,transcriber's ,notes3 ,underscores 80 before and after a word or phrase indicate italics in the original text4 ,equal signs 80 before and after a word or phrase indicate bold in the original text4 ,illustrations have been moved so they do not break up paragraphs4 ,typographical and punctuation errors have been silently corrected4 ,,how ,,to ,,study ,,fiorillo ,a ,,detailed1 ,,descriptive ,,analysis ,,of ,,how ,,to ,,practice ,,these ,,studies1 ,,based ,,upon ,,the ,,best ,,teachings ,,of ,,representative1 ,,modern ,,violin ,,playing ,,by ,,edith ,l4 ,,winn ,illustration ,,new ,,york ,,carl ,,fischer #aiac ,,copyright1 #aiaj1 ,,by ,,carl ,,fischer ,international ,copyright ,secured ,,respectfully ,,dedicated ,,to ,w4 ,davol ,sanders ,,fiorillo4 ,illustration ,federigo ,fiorillo was born in #agec1 at ,brunswick1 where his father1 a ,neapolitan1 lived as conductor of the opera4 ,it seems that at first ,fiorillo was a player of the mandolin1 and later on became interested in the violin4 ,he went to ,poland in #aghj1 and in #aghc was conductor of the band at ,riga1 which position he filled for two years4 ,in #aghe he played with great success at the ,concerts ,spirituels in ,paris1 and also published some of his compositions1 which were received most favorably4 ,three years later he went to ,london1 where he seems to have met with little success as a violinist1 since he only played the violin part in ,salomon's quartet-party4 ,his last public appearance in ,london was in #agid1 when he performed a concerto on the viola4 ,there is very little known about the rest of his life1 except that from ,london he went to ,amsterdam1 and was in ,paris in #ahbc4 ,among his numerous compositions are duos for violins1 for piano and violin1 and violin and violoncello2 trios for flute1 violin1 and tenor1 for two violins and bass2 quartets and quintets for stringed instruments2 concertos for the violin2 concertantes for two violins1 etc4 ,these1 though somewhat dry and old-fashioned1 were favorably received1 and show him to have been an earnest musician4 ,however1 there is one particular work1 his ,thirty-six ,caprices1 or tudes1 which is known and valued by every violin player1 and which for a long time will probably remain a standard4 ,they rank with the classical studies of ,kreutzer and ,rode4 ,this work has been edited over and over again1--most recently by ,emil ,kross4 ,spohr wrote a second violin part1 but he altered the original text to such an extent that his work is hardly authoritative1 though decidedly violinistic and interesting4 ,how to ,study ,fiorillo4 ,no4 #a4 ,many teachers of note cling to old traditions4 ,the earliest extant editions of ,fiorillo1 by ,ferdinand ,david and others1 have no expression marks for the ,largo of the first tude4 ,this was originally played forte1 counting four very slowly4 ,the tone should be full and even1 there being absolutely no variation4 ,this is excellent practice for those who are inclined to play with a weak tone near the point of the bow4 ,a broad stroke requires a fine arm and excellent bow control4 ,the elbow joint should be very well relaxed4 ,such passages as occur in the fourth1 fifth1 and sixth measures should be played with some tone-color and taste1 the eighth note being cut in anticipation of the rest4 ,music ,to cultivate a broad1 free bowing and a full tone1 one should practice the martel at the point of the bow1 where attacks are likely to be weak4 ,also the frequent practice of the second ,kreutzer tude with four notes slurred is excellent1 the bowing being at the point1 middle1 and heel4 ,then there are staccato scales1 which aid the student in securing a fine tone and freedom of style in the upper half of the bow3 #a4 ,one down-stroke and six notes staccato on the up-stroke2 #b4 ,two down1 at point1 and two up staccato2 #c4 ,the same exercise1 using triplets4 ,begin with the 8,g0 scale in three octaves4 ,the next thing to govern is the broad continuous tone4 ,this can only be done by long and arduous practice of slow scales4 ,a ,berlin teacher plays one note for two minutes with no variation in force or intensity4 ,,the ,,allegro4 ,the ,hermann edition requires that this part of the first tude be played staccato4 ,it is impossible to keep this up during the whole exercise4 ,the original intention of ,fiorillo was that it be played legato1 with a broad1 free stroke4 ,the triplets are played in the same manner in the upper third1 or toward the middle of the bow4 ,the sixteenth notes must fall with evenness at the middle of the bow4 ,this is an exceedingly fine study for securing a flexible wrist1 and should be practiced very carefully4 ,music ,at the ,hochschule1 in ,berlin1 few of the teachers stress ,fiorillo1 preferring the ,kreutzer tudes1 followed by the ,rode ,caprices4 ,fiorillo has much to offer that ,kreutzer#a does not stress at all2 therefore the tudes are very valuable4 ,no4 #b4 ,music ,this tude is very frequently played in a mild manner1 too slow for the original intention of the composer4 ,as the allegro of the first tude is not possible at the proper tempo with the staccato bowing1 so the second tude loses its character if not played in a martial style4 ,maestoso means military or majestic in character1 with broad bowing and strong accents4 ,the first two notes sweep the whole length of the bow4 ,the third note is also full bow1 but very short4 ,a quick stroke1 with the bow passing rapidly over the string1 is the proper one4 ,the whole exercise is played forte4 ,in the second measure1 the bowing is short and crisp at the point of the bow1 the first group naturally being played with the whole bow4 ,the third measure is legato1 broad and free4 ,trills should be regular and of exactly the right length4 ,all passages like the second measure are usually played at the point of the bow4 ,after the first bar1 some position work may be used 7second measure74 ,trills with the fourth finger are very difficult for some players4 ,practice slow trills daily with the third and fourth fingers4 ,the first finger trill should be practiced very slowly and evenly1 great care being shown in string transfers at the close4 ,in octave work two fingers must fall at once with force and precision4 ,the whole hand moves4 ,in double-stops1 the fingers must fall simultaneously4 ,double trills are not much more difficult than single ones4 ,they should be played with an even tone1 and the fingers should fall with freedom4 ,if the fourth finger is weak1 try some exercises from the ,halir ,tonleiterstudien1 repeating the exercises1 faster and faster4 ,the measure immediately preceding the long continuous trills should be played with a down bow4 ,practice this passage without the continuous trill on ,c1 at first 7use a long smooth note and lightly dip the bow on the ,d string1 as if playing a little accompaniment74 ,let the trill be continuous when changing from up to down bow and vice versa4 ,every note should be cut shorter if before a rest4 ,this must be observed through the whole exercise4 ,all chords should be played with a broad tone4 ,this exercise1 so often neglected1 should be played long and faithfully1 for it is the basis of other work which follows logically in study4 ,when playing the 8#bb;d ,concerto0 of ,viotti1 ,i always return to this tude of ,fiorillo and review it for the sake of the trills4 ,this1 with a favorite tude of ,kreutzer1 aids me greatly in bringing my left hand under control4 ,the octaves are played near the point of the bow4 ,music ,this is one of the most artistic of the tudes1 especially useful when one is considering such a work as the 8#bb;d ,concerto0 of ,viotti4#b ,another useful work is 8,je suis le petit ,tambour10 by ,david1#c a composition now almost obsolete in a violin teacher's repertoire4 ,avoid a trivial style4 ,the staccato is not absolute4 ,the tempo and character of a work govern that matter4 ,the second line has been marked in different ways by those who have revised ,fiorillo4 ,note the ,kross bowings3 ,music ,i prefer separated strokes in passages like that of the second measure4 ,in double trills the fingers fall together with elasticity rather than force4 ,be very careful to define the exact interval in the trill4 ,do not disturb the tempo4 ,syncopation must not be forced4 ,in trills in the half-position play close to the saddle of the violin1 and do not raise the fingers until necessary4 ,play the chord of the new key as a chord1 not as an arpeggio4 ,the bowing is as follows1 with a broader stroke than the staccato mark would indicate4 ,music ,do not disturb the theme by forcing the accompaniment or by pausing4 ,the bow lies lightly on two strings1 dips1 as it were1 upon the neighboring string1 to obtain the legato4 ,bow control in this case is of great importance4 ,use the following bowings4 ,the parts of the bow in which each passage should be played are indicated3 ,music ,play the last line with authority1 the chords being slightly in the arpeggio style with a stress on the lower note1 the tone being firm to the end of the bow4 ,music ,,footnotes3 #a ,for detailed and thorough study of the ,kreutzer tudes see ,how to ,prepare for ,kreutzer and ,the ,study of the ,kreutzer tudes1 both by ,edith ,l4 ,winn4 ,published by ,carl ,fischer1 ,new ,york4 #b ,see newly revised edition by ,ovide ,musin4 ,published by ,carl ,fischer1 ,new ,york4 #c ,see newly revised edition by ,gustav ,saenger4 ,published by ,carl ,fischer1 ,new ,york4 ,no4 #c4 ,this tude is played in two ways3 first1 a staccato run1 up bow2 second1 the mixed staccato and legato stroke1 up bow4 ,a free arm is desired4 ,while the short staccato with the wrist stroke is eminently useful1 the more brilliant staccato with the arm stroke is desired4 ,naturally1 the wrist and forearm are free1 though the lateral stroke of the wrist is not desired4 ,play in the upper third or near the point of the bow4 ,music ,no4 #d4 ,this tude is one of the most useful in the book4 ,a free1 broad1 slightly detached stroke1 in the lower half of the bow1 is preferred to a short staccato4 ,music ,professor ,halir would teach double-stops and scales in thirds in a free1 broad style1 lower half of the bow 7note fingering in the second position74 ,the whole bow may also be used4 ,play the scale runs1 second line1 in the manner outlined in ,halir's ,tonleiterstudien 7,g4,b4 or ,u4,h4 raise the bow after each group74 ,music ,he assumes that short position movements make a more perfect scale in thirds possible4 ,i will outline the bowings for the next three lines4 ,keep the theme prominent4 ,raise the bow slightly from the strings in defining phrasing4 ,music ,music ,the double-stops in the higher positions naturally fall in the middle of the bow4 ,attack the chords with the up bow firmly1 and play three notes together4 ,a free1 rather detached bowing in the middle of the bow1 using the artificial spiccato1 occurs at the close4 ,music ,slightly accent the slurred group of two notes2 raise the bow between strokes4 ,play in the middle third of the bow4 ,music ,it is not always advisable to take these tudes in the order in which they occur4 ,the same rule applies to ,kreutzer and ,rode4 ,it is possible that the student may have some weak point which requires a review of several tudes of a similar nature4 ,for instance1 ,i recall having been made to play the second ,kreutzer tude#d many times while studying other works1 because my forearm was not free4 ,the eighth and ninth were frequently reviewed4 ,herr ,markees1 in ,berlin1 was a great taskmaster1 and frequently sent us back to the twelfth ,kreutzer4 ,i do not recall ever having studied the first ,kreutzer1 nor the famous arpeggio tude4 ,leopold ,lichtenberg1 and several other artists1 teach both of these4 ,the first is very useful for graduation of tone4 ,in the seventh and eighth ,fiorillo we find material for tone