PIZZICATO

As mentioned previously, there are two ways to produce sounds on a bowed string instrument. The
first is by drawing the bow of horse hair across the string and the second is by plucking the strings.
Plucking the strings is called pizzicato and is possible on all bowed string instruments.

Normally the string player continues to hold the bow in their right hand while plucking with their
right hand index finger. Plucking a string takes more time than bowing does, so there is a limit to
how quickly a performer can play pizzicato. A good rule of thumb is to write passages to be played
using pizzicato no quicker than 16th notes at Π= 90 beats per minute. Playing pizzicato can be
fatiguing if done at a fast tempo and for long periods of time. Be sure to write in places for the
performers to rest (even occasional quarter rests and eight rests can be helpful) or alternate between
the parts (violin I, violin II, viola, etc.) If the pizzicato passage is long and there is enough time to do
so, the player may opt to place their bow on their lap or on their music stand.

Pizzicato is a frequently used technique. It is notated by the word “pizzicato” or the abbreviation
“pizz.” placed above the notes in the score. The word arco = bow. To indicate the end of the
pizzicato passage and a return to bowing, the word “arco” is placed above the notes in the score.
Remember to give enough time in the score for the performer to switch between pizzicato and arco
playing. Just know that it is easier to go from arco to pizzicato (especially when ending with an up-
bow) than it is to go from pizzicato to arco. Note: Playing pizzicato does not have the same volume
as playing with the bow. The loudest pizzicato is roughly equivalent to a mezzo forte with the bow.

Another thing to take note of when writing pizzicato is the difference in resonating lengths between
open and stopped strings. The resonating time is much longer on open strings than on stopped
strings. Pizzicato on open strings of the violin and viola may resonate for one to two seconds, and
on open strings of the cello and double bass for two to three seconds. Pizzicato on stopped strings
of the violin and viola decay almost immediately, while pizzicato on stopped strings of the cello and
double bass may resonate for half a second to one and a half seconds. Resonating length also gets
shorter and shorter the higher the instrument plays in register. At a certain point the pitches become
very pinched and dry and no longer sound satisfactory. A good guideline for the upper limit of
pizzicato writing is roughly an octave and a 4th above the highest string of the instrument.

Since pizzicato already has a staccato like effect you should never write pizzicato with staccato. If
you want a shorter pizzicato effect with less resonance you should write rests in between the notes
or use pizz. secco. The term “secco”, meaning “dry”, will make your intentions even clearer to the
performer than rests will. When you write “pizz. secco” above the staff the performer will pluck the
string and then immediately dampen the string with the same finger to stop the resonance.

Bowed string instruments can also play pizzicato chords. When a performer encounters a chord
played pizzicato they will strum the chord from bottom to top as an arpeggiated chord (if there are
no other directions).
If the composer or orchestrator wishes the chord to be strummed from top to bottom it should be
notated by an arpeggio symbol with a “down” arrow.

If the composer or orchestrator wishes the performer to alternate the direction of the arpeggiated
chord, this can be notated in either of the following ways.

Listen to examples:

Pizzicato.mp3