Como Estudiar Fiorillo

H O W TO
S T U DY F I O R I LLO
A D E TA I L ED D E S C R I PT I V E A N A L Y S I S O F
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H O W T O PR A C T I C E T H E S E ST U D I E S B A S ED
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U PO N T H E B E ST T E A C H I N G S O F K E PR E
S EN T A T I V E
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M OD E RN V IO L I N P LA Y I N G
EDIT H L . WI N N
N EW YO R K
CA R L FI SC H ER
C O PYR I G H T , 1 9 1 0,
CA R L FI S CH E R
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R E S P E C T F U LLY DE D I C A T E D
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8 02 2 1 8
FIO RILLO .
F E DE R I G O F I O R I LLO wa s
born in
1 7
5 3 at B r u n swic k where his fat he r
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a Neapolitan live d as conductor of ,
t he opera I t seems t h a t a t first

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F iorillo was a playe r of t he mandolin ,
an d l ate r on b e came intereste d in t he

violin H e went to Poland in 1 780
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and in 1 78 3 was conductor of t he b a n d

at R ig a whic h position h e fille d for
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two years I n 1 78 5 he playe d wit h .
great success at t he C once rt s S pirituel s in Paris and ,
also publishe d some of his compositions whic h were ,
re ceive d most favora bly Three years late r he went t o.
L ondon whe re he seems t o have met wit h little success

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as a violinist since he only playe d t he violin part in

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S alomon s quartet party -
H is last public appearance
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in L ondon was in 1 79 4 whe n he pe rforme d a concert o

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on t he viola T here is very little known about t he re st

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of his life e xcept t hat from L ondon he w e nt t o Amster

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dam an d was in Paris in 1 8 2 3

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Among his numerous compositions are duos for violins ,
for pi a no and violin a n d violin and V ioloncello ; trios for

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flute violin and tenor for two violins an d b a ss ; quartets

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and quintet s for st ringe d instrume nt s ; conce rt os f o r t h e

violin ; concertante s for two violins etc The se t hough ,
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somewhat dry and ol d fashione d were favorably receiv e d

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and show him to h a ve been an earne st musician .

vi FIO R I L L O .
H oweve r t here is one particular work h is

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six C a p r ic es o r E tu des which i s known and

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e ve ry violin playe r and which for a lon g

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probably remain a standard They ra nk .
classical studie s of Kreut z e r and R ode T his wor k I .
been e dite d ove r an d ove r again most re cently

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E mil Kross S pohr wrote a se cond violin p a rt b ut

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altere d t he original te xt t o such an e xt ent t hat his wc

is h a rdl y a u t horitative t hough decide dly violinistic a
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inte re sting
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H ow to S tudy Fiorillo .
No . 1 .
ANY teachers of note cling to ol d traditions The .
e a rlie st e x t a nt e ditions of F iorillo by F e rdinand ,
D avid and ot hers h a ve no e xpre ssion m a rks for t he

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La r go of t he first étude T his wa s o ri ginally playe d

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La r g o sos tm u to .
W h ol e bo w.
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r l
la r g a m en te .
for te counting four very slowly The tone should be

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full an d eve n t here being absolutely no variat ion This

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i s e xcellent pra ctice for t hose who are incline d to pl a y

with a weak t one near t he point of t he bow A bro a d .
stroke require s a fine arm and e xcellent bow cont rol .
The elbow j oint shoul d be very well rel a xe d S uch .
pass a ge s as occur in t he fou rt h fift h and si x th me a sure s

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shoul d be pl a ye d wit h some tone color a n d tast e t he -
eight h note be ing cut in anticipation of t he rest . .
To cultivate a bro a d free bowing and a full tone one

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shoul d p ra c t i c e t he m a r telé at t he p oint of t he bow ,
where at t acks are likely to be weak Also t he frequent .
practice of t h e se cond Kreutzer étu de wit h four note s

2 HO W T O ST UDY FIO R I LL O .
slurre d is e xcellent t he bowing being at t h e point m id dle

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and heel T hen th e re a r e staccato s c a le s whic h aid t he

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student in securing a fine t one and free dom of styl e in

t he uppe r h a lf of t he bow : 1 O ne down stroke and six
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notes staccato on t he u p stroke ; 2 T wo down at poi n t

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and two up stacc a to ; 3 T he s a me e xe rcise using t rip

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lets B egin wit h t he G scale i n t hree octav e s T h e

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ne xt t hing to gove rn is t he b road continuou s tone This .
can only be done by long an d arduous practice of slow

scale s A B erlin teacher plays one note for two minut e s
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with no variation in force or intensity .
TH E A LLE G R O .
The H e rmann e dition require s t hat t his part of t h e

first étu de be playe d st a ccato It is imp ossible t o kee p
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t his up during t he whole e xe rcise The original i mten

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tion of F iorillo was t hat it be playe d legato wit h a b road , .
free stroke The t riplet s are playe d in t he same manne r

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in t he uppe r t hird or toward t he middle of t he bow

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T he sixteent h note s must fall with evenness at t he middle

o f t h e bow This i s an e xce e di n gly fine study for se curing
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a fle xible wrist and shoul d be p ractice d ve ry care fully

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At the H oc hs c h u le in B e rlin fe w of t he teache rs s t re ss

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F io rillo p refe rrin g t h e Kr e utze r E tu des follo we d by t h e

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HOW TO ST UDY FIO R I LL O .
3
R ode C a p r ic es F iorillo h a s much to o ff e r t hat Kreutze r

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doe s n ot stre ss at all ; t he refore the étude s are ve ry val

n able .
No 2 . .
This étude is ve ry frequently playe d in a mil d manne r ,
t oo slow for t he ori ginal intention of t he compose r As .
t he allegro of t he first étude is not possible at t he prope r

tempo wi t h the staccato bowing so t he se cond étude ,
lo se s it s character if not played in a mart ial style M a es .
toso means military or maj e stic in c h a racte r wit h broad ,
bowing and strong accents The first t wo note s swee p .
0 0 0 0 00 0 0 000 0 00 0 0 0 0 0 0
0 0 0 0 0 0 0 0
t he whole len gt h of t he bow The t hird note is also ful l

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bow but very short A quick st roke wit h t he bow pass

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ing ra pidly ove r t he string is t he prope r o n e T he whole

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e xercise is playe d forte I n t he se cond measure t he

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bowing is short and crisp at t he point of t he bow t he ,
first group naturally being playe d wit h t he whole bow .
T he t hird me a sure is legato broad and free Trills ,

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s houl d be regul a r an d o f e x a ctly t he right le n gt h A 11 .
passages like t he se cond measure are u sually playe d at

t he point of t he bow Aft er t he first bar some position
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work may be use d ( se cond measure ) Trills wit h t he

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fourt h finge r a r e ve ry di fficult for some pl a yers Pr a ctice .
Fo r deta il ed a n d th o ro u g h stu dy o f th e K r eu tz er Etu des see H ow

to P epa r e f or K r eu tzer a n d Th e S tu dy of th e K r eu tzer E t des bo th by
r u
Edi th L Wi n n
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. Pu b li sh ed by C a r l F i sc h e r N ew Yor k
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4 HO W T O ST UDY FI O R I LL O .
slow t rills daily wit h the t hird and fourt h fingers Th e .
first finger trill shoul d be pra ctice d ve ry slowly and

evenly great care being shown in st ring t ra nsfers at
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t he close In octave work two fingers mu st fal l at

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once wit h force and precision The whole hand moves . .
In double stops t he fingers must fall simultane ously

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D ouble t rill s are not mu ch more di f ficult t han single

one s They shoul d be pl a ye d wit h a n even tone and t he
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fingers shoul d fa ll wit h freedom I f t he fou rt h finge r is .
weak try some exercise s from t he H a lir Ton leiter studien

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repe a ting t he e fr e r c ise s faste r an d faste r

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The measure immedi a tel y prece ding t he l ong con

t in u ou s trills s hould be playe d wit h a down bow Pra o .
tice t his passa ge wit hout t he continuous t ril l on C at ,
first ( use a long smoot h note and lightl y dip t he bo w

o n the D string as if playing a little accompaniment )
, .
L et t he trill be c ontinuous when changing from up t o

down bow and vice ve rs a E ve ry no t e shoul d be cut
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shorter if before a re st This must be obse rve d t hrough

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t he whole e xercise All chords shoul d be pl a ye d wit h

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a broad tone T his e xercise so oft en negle cte d should

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be pl a ye d long and faithfully for it is t he basis o f ot he r

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work whic h follows lo gically i n study .
W hen playing t he 2 2 d C on c e rt o of Viotti I always ,
return to this et u de of F iorillo an d review it for t he sake

o f t he trills This wit h a f a vori te é t ude o f Kreutze r
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aids me greatly in bringing my left han d unde r cont rol .
The octave s are playe d near the point of t he bow .
This is on e o f t he most a rtistic of t he étude s e sp e cially ,
u se ful when o n e i s considering such a wo r k as t h e 2 2 d

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1
C once rto of Viotti Ano t he r u seful work is Je suis
.
S ee n e wl y r evi sed ed i ti o n b y O vi de M i
us n . P u b li sh ed by C a r l
F i sc h er , N ew Yor k .
HOW TO ST UD Y FIO R I LL O .
5
le petit Tambou r by D a vid a c omposi t io n now almost

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obsolete in a violin te a c her s repe r t oire Avoid a t rivial

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style T he staccato is not a bsolute The tempo and

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chara c te r o f a wo r k govern t h a t m a tte r The second .
line has bee n marke d i n di f fe r ent ways by t hose who

have revise d F iorillo Note t he Kross bowi n gs :
.
I p refer sep a rate d st roke s in passage s like t hat of t he

second measure .
In do u ble trills t he fingers fa ll toget her wit h el a sticity

rat her t han force B e very c a reful to de fine t he e xact
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interval in t he trill D o not disturb t h e temp o S yn

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c o p a t ion must not be forced In t rills in t he half p osition

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play close to t he saddle of the violin and do not raise ,
t he fingers un t il ne c essary Play t he c hord of t he new .
key a s a chord n o t a s an a r peggio T he bowi n g is a s

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follows wit h a bro a der s t roke than t he st a cc a to mark

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would indic a te .
D o not disturb t h e t heme by for c ing t h e a c c om p a n i

ment o r by p a usi n g The bow lie s ligh t ly on two stri n gs
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1
S ee n e wl y r e vi se d ed i tio n b y G u sta v Sa e n
ger . P u bli sh ed by C a r l
F isc h er , N e w Yo r k .
6 HO W T O ST UD Y FI O R I LL O .
dip s as it we re up on t he neighboring string t o obtain

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t h e le gato B ow contro l in t his c a se i s o f gr e at impor

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t a nce U se t h e following bowings Th e parts of t he bow

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in whic h each pass a ge shou l d b e p l aye d are indicat e d :
Pl a y the last line wit h authority t he chords ,
slight ly in the arpeggio style wit h a stress on t he

note the tone being firm to t he end of t he bow
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No . 3 .
This étude is p l ay e d in two ways : first a staccato run

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up bow ; se cond t he mixe d staccato a n d leg a to st roke

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up bow A free arm is d esired W hile t he short staccato

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with the wrist stroke is eminently u seful t he more bril ,
l ia n t staccato wit h t h e arm strok e is de sired Naturall y .

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HO W TO ST UDY FIO R I LL O .
7
t he wrist and forearm are free t hough t he late ral stroke ,
o f t he wrist is not desire d Pl a y in t he upper t hird or .
ne a r the poi n t of t he bow .
No . 4.
This étude is one of t he most u seful in t he book A .
free bro a d slightly detache d stroke in t he lowe r half

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o f the bow is preferre d t o a S ho r t staccato

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M oder a to .
w B . .
11 . B . w
. B .
3 i
h . B . M .
0
Profe ssor H alir woul d te a ch double stops and scale s -
in t hirds in a free broad style lower half o f t h e bow , ,
( note finge ring in t he second position ) .