graduation4 ,let us practice the crescendo and decrescendo faithfully1 using examples from my 8,three ,octave ,scales40 ,we must be patient with this work4 ,it is one of the most difficult things in the world to produce a beautiful crescendo and diminuendo4 ,in connection with this let us turn to the ,bach-,gounod 8,ave ,maria10 and play it as written4 ,the famous ,bach 8,aria0 is another example2 also the ,handel 8,largo40 ,a question has often been asked3 ,does the bow remain parallel with the bridge during such work1 or at a stated distance from the bridge8 ,most emphatically not4 ,the bow is nearer the bridge in a crescendo passage1 and right over the finger-board in the diminuendo4 ,there is a mistaken notion among students that when one plays pianissimo very little bow must be used4 ,never was there a greater fallacy4 ,the softest tone is produced by gliding the bow swiftly over the strings1 its entire length1 without pressure and over the finger-board1 not near the bridge4 ,it is one of the most difficult things in the world to produce a soft1 resonant tone4 ,it is easy enough to play loud4 ,so it is with singing4 ,i have learned more about the principles of tone from voice teachers than from violinists4 ,while playing these tudes1 review constantly4 ,play number one over and over4 ,number two with the ,halir thirds1 in ,c1 must be practiced daily4 ,halir plays double-stops1 using the second position instead of the third1 and going from second to fourth and sixth4 ,it requires less shifting and is very playable4 ,always play the double-stops singly1 then two slurred1 then in groups of four notes1 and finally eight notes4 ,after a time play a whole scale up on one box 7two octaves ,c7 and down with the opposite bow4 ,very few amateurs can play the three octave scales thus4 ,i prefer the ,c scale1 as it is easier for the hand4 ,halir says that a student should be able to play thus 7#a7 or thus 7#b73 ,music ,no4 #e4 ,in connection with the study of number five1 let us turn to ,sevcik's ,school of ,bowing#e4 ,i had always believed that the importance of bow technic had been overestimated1 until these works of ,sevcik proved beyond a doubt the great advantage of systematic study of varied bowings4 ,the ,sevcik system is wonderful4 ,there are exercises for every possible limitation in violin study4 ,the great question in bustling ,american life is how to abridge a system only possible in a land where virtuosos study 8from the cradle to the grave40 ,many wise teachers 7for ,americans are1 above all1 practical7 have used the ,sevcik works with success1 and yet have not surfeited students with the same4 ,let us consider ,op4 #b1 ,book #b1 ,section ,,iv4 ,first master the progressions1 that is1 learn the exercise by heart4 ,keep the fingers of the left hand ready for use4 ,practice all exercises with slurred and single bows at point1 middle1 and heel of the bow4 ,i usually suggest to pupils to practice exercise thirty-two faithfully before working at the fifth ,fiorillo1 with three notes to a bow just below the middle4 ,afterwards use six to a bow2 then twelve4 ,practice number five in octaves at the middle 7play both notes at once74 ,after that1 play as marked1 accenting the first of every group of two notes4 ,one can go on with the ,sevcik studies indefinitely1 but ,i urge pupils to practice these special ones for string-transfers half an hour per day1 at least4 ,always cross the strings lightly4 ,in octaves1 move the fingers simultaneously1 with no crescendo or forte4 ,the ,hermann edition uses the crescendo1 forte1 and pianissimo marks4 ,play at first with uniform tone instead1 accenting slightly the first note of a group of two4 ,watch the syncopated passages in the third and fourth lines1 and do not accent too strongly4 ,the accent is on the second note of a group of two4 ,the legato passages of sixteenth notes are with a whole bow2 the crescendo must be artistic4 ,there must not be a break in the legato for the sake of the crescendo4 ,we remember the mastery of the subtle principles of tone graduation in ,joachim's playing4 ,the special accents at the close of each legato passage 7sixth line7 are difficult4 ,at the close of the eighth line1 give full value to the dotted quarter note and play it forte4 ,the next groups of two notes are detached1 the accent being on the second one4 ,make the trill long and even4 ,begin the sixteenth notes1 last measure of the tenth line1 with up bow4 ,play at the middle of the bow4 ,move the first and fourth fingers together in octaves4 ,,footnotes3 #d ,see ,the ,study of the ,kreutzer tudes1 by ,edith ,l4 ,winn4 #e ,school of ,bowing1 by ,o4 ,sevcik1 ,op4 #b in two ,books4 ,systematic and progressively graded technical bowing exercises4 ,published by ,carl ,fischer1 ,new ,york4 ,price1 #ge cents each book4 ,no4 #f4 ,music ,andante sciolto means about the same as ,andante commodo 7as slowly as you please74 ,at the middle1 or upper half1 of the bow1 cut the notes lightly and accent trills4 ,the second four measures require grace and ease in the upper half of the bow4 ,remember to discriminate between the short staccato at the point of the bow and the broader detached stroke4 ,be very careful of intonation at this point4 ,music ,the opening measures in the seventh line may be played with a raised bow stroke1 middle of the bow4 ,play near the point of the bow in the last four or five measures of the tude1 lightly and elegantly4 ,important points to remember in this tude are3 ,passages bowed near the point are light1 as a rule2 passages requiring broader bowing are played forte4 ,always raise the bow slightly for an attack4 ,each group must be well defined1 with accents strong4 ,pause long enough between the groups to gain poise4 ,always draw a long bow at the middle with sufficient length to be free and to secure tone4 ,in this exercise1 as in many others1 the left hand is of most importance4 ,it must be ready4 ,do not lose time by the trill4 ,play the single notes freely4 ,these are not staccato4 ,whenever the staccato occurs in the ,hermann edition1 as a rule one must play in a broader style4 ,those old composers did not use the staccato much4 ,witness ,fritz ,kreisler playing a work of the period4 ,he gives it more tone-color and varied phrasing than in its period1 but he uses very little short staccato work4 ,number six is a joyous1 light work of the ,french school4 ,it must be technically clean cut1 and clear as crystal4 ,no4 #g4 ,while allegro with the old composers was not like our modern allegro1 an adagio was practically the same as at present4 ,full bowing and a broad1 free tone1 as well as great dignity1 were demanded4 ,i do not believe that the early violinists played with as great warmth of tone and freedom as is now secured by artists4 ,the old masters played correctly and classically2 they used the crescendo and diminuendo1 and were masters of tone graduation1 but they did not give the emotional treatment to their subjects that is now an apparent necessity4 ,this tude begins pianissimo1 but one must cultivate a 8concert hall0 tone1 and make a crescendo in the first two measures2 the same in the next group4 ,tone-color is a prime essential in this tude4 ,embellishments must never interfere with rhythm4 ,note the adagios of ,mozart's quartets4 ,the old writers used embellishments because they lacked intensity and were not skilled in the use of the vibrato4 ,although number seven is not difficult1 it must be technically perfect4 ,at line two repeat the up bow on the second note of the second group4 ,always do this for beauty of phrasing4 ,keep broad bowing when possible4 ,note in the sixth line some peculiar rhythm4 ,count four steadily1 using no embellishments1 at first4 ,music ,the embellishments of the seventh line must not interfere with rhythm4 ,in bow length one must not be hampered by exact rules4 ,let the nature of the passage decide the bowing4 ,one must not keep trilling if the phrasing demands a pause4 ,the opening measures of the allegretto are played at the middle of the bow1 the staccato note being lightly played4 ,the allegretto comes in jocund1 with a slight pause between groups1 in the upper half of the bow4 ,try to maintain a forte throughout4 ,no4 #h4 ,music ,this is a dignified and stately tude which requires very much shading4 ,it is one of the most artistic of all1 similar in character to the first part of number one4 ,the teacher may count eight instead of four1 if desirable1 as we sometimes do in the andante of a ,mozart quartet4 ,give the dotted sixteenth note a little more time1 to suit the nature of the work4 ,again ,i would call attention to the second ,kreutzer#f tude1 and slow scales with the crescendo and diminuendo four times on one note4 ,many claim that the vibrato affects the quantity as well as the quality of a tone4 ,at any rate1 the vibrato must be used in such works4 ,play the #dth1 #eth and #fth measures of the first line as indicated4 ,in the next measure change ,illustration to ,illustration before the high ,g4 ,after the double bar1 practice long and faithfully the crescendo note in the #dth position4 ,do not force the syncopation2 use the whole bow4 ,raise the bow slightly when you have groups of two notes1 thus3 ,illustration3 7last measure1 second line47 ,play the last measure after restez on the ,a string1 going into the #eth position on ,c1 and remaining there during the next three measures4 ,come down to the third position on ,d4 ,play the trill in the fifth position4 ,detach the groups of three notes1 slightly raising the bow4 ,be very careful not to hurry the tempo4 ,the thirty-second notes are played very legato1 and the following fingering is preferred3 ,music ,,footnote3 #f ,see footnote1 page #c4 ,no4 #i4 ,music3 ,with the upper third of the bow4 ,this tude is marked allegro4 ,it is not so rapid a movement as to interfere with a free forearm stroke4 ,the martel1 or even a slight staccato stroke1 is not as useful as a broad1 free bowing in the upper half of the bow4 ,the student will observe that while some modern editions suggest the staccato1 it was not true to the traditions of ,fiorillo's time4 ,begin with the upper half or upper third of the bow4 ,a free swinging stroke is desired4 ,at the beginning of the sixth line play lightly near the point of the bow and on the edge of the hair3 ,music ,we do not make string-transfers by tilting the bow from side to side4 ,we play on the edge of the hair1 the long string-transfers being made with a movement from the shoulder1 if more than two strings are used4 ,halir insists on the mastery of scale runs from the highest note of the scale4 ,the pupil must think the tone at once1 then he must take his position without effort and remain in that position as long as necessary4 ,music ,after we leave the third position1 the thumb goes under the violin in a horizontal plane4 ,the fingers must fall well over the strings1 without unnecessary movements4 ,one may rest the palm in the third position or not1 according to one's physical limitations1 but there must be no pressure at the base of the first finger and no depression of the joints of any finger in the positions4 ,all fingers should seek their places at once and remain fixed1 unless one is playing vibrato4 ,the character and tempo of an exercise determine how it shall be played4 ,the first finger must always remain near its original place1 so that the position may not be disturbed as a whole4 ,whenever the fourth finger seeks a place1 the first should fall at once into its position2 that is to say1 the position must be mastered4 ,in this tude the bowing is varied1 a sure test of mastery of several styles or forms of triplet playing4 ,one thing the teacher must insist upon3 that the bow remain usually on the outer edge1 also that accents that fall with the up bow shall be well defined4 ,the closing