Performance Bowings Bowing Terms Expiained for Band-Trained Teachers by Dr. Thomas Tatton hat an exciting three days: | recently returned from the 2019 Midwest Band and Orchestra Clinic. There were lots of wonderful performing ensembles and clinics. One such clinic, given by Bab Philips, ASTA President, was titled "Beginning Through ‘Advanced RightHand Technique for Strings! In @ ‘one-hour session, Mr, Philips triad to cover bowing terms, right-hand finger functions, sound creation, fanes, separated bow strokes, and left-hand skils that effect sound. Way too much for a wonderfully sifted pedagogue to cover in an hour. Even mare so because tha rather full audience was replete with wind players and teachers having to, or wishing to, teach strings or full exchestra, | know this by the goft chatter all around me with frantic note faking, each ‘tying to capture al ofthe information Blob was shar- ing. There are several notions to examine before delv- Ing into the bowing terms themselves, String players use the term bowing to tofer to the actual motion itself or, to the markings in the printed part or the act of marking the desired bowing into a score oF part, 2. “We are going to bow the parts. today! Or, to answer the question: “What are you doing?” “I am bowing the parts Make sure you understand what that string person is referring to and/or that your students know how you are using that term. String players bandy terms about that are some: times confusing, For example, the word détaché Soving sue 2014 Détaché can mean everything from very legato to ‘somewhat detached or can simply mean an up and down bow stroke that is or-the-string. The same with the term staccato, Staccato can moan a brief separation, (not unlike détacha) to short, accented (marcato) to hammered" (martelé) and everything in between, ‘String players mark bowings in a score or string parts that ae frequently confusing. Otten there are ‘only subtle differences, or sometimes, no actual di ference at all. String players use different words and markings that enjoy diferent meanings indifferent historical periods and/or regional canttex. A dot (+) over of under a note head has a different meaning for Mozart, Beethoven, Brahms, Bark, or John Adams. ‘And, aterm like spiccato in the 18th century has a different meaning in France than in Italy, That differ ‘ence creates a difference in sound. Lastly, a bit of luck, often the bow markings inthe parts 3r@ expiained and defined in the score preface. ‘What a wonderful opportunity to start using these torms with our students. This is also an early oppor: tunity to start a word well All is Not Lost Only diettantes, those attempting to impross and, perhaps a studio teacher or two at big name music Schools parse words like détaché into détaché porte, détaché lance, grand détaché or accented etaché. We don't really have to deal with that level 2930 = forts all wy of sophisticated word usage teaching grade one the bow and moving the bow fast across the through five pieces; especially since most string string, This produces a sound that is light and airy, players and teachers aren't engaged at that level almost wispy ~ a flutesike sound and often used in either. Further, most who use that level of terminok- a mysterioso section of music. The closer to the ogy do not agree on definition, symbol, or usage. fingerboard the wispier the sound ~ Sul Tasto. Generally, bowings needed for most public «schoo! and youth symphony situations come in four families: 1) on-the'sring, 2) oftthe-string 3) various slured varieties, and 4) special bowings. There i a fith category included in many bowing explanations that we don't need to deal with here ‘They are used mainly for solo work and include: ricochet,! Jeté, staccato volante, and fying stacea- to can be included in this category. When a clin cian comes in to work with your charges or when you start using these bowings.? clay what is meant by the tem used. Your students wil under stand your usage and know what you mean, For those experts who come in to your rehearsal ask ‘A dot can mean staccato or spiccato or even marcato depending on dynamic. (Notes marked with a dot under a slur can mean up-bow spiccar to. Usually one will see this with an up-beat or pickup. See slurred bowings) ~ ‘An accent can mean marcato (accented) or even martelé (heavily accented) Usually used with a percussive attack. “Ww ‘An accent with a dot indicates @ heavy accent ~ ‘marcato and martelé. This is sometimes marked with a wedge (¥ ). Ww Family Il. Spiccato: any bow stroke that is an them to define the terms they are using. You need up and down bow stroke that comes off-the-string. not be embarrassed, feel like you don't know any’ ‘We will talkin a different article about how far “of thing, or be intimidated ~ make sure you and your the-string” the bow actualy’ comes. Spiccato students understand how a word is being used ~ includes everything from a light “brush” stroke, to lust ask crisp, to accented, or saul Family |, On-The-String bowings ~ Détaché: any Chart for Common bow stroke that is up and down and on-the-string,. Off-The-String Bowings Make sure the person who uses that term is spe cific. Again, détaché can mean legato, separated to varying degrees, emphasized or accented (mar: cato) to heavily accented (martelé). The terms mar cato and marielé are almost always used indepen: dently from the term détaché. For example a string person might instruct an ensemble by saying "Play those notes ‘détaché’ or ‘marcato’ or ‘martelé”” Then, he or she should explain how those notes are to be played and where in the bow, or better yet, demonstrate ‘A dot above or below a note head can mean spiccato ifthe piece is at a speed the “bounce” can be controlled, or sautilé (also called saltado or saltando) if the tempo is fast enough for the bow to react with its natural bounce, ~ Successive down bows are very heavy and played atthe frog ‘Successive up-bow spiccato is very much lke ‘an up-bow staccato (see slurred) and used in the ‘same way. The diference is the bow leaves the string. tis