The violin plays on a heavy special bow

The violin plays on a heavy special bow

The violin plays on a heavy special bow

When every student of violin really starts to study from a textbook, whether it be Wohlfarth, Kaiser or Kleiser, their first lesson is practice with individual bows. ) and legato are two of most basic violin playing techniques. Any other varieties of bowing such as Portato, Staccato, Martele, SPiccato and rolls on four strings, point bows, split bows Wait, they are all derivatives of these two basic bowing methods, so treadmill and single bow pronunciation and continuous bows should be practiced first. On this basis, other commonly used bow techniques are naturally much easier to learn.

However, violin skills do have some special bow playing techniques with a certain degree of difficulty. They often show up in very complex concerts or technical music. Those who don't necessarily have a sense of fear.

Solid staccato

This is most widely used and most fascinating method of bowing in a special technique. We can find that almost all of Wieniawski's works use it skillfully and effectively. Another example is Paganini, who not only showed magnificence of this bowed method in his concerto and technical music, but also emphasized this bowed method as characteristic performance passages. Thanks to mastery, liveliness and interestingness of this method of playing bow, coupled with amazing charm of great violinist Heifetz's performance of this unsurpassed trick, many modern violinists have become famous, and students have become "Lenton fans." . Not all players can master Renton bow well, and even some first-class players may not be able to perform this kind of bow satisfactorily. The famous French violinist Francescati believes that: "A person's reactivity, muscle tissue and nervous system, to a large extent determine quality of his Liangdong bow." Many violinists, speaking about experience of playing with a Linton bow, generally believe that hands are in a tense state when playing such a bow, hair of bow must be pressed against strings and have good rhythm control. when lifting, wrist can be slightly raised, bow handle is slightly tilted outward, and when lowered, hand feels down, wrist is slightly pressed down, and handle is slightly tilted inward. The beautiful Liantun bow will have a clear grain, full of elasticity, relying on momentum of movement of right hand, force and speed of each note can be made uniform and precise, and at same time it can be smoothly coordinated with swift movement of left hand Finger. Regardless of individual talents, it is no wonder that players can easily master this fascinating bowing method, but it can only be achieved by different people, depending on their different muscle conditions, sensitivity, and ability to control. application gradually achieves as much ease as possibleand ease. It is worth noting that this intense exercise should not be done for too long, so as not to cause muscle spasms and usual stiffness of hands. The Eventonian bow is a special technique of bow technique of playing violin, although it is associated with certain difficulties, as a professional performer, if you cannot adapt it and master it well, it is a pity, because in a large number of world-famous songs, use of this bow technique itself is enough to enrich and embody expressive power inherent in his works.

Staccato foyer

While people are obsessed with Renton bow, another special violin playing method, Fayton bow, exhibits an even more surprising allure. The Feidun bow is actually developed from Liandun bow, and same bow can produce over a dozen tones or even tens of tones. However, Feidun bow and Liandun bow have different characteristics in terms of playing methods and effects. Earlier, we talked about performance of Liangdong bow, which mainly relies on intense vibration of hand. However, performance of Feidun bow requires not only continuity of hand movement, but also need for wrist and fingers to properly reduce pressure between each note and make movement easier and more flexible. bow should come off strings elastically, so sound of Phyton bow sounds more relaxed and dynamic. Among uses of Feidun bows, above bows are most common. This is because it is easier for hands and wrists to control bow. In terms of performance, based on mastery of Lian Dun bow and then practice of Fei Dun bow, you may feel that it is easier to control bow. handle temptation of Fei Dun bow. It also lies in fact that performer can, in accordance with needs of musical performance of work, handle it at his own discretion between fast, slow, strong and weak. We heard many performers in cadence of Paganini concerto, as well as famous technical work "Memories of Moscow" and other musical works. The execution of these Feidun bows, from bow to handover, although handled differently, they all look so gorgeous and exquisite, and they are full of fun.

But there is another situation. For example, in first part of first and second concertos of Wieniawski, several flying melodies descending from a high position are extremely beautiful and free, but some students, because I could not adapt to this, I changed it to a general jumping bow. Such randomness and simplification of performance is actually lost meaning of musical coloring of work itself. When it comes to playing Phyton bow, Francescati's sound quality is undoubtedly most beautiful. Because it really relies on elasticity of bow itself, capacity for self-control, and result of long and extensive light application, which many of us violinists must learn and strive for.


It is very similar in performance to Fyington bow and can sometimes be hard to tell apart. Large limitations. In practical application, there are two kinds of flying bows. One is similar to Feidun bow. With continuity of lifting movement of hand and ability to control horizontal movement of fingers, depending on number of notes, it is gently pushed forward with momentum. Another type of flying bow is to hold bow in a certain position on string, usually best position is lower part of middle bow, and then play phrases of different lengths without interruption. Due to relatively fixed strength of parts and uniform control of strength, each sound in bow will retain a good sound quality, like familiar Mendelssohn Concerto, from beginning of third movement to some phrases in middle, his way of playing and effect should be like that.


This special bowing method invented by Paganini is naturally often used in his works, and it has best effects, such as bright musical image of "Bell" and famous Ninth Caprice. In second half there are large fragments of a very rigorous and precise four-ton bow throwing, and some extremely complex variations of it. In such works as "Longing in Heart" and "God Bless Queen", there are dozens of them, like stone beads. Yin bowed down and dropped his bow. At that time, this kind of magical supernatural skill amazed many incomprehensible listeners and left future generations with another enchanting and special bow technique in art of violin playing. The performance of throwing bow depends on natural elasticity of bow and in fact mainly emphasizes accent of first note. When first accent hits strings, rest of notes follow strength of accent, naturally, but still under control. Most importantly, due to fast bow landing and tight notes, special attention should be paid to close coordination with left finger, a little inconsistency in movements will soon turn most glorious and magnificent phrase into mush. When practicing throwing a bow, pay attention to its correct height and best position of bowstring falling point, and at same time pay attention to horizontal direction of bow on bowstring, otherwise there will inevitably be large and small particles, heavy and light volume, or bow fall. stops. Select most elastic section of bow, properly adjust tension of bow hair, in addition, hold four fingers of left hand on bowstring and rise and fall accurately and sharply according to speed of bow of right hand, so that in order to achieve close coordination between two hands, they cannot be ignored when practicing bow throwing. Bow throwing practice should usually start with unison practice on one string, and then on two, four, six, eight tones... slow to fast so that playing really follows track and progression isn't chaotic.

Bow techniqueviolin playing, in fact, according to needs of music and expression of performer's own musicality, is very subtle in application, and above-mentioned special bowing techniques are only for playing. Among those complex jobs, there are those that appear from time to time, but they need to be mastered. Because it is, after all, an important part of whole bowing technique.