StringSection Blog

Posts Tagged ‘string articulations’

Sul Tasto

Monday, January 25th, 2010

When a string compsoser or arranger wishes to create a specifically warm or hazy sound, they may well write in the direction ‘Sul Tasto’ meaning ‘on the touch or on the fingerboard’.  In effect this means bringing the bow further away from the bridge until it is over the end of the finger board. Here, the string has less tension as it is further from the point of suspension on the bridge and therefore has less resistance, so cannot take as much pressure. Generally Sul Tasto is used for a softer dynamic (such as p or pp) and like a harmonic, a faster, gentler bow is utilised.

Yehudi Menuhin defines it as giving “….a velvety and cooing sound. The string is soft, not as resistant, and cannot take any pressure….”

When a full string section players Sul Tasto, the effect can be of a very soft sheen with any surface noise absorbed by having so many players. In a solo instrument, recording with a close microphone can pick up some of the surface noise (the bow against the string), but it has a lilting, ethereal quality, not unlike a flute.

Sautille Bowing

Thursday, October 8th, 2009

In earlier blog entries, I wrote about how different bowing techniques can affect the sound of a violin or string section and how it can also help to create different moods or feelings within a string arrangement. Previously, I covered Martele, Spiccato and Marcato bowings and today I wanted to write something about Sautille bowing.

Sautille bowing is a form of spiccato which allows the natural bounce of the bow to create it’s own momentum and seems to allow the bow to bounce of it’s own accord. When the spiccato bowing is propelled at a fast speed, the amount of bow used becomes less and the area of the bow which touches the strings becomes further up (higher towards the tip of the bow). When this happens, the bow begins to spring with very little effort from the player.

In a string arrangement, this could be used for highly virtuosic passages where either a single note is repeated or the passage work is quick and furious. To write this in, an arranger would notate this the same as most other detached bow strokes with a dot at the top of the note head, but what would suggest to the player Sautille would be the rapid speed of the notes.

Sautille can be played at any dynamic or accented or double stopped to give real energy and flair to a string part.