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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 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 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.