THE MASTERY Or the BO W 9

THE MASTERY OF THE BOW AND BOWING SUBTLETIES

A TEXT BO O K

FO R TEAC HERS AND STUDENTS O F THE VIO LIN

PAUL STO EVING / " “ ” r o t Author of The Art of Violin Bowing . The Sto y f he Violin. “ and The Elements of Violin Playing and a Key ’ " to S ewilc c Works. etc .

SUPPLEMENTED BY RIGHT ARM GYMNASTICS

A VO LUM E O F SELE CTE D AN D AN N OTATE D BO WIN G STYLE S

FO B DAI LY STUDY

(Published S eparately)

NEW YO RK CARL FI SCHER 1920 CO PYRI HT 1920 G , ,

BY CARL FI SCHE R

N E W YO RK

Interna tional Copyright Se cured

vi CON TE NTS

Pa on forearm the fourfold purpose and beneﬁt ofhand-stroke exer c ises the lengthened hand stroke (forearm stroke) the halfand whole bow stroke the inaudible change ofbow will c ontrol over extent (length) of bow m ove ment bow ivision a thir kin of c ontrol the li ht d d d , g touch what artinimeant the ri ht start ofa tr k T by g s o e .

PART II

CHAPTER V

Three princ ipal families of bowings smoothly detac hed strokes or detac he forearm and hand strokes (extended hand stroke) perfection depends on three featur es length ofstroke determined by speed and dynamic quality sm ooth c hange of bow two reasons for a roughish ﬁnish bow pressur e the action of the foreﬁnger the prac tic al applic ation of the detac he in triplets detac he and st ring c rossing

CHAPTER VI

Legato playing (slurring) two princ ipal rules slurring over several strings the m utual relation between hand and forearm in c rossing strings furthering a relatively low position ofthe elbow two m ethods ofstring transi tion c om inations of slurs and etac he strokes nu b d d , ac cented and ac c ented

CHAPTER VII

M artelé and st ac c ato bowings their importanc e three attributes a determining factor in their exec ution m artelé at different parts ofthe bow the right start the natur e of the str oke variations in tone and varia tions in pressur e m ethod of prac tic ing m artelé m odiﬁc ations the dotted eighth and sixteenth rhythm the Viotti stroke other m odiﬁc ations CONTENTS

' CHAPTER vm

The firm (tied) stac cato two kinds method of study the activity of the forefinger the forearm with a stifiened arm the stac c ato with the down bow

CHAPTER IX

Springing bowing general princ iples governing their exe c ution two groups with aided elastic ity ofthe bow stic k the slow (m oderate ) spic c ato or thrown stroke ' m odiﬁc ations combinations of the slow spic cato and n m etho i lur t c . the stac c ato vo a t of r s s e ac t c e . , l d p

CHAPTER X

S pringing bowing continued automatic rebormding the fas t spic c ato or sautillé (light skipping bow) experi mental m ethod of study sautillé in c onnec tion with rapid ﬁngering ac ross strings the stac c ato aric oc het springing bow arpeggio method of study over dou le b strings the trem olo .

CHAPTER XI

Bowing styles not m entioned in the foregoing c hapters the ac c ented detac he skipping string martelé and skipping string the grand m arte lé the sustained stroke with m artelé st art the stac c ato porté sync o ated slurs the arlando a st le ofrarer oc c urren p p y ce .

CHAPTER XII

The playing of c hords double string non-sustained c hords rules for sounding them short c hords over four string short c hor ds with the upstroke sustained c hords some modiﬁc ations CONTENT S

CHAP TER XIII FAQ: The problem ofa beautiful tone psychic aspect the tech nical side tone production tone shading ac c en tuation

PART III

CHAPTER XIV

Concluding remarks on the study ofthe bowing styles in the music al supplement and bowing prac tice in general LIST O F ILLUSTRATIO NS

Correc t natural bend ofthumb Inc orrec t ac ute bend O fthumb Inc orrec t inward bend offir st joint um lac ed at the c orrec t an le O site Th b p g , ppo to the middle finger with the forefinger and ringfinger slightly suspended

over their plac es . do ron i All the fingers wn; f t v ew . Inc orre c t position ofthe hand (forefinger lies on the stick h l r e knuc kl an firs between t e a g e d t j oint) .

- ow reversed i. a. with hair u and showin the ri h h nd 7 . B , , p g g t a fingers in the ac t ofgripping it Correct slant and iti n lin nd bow whie 8 . pos o of the vio a l l in on th E 2 ay e strin at mi dle ofbow . 3 p g g, d Same as Illustration 8 with bow on the G string 33 Same as Il ustration 8 with bo on the E trin at the n t 36 l w s g, u Sam e as Il ustration 8 with w n the rin at the nut 37 l bo o G st g, Fau t osition ofthe ri t while la in on the A rin l y p w s p y g st g, n o t h ul h at the nut . The wrist ha g d wn wi h t e res t t at the fin ers have alte red their c orrec t osition on the stic g p k , h thum stand at a ri ht n l th ick h sli d i.e . t e s a e e st as e , b g g , pp int o the fir t in enture of the orefin er and the lit le s d f g , t

THE MASTERY O F THE BO W

CHAPTER I

The right grip ofthe bow what c onstitutes it how to sec ure it the thumb its func tion and position the middle finger the ring finger the little finger and the index finger résum é exerc ises for gripping the bow

and loosenin the ﬁn er oints . g g j 0

Perhaps the most important thing in the The right all important correct beginning of violin grip of the h b°w study is the right grip of t e bow . I say l h r r for a s u e purpose y t e ight g ip, t d nt m ay faithfully ser e the rules e eral and s e for l ob v book , g n p ciﬁc , ho ding the bow and et su cee se ur the r h y not c d in c ing ig t grip . li l Here already individua ty shows itse f . Not only are

a s ffere l s a e wea and s r l and s r t h nd di nt y h p d , k t ong, ong ho , sle er and r a and es but the m a r nd bony, b o d ﬂ hy , nne of taking hold of the bow whether according to strict rules or the er eel the a for r not , v y f ing of h nd it va ies with indi viduals and com es under the head of the right grip of h t e bow.

WHAT CONSTITUTE S SUCH A GRIP AN D WHAT Is IMPLIED BY IT

Th an l rese an all r e h d whi e p nting ounded, ra e ul shell-l e a eara e s ul rs g c f , ik pp nc ho d fi t stitutes it hold the bow securely but not tightly ; second : it should balance its top heavy tip and yet not eel a is ala t or r r f th t it b ncing any hing in othe wo ds, 2 TH E MASTERY OF TH E BOW feel any strain on any p articular finger or part of the hand ; third : all finger joints should be flexible so that ea fi er al u the a u ns as a whole ma ch ng , tho gh h nd f nctio , y be a le l to m e the s el its s b not on y ov on tick, yi d in joint , e and s re but rm e di uall s b nd t tch , pe it b ing in vid y sen i tized for some particular pur pose and thr ough such inde pendence and Obedience to mind impulses help to attain for the whole hand that utmost sensitiveness and deli cacy of touch which is inseparable from a true mastery f h o t e bow .

E Is THE N E E E Too WHAT, FOR INSTANC , CO S QU NC OF TIGHT A GRIP ?

It creates a state of rigidity of the hand where flexibility of the finger joints is im possible and by straining also the m uscles of the forearm paralyses the functioning of h l t e who e arm . On the other hand holding the bow very loosely not only j eopardizes the security of the grip in rapid sudden changes of bowing l n ura es a a l rless s le bu i sty es a d enco g fl bby co o ty , t as t keeps the m uscular apparatus of the hand in an over relaxed condition every effort at energizing the muscles and stim ulating them to increased activity has to be h proportionately greater to secure t e desired results .

BUT WHY ATT ACH SUCH SUPREME IMPORTAN CE TO THE RIGHT GRIP O F THE Bow ? In the first place it is the hand which be ing in direct contact with the stick forms “gm gnp the first m edium through which the brain l h su and heart of the p ayer convey t eir m essages . As ch THE MASTE RY or THE BOW 3 it must be in the best possible condition to receive and ex ress ese messa es e e th m p th g , v n e ost subtle and tran s e es mus m l l i nt on , it t rese b e a fine y attuned and adjusted s rume as were hi h in t nt , it , on w ch t e mind can play at ll wi . Se l h f cond y, based on t e oregoing presum ption the need for flexibility of all the finger joints becomes ap parent when we com e to consider the function of the hand the r ess raw the bow n u in p oc of d ing a d tone prod ction, etc . is lar el hi ex l n It g y by t s fl ibi ity, unc o Why flexi s us and s h l r 1 n bilit of th e cio con cious, that t e p aye 8 e y finger pints abled (a) to keep the bow at a right a le w the s r u er all r ums b ng ith t ing nd ci c tances , ( ) to reser e a rfe l e e e ual t h so p v pe ct y v n ton q i y if e desires, or produce dynamic variations in the stroke ; (c) to a a a el a e au le a e tt in to d ic t , in dib ch ng of bow at every part of the stick and (d) to perform an indefinite variety of bowing styles especially those which are seemingly executed from the hand with a loose wrist but which in reality depend for their lightness and neatness in no sm all degree on the accomm odating flexibility of the er fing joints. hir l he r r h l all the T d y, t ight g ip of t e bow inc uding con ditions e umera i r for the r and n ted above, s necessa y ight successful operation of the laws of muscular relaxation on which a systematic development of the bow arm so l ll s a a er . m uch depends . Of this I sha have occasion to pe k t

HO W To SECURE SUCH A PE RFE CT GRIP OF TH E Bow

s ul re a e ere a na ure oes I ho d p f c h th t t d not H ow to endow every hand with equal liberality or secure a ﬁ ght gnp with a view to further violinistic ac c om

lishments . r a esh s and et s r a p A b o d , fl y, oft y t ong h nd 4 TH E MASTERY or THE BOW with fairly long fingers is undoubte dly best suited for l the vio in . uc a a e S h h nd, to b gin with, finds that the difficulty so rea for he sle er and weak on g t t nd e, of balancing the top ea s is as earl el m a e as c an s h vy tick, n y i in t d it be , be ides more easily satisfying the aes thetic dem ands made upon

f r a well-r un e ra e ul a r it o o d d , g c f ppea ance .

a we er a less a re a era e a th rs T king, ho v , f vo d v g h nd, e ﬁ t step in the direction of securing a right grip of the bow and of first consideration is the position and function of the

thumb. The natural attitude of this ﬁnger Wl th The thumb respect to the other ﬁngers is that of a r n ll l l nd ser a . e a e o e and a e ess w u a v nt Th y h p itho t it , i h w shi a e l yet it s subservient to eac . In i ng to t k ho d of an e l or eav the m m a sele the re y Obj ct , ight h y, ind y ct fo

r or r r r ll h er is finge ing finge o a t e four fingers togeth , it the s le u s di ha the e er with i nt , ncon cious understan ng t t v read s r mm a hum le s y, t ong, acco od ting t b nd i mm a i i ts assistance . To be acco od ting s ts l - n SO rf l r se f evident attitude a d function . pe ect y o ga nized so el em re is his su r s r a t , fin y t pe d t pe b e v nt hat it responds to a nicety to every physical demand made upon

r m l lu wi r n it, whethe it is eant to c utch a c b th a grip of i o or l th w r ho d e ing of a butte ﬂy . In violin playing its function is generally speaking not in an wa ff r is als res e er all y y di e ent . It o to pond to v y c

made u l or s r ra s e or sus a e . pon it, ight t ong, t n i nt t in d Th ues is how ma be es e for its mani l e q tion , y it b t ﬁtt d fo d u es or w a is its es a u e w re ar the d ti , h t b t ttit d ith g d to stick and the other ﬁngers . It is surprising that the thumb in particular should

6 THE MASTERY or TH E BOW

Apart from the fact that a violin how of a stiffened weighs barely two ounces and if properly “mm"joint balanced In the hand does not for the ordi nary purposes ofa beginner require any special applica

2 Inc orrec ac u FI G . . e of u t t bend th mb .

FI . . G 3 Inc orrec t inward bend ofﬁrst j oint .

s al r a i he se ue e the tion of phy ic fo ce, wh t s t con q nc of " thumb joint . acutely bent and stiff Even admitting that it may work when playing at the nut and down to the bow m l h m le and all the wa idd e, beyond t e idd y to THE MASTERY OF THE Row 7 the the has e er s re self ut point, joint ith to t tch it o or , unless the arm is ex ra r i ar le of t o d n y ngth , the elbow must r ru e a a s all sane rules and h p ot d g in t , t e wrist is forced into an awkward twist . There is no other alternative: In addition real delicacy of touch with every part of the bow is ex m oss l r h n t to i p ib e, fo t e stiffness in the thumb d es rema n l al but m arts tself to the a o not i oc i p i h nd , wrist and forearm . the er a the If, on oth h nd , joint were kept loose and for th e above reason made to bend and stretch itself alter nately with every up and down-stroke which may be at the rate one er se of p cond, it needs no com ment to show the m rac ica il sa th l i p t b ity, to y e eas t, of suc h joint ala r c ity . The difﬁculty disappears at once when The m “ the joint is kept slightly (naturally) bent and

llus ra . The sam supple as in i t tion No I . e easy bend may then be retained through the whole ex ofthe s r e a i for e r ofthe bow tent t ok , th t s, very po tion l and for r s uld em p oyed eve y dynamic exigency . I ho z ere ‘ re fm re u emphasi e h , in iteration O f some O y p vio s remar s a the um its l the s re k , th t th b in re ation to tick p resents not the initiative but the cooperative respectively re tin rce the am er he um th sis g fo , not h m , but as t th b of e le a res e the n rs of a a the a l ft h nd in p ct to ﬁ ge th t h nd, nvi ,

in er w r s the r e hi is u . n oth o d , fo c w ch acted pon It a

swer i. e. resses exa r r he ressure s, p in ct p opo tion to t p or non- pressure brought on the stick by the rest of the

or ar the f reﬁ er ar ular . See hand p t of it , o ng in p tic ( l his mi be alle wa ex e a a be ow. ) T , it ght c d iting, p ct nt tti tude of the thumb is expressed by the slight n atur al bend of its ﬁrst joint . 8 THE MAsTERr or THE BOW

The next question that arises is that of the exact position of the thumb with re s h r pect to t e stick . He e two points demand c onsideration firstly : the thumb must be so placed that it res s se urel u er all s a a s sl ofi , t c y nd condition g in t ipping the k or hr u the nut and se l : so ha its stic . t o gh cond y , t t l h s i. e. a e t e s e r h po ition, , ng to tick , tog the with t e bend ofits joint undergoes no appreciable alteration during the ac t of drawing the bow whether the strokes be light or s r sl w or as for is v us a an r t ong, o f t, it Ob io th t y such s o urr a e we er sli mus m o cc ing ch ng , ho v ght , t have a ore r l m in ff h n l f h ess da ag g e ect on t e natur e a d qua ity o t e stroke . The need for security is best met by setting The “M f“ the tip of the thumb so that it rests partly against the little ebony elevation of the nut ar l s mew a m re the s sel and is , p t y ( o h t o ) on tick it f, r a l l h l u e e s ewa . . n t n d itt id ys, i e with t e thumb nai not ru ni arallel w h Th x r m en f ng quite p ith t e bow hair . e e t e e d O the tip is not recomm ended as the player in order to get a good grip on the bow is apt to use force and allow the r i ff A h m m fi st jo nt to sti en . t t e sa e ti e since sensitive ness of touch is greatest at the point of the finger tip and there is danger O fpushing the thumb too far through the nut a mis a e be r ull n l use ( t k to ca ef y avoided) , o e shou d t he right side of the tip as near the thum b nail as is c om l w f h ul be patib e ith safety and com ort . T e nail sho d not out too short . As for the comparative unchangeability five un O f the position of the thumb through the mm geab'hty w le bow le s is a a e se ho ngth , thi tt in d by tting ° a an a le O fa u 65 the s at a r a le . it t ng bo t to tick, not ight ng l ee a ex e for alm s im erc e It may easi y be s n th t , c pt o t p p THE MASTERY or THE BO W 9

l h r a l n ine tib e modifications, t e forme ng e c a be reta d er on la h n t or o ofth bow w le wheth e p ys at t e u p int e , hi in the contrary case (standing at a right angle) the thumb would have to alter its right angle for a smaller one every me the bow is e d a w ere ear the his ti ngage ny h n point ; t , w h w w ul mea k r in dra ing t e bo , o d n a ind of pe petual see-saw m m n of the um h And ove e t th b on t e stick. as the um must e essar l lie er l rm his th b n c i y v y oose to pe it t , it is evident how unstable and out of control the bow is l l m f r ra m s ike y to beco e o pid otion . The disadvantage r h indeed does not end he e . T e continuous changing of the s of the um re l afiects po ition th b di ct y the that of the wrist and hand and especially of the forefinger ; with the thumb standing at a r a l h l er r er a h n ul ight ng e, t e p ay , in o d to re ch t e ut wo d be almost sure to drop the wrist ; this has the effect of not only drawing the thumb still further back (that its angle becomes one of but also of pulling the fore finger (see below) away from its plac e on the stick and the little finger further over and joining in the see-saw m me i r a e he h n ove nt w th eve y ch ng of t bow at t e ut . As a rule this change at the nut in consequence becomes audible and j erky (compare Chapter IV and V) I may mention in this connection that the position of the thumb and forefinger in relation to the bow forms one ‘ of the main points ofdiflerenc e between the older Germ an (Spohr) School and the Italo- Viotti and modern Franco Belgian School of violin playing; the former advocating the changing angle of the thumb with its results on the a and re er the la er the m ara e h nd , wrist fo fing , tt co p tiv stable angle and greater use of the forearm for manipu l n he ati g t bow. 10 THE MASTERY OF THE BOW

Opposite the right half of the tip of the um u e mee l th b, not q it ting it, ies the middle ﬁnger with its ﬁrst joint indenture on the stick The um th b therefore divides the hand into all but even al es m a a an e l h v , int ining qui ibrium between the strong fore

Thum la ed t the c orr FI G . 4 . c a ect an le o osite to the mid l b p g , pp d e finger with the forefinger and ringfinger slightly suspended over

their plac es .

fi r nd th r an l tl r nge a e weaker ing d it e finge s. Scientific ob n D servation a d investigations by r . Steinhausen with regar the s l g the r arm Its position d to phy io o y of ight in and foremost violin playing have shown that the correct duty drawing movem ent of the bow is only pos sible through a rotation of the forearm in the elbow joint ' w h a es the mi le er and in hich t e hand particip t , dd fing thumb forming the axis of the rotary hand and forearm m m e For w r th f r rm and re ove nt . every do n st oke e o ea fo

ﬁnger side of the hand perform a motion which Dr . e ause rms r a for e er r e w a he St inh n te p on tion, v y upst ok , h t THE MASTERY or THE BOW 11

alls a x re rese e the um n c supin tion . This a is p nt d by th b a d m l r Dr e ause idd e finge according to . St inh n Pronation and stands perpendicularly to the stick and the slight displacements it is necessarily sub jec ted to by dr awing the bow its full length are affected an l l h o n ers h by e astic yie ding of t e tw fi g , t e thumb r u h f its the m dle th o gh t e fleshy pad o tip, id finger in its first joint through the elastic skin and fatty tissues er h cov ing t e joint . The forem ost duty ofthe middle finger is to hold the bow un h um le in he a l in conj ction with t e th b, whi t ctua work of drawing the bow it m ay be said to be only pas sively engaged by reason of its com parative immutability as art ax s h r m m p i of t e st oke ove ent . The ring finger in following the slight bend of its longer neighbor and lying c om fortabl l se is la e h s y c o to it, p c d on t e tick e wee its and rs or re era l m b t n tip fi t joint, p f b y, in ost ases la s sel a l le ar u the s i c y it f itt o nd tick with ts tip . It represents with or Without the help of the little finger the pushing element the supinatory movement of the hand and thus the counterpart to the fore C the fi er arr e erall s ea the ng , c ying, g n y p king, 11133335 u s r e m ls eff sa en “ Pulse in“ p t ok i pu e into ect . I y, g efi ect erall s ea i f r m er y p k ng o , as a att of course , the machinery at work in bowing is so complex and varied that what is valid in som e instances seems to be c r x r ont adicted by e perience in othe s. On account ofits position with respect to O ther duties the el a se and its l er m re sen Spi ch ight , o sitive ou as m are the m le er h r t ch co p d to idd fing , t e ing finger is largely instrum ental in the execution of m any 12 THE MASTE RY OF THE BOW bowing styles in which the heavier middle finger plays l a me ess r or ass e ar for s a h on y re acc o y p iv p t, in t nce ; t e firm s a a ma ofthe s r i bow ar e s i t cc to, ny p ing ng p ggio , fly ng ll u et . staccato , sa ti é, c In connection with the little finger it is also chiefly e a umer us rms slurr se eral s r ng ged in n o fo of ing v t ings, helps to alleviate the bow weight near the nut and adds e s r and effe s ma to it where n ces a y, ct ny dynamic subt

lo min r ts et . er h ties and o ac cen , c oth wise t e dominion l f h . m O t e forefinger . (See be ow ) In any instances it acts as a discreet moderator and auxiliary to the activity ofthe forefinger . Th l le fin er whi sh e itt g , ch ould rest on the s l l l w the end ofits m tick on y ight y ith tip, ay be sa be the ass s a ofthe r er id to i t nt ing fing , he eeler the a as were i t outer f of h nd , it , in ts supination for the u s r e s ar and m le s p t ok , t ting co p ting it . It touch being in most instances still lighter than that of its neigh bor a ts the one a the a a l , it c on h nd in c p city of a pi ot in the ra s i the bow er the s r t n it on of ov t ings, The out“ on the er as an a al m ra feeler of the oth ddition ode tor to h and “ 4 the pronatory attitude of the forefinger (see ex a ala h n t p ge) , b ncing t e top heavy stick and h i h alleviating its weight near t e nut . It s t e m ain factor ffe the sm a e bo a i h a e in e cting ooth ch ng of w, th t s, t e ch ng fr m r th a o supination to p onation of e h nd . Its activity is more needed and therefore more in evi dence when the lower half of the bow is employed ; in t he opposite case (nearer the point) it is not seldom all we l off or i ur sel raise r m the s o d to s ip , s p po y d f o tick, be it for the sake O fgaining greater freedom of the wrist for delicate shades of detached bowings and slurs or

14 THE MASTERY or THE BOW

ﬁn er is the m v f r e ehi the w s r ke g o ing o c b nd do n t o , prona w the u l mi e u f tion . In vie of n i t d f nctioning o this ﬁnger its right position on the stick is of the ut

m s m r a e . ma ases bad ou the stick o t i po t nc In ny c of w eless im e the ul ll bo ing, hop pot ncy, fa t wi li w the um w the s be found to e, if not ith th b , ith po ition ere is ex e to the rul of the foreﬁnger . Th no c ption e that it should lie on the bow between its ﬁrst and se cond

. . o v FI G 5 All the ﬁngers d wn; front iew .

r m the e er the rs or w rse the se joint f o tip, n v in fi t , ( o ) , cond e ure but as w all the er ers m us ind nt ith oth fing , it t be given a certain latitude for moving within these two e ures er w r s s ul be all we ind nt in oth o d , it ho d o d to approach the second joint when nearing the point of the stick and recede slightly (according to the physical struc h a wr s and arm the s e re ture of t e h nd , i t ) in oppo it di ction , h a is war s the rs w e la at t e nut . th t , to d fi t joint h n p ying THE MASTE RY OF TH E BOW 15

s ul la sel well ar u the s k li to h It ho d y it f o nd tic , c ng , ug the bow r u the w le le th r th o gh ho ngth of e st oke . It seldom relaxes its hold altogether whether Feels and its a is sl or firm but as were cont ct ight , , it , re toe the s “ f feels and regulates the pulse beat of the ° the is? r e n l bow in every st ok a d stroke et . By lying on the stick between the first and second joint inden t ures the finger has j ust the necessary strength and w al eli a u for its ma l a ith d c cy of to ch nifo d ctivities.

FI G . n . 6 I c orrec t position ofthe hand (foreﬁnger lies on the stick tween the knuc kle and ﬁr t int be large s jo ) .

The older Germ an m ethod of allowing the foreﬁnger t o move backwards and forwards see-saw fashion with e very stroke to and from the nut while the wrist was held low has ee alm s uni ersall s ar e linis , b n o t v y di c d d ; vio ts, f ll w the lea O f and the ra el a l o o ing d Viotti F nco B gi n Schoo , have returned to the bowing principles ofthe old Italian m asters . 16 TH E MASTE RY OF THE BOW

To reiterate once more in fewer words the Resumé foregoing : In order to show the position e er ﬁn er m re s in l l h of v y g o di t ct y, ho d t e bow with the left

ha llus ra . a r ur e u war n l nd (i t tion, p h i t n d p d , a d p ace the thumb a urall not a u el e the rs , n t y, c t y, b nt in ﬁ t joint, ° at an angle of 60 to so that it rests securely against

d h FI i. s . th h t 7 . Bow rev rs wi a d t ri . ir an G e e , , up showing he g han ﬁn ers in the ac t of ri in it d g g pp g . slipping and that the nail does not stand exactly parallel h r b t l l I s m re with t e hai u a itt e sideways. ts tip rest o broadly on the wood O fthe stick itself and only with the edge against the ebony elevation for better support ; its pressure should be diagonally across the centre of the bow

s at r l he bow a r . tick, not a ight ang e to t h i Opposite the right half of the thumb lies the middle t h ﬁnger , not too much curved and res ing on t e stick with its ﬁrst joint indenture . THE MASTE RY or TH E BOW 17

l l The ring finger, comfortab y c ose to it and similarly ur e l es the s k e wee i s and c v d, i on tic b t n t tip first joint indenture or preferably lays itself around the stick with h t e first joint . The little finger following the (individual) bend of these two fingers touches the bow only lightly with the extreme tip . The forefin er well ur e and u the bo g , c v d h gging w, rests e wee the firs and se e on it b t n t cond joint ind ntures. The r the a s ul be l but se ur l g ip of h nd ho d ight c e, re axed but mu le har firm but ll h not too ch ( t gic) , not stifi , a t e l finger joints flexib e .

EXERCISE S FO B GRIPPIN G THE Bow AND LOOSEN IN G THE FIN GER "OIN TS

r l h n 1 . Lea n to p ace t e ﬁngers o e by one as indicated correctly until the task is easily performed with the eyes La w an a closed . y bow do n d t ke it up with the right

a al e al er a el wel e we -four m or h nd on t n t y t v to t nty ti es, release and renew the proper position ofthe fingers on the le l stick whi ho ding it . l the bow an u r s ll Ho d in p ight po ition, point up, a rs la m finge in p ce three inutes . l the bow in a er e ular i nu u all Ho d p p ndic posit on, t p, l m u fingers in p ace three in tes. l the bow a r z al os nut ll Ho d in ho i ont p ition, up, a fingers l r in p ace th ee minutes. h the bow el r z ll the le Lay t e tip of , h d ho i onta y, on ft r and r ll the rs umb forefinger for suppo t o four finge , th relaxe r s er the s al er a el e d , in thei joint ov tick by t n t y b nd DO his m s r ing and stretching them . t any times with ho t r i rests inte ven ng. 18 MASTERY or BO W

Do exercise the bow supported by l the eft hand . Hold the bow with only the thumb and the two middle

ﬁngers and roll their ﬁnger joints with or without support .

Hold the bow with the other ﬁngers and roll joints. CHAPTER II

Psyc ho-physiologic al c onditions underlying the func tion of the bow ar m nerve im pulses impulse associations musc ular developm ent in general and partic ular i n two m axi f r d m usc ular relaxat o ms o stu y .

