Divide and rule

Thoughts on teaching bow distribution

COURTESYALDA DIZDARI

BORN

Tirana, Albania

STUDIED WITH

Daniel Podlovski, Sherban Lupu, David Takeno

TEACHES

ages 10–22

The way that we use bow distribution connects directly with the expressiveness of our violin playing; it communicates to the listener a particular vision and understanding of any phrase. When starting to learn new repertoire it is very important to plan the way each phrase should sound within the dramatic arch of the piece so that it can be crafted with the best possible bow distribution to achieve the musical intention. The overall success of this vision is therefore directly impacted by decisions that we make about the bow distribution on every note. If poor decisions are taken and too much bow is used in one part of a phrase, it can have a domino effect and the intended line of the phrase (and therefore of the piece) becomes lost or even distorted.

Some students find ingenious ways to get around issues of bow distribution without having to analyse it too much; they just play instinctively because of their innate musicality. This is raw talent and as such it is admirable; the students have found a solution that has been led by their connection with the music. However, familiarising themselves with the process of analysing and planning bow distribution is vital for them to develop further in a more consistently thought-out way, and sets them up to play the larger pieces in the repertoire, where a good understanding of this issue is essential. Start working on this with small-scale works, then build the length and complexity gradually. Within each piece, however short, it is useful to break down the task of planning bow distribution into manageable sections, marked out by the type of bowing needed within each one.

Try to show students your thought process so that they can use it and adapt or build on it for themselves.

THE MINDSET

Work on the big picture when studying a piece. Sketch out its scope so that you have an idea of the whole.

Once this is done, it is vital to have an idea of how you would like each phrase to sound; without an idea of what you want to achieve any talk of bow distribution is meaningless. The vision has to be there first.

Singing is the best way to discover the construction, flow and direction of a phrase Understand that each decision you make will have a direct knock-on effect on the way the music sounds. Being analytical at the outset will eventually enable the playing to have more emotional impact. After all, what you do with the bow is what the listener will hear.

Consider the construction of the bow which results in different parts of it having special characteristics. At the frog, the sound will be ‘meatier’ than further up the bow. Use this to your advantage in your decision-making process.

FIRST EXERCISES

Check for a healthy posture with soft shoulders and light bow hold (especially a relaxed index finger on the stick) and try the below exercises to check that you feel comfortable in different parts of the bow.

To start with, avoid challenging yourself with the intensity of the frog or the lack of control at the tip. Instead, activate the open strings in the most comfortable part of the bow (the lower-middle and upper-middle parts), playing each note evenly several times, and calmly listening to the sound. Aim for a peaceful, harmonious sound and one where the weight of the arm is engaged without force.

Then work at the frog and the tip (remembering that you might have found playing at the frog particularly tricky in the past). Play your scales only in these more challenging parts of the bow (it may be helpful to use stickers to ensure that your bow doesn’t creep to other areas). At the frog, check that your shoulders stay soft and low, otherwise the intensity of the sound can create a tension block in the body at the bow changes.

REPERTOIRE

It demands a lot of thought to convey the simplicity of the phrases in Beethoven’s Romance in F major op.50 for violin and orchestra in a tranquil way. Even in the solo violin’s first phrase (example 1) there are bowing distribution issues. Use a small amount of bow in bar 3 to start the rising sequential figure, then use more as it rises to create a sense of opening out. In bar 5 make sure that you save bow on the dotted crotchet (j) despite the fact that you will want to sing your heart out here, otherwise there will be nothing for the trill and turn, which will sound choked. Bar 5 is repeated twice in the piece, and these repetitions beg the question: are you going to play them as you did before, or change them? Consideration needs to be given to this, as any decision you make will inevitably impact on bow distribution. To begin with, practise this phrase without ornaments so that you can focus on your bow distribution, then add them in when you have the ‘big picture’ in place.

EXAMPLE 1 Excerpt from Beethoven’s Romance in F major op.50 for violin and orchestra

In Manuel de Falla’s Danse espagnole the violin conjures up an entire band. Start by mastering each ‘instrument’ separately (visualise each one as you play – guitar, voice, castanets, flute or double bass), then work out what you have to do with your bow (and left hand) to connect the different instrumental sections.

In bars 10–12 (example 2) the bow needs to be in the upper part; then follow the up and down bows carefully so that the bow can ricochet downwards in the semiquaver triplets ( ). This is followed immediately by up-bow staccatos that take us back to the frog for the chord pizzicatos in bar 14.

EXAMPLE 2 Excerpt from Manuel de Falla’s Danse espagnole for violin and orchestra

Further on in this piece we get to the exciting moment where different players in the band are in full flow. From bar 49 the ‘guitarist’ plays big broken chords followed by harmonics on the ‘flute’. After spending some time developing the full arm movement to create beautiful broken chords and eventually the bouncing spiccato articulation, we need to prepare the harmonics. This can be quite tricky as the harmonic at the end of bar 50 is on the A string while the bow has just reached the G string and is followed by a left-hand pizzicato chord.

Again, I recommend isolating these elements and teaching them separately until within themselves they are well under the fingers and bow. When we link them I ensure that we allow time between each instrumental evocation so that no sense of anxiety creeps in. The result would be a sense of rushing through, without properly finishing off each ‘instrument’ before moving on. In this piece the transition points are critical. We need to finesse the joins with great care and to practise getting from one ‘instrument’ to the next – slowly to begin with, then building the speed up to the necessary tempo.

IN YOUR PRACTICE

When exploring the options for bow distribution in a phrase experiment by playing it in different ways to explore the ways (contact point and place on the bow)

Think of yourself as a chess player planning your strategy Practise in sections especially where each one demands a contrasted approach to bow distribution or needs to start in a different part of the bow. I call this ‘framing’. Between each section, stop and take time to analyse exactly what movements are needed to get your bow (and left hand) ready for the next.

Once you have devised your plan, work through the sections allowing yourself less time to stop and think, and slowly keep reducing until there is no gap. Then increase the tempo as necessary.

Record yourself and listen back to check that your bow distribution is giving you the musical result you want to hear. This can be frustrating and disappointing because you will sometimes find that your decisions haven’t worked as you envisaged. Try to think of this as a process where you improve incrementally. Be kind to yourself.

The score is your bible; listening and watching performances on YouTube will only take you so far. You must find your own way.

TIPS FOR TEACHERS

It is important for teachers to teach students how to think (not what to think or how to do things), and how to become problem solvers for themselves. After all, students are usually with their teachers for an hour a week; apart from that they are on their own.

Some students are self-conscious about singing. Ask them to sing in the privacy of their practice room if this is the case; it is always obvious in later lessons if they have done so.

Teach students to adopt healthy playing habits, and show them how to achieve the maximum result with minimum effort.

After all, what they can get away with at a young age will not be possible as they get older.

It seems super-obvious but emphasise to students the importance of listening to and loving their sound. The biggest learning curve is the ability to listen effectively.

Use analogies; these work brilliantly with young students, but remember to match analogies to the interests of your students

Processing new ideas can take time. Give students the tools but let them find their own voice.

INTERVIEW BY NAOMI YANDELL

FURTHER MATERIALS

Overall vision is essential to making interpretive decisions (and how best to plan bow distribution). In preparing my interpretation of the Elgar Violin Concerto I found inspiration in these two books: Elgar as I Knew Him (far left) by W.H. Reed and Edward Elgar: The Windflower Letters (left) by Jerrold Northrop Moore.

They gave me valuable insight into Elgar and his world, which fed into my playing.

NEXT MONTH

Viola player Simon Rowland-Jones on creating a free sound