8 HOW T O ST UD Y FI O R I LL O .
The whole bow may also be use d Play t he scal e

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ru n s se co n d line in t he manne r ou t line d in Ha lir s

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Ton leite r s tu dien ( G B or U H ra ise t h e bow afte r eac h

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group )
H e assume s t hat short position mov e ment s make a

more pe rfe c t scale in t hirds possible I will outlin e t he
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bowings for t he ne xt t hree line s Kee p t he t h e me

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prominent . R aise t he bow slightly from t h e strings in

de fini n g phrasing.
W R
V
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HOW To ST UD Y FIO R I LL O .
9
The double stop s in t he higher positio n s naturally fall

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in t h e middle of t h e bow Attack t he chords wit h t he

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u
p bow fi rmly and play t hree note s toget he r
, A free .
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rat her de t ache d bowi n g in the middle of t he bow using ,
t he artificial spiccato occurs a t t h e close

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1 h . . B .
S lightly
ccent t he slurre d group of two note s ; raise t he
a
bow between stroke s Play in t he middle t hird of t he

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bow .
A ! ’
A I I I A '!
IO HO W T O STU D Y FI O R I LLO .
It is not always advisable t o t a ke t he se étude s in t he

orde r in whi c h t he y occur T he sa me ru le applie s t o .
Kre utze r and R ode I t is possible t h a t the s t udent may

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have some weak point w hich require s a review of se ve ral

étude s of a similar nature Fo r ins t ance I re call having
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been made to play t he second Kreutzer étude m a ny time s

while studying ot he r works becau se my forearm wa s n ot ,
fre e T he eighth an d nint h were frequently reviewe d

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H err M a r k ee s in B erlin was a great taskmaste r and

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fre quently sent u s back t o t he twelft h Kreut z e r I d o .
not recall ever havi n g studie d t he first Kreutze r nor ,
the famous arpeggio étude L e opold L ichtenbe rg and

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seve ra l other a r tists t ea c h bot h o f t he se T he first is

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ve ry useful for graduation of tone In t he sevent h and .
eight h F iorillo we find mate rial for t on e gradu a tion .
Let u s practice t he cre scendo and de cre scendo fait hfully ,

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u sing e xample s from my Three O ctave S cales .
W e must be patient wit h t his work It is one of t he .
most di fficult t hings in t he w orld t o produce a beautiful

cre scendo and diminuendo In conne ction with this let
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u s turn to t he B ach Gounod -

Ave Ma ria an d pl ay it a s ,
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wr itten The famous B ach Aria is anot he r e xample ;

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also t he H andel L a rgo A que stion has oft e n been
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aske d : D oe s th e bow remain p a ra llel wit h t he b ridge

du ring such work or at a state d distance from t he b ridge ?
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Most emp hatically not The bow is neare r t he b ridge in

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a cre scendo p a ssage an d right over t he fin g er board in t he

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d iminuendo There is a mistaken no t i on among students

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t hat when on e plays pianissimo very lit t le bow must b e

use d .Neve r was t here a greate r fallacy The softe st .
tone is produce d by gliding the bow s wiftly ove r t he

st rings it s entire len gt h wi t hout pre ssure and ove r t he
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fin g e r board not near the b ridge

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It is one of t he most diffi cult t hings in t he worl d to

produce a soft re sonant tone, It is easy e nough t o play .
loud S o it is wit h singing I have learne d more about

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the p rinciple s o f tone from voice t eache rs than from

violinists W hile playing t he se étude s revie w c on
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S ee The S tu dy of the Kr eu tzer Etudes b y Edi th L Win n , . .

12 HO W TO ST UD Y FIO R I LL O .
bowings Th e S ev cik system is wonde rful The re are

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e xe rcise s f or e ve ry p ossible limitation in violin st udy .
T he great que stion in bustling Ame rican life is h ow

to abridge a system onl y p ossible in a land where v ir
t u oso s study from t he cradle t o t he g rave
!
Many .
wise teache rs ( for Ame ricans are above all practical ) , ,
have u se d t he S e vcik works wit h succ e ss an d yet have ,
not surfeite d student s wit h the same .
L et u s consi de r O p 2 B ook 2 S ection I V

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,F irst m a s , .
te r the progre ssion s t hat is learn t he e xercise by heart

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Kee p the finge rs o f t he left han d r ea dy for use Practice .
all e xe rcise s wit h slurre d and single b ows at point middle , ,
and heel of t he bow I u sually su g ge st t o pupil s to p r a c

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t ice e xe rcis e thirty two fait hfully before working a t t he

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fift h F iorill o wit h t hree note s to a bow j ust below t he

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middle . Afte rwards us e six t o a bow ; t he n twelve .
Pra cti ce numbe r five in octave s at the middle ( play bot h

note s at once ) After t hat play as marke d accenting
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t he first of eve ry group of two note s O ne can go on .
wit h t he S evcik studie s inde finitely but I urge pupil s ,
t o practice t hese special one s for string transfe rs h a lf an -
hour pe r day at least Always cross t he st rin g s lightly

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In octave s move t he finge rs S imultane ou sly wit h no

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crescendo or forte .
The H e rmann edition use s t he crescendo fo rte and , ,
pian issimo marks Play at first wit h u n ifor m ton e

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instead accenting slight ly t he first note of a group of

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two W atch t he syncopate d pass a ge s in t he t hird and

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fourt h lines and do not a c cent too strongl y The acce nt

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is on the se con d note of a group o f two Th e legato .
passage s of sixteent h note s are wit h a whole bow ; t he

cre scendo must be a r tistic T here must not be a break .
in t h e legato for t he sake of the crescendo W e remembe r .
t he mastery of t he subtle p rinciple s of tone graduation

in Joachim s playing The spe c ial accents at t he close
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o f each legato p a ss a ge ( sixt h line ) are di f ficult At t he .
close of t he eight h line give full value t o t he dotte d ,
quarte r note and play it forte The ne xt gro u ps o f t wo .
not e s are detache d t he accent being on t h e s e cond on e

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HOW TO S TU D Y F I OR I LL O . I 3
Make t he t rill long and even B egin t he S ixteent h .
note s last me a sure o f t he tenth line wit h up bow Play

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at t he middle of the bow Move t he first an d fourt h

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fingers toge t he r in octave s .
No 6 . .
A n da n te sciolto.
V1 h B
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A n da n te s c iolto means about t he same as A n da n te

com m odo ( as slowly as o u please ) At t h e middle or
y .
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uppe r h a lf of the bow cut t he note s lightly and a ccent

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t rills The second four measure s re quire grace an d e a se

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in t he upper half of t he bow R emembe r to discriminate

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between t he short staccato at t he point of t he bow a n d

t he broad e r de t ache d strok e B e ve ry car e ful of intona
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tion at t his point .

14 HO W TO STU D Y FI O R I L L O .
T h e openin g m e asure s in t h e s e v e nt h l in e m a y be
playe d wi t h a r a ise d bow stroke middle of t he bow , .
Play near t he p oint of t h e bow in the last four or fiv e

measure s of the étude lightly and e legantly ,
.
Imp ortant points t o remembe r in t his étude are :

Pass a ge s bowe d near t he point are l ight as a rule ; p a s ,
sage s re quiring broade r bowing are playe d fo rte A l ways .
raise t he bow slightly for an attack E ach g roup must .
be well de fine d wit h acce nts st rong

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Pause long enough .
between t he group s to gain p oise Always draw a l ong .
bow at t he middle wit h su fficient length to be fre e and to

secure t on e In this e xe rcise as in many oth e rs t he l eft
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hand is of most importance I t must be ready Do . .
not l ose time by t h e trill Play t he single note s freely

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The se are n ot staccato W heneve r t he staccato occurs

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in t he H e rmann edition a s a rule on e must p l ay in a ,
broade r style Those old comp ose rs did not u se t h e

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staccat o much W itne ss F ritz Kreisle r playing a work

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o f t he pe riod H e give s it more tone color an d v arie d

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p hrasing t han in its pe riod but he u se s very little sho rt ,
staccato work Numbe r six is a j oyous light work of

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t he F rench school It must be technicall y c le an cut

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and cl e ar a s crystal .
No . 7 .
W hile a llegr o wit h t he old compos e rs wa s n ot lik e ou r

modern a lleg r o a n a da gio was practicall y t he same a s
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at pre sent . F ull bowing and a broad free t one as well , ,
as great dignity were demanded , I do n ot believe t hat .
t he e a rly violinists playe d wit h as g reat warmt h of ton e

and free dom as is now se cure d by artists .
The old mast e rs pl aye d correctl y and classically ; t hey

u sed t he crescendo and diminu e ndo an d we re maste rs ,
o f t ene graduation but t hey did not give t he emotional

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treatment to t heir subj e cts that is now an apparent

ne ce ssity This étude begins pianissimo but on e must
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cultivate a concert hall tone an d make a cre sc e ndo ,
in t he first two me a sure s ; the same in t he ne xt group .
Ton e color is a p rime e ssentia l in t his étu de

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E m bel .
HOW To ST UD Y F I OR I LLO . 1 5
lish m en t s must neve r interfere wit h rhyt hm Note t he .
a da gios of The old writers us e d

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Mozart s qu a rtet s .
e mbellishments because they lacke d intensity and w e re

not skille d in t he use o f t h e vibrato Alt hough numb e r .
seven is not difficult it must b e te chni cally perfe ct At

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line two repeat t he up bow on t h e second note o f t h e

second group . Always do t his for beauty of p hrasing .
Kee p broad bowing when p ossible Note in t he sixt h .
line some pe culiar rhyt hm C ount four steadily using

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n o embellishments at first
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T h e embellishment s o f t he se vent h line mu st n ot inter

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fere wit h rh ythm . In bow len gt h one must n ot be

hampe re d by e xa ct rules L et t he nature of t he passage
.
decide t he bowing O ne mu st not kee p t rillin g if t he

.
p hrasing demands a pause The opening measure s of .
t he a llegr etto are playe d at t he middle of t he bow t he ,
staccato note being lightly played The a lleg r etto comes .
in j ocund wit h a slight pause be tween groups in t he

, ,
uppe r half o f t he bow Try to maintain a for te t hrough

.
ou t .
No . 8 .
'
Ol : 0
16 HO W To ST UD Y F I O R I LLO .
This is a digni fie d and stately étude whic h require s

ve ry much shading . It is one of t he most a rt istic of all ,
simil a r in c h a racte r to t he first part of numbe r one T he .
teache r may count ei g ht instead o f fou r if de sirable as , ,
we sometimes do in t h e a n da n te o f a M oz a rt quartet .
Give t he dotte d sixteent h note a l ittl e more time t o s u it ,
t he nature of t h e work .
l
Aga in I woul d call attention t o t he second K r e u tze r
et u de an d slow scale s wit h t h e cre scen do and diminuendo
,
four time s on o n e note Many claim t hat t he vibrato

.
a ff e cts t he qu a ntity a s we ll as t he quality o f a tone At .
any rate t he vibrato must be use d in suc h works

, .
Pl a y t he 4t h st h and ot h measure s o f t he first line as

,
indicate d .
In t he ne xt measure change f to J before the high G

!
.
Afte r t he double bar pra ctice long a n d fa i t hfully t he

,
c rescendo note in t he 4t h p osition Do not forc e t he .
syn c op a tion ; use t h e whole bow R aise t he bow sligh t ly

.
when you have group s of t wo note s t hus : ,
!
1:
4 4 n 4 4 ( last measure second line )
,
.
Pl a y t he last measure a fte r r estez on t he A string going ,
into t he st h position on C # an d remaining t here during

,
t he ne xt t hree measure s C ome down to t he t hird

.
posi t ion on D . Play t he trill in t he fift h p osi t ion .
D eta c h t he group s of t hree no t e s slightly raising t he bow

, .
B e very c a reful not to hurry t he tem p o The t hirty .
se cond note s are playe d very l egato and t he followin g ,
finge ring is p refe rre d :
S ee f oo tn o te, pa g e 3 .
HOW T O ST UDY F I OR I LLO . 17
A lleg r o .
Wi th th e u pp e r th i r d of th e bo w .
T his étude i s m a rke d a lleg r o It is not so r a pid a .
movement 'a s to i n terfere wit h a free fo r earm stroke .
T he rn a r tele or eve n a slight stacc a t o stroke is not as

, ,
useful as a b road free bowi n g in t he uppe r h a lf of t he bow

,
.
The student will observe t hat while some modern e di

t ions suggest t he st a ccato it was not true to t he t r a ,
’
dit ion s of F ior illo s time .
B egin wit h t he upper h a lf or uppe r t hird of t he bow .
A free swinging stroke is desire d At t he beginning of .
t he sixt h line pl a y lightly ne a r t he poi n t of t he bow and

on t he e dge of t he hair :
W e do not m a ke st ring transfers by tilting t he bow -
from side t o side W e play on t he e dge of t he h a ir t he

.
,
long string tra nsfe r s being m a de wit h a movement fro m

-
the shoulder if more t han two strings are u se d

,
H a lir .
18 HO W To ST UD Y F I OR I LLO .
insists on t he mastery of scale runs from t he highe st not e

of t he scale T he pupil mu st thin k the ton e at once
.
,
t hen he must take his position wit hout e ff ort and remain
in t hat position as long a s nece ssary .
After we l eave t he t hird p osition t h e t humb g oe s ,
under t he violin in a horizontal plane The fingers mu st

.
fall well ove r t he strings wit hout unne cessary move

,
ments O ne may re st t he palm in the t hird position or

.
’
not according to one s p hysical limitations but t he re
, ,
must be no p re ssure at t he base of t he first fin ger and no

depre ssion o f t he j oints o f any finger in t he positions .
All finge rs shoul d seek t heir place s at once and remain

fi x ed unle ss one is playing vibrato Th e character and
,
.
tempo of an e xercise determine how it shall be pl a ye d .
The first finge r must a lways rem a in n ea r its original

place so t hat t he position may not be disturbe d as a
,
whole W heneve r t he fou rt h finge r seeks a place t he