Before entering on the technic of bowing S om e psycho it seems advisable to touch shortly on the hysiological “ ts - l erl psycho physiologica facts und ying it . In bowing four factors may be at work : The upper

the rearm the wr s and the a or we w s arm , fo , i t h nd if i h to eliminate the wrist as an independent factor we might reas su s u e for as ur a r th with good on b tit t it , fo th f cto , e

ﬁve ﬁngers . All ese a rs ma be e a e s mul a e usl or of th f cto y ng g d i t n o y, m a all ra be one r he er a es t r s . o t oth y, to ppea nc , a e t Each and all of these factors or m embers are set into motion by muscles proceeding from a respective base or centre ; those for the movem ent of the upper arm are found in the shoulder principally ; those working the fore . arm are found to have their base in the elbow; those of the a li ew l and r u mus les is h nd k ise . Each m usc e g o p of c connected by nerves with a particular nerve centre in s me a h The ra m ea s er e o p rt of t e brain . b in by n of n v m ulses or m the er es the i p nerve essages functions on n v , nerves on the muscles and the latter on one or the other part of the arm actuating it to move and the result is

a s r e an a e or a m re rea a e . t ok , cc nt e b th of ton 19 20 THE MASTERY OF THE BOW

a mus ular eff r e we er sl E ch c o t th n, ho v ight , has its r the ra an o igin in b in , d before it can become translated into a bowing movement and sound has gone through the stated urse via er e m ulse er e and m l co n v i p , n v usc e or group of m l usc es. The first difficulty in working the muscular apparatus in bowing consists therefore in giving accurate (precise) er e m ulses a is m ulses w n v i p , th t , i p hich to a nicety not only summon the right m uscle or group of muscles for a ar ular ur e but efine als he ex e l p tic p pos , d o t t nt ( ength and s re the eff r re uire em a t ngth) of o t q d of th to th t purpose . After this the only other difficulty would seem to lie in the greater or lesser inability of the muscles in an untrained state to meet these requirements on the part of the brain m l h m ulse ma be for a l u eau i pu ses . T e i p y o d b tiful tone and owing to som e weak muscle the outcome is a pitiful l h uea . r we r m re ffi u es t e wa . sq k The e are , ho ve , o di c ti in y Physiological research has established the Nerve fact that most of the nerve impulses ac tuat ing our muscles have by frequent repetition e me mixe m e is a e rm e ass a b co d , co posit , that , h v fo d oci s w the resul a s ea e er z one ar tion ith t , th t, in t d of n gi ing p tic ular r n l so the er es desi ed muscle a d unab e to do , n v actuate other muscles not directly concerned in the move m e ma e ma ers w rse for the nt to assist it . And to k tt o , most part these undes ired (assisting) muscles are contrary m ra i the real m eme e ed to , resisting, or ode t ng ov nt int nd ll r and are usua y stronge . Thus ifwe want to use the hand alone we are likely to summon the forearm ; when we want to use one single finger we allow two or three or maybe the whole hand to

22 THE MASTE RY OF THE BOW m les re u re and at w r but th usc q i d o k, e prepondering u e a erse es whi strength of nbidd n, dv on ch militate against m and er or la er aral ze e r eff r the soon t p y th i o ts. s rue er e m l It t , n v I pu ses are and must To establish I c orrec t nerve remam to some degree beyond our c onsol ous ass°°iaﬁ °ns r l i h cont o . Even w t a profound knowledge of the anatomical structure of the arm in an apparatus so complex as that at work in bowing it would be simply im possible to energize at will and at a given m om ent a

um er mus les ar usl and s mul a e usl e n b of c v io y i t n o y ngaged . r l B N or would this be des i ab e . ut what is highly desir able is to establish correct nerve associations and leave it to them to operate on the right muscles or groups of m uscles for a requir ed technical end; and this c an be done even in the case of the aver age student who brings to the task som e intelligence and sufﬁcient patience and per

se era e . G e ese ual es and m h l v nc iv n th q iti ti e, t e actua strengthening and training of the muscles is after that a m ar el r n co p ativ y su e a d easy matter . Amadeo von der Hoya with rare insight ventilate d this question som e years ago in a rem arkable book Die ’ r e ik des l l Grundlagen de T chn Vio inspie s. He advocated in it the schooling of the right arm and left hand by m eans of a series O fingenious exercises preliminary to the study of the instrmnent itself . I do not doubt that under so admirable a guide the right kind of beginner would be l n fitted but ear me l great y be e , I f this thod wou d not find the sam e favor with the average student who is eager to n see results quickly a d is none too patient . I am per sonally no enthusias t on gymnastic exercises as an aid to technic I have more confidence in slow systematic work intelligently done on the instrument itselffrom the very THE MASTERY OF THE BO W 23

l r el m w r and ﬁrst lesson when the desire to ea n w co es o k, untried patience is ready to make sacriﬁces. And in speaking of systematic work intelligently done on the instrument I refer prim arily to the application of l r at the principles of muscu ar elax ion. While until a few years ago m uscular el ar el ear we rea now r axation was sc c y h d of, d a good deal in m usical journals of it but

ll w a la i F r h principa y in connection ith pi no p y ng . o t e

O f he l er few ea ers seem a e study t vio in , v y t ch to h v given

u and s u m u less s s its e n ma e it tho ght t dy, ch in i t on b i g d a foundational feature of instruction and especially of the instruction ofbowing . Occasionally we hear of a well- known pedagogue rec om m e a relaxe arm but a ar r m h s t es a nding d p t f o t i , a b t r lema u the ea h mus ular relaxa p ob tic inj nction , t c ings of c are mu m re a l e a the a s S r tion not ch o pp i d th n in d y of poh , who in his famous Method followed by num erous similar es le u m xe w and er if ul es at a on , pi d p i d bo ing ﬁng d ﬁc ti

reat - a r ai el h r m n mi s his b h t king ate . N v y t e g eat a ad t in preface that he never taught a beginner and would be la to re f And t g d ceive suggestions or future editions. ye it is at the e i w ere a s and bad m e al and b ginn ng h h bit good , nt m uscular are form ed and where relaxatory m ethods should be r u h h b o g t into operation . Once a proper action of t e m us les is es a l s t i l m wr a c t b i hed h ngs se do go ong fterwards. 1 R laxat m a be sa be for the e ion y id to What is i h u m usc ul ir m usc les what sleep s for t e body . D ring f r elaxauon ? lee the rests is ei ur she and S p body , b ng no i d

tr e and w t h l re r ws its was e ssu s ength ned , , i h c i d n , g o ; t d ti es

1 The above is quoted from an article c ontributed t o The M usic ian 24 THE MASTE RY OF THE BOW

are e re ewe the l r l b ing n d, b ood ep enished and the nerves z i h reenergi ed . It s t e armistice exacted by the soul for ’ its afer the a s Arma edon h body t d y gg , t e time for repairs ’ and reﬁts so that the body may be ready for life s battle

on the next day. . D i relaxa a m us le h ur ng tion c , which as been e xerted e its a ural a a or l na i b yond n t c p city inc i tion, rests and s nourished and strengthened by a fresh inﬂow of nerve n l z l energy a d Vita i ing b ood . The greater or more violent and unaccustom ed the previous effort of the muscle has been the greater the need of such energy and

-re w res and the m r l strength ne ing t, ore p o onged it should be us as a er an u usual rea exer the , j t ft n , g t tion of body h ee slee is m re ur e an l if t e n d of p o g nt , d s eep, undist urbed , n l An h x more sound a d ong . d inasmuch as t e e ertion of a mus le resu ses one the er es r ll c p ppo of n v cont o ing it , nd s s usl or u s usl an xert h a thi , con cio y ncon cio y, e ion of t e ll r ll em relaxa e two e r i wi cont o ing th , tion in th se c nt es s, the a e less e es sar a the ul ma on f c of it, not n c y th n in ti tes, l l h mus es emse es . i. e. t e , c th v Taking the smallest unaccustomed m uson

' lar eﬂort a e er l w su of b ginn in vio in bo ing, ch, for s a as rawi he bo h in t nce , d ng t w down at t e middle to the length ofbut a few inches : apart from the m ental strain of observing the various rules for doing so correctly and perhaps a general physical one r m l i ns rume an bo he r a l f o ho d ng the i t nt d w, p ob b y will scar cely be aware of any m uscular effort incum bent the s ro e et the ee a s ause a er w on t k ; y n d of hort p ft it, ith com plete relaxation of the m uscles is nevertheles s m ost

‘ e l u th m l l e l almos es s ntia . Witho t it e usc es invo v d wou d t r l r m re or l alrea ur the inva iab y cont act o ess, if not dy d ing THE MASTE RY or TH E BOW 25

x el h r and s ll m re so the f ur ne t , sur y in t e thi d ti o o th

similar r and s ff ess w ul ll w. st oke, ti n o d fo o A r a w le bow s r e w the l er sus a e fte ho t ok , o ing to ong t in d n h x r u r ere and e ause nervous a d p ysical e ertion eq i ed h , b c more and difierent sets of m uscles are simultaneously r u h a w ll a e ee e b o ght into action, t e p use i h v n d of b ing proportionately longer before the next and a third stroke of the sam e description m ay follow without the risk of n nl muscular contraction a d thence ensuing rigidity . O y as the m uscles involved in the execution of this kind of s r e whi m l es 1 ala the s ear the t ok , ch i p i : ( ) b ncing tick n nut m m us les the a h e by eans of certain c of h nd, c i fly of the little and the third finger ; (2) a drawing for ward of h x l f t u r rm i. e. h r h m us es O h e ppe a , , t e e e tion of t e c t e shoulder and back of the neck ; (3) a partial slow revolving of the forearm in the elbow socket ; (4) a gradual bending the wr s nd el the r s all the of i t, a yi ding in finge joint way r u the s r ke l as the m us les sa e me th o gh t o on y c I id, b co a us me he m lex eff r s ema e em cc to d to t co p o t d nd d of th , s all sl u e be as et the auses ma be phy ic y ight tho gh th y y , p y shortened and finally omitted or better m ade after several su s r es e a a a ause w ll e me e essar ch t ok , wh n g in p i b co n c y u l mu l nti ch faci ity has been attained . It is similar with the first efforts of the fingers of the left hand ; whether considered strictly nervous and l l h m . m u ar r e i e. es t e a e . usc , o nta , , t ting inton tion, tc , eac h exertion should be followed by a corresponding pause with l x h l re a ation of t e musc es. There is one thing to be m entioned : It is Sfifiness felt the m uscles furthest removed from the nerve first in the hand n kes a is h se the centres a d wea t , th t , t o of

nd rs w re m s u l . w hand a finge , hich ti o t q ick y In bo ing 26 TH E MASTE RY OF THE BOW the contraction and stiffening makes itself first and fore most felt in the muscles of the hand holding the bow; and ere a ai er a ers m re a r h g n, in c t in fing o th n othe s, while the her a the re er and um on ot h nd fo fing th b , because stronges t by nature and through exercise in or dinary day l e are r r m re l ne u if , in p opo tion o inc i d to p t this surplus strength into force in the wrong manner and in the wrong l i ff ni r p ace w th disastrous sti e ng esults. The fir st condition then under which muscular relaxa is al e ss l w is as a e s a e e tion on po ib e in bo ing , I h v t t d b fore , s m looseness of the grip O f the hand . Thi ust not be u lifeles s s a e the m us l confo nded with a flabby, t t of c es of he l he bow b t re r s a t fingers ho ding t , u p esent condition similar to that of the body when imply standing erect in opposition to that when collapsing on the one hand or x r doing som e gym nastic e ercises on the othe . Inasmuch as any permission to press and Muscular any attem pt at pressure on the bow on the part of a beginne is invariably followed by his applying the wr ong kind of pressure or to be more precise the right and wr ong muscles or opposing forces simultaneously which creates a state of tension and r l i the bow li l and us raw igidity, ho d ng ght y th d ing it without strain or efi ort across the strings like a light agreeable weight keeps the m uscular apparatus of the a a s a e a will all ralit eas h nd in t t of wh t I c neut y, of y receptivity from which gradually a subtle sense of dis r m a sel m l for er ai c i in tion , of ection of certain usc es c t n e s c an e el l l x h mus les m ea s nd d v op itse f . Re a ation of t e c n therefore a return of the m uscles after exertion into the norm al state of rest in Opposition to a sub- norm al one of m us ular er ee h o arm and a c in tia. By k ping t e b w h nd in THE MASTE RY or TH E BOW 27 this state (muscular neutrality) the student learns not but au e a n r only to feel at once, to g g to nicety a y st ain th mus les and w e e r r to which he puts e c h n , on th i eaching he mus a l the sa e l a state of contraction, t pp y f ty va ve as hin a on r h l r r laxa i . e eas w e it were, e t on I t k th t on y chi d n, if well taught succeed so much better in learning the violin

ha r w -u is al e are eir a s m re t n g o n ps , that not on th h nd o ex le and a le so sa r w the s rume but ﬂ ib b , to y, to g o to in t nt , a e r m us le use wea are uall sub th t th i c s, beca k contin y j ec ted to unconscious relaxation and thus acquire strength and x il t sl wl h le the ase r w -u s ﬂe ib i y o y, w i in c of g o n p , the im patience to get on quickly with enc umbent foro in h m us l h l m f r x g of t e c es beyond t e safe i it o e ertion, j eopardizes relaxation and produces a chr onic state of n rigidity a d incapacity . As to the nature of m uscular relaxation Complete or w is e er m le e the se se arti re in bo ing, it ith co p t (in n p al m m“ l h l ex a e a e i. e. u t m es p in d bov , , witho t e usc

- m al s a l relax a sub r e or ar a . ing into no t t ) , p ti In the beginning of violin instruction complete con scious relaxation is ahnost the only one to practice with safety ; and it is most thoroughly represented by a rest of l er or s r er ura ll w h mus ular eff r ong ho t d tion fo o ing t e c o t , in whi m us ular l i r r s a r ra s es . As e e ch c neut ity to ed t t d b fo e, the rea er ha e r l r l le g t , t t is not n cessa i y p o onged but vio nt , the exer is th l r he ause ul be as for tion e onge t p Sho d , instance in the ﬁrst practice of the martelé strokes at the

or rand martel r th r a em s at la point , g é, o in e fi st tt pt p y in g fast . But as the muscular apparatus becom es more ef e and less eas l l l ra and fici nt i y tired and iab e to cont ction, at the sam e m e h l m e m re su l ti t e bowing sty es beco o bt e, complicated and difficult of execution with increasing 28 TH E MASTERY or THE BOW

ema a u r les d nd on q ick esponsiveness of the weaker musc , the relaxa l u l se l will ma tion, a tho gh not ess es ntia , in ny ases be so m l e re bu re rese a s a e c not co p ete as b fo , t p nt t t which m ay be called the half or partially relaxed state of the m l usc es .

hi h r and mus les In t s state t e ne ves c , Partial while relaxing their momentary greates t tension retain a certain unconscious ready rk u e a s a e e w e r rm al and in wo ing attit d , t t b t een th i no iﬁ n w is le f em res t tens ed o e , in hich it yet possib or th to er h a l rel x m a and gain renewed en gy . T is p rtia a ation y r u u a ause as e re and e a ause be b o ght abo t by p b fo , oft n p but a ra a se as in the of f ction of cond, 0 11 e 16th r hm is suﬁ c ient s ee $ 3?d dott d hyt , to p d a muscle strengthened on its way again ;

' it may also be sﬁec ted through a sudden change from ne mus ular a to a ffere n ss l less o c ctivity di nt o e, po ib y C a e h l for r or a t w es . a ti ing, by h ng in e bo ing sty T king, a e a su ess er r l t the bow inst nc , cc ion of v y fast t ip ets a m le e a e or s a the sufﬁ e l ra e idd , d t ch d picc to , in ci nt y t in d player will likely experience a contrac tion of the muscles the a and r a w1is r ul s m le e of h nd , pe h ps t , es ting oon in co p t rigidity if such triplets are pursued without stopping for e eral m e ur l h l a e fr m the s v as es. But et im sudden y ch ng o r le s sl wer m an l e a e s r es for t ip t to o , s ooth d ong d t ch t ok

l al a n m - l the m us les on y h f bar, a d a se i re axation of c chieﬂy exerted in the execution ofthe triplets will take effe uar i ff h r d and res ct , g d ng o t e thr eatening igi ity ting them after which the form er triplets c an be resumed until h a e muscular contraction again m akes itself felt . T e ch ng s l al the m us ular a ara us of bowing ty e , though it kept c pp t going and even the m ainly involved muscles from being

30 THE MASTE RY OF THE Bow a m uscle has been contracted it must be given a chance to lax res be re- ur s e is n n re , to t, to no i h d if it not a d c o trac is ers s e the m us le re l a tion p i t d in, c vo ts, ppeals ﬁrst to other m uscles (mostly antagonistic ones) for assistance and e a l and a l e ll s i w if th y f i , f i th y wi to peed it on ts ay, es m le l s ffe s and r e it giv up co p te y , ti n efuses to budg further and the wrong muscles only keep up the hopeless ru l st gg e . CHAPTER III

Physical idiosyncras ies and their inﬂuence on the work of the right arm the importance of the right podtion (slant and angle to the body) ofthe violin two reasons for bad bowing the chin rest and pad three funda m ental rules for bowing and some sub-rules the m ove m ents of the arm the func tion and limitations ofthe

han wrist and forearm . d,

It is strange that in the case of beginners 1 1 “ and those desir ous of am eliorating their 2; 32 bowing so little attention is paid to their correc t posi tum °f th e l e h physical idiosyncrasies . On y too oft n t e ’ child with a swan s neck and narrow chest and shoulders exactly as the individual with the opposite ara er s s r n s ul ers is l ch ct i tic , a sho t neck a d broad ho d , to d to use a certain ready-made pad or none and to lay the instrum ent on the collar bone and hold it in a horizontal s l etc . h l m po ition, a thoug in the former case the vio in ay pop up and down like a shaken reed for want of a proper support and in the latter m ay nearly choke the unfortu a e s r - e e m i n t ho t n ck d victi , not to speak ofhaphazard n j unctions with respect to the slant and angle of the in s rume the w i ar t nt to body, h ch e so largely determined by the width of chest and shoulders and ofenormous inﬂu e e the w rk th nc on o of e bow arm . To restrict myself to things directly bearing on my subj ect I would advise the would-be-seeker after better bowing that before doing one stroke on the violin he should m ake absolutely sure of the correct position not only of 31 32 THE MASTERY OF THE BO W

the s rume er se but his in t nt, p , of body as well . Every initial fault here or every subsequent wrong movement

FI G . 8 . Correc t slant and position of the violin and bow while la in on the E strin at mi le of p y g g, dd bow.

the r arm m re or less an immediate effect on ight , o

m arring its efficiency . THE MAS TERY or THE BOW 33

ad ere re and s ll The choice of a p , th fo , ti The choic e m re ha a hi res s ul be a ser us o t t of c n t, ho d io of a pad h l er the e the c onsideration . T e ong n ck

r the ad one m sa for e eral ui a thicke p , ight y g n g d nce , l Th but this is scarce y enough . e pad should also sui t the structural peculiarities of the chest and shoulder so

FI G . 9 . Same as Illustration 8 with bow on the strin G g. that together with a suitable chin rest it causes the violin to lie securely in a horizontal posi The right and a all h x lant a s ant of the tion bove , at t e e act s t l Via“ which the bow can best operate on all the h h l r ur s r s i. e. t e G w u t e e w e a se fo t ing , , on itho t bo b ing i d h s r n a the bo es s a too high, on t e E t i g so th t w do not t nd u r r l c an e b s r but l es p ight o near y so as oft n e ob e ved, i 34 TH E MASTE RY OF TH E BOW

For the bow s a earl u r Th e effect of to t nd n y p ight in too great a playing on the E stu ng by reason of an slant incorrect (too great) slant of the violin is a mistake of the gravest consequence for all later bowing work ; it is nearly always productive of bad tone produc ul add is e a the uest tion . I wo d in th conn ction th t q ion of a chin rest is also far too lightly treated by the gener Alm n k i s ality of students. ost a y ind s upposed to an

wer e real t earl all the a e e hi res s s , wh n in i y n y p t nt d c n t in the m arket to- day are abnorm alities and m any directly hi l bad and inj urious. We see c n rests that bu ge out

u er e u a u e ear - l e ro j st wh e th y o ght not to , in h g p ik p tuberanc e and others with no place for the chin to rest on l The r e the hi res ve e comfortab y . p ototyp of c n t in nt d or i r u e u s S r was as one c an nt od c d by Lo i poh , The m m - he rs e hi l e see in t ﬁ t dition of s Vio in M thod, a sm all plate- shaped device placed direc tly

r h ail e e w h l the s r s the s ove t e t pi c hich o d t ing , not to ide hi — Th l of it as the c n rests are to day . e chin rest p aced thus as directed by Spohr will alm ost invariably give the l h r f h right s ant in t e di ection O t e E string . With our present day rests one c an attain the nearest approach to

h s the rre s he r th t i , co ct po ition of t chin with espe ct to e violin when one places the chin on the side of the chin res eares the a l e e and the a l e e sel w le t n t t i pi c , on t i pi c it f, hi the jaw of the player grips ﬁrmly the rem aining portion h of t e chin rest .

ewl e se s ul er r dis ar e es s etc . are es N y d vi d ho d t , , b t c d d as e m a e the la er e e m u h s a th y k p y d p nd too ch on t i , m echanical assistance in holding the violin horizontally

s ea the m re s ree but alwa s rea a ural in t d of o di c t y dy, n t one of additional tim ely pressure of the chin and perhaps a THE MASTE RY OF THE BO W 35

slight raising of the shoulder which is also quite sufﬁcient for all demands ofshifting and gliding the hand up and For the ra e a and l down the ﬁnger board . t in d h nd supp e thumb such support is amme ; for the untrained hand l me a al e e w ll a l mu even the c umsy ch nic d vic i not vai ch . Another matter of almost equal import ance among the preliminary conditions for i s e a e the a le good bow ng is, as tat d bov , ng at which the instrument lies with respect to the chest of

r Far r m e the su e a r the playe . f o b ing bj ct of ha d and fast rule applicable in all cases this position of the violin e he one a the w h h is determin d , on t h nd by idth of t e s oul n es and the er the le th ders a d ch t on oth by ngth of e arm . An individual with a short arm should beware of placing the violin too far to the left lest the bow will not reach the point and get into the way of sliding offthe string in the direction of the ﬁnger board ; a person endowed with a long arm should be still more careful not to bring the l m u he r a is fr h vio in too ch to t ight, th t , in ont of t e chest as by so doing all freedom of the bow arm is severely r handicapped if indeed not j eopa dized . In such cases one c an often observe that the player is obliged to bend and twist his wrist out ofall proportion in the attempt of kee the bow at the r a le w the r e e ping ight ng ith b idg , spe c iall the s r w e us the l wer al y on E t ing h n ing o h f, and the tone extracted as a rule about equals the painful visible effe wris an arm r ct of these t d conto tions. r e e a the s of he P ovid d th n, th t po ition t Fundam c ntal Instrum ent and the grip of the bow are In rules every detail what they should be and the bow arm c an e its w r ere are ree rinc i l b gin o k, th th p pa undamental r ules e the eo his rs ff f to guid n phyte in ﬁ t e orts. 36 THE MASTE RY O F TH E BOW

They are : Th 1 . e bow m ust be drawn under all cir cumstances in a. arallel l h r p ine with t e b idge .

2 . la w h the e e the bow a r h P y it dg of h i , t e stick itself be sl l ur e war s the sa le and box ing ight y t n d to d dd peg .

me as Illustration n t E FIG . 10 . Sa 8 with bow o he

strin at u g, the n t .

st t l l hi 3. Each ring cons itutes a eve or plane in w ch the bow m es e erm he s of he arm for ov , d t ining t po ition t each string in relation to the body; in other words the upper arm w rearm wr s and a ll w um ith fo , i t h nd fo o ing, ass es a

38 THE MASTE RY OF THE BOW

ese r al rule To th p incip s, supposed to be ru e an w e er e er s all l s d kno n by v y b ginn , I h add the ” M aca w“ following sub-rules and modiﬁcations which ma be so well w but whi y not kno n ch, I think bear vitally ’ the su ess the s u e s u ure ff on cc of t d nt f t e orts.

n th A r 1 2 . F u t n f t hile lay in o e st in FI G . a ositio o t wris w l y p he p g g, h nut Th n do n t th result that t e at t e . e wrist ha g w wi h e h n n h i k h fin ers have altere t heir c orrec t ositio o t e st c i. e . t e g d p , , thum st an s at a ri ht an e the stic k has sli e into the first b d g gl , pp d inden ure ofth orefin er and the litt e fin er overla s t e . f g , l g p

l r l h m s c onven hi e st ser t e rre i. e . W ict y ob ving co ct , , o t m r a l le l for h l arm ea s r isnt (co fo t b e) , ve t e who e on ch t ing, keep nevertheless especially when employing the upper bow al the el w relat el low at is rather a li le h f, bo iv y th , tt l wer or ear r he ha th wr s wh w the o n e t body t n e i t ich , ith

l b r a l s ll re u e a u e r e . w h nd , sho d p opo tion t y high Thi i d c all necessary rapid movements of the heavier upper arm TH E MASTERY OF TH E BOW 39 to and from the body in assuming different string levels to an easy minim um without im pairing the freedom and strength of the forearm and wrist with the hand and it will m oreover promote suppleness of the wrist for all v s the bow r ss the s r D m em e . n t o nt of in c o ing t ing o o ,

we er l the el w at an m e es e all la ho v , ho d bo y ti , p ci y in p ying on the E string lower than convenient or so low that it

am ers the ree m eme the w le arm leas so h p f ov nt of ho , t l when p aying with any continuity at the heel of the bow . Let freedom combined with gracefulness of outline be here e r r as ve ywhere in bowing the guiding principle and c iterion . And se l la he e e the a r but cond y, p y with t dg of h i , modify the amount of hair touching the string according h h l the ex rem e nut to t e part of t e bow emp oyed . At t change bow with as little hair as is compatible with a comfortable (not too much bent out) position of the wr s and w e ual rease m er e l the i t ith ton q ity, inc i p c ptib y amount of hair towards the middle and beyond so that at the the air lies s m ew a m re a l r a l point h o h t o fl t y, (b o d y) on the string while the stick is still (only a little less) turned war s the sa l to d dd e . The reason for this modification of the Reasons for un am e al ul 2 hes In he a a h f d nt R e , t f ct th t t e modifications natur al bow weight varies at the diffc rent parts of the stick and has an appreciable effect on the tone h h h produced . By varying t e amount of hair touc ing t e string according to the lighter or heavier bow weight this inequality of tone is to som e extent neutralized ; besides a change of bow at the nut with the hair turned well e e- w se m a s for l n u l a dg i ke de icacy of touch a d ina dibi ity, great consideration when the aim is artistic finish and eau the a r a e a the b ty of tone . At point b o d r cont ct of 40 THE MASTERY OF TH E BOW hair with the string is a distinct advantage in as much ” all ws the re er see e r as it o fo fing ( Ton P oduction, Chapter V) to exercise any pressure required of it almost directly downward (perpendicularly) while with the hair edge wise su ressure w ul a e me m re s ew se ch p o d , h v to co o id i n be r r less re and eff a d in p opo tion di ct ective . Moreover it would in this circumstance force the elbow to protrude as against the wrist and hand which is to be avoided as l m uch as possib e . A r ru el w is rarel p ot ding bo y justified . It m “ is r u e ma aul s w gla p od ctiv of ny f t in bo ing; a stifi wrist and bad tone production (a forced re m s cases ra ea le l tone) a in o t t c b to it, a though there are c ertain bowing styles which seem easier of execution with he el w el and a few l t bo h d high not , most y short arm la ers u e ia l ma a e well w us p y , nd n b y n g to do ith it th . With these rules and sub- rules in operation the move m ent of the arm in a down or upstroke will be approxi ma el as ll ws : ar at the bow eel sa t y fo o St ting h , y on the s r the u er arm is raw rwar us h A t ing, pp d n fo d j t enoug to erm s s ar at the nut w u the a r p it thi t t itho t h nd ( ounded , h ll l l r its s h s e ike) , a te ing po ition on t e stick, that is the l h um e h ang e of t e th b to it b ing changed . T e wrist is e out but m re so a e essar rm ul b nt , not o th n n c y to fo a gracef curve with the hand and forearm or a rounded continua h m an l t re r a e . h tion of e fo a , not ng T e upper arm to the elbow lies about on the sam e plane level as the bow on h A r or us a r e l wer a i r h t e st ing j t t ifl o , th t s, nea er t e body.

(See reasons above . ) As the bow is being drawn down at a right angle with e r e the u er arm ra uall ulls tsel a at the th b idg pp g d y p i f b ck , m m he e the wr s m l sa e ti e t b nd of i t beco es ess pronounced . THE MA STE RY OF TH E now 41

On reaching the bow middle the upper arm ceases moving backward ; it rem ains hanging down from the shoulder w le the r arm ues th s r e th hi fo e contin e t ok to e point .

Dur th w le s r e h n r ing e ho t ok wrist , and a d finge joints continually accommodate themselves by mOre or less bending and stretching to the varying positions of the rest of the arm so that the bow m ay be kept parallel with the bridge and at the same distance from the bridge and l h r r e w . ee r u t exi finge boa d . (See b o ) Ind d th o gh e fl bility of the finger j oints the grip of the bow hand changes almost hr th whole stroke h imperceptibly t oughout e . If t e arm is r h el s re and e i th sho t t e yi ding, t tching b nd ng of e wrist and hand will be less pronounced than in the opposite case ; on the other hand the upper arm will be found to be drawn further forward in playing at the lower bow l n m v r r ha fa d ore acti e in p opo tion . Altogether in either case the work for the arm with the l wer al is m re s re u us and m li a e l o h f o t n o co p c t d , invo ving as it does not only the c oO peration of the heaviest part ofthe arm but also compelling the wrist and hand to an attitude which cannot be called favorable on the score h h l ess and a ili . u t e art O f w ma of ig tn g ty M ch in bo ing y, ere re be sa aim at t e eel th fo , id to giving to h h part of the bow the lightness and agility of the point and to the s re a ural the eel r point the t ngth n t to h pa t . be m e e is a la a h Yet to ntion d , th t in p ying t t e point the a l le war u le h wrist may bend itt in d, n ss t e arm be very

u a low s O f the wr s is r r l long . S ch po ition i t p efe ab e to an er a m a su es sel for a as y oth th t y gg t it f voiding it , it brings about a corresponding relatively low position of the elbow and favors a direct downward action of the h m r r r e s . a e e rem ar fo eﬁnge on to t tick (Co p abov ks . ) 42 TH E MASTE RY OF TH E BOW

From the foregoing rem arks it will be Th e func tion of th e upper clear that the function of the upper arm is l i m n mite two m t s v z . a d i d to o ion , , oving to from the body to enable the bow to assum e the different

r l ls and m i rwar and a h m st ing eve , ov ng fo d b ck in t e e h l r l lt h m ploym ent of t e owe bow ha f . A hough t e uscular apparatus controlling these two movem ents is very c om plex and the sinews of strength and endurance of the whole

rm lie ere the m em e s em sel es are s r i a h , ov nt th v di c eet n t e r ex e es e all the a -and- rwar one an h i t nt , p ci y b ck fo d ; d ar l l le i ar comp ative y itt s app ent . Much more varied and in evidence are Operations of h h t e o erations t e orearm . ee the p of f Ind d , the forearm m ajority of all bow movem ents proceed m h el w l se the rea fro t e bow do n, not on y tho of fo rm b h ll A m b s l ut se t e a as we . s e e e it e f, tho of h nd ntion d D S ause seem s a ee the rs o fore r . teinh n to h ve b n ﬁ t t

r a e h h s l al a s the d aw tt ntion to t e p y io ogic fact th t, ince natural movem ents of the joints in their sockets are r lar r r raw the bow a arallel l e ci cu , in o de to d in p in

h r e the rearm m us es r e a r a r with t e b idg , fo t d c ib ot to y motion in the elbow joint which is consumm ated in the hand . Anybody who pulls up his shirt sleeve and Dr . Stein ’ hausen s watches the work of the forearm and that disc overy of the m uscles connecting the elbow joint h ll r He w ll with that of the and wi find this ve ified . i f r w and u s r e w e er l notice that o every do n p t ok , h th ong or s r a e a a or s a the wr s and ho t, det ch , st cc to picc to not i t a he rs la e but the rearm is res s le h nd in t fi t p c fo pon ib , h m e ause a ra ual or ast t e bow move ent b ing c d by g d f , emphatic or less em phatic turning of the forearm in the TH E MASTERY OF TH E BOW 43 elbow joint and a corresponding action of certain m uscles h centered there and operating t e hand .

