjunction with	10
which is not	10
and for the	10
in the last	10
wood for the	10
over and over	10
if you will	10
to be able	10
a very fine	10
by the name	10
of the character	10
the latter is	10
be allowed to	10
is at once	10
may now be	10
the kind of	10
of the second	10
was unable to	10
be that of	10
in the instruments	10
of soft wood	10
from the same	10
in all probability	10
way to the	10
pressure of the	10
in the meantime	10
them to be	10
out on the	10
value of the	10
to have worked	10
the lower part	10
of the room	10
of the school	10
the next stage	10
my little girl	10
the contents of	10
with the exception	10
so far as	10
reference to the	10
be found in	10
son of giovanni	10
of the big	10
caused by the	10
on the first	10
height of the	10
the choice of	10
course of the	10
the tail pin	10
in the latter	10
that i am	10
the italian masters	10
that this is	10
have to do	10
he seems to	10
for the next	10
for the first	10
the purfling is	10
made by the	10
the present century	10
in his possession	10
the eye of	10
when you have	10
view of the	10
on this point	10
violin in the	10
of gaspar di	10
which belonged to	10
in the works	10
of the knife	10
may be as	10
they reached the	10
be in the	10
manufacture of violins	10
instruments made by	10
he had not	10
will be necessary	10
the sides of	10
the father of	10
the glue is	10
violin has been	10
the extent of	10
in many instances	10
of some of	10
at oak knowe	10
be one of	10
made a few	10
the head of	10
i have not	10
i shall be	10
in this case	10
his violins are	10
it is necessary	10
if you can	10
number of instruments	10
a few years	10
being in the	9
the maker of	9
of italian violin	9
a kind of	9
brought to bear	9
the result is	9
many of them	9
the case with	9
he went to	9
this was the	9
replied aunt betty	9
of you to	9
as that of	9
the amati family	9
along the course	9
made of the	9
when the glue	9
an inch in	9
is made to	9
the exception of	9
the owner of	9
have been in	9
consequence of the	9
the characteristics of	9
a violin which	9
are you going	9
selection of wood	9
of the works	9
of cremonese instruments	9
of a good	9
pieces of wood	9
more than one	9
the eighteenth century	9
am so glad	9
and as a	9
with the other	9
them in the	9
it is an	9
the great italian	9
came to the	9
the night before	9
this class of	9
all the parts	9
can be done	9
at the junction	9
to get a	9
by the great	9
the instrument was	9
to my mind	9
from about to	9
academy of music	9
of the name	9
to be had	9
not so much	9
at the paris	9
in keeping with	9
a sort of	9
the power of	9
the great maker	9
want you to	9
characteristics of the	9
the varnish on	9
the width of	9
you had better	9
aunt betty to	9
in his art	9
that we are	9
he was not	9
not only the	9
are said to	9
at right angles	9
son of niccolo	9
to be seen	9
of the structure	9
the paris conservatoire	9
at the other	9
the greatest of	9
as shown in	9
can be no	9
to make it	9
added aunt betty	9
that many of	9
we have a	9
on the quarter	9
to be regretted	9
is that the	9
i think i	9
the wood and	9
intended to be	9
they were all	9
be used for	9
now in the	9
and i can	9
makers of violins	9
of the ebony	9
old italian violins	9
the want of	9
but this is	9
to the bridge	9
if he had	9
can be used	9
all kinds of	9
to the work	9
borne in mind	9
if they were	9
the violin of	9
of the surfaces	9
in a little	9
has been so	9
to show you	9
the care of	9
to believe that	9
edges of the	9
when he was	9
of those of	9
be held in	9
in the highest	9
part to be	9
a few words	9
it as a	9
as those of	9
and i shall	9
tell you that	9
it to be	9
to take a	9
with which the	9
and the other	9
that i was	9
to the court	9
of the chief	9
glad to see	9
the hand of	9
of giuseppe guarneri	9
at any time	9
it is of	9
of the glue	9
i think that	9
of musical instruments	9
to think of	9
direction of the	9
to the same	9
but they are	9
of the maker	9
you do not	9
a great success	9
violins and violoncellos	9
of the music	9
time of the	9
of the tone	9
varnish of a	9
of them are	9
the middle ages	9
of these makers	9
death of the	9
of the line	9
connected with the	9
which had been	9
dorothy and molly	9
and of a	9
the title of	9
than those of	9
curve of the	9
at the harp	9
close to the	9
when all is	9
