THE LIBRARY

OF
THE UNIVERSITY
OF CALIFORNIA
LOS ANGELES

GIFT OF

Saul Abramovitch
A DETAILED, DESCRIPTIVE ANALYSIS OF
HOW TO PRACTICE THESE STUDIES, BASED
UPON THE BEST TEACHINGS OF REPRE-
SENTATIVE, MODERN VIOLIN PLAYING

BY
EDITH L. WINN

NEW YORK
CARL FISCHER
1913
 COPYRIGHT, 1910,
BY
CARL FISCHER
International Copyright Secured
 MUSIC
LIBRARY

AIT

RESPECTFULLY DEDICATED
TO

802218
 FIORILLO.

FEDERIGO FIORILLO was born in

1753, at Brunswick, where his father,

a Neapolitan, lived as conductor of
the opera. It seems that at first

was a player of the mandolin,

Fiorillo
and later on became interested in the
violin. He went to Poland in 1780,
and in 1783 was conductor of the band
at Riga, which position he filled for
two years. In 1785 he played with
great success at the Concerts Spirituels in Paris, and
also published some of his compositions, which were
received most favorably. Three years later he went to
London, where he seems to have met with little success
as a violinist, since he only played the violin part in
Salomon's quartet-party. His last public appearance
in London was in1794, when he performed a concerto
on the viola. There is very little known about the rest
of his life, except that from London he went to Amster-
dam, and was in Paris in 1823.
Among his numerous compositions are duos for violins,
for piano and violin, and violin and violoncello; trios for
flute, violin, and tenor, for two violins and bass; quartets
and quintets for stringed instruments; concertos for the
violin; concertantes for two violins, etc. These, though
somewhat dry and old-fashioned, were favorably received,
and show him to have been an earnest musician.
v
VI FIORILLO.

However, there is one particular work, his Thirty-

six Caprices, or Etudes, which is known and valued by

every violin player, and which for a long time will

probably remain a standard. They rank with the
classical studies of Kreutzer and Rode. This work has
been edited over and over again, most recently by
Emil Kross. Spohr wrote a second violin part, but he
altered the original text to such an extent that his work
is hardly authoritative, though decidedly violinistic and
interesting.
 How to Study Fiorillo.

No. 1.

teachers of note cling to old traditions. The

MANY
David and
earliest extant editions of Fiorillo, by Ferdinand
have no expression marks for the
others,
Largo of the first e"tude. This was originally played

Largo sostenuto.
Whole bow.

forte, counting four very slowly. The tone should be

full and even, there being absolutely no variation. This
is excellent practice for those who are inclined to play
with a weak tone near the point of the bow. A broad
stroke requires a fine arm and excellent bow control.
The elbow joint should be very well relaxed. Such
passages as occur in the fourth, fifth, and sixth measures
should be played with some tone-color and taste, the
eighth note being cut in anticipation of the. rest.
To cultivate a broad, free bowing and a full tone, one
should practice the martele at the point of the bow,
where attacks are likely to be weak. Also the frequent
practice of the second Kreutzer etude with four notes
2 HOW TO STUDY FIORILLO.

slurred is excellent, the

bowing being at the point, middle,
and heel. Then
there are staccato scales, which aid the
student in securing a fine tone and freedom of style in
the upper half of the bow: i. One down stroke and six
notes staccato on the up stroke; 2. Two down, at point,
and two up staccato; 3. The same exercise, using trip-
lets. Begin with the "G" scale in three octaves. The
next thing to govern is the broad continuous tone. This
can only be done by long and arduous practice of slow
scales. A Berlin teacher plays one note for two minutes
with no variation in force or intensity.

THE ALLEGRO.
The Hermann edition requires that this part of the
first e*tude be played staccato. It is impossible to keep
this up during the whole exercise. The original inten-
tion of Fiorillo was that it be played legato, with a broad,

Allegro.

free stroke. The triplets are played in the same manner

in the upper third, or toward the middle of the bow.
The sixteenth notes must fall with evenness at the middle
of the bow. an exceedingly fine study for securing
This is
a flexible wrist, and should be practiced very carefully.
At the Hochschule, in Berlin, few of the teachers stress
Fiorillo, preferring the Kreutzer Etudes, followed by the
 HOW TO STUDY FIORILLO.

Rode Caprices. Fiorillo has much to offer that Kreutzer l

does not stress at all; therefore the Etudes are very val-
uable.
No. 2.

This tude is very frequently played in a mild manner,

too slow for the original intention of the composer. As
the allegro of the first e*tude is not possible at the proper
tempo with the staccato bowing, so the second e*tude
loses its character if not played in a martial style. Maes-
toso means military or majestic in character, with broad
bowing and strong accents. The first two notes sweep
Maestoso.
Whole bow.

V
tr. tr.

the whole length of the bow. The third note is also full
bow, but very short. A quick stroke, with the bow pass-
ing rapidly over the string, is the proper one. The whole
exercise is played forte. In the second measure, the
bowing is short and crisp at the point of the bow, the
first group naturally being played with the whole bow.
The third measure is legato, broad and free. Trills
should be regular and of exactly the right length. All
passages like the second measure are usually played at
the point of the bow. After the first bar, some position
work may be used (second measure). Trills with the
fourth finger are very difficult for some players. Practice
For detailed and thorough study of the Kreutzer fitudes see How
1

to Prepare for Kreutzer and The Study of the Kreutzer Etudes, both by
Edith L. Winn. Published by Carl Fischer, New York.
4 HOW TO STUDY FIORILLO.

slow daily with the third and fourth fingers.

trills The
first trill should be practiced very slowly and
finger
evenly, great care being shown in string transfers at
the close. In octave work two fingers must fall at
once with force and precision. The whole hand moves.
In double stops, the fingers must fall simultaneously.
Double trills are not much more difficult than single
ones. They should be played with an even tone, and the
fingers should fall with freedom. If the fourth finger is
weak, try some exercises from the Halir Tonleiterstudien,
repeating the exercises, faster and faster.
The measure immediately preceding the long con-
tinuous trills should be played with a down bow. Prac-
tice this passage without the continuous trill on C, at
first (use a long smooth note and lightly dip the bow
on the D string, as if playing a little accompaniment).
Let the trill be continuous when changing from up to
down bow and vice versa. Every note should be cut
shorter if before a rest. This must be observed through
the whole exercise. All chords should be played with
a broad tone. This exercise, so often neglected, should
be played long and faithfully, for it is the basis of other
work which follows logically in study.
"
When 22d Concerto" of Viotti, I always
playing the
return to this e"tude of Fiorillo and review it for the sake
of the trills. This, with a favorite e"tude of Kreutzer,
aids me greatly in bringing left hand under control.
my
The octaves are played near the point of the bow.

This is one of the most artistic of the e*tudes, especially

"
useful when one is considering such a work as the 226.
Concerto" of Viotti. 1 Another useful work is "Je suis
1
See newly revised edition by Ovide Musin. Published by Carl
Fischer, New York.
 HOW TO STUDY FIORILLO. 5

Tambour," by David, a composition now almost

1
le petit
obsolete in a violin teacher's repertoire. Avoid a trivial
style. The staccato is not absolute. The tempo and
character of a work govern that matter. The second
line has been marked in different ways by those who
have revised Fiorillo. Note the Kross bowings:

I prefer separated strokes in passages like that of the

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

Do not disturb the theme by forcing the accompani-

ment or by pausing. The bow lies lightly on two strings,
1
See newly revised edition by Gustav Saenger. Published by Carl
Fischer, New York.
6 HOW TO STUDY FIORILLO.

dips, as it were, upon the neighboring string, to obtain

the legato. Bow control in this case is of great impor-
tance. Use the following bowings. The parts of the bow
in which each passage should be played are indicated:

E PE = a= s=

tr .

^_e_s|_U
TTTt

Play the last line with authority, the chords being

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

No. 3.

This tude is
played two ways: first, a staccato run,
in
up bow; second, the mixed staccato and legato stroke,
up bow. A free arm is desired. While the short staccato
with the wrist stroke is eminently useful, the more bril-
liant staccato with the arm stroke is desired. Naturally,
 HOW TO STUDY FIORILLO. /

the wrist and forearm are free, though the lateral stroke
of the wrist is not desired. Play in the upper third or
near the point of the bow.

-*-*-*- - -i^-t *--i5**T

. . m m ~r . _^ a

No. 4.
This e"tude is one of the most useful in the book. A
free, broad, slightly detached stroke, in the lower half
of the bow, is preferred to a short staccato.

Moderate.
w. B.
n h. B. w. B. i I J

Professor Halir would teach double-stops and scales

in thirds in a free, broad style, lower half of the bow
(note fingering in the second position) .
8 HOW TO STUDY FIORILLO.

The whole bow may also be used. Play the scale

runs, second line, in the manner outlined in Halir's
Tonleiterstudien (G.B. or U.H. raise the bow after each
group) .

He assumes that short position movements make a

more perfect scale in thirds possible. I will outline the

bowings for the next three lines. Keep the theme

prominent. Raise the bow slightly from the strings in
defining phrasing.
w. B. 4
i.h. B. v r

. '
 HOW TO STUDY FIORILLO.

The double-stops in the higher positions naturally fall

in the middle of the bow. Attack the chords with the
up bow firmly, and play three notes together. A free,
rather detached bowing in the middle of the bow, using
the artificial spiccato, occurs at the close.