.
,
first shoul d fa ll a t once int o its posit ion ; t h a t is to say the ,
position must be mastere d In t his étude t he bowing is

.
varie d a sure te st of mastery of seve ra l style s or forms

,
of t riplet playing O ne thin g t he teacher must insist

.
upon : t hat t he bow rem a in usually on t he oute r e dge ,
also t hat accents t hat fall wit h t he up bow shall be well

de fine d The closing chord a c c ording t o t he tenets o f
.
,
t he B erlin school shoul d neve r be playe d lik e an arpe gg io

, .
O th e r schools d i ff er in t his re s p e ct .
20 HO W TO ST UD Y F I OR I LLO .
gi ve s no character to t he work Too much bow cause s .
a j e rky movement of t he forearm Intonation is diffi .
cult in t he h a lf posit ion hence studen t s must play such

-
passages many time s T he fingers must be prepare d f or

.
W hat is coming In all étude work we must read ahead

.
and pl a ce t he finge rs mentally before we come t o t h e ne xt

passage . In t he half posi t ion work fourt h line you
-
, ,
will obse rve t h a t t he note followe d by two slurre d note s

may be playe d staccato lightly ne a r t he point A l on g .
stroke is dangerous to the free dom of t he forearm .
W e swi n g t he forearm t he shoul de r j oint being free t h e

, ,
arm following t he wrist in passage s like t his :

$ 8 4 ? 2 8 2 2
W e a l so play near t he p oint unti l t he bow arm is free

S ingle not e s are pl a ye d staccato lightly S uch passage s , .
as t his re quiring slurre d note s shoul d be accen t e d in

, ,
t his manne r :
The bow shoul d b e free place d on the e dge of t he h a ir

,
a s much a s possible wit h a slight undulating movement

,
HO W TO ST UD Y F I OR I LLO . 2 1
of t he wrist not inte rfering wit h t he legato C ontrasts

,
.
o f legato and staccato nee d not be obse rve d t he staccato ,
being less m a rke d t h a n previously .
I n passage s like t his :
the legato must p revail t he prope r n ote receiving its

,
'
accent W heneve r it occurs keep near t he uppe r t hird

.
,
o r point o f t he bow ( t he single note s being sometime s
playe d spiccato ) .
The elevent h line require s some contrast betwee n t he

st a cc a to and legato Ve ry short slurre d not e s shoul d
.
be pl a ye d near t he p o int of t he bow ( Play single note s .
spiccato ) .
Now we come to o n e o f t he most di fficult t hings in

violin playin g string t ransfe rs skipping one string
,
-
,
.
( F or t h e development of t he bow arm a t t his point !
S e vc ik s 4000 B owin gs Part I I S e ctions I I I a n d IV

’
, , ,
are very u seful ) T he arm move s freel y from t he shoul

.
der t h e motion be ing away from t he side The bow

,
.
rem a i n s on its e dge as much a s possible Ac c ents even .

,
when a note falls a s a second on e in a slurre d p a ss a ge ,

22 HO W T O ST UDY F I OR I LLO .
must be obse r v e d The fin ger s s hou ld seek their p la c es

.
sim u lta n eou s ly

. Keep near t he upper part of t he bow ,
t he wrist moving free l y not being un der t he p lane of

.
t he elbow ; the fingers are relaxe d the fou rt h being o n the

,
bow st i c k As an e x ample of s t accato bo wing and t he

-
.
running legato combine d t his étu de is v ery us e f u l

, .
NO . 11.
Many teache rs claim t hat t his etu de s houl d be pra e

tice d at or near the p oint o f the bow A somewhat .
b roade r and free r forearm stroke is mor e u seful As in .
other example s p re viously analyzed the staccat o is n ot

,
wholly de sirable The t rill should be accent e d an d t h e re

.
,
shoul d be no variation in t h e e quality of note s be cause of

the tril l
. H ardl y more t han two trills are possible T he .
stud e nt shoul d read a whole measure at a glance and ,
place the finge rs at once in position Pe rfe ct free dom

.
o f t he elbow j oint is de sir a ble A free strok e of t h e wrist

.
is nec e ssary in short st ring transfe rs

-
.
HO W TO S TU D Y F I O R I LL O . 23
After t he whole étude has been playe d in t hi s b road ,
free st yle play it entirely t hrough wit h short staccato

,
bowi n g a bout t wo inches from t he poi n t

, In t h e fifth .
li n e t he arpeggios are not playe d in t he h a lf position

,
-
.
As to position changes rem a in in one posi t ion until it is

,
ne ce ssary to move from t hat p osition The sixt h line .
contains t he t hird posit ion followe d by t he sixth T he .
fi n gers shoul d f a ll at once into t he sixt h position ,
t he e n tire hand moving back to t he fift h when necessary ,
t he t humb acting in uniso n wit h t he fingers Pupils must .
be pe rfe ct ly fa mili a r wit h p osition work W hen t he fift h .
a n d six t h p ositio n s are to be use d t he t humb lie s flat ,
u n der t he neck o f t he violin an d t he fingers a r e cu rve d

ove r t h e st rings Neve r move t he han d or dep r e ss t he
.
finge rs until t he work in a ce rt a in posi t ion is fi n ishe d .
W e now come to a p a ssage in which we take high E in

t he fou rt h position .
Those students who h a ve not been traine d like t he ,
followers of H a lir to play t hree octave scale s and

,
arpe ggios beginning on t he highest note are likely to

, ,
m a ke e rrors at t his point To t he student of F iorillo .

,
however o n e posit ion shoul d be as f a miliar as anot her

,
.
Aga in we t a ke F it in t he fift h posi t io n but t his is not

, ,
so difficult as we have j ust playe d G The prevailing

,
.
diffic u lty wit h pl a yers is t hat t hey cont inu a lly get ready
for a new posi t ion before it is time to do so giving t he ,
hand a re stless mo t io n and changing t he position of the

,
fingers so th a t t hey play falsely The t humb is invariably .
too slow in slipping under t he violin The t humb at t he .
middle j oint must be depresse d and t here must be as ,
little pressure as p ossible t here ; t he chin resting firmly

‘
, ,
m a kes freedom possible for t he t humb It is very .
noti c eable t hat Kubelik h a s m a rvelous fac ility in takin g

t he high positions his fingers f a lling into place with su r
,
prising de xterity H e h a s a perfe c t ly tra i n e d h a nd As

. .
before the pl a ye r glides wi t h t h e e n t i r e h a nd ba c k to the

,
fift h positio n t hen to fourt h a n d last ly t o t he third ;

, ,
a ga i n we take t he fift h t he n fourt h t he n t hird second

, , , , ,
and first posit ions The t humb must be absolutely free

.
,
24 HOW TO ST UD Y F I OR I LLO .
wit h no pre ssure at the middle j oint and always in ,
advanc e of the first finger t he h a nd moving as freely a s

,
possible .
The transfers across four strings shoul d b e mad e wit h

ease t he arm moving ou t t o t he side from t he plan e of t h e
,
shoul der t he wrist being free

, I n changing positions t h e
.
,
finge r last u se d move s into t he new position The se cret .
of playing t his work well lie s in t he a bsolu te fr eedom of

the th u m b S tu de nts may observe t hat in t he last l in e
.
t he transition must be made from t he sixt h to the first

position t he hand re a ching far over on t he G st ring t he
, ,
t humb re s t ing on its tip yet neve r quite release d from t he

,
neck of t he violin .
This étude is most valuable as a study of p ositions ,
while it o ff e rs no varie d bowings It is purely a technical .
e xercise radic a lly oppose d in style to the beautifu l

,
e xample s of cantabil e pl a ying o ff ere d by numbe rs one ,
seven a n d eight
, .
No . 12.
F e w of the F iorillo E tu des are playe d by t he student

st ric tly according to metronome time N ot so wit h .
R ode . H is C a p r ic es are often studie d abroad for t hree

ye a rs ; and by t he time t he student h a s complete d them
, ,
he plays t hem like finished piece s at metronome time , .
O ften too t h e R ode C a p r ices are memori z e d but t he

, , ,
HOW TO ST UD Y F I OR I LLO . 2 5
F i orill o E tu des rarel y are T he B erlin school negle cts .
F iorill o to a ce rtain e x te n t but H alir one of it s be s t , ,
e xponents spends considera ble time in t he study o f t hem

, .
giving t o t he m the grace viv a city and lightness of t he , ,
F ren c h school wh en the te xt so demands and also str iv .
in g for t he breadt h of t he Germ a n school in pure cantab i l e

work as found in sl ow movements
. F or in t ric a t e bow ~
ings Kreutze r with the su p plementary Mass a rt bowings

, .
is adequate F io f illo s E tu des as p reviously st a te d

’
.
, .
cannot be studie d in their orde r Individual n ee ds gov .
e rn t he teacher Perhaps o n e student may be studying

.
F iorillo while al so studying t he more di fficult t rill a n d

,
double stop E tu des of Kreu t ze r

-
S ome of t he Kreu t zer .
E tu des have neve r been given to me by teache rs I t is .
e qually true of F iorillo If I seeme d to have a weak .
point in te chnic or if my bowings we re sti ff and angular

, .
I returne d to Kreutzer I was taught Kreutze r and .
R ode ove r a n d ove r in B erlin

, Many of t he B e rlin
,
.
!
teachers say : Get technic from t he st a ndard C oncertos .
D o not spen d too much time on technic pu r e and simp le .

!
T he que s t ion in the mind of the Joachim S chool is H o w !
is it possibl e for the S evcik followe rs to have a reperto i r e ,
when they are m a de t o study te chnic a l works of such

!
length an d seriousness as those of S evcik ?

Th e A r t of S tudyin g R K r eu tzer s E tu de s, bv L M assa rt Fou r
’
. . .
h u n dr e d a n d twe l ve exa m p l es , c o m p il ed by th e a d vi c e o f th e a u th o r .
R evi sed, tr a n sl a ted, a n d edi ted b y G u sta v S a e n g er ( E n g li sh , Fr en c h .

.
a n d G er m a n T ext ) P u b li sh ed b y C a r l F i sc h er , N ew Yo r k
. Pr i c e, .
6 0 c en ts .
26 HOW To ST UDY Fio R lLLO .
The twelft h étude of F iorillo is n ot one in which technic

is prominent Its obj ect is mainly t he freedom o f the
.
bow arm The fingers of t h e l e ft hand shoul d be place d

-
.
lightly ove r th e strings in r e adiness for t hei r move

,
ment The y should anticipate a change of position

. .
If t he left h and is ready bow technic is more easily ,
se cured .Note in t he H e rmann e dition t hat the étud e

is marked for te I t shoul d be p l aye d lightly the u pper
.
,
t hird of the bow being u se d There shoul d b e no .
marked cont ra sts of t he legato an d st a ccato ; in fact the ,
staccato mark i s not t o be inte rpreted as ne ce ssary in

such étude s as t his be cause t h e stroke i s so free
, It .
would be impossible t o play t his étude for te in the u pper

part of t he bow and giv e it lightne ss and grace The
, .
short st a cc a to also give s l e ss breadt h to the stroke In .
similar passages t he length of bow u se d shoul d be about

uniform Note t he inclination t o cut t h e se cond note of
.
a group of two tie d note s in anticipation o f a single

staccato note T his shou l d be avoide d All violin j erk
. .
ing of t h e bow on sin gl e first note s of a g roup should

be avoided The student shoul d be careful to slide t he
.
thumb well unde r t he ne ck o f t he violin in t he fift h

position passage s Do not move t he hand while in on e
.
position in anticipation of t he ne xt p osition

,
Do not .
d e pre ss t he fingers in t he fift h and sixt h positions before

passing to t he third .
In this passage avoid force d accentuation :
C ontinuous syncop a tion shoul d be uniformly smoot h

an d e ven . Not hing is o f such v a lue t o a violinist a s a
2 8 HO W TO ST UD Y F I OR I LLO .
of t he s e cond slurre d note in anticipation of a sin gl e sta e

cato note :
Note t he for te passage in t he lowe r half of t he bow
This shou l d be playe d in a somewhat disconne cte d

style in t he first half of t he measure wit h a strong accent
,
on t he first note of groups of two The latte r half of t h e

.
measure falls about in t he middle of t h e bow A free .
stroke not too short a staccato is pre fe rr e d

, , .
The tent h lin e O pens wit h an arpeggio playe d for te

w it h staccato a n d legato stroke s The ne xt similar.
passage is playe d pianissimo in clos e imitation a s to

,
s t yle All passages of t his nature are smoot he r in t h e

.
upper part of t he bow Avoid force d accents o r any

.
movement which int e rfere s wit h fre e bowing :
In t he twe l ft h lin e a short legato passag e is playe d in

t he upper half o f t he bow rat her t han wit h t he whole
bow W hen on e passage close s wit h down bow t h e re
.
-
s houl d b e n o b reak i n passin g t o t he u p bow Two not e s

-
.
HO W TO ST UDY F I OR I LLO . 29
slurre d lie in t he uppe r half wit h as long a bow as t he

tempo will allow I n passing from a lo n g legato passage .
to a short on e it is well to e stimate so well t hat t he part

,
of t he bow d e sire d may come at once under control .
All passages re quiri n g quick transitions on four strings

shoul d be playe d as broadly and wit h as free a bow arm -
as th e tempo will admit ; in othe r words too little bow ,
give s no value t o t he passage while a light stroke wit h a ,
longe r bow is made more valuable N a tura lly if t he .