a fact which	9
in this manner	9
school of violin	9
the greater part	9
the best way	9
corner of the	9
in all the	9
at the door	9
the qualities of	9
and that is	9
of which the	9
she had finished	9
on the viol	9
betty and alfy	9
be done with	9
the notice of	9
instrument of the	9
it from the	9
and the girls	9
president of the	9
the practice of	9
to the italian	9
son of andrea	9
that you will	9
gerald and aurora	9
when they were	9
and turning to	9
i have heard	9
interest in the	9
has not been	9
old italian makers	9
a violin by	9
the surfaces that	9
is the most	9
be proceeded with	9
they would have	9
and his assistant	9
is not so	9
at a concert	9
he is said	9
the credit of	9
a state of	9
of his family	9
of the rib	9
for a few	9
in every way	9
he was an	9
that they are	9
the back is	9
to the art	9
the next day	9
in the shop	9
the occasion of	9
an inch from	9
in the city	9
the other parts	9
the development of	9
of this part	8
in response to	8
have had a	8
and a little	8
was made by	8
in a measure	8
be regretted that	8
just what i	8
in the course	8
the secret of	8
will be required	8
about this period	8
line of the	8
in good order	8
from those of	8
of the purfling	8
violins in the	8
the outline of	8
which they were	8
when quite dry	8
the seat of	8
at the lower	8
used as a	8
i hope i	8
of the fact	8
of the orchestra	8
by the maker	8
in the history	8
his name is	8
a new violin	8
the fifteenth century	8
parts to be	8
turning to dorothy	8
best of the	8
refers to the	8
up and down	8
if they are	8
on either side	8
date of the	8
of the italians	8
there is the	8
the nature of	8
the length of	8
a letter from	8
will be of	8
pupil of stradivari	8
of a century	8
to do it	8
equal to that	8
in favour of	8
that of stradivari	8
in imitation of	8
the glue has	8
the neck is	8
will enable the	8
them into the	8
to obtain the	8
belonged to the	8
a maker and	8
by the time	8
seconds of an	8
on the slab	8
what shall i	8
on the construction	8
that he has	8
what do you	8
go back to	8
as it should	8
which you have	8
we shall have	8
be made of	8
on the continent	8
asked aunt betty	8
the author of	8
should be made	8
as compared with	8
from which to	8
we may now	8
to which i	8
to have you	8
of this great	8
may be considered	8
that he made	8
i tell you	8
and the most	8
the close of	8
and the same	8
i have read	8
surfaces of the	8
the neck or	8
the two surfaces	8
point of view	8
been in the	8
in the old	8
by no means	8
the whole length	8
the honour of	8
size of the	8
of the hotel	8
there are some	8
when this is	8
contact with the	8
it is evident	8
anselmi di briata	8
i have the	8
to him the	8
the royal exchange	8
he made some	8
the last of	8
of guarneri del	8
the first string	8
of the company	8
rise of the	8
in which it	8
the first is	8
pupil of stradiuarius	8
and they are	8
first of the	8
the amount of	8
portions of the	8
it is that	8
on the following	8
until i get	8
come to the	8
which they are	8
all of which	8
the line of	8
is at the	8
time has elapsed	8
to play at	8
we will be	8
of the famous	8
if there is	8
aunt betty said	8
that he could	8
to the door	8
in london in	8
playing on the	8
resemble those of	8
if it be	8
it is therefore	8
to be made	8
i am very	8
as one of	8
to play on	8
about the middle	8
the means of	8
to have had	8
the great makers	8
as there is	8
on his own	8
cannot fail to	8
to give you	8
the bellies are	8
of the people	8
from one of	8
the herr professor	8
the most important	8
the betts stradivari	8
in germany and	8
beginning of the	8
this kind of	8
the shape of	8
that the wood	8
so that it	8
it is possible	8
the same way	8
in the absence	8
one and a	8
action of the	8
we have the	8
which is a	8
appears to be	8
in the catalogue	8
they were to	8
made a great	8
the present instance	8
with a sharp	8
seems to me	8
the superfluous glue	8
distinct from that	8
the existence of	8
specimens of the	8
varnish is of	8
a lover of	8
tell me what	8
used by the	8
of the german	8
to give a	8
as may be	8
in the rear	8
in their proper	8
the merits of	8
of the eighteenth	8
as i do	8
he resolved to	8
in the whole	8
inserted in the	8
works of art	8
the back in	8
of giovanni battista	8
gerald and jim	8
was forced to	8
of the edging	8
the surfaces of	8
of the night	8
