ON "STACCATO" BOWING--SPICCATO--SLURRED SPRINGING-BOW--VARIETIES OF
PHRASING OCCASIONED BY THE PORTION OF BOW USED--SAUTILLÉ--DOTTED
NOTES.
STACCATO.
[Illustration: (EX. 23)]
The staccato bowing, if neatly executed, has a very brilliant effect;
to obtain anything like mastery of it the student must first be careful
to see that the bow is held correctly, and from the commencement, the
bowing must be practised only in the recognised fashion, and according
to the hints here given. If any movements other than those described
are allowed, the student will find that he can never execute this
difficult bowing beyond a certain speed, or if he does flatter himself
in to the belief that he has arrived at a brilliant execution of it,
on comparison it will be found that instead of the recognised bowing,
it is one of the various kinds of trick staccato, often accomplished
by a slight tremolo of the fore-arm or some such movement. The chief
movement in the staccato bowing is distinctly a wrist-one, the first
finger playing a great part in giving crispness and attack to each
note. The initial quaver in Ex. 23, should receive a smart down-stroke
with the upper third of the bow; as previously explained in the remarks
on legato bowing, the hand carries on the stroke after the fore-arm
movement ceases, causing the hand, when the bow is at the point, to be
turned away from the player. This should be made the foundation of the
staccato stroke. As the arm progresses slowly and steadily along for
the up-stroke, the hand keeps pace by a series of short jerks; these
are purely wrist movements, not being assisted in any fashion by the
arm. It is of the utmost importance to have the hand, and wrist, in a
proper position at the beginning of the series of up-strokes, if the
hand is already turned inwards, how will it be possible to execute a
wrist movement in the same direction? The first finger should press
firmly on the bow as the hand moves for the attack of each note, this
attack if analysed, will be found to be a modified kind of sforzando on
every semiquaver; the notes are separated by relieving the pressure, and
also by the short pauses between the wrist movements. An explanation
concerning the pressure of the first finger is perhaps necessary; the
pressure is not caused by the contraction of the muscles of the first
finger, so much as by the weight caused by an inward turn of the hand,
being brought to bear on the bow through the medium of the first finger.
[Illustration: (EX. 24)]
The first attempts at the staccato bowing may be made on one string,
after the fashion of Ex. 24; about an inch of bow may be used for each
quaver, taking care to produce the sforzando effect, which in an attempt
at a slow tempo should be more apparent than in a quick staccato run.
The bow must not be allowed to leave the string, the release of pressure
only allowing the bow to right itself in preparation for the "bite"
on the next note. After the movements previously explained have been
mastered, there is nothing further required for the production of a good
effect in staccato bowing, except a complete command of the upper-half
of the bow, in the sense of being able to produce a good tone, without
unduly straining or fatiguing the muscles of the hand and fore-arm.
The staccato may be played with the down-bow, the wrist and arm
movements being simply the reverse of those in the up-bow. It is better
not to commence quite at the heel, as the tone there, unless great care
and skill be exercised, is apt to be "gritty." It is possible to produce
a very pleasing effect on the 'cello with this bowing, even in fairly
quick passages; the bow should not grip the string too heavily, nor be
allowed to drag, but should be carried lightly.
In slow movements, a class of phrasing is often introduced, which
although expressed like the staccato, if executed as such, would
entirely spoil the effect.
[Illustration: (EX. 25)]
The four slurred staccato quavers should be played with four down-bow
strokes, using the whole length of the bow, each quaver receiving about
a fourth; the division between the notes should be very slight, being
caused almost as much by a slight accent on each quaver, as by the bow
being actually stopped.
SPICCATO, OR SPRINGING-STROKE.
[Illustration: (EX. 26)]
The introduction of the springing-stroke in the interpretation of a
composition, is left almost entirely to the discretion of the performer.