The rearm e while su ser e fo th n b vi nt to , The most and for strength largely dependent on the potent fac tor m b°wmg r arm i its urn he m aster the uppe , s in t t of hand and through it a most potent factor in the art of ll l I i r u m e . bowing . ts activity s p actica y n i it d It not

l r l le an s re h ever s r e on y cont o s the ngth d t ngt of y t ok , adds Where the possibilities O f hand- motion end and aids wher th s re wr s a and ers r es e e t ngth of i t , h nd ﬁng p ov uffi e but its w r is as su le as is ar e ins ci nt, o king bt it v i d, whether it has to do with a rapid transition of strings or giving the bow hand pose and stability in holding out a tone pianissimo . As the hand a er ul ontriv to , th t wond f c a e a ure is e i the re nc of n t , it connect d w th fo arm by a strong elas tic band O ftendons and m uscles fortifying and enabling it to bend itself in every

r h t r a ls di ection t e wris . Much misapprehension p ev i even among expert violinists with regard to the part the l r st wrist p ays in the general schem e O f bowing . W i a a s as he m a b all who a v a e the l se f n tic t y y e c ed , d oc t oo n in the wr s l ree l se ess lea g of i t to the ast deg of oo n , ving her ar ts the arm w a a e e me ewer e the ot p of e k, h v b co f Sinc ascendancy of the m odern French and Franco- Belgian l u ll a m es als Schoo b t they are sti among us . M ny ti o when the wrist is spoken of undoubtedly the hand is m ea as for s a e the ase r s r es e nt , , in t nc , in c of Sho t t ok don by the hand from a loose wrist ; these are wrongly called wr r ll h e nl a ist st okes. At a events t e wrist b ing o y con nec tin l a r e an rm ar e wee the re g ink , b idg , inte edi y b t n fo arm and the a its use e s and is e erm e h nd , d pend on d t in d 44 THE MASTE RY OF THE BOW by both and is an independent factor only in so far as it m ay be able to transmit the dictates ofthe will through h rearm the a and vice versa or fa l t e fo to h nd i to do so. In this ability or inability lies nevertheless its great im a e for he eﬁ cient w r the w le arm port nc t o k of ho , and no violinist c an afford to neglect developing his wrist to the u m s e ree su le ess ex l and elas s re t o t d g of pp n , ﬂ ibi ity tic t ngth , be it on somewhat different lines and for different ends rm rl mu the a e e e than was fo e y ch cc pt d id a. There are two directions in bowing in vem ‘ w the a r u the s rum e al xgdh fcgog hich h nd th o gh in t nt ity of the wrist is requir ed to move with re

to and e t w the f rearm iz s v . s pect in conn c ion ith o , , ide

se a is sem - er all or th wi , th t i v tic y in e direction (between the horizontal and perpendicular) of the bow stroke on ea s r and er e d ularl or a r x m l ch t ing, p p n ic y pp o i ate y so when the bow is to cross from one string to another by hand m ovement alone or thr ough the hand in connection with h rearm A l e l r l t e fo . pure y sid way ( ate a ) m ovem ent on the development of which formerly so much efiort was s en l uts e the ex e es w as Dr p t , ying o id ig nci of bo ing . Stein ’ ause s s er es a e r e the u l l h n di cov i h v p ov d, f ti ity of oosening h wr s a d re ee s mm t e i t in th t i ction n d no co ent . With the wrist in an undeveloped state the hand is either unable or disinclined to move in the two direc tions re uire es e all the sem - er al on h ase q d , p ci y i v tic e in whic c the wr s is alle s ff or is l se flabb f wea i t c d ti ; it too oo , y; k nd r f h a the eby unfit or t e demands m ade upon it in bowing . While it is true that the characteristic w se m the a e ause er side i otion of h nd , b c v y rarely em ployed in the ordinary daily fun0 ns h is e un d f ul h l n tio of t e arm , oft n fo d i fic t, t e fee i g of

46 TH E MASTE RY OF TH E BOW and stretch the hand outward and upward towards the thum b side of t he hand .

ese six is art c ularl the m l in r u I Of th , it p i y usc es G o ps I n as r m m us les th l a d III , ide f o c of e ﬁngers them se ves

h c h an u is l e st a e a a t er ere w t w i , in nd cip in d t , re p to int f i h

ac her act rar and am r h e h ot , cont y to h pe t e intended m ovem ent of the hand and thereby cause what is felt as f h stiffness O t e wrist .

la ess or rea l se ess h he F bbin too g t oo n of t e wrist , on t

r a m a be sa be a m e al ell s al othe h nd, y id to nt as w as a phy ic di a s a e le har c er es and m us les c on tion , t t of t gi n v of c r r z a u a re effe requi ing ene gi ing, toning p, st ngthening to ct a closer knitting together and combined action of the hand with the forearm . CHAPTER IV

The uselessness of half m easures in c orrec ting a faulty b ow arm the nec essity ofbegiml ing at the beginning t he hand stroke the bow m ovem ent brought under the c ontrol of the will eliminating the partic ipation of the forearm the fourfold purpose and beneﬁt ofhand-stroke exerc ises the lengthened hand stroke (forearm stroke) t he half and whole bow stroke the inaudible change of how will c ontrol over extent (length) or bow m ovem ent bow ivision a thir kind ofcontrol the i ht touc h d d , l g what Tartini m eant by the right start of a stroke like ’ i n - du i n the painter s brush phys c al process ofto e pro ct o .

The student earnestly desirous of improv To c orrec t a ing his bowing should ﬁrst study his own faulty bow c ase see the l the remar s m a e , to it in ight of k d in the preceding chapters on the physiology of the bow nd a dis ere his art ul r s rt a rm etc . a , on h ving cov d p ic a ho m h c m s w r to rre em . s ea a e o ing , o k co ct th By thi I n th t s hould try to detach him self as much as possible from his h ert li - la sel r e w a he ws or ith o vio n p ying f, fo g t h t kno t hinks he knows and begin correction where it ought to h n be at t e e . gin , b gin ing A long experience teaches that corrective half m easures l r b i in bowing are use ess . An acqui ed ad habit s an e nemy which it is almost im possible to dislodge from its

r l m e al and m us ular e re e as were s t ongho d , nt c , nt nch d, it , n l behind a thousand and o e hidden obstac es. It is of no avail to conc entrate on the practice of one bowing style in whic h the student m ay ﬁnd him self 47 48 THE MASTERY on THE BOW

e e so l as all the s um e or d ﬁci nt ong condition inc b nt on, most favorable for the right and easy execution of this l li l bowing sty e have not been estab shed . Count ess hours will be wasted in the endeavor and more than wasted if m easured by the discouragem ent which is sure to follow such futile efforts. Pupils c an hardly be expected to possess the sear ching critical faculty towards their own work which forms the

a a e the r e ar s he ma e er l r for app n g of ip ti t, y n v the ess st ive i it in trying to discover what s wrong in his particular case . And the first step to this is to start from The first step h the beginning. Passing over what as been li l l h r r h x ea wi t s a . e p cit y d t th in e fi t ch pte s, i e. t e position l h l he v t e r t bow etc . as s e e of t io in, h g ip of e , , indi p nsib rel mi ar es w be innin m ea w r p i n i to good bo ing, by g g I n , o k the e s r s we er w he wh le bow on op n t ing not , ho v , ith t o s r e but l a sm all r one w eel as were t ok on y po tion of it, h it m li a e m a hi l h t er am e hand troke. of he co p c t d c n y, n y t e s Next to a wrong grip of the bow an imperfect use of the hand is responsible for most of the prevailing incapacities

The s u e ere re s ul r ll l ar in bowing . t d nt th fo ho d befo e a e n the right functioning of the hand by bringing its move m e s u er the r l the w ll e e e an nt nd cont o of i , ind p nd nt of y h x h n of t e forearm (e cept t e rotatory o e in the elbow joint) .

se s ar w h or D s r Choo , to t t ith, t e G t ing H and stroke e ause the bow l h r z all or earl exerc ises b c ying o i ont y, n y so its a ural we n the a , n t ight a d that of h nd c an be more fully and advantageously utilized than when h l lan h n t e bow ies on a s t as on t e A a d E strings. H old the bow lightly in the hand (with all ﬁve ﬁngers) n r l h and place it a inch o two be ow its middle on t e string, i s a l we l we hi h t n tura ight on y ig ng on t e latter . THE MASTERY on THE BOW 49

ll wer th a Concentrate your wi po on e h nd, a t” " more especially on the ring finger side of it gff:fi (the little finger gently touching the bow h the see a er . us or ra er r e t t e with tip , Ch pt I) P h th p oj c hand forward by an ac t of the will (as though detaching it from the rest of the arm ) as far as it will go without con sciously helping with the forearm and without appreciably h h h l . h r e r t e a i e. t e s a te ing t g ip of h nd , , po ition of t e fingers on the stick except for a slight yielding and bend in r u i o the er s e u assis th g ( o nd ng) f fing joint , no gh to t e hand in this short upbow motion which with untrained x l an wrist need not e ceed ha f inch in the beginning. Th m m we w ll all w e hause a e ove ent , i c it ith St in n h h l be u e b l t e a s u ut s w . supination of h nd , o d q i t not too o

r l all ressure we er sli th r St ict y avoid p , ho v ght , of e fo e

ﬁnger . After a pause of a m oment during which the muscles ffe h s r e rema e er ze relax m n l e cting t e t ok in n gi d , the a d et the ha w the bow as u s l or i o nd ith , tho gh of it e f ts wn i we re ur ts rmer s . ight , t n to fo po ition A relaxatory rest of at least the length of m ma the preceding stroke should follow before the ga a m r e x r sam e h nd otion is epeat d as in e e cise I . Repeat this exercise from 8 to 10 tim es on each string with le th a al s l ff short rests intervening. Whi e ctu phy ica e ort of the muscles is almost nil the nervous one of actuating

m (relax) (energize) (relax) (energize) 50 THE MASTERY or THE BOW them to this effort (energizing them) will nevertheless be ’ felt fatiguing in proportion as the pupil s mind has been m s unaccusto ed to giving di tinct, conscious nerve impulses and his muscles are unaccustomed to being acted upon h ill directly by t e w . la the E s r ma m e t a h In p ying on t ing, I y n ion th t t e grip of the bow should be j ust an idea fir m er than before to guard against any possibility of the latter slipping through th er e fing s . After this exercise has been practiced at the bow middle it m ay be done at the cente r of gravity (a few es el w the mi le and su se ue l at th n inch b o dd ) b q nt y e ut . ere the bow we w ll m a e sel m re el H ight i k it f o f t , together with that of the hand (kept relaxed) and the tone will be s m ew a l u er w at s s a e is s o h t o d hich thi t g of no con equence . the sam e m e the r er s e the a At ti ing fing id of h nd , espe c iall the li le er w le exe ut the su in y tt fing , hi c ing p atory movem ent is called upon to balance the top heavy stick h r l x and is t ereby more seve e y ta ed . The grip of the fingers m ust not undergo a change ex e a the w le a is a l le m re r u e l c pt th t ho h nd itt o o nd d, whi e h i ll l a All t e wrist s kept we e ev ted . pressure especially h r er ul be are ull a of t e fo efing sho d c f y voided . Subsequently the sam e kind of hand-stroke exercises m a be ra e at the u er al the bow u l y p ctic d pp h f of nti , by h x m i r ress e s a es t e e re e s rea e . ere p og iv t g , t point ch d H , owing to the elongated portion of the hand on the bow and the stretched one of the arm which hamper an easy e e e m em e the a r m the wr s a ind p nd nt ov nt of h nd f o i t , discreet (unconscious) aid of the forearm for even very short strokes need not be avoided ; also the little finger m a ll we sl off the s ra er a a y be a o d to ip tick, th th n th t, by THE MASTERY or THE Bow 51

ke s ul rea being pt on, it ho d c te stiffness or be the cause of a ra le si th l an unf vo b high po tion of e e bow. The slight supinatory movement ofthe hand (near the point) for the upstroke is quite sufficiently carried on by the ring finger alone and still more perfectly ifits neighbor nd ass sta the l le er ha s l sel i a i nt , itt fing , ng oo y by ts side . The benefit to be derived from these ex Benefits ercises elem e ar u e seem is a , nt y tho gh th y , derived fourfold one : e uce rre ss a e r m 1 . Th y ind co ct di oci t d ne ve i pulses and mus ular a u er the d re r l the ll c ction nd i ct cont o of wi . r u e the s u e he has 2 . They int od c t d nt, if not practiced e re the r les mus ular l it b fo , to p incip of c re axation . u em he lear s m e the a in n 3 . Thro gh th n to ov h nd depe dent of the rest of the arm and thereby acquires

l u l a e bo . a faci e , ina dib e ch ng of w a the s u e the bow we 4 . They te ch t d nt ight conditions and possibilities thr ough the whole length of the s r e w he is la er u il ze and e e t ok hich t to t i , th y b get w s an u s us su le se se u a ith thi ncon cio bt n of to ch, eel for and a us i th a f ing , dj t ng of, e h nd and ﬁngers to w a will all th m s l , h t I c e o t favorab y responding s o ea s r the la h p t on ch t ing, p ce where t e string vibrates most easily and agreeably to any m oder ate m l rawi eff r h i th ( i d) d ng o t of t e bow. It s e place we might term it the right stroke- bed on he r ff re l f t st ing, di e nt on each string and a so di fer ent on different inst ruments where the student should accustom himself to draw his bow for all work under normal conditions ofspeed and pres sure the la e w ere the f h s r , p c h vibrations o t e t ing w ll u r n r u a e i , nde thos e conditio s , p od ce ton TH E MASTE RY O F THE BO W

ual w n zz h q ity bet een p a d f m e o forte . On t e G and A string the right favorable stroke bed will be un e erall s e k t a u h fo d, g n y p a ing, a bo t t e middle between the bridge and ﬁnger boar d ; on the D a l l h l E h r e earer t e a er the earer t e e . itt n tt , on n b idg As a next step in the direction of c orr ec Lengthened ve exer ses the s r es sh ul be le strokes ti ci t ok o d ngth n - ir h l e e o e t e bow e . n d to , th d of ngth Beginning again at the middle with the upstroke the student will now give a nerve im pulse to move the fore arm r m the el w a are h we er hat the f o bo joint , t king c o v t a re a s e er res e the rm er a u e a is h nd t in in v y p ct fo ttit d , th t , holds the bow lightly (foreﬁnger passive) and pushes or proj ects each upstroke with a light supination of its ring

ﬁnger side and loose change of bow before it is drawn bac k . The speed of the bow movement rem ains the same but because of the strokes being longer a slower tempo must be All i l a e . as s m e relaxation t k n h te to be avoided . Co p et of the m uscles this tim e sets in only after the down

‘ stroke but the m uscular effort is felt more distinctly in the r For h i f upst oke . in t e down stroke what there s of e fort is ee e m re the a ure a m e tal s ra the m n d d o in n t of n t in, ind

uar the re le and ual the s r e . g ding di ction , ngth q ity of t ok

ex the al bow s r e s ul be rac Change of N t h f t ok ho d p 0 0 bow at the tl c ed in the sam e m anner but 111 this rhyth “ St mical form :

Ex . 2 .

The change of bow at the nut requires special attention

ll r and a e te e e ea . p ti nt, in ig nt nd vo

54 THE MASTERY on THE BOW

ea s all the rm uar er A b t ) , fin y in fo of q t notes fter eac h rou ree or ur s r es a s r relaxat r a g p of th fo t ok ho t , o y p use should be m ade to prevent any possible tendency on the ar the m us les the fin ers or wr s n Th p t of c of g i t to stifie . e student should also accustom himself at once to dividing the bow length equally according to the num Dividing the bow en th ber beats the s r e r r l g of to t ok , in othe wo ds, ”a ny if he counts 4 beats to the whole bow length each beat should receive one-q uarter of the bow ; in

- m e one r etc . ti , thi d, s is the ﬁr s ste war s m as er h h Thi t p to d t y of t e stick . T e natural and common tendency of drawing the bow faster at the beginning of every stroke m ust be combatted from h t e start . Perfect evenness of the stroke should be Amplitude the aim of the student as soon as he has h l r As tone ualit passed t e e em enta y stage . q y h li de ends as e r m er a us al on t e vio n p , id f o oth co tic con

s era s su as the um er er es r u e id tion , ch n b of ov ton p od c d , on ’ h am litude the s r vibrations ha is the e ree t e p of t ings , t t , d g of h r is ma e vibrate and s force with which t e st ing d to , thi h r r s e and ressure the bow again on (t e p opo tion of) pe d p of , i ho r is r u a are ul s it s obvious w necessa y it , th o gh c f divi ion h l r the um er ea s of t e bow ength acco ding to n b of b t , to

regulate and equalize the speed of the bow movement . On such established speed -basis the other tone-quality rm ni a r r sure or we c an e be m re dete i ng f cto , p es ight th n o l readi y ascertained and adj usted . l l wei ht w ll under a con On y equa bow g i , Bow weight tinued e ual ratio o s eed sure evenness and tone q f p , in of a e alrea m e e a the tone . I h v dy ntion d th t bow weight varies at different parts of the stick and with

it the pressure conditions. THE MASTERY or THE BOW 55

At the nut the natural weight of the bow more than suf es r u e at a m era e s ee a ull mezzo orte fic to p od c , od t p d , f f , h m s es ra le e s a a h l i. e . t e e t t e mi e r , o t d i b ton h d ; dd thi d and increasingly towards the point this natural weight has l m e ar r s to be supp e nted by v ying p es ure . With this general principle in mind and the bow- speed u er r l the s u e s ul r m the r r hi nd cont o , t d nt ho d f o fi st t ain s ear to discover any unevenness of tone resulting from the r bo and r am el va ying w weight t y to iorate it . The re fining process ofthe aural sense in most cases reacts on that of touch with the result that in a comparatively short tim e the hand as a whole and the fingers individually (forefinger especially) autom atically adj ust their action on the bow whether for pressure or moderating such pressure to the ever- varying conditions which the differ ent parts of the stick and the speed of the bow movement m f r r n i pose or eve y st ing a d tone . Until this end has been attained the best m echanical means towards it is for the pupil to see from the first that he alwa s draws his bow r m the nut to the xtr y , f o e eme point ,

ll th m a ra le r - w a a e e s s e bed i. e. at in h t I c d o t f vo b t ok , , a certain distance see a e rom the brid e ea r ( bov ) f g on ch st ing. It is surprising how seldom this unfailing sim ple and easily ’ followed device is brought to the student s notice and how l i rare y it s observed . After the use of the hand stroke alone Further bow and e wi the rearm has in conn ction th fo divisions been learned and it has been employed on

h l n l r ar us rh hm s the stu w o e a d ha f bow st okes in v io yt , dent should concern himself with a further division of the

bow l hi i a ma ter m r a e . mea s ength . T s s t of i po t nc It n nothing less than learning to calculate to a nicety and 56 THE MASTERY on THE BOW bring under the control of the will any stroke length and the extent and power of the m uscular efforts involved in m l er w r s m ea a e p oying it . In oth o d it ns that t a precise m m e t a r the le th the s r e the r o n , cco ding to ng of t ok , p ona tory motion of the hand is m ade to change for the supi natory one with a corresponding effect on the attitude of the m us les r lli e er or a a a r c cont o ng ith , th t t p ecise moment the u er arm e ers era ea m pp nt into op tion , c ses to ove and i resumes ts a et c . ctivity, What has hitherto been done by the student in this re n nl r ar a l di ction c a o y be eg ded s a beginning . Rare y a pupil determines beforehand the exact am ount of bow H l v be use for a er a end. e ea es s a to d c t in thi to ch nce . But chance is never to be depended upon in an art so m l x co p e as bowing . Corrective exercises then should tend to establish an

n a l au ma all -w rk se se or mus ula l u f i ing, to tic y o ing n c r fee

f r and r l r : rs l w a ing o cont o ove ﬁ t y, h t constitutes a half ow l wer u er and m le al se l er b , o , pp idd h f ; cond y, ov what

one- r the bow at the nut m l c onstitutes thi d of , idd e and

an r l and w a s u es on - point d thi d y, h t con tit t e four th and es ar us le less of bow length . Th e v io ngths should be practiced by themselves (as in the example below) and in combination with cantabile whole bow strokes and l t . s urs, e c The one-third length is of particular signiﬁcance as it is employed for the smooth detache at moderate speed ee ex a er e the r am u bow w (s n t ch pt ) , b ing ight o nt of hich u a em o sure rea w u at s ch t p , to in b dth itho t being un l n w war alls for a ree h wie dy a d a k d , c f use of t e forearm l as against that of the hand a one .

n - th bow le all for an x O e fourth of e ngth , c ing e t ended THE MASTE RY or THE BOW 57 hand stroke or interm ediary between hand and forearm

r e le s sel es the exe u r le s t m o st ok , nd it f b t to c tion of t ip t a d s ee and e a he and t er w r for w c c rate p d d t c o h o k hi h , on

s ee or er reas s the us one - ir account of p d oth on , e of th d ow w ul be mu sl w ea or lums of the b o d too ch (too o , h vy c y) , a s r es sufﬁ e l r a and that of h nd t ok not ci nt ( acking b e dth) . This correct feeling for lesser amounts than half bows is best acquired through the practice of martelé and modi r s see a er VII so ha ex r s ﬁed staccato st oke ( Ch pt ) , t t e ci es done in this connection may be considered as anticipatory n l of these bowi g sty es. More on the subj ect is also contained in the next chap The s u e s ul ra e su rre e s r e ter . t d nt ho d p ctic ch co ctiv t ok

x r Ex sm ll r r length e e cises ( . in a g oups of st okes laxa r auses at ﬁrs sl wl and ra uall with re to y p , t o y g d y r wa are ull the e e le th faste , tching c f y int nd d ngth of e

r e essar means alk mar s the st okes, if n c y, by of ch k on The e s r s and s ales ere rm th stick . Op n t ing c h fo e best m aterial

Ex . 3 .

b . t . . . . b . . w b w w t . w . . N p p b .

b . w . N .

(to be practic ed with one-third and one-fourth of the bow for the the middle nu and int eighth notes at t po ) . 58 THE MASTE RY or THE BOW

Ex . 4 .

b . t . w . p

h n - h nd e f h o f r (wit o e fourt a l ss o t e b w o the triplets) .

There is one other m atter calling for c or rec tive m easures and rounding offthis part of preliminaries to the study of bowing s le a r as e bow r l whi ty s, thi d p ct of cont o to ch I wish to ’ draw the student s attention . It is of an wsthetic as much as technical nature and inseparable from perfect tone production on the violin l e e its ear es s a es. ar th rea al v n in i t t g T tini, e g t It ian m a r th 1 th e ur re r hi l ste of e 8 C nt y, fe s to it in s esson by correspondence to his pupil M addelena Sirm en which has r ll h r com e down to us. Afte te ing e your forem ost m h h Yo study ust be devoted to t e use of t e bow. u m ust becom e absolute m aster over it in passages as well as the ” “ a a le he sa s e the bow h r i h c nt bi , y , S tting on t e st ing s t e i m us be e w s l h s ﬁrst th ng. It t don ith uch ig tne s that the beginning of the tone to be produced resembles more a breath on the string than r li r h o a hitting it . Afte this ght sta t of t e b w the s r e is mm e a el ue and now ou m a t ok i di t y contin d , y y rease the e as m u as ou l e for a er the l inc ton ch y ik , ft ight start there is no more danger of the tone becoming li h ou screechy or scratchy . This ght start with t e bow y m us m as er at e er ar the mi le as well as the t t v y p t of it , dd

x rem s the u and th w s r e . two e t e end , in p in e do n t ok THE MASTE RY or THE BOW 59

The right start"More like a breath Tartini says. Th bo merel u the s r and ere is e w y to ches, kisses t ing, th h a his r t e tone pouring forth in silvery purity . Th t t ight start pres upposes a right way of holding and applying the bo all th rules for the w, in fact the observance of e e er and mu m re h old m as er asses er b ginn ch o , t e t p ov in his le r but ho l h ras s the esse al tte , w fine y e g p nti point of the rs an r for the l nis e ro fi t d fo emost thing vio i t, ton p u th hi e r else an d ction, e thing w ch precedes ve y thing d e h l n r h ar b fore t e pupi has set o e finge on t e finger bo d . And this right start is synonymous with the right l ll i r l u . the ar s rea has . s w a the a s to ch On y ti t y it It h t i . are to the s m e a the se s e er is tea ngine, wh t n itiv fing tip h l i r ere h t e . s a u as w t e r to b ind It to ch bo n , it , in finge s and el the a and wris while rearm el w tip f t in h nd t, fo , bo and upper arm behave like interested on- lookers seeking l h on y t e best point of vantage . se ur e his u s s ar r To c t to ch, thi t t , eve y ng“ and m us le the a the um joint c of h nd, th b, airi the re er m us be l m er and et aler fo fing t i b y t, l e a fine r r i ik ace ho se . It s indeed the alpha and omega of w n bo n a d one c an hear m any a violinist performing bewildering feats of technic who has not m astered it and e er l T n v wi l. he acquisition of this kind of touch of the bow al u ut , tho gh p by Tartini first in his curriculum would seem the ru l ra h f it of ong t ining, t e product of a fully developed muscular and sensitory apparatus rather than an obj ect for preliminary corrective exercises; for the el a m l es as all el a d ic cy it i p i , ( d ic cy which is not synony m us wi wea ness mus be an i o th k ) t , d s born of controlled s r t ength . But I mention it here because I think knowing and are s ase at leas so r f doing , in thi c t, not ve y ar apart . 60 THE MASTE RY or THE BOW

is h s fi e eel for el a for w a is re e It t i n f ing d ic cy, h t fin d , ar s fin s e and eau iful whi l l ti tic , i h d b t ch, ear y incu cated in the s u e t e e s w the n l t d n , b g t ith k ow edge the wish and in m e e mes a er the a l ti b co f th to ctua accomplishm ent .

t u the wle e and the wish the e ll as l l Wi ho t kno dg , de d wi ike y as not be r m or so m , not fo thco ing if , co e much more l tardi y .

H ow m a s u e s and e e ex er e e la er ny t d nt v n p i nc d p y s, con sc iousl or u s usl so s as l h y ncon cio y, oon they ay t e bow on the s r e w h a rat t ing, b gin, if not it g ing noise reminding one a ers lear his hr a e re s ea at of p on c ing t o t b fo p king, leas w w a all te s is a mar el s a th bo t ith h t to in nt t é t rt, e w a r the s r s ea h h l h i biting t ing in t d of kissing it , w en wit a is e tler a was er a s r th g n cont ct p h p thei intention . And a this bad h bit is difficult to cure . l s but m ara l f Not on y thi , co p tive y ew of those once afflicted with it yield easily to persuasion and demon stration that what they produce is not what they (pos i l m ea r u e a rea a b m s b y) nt to p od c , not b th of tone ut so e am l h thing in the nature of a ste whist e . Habit as dead r ses all h l ened even their audito y sen to finer fis t etic appea . For special corrective exer cises towards lightness of u so far as e are ahe ad ere the to ch , in th y not y cov d in preceding chapters or are bound up with the study of f s les ll w w ul l su es the di ferent bowing ty to fo o , I o d on y gg t h u r his bo l l and e that t e st dent , g ipping w ight y b ginning h nut al er a el la es raws and l s l e a at t e , t n t y, p c , d ift it, ik i us h and r . r t e feathe P oceed ng th , inch by inch to point th nut he s ul w ea l a e are a back to e , ho d ith ch ift t k c th t he relaxes the muscles ofthe hand (and forearm) and keeps lax and e er zes em a a l for the them re ed , n gi th g in on y th bo h r succeeding light contact of e w with t e st ing.

62 THE MASTERY on THE BOW

This physical process points to one general outstanding r le for e r u em ra all s e es p incip ton p od ction, b cing p ciﬁc on , z r r di h r vi . a a as e e a ra s , to tt in p f ct vib to y con tion of t e t ing r l r i ra l ll e u a ts s as ss . r a ( g ity of vib tion ) , po ib e Th ough the kaleidoscopic variety of bowing styles this principle l s an er s r s ul ho d good d ev y t oke ho d bear it out . CHAPTER V

Three princ ipal families ofbowings smoothly detac hed strokes or detac he forearm and hand strokes (ext ended hand stroke) perfec tion depends on three features length ofstroke determined by speed and dynamic quality smooth c hange of bow two reasons for a roughish ﬁnish bow pressure the ac tion ofthe foreﬁnger the practic al applic ation of the detaché in triplets de

taché and string crossing .

All bowing styles m ay be classiﬁed under three prin i l ea s viz : c pa h d ,

1 m l e a he and ne e es w . S ooth y d t c d con ct d on of hich smoothness form s the chief characteristic and which are obtained through breaking up into sm aller portions the full bow (cantabile) stroke as hitherto practiced ; and which also include all slurs on the same and over several strings as well as combinations of slurs with such smooth por s the a a le s r tion of c nt bi t oke .

The - le a or s - ll s a a and mar el 2 . non g to o ca ed t cc to t é bowings with their modiﬁcations including c om bina ions r l slurs and sm l t with othe sty es, ooth y h detac ed ones . The w s les whi r u e r u the 3 . bo ing ty ch are p od c d th o gh bow temporarily leaving the string and are known as s r w s e r m i a s and p inging bo ing , with th i od ﬁc tion m a l co bin tions with other sty es.

rea u as sa the bow le t r s By b king p, I id , ng h into po tion 63 64 TH E MASTE RY or TH E BOW

and increasing the speed of the detached strokes so ob tained we get what in the violinistic nom enclature goes

u er the ra i al am e deta ché or m re s c nd t d tion n of , o pe iﬁc , m e é s ooth d tac h . It comprises both hand strokes and fore

r r . hi a m s es i. e s r str es t ok , , ho t ok done c eﬂy from the hand and longer strokes for which

s h r i the con cious aid of t e fo earm s needed . But as hand strokes with the forearm quiet only sym pathetically affected through the m usc les controlling the back and forward movem ent of the hand) are m ore or

less l m e s er e s a es detaché is m re i it d to oft ton h d , by o generally understood a forearm stroke with the hand as

the medium round sm hl and the wr s ifone to it oot y i t , w ll as a se m e um ee the bow its arallel i , cond di to k p in p with- the- bridge direction by subtly bending and stretch ing itself more or less according to the part of the bow l l l m m e . r one w s es a s e a e e p oy d O , if i h to y p ci phasis on the im portance of the hand in the execution ofthe detache one mi als all the shorter detache ual ght o c , q ifying it , ea r arm s r e le e e or ex e inst d of fo e t ok , ngth n d t nded hand r st oke . The perfection of the detachewhether done l er or sh r er s r es bu ar with ong o t t ok , t p tien l rl the rm er ase e e s three a y in fo c , d p nd on

eatures: the exa len th the s r es r r f ﬁrst, ct g of t ok in p opo tion to the intended speed and volum e (dynamic quality) of

e se the sm ess th chan e bow and ton ; cond , oothn of e g of ;

thir the sustained evenness tone l w res e d , of , not on y ith p ct to down and upbow not heavier in the down bow) but all t r u the s r e w a e er its le and ur h o gh t ok , h t v ngth , d ing h t e c hange of bow. THE MASTE RY or TH E BOW 65

Speaking of each of these features sepa nght ratel the e the r gh r r ate y, choic of i t p opo tion gnzth a e s r es and um e length of det ch t ok , inc b nt on tha w e er a str es or rearm s r es are it , t of h th h nd ok fo t ok for art ular ur ose is a m a r best suited a p ic p p , tte of note h l w r h m r a e . u t e ear ess a assa e o t y i po t nc M ch of c n of p g , i la ablen ss ee er e ts e e e s . ind d , v y oft n p y d p nd on it

e er l rule lon strokes and s eed do not o l As a g n a , g p g we l

r For an but a a rl sl w em two togethe . y f i y o t po ( strokes to

era a one- r the bow le m a a Mod to be t) , thi d of ngth y be considered the outside length and this preferably at the upper half where the elasticity and lighter weight of the s t e her w the el mi a the u er arm tick , og t ith i n tion of pp in h x h s r e av r l t e e e u t e er r . c tion of t ok , f o ong st okes A relatively longer stroke here will also produce freer Vibra t s the s r a m re arr n e w l h ion of t ing, o c yi g ton , hi e at t e lower half and nearer the nut the sam e stroke in the m e em is l el s u l sa t po ik y to o nd thick, besides fee ing un l l h la r comfortab y unwie dy to t e p ye . For an m re ra e a e em ra m i y o pid d t ch , b cing co b nations l r and e a e s r es r l s u s e . h of d t ch t ok , t ip ts, etc t e use of from one- fourth to considerably les s of the bow should l l be m ade the genera ru e . Shorter strokes in the first place require somewhat less firm or firmly sustained stop w as the ressure the n er u ll ping hich, p of fi g s o ght at a tim es exceed that of the bow on the strings except in ff (or h s ll s u lurre is a e t e note wi o nd b d) , d cided advantage in a as tem but e re all e are u h f t po ; b fo th y , if contin ed in suc a

e m less l a le rea e a ra and su se ue l t po , i b to c t cont ction , b q nt y a paralyzing stiffness of the m uscles involved than would be the case with longer strokes under the sam e speed

conditions . 66 THE MASTE RY or THE BOW

How l or s r m ara l ong ho t , co p tive y, such shorter strokes m ay be m ade to best meet the requirem ents in every case and whether and when they are to be hand strokes r a is a ues e rm h o not , th t q tion d te ined not by t e speed alone

th es re am ual th t r i but by e d i d dyn ic q ity of e s oke . It s a common error that a pupil will m ake his detache strokes too short when they should sound broad and full and too long when speed calls for lighter stopping and less friction

of the bow hair . s ul be r e m a as re usl s a e It ho d bo n in ind th t , p vio y t t d , hand strokes c an never be what one would call loud or exceed a certain limited length though this m ay vary with players according to the natural looseness of the i wr st . If a passage calls for fast strokes not louder than mezzo r h l forte (mf. ) hand st okes (with t e wrist oose) may pos sibly be the best available m edium ; but if that sam e a e is be la e the aid the rearm w er pass g to p y d f, of fo , ho ev

ew th s ee w ll be ee e t e- e r slight (in vi of e p d) , i n d d to nfo ce he wea er r a the a w u e essar l le e t k o g n , h nd , itho t n c i y ngth n l F r ing the strokes to any appreciab e degree . o in pro portion as the hand brings any sustained pr essure (be it through the foreﬁnger alone) on the bow in order to in r ase the e its exibilit is lessened and w its c e ton , ﬂ y ith it

functional independence . e l w res e the smooth chan e Smooth S cond y, ith p ct to g chan e of bow e a e is ul r l seem g of in d t ch , th wo d sca ce y b°w to require any special emphasis or explana The a is we er a mu h the e a e we tion . f ct , ho v , th t c of d t ch rkiness ee is hear is im perfect j ust on that account . "e ind d mm a sm ess e er s r e e marre more co on th n oothn , v y t ok b ing d r u s sh es all t in this case by a o ghi h ﬁni peci y in for e . TH E MASTERY on THE BOW 7

The reason is mostly twofold : Either the bow is gripped too lightly and the wrist is too loose with the result that after every stroke there is a slight recoil of the hand which m a sel el and ear a er or the m us les kes it f f t h d by j k, , c of the forearm instead of timing exactly their contractions the el w t for e and s re so ust a in bo join b nding t tching, do j

m r l . e m n m e s o ate i . a e r o e o nt too oon too , , ch ng f o con traction to the other before or after the hand with the bow has arrived at the intended terminal point of the

r r h ar e ort th ore stroke . In othe wo ds t e muscul ff of e f arm ut i ra is exces or is insu i ient for he p nto ope tion in s of, ﬁ c , t n h r calc ulated le gth of t e st oke . his e th sul rr m x er T d fect, e re t of inco ect ( i ed) n ve m ulses ha e m e hr c an l be erm a e l i p ving b co c onic , on y p n nt y cured by corrective exercises such as have been advised in h f l n the previous c apter or bow contro a d bow division .

rs the exa le the s r e sa one - r or Fi t, ct ngth of t ok ( y thi d one- fourth of the bow) should be marked with chalk on h nd l the r l m us ular t e stick a then, app ying p incip e of c r laxa the s r es ra e r u s two hree e tion, t ok p ctic d in g o p of , t , ur six and e h es and m re w res s ll w fo , ig t not o ith t fo o ing in ea ase w le the s ea h s r e is e are ull ch c , hi ﬁni h of c t ok b ing c f y watched so that the contraction of the m uscles of the forearm for both the down and upstroke exactly coincides he a e bow a is the a e r m the with t ch ng of , th t , ch ng f o pronatory to the supinatory motion of the hand and

vice versa .

