In addition, some players have acquired the trick of playing fast pizzicato passages using two alternating fingers of the right hand. Players continue playing pizzicato until there is an indication to return to arco (playing with the bow). There are two common positions for playing pizzicato. One is to clench the bow in the right hand, rest the right thumb on the right side of the finger board, then pluck the string.
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An image of someone playing pizzicato on a double bass. On the cello, pizzicato is also done this way but often requires less flesh of the finger to pluck the strings, which are thinner and have less resistance than those on a bass. In pizzicato playing, the string is plucked directly with the fingers or thumb rather than being played with the bow. Pizzicato is often abbreviated as "Pizz.".
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The opening section is for orchestra only and features muted strings. The first violins play with a dreamlike melody over an accompaniment consisting of second violins and violas playing repeated-note triplets and the cellos and bass playing pizzicato arpeggios. All of the main melodic material of the movement is contained in this orchestral introduction, in either F major or F minor. The second section introduces the solo piano and starts off in F major.
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In general, very loud, low-register passages are played with little or no vibrato, as the main goal with low pitches is to provide a clear fundamental bass for the string section. Mid- and higher-register melodies are typically played with more vibrato. The speed and intensity of the vibrato is varied by the performer for an emotional and musical effect. In jazz, rockabilly and other related genres, much or all of the focus is on playing pizzicato.
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The John Coltrane Quartet Plays (full title The John Coltrane Quartet Plays Chim Chim Cheree, Song of Praise, Nature Boy, Brazilia) is an album by jazz musician John Coltrane, recorded in February and May of 1965, shortly after the release of A Love Supreme. The tracks recorded in February feature two bass players (Jimmy Garrison and Art Davis), and are a continuation of experiments begun by Coltrane in 1961 involving multiple basses, often with one playing arco and the other playing pizzicato.
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His last performance was in London in 1895. Armanini's success in England was mixed; the journals of the time stated that his cadenzas and improvisations were little short of marvellous. However, it also called him a "maestro of the very highest order"—"an artist without an equal as an executant, he had no rival, and probably will have no successor, his scale passages, part playing, pizzicato, double stopping with left hand, and marvellous rapidity proclaimed him the Paganini of the mandolin." In 1895 he retired from public life and lived at Bordeaux.
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The dihu family was developed for orchestral use in the 1930s as lower members of the erhu family (the erhu being the soprano member and the zhonghu being the alto member) to increase the pitch range of the instruments used in a Chinese orchestra and allow music with harmony to be played. However, by the late 20th century it had largely fallen into disuse, part of the reason being that it is unwieldy to play. Also, the fact that (like other instruments in the huqin family) the bow passes between the instrument's two strings means that playing pizzicato is difficult; thus, the larger four-string gehu and diyingehu (or cello or double bass) are generally used in Chinese orchestras for the lower bowed string voices instead.
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The dahu was developed in the 1930s as the tenor member of the erhu family (the erhu being the soprano member and the zhonghu being the alto member) to increase the pitch range of the instruments used in a Chinese orchestra and allow music with harmony to be played. However, by the late 20th century it had largely fallen into disuse. Part of the reason for this is that it is unwieldy to play. Also, that (like other instruments in the huqin family) the bow passes between the instrument's two strings means that playing pizzicato is difficult; thus, the larger gehu and diyingehu, laruan (or cello or double bass) are generally used in Chinese orchestras for the lower bowed string voices instead.
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Rather than affirming the tonic of C minor, however, Brahms takes the recapitulation in a different direction: the opening section again ends on a dominant pedal on G with the violin and viola playing pizzicato octaves on E, but the E is used to turn the music to E minor. Chromatic descent is employed to bring the music to a half-cadence on D, leading to the second theme in G major. This is perhaps the only sonata form movement in the minor mode in which the recapitulation features the second subject in the key of the major dominant. The second theme is first stated by the viola, which is then followed by three new variations (the first being played by the violin, the second and third by the piano), and one of the same variations as the exposition.
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