Slightly accent the slurred group of two notes; raise the

bow between strokes. Play in the middle third of the
bow.
i t

^ P^ PR 525 rs

^^ ^^
i ^
10 HOW TO STUDY FIORILLO.

It is not always advisable to take these Etudes in the

order in which they occur. The same rule applies to
Kreutzer and Rode. It is possible that the student may
have some weak point which requires a review of several
Etudes of a similar nature. For instance, I recall having
been made to play the second Kreutzer e"tude 1 many times
while studying other works, because my forearm was not
free. The eighth and ninth were frequently reviewed.
Herr Markees, in Berlin, was a great taskmaster, and
I do
frequently sent us back to the twelfth Kreutzer.
not recall ever having studied the first Kreutzer, nor
the famous arpeggio e"tude. Leopold Lichtenberg, and
several other artists, teach both of these. The first is
very useful for graduation of tone. In the seventh and
eighth Fiorillo we find material for tone graduation.
Let us practice the crescendo and decrescendo faithfully,
using examples from my "Three Octave Scales."
We must be patient with this work. It is one of the
most difficult things in the world to produce a beautiful
crescendo and diminuendo. In connection with this let
"
us turn to the Bach-Gounod Ave Maria," and play it as
written. The famous Bach "Aria" is another example;
also the Ha'ndel "Largo." A
question has often been
asked: Does the bow remain parallel with the bridge
during such work, or at a stated distance from the bridge ?
Most emphatically not. The bow is nearer the bridge in
a crescendo passage, and right over the finger-board in the
diminuendo. There is a mistaken notion among students
that when one plays pianissimo very little bow must be
used. Never was there a greater fallacy. The softest
tone is produced by gliding the bow swiftly over the
strings, its entire length, without pressure and over the
finger-board, not near the bridge.
It is one of the most difficult things in the world to
produce a soft, resonant tone. It is easy enough to play
loud. So it is with singing. I have learned more about
the principles of tone from voice teachers than from
violinists. While playing these Etudes, review con-
1
See The Study of the Kreutzer Etudes, by Edith L. Winn.
 HOW TO STUDY FIORILLO. II

stantly. Play number one over and over. Number

two with the Halir thirds, in C, must be practiced daily.
Halir plays double-stops, using the second position in-
stead of the third, and going from second to fourth and
sixth. It requires less shifting and is very playable.
Always play the double-stops singly, then two slurred,
then in groups of four notes, and finally eight notes. After
a time play a whole scale up on one bow (two octaves
C) and down with the opposite bow. Very few amateurs
can play the three octave scales thus. I prefer the C
scale, as it is easier for the hand. Halir says that a
student should be able to play thus (i) or thus (2) :

No. 5.
Allegretto.

P leggiero. Hie II.

m^ VJSJ-JS5
1 1* \-9

In connection with the study of number five, let us

turn to Sevcik 's School of Bowing. 1 I had always believed
that the importance of bow-technic had been overesti-
mated, until these works of Sevcik proved beyond a
doubt the great advantage of systematic study of varied
1
School of Bowing, by O. Sevcik, Op. 2 in two Books. Systematic
and progressively graded technical bowing exercises. Published by Carl
Fischer, New York. Price, 75 cents each book.
12 HOW TO STUDY FIORILLO.

bowings. The Sevcik system is wonderful. There are

exercises for every possible limitation in violin study.
The great question in bustling American life is how
to abridge a system only possible in a land where vir-
tuosos study "from the cradle to the grave." Many
wise teachers (for Americans are, above all, practical)
have used the Sevcik works with success, and yet have
not surfeited students with the same.
Let us consider Op. 2, Book 2, Section IV. First mas-
ter the progressions, that is, learn the exercise by heart.
Keep the fingers of the left hand ready for use. Practice
all exercises with slurred and single bows at point, middle,
and heel of the bow. I usually suggest to pupils to prac-
tice exercise thirty-two faithfully before working at the
fifth Fiorillo, with three notes to a bow just below the
middle. Afterwards use six to a bow; then twelve.
Practice number five in octaves at the middle (play both
notes at once). After that, play as marked, accenting
the first of every group of two notes. One can go on
with the Sevcik studies indefinitely, but I urge pupils
to practice these special ones for string-transfers half an
hour per day, at least. Always cross the strings lightly.
In octaves, move the fingers simultaneously, with no
crescendo or forte.
The Hermann edition uses the crescendo, forte, and
pianissimo marks. Play at first with uniform tone
instead, accenting slightly the first note of a group of
two. Watch the syncopated passages in the third and
fourth lines, and do not accent too strongly. The accent
is on the second note of a group of two. The legato
passages of sixteenth notes are with a whole bow; the
crescendo must be artistic. There must not be a break
in the legato for the sake of the crescendo. We remember
the mastery of the subtle principles of tone graduation
in Joachim's playing. The special accents at the close
of each legato passage (sixth line) are difficult. At the
close of the eighth line, give full value to the dotted
quarter note and play it forte. The next groups of two
notes are detached, the accent being on the second one.
 HOW TO STUDY FIORILLO. 13

Make the trill long and even. Begin the sixteenth

notes, last measure of the tenth line, with up bow. Play
at the middle of the bow. Move the first and fourth
fingers together in octaves.

No. 6.
Andante sciolto.
V 1. h. B. tr tr

N ^ x_* ""^ LJ *J

Andante sciolto means about the same as Andante

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

tr
14 HOW TO STUDY FIORILLO.

The opening measures in the seventh line may be

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

No. 7.

While allegro with the old composers was not like our
modern allegro, an adagio was practically the same as
at present. Full bowing and a broad, free tone, as well
as great dignity, were demanded. I do not believe that
the early violinists played with as great warmth of tone
and freedom as is now secured by artists.
The old masters played correctly and classically; they
used the crescendo and diminuendo, and were masters
of tone graduation, but they did not give the emotional
treatment to their subjects that is now an apparent
necessity. This e"tude begins pianissimo, but one must
cultivate a "concert hall" tone, and make a crescendo
in the first two measures; the same in the next group.
Tone-color is a prime essential in this e"tude. Embel-
 HOW TO STUDY FIORILLO.

lishments must never interfere with rhythm. Note the

adagios of Mozart's quartets. The old writers used
embellishments because they lacked intensity and were
not skilled in the use of the vibrato. Although number
seven is not difficult, it must be technically perfect. At
line two repeat the up bow on the second note of the
second group. Always do this for beauty of phrasing.
Keep broad bowing when possible. Note in the sixth
line some peculiar rhythm. Count four steadily, using
no embellishments, at first.

The embellishments of the seventh line must not inter-

fere with rhythm. In bow length one must not be
hampered by exact rules. Let the nature of the passage
decide the bowing. One must not keep trilling if the
phrasing demands a pause. The opening measures of
the allegretto are played at the middle of the bow, the
staccato note being lightly played. The allegretto comes
in jocund, with a slight pause between groups, in the
upper half of the bow. Try to maintain a forte through-
out.
Largo. No. 8.
3 2

!_:* G5E:
16 HOW TO STUDY FIORILLO.

This is a dignified and stately e"tude which requires

very much shading. It is one of the most artistic of all,
similar in character to the first part of number one. The
teacher may count eight instead of four, if desirable, as
we sometimes do in the andante of a Mozart quartet.
Give the dotted sixteenth note a little more time, to suit
the nature of the work.
1
Again I would call attention to the second Kreutzer
e"tude, and slow scales with the crescendo and diminuendo
four times on one note. Many claim that the vibrato
affects the quantity as well as the quality of a tone. At
any rate, the vibrato must be used in such works.
Play the 4th, 5th and 6th measures of the first line as
indicated.
In the next measure change to before the high G. ^
After the double bar, practice long and faithfully the
crescendo note in the 4th position. Do not force the
syncopation; use the whole bow. Raise the bow slightly
when you have groups of two notes, thus:

J"3 J"3 J"3 (last measure, second line.)

Play the last measure after restez on the string, going A

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

dim
tr

=Hzz j taqpzi

1
See footnote, page 3.
 HOW TO STUDY FIORILLO.

No. 9.
Allegro.
With the upper third of the bow.

This e"tude is marked allegro. It is not so rapid a

movement as to interfere with a free forearm stroke.
The mar tele, or even a slight staccato stroke, is not as
bowing in the upper half of the bow.
useful as a broad, free
The student observe that while some modern edi-
will
tions suggest the staccato, it was not true to the tra-
ditions of Fiorillo's time.
Begin with the upper half or upper third of the bow.
A free swinging stroke is desired. At the beginning of
the sixth line play lightly near the point of the bow and
on the edge of the hair:

We do not make string-transfers by tilting the bow

from We play on the edge of the hair, the
side to side.
long string-transfers being made with a movement from
the shoulder, if more than two strings are used. Halir
i8 HOW TO STUDY FIORILLO.

insists on the mastery of scale runsfrom the highest note

of the scale. The pupil must think the tone at once,
then he must take his position without effort and remain
in that position as long as necessary.

