Books › Essentials of music / 2 The American history and encyclopedia of music / W.L. Hubbard, ed, 1910 › scan 69
Scan 69
Essentials of music / 2 The American history and encyclopedia of music / W.L. Hubbard, ed, 1910
6 lines. Read by computer on 9 September 2026. Printed page 43. See the scan on archive.org.
1mized in order that the room for the break or accent in the tone may be as slight as possible. With the stopping of the arm the hand continues the stroke, the connection being made by a purely lateral movement, (if on the same string), or an elliptical or crossing movement, if on two or more strings.
3There is, if no pressure be applied to the bow, naturally less tone at the point than at the nut. The weight of the bow and the arm and the nearness of the hand and pressure to the point of bow and string contact make it easy to obtain a big tone at the nut, but the loss of weight and the remoteness of the point of pressure from the point of string contact, as the upper end of the bow is approached, make it evident that if the tone is to be the same it will be necessary to add considerable pressure as the point is approached and remove it when the bow moves in the opposite direction. This pressure, both at frog and point, should be maintained throughout the wrist movement in order that the tone quality be the same during the entire duration of the note including the change of bow. The tendency, in the young student, is to let go of the tone, especially at the point of the bow. This should be corrected. The arm movement should be evenly distributed at all times, length of stroke depending on the length of note, its importance in the phrase and the time alloted to it.
5LEGATO IN THE UPPER Bow.—Rapid passage work in single détaché strokes depends on the ability to do good legato work with the hand only, especially in the upper third of the bow, the middle being reserved for spiccato. The lower arm is usually not well enough developed with the consequences that the spiccato portion of the bow is invaded by passages which should be played elsewhere, either at the point or the frog. Legato should be possible in short strokes at these points of the bow and exercises should be practised to thoroughly equalize the bow technic.
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