,
tempo is increase d t o allegro we must remain near ,
t he point of t he bow W hen four st rings are require d t he .

,
bow arm must be higher and t he dis t inction betwe en a

-
forearm stroke and a pure wrist stroke must be well -
define d In rapid legat o passage s all pre ssure upon t he

.
bow stick must be avoided

-
.
Keep t he l egato work t hat follows in t he upp e r half of

t he bow avoiding pauses between bows or unnecessary
, ,
accentuation S hort groups o f slurre d note s must be

.
playe d near t he point of t he bow S hort st ring transfers .

-
are m a de wit h t he wrist a n d t hree or four string transfers ,

-
wit h wrist and arm t he bow never being tilte d on it s ,
inner e dge Play on t he outer e dge of t he hair as much

.
as possible resting t h e bow on two strings or as nearl y

, ,
so a s possible D o not release t he fourt h finger from t he

.
bow stick R e st it at least against t he s t ick if not on

-
.
it ; al l work e specially in t he lowe r half o f t he bow

, ,
demands this se curity of t he hand F or st ring transfe rs .

-
this kind see S evc ik s S c hool of B owin gs

’
of ,
P a rt s I I I I V and V ; Ca sor ti s S c hool of B owin g ;

, ,
’
t he work of H ans S it t O p and t he Kross A r t of , .
B owin g .
3
T ec h n ic f
o th e B ow, b y A C aso r ti O p 5 0
.
,
. . A sta n da r d wor k of its
ki n d . P u bli sh ed b y C a l F i sc h er N ew Yo k P i c e 75 cts
r ,
r . r ,
.
2
T ec h n ic al S tu dies b y H a n s S i tt O p 9 2 , Pa rt I Exer c i ses a n d , . .
,
S tu di es f o r th e C u l ti va tio n of th e Lef t H a n d I n th r ee B oo ks . .
ea c h . P a rt I I E xerc i ses a n d E tu des f o r th e S p e i a l D e ve l o pmen t of th e

,
c
R i g h t H a n d ( T ec h n i c s o f th e B o w ) I n th ee B oo ks
. ea c h . r . .
P u bli sh ed b y C a l F i sc h e N e w Yo r k
r r, .
T h e A r t of B owi g b y E m il K o ss A p a c ti c a l th eo r eti c a l g u i de
n ,
r . r ,
f o r d e ve l o p i n g th e te c h n i o f th e bo w a n d f o a c ! u i r i n g a fin e ton e
c r .
P r ic e ,
P u bli sh ed by C a r l F i s h e N ew Y o r k c r, .
30 HOW To STU DY F I OR I LLO .
No . 13 .
A n da n te .
This gracefu l and int e restin g étud e partake s of t h e

qualities o f t he F rench schoo l wit h adde d dignity T he .
a n da n te must be smoot hly played t he p ortamento work ,
bein g given e special value through position changes .
S trange as it may see m to t he amateur artis t ic ph r a s ,
ing begins wi t h é tude s ; f or instance many of t he E tudes ,
B r illia n tes by M a z a s,
l
furnish e xcellent e xampl e s A
,
.
natural crescendo occurs in t he l ast four measure s o f

t h e first line T he a n d a n te is grac e ful and dignifie d
.
,
a perfect e xample of legato playing Transitions from .
t hird to first position should be made wit hout disturbin g

t he beauty of p hrasing It would be well t o analy z e this
.
a n d a n te wit h students pointing ou t simple ru l e s of

,
p hrasing In groups of two note s accent t he first slightly

.
,
and pause between group s closing t he p hrase wit h a ,
slowe r tempo It is of t he utmost importance t hat rul e s

.
o f p hrasing shoul d be taught in étude s and applie d t o

t he standard C oncert os If études mean anyt hing all .
,
t ha t is containe d in t h e m should be brought ou t T hi s .
relieve s dry and lifele ss stu dy and gi ve s u s ample o p p or ,
t u n it y t o make mu sicians n ot machine s ,

.
The Pr esto mu st first be practice d slowly until a c om

S even ty six M elodiou s a nd Pr ogr essive S tudies b y F M a za s O p 36
-
,
.
, .
,
in th r ee B oo k s B oo k I Etu des S pec ia les ; B oo k I I Etu des B rillian tes ;

.
, ,
B oo k I I I Etu des d A rtistes P r i c e ea c h 5 0 c en ts P u bli sh ed b y C a r l

,
’
.
, .
Fisc h er N ew Yo r k
,
.
HO W TO ST UD Y F I O R I LLO .
31
mand of bowing and technic is possible Th e octav e s .
are playe d in t he uppe r h a lf of t he bow wit h a slight ,
accent on t he first note of e a ch gr oup t he group s also ,
being slightly sep a ra ted t hough t he bow is not raise d ,
from t he strings Kee p nearer the point t han t he mid

.
dl e o f t he bow Do not hol d any note too long Make

. .
p hrasing clean cut -
The fingers work simultaneously and must not leave ,
t he st rings during a passage In playing octaves relax .

,
t he wrist inward and curve t he fingers well Kee p t he .
t humb free a n d in advance of t he first finger E ve ry .
thing depends upon t he holding of t he violin wit h t he chin ,
not wit h t he t humb and first finger The bow arm must .
-
be ve ry free The pl a yer should not be timid sliding t he

.
,
fingers into place The h a n d a n d fin ger s move togethe r

. .
The trilled notes should be pl a ye d wit h a sharp accent ,
t he legato be ing contraste d wit h a sho r t crisp staccat o ,
in the upper p a rt of t he bow about two inches from the ,
point This passage shoul d be playe d near t he uppe r

.
t hir d of t he bow
~
Not e s not marke d staccato are to be playe d fre ely wit h ,
a forearm stroke Place t he fingers at once in position

.
for arpeg gios Note t he suggestions of the Kross edition

.
o f Kre utzer in t his re spect

, B y t he time t he student .
has reache d F iorillo he must be familiar wit h all forms ,
of bowing H e is now to apply himself to te chnic

. .
S t ring transfe rs must be made easily

-
R eturning to .
t he oct aves one must play wit h a free runnin g lega to in

,
the upper t hird of t he bow Note t he arpe ggios which .

,
must be playe d staccato ve ry crisply ne a r t h e point of the

bow There is a prevailing tendency among students
.
to play the slurre d lega to notes wit h a lo n ge r bow t h a n

t he si n gle d e tach ed not e s A fre e r style is t h at of uni .
form le n gt h of bo w t hrou g hout W hen it is possi bl e

.
,
play a long swift stroke in pr e fere nc e to a short on e in

passages of t his kin d :
In a su dden transition to high D on t he A strin g t he ,
portamento is al l owe d Th e stroke is a forearm on e

. .
Now we return to t h e octa ve s If t h e re is any trouble a t

.
this point play t he notes toget her unt il t he p itch is quite

,
accurate There is al so anot her advantage

. In octave s .
the bow li e s on two strings and t his is an aid t o t h e

,
’
mastery of a pure le g ato in a passage in which t h e note s

are not playe d toget her Note t he almost perceptible
.
cresce n do as the octave s progre ss Aft e r Se veral meas

.
ures in which t he forearm stroke is used we come t o short ,
groups near the point of t he bo w In t he fourt h l ine from

.
t h e e nd we return to t h e short passage t o be treate d

, ,
som ew hat freel y .
In passing t o t he sev ent h position on the D st rin g ,
avoid a nervous j erking or undue pressure upon t h e bo w .
The portamento is naturally desirable .
T he arm shoul d be well under t he v iolin in t h e octa ve s

on t h e G and D strin g s .
HO W T O ST UDY F I OR I LLO .
33
The last chords a r e not playe d like arpeggios They .
must be full of decision The down bo w is use d in eac h

.
-
c a se .
No 1 4
. .
O n th e G i
str n g .
It is an e rroneous idea t hat t hos e outsid e of the F re nc h

school sometime s ente rtain concerning t he nob il ity of
tone of t hat school In cantabil e work tone color and
.
,
-
proport ion are sought and obtaine d B ril liancy vivac .

,
ity and piquancy belong to the F rench temp e rament

, ,
b ut dept h di gn ity and nobility are possible even in

, , ,
a F renchman H ence it is t hat such e xponents of t he

.
F rench school as T h iba u t Kreisler and Marteau play an

, ,
A da gio wit h beauty an d nobility The Ge rman school

.
,
w hile e ssentially lackin g in versatility l ightn e ss and , ,
e leg anc e ,a s compar e d wit h th e F r e nch e xc el s on ly in

,
34 HOW To ST UD Y F I O R I LLO .
breadth of ton e pu rity and di gnity It is a b su r d in th e se

, , .
days of constant comparison between schools consi de rin g .
the fre qu e nt study of great artists in se ve ral C ontinen tal

schools to assume tha t any one o f t hem h a s the only
,
l egitimate interpretation of the classics T he F ren ch .
school artist plays C orelli and Tartini wit h more p oetry

and vari e d tone color t han t he German school a r tist
- -
giving to all t he classics of t hat period more modernity

and conse quent beauty t han they ev e r possesse d in their
time Again the pre sent use of t he vibrato g ives
.
,
warmt h to any classic I speak of these t hin g s becau se

.
o n e can learn to play the A da gios o f F iori llo and R ode

in Paris .
In connection wit h t his étude p l aye d l arg ely on th e ,
G string it woul d be well for t h e student to study su ch

,
works as t he R a f f C a va tin a t he B ach G S tr in g A ir ,

!
.
an Air from a S u ite by Johann M a t th eson and othe r

!
.
works which will give on e perfe ct free dom in t h e hi g he r

positions on one st r in g Th e G string has al ways b een a
.
!
favorit e one for be a utifu l slow mov e ments of C onc e rtos .
B ot h B ach and Paganini realize d its possibiliti e s Pos .
sibly t he student hol ds t he neck o f the violin too tightly
wit h t he thumb Th e latte r must b e ready to move

.
quickly into any position t h e fingers being wel l arched ,
in t he very high positions A perfect command o f the .
legato and fine discrimination in t he use o f t he porta

mento are desirable O ne should avoid sliding up and
.
down t h e strings when t he p hrasing does n o t dem a nd

t h e po r tamento D o not hurry the movement
. Pause .
b etween p hrases to give adde d dignity In playing ve ry .
high o n t he string do not pre ss upon the strings too

,
heavily with t he bow as t he l ength of strin g is now so

,
shor t t hat additional pre ssure give s a raspin g ton e .
Practic e t he cres c endo E conomize space in lon g b ow .
ing D o n ot allow t h e fingers to leave t he strings at such

.
p oints .
A pe rfect le gato can only be obtaine d whe n t he fingers

and bow are in pe rfect symp a thy A somewhat dig u i .
fie d trill is necessary Maintain the prope r t e mpo In

. .
36 HO W TO ST UDY F I OR I LLO .
t he uppe r t hird of t he bo w not for te at first unti l free , , ,
dom of t he bow arm is assure d A late ral stroke of t he

-
.
wrist is not ne cessary T h e wrist should be fle xible .
and fre e however , Play a smoot h running stroke for a

.
, ,
pronounce d staccato is likely to make t he muscle s o f t he

fingers and wrist rigid unle ss one has perfect command ,
of the bow arm and hand The stu dent should tra in
-
.
himself to read ahead of t he measure he is playing .
Place al l t he fingers in p osition at once whet he r a new ,
position is to be taught or not A p revailing tendency .
in t his work is to play wit h a sti ff arm an d to u se t oo

rapid a tempo That is not wise . Play sl owl y unti l .
free dom is assure d The se quenc e of positions shoul d .
not trouble t he player S t ring transfers should b e made .

!
on t he e dge of t he hair or a s nearly so as possible an d , ,

! !
t here shoul d b e no tilting of t he b o w from t he oute r
e dge to t he middl e an d t hen to t he inner e dge of t he h a ir .
K e ep t he forearm high e nough so t hat t he bow l ies easily

on two st rings Always anticipat e st ring transfe rs by
.
-
practicing arpeggios on four strings wit h t he entire arm ,
we ll arche d and no br e ak in t he curve W hile many .
short st ring transfers e spe cially at or near t he point of

-
t he bo w re quire only t he use of t he wrist t he re is an

, ,
a l most p e rceptible movement of t he arm from t he s hou l

de r so t hat t h e curve describe d on t he st rings may b e
,
easy an d graceful T his is one of the most important .
t hings in connection wit h t he obtaining of a beautifu l

l egato . A study of my Th r ee O c ta ve S ca les wit h ‘
,
v ari e d bowings in t he upper half of t he bow should

, ,
b e carri e d on du ring t he entire stu dy of Kreutzer and

F iorillo Note t he di fficulty of easy st ring transfe rs in
.
-
t h e sixt h measure T hese are very treacherous if on e .

