Chapter II: Part 2

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

[Music]

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

[Music]

[Music]

No. 17.

[Music]

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

[Music]

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

[Music]

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

[Music]

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

No. 18.

[Music]

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

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

No. 19.

[Music: Allegretto. With the middle.]

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

[Music]

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

No. 20.

[Music]

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

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

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

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

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

[Music]

[Music]

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

FOOTNOTES:

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

[15] See footnote, page 29.

[16] See footnote, page 29.

No. 21.

[Music]

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

[Music]

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

No. 22.

[Music]

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

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

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

No. 23.

[Music]

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

[Music]

We return to the former bowing in the next line.

[Music]

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

FOOTNOTE:

[17] See footnote, page 29.

No. 24.

[Music]

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

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

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

[Music]

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

No. 25.

[Music]

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

[Music]

No. 26.

To be played with the upper third of the bow:

[Music]

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

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

[Music]

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

[Music]

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

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

[Music]

FOOTNOTE:

[18] See footnote, p. 25.

No. 27.

[Music]

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

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

[Music]

No. 28.

[Music: With the middle.]

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

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

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

[Music]

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

FOOTNOTES:

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

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

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

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

[22] See footnote, page 3.

No. 29.

[Music]

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

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

[Music]

Observe the same manner of playing in the last line:

THE MODERATO.

[Music]

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

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

[Music]

No. 30.

[Music]

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

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

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

No. 31.

[Music]

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

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

[Music]

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

[Music]

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

No. 32.

[Music]

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

[Music]

No. 33.

[Music]

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

[Music]

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

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

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No. 34.

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

No. 35.

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

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

MODERATO ASSAI.

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

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

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

FOOTNOTES:

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

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

No. 36.

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DIFFERENT ARPEGGIOS FOR PLAYING THE PRECEDING CHORDS.

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

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

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

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

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

Use also the following bowing:

Single detached chords down bow, lower half.

[Music]

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

[Music]

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

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

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

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

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

FOOTNOTES:

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

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