,transcrib]'s ,notes3 ,und]scores 80 be=e & aft] a ^w or phrase indicate italics 9 ! orig9al text4 ,equal signs 80 be=e & aft] a ^w or phrase indicate bold 9 ! orig9al text4 ,illu/rations h be5 mov$ s !y d n break up p>agraphs4 ,typographical & punctuation errors h be5 sil5tly correct$4 ,,h[ ,,to ,,/udy ,,fiorillo ,a ,,detail$1 ,,descriptive ,,analysis ,,( ,,h[ ,,to ,,practice ,,^! ,,/udies1 ,,bas$ ,,^u ,,! ,,be/ ,,tea*+s ,,( ,,repres5tative1 ,,mod]n ,,viol9 ,,play+ ,,by ,,edi? ,l4 ,,w9n ,illu/ration ,,new ,,york ,,c>l ,,fis*] #aiac ,,copyright1 #aiaj1 ,,by ,,c>l ,,fis*] ,int]national ,copyright ,secur$ ,,respectfully ,,d$icat$ ,,to ,w4 ,davol ,s&]s ,,fiorillo4 ,illu/ration ,f$]igo ,fiorillo 0 born 9 #agec1 at ,brunswick1 :]e 8 fa!r1 a ,neapolitan1 liv$ z conductor ( ! op]a4 ,x seems t at fir/ ,fiorillo 0 a play] ( ! m&ol91 & lat] on became int]e/$ 9 ! viol94 ,he w5t to ,pol& 9 #aghj1 & 9 #aghc 0 conductor ( ! b& at ,riga1 :i* position he fill$ = two ye>s4 ,9 #aghe he play$ ) great success at ! ,conc]ts ,spirituels 9 ,p>is1 & also publi%$ "s ( 8 compositions1 :i* 7 receiv$ mo/ favorably4 ,?ree ye>s lat] he w5t to ,london1 :]e he seems to h met ) little success z a viol9i/1 s9ce he only play$ ! viol9 "p 9 ,salomon's qu>tet-p>ty4 ,8 la/ public appe>ance 9 ,london 0 9 #agid1 :5 he p]=m$ a conc]to on ! viola4 ,!re is v little kn[n ab\t ! re/ ( 8 life1 except t f ,london he w5t to ,am/]dam1 & 0 9 ,p>is 9 #ahbc4 ,among 8 num]\s compositions are duos = viol9s1 = piano & viol91 & viol9 & violoncello2 trios = flute1 viol91 & t5or1 = two viol9s & bass2 qu>tets & qu9tets = /r+$ in/rum5ts2 conc]tos = ! viol92 conc]tantes = two viol9s1 etc4 ,^!1 ?\gh some:at dry & old-fa%ion$1 7 favorably receiv$1 & %[ him to h be5 an e>ne/ musician4 ,h[ev]1 !re is "o p>ticul> "w1 8 ,?irty-six ,caprices1 or tudes1 :i* is kn[n & valu$ by e viol9 play]1 & :i* = a long "t w probably rema9 a /&>d4 ,!y rank ) ! classical /udies ( ,kreutz] & ,rode4 ,?is "w has be5 edit$ ov] & ov] aga91--mo/ rec5tly by ,emil ,kross4 ,spohr wrote a second viol9 "p1 b he alt]$ ! orig9al text to su* an ext5t t 8 "w is h>dly au?oritative1 ?\gh decid$ly viol9i/ic & int]e/+4 ,h[ to ,/udy ,fiorillo4 ,no4 #a4 ,_m tea*]s ( note cl+ to old traditions4 ,! e>lie/ extant editions ( ,fiorillo1 by ,f]d9& ,david & o!rs1 h no expression m>ks = ! ,l>go ( ! fir/ tude4 ,?is 0 orig9ally play$ =te1 c\nt+ f\r v sl[ly4 ,! tone %\ld be full & ev51 !re be+ absolutely no v>iation4 ,?is is excell5t practice = ^? :o are incl9$ to play ) a weak tone ne> ! po9t ( ! b[4 ,a broad /roke requires a f9e arm & excell5t b[ control4 ,! elb[ jo9t %\ld be v well relax$4 ,su* passages z occur 9 ! f\r?1 fif?1 & six? measures %\ld be play$ ) "s tone-color & ta/e1 ! eigh? note be+ cut 9 anticipation ( ! re/4 ,music ,to cultivate a broad1 free b[+ & a full tone1 "o %\ld practice ! m>tel at ! po9t ( ! b[1 :]e attacks are likely to be weak4 ,also ! frequ5t practice ( ! second ,kreutz] tude ) f\r notes slurr$ is excell5t1 ! b[+ be+ at ! po9t1 middle1 & heel4 ,!n !re are /accato scales1 :i* aid ! /ud5t 9 secur+ a f9e tone & fre$om ( /yle 9 ! upp] half ( ! b[3 #a4 ,"o d[n-/roke & six notes /accato on ! up-/roke2 #b4 ,two d[n1 at po9t1 & two up /accato2 #c4 ,! same ex]cise1 us+ triplets4 ,beg9 ) ! 8,g0 scale 9 ?ree octaves4 ,! next ?+ to gov]n is ! broad cont9u\s tone4 ,?is c only be done by long & ardu\s practice ( sl[ scales4 ,a ,b]l9 tea*] plays "o note = two m9utes ) no v>iation 9 =ce or int5sity4 ,,! ,,allegro4 ,! ,h]mann edition requires t ?is "p ( ! fir/ tude be play$ /accato4 ,x is impossible to keep ?is up dur+ ! :ole ex]cise4 ,! orig9al int5tion ( ,fiorillo 0 t x be play$ legato1 ) a broad1 free /roke4 ,! triplets are play$ 9 ! same mann] 9 ! upp] ?ird1 or t[>d ! middle ( ! b[4 ,! sixte5? notes mu/ fall ) ev5ness at ! middle ( ! b[4 ,?is is an exce$+ly f9e /udy = secur+ a flexible wri/1 & %\ld be practic$ v c>efully4 ,music ,at ! ,ho*s*ule1 9 ,b]l91 few ( ! tea*]s /ress ,fiorillo1 pref]r+ ! ,kreutz] tudes1 foll[$ by ! ,rode ,caprices4 ,fiorillo has mu* to (f] t ,kreutz]#a does n /ress at all2 !re=e ! tudes are v valuable4 ,no4 #b4 ,music ,?is tude is v frequ5tly play$ 9 a mild mann]1 too sl[ = ! orig9al int5tion ( ! compos]4 ,z ! allegro ( ! fir/ tude is n possible at ! prop] tempo ) ! /accato b[+1 s ! second tude loses its "* if n play$ 9 a m>tial /yle4 ,mae/oso means milit>y or maje/ic 9 "*1 ) broad b[+ & /rong acc5ts4 ,! fir/ two notes sweep ! :ole l5g? ( ! b[4 ,! ?ird note is also full b[1 b v %ort4 ,a quick /roke1 ) ! b[ pass+ rapidly ov] ! /r+1 is ! prop] "o4 ,! :ole ex]cise is play$ =te4 ,9 ! second measure1 ! b[+ is %ort & crisp at ! po9t ( ! b[1 ! fir/ gr\p naturally be+ play$ ) ! :ole b[4 ,! ?ird measure is legato1 broad & free4 ,trills %\ld be regul> & ( exactly ! "r l5g?4 ,all passages l ! second measure are usually play$ at ! po9t ( ! b[4 ,aft] ! fir/ b>1 "s position "w may be us$ 7second measure74 ,trills ) ! f\r? f+] are v difficult = "s play]s4 ,practice sl[ trills daily ) ! ?ird & f\r? f+]s4 ,! fir/ f+] trill %\ld be practic$ v sl[ly & ev5ly1 great c>e be+ %[n 9 /r+ transf]s at ! close4 ,9 octave "w two f+]s mu/ fall at once ) =ce & precision4 ,! :ole h& moves4 ,9 d\ble-/ops1 ! f+]s mu/ fall simultane\sly4 ,d\ble trills are n mu* m difficult ?an s+le ones4 ,!y %\ld be play$ ) an ev5 tone1 & ! f+]s %\ld fall ) fre$om4 ,if ! f\r? f+] is weak1 try "s ex]cises f ! ,halir ,tonleit]/udi51 repeat+ ! ex]cises1 fa/] & fa/]4 ,! measure imm$iately prec$+ ! long cont9u\s trills %\ld be play$ ) a d[n b[4 ,practice ?is passage )\t ! cont9u\s trill on ,c1 at fir/ 7use a long smoo? note & lightly dip ! b[ on ! ,d /r+1 z if play+ a little accompanim5t74 ,let ! trill be cont9u\s :5 *ang+ f up to d[n b[ & vice v]sa4 ,e note %\ld be cut %ort] if be=e a re/4 ,?is mu/ be obs]v$ ?r\gh ! :ole ex]cise4 ,all *ords %\ld be play$ ) a broad tone4 ,?is ex]cise1 s (t5 neglect$1 %\ld be play$ long & fai?fully1 = x is ! basis ( o!r "w :i* foll[s logically 9 /udy4 ,:5 play+ ! 8#bb;d ,conc]to0 ( ,viotti1 ,i always return to ?is tude ( ,fiorillo & review x = ! sake ( ! trills4 ,?is1 ) a favorite tude ( ,kreutz]1 aids me greatly 9 br++ my left h& "u control4 ,! octaves are play$ ne> ! po9t ( ! b[4 ,music ,?is is "o ( ! mo/ arti/ic ( ! tudes1 especially useful :5 "o is consid]+ su* a "w z ! 8#bb;d ,conc]to0 ( ,viotti4#b ,ano!r useful "w is 8,je suis le petit ,tamb\r10 by ,david1#c a composition n[ almo/ obsolete 9 a viol9 tea*]'s rep]toire4 ,avoid a trivial /yle4 ,! /accato is n absolute4 ,! tempo & "* ( a "w gov]n t matt]4 ,! second l9e has be5 m>k$ 9 diff]5t ways by ^? :o h revis$ ,fiorillo4 ,note ! ,kross b[+s3 ,music ,i pref] sep>at$ /rokes 9 passages l t ( ! second measure4 ,9 d\ble trills ! f+]s fall toge!r ) ela/icity r ?an =ce4 ,be v c>eful to def9e ! exact int]val 9 ! trill4 ,d n di/urb ! tempo4 ,syncopation mu/ n be =c$4 ,9 trills 9 ! half-position play close to ! saddle ( ! viol91 & d n raise ! f+]s until necess>y4 ,play ! *ord ( ! new key z a *ord1 n z an arpeggio4 ,! b[+ is z foll[s1 ) a broad] /roke ?an ! /accato m>k w\ld indicate4 ,music ,d n di/urb ! !me by =c+ ! accompanim5t or by paus+4 ,! b[ lies lightly on two /r+s1 dips1 z x 71 ^u ! neighbor+ /r+1 to obta9 ! legato4 ,b[ control 9 ?is case is ( great importance4 ,use ! foll[+ b[+s4 ,! p>ts ( ! b[ 9 :i* ea* passage %\ld be play$ are indicat$3 ,music ,play ! la/ l9e ) au?ority1 ! *ords be+ slightly 9 ! arpeggio /yle ) a /ress on ! l[] note1 ! tone be+ firm to ! end ( ! b[4 ,music ,,footnotes3 #a ,= detail$ & ?or\gh /udy ( ! ,kreutz] tudes see ,h[ to ,prep>e = ,kreutz] & ,! ,/udy ( ! ,kreutz] tudes1 bo? by ,edi? ,l4 ,w9n4 ,publi%$ by ,c>l ,fis*]1 ,new ,york4 #b ,see newly revis$ edition by ,ovide ,mus94 ,publi%$ by ,c>l ,fis*]1 ,new ,york4 #c ,see newly revis$ edition by ,gu/av ,sa5g]4 ,publi%$ by ,c>l ,fis*]1 ,new ,york4 ,no4 #c4 ,?is tude is play$ 9 two ways3 fir/1 a /accato run1 up b[2 second1 ! mix$ /accato & legato /roke1 up b[4 ,a free arm is desir$4 ,:ile ! %ort /accato ) ! wri/ /roke is em95tly useful1 ! m brilliant /accato ) ! arm /roke is desir$4 ,naturally1 ! wri/ & =e>m are free1 ?\gh ! lat]al /roke ( ! wri/ is n desir$4 ,play 9 ! upp] ?ird or ne> ! po9t ( ! b[4 ,music ,no4 #d4 ,?is tude is "o ( ! mo/ useful 9 ! book4 ,a free1 broad1 slightly deta*$ /roke1 9 ! l[] half ( ! b[1 is pref]r$ to a %ort /accato4 ,music ,pr(essor ,halir w\ld tea* d\ble-/ops & scales 9 ?irds 9 a free1 broad /yle1 l[] half ( ! b[ 7note f+]+ 9 ! second position74 ,! :ole b[ may also be us$4 ,play ! scale runs1 second l9e1 9 ! mann] outl9$ 9 ,halir's ,tonleit]/udi5 7,g4,b4 or ,u4,h4 raise ! b[ aft] ea* gr\p74 ,music ,he assumes t %ort position movem5ts make a m p]fect scale 9 ?irds possible4 ,i w outl9e ! b[+s = ! next ?ree l9es4 ,keep ! !me prom95t4 ,raise ! b[ slightly f ! /r+s 9 def9+ phras+4 ,music ,music ,! d\ble-/ops 9 ! high] positions naturally fall 9 ! middle ( ! b[4 ,attack ! *ords ) ! up b[ firmly1 & play ?ree notes toge!r4 ,a free1 r deta*$ b[+ 9 ! middle ( ! b[1 us+ ! artificial spiccato1 occurs at ! close4 ,music ,slightly acc5t ! slurr$ gr\p ( two notes2 raise ! b[ betwe5 /rokes4 ,play 9 ! middle ?ird ( ! b[4 ,music ,x is n always advisable to take ^! tudes 9 ! ord] 9 :i* !y occur4 ,! same rule applies to ,kreutz] & ,rode4 ,x is possible t ! /ud5t may h "s weak po9t :i* requires a review ( sev]al tudes ( a simil> nature4 ,= in/ance1 ,i recall hav+ be5 made to play ! second ,kreutz] tude#d _m times :ile /udy+ o!r works1 because my =e>m 0 n free4 ,! eigh? & n9? 7 frequ5tly review$4 ,h]r ,m>kees1 9 ,b]l91 0 a great taskma/]1 & frequ5tly s5t u back to ! twelf? ,kreutz]4 ,i d n recall ev] hav+ /udi$ ! fir/ ,kreutz]1 nor ! fam\s arpeggio tude4 ,leopold ,li*t5b]g1 & sev]al o!r arti/s1 tea* bo? ( ^!4 ,! fir/ is v useful = graduation ( tone4 ,9 ! sev5? & eigh? ,fiorillo we f9d mat]ial = tone graduation4 ,let u practice ! cresc5do & decresc5do fai?fully1 us+ examples f my 8,?ree ,octave ,scales40 ,we mu/ be pati5t ) ?is "w4 ,x is "o ( ! mo/ difficult ?