Winn, Edith Lynwood - How To Study Rode (Violin Studies)

HOW TO STUDY
fj- RODE 1 1 1
EDITH L. WINN
HOW TO
S T U D Y RODE
AN ANALYSIS OF STUDIES FOR AD
VANCED PLAYERS, BASED UPON THE
TEACHINGS OF THE BERLIN SCHOOL,
WITH NUMEROUS ILLUSTRATIONS
DRAWN FROM PRACTICAL EXPERI
ENCE AND OBSERVATION OF THE
MOST ECLECTIC MODERN METHODS
BY
E D I T H L. W IN N
A uthor o f “How to Prepare fo r K r e u t z e r “ How to Study Kreutzer
“ How to Study F i o r i l l o “ Representative Violin Solos
and How to Play Them?' etc., etc.
NEW YORK
CARL FISCHE R, I n c .
1926
Copyright, 1912
BY
CARL FISCHER
N ew Y ork
International Copyright Secured

To
Aiinlpl) Salt,
OF THE BOSTON SYMPHONY ORCHESTRA,
THIS BOOK IS RESPECTFULLY DEDICATED, WITH THANKS
FOR HIS CRITICISM AND GOOD-WILL.
PREFACE
T hegreat success which has attended
the publication of “ How to Prepare
for Kreutzer, ” “ How to Study Kreut-
zer, ” and “ How to Study Fiorillo ”
has led me to presume upon a wide
circulation of the present volume,
“ How to Study Rode.”1 To be sure,
these caprices cannot be studied with
out a teacher, yet many students who
have neglected them for several years
may find my suggestions concerning
their study very helpful.
PIERRE RODE I have not thoroughly described the
manner in which the caprices should be taught. We have
reached a point in violin study, where words cannot fully
convey the subtle points in connection with advanced
study. Rode must be studied with a master. I would
rather have ten lessons with a master, than fifty with a
musician who cannot give to these caprices a loyal and
true interpretation. Rode is rarely taught in our
preparatory schools and colleges, for their average mu
sical course is not an advanced one. Merely because
the Rode Caprices adorn the college catalog, one should
not teach them unless one can play them well; it would
be wiser to confine technical work to Kreutzer1 2 and
1 Twenty-four Caprices, Op. 22, by P. Rode. Edited and fingered
by Edmund Singer. With a biographical sketch of the composer
by Gustav Saenger. Price, 50 cents.
Revised in accordance to the technical requirements of modern
violin playing and provided with systematic fingering, dynamic
indications, and explanatory notes by Emil Kross. Price, 50 cents.
Published by Carl Fischer, New York.
2 Forty-two Studies, by R. Kreutzer. Edited and revised by
Emil Kross. Price, $1.50.
Revised by Edmund Singer. Price, 50 cents.
PREFACE
T hegreat success which has attended
the publication of “ How to Prepare
for Kreutzer, ” “ How to Study Kreut-
zer,” and “ How to Study Fiorillo ”
has led me to presume upon a wide
circulation of the present volume,
“ How to Study Rode.”1 To be sure,
these caprices cannot be studied with
out a teacher, yet many students who
have neglected them for several years
may find my suggestions concerning
their study very helpful.
I have not thoroughly described the
manner in which the caprices should be taught. We have
reached a point in violin study, where words cannot fully
convey the subtle points in connection with advanced
study. Rode must be studied with a master. I would
rather have ten lessons with a master, than fifty with a
musician who cannot give to these caprices a loyal and
true interpretation. Rode is rarely taught in our
preparatory schools and colleges, for their average mu
sical course is not an advanced one. Merely because
the Rode Caprices adorn the college catalog, one should
not teach them unless one can play them well; it would
be wiser to confine technical work to Kreutzer12 and
1 Twenty-four Caprices, Op. 22, by P. Rode. Edited and fingered
by Edmund Singer. With a biographical sketch of the composer
by Gustav Saenger. Price, 50 cents.
Revised in accordance to the technical requirements of modern
violin playing and provided with systematic fingering, dynamic
indications, and explanatory notes by Emil Kross. Price, 50 cents.
2 Forty-two Studies, by R. Kreutzer. Edited and revised by
Emil Kross. Price, $1.50.
Revised by Edmund Singer. Price, 50 cents.
vi PREFACE
Fiorillo,1 and absorb the content of the Sevcik studies.12

Some attention may be given to Hafir’s excellent
Technical Studies3 and the rest of the time may be
spent in the study of sonatas, concertos, and ensemble
works. The pupil will then be prepared for advanced
study abroad, with artists of wide reputation. The
ambitious teacher should constantly study and prac
tice the Rode Caprices, even if they are not taught in a
school or college course. Violin study is difficult, and
the mastery of all the technical literature for the instru
ment requires,many years of arduous study.
While the Etudes of Fiorillo contribute substantially
to a violinist’s technical equipment, the Rode Caprices
do more than this, being essentially artistic, contain
ing the same possibilities of phrasing and expression
as concertos of their grade. They can never be too
well learned. Even if students rarely pass beyond this
grade, the necessity of thorough study on the part of
those who are preparing for the profession is evident.
Especially is the mastery of the subtle principles of tone
color very important. Fundamental and varied bow
ings cease with the study of Kreutzer. The study of
Fiorillo adds to one’s technical equipment. Rode’s
Caprices lead to a finished style, clear execution, breadth
of musicianship and the mastery of the higher positions.
The keys are difficult because by this time the student
is capable of entering upon difficult keys and pro
gressions. Under no condition should the tempo be
increased beyond the possibility of accurate and finished
work. The indicated metronome marks are rarely
1 Thirty-six Caprices, or Etudes, by F. Fiorillo. Edited and
fingered by Edmund Singer. Price, 50 cents.
Revised by Emil Kross. Price, 50 cents.
2 School of Violin Technic, Op. 1, by O. Sevcik. Part I, price,
$1.50. Part II, price, $1.50. Part III, price, $1.00. Part IV,
price, $1.50.
(The acknowledged stepping-stone to modern perfected technic.)
3 Halir's New Scale Studies. Newly revised and annotated by
Edith L. Winn. Price, $2.00.
preface vii
regarded seriously during the first year, at least, of this

study.
It will be evident to the student, that I have analyzed
some of the caprices at considerable length. I usually
teach these particular ones very thoroughly. It does not
follow that another teacher may find them as interest
ing and practical as some other caprices. The only
thing to be considered is the adapting of technical
literature to the general study of concertos and other
works for the violin. If possible, professional players
should memorize the most important caprices, as this
mastery of them enables one to watch the work of
students better, and also leads the student to strive
for the same high standard.
While the Rode Caprices fit into the study of classic
masterpieces, they are also related to many solo works
of a modern type. It is, therefore, of great importance
that students remain in our schools, colleges and con
servatories until they have completed the study of
Kreutzer, Fiorillo, and Rode. If violin study is to be
advanced in America, there must be more specialists
as teachers in colleges and other schools. The vital
question concerning a teacher is not: With whom has
he or she studied? but, How long has this study been
carried on, and under what conditions? Merely two
years of study with an artist does not fit the average
young person for the teaching profession. Ten or
fifteen years of study are not too many for a life work
as difficult as that of teaching the violin. Even then,
no teacher should remain without the personal criticism
of artists, from time to time.
I bespeak for this little volume the good-will of many
teachers. While I have, in a certain degree, followed the
tenets of the Berlin School, I do not in any way hold my
self pledged to support any theories of that school, since
I have found other and better ways of teaching certain
points in left hand and bow technic. Complex as violin
study is becoming today, no teacher of experience can
abide by the creed of any one school. It is only by
Vlll PREFACE
assimilating the best points of several schools that we

are able to formulate theories which must emancipate
us from the Past. This is an age of interpretive suprem
acy. Our complex and restless life gives to Art a subtle
value. Possibly we dissect great works so much that
we lose sight of the genuine essence of them. One con
dition of success as an artist lies in ample technical
equipment, with an adequate knowledge of all tonal
resources. The classics must be modernized, and they
must be played with charm and color. It is not enough
for us to say “ Bach would have played it so-and-so.”
Bach would undoubtedly have admired Kreisler’s
masterly playing of the classics, nor would he have
condemned the element of true expression in the inter
pretations of the latter. The Rode Caprices must con
tain the same modernity of treatment. While classics
in the strict sense, they too must respond to the gradually
growing interest in tone-color and subtleties of phrasing.
When relieved from the dry and pedantic traditions of
the Past, they become intensely interesting to students;
in fact, they rise to the value of legitimate solos.
EDITH LYNWOOD WINN
T rinity Court, B oston
How to Study Rode
I
2 HOW TO STUDY RODE
No. i contains an example of pure cantabile style.

One must discard the metronome marks in some in
stances. A broad, free bowing is used. Do not hasten
phrases, or allow the tone to become meaningless at the
end of the slurred passages. Use the whole bow as far
as possible.
In the latter part of the eleventh measure play near
the point of the bow. Do not slide into position when
it is not necessary.
Moderator J=i2Q.)
■4—4 * - 13m—^__~___ *_i_*__.
■.mJ"T
----J----- 5-----—J-------- =---- ?----
f mart el e. ------------------- -
= # = fn r=j=m
2 ...........
The Moderato movement begins with detached notes

sharply cut, in the upper third of the bow. If the bow
ing is not free, practice martele strokes at the point of
the bow, using some well-known etude like Kreutzer,
No. 2. Regarding the trill, a definite number of trills
is out of the question; this will do for Kreutzer, but
HOW TO STUDY RODE 3
not for Rode. Accent the trilled note, but do not play
forcibly with the trill finger. A light, elegant trill is
best. Moreover, it sounds finished and does not de
stroy the unity of the figure. While notes are to be
sharply cut, they must not be rasping. Relieve the first
finger from the bow after the accent. It is the principle
of instant relaxation which must be mastered if the tone
is to be elegant and the bowing free. One must be
especially careful of intonation in this caprice, and the
tempo must not be hurried. When playing in the higher
position on the A string, do not force the tone. Play
chords mainly in the arpeggio style, but avoid sharp and
disagreeable attacks. Do not allow the trill to interfere
with the theme. When trills occur in rapid succession,
do not accent too much. Use a forearm stroke as much
as possible, as a shorter stroke does not admit of much
breadth of tone.
Caprice No. 2.
Allegretto. ( 1 0 0 . )
2. i
as
fp * 1 1 fp
As this caprice is written Allegretto, the novice natu

rally believes that it is to be played very rapidly. In
4 HOW TO STUDY RODE
the first year of its study, however, no such tempo

should be taken. Intonation and bowing are of great
importance. A forearm stroke of the bow is used.
The notes are sharply detached, not staccato, but half-
martele. Place the fingers in position at once, and do
not move them from their places until absolutely neces
sary. Light and shade must be observed, the first note
being forte, the remaining ones pianissimo. Measures
marked crescendo should be played in this manner, for
eventually the student will be required to play the
study with the same regard for phrasing and style that
is observed in a piece; in fact, the Rode Caprices are
played in this way after three years of study in a foreign
conservatory of high rank. As you will observe, two
fingers move simultaneously into place. It is absolutely
impossible to master the technical difficulties of the
caprice, if this rule is not observed.
We will now consider the first three measures. The
fourth finger (A) must lie on the string until B (second
position) is reached. The last three octaves require
that the first and fourth fingers move simultaneously
into new positions. In ascending the strings, dp not
pull the string from its normal place. The relative
distances between strings must be maintained, or into
nation will suffer.
The next measure requires a similar treatment. Do
not raise the fourth finger when passing to the second
position. Do not slide it into place. Position changes
must be imperceptible.
In the third measure great care must be maintained
as to intonation. The student who cannot think the
intervals is likely to make some serious errors. It is
important that every student learn the content of the
caprice mentally. One can sit with the violin in hand
and place the fingers on the finger-board without the use
of the bow, thus establishing a habit of reading in advance
of the measure played, with twice the mental concen
tration obtained by dividing the attention between the
forearm and the fingers.
HOW TO STUDY RODE s
In the fourth measure, C natural is played very soon
after G sharp. The student should guard against
false intonation in this second finger change. To pass
from high C, at the close of this measure, to C on the
G string, requires great care. Raise the arm quickly,
the forearm and wrist maintaining an outward curve.
In the fifth measure, pass from the C referred to,
to the B on the G string with a similar high-arm move
ment, in a plane with the G string. In passing rapidly
over to the E string, observe the rule of keeping the wrist
supple. Do not move it in an undulating way or tilt
the bow back and forth on the strings. Play on the flat
surface of the hair or on the outer edge. Never use the
back of the bow hair except when playing spiccato bowing,
and then very sparingly. Do not depress the wrist. It
should be in a plane with the hand and arm. The lateral
wrist stroke is not used to any extent in this caprice.
Keep the second finger in place throughout the fifth
measure. In the sixth measure keep the first finger in
place. Do not use the vibrato at all. Be very careful
to keep the second finger on C natural also, as the ten
dency is to sharp.
6 HOW TO STUDY RODE
In the seventh measure, the same rule of holding two

fingers down is observed. If passing from E to F sharp
seems difficult, repeat these measures many times.
Intonation is difficult in this measure. The thumb must
pass quickly under the neck of the violin in order to
anticipate position changes.
The eighth measure begins only a half tone higher
than the seventh. Be very careful of intonation in the
ninth measure. Do not release the first finger from the
string. Stretch the fourth into position on the G string.
One should be very careful not to play forzando with a
scratching sound. Do not slide from position to position
so that one can hear the change. As a rule the finger
last used should be the first to pass to the new position.
In the interpretation of modern pieces this rule is often
set aside. The fourteenth measure is especially difficult
of intonation. Note the similarity of progressions in
the next measure. The sixteenth, seventeenth, and
eighteenth measures must be played strictly in tune;
the fingers must not be moved from their places until
necessary. Anticipate string changes by forcing the
bow to lean toward the new string. When two strings
are concerned, play as if the bow were as nearly as
possible over two strings, however, not touching both
at the same time.
HOW TO STUDY RODE 7
In the nineteenth measure absolute certainty of intona
tion is necessary at the start. Swing the bow along
the strings by a swift forearm stroke, with the elbow
relaxed. Do not tilt the bow from side to side. The
point of bow contact must remain the same throughout.
In the twenty-first measure keep the third finger
still while the fourth falls into place. The fingers
must not vary in point of contact. Frequently, if the
fingers fall without force, it is a good thing to practice
portions of the exercise without the bow, throwing the
fingers hard upon the strings. In passing to the higher
positions, it is not wise to move until one has thought the
intervals. For instance, in the twenty-fourth measure
we play C natural, while in the twenty-fifth we change
the fundamental note quickly to C sharp. G natural
and C natural follow, while in the next measure A sharp
is followed by A natural and F natural by D sharp in
quick succession.
In the twenty-seventh measure we find a diminished
seventh. The first finger should remain on the string
(C sharp) while the third seeks B flat, which should be
very close to the point of contact of C sharp. In the
same measure we find another diminished seventh.
This method of progression is followed out in the next
measure. The student should be very careful of the
progression G sharp, F natural. In the thirtieth meas
ure, we return to the original theme. The thirty-
fourth measure should be played with the fingers very
close together. The thirty-sixth measure should be
very carefully practiced, for intonation is difficult at
this point.
In the thirty-seventh measure do not allow the
second and third fingers (C sharp and D) to leave the
strings while playing G sharp and B. The student
can easily estimate the distance of a major and minor
third. For several measures, beginning with the
thirty-ninth, the progressions are similar.
One should be very careful in the forty-first and
forty-second measures not to estimate pitch too high,
8 HOW TO STUDY RODE
especially with the first and fourth fingers. The forty-

third measure requires a quick change from seventh
to sixth position. Do this without sliding into place.
These changes of position should be made easily, the
first and fourth fingers falling simultaneously into place.
In the forty-fifth measure avoid sliding into place.
After the hold, a series of progressions of a similar nature
occur. In the fiftieth to fifty-third measures keep the
third finger down. Play close with the fingers. In the
fifty-fifth measure think G sharp high. The fifty-
seventh measure brings in the original theme again.
Do not lift the finger preceding an extension.
Practice the sixtieth measure carefully for quick posi
tion changes. Players with small hands must make
the extension by relaxing the first finger and thumb, and
stretching forward. Do not allow the thumb to cling
too closely to the neck of the violin at any time.
Caprice No. 3.
This study should be played in the position.
w
HOW TO STUDY RODE 9
You will observe that this caprice is marked Comodo.

