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== History of Cello Bow Technique Development from 1785 to 1839 == |
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The [[Austro-German|Austro-Germans]] and the [[French people|French]] have made a substantial impact on the bowing techniques of the cello. Though their styles are somewhat different, each has made a significant mark in music history. <ref>Walden, Valerie. An Investigation and Comparison of the French and Austro-German Schools of Violoncello Bowing Techniques: 1785-1839, 1993, p. 42.</ref> There are at least twenty-seven different styles that came from this time, in which the French and Austro-Germans adapted to the newly introduced [[Tourte bow]].<ref>Russell, Tilden A. “Book Reviews: Eighteenth Century: ‘One Hundred Years of Violincello: A History of Technique and Performance Practice, 1740-1840’ by Valerie Walden.” Notes - Quarterly Journal of the Music Library Association, vol. 55, no. 4, 1999, pp. 907–909.</ref> There have been many influential players from France who influenced bowing techniques, such as [[Jean-Pierre Duport]], Jean-Baptise-Aimé-Joseph Janson, and Jean Tricklir. They slowly changed the fingering methods of the cello, as there was a perceived notion that using the violin and viola de gamba technique on the cello was detrimental to its style.<ref>Walden, Valerie. An Investigation and Comparison of the French and Austro-German Schools of Violoncello Bowing Techniques: 1785-1839, 1993, p. 518</ref> The bowing technique of placing the fingers on the bow stick above the frog became more widespread as the French valued consistent, beautiful tones above all else. Thus, the French all shared the same techniques for the cello. For the Austro-Germans, their techniques varied from locations inside the Holy Roman Empire. The cellists would use lower bow grips, vibrato, and the down-bow to express emotion and expression through their work. They would not utilize the Tourte bow until the 1800s, and even then they would deviate from the French by holding the bow in an upper grip.<ref>Walden, Valerie. An Investigation and Comparison of the French and Austro-German Schools of Violoncello Bowing Techniques: 1785-1839, 1993, pp. 634-636.</ref> |
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== Add-on to spiccato technique: == |
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There are multiple ways to play the [[spiccato]] technique. There is the “scoop” spiccato, the “ball bounce” spiccato, and the “seesaw” spiccato for the Sautillé technique. The “scoop” method is less percussive compared to the other two types of strokes, as it is closer to a short note on a string than bounced bowings.<ref name="boo" /> It can be referred to as a “brushed” stroke, as the bow touches the string like the light, repeated brushstrokes on a canvas.<ref name="boo" /> The movement is called the "scoop" method as the player makes a "scoop" motion with their bow. |
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The “ball bounce” technique is like dribbling a basketball. The bow is repeatedly tapped against the string per stroke, just like how a dribbled basketball repeatedly touches the ground.<ref name="boo" /> The resulting sound can be rather loud, brash, and hard, as this technique requires one to strike the string. With that said, this technique can be played softly to play a more pointed spiccato.<ref name="boo" /> The tempo used with this technique can vary, although it is usually paired with slower songs. |
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The “seesaw” spiccato, or sautillé/springbogen is a rather quick and light succession of short notes that go off the string. The word sautillé has its roots in the culinary term sauté, or to cook food in a pan so that it jumps.<ref name="boo"> This technique appears as a quick see-saw motion across the strings. Benedetti, Evangeline. ''Cello, Bow and You: Putting It All Together''. Oxford University Press, 2017, p. 88-90</ref> It is also known as the “uncontrolled” spiccato, in which the tempo is decided by the bouncing properties of the bow and cello than the player<ref name="boo />. |
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== Vibrato == |
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The pitch perceived by the listener is the midpoint of the extremes of the changing pitch. A [[vibrato]] of large amplitude is usually associated with a loud sound, while smaller ones are good with softer sounds.<ref name="foo">Mantel, Gerhard, and Thiem, Barbara. ''Cello Technique: Principles and Forms of Movement''. First paperback ed., Indiana University Press, 1995, p. 97-98</ref> |
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It is considered beautiful due to a psychological phenomenon that people are more attracted to changes in the environment than steady tones. Cyclic changes can keep people’s attention, and thus heard for all its duration. Vibrato that swings irregularly will disturb the music, in which the audience will see it as a poor style or expression made by the player.<ref name="foo" /> Thus, one should aim to vibrate the notes evenly. The sound having a regular frequency is the key to play a good-sounding vibrato. |
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== Ricochet or Jeté == |
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This bow technique is like the “seesaw” technique, as it is dribbled against the string. However, the bow is “thrown” or held in such a way that it bounces several times in one direction that the bow is thrown.<ref name="foo" /> To play this technique with increased volume, individual bow strokes are given to each note played that needs to have high volume. There is also the arpeggiated ricochet, in which the ricochet technique is done across multiple strings.<ref name="foo" /> The bow is to hit different strings separately to effectively play this technique. |
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