8:42 AM
@Robusto I'm talking about staccato. Especially Mr Heifetz's staccato. Where the bow is jumping extremely hectically and yet is so controlled, in every part of the bow, that it appears to be completely glued to the string. Even when it plays like a dozen notes in rapid succession. At the bow tip.
As in, I can't really play it yet, but I do have to practice it already.
Staccato is in like 0.01% of the repertoire. So even orchestra musicians don't practice it very heavily. And certainly not to the level of Heifetz.
Spiccato is like, you half-throw your bow at the string though not really, in a rather generous arc, back and forth, only playing one tone at a time. Like a grandfather's clock's pendulum, albeit faster. It's much more controllable, and you usually do it in just one specific part of the bow, where you have the most control. The bow comes from above and one side, touches the string, and goes up again. It may or may not look like much from the side, but it always feels like a generous arc.
And now I have said "like" so often I shall hang my head in shame and go back to the Valley.
Anyway, the bow is constructed such that it is extremely jumpy by design. So making it jump is not the hard part. The hard part is to make it stop again.
It wants to shake, and the moment it starts shaking, you lose all control. It becomes impossible to even play one long held note. Let alone play twenty, in quick succession, in sync with the left hand, and in time.
So, for example, in ricochet, which sounds very similar to this, yet is a completely different technique, you just throw the bow at the string, and let it jump. It sounds very brilliant and exciting. But you don't really know how many notes you'll get, and at what rhythm and tempo. It is a box of chocolates.
Here every note is on the page, and every note needs to be played, in time, but not a note more.
And yes, everything I just said is a bit oversimplified, but just a bit. I'd actually want to oversimplify it much more. But it is difficult.