"When I say that the student should 'draw a long bow,'" continued Mr.
Severn with a smile, "I do not say so at a venture. If his instrument
and bow are in proper shape, this is the next thing for the student to
do. Ever since Tartini's time it has been acknowledged that nothing can
take the place of the study of the long bow, playing in all shades of
dynamics, from _pp_ to _ff_, and with all the inflections of _crescendo_
and _diminuendo_. Part of this study should consist of 'mute'
exercises--not playing, but drawing the bow _above the strings_, to its
full length, resting at either end. This ensures bow control. One great
difficulty is that as a rule the teacher cannot induce pupils to
practice these 'mute' exercises, in spite of their unquestionable value.
All the great masters of the violin have used them. Viotti thought so
highly of them that he taught them only to his favorite pupils. And even
to-day some distinguished violinists play dumb exercises before stepping
on the recital stage. They are one of the best means that we have for
control of the violinistic nervous system.