How to Use Bowing Angle to Vary Articulation by Cellist Colin Carr _ Latest _ the Strad

10/4/2014How to use bowing angle to vary articulation by cellist Colin Carr | Latest | The Strad THE STRAD LIBRARY BACK ISSUES SUBSCRIBE Search The Strad website HOME LATEST REVIEWS PEOPLE LATEST SUBSCRIPTIONS Like SERVICES & COURSES Tweet VIDEOS GALLERY JOBS CONTACT 27 FOCUS CURRENT ISSUE How to use bowing angle to vary articulation by cellist Colin Carr The artist explains how he varies the attock and timbre of a note by modifying the angle of the bow to the string Monday, 22 September 2014 Like singers or speakers forming words, string players have the ability to define the type of articulation we choose for each bow change. The principle behind bowing is, of course, pulling and pushing: we pull the down bow and push the up bow, but this can only work if the http://thestrad.com/latest/editorschoice/how-to-use-bowing-angle-to-vary-articulation-by-cellist-colin-carr The Strad Directory 2014 1/7 On the up bow I lower the level of my right arm so that the angle of the bow is nearer the G string and I push the D string towards the A string in both strokes. http://thestrad.Save 42% off a subscription today. whereas for the lighter. more 'French' sound. so that the D string bends toward the G string rather than being pressed down from above towards the instrument's belly. If I want a sound with maximum core then the arm should form a clockwise circle (as seen by the player). silkier sound. but most players have only a casual or superficial knowledge of their bow's relative angle at any given moment Reading The Strad puts you at the top of your game . This simple manoeuvre increases the resistance I feel from the string. Search our listings online Advertise PRODUCT OF THE WEEK X View Masterclass: Solo Violin FOLLOW US When using this technique correctly the right arm will make a circular motion . which results in a feeling of less weight and resistance. The shape is controlled by your wrist and can be circular or more like a see-saw. will produce an airy.the key to fluidity and tension-free playing.10/4/2014 How to use bowing angle to vary articulation by cellist Colin Carr | Latest | The Strad angle for a down bow is different to that of an up bow. The basis of the concept is that of resistance. I position the bow at the frog and pull the down bow at an angle close to the A string. yet equally valid when used appropriately. Let us begin with a broad stroke on the D string.com/latest/editorschoice/how-to-use-bowing-angle-to-vary-articulation-by-cellist-colin-carr 2/7 . I would like to explore the musical and tonal ramifications of the bow's angle. The opposite angle. the arm motion is anticlockwise. except during string-crossing passages where we have to be conscious and precise. Perhaps this is obvious. depending on the type of bow change. paying attention to the core of the sound and the feeling of weight and resistance. for maximum resistance. then settle back down close to the lower string again. depending on what kind of consonant or vowel is desired.10/4/2014 How to use bowing angle to vary articulation by cellist Colin Carr | Latest | The Strad In speech or song. creating maximum resistance at the change. as in a soft. then the arm would remain in the same position. The results are a sound with real core and seamless bow changes without a fight to get the string to speak. concentrated sound beginning with a soft. I begin with the bow angled towards the higher string. There are three or four notes that I wish to bring out because they have dissonance with the piano. the G. and particularly the F sharp in the next bar. The result is a wistful sigh formed by the falling second. representing points of tension or pain . http://thestrad. If. I try to emulate this on the cello by varying the angle of the stroke. On a down bow I position the bow close to the lower string.com/latest/editorschoice/how-to-use-bowing-angle-to-vary-articulation-by-cellist-colin-carr 3/7 . and feel resistance.1 in E minor by Brahms. a vowel-type bow change and light tone is required. I would follow the same procedure for the high F sharp in bar six. tender passage. then the moment it responds I raise my arm so the bow is closer to the upper string. thus pushing the C string towards the G string for the added tension. with its suggested modulation and added intensity. which speaks more easily because of less resistance. I begin at the angle of low resistance so that the first note speaks immediately. such as a 'T' (sforzando down bow). so I lower my arm for the up bow. on the other hand. To change to the up bow I raise my arm even higher. The previous note (E) was a down bow. for a hard sound. add a little weight and bow speed. Listen critically to develop a real core to the sound in these few notes and the shape of the phrase will be immediately apparent.the first is the C in bar two. if there is a consonant at the beginning of a word. For instance. The next note is the F sharp in bar four. Let's look at the opening theme of the Cello Sonata no. I slightly elevate my right arm. we must do something with the lips and tongue to annunciate. Now let us assume that I want the more powerful. then add arm weight and pull the bow quickly. For a succession of consonants I adjust the angle of the bow before each bow change. vowel-type articulation. which falls on the down bow. as an example. 1 op107. slower. but would work equally well for a continuous quaver passage like the one (bar 178) in the first movement of Shostakovich's Cello Concerto no.com/latest/editorschoice/how-to-use-bowing-angle-to-vary-articulation-by-cellist-colin-carr 4/7 . such as the Courante from Bach's Second Suite or the Prelude of the Third Suite. you must be in the right part of the bow and I must emphasise that the contact should remain the same throughout.the same principles apply. The down bow should be close to the G string and the up bow close to the A string. In the case of Baroque music. as you navigate the low part of the circle. http://thestrad. because there is too much resistance. Of course. off-thestring strokes as well as for accents and sforzandos . To purchase single issues click here. When the passage is fast the circle is made with the wrist. Usually players go back and forth in one plane and will either sound ponticello or scrubby. It is helpful in this bow stroke to feel more in the string during the downbow. this technique will work equally well in lighter spiccato or heavy. I recommend Playing nearer the fingerboard as this will better replicate the feeling and sound of gut strings.10/4/2014 How to use bowing angle to vary articulation by cellist Colin Carr | Latest | The Strad We can further apply this technique in a semi-quaver passage. Finally. This is perfect for Bach. make sure the bow's contact with the string is firm or the tone will be pale. Let us imagine the passage is all on the D string. Subscribe to The Strad or download our digital edition as part of a 30-day free trial. Photo: Music@Menlo This article was first published in The Strad's September 2004 issue. Even though you are on the fingerboard. says Air Canada Violinists AnneSophie Mutter and Leonidas Kavakos to feature in free online broadcasts from Carnegie Hall Me and my teacher: violist Toby Appel and Max Aronoff NEWS FOCUS NEWS COMMENTS NEWS NEWS FOCUS 0 Comments http://thestrad..10/4/2014 How to use bowing angle to vary articulation by cellist Colin Carr | Latest | The Strad Add a comment. but violas must be checked into the hold..com/latest/editorschoice/how-to-use-bowing-angle-to-vary-articulation-by-cellist-colin-carr 5/7 . 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