will be to	8
it to me	8
continuation of the	8
along the joint	8
of the book	8
chemically prepared wood	8
must be the	8
i have found	8
be found that	8
stradivari and guarneri	8
the violin family	8
here is a	8
the foundation of	8
do you want	8
part where the	8
the work and	8
of the model	8
in position by	8
fitting of the	8
in the days	8
be a good	8
be taken as	8
it to a	8
is not the	8
said the girl	8
account of his	8
a violin is	8
will be sufficient	8
that they had	8
looked upon as	8
i will be	8
instruments in the	8
the wood for	8
of the interior	8
wood to be	8
the viol da	8
instruments have been	8
the sitting room	8
all sorts of	8
the question of	8
a good maker	8
the piece of	8
between the two	8
the south mountains	8
of the several	8
of san domenico	8
it is clear	8
to enable the	8
by the chief	8
nearly as possible	8
the last century	8
will soon be	8
to the old	8
work of art	8
they would be	8
violins of this	8
who had been	8
length of time	8
that he might	8
of the principal	8
by the old	8
to see it	8
the opportunity of	8
of his having	8
such a thing	8
that i had	8
and joseph guarnerius	8
at the centre	8
he would have	8
to find a	8
of making violins	8
power of tone	8
see that the	8
to discover the	8
the upper or	8
and one of	8
now and then	8
to a great	8
of its being	8
of stradiuarius and	8
instruments at the	8
this should be	8
and to the	8
a part of	8
idea of the	8
character of tone	8
the court of	8
to have it	8
miss dorothy calvert	8
keeping with the	8
ready for the	8
of the window	8
some of which	8
the consideration of	8
in his work	8
what may be	7
to the world	7
with which he	7
all the world	7
must therefore be	7
the center of	7
the most of	7
turning to the	7
with the old	7
be borne in	7
the thought of	7
number of violins	7
to return to	7
with such a	7
it were a	7
france and england	7
as she had	7
may be mentioned	7
is described as	7
out of place	7
in the exhibition	7
he wished to	7
level with the	7
with his father	7
of the surrounding	7
construction of violins	7
does not seem	7
of violin manufacture	7
is evidence of	7
having been a	7
be out of	7
more of the	7
little more than	7
in the instance	7
of wood to	7
in place of	7
of the musical	7
so glad to	7
as we have	7
and the parts	7
to the instruments	7
instruments are of	7
a work of	7
to be brought	7
the reason of	7
of this work	7
i get to	7
lower part of	7
in the rough	7
that the instrument	7
that you have	7
must be cut	7
are well worthy	7
that of cremona	7
in a state	7
for which he	7
of the sixteenth	7
to such a	7
the difficulty of	7
i should like	7
what did you	7
that which is	7
which is of	7
no trace of	7
as the work	7
the love of	7
to the whole	7
that when the	7
down of the	7
not of the	7
that they have	7
is not of	7
can now be	7
the year he	7
is the case	7
we are indebted	7
a good workman	7
to about the	7
and he is	7
buried in the	7
that all the	7
a little over	7
set of instruments	7
and died in	7
dilettanti violin makers	7
the idea of	7
chiefly of the	7
and i hope	7
of the place	7
of the period	7
to such an	7
the belief that	7
each of the	7
all of them	7
it might be	7
joint of the	7
in the second	7
may be made	7
the e string	7
the majority of	7
part of it	7
pores of the	7
to be of	7
from time to	7
am glad to	7
the difference of	7
greater part of	7
we shall be	7
that is the	7
and the next	7
you are not	7
the italian school	7
the table is	7
of the collection	7
you have been	7
of tone which	7
may be found	7
the three great	7
to all the	7
are the most	7
of the capitol	7
his violoncellos are	7
think it is	7
block of wood	7
with the aid	7
the manner before	7
of the little	7
a few weeks	7
to dispose of	7
of bow instruments	7
the pattern of	7
by aunt betty	7
seen to be	7
of the time	7
the effects of	7
in the front	7
of the trip	7
of which were	7
the following morning	7
would be the	7
of removing the	7
neck or graft	7
this being done	7
i did not	7
be taken that	7
at the top	7
old italian instruments	7
dry and hard	7
of the car	7
may be necessary	7
as she was	7
an inch thick	7
for a violin	7
a high order	7
the broad end	7
i am anxious	7
with a view	7
and therefore the	7
like those of	7
to the belly	7
of a fine	7
of violins of	7
delighted with the	7
the excellence of	7
in a similar	7
