The embellishment of baroque violin solos
I'm studying the Corelli Op.5 No.9 prelude with Geminiani's embellishments.
Some of these embellishments reverse the bowing direction of Corelli's unadorned melody, but my feeling is that I'd rather play embellishments with the same bowing as the melody.
What are your thoughts about that?
I think it's really just depends whether you want to articulate the first note of the embellishment, and whether your bow distribution is good enough to get the rest of the job done without compromising your tone. Slurring into every embellishment might start to get old for the listener.
Geminiani deplored the "wretched" rule of the down bow, so there you go.
I've always been confused by insistence on bow direction as a form of articulation. In some cases, like rapid staccato, it can be easier to do it up bow rather than down bow when first trying the technique.
Carmen, this is only true on the modern tourte model bow which we all use. In using a period baroque bow the up-bows in the upper half are very different than the down bows in the lower half. Uniformity is the modern aesthetic but not at all the baroque one.
Mark, thanks for the information on playing with a baroque style bow.
In general, take ornaments, turns, trills, on a slur, even when they are notated in "big notes". Bach is full of written out ornaments, and it is OK to add slurs.
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