|
Post by Mike Hewer on Jan 22, 2019 10:28:26 GMT
Hi chaps, sorry it's been a while. Found this exhaustive explanation of bowing with examples from the literature, so no more excuses..... link
|
|
|
Post by driscollmusick on Jan 22, 2019 14:04:36 GMT
Hey Mike, trying myself to get back into the swing of things... The link in your post just links back to your post?
|
|
|
Post by Mike Hewer on Jan 22, 2019 14:08:27 GMT
|
|
|
Post by Tim Marko on Jan 22, 2019 17:00:21 GMT
Excellent link. Now to find the time to read and study it! Thanks, Mike
|
|
|
Post by gx on Jan 22, 2019 18:12:47 GMT
Hey Mike! Thanks for the link. Very helpful!
|
|
|
Post by Mike Hewer on Jan 23, 2019 9:34:11 GMT
|
|
|
Post by Bob Porter on Jan 25, 2019 16:08:19 GMT
Thanks, Mike. I have downloaded this for future reference.
As music ed majors we had to learn the basic playing styles of all the instrument groups by actually learning to play them. For violin we were fortunate enough to have a violin-cello duet on campus. They were Russian sisters that toured the world on a regular basis. We were like slugs to these sisters butterflies. Violin bowing is probably one of the most inexact sciences there is. Just because we mark something a particular way (and we do need to mark things) in no way means that it will be played that way. This guide explains why right up front. Who is responsible for how things are bowed? The conductor is. If he doesn't like a particular bowing that I have marked, he will change it. Why? It may not fit the particular performance situation. Large group vs small. Concert hall vs outside. Recording vs live. Most orchestras have someone that goes through all the parts and mark articulations in a way that fits their group and playing situation. We may mark something tenuto, but even that has several different meanings depending on the context. Of course we need to mark that passage tenuto, but just realize that there is little guarantee of how it will turn out. I see composers mark most every note because they want things played a certain way. Sure, things need to be marked. It just seems to me that the notes we write should also indicate not just what, but how to play them. Every note is important.
Which brings us to how computers play articulations. As Mike says, don't write to how your computer sounds, or something like that. Sorry Mike. He's right. But to some extent, we have little choice. But it is up to us to know what we want in spite of what the computer plays. The posted guide is a help in that regard. But there are no absolutes.
My advice? Check this guide out, and write good notes.
|
|