,
has not mast e re d t h e two su gge ste d b owings in t he first

five l ine s Now let u s take t h e passage sl owl y near t h e
.
,
point of t h e bow t he first note being playe d lightly sta c

,
cato and t h e n e xt two slurre d note s staccato on t he up

,
bow . Do not j erk t he first note of t he grou p of t hree .
D a ily Exer c is es a n d Th r ee O c ta ve S c ales b y Ed i th L W i n n Pu b ,

. .
o
lish ed b y C a r l F i sc h er N ew Yor k Pr ic e
, .
,
HOW To ST UD Y F I OR I LLO .
37
S ometimes t e achers prefe r to u se single detach e d bo win g s

t hroughout t he e xercise That is not desirable ; in fact
.
,
all students of t his work shoul d have a t horough knowl

e dge o f positions I do not believe in t he practice of
.
many and varie d bowings in connection wit h F iorillo .
W e hav e practically fi xe d t he fundamental bowings in

the first twelve Kreutze r étude s At present many .
teachers are using t he S evc ik 4 000 B owin g S tu dies l

, ,
l
and carefully teac hing Mazas E tudes B r illia n tes ’
S itt .
and D ont must inevit ably aid in t he mas tery of bow

ings as well a s of p osit ion work T here is so much to
, .
l earn from standard C once rt os t hat it seems unwise in ,
ou r busy Ame ric a n life t o burden t he student wit h too

,
many études I f he can learn t he great principle s of

.
v iolin playing from well known works or a few well -
chosen études he has tim e for t he study o f le gitimate

,
c l a ssics The e ntire S evcik plan is too e xtensive a n d

.
impractical for Am e rican violin study ; neve rt hel e ss t h e .
most progressive teachers are ad a pting S evcik to t h e

nee ds of their pupils W e cannot teach as S evcik
.
teach e s ; ou r entire condit ions of life are at varia nce

wit h E uropean conditions If t he preparatory work .
f or F iorillo is well done we may be sure that the student

,
wil l progress rapidly and t here will be no nee d of th e

,
introduction of many and varie d forms of bowing at

this point . R eview wit h t he fl ying staccato in t he
l ower half of t he bow also at t he middle o f the bow
,
spiccato .
Pl ay t he following measures at t he point of t h e bow :

On i
2 str n gs
S ee f ootn o te , p ag e 30 .
38 HO W To ST UDY F I O R I LLO .
No . 16 .
Again t he term A lleg r o is a somewhat elastic on e

, .
T he stroke i s at o r near t he point o f t h e bow t he first ,
note cove rin g enough space so as to allow a longe r bow

for t he t hree slurre d note s T his g roup should be sharply
.
accente d Play for te t hrou g hout

. Play t he l onge r stae
.
cat o group s in t he second a n d t hird line n e ar t he point

of t he bow using as little space as p ossible unti l we come
, ,
to t he l ast two note s O wing t o t he modulations in t his

.
étude I frequently ask students to memorize it We

, .
usually analyze it There is a growing tendency amon g

.
violin teachers to analyze all technical works and pie ces

wit h student s F ore ign tea c hers rarely do so It is a
. .
que stion whe th e r t he l esson should include h a r m On ic

anal ysis T hat shoul d be taught elsewhere T he violin
. .
teacher s duty is t o teach t he pupil how to p la y wor ks

’
.
H armony and theory shoul d be taught in c l asse s I t .
is wise howe ve r to call attention t o keys All t he

, ,
.
maj or and minor keys shoul d be stu die d R emembe r .
t he sharp accentuation o n t he first note down bow o f , ,
slurre d group s of t hree note s .
T he trill should be p l aye d wit h a down b ow R aise t h e .
bow slightly between oct a ve s ; a lso pl a y i t t he mi ddl e

of t he bow Accent trills The fingering in t h e l a st
. .
t hree me asure s is as follows :

HOW To STU DY F I O R I LLO .
39
No . 17 .
A b rief glance at t his etu de woul d naturally give on e

t he impression t hat it is playe d in a light manne r It .
is however one of t he most interesting A da gio studies

, ,
in violin literature The F iorillo études are not single

.
det a che d studies They flow into each ot he r as it were

.
, ,
nat ura lly an d wit h su fficient v a riety as to tempo and

,
t hemes to m a ke t hem fascinating and a gree able This .
é t ude leads into t he more rapid eightee n t h étude grace

fully a n d wit h dignity B ot h étude s a r e usually t a ken
.
o u t of order on account of t heir difficulty and t he

, ,
Kreutzer double stop étude s are reviewed Phrase s

-
.
shoul d be full of meaning cle a n cut and distinct The

,
-
.
fingers must f a ll simultaneously in double stops A slur -

.
within a slur require s a slight separa tion but not t he rais ,
in g of the bow Note t he e xact reproduction of t he

.
first p hra se wit h t he position of note s inve rte d in t he

, ,
se cond p hra se Note t he second and third measures

.
,
se cond line t he short staccato being avoide d

,
.
40 HOW To STU DY F I OR I LLO .
W B
. . N ut .
N ut . WB . .
W B . .
T he long staccato doubl e stop passage shoul d be -
play e d wit h slightly detach e d note s not staccato in t he ,
e xtreme sense wit h a slight ritard toward t he clo se

, ,
about two t hirds of t h e bow being u se d so t hat t he f ol

-
l owing l egato passage may b e free T he ne xt two note s .
slurre d must be playe d near t he point of t he bow fol ,
lowe d by a staccato passa ge a s b e fore playe d l ightly

’
and detache d wit h a free running strok e W hen t h e r e

, .
are groups of two note s t h e first is accent e d Phrasing

,
.
must be cle an cut at t his point :

-
Naturally t here is a ritar d at t he c l os e The first part .
o f t he étude begins on t he toni c t ri a d wit h t he funda ,
ment a l no te ab sent I t is well to call t he at t ention of t h e

.
HOW TO ST UD Y F I O R I LL O .
41
st ud e nt t o t he fact that t he se cond part of t he étud e

opens wit h t he do m inant chord t he fun damental note
,
being absent There is a decide d pause in t he fourt h

.
measure owing to t he demands of p hrasing Th e stu

, .
dent s hould pl a y one p hrase repeatedly until mastere d .
The fingers move simultaneously into new positions .
They must take t he position at once In t he t hird lin e

.
t he accompaniment to t h e t heme mu st be lightly playe d ,
n o note being carried over a rest Do not accent in syn

.
C O p a t e d passages nor play t he note of the a c c om p a n i

,
ment too loud giving it more th a n its value

, In t h e .
sevent h line t he S hort notes or groups shoul d be playe d

almost in a re citative style The student should t hink
.
his interval at o n ce when sudde n ly passing t o double

stops ; in t he higher positions t he fin gers fall togeth e r .
The long runs may be playe d more n ea rly in staccato

style. In t he t hir d measure from t he cl ose play t h e ,
thirty s e con d no te at t he heel of t he bow

-
.
In order to fully appreciate this étu d e it woul d be ,
well for t he student t o hear t he great singers in such

works as B oc ca bocc a bella by L otti or Vien i c he p oi
, ,
ser en o by Gliic k which o f fe r e xample s of pure tec h nic

, ,
and beauty of p hrasing I believe I can sa y fran k ly

.
t hat I have le a rne d more about p hrasing from t he st udy

of voice t han from violin study At any rate t he on e
.
a ids t h e othe r and t he student must learn to p l ay

,
42 HO W TO S T U D Y F I OR I L L O .
F iori ll o an d R ode lik e an artist gi v in g t o pure l y t ec hn i ca l

,
works a value t hat wil l mate rial l y aid him in the inter
p r e t a t ion of pi e ces S tyle and p hrasing ar e so e ss e nti a l
.
to v iolin playing t hat on e S houl d hear much good music ,
and all teachers shou l d be ab l e t o ill ustrat e t h e important

principl e s of bo win g p hrasing and t e chnic
, , .
No 1 8
. .
For finishe d studi e s u sing double stops étud e s

, e ve n -
, s
t ee n and e ight ee n are une xcell e d The l atter l ike t h e .
,
twelft h Kre ut z er may be playe d for years with profit

, .
The stud e nt S hould not ent e r upon t his study untrain e d .
B e side t he preparatory work o f Kreutzer and S itt t he re ,
are e xcellent double stop e xercise s of Wilh elm j H iim a ly

-
‘
, ,
an d e specially of H alir use d so l ittle as yet in Am e rica

, .
H a lir s ide a is t o teach doubl e st 0p sc al e s in se ctions

’
-
be ginning wit h t he C scale T his étude shoul d n ot be

.
p l aye d rapidly Allegretto is a diminutive t e rm

. Pl ay .
in t he lower hal f of t he bow t he bow bein g rais e d for

,
each note T h e student shoul d plac e t he finge rs sim u l

.
t a n e ou sly T he fingers move toget her T h e positions

. .
must be t horoughly understood before t his étude is

stu die d O ne may practic e it for mont hs wit h profit
. .
G e n e rally t he upper part of the bow is pre fe rred wit h a ,
smoot h running strok e of t he bow T e ach e rs diff e r .
conce rning t h e manne r o f teaching t his étud e .
All staccato passage s are usually p l aye d crisp l y with ,

44 HOW TO S T UDY F I OR I LLO .
f ollo wing passage is played toward t he middle o f t he bow

t h e stroke b e coming a spiccato :
Kee p in t he uppe r t hird of t he bow wh e n t he ti ed ’
note s are al t e rnately l ong and short In t he seventh .
line se cond m e asure play t he staccato run at t he

, ,
of th e bow :
No . 20 .
p H . B .
As an e xample of string transfe rs in t he p osition s

-
e spe cial ly upon four st rings t his étude is une xcelle d

,
.
Play light l y near t he point o f t he bow Pre pare for each .
change of st rings an d for rapid position ch a nges by read

ing in advance Always keep t he bow well ove r two
.
st rings . I f four st rings are t o b e use d raise t he arm , ,
t he ent ir e arm being in t he same plane A runnin g .
legat o a t t he point of t he bow is de sire d .
R ais e t he arm out from t he side t he whole arm movin g ,
in t he same plane t he wrist leading N ote t he great

,
.
value of t his et u de as a preparation for t he t hird move

ment o f t he C once rto in A minor by B ach S hort st rin g .
transf e rs re quire t hat t he t wo fingers u se d fall sim u l

HO W TO S T UDY F I OR I LLO .
45
t a n e ou sly t he strings T he arm always fol l ows t h e

on .
wrist I f arp e ggios occur in t he highe r positions p l ace

.
,
the fingers as upright as possible on t he four st rings .
A variation in point of attack interfere s se riously wit h

intonation Note t he ne cessity for pe rfe ct intonation
. .
The wrist leads in transfers a backward dip se curing a ,
pe rfect legato Do not se cure it by pl a ying on t h e inn e r

.
e dge of t he hair .
If t he legato is not e asil y playe d review t he eight h ,
Kreutzer etu de in groups of two note s at t he point of

t he bow .
A study of H ans S itt s double stop études and S e ction

1 ’
-
I V and V of Se vc ik s B owin gs is desirable

’
I f t he .
étude is first playe d in double stops t he student gains -
t he habit of t hinking t he rel a tion of tones also t h e bow ,
g ains facility and lie s we l l over t he st rings

, .
A running l egato passage o f t wo note s t o a bow is

usually playe d anywhere from t he middle to t he po int ,
preferably near t he point if pianissimo A quick com ,

.
man d of the sixt h position is not e asy Two fingers at .

