Final Draft: Bach Violin Sonata No.
1 Presto
A Guide to Execute Proper Bow Division and Distribution: Measures 95-116
(A)
(B)
(C)
Step 1: Understanding Areas of the Bow:
The diagram above provides an overview of the different parts of the bow. In each
section of the bow, a certain style and sound will be used according to what is being
inferred in the music.
The frog/lower half of the bow (A) is typically used if the player wants a strong,
loud and heavy sound because more weight is present in this area. The middle of the bow
(B) is primarily used throughout this piece. Most of the notes/string crossings will be
played in this area using the style of dtach. Finally, the tip/upper half of the bow (C) is
where the player can play soft with very light pressure.
Step 2: Practicing Guide:
Before beginning to delve into this piece, it is important that one understands each
area of the bow and what they are used for in accordance with certain sounds, tones and
styles. Once the player understands this aspect, he or she must then consider how to begin
practicing to build and improve their knowledge of bow division and distribution.
Because this piece is at an extremely fast tempo, it is crucial to begin practicing at
a very slow speed to fully ingrain the notes, dynamics, articulations and expressions into
ones playing. Then, the player may begin to focus on bow division and distribution. It is
quite easy to lose control of the bow in this piece due to the quick pace the music must be
played at. Therefore, it is imperative that the player uses a minimal amount of bow
throughout this piece to prevent a loss of stability in the right hand bow technique.
Step 3: String Crossing Exercise:
At this point, the player should have noticed the amount of string crossings that
exist throughout this piece. Often, string crossings have a tendency to disrupt the players
concentration and sense of control; dont let this happen! If the player approaches a
section where the majority of the passage is string crossings, he or she should constantly
think in their mind string crossings and block out notes, musicality and dynamics for
the time being to allow his or her self to solely center in on nailing the string crossings
and return to other items of practice later.
1) Place the bow on the E string
Here is an exercise to drill and practice string crossings:
and move to each open string
back and forth using a full
The four strings create a curved plane for the bow to
bow gradually increasing
adhere to.
tempo and cutting down the
amount of bow used as you
move further on in this
exercise while keeping the
bow hair flat.
2) Next, move to random strings
in no specific order
concentrating on maintaining
a smooth and clear tone at a
quick tempo.
3) You may finally wish to add
notes other than open strings
and slurs to firmly solidify,
strengthen and challenge your
string crossings.
Step 4: Taking a Look at Specific Measures:
Measures 95-100:
In these five measures, there are many string crossings so it is key to refer to the previous
string crossing exercise in step three before attempting this excerpt.
Each note must be played at a quick pace without any slurs. It is necessary to play in the
style of dtach at the middle of the bow in order to maintain a sense of secureness and
finesse.
(B)
(B)
(B)
(B)
(B)
(B)
Measures 101-104:
Measure 102 contains a six-note slur while measure 101 begins on a down-bow. In this
case, the slurred notes in measure 101 must be played with very little bow in the lower
half. This will allow the player to be sure there is enough room for a full bow to end at
the tip in the next measure. (Measures 103-104 are vice versa).
(A)
(A)
(B) (C)
(C)
(C)
(B) (A)
Measures 105-106, 110:
In measure 105, it is essential that the two note slurs be played with very little bows so
that the player can remain in the same area of the bow.
(C)
(C)
(C)
(C)
(B)
This exact bow division occurs for the next 2 and a half measures afterwards. However,
this figure must be played more in the upper half of the bow because of how measure 110
is arranged.
The first note (Bb) in measure 110 should have a shorter sound than the rest of the
separated notes in this piece and should end near the tip.
Then, the next five-note slur should travel towards the lower middle of the bow so that
there will be enough room for the notes in the following measure.
Measures 113-116:
These four measures are closely related to measures 95-100 in that they contain many
string crossings and must be played in the middle of the bow. Once again, revert back to
the string crossing exercise in step three to prepare for this passage.
However, these measures contain three-note slurs. It is very important to condense the
amount of bow used on these slurs so that the measures containing all separated notes can
be played in the middle of the bow in the correct style (dtach) with proper and precise
string crossings.
(B)
(B)
(B)
(B)
