Winn How To Prepare For Kretuzer

H O W T O
P R E P A R E F O R K R E U T Z E R
A BOOK FOR TEACHERS IN PRIVATE SCHOOLS

AND ACADEMIES, AS WELL AS THE PRO
FESSION IN GENERAL, GIVING A THOROUGH
ANALYSIS OF SUITABLE MATERIAL FOR THE
FIRST FOUR GRADES, INCLUDING AN EXPLANA
TION OF THE MOST IMPORTANT PRINCIPLES
OF BOWING, TECHNIC AND TONE PRODUCTION
BY
EDITH LYNWOOD WINN.
NEW YORK
CARL FISCHER
1910
8CHOTT A
PUBLISHERS TO H.M. THE KINfi
LONDON, W
Copyright, 1910,
BY
C A R L F IS C H E R
International Copyright Secured

CONTENTS.
PAGE
I.
Introduction................................................................ i
II.
Scales........................................................................... 12
III.
The Training of the Left Hand................................. 21
IV.
The Study of Tone and Bowing................................ 24
V.The Study of Sevcik................................................. 37
VI. Fifty Easy Melodic Studies by F. Wohlfahrt, Op. 74,
Book 1 ....................................................................... 45
VII. Fifty Easy Melodic Studies by F. Wohlfahrt, Op. 74,
Book I I ..................................................................... 49
VIII. Duet-Playing.............................................................. 54
IX. Sixty Etudes by J. Wohlfahrt, Op. 45, Book 1 ....... 56
X. Sixty Etudes by J. Wohlfahrt, Op. 45, Book I I ..... 58
XI. Studies in all the Positions by J. Weiss, Op. 80,Book I. 64
XII. Studies in all Positions by J. Weiss, Op. 80, Book I I .. . 66
XIII. Studies in all Positions by J. Weiss, Op. 80, Book III.. . 70
XIV. Technical Studies by H. Sitt, Op. 92, Part I, Book I . . . 72
XV. Technical Studies by H. Sitt, Op. 92, Part I, Book I I . . 74
XVI. Technical Studies by H. Sitt, Op. 92, Part I, Book I I I . 78
XVII. Technical Studies by H. Sitt, Op. 92, Part II, Book IV. 82
XVIIa. Technical Studies by H. Sitt, Op. 92, Part II, Books
V -V I....................................................................... 85
XVIIb. Technical Studies by H. Sitt, Op. 92, Part II, Books
V-VI (Continued)................................................. 89
XVIIc. Technical Studies by H. Sitt, Op. 92, Part II, Book VI
(Continued)............................................................. 93
XVIII. The Etudes of E. J. Dont, Op. 37 and 38a.............. 99
XIX. The School of Violin Technics by Henry Schradieck. . . i n
XX. Twenty-five Studies for the Violin by F. Hull week. . . . 122
XXI. Scale Studies by J. Hrimaly...................................... 124
XXII. Ten Etudes by D. Alard, Op. 16.............................. 127
XXIII. The Etudes Brillantes by F. Mazas, Op. 36, Book I I . . 135
iii
iv CONTENTS
PAGE
XXIV.Etudes d’Artistes by F. Mazas, Op. 36, Book I I I ........ 145

XXV. Scale and Arpeggio Studies by Emory L. Bauer............ 161
XXVI. The Technic of the Bow by A. Casorti, Op. 50.............. 163
XXVII.The Double-Stop Studies of Hans Sitt, Op.32, Book V. 168
XXVIII. The Art of Bowing by Emil Kross, Op. 40.................. 176
XXIX. The Technical Studies of Carl Halir.............................. 190
XXX. Goby Eberhardt and his System for Practicing the
Violin.............................................................................. 201
XXXI. Supplementary Remarks................................................ 207
H ow to P repare fo r K r e u tz e r .
i.
INTRODUCTION.
IfourTandyears
is a question in the minds of modern violinists
teachers whether one should spend three or
in preparation for Kreutzer, or, in view of
the enormous amount of material which one must study
before one has a command of the classics, whether it is
wiser to abridge preparatory work and start as early as
possible with the Etudes of Kreutzer, Fiorillo, Rode,
Gavinies, and others. I find that it is best, in the case
of students who are not going to be professionals, to
spend a long time in the study of the works of Dont,
Mazas, Sitt, Schradieck, and Sevcik, so that the founda
tion for Kreutzer may be well laid, and the necessity for
varied work of the amateur kind thoroughly and practi
cally met. I have many students who play the violin
merely as an accomplishment, and whose study will
probably cease after Kreutzer. Among such students I
may mention those who are attending secondary schools
from which they graduate at about eighteen years of age,
after which their violin study practically ceases. In
some cases I am able to make Kreutzer so interesting and
helpful that the student really desires to continue the
work seriously during college life, or to specialize as a
member of my city class. But these cases are rare, for
secondary school education, while it fits one for a certain
sphere of life, is, at best, superficial, except in its specific
value to the student who is preparing for college. Many
students who are in the High School find that two hours
i
2 HOW TO PREPARE FOR KREUTZER.
a day are all they can spare for the practice of the violin,
so it has become a serious matter with me to select only
those studies which will give to the student the funda
mentals of violin playing, a fair technic of both the bow
arm and the left hand, and a knowledge of a few useful
and well-known works, which may be used as solos when
the necessity arises. The violin is a difficult instrument,
and comparatively few students become professionals.
Hence, the wisest plan with our students must be one
which cultivates taste, creates desire for knowledge,
without being too specific, and fits into life. This implies
only such attention to technic, tone, and bowing as
belongs to good amateur work. You have often heard
the remark made, “ Mr. So-and-So is a business man,
but a very good amateur musician. ” He is fortunate, in
deed, who, instead of being a bad professional, ranks with
good amateurs.
We must make study interesting and hamper the stu
dent with as few details as possible up to the fourth
year of study. By that time character and taste are
formed sufficiently so that on entering Kreutzer there
may be no mistake as to the value of detailed professional
work, in cases of specific talent or desire for a professional
career. I would not advise any student of the violin to
choose my instrument as a profession unless time, money,
good health, and the most favorable conditions of life
are possessed by the individual. The road to virtuosity
is long and hard. Even under the best conditions of
study, very few of us gain distinction. I would modify
a plan of study to suit individual cases. Hands, fingers,
brains, are different in different individuals. A hand
which is naturally clever can do in one hour’s practice
each day what another hand requires four hours to do.
So it is with bowing; some students will always be stiff;
others have elasticity and freedom from the first. No
two brains have the same receptivity; no two individuals
have the same tonal ear. “ Many are called but few
chosen,” when it comes to violin playing, but if we all
had only the gifted to deal with, we should certainly have
IN T R O D U C T IO N . 3
very small classes of pupils. We ought to give the best
we have to those who come to us, irrespective of class,
gifts, age, or environment. I enjoy especially teaching
children the fundamentals, for they accept one’s creed
without a word, and their struggles to overcome difficul
ties might be a valuable lesson to many an older person.
The average child who begins study at eight years of age
ought, certainly, to be playing Kreutzer at twelve, if
well taught, and if practice is regular. Professor Jacob
sen, a late member of the teaching force in the Royal
High School, in Berlin, was a splendid teacher of detail.
When asked the proper time to begin Kreutzer he said,
“ I think the second year.” This is practically impos
sible in America, but the good Professor probably erred
in judgment, for it is doubtful if he ever had any student
cf the grade preceding Kreutzer. In some colleges in
which I have taught, girls of fifteen or sixteen years, who
have had some piano training, were able to begin
Kreutzer in their third year of violin study, but their
general musical preparation was excellent. There is a
great deal of violin literature which is mere repetition.
If a thing is well done, supplement it with something
more of the same kind. Truth is truth and does not
need reinforcement.
Josef Hofmann,1in his excellent book on piano playing,
offers many suggestions for students, which can be
applied to violin study as well. He does not place
technic before everything else in study, necessary as it
is to have this medium of expression. He believes that
free and individual expression, however, comes after the
great fundamental principles of playing become, in a
sense, automatic. He says there are many pianists who,
despite the greatest technic, are not artists, and while
technic is an indispensable necessity, it must not be
exalted to such a point that one becomes a dry and life
less player. “The first requisite,” says he, “ for one
who wishes to become a musicianly and artistic pianist,
1 Hofmann, Josef: Piano 'Playing. A little book of simple sug
gestions.
is a precise knowledge of the possibilities and limitations

of the piano as an instrument.” The great superiority
of the literature of the piano over that of any other
single instrument makes it a matter of prime importance
and necessity that violin students have some previous
piano training. I find that all my students who have
studied piano, play with much greater steadiness and
freedom on that account. They also memorize better
\and master the content of violin works more easily, and
their phrasing is broader and more beautiful. The
intimate personal element of touch they transfer from
the piano keyboard to the violin bow. While the rules of
finger technic are in no degree similar in the two intru-
ments, generally speaking the violinist who plays the
piano has greater freedom in the left hand, but invariably
raises the fingers too high for an attack. The piano has
only one color; the violin has color and shades. It is
capable of a great variety of tones, and each one of its
four strings has its own specific tone color. Nevertheless,
the violin is the exponent of melody, and the deep and
serious student, outside of the music of Bach, which
offers splendid examples of themes and accompaniments,
finds himself thinking melody instead of harmony con
stantly; hence it is that the violinist is rarely a great
composer for other instruments or for the orchestra.
The violin is, however, the most nearly like the human
voice in its specific tone quality. The most intricate
contrapuntal devices can be rendered completely by
the piano. It is of prime importance that the violinist
learns not only some piano literature each year, but that
he compares the possibilities and limitations of piano
playing with those of the violin. Steadiness, security,
harmony, are only a few of the benefits which come
from a knowledge of piano playing. The greatest masters
chose the piano as their favorite instrument and wrote
much music for it. Violin music is necessarily limited
in scope, therefore the violinist must be broader than the
scope of his instrument. The greater part of the violin
literature which we have to-day has been written hy
IN T R O D U C T IO N . S
piano players. That is the reason, no doubt, why, after

Viotti, Rode, Spohr, and Bach, very few composers have
given us strictly violinistic work. To be sure Wieniawski
and Vieuxtemps wrote music which lies well under the
violin hand, but we cannot say as much for Brahms and
Tschaikowsky. Now many a student of the violin has
been so well-equipped in the preparatory stages of his
work that, in spite of parental opposition or adverse con-,
ditions of life, he has become, at length, a professional
musician. This fact, and this alone, prompts me to say
that we cannot be too careful in preparatory work, teach
ing good music from the first and spending much time
on the great principles which underlie true violin art,
choosing material so wisely that no task seems drudgery,
and no lesson trivial or uninteresting. I never give a
child reasons for things. He does what I tell him to do
without comments. In the cases of older students, I
always explain principles and give reasons for stressing
certain important points, for I never keep one playing
this or that kind of an exercise merely for the sake of
reinforcing a principle which has already been mastered.
There is another point I wish to make. The prepara
tory work for Kreutzer does not include technic alone.
Duos, quartets, and all other forms of good music, give
strength and security to tone and aid in the general cul
ture of the student. I know of nothing in the world so
valuable as ensemble work in its relation to the routine
work, as outlined in the Etudes and other studies which
the violinist has to study. Left entirely to himself, the
violinist yields to the tendency to practice things which
sound well, especially those which are melodious, ignor
ing his own limitations and lack of knowledge of technic.
We often hear that very decided amateurs “play with so
much feeling. ” Our only conclusion is that their feeling
is merely affectation, for they have no idea of tone, bow
ing, nor the aesthetic requirements of a composition of
any difficulty. They are, in reality, sensationalists,
and the hardest kind of pupils to teach. Their place, if
they ever become professionals, even in the smallest
sense, is on the vaudeville stage, in cheap theaters, and

as performers for public dances. The true artist turns
away from them in disgust, because they are usually
crude, opinionated, careless and slovenly workers. They
play a cantilena passage with four or five crescendos in
one bow, and invariably in the middle of a long trill
they swell the tone abnormally. Another evidence of
their so-called “ feeling” is the inordinate use of the
vibrato and the peculiarly affected close to their pieces,
which assumes the form of a rotund tone — a sort of
bulging tone, or crescendo, followed by a diminutive
closing note. In other words, they swell and re-swell
their tones for no reason whatever, except to impress one
with their wonderful powers of “feeling.” This matter
of tone color, so dangerous to the amateur who has
heard little and studied less, is really a serious one. That
is why I would make preparation for Kreutzer so difficult
and so true to the highest principles of violin art that the
mediocre player should drop out of the ranks before he
becomes a mere sensationalist. Exaggeration of tone
color, violations of all the principles of bowing, and a
total neglect of the doctrine of repose in the left hand,
must have but one result — the amateur will remain an
amateur in spite of our strongest efforts, and it is better
to let him go on his way unaided than attempt to lead him
in our own artistic path, although it may mean financial
loss to us. Violin study needs no finishing or decorative
touches in the preparatory stage. If it develops thus,
it is vague, formless, and purposeless, a sign of a hysteri
cal age, incompatible with true art. Six months of
study with an artist who is authoritative in matters of
tone, bowing, and phrasing is worth, at least, two years
of study with one who has become passe in his art, or
who never had the broad culture of a great school of
violin playing. I think we err in striving to give to
our young people strength, temperament, passion, fire,
repose and breadth of feeling in their playing, because
they have heard so little and their playing must be a
mere reflection of our own performance. If we can
create in them an individual expression of their inner
feeling, we have accomplished something. I do not
believe in giving too difficult works to amateurs merely
because they must know the great classics some day, for
even if they master the detail, they cannot master the
proper tempo, and they have no interpretive powers.
A child of eleven may play the Bach “ A minor Concerto ”
and the Tartini “ G minor Sonata,” and pitch, time and
bowing may be quite good for a child, but the charm of
these works lies in their interpretation, and every child
of that age must play like a child. I cannot see the
advantage, although some teachers — even distinguished
ones — encourage it, in forcing the great classics upon a
child and doing away with the preparatory studies which
ought to precede Kreutzer and Fiorillo. By and by the
child desires to study these works with a mature mind,
broadened by hearing much music, and he no longer
enters upon such study with freshness and vigor, because
great works were forced upon him when his technic was
unformed and his musical ideas very vague. I would
rather be on the safe side, as far as amateur work is con
cerned, and direct pupils through etudes and other works
instead of through classic concertos, which never were
intended to be a substitute for technical work. It is for
this reason that I have written this book, believing that
all teachers in schools and colleges should conform
strictly to the course of study which includes preparatory
work and the thorough study of Kreutzer, which is the
foundation of a violinist’s technic. There are a great
many works of the salon type, as well as sonatinas and
easy concertos, which may be used during this period of
preparatory work. I would not use any of the great
concertos of Viotti and Rode until the student is well
on in Kreutzer, but if one of my students finds it neces
sary, after a certain number of years of preparatory work,
to enter the teaching field, I generally take the concertos
mentioned, and the first twelve Kreutzers very seriously,
believing that the mature student can work out the
principles by himself in the case of necessity, and can,
at least, guide students through the preparatory stages

much better if the fundamental bowings are more
thoroughly taught in Kreutzer.
Every great master has written works which are not
entirely typical of his best moods. We must supplement
our preparatory study with good literature, and in every
case, one sonata or one concerto of a period is amply
sufficient as a means of expressing a particular com
poser’s style. I have known teachers who, through
three years of study, taught the works of de Beriot
almost exclusively. This is not wise. De Beriot, Alard,
and Leonard offer splendid examples of melody, bowings,
and style, but I should not adhere entirely to the French
or the Belgian School works. The sonatas of Haydn and
Mozart are well worth study, and I do not think that
one can find a more beautiful example of classic violin
literature of its type than one finds in the Sonatinas
of Schubert. Choose good literature. The worship of
names is a safe worship when it comes to abiding by the
great violin composers; they are, in the main, outside
of Bach and Beethoven, the strongest examples of ex
ecutive violin art to be found in the history of music.
Again I would urge upon all teachers the necessity for
the study of the great classic principles that underlie
true art. Endowed with these possessions, the teacher
may be thorough. We commit many sins, the greatest
of which is teaching too many etudes which embody the
same principles. Our pupils are told to practice so much
every day at a certain hour, spending exactly the same
amount of time each day in scale work, bowing, exer
cises, study of the legato, etudes, and pieces. How can
we regulate this practice, when individuals are endowed
so differently, and how can we know that a pupil prac
tices a certain kind of work enough, or too much, if we
insist upon this routine rule of work ? Even with pupils
who are twelve or thirteen years old, I believe that I
can establish a rational code of honor as to regulation
of practice. The pupil may begin in the morning to
practice an hour or two hours, at, most, according to his
strength. How shall he divide this time? His mind
is not fatigued. He is fresh and vigorous. Let him sing
in tune. Let him not be hampered by the clock, for his
mood may carry him beyond the limits of a mere prac
tice hour. As to the practice of finger technic, such as
is outlined in the Sevcik books, and also in the Schradieck
“ School of Violin Technic,” I can only say that it is
absurd to practice two hours upon such work after the
hands have become supple and the fingers warmed up,
as it were, for the day. Go to a gymnasium and watch
the college boys at their athletics. They never practice
one set of exercises to the point of fatigue. All we need
in the development of the bow arm for the day are a
few of the Sevcik legato studies on three strings. I
generally suggest that my pupils practice my “Three
Octave Scales,”1 for a short time each morning, but I
do not state how long that time shall be. Of course,
we must have some system. One of my pupils seated
recently that she became so interested in the Sevcik
Bowings and in the Second Kreutzer Etude, with the
Massart Bowings, that she practiced over two hours on
this work, to the exclusion of other work which had been
assigned. I generally leave it to individuals to rightly
proportion study, as I do not believe, generally speaking,
except in the cases of children, in practicing a definite
time every day and dividing the work off into periods.
I have had to submit to this plan, however, in the col
leges where I have taught, where practice room was
greatly in demand and where system was necessary, but
I do not like to make any student keep a record of prac
tice, unless I find that the non-studious ones require a
strict hand. One should stand at practice, if possible,
pausing after each half hour until one is rested. Five
minutes or ten minutes spent in perfect relaxation on
the sofa, or in vigorous exercise in the open air, is a
wonderful stimulant.
I would like to suggest to all teachers that every error
1 “ Daily Exercises and Three Octave Scales ” by Edith L. Winn.
Published by Carl Fischer, New York. Price $i.oo„
IO HOW TO PREPARE FOR KREUTZER.
which a student makes dulls the impression made upon

the brain. The student should practice slowly, evenly,
and lightly, until the musical content of the work is
mastered. Facility, elegance, and freedom are more
necessary than a large tone in early violin study. When
I say “elegance” I use the term in a rudimentary way,
for it means nothing more than grace. Energy comes
after one is free. Do not encourage students to throw
the fingers of the left hand with such force as to interfere
with elasticity. Loud playing is coarse playing. On
the other hand, light playing is effeminate. Always play
with restrained power. Once a day, at least, play be
cause you feel like playing, and it stands to reason that
you will then play well. When a thing is well done,
drop it and proceed to something else. Memorize some
thing every day. If you cannot memorize a piece,
memorize three lines of an exercise. Any exercises which
embody an important principle should be memorized,
anyway, for we must watch the bowing. Place the music
on the table and try to reason out or remember what
you have played, phrase by phrase, until you are sure
you have mastered something. Mr. Edward Baxter
Perry says that he never feels sure of a piece until he has
written it down from memory. Paganini always played
his pieces without the use of his bow, as he reclined upon
his sofa on the afternoon before a concert. There are
instances of extraordinary memorizing. These are only
in the cases of great • artists who have memorized
from childhood. Julius Eichberg, my first Boston
teacher, once told me that he played all the Kreutzer
Etudes by heart at twelve years of age. I knew several
students abroad who could play the majority of the
Rode “Caprices” from memory. A certain European
artist plays the Paganini “ Caprices” exceptionally well.
He memorized them when a boy, and they have never
lost their freshness. If possible, when studying a work,
analyze it mentally, and strive to hear it away from your
instrument. There is no necessity of playing the same
Etudes over and over when one has mastered the prin
IN T R O D U C T IO N . I I
ciples contained therein. It is a waste of time. We

are not only to teach music, but also to teach pupils how
to study it wisely and not waste their energies. This
requires concentration, judgment, and perfect poise.
I believe that I can teach the most important principles
of conduct, and develop character from various sides,
through the logical and systematic study of the violin.
All study has two objects, — discipline and culture.
If we fail in the first, the second cannot come to pass.
One is, indeed, so closely related to the other that there
is no separation in a course of study. I have many times
said that violin study is not worth much if it merely
prepares one for art. It must fit into life naturally and
easily. That is why I would, in conclusion, offer no
apology for stating that the work which precedes Kreut-
zer offers the most thorough foundation for life, for art,
and for service, which it is possible to obtain from the
specific study of an instrument, and I do not consider
that it should be made simpler, because the superficial
wish it to be so.
The creed of childhood is the most important creed in
the world, and its bearing upon future life cannot be
over-estimated. If I had learned in childhood what
not to do, I should not have spent so much time in later
years in undoing principles; but I do not lay the blame
to anyone’s account. We must work out our own
salvation in violin study. Happy are we if we have
learned lessons which enable us to relieve our pupils of
the necessity of undoing their elementary work!
In addition to the works already reviewed in this book
I must highly endorse supplementary works — the three
books by Kayser, Op. 20, the first of which I use almost
constantly, the exercises by Moritz Schoen, preferably
“ Forty-six Short Exercises,” and “The Art of Finger
ing,” Op. 19, 22, 38, “ First Studies,” Op. 25 and “ Twenty-
four Etudes,” Op. 51; “Etudes,” Op. 68, Dancla; “ New
School of Melody,” Op. 96, Gustav Saenger.
EDITH LYNWOOD WINN.
T r in it y C o u r t , Boston, 1909.
II.
SCALES.
TRANGE as it may seem, very few writers on the
S subject of violin playing have directed their
attention to the study of scales; and yet there is no
more important subject to teachers and students than
this one. Tone and interpretation are justly important
to the artist. Scales are the foundation of violin technic.
To be a violinist of solid musicianship, one must under
stand the best methods of playing scales in the first
seven years of study, and the logical sequence of scale
literature.
Very few writers of scales use the harmonic minor scale
as frequently as the melodic minor.
The question of positions in scale practice has, also,
been somewhat loosely treated. We ought, as teachers
and as students, to become more or less familiar with
every form of scale, with the varied bowings and finger
ings; then we should compare our scales with similar
passages in standard concertos.
There are scores of players who cannot even analyze or
write a scale correctly. The neglect of scales is a cause
of the weakness in technic of a majority of students.
One teacher says, “We find abundant examples of
scale runs in concertos; let us not waste time with scale
study. ”
Since the study of the violin is a very difficult subject,
it is of prime importance that correct intonation should
always spring from scale study. Would it not be wise
to require of even the youngest pupils a mastery of the
easier scales and the writing of the same upon paper, from
lesson to lesson?
Scales need not be tedious if taught in the right way
12
SC A LES. 13
and if new principles are constantly brought out. No

great artist can conceal his technical deficiency. Good
technic springs from sound study of the violin, and
one cannot achieve much who has not mastered
detail.
There is no school of violin playing in the world which
can afford to neglect the study of scales. It is true that
all the difficult and classic concertos require the posses
sion of a fine technic; and yet, I do not recall, even in
Berlin, having been made to practice scales daily. We
will presuppose that the teachers of the Joachim School
believed that all scales had been mastered. However, it
would have been wiser to have given at least one-half
hour daily to scale practice, pure and simple. I will
admit, however, that Professor Halir, with whose work
I was only acquainted at second hand, emphasizes the
study of scales to such a degree in his “Tonleiter-
studien.,}1 I do not believe there is any work on scale
practice, in the mastery of double-stops, which can equal
this work. It is a good plan to insist upon a certain
amount of time each day for scale practice, whether one
be a student or a teacher. The majority of violinists,
especially in America, are weaker in point of technic
than in tone. Speed has nothing to do with the acquir
ing of technic, unless we adopt the means to produce a
great technic. Sure intonation and a fine tone spring
from freedom, equality, agility, and quickness in the
fingers of the left hand, combined with a systematic
study of intervals, such as is given in the Sevcik “ Studies, ’’
for the development of the left hand. Slow practice
is a certain road to progress. If we use the vibrato too
frequently, our playing always degenerates into careless
intonation. Life, energy, and soundness of musicianship
spring from a ready left hand. Never sacrifice tone for
speed. Tone is a matter of comparison. We feel
mechanically where the fingers should fall, but think the
intervals by mental comparison of tones. Whatever may
1 “ New Scale Studies for the Violin,” by Carl Halir. Published by
Carl Fischer, New York City.
14 HOW TO PREPARE FO R KREUTZER.
be the ambition of the student, the advantage of scales

must be clearly seen and appreciated.
It is not sufficient that the teacher give out a certain
number of scales each week. The scales must be heard
by the teacher, even when the student is far advanced.
I have frequently played scales very much out of tune
when ill or overworked. The physical, mental and
musical ear must be alert.
Regular scale practice corresponds to what we ordinar
ily consider drill work in our schools. Occasionally I
find a student who becomes very much fascinated with
scale practice. If the student practices four hours per
day, scales may well occupy one hour, but the rest of
the day should be spent rationally in the study of har
mony and theory, the piano or a little quartet music,
and in recreation which does not fatigue.
Again, we must become somewhat skilled in other
things besides violin playing. A good education is
indispensable. There is hardly a subject concerning
which teachers differ so much as the amount of practice
required of a student. It is not so much what we do as
how we do it. I will unhesitatingly say that the best
student I know is invariably the one who does every
thing well, for carelessness and indifference in school
studies or any other work which bears upon true develop
ment, must have an important influence upon violin art.
I may not be a toiler on four strings. If I had been,
I should doubtless have a mastery of violin technic such
as I never expect to have. Practical study of conditions
in schools and colleges has led me to apply psychological
principles once learned in the public schools and Normal
Schools of my State to the practical training of American
students of the violin for life as well as for art.
Frankly speaking, very few of my students have become
professionals, but they have carried something of culture,
system, and beauty, I hope, into the sphere in which
they move. Our students have erroneous opinions of
the life which they think an artist enjoys.
If one has no great talent for the violin, the road is
SCALES. 15
long and hard. Would it not be well, then, to make
violin study a means to an end, realizing that all attention
to detail has a bearing upon character as well as musi
cianship ?
I could elaborate on this subject, were it not for the
fact that I am departing from my original one.
I can only say that Joachim, Cesar Thomson, Sarasate,
and other great artists, have all expressed themselves
seriously regarding the study of scales and technical
works as the most safe and logical method of acquiring
a technic.
Would you know how to express yourself well? Then
you must have adequate means of expression.
Now that I have spoken of the value of scale practice,
I would suggest to teachers to order from the leading
music houses the most important works upon the study
of scales, realizing that no two people can exactly agree
upon the comparative merits of such works. I have
used, with children, no particular scale book. I spend
the first six months or a year within the bounds of the
scales of G, D, and C. Some children are more keen of
ear than others, but I think it wiser to study rhythm
and bowing with these three scales than to add to the
drudgery imposed upon a child by requiring many and
varied keys. As to the order in which the scales should
be studied, I would say the four sharp scales should be
followed by the four flat scales. If it is advisable to teach
the scale of F major before the scale of E major, I would
do so.
Let the child write the scale. Whenever it is possible,
let him sing the scale.
Practice, illustrating from the piano, the half steps
and whole steps. Do not permit the child to ignore the
fourth finger. I always use this finger in both ascending
and descending scales. This becomes absolutely neces
sary in the study of legato scales in three octaves, when
one is an advanced student.
You will observe in most of the so-called “ Methods”
that the major scale is followed by its relative minor.
i6 HOW TO PREPARE FOR KREUTZER.
I would not teach the minor scales till after the major
scales had been mastered in one octave.
I have found it very practical with children in the
third year of study to teach the tonic minor, rather than
the relative minor, after the major scales.
The first scale practice requires a whole bow for the
development of tone. We then pass to the forearm stroke
and the lower half of the bow. For very young children
the wrist stroke need not be taken at once, until all other
fundamental bowings are mastered. When we begin
the study of the wrist stroke, play on the open strings
with each note repeated several times, first at the middle
of the bow, and then at the point and heel. Other forms
of bowing, such as one-half note and two slurred quarter
notes in a measure, may be used. In fact, in scale bow
ings I should closely adhere to the Sevcik idea, except
as regards the staccato and lighter forms of bowing which
ought not to be taught in the first year.
There should be abundant examples of exercises in
each key and some melodies, or folk songs. In the second
or third year, the minor scales may be taught. Too
many keys complicate study. Circumstances alter the
choice of keys, especially if one has not a true ear. Scale
practice is very valuable, but do not carry it to excess.
Even my “Three Octave Scales,”1 with varied bowings,
ought not to occupy more than one-half hour of daily
practice. Let us strive to teach bow control through
scales, although the primary object of scales is the teach
ing of pitch. As to the left hand, the fingers must fall
evenly, firmly and with elasticity. Use the fourth finger
in playing ascending and descending scales. The cres
cendo and diminuendo should not be taught in the first
two years of study unless the student has a good bow
control. We must teach the fundamental principles
thoroughly, each key being mastered. The scales of
Wohlfahrt, Opus 38, appeal to me as being excellent.
1 “ Daily Exercises and Three Octave Studies,” by Edith L. Winn.
Published by Carl Fischer, New York City. Price $1.00.
SC A LE S. 17
Here the teacher has a second part to play. There

are other books of this grade that may be used. The
scales of Schradieck are useful. The only objection to
them is that the fundamental note is repeated and this
interferes with legato bowing. The progression of scales
is a good one in this work. The scales of Halir, or scale
runs for the development of the legato, may be given
before the study of Kreutzer in many cases. The most
valuable scales to the student of Dont are those similar
to my “ Three Octave Scales” with varied bowings. I
even add to these bowings by using the suggested bowings
of Sevcik and Tartini. The scales form a part of the daily
practice of artists and amateurs as well. The chromatic
scale should not usually be taught earlier than the third
year. As a rule, I would not play scales with pupils,
especially the chromatic scales. We must remember
that we use the fourth finger for the sharp and the third
finger for the flat in chromatic runs.
It may be an advantage to some teachers to play second
violin parts with the pupil, but I would first ask the pupil
to play his own scales. Then criticise them, giving the
correct example, and lastly, play the accompaniment
with him. All scales should be memorized. As to scales
in position, we will take those up in connection with the
“ Studies” of Sevcik,1 which indeed cannot be equalled
in their importance.
Let us, for instance, consider the Sevcik “ Technic”,
Part II, No. 7. These scales and arpeggios, if wisely
taken without too much of a cramming process, are very
valuable. One of the most detrimental things in violin
study in America, is, to my mind, the neglect of ear
training. When we come to the study of double-stops,
we have to face a difficulty which seems to increase
rather than decrease as we progress. There is no reason
why a student who enters Kreutzer, should not play
1 “ School of Violin Technique,” by O. Sevcik, Op. 1. Part i, Ex
ercises in the First Position. Price $1.50. Part II, Exercises in the
Second to Seventh Positions. Price $1.50. Published by Carl Fischer,
New York City.
perfectly in tune. In the first twelve etudes the trouble

lies in the careless preparation for the work, and this
implies neglect of tone study, and especially neglect of
scale practice. I would suggest the use of the chromatic
scale on page 12 of the Sevcik book referred to.
Omit the next exercise and proceed to No. 11. Here
we have scale runs based upon certain fundamental
chords. I do not say that these are practical for every
student who is preparing for Kreutzer, but they are
useful to the student who wishes a thorough foundation
for his art. I would also study No. 14 in detail, playing
detached groups in the middle of the bow. While these
are more properly called arpeggios rather than scales,
for the repose of the left hand and specific musical train
ing they are very good. I know that the study of Sevcik
is very tedious, and if we find that our pupils tire of it
we must supplement it with other work. The scales,
as found in No. 34, are very useful, especially to the
advanced student; but I should not use No. 37, as it
involves principles rather too difficult for this grade.
The scales of Halir are among the most beautiful in
the world, as well as useful. I would not, as a rule, use
them before the study of Dont.
You will doubtless find that many authorities use the
melodic minor scale in preference to the harmonic minor,
but the professional should always use both minor scales
in his practice.
Hafir’s method of playing scales, in which we pass
from the fifth to the first position on the E string, in
groups of fours, entire three octaves in one bow, is the
usual professional method of playing scales. Now, I
would apportion the time in such a way that pupils may
play scales carefully and yet not overdo the matter.
A half-hour scale practice each day is quite enough for
the average student. I would practice the scales in vari
ous ways and not confine myself to one key, except when
playing my “ Three Octave Scales,” with bowings.
The scales in the positions may be studied in this order:
Scales on the G string, D, A, and E, for practice of the
SC A LES. 19
third position; the C scale in two octaves, beginning with

the G string; the D scale in two octaves beginning on the
same string; the G scale in three octaves with varied
bowings: the Ab major, A major, Bb major, and so
on, until we have reached the scale of F# major, which
requires that all students raise the fingers very high in
the last octave for the attack. Release the fingers from
the strings when it is not possible to play in tune in the
last octave.
Now use the Schradieck method of progressions. Do
not play in difficult keys when you are studying varied
bowings. The left hand fingers should fall with force and
suppleness, but should not be raised too high for an attack.
Do not draw the string to right and left when playing in
the minor positions. Cultivate power in the upper part
of the bow, but do not force tone. A perfect legato is
only possible to one who practices scales constantly.
I shall take up the matter of scales again in the study
of particular works.
A LIST OF STANDARD VIOLIN SCALE STUDIES,

to be used in connection with the present work as well as with others of a
similar or more advanced nature.
i. Scale Studies in all Keys......................................Alard.
( Scales and Exercises in Seven Positions, I ..........Baillot.
2‘ ( Scales and Exercises in all Keys, I I .................... Baillot.
3. Scales and Arpeggio Studies, including Chromatic
Scales.................................................................. Bauer.
4. Scale Studies..........................................................Blumenstengel.
5. Scale Studies in One and Two Octaves.............. David.
6. Scales and Cadenzas, Op. 60............................... Dont.
7. Scale Studies..........................................................Eberhardt.
8. New Scale Studies.................................................Halir.
9. Scale Studies..........................................................Hellmesberger.
10. Practical Scale Exercises...................................... Henning.
11. School of Scales, Op 20........................................ Hermann.
12. Scale Studies, Op. 43............................................Hille.
13. Scales in all the Major and MinorKeys..............Hofmann.
14. Scale Studies..........................................................Hrimaly.
15. School of Scales, Op. 62....................................... Kayser.
16. Scale Studies, Op. 18............................................ Kross.
17. Scale Studies for Advanced Players...................... E. Mollenhauer.
18. Perfect Method of Major and Minor Scales.........L. Mollenhauer.
19. Practical Scales......................................................Nadaud.
20. Chromatic Scales...................................................Nowotny.
21. Scales in all the Major and MinorKeys...............Ortmanns.
22. Scales, Op. 22........................................................Schoen.
23. Scales and Arpeggios.............................................Schradieck.
24. Scale Studies........................................................ .Sitt.
25. Scale Studies in Double Stops, Op. 41.................Sitt.
26. Scales......................................................................Sevcik.
27. School of the Scales (Two Books)........................ Wahls.
28. Scale Studies.......................................................... Walter.
29. Daily Exercises and Three OctaveScales............. Winn.
30. Scale Studies........................................... ............Zinke.
III.
THE TRAINING OF THE LEFT HAND.

