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.
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.