Transcriber’s Notes:

  Underscores “_” before and after a word or phrase indicate _italics_
    in the original text.
  Equal signs “=” before and after a word or phrase indicate =bold=
    in the original text.
  Illustrations have been moved so they do not break up paragraphs.
  Typographical and punctuation errors have been silently corrected.




                      HOW TO
                  STUDY FIORILLO

        A DETAILED, DESCRIPTIVE ANALYSIS OF
       HOW TO PRACTICE THESE STUDIES, BASED
    UPON THE BEST TEACHINGS OF REPRESENTATIVE,
               MODERN VIOLIN PLAYING

                        BY
                   EDITH L. WINN

                  [Illustration]

                     NEW YORK
                   CARL FISCHER
                       1913

                 COPYRIGHT, 1910,
                        BY
                   CARL FISCHER

          International Copyright Secured

              RESPECTFULLY DEDICATED
                        TO
               =_W. Davol Sanders_=




FIORILLO.


[Illustration]

Federigo Fiorillo was born in 1753, at Brunswick, where his father, a
Neapolitan, lived as conductor of the opera. It seems that at first
Fiorillo was a player of the mandolin, and later on became interested
in the violin. He went to Poland in 1780, and in 1783 was conductor of
the band at Riga, which position he filled for two years. In 1785 he
played with great success at the Concerts Spirituels in Paris, and also
published some of his compositions, which were received most favorably.
Three years later he went to London, where he seems to have met with
little success as a violinist, since he only played the violin part in
Salomon’s quartet-party. His last public appearance in London was in
1794, when he performed a concerto on the viola. There is very little
known about the rest of his life, except that from London he went to
Amsterdam, and was in Paris in 1823.

Among his numerous compositions are duos for violins, for piano and
violin, and violin and violoncello; trios for flute, violin, and
tenor, for two violins and bass; quartets and quintets for stringed
instruments; concertos for the violin; concertantes for two violins,
etc. These, though somewhat dry and old-fashioned, were favorably
received, and show him to have been an earnest musician.

However, there is one particular work, his _Thirty-six Caprices_, or
_Études_, which is known and valued by every violin player, and which
for a long time will probably remain a standard. They rank with the
classical studies of Kreutzer and Rode. This work has been edited over
and over again,—most recently by Emil Kross. Spohr wrote a second
violin part, but he altered the original text to such an extent that
his work is hardly authoritative, though decidedly violinistic and
interesting.




How to Study Fiorillo.




No. 1.


Many teachers of note cling to old traditions. The earliest extant
editions of Fiorillo, by Ferdinand David and others, have no expression
marks for the _Largo_ of the first étude. This was originally played
_forte_, counting four very slowly. The tone should be full and even,
there being absolutely no variation. This is excellent practice for
those who are inclined to play with a weak tone near the point of the
bow. A broad stroke requires a fine arm and excellent bow control. The
elbow joint should be very well relaxed. Such passages as occur in the
fourth, fifth, and sixth measures should be played with some tone-color
and taste, the eighth note being cut in anticipation of the rest.

[Music]

To cultivate a broad, free bowing and a full tone, one should practice
the _martelé_ at the point of the bow, where attacks are likely to be
weak. Also the frequent practice of the second Kreutzer étude with
four notes slurred is excellent, the bowing being at the point,
middle, and heel. Then there are staccato scales, which aid the student
in securing a fine tone and freedom of style in the upper half of the
bow: 1. One down-stroke and six notes staccato on the up-stroke; 2.
Two down, at point, and two up staccato; 3. The same exercise, using
triplets. Begin with the “G” scale in three octaves. The next thing to
govern is the broad continuous tone. This can only be done by long and
arduous practice of slow scales. A Berlin teacher plays one note for
two minutes with no variation in force or intensity.


THE ALLEGRO.

The Hermann edition requires that this part of the first étude be
played staccato. It is impossible to keep this up during the whole
exercise. The original intention of Fiorillo was that it be played
legato, with a broad, free stroke. The triplets are played in the
same manner in the upper third, or toward the middle of the bow. The
sixteenth notes must fall with evenness at the middle of the bow. This
is an exceedingly fine study for securing a flexible wrist, and should
be practiced very carefully.

[Music]

At the _Hochschule_, in Berlin, few of the teachers stress Fiorillo,
preferring the Kreutzer _Études_, followed by the Rode _Caprices_.
Fiorillo has much to offer that Kreutzer[1] does not stress at all;
therefore the études are very valuable.




No. 2.


[Music]

This étude is very frequently played in a mild manner, too slow for
the original intention of the composer. As the allegro of the first
étude is not possible at the proper tempo with the staccato bowing, so
the second étude loses its character if not played in a martial style.
_Maestoso_ means military or majestic in character, with broad bowing
and strong accents. The first two notes sweep the whole length of the
bow. The third note is also full bow, but very short. A quick stroke,
with the bow passing rapidly over the string, is the proper one. The
whole exercise is played forte. In the second measure, the bowing is
short and crisp at the point of the bow, the first group naturally
being played with the whole bow. The third measure is legato, broad and
free. Trills should be regular and of exactly the right length. All
passages like the second measure are usually played at the point of
the bow. After the first bar, some position work may be used (second
measure). Trills with the fourth finger are very difficult for some
players. Practice slow trills daily with the third and fourth fingers.
The first finger trill should be practiced very slowly and evenly,
great care being shown in string transfers at the close. In octave work
two fingers must fall at once with force and precision. The whole hand
moves. In double-stops, the fingers must fall simultaneously. Double
trills are not much more difficult than single ones. They should be
played with an even tone, and the fingers should fall with freedom.
If the fourth finger is weak, try some exercises from the Halir
_Tonleiterstudien_, repeating the exercises, faster and faster.

The measure immediately preceding the long continuous trills should be
played with a down bow. Practice this passage without the continuous
trill on C, at first (use a long smooth note and lightly dip the bow on
the D string, as if playing a little accompaniment). Let the trill be
continuous when changing from up to down bow and vice versa. Every note
should be cut shorter if before a rest. This must be observed through
the whole exercise. All chords should be played with a broad tone. This
exercise, so often neglected, should be played long and faithfully, for
it is the basis of other work which follows logically in study.

When playing the “22d Concerto” of Viotti, I always return to this
étude of Fiorillo and review it for the sake of the trills. This, with
a favorite étude of Kreutzer, aids me greatly in bringing my left hand
under control. The octaves are played near the point of the bow.

[Music]

This is one of the most artistic of the études, especially useful when
one is considering such a work as the “22d Concerto” of Viotti.[2]
Another useful work is “Je suis le petit Tambour,” by David,[3] a
composition now almost obsolete in a violin teacher’s repertoire.
Avoid a trivial style. The staccato is not absolute. The tempo and
character of a work govern that matter. The second line has been marked
in different ways by those who have revised Fiorillo. Note the Kross
bowings:

[Music]

I prefer separated strokes in passages like that of the second measure.

In double trills the fingers fall together with elasticity rather than
force. Be very careful to define the exact interval in the trill. Do
not disturb the tempo. Syncopation must not be forced. In trills in the
half-position play close to the saddle of the violin, and do not raise
the fingers until necessary. Play the chord of the new key as a chord,
not as an arpeggio. The bowing is as follows, with a broader stroke
than the staccato mark would indicate.

[Music]

Do not disturb the theme by forcing the accompaniment or by pausing.
The bow lies lightly on two strings, dips, as it were, upon the
neighboring string, to obtain the legato. Bow control in this case is
of great importance. Use the following bowings. The parts of the bow in
which each passage should be played are indicated:

[Music]

Play the last line with authority, the chords being slightly in the
arpeggio style with a stress on the lower note, the tone being firm to
the end of the bow.

[Music]

FOOTNOTES:

[1] For detailed and thorough study of the Kreutzer Études see _How to
Prepare for Kreutzer_ and _The Study of the Kreutzer Études_, both by
Edith L. Winn. Published by Carl Fischer, New York.

[2] See newly revised edition by Ovide Musin. Published by Carl
Fischer, New York.

[3] See newly revised edition by Gustav Saenger. Published by Carl
Fischer, New York.




No. 3.


This étude is played in two ways: first, a staccato run, up bow;
second, the mixed staccato and legato stroke, up bow. A free arm is
desired. While the short staccato with the wrist stroke is eminently
useful, the more brilliant staccato with the arm stroke is desired.
Naturally, the wrist and forearm are free, though the lateral stroke of
the wrist is not desired. Play in the upper third or near the point of
the bow.

[Music]




No. 4.


This étude is one of the most useful in the book. A free, broad,
slightly detached stroke, in the lower half of the bow, is preferred to
a short staccato.

[Music]

Professor Halir would teach double-stops and scales in thirds in a
free, broad style, lower half of the bow (note fingering in the second
position).

The whole bow may also be used. Play the scale runs, second line, in
the manner outlined in Halir’s _Tonleiterstudien_ (G.B. or U.H. raise
the bow after each group).

[Music]

He assumes that short position movements make a more perfect scale in
thirds possible. I will outline the bowings for the next three lines.
Keep the theme prominent. Raise the bow slightly from the strings in
defining phrasing.

[Music]

[Music]

The double-stops in the higher positions naturally fall in the middle
of the bow. Attack the chords with the up bow firmly, and play three
notes together. A free, rather detached bowing in the middle of the
bow, using the artificial spiccato, occurs at the close.

[Music]

Slightly accent the slurred group of two notes; raise the bow between
strokes. Play in the middle third of the bow.

[Music]

It is not always advisable to take these études in the order in which
they occur. The same rule applies to Kreutzer and Rode. It is possible
that the student may have some weak point which requires a review of
several études of a similar nature. For instance, I recall having been
made to play the second Kreutzer étude[4] many times while studying
other works, because my forearm was not free. The eighth and ninth were
frequently reviewed. Herr Markees, in Berlin, was a great taskmaster,
and frequently sent us back to the twelfth Kreutzer. I do not recall
ever having studied the first Kreutzer, nor the famous arpeggio étude.
Leopold Lichtenberg, and several other artists, teach both of these.
The first is very useful for graduation of tone. In the seventh and
eighth Fiorillo we find material for tone graduation. Let us practice
the crescendo and decrescendo faithfully, using examples from my “Three
Octave Scales.”

We must be patient with this work. It is one of the most difficult
things in the world to produce a beautiful crescendo and diminuendo.
In connection with this let us turn to the Bach-Gounod “Ave Maria,”
and play it _as written_. The famous Bach “Aria” is another example;
also the Handel “Largo.” A question has often been asked: Does the
bow remain parallel with the bridge during such work, or at a stated
distance from the bridge? Most emphatically not. The bow is nearer
the bridge in a crescendo passage, and right over the finger-board in
the diminuendo. There is a mistaken notion among students that when
one plays pianissimo very little bow must be used. Never was there
a greater fallacy. The softest tone is produced by gliding the bow
swiftly over the strings, its entire length, without pressure and over
the finger-board, not near the bridge.

It is one of the most difficult things in the world to produce a soft,
resonant tone. It is easy enough to play loud. So it is with singing.
I have learned more about the principles of tone from voice teachers
than from violinists. While playing these études, review constantly.
Play number one over and over. Number two with the Halir thirds, in C,
must be practiced daily. Halir plays double-stops, using the second
position instead of the third, and going from second to fourth and
sixth. It requires less shifting and is very playable. Always play the
double-stops singly, then two slurred, then in groups of four notes,
and finally eight notes. After a time play a whole scale up on one
box (two octaves C) and down with the opposite bow. Very few amateurs
can play the three octave scales thus. I prefer the C scale, as it is
easier for the hand. Halir says that a student should be able to play
thus (1) or thus (2):

[Music]




No. 5.


In connection with the study of number five, let us turn to Sevcik’s
_School of Bowing_[5]. I had always believed that the importance of
bow technic had been overestimated, until these works of Sevcik proved
beyond a doubt the great advantage of systematic study of varied
bowings. The Sevcik system is wonderful. There are exercises for every
possible limitation in violin study. The great question in bustling
American life is how to abridge a system only possible in a land where
virtuosos study “from the cradle to the grave.” Many wise teachers (for
Americans are, above all, practical) have used the Sevcik works with
success, and yet have not surfeited students with the same.

Let us consider Op. 2, Book 2, Section IV. First master the
progressions, that is, learn the exercise by heart. Keep the fingers of
the left hand _ready_ for use. Practice all exercises with slurred and
single bows at point, middle, and heel of the bow. I usually suggest
to pupils to practice exercise thirty-two faithfully before working at
the fifth Fiorillo, with three notes to a bow just below the middle.
Afterwards use six to a bow; then twelve. Practice number five in
octaves at the middle (play both notes at once). After that, play as
marked, accenting the first of every group of two notes. One can go on
with the Sevcik studies indefinitely, but I urge pupils to practice
these special ones for string-transfers half an hour per day, at
least. Always cross the strings lightly. In octaves, move the fingers
simultaneously, with no crescendo or forte.

The Hermann edition uses the crescendo, forte, and pianissimo marks.
Play at first with _uniform tone_ instead, accenting slightly the first
note of a group of two. Watch the syncopated passages in the third and
fourth lines, and do not accent too strongly. The accent is on the
second note of a group of two. The legato passages of sixteenth notes
are with a whole bow; the crescendo must be artistic. There must not
be a break in the legato for the sake of the crescendo. We remember
the mastery of the subtle principles of tone graduation in Joachim’s
playing. The special accents at the close of each legato passage (sixth
line) are difficult. At the close of the eighth line, give full value
to the dotted quarter note and play it forte. The next groups of two
notes are detached, the accent being on the second one. Make the trill
long and even. Begin the sixteenth notes, last measure of the tenth
line, with up bow. Play at the middle of the bow. Move the first and
fourth fingers together in octaves.

FOOTNOTES:

[4] See _The Study of the Kreutzer Études_, by Edith L. Winn.

[5] _School of Bowing_, by O. Sevcik, Op. 2 in two Books. Systematic
and progressively graded technical bowing exercises. Published by Carl
Fischer, New York. Price, 75 cents each book.




No. 6.


[Music]

_Andante sciolto_ means about the same as _Andante commodo_ (as slowly
as you please). At the middle, or upper half, of the bow, cut the notes
lightly and accent trills. The second four measures require grace and
ease in the upper half of the bow. Remember to discriminate between the
short staccato at the point of the bow and the broader detached stroke.
Be very careful of intonation at this point.

[Music]

The opening measures in the seventh line may be played with a raised
bow stroke, middle of the bow. Play near the point of the bow in the
last four or five measures of the étude, lightly and elegantly.

Important points to remember in this étude are: Passages bowed near
the point are light, as a rule; passages requiring broader bowing are
played forte. Always raise the bow slightly for an attack. Each group
must be well defined, with accents strong. Pause long enough between
the groups to gain poise. Always draw a long bow at the middle with
sufficient length to be free and to secure tone. In this exercise, as
in many others, the left hand is of most importance. It must be ready.
Do not lose time by the trill. Play the single notes freely. These are
not staccato. Whenever the staccato occurs in the Hermann edition, as a
rule one must play in a broader style. Those old composers did not use
the staccato much. Witness Fritz Kreisler playing a work of the period.
He gives it more tone-color and varied phrasing than in its period, but
he uses very little short staccato work. Number six is a joyous, light
work of the French school. It must be technically clean cut, and clear
as crystal.




No. 7.


While _allegro_ with the old composers was not like our modern
_allegro_, an _adagio_ was practically the same as at present. Full
bowing and a broad, free tone, as well as great dignity, were demanded.
I do not believe that the early violinists played with as great warmth
of tone and freedom as is now secured by artists.

The old masters played correctly and classically; they used the
crescendo and diminuendo, and were masters of tone graduation, but
they did not give the emotional treatment to their subjects that is
now an apparent necessity. This étude begins pianissimo, but one must
cultivate a “concert hall” tone, and make a crescendo in the first two
measures; the same in the next group. Tone-color is a prime essential
in this étude. Embellishments must never interfere with rhythm. Note
the _adagios_ of Mozart’s quartets. The old writers used embellishments
because they lacked intensity and were not skilled in the use of the
vibrato. Although number seven is not difficult, it must be technically
perfect. At line two repeat the up bow on the second note of the second
group. Always do this for beauty of phrasing. Keep broad bowing when
possible. Note in the sixth line some peculiar rhythm. Count four
steadily, using no embellishments, at first.

[Music]

The embellishments of the seventh line must not interfere with rhythm.
In bow length one must not be hampered by exact rules. Let the nature
of the passage decide the bowing. One must not keep trilling if the
phrasing demands a pause. The opening measures of the _allegretto_
are played at the middle of the bow, the staccato note being lightly
played. The _allegretto_ comes in jocund, with a slight pause between
groups, in the upper half of the bow. Try to maintain a _forte_
throughout.




No. 8.


[Music]

This is a dignified and stately étude which requires very much shading.
It is one of the most artistic of all, similar in character to the
first part of number one. The teacher may count eight instead of four,
if desirable, as we sometimes do in the _andante_ of a Mozart quartet.
Give the dotted sixteenth note a little more time, to suit the nature
of the work.

Again I would call attention to the second Kreutzer[6] étude, and slow
scales with the crescendo and diminuendo four times on one note. Many
claim that the vibrato affects the quantity as well as the quality of a
tone. At any rate, the vibrato must be used in such works.

Play the 4th, 5th and 6th measures of the first line as indicated.

In the next measure change

[Illustration]

to

[Illustration]

before the high G. After the double bar, practice long and faithfully
the crescendo note in the 4th position. Do not force the syncopation;
use the whole bow. Raise the bow slightly when you have groups of two
notes, thus:

[Illustration: (last measure, second line.)]

Play the last measure after _restez_ on the A string, going into the
5th position on C♯, and remaining there during the next three measures.
Come down to the third position on D. Play the trill in the fifth
position. Detach the groups of three notes, slightly raising the bow.
Be very careful not to hurry the _tempo_. The thirty-second notes are
played very legato, and the following fingering is preferred:

[Music]

FOOTNOTE:

[6] See footnote, page 3.




No. 9.


[Music: With the upper third of the bow.]

This étude is marked _allegro_. It is not so rapid a movement as to
interfere with a free forearm stroke. The _martelé_, or even a slight
staccato stroke, is not as useful as a broad, free bowing in the upper
half of the bow. The student will observe that while some modern
editions suggest the staccato, it was not true to the traditions of
Fiorillo’s time.

Begin with the upper half or upper third of the bow. A free swinging
stroke is desired. At the beginning of the sixth line play lightly near
the point of the bow and on the edge of the hair:

[Music]

We do not make string-transfers by tilting the bow from side to side.
We play on the edge of the hair, the long string-transfers being made
with a movement from the shoulder, if more than two strings are used.
Halir insists on the mastery of scale runs from the highest note of
the scale. The pupil must _think_ the tone at once, then he must take
his position without effort and remain in that position as long as
necessary.

[Music]

After we leave the third position, the thumb goes under the violin in a
horizontal plane. The fingers must fall well over the strings, without
unnecessary movements. One may rest the palm in the third position
or not, according to one’s physical limitations, but there must be
no pressure at the base of the first finger and no depression of the
joints of any finger in the positions. All fingers should seek their
places at once and remain fixed, unless one is playing vibrato. The
character and tempo of an exercise determine how it shall be played.
The first finger must always remain _near_ its original place, so that
the position may not be disturbed as a whole. Whenever the fourth
finger seeks a place, the first should fall at once into its position;
that is to say, the position must be mastered. In this étude the bowing
is varied, a sure test of mastery of several styles or forms of triplet
playing. One thing the teacher must insist upon: that the bow remain
usually on the outer edge, also that accents that fall with the up
bow shall be well defined. The closing chord, according to the tenets
of the Berlin school, should never be played like an arpeggio. Other
schools differ in this respect.




