JAVS Summer 2000

33

0 RCHE5TRAL TRAINIXG FORUM

accurate and clear to the section. By lead-in, I mean only one beat before the acrual notes. I will move my bow in an up-bow direction but AWAY FROM THE STRING. If you are playing a legato passage, reflect this style with fluid , graceful body movementS. When leading the section in any entrance, the first rule is: NEVER HESITATE!! It is imperative to be extremely clear and precise in your movementS when you are going to begin playing. This is especially crucial in rricky entrances. The second rule is do not rest the bow on or very near the string until just before you enter. If you si t for four measures ahead of an entrance with your bow on the suing, look ing as if you are ready to play, it can be mis leading to others and can cause them to ques tion whether or not they have counted the restS correctly! My rule of thumb is the following: 1. In slow to moderate tempi , ONE MEA SURE before the entrance, have the viola up bur keep the bow away from the insrrument-keep it on your right side. Only bring the bow into playing posicion a beat or so before the enrrance. 2. In fast tempi such as 1 or ~ time, be ready to play TWO bars ahead of the enuance but still keep the bow away from the instrument until a beat or two before entering. Use your bow, your scroll, your head, or your whole body to show an enrrance. A nod of the head can be very effective, especially for an enuance that is tricky and demands that the instrument be extremely stable. If you want the section to play with a full, rich sound you must be able to communicate this by your own approach to the viola, allowing your body to move in such a way as to convey that type of sound. For example: timid body movements in a very loud passage may cause the section to hold back its sound. Conversely, aggressive leading in a very soft passage will result in the section being too loud. Bigger body motions that are reflective of the phrasing of the passage and the use of more bow should communicate the amount of sound you want from the section. You can also verbal ly request more sound as well. No matter what the dynamic may be, be involved in the music physically. 2. The Role ofSecond Chair The job of the second chair player is extreme ly demanding and challenging for several

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