The tempo depends on the technical proficiency of the
pupil. It is not to be taken too fast, inasmuch as it is
a study in legato playing. The student should not play
the caprice with another bowing than that marked. It
is a fine second position study. Play the trill with the
third finger close to the string. Elasticity, not force,
is necessary in trill study. While the trill is culti
vated in Fiorillo, a constant review of Kreutzer is neces
sary for the student, as there one finds specific trill
studies, unparalleled in violin literature.
In this caprice, gradation of tone is practically set
aside. The vibrato must not be used. Keep the hand
perfectly still in the second position. One finger, at least,
must remain on the string all the time. The caprice
must be played slowly for intonation. One very impor
tant point is that of finger pressure. Cultivate the habit
of striking the fingers hard upon the strings. The
student should think the intervals quickly. Since four
strings are compassed on one bow stroke, play high over
the strings with an undulating stroke, not with the
wrist. Tilting the bow from side to side is not advis
able in two string transfers, and it interferes with the
mastery of the pure legato.
The next thing to be considered is tone color. This
is necessary in the eighth measure, at the close of the
first motif. Usually notes are accented or colored when
a modulation occurs. In the thirteenth measure be very
careful of intonation.
HOW TO STUDY RODE
IO
In the fourteenth and fifteenth measures do not think

the F sharp too high. In the sixteenth measure there
are short transfers of importance. These are followed
by a legato run in which there is a crescendo. In the
nineteenth measure do not play with slovenly technic.
Avoid the vibrato with the trill. In the twentieth
measure keep the second finger in position. This rule
also holds good in the next measure.
The syncopated passage in the twenty-second measure
should not be played in a careless manner, with no
legato. Accent the initial note of each group.
Play the next two measures very legato, with the
arm high. Anticipate the string changes with the arm,
not with the wrist. After the double bar cross the
strings with the slightest perceptible movement of the
wrist. The fingers must anticipate the change of string.
Naturally, the fingers on the A string do not move
while one is playing on the G string, unless necessary.
Here we have the use of the open string, hence a wrist
stroke is necessary.
In the twenty-sixth measure think G sharp high and
F natural low. This progression must be practiced
many times to insure excellent pitch. The slight stress
on dotted notes is a relief from the slightly colorless
nature of the caprice. Do not make the staccato note
too short. The most difficult thing to do is to connect
tones at the point and heel of the bow, maintaining the
legato in syncopated passages.
The twenty-eighth and twenty-ninth measures should
be played with great care.
The thirtieth measure closes the third section of the
caprice.
We now enter a passage of a very difficult nature as
HOW TO STUDY RODE II
to intonation. Cross the strings with a wrist-stroke.

Keep the second finger in position throughout.
Play C sharp, D, and D sharp close. In the next
measure think C sharp high and B flat low.
The thirty-fourth measure should be played many
times for intonation. Keep the second finger on the
string as long as possible.
In the thirty-fifth measure cross the strings with a
high arm. Naturally, the followers of the French School
demand a higher arm than those of the Berlin School.
Legato playing depends not so much on schools, as on
natural conditions. If the legato sounds irregular and
notes are detached, play well over two strings until it
is obtained. Many students whom I know have been
obliged, during foreign study, to go back and review the
Kreutzer Etudes, as well as Sevcik’s 4000 Bowings, for
the acquiring of the legato. Too high an arm position
gives one no chance to graduate tone. Too low an arm
gives one a ragged legato. The best rule is this: Listen
to singers and try to imitate the cantabile.
In the thirty-seventh measure one should keep the
hand very still, the first finger being fixed. The pro
12 HOW TO STUDY RODE
gression, E flat, F sharp, G natural in the thirty-ninth

measure is a difficult one.
In the fortieth and forty-first measures think F sharp
high and E flat low. In the forty-second measure the
fingers are close together. In the forty-fifth measure
play high over the finger-board, making the transfers
with the wrist.
The fifty-first measure brings in the original theme.
Do not let the trill interfere with the legato run or
with the tempo. Practice it until it is clean-cut and
decisive. Two or three trills are all that are necessary.
The sixty-first measure contains a short string trans
fer. The sixty-third measure contains important trills.
The sixty-fourth measure closes the fourth section of
the caprice. Play the sixty-fifth measure in the upper
half of the bow, accenting the first note of each group.
From the sixty-sixth to the sixty-eighth measures play
very legato, but with accent, in the middle of the bow.
The sixty-ninth to the seventy-first measures are
fluent. Play the seventy-second measure with a brilliant
continuous trill. Graduate tone in the next three
measures. Play the last two chords with dignity. The
whole bow is used throughout the caprice, except in
detached passages or short groups.
Caprice No. 4.
HOW TO STUDY RODE 13
The word Siciliano is adapted from Sicilienne, a

dance of the Sicilian peasants, a pastorale in moderate
tempo, | or V" time, frequently in the minor mode.
This Siciliano movement is moderate, singing, fluent,
and full of simple grace. Possibly Rode used a Sicilian
_The 0.
Sicili&no
peasant theme. r The themet and1 accompani-
11 • j rp
ment are gracefully introduced. I wo fin
gers must seek their positions at once. Do not raise the
fingers from the strings until necessary. The first and
third fingers move together; also the second and fourth
fingers. In the first measure play the third beat in the
third position, G being played with the fourth finger and E
on the open string. When it is possible, slide the finger
last used into a new position. Note in the second meas
ure that C is an eighth note, while E is held over. Play
the turn with dignity and taste. The lower notes must
be played when the upper ones are played, so that one
receives the impression of two violins. It is not easy
to produce tone color while playing double-stops. The
student must not sacrifice the legato in double-stopping.
Slide into third position without effort in the fourth
measure.
The fifth measure is difficult. Let the third finger lie
flat over two strings. In the sixth measure keep B
still while moving to D sharp. Note the difficulties of
the half-position. Slide forward, using the crescendo.
In the eighth measure slide back to D sharp, keeping

B still. Detach the notes slightly. In the ninth meas
ure the fingering may be changed thus:
The tenth measure should be played with the follow

ing fingering:
In passing to second position in the next measure,

do so without interfering with the legato. Detach
the notes slightly in the twelfth measure. Take the
second position quickly on the last note. The sixteenth
measure is difficult. Do not slide to first position.
The next measure is to be played with much tone color
and taste. Do not use the vibrato unless the into
nation is very good. Practice the crescendo. The
eighteenth measure requires taste and care in intonation.
Move the fingers quickly.
Play B high and D sharp low in the nineteenth meas
ure. Use the upper half of the bow with a broad
staccato. Transfer from string to string, twentieth
measure, with a broad forearm-stroke. Be very care
ful of intonation in the twenty-first measure. Make the
extension by sliding the first finger back and keeping
the third and fourth in place. Hold the fourth over
in the twenty-third measure.
It is best to play the last three measures in the second
position.
HOW TO STUDY RODE IS
A llegro.<J s i 38.)
This excellent technical exercise should be played

with a broad forearm bowing. While slightly detached,
it is not staccato. Keep the fingers down.
e egr° They should fall with force and accuracy.
Take a medium tempo for intonation.
In the twenty-seventh measure do not slide from one
position to another. In the thirtieth measure place the
octaves B flat in position at once. Do not slide to
fourth position in the thirty-first measure. From the
thirty-second to thirty-fourth measures intonation is
difficult.
In the thirty-fifth measure the trill should be brilliant,
no alteration in tempo being made as a result of it.
Slovenly technic is the bane of violinists. How neces
sary it is that these studies should be mastered as a
preparation for great concertos. Whenever a difficult
change in position occurs, practice this, and mark as
you correct a piece, that the difficulty maybe surmounted.

The trills must be practiced very faithfully.
Do not hurry the tempo in the thirty-ninth measure.
Keep the third finger still. All the fingers should seek
their positions at once. In the forty-fifth measure
think D sharp high. The extension does not necessitate
a movement of the hand. Be very careful of intonation
in the forty-sixth and forty-seventh measures. Hold
down the fourth finger. Release the thumb slightly.
In the fifty-second measure play somewhat more
staccato in short bow-strokes. In the fifty-third and
fifty-fourth measures be careful of the force with which
chords occur. Pressure comes after the first contact
of the bow on the strings.
In the fifty-sixth measure
think the second position at once. Do not pull the D

string away from its normal plane. In the fifty-ninth
measure hold the fourth finger down. From the sixty-
first to sixty-fourth measures pass quickly to higher
positions without sliding. If possible, hold the initial
finger of each position over the string while the other
fingers are in use. Never release all the fingers from the
strings save in rapid runs. The rule that the finger
last used passes to a new position does not hold in this
case. Use a forearm-stroke, forte. Accent well. Do
not hasten toward the close. Be careful of second posi
tion intonation. Look ahead and note position changes.
Assume them at once, placing all the fingers in position if
possible.
Caprice No. 5.
As this caprice is marked Moderate>, do not take it
too rapidly. Play a broad forearm-stroke (first five
notes).1 Do not accent until the first beat of the next

measure. Use a whole bow, first half of second measure.
Cut the sixteenth notes at the point and heel of the bow.
Do not slide from D to A. Technic must be clean-cut.
The last sixteenth notes, group of four, should be played
broadly, upper half of the bow. The third measure
contains staccato bowing, upper third of the bow,
sharply cut. Play the octaves, fourth measure, with a
whole bow. Attack the third beat. The quarter notes
are played with a whole bow, while the triplets may be
in the upper third of the bow. This broad and elegant
style of bowing, varied by short bowing, gives elegance
1 Call the sextolet group the first measure.
i8 HOW TO STUDY RODE
to the caprice. Take the bow off the strings, and attack
the high G at the heel of the bow. The sixteenths that
follow in the seventh measure should be played broadly,
upper half of the bow. Detach the thirty-second notes
sharply in the eighth measure. Do not hasten the
tempo.
Tone color is difficult in the ninth measure. The
arpeggios, eleventh measure, must be played with a free
bow arm. Accent the eighth notes.
1..
In the thirteenth measure take each succeeding posi

tion quickly. A prevailing tendency among students is
to play too exactly, without color, in this caprice. We
must remember that we are to give character to each
phrase. Do not slide into the sixth position. If a free
bow arm is to be obtained, play slowly at first. All
notes of equal value should be of equal length.
A rapid run in the seventeenth measure should be
practiced for fluency. Descend to the G string quickly
by a whole arm movement. In the eighteenth measure
we are to define the difference between these marks, —
?, •. The first mark means broad bowing; the second,
usually, a forearm bowing, half detached; the third, a
short staccato. The dotted notes are sharply detached
at the point and heel of the bow.
Note the difficulty of intonation in the twentieth and
twenty-first measures. Do not allow the trill to inter
fere with the time. Many students belittle a group
of notes like the first group, twenty-second measure.
These should be played with a forearm bowing. Cross
the strings with a wide stroke of the bow arm.
In the twenty-fourth measure play smoothly in the
upper part of the bow. Note the similarity of groups.
Cross the strings with position changes in strict tempo
in the twenty-sixth measure. The twenty-seventh and
twenty-eighth measures require a similar treatment.
In the twenty-ninth measure pass from position to posi
tion easily and naturally. Do not slide perceptibly to
the fifth position. The triplet is often belittled in the
thirtieth measure. Broaden it out.
Observe the same in the next two measures. The

dotted notes are sharply cut. Cross the strings, in the
passage of tenths, with a high arm. Martele is a term
little understood. It is a quick pressure on the strings,
followed by almost instant relaxation; this gives the string
a chance to vibrate, while the pressure on the stick
sets the string into immediate vibration at the start.
Martele bowing may occur in the upper or lower half
of the bow. Frequently professionals practice it, using
the whole bow for the development of a quick stroke
and resonant tone. The second and third Kreutzer
Etudes are often played in that way. As all four
strings are concerned in this caprice, quick transfers
are necessary. These should be made with a re
laxed arm, the wrist leading and the elbow following
in the same plane as the string to be played upon. In
the fortieth measure the first and fourth fingers move
simultaneously into the new positions. Press the first
somewhat more securely than the fourth which moves
lightly upward. Do not slight the grace notes in the
forty-first measure. The last group of eighth notes is
to be played staccato, in the upper third of the bow.
The forty-second measure is difficult. Read the ar
peggios mentally, and ascend into the positions quickly,
with staccato bowing.
Play broadly from the forty-fifth, to the forty-eighth
measures. Do not hasten the tempo. Technic must
be clean-cut. Use the upper half of the bow in the
forty-ninth measure. Play the legato notes in twos

very smoothly. This is a flowing passage of no techni
cal difficulty. A light and elegant trill occurs in the
fiftieth measure. The original theme returns in the
fifty-third measure. Do not force the tone in forzando
passages. In the fifty-ninth measure play the staccato
notes near the point of the bow. The chords should
be broad in the sixtieth measure. Students invariably
play the scale run sharp.
The fingers are very closely massed together in the
sixty-second measure. All groups of sixteenth notes
should be played with uniform length of bow. This
gives breadth of style to the caprice.
In the sixty-sixth measure we find several groups of
double-stops. Pass into new positions without pressure
upon the strings. Do - not exaggerate accents. The
first and third fingers move together, the second and
fourth falling naturally into place. Keep the strings
at a uniform distance from each other.
In the seventy-first measure do not slide into the sixth
position. Make the position changes clean-cut. Do not
force the tone in the higher positions. Do not tilt the
bow from side to side. The stroke is a forearm one.
While the student himself must determine when a wrist-
stroke is to be used, it is always wise, even in passages
of very short notes, to play broadly in classic literature.
This prepares one for the further study of great con
certos. I have frequently heard this caprice played by
students abroad with all the finish and elegance of a
concerto. ^ a _T „
Caprice No. 6.
In slow movements of this kind it is wise to count
six instead of three to a measure. This we frequently
The Adagio do *n °f Mozart and Haydn.
We are now considering a beautiful flow
ing theme. One should begin with a light tone on the
G string, very legato. The crescendo is naturally used.
When playing the last four notes, do not press so heavily
on the strings that the position work seems labored.
There is an old rule to the effect that one should move

to a new position with the finger last used. This is
impossible in the case here mentioned. Release the
fingers quickly when engaged in position work, and do
not press too heavily with the thumb. Many slide in
a very unmusical way from B to G (harmonic). The
habit of dragging the fingers up and down the strings
is a pernicious one. The vibrato should be used with
the first and second fingers, in the second measure.
Never avoid the first position vibrato.
We now pass to the third position, third measure.
This must be done without sliding awkwardly to the
new position and back. The transfer may be made