chord1 according to the tenets of the ,berlin school1 should never be played like an arpeggio4 ,other schools differ in this respect4 ,no4 #aj4 ,music ,this tude is similar in style to number nine4 ,it should be played in the upper part of the bow1 forte4 ,in taking the fifth position on the last note1 first measure1 the first finger passes at once into place and remains there4 ,it is a very common fault1 and entirely opposed to a fluent left hand technic1 to allow the first finger to be released when playing in the higher positions4 ,note the ,halir exercises for sliding quickly from the third to the fifth position and back4 ,one must remember that the thumb does not press on the neck of the violin1 also that it slides at once around the neck of the violin when passing to the fifth position4 ,one must never press with the fleshy part of the thumb4 ,the pressure point is below the joint1 on the bone4 ,also1 the chin must relieve the thumb of all care as to support4 ,the fourth and fifth lines should be practiced near the point of the bow1 and memorized4 ,after playing a run several times1 the progression is mastered4 ,the player should play the whole passage mentally1 then place the fingers on the strings exactly as they will fall4 ,i have often asked my pupils to write down the arpeggios as an evidence that they knew the musical content of certain tudes4 ,again we must insist that all the fingers seek a new position at once4 ,the strings should not be pulled from side to side in the higher positions4 ,this causes false intonation4 ,while a fairly free forearm stroke is desired1 with accentuated first notes of triplets1 the staccato is not usually practical4 ,too little bow gives no character to the work4 ,too much bow causes a jerky movement of the forearm4 ,intonation is difficult in the half-position1 hence students must play such passages many times4 ,the fingers must be prepared for what is coming4 ,in all tude work we must read ahead and place the fingers mentally before we come to the next passage4 ,in the half-position work1 fourth line1 you will observe that the note followed by two slurred notes may be played staccato lightly near the point4 ,a long stroke is dangerous to the freedom of the forearm4 ,we swing the forearm1 the shoulder joint being free1 the arm following the wrist in passages like this3 ,music ,we also play near the point until the bow-arm is free4 ,single notes are played staccato1 lightly4 ,such passages as this1 requiring slurred notes1 should be accented in this manner3 ,music ,the bow should be free1 placed on the edge of the hair as much as possible1 with a slight undulating movement of the wrist1 not interfering with the legato4 ,contrasts of legato and staccato need not be observed1 the staccato being less marked than previously4 ,in passages like this3 ,music the legato must prevail1 the proper note receiving its accent4 ,whenever it occurs1 keep near the upper third or point of the bow 7the single notes being sometimes played spiccato74 ,music ,the eleventh line requires some contrast between the staccato and legato4 ,very short slurred notes should be played near the point of the bow4 7,play single notes spiccato47 ,now we come to one of the most difficult things in violin playing1 string-transfers1 skipping one string4 7,for the development of the bow-arm at this point1 ,sevcik's #djjj ,bowings1 ,part ,,ii1 ,sections ,,iii and ,,iv1 are very useful47 ,the arm moves freely from the shoulder1 the motion being away from the side4 ,the bow remains on its edge as much as possible4 ,accents1 even when a note falls as a second one in a slurred passage1 must be observed4 ,the fingers should seek their places simultaneously4 ,keep near the upper part of the bow1 the wrist moving freely1 not being under the plane of the elbow2 the fingers are relaxed1 the fourth being on the bow-stick4 ,as an example of staccato bowing and the running legato combined1 this tude is very useful4 ,music ,no4 #aa ,music ,many teachers claim that this tude should be practiced at or near the point of the bow4 ,a somewhat broader and freer forearm stroke is more useful4 ,as in other examples previously analyzed1 the staccato is not wholly desirable4 ,the trill should be accented1 and there should be no variation in the equality of notes because of the trill4 ,hardly more than two trills are possible4 ,the student should read a whole measure at a glance1 and place the fingers at once in position4 ,perfect freedom of the elbow joint is desirable4 ,a free stroke of the wrist is necessary in short string-transfers4 ,after the whole tude has been played in this broad1 free style1 play it entirely through with short staccato bowing1 about two inches from the point4 ,in the fifth line1 the arpeggios are not played in the half-position4 ,as to position changes1 remain in one position until it is necessary to move from that position4 ,the sixth line contains the third position followed by the sixth4 ,the fingers should fall at once into the sixth position1 the entire hand moving back to the fifth when necessary1 the thumb acting in unison with the fingers4 ,pupils must be perfectly familiar with position work4 ,when the fifth and sixth positions are to be used1 the thumb lies flat under the neck of the violin and the fingers are curved over the strings4 ,never move the hand or depress the fingers until the work in a certain position is finished4 ,we now come to a passage in which we take high ,e in the fourth position4 ,those students who have not been trained1 like the followers of ,halir1 to play three octave scales and arpeggios1 beginning on the highest note1 are likely to make errors at this point4 ,to the student of ,fiorillo1 however1 one position should be as familiar as another4 ,again1 we take ,f in the fifth position1 but this is not so difficult1 as we have just played ,g4 ,the prevailing difficulty with players is that they continually get ready for a new position before it is time to do so1 giving the hand a restless motion1 and changing the position of the fingers so that they play falsely4 ,the thumb is invariably too slow in slipping under the violin4 ,the thumb at the middle joint must be depressed1 and there must be as little pressure as possible there2 the chin1 resting firmly1 makes freedom possible for the thumb4 ,it is very noticeable that ,kubelik has marvelous facility in taking the high positions1 his fingers falling into place with surprising dexterity4 ,he has a perfectly trained hand4 ,as before1 the player glides with the entire hand back to the fifth position1 then to fourth1 and lastly to the third2 again1 we take the fifth1 then fourth1 then third1 second1 and first positions4 ,the thumb must be absolutely free1 with no pressure at the middle joint1 and always in advance of the first finger1 the hand moving as freely as possible4 ,the transfers across four strings should be made with ease1 the arm moving out to the side from the plane of the shoulder1 the wrist being free4 ,in changing positions1 the finger last used moves into the new position4 ,the secret of playing this work well lies in the absolute freedom of the thumb4 ,students may observe that in the last line the transition must be made from the sixth to the first position1 the hand reaching far over on the ,g string1 the thumb resting on its tip1 yet never quite released from the neck of the violin4 ,music ,this tude is most valuable as a study of positions1 while it offers no varied bowings4 ,it is purely a technical exercise1 radically opposed in style to the beautiful examples of cantabile playing offered by numbers one1 seven1 and eight4 ,no4 #ab4 ,few of the ,fiorillo tudes are played by the student strictly according to metronome time4 ,not so with ,rode4 ,his ,caprices are often studied abroad for three years2 and1 by the time the student has completed them1 he plays them like finished pieces1 at metronome time4 ,often1 too1 the ,rode ,caprices are memorized1 but the ,fiorillo tudes rarely are4 ,the ,berlin school neglects ,fiorillo to a certain extent1 but ,halir1 one of its best exponents1 spends considerable time in the study of them1 giving to them the grace1 vivacity1 and lightness of the ,french school when the text so demands1 and also striving for the breadth of the ,german school in pure cantabile work1 as found in slow movements4 ,for intricate bowings ,kreutzer1 with the supplementary ,massart#g bowings1 is adequate4 ,fiorillo's tudes1 as previously stated1 cannot be studied in their order4 ,individual needs govern the teacher4 ,perhaps one student may be studying ,fiorillo1 while1 also studying the more difficult trill and double-stop tudes of ,kreutzer4 ,some of the ,kreutzer tudes have never been given to me by teachers4 ,it is equally true of ,fiorillo4 ,if ,i seemed to have a weak point in technic1 or if my bowings were stiff and angular1 ,i returned to ,kreutzer4 ,i was taught ,kreutzer and ,rode1 over and over1 in ,berlin4 ,many of the ,berlin teachers say3 8,get technic from the standard ,concertos4 ,do not spend too much time on technic pure and simple40 ,the question in the mind of the ,joachim ,school is 8,how is it possible for the ,sevcik followers to have a repertoire1 when they are made to study technical works of such length and seriousness as those of ,sevcik80 ,music ,the twelfth tude of ,fiorillo is not one in which technic is prominent4 ,its object is mainly the freedom of the bow-arm4 ,the fingers of the left hand should be placed lightly over the strings1 in readiness for their movement4 ,they should anticipate a change of position4 ,if the left hand is ready1 bow technic is more easily secured4 ,note in the ,hermann edition that the tude is marked forte4 ,it should be played lightly1 the upper third of the bow being used4 ,there should be no marked contrasts of the legato and staccato2 in fact1 the staccato mark is not to be interpreted as necessary in such tudes as this1 because the stroke is so free4 ,it would be impossible to play this tude forte in the upper part of the bow1 and give it lightness and grace4 ,the short staccato also gives less breadth to the stroke4 ,in similar passages the length of bow used should be about uniform4 ,note the inclination to cut the second note of a group of two tied notes in anticipation of a single staccato note4 ,this should be avoided4 ,all violin jerking of the bow on single first notes of a group should be avoided4 ,the student should be careful to slide the thumb well under the neck of the violin in the fifth position passages4 ,do not move the hand while in one position1 in anticipation of the next position4 ,do not depress the fingers in the fifth and sixth positions before passing to the third4 ,in this passage avoid forced attenuation3 ,music ,continuous syncopation should be uniformly smooth and even4 ,nothing is of such value to a violinist as a perfect command of the transition from the third to the fifth position1 and vice versa4 ,many faults of technic arise from too much pressure of the thumb upon the neck of the instrument1 thus giving the player no freedom1 and inducing a bad habit of bending the thumb instead of strengthening it for the fifth position4 ,if extensions are to be made1 slide the thumb a little farther under the neck of the violin1 and curve the fingers well4 ,music ,note in the sixth line the fifth position passage on the ,a string4 ,many players have to move the whole hand at this point1 so that the fingers may lie easy on the string4 ,the hand should assume a position which will enable the pupil to play with ease4 ,the newer chin-rests1 which are wider than the former ones used1 do not seem to enable one to hold the violin with ease4 ,the chin should rest on the edge of the chin-rest rather than far in or on the tail-piece4 ,the muscles at the back of the head become cramped by