No. 10.


[Music]

This étude is similar in style to number nine. It should be played in
the upper part of the bow, _forte_. In taking the fifth position on the
last note, first measure, the first finger passes at once into place
and remains there. It is a very common fault, and entirely opposed to
a fluent left hand technic, to allow the first finger to be released
when playing in the higher positions. Note the Halir exercises for
sliding quickly from the third to the fifth position and back. One must
remember that the thumb does not _press_ on the neck of the violin,
also that it slides at once around the neck of the violin when passing
to the fifth position. One must never press with the fleshy part of the
thumb. The pressure point is below the joint, _on the bone_. Also, the
chin must relieve the thumb of all care as to support.

The fourth and fifth lines should be practiced near the point of the
bow, and memorized. After playing a run several times, the progression
is mastered. The player should play the whole passage mentally, then
place the fingers on the strings exactly as they will fall. I have
often asked my pupils to write down the arpeggios as an evidence that
they knew the musical content of certain études. Again we must insist
that all the fingers seek a new position at once. The strings should
not be pulled from side to side in the higher positions. This causes
false intonation. While a fairly free forearm stroke is desired, with
accentuated first notes of triplets, the staccato is not usually
practical. Too little bow gives no character to the work. Too much bow
causes a jerky movement of the forearm. Intonation is difficult in the
half-position, hence students must play such passages many times. The
fingers must be prepared for what is coming. In all étude work we must
read ahead and place the fingers mentally before we come to the next
passage. In the half-position work, fourth line, you will observe that
the note followed by two slurred notes may be played staccato lightly
near the point. A long stroke is dangerous to the freedom of the
forearm. We swing the forearm, the shoulder joint being free, the arm
following the wrist in passages like this:

[Music]

We also play near the point until the bow-arm is free. Single notes
are played staccato, lightly. Such passages as this, requiring slurred
notes, should be accented in this manner:

[Music]

The bow should be free, placed on the edge of the hair as much
as possible, with a slight undulating movement of the wrist, not
interfering with the legato. Contrasts of legato and staccato need not
be observed, the staccato being less marked than previously.

In passages like this:

[Music]

the legato must prevail, the proper note receiving its accent. Whenever
it occurs, keep near the upper third or point of the bow (the single
notes being sometimes played spiccato).

[Music]

The eleventh line requires some contrast between the staccato and
legato. Very short slurred notes should be played near the point of the
bow. (Play single notes spiccato.)

Now we come to one of the most difficult things in violin playing,
string-transfers, skipping one string. (For the development of the
bow-arm at this point, Sevcik’s _4000 Bowings_, Part II, Sections III
and IV, are very useful.) The arm moves freely from the shoulder,
the motion being away from the side. The bow remains on its edge as
much as possible. Accents, even when a note falls as a second one in
a slurred passage, must be observed. _The fingers should seek their
places simultaneously._ Keep near the upper part of the bow, the wrist
moving freely, not being under the plane of the elbow; the fingers are
relaxed, the fourth being on the bow-stick. As an example of staccato
bowing and the running legato combined, this étude is very useful.

[Music]




No. 11


[Music]

Many teachers claim that this étude should be practiced at or near
the point of the bow. A somewhat broader and freer forearm stroke is
more useful. As in other examples previously analyzed, the staccato is
not wholly desirable. The trill should be accented, and there should
be no variation in the equality of notes because of the trill. Hardly
more than two trills are possible. The student should read a whole
measure at a glance, and place the fingers at once in position. Perfect
freedom of the elbow joint is desirable. A free stroke of the wrist is
necessary in short string-transfers.

After the whole étude has been played in this broad, free style, play
it entirely through with short staccato bowing, about two inches from
the point. In the fifth line, the arpeggios are not played in the
half-position. As to position changes, remain in one position until
it is necessary to move from that position. The sixth line contains
the third position followed by the sixth. The fingers should fall at
once into the sixth position, the entire hand moving back to the fifth
when necessary, the thumb acting in unison with the fingers. Pupils
must be perfectly familiar with position work. When the fifth and
sixth positions are to be used, the thumb lies flat under the neck of
the violin and the fingers are curved over the strings. Never move
the hand or depress the fingers until the work in a certain position
is finished. We now come to a passage in which we take high E in the
fourth position.

Those students who have not been trained, like the followers of Halir,
to play three octave scales and arpeggios, beginning on the highest
note, are likely to make errors at this point. To the student of
Fiorillo, however, one position should be as familiar as another.

Again, we take F♯ in the fifth position, but this is not so difficult,
as we have just played G. The prevailing difficulty with players is
that they continually get ready for a new position before it is time
to do so, giving the hand a restless motion, and changing the position
of the fingers so that they play falsely. The thumb is invariably too
slow in slipping under the violin. The thumb at the middle joint must
be depressed, and there must be as little pressure as possible there;
the chin, resting firmly, makes freedom possible for the thumb. It is
very noticeable that Kubelik has marvelous facility in taking the high
positions, his fingers falling into place with surprising dexterity.
He has a perfectly trained hand. As before, the player glides with the
entire hand back to the fifth position, then to fourth, and lastly
to the third; again, we take the fifth, then fourth, then third,
second, and first positions. The thumb must be absolutely free, with
no pressure at the middle joint, and always in advance of the first
finger, the hand moving as freely as possible.

The transfers across four strings should be made with ease, the arm
moving out to the side from the plane of the shoulder, the wrist being
free. In changing positions, the finger last used moves into the new
position. The secret of playing this work well lies in the _absolute
freedom of the thumb_. Students may observe that in the last line the
transition must be made from the sixth to the first position, the hand
reaching far over on the G string, the thumb resting on its tip, yet
never quite released from the neck of the violin.

[Music]

This étude is most valuable as a study of positions, while it offers no
varied bowings. It is purely a technical exercise, radically opposed in
style to the beautiful examples of cantabile playing offered by numbers
one, seven, and eight.




No. 12.


Few of the Fiorillo _Études_ are played by the student strictly
according to metronome time. Not so with Rode. His _Caprices_ are
often studied abroad for three years; and, by the time the student
has completed them, he plays them like finished pieces, at metronome
time. Often, too, the Rode _Caprices_ are memorized, but the Fiorillo
_Études_ rarely are. The Berlin school neglects Fiorillo to a certain
extent, but Halir, one of its best exponents, spends considerable
time in the study of them, giving to them the grace, vivacity, and
lightness of the French school when the text so demands, and also
striving for the breadth of the German school in pure cantabile work,
as found in slow movements. For intricate bowings Kreutzer, with the
supplementary Massart[7] bowings, is adequate. Fiorillo’s _Études_, as
previously stated, cannot be studied in their order. Individual needs
govern the teacher. Perhaps one student may be studying Fiorillo,
while, also studying the more difficult trill and double-stop _Études_
of Kreutzer. Some of the Kreutzer _Études_ have never been given to
me by teachers. It is equally true of Fiorillo. If I seemed to have
a weak point in technic, or if my bowings were stiff and angular, I
returned to Kreutzer. I was taught Kreutzer and Rode, over and over, in
Berlin. Many of the Berlin teachers say: “Get technic from the standard
Concertos. Do not spend too much time on technic pure and simple.” The
question in the mind of the Joachim School is “How is it possible for
the Sevcik followers to have a repertoire, when they are made to study
technical works of such length and seriousness as those of Sevcik?”

[Music]

The twelfth étude of Fiorillo is not one in which technic is prominent.
Its object is mainly the freedom of the bow-arm. The fingers of the
left hand should be placed lightly over the strings, in readiness for
their movement. They should anticipate a change of position. If the
left hand is ready, bow technic is more easily secured. Note in the
Hermann edition that the étude is marked _forte_. It should be played
lightly, the upper third of the bow being used. There should be no
marked contrasts of the legato and staccato; in fact, the staccato
mark is not to be interpreted as necessary in such études as this,
because the stroke is so free. It would be impossible to play this
étude _forte_ in the upper part of the bow, and give it lightness and
grace. The short staccato also gives less breadth to the stroke. In
similar passages the length of bow used should be about uniform. Note
the inclination to cut the second note of a group of two tied notes in
anticipation of a single staccato note. This should be avoided. All
violin jerking of the bow on single first notes of a group should be
avoided. The student should be careful to slide the thumb well under
the neck of the violin in the fifth position passages. Do not move the
hand while in one position, in anticipation of the next position. Do
not depress the fingers in the fifth and sixth positions before passing
to the third.

In this passage avoid forced attenuation:

[Music]

Continuous syncopation should be uniformly smooth and even. Nothing is
of such value to a violinist as a perfect command of the transition
from the third to the fifth position, and vice versa. Many faults of
technic arise from too much pressure of the thumb upon the neck of
the instrument, thus giving the player no freedom, and inducing a bad
habit of bending the thumb instead of strengthening it for the fifth
position. If extensions are to be made, slide the thumb a little
farther under the neck of the violin, and curve the fingers well.

[Music]

Note in the sixth line the fifth position passage on the A string. Many
players have to move the whole hand at this point, so that the fingers
may lie easy on the string. The hand should assume a position which
will enable the pupil to play with ease. The newer chin-rests, which
are wider than the former ones used, do not seem to enable one to hold
the violin with ease. The chin should rest on the edge of the chin-rest
rather than far in or on the tail-piece. The muscles at the back of the
head become cramped by gripping too hard. A little piece of chamois
leather placed between the left jaw and the chin-rest will prevent a
bruise of the flesh, the bane of professionals.