T was not until certain representatives of the
Iperfect
Sevcik School had urged upon me the necessity of
relaxation of the left hand, that I was able to
develop, in my own case, security and independence of
the left hand fingers, conformity of finger action and
command of double-stops, sixths and tenths. To be
sure, tenths can only be played easily by one who has
long and supple fingers. The Sevcik “ Studies”1 are
most valuable in their logical order, practical nature
and thoroughness. Opus I, Part I, containing exercises
in the first position, are useful for daily practice for the
amateur or professional.
Many teachers ask me if the Schradieck “ Technical
Exercises,” Book I,2 may be substituted. Schradieck
precedes Kreutzer and accompanies Dont3 and Mazas
“ Etudes Brilliantes.”4 The work, while valuable, deals
with very difficult keys and progressions. Sevcik,
Book I, is easily comprehensible to the average student.
Directions for the study of Sevcik are found in my
“ Violin Talks.”5 I append examples of especially use-
1 “ School of Violin Technique,” by O. Sevcik, Op. i. Part I, Exer
cises in First Position. Price $1.50. Published by Carl Fischer, New
York City.
2 “ Technical Violin School,” by Henry Schradieck. Part I, Exer
cises in the First Position. Price $1.50. Published by Carl Fischer,
New York City.
3 J. Dont, Twenty-four Exercises, Op. 37. “ Preparatory Studies to
Kreutzer and Rode.” Published by Carl Fischer, New York City.
Price 50 cents.
* F. Mazas, Seventy-six Melodious and Progressive Studies, Op. 36,
in three Books. Book II. “ Etudes Brilliantes.” Published by
Carl Fischer, New York City. Price 50 cents.
5 “ Violin Talks,” a book for teachers and students by Edith L. Winn.
Published by Carl Fischer, New York City. Price $1.25 net.
21
ful exercises which the teacher can use in connection

with other work. I use Part I; Part II, Exercises in
the Second to Seventh Position (in part); Part III,
Exercises for the change of positions; Part IV, Exercises
in Double-Stops.
I m po rtan t R u l e s for th e L eft H a n d .

1. The fingers must fall from the greatest height that
is possible, so that they may have a slight spring.
2. The first joint of the finger falls heavily upon the
strings.
3. Do not endeavor to get the fingers too perpen
dicular.
4. Press the fingers little or much, according as one
wishes to play lightly or strongly.
5. The pressure of the fingers should always be enough
to outweigh the pressure of the bow.
6. The fingers must remain on the strings in ascending
quick scale passages.
7. In descending, only raise one finger at a time, and
leave the others down.
8. When a single finger is on the string, in slow and
moderato movements, or during the long notes of any
movement, it is necessary to hold the other fingers in the
air.
9. Fingers should remain more or less high according
to their natural position, so that they may again fall
when needed, with the independence that they will thus
acquire; and above all, that they always execute with
neatness, particularly in running passages, where this
neatness is so very necessary.
10. The third and fourth fingers move in the same
plane. Keep the fourth arched toward the string upon
which it is to play. Draw it back only to the plane of the
knuckles for an attack.
11. Preserve the curve of the fingers. The left hand
must be reposeful. Do not keep the first finger straight
upward from the hand, even in vibrato playing.
THE T R A IN IN G OF THE LEFT HAND. 23
12. If the hand is small and lightly knit, relax the
first finger when the fourth is playing, but do not slide
it round under the neck of the violin; draw it back slightly
so as still to preserve its curve with the tip of the finger
on the string but not vertical; relax the thumb and move
it slightly forward. The most pernicious habits in violin
playing, a sure enemy of technic, are those of not draw
ing the elbow well under the violin and curving the
thumb around the fingerboard, allowing the first finger
to dip under the neck of the violin.
I am surprised and discouraged every year with new
students, who, though advanced, have never been made
to hold the left hand in perfect position for the acquir
ing of a technic. There can be no progress in violin
playing until the fundamental principles are mastered.
Teachers should never recommend students for the
teaching profession until they hold the violin and bow
correctly, and observe the more important principles
of violin art. What they do not overcome themselves,
they cannot overcome in others.
IV.
THE STUDY OF TONE AND BOWING.

HAVE many times stated that tone is dependent
Iuponupon the technic of the left hand much more than
the bow arm. A beautiful violin and a flex
ible bow stick must play some part in the acquiring of
tone. Freedom of the left arm and a true understanding
of tone graduation, as well as immediate relaxation after
the attack, play an important part.
Everybody likes a fine tone. It is impossible to cul
tivate it if one does not hear it and strive for it from the
beginning. It is one of the greatest features of violin
playing. While a pure tone can be acquired in the
beginning of study, tone graduation is a matter of growth.
I would recommend the practice of long, sustained notes
without pressure upon the stick. Slightly separate the
notes. Purity and lightness come before breadth. Dis
tinctness depends upon the skill of the left hand and the
proper control of the bow. A pure, resonant tone car
ries better than a loud tone. It is not quantity but qual
ity of tone that makes violin playing beautiful.
There is no limit to the variations of tone possible
to the violinist. Bowing is of the greatest importance,
the attack, the change of stroke, and modulation of tone
being especially worthy of study. The student must
learn to feel phrasing and to accent according to the
rhythmical nature of the passage. On the right man
agement of the bow depends the interpretation of a
work. A lifeless and monotonous tone takes away from
the beauty of a work. Good sense, good training, and
the hearing of much music form a just taste. Over
accentuation is like over-dressing, and in very bad taste.
I do not think that a fine singing tone depends entirely
24
THE STUDY OF TONE AND B O W IN G . . 25
upon the school to which one belongs. Sarasate had a

beautiful, pure tone. Ysaye has a glorious tone, which
is always met with enthusiasm. Joachim had a noble
tone. He understood all the gradations of tone color.
While I think a beautiful tone may be acquired by
long and arduous practice, the gift of tonal discrimina
tion and the power to color everything with one’s own
sense of beauty are the first signs of genius. It is, indeed,
the respect in which the artist may be distinguished from
the artisan.
Next to the quality of tone I would emphasize the
acquiring of a beautiful legato in the changing strokes
at the point and heel of the bow. It is not easy to define
how to modulate tone. I would study the crescendo as
outlined in my “ Three Octave Scales,” pressing upon the
stick four times for each note. Many teachers consider
brilliancy and purity of tone to be dependent upon the
perfection of the bow arm. Again, I would affirm that
the training of the left hand precedes the study of varied
bowings. A harsh, uninteresting tone is always caused
by pressing too long upon the bow .stick. After an
attack, release the pressure so that the tone can sing.
Above all, listen to beautiful tones and beautiful instru
ments. This necessitates attendance at the concerts of
great artists. Study graduation of tone and phrasing
in general by listening to great orchestras and quartets.
Constant playing in an orchestra is inclined to inter
fere with a beautiful solo tone. I would, therefore, dis
courage it if one is aiming at a concert career.
There is one other subject of great importance; that
is, keep your violins and bows in good condition. Make
every sacrifice to own beautiful instruments and bows,
for if one is surrounded by imperfect mediums of expres
sion, one cannot grow in the valuation or command of
a beautiful tone.
Bowing is considered by many people to be a gift, as
far as gracefulness and ease are concerned. This is, to a
certain extent, true. To the young student, however,
flexibility and ease are possible with practice and well-
2 6 HOW TO PREPARE FOR KREUTZER.
directed study. The soloist whose method of bowing is

angular and stiff rarely commands attention, and his
tone is invariably uninteresting.
While left hand technic precedes the training of the
bow arm, the two should go hand in hand, if the student
aims at professional rank.
When I was a young player, I was never subjected to
the bad method of playing with a book under my arm.
I did not, however, watch my bow arm before the mirror,
as I should have done.
The judgment of a good teacher is better than any
other method of correction. Let the student hear fine
violin playing and observe artists as well as good
amateurs.
Here are a few rules of bowing useful to the teacher.
1. Hold the bow with the middle and third fingers,
the thumb being curved toward the nut of the bow and
opposite the two fingers named. Do not lean upon the
stick at the middle joint of the first finger. Keep the
knuckles, in the main, parallel with the bow stick.
2. The little finger holds up the weight of the bow
as the heel is approached; and when the bow is being
drawn to the point, the little finger gradually ceases to
lean on the bow. One can then raise it without any
inconvenience in the performance of arpeggios and such
like; but the finger must only be at such a distance away
that it can easily be placed upon the stick when the heel
is again reached. It should also remain on the stick
when one is playing skipping passages, because in this
kind of examples the little finger is of great assistance
in detaching the upstroke from that which follows upon
another string.
3. When it is necessary to put force into the playing,
it should come from the thumb, the first finger, and the
wrist; but more particularly from the thumb. The fore
part of the arm obeys this force in absolute independence
of the back part of the arm.
4. The four fingers placed upon the stick, and pressing
the bow in order to put the strings in vibration (and
THE STUDY OF TONE AND B O W IN G . 27
which ought sometimes to be very strong) would infal
libly break the string if the thumb did not counter
balance this force in clasping the stick very much when
one is drawing a great tone or striving for equilibrium
in springing bowings.
5. When one is recommended to lean upon the bow,
it must always be understood that the thumb ought
then to press strongly against the stick beneath, while
the fingers merely rest above.
6. In order to have the direction of the bow parallel
with the bridge and always at right' angles with the
string, it is necessary (in the up-stroke, and when nearly
two-thirds of its length is used) to gradually draw in the
fore part of the arm towards the chest and back part of
the arm. When at the heel the hand should be rounded
with suppleness towards the chin. At the commence
ment of a stroke at the heel, the elbow is slightly ad
vanced to effect this. In rounding the upper part of
the hand, and holding the point of the thumb slightly
above the right side of the bridge, one will prevent the
forcing of the wrist when the nut of the bow is near the
strings. But when the bow is being drawn to the point,
the elbow must remain in a perpendicular line to the
shoulder. It is the same even when one is using the
middle of the bow. If the back part of the arm is drawn
too far back when the point is reached, the position is
bad; and when nearing the heel, the position is equally
bad if the bow is not absolutely parallel to the bridge,
inasmuch as it gives one a false direction of the fore part
of the arm, and cuts across the strings.
If the pupil is very young, or if he is of small stature,
he cannot use the bow as far as the point without chang
ing the direction of it and slightly drawing it towards
himself. Therefore, it is necessary to take care that he
only employs a length of the bow proportionate to that
of his arm. It is even necessary to place the violin for
him. and to make him hold his chin on the first-string
side, until he is tall enough to play without trouble by
placing it on the fourth-string side. But if he uses a
violin of small pattern he will hold it in the manner

generally in use.
The cultivation of tone is dependent primarily on the
facility and firmness of the fingers of the left hand, but
good bowing is a prominent factor in the development
of a clear, resonant, and beautiful tone. The ears of
the gifted are very sensitive to beauty. They have a
concept of a tone, and experience and observation aid
them materially in producing one.
The representatives of the Joachim School have some
times been criticised for the hardness of their tone in
attacks. The bow should follow the ideal of the player.
If attacks are forceful; the pressure should be removed
at once. Try to graduate tone by a careful study of the
Sevcik “ 4000 Bowing Exercises.”
T h e F u r t h e r S t u d y of B o w i n g .
Naturally, after the rudiments of violin playing have

been mastered, it is wise to choose some specific course
or plan by which all the useful bowings may be mastered.
Massart’s excellent bowings are out of the question till
Kreutzer is studied, hence there is no work logically
compiled and specifically a medium of the study of bow
ing except the Sevcik “ 4,000 Bowings,” Op. 2. One
may use the exercises of Book I in the first year of study
in many cases. It is of Book II that I would speak.
We first study the exercise with a whole bow. Then
follow the divisions of the stroke; whole bow, first and
third beat only, detached but not staccato. Next comes
the staccato with the whole bow, which is nothing more
than the principle of the grand detache, the notes being
cut. The player presses slightly on the bow, then
relaxes immediately. After pressure, the bow passes
rapidly and lightly along the strings.
You will observe that each exercise is played in two
ways: — the broad stroke, and the whole bow cut. Do
not raise the finger from the strings until necessary.
Produce a singing tone, not a heavy one. After mas
tering, to a certain extent, the whole bow stroke, pass

to the study of the half bow. Remember that the upper
half involves a forearm stroke, while the lower half
requires a whole arm movement.
With regard to the styles of bowing, the forearm must
be very supple; when the elbow relaxes, raise the wrist
for the up-stroke. The wrist must not be higher than
the knuckles of the right hand. Strive to keep on the
edge of the hair of the bow. A free style of playing must
influence a singing resonant tone. I believe strongly in
one particular exercise, which is not too difficult, to fix
the fundamental bowings.
Now we come to the study of the legato. Let us dwell
on the principles of cantabile playing. The fingers must
fall easily, but not with too much force. Sing tone.
Do not raise the fingers until necessary. The left hand
must be reposeful and free. While the Sevcik idea seems
to be to raise the fingers high for each note and obtain
perfect uniformity and strength in finger technic, do not
carry this form into trill study or the study of the stac
cato. Since quickness depends on nearness of fingers
and their position on the strings, do not raise them too
high in rapid passages. Sing the tone and strive to
anticipate string changes. Freedom and elasticity of
the fingers is much more to be desired than force.
Probably the student has studied bowings in very early
violin work. The left hand should be free from the
first and the elbow well under the violin. We now come
to the bowing known as two slurred and two cut and
vice versa. Other bowings in which the slurred notes are
contrasted with the single notes are very useful and par
ticularly so in connection with future study of varied
bowings. One must be very careful not to jerk the single
strokes, or cut the legato, in anticipation of a staccato
note, or detached bow.
The study of the staccato begins at this point, for
previous exercises of an elementary nature are not related
to the pure staccato. The whole bow is required. Press
lightly on the stick and relax immediately. Swing the
bow swiftly along the strings and maintain the legato,

at the same time observing the rest. The pure staccato
should be studied in detail. In all staccato work keep
on the edge of the hair of the bow.
Many questions have arisen as to whether one should
use a wrist stroke or a stiff arm stroke in staccato study.
I would use the stiff arm stroke. The staccato comes
from finger pressure. Practice very near the point, at
first.
In short staccato work, keep near the point. Do not
use much hair. Press and relax instantly, with a finger
stroke. In playing an
exercise like 124, press
lightly on the stick and
relax at once. Do not
cut the second tone too
short. Play the slurred
notes within the legato very smoothly. These funda
mental bowings are very valuable in connection with
Kreutzer, as well as such works as the Tartini “ Art of
Bowing.” 1
The next exercises (one-third bow length) may be
played around the middle of the bow with a wrist and
forearm stroke. They must be clean cut. In crossing
strings, do not raise the fingers unless necessary. Let
the bow lie well over two strings. The legato studies
require good bow control. Do not raise the fingers from
the strings. Keep on the edge of the hair. Use a wrist
stroke which must not interfere with the pure legato.
To the advanced student the study of the Sevcik bowings
is very fascinating. To the serious beginner they are
even more so, for he knows nothing of concertos and
other great works which seem to claim the time of the
advanced student. Every known form of bowing is
represented. It is not wise to abridge this study,
1 J. Tartini, “ The Art of Bowing.” Fifty Variations on a Gavotte
by Correlli. Price 50 cents. Special Concert Edition of Ten of these
Variations by Ovide Musin. Price 50 cents. Published by Carl Fischer,
New York City.
THE STU D Y OF TONE AND B O W IN G . 31
although it may seem too long drawn out. At the

beginning of daily practice, even the advanced student
should practice some left hand technic, and varied
bowings, as a means of relaxing the muscles for the day.
What could be better than Sevcik? Surely not Casorti,
with its unpractical keys, and the Hille “ Wrist Studies,”
with their disadvantages of positions. From 179 to 219,
J Bow. w
n f -
n - - 4 0 0 0
— t r.kd
l 0 m r r
F L L ?a_r
L y a4-F 4- i— . I- ... I
JS. r d
-I ~r mF m-
II -m
r__F Jinan*
1 1 1 0
l
|
II|
-— -— b-'-------- 1r s ~ l — 1 — ^ - II
179 m 180 m
1 — F—
s mL =--mm.---
L_ K •---
u_M •--•—
_ u. * *
1 ..
i7~R r,r L
r r L L | L [.r...- L_ 1F-..L tz u_ t__L |_|
r L [ 1. 1
L
r vrZ ..Jg r
, r ^ IJ
181 m 182 m
play the exercises in all parts of the bow. At 225 we

come to the staccato bowings, at the point of the bow.
I would not use or teach the martele bowing at the
point unless the student has a very free forearm and
wrist. Be very careful about the exaggerated position
(J=ioo.). . .
• . .11 • f 11
t t t r rf=z
2 2 6 tn 221 m
1
22s m 229 t n
which this bowing requires. While the martele is very
valuable to the student of Kreutzer, or the professional
player, it is not a safe bowing for the amateur. I would
therefore substitute the short staccato at the point,
beginning at No. 225. It is always wise to play the
entire exercise in each case. The development of the
third of the bow at the middle, requires the use of a set
of muscles which are connected with the forearm and
wrist movement. It is very valuable to orchestra
players, but I do not think I should give as much atten
tion to it as to the development of the upper half of the

bow in a pure forearm stroke, or even to the wrist stroke
at the middle, point, and heel of the bow.
No. 236 begins a series of valuable bowings. The
wise teacher should select the most useful bowings.
236 m 23 ~Lm
No. 248 requires a type of bowing very useful to

the violinist, that is to say, two slurred notes within a
legato. The division of this stroke is usually made by
accenting the first note of the group, but not cutting the
second. The whole exercise depends largely on finger
348 Half Bow W h o l e B o w .-
pressure; that is to say, of the first finger on the bow

stick, and perfect equality of tone when playing legato.
This style of playing is one of the most subtle, and being
so closely related to tone color, as well as to artistic
phrasing, it is well worth study.
We now come to examples of bowing in which the
triplet is used. Very little bow hair is required. I
would not confine myself to the middle of the bow.
When playing alternately upon two strings, use a short
stroke and strive to use as little motion from the elbow
as possible.
I am much more interested in the legato exercises
beginning with No. 293. Play this very slowly at first,
and lightly, the transfer
being made with the
wrist. Keep mainly on
293 394 the edge of the hair.
As an example of daily
wrist practice, nothing could be better than studies
of this kind. The only question to be considered is
THE STU D Y OF TO NE AND B O W IN G . 33
“ Have we time for serious and lengthy practice of this
kind when there is so much to be mastered in the legiti
mate literature of the violin?” It is only necessary to
state that the perfect training of the bow arm depends
on exercises of just this kind, which, if practiced with
a single theme, can be mastered, and the principles in
volved settled for all time. I do not believe in a multi
tude of exercises to teach one principle. The logical
development of the middle of the bow, heel, and point
must be considered.
339 m 340 m
At No. 339 we begin a series of contrasting staccato

and legato exercises. I would practice these in the upper
third of the bow, rather than at the middle.
Exercise 466 should
be practiced in the 1— Mi —
same way.
No. 473 requires no 466 m
wrist stroke and is
to be played at the
point. A very good
plan to follow, if the ....
bowing seems diffi 473 m
cult, is to practice
the style of bowing on two open strings until mastered.
Now a word with reference to the spiccato. Begin
ning with No. 476 do not use the artificial spiccato,
which requires a movement from the shoulder, until the
whole bow stroke, the forearm and the wrist, are per
fectly trained. Frankly, I do not believe in the cultiva
tion of the lighter forms of bowing until pitch and tone
are secure.
No. 517 is an excellent example of the artificial
spiccato. Select such exercises as are most useful, at
this point, No. 535 being one of the best. I would
not use the fiat side of the hair for this bowing. That
belongs to the pure or natural spiccato, as it is called.
(J—108t. J— 1 2 0 .)
t LLl f T TI
617 f n 518
The next bowing to be used is the sautille. This

bowing is at the middle of the bow, the bow being tightly
strung, and the position being on the flat portion of the
hair, much as a ’cellist plays his instrument. Always
strive for perfect relaxation of the wrist. The third and
fourth fingers may leave the stick. The most valuable
exercises in this list are those which begin with the lower
note, like 544, 546, 548, and others. Do not use the
triplet for this style of bowing. It would be a wise thing

to play the major scales with four notes of a kind, in this
connection, and to accompany the work with such pieces
as “ Perpetual Motion,” by Bohm,1from the Easy Suite.
The thrown staccato, beginning at 561, furnishes an
example of trick bowing only useful in works of a light
character, such as “ Gnomentanz,” by Eberhardt,1 but
we also find clever illustrations of it in the “ Six Airs,”
by de Beriot,1 and the “ Polonaise,” by Vieuxtemps.1
While many authorities make a distinction between a
spring bow and the sautille, they are closely related.
Spring bowing, pure and simple, is done by the wrist,
and does not come from the shoulder. It also requires
a repetition of certain notes. You will find in the “ Little
Tambour,” by David, examples of the spring bow on
four strings. This type is called ricochet bowing, but
the principle is the same.
1 See newly revised edition of this solo, published by Carl Fischer,
New York City.
No. 30. We have here an exercise in which we cross
one string without playing. It would be wise to keep
the fingers down. Think the interval before making
the transition. These exercises should first be practiced
with the whole bow, legato. Keep on the edge of the
hair. The stroke is an arm stroke, with relaxed wrist.
At Number 15 we use
the half bow. Always
strive to maintain m 3 = 1
perfect equality of f 72)"
tone and bowing. One
of the most valuable strokes is No. 30, in which the whole
and half bow are used alternately. Practice the legato
much more than the staccato in this form. The crossing
of the strings being of so great importance, strive to
master the principles at the middle, point, and heel of
the bow.
At No. 57 we have examples of staccato bowing
omitting one string. Keep = 66.)
on the edge of the hair, the F-5 r-§-
pure wrist stroke being little
used. Describe a curve with 57 , 3
the arm. WholKBow.
No. 75 might better be practiced at the point or in
the upper third of the bow, though when we start with
the upper note, a stroke from the middle is better.
No. 94, and those exercises that follow, may be

useful for the Kreutzer student, but are not practical
before that grade. ~\Sk
No. 116, and succeeding ex
ercises are valuable as wrist m m p i
studies.
No. 133 is useful at the point 94
or middle of the bow. Describe the curve with the arm
and not with the wrist.
No. 137. I prefer this at the point.

No. 139 is a useful staccato study. First practice it
in the up-bow at the point.
m ^ Bow.
No. 145 offers ho new principles. I generally hear
most of these bowing exercises in the cases of stu
dents who are preparing for the profession of teaching.
They become monotonous after the principle has been
mastered.
N u t . ( f )
nft m ( P ) 1 1 A
L A _ .... ... n u 1
m m d ^ 3 * !*- (• * I
-l- ! -N X, X X - bw- II
—1— 1- — 1- V 4 .4 . 4
145 'f * * i i
No. 185, the sautille bowing studies, are quite prac

tical. Use the middle of the bow. Raise the bow from
the strings.
When studying the following works, analyze the bow
ings and refer constantly to the original bowings of
Sevcik, if any important principles have not been
mastered.
1.
Gavotte..........................................................................Rameau.
2.
The Mill........................................................................Hollaender.
3.
Menuet......................................................................... Mozart.
4.
Perpetual Motion..........................................................Bohm.
5.
Gigue.............................................................................Veracini.
6.
Gavotte in E (revised byLehmann).............................Bach.
7.
La Fileuse..................................................................... Severn.
8.
Menuet in D (revised by E. L.Winn)..........................Mozart.
(from a Little Sonata).
9. The Art of Bowing(revised by E.L. Winn)............... Tartini.
10. The Art of Bowing...................................................... Emil Kross.
(The above compositions and instructive works are all published by
Carl Fischer, New York City.)
V.
THE STUDY OF SEVCIK.1

KN W of nothing more valuable for first and second
1 0
year students than “The School of Violin Technic,”
Part II, by Sevcik. In fact, it affords a sure means
of tone study and ear training. I would not, however,
exalt this study in preparation for the profession as I
have many times said, “ It is too dry and pedantic.”
In fact, there is so much attention paid to details of a
technical nature that one loses sight of tone develop
ment. I would, therefore, use these books very wisely.
I have so often spoken of Part I in other works, that
I would like to speak more specifically of Part II, in
which we find exercises from the second to the seventh
position.
The first thing that impresses one in Exercise I, is the
necessity of perfect intonation. Always draw very care
ful distinctions between the pitch of different notes of
each group. Play all the groups over and over until
mastered, sixteen notes in a bow. Now, there may be
some doubt as to whether the second position is a
good one for this kind of work, but it is very difficult
to master, as a rule. Hence the necessity of careful
study.
-t -t
&
i 1
1 “ School of Violin Technique,” by O. Sevcik, Op. i. In four parts.
Part I, Exercises in First Position, $1.50. Part II, Exercises in Second
to Seventh Position, $1.50. Part III, Exercises for the Change of
Positions, $1.00. Part IV, Exercises in Double Stops, $1.50. Pub
lished by Carl Fischer, New York City.
37
38 HOW TO PREPARE FOR K R E U T Z E R .
Passing to Exercise No. 5, we find some examples of

first and second positions. Do not slide the fingers
along the strings so as to produce a disagreeable sound.
I frequently use No. 7 as an excellent example of

second position work, but I select the exercises with care,
believing that difficult keys must be avoided. You will
note the manner of playing the chromatic scales in No. 9.

It is, indeed, an excellent way for the student.
We will pass now to No. 12, in which we find examples
4 of exercises requiring that
--4 a— —ri—g —|i one finger lies quietly upon
the strings while the others
' play a group of notes. This
12 ^ ^ I consider a valuable exercise.
No. 14 should be played in the middle of the bow,
single strokes, until the double stops are mastered. Play
each group over and over.
I do not consider No. 15 as valuable as the seventh

Kreutzer 6tude, but the first three lines of No. 16 are
very helpful to the student of position work.
No. 23 I occasionally use for arpeggio work; also
THE STU D Y OF S E V C IK . 39
No. 25, in part, but the work now becomes too involved
with the exception of No. 34, of which I have just
spoken, and No. 36, a ten
study of thirds. q p ry
It will be impos-
sible for me to go
thoroughly into the 1
^ ,
! 1 1 1 11
i
Sevcik works in a 15 ***
brief study of the same. When we have taught the
fundamental principles, I see no reason why we should
E fF
spend time in repetitions, especially as a great many

etudes involve the same principles. Let us, therefore,
consider The School of Bowing, Op. 2, Book II.
No. 13. This etude in triplets is about the same grade
as Kayser, but I prefer the fundamental bowings with
the Sevcik books. In fact, I consider Book I of this
series very helpful to the average music student in the
second year of study. I have not used Kayser as much
of late years as formerly, although I will admit that
Sevcik offers us very little that is strictly melodious.
This etude should be practiced with a forearm stroke.
Accent the first note of every group of three. Cut the
notes in order to insure a clean tone. Keep within a
reasonable distance from the bridge. Do not move the
upper arm. Keep the fingers on the strings until they
have to leave them. After having practiced the exer
cise thus, use the lower half. If one is careless in bow
ings, use the whole bow, a broad detached stroke, or a
legato connecting with a wrist stroke at the heel and point
according to the specific needs of each student. I would
append a number of bowings, marking each in the order
in which they should be studied. These are undoubtedly
the finest etudes I know for the specific study of bowing.
40 HOW T O PREPARE FOR KREUTZER.
You will observe that the writer uses the martele

bowing at the middle. This is not so dangerous as the
martele at the point of the bow. Spend considerable
A llegro.
—7 —r -----
time in the study of these bowings, for this certainly

abbreviates bowing study in Kreutzer, a somewhat long
and tedious process when one wishes to do more advanced
work. I would be very particular also about the study
of the spiccato bowings until the exercise is thoroughly
mastered tonally. Omit the bowings for the use of the
crescendo and diminuendo.
No. 14. Play this 6tude very carefully with a whole
bow, detached strokes, before teaching bowings. If
possible, learn it by heart. There are so many forms
of bowings that I can only indicate a few excellent ones,
particularly those which involve a forearm stroke and the
alternate legato and staccato bowings, for the spiccato
is very dangerous to the student if it is taken with an
arm stroke, and I should not use it too much. The
flying staccato at the heel may be useful; also the sau-
tille bowing. For the cultivation of the staccato, play
the etude with one down stroke and five up strokes,
staccato, in one bow.
No. 15. Do not use varied bowings with this 6tnde
to any great extent, as it is not practical.
A llegro.
Allegro moderato.
THE STU D Y OF S E V C IK . 41
No. 16. Go over the bowings indicated in the usual

editions and pay special attention to the development
of the forearm rather than the lower half of the bow.
An advanced player may find the spiccato very useful
in all its varieties.
No. 17. This is one of the best of the etudes for the
development of the pure legato as well as for the alternate
staccato and legato ^
strokes. If it is
memorized, an ex
cellent example is --- * • ’ H i
that of dotted six
teenth notes. There are other examples involving six
teenth notes which I consider valuable.
For the spiccato in the middle of the bow and the
sautille bowing, the etude is specially valuable, but I
should study it for pure bowing while gaining tone and
learning phrasing through the broader study of Ma2as’
“ Etudes Brilliantes. ” 1
Moderate. (J = 8o.)
rr 7# T, k&Vs 1 =1 dj rlj,
rffvP t>rv 11 •j n
sl i 1 1 m □ j __i
j j
_□i__ 1li
tl
Lsz m m A ' . . .-—' L J — ' L*'—--i
O 3 w' 4 3 0 4 -J-
4 3 4 4
se?npre pp su l la tastiera (on the finger-board).
Just a word with reference to No. 19 and third posi
tion study. I do not think this etude offers much as a
study of bowings, but No. 20 is quite useful if applied
to previous etudes for the study of the legato. One of
the best forms of legato bowing at the point of the bow
might be used in connection with No. 21, six notes in a
bow, or in the study of the staccato, one note cut down
bow, five staccato notes on the upper at the point. The
same bowing might also be applied to No. 22, one note
being down bow and the rest of the notes in the measure
— nine in number — being staccato in the upper bow at
the point. The running legato in twos at the point is
useful.
1 See footnote, page 21.
No. 23. I would use eight notes in a bow, legato, in

the upper half of the bow. Then I would play eight
single staccato notes at the point. For practice of the
spiccato in the middle of the bow, that is to say, the
artificial spiccato, it might be used.
No. 24 is a good example for practice of the staccato
at the point of the bow. Do not vary the position of the
bow hair on the strings to a great extent. Remember
that the staccato does not involve a lateral stroke of the
wrist.
No. 25. There are so many more excellent etudes for
the study of position work that I sometimes omit this
one. In fact, I do not take any more in this book, as it
is primarily for the study of bowing and the works of
Dont, Mazas and Sitt offer better examples.
So much has been said about the practice of scales

and arpeggios that I need only say that this book be
longs properly with Kreutzer if it is taken at all, since
that work is primarily technical, but I would enforce at
this point the study of this book in a school of violin
technic in connection with the scale studies of Halir,
Schradieck, Sitt, Op. 92 1 and HeilbromTs “ School of
Double Stop Playing.” 2
Preparatory Studies in Double-Stopping, by Sevcik, Op. 9.
For a specific course in double-stopping, nothing is
more valuable than this work. It gives security to the
hand, trains the ear, and makes the pupil confident of
1 Hans Sitt, “ Technical Studies,” Op. 92, Part I in three books.
Part II in three books. Price each book $1.00. Published by Carl
Fischer, New York City.
2 Simon Heilbronn, “ School of Double Stop Playing,” studies in all
the major and minor keys, with twenty-five melodies (in first position).
Published by Carl Fischer, New York City. Price $1.00.
THE STUDY OF SEVCTK . 43
intervals. We can use it with propriety in the second
or third year of study with many students, if we
strive to avoid difficult progressions, placing the fingers
quickly in their proper positions. Do not slide them
along the strings as if searching for the exact point of
contact, but try the passage over and over until it is
perfect. The keys are splendid ones and I see no reason
why, up to the ninth exercise, they should not be prac
ticed daily. The study of octaves, as illustrated by No.
9, need not be difficult if the wrist is not forced outward
and the fingers move together into place. Let the fourth
finger lie lightly on the string. Hold the violin with the
chin. The hand must
be free. What excel
lent preparation this
book affords for the bJ
double-stops and oc
taves of Kreutzer!
I should take No. 14 before No. 11, and No. 18 thor
oughly.
No. 19 is an excellent supplement to the Kreutzer
octave studies.
No. 22 is valuable for quality and precision of finger
attack.
No. 25 is valuable for rhythm.
The study No. 26 should be encouraged, but it is
only the supple hand that can master tenths in No.
28. My manner of playing tenths may differ from
that of many who have long fingers. I bring the first
finger round almost at right angles to the strings. The
fourth then falls easily into place. The thumb is brought
forward.
You will doubtless recall, in other works which I have
written, the manner in which the Halir double-stops are
to be studied. What an excellent example No. 33
affords in connection with this work!
No. 40 is especially valuable for the study of octaves.
No. 44 again supplements the work of the Halir scales,
which should be constantly practiced. Use a single bow
raising at the middle of the bow. Then tie two, after

which, three, and then six. Naturally these exercises
increase in difficulty.
No. 53 offers another method of playing double-stops
in the key of C.
No. 55 may be practiced daily for octave work.
-FI
tb i.
•>
No. 57 may be used for a daily exercise of double-
stops, with great profit. Is it any wonder that this
valuable systematic practice, if wisely undertaken, gives
us such a fine command of technic, so infinitely helpful
in the study of Kreutzer. In fact, I believe that the
study of Kreutzer can be abridged by preparatory work
of this nature.
I would now call the attention of the teacher to the

“ School of Violin Technic, ” Parts III and IV, as defi
nitely connected with a matured and finished technic.
VI.
FIFTY EASY MELODIC STUDIES.
By F. W O HLFAH RT.
Op. 74. Book 1. 1
HESE exercises of Wohlfahrt are parallel with the

T early ones of Kayser. In difficulty they differ in
no way, yet they are more modern and progressive.
Play them for intonation before using varied bowings.
No. 1 .
Use a whole bow cut; afterwards use a forearm stroke,
followed by varied bowings.
Generally two cut and two tied; the reverse; one cut
and three tied; the reverse; four tied; four sixteenth
notes at middle, wrist stroke; staccato point, and other
familiar bowings.
No. 2.
Use a forearm stroke cut; three tied, three cut; six
tied; one cut, five tied at point, and other bowings. The
development of the forearm may be made important
during this study. Perfect relaxation of the elbow and
wrist must be taught before varied bowings.
No. 4.
This exercise should be taught, using the upper half
of the bow. Do not use a short staccato stroke; simply
cut the notes and relax instantly.
1 “ Fifty Easy Melodic Studies,” by Franz Wohlfahrt, Op. 74. In
two books. Book I, First Position. Book II, Third Position. Price
each 75 cents. Published by Carl Fischer, New York City.
45
46 H OW T O PREPARE FOR KREUTZER.
No. 5.
The following bowings are recommended in this excel
lent exercise.
This is in an easy key and admirably written.