for a time	7
all about it	7
right angles with	7
the white house	7
similar to those	7
of their instruments	7
and that she	7
the violin at	7
left by the	7
and we can	7
then the other	7
favour of the	7
of the leading	7
has a very	7
in olden times	7
characteristics of his	7
and frau deichenberg	7
of the violins	7
attached to the	7
close of the	7
a violoncello by	7
performer on the	7
to which he	7
be seen that	7
of chemically prepared	7
a very large	7
upper table and	7
time of his	7
of which have	7
school of cremona	7
interested in the	7
to the subject	7
church of san	7
he made violins	7
will at once	7
with a piece	7
of violins in	7
of the stage	7
for the back	7
her violin and	7
nature of the	7
in the big	7
formation of the	7
in the church	7
it is now	7
and that of	7
upper or lower	7
i think the	7
the neck to	7
was not a	7
many of these	7
master of the	7
of the operator	7
what is the	7
more than the	7
in the workshop	7
of the amatis	7
we have of	7
the same as	7
of a bow	7
the curve of	7
the fitting of	7
aunt betty was	7
familiar with the	7
evidence of his	7
in the face	7
in the musical	7
met with in	7
worked in paris	7
in the upper	7
of a similar	7
in my opinion	7
of the pupils	7
pressure on the	7
and when i	7
directed to the	7
stradiuarius and guarnerius	7
those who have	7
to know that	7
that he did	7
entered the room	7
and character of	7
i can make	7
a very small	7
instead of a	7
to which the	7
to the lower	7
the under part	7
marquis dalla valle	7
which should be	7
the part to	7
in reference to	7
with a bow	7
and i think	7
sure of that	7
for those who	7
the violin to	7
the pores of	7
the period when	7
of new york	7
be met with	7
wanted to know	7
of large size	7
one by one	7
where there is	7
small piece of	7
the matter of	7
application of the	7
you see i	7
of the well	7
an inch at	7
resembles that of	7
if i were	7
not likely to	7
the cultivation of	7
in those days	7
the marquis dalla	7
of the button	7
in his instruments	7
to be an	7
advice to pupils	7
this maker was	7
development of the	7
a set of	7
that there was	7
mass of air	7
qualities of tone	7
should like to	7
the next few	7
that she would	7
that i can	7
of the word	7
with his name	7
to be cut	7
i assure you	7
in the mountains	7
after a few	7
as a guide	7
backward and forward	7
to receive the	7
to refer to	7
mentioned in the	7
greatly to the	7
the celebrated italian	7
for you to	7
a copy of	7
it is well	7
this portion of	7
the violin world	7
son of jacob	7
i have ever	7
going to the	7
the process of	7
there are other	7
of a small	7
they had been	7
inferior to that	7
see you again	7
a violin in	7
were made by	7
to the second	7
by antonio stradivari	7
followed by a	7
to become a	7
have a little	7
of our subject	7
was of the	7
we had better	7
is not always	7
some idea of	7
previous to the	7
the tension of	7
of a stradivari	7
so long as	7
his best instruments	7
of time and	7
a most interesting	7
both as a	7
on the belly	7
the edge of	7
a good time	7
would not have	7
in common with	7
a period of	7
violins and tenors	7
made of a	7
you must not	7
the seventeenth century	7
that the varnish	7
she had been	7
the same year	7
given in the	7
during the last	7
the whole work	7
of its having	7
of the steiner	7
removing the upper	7
violin from the	7
to me that	7
the object of	7
there appears to	7
have been used	7
the career of	7
with a few	7
violin of this	7
lauten und geigenmacher	7
city of cremona	7
reference is made	7
by count cozio	7
and then the	7
teachers of the	7
maker of this	7
the loss of	7
he would not	7
in her voice	7
of the flat	7
time to time	7
like to have	7
the parts of	7
has been the	7
he would be	7
of the good	7
interior of the	7
a half inches	7
and tell me	7
with the grain	7
the other two	7
they did not	7
just a little	7
instruments of a	7
or you will	7
of the use	7
the english school	7
into the wood	7
branch of the	7
he should have	7
hands of a	7
it is unnecessary	7
down the mountainside	7
is no doubt	7
top and bottom	7
and quality of	7
such a manner	7
the same period	7
by the french	7
of his make	7
the outline is	7
and that it	7
is a good	7
the method of	7
work and varnish	7
did not know	7
as a violin	7
on the train	7
on the right	7
care being taken	7
