The origins of the down-stroke
& how the bowing depends on the strings we play
A RESEARCH PROJECT BY MARIANNE DUMAS
This material may not be published, rewritten or redistributed without authorization of the author.
The history of the cello is a subject that has been researched, studied, and written for centuries in great detail. However, because the first methods of cello playing appeared after 1740, the technique of the baroque cello can still be questioned. This publication presents a vision of the instrument closer to the viola da gamba than to the violin. It covers arguments for and against this theory as well as the paper’s position on this topic. Research for this project was accomplished through the use of scholarly books, treaties, publications, encyclopedias related to the history of the cello. In order to illustrate vision of the instrument, this article comes with a new edition of the Bach Cello Suites and a recording of it with the instruments used for this project.
UNDERSTANDING THE MEANING AND THE USE OF THE "DOWN STROKE"
"GIVE A STROKE DOWNWARD THE SOUNDBOARD"
and hOW OTHER INSTRUMENTS PLAY CHORDS, ARPEGGIOS, batteries...
This rule is also found in many methods and essays about cello technique
DIDEROT & D'ALEMBERT
"There are two ways to hold bowed string instruments. One is like the basse viol, it is also how we hold the bass violins, contrabasses, and other big instruments. The other way is to hold the instrument the same way we hold the violin and all the instruments no longer than the arm. There is a general rule, one plays down bow what we play we play up bow on the others. Therefore, on a bass viol and a bass violin, we play up bow on the long ones , and the opposite on the violins and other instruments held the violin way. The reason of this difference is that the strength for the basses is on the up bow and that on the violin it is on the down bow, because of the way the instruments are held."
D. DIDEROT -Encyclopédie ou dictionnaire raisonné des sciences, des arts et des métiers- Paris 1765
JEAN-BAPTISTE BREVAL
"The cello is similar to a violin because of its 4 strings and the tuning in fifths but but it is held the contrary way of the violin. This results on the opposition of the order of the strings. For that reason, the bowing technique should be opposite as well."
Traité du violoncelle, Op.42 (Paris, 1804)
JOAQUIM QUANTZ
"Some move the bow as it is customary on the viola da gamba, that is, instead of a down-stroke from left to right for the principal notes, they make an up-stroke from right to left, beginning from the tip of the bow."
Berlin 1752, J. J. Quantz about cellists
THE FIRST CELLO METHODS - AFTER 1750
The evolution of the bowing technique of the violoncello followed the one of the violin but nevertheless, all the methods published until around 1815 mention that when playing and arpeggio or batteries, the bass note should be played on an "up-bow".
Most of the first cello treaties were published by former students of Martin Berteau. Berteau is considered as the founder of the French school of violoncello, he was a bass viola da gamba player before becoming a cellist.
BATTERIES AND ARPEGGIOS
The observation of the first methods and treaties shows that all the cellists agreed on the same rule for batteries and arpeggios:
No matter the bow hold, the methods agree on one rule:
the bass should be played up bow = toward the soundtable.
In conclusion...
When aiming for optimal string vibration to maximize the instrument's resonance, we should explore a bowing technique similar to the viola da gamba, specially in the baroque repertoire where arpeggios and batteries are found the most.
Regardless of bow hold preference, this approach can significantly enhance both the cello's tone quality and phrasing due to the unique sound production methods and bow placement involved.
This explains also why cellists placed the hand forward in the stick when playing with an overhand bow hold.
Research by Marianne Dumas
