The great violist da gamba player Marin Marais (1656-1728 Paris Paris) in Avvertissement of his third book of 1711 Pieces de violesexplains the new signs used in his music to avoid interpreting without his music taste:
The most beautiful songs lose their infinitely pleasantry, if run under its own taste, and not being able to give an idea of this taste using ordinary notes, I was forced to replace with new signs able to understand my intentions to those c He will play my pieces.
Always in France already Merin Mersenne (1588-1648, Paris France Oizè), philosopher, mathematician and musician, music in the first opera Popular questions about Genesisin which compares the early music of the Greeks and Jews and that practiced in the last 100 years. Mersenne, considers as described extensively from Greek and Latin, which early music theorists had the ability to cause "wonderful effects" affect IE on the costumes and the human passions, heal from numerous diseases, educate, push to fight or to make peace, lost capacity from the modern music. Mersenne had then dealt extensively L'arte dell'arco reporting that both hands have equal importance and their correct use allowed to highlight the different musical shades (Mersen 1636 p. 193 Harmonie Universell, Cramoisy-Ballard, Paris).
[…] the hand holding the bow must be at least equal in vividness to the left hand, because they are running all the different inflections that enrich the airs, and giving beauty to sing.
The softening of the notes.The art of giving grace notes can be executed in two ways: through the bow or through your fingers. Archery, like when playing sound way or softly depending on our imagination, or the mood of the music. Still, this loudness or softness is sometimes expressed in a single note as when you run plan at the beginning and after it warms up or grow in intensity towards the middle or the end.