JAVS Summer 1998

42

(3). Up-bow Staccato

Figure 12. A

auau

B 1 ~ auuauu 1 c amm amm 1 etc. c etc.

etc.

(4). Fast Spiccato (Sautille)/Finger-Initiated Spiccato (a). Use rhythm and bowing patterns for forearm-initiated spiccato. (b). For use in very quick tempi and soft dynamics; uses very little bow.

(c). Bounce in the middle to upper half of bow. (d). Bow should bounce very close to the string. (e). Keep forearm and fingers loose and "reactive" to natural bounce of the bow on the string; "allow" the bow to bounce, rather that "making" it bounce. (f). Find individual "spiccato spot" on stick, generally lower on the viola bow than on the violin. II. Complete Three-Octave Arpeggios Though I admit that I do not practice arpeggios as much as I should, many students benefit from some daily arpeggio practice-especially students with weak intonation, shifting, and/or position work. I2. Vibrato Exercises My former teacher, Karen Tuttle, once told me that she objected to learning vibrato by vibrat ing "in rhythms." I understand her rationale; vibrato should be an organic part of a violist's

Steven McCann Maker of Violas . Violins . Cellos

Available at Guarneri House 221 John Street NE Grand Rapids, MI 49503 (616) 451-4960