Scan 86
American history and encyclopedia of music, 1910
10 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1necessity, limited to the overtones of each open string. Artificial harmonics can be produced ad libitum, even to the extent of double harmonics and trills in harmonics.
3Vibrato applied in the playing of the artificial harmonic lends added intensity to the tone. A less common use of the vibrato is its employment in giving warmth or adding intensity to the tones of the open string (when certain tones must, of necessity, be played on an open string, say the G) by vibrating on the octave above or on the unison on the next string. This brings about a sympathetic vibration of the open string and in this way brings about the required result.
5LESSON XII.
7CHARACTER AND TEMPO, EXPRESSION AND RHYTHM.
9Character and tempo are closely bound together, the one being determined by the other. A phrase that is intended to be played martelé becomes meaningless when it is hurried to such an extent that the martelé bowing cannot be carried out, détaché or legato being substituted. For the same reason, a passage effective only when played spiccato in animated tempo, loses this effectiveness entirely when the character of the subject is misjudged and a wrong tempo applied. The teacher cannot too early call attention to this differentiation in character, the ability to determine by melodic phrase, figure or passage, or rhythmic motive the true character and meaning of a composition. Sometimes a figure or passage, the broad lines of the melodic phrase, or a rhythmic motive alone may be sufficient to indicate the proper reading, and the player immediately reveals his artistic judgment by only applying such bowings as fully bring out the character unmistakably. This ability, aside from the musical sense, depends entirely on the right arm technic of the player and it is with this end in view that the bowing exercises in Lesson II. have been recommended.
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