of bow, otherwise the notes are swallowed. In light _spiccato_ and
_staccato_ the detached notes should be played always with a single
stroke of the bow. Some players, strange to say, find _staccato_ notes
more difficult to play at a moderate tempo than fast. I believe it to be
altogether a matter of control--if proper control be there the tempo
makes no difference. Wieniawski, I have read, could only play his
_staccati_ at a high rate of speed. _Spiccato_ is generally held to be
more difficult than _staccato_; yet I myself find it easier.


PROPORTION IN PRACTICE

"To influence a clear, singing tone with the left hand, to phrase it
properly with the bow hand, is most important. And it is a matter of
proportion. Good phrasing is spoiled by an ugly tone: a beautiful
singing tone loses meaning if improperly phrased. When the student has
reached a certain point of technical development, technic must be a
secondary--yet not neglected--consideration, and he should devote
himself to the production of a good tone. Many violinists have missed
their career by exaggerated attention to either bow or violin hand. Both
hands must be watched at the same time. And the question of proportion
should always be kept in mind in practicing studies and passages:
pressure of fingers and pressure of bow must be equalized, coordinated.
The teacher can only do a certain amount: the pupil must do the rest.


AUER AS A TEACHER

"Take Auer for example. I may call myself the first real exponent of his
school, in the sense of making his name widely known. Auer is a great