“Good” and “Bad” Bowings - The Orchestral Violinist`s Companion

5 Bowing Technique, Sound Production, Coordination • 5.34 “Good” and “Bad” Bowings
481
Part5
BowingTechnique,SoundProduction,
Coordination
5.34 “Good”and“Bad”Bowings
of the hall. But often there is no agreement about any of these
 Ch. 5.3: bow division • Ch. 5.5 and Ch. 9.14–9.16: articulafactors, nor about their priority. This leads to arguments about
tion • Ch. 9.15: criteria for following or ignoring printed bowings
bowings between conductor and section, between principals
• Table 11.4b: procedure for marking parts •  Gigante 1953
and section, and among the principals. Should we play the slur
This chapter primarily addresses concertmasters and principals.
Beethoven notated, or do we take it out because it makes playBut section players will also benefit from studying these issues.
ing the phrase uncomfortable? Should we play the articulation
Because of space restrictions the chapter is limited to general printhe composer envisioned, or should we adjust it to the acoustics?
ciples and includes cross-references to examples in other chapters.
Many such arguments can be avoided if the concertmaster, other
Criteria and priorities • Bowing a part is a comprehensive
principals, the other section members, and the conductor abide
and complex process. First, bowings include far more than bowby the following guidelines.
direction signs—for instance, markings for strokes and bow divi(1) Be consistent.
sion (see the list at the end of Ch. 9.15). Second, bowings are
a – b • Use the same bowings for the same music. Do this even
connected not only to technical and acoustic issues but also to
issues of style, performance, and performance practice. The goal
if the same music recurs with slightly different articulation for
of good bowings is two-fold. On the one hand, bowings should
which there is no apparent reason (see the comments about
enable and even force the player to perform the music’s dynamEx. 9.24p–x).
c – d • But adjust the bowing if the same music returns with
ics, articulation, phrasing, and expressive character. On the other
hand,5.N34
good [5.03
bowings
should 110
be tailored
to the
players’ abilities
deliberately
dynamics,
or expressive
bowing
% |i| und
|j| mšglichst
genau Ÿbereinander
mitdifferent
Akkolade.
|a| undarticulation,
|b| Ÿbereinander
mit
and playing
style, theTaktstrichen
amount of rehearsal
time, and the acoustics
character.
gestrichelten
<xx repeat?
1)
2
≤ 2 0j ≤
(
≤
:|| ≤
Ž
2
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# Ï. . Ï. .
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# Ï . n Ï Ï Ï # Ï Ï Ï. Ï. Ï. Ï. Ï n Ï ä ~~~
&
J
J
J
J
J
..
3
3 2 1 4
π 3. crisp
vib.
3.
f (missing in the part)
(f)
a
Verdi
Aida I/2
≤
smooth
bb b c ≤j||:≈ .r
Ï.
&
Ï pÏ # Ï. Ï. Ï. Ï. vib. Ï Ï . Ï
π
b
Verdi
Aida III/7
c
Mendelssohn
Symphony 4/ii
Allegro agitato e presto h = 132
smooth
||: II 2
F
Più animato q = 144
2
R
f
≤.
(1) 4 2 2 1 2 4 ≤
r
Ï Ï ≈ Ï # Ï Ï. Ï Ï. Ï . n Ï b Ï . n Ï b Ï . Ï # Ï . n Ï Ï Ï Ï Ï Ï Ï Ï j ~~~
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≤ ≤ ≤
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e
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1
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d
57
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j
j
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Ï
Ï
ä
Ï Ï Ï
Ï Ï Ï
©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info)
e
Donizetti
L'Elisir I/5
b
& b bb c ä
f
127
_ _ _
€
ä
ten.
_≤ _≤ _≤
Î
482
5 Bowing Technique, Sound Production, Coordination • 5.34 “Good” and “Bad” Bowings
In an ideal scenario, you will have the opportunity to clarify
(2) Adapt the bowing to the compositional and performance
important interpretive
decisions|a|affecting
bowings with
style.5.N34
• Determine
what type110
of dynamics,
timbre,
[5.03 bowing
% |i| undarticulation,
|j| mšglichst
genau Ÿbereinander
mit Akkolade.
und |b| the
Ÿbereinander
mitthe
conductor beforehand: this will minimize cumbersome bowing
character,
and expression
the composer
gestrichelten
Taktstrichen
<xxintended.
repeat?Determine how
changes at rehearsals. But this is not always possible, and bad exthe conductor perceives the composer’s intention. Depending on
Allegro
e presto
h = 132
periences have brought some orchestras to institute rigid rules for
the tempo or dynamics
that agitato
the conductor
wants,
for instance,
a
1
smooth
2
0 may request. How sensible such
2 2that 1a conductor
:||
4 changes
bowing
you might need to Fseparate
bows
more
or
less
frequently;
deŽ 2
||: II 2
rules are, however, depends very much on the circumstances of
pending
on the articulation he or she asks for, you might need to
Verdi
Aida I/2the bow direction.
the situation. A concertmaster insisting on bowings that conflict
change
3
3 2 1 4
crispbelieves vib.
e • If you believe or the conductor
with
is just
foolish as
that
the
eighths
need
3
3
(missing
in theaspart)
( )the conductor’s interpretation of a piece
a conductor who wants to replace bowings that nevertheless work
to be clearly separated, the original bowing will work very well.
animato
q = 144
f • But if you believePiù
perfectly for his or her interpretation. Use common sense to solve
or the
conductor
believes that this passage
2
2
4
b
such
requires a connected,
“cushioned”
articulation,
you
will
need
1 issues.
1
2
Ž
4
R
smooth
2
:||
||:
to
use
linked
bowings.
Verdi
(3) Choose bowings that strike a balance between the comFor such
Aida
III/7 decisions you need
poser’s intentions and the players’ comfort.
