Bow & Bridge Violin and bow makers, as the old books printed them

Scan 69

The American history and encyclopedia of music, 1908

10 lines. Read by computer on 11 September 2026. Printed page 44. See the scan on archive.org.

1VARIATIONS OF LEGATO.—1. The interrupted legato is a form of bowing consisting of alternate pressure and relaxation on the part of the fingers of the bow hand, the stroke continuing, the bow not leaving the string.
32. The playing of two or more notes on the same stroke (either up or down), with intervening pause during which more or less bow has been used. The taking of the bow off the string, continuing over the string and resuming after the pause, requires care, especially in the resumption of tone which is accomplished by immediately relaxing the hand on the bow as soon as the latter touches the string.
53. Two articulated up-strokes repeated over the same place in the bow and connected by an inarticulate down-stroke. The bow should be kept on the string for the connecting down-stroke, but there should be no pressure applied to this stroke while it is being executed as it is simply preparatory to the second up-stroke. This connecting down-stroke should be rapid, without pressure and not articulate.
7CROSSING OF STRINGS.—The last note before the crossing to another string, when the legato bow is being used, is usually made too short because the player has difficulty in making the connection of the different bow levels. The mistake is the using of the arm and hand simultaneously. For example, in crossing from a lower to a higher string, meaning from a higher to a lower level, the arm seeks the level of the next string while the hand is still continuing the playing of the note on the last level. The hand then drops to the level taken by the arm. In the reverse exactly the opposite holds good. In crossing the strings, the new stroke must not be begun until the hand is in its normal position if the new level is to be adhered to.
9The ability to cross, at one leap, three or four strings downward, i. e., toward the E string, lies in the power to so perfectly relax the arm that it will drop from its own weight, and not because of exertion. This dropping of the

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