After weleave the third position, the thumb goes

under the violin in a horizontal plane. The fingers must
fall well over the strings, without unnecessary move-
ments. One may rest the palm in the third position or
not, according to one's physical limitations, but there
must be no pressure at the base of the first finger and no
depression of the joints of any finger in the positions.
All fingers should seek their places at once and remain
fixed, unless one is playing vibrato. The character and
tempo of an exercise determine how it shall be played.
The first finger must always remain near its original
place, so that the position may not be disturbed as a
whole. Whenever the fourth finger seeks a place, the
first should fall at once into its position; that is to say, the

position must be mastered. In this e"tude the bowing is

varied, a sure test of mastery of several styles or forms
of triplet playing. One thing the teacher must insist
upon: that the bow remain usually on the outer edge,
also that accents that fall with the up bow shall be well
defined. The closing chord, according to the tenets of
the Berlin school, should never be played like an arpeggio.
Other schools differ in this respect.
 HOW TO STUDY FIORILLO.

This ^tude is similar in style to number nine. It

should be played in the upper part of the bow, forte.
In taking the fifth position on the last note, first measure,
the first finger passes at once into place and remains there.
It is a very common fault, and entirely opposed to a
fluent left-hand technic, to allow the first finger to be
released when playing in the higher positions. Note
the Halir exercises for sliding quickly from the third
to the fifth position and back. One must remember that
the thumb does not press on the neck of the violin, also
that it slides at once around the neck of the violin when
passing to the fifth position. One must never press with
the fleshy part of the thumb. The pressure point is
below the joint, on the bone. Also, the chin must relieve
the thumb of all care as to support.
The fourth and fifth lines should be practiced near the
point of the bow, and memorized. After playing a run
several times, the progression is mastered. The player
should play the whole passage mentally, then place the
fingers on the strings exactly as they will fall. I have
often asked my pupils to write down the arpeggios as
an evidence that they knew the musical content of cer-
tain eludes. Again we must insist that all the fingers
seek a new position at once. The strings should not
be pulled from side to side in the higher positions. This
causes false intonation. While a fairly free forearm
stroke is desired, with accentuated first notes of triplets,
the staccato is not usually practical. Too little bow
20 HOW TO STUDY FIORILLO.

gives no character to the work. Too much bow causes

a jerky movement of the forearm. Intonation is diffi-
cult in the half-position, hence students must play such
passages many times. The fingers must be prepared for
what is coming. In all 6tude work we must read ahead
and place the fingers mentally before we come to the next
passage. In the half-position work, fourth line, you
will observe that the note followed by two slurred notes
may be played staccato lightly near the point. A long
stroke is dangerous to the freedom of the forearm.
We swing the forearm, the shoulder joint being free, the
arm following the wrist in passages like this:

Wealso play near the point until the bow arm is free .

Single notes are played staccato, lightly. Such passages

as this, requiring slurred notes, should be accented in
this manner:

b2z*23
*^J
^
T-/ -5-5^N

The bow should be free, placed on the edge of the hair

as much as possible, with a slight undulating movement
 HOW TO STUDY FIORILLO. 21

of the wrist, not interfering with the legato. Contrasts

of legato and staccato need not be observed, the staccato
being less marked than previously.
In passages like this:

the legato must prevail, the proper note receiving its

accent. Whenever it occurs, keep near the upper third
or point of the bow (the single notes being sometimes
played spiccato).

The eleventh line requires some contrast between the

staccato and legato. Very short slurred notes should
be played near the point of the bow. (Play single notes
spiccato.)
Now we come to one of the most difficult things in
violin playing, string-transfers, skipping one string.
(For the development of the bow-arm at this point,
Sevcik's 4000 Bowings, Part II, Sections III and IV,
are very useful.) The arm moves freely from the shoul-
der, the motion being away from the side. The bow
remains on its edge as much as possible. Accents, even
when a note falls as a second one in a slurred passage,
22 HOW TO STUDY FIORILLO.

must be observed. The fingers should seek their places

simultaneously. Keep near the upper part of the bow,
the wrist moving freely, not being under the plane of

=sf. 1 , r i
r *\ m

the elbow; the fingers are relaxed, the fourth being on the
bow-stick. As an example of staccato bowing and the
running legato combined, this e"tude is very useful.

No. 11.
Moderate.

Many teachers claim that this e"tude should be prac-

ticed at or near the point of the bow. A
somewhat
broader and freer forearm stroke is more useful. As in
other examples previously analyzed, the staccato is not
wholly desirable. The trill should be accented, and there
should be no variation in the equality of notes because of
the trill. Hardly more than two trills are possible. The
student should read a whole measure at a glance, and
place the fingers at once in position. Perfect freedom
of the elbow joint is desirable. A free stroke of the wrist
is necessary in short string-transfers.
 HOW TO STUDY FIORILLO. 2$

After the whole e'tude has been played in this broad,

free style, play it entirely through with short staccato
bowing, about two inches from the point. In the fifth
line, the arpeggios are not played in the half -position.
As to position changes, remain in one position until it is
necessary to move from that position. The sixth line
contains the third position followed by the sixth. The
fingers should fall at once into the sixth position,
the entire hand moving back to the fifth when necessary,
the thumb acting in unison with the fingers. Pupils must
be perfectly familiar with position work. When the fifth
and sixth positions are to be used, the thumb lies flat
under the neck of the violin and the fingers are curved
over the strings. Never move the hand or depress the
fingers until the work in a certain position is finished.
We now come to a passage in which we take high E in
the fourth position.
Those students who have not been trained, like the
followers of Halir, to play three octave scales and
arpeggios, beginning on the highest note, are likely to
make errors at this point. To the student of Fiorillo,
however, one position should be as familiar as another.
Again, we take F# in the fifth position, but this is not
so difficult, as we have just played G. The prevailing
difficulty with players is that they continually get ready
for a new position before it is time to do so, giving the
hand a restless motion, and changing the position of the
fingers so that they play falsely. The thumb is invariably
too slow in slipping under the violin. The thumb at the
middle joint must be depressed, and there must be as
little pressure as possible there; the chin, resting firmly,
makes freedom possible for the thumb. It is very
noticeable that Kubelik has marvelous facility in taking
the high positions, his fingers falling into place with sur-
prising dexterity. He has a perfectly trained hand. As
before, the player glides with the entire hand back to the
fifth position, then to fourth, and lastly to the third;

again, we take the fifth, then fourth, then third, second,

and first positions. The thumb must be absolutely free,
24 HOW TO STUDY FIQRILLO.

with no pressure at the middle joint, and always in

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

is most valuable as a study of positions,

This e*tude
while it no varied bowings. It is purely a technical
offers
exercise, radically opposed in style to the beautiful
examples of cantabile playing offered by numbers one,
seven, and eight.

No. 12.

Few of the Fiorillo Etudes are played by the student

strictly according to metronome time. Not so with
Rode. His Caprices are often studied abroad for three
years; and,by the time the student has completed them,
he plays them like finished pieces, at metronome time.
Often, too, the Rode Caprices are memorized, but the
 HOW TO STUDY FIORILLO. 25
t

FiorilloEtudes rarely are. The Berlin school neglects

Fiorillo toa certain extent, but Halir, one of its best
exponents, spends considerable time in the study of them,
giving to them the grace, vivacity, and lightness of the

Moderato.

French school when the text so demands, and also striv-

ing for the breadth of the German school in pure cantabne
work, as found in slow movements. For intricate bow-
ings Kreutzer, with the supplementary Massart bowings,
1

is adequate. Fiofillo's Etudes, as previously stated,

cannot be studied in their order. Individual needs gov-
ern the teacher. Perhaps one student may be studying
Fiorillo, while, also studying the more difficult trill and
double-stop Etudes of Kreutzer. Some of the Kreutzer
Etudes have never been given to me by teachers. It is
equally true of Fiorillo. If I seemed to have a weak

point in technic, or if my bowings were stiff and angular,

I returned to Kreutzer. I was taught Kreutzer and
Rode, over and over, in Berlin. Many of the Berlin
teachers say: "Get technic from the standard Concertos.
Do not spend too much time on technic pure and simple."
The question in the mind of the Joachim School is "How
is it possible for the Sevcik followers to have a repertoire,
when they are made to study technical works of such
length and seriousness as those of Sevcik?"
1
The Art of Studying R. Kreutzer' s Etudes, by L. Massart. Four
hundred and twelve examples, compiled by the advice of the author.
Revised, translated, and edited by Gustav Saenger. (English, French,
and German Text.) Published by Carl Fischer, New York. Price,
60 cents.
20 HOW TO STUDY FIORILLO.

The twelfth e"tude of Fiorillo is not one in which technic

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

Continuous syncopation should be uniformly smooth

and even. Nothing is of such value to a violinist as a
 HOW TO STUDY FIORILLO. 27

perfect command of the transition from the third to the

fifth position, and vice versa. Many faults of technic
arise from too much pressure of the thumb upon the neck
of the instrument, thus giving the player no freedom,
and inducing a bad habit of bending the thumb instead
of strengthening it for the fifth position. If extensions
are to be made, slide the thumb a little farther under
the neck of the violin, and curve the fingers well.

