e each time,
till you arrive at the quickest degree of swiftness possible; but two
precautions are necessary in this exercise--the first is, that you
play the notes _staccato_, that is, separate and detached, with a
little space between every two, for though they are written thus--

[Illustration]

they should be played as if there was a rest after every note, in this
manner--

[Illustration]

The second precaution is, that you first play with the point of the
bow; and when that becomes easy to you, that you use that part of it
which is between that part and the middle; and when you are likewise
mistress of this part of the bow, that you practise in the same manner
with the middle of the bow; and, above all, you must remember in these
studies to begin the _Allegros_ or flights sometimes with an up-bow;
and sometimes with a down-bow, carefully avoiding the habit of
constantly practising one way. In order to acquire a greater facility
of executing swift passages in a light and neat manner, it will be of
great use to you if you accustom yourself to skip over a string
between two quick notes in divisions, like these--

[Illustration]

Of such divisions you may play extempore as many as possible, and in
every key, which will be both useful and necessary.

"'With regard to the finger-board, or carriage of the left hand, I
have one thing strongly to recommend to you, which will suffice for
all; and that is, the taking a Violin part, either the first or second
of a concerto, sonata, or song--anything will serve the purpose--and
playing it upon the half-shift, that is, with the first finger upon G
on the first string, and constantly keeping upon this shift, playing
the whole piece without moving the hand from this situation, unless A
on the fourth string be wanted, or D upon the first; but in that case,
you should afterwards return again to the half-shift, without ever
moving the hand down to the natural position. This practice should be
continued till you can execute with facility upon the half-shift any
Violin part not intended as a solo, at sight. After this, advance the
hand on the finger-board to the whole-shift, with the first finger
upon A on the first string, and accustom yourself to this position
till you can execute everything upon the whole-shift with as much ease
as when the hand is in its natural situation; and when certain of
this, advance to the double-shift, with the first finger upon B, on
the first st