In Example 48_a_ the upper arm should move backwards and forwards (the elbow must not project) the bow being thrown on the upper string by the wrist as previously explained. The student should play an arpeggio phrased as above, at the same time carefully analyzing each arm and wrist movement; he will thus realise the importance of utilising every movement to assist in giving a quiet and finished performance.
Example 49_a_ should be played with alternate down and up-strokes, commencing with the down bow near the heel; the bow should be drawn say one fourth part for the two lower notes, then the hand--from the wrist, should be rapidly raised, so that the bow leaves the G string and touches the A, using another fourth part of the bow for the two upper notes. The second chord commences with the up-bow, at the middle.
A good, broad effect is generally intended with this kind of bowing. To produce this, only the slightest possible gap must be allowed in changing the bow from one string to another, thus giving the impression that two notes are constantly being sounded; sufficient pressure must be applied to the bow to cause the whole width of the hair to touch the strings, and an equal division allowed for each part of the arpeggio.
It is possible to produce a very brilliant, heavy effect with the bowing at Example 49_b_; it should be commenced with the up-bow near the heel, using a very heavy spiccato stroke, the two upper notes receive a down stroke. It is also possible to execute it commencing with the down-stroke, but if played in this manner it is difficult to get sufficient power on the two upper strings, as well as more time being wasted in changing the bow from the down-stroke to the up-stroke (see explanation of Example 48_a_).
The bowing at Example 49_c_ is a style of phrasing which one often comes across, especially in brilliant solo pieces; it is sometimes wrongly written as Example 49_d_, that is, with three spiccato notes to each bow; if executed in this manner it is safe to say that the effect will be exceedingly tame. In solos, concertos, etc., and for heavy passages in chamber music, it will be necessary to give the first note of each group a heavy down-stroke (spiccato), the remaining two notes being played with the up springing-bow; in this manner the strokes are all given near the heel of the bow, the metrical accent on the first note of each group being effectively produced with the heavy down-stroke.