The Project Gutenberg eBook of How to Study Fiorillo, by Edith L Winn

A DETAILED, DESCRIPTIVE ANALYSIS OF
HOW TO PRACTICE THESE STUDIES, BASED
UPON THE BEST TEACHINGS OF REPRESENTATIVE,
MODERN VIOLIN PLAYING

FEDERIGO FIORILLO was born in 1753, at Brunswick, where his father, a Neapolitan, lived as conductor of the opera. It seems that at first Fiorillo was a player of the mandolin, and later on became interested in the violin. He went to Poland in 1780, and in 1783 was conductor of the band at Riga, which position he filled for two years. In 1785 he played with great success at the Concerts Spirituels in Paris, and also published some of his compositions, which were received most favorably. Three years later he went to London, where he seems to have met with little success as a violinist, since he only played the violin part in Salomon’s quartet-party. His last public appearance in London was in 1794, when he performed a concerto on the viola. There is very little known about the rest of his life, except that from London he went to Amsterdam, and was in Paris in 1823.

Among his numerous compositions are duos for violins, for piano and violin, and violin and violoncello; trios for flute, violin, and tenor, for two violins and bass; quartets and quintets for stringed instruments; concertos for the violin; concertantes for two violins, etc. These, though somewhat dry and old-fashioned, were favorably received, and show him to have been an earnest musician. [Pg vi]

However, there is one particular work, his Thirty-six Caprices, or Études, which is known and valued by every violin player, and which for a long time will probably remain a standard. They rank with the classical studies of Kreutzer and Rode. This work has been edited over and over again,—most recently by Emil Kross. Spohr wrote a second violin part, but he altered the original text to such an extent that his work is hardly authoritative, though decidedly violinistic and interesting.

Many teachers of note cling to old traditions. The earliest extant editions of Fiorillo, by Ferdinand David and others, have no expression marks for the Largo of the first étude. This was originally played forte, counting four very slowly. The tone should be full and even, there being absolutely no variation. This is excellent practice for those who are inclined to play with a weak tone near the point of the bow. A broad stroke requires a fine arm and excellent bow control. The elbow joint should be very well relaxed. Such passages as occur in the fourth, fifth, and sixth measures should be played with some tone-color and taste, the eighth note being cut in anticipation of the rest.

To cultivate a broad, free bowing and a full tone, one should practice the martelé at the point of the bow, where attacks are likely to be weak. Also the frequent practice of the second Kreutzer étude with four [Pg 2] notes slurred is excellent, the bowing being at the point, middle, and heel. Then there are staccato scales, which aid the student in securing a fine tone and freedom of style in the upper half of the bow: 1. One down-stroke and six notes staccato on the up-stroke; 2. Two down, at point, and two up staccato; 3. The same exercise, using triplets. Begin with the “G” scale in three octaves. The next thing to govern is the broad continuous tone. This can only be done by long and arduous practice of slow scales. A Berlin teacher plays one note for two minutes with no variation in force or intensity.

The Hermann edition requires that this part of the first étude be played staccato. It is impossible to keep this up during the whole exercise. The original intention of Fiorillo was that it be played legato, with a broad, free stroke. The triplets are played in the same manner in the upper third, or toward the middle of the bow. The sixteenth notes must fall with evenness at the middle of the bow. This is an exceedingly fine study for securing a flexible wrist, and should be practiced very carefully.

At the Hochschule, in Berlin, few of the teachers stress Fiorillo, [Pg 3] preferring the Kreutzer Études, followed by the Rode Caprices. Fiorillo has much to offer that Kreutzer [1] does not stress at all; therefore the études are very valuable.

This étude is very frequently played in a mild manner, too slow for the original intention of the composer. As the allegro of the first étude is not possible at the proper tempo with the staccato bowing, so the second étude loses its character if not played in a martial style. Maestoso means military or majestic in character, with broad bowing and strong accents. The first two notes sweep the whole length of the bow. The third note is also full bow, but very short. A quick stroke, with the bow passing rapidly over the string, is the proper one. The whole exercise is played forte. In the second measure, the bowing is short and crisp at the point of the bow, the first group naturally being played with the whole bow. The third measure is legato, broad and free. Trills should be regular and of exactly the right length. All passages like the second measure are usually played at the point of the bow. After the first bar, some position work may be used (second measure). Trills with the fourth finger are very difficult for some [Pg 4] players. Practice slow trills daily with the third and fourth fingers. The first finger trill should be practiced very slowly and evenly, great care being shown in string transfers at the close. In octave work two fingers must fall at once with force and precision. The whole hand moves. In double-stops, the fingers must fall simultaneously. Double trills are not much more difficult than single ones. They should be played with an even tone, and the fingers should fall with freedom. If the fourth finger is weak, try some exercises from the Halir Tonleiterstudien, repeating the exercises, faster and faster.

The measure immediately preceding the long continuous trills should be played with a down bow. Practice this passage without the continuous trill on C, at first (use a long smooth note and lightly dip the bow on the D string, as if playing a little accompaniment). Let the trill be continuous when changing from up to down bow and vice versa. Every note should be cut shorter if before a rest. This must be observed through the whole exercise. All chords should be played with a broad tone. This exercise, so often neglected, should be played long and faithfully, for it is the basis of other work which follows logically in study.

When playing the “22d Concerto” of Viotti, I always return to this étude of Fiorillo and review it for the sake of the trills. This, with a favorite étude of Kreutzer, aids me greatly in bringing my left hand under control. The octaves are played near the point of the bow.

This is one of the most artistic of the études, especially useful when [Pg 5] one is considering such a work as the “22d Concerto” of Viotti. [2] Another useful work is “Je suis le petit Tambour,” by David,[3] a composition now almost obsolete in a violin teacher’s repertoire. Avoid a trivial style. The staccato is not absolute. The tempo and character of a work govern that matter. The second line has been marked in different ways by those who have revised Fiorillo. Note the Kross bowings:

In double trills the fingers fall together with elasticity rather than force. Be very careful to define the exact interval in the trill. Do not disturb the tempo. Syncopation must not be forced. In trills in the half-position play close to the saddle of the violin, and do not raise the fingers until necessary. Play the chord of the new key as a chord, not as an arpeggio. The bowing is as follows, with a broader stroke than the staccato mark would indicate.

Do not disturb the theme by forcing the accompaniment or by pausing. [Pg 6] The bow lies lightly on two strings, dips, as it were, upon the neighboring string, to obtain the legato. Bow control in this case is of great importance. Use the following bowings. The parts of the bow in which each passage should be played are indicated:

Play the last line with authority, the chords being slightly in the arpeggio style with a stress on the lower note, the tone being firm to the end of the bow.

This étude is played in two ways: first, a staccato run, up bow; second, the mixed staccato and legato stroke, up bow. A free arm is desired. While the short staccato with the wrist stroke is eminently useful, the more brilliant staccato with the arm stroke is desired. [Pg 7] Naturally, the wrist and forearm are free, though the lateral stroke of the wrist is not desired. Play in the upper third or near the point of the bow.

This étude is one of the most useful in the book. A free, broad, slightly detached stroke, in the lower half of the bow, is preferred to a short staccato.

Professor Halir would teach double-stops and scales in thirds in a free, broad style, lower half of the bow (note fingering in the second position). [Pg 8]

The whole bow may also be used. Play the scale runs, second line, in the manner outlined in Halir’s Tonleiterstudien (G.B. or U.H. raise the bow after each group).

He assumes that short position movements make a more perfect scale in thirds possible. I will outline the bowings for the next three lines. Keep the theme prominent. Raise the bow slightly from the strings in defining phrasing.

[Pg 9] The double-stops in the higher positions naturally fall in the middle of the bow. Attack the chords with the up bow firmly, and play three notes together. A free, rather detached bowing in the middle of the bow, using the artificial spiccato, occurs at the close.

Slightly accent the slurred group of two notes; raise the bow between strokes. Play in the middle third of the bow.

[Pg 10] It is not always advisable to take these études in the order in which they occur. The same rule applies to Kreutzer and Rode. It is possible that the student may have some weak point which requires a review of several études of a similar nature. For instance, I recall having been made to play the second Kreutzer étude [4] many times while studying other works, because my forearm was not free. The eighth and ninth were frequently reviewed. Herr Markees, in Berlin, was a great taskmaster, and frequently sent us back to the twelfth Kreutzer. I do not recall ever having studied the first Kreutzer, nor the famous arpeggio étude. Leopold Lichtenberg, and several other artists, teach both of these. The first is very useful for graduation of tone. In the seventh and eighth Fiorillo we find material for tone graduation. Let us practice the crescendo and decrescendo faithfully, using examples from my “Three Octave Scales.”