• a highly developed knowledge of the style
vib.grid
g – h • Because the original bowing with a single two-note slur
• the ability to grasp quickly a conductor’s conception of a composition and to determine the bowing appropriate for that vision
is extremely awkward, any concertmaster would either slur
Andante
con
moto
[qbetween
= 84] various
• a clear understanding
of
the
connection
comthreednotes or take the slur out altogether.
e
c
2
Kr
2
57
positional and
Kr Study
1 performance styles and bowing patterns.
Ï
Mendelssohn
Ï as well
and experiment with the bowings in Parts 5–6 and 8–9
Symphony
as those4/ii
in parts marked by experienced principals.
≤
≤
()
≤
j ≤
>
Ï
.
.
#
Ï
n
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n
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Ï
.
.
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ä
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ä
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C
Ï
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# Ï . n Ï Ï Ï # Ï Ï Ï. Ï. Ï. Ï. Ï n Ï ä ~~~
# Ï. . Ï. .
# Ï. . Ï. . J J
#Ï.
&
J
J
J
J
J
..
π .
.
f
f
#
≤
bb c ≤j ≈ .r
Ï.
& b
Ï pÏ # Ï. Ï. Ï. Ï. Ï Ï . Ï
π
Larghetto [q = 66]
e
Donizetti
L'Elisir I/5
bb
&b b c ä
127
f
g
59
Mozart, Piano
Concerto 22/i
()
Ï>. Ï Ï≤ .
Ä ≤
≤
Ï
î
Ï
≤
Ï
_ _ _
€
j
Ï
ä
ten.
ä
Ï
j
Ï
Ï≤ Ï Ï≤ Ï . Ï ú≤
≤ ≤
Ï
Ï
_≤ _≤ _≤
Allegro [q = 120+]
Rit.
ú .≤ >Ï b Ï . n Ï Ï
Allegro [q = 100]
1
1
Ù~~ >≤ >
#Ï. #Ï Ï
1
nÏ
j
n
Ï
Ï
Mahler
&b c Ï
Lied/v
(4) Because violinists
have different techniques and prefervn. 1 Ï ê
p
f III
ences, try to forge—with the other principals and the rest of the
i
2 -2
Keck,suits
aberthe
nicht
zu schnell
section—a bowing style that
technical
abilities and playRit.
ing styles of as jmany players as possible. In certain cases, leave
bowing decisions to each individual musician.
Ex. 5.24w–z • Some players prefer linking extremely fast dotted
patterns, whereas others
vn. 2 prefer bowing out, using downbows for
the short notes. In such situations, allow each player to choose
the bowing, especially if the orchestra performs from a stage pit.
Though important, visual uniformity should not always be a top
Maestosoconductors
[h = 72]
priority. After kall, experienced
such as Strauss and
3
44
Stokowski, working
in an era before the prioritization of the
Bizet element of music performance, advocated free bowing (
visual
Te Deum/i
Gigante 1953, 27). This, however, makes ensemble playing more
challenging. l
&b c
&
### c
ú≤ .
p
Î
j
Ï
Ï Ï Ï Ï Ï@
Ï
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Ï
Ï
Ï
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Ï
Ï
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Ï
Ï
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vn. 1+2 Ï
≤
f
&
h
bbb c
≤.
()
≤
r
Ï Ï ≈ Ï # Ï Ï. Ï Ï. Ï . n Ï b Ï . n Ï b Ï . Ï # Ï . n Ï Ï Ï Ï Ï Ï Ï Ï j ~~~
. .
. . # Ï. . . . . . n Ï
€
≤ ≤ ≤
Ï Ï Ï Ï. Ï ú.
& b c Ï. Ï Ï.
f
>≤
f
≤
Ï
j
Ï
j
Ï
+Ï
pizz.
3
j
arco
Ï
.
Ï Ï Ï .
3
+
pizz.
arco
úú0 úú0
Ï Ï Ï Ï 2 Ï≤ ~~~
4
¾ technique,
Ï ¾ Ïconsider
(5) In addition to style
less obvious
trem.and S
p performance
p S situation: pacoustics,
Sp a particular
factors Sp
that define
###
2
≤
#Ù~~
Ï . # >Ï >Ï≤ # # #
Ï> b Ï≤ . n Ï Ï
p
≤j
a tempo
Ï@
size of the section, rehearsal time, and rehearsal atmosphere. The
bowings
found in a certain4 rental part might be ideal
1 for a large
2
j
j
arco
pizz.
section playing in flattering acoustics; but if your section
is small
ÏÏ
Ï
ÏÏÏ
and the acoustics are unfavorable,
forÏ instance, you might need to
separate bows on long notes2 and long slurs much more frequently.
A sophisticated and well-conceived
bowing might not be suitable
sempre
div.,
measured
( Ex.
7.2w) considfor a tricky piece that is performed onarpeggio
only two
rehearsals:
er a simpler bowing even if it is not quite as satisfactory. Further,
though flexibility is an important principle in orchestral playing,
is it really necessary to change a less-than-ideal bowing in a standard piece that players have used traditionally and are reluctant to
change? Such decisions require a sensitivity for practical matters
such as rehearsal time and rehearsal atmosphere.
( ÏÏ Î ( ÏÏ Î
f
Ï
ÏÏ
Ä
Ï
2
Ï 4
Ï
Ï≤. ä ~~~
J
p
≤
ú ú .. n ú ú n ú ú .. ú ú .. b ú ú b ú ú ú ú ú ú ú ú
ú ú ú ú ú ú ú ú ú nú nú ú ú ú nú ú ú ú
≤ S
p≤
S
©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info)
. . .. . . . J
Ïπ .Jp crisp
vib.
π 3
vib.
Aida
AidaIII/7
I/2
J
... .. J J
3 2 1
.3J . . (f)€
4
Ï. 3Ï.Ï##ÏÏ. Ï. Ï. Ï. . .Ï. Ïn nÏÏ
.
f (missing in the part)
J
≤
( ) > ( ≤) ≤ ≤≤
≤ .r ≤ ≤ ≤ >≤ ≤.r
Ïn ÏÏ .b Ï . Ï Ï Ï Ï . Ï ú≤ j Î~~~483
Ï
.
