place.
Therefore, as the muscles are so occupied in their internal
movements, they are not so ready to control the tendency to vibrate
in the bow. Thus, then, as a bad bow is nowhere so easily controlled
as a good one, some inferior bows become quite unmanageable when the
attention of the wrist muscles is so divided. Consequently it is
useless to attempt the attainment of staccato without first being
provided with a thoroughly well-balanced bow. In commencing the down
bow staccato, all tendency to lean on the string and so drag the bow
along in a series of jerks must be checked at once. The bow should be
lightly carried at the heel. This will seem difficult, but practice
will be well repaid.

It may not be out of place to give here a short list of studies and
solos that are concerned chiefly with the art of bowing. Of course
bowing studies are also to be found in all good schools and books of
studies.

CASORTI, "The Technic of the Bow."

DANCLA, "L'Art de l'Archet" (quite easy).

HAAKMAN, "Steadiness and flexibility of the Bow."

MEERTZ, "Twelve Etudes Elementaires" (giving the six fundamental
bowings).

PAPINI, "L'Archet" (the most complete work on the subject).

POZNANSKI, "The Violin and Bow" (contains excellent photographs of
positions).

_Sautille_ can be studied in a pleasing manner by practising pieces
of the "Moto Perpetuo" type. Of these the best are those by Paganini,
Ries, Moszkowski, Papini, G. Saint-George and E. German.

Of solos devoted to particular forms of bowing, the most notable are:

DE BERIOT, "Le Tremolo."

KONTSKI, "La Cascade" (tremolo).

PANOFKA, "Le Staccato."

PRUME, "Les Arpeges."

VIEUXTEMPS, "Les Arpeges."

VIEUXTEMPS, 1st Concerto in E (staccato).

BAZZINI, "Ronde de Lutins" (saltando staccato).

In an earlier section of this work I alluded to the bow as being
"tongue-like"; it is something more, for it is also the breath of the
violin. As breathing is to a vocalist so is bowing to a violinist. It
governs the phrasing, or, rather, is governed by it in the first
instance and then controls its delivery to the listener. Thus it will
be seen that too much attention cannot be paid to the real Art of
Bowing. By which I do not mean the brilliant technical feats of
_arpeggio_, _staccato_, _tremolo_, _etc._, but the pure legato bowing
of cantabile passages. It is in such song-like movements that the
true artist reveals himself by the nearness with which he approaches
that