“Then, I have the pupil place his bow in the middle, in position to draw a down-stroke from the wrist, the bow-hair being pressed and held against the string.  A quick down-bow follows with an immediate release of the string.  Repeating the process, use the up-stroke.  The finished product is merely the combination of these two exercises—­drawing and attacking simultaneously.  I have never failed to give a pupil a good staccato by this exercise, which comprises the principle of all genuine staccato playing.

“One of the most difficult of all bowings is the simple up-and-down stroke used in the second Kreutzer etude, that is to say, the bowing between the middle and point of the bow, tete d’archet, as the French call it.  This bowing is played badly on the violin more often than any other.  It demands constant rapid changing and, as most pupils play it, the legato quality is noticeably absent.  Too much emphasis cannot be laid on the truth that the ‘singing stroke’ should be employed for all bowings, long or short.  Often pupils who play quite well show a want of true legato quality in their tone, because there is no connection between their bowing in rapid work.

“Individual bowings should always be practiced separately.  I always oblige my pupils to practice all bowings on the open strings, and in all combinations of the open strings, because this allows them to concentrate on the bowing itself, to the exclusion of all else; and they advance far more quickly.  Students should never be compelled to learn new bowings while they have to think of their fingers at the same time:  we cannot serve two masters simultaneously!  All in all, bowing is most important in violin technic, for control of the bow means much toward mastery of the violin.

THE LEFT HAND

“It is evident, however, that the correct use of the left hand is of equal importance.  It seems not to be generally known that finger-pressure has much to do with tone-quality.  The correct poise of the left hand, as conspicuously shown by Heifetz for instance, throws the extreme tips of the fingers hammerlike on the strings, and renders full pressure of the string easy.  Correctly done, a brilliance results, especially in scale and passage work, which can be acquired in no other manner, each note partaking somewhat of the quality of the open string.  As for intonation—­that is largely a question of listening.  To really listen to oneself is as necessary as it is rare.  It would take a volume to cover that subject alone.  We hear much about the use of the vibrato these days.  It was not so when I was a student.  I can remember when it was laughed at by the purists as an Italian evidence of bad taste.  My teachers decried it, yet if we could hear the great players of the past, we would be astonished at their frugal use of it.

“One should remember in this connection that there was a conflict among singers for many years as to whether the straight tone as cultivated by the English oratorio singers, or the vibrated tone of the Italians were correct.  As usual, Nature won out.  The correctly vibrated voice outlasted the other form of production, thus proving its lawful basis.  But to-day the vibrato is frequently made to cover a multitude of violin sins.