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producing a rougher sound. Lower quality (inexpensive) bows often use nylon or synthetic hair. Rosin, a hard, sticky substance made from resin (sometimes mixed with wax), is regularly applied to the bow hair to increase friction. In making the stick of a bow, the initial part of the woodworking is done on a straight stick. According to James McKean, "the bow maker graduates the stick in precise gradations so that it is evenly flexible throughout." These gradations were calculated by
150:
already indicated that
Stradivari almost certainly made bows or had them made for him. After 1750, some makers began to identify themselves by stamping their names on bows-generally on the stick, sometimes on the frog, occasionally on both (as in some Dodd bows). Tourte pere, whom we now believe to be Louis Tourte, stamped a few bows c 1750 with the distinctive TOURTE-L but Francois Tourte (his more famous son), whose first standardized bows date from c 1785, rarely stamped his.
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use of legato. François Joseph Fétis's entry in the second, expanded edition of his
Biographie universelle des musiciens et bibliographie gĂ©nĂ©rale de la musique (1860â65) has until recently been the only source of biographical information about François Tourte. Some thirty documents recently discovered in French archives provide further fresh insight into this maker's life and work." Stewart Pollens, Metropolitan Museum of Art, New York
107:, discussed below. In order to shape the curve or "camber" of the bow stick, the maker carefully heats the stick over a source of heat (such as an alcohol flame or a heat gun) a few inches at a time, bending the heated stick gradually to the proper shape. A metal or wooden template is often used to get the exact model's curve and shape while heating.
198:"Tourte - French family of bowmakers and luthiers. It comprised of Nicolas Pierre Tourte and his sons Nicolas LĂ©onard and François Xavier and perhaps Charles Tourte, son of Nicolas LĂ©onard. In addition, at least two channelled (canalĂ©) bows dating from about 1750â60 exist bearing the brand-stamp A.TOURTE." - Paul Childs
194:
of the bow." His bows, dating from the end of the eighteenth century and the early decades of the nineteenth, had a marked effect upon the timbre of violins and upon performance practice, enabling new forms of expression and articulation to be developed, and in particular, facilitating the increased
129:
in 1785, most bows with rare exceptions remained anonymous (before 1750). And although François Tourte attained an enormous measure of fame in his own lifetime, the tradition of the anonymous bow maker was still so strong that theorists like
Woldemar and Fetis called Tourte's new-model bow not the
102:
A bow maker typically uses between 150 and 200 hairs from the tail of a horse for a violin bow. Bows for other members of the violin family typically have a wider ribbon, using more hairs. White hair generally produces a smoother sound and black hair (used mainly for double bass bows) is coarser,
149:
The fact that bows are ascribed not to makers but to famous violinists (who were often composers as well) underlines the point that, with rare exceptions, bow makers remained anonymous before 1750. Quite probably the man who made the violin often made the bow or had it made in his shop: I have
155:
Although
Francois attained an enormous measure of fame in his own lifetime, the tradition of the anonymous bow maker was still so strong that theorists like Woldemar and Fetis called Tourte's new-model bow not the Tourte bow but the Viotti bow, after his contemporary the
138:, made important changes in the form of the bow in the Classical period between 1785 and 1790. They lengthened them slightly, to 74 â 75 centimetres, and used more wood in the tip and a heavier nut.)
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The bow is so crucial that much of the music of
Beethoven, Brahms and Schubert and their musical heirs would not be performable without it...."
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bow, after his contemporary the violinist.- David Boyden (After his father's death, Tourte, in collaboration with the violin virtuoso
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190:, more commonly known as François Tourte or Tourte le jeune, is often referred to as "the inventor of the modern bow," or "the
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This article is about makers of bows used to play string instruments. For makers of bows used in archery, see
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with M.E.D. Lang, 2001 (Tourte's background, his working life and bow-making techniques.)
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With the dawn of a new era in the introduction of the modern bow design by
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is a person who builds, repairs, and restores antique or modern
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Mastering New
Materials: Commissioning an Amber Bow, no.65
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http://phonoarchive.org/grove/Entries/S28231.htm#S28231.3
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466:. San Anselmo, California: String Letter Publishing.
300:. San Anselmo, California: String Letter Publishing.
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847:Yung Chin Master Bow Maker - Dealer of fine bows
555:Raffin, Jean Francois; Millant, Bernard (2000).
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272:Raffin, Jean Francois; Millant, Bernard (2000).
581:Universal Dictionary of Violin & Bow Makers
631:(bow maker, violinist Quarneri String Quartet)
905:
73:of the string family of instruments such as
65:The French word for bowmaker (bow maker) is
38:for bowed string instruments. These include
16:Person who makes bows for string instruments
125:Up until the standardization of the bow by
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886:article on the history and making of bows.
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120:engraving of François Xavier Tourte 1818
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23:. For the golf team playing format, see
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573:Dictionnaire Universel del Luthiers -
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420:: CS1 maint: archived copy as title (
375:: CS1 maint: archived copy as title (
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538:The Bowmakers of The Peccatte Family
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208:François-Xavier Tourte - Bow Maker
89:. The root of the word comes from
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872:Production of a carbon fiber bow
237:, section on "Bowing techniques"
833:List of contemporary bow makers
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1520:String instrument construction
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559:. Paris: L'Archet Ăditions.
