BOTTESINI, Giovanni
Caprice of Bravura for double bass and piano
Janne Saksala, guest professor
Jorge Toledo Rodríguez, student
Jesús Gómez Madrigal, accompanying pianist
The class begins with a brief correction regarding the attack with the bow: more percussive. The character should be more dramatic, and the professor makes other quick corrections on the score.
Resuming from the beginning, Janne Saksala corrects the student’s entrance and then gives him indications on dynamics and phrasing. In addition, the professor proposes bow changes to be able to “sing” more, and other fingerings. He also suggests that the gesture with the arm be larger in accordance with the drama that must be expressed. It is important that he makes a dynamic and character development, but taking into account that the climax is in piano, he must touch the listener’s soul. At the end of the slow part, they focus on working on the articulation and duration of the notes, and he also emphasizes bowing issues.
Regarding the fast part, Professor Saksala gives advice on the movement of the arm and proposes changes in a certain passage in the direction of the bow. He should practice it slowly and détaché, not spiccato.
Then they focus on a technical issue to achieve the most appropriate movement of the right arm to save effort with the bow, which consists of a double lever between the elbow and wrist joints.
Later, they work on various musical aspects to improve the articulation, direction of the music, sound, dynamics, tempo, and bow distribution in specific moments. To finish, they practice the ending, which is difficult, slowly and in rhythm, and with more pressure on the string. The cadence should be brilliant.
Language: English