No. 6 .
The following bowings are recommended: three tied,
three cut; four tied, two cut; single detached staccato
stroke, upper third of bow. Always begin with a detached
forearm stroke.
No. 7.
While this exercise is not written in as practical a
vein as the ones that precede it, a study of its musical
content is valuable. The forearm stroke is, perhaps,
the best one to use in connection with it.
No. 8 .
This is a valuable exercise for string transfers. Keep
the arm in such a position that the bow will lie well over
two strings at once.
No. 9.
As an example of rhythm and use of four strings, this
is a good study. Do not allow the fingers to leave the
strings until absolutely necessary. Master the musical
content of the exercise.
No. 10.
As a study of triplets and the arpeggio form, this
exercise is valuable; however, it may be omitted if
necessary.
F IF T Y E A S Y M E L O D IC S T U D IE S . 47
No. 11.
The study of syncopation is very helpful to students.
For the study of four strings it is a good one.
No. 12 .
This exercise contains several very important prin
ciples, mainly the study of half steps. Do not raise the
second finger. Slide it along the strings.
2 2
No. 13.
As an easy study of double-stops, this exercise is useful.
More practical examples may be found in Sitt, Op. 20,
Book VI.
Nos. 14-15-16.
These exercises are studies of rhythm, varied bowings,
new keys and a modification of strokes already studied.
No. 17.
This bowing is one of the most important in violin
literature, being especially useful in orchestra work.
The wrist stroke is absolutely necessary at the point of
the bow. Occasionally teach the entire measure in one
bow, following this idea throughout.
Nos. 18-19-20.
The first of these exercises is for syncopation; the whole
bow is used. The next is at the point of the bow, alter
nating slurred notes with single notes. No. 20 is not
very practical.
Nos. 21, 22, 23.

The first of these exercises is to be played in the upper
half or upper third of the bow. Accent strongly. No. 22
is valuable for intonation, with whole bow. No. 23 is
also an intonation study. Avoid rigidity of the hand
in extensions.
Nos. 24-25.
The first exercise deals with the staccato and is useful.
The second requires a forearm bowing.
VII.
FIFTY EASY MELODIC STUDIES.

By F. W O HLFAH RT.
t
Op. 74. Book II. 1
EITHER the Kayser nor Wohlfahrt books should

N necessarily be studied in logical order, owing to
time limitations and the varying ability of pupils. The
present work is invaluable in preparation for position
work. I find in the cases of pupils who are to enter the
profession, and who need to study the great classics
as early as possible, owing to the enormous demands
upon pupils in the knowledge of violin literature, that it
is wise to abridge preparatory work, selecting the best
exercises and etudes for the mastery of fundamental
principles, from standard works like those of Sevcik, Dont,
Wohlfahrt, Sitt and Mazas. Wohlfahrt understands
the art of presenting truths in a clear, concise, and attrac
tive manner, without complicating the musical content
of any etude. In this case the subject of prime import
ance is position work.' For preliminary work in position
changes consult my “Technical Studies.,, Scales in
various positions (Hullweck and Schradieck) are useful.
No. 26.
Do not use varied bowings. The upper half of the
bow, each note slightly staccato, is the preferred bowing.
Occasionally vary the work by playing four notes on a
bow.
49
No. 27.
As a study of the legato, combining position work,
this etude is well written and practical. Play lightly,
evenly, and with care as to intonation.
No. 28.
The upper half of the bow, two tied, two cut, is the
stroke desired. There are no complications or difficulties.
No. 29.
Contrasts of legato and staccato bowing occur here.
Use a forearm bowing. Play the etude slowly for
intonation and rhythm.
No. 30.
Use a forearm bowing, detached notes, in single
strokes. Follow this with a whole bow, two, four or
eight notes on a bow, according to proficiency. This
etude should be practiced carefully for intonation.
No. 31.
Be very careful of the rhythm in this 6tude. Cross
the strings, keeping the fingers down as long as necessary.
Play on the outer edge of the hair. Use the whole bow
as much as possible.
Passages of this type may also be played in the upper

half of the bow.
No. 32.
While the cultivation of the forearm is of great im
portance in this grade of work, one must strive to play
groups of notes where they would naturally be played.
F IF T Y EASY M E L O D IC S T U D IE S . SI
I would therefore recommend a broad, free bowing, the

single eighth notes occupying only a half bow or less,
according to the tempo taken.
No. 33.
A legato etude of practical value. The keys which
Wohlfahrt uses are always easy ones in this grade of
work, as position study is the main question of impor
tance.
No. 34.
As an example of the legato and for bowing and
rhythm, this etude is useful. The whole bow is neces
sary.
No. 35.
Play the etude in the upper half of the bow. Detach
the notes. After mastering it tonally, play three notes
or six notes to a bow. Include other bowings if desirable,
as the etude is an easy one.
No. 36.
We now give our attention to changing positions,
rather than continuous work in one position. Do not
slide into the new position by a disagreeable portamento.
Play slowly, with taste and ample tone, remembering
that an affected style is unnatural.
Nos. 37 and 38.
These etudes follow in logical sequence and are both
interesting and useful. Use the bowings indicated; in
the first case a whole bow is desirable. In the second,
legato bowings are preferred, the upper half of the bow
being the most natural.
Nos. 39 and 40.

Owing to difficulties of intonation, practice these Etudes
slowly at first, striving to produce a fluent and even
legato.
Nos. 41 and 42.
For the further study of the third position, these
Etudes are valuable. No. 42 requires some attention as
to time. Play it slowly if the groups are difficult.
No. 43.
This etude should be played with short detached
strokes, in the upper half of the bow. The movement is
an arm and not a wrist one.
No. 44.
Play this etude in the upper half of the bow, using as
little bow as possible for the sixteenth note, up stroke,
with a wrist movement:
^__ 4
1 _ m-9- -m-
m -itZ -t t l-l
%
No. 45.
A smooth running legato in the upper half of the bow
is desired. Broaden this stroke out toward the close of
the etude.
No. 46.
If intonation seems difficult, play this etude in groups
of three notes. In passages of this kind remember that
the last finger used leads into the new position:
F IF T Y EA SY M E L O D IC ST U D IE S , S3
No. 47.
The first two notes of the first measure are to be played
near the point of the bow, to insure lightness and bril
liancy of the up-bow staccato. The last two notes of the
measure are in the lower half of the bow. Follow this
idea throughout the etude:
The further etudes I usually omit, as the principles

they introduce are much better expressed in other
works.
VIII.
DUET-PLAYING.1
HE first steps in duet-playing are under the teacher’s
T guidance. The duets by Pleyel, Op. 8j Gebauer,
Op. io, Book I; and Mazas, Op. 38, are very interesting
and practical. The child learns to read quickly at sight,
and the first rules of orchestral bowing are presented in
such a manner that great precision and freedom of bow
ing are obtained in early study. Many pupils, who are
either too timid to play solos in public, or who have no
strong musical aptitude, fit into duet-playing surprisingly
well, especially if they feel that the teacher is at hand to
support. For early work, in addition to the compositions
mentioned, use a “ Mazurka,” by Beaumont; a “ Sere
nade,” by the same composer; “ Twelve Easy Melodic
Recreations, ” by Dancla, Op. 187; “ Dreamy Moments, ”
J. Ehrich, Op. 32; “ Slumber Song,” C. Ersfeld; the
“ Fritsche-Saenger Album,” “ La Cinquantaine,” Gabriel
Marie; “Sounds from Home,” Jos. Gungl, Op. 31, and
“ Laendler,” Op 361. For very little folks the “ Easy
Little Fantasies,” in the first position, on popular songs
and melodies, by Kron and Saenger, are useful. Give
special preference to German folk songs. “ Cinderella
March” and “ Hope March,” by Papini, are practical.
“ Musical Reflections,” byHermannSchroeder, and “ Easy
Fantasies, ” by Wohlfahrt, Op. 83, fit into a plan of study.
For more difficult works, use Three Pieces — “ Sere
nade, Barcarolle and Pizzicati,” by Pache; “Three Little
Symphonies,” by Dancla, Op. 109, preceded by the
“ Symphonie Concertante, ” No. 4, in G minor, Op. 98,
1 All duets, solos, etc., mentioned in this special chapter on “ Duet-
Playing ” are contained in the Carl Fischer catalogues, in new and specially
revised editions.
54
D U E T -P L A Y IN G . 55
and “Twelve Easy Melodic Recreations, ” Op. 187, which
more properly belong to the first grade. “ Six Duettini,”
Op. 18, by Godard, belong to the later preparatory
period just before Kreutzer and during the study of
Kreutzer, yet many more advanced pupils use them.
The “ Ave Maria,” by Bach-Gounod, is always useful.
The Handel “ Largo,” “ Two Barcarolles,” Op. 19, No. 6,
and Op. 30, No. 6, by Mendelssohn, are well-arranged;
also “ I would that my Love.” The works to which I
have been referring are for two violins and piano, for
public use. There are many violin duets very useful for
pupils, the teacher playing the second violin part.
Three “ Duos Concertants,” Op. 57, by De Beriot, are
for advanced pupils. “Twenty Progressive Exercises,”
Op. 38, by J. Dont, are excellent. For varied practice of
technic, “Three Duos Concertants,” Op. 178, by J. W.
Kalliwoda, and Moritz Schoen’s “ Modern Duets,” Op.
13, are worth considering. For further work consult the
excellent catalogue of Carl Fischer, New York (“ Selected
Classic and Modern Music ”).
IX.
SIXTY ETUDES.
By F. W O HLFAH RT.
Op. 45. Book 1. 1
HESE etudes are of about the same difficulty as

T Kayser I. They are very much more progressive
and melodic, as well as modern in treatment. The
keys are easy, progressions simple, and suggested bow
ings useful. Follow the same idea or plan as in Kayser I
in choice of bowings; (i) whole bow detached; (2) upper
half of bow; (3) lower half; (4) two tied; (5) four tied;
(6) two tied, two cut. The exercises follow in somewhat
logical order, and the choice of keys is excellent. I
should use No. 3 for a legato
study, eight notes in one *■
*'
bow. No. 4 may be varied P = E | §
thus, upper half of the bow:
No. 5 is useful with varied bowings, the legato being
preferred. I should play No. 6 with two tied and two
single notes — not staccato. A forearm movement is
a free and natural stroke. No. 7 is an etude requiring
careful intonation, therefore use the forearm stroke,
single detached bowing. No. 8 is a study of cantabile
playing, while No. 9 is an excellent example of legato
study on four strings. No. 10 should be played in the
upper third of the bow. No. 11 is useful as a staccato
study at or near the point of the bow. Play it first with
a free forearm stroke. No. 12 is a study of varied bowing.
There should be no hesitation between the short stroke
and the tied notes. A free forearm stroke, with strong
1 F. Wohlfahrt, “ Sixty Etudes,” Op. 45. Books I and II. Pub
lished by Carl Fischer, New York City. Price 50 cents each.
56
S IX T Y ETUDES. 57
accentuation, is desired. No. 13 is more practical at
the start if the four sixteenth notes are tied. Use the
whole bow. No. 14 is a study of the arpeggio form.
Use the upper half of the bow. No. 15 is played at the
middle of the bow, wrist stroke. No. 16 is a study of
half steps. Be careful of intonation. No. 17 should be
played with a free wrist stroke; broad forearm bowing
is still more practical if one is to secure freedom in string
transfers. No. 18 is a practical study of the legato. Keep
the bow well over two strings and do not press too heavily
on the stick. A singing tone is necessary. No. 19, while
not an easy key, is a good study for string transfers, or
rather for compassing four strings in a series of pro
gressions. The following bowings are suggested: (1)
Single detached strokes, forearm; (2) three notes to a
bow, whole bow; (3) six notes to a bow, whole bow;
(4) three tied, three cut; (5) first note cut, three tied,
three cut. No. 20 is a study of the legato. Play some
what slowly until evenness and beauty of tone are secured.
No. 21 is played in the upper half of the bow, at first
without accents.
No. 22 is in an excellent key and is a clever example
of syncopation. Do not accent unaccented notes.
Make no pauses between bowings. No. 23 is sometimes
awkwardly played by pupils who are unable to cross
the strings with grace and ease. Do not allow the fingers
to leave the strings until necessary. No. 24 is usually
omitted. No. 25 should be played without accents until
the bowing is mastered. Play in the upper third of the
bow. Do not cut the single notes too much.
No. 26 is another example of syncopation, in which
the legato is carried over the first note of a new meas
ure. Do not accent. Maintain a fluent legato. No. 27
is played near the point of the bow without accents or
staccato. No. 28 is omitted. No. 29 is a useful example
of legato bowing in the upper half or with the whole
bow. No. 30 is a further study of the legato with the
whole bow. Altogether, these etudes are written in very
practical lines and logically related.
X.
SIXTY ETUDES.
By F. WOHLFAHRT.
Op. 45. Book II. 1
HERE are no etudes for the third position so prac

T tical and well-written as this set by Wohlfahrt.
The studies of de Beriot and Eichberg, connected
with their “ Methods,” progress too rapidly for the aver
age pupil. The Wohlfahrt books offer logical prepara
tion for the positions. The keys selected are easy, and
there are no complications as regards rhythm, which
detract from concentration upon the thing of vital
importance — position work.
No. 31.
This etude is played with a broad detached stroke,
upper half of the bow. Vary the bowing by playing
four notes to a bow, eight notes and possibly sixteen.
No. 32.
Change the bowing thus at the opening of the etude:
IV.B.
In the main this etude is played whole bow forte

throughout. By this time the pupil must study tone
and bowing with a view to commanding a broad style.
A noble tone is first acquired from the study of etudes,
See footnote, page 56.
58
S IX T Y ETU D ES. 59
and is only possible when the pupil perfectly under
stands bow control and when the arm, forearm, wrist
and fingers are perfectly free and well-controlled.
No. 33.
The following bowing is suggested:
_1 _! □
1 J J
J U 111
fl
shflr — 1— 1- • ' ' 'll
1 *^ ^^ 12 3 2
/ W.B. Tip.{wrist) W.B.
Short passages of detached notes are to be played in
the upper third or upper half of the bow.
No. 34.
This is one of the best Etudes in the set for the study
of bowing. The forearm stroke, detached, is best at
first. After this, use the following bowings:
UH. U.H.
Avoid irregular values of notes until these exercises

are mastered.
6 o H O W TO PREPARE FOR KREUTZER.
No. 35.
Begin the etude thus:
F -7 p B ------------- =------ rr-i -------------- 1
-fT I N 3 3 3 t m 1 d H
*-•-
/
Be very careful of intonation and rhythm. Avoid
accentuation of the first note of a measure with which
the previous measure is connected by a slur. Practice
this etude slowly and evenly until the time element is
perfected.
Nos. 36 and 37.
No. 36 requires the upper half of the bow; (1) single
detached notes; (2) two notes tied; (3) four notes tied,
two notes tied. No. 37 is to be played in the upper half
of the bow.
No. 38.
No. 38 requires a forearm stroke. Avoid the short
^ ^ staccato. Play slowly for intona
tion. Be very careful not to play
*=4 passages of this kind in a jerky
and irregular manner.
No. 39.
This etude should be played with a whole bow, a per
fectly free bowing, and moderately fast. For compassing
four strings freely, use a slightly higher altitude of the
bow arm. Do not transfer across the strings with a
limp, undulating movement of the wrist. Play on the
outer edge of the bow hair.
No. 40.
This etude is only practical when the pupil is studying
some piece like the “ Gnomentanz,” by Goby Eberhardt,1
which requires hammered bowing at the point. The
1 Published in a newly revised edition by Carl Fischer, New York
City.
S IX T Y ETU D ES. 61
stroke is from the shoulder, the bow rising and falling

with force, the point of contact being the flat surface of
the hair. The teacher should use the etude only as a
supplementary one.
No. 41.
This etude, when played slowly and evenly, with
absolutely no break in the legato, is practical. There
should be no accents and no pause between changes of
bow. Use the whole bow and increase the tempo as
freedom of the bow arm is secured.
No. 42.
I usually omit this etude, as there are better ones for
the study of embellishments in the positions.
No. 43.
The arm should keep a wide outward curve in legato
runs on four strings. Use a whole bow. Intonation
must be perfect. The teacher should first play the etude
with the pupil; the latter may then play it alone, the
teacher correcting faults of intonation. Preserve a
moderate tempo.
No. 44.
This etude is in march time and should be strongly
accented. While the wrist is free, do not use the lateral
wrist stroke too much. A clean cut forearm stroke or
a broad whole bow stroke may be used. There are so
many examples of this style of bowing that it would be
well to use the “ War March of the Priests,” or the “ Wed
ding March,” by Mendelssohn, as illustrations. The
Chopin “ Funeral March,” and the “ Bridal Procession ”
from Lohengrin are parallel examples of bowing.
No. 45.
As a study of accentuation and of the staccato, this
etude is valuable. Compare the etude with similar ones
by Kreutzer and Fiorillo, that the pupil may see the
62 H O W TO PREPARE FOR KREUTZER.
vital connection between the suggested bowings of

preparatory etudes and the more difficult books of mas
ters. Use the upper half of the bow, the staccato
runs falling at the point of the bow. These do not re
quire a lateral stroke of the wrist. They are executed
at the point, the action coming from the fingers. Free
dom of wrist and forearm are necessary.
No. 46.
While this etude is somewhat difficult, do not accent
the triplets. A broad free bowing, whole bow, is neces
sary.
No. 47.
For pure cantabile playing do not omit No. 47. Con
nect tones well at the point and nut of the bow. Make
the change from position to position with care, striving
not to force the portamento.
No. 48.
This style of bowing is admirable for the development
of the forearm, or for the running legato at the point.
Do not accent.
No. 49.
Play this etude as a legato study: (1) Three notes to a
bow, upper half; (2) six notes to a bow, whole bow;
(3) double each note, wrist, middle of bow.
No. 50.
Pla^ at the point of the bow staccato only after the
£tude has been learned with a broad forearm stroke.
Tied notes should be played with a running legato stroke
in the upper third of the bow. A free wrist and forearm
can be cultivated with this etude. The upper arm,
elbow, forearm and wrist act together with suppleness,
not independently.
S IX T Y ETUDES. 63
No. 51.
Parallel Etudes like No. 9, Kreutzer, should be played
by the teacher, that the pupil may see the value of
studies for the development of the legato and for strength,
flexibility, and evenness of finger action. The whole
bow, with equal pressure, is recommended.
Nos. 52 and 53.
These etudes may properly be made to supplement
more specific trill and double stop study.
No. 54.
Owing to difficulties of intonation, this etude is some
times omitted. It is practical during the study of
chromatics.
No. 55.
A free stroke in the upper third of the bow is recom
mended. This can be a broader stroke as the arm and
wrist become more free. Play the etude at a rapid tempo.
Nos. 57 and 58.
These are the only remaining etudes that I teach. In
57 use a whole bow, the sixteenth being a wrist stroke.
No. 58 is an excellent legato study with the whole bow.
XL
STUDIES IN A LL T H E POSITIONS.
By J. W EISS.
Op. 80. Book I .1
OR the development of strong and secure tone,

F graduation of tone, together with dexterity of
fingering, these studies are invaluable. Just where
they fit into violin study is a question to be decided
by the teacher. Generally they precede the study of
Dont, Op. 37—38 and Mazas “ Etudes Brilliantes. ” The
graduation of tone is one of the most difficult subjects
in the world for the average pupil to master. Quite as
much depends upon the daily practice of the crescendo
and diminuendo as upon listening to the work of artists,
who, though they inspire, cannot furnish us with the
specific means of expression. No. 2, following an excel
lent example of tone graduation, must be played rapidly
with various tone shadings. In No. 3 use the grand
detachi stroke instead of the staccato at the points
indicated. Watch expression marks and accents care
fully. No. 4 introduces varied bowings. Pay special
attention to the development of the forearm. No. 5
is a legato study, quite valuable also for tone graduation.
No. 6 may be studied with varied bowings, primarily
the alternating staccato and legato. No. 7 should be
played with detached strokes, middle to point of bow.
Vary the bowing as the exercise develops. No. 8 is
a preparatory study for the trill. It should be played
with a whole bow, the pupil carefully observing prin-
1 J. Weiss, “ Studies in all Positions,” Op. 80, in three Books.
Published by Carl Fischer, New York City. Price 75 cents each.
64
ST U D IE S IN ALL T H E P O S IT IO N S . 65
ciples of light and shade. No. 9 opens with short
staccato stokes at the point of the bow. Play the
arpeggios in the middle third of the bow with a free
wrist, the arm moving in the i—j
plane of the strings. Maintain
a rapid tempo. No. io is played
with a whole bow. Do not use
a wrist stroke in passages of /•
II
this kind:
No. ii is a study in legato playing, whole bow. Keep
the bow well over two strings. Do not allow the fingers
to leave the strings until necessary. Again call attention
to the bowing in No. 9, Kreutzer. No. 12 opens
with an example of pure cantabile playing. The next
movement is a free wrist stroke, middle of the bow.
Follow this with the artificial spiccato at the middle of
the bow; double the notes and play the entire exercise
with springing bow.
X II.
STUDIES IN A LL POSITIONS.
By J. W EISS.
Op. 80. Book II.1
HIS work fits into the “ Etudes Brilliantes,” by

T Mazas, and is seriously considered by teachers.
Melodically it is interesting, and there are no studies in
tone graduation so peculiarly useful as these, in this grade
of work. Tone graduation is regarded as a gift by many
teachers. Since it is dependent upon bow control, there
can be no doubt that practice of the “Three Octave
Scales, ” with the crescendo and diminuendo, is necessary.
Strive to produce a pure singing tone.
No. 13.
The most serious difficulty in connection with the
study of cantabile playing is that pupils play too rapidly
and do not cultivate tone from the middle to the point
of the bow.
Before tone shading begins, one should be able to
produce (i) a singing tone; (2) a firm tone, whole bow; (3)
a light tone of equal value throughout, no pressure.
Making the crescendo and diminuendo four times in one
bow, at the same time using the vibrato, is a very great
aid in producing warmth and resonance of tone. Avoid
the tempo rubato. In position changes do not slide into
place with a jerking movement or with an exaggerated
portamento.
No. 14.
Play the staccato notes broadly from the middle to
the point of the bow. As a preparation for the broad
66
S T U D IE S IN ALL P O S IT IO N S . 67
stymie of bowing used in the Kreutzer and Fiorillo

“ Etudes'’ as well as in the Rode “ Caprices,” I would
develop the forearm, using broad detached strokes.
No. 15.
Use, as in the previous etude, broad detached bowings,
forearm stroke. The fingers must seek their places
instantly, and they must not be raised until necessary.
String transfers should be made with the wrist leading,
the arm following the plane of each string.
No. 16.
Several exercises of this kind are found in the Kayser
and Dont “ Etudes.” The teacher should always call
attention to works of a similar nature. Keep the bow
well-poised over two strings. The arm leads in an
outward curve. Accent the first note of each group
without disturbing the legato.
No. 17.
Begin the exercise, using the lower half of the bow.
The wrist should be loose, the chords commanding,
and the rests carefully observed. In the fourth measure
use the upper half of the bow, notes lightly cut. In two
string transfers use as little of the flat surface of the bow
hair as possible. Play the chords with dignity and the
notes following in the same part of the bow. Observe
carefully the marks of accentuation and tone-color.
No. 18.
This exercise is a study of the staccato at or near the
point of the bow. Staccato scale studies should pre
cede it. While the short staccato at the point of the
bow may be played on the outer edge of the hair, as
little wrist motion as possible is recommended. Experi
ence and study in different schools convinces one that
the most elegant, brilliant, and rapid staccato work is only
6 8 H O W TO PREPARE FOR KREUTZER.
possible when the movement comes from the arm rather

than the wrist. Many artists strive for years to produce
a brilliant staccato run. Success comes only when the
subtle principles of accent, relaxation of fingers and a
well-trained arm combine to produce a free and beauti
ful movement.
No. 19.
This exercise at the point of the bow is very useful in
connection with staccato study. In preparation for the
eighth Kreutzer etude with the following bowing, it is
very valuable:
No. 20.
A careful examination of the “ Etudes” of Sitt, Dont
and Mazas will reveal connecting links in the study of
fundamental principles of bowing and fingering. The
whole bow is to be used in this excellent legato exercise.
Avoid accentuation of groups until the musical content
of the exercise is mastered. Also strive to keep the bow
well over two strings and anticipate string transfers.
This insures a fluent legato. As the exercise offers diffi
culties tonally, it should be played with four notes to
a bow, eight notes following only when the musical
content is mastered. In four string arpeggios, cross the
strings with a wide circle of the arm and play on the
outer edge of the hair.
No. 21.
Many exercises which seemingly are to be played at
or near the point of the bow, are quite frequently, owing
to the nature of string changes, played much more easily
ST U D IE S IN ALL P O S IT IO N S . 69
in the middle of the bow. For technical detail, Hans

Sitt is hardly surpassed by
Sevcik. I sometimes teach
this exercise thus:
Since we are studying the
staccato, however, it may be P ( .
le g g ie r o . S p ic e m .)
wise to continue with that bowing in this exercise. Each

teacher must study the individual needs of pupils.
No. 22.
Owing to the tempo of this exercise, play it in the
upper third of the bow, except in cases in which pupils
have little bow control at the point, when a stroke about
one inch, or even two inches from the point, is freer.
Increase the tempo and shorten the bow-length, after
mastering the exercise musically.
No. 23.
/
Etudes 9, 16 and 27 by Kreutzer (Peters Ed.), are in
certain ways connected with this exercise. Elasticity
of finger action, equality of notes, tone-shading, intona
tion and position work are included in its requirements.
Take the exercise very slowly and do not raise the fingers
too high, for a principle of trill study requires elasticity
and freedom but not force, as I have often stated.
No. 24.
An introduction like those of Fiorillo and Rode in
principle, with a slow movement, followed by a light and
elegant movement in the middle of the bow. The length
of bow is, however, variable, owing to the number of notes
in each bow in different parts of the exercise. Altogether
the exercises presented in this book are well-prepared,
practical and thoroughly interesting to pupils. They
belong properly between the Kayser and Dont “ Etudes,”
parallel with the Sitt, Op. 92, though I do not care to
outline an exact and logical course for pupils, owing to
individual limitations.
X III.
STUDIES IN A LL POSITIONS.
By J. W EISS.
Op. 80. Book III.1
HE further study of the works of Julius Weiss

T reveal some excellent points in connection with
pure cantabile playing and tone graduation. While
the third book is quite as difficult as the Dont and Sitt
“ Etudes,” used in preparation for Kreutzer, Weiss has
made his themes more playable. No. 25 introduces us
into the realm of style. The “ Studies” constitute seri
ous musical work, and cannot be studied save under the
wise direction of a skilled teacher.
No. 26 is played with a whole bow, shorter passages
occupying only a short part of the bow. As a study of
bowing, position work and phrasing, this number is
valuable.
No. 27 opens with a whole bow, the tempo being slow.
Accent the trilled note and relax after the first attack.
This trill, so infrequently used in violin classics, as well
as advanced etudes, is practical, in that it teaches uni
form finger action. The trill should be legato and
elegant, the upper finger falling with elasticity rather
than force. Never raise the fingers high for a continuous
trill.
No. 28 is a useful, though difficult, study of the trill,
combining a legato movement. It is wise to omit it at
this point and take it later. No. 29 opens with light
detached strokes in the middle of the bow. Although
the bowing is varied, use the upper third for legato pas-
70
S T U D IE S IN ALL P O S IT IO N S . 71
sages. Play smoothly. Do not jerk the notes in order
to accommodate the player to a particular part of the
bow. No. 30 is a somewhat difficult study with three-
fourths of the bow, one-half, the whole bow and the
upper third, according to the nature of the passage and
the number of notes to a bow. No. 31 contains a form
of staccato at the point of the bow often found in the
works of the French School. This form of bowing
stands out in contrast with the smooth, flowing legato
passages, with the whole bow. The study opens with
light spiccato strokes at the point of the bow, the stroke
being a wrist one. No. 32, while a splendid study,
combines so many important principles of bowing and
position work that I do not think it wise to give it to
any but seriously musical students. No. 33 alternates
with legato and staccato bowing, the upper half being
used, the actual length of the bow being governed by the
nature of the passage. No. 34 requires about three-
fourths of the bow in the first three measures. Use the
point of the bow for the staccato passage. Be very care
ful of intonation throughout. No. 35 should be played
with the bowings indicated, as varied bowings are not
practical. No. 36 begins with the point of the bow, but
the main bowing is a forearm one.
XIV.
TECHNICAL STUDIES.
By H A N S SIT T.
Op. 92. Part I, Book I.1
HESE studies in the first position are for the culti

T vation of the left hand. They begin, like the Sevcik
“ Studies” for the development of the left hand, on
one string. They should first be played in a slow tempo,
each group being repeated four times. Gradually the
exercise should move more rapidly. Play it also on
each of the three remaining strings. The fingers must
fall with elasticity rather than strength, and they must
lie well over the strings, the fourth finger always moving
in the same plane as the third. No. 2 is a useful exercise
for the development of finger technic, as well as for the
legato. No. 3 is one of the most useful of the series.
Do not accent the first note of each triplet. No. 4 is a
very practical exercise on four strings. Play the bowing
as indicated, as this is the only way to obtain a good
legato. No. 5 is so uniformly written that it should be
played on each string with great elasticity and flexi
bility of finger action. The chromatic exercises should
not be omitted. Do not raise the fingers — they should
glide along the string. No. 6 is an example of string
transfers on two strings. Practice with whole bow,
being careful that in the lower half there is a perfectly
free movement. No. 7 is a further study of the legato.
Increase the tempo from time to time. Practice each
exercise on all the strings. No. 8 is a good example of
1 Hans Sitt, “ Technical Studies,” Op. 92. Part I, Book I, Exer
cises in the First Position. Price $1.00. Published by Carl Fischer,
New York City.
72
T E C H N IC A L S T U D IE S . 73
sextuple time. It should not be omitted. No. 9 con

sists of finger exercises on four strings. I should use
these exercises as supplementary work while studying
the “ Etudes” of Dont and the Mazas “ Etudes Bril-
liantes,” as they furnish splendid examples, for daily
practice, of finger technic. Nos. 11 and 12 follow out
the same plan of study as the exercises previously studied.
No. 12 being an example of the principle of the trill, it
may be wise to say that the trill fingers fall with light
ness and elasticity, the fundamental note being held
more firmly. Do not raise the fingers too high for an
attack.
While the scale studies and chromatic exercises that
follow are very useful, I rarely teach them at this
point. One must again assert that all studies must
fit the individual needs of pupils, hence a plan of study
which suits one pupil cannot always meet the needs of
another.
XV.
TECHNICAL STUDIES.
By HANS SITT.
Op. 92 . Part I, Book II.1
HESE exercises for the cultivation of the left hand

T are combined with exercises in the various positions.
The study of the second position is extremely diffi
cult to most students, partly because the thumb is not
free, and also because intonation has not been established,
but I should begin the study of the second position,
using the works of Wohlfahrt and Sitt. The latter, as
most teachers know, is inclined to present difficulties of
intonation. I would, therefore, guard against this very
carefully. If the exercise proves too difficult at the
start, use single bowings, detached, upper half. Play
the exercise usually, however, as written, with sixteen
notes on the bow, somewhat slowly and evenly. The
teacher should always play the exercise with the student
until the intonation is understood. Then the student
may play it to the teacher, the latter making corrections.
When studying position work, I always read the advanced
exercises with my students. The second exercise is in the
third position and affords an excellent example of legato
bowing. We have probably studied several exercises
in the third position in other works. I should not use
these exercises in order. The next exercise in the fourth
position may be studied in connection with similar work
in the Schradieck Book I. The exercise in the fifth
1 Hans Sitt, “ Technical Studies,” Op. 92. Part I, Book II, Exercises
in the Various Positions. In shifting from one position to another and
chromatic exercises. Price $1.00. Published by Carl Fischer, New
York City.
74
position should not be studied until some similar exer

cises. have been used. These may be found in the Wohl-
fahrt books. The sixth position is not difficult, if the
student is able to play well over his strings; bring the
thumb far under the violin. I would also be very care
ful of intonation in the sixth position. Do not draw
the strings from right to left in any of the higher posi
tions. Keep the first finger on the string so that the
position may be gauged correctly. It is a question
among teachers whether an exercise in the seventh
position continuously is as valuable as one which in
volves several positions, the seventh being incidentally
used. However, I leave this to the judgment of teachers.
In most cases I should precede some of this work with
No. 16, consisting of exercises in changing positions on
one string. In connection with this work use similar
exercises of Carl Halir, in his “Tonleiterstudien.” I
have also cited many examples of this class in my “ Daily
Exercises for Violinists.” The thumb must be perfectly
free. The base of the first finger must not press heavily
against the neck of the violin. Practice a singing tone.
Now with reference to work of this kind,-play with great
freedom. The finger last used goes to the new position
but does not slide into place. These examples are
exceedingly interesting for the cultivation of a fluent
technic, as well as for position work. I know of no ex
amples so fine as these unless it be the first examples
in the Schradieck Book I.
No. 17.
No. 17, while less practical, is very helpful to the
student from a point of intonation, as well as position
work.
No. 18.
No. 18 is a legato study as well as a study of position.
The fact that Sitt desires one to use the exercise on
different strings is very helpful.
No. 19.
No. 19 is an example for fluency in position work.
It, like the last one mentioned, is very valuable for the
acquiring of a fluent and rapid technic. The only
difficulty to be anticipated is the slight inequality in
the legato, produced by changing the positions. This
must be overcome.
No. 20.
No. 20 is in a very excellent key and considerable
fluency can be obtained from its practice.
No. 21.
I do not use etude No. 21 except in the cases of students
who have a fine technic and excellent intonation. It is
a matter of prime importance that sometime during
violin study, the subject of chromatics should be con
sidered. I would not, however, force this upon the
student until he is prepared for it. I therefore omit it
at this point, though No. 23 is sometimes useful in con
nection with certain phases of work.
No. 24.
No. 24 consists of various exercises in scales. I would
be very careful about intonation. The scales of Sevcik,
Book II, exercises for the development of the left hand,
are a little more practical.
No. 25.
No. 25 is a splendid example of the study of arpeggios.
No. 25, while a little out of order in its technical difficulty,
is a good etude.
Nos. 26 and 27.
I frequently use Nos. 26 and 27 for the study of the
legato.
Nos. 28 and 29.

