A style of bowing which seems to be either very little understood, or very much neglected, is "sul ponticello" bowing. In string quartets, orchestral music, etc., a very fine effect is possible if all the players execute it in a proper manner. The bow should be drawn quite close to the bridge, with only medium pressure applied, the stroke should be performed more rapidly than ordinary bowing. This bowing executed by a number of strings gives a very weird effect, the only objection to its use being that if great skill is not used, the string, instead of vibrating as a whole, will vibrate in segments, thus giving out one or other of the natural harmonics. It is stated that Paganini used to play certain passages in harmonics after the above manner; harmonic tones may be produced on any stopped note, by the bow alone, as follows. The bow should be drawn very lightly across the strings near the bridge, the left hand fingers firmly stopping the notes; various harmonics may be produced with one fingering by slightly varying the position of the bow, moving it slightly nearer or away from the bridge. Except for special passages, which are really intended for this kind of ponticello harmonic playing, it is not advisable to introduce it; the slightest irregularity in the position of the bow on the string will alter the harmonic notes to a great extent.
Flautando.
Of more real use than the preceding, is the bowing sometimes styled sotto voce, or more properly "flautando"; the tone produced by this manner of bowing is of a beautiful soft flute-like character, and serves as a grateful change to a continued hard tone. It is accomplished by causing the bow to be drawn near the fingerboard, and without any pressure being applied; the strokes should be drawn much more rapidly than for the usual way of bowing, the change of bow-strikes being accomplished almost unheard. It is practicable for any sustained cantabile theme, especially if the tone is to be kept piano; great freedom in bowing must be obtained before anything like perfection be arrived at, the only objection to its introduction being the manner in which phrases are "chopped up" if bowed in this manner; this, however, is more apparent on paper than in the performance, as if the bowing is skilfully managed it is possible to reverse the strokes without any perceptible break in the tone, the phrase being as continued as if executed with one sustained bow-stroke.
Pizzicato Effects.
Various effects are possible in pizzicato playing, such as the close shake, the pizzicato glide; the latter if done well has a very good effect, especially in chord passages, the fingers should glide to the next chord almost as soon as the strings are plucked. Grace notes are also possible in this manner; the string is plucked for the grace note, then the finger rapidly glides to the principal note during its vibration; the string only being plucked once for the two notes or chords.
[CHAPTER XV.]
Delivery—Style—"Form" versus "Feeling"—Conception—Essentials of a "Fine" Delivery—Orchestral Playing.