Books › The Strad; a monthly journal for professionals and amateurs of all stringed instruments played with the bow, 1890 › scan 30
Scan 30
The Strad; a monthly journal for professionals and amateurs of all stringed instruments played with the bow, 1890
40 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1At Milan he saw the veteran Bazzini, from whom he has an interesting souvenir; passing through Liége, where he was entertained by Cèsar Thomson, Musin and others, he was detained to act on the jury at the Concours under the presidency of Radoux, and coming on to London, he finished his holiday with this visit to The Strad, an event gratifying to our readers as being the means of our laying before them an account of this talented and genial exponent of our art in the Far West.
3SUL. G.
5THE ART OF BOWING.
6By Andre La Tarche.
7Council Member and Examiner Guild of Violinists;
8Examiner Victoria College of Music, etc., etc.
9(Continued from page 149).
11A great error common to many violinists, professional and amateur alike, is to place the first finger too far over the stick, resting the bend between the second and third bones, or even the third bone near the knuckle on the stick—this is a very serious fault, as when the first finger is placed too far over, the whole hand is tilting to its utmost towards the bow stick. To players who hold the bow in this fashion the simple action of changing it from one string to the next is almost impossible, as the action (a), before described is erroneously solely used for the wrist-stroke; ricochet, the different varieties of feathering, and other bowings, comparatively easy when the bow is held correctly, being then either impossible or extremely difficult, the hand having no elasticity. Reader, can you imagine that any professor (?) holding the bow in such a manner can possibly teach its correct manipulation?
13The first finger should be placed across the stick only so far as will just allow the tip to bend over for its support, the pressure being communicated from the second bone.
15VARIETIES OF BOWING.
17The signs used are the "slur" = , i.e., more than one note to one bow-stroke. The "dot" = ., the "stroke" = _, and "dash" = ; these three latter signs are employed for detached notes.
19As a general rule, every unslurred note should have a separate bow-stroke. With regard to the slur, there is a large amount of music published, arranged by pianists, organists and others, with very little or absolutely no knowledge of the technic of the instrument so far as the bowing is concerned, passages then being slurred over as is often done in piano music, which it would be almost impossible to include in one bow-stroke, especially if in a slow tempo and the passage was a forte one. Of course the experienced musician understands that the passage is not intended to be included in one bow-stroke, but the beginner for whom the music in question is chiefly published would be at a loss as to what to do.
21This is to be regretted, but let us hope, for our mutual advantage, that some day all publishers will recognise that only a violin player is competent to finger and phrase music for his instrument. I have noticed over and over again, music, which if only properly edited, would be very successful, dropping out of print owing to incompetent and bad arrangements of it.
23Detached notes may be divided under two heads. One where the bow leaves the string at every note, as in the varieties of the springing-bow. The other where the bow is always in contact with the string, as in ordinary detached notes. With regard to the first named bowing, it must be borne in mind that although the bow hair leaves the string at every note, it will be closer to it in rapid or piano passages than in slow or forte ones.
25As to the detached note, there is no term used in violin playing more confusing than "staccato"; composers, etc., having used the signs to designate this and other bowings so indiscriminately, that almost absolute confusion is the result.
27My personal experience shows that no written instructions on bowing fully suffice without the help of the teacher; however, I will do my best, but the information here given must be considered as general only.
29In a moderate or quick tempo this style, usually marked leggiero, would as a general rule and provided that not too much tone was required, be performed with a springing bow (sautillé), the wrist-stroke only being used, the middle of the bow being thrown on the string and bouncing therefrom at each note. The bow must be held loosely.
31In a slower tempo, however, and especially if more tone was required, the forearm as well as the wrist may be employed, the middle or any portion of the upper half of the bow being used, there being a slight rest between each note, the bow cannot and should not then leave the string.
33Sometimes the notes of this, and also the following bowing may be bit out for special effect in the manner explained for the close staccato. A common error amongst violinists in order to produce a staccato effect is to stop the bow abruptly and heavily on the string. This is not at all necessary and has a tendency to spoil the action of the wrist.
35The above would also be performed with a springing bowing as explained already, and provided that not too much tone was required. If in a forte passage either the point or heel (talon) of the bow would be used, the notes being practically hammered (martelé) or lashed out.
37THE CLOSE-STACCATO.
39This fascinating bowing is not so difficult as certain teachers would have us believe. Some professors have even stated that it is impossible to many, which only shows their ignorance of the method of producing it, for I may say that I have never yet found a case in my own personal teaching where a pupil has not been able to master this bowing, provided of course that he or she was undeformed. If the student will carefully follow the instructions here given, he will not find the slightest difficulty. When properly performed each successive note seems to follow the former so that the whole is like a string of pearls. It can be cultivated
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