Note. In small orchestras passages sub-divided into many parts are very hard to realise, and the effect obtained is never the one required.
String parts may be divided thus:
| a | { | Vns I div. Vns II div. | b | { | Vns II div. Violas div. | c | { | Violas div. 'Cellos div. | d | { | 'Cellos div. D. basses div. |
Possible combinations less frequently used are:
| e | { | Vns I div. Violas div. | f | { | Vns II div. 'Cellos div. | g | { | Violas div. D. basses div. etc. |
Note. It is evident that the tone quality in b and e will be similar. Still b is preferable since the number of Vns II (14-10-6) and Violas (12-8-4) is practically the same, the respective rôles of the two groups are more closely allied, and from the fact that second violins generally sit nearer to the violas than the first, thereby guaranteeing greater unity in power and execution.
The reader will find all manner of divisions in the musical examples given in [Vol. II]. Where necessary, some explanation as to the method of dividing strings will follow in due course. I dwell on the subject here in order to show how the usual composition of the string quartet may be altered.
Stringed instruments possess more ways of producing sound than any other orchestral group. They can pass, better than other instruments from one shade of expression to another, the varieties being of an infinite number. Species of bowing such as legato, detached, staccato, spiccato, portamento, martellato, light staccato, saltando, attack at the nut and at the point,
and