In the ninth line we have the form of bowing known as two cut and two
slurred notes. The notes that are cut are not to be played sharply
at the point of the bow. They are swung lightly along the strings,
using about one-third of the bow, the tempo being moderate. Again,
the student must be cautioned against cutting the value of the second
slurred note in anticipation of a single staccato note:

[Music]

Note the _forte_ passage in the lower half of the bow:

[Music]

This should be played in a somewhat disconnected style in the first
half of the measure, with a strong accent on the first note of groups
of two. The latter half of the measure falls about in the middle of the
bow. A free stroke, not too short a staccato, is preferred.

The tenth line opens with an arpeggio played _forte_ with staccato and
legato strokes. The next similar passage is played pianissimo, in close
imitation as to style. All passages of this nature are smoother in
the upper part of the bow. Avoid forced accents or any movement which
interferes with free bowing:

[Music]

In the twelfth line a short legato passage is played in the upper half
of the bow rather than with the whole bow. When one passage closes
with down-bow, there should be no break in passing to the up-bow. Two
notes slurred lie in the upper half with as long a bow as the tempo
will allow. In passing from a long legato passage to a short one, it is
well to estimate so well that the part of the bow desired may come at
once under control. All passages requiring quick transitions on four
strings should be played as broadly and with as free a bow-arm as the
tempo will admit; in other words, too little bow gives no value to the
passage, while a light stroke with a longer bow is made more valuable.
Naturally, if the tempo is increased to allegro, we must remain near
the point of the bow. When four strings are required, the bow-arm
must be higher, and the distinction between a forearm stroke and a
pure wrist stroke must be well defined. In rapid legato passages all
pressure upon the bow-stick must be avoided.

Keep the legato work that follows in the upper half of the bow,
avoiding pauses between bows, or unnecessary accentuation. Short
groups of slurred notes must be played near the point of the bow.
Short string-transfers are made with the wrist, and three or four
string-transfers with wrist and arm, the bow never being tilted on its
inner edge. Play on the outer edge of the hair as much as possible,
resting the bow on two strings, or as nearly so as possible. Do not
release the fourth finger from the bow-stick. Rest it at least against
the stick if not on it; all work, especially in the lower half of the
bow, demands this security of the hand. For string-transfers of this
kind, see Sevcik’s _School of 4,000 Bowings_, Parts III, IV, and V;
Casorti’s _School of Bowing_;[8] the work of Hans Sitt, Op. 92;[9] and
the Kross _Art of Bowing_.[10]

FOOTNOTES:

[7] _The Art of Studying R. Kreutzer’s Études_, by L. Massart. Four
hundred and twelve examples, compiled by the advice of the author.
Revised, translated, and edited by Gustav Saenger (English, French, and
German Text.) Published by Carl Fischer, New York. Price, 60 cents.

[8] _Technic of the Bow_, by A. Casorti, Op. 50. A standard work of its
kind. Published by Carl Fischer, New York. Price, 75 cts.

[9] _Technical Studies_, by Hans Sitt, Op. 92. Part I, Exercises and
Studies for the Cultivation of the Left Hand. In three Books. $1.00
each. Part II, Exercises and Études for the Special Development of
the Right Hand. (Technics of the Bow.) In three Books. $1.00 each.
Published by Carl Fischer, New York.

[10] _The Art of Bowing_, by Emil Kross. A practical, theoretical guide
for developing the technic of the bow and for acquiring a fine tone.
Price, $1.00. Published by Carl Fischer, New York.




No. 13.


[Music]

This graceful and interesting étude partakes of the qualities of the
French school with added dignity. The _andante_ must be smoothly
played, the portamento work being given especial value through position
changes.

Strange as it may seem to the amateur, artistic phrasing begins with
études; for instance, many of the _Études Brilliantes_, by Mazas,[11]
furnish excellent examples. A natural crescendo occurs in the last four
measures of the first line. The _andante_ is graceful and dignified,
a perfect example of legato playing. Transitions from third to first
position should be made without disturbing the beauty of phrasing. It
would be well to analyze this _andante_ with students, pointing out
simple rules of phrasing. In groups of two notes, accent the first
slightly and pause between groups, closing the phrase with a slower
tempo. It is of the utmost importance that rules of phrasing should be
taught in études and applied to the standard Concertos. If études mean
anything, all that is contained in them should be brought out. This
relieves dry and lifeless study, and gives us ample opportunity to make
musicians, not machines.

The _Presto_ must first be practiced slowly until a command of bowing
and technic is possible. The octaves are played in the upper half of
the bow, with a slight accent on the first note of each group, the
groups also being slightly separated, though the bow is not raised from
the strings. Keep nearer the point than the middle of the bow. Do not
hold any note too long. Make phrasing clean-cut.

The fingers work simultaneously, and must not leave the strings during
a passage. In playing octaves, relax the wrist inward and curve the
fingers well. Keep the thumb free and in advance of the first finger.
Everything depends upon the holding of the violin with the chin, not
with the thumb and first finger. The bow-arm must be very free. The
player should not be timid, sliding the fingers into place. _The hand
and fingers move together._ The trilled notes should be played with a
sharp accent, the legato being contrasted with a short, crisp staccato
in the upper part of the bow, about two inches from the point. This
passage should be played near the upper third of the bow.

[Music]

Notes not marked staccato are to be played freely, with a forearm
stroke. Place the fingers at once in position for arpeggios. Note the
suggestions of the Kross edition of Kreutzer, in this respect. By the
time the student has reached Fiorillo, he must be familiar with all
forms of bowing. He is now to apply himself to technic.

String-transfers must be made easily. Returning to the octaves, one
must play with a free running legato in the upper third of the bow.
Note the arpeggios, which must be played staccato very crisply near the
point of the bow. There is a prevailing tendency among students to play
the slurred legato notes with a longer bow than the single detached
notes. A freer style is that of uniform length of bow throughout. When
it is possible, play a long swift stroke in preference to a short one
in passages of this kind:

[Music]

In a sudden transition to high D on the A string, the portamento is
allowed. The stroke is a forearm one. Now we return to the octaves. If
there is any trouble at this point, play the notes together until the
pitch is quite accurate. There is also another advantage. In octaves
the bow lies on two strings, and this is an aid to the mastery of a
pure legato in a passage in which the notes are not played together.
Note the almost perceptible crescendo as the octaves progress. After
several measures in which the forearm stroke is used, we come to short
groups near the point of the bow. In the fourth line from the end, we
return to the short passage, to be treated somewhat freely.

[Music]

In passing to the seventh position on the D string, avoid a nervous
jerking or undue pressure upon the bow. The portamento is naturally
desirable.

The arm should be well under the violin in the octaves on the G and D
strings.

[Music]

The last chords are not played like arpeggios. They must be full of
decision. The down-bow is used in each case.

FOOTNOTE:

[11] _Seventy-six Melodious and Progressive Studies_, by F. Mazas,
Op. 36, in three Books. Book I, Études Speciales; Book II, Études
Brilliantes; Book III, Études d’Artistes. Price each, 50 cents.
Published by Carl Fischer, New York.




No. 14.


[Music]

It is an erroneous idea that those outside of the French school
sometimes entertain concerning the nobility of tone of that school.
In cantabile work, tone-color and proportion are sought and obtained.
Brilliancy, vivacity, and piquancy belong to the French temperament,
but depth, dignity, and nobility are possible, even in a Frenchman.
Hence it is that such exponents of the French school as Thibaut,
Kreisler, and Marteau play an _Adagio_ with beauty and nobility. The
German school, while essentially lacking in versatility, lightness,
and elegance, as compared with the French, excels _only_ in breadth
of tone, purity, and dignity. It is absurd in these days of constant
comparison between schools, considering the frequent study of great
artists in several Continental schools, to assume that any one of
them has the only legitimate interpretation of the classics. The
French-school artist plays Corelli and Tartini with more poetry and
varied tone-color than the German-school artist, giving to all the
classics of that period more modernity and consequent beauty than they
ever possessed in their time. Again, the present use of the vibrato
gives warmth to any classic. I speak of these things because one can
learn to play the _Adagios_ of Fiorillo and Rode in Paris.

In connection with this étude, played largely on the G string, it would
be well for the student to study such works as the Raff “_Cavatina_,”
the Bach “_G String Air_,” an Air from a “_Suite_” by Johann Mattheson,
and other works which will give one perfect freedom in the higher
positions on one string. The G string has always been a favorite one
for beautiful slow movements of Concertos. Both Bach and Paganini
realized its possibilities. Possibly the student holds the neck of the
violin too tightly with the thumb. The latter must be ready to move
quickly into any position, the fingers being well arched in the very
high positions. A perfect command of the legato and fine discrimination
in the use of the portamento are desirable. One should avoid sliding up
and down the strings when the phrasing does not demand the portamento.
Do not hurry the movement. Pause between phrases to give added dignity.
In playing very high on the string, do not press upon the strings too
heavily with the bow, as the length of string is now so short that
additional pressure gives a rasping tone. Practice the crescendo.
Economize space in long bowing. Do not allow the fingers to leave the
strings at such points.

A perfect legato can only be obtained when the fingers and bow are in
perfect sympathy. A somewhat dignified trill is necessary. Maintain
the proper tempo. In the last line preserve the legato even if the
grace notes seem to disturb it. At the close begin the trill slowly;
then increase the rate. If the student fails in the command of the
higher positions, use the Halir studies daily. Freedom will soon be
secured.




No. 15.


[Music]

You will observe that the older composers of technical works used easy
keys. They themselves were players of the violin, and knew how to
write in a violinistic manner. You will also observe that two methods
of playing this étude are indicated. As a special daily exercise, in
connection with this étude, I would suggest Sevcik’s _4,000 Bowings_,
Op. 2, Part 2, Sections III and IV, two and three string transfers.
After playing these exercises for an hour, including the Halir legato
studies, pages 1 to 4, _Tonleiterstudien_, the wrist and forearm are
supple for the daily work, while the left hand falls easily into line.
In all technical work the left hand must be trained to anticipate the
bow-arm. More depends upon the left hand than upon the bow-arm, hence
the necessity of strong fingers and an ample technic.

