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38
SECOND PART.
3. The detached hammered (martellato) bowing. This stroke is chiefly made at the point of the bow, which must not leave the string. With every note the stick is pressed or pushed by the thumb in the direction of the index finger, so that each tone is sharply cut out, but with a musical quality. The up strokes must receive a stronger pressure.
This bowing can also be played at the nut end, and of course entirely with the wrist, which must be held lightly over the strings. The elbow must be tolerably close to the body. The martele bowing is an excellent preparatory study for staccato, which is really only one out of a number of martele notes taken in one bow.
4. Detached stroke with the fore-arm. As indicated by its name, is executed by the fore-arm and the wrist, and from the middle to the point of the bow. The upper arm must remain quite still. In this bowing no pause must be made between the notes, but they must be con­nected easily and agreeably together.
5. The "skipping" stroke. This stroke is made at the middle of the bow, which must be lightly held be­tween the fingers and controlled by the wrist. The stick is made to vibrate strongly, whereby the bow is caused to move up and down. It is difficult to attain an agree­ment between the placing of the fingers and the skipping movement of the stick, for which reason this bowing must first be practised on one note: —
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