fusion 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 }
_Avec sourdine_ } (affix the mute to the bridge)

_Senza sordino_, or }
_Sans sourdine_ } (remove the mute)

_Divisi_ (_div._) (divide, _i.e._, let some of the players
take one of the two tones indicated and the remainder of them
the other one. This direction is of course used only in case
two or more notes appear on the staff for simultaneous
performance. It is customary to divide such passages by
having the players seated on the side next the audience take
the higher tone, while the others take the lower. If the
section is to be divided into more than two parts, the
conductor must designate who is to play the various tones.)

[Sidenote: SCORE READING]

Reading an orchestral score is a matter for the professional rather
than for the amateur; and yet the great increase during recent years
in the number of amateur orchestras probably means that more and more
of these groups will continue their practice until they are able to
play a more difficult class of music--this involving the necessity on
the part of their conduct