Bars!41!!54! score. Pg 2-3.!

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1 Bars Bartók, Béla 1949, Viola Concerto, Op. posth. Ed. Tibor Serly. Boosey & Hawkes. London. Music score. Pg

2 Issues: Tripletrhythm Sequencing 1. TripletRhythm Practisingextremelyslowlywithtinybowsforcontrolinfingertipsfirst andfocusingonthetuningofthechromaticintonationwasvery important. IagainusedaPrimrosebowingexercisefortriplets,followedbymy standardmethod. 6 Primrose sbowingexercisefortriplets,tobepracticedinthesamewayastheprevious example. Alsointhefirsttwobars,theascendingpatterncanbecontinuedallthe wayupthestringlikeascalesoitbecomesincreasinglymoredifficultthe higheritgets.thismadetheoriginalpatternmucheasiertoplayasa result. Practisingwithoutmyleftthumbagainsttheneckoftheviolawasalso extremelyeffectiveinstregtheningmyfingersandgettingtheminthe correctpositionforgoodintonationandwasamethodrivkafrequently gotmytoexercisewith. 2. Sequencing Ifoundthestructureofthephrasingbyplayingonlythefirstnoteofeach tripletgroupuptoandincludingbar47,thendoingthesamethingbut onlywiththesecondnote,andfinallywiththethirdnote(where possible). Thenplayingonlythefirstandsecondnoteofeachgroup,followedby firstandthird,andsecondandthird.thishelpedtobuildupapictureof thestructureandgavethepassageadirection. 6 DaltonDavid.1988,PlayingtheViola.CoversationswithWilliamPrimrose.OUP:NewYork.Pg

3 Sequencingexercisetobreakdownthepatternandbuilditbackup. 16

4 Bars Issues: Startinginahighposition Chromaticism Shifting Bowingandstringcrossing 1. Startinginahighposition Thiswaspractisedinthesamewayastheveryfirstnoteofthepiece. AgainItunedwiththeAstringwhichgaverisetoaperfect5thwiththeE. Thismeantfindingtheposition,takingawaythehands,thentheviolaand findingotherwaystobreakanyfamiliarhabitsorpatternsinorderto buildupaninstinctiveknowledgeofwherethefingersshouldbeplaced. 2. Chromaticism 7Bartók, Béla 1949, Viola Concerto, Op. posth. Ed. Tibor Serly. Boosey & Hawkes. London. Music score. Pg 4. 17

5 Whenthesixteenthsarise(bars62,62,etc)Ipaidextraattentiontothe relationshipbetweenthefingersandiusedthesecondnoteofeachgroup asacorepositionwheretheotherfingerscanbebasedaround. Forexample,usingtheAinbar62togaugewheretheB,B andg go. Thebluemarkingshowsthenotewithwhichtheotherfingersshouldworkaround for intonationandphysicalposition. 3. Shifting Thiswasonlyamajorprobleminbars75 76wherethescaleascends towardstheupperregionsoftheviola. Eachshiftwasworkedonusingthe four;secondrule andatbar76,thed wastunedwithit sopenstringcounterparttochecktheintonation. 4. Bowingandstringcrossing Inbar67,theIdividedthebowinginto2sixteenthsabow,alternating legatoandstaccato.therefore,thebowing,fortheflexibilityofthewrist couldbeexercisedasfollows: Subdivisionexerciseforarticulation.ItriedtodoasmanyasIcould. Bars70 71areanexampleofdifficultstringcrossing.Bypractisingthe bowing10timesatthefrog,tipandmiddleofthebow(soatotalof30 times)myrighthandbecamefreerandveryfamiliarwiththepattern. Rhythmandaccentpracticealsogreatlyhelped. Practisingwithdoublestopsalsogotmyrighthandpreparedforthe correctposition. 18

6 Bars Issues: Rhythms Stringcrossing Chromatichalf;positionshift 1. Rhythms Topractisethenotatedritardando,Ifoundtheuseofametronometobe ofparticularhelp makingsurethesextupletsmovetodupletsmovethe tripletsinassmoothandasnaturalawayaspossible. Anaffectivewaytousethemetronomewastoputtheclickonthehalf; beattoavoidandaccentsonthechangeofrhythm(whichinanycasecan becomesobviouswiththebowchanges) Thecrossesrepresenttheclickofthemetronome strengtheningtherhythms. Practisingthetrillasademi;semiquaversinbar79alsohelpedtocreatea morelinearmotion. OncethemelodyreturnsIwentbackthethe standardmethod. 8Bartók, Béla 1949, Viola Concerto, Op. posth. Ed. Tibor Serly. Boosey & Hawkes. London. Music score. Pg 4. 19

7 2. Stringcrossing Bar87hasbowchangesbeforeeachstring,whichaddsalittle complicationtogettingasmoothline,sostoppingbeforeeachbow change,andmovingthebowonthespot,noiselessly,tothenewstring positionhelpedtoreinforcethemovementinafastertempo. Thecrossesindicatewherethestringchangetakesplace.Stoppingthebowbeforethe changeofstringdevelopedagreatercontroloftherighthand. Inbar88,usingPrimrose sbowingmethodandmy standardmethod reallyhelpedmesecurethenotes. Again,Istoppedbeforeeachchangeofstring,movingthebowarmand lefthandonthespotbeforecontinuingwiththemotiontoenhancethe positionofthehandsinafastertempo. 3. Chromatichalf;positionshift Inbar89,theshifthappensbetweenthetopE ande,thendownagain betweenthelowerf anda.mythumbneedstobeparticularlyfree fromgrippingtheneckoftheviolainthispassage,sopractisingitwithout thethumbfirsttoencouragethestrengthandindependenceinthefingers first,thenwiththethumblightyrotatingagainsttheneckoftheviolain ordertosupportthefingersandeasetheshift. VisualExample Bars

8 9 Issues: MelodyonCstring(soundqualityandintonation) Bowingarticulation 1. MelodyonCString BecausethemelodyreturnsontheCstringinaveryquietdyamic, maintainingthesoundqualitywasveryimportant,sopractisingeach noteseperately,non;vibratoandexperimentingwiththebowwasthe bestwaytofindthewarmsoundthatiwanted. IonlyaddedthevibratoonceIwassatisfiedwiththequalityofthebow sound,andtheniconcentratedonthequalityofthevibrato speedand broadness. Oncethiswasdone,Irepeatedtheprocesswhilstfollowingthewritten material. Playinglongslownoteshelpedindevelopingsoundquality Theintonationcanbequitedifficultinthisplacesowhiledoingtheabove exercise,ialsopaidattentiontotheintervalsandshiftingbackandforth betweennotestosecurethepitches. Addingthemelodytogethernote;by;notewasalsoeffectiveingradually buildingitup(eg.1,1+2,1+2+3,etc). Buildingupthemelodyfromthebeginning,note2by2note. 2. Bowingarticulation 9Bartók, Béla 1949, Viola Concerto, Op. posth. Ed. Tibor Serly. Boosey & Hawkes. London. Music score. Pg 5 21

9 22 Frombar thereisasimilarfeaturetobar67inthatthe2 nd and 4 th beatscanbepractisedwithasubdivisionofthearticulation.this increaseedtheflexibiltyofthewristandmeanstherhythmasoriginally writtenbecamemucheasier.theideawastomaketheproblemmuch hardersoonceigotusedtoit,theoriginalbecamemucheasier.