tone, and not fingerwork.

_Staccato_ is one of the less important branches of bow technic. There
is a knack in doing it, and it is purely pyrotechnical. _Staccato_
passages in quantity are only to be found in solos of the virtuoso type.
One never meets with extended _staccato_ passages in Beethoven, Brahms,
Bruch or Lalo. And the Saint-Saëns's violin concerto, if I remember
rightly, contains but a single _staccato_ passage.

"_Spiccato_ is a very different matter from _staccato_: violinists as a
rule use the middle of the bow for _spiccato_: I use the upper third of
the bow, and thus get most satisfactory results, in no matter what
_tempo_. This question as to what portion of the bow to use for
_spiccato_ each violinist must decide for himself, however, through
experiment. I have tried both ways and find that by the last mentioned
use of the bow I secure quicker, cleaner results. Students while
practicing this bowing should take care that the wrist, and never the
arm, be used. Hubay has written some very excellent studies for this
form of 'springing bow.'

"The trill, when it rolls quickly and evenly, is a trill indeed! I never
had any difficulty in acquiring it, and can keep on trilling
indefinitely without the slightest unevenness or slackening of speed.
Auer himself has assured me that I have a trill that runs on and on
without a sign of fatigue or uncertainty. The trill has to be practiced
very slowly at first, later with increasing rapidity, and always with a
firm pressure of the fingers. It is a very beautiful embellishment, and
one much used; one finds it in Beethoven, Mendelssohn, Brahms, etc.

"Double notes never seemed hard to me, but harmonics are not as easily