501:Bows for Musical Instruments
276:. Paris: L'Archet Ăditions.
7:
540:. Montrose, NY: Magic Bow.
464:Commonsense Instrument Care
298:Commonsense Instrument Care
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296:*McKean, James N. (1996)
177:Le violon, câest lâarchet
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1248:(changing string tuning)
660:Joseph Henry (bow maker)
480:(London, 1896; 2: 1909).
462:McKean, James N. (1996)
173:Giovanni Battista Viotti
69:, meaning one who makes
840:Famous Violinist's Bows
815:Jean-Baptiste Vuillaume
810:François Nicolas Voirin
577:1951,1972, 1985 (vol.3)
210:by Stewart Pollens and
800:Joseph Arthur Vigneron
735:Ămile François Ouchard
440:July 23, 2007, at the
188:François-Xavier Tourte
186:"The French bow maker
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1469:Violin musical styles
1417:History of the violin
1053:Electric upright bass
852:Book about bow making
805:Vigneron (bow makers)
730:Ămile Auguste Ouchard
645:Marcel Gaston FĂ©tique
619:François Xavier Bazin
599:Jean Adam (bow maker)
536:Childs, Paul (1996).
523:. Sernor: M. Dufour.
503:. Chicago: W. Lewis.
499:Roda, Joseph (1959).
494:Saving the Music Tree
489:Saving the Music Tree
476:Saint-George, Henry.
435:Saving the Music Tree
248:, section on "Bowing"
230:Saving the Music Tree
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1320:Double bass concerto
862:Commissioning a bow.
720:Jean-Jacques Millant
635:FĂ©tique (bow makers)
254:, musical instrument
1349:Related instruments
1263:and genres of music
1229:Finger substitution
604:Jean Dominique Adam
521:Les Archet Francais
321:"Gennady Filimonov"
130:Tourte bow but the
954:Five-string violin
877:2012-11-17 at the
750:Dominique Peccatte
705:Jean Joseph Martin
695:Nicolas Remy Maire
680:Joseph Alfred Lamy
235:Playing the violin
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246:String instrument
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1474:Violin octet
1454:Stradivarius
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1290:String octet
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997:Tenor violin
969:Stroh violin
780:Pierre Simon
614:Bazin Family
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405:. Retrieved
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360:. Retrieved
353:the original
340:
329:. Retrieved
325:the original
297:
292:
273:
267:
207:
202:Bibliography
197:
185:
180:
176:
170:
161:David Boyden
156:violinist."-
154:
148:
140:
136:G. B. Viotti
124:
101:
93:âpronounced
90:
66:
64:
31:
29:
1444:Jazz violin
1386:Nyckelharpa
1371:Hurdy-gurdy
1275:String trio
1219:Double stop
1122:Fingerboard
1045:Double bass
1015:Bass violin
928:Instruments
790:James Tubbs
675:Alfred Lamy
629:John Dalley
575:Rene Vannes
484:Bow (music)
252:Musical bow
87:double bass
1515:Bow makers
1509:Categories
1356:Arpeggione
1246:Scordatura
1175:Bow stroke
1162:Techniques
1152:Tuning peg
1142:Sound post
760:Keith Peck
592:Bow makers
407:2009-01-20
362:2009-01-20
331:2009-01-22
259:References
225:Pernambuco
192:Stradivari
99:âthe bow.
1437:Slap bass
1422:Jazz bass
1261:Ensembles
1241:Pizzicato
1234:Bariolage
1224:Fingering
1214:Harmonics
1181:Col legno
1147:Tailpiece
67:archetier
32:bow maker
1525:Lutherie
1493:Category
1432:Big band
1391:Pochette
1209:Arpeggio
1197:Spiccato
1107:Chinrest
1085:Bass bar
1063:Octobass
949:Pochette
875:Archived
557:L'Archet
519:(1976).
438:Archived
416:cite web
371:cite web
274:L'Archet
219:See also
159:â
1396:Quinton
1361:Baryton
1252:Vibrato
1202:Tremolo
1192:Portato
1187:Martelé
1058:Violone
1030:Cellone
529:2850939
478:The Bow
111:History
62:, etc.
40:violins
1381:Lirone
1170:Bowing
1132:Scroll
1117:F-hole
1112:Endpin
1102:Bridge
936:Violin
884:eNotes
563:
544:
527:
509:906667
507:
470:
304:
280:
167:Quotes
132:Viotti
91:archet
75:violin
48:cellos
44:violas
21:Bowyer
1449:Rosin
1405:Other
1077:Parts
1007:Cello
979:Viola
401:(PDF)
394:(PDF)
356:(PDF)
349:(PDF)
241:Rosin
83:cello
79:viola
1459:Viol
1095:Frog
587:1970
561:ISBN
542:ISBN
525:OCLC
505:OCLC
468:ISBN
422:link
377:link
302:ISBN
278:ISBN
85:and
71:bows
36:bows
1127:Nut
1090:Bow
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