the glue to	7
a violin maker	7
the same kind	7
to the point	7
the great brescian	7
a great measure	7
who was a	7
and it will	7
with aunt betty	7
if you are	7
you going to	7
is evident that	7
thicknesses of the	7
will be as	7
is said that	7
as if to	7
i have known	7
the life of	7
each end of	7
should be a	7
of the brescian	7
not at all	7
in addition to	7
what i want	7
the first to	7
are we to	7
to be one	7
has been in	7
of large pattern	7
a viol da	7
and a quarter	7
und geigenmacher in	7
point of the	7
at a glance	7
the operation of	7
you are to	7
there will not	7
case of the	7
of the life	7
and there are	7
to bear the	7
the eyes of	7
pass to the	6
off down the	6
he made many	6
of the many	6
of the connoisseur	6
to keep the	6
you know how	6
the left hand	6
think that is	6
a time when	6
together with his	6
be used with	6
it was made	6
judging from the	6
the room and	6
produced by the	6
is supposed to	6
the pressure of	6
the modelling of	6
mistress of bellvieu	6
was about to	6
the girls and	6
to the most	6
to see that	6
applied to the	6
it must have	6
the foot of	6
were to be	6
he made several	6
i must go	6
of his brother	6
the earl of	6
look at the	6
contents of the	6
proved to be	6
the dear old	6
that is not	6
a little while	6
hole in the	6
the champion crowdero	6
in the evening	6
placed on the	6
to cut the	6
a picture of	6
the top and	6
there is in	6
is unnecessary to	6
you would like	6
do you know	6
in advance of	6
with the first	6
of the joint	6
of violoncello playing	6
and some of	6
the bottom of	6
his having been	6
of the madrigal	6
famous for his	6
the removal of	6
of the building	6
of stradivari as	6
there is something	6
i am inclined	6
as you will	6
to be met	6
collection of instruments	6
of hard wood	6
he may have	6
the lower end	6
a few days	6
be ready to	6
it is impossible	6
a few seconds	6
an old master	6
enable them to	6
with a clean	6
compared with the	6
be a very	6
and its votaries	6
to the time	6
i have never	6
to be used	6
the glue will	6
in the valley	6
go over the	6
will be so	6
of excellent quality	6
the label of	6
son of carlo	6
great deal of	6
this has been	6
in the sitting	6
is a great	6
i can see	6
as you know	6
are indebted to	6
the violin being	6
much as to	6
the master of	6
the downward pressure	6
herr and frau	6
taken that the	6
of the rosary	6
but we must	6
with a sponge	6
love of music	6
and the best	6
the rise of	6
of wood for	6
the tools and	6
that they should	6
on the violins	6
had never heard	6
of violins and	6
and i must	6
are not so	6
are chiefly of	6
sense of the	6
it is probable	6
to the instrument	6
generally of a	6
off the stage	6
three hundred years	6
other makers of	6
and if the	6
few of his	6
in the wings	6
of the modern	6
by one of	6
one side of	6
so we will	6
to put the	6
glance at the	6
and to have	6
the instruments which	6
over to the	6
the best italian	6
the arms of	6
a description of	6
the place of	6
consideration of the	6
a tone of	6
is a matter	6
of the graft	6
antonio and girolamo	6
for his instrument	6
the state of	6
to take up	6
not a single	6
for the production	6
i should have	6
the boy had	6
of the bench	6
to show that	6
once or twice	6
in the making	6
is sure to	6
on the gallery	6
when the violin	6
and as i	6
of the more	6
to a good	6
the reach of	6
of this remarkable	6
to dorothy and	6
as he was	6
that the most	6
in the tyrol	6
with the greatest	6
down to a	6
is the result	6
the edges of	6
a good one	6
the grand pattern	6
alone on the	6
the walls of	6
we can go	6
from the centre	6
the violin the	6
play the violin	6
and then he	6
are mostly of	6
parallel with the	6
the publication of	6
way through the	6
to see them	6
in paris in	6
of the large	6
back and front	6
the door and	6
of the yacht	6
to be much	6
the list of	6
to produce a	6
we have to	6
with whom he	6
only a few	6
with a good	6
of any kind	6
was a most	6
of the very	6
the trouble is	6
and the work	6
him that he	6
says the chief	6
he left the	6
a high class	6
playing the violin	6
of the value	6
the french school	6
the front and	6
in some measure	6
the demand for	6
he said that	6
the years and	6
large number of	6
and the workmanship	6
of his best	6
history of music	6
in the production	6
born in the	6
and his family	6