gripping too hard4 ,a little piece of chamois leather placed between the left jaw and the chin-rest will prevent a bruise of the flesh1 the bane of professionals4 ,in the ninth line we have the form of bowing known as two cut and two slurred notes4 ,the notes that are cut are not to be played sharply at the point of the bow4 ,they are swung lightly along the strings1 using about one-third of the bow1 the tempo being moderate4 ,again1 the student must be cautioned against cutting the value of the second slurred note in anticipation of a single staccato note3 ,music ,note the forte passage in the lower half of the bow3 ,music ,this should be played in a somewhat disconnected style in the first half of the measure1 with a strong accent on the first note of groups of two4 ,the latter half of the measure falls about in the middle of the bow4 ,a free stroke1 not too short a staccato1 is preferred4 ,the tenth line opens with an arpeggio played forte with staccato and legato strokes4 ,the next similar passage is played pianissimo1 in close imitation as to style4 ,all passages of this nature are smoother in the upper part of the bow4 ,avoid forced accents or any movement which interferes with free bowing3 ,music ,in the twelfth line a short legato passage is played in the upper half of the bow rather than with the whole bow4 ,when one passage closes with down-bow1 there should be no break in passing to the up-bow4 ,two notes slurred lie in the upper half with as long a bow as the tempo will allow4 ,in passing from a long legato passage to a short one1 it is well to estimate so well that the part of the bow desired may come at once under control4 ,all passages requiring quick transitions on four strings should be played as broadly and with as free a bow-arm as the tempo will admit2 in other words1 too little bow gives no value to the passage1 while a light stroke with a longer bow is made more valuable4 ,naturally1 if the tempo is increased to allegro1 we must remain near the point of the bow4 ,when four strings are required1 the bow-arm must be higher1 and the distinction between a forearm stroke and a pure wrist stroke must be well defined4 ,in rapid legato passages all pressure upon the bow-stick must be avoided4 ,keep the legato work that follows in the upper half of the bow1 avoiding pauses between bows1 or unnecessary accentuation4 ,short groups of slurred notes must be played near the point of the bow4 ,short string-transfers are made with the wrist1 and three or four string-transfers with wrist and arm1 the bow never being tilted on its inner edge4 ,play on the outer edge of the hair as much as possible1 resting the bow on two strings1 or as nearly so as possible4 ,do not release the fourth finger from the bow-stick4 ,rest it at least against the stick if not on it2 all work1 especially in the lower half of the bow1 demands this security of the hand4 ,for string-transfers of this kind1 see ,sevcik's ,school of #d1jjj ,bowings1 ,parts ,,iii1 ,,iv1 and ,v2 ,casorti's ,school of ,bowing2#h the work of ,hans ,sitt1 ,op4 #ib2i and the ,kross ,art of ,bowing4#aj ,,footnotes3 #g ,the ,art of ,studying ,r4 ,kreutzer's tudes1 by ,l4 ,massart4 ,four hundred and twelve examples1 compiled by the advice of the author4 ,revised1 translated1 and edited by ,gustav ,saenger 7,english1 ,french1 and ,german ,text47 ,published by ,carl ,fischer1 ,new ,york4 ,price1 #fj cents4 #h ,technic of the ,bow1 by ,a4 ,casorti1 ,op4 #ej4 ,a standard work of its kind4 ,published by ,carl ,fischer1 ,new ,york4 ,price1 #ge cts4 #i ,technical ,studies1 by ,hans ,sitt1 ,op4 #ib4 ,part ,i1 ,exercises and ,studies for the ,cultivation of the ,left ,hand4 ,in three ,books4 #a4jj each4 ,part ,,ii1 ,exercises and tudes for the ,special ,development of the ,right ,hand4 7,technics of the ,bow47 ,in three ,books4 #a4jj each4 ,published by ,carl ,fischer1 ,new ,york4 #aj ,the ,art of ,bowing1 by ,emil ,kross4 ,a practical1 theoretical guide for developing the technic of the bow and for acquiring a fine tone4 ,price1 #a4jj4 ,published by ,carl ,fischer1 ,new ,york4 ,no4 #ac4 ,music ,this graceful and interesting tude partakes of the qualities of the ,french school with added dignity4 ,the andante must be smoothly played1 the portamento work being given especial value through position changes4 ,strange as it may seem to the amateur1 artistic phrasing begins with tudes2 for instance1 many of the tudes ,brilliantes1 by ,mazas1#aa furnish excellent examples4 ,a natural crescendo occurs in the last four measures of the first line4 ,the andante is graceful and dignified1 a perfect example of legato playing4 ,transitions from third to first position should be made without disturbing the beauty of phrasing4 ,it would be well to analyze this andante with students1 pointing out simple rules of phrasing4 ,in groups of two notes1 accent the first slightly and pause between groups1 closing the phrase with a slower tempo4 ,it is of the utmost importance that rules of phrasing should be taught in tudes and applied to the standard ,concertos4 ,if tudes mean anything1 all that is contained in them should be brought out4 ,this relieves dry and lifeless study1 and gives us ample opportunity to make musicians1 not machines4 ,the ,presto must first be practiced slowly until a command of bowing and technic is possible4 ,the octaves are played in the upper half of the bow1 with a slight accent on the first note of each group1 the groups also being slightly separated1 though the bow is not raised from the strings4 ,keep nearer the point than the middle of the bow4 ,do not hold any note too long4 ,make phrasing clean-cut4 ,the fingers work simultaneously1 and must not leave the strings during a passage4 ,in playing octaves1 relax the wrist inward and curve the fingers well4 ,keep the thumb free and in advance of the first finger4 ,everything depends upon the holding of the violin with the chin1 not with the thumb and first finger4 ,the bow-arm must be very free4 ,the player should not be timid1 sliding the fingers into place4 ,the hand and fingers move together4 ,the trilled notes should be played with a sharp accent1 the legato being contrasted with a short1 crisp staccato in the upper part of the bow1 about two inches from the point4 ,this passage should be played near the upper third of the bow4 ,music ,notes not marked staccato are to be played freely1 with a forearm stroke4 ,place the fingers at once in position for arpeggios4 ,note the suggestions of the ,kross edition of ,kreutzer1 in this respect4 ,by the time the student has reached ,fiorillo1 he must be familiar with all forms of bowing4 ,he is now to apply himself to technic4 ,string-transfers must be made easily4 ,returning to the octaves1 one must play with a free running legato in the upper third of the bow4 ,note the arpeggios1 which must be played staccato very crisply near the point of the bow4 ,there is a prevailing tendency among students to play the slurred legato notes with a longer bow than the single detached notes4 ,a freer style is that of uniform length of bow throughout4 ,when it is possible1 play a long swift stroke in preference to a short one in passages of this kind3 ,music ,in a sudden transition to high ,d on the ,a string1 the portamento is allowed4 ,the stroke is a forearm one4 ,now we return to the octaves4 ,if there is any trouble at this point1 play the notes together until the pitch is quite accurate4 ,there is also another advantage4 ,in octaves the bow lies on two strings1 and this is an aid to the mastery of a pure legato in a passage in which the notes are not played together4 ,note the almost perceptible crescendo as the octaves progress4 ,after several measures in which the forearm stroke is used1 we come to short groups near the point of the bow4 ,in the fourth line from the end1 we return to the short passage1 to be treated somewhat freely4 ,music ,in passing to the seventh position on the ,d string1 avoid a nervous jerking or undue pressure upon the bow4 ,the portamento is naturally desirable4 ,the arm should be well under the violin in the octaves on the ,g and ,d strings4 ,music ,the last chords are not played like arpeggios4 ,they must be full of decision4 ,the down-bow is used in each case4 ,,footnote3 #aa ,seventy-six ,melodious and ,progressive ,studies1 by ,f4 ,mazas1 ,op4 #cf1 in three ,books4 ,book ,i1 tudes ,speciales2 ,book ,,ii1 tudes ,brilliantes2 ,book ,,iii1 tudes d',artistes4 ,price each1 #ej cents4 ,published by ,carl ,fischer1 ,new ,york4 ,no4 #ad4 ,music ,it is an erroneous idea that those outside of the ,french school sometimes entertain concerning the nobility of tone of that school4 ,in cantabile work1 tone-color and proportion are sought and obtained4 ,brilliancy1 vivacity1 and piquancy belong to the ,french temperament1 but depth1 dignity1 and nobility are possible1 even in a ,frenchman4 ,hence it is that such exponents of the ,french school as ,thibaut1 ,kreisler1 and ,marteau play an ,adagio with beauty and nobility4 ,the ,german school1 while essentially lacking in versatility1 lightness1 and elegance1 as compared with the ,french1 excels only in breadth of tone1 purity1 and dignity4 ,it is absurd in these days of constant comparison between schools1 considering the frequent study of great artists in several ,continental schools1 to assume that any one of them has the only legitimate interpretation of the classics4 ,the ,french-school artist plays ,corelli and ,tartini with more poetry and varied tone-color than the ,german-school artist1 giving to all the classics of that period more modernity and consequent beauty than they ever possessed in their time4 ,again1 the present use of the vibrato gives warmth to any classic4 ,i speak of these things because one can learn to play the ,adagios of ,fiorillo and ,rode in ,paris4 ,in connection with this tude1 played largely on the ,g string1 it would be well for the student to study such works as the ,raff 8,cavatina10 the ,bach 8,g ,string ,air10 an ,air from a 8,suite0 by ,johann ,mattheson1 and other works which will give one perfect freedom in the higher positions on one string4 ,the ,g string has always been a favorite one for beautiful slow movements of ,concertos4 ,both ,bach and ,paganini realized its possibilities4 ,possibly the student holds the neck of the violin too tightly with the thumb4 ,the latter must be ready to move quickly into any position1 the fingers being well arched in the very high positions4 ,a perfect command of the legato and fine discrimination in the use of the portamento are desirable4 ,one should avoid sliding up and down the strings when the phrasing does not demand the portamento4 ,do not hurry the movement4 ,pause between phrases to give added dignity4 ,in playing very high on the string1 do not press upon the strings too heavily with the bow1 as the length of string is now so short that additional pressure gives a rasping tone4 ,practice the crescendo4 ,economize space in long bowing4 ,do not allow the fingers to leave the strings at such points4 ,a perfect legato can only be obtained when the fingers and bow are in perfect sympathy4 ,a somewhat dignified trill is necessary4 ,maintain the proper tempo4 ,in the last line preserve the legato even if the grace notes seem to disturb it4 ,at the close begin the trill slowly2 then increase the rate4 ,if the student fails in the command of the higher positions1 use the ,halir studies daily4 ,freedom will soon be secured4 ,no4 #ae4 ,music ,you will observe that the older composers of technical works used easy keys4 ,they themselves were players of the violin1 and knew how to write in a violinistic manner4 ,you will also observe that two methods of playing this tude are indicated4 ,as a special daily exercise1 in connection with this tude1 ,i would suggest ,sevcik's #d1jjj ,bowings1 ,op4 #b1 ,part #b1 ,sections ,,iii and ,,iv1 two and three string transfers4 ,after playing these exercises for an hour1 including the ,halir legato studies1 pages #a to #d1 ,tonleiterstudien1 the wrist and forearm are supple for the daily work1 while the left hand falls easily into line4 ,in all technical work the left hand must be trained to anticipate the bow-arm4 ,more depends upon the left hand than upon the bow-arm1 hence the necessity of strong fingers and an ample technic4 ,allegro is an elastic term in the classic tudes4 ,play slowly and without stumbling until you master the content of the work1 then increase the tempo4 ,the preferred method of playing this tude is the lower one4 ,play in the upper third of the bow1 not forte1 at first1 until freedom of the bow-arm is assured4 ,a lateral stroke of the wrist is not necessary4 ,the wrist should be flexible and free1 however4 ,play a smooth1 running stroke1 for a pronounced staccato is likely to make the muscles of the fingers and wrist rigid1 unless one has perfect command of the bow-arm and hand4 ,the student should train himself to read ahead of the measure he is playing4 ,place all the fingers in position at once1 whether a new position is to be taught or not4 ,a prevailing tendency in this work is to play with a stiff arm and to use too rapid a tempo4 ,that is not wise4 ,play slowly until freedom is assured4 ,the sequence of positions should not trouble the player4 ,string-transfers should be made on the edge of the hair1 or as nearly so as possible1 and there should be no 8tilting0 of the bow from the outer edge to the middle and then to the inner edge of the hair4 ,keep the forearm high enough so that the bow lies easily on two strings4 ,always anticipate string-transfers by practicing arpeggios on four strings1 with the entire arm well arched and no break in the curve4 ,while many short string-transfers1 especially at or near the point of the bow1 require only the use of the wrist1 there is an almost perceptible movement of the arm from the shoulder1 so that the curve described on the strings may be easy and graceful4 ,this is one of the most important things in connection with the obtaining of a beautiful legato4 ,a study of my ,three ,octave ,scales1#ab with varied bowings1 in the upper half of the bow1 should be carried on during the entire study of ,kreutzer and ,fiorillo4 ,note the difficulty of easy string-transfers in the sixth measure4 ,these are very treacherous1 if one has not mastered the two suggested bowings in the first five lines4 ,now1 let us take the passage slowly near the point of the bow1 the first note being played lightly staccato1 and the next two slurred notes staccato on the up bow4 ,do not jerk the first note of the group of three4 ,sometimes teachers prefer to use single detached bowings throughout the exercise4 ,that is not desirable2 in fact1 all students of this work should have a thorough knowledge of positions4 ,i do not believe in the practice of many and varied bowings in connection with ,fiorillo4 ,we have practically fixed the fundamental bowings in the first twelve ,kreutzer tudes4 ,at present many teachers are using the ,sevcik #d1jjj ,bowing ,studies1 and carefully teaching ,mazas' tudes ,brilliantes4#ac ,sitt and ,dont must inevitably aid in the mastery of bowings1 as well as of position work4 ,there is so much to learn from standard ,concertos that it seems unwise1 in our busy ,american life1 to burden the student with too many tudes4 ,if he can learn the great principles of violin playing from well-known works1 or a few well-chosen tudes1 he has time for the study of legitimate classics4 ,the entire ,sevcik plan is too extensive and impractical for ,american violin study2 nevertheless1 the most progressive teachers are adapting ,sevcik to the needs of their pupils4 ,we cannot teach as ,sevcik teaches2 our entire conditions of life are at variance with ,european conditions4 ,if the preparatory work for ,fiorillo is well done1 we may be sure that the student will progress rapidly1 and there will be no need of the introduction of many and varied forms of bowing at this point4 ,review with the flying staccato in the lower half of the bow1 also at the middle of the bow spiccato4 ,play the following measures at the point of the bow3 ,music3 ,on #b strings ,,footnotes3 #ab ,daily ,exercises and ,three ,octave ,scales1 by ,edith ,l4 ,winn4 ,published by ,carl ,fischer1 ,new ,york4 ,price1 #a4jj4 #ac ,see footnote1 page #cj4 ,no4 #af4 ,again1 the term ,allegro is a somewhat elastic one4 ,the stroke is at or near the point of the bow1 the first note covering enough space so as to allow a longer bow for the three slurred notes4 ,this group should be sharply accented4 ,play forte throughout4 ,play the longer staccato groups in the second and third line near the point of the bow1 using as little space as possible1 until we come to the last two notes4 ,owing to the modulations in this tude1 ,i frequently ask students to memorize it4 ,we usually analyze it4 ,there is a growing tendency among violin teachers to analyze all technical works and pieces with students4 ,foreign teachers rarely do so4 ,it is a question whether the lesson should include harmonic analysis4 ,that should be taught elsewhere4 ,the violin teacher's duty is to teach the pupil how to play works4 ,harmony and theory should be taught in classes4 ,it is wise1 however1 to call attention to keys4 ,all the major and minor keys should be studied4 ,remember the sharp accentuation on the first note1 down bow1 of slurred groups of three notes4 ,music ,the trill should be played with a down bow4 ,raise the bow slightly between octaves2 also play at the middle of the bow4 ,accent trills4 ,the fingering in the last three measures is as follows3 ,music ,music ,no4 #ag4 ,music ,a brief glance at this tude would naturally give one the impression that it is played in a light manner4 ,it is1 however1 one of the most interesting ,adagio studies in violin literature4 ,the ,fiorillo tudes are not single detached studies4 ,they flow into each other1 as it were1 naturally1 and with sufficient variety as to tempo and themes to make them fascinating and agreeable4 ,this tude leads into the more rapid eighteenth tude gracefully and with dignity4 ,both tudes are usually taken out of order1 on account of their difficulty1 and the ,kreutzer double-stop tudes are reviewed4 ,phrases should be full of meaning1 clean-cut and distinct4 ,the fingers must fall simultaneously in double-stops4 ,a slur within a slur requires a slight separation1 but not the raising of the bow4 ,note the exact reproduction of the first phrase1 with the position of notes inverted1 in the second phrase4 ,note the second and third measures1 second line1 the short staccato being avoided4 ,music ,the long staccato double-stop passage should be played with slightly detached notes1 not staccato in the extreme sense1 with a slight ritard toward the close1 about two-thirds of the bow being used1 so that the following legato passage may be free4 ,the next two notes slurred must be played near the point of the bow1 followed by a staccato passage1 as before played lightly and detached1 with a free running stroke4 ,when there are groups of two notes1 the first is accented4 ,phrasing must be clean-cut at this point3 ,music ,naturally there is a ritard at the close4 ,the first part of the tude begins on the tonic triad1 with the fundamental note absent4 ,it is well to call the attention of the student to the fact that the second part of the tude opens with the dominant chord1 the fundamental note being absent4 ,there is a decided pause in the fourth measure1 owing to the demands of phrasing4 ,the student should play one phrase repeatedly until mastered4 ,the fingers move simultaneously into new positions4 ,they must take the position at once4 ,in the third line the accompaniment to the theme must be lightly played1 no note being carried over a rest4 ,do not accent in syncopated passages1 nor play the note of the accompaniment too loud1 giving it more than its value4 ,in the seventh line the short notes or groups should be played almost in a recitative style4 ,the student should think his interval at once when suddenly passing to double-stops2 in the higher positions the fingers fall together4 ,the long runs may be played more nearly in staccato style4 ,in the third measure from the close1 play the thirty-second note at the heel of the bow4 ,music ,in order to fully appreciate this tude1 it would be well for the student to hear the great singers in such works as ,bocca bocca bella1 by ,lotti1 or ,vieni che poi sereno1 by ,glck1 which offer examples of pure technic and beauty of phrasing4 ,i believe ,i can say frankly that ,i have learned more about phrasing from the study of voice than from violin study4 ,at any rate the one aids the other1 and the student must learn to play ,fiorillo and ,rode like an artist1 giving to purely technical works a value that will materially aid him in the interpretation of pieces4 ,style and phrasing are so essential to violin playing that one should hear much good music1 and all teachers should be able to illustrate the important principles of bowing1 phrasing1 and technic4 ,no4 #ah4 ,music ,for finished studies1 using double-stops1 tudes seventeen and eighteen are unexcelled4 ,the latter1 like the twelfth ,kreutzer1 may be played for years with profit4 ,the student should not enter upon this study untrained4 ,beside the preparatory work of ,kreutzer and ,sitt1 there are excellent double-stop exercises of ,wilhelmj ,himaly1 and especially of ,halir1 used so little as yet in ,america4 ,halir's idea is to teach double-stop scales in sections1 beginning with the ,c scale4 ,this tude should not be played rapidly4 ,allegretto is a diminutive term4 ,play in the lower half of the bow1 the bow being raised for each note4 ,the student should place the fingers simultaneously4 ,the fingers move together4 ,the positions must be thoroughly understood before this tude is studied4 ,one may practice it for months with profit4 ,generally the upper part of the bow is preferred1 with a smooth running stroke of the bow4 ,teachers differ concerning the manner of teaching this tude4 ,all staccato passages are usually played crisply1 with freedom4 ,note the manner of playing the ,halir double-stop scales with varied bowings1 i4e4 7#a7 ,lower half detached2 7#b7 ,two notes tied2 7#c7 ,four notes tied2 7#d7 ,entire scale in one bow4 ,it is always best1 when a student is advanced1 to study these tudes of ,fiorillo first with the bowing as marked1 not with easier forms4 ,it is far better to play a passage over and over until correct1 than to institute an easy method of bowing4 ,a mastery of technic requires constant repetition4 ,take the tempo slowly at first4 ,always sing tone and play with as broad a stroke as possible under the circumstances1 so as to cultivate a broad1 free style4 ,a very light passage may often be played with detached notes1 using nearly the whole length of the bow4 ,when playing double-stops lightly1 do not press upon the bow-stick2 play over the finger-board1 with a light loose stroke4 ,the middle of the bow is an excellent place in which to play the double-stops1 as found in tude #ah and elsewhere4 ,for small hands ,i would recommend the following method of playing tenths3 ,draw the first finger around so that it lies almost flat on the string at right angles to the neck of the violin4 ,then place the fourth finger in position4 ,it is probable also that this finger cannot be curved4 ,the thumb is well round under the neck of the violin4 ,it must be flat1 close up to the neck4 ,do not release it entirely from the neck4 ,no4 #ai4 ,music3 ,allegretto4 ,with the middle4 ,this tude begins lightly spiccato at the middle of the bow4 ,with the crescendo the necessity for a broader stroke