Scan 73
The American history and encyclopedia of music .., 1908
10 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1LESSON VII.
3THE SPICCATO AND KINDRED FORMS.
5In the staccato and martelé strokes the bow is held on the string, biting firmly into it in order that the sudden sharp accent characteristic of these bowings may be produced. In the spiccato the bow is not held to the string but hovers over it, striking or brushing the string during the progress of the stroke. When a crisp and forceful spiccato is desired, a shorter stroke should be used, the hand position becoming a little more rigid and occasionally permitting some arm movement to reinforce the tone. In both cases, the starting and ending of the stroke is above the string. The arm must be held in a fixed position, the motion being done by the wrist and hand alone with an almost lateral motion. The natural resiliency of the bow must be depended upon to produce, in a partial sense, the rebound.
7DEVELOPMENT OF THE SPICCATO.—Hold the bow above the string only as far as it will allow the bow to touch the string without dipping the hand, using only a lateral movement of the wrist. The dropping of the bow to the string level is largely produced by a movement of the fingers which are the supporting force. The arm must remain firmly in position excepting when the passage being played requires a crossing of the strings, i. e., more than one string. This crossing is done in various ways, in some instances forming exceptions to the rules as laid down for legato. In crossing from one string to the next, use the hand only and no arm, but in some of the arpeggio and ricochet forms the arm and hand cross as a unit, the wrist movement occurring only at the end of the triplet or quadruplet figure of bowing.
9The life of the spiccato is in its continuity, its lack of effort. The martelé and staccato forms of bowing belong to the interrupted forms, those in which the progress of the bow on the string is wilfully or systematically interrupted by certain means, while the spiccato and legato forms of
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