+s 9 ! _w to produce a beautiful cresc5do & dim9u5do4 ,9 connection ) ?is let u turn to ! ,ba*-,g\nod 8,ave ,m>ia10 & play x z writt54 ,! fam\s ,ba* 8,aria0 is ano!r example2 also ! ,h&el 8,l>go40 ,a "q has (t5 be5 ask$3 ,does ! b[ rema9 p>allel ) ! bridge dur+ su* "w1 or at a /at$ di/ance f ! bridge8 ,mo/ emphatically n4 ,! b[ is ne>] ! bridge 9 a cresc5do passage1 & "r ov] ! f+]-bo>d 9 ! dim9u5do4 ,!re is a mi/ak5 notion among /ud5ts t :5 "o plays pianissimo v little b[ mu/ be us$4 ,nev] 0 !re a great] fallacy4 ,! s(te/ tone is produc$ by glid+ ! b[ swiftly ov] ! /r+s1 its entire l5g?1 )\t pressure & ov] ! f+]-bo>d1 n ne> ! bridge4 ,x is "o ( ! mo/ difficult ?+s 9 ! _w to produce a s(t1 resonant tone4 ,x is easy en\gh to play l\d4 ,s x is ) s++4 ,i h le>n$ m ab\t ! pr9ciples ( tone f voice tea*]s ?an f viol9i/s4 ,:ile play+ ^! tudes1 review con/antly4 ,play numb] "o ov] & ov]4 ,numb] two ) ! ,halir ?irds1 9 ,c1 mu/ be practic$ daily4 ,halir plays d\ble-/ops1 us+ ! second position in/ead ( ! ?ird1 & go+ f second to f\r? & six?4 ,x requires less %ift+ & is v playable4 ,always play ! d\ble-/ops s+ly1 !n two slurr$1 !n 9 gr\ps ( f\r notes1 & f9ally eight notes4 ,aft] a "t play a :ole scale up on "o box 7two octaves ,c7 & d[n ) ! opposite b[4 ,v few amateurs c play ! ?ree octave scales ?us4 ,i pref] ! ,c scale1 z x is easi] = ! h&4 ,halir says t a /ud5t %\ld be able to play ?us 7#a7 or ?us 7#b73 ,music ,no4 #e4 ,9 connection ) ! /udy ( numb] five1 let u turn to ,sevcik's ,s*ool ( ,b[+#e4 ,i _h always believ$ t ! importance ( b[ te*nic _h be5 ov]e/imat$1 until ^! works ( ,sevcik prov$ beyond a d\bt ! great advantage ( sy/ematic /udy ( v>i$ b[+s4 ,! ,sevcik sy/em is wond]ful4 ,!re are ex]cises = e possible limitation 9 viol9 /udy4 ,! great "q 9 bu/l+ ,am]ican life is h[ to abridge a sy/em only possible 9 a l& :]e virtuosos /udy 8f ! cradle to ! grave40 ,_m wise tea*]s 7= ,am]icans are1 above all1 practical7 h us$ ! ,sevcik works ) success1 & yet h n surfeit$ /ud5ts ) ! same4 ,let u consid] ,op4 #b1 ,book #b1 ,section ,,iv4 ,fir/ ma/] ! progressions1 t is1 le>n ! ex]cise by he>t4 ,keep ! f+]s ( ! left h& ready = use4 ,practice all ex]cises ) slurr$ & s+le b[s at po9t1 middle1 & heel ( ! b[4 ,i usually sugge/ to pupils to practice ex]cise ?irty-two fai?fully be=e work+ at ! fif? ,fiorillo1 ) ?ree notes to a b[ j bel[ ! middle4 ,aft]w>ds use six to a b[2 !n twelve4 ,practice numb] five 9 octaves at ! middle 7play bo? notes at once74 ,aft] t1 play z m>k$1 acc5t+ ! fir/ ( e gr\p ( two notes4 ,"o c g on ) ! ,sevcik /udies indef9itely1 b ,i urge pupils to practice ^! special ones = /r+-transf]s half an h\r p] day1 at lea/4 ,always cross ! /r+s lightly4 ,9 octaves1 move ! f+]s simultane\sly1 ) no cresc5do or =te4 ,! ,h]mann edition uses ! cresc5do1 =te1 & pianissimo m>ks4 ,play at fir/ ) uni=m tone in/ead1 acc5t+ slightly ! fir/ note ( a gr\p ( two4 ,wat* ! syncopat$ passages 9 ! ?ird & f\r? l9es1 & d n acc5t too /rongly4 ,! acc5t is on ! second note ( a gr\p ( two4 ,! legato passages ( sixte5? notes are ) a :ole b[2 ! cresc5do mu/ be arti/ic4 ,!re mu/ n be a break 9 ! legato = ! sake ( ! cresc5do4 ,we rememb] ! ma/]y ( ! subtle pr9ciples ( tone graduation 9 ,joa*im's play+4 ,! special acc5ts at ! close ( ea* legato passage 7six? l9e7 are difficult4 ,at ! close ( ! eigh? l9e1 give full value to ! dott$ qu>t] note & play x =te4 ,! next gr\ps ( two notes are deta*$1 ! acc5t be+ on ! second "o4 ,make ! trill long & ev54 ,beg9 ! sixte5? notes1 la/ measure ( ! t5? l9e1 ) up b[4 ,play at ! middle ( ! b[4 ,move ! fir/ & f\r? f+]s toge!r 9 octaves4 ,,footnotes3 #d ,see ,! ,/udy ( ! ,kreutz] tudes1 by ,edi? ,l4 ,w9n4 #e ,s*ool ( ,b[+1 by ,o4 ,sevcik1 ,op4 #b 9 two ,books4 ,sy/ematic & progressively grad$ te*nical b[+ ex]cises4 ,publi%$ by ,c>l ,fis*]1 ,new ,york4 ,price1 #ge c5ts ea* book4 ,no4 #f4 ,music ,&ante sciolto means ab\t ! same z ,&ante commodo 7z sl[ly z y please74 ,at ! middle1 or upp] half1 ( ! b[1 cut ! notes lightly & acc5t trills4 ,! second f\r measures require grace & ease 9 ! upp] half ( ! b[4 ,rememb] to discrim9ate betwe5 ! %ort /accato at ! po9t ( ! b[ & ! broad] deta*$ /roke4 ,be v c>eful ( intonation at ?is po9t4 ,music ,! op5+ measures 9 ! sev5? l9e may be play$ ) a rais$ b[ /roke1 middle ( ! b[4 ,play ne> ! po9t ( ! b[ 9 ! la/ f\r or five measures ( ! tude1 lightly & elegantly4 ,important po9ts to rememb] 9 ?is tude are3 ,passages b[$ ne> ! po9t are light1 z a rule2 passages requir+ broad] b[+ are play$ =te4 ,always raise ! b[ slightly = an attack4 ,ea* gr\p mu/ be well def9$1 ) acc5ts /rong4 ,pause long en\gh betwe5 ! gr\ps to ga9 poise4 ,always draw a long b[ at ! middle ) suffici5t l5g? to be free & to secure tone4 ,9 ?is ex]cise1 z 9 _m o!rs1 ! left h& is ( mo/ importance4 ,x mu/ be ready4 ,d n lose "t by ! trill4 ,play ! s+le notes freely4 ,^! are n /accato4 ,:5ev] ! /accato occurs 9 ! ,h]mann edition1 z a rule "o mu/ play 9 a broad] /yle4 ,^? old compos]s did n use ! /accato mu*4 ,witness ,fritz ,kreisl] play+ a "w ( ! p]iod4 ,he gives x m tone-color & v>i$ phras+ ?an 9 its p]iod1 b he uses v little %ort /accato "w4 ,numb] six is a joy\s1 light "w ( ! ,fr5* s*ool4 ,x mu/ be te*nically clean cut1 & cle> z cry/al4 ,no4 #g4 ,:ile allegro ) ! old compos]s 0 n l our mod]n allegro1 an adagio 0 practically ! same z at pres5t4 ,full b[+ & a broad1 free tone1 z well z great dignity1 7 dem&$4 ,i d n believe t ! e>ly viol9i/s play$ ) z great w>m? ( tone & fre$om z is n[ secur$ by arti/s4 ,! old ma/]s play$ correctly & classically2 !y us$ ! cresc5do & dim9u5do1 & 7 ma/]s ( tone graduation1 b !y did n give ! emotional treatm5t to _! subjects t is n[ an app>5t necessity4 ,?is tude beg9s pianissimo1 b "o mu/ cultivate a 8conc]t hall0 tone1 & make a cresc5do 9 ! fir/ two measures2 ! same 9 ! next gr\p4 ,tone-color is a prime ess5tial 9 ?is tude4 ,embelli%m5ts mu/ nev] int]f]e ) rhy?m4 ,note ! adagios ( ,moz>t's qu>tets4 ,! old writ]s us$ embelli%m5ts because !y lack$ int5sity & 7 n skill$ 9 ! use ( ! vibrato4 ,al?\gh numb] sev5 is n difficult1 x mu/ be te*nically p]fect4 ,at l9e two repeat ! up b[ on ! second note ( ! second gr\p4 ,always d ?is = beauty ( phras+4 ,keep broad b[+ :5 possible4 ,note 9 ! six? l9e "s peculi> rhy?m4 ,c\nt f\r /eadily1 us+ no embelli%m5ts1 at fir/4 ,music ,! embelli%m5ts ( ! sev5? l9e mu/ n int]f]e ) rhy?m4 ,9 b[ l5g? "o mu/ n be hamp]$ by exact rules4 ,let ! nature ( ! passage decide ! b[+4 ,"o mu/ n keep trill+ if ! phras+ dem&s a pause4 ,! op5+ measures ( ! allegretto are play$ at ! middle ( ! b[1 ! /accato note be+ lightly play$4 ,! allegretto comes 9 jocund1 ) a slight pause betwe5 gr\ps1 9 ! upp] half ( ! b[4 ,try to ma9ta9 a =te ?r\gh\t4 ,no4 #h4 ,music ,?is is a dignifi$ & /ately tude :i* requires v mu* %ad+4 ,x is "o ( ! mo/ arti/ic ( all1 simil> 9 "* to ! fir/ "p ( numb] "o4 ,! tea*] may c\nt eight in/ead ( f\r1 if desirable1 z we sometimes d 9 ! &ante ( a ,moz>t qu>tet4 ,give ! dott$ sixte5? note a little m "t1 to suit ! nature ( ! "w4 ,aga9 ,i w\ld call att5tion to ! second ,kreutz]#f tude1 & sl[ scales ) ! cresc5do & dim9u5do f\r times on "o note4 ,_m claim t ! vibrato affects ! quantity z well z ! quality ( a tone4 ,at any rate1 ! vibrato mu/ be us$ 9 su* works4 ,play ! #d?1 #e? & #f? measures ( ! fir/ l9e z indicat$4 ,9 ! next measure *ange ,illu/ration to ,illu/ration be=e ! high ,g4 ,aft] ! d\ble b>1 practice long & fai?fully ! cresc5do note 9 ! #d? position4 ,d n =ce ! syncopation2 use ! :ole b[4 ,raise ! b[ slightly :5 y h gr\ps ( two notes1 ?us3 ,illu/ration3 7la/ measure1 second l9e47 ,play ! la/ measure aft] re/ez on ! ,a /r+1 go+ into ! #e? position on ,c1 & rema9+ !re dur+ ! next ?ree measures4 ,come d[n to ! ?ird position on ,d4 ,play ! trill 9 ! fif? position4 ,deta* ! gr\ps ( ?ree notes1 slightly rais+ ! b[4 ,be v c>eful n to hurry ! tempo4 ,! ?irty-second notes are play$ v legato1 & ! foll[+ f+]+ is pref]r$3 ,music ,,footnote3 #f ,see footnote1 page #c4 ,no4 #i4 ,music3 ,) ! upp] ?ird ( ! b[4 ,?is tude is m>k$ allegro4 ,x is n s rapid a movem5t z to int]f]e ) a free =e>m /roke4 ,! m>tel1 or ev5 a slight /accato /roke1 is n z useful z a broad1 free b[+ 9 ! upp] half ( ! b[4 ,! /ud5t w obs]ve t :ile "s mod]n editions sugge/ ! /accato1 x 0 n true to ! traditions ( ,fiorillo's "t4 ,beg9 ) ! upp] half or upp] ?ird ( ! b[4 ,a free sw++ /roke is desir$4 ,at ! beg9n+ ( ! six? l9e play lightly ne> ! po9t ( ! b[ & on ! edge ( ! hair3 ,music ,we d n make /r+-transf]s by tilt+ ! b[ f side to side4 ,we play on ! edge ( ! hair1 ! long /r+-transf]s be+ made ) a movem5t f ! %\ld]1 if m ?an two /r+s are us$4 ,halir insi/s on ! ma/]y ( scale runs f ! highe/ note ( ! scale4 ,! pupil mu/ ?9k ! tone at once1 !n he mu/ take 8 position )\t ef=t & rema9 9 t position z long z necess>y4 ,music ,aft] we leave ! ?ird position1 ! ?umb goes "u ! viol9 9 a horizontal plane4 ,! f+]s mu/ fall well ov] ! /r+s1 )\t unnecess>y movem5ts4 ,"o may re/ ! palm 9 ! ?ird position or n1 accord+ to "o's physical limitations1 b !re mu/ be no pressure at ! base ( ! fir/ f+] & no depression ( ! jo9ts ( any f+] 9 ! positions4 ,all f+]s %\ld seek _! places at once & rema9 fix$1 unless "o is play+ vibrato4 ,! "* & tempo ( an ex]cise det]m9e h[ x %all be play$4 ,! fir/ f+] mu/ always rema9 ne> its orig9al place1 s t ! position may n be di/urb$ z a :ole4 ,:5ev] ! f\r? f+] seeks a place1 ! fir/ %\ld fall at once into its position2 t is to say1 ! position mu/ be ma/]$4 ,9 ?is tude ! b[+ is v>i$1 a sure te/ ( ma/]y ( sev]al /yles or =ms ( triplet play+4 ,"o ?