Mixed Bowings.
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.
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.
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.
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.
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.
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.
[CHAPTER VII.]
On "Staccato" Bowing—Spiccato—Slurred Springing-Bow—Varieties of Phrasing Occasioned by the Portion of Bow Used—Sautillé—Dotted Notes.