,
l east shoul d fal l at once into place T he bow shoul d lie

,
.
a l most over two strings at t he point or n e ar it T here ,

.
shoul d b e n o visible rise an d fall o f t he arm for two st ring

transfers In moving from position to position t he legato
.
,
shoul d n ot be disturbe d A slight accent on t he first .
note of each group of two gives characte r to t he étu de .
I n t his passage wh e re more t han two st rings are t o b e

,
use d on e naturally move s t h e entire arm

, .
Ha n s S i tt T ec h n ic al S tudies O p
, , .
92 .P a rt I B oo k I I I Dou b l e
, ,
S to pp i n g T h i r ds S ixt h s a n d O c ta ves
, , , . P u bli sh ed by C a r l F i sc h e r N ew ,
Yo r k P r i c e
.
,
46 HO W TO STU D Y FI OR I LLO .
A slight undula t ing movement of t he wrist n ot late ral , ,
give s free dom Play near t he e dge o f the hair as muc h as

.
possible R aise t he entire arm for a transfe r from t h e

.
E string to t he G t he wrist l eading slightl y De scribe a

, .
curve not an angular movement

, D o not turn t he .
violin far over t o t he E side H ol d it lightly wit h t he .
chin and let t he b ody of t he instru ment be nearly fia t ,
t ha t is m a ke t he an gle as small a s possible

, If t he G .
st r ing is high in t he air t he E will be corre spon dingly,
low t he arm close and all leg a to work or string transfe rs

, ,
-
corre spondingl y diffi cult T he rule of reading ahe a d and

.
placing finge rs on t he st rings at once always hol ds good .
As e xample s of t his style of bowing one may mention ,
t he S evcik B owin gs Part 2 S e ction I I I I V V ;, , , ,
al so the S itt Tec hn ic a l S t dies 2 d p a rt O p 9 2 , wit h

u
‘
, ,
.
t he c hords p l ay e d as arpe ggios in many w a ys T here .
are m a ny ot he r studie s of t his nature ; for instance t h e ,
Kross B owin gs of K r eu tzer s S tu dies Nos 1 an d

’
, .
Naturally t he student must thin k modulations even if ,
he is pe rfe ctly famili a r wit h his position work Ke e p .
t he t humb well under t h e neck of t he violin so as t o ,
comp a ss four strings easily and at onc e A wi se plan .
wit h stu dents who are ve ry carele ss about making smoot h

string transfe rs is t o ask t he m t o play t he grou p s as
-
double stops singly in t he lowe r half of t he bo w using

-
a light detache d stroke W hen playin g suc h passages .
as t his do not t hrow t he wrist out necessitating a pe r ,
f e c t ly flat fourt h finge r All finge rs shoul d be a rc he d

. .
Marie H e r ite s one of t he be st early e xponents of t h e

,
S e vcik school has a very e xcellent met hod of pl a ying

,
See foo tn ote pag e

,
29
.
2
S ee f ootn ote , page 2 9.
HOW To ST UD Y F I O RI LLO .
47
tent hs in spite of he r sho rt finge rs S h e b r ings her

,
.
first finger far around so as to fall a t right angle s to t he

,
neck of t he v iolin It lies flat in t his position and t he

.
fourt h fall s easily into place slightly curved The wrist

,
.
is somewhat out of position and t he t humb f a r unde r the

,
violin but resu l ts are satisfa ctory E ve ry o n e c a n con

,
.
que r limit a tions of t he hand No 2 0 is not a virtuoso

. .
study I t belongs e sse ntially to a good repe rt oire but

. ,
it is n ot easy and must t herefore be prac t ice d until

,
p e rfect freedom is secure d and intonation is perfect .
No . 21 .
5 8 0 11 6 .
S e veral e di t ions of F iorillo sugge st varie d bo wings for

t his étude We have practice d varied bowings wit h
.
Kreutze r S e vcik and ot he r works O ne shoul d b e

, , .
familiar wit h bowi n gs before t he study o f F iorillo T he .
content of t he étu de must only be considere d U se a .
light legato bowing near t he point The question has .
oft e n been aske d D oe s t he t humb bend in t he fift h

,
!
position ? Afte r we leave t he 3 d position t he t humb ,
be comes fia t unde r the neck of t he violin B e ve ry ca re .
ful of intonation whe n t h e key change s At t his point .
do not change posi t ion It is an invariable fault of

.
students :
48 HOW To ST UD Y F I OR I L L O .
A quick transfer from t hird to second position must b e

made easily All p a ss a ge s of a chromatic nature o r in
.
,
which t here are sudden modulations shoul d be playe d a ,
good deal until corre ct intonation is assure d O wing t o .
t he great similarity between Nos 2 0 and 2 1 it is wise to .

,
play t he t wenty se cond before t he twe nty fir st

- -
.
No . 22.
6th P osi ti o n
4 c on es p r ession e.
3d
f
The twenty se cond étude is on e of t h e most be autifu l
-
adagio studie s in violin literature I t is particu l arly .
useful to t hose who are studying t he B ach S on a tas and

t he S po hr D u os There is no nee d o f playing t he first
.
note timidly O n e shoul d be able t o thin k A be cause

.
,
o f t he knowle dge of absolute pitch The position o f t he .
no t e is natura lly di fficult T he t humb must l ie wel l

.
under t he v iolin ne ck in orde r t hat t he passage o n t he

,
A st ring may be p l aye d wit h ease D o not pull t h e A .
string from S ide to side in t he higher positions T his .
cause s false in t onation In t he fou r t h measure u s e t h e

.
t hird posi t ion t he n change to second position A s to

,
.
t he lengt h o f bow require d the volum e of note s and ,
number on o n e bow gove rn t he lengt h but a uniforml y ,
broad style is advocated O ne se rious di fficu l ty in t he

.
étude is t h e command of t he cre scendo and diminuendo .
Practice t he three oct ave scales single whole bow ,
slowly making a cre scendo four tim e s

, U se t he vibrato .
HOW TO S TUDY F I O RI LLO .
49
freel y C once rning high note s play wit hout pre ssur e
.
,
upon t he bo w stick as t he tone of a short st rin g cann ot

-
b e forc e d It is o f t he utmost importance t hat on e

.
shoul d play wit h correct intonation T he high note s ar e .
n ot a s strong in tone a s t he low notes owin g to t h e ,
diff erence in len gt h an d vibrato r y quality of t he st rings .
W e wil l n ow turn t o t he sixt h position The first not e .
must n ot b e forc e d The use of t he same finge r for

.
pos ition implies t he portamento A smoot h flowing .
l ega to pass a ge is naturally to b e playe d wit h a l onge r

b ow S udden leap s from t h e G st ring t o t h e E must
.
b e made wit h a high arm and flexible wris t .
Play t he bowings as marke d You will ob se rv e .
slu rre d note s in varie d groups The t hree note s must be

.
p l aye d wi t h a long bow a n d in as pe rfect proportion a s

t he longer passage The powe r to use t he bow wisel y is
.
difficult to acquire Note t he passage s in t he se vent h

.
,
eight h and nint h positions

, It is absolutel y ne ce ssa ry
.
t h a t students be free in t he higher positions D i ff e rent .
e ditions vary conce rning t he finge ring in t he last lin e .
The bowing is usually uniform T he di fficulty of t he .
étude naturally make s it one of t he best of it s typ e f or ,
t he difficulties are legitimate on e s whic h natural ly occur ,
in t he gr e at conce r tos :
No 2 3
. .
H . B .
The bowing sugge ste d in t he t wenty t hird étu d e is on e -
o f t he most frequent and n a tural one s in conce rtos It .
is adapt e d t o an alle gro movement and w hile it may ,

50 HO W T O ST UD Y F I O R I LLO .
be s a t isfactorily playe d near t he point o f t he bow t he ,
forte woul d indicate a longe r bow possibly t he up p er

t hird A fre e undulat ing movement of t he wrist Wit h
,
.
, ,
only a slight arm movement in two S tring t ransfers is

,
-
de sire d Again t he student mus t be c a utione d against

.
,
raising t he finge rs too quickly All fingers must take .
t heir p ositions quickly a n d maintain t he m In t hre e .
string tra nsfe rs more arm movement is nece ssary Do .
not play ov e r t he entire surfa c e of t he hair Keep .
largely t o t he outer e dge Note t hat t he middle note

.
is highe r t han t he t hird no t e of t his group hence it is ,
wise to use t his b owing :
We return to t he forme r bo wing in t he ne xt l ine .
T he bow is not s tac c ato but a free stroke t hat wil l

up -
not be a decide d contrast t o t he prece ding slurr e d note s .
I n co n n ection wit h t his étude obse rve intonation care

fully Also add to t h e fle xibility of t he wrist by t he use
.
1
of t he E tu des of H ans S itt O p 9 2 B ook I I I
,
.
, .
NO . 24 .
S ee foo tn ote , pa g e 29.

52 HO W T O ST UDY F I O R I LLO .
This is e asily p l aye d if t he t hum b mo ve s freel y and if

,
t he fourt h fin ge r S lide s along t he strings The first and .
fou rt h move toget he r in octa v es It is al so t rue of ten t hs

. .
The followe rs of t he F rench schoo l always play c hords in

an arpe ggio styl e T his is not true of t h e B e rlin school
. .
The follow e rs of t hat school fall wit h force upon the

strings taking t hree or four note s simu ltan e ously F or
, .
t he development of such a styl e see S e vc ik s 4000 B ow ’
in gs S e ction V ( Part
,
No 25
. .
G S tr i n g .
This étud e furnish e s an e xc e llent e xamp le of p hrasing

and style B efore b e ginning t h e study o f it on e might
.
’
well play H a lir s runs up and down e ac h st ring f o r t he
pure l eg ato and position work T he student gains f re e .
dom in t his way D o not press too heavily on t he bo w

.
stick for t he highe r positions as a rasping sound results

,
.
T he cre scen do and l egato must not b e sacrific e d Note .
t he reappearance o f t h e t h e m e on t he E st ring A s bro ad .
a bowing as p ossible is desire d T he sixteent h note s fa ll.
about in t h e middle third of t he bow t h e thir ty second ,

-
note s lyin g ne are r t he point of t he bow T he fou rt h .
line be gins a n e w form of t he ori ginal theme The u p .
stroke is rat her a broad staccato not a spiccato bowing ,

.
The bow is not raise d from t he st ring but swings al ong ,
t he st rin g li g htl y Not e s marke d wit h a dot ha ve variabl e

.
HO W To ST UD Y F I O R I LLO .
53
m e anin gs according t o t he tempo of a work In t his case

, .
t he short staccato woul d be t oo trivial The followin g .
me a s u re should be played in t he u ppe r part of t he bow

very firmly gradually diminishing in t he next line to a
,
pianissimo near t he po int o f t he bow :
No . 2 6.
T o be p l a y ed With th e u pp er th ir d of th e bo w
0 .
You will o bserve t h a t F iorillo makes decide d co n t r a sts

in his é t udes The t we n ty si x t h n a tur a lly assume s a
.
-
more lively characte r I t O pens wi t h a crisp b r ight

.
,
st a ccato in t h e upper t hir d of t h e b ow T he last two .

54 HOW T O ST UDY FI O RI L L O .
measure s of t he first lin e a re natu rally p l aye d som e what

near t he point of t he bow Pe rfect free dom of wrist
.
and forearm is desired T he fo rm of t h e se con d l in e

.
is like t hat o f t he firs t line and t he same bowin g is u se d

, .
Now we contrast t he stac cato and legato passages If .
t he octave s see m d ifficul t lead t he student t o p r act ice

,
t he octave st udie s o f H alir and S c h r a die c k T he l e gato .
t riplet s in o c t ave s are near t he point of t he bow No t e .
at t his point t hat t he quarte r note s e xten d t hroughout

t he uppe r legato groups It was a s t range idea of t he
.
Peters e dition t o int roduce t he gr oups wit h an u p bo w -

.
I n our present day study we see k t o make études fit

-
!
into mode rn solos This style o f bowing is al most

!
.
obsolete .
The bowing is n ow reverse d t he first note be in g short

, ,
t he ne xt t wo slurred ; but we soon re t urn t o t he ori ginal

met hod .If t he group opens wit h a high note followe d
by a low note then a high note a gain the bowing is a s
, ,
follows :
I f t h e note s ascen d t he scale t he y ,

a re most fre quen tl y
bowe d t hus :
T he arpeggios t h a t follow are l egit imate be in g e asily ,
playe d in t he uppe r part o f t he bow T he tempo gove rn s .
t he len gt h o f t he bow Pupils learn to fee l f or bowing ;

.
in fact t o make few e rrors in passage s o f a similar n a ture

, ,
be cau se they have been t r a ine d t o pl a y co rre c t l y if t he ,
Massart bowin g s are u se d wit h t he study of Kr eut ze r .
Se e footno te p , . 2 5 .
HOW To S TU D Y FI O R I L L O .
55
Pla y t his measure in t he middle of t he bo w raisin g ,
t he bow slightly for each group ; accent t he se cond not e

o f eac h group :
No 2 7 . .
I i J i wn
se
gu e .
This étu de shoul d n ot be playe d t oo rapidly a light ,
stroke in the uppe r t hird or upper half of t he bow being

somewhat easily se cure d T he first note of t he groups
.
of t hree note s must be playe d without pressure upon

t h e bow It is a light staccato The bow lie s well over
. .
t wo strings . Take t he second p osition at onc e D o not .
t ry to make t he bow stroke s uniform in len gt h

!
F re e .
dom is at first s e cure d at or near t he point o f t he b ow ,
t he wrist being very supple D o not re l e ase the fou rt h

.
finge r entirely from t he bow stick Varie d bowings are

-
.
n ot desirable as t he wide rang e o f violin literature

,
demands a knowledge of th e specific content of étude s .
The bowings re quire d in t he F iorill o étude s ought to be

famil iar t o students l ong b e fore they reach t his point
in t heir study .
B efore t he change int o a ne w key play a cr e sc e ndo of ,
two measure s .D o not re st at t he base o f t h e first finger

u nle ss nec e ssa r y Avoid t h e vibrato
. R elax t h e t humb . .
H ol d firmly wit h t he chin R apid change s t o new posi