arises1 and we dispense with the spiccato4 ,the following passage is played toward the middle of the bow the stroke becoming a spiccato3 ,music ,keep in the upper third of the bow when the tied notes are alternately long and short4 ,in the seventh line1 second measure1 play the staccato run at the point of the bow3 ,no4 #bj4 ,music ,as an example of string-transfers in the positions1 especially upon four strings1 this tude is unexcelled4 ,play lightly near the point of the bow4 ,prepare for each change of strings and for rapid position changes by reading in advance4 ,always keep the bow well over two strings4 ,if four strings are to be used1 raise the arm1 the entire arm being in the same plane4 ,a running legato at the point of the bow is desired4 ,raise the arm out from the side1 the whole arm moving in the same plane1 the wrist leading4 ,note the great value of this tude as a preparation for the third movement of the ,concerto in ,a minor by ,bach4 ,short string-transfers require that the two fingers used fall simultaneously on the strings4 ,the arm always follows the wrist4 ,if arpeggios occur in the higher positions1 place the fingers as upright as possible on the four strings4 ,a variation in point of attack interferes seriously with intonation4 ,note the necessity for perfect intonation4 ,the wrist leads in transfers1 a backward dip securing a perfect legato4 ,do not secure it by playing on the inner edge of the hair4 ,if the legato is not easily played1 review the eighth ,kreutzer tude in groups of two notes at the point of the bow4 ,a study of ,hans ,sitt's double-stop tudes#ad and ,section ,,iv and ,v of ,sevcik's #d1jjj ,bowings is desirable4 ,if the tude is first played in double-stops1 the student gains the habit of thinking the relation of tones1 also the bow gains facility1 and lies well over the strings4 ,a running legato passage of two notes to a bow is usually played anywhere from the middle to the point1 preferably near the point1 if pianissimo4 ,a quick command of the sixth position is not easy4 ,two fingers1 at least1 should fall at once into place4 ,the bow should lie almost over two strings at the point1 or near it4 ,there should be no visible rise and fall of the arm for two-string transfers4 ,in moving from position to position1 the legato should not be disturbed4 ,a slight accent on the first note of each group of two gives character to the tude4 ,in this passage1 where more than two strings are to be used1 one naturally moves the entire arm4 ,music ,music ,a slight undulating movement of the wrist1 not lateral1 gives freedom4 ,play near the edge of the hair as much as possible4 ,raise the entire arm for a transfer from the ,e string to the ,g1 the wrist leading slightly4 ,describe a curve1 not an angular movement4 ,do not turn the violin far over to the ,e side4 ,hold it lightly with the chin and let the body of the instrument be nearly flat1 that is1 make the angle as small as possible4 ,if the ,g string is high in the air1 the ,e will be correspondingly low1 the arm close1 and all legato work or string-transfers correspondingly difficult4 ,the rule of reading ahead and placing fingers on the strings at once always holds good4 ,as examples of this style of bowing1 one may mention the ,sevcik #d1jjj ,bowings1 ,part #b1 ,section ,,iii1 ,,iv1 ,v2 also the ,sitt ,technical ,studies1#ae #b;d part1 ,op4 #ib1 with the chords played as arpeggios in many ways4 ,there are many other studies of this nature2 for instance1 the ,kross ,bowings of ,kreutzer's ,studies1 ,nos4 #a and #h4af ,naturally the student must think modulations1 even if he is perfectly familiar with his position work4 ,keep the thumb well under the neck of the violin1 so as to compass four strings easily and at once4 ,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 bow1 using a light detached stroke4 ,when playing such passages as this do not throw the wrist out1 necessitating a perfectly flat fourth finger4 ,all fingers should be arched4 ,marie ,herites1 one of the best early exponents of the ,sevcik school1 has a very excellent method of playing tenths1 in spite of her short fingers4 ,she brings her first finger far around1 so as to fall at right angles to the neck of the violin4 ,it lies flat in this position and the fourth falls easily into place1 slightly curved4 ,the wrist is somewhat out of position1 and the thumb far under the violin1 but results are satisfactory4 ,every one can conquer limitations of the hand4 ,no4 #bj is not a virtuoso study4 ,it belongs essentially to a good repertoire1 but it is not easy1 and must therefore be practiced until perfect freedom is secured and intonation is perfect4 ,,footnotes3 #ad ,hans ,sitt1 ,technical ,studies1 ,op4 #ib1 ,part ,i1 ,book ,,iii1 ,double ,stopping1 ,thirds1 ,sixths1 and ,octaves4 ,published by ,carl ,fischer1 ,new ,york4 ,price1 #a4jj4 #ae ,see footnote1 page #bi4 #af ,see footnote1 page #bi4 ,no4 #ba4 ,music ,several editions of ,fiorillo suggest varied bowings for this tude4 ,we have practiced varied bowings with ,kreutzer1 ,sevcik1 and other works4 ,one should be familiar with bowings before the study of ,fiorillo4 ,the content of the tude must only be considered4 ,use a light legato bowing near the point4 ,the question has often been asked1 8,does the thumb bend in the fifth position80 ,after we leave the #c;d position1 the thumb becomes flat under the neck of the violin4 ,be very careful of intonation when the key changes4 ,at this point do not change position4 ,it is an invariable fault of students3 ,music ,a quick transfer from third to second position must be made easily4 ,all passages of a chromatic nature1 or in which there are sudden modulations1 should be played a good deal until correct intonation is assured4 ,owing to the great similarity between ,nos4 #bj and #ba1 it is wise to play the twenty-second before the twenty-first4 ,no4 #bb4 ,music ,the twenty-second tude is one of the most beautiful adagio studies in violin literature4 ,it is particularly useful to those who are studying the ,bach ,sonatas and the ,spohr ,duos4 ,there is no need of playing the first note timidly4 ,one should be able to think ,a1 because of the knowledge of absolute pitch4 ,the position of the note is naturally difficult4 ,the thumb must lie well under the violin neck1 in order that the passage on the ,a string may be played with ease4 ,do not pull the ,a string from side to side in the higher positions4 ,this causes false intonation4 ,in the fourth measure use the third position1 then change to second position4 ,as to the length of bow required1 the volume of notes and number on one bow govern the length1 but a uniformly broad style is advocated4 ,one serious difficulty in the tude is the command of the crescendo and diminuendo4 ,practice the three octave scales1 single whole bow slowly1 making a crescendo four times4 ,use the vibrato freely4 ,concerning high notes1 play without pressure upon the bow-stick1 as the tone of a short string cannot be forced4 ,it is of the utmost importance that one should play with correct intonation4 ,the high notes are not as strong in tone as the low notes1 owing to the difference in length and vibratory quality of the strings4 ,we will now turn to the sixth position4 ,the first note must not be forced4 ,the use of the same finger for position implies the portamento4 ,a smooth flowing legato passage is naturally to be played with a longer bow4 ,sudden leaps from the ,g string to the ,e must be made with a high arm and flexible wrist4 ,play the bowings as marked4 ,you will observe slurred notes in varied groups4 ,the three notes must be played with a long bow and in as perfect proportion as the longer passage4 ,the power to use the bow wisely is difficult to acquire4 ,note the passages in the seventh1 eighth1 and ninth positions4 ,it is absolutely necessary that students be free in the higher positions4 ,different editions vary concerning the fingering in the last line4 ,the bowing is usually uniform4 ,the difficulty of the tude naturally makes it one of the best of its type1 for the difficulties are legitimate ones1 which naturally occur in the great concertos3 ,no4 #bc4 ,music ,the bowing suggested in the twenty-third tude is one of the most frequent and natural ones in concertos4 ,it is adapted to an allegro movement1 and while it may be satisfactorily played near the point of the bow1 the forte would indicate a longer bow1 possibly the upper third4 ,a free1 undulating movement of the wrist1 with only a slight arm movement1 in two-string transfers is desired4 ,again1 the student must be cautioned against raising the fingers too quickly4 ,all fingers must take their positions quickly and maintain them4 ,in three-string transfers more arm movement is necessary4 ,do not play over the entire surface of the hair4 ,keep largely to the outer edge4 ,note that the middle note is higher than the third note of this group1 hence it is wise to use this bowing3 ,music ,we return to the former bowing in the next line4 ,music ,the up-bow is not staccato1 but a free stroke that will not be a decided contrast to the preceding slurred notes4 ,in connection with this tude observe intonation carefully4 ,also add to the flexibility of the wrist by the use of the tudes of ,hans ,sitt1 ,op4 #ib1 ,book ,,iii4#ag ,,footnote3 #ag ,see footnote1 page #bi4 ,no4 #bd4 ,music ,in somewhat decided contrast as to style1 this tude is played with a short staccato stroke2 the position work1 with the fourth finger in the lead1 must be free1 the thumb and first finger perfectly relaxed1 the violin being held firmly with the chin4 ,double-stops require perfect freedom and uniformity of finger action2 the fingers move with the hand1 and the thumb and hand move in the same plane4 ,the octaves are played in the upper part of the bow1 with as broad a stroke as the tempo permits4 ,one should not play allegro if unprepared for the tempo4 ,the tenths are to be played very lightly near the point of the bow1 using about three inches1 at least1 of the bow4 ,relax the wrist as much as possible1 and play near the outer edge of the hair4 ,marked depression of the wrist makes the position of the hair variable on the strings4 ,again1 the movement of any fingers1 especially the fourth1 to and fro on the bow-stick1 produces an uncertain legato4 ,play the tenths as before indicated4 ,the seventh line reproduces the form of the first line1 the first and fourth fingers1 at least1 remaining on the strings constantly4 ,the upper third of the bow is used4 ,the tenths are frequently played with staccato bowing in the middle of the bow4 ,this gives a free stroke1 but the upper part of the bow is preferred4 ,make a slight accent on the first note of each group of two4 ,also slightly raise the bow for this attack1 and swing the staccato up-bow quickly along the string4 ,this is a somewhat free style of playing1 which suits the passages of tenths and gives them vivacity rather than heaviness of character4 ,now note the rapid running legato at the point of the bow3 ,music ,this is easily played1 if the thumb moves freely and if the fourth finger slides along the strings4 ,the first and fourth move together in octaves4 ,it is also true of tenths4 ,the followers of the ,french school always play chords in an arpeggio style4 ,this is not true of the ,berlin school4 ,the followers of that school fall with force upon the strings1 taking three or four notes simultaneously4 ,for the development of such a style see ,sevcik's #djjj ,bowings1 ,section ,v 7,part #c74 ,no4 #be4 ,music ,this tude furnishes an excellent example of phrasing and style4 ,before beginning the study of it one might well play ,halir's runs up and down each string for the pure legato and position work4 ,the student gains freedom in this way4 ,do not press too heavily on the bow-stick for the higher positions1 