Capriccio Espagnol is one of these pieces
where we have to have
a great deal of flair,
brilliance, and it's tricky because we
have to play loudly and
with long passages.
So it's very tricky to be able
to play through the whole solos
with limited amounts of breath
that would get us out of rhythm.
The first solo says con forza.
The first solo at A says con forza,
so it's with strength.
And people say, with force.
But I would say with strength.
That is better.
Then you can think muscular sound and
you can play with abandon.
Now one of the things that is
important to try is to get as
smoothly as possible the register
change between C to D.
And because the C is actually
a little bit warmer than the D,
the D when we're playing
fortissimo tends to pop out,
what we're going to be working
on here is on smoothing it out.
How do we smooth it out?
Sometimes being able to play even
is not playing everything dark.
But sometimes it's bringing everything
to have the same amount of brilliance.
So in this case,
I would suggest actually playing the C
already with the A flat E flat key.
So that actually changes the color of
the C to make it much more brilliant,
and therefore, it will match
a little bit better with the D.
And that way, because those two
are brilliant, then you can
relax a little bit the tongue position so
that then you can have a slightly
easier transition from the altissimo
register to the clarion.
Let me try to show you the difference
between the C with or without the key.
You see when I put the key,
it comes up about six sense so
but it's also more focused and brighter.
And in order for me to get it
to the intonation that I want,
I relax a little bit,
which is good because then it will
help me with the D that tends
to be too high as well.
So I bring them both a little closer
to being a very nice major second.
And in fast motion
then it helps me to
play a smooth
The next part
of it is how to deal
with the trills.
Now the easiest way to think about is
that then you do trills on all of it, but
there are very few people who feel
comfortable in doing trills on all of it,
on every single trill that is marked,
especially nowadays that tempos
tend to be a little bit faster.
Now the actual marking for the score for
this, Rimsky-Korsakov put 116 to
the quarter note,
which is actually relatively slow.
It's about 10 notches slower than
what orchestras play nowadays.
There are some conductors that are trying
to bring it back to a little bit more to
what a composer does, so therefore
you have to practice it both ways
because sometimes they go
a little bit slower and
therefore doing a mordent instead
of the trill seems a little empty.
So I have come up with a way to think
about this where we can get a very nice
compromise where it will sound brilliant
but still it will sound clean.
What I do is,
I try to play mordents on the first
two trills and
then trills on the first G's and
A's, and then the rest are mordents.
I will show you in a part you
can just double-check it.
You will see I'll have it marked
which ones are mordents and
which ones are trills.
But what it is is that
these two are trills.
And then the rest are mordents, so
that then we can hear
the clarity of trill and
the articulation, so we're gonna hear.
When you combine it,
then you have brilliance of trills and
clarity of mordents.
The other way
to try to do it is with
And actually that one is a little bit
messier if it is not in the [SOUND],
the printed tempo,
then trills are possible.
You can hear with all the trills,
and that's cool.
But that is very much more possible when
we're doing it in the slower tempos.
If we try to do it in the faster
tempos it sounds a little messy.
I'm going to try to do it well and
you will see it will still sound messy.
Let me try.
pretty close but
it's your taste.
It's your choice.
If you can do all the trills,
But if you want to have it nice and neat,
it's usually best that little combination.