.
tions require a simultaneou s movement of the first and

fourt h finge rs R elax t he wrist
. The t humb is usually .
in advance of t he first finge r and remains t hus Play .
t he l ast lin e at t he point of t he bow very lightly If it .
is necessary to move t h e t humb from under t h e ne ck of

t he violin do so ; in e xtreme case s it may r e st a g ainst t h e
,
body of the violin but this is not usually nece ssary

, .
In high positions t he hand is raise d and t he fin gers fal l

,
ve rtic a lly . R a ise t he arm high in t he up pe r positi ons ;

arch t he fingers well ove r t he four strings wit h a slight ,
turning inward if t hree or four strings are r e quire d B e

, .
careful of false into n ation in t he last two line s Pre ss .
lightly upon t he bo w stick when playing in

-
high positions :
NO . 28.
Wi th th e m i d dl e .
'
A tleg r o a ss a i .
HO W To ST UD Y F I O R I LLO .
57
There are no new p rinciple s of bowing to be pres e nte d

in t his étu de A running light legato at or near t he point
.
of t he bow is desirable K e ep t he bo w well over two

.
strings I f by t his time t he legato is not free analy z e

.
,
each measure a n d introduc e chords Also practic e in .
t he middle of t he bow .
This practice giv e s the bo w pois e upon t he strings ,
and enable s t he student to understand t he fundamental

basis of string transfers Anot her e xcellent plan is to
-
.
play e a ch group several times in twos fours and eights , ,

.
O t her e xcellent methods are to play t he e ntire measure

in on e bow or two measure s in one bow O ccasionally
,
.
play a little below t he middle o f t he bow raising t he ,
bow slightly for eac h stroke .
This is a fre e stroke wit h t he principle of t he flyin g

staccato An e xcellent bowing is t his :
.
Thes e bo wings however can only be use d in portions

, ,
of t his e xe rcise At any point in t he study o f F iorillo if

.
,
t he stud e nt has not develope d free dom of bowing return ,
to t he S itt double stops Also use t he t hird fourt h an d

-
.
, ,
fifth S e vcik books (4 000 B owin gs ) t he S c h r a diec k A r p eg

, ,
g s with v arie d bowings and my Thr ee Oc ta ve S ca les

2
io , .
Hen ry Sc h radiec k Tec h n ic a l Violin S c hool P a rt I I I Ex e r c i ses in

, , .
th e D i f fer en t M od es o f B owi n g A l so C h or d S tu d ies

. P r i c e ea c h .
, ,
5 0 c en ts
. P u bli sh ed b y C a r l F i sc h er N ew Yor k , .
3
D a ily E x er c is es a n d Th r ee O c ta ve S t dies b y Ed i th L W i n n
u Pu b
, . .
lish ed b y C a r l F i sc h er N ew Yor k
, Pr ic e .
,
I ve ry fre que nt l y u se t he Tartini A r t of B owin g in c on 1
n e c tion wit h F ior illo as a furt her illustra t ion o f bowin g , .
2
A review of t he Kre utze r ( first t welve ) E tude s is ve ry
usefu l The student must understand t hat t he more
.
so l i d t h e t e chnic of t h e bow and left han d is fixe d in

Am e rica t he more rapid advancement will be in foreign
,
music centre s It is not wise to neglect detail s or p rin

.
c ip les Naturally from ou r condition s o f l ife we cannot

.
, ,
always obtain t h e sam e high standards in Ame rica a s in

Pragu e B e rlin and Pari s, ,
.
No 2 9
. .
W e have n ow had so much practice in dou bl e stops t hat

!
t his étude o ff ers little t hat is new or inte restin g ; nev e r

t h e le ss it is valuable ,D o not allow t he accompaniment .
to stand out too prominently Keep t he theme a s an .
e xampl e of p ure le gato playing T he bow mu st l ie wel l .
ov e r two strin g s an d no note in t he accompaniment ,
should b e held t oo l ong Not e s must fall simultan e ously .

,
if so written T he tempo mu st be maintain e d t hrough

.
! . T a r ti n i , The A r t f
o B owin g . F if t y Va r ia tio n s on a G a votte by
C or elli P r i c e 5 0 c en ts
.
, .
S pec i a l C o n c e rt E di ti on o f T en o f t h ese Va r i a ti o n s by O vi de M i
us n .
Pr i c e 75 c en ts
, P u bli sh ed b y C a r l F i sc h er N ew Yor k
.
, .
3
S ee footn ote , p ag e 3 .
string chan ge s wit h t h e w rist in short transfers Do not .
s lide into positions .
I n t h e sixt h and n int h li ne s thin k t he position change s

at onc e I f w e can sing a t heme before taking a positi on
.
,
t ru e intonation is assured Many student s wh o are .
beginning t h e study of t h e se cond p osition using th e ,
W ohlfahrt and S itt stu die s ask if t he second and fourt h

,
positions are us e ful O n e must turn to t he étude s of

.
K reut ze r F iori ll o R ode and Ga vin ie s showing many

, , , ,
e xamp le s A s a means of ear training I conside r t h e

.
s e cond position v e ry v aluab l e The stud e nt wh o h a s .
di ff iculty wit h t he fourt h is like l y t o have t h e same wit h

t he fift h and sixt h p ositions O ne cannot stre ss too .
much t he val ue of t h e care ful study of positions B e gin .
ning at t he second page of t his etu de it is well t o p l ay a ,
somewhat shorter staccato stroke Th e st ring transfe rs .

-
are made b y t hro w in g t he wrist ov e r t he st ring in case s ,
in w hich on e g oe s from G to A or D to E I sometime s .
r e vi e w parts of t h e étud e wit h spiccato b owin g at t h e

middle of t he bow S ingl e stroke s You will observe
, .
t h e t e rm sem p r e s ta c c a to in som e e ditions Pl ay a l ittl e .
broader strok e t han t his t e rm would indicat e T h e l ast .
t hre e l ines not includin g t he l ast l ine are ve ry difficu l t

, , .
Pl ay l i g ht l y using l itt l e bow Move t he l e ft t humb far

, .
round . Keep t he middle j oint flat B e n d t he fin ge r .
toward t h e G st ring to command t he posi tions ; also ke e p

t he fin ge rs down when not in use D o not use t he vibrato .
in any case e xc e pt on e in whic h a broad free bowing is

desire d as in an ada gio mov e m e nt
, B e ve ry car e ful of .
intonation .
HOW To ST UD Y F I O R I L L O . 61
No . 30
.
'
As a pr e paration f or t his et u de use t h e S c h r a diec k and

,
S e vcik works I fin d S c h r a diec k s Tec hn ic a l E x er c ises

.
’
and S ca les a n d A r p eggios valuable t hough I pre fe r t he ,
method of playing scales as advocate d by H alir because ,
S c h r a die c k repeat s t he fundam e ntal not e t hereby mak ,
ing a pe rfe ct legato well nigh impossible T he orde r of

-
.
’
S c h r a die c k s sca le s I do not deprecate T he stroke he re .
u se d is a s hort staccato in t h e upper t hird or a m a r te le in

’
t he middle of t h e bow I have alre ady e xplaine d how t o

.
cross on e string without playing upon it Throw t he .
bow by a short quick stroke of t he forearm well ove r t he

st rin g keeping t he arm hi g h ou t from t h e body Make a
, ,
.
curve n ot an angl e
, .
I f t he very high positions and rapid change s s e em too

diflic u lt p l ay th e intervals on t he piano a few times
, .
Thin k t he tone D o not st rive for spee d The bowing

’
. .
and intonation are o f first importance Pl a y t he slurred .
notes in t he sixt h sevent h eight h and nint h line s legato

, , , ,
unt il free dom is secure d Alt ogethe r t his is a most

.
diflic u lt étud e and it shou l d be practice d even when

,
oth e r étude s are unde r ou r conside ration .
T he entire étude is not playe d wit h a ve r y short sta c

cato stroke The fingers must see k t heir positions at
.
once . Avoid an awkward arm stroke .

62 HO W TO STU D Y FI O RILLO .
No . 31.
As we have play e d severa l étu de s of t his

varie d b owin g s .
( 1 ) T he l owe r t hird s e cond group flying staccato

, .
( 2 ) Middle spiccat o .
( 2 a ) U p p e r t hird legat o
,
.
( 3) S ingle measure s on on e bow .
( 4) I n groups of four not e s .
( 5 ) R unning leg ato at point .
F rom a te chnical standpoint t his étude is n ot as di tti

cult as some t hat pre ce de it At t he fift h l ine it woul d
.
be wise t o play a rat her sho rt stroke near t he point o f

t he bow S how t he p upil e xample s of similar bowings
.
!
in t he 8t h R od e C once rt o t h e 2 2 d and 2 3d Viotti t he
!
, ,
HOW To ST UDY F I O R I LLO . 63
B ach A Minor et c As an e xample o f t h e pure spic

,
.
cato refer to t he
,
Pe rpetual Motions of Ri e s and
As a typ e of running legato u se S chube r t s
’
B o hm .
T he B ee . A s an e xample of octave and tent h study ,
point ou t passage s in the Polonaise of Vieu xtem p s

! !
.
S hort detache d stroke s t w o notes on on e bow below t he

, ,
middle of t he bow are very useful

,
B road vigorous .
,
strokes wit h t he uppe r t hird of t he bow are e xcellent

toward t he cl ose :
Throughout al l étude work I stress t he great funda

mental p rincip l e s o f b owing I cannot see t hat t h e
.
playing o f a gre at many étu de s counts f or much if w e

negle ct pr in c ip le s W hen we g o abroad a ll ou r work
.
,
ends until we correct bad habits and maste r p rinciples

w hich ought l on g ago to have b ee n mastere d It is al l .
v e ry well t o say t hat Mr ! a great artist doe s not

.
,
adhere t o t he particular cree d of his schoo l Pe rhaps he .
cannot be boun d by a met hod The rank an d file o f us .
must cling t o somet hing E lastic rule s cannot be made

.
for amateurs T here must be de finite rule s o f action

. .
T o clinc h a point I m a y sele ct many illustrations

, It .
is bette r t o settle it once for all t han t o pass on and

, ,
return to it wit h a bra in daze d b y many p rinciple s and

multipl e il lustrations to tall y unrelate d Teac h thor ou gh ly
.
wha t you teac h .

64 HOW To ST UD Y F I O R I LL O .
No . 32 .
This étude must b e p l aye d wit h a sin g i n g t on e t h e ,
a c companiment being clear smoot h and e le g ant, a s in , ,
étude numbe r two Th e l ower note s must st rict l y be

.
in time an d of proper duration This type o f a e com .
p a n im en t found in t he B ach unaccompani e d S onatas

! !
, ,
!
t he 3 0105 of Paganini t he Twe nty second Conce rt o
,
-
of Viotti an d ot her works is one of t he most int e resting

, ,
forms in solo v iolin p l aying W hile it is fre e grace ful

.
, ,
re fine d and elegant in t he sonata and conc e rto rhyt hmic

, ,
ab a ndon is hardly allowable in an étude T h e mel ody .
must always b e supporte d by absolute p re cision in t he

accompaniment W hile t his é t ude is an e xcel lent e x
.
ampl e of pure cantabil e playing it s grac e ful a c c o m p a n i ,
ment relieve s it from t h e somewhat rigid style of t h e me r e

et u de . In t hat respe ct it is sup e rior t o numbe r t hirt y
t hree from a musical standpoint I n t he t hird l in e y ou.
will obs e rve a staccato run Make t his a runnin g sta e

.
cato n ot s hort and crisp Do not hasten t h e tempo ;

,
.
rathe r ho l d back in orde r to obtain a dignifie d cantab il e .
I n t he fift h line sing t he t hem e and dip t h e bow sli ghtly

,
f or t he running accompaniment which must occ ur e x ,
a c tly in time Do n ot accent t h e accompanim e nt note s

‘
to o much Give t hem only t heir val ue

. Kee p t h e bow .
a s c l os e upon two st rin g s a s possibl e :

N o 33. .
S tud e nts a sk ,I s t his a sho rt staccato ? W h e r e do I

p l ay such a passa ge ? !
The value an d t e mpo of a
work gove rn b owing Avoid meaningl e ss bowing Play
. .
broadl y when possibl e O ne must stu dy t he cl assics

.
and discriminate b e tween t he styl e of different schoo l s

and pe riods if on e is to j ud g e of m e t hods of b owing .
In t his ca se play wit h a free som e wh at broad tone i n

, , ,
t he uppe r part of t h e bow Produce a re sonant sin gin g

.
,
t on e
. D o not de crease t he ton e in an asc e n din g passa ge .
It is a good plan t o play t he arpeggios separat e ly t hat I S , ,
rep e ating e ach l ine over and over unt il t hey ar e m a s

,
t er e d .If t he stud e nt h a s diflic u lt y wit h t hem review ,
t he twe lft h Kreutze r etu de T he se con d and fou rt h

.
position s re ! uir e much mor e care f u l p racti c e U se a.

