JAVS Spring 2010

chord, usually with a trill to alert the orchestra. Your choice of motif could be simply limit ed to a rhythmic thematic refer ence or a melodic one, embel lished or double-stopped. I will expand more fully on this sub ject later on. 4) Typically the flourishes or cadenzas of the faster move ments will be more extroverted and end more triumphantly than those of the more reflective slower movements. Speaking from a violist’s stand point, developing one’s harmonic listening and thinking is crucial to musical development and intelli gent participation in any form of music, be it solo, chamber, or orchestral music. The enjoyment one gains from playing inner parts, in particular, can only be enhanced by a full appreciation of the emo tional result of the harmonic ten sion and resolution, but this natu rally applies to solo performance too. Those of us lucky enough to have had the opportunity to learn a keyboard instrument have a head start here, but those who haven’t should not feel discouraged, as one can learn most of what one needs to know about harmony by becoming familiar with the unac companied works of J. S. Bach. In the context of my own teaching, I frequently add a bass-line from my viola to the student’s account of a Bach movement, following up by asking them to do the same for me. On occasion, some fascinating solutions can be discovered: for instance, whether the opening four bars of the Cello Suite No. 2 in D

minor are intended to be harmo nized bar-by-bar, or whether a more powerful effect can be gained from a sustained D pedal through out those same bars. The reason I make this point is that, while confidence in improvi sation is largely gained via trial and error, a deep awareness of tonality (including knowledge of which notes are related to the relevant chord) will greatly affect the apt ness of your improvisation. Personally, I feel it is important for a cadenza to be in the harmonic style of its “parent”; it is very use ful to be able to identify what is appropriate for Baroque, Galante, and Classical styles, overlapping areas notwithstanding. Ultimately, one relies on one’s ears and one’s musical instincts. We now come to the art of impro vising. The concept is very intimi dating to many players, particular ly because as students we immerse ourselves so thoroughly into the written note that our instinctively musical childhood talents can become submerged. It can feel akin to driving into a completely empty parking lot and being faced with an agony of indecision as to where to park! Jazz and folk musi cians are among the best musicians I come across, as they seem to have totally integrated their ears, fingers, and “chops” with their personal creativity, though (or maybe even because!) many of them cannot read music. A less challenging way to explore your own improvisatory skills is to have a framework upon which to

points and exploit them in your cadenza. There is often a temp tation to equate virtuosity with the top of the A string, but that may not necessarily be the most attractive part of your instru ment. In the cadenza, you have the opportunity to vary the tes situra and dynamic extremes to complement your instrument’s needs while unfettered by com peting orchestral sounds. 2) Your musicality and expressive powers have a chance to shine here and capture the undivided attention of your audience. can often be set against more reflective moments effectively; the one can enhance the other, depending upon the musical context of the movement. Although virtuosic flourishes are associated with cadenzas, they being the flourish, which remains within the relevant chord(s) and commonly features scales or arpeggios. This is par ticularly relevant to the Telemann and other Baroque concertos (even some sonatas), taking into account that the individual movements are rela tively short. It would not be proportionate to have too extended a cadenza. In the sec ond type (usually for later Classical works), one has the freedom to select motifs from the first and second themes of the movement as a basis (prefer ably starting in the respective original keys) and have fun with them, ending on the dominant 3) Basically speaking, there are two types of cadenzas: the first type

J OURNAL OF THE AMERICAN VIOLA SOCIETY 60