Historical bow technique for rapid articulation in the late eighteenth and early nineteenth centuries

Takuto Takagishi

About this exposition

Not much has been studied on bow technique for rapid articulation in the late eighteenth and early nineteenth centuries. This is due to the fact that we lack sufficient material about bow strokes during the period, and the corresponding musical style and the types of bows changed drastically. In this exposition, I examine methods for playing rapid articulation by investigating treatises, etudes of the period, and prior research. My analysis of bow techniques will include experimentally playing rapid notes in at least six different ways, and I have recorded each execution. Their proper use depends on tempo, dynamics, character, and articulation. Natural bow bouncing and bouncing bow stroke (spiccato) require different techniques, and they make correspondingly different sounds. Spiccato was employed mainly for showing virtuosity and expressing particular emotion in solo pieces, but it is rarely used in orchestra or ensemble repertoire. The pre-Tourte-model bows were not ideally suited to for playing at the point of the bow. Martelé on the upper half of the bow was gradually used from the last decade of eighteenth-century with Tourte-model bows. The benefits of using martelé include gaining evenness of tone, and playing with a low-positioned right arm helps the execution of martelé. The bowstroke for rapid articulation should be decided eventually as demands of music based on these matters.

type	research exposition
keywords	rapid notes, bowing technique, baroque, violin
date	08/12/2017
published	01/10/2019
last modified	01/10/2019
status	limited publication
share status	private
copyright	Takuto Takagishi
license	All rights reserved
url	https://www.researchcatalogue.net/view/412526/563670
published in	KC Research Portal
portal issue	3. Internal publication

name	3 ways of bow bouncing
copyright	Takuto Takagishi
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name	VID_20180123_212655
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name	music sample Tartini
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name	Brunetti
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name	Spohr Violinschule, Bow hold picture
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name	Baillot L'art du violon, Bow hold picture1
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name	Baillot L'art du violon, Bow hold picture2
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name	Leopold Mozart Violinschule example1
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name	Leopold Mozart Violinschule example2
copyright	Leopold
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name	Leopold Mozart Violinschule example3
copyright	Leopold
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name	Brunetti Sonata Viola exarpt
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name	Beethoven op.18-6
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name	Beethoven Symphony5 mov.2-1
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name	Beethoven Symphony5 mov2-2
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name	Beethoven symphony7, page1, exarpt
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name	Leopold Mozart, Violin holding
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name	Campagnoli violin hold
copyright	Campagnoli
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name	Spohr Violinschule, Bow hold picture
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name	Baillot L'art du violon, Bow hold picture1
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name	Baillot L'art du violon, Bow hold picture2
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name	Baillot L'art du violon, Bow hold picture3
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name	Mozart KV563 Menuetto 2
copyright	Mozart
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name	Mozart KV563 Menuetto 1
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name	Spohr Violinschule, No.19
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name	Kreutzer No.6
copyright	Kreutzer
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name	Haydn Op.55-1, Vn.1 punta d'arco
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name	Mozart Divertimento Trio
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name	Mozart Divertimento Menuetto
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name	Kreutzer
copyright	Takuto
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name	Spohr
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name	Bow types from the eighteenth century, illustrated by Woldemar
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name	a Tourte bow (c. 1800) Boydrn
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name	Leopold Mozart Violinschule example1
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name	Leopold Mozart Violinschule example2
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name	Leopold Mozart Violinschule example3
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name	Brunetti Sonata Viola exarpt
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name	Johannespassion BWV245 spiccato, p.18
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name	Leopold Mozart-1
copyright	Takuto
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name	Leopold Mozart-2
copyright	Takuto
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name	Leopold Mozart-3
copyright	Takuto
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name	Beethoven Symphony5 mov.2-1
copyright	Beethoven
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usages	picture

name	Beethoven Symphony5 mov2-2
copyright	Beethoven
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usages	picture

name	Beethoven symphony7, page1, exarpt
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name	Beethoven 5-1
copyright	Takuto
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name	Beethoven 5-2
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name	Beethoven 7
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Historical bow technique for rapid articulation in the late eighteenth and early nineteenth centuries (2019)

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