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The second manner is, to play the long note with a down bow, and the short one with an up bow. Example:

The third manner is, to play the long note with an up bow, and the short one with a down bow. Example:

The scholar may think that it is useless to practise so much on the different varieties of bowing, in the early part of his studies; if so, he will find his mistake before he gets half through the Progressive Lessons. As the bow is considered by all great masters of this instrument to be the soul of violin playing, a few hours spent in practising some of its varieties, in the beginning, may not be considered as thrown away. I therefore advise the scholar to practise them frequently, commencing as far back as No. 11, where the notes are all bowed. A long note, and the short one that follows or precedes it, give to the scholar a difficulty, both in the time abnd bowing; and the following examples will serve to give him a correct idea of playing all such notes, whenever they may occur. The short notes in the following examples will serve to give him a correct idea of playing all such notes, wherever they may occur. The short notes in the following examples receive the same length of bow as the long ones do, whether it be a whole, half, or quarter bow. The half bow may be used in the following examples, commencing in the middle, when the note begins with a down bow, and at the upper end when the note begins with an up bow.

Count four twice, or eight, in a measure; three for the pointed crotchet, and one for the quaver.

Count three in a measure; two for the minim, and one for the crotchet.