Spiccato


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Spiccato

 

in music, performed with springing bow; used when playing a bowed stringed instrument.

References in periodicals archive ?
When writing for solo strings Mendelssohn quite frequently used dots under slurs in contexts where he clearly wanted slurred staccato; he also used the same notation for various types of slurred spiccato as well as for portato.
30) Nella sua ricostruzione teologico-giuridica Mazzoni evidenzia come in origine l'aspetto pio rilevante della disciplina penitenziale era la contraddizione del peccato con la santita della Chiesa e come le misure punitive avessero uno spiccato carattere comunitario (Comunione ecclesiale e sanzione, cit.
Il viaggio di conversione in chiave dantesca appare impossibile anche dopo la morte di Laura, come si vede nel sonetto CCCLXV (immediatamente prima dell'ultima canzone); in esso, ritorna il ricordo del volo mai spiccato che causa il pianto: "I' vo piangendo i miei passati tempi/i quai posi in amar cosa mortale,/senza levarmi a volo, abbiend'io l'ale/ per dar forse di me non bassi exempi.
In addition, she will acquire the vocabulary necessary to communicate with string players by studying the legato, detache, spiccato, slurred and hooked bow strokes.
Immaculate bustling spiccato followed breathtaking pianissimos both from soloist and accompanying orchestra.
It betrays its Eastern European origin only in a few details of the writing, as, for example, the glissando thirds articulated in spiccato, a favorite device of Grazyna Bacewicz.
Il gioco intertestuale e metatestuale si fa assai spiccato quando Dolce fa recitare, sempre al Servo, i seguenti versi:
condotte per mano da uno spiccato senso pastorale che ha prevalso spesso sulla componente epistemologica, dei tutto sconosciuta negli ambienti ecclesiastici di buona parte del secolo scorso, ancora pienamente votati all'Apologetica neo-scolastica ed antimodernista .
Brown gives a brief and accurate description of bowing terms and styles to be used--detache, martele, spiccato and so on--as well as practical suggestions for preparation and performance.
Enescu was, by all accounts of those who knew and worked with him, a towering musical genius of our century; there is testimony here from Pablo Casals (who compared him as a musical phenomenon to Mozart--despite being told that his famous spiccato was inappropriate to the playing of Bach), from Leopold Stokowski (who brought him as violinist to the United States as early as 1923, and included him as pianist in the American premiere of Les Noces in 1926), from Alfred Cortot (who apparently believed Enescu's piano technique better than his own), and of course from Enescu's illustrious disciple Yehudi Menuhin.
In a discussion of bowing style, spiccato and staccato are lumped together in a confusing way.