If Nos. 28 and 29 are used, the teacher should be very
careful to insist upon smooth and florid playing, as well
as excellence of intonation; for, unless one is very care
ful, the student will soon play in a slovenly style and
rarely in tune.
XVI.
TECHNICAL STUDIES.
By H A N S SITT.
Op. 92. Part I, Book III.1
HESE exercises and studies are for the cultivation

T of the left hand, and particularly for double-stop
ping. Double-stopping implies poise and freedom of
the left hand and fingers. Sitt begins with a legato
exercise to poise the bow over two strings. The pressure
upon each string is the same. Play lightly and evenly.
The fingers must fall with evenness and equality, with
suppleness rather than force.
No. 31b.
For independence of the fingers and poise of the left
hand, this exercise is especially useful. Teachers will
________ |____ |____ |___ find it invaluable in prep-
pz -------m— ------ 9— ------- m--------- l-l aration for Kreutzer,
E S m in that it so well illus-
bLa U l l J ^ _J trates the principle that
s—' s ^ the fingers must remain
on the strings as long as possible. For variety play
each group of four notes in connection with the half
notes separately in the middle of the bow, with a very
light stroke. Raise the bow after each group is played.
Choose the exercises which are most practical, omitting
the ones most difficult tonally, if advisable.
1 Hans Sitt, “ Technical Studies,” Op. 92. Part I, Book III, Double
Stopping, Thirds, Sixths and Octaves. Price $1.00. Published by
Carl Fischer, New York City.
78
No. 31c.
This exercise combines the positions with double
stopping. One must have studied the various positions
and be able to move with ease and certainty into each
new position. Although the exercise is a difficult one,
the position changes are well worth mastering. The
two fingers representing the fundamental double-stop
in each measure should seek their places at once.
No. 32.
This exercise is useful in the acquiring of a fluent tech
nic. The fingers should be well-arched over the strings
and should remain in place until changes are necessary.
Play the exercise slowly, until it is fluent and even as
regards the grouping of notes. Intricate passages should
be played over and over until mastered. For many
reasons this exercise is very practical.
No. 33.
I do not use this exercise at this point in our study.
As a rule, the teacher should select only those exercises
of a practical nature. This one, while very practical,
should be practiced with care, as it involves the too
frequent third and fourth finger trill in principle. It
may fit in a little later.
No. 34.
Whenever double-stops are combined with positions
and string transfers, strive to secure freedom rather than
strength in the fingers. The two fingers must fall at
once into place, the upper one falling more lightly.
Practice each group slowly and evenly. The fourth
finger must be well arched and must fall in the same
plane as the third.
So HOW TO PREPARE FOR KREUTZER.
No. 35.
Throughout these exercises observe this principle:
Difficult passages must be repeated. The method of
I—l playing each run over and over, as
t outlined
Bstudien,”
in the Halir “Tonleiter-
is valuable. Play each
u measure in the middle of the
I bow, raising the bow after each
group of notes.
Follow the same plan in the
next
xt grouping of notes. »^
No. 36.
Like the preceding exercise, this one is useful for daily
systematic practice. Position changes require that the
fingers fall lightly and quickly. Vary the bowing by
playing groups of two and
four, as well as eight
notes. As this work must
inevitably become monot
onous if practice is too
continuous, select portions
mm U of each exercise studied

for frequent reviews, and
devote about twenty min
utes a day to the work,
Vary this exercise by other position changes than
those indicated. Also use single detached bows for
variety.
Each etude, or exercise, has some special object.
While double-stopping is of great value to the student,
it should be wisely combined with other work, such as
bowing studies in phrasing. I would therefore suggest
that at this point, the present work be supplemented by
Sevcik— “ School of Technic,” Op. 2, Book II, Parts
III, IV and V.
Nos. 38, 39, 40.

These etudes may supplement Sitt, Op. 32,1 Book IV.
They may also be reviewed before the study of the
Halir octave studies in the “ Tonleiterstudien.”
No. 41.
This is primarily a study of intervals. There should
be no gradations of tone. Play slowly and evenly, giving
the same value to each group of notes. Used in connec
tion with the double-stop studies of Dont, it affords
examples of finger relaxation which are very valuable.
The fingers must fall with great flexibility and elasticity.
That principle is advanced by Eberhardt and Halir,
who have made an exhaustive study of the development
of left-hand technic. Selected groups may suffice for
the daily practice of pupils who do not intend to enter
the profession and whose time is limited.
No. 42.
I generally omit this exercise in a course of study,
unless it bears closely upon professional work. There
are many studies of a technical nature which, in an
abbreviated course of study, cannot be used for want of
time. One should go over them, explaining their value
and the manner in which they should be played, how
ever, in cases of students preparing for the teaching or
concert career.
1 Hans Sitt, Sixty Studies, Op. 32. Book I, Twenty Studies in
First Position. Book II, Twenty Studies in Second, Third, Fourth and
Fifth Positions. Bopk III, Twenty Studies, Changing of Positions.
Book IV, Twenty Etudes in Double-stopping. Price, 75 cents each.
Published by Carl Fischer, New York City.
XVII.
TECHNICAL STUDIES.
By H A N S SITT.
Op. 92. Part II, Book IV .1
HESE “ Studies” are models for tone graduation,

T positions, double-stopping and the study of string
transfers. Opening with slow exercises for the study
of tone color, splendid examples of pure cantabile play
ing, they become more and more interesting to the serious
student, as they progress.
The exercises in double-stopping should (at b) be
played with single detached bows, middle of the bow.
Then play two notes to a bow and four notes followed by
the bowings indicated. The fingers move together, not
separately, gliding along rather than pressing upon the
strings, the upper finger offering the least resistance.
Two fingers must seek their positions simultaneously.
Supplement this work with Sitt, Op. 32,2 Book IV for
double-stopping, and use the principles involved in the
Halir studies in double-stopping. No. 5, page 8, is a
splendid example of accents carried throughout a meas
ure. A follower of the Berlin School used the follow
ing scale with the vibrato and four accents to produce
warmth of tone:
W.B.
1 Hans Sitt, “ Technical Studies,” Part II, Book IV. The long sus
tained stroke producing the singing tone. The hammered (martele)
stroke. Price $1.00. Published by Carl Fischer, New York City.
82
Accent fills an important place in tone development,

especially in such works as require quality rather than
quantity of tone. The exercises of No. 5 are very useful
in developing the subtle points of accentuation, so vitally
connected with the higher principles of phrasing. No. 6
illustrates an important principle found in technical
works like the 2nd Fiorillo 6tude, and in pieces like
the “ Souvenir de Bade,” by Leonard, and the “ Little
Tambour,” by David. The 22nd Viotti Concerto con
tains an example of this type (slow movement). Also
consult the Six Bach “ Solo Sonatas,” edited by
Hellmesberger.
It is well for the pupil to see parallel illustrations in
works of more importance than ones which he is study
ing. No. 6 is an example of the legato with the accom
panying part played by a slight dipping motion of the
wrist, without the slightest interruption of the sustained
note. The lower note must sound simultaneously with
the upper note. While No. 7 is somewhat out of order
in its particular value, it is a useful exercise for develop
ing quickness of finger action in a continuous legato
movement. No. 8 is a valuable legato etude correspond
ing in its purpose and value with the earlier “ Technical
Studies ” of Schradieck, Book I. No. 10 may often be
supplemented by legato studies in the Dancla “ School
of Mechanism,” a book not as much used as formerly by
teachers, but which contains many interesting points.
No. 11 combines several positions and maybe omitted
at this point. No. 12 is an exercise in sustaining tone
across two, three and four strings. Use the Sevcik,
Op. 2, Books IV-VI, especially the earliest work of the
series for string transfers. Use the upper half of the bow
for short string transfers. There is only a slight undu
lating stroke of the wrist. Remember that in broad
string transfers over four strings the arm moves outward
from the body in a wide curve, and follows the plane of
each string carefully, the wrist curving outward. No. 13
is one of the most valuable etudes of its grade for string
transfers, excelling similar examples of Hille and Sevcik
(Op. 2, Part III, “4000 Bowings”). No. 14 is a good ex

ample of the legato, with a running stroke at the point
of the bow. No. 3 may be played with an undulating
wrist stroke at the very tip of the bow. If possible, keep
the fourth finger on the bow stick as much as possible.
Throughout the entire etude, play with the bow well
over two strings. Continue the bowings of No. 7-9, for
regular daily practice, modifying the bow stroke and
playing four, eight, and sixteen notes in the upper half
of the bow, or with the whole bow when a broader stroke
is necessary. No. 15 opens with the grand detache, a
stroke of great beauty and value to the violinist because
of its possibilities as regards freedom and resonance.
The bow must be drawn rapidly from nut to tip so that
the note played shall sound like
a Jl; during the pause between
H U notes the bow must not leave the
W .B . string. This stroke may be carried
on through etudes 16 and 17. It
is the first one studied in Kreutzer.
No. 17 introduces the light singing tone and the grand
detache. The latter requires instant pressure and
instant relaxation. The bow must not leap from the
strings. No. 18 introduces the hammered or martele
stroke, which requires very little tone, its main purpose
being to cultivate muscular control. In this illustration
we use the stroke both at the tip and nut of the
bow, the wrist and forearm assisting in the pressure.
There must be a slight pause between the pressure and
the sound produced, which is of slight duration but
forced. If equality of tone is desired, press slightly
more upon the up-stroke than the down-stroke. For
the development of strength the martele is valuable,
but owing to the concentration of muscular power, it
is not a practical bowing for those who have not attained
perfect freedom and elasticity of the wrist and forearm.
For this reason No. 19 should first be played with a free
forearm stroke. Nos. 20 and 21 may also be studied
thus* the martele being considered last.
XVIIa.
TECHNICAL STUDIES.
By H A N S SIT T.
Op. 92. Part II, Books V -V I.11
HESE exercises and studies are for the special

T development of the right hand. The detached
stroke, exercises in various styles of bowing and broken
chords with various styles of bowing, as well as the
staccato, are considered.
No. 24.
No. 24 contains examples of detached bowings, whole
bow. I should also use the upper half and the lower
half. Whenever the long sustained tone is played with
purity of tone and fluency as well as freedom, I would
study the detached strokes. This we find used in the
first Kreutzer, Kross edition. No. 14 is a further
example of the same style of bowing. This is so valuable
when one comes to the study of Kreutzer, Fiorillo, and
especially, in the broad style of Rode, that one cannot
begin it too early.
No. 25a.
No. 25a requires frequent string transfers. This must
not be done awkwardly. The fingers must remain on
the strings as long as possible.
1 Hans Sitt, “ Technical Studies,” Op. 92. Part II, Book V, The
detached stroke. Exercises in various styles of bowing. Broken chords
with various styles of bowing. Staccato. Book VI, Spiccato (The
thrown stroke). The short skipping bow (sautilld). Ricochet (Thrown
staccato). Arpeggio with various styles of bowing. Three and four-
part chords. Price $1.00 each. Published by Carl Fischer, New York
City.
8S
86 HOW T O PREPARE FOR KREUTZER.
No. 25b.
No. 25b is best played with the upper half of the bow.
No. 26.
No. 26 is a splendid example of varied styles of bowing.
I often use it for the study of the alternate legato and
staccato. Among the illustrations which I would use,
are Nos. 7, 15, 21, and for a wrist stroke, No. 34. This
exercise is so valuable as a study of bowing that I
cannot recommend it too highly. In fact, it is much
superior to any that Kayser has written.
No. 27.
The examples offered in No. 27, page 10, are based
upon a thorough study of the principles outlined in the
Massart1 bowings. I should select different bowings
for different etudes. In this case, Nos. 19, 20, 26, and
27, are useful.
No. 28.
You will note that all these etudes are in easy keys
and do not offer difficulties of tone or pitch. The bow
ings are in common use. I should always begin with a
forearm bow cut, after that apply certain principles of
bowing to each £tude.
No. 29.
For the study of the legato, this etude is very valuable.
I would suggest that the teacher play it over with the
student before giving any forms of bowings.
1 “ The Art of Studying R. Kreutzer’s Etudes,” 412 examples com
piled by the advice of the author. Revised and translated by Gustav
Saenger. (English, French and German text.) Price 60 cenis. Pub-
No. 30.
This etude is best played in the upper half, or upper
third of the bow, though I consider it a splendid example
for the study of the spiccato if we have not sufficient
examples in the other books. I would also study care
fully the forms of bowings on pages 14 and 15.
No. 30b.
No. 30b offers no new principles, but, in case the
student does not acquire the knowledge herein contained
readily, use it as a supplementary exercise.
No. 31.
This etude is to be practiced very slowly at the point
of the bow, staccato. You will note that, while it is to
be played near the point of the bow, one might use such a
stroke as is found in the Chopin “ Funeral March.” A
similar type of bowing is found in the “ Bridal Chorus
from Lohengrin.” Other examples should be cited for
the student, although they may be played in different
time. For the study of the staccato those examples
furnished on pages 19 and 20 are invaluable. A little
piece called “ Air de Ballet,” by Paul Wachs,1 is useful
although, musically speaking, it is not a pretentious work.
No. 33.
This etude should be played with the staccato down-
stroke at the frog. It is very useful in cultivating that
stroke. I use it sparingly with students.
No. 34.
No. 34 combines the up- and down-stroke, and is quite
practical, especially in its development of the pure
staccato.
1 Published by Carl Fischer, New York City. Price 65 cents.
88 HOW TO PREPARE FOR K R EU T ZE R .
No. 35.
No. 35 is one of the best of the staccato studies, and I
should unhesitatingly use it even later when acquiring the
staccato with the “Third Kreutzer litude,” Kross edition.
If the student begins the study of the staccato in the
works of Sitt and Dont, there,is no doubt that by the
time he reaches the Kreutzer Etudes, his technic will be
ample and his staccato very brilliant.
XVIIb.
TECHNICAL STUDIES.
By H A N S SIT T.
Op. 92. Part II, Books V - V i 1 (Continued).
HESE exercises are mainly intended for the special

T development of the right hand. The spiccato, or
thrown-bow stroke, is the first of the spring bow
exercises. It is played at or near the middle of the bow,
with the arm movement from the shoulder, the bow
being slightly raised from the string, after each stroke.
It is the only one of the spring bow examples which is
played in a comparatively slow tempo. This bowing,
so common in orchestra and quartet music, is considered
dangerous in the hands of an amateur, if played too often.
The fact is if the bow arm is free, and all the muscles are
supple, the bowing is quite as safe as any other types.
While the natural spiccato with the wrist implies the
doubling of each note (see “ Perpetual Motion’’ by
Bohm — Easy Suite), this stroke we are considering
under the term spiccato is an artificial type, requiring
no lateral stroke of the wrist and no doubling of each
note. It is, however, a bowing which requires practice,
for, to master it, one must become skilled in estimating
how much tone to seek for, at the same time preserving
the spiccato form. Sometimes it is wise to discard this
form of bowing, as, for instance, in the more difficult “Per
petual Motion,” by Bohm, which is much more pleasing
if each note is doubled, the natural spiccato being used.
It is a matter of personal preference to use the middle of
the bow for each stroke. Sauret plays the natural
1 Hans Sitt, “ Technical Studies,” Part II, Books V-VI. Exercises
for the special development of the right hand. Price, $i each. Pub
89
spiccato nearer the upper third of the bow, but this, no

doubt, is due to his great technical dexterity and light
ness of stroke. Cesar Thomson plays the thrown stroke
a little below the middle of the bow, with a smooth velvety
stroke, rather than a brilliant type. This is especially
true in the finished elegance of the Tartini ‘‘Art of Bow
ing,” a model for all serious students of the violin.
For the average student, the middle of the bow is
preferable. Slightly more accent is needed when the
rhythm is marked. The amateur must learn to mark
accents in spiccato bowing, otherwise accompanists are
very prone to follow a piece with difficulty. The fourth
“ Hungarian Poem,” by Hubay, is a good example of a
piece which requires strong accentuation. The “ Gigue ”
from “ Much Ado about Nothing,” by Edward German,
is also a work with some difficulties of accentuation.
When playing the “ Perpetual Motion,” by Ries, one
should keep the rhythm steady, as this type of bowing
is not easily followed by the average accompanist.
No. 36.
This exercise opens with several easy examples of
spiccato bowing in common as well as f time. The
rate of speed naturally governs the length of each bow
stroke. At (b), common time, the stroke is slightly
longer than at (i), a passage in which each note is re
peated. Triplets are extremely difficult in this form of
bowing. (2) The spiccato is much more easily acquired
when string transfers are involved; however, definite
scale runs as at (3) are useful. In spiccato bowing,
avoid the use of the fourth finger, if it is^not quick in
its movements, as the slightest inefficiency in technic
influences the freedom of the stroke.
At (c) and (d) strive to play with equality of tone and
even rhythm. Forced accentuation is out of place in
an etude, while a piece may demand more accent because
of the nature of the accompaniment. At (e) the string
transfers demand great freedom of the arm. The string
changes must be anticipated by a higher altitude of the

arm. Play on the edge of the hair away from the bridge.
Arpeggios in the form of triplets, as at (h), require that
the lingers take their positions quickly and remain in
position until they need to change. The arm moves out
from the body and back in accordance with the rules of
string changes, the same general position being main
tained. The wrist and arm keep an outward curve, but
the former never moves in an undulating manner or even
laterally during this stroke. Though free, it moves
with and not independent of the arm. Note (at k) the
extensions. Do not move the wrist outward. Relax
the hand and curve the fourth linger. The third re
mains on the string. At 1-n we find excellent examples
of arpeggios, octaves in doubles, and octaves in triplets.
These are especially adapted to the spiccato bowing and
are also valuable for the repose of the left hand.
No. 37.
Hans Sitt is undoubtedly one of the most prolific
writers of violin literature of our .time. He never forgets
the musical content of his exercises, however, and one
must master them away from the violin and bow, that is,
one must concentrate the attention on intervals, tones,
and semitones. Spiccato bowing must first be acquired
with easy exercises. The bow arm must anticipate
string changes and, as intonation is of prime importance,
it must first be obtained by playing the entire exercise
through with detached bowing, upper half. The fingers
must take their positions at once, the left hand being
perfectly relaxed. If the exercise is first mastered
technically, there will be no doubt about the perfection
of the spiccato.
Julius Eichberg used to say, “Ten etudes mastered are
better than fifty skimmed over.” That is the principle
that governed him in the teaching of Kreutzer, and no
student went from him who had not mastered the great
fundamental principles of violin playing through the
92 H OW TO PREPARE FOR KREUTZER.
most practical etudes. Hans Sitt reinforces principles

by abundant examples of each type of bowing. Each
exercise, however, is usually worthy of study because
the musical content is part of one’s necessary growth.
No. 38 is an example of this kind. Modulations and
changes of key imply necessary study. By this time,
however, the spiccato is free and we can apply ourselves
to the etude itself, offering as it does many difficulties.
XVIIc.
TECHNICAL STUDIES.
By H A N S S IT T .
Op. 92. Part II, Book V I 1 (Continued).
No. 39.
We now come to the short skipping stroke, called the
sautille or natural spiccato. It is used only in quick
time and is executed entirely with a lateral stroke of the
wrist, in the middle of the bow. The bowing is very
light, the wrist supple, so that elasticity may be easily
secured. The sautille stroke is a skipping one, in spite
of the short quick motion of the wrist. While the stroke
is used in light passages, it is capable of more tone if the
lateral stroke of the wrist is widened and if the stroke is
nearer the lower part of the bow. As the tempo hastens,
play above the middle of the bow. I have cited examples
of this form of bowing. Do not confuse it with the arti
ficial spiccato as found in the “ Loin du Bal,” by Gillet.
From 7-11 we find examples of the spiccato based
upon scale progressions. 11-12 furnish examples of string
transfers. 13 is a very good exercise on two strings.
No. 40.
The examples here furnished are useful as rhythmic
studies, as well as for the study of the spiccato. I some
times vary the seventh and eighth examples by doubling
each note. A supple wrist is greatly to be desired, the
motion being both lateral and a rising and falling stroke.
To acquire a beautiful spring bow stroke, practice on
the open strings, then use two strings. The attitude of
the arm must be such that the bow will rebound after the
first stroke. Now, lightness cannot be obtained in any
other part of the bow than at the middle, at first. There
must be absolutely no stiffness of the arm and wrist.
The bow is held with the first two fingers, the third and
fourth being released from the stick. Young students
must practice this bowing with care, as the releasing of
the fourth finger from the stick gives insecurity when
93
applied to regular technical work involving perfect even

ness of tone and equality. Finger control being of such
great importance, it is not wise to neglect the funda
mental bowings while studying the spiccato. Both forms
of the spiccato should be left until one has mastered
the fundamental bowings and acquired a firm tone, free
dom of the bow arm, and a somewhat fluent technic. At
(d) page i i , one must use the natural spiccato. We
may also introduce it throughout the following exercises
on this page, although (e) is the only example which
requires this bowing.
No. 41.
This exercise should first be played using a forearm
stroke, detached notes. This insures a mastery of the
content of the etude, a subject of great importance in
true musical development. Intonation cannot be taught
with the spiccato. It is a subject to be considered by
itself. It is a subject of great concern with teachers that
few students pay attention to intonation and rhythm
while studying the spiccato. The teacher should, there
fore, supplement the work with other etude books on
quite unrelated subjects.
No. 42.
We now come to examples of triplets and sextuplets.
These, as I have stated, are not easily played with spic
cato bowing; however, the natural spiccato is worthy of
much practice. Example 4 may be varied, the first two
notes being slurred in each group of six notes. Example
12 is difficult unless one has good arm control in the
thrown stroke. Play with extreme lightness.
No. 43.
Sevcik’s works afford few examples as fine as these
examples of string transfers combined with spiccato
bowing. The fingers must lie well over the strings and
take their positions quickly. Any inequality or slug
gishness of finger action renders the spiccato dry, jerky,
or lifeless. We might omit a few examples on page 17,
although the double-stops are practical.
No. 44.
This exercise, although full of rather unexpected
modulations, a characteristic of both Schradieck and
Sitt, is well worth consideration. The pupil is ac
quainted with the positions and extensions, and can
easily adapt himself to the technical development of
the exercise.
No. 45.
Ricochet bowing, or “thrown staccato/’ as it is called,
is produced by throwing the bow on the string, using
the upper third of the bow in the up-stroke and the
middle of the bow in the down-stroke. The bow, being
thrown upon the strings, rebounds until stopped by a
slight pressure of the third or fourth finger against the
stick, and by raising the bow from the string. In this
way it is possible to play a series of notes with one bow,
the number of notes determining the power with which
the bow must be thrown. The bow is struck on the sur
face of the hair and not on the outer edge. Examples
of this type of bowing are found in the works of de Beriot
(“ Sixth Air,” and others), also in a “ Gnomentanz,” by
Eberhardt, and the well-known “ Polonaise,” by Vieux-
temps. Another form of ricochet bowing is that used
in the four-string arpeggios in the “ Scene de Ballet,”
by de Beriot, and the “ Little Tambour,” by David.
You will observe that the thrown stroke begins with the
up-bow in the “ Polonaise,” and is played nearer the point
of the bow than the examples here given. The bow is
also thrown in the combined thrown stroke and pizzicato
in the “ Zapateado ” and other works by Sarasate. This
bowing is very useful in connection with the works of
Bazzini, Sarasate and other composers of brilliant solo

pieces. We find abundant examples of the type in
Paganini.
No. 46.
I sometimes use this exercise as an example of an
excellent staccato etude. It may also be studied in con
nection with the flying staccato in the lower half of the
bow. As an example of the ricochet stroke, its speed
governs the exact part of the bow used.
No. 47.
This study is an excellent one for the arpeggio form
and also for the ricochet. At (d), page 24, I prefer the
up-bow on the first note. Play near the point of the bow
and strike with force. We may play (e) in the same
manner. At (g) play a light spiccato stroke, middle of
the bow. No. 2 (g) is an example of the same style of
bowing as found in the “ Scene de Ballet,” by de Beriot
(four-string spiccato).
No. 48.
I usually teach this exercise with staccato bowing at
or near the point of the bow, although I modify the bow
ing. We may also play it spiccato in the middle of the
bow. It is a fine example of varied bowings, using the
spiccato stroke.
No. 49.
These preliminary exercises on two strings may be
H4pm-ss:H I
r-H-
-tr
tt etc. followed
i m - m —
by the Sevcik
Op. 2, Parts III-V. I
/ * 4/ * would suggest a few bow-
V *1—1 ' ings: (1) two notes slurred
at point, legato; (2) combining the
legato and spiccato at the middle;
(3) reverse the bowing; (4) spiccato
following a legato.
Other bowings are suggested, the spiccato at middle

being most practical. The ricochet
bowing at middle is very useful.
The suggested exercises on three
strings are in line with the Sevcik
three-string exercises, also the “Technical Exercises,”
Book II, which I have recently written.
No. 50.
Nothing could be more attractive or interesting to
students than arpeggios on three strings, with short
detached bowings combining the legato. The arpeggios,
thrown bowing, or spiccato, may be supplemented
with legato bowings. The examples should be care
fully studied. Do not avoid the sautille and ricochet
strokes (50°).
No. 51a.
These exercises are upon four strings. They are to
be played with short detached and also legato bowing.
Avoid a tilting motion of the bow. Play on the outer
edge of the hair. The movement of the arm follows the
plane of the four strings. There must be no hesitation
in the legato across four strings. In certain examples
like 56 there is a slight undulating movement of the
wrist.
No. 51b.
You will note that in all exercises involving four-string
transfers, the fundamental chords are first given. This
is true of the excellent studies of Sitt, Op. 32, Part IV,
and the Sevcik Op. 2, Parts V-VI. Select only the
most practical examples for study.
No. 51c.
The exercises with skipping bow and thrown staccato
{ricochet), have, by this time, been quite thoroughly
studied. I would strive to reinforce points already
dwelt upon. Review the chords of 51b, using a whole
bow, all down strokes.
98 H O W TO P R E P A R E FO R K R E U T Z E R .
No. 52a.
A study of three and four-part chords is very useful.
The down-bow stroke gives dignity, breadth and freedom.
Such a stroke is often used in orchestra work. It also
gives the fundamental basis of arpeggio work. Note
the similar examples in Sitt, ,Op. 20, Book VI, and the
last exercise of the Fiorillo Etudes.
No. 52b.
A similar plan is followed in the next exercises. All
the varied orchestral bowings are recommended. To
the serious student these exercises are very valuable.
No. 53.
A study of chords cannot be too highly recommended.
Difficult as these appear, we must strive to give repose
and security to the hand by work of this kind. Both
this etude and No. 54 may be omitted if the teacher
feels that “ time is short ” in the preparation of a student
for the profession. Some students need more technic
than others. It is wise to meet the needs of individuals
throughout study, and stress only the great fundamental
principles. No one can be well equipped who is unfamil
iar with the great principles of bowing, for, in spite of
much argument to the contrary, no concertos can furnish
the student with the routine work of Etudes, nor can we
learn principles apart from pure technical study, to
advantage.
X V III.
THE ETUDES OF J. DONT.

Opus 3 7 *1 and 38a.
HE first requirement in connection with this etude

T is a good sense of pitch and a knowledge of legato
bowing. I would omit any special preparatory work
in connection with it, playing the notes as written with
twelve in a bow. Play evenly and smoothly. If the
pitch is difficult to master, analyze the etude and play
the Eb major scale several times.
No. 2 requires a forearm bowing.. It should not be
played too rapidly. Make the distinction between the
legato and staccato ^ Allegro
notes, but do not cut r - ft-—--- - - - - -- ^g.— n
the staccato notes too
short. While I prefer
a forearm bowing, I do 3 *
not strive for an exact half bow on a single stroke if
it appears uneven. In the second position work be
very careful about pitch, The upper arm should be
quiet.
No. 3. This is a fine study of the legato. Let the
Allegretto tones sing along the string.
n Maintain an even pressure
upon the strings at first.
Memorize the arpeggios. Do
I-h-H—H 9 not lift the fingers from the
t strings until necessary. Do
not play too rapidly.
1 J. Dont, twenty-four Exercises, Op. 37. Preparatory studies to
those of Kreutzer and Rode. Price 50 cents. Published by Carl Fischer,
New York City, in a newly revised edition.
99
IO O HOW TO P R E P A R E FOR KREUTZER.
No. 4. This etude should be played in the upper

half of the bow with a very loose wrist and forearm.
Anticipate string changes. The
notes should be uniformly true.
Anticipate both string changes
and arpeggios with the bow and
fingers. Diminish the length of
the bow if playing very rapidly.
No. 7. This etude should be played in the upper half
very smoothly. Strive to anticipate the arpeggio by
placing the fingers on the strings at once. In string
changes do not tilt
the bow from side
to side. No finger
should be raised
from its position
until necessary. A
very excellent method playing this etude is to play
the arpeggio in the form of chords, at first In this way.
we analyze our progressions.
No. 8. I omit this etude at this point.
No. 9. Play freely in the upper half of the bow.
^---------- ^ Practice each arpeggio separ-
„ ately. Memorize it, making
----1 much ea°h grouP; that is
to say, give it some distinc
/ tion, as though it occurred in
a piece. I should use only
one form of bowing, that, the upper half.
No. 10. We will use the upper half of the bow until
the wrist is perfectly
free. Do not play
staccato. Keep the
bow at rather a uni I— M - — I— 1— 1— I
h — 0
form distance from

the bridge. The
tempo is not rapid. Make the position changes very
rapidly. Towards the close of the exercise be very careful
of pitch.
THE ETUDES O F J. DONT. IO I
No. 11. This is one of the most valuable exercises of its

grade in the study of the legato, including the mordente.
The whole bow should be used,
except when the passages are very
short. In that case we use the
upper half. Do not pass rapidly
from one etude to another in this
connection. Always strive to
master some important principle in the etude.
No. 12. For the study of half steps, this is unexcelled.
I would use legato bow
V ing at the point, but the
-:r etude is not practical
unless one is very well
equipped in a tonal
way.
No. 13. I would not use this etude until the Sevcik
books, IV and V, Opus 2, have been thoroughly
studied, and string transfers mastered, for the intervals
are both difficult and excep
tional to the student. Cross
the strings on the edge of the
hair. Describe an arch with
the bow, and do not compli
cate the movement by using
a wrist stroke. The whole bow should be used through
out. I see no advantage in dividing the bowings.
No. 14. While this etude requires a rather difficult
key and peculiar progressions, I would be very careful
Allegro. in teaching it, and
would always read it
over with the student
before he has prac
ticed it, so as to insure
proper intonation.
No. 15. I would do the same in connection with No. 15,
which is very valuable as a study of rhythm. Remember
that the introduction of the trill implies a quick light trill
without disturbing the time. I would use the upper
102 HOW TO PREPARE FOR K R EU T ZE R .
half of the bow, though a broader stroke may sometimes

be used.
No. 16. For the repose of the left hand, No. 16 is very
valuable. It might be well to practice the Bb major
scale in the second position. Keep the fingers down as
long as possible. Use the whole bow and the upper half
as needed. Take the work passage by passage.
No. 17. Play very slowly and evenly those notes
which are introductory to the trill. Accent the first
Andante con moto.
i-i . , . . , , —
E r^c**** “ * • * . • * • * . —* • * • 0 £ * \ \
17
note of each group. Maintain the legato throughout.

Do not let positions interfere with the legato.
No. 18. First play this etude with double stops,
detached bowing in the middle
of the bow, a light stroke from
the shoulder. After having ana
lyzed it in this way, practice it
lightly in twos at the point.
18 / Then in fours and lastly in
eights with half bow. Antic Andante.
ipate the string changes.
No. 19. I usually omit
this etude until after more
specific study of double- ^ "
a --- -— a r.rr
P"
stops. 19 - = r
No. 20. We find this a very good study for the
staccato at the point of the bow, and I would teach

THE ETUDES OF J. DONT. 103
it, especially in connection with similar studies of

Panofka.
I omit Nos. 21 and 22.
No. 23 may be played near the
point of the bow; while some
what complicated from a tonal
standpoint, it is a good bowing
study.
No. 24. I omit No. 24 until more specific study of
double-stops and chords.
J. Dont, Op. 38a.1
Strange to say, this set of etudes is in many respects,
simpler than op. 37, but it was evidently an after
thought of the composer. I frequently teach the staccato
up-bow runs with this etude, the first note down-bow
and six notes up-bow, staccato. I should not play
accompaniments with students until they are thoroughly
familiar with the contents of the etude. In all the works
of Dont do not play too rapidly. Remember that there
are several of these etudes which belong properly as
supplementary work to Kreutzer. For instance, there
are about half a dozen among the last ones of op. 37.
Now a word with reference to No. 2. The spiccato is
not a useful bowing when mastering the tonal idea.

