Quick answer
The main violin bowing techniques are détaché, legato, martelé, staccato, spiccato, sautillé, ricochet, collé and bariolage. Beginners should first learn to draw a straight, even bow and then develop détaché and legato. More advanced strokes add accents, separation or controlled bouncing. Every stroke depends on three variables: bow speed, arm weight and the bow's contact point on the string.
What is a violin bowing technique?
A violin bowing technique, or bow stroke, is a particular way of starting, sustaining and ending a note with the bow. The stroke influences articulation, volume, rhythm and tone colour. Two violinists can play the same pitch for the same length of time yet sound completely different because one uses a smooth connected stroke and the other uses a short, accented one.
The terms are often Italian or French. Their precise execution can vary with tempo, musical period, teacher and school of playing, so treat the descriptions below as practical starting points rather than rigid laws.
The three controls behind every bow stroke
Before learning a list of named techniques, understand the controls they share:
- Bow speed: A faster bow can help make a broader or louder sound; a slower bow concentrates the sound and requires careful control.
- Arm weight: Transferring more natural arm weight through the index finger can strengthen the sound. Pressing or squeezing usually creates harshness.
- Contact point: The bow normally travels between the bridge and fingerboard. Closer to the bridge generally supports a more focused, projecting sound; closer to the fingerboard gives a softer colour.
Keep the bow approximately parallel to the bridge unless a teacher is deliberately asking for another angle. The hair should maintain a consistent relationship with the string, while the wrist, fingers, elbow and shoulder remain responsive rather than locked.
Essential violin bowing techniques at a glance
| Technique | What it sounds like | Does the bow leave the string? | Typical level |
|---|---|---|---|
| Détaché | Clear, separate notes with an even tone | No | Beginner |
| Legato | Smooth, connected notes | No | Beginner |
| Martelé | Firm, accented notes with space between them | No | Beginner–intermediate |
| Staccato | A series of short, stopped notes | Usually no | Intermediate |
| Spiccato | Light, distinct bouncing notes | Yes | Intermediate |
| Sautillé | Very fast, small natural rebounds | Yes, minimally | Intermediate–advanced |
| Ricochet | Several rebounds from one dropped bow | Yes | Advanced |
| Collé | A short, pinched-and-released stroke led by the fingers | Usually begins on the string | Intermediate |
| Bariolage | Rapid alternation between strings, often with a repeated open string | Not necessarily | Intermediate–advanced |
1. Détaché
Détaché means “detached” or “separated”. Play each note with a new bow direction, but keep the bow on the string. The sound should remain smooth and full; the notes are separate because the bow changes direction, not because the player adds a hard stop.
How to practise it: Play an open-string scale rhythm using the middle half of the bow. Give every note the same amount of bow. Listen for an even sound before, during and after each bow change.
Common mistake: Adding an accent to every change of direction. Let the fingers and wrist absorb the change instead of jerking the whole arm.
2. Legato
Legato means smooth and connected. On the violin, several notes are often played in one bow, shown by a slur in the music. The challenge is to divide the bow so that every note receives enough space and the sound does not fade at the end.
How to practise it: Start with two notes per bow, then four. Decide in advance where in the bow each note will occur. Keep the bow moving through left-hand finger changes.
Common mistake: Using most of the bow on the first note and rushing the remaining notes near the tip or frog.
3. Martelé
Martelé means “hammered”. Each stroke begins with a clear consonant-like attack, followed by an immediate release and a small silence before the next note. The bow stays on the string.
How to practise it: Set the bow on the string. Add a small amount of arm weight, release that weight as the bow begins to move, stop, and reset. Practise slowly enough to hear four distinct stages: set, catch, release and stop.
Common mistake: Continuing to press after the bow starts. That produces a crushed sound rather than a clean attack.
4. Staccato
Staccato describes short, separated notes. In bowed-string playing, it may refer to individual stopped strokes or several articulated notes in one bow. The musical context matters.
How to practise it: Begin with two short notes in one down-bow. Stop the bow cleanly between them without tightening the thumb. Add notes only when the rhythm and sound remain even.
Common mistake: Confusing staccato with spiccato. Staccato can remain on the string; spiccato rebounds from it.
5. Spiccato
Spiccato is a controlled off-the-string stroke. The bow makes a shallow bounce, producing light, separate notes. The most responsive place is commonly around the balance point or lower-middle area, although the ideal spot varies with the bow, speed and dynamic.
How to practise it: First play short détaché strokes on the string. Gradually reduce the amount of bow and allow the stick's spring to create a small rebound. Think of a low arc, not a dramatic jump.
Common mistake: Lifting the bow high with the shoulder. Good spiccato is usually compact and is guided by a flexible forearm, wrist and fingers.
6. Sautillé
Sautillé is a fast rebounding stroke. Unlike slower spiccato, in which the player more consciously places each bounce, sautillé emerges from rapid, small horizontal movements and the natural elasticity of the bow.
How to practise it: Establish quick, relaxed détaché in the middle of the bow. Make the movement smaller as the tempo rises and notice when the stick begins to rebound naturally.
Common mistake: Trying to manufacture a large vertical bounce. Sautillé is close to the string and economical.
7. Ricochet
In ricochet, the player drops or throws the bow onto the string and lets it rebound several times during one bow direction. It appears in virtuosic passages and requires control of the initial impulse, bow angle and diminishing bounces.
How to practise it: On an open string, allow two rebounds in a down-bow. Then try three and four. Keep the hand soft and change the initial height only slightly.
Common mistake: Forcing every bounce. The bow should supply much of the spring.
8. Collé
Collé means “glued”. Begin with the bow resting on the string and create a compact release, largely with the fingers. It helps train clean articulation and flexible bow changes and is useful preparation for other strokes.
How to practise it: Near the frog, gently set the hair on the string. Use the fingers to move the bow a very short distance, then release. Alternate down- and up-bows without squeezing.
9. Bariolage
Bariolage is rapid alternation between adjacent strings, often between stopped notes and an open string. It creates a shimmering contrast of pitch and tone colour. The movement should come mainly from a small forearm rotation rather than large shoulder swings.
How to practise it: Alternate slowly between two open strings using the middle of the bow. Keep the bow close to both strings and gradually reduce the crossing angle. Add left-hand notes only after the motion is even.
A 10-minute daily bowing routine
- Two minutes: long open strings. Use one full bow for each note. Check the contact point and listen for an even tone.
- Two minutes: silent bow changes. Play at the middle, then near the frog and tip, aiming to disguise each change of direction.
- Two minutes: détaché. Use equal strokes with a metronome at a comfortable tempo.
- Two minutes: articulation. Alternate four détaché notes with four martelé or staccato notes.
- Two minutes: one developing stroke. Work slowly on spiccato, collé or another technique from current repertoire.
Record 20 seconds at the start and end of the week. Listen for rhythm, unwanted accents, changes in tone and excess noise. Video can also reveal a drifting contact point or a raised shoulder that is difficult to notice while playing.
How to choose the right bowing technique
Start with the notation: slurs suggest legato bowing; dots may indicate short articulation; wedges or accents suggest stronger separation. Then consider tempo, dynamic, style and the sound of the ensemble. The same dotted note might be played as an on-string staccato in one passage and as spiccato in another.
If an edition contains bowings, remember that they may be editorial rather than written by the composer. A teacher, conductor or historically informed source can help resolve ambiguous markings.
Frequently asked questions
What is the first bowing technique a beginner should learn?
Begin with straight, even open-string bows, followed by détaché and simple legato. These establish tone, bow division and smooth direction changes—the foundations of nearly every later stroke.
What is the difference between détaché and staccato?
Détaché uses a separate bow direction for each note but keeps the sound relatively sustained. Staccato notes are deliberately short and separated, sometimes with several notes played in one bow direction.
What is the difference between spiccato and sautillé?
Spiccato is a controlled bounce that can be played at moderate speeds. Sautillé is faster, smaller and relies more on the bow's natural rebound as horizontal movement becomes rapid.
Why does my violin bow bounce when I do not want it to?
Unwanted bouncing can result from excess tension, an inconsistent contact point, a rigid bow change or playing in a naturally springy part of the bow. Slow the stroke, soften the hand and test a different point on the bow. A teacher can identify whether setup or technique is responsible.
How long does it take to learn spiccato?
There is no fixed timeline. Players who already have a relaxed bow hold, steady détaché and controlled short strokes usually progress faster. Practise for a few focused minutes at a time rather than forcing the bounce for long sessions.
Key takeaway
Learn bowing techniques as variations of a common system: bow speed, arm weight, contact point and the bow's natural elasticity. Build a reliable détaché and legato first; then add martelé, staccato and bouncing strokes one at a time. The goal is not to collect names but to produce the articulation and colour the music requires.