“In Study No. 2 (version 1, up-strokes only, version 2, down-strokes only), I have my pupils use the full arm stroke (grand detache).  In version 1, the bow is taken from the string after completion of stroke—­but in such a way that the vibrations of the string are not interfered with.  Complete relaxation is insured by release of the thumb—­the bow being caught in a casual manner, third and fourth fingers slipping from their normal position on stick—­and holding, but not tightly clasping, the bow.

“Version 2 calls for a return down-stroke, the return part of the stroke being accomplished over the string, but making no division in stroke, no hesitating before the return.  Relaxation is secured as before.  Rapidity of stroke, elimination of impediment (faulty hand or arm position and unnecessary upper arm action), is the aim of this exercise.  The pause between each stroke—­caused by relinquishing the hold on the bow—­reminds the student that mental control should at all times be paramount:  that analysis of technical detail is of vital importance.

“In Study No. 7 I employ the same vigorous full arm strokes as in No. 2:  the up and down bows as indicated in the original version.  The bow is raised from the strings after each note, by means of hand (little finger, first and thumb) not by arm action.  Normal hand position is retained:  thumb not released.

“The observance of string levels is very essential.  While the stroke is in progress the arm must not leave its level in an anticipatory movement to reach the next level.  Especially after the down-stroke is it advisable to verify the arm position with regard to this feature.

“No. 8 affords opportunity for a resume of the work done in Nos. 2 and 7: 

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“It is evident that the tempo of this study must be very much reduced in speed.  The return down-stroke as in No. 2:  the second down-stroke as in No. 7:  the up-strokes as in No. 2.

“In Study No. 5 I use the hand-stroke only—­at the frog—­arm absolutely immobile, with no attempt at tone.  This exercise represents the first attempt at dissecting the martele idea:  precise timing of pressure, movement (stroke), and relaxation.  The pause between the strokes is utilized to learn the value of left hand preparedness, with the fingers in place before bow action.

“In Study No. 13 I develop the principles of string crossing, of the extension stroke, and articulation.  String crossing is the main feature of the exercise.  I employ three versions, in order to accomplish my aim.  In version 1 I consider only the crossing from a higher to a lower level: 

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version 2: 

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version 3 is the original version.  In versions 1 and 2 I omit all repetitions: 

[Illustration:  Musical Notation]