Scan 70
The American history and encyclopedia of music, 1910
14 lines. Read by computer on 11 September 2026. Printed page 42. See the scan on archive.org.
1crossings is because two things are being attempted at the same time and are not being done consecutively. The crossing must precede the staccato.
3Continuity.—The left hand also is important in staccato. If the continuity of notes suffers the evenness of the bowing is interrupted.
5Flying Staccato.—The flying staccato is done by a lifting of the bow after each note, the lifting being done by the hand and fingers and not by the arm. There are, however, many forms of this bowing which must be done solely by the arm to make them effective. The student must use either form according to the demand made by the passage being performed.
7The secret of a good staccato is the combination of the correct martelé stroke with a free full arm stroke. The impossibility of doing staccato, which many violin students as well as mature players complain of, is entirely the fault of an incorrect understanding of the martelé idea. The attack of the martelé by the hand and arm in a stiff or locked position absolutely prevents the freedom necessary to a reliable staccato. The first note of the staccato figure or passage is begun solely by the hand, which is followed by the onward movement of the arm while the hand firmly keeps the bow in its place on the string. This onward movement of the arm permits the performance of the next martelé (staccato) stroke of the bow. These movements of the hand and arm must not come together, as otherwise the faculty of continuing the clear articulation of each note is disturbed or entirely stopped.
9LESSON VI.
11Legato and the Crossing of the Strings.
13Legato is the exact opposite of staccato (martelé). Real legato is a continuous sustaining of the tone by means of imperceptible bow changes. Each bow stop must be mini-
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