Previous Page | Next Page

BOW STROKE LINK

What follows is an explanation of how to execute each of the basic violin bow strokes that are introduced in Topic II. The bow strokes are discussed here in the order that they appear in the stages. [For a more complete discussion of bowing terms, see the ASTA publication.] It is essential for the player to have these strokes “at hand” and on command; our bow strokes are the tools of our expression. The specific order of strokes in the stages is important. The particular order that has emerged is the one that has been most helpful and efficient in creating a healthy foundation.

Table of Contents (with reference to the stage it is presented)

Stage One

Stage Two

Stage Three

Stage Four

Stage Five

THE MARTELÉ STROKE
The martelé stroke is the first fundamental stroke on which a good bow arm is based. The martelé is a released stroke with a definite beginning and ending. The stroke is played using only the weight of the arm, producing a ringing tone. This gives the student the first sense of flow inherent in bowing, and the freedom to use the whole bow. A primary goal is to be able to get from the frog to the tip with one gesture. To achieve this, the bow hand remains relaxed throughout the stroke.

The martelé stroke starts from the string and is released using the weight of the arm, with the bow remaining on the string. The martelé will have a ringing tone after the well articulated beginning.

At the frog, the index and little finger balance the stick with the thumb in the middle. The longest finger rests across from the thumb. The thumb is not placed directly underneath the stick, but balances on the octagonal side of the wood facing the body. Rest the bow in the middle on the A string and tap the first finger, the two middle fingers, and the pinky. Place the bow at the tip and observe that the back of the hand is relaxed with pinky and ring finger resting on the stick. At the frog, the front of the hand is relaxed.

Video
Clip Title:

The Martelé Stroke - Bowing to Success: 4, 2, 1 Martelés per bow

Description:

The Martelé stroke is the first fundamental stroke on which a good bow arm is based. Playing 4, 2, 1 Martelés per bow with a ringing tone and flexible bow position.

Channel:
209
Duration:
2'08"


THE DETACHÉ STROKE

The detaché is the first continuous stroke addressed. The flow discovered in the martelé is here also, but without stopping between notes. The detaché stroke is practiced in the upper half of the bow on open strings. In the upper half, the stroke is executed by releasing the forearm. The right hand remains flexible and relaxed. The balance between the thumb and longest finger stays constant. Feel the weight of the upper arm pulling and pushing the strings. The stroke is practiced in the upper half, lower half (releasing the upper arm from the ball and socket joint), and finally the middle third (releasing the forearm).

Video
Clip Title:

The Detaché Stroke with Kreutzer #2

Description:

Playing Kreutzer #2 with the Detaché stroke in the upper half and lower half of the bow

Channel:

211

Duration:
5'25"

THE LEGATO STROKE
The legato stroke is our smoothest stroke with the most imperceptible bow changes possible. At the learning stage, this stroke emanates from slowing down the detaché. It can be conceived as the union of the LH and UH detaché strokes. The beauty and variety of the legato comes from awareness of bow speed.

To make sure that the weight of the right arm is properly engaged, visualize the arms hanging from the shoulder girdle and attached to the shoulder by the ball-and-socket joints. Do not raise the shoulders. The right arm moves across the violin from the ball-and-socket joint in a horizontal motion.

THE TRAIN STORY

(A helpful way to learn to use the whole bow and to arrive at the frog)
I often use the following story: The right hand is like the engine of a train; the forearm represents the cars, and the back of the elbow is the caboose. Visualize riding in a train chugging up the mountains of Switzerland. Think of the pull on the engine! Begin up bow, with the engine pulling the cars. At the point where the forearm can no longer move and maintain a straight bow, the caboose kicks in to push the cars along and finish the journey up the mountain. For down bows, reverse the process.

Video
Clip Title:

From Tip to Frog: The Train Story

Description:

Explaining how to draw the bow from tip to frog - a whole bow

Channel:

255

Duration:
2'41"

 

THE VIOTTI STROKE
The Viotti stroke includes a variety of hooked and separate bowings that incorporate two notes in rhythmic ratios of 3:1 or 2:1 etc.

Using Mr. Gingold’s [ADD LINK] explanation and description, I define the Viotti stroke as a stroke rather than a set of bowings. The principle of the Viotti stroke is energy and release, that is, to work on the short note; this will yield a released tone on the long note. This understanding of tension and release is fundamental to beautiful violin playing. If one always plays with tension, the tone is tight. On the contrary, if one plays only with released motions, the tone is flaccid. The combination of tension and release gives breath to the music creating natural phrasing. The underlying principles of this stroke are first introduced in Happy Farmer (Suzuki Book I) in the form of the hooked bowing (dotted quarter-eighth) where the eighth note is articulated.

Begin with Viotti strokes using the whole bow, then at the tip of the bow beginning up bow, and finally at the frog beginning down bow. 

Whole Bow
Tip
Frog

 

Video
Clip Title:

Viotti Stroke

Description:
The principle of the Viotti Stroke is to work on the short note which releases the tone for the long note and is applied to Kreutzer #2
Channel:

214

Duration:
5'36"

THE RICOCHET STROKE
Ricochet is a stroke that is not used very often. However, the mechanics of the stroke make it an invaluable study for our project. It is another stroke of the bow vocabulary that indicates the bow hand is functioning well because the stroke can not be executed unless the bow hand is relaxed.