Note on the
in the sixth line the fifth position passage
A string. Many players have to move the whole hand at
this point, so that the fingers may lie easy on the string.
The hand should assume a position which will enable
the pupil to play with ease. The newer chin-rests, which
are wider than the former ones used, do not seem to
enable one to hold the violin with ease. The chin should
rest on the edge of the chin-rest rather than far in or
on the tail-piece. The muscles at the back of the head
become cramped by gripping too hard. A little piece
of chamois leather placed between the left jaw and the
chin-rest will prevent a bruise of the flesh, the bane of
professionals.
In the ninth line we have the form of bowing known
as two cut and two slurred notes. The notes that are
cut are not to be played sharply at the point of the bow.
They are swung lightly along the strings, using about
one-third of the bow, the tempo being moderate. Again,
the student must be cautioned against cutting the value
28 HOW TO STUDY FIORILLO.

of the second slurred note in anticipation of a single stac-

cato note :

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

This should be played in a somewhat disconnected

style in the first half of the measure, with a strong accent
on the first note of groups of two. The latter half of the
measure falls about in the middle of the bow. A
free
stroke, not too short a staccato, is preferred.
The tenth line opens with an arpeggio played forte
with staccato and legato strokes. The next similar
passage is played pianissimo, in close imitation as to
style. All passages of this nature are smoother in the
upper part of the bow. Avoid forced accents or any
movement which interferes with free bowing:

In the twelfth line a short legato passage is played in

the upper half of the bow rather than with the whole
bow. When one passage closes with down-bow, there
should be no break in passing to the up-bow. Two notes
 HOW TO STUDY FIORILLO. 29

slurred lie in the upper half with as long a bow as the

tempo will allow. In passing from a long legato passage
to a short one, it is well to estimate so well that the part
of the bow desired may come at once under control.
All passages requiring quick transitions on four strings
should be played as broadly and with as free a bow-arm
as the tempo will admit; in other words, too little bow
gives no value to the passage, while a light stroke with a
longer bow is made more valuable. Naturally, if the
tempo is increased to allegro, we must remain near
the point of the bow. When four strings are required, the
bow-arm must be higher, and the distinction between a
forearm stroke and a pure wrist-stroke must be well
defined. In rapid legato passages all pressure upon the
bow-stick must be avoided.
Keep the legato work that follows in the upper half of
the bow, avoiding pauses between bows, or unnecessary
accentuation. Short groups of slurred notes must be
played near the point of the bow. Short string-transfers
are made with the wrist, and three or four string-transfers
with wrist and arm, the bow never being tilted on its
inner edge. Play on the outer edge of the hair as much
as possible, resting the bow on two strings, or as nearly
so as possible. Do not release the fourth finger from the
bow-stick. Rest it at least against the stick if not on
it; all work, especially in the lower half of the bow,
demands this security of the hand. For string-transfers
of this kind, see Sevcik's School of 4,000 Bowings,
Parts III, IV, and V; Casorti's School of Bowing; 1
the work of Hans Sitt, Op. 92 2 and the Kross Art of
;

3
Bowing.
1
Technic of the Bow, by A. Casorti, Op. 50. A standard work of its
kind. Published by Carl Fischer, New York. Price, 75 cts.
2
Technical Studies, by Hans Sitt, Op. 92. Part I, Exercises and
Studies for the Cultivation of the Left Hand. In three Books. $1.00
each. Part II, Exercises and Etudes for the Special Development of the
Right Hand. (Technics of the Bow.) In three Books. $i.ooeach.
Published by Carl Fischer, New York.
1
The Art of Bo-wing, by Emil Kross. A practical, theoretical guide
for developing the technic of the bow and for acquiring a fine tone.
Price, $1.00. Published by Carl Fischer, New York.
 HOW TO STUDY FIORILLO.

No. 13.
Andante.

1 I

This graceful and interesting e*tude partakes of the

qualities of the French school with added dignity. The
andante must be smoothly played, the portamento work
being given especial value through position changes.
Strange as it may seem to the amateur, artistic phras-
ing begins with Etudes; for instance, many of the Etudes
Brilliantes, by Mazas,
1
furnish excellent examples. A
natural crescendo occurs in the last four measures of
the first line. The andante is graceful and dignified,
a perfect example of legato playing. Transitions from
third to first position should be made without disturbing
the beauty of phrasing. It would be well to analyze this
andante with students, pointing out simple rules of
phrasing. In groups of two notes, accent the first slightly
and pause between groups, closing the phrase with a
slower tempo. It is of the utmost importance that rules
of phrasing should be taught in Etudes and applied to
the standard Concertos. If Etudes mean anything, all
that is contained in them should be brought out. This
relieves dry and lifeless study, and gives us ample oppor-
tunity to make musicians, not machines.
The Presto must first be practiced slowly until a com-
Seventy-six Melodious and Progressive Studies, by F. Mazas, Op. 36,
1

in threeBooks. Book I, fitudes Speciales; Book II, fitudes Brilliantes;

Book III, fitudes d'Artistes. Price each, 50 cents. Published by Carl
Fischer, New York.
 HOW TO STUDY FIORILLO. 31

mand of bowing and technic is possible. The octaves

are played in the upper half of the bow, with a slight
accent on the first note of each group, the groups also
being slightly separated, though the bow is not raised
from the strings. Keep nearer the point than the mid-
dle of the bow. Do not hold any note too long. Make
phrasing clean-cut.
The fingers work simultaneously, and must not leave
the strings during a passage. In playing octaves, relax
the wrist inward and curve the fingers well. Keep the
thumb free and in advance of the first finger. Every-
thing depends upon the holding of the violin with the chin,
not with the thumb and first finger. The bow-arm must
be very free. The player should not be timid, sliding the
fingers into place. The hand and fingers move together.
The trilled notes should be played with a sharp accent,
the legato being contrasted with a short, crisp staccato
in the upper part of the bow, about two inches from the
point. This passage should be played near the upper
third of the bow.

Notes not marked staccato are to be played freely, with

a forearm stroke. Place the fingers at once in position
for arpeggios. Note the suggestions of the Kross edition
of Kreutzer, in this respect. By the time the student
has reached Fiorillo, he must be familiar with all forms
of bowing. He is now to apply himself to technic.
String-transfers must be made easily. Returning to
the octaves, one must play with a free running legato in
the upper third of the bow. Note the arpeggios, which
must be played staccato very crisply near the point of the
bow. There is a prevailing tendency among students
to play the slurred legato notes with a longer bow than
the single detached notes. A freer style is that of uni-
32 HOW TO STUDY FIORILLO.

form length of bow throughout. When it is possible,

play a long swift stroke in preference to a short one in
passages of this kind :

In a sudden transition to high D on the A string, the

portamento is allowed. The stroke is a forearm one.
Now we return to the octaves. If there is any trouble at
this point, play the notes together until the pitch is quite
accurate. There is also another advantage. In octaves
the bow lies on two strings, and this is an aid to the

mastery of a pure legato in a passage in which the notes

are not played together. Note the almost perceptible
crescendo as the octaves progress. After several meas-
ures in which the forearm stroke is used, we come to short
groups near the point of the bow. In the fourth line from
the end, we return to the short passage, to be treated
somewhat freely.

In passing to the seventh position on the D string,

avoid a nervous jerking or undue pressure upon the bow.
The portamento is naturally desirable.
The arm should be well under the violin in the octaves
on the G and D strings.
 HOW TO STUDY FIORILLO. 33

a=r^^^Wil^gT
5=S: H
=J^Ea=S37-^T3 j-^j-a ;h-j
'

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

No. 14.
Adagio sostenuio.
On the G string.

^ W>//<? espressione. p

It is an erroneous idea that those outside of the French

school sometimes entertain concerning the nobility of
tone of that school. In cantabile work, tone-color and
proportion are sought and obtained. Brilliancy, vivac-
ity, and piquancy belong to the French temperament,
but depth, dignity, and nobility are possible, even in
a Frenchman. Hence it is that such exponents of the
French school as Thibaut, Kreisler, and Marteau play an
Adagio with beauty and nobility. The German school,
while essentially lacking in versatility, lightness, and
elegance, as compared with the French, excels only in
34 HOW TO STUDY FIORILLO.

breadth of tone, purity, and dignity. It is absurd in these

days of constant comparison between schools, considering
the frequent study of great artists in several Continental
schools, to assume that any one of them has the only
legitimate interpretation of the classics. The French-
school artist plays Corelli and Tartini with more poetry
and varied tone-color than the German-school artist,
giving to all the classics of that period more modernity
and consequent beauty than they ever possessed in their
time. Again, the present use of the vibrato gives
warmth to any classic. I speak of these things because
one can learn to play the Adagios of Fiorillo and Rode
in Paris.
In connection with this e'tude, played largely on the
G string, it would be well for the student to study such
works as the Raff " Cavatina," the Bach " G String Air,"
"
an Air from a " Suite by Johann Mattheson, and other
works which will give one perfect freedom in the higher
positions on one string. The G string has always been a
favorite one for beautiful slow movements of Concertos.
Both Bach and Paganini realized its possibilities. Pos-
sibly the student holds the neck of the violin too tightly
with the thumb. The latter must be ready to move
quickly into any position, the fingers being well arched
in the very high positions. A perfect command of the
legato and fine discrimination in the use of the porta-
mento are desirable. One should avoid sliding up and
down the strings when the phrasing does not demand
the portamento. Do not hurry the movement. Pause
between phrases to give added dignity. In playing very
high on the string, do not press upon the strings too
heavily with the bow, as the length of string is now so
short that additional pressure gives a rasping tone.
Practice the crescendo. Economize space in long bow-
ing. Do not allow the fingers to leave the strings at such
points.
Aperfect legato can only be obtained when the fingers
and bow are in perfect sympathy. A somewhat digni-
fied trill is necessary. Maintain the proper tempo. In
 HOW TO STUDY FIORILLO. 35

the last line preserve the legato even if the grace notes
seem to disturb it. At the close begin the trill slowly;
then increase the rate. If the student fails in the com-
mand of the higher positions, use the Halir studies daily.
Freedom will soon be secured.

No. 15.

You will observe that the older composers of technical

works used easy keys. They themselves were players
of the violin, and knew how to write in a violinistic man-
ner. You will also observe that two methods of playing
this dtude are indicated. As a special daily exercise, in
connection with this e"tude, I would suggest Sevcik's
4,000 Bowings, Op. 2, Part 2, Sections III and IV, two
and three string-transfers. After playing these exercises
for an hour, including the Halir legato studies, pages
i to 4, Tonleiterstudien, the wrist and forearm are supple

for the daily work, while the left hand falls easily into
line. In all technical work the left hand must be trained
to anticipate the bow-arm. More depends upon the
left hand than upon the bow-arm, hence the necessity
of strong fingers and an ample technic.
Allegro is an elastic term in the classic e'tudes. Play
slowly and without stumbling until you master the con-
tent of the work, then increase the tempo. The preferred
method of playing this tude is the lower one. Play in
36 HOW TO STUDY FIORILLO.

the upper third of the bow, not forte, at first, until free-
dom of the bow-arm is assured. A lateral stroke of the
wrist is not necessary. The wrist should be flexible
and free, however. Play a smooth, running stroke, for a
pronounced staccato is likely to make the muscles of the
fingers and wrist rigid, unless one has perfect command
of the bow-arm and hand. The student should train
himself to read ahead of the measure he is playing.
Place all the fingers in position at once, whether a new
position is to be taught or not. A prevailing tendency
in this work is to play with a stiff arm and to use too
rapid a tempo. That is not wise. Play slowly until
freedom is assured. The sequence of positions should
not trouble the player. String-transfers should be made
on the edge of the hair, or as nearly so as possible, and
there should be no "tilting" of the bow from the outer
edge to the middle and then to the inner edge of the hair.
Keep the forearm high enough so that the bow lies easily
on two strings. Always anticipate string-transfers by
practicing arpeggios on four strings, with the entire arm
well arched and no break in the curve. While many
short string-transfers, especially at or near the point of
the bow, require only the use of the wrist, there is an
almost perceptible movement of the arm from the shoul-
der, so that the curve described on the strings may be
easy and graceful. This is one of the most important
things in connection with the obtaining of a beautiful
legato. A study of my Three Octave Scales, 1 with
varied bowings, in the upper half of the bow, should
be carried on during the entire study of Kreutzer and
Fiorillo. Note the difficulty of easy string-transfers in
the sixth measure. These are very treacherous, if one
has not mastered the two suggested bowings in the first
five lines. Now, let us take the passage slowly near the
point of the bow, the first note being played lightly stac-
cato, and the next two slurred notes staccato on the up
bow. Do not jerk the first note of the group of three.
1
Daily Exercises and Three Octave Scales, by Edith L. Winn. Pub-
Itehed by Carl Fischer, New York. Price, $1.00.
 HOW TO STUDY FIORILLO. 37

Sometimes teachers prefer to use single detached bowings

throughout the exercise. That is not desirable; in fact,
all students of this work should have a thorough knowl-

edge of positions. I do not believe in the practice of

many and varied bowings in connection with Fiorillo.
We have practically fixed the fundamental bowings in
the first twelve Kreutzer Etudes. At present many
teachers are using the Sevcik ,4,000 Bowing Studies,
and carefully teaching Mazas' Etudes Brilliantes l Sitt
.

and Dont must inevitably aid in the mastery of bow-

ings, as well as of position work. There is so much to
learn from standard Concertos that it seems unwise, in
our busy American life, to burden the student with too
many Etudes. If he can learn the great principles of
violin playing from well-known works, or a few well-
chosen Etudes, he has time for the study of legitimate
classics. The entire Sevcik plan is too extensive and
impractical for American violin study; nevertheless, the
most progressive teachers are adapting Sevcik to the
needs of their pupils. We cannot teach as Sevcik
teaches; our entire conditions of life are at variance
with European conditions. If the preparatory work
for Fiorillo is well done, we may be sure that the student
will progress rapidly, and there will be no need of the
introduction of many and varied forms of bowing at
this point. Review with the flying staccato in the
lower half of the bow, also at the middle of the bow
spiccato.
Play the following measures at the point of the bow:

1
See footnote, page 30.
 HOW TO STUDY FIORILLO.

No. 16.

Again, the term Allegro is a somewhat elastic one.

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

The trill down bow. Raise the

should be played with a
bow between octaves; also play at the middle
slightly
of the bow. Accent trills. The fingering in the last
three measures is as follows:
 HOW TO STUDY FIORILLO. 39

IVa.

No. 17.
Adagio.

A brief glance at this e*tude would naturally give one

the impression that it is played in a light manner. It
is, however, one of the most interesting Adagio studies
in violin literature. The Fiorillo Etudes are not single
detached studies. They flow into each other, as it were,
naturally, and with sufficient variety as to tempo and
themes to make them fascinating and agreeable. This
e*tude leads into the more rapid eighteenth etude grace-
fully and with dignity. Both etudes are usually taken
out of order, on account of their difficulty, and the
Kreutzer double-stop Etudes are reviewed. Phrases
should be full of meaning, clean-cut and distinct. The
fingers must fall simultaneously in double-stops. A slur
within a slur requires a slight separation, but not the rais-
ing of the bow. Note the exact reproduction of the
first phrase, with the position of notes inverted, in the
second phrase. Note the second and third measures,
second line, the short staccato being avoided.
 HOW TO STUDY FIORILLO.

W. B. Nut.

The long staccato double-stop passage should be

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

Naturally there a ritard at the close. The first part

is
of the e'tude begins triad, with the funda-
on the tonic
mental note absent. It is well to call the attention of the
 HOW TO STUDY FIORILLO. 41

student to the fact that the second part of the 6tude

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

In order to fully appreciate this e'tude, it would be

well for the student to hear the great singers in such
works as Bocca bocca bella, by Lotti, or Vieni che poi
sereno, by Gliick, which offer examples of pure technic
and beauty of phrasing. I believe I can say frankly
that I have learned more about phrasing from the study
of voice than from violin study. At any rate the one
aids the other, and the student must learn to play
42 HOW TO STUDY FIORILLO.

Fiorillo and Rode like an artist, giving to purely technical

works a value that will materially aid him in the inter-
pretation of pieces. Style and phrasing are so essential
to violin playing that one should hear much good music,
and all teachers should be able to illustrate the important
principles of bowing, phrasing, and technic.

Allegretto.
V

L/ff
 HOW TO STUDY FIORILLO. 43

freedom. Note the manner of playing the Halir double

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

No. 19.
Allegretto.
With the middle.

^LH ft*
'

I
'
^lad

This e"tude begins lightly spiccato at the middle of the

bow. With the crescendo the necessity for a broader
stroke arises, and we dispense with the spiccato. The
44 HOW TO STUDY FIORILLO.

following passage is played toward the middle of the bow

the stroke becoming a spiccato:

Keep in the upper third of the bow when the tied

notes are alternately long and short. In the seventh
line, second measure, play the staccato run at the point
of the bow:

No. 20.
Moderate.

&&&&=#=

As an example of string-transfers in the positions,

especially upon four strings, this e*tude is unexcelled.
Play lightly near the point of the bow. Prepare for each
change of strings and for rapid position changes by read-
ing in advance. Always keep the bow well over two
strings. If four strings are to be used, raise the arm,
the entire arm being in the same plane. A running
legato at the point of the bow is desired.
arm out from the side, the whole arm moving
Raise the
in the same plane, the wrist leading. Note the great
value of this e"tude as a preparation for the third move-
ment of the Concerto in A minor by Bach. Short string-
transfers require that the two fingers used fall simul-
 HOW TO STUDY FIORILLO. 45

taneously on the strings. The arm always follows the

wrist. If arpeggios occur in the higher positions, place
the fingers as upright as possible on the four strings.
A variation in point of attack interferes seriously with
intonation. Note the necessity for perfect intonation.
The wrist leads in transfers, a backward dip securing a
perfect legato. Do not secure it by playing on the inner
edge of the hair.
If the legato is not easily played, review the eighth
Kreutzer e"tude in groups of two notes at the point of
the bow.
A study of Hans Sitt's double-stop Etudes l and Section
IV and V of Sevcik's 4,000 Bowings is desirable. If the
e*tude is first played in double-stops, the student gains
the habit of thinking the relation of tones, also the bow
gains facility, and lies well over the strings.
A running legato passage of two notes to a bow is
usually played anywhere from the middle to the point,
preferably near the point, if pianissimo. A quick com-
mand of the sixth position is not easy. Two fingers, at
least, should fall at once into place. The bow should lie
almost over two strings at the point, or near it. There
should be no visible rise and fall of the arm for two string-
transfers. In moving from position to position, the legato
should not be disturbed. A slight accent on the first
note of each group of two gives character to the e"tude.
In this passage, where more than two strings are to be
used, one naturally moves the entire arm.

1
Hans Sitt, Technical Studies, Op. 92. Part I, Book III, Double
Stopping, Thirds, Sixths, and Octaves. Published by Carl Fischer, New
York. Price, $1.00.
46 HOW TO STUDY FIORILLO.

A slight undulating movement of the wrist, not lateral,

gives freedom. Play near the edge of the hair as much as
possible. Raise the entire arm for a transfer from the
E string to the G, the wrist leading slightly. Describe a
curve, not an angular movement. Do not turn the
violin far over to the E side. Hold it lightly with the
chin and let the body of the instrument be nearly flat,
that is, make the angle as small as possible. If the G
string is high in the air, the E will be correspondingly
low, the arm close, and all legato work or string-transfers
correspondingly difficult. The rule of reading ahead and
placing ringers on the strings at once always holds good.
As examples of this style of bowing, one may mention
the Sevcik 4,000 Bowings, Part 2, Section III, IV, V;
also the Sitt Technical Studies, 1 2d part, Op. 92, with
the chords played as arpeggios in many ways. There
are many other studies of this nature; for instance, the
Kross Bowings of Kreutzer's Studies, Nos. i and 8. 2
Naturally the student must think modulations, even if
he is perfectly familiar with his position work. Keep
the thumb well under the neck of the violin, so as to
compass four strings easily and at once. A wise plan
with students who are very careless about making smooth
string-transfers is to ask them to play the groups as
double-stops singly in the lower half of the bow, using
a light detached stroke. When playing such passages
as this do not throw the wrist out, necessitating a per-
fectly flat fourth finger. All fingers should be arched.
Marie Herites, one of the best early exponents of the
Sevcik school, has a very excellent method of playing
1 2
See footnote, page 29. See footnote, page 29.
 HOW TO STUDY FIORILLO. 47

tenths, in spite of her short fingers. She brings her

first finger far around, so as to fall at right angles to the
neck of the violin. It lies flat in this position and the
fourth falls easily into place, slightly curved. The wrist
is somewhat out of position, and the thumb far under the

violin, but results are satisfactory. Every one can con-

quer limitations of the hand. No. 20 is not a virtuoso
study. It belongs essentially to a good repertoire, but
it is not easy, and must therefore be practiced until

perfect freedom is secured and intonation is perfect.

No. 21.
Moderate.

Several editions of Fiorillo suggest varied bowings for

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

f restez.
48 HOW TO STUDY FIORILLO.

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

No. 22.
Adagio.
7th Position 6th Position..

The twenty-second tude is one of the most beautiful

adagio studies in violin literature. It is particularly
useful to those who are studying the Bach Sonatas and
the Spohr Duos. There is no need of playing the first
note timidly. One should be able to think A, because
of the knowledge of absolute pitch. The position of the
note is naturally difficult. The thumb must lie well
under the violin neck, in order that the passage on the
A string may be played with ease. Do not pull the A
string from side to side in the higher positions. This
causes false intonation. In the fourth measure use the
third position, then change to second position. As to
the length of bow required, the volume of notes and
number on one bow govern the length, but a uniformly
broad style is advocated. One serious difficulty in the
tude is the command of the crescendo and diminuendo.
Practice the three octave scales, single whole bow
slowly, making a crescendo four times. Use the vibrato
 HOW TO STUDY FIORILLO. 49

freely. Concerning high notes, play without pressure

upon the bow-stick, as the tone of a short string cannot
be forced. It is of the utmost importance that one
should play with correct intonation. The high notes are
not as strong in tone as the low notes, owing to the
difference in length and vibratory quality of the strings.
We will now turn to the sixth position. The first note
must not be forced. The use of the same finger for
position implies the portamento. A smooth flowing
legato passage is naturally to be played with a longer
bow. Sudden leaps from the G string to the E must
be made with a high arm and flexible wrist.
Play the bowings as marked. You will observe
slurred notes in varied groups. The three notes must be
played with a long bow and in as perfect proportion as
the longer passage. The power to use the bow wisely is
difficult to acquire. Note the passages in the seventh,
eighth, and ninth positions. It is absolutely necessary
that students be free in the higher positions. Different
editions vary concerning the fingering in the last line.
The bowing is usually uniform. The difficulty of the
tude naturally makes it one of the best of its type, for
the difficulties are legitimate ones, which naturally occur
in the great concertos:

No. 23.
Allegro.
H. B.

t _
t

The bowing suggested in the twenty-third tude is one

of the most frequent and natural ones in concertos. It
is adapted to an allegro movement, and while it may
50 HOW TO STUDY FIORILLO.

be satisfactorily played near the point of the bow, the

forte would indicate a longer bow, possibly the upper
third. A free, undulating movement of the wrist, with
only a slight arm movement, in two-string transfers is
desired. Again, the student must be cautioned against
raising the fingers too quickly. All fingers must take
their positions quickly and maintain them. In three-
string transfers more arm movement is necessary. Do
not play over the entire surface of the hair. Keep
largely to the outer edge. Note that the middle note
is higher than the third note of this group, hence it is
wise to use this bowing:

We return to the former bowing in the next line.

The up-bow is not staccato, but a free stroke that will

not be a decided contrast to the preceding slurred notes.
In connection with this e"tude observe intonation care-
fully. Also add to the flexibility of the wrist by the use
of the Etudes of Hans Sitt, Op. 92, Book III. 1

No, 24.

* *> l\ , ^^ ' h ' a.* ' ^ '

* i
1
See footnote, page 29.
 HOW TO STUDY FIORILLO. 51

In somewhat decided contrast as to style, this etude is

played with a short staccato stroke; the position work,
with the fourth finger in the lead, must be free, the thumb
and first finger perfectly relaxed, the violin being held
firmly with the chin. Double-stops require perfect free-
dom and uniformity of finger action; the fingers move
with the hand, and the thumb and hand move in the same
plane. The octaves are played in the upper part of the
bow, with as broad a stroke as the tempo permits. One
should not play allegro if unprepared for the tempo.
The tenths are to be played very lightly near the point
of the bow, using about three inches, at least, of the bow.
Relax the wrist as much as possible, and play near the
outer edge of the hair. Marked depression of the wrist
makes the position of the hair variable on the strings.
Again, the movement of any fingers, especially the
fourth, to and fro on the bow-stick, produces an uncer-
tain legato. Play the tenths as before indicated. The
seventh line reproduces the form of the first line, the first
and fourth fingers, at least, remaining on the strings
constantly. The upper third of the bow is used. The
tenths are frequently played with staccato bowing in
the middle of the bow. This gives a free stroke, but
the upper part of the bow is preferred. Make a slight
accent on the first note of each group of two. Also
slightly raise the bow for this attack, and swing the stac-
cato up-bow quickly along the string. This is a some-
what free style of playing, which suits the passages of
tenths and gives them vivacity rather than heaviness of
character.
Now note the rapid running legato at the point of the
bow:
52 HOW TO STUDY FIORILLO.

This is easily played, if the thumb moves freely and if

the fourth finger slides along the strings. The first and
fourth move together in octaves. It is also true of tenths.
The followers of the French school always play chords in
an arpeggio style. This is not true of the Berlin school.
The followers of that school fall with force upon the
strings, taking three or four notes simultaneously. For
the development of such a style see Sevcik's 4000 Bow-
ings, Section V (Part 3).

No. 35.

^^^^^H^MBM^H^ ______ P
This e*tude furnishes an excellent example of phrasing
and style. Before beginning the study of it one might
well play Halir's runs up and down each string for the
pure legato and position work. The student gains free-
dom in this way. Do not press too heavily on the bow-
stick for the higher positions, as a rasping sound results.
The crescendo and legato must not be sacrificed. Note
the reappearance of the theme on the E string. As brood
a bowing as possible is desired. The sixteenth notes fall
about in the middle third of the bow, the thirty-second
notes lying nearer the point of the bow. The fourth
line begins a new form of the original theme. The up-
stroke is rather a broad staccato, not a spiccato bowing.
The bow is not raised from the string, but swings along
the string lightly. Notes marked with a dot have variable
 HOW TO STUDY FIORILLO. 53

meanings, according to the tempo of a work. In this case

the short staccato would be too trivial. The following
measure should be played in the upper part of the bow
very firmly, gradually diminishing in the next line to a
pianissimo near the point of the bow:
8

dim

No. 26.
To be played with the upper third of the bow :

Allegro.

"You will observe that Fiorillo makes decided contrasts

in his Etudes. The twenty-sixth naturally assumes a
more lively character. It opens with a crisp, bright
staccato in the upper third of the bow. The last two
54 HOW TO STUDY FIORILLO.

measures of the first line are naturally played somewhat

near the point of the bow. Perfect freedom of wrist
and forearm is desired. The form of the second line
is and the same bowing is used.
like that of the first line,
Now we contrast the staccato and legato passages. If
the octaves seem difficult, lead the student to practice
the octave studies of Halir and Schradieck. The legato
triplets in octaves are near the point of the bow. Note
at this point that the quarter notes extend throughout
the upper legato groups. It was a strange idea of the
Peters edition to introduce the groups with an up-bow.
In our present-day study we seek to make Etudes "fit
into" modern solos. This style of bowing is almost
obsolete.
The bowing is now reversed, the first note being short,
the next two slurred; but we soon return to the original
method. If the group opens with a high note followed
by a low note, then a high note again, the bowing is as
follows :

If
4= 1=-

S :}= *A
t= -tz tujz

the notes ascend the scale, they are most frequently

^--0-
4=14=
-V
$=-

bowed thus:

The arpeggios that follow are legitimate, being easily

played in the upper part of the bow. The tempo governs
the length of the bow. Pupils learn to feel for bowing;
in fact, to make few errors in passages of a similar nature,
because they have been trained to play correctly, if the
Massart bowings 1 are used with the study of Kreutzer.
1
See footnote, p. 25.
 HOW TO STUDY FIORILLO. 55

Play this measure in the middle of the bow, raising

the bow slightly for each group; accent the second note
of each group:

No. 27.
Allegretto.

tfe^

segue.
^*^fe1
This e"tude should not be played too rapidly, a light
stroke in the upper third or upper half of the bow being
somewhat easily secured. The first note of the groups
of three notes must be played without pressure upon
the bow. It is a light staccato. The bow lies well over
two strings. Take the second position at once. Do not
try to make the bow-strokes uniform in length. Free-
dom is at first secured at or near the point of the bow,
the wrist being very supple. Do not release the fourth
finger entirely from the bow-stick. Varied bowings are
not desirable, as the wide range of violin literature
demands a knowledge of the specific content of Etudes.
The bowings required in the Fiorillo Etudes ought to be
familiar to students long before they reach this point
in their study.
Before the change into a new key, play a crescendo of
two measures. Do not rest at the base of the first finger
unless necessary. Avoid the vibrato. Relax the thumb.
50 HOW TO STUDY FIORILLO.

Hold firmly with the chin. Rapid changes to new posi-

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

'-

|s
 HOW TO STUDY FIORILLO. 57

There are no new principles of bowing to be presented

in this e'tude. A running light legato at or near the point
of the bow is desirable. Keep the bow well over two
strings. If by this time the legato is not free, analyze
each measure and introduce chords. Also practice in
the middle of the bow.
This practice gives the bow poise upon the strings,
and enables the student to understand the fundamental
basis of string-transfers. Another excellent plan is to
play each group several times in twos, fours, and eights.
Other excellent methods are to play the entire measure
in one bow, or two measures in one bow. Occasionally
play a little below the middle of the bow, raising the
bow slightly for each stroke.
This is a free stroke with the principle of the flying
staccato. An excellent bowing is this:

=-: H=T
i i

H H^
|
i

i~7 |
i

^7=
.^ _^
jf -I I
J
ipcB-zoF-- i

H * T3

These bowings, however, can only be used in portions

of this exercise. At any point in the study of Fiorillo, if
the student has not developed freedom of bowing, return
to the Sitt double-stops. Also use the third, fourth, and
fifth Sevcik books (4,000 Bowings], the Schradieck Arpeg-
1
gios with varied bowings, and my Three Octave Scales.
2

1
Henry Schradieck, Technical Violin School, Part III. Exercises in
the Different Modes of Bowing. Also Chord Studies. Price, each,
50 cents. Published by Carl Fischer, New York.
2
Daily Exercises and Three Octave Studies, by Edith L. Winn. Pub-
lished by Carl Fischer, New York. Price, $1.00.
58 HOW TO STUDY FIORILLO.

1
I very frequently use the Tartini Art of Bowing in con-
nection with Fiorillo, as a further illustration of bowing.
A review of the Kreutzer (first twelve) Etudes 2 is very
useful. The student must understand that the more
solid the technic of the bow and left hand is fixed in
America, the more rapid advancement will be in foreign
music centres. It is not wise to neglect details or prin-
ciples. Naturally, from our conditions of life, we cannot
always obtain the same high standards in America as in
Prague, Berlin, and Paris.

No. 29.
Grave.
sostenuto,

We have now had so much practice in double-stops that

this that is new or interesting; never-
tude offers little
Do not allow the accompaniment
theless, it is valuable.
to stand out too prominently. Keep the theme as an
example of pure legato playing. The bow must lie well
over two strings, and no note in the accompaniment
should be held too long. Notes must fall simultaneously,
if so written. The tempo must be maintained through-
Tartini, The Art of Bowing. Fifty Variations on a Gavotte by
1
J.
Corelli. Price, 50 cents.
Special Concert Edition of Ten of these Variations by Ovide Musin.
Price, 75 cents. Published by Carl Fischer, New York.
2
See footnote, page 3.
 HOW TO STUDY FIORILLO. 59

out. The movement is earnest, yet not adagio. Grave

refers to the character of the work, not to its tempo.
At this point play the up-bow notes with a running
stroke, not the short staccato:

Observe the same manner of playing in the last line :

THE MODERATO.
Moderate.

It may be a good plan to play the staccato and legato

notes with a decided contrast in style. The French
school teachers play the staccato notes short and crisp
near the point of the bow. The German school prefer a
less detached stroke, using about one-third of the bow.
You will observe that the short bowings are more fre-
quently required throughout the study of Fiorillo than
a broad style of playing. The wrist must be very free.
The bow-stroke is not a lateral one. Do not make a
wide difference in length of bow-stroke. Sing the theme.
Place the fingers on the strings at once. Read in ad-
vance of the measure which you are playing. Anticipate
6o HOW TO STUDY FIORILLO.

string changes with the wrist in short transfers. Do not

slide into positions.
In the sixth and ninth lines think the position changes
at once. If we can sing a theme before taking a position,
true intonation is assured. Many students who are
beginning the study of the second position, using the
Wohlfahrt and Sitt studies, ask if the second and fourth
positions are useful. One must turn to the e'tudes of
Kreutzer, Fiorillo, Rode, and Gavinies, showing many
examples. As a means of ear training I consider the
second position very valuable. The student who has
difficulty with the fourth is likely to have the same with
the fifth and sixth positions. One cannot stress too
much the value of the careful study of positions. Begin-
ning at the second page of this e'tude, it is well to play a
somewhat shorter staccato stroke. The string-transfers
are made by throwing the wrist over the string, in cases
in which one goes from G to A or D
to E. I sometimes
review parts of the e'tude with spiccato bowing at the
middle of the bow, single strokes. You will observe
the term sempre staccato in some editions. Play a little
broader stroke than this term would indicate. The last
three lines, not including the last line, are very difficult.
Play lightly, using little bow. Move the left thumb far
round. Keep the middle joint flat. Bend the finger
toward the G string to command
the positions; also keep
the fingers down when not in use. Do not use the vibrato
in any case except one in which a broad free bowing is
desired, as in an adagio movement. Be very careful of
intonation.
 HOW TO STUDY FIORILLO. 61

No. 30.
Allegro.

3 i

As a preparation for this e'tude, use the Schradieck and

Sevcik works. I find Schradieck's Technical Exercises
and Scales and Arpeggios valuable, though I prefer the
method of playing scales as advocated by Halir, because
Schradieck repeats the fundamental note, thereby mak-
ing a perfect legato well-nigh impossible. The order of
Schradieck's scales I do not deprecate. The stroke here
used is a short staccato in the upper third or a martele' in
the middle of the bow. I have already explained how to
cross one string without playing upon it. Throw the
bow by a short quick stroke of the forearm well over the
string, keeping the arm high, out from the body. Make a
curve, not an angle.
If the very high positions and rapid changes seem too
difficult, play the intervals on the piano a few times.
Think the tone. Do not strive for speed. The bowing
and intonation are of first importance. Play the slurred
notes in the sixth, seventh, eighth, and ninth lines legato,
until freedom is secured. Altogether this is a most
difficult e'tude, and it should be practiced even when
other e'tudes are under our consideration.
The entire e'tude is not played with a very short stac-
cato stroke. The fingers must seek their positions at
once. Avoid an awkward arm stroke.
62 HOW TO STUDY FIORILLO.

No. 31.
Moderate.

As we have played several Etudes of this type, I use

varied bowings.

(1) The lower third, second group flying staccato.

(2) Middle spiccato,
(20) Upper third, legato.
(3) Single measures on one bow.
(4) In groups of four notes.
(5) Running legato at point.

From a technical standpoint this 6tude is not as diffi-

cult as some that precede it. At the fifth line it would

i : -Tiii n i
1+ '

iM i
'

i i- 1
'

i
|

-+ -9- * O 5 3 * -0-

be wise to play a rather short stroke near the point of

the bow. Show the pupil examples of similar bowings
in the 8th Rode "Concerto," the 226. and 23d Viotti, the
 HOW TO STUDY FIORILLO. 63

Bach "A Minor," As an example of the pure spic-

etc.
cato, refer "Perpetual Motions" of Ries and
to the
Bohm. As a type of running legato use Schubert's
"The Bee." As an example of octave and tenth study,
point out passages in the "Polonaise" of Vieuxtemps.
Short detached strokes, two notes on one bow, below the
middle of the bow, are very useful. Broad, vigorous
strokes with the upper third of the bow are excellent
toward the close:

Throughout all tude work I stress the great funda-

mental principles of bowing. Icannot see that the
playing of a great many eludes counts for much if we
neglect principles. When we go abroad, all our work
ends until we correct bad habits and master principles
which ought long ago to have been mastered. It is all
very well to say that Mr. X a great artist, does not
,

adhere to the particular creed of his school. Perhaps he

cannot be bound by a method. The rank and file of us
must cling to something. Elastic rules cannot be made
for amateurs. There must be definite rules of action.
To clinch a point, I may select many illustrations. It
is better to settle it, once for all, than to pass on and
return to it with a brain dazed by many principles and
multiple illustrations totally unrelated. Teach thoroughly
what you teach.
64 HOW TO STUDY FIORILLO.

No. 32.
Adagio espressivo.
sostenuto.

