Kelly Schmidt MUS333 October 19th, 2012 Guide to Orchestral Bowings Through Musical Styles Notes

On-String Bowing One Note Per Bow Direction

Example 1 Detache I
Alternating bow direction with a smooth, connected stroke and evenness of tone. Examples in the Bartok: Movement 9 o Vln I (mm 1, 3-4, 6-7, 9-10, 12, 14, 16, 19-20, 25, 27) o Vln 2+Vln3 (mm 12-13, 26) o Vlc (mm 1-3, 5, 7, 23-24, 26) o Cb (mm 23-24, 26)

Example 2 Rapid Detache

Series of short notes that are smooth, connected, and even. No tremolo or exceedingly rapid detache examples in the Bartok

Example 3 Detache Lance

A gentle stroke with a slight slowing at the end of the stroke giving the illusion of space.

Examples in the Bartok: Movement 2 o Vln 1 (mm 25)

Example 4 Accented Detache

Alternating bow direction, connected stroke, with an emphasis at the beginning of each note, generally accomplished through increased bow speed Examples in the Bartok: Movement 4 o Vln 1 (mm 4, 8-10, 12, 14-16) o Vln 2 (mm 4, 8) o Vln 3 (mm 4, 8) o Vlc (mm 4,8) o Cb (mm 4, 8) Movement 6 o All (mm 46-47) Movement 8 o Vln 1 (mm 51-54) o Vln 2 (mm 17, 21, 23, 33, 35-39, 53-54) o Vln 3 (mm 53-54) o Vlc (mm 17, 21, 23, 33, 51-54) o Cb (mm 21, 23, 33, 51-54)

Movement 9 o Vln 1 (mm 22)

Movement 10 o Vln 1 (mm 1-2, 5, 7-10. 13, 15-16, 18-19) o Vln 2 (mm 1-2, 5, 7-10, 13, 15-16, 18-19) o Vln 3 (mm 1-2, 5, 7-10, 13, 15-16, 18-19) o Vlc (mm 1-2, 5, 7-10, 13, 17-19) o Cb (mm 1-2, 5, 7-10, 13, 17-19)

Example 5 Staccato Style Martele

A bowing technique indicating a definite articulation that can vary from light to heavy. Bow pressure is applied before moving the bow, resulting in space between each note. Varying degrees of initial pressure, length of bow, and duration of note are determined by dynamics and style. Examples in the Bartok: Movement 2 o Vln 1 (mm 13-14, 17, 40-41, 44, 58, 60, 62-63) o Vln 2 (mm 62-63) o Vln 3 (mm 62-63) o Vlc (mm 62-63) o Cb (mm 62-63)

Example 6 Combination of Martele and Accented Detache

Shorter notes with more weight at the beginning of a note No clear examples in the Bartok score

Example 7 Chords
Playing multiple notes at once across the stringsachieved by aiming for the middle string with bow, and applying weight which causes the bow hair to wrap around the other strings. Also sometimes seen with the rolling of the bow from the lower note to the higher note. Can be started on or off the string to achieve different sounds. From off the string, you can get more of an attack Examples in Bartok: Movement 1 o Vln 2 (mm 1-4) Movement 2 o Vln 2 (mm 16, 62-63) o Vln 3 (mm 16) Movement 3 o Vlc (mm 1-7, 13, 19) Movement 4 o Vln 2 (mm 8, 19-20, 23-24) o Vln 3 (mm 17-24) Movement 7 o Vln 3 (mm 2-3, 5-6, 20-21, 23-24, 36)

o Vlc (mm 2-3, 5-6) Movement 8 o Vln 1 (mm 33) o Vln 2 (mm 17-27, 33) o Vln 3 (mm 1-11, 25-27) o Vlc (mm 51-54) Movement 10 o Vln 1 (mm 17-19) o Vln 2 (mm 6, 14, 17-19) o Vln 3 (mm 7, 17-19) o Vlc (mm 1-2, 7, 9, 17-19)

On-String Bowing Two or More Notes Per Bow Direction

Example 8 Group Staccato (linked)
A series of two or more stopped bow strokes in a single bow direction with resultant space between the notes. It is used with patterns of even or uneven note values often giving the tonal effect of separate articulated bow strokes. Examples in the Bartok: Movement 2 o Vln 1 (mm 15, 18, 42, 45, 61) o Vln 2 (mm 61) o Vln 3 (mm 61)

