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.
Staccato.
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.