TO

TILt

OR

NOt TO TILt

A Historic and Pedagogical Perspective

by Selim Giray Regardless of the school of bowing techniquewhether it is German, Franco-Belgian, or Russianall conceivable variables of the bow contribute to sound production and tone quality, and, collectively, make up the unique character of each player. Among those are three principal parameters: bow speed, bow weight, and contact point.1 Both in teaching and in daily practice, they are constantly scrutinized. Likewise, in the pantheon of violin treatises, bow speed, bow weight, and contact point receive fitting attention and are discussed in detail. While it is not contested that these three items carry the utmost influence, there are secondary parameters attributed to bow, as in tilt. Pedagogues, researchers, and scientists all have been compelled to closely examine the bow tilt. At first glance, bow tilt may appear deceivingly trivial, which indeed it is among the fundamental characteristics of bow technique. Yet curiously, it receives such an intense amount of contention that notable pedagogues cover the tilt from different angles with their individual interpretations on the subject. Regardless of the differences in point of view, there are several aspects to be investigated: purpose of tilt, amount of tilt, consistency of tilt, and how to achieve tilt. The purpose of tilt is the decisive factor that affects both its amount and consistency. The tilt does not occur haphazardly due to a technical deficiency with the bow hold, but is the result of an intellectual decision-making process. Among the variables that affect the amount of tilt are the particular inward curve of bow stick and hair tension. In Problems of Tone Production in Violin Playing, Carl Flesch discusses potential tonal problems associated with tilt. Flesch says an exaggerated tilt will cause the stick to touch the string and result in secondary noises. On the other hand, if the player tilts the bow in the wrong directionwith the stick toward the bridgeit will cause catastrophic tonal results. However, he warns against condemning the tilt of the bow. Furthermore, he mentions several prominent soloists and their preference for hair tension and how it affects their bow tilt angle. For example, Kreislers and Thibauds preference for taut hair tension causes a pronounced tilt in their bow, and Heifetzs and Elmans preference for looser hair tension causes their lesser tilt to occur only in softer passages.2 Galamian promotes a tilt from the middle to the frog of the bow, but not so much that the wrist is too high. He suggests this to compensate for the increased arm weight and pressure in the lower half of the bow, among other reasons.3 Galamian strongly opposes the use of flat hair at the frog, even for practice purposes, citing the added-weight compensation. He does, however, suggest the use of flat hair in the lower half of the bow for long strokes in fortissimo passages. He prefers to achieve the flat hair in the lower half by
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flattening the wrist. He even suggests turning the stick slightly toward the bridge on quick martel strokes so that it creates greater resistance.4 Isaac Stern, on the other hand, strongly endorsed the use of flat hair all the time, and bow pressure and vibrato to be the variables used for expressive purposes. Stern says the beauty of tone has to be present even in the softest passages, and when the player desires a white, dead sound, this should be done through the relaxation of bow pressure and curtailing of vibrato.5 Simon Fischer offers tilt exercises in his article titled Bow Tilt. Those exercises use flat hair and tilt that alternate throughout the bow. He warns that the flat hair needs to be utilized judiciously in the lowest quarter of the bow, so that many strokes work more easily with slightly tilted hair.6 Galamians former pupil, Tiberius Klausner, asserts that tilt be used in accordance with the demands of the score: the louder the passage, the flatter, and, conversely, the softer the passage the more tilt. He further states that Galamian himself taught this very approach.7 Editor and author of a significant Nineteenth Century bow technique book, The Art of Bowing, Emil Kross (18521917), suggests that the stick should be tilted toward the fingerboard and only the outer margin of the hair should lie on the strings, especially in softer passages, although when the full hair is utilized, the tone is muffled. He contends that with tilt, the string vibrates more easily, the tone is more beautiful and ideal, and travels farther. He does, however, promote the full hair in strong passages, during crescendos, and for off-string bowings.8 We have discussed the purpose, the amount, and the consistency of tilt. When it comes to achieving it, Fischer suggests: roll the bow between the fingers and thumb, and use a little hand movement if that feels more comfortable.9 Conversely, Galamian says it is more practical to adjust the tilt angle with help of the wrist and rarely by way of the bow grip (Galamian, however, reprints and endorses Capets roul exercise, which employs the fingers to achieve the tilt motion).10 Therefore, the wrist position should not be too high to achieve tilt at the frog, as Galamian cautions, nor should it be too flat and allow the hair to tilt away, as advised in an interview by Eliot Chapo (Valdosta, 9 March 2001).11 Acoustical Research On Bow Tilt The laws of physics dictate how sound is produced on the violin and are the decisive factor in our approach to the bow technique. As performers and teachers, we are instinctively aware of these laws and abide by them. There are certain key acoustical terms relating to tone production that need to be clarified before we may discuss the scientific research. The first term is stick-and-slip cycle. It refers to the perpetual action of rosined hair pulling the string (stick), and letting it go (slip). It also is called Helmholtz motion, in respect to German physicist Hermann von Helmholtz (18211894). The stick-and-slip cycle can only occur with the resistance of the haircreated by application of rosinweight of the bow (as in the pressure