. Orchestration . Italian, Saltato, sometimes Saltando. 4 See, for instance, the last six notes of the Viola and Cello parts in Ex. 222. 342 ORCHESTRATION dances on the strings in what seems to be a series of little perpendicularjumps that are scarcely either up-bow or down-bow. This stroke ismuch more effective when executed with precision by a large body ofviolinists than when employed by a single player. The notation forthe Jete is a slur over the whole rhythmical group with a dot overeach note of which the group is composed. This style of playing isfrequently miscalled Sautille. It is ofte
. Orchestration . Italian, Saltato, sometimes Saltando. 4 See, for instance, the last six notes of the Viola and Cello parts in Ex. 222. 342 ORCHESTRATION dances on the strings in what seems to be a series of little perpendicularjumps that are scarcely either up-bow or down-bow. This stroke ismuch more effective when executed with precision by a large body ofviolinists than when employed by a single player. The notation forthe Jete is a slur over the whole rhythmical group with a dot overeach note of which the group is composed. This style of playing isfrequently miscalled Sautille. It is often found in Spanish and othernational dance-measures where rhythms of this kind predominate: irmrm An example may be found in the Moderato Mosso of TschaikowskysPathetic Symphony. Moderato mosso. Flute. Bassoon. 1st & 2nd Violins. Violas. Cellos andDoubl the )ouble-Basses. fr):|L /a—^he latter sounding \*S ft *~tjan octave lower.) jT EXAMPLE 224. Tschaikowsky. PatJtetic Syniphorty i^^-diW1? WihJS ( « k^±uf^. ^h j jjj j j m j m V gv t ctt j j nm ^E±E£ 1In the above example the 1st and 2nd Violins are written with only one set of tails,in order to show the notation of the bowing more clearly. In the Full Score theynaturally occupy separate lines. THE VIOLIN 343 (5) The Slur, though not strictly a bow-stroke at all, is includedhere for the sake of convenience. Any number of notes within reason may be included under a *~ ^, and so long as the slur continues the player will not change the direction of the bow. It should be noted,however, that (A) only notes on the same string or on adjacent stringscan be slurred, (B) the more notes that are included in the slur theslower the bow has to travel, and therefore the weaker becomesthe tone. Long / slurs are an absolute impossibility. In any case theeking-out of a long p slur at the end of an V (that is to say, at theextreme heel of the bow—its strongest part) is the eking-out of a long / slur at the end of
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