JAVS Spring 2010

Example 1a–1d. Telemann, Viola Concerto, movt. I cadenza (mm. 45). Four versions.

Example 2a–2b. Telemann, Viola Concerto, movt. III, mm. 20–21.Two embellishments.

another note at a time until you have the whole scale to play with. Once you have explored all that scales, arpeggios, and double-stop ping have to offer, start to embel lish with trills and appoggiaturas, which will immediately make you sound more Baroque. (It is cus tomary in this repertoire to com mence trills with an appoggiatura on the upper note.) Now we turn to the Telemann Concerto. I present a few examples of flourishes for each movement only as building blocks and

encourage you to take them fur ther or try something a bit differ ent. In addition, the third move ment’s return of the theme benefits from the odd embellishment (ex. 2a–2b) such as “infill” of intervals with passing tones and slight embroidering of the melody, or ornamentation. Regarding theTelemann cadenzas, the low ending in ex. 1b can be particularly effective because it does not upstage the final phrase. In the third movement’s cadenza, I feel that incorporating diminished arpeggios works the best.

build your first efforts. I recom mend you start with this exercise: take just three notes, preferably drawn from a major scale. Now see how creative you can be within the strictures of these three notes: vary tessitura, rhythm, length, dynam ics, etc. (don’t worry about “style”), and give yourself permission to make strange noises: it is the only way you can find out where your boundaries lie! Don’t forget the value of silence where appropriate. When you are comfortable with this and feel ready to spread your wings further, gradually introduce

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