With regard to the form er defect of too great looseness of the bow grip and the wrist causing a j erky recoil of the bow re ea a the am ual the s r e is an , I p t th t dyn ic q ity of t ok

m a r a he l e ermi a lar e i portant f cto in det c , not on y d t ning to g x e th le the s r es the ar the bow and e t nt e ngth of t ok , p t of 68 THE MASTERY or THE BO W the question whether only the hand or the forearm and how em l e but als the m uch of the latter is to be p oy d, o degree of ﬁrmness with which the hand grips the bow and how h o w l m uch of pressure on t e stick is to g ith it . So ong as a passage is to be played p or mp and hand strokes are being used no recoil will be felt ; but if this passage is forte calling for longer vigorous strokes and the aid of the fore arm too l se a ri the bow and l se a wr s w ll a e , oo g p of oo i t i h v a and wris are e l the m e a to be avoided . H nd t th n on y di to effect a smooth change of bow and guard the quality of the stroke while the execution of the stroke movement l itse f rests with the forearm . These remarks apply also in large measure to what s ute s t r re s e the r e e a e con tit he thi d qui it of pe f ct d t ch , that sus a e e e the s r es l w res of t in d v nness of t ok , not on y ith pect to down and upstroke but all through the stroke whatever i l ts ength and during the change of bow . roa l s ea the rue sm B d y p king, in t , ooth e a e the bow a r s ul e er adhere eveness d t ch h i ho d v c losel the s r s brush em su hem y to t ing , th , ck t , n if I m ay say so . To attain this e d it is necessary that the weight conditions of the bow stick be fully utilized hemsel es and rela and e both by t v in tion to , in conn ction with pressure on the bow . The student already has had occasion to ascertain and es ese i s : ear the nut the a ural we t t th cond tion N , n t ight of the stick (either full or alleviated) if allowed to exer t s l aus suf e r e wee bow a r an it e f, by c ing ﬁci nt f iction b t n h i d string will also supply that desirable adhesive quality his e a es r es at leas for all but the l u es e to d t ch t ok , t o d t ton shades when the natural weight c an easily and discretely Th l m e te a the a . e e ess be supp e n d by th t of h nd n c ity,

70 TH E MASTE RY or THE BOW

in re ar i we i wn the su inator m and g, t d ng, igh ng do p y otion m aking it even in point of strength (tone quality) with

the pronatory one . Experim ents have also revealed the fact that the fore ﬁnger does not exercise its pressure perpendic ularly on the

st c as has ee el e e but ac c r a e w t the i k , b n b i v d , , in o d nc i h

ro a r m the a semicircularl s rew- l e t to y otion of h nd y ( c ik ) , for the down stroke and similarly for the upstroke only l l in the s e wa i. e . as ex a e a e e a wer oppo it y, , p in d bov , ik po h ful brake resisting the rotation of t e hand .

a r ll a r a e a he at the u er al ere re In b i i nt, b o d d t c pp h f, th fo ,

as the bow is ra l e raw u and ow the re pid y b ing d n p d n , fo arm perform s its rotation and the principal stroke move

m e t the wr s its u m re or less e and s ret h n , i t d ty of o b nding t c in the a its m re su tle u s ous r a s and g, h nd o b , ncon ci p on tion u a s w th a sm o h au le ha e bow and s pin tion , i o t in dib c ng of , all the while the foreﬁnger and ring ﬁnger side of the hand keep up a continuous alternating but absolutely even bow pressure play in the m anner described and varying in

te s a r the s e the h ess the str n in n ity cco ding to pe d , t ickn of i g, the height of the tone and the (heavier or lighter) part of h b m l t e ow e p oyed . Even during the c hange of bow the press ure never ceases and yet the player is barely h s is n an ea conscious of it . And t i ot sy

l ll- r m us les arm a and m a r . e tte On y we t ain d c of , h nd

r w ll l h r s a e e a es e ual t ﬁnge s i end t e st oke th t v n , dh iv q i y h which we couple with a perfect smooth detac e. In summing up the preceding rem arks as Th e prac tic al applic ation of to their bearing on the practical application th e detaché of the detache and the inﬂuence the differ ent parts of the bow have here on the dynamic quality THE MASTERY on THE BO W 71

h s r es one m e ral z and speed of t e t ok , ight g ne i e in the following advice : For brilliancy with speed choose the m le the bow or a l le a e and s r es idd of itt bov , t ok not too long (preferably one- fourth or less) ; for speed with less brillianc y than roundness and a sustained carrying tone quality one- third below the point and the strokes m ay be s m ewha l er for rea er el a the o o o t ong ; g t d ic cy p int , r m l or a s r es at e er e u er r . h nd t ok , ith idd pp thi d In c om binations of slurs and detache also preferably hand s r es the s er s a es or the l u er es s rter t ok in oft h d , in o d on , ho l ha r forearm strokes ( engthened nd st okes) . The detache at the nut in varying tone shades and

m while l mi e ra al a l a x te pi , of i t d p ctic pp ic tion (e cept in combinations with slurs) is nevertheless highly rec om m ended for study as it tends to give freedom and ease of m ovem ent to the upper arm which is indispensable in an l l m e the bow a al round deve op nt of rm . In playing triplets at a m oderate speed 0 1“ ve to the rs te ea r le all gi ﬁ t no of ch t ip t, f n 33 32 l r a el the u and w str e a u a te n t y on p do n ok , bo t

n - ur the bow le h o e fo th of ngth, to t e two unaccented l l h w ll r strokes a litt e ess. T is i p ocure not only greater ease for the whole bow movem ent but supply most natur all tha is w u ex ra m us ular exert y, t itho t t c ion, the mild e in the r le rh m accent incumb nt t ip t yth . Near the point this greater stroke length of the first note of each triplet m ay also receive an additional slight weight-accent from h re er r the r t e fo fing to fo tify hythm . Even at greater speed when hand strokes are employed in the softer shades a slightly longer stroke for the first note together with a l h l ig t accent shou d be given . Particular care and separate study is require d for de 72 THE MASTERY on THE BOW

é l i a re ue r ss str . tach , invo v ng f q nt c o ing of ings Most of

the lurre effe assa es for e a e Dem é and b d ct of p g d t ch d strokes and legato (see next Chapter) is the direct result of an imperfect transition of r m one s r an h r the bow f o t ing to ot e . In view of the in exhaustible variety of cases of this nature only some n be en general hints ca giv . As a rule w e the bow arm is e a e on r , h n ng g d on e st ing, he A and the bow is cross or on say t , to f e single note to h D or s r the hand i either t e E t ing, s chiefly instrumental in efiecting this transient visit to the neighboring string l l ur u and w the a by ight y t ning p do n , forearm , t least for a the a m longer strokes, iding h nd otion . For more than one note (on an adjoining string) the forearm from the l i ist l u u n l n e bow jo nt , d inct y, tho gh nco scious y a d still dis c reetly follmvs the lead of the hand. Nearer the nut this aiding forearm movement will ll less em a a at the natura y be ph tic th n point , but in the former case the upper arm participates to some extent assa es l e the ll w es for in it . P g ik fo o ing on , instance, l sl w a al t al s l h demand very carefu , o , n y ic tudy est t e fore arm and hand movement instead of working together and aiding each other are at odds in their movements and the efiect of the strokes blurred .

BACK (Prae udium) . Ex , 5, l

Ex. 6. TH E MASTE RY on THE BOW 73

As it is desirable in m any instances of rapid string transition that the participation of the heavier parts of the arm be m n mized m l th u er arm and i i as uch as possib e, e pp elbow joint assume best an easy middle position from where the more nimble hand from the wrist m ay readily B reach the adjoining string by tur ning up and down . ut even then the forearm should ever be ready to assist the a an ll w its m eme h nd in y direction by fo o ing ov nt, be it only through a scarcely perceptible tremorous re spouse . There are indeed cases where not the hand but the rearm a es the le al e er but ar m ara fo t k ad tog th , they e co p tively rare where the player commands a well- trained bow arm and es ll x l h r e a e e wr s . t e e a , p ci y , ﬂ ib i t On oth h nd m u h the m e a e m e e r c of i pot ncy, as I h v ntioned b fo e, of the bow arm c an be ra e ex lus e res e el t c d to too c iv , p ctiv y comprehensive a use of the wrist and corresponding l h i r neg ect of t e a d of the forearm in c ossing strings. a and wr s the s u e s ul ar m whil H nd i t, t d nt ho d be in ind , e the most nimble are also the weakest m embers of the bow arm organism and in consequence in constant need of help

r m r r r r l m re r f o thei st onge pa tners. It shou d o ove be noticed that in using hand motion alone for string crossing the am ount of hair touching the strings necessarily varies s m ew a s e l le h r a i o h t , thi though n g igib in t e softe sh des s not ‘ without dam aging influence on the tone quality in m any specific cases . From a purely technical point ofView it is especially e e al ra e e a e a st r es and rear b n fici to p ctic d t ch , h nd ok fo m s r es as well as m ar el see a er er two and t ok , t é, Ch pt VII , ov more strings because it exercises sim ultaneously the m uscles controlling the perpendicular (up and down) 74 TH E MASTERY or THE BOW hand-motion and those responsible for the sidewise stroke l h the a res e e t e rearm . of h nd, p ctiv y fo This has been recognized by Casorti in his bowing hi n k s . 2 s u ies a d . t d by Sevci in Op , No III and V, devoted ie r ofthe bow er two n ch fly to wo k ov a d three strings. CHAPTER VI

Legato-playing (slurring) two princ ipal rulee slur ring over several strings the m utual relation between hand and forearm in c rossing strings fur thering a rela tively low position ofthe elbow another m ethod ofst ring t ransition c om inations of slurs and etache strokes b d d ,

unac cented and ac c ented .

More often than not detachestrokes of every description a ar e w t slurs and s r ppe in conn ction i h , thi b ings us to the n m r a e w s era a s e s i. e. con id tion of i po t nt id of bo ing t chnic , , h i mm nl w as le a la to w at s co o y kno n g to p ying . It bears a close relation to the cantabile stroke and all sm hl e a e s r es so m u so a the la er oot y d t ch d t ok , ch th t tt , to

s s em r m her s s r es s a a and di tingui h th f o ot kind of t ok , t cc to ll l s et c . are e e e a s r es es a piccato , , oft n ca d g to t ok d ign ting

F r h ll their outstanding characteristic . o t eoretica y the difference between the legato (sm ooth) detache and legato pure and simple is only that in the form er each note es a se ara e s r e the la er se ral s ar receiv p t t ok , in tt ve note e am played in the s e stroke . From two to fifty notes and more m ay be un ' la e one bow or slurre w e er e p y d in d h th th y ggtifies lie on one string or are distributed over l er ase two u am e al r l s s ul severa . In eith c f nd nt u e ho d th u e slurr u er r ar s guide e st d nt in ing nd o din y condition , l mi ff . i. e. u s e a a e e s , witho t p ci dyn c ct 1 The action of the fingers of the left hand must not

nt er am er or r a th even ow e . i erf e with , h p p ecipit te e ﬂ of ton 75 76 THE HAS TEHY or THE Bow

n roke len th s ul be divided 2 . The inte ded st g ho d

value of the notes to be played in the same stroke. In other words; when six notes of equal value are to be taken in the m bo l sa w the u er alf eac h the sa e w, et us y ith pp h , of six notes should receive approximate ly one-six th of that u r al ppe h f bow. I cannot emphasize too strongly the far-reac hing benefit be er e fr m a are ul ser a es e rules to d iv d o c f ob v tion of th , 2 r m . i l e u at f r No , espec a ly . Aside f o b ing fo nd ional o r l l n n a a ile is the ke m pe fect egato p ayi g a d c nt b , it y to uch of the grac e and charm we are wont to associate with truly l n l l ar s vi l a i . u s r r a re a and ti tic o in p y g P pi , a e y pp ci te ee his are ul bow s whi c e a uire h d t c f divi ion ch, on cq d , e omes alm st un ns us and a ma b c o co cio uto tic , a habit influencing not only his work with the bow but his whole m ethod of practicing and through it the artistic output of all his efiorts. sa r h slurre li As I id, whethe t e d notes e on the same rin or two hree or ur the r l st g on , t fo , p incip e of how divi s is the same u er rmal am s b ion nd no dyn ic condition , ut the difficulty of course is greater in legato playing over l r severa st ings. As to the e n al wa eali w h t ch ic y of d ng ith it, t e variety of the problems that present themselves renders it im pos le e m re a s m e e er l sib to giv o th n o g n a suggestions . m a res e ts the a u e the arm In ny p c ttit d of , Legato play ing over sev wrist and hand in slurring several strings em m s resembles that advised for playing detache h m Th h under t e sa e conditions . e hand being t e most a il and m ara el the l a h rm g e co p tiv y ightest p rt of t e a , es e all as its er e ular m is p ci y to p p ndic otion, it employed

78 THE MASTE RY or THE BOW

h same e is be la e r a l w ex ress If t e not to p y d b o d y, ith p ion ,

h rearm w ll u s usl au m a all o w t e fo i ncon cio y ( to tic y) g ith, ll h i r r us w t e a ts . o m aybe j t fo o , h nd in di ection

F r o or m re es an a nin s r e e o tw o not on djoi g t ing, v n if l be t u e l l the rearm l they are on y to o ch d ight y, fo wi l like wise go with or follow the hand ; whether at the same

m or u se ue l w ll e e a a r mo ent s b q nt y, i d p nd g in on ci cum h ara ter and se u h s a c es i. e. t e s ee e e t e t n , , p d , ch c q nc of

assa e etc . p g , is ser e a as m e e a e u r It to be ob v d th t , ntion d bov nde ” De a w ere er e di ular a m t al e is t che, h p p n c h nd o ion on employed for slurring adjoining strings the bow hair will com e to lie alternately edgewise and a little more ﬂatly on

c ue ed ewise s here l the strings. A ontin d g po ition cou d l r m the rearm el w on y be p eserved by oving fo ( bo ) too ,

s m ulta usl w the a w ra el ate i neo y ith h nd , hich in pid d ic

l l r l r m s l s urring wou d be unp actica o i pos ib e . su E h s ul be In ch cases ( x . 8) t e arm with the bow ho d

Ex . 8 .

held alm ost in the position of playing the two strings

et er and the a m re es e all its r n er s tog h h nd , o p ci y ing ﬁ g ide , m ade to describe the lightest of undulating m otion to l r r B e a e u ea s u . ut e e er n b it to to ch ch t ing in t n v n h e, ear the nut the r arm m s ases m a a m n , fo e in o t c y h ve to co e l l h h ha a itt e to t e rescue of t e nd . For developing looseness and ﬂexibility of the wrist so m uch needed in these form s of slurring the exercises on thirds and sixths given in the supplem ent will prove TH E MASTE RY or TH E BOW 9

l l e m a w a a a e be ra t e n t v a uab e . Th y y ith dv nt g p c ic d o only at the nut and point but at the middle as well as with n l w r hal and the wh le o t he upper a d o e f o b w .

Ex . 9 . Cas ot ti

At the nut they are m ore exacting and beneﬁcial t hrough the enforced though discreet par ticipation of the n one w ll u er arm and e ause the er forearm (a d if i , pp ) b c p pendic ular and vertical m ovem ents of the hand are about e qually brought into play while the latter is subj ected to the additional continued effort of balancing the top heavy h b m hl stick and c anging ow s oot y . For the student to acquire facility in correct bow-divi sion in crossing strings with a feeling for an exact pro" portioning of the vertical and perpendicular hand m otion during the stroke (down and up) I can do no better than “ ” r e mm e the exer ses en m Art w co nd ci giv in y of Bo ing, and s m e ex e the su lem ent his w r a to o t nt in pp to t o k , th t is e nni w two sl rr n , b gi ng ith notes u ed in o e bow over two strings increase the number in progressive rhythmical o r er to hree ur six e e wel e s x d t , fo , , ight , nin , t v , i teen and

- twenty four notes. With many notes thus slurred lightly e m phasize the bow divisions according to the beats in the bar by a scarcely perceptible accent of the foreﬁnger thus :

Ex . 10 . 80 THE MASTE RY or TH E BOW

Similarly the student may proceed with slurring notes n r 1 1 12 over three a d four st ings as in Exs . and :

Ex . 1 1 .

Ex . 12 .

In this case the arm (elbow) is best kept moving to and from the body between the A and D string levels while it is le t the a w and u urn re th two f to h nd, by do n p t ing, to ac h e l r re a i outer ying st ings . I peat th t the arm s best kept m for w le the m em e s i a r oving, hi ov nt of ts he vie parts may be reduced to a comfortable minim um they should not be absolutely conﬁned to any exact limit but be ever aecom m odatin and el the wr s an a g h ping i t d h nd .

As a e eral rule n r er urther a g n , o d to f Furthering i n relativel low t h lb relatively y posi ion of t e e ow under 10 W ’O iﬁ n I S O all ir ums a es w e assin r m a lower c c t nc , h n p g f o O f the elbow h lbow le l t e e ad i. e. string to a higher one et , , n vice versa go a (very) little in advance of the hand ; a d , let the hand anticipate (antecede) slightly the arm in n c rossi g from a higher to a lower string. nall w s out a a m as dis Fi y , I i h to point th t h nd otion tinct from arm -movem ent by no m eans m eets all cases of ll l c rossing strings although it is most genera y emp oyed . A passage like the following THE MASTERY on THE BOW 81

may be executed with a loose wrist and the hand more or less effecting the transition to the various strings with the rest of the arm following and aiding. But it may also be played with the fore Another arm r t and nd e er ormin one , w is ha tog th f g m ethod of composite one to operate the st roke move m e r h r nt ove t e st ings. Th r l r r h bow s ase w ll e cont o (powe ) ove t e in thi c i , if a t b u rea er and the ra s th ny hing, e fo nd g t t n ition of e strings c an be effected with less expenditure of bow length Forte as wel as iano the la ter s a e the a in l p . In t in t nc f ct , that by m oving forearm and hand together the bow hair c n re a for all s r s its e ew se s will a t in t ing dg i po ition, r e a l el a h r p ov dditiona gain in d ic cy . T e st ing crossing movement of the arm must of course be carefully ac c om m dated th th a h o e a ure e ssa e i. e. t e arm to n t of p g , , m ay have to linger in the direction of one string longer than in a a ther a r the um er es ea th t of no cco ding to n b of not on ch . The experienced artist knows how and when to avail himsel e er m e s r r f of ith thod of t ing c ossing . The second m entioned (forearm ) method is naturally m re sui a le for h l er bow al r h o t b t e ow h f, nea t e point and for the lower strings it would necessitate an unc omfortably hi s t th l whi is r mm e a l gh po i ion of e e bow ch not eco nd b e .

For c ert a n rms slurre ar e s we er i fo of d p ggio , ho v , as in 82 THE MASTE RY on TH E BOW

Ex . 14 .

l e ex e er a s at the . it is almost entirely emp oy d, c pt p h p point The slurs in this and similar cases represent simply so many smooth down and upstrokes executed circularly s ea er all on the over the several strings in t d of v tic y on e, u e l se and a e are wrist and hand , tho gh k pt oo ctiv , not l for a individually responsible agents. On y ch nging bow h h rm the hand asserts its independence from t e rest of t e a . To use it more or less independently and str oke- deﬁning for crossing would militate against the sm oothness and h l continuity of t e s ur . Combinations of slurs and detached Combinations e u erl the w le the sam e en of slur s and strok s nd y on ho g detach ed r l r l x u as the rm r a e a p incip es of e ec tion fo e , t strokes all events With regard to the em ploym ent of

h nd m n ll r m l A t e a a rear ua o e . h nd fo , i divid y co bin d y careful bow division taking into account the speed and dynamic quality of a passage will be as essential here as er rm s ll als su es the in oth fo of bowing. It wi o gg t to thoughtful player whether and when he is to use hand s r es or rear l t ok fo m strokes in connection with s urs. Ge erall s x ea i i. e. e f m e l s n y p k ng, , e c pt or so e sp cia rea on th ra e r Ex . 1 to cont y, as in 5 :

Ex . 15. (a) TH E MASTE RY or THE BOW 83

the slur should receive more bow than the detached strokes “ s m re ma nl be a er l le connecting it. Thi o y o y v y itt , h lf n or m a be er m u but e en t e ha of a inch, it y v y ch ; v m m e s e or reater e al when economy of ove nt , pe d g t chnic convenience do not enter into consideration a greater bow expenditure on the slur as compared to the detached x 1 ll es a assa e so exe u e w a strokes (E . 6) wi inv t p g c t d ith

Ex . 16 .

c r hm al re si st le and arm articu ertain hyt ic p ci on, y ch both la e and v s le w c an be ul a re a e nl t i ib , hich d y pp ci t d o y by

m ri h l The c o pa son with t e same pas sage p ayed otherwise . f r is as s a wee the r as and dif e ence , in peech, th t bet n ph ing articulation of a sentence in one instance charming us n r a li o a d in anothe f i ng to do s . This general rule applies still more markedly to all ac c entuated slurs as in this case the prepondering bow length c ausing more vigorous vibrations of the string is a more satisfactory (tonal) m eans for emphasis than direct ressure the bow m p on (co pare Chapter XIII) . Where the slur does not exceed one- third or one- fourth of the bow and the s i m r r l l tone hade s o e o ess de icate, hand strokes for the detac hé will usually be preferable ; but h s is urse m ean r l t i , of co , t as a gene a guide for prac al a l a for tic pp ic tion not purposes of study. CHAPTER VII

Martelé and Stac c ato bowing their im portanc e three attributes a determining fac tor in their exec ution m artelé at diflerent parts ofthe bow the r ight start the nature ofthe stroke variations in tone and variations in pressure method ofprac tic ing m artelé m odific ations the dotte d eighth and sixteenth rhythm the Viotti d i ra de stroke other m o ific at ons le g nd tac hé .

l m h rea h or sus a e el Whi e s oot ness, b dt t in d d icacy were the outstanding features of the detache in its various rm h h am l w wh m fo s, t ose of t e f i y of bo ing to ich we co e x s l ne t are the very oppo ite to these qua ities . In the violinistic nom enclature they go under the nam e l l to l of Staccato or a so Marte é strokes . Stac ca m eans iter all violentl detac hed tom 0 6 martelé hammered the two y y , , , expressions although not exactly synonymous convey a the m dea a is the s sm and bout sa e i , th t oppo ite of ooth singing . If we think of the violin in the ﬁrst place as pre-emi nentl a s s rum e a r al the um a e the y inging in t nt, iv of h n voic ’ raison d etre of bowings of that description m ay seem l The a we er is a the su erb questionab e . f ct , ho v , th t p h l as a m e um ex ress has versatility of t e vio in di of p ion, h s ar el less w el em l e and in m ade t ese bowings c c y id y p oy d , l h i l is while r m consequence less indispensab e to t e v o in t , f o a purely technical point of view their importance cannot be

- ? over estimated. Why Le t us ﬁrst examine more closely the character of what u a str e a e all its we call a staccato stroke . S ch ok to h v 84

86 TH E MASTE RY on THE BOW

x s lfand be a e at w ll for th l e ert it e dd d to, i ( e oudest shades )

a l le ressure the reﬁn er and um or l by itt p of fo g th b, a so

r er and um . foreﬁnger , ing ﬁng th b be u ers s start w e r Let it nd tood , thi , h the it be soft or l u m us never a ear or be an wa s o d, t pp , in y y con idered as a art rom the stroke itsel w f ll ws mm e a l p f f hich o o i di te y . h wo r and s r e rm one us a h T e t , sta t t ok , fo j t s in t e sm ooth eta e m a ers w e er the s r e i l d ch , it tt not h th t ok s on y the le a e m e re or ers two- r s h ngth of c nti t cov thi d of t e bow . It ere re s ul als be s r er a i , th fo , ho d o not t ong th n ts con ion tinuat .

Th stroke t e a e h n, s the natural continua

s s ar s ul resem le the s ra of the stroke tion of thi t t ho d b t ight rapid course of an arrow shot from a tight r e essar l l u ened bow st ing, not n c i y o d but unmistakably de sive elastic s r elas m a be sa i ci , , ho t ( ticity y id to be ts chief l feature as fe t in the hand) . At the nut this stroke- characteristic is easily obtained if one im agines the bow sim ply a light weight which one l r us es ra l and e su e l s pul s o p h pid y th n dd n y tops. By way of an experim ent let the student hold the bow with but

rs um and ri er or w the a two finge , th b ng fing , ith ddition of the l le er l l u h and ra l ull the s itt fing ight y to c ing, pid y p tick , l the s r tw or r thus gent y weighing on A t ing, o th ee inches The effe ai e will e a and stop . ct obt n d giv good idea of w a a bona de martel s r e s ul be and s u l h t fi é t ok ho d o nd ike . Variations in tone are procured by modific ations of re a e m e t e and len th o stro pressu as bov n ion d g f ke. Like is rea s ee an um e a r see la r g t p d not inc b nt f cto ( te ) . It is only recomm ended here as a means of bringing hom e

eral r le exe ut . For a short stroke a gen p incip of c ion , that l r a r m one one and a al h is , not onge th n f o inch to h f t e TH E MASTERY or TH E BOW 87 hand alone by being proj ected forward from the wrist may be em ployed ; for longer strokes the c oiiperation of the

orearm urse e at a ar the bow f , of co , in conn ction ( th t p t of , i B e her the nut) with the upper arm s necessary . ut wh t done from the hand with a loose wrist or with the help of the forearm the attitude of the muscles engaged in the he s r s ul be e re all elasti production of t t oke ho d , b fo , c ,

springy. M artelé strokes at the middle in order to show the same characteristics in respect to start and stroke as those x a h nu ll be el re u re a er a e ecuted t t e t , wi f t to q i c t in m u it ' c an ar l be alle ressure the s a o nt of, h d y c d p on tick , but that which j ust about separates it from the relaxed conditions of the m uscles prevailing (ex cept in louder ll h n i. e r w all taini s a es at t ut . a e a sus n h d ) e , , c t in, I i c it g attitude of the muscles of the hand and wrist which prevents rt and st ke r m m t l t sta ro f o beco ing too ligh . The qua i y of the bow we er has mu h w is sustainin , ho v , c to do ith th ( g

attitude a ea s s ar el r u res a er li ) ; h vy tick c c y eq i it, v y ght

one does. I speak here of short strokes proj ected from l the hand . For onger ones done with the aid of the fore arm a certain weight on the stick supplied by the fore er rs l and a l ll for he l h r ﬁng , ﬁ t y , h nd, second y, especia y t ig te upstroke is necessary to secure a steady round stroke and

et r u l m ar el r y tho o gh y t é in cha acter . ear the oint w h li h e a distinct N p , o ing to t e g t bow w ight, pressure on the stick becom es indispensable and the exec u the str e al u l tion of ok together m ore difficult . Witho t ong and careful training of the m uscles of foreﬁnger and thum b is rarel mas l ll ea it y tered . A pupi with a natura y h vy, lethargic arm som etim es obtains without apparent effort and practice a stroke which has the semblance of a m ar 88 TH E MASTE RY or THE BOW telé but is the bona de s r e la s the elas , it not ﬁ t ok ; it ck tic, r h l springy and yet car ying quality of t e atter . h al i s r a s r i. e . on r e a e s er Too ho t t oke, , e f om t h nd on h e

at th r l r Th ( e point) are y to be ecommended . e tone obtained in that way is in piano either too thin and featureless or in forte hard and dry especially on the E s r w ere m es w rse h h r h t ing h it beco o t e hig e t e notes . The ressur he re r m ra erall p e of t fo finge , ode te gen y and ver sl a wh is r ur y ight in pi no , ich necessa y to sec e the fir m s ar s ul be are ull em ere c u er ress t t , ho d c f y t p d by o nt p ure r m h is a l r hi f o t e thumb . It ight t ansient pinc ng of the stick with these two fingers and a simultaneous quick

raw m ha r e f d ing otion t t b ing about the desired f ect . The wris a s the a and h rm s h t id h nd t e forea aid t e wrist . The down bow stroke is apt to be heavier than the up s r e one his a aul is est r m le h t ok ; t , f t , b ove co e by tting t e pulse beat ofthe bar fall on the upstroke or also by play in r l g t ip ets. mm hort tr a h t Co ence with s s okes t t e nu . Method of Ifthe wrist bands require loosening there is mar telé no better m eans ; but aside from this the danger of interfering nerve im pulses or the participation u l m l e l as h rue ara of ndes irab e usc es b ing here e t, t e t ch cter of the stroke c an be best brought out if the student has learned to balance this bow perfectly and uses its natural or all r h A all let him be eviated weight fo t e start . bove rem h l r r axation The m re inded of t e law of muscu a el . o e nergetic ally he has proj ec ted his hand from the ' wrist or m e his r f th r the rea er the ee ov d fo earm or e st oke , g t n d of a ause ll w and r r the m us les e p fo o ing, in p opo tion to c b ing

u ra e ea th ause s ul be m a e l . nt in d , w k , e p ho d d ong An x x 1 e er se as E . 7 ci in ,

90 TH E MASTE RY or TH E BOW

lar kind of stroke an advantage over the player with a

l se on er a l er one who r es use the wr s oo e , c t in y ov t i to i t too

x l l e c usive y . I should like to repeat the necessity of a rest after each m l ra e nl for th stroke in ﬁrst arte é p ctic , not o y e sake of the above reason and to allow the muscles involved in the ﬁrm start and rapid vigorous stroke a momentary chance to re u ra but the er ara er the mar elé c pe te , v y ch ct of t hinges Its l era al ers is ara er m h ause . ar on t e p ob it tion t th ch ct , s

or modifies it . It is also these separating pauses which naturally limit the speed at which martelé strokes c an be executed with n r i any sort of neatness a d pe fect on . A speed as in the l r r l smooth detache is quite impossib e . In o de to part y h on w ll l m a and res r e a li overcome t is if e i , i it tion t ict d pp cation ofthe m artelé pure and sim ple and also for m usical ends m any modifications of the bona fide stroke are em

ployed . They are m ade possible through the c limi Modiﬁcations nation of one or the other of the three h bona de s r e ame c haracteristic features of t e ﬁ t ok , n ly,

ar r and s . st t , st oke fini h h fir ar whi is m ed or be Most often it is t e m st t ch o itt , to is re la e a ev e whi ee more precise, p c d by d ic ch n d not impair the following rapid stroke and define it as staccato . (I use here the word staccato purposely for the stroke in this case ceases to be hammered ; it is only short and ll fo owed by a rest . ) M odified martelé or staccato strokes comprise a very large group of bowings especially in connection with other nd e r s u is the rea es l slurs etc . a bowing sty es, , , th i t dy of g t t import to the violinist . THE MASTE RY on THE BOW 91

In the following example (20) the modified Modified h marte é stroke is marked with an asterisk . W y l m m should it be modified ? It is not speed here whic e ess a es the m i a a is the l era h n c it t od fic tion , th t , ob it h i for h l m l tion of t e firm start . It s t e pure y usica reason that the smoothness (full value) of the preceding detache h r m us be an wa im a re i. e. t l er be st oke t not in y y p i d , e att c ut short or separated by the shortest pause or hesitation from the following staccato stroke but should m elt into it . A firm start for this stroke would cause an infinitesim al l l x m a er how e er e e u e . stop , no tt c v y c t d ases e w ere a martelé s r e fol In c th n h t ok S emi or l a ooth one the rm start is m odifi ed ows sm , fi biting Stac catc’ generally omitted and a staccato effect se cured by changing bow rapidly (through the flexibility of h s and er s and e r m ar elé t e wri t , fing joint ) th n b inging it , t ll h ashi a su e s w a ause w . e er f on , to dd n top ith p fo o ing W th ese sm s r es are l or s rt es m a er th ooth t ok ong ho do not. tt , essentially the m ode of execution and the tonal effect are h m h ll x m l s for s an e the t e sa e . t e w e a e In fo o ing p , in t c , strokes marked come under this head of semi or i d ta at mod fie s cc o.

