Band Articulation: Think About The Bowing By William L. Berz
Rutgers: The State University of New Jersey
wberz@rci.rutgers.edu
Unfortunately, articulation markings are sometimes quite vague. Many are interpreted differently in concert bands, orchestras, and jazz ensembles. A symbol may mean one thing for a band and something entirely different for an orchestra. Wind players are often told to imitate the voice when playing. This is especially appropriate when the music is lyrical. Singers connect all of the notes to form beautiful phrases. And importantly, they breathe in the correct places. Bands do need to breathe in order to form phrases; to do otherwise is not musical. String playing can also inform wind and percussion players since so many composers of the past often thought in terms of string bowing
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even when writing for winds. Noted string educator Elizabeth A. H. Green lists two primary rules that govern choice of bow direction. Axiom No. 1. Bow–direction (down-bow or up-bow) is the foundation of correct musical and rhythmic accent Axiom No. 2. Bowing is chosen…for the purpose of causing the bow to arrive at such a place in its present stroke that the next note, or
group of notes, may be easily and correctly played.1 The first axiom deals with the placement of up bows and down bows. In any meter, some of the beats receive more emphasis than do
others. For example in 4/4 time in the classical canon, the first beat receives the greatest natural emphasis; the third beat receives the next greatest. Beats two and four are generally lighter. In terms of bowing, beats one and three will therefore be played down bow and beats two and four will be up bow (see Figure 1). String players will alter bowing to bring out the natural character of meter, emphasis, accent, and other musical elements.
rticulation is one of many elements of interpretation in the band. It shapes the general form and musical character of the piece. Articulation is also a major factor in achieving clarity in the band. For example, certain notes may need to be played shorter to achieve ensemble clarity in a resonant setting.
Figure 1. Down bows and up bows to emphasize the influence of meter The second axiom refers to the number of notes played in each stroke of the bow. A slur is used to indicate if multiple notes are to be played with the same bow.
Figure 2. Basic bowing
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JANUARY 2014
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