. Orchestration . n notes, and these must not be too rapid. Thestudent must remember that the player has to make a silent up-bowstroke in the air between each pair of down-bows, and this requires adistinct interval of time. The effect, especially on the bottom string, isferocious in the extreme. In the following passage from Tschai-kowskys Fifth Symphony the first four String-chords come outadmirably. If, however, the quavers in bar 2 are all played | |, asindeed they are marked in some of the parts, the players (preoccupiedwith the necessity of making a series of silent up-bow strokes forwhic
. Orchestration . n notes, and these must not be too rapid. Thestudent must remember that the player has to make a silent up-bowstroke in the air between each pair of down-bows, and this requires adistinct interval of time. The effect, especially on the bottom string, isferocious in the extreme. In the following passage from Tschai-kowskys Fifth Symphony the first four String-chords come outadmirably. If, however, the quavers in bar 2 are all played | |, asindeed they are marked in some of the parts, the players (preoccupiedwith the necessity of making a series of silent up-bow strokes forwhich no time is allowed) can only perform the passage by means of aseries of perpendicular and ineffective scratches on the strings. Thepassage, from which the Wood-Wind and Drums have been omitted,is as follows: EXAMPLE 221. 1st & 2ndViolins in unison. Violas. Allegro Vivace. Tschaikowsky. Fifth Symphony. a h „n n Cellos Double-Basses,(sounding anoctave lower. ?ouDie-tsasses. / *. u -(sounding an -j/- jj {ft. The student will notice that there is an obvious omission of a [~j fromthe second note of the second bar in each of the four upper String-parts. The first of the quavers must, of, course, be attacked \~\. Another and even better example of consecutive down-bows is to befound in the familiar passage from Tschaikowskys Pathetic Symphony.(Ex. 222.) Successions of up-bows of a character corresponding tothe passages given are wholly unknown to the String-technique. (2) The Martelex or hammer-stroke is done at the point of the actual stroke is a quick alternate push and pull, not too short, butwith an abrupt termination that instantly checks the vibration of thestring. In effect it is hard and mechanical, like the strokes of ahammer on an anvil. 1 Italian, Martellato. The French also call this stroke DefacM sec (dry detache). THE VIOLIN 341 EXAMPLE 222. Allegro molto vivace V n n n Tschaikowsky. Pathetic Symphony.^ n n
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