as a rasping sound results4 ,the crescendo and legato must not be sacrificed4 ,note the reappearance of the theme on the ,e string4 ,as broad a bowing as possible is desired4 ,the sixteenth notes fall about in the middle third of the bow1 the thirty-second notes lying nearer the point of the bow4 ,the fourth line begins a new form of the original theme4 ,the up-stroke is rather a broad staccato1 not a spiccato bowing4 ,the bow is not raised from the string1 but swings along the string lightly4 ,notes marked with a dot have variable meanings1 according to the tempo of a work4 ,in this case the short staccato would be too trivial4 ,the following measure should be played in the upper part of the bow very firmly1 gradually diminishing in the next line to a pianissimo near the point of the bow3 ,music ,no4 #bf4 ,to be played with the upper third of the bow3 ,music ,you will observe that ,fiorillo makes decided contrasts in his tudes4 ,the twenty-sixth naturally assumes a more lively character4 ,it opens with a crisp1 bright staccato in the upper third of the bow4 ,the last two measures of the first line are naturally played somewhat near the point of the bow4 ,perfect freedom of wrist and forearm is desired4 ,the form of the second line is like that of the first line1 and the same bowing is used4 ,now we contrast the staccato and legato passages4 ,if the octaves seem difficult1 lead the student to practice the octave studies of ,halir and ,schradieck4 ,the legato triplets in octaves are near the point of the bow4 ,note at this point that the quarter notes extend throughout the upper legato groups4 ,it was a strange idea of the ,peters edition to introduce the groups with an up-bow4 ,in our present-day study we seek to make tudes 8fit into0 modern solos4 ,this style of bowing is almost obsolete4 ,the bowing is now reversed1 the first note being short1 the next two slurred2 but we soon return to the original method4 ,if the group opens with a high note followed by a low note1 then a high note again1 the bowing is as follows3 ,music ,if the notes ascend the scale1 they are most frequently bowed thus3 ,music ,the arpeggios that follow are legitimate1 being easily played in the upper part of the bow4 ,the tempo governs the length of the bow4 ,pupils learn to feel for bowing2 in fact1 to make few errors in passages of a similar nature1 because they have been trained to play correctly1 if the ,massart bowings#ah are used with the study of ,kreutzer4 ,play this measure in the middle of the bow1 raising the bow slightly for each group2 accent the second note of each group3 ,music ,,footnote3 #ah ,see footnote1 p4 #be4 ,no4 #bg4 ,music ,this tude should not be played too rapidly1 a light stroke in the upper third or upper half of the bow being somewhat easily secured4 ,the first note of the groups of three notes must be played without pressure upon the bow4 ,it is a light staccato4 ,the bow lies well over two strings4 ,take the second position at once4 ,do not try to make the bow-strokes uniform in length4 ,freedom is at first secured at or near the point of the bow1 the wrist being very supple4 ,do not release the fourth finger entirely from the bow-stick4 ,varied bowings are not desirable1 as the wide range of violin literature demands a knowledge of the specific content of tudes4 ,the bowings required in the ,fiorillo tudes ought to be familiar to students long before they reach this point in their study4 ,before the change into a new key1 play a crescendo of two measures4 ,do not rest at the base of the first finger unless necessary4 ,avoid the vibrato4 ,relax the thumb4 ,hold firmly with the chin4 ,rapid changes to new positions require a simultaneous movement of the first and fourth fingers4 ,relax the wrist4 ,the thumb is usually in advance of the first finger and remains thus4 ,play the last line at the point of the bow very lightly4 ,if it is necessary to move the thumb from under the neck of the violin1 do so2 in extreme cases it may rest against the body of the violin1 but this is not usually necessary4 ,in high positions1 the hand is raised and the fingers fall vertically4 ,raise the arm high in the upper positions2 arch the fingers well over the four strings1 with a slight turning inward1 if three or four strings are required4 ,be careful of false intonation in the last two lines4 ,press lightly upon the bow-stick when playing in the very high positions3 ,music ,no4 #bh4 ,music3 ,with the middle4 ,there are no new principles of bowing to be presented in this tude4 ,a running light legato at or near the point of the bow is desirable4 ,keep the bow well over two strings4 ,if by this time the legato is not free1 analyze each measure and introduce chords4 ,also practice in the middle of the bow4 ,this practice gives the bow poise upon the strings1 and enables the student to understand the fundamental basis of string-transfers4 ,another excellent plan is to play each group several times in twos1 fours1 and eights4 ,other excellent methods are to play the entire measure in one bow1 or two measures in one bow4 ,occasionally play a little below the middle of the bow1 raising the bow slightly for each stroke4 ,this is a free stroke with the principle of the flying staccato4 ,an excellent bowing is this3 ,music ,these bowings1 however1 can only be used in portions of this exercise4 ,at any point in the study of ,fiorillo1 if the student has not developed freedom of bowing1 return to the ,sitt double-stops4 ,also use the third1 fourth1 and fifth ,sevcik books 7#d1jjj ,bowings71 the ,schradieck ,arpeggios#ai with varied bowings1 and my ,three ,octave ,scales4#bj ,i very frequently use the ,tartini ,art of ,bowing#ba in connection with ,fiorillo1 as a further illustration of bowing4 ,a review of the ,kreutzer 7first twelve7 tudes#bb is very useful4 ,the student must understand that the more solid the technic of the bow and left hand is fixed in ,america1 the more rapid advancement will be in foreign music centres4 ,it is not wise to neglect details or principles4 ,naturally1 from our conditions of life1 we cannot always obtain the same high standards in ,america as in ,prague1 ,berlin1 and ,paris4 ,,footnotes3 #ai ,henry ,schradieck1 ,technical ,violin ,school1 ,part ,,iii4 ,exercises in the ,different ,modes of ,bowing4 ,also ,chord ,studies4 ,price1 each1 #ej cents4 ,published by ,carl ,fischer1 ,new ,york4 #bj ,daily ,exercises and ,three ,octave ,studies1 by ,edith ,l4 ,winn4 ,published by ,carl ,fischer1 ,new ,york4 ,price1 #a4jj4 #ba ,j4 ,tartini1 ,the ,art of ,bowing4 ,fifty ,variations on a ,gavotte by ,corelli4 ,price1 #ej cents4 ,special ,concert ,edition of ,ten of these ,variations by ,ovide ,musin4 ,price1 #ge cents4 ,published by ,carl ,fischer1 ,new ,york4 #bb ,see footnote1 page #c4 ,no4 #bi4 ,music ,we have now had so much practice in double-stops that this tude offers little that is new or interesting2 nevertheless1 it is valuable4 ,do not allow the accompaniment to stand out too prominently4 ,keep the theme as an example of pure legato playing4 ,the bow must lie well over two strings1 and no note in the accompaniment should be held too long4 ,notes must fall simultaneously1 if so written4 ,the tempo must be maintained throughout4 ,the movement is earnest1 yet not adagio4 ,grave refers to the character of the work1 not to its tempo4 ,at this point play the up-bow notes with a running stroke1 not the short staccato3 ,music ,observe the same manner of playing in the last line3 ,,the ,,moderato4 ,music ,it may be a good plan to play the staccato and legato notes with a decided contrast in style4 ,the ,french school teachers play the staccato notes short and crisp near the point of the bow4 ,the ,german school prefer a less detached stroke1 using about one-third of the bow4 ,you will observe that the short bowings are more frequently required throughout the study of ,fiorillo than a broad style of playing4 ,the wrist must be very free4 ,the bow-stroke is not a lateral one4 ,do not make a wide difference in length of bow-stroke4 ,sing the theme4 ,place the fingers on the strings at once4 ,read in advance of the measure which you are playing4 ,anticipate string changes with the wrist in short transfers4 ,do not slide into positions4 ,in the sixth and ninth lines think the position changes at once4 ,if we can sing a theme before taking a position1 true intonation is assured4 ,many students who are beginning the study of the second position1 using the ,wohlfahrt and ,sitt studies1 ask if the second and fourth positions are useful4 ,one must turn to the tudes of ,kreutzer1 ,fiorillo1 ,rode1 and ,gavinies1 showing many examples4 ,as a means of ear training ,i consider the second position very valuable4 ,the student who has difficulty with the fourth is likely to have the same with the fifth and sixth positions4 ,one cannot stress too much the value of the careful study of positions4 ,beginning at the second page of this tude1 it is well to play a somewhat shorter staccato stroke4 ,the string-transfers are made by throwing the wrist over the string1 in cases in which one goes from ,g to ,a or ,d to ,e4 ,i sometimes review parts of the tude with spiccato bowing at the middle of the bow1 single strokes4 ,you will observe the term sempre staccato in some editions4 ,play a little broader stroke than this term would indicate4 ,the last three lines1 not including the last line1 are very difficult4 ,play lightly1 using little bow4 ,move the left thumb far round4 ,keep the middle joint flat4 ,bend the finger toward the ,g string to command the positions2 also keep the fingers down when not in use4 ,do not use the vibrato in any case except one in which a broad free bowing is desired1 as in an adagio movement4 ,be very careful of intonation4 ,music ,no4 #cj4 ,music ,as a preparation for this tude1 use the ,schradieck and ,sevcik works4 ,i find ,schradieck's ,technical ,exercises and ,scales and ,arpeggios valuable1 though ,i prefer the method of playing scales as advocated by ,halir1 because ,schradieck repeats the fundamental note1 thereby making a perfect legato well-nigh impossible4 ,the order of ,schradieck's scales ,i do not deprecate4 ,the stroke here used is a short staccato in the upper third or a martel in the middle of the bow4 ,i have already explained how to cross one string without playing upon it4 ,throw the bow by a short quick stroke of the forearm well over the string1 keeping the arm high1 out from the body4 ,make a curve1 not an angle4 ,if the very high positions and rapid changes seem too difficult1 play the intervals on the piano a few times4 ,think the tone4 ,do not strive for speed4 ,the bowing and intonation are of first importance4 ,play the slurred notes in the sixth1 seventh1 eighth1 and ninth lines legato1 until freedom is secured4 ,altogether this is a most difficult tude1 and it should be practiced even when other tudes are under our consideration4 ,the entire tude is not played with a very short staccato stroke4 ,the fingers must seek their positions at once4 ,avoid an awkward arm stroke4 ,no4 #ca4 ,music ,as we have played several tudes of this type1 ,i use varied bowings4 7#a7 ,the lower third1 second group flying staccato4 7#b7 ,middle spiccato4 7#b;a7 ,upper third1 legato4 7#c7 ,single measures on one bow4 7#d7 ,in groups of four notes4 7#e7 ,running legato at point4 ,music ,from a technical standpoint this tude is not as difficult as some that precede it4 ,at the fifth line it would be wise to play a rather short stroke near the point of the bow4 ,show the pupil examples of similar bowings in the #hth ,rode 8,concerto10 the #bb;d and #bc;d ,viotti1 the ,bach 8,a ,minor10 etc4 ,as an example of the pure spiccato1 refer to the 8,perpetual ,motions0 of ,ries and ,bohm4 ,as a type of running legato use ,schubert's 8,the ,bee40 ,as an example of octave and tenth study1 