Ex . 21 . Ex . 22 .

Ex . 23. Ex . 24 . Ex . 25. 92 THE MASTERY on THE BO W

Ex. 26. Ex . 27 .

Its a l a i ra all u l mi m m re en pp ic tion s p ctic y n i ted , uch o g r l e h bona l e a e a a t e de mar . , ind d , th n th t of fi te é Almost the sole difficulty their execution presents is the l h h li u c a e bow i. e . t e a the wr s ig t , q i k ch ng of , , bi ty of i t, hand and finger joints to change their attitude towards h t e stic k or their activity with respect to it at any mom ent . m a a es e iall m t In ny inst nc , spec y in co binations wi h l 24 —27 h r r l s urs as Exs. t e e e e wee su m , in , bo d in b t n ch odi fied or sem —s a a s r es and e a e s r es is sl i t cc to t ok d t ch t ok ight , the difference consisting only in a greater energy of the bow m em e and a su se ue m me ar es a ov nt b q nt o nt y c s tion, ’ or seem essa the str s ra or if ing c tion, of ing vib tion, not t a at leas an infinitesim all s r rea the h t, t y ho t b k in con ' i hi r t nuity of tone w ch m ust be egarded as a pause . How m u bow is be use su and s m lar ases ch to d in ch i i c , how m uch pressure from the forefinger and thum b is e t m e he ow a ere the s r an ho need d o ak t b dh to t ing, d w m uc h of a simultaneous im pulse (push) from the ring

r s the a for the u s r e how a finge ide of h nd p t ok , in f ct to deal with one and each of these modified staccato strokes is a m atter of long experience and sometim es intuitive le know dge . The following exer cises are recomm ended To develop ' m usc ular lo in the m ular aler ess re for deve p g usc tn , al ermess sponsiveness and swiftness of action so often required of both the wrist and finger joints (grip of the

94 THE MASTE RY on THE BOW

The ra str e s a s for a m e s a pid ok t nd odiﬁ d t ccato stroke . Its course must not be im peded by any prem ature tighten ing of the grip and the tone quality should not differ m a er all r m a the re edi sl t i y f o th t of p c ng ow stroke . Until the m uscular apparatus has become accustom ed to the rapidity of the movem ent it had bette r not be made quite so fast .

Exs . and e h m In (b) , (c) , (d) ( ) , t e ode of execution is essentially the sam e :for the slow whole bow strokes stand two le surel raw sm l in (b) , i y d n ooth ha f bow strokes ; in (c) 1 ur rearm e a e s r es bow r l fo fo d t ch t ok (3, ) ; in (d) , t ip ets (i bow e a s r es al erna in ea ase at the ) ; in ( ) , h nd t ok t t g in ch c nut n a d point . ese exer ses for w we are e e the in Th ci , hich ind bt d to in hi 2 . nui . s . s ul be ge ty of O Sevcik ( Op , No ho d l n f alua l in practiced diligently on sca es. I k ow ew as v b e

he r wa m re a l rl re the wr s is li e t i y, o p rticu a y whe i t inc n d t o be stiffor where the arm is lifeless and the grip of the bow l an r too oose d unce tain .

A similar kind of m odiﬁed staccato strokes. The dotted ls m l m the exe u i the eighths and are a o e p oyed c t on of ms gm well- known rhythm of dotted eighths and six te nth notes is as re ue l m et w e , which f q nt y ith i l the nut the re as its study s beneﬁcia . At ndition of h r ar ff r l l m Ex . 0 t e s es e Ex . 29 e e r a 3 , di s itt f o th t of ; t ok

Ex . 29 .

’ simply reduced in duration (not necessarily length) and the pauses proportionately lengthened with the result that TH E MASTE RY on TH E BOW 95

Ex . 1 s as u were wr te as 3 i. e. Ex . 29 sound tho gh it it n , in , , with not the least break between the two sixteenth strokes. It is here where the modification of the second one through The a er s suppressing its firm start comes in . h nd (fing joint

Ex . 31 .

ﬂexible) from a loose wrist is m ostly instrum ental in bring l n h o r ing about the c ose connectio of t e tw st okes. Further up the bow (I speak of the rhyt hm where the sixteenth note falls on the upstroke) this sixteenth m ay also be executed with the hand (with a loose wrist) and his i e but w the l er bow we and often t s don , o ing to ight ight

h c um e t ressure the s un era a t e in b n p on tick, to co t ct it, slight cooperation of the forearm for the stroke is as a rule more satisfactory and in consequence the m uscular im pulse is felt to proceed more or less from the elbow joint w th u the el w m and is arr e th wr ( i o t bo oving) c i d to e ist, n r band a d ﬁnge joints .

The h her u the oint the m re his is h a l ig p to p o t t e c se, a t u h as sa the a al e m a exe u th ix ho g I id , h nd on y c te e s h r a l n s t eas . tee t t oke , t in p The tone shade in which this rhythm is to be produced m h h has ee er u w t e m e r e ure . , ind d , v y c to do ith od of p oc d In forte the codperation of the forearm will mostly be m l ll ee e e essar ess or a . d d n c y, in (p) , not t a Where the sixteenth note is played with the down bow which is seldom at the lower half and mostly near the oint h same rul l s th s a is p , t e e ho d good ; e ens tion in (p) , then not unlike that of slightly pulling a piece of strong 96 TH E MASTERY or TH E BOW elast c and lett it l a The re er and um b i ing s ip b ck . fo ﬁng th j ust pinch and pull the stick down a little ; the upstroke l re r e he relaxa or re . er w r s the p es nts t tion coi In oth o d , bow being pulled a very short distance down by the hand w th a l se wr s is all we as were sel re rn i oo i t o d , it , of it f to tu h to t e starting point .

orte he rearm ass s s the wr s and the rec o l if In f t fo i t i t i , so m a be alle is m re the a ure a re ur it y c d , o in n t of t n push .

her c ase the u s r e is m o e or semi-stac at In eit p t ok diﬁ d c o, i i re se but the rest ll i. a. ts ﬁrm s ar s su s w , t t pp d fo o ing it, v m e mes m a be su ests i howe er short it so ti y , gg ts stac cato ara ch cter .

the Viotti- stroke as is erm e In , it t d , we a s m lar rm m h ve a i i fo of odiﬁcation . It is produced by a strongly accente d stroke al rnatin w an una e e one the sam te g ith cc nt d in e bow . In this case the former presents all the bona ﬁde m artelé

a ures the l er the m a a th str fe t , att odiﬁc tion in th t e oke is sm l e e w its s r l a e e ar ooth y conn ct d ith t ong y cc nt d p tner , but as st u she r m a sm t e a e s r e , di ing i d f o oo h d t ch t ok , imm ediately stopped and separated from the next acc ented

r - ar a a st oke p t by p use . The effect of this style of bowing is enhanced and its playableness at a considerable speed rendered possible by . reducing the length of the unaccented (modiﬁed) stroke a m ere ra a the a e e one to f ction of th t of cc nt d , so that the l l latter stands out bo d y .

Ex . 32 .

9 8 THE MASTERY OF THE BOW whole bow length is often employed for le grand detache it might with good reason he called an upper arm stroke the rearm wr st a r fin r and with fo , i , h nd, fo e ge thumb as F r h l c ollaborators. o t e who e arm and hand is put to r r u h fi x wo k to p od ce t e desired e ect . Even if e ecuted with very short strokes in order to increase the speed (best a little below the point and at all events not below the middle) the whole arm from the shoulder down is more or l l ess invo ved . O ne might then call this bowing style with The rolled s me us a the rolled-wr ist stroke for wrist stroke o j tific tion it is a kind O frolling or wriggling motion of t he wrist and forearm with the bow remaining practically

the sam e s w amm r-l eff is o in pot , by hich a h e ike ect b i t a ned. Instead of alternately pressing the stick between fore finger and thumb for the down and up how start and all w the arm and the elas the bow ree e o ing ticity of , f v nt to m le e the s r e m veme ese w and u bow co p t t ok o nt , th do n p starts becom e here an ahnost unrelieved quick succession ofs r a e s r u e the re er and t ong cc nt p od c d , indeed , by fo fing t um and wris the r la but a e and el h b ( t) in fi st p ce , id d by, f t ever a h as w m nis e in y p rt of t e arm . As soon ith di i h d h f r h s pee d t e stroke can be m ade longer the conditions o t e . grand detac he referred to by Baillot m ay prevail again for the reason that a certain amount ofmuscular relaxation between the strokes c an set in even with the shortest of auses while at l s ee this is p , (comparative y) greater p d r uall l vi t y impossib e . We find us a a e ual and l a O f th g in speed , ton q ity oc tion h r n a rs ar t e st oke to be influencing or determi ing f cto , ap t in m . assa e a fro any intended special effect If a p g , TH E MASTE RY OF TH E BOW 99 moderate tempo is to be played broadly detached with a determined emphasis on each note employ the grand l l a o e the m dle for mar el m s detac he a itt e b v id , t é ight ound n e firm r nd ar a d e a e u . too d y a h d, d t ch not no gh If a passage is too fast for this bowing style to be brought out

r erl use the r lle -wr s s r a is a p op y, o d i t t oke, th t , derivation

r m or a le e h r nd na d f o , b nd b tween t e g and detache a bo ﬁ e m ar elé at the t point .

The r n sta t in either case is a little less crisp a d firm . Near the nut as a matter ofcourse the rolled stroke is m ss le is ere re he ee ar ses re la e i po ib ; it , th fo , if t n d i p c d by a m a h h b the odific tion of t e Fou etté or whipped ow, picchietato for which the bow is raised O fl the string (see a Ch pter IX) . CHAPTER VIII

The ﬁrm (tied) stac c ato two kinds method O fstudy the ac tivity of the foreﬁnger the forearm with a stiffene arm the stac cato with the own bo d d w.

The ﬁrm e s a a o as i (ti d) t cc t , it s commonly alle the v l n s a ular is all c d in io i i tic voc b y , to intents a succession of martelé strokes in But its exe u is u one bow . c tion s bj ect to certain special

s whi ma e a m as er hi r h condition ch k t y of t s, pe haps t e most brilliant of all bowing styles a feat difﬁcult O f attainm ent . is the one rm mar el w er m It fo of t é h e, without odifying n O f its ara er s s an alm s a y ch ct i tic , o t unlim ited speed is l B is hi l ss e . ut s s ee at eas r po ib it t p d, t if brought unde r l w rese s the fﬁ ul and is er a cont o , hich p nt di c ty, it h e th t these special conditions make themselves embarrassingly

l m u so a the ssess a r ll a fe t, so ch , th t po ion of b i i nt re l a le s a a has m e to be re ar e as a s e al rar i b t cc to co g d d p ci , e gift . is e in the a a s m in There , indeed, no d ny g f ct, th t o e dividuals have a natural pre disposition for acquiring it l r a ff r r r l and ea n it without app rent e o t o p o onged study, hil so r una e ex er e lif l w e others, not fo t t , p i nce a e ong struggle over it m a m e ere a a whi is te Two kinds I y ntion h f ct ch Of n O ﬁrn rl e am el ha r a i s ove ook d , n y, t t the e re two k nd

8za008 .zo ﬁrm s ac at one ffere r m the er of t c o , di nt f o oth x h a u re in effect and in mode of e ec ution . Bot m y be acq i d 100

102 THE MASTERY OF THE BOW

Th l n to the string . e e bow a d shoulder assume a state O f n The ha urni m eme s e r l ’ tensio . nd (t ng) ov nt nte on y into play with an approach to the bow middle and below it when the increasing bow weight begins to release the stiflish pressure of the forefinger and thumb necessary The wh le r e ure the bow a h before . o p oc d of t t e upper half m ay be said to resemble m ore that of a c ar on c og wheels going up a steep hill from about the middle on it r li l r m h n r x l again diffe s tt e f o t e o e fi st e p ained . Physiologically the difference in the exe cution e wee the two s sta at figflfigt b t n kind of cc o s s s the a ul the one s a con i t in f c ty , in in t nce, r the la the er ra sm h r o ck of it in oth , of t n itting t e p imary nerve impulses which effect the rotatory forearm motion l ult m a e e s i. e. er a m s es O f h to i t nd , , c t in u c t e wrist and hand causing them to Operate at the sam e ratio of speed w u the er ere e t er u es ra le m l itho t int f nc of o h nd i b usc es . In

er w r s the a li s al and er r h oth o d , in bi ty, phy ic n vous, o t e lack of it to comm unicate in their integrity through the wrist to the ring ﬁnger side of the hand the rapid rotatory movements of the forearm in the elbow socket while not only the muscles of the foreﬁnger and thum b ac t sim ul taneousl as a ra e res s em u he y b k i ting th , b t t forearm moves al s sl wl the er al ir he s r o o y in v tic d ection of t t ing. is ere w ere the ere r arl a u re l It h h inh nt o e y cq i d ta ent , or let us rather call it predisposition for staccato scores over any attempt at m astering it later and through the r ha l ll ordina y c nne s of inte igent study . This m ay sound discouraging to a degree but it need not deter the student from m aking a fair bid for the possession of this valuable asset in his technical equip m ent . THE MASTERY OF THE BOW 103

It is a scarcely known fact that Wieniaw m ski a m red for his s a a la er ears , d i t cc to in t y , 22m lacked it in his earlier ones and deeply de w u e a le reme it plored this deﬁciency itho t b ing b to dy , until one day it occurred to him like an inspiration to execute the staccato not according to the traditional

r l ut a new wa i. e. m ethod which had p oved futi e, b in y, , with a stiﬁened arm . It m ay be surmised that by this was understood the f a a ex la e a h second kind O st cc to p in d bove, t e cogwheel

or w a e er one w s es all . m ethod , h t v i h to c it The success in his case at all events was astonishing to h himself as to ot ers . w ul h we er a se a s u e tr i nia I o d , o v , not dvi t d nt to y W e w ’ l th l r l h ski s method unti e o de , traditiona one as persist l l s l for ent y fai ed . I say persi tent y here before every thing else it is patience which m ay lead to success even in m ara el later ear w e wr er e ass a s co p tiv y y s, h n ong n v oci tion and their dire consequences have usually become too l l r firm y estab ished to be e adicated . In as much as the chief Obstacle in the way of rapid staccato playing is not the charac teristic little rotatory movements of the hand per se (for almost anybody can execute them with out the bow) but these same movements in connection w r i l nd e s mul a e us viz . m u ar a t es a ith oth t n o , , usc , ctivi i ar l s es am l O f h rearm an p t y oppo ing on , n e y, those t e fo d the refi er an um h s u is a se be in fo ng d th b, t e t dent dvi d to g his study at that part of the bow where these accessory movem ents or muscular activities are least felt as an m m h r a m is the i pedi ent to t e othe (rot tory) otion . This bow m Th we th s re e n us iddle. e ight of e tick he b i g j t 104 THE MASTERY OF THE BOW sufficient to effect a firm start for each strokelet without a er fa sus a n eff r the fi r more than v y int t ini g o t of fore nge , the first great advantage is gained The second lies in the comfortable posi At tll e b°w tion of the elbow and forearm in relation to mO idtlle l h wr and a tc . a w t e ist h nd , e , in p ying ith that part of the bow as compared to the point and in the non r a he u er arm th b w m pa ticip tion of t pp in e o ovement . ese two a rs e a r O fthe m l in With th f cto th n in f vo idd e, stead ofthe point where comm only the staccato practice i ssa e th u e s ul mm e s e y d , e st d nt ho d co nce with three notes n h m e ra h hand in o e bow . With t e ind conc nt ted on t e

Ex. 33 .

(relaX) n

(more especially the ring ﬁnger side) he should articulate sharply (mp) but not too violently the three martelé strokelets by the familiar little turning movements of the form er without drawing the bow to any appreciable degree except for the last O fthe strokelets for which the rotatory hand motion is accom panied by a vigorous push O fthe forearm carrying the bow som e distance towards

the nut . During the duration of the three strokelets the fore ﬁnger with the thumb exercises a very slight sustaining effort on the stick which is only relieved after the last push O f the forearm when with the pause complete relaxation sets r h res and he bow is uie l raw a h in afte t e t , t q t y d n b ck to t e a for a re e O fthe same r ee n st rting point p tition p oc di g .

106 TH E MASTE RY OF THE BOW the foreﬁnger and thumb are kept at a very slight tension in which re-energization c an easily follow any partial relaxa er w r s wh th f r r tion ; in oth o d , en e o eﬁnge m aintains a u us su le ra e- l e l h contin o , bt , b k ik ho d on t e stick under the stronger propelling (supinatory) force O fthe rest of h nd r arm t e a wr s a e . h nd, i t fo ’ r s rem arks the s a a and its ’ Spoh on t cc to Spohr s remarks on practice as given in his Violin Method “aw ? ” are O f e res h s n int t in t i con ection . After pra nc e comm enting on the belief which he shares

ha the if for s a a la is so sa r he t t g t t cc to p ying , to y, inbo n, says : The staccato is done in the upstroke with the r l h bow e on m uppe ha f of t e , b yond which e ust not go even if there were thirty- two notes and more to be played in n l er r m l h sam r e . O e s u e a u t e e st ok ho d , th fo e, cc sto Onese f h e use as l le bo l r m t e w as ss . e i e. f o b ginning to itt po ib , , only so much as is absolutely necessary for a clear artic u h Th bo m eme hi lation of t e tones. e w ov nt (pus ng up) is h r al e rearm and u produced by t e w ist on , fo pper arm a e rem aining quiet . E ch not receives through the fore finger ofthe right hand so m uch pressure that the whole h bo air la l h r breadth of t e w h ys itse f on t e st ing. To separate the tones the bow raises itself a little afte r each push but not to such an extent that the edge of the hair h r would rise above t e st ing. Th au h s a a sis s e an e e e be ty of t e t cc to con t chi fly in v n, distinct crisp separation of the tones in the strictest m sh ul b r er sl wl at rs and t e po . It o d e p acticed v y o y fi t only when the pupil has succeeded in doing it so c learly

nd me he ma ra uall rease his em o . a in ti , y g d y inc t p ar he a t the re er r his Be ing on t c ivity of fo fing , Spoh in h r k l h r rem ar s a for ea e i. e. st o e e t t e essure k , th t c not , , , p TH E MASTE RY OF THE BOW 107 of the finger should cause the bow hair to lay itselfflat on

h r e l r e s a r l t e st ing, evid nt y fo g t th t not eve y vio in student is over six feet in his stockings and blessed with a hand and wrist of abnorm al proportions and strength such as he imsel had or he ul a e an a so h f , co d not h v given dvice contrary to experience and so fatal in results for the a era e u l but his su se ue remar a v g p pi ; b q nt k th t, to separate the tones the bow should raise itself a little after each push but not so much that the edge of the hair would rise above the string seem s to indicate the advisability as ed r l a ar al relaxa th mus les urg by Spoh , of on y p ti tion of e c er a m le one e a sl w of this fing instead of co p te , ev n in o m te po . As for the attitude the orearm w of f to hich The attitude ’ now me s rea m as er s u of the ore I co , thi g t t inj nction f ” m to push the bow by the wrist alone and ” h a i r he ee t rm ui e o . k p e q et, s not bo n ut by facts On t rar ifm re a two or ree s rokele s are be cont y, o th n th t t to h x n bo i . a ea e u e o e w . e as s as t e s e c t d in , , oon h nd, to p k ” w r the wr s eases to be a le r e the ith Spoh , i t, c b to p oj ct strokelets self th rearm e ers r m e l t by it , e fo nt p o in nt y in o i er re s r s h the era . s e ur a us is Op tion It , th fo , p i ing th t j t t , most important factor in the execution O f a brilliant l l l s u be so e e e re out re . staccato , ho d oft n ft nti y of ckoning In som e ofthe older Methods we only find the rec om m endation to give a strong accent on the last note of a run staccato . This suggests to som e degree the peculiar attitude O f the forearm but does not explain it sufi ciently to be of real service to the student. Why an accent on the last note The forearm should move with a certain stiflish decision 1 08 THE MASTE RY OF THE BOW but slowly in the direction of the string on which the s a a is e e hus re rese an eff r a er t cc to int nd d , t p nting o t to g th into one m artelé stroke all the little strokelets O fwhich t he staccato run is composed of or partitioned into . To be able to do this which in reality is nothing else t han exeouting a number O flight supinations of the hand while one extended rotatory movem ent O fthe forearm in t he el w s e is r ress the rearm and as far as bo ock t in p og , fo ( e e s the u er arm the la er mus m e it d p nd on pp , tt too) t ov , as sa sl wl a ert al re as the a exe I id , o y in v ic di ction h nd

i r ll ni m m c utes ts fast p ope ing tur ng ove ents . This induces a state of mild m uscular tension or forced s the urat the s a a run l or suspen e during d ion of t cc to , ong r w e s w h the las e w e the s re sho t , hich nd it t not h n to d unconscious natural energy of the forearm movem ent is allowed free vent . The accent re mm e e is ere re r a l s ea co nd d , th fo , b o d y p king, m al t ree fr m a t his e phatic ﬁn ge ting f o state of tension . N ow ifthis tension of the muscles is permitted to becom e

rea urns s ra and he e r i and the toog t it t into t in t nc igid ty, run is s le usuall l e re the las t e staccato poi d, y ong b fo t no is reached . The individual with a natural predisposi N atural pre tion for staccato playing is scarcely c ogniz disposition m ant of any such uscular tension . Like h who has a u re the a l earl l wise e cq i d f ci ity in y chi dhood , le the r sl w l al r re s e ev l the musc s in i o , ogic p og s iv d e op m ent having here retained the necessary elasticity to n em rar rea er or lesser s ra l withstand a y t po y, g t t in , ike a l ﬁne spring of stee . Th less r u a e l er s u e has as ere o e fo t n t O d t d nt , it w , t ’ proceed once more through a slow childhood s process of

1 10 TH E MASTE RY OF TH E BOW izotes e rate so m u the a as e e e t , conc nt not ch on h nd ind p nd n th rearm a e re bu th r n l w of e fo s b fo , t on e fo earm a d e bo

p mpv ﬂ

S tartin a a a the middle and sus a the joint . g g in t t ining tone with the foreﬁnger he should push or propel the bow

ur rather sti sh little orward erks i. e. e ur dis in fo fﬂ f j , , giv fo r m ulses ra sm e the rearm as tinct ne ve i p (t n itt d) to fo , though it form ed one with wrist and hand .

' Th wrist not be sti s a u t bu h r l e need ﬂ on thi cco n , t t e pu e y r a a m so m u in evidence h re u ot tory h nd otion , ch in t e p vio s exer se w ree es sh ul for the me be l s ci ( ith th not ) , o d , ti , o t s h or be rea e as se ar the m em e as ig t of t t d cond y to ov nt ,

a w le the rearm . ho , of fo The last of the strokelet may again be accompanied by a more energetic push with a larger expenditure of bow relaxator us m t ollow th length . A y pa e us f e staccato group after which the bow is quietly drawn back to the starting h l point (a little above t e midd e) . — u se ue l r u s 5 7 9 and 13 es ro S b q nt y g o p of , not may p l Ex gressive y be taken up as in . 35.

Ex. 35.

Moder ato. \ P mp P

ere m ress ea ase the am u bow H , by co p ing in ch c o nt of s rokelet ex e the las one a mi m um as for each t , c pt t , to ni , it

r n ee the wr s ex le the r r a we e , a d k ping i t fl ib , otato y h nd THE MASTE RY or TH E BO W 1 1 1 m otion (supination of the ring finger side) should again c m e to the re a is the s u e s ul a e the o fo , th t , t d nt ho d h v feeling as though he shook the strokelets from the wrist l h h ma whi e t e forearm moves rat er stiffly as before . In ny instances it will be a great help to strongly bend out the wr t h s the el w is ur th s a a . s w u ra d ing e t cc to T i , itho t i ing bo , t urns the bow hair so that it grips the string more with the extreme edge which renders the brake-like effort of the f re r r l r o finge p oportionate y easie . It is sometimes of advantage when the staccato c om prises m any notes to employ the middle and ring finger (and even the little finger) by bending them and stretch ing them in the joints to assist the hand and arm in pushing and also to keep the forefinger a trifle more stre e u e so ur e ar u the s tch d (not q it c v d o nd tick) . hese exercises r u s 5 7 9 and la er 13 and 17 T on g o p of , , t notes in one bow should progressively be pursued at and near a e h midd for a on time r an a em ( bov ) t e le l g , befo e y tt pt is m a x r h de to e ecute them nea t e point . is ere as s a e e re w r h u e the It h , I t t d b fo , he e t e attit d of f re er i. e. a rea er s ra i s re t and a o fing , , g t t in on ts t ng h ( th t ofthe wr s as well as he m re l a s i h i t) , t o e ong ted po it on of t e hand and the difierent one of the wrist as compared to the rearm m l a e a s a rea mas er er h s w fo , i it t ag in t dy t y ov t i bo ing l n sty e at a y appreciable speed . The re e ra es we er ell e l and p c ding p ctic , ho v , if int ig nt y ers s e l e s ul a e re are the u l suc p i t nt y don , ho d h v p p d p pi to c essfull l s l y dea with these new conditions . They hou d have taught him to employ for each part of the bow j ust the amount of pressure of the forefinger necessary to ac t as a brake without straining the hand arid wrist beyond w a e an h t th y c stand . THE MASTERY O F THE BO W

The la er will now at the oint tt , p , best be At the point l rela el low a li le e he d tiv y ( tt b nt in) , and the large knuckles of the ﬁngers well bent out which lends E u th r sli ff greater strength to them . e ght di erences and modiﬁcations on the proceeding at the point as com pared to the bow middle are more or less individual and must be

un out and eal w ea s u e . fo d d t ith , by ch t d nt The shape of the hand and length of the arm have a l u l w a l great dea to do with these . A p pi ith ong arm will be compelled to do a little more wrist-bending and stretch ing than the one with a short arm and be at som e advant a e ere but hi s a a whe m as e re ma his g h s t cc to , n t d , y on t l n l account sound more po ished a d e egant . All the exercises in groups of more than four notes h m l l s r at t e bow e e . s a hould be p acticed idd , tc , on c es

Ex . 36 .

w a firm r the r first , by starting ith g ip of st ing as h re us exam les and suggested in t e p vio p se cond , as in h a a h x i. . t e rs s e t E . 6 e w e u s r 3 , , ith fi t t cc to not in p t oke, “ ” m odified . ase raw the bow w r usl for h In this c , d do n vigo o y t e first a bow ra l and su ress the firm s ar of note , ch nging pid y pp t t x rok l h x n the following si teenth st e et ; t e ne t o e only is a. s rok l bona fide staccato t e et . In this form staccato passages occur frequently ; it is also the one recomm ended by Baillot as helpful in the hi w s l practice of t s bo ing ty e .

