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Violin Lessons: Rimsky-Korsakov - Capriccio Espagnol, 3rd Mvt Reh. H - 10 before end

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This solo from Capriccio Espagnol
is an exercise in unabashed virtuosity and
You have to give the impression of being
joyful all the time, which is
not hard with this, this writing full of
double stops and off of string strokes.
And in fact, there's that articulation
which really gives you the brilliance.
So, let's start with how you articulate
the very first notes.
So, of course I give a great
setting with the fingers for the accent.
But I'll also help a little bit with
the fingers for the last 16th, so it's not
just a slur.
[SOUND] But it has a little articulation
as well.
If you do it just the right amount,
it doesn't come across as an accent that
just sounds like good articulation.
Now let's look at the off the string
So in contrast to most orchestral off
the strings strokes and even a lot of
soloistic ones
these are quite often they're, they're
really hammered.
You want all the articulation you can get
so it's quite a vertical stroke.
So in tempo
putting those together.
Of course the two note slurs
all release the second note to the height
that I want.
Now, the sautille that goes
across the four strings that you need lots
of energy and
a fair amount of height to so
that the height will stay across the
You'll see that even though it's,
beamed such that the, even the final note
be on the down-bow, I play it on an
In other words I hook two eighth notes on
an up-bow.
I feel that gives me the most sound,
the most articulation.
Now the trills, you wanna fit as many as
you can at least
a couple if you can to make them really
It can be more difficult with the fourth
finger if that's the finger you're using
All the more important to have great bow
articulation if you can't fit too many
trills on there.
Now let's look at rehearsal K, here the
line is a little bit longer and
you'd like to avoid a straight repetition
in this shape if you can.
That one might,
might go to the top of the line.
But this one could go beyond.
So that you don't have so
many times the same.
Now these bowings at the end I'll show you
what I do.
It's, it's not the most intuitive but I do
think feel like it gives me the best
sound, the most articulation on the
thickest string, the G string.
So I actually play up down
after the three note chord.
I do that sauteuse,
the one that starts right after the A,
I do that on the up bow.
And the next one on the down bow,
so here it is together.
And you finish with
nice full,
four note chord.