It will be observed (Ex. 26), that the same signs are used for this, as
for short detached solid bowings. Although this lack of clearness in our
system of musical notation is to be regretted, one cannot help but think
that this very general way of expressing the whole variety of detached
staccato bowing, is really a gain to the artist. What is now admired as
originality, and individuality in reproduction, would be considered an
undue license or lack of skill, and thus it is, that out of the very
incompleteness in our musical notation, or in the failure of composers
to express the details of phrasing, etc., the freedom of interpretation
is given, which allowing of such various treatment, forms the foundation
of the different "schools," or styles in instrumental playing.
The springing stroke is suitable for any music of a light, playful
character, although it should not be continued too long without the
introduction of solid bowing as a relief. In practising the scales in
quavers (Ex. 26), the bow actually bounces away from the string between
each note, at the moment the bow is thrown on the string, the hand
should move backwards, or forwards, so that sufficient tone may be
brought out of the instrument. Regarding the latter, it will be evident
to the student, that the action of the bow falling on the strings cannot
alone set them in vibration; no matter how brilliant is the bowing, we
must have some species of _stroke_ or the result will be minus tone. To
allow of the maximum tone being produced which is possible with such
a slight bow-stroke, the hand may droop more than usual, causing the
whole width of the hair to come in contact with the strings, this will
also prevent any jarring sound being occasioned by the "wood" of the
bow. To prevent a very scratchy performance, the bow strokes should be
made exactly at the same part of the strings; taking care that the bow
springs away at right angles. The most useful part of the bow for the
slow style of spiccato, is generally just below the middle; although for
detached notes with long rests between, or intermixed with left-hand
pizzicato, it may be accomplished with the point.
[Illustration: (EX. 27)]
SLURRED SPRINGING-STROKES.
Slurred spiccato is very useful as a relief to the staccato proper.
It is performed after the same style as detached springing-stroke,
except that instead of the bow being reversed at each stroke, a number
of notes are played with the bow springing in one direction. The bow
should be given a preliminary bounce by a smart downward turn of the
wrist, then gradually moved forward, which will cause several detached
strokes as the bow falls after each rebound. For long, quick passages,
it is necessary to commence near the point, although not so near that
instead of the bow springing, a sforzando is produced; it is not
necessary to assist the bow to spring away from the strings in these
quick passages, after the initial bounce has been given, the natural
spring of the bow asserting itself against the weight of the hand, being
sufficient to allow of twenty or more notes being played.
Although the slurred spiccato bowing is expressed in the same manner as
solid staccato, the violoncellist will occasionally come across certain
passages, which would lose all their charm if played with solid bowing.
Ex. 28 will illustrate this. The semiquaver triplet should be executed
with three smart bounces with the up-bow; then the bow should be
controlled, and lightly drawn for the two tied quavers. The introduction
of the two slurred quavers in this passage, makes it almost compulsory
to execute it between the middle and the heel of the bow, it being
possible to check the bouncing better there than if playing near the
point.
[Illustration: (EX. 28)]
However, to illustrate how the 'cellist must be able to appreciate the
subtle differences in various manners of phrasing, or how an artist by
a slight liberty, would transform an awkward bowing into one with more
character and force, we will suppose the above passage written thus:--
[Illustration: (EX. 28_a_)]
The semiquaver triplet in this case, (Ex. 28_a_), is executed with
springing-bow, using the upper third; the bow is then thrown on the
string close to the point for the sforzando.
In substituting or inventing the manner of bowing any particular
passage, the violoncellist should always take into consideration
the character of the composition being performed, not being above
considering the generally acknowledged manner of interpreting the works
of well known composers. The introduction of any exaggeration in accent,
etc., whilst being perfectly admissable in performing compositions by
Brahms, Schumann, or Dvorak, would most probably be out of place, if
introduced in similar works by Mendelssohn or Beethoven.
SAUTILLÉ.
