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Yet another book from Green that is indispensable for the orchestra teacher. Green discusses the essence of orchestral bowing, the fourteen basic bowings, different styles, and tricks of the trade. Includes section for teachers concerning the several phases of orchestral instruction. 107 pages.
- Sales Rank: #239867 in Books
- Brand: Alfred
- Model: 98-0899176062
- Published on: 2010-11-01
- Original language: English
- Number of items: 1
- Dimensions: 11.25" h x 8.75" w x .50" l, .70 pounds
- Binding: Paperback
- 112 pages
- Brand Name: Baker and Taylor Mfg#: 9780899176062
- Shipping Weight: 0.66 lbs
- Manufacturer:
- Genre:
- All music products are properly licensed and guaranteed authentic.
Most helpful customer reviews
25 of 25 people found the following review helpful.
If you play a string instrument....
By A Customer
This book is an excellent help to both students of string instruments and their teachers; especially (as the title indicates) in orchestra rehearsals and performances. As any string section leader in a good youth orchestra can tell you, coordinating bowings (or finding a good bowing that will help you play your part better) can be a major pain. Not only do different kinds of bowings affect the sharpness of the visual presentation of a piece, but they also affect the unity of a section and the unity of sound as well as the mood and type of sound that comes out of any bowed instrument. Here is a concise, simply presented, clear set of guidelines, along with the reasons behind them, that will help. I stumbled on this book my sophmore year as a music major in college: it helped to articulate the reasons and the rules I sort of knew "by instinct" from playing in many different orchestras. Had I discovered this book sooner, it would have made my orchestral life much easier! Knowing the information in this book will help make it easier (and possibly more interesting) for any string student to find good bowings, and to articulate the reasons behind their bowing choices -- Something that is essential in playing not only orchestra music, but also in string quartets (or other chamber music groups). Not to mention the benefit to string teachers who want their students to understand why a certain note should played be up or down bow, slurred or seperated. As the introduction to the book states, a string musician will eventually gain all the information presented in this book, after years of playing with orchestras and chamber ensembles, and learning from older (wiser) musicians. Hence in a professional orchestra, the choice of bowings in most places seems almost instinctive, and while there are spots that still need to be coordinated, many of the generally accepted bowings and practices don't need to be discussed. This book tries to present all of the "instinctive" information about bowings to the rest of us (who may not have spent years playing in orchestras in order to aquire this 'second nature'). The orderly presentation of this information is somewhat rare and this book fills the gap with a job well done -- accurate, well written, with clear examples taken from standard orchestral repetoire, and useful to any musician interested in understanding the whys and wherefores of "orchestral bowings and routines." The book does presuppose some basic musical knowledge: how to read music; familiarity with a classical stringed instrument (violin, viola, 'cello, or bass) and the names of its' parts (bow, bridge, names of strings, etc.).
10 of 11 people found the following review helpful.
Oldie but Goodie
By Brian St John
A few basic items: 1. Spiral bound with slick cardstock cover, photo of violin on it with some graphics (so not the plain green cover photo Amazon has published). 2. Spiral bound. 3. Reproduction of original publication: typewritten with handwritten manuscript examples inside. 4. 107 pages total, 1949, 1957, revised 1990.
As most out there who study string playing know, bowings are tricky, complicated, and sometimes outright confusing. This book starts, after an overall introduction, with the basics: what a downbow is, what an upbow is and where, in general, to execute them. But, don't be fooled. Immediately after some basic discussion, Ms. Green gives us example after example of various implementations of bowings. (For example, by page 42 she discusses the opening first violin line to the first movement of Mozart's 40th symphony and the various ways bowings can be applied, and the effect of each application.) This book discusses slurs, hooked bowings, accents, sforzandos, detache, loure, tremolo, martele, staccato - both slurred and not, spiccato, sautille, flying staccato, ricochet, and ricochet tremolo.
In addition to technical names and advice, Ms. Green also gives the reader stylistic advice: The Early Classic Style, The Later Classic Style, The Romantic Period, The Post Romantic Period and Modern writing. These topics are generally covered in a paragraph or two, but they are salient.
The chapters of this book are:
1. The Essence of Orchestral Bowing
2. The Fourteen Basic Bowings
3. The "Artistic" Bowings
4. Style and Bowing
5. The Effective Tricks of the Trade Orchestrally
6. Words for the Prospective Teacher Concerning the Several Phases of Orchestral Instruction
Appendix A: Glossary of Terms
Appendix B: Index of Musical Examples by Composers
Appendix C: Long Example, Fully Bowed, Leonore Overture No. 3 by Beethoven
Appendix D: Problem Sheets for Bowings
This book is worth reading and looking into for the student conductor who finds orchestral bowings mysterious and challenging. But, it is also great for a "seasoned" conductor/string player who finds themselves well acquianted with string bowing techniques.
1 of 1 people found the following review helpful.
An outstanding yet simple and direct guidebook to logical and ...
By Samuel D. Burns
An outstanding yet simple and direct guidebook to logical and effective bowings. Helpful to beginners as well as intermediate level players.
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