No. 18.
For finished studies, using double-stops, études seventeen and eighteen are unexcelled. The latter, like the twelfth Kreutzer, may be played for years with profit. The student should not enter upon this study untrained. Beside the preparatory work of Kreutzer and Sitt, there are excellent double-stop exercises of Wilhelmj Hřimaly, and especially of Halir, used so little as yet in America. Halir’s idea is to teach double-stop scales in sections, beginning with the C scale. This étude should not be played rapidly. Allegretto is a diminutive term. Play in the lower half of the bow, the bow being raised for each note. The student should place the fingers simultaneously. The fingers move together. The positions must be thoroughly understood before this étude is studied. One may practice it for months with profit. Generally the upper part of the bow is preferred, with a smooth running stroke of the bow. Teachers differ concerning the manner of teaching this étude.
All staccato passages are usually played crisply, with freedom. Note the manner of playing the Halir double-stop scales with varied bowings, i.e. (1) Lower half detached; (2) Two notes tied; (3) Four notes tied; (4) Entire scale in one bow. It is always best, when a student is advanced, to study these études of Fiorillo first with the bowing as marked, not with easier forms. It is far better to play a passage over and over until correct, than to institute an easy method of bowing. A mastery of technic requires constant repetition. Take the tempo slowly at first. Always sing tone and play with as broad a stroke as possible under the circumstances, so as to cultivate a broad, free style. A very light passage may often be played with detached notes, using nearly the whole length of the bow. When playing double-stops lightly, do not press upon the bow-stick; play over the finger-board, with a light loose stroke. The middle of the bow is an excellent place in which to play the double-stops, as found in étude 18 and elsewhere. For small hands I would recommend the following method of playing tenths: Draw the first finger around so that it lies almost flat on the string at right angles to the neck of the violin. Then place the fourth finger in position. It is probable also that this finger cannot be curved. The thumb is well round under the neck of the violin. It must be flat, close up to the neck. Do not release it entirely from the neck.