Therefore use a forearm bowing, detached strokes.
1 J. Dont, Twenty Progressive Exercises (with a second violin in
score) Op. 38a. Price 65 cents. Published by Carl Fischer, New York
City, in a newly revised edition.
io 4 H O W TO PREPARE FOR KREUTZER.
No. 3. Play in the upper third of the bow, and do

not use the staccato until a free stroke is obtained.
Vivace assai.
Strive in every way to avoid a
wrist stroke when the forearm
is involved. This is a very use
ful exercise for extensions.
No. 4. I do not mean to imply
by the order in this book that
I should take opus 37 before
opus 38. I sometimes take the
Sevcik studies for the development
3 of the bow arm, with two selected
exercises at each lesson from the two Dont books. I
do not believe, however, that this plan should be fol
lowed except in the cases of musical students. Long ex
perience has taught Allegro moderato.
me that one should
study few etudes, but
the great principles of
violin playing should
be mastered in con
nection with these.
A forearm stroke,
while very useful, is
not entirely to be
desired in very short
passages, while occasionally we use a whole bow. This
leads me to say that in the developing of bowing,
one must use common sense. The tempo governs the
bowing and the length of the stroke. Do not, therefore,
make any mistake and awkwardly strive for a long bow
when it is impossible.
No. 5. I would play this etude very slowly and evenly.
It is one of the finest I know in connection with legato
work. The next step to a perfect legato must be perfect
cantabile playing. As in the previous exercise, use the
length of bow that will give the smoothest stroke. I
do not believe that any of these exercises should be
taken too rapidly. In fact, I would play this book
THE ETUDES OF J. DONT. 105
especially over and over until the exercises are thoroughly

mastered.
Allegro moderate*._________
No. 6. Doubtless you will discover that this etude is

very much like the famous piece, “The Bee,” by Schubert,
Allegretto.
in which the player uses a very light stroke, about two-

thirds of the bow or less, and almost no accentuation of
triplets. As a technical study it is very valuable.
No. 7. Use the Allegretto vivace.
trill that is most
natural; that is to qU
say, two or three trills /
to each note, the trill
finger falling' very V
lightly; it will trill
itself. One great
fault in the study of
trills is that pupils
m
&
7. v
I
strive to throw the fingers with great force, This one
should never do.
io 6 HOW TO PREPARE FOR KREUTZER.
Passing now to No. n , we begin an excellent study

of position work, maintaining the legato in the upper
A llegro vivace.
part of the bow. Do not make any mistake in the value

of notes. Play with an even tone, not too rapidly or
A llegro. loudly, using a whole
-------------- ^ bow.
One of the finest
exercises is No. 12. I
would play this slowly
and evenly as in the
case of the previous
exercise. The teacher
should play the ac
companiment. This
is one of the few
exercises of Dont which I should memorize.
No. 13. Use a very free forearm stroke Do not use
the short staccato till
the arm is quite free. Allegro moderato.
Play in the upper third,
or a little more bow.
Be very careful of into
nation. The wrist plays
very little part in this /
etude, although there is
a somewhat free down A - - ±
ward curve in string i S z =
transfers, but no lateral
stroke. 13
THE ETUDES O F J. DONT. 1 0 7
No. 14. Analyze this etude. Play the scale of A

minor. Play each arpeggio separately until mastered.
In difficult position Allegro moderato.
work go over and over
and over the passages.
The second position is
not at all easy for
students, hence the
sasilil
necessity of a perfect / espressivo.
mastery of it. The
whole bow is used. EES
No. 15. While this l 14
etude is in a difficult
key, it is very useful. I would even keep it up during
the study of Kreutzer, as a splendid example of legato
Allegretto agitato
bowing and transfers of string to string, requiring the

wrist.
No. 16. This is an etude in which we use the porta-
Andante espressivo. mento, that bane of all
musicians. Do not ex
aggerate. In the third
line, use a short bowing
toward the point. There
are many strokes which
may properly belong to
the middle rather than
the point of the bow.
We have only to offer
16
in this connection, an illustration drawn from Rode’s

Caprices. For instance, you will find that continuous
playing at the very point of the bow in the first caprice,
becomes monotonous. In fact, it is entirely devoid of
freedom. I can think of another illustration. In the
Seventh Concerto by Rode, on the first page, during the
trill passage one should not play too near the point,
as we must cover so wide a space on the strings. One
thing I would like to mention in connection with No. 16.
As a rule, anticipate with the finger the next note that
is to come in the order of progression. The finger last
used is the finger that moves.
No. 17. While this is an example of spiccato bowing.
A llegretto.
dolce.
I should use a forearm stroke, detached. Another stroke
that I like very much is that which ties two notes when
it is a downward progression, the other notes being single
Allegro moderato.
ones. Always play a uniform distance from the bridge,

if possible.
No. 18. Anticipate the arpeggios and octaves as well
THE ETUDES OF J. DONT. IO9
as extensions. Strive in every way to master the musical

content of this etude, playing it slowly and evenly.
No. 19. Leave this etude until^the study of the legato
in connection with the Kreutzer Etudes.
Vivace.
4 II
-o
1
S
19
No. 20. I sometimes use this etude, also, in connection
with the study of the first twelve of Kreutzer. When
we do study it, however, the progressions must be mas-
Allegretto commodo.
F*F-F -F- m
-•— 1---- •-Kj— |
Z-— J
------- \ - 0 ---- u
y j -j--*- •
- J * *
f a A H s
l£r - - — - 1
20
tered mentally, before one succeeds as an exponent of
the pure legato.
I am amazed at the proficiency with which students
play this excellent book of Dont, and while I admit
that it is very wise to abridge violin study, I cannot see
the advantage of leaving out of our plan of study such
excellent works, especially if our pupils are to have a
solid foundation for future work. I would, therefore,
again insist that Kreutzer be deferred until the fourth
I IO H O W TO PREPARE FOR KREUTZER.
year of study, if possible, in order that the bow arm may

be well trained, that technic may be ample, and that
musical literature of the highest order may have been
thoroughly mastered in a detailed way, which is only
possible when one has a teacher thoroughly skilled in
the art of violin playing.
XIX.
THE SCHOOL OF VIOLIN TECHNICS.

By H E N R Y SC H R A D IE C K .1
P art I.
HERE is no work, except the Sevcik Exercises for
T the left hand, my own ‘‘Technical Exercises, ’’ which
are rather limited in scope, and the excellent “Ton-
leiterstudien,” of Halir, which offers so much material
for the development of the left hand as does this excel
lent “ School of Violin Technics,” by Schradieck, himself
a fine technician and master of detail. It is undoubtedly
true that Schradieck is among the foremost in the mas
tery of the great principles of violin playing, which give
to one a sure foundation, particularly of left-hand technic.
I know of no works for the study of arpeggios so com
prehensive as his. His exercises in double-stops have a
counterpart among some other authors, but they are
thoroughly useful to one who is preparing for the
profession.
Section 3, consisting of exercises in different modes
of bowing, is very useful to those who are interested in
a thorough and practical set of bowing studies, though
I find the Sevcik bowings a little more interesting with
the average pupil. Eberhardt, in his excellent method,
emphasizes elasticity more than strength. Schradieck
regards dexterity and strength of equal importance. As
in the Sevcik books, these exercises should be practiced
slowly and evenly.
The “ School of Violin Technics,” offers many examples
1 H. Schradieck, Technical Violin School. Part I, Exercises in
Different Positions. Price 60 cents. Part II, Double Stops. Price
40 cents. Part III, Bowing. Price 50 cents. Published by Carl Fischer,
New York City.
Ill
of legato playing, but, aside from its technical value, it is

eminently helpful in intonation. I have known students
who had begun Kreutzer, in fact, who had played Kreut-
zer for some time, with faulty intonation and a very im
perfect legato, who, after some weeks of study of Schra-
dieck, became very much better players as regards
intonation than even their teachers believed they could
be. A perfect legato is one of the most difficult things
in the world to obtain. That is why this set of studies
is very valuable. For position work there are books
equally as good, but Schradieck chooses keys and pro
gressions which are of great importance to the student
of larger forms, such as the concertos and sonatas of the
classic period. Let us consider Exercise i.
No. 1 .
Place the fingers firmly on the strings, relaxing them
as well as the entire hand. Do not raise the fingers more
than necessary. Strike with firmness, but do not let
firmness interfere with elasticity. The first finger should
not press too heavily upon the string. If the first joint
of the first finger presses too closely upon the neck of the
violin, strive to keep the hand out from the neck. Do
not take a tempo too rapidly for one’s execution. Train
the fourth finger to follow with the same degree of pre
cision as the other fingers. Preserve a uniform tone
throughout, never letting the bow slide along the strings
in a slovenly manner from middle to point. In cases in
which students are faulty in intonation, or lacking in
concentration, make them memorize each line. It is
necessary for the fingers to be on the strings as much as
possible when not in use. The fourth finger moves in
the plane of the third and lies well over its string. Do
not throw the wrist out in such a case as Example 6
when using the fourth finger constantly. Strive to sing
in tone, for resonance is of much more importance than
power. Do not allow the first finger to leave the string
unless positively necessary. If it must relax, allow it
THE SCHOOL OF V IO L IN T E C H N IC S . I 13
to do so, but it should not be vertical while the fourth

finger is playing. This habit, quite prevalent even in
artists, is not commendable. This first exercise is one
of the best for increasing the tempo and adding to one’s
technical facility. It must be played slowly and evenly
at first, the intonation being faultless.
No. 2.
We now come to an example of an exercise in the key
of A minor, or practically so, in which the whole steps
and half steps are clearly demonstrated. In passing from
Dlj to D# in the third example, do not raise the finger
from the string, but slide it along the string. The same
principle must be followed in chromatic runs. Only the
student who is very careful should play this exercise with
any degree of speed. All extensions of the fourth finger
on the A string should be made with the third finger in
place. In the n th example, keep the first and second
fingers on the strings as much as possible, so that the
hand will not move from its normal position. I generally
use the bowing indicated, all the notes being played
legato with the whole bow.
No. 3.
This exercise contains examples of string transfers. I
would not allow the bow to tilt from side to side when
moving from string to string. A short string transfer
does not require much wrist action. In fact, one should
be very discreet in the use of the wrist action in whole
bows, although the wrist must be perfectly relaxed.
Keep to the edge of the hair as much as possible, but
when, for the sake of relaxation, one must use more hair
in transfers, do so easily and naturally, the bow lying
well over two strings. Whenever the fourth finger occurs
in frequent succession, note whether the hand is perfectly
free, for any stiffness of the muscles hampers the action
of the fingers, and the true purpose of the exercise is lost.
Avoid extensions with players who have small hands
I 14 HOW TO PREPARE FOR KREUTZER.
until you are perfectly sure that the hand is free. While
it is a great advantage for the teacher to play with the
pupil, I would not do so if it is impossible to listen to the
intonation. Let the pupil play the exercise, or several
lines of it; then illustrate in cases in which the intonation
is false. This exercise is often regarded as somewhat
dry and pedantic, but all teachers must realize that
technical work must be done in detail and that it should
in nowise conflict with the true and logical development
of the highest principles of violin art. The earlier tech
nic is acquired, the more security the violinist feels.
No. 4.
This exercise, like those of Casorti,1is an excellent one
for the study of the wrist movement, the arm being kept
perfectly quiet, yet the bow must lie well over two strings
and the movement must not be a rocking one, nor must
the wrist be depressed too much for string transfers. A
wrist movement is possible, with a very slight move
ment at the point of contact of the bow upon the strings.
To obtain a beautiful legato near the heel of the bow is
not easy. Great care should be exercised in crossing
strings, and the fourth finger must remain upon the bow
stick to insure security. The fingers must take their
places before the stroke begins. There must be no lack
of decision nor connection of tones. A perfect legato
on one string is much more easily secured than a succes
sion of notes requiring string transfers involving two'
strings. For further study of this principle, one must,
of course, refer to the Casorti Bowings, or Books III, IV,
and V of the Sevcik works for the development of the
right hand, and to the excellent studies of Halir. I am
each year more impressed with the necessity of the study
of the pure legato, and, while I think that the ready left
hand has much to do with the perfection of it, I am con
fident that bow control and the regulation of finger
1 A. Casorti, “ Technic of the Bow,” Op. 50. Price $1.00. Pub
lished by Carl Fischer, New York City, in a newly revised edition.
THE SC H O O L OF V IO L IN T E C H N IC S . IIS
pressure, as well as of wrist action in the right hand, is

of prime importance. Choose such exercises, or parts of
No. 4, as begin with the lower string at first. After
this, use the upper string first in arpeggios, starting with
the outer edge of the hair of the bow. If a pupil makes
a mistake in intonation, play the group of four notes
and call attention to the fact that a certain progression
is a diminished third, or, perhaps, an augmented second.
There is no reason at this point of violin study why the
teacher cannot combine harmony, musical form, and the
general rules of musical science, with violin technic.
There are reasons for the formation and construction of
every etude. The teacher should wisely enlighten the
student as to the content of these works. We will now
proceed to No. 6.
No. 6 .
This is practically, at the start, a study of scale pro
gressions. I prefer, if possible, to use the fourth finger
in descending scales, if rapid;but in slow scales I use the
fourth in both ascending and descending scales. Many
teachers use varied forms of bowing. I consider these
unnecessary, as there are so many other works through
which bowings may be taught. No. 5 of this set is a
study of thirds, and is one of the best of the examples.
No. 9 is also useful. I sometimes omit No. 11 in cases
of students who have had much general musical knowl
edge. I am referring, at this point, to the short exam
ples of No. 6.
No. 7.
Young students believe in stressing the first note of a
triplet. This must not be done in an extended legato.
We often stress the first note of the trill studies of Kreut-
zer, but this is only in cases in which the legato is not
interfered with seriously. Clearness and precision are
absolutely necessary in the interpretation of the form
and content of even an exercise. In every case in which
I l6 HOW TO PREPARE FOR KREUTZER.
the student falters in the actual rendering of a phrase or

passage, it should be memorized, for sharps and flats
are not inserted in a haphazard way, but every progres
sion has a meaning. I have been much impressed of
late with the quick response of students to the most
unusual progressions in violin work, especially those
who have enjoyed some years of piano study in addition
to their violin work. Again, I would make the assertion
that the study of musical form and of the principles
of musical science may be carried on throughout this
work.
Note in the ninth example under this section, that we
begin with an extension. Do not raise the fourth finger
but slide it along the string. From time to time increase
the speed of these examples. Combine them with others
of a different character. Strive in every way to give
abundant examples of the legato.
N o. 8.
The second position is the bugbear of students. I

see no reason why it should be so, especially if one has
some fundamental training in the works of Hans Sitt
which deal with the first, second, and third positions.
The second position is not more difficult than the third.
The modern way of treating it is to go from the first to
the second, second to third, the first to the third, and
then combine the positions. This plan is somewhat
closely adhered to by Sevcik. It may be optional with
teachers. The second position should receive much
more attention than it usually does receive. I find that,
by the time students reach the works of Dont, they are
quite unable to cope with the position work on account
of insufficient preparation. Note the difficulty of No. 6
of this section. Great attention should be paid to in
tonation. Do not allow the fingers to leave the strings
until they are obliged to. The subject of chromatic
scales should be thoroughly studied before reaching such
an example as No. io of this set.
THE SC H O O L OF V IO L IN T E C H N IC S . n7
No. 9 .
You will observe that Schradieck combines the first
and second positions, as does also Hans Sitt. I have, for
many years, been trying to solve the problem of intona
tion successfully, and I find that much of the work that
we do is simply haphazard work. A little child who had
almost no musical ear, has spent two years in the studies
of the First Book of Sevcik. This, together with similar
examples in the same keys, have so strengthened her
sense of pitch, that she plays invariably in tune when
in keys of G, D, and C, which are the only ones she has
been permitted to take. There is a prevailing tendency
among students to lift the fingers very high for an attack.
They should lie near the strings and when they move,
the movement should be free. They should not be
thrown back beyond the plane of the knuckles for an
attack. This is especially true of thp fourth finger.
This plan may do for piano work, but it is hardly appli
cable to violin teaching to-day. I have.several students
who always throw the wrist out in extensions. The
wrist must be relaxed inwardly and the fourth finger
bent or curved slightly, but not too much to interfere
with elasticity. For instance, in the tenth example
under this section, it is absolutely necessary that there
be no extra movements of the wrist which would inter
fere with freedom. Any movement in violin playing'
which has no significance, is a direct menace to a great
technic.
No. 10.
This exercise, which is quite as useful as No. 9, gives
abundant examples of legato playing in the third posi
tion, the key being naturally an easy one. Again, we
observe care in extensions. An exercise which remains
in the third position, rather than allowing the fingers to
move up and down from one position to another, may be
very useful in a technical way, but it does not add to the
facility of the pupil in changing positions. I would,
however, teach this exercise with great care, as it is
important.
No. 11 .
Only such students as have mastered certain principles

of intonation, should attempt this exercise. I am con
vinced that it offers difficulties almost insurmountable
to the player whose ear is not keen. For instance, the
seventh and eleventh sections are somewhat difficult at
the start. One great object in this exercise is the moving
from position to position without interfering with the
pure legato. There are occasions when it is not necessary
to slide the finger last used into place in the new position.
In a rapid movement, we must forego this precept.
Strive to balance the bow so well on the strings, antici
pating each change for the fingers of the left hand, that
the legato is perfect. Memorize portions of this etude
if possible.
No. 12 .
I have often said that the student should master all

progressions mentally. This is very wise when difficult
progressions occur. It is much more important to train
the student to see ahead and play the notes actually
written upon the page, than it is to stumble over each
section; for a slovenly manner of sight reading is a foe
to perfect intonation, but every student should learn to
read music mentally, to hear progressions, and to feel
intervals as they occur, without ever touching the bow to
the strings. No. 15 and No. 16 of this section are some
what difficult of intonation and may possibly be omitted
in the grouping.
No. 13.
This exercise, being very difficult, should be taken
in sections, and so connected with other work that its
rather uninteresting elements are modified. The key is
not an easy one. In fact, it is very difficult, especially
where the double sharps occur in Nos. 3 and 6 of this
section, but in many of the most excellent works, such as
the Mozart Trios and Quartets, and other ensemble
THE SC H O O L OF V I O L IN T E C H N IC S . I 19
works, we find abundant examples in this key; hence it

is of prime importance that if students wish to become
good musicians and sound orchestra players, they should
have absolutely no difficulty with this work. However,
I should omit it in the cases of students who are thor
oughly unmusical, devoting my attention to certain
exercises which will give them freedom, without burden
ing them with the details of difficult progressions.
No. 1 4 .
The fifth position ought not to be difficult if a student
has learned to swing the thumb under the neck of the
violin with freedom and ease. It is very essential that
the fingers fall as vertically as possible upon the strings
and that the strings should not be pulled from right to
left in succession to produce a tone. I am persuaded
that if students are very well trained in this book, the
difficulties that beset us during the study of the first
twelve Kreutzers, are practically removed. I would, in
fact, assert that Schradieck offers us better preparation
for Kreutzer, as far as intonation is concerned, elasticity
of the hand and general technical equipment, than either
Mazas or Dont.
No. 1 5 .
This exercise carries us through five positions, and, as
it develops, seems to overlap certain principles presented
in the Schradieck work on arpeggio playing. I would
sift out from the exercise the most important progres
sions, omitting the middle section, if it seems too difficult.
In connection with this 6tude use the progressions up
and down the strings, as suggested in my “ Daily Exer
cises.” Similar examples may be found in the Halir
book. Too much technic of one kind is not wise. Mix
this with other material, so that the student may not be
hampered with too much detail.
No. 16.
This exercise gives us valuable practice in the sixth
position, a subject often considered to be very difficult
for the average student. I would, however, insist upon
this necessary preparation for Kreutzer. Throughout
all the exercises use the whole bow. Even advanced
students who are quite out of practice, find this exercise
very valuable as a study of the higher positions which
are so often neglected, and, if neglected, interfere mate
rially with a finished technic.
No. 17.
This exercise is valuable on account of short position
changes in which the legato is not disturbed. The first
four examples are exceedingly valuable. Again, Schra-
dieck has departed somewhat from a logical sequence in
the development of his work. However, the key is very
practical for those who will eventually become orchestra
players, though the average student finds great difficulty
with it.
No. 18.
This exercise is in the seventh position, and therefore
laborious to the amateur. Practice each group or line
over and over until mastered. Even if these studies are
carried through two years it does not matter, if certain
fundamental principles of technic are perfected.
No. 19.
Choose from these examples those which will benefit the
student in the study of the trill etudes of Kreutzer. I
should use only two trills, striving not to accent too
sharply, as this is a disturbing element in legato playing.
If, however, they are short groups, and the trill occurs at
the opening of the group, an accent is in place, or if, as in
Example 13, the trill occurs at the opening of the second
and fourth groups, a slight accent is desirable. An ad
THE SC H O O L OF V IO L IN T E C H N IC S . 12 I
vanced player never measures the number of trills.

Hence, I do not wish to assert that two trills only are
necessary. The trill finger should be relaxed and should
fall lightly, with perfect elasticity. This exercise is very
valuable, as there are no others of the same kind in the
book.
No. 20.
I generally omit this etude on account of its difficulty;
while I am perfectly aware that several of its sections
may be useful, I have grown to confine myself to No. 19
and its later development.
XX.
TWENTY-FIVE STUDIES FOR THE VIOLIN.

By F. H U L L W E C K .
B ook I . 1
MANY scale studies include only two octaves. The

work of Hiillweck bears a practical relation to the
study of great concertos in that it gives the student
additional practice in three-octave scales. He follows
the idea of Schradieck in repeating the fundamental note.
Every detail of bowing, and the most practical fingering
as well, is dwelt upon. The pupil should use the twenty-
four keys and write out the scales. The chords of the
seventh, passages in sixths and scales in tenths are neces
sary to a sound knowledge of music. The book is very
valuable in a college or conservatory course in which
examinations are held at the close of each term. I
would especially recommend bowings 2, 3, 4, page 3, as
practical throughout. Use the upper half of the bow in
the last two forms. Schradieck begins with the G major
scale followed by G minor. Hiillweck prefers the C scale
followed by its relative minor. I usually follow both
methods of study, in order that the pupil may become
quite as familiar with the tonic as the relative minor.
Another excellent feature of this work is the insertion
of closing chords and double-stops. Both the major and
minor scales should be memorized. Do not give more
than three new scales at each lesson. Always review
scales previously studied. When possible use the fourth
finger in ascending and descending scales. The fingers
1 F. Hiillweck, Twenty-five Studies in Two Books. Published by
Carl Fischer, New York City, in a newly revised edition. Price of each
book, 60 cents.
122
T W E N T Y -F I V E S T U D IE S FOR THE V IO L IN . 12 3
must lie well over the strings, the fourth, especially,

being relaxed. Do not use varied bowings unless intona
tion is good. Note on page n , No. 3, Example 1,
other bowings of a practical nature. Supplement these
with bowings from my “Three Octave Scales.” Do not
introduce this work before the third grade, as “ Scales in
all Major and Minor Keys,” by Carl Hoffmann;1 “ Scale
Studies,” Blumenstengel, Book I—II ;2 “ Practical Scale
Exercises,” by Thomas Henning;3 “ Perfect Method of
Major and Minor Scales,” by Louis Mollenhauer; 4 as well
as the Schradieck and Sevcik scales, furnish ample mate
rial, when wisely selected, for the mastery of scales in
various positions, offering logical preparation. When
difficult bowings are being taught, use the G scale in
three octaves, until such bowings are mastered. If one
would be well-equipped technically, one must study
scales in various positions and with all forms of bowings.
With students who are to enter the profession of teaching
or concert work, use Hullweck, Book II, increasing the
speed of the scale.
B o o k II.5
These studies are only practical for those who are
entering the teaching profession. The concert career
makes so many demands upon one’s technical equipment
that these studies may fit into the regular daily practice
to advantage. I would not use varied bowings except
with Parts 4 and 5.
1 Carl Hofmann, “ Scales in all Major and Minor Keys” with a
second violin part in score. Price 50 cents.
2 A. Blumenstengel, “ Scale Studies in two Books.” Price 50 cents
each.
3 Th. Henning, “ Practical Scale Exercises.” Price 50 cents.
4 Louis Mollenhauer, “Perfect Method of Major and Minor Scales,”
treating of different positions, bowings and broken chords. Price
$1.50.
All these works are published by Carl Fischer, New York City, in
newly revised and special editions.
XXL
SCALE STUDIES.
By J. HRIMALY.1
HESE “ Scale Studies ” are undoubtedly practical

T and well-written. The logical sequence of keys is
commendable. Play with a broad bowing. Make no
pause after each note. Preserve a uniform tone. Each
scale should be played from memory and written by the
pupil. Note changes of tempo, accentuation, etc.
Remember that accented notes require sudden pressure
and almost instant relaxation of the first finger. Con
trasts of light staccato and broad bowing should be made.
Bowings of this kind, in the case of difficult keys, should
follow single whole notes:
l l l f e n
Play the following in the upper half of the bow:

Allegretto.
A broad, free style of bowing is desirable in scales of

this kind.
While these scales are not written as studies in bowing,
it is a wise plan to devote some attention to varied
1 J. Hrimaly, “ Scale Studies.” Published in a superb edition by Carl
Fischer, New York City. Price $1.00.
124
SC A LE S T U D IE S . 125
bowings, though I believe such bowings are much better

studied in connection with the G scale, three octaves.
(See “Three Octave Scales,” Winn). One can then
Sostenuto.
it J-
&
Tempo giusto.
it p •
U. H.
take up the major scales in order, three octaves. The
practice of major and minor scales in the first position
for the rapid study of legato, and with varied bowings,
followed by arpeggios, is a plan which makes an easy
and interesting preparation for the more difficult scales
and arpeggios of Schradieck. The major scales in vari
ous positions follow in logical order. Both scales (whole
bow) and arpeggios should be memorized by pupils.
The minor scales follow in the same way, and should
also be memorized and written. I do not recommend
varied bowings until the scales can be played rapidly,
fluently, and with correct intonation.
One of the most difficult as well as interesting sections
of the book is the study of major scales, beginning with
the second finger. By this time the pupil may use varied
bowings in the lower as well as higher positions. No. 5
combines the major scales, beginning with the third
finger, and the study of the staccato. In this case, as
well as in all subsequent cases, master the scale before
using difficult bowings. Scales and broken thirds on one
string for the changing of positions are valuable. There
must be no pressure at the base of the first finger, and
the thumb should be absolutely free.
No. 8, consisting of extended changes of positions in

exercises on one string, are useful, requiring quickness of
execution and freedom of the left hand. Show the pupil
parallel work in the books of Sevcik and Sitt. For
fluency and sudden position changes, the Hrimaly scales
are extremely practical. Play the three octave scales
legato, without varied types of bowings, and supplement
with my “Three Octave Scales” with varied bowings,
selected passages from the Schradieck arpeggios, and
later with scales from Halir’s “Tonleiterstudien.”
XXII.
TEN ETUDES.
By D . A L A R D .
Opus 16.
ITH the enormous amount of material now under

W the consideration of teachers, it seems almost
impossible to find time for etudes designed for the devel
opment of artistic phrasing, as well as for the study of
positions, but we cannot afford to neglect certain of the
most valuable etudes of celebrated teachers. Hans Sitt,
with his splendid knowledge of the technical possibilities
of our instrument, has rarely created beautiful or flowing
themes; as for Sevcik, his works are plainly pedagogic.
We must, in schools and colleges, abbreviate violin study
to a minimum of pure technical development, giving the
student ideals of what constitutes beauty in themes, and
elegance, dignity and worth, in the different schools of
violin literature. The most that we can do with such
pupils is to prepare them for life, developing their es
thetic sense and incidentally giving them just enough tech
nic to work with. It may seem a superficial idea of violin
art to make this statement. I can only say that the
teacher who has spent fifteen or twenty years in college
life finds that while Fiorillo, Rode, and Gavinies, as well
as the immortal Paganini, adorn the college catalogue,
any more than a superficial knowledge of these composers’
works is impossible, especially when the student rarely
remains in college more than four years. I have been
very much disposed, of late, to use the beautiful 6tudes of
Alard and some of the works of Leonard and de Beriot,
quite opposed to the tenets of the German School as they
are, for 1 think we find many examples of flowing melody
127
in these works. Accordingly, I use the “ Ten Etudes”

mentioned very frequently. They do not, in any way,
correspond to the Duos of Viotti or Spohr in intrinsic
value, but, from a tonal and melodic standpoint, they are
very beautiful. Moreover, they are violinistic, and that
is more than one can say of many modern works, which
show traces of too great an effort at harmonization, with
an absolute disregard of melody, as well as little attention
to the working out of fundamental principles of bowing.
Nos. 1 and 2.
The first 6tude is not as useful, as far as the key is
concerned, as No. 2. The short examples in this etude,
T h ir d P o sitio n .
F irst V iolin .
Maestoso. tr
at the heel of the bow, should be played lightly. I prefer

a stroke nearer the middle, with the movement from the
TEN ETU D ES. 1 2 9
shoulder rather than from the wrist. This produces a

velvety tone, perfectly in keeping with the elegance of
the French School. If possible, play the examples in
the fifth line with the short legato, without marked
accent. The stroke is a light, running legato at the
point. In the ninth measure, the groups of thirty-second
notes should be played in the middle of the bow, the bow
not being raised from the string so as to interfere with
T h ir d P o sit io n .
Allegro.
rj rj rj • 1 :q -q q q • q q
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the beauty of the legato. In the next line swing the
bow along the string for the double legato, carefully
defining the phrasing by a slight accent on the first note
of the group. No. 3 should be played with a wrist and
forearm stroke, preferably near the point. The wrist
should be very supple. Do not move the fingers from
their places unless necessary. As intonation is of so
great importance, it would be well if the teacher played
the entire 6tude with the student before venturing upon
the accompaniment.
No. 3.
This is a lovely theme, to be played, very slowly and
evenly, with the whole bow. Here is an opportunity for
the student to cultivate tone graduation. The second
I nterchange of the T hree P ositions .
part of the etude is more difficult, and should be played

with the whole bow, or with the half bow, in short
passages.
No. 4.
I do not usually use this etude, as the key is some
what opposed to the cultivation of the fourth position.I
F ourth P osition .
I find No. 6 much more valuable, although it, also, owing

to embellishments, is somewhat complicated. Use the
forearm stroke, as a rule.
TEN ETUDES. 131
No. 5 .
This etude is one of the most valuable, as well as artis
tic in the book. The staccato should be clean cut, the
forearm being used in the main. You will observe that
the triplets are played with a short staccato stroke, down
bow. Do not, in this case, use the inner edge of the hair,
owing to the shortness of the group. The latter part of
I nterchange of the F our P ositions .
the etude, in the key of A, offers examples of spiccato

bowing, at the middle of the bow, toward the lower half.
When playing arpeggios on four strings, place the fingers
in position at once. Play a little nearer the fingerboard
to secure freedom. Observe the contrast between staccato
and spiccato. Accent the trills. For the study of varied
bowings alone, this etude is very beautiful and valuable.
No. 6 .
I find this etude less valuable than many of the others.
One finds better double-stop examples in the Sitt Studies,
Op. 32.
Andante sostenuto.
2 .2 3
t i i
i W $sr* i
i EE P: t = tt i t
pp
f e n
u
No. 7.
For the study of the pure legato, or as an example of
a theme, with accompaniment, this etude is valuable.
Owing to the great amount of violin literature before the
public, only the most practical and enduring examples
should be used. If the student has time and is interested
in this type of work, use the etude. The whole bow is
most practical. The fingers should anticipate double
stops and string changes.
TEN ETUDES. 133
Allegro moderato
2
i
F-frf Fr
t
: t r -----
t * r t
j ^ PP ^gato.
i b*—
---- 1—
*
A Is A__ ^ >
Sh ~\~t 1* fh *V
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7 ^ - > ^_
No. 8.
This dtude should be played near the upper third of
the bow. It is an example of contrasting staccato and
8
legato bowing. For the security of the left hand, that

is, the keeping of the fingers in their positions, it is valu
able. As a supplement to the Sevcik “ 4,000 Bowings/’
I consider it useful.
However, as I said before, one must always take into
consideration how much time the student has for such
work and govern one’s choice of material by this.
XXIII.
THE ETUDES BRILLANTES.

By F. MAZAS.
Op. 36 . Book II.1
HAVE already reviewed Book I of this set. I

1 would, therefore, offer only a few suggestions with
reference to Book II.
The second book offers more examples of melody, and
I feel certain that in the study of tone graduation these
etudes are more valuable than the first twelve Kreutzers,
for you will observe the themes are very beautiful, while
the Kreutzers are purely technical and intended for the
development of tone, technic, and bowing.
I should combine the use of Mazas and Kreutzer.
What the student needs at one point may not be useful
at another point.
Nos. 31, 35, 38 and 40 should be memorized, or, at
least one or two of them, as examples of the pure can-
tabile. The Mazas studies are legitimate and violinistic.
I usually omit No. 32, passing to 33, which is played with
a detached stroke and the whole bow, except in passages
requiring a short staccato. If possible use a free stroke,
even in staccato playing, especially at the sixth line,
where one-half of the bow gives more freedom.
1 F. Mazas, Op. 36. 76 Melodious and Progressive Studies in Three
Books. Book I, Etudes Speciales. Book II, Etudes Brillantes. Book
III, Etudes d’Artistes. Published in newly revised, superb editions,
by Carl Fischer, New York City. Price 50 cents each.
M elody .
F. Mazas, Op. 36, Book II.
A dagio non troppo.
I l l Corda..........................................................
3
— <g----1— I
— j- a
HI
31
No. 34.
This etude furnishes a valuable substitute for or sup
plements the similar Etudes of Kreutzer. The staccato
E xercise for S taccato P laying ,
A llegro moderato.
passages should be played in the upper half of the bow.

