Observe Ševčík’s careful Dividing the bowstroke into fractions of the length of the bow. and articulation markings, especially the use of the whole bow and the comma indicating the lift of the bow off the string.
Plan your phrasing and make sure your The pathway of the bowstroke in relation to bridge and fingerboard. and bow speed support the phrasing structure.
For instance, if the 1st four bars are one phrase, then the minims in bars 1 and 2 are sustained and lead towards the 1st beat of bars 2 and 3, whereas the minim in bar 4 is phrased off in a diminuendo.
As with many of the Ševčík variations, practice the bowing pattern first on open strings.
Put in fingerings that support sensible string crossing.
Practice the intonation of each bar as a chord, for instance in bar 10 practice the octave A, then tune the C to the top A to make a 6th and so on.
Make sure that you observe finger before bow, and prepare the left hand for upcoming notes. For instance during the rest in bar 6 prepare the 3rd finger (F) on the A string and the 1st finger A on the E string, so that the bow can initiate the stroke without hesitation.