Which technique involves playing near the end of the fingerboard to produce a light, airy sound?

Which technique involves playing near the end of the fingerboard to produce a light, airy sound?

• A. sul tasto
• B. martele
• C. detache
• D. ondule

Answer: (A)

Playing near the fingerboard creates a softer, more delicate tone. When you use this approach, the bow contact is gentler and the string isn’t driven as forcefully, so the sound becomes lighter and more airy—often described as flute-like. That specific color comes from staying over the fingerboard, which reduces brightness and projection in favor of a hushed, ethereal timbre. The other terms describe different bowing ideas: martele emphasizes a strong, hammered accent; detache is a clean, separated line without that very delicate color; ondule implies a wavering or undulating effect not focused on producing an airy sound. So the technique that yields the light, airy tone by staying near the fingerboard is sul tasto.

Playing near the fingerboard creates a softer, more delicate tone. When you use this approach, the bow contact is gentler and the string isn’t driven as forcefully, so the sound becomes lighter and more airy—often described as flute-like. That specific color comes from staying over the fingerboard, which reduces brightness and projection in favor of a hushed, ethereal timbre. The other terms describe different bowing ideas: martele emphasizes a strong, hammered accent; detache is a clean, separated line without that very delicate color; ondule implies a wavering or undulating effect not focused on producing an airy sound. So the technique that yields the light, airy tone by staying near the fingerboard is sul tasto.