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 Lads & Lasses, 'Draw your Bows!'October 4, 2007 at 8:03 AM My first blog, encouraged by Laurie…Crescent Bow The partial slightly orbital path around the scroll of the instrument (player’s left hand) enabling the tone to resonate with greater clarity and projection, additionally offering a natural way to free up the right arm’s motions through the joints of the wrist, elbow and shoulder. 1. The bow strokes are to be accomplished with a slight rounding-of-the-path, thus Crescent Bow – the curved drawing of the bow. NOTE: The Crescent Bow is necessary to compensate for the natural resistance of the bow caused by the string/bridge combination – the nearer to the bridge, the greater the resistance. It is like walking into the wind – we lean into the counter force.
In the Discussion Section: “Following the curve of the stick” Initially I was not sure what aspect of the “Curve of the Bow” was being discussed, so I jumped in and gave my thoughts and explanations –– hence the “Crescent Bow,” which is speaking of the horizontal/lateral path of the bow’s plane. (4th & 7th discussion) Also, the “Messa di voce” is mentioned here. It became clear from Buri’s question put to me (5th discussion), and others’ comments, that we are discussing an “arched draw/flow/sinking into the string.” There is, in my opinion, a great danger tonally and musically with this concept. Articulation and rhythmic precision can be greatly compromised if this is the basis for all bowing technique. This is why I believe the “Curve-of –the-Bow” stroke to be a type of Détaché.
Following are my thoughts on various Détaché strokes: Détaché – The basic but all-important stroke from which everything else is derived – notes are well sustained and played with individual and connected bow strokes of any length. 1. Détaché Décisivement/Decisive Détaché – A sustained tone with distinct bow changes. The above and later below are excerpts from my books for the violinist and violist. So with all of these variables, and many more, I cannot accept the “Curve-of-the-Bow” stroke to be a legitimate method/technique to base one’s entire way of handling the bow –– it simply is not applicable and/or possible in so very many instances. (Perhaps this is not the intent of the contributors.) I do accept it as another variable and feel it to be closely related to the Détaché Porté mentioned above, but not necessarily exactly like the DP. (12th discussion) I also relate the “CotB” to “Messa di voce” (also, 4th conversation) because we at times do this on a long note for shape, beauty and resonance. Obviously, this is more deliberate and for a very special effect, but this is what happens in a more subtle way when doing the “CotB.” Regarding the Tilt of the bow: Of course the motion and sound are affected. This is true of every single adjustment for every single millimeter we use the bow: The 1) point of contact, 2) speed of bow, 3) weight of bow, 4) amount of hair, 5) string selected and 6) vibrating length of string/position number are brought together in order to bring out the desired dynamics and character of the music –– Side Hair – Not a stroke, but a method or technique used in virtually all the strokes, particularly for the lightest and most delicate of touches. A most basic and important bow technique where the stick of the bow is rolled away from the bridge thereby giving the hair a diagonal tilt to the string. This enables the player to achieve the lightest tones possible and the gentler lyric effects in varied types of bow stroke styles. For greater security, ease and technical stability, it is best when the hair and thumb are rolled toward each other. When they touch, the bow gains total stability, enabling the player to have complete ease and security of action. Note that this requires a slightly higher wrist/arm and forward right arm positioning. Its counterpart is the Flat Hair. Flat Hair – Not a stroke, but a method or technique, used in virtually all but the lightest of touches. A most basic and important bow technique where the stick of the bow is directly above and perpendicular to the hair. This enables the player to achieve the fullest tones possible and the crispest, quickest responses in all types of bouncing and springing strokes. For greater ease and technical stability, it is best when the hair is rolled out from the thumb. Note that this requires a slightly lower wrist/arm and pulled-back right arm positioning, as the rolling out action moves the hair toward the fingerboard. Its counterpart is the Side Hair. Also, see Thumbless. Bow Strokes In many instances the “Bow Stroke Style” will meld from one style, or aspect of a style, to another. There will also be many situations of a distinct change from one stroke to the next, as in Détaché to Martelé.
From Roy Sonne
"Everything affects everything."Posted on October 4, 2007 at 4:56 PM YES!!!
From kimberlee dray
Yes. What I hear when I play and experiment confirms what you say.
Posted on October 4, 2007 at 11:59 PM From Albert Justice
I almost think the violin as a living thing--it is soooooo variable. Posted on October 5, 2007 at 1:32 AM Welcome aboard again Drew!.
From Ray Randall
Good points.
Posted on October 5, 2007 at 5:53 PM This entry has been archived and is no longer accepting comments. |
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