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R.H. Smooth control of the bow whilechanging the sound volume. Breathing con-trol

When combining smooth bowing with changein dynamic, it's essèntial to preserve freedom andmobility in all the joints.

Increasing the sound is accomplished not somuch through muscular efrort as with the weightof the arm. This is especially true when play-ing with the upper or middle parts of the bow.By relaxing the shoulder the arm is made heavier,and this weight is transferred to the hand, whicÏincreases the sound by applying pressure, whilerotating counter-clockwise.

Having mastered the notes, one can then easilyadd rhythmic breathing to the exercise.

Exhalation is represented by the symbol l, andinhalation by the symbol 1.

Before performing the exercise with rhy'thmicbreathing. crlrnly and not too deeply take some airinto the lungs. When the bow touches the string,b gi exhaling. and continue for four bârs (syn-chronously with the down-bow). The next threebcr rS , which are executed in one upbow, are êc-companied by even inhalation to the moment ofthe next bow-change. Each note with a fermata,played with a down-bow while breathing out, canlast as long as is necessary to ensure that the in-breath before the next phrase comes naturally anddoesn't throw off the breathing rhythm.

VIL.H. Stretching the fingers_ Thir exercise, for all its importancæ, containsby its nature a certain dangei, since excessivestrajniag and stretching of thè muscles can injurethe hand. Two important conditions should be ob-served here: economy of effort and caution. Dis-continue the exercise at the first sign of fatigue,pain, or any other unpleasant sensat-ion.

qanied by liftingln _section f,], changing the interval is accom-ied bv liftiitand dËpiine of the finsers. Foropping of the fingers. For

i of each numbered sectionhe first ihree nieasut r of.Jh

numberei section

I

3. and 4. Both tied and separated notes-with the whole bow.

-l'he bovings for section [Il are rr]orre uniformand should be self-explanatory

VIIL.H. Sliding the ffngers by half-steps ofthe chromatic scale

A simple chromatic scale can be executed infirst position. When moving from the low to highstrings the elbow shifts accordingly to the left, andupon return to the low strings the elbow returnsto its original position.

R.H. Changing stringsWhen executing the first number of the exer-

cise, the bow is smoothly guided from one string

to another by the hand. Forearm and upper armmove evenly on the horizontal plane. For the firstfour beats tbe arm, bowing down, moves from firstto second position, and for the remaining thræbeats-from second to third position. Beginningon the next beat, the arm moves from third to eec-ond position over three beats, and from second tofirst over the remaining four beats.

The second number of the exercise is executedwittr the upper half of the bow.

The arm is set up at approximately second pesition. Over the course of the down-bow the handshould rise up slightly and

gradually. When theend of the bow is reached, ihe bow ie moved tothe otler string by lowering the hand, and the bowbegins moving in the oppoiite direction.

The third number of the exercise is executedwith tbe middle part of the bow by the wrist,which moves in a hgureeight motionl Th fourthnumber combines the elements of motion con-tained in the preceding numbers.

VIIIL.H. Diatonic sequence in every positionTo reinforce the diatonic sense, this exercise

contains a rising and falling melodic sequence,which moves through all the-keys in rising chro-matic order.

For clean intonation the player must ensurethat the repeated tones are absolutely identical inpitch. Also strive for mechanical and rhythmic ac-curacy of the fingers. The tempo of the exercise israther fast, as can be seen from the first number,where twelve ûleasutes are taken in one bow.

R.H. Several legato and détaché bowing

rariationsWhile executing this exercise, you will notethat from number tô number the legato phrasings

it's preferable to remain in first position, holding

lhe first finger on the string. ln'section E] tËfingers for tLe most part sUàe along the stilng.

R.H. BowingsFor each number of sections @ and @ bowing

pglterns are given.

[4J t. Each pair of tied notes-taken with thewhole bow. Separated notes-with eitherthe lower or upper part of the bow, as in-dicated.

2. Each group of three tied notes-with the

whole bow. The rest of the notes-gradually pulling back to the original po-sition.