![]() Passages so marked should be performed at the tip of the bow.įree bowing is bowing that is not uniform within a section or sections of string players. Punta d’arco literally means at the point of the bow. Stand partners throughout each section agree to change bows at different times. Staggered bowing is indicated with down-bow and up-bow symbols put in parentheses. Staggered bowing is a technique in which string players change bows at different times on held pitches for a continuous sustained sound. The term indicates a return to normal bowing after playing with a specialized bowing. Modo ordinario literally means in the ordinary way. This bowing can be combined with a ricochet bowing as in Gustav Holst’s The Planets. Players prefer to use less expensive bows for repertoire that calls for this effect as playing on the wood scratches and damages bows. Sul tasto refers to bowing over the fingerboard for a light airy quality, usually in soft passages.Ĭol legno literally means to play with the wood stick part of the bow rather than the hair. ![]() It can be played at any dynamic and can be combined with free tremelo for added effect. Sul ponticello describes bowing next to the bridge for a wiry mysterioso quality. It is performed at the frog of the bow often with repeated down bows in quick succession. It is most often called for in virtuosic bravura solo pieces and only occasionally in orchestra repertoire.Ĭhopped bowing is a heavy bouncing bow indicated by accents and/or dots in a passage marked forte or louder. Staccato volante or flying staccato is performed dropping the bow and letting it rebound continuously in an up-bow direction. This bowing is performed when the tempo is too fast to allow for individual bouncing bows and where sautillé bowing is not possible. The bow may be dropped for two bouncing bows followed by a retrieval as in the William Tell Overture, or the bow may be dropped for three, four or more bounces before a retrieval. The up-bow is then used for a quick retrieval. Ricochet bowing is performed by dropping the bow on the string for a prescribed number of bounces, all in a down-bow direction. Sautillé is performed in the middle of the bow with the striking of the string controlled by the bow wrist and fingers. ![]() Frequently used in virtuosic bravura solos, this bowing also shows up in orchestral literature. Sautillé bowing is the fastest bouncing bow performed with alternating down bows and up bows. This bowing achieves an elegant balance when a high vertical bounce or an on-the-string bowing is out of place. Mozart and Haydn particularly benefit when appropriate passages are played with the brushed stroke. Brushed bowing gives refined clarity to passage work and can be performed at a variety of tempi making the bowing one of the most used in the performance of string repertoire. ![]() The player provides a lift for each bow change, each bow change clears the string, but the bow movement is more lateral than vertical. The speed of the passage will usually determine the type of spiccato bowing a player or conductor will choose.īrushed bowing is neither completely off the string nor completely on the string. Bouncing bows may be performed at various speeds. These two terms are used interchangeably. Spiccato or bouncing bow are general terms that describe bow movement as the bow hair and stick strike the string producing a sound that is interrupted by the bow leaving and then returning to the string with a rebound. In this column on string bowings we will take a look at off-the-string bowings and specialized bowings in an effort to help clarify terminology and technique. Part 2 – Off-the-String Bowings & Specialized Bowings ![]()
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