We must be patient with this work. It is one of the most difficult things in the world to produce a beautiful crescendo and diminuendo. In connection with this let us turn to the Bach-Gounod “Ave Maria,” and play it as written. The famous Bach “Aria” is another example; also the Handel “Largo.” A question has often been asked: Does the bow remain parallel with the bridge during such work, or at a stated distance from the bridge? Most emphatically not. The bow is nearer the bridge in a crescendo passage, and right over the finger-board in the diminuendo. There is a mistaken notion among students that when one plays pianissimo very little bow must be used. Never was there a greater fallacy. The softest tone is produced by gliding the bow swiftly over the strings, its entire length, without pressure and over the finger-board, not near the bridge.

It is one of the most difficult things in the world to produce a soft, resonant tone. It is easy enough to play loud. So it is with singing. I have learned more about the principles of tone from voice teachers than [Pg 11] from violinists. While playing these études, review constantly. Play number one over and over. Number two with the Halir thirds, in C, must be practiced daily. Halir plays double-stops, using the second position instead of the third, and going from second to fourth and sixth. It requires less shifting and is very playable. Always play the double-stops singly, then two slurred, then in groups of four notes, and finally eight notes. After a time play a whole scale up on one box (two octaves C) and down with the opposite bow. Very few amateurs can play the three octave scales thus. I prefer the C scale, as it is easier for the hand. Halir says that a student should be able to play thus (1) or thus (2):

In connection with the study of number five, let us turn to Sevcik’s School of Bowing[5]. I had always believed that the importance of bow technic had been overestimated, until these works of Sevcik proved beyond a doubt the [Pg 12] great advantage of systematic study of varied bowings. The Sevcik system is wonderful. There are exercises for every possible limitation in violin study. The great question in bustling American life is how to abridge a system only possible in a land where virtuosos study “from the cradle to the grave.” Many wise teachers (for Americans are, above all, practical) have used the Sevcik works with success, and yet have not surfeited students with the same.

Let us consider Op. 2, Book 2, Section IV. First master the progressions, that is, learn the exercise by heart. Keep the fingers of the left hand ready for use. Practice all exercises with slurred and single bows at point, middle, and heel of the bow. I usually suggest to pupils to practice exercise thirty-two faithfully before working at the fifth Fiorillo, with three notes to a bow just below the middle. Afterwards use six to a bow; then twelve. Practice number five in octaves at the middle (play both notes at once). After that, play as marked, accenting the first of every group of two notes. One can go on with the Sevcik studies indefinitely, but I urge pupils to practice these special ones for string-transfers half an hour per day, at least. Always cross the strings lightly. In octaves, move the fingers simultaneously, with no crescendo or forte.

The Hermann edition uses the crescendo, forte, and pianissimo marks. Play at first with uniform tone instead, accenting slightly the first note of a group of two. Watch the syncopated passages in the third and fourth lines, and do not accent too strongly. The accent is on the second note of a group of two. The legato passages of sixteenth notes are with a whole bow; the crescendo must be artistic. There must not be a break in the legato for the sake of the crescendo. We remember the mastery of the subtle principles of tone graduation in Joachim’s playing. The special accents at the close of each legato passage (sixth line) are difficult. At the close of the eighth line, give full value to the dotted quarter note and play it forte. The next groups of two [Pg 13] notes are detached, the accent being on the second one. Make the trill long and even. Begin the sixteenth notes, last measure of the tenth line, with up bow. Play at the middle of the bow. Move the first and fourth fingers together in octaves.

Andante sciolto means about the same as Andante commodo (as slowly as you please). At the middle, or upper half, of the bow, cut the notes lightly and accent trills. The second four measures require grace and ease in the upper half of the bow. Remember to discriminate between the short staccato at the point of the bow and the broader detached stroke. Be very careful of intonation at this point.

[Pg 14] The opening measures in the seventh line may be played with a raised bow stroke, middle of the bow. Play near the point of the bow in the last four or five measures of the étude, lightly and elegantly.

Important points to remember in this étude are: Passages bowed near the point are light, as a rule; passages requiring broader bowing are played forte. Always raise the bow slightly for an attack. Each group must be well defined, with accents strong. Pause long enough between the groups to gain poise. Always draw a long bow at the middle with sufficient length to be free and to secure tone. In this exercise, as in many others, the left hand is of most importance. It must be ready. Do not lose time by the trill. Play the single notes freely. These are not staccato. Whenever the staccato occurs in the Hermann edition, as a rule one must play in a broader style. Those old composers did not use the staccato much. Witness Fritz Kreisler playing a work of the period. He gives it more tone-color and varied phrasing than in its period, but he uses very little short staccato work. Number six is a joyous, light work of the French school. It must be technically clean cut, and clear as crystal.

While allegro with the old composers was not like our modern allegro, an adagio was practically the same as at present. Full bowing and a broad, free tone, as well as great dignity, were demanded. I do not believe that the early violinists played with as great warmth of tone and freedom as is now secured by artists.

The old masters played correctly and classically; they used the crescendo and diminuendo, and were masters of tone graduation, but they did not give the emotional treatment to their subjects that is now an apparent necessity. This étude begins pianissimo, but one must cultivate a “concert hall” tone, and make a crescendo in the first two measures; the same in the next group. Tone-color is a prime essential [Pg 15] in this étude. Embellishments must never interfere with rhythm. Note the adagios of Mozart’s quartets. The old writers used embellishments because they lacked intensity and were not skilled in the use of the vibrato. Although number seven is not difficult, it must be technically perfect. At line two repeat the up bow on the second note of the second group. Always do this for beauty of phrasing. Keep broad bowing when possible. Note in the sixth line some peculiar rhythm. Count four steadily, using no embellishments, at first.

The embellishments of the seventh line must not interfere with rhythm. In bow length one must not be hampered by exact rules. Let the nature of the passage decide the bowing. One must not keep trilling if the phrasing demands a pause. The opening measures of the allegretto are played at the middle of the bow, the staccato note being lightly played. The allegretto comes in jocund, with a slight pause between groups, in the upper half of the bow. Try to maintain a forte throughout.

[Pg 16] This is a dignified and stately étude which requires very much shading. It is one of the most artistic of all, similar in character to the first part of number one. The teacher may count eight instead of four, if desirable, as we sometimes do in the andante of a Mozart quartet. Give the dotted sixteenth note a little more time, to suit the nature of the work.

Again I would call attention to the second Kreutzer [6] étude, and slow scales with the crescendo and diminuendo four times on one note. Many claim that the vibrato affects the quantity as well as the quality of a tone. At any rate, the vibrato must be used in such works.

In the next measure change

before the high G. After the double bar, practice long and faithfully the crescendo note in the 4th position. Do not force the syncopation; use the whole bow. Raise the bow slightly when you have groups of two notes, thus:

Play the last measure after restez on the A string, going into the 5th position on C♯, and remaining there during the next three measures. Come down to the third position on D. Play the trill in the fifth position. Detach the groups of three notes, slightly raising the bow. Be very careful not to hurry the tempo. The thirty-second notes are played very legato, and the following fingering is preferred:

This étude is marked allegro. It is not so rapid a movement as to interfere with a free forearm stroke. The martelé, or even a slight staccato stroke, is not as useful as a broad, free bowing in the upper half of the bow. The student will observe that while some modern editions suggest the staccato, it was not true to the traditions of Fiorillo’s time.

Begin with the upper half or upper third of the bow. A free swinging stroke is desired. At the beginning of the sixth line play lightly near the point of the bow and on the edge of the hair:

We do not make string-transfers by tilting the bow from side to side. We play on the edge of the hair, the long string-transfers being made with a movement from the shoulder, if more than two strings are used. [Pg 18] Halir insists on the mastery of scale runs from the highest note of the scale. The pupil must think the tone at once, then he must take his position without effort and remain in that position as long as necessary.

After we leave the third position, the thumb goes under the violin in a horizontal plane. The fingers must fall well over the strings, without unnecessary movements. One may rest the palm in the third position or not, according to one’s physical limitations, but there must be no pressure at the base of the first finger and no depression of the joints of any finger in the positions. All fingers should seek their places at once and remain fixed, unless one is playing vibrato. The character and tempo of an exercise determine how it shall be played. The first finger must always remain near its original place, so that the position may not be disturbed as a whole. Whenever the fourth finger seeks a place, the first should fall at once into its position; that is to say, the position must be mastered. In this étude the bowing is varied, a sure test of mastery of several styles or forms of triplet playing. One thing the teacher must insist upon: that the bow remain usually on the outer edge, also that accents that fall with the up bow shall be well defined. The closing chord, according to the tenets of the Berlin school, should never be played like an arpeggio. Other schools differ in this respect.

