JAVS Fall 1997

37

VIOLA PEDAGOGY

by jeffrey Irvine

A student comes to her lesson and plays Schubert's "Arpeggione" Sonata for me for the first time. She starts off with a nice sound, good intonation, and a sense for the mood of the piece. However, it's hard to tell where the phrase is going. When she comes to the seventh measure of the viola part, the first beat suddenly stands out (see circled

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the note stops speaking or squeaks. If they do in fact move away from the bridge a little and lighten their bow weight, they often fail to move far enough to solve the problem. Inability to solve this problem frustrates many young players and can even result in a lot of internal tension. Trying to shape a nice sound, maintain a phrase, and project sound

notes in the accompanying example). I point out the problem and ask, "How do you think you could keep that note from sticking out and interrupting the phrase?" After a little thought, she answers, "Maybe I should save bow on the previous up-bow." "A good start! Give that a try." As she makes her second attempt,

will always be stressful unless one allows the bow to adjust to the different bow speeds dic tated by a passage and its bowing. Of course, some young players make the necessary ad justments naturally-the ear hears the desired sound and the bow hand simply matches it. But, as in my example, most students can minimize these problems by making a con scious effort at good bow distribution-even when changes of bow speed are involved. Modifications to bowings also help: adding hooks, breaking slurs, or adding slurs. I should point out that part of the general trend toward literalism in music today is a preference for strict adherence to bowings given by the composer. No matter how one feels about this trend, most violists will en counter situations that require them to per form uncomfortable bowings. Teaching the Specifics of How to Cope So where does one begin when trying to teach students how to deal with these prob lems? First, I like to make sure that my stu dents can verbalize for themselves the basics

she realizes that she must start thinking about conserving bow at least two bows before the problem note: she begins the last three eighth notes of measure 6 at the tip and succeeds in saving bow. Yet the downbeat of measure 7 still sticks out, with the second beat sounding like a subito piano. Setting aside the question of the best bow ing for this particular passage (everyone will have a personal preference), those of us who teach are familiar with this or similar bowing challenges for students. My next question to such a student often concerns what a player faced with a sudden fast bow might do with the sounding point to keep that note from standing out. Sur prisingly, many advanced high school and college students will answer that they should move the bow closer to the bridge, when in reality they should let the bow move away from the bridge. Admittedly, most students understand that they should lighten the weight on the bow. Still, they often have trouble doing so because they stay in the same sounding point. If they lighten the weight,