Basic bowing patterns for reels

Basic bowing patterns

In this workshop we looked at developing a basic bowing pattern for playing reels. We looked at how to ensure that the stronger down bows fall on the beat. This will automatically make it easier to emphasise the notes that fall on the beat in each bar. The idea of doing this is not that you would always play a down bow on the beat, but that this will happen if you’re playing ‘on autopilot’. Achieving this frees you up to focus on the bits of the tune where you want to push the emphasis onto off-beats and/or the up-beats.

Emphasising the on-beat

We started off by playing long bow strokes on an open A string. Then we changed this to short bow strokes on the open A. We added a rhythm to this, emphasising the first note in each group of 4. This is similar to playing in reel time, where there are 2 sets of 4 quavers in each bar.

We were emphasising the 2 on-beats in each bar. We played the first note in the bar on a down bow each time. So the beat falls on the down bow, which is a naturally stronger bow stroke. To accentuate this, we used a fast long bow stroke on the 2 on-beats in the bar, making these much louder than the other notes. We also worked on getting the hairs of the bow to ‘connect’ with the string at the start of each bow stroke. To do this we used the index finger on the back of the stick of the bow, pushing the stick down into the fiddle at the start of each bow stroke, in a quick pulse.

We worked on tapping the foot on the on beat (2 taps in each ‘bar’ of 8 quavers).

We also tried out adding a chord (playing an open D with the A) on the notes on the on beat, to accentuate the sound further.

We learnt the reel Put Me in the Big Chest.

Developing a ‘default’ bowing pattern

We worked on playing this with a basic bowing pattern that keeps the down bow on the beat. To achieve this, we slurred 2 quavers on an up bow after every crotchet or triplet. The idea is to develop a basic ‘default’ bowing pattern that will ultimately be played with any new tune, without needing to think about it. This frees us up to begin to play around with the pulse in a tune, but focusing on the phrases where we want to emphasise off-beats or up-beats, allowing the subconscious to take care of ensuring that for the rest of the tune, the on-beats will automatically be emphasised.

Shetland bowing patterns – 1 down, 3 up

Then we added in a 1 down 3 up pattern in the A part of the tune. In this bowing pattern, we used a long down bow stroke on the first quaver, to give enough space on the bow to fit in the 3 quavers on the up bow after it. The bow needs to move fast on the up stroke before this pattern (this note is the up-beat), to get the bow into position before the long down bow – so this automatically tends to add emphasis to the upbeat as well. We tried clapping the off beat while the tune was played, tapping the foot on the beat at the same time. We also tried clapping offbeat and singing the tune. If you’re struggling to control the direction of your bow with new bowing patterns, it can be useful to follow the bow direction with your bow off the fiddle, as someone else is playing the tune slowly with the pattern you are learning.

Shetland bowing patterns – 3 up, 1 down

We tried out playing the 3 up 1 down pattern in the B part of the tune. Playing this pattern pushes the emphasis onto the off-beat.

On-beats and off-beats

We added in a rhythm behind the tune, playing an A/E chord, using the first finger on the G/D strings,. We started out by emphasising the beat. This made it much easier for the tunes players to play with a strong pulse. The fiddlers playing the chords switched to emphasising off beat, which changed the effect on the tune.

Listening to our playing

We recorded ourselves playing the tune together with one person playing simple on beat rhythm behind it. We noticed when listening to the recording there was a tendency to be not all hitting the notes on the beat at the same time. Also the emphasis of the notes on the beat were not as obvious as we had thought when we were playing them. We repeated the exercise several times, which made a big improvement to the overall sound. We tried all focusing on following the rhythm set by the person playing accompaniment.