point out passages in the 8,polonaise0 of ,vieuxtemps4 ,short detached strokes1 two notes on one bow1 below the middle of the bow1 are very useful4 ,broad1 vigorous strokes with the upper third of the bow are excellent toward the close3 ,music ,throughout all tude work ,i stress the great fundamental principles of bowing4 ,i cannot see that the playing of a great many tudes counts for much if we neglect principles4 ,when we go abroad1 all our work ends until we correct bad habits and master principles which ought long ago to have been mastered4 ,it is all very well to say that ,mr4 ,x----1 a great artist1 does not adhere to the particular creed of his school4 ,perhaps he cannot be bound by a method4 ,the rank and file of us must cling to something4 ,elastic rules cannot be made for amateurs4 ,there must be definite rules of action4 ,to clinch a point1 ,i may select many illustrations4 ,it is better to settle it1 once for all1 than to pass on and return to it with a brain dazed by many principles and multiple illustrations totally unrelated4 ,teach thoroughly what you teach4 ,no4 #cb4 ,music ,this tude must be played with a singing tone1 the accompaniment being clear1 smooth1 and elegant1 as in tude number two4 ,the lower notes must strictly be in time and of proper duration4 ,this type of accompaniment1 found in the ,bach unaccompanied 8,sonatas10 the solos of ,paganini1 the 8,twenty-second ,concerto0 of ,viotti1 and other works1 is one of the most interesting forms in solo violin playing4 ,while it is free1 graceful1 refined1 and elegant in the sonata and concerto1 rhythmic abandon is hardly allowable in an tude4 ,the melody must always be supported by absolute precision in the accompaniment4 ,while this tude is an excellent example of pure cantabile playing1 its graceful accompaniment relieves it from the somewhat rigid style of the mere tude4 ,in that respect it is superior to number thirty-three from a musical standpoint4 ,in the third line you will observe a staccato run4 ,make this a running staccato1 not short and crisp4 ,do not hasten the tempo2 rather hold back in order to obtain a dignified cantabile4 ,in the fifth line sing the theme1 and dip the bow slightly for the running accompaniment1 which must occur exactly in time4 ,do not accent the accompaniment notes too much4 ,give them only their value4 ,keep the bow as close upon two strings as possible3 ,music ,no4 #cc4 ,music ,students ask1 8,is this a short staccato8 ,where do ,i play such a passage80 ,the value and tempo of a work govern bowing4 ,avoid meaningless bowing4 ,play broadly when possible4 ,one must study the classics and discriminate between the style of different schools and periods if one is to judge of methods of bowing4 ,in this case1 play with a free1 somewhat broad tone1 in the upper part of the bow4 ,produce a resonant1 singing tone4 ,do not decrease the tone in an ascending passage4 ,it is a good plan to play the arpeggios separately1 that is1 repeating each line over and over1 until they are mastered4 ,if the student has difficulty with them1 review the twelfth ,kreutzer tude4 ,the second and fourth positions require much more careful practice4 ,use a free forearm stroke when it is possible4 ,passages of this nature may be played near the point of the bow3 ,music ,note the octaves in the eleventh line4 ,they should be played in the middle of the bow1 slightly detached1 the bow being raised by a flexible wrist stroke1 the first note of the group being accented4 ,certain teachers prefer a perfect legato at the point of the bow4 ,the stroke at the middle is freer4 ,do not press upon the bow-stick1 as the bowing must be light1 especially in the chromatic passage3 ,music ,the single detached notes of the last line are more easily played with spiccato bowing at the middle of the bow4 ,they may also be practiced with a short1 crisp1 light staccato at the point3 ,music ,no4 #cd4 ,music ,there are three methods of playing the first part of this tude4 ,one is a broad detached stroke1 middle to point4 ,the second is a short staccato stroke near the point of the bow4 ,the third is the spiccato at the middle4 ,as the position changes are difficult1 use the most easily acquired bowing at first4 ,that would be a forearm stroke4 ,practice the sixth position passage separately until mastered4 ,each position change should be mastered before going to the next4 ,it might be well to select certain arpeggio studies of ,schradieck and ,kreutzer in connection with this tude1 for the sake of a mastery of principles4 ,varied bowings should follow a mastery of the content of such tudes4 ,note in the eighth line the groups of two slurred notes4 ,these may be played lightly at the point1 also at the middle of the bow1 with a free wrist stroke combined with a slight movement from the shoulder1 a form of bowing often used in orchestral works1 a freer style than that at the point of the bow4 ,when the tude is mastered technically1 ,i often teach it with the spiccato bowing at the point of the bow1 followed by the bowing indicated in legato passages4 ,when crossing the strings hold the arm high1 the wrist leading in string-transfers4 ,the practice of the ,f major scale in the sixth position with varied bowings is recommended4 ,to keep up a continuous spiccato is not desirable1 hence the detached bowing in the upper third of the bow is not practical4 ,this tude is one of the most difficult and exacting of the entire book1 hence the necessity of frequent reviews4 ,if possible1 analyze the content of the work1 calling attention to the structure of each passage and the basis of arpeggios4 ,no4 #ce4 ,music ,there are so many double-stop tudes of more practical value than this one that it is wise to review the excellent double-stop tudes of ,kreutzer1 ,sitt#bc and ,dont1#bd although the last named are the least practical4 ,however1 if one is to teach ,fiorillo1 one must use this tude4 ,a few rules may be useful3 #a4 ,read in advance of the measure played4 #b4 ,strive for a pure singing tone4 #c4 ,keep the theme prominent1 the accompaniment legato4 #d4 ,use a broad free style of bowing4 #e4 ,the fingers must fall simultaneously in double-stops4 #f4 ,analyze the work phrase by phrase4 #g4 ,memorize difficult passages4 #h4 ,do not draw the strings from side to side4 ,the fingers must fall into position and remain fixed4 #i4 ,if the pitch is not at once secured1 do not slide the fingers up and down as if in search for the exact tone4 ,practice the passage until the fingers fall into correct places at once4 ,,moderato ,,assai4 ,music ,nothing new presents itself at this point in bowing4 ,a free detached forearm stroke instead of the short staccato is desirable until the technical side of the tude is mastered4 ,i generally take the first three measures1 contrasting them1 then memorizing them4 ,i also refer to certain well-known progressions in the ,schradieck arpeggios4 ,very few students after a week's practice can play this tude without mistakes in the progressions4 ,it is1 therefore1 desirable to study it line by line4 ,the second line follows the same progressions as the first1 though we begin a whole tone higher4 ,sometimes ,i oblige my students to write down each line from memory1 in order to master the progressions mentally4 ,again1 ,i listen to related measures repeated several times4 ,the question may arise1 8,should the teacher first play the tude to the pupil80 ,the teacher should explain the bowing of each tude assigned for the next lesson1 but should not1 as a rule1 play it4 ,the student should analyze it and get all he can out of it before bringing it to the teacher4 ,this develops the power of reasoning and concentration4 ,he thus learns to stand alone4 ,so many students play merely by imitation1 that it is a question in modern violin study whether it is wise for the teacher to illustrate too much4 ,teach the pupil to deduce conclusions himself4 ,hear his version1 then show him the way4 ,do not play tudes too much with him4 ,play the passage alternately with him4 ,do not play a concerto to a student before he has practiced it4 ,his conception means more to him than yours4 ,it is equally true of the other fine arts4 ,no great painter was ever made whose pictures were sketched for him4 ,the creative and analytical instinct must precede pure imitation4 ,i recall the study of the ,bach solo 8,sonatas40 ,in ,berlin we studied them very rigidly1 but when away from that atmosphere we played them with freedom4 ,these suggestions do not excuse the teacher from frequently illustrating4 ,a teacher who sits and listens to violin students all day because he is too indifferent to play1 cannot guide well4 ,again1 the teacher should be able to give a perfect example of a style of bowing or phrasing4 ,teachers who play no more are not wise educators4 ,as far as intonation is concerned1 this tude is one of the most difficult of all1 yet it is very useful from the standpoint of modulation4 ,the last three lines require a free wrist stroke 7legato7 at the point of the bow4 ,as more than two strings are included1 the stroke is an arm and wrist one4 ,the elbow must move out in the same plane as the forearm and wrist4 ,absolute freedom of all parts of the arm is necessary4 ,,footnotes3 #bc ,hans ,sitt1 ,technical ,studies1 ,op4 #ib1 ,part ,i1 ,book #c4 ,price1 #a4jj4 ,published by ,carl ,fischer1 ,new ,york4 #bd ,j4 ,dont1 ,twenty-four ,exercises1 ,op4 #cg4 ,price1 #ej cents4 ,published by ,carl ,fischer1 ,new ,york4 ,no4 #cf4 ,music ,music ,,different ,,arpeggios ,,for ,,playing ,,the ,,preceding ,,chords4 ,music ,music ,music ,before beginning this tude1 review the chord studies of ,sitt#be and ,kreutzer1 using with the first ,sitt study the following bowings3 #a4 ,whole bow4 #b4 ,lower half4 #c4 ,two notes to a bow1 middle1 point and heel4 #d4 ,four notes to a bow4 ,i prefer this study to the ,sevcik #d1jjj ,bowings1 ,section ,v4 ,i would1 however1 use the ,sevcik studies for securing a flexible wrist stroke4 ,also use ,schradieck's ,technical ,violin ,school1 ,books ,,ii and ,,iii4#bf ,i make some changes in the chords of this tude1 as follows3 ,music3 #a7 #gth measure4 #b7 #afth and #agth measures4 ,use also the following bowing3 ,single detached chords down bow1 lower half4 ,music ,the wrist must be very flexible4 ,the whole arm is used4 ,play the three notes simultaneously4 ,play also thus1 whole bow3 ,music ,we now come to the pure legato at the point1 middle1 and heel of the bow4 ,two notes tied1 four and eight4 ,vary this by playing the first two notes legato1 the second two staccato at the point of the bow2 the first two legato1 lower half1 the second two flying staccato4 ,we will now turn to two styles of legato bowing3 eight notes to a bow2 two tied notes followed by six tied4 ,use the whole bow1 also upper and lower half4 ,the next bowing is two tied followed by the short staccato at the point of the bow4 ,then use two tied1 two cut1 at the middle or point of the bow4 ,apply the principles of ,sevcik1 #d1jjj ,bowings1 ,sections ,,iii1 ,,iv1 and ,v4 ,i would introduce a style of bowing very much used in solo and orchestral work3 a running legato at the point in triplets4 ,same at the middle of the bow4 ,same at the heel4 ,three tied legato1 followed by three flying staccato1 lower half of bow4 ,three down-stroke middle1 spiccato1 three up-stroke4 ,these are all the practical bowings ,i use1 but notes played in one bow1 at the point1 are useful4 ,,footnotes3 #be ,hans ,sitt1 ,technical ,studies1 ,op4 #ib4 ,part ,i1 ,book #c1 ,double ,stopping4 ,published by ,carl ,fischer1 ,new ,york4 ,price1 #a4jj4 #bf ,technical ,violin ,school1 by ,henry ,schradieck4 ,part ,,ii1 ,exercises in ,double ,stopping4 ,price1 #dj cents4 ,part ,,iii1 ,exercises in the ,different ,modes of ,bowing4 ,price1 #ej cents4 ,published by ,carl ,fischer1 ,new ,york4