This étude is similar in style to number nine. It should be played in the upper part of the bow, forte. In taking the fifth position on the last note, first measure, the first finger passes at once into place and remains there. It is a very common fault, and entirely opposed to a fluent left hand technic, to allow the first finger to be released when playing in the higher positions. Note the Halir exercises for sliding quickly from the third to the fifth position and back. One must remember that the thumb does not press on the neck of the violin, also that it slides at once around the neck of the violin when passing to the fifth position. One must never press with the fleshy part of the thumb. The pressure point is below the joint, on the bone. Also, the chin must relieve the thumb of all care as to support.

The fourth and fifth lines should be practiced near the point of the bow, and memorized. After playing a run several times, the progression is mastered. The player should play the whole passage mentally, then place the fingers on the strings exactly as they will fall. I have often asked my pupils to write down the arpeggios as an evidence that they knew the musical content of certain études. Again we must insist that all the fingers seek a new position at once. The strings should not be pulled from side to side in the higher positions. This causes false intonation. While a fairly free forearm stroke is desired, with accentuated first notes of triplets, the staccato is not usually [Pg 20] practical. Too little bow gives no character to the work. Too much bow causes a jerky movement of the forearm. Intonation is difficult in the half-position, hence students must play such passages many times. The fingers must be prepared for what is coming. In all étude work we must read ahead and place the fingers mentally before we come to the next passage. In the half-position work, fourth line, you will observe that the note followed by two slurred notes may be played staccato lightly near the point. A long stroke is dangerous to the freedom of the forearm. We swing the forearm, the shoulder joint being free, the arm following the wrist in passages like this:

We also play near the point until the bow-arm is free. Single notes are played staccato, lightly. Such passages as this, requiring slurred notes, should be accented in this manner:

The bow should be free, placed on the edge of the hair as much as [Pg 21] possible, with a slight undulating movement of the wrist, not interfering with the legato. Contrasts of legato and staccato need not be observed, the staccato being less marked than previously.

the legato must prevail, the proper note receiving its accent. Whenever it occurs, keep near the upper third or point of the bow (the single notes being sometimes played spiccato).

The eleventh line requires some contrast between the staccato and legato. Very short slurred notes should be played near the point of the bow. (Play single notes spiccato.)

Now we come to one of the most difficult things in violin playing, string-transfers, skipping one string. (For the development of the bow-arm at this point, Sevcik’s 4000 Bowings, Part II, Sections III and IV, are very useful.) The arm moves freely from the shoulder, the motion being away from the side. The bow remains on its edge as much as possible. Accents, even when a note falls as a second one in a slurred [Pg 22] passage, must be observed. The fingers should seek their places simultaneously. Keep near the upper part of the bow, the wrist moving freely, not being under the plane of the elbow; the fingers are relaxed, the fourth being on the bow-stick. As an example of staccato bowing and the running legato combined, this étude is very useful.

Many teachers claim that this étude should be practiced at or near the point of the bow. A somewhat broader and freer forearm stroke is more useful. As in other examples previously analyzed, the staccato is not wholly desirable. The trill should be accented, and there should be no variation in the equality of notes because of the trill. Hardly more than two trills are possible. The student should read a whole measure at a glance, and place the fingers at once in position. Perfect freedom of the elbow joint is desirable. A free stroke of the wrist is necessary in short string-transfers. [Pg 23]

After the whole étude has been played in this broad, free style, play it entirely through with short staccato bowing, about two inches from the point. In the fifth line, the arpeggios are not played in the half-position. As to position changes, remain in one position until it is necessary to move from that position. The sixth line contains the third position followed by the sixth. The fingers should fall at once into the sixth position, the entire hand moving back to the fifth when necessary, the thumb acting in unison with the fingers. Pupils must be perfectly familiar with position work. When the fifth and sixth positions are to be used, the thumb lies flat under the neck of the violin and the fingers are curved over the strings. Never move the hand or depress the fingers until the work in a certain position is finished. We now come to a passage in which we take high E in the fourth position.

Those students who have not been trained, like the followers of Halir, to play three octave scales and arpeggios, beginning on the highest note, are likely to make errors at this point. To the student of Fiorillo, however, one position should be as familiar as another.

Again, we take F♯ in the fifth position, but this is not so difficult, as we have just played G. The prevailing difficulty with players is that they continually get ready for a new position before it is time to do so, giving the hand a restless motion, and changing the position of the fingers so that they play falsely. The thumb is invariably too slow in slipping under the violin. The thumb at the middle joint must be depressed, and there must be as little pressure as possible there; the chin, resting firmly, makes freedom possible for the thumb. It is very noticeable that Kubelik has marvelous facility in taking the high positions, his fingers falling into place with surprising dexterity. He has a perfectly trained hand. As before, the player glides with the entire hand back to the fifth position, then to fourth, and lastly to the third; again, we take the fifth, then fourth, then third, second, [Pg 24] and first positions. The thumb must be absolutely free, with no pressure at the middle joint, and always in advance of the first finger, the hand moving as freely as possible.

The transfers across four strings should be made with ease, the arm moving out to the side from the plane of the shoulder, the wrist being free. In changing positions, the finger last used moves into the new position. The secret of playing this work well lies in the absolute freedom of the thumb. Students may observe that in the last line the transition must be made from the sixth to the first position, the hand reaching far over on the G string, the thumb resting on its tip, yet never quite released from the neck of the violin.

This étude is most valuable as a study of positions, while it offers no varied bowings. It is purely a technical exercise, radically opposed in style to the beautiful examples of cantabile playing offered by numbers one, seven, and eight.

Few of the Fiorillo Études are played by the student strictly according to metronome time. Not so with Rode. His Caprices are often studied abroad for three years; and, by the time the student has completed them, he plays them like finished pieces, at metronome time. [Pg 25] Often, too, the Rode Caprices are memorized, but the Fiorillo Études rarely are. The Berlin school neglects Fiorillo to a certain extent, but Halir, one of its best exponents, spends considerable time in the study of them, giving to them the grace, vivacity, and lightness of the French school when the text so demands, and also striving for the breadth of the German school in pure cantabile work, as found in slow movements. For intricate bowings Kreutzer, with the supplementary Massart [7] bowings, is adequate. Fiorillo’s Études, as previously stated, cannot be studied in their order. Individual needs govern the teacher. Perhaps one student may be studying Fiorillo, while, also studying the more difficult trill and double-stop Études of Kreutzer. Some of the Kreutzer Études have never been given to me by teachers. It is equally true of Fiorillo. If I seemed to have a weak point in technic, or if my bowings were stiff and angular, I returned to Kreutzer. I was taught Kreutzer and Rode, over and over, in Berlin. Many of the Berlin teachers say: “Get technic from the standard Concertos. Do not spend too much time on technic pure and simple.” The question in the mind of the Joachim School is “How is it possible for the Sevcik followers to have a repertoire, when they are made to study technical works of such length and seriousness as those of Sevcik?”

[Pg 26] The twelfth étude of Fiorillo is not one in which technic is prominent. Its object is mainly the freedom of the bow-arm. The fingers of the left hand should be placed lightly over the strings, in readiness for their movement. They should anticipate a change of position. If the left hand is ready, bow technic is more easily secured. Note in the Hermann edition that the étude is marked forte. It should be played lightly, the upper third of the bow being used. There should be no marked contrasts of the legato and staccato; in fact, the staccato mark is not to be interpreted as necessary in such études as this, because the stroke is so free. It would be impossible to play this étude forte in the upper part of the bow, and give it lightness and grace. The short staccato also gives less breadth to the stroke. In similar passages the length of bow used should be about uniform. Note the inclination to cut the second note of a group of two tied notes in anticipation of a single staccato note. This should be avoided. All violin jerking of the bow on single first notes of a group should be avoided. The student should be careful to slide the thumb well under the neck of the violin in the fifth position passages. Do not move the hand while in one position, in anticipation of the next position. Do not depress the fingers in the fifth and sixth positions before passing to the third.

Continuous syncopation should be uniformly smooth and even. Nothing is [Pg 27] of such value to a violinist as a perfect command of the transition from the third to the fifth position, and vice versa. Many faults of technic arise from too much pressure of the thumb upon the neck of the instrument, thus giving the player no freedom, and inducing a bad habit of bending the thumb instead of strengthening it for the fifth position. If extensions are to be made, slide the thumb a little farther under the neck of the violin, and curve the fingers well.

Note in the sixth line the fifth position passage on the A string. Many players have to move the whole hand at this point, so that the fingers may lie easy on the string. The hand should assume a position which will enable the pupil to play with ease. The newer chin-rests, which are wider than the former ones used, do not seem to enable one to hold the violin with ease. The chin should rest on the edge of the chin-rest rather than far in or on the tail-piece. The muscles at the back of the head become cramped by gripping too hard. A little piece of chamois leather placed between the left jaw and the chin-rest will prevent a bruise of the flesh, the bane of professionals.

