e not
interfered with. Complete relaxation is insured by release of the
thumb--the bow being caught in a casual manner, third and fourth fingers
slipping from their normal position on stick--and holding, but not
tightly clasping, the bow.

"Version 2 calls for a _return down-stroke_, the return part of the
stroke being accomplished over the string, but making no division in
stroke, no hesitating before the return. Relaxation is secured as
before. Rapidity of stroke, elimination of impediment (faulty hand or
arm position and unnecessary upper arm action), is the aim of this
exercise. The pause between each stroke--caused by relinquishing the
hold on the bow--reminds the student that mental control should at all
times be paramount: that analysis of technical detail is of vital
importance.

"In Study No. 7 I employ the same vigorous full arm strokes as in No. 2:
the up and down bows as indicated in the original version. The bow is
raised from the strings after each note, by means of hand (little
finger, first and thumb) not by arm action. Normal hand position is
retained: thumb not released.

"The _observance of string levels_ is very essential. While the stroke
is in progress the arm must not leave its level in an anticipatory
movement to reach the next level. Especially after the down-stroke is it
advisable to verify the arm position with regard to this feature.

"No. 8 affords opportunity for a _resume_ of the work done in Nos. 2 and
7:

[Illustration: Musical Notation]

"It is evident that the tempo of this study must be very much reduced in
speed. The _return_ down-stroke as in No. 2: the _second_ down-stroke as
in No. 7: the up-strokes as in No. 2.

"In Study No. 5 I use the hand-stroke only--at the frog--arm absolutely
immobile, with no attempt at tone. This exercise represents the first
attempt at dissecting the _martele_ idea: precise timing of pressure,
movement (stroke), and relaxation. The pause between the strokes is
utilized to learn the value of left hand preparedness, with the fingers
in place before bow action.

"In Study No. 13 I develop the principles of string crossing, of the
extension stroke, and articulation. String crossing is the main feature
of the exercise. I employ three versions, in order to accomplish my aim.
In version 1 I consider only the crossing from a higher to a lower
level:

[Illustration: Musical Notation]

version 2: