Before the change into a new key, play a crescendo of two measures. Do not rest at the base of the first finger unless necessary. Avoid the vibrato. Relax the thumb. Hold firmly with the chin. Rapid changes to new positions require a simultaneous movement of the first and fourth fingers. Relax the wrist. The thumb is usually in advance of the first finger and remains thus. Play the last line at the point of the bow very lightly. If it is necessary to move the thumb from under the neck of the violin, do so; in extreme cases it may rest against the body of the violin, but this is not usually necessary. In high positions, the hand is raised and the fingers fall vertically. Raise the arm high in the upper positions; arch the fingers well over the four strings, with a slight turning inward, if three or four strings are required. Be careful of false intonation in the last two lines. Press lightly upon the bow-stick when playing in the very high positions:
There are no new principles of bowing to be presented in this étude. A running light legato at or near the point of the bow is desirable. Keep the bow well over two strings. If by this time the legato is not free, analyze each measure and introduce chords. Also practice in the middle of the bow.
This practice gives the bow poise upon the strings, and enables the student to understand the fundamental basis of string-transfers. Another excellent plan is to play each group several times in twos, fours, and eights. Other excellent methods are to play the entire measure in one bow, or two measures in one bow. Occasionally play a little below the middle of the bow, raising the bow slightly for each stroke.
This is a free stroke with the principle of the flying staccato. An excellent bowing is this:
These bowings, however, can only be used in portions of this exercise. At any point in the study of Fiorillo, if the student has not developed freedom of bowing, return to the Sitt double-stops. Also use the third, fourth, and fifth Sevcik books (_4,000 Bowings_), the Schradieck _Arpeggios_[19] with varied bowings, and my _Three Octave Scales_.[20] I very frequently use the Tartini _Art of Bowing_[21] in connection with Fiorillo, as a further illustration of bowing. A review of the Kreutzer (first twelve) Études[22] is very useful. The student must understand that the more solid the technic of the bow and left hand is fixed in America, the more rapid advancement will be in foreign music centres. It is not wise to neglect details or principles. Naturally, from our conditions of life, we cannot always obtain the same high standards in America as in Prague, Berlin, and Paris.