The Short

Ex. 4.39. Joachim and Moser, Violinschule, iii. 14
the relationship between different bowings and fingerings in the first of the Kreutzer Etudes (Ex. 4.40,) where the
phrasing could be reinforced by the use of the different tone colours of adjacent strings. With a couple of examples
from Viotti he then illustrated the advantages of synchronizing position changes wherever possible with phrasing
groups (Ex. 4.41.) 299
Ex. 4.40. Joachim and Moser, Violinschule, iii. 15
Ex. 4.41. Joachim and Moser, Violinschule, iii. 15
ARTICULATION AND PHRASING 165
Only after reviewing these details of articulation and phrasing did he tackle the question of separating larger melodic
units. He dealt first with passages in which the composer had indicated the phrase separation; referring to the opening
of Beethoven's String Quartet op. 18 no. 4 (see Ex. 3.28,) he observed that the staccato marks required the type of
break ‘which one called a “sospir” in the 17th and 18th centuries, whose length therefore was that required by a skilful
singer for taking breath without disturbing the continuity of a melody as a whole’. 300 As illustration of an instance where
the composer had not provided
299
Ibid. 15.
300
Ibid. 15.