The various kinds of bowing.
These are best classified into “primary” bowings (Grund-Bogenstriche) of which there are six different examples, and “secondary” bowings (Neben-Bogenstriche).
Primary bowings.
1. The rapid detached stroke with the whole bow (Grand detaché). This is executed in such a manner that the bow moves quickly from its nut to its point, and back again in the same line,—parallel to the bridge. Between each stroke there must be a pause, but during it the bow must not leave the string. It must be so quickly executed that a crotchet is made to sound like a semiquaver.
Rendering:—
The stick must be firmly held between the thumb and the first and second fingers. The elbow, at the commencement of the down stroke must rest close to the body, and, on reaching the point of the bow, not be raised above the stick. Especial care is needed in order to make the up strokes equal in power to the down strokes.
2. The “singing” stroke. Also executed with the whole bow. The first contact must be delicate, and the single tones must follow each other without interruption. The player, drawing the bow quite parallel with the bridge, must press more and more as the point is reached. At the change of stroke, the wrist makes a slight movement, and the elbow assumes the same positions as in the previous grand detaché bowing.
3. The detached hammered (martellato) bowing. This stroke is chiefly made at the point of the bow, which must not leave the string. With every note the stick is pressed or pushed by the thumb in the direction of the index finger, so that each tone is sharply cut out, but with a musical quality. The up strokes must receive a stronger pressure.
This bowing can also be played at the nut end, and of course entirely with the wrist, which must be held lightly over the strings. The elbow must be tolerably close to the body. The martelé bowing is an excellent preparatory study for staccato, which is really only one out of a number of martelé notes taken in one bow.
Rendering:—
4. Detached stroke with the fore-arm. As indicated by its name, is executed by the fore-arm and the wrist, and from the middle to the point of the bow. The upper arm must remain quite still. In this bowing no pause must be made between the notes, but they must be connected easily and agreeably together.
5. The “skipping” stroke. This stroke is made at the middle of the bow, which must be lightly held between the fingers and controlled by the wrist. The stick is made to vibrate strongly, whereby the bow is caused to move up and down. It is difficult to attain an agreement between the placing of the fingers and the skipping movement of the stick, for which reason this bowing must first be practised on one note:—
Afterwards several notes may be taken on one string, then on the different strings.
6. The rebounding or springing (sautillé) bow. This bowing differs from the foregoing in that the bow rebounds from the string after each note, and is then permitted to fall upon it again from above. In order to avoid too great dryness or hardness in the tone, the bow when falling on the string must be gently controlled.
Rendering:—
Secondary bowings.
1. The bound, or legato bowing. In this, as many notes are played at one stroke as may be found connected by the curved legato sign, or as necessitated by the phrasing. In passing from one string to another the wrist will require special watchfulness.
2. The staccato stroke. This is, as already stated, a series of martelé notes taken in one bow, and must first be slowly practised with the up bow, to the point, and with a free wrist; the thumb only exerting a slight pressure upon the stick. The staccato is also executed with the down bow, beginning near the nut.
3. The springing staccato stroke. This consists of a series of rebounding notes (“Primary bowing” No. 6) taken in one bow, and can be rendered both by the up and the down bows.[15]
4. The Tremolo is a succession of quick notes in very short strokes, and is executed with a loose wrist, the upper half of the bow lying upon the strings.
Another species of Tremolo is the following:—
Here two notes are included in one bow, thus causing it to resemble the skipping stroke. Only the upper half of the bow is used, and it is held lightly with the thumb and first two fingers.
5. The Ponticello. This is executed with the bow lying quite close to the bridge, whereby the tone becomes somewhat nasal. When so produced by the whole string orchestra it often makes a fine effect.
6. Flautando. Also with the bow resting on the string, but, unlike the foregoing bowing, it is executed just over the fingerboard. The notes so played yield a delicate flute-like quality of tone.