be
able to play viola, and in quartet work I make the players shift
constantly from one to the other instrument in order to hear what they
play from a different angle.

"For left hand work I stick to the excellent Sevcik exercises and for
some pupils I use the Carl Flesch _Urstudien_. For studies of real
_musical_ value Rode, of course, is unexcelled. His studies are the
masterpieces of their kind, and I turn them into concert pieces. Thibaud
and Elman have supplied some of them with interesting piano
accompaniments.

"For bowing, with the exception of a few purely mechanical exercises, I
used Kreutzer and Rode, and Gavinies. Ninety-nine per cent. of pupils'
faults are faults of bowing. It is an art in itself. Sevcik was able to
develop Kubelik's left hand work to the last degree of perfection--but
not his bowing. In the case of Kocian, another well-known Sevcik pupil
whom I have heard play, his bowing was by no means an outstanding
feature. I often have to start pupils on the open strings in order to
correct fundamental bow faults.

"When watching a great artist play the student should not expect to
secure similar results by slavish imitation--another pupil fault. The
thing to do is to realize the principle behind the artist's playing, and
apply it to one's own physical possibilities.

"Every one holds, draws and uses the bow in a different way. If no two
thumb-prints are alike, neither are any two sets of fingers and wrists.
This is why not slavish imitation, but intelligent adaptation should be
applied to the playing of the teacher in the class-room or the artist on
the concert-stage. For instance, the little finger of Ysaye's left hand
bends inward somewhat--as a result it is perfectly natural for him to
make less use of the little finger, while it might be very difficult or
almost impossible for another to employ the same fingering. And certain
compositions and styles of composition are more adapted to one violinist
than to another. I remember when I was a student, that Wieniawski's
music seemed to lie just right for my hand. I could read difficult
things of his at sight.

DOUBLE HARMONICS

"Would I care to discuss any special feature of violin technic? I might
say something anent double harmonics--a subject too often taught in a
mechanical way, and one I have always taken special pains to make
absolutely plain to my own pupils--for every violinist should be able to
play double