+ ! tea*] mu/ insi/ ^u3 t ! b[ rema9 usually on ! out] edge1 also t acc5ts t fall ) ! up b[ %all be well def9$4 ,! clos+ *ord1 accord+ to ! t5ets ( ! ,b]l9 s*ool1 %\ld nev] be play$ l an arpeggio4 ,o!r s*ools diff] 9 ?is respect4 ,no4 #aj4 ,music ,?is tude is simil> 9 /yle to numb] n9e4 ,x %\ld be play$ 9 ! upp] "p ( ! b[1 =te4 ,9 tak+ ! fif? position on ! la/ note1 fir/ measure1 ! fir/ f+] passes at once into place & rema9s !re4 ,x is a v common fault1 & entirely oppos$ to a flu5t left h& te*nic1 to all[ ! fir/ f+] to be releas$ :5 play+ 9 ! high] positions4 ,note ! ,halir ex]cises = slid+ quickly f ! ?ird to ! fif? position & back4 ,"o mu/ rememb] t ! ?umb does n press on ! neck ( ! viol91 also t x slides at once ar\nd ! neck ( ! viol9 :5 pass+ to ! fif? position4 ,"o mu/ nev] press ) ! fle%y "p ( ! ?umb4 ,! pressure po9t is bel[ ! jo9t1 on ! bone4 ,also1 ! *9 mu/ relieve ! ?umb ( all c>e z to support4 ,! f\r? & fif? l9es %\ld be practic$ ne> ! po9t ( ! b[1 & memoriz$4 ,aft] play+ a run sev]al times1 ! progression is ma/]$4 ,! play] %\ld play ! :ole passage m5tally1 !n place ! f+]s on ! /r+s exactly z !y w fall4 ,i h (t5 ask$ my pupils to write d[n ! arpeggios z an evid5ce t !y knew ! musical cont5t ( c]ta9 tudes4 ,aga9 we mu/ insi/ t all ! f+]s seek a new position at once4 ,! /r+s %\ld n be pull$ f side to side 9 ! high] positions4 ,?is causes false intonation4 ,:ile a fairly free =e>m /roke is desir$1 ) acc5tuat$ fir/ notes ( triplets1 ! /accato is n usually practical4 ,too little b[ gives no "* to ! "w4 ,too mu* b[ causes a j]ky movem5t ( ! =e>m4 ,intonation is difficult 9 ! half-position1 h5ce /ud5ts mu/ play su* passages _m times4 ,! f+]s mu/ be prep>$ = :at is com+4 ,9 all tude "w we mu/ read ahead & place ! f+]s m5tally be=e we come to ! next passage4 ,9 ! half-position "w1 f\r? l9e1 y w obs]ve t ! note foll[$ by two slurr$ notes may be play$ /accato lightly ne> ! po9t4 ,a long /roke is dang]\s to ! fre$om ( ! =e>m4 ,we sw+ ! =e>m1 ! %\ld] jo9t be+ free1 ! arm foll[+ ! wri/ 9 passages l ?is3 ,music ,we also play ne> ! po9t until ! b[-arm is free4 ,s+le notes are play$ /accato1 lightly4 ,su* passages z ?is1 requir+ slurr$ notes1 %\ld be acc5t$ 9 ?is mann]3 ,music ,! b[ %\ld be free1 plac$ on ! edge ( ! hair z mu* z possible1 ) a slight undulat+ movem5t ( ! wri/1 n int]f]+ ) ! legato4 ,contra/s ( legato & /accato ne$ n be obs]v$1 ! /accato be+ less m>k$ ?an previ\sly4 ,9 passages l ?is3 ,music ! legato mu/ prevail1 ! prop] note receiv+ its acc5t4 ,:5ev] x occurs1 keep ne> ! upp] ?ird or po9t ( ! b[ 7! s+le notes be+ sometimes play$ spiccato74 ,music ,! elev5? l9e requires "s contra/ betwe5 ! /accato & legato4 ,v %ort slurr$ notes %\ld be play$ ne> ! po9t ( ! b[4 7,play s+le notes spiccato47 ,n[ we come to "o ( ! mo/ difficult ?+s 9 viol9 play+1 /r+-transf]s1 skipp+ "o /r+4 7,= ! developm5t ( ! b[-arm at ?is po9t1 ,sevcik's #djjj ,b[+s1 ,"p ,,ii1 ,sections ,,iii & ,,iv1 are v useful47 ,! arm moves freely f ! %\ld]1 ! motion be+ away f ! side4 ,! b[ rema9s on its edge z mu* z possible4 ,acc5ts1 ev5 :5 a note falls z a second "o 9 a slurr$ passage1 mu/ be obs]v$4 ,! f+]s %\ld seek _! places simultane\sly4 ,keep ne> ! upp] "p ( ! b[1 ! wri/ mov+ freely1 n be+ "u ! plane ( ! elb[2 ! f+]s are relax$1 ! f\r? be+ on ! b[-/ick4 ,z an example ( /accato b[+ & ! runn+ legato comb9$1 ?is tude is v useful4 ,music ,no4 #aa ,music ,_m tea*]s claim t ?is tude %\ld be practic$ at or ne> ! po9t ( ! b[4 ,a some:at broad] & fre] =e>m /roke is m useful4 ,z 9 o!r examples previ\sly analyz$1 ! /accato is n :olly desirable4 ,! trill %\ld be acc5t$1 & !re %\ld be no v>iation 9 ! equality ( notes because ( ! trill4 ,h>dly m ?an two trills are possible4 ,! /ud5t %\ld read a :ole measure at a glance1 & place ! f+]s at once 9 position4 ,p]fect fre$om ( ! elb[ jo9t is desirable4 ,a free /roke ( ! wri/ is necess>y 9 %ort /r+-transf]s4 ,aft] ! :ole tude has be5 play$ 9 ?is broad1 free /yle1 play x entirely ?r\gh ) %ort /accato b[+1 ab\t two in*es f ! po9t4 ,9 ! fif? l9e1 ! arpeggios are n play$ 9 ! half-position4 ,z to position *anges1 rema9 9 "o position until x is necess>y to move f t position4 ,! six? l9e conta9s ! ?ird position foll[$ by ! six?4 ,! f+]s %\ld fall at once into ! six? position1 ! entire h& mov+ back to ! fif? :5 necess>y1 ! ?umb act+ 9 unison ) ! f+]s4 ,pupils mu/ be p]fectly famili> ) position "w4 ,:5 ! fif? & six? positions are to be us$1 ! ?umb lies flat "u ! neck ( ! viol9 & ! f+]s are curv$ ov] ! /r+s4 ,nev] move ! h& or depress ! f+]s until ! "w 9 a c]ta9 position is f9i%$4 ,we n[ come to a passage 9 :i* we take high ,e 9 ! f\r? position4 ,^? /ud5ts :o h n be5 tra9$1 l ! foll[]s ( ,halir1 to play ?ree octave scales & arpeggios1 beg9n+ on ! highe/ note1 are likely to make errors at ?is po9t4 ,to ! /ud5t ( ,fiorillo1 h[ev]1 "o position %\ld be z famili> z ano!r4 ,aga91 we take ,f 9 ! fif? position1 b ?is is n s difficult1 z we h j play$ ,g4 ,! prevail+ difficulty ) play]s is t !y cont9ually get ready = a new position be=e x is "t to d s1 giv+ ! h& a re/less motion1 & *ang+ ! position ( ! f+]s s t !y play falsely4 ,! ?umb is inv>iably too sl[ 9 slipp+ "u ! viol94 ,! ?umb at ! middle jo9t mu/ be depress$1 & !re mu/ be z little pressure z possible !re2 ! *91 re/+ firmly1 makes fre$om possible = ! ?umb4 ,x is v noticeable t ,kubelik has m>vel\s facility 9 tak+ ! high positions1 8 f+]s fall+ into place ) surpris+ dext]ity4 ,he has a p]fectly tra9$ h&4 ,z be=e1 ! play] glides ) ! entire h& back to ! fif? position1 !n to f\r?1 & la/ly to ! ?ird2 aga91 we take ! fif?1 !n f\r?1 !n ?ird1 second1 & fir/ positions4 ,! ?umb mu/ be absolutely free1 ) no pressure at ! middle jo9t1 & always 9 advance ( ! fir/ f+]1 ! h& mov+ z freely z possible4 ,! transf]s across f\r /r+s %\ld be made ) ease1 ! arm mov+ out to ! side f ! plane ( ! %\ld]1 ! wri/ be+ free4 ,9 *ang+ positions1 ! f+] la/ us$ moves into ! new position4 ,! secret ( play+ ?is "w well lies 9 ! absolute fre$om ( ! ?umb4 ,/ud5ts may obs]ve t 9 ! la/ l9e ! transition mu/ be made f ! six? to ! fir/ position1 ! h& rea*+ f> ov] on ! ,g /r+1 ! ?umb re/+ on its tip1 yet nev] q releas$ f ! neck ( ! viol94 ,music ,?is tude is mo/ valuable z a /udy ( positions1 :ile x (f]s no v>i$ b[+s4 ,x is purely a te*nical ex]cise1 radically oppos$ 9 /yle to ! beautiful examples ( cantabile play+ (f]$ by numb]s "o1 sev51 & eight4 ,no4 #ab4 ,few ( ! ,fiorillo tudes are play$ by ! /ud5t /rictly accord+ to metronome "t4 ,n s ) ,rode4 ,8 ,caprices are (t5 /udi$ abroad = ?ree ye>s2 &1 by ! "t ! /ud5t has complet$ !m1 he plays !m l f9i%$ pieces1 at metronome "t4 ,(t51 too1 ! ,rode ,caprices are memoriz$1 b ! ,fiorillo tudes r>ely are4 ,! ,b]l9 s*ool neglects ,fiorillo to a c]ta9 ext5t1 b ,halir1 "o ( its be/ expon5ts1 sp5ds consid]able "t 9 ! /udy ( !m1 giv+ to !m ! grace1 vivacity1 & lightness ( ! ,fr5* s*ool :5 ! text s dem&s1 & also /riv+ = ! bread? ( ! ,g]man s*ool 9 pure cantabile "w1 z f\nd 9 sl[ movem5ts4 ,= intricate b[+s ,kreutz]1 ) ! supplem5t>y ,mass>t#g b[+s1 is adequate4 ,fiorillo's tudes1 z previ\sly /at$1 _c be /udi$ 9 _! ord]4 ,individual ne$s gov]n ! tea*]4 ,p]haps "o /ud5t may be /udy+ ,fiorillo1 :ile1 also /udy+ ! m difficult trill & d\ble-/op tudes ( ,kreutz]4 ,"s ( ! ,kreutz] tudes h nev] be5 giv5 to me by tea*]s4 ,x is equally true ( ,fiorillo4 ,if ,i seem$ to h a weak po9t 9 te*nic1 or if my b[+s 7 /iff & angul>1 ,i return$ to ,kreutz]4 ,i 0 taught ,kreutz] & ,rode1 ov] & ov]1 9 ,b]l94 ,_m ( ! ,b]l9 tea*]s say3 8,get te*nic f ! /&>d ,conc]tos4 ,d n sp5d too mu* "t on te*nic pure & simple40 ,! "q 9 ! m9d ( ! ,joa*im ,s*ool is 8,h[ is x possible = ! ,sevcik foll[]s to h a rep]toire1 :5 !y are made to /udy te*nical works ( su* l5g? & s]i\sness z ^? ( ,sevcik80 ,music ,! twelf? tude ( ,fiorillo is n "o 9 :i* te*nic is prom95t4 ,its object is ma9ly ! fre$om ( ! b[-arm4 ,! f+]s ( ! left h& %\ld be plac$ lightly ov] ! /r+s1 9 read9ess = _! movem5t4 ,!y %\ld anticipate a *ange ( position4 ,if ! left h& is ready1 b[ te*nic is m easily secur$4 ,note 9 ! ,h]mann edition t ! tude is m>k$ =te4 ,x %\ld be play$ lightly1 ! upp] ?ird ( ! b[ be+ us$4 ,!re %\ld be no m>k$ contra/s ( ! legato & /accato2 9 fact1 ! /accato m>k is n to be int]pret$ z necess>y 9 su* tudes z ?is1 because ! /roke is s free4 ,x w\ld be impossible to play ?is tude =te 9 ! upp] "p ( ! b[1 & give x lightness & grace4 ,! %ort /accato also gives less bread? to ! /roke4 ,9 simil> passages ! l5g? ( b[ us$ %\ld be ab\t uni=m4 ,note ! incl9ation to cut ! second note ( a gr\p ( two ti$ notes 9 anticipation ( a s+le /accato note4 ,?is %\ld be avoid$4 ,all viol9 j]k+ ( ! b[ on s+le fir/ notes ( a gr\p %\ld be avoid$4 ,! /ud5t %\ld be c>eful to slide ! ?umb well "u ! neck ( ! viol9 9 ! fif? position passages4 ,d n move ! h& :ile 9 "o position1 9 anticipation ( ! next position4 ,d n depress ! f+]s 9 ! fif? & six? positions be=e pass+ to ! ?ird4 ,9 ?is passage avoid =c$ att5uation3 ,music ,cont9u\s syncopation %\ld be uni=mly smoo? & ev54 ,no?