. Orchestration . fas marked—with a diminuendo in the 3rd and 4th bars to allow theeffective entry of the 1st Violin melody. See Ex. 241, page 372. In the Cadenza Accompagnata of his Violin Concerto Elgar hasintroduced a new form of pizzicato—the pizzicato tremolando. Theeffect is obtained, not by means of the quick iteration of a single note,but by thrumming the notes of a spread chord Guitar-fashion. Thisthrumming is, of course, done without any rhythmical collusion on thepart of the players. The result is a curious species of tenuto. The earis conscious of the continual movement of the play
. Orchestration . fas marked—with a diminuendo in the 3rd and 4th bars to allow theeffective entry of the 1st Violin melody. See Ex. 241, page 372. In the Cadenza Accompagnata of his Violin Concerto Elgar hasintroduced a new form of pizzicato—the pizzicato tremolando. Theeffect is obtained, not by means of the quick iteration of a single note,but by thrumming the notes of a spread chord Guitar-fashion. Thisthrumming is, of course, done without any rhythmical collusion on thepart of the players. The result is a curious species of tenuto. The earis conscious of the continual movement of the players fingers, but it doesnot dissect out the individual chords any more than it distinguishesthe separate strokes of the hammers in listening to a Dulcimer. 372 ORCHESTRATION EXAMPLE 241. Violins. Double-Basses. (sounding anoctave lower.) Tempo I. (Andante cairtabile.) Tschaikowsky. Eminor Symphony. Pi m §hm*Q^ pizz. ^W & PPf m ^^ *3 ££ P eg jU *3 *-*r- frrf *i j j £s. Hi j ^r^rrr ?Jj ^r *j *r >lj j r^pn^ The quotation (Example 242, page 373) from the Cadenza inquestion will make the method perfectly clear. It should be said thatthe bowed quaver played by the 1st division of the Strings at thebeginning of this bar is omitted in order to save space. The Mute. The use of the Mute for deadening the quality of the Violin seemsto have been known from very early times. Mersenne, in his Har-monie Universelle, draws attention to the fact that, if a key or somesuch object be attached to the bridge, the instrument loses its usualtone-quality. Keys are not employed nowadays for this purpose,though pennies and half-crowns have been pushed in between the THE VIOLIN 373 strings on the tail-side of the bridge as a poor substitute for theproper mute. EXAMPLE 242. Elgar. Violin Concerto. Violin Solo
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