In the ninth line we have the form of bowing known as two cut and two slurred notes. The notes that are cut are not to be played sharply at the point of the bow. They are swung lightly along the strings, using about one-third of the bow, the tempo being moderate. Again, the [Pg 28] student must be cautioned against cutting the value of the second slurred note in anticipation of a single staccato note:

This should be played in a somewhat disconnected style in the first half of the measure, with a strong accent on the first note of groups of two. The latter half of the measure falls about in the middle of the bow. A free stroke, not too short a staccato, is preferred.

The tenth line opens with an arpeggio played forte with staccato and legato strokes. The next similar passage is played pianissimo, in close imitation as to style. All passages of this nature are smoother in the upper part of the bow. Avoid forced accents or any movement which interferes with free bowing:

In the twelfth line a short legato passage is played in the upper half of the bow rather than with the whole bow. When one passage closes with down-bow, there should be no break in passing to the up-bow. Two notes [Pg 29] slurred lie in the upper half with as long a bow as the tempo will allow. In passing from a long legato passage to a short one, it is well to estimate so well that the part of the bow desired may come at once under control. All passages requiring quick transitions on four strings should be played as broadly and with as free a bow-arm as the tempo will admit; in other words, too little bow gives no value to the passage, while a light stroke with a longer bow is made more valuable. Naturally, if the tempo is increased to allegro, we must remain near the point of the bow. When four strings are required, the bow-arm must be higher, and the distinction between a forearm stroke and a pure wrist stroke must be well defined. In rapid legato passages all pressure upon the bow-stick must be avoided.

Keep the legato work that follows in the upper half of the bow, avoiding pauses between bows, or unnecessary accentuation. Short groups of slurred notes must be played near the point of the bow. Short string-transfers are made with the wrist, and three or four string-transfers with wrist and arm, the bow never being tilted on its inner edge. Play on the outer edge of the hair as much as possible, resting the bow on two strings, or as nearly so as possible. Do not release the fourth finger from the bow-stick. Rest it at least against the stick if not on it; all work, especially in the lower half of the bow, demands this security of the hand. For string-transfers of this kind, see Sevcik’s School of 4,000 Bowings, Parts III, IV, and V; Casorti’s School of Bowing;[8] the work of Hans Sitt, Op. 92;[9] and the Kross Art of Bowing.[10]

This graceful and interesting étude partakes of the qualities of the French school with added dignity. The andante must be smoothly played, the portamento work being given especial value through position changes.

Strange as it may seem to the amateur, artistic phrasing begins with études; for instance, many of the Études Brilliantes, by Mazas,[11] furnish excellent examples. A natural crescendo occurs in the last four measures of the first line. The andante is graceful and dignified, a perfect example of legato playing. Transitions from third to first position should be made without disturbing the beauty of phrasing. It would be well to analyze this andante with students, pointing out simple rules of phrasing. In groups of two notes, accent the first slightly and pause between groups, closing the phrase with a slower tempo. It is of the utmost importance that rules of phrasing should be taught in études and applied to the standard Concertos. If études mean anything, all that is contained in them should be brought out. This relieves dry and lifeless study, and gives us ample opportunity to make musicians, not machines. [Pg 31]

The Presto must first be practiced slowly until a command of bowing and technic is possible. The octaves are played in the upper half of the bow, with a slight accent on the first note of each group, the groups also being slightly separated, though the bow is not raised from the strings. Keep nearer the point than the middle of the bow. Do not hold any note too long. Make phrasing clean-cut.

The fingers work simultaneously, and must not leave the strings during a passage. In playing octaves, relax the wrist inward and curve the fingers well. Keep the thumb free and in advance of the first finger. Everything depends upon the holding of the violin with the chin, not with the thumb and first finger. The bow-arm must be very free. The player should not be timid, sliding the fingers into place. The hand and fingers move together. The trilled notes should be played with a sharp accent, the legato being contrasted with a short, crisp staccato in the upper part of the bow, about two inches from the point. This passage should be played near the upper third of the bow.

Notes not marked staccato are to be played freely, with a forearm stroke. Place the fingers at once in position for arpeggios. Note the suggestions of the Kross edition of Kreutzer, in this respect. By the time the student has reached Fiorillo, he must be familiar with all forms of bowing. He is now to apply himself to technic.

String-transfers must be made easily. Returning to the octaves, one must play with a free running legato in the upper third of the bow. Note the arpeggios, which must be played staccato very crisply near the point of the bow. There is a prevailing tendency among students to play the slurred legato notes with a longer bow than the single detached [Pg 32] notes. A freer style is that of uniform length of bow throughout. When it is possible, play a long swift stroke in preference to a short one in passages of this kind:

In a sudden transition to high D on the A string, the portamento is allowed. The stroke is a forearm one. Now we return to the octaves. If there is any trouble at this point, play the notes together until the pitch is quite accurate. There is also another advantage. In octaves the bow lies on two strings, and this is an aid to the mastery of a pure legato in a passage in which the notes are not played together. Note the almost perceptible crescendo as the octaves progress. After several measures in which the forearm stroke is used, we come to short groups near the point of the bow. In the fourth line from the end, we return to the short passage, to be treated somewhat freely.

In passing to the seventh position on the D string, avoid a nervous jerking or undue pressure upon the bow. The portamento is naturally desirable.

The arm should be well under the violin in the octaves on the G and D strings. [Pg 33]

The last chords are not played like arpeggios. They must be full of decision. The down-bow is used in each case.

It is an erroneous idea that those outside of the French school sometimes entertain concerning the nobility of tone of that school. In cantabile work, tone-color and proportion are sought and obtained. Brilliancy, vivacity, and piquancy belong to the French temperament, but depth, dignity, and nobility are possible, even in a Frenchman. Hence it is that such exponents of the French school as Thibaut, Kreisler, and Marteau play an Adagio with beauty and nobility. The German school, while essentially lacking in versatility, lightness, and [Pg 34] elegance, as compared with the French, excels only in breadth of tone, purity, and dignity. It is absurd in these days of constant comparison between schools, considering the frequent study of great artists in several Continental schools, to assume that any one of them has the only legitimate interpretation of the classics. The French-school artist plays Corelli and Tartini with more poetry and varied tone-color than the German-school artist, giving to all the classics of that period more modernity and consequent beauty than they ever possessed in their time. Again, the present use of the vibrato gives warmth to any classic. I speak of these things because one can learn to play the Adagios of Fiorillo and Rode in Paris.

In connection with this étude, played largely on the G string, it would be well for the student to study such works as the Raff “Cavatina,” the Bach “G String Air,” an Air from a “Suite” by Johann Mattheson, and other works which will give one perfect freedom in the higher positions on one string. The G string has always been a favorite one for beautiful slow movements of Concertos. Both Bach and Paganini realized its possibilities. Possibly the student holds the neck of the violin too tightly with the thumb. The latter must be ready to move quickly into any position, the fingers being well arched in the very high positions. A perfect command of the legato and fine discrimination in the use of the portamento are desirable. One should avoid sliding up and down the strings when the phrasing does not demand the portamento. Do not hurry the movement. Pause between phrases to give added dignity. In playing very high on the string, do not press upon the strings too heavily with the bow, as the length of string is now so short that additional pressure gives a rasping tone. Practice the crescendo. Economize space in long bowing. Do not allow the fingers to leave the strings at such points.

A perfect legato can only be obtained when the fingers and bow are in perfect sympathy. A somewhat dignified trill is necessary. Maintain the [Pg 35] proper tempo. In the last line preserve the legato even if the grace notes seem to disturb it. At the close begin the trill slowly; then increase the rate. If the student fails in the command of the higher positions, use the Halir studies daily. Freedom will soon be secured.

You will observe that the older composers of technical works used easy keys. They themselves were players of the violin, and knew how to write in a violinistic manner. You will also observe that two methods of playing this étude are indicated. As a special daily exercise, in connection with this étude, I would suggest Sevcik’s 4,000 Bowings, Op. 2, Part 2, Sections III and IV, two and three string transfers. After playing these exercises for an hour, including the Halir legato studies, pages 1 to 4, Tonleiterstudien, the wrist and forearm are supple for the daily work, while the left hand falls easily into line. In all technical work the left hand must be trained to anticipate the bow-arm. More depends upon the left hand than upon the bow-arm, hence the necessity of strong fingers and an ample technic.

