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| bowing the string with the wood side of the bow |
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| on the string staccato (requires a hard jerking arm motion) |
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| bowing slightly over the fingerboard for a muted flute-like quality |
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| strumming the strings with the fingers- like a guitar |
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| the alternating of up-bow, down-bow (a separate bow stroke for each note) |
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| (thrown bow) playing back and forth across all 4 strings |
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| tapping the string with the wood side of the bow |
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| is indicated by a slur mark; all notes within the slur should be played with a single bow stroke |
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| a more extreme form of sul tasto combined with tremolo |
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| bowing near the bridge for a metallic-raspy sound |
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| the least powerful string on the violin |
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| the designation that would refer to a passage played entirely on the G string |
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| typical number of players found in a Violin I section |
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| T/F most violin music requires using only one string per phrase |
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| T/F it is possible to play a unison “stopped” and “open string” pitch at the same time |
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| the famous glissandi natural harmonics in the score Stravinsky’s Firebird are all found on which string? |
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| T/F it is possible to stop all four strings with a single finger (by playing perfect fifths) |
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| T/F open strings are never used for double stops |
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| it is possible to obtain an artificial harmonic by lightly pressing the string at what interval above a given note (other than a 4th) |
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| a good range limit for writing melodies on the G string (as given by your text) would be (calulated above the open G string) |
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| T/F the fingering of the viola is identical to that of the violin |
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| which string of the viola has a strikingly different timbre from the other three |
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| Mozart and Haydn would have expected their orchestras to contain about how many violas? |
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| T/F while violas differ in varying sizes from violins, viola bows are in fact identical to violin bows |
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| T/F viola players must be able to read in both alto and treble clefs |
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| the modern orchestra typically consists of how many viola players |
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| T/F the longer the string the less of an effect a pizzicato note will have |
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| composer Alban Berg notated a pizzicato “over the fingerboard” with the term |
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| Berg notated a pizzicato “near the bridge” with the term |
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| T/F artificial harmonics are not used due to the awkward and difficult finger stretch (of a fourth) that would be required |
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| T/F fingered tremolo’s larger than a major third are not playable on cello |
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| T/F it is a good idea for cellos never to double the basses at the unison |
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| all intervals within the range of an octave except ( ) are playable as double stops |
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| plucked harmonics on the cello resemble those of what instrument |
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| the cello strings which are the most similar in sound quality are the |
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| the normal cello bow is how many inches in length |
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| orcehstrally-cellos are usually given melodies on which string |
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| T/F pizzicato chords onc cello are not possible (unlike violin and viola) |
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| T/F the standard notation for changing cello bowing direction is with a plus or minus sign |
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| T/F four part chords (especially arpeggiated) are encounted more frequently than any other |
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| T/F there are two possible meanings of divisi a 2. one meaning is to divide between the first and second violins |
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| the german expression die halfte means what |
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| the instrumentation of Stravinsky’s Symphony of Psalms requires what string instruments only |
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| in terms of score layout there are two possible meanings of bassi; one means double-basses, the other refers to |
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| the normal score placement of a solo instrument (now) is where? |
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| in the Bach Keyboard concertos, the solo part is located where in the score |
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| at the bottom of the score |
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| T/F double-bass natural harmonics are impractical for orchestral purposes |
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| T/F in general, pizzicato and other special effects resonate better on the double-bass than on the other string instruments |
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| T/F unlike the cello, the double-bass uses only bass and tenor clefs |
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| T/F double bass harmonics (in treble clef) are notated at their actual pitch |
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| T/F the double basses are never muted |
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| a safe upper limit for double-bass writing is how far above the G string |
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| intervals playable as double stops (aside from those using an open string) are |
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