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For instance, I have never had to work hard for quality of tone when I wish to get certain color effects they come: I have no difficulty in expressing my feelings, my emotions in tone. And in a technical way spiccato bowing, which many find so hard, has always been easy to me. I have never had to work for it.
He merely says: 'That's too heavy: give me less tone! The result to be achieved is always more important than the manner of achievement. "All phases of technical accomplishment, if rightly acquired, tend to become second nature to the player in the course of time: staccato, a brilliant trick; spiccato, the reiteration of notes played from the wrist, etc.
In light spiccato and staccato the detached notes should be played always with a single stroke of the bow. Some players, strange to say, find staccato notes more difficult to play at a moderate tempo than fast. I believe it to be altogether a matter of control if proper control be there the tempo makes no difference. Wieniawski, I have read, could only play his staccati at a high rate of speed.
And the bow must have the right amount of spring, of elasticity in its stick. A poor bow will work more harm than a poor fiddle, for if the bow is poor, if it lacks the right resilience, the student cannot acquire the correct bow pressure. He cannot play spiccato or any of the 'bouncing' bowings, including various forms of arpeggios, with a poor stick.
Your staccato and spiccato are wonderful. Every form of bowing appears child's play to you. It will be easy for you to avoid touching the string." "Why avoid it? Can it not be cut off?" "Ah, that's the rub. If you examine the violin closely you will find that the string of death is made up of the extra lengths of the other four strings.
In the second part, with some loss of the lilt of dance, is a subtle design with a running phrase in spiccato strings against a slower upward glide of bassoons. The duet winds on a kind of crescendo of modulations. Later the themes are inverted, and the second is redoubled in speed. The whole merges naturally into the first waltz, with a richer suite of adorning figures.
He settled on a Hungarian folk tune his grandmother used to play for him. It had a homey, intimate quality; rather simple and easily manipulated. He readied himself and then poured his heart into playing that tune he worked it around, swished it a few times, tried some variations, caught the fever, and finished off with a fast spiccato variation.
"Spiccato is a very different matter from staccato: violinists as a rule use the middle of the bow for spiccato: I use the upper third of the bow, and thus get most satisfactory results, in no matter what tempo. This question as to what portion of the bow to use for spiccato each violinist must decide for himself, however, through experiment.
The martellato, a nuance of spiccato, should be played with a firm bowing at the point. In a very broad spiccato, the arm may be brought into play; but otherwise not, since it makes rapid playing impossible. Too many amateurs try to play spiccato from the arm. And too many teachers are contented with a trill that is merely brilliant.
Spiccato is generally held to be more difficult than staccato; yet I myself find it easier. "To influence a clear, singing tone with the left hand, to phrase it properly with the bow hand, is most important. And it is a matter of proportion. Good phrasing is spoiled by an ugly tone: a beautiful singing tone loses meaning if improperly phrased.
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