1 14 THE MASTE RY OF THE BOW

bend out the wrist and play with the extreme edge of the

bow hair r er alle a e the bow we suf e l in o d to vi t ight ﬁci nt y, so that in the course of a fast staccato for the whole bow which m ay easily em brace ﬁfty notes and more the wrist and hand may have to go through a considerable amount

e and s re h . ere a a u h he of b nding t tc ing H g in, tho g , t stru ure the a and arm m ses its own di ct of h nd i po con tions .

i h s e ur h r ar l It s ere re u w e e u ars. , t fo , n i to giv f t p tic Only after the student has failed in spite With a l - ue eff r s a u re a li stiﬁ ene d arm of ong contin d o t , to cq i f ci ty in staccato playing after the m anner ex la e s ul he a em his w s le w a r p in d , ho d tt pt t bo ing ty ith igid

arm a m e e re . , s ention d b fo Beginning also a little above the middle with few notes and r ar s the ra uall i r wo king tow d point, g d y nc easing their um er he s ul tr exe ute the s r es n b , ho d y to c ho t t kind of

' strokelets (martelé) by stifl pushes from the arm stiflened r h h l l h f om t e s ou der b ade to t e fingers . h s ase the su inator an m is relin u s In t i c p y h d otion q i hed , and the bow is us e al the rearm al l p h d ong by fo one , whi e

ll th rs as a w le ac t s a w r l a e ﬁnge ho a po e fu brake . The ﬁrm s a a w the w bow Stac c ato with t cc to ith do n the bow urs m re rare l and is t e es exe u e occ o y h n b t c t d , d°wn ex e a sl er em a er the ma er c pt in ow t po , ft nn

h ra - el l the l wer art he of t e F nco B gian Schoo . At o p of t bow to about the center of gravity the bow is allowed to weigh lightly on the strings and with the wrist well bent out the a stiﬂish l le bac kward erks m let , h nd by itt j (inco p e l r l h us li e a li we a . p onations) pul s t e stick , j t k ght ight , ong h h m le the bow we h now With t e approach to t e idd , ig t being too light to effect by itself a ﬁrm start for each a a k l h wr s is ra uall ur e war st cc to stro e et , t e i t g d y t n d in d THE MASTERY or TH E BOW 1 15

the se u les the a u war whi r ( cond kn ck of h nd p d) , ch b ings the le e e the bow a r a w the s r ft dg of h i in cont ct ith t ing, and while the forefinger bears with increasing pressure onto the s the bow ues e ull al h tick, contin b ing p ed ong in t e sam e kind of stiff backward j erks or rather shakes of the ring r h h m l finge side of t e hand . Often t e idd e finger is then r a se off the st or als el m h m l i d ick , o , not s do , both t e idd e and r er and the bow is r elle the l ing fing , p op d by so e su r the li le er and um the x ppo t of tt fing th b , inde finger a r Th rearm r u h l cting as a b ake . e fo th o gh t e who e r m l l nd ifll i m ee es s w a st . s e h p oc ding ov o y y By th thod , t e down bow staccato can be executed at very great speed an r l r ll a Bu r d w s e a e . t e a s ith con id b b i i ncy owing, p h p , to the peculiar nervous tension in which the whole m uscular apparatus is kept during the perform ance not m any players s ll r r l xe e h ucceed in getting it we unde cont o . E cut d in t e ordinary (orthodox) way with a loose and normally bent wrist it lacks power and brilliancy and with it its raison ’ d etre as m are th u w s a a co p d to e pbo t cc to . Combinations of the staccato and other styles of bow in w i c an b m an l ar l r x la a or g, h ch e ifo d, h d y equir e e p n tion l As a e ral rule the rs s a a m u s e a s u . e ch p ci t dy g n , fi t t cc to strokelet following a smooth stroke or slur is modified h r r x Ex h r l e a . r a u e e e e s . 8 t e s s e t o gh th c ption In 3 , fi t t ok let ofthe two in one bow m ay be played thus modified :

Ex . 38 .

l b la e w a ﬁrm r h rs in It c an a so e p y d ith sta t . In t e ﬁ t rea er s ee is l el a e t th x stance, g t p d ik y to be obt in d a e e pense of crispness. CHAPTER IX

Springing bowings general princ iples governing their exec ution two groups with aided elastic ity of the bow stick the slow (m oderate ) spic c ato or thr own stroke m odiﬁc ations c ombinations ofthe slow spic c ato and

l n me h f rac tic e . slurs etc . stac c ato vo a t t o o , d p

More than any other bowing styles hitherto m entioned hi the hir r al amil w s e e d those of t s , t d p incip f y of bo ing , d p n r the a ural elas the o for their endition on n t ticity of b w, fo r Th i nh r a a r e u . e bow e. s e e i. , t i nt c p city bo nding temporarily leaves the string and the effect is one of lightness and resiliency not to be obtained by any other l sty e of bowing. re u ee seems be the a ural e e To bo nd , ind d, to n t t nd ncy of the bow stick so soon as it is placed in a position to ne e l l the bo l l exercise it . O ne d on y ho d w very ight y and drop it at the point with its full weight on to the strings at an angle of ninety degrees and it will be found to re bound to almost the same height from which it was r d opped .

The diﬂicult for the s u e is ere re m s y t d nt , th fo , in o t ases s m u m a e the bow re u a m c , not o ch to k bo nd s to aster and control its all too-ready tendency to do so and render ser a l it vice b e .

se ue ce the e a es e as well as the e as e In con q n of v n c nt, v iv ,

a ure a lar e r the w s s r u he r n t of g po tion of bo ing of thi g o p , t i execution before that of all other styles is bound up with an ll l n l n h d ca s for subt eties in ha d i g t e bow. 1 1 6

1 18 THE MASTERY or THE BO W

U er the sec ead: The fas s iccato sautillé ta t nd ond h t p , , s cca o d ri o h h s rin bow ar e s and h l c c et, t e p gn p ggio t e tremo o . The physical process at work in all spring “ w s is r a l s eak the ll w meg? ing bo ing , b o d y p ing, fo o ing : The bow by being thrown or lightly r i on he s r se s ra i d opp ng t t ing t it into vib tions, s thrown ’ offthe string having received the string 8 vibrations into sel as w re and wh le the s r is s ll i it f, it e , i t ing ti vibrat ng u er th s k the a the bow nd e hoc of cont ct, touches it again ere re e and us u its rat th by n wing th contin ing vib ions . The quality of the tone emitte d will depend on the manner in which the bow hair with every transient contact with the string is able to renew and keep up the regularity ’ and eriodicit of the st r s vibrations or p y ing , to be more re se ee u the e- es a l s e xa p ci , to k p p onc t b i h d e ct amplitude F r es es n of these vibrations. o b id a d independent of the velocity of vibrations of a string which depends on the of h e the s r ma ra m l l height t e ton , t ing y vib te i d y or strongly r i the a ure the ra r h a a i. e. cco d ng to n t of vib to y c use , , t e mil r r the bo r an c ontact d o st ong, of w hai , d this quality has appropriately been called the amplitude of the For the bow e r vibrations . th n to keep up with eve y contact with the string the amplitude of the vibrations onc e estab lished under normal dynamic c onditions is the task of the la r p ye . Speaking first of the bowings with the 0 W e" elas the bow s a ed h ticity of tick id , t e first difficulty to be m et is in combatting the a ural e e the ow s r e r a be n t t nd ncy of d n t ok (p on tion) , to heavier than the upst roke (supination) It is absolutely necessary not only that the bow hits the string every time h se a le but also w th at t e same cho n ng , ith e same chosen THE MASTE RY on THE BOW 1 19

am r e e erm e the one a h dyn ic fo c d t in d on h nd , by t e height the r the er the a the arm or a of d op, on oth by ction of h nd ,

or aus or ai is r . both, c ing ding th d op It is also necessary that this dynamic regularity of the bow contact is kept up during any transition from one h r r . er w r s t e a st ing to anothe In oth o d , ttitude of the whole arm and every part of it relative to the string must not undergo a change no m atter how frequent or how fast the transition ; and the contact must lastly coincide exa l w the s the s r th ct y ith topping of t ing by e ﬁngers . Th r s es e all the sau ill l e latte present , p ci y, in t é, seeming y l i h insurmountable diﬁ c u t es to t e neophyte .

ME THOD or STUDY

The student is advised to begin the study The slow th s w the hr of e piccato not ith t own spic c ato h h “hm“ s r e r r i. e. at t ar t ok p ope , , e p t of t e bow Stroke) where the elasticity of the stick favors it

m s but near the nut. ere the bow as was s a e o t, H , t t d , does not rebound of its own accord but is alternately made to n touch the string a d is raised . He should employ about one -third ofthe Near the nut b l l le l fo h ow ength or a itt ess, j ust as r t e sm h e a e s r es at the nut and m oot d t ch t ok , oving the upper arm freel as he w ul a urall w y ( o d , n t y, ith such an amount bow a su le wrist hit h r of ) , but with pp t e st ing with the edge ofthe bow hair so that it strikes it at a very small K _/ angle " taking care that the up and down m eme are al e e er res l ov nt ik in v y pect, both as to ength of bow em l e a le ta w h n p oy d , ng of con ct ith t e string a d force of m l contact . Of i portance in al forms ofthe thrown stroke is the m a er of r h bow i h e r o nn g ipping t e , that s, t e d g ee f 120 THE MASTE RY or THE BOW

r e or ure e ween um an n fo c press b t th b d forefi ger . Even a very slight increase of counter- pressure on the part of the thum b will appreciably increase the rebound of the bow se u hi er and r n r l , nd it p gh b ing it dow p oportionate y with greater heaviness with a corresponding m odifying h influence on t e tone . Let the s u e ear m a the The danger t d nt b in ind th t point for tone danger point for tone qua lity (roundness and nobility) in rebounding bowings is the angle h nin t de rees . T e ur r a a r m i e e w z . of y g f th y f o it, v , the smaller the angle ofthe contact of the bow hair with the string the less there is danger of disturbing the continuity ’ of the string s vibration and with it the beauty of tone and r r l vice ve sa . er w s e e r h In oth o d , v n whi e fo cing t e bow to ea s elas the idea drawin s ul be ore f t of ticity of g it ho d f most. For is r as his rm s a th e on, t fo of picc to with long strokes is here re mm e e for rs a em s at s a la co nd d fi t tt pt picc to p ying. But although the strokes employed be long and the angle a t the s r small the l of cont ct wi h t ing , p ayer should hit the

r r l ak ull a a l st ing vigo ous y, t ing f dvant ge of the e asticity the s e e at s ar r as w of tick v n thi p t by fo cing it, it ere, to a semblance of rebound with the result that it is raised high h r r Th r above t e st ing afte eac h contact . e p ocee ding is a s r w the s r w t r a elas s o t of hipping t ing i h b o d tic trokes . The ha r s the bow ra er firml the hum nd g ip th y, t b , of e ess exer s a eal ofres s a e es e all n c ity, ci ing good d i t nc , p ci y in the upstroke sweep (supination) but the wrist should retain its suppleness so that the hand may be freely pro h x r j ected forwards and backwards . T e e e cises m ust be el done at first very deliberat y with a. sufficient relaxatory pause after each stroke to prevent any premature rigidity mus l wr s and a as well a h in the weaker c es ( i t h nd) , s t e

122 THE MASTERY or TH E BOW

the bow becom es lighter and what little counter-pressure of the thumb still rem ains is felt mostly with the upstroke (supination) for the bow now instead of whipping the string is only thrown with a certain energy and rebounds ; and the resultant dynamic tone quality changes from the rm r mezz ort A o ll fo e forte to a o f e. b ve a the angle of the ’ bow s contac t which (as stated) is really the m eeting point two ur ves w the s rte h of c , o ing to ho ning of t e strokes (or vertical bow movement) c an more approach one of ninety m degrees . Also so ewhat greater speed becom es possible w u s e al ef r al u is s ll ra r l mi itho t p ci fo t tho gh it ti the i ted . For exercises proceed in the sam e m anner as above Use s ales w res s e wee the s r es e u c ith t b t n t ok , th n witho t ese at sl l rease s ee and las l r e hir th ight y inc d p d t y, b ok n t ds n x h n l a d s s a d r s . Se m i t cho d ( e supp e ent . ) The student will notice that the lower strings c an bear a. m re r us a the bow hair a the s r o vigo o cont ct of th n E t ing. The er the e a is the more ra id the vibr ations high ton , th t , p , the more easil the re ul arit is disturbed e e the r r y g y , h nc g eate f f r h r ll i ul o t e bow. Ge e a s ea di fic ty n y p king, it s wise to ’ decrease slightly the angle of the bow s contact on the E string. After the thrown stroke around the center t bow figh"; of gravity has been practiced for a consider a le me the s u e m a r ee the b ti , t d nt y p oc d to rm ofm ra s a m s w l l e am el fo ode te picc to o t ide y app i d , n y, a xe u at the bow middle th ar er w r s th t e c ted , e p t , in oth o d , where natural elasticity and weight of the stick are most l Th even y balanced and favorable for rebounding . e modifications on the form er mode of execution to insure the best tonal results here almost suggest themselves. In the rs la the s r es e m e s ll sh r er the a le fi t p ce , t ok b co ti o t , ng TH E MASTE RY or TH E BOW 123

’ the w s a se u of bo cont ct, in con q ence, becomes still nearer one e r Th of nin ty deg ees. e bow is held lightly in the hand and is dro ed and a er i pp , ft ts rebound is dropped again rat er a r w u a se se ll h th n th o n , tho gh , in n , it may be ca e d throwin as a certain a ount o orce g , m ff should best be added to the natural bow weight to attain the right crisp and r u al eff Th yet o nd ton ect . e upper arm has practically ceased moving except for transition of the strings but the forearm assists the wrist (which should be well bent and with the elbow relatively high) and the hand for dropping th r the bow on e st ing. Som etimes players train their wrist so that the hand (ﬁnger joints loose) m ay execute this form of spiccato the aid the rearm b t i without of fo , u it s doubtful that this a the end ex e er a s s l is a g in in , c pt , p h p , in peed, certain y l A ll h not in tone qua ity . t a events t e student who aims at a round and full tone quality should never lose sight of

h r e- ea m ea the e ess h t e st ok id , I n n c ity ofdrawing t e bow however little instead of simply throwing it with the purpose

i re u . er w h of gett ng it to bo nd In oth ords, t e contact with the string always falls at the stroke center ; the two ends of h troke all the air above h r t e s f (in ) t e st ing. The tone quality of the spiccato around d nm c the middle (the exact portion is determined Sgetg h ur the s sel and l l by t e nat e of tick it f, s ight y differs therefore) is from piano to mezzo piano according to the height from which the bow is thrown and the force which is put into the throwing movement and also som e h rease e what by the weight oi t e stick . Any inc of ton beyond mezzo piano is attained either by approaching a r r h r r ri es e all heavie pa t of t e bow or by a ﬁ me g p, p ci y on the ar th um w is case a s l e s me p t of e th b hich, in th , ct ik o 1 24 TH E MASTE RY or TH E BOW

t h the a ure a s r r h ing in n t of p inging boa d, in addition to t e f h r e t e r . O ne m w r l o c of d op ight , ith good eason, c assify this louder (ﬁrm er) spiccato at the bow middle among the m i a s w ll l od ﬁc tion of hich I sha speak be ow .

The ues s ee w re the q tion of p d , ith spect to smn r w s r e has us far l een Efngz th o n t ok , th on y b u e u et is an m r a n to ch d pon, y it i po t nt o e nd l a often a source of doubt and troub e to the student . Apart from considerations of practice which should be pursued for a long tim e at very m oderate speed to prevent m us ular ra an an r r s el c cont ction of y kind , d p og es iv y in e ach of the three stages of spiccato study as aforem en t ioned apart from such considerations it will be found that speed even in the last of these stages is greatly limited and any attempt at increasing it beyond this limit is invariably followed by a paralysing stiffening up of one h er set mus les m s l t se the a and or t e oth of c , o t y ho of h nd Real s eed is e scarcel the r ovince the wrist . p inde d y p of thrown stroke and to obtain it we m ust turn to the second re u d w se w ere the elas group of bo n ing bo ing, tho h ticity of ll t he stick acts autom atica y . er eless is ss le r u er a modiﬁc a Nev th , it po ib th o gh c t in tions of either styles to bridge this speed- gulf between the n ll m x slow and fast spiccato a d sauti é to so e e tent . What militated against greater speed in the hitherto treated spiccato were two fac tors : the extent of the stroke movem ent h were nec es employed and the height of the drop . Bot

h r l e ual s ee be sary to obtain t e desi ab e ton q ity, p d not

r But an we re u e t ing of im m ediate conce n . c not d c bo h without sacriﬁcing the outstanding characteristics of the thrown stroke or resorting to autom atic rebounding (see

126 THE MASTE RY or THE BOW

The purely as thetic effect may be less ‘ rh pm e‘ sa s a r but the bene t a rui the ti f cto y ﬁ cc ng to tat: l f h a r and rearm an musc es o t e h nd, w ist fo d even upper arm and shoulder from a prolonged practice is remar able all in rms h f l quite k , especi y fo as t e ol owing :

Ex. 41 .

Another modiﬁcation is the form of spic cato which is used for playing passages of

arti ic ial harmonics . s ase e f In thi c , v ry l h ﬁrs rm s a me a i m uch ike t e t fo of picc to ntioned, th t s, h n t lon strokes are use one- r the near t e u , g d ( thi d of bow

m r and the an le contac t w the s r i er and o e) , g of ith t ing s v y small but the grip of the bow is comparatively loose (no resisting pressure of the thumb) and the vigor with which the bow hair is made to whip the string is largely supplied by the quick drawing movement and a certain weight h r m bearing down on t e stick f o the hand . A third modification rather difﬁcult of explanation is obtained by throwing the bow on the string at and below h r bu a f ll t e cente of gravity, t inste d o a owing it to rebound of its own accord the bow hair is quickly and very lightly pressed against the string for the fraction ofa second and the bow is then raised w the resul ith t, that each contact with the string carries with it a certain martelé-like bite or

This modiﬁed form of the spiccato or rather raised bow l a la l at m ra s is on y av i b e ode te peed . THE MASTE RY or TH E BOW 127

A similar ifless s e effe an l r ure , di tinctiv , ct c a so be p oc d he easier me u l z a ra r s st by t thod of ti i ing t nsient, e i ing pressure of the thumb as a kind of spring board for each rebound of the bow. ourth modi ation a l a le h A f fic , pp ic b at t e A fourth n t a and ear the center o ravit i u , bove it n fg y, s a gentle stroking of the string with longish strokes in passages like the following

“ The bow after each caress of the string is lightly h l the a and re r l lifted . W i e h nd fo a m are ostensib y en a e the w le the arm la s e r l n im g g d , ho of p y , n ve the ess, a portant part in keeping the bow absolutely parallel with

the r e ur the w le r eed a is arallel b idg d ing ho p oc ing, th t , p for the str es as well as for the m n l ok ti e, a d this shou d well r e w e h bo i h i be obse v d , h n t e w s in t e a r describing l i l a curve. A comm on fau t s to ho d the arm immobile and w r the bow r m the wr s u er e o k f o i t , nconc n d as to whether the bow hair strokes both the strings alternately at a right l r ang e o not . The angle of contact should be for this kind of lifted bow ver small U V an em a re u y to prevent y ph tic bo nd,

a r m e s lla m us e in f ct, everything to p o ot cinti tion t b l h a de . Th t e bo l l a er a voi d e hand ho ds w ight y, yet c t in

' s a li h i u i ifl a t bi ty of t e wr st witho t ts being st , indeed, certain firmness of the whole m uscular apparatus (the s l x s a e is e r m all Oppo ite to a re a ed t t ) n cessa y, ore especi y THE MASTERY O F TH E BO W w e la at s me s a e r m n h n p ying o di t nc f o the ut , to insure perfect control of the stick and with it the delicacy of touch which is a particular feature of this bowing style is e ualle nl similarl l ar s tac he and q d o y by y ight, c e sing de x strokes at the e treme point . In the las t instance these and other modifications of the spiccato and raised bow at the nut are a m atter of h bo h m d a he r t e w firm or l etc . t e o ific tion of t g ip of , ight, , l ta the le or ex e the s r e m ve ang e of con ct, ngth t nt of t ok o h h o l and c ur e t e ar t e b w em e . m ent , , of o s , p t of p oy d N earer the point the tone obtained by throwing (or dropping) the bow becom es too ua th an dr be mu h atten ted , in d y, to of c l ex e the s a a lant see el w practica service, c pt in t cc to vo ( b o ) , and the staccato a ricochet . ll h s a ear the alt u h S ti t e practice of picc to n point, ho g l m ursue is not w t u s era le e efi se do p d , i ho t con id b b n t , f r It es pecially as a preparation o the flying staccato . strengthens both the ring finger side of the hand and the wrist through the exertion both must make to prevent the bow from j umping too high which it has every tendency f o doing. The combinations of the thrown stroke with other styles of bowing are usually of ul ar f ul for the s u e m re es pec i di fic ty t d nt , o

iall the altera w slurs ac c e te pec y tion ith , n d Th all rea e e the st c and otherwise . e too dy t nd ncy of i k u mes a s ur e r u le at leas at the to rebo nd beco o c of t o b , t, l elastic bow midd e . The student who has not m as tered the spiccato in every form and dynamic variety is advise d to try each oc c urring at rst near h n t w r h combina tion of that kind . ﬁ t e u he e t e

130 THE MASTE RY or THE Bow

e ffe are real la e so a is the bo ct , not, in ity, p y d , th t , w is dropped on to the string for the note with the trill but instead of being allowed to rebound it is drawn a very little

Ex. 43 .

l an or less and l l e a ai l (ha f inch ) , on y ift d g n, by a s ight u inator m em e the a a er th ll s p y ov nt of h nd , ft e note fo owing ll the tri . Without this little device a neat rendering of this pas sage would probably present an unlooked-for and perhaps l l l h Y l inso vab e difﬁcu ty to t e student . et simi ar cases a un l l era ure ar ularl am r m bo d in vio in it t , p tic y, in ch be usic . S trokes like the above for which the bow is dropped and drawn or which finish with its being lightly lifted offthe r m b lle semi-s i t s t ing ight e ca d p cca o. Ex 4 for s a e rese t t In . 4 , in t nc , p n ing wo spiccato strokes

one he rs s r e fll h l in upbow, t fi t t ok o owing t e s ur may either be played semi-spiccato in the sense that the bow is l l f e a te r the e or bona de s a h on y i t d f not , fi picc to throug t he bow being raised imm ediately after the slur and dr ed r r w re un l e its m ani opp o th o n to bo d ik co p on note . In the former instance it connects more smoothly with the preceding slur to the advantage of the latter ; in the other s a e h ff me a m re s r l a r in t nc t e e ec t is so wh t o p ight y, i y, THE MASTE RY or TH E BOW 131 although in a fast tempo the diflerence c an barely be ’ x detected e cept by the expert s ear . The supinatory hand movement for lifting the bow off the string so quickly and lightly requires special and long r l ui er e practice . It is subj ect to a co responding y q ck n v

r l l e his With admi ab e attention to detai O t . S vcik in ” Ar 2 l h r the rs w . a e t e s a e t of Bo ing, Op , p c d ign ft ﬁ t spiccato stroke following a slur or sm ooth stroke to indicate a the ar a ues he w s es s rs e th t , in v i nt in q tion , i h thi ﬁ t not l - h lif r be a e sem s a i. e. t t e bow e a e to p y d i picc to , , wi h t d ft the w le the a se e is s is mea be note , hi in b nc of th ign it nt to l B he e w h bo r w r r . ut as t p ay d ith t e w, th o n o d opped student would vainly look for similar friendly guiding signs on his pilgrim age to the practical application of the art of the bow he should in dealing with the great variety of bowings under this head rem ember as the m ain points : kee the bow near the strin s r l e s t the to p g , neve os igh of

r ke- h nci le a r u d st o idea i. e. t e r e e , , p i p th t ven in bo n ing, it is a s r e a drawin movement w is e exe ute t ok , g , hich b ing c d and to hold the forearm ever ready to assist the hand and

' r t rr - w is in ca ying this stroke idea into efiect. The bowing style which yet com es under the head of thrown strokes with aided elas i i h i flying t c ty of t e stick s the staccato volant. Stac c ato It is also identified with the French School m re a an er and is ull m as re f la ers o th n y oth f y te d by ew p y . In addition to every characteristic of the bona fide slow a l a spicc to it shows a resemb ance to the upbow stacc to .

a it is a succession o i at r o nd in one bow. In f ct, fsp cc o eb u s Th l e stick is made to h0 p along the string much ike a. ﬂat stone thr own in a certain way skips over the smooth 132 THE MASTERY or THE BOW

But its exe u l e a surface ofa pond . c tion ik th t of the firm a is u u w er a extra s stacc to bo nd p ith c t in condition , physi l n r us w re er it m ara l c a a d ne vo , hich nd co p tive y easy at l h r r r s e ffi u t e e e se ase . mode ate pe d , di c t in v c he la er its su ess ul er rma e e e s h In t tt cc f p fo nc d p nd , on t e one a el a e su i a ns the r fi er s e h nd, on d ic t p n tio of ing ng id of the hand propelling the bow along under the slow piloting h rm the t er a nel em er r of t e forea , on o h on fi y t p ed esistance n A r l l m ofthe forefinger a d thumb . ve y itt e too uch in this last respect results at once in too free a rebound of the n s r as s ee as ell li stick a d this in disa te to p d w as tone qua ty . A good preparation for the staccato volant M ethod of is the study of all upbow spiccato strokes at h b middle and a bo t e ow bove, with the w ni h sam e s The stick el l l i remai ng on t e pot . , h d ight y s

thrown with som e vigor or propelled by the hand from not too great a height on to the string at an angle of about

- h l t ve de rees . re u s at t e sam e a e and for y ﬁ g It bo nd ng , , while only the hand follows the forward movem ent of the h arm sel rem a s stationar th bow is bow and t e it f in y, e m ade to describe a backward curve in the air so to be ready to be thrown on the string again at the form er point of l h a le h s r Th contact and at exact y t e same ng to t e t ing. ( e whole bow movem ent under the guidance of the hand

ll r le the s r a ta e . h s is represents rea y a ci c , t ing ng nt ) T i to be repeate d at various parts of the upper bow half until the student has learned to propel the bow from the hand

134 TH E MASTERY or TH E BOW a sine ua non t s ase m a e the bow q in hi c , to k , in hopping al li t self as little as ossible er the str s to ong, f it p ov ing , ’ e sur e continuit and re ularit the s r s vibration n y g y of t ing s, that I recomm end the use of muc h bow (two- thirds or m re for the s a a la as s as h l o ) , t cc to vo nt oon t e s ow pro gressive work above described has prepared his hand and h r wrist in t e ight direction . ere a a r u s and 1 at rs on H g in , g o p 5, 7 , 9 3 notes , ﬁ t on e s r la er s ales and r e r s ma be use see t ing, t in c b ok n cho d , y d ( l m l m l h Supp e ent) . I shou d ention in conc usion that t e stacc ato volant c an begin either with the bow thrown on

- h he r or mi a i. e. w t e bo ra se t st ing (se spicc to) , , ith w i d after the ﬁrst note (which is connecting it smoothly with h di n n t e prece ng o e) , a d then thrown . CHAPTER X

Springing bowings c ontinued automatic rebounding the fast spic cato or sautillé (light skipping bow) experi m ental method oi study sautillé in c onnection with ra id ﬁn erin ac r rin the ca ri h p g g oss st gs stac to a. c oc et springing bow arpeggio method of study over u l l do b e strings the tremo o .

The speed in which the varieties of the Fa“ ”mu m thrown stroke can be successfully executed in the m anner described may som ewhat

' difler w la ers bu ere is di tin l t ith p y , t th a s ct imi to it even with the best perform ers . When this is to be exceeded the voluntarily controlled rebounding movements of the bow r e insu ic ient and w ul r r l p ov fi o d , if pe sisted in, esu t in im potent stifiness. At this j uncture hand and forearm are r e ss l e ar ershi h bow m m fo c d to di o v p tn p, t e ust be ade to rebound automatically and the slow and moderate t e mes a ast one or th a spicca o b co f e s utillé.

lth u the sam e e eral r les ov A o gh g n p incip g Bow t e_ ern both the thrown stroke at the bow middle bounds “ mu mmy and the sautillé the difference in speed creates a difference in method great enough that proﬁciency in the former by no means prognosticates an equal facility in the latter or c an r an nf l r , even be conside ed u ai ing p eparation f hi or . a nd a e ua s ffere e it In ddition , a cc nt ting t di nc in m l al i h a . h s et s a a u i. e hod t e f ct th t individ ity, , t e phy ic nd stru ure h a l se ess th wr s et c . a ct of t e h nd , oo n of e i t , , nervous predisposition exercise here a greater inﬂuence 1 35 136 TH E MASTERY or THE BOW

i h h r a than s t e case in t e th own stroke . There re prao all as rules a l a le all uals for tic y no f t , pp ic b to individ , l rni the sau ll and a lo se wr s u n l ea ng ti é, o i t , tho gh esse tia , h l a r le l is not t e on y f cto that counts. Whi some p ayers s s l the bow a er ai wa h rs m in i t in ho ding in c t n y, ot e anage h ff m All h to get t e sam e e ect in so e other . t e more im portant and helpful under these circumstances are the suggestions to be gleaned from the general principle underlying the production of this evasive style of bowing. Several are the reasons why the sautillé

presents a difﬁculty to m any students. They are usually traceable to a misappre h i n l ens o or ignorance of these princip es . Leaving aside the physical im possibility of executing the sautillé after the ma er the r w s r e the irst oint b nn of th o n t ok , f p to e learned from the application of general principles is the a at the sautillé s e ofits s lla ara ter f ct th , in pit cinti ting ch c , ears a c lose resemblance o and is ee er e r b t , ind d , d iv d f om h a r ke a s r e reduced t e f st smooth hand st o . It is a h nd t ok to a m n m o n t i i um fle g h.

lear the sautillé the stroke-idea ere re the In ning , th fo , ea drawin the bow its re u so m u h id of g , not bo nding c , ’ should be uppermost in the pupil s mind and his efforts l is h l mea s com shou d go in this direction . It t e on y n of binin leas rru e and ere re m s er e g t inte pt d , , th fo , o t p f ct string vibrations with great speed of the bow movem ent ; er w r s l the bow e e the closest in oth o d , on y by b ing k pt in roximit the strin arel leav is ss le p y of g, b y ing it , it po ib to o a h s li htness and re u bt in at such speed t e condition , g g larity of string contact on which bowings of this class depend before all others for their perfection .

138 TH E MASTERY or TH E BOW

ivel ea r bu ll l a an x u e w t t y h vie t sti e astic p rt d e ec t , i h sm t a s r e th ll w a e the oo h h nd t ok , e fo o ing, t king not of

Ex . 46 .