*=tT3pH
f. -] ,. _-r tl
1 X

This 6tude must be played with a singing tone, the

accompaniment being clear, smooth, and elegant, as in
e"tude number two. The lower notes must strictly be
in time and of proper duration. This type of accom-
paniment, found in the Bach unaccompanied "Sonatas,"
the solos of Paganini, the "Twenty-second Concerto"
of Viotti, and other works, is one of the most interesting
forms in solo violin playing. While it is free, graceful,
refined, and elegant in the sonata and concerto, rhythmic
abandon is hardly allowable in an 6tude. The melody
must always be supported by absolute precision in the
accompaniment. While this e"tude is an excellent ex-
ample of pure cantabile playing, its graceful accompani-
ment relieves it from the somewhat rigid style of the mere
e"tude. In that respect it is superior to number thirty-
three from a musical standpoint. In the third line you
will observe a staccato run. Make this a running stac-
cato, not short and crisp. Do not hasten the tempo;
rather hold back in order to obtain a dignified cantabile.
In the fifth line sing the theme, and dip the bow slightly
for the running accompaniment, which must occur ex-
actly in time. Do not accent the accompaniment notes
too much. Give them only their value. Keep the bow
as close upon two strings as possible :
 HOW TO STUDY FIORILLO.

&
^F. *1f. *1 -9- 1
I -*-
-*: 1
I - "1I rrfvr
/-*vc/".
cresc.
P
\S i/ ^
"^
|y

V
)

Allegro.

Students ask, "Is this a short staccato? Where do I

play such a passage?" The value and tempo of a
work govern bowing. Avoid meaningless bowing. Play
broadly when possible. One must study the classics
and discriminate between the style of different schools
and periods if one is to judge of methods of bowing.
In this case, play with a free, somewhat broad tone, in
the upper part of the bow. Produce a resonant, singing
tone. Do not decrease the tone in an ascending passage.
It is a good plan to play the arpeggios separately, that is,
repeating each line over and over, until they are mas-
tered. If the student has difficulty with them, review
the twelfth Kreutzer tude. The second and fourth
positions require much more careful practice. Use a
66 HOW TO STUDY FIORILLO.

free forearm stroke when it is possible. Passages of this

nature may be played near the point of the bow:

Note the octaves in the eleventh line. They should

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

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

8.
 HOW TO STUDY FIORILLO.

No. 34.
Moderate.

There are three methods of playing the first part of this

e'tude. One is a broad detached stroke, middle to point.
The second is a short staccato stroke near the point of
the bow. The third is the spiccato at the middle. As
the position changes are difficult, use the most easily
acquired bowing at first. That would be a forearm
stroke. Practice the sixth position passage separately
until mastered. Each position change should be mas-
tered before going to the next. It might be well to select
certain arpeggio studies of Schradieck and Kreutzer in
connection with this e'tude, for the sake of a mastery of
principles. Varied bowings should follow a mastery of
the content of such Etudes. Note in the eighth line the
groups of two slurred notes. These may be played
lightly at the point, also at the middle of the bow, with a
free wrist stroke combined with a slight movement from
the shoulder, a form of bowing often used in orchestral
works, a freer style than that at the point of the bow.
When the e'tude is mastered technically, I often teach it
with the spiccato bowing at the point of the bow, followed
by the bowing indicated in legato passages. When cross-
ing the strings hold the arm high, the wrist leading in
string-transfers. The practice of the F major scale in the
sixth position with varied bowings is recommended. To
keep up a continuous spiccato is not desirable, hence the
detached bowing in the upper third of the bow is not
practical. This e'tude is one of the most difficult and
68 HOW TO STUDY FIORILLO.

exacting of the entire book, hence the necessity of frequent

reviews. If possible, analyze the content of the work,
calling attention to the structure of each passage and the
basis of arpeggios.

No. 35.
Adagio,
sostenuto.

There are so many double-stop Etudes of more practical

value than this one that it is wise to review the excellent
2
double-stop Etudes of Kreutzer, Sitt and Dont, although
1

the last named are the least practical. However, if one

is to teach Fiorillo, one must use this e"tude. A few rules
may be useful :

1. Read in advance of the measure played.

2. Strive for a pure singing tone.
3. Keep the theme prominent, the accompaniment
legato.
4. Use a broad free style of bowing.
5. The fingers must fall simultaneously in double
stops.
6. Analyze the work phrase by phrase.
7. Memorize difficult passages.
Hans Sitt, Technical Studies, Op. 92, Part I, Book 3.
1
Price,
$1.00. Published by Carl Fischer, New York.
2
J. Dont, Twenty-four Exercises, Op. 37. Price, 50 cents. Pub-
lished by Carl Fischer, New York.
 HOW TO STUDY FIORILLO. 69

Do not draw the strings from side to side. The

fingers must into position and remain fixed.
fall
If the pitch is not at once secured, do not slide the
fingers up and down as if in search for the exact
tone. Practice the passage until the fingers
fall into correct places at once.

MODERATO ASSAI.
Moderate assai.

Nothing new presents itself at this point in bowing.

A freedetached forearm stroke instead of the short stac-
cato is desirable until the technical side of the e"tude is
mastered. I generally take the first three measures,
contrasting them, then memorizing them. I also refer
to certain well-known progressions in the Schradieck
arpeggios. Very few students after a week's practice
can play this e"tude without mistakes in the progressions.
It is, therefore, desirable to study it line by line. The
second line follows the same progressions as the first,
though we begin a whole tone higher. Sometimes I
oblige my students to write down each line from memory,
in order to master the progressions mentally.
Again, I listen to related measures repeated several
times. The question may arise, " Should the teacher first
play the e"tude to the pupil?" The teacher should ex-
plain the bowing of each etude assigned for the next lesson,
but should not, as a rule, play it. The student should
analyze it and get all he can out of it before bringing it
to the teacher. This develops the power of reasoning
and concentration. He thus learns to stand alone.
70 HOW TO STUDY FIORILLO.

So many students play merely by imitation, that it is a

question in modern violin study whether it is wise for the
teacher to illustrate too much. Teach the pupil to deduce
conclusions himself. Hear his version, then show him
the way. Do not play Etudes too much with him. Play
the passage alternately with him. Do not play a con-
certo to a student before he has practiced it. His con-
ception means more to him than yours. It is equally
true of the other fine arts. No great painter was ever
made whose pictures were sketched for him. The crea-
tive and analytical instinct must precede pure imitation.
I recall the study of the Bach solo "Sonatas." In Berlin
we studied them very rigidly, but when away from that
atmosphere we played them with freedom. These sug-
gestions do not excuse the teacher from frequently
illustrating. A teacher who sits and listens to violin
students all day because he is too indifferent to play,
cannot guide well. Again, the teacher should be able
to give a perfect example of a style of bowing or phrasing.
Teachers who play no more are not wise educators.
As far as intonation is concerned, this e"tude is one
of the most difficult of all, yet it is very useful from the
standpoint of modulation. The last three lines require
a free wrist stroke (legato) at the point of the bow. As
more than two strings are included, the stroke is an arm
and wrist one. The elbow must move out in the same
plane as the forearm and wrist. Absolute freedom of
all parts of the arm is necessary.

No. 36.
Arpeggio.
 HOW TO STUDY FIORILLO.

3T -* -a-

4 L-

DlFFERENT ARPEGGIOS FOR PLAYING THE PRECEDING

CHORDS.

M.

"
T

Sp.

1 1-*-3=*=^
 HOW TO STUDY FIORILLO.

Sp.

M.

'
4 -^-^ i - */

Upper third.

M.

12

Upper third.

13
 HOW TO STUDY FIORILLO. 73

Before beginning this 6tude, review the chord studies

of Sitti
and Kreutzer, using with the first Sitt study the
following bowings:

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

I prefer this study to the Sevcik 4,000 Bowings, Section

V. I would, however, use the Sevcik studies for securing
a flexible wrist stroke.
Also use Schradieck's Technical Violin School, Books
2
II and III. I make some changes in the chords of this
etude, as follows:

2) 16th and 17th measures

1
Hans Sitt, Technical Studies, Op. 92. Part I, Book 3, Double
Stopping. Published by Carl Fischer, New York. Price, $1.00.
2
Technical Violin School, by Henry Schradieck. Part II, Exer-
cises in Double Stopping. Price, 40 cents. Part III, Exercises in the
Different Modes of Bowing. Price, 50 cents. Published by Carl Fischer,
New York.
74 HOW TO STUDY FIORILLO.

Use also the following bowing:

Single detached chords down bow, lower half.

The wrist must be very flexible. The whole arm is

used. Play the three notes simultaneously. Play also
thus, whole bow:

We now come to the pure legato at the point, middle,

and heel of the bow.
Two notes tied, four and eight. Vary this by playing
the two notes legato, the second two staccato at the
first

point of the bow; the first two legato, lower half, the
second two flying staccato.
We will now turn to two styles of legato bowing eight :

notes to a bow; two tied notes followed by six tied. Use

the whole bow, also upper and lower half. The next
bowing is two tied followed by the short staccato at the
point of the bow. Then use two tied, two cut, at the
middle or point of the bow. Apply the principles of
Sevcik, 4,000 Bowings, Sections III, IV, and V.
I would introduce a style of bowing very much used
in solo and orchestral work: a running legato at the point
in triplets. Same at the middle of the bow. Same at
the heel. Three tied legato, followed by three flying
staccato, lower half of bow. Three down-stroke middle,
spiccato, three up-stroke.
These are all the practical bowings I use, but notes
played h. one bow, at the point, are useful.
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