In the twelfth line a short legato passage is played in the upper half of the bow rather than with the whole bow. When one passage closes with down-bow, there should be no break in passing to the up-bow. Two notes slurred lie in the upper half with as long a bow as the tempo will allow. In passing from a long legato passage to a short one, it is well to estimate so well that the part of the bow desired may come at once under control. All passages requiring quick transitions on four strings should be played as broadly and with as free a bow-arm as the tempo will admit; in other words, too little bow gives no value to the passage, while a light stroke with a longer bow is made more valuable. Naturally, if the tempo is increased to allegro, we must remain near the point of the bow. When four strings are required, the bow-arm must be higher, and the distinction between a forearm stroke and a pure wrist stroke must be well defined. In rapid legato passages all pressure upon the bow-stick must be avoided.
Keep the legato work that follows in the upper half of the bow, avoiding pauses between bows, or unnecessary accentuation. Short groups of slurred notes must be played near the point of the bow. Short string-transfers are made with the wrist, and three or four string-transfers with wrist and arm, the bow never being tilted on its inner edge. Play on the outer edge of the hair as much as possible, resting the bow on two strings, or as nearly so as possible. Do not release the fourth finger from the bow-stick. Rest it at least against the stick if not on it; all work, especially in the lower half of the bow, demands this security of the hand. For string-transfers of this kind, see Sevcik’s School of 4,000 Bowings, Parts III, IV, and V; Casorti’s School of Bowing;[8] the work of Hans Sitt, Op. 92;[9] and the Kross Art of Bowing.[10]
No. 13.
This graceful and interesting étude partakes of the qualities of the French school with added dignity. The andante must be smoothly played, the portamento work being given especial value through position changes.
Strange as it may seem to the amateur, artistic phrasing begins with études; for instance, many of the Études Brilliantes, by Mazas,[11] furnish excellent examples. A natural crescendo occurs in the last four measures of the first line. The andante is graceful and dignified, a perfect example of legato playing. Transitions from third to first position should be made without disturbing the beauty of phrasing. It would be well to analyze this andante with students, pointing out simple rules of phrasing. In groups of two notes, accent the first slightly and pause between groups, closing the phrase with a slower tempo. It is of the utmost importance that rules of phrasing should be taught in études and applied to the standard Concertos. If études mean anything, all that is contained in them should be brought out. This relieves dry and lifeless study, and gives us ample opportunity to make musicians, not machines.