The down-bow chords should be played at the heel. This
is a very useful etude in the development of bowing.
No. 35.
This is a flowing melody on the G string — one of the
best examples of its type. Count very slowly, using the
whole bow. Be very careful not to allow the tone to
THE ETUDES B R IL L A N T E S . 137
die away at the point of the bow, when a broader tone
would give one much more authority. I frequently use
this etude throughout the entire study of the first twelve
Kreutzers, as an example of style.
No. 36.
This 6tude should be played staccato rather than with
the martele at the point. Play it very slowly at first,
M artele S troke.
Firm stroke with the upper half of the bow.
36
until the intonation is mastered. In slurred passages,
swing the bow along the string from the middle to the
point. You will notice that most of these etudes are in
easy keys and also that they are not difficult tonally.
For examples of artistic bowing they are unexcelled.
No. 37.
This is played in a broad style and is rather an example
of varied bowings. Play the arpeggios loosely with an
E xercise for A rpeggio B owing .
A llegro moderate.
arm movement, rather than the wrist, although the

wrist should be very supple.
No. 38.
This dtude is played very slowly and with a sustained
tone. Do not force the tone in the higher positions.
P ortamento P laying .
Andante sostenuto.
III............................
r . .
r^rb-— A •• z -
W l J
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espressivo.
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rr h i I I
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j— Mj— i'p r - | • 9m pJ ^ 7
Parf 11
II
u
38 ——
Do not use the portamento with too great frequency.

Always allow each phrase some poise and security. This
6tude also is useful throughout the first year of Kreutzer.
E T U D E S B R IL L A N T E S. 139
No. 39.
This should be played lightly. It is an example of
two-string transfers. I prefer it at the point, the first
B owing E xercise on two S trings for D eveloping the
A17 F lexibility of the W rist .
Allegro.
1 1 3 1 —
-E:
leggiero ma non saltato.
39 *' wo
tt
m 9
9+ i
note being cut, and the next two tied. Be careful to
take position changes with more than one finger in the
position, in order that groups may be well defined.
No. 40.
This etude, being an example of the free style of play
ing rather than of fundamental bowings, I sometimes
omit it, though it is thoroughly artistic.
No. 41.
As an example of staccato bowing, or of the spring
U se of the A ppoggiattjra.
With the lower Part of the bow, without allowing the latter to spring too much.
bow, this etude is useful. Master it tonally with uniform

bowing. Accent the note which follows the appoggiatura.
No. 42.
For a swinging wrist stroke near the point, this £tude
is one of the best in violin literature. Moreover, it lies
easy for the hand, and should be practiced daily for some
time.
B owing E xercise .
At the tip, with sparing use of the bow.
I consider it more valuable than No. 43, for this dtude

may be useful from a standpoint of intonation.
No. 44.
This offers some examples of the staccato, following
E xercise with a V ariety of B owing .
the legato bowing. Define each type of bowing carefully.

Use a slow tempo until mastered.
THE ETUDES B R IL L A N T E S. 141
No. 45.
For examples of spring-bowing, I have found quite as
useful etudes elsewhere, However, I teach this £tude
if there is time.
E xercise for Jumping B ow.
No. 46.
This dtude is rather valuable to the orchestra player,
as that peculiar free style of bowing at the heel is sug
gested. In the sixth line use the upper half of the bow.
E xercise for R aising the B ow.
Allegro moderato.
In the eleventh line the stroke used is toward the point,

bounding bow, lightly. You will find examples of that
stroke in the “ Polonaise ” of Vieuxtemps and a “ Gnomen-
tanz” by Eberhardt.
No. 47.
This etude is mainly for contrast in legato and staccato
bowing. The staccato should lie at the point. Accent
very strongly. Play all running legato passages at the
point. When a straight line is under a note, it is to be

slightly detached from the next note, but the bow is not
to be raised. Many of the Bach “ Sonatas” offer ex
amples of this kind, but the notes are dotted. The short
E xercise for S taccato P laying . 4
47
staccato is rarely used in the study of Bach, except in
pure dance forms where the artificial spiccato or flying
staccato is much used. For example, observe the bow
ing of the “ Sixth Unaccompanied Sonata” — the
Gavotte.
No. 48.
This dtude is omitted.
No. 49.
No. 49 is an example of pure legato at the point and is
B owing E xercise .
especially valuable; in fact, I should use it while studying

the twelve Kreutzer legato dtudes.
No. 50 I usually omit.
THE ETUDES B R IL L A N T E S. 143
No. 51.
This has a light stroke at the point, but it offers very
little that is new in the way of bowing.
No. 52.
This is a splendid example of string transfers, as well
as of contrast in staccato and legato playing. I sometimes
B owing E xercise .
With Firm Strokes.
Allegro non troppo.
play it in a little broader style than that indicated in the

text.
No. 53.
This etude is useful as an example of form rather than
of types of bowing.
B owing E xercise .
Moderato assai.
.... j -j 1 |
tr \Lf W
a
" •rrr-T -r
2 9 *# — | iiij J : 49 d
—
2 - i — Hii q
j ! , !
J ______□
-4-
f
•—1- 71* —1- 1
• -4- r 3-
jmarcato. ---- • /*•
fz
1—P7*— 1 C3— ■ 1 1 j*™!2 ! I 1 J
T fr
.w 2iTd T• 9
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9 M V m 9 9--.f
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*. -J 1 | • 1 1 -------- j i
'1 i i J 0 Y r l
53
144 HOW TO PREPARE FOR K REU T ZE R .
No. 54.
This is very useful both from the standpoint of con
struction and melody, form and bowing.
I do not teach No. 55 and rarely No. 56, unless I have
some example of the mordent in pieces. I also omit
No. 57, as it is not useful at this point in study.
F inger E xercise .
Now, let us see what types of bowings we have used

in this splendid set of etudes. For pure melody they are
unexcelled in their grade. Legato and staccato bowings
are well contrasted. There are several melodies on four
strings. Double-stops and arpeggios enter in. There
are splendid bowing exercises for acquiring suppleness in
the wrist. Ornaments and embellishments are taught.
All styles of bowing have some attention, and as examples
of finger exercises they stand very well in violin literature.
XXIV.
ETUDES D’ARTISTES.
By F. Mazas, Opus 36. Book III.
HILE these interesting Etudes are very seldom

W used in preparation for Kreutzer,they are exceed
ingly useful in the study of the positions, the legato,
double-stopping, and as examples of intonation. It would
be unwise for me to suggest their use in their entirety, but
a few of the etudes are so practical in their relation to
Kreutzer that I cannot help suggesting them, especially
in the cases of students who are preparing for teaching
or for professional work in general.
The Etudes of Mazas are not dry and uninteresting;
in fact, I have ^found that students enjoy them much
more than the Etudes of Dont, which, valuable as they
are, have not melodic charm, a fact equally true of the
Sitt studies.
No. 5 8 .
This etude embodies many principles of bowing and
phrasing, as well as of position work. It presupposes some
Adagio.
knowledge of position work and considerable skill in the

use of the crescendo and diminuendo. I should use the
See footnote, page 135.
145
I4 6 HOW TO PREPARE FOR KREUTZER.
whole bow, in such cases as the one indicated, where the

theme is to be well brought out. There are instances in
which a forearm stroke is more valuable, though these
are not numerous. To one who has a thorough know
ledge of bowing, the divisions of the bow are not to be
thought of mechanically. Note in the fourteenth meas
ure the successive divisions of the bow stroke. The bow
should not be raised from the strings, but lightly swung
along the strings. In the next line do not force the tone
upon the G string. Position work of this kind should be
played with a slight rubato. Always sing the tone, if
possible, but do not exert pressure in the higher positions.
There are examples throughout the 6tude of pure can-
tabile playing. These smooth-flowing, melodic passages
are of great value to the student in the mastery of a pure
legato. When the key changes, use judgment as to the
tempo. All embellishments should be clean cut. A
careful study of the Sitt Etudes, Op. 20, in double
stopping, is necessary before we use this book. These
double-stops offer many examples of pure-flowing melody.
In all work in double-stopping one must keep the hand
quiet. Sing the tone. Undue pressure gives one a slightly
sharp or shrill quality. Do not use the vibrato in double
stopping, to any extent. Always strive to move two
fingers together. Keep the theme flowing, the accom
paniment secondary. Strive in every way to present an
elastic bowing, and a tone that is resonant and beautiful
will follow. Music marked “ poco rail.” is not to be played
with the short staccato. Train yourself to think the
theme and accompaniment mentally before you play it.
Study it out without the use of the bow. Take all double-
stops with a relaxed hand, the fingers moving into their
places simultaneously, there being no unnecessary notes
sounded. Double-stopping should not be difficult, if the
hand is made to remain still and to command position
changes, when necessary, with two fingers instead of
one finger, as is often the case, the second finger in ques
tion sliding into its place. Never seek the pitch by a
disagreeable sliding motion. In disconnected passages
ETUDES D ’A R T IS T E S . 147
of this kind, do not allow the bow to leave the string.

It skips along the string instead. It would be well in
cases like this one, in which we shift from the third to
the second position, to do so with the two fingers con
cerned, instead of using one finger and afterwards placing
the second in its position. It is much easier to play
double-stops going from the first to the second position,
as suggested by Halir, than to make the change from
the first to third position. The pizzicati passages are
played with the first finger, the thumb being on the edge
of the fingerboard.
No. 59.
As an example of fourth-string work, this etude is
valuable. One must be careful of the tempo, not to
hurry it. All notes should be accented strongly, when
A n d a n te ,
I V
6
9-f * r=T —|--~|_J—1
—|L
- 4 W.-w w fTT—1— 1— J— 4— j— 4— J-4
c. * m • d • 1
/" "
£ § - » -----T - I -
§ w f t t id— H — H-
--I- -—- • :
—
59
so marked, but in the higher positions one must be par

ticularly careful about crashing down upon the string,
especially the G string, which cannot stand too much
pressure. If the string does not respond with a vibrant
tone after pressure of this kind, relax instantly. Pro
duce a pure singing tone. If the technic is well mas
tered, and the bow arm trained, the tone will be a sing
ing one. You will note that No. 59 is made up of two
I4 8 HOW TO PREPARE FOR KREUTZER.
parts, the first a slow movement and the second a more

rapid movement for the cultivation of the staccato,
although this form of bowing does not last throughout.
I find the second part especially valuable for varied
bowings and double-stops. As in the previous etude,
play the double-stops with a ready hand. When the
double-stops are to be played staccato, with down-bow,
play also on the edge of the hair in the same manner as
when playing the up-bow staccato. Note in the fifth
measure the two examples of bowing. The first half is
a short staccato at the point; the second the artificial
spiccato at the middle of the bow, in which the bow is
raised from the strings. Note in the eighth measure the
first note, which is to be played very short at the point
of the bow, in order not to disturb the brilliancy of the
up-bow staccato. In the third line, page 5, Peters’
Edition, raise the bow for all short strokes at the middle.
Cross the strings by raising the arm from the shoulder.
In the fourth line on page 5, play the sixteenth notes
of the last measure near the point of the bow. Use
the upper third in the next line for the double-stops.
Always strive to preserve a uniform tempo. In the last
two lines sing the two notes of each group, do not accent
the double-stops, and play above the middle of the bow.
Note the examples on page 6. In the first line of dou
ble-stops, with down-bow, swing the bow along the
string, but do not play a short staccato as in the meas
ures preceding and following. This etude is, indeed,
very valuable in the presentation of artistic forms of
bowing, but I do not think that it belongs at any par
ticular point in our study, except perhaps after one has
finished the trill etudes as a supplementary exercise.
Note the seventh measure, page 6. Play the down-
bow chords near the heel, but not forcefully. I would
change the bowing at this point to the up-bow staccato,
because it is more practical. Swing the bow along the
string in the next line, upper half, in the double-stops,
as indicated. There are no new bowings to be con
sidered, but in position changes, such as those indi
cated in the second, fourth, and fifth lines, page 7, play

lightly near the point. Notice the contrast in bowing
in the seventh line, the first part being a short stac
cato, and the second part spiccato.
No. 60.
The first stroke is at the heel. The bow is then swung
along the string with a short, clean-cut stroke, which is
only short in point of length of note and not in the space
covered, as generally we play such passages with at
least two-thirds of the bow.
When three notes are represented, do not play too
near the heel. Also do not play in an arpeggio style.
Maestoso risoluto.
V ______ V1nr V n
2 1 7 1
:|§E z_^j=!
#"ir Tt -a/-* SS' if-*'
y *
dr iilli
"•hr’
/
60
Play the down-bow chords at the heel, with a short crisp

tone. The style of these etudes is not unlike those of
Fiorillo; in fact, there are many examples which might
almost seem to have come from the pen of that composer.
The middle part of the allegretto movement requires
arduous study. It should be played between the mid
dle and point of the bow.
The double-stops and chords are not altogether practi
cal. In fact, I prefer the regulation drill of the Kreutzer
Etudes.
No. 61.
We will now consider an excellent legato etude which
may very well accompany the legato section of my “ Three
Octave Scales,” and my new book, “ Daily Exercises,”
Vol. II. It is a splendid example of legato playing. To
those teachers who insist that a mastery of left-hand tech
nic requires that the fingers always remain on the strings, I
would say, do not insist upon the firm pressure of the

first finger, unless the player has long flexible fingers.
The person who -has a short hand must relax the first
finger when the third and fourth play, but it does not dip
under the neck, merely slipping back at the first joint, or
being depressed from the perpendicular. This insures
perfect relaxation.
I l l e l V.
The first finger is sometimes held in the higher positions.

I would not advise this course with students, however.
Now, the finger which leads the first note of each group
of six must fall with more firmness than the others of the
group, hence, it would be wise for the student to master
the exercise mechanically and musically without the use
of the bow. Do not release the fingers from the strings
entirely until necessary. Firm pressure is only neces
sary in the case of the playing finger. I should use the
whole bow for this etude.
cres.
No. 62.
This etude involves no new principles in its introduc
tion; hence, it is only necessary to say that the second
part is practical as a study of the artificial spiccato in
the middle of the bow. The legato passages in the third
line should be played from middle to point. Do not play
the legato within a legato with too strong pressure. Ac-
I ntroduction .
A ndante.
9-rry---- 51--------------------------------- -1—
"7 Uf>
vTrZ 3 _ 1 ^ 1 '
^ 6 * * * * t ¥ • ?• |V- " J
62 P ( . ____ „ ! * ! ! 1 ! ! 1 lJ L
cent, then release pressure. Keep the rhythm steady.

Play the coda near the point, but strongly staccato.
Swing the bow throughout the entire upper half in the
next legato passages. When playing the piu vivace pas
sage, play near the upper third of the bow. Accent only
on the first note of the group. This gives elasticity and
may be applied to our concerto work.
No. 63.
The double-stops in this 6tude are very practical, and
it would be well to play them with great care and to mas
ter them mentally, as heretofore suggested. Play the
staccato passages in the key of G at, or near the point.
You will observe three kind of bowing, aside from the
legato bowings. Use the artificial spiccato at the middle
of the bow in the seventeenth measure. In the measures
marked dolce swing along the string with a slight discon
nected stroke. None of these double-stops are very
152 H O W TO PREPARE FOR K R EU T ZE R .
difficult. Play the chords at the heel of the bow. The

andante movement should be a singing legato one.
Strive to place the fingers at once in their places for the
I ntroduction .
Andante.
i m
-rr*
double-stops. Master the exercise mentally before using

the bow. The staccato double-stops in the form of scale
runs require comparatively little pressure of the fingers.
At Tempo I use the upper half of the bow.
No. 64.
Pi 2 ,, 2 2 ^ 2
64
This is an excellent octave study, sixths and thirds also

being involved. Move the fingers in octaves simultane
ously. The fourth must not press too heavily upon the
string, as undue pressure interferes with the gliding up
and down the string. The regulation of pressure is very
difficult. Whenever a straight line occurs over several
slurred notes, do not press the bow upon the strings, but
slide along the strings so as to produce four distinct tones,
slightly detached. Always sing a legato passage. Keep
the short staccato passages near the point of the bow.
No. 65.
A tarantella is a dance form; hence, the necessity of
perfect rhythm and definite accentuation. This is one
of the most valuable etudes in the book. Play the stac
cato notes in the third line near the point of the bow,
and the octaves legato in the middle of the bow. Where

there are two slurred notes in groups, in the eighth line
use the middle of the bow, the tone being a singing one.
In the tenth line a very short staccato at the point is used.
Throughout the whole etude a free forearm stroke is
desirable. Do not take too rapid a tempo. Strive to
master the technic and bowing in the most simple way
by sitting down and reading the etude, perhaps running
the fingers along the neck of the violin, to fix the positions
mentally. Do not take the Presto too rapidly. A
loose swinging stroke, at the middle of the bow, is used,
except in the short staccato passages near the close.
154 HOW TO PREPARE FOR K R E U T Z E R .
No. 6 6 .
This is a fascinating etude. It ought to be played
with a rather hammered stroke, but a short staccato
above the middle may be used. Preserve the dance
rhythm. Play the allegro with style, forcefully and
securely. The staccato runs should be crisply played
Vivace.
......... ^
J l l l i l l l l
NiiiifliiSii
ll l l III l l
2
near the point. Use the upper half of the bow, as a

rule. The latter part of the exercise is very difficult;
in fact, some of the Fiorillo etudes are much more easily
mastered. I would advise its use for those who are pre
paring for the profession, only.
No. 67.
This is a tremolo study with the wrist, at the middle
of the bow. Mark the accented passages. The exact
touching point of the bow cannot be determined when
one is playing crescendo and diminuendo. I sometimes
use this etude for the unsteady hand as an example
of clean double-stopping and for bow control, as well
as for the practice of the wrist stroke. It is valuable
in connection with the study of works like the Ries
“ Perpetual Motion.” I have sometimes used it in con
nection with Bohm and Paganini, merely for freedom of
the bow arm.
ETUDES D A R T IS T E S . 155
T remolo, with the Bow kept on the S tring , not with
S pringing B ow .
A ndante. „— s 4
jL' J l _ 1 1 1
No. 68.
I do not use this £tude, as it involves no new principles
for our consideration.
Allegro moderato.
i 56 HOW TO PREPARE FOR KREUTZER.
No. 69.
As a tremolo study, pure and simple, with springing
bow, this etude is very valuable. In fact, I consider
it one of the best in violin literature, of its kind. Play
I ntroduction . T remolo with S pringing B ow.
Poco adagio.
O _________1 3
near the middle of the bow, with a free stroke. I some

times apply these principles to the 27th Kreutzer etude,
Kross Edition.
No. 70.
This etude is one of the finest studies of arpeggios in
violin literature. One might conclude that Sevcik
A llegro
thought this, for he has used the same principles in his

“ Studies.” My favorite bowing is two notes down-bow.
ETUDES D ’A R T IS T E S . iS7
legato, and two notes up-bow, staccato. Anticipate
changes of fingers upon the strings. Cross the strings
so the wrist leads and the arm quickly follows, at the
middle of the bow. Do not leave the string, even when
playing spring bow, except as the spring stroke affects
the movement of the bow upon the strings.
No. 71.
This £tude illustrates a form of bowing very common
in the French School. We find the same principle in
David’s “ Little Tambour,” in the “ Scene de Ballet, ” by
de Beriot, and, I believe, in the “Souvenir de Bade,”
by Leonard, all of which, though somewhat antiquated
A llegretto.
h —# — k- h
segue
qrpz TP TP
• P - i— i—
now, are very practical for the study of bowing and for
positions, as well as for melody study. First play this
etude legato around the middle third of the bow, the
arm moving out from the plane of the shoulder. Artists
always accent the first note slightly in each group. One
may find easier examples of this bowing in Book V, Sev-
cik’s “ 4,000 Bowings.” If the spiccato is to be used, play
over the fingerboard with a flat bow and wrist stroke,
but only at a rapid tempo. The artificial spiccato at
the middle is desirable. Also, three notes tied, lower
half, and three with flying staccato, up-bow.
No. 72.
Examples of the allegro in this £tude may be found
in many other works. I like to teach it at the point of
the bow, two notes slurred, wrist stroke. I also double
I ntroduction . S lurred A rpeggios.
Andante.
72
the notes of the second half of each group, so as to stress
two-string transfers, but after one has studied the Sev-
cik bowings thoroughly, any bowing becomes easy in
connection with this etude.
No. 73.
I like this form of bowing still better than the pre
vious form. Use this etude in connection with the bow
ings indicated in my “ Daily Exercises,” Book II.
A rpeggios with T hree N otes on the F our S trings .
segue.
No. 74.
This 6tude is an excellent example of staccato work
in the upper part of the bow. Accent very strongly.
Do not strive to keep the bow at regulation distance
from the bridge. This rule is variable in the study of
graduation of tone. Do not stumble in passing from posi
tion to position. Take the arpeggios quickly on all four
Andante. n r\
mrnm 1™
i— 4#Tro-*-- * rf i ^ r-— T— *—
p Is ■<$
_L— i
---9— l*||
/ " 5 t>r -6
strings. If this is not easy, play each group without

the use of the bow until one has mastered the mechani
cal side of the 6tude mentally.
No. 75.
This £tude is especially valuable for the mastery of
spiccato bowing around the middle of the bow. Do not
use the artificial spiccato. Let the bow bound by the
impulse given to the first note of each group. Remem
ber that the arm must keep very loose and free. Mas
ter the arpeggios mentally. As a supplement to the
Sevick Bowings, Book 6, Opus 2, the 6tude is very val
uable.
Maestoso sostenuto.
V, II 2I
J- u
l
iEE — I—
&
—-H—
E3
-v
I
* f r*f *
a._u .1Ui n
/.{v I_L j | * J | ! 1segue9. “r-+-
j.JtJ J □J _ii -- —--*--- aii|
' k #T 1- • ^ irs •2 1i r-- Pm IIII
r
J
(C 1i ^ O 4
J ________
*- •J H . . if — —i—
° -j: • ” ~-4 ’ t- j !j
f __ , >__r r __ „
--J -
"Ti
75
XXV.
SCALE AND ARPEGGIO STUDIES.

By E M O R Y L. B A U E R .1
HIS work opens with a chart of all the major and

T minor keys through the circle of fifths. It is inter
esting to the pupil who wishes to thoroughly understand
the science of music. There are many books of scales
and arpeggios, but these follow logically, and are simple
enough to meet the needs of teachers and students,
without burdening the player with too much routine.
The scales and arpeggios should be studied through all
the major and minor keys, being committed to memory.
At each lesson the pupil should play the scales and ar
peggios of the last lesson from memory. Do not assign
more than four new scales at each lesson. Varied bow
ings, tone-shading, and other important points are em
phasized. The study of the crescendo and diminuendo
is recommended, although examples should be intro
duced to supplement the work. Perfect freedom of the
wrist and forearm must be secured. You will note that
the order of scales is like that of Schradieck; the funda
mental note of each scale is not, however, repeated.
Scales of this kind may be practiced with varied bowings.
Both scales and arpeggios should be memorized and
written by the pupil. When there are two fingerings
indicated, use the upper fingering. Part II indicates the
major and minor scales and arpeggios through three
octaves. Both the melodic and harmonic minor scales
should be studied. The chromatic scales are also carried
1 Emory L. Bauer, “ Scale and Arpeggio Studies,” including the
Chromatic Scales. Published by Carl Fischer, New York City. Price
$ 1 . 0 0 .
161
through three octaves. It is necessary to study the

chromatic scale in all its varieties of fingering. Part III
consists of bowings for thirds, sixths, octaves and tenths.
Play the double-stops in the manner suggested by Halir
in his “ Tonleiterstudien.”
The practice of scales in thirds should begin at the
middle of the bow, lightly. Raise the bow after each
stroke. Follow this by playing two notes to a bow, then
four, then eight. The fingers must fall swiftly and lightly
on the strings. They should not press too heavily when
moving from position to position. The C scale may be
fingered thus:
2 -i- 4
i I 1 EEtE
t= t
Scales in sixths must follow scales in thirds. The same

rule of relaxation of fingers must be observed. When
playing octaves place the fourth finger on the string
lightly and slide it into place, the first moving with it,
though more firmly placed upon the string. The thumb
must be free and the first finger must not press the neck
of the violin too much. I do not recommend the practice
of scales in tenths, except under the teacher’s direction.
Bring the first finger round so that it is almost at right
angles with the neck of the violin; the fourth finger will
then fall easily in its place. The thumb should be free.
The “ Scale and Arpeggio Studies ” of Bauer, are highly
recommended by teachers, as filling an important place
in serious technical study.
XXVI.
THE TECHNIC OF THE BOW.

By A . C A S O R T I .1
O p. 50.
HE object of this work is to teach violinists bow

T control, suppleness of the wrist, and to assist in the
flexibility of the finger joints of the right hand. An
elegant mastery of the bow is of prime importance.
Other writers of etudes have dwelt at some length upon
the training of the wrist. Gustav Hille and Sevcik have
written etudes of much value. This work by Casorti is
specific and aims at mastery through detail. Casorti has
written some explanatory remarks on bowing, which are
valuable to the pupil who is striving to search out truths
for himself. When he is under the direction of a teacher,
examples and guidance are better than mere rules.
No. 1 .
This style of bowing is executed entirely by the wrist,
with short strokes, the bow being held lightly between
the fingers. The notes must be slurred very evenly and
the wrist must be elevated. Begin with the middle
of the bow and advance toward the point. While a tilt
ing of the bow from side to side interferes with a perfect
legato, the bow cannot remain entirely on the outer edge
of the hair without interfering with the stroke, hence
one should draw the bow as near the edge as possible.
The stroke is an upward and downward movement from
1 A. Casorti, “ The Technic of the Bow,” Op. 50. Published by
Carl Fischer, New York City, in a newly revised, superb edition. Price
$1.00.
163
1 6 4 HOW TO PREPARE FOR K R EU T ZE R .
the wrist, with a lateral stroke, the combination being

what is known as the “ figure eight stroke.” When
playing the running legato at the point of the bow, avoid
any stroke but the lightest one possible. Practice the
exercise sparingly at the heel of the bow, as freedom is
not easily secured and such a stroke with an exercise of
the kind does not “ lie easy.”
No. 2 .
Practice the same exercise at the point of the bow, with
some accentuation. The middle of the bow may also be
used, using two notes or four to a bow. Do not raise the
fingers from the strings until necessary.
Nos. 3 and 4.
The hammered stroke should be practiced with great
care at the nut and at the tip of the bow. I prefer the
following bowings:
No. 5.
This bowing embodies the principle of the grand
detache. The bow must remain parallel with the bridge.
Press the stick slightly between the notes and relax
instantly, drawing the bow lightly, “as if on velvet.”
This bowing, so useful in the Kreutzer, Fiorillo and Rode
Etudes, is well worth study at this point. Use these
dtudes of Casorti in connection with Dont, Op. 37-38,
Mazas, fetudes Brillantes, and the first twelve Kreutzer
Etudes.
THE T E C H N IC OF THE BO W . 165
No. 8.
A detached stroke without accent, or a smooth running
stroke, using the whole length of the bow, is practical.
Do not press with the forefinger or with the arm. A
light singing tone is the only one desired. Apply this
bowing from middle to point rapidly. When the full
bow is used the stroke is called “grand detache without
accent.”
R em ark s.
I do not use Etudes III-IV, as there are other practical
illustrations of the detached stroke, with and without
double-stopping, in parallel work in the Dont and Mazas
Etudes. I sometimes use Etude V for double-stopping.
Etude VI.
This 6tude is very useful for the development of the
wrist stroke at middle point and nut of the bow. I
generally use it before the etude in Ah, as the key is an
easier one and the fingers lie more easily over the D and
A strings. Some teachers object to both of these etudes
on the ground that the fingers are “bunched together”
too closely. For keeping the fingers on the strings, and
therefore cultivating poise of the left hand, both are
valuable. Be very careful of intonation. Play long
detached strokes, whole bow, swiftly. The wrist and
finger joints must be flexible, and the bow must be pressed

lightly between the fingers. Breadth and energy, as
well as a pure resonant tone, are demanded. The next
stroke is the forearm detached. After that an undulat
ing stroke, whole bow, the wrist gently gliding with the
motion of the bow.
In passing from one string to another, the bow must
lie well over two strings, so that the movement may not
be perceptible. A rapid stroke is desirable.
No. 13.
This combined stroke of the legato, two notes tied,
and the short notes at the point of the bow, is very
difficult at first. Remember that the wrist performs the
transfers from string to string. Play the single notes
lightly at the point of the bow.
No. 14.
This bowing, three tied, one cut, is hardly desirable
unless there be perfect freedom of the wrist muscles.
Play in the upper third of the bow. There must be no
interruption in the stroke while crossing the strings.
Vary these bowings, paying special attention to two cut
and two tied at the point of the bow. If advisable,
double each note and play spring bowing at the middle
of the bow. Before doing so, however, study carefully
No. 15 with its many examples of the spring bow. Also
play single strokes, artificial spiccato, at the middle of
the bow.
No. 16.
There are so many examples of the springing stroke
on three strings in the Sevcik Op. 2, as well as in other
etudes selected from various works, that this one offers
no new problems. The difficulty of this exercise con
sists in training the fingers to follow the bow changes
resulting from string transfers. In connection with the
etude, use the Bohm “ Perpetual Motion,” easy suite.
Remember that we use the artificial spiccato, the motion
coming from the upper arm, in No. 16, however, unless
we double the notes for the natural spiccato.
No. 17.
This stroke is the artificial spiccato, or thrown stroke,
which we have just been considering. It should be
practiced with care, that the arm may follow the plane
of four strings.
THE T E C H N IC OF THE BO W . 167
No. 1 8 .
We now come to studies in staccato playing. First
use the open strings. Play strictly in time, with little
bow, at a rapid tempo. Notes unequally accented will
soon become even, if the fingers are trained gradually
and if the wrist is supple. The stroke is not a wrist one,
although the wrist is free. The movement comes from
the entire arm. Experience in different schools verifies
this assertion, even if the observation of the methods
of great artists were not conclusive.
The up-bow staccato is played on the outer edge of
the hair. The down-bow staccato is played on the inner
edge of the hair or, if a limited portion of the bow is
desired, on the flat surface of the hair. In short passages
in which the down-bow and up-bow staccato alternate,
do not play on the inner edge of the hair in down-bow
runs; use practically the same part of the bow hair for
each stroke.
No. 1 9 .
In connection with this etude, use my “Three Octave
Scales/ ’with sustained tones followed by graduated tones,
and the results will be beneficial. The sustained tone is
one of the most difficult in the world to execute properly.
The whole bow must be used, there being no pauses
between up- and down-bows. Each stroke requires one
minute. Practice with full tone, as well as with light
uniform tone.
No. 20.
The sustained tone with finger exercises combines two
important principles: technic and tone. Play lightly,
slowly and evenly. Keep the fingers relaxed, elasticity
rather than force being very desirable. For additional
exercises of this type, select some from “The Art of
Bowing,” by Emil Kross.
X X V II .
THE DOUBLE-STOP STUDIES OF HANS SITT.