easily if the finger in use is not pressed too heavily on
the string, also if the thumb is relaxed. In every case
involving quick position changes, the thumb moves
with the fingers; that is to say, there is a movement of
the entire hand. There is a prevailing idea among
some teachers that all pupils should keep the palm of
the hand resting against the body of the violin, when
playing in the third position. This is erroneous. The
pupil who has a large, thick hand need not rest the palm
against the violin if the first finger falls sharp. Also, the
first finger need not rest at the first joint when one
plays vibrato with this finger. The shape and size of
hands govern the relation to the violin, when playing
in the third position.
In passing rapidly up the G string, from the third to
the fifth position, the thumbr is quickly released, while
the second finger presses very lightly. The fingers
should move so quickly that the position changes may
not be heard. As we assume higher positions on the
G string, the elbow passes directly under, the right edge
of the violin, while the fingers assume vertical positions
on the strings. One should not force the tone in the
higher positions. In rapid passages the fingers fall with
elasticity rather than force. Brilliant runs require
strength and agility, it is true, yet the very quickness
of finger action debars one from raising the fingers high
for an attack. No pianissimo passage is so light that it
should not be heard. Cantabile playing requires much
light and shade, also a clear understanding of the
dignity of the legato. No note should be made shorter
on account of its position, nor should a short note be
belittled when the tempo of the entire work is slow.
Again, I would recommend the study of singing as a
valuable aid to the understanding of pure cantabile
playing.
In the ninth measure ascend the G string with dig
nity; a pure and noble tone is desired. In the tenth
measure count six if the time is difficult for the pupil.
Each measure should be analyzed. The teacher should

oblige the pupil to play and count all difficult passages.
Bright pupils often depend on the teacher, imitating
the latter, rather than counting time themselves. This
is a very pernicious habit.
Do not hasten the tempo in the tenth measure. Every
note should receive its full value. Note the difficulty
of the slow movement in the Rode 8th Concerto. Such
passages should always be played slowly, and gradually
be brought to the required tempo.
The thirteenth measure contains three notes marked
staccato. Play these broadly, with a swinging bow-
stroke. Graduate the tone on the G string without
rasping or forcing it until it assumes a disagreeable
quality. Be very careful of intonation in the fourteenth
and fifteenth measures. The eighteenth and twentieth
measures should be played very legato with much
dignity.
HOW TO STUDY RODE *5
This movement, in common time, is very often played

too rapidly. It should be technically clean-cut and
tonally accurate. The scale runs should
The o era o ^ memorized. Generally a forearm bow
ing is used. The broad staccato is preferred. For
this reason exercise very little pressure on the bow-stick,
except at the beginning of each note. Then release the
pressure, as the string must vibrate. A singing tone,
such as orchestra players desire, in rapid passage work,
is not possible if one presses continually on the bow-
stick.
/ /
In the twenty-fifth measure pass to the seventh posi

tion without releasing the thumb entirely from the neck
of the violin. The last note of the twenty-fifth measure
is G. Think a third below the next note E, though two
octaves below that pitch must be mentally within the
conception of the pupil.
In the twenty-sixth measure proceed to the higher
positions with the fingers pressed closely over the
strings. The thumb must be well under the violin.
If the hand of the pupil is too large for accurate tonal
work, release the fingers from the strings as soon as
they have played their notes, but it is a matter of com
ment and censure among teachers if the first finger is
not made to gauge a position by remaining on the
string. The general rule is that the fingers must re
main on the strings as long as possible. In scale runs,
the string to be played upon should never be free from
finger pressure.
From the twenty-eighth to the thirty-first measures
note the similarity in progressions. Intonation should
be faultless at this point. When playing in the higher
positions on the G and D strings, the finger should not
draw the string away from its neighbor. This leads
to false intonation. Place the finger firmly upon the
string in as nearly an upright position as possible.
In the thirty-second measure the broad half-bow stac
cato bowing is used. In the thirty-fourth measure do
not raise the first and third fingers from the string in
an extension. Use the upper half of the bow and do
not slide down to the new position in legato passages.
In the thirty-sixth measure the broad staccato is again
used. The rule before stated, for extensions, must
be observed. In the thirty-seventh and thirty-eighth
measures pass quickly to the fifth position and remain
there with the fingers well-arched over the strings. In
the thirty-ninth measure play F sharp (third beat) and
slide it at once to the seventh position on the G string
(F, A sharp). Be sure of the intervals in passing from
the seventh to the fourth position. These position
changes should be made with no perceptible change in

tempo. They are of such a nature that the pupil
should first learn the caprice mentally, mastering the
intervals. This is especially true of the forty-fourth
and forty-sixth measures. Repeat each difficult passage
many times. Use a forearm bowing and strive to give
to each note the same length of bow.
In the forty-eighth, forty-ninth, and fiftieth measures
progressions are similar. The fingers should anticipate
arpeggios. From the fifty-first to the fifty-eighth
measures strive not to accent too strongly in syncopated
passages. A free swinging stroke, upper half of the
bow, is desired. From the fifty-eighth to the sixty-third
measures play the runs fluently with a free forearm. The'
sixty-eighth and seventieth measures contain short legato
groups of two notes. Do not force the syncopation. Do
not remove the fingers from their positions in the seventy-
first measure. Note the difficulty of intonation.
The chords in the seventy-third measure should be
very firmly played and sharply cut, yet they should
not sound forced. Play the first two notes quickly, then
press slightly upon the bow-stick, sounding the last two
notes together. In this way the force of the bow is not
felt on the initial note but after it is struck. This
method of playing chords — so truly artistic — is
adopted by artists, and has in it the most important
requisite of good violin playing, taste.
Play in the middle of the bow, seventy-seventh to
eightieth measures. The legato run must be very free
and dignified. Do not force the tone. The closing
chords must be played, as others, with dignity, in the
lower half of the bow. The key of B minor is somewhat
difficult. Every caprice should be analyzed by the
pupil, with the aid of the teacher, and the scale in three
octaves in the key under consideration should be played.
Caprice No. 7.
The tonal difficulties of the seventh caprice do not,
in any way, interfere with technic. The caprice opens
with a whole-bow stroke on the first beat of the measure.

Play the up-bow staccato at the point of the bow.
Either the outer edge of the hair or the flat surface may
be used. I prefer the latter method, as it presents a
more brilliant staccato. The single eighth note (A) is
played in the middle of the bow, and the next note
toward the heel of the bow, sharply detached.
The two quarter notes of the second measure are
played with the whole-bow stroke. Swing the arm high
for the second note (F sharp on the E string).
The next measure is played in a similar manner to
the first measure. The last chord is played with the
down-bow. These chords are broad and dignified. Do
not force the tone or attack the notes in an unmusical
manner. Play the eighth notes with the up-bow, a
swinging, elegant stroke being necessary.
In the fifth measure accent the first note, use a whole
bow, and play the up-bow staccato run at the point of
the bow. Naturally the next down-bow note (A) is
played in the upper third of the bow, the last two notes
being very legato, with the up-bow.
The seventh measure is similarly played, the staccato
run being played with an arm-stroke, not with a pure
wrist movement.
In the eighth measure play the first note with the

whole bow, the next group being played with the up-
bow, at the point. The next group, third beat, is played
with a swinging detached half bow, the last group up-
bow with a broad legato stroke.
The ninth measure is similarly played. There is
a great tendency in the tenth measure to play the
groups of six notes on one beat with two accents. There
should be but one accent to a group and that is on the
first note. Press the string lightly with the first finger
when sliding to first position. Technic must be clean-
cut at this point. Economize the bow space. Do not
hasten the tempo.
In the eleventh measure play the last note of the third
beat (B) at the heel of the bow, sharply cut. Follow
with a brilliant trill. At the close of the trill a half
step exists between the trill and the following grace
note. In the study of Kreutzer, Fiorillo, and Rode,
one should observe whether a half step or a whole step
exists in the trill. A clear analysis of these studies is
necessary, as no student can depend entirely on the ear.
HOW TO STUDY RODE
30
Note the difficulties of intonation in the quick posi

tion transfers in the twelfth measure. In the thirteenth
measure retrace the bow-stroke on the first beat by slightly
raising the bow from the strings and starting again at
the middle of the bow on B. The group of sixteenth
notes fall up-bow at the point. The next tied notes (B)
are played in the middle of the bow.
The last group of staccato notes in the fourteenth
measure falls with an up-bow. In the fifteenth measure
swing the bow along the string on the up-bow. This is
a running stroke, not a short staccato. Naturally, the
up-bow staccato run (sixteenth measure) should extend
to the middle of the bow. Swing the last note of the
third beat to the point of the bow. The fourth beat
requires the entire bow. Pass quickly, with very little
finger pressure, from the first to the fifth position in
the nineteenth measure. Play the groups evenly with
definite accents.
The twenty-first measure should be very gracefully
played. The first beat is played with a whole bow.
The up-bow staccato extends to the middle of the bow
(on the note B, third beat). Then pass to the heel of
the bow on the last note of the third beat. # Swing the
last two notes gracefully along the bow with a wrist-
stroke, lower half of the bow.
The twenty-second measure is played with a whole
bow with the exception of the two notes in the second
beat, which are played with the upper half of the bow.
Accent the last two groups of the measure. Play the
HOW TO STUDY RODE 3 1
syncopated passages in the next measure in the upper

half of the bow. Be very careful of intonation.
In the twenty-fourth measure be very careful not to

slide from the note D sharp, first beat, to the next note
F sharp. Do not release the first finger entirely from
the A string in passing to the fifth position. The short
staccato stroke is used.
In the twenty-fifth measure do not slide to the
harmonic. In classic Etudes never slide into the posi
tions with the finger to be used. The last finger used

moves forward to the new position, in slow tempo, at
least.
In the twenty-ninth measure retrace the bow on the
second note, down-bow. The brilliant staccato run,
up-bow, passes to the middle of the bow. This is
followed by a similar run with the down-bow. It is not
advisable to play staccato passages of this nature with
dissimilar points of bow contact. The fiat surface
should be used in each case, as only the upper half of
the bow is to be used. When playing down-bow stac
cato runs at the heel of the bow, the inner edge of the
hair should be used.
In the thirty-first and thirty-second measures the
legato notes should be played very accurately and
evenly, without accent.
The original theme occurs again in the thirty-third
measure. Slide to F sharp quickly in the thirty-fourth
measure. In the thirty-fifth measure, after playing the
staccato run, with the up-bow, pass to the lower half of
the bow, accenting strongly.
On the second note, thirty-sixth measure, retrace the
bow on the down beat. Raise the bow and accent on
the latter half of the third beat. In the thirty-eighth
measure play the legato runs evenly with definite accents.
In the thirty-ninth measure play the alternating stac
cato and legato notes very elegantly, using the whole
bow.
Pass quickly to the point of the bow in the next
measure. Be very careful of intonation in the fortieth
and forty-first measures. A forearm-stroke is necessary
in the forty-first measure. Use the upper half of the
bow. (See page 33.)
In the forty-second and forty-third measures the
upper half of the bow is used. Accent strongly; use
a broad staccato. Pass quickly to the fifth position,
forty-fourth measure. The fifth position passage re
quires that the first finger remain on the A string. Do
not allow any finger to be raised from the strings until
3?
* /
fi~ o
necessary. The fingers must fall vertically over the

strings.
The quick position changes in the fifty-fifth measure
should be made with technical ease. Release the thumb
quickly from the neck of the violin in position changes.

The bowing should be elegant and free. The student
should assume the new positions, moving the second
finger quickly into place.
In the fifty-seventh measure play to the point of the
bow from the middle, on the first note. The staccato
passages should be clean-cut, in the upper half of the
bow, using the flat surface of the hair, preferably with
an arm-stroke. In the fifty-eighth measure play the
short staccato runs at the point of the bow. A broad
staccato follows in the fifty-ninth measure. The theme
from the twenty-fifth measure now enters.
The sixty-sixth and sixty-seventh measures require

special care in intonation. In the sixty-eighth measure
the first theme of the caprice re-enters. Raise the bow
slightly in the seventy-third measure, in the latter half
of the first beat, the staccato runs being at the point
of the bow.
In the seventy-fifth measure special care must be

given to intonation. Use the broad staccato, upper
half of the bow.
The student should observe the accents on beats
usually unaccented in the seventy-sixth measure. In
the seventy-seventh and seventy-eighth measures use
the upper half of the bow. Always anticipate a bow-
stroke which requires quick passage to the point of the
bow.
(or:1)
The staccato runs, seventy-ninth and eightieth

measures, occupy the upper half of the bow. Possibly
a broader bow-stroke may be used in the eightieth
measure. All chords should be played with dignity.
Do not force the tone.
In the eighty-second measure use the whole bow,
without accents. The runs in the eighty-sixth measure
should be played at or near the point of the bow. This
is one of the most valuable caprices and, if played accu
rately and brilliantly, the student will derive great bene
fit from its study. As a technical study alone, it is
very valuable.
In acquiring a brilliant staccato the student should
first regulate finger pressure and arm control. A wrist
staccato is executed with a slightly higher arm. It is
a lateral stroke. If a student has not played staccato
bowing to any extent, „it would be wise to cultivate the
arm staccato in the Etudes of Kreutzer, Fiorillo, and
Rode.1 A singing tone should never be sacrificed. The
fingers should always fall with force and accuracy.
Each difficult passage should be played many times until
clean technic is secured. Absolute freedom of the arm,
forearm, and wrist are necessary; the left hand should
anticipate position changes quickly. The question of
tone gradation is one of great importance. Style and
taste cannot be cultivated in this caprice until the
technical and tonal points are mastered. It should
always be practiced slowly to insure accuracy.
Caprice No. 8.
Again we have a caprice in the key of A major. No
student should enter upon the study of Rode who has
not learned to anticipate finger changes and keep the
fingers on the strings until it is absolutely necessary to
remove them.
The first method of playing this caprice is with the
upper half of the bow, the stroke being broad and slightly
1 See footnotes, pages v and vi.
Moderato assai (J=100)
martele. The next stroke is a shorter one and more

rapid in the middle of the bow. The third method is
the sautille stroke in the middle of the bow. This is
accomplished by raising the bow slightly from the strings,
passing rapidly by an arm movement only along the
strings, using two or three inches of the bow. One must
play as if stroking the string, a velvety tone, not a force
ful one as the result of beating the string with the bow.
This method of bowing is used in the older classics;
when applied to the lower half of the bow it becomes a
celebrated half-staccato stroke, used at the opening of
the Bach A minor Concerto, the second movement of
the Tartini Sonata in G minor, the Veracini Sonata in
D 1 minor, and other works. Orchestra players culti
vate this stroke. Naturally, it is not produced by
1 Sonata in D Minor, by Fr. Maria Veracini. Edited, revised, and
fingered, with a biographical sketch, by E. L. Winn. Price, 5° cents.
special pressure upon the bow, followed by instant

relaxation. It is rather a more velvety and delicate
stroke, with unlimited powers of resonance. The bow
moves in the plane of the shoulder over each string,
passing close to the string yet only touching it in the
middle of its stroke. The arm should not be raised
from the shoulder, as this makes the point of contact
too high without a forceful attack on the string. No
lateral wrist-stroke is necessary, as in staccato bowing.
The acquiring of this bowing is very difficult for the
amateur and, like the staccato, depends rather upon
frequent repetition and intelligent study than upon mere
imitation, though it is advisable for all teachers to be
able to illustrate the principles of bowing to students.
Play the caprice evenly and slowly at first, for intonation
alone. The reason why we use the detached bowing is
obvious. In the forearm-stroke the bow must remain
at about the same distance from the bridge. Variable
bowing results in an uneven tone. This method of
bowing is very necessary in the study of Kreutzer, and
cannot be neglected by the advanced student.
We will now consider the first measure. Place the
first, second, and third fingers quickly in position for
the arpeggios, allowing them to remain in place through
out the measure. Change the fingers quickly, placing
them in position for the second measure. This rule of
seeking the position instantly is very necessary, if one
is to obtain technical proficiency. The student must
look ahead and note finger and position changes. Now
as only two strings are to be used, do not change the
position of the bow on the strings, with too wide a
circuit; in fact, the bow should be well over two strings
when these special two are to be used. The altitude
of the arm is governed by the plane of the string. Play
on the edge or on the flat surface of the hair. While
the wrist should be free, do not use the lateral stroke
of the wrist. We are now speaking of the forearm
bowing. When the short legato stroke at the middle
of the bow is to be used, the lateral wrist-stroke is pre
ferred. Short string transfers are executed with the