Allegro is an elastic term in the classic études. Play slowly and without stumbling until you master the content of the work, then increase the tempo. The preferred method of playing this étude is the [Pg 36] lower one. Play in the upper third of the bow, not forte, at first, until freedom of the bow-arm is assured. A lateral stroke of the wrist is not necessary. The wrist should be flexible and free, however. Play a smooth, running stroke, for a pronounced staccato is likely to make the muscles of the fingers and wrist rigid, unless one has perfect command of the bow-arm and hand. The student should train himself to read ahead of the measure he is playing. Place all the fingers in position at once, whether a new position is to be taught or not. A prevailing tendency in this work is to play with a stiff arm and to use too rapid a tempo. That is not wise. Play slowly until freedom is assured. The sequence of positions should not trouble the player. String-transfers should be made on the edge of the hair, or as nearly so as possible, and there should be no “tilting” of the bow from the outer edge to the middle and then to the inner edge of the hair. Keep the forearm high enough so that the bow lies easily on two strings. Always anticipate string-transfers by practicing arpeggios on four strings, with the entire arm well arched and no break in the curve. While many short string-transfers, especially at or near the point of the bow, require only the use of the wrist, there is an almost perceptible movement of the arm from the shoulder, so that the curve described on the strings may be easy and graceful. This is one of the most important things in connection with the obtaining of a beautiful legato. A study of my Three Octave Scales,[12] with varied bowings, in the upper half of the bow, should be carried on during the entire study of Kreutzer and Fiorillo. Note the difficulty of easy string-transfers in the sixth measure. These are very treacherous, if one has not mastered the two suggested bowings in the first five lines. Now, let us take the passage slowly near the point of the bow, the first note being played lightly staccato, and the next two [Pg 37] slurred notes staccato on the up bow. Do not jerk the first note of the group of three. Sometimes teachers prefer to use single detached bowings throughout the exercise. That is not desirable; in fact, all students of this work should have a thorough knowledge of positions. I do not believe in the practice of many and varied bowings in connection with Fiorillo. We have practically fixed the fundamental bowings in the first twelve Kreutzer études. At present many teachers are using the Sevcik 4,000 Bowing Studies, and carefully teaching Mazas’ Études Brilliantes.[13] Sitt and Dont must inevitably aid in the mastery of bowings, as well as of position work. There is so much to learn from standard Concertos that it seems unwise, in our busy American life, to burden the student with too many études. If he can learn the great principles of violin playing from well-known works, or a few well-chosen études, he has time for the study of legitimate classics. The entire Sevcik plan is too extensive and impractical for American violin study; nevertheless, the most progressive teachers are adapting Sevcik to the needs of their pupils. We cannot teach as Sevcik teaches; our entire conditions of life are at variance with European conditions. If the preparatory work for Fiorillo is well done, we may be sure that the student will progress rapidly, and there will be no need of the introduction of many and varied forms of bowing at this point. Review with the flying staccato in the lower half of the bow, also at the middle of the bow spiccato.

Again, the term Allegro is a somewhat elastic one. The stroke is at or near the point of the bow, the first note covering enough space so as to allow a longer bow for the three slurred notes. This group should be sharply accented. Play forte throughout. Play the longer staccato groups in the second and third line near the point of the bow, using as little space as possible, until we come to the last two notes. Owing to the modulations in this étude, I frequently ask students to memorize it. We usually analyze it. There is a growing tendency among violin teachers to analyze all technical works and pieces with students. Foreign teachers rarely do so. It is a question whether the lesson should include harmonic analysis. That should be taught elsewhere. The violin teacher’s duty is to teach the pupil how to play works. Harmony and theory should be taught in classes. It is wise, however, to call attention to keys. All the major and minor keys should be studied. Remember the sharp accentuation on the first note, down bow, of slurred groups of three notes.

The trill should be played with a down bow. Raise the bow slightly between octaves; also play at the middle of the bow. Accent trills. The fingering in the last three measures is as follows:

A brief glance at this étude would naturally give one the impression that it is played in a light manner. It is, however, one of the most interesting Adagio studies in violin literature. The Fiorillo études are not single detached studies. They flow into each other, as it were, naturally, and with sufficient variety as to tempo and themes to make them fascinating and agreeable. This étude leads into the more rapid eighteenth étude gracefully and with dignity. Both études are usually taken out of order, on account of their difficulty, and the Kreutzer double-stop études are reviewed. Phrases should be full of meaning, clean-cut and distinct. The fingers must fall simultaneously in double-stops. A slur within a slur requires a slight separation, but not the raising of the bow. Note the exact reproduction of the first phrase, with the position of notes inverted, in the second phrase. Note the second and third measures, second line, the short staccato being avoided. [Pg 40]

The long staccato double-stop passage should be played with slightly detached notes, not staccato in the extreme sense, with a slight ritard toward the close, about two-thirds of the bow being used, so that the following legato passage may be free. The next two notes slurred must be played near the point of the bow, followed by a staccato passage, as before played lightly and detached, with a free running stroke. When there are groups of two notes, the first is accented. Phrasing must be clean-cut at this point:

Naturally there is a ritard at the close. The first part of the étude begins on the tonic triad, with the fundamental note absent. It is well [Pg 41] to call the attention of the student to the fact that the second part of the étude opens with the dominant chord, the fundamental note being absent. There is a decided pause in the fourth measure, owing to the demands of phrasing. The student should play one phrase repeatedly until mastered. The fingers move simultaneously into new positions. They must take the position at once. In the third line the accompaniment to the theme must be lightly played, no note being carried over a rest. Do not accent in syncopated passages, nor play the note of the accompaniment too loud, giving it more than its value. In the seventh line the short notes or groups should be played almost in a recitative style. The student should think his interval at once when suddenly passing to double-stops; in the higher positions the fingers fall together. The long runs may be played more nearly in staccato style. In the third measure from the close, play the thirty-second note at the heel of the bow.

In order to fully appreciate this étude, it would be well for the student to hear the great singers in such works as Bocca bocca bella, by Lotti, or Vieni che poi sereno, by Glück, which offer examples of pure technic and beauty of phrasing. I believe I can say frankly that I have learned more about phrasing from the study of voice than from violin study. At any rate the one aids the other, and the student must [Pg 42] learn to play Fiorillo and Rode like an artist, giving to purely technical works a value that will materially aid him in the interpretation of pieces. Style and phrasing are so essential to violin playing that one should hear much good music, and all teachers should be able to illustrate the important principles of bowing, phrasing, and technic.

[Pg 43] For finished studies, using double-stops, études seventeen and eighteen are unexcelled. The latter, like the twelfth Kreutzer, may be played for years with profit. The student should not enter upon this study untrained. Beside the preparatory work of Kreutzer and Sitt, there are excellent double-stop exercises of Wilhelmj Hřimaly, and especially of Halir, used so little as yet in America. Halir’s idea is to teach double-stop scales in sections, beginning with the C scale. This étude should not be played rapidly. Allegretto is a diminutive term. Play in the lower half of the bow, the bow being raised for each note. The student should place the fingers simultaneously. The fingers move together. The positions must be thoroughly understood before this étude is studied. One may practice it for months with profit. Generally the upper part of the bow is preferred, with a smooth running stroke of the bow. Teachers differ concerning the manner of teaching this étude.

All staccato passages are usually played crisply, with freedom. Note the manner of playing the Halir double-stop scales with varied bowings, i.e. (1) Lower half detached; (2) Two notes tied; (3) Four notes tied; (4) Entire scale in one bow. It is always best, when a student is advanced, to study these études of Fiorillo first with the bowing as marked, not with easier forms. It is far better to play a passage over and over until correct, than to institute an easy method of bowing. A mastery of technic requires constant repetition. Take the tempo slowly at first. Always sing tone and play with as broad a stroke as possible under the circumstances, so as to cultivate a broad, free style. A very light passage may often be played with detached notes, using nearly the whole length of the bow. When playing double-stops lightly, do not press upon the bow-stick; play over the finger-board, with a light loose stroke. The middle of the bow is an excellent place in which to play the double-stops, as found in étude 18 and elsewhere. For small hands I would recommend the following method of playing tenths: Draw the first finger around so that it lies almost flat on the string at right angles to the neck of the violin. Then place the fourth finger in position. It is probable also that this finger cannot be curved. The thumb is well round under the neck of the violin. It must be flat, close up to the neck. Do not release it entirely from the neck.

This étude begins lightly spiccato at the middle of the bow. With the crescendo the necessity for a broader stroke arises, and we dispense [Pg 44] with the spiccato. The following passage is played toward the middle of the bow the stroke becoming a spiccato:

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:

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. [Pg 45] 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.

