JAVS Fall 1991

17

·second, fourth and fifth positions

• section with six sharps

·practice scales in the same key

·complex rhythm 2/4 6/8 (see Appendix A, #7)

• some helps: 1. practice mentally without the bow and the viola 2. vocalize the rhythms and check with a metronome 3. if necessary, write vertical lines in the music to define main beats and sub beats

No. 18 Dedication: Marcel Quattrochi, Premier Prix du Conservatoire (1925)

Technical Aspects

Possible Approaches

Allegro con spirito. J. = 92

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•••• 4 ~e§' 1!4~ V"j r r l1 fu( r t ~~a 0JJ ~

·spiccato

• the weight, speed and sounding point must be adj usted to produce a resonant fullness

·syncopation; middle and end section (see Appendix A, #8)

·(see complex rhythrn Etudes No. 17)

.large skip from lower position to high treble clef

• the hand and the arm should move as one uni t ·practice "big shift" exercise (see Appendix A, No.9)

No. 19 Dedication: Emile Arnette, Premier Prix du Conservatoire (1925), des Concerts Lamoureux

Technical Aspects

Possible Approaches

• arpeggios in various keys

·use Ysaye round bowing for smoothness (see Appendix C) ·check as many notes as possible with double stops for intonation (see Appendix A, #1) ·practice the Primrose "60" (see Appendix B)

·arpeggio up to high E at the end

·move bow closer to the bridge in the high posi tions