The bowing at Example 49c is a style of phrasing which one often comes across, especially in brilliant solo pieces; it is sometimes wrongly written as Example 49d, that is, with three spiccato notes to each bow; if executed in this manner it is safe to say that the effect will be exceedingly tame. In solos, concertos, etc., and for heavy passages in chamber music, it will be necessary to give the first note of each group a heavy down-stroke (spiccato), the remaining two notes being played with the up springing-bow; in this manner the strokes are all given near the heel of the bow, the metrical accent on the first note of each group being effectively produced with the heavy down-stroke.
Other styles of arpeggios bear more or less similarity to those which have here received treatment, with a little thought the student should now be able to determine which will be the most effective way of bowing.
[CHAPTER XII.]
Graces and Embellishments—The Use of the Thumb—Extensions—Octaves.
Graces and Embellishments.
There are various embellishments in use, some of which are expressed in notation, such as the cadenza, the group of grace notes, the appogiatura. Others are expressed by signs. The most important of these are the trill, or shake (tr), the pralltriller, or short shake (
), and the mordent, or turn (