_Allegro_ is an elastic term in the classic études. Play slowly and
without stumbling until you master the content of the work, then
increase the tempo. The preferred method of playing this étude is
the lower one. Play in the upper third of the bow, not _forte_, at
first, until freedom of the bow-arm is assured. A lateral stroke of
the wrist is not necessary. The wrist should be flexible and free,
however. Play a smooth, running stroke, for a pronounced staccato is
likely to make the muscles of the fingers and wrist rigid, unless one
has perfect command of the bow-arm and hand. The student should train
himself to read ahead of the measure he is playing. Place all the
fingers in position at once, whether a new position is to be taught
or not. A prevailing tendency in this work is to play with a stiff
arm and to use too rapid a tempo. That is not wise. Play slowly until
freedom is assured. The sequence of positions should not trouble the
player. String-transfers should be made on the edge of the hair, or
as nearly so as possible, and there should be no “tilting” of the bow
from the outer edge to the middle and then to the inner edge of the
hair. Keep the forearm high enough so that the bow lies easily on two
strings. Always anticipate string-transfers by practicing arpeggios
on four strings, with the entire arm well arched and no break in the
curve. While many short string-transfers, especially at or near the
point of the bow, require only the use of the wrist, there is an
almost perceptible movement of the arm from the shoulder, so that the
curve described on the strings may be easy and graceful. This is one
of the most important things in connection with the obtaining of a
beautiful legato. A study of my _Three Octave Scales_,[12] with varied
bowings, in the upper half of the bow, should be carried on during the
entire study of Kreutzer and Fiorillo. Note the difficulty of easy
string-transfers in the sixth measure. These are very treacherous,
if one has not mastered the two suggested bowings in the first five
lines. Now, let us take the passage slowly near the point of the bow,
the first note being played lightly staccato, and the next two slurred
notes staccato on the up bow. Do not jerk the first note of the group
of three. Sometimes teachers prefer to use single detached bowings
throughout the exercise. That is not desirable; in fact, all students
of this work should have a thorough knowledge of positions. I do not
believe in the practice of many and varied bowings in connection with
Fiorillo. We have practically fixed the fundamental bowings in the
first twelve Kreutzer études. At present many teachers are using the
Sevcik _4,000 Bowing Studies_, and carefully teaching Mazas’ _Études
Brilliantes_.[13] Sitt and Dont must inevitably aid in the mastery
of bowings, as well as of position work. There is so much to learn
from standard Concertos that it seems unwise, in our busy American
life, to burden the student with too many études. If he can learn the
great principles of violin playing from well-known works, or a few
well-chosen études, he has time for the study of legitimate classics.
The entire Sevcik plan is too extensive and impractical for American
violin study; nevertheless, the most progressive teachers are adapting
Sevcik to the needs of their pupils. We cannot teach as Sevcik teaches;
our entire conditions of life are at variance with European conditions.
If the preparatory work for Fiorillo is well done, we may be sure that
the student will progress rapidly, and there will be no need of the
introduction of many and varied forms of bowing at this point. Review
with the flying staccato in the lower half of the bow, also at the
middle of the bow spiccato.

Play the following measures at the point of the bow:

[Music: On 2 strings]

FOOTNOTES:

[12] _Daily Exercises_ and _Three Octave Scales_, by Edith L. Winn.
Published by Carl Fischer, New York. Price, $1.00.

[13] See footnote, page 30.




No. 16.


Again, the term _Allegro_ is a somewhat elastic one. The stroke is at
or near the point of the bow, the first note covering enough space so
as to allow a longer bow for the three slurred notes. This group should
be sharply accented. Play _forte_ throughout. Play the longer staccato
groups in the second and third line near the point of the bow, using as
little space as possible, until we come to the last two notes. Owing to
the modulations in this étude, I frequently ask students to memorize
it. We usually analyze it. There is a growing tendency among violin
teachers to analyze all technical works and pieces with students.
Foreign teachers rarely do so. It is a question whether the lesson
should include harmonic analysis. That should be taught elsewhere.
The violin teacher’s duty is to teach the pupil how to _play works_.
Harmony and theory should be taught in classes. It is wise, however, to
call attention to keys. All the major and minor keys should be studied.
Remember the sharp accentuation on the first note, down bow, of slurred
groups of three notes.

[Music]

The trill should be played with a down bow. Raise the bow slightly
between octaves; also play at the middle of the bow. Accent trills. The
fingering in the last three measures is as follows:

[Music]

[Music]




No. 17.


[Music]

A brief glance at this étude would naturally give one the impression
that it is played in a light manner. It is, however, one of the most
interesting _Adagio_ studies in violin literature. The Fiorillo études
are not single detached studies. They flow into each other, as it
were, naturally, and with sufficient variety as to tempo and themes to
make them fascinating and agreeable. This étude leads into the more
rapid eighteenth étude gracefully and with dignity. Both études are
usually taken out of order, on account of their difficulty, and the
Kreutzer double-stop études are reviewed. Phrases should be full of
meaning, clean-cut and distinct. The fingers must fall simultaneously
in double-stops. A slur within a slur requires a slight separation, but
not the raising of the bow. Note the exact reproduction of the first
phrase, with the position of notes inverted, in the second phrase. Note
the second and third measures, second line, the short staccato being
avoided.

[Music]

The long staccato double-stop passage should be played with slightly
detached notes, not staccato in the extreme sense, with a slight ritard
toward the close, about two-thirds of the bow being used, so that the
following legato passage may be free. The next two notes slurred must
be played near the point of the bow, followed by a staccato passage, as
before played lightly and detached, with a free running stroke. When
there are groups of two notes, the first is accented. Phrasing must be
clean-cut at this point:

[Music]

Naturally there is a ritard at the close. The first part of the étude
begins on the tonic triad, with the fundamental note absent. It is
well to call the attention of the student to the fact that the second
part of the étude opens with the dominant chord, the fundamental
note being absent. There is a decided pause in the fourth measure,
owing to the demands of phrasing. The student should play one phrase
repeatedly until mastered. The fingers move simultaneously into new
positions. They must take the position at once. In the third line
the accompaniment to the theme must be lightly played, no note being
carried over a rest. Do not accent in syncopated passages, nor play the
note of the accompaniment too loud, giving it more than its value. In
the seventh line the short notes or groups should be played almost in
a recitative style. The student should think his interval at once when
suddenly passing to double-stops; in the higher positions the fingers
fall together. The long runs may be played more nearly in staccato
style. In the third measure from the close, play the thirty-second note
at the heel of the bow.

[Music]

In order to fully appreciate this étude, it would be well for the
student to hear the great singers in such works as _Bocca bocca bella_,
by Lotti, or _Vieni che poi sereno_, by Glück, which offer examples
of pure technic and beauty of phrasing. I believe I can say frankly
that I have learned more about phrasing from the study of voice
than from violin study. At any rate the one aids the other, and the
student must learn to play Fiorillo and Rode like an artist, giving
to purely technical works a value that will materially aid him in the
interpretation of pieces. Style and phrasing are so essential to violin
playing that one should hear much good music, and all teachers should
be able to illustrate the important principles of bowing, phrasing, and
technic.




No. 18.


[Music]

For finished studies, using double-stops, études seventeen and
eighteen are unexcelled. The latter, like the twelfth Kreutzer, may be
played for years with profit. The student should not enter upon this
study untrained. Beside the preparatory work of Kreutzer and Sitt,
there are excellent double-stop exercises of Wilhelmj Hřimaly, and
especially of Halir, used so little as yet in America. Halir’s idea is
to teach double-stop scales in sections, beginning with the C scale.
This étude should not be played rapidly. Allegretto is a diminutive
term. Play in the lower half of the bow, the bow being raised for each
note. The student should place the fingers simultaneously. The fingers
move together. The positions must be thoroughly understood before this
étude is studied. One may practice it for months with profit. Generally
the upper part of the bow is preferred, with a smooth running stroke of
the bow. Teachers differ concerning the manner of teaching this étude.

All staccato passages are usually played crisply, with freedom. Note
the manner of playing the Halir double-stop scales with varied bowings,
i.e. (1) Lower half detached; (2) Two notes tied; (3) Four notes tied;
(4) Entire scale in one bow. It is always best, when a student is
advanced, to study these études of Fiorillo first with the bowing as
marked, not with easier forms. It is far better to play a passage over
and over until correct, than to institute an easy method of bowing.
A mastery of technic requires constant repetition. Take the tempo
slowly at first. Always _sing_ tone and play with as broad a stroke
as possible under the circumstances, so as to cultivate a broad, free
style. A very light passage may often be played with detached notes,
using nearly the whole length of the bow. When playing double-stops
lightly, do not press upon the bow-stick; play over the finger-board,
with a light loose stroke. The middle of the bow is an excellent place
in which to play the double-stops, as found in étude 18 and elsewhere.
For small hands I would recommend the following method of playing
tenths: Draw the first finger around so that it lies almost flat on the
string at right angles to the neck of the violin. Then place the fourth
finger in position. It is probable also that this finger cannot be
curved. The thumb is well round under the neck of the violin. It must
be flat, close up to the neck. Do not release it entirely from the neck.




No. 19.


[Music: Allegretto. With the middle.]

This étude begins lightly spiccato at the middle of the bow. With the
crescendo the necessity for a broader stroke arises, and we dispense
with the spiccato. The following passage is played toward the middle of
the bow the stroke becoming a spiccato:

[Music]

Keep in the upper third of the bow when the tied notes are alternately
long and short. In the seventh line, second measure, play the staccato
run at the point of the bow:




No. 20.


