No. 34.
There are three methods of playing the first part of this étude. One is a broad detached stroke, middle to point. The second is a short staccato stroke near the point of the bow. The third is the spiccato at the middle. As the position changes are difficult, use the most easily acquired bowing at first. That would be a forearm stroke. Practice the sixth position passage separately until mastered. Each position change should be mastered before going to the next. It might be well to select certain arpeggio studies of Schradieck and Kreutzer in connection with this étude, for the sake of a mastery of principles. Varied bowings should follow a mastery of the content of such études. Note in the eighth line the groups of two slurred notes. These may be played lightly at the point, also at the middle of the bow, with a free wrist stroke combined with a slight movement from the shoulder, a form of bowing often used in orchestral works, a freer style than that at the point of the bow. When the étude is mastered technically, I often teach it with the spiccato bowing at the point of the bow, followed by the bowing indicated in legato passages. When crossing the strings hold the arm high, the wrist leading in string-transfers. The practice of the F major scale in the sixth position with varied bowings is recommended. To keep up a continuous spiccato is not desirable, hence the detached bowing in the upper third of the bow is not practical. This étude is one of the most difficult and exacting of the entire book, hence the necessity of frequent reviews. If possible, analyze the content of the work, calling attention to the structure of each passage and the basis of arpeggios.