one. The greatest technical development was required by Ysaye of a
pupil; and given this pre-requisite, he could open up to him ever
enlarging horizons of musical beauty.

"Nor did he think that the true beauty of violin playing must depend
upon six to eight hours of daily practice work. I absolutely believe
with Ysaye that unless a student can make satisfactory progress with
three hours of practice a day, he should not attempt to play the violin.
Inability to do so is in itself a confession of failure at the outset.
Nor do I think it possible to practice the violin intensively more than
three-quarters of an hour at a time. In order to utilize his three hours
of practice to the best advantage the student should divide them into
four periods, with intervals of rest between each, and these rest
periods might simply represent a transfer of energy--which is a rest in
itself--to reading or some other occupation not necessarily germane to
music, yet likely to stimulate interest in some other art.


SOME INITIAL PRINCIPLES OF VIOLIN STUDY

"The violin student first and foremost should accustom himself to
practicing purely technical exercises without notes. The scales and
arpeggios should never be played otherwise and books of scales should be
used only as a reference. Quite as important as scale practice are
broken chords. On the violin these cannot be played _solidly_, as on the
piano; but must be studied as arpeggios, in the most exhaustive way,
harmonically and technically. Their great value lies in developing an
innate musical sense, in establishing an idea of tonality and harmony
that becomes so deeply rooted that every other key is as natural to the
player as is the key of C. Work of this kind can never be done ideally