Spiccato, or Springing-Stroke.
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.