Verdi
Ï
.
.
Mendelssohn
Ï
c
≈
≈
n
Ï
b
Ï
j
b
c
Ï
Ï
Ï
b
Ï
.
Ï . Ï . # Ï. Ï. Ï. Ï. Ï Ï . Ï . Ï úÏ. # Ï. Ï. Ï. Ï.
Ï # Ï . n Ï Ï Ï # Ï Ï Ï Ï Ï. Ï n Ï
Aida
III/7 4/ii &
Symphony
The exact
procedure Ïfor bowing
a part depends very much
solution—left-hand pizzicato—is
. . . for. the f dynamp
≤ .≤ . not. suited
vib.
€
Ä ≤
fπ
Più animato q = 144
d
Andante con
2
eŽ
2 moto [q = 84]
4
bc
2 2
1
1
rK
2
4
R
smooth
57
2
:||
||:
5 Bowing Technique,
Sound
Production,
Coordination
•
5.34
“Good”
and
“Bad”
Bowings
K
1
r
Ï
b
on the circumstances of the situation. Consider the following scenarios:
[qpart
= 66]on the basis of a marked
(1) You are ebowing
aLarghetto
second-violin
Andante
con moto
[q = 84]
e ten.
c
j
127
first-violin part. Adopt 2the bowings forîall parallel orä analogous
Ï
K
1
r
Donizetti
passages. Fill in the rest. Feel free, however, to deviate Ïfrom the
Mendelssohn
L'Elisir
I/5
bowings of4/ii
the first violins if the context before or after a parallel
Symphony
passage is different.
f
i • Vn. 1: Play the fp note  and play the tr  so that you end
2 +2. Separating bows on
up at the point
p tremolo[qat= 66]
Larghetto
g for the
ten.
e
is 120+]
less satisfactory, because
the tr and59
using two
Allegro
[q =
jthis
127 at 2
ä
î
Ï

.
an
unwarranted
gap
between
the
two
would
create
Donizetti
Mozart, Piano
L'Elisir
I/522/i
j • Vn.
Concerto
2: Begin the first p note V and play the tr V so that
vn.easily
1+2 to pizzicato in the next bar. The other
you can switch
f
h
≤
j
≤
≤
Ï
ä
Ï Ï
Ï Ï
Ï Ï _Ï Ï _Ï Ï_ Ï Ï Ï _Ï Ï_ Ï
f
≤ ≤
€
b
& b b bcc ä
Ù~~ >≤ >
Ï≤ Ï Ï≤ Ï . Ï ú≤
≤ ≤
Ï Ï Ï Ï Ï Ï Ï Ï Ï@
≤
_Ï≤
≤j
a tempo
Ï@
Î
Ï
Ï Ï Ï
+ Ï pizz.+3 arco
>Ï b Ï . n Ï1 Ï n Ï # Ï . # Ï Ï 2 Ï 0 0
i b2 -2 ú .≤
pizz.
..
& bb cb cÏj Ï Ï Ï
n ÏÏ Ï Ï Ï Ï# # # Ï ú Ï Ïú Ï Ï Ï Ï Ï@ Ï Ï@ 2 Ï Ï≤Ï ~~~
Ï
Ï
Ï
Ï
&vn. 1+2 Ï
Ï ú ú ≤ ¾ ÏÏ ¾ ÏÏ 4 Ï
h vn. 1 ÏÏf ê
p
p
f III
Sp Sp trem.p S p S
a tempo
Keck, aber nicht zuRit.
schnell
arco
≤j
Rit.
Allegro [ = 100]
j
j
j
Ù~~
1
3
≤
1
3
4
1
2 Ï
1
≤
>
j
Ï
Ï
Ï
>
.
≤
Ï
#
Ï
Ï
+
≤
Ù~~
n
Ï
#
Ï
>Ï> b Ï≤ . n Ï Ï n Ï # Ï . # >Ï >Ï #2 # pizz.
j Ïpizz. j Ï + arco arco
i 2 -2 ú≤ .
Ï Ï≤≤.
Ï
pizz.
0
0
b
Ï
Ï
Ï
Ï
Ï
j
.
.
ú
Ï
Ï
2
# ## # ( Ïú Î ( Ïú Î Ï Ï Ï Ï Ï Ï 42 JÏ ä~~~
~~~
bc Ï
nÏ
&
Ï
ú ú
& b cvn. Ï2
4
2 ¾
ÏÏ ¾ Ï
pp
pp
f
p
fSp Sp trem.
vn. 1 Ï ê
f III
sempre
Ä
S
S
p
p
div., measured arpeggio ( Ex. 7.2w)
g
59
Mozart, Piano
Concerto
Mahler 22/i
Lied/v
()
Ï>. Ï Ï≤ .
Ä ≤
j
≤ ≤ ≤
Ï
ä
ÏÏ Ï Ï Ï . ÏÏ ú . Ï Ï
_ _ _
_≤ _≤ _≤
€
bb bcb b c ä Ï Ï
&
& Ï. Ï.
f
ics (though it is the only viable solution for the pizzicato in the
first-violin part at 2 +2).
d are adapting a previously marked part. Determine
(2) You
2
j bowings
which
are unsuitable for your (or your
rK conductor’s) sty57
Ï
listic preferences. Decide which bowings areÏ worth changing, considering also factors such as rehearsal time (see above).
(3) You are bowing a blank part from scratch without the aid
of a model. Treat the part like a puzzle: start with the easiest, clearest, most familiar, or most important segments (the “fixed points,”
analogous to the edge pieces of a puzzle). Then proceed to the
j
bowing
decisions that are more difficult to make, gradually filling
Ï
..
in the gaps of the puzzle, using techniques such as linking, retaking, and dividing slurs.
