JAVS Fall 2006

passage is advised not only for rhe rempo consistency but also ro make ure your dotted-eighth six rcelllh norc rhythms arc precise. The problem area in rhi excerpr in rega rds to keeping a pulse ran rwo bars before #2 leading into the two-and-a-half bear held E nore one bar before #2 ( ee example I). This held E is never sustained long enough. f>erhap it seems li ke an eterni ty after playing the seven sixteenth norc.~ righr bdorc::, the most active parr of th is olo passage. As soon a you sra rt ro play rhe E you musr co liiH out loud in a subdivided bear until you release rhe E afrer rhe fifth eighrh nore (1 -and-2-and-3-0FF). Continue over rhc res t and count in the regular quancr norc pulse. SyrnpiJo11y #6 by Peter Tchaikovsky

fcarures the viola quire prominently in the first rnovc;menr. The enrire flrsr page and a half needs carefu l attention to avoid chronic rushing. The most troubled area for main tain ing an honest pulse is at rchearsallcrter B (Sec example 2). Tt is this humble rest that frequent ly gets shon-d1anged. In the previ ous bar we get so consumed with executing our altando bow stroke, first ar pianissimo then at piano,

that we forger ro properly counr the rests for rwo and one sixteenth bc;JtS. 1 suggest playing ir tn

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