The Left Hand:

1. When tackling the this etude the student must make sure that they are relaxed and does not tense up their left hand. When playing slowly and practicing in chunks/blocks tap your left thumb to make sure it does not lock or squeeze. When shifting make sure that your thumb does not squeeze before it shifts up on the violin. To tackle a locked thumb add a tissue paper or a cloth on your thumb and slide up and down the violin to simulate how a free thumb may feel.

2. For the left hand fingers, keep the fingers as close to the string as possible. Lifting them too high can slow you down and looks clumsy. Finger action should lift and feel like piston movement.

3. Since this etude has the students fingers jumping around to different strings, help yourself by keeping some fingers down and using at least one as an anchor or a pivoting finger. The best way to learn this etude is about recognizing the various hand shapes.

4. For the octave double-stops, at the end of the study, if you are having trouble keeping consistent intonation or even finding the notes first find the low A, then find the G on the D string, memorized the distance. Finally add the pinky with your third finger — memorize the hand shape. Keep your hand relaxed.

The Right Hand

1. For the string crossings pay attention to the height level of your bow in relation to the string.

2. Make sure to drop and raise your elbow in relation to the natural curvature of your bridge.

3. To get a consistent sound, practice keeping a steady bow stroke. Practice feeling the changing weight from your pinky at the frog to the index at the tip of the bow.

4. Try not to lock the wrist nor tense your arm up.

Phrasing

1. For the first two measures make the phrase go to the high A.

2. In measure 8 the student can make a small ritardando and replicate such moments throughout the etude to prepare the phrase once more.

3. To captivate the audiences interest on the longer phrases, play around with dynamics.