[Music]

As an example of string-transfers in the positions, especially upon
four strings, this étude is unexcelled. Play lightly near the point
of the bow. Prepare for each change of strings and for rapid position
changes by reading in advance. Always keep the bow well over two
strings. If four strings are to be used, raise the arm, the entire arm
being in the same plane. A running legato at the point of the bow is
desired.

Raise the arm out from the side, the whole arm moving in the same
plane, the wrist leading. Note the great value of this étude as a
preparation for the third movement of the Concerto in A minor by
Bach. Short string-transfers require that the two fingers used fall
simultaneously on the strings. The arm always follows the wrist. If
arpeggios occur in the higher positions, place the fingers as upright
as possible on the four strings. A variation in point of attack
interferes seriously with intonation. Note the necessity for perfect
intonation. The wrist leads in transfers, a backward dip securing a
perfect legato. Do not secure it by playing on the inner edge of the
hair.

If the legato is not easily played, review the eighth Kreutzer étude in
groups of two notes at the point of the bow.

A study of Hans Sitt’s double-stop études[14] and Section IV and V of
Sevcik’s _4,000 Bowings_ is desirable. If the étude is first played in
double-stops, the student gains the habit of thinking the relation of
tones, also the bow gains facility, and lies well over the strings.

A running legato passage of two notes to a bow is usually played
anywhere from the middle to the point, preferably near the point, if
pianissimo. A quick command of the sixth position is not easy. Two
fingers, at least, should fall at once into place. The bow should lie
almost over two strings at the point, or near it. There should be no
visible rise and fall of the arm for two-string transfers. In moving
from position to position, the legato should not be disturbed. A slight
accent on the first note of each group of two gives character to the
étude. In this passage, where more than two strings are to be used, one
naturally moves the entire arm.

[Music]

[Music]

A slight undulating movement of the wrist, not lateral, gives
freedom. Play near the edge of the hair as much as possible. Raise
the entire arm for a transfer from the E string to the G, the wrist
leading slightly. Describe a curve, not an angular movement. Do not
turn the violin far over to the E side. Hold it lightly with the
chin and let the body of the instrument be nearly flat, that is,
make the angle as small as possible. If the G string is high in
the air, the E will be correspondingly low, the arm close, and all
legato work or string-transfers correspondingly difficult. The rule
of reading ahead and placing fingers on the strings at once always
holds good. As examples of this style of bowing, one may mention the
Sevcik _4,000 Bowings_, Part 2, Section III, IV, V; also the Sitt
_Technical Studies_,[15] 2d part, Op. 92, with the chords played as
arpeggios in many ways. There are many other studies of this nature;
for instance, the Kross _Bowings of Kreutzer’s Studies_, Nos. 1 and
8.[16] Naturally the student must _think_ modulations, even if he
is perfectly familiar with his position work. Keep the thumb well
under the neck of the violin, so as to compass four strings easily
and at once. A wise plan with students who are very careless about
making smooth string-transfers is to ask them to play the groups
as double-stops singly in the lower half of the bow, using a light
detached stroke. When playing such passages as this do not throw the
wrist out, necessitating a perfectly flat fourth finger. All fingers
should be arched. Marie Herites, one of the best early exponents of the
Sevcik school, has a very excellent method of playing tenths, in spite
of her short fingers. She brings her first finger far around, so as to
fall at right angles to the neck of the violin. It lies flat in this
position and the fourth falls easily into place, slightly curved. The
wrist is somewhat out of position, and the thumb far under the violin,
but results are satisfactory. Every one can conquer limitations of the
hand. No. 20 is not a virtuoso study. It belongs essentially to a good
repertoire, but it is not easy, and must therefore be practiced until
perfect freedom is secured and intonation is perfect.

FOOTNOTES:

[14] Hans Sitt, _Technical Studies_, Op. 92, Part I, Book III, Double
Stopping, Thirds, Sixths, and Octaves. Published by Carl Fischer, New
York. Price, $1.00.

[15] See footnote, page 29.

[16] See footnote, page 29.




No. 21.


[Music]

Several editions of Fiorillo suggest varied bowings for this étude. We
have practiced varied bowings with Kreutzer, Sevcik, and other works.
One should be familiar with bowings before the study of Fiorillo.
The content of the étude must only be considered. Use a light legato
bowing near the point. The question has often been asked, “Does the
thumb bend in the fifth position?” After we leave the 3d position, the
thumb becomes flat under the neck of the violin. Be very careful of
intonation when the key changes. At this point do not change position.
It is an invariable fault of students:

[Music]

A quick transfer from third to second position must be made easily.
All passages of a chromatic nature, or in which there are sudden
modulations, should be played a good deal until correct intonation is
assured. Owing to the great similarity between Nos. 20 and 21, it is
wise to play the twenty-second before the twenty-first.




No. 22.


[Music]

The twenty-second étude is one of the most beautiful adagio studies in
violin literature. It is particularly useful to those who are studying
the Bach _Sonatas_ and the Spohr _Duos_. There is no need of playing
the first note timidly. One should be able to _think_ A, because of
the knowledge of absolute pitch. The position of the note is naturally
difficult. The thumb must lie well under the violin neck, in order
that the passage on the A string may be played with ease. Do not pull
the A string from side to side in the higher positions. This causes
false intonation. In the fourth measure use the third position, then
change to second position. As to the length of bow required, the volume
of notes and number on one bow govern the length, but a uniformly
broad style is advocated. One serious difficulty in the étude is the
command of the crescendo and diminuendo. Practice the three octave
scales, single whole bow slowly, making a crescendo four times. Use
the vibrato freely. Concerning high notes, play without pressure upon
the bow-stick, as the tone of a short string cannot be forced. It is
of the utmost importance that one should play with correct intonation.
The high notes are not as strong in tone as the low notes, owing to the
difference in length and vibratory quality of the strings.

We will now turn to the sixth position. The first note must not be
forced. The use of the same finger for position implies the portamento.
A smooth flowing legato passage is naturally to be played with a longer
bow. Sudden leaps from the G string to the E must be made with a high
arm and flexible wrist.

Play the bowings as marked. You will observe slurred notes in varied
groups. The three notes must be played with a long bow and in as
perfect proportion as the longer passage. The power to use the bow
wisely is difficult to acquire. Note the passages in the seventh,
eighth, and ninth positions. It is absolutely necessary that students
be free in the higher positions. Different editions vary concerning
the fingering in the last line. The bowing is usually uniform. The
difficulty of the étude naturally makes it one of the best of its type,
for the difficulties are legitimate ones, which naturally occur in the
great concertos:




No. 23.


[Music]

The bowing suggested in the twenty-third étude is one of the most
frequent and natural ones in concertos. It is adapted to an allegro
movement, and while it may be satisfactorily played near the point of
the bow, the forte would indicate a longer bow, possibly the upper
third. A free, undulating movement of the wrist, with only a slight
arm movement, in two-string transfers is desired. Again, the student
must be cautioned against raising the fingers too quickly. All fingers
must take their positions quickly and maintain them. In three-string
transfers more arm movement is necessary. Do not play over the entire
surface of the hair. Keep largely to the outer edge. Note that the
middle note is higher than the third note of this group, hence it is
wise to use this bowing:

[Music]

We return to the former bowing in the next line.

[Music]

The up-bow is not staccato, but a free stroke that will not be a
decided contrast to the preceding slurred notes. In connection with
this étude observe intonation carefully. Also add to the flexibility of
the wrist by the use of the _Études_ of Hans Sitt, Op. 92, Book III.[17]

FOOTNOTE:

[17] See footnote, page 29.




No. 24.


[Music]

In somewhat decided contrast as to style, this étude is played with a
short staccato stroke; the position work, with the fourth finger in the
lead, must be free, the thumb and first finger perfectly relaxed, the
violin being held firmly with the chin. Double-stops require perfect
freedom and uniformity of finger action; the fingers move with the
hand, and the thumb and hand move in the same plane. The octaves are
played in the upper part of the bow, with as broad a stroke as the
tempo permits. One should not play allegro if unprepared for the tempo.

The tenths are to be played very lightly near the point of the bow,
using about three inches, at least, of the bow. Relax the wrist as
much as possible, and play near the outer edge of the hair. Marked
depression of the wrist makes the position of the hair variable on the
strings. Again, the movement of any fingers, especially the fourth,
to and fro on the bow-stick, produces an uncertain legato. Play the
tenths as before indicated. The seventh line reproduces the form of the
first line, the first and fourth fingers, at least, remaining on the
strings constantly. The upper third of the bow is used. The tenths are
frequently played with staccato bowing in the middle of the bow. This
gives a free stroke, but the upper part of the bow is preferred. Make
a slight accent on the first note of each group of two. Also slightly
raise the bow for this attack, and swing the staccato up-bow quickly
along the string. This is a somewhat free style of playing, which suits
the passages of tenths and gives them vivacity rather than heaviness of
character.

Now note the rapid running legato at the point of the bow:

[Music]


This is easily played, if the thumb moves freely and if the fourth
finger slides along the strings. The first and fourth move together in
octaves. It is also true of tenths. The followers of the French school
always play chords in an arpeggio style. This is not true of the Berlin
school. The followers of that school fall with force upon the strings,
taking three or four notes simultaneously. For the development of such
a style see Sevcik’s _4000 Bowings_, Section V (Part 3).




No. 25.


[Music]

This étude furnishes an excellent example of phrasing and style. Before
beginning the study of it one might well play Halir’s runs up and down
each string for the pure legato and position work. The student gains
freedom in this way. Do not press too heavily on the bow-stick for the
higher positions, as a rasping sound results. The crescendo and legato
must not be sacrificed. Note the reappearance of the theme on the E
string. As broad a bowing as possible is desired. The sixteenth notes
fall about in the middle third of the bow, the thirty-second notes
lying nearer the point of the bow. The fourth line begins a new form
of the original theme. The up-stroke is rather a broad staccato, not
a spiccato bowing. The bow is not raised from the string, but swings
along the string lightly. Notes marked with a dot have variable
meanings, according to the tempo of a work. In this case the short
staccato would be too trivial. The following measure should be played
in the upper part of the bow very firmly, gradually diminishing in the
next line to a pianissimo near the point of the bow:

[Music]




No. 26.


