Notice particularly that the 4th finger is always employed is ascending scale passages, and for extension to C above the staff ,and that the open strings are employed when descending and that 8 16th notes are played with one stroke of the bow, which must be used from end to end. COunt 4 to the bar, playing four 16th notes to each count.

No. 2 is a bowing study in arpeggios with 2 styles of bowings: first, in the groups of 3 as shown by upper slurs, and then in groups of 6 as shown by lower slurs.

Take particular notice that the 1st note of each group is staccato (dotted) and that the slur begins each time on the 2nd note of the groups.

Pay close attention to the very 1st notes of this exercise; t is t be e executes with a quick down stroke, beginning near the point of the bow marked sp. (which means at the point). Use the upper half of the bow to slur 3 notes and use whole bow to slur 6 notes.

Notice when you reach the repeat mark the last slur extends over the double bar which indicates that there is still another note to be played under the slur. This other note is the 1st note in the exercise (the one which is played separately in the beginning) but now, it is joined to other notes by slurs; after playing it 5 times end it by playing the last 2 measures. Count 3 to the bar playing 6 notes to each count.

No. 3 is a staccato study in thirds.

Now these staccato notes are NOT to be made with a jerk but are made with a bouncing bow from one note to the next. THis may be accomplished on a slight pressure of the 3rd fingers on the upper side of the stick make it teeter on the thumb. Now hold the bow over the strings about a half an inch above it, and let it drop on the string. When it strikes the string the pressure of the 3rd finger on the stick will cause it to rebound again and again and after some practice you will have complete control of the bouncing, starting and stopping it at any instant.

Begin this practice at the lower third of the bow (next to your hand and as you gradually gain speed draw nearer the middle and finally the point; you will also find that once you get the knack of it you may do tit without the aid of the third finger, merely holding the bow with the 1st finger and the thumb.

The balance of this lesson will be treated in the next week's lesson. You should devote the entire week to these 2 studies playing them as marked and also with bounding staccato bowing and thus prepare yourself for 2nd Variation and Tyrolienne. N.B. When writing always mention instrument. Confine your questions to ONE LESSON ONLY. Give name of lesson, number of staff, number of measure, and be brief. Give full name and address.

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© 2003 R. Fingerson
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