In the fourth movement solo from
Capriccio Espagnol you want to make a
splash right away.
You have a nice, and big juicy four-note
chord to do that.
So that shouldn't be a problem.
The pulse here is free.
So it's all your stage.
There, there is nothing else going on with
So make the most of it.
You want to avoid needless repetition.
You don't always wanna leave people
guessing, and lead people with your sound
where you want them to go, not just where
the bow happens to end up.
So, let's look at that first chord.
So, how fast that decays is all up to you.
It doesn't have to decay at all.
It can grow.
The point is that each of these chords is
an opportunity to do something with the
So some of them could be stroked
altogether as in the,
Dont number one, the etude.
They can be rolled as slowly as you'd
Now these repeated three-note
chords that come up, I think it's
effective if one of the times here,
they are played altogether and very short
off the string.
Almost as if they
were on a guitar.
It has that flavor anyway.
Another time they could be all together
but on the string.
As long as you mix it up and
make sure that you have time to speak all
of these effects
that you want, then it will be an
You also need to pace the dynamic and the
You don't wanna give everything away at
The last, the last bit sounds like this.
You'd like to make sure that
you save enough for the dim,
that you don't get too quiet too quickly.
Those harmonics still need to speak.
And let's talk about those harmonics.
So they are all natu, the way I play them
they are all natural harmonics until the
very last one.
There are some string crossings involved
but I think that's nice and
helps the articulation.
And you can hold that
formata as long as you can with the bow.
You have a better chance of doing that if
you're pretty close to the bridge.
You can make the conductor wait for
you with the end of that solo.