Note in the sixth line the fifth position passage on the A string. Many players have to move the whole hand at this point, so that the fingers may lie easy on the string. The hand should assume a position which will enable the pupil to play with ease. The newer chin-rests, which are wider than the former ones used, do not seem to enable one to hold the violin with ease. The chin should rest on the edge of the chin-rest rather than far in or on the tail-piece. The muscles at the back of the head become cramped by gripping too hard. A little piece of chamois leather placed between the left jaw and the chin-rest will prevent a bruise of the flesh, the bane of professionals.
In the ninth line we have the form of bowing known as two cut and two slurred notes. The notes that are cut are not to be played sharply at the point of the bow. They are swung lightly along the strings, using about one-third of the bow, the tempo being moderate. Again, the student must be cautioned against cutting the value of the second slurred note in anticipation of a single staccato note:
Note the forte passage in the lower half of the bow:
This should be played in a somewhat disconnected style in the first half of the measure, with a strong accent on the first note of groups of two. The latter half of the measure falls about in the middle of the bow. A free stroke, not too short a staccato, is preferred.
The tenth line opens with an arpeggio played forte with staccato and legato strokes. The next similar passage is played pianissimo, in close imitation as to style. All passages of this nature are smoother in the upper part of the bow. Avoid forced accents or any movement which interferes with free bowing:
