Hubbry Logo
SpiccatoSpiccatoMain
Open search
Spiccato
Community hub
Spiccato
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Spiccato
Spiccato
Spiccato
View on Wikipedia
from Wikipedia

Spiccato [spikˈkaːto] is a bowing technique for string instruments in which the bow appears to bounce lightly upon the string. The term comes from the past participle of the Italian verb spiccare, meaning "to separate". The terms saltando and sautillé describe similar techniques.[1]

David Popper: Elfentanz
David Popper's "Elfentanz" is a perpetuum mobile piece for cello and piano consisting of continuous spiccato. Hans Goldstein, cello, Mellicia Straaf, piano.
Problems playing this file? See media help.
Ezra Jenkinson: Elfentanz
A simple piece by Ezra Jenkinson for violin and piano with the same title and using the same effect. Bernard Chevalier, violin, Marsha Chevalier, piano.
Problems playing this file? See media help.

Technique

[edit]

In typically consistent rhythms (of quavers or semiquavers, or quicker repeated sounds), the bow is held in a more relaxed manner and allowed to bounce, resulting in a series of short, distinct notes. This occurs because of the elasticity of the string and the natural springiness of the bow. The ability to create the effect is largely tempo-dependent. In slower tempos, a spiccato can also be manufactured using the fingers and wrist to deliberately manipulate how the bow falls to the string.

The speed with which the spiccato is performed depends on bow placement. At the balance point – about a third from the frog – the spiccato will be slow, while above the middle of the bow the speed will increase. The speed can also be controlled by varying the height of the bow above the string: the higher the bow bounces, the longer the time required for the bow to return to the string, and therefore the slower the resulting spiccato.

The character of the spiccato can be varied by altering the tilt and placement of the bow to use more or fewer hairs. When using the full bow hair, the bow bounces more and has a shorter character, while when the bow hair is angled, the character of the spiccato becomes more mellow and longer.

History

[edit]

The terms spiccato and staccato were regarded as equivalent before the mid-18th century. For example, in Sébastien de Brossard's Dictionnaire de musique, 1703 and Michel Corrette's L'École d'Orphée, 1738, it meant "simply detached or separated as opposed to legato".[2]

The distinctive use of the term spiccato for the bouncing bowstroke emerged in the later 18th century. Although it was an important technique for 19th-century violinists, its use increased significantly in the 20th century.

The ability to perform spiccato was facilitated by the development of the Tourte bow – the modern bow, in which the bow had a concave curve, developed by François Tourte partly in collaboration with Giovanni Battista Viotti.[3]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Spiccato

View on Grokipedia
from Grokipedia
Spiccato is a technique employed on string instruments such as the , viola, , and , characterized by the bow bouncing lightly and rapidly on the strings to produce a series of short, detached, and articulated notes. The term derives from the Italian word spiccare, meaning "to separate" or "to detach," reflecting the off-the-string motion that creates a lively, staccato-like effect distinct from smoother bowings. This technique typically involves using the middle to lower half of the bow, with the player allowing the natural rebound of the bow hair to lift it off the between each note, enabling fast passages in allegro movements. Spiccato differs from related techniques like , which keeps the bow on the with abrupt stops for detachment, and sautillé, a faster variant played closer to the middle of the bow with minimal height. In notation, it is indicated by dots above or below notes or the explicit marking "spiccato," though performers must interpret the precise articulation based on and musical context. Historically, spiccato emerged during the period (circa 1600–1750) as advanced, allowing for greater expressive variety in articulation, and was further refined in the Classical and Romantic eras through explicit notations by composers. Notable early examples appear in works by Antonio Vivaldi and Johann Sebastian Bach, while later composers like , , and prominently featured it to enhance rhythmic vitality and textural contrast. Iconic pieces include Haydn's Symphony No. 94 ("Surprise") and Paganini's Caprice No. 9 from his 24 Caprices. Mastering spiccato requires control and evenness developed through practice. Today, it remains a cornerstone of pedagogy and performance, essential for conveying precision and bounce in repertoire across genres from classical to contemporary.

Fundamentals

Definition

Spiccato is a specialized technique employed on bowed instruments, including the , viola, , and , in which the bow is dropped lightly onto the string and allowed to rebound rapidly, creating a series of short, detached notes with crisp articulation. This method produces an off-the-string bounce, where each note is articulated separately through the bow's brief contact with the string, resulting in a lively, punctuated sound ideal for fast passages. The technique relies on the natural elasticity of the bow hair and the tension of the to facilitate , enabling the bow to lift off the between strokes without excessive force from the player. Visually, the motion appears as a series of quick, controlled arcs as the bow hovers slightly above the ; aurally, it yields bright, separated tones that emphasize rhythmic precision and clarity. Distinct from general staccato bowing, which achieves detachment by shortening the note duration while maintaining continuous bow contact with the , spiccato specifically incorporates this actual rebound and lift-off for a more pronounced, bouncy effect.

Etymology

The term spiccato derives from the Italian verb spiccare, meaning "to separate" or "to detach," which reflects the technique's emphasis on articulated separation of notes. Its first documented musical usage appears in early 18th-century sources, with the earliest known reference dating to circa 1724. It evolved from broader markings that denoted detached playing. In Italian treatises of the period, such as de Brossard's Dictionnaire de musique (1703), spiccato and were often treated as equivalents, both indicating notes played distinctly rather than . By the mid-18th century, as seen in Michel Corrette's L'École d'Orphée (1738), the term was used to indicate simply detached or separated notes. Standardization in emerged concurrently, with spiccato commonly indicated by dots above or below notes—shared with —or by explicit instructions like "spiccato" in scores to specify the bouncing articulation. This convention solidified in 19th-century practice, aligning the term with its detached sonic effect. The Italian origin influenced multilingual terminology, with the French using spiccato similarly and the German term Spiccato often synonymous, while Springbogen refers to the related sautillé technique for the springing bow.

Performance Technique

Execution

Executing spiccato requires a relaxed bow hold that emphasizes flexibility in the and fingers to facilitate the bow's natural rebound off the . The bow is grasped lightly, with bent and serving as a fulcrum beneath the stick, the pinky relaxed and curved rather than rigid, and all five fingers loose to allow subtle adjustments without tension. This setup enables the to pronate slightly—approximately two millimeters, akin to turning a doorknob counterclockwise—promoting fluid motion and preventing stiffness that could disrupt the bounce. Bow placement on the stick varies with tempo and desired speed: for slower passages, position nearer the frog to produce broader, more controlled bounces; for faster tempos, shift above the middle, toward the balance point about one-third from the frog, where the bow's natural elasticity supports quicker rebounds. The height of each bounce directly influences rhythm and velocity—higher drops yield slower, more deliberate eighth notes, while lower, tighter bounces enable rapid sixteenth-note patterns, with gravity aiding the descent and ascent for consistency. Tone in spiccato is adjusted by varying bow hair contact: full, flat hair engagement across the generates brighter, shorter notes with enhanced articulation; tilting the bow to angle the hair reduces contact, yielding a softer, more rounded sound suitable for nuanced expression. This tilt, achieved by twirling slightly between thumb and middle finger, fine-tunes the stroke's intensity without altering rebound dynamics. The technique's physical principles hinge on the interplay of bow hair tension, string elasticity, and to produce reliable, rhythmic bounces. Tension in the hair stores and releases energy during each contact, while the string's elasticity propels the bow upward; then pulls it back down, creating a self-sustaining cycle of detachments ideal for even rhythms like eighth or sixteenth notes. Musicians coordinate arm, wrist, and finger motions to harness the bow's inherent bounce at its balance point, ensuring clear pitch and controlled duration through minimal horizontal swing if needed.

Variations

Spiccato encompasses several variations that adapt the core mechanism to different tempos, articulations, and musical demands, primarily through adjustments in bow lift, speed, and contact with the string. Sautillé represents a lighter, faster iteration of spiccato, characterized by minimal bow lift where the bowhair remains in near-constant contact with the string while the stick bounces rapidly, typically executed in the middle of the bow at speeds exceeding = 100 for sixteenth notes. This passive technique relies on the bow's natural resiliency rather than active impulses per note, allowing for high-velocity passages up to around 600 beats per minute on thinner strings. Saltando, also known as , involves multiple uncontrolled bounces within a single bow stroke, often producing 2 to 20 notes after an initial impulse, and is suited for rapid, arpeggiated or scalar passages. Performed primarily on the down-bow near the tip, this variation emphasizes the bow's natural rebound for a series of crisp, separated attacks, with the number of bounces controlled by finger pressure and drop height. Heavy spiccato contrasts lighter forms by incorporating a more pronounced lift and greater vertical impulse, resulting in emphatic, grounded articulation often played near the frog for increased weight and projection. This variation suits forte dynamics and rhythmic drive, as in orchestral accents, where the bow is actively thrown onto the string for each note to achieve a percussive quality. Instrument-specific adaptations of spiccato arise from differences in length and tension, with cellists employing shorter bow compared to violinists to accommodate the longer vibrating strings (approximately 70 cm on versus 33 cm on ), which demand adjusted and for effective bounce. On , thicker lower strings like the C string slow the rebound, requiring more deliberate impulses, while the overhand bow hold facilitates greater control in these variations than the violin's underhand grip.