applied by the player), and the bow movement on the string. Those variables attributed to the bowing have an influence on this cycle. In the acoustical scientific literature, bow speed is referred to as velocity, and bow weight as bow force. Another scientific term is slipping attacks. This term refers to inadequate attack at the beginning of a bow strokeas opposed to a clean attack. Also, there may be different concurrent stick tendencies across the entire width or the cross section of bow hair, as in secondary backward slips and secondary backward partial slips. Pitteroff and Woodhouse, researchers at Cambridge Universitys Engineering Department, corroborate with notable pedagogues on their research results into the stick-and-slip cycles between the string and the bow (which they call Helmholtz motion). Their extensive research is further supported by the findings of Schoonderwaldt, Guettler, and Askenfelt: The results show that a reduction of the width of the bow hair, either by tilting or by a modification of the bundle of bow hair gives a boost in high-frequency partials. This applies to low as well as high bow forces and velocities Reducing the width of the hair gives a faster transition from stick to slip, and a marginally faster transition from slip to stick in, both in line with the simulations by Pitteroff (R. Pitteroff and J. Woodhouse, Mechanics of the Contact Area Between a Violin Bow and a String. Part III: Parameter Dependence, Acta Acoustica [sic] 84, no. 5 (1998): 929946.). A tilting may facilitate clean attacks by reducing the influence of secondary backward slips. By tilting, the note is started with a more point-like bow, successively bring the full width into play after the Helmholtz motion has started. In this way, the risk of long-lived pre-Helmholtz transients might be reduced.12 The researchers contend that the tilted bow prevents slipping attacks. The scientific data collected by Schoonderwaldt, Guettler, and Askenfelt, by way of experimenting with a bowing machine shows that: . . . a decrease of the width of the bow hair may boost the string spectrum considerably for higher harmonics. A gain in partial amplitudes of 36 dB has been observed above partial 20. Besides increased brilliance, it is clear that there are several other reasons for violinists to tilt the bow. For example tilting the bow hair facilitates gentle note attacks due to a gradual buildup in string contact.13 Scientific data appears to support the perspective that tilt at both heavier and lighter bow weight exerted by the player into the string and at faster and slower speeds increase the high-frequency partials. The researchers acknowledge the fleeting qualities of the bow technique that all variables are constantly in play at incremental levels: In playing, bow-bridge distance, bow force, bow velocity, and the width of the hair (tilting) are rarely varied one by one. As
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shown in studies of violinists performances, a key characteristic in string playing is a continuous coordination of all the bowing parameters (A. Askenfelt, Measurement of the Bowing Parameters in Violin Playing II: Bow-bridge Distance, Dynamic Range, and Limits of Bow Force, Journal of the Acoustical Society of America 86 (1989): 503516.). For further study on this subject, it is advisable to read additional articles, as in Guettlers acoustical research,14 watch slow-motion bowing videos,15 and view charts depicting Helmholtz motion.16 Practical Application Although prominent pedagogues do not necessarily agree on all aspects of tilt, there is consensus among most that tilt is a significant trait of bow technique and is a vital expressive device. Therefore, as we do with all other technical aspects of playing, we may include tilt in daily practice regimen to address potential deficiency and to improve the expressive capability associated with it. Nevertheless, technical deficiency in this area should not be the only impetus for practice; the desire to improve tilt control for expressive purposes needs to be the positive propellant behind it. As teachers, before we delve into the expressive tilt exercises, we should have a thorough understanding of the students ability. For example, the student may not have the ability to play with flat hair, but rather maintain in a constant state of tilt; conversely, the student might play only with flat hair and cannot tilt. Or worse, the student may have a perched bow grip with little or no control of the tilt angleuncontrollably flipping between proper and improper angles. It would be advisable to address all bow control issues before moving forward with fine-tuning the tilt angle for expressive purposes. Again, tilt should only occur as a result of an intellectual thought process, but never arbitrarily due to lack of control. Why not complement the daily technical work with tilt exercises and practice repertoire with tilt in mind? Galamians reprint of Capets roul exercise,17 Simon Fischers DVD set, The Secrets of Tone Production on all Bowed String Instruments, his exercises introduced in the Strad article titled Bow Tilt (which is the same set of exercises as in his book titled, Basics), and his book Practice are valuable resources in gaining awareness and subsequent control of tilt. Furthermore, it would be worthwhile to record our experiments on stage, in addition to our practice room, to compare results and evaluate improvement under different performance conditions. Lets take some technical exercises and introduce a controlled amount and systematic application of tilt. For the below exercises to be assessed properly, it is advisable to record and videotape them, whether working on your own playing or with a student. When we watch and listen as a third person, it allows us (and our students) to focus at a higher level, which would be otherwise impossible. Furthermore, it is worthwhile to record experiments on stage, in addition to the practice room, to compare results and evaluate improvement under performance conditions. Lets take some technical exercises and introduce a controlled amount and systematic application of tilt. Technical Study Suggestions

