Bowing is the soul of violin playing. While the left hand chooses the notes, it is the right arm, hand, and bow that determine how those notes sound — whether they sing, whisper, bite, or soar. Mastering violin bowing techniques is not about memorizing a long list of strokes. It is about understanding how contact point, bow speed, bow pressure, and the part of the bow you use all combine to create different sounds.
In this complete guide I have organized every major bowing technique by difficulty level, from the very first stroke a beginner learns to the advanced orchestral techniques used by professionals. For each technique you will find a clear definition, when and why it is used, the notation symbol you will see in sheet music, and links to dedicated deep-dive lessons.
Beginner Bowing Techniques
These are the first strokes every violinist learns. They form the foundation for everything that comes later. If you are just starting out, spend most of your practice time here before moving on.
1. Détaché
Détaché is the default bow stroke on the violin. Each note gets its own separate bow stroke, alternating between down-bow and up-bow, with no stop or silence between the notes. The sound is smooth and connected even though the bow changes direction for every note.
Most of the music you play uses détaché. When there is no special marking above a note, you play it détaché. It sounds simple, but producing an even détaché — with consistent tone from frog to tip and back — takes real control.
Notation: No special marking (default stroke). Sometimes a short horizontal line above/below the note.
Where on the bow: Middle to upper half for most passages.
Read more: Detaché Bowing: Default Violin Bow Stroke • 12 Types of Détaché
2. Legato
Legato means smooth and connected. Multiple notes are played in one bow stroke, joined by a slur. The bow moves continuously without stopping, and the left hand fingers change while the bow keeps drawing sound. The result is a singing, lyrical line with no gaps between notes.
Legato is essential for slow melodies, cantabile passages, and expressive playing. The challenge is making smooth bow changes at the frog and tip so the listener cannot hear where one bow ends and the next begins.
Notation: A curved line (slur) connecting two or more notes.
Where on the bow: Full bow, distributed evenly across the notes in the slur.
Read more: Legato Violin Bowing Technique • How to Bow Smoothly on the Violin
3. Staccato
Staccato means short and separated. Each note is played with a quick, controlled bow stroke followed by a brief silence. The bow stops on the string between notes. Think of it as “detaché with stops.”
There are two main types: on-string staccato (the bow stays on the string and stops between notes) and off-string staccato (the bow lifts slightly after each note). As a beginner you will start with on-string staccato.
Notation: A dot above or below the note.
Where on the bow: Upper half for light staccato, middle for stronger articulation.
Read more: Staccato Bowing on the Violin
4. Whole Bows (Long Tones)
Playing whole bows means drawing the bow slowly from frog to tip (down-bow) and tip to frog (up-bow) on open strings or sustained notes. This is not a named “technique” in the traditional sense, but it is the single most important exercise for developing a beautiful tone and bow control.
Long tones teach you to control bow speed, maintain a consistent contact point, and distribute the bow evenly. Every professional violinist still practices long tones as part of their warm-up.
5. Pizzicato
Pizzicato means plucking the string with the finger instead of using the bow. While technically not a “bowing” technique, it is part of every violinist’s toolkit and appears frequently in orchestral and solo music.
Notation: The abbreviation “pizz.” above the staff. “arco” indicates a return to bowing.
Read more: 4 Ways to do Pizzicato on the Violin
6. Up-Bow and Down-Bow
Understanding bow direction is fundamental. A down-bow (symbol: ⊓) moves from frog to tip and naturally produces a stronger start. An up-bow (symbol: V) moves from tip to frog and tends to be lighter. Knowing when to use which direction is essential for musical phrasing.
Read more: Up-Bow or Down-Bow? 22 Violin Bowing Rules • What Violin Bow Direction to Choose?
Want a complete overview of beginner strokes? See 6 Basic Beginner Bow Strokes You Learn on the Violin.
Intermediate Bowing Techniques
Once you have solid control of basic strokes, these intermediate techniques open up a much wider range of musical expression. They require greater independence of the right hand fingers and wrist.
7. Martelé
Martelé (from the French word for “hammered”) is a sharp, accented stroke. You press the bow into the string, then release it in a quick, powerful motion. Each stroke starts with a “bite” or consonant sound, followed by a ringing note that stops cleanly.
Martelé is the foundation for many other off-string strokes. If you can play a clean martelé, learning spiccato and sautillé becomes much easier.
Notation: An arrowhead or strong accent mark above the note.
Where on the bow: Upper half, near the tip for a classic martelé.
Read more: Martelé Violin Bow Stroke Explained
8. Spiccato
Spiccato is a controlled bouncing stroke where the bow leaves the string between notes. Unlike staccato (where the bow stops on the string), in spiccato the bow makes a small arc in the air, touching the string only briefly for each note. The result is a light, sparkling sound.
Spiccato is one of the most used intermediate and advanced techniques. It appears in fast passages in concertos, orchestral excerpts, and virtuosic showpieces. The bounce comes primarily from the natural elasticity of the bow stick, not from actively lifting the bow.