Movement 4 o Vln 1 (mm 1-3, 10-15, 17-23) o Vln 2 (mm 2, 17-23) o Vln 3 (mm 2-3) o Vlc + Cb (mm 2)

Movement 6 o Vln 1 (mm 7, 29) o Vlc + Cb (mm 8, 30)

Movement 7 o Vln 1 (mm 4, 7, 10, 13, 14, 16, 19, 22, 25, 28, 31, 34) o Vln 2 (mm 4, 9, 12, 15, 18) o Vln 3 (mm 9, 12, 15, 18) o Vlc + Cb (mm 9, 12, 15, 18)

Movement 10 o Vln 1 + 2 (mm 4, 7, 12, 15) o Vln 3 (mm 4, 12, 15) o Vlc (mm 4, 12)

Example 9 (Portato or Loure)

A series of notes performed in a single bow direction pulsating within continuous tonal duration. No clear examples notated in the Bartok

Example 10 Group Staccato (hooked)

Patterns of two uneven note values in a single bow direction that may be either a stopped or portato bow style. No examples in the Bartok score

Example 11 Slurs
A series of legato notes of different pitches performed with a continuous bow movement and indicated by a curved line. Examples in the Bartok: Movement 1 o Vln 1 (mm 1, 3, 5-7, 9, 11, 13-15) o Vln 2 (mm 4-10, 12-15) o Vln 3 (mm 4-11, 13-15) o Vlc + Cb (mm 2, 4-7, 10, 12-16) Movement 2 o Vln 1 (mm 5-7, 9-11, 13, 16, 19-21, 32-34, 36-38, 40, 43, 47-57, 59, 6571) o Vln 2 (mm 1-25, 28-40, 50-56, 66-71) o Vln 3 (mm 1-25, 28-40, 48-56, 66-72) o Vlc (mm 16-25, 48-56, 60-61, 66-72) o Cb (mm 16-18, 53-61, 66-72) Movement 3 o Vln 1 (mm 1-5, 7, 12-16, 18-19)

o Vln 2 (mm 10-11, 16-17) o Vln 3 (mm 10-11, 15-18) o Vlc (mm 9-11, 13, 16-18) o Cb (mm 16-18) Movement 5 o Vln 1 (mm 2-4, 9, 15-16, 18-20, 25-26, 28-29) o Vln 2 (mm 2-4, 9, 14-15, 18-20, 24-26, 28-30) o Vln 3 (mm 2-4, 9, 14-15, 18-20, 24-30) o Vlc (mm 2-4, 9, 14-15, 18-20, 24-30) o Cb (mm 3-4, 9, 14-15, 19-20, 24-26, 29-30) Plus more from other movements

Example 12 Slurred Accents

While slurring, added pressure from the left hand at the desired accents Examples in the Bartok Movement 4 o Vln 1 (mm 1-3, 5-7, 11, 13, 19, 21) o Vln 2 (mm 5-7, 21) o Vln 3 +Vlc + Cb (mm 5-7) Plus more from other movements

Off-String Bowing One Note Per Bow Direction Example 13 Spiccato (Crisp)

A bouncing stroke that may range from slow to moderately fast, from light pianissimo to heavy fortissimo. The bow stroke has horizontal and vertical components. No marked examples of Spiccato in the Bartok

Example 14 Spiccato (Brush)

A bouncing stroke that may range from slow to moderately fast, from light pianissimo to heavy fortissimo. The brush bowing is one that is more horizontal in its bounce, as to achieve more of a brush rather than a pluck with the bow. No marked examples of Spiccato in the Bartok

Example 15 Colle, or Pique

The bow is placed on the string and preceding the moment of release the string is lightly but sharply pinched. Mostly done with an up-bow. The bow is then replaced at the point of initial contact for succeeding colle strokes. No specific examples in the Bartok

Example 16 Marcato, or Heavy Spiccato

A hammered stroke at the heel (near the frog) for heavily accented spiccato notes. Examples in the Bartok: Movement 10 o Vlc + Cb (mm 15-16)

Example 17 Marcato Repeated Down-Bows

Achieves a heavier sound down bows naturally have more weight at frog, so they achieve more bite and attack of notes. Used for a darker, heavier sound No marked marcato with repeated down-bows notated in the Bartok

