No. 31.
As we have played several études of this type, I use varied bowings.
- (1) The lower third, second group flying staccato.
- (2) Middle spiccato.
- (2a) Upper third, legato.
- (3) Single measures on one bow.
- (4) In groups of four notes.
- (5) Running legato at point.
From a technical standpoint this étude is not as difficult as some that precede it. At the fifth line it would be wise to play a rather short stroke near the point of the bow. Show the pupil examples of similar bowings in the 8th Rode “Concerto,” the 22d and 23d Viotti, the Bach “A Minor,” etc. As an example of the pure spiccato, refer to the “Perpetual Motions” of Ries and Bohm. As a type of running legato use Schubert’s “The Bee.” As an example of octave and tenth study, point out passages in the “Polonaise” of Vieuxtemps. Short detached strokes, two notes on one bow, below the middle of the bow, are very useful. Broad, vigorous strokes with the upper third of the bow are excellent toward the close:
Throughout all étude work I stress the great fundamental principles of bowing. I cannot see that the playing of a great many études counts for much if we neglect principles. When we go abroad, all our work ends until we correct bad habits and master principles which ought long ago to have been mastered. It is all very well to say that Mr. X——, a great artist, does not adhere to the particular creed of his school. Perhaps he cannot be bound by a method. The rank and file of us must cling to something. Elastic rules cannot be made for amateurs. There must be definite rules of action. To clinch a point, I may select many illustrations. It is better to settle it, once for all, than to pass on and return to it with a brain dazed by many principles and multiple illustrations totally unrelated. Teach thoroughly what you teach.