wrist. The wrist does not enter into the forearm-
stroke, in which the upper arm does not play any part
except in string transfers, where the whole arm rises,
the wrist leading.
You will observe that the first note, first measure,
opens on the E string; the string transfers are toward
the A string. Naturally, a forearm-stroke is sufficient.
The third measure begins on the A string and the
progression is toward the E string. This necessitates
a downward movement of the hand from the axis of the
wrist, though the stroke is still a forearm one. That is
to say, in the first case, the point of contact of the bow
on the strings remains the same throughout the measure.
In the second case, the bow touches the E string on the
outer edge of the hair, while its position is on the
surface of the hair when resting on the A string.
The lateral wrist-stroke is necessary. The second and
fourth positions are not difficult. The fingers should
assume the exact positions at once, nor should they be
moved until it is necessary.
In the fifth measure we find an example of the half
position. Always assume this position at once, placing
the fingers close together. Do not release the first
finger until necessary.
In the sixth measure keep the first and second fingers
in position, placing the first, second, and fourth fingers
simultaneously on the strings in the first arpeggio. As
three strings are involved, it is necessary that we place
the bow high over the strings, so the transfers may
be made quickly and with ease. Use a forearm-stroke.
All single bows should be of uniform length, that the
dignity of the caprice may be maintained.
In the seventh measure observe that G natural,
played with the third finger, is near A sharp, the first
finger note. Leave the first and second fingers on the
strings throughout the entire measure.
In the eighth measure the first and second fingers
also remain on the strings. The fingers should fall with
force, and the hand should be constantly relaxed. A

free forearm-stroke is much more likely to be the means
of developing an even, beautiful tone than the upper
third of the bow. The forearm-stroke is very frequently
used in orchestral bowing, and it is highly desirable that
the student cultivate it.
In the ninth measure pass gracefully from the G
string to the E string, the arm describing an outward
high curve. In every instance in which four strings
are involved, observe the rule that the arm should be
higher than usual in order that the change of position
of the bow on the strings may be accomplished easily
and gracefully. The arm should never be allowed to
pass behind the plane of the shoulder in string transfers.
The wrist should lead. If the wrist be depressed the
bow-stroke will be irregular. In the ninth measure one
should not hear the fingers move from position to posi
tion. These changes must be clean-cut.
In the tenth measure make the contrast between the
legato and other bowings very pronounced. Again, the
swift passage from the A on the G string to C sharp
on the E string must be made with a high arm-stroke.
If possible the student should analyze the arpeggios,
and ascertain what fundamental chords and progressions
occur.
In the eleventh measure keep the first finger on the
string as long as possible. In the second half of
the measure some teachers use the first position. The
1
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twelfth measure requires special consideration of alter

nating staccato and legato notes. The tempo of the
caprice governs the length of the bow. Use the upper
half unless playing at a somewhat increased tempo,
when the upper third may be substituted. Keep the
third finger on the E string during the playing of exten
sions.
In the thirteenth measure the first and second fingers
again assume their positions throughout the measure.
The fingers should always anticipate string changes and
progressions. There is no excuse if an advanced stu
dent plays false progressions. By this time he should
be fully acquainted with the relations of notes and
intervals.
For instance, in the fourteenth measure, there is a
similar relation between the first and second groups.
Do not slide from A to high F sharp in the third group.
Remain in the fifth position on the A string.
In the fifteenth measure take the second position
at once, with the first finger firmly fixed upon the G
and D strings. The second finger is on D sharp and
can remain there throughout the measure. All fingers
should seek their positions immediately. One very
important point in connection with this caprice is that
the fingers assume their positions in anticipation of a
change of bow-stroke. Do not slide from G sharp to
C sharp (second beat), sixteenth measure. A short, de
tached stroke is used when passing to the fifth position.

The fingers should be well over the A string. Release
the thumb so that it lies well under the neck of the
violin. The first finger must not leave the string.
In the seventeenth measure we return to the fourth
position. The third finger must remain on the string
during extensions. In two string transfers the bow must
lie well over the strings concerned.
Note the similarity in progressions in the seventeenth
and eighteenth measures. The distance from the first
to the third finger is very close at the opening of each
group. Do not release the fingers from the strings when
one position is required throughout the passage.
Intonation is especially difficult in the nineteenth to
twenty-fourth measures, but the progressions are simi
lar. By keeping the first and second fingers on the
strings one can avoid faulty intonation. The student
should carefully analyze the intervals mentally, or at
the piano. It is not wise for the teacher to play the
caprice at a professional standard until the pupil has
brought his own conception of the work to the class room.
Many students are very gifted in the power of imitation.
They can follow the teacher’s lead, but they are not
able to work out principles of bowing and fingering,
intonation and rhythm alone. The wise teacher should
not give too many examples to such students. The next
thing to be considered is the question of logical develop
ment. A student who merely imitates the teacher is
developing no power of analysis or general knowledge
of the logical steps which lead up to teaching.
From the nineteenth to the twenty-fourth measures
play well over the G and D strings, with a high arm
position for a free forearm-stroke. Do not force the
tone on the G string. (See page 43.)
In the second group, measure twenty-three, the fingers
are massed closely together. Do not move the entire
hand in the extension (third beat) of the same measure,
as well as in the twenty-fourth measure. The third
finger remains on the string during extensions. The
second and first fingers remain on the string as long as

possible.
In the twenty-fifth measure do not use a wrist-stroke
entirely. The forearm-stroke, with a loose wrist, is
preferred. The second and first fingers remain on the
strings. In the twenty-sixth measure observe the same
rule. Produce a singing tone. The fingers fall firmly.
In the twenty-seventh measure do not lower the arm
when passing to the E string. Keep the average plane.
Always lead to the new string with a wrist-stroke.
Absolute freedom of the elbow joint is necessary. Antici
pate finger and position changes in advance. Naturally
the student learns to place the fingers firmly on the
strings and then allows them to remain there, especially
if Kreutzer and Fiorillo have been well taught. The
Rode Caprices require maturity, for at this point of
study one begins to interpret. This caprice is so

difficult from the standpoint of intonation, that it is
absolutely necessary that all other details of bowing and
fingering be well understood before we begin it; that is
to say, one must be able to play in all the positions with
ease, and the forearm and wrist-strokes should have
been mastered. I would go so far as to assert that no
student should attempt Rode who has not mastered all
the subtle principles of good bowing. If, at this point,
a few faults of bowing present themselves, one should
aim to overcome these by an immediate return to the
Sevcik Studies (4000 Bowings — Books 4, 5, 6) and
my Technical Exercises.1 I would also use the Halir
Studies2 daily.
In the twenty-ninth measure pass quickly to the
third position with a high arm-stroke. An outward
curve must always be maintained.
In the thirtieth measure the same method should be
observed. Do not slide to new positions. The technic
should be clean-cut, the stroke slightly martele. Be very
careful of pitch. The general rule for extensions is:
Keep the thumb well under the neck of the violin. It
may move forward slightly. An exact position cannot
be defined owing to great differences in the size and
shape of the hand, as well as in the flexibility of the first
joints of the fingers. A very prevalent fault of students
is the relaxation of the first finger downward, accom
panied by a similar movement of wrist and thumb in
anticipation of a new position; for example, when play
ing in fifth position, the student invariably gets ready
to move to third position before it is time to do so.
This very bad habit leads to faulty intonation and other
technical defects.
1 Daily Exercises for Violinists, by Edith L. Winn. Part I,
Daily Exercises and the Three Octave Studies, price, $1.00; Part II,
Cultivation of the Legato, price, $1.00; Part III, Technical Exercises,
price, $1.00.
2 New Scale Studies, by Carl Halir. Newly revised and annotated
by E. L. Winn. Price, $2.00.
Published by Carl Fischer, New York
The thirty-first measure presents one or two difficul

ties of pitch. Call attention to the diminished third.
In the thirty-second measure pass to the third position
without sliding, thence to the fifth position, and then to
fourth on the A string. Make all these changes with
a free thumb, remembering that the thumb and fingers
move together. All technic should be so clean that no
position change should interfere with the continuity
of tone. Analyze the intervals in the thirty-third and
thirty-fourth measures. Keep the second finger down,
thirty-fifth measure. The fourth position requires care
in intonation. This is one of the best of the caprices
for the daily development of the forearm-stroke, for
intonation and position changes, but one should not fail
to remember that slow practice is desirable until one has
mastered detail.
Caprice No. 9.
Adagio, ( i) = 84)
The key of E major is a very treacherous one for the

amateur. Use a broad bowing in this beautiful Adagio
The Adagio movement. A singing tone is necessary.
The student should also aim to create a
specific art atmosphere in the caprice. It can be re
moved from the rank of an etude only by a skillful
command of tone color. Tone color is an elusive word.
The play upon words necessary to artistic reading is not
more subtle than the inflections in musical phrasing.
Dignity of interpretation necessitates a special play
upon notes to which some accent falls naturally. I
would suggest to all students that the study of slow
movements in concertos, and also the study of the
Caprices of Rode, cannot fail to give one a command of
pure cantabile playing. Sivori was called the greatest
adagio player in the world. Spohr was the greatest
“singer on the violin.” May we not assume that they
spent a great part of their lives in the study of the pure
cantabile, corresponding to bel canto in singing? For
years I have studied the methods of great singers, with
the result that I do not in the least believe that any
violinist, outside of the ranks of virtuosi, has a com
mand of tone-gradation equal to the singer. In these
days, when the principles of tone color are made so
vitally important in piano playing, it is a matter of con
jecture whether we should give to students a rigid
course in interpretation until they are old enough to
feel the subtle points of phrasing. Perhaps we dissect
and analyze too much, making of our pupils mere
imitators. No young student is capable of complex
feeling. Occasionally a gifted one expresses a sentiment
poetically. I do not believe we should interfere with crea
tive impulse and genuine feeling, yet when it is lacking
we can give models of phrasing by playing a passage
ourselves. I am sure that one can lead a student, by
playing a passage several times with him, to play with
taste and feeling, even if he has heard very little music.
In the second measure of this caprice accent the first
note, but do not over-rate a forzando. The fourth beat
of the measure should not be accented. The whole bow

is used. You will note in the second measure that E
falls on the up-bow. Do not retrace the bow for the
fourth beat. Pass to the middle of the bow and pause;
then proceed lightly to the heel of the bow. Use the
vibrato on all notes longer than eighth notes.
Give some dignity to the first group of the third
measure. Play the first group of the fourth measure
with taste and feeling. Accent the first note, using the
vibrato. The strongest accent is on C, after the first
accent, yet no accent should interfere with legato phras
ing. Again, we should now retrace the bow for the
fourth beat.
Do not hasten the fifth measure. In the latter half
of the measure do not force the tone in the higher
positions. There is a slight tempo rubato in passing
from A to F sharp — fifth to third position. This
whole passage is played with clean technic, a beautiful
legato, and beautiful phrasing.
A second crescendo is made on the first note, sixth
measure. We will now consider the last group, sixth
measure. Do not raise the bow, or use the staccato
on F sharp, sixteenth note. Swing the bow along the
string, and accent G sharp, the first note of the next
measure. Be very careful not to hasten the tempo
in the thirty-second note group. Accent the quarter
note, third beat, but do not force tone. There is a
slight crescendo, but only a passing tempo rubato on
G sharp in the last group.
The seventh measure must be practiced carefully,
as students invariably distort the tempo. Do not be
little the sixteenth notes or hasten the grace notes, which,
according to tradition, have some value. There is a
slight stress on E for the sake of color. Do not slide
the first finger on the third beat to the third position.
Accent the first note, eighth measure. Count time care
fully, giving some color to B, third beat, and rising to
C sharp in a definite crescendo. Pass to third position
in the ninth measure Pass to fifth position, portamento,
without exaggeration. These three groups should be

played artistically. In the eleventh measure avoid un
necessary accents. A light and elegant trill is desired.
In the next measure we find groups of a similar charac
ter to the ninth measure. In the thirteenth measure I
prefer to play G with the fourth finger, third position,
passing to the first position on C. Accent G in the next
measure and pass elegantly and gracefully to the G
string.
In the fifteenth measure a pure singing cantabile is
desired. Avoid open strings. Accent E in the six
teenth measure. On the third beat pass gracefully to
the third position. Accent the next note and suddenly
release the pressure so that a singing tone can be ob
tained in the thirty-second note passage. The third
beat is played with the upper half of the bow in order
that the fourth beat may be played whole bow.
In the next measure use a whole bow in the first beat.
Cut the sixteenth note slightly. Swing the next group
along the upper half of the bow with a wrist-stroke.
Play the last group with the whole bow, using a broad
tone.
In the nineteenth measure do not force the exten
sion note, G natural. Pass elegantly and gracefully to
the third position. Now rise to the fifth position slowly
and evenly, playing the turn slowly and giving some
additional color to G natural. It is quite proper to
use the portamento in returning to the third position.
The next measure is an example of slow and beauti
ful cantabile playing. Pass to the fifth position on the
A string very evenly and beautifully.
The crescendo in the nineteenth measure should be
gradual. The last four notes require color and taste.
The turn should be executed with great care. Return
to half position, using the portamento. In the twentieth
measure it is a common error to pass to the fifth posi
tion, the fourth finger leading. The first finger should
seek the new position. Gently glide back one position
for the next group.
In the twenty-first measure pass to the third position,

playing the turn gracefully. Do not interfere with the
legato in passing from the third to first position.
Analyze the time, giving to each group of notes its
proper value. Do not hasten the tempo. Play a mod
erate trill with light, not forced fingering, and close with
a slight tempo rubato on D. Although we do not
retard, we must play very evenly and elegantly, with
dignity.
It is difficult to define expression. I have endeavored,
as far as possible, to suggest to an intelligent student a
few points in the interpretation of this beautiful adagio
movement.
This movement in time is technically very valu
able, as it is in the fourth position throughout. The
The Aiie etto sôrt staccato bowing is used. Do not
e egre o p ja y caprice too rapidly at first, as it
must be mastered technically and tonally before one
considers increase of tempo. If the first finger seeks
its position at once, there will be little difficulty in posi
tion work. In the fifth measure a short brilliant trill
is desired. Do not allow the trill to interfere with an
even tempo. The trill should be definitely accented.
In the eighth measure play the two detached eighth
notes with a broad forearm bowing. Release the bow
from the string before attacking B on the seventh beat.
Follow out this idea in the tenth measure. Be espe
cially careful of intonation from the tenth to the four
teenth measures. In the nineteenth measure play the
eighth notes broadly. When compassing the four
strings in a quick run, the attitude of the bow arm
should be higher than usual, in anticipation of string
transfers. In the twenty-fourth measure accent the first
note of each group and release the pressure upon the bow-
stick as soon as possible after the attack. When play
ing on the E string, as in the twenty-ninth measure,
keep the first finger constantly in position. Then con
tinue to keep it thus while playing the group of notes
(last three) on the A string. In studies of this nature
5° HOW TO STUDY RODE
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a
absolute repose of the left hand is necessary, and in the

acquiring of technic one must be very careful to antici
pate finger and position changes.
Study the intervals from the thirty-third to the
thirty-sixth measures. In the thirty-seventh measure
the bow must be well over two strings, yet touching each
one in turn. The stroke is not a wrist one. Play upon
the flat surface of the bow hair in these rapid string
changes. Under no condition should the fingers be
released from the strings until necessary. In the forty-
second and forty-third measures do not force the accent
upon the trilled note. In the forty-seventh measure
play in a sweeping style but lightly. The entire fore
arm-stroke may be used, with little pressure upon the
strings.
In the forty-eighth measure we come back to the
original theme. In the fifty-seventh measure the bow
arm preserves an outward curve while playing the
arpeggios. The fingers should assume their positions at
once and remain in place. Use the broad staccato on
the second and fourth beats. In the sixty-first measure
play lightly, with delicacy and grace, yet use as much
of a forearm bowing as possible. One can use the
upper half of the bow and yet produce the effect of
grace and elegance, while the tone may be a singing
one. There is a mistaken idea among students that
the bowing should be short when one is playing pianis
simo. Sometimes even a whole bow-stroke is desired
when one is playing pianissimo. Use a forearm-stroke
in the sixty-third and sixty-fourth measures. The last
three measures require the short staccato stroke in the
upper third of the bow.
Caprice No. 10.