Allegro [q = 100]
Allegro [q = 120+]
1
Rit.
1
j
Ï
j
Ï
3
j
arco
q
Mahler
Lied/v
Keck, aber nicht zu schnell
1
4
≤ >≤ k2 – l pizz.
•
But
using
a
downbow
for
the
occasional
crescendo
j
j
arco
>
Ï Ï≤. ( k )
Ï
Ï
Ï
ÏÏ Î ÏÏto interfering
Ï
Ï
≤
ú≤ . Ï> b Ï≤ . n Ï Ï ≤ # Ï . # Ï Ï # # # is (preferable
Ï
2
Ï regularity4of phrasing
~~~and
Î b úÏ withÏ the
J äone
( úneeded
Ï
ú ú n ú ú n ú ú ú bow
.. direction
ú
b
ú
l
).
After
all,
to2 force
an
upbow
(
ú
ú
ú
ú
ú
ú
úof
Ïú  úand Ïn úand toú master
úp ú úp ú ú fú ú ú yourf technical
p many
ú n ú goals
ú
ú
n ú issempre
toúequalize
Ä
≤p
bowings in either bowdiv.,
direction.
≤measured
S arpeggio ( Ex. 7.2w)S
Rit.
Maestoso [h = 72]
j
Ù~~the
On the onek hand, many “fixed points” are dictated by
3
44
bow direction and#b bow
division that are natural for certain dy& #c# strokes,
Bizet
..
c
namics, articulations,
On the other hand, ..
& vn. 2 and phrasings.
Te Deum/i
sometimes other considerations will override these principles.
(1) Generally,
l use  for crescendo and  for diminuendo.
k
Bizet
Te Deum/i
44
&
l
Maestoso [h = 72]
3
### c
≤
≤
ú ú .. n ú ú n ú ú .. ú ú .. b ú ú b ú ú ú ú ú ú ú ú
ú ú ú ú ú ú ú ú ú nú nú ú ú ú nú ú ú ú
≤ S
p≤
S
©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info)
484
5 Bowing Technique, Sound Production, Coordination • 5.34 “Good” and “Bad” Bowings
(2) Use   for cresc...sub. p. Inversely, use   for p...sub. f.
j • Begin the phrase  so that the sub. p starts .
a , second-to-last bar • Link the slur so that the subito f starts .
p • But if the highpoint of a phrase is a very high note, it might
sound more polished .
(3) Use  for written accents (>, fp, fz) and implied accents.
m • Play the notes with multiple grace notes (Schleifer) downbow.
This generates the necessary strong accentuation and allows for
better rhythmic control, crisper articulation, and a better rendition of the fierce character than the bowed-out version would.
n • But gentle, elegant accents sound better with .
(4) Highlight the peak of a phrase.
o • Use  for the highpoint of a phrase or for the strongest
measure(s) in a regular four-bar or eight-bar period.
2
Verdi
Aida III/7
≤ ≤
≤ ≤3
jä ä Î ä
Ï> Ï Ï n Ï n Ï Ï Ï >Ï Ï
> >
>
Allegro q. = 96
very crisp
1 2
1
K +9
h.
Donizetti
L’Elisir I/1
Ï ú
„
j
Ï ä ..
≤ Ï Ï Ï Ï Ï Ï Ï Ï
2
Ï
Ï Ï Ï.
& 4 Ï.
o
Andante con moto assai vivace quasi Allegretto ma non troppo [q = 56Ð72]
3
2
2
1
Ï Ï Ï Ï Ï. Ï Ï Ï Ï #Ï
J
J €
p
f "Ky - ƒ
…
e
son,"
eri le ipoco
≤.
p
1
Ï
Ï
≤1
Trio. Poco più moto [ = 80]
(ú1 ) Ï ú
158
n
Ï
1
171
ú
Ï
ú
3
b3
Ï Ï Ï Ï Ï Ï Ï ~~~~
ÎÎ
&b 4 Î Î Ï ú Ï ú
G
G „
pocof
f
q
Allegretto
≤4 s'io...Mille volte
22
...non pos# Ï ä Î î ~~~~
∑
&c
J
p
26
Beethoven
Mass in C/1
(6) In bowed-out figures alternating between two strings, use
 for the lower string and  for the upper string. This follows the
natural “planes” of the upper arm ( Gigante 1953, 11–13).
r , Ex. 5.30ss/7 • Slur the first two or last two notes so you can
play the notes on the E string with .
5.N29 [5.03
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pp , Ex. 5.7j • Delicate or high entrances in particular sound
more polished with  than with .
q , Ex. 5.14b–c • Use  for soft recitative punctuations and similar interjections, such as sospiro figures.
h.
Brahms
Serenade 1/ii
Donizetti
L’Elisir I/2
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5 Bowing Technique,
Sound Production, Coordination • 5.34 “Good” and “Bad”
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171 3.4k
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Ex.
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has greater ring than in the reverse bowing, though rarely the
G „
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p would
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crisp, off-the-string quality that most
q
(8) Use  for a Allegretto
“short, ‘lifted’ note (or
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≤ s'io...Mille
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ceded] by a long note, slur,
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Gigantevolte
1953, 84).
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Donizetti
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u – v /196 • The
than 
to articulate between the first and second beats of mm. 14–15.
& clegato feels
L’Elisir I/2
J
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in mm. 14–15 feels more comfort(Ex. 5.26bb, 5.26ii, 5.30pp).
p
u – v /198 • The long note feels more comfortable with  than .
able with  .
le -
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h.
Ex. 5.26i • rPlaying the eighths  will make the patAllegro [q = 126-32]
feel
tern
892 natural and sound elegant. But if you desire a marcato quality
more substance on the eighth
Mozart
b b b 42 thewith
&
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y • Alternatively, start  but use   with a tiny retake. (Rossini,
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Use any of three strategies to fill the gaps between “fixed
otherwise result from lifting the bow. Do the same where soft
points”: choose the best bow direction, link your strokes, or sepaostinato syncopations precede a sub. f.
rate slurs so that you reach or leave a certain part of the bow comEx. 5.18y, Orff. Carmina II/11/4 • Use ricochet to maneuver to5.N29 [5.03
fortably and unnoticeably, without a hole or unwarranted change
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4 doing this you
3
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that follow (Beethoven, Symphony 7/iii/149–204).
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or brilliant quality. Starting the first eighth  from the string
here allows you to react better to the extremely short upbeat
of the soprano.
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4
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chords at a moderate pace.
ll /261–62 • But bow out chords where the natural flow is important and where you would like to avoid the repeated attacks
of consecutive .
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ricochet
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Split sustainedjjpedalAllegro
tones and
long[ slurs—including
brillante
brillante oo • Place the bow change so that the notes at the beginning of
giusto
= 100]

p
≤ bows, as ≤. . the diminuendo receive more bow than those at the end (Ex.
C slurs described317
in Chapter 9.15—into
two or more
stringendo
jj
Allegro
giusto [ = 100] 2
#
#
Ï
j ä j ä
needed. Because 317
hall size
hasÏincreased
considerably
Tchaikovsky
#Allegro
stringendo
c
ä
Î
î
2≤ during the ≤. Ï. 9.17m/133–35).
jj
&
jj
#
#
Ï
giusto
[
=
100]
j ä and linking the bows, as shown in pp , avoids
Violin
Concerto/i
JÏlegato”
giusto
= 100] more
Ï # Ï ppj – äqq • ÏDividing
past century,
such “simulated
has[ become
frequent
Ï
Tchaikovsky
# Allegro
ä
Î
î
c
317
≤
317
stringendo
&
Ï
stringendo
22 (ÏGi-# Ï≤.
.
Ï
Violin
Concerto/i
J
and the
bow strokes##have become
shorter
in
duration
the
sudden
that would result from the inappropriate
Ä
Ï
j “bumps”
# ÏÏ ä Î î
j bow
Tchaikovsky
kk #The
p
Tchaikovsky
f
#
c
Ï
qq
ä
c
ä
≤
gante
1953,
17–18).
frequency
and
placement
of
the
bow
/6
and 9.
division
in
ÄJ
&
Ï
Violin
J
Ï

ViolinConcerto/i
Concerto/i &
Ï
#
Ï
kk
Ï
p
f
rr
ss
changes depend on situational factors such as tempo, section size,
–
• ÏIn Romantic legato passages, hide the bow changes:
Ä
Animato
[ = 132] advisable for principals ≤
rr
and acoustics. (This
is
why
it
is
sometimes
•
Place
ll kk
p
kk
f the bow3change on an unstressed note.
p ≤3 Ï 2≤
≤
Animato
[ = 132]
ss
261
Ï
2
to leave the bowings
in
such
passages
blank
before
the
rehearsal
so
•
Place
≤
ll
Ï Ï Ï Ï≤3 # Ï≤ Ï
Ï the beats ofja sustained
1 the bowjchange between
#
Ï
≤
#
Ï
3
that
the
other
players
do
not
need
to
erase
any
bowings
at
the
renote—instead
of
on
the
bar
line,
on
beat, or on the
261 #Animato
JÏ ä #[ÏÏ[2 ==ä132]
ÏÏ ä ÏÏ≤ ä ÏÏ ä JÏ ä ÏJ ä # ÏÏ2 ä ÏÏ ä Î Ï1 ä Î Ïj ä Î î Ï äa Îstrong
Animato
132]
Mendelssohn ll
c
î
Ïj ä Î î
ll
&
≤
#
Ï
Ï
Ï
Ï
Ï
Ï
Ï
hearsal.)
On the other
hand,
theÏ
bow Ïchanges
depend
on
first note
of a subsequent
fast figure.
Ov.
Hebrides
J
J
3J
Ï
Ï
≤
Ï
Ï
ÏÏ ä Î î
3 general
≤
Ï
Ï
#
Ï
3
Mendelssohn
261
2
2
Ï
ä
ä
ä
ä
ä
ä
ä
ä
ä
Î
ä
Î
Ï
ä
Î
î
ä
Î
î
c
261
Ï
Ï
2
2
≤
Ï
J
J
J
J
J
J
J
1
&
Ï
Ï
Ï
Ï
1


factors
such
as
register,
dynamics,
phrasings,
and
bow
division.
Ex.
9.15u–x
•
Use
divisi,
staggered,
and
free
bowings
bow
Ï
#
Ï
Ï
#
Ï
j
J
Ä
Ov. Hebrides
#### c Ä
Ï ä Î î ÏÏjtoähide
Ï äorÎ slurs.
ÏÏJonä long
J
J
J
J
Ï
Ï
Ï
Ï
Ï
Ï
Mendelssohn
mm • This passage
J
J
J
J
J
J
Mendelssohn
can
easily
be
played
with
the
printed
bowing.
changes
notes
Ï
c
ä
ä
ä
ä
ä
ä
ä
ä
ä
Î
Î
Ï
î
Î
î
ÄÏJ
&
ÄÏ
&
Ä Ï sound
Ï willÏ soar more
Ï freely if Ï Ï
Ï
Ov.
Ov.
Hebrides
Ï
nnHebrides
• But in this high register Jthe
J
J
J
J
J
J
ÄJ
J J J J
Ä
ÄMŠssig
Remove
you change bows more
frequently.
langsam und sehr getragen. Mod. e molto
sost. [ slurs
= 60] for the sake of clarity.
Breit Allarg. [ = 56*]
Ä
tt , Ex. 5.4h • Bow out short notes to make them audible.
√
MŠssig langsam
und sehr getragen. Mod. e molto
sost. [ = 60]
Breit Allarg. [ = 56*]loco
3 ≤3
≤ . Ï2 Ï ≤
√
Ï
≤
mm
Ï
ú
Printed
Ï
.