Op. 32, Book V .
N o. 82.
GENERALLY teach this etude with the following
I bowings: — Four strokes down-bow at the heel,
broad bowing, two-string transfers, by playing the thirds
as single notes, eight times in succession. Now, modify
the bowings, like those of Sevcik, so as to give all forms
of bowing for two strings. The next form is to play three-
string transfers in the arpeggio form. I believe the
chords in this etude are much more interesting than those
of Sevcik. The pure style of legato bowing can only be
gained through this kind of practice. I sometimes make
my students memorize the etude in its entirety for the
sake of concentration.
N o. 83.
Strive to master this etude without showing any dis
agreeable features in the change of fingering so as to
Moderator
interfere with the pure legato. Swing the bow along

the string the whole length. You will observe that the
double-stops are easy ones, hence one can follow them
without difficulty.
168
D O U B L E -S T O P S T U D IE S OF HANS S IT T . 169
No. 84.
While the previous etude requires the whole bow, this
one may be played somewhat in the half bow. I would
not use the short staccato, as pressure upon the strings
sharpens the tone. I sometimes play the entire etude
through with a very light stroke, raising the bow at the
middle to insure clearness and beauty of quality; also
to relieve the bow arm while mastering the mechani
cal detail in the text. Afterwards play the etude as
indicated.
No. 85.
This etude is, like many in the book, in an easy key.
It may properly come before the study of Mazas; at any
Moderato.
% ■&r 1
85
rate, the set precedes Kreutzer. The pure legato is of
the utmost importance. When two notes are slurred,
stress the first and let both sing, but do not carry the
legato over into the next group. That is an important
principle in piano playing, as well as in violin art.
No. 86.
Strive, in this dtude, to keep the theme prominent.
Use the whole bow when possible. Remember to relax
the first finger when the chord reads \ after ^ ; that is
to say, the chord based upon the second finger necessi
tates relaxation of the first finger.
No. 87.
One very important thing in connection with this
etude, which, as in the previous case, must be played with
a singing tone and rather long stroke, is to preserve the
melody. Do not carry notes over and rest, under any

consideration. Accent the first note of each group with
the finger, rather than with the bow. Do not cut legato
runs. This is a fine study for preparation for the Fiorillo
Etudes.
No. 88.
I generally use this dtude in connection with Halir’s
double-stops in the key of Bb. It is not practical at any
other point. Use the whole bow.
No. 9 3 .
We will now pass to No. 93, which, as an example of
Halir’s method of playing scale runs, is invaluable.
You will recall that Halir passes from the first to the
second position in double-stop scale' progressions, but he
assumes that one should be able to pass from the first
to the third position with the same ease, when necessary.
D O U B L E -S T O P ST U D IE S OF HANS S IT T . 17 1
He believes that the former method of study adds to

the flowing style so necessary in legato scale runs. I
would call attention to the fact that when playing octaves
in succession, the fourth finger slides along the string
and its weight must not be too heavy. Also that the
first finger must not press too heavily upon the string,
when the third and fourth are to be used, especially when
one has a small hand. The pressing point of the thumb
is variable, and in double-stop scales, as well as octaves,
the thumb and first finger must be free. Double-stops
are purely mechanical. If the hand measures the dis
tances on the strings, we should have a perfect command
of the difficulties of such work. Separate the two legato
passages, but do not accent the last note in a slurred
passage. The first note of each group is generally
accented slightly, or at least, the weight of pressure of
the bow and the weight of the fingers is greater. Let us
remember to play slowly enough so that we shall not
hear the fingers moving to and fro upon the strings.
Now No. 93 is a fine example of the work of double
stopping in a key which is perfectly practical for the
student.
No. 94.
To my mind Sitt has offered a more melodious form
and less complicated progressions in these studies than
in some of his other technical works. Always remember
that double-stops in triplets require a relaxation of the
bow on the second and third notes. We might just as
well teach tone color in connection with double-stops, as
with other work. Frankly, I do not believe in practicing
this exercise over and over forte. Study the content of
the work. Master the progressions and see whether we
move in a minor third or a major third; that is to say,
study intervals. If we cannot think them mentally, we
cannot practice intelligently. Madame Hopekirk once
told me that when she selected music at the music store
or looked over new compositions in her home, she never
found it necessary to play them on the piano. One of
my friends, who writes very good music, invariably com

poses on the train. He has enormous powers of concen
tration. Paganini practiced without the use of the bow,
as I have before stated. All this goes to show that we
play too much at the instrument. I have tried to memo
rize works without the use of the instrument and have
succeeded. Perhaps this may aid the student of Sitt
in the musical mastery of the double-stop etudes, espe
cially if one is mature. Children cannot pursue this
plan, but I give them a course in ear training, which will
be a great advantage to them.
No. 9 5 ,I
I usually omit No. 95; also the studies which lie be
tween Nos. 88 and 93, although they are very useful, if
one has time to devote to them.
No. 9 6 ,
I would play this etude with single bowings, at the
middle of the bow, raising the bow for each stroke, before
using the involved bowings mentioned or suggested in
the text. A light stroke at the middle of the bow, with
single bows, is less fatiguing and complicates difficulties
less. Now it would be well to practice two slurred notes,
then four slurred and finally eight. I sometimes vary
this etude by taking the double-stops apart, as it were,
playing each double-stop over and over in single notes
for a two-string transfer. I play each double-stop eight
D O U B L E -S T O P S T U D IE S OF HANS S IT T . I7J
times in this way. This gives a mastery of the string

transfer and of pure legato. Always strive to keep the
bow well over two strings. Relax the wrist inward.
Remember that chords and double-stops are more easily
played if the fingers are slid along the strings. This
implies that they must not fall with so great firmness
that elasticity is impossible, although technic requires a
certain degree of firmness.
Now, No. 96 is one of the most useful in the set, both
on account of the key, and also on account of the fre
quency of the double-stops 3 and
No. 97.
Before studying this etude, take the key of F and play
the scale in thirds, thus:
Moderato. \
9. „ -| 1 -i j -i 4 -—1— 1----
—1—q — 11—----11---- ---- 1-r-TTT -1 -i - u
---- 11—
s i s ! : * —S j --—
< t i t
----^ ----- 1
c z at * ' * f
4^ ‘ T ’
/ U m T, j 2 m # ! { t J- S II
h T • S g » me r ||
r m._.k r r 1 JL
L r L 1__ M
Lh U 11
Always sing the tone. Use strings which represent

perfect fifths. Never economize in that way when you
are studying double-stops, for it is time lost.
Another thing, remember that it is always wise to play
single bowings lightly in the middle of the bow until one
has mastered the musical side of the work. Never throw
the wrist outward. When playing 3 and % remember
that the first set of fingers remain down, the strings
first being relaxed. If necessary, the first finger may be
raised from the string and the thumb may be relaxed,
though not generally moved forward. This is one of
the most important principles of double-stopping. Even
i74 H O W TO PREPARE FOR KREUTZER.
the smallest hand can play double-stops well if the fingers

glide along the strings without undue pressure.
I regard this etude as one of the most valuable in
violin literature.
No. 9 8 .
I sometimes omit this etude because I like to turn the
attention of the student, at this point, to the double-
stop etudes of Kreutzer.
In studying it, however, remember that a broad, free
style of bowing is desirable. Use the original bowing.
Play lightly until mastered. Do not carry the accom
paniment note over time. Strike the double-stops
exactly together. When possible, use the whole bow.
Practice until one does not hear the changes in fingering.
No. 9 9 .
There are no new principles involved in this etude.
If the student is preparing for the teaching profession,
it may be well to use it. However, with the necessity
of teaching a great deal of technical literature, I find
myself unable to teach every £tude in detail.
Occasionally I allow my students to play several

Etudes to me at a lesson, and explain the principles in
volved, if they are to teach. I do not go over all litera
ture in detail. I only stress important principles, and
urge them to work faithfully upon those etudes which
D O U B L E -S T O P S T U D IE S OF HANS S IT T . 175
embody these principles; for I believe that it is necessary
to study standard works, and I would use the most help
ful concertos and sonatas, if one is advanced enough to
take them, rather than spend too much time in the study
of etudes. I have been especially interested, of late, in
the analysis of old violin works which, having been once
edited by Hermann, Alard, and others, have been re
generated, as it were, by such artists as Kreisler, Bur-
mester, and other representative violinists of our time.
I would also highly recommend the Moffat editions for
the study of old dance forms, and one must not omit the
Joachim-Moser book, which seems to reflect the spirit
of Joachim in the classics, although there are some dis
crepancies in bowing and fingering, which, as I have
stated, spring from the minds of his colleagues.
XXVIII.
THE ART OF BOWING.

B y E M IL K R O S S .
O p . 4 0 .1
HIS book is a practical, theoretical guide for develop

T ing the technic of the bow and for acquiring a good
tone. The excellent translation by Gustav Saenger is
a great addition to our violin literature. In fact, stu
dents, teachers, and violinists in general, profit alike by
the clear and lucid work of Mr. Saenger. The book is
a practical aid to every violinist. Although we have
other works on this subject, in none of them do we find
the contents explained in such a masterly manner, nor
is there such care in minute details. The work is short
and concise, but thorough. Mr. Saenger has reproduced
the spirit and explanations of the author in a perfect
manner. The different exercises of Kreutzer, Fiorillo
and Rode are, perhaps, numbered as in the Kross edi
tions. However, teachers can easily accommodate
themselves to other editions. In our country, every
thing that is done to give to the artistic study of the
violin more value, must be appreciated by that large
number of teachers and students who wish to obtain
the very best results from technical work.
Violin technic, that is to say, the technic of the left
hand, is absolutely necessary for the expression of a fine,
pure, sympathetic tone. While the violin is a melodic
instrument by nature, one can accomplish nothing with-
1 Emil Kross, “ The Art of Bowing.” A practical, theoretical guide
for developing the technic of the bow and for acquiring a fine tone.
Special English text by Gustav Saenger. Published by Carl Fischer,
New York City, in a faultless American edition. Price $1.25.
176
THE ART OF B O W IN G . 177
out a sure technic. I am convinced that the perfect
training of the left hand is of much more importance
than the skill of the right hand and arm. It is, however,
necessary that in tone production there must be a com
bination of clearness, purity, and strength. The arm
and wrist must be thoroughly loosened and made flexible
in the attainment of tone. Beauty and volume are quite
possible if the bow is free. A fine, pure tone can never
be produced by forced pressure. Even when the bow is
pressed upon the string, it must be relaxed and drawn
over the string in such a way as not to interfere with
resonance. All scales which aim at tone production
through pressure bring forth cold and unsympathetic,
harsh tones. This is proof positive that the arm and
wrist have not been sufficiently trained. We must first
free the arm and wrist from all stiffness. Then develop
grace and flexibility. An elegant bowing, capable of all
dynamic shading, is associated with a beautiful tone,
but many students have a gift for tone to which the bow
arm seems to accommodate itself with surprising ease.
Long experience in teaching has convinced me that
students must hear great players and singers. They
must study vocal tradition. I have learned more of
phrasing and tone color through the study of the Schu
mann and Schubert songs than I ever learned directly
from violin teachers. I can distinctly recall the inspi
ration given me by Signor Rotoli, who was never satisfied
until an Italian aria was sung exactly according to
tradition, and whose knowledge of the subtleties of
phrasing was marvelous.
It is well worth the student’s attention to read the
Introduction to the Kross “ Art of Bowing,” for it serves
almost as a text-book to those who are obliged to study
things out by themselves. The suggestions as to the
position of the hand upon the bow and the use of the bow
upon the strings, are very helpful.
Viotti and Rode, as well as Joachim, were very fine
examples of the perfection of the bow arm.
I need not in this work give the directions here stated
i ;8 HOW TO PREPARE FOR KREUTZER.
concerning bowing and tone production, but I wish to

call attention to the suggestions regarding gymnastics of
the fingers, which are quite in accordance with the
principles of Sevcik and Eberhardt. Naturally, the
trained teacher will say these directions are quite un
necessary, when a student is under the guidance of a
good teacher. I can only say that there are many
students who are far removed from city centers to whom
this kind of work must appeal. A young physician in
the West told me recently, that he had changed his posi
tion of bowing very radically since reading “The Tech
nics of the Bow,” by Courvoisier. If, then, a clever
amateur can work out the principles of bowing through
the use of a book, how much more do our students need
these helps who are going out to teach, and who must
be fully equipped with all phases of pedagogical know
ledge.
A few words now with reference to the legato stroke
of the whole bow. These examples are given in order
to prepare the student for that dignified stroke which is
so necessary in the study of Kreutzer. The change
between the up- and down-stroke must be effected in such
a manner as to be nearly imperceptible. The fingers and
wrist must yield to the movement of the bow and not
move their positions too suddenly during the change
from up- to down-bow. The lateral wrist stroke should
have been cultivated during the first two years of violin
study. It is advisable to sometimes draw attention to
principles of bowing as exemplified in the early Kreut-
zers. I would, however, confine my attention to a simple
presentation of ideas and not an elaboration of the same,
for all complications must, of necessity, injure the student
who is striving to acquire the mastery of mere detail.
Now, for the acquiring of a whole bow stroke, involving
the swift and free movement, I would call attention to
exercise No. 36, by Fiorillo. In this case we pass from
one string to another. It must be thoroughly under
stood that the Kross “ Art of Bowing,” is not intended
to abbreviate the study of Fiorillo and Kreutzer. I
would draw the bow very swiftly in a decidedly marked

manner, pausing between the movements. This gives
us the principle of the grande detache. The accent
must be strong and executed by the wrist with no aid
from the shoulder. The bow is not to be lifted from the
strings. Pause between the notes. Apply the prin
ciples of this detached bowing to the open strings before
suggesting the Fiorillo Etude. I also use it in connection
with my “Three Octave Scales.” By and by, when the
student (for we are presupposing that the one who studies
this work is preparing for the teaching profession) finds
himself confronted with the training of students, he will
see the advantage of a book devoted solely to the art of
bowing, and he will apply his knowledge to whatever
studies he uses, both before and during the study of
Kreutzer and Fiorillo.
I would now try the same exercises with upper arm,
both legato and with the detached stroke. This is not a
book in which we may begin at the beginning and go
straight through without supplementary work. It is a
sort of handbook to the profession. Whenever I find a
student who is deficient in tone production, I suggest
the exercises for that purpose on page 3, by Kross.
The graduation of tone is a difficult subject and one
which seems very wearying to students. I would prac
tice the “Three Octave Scales” very carefully as indicated
in my book “Daily Exercises for Violinists,” the second
book of which offers also some fine examples of the legato.
Practice the first exercises of Kreutzer with quick
strokes, then slow; first forte, then pianissimo. The
second exercise of Kreutzer, that is to say, the triplet
study in Eb, is very well adapted to the grade of work
we are now considering, but I prefer to apply the detache
stroke to the upper half of the bow. At this point, we
may stop to consider various exercises of Mazas and call
attention to similar types of bowing in Kreutzer, Fiorillo
and Rode. It might be well to acquaint the student
with the Seventh and Eighth’ Rode Concertos; that is
to say, let the more advanced students play them. The
i So HOW TO PREPARE FOR KREUTZER.
Ninth Spohr, the Twenty-second and Twenty-third

Viotti, and others, may be used for illustration.
The detache stroke is closely allied to freedom of the
right arm, especially the forearm. Kross calls attention
to various passages in Rode and Viotti. There is some
doubt in the minds of teachers as to the connection
between the detache stroke and the martele. The mar-
tele is a stroke that must be used with care until the arm
and wrist are free. The bow must be held very tightly.
All the notes must be played at the tip of the bow. The
stroke must not be too short. Pause after each note.
While the detache implies the principle of vibration after
a note is struck, the martele involves pressure on the
string and no relaxation. Hence, to the stiff arm, the
martele is injurious. I never give it before Kreutzer
unless students have pursued their studies with me for
years. When the martele is used carefully, much strength
can be developed at the point of the bow. I would not,
however, practice this martele stroke in the sixth and
first Kreutzer Etudes unless the student is very deficient
in accentuation, and then I should watch the bowing
very carefully. You must remember that the martele
implies very little tone but much pressure. I much
prefer in the sixth and seventh Kreutzers a forearm
stroke, slightly detached. The teacher should select
exercises from the Spohr Etudes and other works, which
may be used as examples of this bowing. Kross suggests
that the first caprice of Rode be played at the nut of
the bow. It is very necessary, in the attainment of a
fine staccato, to play this caprice in the upper third of
the bow, with short detached strokes. You will find the
same stroke in the first movement of the Viotti Twenty-
second Concerto.
I am told by Symphony men that a rapid, detached
stroke, with the full length of the bow, is a splendid means
of loosening the wrist in a very short time and producing
a singing tone. I am sure this must be true, for the broad
free style of bowing, so necessary in the orchestra, cannot
be cultivated in any other way. Another stroke, sug
THE ART O F B O W IN G . 18 1
gested by Kross, is the drawing of the bow quickly from

nut to tip, as in No. 7, page 8.
It is perfectly in keeping with a student’s develop
ment to call his attention to the ninth Exercise of
Kreutzer, with the rapid detached strokes. The whole
bow stroke, with martele at nut, is worthy of study.
You will observe in the study of Halir that we raise the
bow in the middle third after each stroke for the study
of double-stops. Kross suggests the use of the whole
bow as applied to double-stops. This is very useful, but
one must not force tone. Example 10, page 10, is a
much more helpful means of producing this bowing.
The technical development of the wrist is thoroughly
studied in the Kross book. When slurred notes on two
adjacent strings are to be played, there is a gentle undu
lating movement of the wrist, but no lateral stroke.
Detached movements of the forearm do not involve a
wrist stroke. In string transfers, the tones produced on
each string must be alike in duration and volume. The
bow must not tilt from side to side. Kross suggests a
looking-glass as an aid to the student. The examples
which he gives I have frequently given to first year
students, even children, being very careful that they
play on the outer edge of the hair. In the thirty-sixth
Etude of Fiorillo one may use a little more hair. No. 12
is a legato stroke requiring a quick, undulating move
ment. The thirty-sixth Etude of Fiorillo is mentioned
in this connection, though there are a great number of
exercises quite as useful. In fact, I would use the Sevcik
Exercises in Opus 2, which offer so many excellent ex
amples in string transfers. The Kross book is merely
a guidepost for further effort. I am reminded of my
study at the Framingham Normal School, at which every
subject for consideration contained many parallel refer
ences and involved the use of a great many books, out
side of the mere text-book. That is exactly the purpose
of the Kross book. It is to call attention to passages
involving, with more or less difficulty, the principles of
bowing laid out by the author. In this way the student
l 82 HOW TO PREPARE FOR KREUTZER.
becomes acquainted with the most beautiful examples

of violin literature and, while studying the book in con
nection with my teachers’ class work, I always ask ad
vanced students to play the examples given, many of
which are too difficult for the average student. We
discuss questions of bowing and submit many examples
to the class.
The combinations of bowing are very interesting to
the average student. Now that we use the Sevcik books,
I do not think that we need spend so much time on the
Massart bowings. However, I am very sure that my
students understand them during the study of the first
twelve Kreutzers. It may seem very strange in prepa
ration for Kreutzer that we should use examples from
Kreutzer. I can only add that the student must be
acquainted with the great fundamental principles of
bowing before he begins the study of Kreutzer.
Having called attention to the different bowings, we
will now take up the first Kreutzer Etude, with seventy-
five different bowings. I would use the Massart ex
amples, striving, as far as possible, to cultivate the whole
bow, the upper and lower half, point and heel, with a
wrist stroke, a combination of the staccato and legato,
the study of the spiccato and flying staccato, and a thor
ough study of the continuous legato. I find, that, while
I, myself, spent one year in the study of the first twelve
Kreutzers, with the ample preparation that I now give
my students from the books of Sevcik, the first twelve
Kreutzers may be studied and the most of them memo
rized in six months. I keep up the first exercise, which
is the second in the Peters’ edition, and the eighth, using
many examples of bowing from the Massart book. The
fourth Exercise of Kreutzer contains triplets with forty-
six different kinds of bowing, and is much more practical
during the first study of the work, if played in the upper
half of the bow, single detached strokes. The student
who is reviewing Kreutzer the second year may vary the
bowings, but a swift forearm stroke is so important that
I ask my students to practice this etude five or six times
a day for the development of the forearm. The eighth
Kreutzer Etude is one of the most wonderful in existence
for the development of the technic of the bow. I am
amazed at the progress my students make after entering
upon Kreutzer, but the thorough study of this work
belongs more properly to my book “ How to Study
Kreutzer.” I would, however, urge my students to
study this by hearing it in the teachers’ classes. I may
offer an excellent example of this assertion that one must
be pre-acquainted with Kreutzer, from an experience
that came to me this year. One of my students, who is
preparing for the Royal High School in Berlin, was
obliged to review her Kreutzer Etudes for the third year.
I felt that she needed a more thorough study of the great
principles of bowing. She had for a room mate a stu
dent who had had only three years of violin study, yet
who was remarkably receptive. In the spring, when I
began the study of Kreutzer with the latter, I found
that she had actually mastered, to a great extent, the
fundamental principles of bowing of the first twelve
Kreutzers. She was not only very skilful in the matter
of bowing, but she actually knew the content of the etudes,
showing that, having heard them constantly, she had
unconsciously acquired a certain skill. We are all, more
or less, imitative. That is why I go over the Kross book
in the “teachers’ class” so that the students of Mazas
and Dont may be prepared for the more difficult work
which they are to study in the future. Kross gives the
thirty-sixth etude of Fiorillo, with thirty-seven bow
ings, as an example of string transfers. I would refer,
at this point, to my book “ Daily Exercises for Vio
linists,” Book II, which is largely devoted to the study
of double-stops and chords which, when analyzed, fur
nish abundant examples of string transfers on two, three,
and four strings. This is a subject of great interest
to students, and has much to do with the perfect devel
opment of the bow arm. The student will do well
to read in the Kross book the preface to the study of
tone production, page 25. As I said, the study of tone
shading is not something that we talk about merely.

We must hear great artists play and catch through them
some inspiration so that the exercises, however dry and
pedantic they may seem to us, will have new meaning
as we are striving to work out an ideal of tone color.
The examples furnished on page 27, in which we alternate
the forte and pianissimo, are excellent. They may
also do for specific scale study. Those teachers who
neglect scales are furnishing no fundamental knowledge
of the content of music. Tone shading in music is as
light and -shade in painting. A French pianist whom
I once met, told me that he learned more about phrasing
and tone color from the art of Sarah Bernhardt than
from any pianist.
There is an unconscious connection between the mod
ulations and inflections of the voice and the effect of tone
color upon the human emotions, as expressed through the
use of an instrument. All instruments are merely a
medium of expression of the human soul. If we have
nothing to give, we will say nothing. However dry and
pedantic certain phases of study may appear, I believe
heartily in training the student for the profession by an.
abundance of related examples, if we are to teach a great
principle. You will observe on pages 30 and 31 that
Kross uses a number of examples as an illustration of
cantabile playing, which, by the way, is most closely
associated with the subtleties of tone shading. The
eighth Etude of Fiorillo may be played by an older
student in class. Also the fourteenth, seventeenth,
twenty-second, and twenty-fifth. I sometimes play
several of the Rode Caprices, among which I would cite
the fourth and first. Other examples that may be used
are the second movement of the Bach “A Minor Con
certo,” the first movement of the Tartini “ G Minor
Sonata,” and the beautiful “A Major Sonata,” by
Handel. Kross has selected the Twenty-second Con
certo of Viotti, the Seventh of Rode, Eighth of Rode,
Ninth Spohr, the Mendelssohn Concerto, the two “ Ro
mances” of Beethoven, Schubert’s “ Serenade,” and
other examples of adagio movements so well known to

the profession. He does not mean that the student who
is preparing for Kreutzer should play these works. They
are to be played by an advanced student, or by several
advanced students, and the class are to note the beautiful
examples of phrasing and tone color. We sometimes
play the easier string quartets of Haydn, Mozart, and
Beethoven. Occasionally, I use one of the Spohr Duos.
We now come to the discussion of staccato bowing.
It is a bold and brilliant manner of expressing the viva
cious and lively element in music. It consists of de
tached notes, played with one stroke of the bow and with
great uniformity. The staccato is to be practiced very
slowly, at first, on the outer edge of the hair. There
must be a slight pressure of the forefinger upon the stick,
a slight pause afterwards and release of pressure. The
pupil will soon get accustomed to accenting the staccato.
There must be perfect freedom of the muscles of the
wrist and fingers. The movement is not a lateral one
but from the arm. Spohr, himself, once asserted that
staccato playing was a natural gift. Wieniawski strove
for it for years, and finally succeeded in playing a
most brilliant staccato. Ole Bull played the down-bow
staccato with as much brilliancy as the up-bow. It is
said of Paganini that his staccato runs were so brilliant,
light, and graceful that, when playing with the orchestra,
whenever a cadenza occurred, he played a few notes and
smilingly said, “and so forth, sirs,” because he wished
to tease the orchestra players who were so anxious to
discover the secret of his beautiful staccato. The mas
tery of a fine martele leads to the attainment of a staccato,
according to Kross, who asserts that a great deal depends
upon the elasticity of the wrist. I must here assert that
the bow must not be too long, and it must be an excel
lent one. A clumsy stick must inevitably produce a
poor staccato. A stick too light for a well-trained hand
is also utterly useless. Staccato becomes more difficult
below the middle of the bow. The down-stroke is more
difficult than the up-stroke. Begin this near the nut
and practice on the inner edge of the hair. The sugges

tions offered by Kross concerning staccato playing are
very fine. As examples of staccato work, I would use
the first and eighth Kreutzer and many examples from
the works of Sevcik. Kross makes special mention of
a staccato bowing which is very useful in solo composi
tions. It is called the Viotti bowing. This manner of
bowing is best acquired with rather long strokes, bring
ing the second note out in a very energetic manner.
The tip of the bow is used. We find examples of this
bowing in the thirty-sixth etude of Kreutzer. I do
not think Viotti originated the bowing. The best way
to acquire staccato bowing is to play on the open A
string several detached notes in rapid succession. Ex
ample 14, page 40, is a splendid means of acquiring stac
cato runs. I would also play the G scale in three octaves,
using up-bow staccato, after the first note played with a
down-bow. A very clever example of staccato bowing
is one note cut, two on the up-stroke, at point, staccato.
We will now consider the down-bow staccato, followed
by an up-bow run. This, in turn, to be followed by a
down-bow run. In short staccato passages, involving
frequent change of bowing, do not play on the inner edge
of the hair, but rather on the front portion of the hair.
Such an example may be found in the Rode Caprices,
No. 7, which, by the way, is one of the finest examples of
staccato bowing in existence. I would, at this point,
have some advanced student play this staccato etude.
We may also select examples from Fiorillo and the eighth
Kreutzer, two tied, legato, four cut, up-bow, staccato,
at point.
The scales and arpeggios of Schradieck may be used
in connection with staccato bowing. One of the finest
examples of staccato is the third Kreutzer Etude., This
finds its parallel in one of the earlier Fiorillo Etudes.
The half bow should be used. We economize the bow
for the staccato run at the point. Accent sharply. This
is one of the best etudes for continuous staccato study,
although I believe the third Etude of Fiorillo is a more
THE ART OF B O W IN G . IS/
natural form of the staccato. A combination of the up-

and down-stroke is found in the Seventh Rode. The
Ninth Concerto of Spohr is cited as an example of stac
cato playing. Other good examples are from the First
Concerto by Vieuxtemps.
We now come to the spring bow. This is played with
the balancing point of the bow about at the middle.
The bow lies upon the string in such a way that it tilts
slightly from side to side. If the wrist is moved to and
fro in an undulating manner, the hair will rebound from
the string. A wide spiccato requires more lateral stroke of
the wrist. The bow is more tightly strung. I have just
described the spring bow in another part of the book in
connection with the Studies of Sitt. For a thorough
study of the spring bow, we may mention the first
Kreutzer and the eighth, although other examples are
given. Paganini’s “ Perpetual Motion,” Ries’ “Perpetual
Motion,” and the Paganini Concerto, afford examples
of this type of bowing.
The ricochet stroke is discussed on page 50. Lift the
little finger from the stick. The wrist must be very free.
This is a thrown staccato stroke. Calculate accurately
the springing of the bow, according to the number of
notes on a bow. By all means, procure an excellent bow.
The ricochet should be practiced a little slowly at first.
Example 17 is very good and we may find an illustration
of it in the “ Polonaise ” by Vieuxtemps. The first exer
cise of Kreutzer may be played in this way by doubling
the second note of each group. No. 7 of the “Etudes
Melodic” by Panofka, affords an illustration of this type.
The “ First Concerto” of De Beriot, as well as the “Sixth
Air,” affords splendid examples of this bowing which you
will find readily illustrated in the Kross book. One great
advantage of this book is that the illustrations are not
only referred to, but printed. This affords the student a
working knowledge of these works, and in such eases, at
teachers’ class work, such as I have in my school, the
youngest students may watch the illustrations as they
are played by older students.
The spring-bow arpeggio is considered on page 52.

Those who can play a good plain arpeggio can easily play
spring bow. The first stroke must be slightly jerked, as
it were, withthe full breadth of the hair alternating on two
strings and followed by a swinging stroke, the bow being
exceptionally straight. Quicken the tempo. Accent the
first note more strongly than the others. Lift the little
finger from the stick so that the bow is held by the thumb,
the forefinger, and the middle finger. I have cited ex
amples of this kind of bowing in my article on “ The Tech
nical Studies of Hans Sitt,” Part II, Book VI. I find it
quite as easy to teach the spring-bow arpeggio on four
strings as on three. The wrist must be very loose. The
elbow follows the changes of the strings. The upper arm
merely moves out from the body and again toward it.
If the bow rebounds too much, loosen it. Always strive
to keep near the middle of the bow, the point of the
greatest elasticity. Remember that we play mainly on
the front side of the hair rather than on the outer edge.
If one has studied string transfers carefully, from the
works of Sevcik, there will be no danger that the hand is
stiff or the movement an unnatural one. The thirty-
sixth etude of Fiorillo should be played to the class.
Also the twenty-eighth exercise of the “ Etudes Mel
odic,” by De Beriot. We find a splendid example of
this type of bowing in the first movement of the Men
delssohn Concerto, although I have previously stated
that we find it in easier works, such as “The Scene de
Ballet,” by De Beriot.
There are very few examples of tremulo bowing in
standard violin literature. Like the spring-bow arpeggio,
we play with the whole breadth of the hair and usually
around the middle of the bow. The bow is held with the
forefinger, thumb, and middle finger, and two notes are
played with the up- and down-stroke in the manner of
spring-bow arpeggio. The tremulo grows more difficult
in double-stopping. Use open strings, then scale pas
sages. I do not care to teach this method of bowing to
young students, but I think it is wise to use it, if possible,
as a means of illustration. An older student may always

illustrate. The famous “ Melancolie,” by Prume, fourth
Variation, is a work which I studied in my childhood.
This furnishes an example of this type of bowing. Leon
ard’s “ Souvenir de Haydn” is another example. Also,
the “Am Springbrunnen,” by Schumann.
We will now leave this interesting work, although there
are many things which admit of serious study in it. Let
us hope that the ambitious student will buy the works
referred to in this book and study the types of bowing
indicated.
XXIX.
THE TECHNICAL STUDIES OF CARL HAUR.1

HESE studies are undoubtedly the most useful I
have ever known for the development of evenness
and velocity in the movement of the fingers. They are
valueless, unless one practices them daily, systematically,
and with the whole mind fixed upon intonation. In
all technical work repetition is necessary, and in this case
freedom of finger action is important.
Now, let us see how we shall play these exercises.

The first one upon the G string begins as follows: — A
group of five notes played legato in the middle of the bow.
Raise the bow slightly after each stroke, the motion
coming from the shoulder. There should be absolutely
no pressure upon the bow stick, all the fingers remaining
passive. After playing the first group eight times, slowly
and evenly, add the next note in the scale, being very
careful to cross the strings without any break in the tone
quality. Now, proceed to the next note, playing this
1 ‘‘New Scale Studies for Violin,” by Carl Halir. Published in a new
and superb edition by Carl Fischer, New York City.
190
THE TECHNICAL STUDIES OF CARL HALIR. I9 I
group slowly and evenly, and so on up the scale, the

groups being relatively the same as far as tempo is con
cerned. The arm describes a curve, the bow lying well over
two strings, in order that the transfers maybe beautifully
made. The ascending scale is much more easily played
than the descending. The G scale is naturally the one
with which to begin. If the fourth finger does not fall
instantly into place, one should repeat the passage many
times until it is mastered. While I am a firm believer in
the development of the fourth finger, according to the
principles laid down in the Sevcik studies, for the stu
dents of Kreutzer, the Halir book is much more valuable;
in fact, I believe that scale runs may be played with the
use of the fourth finger, both in ascending and descending
scales, so perfectly that one cannot distinguish any weak
ness or unevenness in the fourth-finger action. If one
cannot play simple exercises of this type with a perfect
legato, how can one play well the more difficult runs of
a concerto? The fundamental principles of legato play
ing ought to be well mastered before one has finished
the study of Kreutzer. Frankly, I believe that one hour
a day spent in the practice of “Three Octave Scales/’ with
various bowings, the “ Studies ” of Halir, and the more
difficult of the Sevcik “ Studies,” preferably the “ 4,000
Bowings,” will fix the fundamental principles in the minds
of students. I should play these works every day for
one hour before beginning the regular practice of the day.
It is astonishing how free, both the left hand and right
hand become, under such discipline. I am not a stickler
for technic, but I do believe that a sure technic enables
one to express to the best advantage one’s highest
musical feelings.
I should modify the order of the Halir “ Studies.”
After the first group take the third group, in which we
begin with the fourth finger and go down the scale, with
the same method of bowing. This transferring from the
upper to the lower string is much more difficult than the
ascending scale. Always avoid accenting. Remember
that the arm moves in a plane from the shoulder, and that
the bow, as well as the finger to be used, anticipates a

change of string. The fingers must lie well over the
string in question, the fourth always being curved, and
not straightened toward the new string. Draw each
finger back slightly after it falls. Remember that a

singing tone is only obtained by lightness and ease of
bowing, combined with firm fingering.
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We now combine the two groups. This is a little more

difficult, but involves, as formerly, very little pure wrist
stroke. I should now go to example 3, page 7. After
THE T E C H N IC A L S T U D IE S OF CARL H A L IR . 19 3
having practiced these forms, play the same groups in

the keys of Eb major, A major, Bb major, and B major.
I would now take the E string. If the student shows any
tendency to press the neck of the violin too heavily with
the first finger, insist upon the removal of the finger from
the neck of the violin, except at the tip. If the first
finger is unable to describe a sharp curve, slip it back,
not under the violin.
One of the most serious difficulties in the mastery of
intonation is the tendency not to keep the elbow well
under the violin, a position which twists and distorts
the hand so that one never plays in tune, the thumb
being bent around the neck, and the fingers inclined to
fall in such a way that they have no strength or freedom.
I believe that false intonation is largely due, in the first
position at least, to a non-uniform position of the hand.
Every movement in violin playing should mean some
thing. Any movement which is not necessary interferes
with technical development. Let us, therefore, be very
particular as to how we teach scale runs on the E string,
where the danger lies. Fingers must remain upon the
strings as long as necessary. Every finger should take
its position instantly. The passing from the E to the A
string is probably the most difficult, for the fingers are
bunched together, while on the G and D strings they have
more freedom.
We will now pass to the fourth example. The fourth
finger must fall instantly into place. In playing No. 2,
page 6, be very careful not to tilt the bow too much.
The movement of the arm is very slight, the bow lying
well over two strings. You will note that Sevcik always
plays two-string and three-string chords before he intro
duces the legato examples on three strings. This is to
teach the student to make a quick string transfer with the
proper position of the arm. One who has done this work
to some extent will probably play the Halir “ Studies ”
with great freedom. We will now combine the upward
and downward scale runs and reverse them. I should
continue these fundamental legato examples for weeks
i 94 HOW TO PREPARE FOR KREUTZER.
and months, as they offer so fine training in the legato

and in freedom of finger action. Now, it might be well
for advanced students to begin the studies preparatory
to changing positions, at this point, but it is not Pro
fessor Halir’s idea to make these preparatory exercises
on page 8 the first examples of position work which a

student uses. They are merely a means of reinforcing
principles already learned. You will observe the fifth
position following the third very quickly. This does
away with the idea which anyone may have previously
conceived that the Iialir “ Studies ” are intended for com
parative beginners. They aim at technical proficiency
and the mastery of a pure legato. You will observe, in
the second line, page 8, that the key of E is used. I
would substitute the key of A, and continue with that
key until the fifth line.
THE T E C H N IC A L S T U D IE S OF CARL H A L IR . 19 5
How few students know the names of notes in the

higher positions, and how very few can start upon a very
high note and make a downward scale run with security!
Professor Halir assumes that a run which can be played
upward can be played downward with the same security,
the pupil taking the highest note instantly without being
given the example; that is to say, if I can think B on the
A string, and B with the fourth finger on the E string
in the first position, I should be able to think B of the
sixth line above the staff quite as readily. It is unusual,

I know, but a perfectly logical conclusion. I have spent
weeks and months upon this kind of work with great
profit. We must be very careful of pitch. The hand
must assume new positions very quickly, the thumb
going under the neck of the violin after the third position,
so that the middle joint is flat. Do not rest at the base
of the first finger. Do not use the vibrato. Slide the
first finger along the string, but do not raise it. Keep
the fingers down upon the strings. These rules hold true
in all legato playing. While the key of F, as is found on
page 9, is not altogether practical at the outset, I would
use it after the exercises on the G string, page 11. I have
also used the key of A, page 11, introducing other ex
amples, as well as the one given.
With regard to the scale studies, page 12, I use them
constantly during the study of Fiorillo and Rode, but for
regular scale work I use the Schradieck Scales in fours,
in three octaves, but not repeating the fundamental note,

as it interferes with a pure legato. Of course, my “ Three
Octave Scales ” precede the more difficult scales of Halir,
but they are for bowing, and the simplest form of position
work should be used. Halir, however, goes from the
fifth to the first position on the E string, a method which
I find more useful than my own in regular concerto runs.
On the G string.
Of much more vital importance to the average student

are the scale studies in broken thirds on page 45. To
cross the strings well is of the greatest importance.
There should be no break in the value of tones and no
variation in pressure. Use examples in the key of G;
also, examples in the key of A, page 48. Do away with
the method of playing these examples in the middle of
the bow. It is much better to use the whole bow. I
rarely use the key of G major. As the key of C does not
T H E T E C H N IC A L ST U D IE S OF CARL H A L IR . 19 7
lie easily on the strings, I would use it only when one has
mastered a good legato in the key of G. The easier
examples in the key of D major, page 57, are practical.
Do not dip the wrist too much. Play on the edge of the
hair. Use a broad free stroke. Memorize every ex
ample. I give only a few exercises at a time, as I
believe the student works with more concentration when
these few are memorized.
We now come to scale studies in thirds. I do not
recommend these to teachers until perfect relaxation of
the fingers of the left hand is secured. I prefer the key
of C before the key of Bb. Possibly these studies may
be used while one is working on the Sitt Studies, Op. 20.
C major.
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I would, however, begin the serious practice of double-

stops, at least during the trill studies of Kreutzer, to pre
pare one for the later studies involving double-stops in
Kreutzer. Double-stops are very simple if one plays
with a quiet hand; that is to say, if one makes no un
necessary movements.
You will observe that Professor Halir passes from the
first to the second position, as he believes that scale runs
in double-stops are much more fluent when played thus.
While the first and third fingers are upon the string, the
second and fourth should anticipate their movement.
Perfect accuracy is only possible when the fingers fall
with force and evenness. Avoid the vibrato. Play
I98 HOW TO PREPARE FOR KREUTZER.
lightly in the middle of the bow, the movement being

from the shoulder. Raise the bow after each group.
This method relieves us from thinking about the bow arm,
while we are listening to the tone. Observe the method
of fingering throughout the examples on pages 64 and
65. Master the upward progressions before giving any
attention to the downward ones. Omit 2 and 4 until
after Nos. 1 and 3 of pages 66 and 67 have been mastered.I
I usually take the key of D after the key of C, in the same

manner. Do not use too many of these examples at a
lesson, as a student does not use discretion in practicing,
and sometimes stiffness of fingers and wrist results, —
at least a fatigued condition. It is an unsafe rule to
practice a passage until the hand aches. I know of
nothing so valuable for the security of the hand as these
excellent double-stop studies. To be sure they take a
great deal of time, but they develop one’s idea of intona
tion wonderfully. Double-stops are the bane of all
students. Why should they be? If the fingers move
together along the strings, being shifted and not raised
or moved after they assume their positions, causing the
relative distances to be wrong, the student is working in
the right direction. Moreover, the wrist must arch
inward and the thumb must be free.
I am especially interested in No. 1, page 70, and
No. 3, page 71. Remember that the fingers go with the
hand and the thumb does not move independently, but
THE T E C H N IC A L STUDIES OF CARL H ALIR. I99
with the rest of the hand. Let every motion count.

