There's a regular motif, when you come to the end of a phrase, of trilled dotted crotchet plus quaver leading note plus clearly down-bowed minim. And of course the problem is do you down-bow the dotted crotchet and play the quaver on the upbow, or do you play the trill up bow and legato into the leading note?
Anyone here have a personal or theoretical preference?
Playing the trill on the upbow is an easy way to manage bow distribution, but maybe that's just inexperience talking.
All the bowings are dictated by editorial phrasing (although I've got editions without bowing that say the bowing is Corelli's own original, lol!), so they can be refashioned to some extent.
Otoh, if I made every single trill upbowed and legato etc, it might become very monotonous.
Part of the problem is when there's double stopping and one note is a minim. Do you just bow it down and up and ignore the fact that it's written as a minim?
How do I find out about baroque bowing? Is there any theory behind it?Tweet
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