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The Art of Airbowing...
...is a delicate artform indeed! Used judiciously, it will save the tormented player needless rehearsal delays and unwanted attention, whilst preserving apparent harmony and pitch.
Although this art was first dissed by our conductor as "the illusion of bowing without string contact, such that a stand partner in unable to hear the player", you are privileged to have finer pointers elaborated by your webmaster. For he, is bar none, the greatest exponent of this art form in the TO!
The following circumstances warrant its use:
- When conductors are under the illusion that "holidays" grant the players abundant free time
- When the fingering reaches 8th, 9th, (n+1)th position and is no longer commensurate with the fledgling ABRSM grade 0 players’ level of experience, as he/she fumbles out from beginners to TO V1.
- When a player has attended 1/5 of the practices for the year and is still sightreading, while section mates are already playing from muscle memory.
When NOT to use it:
- During V1 section solo passages, relative to the rest of the ensemble. The lack of volume will become very apparent.
- When the player is in… V2! If a player still requires airbowing for the V2 scores, he/she is strongly advised to participate in the hall drama productions instead of our orchestra.
- Do not airbow during the actual performance unless absolutely needed (when the player loses track of the conductor or the score).
Application:
- Tilt the bow at the maximum angle so as to minimise contact with the string. It is a myth that good airbowing requires no contact at all. Hovering above the string may risk hitting open strings. Your task is to minimise volume whilst having maximum motion.
- To maximise apparent motion, sway your instrument in the same direction of the bowstroke while minimising bow movement over the string to create the illusion. It gives the image that the player is swaying to the music. Emphasize more on arm motion when changing strings over ties and slurs for greater effect.
- Play in higher positions whenever possible. Stopping a note in a higher position will always produce a softer sound. Similarly, playing towards the tip of the bow and nearer the bridge may also help achieve the same effect.
- Do NOT airbow entire passages. Play at least the principle note of each bar so as to blend in. Also practice the fingering while airbowing so as to be less reliant on it during repeat practices.
- For maximum effect, the use of vibrato is strongly encouraged. It is also able to mask sharp notes played.
Till then, happy practicing!
Your weary webmaster
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