Pizzicato.
Although capable of every degree of power from ff to pp, pizzicato
playing has but small range of expression, and is used chiefly
as a colour effect. On open strings it is resonant and heavy, on
stopped strings shorter and duller; in the high positions it is rather
dry and hard.
Table D on page 31 indicates the range in which pizzicato may
be used on each stringed instrument.
In the orchestra, pizzicato comes into operation in two distinct
ways a) on single notes, b) on double notes and chords. The
fingers of the right hand playing pizz. are far less agile than the bow;
pizz. passages therefore can never be performed as quickly as those
played arco. Moreover, the speed of pizzicato playing depends upon
the thickness of the strings; on the double basses, for instance,
it must always be much slower than on the violins.
In pizzicato chords it is better to avoid open strings, which
produce a more brilliant tone than of covered strings. Chords of
four notes allow of greater freedom and vigour of attack, as
there is no danger of accidentally touching a wrong note. Natural
harmonics played pizz. create a charming effect; the tone is weak
however, and they are chiefly successful on the violoncello.