To be played with the upper third of the bow:

[Music]

You will observe that Fiorillo makes decided contrasts in his études.
The twenty-sixth naturally assumes a more lively character. It opens
with a crisp, bright staccato in the upper third of the bow. The last
two measures of the first line are naturally played somewhat near the
point of the bow. Perfect freedom of wrist and forearm is desired. The
form of the second line is like that of the first line, and the same
bowing is used. Now we contrast the staccato and legato passages. If
the octaves seem difficult, lead the student to practice the octave
studies of Halir and Schradieck. The legato triplets in octaves are
near the point of the bow. Note at this point that the quarter notes
extend throughout the upper legato groups. It was a strange idea of
the Peters edition to introduce the groups with an up-bow. In our
present-day study we seek to make études “fit into” modern solos. This
style of bowing is almost obsolete.

The bowing is now reversed, the first note being short, the next two
slurred; but we soon return to the original method. If the group opens
with a high note followed by a low note, then a high note again, the
bowing is as follows:

[Music]

If the notes ascend the scale, they are most frequently bowed thus:

[Music]

The arpeggios that follow are legitimate, being easily played in the
upper part of the bow. The tempo governs the length of the bow. Pupils
learn to _feel_ for bowing; in fact, to make few errors in passages of
a similar nature, because they have been trained to play correctly, if
the Massart bowings[18] are used with the study of Kreutzer.

Play this measure in the middle of the bow, raising the bow slightly
for each group; accent the second note of each group:

[Music]

FOOTNOTE:

[18] See footnote, p. 25.




No. 27.


[Music]

This étude should not be played too rapidly, a light stroke in the
upper third or upper half of the bow being somewhat easily secured.
The first note of the groups of three notes must be played without
pressure upon the bow. It is a light staccato. The bow lies well over
two strings. Take the second position at once. Do not try to make the
bow-strokes uniform in length. Freedom is at first secured at or near
the point of the bow, the wrist being very supple. Do not release the
fourth finger entirely from the bow-stick. Varied bowings are not
desirable, as the wide range of violin literature demands a knowledge
of the specific content of études. The bowings required in the Fiorillo
études ought to be familiar to students long before they reach this
point in their study.

Before the change into a new key, play a crescendo of two measures. Do
not rest at the base of the first finger unless necessary. Avoid the
vibrato. Relax the thumb. Hold firmly with the chin. Rapid changes to
new positions require a simultaneous movement of the first and fourth
fingers. Relax the wrist. The thumb is usually in advance of the first
finger and remains thus. Play the last line at the point of the bow
very lightly. If it is necessary to move the thumb from under the neck
of the violin, do so; in extreme cases it may rest against the body of
the violin, but this is not usually necessary. In high positions, the
hand is raised and the fingers fall vertically. Raise the arm high in
the upper positions; arch the fingers well over the four strings, with
a slight turning inward, if three or four strings are required. Be
careful of false intonation in the last two lines. Press lightly upon
the bow-stick when playing in the very high positions:

[Music]




No. 28.


[Music: With the middle.]

There are no new principles of bowing to be presented in this étude. A
running light legato at or near the point of the bow is desirable. Keep
the bow well over two strings. If by this time the legato is not free,
analyze each measure and introduce chords. Also practice in the middle
of the bow.

This practice gives the bow poise upon the strings, and enables the
student to understand the fundamental basis of string-transfers.
Another excellent plan is to play each group several times in twos,
fours, and eights. Other excellent methods are to play the entire
measure in one bow, or two measures in one bow. Occasionally play a
little below the middle of the bow, raising the bow slightly for each
stroke.

This is a free stroke with the principle of the flying staccato. An
excellent bowing is this:

[Music]

These bowings, however, can only be used in portions of this exercise.
At any point in the study of Fiorillo, if the student has not developed
freedom of bowing, return to the Sitt double-stops. Also use the third,
fourth, and fifth Sevcik books (_4,000 Bowings_), the Schradieck
_Arpeggios_[19] with varied bowings, and my _Three Octave Scales_.[20]
I very frequently use the Tartini _Art of Bowing_[21] in connection
with Fiorillo, as a further illustration of bowing. A review of the
Kreutzer (first twelve) Études[22] is very useful. The student must
understand that the more solid the technic of the bow and left hand is
fixed in America, the more rapid advancement will be in foreign music
centres. It is not wise to neglect details or principles. Naturally,
from our conditions of life, we cannot always obtain the same high
standards in America as in Prague, Berlin, and Paris.

FOOTNOTES:

[19] Henry Schradieck, _Technical Violin School_, Part III. Exercises
in the Different Modes of Bowing. Also _Chord Studies_. Price, each, 50
cents. Published by Carl Fischer, New York.

[20] _Daily Exercises and Three Octave Studies_, by Edith L. Winn.
Published by Carl Fischer, New York. Price, $1.00.

[21] J. Tartini, _The Art of Bowing_. _Fifty Variations on a Gavotte by
Corelli._ Price, 50 cents.

Special Concert Edition of Ten of these Variations by Ovide Musin.
Price, 75 cents. Published by Carl Fischer, New York.

[22] See footnote, page 3.




No. 29.


[Music]

We have now had so much practice in double-stops that this étude offers
little that is new or interesting; nevertheless, it is valuable. Do not
allow the accompaniment to stand out too prominently. Keep the theme
as an example of pure legato playing. The bow must lie well over two
strings, and no note in the accompaniment should be held too long.
Notes must fall simultaneously, if so written. The tempo must be
maintained throughout. The movement is earnest, yet not adagio. _Grave_
refers to the character of the work, not to its tempo.

At this point play the up-bow notes with a running stroke, not the
short staccato:

[Music]

Observe the same manner of playing in the last line:


THE MODERATO.

[Music]

It may be a good plan to play the staccato and legato notes with a
decided contrast in style. The French school teachers play the staccato
notes short and crisp near the point of the bow. The German school
prefer a less detached stroke, using about one-third of the bow. You
will observe that the short bowings are more frequently required
throughout the study of Fiorillo than a broad style of playing. The
wrist must be very free. The bow-stroke is not a lateral one. Do not
make a wide difference in length of bow-stroke. Sing the theme. Place
the fingers on the strings at once. Read in advance of the measure
which you are playing. Anticipate string changes with the wrist in
short transfers. Do not _slide_ into positions.

In the sixth and ninth lines _think_ the position changes at once.
If we can sing a theme before taking a position, true intonation is
assured. Many students who are beginning the study of the second
position, using the Wohlfahrt and Sitt studies, ask if the second and
fourth positions are useful. One must turn to the études of Kreutzer,
Fiorillo, Rode, and Gavinies, showing many examples. As a means of ear
training I consider the second position very valuable. The student
who has difficulty with the fourth is likely to have the same with
the fifth and sixth positions. One cannot stress too much the value
of the careful study of positions. Beginning at the second page of
this étude, it is well to play a somewhat shorter staccato stroke.
The string-transfers are made by throwing the wrist over the string,
in cases in which one goes from G to A or D to E. I sometimes review
parts of the étude with spiccato bowing at the middle of the bow,
single strokes. You will observe the term _sempre staccato_ in some
editions. Play a little broader stroke than this term would indicate.
The last three lines, not including the last line, are very difficult.
Play lightly, using little bow. Move the left thumb far round. Keep the
middle joint flat. Bend the finger toward the G string to command the
positions; also keep the fingers down when not in use. Do not use the
vibrato in any case except one in which a broad free bowing is desired,
as in an adagio movement. Be very careful of intonation.

[Music]




No. 30.


[Music]

As a preparation for this étude, use the Schradieck and Sevcik works.
I find Schradieck’s _Technical Exercises_ and _Scales and Arpeggios_
valuable, though I prefer the method of playing scales as advocated by
Halir, because Schradieck repeats the fundamental note, thereby making
a perfect legato well-nigh impossible. The order of Schradieck’s scales
I do not deprecate. The stroke here used is a short staccato in the
upper third or a _martelé_ in the middle of the bow. I have already
explained how to cross one string without playing upon it. Throw the
bow by a short quick stroke of the forearm well over the string,
keeping the arm high, out from the body. Make a curve, not an angle.

If the very high positions and rapid changes seem too difficult, play
the intervals on the piano a few times. _Think_ the tone. Do not
strive for speed. The bowing and intonation are of first importance.
Play the slurred notes in the sixth, seventh, eighth, and ninth lines
legato, until freedom is secured. Altogether this is a most difficult
étude, and it should be practiced even when other études are under our
consideration.

The entire étude is not played with a very short staccato stroke. The
fingers must seek their positions at once. Avoid an awkward arm stroke.




No. 31.


[Music]

As we have played several études of this type, I use varied bowings.

    (1)    The lower third, second group flying staccato.
    (2)    Middle spiccato.
    (2_a_) Upper third, legato.
    (3)    Single measures on one bow.
    (4)    In groups of four notes.
    (5)    Running legato at point.

[Music]

From a technical standpoint this étude is not as difficult as some that
precede it. At the fifth line it would be wise to play a rather short
stroke near the point of the bow. Show the pupil examples of similar
bowings in the 8th Rode “Concerto,” the 22d and 23d Viotti, the Bach
“A Minor,” etc. As an example of the pure spiccato, refer to the
“Perpetual Motions” of Ries and Bohm. As a type of running legato use
Schubert’s “The Bee.” As an example of octave and tenth study, point
out passages in the “Polonaise” of Vieuxtemps. Short detached strokes,
two notes on one bow, below the middle of the bow, are very useful.
Broad, vigorous strokes with the upper third of the bow are excellent
toward the close:

[Music]

Throughout all étude work I stress the great fundamental principles of
bowing. I cannot see that the playing of a great many études counts
for much if we neglect _principles_. When we go abroad, all our work
ends until we correct bad habits and master principles which ought long
ago to have been mastered. It is all very well to say that Mr. X——, a
great artist, does not adhere to the particular creed of his school.
Perhaps he cannot be bound by a method. The rank and file of us must
cling to something. Elastic rules cannot be made for amateurs. There
must be definite rules of action. To clinch a point, I may select many
illustrations. It is better to settle it, once for all, than to pass
on and return to it with a brain dazed by many principles and multiple
illustrations totally unrelated. _Teach thoroughly what you teach._




No. 32.