+ is ( su* value to a viol9i/ z a p]fect comm& ( ! transition f ! ?ird to ! fif? position1 & vice v]sa4 ,_m faults ( te*nic arise f too mu* pressure ( ! ?umb ^u ! neck ( ! in/rum5t1 ?us giv+ ! play] no fre$om1 & induc+ a bad habit ( b5d+ ! ?umb in/ead ( /r5g!n+ x = ! fif? position4 ,if ext5sions are to be made1 slide ! ?umb a little f>!r "u ! neck ( ! viol91 & curve ! f+]s well4 ,music ,note 9 ! six? l9e ! fif? position passage on ! ,a /r+4 ,_m play]s h to move ! :ole h& at ?is po9t1 s t ! f+]s may lie easy on ! /r+4 ,! h& %\ld assume a position :i* w enable ! pupil to play ) ease4 ,! new] *9-re/s1 :i* are wid] ?an ! =m] ones us$1 d n seem to enable "o to hold ! viol9 ) ease4 ,! *9 %\ld re/ on ! edge ( ! *9-re/ r ?an f> 9 or on ! tail-piece4 ,! muscles at ! back ( ! head become cramp$ by gripp+ too h>d4 ,a little piece ( *amois lea!r plac$ betwe5 ! left jaw & ! *9-re/ w prev5t a bruise ( ! fle%1 ! bane ( pr(essionals4 ,9 ! n9? l9e we h ! =m ( b[+ kn[n z two cut & two slurr$ notes4 ,! notes t are cut are n to be play$ %>ply at ! po9t ( ! b[4 ,!y are swung lightly along ! /r+s1 us+ ab\t "o-?ird ( ! b[1 ! tempo be+ mod]ate4 ,aga91 ! /ud5t mu/ be caution$ aga9/ cutt+ ! value ( ! second slurr$ note 9 anticipation ( a s+le /accato note3 ,music ,note ! =te passage 9 ! l[] half ( ! b[3 ,music ,?is %\ld be play$ 9 a some:at disconnect$ /yle 9 ! fir/ half ( ! measure1 ) a /rong acc5t on ! fir/ note ( gr\ps ( two4 ,! latt] half ( ! measure falls ab\t 9 ! middle ( ! b[4 ,a free /roke1 n too %ort a /accato1 is pref]r$4 ,! t5? l9e op5s ) an arpeggio play$ =te ) /accato & legato /rokes4 ,! next simil> passage is play$ pianissimo1 9 close imitation z to /yle4 ,all passages ( ?is nature are smoo!r 9 ! upp] "p ( ! b[4 ,avoid =c$ acc5ts or any movem5t :i* int]f]es ) free b[+3 ,music ,9 ! twelf? l9e a %ort legato passage is play$ 9 ! upp] half ( ! b[ r ?an ) ! :ole b[4 ,:5 "o passage closes ) d[n-b[1 !re %\ld be no break 9 pass+ to ! up-b[4 ,two notes slurr$ lie 9 ! upp] half ) z long a b[ z ! tempo w all[4 ,9 pass+ f a long legato passage to a %ort "o1 x is well to e/imate s well t ! "p ( ! b[ desir$ may come at once "u control4 ,all passages requir+ quick transitions on f\r /r+s %\ld be play$ z broadly & ) z free a b[-arm z ! tempo w admit2 9 o!r words1 too little b[ gives no value to ! passage1 :ile a light /roke ) a long] b[ is made m valuable4 ,naturally1 if ! tempo is increas$ to allegro1 we mu/ rema9 ne> ! po9t ( ! b[4 ,:5 f\r /r+s are requir$1 ! b[-arm mu/ be high]1 & ! di/9ction betwe5 a =e>m /roke & a pure wri/ /roke mu/ be well def9$4 ,9 rapid legato passages all pressure ^u ! b[-/ick mu/ be avoid$4 ,keep ! legato "w t foll[s 9 ! upp] half ( ! b[1 avoid+ pauses betwe5 b[s1 or unnecess>y acc5tuation4 ,%ort gr\ps ( slurr$ notes mu/ be play$ ne> ! po9t ( ! b[4 ,%ort /r+-transf]s are made ) ! wri/1 & ?ree or f\r /r+-transf]s ) wri/ & arm1 ! b[ nev] be+ tilt$ on its inn] edge4 ,play on ! out] edge ( ! hair z mu* z possible1 re/+ ! b[ on two /r+s1 or z ne>ly s z possible4 ,d n release ! f\r? f+] f ! b[-/ick4 ,re/ x at lea/ aga9/ ! /ick if n on x2 all "w1 especially 9 ! l[] half ( ! b[1 dem&s ?is security ( ! h&4 ,= /r+-transf]s ( ?is k9d1 see ,sevcik's ,s*ool ( #d1jjj ,b[+s1 ,p>ts ,,iii1 ,,iv1 & ,v2 ,casorti's ,s*ool ( ,b[+2#h ! "w ( ,hans ,sitt1 ,op4 #ib2i & ! ,kross ,art ( ,b[+4#aj ,,footnotes3 #g ,! ,art ( ,/udy+ ,r4 ,kreutz]'s tudes1 by ,l4 ,mass>t4 ,f\r hundr$ & twelve examples1 compil$ by ! advice ( ! au?or4 ,revis$1 translat$1 & edit$ by ,gu/av ,sa5g] 7,engli%1 ,fr5*1 & ,g]man ,text47 ,publi%$ by ,c>l ,fis*]1 ,new ,york4 ,price1 #fj c5ts4 #h ,te*nic ( ! ,b[1 by ,a4 ,casorti1 ,op4 #ej4 ,a /&>d "w ( its k9d4 ,publi%$ by ,c>l ,fis*]1 ,new ,york4 ,price1 #ge cts4 #i ,te*nical ,/udies1 by ,hans ,sitt1 ,op4 #ib4 ,"p ,i1 ,ex]cises & ,/udies = ! ,cultivation ( ! ,left ,h&4 ,9 ?ree ,books4 #a4jj ea*4 ,"p ,,ii1 ,ex]cises & tudes = ! ,special ,developm5t ( ! ,"r ,h&4 7,te*nics ( ! ,b[47 ,9 ?ree ,books4 #a4jj ea*4 ,publi%$ by ,c>l ,fis*]1 ,new ,york4 #aj ,! ,art ( ,b[+1 by ,emil ,kross4 ,a practical1 !oretical guide = develop+ ! te*nic ( ! b[ & = acquir+ a f9e tone4 ,price1 #a4jj4 ,publi%$ by ,c>l ,fis*]1 ,new ,york4 ,no4 #ac4 ,music ,?is graceful & int]e/+ tude p>takes ( ! qualities ( ! ,fr5* s*ool ) add$ dignity4 ,! &ante mu/ be smoo?ly play$1 ! portam5to "w be+ giv5 especial value ?r\gh position *anges4 ,/range z x may seem to ! amateur1 arti/ic phras+ beg9s ) tudes2 = in/ance1 _m ( ! tudes ,brilliantes1 by ,mazas1#aa furni% excell5t examples4 ,a natural cresc5do occurs 9 ! la/ f\r measures ( ! fir/ l9e4 ,! &ante is graceful & dignifi$1 a p]fect example ( legato play+4 ,transitions f ?ird to fir/ position %\ld be made )\t di/urb+ ! beauty ( phras+4 ,x w\ld be well to analyze ?is &ante ) /ud5ts1 po9t+ out simple rules ( phras+4 ,9 gr\ps ( two notes1 acc5t ! fir/ slightly & pause betwe5 gr\ps1 clos+ ! phrase ) a sl[] tempo4 ,x is ( ! utmo/ importance t rules ( phras+ %\ld be taught 9 tudes & appli$ to ! /&>d ,conc]tos4 ,if tudes mean any?+1 all t is conta9$ 9 !m %\ld be br\ght out4 ,?is relieves dry & lifeless /udy1 & gives u ample opportunity to make musicians1 n ma*9es4 ,! ,pre/o mu/ fir/ be practic$ sl[ly until a comm& ( b[+ & te*nic is possible4 ,! octaves are play$ 9 ! upp] half ( ! b[1 ) a slight acc5t on ! fir/ note ( ea* gr\p1 ! gr\ps also be+ slightly sep>at$1 ?\gh ! b[ is n rais$ f ! /r+s4 ,keep ne>] ! po9t ?an ! middle ( ! b[4 ,d n hold any note too long4 ,make phras+ clean-cut4 ,! f+]s "w simultane\sly1 & mu/ n leave ! /r+s dur+ a passage4 ,9 play+ octaves1 relax ! wri/ inw>d & curve ! f+]s well4 ,keep ! ?umb free & 9 advance ( ! fir/ f+]4 ,ev]y?+ dep5ds ^u ! hold+ ( ! viol9 ) ! *91 n ) ! ?umb & fir/ f+]4 ,! b[-arm mu/ be v free4 ,! play] %\ld n be timid1 slid+ ! f+]s into place4 ,! h& & f+]s move toge!r4 ,! trill$ notes %\ld be play$ ) a %>p acc5t1 ! legato be+ contra/$ ) a %ort1 crisp /accato 9 ! upp] "p ( ! b[1 ab\t two in*es f ! po9t4 ,?is passage %\ld be play$ ne> ! upp] ?ird ( ! b[4 ,music ,notes n m>k$ /accato are to be play$ freely1 ) a =e>m /roke4 ,place ! f+]s at once 9 position = arpeggios4 ,note ! sugge/ions ( ! ,kross edition ( ,kreutz]1 9 ?is respect4 ,by ! "t ! /ud5t has rea*$ ,fiorillo1 he mu/ be famili> ) all =ms ( b[+4 ,he is n[ to apply himself to te*nic4 ,/r+-transf]s mu/ be made easily4 ,return+ to ! octaves1 "o mu/ play ) a free runn+ legato 9 ! upp] ?ird ( ! b[4 ,note ! arpeggios1 :i* mu/ be play$ /accato v crisply ne> ! po9t ( ! b[4 ,!re is a prevail+ t5d5cy among /ud5ts to play ! slurr$ legato notes ) a long] b[ ?an ! s+le deta*$ notes4 ,a fre] /yle is t ( uni=m l5g? ( b[ ?r\gh\t4 ,:5 x is possible1 play a long swift /roke 9 pref]5ce to a %ort "o 9 passages ( ?is k9d3 ,music ,9 a sudd5 transition to high ,d on ! ,a /r+1 ! portam5to is all[$4 ,! /roke is a =e>m "o4 ,n[ we return to ! octaves4 ,if !re is any tr\ble at ?is po9t1 play ! notes toge!r until ! pit* is q accurate4 ,!re is also ano!r advantage4 ,9 octaves ! b[ lies on two /r+s1 & ?is is an aid to ! ma/]y ( a pure legato 9 a passage 9 :i* ! notes are n play$ toge!r4 ,note ! almo/ p]ceptible cresc5do z ! octaves progress4 ,aft] sev]al measures 9 :i* ! =e>m /roke is us$1 we come to %ort gr\ps ne> ! po9t ( ! b[4 ,9 ! f\r? l9e f ! end1 we return to ! %ort passage1 to be treat$ some:at freely4 ,music ,9 pass+ to ! sev5? position on ! ,d /r+1 avoid a n]v\s j]k+ or undue pressure ^u ! b[4 ,! portam5to is naturally desirable4 ,! arm %\ld be well "u ! viol9 9 ! octaves on ! ,g & ,d /r+s4 ,music ,! la/ *ords are n play$ l arpeggios4 ,!y mu/ be full ( decision4 ,! d[n-b[ is us$ 9 ea* case4 ,,footnote3 #aa ,sev5ty-six ,melodi\s & ,progressive ,/udies1 by ,f4 ,mazas1 ,op4 #cf1 9 ?ree ,books4 ,book ,i1 tudes ,speciales2 ,book ,,ii1 tudes ,brilliantes2 ,book ,,iii1 tudes d',arti/es4 ,price ea*1 #ej c5ts4 ,publi%$ by ,c>l ,fis*]1 ,new ,york4 ,no4 #ad4 ,music ,x is an errone\s idea t ^? outside ( ! ,fr5* s*ool sometimes ent]ta9 conc]n+ ! nobility ( tone ( t s*ool4 ,9 cantabile "w1 tone-color & proportion are s\ght & obta9$4 ,brilliancy1 vivacity1 & piquancy belong to ! ,fr5* temp]am5t1 b dep?1 dignity1 & nobility are possible1 ev5 9 a ,fr5*man4 ,h5ce x is t su* expon5ts ( ! ,fr5* s*ool z ,?ibaut1 ,kreisl]1 & ,m>teau play an ,adagio ) beauty & nobility4 ,! ,g]man s*ool1 :ile ess5tially lack+ 9 v]satility1 lightness1 & elegance1 z comp>$ ) ! ,fr5*1 excels only 9 bread? ( tone1 purity1 & dignity4 ,x is absurd 9 ^! days ( con/ant comp>ison betwe5 s*ools1 consid]+ ! frequ5t /udy ( great arti/s 9 sev]al ,cont95tal s*ools1 to assume t any "o ( !m has ! only legitimate int]pretation ( ! classics4 ,! ,fr5*-s*ool arti/ plays ,corelli & ,t>t9i ) m poetry & v>i$ tone-color ?an ! ,g]man-s*ool arti/1 giv+ to all ! classics ( t p]iod m mod]nity & consequ5t beauty ?an !y ev] possess$ 9 _! "t4 ,aga91 ! pres5t use ( ! vibrato gives w>m? to any classic4 ,i speak ( ^! ?+s because "o c le>n to play ! ,adagios ( ,fiorillo & ,rode 9 ,p>is4 ,9 connection ) ?is tude1 play$ l>gely on ! ,g /r+1 x w\ld be well = ! /ud5t to /udy su* works z ! ,raff 8,cavat9a10 ! ,ba* 8,g ,/r+ ,air10 an ,air f a 8,suite0 by ,johann ,mat!son1 & o!r works :i* w give "o p]fect fre$om 9 ! high] positions on "o /r+4 ,! ,g /r+ has always be5 a favorite "o = beautiful sl[ movem5ts ( ,conc]tos4 ,bo? ,ba* & ,pagan9i realiz$ its possibilities4 ,possibly ! /ud5t holds ! neck ( ! viol9 too tightly ) ! ?umb4 ,! latt] mu/ be ready to move quickly into any position1 ! f+]s be+ well ar*$ 9 ! v high positions4 ,a p]fect comm& ( ! legato & f9e discrim9ation 9 ! use ( ! portam5to are desirable4 ,"o %\ld avoid slid+ up & d[n ! /r+s :5 ! phras+ does n dem& ! portam5to4 ,d n hurry ! movem5t4 ,pause betwe5 phrases to give add$ dignity4 ,9 play+ v high on ! /r+1 d n press ^u ! /r+s too heavily ) ! b[1 z ! l5g? ( /r+ is n[ s %ort t additional pressure gives a rasp+ tone4 ,practice ! cresc5do4 ,economize space 9 long b[+4 ,d n all[ ! f+]s to leave ! /r+s at su* po9ts4 ,a p]fect legato c only be obta9$ :5 ! f+]s & b[ are 9 p]fect sympa?y4 ,a some:at dignifi$ trill is necess>y4 ,ma9ta9 ! prop] tempo4 ,9 ! la/ l9e pres]ve ! legato ev5 if ! grace notes seem to di/urb x4 ,at ! close beg9 ! trill sl[ly2 !n increase ! rate4 ,if ! /ud5t fails 9 ! comm& ( ! high] positions1 use ! ,halir /udies daily4 ,fre$om w soon be secur$4 ,no4 #ae4 ,music ,y w obs]ve t ! old] compos]s ( te*nical works us$ easy keys4 ,!y !mselves 7 play]s ( ! viol91 & knew h[ to write 9 a viol9i/ic mann]4 ,y w also obs]ve t two me?ods ( play+ ?is tude are indicat$4 ,z a special daily ex]cise1 9 connection ) ?is tude1 ,i w\ld sugge/ ,sevcik's #d1jjj ,b[+s1 ,op4 #b1 ,"p #b1 ,sections ,,iii & ,,iv1 two & ?ree /r+ transf]s4 ,aft] play+ ^! ex]cises = an h\r1 includ+ ! ,halir legato /udies1 pages #a to #d1 ,tonleit]/udi51 ! wri/ & =e>m are supple = ! daily "w1 :ile ! left h& falls easily into l9e4 ,9 all te*nical "w ! left h& mu/ be tra9$ to anticipate ! b[-arm4 ,m dep5ds ^u ! left h& ?an ^u ! b[-arm1 h5ce ! necessity ( /rong f+]s & an ample te*nic4 ,allegro is an ela/ic t]m 9 ! classic tudes4 ,play sl[ly & )\t /umbl+ until y ma/] ! cont5t ( ! "w1 !n increase ! tempo4 ,! pref]r$ me?od ( play+ ?is tude is ! l[] "o4 ,play 9 ! upp] ?ird ( ! b[1 n =te1 at fir/1 until fre$om ( ! b[-arm is assur$4 ,a lat]al /roke ( ! wri/ is n necess>y4 ,! wri/ %\ld be flexible & free1 h[ev]4 ,play a smoo?1 runn+ /roke1 = a pron\nc$ /accato is likely to make ! muscles ( ! f+]s & wri/ rigid1 unless "o has p]fect comm& ( ! b[-arm & h&4 ,! /ud5t %\ld tra9 himself to read ahead ( ! measure he is play+4 ,place all ! f+]s 9 position at once1 :e!r a new position is to be taught or n4 ,a prevail+ t5d5cy 9 ?is "w is to play ) a /iff arm & to use too rapid a tempo4 ,t is n wise4 ,play sl[ly until fre$om is assur$4 ,! sequ5ce ( positions %\ld n tr\ble ! play]4 ,/r+-transf]s %\ld be made on ! edge ( ! hair1 or z ne>ly s z possible1 & !re %\ld be no 8tilt+0 ( ! b[ f ! out] edge to ! middle & !n to ! inn] edge ( ! hair4 ,keep ! =e>m high en\gh s t ! b[ lies easily on two /r+s4 ,always anticipate /r+-transf]s by practic+ arpeggios on f\r /r+s1 ) ! entire arm well ar*$ & no break 9 ! curve4 ,:ile _m %ort /r+-transf]s1 especially at or ne> ! po9t ( ! b[1 require only ! use ( ! wri/1 !re is an almo/ p]ceptible movem5t ( ! arm f ! %\ld]1 s t ! curve describ$ on ! /r+s may be easy & graceful4 ,?is is "o ( ! mo/ important ?+s 9 connection ) ! obta9+ ( a beautiful legato4 ,a /udy ( my ,?ree ,octave ,scales1#ab ) v>i$ b[+s1 9 ! upp] half ( ! b[1 %\ld be c>ri$ on dur+ ! entire /udy ( ,kreutz] & ,fiorillo4 ,note ! difficulty ( easy /r+-transf]s 9 ! six? measure4 ,^! are v trea*]\s1 if "o has n ma/]$ ! two sugge/$ b[+s 9 ! fir/ five l9es4 ,n[1 let u take ! passage sl[ly ne> ! po9t ( ! b[1 ! fir/ note be+ play$ lightly /accato1 & ! next two slurr$ notes /accato on ! up b[4 ,d n j]k ! fir/ note ( ! gr\p ( ?ree4 ,sometimes tea*]s pref] to use s+le deta*$ b[+s ?r\gh\t ! ex]cise4 ,t is n desirable2 9 fact1 all /ud5ts ( ?is "w %\ld h a ?or\gh k ( positions4 ,i d n believe 9 ! practice ( _m & v>i$ b[+s 9 connection ) ,fiorillo4 ,we h practically fix$ ! fundam5tal b[+s 9 ! fir/ twelve ,kreutz] tudes4 ,at pres5t _m tea*]s are us+ ! ,sevcik #d1jjj ,b[+ ,/udies1 & c>efully tea*+ ,mazas' tudes ,brilliantes4#ac ,sitt & ,dont mu/ inevitably aid 9 ! ma/]y ( b[+s1 z well z ( position "w4 ,!re is s mu* to le>n f /&>d ,conc]tos t x seems unwise1 9 our busy ,am]ican life1 to burd5 ! /ud5t ) too _m tudes4 ,if he c le>n ! great pr9ciples ( viol9 play+ f well-kn[n works1 or a few well-*os5 tudes1 he has "t = ! /udy ( legitimate classics4 ,! entire ,sevcik plan is too ext5sive & impractical = ,am]ican viol9 /udy2 nev]!less1 ! mo/ progressive tea*]s are adapt+ ,sevcik to ! ne$s ( _! pupils4 ,we _c tea* z ,sevcik tea*es2 our entire conditions ( life are at v>iance ) ,european conditions4 ,if ! prep>atory "w = ,fiorillo is well done1 we may be sure t ! /ud5t w progress rapidly1 & !re w be no ne$ ( ! introduction ( _m & v>i$ =ms ( b[+ at ?is po9t4 ,review ) ! fly+ /accato 9 ! l[] half ( ! b[1 also at ! middle ( ! b[ spiccato4 ,play ! foll[+ measures at ! po9t ( ! b[3 ,music3 ,on #b /r+s ,,footnotes3 #ab ,daily ,ex]cises & ,?ree ,octave ,scales1 by ,edi? ,l4 ,w9n4 ,publi%$ by ,c>l ,fis*]1 ,new ,york4 ,price1 #a4jj4 #ac ,see footnote1 page #cj4 ,no4 #af4 ,aga91 ! t]m ,allegro is a some:at ela/ic "o4 ,! /roke is at or ne> ! po9t ( ! b[1 ! fir/ note cov]+ en\gh space s z to all[ a long] b[ = ! ?ree slurr$ notes4 ,?is gr\p %\ld be %>ply acc5t$4 ,play =te ?r\gh\t4 ,play ! long] /accato gr\ps 9 ! second & ?ird l9e ne> ! po9t ( ! b[1 us+ z little space z possible1 until we come to ! la/ two notes4 ,ow+ to ! modulations 9 ?is tude1 ,i frequ5tly ask /ud5ts to memorize x4 ,we usually analyze x4 ,!re is a gr[+ t5d5cy among viol9 tea*]s to analyze all te*nical works & pieces ) /ud5ts4 ,=eign tea*]s r>ely d s4 ,x is a "q :e!r ! lesson %\ld include h>monic analysis4 ,t %\ld be taught else:]e4 ,! viol9 tea*]'s duty is to tea* ! pupil h[ to play works4 ,h>mony & !ory %\ld be taught 9 classes4 ,x is wise1 h[ev]1 to call att5tion to keys4 ,all ! major & m9or keys %\ld be /udi$4 ,rememb] ! %>p acc5tuation on ! fir/ note1 d[n b[1 ( slurr$ gr\ps ( ?ree notes4 ,music ,! trill %\ld be play$ ) a d[n b[4 ,raise ! b[ slightly betwe5 octaves2 also play at ! middle ( ! b[4 ,acc5t trills4 ,! f+]+ 9 ! la/ ?ree measures is z foll[s3 ,music ,music ,no4 #ag4 ,music ,a brief glance at ?is tude w\ld naturally give "o ! impression t x is play$ 9 a light mann]4 ,x is1 h[ev]1 "o ( ! mo/ int]e/+ ,adagio /udies 9 viol9 lit]ature4 ,! ,fiorillo tudes are n s+le deta*$ /udies4 ,!y fl[ into ea* o!r1 z x 71 naturally1 & ) suffici5t v>iety z to tempo & !mes to make !m fasc9at+ & agreeable4 ,?is tude leads into ! m rapid eighte5? tude gracefully & ) dignity4 ,bo? tudes are usually tak5 out ( ord]1 on acc\nt ( _! difficulty1 & ! ,kreutz] d\ble-/op tudes are review$4 ,phrases %\ld be full ( mean+1 clean-cut & di/9ct4 ,! f+]s mu/ fall simultane\sly 9 d\ble-/ops4 ,a slur )9 a slur requires a slight sep>ation1 b n ! rais+ ( ! b[4 ,note ! exact reproduction ( ! fir/ phrase1 ) ! position ( notes inv]t$1 9 ! second phrase4 ,note ! second & ?ird measures1 second l9e1 ! %ort /accato be+ avoid$4 ,music ,! long /accato d\ble-/op passage %\ld be play$ ) slightly deta*$ notes1 n /accato 9 ! extreme s5se1 ) a slight rit>d t[>d ! close1 ab\t two-?irds ( ! b[ be+ us$1 s t ! foll[+ legato passage may be free4 ,! next two notes slurr$ mu/ be play$ ne> ! po9t ( ! b[1 foll[$ by a /accato passage1 z be=e play$ lightly & deta*$1 ) a free runn+ /roke4 ,:5 !re are gr\ps ( two notes1 ! fir/ is acc5t$4 ,phras+ mu/ be clean-cut at ?is po9t3 ,music ,naturally !re is a rit>d at ! close4 ,! fir/ "p ( ! tude beg9s on ! tonic triad1 ) ! fundam5tal note abs5t4 ,x is well to call ! att5tion ( ! /ud5t to ! fact t ! second "p ( ! tude op5s ) ! dom9ant *ord1 ! fundam5tal note be+ abs5t4 ,!re is a decid$ pause 9 ! f\r? measure1 ow+ to ! dem&s ( phras+4 ,! /ud5t %\ld play "o phrase repeat$ly until ma/]$4 ,! f+]s move simultane\sly into new positions4 ,!y mu/ take ! position at once4 ,9 ! ?ird l9e ! accompanim5t to ! !me mu/ be lightly play$1 no note be+ c>ri$ ov] a re/4 ,d n acc5t 9 syncopat$ passages1 nor play ! note ( ! accompanim5t too l\d1 giv+ x m ?an its value4 ,9 ! sev5? l9e ! %ort notes or gr\ps %\ld be play$ almo/ 9 a recitative /yle4 ,! /ud5t %\ld ?9k 8 int]val at once :5 sudd5ly pass+ to d\ble-/ops2 9 ! high] positions ! f+]s fall toge!r4 ,! long runs may be play$ m ne>ly 9 /accato /yle4 ,9 ! ?ird measure f ! close1 play ! ?irty-second note at ! heel ( ! b[4 ,music ,9 ord] to fully appreciate ?is tude1 x w\ld be well = ! /ud5t to he> ! great s+]s 9 su* works z ,bocca bocca bella1 by ,lotti1 or ,vi5i *e poi s]5o1 by ,glck1 :i* (f] examples ( pure te*nic & beauty ( phras+4 ,i believe ,i c say frankly t ,i h le>n$ m ab\t phras+ f ! /udy ( voice ?an f viol9 /udy4 ,at any rate ! "o aids ! o!r1 & ! /ud5t mu/ le>n to play ,fiorillo & ,rode l an arti/1 giv+ to purely te*nical works a value t w mat]ially aid him 9 ! int]pretation ( pieces4 ,/yle & phras+ are s ess5tial to viol9 play+ t "o %\ld he> mu* good music1 & all tea*]s %\ld be able to illu/rate ! important pr9ciples ( b[+1 phras+1 & te*nic4 ,no4 #ah4 ,music ,= f9i%$ /udies1 us+ d\ble-/ops1 tudes sev5te5 & eighte5 are unexcell$4 ,! latt]1 l ! twelf? ,kreutz]1 may be play$ = ye>s ) pr(it4 ,! /ud5t %\ld n ent] ^u ?is /udy untra9$4 ,beside ! prep>atory "w ( ,kreutz] & ,sitt1 !re are excell5t d\ble-/op ex]cises ( ,wilhelmj ,himaly1 & especially ( ,halir1 us$ s little z yet 9 ,am]ica4 ,halir's idea is to tea* d\ble-/op scales 9 sections1 beg9n+ ) ! ,c scale4 ,?is tude %\ld n be play$ rapidly4 ,allegretto is a dim9utive t]m4 ,play 9 ! l[] half ( ! b[1 ! b[ be+ rais$ = ea* note4 ,! /ud5t %\ld place ! f+]s simultane\sly4 ,! f+]s move toge!r4 ,! positions mu/ be ?or\ghly und]/ood be=e ?is tude is /udi$4 ,"o may practice x = mon?s ) pr(it4 ,g5]ally ! upp] "p ( ! b[ is pref]r$1 ) a smoo? runn+ /roke ( ! b[4 ,tea*]s diff] conc]n+ ! mann] ( tea*+ ?is tude4 ,all /accato passages are usually play$ crisply1 ) fre$om4 ,note ! mann] ( play+ ! ,halir d\ble-/op scales ) v>i$ b[+s1 i4e4 7#a7 ,l[] half deta*$2 7#b7 ,two notes ti$2 7#c7 ,f\r notes ti$2 7#d7 ,entire scale 9 "o b[4 ,x is always be/1 :5 a /ud5t is advanc$1 to /udy ^! tudes ( ,fiorillo fir/ ) ! b[+ z m>k$1 n ) easi] =ms4 ,x is f> bett] to play a passage ov] & ov] until correct1 ?an to in/itute an easy me?od ( b[+4 ,a ma/]y ( te*nic requires con/ant repetition4 ,take ! tempo sl[ly at fir/4 ,always s+ tone & play ) z broad a /roke z possible "u ! circum/ances1 s z to cultivate a broad1 free /yle4 ,a v light passage may (t5 be play$ ) deta*$ notes1 us+ ne>ly ! :ole l5g? ( ! b[4 ,:5 play+ d\ble-/ops lightly1 d n press ^u ! b[-/ick2 play ov] ! f+]-bo>d1 ) a light loose /roke4 ,! middle ( ! b[ is an excell5t place 9 :i* to play ! d\ble-/ops1 z f\nd 9 tude #ah & else:]e4 ,= small h&s ,i w\ld recomm5d ! foll[+ me?od ( play+ t5?s3 ,draw ! fir/ f+] ar\nd s t x lies almo/ flat on ! /r+ at "r angles to ! neck ( ! viol94 ,!n place ! f\r? f+] 9 position4 ,x is probable also t ?is f+] _c be curv$4 ,! ?umb is well r\nd "u ! neck ( ! viol94 ,x mu/ be flat1 close up to ! neck4 ,d n release x entirely f ! neck4 ,no4 #ai4 ,music3 ,allegretto4 ,) ! middle4 ,?is tude beg9s lightly spiccato at ! middle ( ! b[4 ,) ! cresc5do ! necessity = a broad] /roke arises1 & we disp5se ) ! spiccato4 ,! foll[+ passage is play$ t[>d ! middle ( ! b[ ! /roke becom+ a spiccato3 ,music ,keep 9 ! upp] ?ird ( ! b[ :5 ! ti$ notes are alt]nately long & %ort4 ,9 ! sev5? l9e1 