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.
Slurred Springing-Strokes.
Slurred spiccato is very useful as a relief to the staccato proper.
It is performed after the same style as detached springing-stroke, except that instead of the bow being reversed at each stroke, a number of notes are played with the bow springing in one direction. The bow should be given a preliminary bounce by a smart downward turn of the wrist, then gradually moved forward, which will cause several detached strokes as the bow falls after each rebound. For long, quick passages, it is necessary to commence near the point, although not so near that instead of the bow springing, a sforzando is produced; it is not necessary to assist the bow to spring away from the strings in these quick passages, after the initial bounce has been given, the natural spring of the bow asserting itself against the weight of the hand, being sufficient to allow of twenty or more notes being played.
Although the slurred spiccato bowing is expressed in the same manner as solid staccato, the violoncellist will occasionally come across certain passages, which would lose all their charm if played with solid bowing. Ex. 28 will illustrate this. The semiquaver triplet should be executed with three smart bounces with the up-bow; then the bow should be controlled, and lightly drawn for the two tied quavers. The introduction of the two slurred quavers in this passage, makes it almost compulsory to execute it between the middle and the heel of the bow, it being possible to check the bouncing better there than if playing near the point.
However, to illustrate how the 'cellist must be able to appreciate the subtle differences in various manners of phrasing, or how an artist by a slight liberty, would transform an awkward bowing into one with more character and force, we will suppose the above passage written thus:—