BOWING CONTINUED--MARTELÉ--DETACHED STROKE--MIXED BOWINGS--THE VARIOUS
DIVISIONS OF THE BOW.
STRUCK DETACHED BOWINGS.
[Illustration: (EX. 14)]
This style of bowing (Ex. 14) is known as _martelé</sc>. It consists
of a smart heavy stroke, with the upper third of the bow. The bow
is stopped suddenly at the end of each stroke, without allowing the
pressure of the first finger to relax; the bow stroke being suddenly
checked, causes the abrupt stoppage of the smartly vibrating string, and
allows a short pause to be made between each note. The effect might be
represented thus:
[Illustration: (EX. 14_a_)]
[Illustration: (EX. 15)]
Short detached crotchets may be played with the upper half of the bow.
The stroke must be made smartly, without any real gap between the notes.
The bow should seem to pass quickly and smoothly over the strings, the
tone being produced by friction, rather than any pressure which the
first finger may exert. The scales in crotchets may be played with
_martelé_ bowing, using whole bow-strokes as previously explained in the
remarks on early exercises.
[Illustration: (EX. 16)]
Short detached quavers should be played with the upper third of the bow.
There are numerous examples of this kind of bowing in the studies for
violoncello, by Kummer, Dotzauer, etc.
[Illustration: (EX. 17)]
This is an exceedingly difficult kind of bowing, but if well executed
has a very brilliant effect. To produce the sforzando note with the
up stroke, the bow should be lifted and thrown on the string with
force, care being taken to do this close to the point, or instead of
a sforzando note, a series of bounces will result. The balance is
preserved with the fourth finger, which also assists in raising the
bow from the string for the next sforzando note; the quaver with the
down stroke should be played smartly. It would be unwise to use a gold
mounted Tourte, in the first attempts at this bowing, as it is possible
to seriously damage the bow if not executed with skill.
MIXED BOWINGS.
[Illustration: (EX. 18)]
This bowing is performed by commencing at the middle of the bow; with a
smart, light stroke, draw the bow to the point, the three quavers played
very smoothly take the bow back to the middle.
[Illustration: (EX. 19)]
The bowing in Ex. 19 has the phrasing just reversed, this bowing gives
a very beautiful effect if nicely executed. For the three tied quavers
commence at the middle of the bow, draw it smoothly to the point, then
relaxing the tension of the muscles in the right hand, carry the bow
smartly over the string, back to the middle. This light up-bow should be
done without any pressure, and with the bow well under control.
[Illustration: (EX. 20)]
In Ex. 20 the first quaver receives a smart down stroke at the point
of the bow. The slurred quavers should all be of equal length, and on
no account must the second slurred quaver receive any emphasis. If an
accompanying part preserves the original accent, the effect is very
pleasing.
[Illustration: (EX. 21)]
A large variety of mixed bowings may be invented by the student, after
the style of Ex. 21. The chief object in practising such, should be to
obtain a facility in using the various parts of the bow. Where groups
containing the same quantity of slurred notes are separated by two,
four, six, or any even number of detached notes, the slurred groups are
played alternately with a down and an up bow-stroke, the detached notes
being played first at the point, then at the middle or near the heel
(as in Ex. 21), according to the length of bow-stroke required for the
slur. If the slurs are separated by one, three, five or any odd number
of detached notes, the bowing will be so arranged that the slur has
always to be taken with the same kind of bow stroke: to allow this the
necessary quantity of bow must be gained on one of the detached notes,
this may be accomplished as in Ex. 22.
[Illustration: (EX. 22)]
The slurs are always taken with a down-stroke, using the upper third of
the bow. The bow should be carried back, on the first detached quaver,
which being the first note of a triplet, may be given a slight emphasis;
the two remaining quavers are played with a short wrist movement.
[Illustration: FIG. 4.]
Before leaving the subject of mixed bowings, I would impress upon the
student the necessity for the application of a good division of the
bow's length, so that whatever variety of bowing presents itself, may
be treated with the part of the bow, and in the manner most capable of
producing the finest effects. The student should make a mental division
of the bow into thirds, fourths, etc., see Fig. 4, the various divisions
being designated as there shown, such as point fourth, heel fourth,
upper third, etc. In the smaller divisions there given, the wrist may
be assisted with a slight movement of the fore-arm, for purely wrist
movements, a bow-stroke of about a couple of inches may be taken with
any part of the bow, according to the requirements of the particular
passage.