Gian Rinaldo Carli to － From Venice, 21 August 1743
[…] To the depth of your meditations, the merit of so much beauty and of so many phenomena discovered in music is due; among which phenomena, I will always recount the one which you explained to me with so much wisdom and readiness, when two years ago I entreated you to tell me the reason why the more one presses the bow against the strings, the less the sound is heard from a certain distance; whereas from nearby it becomes noisy and more harsh and unpleasant than usual. You told me then that when the bow is drawn with dexterity horizontally over the string, a horizontal and distinct oscillation occurs, which, impressing on the air an undulation which is successive and precise, makes it so that the sound carries to the greatest possible distance. But if, on the contrary, one presses the string perpendicularly when bowing, two different oscillations are born thereof, one perpendicular, the other horizontal; therefore mixing with one another, and mutually destroying one another, the undulation of the air is no longer simple and direct, but swirling and uncertain; and therefore just as the sound can only be harsh and noisy from nearby, for the same reason it cannot extend itself, as in the first case, to an equal distance. I then realized why your violin distinguishes itself above all other violins, and why your bowing sounds so pleasant and so delicate. […] Degrassi & Da Col. The Sound of Tartini, PETER LANG, 2023, pp. 37
1743年にジャン・リナルド・カルリがタルティーニに宛てた文章を読むと、音響に深い関心を持っていたタルティーニが当時ボーイングと音をどのように捉えイメージしていたかがわかる。実際に起きている事象は彼らがイメージしていたこととは異なっていたとしても、音を周期運動として捉えボーイングの仕方によって音の届く距離が変わるということ、そして傍鳴りや遠鳴りといったことを意識して当時から議論していたことが興味深い。弓においてはタルティーニがクリップインの弓を生涯使い続けたことも音の為ではないかと言われている。弦を単に強く押さえつけて出した音は遠くまで届かず、弦をしっかり捉えることができる弓で脱力してブンッと飛ばした音は遠くで聴いていてもよく通るというのはその通りであって、後ろの方で聴いていてよく通ってくる音とそうでない音の違いはやはり弾き方の違いが大きいと思う。意識して色々出来るようになったら面白い。