[Pg 46] A slight undulating movement of the wrist, not lateral, gives freedom. Play near the edge of the hair as much as possible. Raise the entire arm for a transfer from the E string to the G, the wrist leading slightly. Describe a curve, not an angular movement. Do not turn the violin far over to the E side. Hold it lightly with the chin and let the body of the instrument be nearly flat, that is, make the angle as small as possible. If the G string is high in the air, the E will be correspondingly low, the arm close, and all legato work or string-transfers correspondingly difficult. The rule of reading ahead and placing fingers on the strings at once always holds good. As examples of this style of bowing, one may mention the Sevcik 4,000 Bowings, Part 2, Section III, IV, V; also the Sitt Technical Studies,[15] 2d part, Op. 92, with the chords played as arpeggios in many ways. There are many other studies of this nature; for instance, the Kross Bowings of Kreutzer’s Studies, Nos. 1 and 8.[16] Naturally the student must think modulations, even if he is perfectly familiar with his position work. Keep the thumb well under the neck of the violin, so as to compass four strings easily and at once. A wise plan with students who are very careless about making smooth string-transfers is to ask them to play the groups as double-stops singly in the lower half of the bow, using a light detached stroke. When playing such passages as this do not throw the wrist out, necessitating a perfectly flat fourth finger. All fingers should be arched. Marie Herites, one of the best early exponents of the Sevcik [Pg 47] school, has a very excellent method of playing tenths, in spite of her short fingers. She brings her first finger far around, so as to fall at right angles to the neck of the violin. It lies flat in this position and the fourth falls easily into place, slightly curved. The wrist is somewhat out of position, and the thumb far under the violin, but results are satisfactory. Every one can conquer limitations of the hand. No. 20 is not a virtuoso study. It belongs essentially to a good repertoire, but it is not easy, and must therefore be practiced until perfect freedom is secured and intonation is perfect.

Several editions of Fiorillo suggest varied bowings for this étude. We have practiced varied bowings with Kreutzer, Sevcik, and other works. One should be familiar with bowings before the study of Fiorillo. The content of the étude must only be considered. Use a light legato bowing near the point. The question has often been asked, “Does the thumb bend in the fifth position?” After we leave the 3d position, the thumb becomes flat under the neck of the violin. Be very careful of intonation when the key changes. At this point do not change position. It is an invariable fault of students:

[Pg 48] A quick transfer from third to second position must be made easily. All passages of a chromatic nature, or in which there are sudden modulations, should be played a good deal until correct intonation is assured. Owing to the great similarity between Nos. 20 and 21, it is wise to play the twenty-second before the twenty-first.

The twenty-second étude is one of the most beautiful adagio studies in violin literature. It is particularly useful to those who are studying the Bach Sonatas and the Spohr Duos. There is no need of playing the first note timidly. One should be able to think A, because of the knowledge of absolute pitch. The position of the note is naturally difficult. The thumb must lie well under the violin neck, in order that the passage on the A string may be played with ease. Do not pull the A string from side to side in the higher positions. This causes false intonation. In the fourth measure use the third position, then change to second position. As to the length of bow required, the volume of notes and number on one bow govern the length, but a uniformly broad style is advocated. One serious difficulty in the étude is the command of the crescendo and diminuendo. Practice the three octave scales, single whole bow slowly, [Pg 49] making a crescendo four times. Use the vibrato freely. Concerning high notes, play without pressure upon the bow-stick, as the tone of a short string cannot be forced. It is of the utmost importance that one should play with correct intonation. The high notes are not as strong in tone as the low notes, owing to the difference in length and vibratory quality of the strings.

We will now turn to the sixth position. The first note must not be forced. The use of the same finger for position implies the portamento. A smooth flowing legato passage is naturally to be played with a longer bow. Sudden leaps from the G string to the E must be made with a high arm and flexible wrist.

Play the bowings as marked. You will observe slurred notes in varied groups. The three notes must be played with a long bow and in as perfect proportion as the longer passage. The power to use the bow wisely is difficult to acquire. Note the passages in the seventh, eighth, and ninth positions. It is absolutely necessary that students be free in the higher positions. Different editions vary concerning the fingering in the last line. The bowing is usually uniform. The difficulty of the étude naturally makes it one of the best of its type, for the difficulties are legitimate ones, which naturally occur in the great concertos:

The bowing suggested in the twenty-third étude is one of the most frequent and natural ones in concertos. It is adapted to an allegro [Pg 50] movement, and while it may be satisfactorily played near the point of the bow, the forte would indicate a longer bow, possibly the upper third. A free, undulating movement of the wrist, with only a slight arm movement, in two-string transfers is desired. Again, the student must be cautioned against raising the fingers too quickly. All fingers must take their positions quickly and maintain them. In three-string transfers more arm movement is necessary. Do not play over the entire surface of the hair. Keep largely to the outer edge. Note that the middle note is higher than the third note of this group, hence it is wise to use this bowing:

The up-bow is not staccato, but a free stroke that will not be a decided contrast to the preceding slurred notes. In connection with this étude observe intonation carefully. Also add to the flexibility of the wrist by the use of the Études of Hans Sitt, Op. 92, Book III.[17]

[Pg 51] In somewhat decided contrast as to style, this étude is played with a short staccato stroke; the position work, with the fourth finger in the lead, must be free, the thumb and first finger perfectly relaxed, the violin being held firmly with the chin. Double-stops require perfect freedom and uniformity of finger action; the fingers move with the hand, and the thumb and hand move in the same plane. The octaves are played in the upper part of the bow, with as broad a stroke as the tempo permits. One should not play allegro if unprepared for the tempo.

The tenths are to be played very lightly near the point of the bow, using about three inches, at least, of the bow. Relax the wrist as much as possible, and play near the outer edge of the hair. Marked depression of the wrist makes the position of the hair variable on the strings. Again, the movement of any fingers, especially the fourth, to and fro on the bow-stick, produces an uncertain legato. Play the tenths as before indicated. The seventh line reproduces the form of the first line, the first and fourth fingers, at least, remaining on the strings constantly. The upper third of the bow is used. The tenths are frequently played with staccato bowing in the middle of the bow. This gives a free stroke, but the upper part of the bow is preferred. Make a slight accent on the first note of each group of two. Also slightly raise the bow for this attack, and swing the staccato up-bow quickly along the string. This is a somewhat free style of playing, which suits the passages of tenths and gives them vivacity rather than heaviness of character.

[Pg 52] This is easily played, if the thumb moves freely and if the fourth finger slides along the strings. The first and fourth move together in octaves. It is also true of tenths. The followers of the French school always play chords in an arpeggio style. This is not true of the Berlin school. The followers of that school fall with force upon the strings, taking three or four notes simultaneously. For the development of such a style see Sevcik’s 4000 Bowings, Section V (Part 3).

This étude furnishes an excellent example of phrasing and style. Before beginning the study of it one might well play Halir’s runs up and down each string for the pure legato and position work. The student gains freedom in this way. Do not press too heavily on the bow-stick for the higher positions, as a rasping sound results. The crescendo and legato must not be sacrificed. Note the reappearance of the theme on the E string. As broad a bowing as possible is desired. The sixteenth notes fall about in the middle third of the bow, the thirty-second notes lying nearer the point of the bow. The fourth line begins a new form of the original theme. The up-stroke is rather a broad staccato, not a spiccato bowing. The bow is not raised from the string, but swings along the string lightly. Notes marked with a dot have variable [Pg 53] meanings, according to the tempo of a work. In this case the short staccato would be too trivial. The following measure should be played in the upper part of the bow very firmly, gradually diminishing in the next line to a pianissimo near the point of the bow:

You will observe that Fiorillo makes decided contrasts in his études. The twenty-sixth naturally assumes a more lively character. It opens with a crisp, bright staccato in the upper third of the bow. The last [Pg 54] two measures of the first line are naturally played somewhat near the point of the bow. Perfect freedom of wrist and forearm is desired. The form of the second line is like that of the first line, and the same bowing is used. Now we contrast the staccato and legato passages. If the octaves seem difficult, lead the student to practice the octave studies of Halir and Schradieck. The legato triplets in octaves are near the point of the bow. Note at this point that the quarter notes extend throughout the upper legato groups. It was a strange idea of the Peters edition to introduce the groups with an up-bow. In our present-day study we seek to make études “fit into” modern solos. This style of bowing is almost obsolete.

The bowing is now reversed, the first note being short, the next two slurred; but we soon return to the original method. If the group opens with a high note followed by a low note, then a high note again, the bowing is as follows:

The arpeggios that follow are legitimate, being easily played in the upper part of the bow. The tempo governs the length of the bow. Pupils learn to feel for bowing; in fact, to make few errors in passages of a similar nature, because they have been trained to play correctly, if the Massart bowings [18] are used with the study of Kreutzer.

[Pg 55] Play this measure in the middle of the bow, raising the bow slightly for each group; accent the second note of each group:

This étude should not be played too rapidly, a light stroke in the upper third or upper half of the bow being somewhat easily secured. The first note of the groups of three notes must be played without pressure upon the bow. It is a light staccato. The bow lies well over two strings. Take the second position at once. Do not try to make the bow-strokes uniform in length. Freedom is at first secured at or near the point of the bow, the wrist being very supple. Do not release the fourth finger entirely from the bow-stick. Varied bowings are not desirable, as the wide range of violin literature demands a knowledge of the specific content of études. The bowings required in the Fiorillo études ought to be familiar to students long before they reach this point in their study.