The student begins by letting the bow bounce on an open string as many times as it will in one bow stroke. Find the place where the bow will bounce naturally. This tends to be towards the center of the stick. Next, learn to ricochet 2, 3, 4, 5, 6 bounces per note on each down bow and up bow. Then add this to a one octave A major scale. Use flat bow hair, loose fingers, a forearm motion, and minimal bow. When this becomes comfortable, the ricochet is applied to etudes e.g. Kreutzer #5.

Video
Clip Title:

Ricochet with Kreutzer #5

Description:

Practicing the ricochet stroke with Kreutzer #5

Channel:
216
Duration:
7'51"

THE SPICCATO STROKE
Spiccato has been traditionally defined as an “off the string” stroke where the bow rests in the air between strokes. However, I approach spiccato from the detaché stroke, thinking of it starting from the string and coming off. This allows the stroke to ring, and avoids that “spicky”, brittle sound. After the basic motion of the stroke is established, it is vital that the first note always starts from the string.


THE KEY TO A GOOD SPICCATO STROKE...
USING THE FOREARM IN THE LOWER HALF OF THE BOW


Begin by silently bouncing the bow on open strings (vertical motion) in the middle. Play 4 bounces per string, GDAE and back, using the whole arm to bounce the bow. Do not try to control the bow, just let it bounce as high or low as it will go, like a ball. This is to help the student get the feeling of the bow bouncing. Then move to 3 bounces, 2 and finally 1 bounce per string, making sure that the right arm level changes with the string level. When the student is comfortable with this, add a horizontal motion with the forearm in the LH repeating the order of bounces, 4, 3, 2, 1 per note.


The upper arm stays completely relaxed. The most important thing to remember is to allow the bow to bounce -- feel the arm falling. You cannot force this stroke. The thumb must be relaxed and requires continuous monitoring. Again, when playing spiccato, the first note always begins from the string.

Video
Clip Title:

The Spiccato Stroke – Kreutzer #6

Description:
Teaching the spiccato stroke
Channel:

218

Duration:
5'45"

Up and Down Bow Staccato
Up and Down Bow Staccato are legato strokes that are stopped at the end of each note. This stop then becomes the beginning of the new note. When taught like this, the stroke becomes very clean. Maintaining the feel and sense of a legato stroke in the midst of the stops is the essence of learning this stroke. Begin teaching the stroke by playing down and up bow with 2 notes per bow while keeping the bow moving with a constant legato tone. Then add 3, 4, 5, 6, 7, 8, 10, and 12 notes per down and up bow making sure that the stroke begins with the stopped sound from the previous note. The first pieces with staccato that the student encounters in the Suzuki repertoire are Long, Long Ago and Minuet in G in Book 2. The student will come across this stroke again in the Wohlfhart Etudes, op. 45, Country Dance in Book 5, and then in Kreutzer #4.

A well-executed staccato stroke is also an indication that the bow is maintaining a good relationship to the string. It is “in the string” not on the surface.

Video
Clip Title:

Up Bow Staccato – Kreutzer #4

Description:

Teaching up bow and down bow staccato

Channel:

219

Duration:
5'33"

SAUTILLÉ
The sautillé stroke is traditionally defined as an off the string stroke where the bow rests on the string between strokes. However, I find it easier to teach the stroke by emphasizing that the hair of the bow stays on the string while the stick bounces. Start with a detaché at the tip. Gradually move to the middle while shortening the bow stroke, making sure that the stick is over the hair, the thumb is loose and the arm relaxed. The fingers should be elastic, neither stiff nor floppy. Keep the forearm flexible, open*, and released. Find the point in the bow where the sautillé will work! Allow a little wrist flexibility if necessary. String crossings will be clean and clear if the right arm level changes with the string level while maintaining the same basic forearm motion. Crossings should be initiated from the upper arm (ball and socket joint).
[* open = elbow is past 90o - normally above the middle, but necessary for this stroke.]

Video
Clip Title:

The Sautillé Stroke – Kreutzer #8

Description:

Teaching the Sautillé stroke

Channel:

221

Duration:
4'29"

COLLÉ
Every stroke described thus far evolves naturally from the free flowing motions of the right hand and arm. However, the motions of the collé stroke must be specifically taught and learned, before it can be executed. It increases the flexibility of the hand and benefits all bow strokes. It is initially practiced at the frog using only the fingers. The collé is a condensed version of what happens to the fingers as the bow travels from the frog to the tip. The fingers begin in their rounded position, and with a “swoosh”, the fingers horizontally open to their longest position. The beginning of the note is articulated and rings as the fingers release and the bow travels only as far as the fingers allow. It is important to change the level of the bow arm from the ball and socket joint for each string crossing. The collé can be practiced in all parts of the bow, beginning up bow and down bow.

Video
Clip Title:

The Collé Stroke – Kreutzer #7

Description:

Teaching the Collé stroke

Channel:

220

Duration:
4'12"

 

A HELPFUL HINT for the RIGHT HAND FINGERS
The fingers of the right hand have the ability to move in three directions. These motions make up an important part of the vocabulary of bow arm motions.
-The arm is held out right and the fingers move from their joints in a vertical motion.
-The fingers move horizontally: pronation and supination
-The bow moves back and forth between a relaxed thumb and fingers

Video
Clip Title:

Motions of the Right Hand

Description:

Bow fingers can move vertically, horizontally, and can roll the stick back and forth

Channel:

207

Duration:
1'56"

Previous Page | Next Page