[Music]

This étude must be played with a singing tone, the accompaniment
being clear, smooth, and elegant, as in étude number two. The lower
notes must strictly be in time and of proper duration. This type of
accompaniment, found in the Bach unaccompanied “Sonatas,” the solos
of Paganini, the “Twenty-second Concerto” of Viotti, and other works,
is one of the most interesting forms in solo violin playing. While it
is free, graceful, refined, and elegant in the sonata and concerto,
rhythmic abandon is hardly allowable in an étude. The melody must
always be supported by absolute precision in the accompaniment. While
this étude is an excellent example of pure cantabile playing, its
graceful accompaniment relieves it from the somewhat rigid style of the
mere étude. In that respect it is superior to number thirty-three from
a musical standpoint. In the third line you will observe a staccato
run. Make this a running staccato, not short and crisp. Do not hasten
the tempo; rather hold back in order to obtain a dignified cantabile.
In the fifth line sing the theme, and dip the bow slightly for the
running accompaniment, which must occur exactly in time. Do not accent
the accompaniment notes too much. Give them only their value. Keep the
bow as close upon two strings as possible:

[Music]




No. 33.


[Music]

Students ask, “Is this a short staccato? Where do I play such
a passage?” The value and tempo of a work govern bowing. Avoid
meaningless bowing. Play broadly when possible. One must study the
classics and discriminate between the style of different schools and
periods if one is to judge of methods of bowing. In this case, play
with a free, somewhat broad tone, in the upper part of the bow. Produce
a resonant, singing tone. Do not decrease the tone in an ascending
passage. It is a good plan to play the arpeggios separately, that is,
repeating each line over and over, until they are mastered. If the
student has difficulty with them, review the twelfth Kreutzer étude.
The second and fourth positions require much more careful practice.
Use a free forearm stroke when it is possible. Passages of this nature
may be played near the point of the bow:

[Music]

Note the octaves in the eleventh line. They should be played in the
middle of the bow, slightly detached, the bow being raised by a
flexible wrist stroke, the first note of the group being accented.
Certain teachers prefer a perfect legato at the point of the bow. The
stroke at the middle is freer. Do not press upon the bow-stick, as the
bowing must be light, especially in the chromatic passage:

[Music]

The single detached notes of the last line are more easily played with
spiccato bowing at the middle of the bow. They may also be practiced
with a short, crisp, light staccato at the point:

[Music]




No. 34.


[Music]

There are three methods of playing the first part of this étude. One
is a broad detached stroke, middle to point. The second is a short
staccato stroke near the point of the bow. The third is the spiccato at
the middle. As the position changes are difficult, use the most easily
acquired bowing at first. That would be a forearm stroke. Practice the
sixth position passage separately until mastered. Each position change
should be mastered before going to the next. It might be well to select
certain arpeggio studies of Schradieck and Kreutzer in connection with
this étude, for the sake of a mastery of principles. Varied bowings
should follow a mastery of the content of such études. Note in the
eighth line the groups of two slurred notes. These may be played
lightly at the point, also at the middle of the bow, with a free wrist
stroke combined with a slight movement from the shoulder, a form of
bowing often used in orchestral works, a freer style than that at the
point of the bow. When the étude is mastered technically, I often teach
it with the spiccato bowing at the point of the bow, followed by the
bowing indicated in legato passages. When crossing the strings hold the
arm high, the wrist leading in string-transfers. The practice of the F
major scale in the sixth position with varied bowings is recommended.
To keep up a continuous spiccato is not desirable, hence the detached
bowing in the upper third of the bow is not practical. This étude is
one of the most difficult and exacting of the entire book, hence the
necessity of frequent reviews. If possible, analyze the content of the
work, calling attention to the structure of each passage and the basis
of arpeggios.




No. 35.


[Music]

There are so many double-stop études of more practical value than this
one that it is wise to review the excellent double-stop études of
Kreutzer, Sitt[23] and Dont,[24] although the last named are the least
practical. However, if one is to teach Fiorillo, one must use this
étude. A few rules may be useful:

    1. Read in advance of the measure played.
    2. Strive for a pure singing tone.
    3. Keep the theme prominent, the accompaniment legato.
    4. Use a broad free style of bowing.
    5. The fingers must fall simultaneously in double-stops.
    6. Analyze the work phrase by phrase.
    7. Memorize difficult passages.
    8. Do not draw the strings from side to side. The fingers
          must fall into position and remain fixed.
    9. If the pitch is not at once secured, do not slide the
          fingers up and down as if in search for the exact
          tone. Practice the passage until the fingers fall
          into correct places at once.


MODERATO ASSAI.

[Music]

Nothing new presents itself at this point in bowing. A free detached
forearm stroke instead of the short staccato is desirable until the
technical side of the étude is mastered. I generally take the first
three measures, contrasting them, then memorizing them. I also refer to
certain well-known progressions in the Schradieck arpeggios. Very few
students after a week’s practice can play this étude without mistakes
in the progressions. It is, therefore, desirable to study it line by
line. The second line follows the same progressions as the first,
though we begin a whole tone higher. Sometimes I oblige my students to
write down each line from memory, in order to master the progressions
mentally.

Again, I listen to related measures repeated several times. The
question may arise, “Should the teacher first play the étude to the
pupil?” The teacher should explain the bowing of each étude assigned
for the next lesson, but should not, as a rule, play it. The student
should analyze it and get all he can out of it before bringing it to
the teacher. This develops the power of reasoning and concentration.
He thus learns to stand alone. So many students play merely by
imitation, that it is a question in modern violin study whether it is
wise for the teacher to illustrate too much. Teach the pupil to deduce
conclusions himself. Hear his version, then show him the way. Do not
play études too much with him. Play the passage alternately with him.
Do not play a concerto to a student before he has practiced it. His
conception means more to him than yours. It is equally true of the
other fine arts. No great painter was ever made whose pictures were
sketched for him. The creative and analytical instinct must precede
pure imitation. I recall the study of the Bach solo “Sonatas.” In
Berlin we studied them very rigidly, but when away from that atmosphere
we played them with freedom. These suggestions do not excuse the
teacher from frequently illustrating. A teacher who sits and listens to
violin students all day because he is too indifferent to play, cannot
guide well. Again, the teacher should be able to give a perfect example
of a style of bowing or phrasing. Teachers who play no more are not
wise educators.

As far as intonation is concerned, this étude is one of the most
difficult of all, yet it is very useful from the standpoint of
modulation. The last three lines require a free wrist stroke (legato)
at the point of the bow. As more than two strings are included, the
stroke is an arm and wrist one. The elbow must move out in the same
plane as the forearm and wrist. Absolute freedom of all parts of the
arm is necessary.

FOOTNOTES:

[23] Hans Sitt, _Technical Studies_, Op. 92, Part I, Book 3. Price,
$1.00. Published by Carl Fischer, New York.

[24] J. Dont, _Twenty-four Exercises_, Op. 37. Price, 50 cents.
Published by Carl Fischer, New York.




No. 36.

[Music]

[Music]


DIFFERENT ARPEGGIOS FOR PLAYING THE PRECEDING CHORDS.

[Music]

[Music]

[Music]

Before beginning this étude, review the chord studies of Sitt[25] and
Kreutzer, using with the first Sitt study the following bowings:

    1. Whole bow.
    2. Lower half.
    3. Two notes to a bow, middle, point and heel.
    4. Four notes to a bow.

I prefer this study to the Sevcik _4,000 Bowings_, Section V. I would,
however, use the Sevcik studies for securing a flexible wrist stroke.

Also use Schradieck’s _Technical Violin School_, Books II and III.[26]
I make some changes in the chords of this étude, as follows:

[Music: 1) 7th measure. 2) 16th and 17th measures.]

Use also the following bowing:

Single detached chords down bow, lower half.

[Music]

The wrist must be very flexible. The whole arm is used. Play the three
notes simultaneously. Play also thus, whole bow:

[Music]

We now come to the pure legato at the point, middle, and heel of the
bow.

Two notes tied, four and eight. Vary this by playing the first two
notes legato, the second two staccato at the point of the bow; the
first two legato, lower half, the second two flying staccato.

We will now turn to two styles of legato bowing: eight notes to a bow;
two tied notes followed by six tied. Use the whole bow, also upper and
lower half. The next bowing is two tied followed by the short staccato
at the point of the bow. Then use two tied, two cut, at the middle or
point of the bow. Apply the principles of Sevcik, _4,000 Bowings_,
Sections III, IV, and V.

I would introduce a style of bowing very much used in solo and
orchestral work: a running legato at the point in triplets. Same at
the middle of the bow. Same at the heel. Three tied legato, followed
by three flying staccato, lower half of bow. Three down-stroke middle,
spiccato, three up-stroke.

These are all the practical bowings I use, but notes played in one bow,
at the point, are useful.

FOOTNOTES:

[25] Hans Sitt, _Technical Studies_, Op. 92. Part I, Book 3, Double
Stopping. Published by Carl Fischer, New York. Price, $1.00.

[26] _Technical Violin School_, by Henry Schradieck. Part II, Exercises
in Double Stopping. Price, 40 cents. Part III, Exercises in the
Different Modes of Bowing. Price, 50 cents. Published by Carl Fischer,
New York.