Notation: A dot above the note (same as staccato — context and tempo determine which is intended).
Where on the bow: The balance point (roughly the lower-middle third).
Read more: Spiccato Bowing on the Violin
9. Collé
Collé (French for “glued”) is a pinch-and-release stroke. The bow starts from the string with a small, sharp motion driven by the fingers. It produces a clear, articulate sound and is an excellent exercise for developing finger flexibility in the bow hand.
Where on the bow: Usually at or near the frog.
Read more: Collé Violin Bow Stroke Explained + 3 Exercises
10. Hooked Bowing (Portato)
Hooked bowing, also called portato or louré, combines legato and staccato. Multiple notes are played in one bow direction, but with a slight separation (a gentle pulse) between each note. The bow does not leave the string or change direction — it just pauses briefly.
Notation: Notes under a slur with dots or dashes above them.
Read more: Hooked Bowing, Portato or Broken Slurs on the Violin
11. String Crossing Techniques
Moving the bow smoothly between strings is a technique in itself. Clean string crossings require the right arm level to change while keeping the bow straight and the tone consistent. Difficulties with string crossing are one of the most common causes of accidentally hitting other strings and producing a scratchy sound.
Read more: 7 Ways to Play Chords on the Violin • Bariolage Bowing Technique
12. Bariolage
Bariolage is a rapid alternation between two strings, where one string is open and the other is stopped. This creates a shimmering, color-shifting effect because the same pitch sounds different on an open string versus a stopped string. It is used famously in Bach’s solo violin works.
Read more: Bariolage Violin Bowing Technique Explained with Examples
For a broader overview of intermediate strokes, see 12 Violin Bowing Techniques with Intermediate Examples.
Advanced Bowing Techniques
These techniques require highly developed bow control and are typically encountered in advanced solo and orchestral repertoire. They build on the intermediate strokes above.
13. Sautillé
Sautillé is a fast, natural bouncing stroke that occurs when you play spiccato at a higher speed. Unlike spiccato, where you consciously control each bounce, sautillé happens almost automatically — the bow bounces on its own due to the speed and the natural spring of the stick. The player’s job is to guide the bow rather than actively lift it.
The transition from spiccato to sautillé is one of the trickiest skills to master. It typically occurs around the speed where you can no longer consciously control each individual bounce.
Notation: Same as spiccato (dots above notes) — the tempo determines which stroke is used.
Where on the bow: At or near the balance point.
14. Ricochet (Jeté)
Ricochet, also called jeté or thrown bowing, means dropping or throwing the bow onto the string and letting it bounce multiple times in one bow direction. You typically get 2 to 6 bouncing notes from a single throw. The bow does all the work — you just initiate the drop.
Ricochet appears in virtuosic passages by Paganini, Wieniawski, and other Romantic-era composers. It creates a brilliant, cascading effect.
Notation: Dots under a slur, or specifically marked “ricochet” or “jeté.”
Where on the bow: Upper half, starting from the balance point or above.
Read more: How to Learn Ricochet on the Violin
15. Tremolo
Tremolo is a rapid back-and-forth motion of the bow on one note, creating a trembling, shimmering effect. The bow stays on the string and moves with very short, fast strokes. Tremolo is extremely common in orchestral music for creating tension, atmosphere, and dramatic effects.
Notation: Three slashes through the stem of the note.
Where on the bow: Near the tip (lighter, more orchestral) or middle (stronger).
Read more: How to Play Tremolo on the Violin
16. Flying Staccato
Flying staccato (or flying spiccato) is a series of short, rapid notes played in one bow direction where the bow bounces off the string between each note. Unlike ricochet (which uses gravity), flying staccato uses controlled arm and finger motion to create each bounce. It is one of the most difficult bow strokes to master.
This technique appears in the music of Paganini, Sarasate, and other virtuoso composers. Heifetz was famous for his brilliant flying staccato.
17. Son Filé
Son filé means a sustained, drawn-out tone played with an extremely slow, even bow. The goal is to produce the purest, most consistent sound possible on a single note, often with a crescendo or diminuendo. This is the ultimate test of bow control — any wobble, speed change, or pressure variation is immediately audible.
Son filé is used in slow, expressive passages and is the foundation for a beautiful singing tone in works by Bruch, Mendelssohn, and Tchaikovsky.
18. Sul Ponticello
Sul ponticello means bowing near or on the bridge. This produces a glassy, eerie, metallic sound rich in high overtones. The closer you bow to the bridge, the more unusual and otherworldly the tone becomes. It is widely used in contemporary music and in orchestral writing for special effects.
Notation: “sul pont.” or “s.p.” written above the staff.
Where on the bow: Any part, but played at the contact point near the bridge.
