JAVS Spring 2013

er to the string you will keep your spiccato within the tempo and style required. In the seventh meas ure, you could start with an up bow or a down bow; they both have their advantages. Again, practice a couple of different ways. With an up bow in the sev enth measure, you will be in the perfect position for the pp when it appears a few measures later. Listen to this passage on a recording and make sure you bring the character to your spiccato . Phrasing is also very important in this excerpt; in spite of the spicca to , the long line is essential. Exaggerate the dynam ics, too. Wagner: Tannhäuser This excerpt is on many an audition list, even sym phonic repertoire lists. Bow distribution is very important here especially as it relates to string cross ings. Go for the gesture of the motif rather than making each note as important as the other; it’s a

sweeping passage. In the seventh measure, you can change bows on the C-sharp or not; either way the rhythm of your left fingers will go a long way in sounding articulate on the D (II) string here. In the fourteenth and fifteenth measures, make sure you aim for the chromatic scale and do not get bogged down on making every note heard. For all of these examples, sometimes using “less” bow with a more concentrated sound can give you more volume than using a lot of bow. CarlaMaria Rodrigues has served as Principal Violist of the San Francisco Opera Orchestra since 1996 and pre viously served as Assistant Principal Violist of the Minnesota Orchestra and Principal Violist of the Australian Chamber Orchestra. A native of London, she was a prizewinner in both the 1984 Lionel Tertis Competition and the 1987 Primrose International Viola Competition.

J OuRNAL OF THE AMERICAN VIOLA SOCIETy 50