Scan 75
The American history and encyclopedia of music .., 1908
12 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1SPICCATO ARPEGGIOS.—The arpeggio on three or four strings is but a duplication of what has been done on one string, excepting that in crossing the strings the wrist movement is eliminated with the exception of the last and first tones of each arpeggio. This simply means that the regular wrist or hand extension movement between the last tone of one arpeggio and the first tone of the following one is used for the purpose of giving the bow its start, its impulse, and for making the initial accent. The extension movement is really done off the string, as in the single spiccato tone production. No wrist movement should be used in crossing the strings, the crossing being done entirely by the lowering and raising of the arm which maintains its position with reference to the wrist. The faster the arpeggio the shorter the amount of bow to be used, and the less the effort on the part of the arm required in its production.
3Spiccato in, the lower half of the bow is produced in the same way as before described with the aid of the arm to reinforce the tone.
5THROWN SPICCATO.—Thrown spiccato, ricochet, is produced, up or down bow, with as many tones as may be desired, by starting as in simple spiccato and allowing the rebound of the bow to produce the remaining tones. The force of the first stroke is governed by the number of notes to be played. The stroke, in its entirety, is not controlled by the wrist.
7LESSON VIII.
9THE TRILL AND THE VIBRATO.
11The trill and the vibrato can be acquired, to a certain extent, by systematic practise according to rule, but the finely finished artistic product is more largely a gift, an instinct, whether mental or muscular it is difficult to say. Although these two forms have much in common, yet in the final results they are totally different, the trill depend-
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