Do not spend more than twenty minutes per day upon
this work, if practicing four hours per day. A wise
proportion of technical work is not only necessary but
absolutely indispensable. While I believe thoroughly
in the mastery of double-stops, as suggested by Halir,
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I think his scale studies in octaves, as well as those of

Schradieck, should not be studied in the abstract. We
enjoy best, and therefore study seriously, those things
which have a bearing upon the classic works which we
are playing. Hence, I would advocate the practice of
double-stops in connection with concertos. The same is
true of cadenzas and other scale studies in sixths.
There is so much material to be mastered that I think
we should study fewer etudes; that is to say, master
principles with a limited number of examples constantly

repeated, then go to one’s repertoire and work out the
difficult passages by much repetition. Do things in the
right way the first time. The right way must be the
freest way. All violation of important rules hinders our
development. The great question to-day in violin technic
is not what and how much to use, as regards material,
but what is the best common-sense way of using this
material. In Berlin they used to tell us what to practice,
but no one ever told us how to practice it. If we did not
succeed in mastering principles, they generally concluded
that we were not musical. The reasons for our imperfect
work were deeper than anyone could discover, save a
master of detail. The trouble was, we should have
mastered our detail before we crossed the Atlantic, for
our teachers were only prepared for and interested in
very advanced work.
XXX.
GOBY EBERHARDT AND HIS SYSTEM FOR

PRACTICING THE VIOLIN.1
HERE are two reasons, at least, why students of
the violin make less progress than the most earnest
teacher expects and desires. One is the pernicious habit
of keeping the elbow too far out to the left and twisting
the thumb over the finger board, the first finger being
tipped under the neck of the violin. This habit some
times lasts for years, and hampers technic in a great
degree. The other drawback is lack of freedom in the
fingers of the left hand, as well as unequal pressure of
the fingers on the strings. The Sevcik System has done
much for intonation and freedom of finger action, but
elasticity and equal pressure are still more stressed in
the System of Eberhardt.
The book of Eberhardt does not offer new material in
a musical sense. The writer believes in the time-saving
method which he has found practical in his own case.
With him, as with Sevcik, every movement of wrist,
hand, and fingers means something, and he makes no
movement which has not some logical connection with
another, or with some great principle. In accordance
with his ideas, he has revised a number of concertos,
Paganini’s “ Caprices,” and some other works, accord
ing to the principles of his system.
Granting that genius is inborn, no artist can succeed
in his profession without a certain mechanical foundation;
1 “ My System for Practicing the Violin and the Piano,” by Goby
Eberhardt, based upon psycho-physiological principles. The most
modern and advanced work of its kind. Special American authorized
edition with English text by Gustav Saenger. Published by Carl Fischer,
New York City. Price $2.00 net.
201
that is to say, technic, and technic means work. Eber-

hardt believes in abbreviating the drudgery which be
longs to the early phases of art-development. His work
is not long drawn out, like that of Sevcik, but both
systems require great concentration on the part of the
player. Plainly and simply the author develops the
will, the reasoning power, and the discrimination of the
player. I am myself convinced that according to old
methods of teachers we were told to practice, but were
not directed how to practice. There were no labor-
saving institutions in our time. Eberhardt believes in
the development of each finger according to logical rules.
According to his system, great difficulties seem to have
been mastered, in his case, and in the cases of his stu
dents, with great ease. Like Sevcik, he does not lay
down rules for one hand and immediately apply them
to another hand which requires a totally different treat
ment. His system, like that of Sevcik, requires a com
mon-sense treatment. He recommends the use of Ca-
sorti’s ‘‘Bowing Exercises,” in connection with his work.
I prefer the Sevcik “ 4,000 Bowings,” Books III, IV, and
V, as the subject matter or original theme is not so
difficult, and the keys are more practical.
Goby Eberhardt was forced by fate to abandon the
profession of the violin; in fact, he never expected to
take it up again. As a consequence of a paralytic
shock, the use of his fingers was impaired, but with
remarkable courage he began the study of musico-
literary works, among others the “ History and Devel
opment of Modern Violin Playing,” involving a rather
complete study of the art of Paganini and Tartini.
The secrets of Paganini, transmitted to Sivori, seemed
to imply a remarkable lessening of the difficulties of
playing, as well as of bowing. Among other things,
Eberhardt learned that Paganini never practiced audi
bly. From this time Eberhardt began to study the
finger board of the violin from a mechanical stand
point, making of it a clavier, as a pianist would say.
With the whole mind on the work, he found that Paga
GOBY EBERHARDT AND H IS SY S T E M . 2 0 3
nini’s style of practice involved enormous activity of

will power and perfect concentration, though he pos
sessed a frail organism. Now, Eberhardt placed his
fingers upon the groups of consecutive intervals, allow
ing them to remain in their positions for a few seconds,
in order to avoid sudden relaxation. He also tried this
experiment on one of his pupils; both gained greatly in
relaxation, strength, and agility of finger technic.
Eberhardt says, “To practice means to learn. It is
intellectual work and not purely mechanical proceeding;
encouraged through Paganini’s mute playing, I gradu
ally evolved the idea of mastering and overcoming
technical difficulties, not through hundreds of senseless
repetitions, but through a firm placing of the fingers on
the strings in connection with an inner imagination of
the tempo.” Now, we see that Eberhardt does nothing
without thinking. Every exercise involves some im
portant principle. One of the most important advan
tages of this system can be seen in the quick mastery of
thirds and sixths, a subject which puzzles most of us
for years, because each pupil’s hand seems to be different
from that of another. Eberhardt has solved the prob
lems of technical practice without fatigue. Halir tells
us to practice legato runs and double-stops carefully
and lightly in the middle of the bow. Eberhardt leaves
the bow entirely out of the question. In this way we
master the details of technic. Within the past ten years
I have found that Halir and Sevcik have given me the
greatest helps in the development of left-hand technic,
but the system of Eberhardt offers such logical lines of
thought, and is so practical for those of us whose pupils
fail to play in tune and exhibit great slovenliness in
technic, that I am now using it to advantage. I find
that his exercises for the firm placing of intervals, as
well as for strengthening the fingers and developing
elasticity, add to the value of scale playing, and in
crease one’s power of stretching.
I have many times said to my students that Joachim,
when playing groups of four sixteenth notes, accented
the first note of the group with the finger of his left
hand rather than by pressing upon the bow. Left-hand
technic plays a more important part in tone develop
ment, accent, and rhythm than the bow arm plays; in
other words, those teachers who exalt bowing perhaps
fail from a technical standpoint.
Eberhardt has been opposed to the idea of practicing
with mechanical appliances, yet for reasons of his own, he
invented a fingerboard for mute practice. It serves the
same purpose as a dumb violin.
His exercises for the gliding action are extremely
valuable in the mastery of the pure legato and the
portamento. On page 23 the exercises for imparting
flexibility to the thumb are seemingly opposed to the
principle that every movement must mean something
definite, but I am reminded of certain phases of study
in Berlin, at which time Herr Markees insisted that I
practice the ninth Kreutzer etude with the thumb
gliding to and fro from the third to the first position and
back again in the rhythm of quarter notes, there being no
pressure against the neck of the violin. This is exactly
the principle of relaxation required by Eberhardt, and
to tell the truth, I have never, until recently, felt its
value.
Now, page 23 gives some work for the change of posi
tions on the G string. Eberhardt says that the thumb
must withdraw before the finger. That is quite true.
One wonders, however, if the thumb moves with the
hand or independently of it.
There are exercises for the use of the fingers in double-
stops and chords. Apply these principles to the double-
stops of Halir and the chords of Sevcik, Book II. A
principle that works well with one educator ought to be
made to fit into the system of another, if it is a good one.
Eberhardt stresses the mental grasp of intervals before
they are played. One must be very careful in connection
with exercises on page 26, to rest after extensions. I
would not advocate too long practice of octaves. The
fingers must be moved simultaneously in octave study.
GOBY EBERHARDT AND H lS SY S T E M . 205
We now come to the series of exercises with the firm

fingering, page 27, in which half-steps are stressed. The
regulation of pressure of fingers on the strings is of great
importance. The cultivation of the fourth finger in
extensions is next considered, and care must be exercised
in this practice. The same is true of the exercises in
broken chords. The exercises for the flexibility of the
first finger, page 34, are not different from those of
Sevcik, except that the author insists on the removal of
the fingers from the strings in order to increase freedom
and agility. This is exactly opposed to the Sevcik idea,
and I question its practical value in the cases of children.
I would slip the first finger back at its base and not under
the violin. One of the most pernicious habits is that of
holding the neck too firmly with the first finger and
thumb. I do not think that the want of pressure with
the first finger upon the string cramps the hand in as
great a degree, though I will admit that the mastery of
double-stops requires a constant relaxation of the first
finger in order that the second and fourth may command
a third easily. The gliding motion of the second finger,
page 35, involves the legato principles of Halir, and is
not new. Eberhardt does not believe in the erect posi
tion of the first finger when the third and fourth are
playing. Very few players can keep the first in a uni
form position on the strings. In gliding movements
upon the strings, the finger which glides must not be
placed too firmly on the strings.
Now, we come to preliminary exercises for double
stopping. The holding of the fingers in position with
firm pressure for an interval of several seconds, concen
trates the mind upon hand position and relaxation.
The gliding exercises are especially valuable. Two fin
gers must seek the strings at once. The mental mastery
of major and minor sixths is valuable. I believe that
one can teach scales in thirds quite as well from the Halir
“Studies” as from Eberhardt’s book, but the latter abbre
viates more. Both exalt the value of descending scales.
Eberhardt solves a very important difficulty in the study
of octaves, that is, that the first and fourth fingers should
glide along the string without undue pressure. Tenths
are not practical for the small hand, the first finger being
nearly flat upon the strings.
Now, we come to the trill studies which, indeed, are
most difficult of mastery.1 Eberhardt suggests that the
supporting finger must never press. This is a point very
important in the mastery of technic. On page 42 he
suggests the mastery of staccato bowing through the
use of Kreutzer’s Etudes.
Whatever may be said of Eberhardt’s views, he is a
student. His suggestion to hold the bow above the
strings for about an inch or so, at the middle of the bow,
is valuable and can be applied to the mastery of the
artificial spiccato, when necessary. I am not a pianist,
hence I cannot say to what extent the system is practical
for the pianist; but I see no reason why a thoughtful
study of hand and finger relaxation, according to the
physiological principles set forth by Eberhardt, should
not be practical.
Eberhardt has not invented anything entirely new,
but, like Sevcik, he has said old truths in a new way,
and I believe that he has said much for the profession.
His book, or system, is not so far-reaching, nor does it
enter into detail to such an extent as that of Sevcik.
Nevertheless, he has achieved wonderful results in the
cases of his students and in relieving his own physical
limitations.
1 Apply this principle to the trill etudes of Kreutzer, also to Rode,
first Caprice. Do not raise the finger too high, nor strike with too great
force. Trill lightly and evenly. Relaxation and freedom, not force,
are desired.
XXXI.
SUPPLEMENTARY REMARKS.
T h e r e is much discussion among teachers as to the
choice of first exercises. I do not advise the use of a
“ Method,’’ as no book of this kind is suited to the needs
of each individual. It can be used, however, supple
menting the same from time to time with other exercises
by standard writers. The “ Method ” usually progresses
too rapidly for the average pupil. Alard, de Beriot,
Dancla and David have written excellent “ Methods.”
Henning’s Practical Violin School and the revised
edition of Hermann’s Violin School are useful, especially
the latter. R. Hofmann’s Op. 31 and Op. 84 furnish
supplementary material. Hohmann’s Practical Violin
School, parts I to III, contains two-part exercises of an
interesting nature. The Mazas’ Violin School has been
referred to. It is of high standing. I am especially
impressed with the Practical Violin School of Moritz
Schoen, which, if abridged and taught thoroughly as far
as essential details go, can hardly be excelled to-day.
The first ten books are especially useful to the pupil in
preparation for Kreutzer. Vols. XIV-XVI may supple
ment Vol. V (Op. 47). I have used some exercises
from the Schubert Violin School for supplementary
work, after Hohmann, Books II, IIP The Violin School
of Bert hold Tours is much used in England. I prefer
the Hohmann books or Wohlfahrt, Op. 38. Aside from
“ Methods” there are many “ Violin Studies,” among
which we may include Alard, Op. 10, Ten Melodic Studies.
Dancla’s Op. 68 contains interesting exercises for those
who are starting with the positions. I would also include
Op. 122, and possibly Op. 73 if a pupil is talented. The
David Scale Studies as well as Blumenstengel Scales
are necessary for technical preparation. While Dont’s
207
Op. 37-38 are valuable, Op. 35 is very useful to the pupil

who is acquiring knowledge of teaching material. Carl
Henkel’s Finger Exercises may accompany the study
of Sevcik. When the teacher deems it wise, Henning’s
Practical Scale Exercises may follow the early studies
and precede Dont. Hermann’s Op. 20, Books I—II, may
also precede Dont, although I should select only very
practical exercises. For those pupils who are preparing
for grade work in conservatories and colleges, the Scales
of Carl Hofmann, together with a reasonable number of
those of Schradieck, may be very useful. These can be
followed by the Hrimaly Scale Studies. For the first
work in positions, Sitt, Wohlfahrt and Richard Hofmann
(Op. 51-66) offer ample material. The teacher would do
well to select from the Chord Studies of Josef Maxincsak
and the related Chord and Double-Stop examples from
the Halir “Tonleiterstudien.” Supplement Mazas’ Etudes
Brillantes with the Six Studies by J. Mayseder, and pos
sibly with the Daily Studies of E. Mollenhauer. Pupils
who are preparing for examinations in music in colleges
should be acquainted with Louis Mollenhauer’s Major
and Minor Scales. My Juvenile Violin Methods and
Saenger’s New School of Melody, Op. 96, may precede
the “ Method,” in early study. The Kross Art of Bow
ing has been reviewed. Read in this connection “ The
Technique of the Violin” by Richard Scholz. For fur
ther position work use Moritz Schoen, Op. 22 and 38.
For studies in double-stopping and bowing, use Schra-
dieck’s Technical Violin School, Parts II and III. The
Scale and Chord Studies have been referred to. They
are excellent in many respects. I have carefully
reviewed the Sevcik books. Opus 1 contains several
excellent books, among which Book IV (Exercises in
Double-stops) is most highly considered in the pro
fession, as distinctly related to the acquiring and per
fecting of a fluent technique. Op. 2, School of Bowing,
is unexcelled in modern violin literature. The Studies
of Hans Sitt have been quite thoroughly discussed.
His Op. 80 may be added to the list of excellent works.
SUPPLEMENTARY REMARKS. 2 09
Many studies are in the form of Duets, for instance the

Op. 10 by Alard, and Kayser Op. 20. I find that the
choice of such work gives the pupil independence and
perfects the time element.
PIECES T O BE U S E D .
In this connection, with a few exceptions, I shall not

include pieces for children, but more advanced work,
which is closely connected with preparation for Kreutzer.
I have divided the pieces into three principal groups:—
A: containing pieces in the first position only.
B: containing pieces the range of which extends to
the third position.
C: containing pieces in which positions beyond the
third are occasionally made use of.
In addition to this grouping each piece is supplied
with a numeral designating its individual grade in the
group to which it belongs.
GROUP A.
Ambrosio__ 3
Armand........ 2
Beazley_____
Conte.............
Danbe............
D anbe............
Rieding.........
D ancla..........
Alard............. 3
D avid............ 3
Herrmann.. . 3
Greene.......... 2
H enkel.......... 3
Herrmann. ..
Oehmler........ 3
Rieding..........
Saenger ........ •• 3
Saenger........ • 3
Seitz............... 3
Spies.............. •• 2-3
W inn.............
.Aletter............ •• 2-3
Huber............ •• 3
Six Melodious Little Pieces.......................................... Rosenbecker.. . i
Rural Sketches.................................................................. Saenger.............. 2-3
Miniatures.......................................................................... Saenger.............. 1-3
The Donkey R ide.................................................... Severn................ 3
The Maypole Dance........................................................Severn................. 3
Perpetuum M obile........................................................... Severn................. 2-3
Twenty Short Concert Pieces, Op. 73, Book I
(10 pieces)..................................................................Sitt....................... 1-
Mood Pictures, Five Pieces........................................... B achrich.............
The Harlequin...................................................................Eberhardt...........
Sonatina in D major, Op. 125, No. 1 ....................... H ofm ann...........
Trembling Leaves (Perpetuum M obile)........... .. .Lachm und........
Four Lyric P ieces.............................................................Paulsen...............
Twelve Melodies, Op. 1 9 .............................................. Schmidt.............. i-
Shadow Pictures for Young Violinists........................W in n ...................
G R O U P B.
Melody in G Minor, Op. 1 4 .........................................D ’Agostino . . . .

Laendler in G ....................................................................B ohm ..............
Expansion naive, Miniature...........................................C ui...................
Reverie................................................................................. Fauconier.......
Airs Varies, I Series.........................................................D ancla............
Cradle Song and Evening Song....................................H auser............ 2-
Novelette, Op. 1871 No. 7 ............................................ D ancla............
Spinning Song, Op. 3 ..................................................... Hollaender.....
La Rosati, Air de Ballet................................................ E lsen................
Cavatine...............................................................................Le Jeune.............
Love Song........................................................................... Eulenstein......
Evening Song, Op. 1 8 ..................................................... N achez............
Morceau Diabolique (Perpetuum M obile)................ Froehlich . . . . . .
Berceuse Slave, Op. n ................................................... Neruda............
Barcarolle............................................................................ G ade................
Berceuse...............................................................................Renard............
Songs without W o rd s......................................................H auser............
Ave M aria...........................................................................Schubert.........
Norwegian Song................................................................ L ange..............
Traumerei and Evening S o n g .......................................Schumann.. . . .
Concertino...........................................................................Saenger..........
Cradle Song........................................................................Severn.............
Adoration............................................................................ Saenger...........
Madrigal and Romanza.................................................. Simonetti........ 2-
Three Silhouettes H ongroises...................................... Schneider........
Song without Words.........................................................Singer..............
Students’ Concertos, Nos. 1, 3, 4.................................. Seitz.................
Chanson triste, Op. 40, No. 2.......................................Tschaikowsky..
L ilt........................................................................................ Severn............. 1
Gipsy D an ce.......................................................................Henri Ernst___ 3
SUPPLEMENTARY REMARKS. 2 I X
Menuet and Gavotte, Op. 87, Nos. 1 and 2 ......... Sitt.................... 3

Tambourine in D, Op. 47....................................... Hollaender........ 3
At Sunset................................................................... Balcar............... 3
Gavotte in D ............................................................ J. S. B ach........ 2
Concertino II, Op. 377.............................................Bohm................ 1-3
Canzonetta, Op. 20...................................................Hollaender........ 2
Suite for the Violin in First to Third Positions, with
an easy Piano accompaniment.....................Kriens...............
No. 1. Happy Spring |
No. 2. A Sad Story I 3__
No. 3. Madrigal I ..............................................................
No. 4. Romantic Waltz)
The Swan Boats....................................................... Severn............... 1
The Carousel.............................................................Severn............... 1
La Fileuse, Spinning Wheel.....................................Severn............... 3
Twenty Short Concert Pieces, Op. 73, Book II
(10 pieces)......................................................Sitt.................... 1-3
Exaltation.................................................................. Dancla.............. 3
Six Classic and Progressive Sonatinas.................... Harris.............. 2
Sonatinas, No. 2, 3, Op. 125...*..............................Hofmann.......... 1-3
Melodic Recreations, 12 Characteristic Pieces in
I— III Positions...............................................Bohm.................. 1-
Concerto in A minor, Op. 62...................................Hollaender........
co fO *0 <*0 *0
Calm as the Night....................................................Bohm................
Cradle Song, Op. 49, No. 4 ..................................... Brahms............
Berceuse, Op. 149, No. 7 ........................................ Dancla...............
Norwegian Cradle Song........................................... Ernst.................
GROUP C.
Bluette.................................................................................. Armand.............. 1
La Douleur, M elody........................................................ Boccalari............ z
Italian Melody in F ......................................................... Bohm ......... 1
Perpetuo Mobile in D .....................................................Bohm .................. 1
First Solo de Concert, B M inor.................................. D ancla................. 2
Berceuse............................................................................. Godard............... 1
Romance............................................................................. Rubinstein.......... z
M editation................ ......................................................... Grodzki.............. 2
Legende in C minor, Op. 187, No. 7 ........................Bohm................... 3
Romance............................................................................. H eitsch............... 1
Six Solos, Op. 41 ..............................................................Leonard............. 1-2
Mariposa, The Butterfly................................................ M ollenhauer.. . 3
Concertino I, I I ................................................................ Ortmans............ 1
Canzonetta..........................................................................Saenger.............. 1
Romance.............................................................................Grodzki.............. 2
Canzonetta..........................................................................Grodzki.............. 2
Suite......................................................................................Sasso................... 2
L argo......................... ..........................................................Haendel.., , „ . , z
Alla Zingaresca.......................................................... Tschetschulin.. 2
Lullaby.......................................................................Donner............. 1
Reverie, Op. 71.........................................................Th. Herrmann. 2
Romance.................................................................... Henius.............. 2
Romance in G ...........................................................von Kunitz___ 1
Romanzesco............................................................... Oehmler........... 1
Intermezzo from Cavalleria Rusticana.................... Mascagni......... 1
Souvenir de Didlington............................................Papini.............. 1
Romance and Serenade, Op. 6 ............. v . ........... Nedbal............. 2
Valse Gracieuse.........................................................Saenger............. 1
Meditation, Op. 8 ..................................................... Nemerowsky... 1
Allegro Brillante........................................................Ten H av e........ 1
Romance........ .......................................................... Ogarew............. 3
Adagio, Op. 34..........................................................Ries.................. 2
Elegie........................................................................ Wollenhaupt.. . 1
Reverie....................................................................... Wollenhaupt... 1
Chaconne................................................................... Dancla.............. 1
Serenade Badine....................................................... Gabriel Marie. 1
La Sevillana, Op. 49, No. 4 .....................................Alard................ 2
Melodic Suite, adapted by Gustav Saenger, Six

Numbers from Op. 36................................... Mazas............... 1
Sarabande and Tambourin.......................................Leclair.............. 2
The C a r l F is c h e r E d i tio n s
of
Standard Violin Classics.

Superior to all others in regard to
Revision Correctness Appearance
Moderate Price
Each, Chaconne. (Edited by Ries, Suite III......................... 1.00

Musin)............................... .75 Rode, Concerto VII......................75
Beethoven, Two Romances,! Saint-Saens, Introduction and
Op. 40, in G.....................> .50 Rondo Capriccioso..................75
Op. 50, in F ..................... J Saint-Saens, Concerto in B
Beethoven, Op. 61. Violin Con Minor. (Edited by Schra-
certo in D. (Edited by dieck)....... ......................... 1.50
Dessauer — Joachim).............. 75 Spohr, VIII Concerto (Gesangs-
Chopin, Notturno, Op. 9, No. 2 Scene). (Edited by Carri). .75
(Sarasate arrangement) . . . .50 Tschaikowsky, P., Violin Con
Ernst, Elegie (with Spohr’s In certo. (Edited by Wilhelmj) .75
troduction)..............................50 Tartini, Le Trille du Diable.
(Edited by Musin)................. 50
Haendel, Sonata in A Major. Tartini, Variations on a Gavotte
(Edited by Musin).................. 50 by Correlli. (Edited by
Lalo, Symphonie Espagnole.. . . 2.50 Musin)................................... 50
Mendelssohn, Concerto in E Vieuxtemps, H., Concerto IV.
Minor. (Edited by Dessauer (Edited by Wilhelmj). . . . . 1.50
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P r o fe s s io n a l d is c o u n t §0 °j0
P U B L IS H E D BY
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The C a r l F is c h e r E d itio n s
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Goby Eberhardt’s Works for

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The most important, unconventional, original and pro
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My System for Practising VIOLIN SCHOOL

Presenting a new method based on a
THE VIOLIN and PIANO SYSTEM OF SECONDS.
Based upon This work bears with it a message of
such importance, progress and advance
Psycho-Physiological Principles ment, that no striving student and no
wide-awake teacher can afford to letitgo
B y GOBY E B E R H A R D T by without closer inspection. It is in
English Text tended as a systematic guide forbeginners
and is published in three separate parts
By GUSTAV SAENGER. as follows :
Part I. Equal Position of the Fingers.
“ Goby Eberhardt’s epoch-making Part II. Unequal Position of the
new method of practice is the work Fingers.
of a genius, and will open up new Part III. Exercises for the Intervals
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Opinion of the late A ugust Wilhelmj. Price,each, $1 . 3 0
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PART I.
Exercises for Beginners.
alta; Richard Sahla, Max Loewengard,
the distinguished Hamburg critic,the late PART II.
August Wilhelmj and a host of others, PreliminaryExercisesinDouble-stopping.
an-d is the product of a deep thinker, PART III.
whose own physical misfortune at one Technic ofthe Bow.
time prompted him to devise new, uncon (Published in 2 books.)
ventional means and methods of recover PART IV.
ing his former powers, and at the same
time furnish the world with an absolutely Daily Exercises.
new and astonishing hypothesis of how Price,each part,$/.jO
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This highly important work is pro CISING MATERIAL.” These four
fusely illustrated with special photo parts, as mentioned above, contain a
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R. K reutzer . 42 Studies.Revised by Emil Kross $1.50

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Revised by E. Singer . .50
N. P aganini. 24 Caprices. Revised by Emil Kross .75
A. Casorti. Technic of the Bow, Op. 50 . . .75
J. T artini . The Art of Bowing . . . . .50
Professional discount S°r/o
P U B L IS H E D BY
CARL FISCHER
of
Ensemble Music for String

Instruments
THE ENSEMBLE TWO VIOLINS
PLAYERS’ LIBRARY Saenger, G., Op. 95. Eight Operatic
Selections.
A collection of special Ensemble Ar No. 1. Carmen......... 45
rangements of Classic and Modern No. 2. Cavalleria Rusticana .45
Compositions for String Instru No. 3. Rigoletto........ 55
ments. No. 4. Lohengrin....... 55
Four Violins, Viola or Alto Violin (Viola No. 5. Aida........... 55
in 'Treble Clef), Two ’Cellos, Double No. 6. Bohemian Girl..... 55
Bass, with accompaniment of Piano, No. 7. Dinorah........ 55
Organ or Harmonium (ad libitum). No. 8. Tannhiiuser... .. .55
Selected, Arranged and Edited by Schulhoff, J., Op. 32. Chant du
Gustav Saenger. Berger.................. 40
Zarzycki, A., Op. 19. Chant
Thefollowing numbers have been pub d’Amour................ 40
lished.
No. 1. Spanish Dance in C — M. THREE VIOLINS
Moszkowski. Hermann, Fr. First Practice in
String Parts @ .25. Piano Part .40. Ensemble Playing. 45 Short
Organ Part .25. Pieces in progressive order.
No. 2. Intermezzo Sinfonico from Two books........... @ .50
Cavalleria Rusticana— P. Mas Mollenhauer, Ed., Impromptu.... 75
cagni.
String Parts @ .20. Piano Part .30. FOUR VIOLINS
Organ Part .20.
No. 3. Gypsy Dance (La Zingana) — Dancla, Ch., Three Pieces. No. 1.
C. Bohm. Le Depart (Departure). No. 2.
String Parts @ .25. Piano Part .50. L’arrivee (Arrival). No. 3. Le
Organ Part .25. Retour(TheReturn),for4 violins,
No. 4. Ave Verurn — W. A. Mozart. together with Mozart, Larghetto,
String Parts @ .20. Piano Part .40. for 3 or 4 Violins— Schumann,
Organ Part .20. Reverie for4 violins....... 1.80
No. 5. Slumber Song— R. Schumann. Green, W., Playful Rondo....... 75
String Parts @ .20. Piano Part .40. Fritsche and Saenger A-bum. A
Organ Part .25. Collection of 60 hymns, songs,
No. 6. Largo —G. F. Haendel. operatic melodies, etc., progres
String Parts @ .20. Piano Part .25. sively arranged for One, Two,
Organ Part .20. Three orFour Violinswith Piano
(or Organ), in 3 books.
TWO VIOLINS Three Violins each book @ 1 50
Donizetti, G., Sextet from Lucia... .40 Three Violins and Piano
Godard, B., Minuet (Midnight).... 40 eachbook @ 2.50
Mendelssohn, F., Wedding March .40 Four Violins each book @ 2.00
Meyerbeer, G., Coronation March. .40 Four Violins and Piano
Raff, J., The Mill.............................. 40 each book @ 3.00
Professional discount JO <j0
PUBLISHED BY
CARL FI SCHER

Winn How To Prepare For Kretuzer

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H O W T O

A BOOK FOR TEACHERS IN PRIVATE SCHOOLS

EDITH LYNWOOD WINN.

International Copyright Secured

XXIV.Etudes d’Artistes by F. Mazas, Op. 36, Book I I I ........ 145

is a precise knowledge of the possibilities and limitations

piano players. That is the reason, no doubt, why, after

sense, is on the vaudeville stage, in cheap theaters, and

at least, guide students through the preparatory stages

which a student makes dulls the impression made upon

ciples contained therein. It is a waste of time. We

and if new principles are constantly brought out. No

be the ambition of the student, the advantage of scales

Here the teacher has a second part to play. There

perfectly in tune. In the first twelve etudes the trouble

third position; the C scale in two octaves, beginning with

A LIST OF STANDARD VIOLIN SCALE STUDIES,

THE TRAINING OF THE LEFT HAND.

ful exercises which the teacher can use in connection

I m po rtan t R u l e s for th e L eft H a n d .

THE STUDY OF TONE AND BOWING.

upon the school to which one belongs. Sarasate had a

directed study. The soloist whose method of bowing is

violin of small pattern he will hold it in the manner

Naturally, after the rudiments of violin playing have

tering, to a certain extent, the whole bow stroke, pass

bow swiftly along the strings and maintain the legato,

although it may seem too long drawn out. At the

play the exercises in all parts of the bow. At 225 we

tion to it as to the development of the upper half of the

No. 248 requires a type of bowing very useful to

348 Half Bow W h o l e B o w .-

pressure; that is to say, of the first finger on the bow

At No. 339 we begin a series of contrasting staccato

The next bowing to be used is the sautille. This

triplet for this style of bowing. It would be a wise thing

No. 94, and those exercises that follow, may be

No. 137. I prefer this at the point.

No. 185, the sautille bowing studies, are quite prac­

THE STUDY OF SEVCIK.1

Passing to Exercise No. 5, we find some examples of

I frequently use No. 7 as an excellent example of

note the manner of playing the chromatic scales in No. 9.

I do not consider No. 15 as valuable as the seventh

spend time in repetitions, especially as a great many

You will observe that the writer uses the martele

time in the study of these bowings, for this certainly

No. 16. Go over the bowings indicated in the usual

No. 23. I would use eight notes in a bow, legato, in

So much has been said about the practice of scales

raising at the middle of the bow. Then tie two, after

I would now call the attention of the teacher to the

FIFTY EASY MELODIC STUDIES.

Op. 74. Book 1. 1

HESE exercises of Wohlfahrt are parallel with the

This is in an easy key and admirably written.

Nos. 21, 22, 23.

FIFTY EASY MELODIC STUDIES.

Op. 74. Book II. 1

EITHER the Kayser nor Wohlfahrt books should

Passages of this type may also be played in the upper

I would therefore recommend a broad, free bowing, the

Nos. 39 and 40.

No. 185, the sautille bowing studies, are quite prac

HERE are no etudes for the third position so prac

HESE studies in the first position are for the culti

sextuple time. It should not be omitted. No. 9 con

position should not be studied until some similar exer

(Op. 2, Part III, “4000 Bowings”). No. 14 is a good ex

applied to regular technical work involving perfect even