, the lower; or else the
musician on the right-hand of each desk plays the top line, the one on
the left the bottom line. Dividing by threes is less easy, as the
number of players in one group is not always divisible by three, and
hence the difficulty of obtaining proper balance. Nevertheless there
are cases where the composer should not hesitate to employ this method
of dividing the strings, leaving it to the conductor to ensure
equality of tone. It is always as well to mark how the passage is to
be divided in the score; Vns I, 1, 2, 3 desks, 6 'Cellos div. a 3,
and so on. Division into four and more parts is rare, but may be used
in _piano_ passages, as it greatly reduces volume of tone in the group
of strings.

_Note._ In small orchestras passages sub-divided into many
parts are very hard to realise, and the effect obtained is
never the one required.

String parts may be divided thus:

_a_ {Vns I div. _b_ {Vns II div. _c_ {Violas div. _d_ {'Cellos div.
{Vns II div. {Violas div. {'Cellos div. {D. basses div.

Possible combinations less frequently used are:

_e_ {Vns I div. _f_ {Vns II div. _g_ {Violas div.
{Violas div. {'Cellos div. {D. basses div. etc.

_Note._ It is evident that the tone quality in _b_ and _e_
will be similar. Still _b_ is preferable since the number of
Vns II (14-10-6) and Violas (12-8-4) is practically the
same, the respective roles of the two groups are more
closely allied, and from the fact that second violins
generally sit nearer to the violas than the first, thereby
guaranteeing greater unity in power and execution.

The reader will find all manner of divisions in the musical examples
given in Vol. II. Where necessary, some explanation as to the method
of dividing strings will follow in due course. I dwell on the subject
here in order to show how the usual composition of the string quartet
may be altered.

Stringed instruments possess more ways of producing sound than any
other orchestral group. They can pass, better than other instruments
from one shade of expression to another, the varieties being of an
infinite number. Species of bowing such as _legato_, detached,
_staccato_, _spiccato_, _portamento_, _martellato_, light _staccato_,
_saltando_, attack at the nut and at the point, [symbol: down bow] and
[symbol: up bow] (down bow and up bow), in every degree of tone,
_fortissimo_, _pianissimo