In all questions of technique it is possible to determine the exact best mode of procedure. But unless the hand be perfectly fitted thereto, the rule should be relaxed, for insisting on positions that are even slightly strained (though possibly, quite comfortable to a differently constructed hand) can only do harm. CHAPTER XVI. THE FINGERS OF THE RIGHT HAND--DIFFERENCES OF OPINION THEREON--SAUTILLE--THE LOOSE WRIST. The functions of the right hand fingers are twofold. At times they act in conjunction with each other and at others, in opposition. Some writers say that the two outer fingers are the holding fingers, and others contend that the two inner fingers are alone concerned in this service. This difference of opinion is to me just as absurd as the arguments anent the wrist and elbow of the old violists. As a matter of fact both theories are right. The difference being that, in the question of holding, the action of the outer fingers is passive while that of the inner fingers is active. To go more into detail, in soft passages the bow simply rests supported by the three points of contact with the thumb, first and fourth fingers. The inner fingers then taking little or no part in the matter. This action of the outer fingers I say is passive as the bow is not actually _held_ but simply rests on the thumb, the two outer fingers merely preventing it from falling to one side or the other. Occasionally these two fingers will act in concert or opposition, according to the requirements of expression and phrasing. When playing loudly it becomes necessary that a more decided purchase of the bow be maintained, especially in rapid _forte_ passages. Then the inner fingers come into play and hold the bow firmly against the thumb. The two outer fingers then are solely concerned with regulating the pressure and preserving the elasticity of the stroke, which is lost in a firm grip only. These slight differences of action in my opinion can not be _practised_. They are the outcome of years of grind. They come, and when they are firmly established we can analyse them. To gain the mastery of the bow one must begin at the bottom and be content to work gradually up to the topmost rung (or thereabouts!) of the ladder. I often meet with amateur violinists who try to begin at the top. The consequences of this proceeding are distinctly more certain, for when starting at the bottom it is not always assured that much upward progress will be made, whereas, by the opposite method the descent will be certain and considerable! Nothing is more hopeless than the attempts some amateur violinists make to acquire certain styles of bowing simply by mentally mastering the various actions by which it is produced.