these may be	6
to leave the	6
the world of	6
if you do	6
book on the	6
me to play	6
to get the	6
with the plane	6
but i do	6
a good tone	6
over which the	6
knowledge of violins	6
to be so	6
instruments of stradivari	6
being taken that	6
this is another	6
found to have	6
the wood being	6
for the other	6
the surface to	6
the concert was	6
to fit the	6
in this art	6
of art in	6
properties of the	6
the reader to	6
as the best	6
the two girls	6
in that case	6
but in the	6
he was also	6
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the nineteenth century	6
piece of pine	6
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of the viol	6
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piece of soft	6
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of the shell	6
to the surface	6
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of a few	6
antonius and hieronymus	6
an inch broad	6
the inside of	6
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his violins and	6
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another son of	6
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included in the	6
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that ole bull	6
i have already	6
style of the	6
it is certain	6
king of poland	6
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in these days	6
of italian instruments	6
to give the	6
to which they	6
a native of	6
on the same	6
and left to	6
said that he	6
the violin with	6
give you a	6
opening of the	6
in its natural	6
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will therefore be	6
by his son	6
a hundred years	6
state of the	6
eye of the	6
is found to	6
many excellent instruments	6
that will do	6
since the death	6
dorothy and alfy	6
out of his	6
hands of the	6
exhibition of vienna	6
the next room	6
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the belly of	6
if i can	6
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he became a	6
a short distance	6
of ole bull	6
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as you can	6
the cutting of	6
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when one of	6
that we have	6
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sooner or later	6
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instruments which are	6
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edition of this	6
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on the table	6
outline of the	6
of a kind	6
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you in the	6
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christie and manson	6
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the old french	6
a violin and	6
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the following day	6
the formation of	6
the help of	6
the two parts	6
and the chief	6
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by the use	6
young lady who	6
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model of the	6
of the small	6
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the preparation of	6
two hundred years	6
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of the case	6
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di salo and	6
of the way	6
a musical instrument	6
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in a moment	6
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be the best	6
this famous maker	6
the great cremona	6
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artists of the	6
to this maker	6
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so much for	6
after the death	6
the merit of	6
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viols and lutes	6
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the mistress of	6
along its course	6
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in the closet	6
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royal society of	6
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of the construction	6
the sound holes	6
what are you	6
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musical instrument maker	6
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refer to the	6
and there was	6