Each example in Figure 2 shows the same five-note pattern played in distinctly different ways. In the first (A), all of the notes are taken with separate strokes, obviously alternating between down and up. The second part (B) requires two notes to be played in each bow. Finally, the third (C) uses one bow per measure. The number of notes taken for each stroke will be influenced by any number of factors, tempo per- haps the most practical. For example, in Figure 2C, the bowing might be impossible if the tempo was very slow and the dynamic loud; the bow would have to move too slowly to produce adequate sound.
Figure 3. Different Articulations The basic style of articulation can be varied with string instruments differently than with winds. In each of the examples in Figure 3,
each bow stroke accounts for two beats; in terms of bow direction, each example is played in the exact same manner. In Figure 3A, each bow is continuous without any stopping. Different styles are expected in Figures 3B and 3C even though the same amount of bow is used. With the staccato markings, the bow would separate more than it would with the tenuto. Again, it is the style that changes not the actual pattern of ups-and-downs. All of these would produce a different sound than if each note was played with a separate bow. Because of the issues described above, articulation can be more subjective in orchestras than it is in bands. Many band musicians see that playing exactly what is on the page is the primary goal. This is true for articulation as well as for notes and rhythm. This is not the case for strings where players and conductors will alter the printed parts to make them more playable or more musical. I was very fortunate earlier in my career to be the Assistant Conductor of two professional orchestras in New York: the Jupiter Symphony
and the Naumburg Orchestra. The membership of both orchestras included some of the best free lance musicians in the city. The conductor made the bowing decisions; he was well trained in this skill and made wise choices. However, sometimes the string players would disagree with his bowing decisions, and I observed that they often disagreed with one another. It was very subjective. Especially with certain musical styles, performers on wind instruments might consider how string players would decide on a particular
bowing. The opening of the Mozart Clarinet Concerto might be a good example. The Reginald Kell edition is shown in Figure 4. There are several practical problems that can be seen. The most immediate is the articulation found in the third measure; the staccato notes under the slur have no real meaning to a clarinetist (more on this below). To a string player, this would mean to play all six notes with one bow, and to separate each from it neighbor. The bowing following Kell’s articulation is shown in Figure 5, although it is fair to say that a violinist would probably alter what is given in the original, especially in the last two measures.
Figure 4. Mozart Concerto for Clarinet, movement 3, mm. 64 (Reginald Kell edition)
Figure 5. Concerto for Clarinet, possible string bowing
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