Historical Development

Origins

In the early and before, the terms spiccato and were often used interchangeably in musical treatises to describe detached or separated bow strokes on the , without distinguishing between on-string and off-string articulations. Sébastien de Brossard's Dictionnaire de musique (1703) defines staccato as dry, pointed notes executed with a separated bow, equating it to spiccato as a synonymous term for such detached playing. Similarly, Michel Corrette's L'école d'Orphée (1738), a method blending French and Italian styles, employs spiccato to indicate short, articulated notes akin to staccato, emphasizing even bow distribution for crisp separation without implying bounce. These usages reflect a broader pre-18th-century practice where the terminology focused on rhythmic detachment rather than specific bow rebound. Early notational evidence of proto-spiccato appears in Baroque scores through dotted rhythms and staccato dots, suggesting intended light, separated strokes that prefigure the technique's development. Antonio Vivaldi's Concerto Grosso in D minor, Op. 3 No. 11 (RV 565, published 1711), includes markings such as "Adagio e spiccato" in the second movement and "Largo e spiccato" in the fourth movement, directing performers to play with detached articulation using dots over notes, which implied a proto-spiccato effect on the lighter Baroque bows of the era. Such notations in Vivaldi's works encouraged a buoyant, off-string quality in fast passages, though still conflated with general staccato practices. By the mid-18th century, spiccato began to emerge as a distinct technique in the Italian and French schools, particularly among players seeking greater expressivity in rapid passages. In the Italian school, articulated advanced through concertos and sonatas, where short, bounced strokes allowed for virtuosic flair beyond mere detachment. French violinists integrated Italian influences in their compositions, employing and detached separations to blend lyrical elegance with energetic articulation in works like the violin sonatas Op. 9 (c. 1734). This recognition marked spiccato's shift toward an off-the-string bounce, though full differentiation from solidified later. Pre-Tourte bow designs, prevalent until the late 1700s, imposed limitations on spiccato's full expression due to their convex shape, lighter heads, and absence of a for hair tension control, which favored inflected, non-legato strokes over controlled rebound. These transitional bows—typically 58–70 cm long with variable camber—enabled articulate detachment in and early Classical repertoire but restricted the sustained bounce and speed required for advanced spiccato, as noted in period descriptions of mechanics. Only with evolving bow forms in the late did performers achieve greater precision in the technique.

Evolution

The development of the spiccato bowing technique advanced significantly in the late 18th century with the introduction of the Tourte bow, which featured a concave stick and a balanced frog that allowed for greater control over the bow's bounce and rebound. This innovation, refined by bow maker François Tourte between 1775 and 1780 in collaboration with violinist Giovanni Battista Viotti, transformed string playing by enabling more precise off-string articulations essential to spiccato. The bow's design—approximately 74-75 cm in length with a center of gravity about 19 cm from the frog—facilitated elastic responses that supported techniques like détaché, sautillé, and controlled bouncing, marking a shift from earlier, less versatile bows. By the , spiccato reached its peak as a staple in Romantic violin repertoire, benefiting from the of the Tourte model and growing emphasis on expressive . Violinist and composer Pierre Baillot formalized its execution in his 1834 treatise L'Art du Violon, describing methods for dividing the bow to achieve clear, separated notes through controlled impulses and elasticity. Similarly, Louis Spohr's Violinschule (1832) codified spiccato as a novel advancement, integrating it into pedagogical exercises that emphasized short, bouncing strokes for dynamic contrast and speed. These s reflected the technique's widespread adoption, as violinists leveraged the modern bow to explore broader tonal and articulatory possibilities in works by composers like Beethoven and Paganini. In the , spiccato evolved further through its integration into modernist music, where composers demanded heightened precision and speed in complex, atonal contexts. refined understanding of its mechanics, such as Knut Guettler and Anders Askenfelt's 1997 study on the kinetics of spiccato bowing, which analyzed bow-string interactions, rotational modes (dominant at 13, 130, and 150 Hz), and factors like grip firmness and impact point influencing bounce stability. These investigations highlighted how the technique's vibrational properties supported rapid articulations in avant-garde pieces, building on earlier foundations to accommodate extended playing demands. Modern bows continue to support versatile articulations, allowing performers greater flexibility in achieving detached and bouncing effects across various speeds and styles.

