Keep in the upper third of the bow when the tied notes are alternately long and short. In the seventh line, second measure, play the staccato run at the point of the bow:
No. 20.
As an example of string-transfers in the positions, especially upon four strings, this étude is unexcelled. Play lightly near the point of the bow. Prepare for each change of strings and for rapid position changes by reading in advance. Always keep the bow well over two strings. If four strings are to be used, raise the arm, the entire arm being in the same plane. A running legato at the point of the bow is desired.
Raise the arm out from the side, the whole arm moving in the same plane, the wrist leading. Note the great value of this étude as a preparation for the third movement of the Concerto in A minor by Bach. Short string-transfers require that the two fingers used fall simultaneously on the strings. The arm always follows the wrist. If arpeggios occur in the higher positions, place the fingers as upright as possible on the four strings. A variation in point of attack interferes seriously with intonation. Note the necessity for perfect intonation. The wrist leads in transfers, a backward dip securing a perfect legato. Do not secure it by playing on the inner edge of the hair.
If the legato is not easily played, review the eighth Kreutzer étude in groups of two notes at the point of the bow.
A study of Hans Sitt’s double-stop études[14] and Section IV and V of Sevcik’s 4,000 Bowings is desirable. If the étude is first played in double-stops, the student gains the habit of thinking the relation of tones, also the bow gains facility, and lies well over the strings.
A running legato passage of two notes to a bow is usually played anywhere from the middle to the point, preferably near the point, if pianissimo. A quick command of the sixth position is not easy. Two fingers, at least, should fall at once into place. The bow should lie almost over two strings at the point, or near it. There should be no visible rise and fall of the arm for two-string transfers. In moving from position to position, the legato should not be disturbed. A slight accent on the first note of each group of two gives character to the étude. In this passage, where more than two strings are to be used, one naturally moves the entire arm.