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Hamburg Fiddler

Ricochet bowing question

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Hi all,

Have a question about the use of ricochet bowing in Schubert's Rosamunde Overture. the conductor is insisting on ricochet on 8ths at letter D (around m. 176). He feels it is the only way to get hte passage soft enough. I feel if that is used, the bows will be all over the place and it will be inaccurate. this is a fairly good community orchestra, but i really do not think the 2nds will be comfortable with it, and also that this is not the place for it....anyway, any input would be appreciated. I've played this overture many times and never have used ricochet there. Also it would be difficult to execute the accents a bit further on. And also wehn the same sort of figures occurs forte, you would definitely not use ricochet. Just was wondering if ricochet is customary here.

Schubert_Rosamunde_page.pdf

thanks much!

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Your conductor has Rosamunde confused with William Tell.

I can think of several answers to your question that are more entertaining than the one above, though probably less useful and certainly less kind. You seem like a thoughtful and patient person. Hopefully you will create a pleasant way to work through this delicate and potentially explosive situation.

Remember: It's only music.

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Your conductor has Rosamunde confused with William Tell.

I can think of several answers to your question that are more entertaining than the one above, though probably less useful and certainly less kind. You seem like a thoughtful and patient person. Hopefully you will create a pleasant way to work through this delicate and potentially explosive situation.

Remember: It's only music.

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thanks Marie! Yes, delicate and explosive indeed! I wil have my hands and bowarm full!

Your conductor has Rosamunde confused with William Tell.

I can think of several answers to your question that are more entertaining than the one above, though probably less useful and certainly less kind. You seem like a thoughtful and patient person. Hopefully you will create a pleasant way to work through this delicate and potentially explosive situation.

Remember: It's only music.

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Hi all,

Have a question about the use of ricochet bowing in Schubert's Rosamunde Overture. the conductor is insisting on ricochet on 8ths at letter D (around m. 176). He feels it is the only way to get hte passage soft enough. I feel if that is used, the bows will be all over the place and it will be inaccurate. this is a fairly good community orchestra, but i really do not think the 2nds will be comfortable with it, and also that this is not the place for it....anyway, any input would be appreciated. I've played this overture many times and never have used ricochet there. Also it would be difficult to execute the accents a bit further on. And also wehn the same sort of figures occurs forte, you would definitely not use ricochet. Just was wondering if ricochet is customary here.

Schubert_Rosamunde_page.pdf

thanks much!

I think ricochet is a really stupid bowing idea for that passage. You're right: the bows will be all over the place, and it will sound like mud. And even if you were absolutely unified as a section, it's still a lousy sound for that passage.

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Hi all,

Have a question about the use of ricochet bowing in Schubert's Rosamunde Overture. the conductor is insisting on ricochet on 8ths at letter D (around m. 176). He feels it is the only way to get hte passage soft enough. I feel if that is used, the bows will be all over the place and it will be inaccurate. this is a fairly good community orchestra, but i really do not think the 2nds will be comfortable with it, and also that this is not the place for it....anyway, any input would be appreciated. I've played this overture many times and never have used ricochet there. Also it would be difficult to execute the accents a bit further on. And also wehn the same sort of figures occurs forte, you would definitely not use ricochet. Just was wondering if ricochet is customary here.

Schubert_Rosamunde_page.pdf

thanks much!

+++++++++++++++

Most likely the conductor got the bowing name mixed up.

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If the quarter notes are generally played down bow and the eighth-note pairs are up bow, I think this should be doable for players with moderate skill. I normally do not think of spicatto pairs as "ricochette," feeling that more notes are required for that terminology to apply, but thats only my opinion.

Ordinanarily, the conductor explains what he wants, and it is up to the concert master to determine how this is best achieved, depending on experience of the specific personnel involved, of course.

HS

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