cooeperation between mental
and physical processes. Muscular relaxation at will is one of the
results of this cooeperation. It makes sustained effort possible
(counteracting the contraction ordinarily resulting therefrom), and it
is freedom of movement more than anything else that tends to establish
confidence.

THE TWO-FOLD VALUE OF CELEBRATED STUDY WORKS

"The study period of the average American is limited. It has been
growing less year by year. Hence the teacher has had to redouble his
efforts. The desire to give my pupils the essentials of technical
control in their most concentrated and immediately applicable form, have
led me to evolve a series of 'bow exercises,' which, however, do not
merely pursue a mechanical purpose. Primarily enforcing the carrying out
of basic principles as pertaining to the bow--and establishing or
correcting (as the case may be) arm and hand (right arm) positions, they
supply the means of creating a larger interpretative style.

"I use the Kreutzer studies as the medium of these bow-exercises, since
the application of new technical ideas is easier when the music itself
is familiar to the student. I have a two-fold object in mind when I
review these studies in my particular manner, technic and appreciation.
I might add that not only Kreutzer, but Fiorillo and Rode--in fact all
the celebrated 'Caprices,' with the possible exception of those of
Paganini--are viewed almost entirely from the purely technical side, as
belonging to the classroom, because their musical qualities have not
been sufficiently pointed out. Rode, in particular, is a veritable
musical treasure trove.

THE APPLICATION OF BOW EXERCISES TO THE
STUDY OF KREUTZER

"How do I use the Kreutzer studies to develop style and technic? By
making the student study them in such wise that the following principles
are emphasized in his work: _control before action_ (mental direction at
all times); _relaxation_; and _observance of string levels_; for
unimpeded movement is more important than pressure as regards the
carrying tone. These principles are among the most important pertaining
to right arm technic.

"In Study No. 2 (version 1, up-strokes only, version 2, down-strokes
only), I have my pupils use the full arm stroke (_grand detache_). In
version 1, the bow is taken from the string after completion of
stroke--but in such a way that the vibrations of the string ar