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Rapid Up-Bow and Down-Bow Staccato 
Excellent pronation, ARC! As mentioned earlier, there are many strong opinions about the performance and terminology of bowing techniques. Scroll has kindly offered to share his knowledge with everyone.
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Flying-Staccato is one of the most debated virtuosic bow strokes.
“Flying” Staccato
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By analyzing and trying to determine how Heifetz accomplished such mastery, some string players have nicknamed the “Flying-Staccato” the “Stiff-Arm-Staccato.” Earlier on in his career, it appeared that Heifetz tensed his arm in order to create the dazzling effect. Years later, after gaining more experience, his approach seemed to change. Heifetz increased the ease of his performance of this technically dazzling feat, by employing a greater use of more fluid motions.
A Virtuoso is someone who possesses exceptional technical mastery. Virtuosic bow strokes require experimentation and detailed practice. The goal is to find the most natural and logical way to accomplish highly specific bowing challenges.
The most interesting use of rapid Up-bow and Down-bow staccato is the infamous “Hora Staccato” composed by Grigoras Dinicu. Although the composer himself performed the rapid passages with normal back and forth alternating bow directions, world-renowned Jascha Heifetz, considered to be one of the finest violin virtuosos of all time, performed all of the rapid sixteenth-note passages in the same bow direction, with amazingly controlled, rhythmically precise, articulate staccato.
Experience brought about greater command of applying Weight in Motion. Virtuosos achieve complete control of all string playing technical challenges. Although understanding why this virtuosic bow stoke may have received its label, the idea of needing to create stiffness by tensing any muscle in order to perform, is in direct conflict with each and every concept that you have been learning while progressing in the Quest.  
Play strong and always stay relaxed!
No matter what one wishes to call this virtuosic bow stroke, the idea is to be able to manage the bow in such a fashion so as to perform rapid and clear staccato notes in one bow direction. V has returned to add more insights.
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Introducing the Bow     Parts of the Bow     The Stick     Horse-Hair     The Tip     The Frog     The Winding     How the Bow Works 
 Rosin     Preparing to Hold the Bow     Stick Training Exercises     Bowing Terminology     Down-Bow     Up-Bow     

Bow-Hand Set-Up    Finger Tasks and Functions     The Thumb     Meet ARC     Finger Segments     The Index-Finger   
Bow-Hand Pronation      The Center-Finger and Ring-Finger     Bow-Hand Fulcrum     Ring-Finger Propulsion     Bass Bows 
 Pinky Bow-Tasks     ‘Casting’ the Bow-Hand    Bow-Wrist Tasks    Rotational Inertia    Arco    Clay Smile Exercise    Meet ANGLE 

The Bow-Arm Box     The Shoulder Arc     Bow Contact-Point     String Lanes     Bow-Segment Mastery     Bowing Exercises 

Finding the Bow Contact-Point     “Painting With Sound”     Bowing Exercises Menu     Bow Taps     Bowing Traditions 

Perform Down-Bows     Perform Up-Bows     The Art of the Bow-Change     Articulations     Staccato     Legato 

Mastery Checkpoint One     Building Bow Control     Bow Speed and Bow-Arm Motion     Bow Planning and Distribution

Slow Moving Bow Strokes     Individual Bow Segments     Traveling the Bow     Bowing Dynamics     Mastery Checkpoint Two 

Advanced Techniques     Slurs and Articulations     Slur Training     Locating the Bow’s Balance Point     Ricochet and Spiccato 

Exploring Ricochet     Ricochet Control     Spiccato Training     Spiccato Control     Spiccato Brush Strokes 

Multiple String Crossings     Virtuosic Bow Strokes     Arpeggio Bowing     “Flying” Staccato     Mastery Checkpoint Three 

SCROLL’s List of Bow Strokes