Applications

In Repertoire

In Baroque music, spiccato appears both explicitly and implicitly in violin repertoire, particularly in the fast passages of concertos and sonatas by composers such as Arcangelo Corelli and Antonio Vivaldi. Corelli's Violin Sonatas, Op. 5, feature rapid allegro and vivace movements that demand articulated, detached bowing akin to early forms of spiccato to achieve the required lightness and precision, as evidenced by the technical demands in pieces like the Sonata in D minor, Op. 5 No. 12 ("La Folia"). Vivaldi more overtly incorporates the technique, marking "e spiccato" in movements of his concertos, such as the Largo e spiccato from the Concerto in D minor, RV 565, where it creates a detached, rhythmic contrast within the string ensemble. During the Classical and Romantic eras, spiccato gained prominence in orchestral and solo contexts, with explicit notations enhancing rhythmic vitality in string writing. In Ludwig van Beethoven's symphonies, such as the Symphony No. 5, the string sections employ spiccato bowing in passages like the second movement's variations to produce crisp, energetic articulations that support the work's dramatic structure. Felix Mendelssohn's Violin Concerto in E minor, Op. 64, integrates spiccato extensively in its solo violin passages, notably in the third movement's bariolage sections, where the bouncing bow combines with string crossings for a sparkling, virtuosic effect. Spiccato's application differs between orchestral ensembles and solo or chamber settings, adapting to the instrument's role and the music's scale. In orchestral string sections, particularly for cellos and double basses, spiccato often involves broader, more unified strokes to provide rhythmic foundation and drive, as seen in Beethoven's symphonic writing where lower strings articulate punctuating figures collectively. Conversely, solos demand intricate, controlled spiccato for expressive detail, while chamber adaptations, such as in Mendelssohn's arrangements, balance precision with ensemble cohesion to maintain clarity across parts. The saw spiccato expand into diverse genres, including scores and modernist compositions, where it contributed to varied articulations for dramatic tension and rhythmic complexity. Igor Stravinsky's ballet suites, like the Pulcinella Suite, utilize spiccato in passages—such as bar 35 of the third movement—to evoke playful, bounced articulations that enhance the neoclassical style. In music, spiccato became a staple for underscoring action and , with short, detached notes building urgency in orchestral cues, reflecting its evolution from classical precision to cinematic intensity.

Notable Examples

One of the most iconic demonstrations of spiccato appears in Niccolò Paganini's 24 Caprices for Solo Violin, Op. 1, particularly in Caprice No. 24, where rapid, bouncing bow strokes highlight articulation in its variations, demanding precise control for the lively, detached sound. Similarly, the third movement of Felix Mendelssohn's Violin Concerto in E minor, Op. 64 features a challenging spiccato passage that combines string crossings with off-the-string bounces to create energetic, rhythmic drive. Prominent performers have showcased spiccato through masterclasses and recordings that emphasize its expressive potential. , in his teaching, describes spiccato as a controlled bow bounce ideal for lively passages, demonstrating it alongside sautillé for varying tempos and dynamics in advanced repertoire. employs fast, bouncy spiccato in her interpretation of Samuel Barber's Violin Concerto, Op. 14, particularly in the outer movements, where it contributes to the work's rhythmic vitality and precision. Historical violinist , a key figure in 19th-century performance practice, incorporated spiccato and related off-string techniques like in his compositions and recordings, such as early 20th-century captures of works by Brahms, reflecting the era's emphasis on articulated for clarity and energy. In modern contexts, spiccato extends beyond classical boundaries into through string adaptations that blend bouncing articulations with improvisational rhythms; violinist Christian Howes, for instance, adapts classical off-string strokes like spiccato variants for enhanced rhythmic precision in eclectic settings. Pedagogically, contemporary teaching leverages video analysis and apps for bow control, such as Violy, which provides real-time feedback on intonation and stroke execution to refine spiccato's bounce and evenness during practice. Empirical research has informed these approaches, notably Knut Guettler's 1997 study on the kinetics of spiccato bowing, which analyzed bow motion components—vertical bounce and horizontal travel—to establish parameters for consistent off-string contact, influencing current methods for achieving stable articulation at varying speeds.