Off-String Bowing Two or More Notes Per Bow Direction

Example 18 Group Spiccato, Flying Spiccato, or Staccato Volante
A series of spiccato notes in a single bow direction. The bow is dropped on the string with a horizontal motion, rebounds, and drops again, continuing its direction. No marked Spiccato passages in the Bartok

Example 19 Ricochet (or Saltando, or Jete, or Gettato)

The bow is dropped in a down-bow direction in the upper part of the bow for a series of two or more notes and is allowed to bounce the requisite number of times. The initial impetus and elasticity of the bow creates the successive bounces. The notes within the ricochet bowing are of equal value, light in texture, and fast in tempo with an up-bow rebound on the final note. No marked Ricochet examples in the Bartok

Special Tone Colors

Example 20 Collegno

The wood of the bow rather than the hair contacts the string. Often the stick is dropped to the string for a semi-percussive effect, but it may also be used for long strokes or slurred groups of notes. No Collegno examples in the Bartok

Example 21 Sul Ponticello

The point of contact of the bow hair is as close to the bridge as possible, producing a special eerie color effect that gives emphasis to the upper partials (harmonics). It is generally played tremolo but may be a sustained or percussive stroke. No Ponticello examples in the Bartok

Example 22 Sul Tasto (or Sur La Touche, or Sulla Tastiera)

A light, fast, airy bow stroke played smoothly with the sound point over the fingerboard. Since the higher overtones are submerged, the resulting sound is flute-like and can be used either as an accompaniment figure or as a melodic line. No Sul Tasto examples in the Bartok

Pizzicato
Example 23 Pizzicato without Bows
Plucking of the strings with the right hand, bow on the stand (used for long passages of pizzicato in which there is time then to pick up the bow before moving back to arco)

Example 24 Pizzicato to Arco

Hold the bow in the right hand in a way that you can support the frog (the weight of the bow), and wrap your finger around in order to still pluck the string. This helps you move from pizzicato to arco quickly. Pizzicato Examples in the Bartok: Movement 2 o Vln 2 (mm 41-45) o Vln 3 (mm 41-45) o Vcl (mm 1-15, 28-45) o Cb (mm 1-15, 28-45) Movement 3 o Cb (mm 1-15) Movement 4 o Cb (mm 2, 18, 28) Movement 9 o Cb (mm 1-11)

Example 25 Pizzicato Chords

The use of the first finger to strum the instrument while it is still in position to create the chord sound. Cellists and bass players use thumb, as it is easier to achieve the strumming angle that way Examples in the Bartok: Movement 2

o Vln 2 (mm 41-42, 44-45,) o Vln 3 (mm 41-42, 44-45) o Vlc (mm 41-42, 44-45)

Dynamics and Articulations

Example 26 Dynamics
As a dynamic gets louder, you use more bow, more weight, and move closer to the bridge, and vis versa for getting quieter (less bow, less weight, move closer to finger board). Down bows are naturally a bit louder than up bows Dynamics are written throughout the Bartok, adjust bow weight and placement accordingly to the dynamic marking

Example 27 Intensity Accents

Added weight, plus a quick pull to the bow in order to make this note stand out more among the others

Example 28 Articulation of Syncopation

Play in an area of the bow where the articulation of the note wont stand out too much if quieter, play in the upper half of the bow Examples in the Bartok: Movement 4 o Vln 2 (mm 9-16)

o Vln 3 (mm 9-23) Movement 9 o Vln 2 (mm 1-9, 17-21, 27) o Vln 3 (mm 7-9, 17-21, 27) o Vlc (mm 8-9, 17-21, 27) o Cb (mm 8-9, 17-21, 27)

Phrasings
Example 29 Phrasings
Adding less weight to the bow at the end of phrases in order to taper off Throughout the Bartok, there are crescendos and decrescendos at the beginnings and end of phrases; otherwise this is not necessarily marked in the score.

Example 30 Crawl Bowing

Alternative Bowings
Example 31 Alternative Bowings
Added double ups in areas to make down bows fall on the accented beats/down beats

Example 32 Alternative Bowings

Bowing Strategies and Analyses

Example 33 Bowing Strategies and Analyses