Chords.
Owing to the arching of the bridge, it is impossible to sustain more than two notes during the whole stroke of the bow. Therefore, three or four part chords are only possible as "broken" chords (Ex. 43). A bold attack is necessary to play chords at all effectively, the fingers of the left hand should be placed simultaneously on the strings, the necessary changes in fingering for a succession of chords, being accomplished rapidly and neatly during the moment of reversing the bow-stroke.
It is general to explain that although chords are written as in Ex. 43, yet it is only possible to play them as in Ex. 43a. However, if the chords have to be played in strict time, it will also be evident that even this method cannot be followed—each minim would receive three beats, one for the two lower notes and two for the two upper. A correct way of portioning out the time to be allowed for each couple of strings is shown in Ex. 43b. The student should here count four quavers to each chord.
In some cases the chords are intended to be firmly and smartly struck, such as repeated chords at the end of a brilliant allegro, the chords should be divided, allowing half the time for the lower strings and half for the upper, and instead of sustaining the upper portion, the bow should be immediately taken off the strings, thus allowing them to vibrate freely and vigorously (Ex. 44). Chords of this description are usually taken with down bow-strokes. The player should take care, however, not to make the chords sound too harsh, or crabbed.
[CHAPTER XI.]
Arpeggios—Their Evolution from Various Chords—The Bowing of Arpeggios.