most effective lover inthe bow ~ Bal Chart for Common lance point and toward the frog often dependin On-The-String Bowings ‘on the number of notes involved. * ° Notes without diacrtical marks are simply played logato, Family Il, Slurted bowings. Slus are notes (two or more) played under ane bow direction, either up or down, The slr isthe ultimate legato bowing yet there are other bowings that come under the term sl. Common slurred bowing vaia tions include everything from simple two (or more) notes-in-a-bow to up-bow staccato and louré/por tato, Two or more notes that ate hooked together in one bow with just a slight expressive pause between notes) Various slurted and hooked bowings are often used to create a positive bow distrbution situation andlor solve bow goography dificultes. mse oP AOS Aco ‘A dash over or under the note head ean mean tea hold out for full value (or more), ie. tenuto. It can also mean a slight separation between notes or even to give that note emphasis or some ‘weight. (A dash under a slur can mean up-bow stascato or an expressive bowing such aé louré oF portato, See slurred bowings) AA dash and a dot can also mean either a sight separation or a more staccato stroke, It can also mean a flautando stroke if marked pp. The fautando stroke is produced by using very ight weight with f wonetines a sco wud n schol = fk ho Overture to Willa Tell you aches plaring to coche you ae proathyrat h nee ol he nlomaion'n bo ale |? Start a vocabulary wal. Do not be afraid to use these terms as they are the terms siring players use.va fee # tf “y t ) 3 =. _ 7 el Tp S Rp B. G Chart for Common Slurred Bow Bowings ‘A slur includes multiple notes taken under one bow direction, either up or down. A dash oF a dot above or below ote heads can mean yp-bow staccato or spiccato, This is used often for up-beas or pick-ups and results in a strong down bow stroke on the first beat of the nex! bar. Portato or Louré, both terms are used for a bow stroke of gentle separation, There is a quiet urgency or expressivity 1 this pulsing stroke. ‘There ate various "hooked" bowings often with included dots or dashes. This bowing may be shown by dots or dashes within the slur depend: ing om the desired length of the notes, Hooked ‘bowing may also be shown as consecutive up or down bows marked above the notes heads The coll stroke is usually a gentl lit, especially for Baroque or early Classical styles, More con temporary usage collé can mean a pinched, lied stroke, Family 'V, Special bowings include Praying on-the-bridge: sul pontice J, sur le chovaiet (Fr ot am steg [Gr]. The bow is placed very close to the bridge - not actually on it ~ to achieve an ethereal, glassy or spooky sound! Paying over the fingerboard: sul tasto It sure touch [Fed or am afifett (Gr. The bow is placed over the end ofthe fingerboard. Tis creates a sot ight sound ~ flautando. Playing withthe wood of the bow: co! lego ft, avec le bois (Feo, mit holz [Gr The stick ~ wood of the bow is used to strike the string to got 2 diferent, rather wooden” or “clink sound. (Now, it must be said here that n more “oday's music, Le the music ofthe Ture Island Quartet, the Kronos Quaret and others, the Bow and right hand are used in some rather unique ways. Ts is a topic for another article.) Tremolo, measured tha isa set numberof iterations) or unmeasured isa difculy In most schoo! music one slash J breaks int eight notes: to slashes’ breaks into sicteonth notes and three sashes Fis most often unmeasured tremolo, Tempo rarely changes thi Ih musi that one would vse by, say Beethoven, Wagner, Mahler or Debussy, ecitions wil vary. For the most part any note with three slashes (oxcent im siow tempos where four slashes are somtimes ised) means unmeasured tremolo. With measured {tremolo one line through a half note or a quarter ote equals eight notes, two lines equals six- teenths, Ore fine through an eight note equals sixteenth notes; two lines equals thirty-second notes. Bz sixtoontn notes B= erences A = eighth notes FE 2 seen tes FFE = winrscon oes With regard to tremolo you may have a clear idea what is required, however, some of your orchestra members might aot. Especially for mea- sured strokes, make sure your string section mem: bers understand what is required and that you include this in your rehearsal. Otherwise, for & measured tremolo section of music someone in the back of a section might be using an unmea: ‘sured tremolo and mar an otherwise beautiful pul sating accompaniment ‘In subsequent articies we will deal with easy and fun approaches to teach bowing lanes, bow ‘geography; lft, and bow speed and weight, and how to teach some bow strokes such as spiccato, rmartel6, and sautilé. There are also simple strate- les for teaching awkward string changes/cross: ings and creating a more authentic Baroque sound without buying a slew of Baroque bows, resetting necks, and sawing off the fingerboard, you have specific questions please e-mail me at ttatton43@gmailcom. {will answer promptly and perhaps even include your question in an art dle. | recommend every string teacher have a copy of Orchestrai Bowings and Routines by Elizabeth Green, and/or Dictionary of Bowing and Pizzicato Terms (4th Edition) by Joe! Berman, Barbara G. Jackson and Kenneth Sarch, Both are published by American String Teachers ‘Association and are available from Alfred Music or ASTA. Orchestral Bowing: Style and Function by James Kielland isa fine book to also have at the ready. I is also published by Alfred Music. - De Talon isa relied soing specaist with the Lneain Unifed School District in Stockton, Calfomia, His rewous postions include ‘Associate Professor af Sting Education, Music History, Vol n Residence and Director of Orchestras at oth Whiter Callege and ‘the University ofthe Pacific. His monograph on publcschaol sting tesching, Connecting the Dots, was pubsed in 2003, He is curently stve 26 a cinlan and adctcator as well as making appearances at school in-service taining confrences. He i also tne revous EMEA Orchestra Representative. E-mail rim at taton43@gmal.com Bs