. Orchestration . ngered Tremolo, butwith the omission of the slurs. The word stacc. should be added abovethe part. The effect may be practically shown by an illustration fromAct III. Scene 3 of Wagners Gotterdammerung. It is true that herethe notes are written out at their strict rhythmical values, and, inso far as that goes, the passage may be regarded as a MeasuredTremolo. But that does not make a great difference to the sum totalof the String-effect. The sound of the Strings here immediatelystrikes the imagination, and will be recalled by everyone who hasheard the passage. It may be mentio
. Orchestration . ngered Tremolo, butwith the omission of the slurs. The word stacc. should be added abovethe part. The effect may be practically shown by an illustration fromAct III. Scene 3 of Wagners Gotterdammerung. It is true that herethe notes are written out at their strict rhythmical values, and, inso far as that goes, the passage may be regarded as a MeasuredTremolo. But that does not make a great difference to the sum totalof the String-effect. The sound of the Strings here immediatelystrikes the imagination, and will be recalled by everyone who hasheard the passage. It may be mentioned that the String-parts begintwo bars earlier than the quotation given below, and that they arethere marked staccato. 1 These opening bars have already been quoted above. See Ex. 231. 2 Iphigenie en Tauride, Act III. Scene 4. THE VIOLIN 363 EXAMPLE 234. 3 Oboes and ? £ #3 Clarinetsin unison. 2nd Trumpetin Dt>. 4 Hornsin unison Lebhaft (noch etwas gedrangtei Wagner. Gotterdammerung. 1st Violins 2nd The Col Legno. Besides playing with the hair of the bow, String-players areoccasionally directed to strum the strings wTith the bow-stick not very legitimate effect is usually indicated by the Italian words 364 ORCHESTRATION col legno (or col ligno), that is to say with the wood. In executingthis stroke the player throws the bow-stick on to the strings with ahard mechanical tap in which there is a good deal more wood thanmusic. The bow is not drawn at all either j~] or \J. It follows that nolegato is possible. Isolated notes, small staccato phrases, and littlerhythmical groups in the style of the jete are all that can be attemptedwith the legno. As a rule players perform the stroke with a ratherbad grace, preferring to keep the varnish on their fiddle-sticks andthe hair on their strings—both where they should be. The col legno is little used in serious music. Familiar examples,however, are to be found in the Danse Macabre of Saint Saens, inLiszts Mazeppa,
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