In Ex. 8 the whole octave is played with one bow stroke. In scale practice, it will be advisable for the student at first to repeat the tonic, so that a proper sense of the correct phrasing is felt, thus—
Various divisions of slurred quavers may be practised, where each group contains the same quantity of notes, the same length of bow-stroke must be given each slur. Ex. 9 should be played with the upper third of the bow. The student should not acquire the habit of making the second quaver shorter than the first; each note must have equal duration. This bowing may also be practised with the middle third of the bow.
Where one group contains more notes than another, it is not always advisable to use the same amount of bow for the smaller slur. To preserve the same tone-quality throughout in Ex. 10, it should be bowed as follows:—Place the bow on the strings near the heel; for the first three quavers, draw it just beyond the middle, then give the two tied quavers an up-stroke, using about a third of bow; for the remaining three quavers, draw the bow quite to the point. The octave higher commences with an up-bow, the action being exactly reversed until the heel is reached.
In playing two octaves slurred, besides observing all that has been written concerning smooth slurred bowings, the student must be careful to adopt a proper system of phrasing. It is perhaps advisable in scale practice to suggest in the phrasing, the commencement of another octave. This may be accomplished by dwelling slightly on the leading-note (in this case B), or by accenting the tonic of the upper octave.
Whatever method is adopted, must not be such as to seriously disturb the even run of the semiquavers.