These bowings, however, can only be used in portions of this exercise. At any point in the study of Fiorillo, if the student has not developed freedom of bowing, return to the Sitt double-stops. Also use the third, fourth, and fifth Sevcik books (4,000 Bowings), the Schradieck Arpeggios[19] with varied bowings, and my Three Octave Scales.[20] I very frequently use the Tartini Art of Bowing[21] in connection with Fiorillo, as a further illustration of bowing. A review of the Kreutzer (first twelve) Études[22] is very useful. The student must understand that the more solid the technic of the bow and left hand is fixed in America, the more rapid advancement will be in foreign music centres. It is not wise to neglect details or principles. Naturally, from our conditions of life, we cannot always obtain the same high standards in America as in Prague, Berlin, and Paris.
No. 29.
We have now had so much practice in double-stops that this étude offers little that is new or interesting; nevertheless, it is valuable. Do not allow the accompaniment to stand out too prominently. Keep the theme as an example of pure legato playing. The bow must lie well over two strings, and no note in the accompaniment should be held too long. Notes must fall simultaneously, if so written. The tempo must be maintained throughout. The movement is earnest, yet not adagio. Grave refers to the character of the work, not to its tempo.
At this point play the up-bow notes with a running stroke, not the short staccato:
