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In all these varieties, use from one third to one half of the bow, except Nos. 1 and 2, which will require the whole bow. The position of the bow must be strictly attended to, in these varieties; that is, not to let the bow run off the strings at the upper end, or slide past the middle towards the hand. For instance, if an equal length of bow is used to each of the four notes in No. 7, the bow would run off the strings at the upper end; and, in No 8, where the bowing is reversed, the bow would slide past the middle and reach the hand. In order to keep the position of the bow on the strings, the fourth staccato note in No. 7, must receive the same length of bow up as the three slurred notes down. In No. 8, the first note is played with the half bow down, and the other three with the half bow up. In No. 13, the seven slurred notes are played with the half bow down, and the eighth with the half bow up. In No. 14, the first note is played with the half bow down, and the seven slurred notes with the half bow up. In No. 15, two notes are played with one stroke of the bow, making a short rest between each note. The other varieties the scholar will very easily understand, with a little practice, without any further explanation. The crotchet and quaver, in 6/8 time, and a short note between two long ones, are played in three different manners, which must be equally familiar to the scholar. The first manner is, to play the short note which follows the long one with the same stroke of the bow, making a kind of short rest between them, as in the following exercise: