No. 10.
This étude is similar in style to number nine. It should be played in the upper part of the bow, forte. In taking the fifth position on the last note, first measure, the first finger passes at once into place and remains there. It is a very common fault, and entirely opposed to a fluent left hand technic, to allow the first finger to be released when playing in the higher positions. Note the Halir exercises for sliding quickly from the third to the fifth position and back. One must remember that the thumb does not press on the neck of the violin, also that it slides at once around the neck of the violin when passing to the fifth position. One must never press with the fleshy part of the thumb. The pressure point is below the joint, on the bone. Also, the chin must relieve the thumb of all care as to support.
The fourth and fifth lines should be practiced near the point of the bow, and memorized. After playing a run several times, the progression is mastered. The player should play the whole passage mentally, then place the fingers on the strings exactly as they will fall. I have often asked my pupils to write down the arpeggios as an evidence that they knew the musical content of certain études. Again we must insist that all the fingers seek a new position at once. The strings should not be pulled from side to side in the higher positions. This causes false intonation. While a fairly free forearm stroke is desired, with accentuated first notes of triplets, the staccato is not usually practical. Too little bow gives no character to the work. Too much bow causes a jerky movement of the forearm. Intonation is difficult in the half-position, hence students must play such passages many times. The fingers must be prepared for what is coming. In all étude work we must read ahead and place the fingers mentally before we come to the next passage. In the half-position work, fourth line, you will observe that the note followed by two slurred notes may be played staccato lightly near the point. A long stroke is dangerous to the freedom of the forearm. We swing the forearm, the shoulder joint being free, the arm following the wrist in passages like this:
We also play near the point until the bow-arm is free. Single notes are played staccato, lightly. Such passages as this, requiring slurred notes, should be accented in this manner:
The bow should be free, placed on the edge of the hair as much as possible, with a slight undulating movement of the wrist, not interfering with the legato. Contrasts of legato and staccato need not be observed, the staccato being less marked than previously.
In passages like this:
the legato must prevail, the proper note receiving its accent. Whenever it occurs, keep near the upper third or point of the bow (the single notes being sometimes played spiccato).
The eleventh line requires some contrast between the staccato and legato. Very short slurred notes should be played near the point of the bow. (Play single notes spiccato.)
Now we come to one of the most difficult things in violin playing, string-transfers, skipping one string. (For the development of the bow-arm at this point, Sevcik’s 4000 Bowings, Part II, Sections III and IV, are very useful.) The arm moves freely from the shoulder, the motion being away from the side. The bow remains on its edge as much as possible. Accents, even when a note falls as a second one in a slurred passage, must be observed. The fingers should seek their places simultaneously. Keep near the upper part of the bow, the wrist moving freely, not being under the plane of the elbow; the fingers are relaxed, the fourth being on the bow-stick. As an example of staccato bowing and the running legato combined, this étude is very useful.