.
.
≤
ú
ú
ú
Ï
Mod.
e
molto
sost.
[
=
60]
58
Breit
Allarg.
MŠssig
langsam
und
sehr
getragen.
Mod.
e
molto
sost.
[
=
60]
56*]loco
3
bowing:
Ï Ï3 58c ú Ï≤ . JÏ[2 =Ï56]
ú≤11 Ï
≤
√
.
.
.
Strauss, Rosen mmb b b 3Printed
ú
ú
ú
Ï
b 3bowing:
3 3≤
ú≤ Ï
kavalier
Suite & b b b 4
≤ . ÏJ2 Ï loco
Ï
Strauss, Rosen
≤
mm
mm b b Printed
Ï
ú
Printed
c
Ï
.
.
.
.
.
better
ú
ú
ú
Ï
58
≤
≤
≤
≤
1
≤
≤
≤
b bowing:
4bowing:
kavalier Suite &
Ï
bowing: Ä
ú
Ä
b
b
J
nn
b
3
b
3
better
Strauss,
Strauss,Rosen
Rosen
≤
≤
≤
≤ c Ä ≤ ≤ ≤
&
&bb bb bb 44bowing: Ä
kavalierSuite
Suite nn
kavalier
better
better
≤
≤
≤
≤
≤ ≤ ≤
bowing: Ä
bowing:
Ä
nn
nn
Andante
con
moto
=
76
[56]
oo
27
3
3
con moto
oo # Andante
≤ = 76 [56]
ú
3
Dvorák
ú
#
27
3
ú
w
ú[56] ú Ï Ï 3 .
≤ ==7676[56]
& # # Andante
23 ú con
Andante
conmoto
moto
Stabat/i
oo
oo
Dvorák
ú
ú≤
ú ú Ï Ï Zw33 .
2 Z33 f
27&
27
Stabat/i
#
#
Dvorák
Dvorák
ú ú Ï Ï wZ.
& ## 3232 Zú f ú ú
&
Stabat/i
Stabat/i
Adagio
ZZfq = about 40-50
Z
Good bowing:
Adagio q = about 40-50
≤
≤bowing: w w # w≤ ú ú ú
pp Goodw
w
≤
≤
≤
1pp Adagio
Adagio
q =about
about40-50
40-50
≤ ú ú ú ú w≤ w ú . Ï≤ Ï ú≤ . w w w≤
≤bowing:
w
w
w
#
w
Good
Good
bowing:
ú w w ú . Ï Ï ú . w w ≤ ..
Ives, Question 1 c
≤
≤
&
pp
pp
(first
version)
ww ww ww #ww≤ ú ú ú ú≤ w≤ w ≤ ú . Ï≤ Ï ú≤ . w w w≤ ..
Ives, Question
& c ≤ senza vib.
≤
(first version) 11qq
∏
senza
vib.
the
E
must
not
stick
out!
Ives,Question
Question
≤
Ives,
≤
≤
≤
≤ .. 5
c ∏
≤
Less
&ccomfortable:
qq
(firstversion)
version) &
(first
Ruhig
ohne
Dehnung
[
=
50]
5
con sord. senza
senzavib.
vib.
≤ [ = 50] the E must not≤ stick out!
Less comfortable:
≤
≤
≤
≤
5
Ruhig
ohne
Dehnung
IV 4
rr
2
qq
≤
IV
qq
∏Ruhig
con sord.
238
ohne
[ 4= 50] 1the
the EE must
must≤ not
not stick
stick
out!
1)
1 Dehnung
1 out!
2
IV 4
≤
rr comfortable:
(
≤
Less
comfortable:
IV22
b
Less
238
IV 4
b
rr
1
1
1
j
2
1
Wagner
4
≤
≤
≤
IV
b
c
î
Ï
j
j
con
sord.
con
&sord.
b bbb b c238 î 1
ú . 4Ï n 1ú . ≤Ï 1Ï . ((1Ï))j b Ïjj Ï 2Ïj w ≤ ú . n Ï úú .. nn ÏÏ
Parsifal III
Wagner
b
b
b
ú
b
&
Wagner
Parsifal III
& b b b c î ú úú.. Ï≤ nnúú.. ÏÏ Ï . Ïj bbÏÏ ÏÏ≤ Ïj w
ú.. n Ï ú . n Ïp
Parsifal III
Ï
Ï
w
ú
≤
úp
Ï
nÏ
.
≤
p
pp
≤≤
p
1
ss MŠ§ig langsam = 72
1
0
3
1
3
langsam
= 72
≤1
ss MŠ§ig
1
3
0
100
1 b Ï3 ≤ b Ï
≤
31
MŠ§ig langsam
=
72
. J
ss
0
≤1
3 bÏ Ï bÏ
100 2 3
3Ï . ≤ b Ï
≤
Strauss
≤
Î
b
Ï
n
Ï
b
3
100
Ï
& 24 Î b Ï1
≤ Ï Ï Ï b Ï3 n Ï bbÏÏ 3Ï bbÏÏ b Ï . ≤ b ÏJ
Ï.
Zarathustra
Strauss
2
&
4
J
Strauss
Ï
Ï ÏÏ Ï b Ï3 n Ï Ï3
.
Î
Zarathustra
& 4 bbÏÏf Ï .