In this study, written entirely for the third position,
few students take the exact tempo as given. It should
be practiced in the upper half of the bow, detached
bowing. A stroke, that in part is a martele, may be
used; at any rate, the clean-cut decisive bowing sug
gested aids the student in guiding his bow absolutely
parallel with the bridge, or in keeping the bow at a uni
form distance from the bridge.
The third position offers no difficulties. If possible
keep the first finger on the strings. Anticipate finger
and string changes. As the key of four sharps is a
difficult one, the student should proceed carefully; pure
intonation is of great value. A free forearm-stroke
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develops orchestra bowing. As the string transfers

include two strings, cross close to the string which is to
follow, or, to be perfectly clear, poise the bow almost
over two strings.
All detached notes should require about the same
length of bow. If the bowing is uniform the effect is
dignified. When two notes are slurred use the same
length of bow as for single notes. Beginning with the
seventeenth measure keep the first finger on the strings
for A sharp. Be very careful to play in tune. In the
twenty-second measure the second finger must be very
close to the first. In the twenty-fifth measure play
G sharp and C sharp with the first finger on both strings.
In the twenty-sixth and twenty-seventh measures do
not play A sharp too high. In the twenty-ninth measure
play with a high arm. The E string legato transfers
should be made with the arm, not with the wrist.
HOW TO STUDY RODE S3
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In the thirty-third measure play a short brilliant trill

of two notes. In the thirty-eighth measure use a
broad swinging stroke of the bow. The forearm and
wrist must be very free. Do not release the fingers from
the strings in the thirty-ninth measure. The fourth
lies close to the third. D natural lies low in the fortieth
measure. Note the similarity in progressions in the
forty-second and forty-third measures.
From'the forty-third to the fifty-third measures the
student should analyze similar progressions. One finger
should always be on the strings. This initial finger
should seek its position at the beginning of each measure.
There are times, as in the fifty-fifth measure, when it
would be impossible to follow this suggestion. The
second finger falls on A sharp and should be quickly
removed as soon as the third finger has sought C sharp.
On the contrary, in the fifty-sixth measure, the first
finger may remain in position during the entire measure.
In the fifty-seventh measure it is not very convenient
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to place the first finger in position and keep it there, but

it can be done. In the fifty-eighth measure the first
may remain on D (A string) until it has to take the
A sharp on the E string. The student should be very
careful to keep this finger in this position through the
fifty-ninth measure.
In the sixtieth measure the fingers are close together.
The elbow should be raised so that the arm leads in
string transfers, the wrist being free. The wrist is at
a higher altitude than the arm. The elbow should
never be on the highest plane.
In the sixty-fifth measure B sharp falls high. In
measures requiring three string transfers play high
over the strings (sixty-eighth to seventy-fifth). In the
seventieth measure analyze progressions. The student
must think the intervals. There can be no guess work
in Rode. In the seventy-second measure the first finger
remains down on the strings. Also keep the second
finger in place while playing F double-sharp.
HOW TO STUDY RODE ss
In the seventy-third and seventy-fifth measures re

member that short string transfers do not require that
the point of bow contact varies.
The original theme appears in the seventy-seventh
measure.
5$ HOW TO STUDY RODE
Beginning with the ninety-fifth measure keep the

fingers on the strings as long as possible, owing to rapid
changes requiring careful intonation. Note in the
ninety-eighth measure the necessity of keeping the fourth
finger in place.
This caprice is an excellent one for intonation. Play
it slowly and carefully, with faultless bowing. It is
one of the best for the development of the forearm.
*UCaprice No. 11.
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The key of E major is not specially interesting to the

violinist; in fact, it offers difficulties of intonation to the
amateur. I have found that a related key is an âdvan
tage, hence the review of the eighth Kreutzer Etude1is
necessary.
Number n is played in a brilliant, not too rapid
style, with as broad bowing as possible. Marks of
accentuation must be carefully observed. Note the
necessity for accenting the trilled note, third measure.
The dotted notes, fifth measure, are played near the
point of the bow, with a short crisp staccato.
The following legato groups of six notes are played
very brilliantly in the upper third of the bow. The
last eighth note in the measure is played with a single
up-bow stroke.
In the seventh measure on the D and A strings place

the fingers at once in their places. Play in the upper
half of the bow; the fingers must move quickly from
position to position. The next measure of staccato
double-stops should be played brilliantly at the point
of the bow. The question of a brilliant staccato has
often been discussed by writers on violin technic, but
there seems to be no authority for defining exactly how
each individual shall play. A good staccato and a good
trill are often the expression of intuitive muscular
control, agility of fingers, and keen perception. It is
sufficient to say, that those who play the staccato at
the point of the bow, with a lateral wrist-stroke, on the
edge of the hair of the bow, do no.t secure brilliancy and
speed as readily, as a rule, as the player who uses more
1 See footnote, page v.
surface of the hair in connection with a still wrist, the

fingers acting as a medium of muscular control.
This excellent exercise offers a great variety of bowings,
position work, and fingering. To play it artistically, one
must strive to broaden out the tone if possible^
Whenever a bowing is not specified, as in this case,
the upper third or upper half of the bow is correct.

This measure is followed by the staccato at the point
of the bow. Do not remove the fingers from their
positions until necessary. Do not use the harmonic E.
In varied bowings, such as are here indicated, the
forearm must be absolutely free. Any stiffness of the
arm or fingers will result in a lack of beauty of tone,
in fact a singing tone is so dependent on bow control,
involving accent and instant relaxation, that the un
trained bow arm cannot possibly execute this caprice
artistically.
In examples of this nature avoid the use of the por-
The next line contains a series of short legato groups

with accent. Use as much bow as possible, at the same
time preserving freedom of the forearm. The following
line is played legato, with the whole bow. Difficulties of
intonation that follow in the single sixteenth notes must
be mastered, repetition being the only means of correc
tion.
Use the upper third of the bow:
A transition to the fourth position should be made
the contrasts in legato and staccato playing being clearly

defined. Accent the trilled note, two trills being ordi
narily sufficient.
The following legato runs should be played with a whole
bow. One should play these passages with the same
artistic taste as one would accord to similar passages in
a concerto. Play the trills lightly and gracefully.
In playing arpeggios keep the bow well over two
strings and transfer with a somewhat high curve of the
arm, which must naturally follow the plane of the string
to be used. The wrist, while free, does not curve up
ward and downward with the change of strings; the bow
6o HOW TO STUDY RODE
remains on the outer edge of the hair. This second

entrance of the original theme must be treated even
more artistically than the first entrance.
Keep the tempo steady, that is to say, do not force
the rate of movement at a sacrifice of tone, freedom
of bow arm, or clean technic. At this point accent
strongly, and play broadly:
In the next measure play a crisp, light staccato,

at the point of the bow. The subtle principles of tone
color can be well developed in this caprice, although its
technical demands are of primary importance.
A slight pressure, instantly modified, on the bow-
stick, gives the impression of a disconnected legato:
In the rapid transfers from the D to the A string keep

the bow well over two strings and transfer with more
arm than wrist-stroke, if a beautiful legato is to be
sought. The position is in the upper third of the bow.
Use the whole bow at this point:
HOW TO STUDY RODE 6l
Anticipate changes of fingers, as in a similar example
in the first movement of the Rode 8th Concerto.
Do not slide into place in rapid position changes:
seen
Use the whole bow in the legato passages that follow,
and close with a crisp staccato at the point of the bow.
Caprice No. 12.

Comodo. ( J - z 58
W.B.
Before studying this caprice, so difficult of intonation,

it is wise to play the scale of B major, beginning with
the first position, in three octaves; after this, the scale
may be practiced, beginning with the second position.
Play scales in two ways, first by remaining in the original
position until the change on the E string. In the de

scending scale remain in the fifth or fourth, as the case
may be, until the last two notes are played on the G string.
Comodo indicates that the caprice be played at the
tempo most satisfactory to the student. A clear and
fluent legato is necessary, with the whole bow. The
fingers should anticipate string changes so as not to
interfere with the legato.
A pure singing tone, not a weak uncertain one, is
necessary. If the student plays the piano he should
play the caprice carefully on the piano before testing its
possibilities on the violin. Play each progression re
peatedly till mastered. The advanced student should
learn the caprice mentally, interval by interval. One
very important factor in the study of the work is to
place the fingers in position and keep them there until
it is necessary to remove them, also anticipating changes
of fingering. In extensions the first or second finger,
as the case may be, must remain in position.
Trilled notes, as before stated, should be slightly ac
cented at first. A uniform tone from the heel to the
point of the bow is desirable. In the latter half of the
caprice, when only one measure is played to a bow,
use a shorter bow-stroke, preferably in the upper half.
Caprice No. 13.
Grazioso. (J = 92)
Cantabile playing does not necessarily imply the use

of the portamento. In passages that are difficult one
should not use the vibrato too continuously.
The key of G flat major is quite as easily mastered
as less difficult keys, if one bears in mind the relations
of intervals. Naturally the student should practice the
scale in that key in two octaves, beginning with the
first, second, and third positions in succession.
Note, in the first measure, the necessity of passing
quickly to the fifth position on the D string, with the
portamento, in order to command B flat on the A string.
Note also the necessity for contrasts of tone color. A
warm and resonant tone is obtained by playing scales
in three octaves, thus,
and then with the crescendo four times in one bow,

using a continuous vibrato. The tone should never
be forced, dry, or pedantic. A large and brilliant tone
throughout an etude does not convey the beauty of a
tone in which there are subtle contrasts, essentials of
beautiful and artistic phrasing.
This caprice, involving so many principles, is one of
the most difficult of mastery in the entire set.
The first theme must be a singing one, with as broad
bowing as possible. The first trill (third measure) need
not be accented, but the second one needs more specific
accent. Do not combine the trill with the vibrato in
the first position. An Elman may do this with ease,
but the student need not imitate the particular individu
ality of an artist.
. The first eight measures require the same artistic treat
ment as the opening measures of a concerto. Begin
ning with the ninth measure, there are a series of arpeg
gios in which special accent occurs in the middle of the
measure. Forzando signifies instant pressure and almost
instant relaxation of the fingers on the bow-stick.
Caprice No. 14.
This Adagio study should be played artistically, with
much expression. Analyze each group of notes. Study
the tempo and rhythm faithfully. The appassionato
is played very rapidly, but no student should expect
technical perfection for a long time. Use the whole
bow. Do not accent trills nor disturb the rhythm in
a trill. Analyze the work, measure by measure, and
play it with the student. One may use the Spohr
accompaniments, but Fiorillo and Rode are much too
difficult for this kind of work. The pupil and teacher
should play the caprice together carefully.
The key of E flat minor is especially difficult. Use
the crescendo in the first measure. In descending to the
first position make the change while the finger presses
lightly. Accent the first note of the second measure.
In the third measure play in the third position, and use
J
Adagio con espressionen( : nz )
14 . W.B. Ll—U lU I 1IJ I'L l Lj

P
the forzando and vibrato on the first note. Accent the

first and fourth beats of the fourth measure.
Use the crescendo and vibrato on the first note of the
fifth measure. Play the run fluently, in tempo. Accent
the fourth beat. Always color the phrases definitely.
In the sixth measure play fluently with color on the
first note. Cut the third beat short. Accent the first
note of the fourth beat, but release the pressure at once.
Play with as long a bow as convenient in the seventh
measure, a singing tone being desired. Accent the sec
ond beat, whole bow. Play the first note in the meas
ure with a short down-bow stroke, then use the whole
bow for the second beat, a short up-stroke for the third
beat, and a long bow up-stroke for the fourth beat. At
this point we play with the whole bow through three
measures. Slightly cut the first note of each measure.
Raise the bow slightly after each group, eleventh

measure. The bow passes lightly along the strings,
without accent. Make the position changes quickly.
In the thirteenth measure play broadly. Use the

whole bow. Do not fail to keep the fingers down for
the arpeggios. Be very accurate in pitch. Maintain
the legato. Do not retard in the short turn before the
closing note. The trill should be elegant.
Generally students do not take the Appassionato in a
rapid tempo. Play well over the strings, anticipating
^The Appassionatox string
.
and finger changes.A Note
. ° . , ,,
the simi-
,,
lanty in progressions. Accent the seventh
measure, first note. Make a crescendo in the eighth
measure.
In the fourteenth measure do not force the tone; the
trill must be brilliant. Do not release the second finger
from the D string. Play with a whole bow, legato.
Pass to the fourth position, and do not release the second

finger from its place.
In the sixteenth measure place the fingers upright on
the strings and keep the first finger in place. The arm is
high for short string transfers. Do not release the
third finger from the string for the extension. Note the
similarity to the first theme, a third higher, twenty-
third measure.
In the twenty-fourth to twenty-ninth measures be

very careful of intonation. Maintain a beautiful
legato, with a high-arm transfer. In the thirtieth
measure play a brilliant trill, slightly detached. Keep
the third finger on the A string while the fourth plays
G natural (thirty-first measure).
In the thirty-second measure play very evenly; pass
lightly to the trill in the thirty-fourth and thirty-sixth
measures. An arm, rather than a wrist transfer, is

used.
Analyze the thirty-ninth and forty-first measures, and
memorize the progressions. Accent the first notes and
give beauty and color to the phrase.
In the forty-seventh measure play with accent, and
make a gentle transition to the trill measures (forty-
eight to fifty-eight). Observe the second position
change. Make all position changes with a free hand.
Do not slide to high F in the fifty-ninth measure.
Strive for a very singing legato, sixty-third to sixty-
sixth measures. At the sixty-seventh measure we begin
a series of progressions involving tonal difficulties.
Learn these mentally before playing them. Do not re
lease the second finger from the string, sixty-ninth to
seventy-third measures. Play toward the new string
in short transfers.
In the seventy-sixth measure do not force the tone
when ascending the A string. Play very legato in the
seventy-eighth measure. Use the portamento in the
ninety-fourth and ninety-fifth measures. There is a
slight crescendo in all first groups, thus giving color to
the phrase. A slight tempo rubato occurs at the one
hundredth and one hundred and first measures.
[
7° HOW TO STUDY RODE
Observe the crescendo in the one hundred and second