References

  1. https://www.masterclass.com/articles/violin-101-what-is-spiccato
  2. https://violinspiration.com/spiccato/
  3. https://firststrings.com.au/blogs/blog/origin-of-spiccato-bowing
  4. https://www.justviolin.org/violinbowtechniques.html
  5. https://www.thestrad.com/improve-your-playing/spiccato-and-sautille-two-important-bow-strokes-which-are-often-confused/13970.article
  6. https://violinlounge.com/article/spiccato-bowing-on-the-violin/
  7. https://www.violinist.com/discussion/archive/3397/
  8. https://amorimfineviolins.com/our-blog/violin-bow-techniques/
  9. https://music.stackexchange.com/questions/75599/in-violin-how-do-you-know-if-you-should-play-staccato-or-spiccato
  10. https://www.meghanfaw.com/advanced-violin-lessons/staccato-spiccato-sautille
  11. https://www.merriam-webster.com/dictionary/spiccato
  12. https://www.dictionary.com/browse/spiccato
  13. https://essaysonmusic.com/historical-terms-related-to-inegalite-inequality/
  14. https://ccrma.stanford.edu/~cc/pub/pdf/simPerfBowInst.pdf
  15. https://stringsmagazine.com/different-strokes-connecting-spiccato-to-the-physics-of-the-bow/
  16. https://kennedyviolins.com/blogs/education-center/how-to-play-spiccato-bowing-technique-on-violin
  17. https://www.violinna.live/the-1-tip-for-reliable-spiccato/
  18. https://www.violinist.com/discussion/archive/22614/
  19. https://violinlounge.com/how-when-and-why-to-tilt-your-violin-bow-violin-viola-tv-215/
  20. https://violinlounge.com/violin-bowing-techniques/
  21. https://violinlounge.com/18-main-violin-bowing-techniques-with-examples-and-symbols-violin-lounge-tv-479/
  22. https://cellofun.eu/home/cello-blog-encyclopaedia/mechanics-technique/right-hand-string-players/bouncing-bow/
  23. https://kansasmusicreview.com/2017/09/27/teaching-and-learning-spiccato-in-three-stages/
  24. https://www.thestrad.com/playing-hub/7-ways-to-play-perfect-chords/172.article
  25. https://www.celloprofessor.com/beginning-cello-spiccato
  26. https://www.researchgate.net/publication/360298412_8_The_Tourte_Bow_and_its_Effects_on_Instrumental_Technique
  27. http://conquest.imslp.info/files/imglnks/usimg/0/04/IMSLP188855-PMLP145529-Baillot_art_de_violon.pdf
  28. https://www.prestomusic.com/classical/articles/5873--composer-guides-louis-spohr
  29. http://www.knutsacoustics.com/files/Bow-notes--I.O.A-1997-.pdf
  30. https://stringsmagazine.com/the-spiccato-bariolage-passage-of-mendelssohns-violin-concerto-is-one-challenge-among-many/
  31. https://stringsmagazine.com/tips-for-inner-voices-on-mastering-spiccato/
  32. https://www.sydneysymphony.com/uploads/images/Teachers-Kits/2024/STRAVINSKY_Pulcinella-Suite_Meet-the-Music-2024.pdf
  33. https://www.thestrad.com/debate/strings-in-film-leading-screen-composers-discuss-their-use-of-the-broad-string-palette-/7623.article
  34. https://www.masterclass.com/classes/itzhak-perlman-teaches-violin/chapters/advanced-bowing-and-left-hand-techniques
  35. https://www.violinist.com/blog/laurie/20223/29153/
  36. https://stringsmagazine.com/these-pieces-by-joseph-joachim-are-delightful-gems/
  37. https://christianhowes.com/2024/03/01/the-difference-in-classical-vs-jazz-violin-bowing-technique/
  38. https://www.violy.app/blog/2019/12/Violin-Bowing-Guide/
  39. http://knutsacoustics.com/files/on-spiccato-and-ricochet.pdf
Add your contribution
Related Hubs
User Avatar
No comments yet.