Figure 1. A whole-note three-octave G major scale as a template for the flat-hair and tilting exercises.

Figure 2. A three-octave G major scale as a template for the tilting and flat-hair exercises.

Repeat the above scale with the below tilt variables: a) Flat hair b) Tilted bow with full hair c) Tilted bow, only with hair (or 30/45 degree tilted). [Do not allow stick to make contact with the string at middle of bow] In the Capet/Galamians and Fischers rolling (roul) exercises, the bow tilt is alternated numerous times within a given stroke,

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both on single notes and in double-stops. The above scale exercises aim to keep the same tilt angle within a given scale. Therefore their purpose is to remain at the same angle regardless of the portion of the bow. It is advisable to repeat the tilt exercises on different scales, contact point, and bowingsas Fischer advises in his Bow Tilt article in the Strad. Repertoire Examples

Figure 3. Eduard Lalo, I. Allegro non troppo, second and third measures of rehearsal letter D, Symphonie Espagnole, op. 21, at frog with full hair, lower wrist and sink into the string.

Figure 4. Csar Franck, I. Allegretto ben moderato, mm 56, Sonata in A Major, full bow, hair (30/45 tilted), sul tasto, higher wrist and float on the string.

Figure 5. Johannes Brahms, IV. Presto agitato, mm 13, Sonata in D Major, op. 108, at frog with full hair, close to the bridge, lower wrist and sink into the string.

Conclusion Regardless of the school of bowing technique, the variable tilt is a part of our lexicon as string players. Consequently, it deserves a thorough evaluation, since tilt can only be utilized to its full potential if harnessed as in all other aspects of the bow by way of positive control. We attain positive control in the practice room through determined and thoughtful workand critical self-assessment of our audio and video recordings. Therefore, utilizing the above-mentioned exercises and their successful application into our performances would afford us an optimized tone production in-tune with Helmholtz motion achieved by a controlled use of bow tilt. As it is with all aspects of the technique, the tilt control is the means for an end, which is artistic expression. The way we hear a passage, the overall singing quality, and each players individual voice are entirely subjective and the perfect tone is a personal, life-long pursuit. In this artistic quest, teachers and performers should take full advantage of the scientific research to reconfirm and reexamine our pedagogical traditions and literature. In the words of the architect of Milan Cathedral Jean Mignot, ars sine scientia nihil est [art without science is nothing].18 Bibliography
Applebaum, Samuel, and Sada. With the Artists: World Famed String Players Discuss Their Art. New York: Markert, 1955. Applebaum, Samuel, and Henry Roth. The Way They Play, Book 9. Neptune City, New Jersey: Paganiniana Publications, 1981. Bang, Maia. Violin Method: The Higher Art of Bowing. New York: Fischer, 1923. Capet, Lucien. Superior Bowing Technique. Edited by Stephen Shipps. Translated by Margaret Schmidt. Maple City: Encore, 2007. Casorti, August. The Techniques of Bowing. New York: Schirmer, 1909. Collins, Cheri D. Connecting Science and the Musical Arts in Teaching Tone Quality: Integrating Helmholtz Motion and Master Violin Teachers Pedagogies. D.M. dissertation, George Mason University, 2009. WorldCat (OCLC: 388444662). Fischer, Simon. Practice: 250 Step-by-step Practice Methods for the Violin. London: Peters, 2004. . Basics: 300 Exercises and Practice Routines for the Violin. London: Peters, 1997. . Bow Tilt. Strad 104 (February 1993): 116. . The Secrets of Tone Production on all Bowed String Instruments. DVD. Produced by Steve Walker. London: Peters, 2000. Flesch, Carl. The Art of Violin Playing. Translated by Eric Rosenblith. New York: Fischer, 2000. . Problems of Tone Production in Violin Playing. Translated by Gustav Saenger. New York: Fischer, 1931. Galamian, Ivan. Principles of Violin: Playing and Teaching. Englewood Cliffs, NJ: Prentice-Hall, 1962.