second measure1 play ! /accato run at ! po9t ( ! b[3 ,no4 #bj4 ,music ,z an example ( /r+-transf]s 9 ! positions1 especially ^u f\r /r+s1 ?is tude is unexcell$4 ,play lightly ne> ! po9t ( ! b[4 ,prep>e = ea* *ange ( /r+s & = rapid position *anges by read+ 9 advance4 ,always keep ! b[ well ov] two /r+s4 ,if f\r /r+s are to be us$1 raise ! arm1 ! entire arm be+ 9 ! same plane4 ,a runn+ legato at ! po9t ( ! b[ is desir$4 ,raise ! arm out f ! side1 ! :ole arm mov+ 9 ! same plane1 ! wri/ lead+4 ,note ! great value ( ?is tude z a prep>ation = ! ?ird movem5t ( ! ,conc]to 9 ,a m9or by ,ba*4 ,%ort /r+-transf]s require t ! two f+]s us$ fall simultane\sly on ! /r+s4 ,! arm always foll[s ! wri/4 ,if arpeggios occur 9 ! high] positions1 place ! f+]s z upright z possible on ! f\r /r+s4 ,a v>iation 9 po9t ( attack int]f]es s]i\sly ) intonation4 ,note ! necessity = p]fect intonation4 ,! wri/ leads 9 transf]s1 a backw>d dip secur+ a p]fect legato4 ,d n secure x by play+ on ! inn] edge ( ! hair4 ,if ! legato is n easily play$1 review ! eigh? ,kreutz] tude 9 gr\ps ( two notes at ! po9t ( ! b[4 ,a /udy ( ,hans ,sitt's d\ble-/op tudes#ad & ,section ,,iv & ,v ( ,sevcik's #d1jjj ,b[+s is desirable4 ,if ! tude is fir/ play$ 9 d\ble-/ops1 ! /ud5t ga9s ! habit ( ?9k+ ! relation ( tones1 also ! b[ ga9s facility1 & lies well ov] ! /r+s4 ,a runn+ legato passage ( two notes to a b[ is usually play$ any:]e f ! middle to ! po9t1 pref]ably ne> ! po9t1 if pianissimo4 ,a quick comm& ( ! six? position is n easy4 ,two f+]s1 at lea/1 %\ld fall at once into place4 ,! b[ %\ld lie almo/ ov] two /r+s at ! po9t1 or ne> x4 ,!re %\ld be no visible rise & fall ( ! arm = two-/r+ transf]s4 ,9 mov+ f position to position1 ! legato %\ld n be di/urb$4 ,a slight acc5t on ! fir/ note ( ea* gr\p ( two gives "* to ! tude4 ,9 ?is passage1 :]e m ?an two /r+s are to be us$1 "o naturally moves ! entire arm4 ,music ,music ,a slight undulat+ movem5t ( ! wri/1 n lat]al1 gives fre$om4 ,play ne> ! edge ( ! hair z mu* z possible4 ,raise ! entire arm = a transf] f ! ,e /r+ to ! ,g1 ! wri/ lead+ slightly4 ,describe a curve1 n an angul> movem5t4 ,d n turn ! viol9 f> ov] to ! ,e side4 ,hold x lightly ) ! *9 & let ! body ( ! in/rum5t be ne>ly flat1 t is1 make ! angle z small z possible4 ,if ! ,g /r+ is high 9 ! air1 ! ,e w be correspond+ly l[1 ! arm close1 & all legato "w or /r+-transf]s correspond+ly difficult4 ,! rule ( read+ ahead & plac+ f+]s on ! /r+s at once always holds good4 ,z examples ( ?is /yle ( b[+1 "o may m5tion ! ,sevcik #d1jjj ,b[+s1 ,"p #b1 ,section ,,iii1 ,,iv1 ,v2 also ! ,sitt ,te*nical ,/udies1#ae #b;d "p1 ,op4 #ib1 ) ! *ords play$ z arpeggios 9 _m ways4 ,!re are _m o!r /udies ( ?is nature2 = in/ance1 ! ,kross ,b[+s ( ,kreutz]'s ,/udies1 ,nos4 #a & #h4af ,naturally ! /ud5t mu/ ?9k modulations1 ev5 if he is p]fectly famili> ) 8 position "w4 ,keep ! ?umb well "u ! neck ( ! viol91 s z to compass f\r /r+s easily & at once4 ,a wise plan ) /ud5ts :o are v c>eless ab\t mak+ smoo? /r+-transf]s is to ask !m to play ! gr\ps z d\ble-/ops s+ly 9 ! l[] half ( ! b[1 us+ a light deta*$ /roke4 ,:5 play+ su* passages z ?is d n ?r[ ! wri/ out1 necessitat+ a p]fectly flat f\r? f+]4 ,all f+]s %\ld be ar*$4 ,m>ie ,h]ites1 "o ( ! be/ e>ly expon5ts ( ! ,sevcik s*ool1 has a v excell5t me?od ( play+ t5?s1 9 spite ( h] %ort f+]s4 ,%e br+s h] fir/ f+] f> ar\nd1 s z to fall at "r angles to ! neck ( ! viol94 ,x lies flat 9 ?is position & ! f\r? falls easily into place1 slightly curv$4 ,! wri/ is some:at out ( position1 & ! ?umb f> "u ! viol91 b results are satisfactory4 ,e "o c conqu] limitations ( ! h&4 ,no4 #bj is n a virtuoso /udy4 ,x belongs ess5tially to a good rep]toire1 b x is n easy1 & mu/ !re=e be practic$ until p]fect fre$om is secur$ & intonation is p]fect4 ,,footnotes3 #ad ,hans ,sitt1 ,te*nical ,/udies1 ,op4 #ib1 ,"p ,i1 ,book ,,iii1 ,d\ble ,/opp+1 ,?irds1 ,six?s1 & ,octaves4 ,publi%$ by ,c>l ,fis*]1 ,new ,york4 ,price1 #a4jj4 #ae ,see footnote1 page #bi4 #af ,see footnote1 page #bi4 ,no4 #ba4 ,music ,sev]al editions ( ,fiorillo sugge/ v>i$ b[+s = ?is tude4 ,we h practic$ v>i$ b[+s ) ,kreutz]1 ,sevcik1 & o!r works4 ,"o %\ld be famili> ) b[+s be=e ! /udy ( ,fiorillo4 ,! cont5t ( ! tude mu/ only be consid]$4 ,use a light legato b[+ ne> ! po9t4 ,! "q has (t5 be5 ask$1 8,does ! ?umb b5d 9 ! fif? position80 ,aft] we leave ! #c;d position1 ! ?umb becomes flat "u ! neck ( ! viol94 ,be v c>eful ( intonation :5 ! key *anges4 ,at ?is po9t d n *ange position4 ,x is an inv>iable fault ( /ud5ts3 ,music ,a quick transf] f ?ird to second position mu/ be made easily4 ,all passages ( a *romatic nature1 or 9 :i* !re are sudd5 modulations1 %\ld be play$ a good deal until correct intonation is assur$4 ,ow+ to ! great simil>ity betwe5 ,nos4 #bj & #ba1 x is wise to play ! tw5ty-second be=e ! tw5ty-fir/4 ,no4 #bb4 ,music ,! tw5ty-second tude is "o ( ! mo/ beautiful adagio /udies 9 viol9 lit]ature4 ,x is p>ticul>ly useful to ^? :o are /udy+ ! ,ba* ,sonatas & ! ,spohr ,duos4 ,!re is no ne$ ( play+ ! fir/ note timidly4 ,"o %\ld be able to ?9k ,a1 because ( ! k ( absolute pit*4 ,! position ( ! note is naturally difficult4 ,! ?umb mu/ lie well "u ! viol9 neck1 9 ord] t ! passage on ! ,a /r+ may be play$ ) ease4 ,d n pull ! ,a /r+ f side to side 9 ! high] positions4 ,?is causes false intonation4 ,9 ! f\r? measure use ! ?ird position1 !n *ange to second position4 ,z to ! l5g? ( b[ requir$1 ! volume ( notes & numb] on "o b[ gov]n ! l5g?1 b a uni=mly broad /yle is advocat$4 ,"o s]i\s difficulty 9 ! tude is ! comm& ( ! cresc5do & dim9u5do4 ,practice ! ?ree octave scales1 s+le :ole b[ sl[ly1 mak+ a cresc5do f\r times4 ,use ! vibrato freely4 ,conc]n+ high notes1 play )\t pressure ^u ! b[-/ick1 z ! tone ( a %ort /r+ _c be =c$4 ,x is ( ! utmo/ importance t "o %\ld play ) correct intonation4 ,! high notes are n z /rong 9 tone z ! l[ notes1 ow+ to ! diff]5ce 9 l5g? & vibratory quality ( ! /r+s4 ,we w n[ turn to ! six? position4 ,! fir/ note mu/ n be =c$4 ,! use ( ! same f+] = position implies ! portam5to4 ,a smoo? fl[+ legato passage is naturally to be play$ ) a long] b[4 ,sudd5 leaps f ! ,g /r+ to ! ,e mu/ be made ) a high arm & flexible wri/4 ,play ! b[+s z m>k$4 ,y w obs]ve slurr$ notes 9 v>i$ gr\ps4 ,! ?ree notes mu/ be play$ ) a long b[ & 9 z p]fect proportion z ! long] passage4 ,! p[] to use ! b[ wisely is difficult to acquire4 ,note ! passages 9 ! sev5?1 eigh?1 & n9? positions4 ,x is absolutely necess>y t /ud5ts be free 9 ! high] positions4 ,diff]5t editions v>y conc]n+ ! f+]+ 9 ! la/ l9e4 ,! b[+ is usually uni=m4 ,! difficulty ( ! tude naturally makes x "o ( ! be/ ( its type1 = ! difficulties are legitimate ones1 :i* naturally occur 9 ! great conc]tos3 ,no4 #bc4 ,music ,! b[+ sugge/$ 9 ! tw5ty-?ird tude is "o ( ! mo/ frequ5t & natural ones 9 conc]tos4 ,x is adapt$ to an allegro movem5t1 & :ile x may be satisfactorily play$ ne> ! po9t ( ! b[1 ! =te w\ld indicate a long] b[1 possibly ! upp] ?ird4 ,a free1 undulat+ movem5t ( ! wri/1 ) only a slight arm movem5t1 9 two-/r+ transf]s is desir$4 ,aga91 ! /ud5t mu/ be caution$ aga9/ rais+ ! f+]s too quickly4 ,all f+]s mu/ take _! positions quickly & ma9ta9 !m4 ,9 ?ree-/r+ transf]s m arm movem5t is necess>y4 ,d n play ov] ! entire surface ( ! hair4 ,keep l>gely to ! out] edge4 ,note t ! middle note is high] ?an ! ?ird note ( ?is gr\p1 h5ce x is wise to use ?is b[+3 ,music ,we return to ! =m] b[+ 9 ! next l9e4 ,music ,! up-b[ is n /accato1 b a free /roke t w n be a decid$ contra/ to ! prec$+ slurr$ notes4 ,9 connection ) ?is tude obs]ve intonation c>efully4 ,also add to ! flexibility ( ! wri/ by ! use ( ! tudes ( ,hans ,sitt1 ,op4 #ib1 ,book ,,iii4#ag ,,footnote3 #ag ,see footnote1 page #bi4 ,no4 #bd4 ,music ,9 some:at decid$ contra/ z to /yle1 ?is tude is play$ ) a %ort /accato /roke2 ! position "w1 ) ! f\r? f+] 9 ! lead1 mu/ be free1 ! ?umb & fir/ f+] p]fectly relax$1 ! viol9 be+ held firmly ) ! *94 ,d\ble-/ops require p]fect fre$om & uni=mity ( f+] action2 ! f+]s move ) ! h&1 & ! ?umb & h& move 9 ! same plane4 ,! octaves are play$ 9 ! upp] "p ( ! b[1 ) z broad a /roke z ! tempo p]mits4 ,"o %\ld n play allegro if unprep>$ = ! tempo4 ,! t5?s are to be play$ v lightly ne> ! po9t ( ! b[1 us+ ab\t ?ree in*es1 at lea/1 ( ! b[4 ,relax ! wri/ z mu* z possible1 & play ne> ! out] edge ( ! hair4 ,m>k$ depression ( ! wri/ makes ! position ( ! hair v>iable on ! /r+s4 ,aga91 ! movem5t ( any f+]s1 especially ! f\r?1 to & fro on ! b[-/ick1 produces an unc]ta9 legato4 ,play ! t5?s z be=e indicat$4 ,! sev5? l9e reproduces ! =m ( ! fir/ l9e1 ! fir/ & f\r? f+]s1 at lea/1 rema9+ on ! /r+s con/antly4 ,! upp] ?ird ( ! b[ is us$4 ,! t5?s are frequ5tly play$ ) /accato b[+ 9 ! middle ( ! b[4 ,?is gives a free /roke1 b ! upp] "p ( ! b[ is pref]r$4 ,make a slight acc5t on ! fir/ note ( ea* gr\p ( two4 ,also slightly raise ! b[ = ?is attack1 & sw+ ! /accato up-b[ quickly along ! /r+4 ,?is is a some:at free /yle ( play+1 :i* suits ! passages ( t5?s & gives !m vivacity r ?an heav9ess ( "*4 ,n[ note ! rapid runn+ legato at ! po9t ( ! b[3 ,music ,?is is easily play$1 if ! ?umb moves freely & if ! f\r? f+] slides along ! /r+s4 ,! fir/ & f\r? move toge!r 9 octaves4 ,x is also true ( t5?s4 ,! foll[]s ( ! ,fr5* s*ool always play *ords 9 an arpeggio /yle4 ,?is is n true ( ! ,b]l9 s*ool4 ,! foll[]s ( t s*ool fall ) =ce ^u ! /r+s1 tak+ ?ree or f\r notes simultane\sly4 ,= ! developm5t ( su* a /yle see ,sevcik's #djjj ,b[+s1 ,section ,v 7,"p #c74 ,no4 #be4 ,music ,?is tude furni%es an excell5t example ( phras+ & /yle4 ,be=e beg9n+ ! /udy ( x "o might well play ,halir's runs up & d[n ea* /r+ = ! pure legato & position "w4 ,! /ud5t ga9s fre$om 9 ?is way4 ,d n press too heavily on ! b[-/ick = ! high] positions1 z a rasp+ s\nd results4 ,! cresc5do & legato mu/ n be sacrific$4 ,note ! reappe>ance ( ! !me on ! ,e /r+4 ,z broad a