to the one hundred and fifth measures. Do not force
the tone on the G string. Accent the F, one hundred and
seventh measure.
In the one hundred and tenth measure use consider
able tone color and shading. This rising and falling of
tone gives abundance of color to the phrase. A gradual
crescendo in the middle of the bow is necessary.
Elegance, lightness and grace are demanded. Accent
upon particular notes of groups denotes just how much
intuitive feeling the student has. Do not vary the point
of bow contact to any great extent, one hundred and
twenty-fifth to one hundred and twenty-seventh measures.
Use the broad staccato just before the last chords. Use
the whole bow for all legato runs, if possible, and do not
allow any pause between changes of bowing. The
caprice should be flowing and elegant. Transfers at
the point and heel of the bow should be carefully studied.
Caprice No. 15.
Vivace assai.t J = 9 6 )
zz .e . : ft'
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s = * =
JL
The key of D flat major is a difficult one for the aver
age student. There are, in this caprice, complications
of bowing and position work which increase the difficulty
of the study. A short martele stroke, in the upper half of
the bow, is of first consideration. Do not take the
tempo too rapidly.
In the third measure play high over the string, mak
ing the transfer to the D string with a high arm move
ment in which the wrist leads. Do not slide from D flat
to F. Take the fifth position on the last note (C) of
the second measure. Accent the trilled note. Trill
lightly and elegantly. Swing the bow arm high over
the strings in transfers requiring skipping one or more
strings. Use the broad surface of the bow, or the
outer edge. A slightly detached broad forearm bowing
is necessary. While the sixteenth notes need not neces
sarily be played with the same length of bow as the
eighth notes, they should not be too short. You will
observe that the Rode Caprices do not abound in short
staccato passages. A note with a dot above it is usually
played broadly. All legato passages should be very
fluent.
From the ninth to the twelfth measure the student
should guard against false intonation. In the eighteenth
measure, the bowing should be free and flowing. This
form of bowing is continued for several measures. In
the twenty-third measure a broad forearm-stroke is
used; finger and string changes should be anticipated.
Do not allow the crescendo to interfere with freedom of
the bow arm. In the twenty-eighth measure play with
out sliding into the new position. The third finger
should remain on the string during the entire passage
of sixteenth notes.
In the thirty-third measure play high over the E
string in order to make a quick transit to D flat on the
D string. The upper F is played with the third finger.
In string transfers of the nature of the thirty-fourth
and thirty-sixth measures, the bow should describe an
arch which is an outward curve, and its point of contact
should not vary, nor should it be at unequal distances
from the bridge. This clean-cut method of playing can
only be cultivated by practice. The study of the marteU
is most important. No student should attempt the
Rode Caprices who has not gained complete mastery of
the fundamental principles of bowing. It is safe to say
that one should be firmly grounded in the study of bow

ing while studying Kreutzer.
Note in the thirty-seventh measure the beginning of
a series of progressions in which similar intervals occur.
Minor and diminished intervals should be carefully
analyzed. In cases in which there can be only one
lesson a week, it often becomes advisable for the teacher
to first play the caprice with a student very carefully
before any practicing is done. Many earnest students
have not a clear idea of intonation. Others learn solely
by imitation. Still others practice in a very careless
manner. To all of these the teacher’s help at the outset
is of great advantage.
In the forty-first measure it is of great importance
that the intervals be analyzed. Use the fourth finger on
C flat. In the forty-third and forty-fourth measures,
transfer on the flat surface of the bow hair. Do not tilt
the bow from side to side. While the wrist must be
free, an undulating stroke is not desired. In the forty-
seventh measure, a quick transfer, skipping the D
string, is made. An outward curve of the arm with the
same point of bow contact is necessary.
In the sixty-third measure play well over the D and
A strings. Do not release the second finger from the
third position, while the fourth takes an extension.
In the sixty-fifth measure, C natural remains on the

G string while G flat takes the extension. Keep the
first finger (C natural) on the string while playing
double B flat with the fourth finger. Depress the
fourth finger. In the next measure we use the second
position. Place the first finger on two strings at once.
Analyze the sixty-sixth to sixty-ninth measures and
you will discover that a series of similar progressions
began in the thirty-ninth and fifty-first measures.
Whenever a diminished third appears, as is the case
at the outset, think the interval as low as possible.
In the seventieth measure do not release the first
finger from the string during extensions. The seventy-
fifth measure is somewhat difficult. Do not allow the
second finger to leave the string while the fourth seeks
its place. In the seventy-sixth measure the first finger
must seek its place on two strings at once. Good into
nation is only possible if the fingers anticipate their posi
tions. In the eighty-second measure, the original theme
returns. Observe the previous suggestions as to free
dom of bowing. Note in the eighty-sixth and eighty-
seventh measures the similarity of progressions.
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In the eighty-eighth and eighty-ninth measures the

fingers anticipate the bow in rapid string changes.
In the ninetieth measure we again note passages
similar to the thirty-seventh and forty-ninth measures.
In the ninety-fifth measure use the upper half of the bow.
Keep the first finger in position throughout the ninety-
sixth and ninety-seventh measures. Play the double-
stops with the upper half of the bow. Place two fingers
in position at once. Do not use the vibrato in double
stopping. In the one hundred and first measure play
the chords firmly yet without a disagreeable and force
ful attack.
In the one hundred and eleventh measure, play the
progression which has occurred before very smoothly
and evenly.
In the one hundred and sixteenth measure there are
groups of notes to be played in the upper half of the bow,
legato. Continue the bowing. The last two chords
are broad and free. In playing chords do not press
upon the bow-stick at once. The first note may be
struck with moderate force and the other two notes
may be played simultaneously, the first finger pressing
the string quickly, after which the pressure may be with
drawn to produce a singing tone.
Caprice No. 16.
Andante. (Jt ios)
A study in which elegance and beauty are combined

needs to be mastered mentally, at the outset. True and
free expression can only follow technical surety. For
this reason it is well to practice measure by measure, and

passage by passage. Use the whole bow in the first
measure. A light, elegant trill follows. D flat minor
is not an easy key, and yet this caprice is not seemingly
more difficult, as far as its key is concerned, than the
preceding one.
Play the notes of the second measure at the point of
the bow with a free wrist-stroke. In the third measure
do not slide from position to position. Use the vibrato
on long notes. Tone color is of great importance.
Practice the crescendo and diminuendo constantly.
In the fifth measure the legato notes are followed by a
light, running staccato at the point of the bow. All
legato passages should be very dignified, in imitation
of pure cantabile playing. All long notes should be
played with the vibrato and crescendo in evidence.
The eighth measure requires considerable color. Al
though the gifted have some idea of light and shade,
it is of importance that students of average ability gain
some conception of tone color through the illustrations
of the teacher. In the ninth and eleventh measures,
the trill must not interfere with the continuity of the
phrase. In the twelfth measure do not play short
staccato notes.
The thirteenth measure begins a series of trilled notes.
The trill should be light and elegant, slightly accented,
though not forced. A pure singing tone is necessary.
Trill as long as possible; the trill finger should fall with
extreme lightness. The student should always analyze
the trill, determine whether it is a half or a whole step
trill.
At the seventeenth measure play the staccato notes
somewhat freely near the point of the bow. At the
eighteenth measure first use a whole bow, down-bow.
Then play an up-bow legato run in which groups of two
notes are slightly detached. This method of playing
groups of notes so that the effect of legato playing is not
lost, is not easy of accomplishment. Each group of
notes should be detached from the other groups, there
being a slight pressure on this first note and perfect

relaxation of the bow on the second note of the group.
In the twentieth measure play well over two strings,
making the transfers with the arm describing an out
ward curve. A pure wrist-stroke should not be used in
string transfers involving three strings. Do not allow
the trill to interfere with the legato. Trill twice. Do
not force the accent of the trill.
In the twenty-fourth and twenty-fifth measures use
the third position. A smooth tone, not the short
staccato, using the upper half of the bow, is desirable.
Remain in the third position, twenty-sixth and twenty-
eighth measures. In the twenty-ninth measure ascend to
the fifth position. Do not force the trill in the thirtieth
measure. Accent the first note of the measure without
making a disagreeable tone. Tone gradation requires a
skillful management of the bow at this point. A beauti
ful singing tone is desired. In the thirty-second measure
do not slide to G flat. In the thirty-third measure play
the short trill with grace and ease.
In the thirty-fourth measure anticipate string changes.
Do not hasten the tempo.
In the thirty-fifth measure play with freedom. Use
the vibrato on the eighth notes. A slight crescendo at
this point gives color to the phrase. All these runs
should be dignified and elegant.
In the thirty-seventh measure raise the bow slightly
after B flat; then take D flat at the heel of the bow again.
Color the next measure by making a slight crescendo on
the latter half of the first beat. Raise the bow after
the first note, thirty-ninth measure. In the fortieth
measure play the trilled note very evenly, without inter
fering with the tempo.
In the forty-first measure the trills are not to be
detached. Swing the bow, with a high arm movement,
from the D to E string, making the trills with the up-
bow, light and elegant. Do not pause too long between
groups, thus destroying the continuity of the phrase.
Two or three trills are all that can possibly be made.
Tonally, this section is not difficult, owing to the simi

larity in progressions. The quick transfers from string
to string, involving new positions, must be made with
perfect freedom of the left hand. A mental grasp of
intervalsând position work is necessary at the outset.
In the fiftieth measure accent the first note of each
group of thirty-second notes. Do not release the first
finger from its position throughout. The fifty-first meas
ure presents the trill motive again. Position work must
be clean-cut and the legato must not be neglected.
Trill lightly and evenly. In the fifty-fourth measure the
trills are slightly detached. Do not fail to color each
group, fifty-fifth to fifty-eighth measures. Swing the
arm high over the strings, fifty-seventh and fifty-eighth
measures. Play the legato runs smoothly, fifty-eighth
and sixty-first measures, and do not hasten the tempo.
One can color each phrase so that the caprice becomes
elegant and finished in style.
In the sixty-first measure raise the bow from B flat
and accent D flat, latter half of first beat. In the sixty-
third measure slightly disconnect the trills. The sixty-
eighth measure begins a sostenuto legato passage in
which the double-stops should be played very elegantly,
the first and third fingers taking their positions at once,
and the second and fourth falling into place simulta
neously. A slight crescendo on the thirty-second notes
gives color to the phrase.
The seventy-fifth measure presents several short
phrases of unusual difficulty. Color each phrase on the
eighth note.
The seventy-seventh measure should be played with
a whole bow, the seventy-eighth with a swinging up-bow
stroke, half staccato, the bow being skipped along the
strings, not raised from its point of contact.
In the eighty-fourth measure, slip the first finger back
to first position, thus making a tenth. The fourth finger
may be placed firmly on the string while the first, in
the case of small hands, touches the string almost at a
right angle. The eighty-fifth and eighty-sixth measures
are legato. Do not fail to slightly accent the note

following the grace note. At the eighty-seventh meas
ure we return to the original theme. The modulation
into the key of B flat is not unexpected. The opening
trills of the new key should be played very connectedly.
Do not use the short staccato in the ninety-ninth meas
ure. One should not hear the fingers seeking their posi
tions, nor should a flowing progression be interrupted by
the trills or changes involved by double-stopping.
s ta r s
g u S P iiU N ® A A
So HOW TO STUDY RODE
In the one hundred and sixth measure hold back the

first note slightly to relieve the passage of double-stops
from a certain monotony. Apply this rule to the meas
ures that follow.
In the one hundred and thirteenth measure, color
each short phrase. One should anticipate string changes
so well that the legato may never be disturbed.
Beginning with the one hundred and sixteenth meas
ure, a free undulating movement is necessary. Do not
slide from position to position.
The effect of the crescendo in the one hundred and
twentieth measure is very artistic. The student who
has no command of gradation of tone cannot play this
caprice artistically.
Be very careful of intonation in the one hundred and

twentieth and one hundred and twenty-second measures.
Do not slide into position in the one hundred and twenty-
third measure. Graduate tone carefully.
Play the one hundred and twenty-third measure in
strict time, with no pause between groups of notes.
Close the caprice with two broad chords, the last chord
of the one hundred and twenty-fifth measure being
played with the up-bow.
Caprice No. 17.
Vivacissimo. ( J z laa)
This caprice is often played by professionals at a very

lively tempo. It is in the key of A flat major.
In many caprices heretofore discussed, we have used
the broad staccato. In this caprice we use the short
staccato in the upper half of the bow, but, when the
caprice is first played by the student, a broad free de

tached bowing may be substituted. It is always a wise
plan to review etudes in order that a professional tempo
may be eventually secured. I would urge this upon all
who wish to enter the profession.
You will note that the caprice is marked Vivacissimo.
This is the superlative degree of lively, hence the tempo
may be easily construed to be very lively. Mastery of
these caprices depends upon detail, and this involves
slow tempo until the content of the caprice has been
mastered.
Accent the first note of each group of two notes.
Play with forearm bowing. Do not fail to take each
new position without sliding into place. Accent as indi
cated, and release the pressure upon the bow-stick at
once. All string, transfers should be made without al
lowing the bow arm to lie rigid; in fact, the develop
ment of forearm bowing is of vital importance to the
serious student. The entire arm moves in response to
string changes, but the wrist and forearm lead in short
string transfers. If the arm does not follow the lead of
the wrist, an awkward stroke results and an angular
movement of the arm interferes with pure cantabile play
ing. The intonation is not especially difficult in this
caprice.
In the forty-third measure the second finger remains
on the string, the first finger in the next measure, and
so on. The student should analyze each measure to dis
cover just how many fingers may remain in position at
once. The reposeful hand is the one which secures
technic. The fingers must anticipate string changes.
In the forty-seventh measure think A flat low, and
keep B natural on the string. In the forty-ninth meas
ure observe the same rule. There is a slight stress on
A flat (fifty-fourth measure). Release pressure upon
the bow-stick at once. In the fifty-sixth measure there
is some stress on E flat and in the fifty-eighth measure on
D flat. This coloring of short phrases is carried out
through several measures. Be very careful of intonation
in the sixty-first measure. The next progressions are of

a similar nature.
In the sixty-eighth measure play short clean-cut
strokes. The trill should be brilliant. In the seventy-
sixth measure do not use too much bow. In the seventy-
ninth measure transfer to the E string. Play somewhat
lightly, though staccato, from the eighty-first to the
ninety-second measures. At this point there should be
considerable tone and broad bowing. The trill must be
continuous.
■ Wn\ n segue
m n il tin ^ 1 1
At the one hundred and second measure we begin a

new key, that of E major. Position changes must be
made rapidly. In the one hundred and eighth measure
transfer over one string very carefully, with a high arm-
stroke. We return to the key of A flat, though we do
not conform to the original theme.
Broaden out the bow-stroke from the one hundred and

twenty-sixth to the one hundred and thirty-fourth
measure. Produce a decided contrast between the
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staccato and legato. Do not force the tone in the higher

positions. A brilliant forearm-stroke begins at the one
hundred and fortieth measure. In the one hundred and
forty-fifth measure produce a singing tone. A light
swinging stroke is necessary. Use the upper half of the
bow. Broaden out the bow-stroke to the end, sacri
ficing the short staccato to a forearm-stroke in which
freedom is important.
Caprice Nc>. 18.
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While the student should play very slowly at first, it
may be wise to state that this caprice must be practiced
until a reasonable tempo is reached. The key of F
minor is not easy. I would suggest that all students
practice the scales represented in these caprices in three
octaves. A forearm-stroke should be used, unless one
desires to accelerate the tempo, in which case the upper
third of the bow is desired. Note the additional accent
on the fourth note of each measure, the main object of
which is to give color to a merely technical theme. The
short staccato, in strong contrast to the legato passages,

