Staccato bowing is a much misunderstood branch of technics; I do not mean the detached staccato, but that form in which a series of notes is played in one bow yet have a detached effect on the ear. It is a pity that one word should have to stand for two totally different forms of bowing. I have heard and read many varying descriptions of the "bowed-staccato" and its method of production. Of course it is highly probable that some players attain it differently to others, but as I see no anatomical reason for such differences of action it seems a waste of energy to mechanically produce what already exists in nature. I have no doubt a great deal of this gratuitous variegation of staccato technique comes from teachers not fully understanding their own movements, or perceiving a portion of the action required and laying all stress on that one feature alone. But unless one goes to the prime source of the matter a perfect staccato cannot be attained. This most important factor, as I should have thought everyone of common sense would at once perceive, is nothing less than the wrist. Yet I have known some teachers who confine their attention to the action of the fingers, letting the wrist follow as best it can. It is from such teachers, usually, that we receive the preposterous statement that the upper half of the bow only should be used for this bowing; some, even, limiting it still further to the up-bow. Now if the wrist be first well exercised the co-operation of the fingers will come naturally, and a perfect staccato from end to end in either up or down stroke will be attained. It should be practised slowly and firmly at first on one note thus: [Illustration: Musical notes, etc.]