The thicker the string, the slower its reactions, which is why this upper limit is reached earlier on the lower strings. Sautillé is simply a spiccato that is sufficiently fast that the hair of the bow doesn’t actually ever lose contact with the string (as there simply isn’t time). Think of spiccato as a crisp and very intentionally executed single tap of the bow from start to finish, a controlled bounce for a short and delicate note. This is usually only a problem when the distance between the two notes is large: the larger the distance, the greater the vertical string movement as we change from one note to the other. Hence, to make the bow bounce here we actually have to work a lot harder.The frog is good for hammered, loud, and slower spiccato whereas as we move out towards the middle we can do faster and lighter spiccato more easily.
TEMPO (SPEED) Try an experiment. Try the following exercise to experiment with the transition between “manual individual control of each bow placement from the air” and “letting the bow bounce” (spiccato). Typically, when we think of a cello, we imagine a rich, lyrical, legato, melodic (or harmonic) line. In fact here is a funny experiment to try in passages where you want a rapid bounce but are having trouble getting the bow jumping: try keeping the bow really stuck into the string, with lots of weight but with very short, wrist-only bow strokes.
In fact, for most people who want to play the cello, it is music of this character that has most inspired our attraction to the instrument. Simply have the bow poised above one string; let it *fall to the string and catch it on the recoil/rebound. Keep your thumb relaxed, and don't actively lift the bow off the string. Likewise, the best way to ensure that our bow The bowing complications get worse when we try to coordinate bowings with violins and violas. This needs practice and experimentation. readmore. Use your forearm to shape the sound by bouncing the bow on and off the string in a V or U-shape. The harder you try to keep it into the string the more it will bounce ….. beautiful !! We may therefore want to change the bowings. In other words, we play on average a little more than one full bar on each pitch. But this is a perfect anti-bounce mechanism ! We can gradually change from doing the exercise on two strings to only doing it on one (it doesn’t matter if it is the lower or the higher string of the pair) but we need to make surethat we keep the wrist circles going as if we were actually doing the exercise on the two strings. If we gradually increase the speed of a spiccato, we eventually arrive at a point where the hair no longer has time to lose contact entirely with the string and it is here that our spiccato converts into a sautillé. The clockwise wrist movement not only helps the bounce, it is in fact one of the essential ingredient required in order to get the bow bouncing. In this sense, the string is like a diving board, responding faster when it is firmer, and the bow has to choose its placement on the board according to the rigidity it requires for its jumps. In the following excerpt, instead of playing one bar to a bow as in Schumann’s original suggestion (top bowing), we can play two beats per bow (dotted bowing underneath) and thus stay in the upper half always, to avoid the bow shuddder that is provoked by each finger articulation.FOR CELLISTS: AMATEUR, ASPIRING ............... AND CURIOUS
This means that string crossing passages and exercises, when played spiccato, give us a very good “wrist workout”, making our wrist both stronger and more mobile.