No. 28.
With the middle.
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.