Before the change into a new key, play a crescendo of two measures. Do not rest at the base of the first finger unless necessary. Avoid the [Pg 56] vibrato. Relax the thumb. Hold firmly with the chin. Rapid changes to new positions require a simultaneous movement of the first and fourth fingers. Relax the wrist. The thumb is usually in advance of the first finger and remains thus. Play the last line at the point of the bow very lightly. If it is necessary to move the thumb from under the neck of the violin, do so; in extreme cases it may rest against the body of the violin, but this is not usually necessary. In high positions, the hand is raised and the fingers fall vertically. Raise the arm high in the upper positions; arch the fingers well over the four strings, with a slight turning inward, if three or four strings are required. Be careful of false intonation in the last two lines. Press lightly upon the bow-stick when playing in the very high positions:

[Pg 57] There are no new principles of bowing to be presented in this étude. A running light legato at or near the point of the bow is desirable. Keep the bow well over two strings. If by this time the legato is not free, analyze each measure and introduce chords. Also practice in the middle of the bow.

This practice gives the bow poise upon the strings, and enables the student to understand the fundamental basis of string-transfers. Another excellent plan is to play each group several times in twos, fours, and eights. Other excellent methods are to play the entire measure in one bow, or two measures in one bow. Occasionally play a little below the middle of the bow, raising the bow slightly for each stroke.

This is a free stroke with the principle of the flying staccato. An excellent bowing is this:

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 [Pg 58] 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.

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 [Pg 59] 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:

It may be a good plan to play the staccato and legato notes with a decided contrast in style. The French school teachers play the staccato notes short and crisp near the point of the bow. The German school prefer a less detached stroke, using about one-third of the bow. You will observe that the short bowings are more frequently required throughout the study of Fiorillo than a broad style of playing. The wrist must be very free. The bow-stroke is not a lateral one. Do not make a wide difference in length of bow-stroke. Sing the theme. Place the fingers on the strings at once. Read in advance of the measure [Pg 60] which you are playing. Anticipate string changes with the wrist in short transfers. Do not slide into positions.

In the sixth and ninth lines think the position changes at once. If we can sing a theme before taking a position, true intonation is assured. Many students who are beginning the study of the second position, using the Wohlfahrt and Sitt studies, ask if the second and fourth positions are useful. One must turn to the études of Kreutzer, Fiorillo, Rode, and Gavinies, showing many examples. As a means of ear training I consider the second position very valuable. The student who has difficulty with the fourth is likely to have the same with the fifth and sixth positions. One cannot stress too much the value of the careful study of positions. Beginning at the second page of this étude, it is well to play a somewhat shorter staccato stroke. The string-transfers are made by throwing the wrist over the string, in cases in which one goes from G to A or D to E. I sometimes review parts of the étude with spiccato bowing at the middle of the bow, single strokes. You will observe the term sempre staccato in some editions. Play a little broader stroke than this term would indicate. The last three lines, not including the last line, are very difficult. Play lightly, using little bow. Move the left thumb far round. Keep the middle joint flat. Bend the finger toward the G string to command the positions; also keep the fingers down when not in use. Do not use the vibrato in any case except one in which a broad free bowing is desired, as in an adagio movement. Be very careful of intonation.

As a preparation for this étude, use the Schradieck and Sevcik works. I find Schradieck’s Technical Exercises and Scales and Arpeggios valuable, though I prefer the method of playing scales as advocated by Halir, because Schradieck repeats the fundamental note, thereby making a perfect legato well-nigh impossible. The order of Schradieck’s scales I do not deprecate. The stroke here used is a short staccato in the upper third or a martelé in the middle of the bow. I have already explained how to cross one string without playing upon it. Throw the bow by a short quick stroke of the forearm well over the string, keeping the arm high, out from the body. Make a curve, not an angle.

If the very high positions and rapid changes seem too difficult, play the intervals on the piano a few times. Think the tone. Do not strive for speed. The bowing and intonation are of first importance. Play the slurred notes in the sixth, seventh, eighth, and ninth lines legato, until freedom is secured. Altogether this is a most difficult étude, and it should be practiced even when other études are under our consideration.

The entire étude is not played with a very short staccato stroke. The fingers must seek their positions at once. Avoid an awkward arm stroke. [Pg 62]

From a technical standpoint this étude is not as difficult as some that precede it. At the fifth line it would be wise to play a rather short stroke near the point of the bow. Show the pupil examples of similar [Pg 63] bowings in the 8th Rode “Concerto,” the 22d and 23d Viotti, the Bach “A Minor,” etc. As an example of the pure spiccato, refer to the “Perpetual Motions” of Ries and Bohm. As a type of running legato use Schubert’s “The Bee.” As an example of octave and tenth study, point out passages in the “Polonaise” of Vieuxtemps. Short detached strokes, two notes on one bow, below the middle of the bow, are very useful. Broad, vigorous strokes with the upper third of the bow are excellent toward the close:

Throughout all étude work I stress the great fundamental principles of bowing. I cannot see that the playing of a great many études counts for much if we neglect principles. When we go abroad, all our work ends until we correct bad habits and master principles which ought long ago to have been mastered. It is all very well to say that Mr. X——, a great artist, does not adhere to the particular creed of his school. Perhaps he cannot be bound by a method. The rank and file of us must cling to something. Elastic rules cannot be made for amateurs. There must be definite rules of action. To clinch a point, I may select many illustrations. It is better to settle it, once for all, than to pass on and return to it with a brain dazed by many principles and multiple illustrations totally unrelated. Teach thoroughly what you teach. [Pg 64]

This étude must be played with a singing tone, the accompaniment being clear, smooth, and elegant, as in étude number two. The lower notes must strictly be in time and of proper duration. This type of accompaniment, found in the Bach unaccompanied “Sonatas,” the solos of Paganini, the “Twenty-second Concerto” of Viotti, and other works, is one of the most interesting forms in solo violin playing. While it is free, graceful, refined, and elegant in the sonata and concerto, rhythmic abandon is hardly allowable in an étude. The melody must always be supported by absolute precision in the accompaniment. While this étude is an excellent example of pure cantabile playing, its graceful accompaniment relieves it from the somewhat rigid style of the mere étude. In that respect it is superior to number thirty-three from a musical standpoint. In the third line you will observe a staccato run. Make this a running staccato, not short and crisp. Do not hasten the tempo; rather hold back in order to obtain a dignified cantabile. In the fifth line sing the theme, and dip the bow slightly for the running accompaniment, which must occur exactly in time. Do not accent the accompaniment notes too much. Give them only their value. Keep the bow as close upon two strings as possible: [Pg 65]

Students ask, “Is this a short staccato? Where do I play such a passage?” The value and tempo of a work govern bowing. Avoid meaningless bowing. Play broadly when possible. One must study the classics and discriminate between the style of different schools and periods if one is to judge of methods of bowing. In this case, play with a free, somewhat broad tone, in the upper part of the bow. Produce a resonant, singing tone. Do not decrease the tone in an ascending passage. It is a good plan to play the arpeggios separately, that is, repeating each line over and over, until they are mastered. If the student has difficulty with them, review the twelfth Kreutzer étude. The second and fourth positions require much more careful practice. Use [Pg 66] a free forearm stroke when it is possible. Passages of this nature may be played near the point of the bow:

Note the octaves in the eleventh line. They should be played in the middle of the bow, slightly detached, the bow being raised by a flexible wrist stroke, the first note of the group being accented. Certain teachers prefer a perfect legato at the point of the bow. The stroke at the middle is freer. Do not press upon the bow-stick, as the bowing must be light, especially in the chromatic passage:

The single detached notes of the last line are more easily played with spiccato bowing at the middle of the bow. They may also be practiced with a short, crisp, light staccato at the point:

There are three methods of playing the first part of this étude. One is a broad detached stroke, middle to point. The second is a short staccato stroke near the point of the bow. The third is the spiccato at the middle. As the position changes are difficult, use the most easily acquired bowing at first. That would be a forearm stroke. Practice the sixth position passage separately until mastered. Each position change should be mastered before going to the next. It might be well to select certain arpeggio studies of Schradieck and Kreutzer in connection with this étude, for the sake of a mastery of principles. Varied bowings should follow a mastery of the content of such études. Note in the eighth line the groups of two slurred notes. These may be played lightly at the point, also at the middle of the bow, with a free wrist stroke combined with a slight movement from the shoulder, a form of bowing often used in orchestral works, a freer style than that at the point of the bow. When the étude is mastered technically, I often teach it with the spiccato bowing at the point of the bow, followed by the bowing indicated in legato passages. When crossing the strings hold the arm high, the wrist leading in string-transfers. The practice of the F major scale in the sixth position with varied bowings is recommended. To keep up a continuous spiccato is not desirable, hence the detached bowing in the upper third of the bow is not practical. This étude is [Pg 68] one of the most difficult and exacting of the entire book, hence the necessity of frequent reviews. If possible, analyze the content of the work, calling attention to the structure of each passage and the basis of arpeggios.

