Editing Tremolo (section)

==History==
Although it had already been employed as early as 1617 by [[Biagio Marini]] and again in 1621 by [[Giovanni Battista Riccio]],<ref>{{cite encyclopedia| authorlink= David Fallows| first= David |last= Fallows |title= Tremolo (i)| encyclopedia= [[The New Grove Dictionary of Music and Musicians]]| year= 2010| edition= 2nd |isbn= 9781561592395}}</ref> the bowed tremolo was invented in 1624 by the early 17th-century composer [[Claudio Monteverdi]],<ref>{{cite book| authorlink1= Piero Weiss| first1= Piero| last1= Weiss| authorlink2= Richard Taruskin |first2= Richard| last2= Taruskin| year= 1984| title= Music in the Western World: A History in Documents| page= 146 |isbn= 0-02-872900-5}}</ref><ref name= Forsyth-1982>{{Cite book |last=Forsyth |first=Cecil |author-link=Cecil Forsyth |year=1982 |orig-year=1935 |title=Orchestration |location=New York |publisher=Dover Publications |isbn= 0-486-24383-4 |oclc=757100643|others=new foreword by [[William Bolcom]]}}</ref>{{rp|348}} and, written as repeated semiquavers ([[sixteenth note]]s), used for the ''[[stile concitato]]'' effects in ''[[Il combattimento di Tancredi e Clorinda]]''. The ''measured tremolo'', presumably played with rhythmic regularity, was invented to add dramatic intensity to string accompaniment and contrast with regular [[tenuto]] strokes.<ref name= Forsyth-1982 />{{rp|348}} However, it was not till the time of Gluck that the real tremolo{{Clarify|date=May 2015}}<!-- Several different kinds of tremolo are described in this article, but no one of them is defined as more "real" than any other. Which is meant here? --> became an accepted method of tone production.<ref name= Forsyth-1982 />{{rp|349}} Four other types of historical tremolos include the obsolete ''undulating tremolo'', the ''bowed tremolo'', the ''fingered tremolo'' (or slurred tremolo), and the ''bowed-and-fingered tremolo''.<ref name= Forsyth-1982 />{{rp|350}}

The undulating tremolo was produced through the fingers of the right hand alternately exerting and relaxing pressure upon the bow to create a "very uncertain–undulating effect ... But it must be said that, unless violinists have wholly lost the art of this particular stroke, the result is disappointing and futile in the extreme," though it has been suggested that rather than as a legato stroke it was done as a series of ''jetés''.<ref name= Forsyth-1982 />{{rp|348}}

There is some speculation that tremolo was employed in medieval Welsh harp music, as indicated in the transcription by [[Robert ap Huw]].<ref>{{cite book |last1=Whittaker|first1=Paul| chapter= An Interpretation and Re-examination of the Music and Text|chapter-url= https://www.bangor.ac.uk/music/CAWMS/documents/Chapter3.pdf| via= bangor.ac.uk| title= Music of the Robert ap Huw Manuscript| publisher= British Museum, Additional MS 14905| access-date=25 March 2017}}</ref>