Ï
Zarathustra
3
3
ff
Bewegt = 96
tt
≤1 23 4 3
Bewegt
= 96
115
tt 3 +16
2
3
≤
≤
Bewegt = 96
tt b3 +16
1
2 3 44
3
≤
115
3
4
3
Strauss
3
1
+16
≤
Î
b
115
3 Ï Ï ú
3
b
&
3
3
b
≤
Ï
#
Ï
4
Zarathustra
ú
Ï
Ï
Ï
Strauss
Ï
Î
b
Ï
3
b
Ï
Ï
b
4
& bvn.b 1+2
Strauss
Zarathustra
Ï Ï Ï IVÏÏ ÏÏ##ÏÏ Ï Ï úú
Ï Î
&
4 fú sehr ausdrucksvoll
Zarathustra
Ï
Ï
vn. 1+2 ú
Ï
Ï
IV
vn. 1+2
sehr ausdrucksvoll
IV
ff sehr
Andante
[
=
80]
ausdrucksvoll
©Martin Wulfhorst,19Andante
The
-7 Orchestral
[ = 80] Violinist’s Companion, 2012 (To order the book visit www.orch.info)
[ = 80]
uu 19Andante
-7
>
1
>
ii
ii
lifted
Allegro giusto q = 100
+
giustoÙ~~~
q = 100 +
1
28 +6
Allegro
q
q
q
q
q
q
q
q
q

q

q
q
h
h
h
q
q
q
e
e
e
q
q
q
q
q
q
Play:
q
rr
≤1
bb
&b b b c î
238
IV 2
Ï nú.
≤
ú.
ú
p
5 Bowing Technique, Sound Production,
Wagner
Parsifal III
≤
1
4
≤
≤ 1 ( 1) j 2
j
j
Ï Ï. Ï bÏ Ï Ï w
ú.
≤
Coordination • 5.34 “Good” and “Bad” Bowings
≤
Ï.
f
f sehr ausdrucksvoll
Andante [q = 80]
>Ï
Ï
Ï
&b c Ï
f
uu
Donizetti
L'Elisir II/7
19 -7
vv
&c Î
vn. 1+2
b
& b b b 68 Î
p
Larghetto [e = 80]
& 42 ≈
11 -5
Ï
p
vn. 1+2
Ï
Ï
Ï
yy Allegro semplice q = 132
con sord.
1
..
36
Tchaikovsky
Nutcracker I/6
6
Rossini
Turco II/16
&c
π ú2
>Ï
ÏÏ
ú
ú
ú
Ï
489
~~~~
≤
Ï Ï b Ï Ï n >Ï
R ≈
3
Ï
î
Ï Ï b Ï2 Ï. n Ï Ï Ï Ï ≤.
Ï ~~~~
p
Ï
..
12x
ú
ú
ú
ú
Derived from:
≤
≤
3
Ï
4 3
Ï
≤
Ï Ï Ï Ï Ï Ï
Ï≤. Ï. Ï≤. Ï≤.
Ï . Ï Ï. Ï. Ï . Ï Ï. Ï. Ï
3
~~~~
~~~~ ä ä J
J
&8 ä ä
π. sottovoce .
o
zz All. spirituoso [q. = 88]
197
4 3
62
aaa
Sibelius, Violin
Concerto/ii
ä ~~~~ ÏJ
4
>
Ï
Ï. Ï. Ïr ≈
nÏ
p
Î
Ï« Ï« Ï« Ï« Ï« Ï« Ï« Ï« Ï2« « Ï« « ( 1« ) ≤3
Ï Ï #Ï Ï Ï Ï
Ï Ï Ï # Ïj ä
Ø
Ä
6
j ≤.
Ï
ä Ï
*5 +7
xx
Donizetti
L'elisir I/1
Play:
Allegro brillante q. = 84
2
ww
Verdi
Traviata I/3
Ï
Allegro h = 804
53
Wagner, Tannhäuser III/iii
>Ï
>Ï
1
nÏ
b Ï . ≤ b Ï
J
bÏ bÏ
Ï Ï Ï bÏ nÏ Ï
≤
≤
Ï Ï Ï Ï Ï #Ï Ï Ï ú
b 4
&b b 4 ú
ú.
1
yy , Ex. 39.13q • Where appropriate, slur consecutive trills on
identical pitches. Do the same for two-note tremolos that are
notated with two or more fingures per measure and require no
3
articulation or stress.
Ex. 9.15b • Add slurs to make bowed-out passages sound
smoother.
zz , Ex. 5.24v, 8.5oo • Add slurs to extremely fast, awkward dot3 ted rhythms, as well as other tricky figures.
MŠ§ig
= 72
1
0
In order to ss
achieve
thelangsam
opposite e
effect—softness
or smooth3
3
100
ness—extend or add slurs. 1
Strauss
uu – vv • Slur multiple grace notes (Schleifer) to the arrival
Zarathustra
3
notes, as already recommended by L. Mozart ( 1756,
XII/§21/263–64). This sounds more elegant and feels less angular than bowing them out.
ww • Slur (or link)
that follow slurred2 notes
Bewegtend
q = notes
96
tt unstressed
1
or long notes.
115 3 +16 3
3 4
3
xx , Ex. 5.9k • Apply longer slurs to short-breathed
accompaniStrauss
Zarathustra
ment figures and to other figures with short slurs that sound
vn. 1+2
too “busy.”
IV
2
& 4 Î bÏ
IV 4
Adagio di molto [e = 80]
≤
>
≈
ú ... w
6 +13
b
&b c
w
( )
ú ú
Ï
Î î
πpThe Orchestral
dim. possibile
©Martin Wulfhorst,
Violinist’s
Companion, 2012 (To order the book visit www.orch.info)
morendo
490
5 Bowing Technique, Sound Production, Coordination • 5.34 “Good” and “Bad” Bowings
ddd /138–40 • Link slurs where you want a smooth feeling or
longer phrasing.
Derived from:
3 ddd /141–42 • But bow the slurs out, or separate them when you
need more intensity or articulation.
In order to avoid short-breathed phrasing
eee – fff • link ostinato, off-beat patterns and sigh figures
ggg • link repeated melodic pitches that require a portato feeling.
Link bowed-out notes or patterns.
• Link repeated,
soft final [notes.
o spirituoso
All.very
q. = 88]
bbb – ccc , f zz
, Ex. 5.13d • Use portato for accompaniment pat4 3require a smooth,
4 3 expressive
62 pitches that
terns with 197
repeated
Rossini
quality—similar to that achieved with the sustain pedal on
Turco II/16
the piano.
