s trouble with out-of-tune
playing than otherwise; for a great deal of sharping and flatting
(particularly in the case of wind instruments) is the result of
inaccurate tuning.

[Sidenote: BOWING]

Since an orchestra contains such a large proportion of stringed
instruments it will be very greatly to the interest of the conductor
to take up the study of some instrument belonging to the violin
family, and to learn to play it at least a little. If this is
altogether impracticable at the beginning, the next best thing for him
to do is to study bowing, learning not only the bowing signs and their
meaning, but familiarizing himself thoroughly with the principles
underlying the art. For this purpose some good work on bowing should
be studied, but meanwhile a few words on the subject at this point
will give the absolute beginner at least a small amount of
indispensable information. The signs commonly employed in music for
violin, viola, violoncello, and double-bass, to indicate various
manners of bowing, are as follows:

[down-bow symbol] Down-bow: _i.e._, from nut to point.

[up-bow symbol] Up-bow: _i.e._, from point to nut.

[slur symbol] Slurred: _i.e._, all notes under the sign
played in one bow.

[slur over staccato symbol] Staccato: _i.e._, all notes in
one bow, but the tones separated.

The ordinary staccato mark ([dot staccato symbol] or [wedge staccato
symbol]) means a long quick stroke, either up or down as the case may
be. The absence of slurs indicates a separate stroke of the bow for
each tone. Sometimes the player is directed to use the lower half, the
upper half, or the middle of the bow, such directions being given by
printing the words "lower half," _et cetera_, above the passage, or by
giving the initials of these words (sometimes in German). When no
bowing is indicated, a phrase beginning with a weak beat commonly has
an up-bow for the first tone, while one beginning on a strong beat
has a down-bow; but this principle has many exceptions. It is perhaps
needless to state that correct phrasing in the case of the stringed
instruments depends upon the employment of suitable bowing; and since
the first violin part is most prominent and most important in
orchestral music, it becomes the business of the conductor to observe
most carefully the bowing of his concert-master and to confer with him
about possible changes in bowing wherever necessary. It will save a
great deal of con