is to be used. Each note should be of proper value.
Keep the tempo even. The similarity of progressions
makes an analysis of this caprice quite simple.
In the thirteenth measure note the progressions.
Compare these with the fifteenth and sixteenth measures.
The twenty-second and twenty-third measures may also
be compared with the twenty-seventh and twenty-
eighth measures. The fingers should remain on the
strings as long as possible.
Note the similarity of progressions in the thirty-
eighth, thirty-ninth and fortieth measures to the forty-
first and forty-second measures.
The forty-third measure requires that the fingers be
close together. Do not use the wrist-stroke in transfers
in the forty-fifth measure. The forty-seventh measure
does not begin a scale progression. Do not slide to the
fifth position in the fifty-second measure. Remain in
this position for two measures.
Play in the fourth position until the fifty-eighth meas
ure. We now pass to the second position. Do not make
the short string transfers with a wrist-stroke. The point
of contact of the bow should not vary. Play as broad a
stroke as possible, according to the tempo. The fingers
should remain on the strings as long as possible, espe
cially in the sixty-fourth and sixty-sixth measures.
In the sixty-seventh and sixty-eighth measures the
second finger remains on the string throughout. The
same is true of the seventy-second and seventy-fourth
measures.
In the eighty-second and eighty-fourth measures, play

as broadly as possible, without using the wrist-stroke.
Whether the edge of the bow hair or the flat surface is
used, do not vary the point of contact. The eighty-
fifth measure is to be played elegantly. In the eighty-
ninth measure anticipate with the fourth finger.
Note the similarity of progressions in the ninety-
seventh and one hundred measures. If the student an
alyzes the groups carefully, he will discover many points
of similarity. This will make the caprice doubly easy.
Every student should hear the progressions mentally.
It is only by following out a close analogy in the develop-
merit of the caprice that one is able to anticipate the

changes mentally. It is often a good plan to play an
entire caprice mentally, without using the bow. I would
also suggest that especially difficult passages be marked
and practiced carefully, so that the content of the caprice
be mastered. After that, one can give attention to tone
color and phrasing. Another very valuable point in
connection with the caprice is this: No difficult key is
insurmountable; in fact, many times a key becomes
quite easy of mastery when the theme is a flowing one,
and sufficiently melodic to be readily mastered. We can
cite as an instance of this the Dvorak Humoreske, in the
key of G flat. When once mastered technically, the
theme becomes very simple because it is distinctly
melodic. We must not forget that technic is not the
first requisite in this caprice. We must practice it
slowly, carefully, and understanding^. In this way we
form the habit of clear analysis, careful bowing and
definite mental grasp, in the very beginning of the study
of a caprice.
Caprice No. 19.
A rioso. (J r 96>
lower-i-B. W.
19.
/* A
The Arioso bears some resemblance to an aria. The

caprice we are now considering is in E flat major. The
theme begins with a down-bow. Play very smoothly
with fine gradations of tone. All embellishments should
be full of dignity. The theme is in pure cantabile style.
Do not slide up and down the strings. Use the vibrato,
if possible, in long, sustained notes.
In the third measure, the up-bow stroke is a gliding
one, half staccato, the bow not being raised from the
strings. In the fourth measure retrace the bow for the
third beat. Do not hasten the tempo in the fifth meas
ure. Observe the crescendo passage. In the seventh
measure the detached notes should still be played
smoothly; the bow must not leave the strings. Play the
third beat of the eighth measure in the third position.
A transfer to the first position is now in order. This
must be accomplished without disturbing the theme.
In the ninth measure the double-stops must not inter
fere with the legato.
In the next measure return to the first position with

ease. Play the next measure with considerable color.
The crescendo is necessary. It is not advisable to play
double-stops using the vibrato, but the advanced stu
dent may do so. In the twelfth measure use the fifth
position, thence passing to the third. Do not slide into
positions awkwardly. Return to the first position on
the third beat. In the thirteenth measure do not hold
the B flat too long. Allow the theme to stand out
prominently. The fingers involved in double-stopping
must change their positions so quickly that one hears
both fingers fall at once.
In the fourteenth and fifteenth measures take the sec
ond position quickly. Do not slide awkwardly from the
second to the third position. Return to the first position
in the seventeenth measure. Do not release the third
finger from its position while making the extension, eight
eenth measure. Use the vibrato freely on the three notes
of the nineteenth measure. In the twenty-first measure
do not hasten the embellishments. They should be
played with dignity. Do not force the tone in the twenty-
second measure. Ascend the A string with ease. The
portamento may be used in the twenty-third measure.
In the twenty-fourth measure do not slide up the
A string. Position changes must be very elegant and
dignified. The third beat should be accented.
In the twenty-seventh measure there should be sev
eral gradations of tone. In the twenty-eighth measure
slide the fourth finger on the third beat. In the twenty-
ninth measure use the second position on the last half
of the third beat. In the thirtieth measure do not slide
from B flat to E flat in the first position. The bowing
should be very elegant in the thirty-first measure. Dis
connect the last three notes. In the next measure play
in the third position and transfer to the first position.
Note in the thirty-fifth measure the tenth on the
third beat. This quick position change must be made
with care. In the thirty-sixth measure play very
smoothly, being careful to keep the first finger in posi
tion, while A flat is being played; these extensions and

movements to new positions require great care.
In the thirty-seventh measure note the quick position
changes. The student finds himself changing his fingers
so that the transfer is heard, in the thirty-eighth measure.
Do not press the fingers too hard upon the strings in
double-stopping, especially if it involves quick changes
of position. The last notes of the fortieth measure
should be clean-cut.
We now enter an Allegretto movement in § time.
Several examples of this kind are found in the Fiorillo
Etudes.1 Play in the middle of the bow, a very smooth
legato bowing. While the bow is not exactly raised
from the strings, it is allowed to rebound slightly. The
first and fourth fingers must seek their positions quickly,
moving simultaneously. The fourth finger presses a
little less upon the string than the first finger. Move
up the string with as little pressure as possible. The
effect produced is that of slightly disconnected groups of
two notes. In the higher register press as little as
possible on the string with the bow. Octave work
depends on mental concentration. Practice each group
separately until accuracy is secured. The student should
master the intervals mentally.
In the ninth and tenth measures proceed with care.
The thumb moves with the hand and must be free.
The second and third fingers lie toward the plane of the
string upon which the fourth finger plays. In the thir
teenth measure play very well over the D and A strings.
Be careful of intonation. Observe the same care in the
fifteenth and sixteenth measures. A broad style of
bowing is used except in the groups of two legato notes.
Return to the middle of the bow in the seventeenth and
eighteenth measures. The strokes need not be over two
inches in length.
In the twenty-first and twenty-third measures one
may use a whole bow. Be very careful to note the
1 See footnote, page VI.
similarity of progressions, and also to play in time. The

twenty-fourth and twenty-fifth measures are to be simi
larly analyzed. Note the gradations of tone color and
accent.
In the twenty-ninth and thirtieth measures play with
great accuracy. These measures must be played in a
fluent manner. The tone must be singing. String-
transfers of this kind require great freedom of the wrist.
It would be well, if the student has neglected bowing, to
play the Sevcik Studies (4,000 Bowings), and selected
examples from Part II of my Technical Studies.1
Do not allow the bow to change its point of contact
in the thirty-third and thirty-seventh measures. Hold
down the third finger in the thirty-eighth measure.
Here the bow may be somewhat undulating in its move
ment. The wrist is involved. Use one-third of the bow
toward, though not at, the point. The bow lies well over
two strings.
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SO S m m
In the fortieth measure be very careful of the chro

matic notes. All octave work of this kind involves
light finger pressure. Play in the middle of the bow.
The forty-sixth measure brings in a longer bow-stroke.
The principle of the arpeggio on three strings is a fixed
one. If the example is as found in the forty-eighth
measure, we must insist on the point of bow contact
being the same throughout.
The progressions are similar in the forty-sixth to the
sixty-second measures. Do not release the lowest note
from its string; generally the highest note may also
remain in place. Thus the hand becomes relaxed, and
the fingers are in their positions at the outset. A swing
ing forearm-stroke, fairly rapid, is used. In the sixty-
third measure the whole bow is necessary. In the sixty-
fourth, a short bowing at the middle of the bow is used.
In the sixty-fifth measure, play with a long bow.
The same figure as in the forty-eighth measure some
what changed follows. In the sixty-sixth measure play
the short legato groups in the middle of the bow. Be
very careful of pitch in the sixty-ninth measure. In
ascending the strings in double-stops, play without forc
ing the tone. Observe the forzando in the eightieth
measure. Use a fore-arm bowing at the eighty-third
measure. Do not allow any finger to be removed from
the strings before it is necessary. In the eighty-ninth
measure again resume the short bowing at the middle of
the bow.
In the ninety-first measure play with due regard for

string transfers. The bow must lie well over two strings.
In the ninety-fifth measure play very evenly, with a
slight stress on the dotted eighth notes. Use the middle
of the bow, short strokes.
Caprice No. 20.
Grave e sostenuto. 88)

This caprice, while not as difficult technically as some

others already analyzed, must be played in a very broad
and dignified style. Begin the first phrase with the
down-bow. In the second measure one should not hear
the fingers changing places. The third measure con
tains two eighth notes which must not be played too
long. The turn is lightly played. Accent the fourth
beat of the measure. Use the vibrato in the fourth
measure. Remain in the third position, seventh meas
ure. The theme must be prominent.
In the eighth measure the second and third positions
occur. Do not make the transition noticeable. Accent
the third beat. In the ninth measure, the tone begins
to be very broad; slightly separate the last note of the
triplets from the rest of the group. Press upon the bow-
stick, then immediately relax pressure.
HOW TO STUDY RODE
During the twelfth measure extension, keep the first

finger on the string. If necessary, relax it, bringing it
round at almost a right angle in order to give freedom to
the fourth finger. The last group of triplets should be
played in the third position.
In the thirteenth measure swing the bow along the
string, exerting a slight pressure, and instantly relaxing
so as to give the effect of a half-staccato. A slight
tempo rubato occurs on the fourth beat. Follow out this
idea in the next two measures. In the sixteenth measure
play with a slight stress on the first note of each triplet.
The bow should be skipped along the string for the last
two notes of each triplet.
In the seventeenth measure, accent the first note.
Strictly define the tone color by making the legato
group very markedly different from the half-staccato
notes. Color is produced by varied bowing and accent.
In the nineteenth measure sustain the second beat.
Accent the first note of the triplet group. In the
twentieth measure play with a broad style of bowing.
Swing the bow quickly along the strings for the double-
stops. In the twenty-first measure execute the arpeggio
with fluency, the arm being high in order that string
transfers may be easily made.
Play the twenty-second measure slowly and evenly.
The fingers should fall with force. Clear technic is an
absolute essential in this caprice. In the twenty-third
and twenty-fourth measures observe the same rule.
Accent without interfering with the legato. In the
twenty-fifth measure the trills are played legato, yet
sufficiently accented to give them character. The trill
finger must lie close to the string. In the twenty-
seventh measure play with some regard for dignity of
phrasing, making the transition from the second to the
third position easily.
Return to the second position in the twenty-eighth
measure. Proceed to first, then to third position. Do
not hold the eighth notes over time. In the twenty-
ninth measure accent very delicately the fourth beat.
Use the vibrato constantly, and color each phrase as
much as possible. The last beat is in the second posi
tion.
The changes in the positions, next measure, should
not be perceptible. Delicacy of shading depends on
skill in tone gradation. Slentando means retard; calando
means diminishing tone. In the thirty-first measure
play very gracefully, the staccato notes being clean-cut.
Define the exact difference between the staccato and
legato in the next measure. In the thirty-third measure
play the double-stops with a light, free stroke, the last
three toward the lower half of the bow.
The thirty-fourth measure is played sostenuto. Be
very careful of intonation. Clean technic is absolutely
essential. Do not pull the strings from their normal
plane in the higher registers. In ascending the G string,
slide the thumb far around under the neck of the violin
and play well over the string. A singing tone is very
necessary. Legato runs must not be hastened. Too
great pressure of the finger upon the string is detri
mental to quick position changes. Extensions should
follow easily and fluently. The bow must lie well over
two strings if short transfers are to be made. Accent as

indicated in the forty-second measure. In the forty-
third measure be very careful of intonation.
In the forty-fourth measure also hold back the first
note slightly, thus giving the effect of the tempo rubato.
In this way this caprice is relieved from conventionality
and becomes a finished performance; in fact, advanced
students give to it a truly beautiful style, as in classic
solos. The thirty-second notes should not be played too
rapidly.
The forty-fifth measure closes the variation with
delicacy and grace. We now return to the first theme.
In the fifty-third measure, play the double-stops care
fully, the fingers moving in pairs.
Do not raise the wrist for the up-bow notes in the lower
half of the bow, fifty-first measure. The stroke is a
forearm one in which the bow just escapes the string.

Professor Joachim used to say of such bowing: “ Play it
as if you were just touching velvet.”
The trill should be clean, brilliant and elegant. Two
trills are sufficient in runs of this kind. Do not trill
so long as to interfere with legato runs or with the
tempo. In the fifty-third measure move rapidly along
the G string. In rapid position changes, where the
notes are short, do not slide into position with the
finger last used. This rule only applies to cantabile
playing in which the element of bel canto enters.
For grace and elegance, this caprice is unsurpassed in
modern technical violin literature.
Caprice No. 21.
Tempo g iu sto . (J-= 54)
i, x y
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Tempo giusto means “ In exact, strict time.”

This caprice is in marked contrast to No. 20, in C
minor. It is in the key of B flat major, and is somewhat
IOO HOW TO STUDY RODE
brilliant in style. The short staccato is somewhat in

evidence, though not always to be used. Swing the bow
along the string for the first detached note. The next
note should be played with the down-bow, using more
than half the bow length. Raise the bow after the first
note, and accent the second.
The first two notes of the second measure are played
broadly. The trill falls at the point of the bow. Use
the upper half of the bow in the next measure. The
short staccato is not necessary. The stroke is a martele
one on the quarter notes. In the fifth measure observe
the same rules. Swing high over the strings in the sixth
measure. Play the last three notes on the up-bow. A
forearm-stroke is the best one to use in the seventh
measure. The string transfers require short cut notes
and a forearm-stroke. The point of contact of the bow
on the string must vary as little as possible.
Discriminate between legato and staccato bowings in
the ninth measure. The staccato run is played with the
up-bow. Accent the down-bow groups. A whole bow
is desired in the eleventh measure. Do not hold the
notes over time. A sharp, biting staccato interferes
with a singing tone. Play with as long a bow-stroke as
convenient, fourteenth and sixteenth measures. Raise
the bow after the first beat, sixteenth measure. Ob
serve the same rule in the seventeenth measure. The
up-bow trilled note must be held. Play a half-bow
stroke, broad martele, eighteenth measure.
HOW TO STUDY RODE IOI
Whenever transfers cover two strings, as in the

nineteenth measure, play with a high-arm stroke and
keep the entire arm in an outward curve. The arm
follows the lead of the wrist. The upper half of the bow
is the safest bowing in passages in which quick transfers
are made from string to string.
Note the similarity of progressions, twentieth to
twenty-fifth measures. In the twenty-fifth measure the
staccato notes are played in the upper half of the bow,
sharply cut. The wrist should not describe an undu
lating movement. The point of bow contact should
not vary. The elbow should always anticipate the plane
of the new string. “ Play in curves, not angles,’’ the
great Joachim once said. This is a safe rule for string
changes. The fingers should anticipate new positions.
In the thirty-sixth and thirty-seventh measures, a
free style of bowing is used. Start the up-stroke at the
point of the bow with accent. The thirty-ninth measure
should be played with a broad style of bowing. In the
forty-second measure play toward the point of the bow.
A short, sharp staccato, involving a wrist-stroke, is used.
Play the chords broadly. The forty-fifth measure begins
on the G string. Swing the arm high over the strings
in the E string transfers. Do not release the finger from
its place on the G string until necessary. Raise the bow
for the up-stroke. In the forty-ninth and fiftieth meas
ures, play in the upper half of the bow. Many teachers
use the spiccato in the fifty-second measure. Play the
next measure with the whole bow. Use the spiccato in

the fifty-fourth measure. Raise the bow after the first
beat in the next three or four measures.
Bring the arm high over the strings in the fifty-ninth
and sixtieth measures.
The spiccato may be used in the next few measures on
the up-stroke. Do not release the fingers from their
positions until absolutely necessary. Be very careful of
intonation in the seventieth to seventy-fourth measures.
The fingers must seek their positions quickly. The
seventy-fifth measure requires the upper half of the bow.
The half-martele stroke is preferred. Note the similarity
of progressions in the eightieth and eighty-third measures.
A flowing legato is now necessary, eighty-fourth measure.

