Books › Harvard Dictionary Of Music(1950), 1950 › scan 106
Scan 106
Harvard Dictionary Of Music(1950), 1950
32 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1BOWING
3(b) Détaché. A broad vigorous stroke in which the notes of equal time value are bowed singly with a slight articulation under (8). It can be played in a highly expressive manner and is capable of notable emotional intensity.
5(g) Staccato. This is a solo effect and theoretically consists of a number of martelé notes taken in the same stroke. It can be executed with dazzling brilliance either up-bow or down-bow, but the latter is more difficult. When the bow is allowed to spring slightly from the string it is known as Staccato volante (flying staccato). Notation as under (9).
7(h) Viotti-stroke. This is attributed to Giov. Battista Viotti (1753–1824), and consists of two detached and strongly marked notes, the first of which is unaccented and given very little bow, while the second comes on the accent and takes much more bow. It is done at the point, and is highly effective, especially at a fairly quick tempo. Notation as under (10).
9(i) Arpeggio or arpeggiando. A bouncing stroke played on broken chords so that each bounce is on a different string, as in (11).
11(j) Tremolo. This is primarily an orchestral effect and is produced by moving the bow back and forth in short and extremely rapid strokes, on the same note (12). See *Tremolo.
13(k) Sul ponticello [F. au chevalet; G. am Steg]. A nasal, glassy effect produced by bowing very close to the bridge. Its use is confined almost entirely to chamber music.
15(l) Flautando, flautato (also It. sul tastiera; F. sur la touche; G. am Griffbrett). A flute-like effect produced by bowing very slightly over the finger board. This stroke is generally confined to sustained passages or slow notes.
17(m) Col legno. This is done by striking the string with the stick instead of the hair. A purely orchestral effect.
19(n) Flatter la corde. A soft, expressive stroke in which the string is literally "caressed."
21(o) Ondulé [It. ondeggiando]. An obsolete form of tremolo ("undulating tremolo") in which several notes are taken in the same bow [see *Tremolo (1)].
23due to the rapid change of bow. This stroke is much used for loud passages of not too great speed. Sometimes it is indicated by lines under (or above) the notes, as in (4). When an exceptionally long stroke is used it is called le grand détaché.
25(c) Martelé [It. martellato]. Literally a "hammered" stroke, this is played with very short bows at the point. The hammered effect is obtained by releasing each stroke forcefully and suddenly. It cannot be executed rapidly, and is indicated by an arrowhead, as in (5). It is generally found in loud passages.
27(d) Sautillé [It. spiccato; G. Springbogen]. A short stroke played in rapid tempo in the middle of the bow in such a way that the bow bounces slightly from the string. This stroke requires good control on the part of the performer in order to keep it steady. It is a most brilliant effect and can be done from very soft to quite loud. It is indicated by dots, as in (6). Variants of this stroke are known as piqué, picchettato.
29(e) Jeté (also known as ricochet). This is done by "throwing" the bow on the string in the upper third of the bow so that it will bounce a series of rapid notes on the down-bow. Notation as under (7). Usually from two to six notes are taken in one stroke, although a skillful player can do more than this number.
31(f) Louré. A stroke useful in slow tempo to separate slightly each of several notes taken in a slur. It is indicated as
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