" 1 1 1 1 1 1 1 1 amount of the perpendicular hand motion necessary to ffe h h D u e l he e ct t e transition from the G to t e . S dd n y should give a somewhat more violent accent with the foreﬁnger on the ﬁrst note but relax the m uscles produc in mm l h n w the g it i ediate y . T e acce t in connection ith es a l s e w r r l r m w ll t b i h d do nwa d (pe pendicu a ) , hand otion , i , ll r Now he a a l r s h bo ff h r . in p ob bi ity, ai e t e w o t e st ing should keep up the rebounding by continuing the sam e er e di ular a m il at h sam e me (p p n c ) h nd otion, wh e t e ti , the bow is proj ected (drawn) in the string direction as e re for th sm r The a is hus m a to b fo e ooth st okes . h nd t de swing backwards and forwards like a pendulum for the res the es the ex a e for hi the rearm t of not , n t cc nt w ch fo should quickly resume the G string level c an already be less em phatic to renew the sam e effect on the bow and once its hopping movement is well established it will

ar l be re uire an l r r l h d y q d y onger o pe ceptib e . There is usually a tendency of the perpen Remarks dicular hand motion being too emphatic in proportion to the sidewise motion of the hand which should alwa s be rimar w the res l ha he bow is ause y p y, ith u t t t t c d um n r rl u era s to j p too high a d ir egula y . To co nt ct thi fault and invite a certain unconscious but later indispens able participation of the forearm m ake the stroke move THE MASTE RY or THE BO W 139

m ents (backwards and forwards) of the hand for a time as as ossible a is as l as the l se ess the long p , th t , ong oo n of wr s and the tem w ll erm and ere the wr s is i t po i p it , wh i t a urall lim er e u h all w l mi oo eration not n t y b no g , o a i ted c p h r h of t e forea m to lengthen the stroke movements. T is will not only induce the bow hair to touch the string at a

sm all a le s r l r m t m re ng of contact ( ee p incip e) , p o o ing o perfect vibratory conditions with their results on the tone

ual but w ll als es a l s r m the ﬁrst the m st q ity, it i o t b i h f o , o favorable proportion between sidewise and perpendicular hand motion in the execution of the sautillé which m ay be a u 2 1 bo t to . The sautillé thus produced will probably be uneven and er and th s r r the stu j ky e peed not ve y g eat as yet , but if dent conducts his further endeavors along these lines he w ll s m r i All r e and i oon succeed in i p oving t . undue fo c violence m us be av ded Th b ll be un t oi . e ow wi , indeed , fo d obedient to a very slight impulse for rebounding as long as ere is no muscular o o t on er hand rist or th pp sii in eith , w orearm h m r ivel relax ed h whole musc lar f , t e ore elat y t e u a ara i h As the pp tus s kept in these endeavors t e better .

rona or m em e the a ere the p t y (down stroke) ov nt of h nd , h

w war sw is a urall s r er a the su inator do n d ing, n t y t ong th n p y one and tends to disturb the necessary regularity of the ’ r s v ra r m us be a e t a the e ulum st ing ib tions, ca e t t k n h t p nd l m his e al i e . r u swing of the hand s exact y ev n To p o ote t , q i l z th r u s h ra e r e s is re mm e e . i ing e ebo nd , t e p ctic of t p t co nd d

The next ste the s u the sau ll p in t dy of ti é Furth er in is a further increase of speed; individual c rease of Speed physical traits will here again be found to

l r a r ll enter as m ore or ess modifying facto s. Speed n tu a y depends on the shortness of the bow movements in both the 140 THE MAS TE RY or THE BOW vertical and the perpendicular direction at their proper n u the e e resul n lose ess li n ratio a d pon th nc ti g c n , ghtnes s a d ’ h s a w h r regularity of t e bow cont ct ith t e st ing . I would here reiterate that the bow rebounds most freely if it touches the string at a right angle and with the full breadth of the hair but the tone is hard and dry; the tone im r es w an e ew s s h quality p ov ith dg i e po ition of t e hair . ese s for ui e e er w th x ri Taking th point g d , tog th ith e e pe ai e the re edi rs s e s sau ll la e nce g n d in p c ng ﬁ t t p in ti é p ying, the pupil should be able to ex perim ent with success in the

t urt er s ee . S me s u e ts seem attainm en of f h p d o t d n , indeed, to have no difﬁculty whatsoever in this direction once they the a e i the bow um b have acquired kn ck of g tt ng to j p, ut

nd for es e the ollowin su s r others have, a th f g gge tions a e intended . i l e um too hi h ere r If the bow s inc in d to j p g , th by reta ding nd m ak the e dr is a s t he rebound a ing ton y, it ign that the perpendic ular hand motion is in excess of the sidewise n a er li el the bow stands too str ht motion a d th t v y k y aig . To remedy the fault the student may bend the wrist slightly the arm a li tle er t ere dimini more or raise t high , h by shing r hi th ri I t he amount of hai touc ng e st ng. fin this case the uffers and c se ue e e m es too weak r ebound s , , in on q nc , b co , s ess wh le the e is h he ma r lacking in cri pn i ton t in, y t y a

r e and su ess ul e e s ee middle cou s if not cc f th n in g tting p d , s a r e ual m m rebound and sati f cto y ton q ity ( p) co bined , try some other way to establish the right ratio between ular a sidewise and perpendic h nd motion . A slight pressure (pinching the stick) between the forefinger and thumb w ll e be u effe ual reventin the bow i oft n fo nd ct in p g , in too hi h w will be see was the re from j ump g g , hich, it n , r h verse case in the thr own st oke . T e wrist is in this

142 THE MASTE RY or THE BOW

h with each rebound . In t e latter instance it is either h ers w are sw fer a the bow a he t e fing hich i t th n , c using t ffi ul or the bow ma i di c ty, kes ts rebound too S antill6 in ast for the a h hi c onnec tion f ction of t e fingers . T s a id { v creates imm ediately a condition which I 323m g need not des cribe when it is considered that the slightest hesitancy or hurry of one finger in doing ’ its u mme a el s ur s the re l r h d ty, i di t y di t b gu a ity of t e bow s a w the s r and its re u and im cont ct ith t ing, bo nd , with it , l perils the tone qua ity . Almost the only way of mastering the difficulty is in low ractice a assa e ha a m s p of p g of t t n ture, first with s ooth e a e s r es raduall i rease the em o n d t ch t ok , g y to nc t p a d ll su s u h sau ll f r h m fina y to b tit te t e ti é o t e s ooth bowing . Accentuating the beats to begin with and doing so more and m ore lightly as the tem po is being increased will also be an aid as ee m s a e ua ud l n , , ind d , o t cc nt tion j icious y a d discreetly applied will induce clearness and precision to r o h th l n r the wo k of b t e eft a d ight hand . An occasional accent on a down bow beat m ay even send a lagging bow e r its with renewed ne gy on dancing pace . r e e wever w ll be er v G eat b n fit , ho , i d i ed from preparatory exer ses for saut llé e w u er ci i in conn ction ith q ick fing ing, es e all w e arra e r ress el a is so p ci y h n ng d p og iv y , th t , that the fingers are not given at first too severe a task for l n For m agi ity a d independence . it ust be rem embered that the third and little finger being further away from the finger board require a longer tim e to fall into their places ; and infinitesim al though this be the difference is enough to upset the delicate work of the scintillating bow th a x s m xam l stick . In e ppendi o e e p es of preparatory exercises are given ; they m ay be supplemented at will by THE MASTE RY or TH E BOW 143

’ some of Sc hradiec k s or other ﬁnger exercises before so ’ difﬁcult a tas k as Paganini s Perpetuo Mobile or similar c om positions are attem pted . The sautillé across strings m ay be limited Sautillé t o the as al ass r m s r occ ion p ing f o t ing to ac ross strings s r as m es a u s ales and er t ing, it co bo t in c oth assa es or ma re rese a u us al er a p g , it y p nt contin o t n tion of r strings in the nature of the springing bow a peggio . In e er as it m ea s urse a rres ra ith c e n , of co , co ponding pid c hange of string levels without the scintillation of the bow

e er ere w m u less terru e . r er b ing int f d ith , ch in pt d In o d to obtain the greatest possible regularity ofbow contact with the s r the am bow r is well t ing, even to ount of hai , it to kee hand an orearm all as m u as ss le p d f continu y, ch po ib , in the same (individually most favorable) relative line or osition in er w r s s r le els w p , oth o d to change t ing v ith practically the whole arm no m atte r how rapid its move , m ents may have to be ; for it is obvious that by holding the arm (upper arm and forearm) more or less quiet and making the hand alone (from the wrist) keep up the re u i the bow the h bow r h bo nd ng of , position of t e hai on t e strings of necessity changes from one more standing flat n m to o e ore edgewise . While this may be of no very great consequence on the e ual his as e the ffere a r a e ton q ity in t c , di nce in h i cont ct b ing so e l le and the s ee ahnost er it u s ress n g igib p d cov ing p, t is thereby laid on the other hand on the impor tance (on e eral r les learn to move the whole arm reel g n p incip ) of ing f y, ee s be u er an and all s eed condition as n aid if n d , nd y p s, a the hand versus an exa era e u a al and th to , gg t d , nn tur in e last s a e ineflic ient use the wr s an h l in t nc of i t d and a one . In a great many cases a vigorous use of the forearm 144 THE MASTE RY or TH E BOW carrying with it an unconsc ious ac cent is instrumental in speeding the bow more efi ec tually ac ross the strings than a m ere accent of the forefinger . How potent such an accent is in exam ples like the following :the student will discover when he tries the same

Ex . 47 .

l h x l or im ar s e nni w t u w. he e amp e s i one , b gi ng ith e pbo T impetus from the forearm is thereby reduced by more than l h u i l h half its force . Not se dom t e upbow rebo nd s on y t e reﬂex action of an accent procee ding from either the fore l in arm or re er or . e er e ess rms as fo ﬁng both N v th , in fo example : 47 (b) it will be on the whole advisable to take mi le urse re ar the m e the arm a. dd co with g d to ovem nt of , a is ee m vin e wee th A and D s r th t , to k p it o g b t n e t ing direction and the hand busy covering also the two outlying d al re s s and s al s ru ure strings . In ividu p di po ition phy ic t ct of the hand and wrist will here have to be taken into n a accou t as in so many inst nces in bowing.

In continuous sautillé over two strings the hand. to all

te s m a a es u th n h r rm in nt n g to keep p e reboundi g; t e fo ea ,

e er eless e e er r m the el w n v th , v n h e, responds to it f o bo

and a s a l l -l rem ul us m t n joint id by itt e , vibrato ike, t o o io al r n in te nate directio s . The relation which the sautillé bears to h sl w s a or hr w s r e the t e o picc to t o n t ok , staccato aricochet bears to the ﬂying staccat o (staccato volant)

146 THE MASTE RY or THE BO W

m be l is in the arrest of the bow. It ust done neat y with out any apparent or any actual effort on the part of the la er : A l a m of the re er let us p y ight t pping otion fo fing , h n wr s r h say (to which t e hand a d i t espond) , as caused the s re u ree or ur t mes a er the last re tick to bo nd th fo i ; ft bound , sli tl less the bow is arrested th air l gh y high , in e and he d there by an elastic upward recoil (swinging back motion) th a of e h nd . More diffic ult is the proceeding in longer ns or s ales la e a ri i ru c p y d cochet . Here it s not only a question of timing the dropping of the fingers to the rebounding of the bow but of calc u lating to a nicety the height and force of the throw which w ll m a e the s re u an e e um er mes i k tick bo nd int nd d n b of ti , nd as ma be the as e r a es es ss s r . b id , y c , c o ing t ings The student will do well to begin with three or four an r ll r h notes d g adua y inc ease t e number . The ricochet c an be done with both up and down bow from between l s u s m the point and midd e . It o nd ore brilliant in the up s r e the s a e e wee bow a r and s t ok , di t nc b t n h i tick being greater at the point and the stick more elas tic at that part it offers a better resistance to the required for ce of the hrow as well as m re res l e the er ha f t o i i ncy ; on oth nd , or h e re s ers s r th t e higher ton gi t (E t ing) , e down bow throw h l is ra er m r r l above t e midd e th o e favo ab e . Th b e er ase s ul b r e ow, in ith c , ho d e th own so that the bow hair hits the strin w its ull breadth the g ith f not edge .

For the r w the bow is held rml wr s ra er s ffl th o , ﬁ y ( i t th ti y) , but the ri is relaxed immediatel all h g p y, owing t e stick to hop along unhampered under the light guidance of the hand while simultaneously the forearm moves slowly in the r h di ec tion of t e string . THE MASTE RY or THE BOW 147

Sometimes the a ricochet finishes with the arrest ofthe h b h tr n i e th or bow not in t e air ut on t e s i g . In th s cas e f e n er whi s ul be e er aler and rea its u fi g ch ho d v t dy to do d ty, afiects the arrest by a quick downward bearing on to the stick w as e s the la er the s r the u r hich f t n tt to t ing, if in pst oke , as is m s l the ase the r er su inator m o t y c , ing fing ( p y otion) a s as r ell and m erat r ct both p op ing od ing fo ce . With the springing bow arpeggio and The springing tremolo we reach the last and perhaps som e bow arpeggio of the m ost fascinating ones on the list of m l Th a l l bowings of this fa i y . e n tura resi iency of the stick exhibits itself here to a degree even more surprising and quite as charming in effect as in the sautillé and d

ricoc het.

The s r bow ar e is urse p inging p ggio , of co , founded on a c ertain distribution of the ﬁngers of the left hand over several strings and m ay be called a friskier brother of the slurre and slurre and e a e ar e d , d d t ch d p ggio ; but in in lu w a is s r l s ea ar e a i c ding h t , t ict y p king, not p ggio , th t s, the springing over two strings and the tremolo (springing on one s r a e m re min the m e x t ing) , I h v o in d thod of e ecution which is shared by all and every one of the bowings of h a he l m e t is group . And s t technica thod of execution is common to all so they are also subj ect to the foundational r les for all s rin in bowin s enerall p incip p g g g g y.

ee re era e em . a the one a I n d not it t th Ag in on h nd , the action of the bow with respect to the string (string con

a is m r a e the er the w r the arm t ct) of i po t nc , on oth , o k of , r el the rela and c ob eration it espectiv y, tion p of s different parts to bring about the best vibratory conditions with

the rebounding of the bow . h s a sa llé and re w s les i In t e picc to , uti , kind d bo ing ty t 148 TH E MASTERY or THE BOW

was the vertical (stroke) movement of the hand which h r me a r and the er form ed t e p i f cto , p pendicular hand m the aux l ar one the s rin in bo ar otion , i i y ; in p g g w peggio h re erse a es la e the er en lar j ust t e v t k p c , p p dicu movement of the hand and corresponding (to and from the body) m otion the arm is the most im ortant em n of p it , a d the stroke movement so far as e ers at all is sec onda , in it nt , of ry a r er ere th ar c onsider tion. I ef h to e peggio over several r s the rem l as is alle the st ing ; in t o o , it c d , conditions are

' n l s m ew a diﬂere t . w ere e se ee h o h t No h , ind d , in t e art of bowing is the perpendicular hand (and forearm) move m ent so clearly in evidence and so much a conditio sine

ma e his ma es let To k t nif t, us turn ﬁrst to h l t e s urred arpeggio. Taking example 48 : The action of the bow arm is here a stroke movem ent which by a perpendicular motion of the hand and participation of the forearm (both in the vertical direction and to and from the body) carries the

Ex . 48 .

bow over the three strings ; the less bow we employ the more we are obliged to c all upon the perpendicular hand n rm m em e for he ra h r a d a ov nt t t nsition of t e st ings . Supposing we reduce this stroke or vertical movement to a minim m so a as the resul th bow scarcel alters its u th t, t, e y nt o nta each s r or er wor s remains poi fco ct with t ing, in oth d , almost stationar we he rea h the w ere w t the y, t n c point h , i h

150 THE MASTERY or THE BOW

and the f refi er but e essar finger side ofthe hand o ng , n c y as the m re em a m eme of the arm it is not, o ph tic ov nt , which in the first place largely helped the stick over the is als suffi e for the re ur s r i r strings, o ci nt t n p ing ng, p oviding l n u dis ur e the change of bow was ight a d n t bing nough . hi l wise the ase w the re ewe a e the T s is, ike , c ith n d cc nt on

second lowest note . Much of the perfection of the springing The “ a” bow arpeggio depends on the action of the

orearm and u er arm . m us be arm, f pp It t n ab olutel e e or re ular m ell relatively slow a d s y v n g , co p ing the bow to touch each successive string with the regularity

us su a ra a se as w ll of clockwork, j t to ch f ction of cond i insure a satisfactory vibratory response in the nature of

for the sl es rre ular the s r a clear tone, ight t i g ity in t ing l l h contac t must disturb the de icate p ay of t e stick . w eral ri l h In keeping ith gen p ncip es, t e m stic k should be m ade to lie on the strings

u ri ht stra i. e. e ew se so p g ( ight) , , not dg i , that h ir ri l h breadth t e ha ri s the s . s u t e full of g p t ngs It ho d , l for rst attem ts not be use a e the middle but a a so ﬁ p , d bov triﬂe below where the elasticity of the stick carries with it a reater wei ht e a m re orceable o ra of g g , to invit o f co pe tion h rm n r r is m s e al a t e a a d a st onge accent . It o t ssenti th t the bow as sa alters its oint contact ea , I id, p of , with ch l l l iz r mai r ll r as e as ss v . e s a a a st ing itt po ib e, , n p ctic y st tion ar as far as raw is er for an dra n move y, d ing conc ned , y wi g ’ ment at e diminishes res e el es r the bow s onc , p ctiv y, d t oys

um in ro ensit . the r r he m s j p g p p y On othe hand, unde t o t favorable conditions for rebounding the bow runs the l greatest danger of rebounding too muc h and awkward y . This is usually the ﬁrst difﬁculty the student m eets after THE MASTERY or THE BOW 51

e t his bow um a ll he has succeeded in g t ing to j p t a . It can me us as the l only be mastered in ti , j t e imination of accents is to renew the rebounding . It bound up with that of and the la er as sautillé e n s the l speed tt , in , d pe d on ightness, ’ regularity and closeness of the bow s contact with the r ha is ee the bow l h st ings, t t , on k ping c ose enough to t e l string and yet rebounding crisp y . I might say that the as a w le s ul s mew a l hand ho , ho d o h t bear down a litt e heavily on the stick and the forefinger and thumb with the middle finger should pinch it enough to give it a feeling of firmness of the grip without im pairing in any way the r s e ess l se ess the wr s bu espon iv n ( oo n ) of i t, t as these d ual at es m il i suggestions, in ivid b t, ight eas y be m sunder or a e u s r m a el stood ct d pon indi c i in t y, they cannot be as a ara ee ul m a e su l taken gu nt of ti t ccess . In the ast s a e l ell e and ers s e l e t in t nc on y int ig nt p i t nt , individua fior s will eventually find the hidden spring to perfection in any r m r u l n l difi c ult o o e s bt e bowi g sty e . In the case of the s r bow ar e and sau llé ar i ularl erfec p inging p ggio ti , p t c y, p tion will come when the muscles (especially those of the wrist w is er mu n l e , hich v y ch i vo v d) have , by much work and ma r u us e ea rs a a e - ny ci c ito nd vo , tt in d that steel like elasticit and stren th the a ure hi y g , n t of w ch must be felt to be understood . There is no quick and unfailing m ethod of learning the springing bow arpeggio It is really not what one might call a very diffi cult bowing style or one in the acquiring of which individu

al la s a rea ar . e ert ele f ity p y g t p t N v h ss, not a ew students l l and ainl a u re strugg e ong v y to cq i it . Failure results mostly from two causes :The arm does un well w mea i m not f ction , by hich I n, that it s not ade 152 THE MASTE RY or THE BOW

h r lli a e erm the bow to assum e t e chiefcont o ng g nt, p itting the various string levels with automatic “ re ular and u ofm em e or 233331 g ity contin ity ov nt , the student fails to apply the kind of accent ll i h w ll lift e bow th knack as I ca t) , whic i th in e ﬁrst

place and cause it to rebound of its own accord . rn h r bo ar e re r h In lea ing t e sp inging w p ggio , the fo e, t e student should ﬁrst concentrate on and master the arm movement with no thought of making the bow j um p but by simply slurring the strings with very little expenditure of bow length by m eans of the combined circular arm wrist and - l The arm m s r e ex a e a e . us move hand t ok , p in d bov t slowly; a very slight pressur e or weight should make the n Th e aim her i h bow hair adhere to the stri g. e chi f e s t e exact preservation of string levels of the bow which brings about the necessary continuity and regularity of string An as ma r r is r u e r r contact . e y G jo cho d d t ib t d ove th ee r l r l or four st ings furnishes suitab e mate ia . The autom atic movem ent of the arm having been l rn at the bow mi le th u l s ul e hi ea ed dd , e p pi ho d d vote s attention to the little hand motion affecting the change of f h n h r d bow or t e seco d of t e two epeate notes. When he is able to execute these various arpeggio forms slurred with a minimum of bow length he m ay proceed with ntin th knack w is to set the bow re experime g on e hich f e. As ’ in the case of the sautillé the student s work here m ust of necessity be m uch in the nature of individual experiment

- l l h as s well u ers e era r es . on t e b i of nd tood , g n p incip Since the perpendicular hand movem ent is the lever pre

for m a the bow rebound a s h eminently used king , I dvi e t e student to conduct his experim ents over two strings at 4 rst as Ex . 9 . ﬁ , in

154 TH E MASTERY on TH E BOW

h r r tory accent for t e eturn ebound . I repeat that the less an s r e m em e e te rs ex e for the h y t ok ov nt n , c pt c ange of

bow the e er . , b tt It is also possible to learn the spring bow arpeggio by another method: Begin here as

x 5 w la the r r h in E . 0 ith p ying cho ds afte t e manner ofthe thrown stroke below the middle by aiding the

Ex . 50 .

elasticit h and t e substitute the rm r y of t e stick, h n fo e kind r ma el x of accent and hand ecoil. It y h p in this to e peri l Ex 1 m ent with doub e notes as in . 5

Ex. 51 .

For in this case the naturally stronger Double string accent and more emphatic arm movement arpeggio carry with them a greater compelling force h ’ i in for t e bow 8 react on bounding. This is also the case with springing bow arpeggio rm l fo ed of doub e notes. The bow hair must grip here alternately two strings s a n a d a urall the strin -crossin movements in te d of o e, n n t y g g ofthe arm and hand forcing the bow to this extra exertion THE m s'rnmr or THE BOW 155

h me m re ra rr . e e m r have to co espond T y b co o pid , o e h r t m re exa and t e ac cents r . For violen , o cting in p opo tion this reason the study of double string arpeggios reacts le e ar beneﬁcially on work in sing not peggios. The tremolo ﬁnally which is included The tremolo bow ar e s rese s among the springing p ggio , p nt the automatic rebounding of the bow stick in a partially

l h r r m ll r e the ar new ig t . Any st onge i pe ing fo c on p t of h rm wr s or re er ause the re u the t e a , i t fo ﬁng to c bo nding of ll all i e s the bow bow is practica y absent here . To nt nt is kept danci ng in groups of two or three notes on one m l real the a e string by si p y changing bow . In ity ch ng of bow carries with it a certain subtle im petus from the hand

r er and wr s the bow but m re m r a is (fo efing i t) , to , o i po t nt it that the grip of the hand be so light that the rebounds of h bow e e a e ee s ar e can continue u er t e , onc th y h v b n t t d , nd it undisturbed by a change of bow . The drawing movement being practically the only one v e al u is urse a sl er en in e id nce , tho gh there , of co , ight p p i ular a m w it the s lla s the d c h nd otion going ith , cinti tion of Th bo l as h r m l r l r s . e w bow in t e t e o o a e ess c i p on y, it l h ff i r r lls r h r ow re u s. T e e e s we e, o ove t e st ing in bo nd ct r r s a ul b m ara el weak and er a s su p i ing, f ncif , ut co p tiv y p h p l on this account seldom emp oyed . The tremolo is not particularly difficult after the spring i bow has e m as er a a s e al m us ular ng b en t ed ; g in, no p ci c eff is re u r ma be r e a l at e ort q i ed . It y t i d by pp ying onc autom atic rebounding afte r the m anner described for the i r wo s ri s or ex eri springing bow arpegg o ove t t ng , by p menting first with the thrown stroke method (aided elas CHAPTER XI

Bowing styles not m entioned in the foregoing c hapters the ac c ented detac he skipping strings m artelé and skipping strings the grand martelé the sustained stroke with m artelé st art the staccato por té the sync opated

slurs the parlando a style ofrarer oc c urrence .

Among the bowing styles not hitherto touched upon but coming under the head of one or the other of the u a al es I m a m e rs r er u er fo nd tion on , y ntion ﬁ t , in o d nd

detac hé the accented detache. ,

a troke starts a orce ul accent E ch s with f f , produced by the foreﬁnger and wrist (for the upstroke with the aid of the ring ﬁnger side h h r rs m h t e a . m a es t e s r es the e e e s of h nd) It k t ok v of oot , each being thus m arked by a roughish (jerky) change of

w al h r u n r m be a e . bo , t ough o gh ess even he e ust void d But for the fact that the stroke after this accent is broad ’ and sustained and the string s vibrations continuous as in the sm t e a e mi b er re e as be oo h d t ch , it ght e int p t d not l a am l The le h the onging to th t f i y of bowings. ngt of accented stroke c an vary from two- thirds to a few inches of the bow length and its dynamic quality likewise ; it is m re e erall use e er r e w ere ex resses o g n y d , how v , in fo t h it p ell a m w passionate ood . Skipping strings is another form of de Skipping h ll his tac é occasiona y m et with . Viotti in 22 m a es re ue and concertos (No . ) k f q nt effe Th troke i als su se be sus ctive use of it . e s s o ppo d to 1 56

THE MASTE RY O F THE BO W

is ar excellence a s le for s u m It p ty t dy, as a eans to an end ra er a for ra l l th th n p ctica app ication . For the latter it is too cumbersome and its efiec t s r l s ea , t ict y p king, not musical enough . The bow is raw its ull le as ra l a l d n f ngth pid y s possib e, t r an e uall rm start at n n nt h s af e q y fi , both ut a d poi . T i ar re u res art ular c are for al u st t q i p ic , tho gh in kind not ffere r m a re usl re err th l n di nt f o th t p vio y f ed to , e ength a d great rapidity of the subsequent stroke force on it som e m all ex ra l a w a one a a s. wh t, h t y c , t ob ig tion At the nut the natural weight of the stick and hand not being sufficient to supply the necessary firmness the addi tional pressure does not come from the forefinger alone but from the finger joints combined in such a m anner that the bow is pressed down firmly and sped at the sam e Th i m l r a th m e . e ase s s a t e oint w ere urse ti c i i p , h , of co , the pressure has to be proportionately greater to get the er r m n im same firmness. Und no ci cu stances must a y tus or ressure r ee r m the el w a mm n pe p p oc d f o bo , co o a e Th stroke ee be er l an m ea s mist k . e n d not v y oud by y n , u or u u s ul be elastic a e er t hi ro gh nco th ; it ho d bov ev y ng,

' n tone ua lit throu h h w l l n a d even as to q y, g t e ho e e gth. The study of the grand martelé cannot be too strongly d er w a th rand t recommende , togeth ith th t of e g de ache, l r which it resembles in severa espects. n r w le i More than a y othe bo ing sty , it s apt to give breadth and freedom in the use ofthe whole bow and a l h andeur the s e . T e re er um cer tain gr to ty fo ﬁng , th b, rm all owerfuﬂ x r hand wrist and a are p y e e cised . Students should be particularly careful to observe a pause of a duration commensurate with the strong exertion of the l he s r muscles invo ved in t t oke . An inadequate rest THE MASTE RY or TH E BOW 159

between them is sure to result in a feeble or bad start and a worse stroke . The sustained stroke with martelé start is The sus_ very often employed for both single and tained stroke u le es and m a be ar l With martelé do b not y of v ying ength . Start It stands about halfway between the ac

cented e a e see a e and the martelé ff rin r d t ch ( bov ) , , di e g f om the rm er the a ure its s ar not erk but rm fo by n t of t t ( j y, fi ) , r m the la er a the stroke tsel e sus a e f o tt by th t of i f , b ing t in d , and th ause whi h we er ra l ll e p , ch, o v , f ctiona , fo ows each stroke and gives it an unmistakable touch of decision and l fina ity . s r r h s r es m a es th w s le Thi cha acte of t e t ok k e bo ing ty , all e for the w le bow le emi e l especi y when us d ho ngth , n nt y for h r se a a em e s ass a fitted t e p e nt tion of th of di p ion te,

dignified grandeur . The staccato orté i a e as es p , ind c t d by d h smc cato er the strokelets be la e one bow ov to p y d in , géé d t n h r ta at Th is a mo ifica io of t e fi m s cc o. e strokelets appear deprived of their staccato- like crispness

Ex. 52 .

n but are e er eless se ara e r m one a d shortness, , n v th , p t d f o n r another by short gaps or pauses. Hand a d fo earm are instrum ental in producing the staccato porté by gentle s s r or l a r the am u bow pushe , ho t ong, cco ding to o nt of for on b intended for each note in a passage e ow . l h a e s urs Ex 5 . Of the same class are t e syncop t d as in . 3 A hiatus separates the slurs under one bow which thus do 160 THE MASTERY or THE BOW not differ markedly from and are produc ed like the little ri a u his strokelets of the staccato porté . To b ng bo t t eac h econd e ofthe slur is shortene d effect, s not val At the lower hal by a fraction of its ue . f a s milar effe but one of of the bow, i ct, ll r l m a be ai ed li tin the bow sti gre ate de icacy, y obt n by f g

Ex . 53 .

r a h r h a very little offthe string afte e c slu . In this form t e l m l nd is all ed to the arlando sty e rese b es a i p , Parlando which in connection with a slow or fas t vi l h ar s s ea as th m brato enab es t e ti t to p k, e na e par m l es his ns rum e al er ac e of lando i p i , on i t nt in f t ing c nts emotion for which the pure cantabile does not offer the x best modicum ofe pression . l 54 r Examp e No . b ings us to a bowing style of rare occurrence which may be said to hold about the middle between the stae at n he slur ex ress e a s v c o porté a d t , p iv of ort of tone hea ing

Ex . 54 .

r art a th n re r sen s a sl r hi a o icul te brea i g. It p e t u in w ch e ch note is em hasized m re or l and is r u e an p o ess, p od c d by undulatin m em e the hand a i a su ess g ov nt of , th t s, by cc ion of pronations and supinations with the pressure of the ore n er immediatel relieve a es f ﬁ g y d. When this repe ted pr

CHAPTER XII

The playing ofc hords double strings non-sustained c hords rules for sounding them short chords over four strings short c hords with the upstroke sustained h d i n c or s some modiﬁc at o s .

