The semiquaver triplet in this case, (Ex. 28a), is executed with springing-bow, using the upper third; the bow is then thrown on the string close to the point for the sforzando.
In substituting or inventing the manner of bowing any particular passage, the violoncellist should always take into consideration the character of the composition being performed, not being above considering the generally acknowledged manner of interpreting the works of well known composers. The introduction of any exaggeration in accent, etc., whilst being perfectly admissable in performing compositions by Brahms, Schumann, or Dvorak, would most probably be out of place, if introduced in similar works by Mendelssohn or Beethoven.
Sautillé.
Although this bowing is often called Spiccato, Springing-stroke, Dancing-bow, etc., etc., it must not on any consideration be confused with the bowing previously described as such, that is the springing-bow applied to passages at only a moderate tempo; the method of production and the effect of these two bowings are entirely different, the sautillé, varying from the heavier class of springing-stroke, in not being produced by any studied action of the right-hand, wrist, or fingers. The work of the fingers in executing this bowing, is merely passive, except perhaps the first finger, which assists in giving the "go" to the bow. No pressure is required; the tone seems to be "pulled" out of the instrument by the bite of the hair on the strings, the springing movement being caused solely by the elasticity of the bow.
The scales may be practised as Ex. 29, first in smooth semiquavers at the middle of the bow, using about an inch of bow, and without any pressure being applied. The scales should be worked up to a very high rate of speed; when this is accomplished, the student will find that unless he prevents the bow from springing, it will commence a kind of dancing movement, although it hardly seems as if the bow leaves the strings. The student will easily recognise the bowing when he has accomplished it, by the distinct picked out character of the notes. Most amateurs who fail to acquire this bowing, may blame their misfortune either to gripping the bow too firmly, thus not allowing the wrist and fingers sufficient play, or being "weary in well doing" with respect to practice. Modern compositions for violoncello abound with this bowing, fine examples may be found in Am Springbrunnen, Davidoff; Papillon, Elfentanz, etc., etc., by Popper, last movement Military Concerto, and other solos by Servais; in fact nearly all modern player-writers, have composed works which introduce this fairy-like bowing.
Dotted Notes.