There are so many double-stop études of more practical value than this one that it is wise to review the excellent double-stop études of Kreutzer, Sitt [23] and Dont,[24] although the last named are the least practical. However, if one is to teach Fiorillo, one must use this étude. A few rules may be useful:

1. Read in advance of the measure played.

2. Strive for a pure singing tone.

3. Keep the theme prominent, the accompaniment legato.

4. Use a broad free style of bowing.

5. The fingers must fall simultaneously in double-stops.

6. Analyze the work phrase by phrase. [Pg 69]

7. Memorize difficult passages.

8. Do not draw the strings from side to side. The fingers must fall into position and remain fixed.

9. If the pitch is not at once secured, do not slide the fingers up and down as if in search for the exact tone. Practice the passage until the fingers fall into correct places at once.

Nothing new presents itself at this point in bowing. A free detached forearm stroke instead of the short staccato is desirable until the technical side of the étude is mastered. I generally take the first three measures, contrasting them, then memorizing them. I also refer to certain well-known progressions in the Schradieck arpeggios. Very few students after a week’s practice can play this étude without mistakes in the progressions. It is, therefore, desirable to study it line by line. The second line follows the same progressions as the first, though we begin a whole tone higher. Sometimes I oblige my students to write down each line from memory, in order to master the progressions mentally.

Again, I listen to related measures repeated several times. The question may arise, “Should the teacher first play the étude to the pupil?” The teacher should explain the bowing of each étude assigned for the next lesson, but should not, as a rule, play it. The student should analyze it and get all he can out of it before bringing it to the teacher. This develops the power of reasoning and concentration. He [Pg 70] thus learns to stand alone. So many students play merely by imitation, that it is a question in modern violin study whether it is wise for the teacher to illustrate too much. Teach the pupil to deduce conclusions himself. Hear his version, then show him the way. Do not play études too much with him. Play the passage alternately with him. Do not play a concerto to a student before he has practiced it. His conception means more to him than yours. It is equally true of the other fine arts. No great painter was ever made whose pictures were sketched for him. The creative and analytical instinct must precede pure imitation. I recall the study of the Bach solo “Sonatas.” In Berlin we studied them very rigidly, but when away from that atmosphere we played them with freedom. These suggestions do not excuse the teacher from frequently illustrating. A teacher who sits and listens to violin students all day because he is too indifferent to play, cannot guide well. Again, the teacher should be able to give a perfect example of a style of bowing or phrasing. Teachers who play no more are not wise educators.

As far as intonation is concerned, this étude is one of the most difficult of all, yet it is very useful from the standpoint of modulation. The last three lines require a free wrist stroke (legato) at the point of the bow. As more than two strings are included, the stroke is an arm and wrist one. The elbow must move out in the same plane as the forearm and wrist. Absolute freedom of all parts of the arm is necessary.

Before beginning this étude, review the chord studies of Sitt [25] and Kreutzer, using with the first Sitt study the following bowings:

I prefer this study to the Sevcik 4,000 Bowings, Section V. I would, however, use the Sevcik studies for securing a flexible wrist stroke.

Also use Schradieck’s Technical Violin School, Books II and III.[26] I make some changes in the chords of this étude, as follows:

The wrist must be very flexible. The whole arm is used. Play the three notes simultaneously. Play also thus, whole bow:

Two notes tied, four and eight. Vary this by playing the first two notes legato, the second two staccato at the point of the bow; the first two legato, lower half, the second two flying staccato.

We will now turn to two styles of legato bowing: eight notes to a bow; two tied notes followed by six tied. Use the whole bow, also upper and lower half. The next bowing is two tied followed by the short staccato at the point of the bow. Then use two tied, two cut, at the middle or point of the bow. Apply the principles of Sevcik, 4,000 Bowings, Sections III, IV, and V.

I would introduce a style of bowing very much used in solo and orchestral work: a running legato at the point in triplets. Same at the middle of the bow. Same at the heel. Three tied legato, followed by three flying staccato, lower half of bow. Three down-stroke middle, spiccato, three up-stroke.

These are all the practical bowings I use, but notes played in one bow, at the point, are useful.

FOOTNOTES:

[1] For detailed and thorough study of the Kreutzer Études see How to Prepare for Kreutzer and The Study of the Kreutzer Études, both by Edith L. Winn. Published by Carl Fischer, New York.

[2] See newly revised edition by Ovide Musin. Published by Carl Fischer, New York.

[3] See newly revised edition by Gustav Saenger. Published by Carl Fischer, New York.

[4] See The Study of the Kreutzer Études, by Edith L. Winn.

[5] School of Bowing, by O. Sevcik, Op. 2 in two Books. Systematic and progressively graded technical bowing exercises. Published by Carl Fischer, New York. Price, 75 cents each book.

[6] See footnote, page 3.

[7] The Art of Studying R. Kreutzer’s Études, by L. Massart. Four hundred and twelve examples, compiled by the advice of the author. Revised, translated, and edited by Gustav Saenger (English, French, and German Text.) Published by Carl Fischer, New York. Price, 60 cents.

[8] Technic of the Bow, by A. Casorti, Op. 50. A standard work of its kind. Published by Carl Fischer, New York. Price, 75 cts.

[9] Technical Studies, by Hans Sitt, Op. 92. Part I, Exercises and Studies for the Cultivation of the Left Hand. In three Books. $1.00 each. Part II, Exercises and Études for the Special Development of the Right Hand. (Technics of the Bow.) In three Books. $1.00 each. Published by Carl Fischer, New York.

[10] The Art of Bowing, by Emil Kross. A practical, theoretical guide for developing the technic of the bow and for acquiring a fine tone. Price, $1.00. Published by Carl Fischer, New York.

[11] Seventy-six Melodious and Progressive Studies, by F. Mazas, Op. 36, in three Books. Book I, Études Speciales; Book II, Études Brilliantes; Book III, Études d’Artistes. Price each, 50 cents. Published by Carl Fischer, New York.

[12] Daily Exercises and Three Octave Scales, by Edith L. Winn. Published by Carl Fischer, New York. Price, $1.00.

[13] See footnote, page 30.

[14] Hans Sitt, Technical Studies, Op. 92, Part I, Book III, Double Stopping, Thirds, Sixths, and Octaves. Published by Carl Fischer, New York. Price, $1.00.

[15] See footnote, page 29.

[16] See footnote, page 29.

[17] See footnote, page 29.

[18] See footnote, p. 25.

[19] Henry Schradieck, Technical Violin School, Part III. Exercises in the Different Modes of Bowing. Also Chord Studies. Price, each, 50 cents. Published by Carl Fischer, New York.

[20] Daily Exercises and Three Octave Studies, by Edith L. Winn. Published by Carl Fischer, New York. Price, $1.00.

[21] J. Tartini, The Art of Bowing. Fifty Variations on a Gavotte by Corelli. Price, 50 cents.

Special Concert Edition of Ten of these Variations by Ovide Musin. Price, 75 cents. Published by Carl Fischer, New York.

[22] See footnote, page 3.

[23] Hans Sitt, Technical Studies, Op. 92, Part I, Book 3. Price, $1.00. Published by Carl Fischer, New York.

[24] J. Dont, Twenty-four Exercises, Op. 37. Price, 50 cents. Published by Carl Fischer, New York.

[25] Hans Sitt, Technical Studies, Op. 92. Part I, Book 3, Double Stopping. Published by Carl Fischer, New York. Price, $1.00.

[26] Technical Violin School, by Henry Schradieck. Part II, Exercises in Double Stopping. Price, 40 cents. Part III, Exercises in the Different Modes of Bowing. Price, 50 cents. Published by Carl Fischer, New York.

*** END OF THE PROJECT GUTENBERG EBOOK HOW TO STUDY FIORILLO ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

The Project Gutenberg eBook of How to Study Fiorillo

HOW TO
STUDY FIORILLO

FIORILLO.

No. 1.

No. 2.

No. 3.

No. 4.

No. 5.

No. 6.

No. 7.

No. 8.

No. 9.

No. 10.

No. 11

No. 12.

No. 13.

No. 14.

No. 15.

No. 16.

No. 17.

No. 18.

No. 19.

No. 20.

No. 21.

No. 22.

No. 23.

No. 24.

No. 25.

No. 26.

No. 27.

No. 28.

No. 29.

No. 30.

No. 31.

No. 32.

No. 33.

No. 34.

No. 35.

No. 36.

THE FULL PROJECT GUTENBERG LICENSE