b[+ z possible is desir$4 ,! sixte5? notes fall ab\t 9 ! middle ?ird ( ! b[1 ! ?irty-second notes ly+ ne>] ! po9t ( ! b[4 ,! f\r? l9e beg9s a new =m ( ! orig9al !me4 ,! up-/roke is r a broad /accato1 n a spiccato b[+4 ,! b[ is n rais$ f ! /r+1 b sw+s along ! /r+ lightly4 ,notes m>k$ ) a dot h v>iable mean+s1 accord+ to ! tempo ( a "w4 ,9 ?is case ! %ort /accato w\ld be too trivial4 ,! foll[+ measure %\ld be play$ 9 ! upp] "p ( ! b[ v firmly1 gradually dim9i%+ 9 ! next l9e to a pianissimo ne> ! po9t ( ! b[3 ,music ,no4 #bf4 ,to be play$ ) ! upp] ?ird ( ! b[3 ,music ,y w obs]ve t ,fiorillo makes decid$ contra/s 9 8 tudes4 ,! tw5ty-six? naturally assumes a m lively "*4 ,x op5s ) a crisp1 bright /accato 9 ! upp] ?ird ( ! b[4 ,! la/ two measures ( ! fir/ l9e are naturally play$ some:at ne> ! po9t ( ! b[4 ,p]fect fre$om ( wri/ & =e>m is desir$4 ,! =m ( ! second l9e is l t ( ! fir/ l9e1 & ! same b[+ is us$4 ,n[ we contra/ ! /accato & legato passages4 ,if ! octaves seem difficult1 lead ! /ud5t to practice ! octave /udies ( ,halir & ,s*radieck4 ,! legato triplets 9 octaves are ne> ! po9t ( ! b[4 ,note at ?is po9t t ! qu>t] notes ext5d ?r\gh\t ! upp] legato gr\ps4 ,x 0 a /range idea ( ! ,pet]s edition to introduce ! gr\ps ) an up-b[4 ,9 our pres5t-day /udy we seek to make tudes 8fit into0 mod]n solos4 ,?is /yle ( b[+ is almo/ obsolete4 ,! b[+ is n[ rev]s$1 ! fir/ note be+ %ort1 ! next two slurr$2 b we soon return to ! orig9al me?od4 ,if ! gr\p op5s ) a high note foll[$ by a l[ note1 !n a high note aga91 ! b[+ is z foll[s3 ,music ,if ! notes asc5d ! scale1 !y are mo/ frequ5tly b[$ ?us3 ,music ,! arpeggios t foll[ are legitimate1 be+ easily play$ 9 ! upp] "p ( ! b[4 ,! tempo gov]ns ! l5g? ( ! b[4 ,pupils le>n to feel = b[+2 9 fact1 to make few errors 9 passages ( a simil> nature1 because !y h be5 tra9$ to play correctly1 if ! ,mass>t b[+s#ah are us$ ) ! /udy ( ,kreutz]4 ,play ?is measure 9 ! middle ( ! b[1 rais+ ! b[ slightly = ea* gr\p2 acc5t ! second note ( ea* gr\p3 ,music ,,footnote3 #ah ,see footnote1 p4 #be4 ,no4 #bg4 ,music ,?is tude %\ld n be play$ too rapidly1 a light /roke 9 ! upp] ?ird or upp] half ( ! b[ be+ some:at easily secur$4 ,! fir/ note ( ! gr\ps ( ?ree notes mu/ be play$ )\t pressure ^u ! b[4 ,x is a light /accato4 ,! b[ lies well ov] two /r+s4 ,take ! second position at once4 ,d n try to make ! b[-/rokes uni=m 9 l5g?4 ,fre$om is at fir/ secur$ at or ne> ! po9t ( ! b[1 ! wri/ be+ v supple4 ,d n release ! f\r? f+] entirely f ! b[-/ick4 ,v>i$ b[+s are n desirable1 z ! wide range ( viol9 lit]ature dem&s a k ( ! specific cont5t ( tudes4 ,! b[+s requir$ 9 ! ,fiorillo tudes ought to be famili> to /ud5ts long be=e !y rea* ?is po9t 9 _! /udy4 ,be=e ! *ange into a new key1 play a cresc5do ( two measures4 ,d n re/ at ! base ( ! fir/ f+] unless necess>y4 ,avoid ! vibrato4 ,relax ! ?umb4 ,hold firmly ) ! *94 ,rapid *anges to new positions require a simultane\s movem5t ( ! fir/ & f\r? f+]s4 ,relax ! wri/4 ,! ?umb is usually 9 advance ( ! fir/ f+] & rema9s ?us4 ,play ! la/ l9e at ! po9t ( ! b[ v lightly4 ,if x is necess>y to move ! ?umb f "u ! neck ( ! viol91 d s2 9 extreme cases x may re/ aga9/ ! body ( ! viol91 b ?is is n usually necess>y4 ,9 high positions1 ! h& is rais$ & ! f+]s fall v]tically4 ,raise ! arm high 9 ! upp] positions2 ar* ! f+]s well ov] ! f\r /r+s1 ) a slight turn+ inw>d1 if ?ree or f\r /r+s are requir$4 ,be c>eful ( false intonation 9 ! la/ two l9es4 ,press lightly ^u ! b[-/ick :5 play+ 9 ! v high positions3 ,music ,no4 #bh4 ,music3 ,) ! middle4 ,!re are no new pr9ciples ( b[+ to be pres5t$ 9 ?is tude4 ,a runn+ light legato at or ne> ! po9t ( ! b[ is desirable4 ,keep ! b[ well ov] two /r+s4 ,if by ?is "t ! legato is n free1 analyze ea* measure & introduce *ords4 ,also practice 9 ! middle ( ! b[4 ,?is practice gives ! b[ poise ^u ! /r+s1 & enables ! /ud5t to und]/& ! fundam5tal basis ( /r+-transf]s4 ,ano!r excell5t plan is to play ea* gr\p sev]al times 9 twos1 f\rs1 & eights4 ,o!r excell5t me?ods are to play ! entire measure 9 "o b[1 or two measures 9 "o b[4 ,occasionally play a little bel[ ! middle ( ! b[1 rais+ ! b[ slightly = ea* /roke4 ,?is is a free /roke ) ! pr9ciple ( ! fly+ /accato4 ,an excell5t b[+ is ?is3 ,music ,^! b[+s1 h[ev]1 c only be us$ 9 portions ( ?is ex]cise4 ,at any po9t 9 ! /udy ( ,fiorillo1 if ! /ud5t has n develop$ fre$om ( b[+1 return to ! ,sitt d\ble-/ops4 ,also use ! ?ird1 f\r?1 & fif? ,sevcik books 7#d1jjj ,b[+s71 ! ,s*radieck ,arpeggios#ai ) v>i$ b[+s1 & my ,?ree ,octave ,scales4#bj ,i v frequ5tly use ! ,t>t9i ,art ( ,b[+#ba 9 connection ) ,fiorillo1 z a fur!r illu/ration ( b[+4 ,a review ( ! ,kreutz] 7fir/ twelve7 tudes#bb is v useful4 ,! /ud5t mu/ und]/& t ! m solid ! te*nic ( ! b[ & left h& is fix$ 9 ,am]ica1 ! m rapid advancem5t w be 9 =eign music c5tres4 ,x is n wise to neglect details or pr9ciples4 ,naturally1 f our conditions ( life1 we _c always obta9 ! same high /&>ds 9 ,am]ica z 9 ,prague1 ,b]l91 & ,p>is4 ,,footnotes3 #ai ,h5ry ,s*radieck1 ,te*nical ,viol9 ,s*ool1 ,"p ,,iii4 ,ex]cises 9 ! ,diff]5t ,modes ( ,b[+4 ,also ,*ord ,/udies4 ,price1 ea*1 #ej c5ts4 ,publi%$ by ,c>l ,fis*]1 ,new ,york4 #bj ,daily ,ex]cises & ,?ree ,octave ,/udies1 by ,edi? ,l4 ,w9n4 ,publi%$ by ,c>l ,fis*]1 ,new ,york4 ,price1 #a4jj4 #ba ,j4 ,t>t9i1 ,! ,art ( ,b[+4 ,fifty ,v>iations on a ,gavotte by ,corelli4 ,price1 #ej c5ts4 ,special ,conc]t ,edition ( ,t5 ( ^! ,v>iations by ,ovide ,mus94 ,price1 #ge c5ts4 ,publi%$ by ,c>l ,fis*]1 ,new ,york4 #bb ,see footnote1 page #c4 ,no4 #bi4 ,music ,we h n[ _h s mu* practice 9 d\ble-/ops t ?is tude (f]s little t is new or int]e/+2 nev]!less1 x is valuable4 ,d n all[ ! accompanim5t to /& out too prom95tly4 ,keep ! !me z an example ( pure legato play+4 ,! b[ mu/ lie well ov] two /r+s1 & no note 9 ! accompanim5t %\ld be held too long4 ,notes mu/ fall simultane\sly1 if s writt54 ,! tempo mu/ be ma9ta9$ ?r\gh\t4 ,! movem5t is e>ne/1 yet n adagio4 ,grave ref]s to ! "* ( ! "w1 n to its tempo4 ,at ?is po9t play ! up-b[ notes ) a runn+ /roke1 n ! %ort /accato3 ,music ,obs]ve ! same mann] ( play+ 9 ! la/ l9e3 ,,! ,,mod]ato4 ,music ,x may be a good plan to play ! /accato & legato notes ) a decid$ contra/ 9 /yle4 ,! ,fr5* s*ool tea*]s play ! /accato notes %ort & crisp ne> ! po9t ( ! b[4 ,! ,g]man s*ool pref] a less deta*$ /roke1 us+ ab\t "o-?ird ( ! b[4 ,y w obs]ve t ! %ort b[+s are m frequ5tly requir$ ?r\gh\t ! /udy ( ,fiorillo ?an a broad /yle ( play+4 ,! wri/ mu/ be v free4 ,! b[-/roke is n a lat]al "o4 ,d n make a wide diff]5ce 9 l5g? ( b[-/roke4 ,s+ ! !me4 ,place ! f+]s on ! /r+s at once4 ,read 9 advance ( ! measure :i* y are play+4 ,anticipate /r+ *anges ) ! wri/ 9 %ort transf]s4 ,d n slide into positions4 ,9 ! six? & n9? l9es ?9k ! position *anges at once4 ,if we c s+ a !me be=e tak+ a position1 true intonation is assur$4 ,_m /ud5ts :o are beg9n+ ! /udy ( ! second position1 us+ ! ,wohlfahrt & ,sitt /udies1 ask if ! second & f\r? positions are useful4 ,"o mu/ turn to ! tudes ( ,kreutz]1 ,fiorillo1 ,rode1 & ,gav9ies1 %[+ _m examples4 ,z a means ( e> tra9+ ,i consid] ! second position v valuable4 ,! /ud5t :o has difficulty ) ! f\r? is likely to h ! same ) ! fif? & six? positions4 ,"o _c /ress too mu* ! value ( ! c>eful /udy ( positions4 ,beg9n+ at ! second page ( ?is tude1 x is well to play a some:at %ort] /accato /roke4 ,! /r+-transf]s are made by ?r[+ ! wri/ ov] ! /r+1 9 cases 9 :i* "o goes f ,g to ,a or ,d to ,e4 ,i sometimes review p>ts ( ! tude ) spiccato b[+ at ! middle ( ! b[1 s+le /rokes4 ,y w obs]ve ! t]m sempre /accato 9 "s editions4 ,play a little broad] /roke ?an ?is t]m w\ld indicate4 ,! la/ ?ree l9es1 n includ+ ! la/ l9e1 are v difficult4 ,play lightly1 us+ little b[4 ,move ! left ?umb f> r\nd4 ,keep ! middle jo9t flat4 ,b5d ! f+] t[>d ! ,g /r+ to comm& ! positions2 also keep ! f+]s d[n :5 n 9 use4 ,d n use ! vibrato 9 any case except "o 9 :i* a broad free b[+ is desir$1 z 9 an adagio movem5t4 ,be v c>eful ( intonation4 ,music ,no4 #cj4 ,music ,z a prep>ation = ?is tude1 use ! ,s*radieck & ,sevcik works4 ,i f9d ,s*radieck's ,te*nical ,ex]cises & ,scales & ,arpeggios valuable1 ?\gh ,i pref] ! me?od ( play+ scales z advocat$ by ,halir1 because ,s*radieck repeats ! fundam5tal note1 !reby mak+ a p]fect legato well-nigh impossible4 ,! ord] ( ,s*radieck's scales ,i d n deprecate4 ,! /roke "h us$ is a %ort /accato 9 ! upp] ?ird or a m>tel 9 ! middle ( ! b[4 ,i h already expla9$ h[ to cross "o /r+ )\t play+ ^u x4 ,?r[ ! b[ by a %ort quick /roke ( ! =e>m well ov] ! /r+1 keep+ ! arm high1 out f ! body4 ,make a curve1 n an angle4 ,if ! v high positions & rapid *anges seem too difficult1 play ! int]vals on ! piano a few times4 ,?9k ! tone4 ,d n /rive = spe$4 ,! b[+ & intonation are ( fir/ importance4 ,play ! slurr$ notes 9 ! six?1 sev5?1 eigh?1 & n9? l9es legato1 until fre$om is secur$4 ,altoge!r ?is is a mo/ difficult tude1 & x %\ld be practic$ ev5 :5 o!r tudes are "u our consid]ation4 ,! entire tude is n play$ ) a v %ort /accato /roke4 ,! f+]s mu/ seek _! positions at once4 ,avoid an awkw>d arm /roke4 ,no4 #ca4 ,music ,z we h play$ sev]al tudes ( ?is type1 ,i use v>i$ b[+s4 7#a7 ,! l[] ?ird1 second gr\p fly+ /accato4 7#b7 ,middle spiccato4 7#b;a7 ,upp] ?ird1 legato4 7#c7 ,s+le measures on "o b[4 7#d7 ,9 gr\ps ( f\r notes4 7#e7 ,runn+ legato at po9t4 ,music ,f a te*nical /&po9t ?is tude is n z difficult z "s t prec$e x4 ,at ! fif? l9e x w\ld be wise to play a r %ort /roke ne> ! po9t ( ! b[4 ,%[ ! pupil examples ( simil> b[+s 9 ! #h? ,rode 8,conc]to10 ! #bb;d & #bc;d ,viotti1 ! ,ba* 8,a ,m9or10 etc4 ,z an example ( ! pure spiccato1 ref] to ! 8,p]petual ,motions0 ( ,ries & ,bohm4 ,z a type ( runn+ legato use ,s*ub]t's 8,! ,bee40 ,z an example ( octave & t5? /udy1 po9t out passages 9 ! 