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Gerle, Robert. The Art of Bowing Practice: The Expressive Bow Technique. London: Steiner & Bell, 1991. Klausner, Tiberius. Interview by Selim Giray. Personal interview. Kansas City, Kansas, 20 November 2012. Kross, Emil. The Art of Bowing. Translated by Gustav Saenger. New York: Fischer, 1888. Parncutt, Richard, and Gary McPherson. The Science and Psychology of Music Performance Creative Strategies for Teaching and Learning. Oxford: Oxford University Press, 2002. Pitteroff, Roland. Modelling of the Bowed String Taking into Account the Width of the Bow: Proceedings of the Stockholm Musical Acoustics Conference. Royal Swedish Academy of Music, Stockholm, Sweden, July 1993. Stockholm: Stockholm Music Acoustics Conference, 1993. Pitteroff, Roland, and James Woodhouse. Influence of a Bow of Finite Width on Bowed String Motion: Numerical Modelling and Experimental Evidence. Journal De Physique 4 (1994): 605608. . Mechanics of the Contact Area Between a Violin Bow and a String. Part I: Reflection and Transmission Behaviour. Acta Acustica united with Acustica 84 (1998): 543562. . Mechanics of the Contact Area Between a Violin Bow and a String. Part II: Simulating the Bowed String. Acta Acustica united with Acustica 84 (1998): 744757. . Mechanics of the Contact Area Between a Violin Bow and a String. Part III: Parameter Dependence. Acta Acustica united with Acustica 84 (1998): 929946. Schoonderwaldt, Erwin. Mechanics and Acoustics of Violin Bowing: Freedom, Constraints and Control in Performance. Ph.D. treatise, Royal Institute of Technology, Stockholm, Sweden, 2009. ________. Schelleng in RetrospectA Systematic Study of Bow Force Limits for Bowed Violin Strings: Proceedings of the International Symposium on Musical Acoustics Conference. Barcelona, Spain, September 912, 2007. Barcelona: International Symposium on Musical Acoustics, 2007. Schoonderwaldt, Erwin, Knut Guettler, and Anders Askenfelt. Effect of the Width of the Bow Hair on the Violin String Spectrum: Proceedings of the Stockholm Music Acoustics Conference. Royal Institute of Technology, Stockholm, Sweden, August 69, 2003. Stockholm: Stockholm Music Acoustics Conference, 2003. Topper, Matson Alan. Correcting the Right Hand Bow Position for the Student Violinist and Violist. D.M. treatise, The Florida State University, 2002. WorldCat (OCLC: 180114064).

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Applebaum and Roth, The Way They Play, 117. Fischer, Bow Tilt. Klausner, Interview. Kross, The Art of Bowing, 45. Fischer, Bow Tilt. Galamian, The Principles of Violin Playing and Teaching, 49 and 104. Topper, Correcting the Right Hand Bow Position for the Student Violinist and Violist, 37. Schoonderwaldt, Guettler, and Askenfelt, Effect of the Width of the Bow Hair on the Violin String Spectrum, 4. Ibid., 1. Knut Guettler, Looking at Starting Transients and Tone Coloring of the Bowed String, Journal of ITC Sangeet Research Academy 18, (2004): 6076, accessed 30 September 2013, http://knutsacoustics.com/files/Starting-transients-Guettler.pdf Bowed Violin String in Slow Motion, YouTube video posted by violinBOW, accessed 30 September 2013, http://www.youtube.com/watch?v=6JeyiM0YNo4. Joe Wolfe, The Bowed String, University of New South Wales, Sydney, Australia, accessed 30 September 2013, www.phys.unsw.edu.au/jw/Bows.html. Roul: To roll the bow stick on a sustained note toward and away from the bridge, with use of fingers. James S. Ackerman, Ars Sine Scientia Nihil Est Gothic Theory of Architecture at the Cathedral of Milan, The Art Bulletin 31, No. 2 (June 1949): 100.

Endnotes
1

2 3 4

Schoonderwaldt, Guettler, and Askenfelt, Schelleng in RetrospectA Systematic Study of Bow Force Limits for Bowed Violin Strings, 1. Flesch, Problems of Tone Production in Violin Playing, 6 and 14. Galamian, The Principles of Violin Playing and Teaching, 54. Applebaum, With the Artists, 278279.

Selim is assistant professor of violin and string pedagogy at Wichita State University and concertmaster of The Ohio Light Opera. Recently, he performed and offered master classes at the Florida State University, Louisiana State University, and University of China in Beijing. Giray will be presenting at The Midwest Clinic in December and is invited back to perform at Carnegie Hall with his trio in January 2014. As a doctoral candidate at the Florida State University, Giray studied with Eliot Chapo, former concertmaster of the New York Philharmonic Orchestra. Giray performs on a violin made by Anton Krutz. For more information, please visit www.SelimGiray.com.

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