Scan 75
The American history and encyclopedia of music, 1910
8 lines. Read by computer on 11 September 2026. Printed page 47. See the scan on archive.org.
1bowing belong to the uninterrupted or continuous forms in which it is the aim to eliminate all obstacles which tend to mar fluency. While each note or tone in the spiccato is a unit as far as sound goes, the spiccato as a whole is really the result of continuous legato wrist or hand movement. In this way the spiccato becomes an allied form of bowing to the legato and is not a series of single detached strokes. The player, for this reason, must think of the entire spiccato passage and not of the single note.
3WHERE PLAYED.—There is, in each bow, one definite place where the spiccato is most easily played. The place, and the accompanying characteristic features, of course vary with each stick, according to its quality. The player will know that he has found the right place and method when the tone produced is effortless, spontaneous and free.
5Spiccato often sounds glassy, without body of tone, for the reason that there is too much tenseness (resistance) in the hand, this tenseness not permitting the bow to rest on the string long enough while the stroke is in progress. As long as this condition of the hand is in evidence, so long will the spiccato be uncontrolled, spasmodic and unsatisfactory. Only when the hand is absolutely at rest (as in the case of the right hand in staccato and the left hand in the trill), and is not trying to accomplish diametrically opposite ideas, can the continuity of the spiccato, as well as its tonal effectiveness, be absolutely relied upon.
7DOUBLE SPICCATO.—Passages are frequently met with in which two or more notes are to be played spiccato in the same bow on the same string. This is practically the same form as the spiccato arpeggio but without the crossing of the strings. These tones should be played in about the same amount of bow as was previously allotted to one tone, the first receiving its impulse from the wrist and the others from the natural rebound of the bow. No effort should be made to make the tones after the first one has been produced.
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