one beginning on a strong beat has a down-bow; but this principle has many exceptions. It is perhaps needless to state that correct phrasing in the case of the stringed instruments depends upon the employment of suitable bowing; and since the first violin part is most prominent and most important in orchestral music, it becomes the business of the conductor to observe most carefully the bowing of his concert-master and to confer with him about possible changes in bowing wherever necessary. It will save a great deal of confusion if players understand that the bowing is to be exactly as indicated in the score unless a change is definitely made. The first player in each group in point of position on the platform is called the "principal," and is supposed to be the most skilful performer in that section; and he is responsible, in conference with the conductor when necessary, for selecting the best bowing, et cetera, all others in the group watching him, and all phrasing as he does. In actual practice, this means that the players at the second desk bow like those at the first, those at the third desk follow those at the second, et cetera. Absolute uniformity is thus secured in each section. It should perhaps be remarked at this point that when different groups are playing the same phrase, e.g., violoncellos and basses, or second violins and violas, the bowing must be uniform in the two sections, if absolute uniformity of phrasing is to result.
In addition to the bowing signs explained on page 103, the conductor should also be familiar with certain other directions commonly found in music for stringed instruments. Some of the most important of these, together with their explanations, are therefore added.
| Pizzicato (pizz.) | (pluck the string instead of bowing) |
| Col arco (or arco) | (play with the bow again) |
| Con sordino, or | (affix the mute to the bridge) |
| Avec sourdine | |
| Senza sordino, or | (remove the mute) |
| Sans sourdine |
