January 26, 2011 – Rieding Concerto Op. 24

The Rieding concerto for violin can be found in Barbara Barber’s Solos for Young Violinists Volume 2.The piece is virtuosic and melodic

In the piece, the following techniques can be found:

  • First, third and fifith positions – Throughout the piece, there are shifts between first, third and fifth positions including fifth position on the A string.
  • Harmonics – There are extended 4th fingers on the A and E strings and even shifts up to that harmonic. In measure 130 and 131, there are fingered harmonics in the first position. This may be the first time the student has encountered harmonics notated in this style.
  • Repeated down bow stroke – In measures 70-72, there are repeated down bow strokes that have to be executed correctly and in the proper part of the bow in order for the notes to have the dramatic effect intended.
  • Bariolage – in m. 35, there is scalar movement up on the E string alternating with open a string. This portion should be taken apart and played with just the ascending scalar motion. The motion of the fingers of the right hand should also be practiced. Once both of these have been addressed, they can be put together.
  • Slurred string crossings – From the very beginning, this piece has slurs across string in quarter, eighth, sixteenth notes and various other rhythms.
  • Octave leaps – In measures 55 through 59, the composer introduces a melodic element that requires the player to use the octave hand frame. This can be difficult for young players to master, especially in third position. Later in the piece, this octave leap is also found in fifth positino.
  • Arpeggiated chords – In measure 132, there is a difficult progression of arpeggiated chords. The bow motion should be played with open strings to get a pump motion in the elbow and a flexible wrist with the bow hand.
  • Slurs across the down beat – At the beginning, there are several places where the bow is slurred across the bar line. This can be difficult for inexperienced players and may take some work to perfect. Changing an etude to have this may be beneficial.

Helpful etudes for this piece may be:

  • Introducing the Positions (Whistler) #172 and #173 for practice shifting between these positions.
  • Kayser #10 for the arpeggiated chords.
  • If students are familiar with Suzuki repertoire, you may also have them do a bariolage Perpetual Motion.
  • The repeated down bow string can be done with various pieces or even on scales to get the proper motion of the bow and to get the student using the proper part of the bow for this lift.

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