The playing ofchords is not only indispensable to the violinist and forms an im portant part of his technical m but rese s er a s ial ea h equip ent, it p nt c t in pec f tures in t e m anipulation of the bow which render a more detailed r ra l consideration of thei nature desi b e . Chords are the natural expansion of two The playing of doub e ar arm and ma me a h l p t h ony, I y ntion t t e outset that playing on two strings in various dynamic shades should be introduced into the earliest ’ stages of a pupil s developm ent so that it m ay soon be com e second nature with him as much as playing on single 1 l The e e s m a eas be see . the rs strings . b n fit y i y n In fi t a l s es an un s us fine eeli for de place , it est b i h con cio , f ng lineating st ring levels which greatly facilitates all later r e eral str s se l has a n work ove s v ing ; cond y, it direct a d

s e ﬁ al ue e tons r u asmu m o t b ne ci inﬂ nc on p od ction, in ch as it accustoms the pupil early to seek and obser ve the best r s the s r s for r h vibrato y condition of t ing , to secu e t e sam e l v ra ns the ar two s r am p itude of ib tio on p t of t ings, espe h er re s ers a urall re u res a m c ially in t e high gi t , n t y q i uch

’ “ 1 This has been made a feature of Sevcik s Method for Be ” ners O . 6 . gin , p THE MASTE RY or TH E BOW 163 greater free dom and perfection of stroke than is necessary f m re th earl u l or on s r . ur er e s u e e t ing F th o , y t dy of do b strings is of inestim able value for the intonation ; it in vites a consideration of the relative position of the fingers a s r s u es r is at e on djoining t ing , ind c (p oviding it onc insiste d upon) the habit of keeping the fingers on the l s r for r s s x s etc . and e e s s re t ings thi d , i th , , d v op t ngth of percussion . as l is the es re ara am r hi L t y, it b t p p tion, ong othe t ngs, h l r In for t e p aying of chords eithe short or sustained . ee the student should a roach the stud ofchords d d , pp y both for the right arm and left hand from the standpoint that two notes on adjoining strings constitute a chord which he r r m ay sound sustained o struck sho t . Essentially the technic of playing in either way chords r two hr ee or ur str s is the sam e the ffere ove , t fo ing ; di nce lies only in the fact that with the addition of a third and fourth string owing to the roundness of the bridge (which re ers a s m ul a e us s at a m u less the l nd i t n o oft t ck, ch ho ding out hree s r s m oss le a rres circular of t t ing , i p ib ) co ponding mot n h io of t e bow enters into operation . Taking first short (non-sustained) chords n over three strin s w the down bow the g ith , m ail a “ te s u em a a r l chnic of o nding th s tisf cto i y, w ul e e eral r les for la i o d, in ob di nce to gen p incip p y ng u le es u er the sam e s be r a l s ea do b not nd condition , b o d y p k in er e the oll n r le : g, gov n d by f owi g u s l I . Emp oy not m ore bow length than is General rules necessary for sounding broadly and clearly two strings together plus a fraction sufficient for the bow to reach also the third adjoining string level without a m u r di in tion of fo ce . 164 THE MAS TERY or THE BOW

Waste ofbow length is one of the most comm on faults in la i p y ng chords . h r i to l u i ll . Us s be as s e h II e, if t e cho d o d , gen ra y t e as the art th bow w ere the natural wei ht h c e, p of e h g of t e stick offers most (physical) assistance to the bowing i ar h n a ara us a s u e ne t e ut . pp t , th t , q it Every inch nearer the middle diminishes this weight a n he rea th r assist nce a d with it t b dth of e cho d . r he bo w to the t o l wer s r III . B ing t w do n on w o t ings not perpendicul arly unless the chord is to be played e e all s r z see el w but at a slant or a le sp ci y fo ato ( b o ) , ng of about 45 degrees which best permits a slight circular con tinuation of the stroke movement in the direction of the added third string and avoids hardness of ton Do not hit h bo x l . w t e see e e e w but IV ith w ( c ption b o ) , e the s r s w er rm a s r m em swe p t ing ith it, p fo ing t oke ov ent h am l i even if t e ount of bow emp oyed s to be restricted . To this end hold the wrist well poised and the elbow com fortably high and use not the whole breadth but the edge of the bow a r l s mew a r a er a r ar as h i , on y o h t b o d th n o din y ( , f r a th a ll o s e bow . s w r u e in t nce , in ch nging of ) Thi i p od c the m s a ra le ra r res se r m th r o t f vo b vib to y pon f o e st ings, l nd arr e wh h the wh l i n i. e. a e a e s ot , nob c ying ton ic , on o , the ase w the wr s el low us the ull rea c , ith i t h d ing f b dth of the hair . h efl em l th hand as a whole h r V . C i y p oy e with t e p ona toryforce thr own on the foreﬁnger; the hand thus leads the stroke movement the arm but the arm ollows its not , f it ; i r n h c ooperation s of great impo ta ce . A c ord struck from the wrist and hand alone sounds thin and feeble c om pared to one produced from the hand and forearm ll r es a a r ur str s . togethe , peci y cho d of fo ing

166 THE MAS TE RY or THE BOW

Th h r fi r exec u es ere a e hand , chiefly t e ing nge side , t h kind of circular digging movement with strong pressure h m i l l e m h fi r . T ar l em d fro t e fore nge e s on y discreet y p oy ,

l f r m for ur s r s. ess in chords o three, ore in those fo t ing Otherwise the rules are about the same as for sounding hord h c s in t e down stroke . e are l the same ex e for m l us Th y a so , c pt so e s ight obvio m s ifth r s ar ru at r ar s of odification , e cho d e st ck othe p t he ho The nearer we o he oint th m re stre nu t w . g to t p e o ous naturally the supinatory (digging) movement of the hand becomes under a correspondingly stronger counter pressure of the forefinger and thumb if we wish to attain anything like the same breadth and strength for the chord h n as nearer t e ut . n hi h r A d t s brings us to t e sustained cho ds . As it is physically impossible to hold out ree s r s me ur the l wer th t ing not to ntion fo , o one or the la er ase the two l wer s r s must , in tt c , o t ing l h h assume more or ess t e c aracter of broad grace notes . r ff h di e e e w a Ex . T e m Th i ct ould be bout as in 58 . culty consists in creating as close an association of the grace note portion to the held- out one and effect this with as little bow expenditure as possible without impairing the rea h r se here w ul be b dth of t e cho d . Otherwi t o d not sufficient bow for sustaining the held- out portion of the

h i r r r . t n he w s r e s s eas e o cho d At e ut in t do n t ok thi i , p viding not more than one- fourth of the bow approxim ately is given to the grace note portion (in chords over four

r on - r st ings e thi d) . At the point for the upstroke chord the hand should be held n th wri t l mew a r sse in re high a d e s ow (so h t p e d ) , p h l l Th han venting t e e bow joint to protrude undu y . e d TH E MA STERY or THE BOW 167

m em e es r e a e executes the digging (or screw) ov nt d c ib d bov , r the foreﬁnger acting like a strong b ake . The arm slowlyfollows the hand movem ent till it reaches its proper level for drawing the bow on the two held- out

trin s gs . For practicing held-out chords which are very strength

” enin f r h nd a re er and um the g o t e wrist a h nd (fo ﬁng th b) , s h l l s m o erato and ra u tudent s ou d begin with ha f note , d g d ally increase the value of the held-out notes until he is able

sus a em r e a w le bar a a as Ex . 58 . to t in th fo t ho 3 , d gio in

Ex . 58 .

To sound chor ds piano scarcely requires special c om m m m es th im h ll e . e e a s me es t rearm w nt So ti h nd, o t e fo i prove the best agent for connecting the grace note portion w the l - on h r ith he d out e of t e cho d . There remain yet two or more further “0

rm s w short c hords ma ur . As fo in hich y occ min? alrea m e e e are be e dy ntion d, if th y to giv n w a s e al s rza the bow s ea swee the ith p ci fo to , , in t d of ping ree or ur s r s ma be ressed martelé ashion th fo t ing y p , f ,

rml th l r O r s m e m es e we es an ra r ss . ﬁ y on o on d d wn ac o o ti ,

' als to a a r r f r three strin s o , tt in a sho t d y eﬁect or a cho d of g the middle one is pressed down to the level of the two others and the ree r ll B e ere th st uck practica y together . ut ev n h a very slight arpeggio movement of the h and will be a sa le r r dvi b to p event oughness . For a quick succession ofall down bow chords the pro c eedin is s m l r h r r m m is l e g i i a . T e ci cular st oke ove ent ik 168 THE MASTERY or THE BOW

lm l r T h h wise a ost ob ite ated. he bow its t e strings as in the pic c hietato at the extreme nut with the full breadth of r h r s l l l lo Th h a t e e e re a w. i t e h i , w i t b ing h d tive y e hand s principally engaged in thus hitting the three strings h toget er . O n the er an a a as Vi ux m B l oth h d , in p ssage in e te ps a la e and l na se see als su lem e and h d Po o i ( o pp nt) , in t e r his m r th r h s four th Conce to of t aste , e apid c ord with alternating down and upbow are also produced by the a w the rearm ass s h is h nd , ith fo i ting if t e wrist not quite l ose e u but the elbow is ere held hi h e the o no gh, h g to giv hand as much poise and ease as possible and the bow is draum so vigorously (with a certain downward pressure of the hand) in the level of the middle string that the two ad oinin one s are u e n us orced e j g to ch d a d th f , as it w re , into

- the stroke rush. In the Vieuxtemps Concerto as in som e of the Paganini com positions the execution ofthe slurred chords is eﬁec ted s milarl nl m bo l n h rm i y, o y ore w ength a d a freer use of t e a e er h r nt into t e p oceeding .

170 TH E MASTERY or THE BOW

ance ; capable ofexpressing not only the softest shade and h l but als all erl ami ra a t e oudest, o int ying, dyn c g d tions, ll res e s and e res e s e er ar a nuances, c c ndo d c c ndo , in v y v iety

l ru and ire ess . with equa , convincing t th d ctn 4 m us be s m a e warm ull l ( ) It t y p th tic, , f of fee ing, anim ated by a spark from the feu sacre that burns in the e er rue m a and w h u wh a heart of v y t usici n , it o t ich tone, w r all an the ic all er e h0 ho eve technic y d ws t y p f ct , cannot pe ” to reach and touch the heart of the listener . If this deﬁnition of a beautiful tone is a fairly ac curate n on ho n u a a d comprehensive e, w ca s ch tone be ac quired ? a u e r m a m re re e w r mi e Th Ag in I q ot f o o c nt o k of n , e ’ Elem ents ofViolin Playing and a Key to Sevcik s Wor “ Perhaps more than c an be said of anyt hing else in the art of bowing the acquisition of such a tone depends on natural talent and its speciﬁc quality on the individuality h s ma un for the f h of t e student . Thi y acco t ac t that t e t e two la ers w ll be u to be the on of no p y i fo nd same,

al u e m a a e ee au the same m r tho gh th y y h v b n t ght by aste , a er th ame m e a e r u h ft e s thod , h v gone th o gh t e same

exer nd be ll e an h cises a equa y gift d d industrious . T at ual m a es tsel el a u l l a individ ity, which k i f f t in p pi a re dy in his very grip of the bow and his ﬁrst tentative strokes and all r his w r w s ul be su a th ough o k of bo ing, ho d ch patent factor in the form ation and quality of the cantabile tone

is sur r s w e we s er a is ual a is not p i ing h n con id th t it d , th t , physical as well as mental ; physical inasm uch as it has to h rm the a w do with t e fo ation of h nd, hether soft or

har or lar e or sm all r a or sl r d , ﬂeshy bony, g , b o d ende ; and

the wr s w e er su le or erw se s r r ea i t , h th pp oth i , t ong o w k ;

the rearm m us ul r r a etc . fo , c a o ﬂ bby, THE MASTERY or THE BOW 171

An m e al re eal e er a rv us s ru d nt in v ing ith ne o , high t ng l mat tem ram e a rea er or le r se s t e or ph eg ic pe nt , g t sse n i iv e su s s a or ull er e and ness to aesth tic gge tion , keen d p c ption l ul r a m ta and a s r critica fac ty of obse v tion , i i tion b o ption, ” et c . With respect to this psychical aspect of the ues e the s g ﬁ an e whi is q tion of ton , i ni c c of ch aspect apt to be overlooked in considering the more a are l ur e e al r lems l e on m a pp nt y g nt t chnic p ob invo v d , if e y ’ a an erm the ar s s e its s ul as spe k of inn ost of ti t ton , o it ’ w ll u th a al o were it i be fo nd in e rtist s psychic eg , ﬂue l or u usl th s al in ncing conscious y nconscio y, e phy ic phenomenon of tone both as to its production and char ac ter with som ething like the inevitableness and con h tinuity with which the mind acts on t e body . That it m l s th e th bow er seeks and e p oys, beside e t chnic of e , oth m x u as el the he eans of e pression, s ch b ongs to technic of t l t a h i ra r am e s t and e ef h nd , t e v b to, po t nto , hif ing choic

l - n m r tc . is urse se e e a d e i e of ﬁnge ing, e , , of co , f vid nt nt on d here only en passant. x ress but u er I say e p ion, I do not wish this to be nd stood as meaning merely what the word comm only stands la x or eel is nl for in music . P ying with e pression f ing o y one of many manifestations of the psychical element in tone . A man m ay play with deep feeling and a perfect c om

ll th l t - a and t lac m and of a e devices of ef h nd technic , ye k pretty much everything else we are wont to connect with m l m d ar an eal e . e e e e a ar an e id ton R ﬁn nt , d ic cy, ch v i ty s and rasi r l ra er nd u less of hading ph ng, vi i ity , cha ct a co nt am nd s l s u le es e e an au le a e dyn ic a ty i tic s bt ti , v n dib ch ng w e all r r m he same s ur e as of bo , do th y not sp ing f o t o c 172 THE MASTE RY or THE BOW

m usical feeling and form the psychical constituents of a ’ player s tone The presence or absence of any or several of these ual es w e er the resul e ni al ra or q iti , h th t of t ch c t ining not , r m e ex e r m s al reas ns or not re res e s o , to so t nt, f o phy ic o , p nt

r n u he m e er afﬁrm ae in the ﬁ st instance a attit de of t ind , ith

r a war s ese ual es an a l or tive o neg tive, to d th q iti , bi ity inability to estim ate them at their prO per value and the nd rm a or em em inclination a dete in tion not, to body th in

tone . Turning to the technical side of the beauti e t hm ul tone uestion w ll s ar el be e essar g sigg f q , it i c c y n c y to reiterate what has been stated on m ore the re e a es am el a than one occasion in p c ding p g , n y th t perfection of tone depends on the perfection with which the a it an ntinuit ra . r r d co ar made to vib te i. e e ul strings e , , g y y of s er e m a be the a ure nl a vibrations. Thi p f ction y in n t of o y l u the bow as the s a a ss awa e ight to ch of in picc to , ki k ning h r as were r m its slum er its s a e er a t e st ing, it , f o b , t t of in ti , h or it m ay lie in a sustained effort as in t e cantabile . hi all whi develo s reedom ease Everyt ng technic y ch p f , , delicacy and strength of the bow arm works towards beauti h fying t e tone . For this reason it will eas ily be seen why and how the practice of bowing styles diametrically opposed to the a l ma a e a e benefic ent ue e the c ant bi e y h v pot nt, infl nc on t and wh ex lus e s u o sus a e w s for one , y c iv t dy f t in d bo ing f l an all round the sake of tone must prove ine ficient . On y m uscular development of the r ight arm will ultim ately lead to the desired goal of a technically beautiful tone provided ’ the student s efforts are guided by analytical self- criticism and a observ tion .

174 THE MASTE RY or THE BOW

th t tone he most bow e rease the am un e loudes t , d c o t of bow n h a d bow speed as t e tone becom es softer . The validity of this principle applies also Ac c entuation

to acc entuation . e s ar wo Acc nt e of t kinds .

ar n r th rh m th ul They e i he ent in e yth , denoting e p se of a

m us al u era e or i e s its ea or e ar ic tt nc , nt n ifying b t, th y e u r u e for reas s am ar e or e i s pe ind c d , on of dyn ic v i ty t chn cal

x the l - ame res ac e s rm e pediency . In ast n d pect c nt fo an hn u m important ac cessory to bowing tec iq e . So e bowing t les ee w ul be ra all m ss le but for s y , ind d, o d p ctic y i po ib

their aid j udiciously convoked . ma w r u an r m There are ny ays of p od cing ac cent, f o dropping the bow a little m ore heavily on to the string m e e or earer the nut a r us (fro a great r h ight n ) , to vigo o sudden push of the whole arm when the preceding dynamic h milieu had perhaps called for short smooth strokes . T e

' foreﬁnger is the most generally employed medium to eﬁect l n n ra s e and m re or ess sus a e . a acc e t, both t n i nt o t in d In

h er e the a ressure res e the t e form cas f intes t p , pond d to by um e sufﬁ es se ure the es re resul e er th b, oft n c to c d i d t , ith h l ll is the k em l e tec nical y or m usica y . It of ind p oy d for setting the bow free from its contact with the string in the s r bow ar e for el er the s r p inging p ggio, h ping it ov t ings in m any form s of slurs and detached bowings and for I m tai m z rh hm e er rm . re sus ned e phasi ing yt in v y fo f o , suc h re re is or u be ar a l accom anied p ssu , o ght to , inv i b y p by a r an increased amount of bow length. An ccent thus p o

duc ed is less l a l be ar w ll s u and arr e ter . i b e to h d , i o nd c y b t But h s as urse the re er and um s are in t i c e, of co , fo ﬁng th b h i l Th h he an the arm re ec t ve . e t e work with t wrist d , p y r r re a e ts slurs m a s p ope ndition of cc n in , in co bin tion of slurs and detache strokes requires forethought as to the THE MASTE RY or THE BOW 175

best division of the bow length intended for a passage . O n ac u an a e s r or l a is a su e co nt of cc nt , t ong ight , th t , dd n pre cipitating of the bow movem ent under sim ultaneous m re or l s ressure the ex e ure how for the re o es p , p ndit of p

e l r w ll a a r l c ding or following s u i h ve to be s ved acco ding y .

TH E VI BRATO

Although not strictly belonging to my subj ect of the s u le es w ere is one es re u bt ti of bo ing, th thing I d i to to ch upon because it is intim ately connected with it the vibrato . Much has lately been written about the use and abuse ofthe v ra the l its ue e the e t ib to on vio in, inﬂ nc on ton , e c . As wi all mea s ex re s udiciall em l e th n of p s ion j y p oy d , the vibrato is the great friend of tone and one of its most ower ul allies use s r mi a el and alwa s i th p f , d indi c i n t y y , it s e

' a e se s e ears and er es and the enem th b n of n itiv n v y, e despoiler of the true violin tone per se as well as of sound l - a t nd hr h l eft h nd echnic a t ough it to t e tone indirect y . lea e ma a w at s me the old lass al I v to i gin tion h o of c ic , Italian mas ters would say ifthey could hear the vibrat ” in a is alm s e er s r e e er g th t going on in o t v y t ok , v y tone, l r of som e of our modern concert vio inists . If vib ato is th l m ea s ex ress te s e em the lat er e on y n of p ing in n iﬁ d otion , t m us be uall the hr es arr w em t t contin y in t o of h o ing o ion, or em m us be a hea and mm mm for otion t c p co on co odity, the listener is drenched with it until he is tem pted to wonder what a violin tone sounds like without being so

a r e beautifi d and e s e a ra o . do n d , e int n ifi d by vib t I th a h ra a s the m es whi s e buse of t e vib to ign of ti , in ch the u l ed the ret e - eau ul has q iet y dignifi , ic nt b tif no 176 THE MASTE RY or THE BOW

l but w ul a ress a w r to p ace Perhaps it is, I o d dd a ning th e student . There are two great drawbac ks to the use (I do not m ean r n ion w bowin t i h b ato co ne ct s ud es . abuse) of t e vi , in ith g Fir tl m a rs the a s y, it i p i inton tion espe

backs to its ll ul h arl r cia y if ind ged in, in t e e ie stages of use l u and secondl w l vio in st dy, y, hi e in its

r r la e si es vivifies umanizes the p ope p ce it int n fi , , h tone , it also is apt to ac t anything but favorably on the te chnic l of tone production and bowing technic in genera . With regard to the hurtful effect of the vibrato on intonation I often wonder whether this is as fully realized h r m a by teac ers as it dese ves to be . Why do so ny pupils play out of tune when there is no reas on to suppose that their hearing is defective or that they err on the side of E n l slow practice and industry . Ve accredited p ayers are m mi open to criticism on that score . In y nd there is no doubt that t he free indulgenc e at an early stage in the use vibrato all as s l es at the bottom s de c of on occ ion i of thi fi iency. In the first place a dependable left-hand technic and intonation is based on t he principle of keeping the fingers

l l hi r down wherever and as ong as possib e . T s p inciple e u a ra le to the exer se the vi rat a i b ing nf vo b ci of b o h bit , t is discarded for the sake of the latter the m ore readily as it is u m r a l re u res are and u h and c nco fo t b e , q i c tho g t an l l h l r Th on y be ful y establis ed thr ough ong p actice . e fact that the first and second fingers are the ones best suited for and most easily m ade to shake aggravates the evil ; for the first finger is the one which ought to be left on the strings more than any other ; from it are gauged the s a es and ur s es as were the llar sa e di t nc , it f ni h , it , pi of f ty l all s s for s ales r a et . in po ition c , cho d p ying, c

178 THE MASTE RY or THE BOW

a ra and ma m es a m zz any suspicion of vib to , ny ti e a voc e cantilena will gain poetical charm and chaste beauty by its absence . h l e is of urse em erame w In t e ast instanc it , co , t p nt hic h with the artist must decide his use of the vibrato whether l m um or as an we s all lea e a h it be s ow, edi f t, d h v it t t at . CHAPTER XIV

Concluding remarks on the study ofthe bowing styles in the m usic al supplement Right Ar m Gymnastics (pub

The aim of the student must be to achieve through his bow arm not only beauty of sound but beauty of move hi end the i u us use of l r ment . To t s cont n o a a ge mirror l ful d and a is a tru y wonder ai , in ddition it will be found to e a e s era l the leas ura le eres th nh nc con id b y p b int t, indeed, e w s u es an e f x fascination of bo ing t di , int rest ar e ceeding h w r h l that oflered by t e o k of t e eft hand . But any efiec tual use of a mirror implies the necessity on the par t th u e to ra t e win w u o of e st d nt p c ic bo g itho t notes, s that he may devote his undivided attention to the doings of h he r arm and e er ar . cales ere r t ight v y p t of it S , t fo e, in l e hir s s x s and a r sing e not s, t d , i th oct ves, b oken chords as well as études if they are to serve truly beneficially as ma r al for w ul be mm study te i bo ing, sho d co itted to

w s u es m re er el e r full e eﬁ Bo ing t di , o ov , to yi d th i b n t, mus be e as all l bu w r l r t don not occ ion y on y, t ith egu a ity . In any scheme of daily bowing drill the student should

e re ularl wi the sustained stroke two ar b gin g y th in f, b s to a bow A a e A a and , nd nt ( d gio) , in pp, eight bars to a bow in l l in s g e or doub e notes. A l ex er e e has r e the e cac ong p i nc p ov d ﬁ y, The slow sus w u exce this work for h tained stroke itho t ption, of just t e in f and m l n r r h vio i ist of eve y grade . Togethe with t e ra e mar el at all ar s the bow i r a p ctic of t é p t of it s, pe h ps, 179 180 THE MASTERY or TH E now

the best direct means towards perfecting the tone both as

to volume and quality . As an evenly sustained slow stroke

' re u in a m us ular s re th in fi q ires, ddition to c t ngth of e whole arm es e all the wris refi er and umb h ( p ci y of t, fo ng th ) , t e m s are ul a us me r ar l o t c f dj t nt of p essure , v ying at a l parts of the bow and with every tone to the slowes t possible bow s see a er X the u l s ul e w m peed ( Ch pt III) , p pi ho d b gin ith f or fand in course of time increase this moderate loudness m l a . Thi to f s eans ong and patient work . milarl r ress e w r and a e i Si y, p og iv o k p ti nce s necessary for the mastery of the pp before the goal in point of slow an e e ess o e c an be a ness, softness d v nn of t n re ched or as tradition has a e c an be held out i one troke a w l it, ton s ho e Th bow is ri ed v r li htl h mi l min . e ute e g pp y g y, t e two dd e fin arel ou hi th s an wi h arm tead gers b y t c ng e tick, d th t e s y h and firm it is thus drawn at t e extreme edge of the hair . On the same progressing lines studies in increas ing and h r e decreasing t e tone may be conducted . Thei gr at m r e a le a usefulness needs no comment . A o e d t i d ccount of everything relating to tone production will be found in “ ” “ m w Art l wi and The Ele y t o books, of Vio in Bo ng ’ ” m ents of Violin Playing and a K ey to Sevcik s Works . A h th ar us w s determine be ore s to t e study of e v io bo ing , f hand all particulars relating to the proper execution of a t le a u e ra e the art the bow and bowing s y bo t to b p ctic d , p of mount be em l e the ex e the exac t a of it to p oy d to t nt, if ma al mar s the s and read necessary, of king ch k k on tick, h up the referenc es to it in t e preceding pages. re ve rades o eed l Adopt prog ssi g fsp , not on y with regard to more difficult or complicated bowings where speed is necessarily of slow

m bu rall . ommence the s u a attain ent, t gene y C t dy of

182 TH E MASTERY or TH E BOW

ra er one s eel and the last test stren th is ed and th of t , of g spe er n be a a e r m le endurance. Neith ca tt in d by fo cing a usc l The but l rs s e r ress e ra ni . on y by pe i tent, gent p og iv t i ng

‘ m re diﬁ c ul lex or su le bowin t les are o t , that is, comp bt g s y the longer the time they require for their mastery be cause r a r exe u h l ss e thei pparent ease of thei c tion, t e ightne th y r h l u r r equire is t e ast frui t of ac q i ed st ength . While it is most essential to practice bow At the pric e of breadth ing styles wherever practicable at the three and freedom r l ar s he bow m l t p incip e p t of t , idd e , poin and nut in order to attain as nearly as possible the same de r a l at ea and m a be als for s al g ee of f ci ity ch, , y , o peci e al reas s is e uall essential a s wa t chnic on , it q y th t thi y of ie - ractice i not arried too ar or ul h p ce p s c f , ind ged in at t e price ofbreadth and freedom and tone quality which largely h m m h l depend on t e ove ent of t e arm as a whole. A ready Bai t r l m l llo wa ns pupi s against too inute y specializing . The result is not unlike that experienced by a singer who might practice ad nauseum each of the three registers of l r i l his voice but fai to connect them . The e s a notab e Th h break between them . e study with portions of t e bow sh ul ere re re uentl alternate w or as w re o d , th fo , f q y ith, it e , ' i f r d work for th o Th be re n o c e e wh le bow. e ra j by, p ctice of on r a s a ra l he r e e ct f vo b y on t othe . u lem e ar to his las the S pp nt y t t point , student should also give dynamic variety to hi n t i s bowi g s yles . It s a mistake to practice l u r u u as is a l e m s a la l o d th o gho t , it ik i t ke to p y on y pp after the m uscles have reached a certain degree of respon r au e the mus sive st ength and independence . "ust bec s c ular apparatus at work in bowing is so complex and so s u le is r l m ff et ever bt , it necessa y to b end dyna ic e ects to g y THE MASTERY or TH E BOW 183 p art of the muscular machinery to work and in time under l automatic cont rol . Playing p eaves inert or partially ner er a mus les and la n ul e l i t, c t in c ; p ying fif i d g d in ong, is sure to develop one set at the expense of another of a

more subtle activity . Within the bounds of disciplined reason the student should vary the tone shades as he varies the parts of the bow and also try soft shades where loudness is more a ural and vice ver sa l u e s w ere s m n t , , o dn s , h oftness see s imperative . As a ﬁne test for mastery over these “ d am ar a s re mm e egi ni yn ic v i tion , I co nd b n ng mfg n u ta le le w at the nut a y s i b sty of bo ing , n erru or a e ami a d without int ption ch ng of dyn cs, to transfer it to the middle and point and back in the same

h n r al r a w way to t e ut . O also te n te bet een point and m le an the ar s e wee nut and m le or al er idd d p t b t n idd , t nate between the use of one- half bow and that of one- fourth or o ne-eighth at either point or middle with crescendos at w ll w u as sa erru the ﬂow e for i , itho t , I id , int pting of ton r h a m one instant o changing t e once dopted te po . w exer es s ul be arr e ex ess e er Bo ing cis ho d not c i d to c , n ith with respect to practicing any particular style with the v ew mas er nor e eral at the ex i to t ing it , in g n , pense of o r m s e mus c al e u a and l - x r the ite of t chnic , i d c tion se f e p es A a re ea the m us ular a ara us is so om sion . g in I p t c pp t c

l x h a its ar s so c o and er - rela e a p e , t e ctivity of p t int t d , th t c oncentrating efforts on the m astery of one difﬁcult style

f rar l a a ls m u w le r u an re o bowing e y v i ch , hi th o gh indi ct , a the a e ra e er er roundabout w y, by p ti nt p ctic of oth , v y different styles the one in question often becom es eas y at h n - a n ex e m me . t e a a o e s e un pect d o nt On other h nd , id d , 184 TH E MAS TE RY or TH E BOW

r l e ra e u s als the er us s s em w too p o ong d p ctic p t o n vo y t , hich l es a the mus ular eﬂort an ur i b ck of c , to inj ious strain . This is the cas e in certain bowing styles more than in

ers th a a and stac cato volant b r oth ( e st cc to , ut t ue on h l h i an t e who e . T e student s advised in y cas e to alter a r w a ale hr m n n te bowing p actice ith th t of sc s, c o atic a d dia r l r e r s ls etc . tonic , b ok n cho d , t i ,

lu wis m e the value o arti ial In conc sion, I h to ntion f fic h harmonics th schem o bowin . T e ere e essar in e e f g h n c y , rapid vibrations require for their successful continuity a rres li ht n ra id bo m eme the absen co ponding g a d p w ov nt, ce of all pressure as a hindrance to vibration which makes. e r s u m s e e al for the a a e stu e th i t dy o t b n fici ; dv nc d d nt , m re er e all for an e l a s eel-l e a u e o ov , th y c d d ve op t ik ttit d the rearm an m The fine exe u of fo d wrist co bined . c tion of

arm s s a a s a a the bow m le and h onic in t cc to , picc to t idd in

el -out es is lm r ara ee for a well h d not , a ost a su e gu nt

ra e well- ala e r rm m l ess of t in d , b nc d ight a , co bining ightn touch with a certain unmistakable sureness and ﬁrmness

a a el a r of tt ck, d ic cy with st ength .

A LIST O F DESIRABLE BOOKS AND INSTRUCTIVE WORKS O N VIOLIN STUDY BY MO DERN WRITERS

I L N E C NG AND LIN S D ou ac h V O I T A HI VIO TU Y. For Y ng Te e rs

c . r and Advan e d Students Eugene G uenberg.

Wi a e s r s r ( th Prefac by h it K ei le . )

‘ The author having been superintendent of the violin norm al department of the N ew E n and Conservatory ofM usic (Bosto n) for a period ext ending over twenty

e rs o era the eac in e x eriences ofhis en ire areer in th e a es ofthis oo . a , t h g p t c p g b k his o u e as 9 o e is un a enta ase u on his e ures on the art of v l m , wh l , f d m lly b d p l ct ea in t he o in as eli a he on r a or t ch g vi l d vered t t C se v t y .

r s THE ART O F BOWING. Emil K oa .

A r a i a theore ic a ui e for e e o in the e c hni ue ofth e bow and for p ct c l , t l g d d v l p g t q n on acq uiri g a ﬁne t e .

’ O F PAG NIN S E -F R CAPR ES End" THE STUDY A I TW NTY OU IC .

Kross .

’ A new descriptive treatise based upon Paganini s methods e xp lainin how these an b m all Es esl ned for famous studies c e as tered by violin players. pe cially g . h a an I r at e t h n r h to ra h oses of the players wit sm ll h ds . llust d ume ous o g p io p au o E a trans ate ro the ori ina e ition us a Saen er th r . speci lly l d f m g l d y G t v g

VIO LIN INTO NATION ; ITS ABSO LUTE AND INFALLIBLE MAS

TERY. Siegfried Eberhardl .

A re markable work on what is conceded t o be the most difﬁcult and c om n a n In a i ili ofin ona ion is ac e wi hin ac tua ph ase ofvioli pl yi g . f ll b ty t t pl d t l r a er t rou a se ries of ori ina ar um ents and exer isin m ateria o h eve y pl y h g h g l g c g l , b t n n c onvinci g a d authoritative .

Sie VIO LIN VIBRATO ; ITS MASTERY AND ARTISTIC USES . g d fried Eberhar l . Practical suggestions for correct te chnical development and so ulful violin-tone pr o

n Wi h a s e ia re a e Pro essor us a H ollaender . ductio . t p c l p f c by f G t v

’ Massarl. KRE "ERS E DES . L. THE ART O F STUDYING R. UT TU

i n h f h au or ise and trans ate b 4 12 ex am ples c omp led upo t e advice o t e th . Rev d l d y

a S aen r . E n lis ren and er an e x . Gust v ge ( g h , F ch G m t t )