Observe definite accents and the crescendo.
The triplets are to be played at the point of the bow,
ninety-third and ninety-eighth measures. The eighth
notes are in the upper half of the bow, martele. The rate
of speed determines the bow length of these notes. If
rapid, play staccato. The trilled notes should be very
definite, clean and elegant. Note whether the interval
of the trill is a half step or a whole step.
In the one hundred and seventh measure use the
spiccato, lower half of the bow for the last three notes.
I would suggest as broad a style of detached bowing
as possible, at the one hundred and ninth measure. In
the one hundred and thirteenth measure a shorter
staccato bowing, upper half or third, may be used.
Anticipate finger and string changes.
In the one hundred and twenty-fourth measure, use
a style of bowing like that at the beginning of the
caprice. The spiccato is allowed in the one hundred and
twenty-eighth measure. Always raise the arm and
begin a new group, as in the one hundred and twenty-
eighth and one hundred and twenty-ninth measures,
with a forceful attack at the point of the bow. Play
the eighth notes in the one hundred and thirtieth meas
ure broadly staccato. The closing chords should be
dignified and broad, but sharply cut.
Caprice No. 22.
P resto . (J.= 104)

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This caprice in G minor is played very rapidly; in

fact, it is one of the best for the development of technic.
Begin at the middle of the bow, up-stroke. Use as
broad a bowing as possible, although it is practical not
to use the entire upper half of the bow, unless the tempo
is taken moderately. A broad forearm-stroke is quite
correct when one is playing the caprice for the first time.
The fingers should seek their places at once; in fact, they
should anticipate change of movement. They should
fall naturally into position at the beginning of each
measure, at least; as in the first and second measures,
the finger which leads can remain in place. In the
fifth measure place the first finger on the A string, but
remove it to the E string while playing G.
In the eighth measure play broadly, keeping the first
finger in place throughout the measure, in fact it can
remain in position for two measures. We now pass to the
first position. In the fifteenth measure keep the second
•finger on the string while the fourth finger takes its
place on the A string.
In the nineteenth measure, take the fourth finger
extension without moving the first finger, if possible.
The bow should move from its place very little for the
E natural on the open string. In the twenty-third
measure we return to the original theme. In the twenty-
fifth measure keep the second finger in position while
playing E flat. Note the similar progressions, twenty-
sixth and twenty-ninth measures. In the thirtieth
measure take the F on the A string without sliding to
HOW TO STUDY RODE 10 $
the new position. The first finger moves to the new

position on the A string.
The thirty-first measure involves a high arm transfer
on the A and E strings. In the thirty-fourth measure
pass quickly from third to first position on B flat.
Whenever quick position changes occur, as in the thirty-
fourth and thirty-sixth measures, practice the passage
until it is fluent. In the thirty-eighth measure there is
also an awkward position change, which must be met
in the same way. In the fortieth measure play fluently
in the upper half of the bow.
Quick position changes occur in the forty-second
measure. From this point play the A and E string
position work fluently. I would not use the short
staccato unless the tempo is taken very rapidly. In
the forty-eighth measure take the sixth position with
ease, the fingers lying slightly toward the A string in
anticipation of what is to follow. In the fiftieth measure
play as broad a bowing as possible.
From the fiftieth to the fifty-fourth measures be
very careful of intonation. Immediately preceding the
sixty-third measure, play very slowly and evenly until
the progressions are tonally mastered. In the sixty-
fourth measure use the upper third of the bow. In the
seventy-first measure broaden out the bowing if possible.
Do not slide into position in the seventy-sixth measure.
In the eighty-first measure play in the fifth position on
the A string. In the eighty-fourth measure ascend the
D string in the same manner.
In the eighty-sixth measure take the fourth position
as easily as possible, returning quickly to the third and
first positions in the next measure.
The eighty-eighth measure requires a quick leap to
the sixth position, returning to the fifth and third. Do
not slide the first finger into these higher positions when
they are reached. The first finger must still be on the
string. In the ninety-second measure use the upper
third of the bow. From the ninety-sixth measure play
high over the three strings represented. Two fingers,
io6 HOW TO STUDY RODE
at least, must remain on the strings during the playing

of each measure. Note the ninety-seventh and one
hundredth measures and their related progressions. As
before stated, short string transfers require an undulat
ing stroke of the wrist, but this broadens to a forearm-
stroke if the tempo is slow.
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In the one hundred and fourth measure there is an

undulating wrist movement. The point of bow contact
varies.
Note in the one hundred and fourteenth measure that
the second position is used.
Pass to first position quickly in the one hundred and
sixteenth measure. The quick transitions from second to
third position, and then to first position, must be made
with perfect freedom of the thumb. The point of con

tact of the first joint of the first finger on the neck of the
violin varies according to the position used, but there
should be great digital freedom. If there is the least
pressure on the part of the hand or thumb, there can be
no quick position work. Neither the thumb nor the first
joint of the first finger should rest at all on the neck of
the violin; in fact, the position changes are so quickly-
made that the hand is kept sliding along the neck and
there is no time for pressure.
In the one hundred and thirty-first measure do not
release the first finger while making the extension. Do
not slide to the fourth position in the one hundred and
thirty-third measure. Be very careful of intonation
from the one hundred and thirty-fifth to the one hundred
and forty-third measures. At this point carefully
analyze the progressions and play each line slowly until
the content is tonally mastered. In the one hundred
and fifty-sixth measure play in the upper half of the bow,
bringing the stroke nearer the middle in the next three
measures.
The bowing of the one hundred and sixtieth measure
is of such a nature that it is freest toward the point of
the bow. On entering the key of G major observe the
quick transition from position to position. There must
be perfect digital freedom.
Beginning with the one hundred and seventy-eighth

measure, play in the upper third of the bow. The
wrist moves in an undulating manner. The point of
io8 HOW TO STUDY RODE
bow contact varies. Play on the flat surface of the bow

hair rather than on the outer edge. Do not move the
arm more than is necessary. The stroke is a wrist and
forearm one. Keep the fingers on the strings as long as
possible. Broaden out the bowing toward the close of
this caprice.
Caprice No. 23.
Moderate). (J= 112 )
33. JV3 J J’JJJ JJJJ J J'Jjj

f sostenuta
The tempo of this caprice in F major is fairly slow.

Clean technic is absolutely necessary. Practice the first
group of sixteenth notes slowly and evenly, using the
whole bow. The first and third fingers must remain
in place while the second and fourth play. The fingers
HOW TO STUDY RODE I 0 9
must fall with strength. In the second measure play very

evenly. The fingers must seek their places simulta
neously. Do not sacrifice legato bowing at any point.
In the fifth measure sustain the accompaniment and
accent strongly. In the sixth measure play very evenly
and make the transition from second to first position
without disturbing the legato bowing.
In passages like the seventh measure, play with abso
lute freedom. The fingers should fall lightly and move
swiftly to new positions. In the eighth measure, where
similar groups appear, play evenly and with depth and
force. Observe the accents. In the twelfth measure do
not allow the trill to interfere with either the tempo or
the legato.
In the sixteenth measure the third finger falls over
two strings. Do not depress it at the third joint. In
the seventeenth measure play the sixteenth notes with
strength and evenness. The upper notes should be
fluent and accented. In the twenty-first measure play
the short legato run close to the upper third of the bow.
The position changes must be very accurate. In the
next four measures play toward the point of the bow.
Always remember to keep the first and third fingers on
the strings while the second and fourth play. In the
twenty-sixth measure play a light trill. The two string
transfers must be elegant, the wrist being free.
In the thirty-second measure the accented long notes
must be played somewhat like a drone bass. In the
thirty-fourth and thirty-fifth measures play very flu
ently and with clean technic. Color the bass notes of
the thirty-seventh and thirty-ninth measures. The
fortieth measure is somewhat difficult, as the fingers lie
close together.
no HOW TO STUDY RODE
In the forty-fourth measure play toward the point of

the bow, very legato. Do not accent the syncopated
notes in the forty-fifth measure. They should be fluent.
The fingers must take their places at once, and remain
in place as long as possible. Position changes must be
made without disturbing the legato bowing. In the
fifty-first measure color the theme by making a cres
cendo in the accompaniment. In the fifty-sixth measure
play very legato, accenting the bass notes. Play the
fifty-eighth and sixtieth measures very accurately, giving
a proper value to each note. Observe the crescendo in
the sixty-first measure. Disconnect the groups in the
next measure. Use a whole bow and do not raise it
from the strings for the up-stroke.
The sixty-fourth measure is broad and fluent. The
fingers must fall with force and the tone must be broad
in the sixty-fifth measure. The last chords should be
dignified, and the whole bow should be used if possible.
HOW TO STUDY RODE III
While this caprice is more difficult than many others,

it must be played with regard for phrasing and tone
color, as well as technic.
Caprice No. 24.
Introduzione. (J = 104)
The introduction to this excellent caprice is very ele

gant in style. Play the first group with the whole bow.
The chords should be brilliant and broadly staccato.
Play the thirty-second notes, third measure, at the point
of the bow, very staccato. The next note is short, at
the heel. Play the fifth measure chords staccato at the
heel of the bow. In the sixth measure play the up-bow
notes with a slightly detached stroke. Do not raise the
1 12 HOW TO STUDY RODE
bow from the strings. Accent the triplets. The next

arpeggios should be played very legato. In the eighth
measure we find the skipping stroke formerly referred
to. Do not slide to the higher positions. In the ninth
measure separate the groups slightly, still maintaining
the legato. In the tenth measure keep the phrasing
smooth while changing from position to position. The
last chord is dignified.
We now come to a movement in D minor in J time.
It is marked Agitato e con fuoco. Play as rapidly as
possible, as soon as the tonal and technical content is
mastered. The stroke is in the upper third of the bow,
a short staccato bowing. In the second measure the
trill is light and elegant. Accent the sixteenth notes
and keep well toward the point of the bow. In the
sixteenth measure string transfers keep the point of con
tact of the bow uniform. Be careful of intonation,
nineteenth and twenty-fourth measures. In the twenty-
second measure place the first finger on two strings at
once. In the twenty-seventh measure the trill is light
and elegant. In the thirty-first and thirty-third meas
ures the trills are accented. Note the intervals, thirty-
fourth and thirty-seventh measures. The tonal content
of these measures should be studied apart from the
violin.
Analyze the fortieth and forty-fourth measures and
compare them with the next four measures. Take the
higher position note, forty-sixth measure, without slid
ing to position. Do not allow the first finger to leave its
place in the fiftieth measure.
Measures fifty-eight to sixty-one have a uniform note.
Never release the finger until necessary. The sixty-
sixth measure presents a half-step trill. This arpeggio is
in the key of A major.
Keep the fingers on the strings as long as possible,
seventieth to seventy-third measures. There is a slight
stress on the first note, seventy-eight to eighty-first
measures. Play as long a bow stroke as possible, eighty-
A
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third to eighty-fifth measures. Detach the thirty-

second notes. Accent the first notes of each group.
The intonation is difficult in the next four measures.
Analyze the run in the eighty-seventh measure. Ob
serve the counter accent in the D minor arpeggios,
ninety-first to ninety-fourth measures. These are based
on the tonic triad of D minor. Then follows a D major
run. Play as broadly as possible at the point of the
bow. One finger, at least, should remain on the E
string constantly.

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HOW TO STUDY

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Fiorillo,1 and absorb the content of the Sevcik studies.12

regarded seriously during the first year, at least, of this

assimilating the best points of several schools that we

No. i contains an example of pure cantabile style.

The Moderato movement begins with detached notes

As this caprice is written Allegretto, the novice natu­

the first year of its study, however, no such tempo

In the seventh measure, the same rule of holding two

especially with the first and fourth fingers. The forty-

HOW TO STUDY RODE 9

You will observe that this caprice is marked Comodo.

In the fourteenth and fifteenth measures do not think

to intonation. Cross the strings with a wrist-stroke.

gression, E flat, F sharp, G natural in the thirty-ninth

The word Siciliano is adapted from Sicilienne, a

In the eighth measure slide back to D sharp, keeping

The tenth measure should be played with the follow­

In passing to second position in the next measure,

This excellent technical exercise should be played

you correct a piece, that the difficulty maybe surmounted.

think the second position at once. Do not pull the D

notes).1 Do not accent until the first beat of the next

In the thirteenth measure take each succeeding posi­

Observe the same in the next two measures. The

forty-ninth measure. Play the legato notes in twos

There is an old rule to the effect that one should move

new position and back. The transfer may be made

Each measure should be analyzed. The teacher should

This movement, in common time, is very often played

In the twenty-fifth measure pass to the seventh posi­

changes should be made with no perceptible change in

with a whole-bow stroke on the first beat of the measure.

In the eighth measure play the first note with the

Note the difficulties of intonation in the quick posi­

syncopated passages in the next measure in the upper

In the twenty-fourth measure be very careful not to

tions with the finger to be used. The last finger used

necessary. The fingers must fall vertically over the

quickly from the neck of the violin in position changes.

The sixty-sixth and sixty-seventh measures require

In the seventy-fifth measure special care must be

The staccato runs, seventy-ninth and eightieth

Moderato assai (J=100)

martele. The next stroke is a shorter one and more

special pressure upon the bow, followed by instant

ferred. Short string transfers are executed with the

force, and the hand should be constantly relaxed. A

twelfth measure requires special consideration of alter­

tached stroke is used when passing to the fifth position.

second and first fingers remain on the string as long as

study one begins to interpret. This caprice is so

The thirty-first measure presents one or two difficul­

The key of E major is a very treacherous one for the

of the measure should not be accented. The whole bow

without exaggeration. These three groups should be

In the twenty-first measure pass to the third position,

flk feabjgjg EpSi

As this caprice is written Allegretto, the novice natu

The tenth measure should be played with the follow

In the thirteenth measure take each succeeding posi

In the twenty-fifth measure pass to the seventh posi

Note the difficulties of intonation in the quick posi

twelfth measure requires special consideration of alter

The thirty-first measure presents one or two difficul

In the seventy-third and seventy-fifth measures re

position until the change on the E string. In the de

that one should be firmly grounded in the study of bow

Tonally, this section is not difficult, owing to the simi

caprice is first played by the student, a broad free de

J rU t1,L_(Fm f L*f t /ff /

In the fortieth measure be very careful of the chro