Scan 69
The American history and encyclopedia of music, 1910
14 lines. Read by computer on 11 September 2026. Printed page 41. See the scan on archive.org.
1LESSON V.
3STACCATO FORMS AND ARM RELAXATION.
5The student should review Lesson II., First Attempts at Bowing. The main object of this review lesson is to show the true principles of the real martelé, with the whole bow, and then the hand stroke, and only after this has been thoroughly applied can staccato be studied.
7There are two principles which govern the use of the staccato stroke: the martelé idea (pressure, stroke and relaxation), and the onward movement of the arm. The pressure and stroke are practically simultaneous and the relaxation but an instant later, and are accomplished with the hand and without the assistance of the arm. After this stroke, done solely by hand, the arm moves up in preparation for the next stroke. In this onward movement of the arm and, therefore, in the ability to repeat the whole stroke, lies the success of the staccato.
9ACADEMIC AND BRILLIANT STACCATO.—The Spohr, or academic staccato, is nothing more than a correct repetition of independent martelé strokes in one bow. It is a controlled staccato performed in a similar manner on both up and down bow. The brilliant staccato is more often a gift than an acquisition and is a nervous form, almost a flying staccato.
11In the brilliant staccato, any position that produces the results is permissible. The Spohr staccato is not, by any means, the brilliant staccato in elementary form, but the persistent practise of the legitimate martelé hand stroke will make the brilliant staccato not only possible but more distinct, or articulate. The latter, in its most brilliant and perfect form, is largely the result of technical dash and will-power, as are all bravura forms of technic.
13STACCATO AND STRING-CROSSING.—If the strings are not crossed properly, a correct staccato cannot be produced. A failure to produce staccato in a passage containing string-
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