Violin Ligatures And Epiphonic Marks Are The Basis Of The bow Method

08-08-2024

Violin Ligatures And Epiphonic Marks Are The Basis Of The bow Method

Violin bow method We can regard the various marks marked by the composer on the score of the band's works, such as ligatures, epiphonic marks, etc., as the basis for the bow method, but these marks are not completely equivalent to the bow method.Because of the various marks such as the ligatures marked by the composer, sometimes they only explain the composer's musical intent and the sentence processing of the phrases.Many times these marks do not take into account the characteristics and laws of the bow movement of stringed instruments, so they cannot all be regarded as the practical bow method we need in playing.This requires us to annotate the music score in line with the bow movement law, so that the performance is convenient, smooth and reasonable.Of course, the premise of marking the bow method is that it must conform to the composer's musical intent.This is the principle that major bands need to follow together when they draw their bows.This is a common sense issue that everyone knows for the chief and players of professional orchestras.However, when we are discussing and thinking about certain laws of the use of bows in the band's works, there are two issues that need to be explained separately: 1.Different styles of bands, different conductors (including the chief), have certain differences in their understanding of the work, habits and

preferences for the use of bows.The use of the bow method in the band's works has its regularity, but at the same time it is colorful and changeable.It is common for the same work, the same fragment, to be played with different bows.In the past, when we were preparing for class, most of what we watched and listened to were the performance styles of symphony orchestras such as the Berlin Philharmonic, the Vienna Philharmonic, and the Chicago Symphony Orchestra (including the use of bows).Recently, I saw the bows of some French bands and felt very fresh.Score Example 3-1 Tchaikovsky's "Romeo and Juliet" FANTASY Overture, section 10 before the rehearsal number. The score example (B) of the method used by some French bands uses the upper bow to play this tone type in the upper half of the bow, while most band scores (A) use the lower bow and play in the lower half of the bow near the root of the bow, AND after pulling the quarter note, lift the bow and put the bow back near the root of the bow to play.This is very different in terms of intensity or enthusiasm and passion.However, the bow method used by the French band is also a broken bow, which does not violate the composer's original intention. It can only show that the French band does not like to use too strong bows to play it.2.Sometimes the connections and some staccato marks marked by composers on the score do not fully and accurately express the musical content they need to express.This situation is not uncommon.Therefore, in the use of the bow method, we did not play in full accordance with the connection drawn on the spectrum or the marked staccato mark, which does not violate the principle of the bow method.Because it is based on the overall content needs of the work.In this article, we specially wrote a paragraph about “the correct understanding and interpretation of certain difficult fragments” for this purpose.