66 HOW T o S T U D Y FI O RI LL O .
free fore arm strok e w h e n it is possibl e Pa ssa ge s of t hi s

.
nature may be p l aye d n e ar t h e point of t h e bow :
Not e t h e octaves in t he el ev e nt h lin e T h e y should

.
be playe d in t h e mi d dl e of t he bow sl i g ht l y detache d t h e

, ,
bow being rais e d b y a fl e xib le wrist stroke t he first not e

,
of t he group be ing acc e nte d Ce rtain t e ach e rs p re fer a

.
perfect legato at t h e point of t he bow The stroke at

.
t h e middle is fre e r . Do not pre ss upon t h e bow stick -
as t he bowin g must be light e sp e cial ly in t h e chromatic

,
passag e :
The single detached not e s o f t he l ast l in e are more e asi l y

playe d wit h spiccato bowing at t he middle o f t h e bow .
They may also b e practic e d wit h a short crisp l ight , ,
staccato at t h e point :
68 HO W TO ST UD Y F I O RI LLO .
e xacting o f t he entire book hence t h e ne c e ssity of fre quent

,
reviews I f possib le anal yze t h e content of t he work

.
, ,
calling attention to t h e structure of e ac h passag e an d t h e

b asis of arp eggios .
N o 35 . .
Ther e are so many doub le stop étud e s o f more practical

-
valu e t han this one t hat it is wise to review t he e xcellent

double stop étude s of Kre utze r S itt and D ont although
-
1 2
, ,
t h e last nam e d are t he l e ast practical H ow e ve r if one .

,
is to teach F ioril lo on e must use t his etu de A fe w ru l es

,
.
may b e use ful

R e ad in advanc e of
t he m e asure playe d .
S t rive for a pur e sin ging tone .
K ee p t h e t heme prominent t he accompa nimen t ,
legat o .
U se a broad free style of bowing .
The finge rs must fal l simultane ously in doubl e

st ops .
Analyze t h e work p hrase b y p hrase .
Memo ri z e diflic u lt passage s .
H a n s S i tt Tec h n ic al S tudies O p 9 2 P a rt I B oo k 3 P r i ce
, ,
.
, ,
.
,
P u bli sh ed b y C a r l F i sc h er N ew Yo r k
,
.
I Do n t Twen ty f ou r Exer cises O p 3 7 P r i ce 5 0 c en ts Pu b

.
,
-
,
. .
,
.
lish ed by C a r l F i sc h er N ew Yor k
,
.
8 . D o not dra w t he s t r i n gs from side to side The .
fingers must fall into posit ion and remain fi xe d .
9 . If t he pitch is not at once secure d do not S lide t he ,
fingers up a n d down as if in se arch for t he exact

tone .Practice t he passage until t he fi n gers
fall into corre ct pl a ce s at once .
M O DE R AT O A S S AI .
M oder a to a ss a i .
Not hing new presents itself at this point in bo win g .
A free detache d forearm stroke i n stead o f t h e short sta c

c a to is de sira ble until t he technical side o f t he etu de is
maste re d I generally take t he first t hr e e measures
.
,
contrast ing t hem t hen m e morizing t he m

, I al so refe r .
t o ce rtain well k nown progressions in t h e S c h r a die c k

-
arpeggios Very few stu dents after a wee k s practic e

.
’
can play t his étude wit hout mistakes in t he progressions .
It is t herefore desirable to study it line by line The

, , .
second line follows t he sam e progressions as t he first ,
t hough we begin a whole tone highe r S ometimes I .
oblige my students t o write down each line from memory ,
in orde r to master t he p rogressions m e nt a lly .
Again I list e n to rel a te d me a sures repeate d several

,
times The que stion may a rise S houl d t he teache r first

.
,
!
!
play t he étude t o t he pupil ? The teache r shoul d e x
pl a in t he bowing of e a ch etu de assigne d for t he ne xt lesson ,
but shoul d not as a rule play it The student shoul d

, ,
.
an a lyze it and get all he can out of it before b rin gi n g it

t o t he te ache r This develop s t he powe r of reasoning
.
and concentration H e t hus learns to stand alone

. .
70 HO W TO ST UDY F I O RI LLO .
So many student s pl a y me rely by imitation t h at it is a ,
que stion in modern violin study whet he r it is wi se f or t he

teache r t o il l ustrate t oo much Teac h t he pupil to de duce
.
conc l usions himself He ar his ve rsion t hen show him

.
,
t h e way D o not play études too much wit h him

. Play .
t h e passa ge a l t e rnately wit h him Do n ot p l ay a c on .
ce rto t o a stud e nt be fore he has practic e d it H is c on .
c e p t ion means more to him t han yours It is e qually .
tru e o f t he ot h e r fine a rts N o g reat paint e r wa s ev e r

.
mad e w hos e pictures we re sketche d for him The crea .
tiv e an d anal yt ical instinct must prece de p ure imi t ation .
!
I r e cal l t he stu dy o f t h e B ac h solo S onatas In B erlin !
.
we st udie d t he m very rigidly but when away from t hat

,
atmosp he re w e p l aye d t h e m wit h free dom T he se su g .
gestions do not e xcuse t h e teache r from frequentl y

i ll ustratin g A teacher wh o sits and listens to violin
.
stu d ents a ll day be cause he is too indi ff e rent t o play ,
cannot guid e w ell . Again t h e teache r shoul d be able

,
to give a p e rfect e xampl e o f a styl e of bowing or p hras ing .
T e achers w ho p l ay no more are not wi se e ducat ors .
As far a s intonation is conce rned t hi s étu de is one ,
o f t h e most difficu l t o f a l l yet it is ve ry useful from t he

,
standpoint of modu l ation The last t hree line s re quire

.
a free wrist stroke (legato ) at t h e point o f t he bow A s .
more t han two strings are include d t he stroke is an arm ,
and wrist o n e The elbow must move out in t he same

.
plane as t he forearm and wrist A b solute free dom o f .
al l part s o f t he arm is nece ssa ry .
NO . 36 .
HO W T O ST U DY F I O RI LL O . .
71
DI FFE R E N T AR PEGG I O S PLA YI N G

FO R TH E PR E C E D I N G
C H O RD S .
M S p ic c
. .
HO W TO S T UDY F I O RI LLO .
U pp er th i r d .
U ppe r t hi r d .
HOW TO S T UD Y F I O RI LLO .
73
B e for e b e ginnin g t his étude r e view t he chord studi e s ,
o f S itt and Kreutz e r , using wit h t he first S itt study t h e

following bowings :
1 . W hole bo w
2 . L ower half .
3 . Two note s to a bow mi d dle po int an d h eel , , .
4 . F our not e s to a bow .
I prefe r t his stu dy to t he S evcik B owin gs S e ction ,
V . I woul d ho wev e r u se t h e S e vcik stu die s f or se cu ring

, ,
a fle xible wrist stroke .
Also use S c h r a die c k s Tec hn ic a l Violin S c hool B ooks

’
,
2
I I and I I I I mak e some chang e s in t h e chords O f t his
.
étud e a s fo ll ows :
,
1 ) 7th measur e . 2 ) l 6 th an d 1 7th mea sur es .
S i tt Tec h n ic al S tudies O p 9 2 Pa r t I B oo k 3 Do u b l e
Ha ns , ,
. .
, ,
S topp i ng P u bli sh ed b y C a r l F i sc h er N ew Yo r k P r i c e
.
, .
,
3
T ec h n ic al Violin S c hool b y H en r y S c h ra diec k
, P a rt I I Exer .
,
c i ses in Do u bl e S to pp i n g P r i c e 40 c en ts Pa rt I I I Exe c ises in th e

.
, .
,
r
D i ff eren t M odes of B owi n g P r ic e 5 0 c en ts P u bli sh ed by C a r l F i sc h er

.
,
.
,
N ew Yor k .
74 HOW TO STU D Y F I O R I LLO .
U se also t he following bowing :

S ingle detache d chords down bow ,
lowe r hal f .
The wrist must be very fle xible The whol e arm is .
used . Play t he t hree note s simultaneously Play also .
t hus whole bow :

,
W e now com e to t he pure l egato at th e point mid dl e , ,
and heel o f t h e bow .
Two note s tied four and eight Vary this b y playin g

,
.
t h e first two notes legato t he se cond t wo st a ccato at t he

,
point o f th e bow ; t h e first t wo legato lowe r half t he , ,
second two flying staccato .
W e will now turn to two style s O f legato bowing : eight

note s to a bow ; two tie d note s followe d b y si x tie d U se .
t he whole bow also upp e r and lowe r half The ne xt

, .
bowing is two tie d followe d by t he short st a cca to at t he

poin t O f t he bow T he n use two tie d two cut at t he
.
, ,
middle or point O f t he bow Appl y t he p rinciples o f .
S evcik ,
B owin gs S e ctions I I I I V and V
, , , .
I woul d introduce a style of bowing ve ry much used

in solo and orchestral work : a running lega t o at the poin t
in t riplets S ame at t he middle of t he bow S ame at
. .
t h e heel T hree tie d legato followe d by three flying

.
,
s t accato lowe r half of bow T h re e down s t rok e middle

,
.
-
spicca t o t hree u p stroke

,
-
.
The se are all t h e pra ctical b o wings I u se but note s ,
playe d ii on e bow at t he point are u se fu l

h , , .

Como Estudiar Fiorillo

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Como Estudiar Fiorillo

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H O W TO

a Neapolitan live d as conductor of ,

t he opera I t seems t h a t a t ﬁrst

F iorillo was a playe r of t he mandolin ,

an d l ate r on b e came intereste d in t he

and in 1 78 3 was conductor of t he b a n d

two years I n 1 78 5 he playe d wit h .

great success at t he C once rt s S pirituel s in Paris and ,

also publishe d some of his compositions whic h were ,

re ceive d most favora bly Three years late r he went t o.

L ondon whe re he seems t o have met wit h little success

as a violinist since he only playe d t he violin part in

in L ondon was in 1 79 4 whe n he pe rforme d a concert o

on t he viola T here is very little known about t he re st

of his life e xcept t hat from L ondon he w e nt t o Amster

dam an d was in Paris in 1 8 2 3

Among his numerous compositions are duos for violins ,

for pi a no and violin a n d violin and V ioloncello ; trios for

ﬂute violin and tenor for two violins an d b a ss ; quartets

and quintet s for st ringe d instrume nt s ; conce rt os f o r t h e

somewhat dry and ol d fashione d were favorably receiv e d

and show him to h a ve been an earne st musician .

H oweve r t here is one particular work h is

six C a p r ic es o r E tu des which i s known and

e ve ry violin playe r and which for a lon g

probably remain a standard They ra nk .

classical studie s of Kreut z e r and R ode T his wor k I .

been e dite d ove r an d ove r again most re cently

E mil Kross S pohr wrote a se cond violin p a rt b ut

altere d t he original te xt t o such an e xt ent t hat his wc

ANY teachers of note cling to ol d traditions The .

e a rlie st e x t a nt e ditions of F iorillo by F e rdinand ,

D avid and ot hers h a ve no e xpre ssion m a rks for t he

La r go of t he ﬁrst étude T his wa s o ri ginally playe d

for te counting four very slowly The tone should be

full an d eve n t here being absolutely no variat ion This

i s e xcellent pra ctice for t hose who are incline d to pl a y

stroke require s a ﬁne arm and e xcellent bow cont rol .

The elbow j oint shoul d be very well rel a xe d S uch .

pass a ge s as occur in t he fou rt h ﬁft h and si x th me a sure s

shoul d be pl a ye d wit h some tone color a n d tast e t he -

eight h note be ing cut in anticipation of t he rest . .

To cultivate a bro a d free bowing and a full tone one

shoul d p ra c t i c e t he m a r telé at t he p oint of t he bow ,

where at t acks are likely to be weak Also t he frequent .

practice of t h e se cond Kreutzer étu de wit h four note s

slurre d is e xcellent t he bowing being at t h e point m id dle

and heel T hen th e re a r e staccato s c a le s whic h aid t he

student in securing a ﬁne t one and free dom of styl e in

notes staccato on t he u p stroke ; 2 T wo down at poi n t

and two up stacc a to ; 3 T he s a me e xe rcise using t rip

lets B egin wit h t he G scale i n t hree octav e s T h e

ne xt t hing to gove rn is t he b road continuou s tone This .

can only be done by long an d arduous practice of slow

with no variation in force or intensity .

The H e rmann e dition require s t hat t his part of t h e

t his up during t he whole e xe rcise The original i mten

tion of F iorillo was t hat it be playe d legato wit h a b road , .

free stroke The t riplet s are playe d in t he same manne r

in t he uppe r t hird or toward t he middle of t he bow

T he sixteent h note s must fall with evenness at t he middle

a ﬂe xible wrist and shoul d be p ractice d ve ry care fully

At the H oc hs c h u le in B e rlin fe w of t he teache rs s t re ss