Col legno is a distinctive playing technique used by string players in which the wooden stick of the bow, rather than the hair, is brought into contact with the strings. The term, Italian for “with the wood,” instructs the musician to either strike or draw the wood of the bow across the strings, producing an unusual timbre that ranges from percussive and brittle to airy and ghostlike. Often used for dramatic, atmospheric, or avant-garde effects, col legno playing introduces a unique sound color that contrasts starkly with traditional bowed tones. It is most commonly found in orchestral and chamber music from the 19th century onward, and continues to be employed in contemporary classical, film scores, and experimental music for its evocative and textural potential.

Basic Definition and Types

There are two primary forms of col legno playing:

  • Col legno battuto: The wooden stick of the bow strikes the strings in a percussive manner, producing a dry, ticking, or rattling sound. It is often rhythmic and used for effects.
  • Col legno tratto: The wood of the bow is drawn across the strings in a sustained motion. This produces a quieter, more ghostly or whispering tone, often used in avant-garde or experimental works.

Composers usually specify which type is intended, though battuto is more common in orchestral literature. Players must exercise care to avoid damaging their bows, particularly in rapid or forceful passages.

Historical Background and Use

Col legno techniques began appearing in written music during the Classical and early Romantic periods. While not a standard articulation, it became a recognizable special effect in orchestral scores, often used to add tension or surprise.

One of the earliest famous uses is in Hector Berlioz’s Symphonie fantastique (1830), where col legno battuto is used in the “Witches’ Sabbath” movement to mimic the sound of skeletons dancing. Since then, the technique has appeared in film scores, 20th-century concert music, and even experimental jazz and rock arrangements involving strings.

Technique and Performance Practice

Performing col legno requires careful bow handling and an understanding of the desired effect:

Col Legno Battuto

  • The bow is held normally but rotated so that the wooden stick taps or hits the strings.
  • The contact point is typically close to the middle of the bow, not the tip or frog.
  • The movement is rhythmic, similar to a light drumming action.
  • The resulting sound is dry, woody, and short-lived — more percussive than tonal.

Col Legno Tratto

  • The wooden part of the bow is dragged across the strings, producing a faint, wispy tone.
  • This technique often lacks clear pitch and creates an eerie or mysterious atmosphere.
  • Control of bow speed and pressure is critical for sound clarity and consistency.

Some performers choose to use a secondary or inexpensive bow when playing col legno, especially in passages that require forceful battuto strokes, to avoid damaging fine bows made for normal playing.

Sound and Timbre

The timbre of col legno is radically different from standard bowed playing:

  • Battuto: Dry, brittle, percussive; low resonance; minimal sustain
  • Tratto: Whispering, airy, and somewhat unstable; good for atmospheric or ghostly effects

This contrast allows composers and arrangers to exploit col legno for textural contrast, rhythmic articulation, or evocative soundscapes. It’s particularly useful in moments of suspense, surrealism, or abstraction.

Notational Practices

Col legno is typically marked with the phrase col legno above the staff, along with optional clarification (e.g., col legno battuto or col legno tratto). When the technique should end, composers often write arco (return to normal bowing) to indicate the switch back.

In more contemporary or graphic scores, the composer may indicate col legno using symbols or extended notation, including descriptive text and specific rhythmic instructions.

Famous Examples

Col legno appears in various classical and modern works:

  • Berlioz – Symphonie fantastique: The Witches’ Sabbath movement features dramatic col legno battuto passages in the strings.
  • Gustav Holst – The Planets: Col legno adds tension in certain orchestral textures.
  • Dmitri Shostakovich – Symphony No. 11: Uses col legno for martial and violent effects.
  • Krzysztof Penderecki – Threnody to the Victims of Hiroshima: Features col legno tratto in its experimental sonic palette.

Film scores by composers like John Williams, Hans Zimmer, and Bernard Herrmann also incorporate col legno for suspense or ghostly atmospheres.

Extended Techniques and Innovations

In modern and avant-garde music, col legno may be combined with other extended techniques, such as:

  • Using different bow angles or materials
  • Striking the strings with the bow frog or stick tip
  • Amplifying col legno passages for dramatic effect
  • Combining col legno with harmonics or sul ponticello (near the bridge) bowing

Some composers even ask for bows to be struck against the body of the instrument or suggest using unconventional materials (e.g., pencils, mallets) for similar sounds.

Care and Instrument Safety

Because col legno battuto involves physical contact between the wood of the bow and the strings, there is potential for wear or damage. To mitigate risk:

  • Use a less expensive or dedicated bow when possible
  • Avoid striking too forcefully
  • Clean rosin residue or oils after performance
  • Be mindful of conductor instructions and context — some passages call for subtlety rather than percussive volume

With proper technique and care, col legno can be executed safely and effectively, adding a compelling tool to the performer’s palette.

Conclusion

Col legno is a striking and expressive technique that expands the sound world of string instruments. Whether used to create rhythmic pulse, eerie atmospheres, or novel textures, it challenges players to think beyond traditional bowing. Its distinctive percussive or whispering character offers composers a way to enrich musical color, and performers a way to explore the outer edges of their instrument’s capabilities. When used skillfully, col legno can transform a musical moment into something unexpected — whether a ghostly shimmer, a skeletal dance, or a whisper from the unknown. Far from being a mere novelty, it remains a powerful expressive device in both classical and contemporary music.