19. Sul Tasto (Flautando)
Sul tasto means bowing over the fingerboard, away from the bridge. This produces a soft, airy, flute-like tone with fewer overtones. When played very lightly, it is sometimes called flautando. Sul tasto is the opposite of sul ponticello and is used for gentle, ethereal passages.
Notation: “sul tasto” or “s.t.” above the staff.
Where on the bow: Any part, played at the contact point over the fingerboard.
20. Col Legno
Col legno means playing with the wood of the bow instead of the hair. There are two types: col legno battuto (tapping the string with the wood) and col legno tratto (drawing the wood across the string). The sound is dry, percussive, and ghostly. Famous examples include the “Danse Macabre” by Saint-Saëns and the “Mars” movement of Holst’s “The Planets.”
Notation: “col legno” or “c.l.” above the staff.
Orchestral and Specialized Techniques
Playing in an orchestra requires specific bowing conventions and techniques that go beyond solo playing. Here are some important ones. For a full deep-dive, see 20 Orchestral Violin Bowing Techniques.
- Divisi: The section splits into two (or more) groups, each playing different notes.
- Unison bowing: The entire section uses identical bow direction and stroke type for visual and sonic uniformity.
- Bow lifts and retakes: Lifting the bow between phrases to restart in the correct bow direction.
- Tremolo at the tip: Standard orchestral tremolo played very near the tip for a light, controlled sound.
- Muted bowing (con sordino): Playing with a mute on the bridge, which dampens overtones and creates a veiled, intimate tone.
The Three Variables That Control Every Bow Stroke
Every bowing technique you have read about above is created by varying three fundamental elements. Understanding these variables is the key to mastering all of them:
1. Bow Speed
How fast or slow the bow moves across the string. A faster bow generally produces a louder, more brilliant sound. A slower bow creates a softer, more focused tone. In son filé, the bow moves extremely slowly. In tremolo, it moves extremely fast.
2. Bow Pressure (Weight)
How much weight the bow applies to the string. More pressure (combined with appropriate speed) creates a louder, more intense sound. Less pressure creates a lighter, airier sound. Too much pressure with too little speed creates the dreaded scratchy, crunchy sound. Tilting the bow changes the effective weight and number of hair strands touching the string.
3. Contact Point
Where on the string the bow makes contact, measured by its distance from the bridge. There are roughly five contact point zones, from very close to the bridge (bright, focused, intense) to over the fingerboard (soft, airy, flute-like). The contact point determines the color of the sound.
Every named bowing technique is simply a specific combination of these three variables, plus the type of arm, wrist, and finger motion used to execute the stroke.
Bow Hold: The Foundation of All Bowing
None of these techniques are possible without a proper bow hold. Your bow hold determines how much control, flexibility, and range of expression you have. A tense, rigid grip limits you to basic strokes. A relaxed, flexible hold unlocks the full range of techniques described in this guide.
Key elements of a good bow hold include: a curved, flexible thumb, relaxed and rounded fingers, the pinky on top of the stick for balance, and a flexible wrist and hand that acts as a shock absorber during bow changes and string crossings.
Read more: Basic Violin Bow Hold + Beginner Exercises • Evolution of Violin Bow Hold
Exercises to Improve Your Bowing
Reading about bowing techniques is helpful, but real improvement comes from focused practice. Here are the most important exercises and resources for developing your bowing:
Dynamics practice: Use these 7 techniques for playing loud and soft to develop dynamic control through bow speed and pressure variations.
Quick Reference: All Bowing Techniques at a Glance
Here is a quick summary of every technique covered in this guide, organized by difficulty:
Beginner: Détaché, Legato, Staccato, Whole Bows, Pizzicato, Up-Bow/Down-Bow
Intermediate: Martelé, Spiccato, Collé, Hooked Bowing/Portato, String Crossing, Bariolage
Advanced: Sautillé, Ricochet/Jeté, Tremolo, Flying Staccato, Son Filé, Sul Ponticello, Sul Tasto/Flautando, Col Legno
Orchestral: Divisi, Unison Bowing, Bow Lifts, Tremolo at Tip, Con Sordino
For the complete notation guide with all 24 symbols, see Symbols of All 24 Violin Bowing Techniques in Sheet Music. For even more techniques with video demonstrations, check out 24 Different Violin Bowing Techniques and 18 Main Violin Bowing Techniques with Examples and Symbols.
What to Practice Next
If you are a beginner, focus on détaché and legato. Get your bow moving smoothly and evenly before adding any fancy strokes. Once those feel natural, work on staccato and martelé.
If you are an intermediate player, prioritize spiccato. It is the gateway to all other bouncing strokes. Once your spiccato is reliable at moderate tempos, experiment with increasing the speed until it starts to turn into sautillé.
If you are an advanced player, work on expanding your contact point range and dynamic control. Practice the same passage with different bowing techniques to develop versatility.
No matter your level, remember that beautiful bowing starts with a relaxed, flexible bow hold and consistent daily practice with intention and focus.
