No. 9.
This étude is marked allegro. It is not so rapid a movement as to interfere with a free forearm stroke. The martelé, or even a slight staccato stroke, is not as useful as a broad, free bowing in the upper half of the bow. The student will observe that while some modern editions suggest the staccato, it was not true to the traditions of Fiorillo’s time.
Begin with the upper half or upper third of the bow. A free swinging stroke is desired. At the beginning of the sixth line play lightly near the point of the bow and on the edge of the hair:
We do not make string-transfers by tilting the bow from side to side. We play on the edge of the hair, the long string-transfers being made with a movement from the shoulder, if more than two strings are used. Halir insists on the mastery of scale runs from the highest note of the scale. The pupil must think the tone at once, then he must take his position without effort and remain in that position as long as necessary.