6aaa
≤
≤
≤ Ï Ï Ï Ï Ï Ï Ï Ï
Ï
Ï
Ï≤. Ï. Ï≤. Ï≤.
3 ä ä . Ï Ï. Ï. . Ï Ï. Ï. ÏJ
~~~~
~~~~ ä ä J
&8
π. sottovoce .
Adagio di molto [e = 80]
aaa
Sibelius, Violin
Concerto/ii
b
&b c
&C
ddd
πp
II
dim. possibile
Adagio e = 80
Meno mosso
2
Ï Ï Ï Ï Ï ÏbÏ
1
ú ú
morendo
Ï
Î î
- b ä - - - -j ä -≤ - - -j
Ï Ï Ï Ï Ï Ï Ï Ï
Ï
π
ccc
O +10
≤Ï Ï Ï Ï b Ï Ï Ï≤ Ï Ï1 b Ï Ï Ï≤ Ï Ï
J
II
≤
Andante q = 72
b Ï≤ Ï Ï Ï
R ≈ ~~~~
3
& 42 ≈ Ï Ï ≈ Ï Ï .. ≈ Ï Ï ≈ Ï Ï ..
Ï
Ï
Ï
Ï
vn. 1/II
147
Tchaikovsky
Nutcracker I/5
1
π
dolce
eee
-≤
ú
- ú Ï
p espr.
Ï
2
Dvořák
Symphony 8/ii & 4
p dim.
138
w
( )
Un peu moins vite [q = 100]
1
K
bbb
Saint-Saëns
Cello Concerto 1
≤
>
≈
ú ... w
6 +13
14x
p
2
≤
& C Ï Ï Ï Ï Ï Ï ≈ Ï Ï ≈ Ï Ï ≈ Ï Ï ≈
p
fff Allegro q = 120
M +13
Verdi
Aida IV/9
4
≤
≤ ≤ >
#
68 Î ä Ï Ï n Ï. Ï . Ï . Ï . Ï . n ú .
#
Schubert
Symphony 3/iv &
..
ggg
96
Presto vivace [h. = 80]
1
p
ƒ
Ï äÎ ä
©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info)
5 Bowing Technique, Sound Production, Coordination • 5.34 “Good” and “Bad” Bowings
(4) Use two bows for the longer note, and link or separate the
shorter note for very intense, slow figures ( nn 58 ).
(5) Slur every short note to the next long note in very fast, elegant
figures (see zz ).
In most cases discussed so far, one particular bowing was
clearly preferable. But for a number of notorious patterns you
must choose between two or more alternatives that are equally
valid or have slightly different advantages. Make your decision
based on the preferences of the section and other criteria, discussed below.
Short—long
and all similar and derived patterns (Ch. 5.24,
5.27, etc.)
(1) Generally, linking is the best options because it avoids unbalanced stroke durations and retakes, reduces the number of
stresses, and gives you a feeling for longer phrases.
(2) Bowing out   is preferable
• for strokes that need to be connected seamlessly
• in marcatohhh
passages
that are [played
Più Allegro
h = 112]at a pace that permits
391
retakes.
Brahms
(3)
Bowing out   is preferable
Symphony 1/iv
• in light, elegant passages with very short, off-the-string articulation
• in extremely fast passages.
&C
Ï.
Ä
≤
Ï. Ï. Ï.
Ï. Ï.
hhh
Più Allegro [h3 = 112]
jjj
391
hhh 14 +15
Più Allegro [h = 112]
391
≤
Cb
&
& bC b Ïc î Ï≤
& . .
ÄÏ.
Ä
Ï.
Ï.
≤ .
Ï. Ï. b Ï Ï. Ï. Ï≤.
..
Ï. Ï. Ï. Ï. .. Ï.
Ï. pÏ.tappingÏ.spiccato
Ï. Ï.
Allegro giusto q = 138
Brahms
Tchaikovsky
Symphony 1/iv
Brahms
Ov.
1812
Symphony 1/iv
..
Long—short—short
and related patterns such as
(Ch. 5.23)
hhh /391–94 • In many cases bowing out is preferable.
hhh /395– iii • Play   with retakes in loud, marcato passages.
jjj • In very light passages consider linking the first note.
kkk - lll , Ex. 5.21n • Consider linking the two eighths or using ricochet for extremely fast passages that need crisp articula7
tion.
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491
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1
Two notes
notes separate
(Ch. 5.20 and 5.28)
• Link slow and moderate figures that require crisp, uniform
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• Link slowben
andmarc.
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Verdi
492
Ï “Good” and “Bad” Bowings
Ï Ï Ï Ï Ï • 5.34
Ï Ï Ï Ï Coordination
Ï Ï Ï ÏTechnique,
Ï Ï Ï ÏSound
b b b c5 Bowing
Ï Ï Production,
Nabucco III/4 &
ooo • Bowing out in mm. 8–9 feels comfortable and benefits
Finally, there are no-win
Ä situations, in which no bowing
iii
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10 +2
the articulation, but it necessitates awkward linking in m. 10.
ppp • Linking the first or third strokes of m. 9 feels awkward at
first, but it makes for a natural stress and bow direction in m. 9.
Perhaps the best solution in such cases is to leave the bowing to
each player: everybody should play what feels most comfortable,
and the mix of bowings will cancel out the disadvantages of each
individual solution.
seems satisfactory and some players will object no matter what
Allegro [h = 92+]
bowing you choose.
kkk
mmm • Bowing out in1mm. 262–64 makes for natural bow di78 +5
rection and phrasing in mm. 263–64, but it makes the two
bowed-out eighths in m. 264 difficult to play crisply; it also
Donizetti
causes
L'Elisir
II/12an awkward upbow retake in m. 265.
nnn • Playing   with a retake in m. 263 feels awkward but
lll
makes for a comfortable bow direction in mm. 264–65.
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©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info)