DRAWING A LONG BOW

“When I say that the student should ‘draw a long bow,’” continued Mr. Severn with a smile, “I do not say so at a venture.  If his instrument and bow are in proper shape, this is the next thing for the student to do.  Ever since Tartini’s time it has been acknowledged that nothing can take the place of the study of the long bow, playing in all shades of dynamics, from pp to ff, and with all the inflections of crescendo and diminuendo.  Part of this study should consist of ‘mute’ exercises—­not playing, but drawing the bow above the strings, to its full length, resting at either end.  This ensures bow control.  One great difficulty is that as a rule the teacher cannot induce pupils to practice these ‘mute’ exercises, in spite of their unquestionable value.  All the great masters of the violin have used them.  Viotti thought so highly of them that he taught them only to his favorite pupils.  And even to-day some distinguished violinists play dumb exercises before stepping on the recital stage.  They are one of the best means that we have for control of the violinistic nervous system.

WRIST-BOWING

“Wrist-bowing is one of the bowings in which the student should learn to feel absolutely and naturally at home.  To my thinking the German way of teaching wrist-bowing is altogether wrong.  Their idea is to keep the fingers neutral, and let the stick move the fingers!  Yet this is wrong—­for the player holds his bow at the finger-tips, that terminal point of the fingers where the tactile nerves are most highly developed, and where their direct contact with the bow makes possible the greatest variety of dynamic effect, and also allows the development of far greater speed in short bowings.

“Though the Germans say ‘Think of the wrist!’ I think with the Belgians:  Put your mind where you touch and hold the bow, concentrate on your fingers.  In other words, when you make your bow change, do not make it according to the Joachim method, with the wrist, but in the natural way, with the fingers always in command.  In this manner only will you get the true wrist motion.

STACCATO AND OTHER BOWINGS

“After all, there are only two general principles in violin playing, the long and short bow, legato and staccato.  Many a teacher finds it very difficult to teach staccato correctly, which may account for the fact that many pupils find it hard to learn.  The main reason is that, in a sense, staccato is opposed to the nature of the violin as a singing instrument.  To produce a true staccato and not a ‘scratchato’ it is absolutely necessary, while exerting the proper pressure and movement, to keep the muscles loose.  I have evolved a simple method for quickly achieving the desired result in staccato.  First I teach the attack in the middle of the bow, without drawing the bow and as though pressing a button:  I have pupils press up with the thumb and down with the first finger, with all muscles relaxed.  This, when done correctly, produces a sudden sharp attack.