they should be played as if there was a rest after every note, in this manner—
etc.
The second precaution is, that you first play with the point of the bow; and when that becomes easy to you, that you use that part of it which is between the point and the middle; and when you are likewise mistress of this part of the bow, that you practice in the same manner with the middle of the bow; and above all, you must remember in these studies to begin the Allegros or flights sometimes with an up–bow, and sometimes with a down–bow, carefully avoiding the habit of constantly practicing one way. In order to acquire a greater facility of executing swift passages in a light and neat manner, it will be of great use to you if you accustom yourself to skip over a string between two quick notes in divisions, like these—
etc.
Of such divisions you may play extempore as many as possible, and in every key, which will be both useful and necessary.
With regard to the finger–board, or carriage of the left hand, I have one thing strongly to recommend to you, which will suffice for all; and that is, the taking a violin part, either the first or second of a concerto, sonata, or song, anything will serve the purpose, and playing it upon the half–shift, that is, with the first finger upon G on the first string, and constantly keeping upon this shift, playing the whole piece without moving the hand from this situation, unless A on the fourth string be wanted, or D upon the first; but in that case, you should afterwards return again to the half–shift, without ever moving the hand down to the natural position. This practice should be continued till you can execute with facility upon the half–shift any violin part not intended as a solo, at sight. After this advance the hand on the finger–board to the whole–shift, with the first finger upon A on the first string, and accustom yourself to this position till you can execute everything upon the whole–shift with as much ease as when the hand is in its natural situation; and when certain of this, advance to the double–shift, with the first finger upon B, on the first string; and when sure of that likewise, pass to the fourth position of the hand, making C with the first finger upon the first string; and indeed this is a scale in which, when you are firm, you may be said to be mistress of the finger–board. This study is so necessary, that I most earnestly recommend it to your attention.
I now pass to the third essential part of a good performer on the violin, which is the making of a good shake, and I would have you practice it slow, moderately fast, and quick, that is, with the two notes succeeding each other in these three degrees of adagio, andante, and presto; and in practice you have great occasion for these different kinds of shakes, for the same shake will not serve with equal propriety for a slow movement as for a quick one; but to acquire both at once with the same trouble, begin with an open string, either the first or second, it will be equally useful; sustain the note in a swell, and begin the shake very slow, increasing in quickness, by insensible degrees, till it becomes rapid, in the manner following:—