[Illustration: (EX. 29)]
Although this bowing is often called Spiccato, Springing-stroke,
Dancing-bow, etc., etc., it must not on any consideration be confused
with the bowing previously described as such, that is the springing-bow
applied to passages at only a moderate tempo; the method of production
and the effect of these two bowings are entirely different, the
sautillé, varying from the heavier class of springing-stroke, in not
being produced by any studied action of the right-hand, wrist, or
fingers. The work of the fingers in executing this bowing, is merely
passive, except perhaps the first finger, which assists in giving the
"go" to the bow. No pressure is required; the tone seems to be "pulled"
out of the instrument by the bite of the hair on the strings, the
springing movement being caused solely by the elasticity of the bow.
The scales may be practised as Ex. 29, first in smooth semiquavers at
the middle of the bow, using about an inch of bow, and without any
pressure being applied. The scales should be worked up to a very high
rate of speed; when this is accomplished, the student will find that
unless he prevents the bow from springing, it will commence a kind
of dancing movement, although it hardly seems as if the bow leaves
the strings. The student will easily recognise the bowing when he has
accomplished it, by the distinct picked out character of the notes. Most
amateurs who fail to acquire this bowing, may blame their misfortune
either to gripping the bow too firmly, thus not allowing the wrist and
fingers sufficient play, or being "weary in well doing" with respect to
practice. Modern compositions for violoncello abound with this bowing,
fine examples may be found in Am Springbrunnen, Davidoff; Papillon,
Elfentanz, etc., etc., by Popper, last movement Military Concerto, and
other solos by Servais; in fact nearly all modern player-writers, have
composed works which introduce this fairy-like bowing.
DOTTED NOTES.
[Illustration: (EX. 30)]
The rhythm given in Ex. 30, is frequently met with in almost every class
of instrumental music. It may be bowed in four distinctly different
ways. The way mostly adopted, especially in chamber, or orchestral
music, where occasionally whole sections of a work have accompaniments
for the strings in this rhythm, is to tie the two notes in one bow as
marked in Ex. 30, this is done, even if no bowing marks whatever are
given in the parts. The upper half of the bow may be used, the bow being
almost drawn to the point, then suddenly stopped to allow the semiquaver
to have a distinct stroke, for the latter, using about a couple of
inches of bow with a wrist movement only.
[Illustration: (EX. 30_a_ & _b_)]
In solo pieces, and occasional passages in chamber-music, this rhythm
may be given one bow-stroke to each note. However, the effect although
pleasing, is so assertive especially if executed in a very broad,
heavy fashion, that the listener becomes tired before many bars have
been played. This bad effect is not quite so evident if the bowing is
executed in a light, playful manner, the very nature of the rhythm
is of a gay, frolicsome character, especially in a moderately quick
tempo, therefore a dull, solid performance is entirely out of place.
In practising the bowing at Ex. 30A, more than a third part of
the bow must not be used, and slightly less for a quicker tempo. The
semiquaver must have the same length of bow-stroke as the dotted quaver;
therefore the bow must move more slowly, and receive more pressure for
the down-stroke than for the light up-stroke; for the latter, the bow is
carried lightly over the string, with the pressure relieved. The
bowing may also be reversed as in Ex. 30B, here the longer note is
played with an up bow-stroke, the semiquaver receiving a smart, light,
down bow.
Another method of bowing may also be occasionally used, although when
compared with any of the foregoing, it will perhaps be regarded as a
trifle commonplace. The bow is placed on the strings at the heel; the
first dotted quaver receives a down stroke with the heel fourth, the
semiquaver being played with an up-bow, using about an eighth of bow;
the next dotted quaver again receives a down-stroke with a fourth; thus
gaining an eighth at each dotted note, the bow gradually travels to the
point. The up-bow may also be used in like manner, commencing at the
point and finishing near the heel, the movements being reversed. This
method of bowing will be found useful for special passages which have
to be executed in a quiet manner, or where the change in bowing thus
occasioned is necessary.