8,polonaise0 ( ,vieuxtemps4 ,%ort deta*$ /rokes1 two notes on "o b[1 bel[ ! middle ( ! b[1 are v useful4 ,broad1 vigor\s /rokes ) ! upp] ?ird ( ! b[ are excell5t t[>d ! close3 ,music ,?r\gh\t all tude "w ,i /ress ! great fundam5tal pr9ciples ( b[+4 ,i _c see t ! play+ ( a great _m tudes c\nts = mu* if we neglect pr9ciples4 ,:5 we g abroad1 all our "w ends until we correct bad habits & ma/] pr9ciples :i* ought long ago to h be5 ma/]$4 ,x is all v well to say t ,mr4 ,x----1 a great arti/1 does n adh]e to ! p>ticul> cre$ ( 8 s*ool4 ,p]haps he _c be b\nd by a me?od4 ,! rank & file ( u mu/ cl+ to some?+4 ,ela/ic rules _c be made = amateurs4 ,!re mu/ be def9ite rules ( action4 ,to cl9* a po9t1 ,i may select _m illu/rations4 ,x is bett] to settle x1 once = all1 ?an to pass on & return to x ) a bra9 daz$ by _m pr9ciples & multiple illu/rations totally unrelat$4 ,tea* ?or\ghly :at y tea*4 ,no4 #cb4 ,music ,?is tude mu/ be play$ ) a s++ tone1 ! accompanim5t be+ cle>1 smoo?1 & elegant1 z 9 tude numb] two4 ,! l[] notes mu/ /rictly be 9 "t & ( prop] duration4 ,?is type ( accompanim5t1 f\nd 9 ! ,ba* unaccompani$ 8,sonatas10 ! solos ( ,pagan9i1 ! 8,tw5ty-second ,conc]to0 ( ,viotti1 & o!r works1 is "o ( ! mo/ int]e/+ =ms 9 solo viol9 play+4 ,:ile x is free1 graceful1 ref9$1 & elegant 9 ! sonata & conc]to1 rhy?mic ab&on is h>dly all[able 9 an tude4 ,! melody mu/ always be support$ by absolute precision 9 ! accompanim5t4 ,:ile ?is tude is an excell5t example ( pure cantabile play+1 its graceful accompanim5t relieves x f ! some:at rigid /yle ( ! m]e tude4 ,9 t respect x is sup]ior to numb] ?irty-?ree f a musical /&po9t4 ,9 ! ?ird l9e y w obs]ve a /accato run4 ,make ?is a runn+ /accato1 n %ort & crisp4 ,d n ha/5 ! tempo2 r hold back 9 ord] to obta9 a dignifi$ cantabile4 ,9 ! fif? l9e s+ ! !me1 & dip ! b[ slightly = ! runn+ accompanim5t1 :i* mu/ occur exactly 9 "t4 ,d n acc5t ! accompanim5t notes too mu*4 ,give !m only _! value4 ,keep ! b[ z close ^u two /r+s z possible3 ,music ,no4 #cc4 ,music ,/ud5ts ask1 8,is ?is a %ort /accato8 ,:]e d ,i play su* a passage80 ,! value & tempo ( a "w gov]n b[+4 ,avoid mean+less b[+4 ,play broadly :5 possible4 ,"o mu/ /udy ! classics & discrim9ate betwe5 ! /yle ( diff]5t s*ools & p]iods if "o is to judge ( me?ods ( b[+4 ,9 ?is case1 play ) a free1 some:at broad tone1 9 ! upp] "p ( ! b[4 ,produce a resonant1 s++ tone4 ,d n decrease ! tone 9 an asc5d+ passage4 ,x is a good plan to play ! arpeggios sep>ately1 t is1 repeat+ ea* l9e ov] & ov]1 until !y are ma/]$4 ,if ! /ud5t has difficulty ) !m1 review ! twelf? ,kreutz] tude4 ,! second & f\r? positions require mu* m c>eful practice4 ,use a free =e>m /roke :5 x is possible4 ,passages ( ?is nature may be play$ ne> ! po9t ( ! b[3 ,music ,note ! octaves 9 ! elev5? l9e4 ,!y %\ld be play$ 9 ! middle ( ! b[1 slightly deta*$1 ! b[ be+ rais$ by a flexible wri/ /roke1 ! fir/ note ( ! gr\p be+ acc5t$4 ,c]ta9 tea*]s pref] a p]fect legato at ! po9t ( ! b[4 ,! /roke at ! middle is fre]4 ,d n press ^u ! b[-/ick1 z ! b[+ mu/ be light1 especially 9 ! *romatic passage3 ,music ,! s+le deta*$ notes ( ! la/ l9e are m easily play$ ) spiccato b[+ at ! middle ( ! b[4 ,!y may also be practic$ ) a %ort1 crisp1 light /accato at ! po9t3 ,music ,no4 #cd4 ,music ,!re are ?ree me?ods ( play+ ! fir/ "p ( ?is tude4 ,"o is a broad deta*$ /roke1 middle to po9t4 ,! second is a %ort /accato /roke ne> ! po9t ( ! b[4 ,! ?ird is ! spiccato at ! middle4 ,z ! position *anges are difficult1 use ! mo/ easily acquir$ b[+ at fir/4 ,t w\ld be a =e>m /roke4 ,practice ! six? position passage sep>ately until ma/]$4 ,ea* position *ange %\ld be ma/]$ be=e go+ to ! next4 ,x might be well to select c]ta9 arpeggio /udies ( ,s*radieck & ,kreutz] 9 connection ) ?is tude1 = ! sake ( a ma/]y ( pr9ciples4 ,v>i$ b[+s %\ld foll[ a ma/]y ( ! cont5t ( su* tudes4 ,note 9 ! eigh? l9e ! gr\ps ( two slurr$ notes4 ,^! may be play$ lightly at ! po9t1 also at ! middle ( ! b[1 ) a free wri/ /roke comb9$ ) a slight movem5t f ! %\ld]1 a =m ( b[+ (t5 us$ 9 or*e/ral works1 a fre] /yle ?an t at ! po9t ( ! b[4 ,:5 ! tude is ma/]$ te*nically1 ,i (t5 tea* x ) ! spiccato b[+ at ! po9t ( ! b[1 foll[$ by ! b[+ indicat$ 9 legato passages4 ,:5 cross+ ! /r+s hold ! arm high1 ! wri/ lead+ 9 /r+-transf]s4 ,! practice ( ! ,f major scale 9 ! six? position ) v>i$ b[+s is recomm5d$4 ,to keep up a cont9u\s spiccato is n desirable1 h5ce ! deta*$ b[+ 9 ! upp] ?ird ( ! b[ is n practical4 ,?is tude is "o ( ! mo/ difficult & exact+ ( ! entire book1 h5ce ! necessity ( frequ5t reviews4 ,if possible1 analyze ! cont5t ( ! "w1 call+ att5tion to ! /ructure ( ea* passage & ! basis ( arpeggios4 ,no4 #ce4 ,music ,!re are s _m d\ble-/op tudes ( m practical value ?an ?is "o t x is wise to review ! excell5t d\ble-/op tudes ( ,kreutz]1 ,sitt#bc & ,dont1#bd al?\gh ! la/ nam$ are ! lea/ practical4 ,h[ev]1 if "o is to tea* ,fiorillo1 "o mu/ use ?is tude4 ,a few rules may be useful3 #a4 ,read 9 advance ( ! measure play$4 #b4 ,/rive = a pure s++ tone4 #c4 ,keep ! !me prom95t1 ! accompanim5t legato4 #d4 ,use a broad free /yle ( b[+4 #e4 ,! f+]s mu/ fall simultane\sly 9 d\ble-/ops4 #f4 ,analyze ! "w phrase by phrase4 #g4 ,memorize difficult passages4 #h4 ,d n draw ! /r+s f side to side4 ,! f+]s mu/ fall into position & rema9 fix$4 #i4 ,if ! pit* is n at once secur$1 d n slide ! f+]s up & d[n z if 9 se>* = ! exact tone4 ,practice ! passage until ! f+]s fall into correct places at once4 ,,mod]ato ,,assai4 ,music ,no?+ new pres5ts itself at ?is po9t 9 b[+4 ,a free deta*$ =e>m /roke in/ead ( ! %ort /accato is desirable until ! te*nical side ( ! tude is ma/]$4 ,i g5]ally take ! fir/ ?ree measures1 contra/+ !m1 !n memoriz+ !m4 ,i also ref] to c]ta9 well-kn[n progressions 9 ! ,s*radieck arpeggios4 ,v few /ud5ts aft] a week's practice c play ?is tude )\t mi/akes 9 ! progressions4 ,x is1 !re=e1 desirable to /udy x l9e by l9e4 ,! second l9e foll[s ! same progressions z ! fir/1 ?\gh we beg9 a :ole tone high]4 ,sometimes ,i oblige my /ud5ts to write d[n ea* l9e f memory1 9 ord] to ma/] ! progressions m5tally4 ,aga91 ,i li/5 to relat$ measures repeat$ sev]al times4 ,! "q may arise1 8,%\ld ! tea*] fir/ play ! tude to ! pupil80 ,! tea*] %\ld expla9 ! b[+ ( ea* tude assign$ = ! next lesson1 b %\ld n1 z a rule1 play x4 ,! /ud5t %\ld analyze x & get all he c out ( x be=e br++ x to ! tea*]4 ,?is develops ! p[] ( reason+ & conc5tration4 ,he ?us le>ns to /& alone4 ,s _m /ud5ts play m]ely by imitation1 t x is a "q 9 mod]n viol9 /udy :e!r x is wise = ! tea*] to illu/rate too mu*4 ,tea* ! pupil to d$uce conclusions himself4 ,he> 8 v]sion1 !n %[ him ! way4 ,d n play tudes too mu* ) him4 ,play ! passage alt]nately ) him4 ,d n play a conc]to to a /ud5t be=e he has practic$ x4 ,8 conception means m to him ?an y\rs4 ,x is equally true ( ! o!r f9e arts4 ,no great pa9t] 0 ev] made ^: pictures 7 sket*$ = him4 ,! creative & analytical in/9ct mu/ prec$e pure imitation4 ,i recall ! /udy ( ! ,ba* solo 8,sonatas40 ,9 ,b]l9 we /udi$ !m v rigidly1 b :5 away f t atmosph]e we play$ !m ) fre$om4 ,^! sugge/ions d n excuse ! tea*] f frequ5tly illu/rat+4 ,a tea*] :o sits & li/5s to viol9 /ud5ts all day because he is too indiff]5t to play1 _c guide well4 ,aga91 ! tea*] %\ld be able to give a p]fect example ( a /yle ( b[+ or phras+4 ,tea*]s :o play no m are n wise educators4 ,z f> z intonation is conc]n$1 ?is tude is "o ( ! mo/ difficult ( all1 yet x is v useful f ! /&po9t ( modulation4 ,! la/ ?ree l9es require a free wri/ /roke 7legato7 at ! po9t ( ! b[4 ,z m ?an two /r+s are includ$1 ! /roke is an arm & wri/ "o4 ,! elb[ mu/ move out 9 ! same plane z ! =e>m & wri/4 ,absolute fre$om ( all p>ts ( ! arm is necess>y4 ,,footnotes3 #bc ,hans ,sitt1 ,te*nical ,/udies1 ,op4 #ib1 ,"p ,i1 ,book #c4 ,price1 #a4jj4 ,publi%$ by ,c>l ,fis*]1 ,new ,york4 #bd ,j4 ,dont1 ,tw5ty-f\r ,ex]cises1 ,op4 #cg4 ,price1 #ej c5ts4 ,publi%$ by ,c>l ,fis*]1 ,new ,york4 ,no4 #cf4 ,music ,music ,,diff]5t ,,arpeggios ,,= ,,play+ ,,! ,,prec$+ ,,*ords4 ,music ,music ,music ,be=e beg9n+ ?is tude1 review ! *ord /udies ( ,sitt#be & ,kreutz]1 us+ ) ! fir/ ,sitt /udy ! foll[+ b[+s3 #a4 ,:ole b[4 #b4 ,l[] half4 #c4 ,two notes to a b[1 middle1 po9t & heel4 #d4 ,f\r notes to a b[4 ,i pref] ?is /udy to ! ,sevcik #d1jjj ,b[+s1 ,section ,v4 ,i w\ld1 h[ev]1 use ! ,sevcik /udies = secur+ a flexible wri/ /roke4 ,also use ,s*radieck's ,te*nical ,viol9 ,s*ool1 ,books ,,ii & ,,iii4#bf ,i make "s *anges 9 ! *ords ( ?is tude1 z foll[s3 ,music3 #a7 #g? measure4 #b7 #af? & #ag? measures4 ,use also ! foll[+ b[+3 ,s+le deta*$ *ords d[n b[1 l[] half4 ,music ,! wri/ mu/ be v flexible4 ,! :ole arm is us$4 ,play ! ?ree notes simultane\sly4 ,play also ?us1 :ole b[3 ,music ,we n[ come to ! pure legato at ! po9t1 middle1 & heel ( ! b[4 ,two notes ti$1 f\r & eight4 ,v>y ?is by play+ ! fir/ two notes legato1 ! second two /accato at ! po9t ( ! b[2 ! fir/ two legato1 l[] half1 ! second two fly+ /accato4 ,we w n[ turn to two /yles ( legato b[+3 eight notes to a b[2 two ti$ notes foll[$ by six ti$4 ,use ! :ole b[1 also upp] & l[] half4 ,! next b[+ is two ti$ foll[$ by ! %ort /accato at ! po9t ( ! b[4 ,!n use two ti$1 two cut1 at ! middle or po9t ( ! b[4 ,apply ! pr9ciples ( ,sevcik1 #d1jjj ,b[+s1 ,sections ,,iii1 ,,iv1 & ,v4 ,i w\ld introduce a /yle ( b[+ v mu* us$ 9 solo & or*e/ral "w3 a runn+ legato at ! po9t 9 triplets4 ,same at ! middle ( ! b[4 ,same at ! heel4 ,?ree ti$ legato1 foll[$ by ?ree fly+ /accato1 l[] half ( b[4 ,?ree d[n-/roke middle1 spiccato1 ?ree up-/roke4 ,^! are all ! practical b[+s ,i use1 b notes play$ 9 "o b[1 at ! po9t1 are useful4 ,,footnotes3 #be ,hans ,sitt1 ,te*nical ,/udies1 ,op4 #ib4 ,"p ,i1 ,book #c1 ,d\ble ,/opp+4 ,publi%$ by ,c>l ,fis*]1 ,new ,york4 ,price1 #a4jj4 #bf ,te*nical ,viol9 ,s*ool1 by ,h5ry ,s*radieck4 ,"p ,,ii1 ,ex]cises 9 ,d\ble ,/opp+4 ,price1 #dj c5ts4 ,"p ,,iii1 ,ex]cises 9 ! ,diff]5t ,modes ( ,b[+4 ,price1 #ej c5ts4 ,publi%$ by ,c>l ,fis*]1 ,new ,york4