Kim Seonkyu 201905 Dma

A PEDAGOGICAL GUIDE TO SEVEN STANDARD VIOLA EXCERPTS
FOR COLLEGE STUDENTS
by
SEONKYU KIM
(Under the Direction of Maggie Snyder)
ABSTRACT
The study of orchestral excerpts is very important for the future career of young college
students playing orchestral instruments. Unfortunately, during their four-year curriculum, there
are not many opportunities for students to learn how to prepare orchestral excerpts except during
their lesson times. Due to a lack of opportunities, students often resort to studying excerpts by
themselves, or starting in a limited way. Additionally, pedagogical references to viola orchestral
excerpts are not voluminous; there is not one book solely devoted to the study of them. Instead,
there are just a few journals, videos of masterclasses, and two CD guides on this topic. A greater
number of resources can be found if we broaden the subject to the problems that players might
have while practicing excerpts. However, undergraduate students have less experience and fewer
practice techniques that allow them more independent study.
This paper will guide students to further their independent study of the selected excerpts
without missing important details. The recommendations in this paper are compiled from
references by professional players and from my own observations. I will analyze some intricate
details in a selection of standard viola excerpts, including works by Mendelssohn, Strauss,
Shostakovich, Copland, Mozart, Beethoven, Brahms. This paper offers a detailed discussion of
practice methods for each of these works along with their purpose and result by presenting
examples connecting each method to certain parts of excerpts. I believe the skills covered in my
study of the selected excerpts will assist students in their future studies of other excerpts.
INDEX WORDS: viola, viola excerpts, orchestral excerpts, viola audition, orchestral
audition, viola pedagogy

by
SEONKYU KIM
B.M., The University of Kentucky, 2013
M.M., The University of Kentucky, 2015
A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial
Fulfillment of the Requirements for the Degree
DOCTOR OF MUSICAL ARTS
ATHENS, GEORGIA
2019
© 2019
Seonkyu Kim
All Rights Reserved

by
SEONKYU KIM
Major Professor: Maggie Snyder

Committee: Emily Koh
Michael Heald
Electronic Version Approved:
Suzanne Barbour
Dean of the Graduate School
The University of Georgia
May 2019
ACKNOWLEDGEMENTS
Many thanks to Boosey & Hawkes, Inc. and Schirmer, Inc. who generously granted
permission to include excerpts from Copland’s Appalachian Spring and Shostakovich’s
Symphony No. 5 in this document.
Special thanks to Joanna Smolko and Timothy John Smolko for their help in editing this
document.
Sincere thanks to the members of my advisory committee, Dr. Emily Koh and Dr.
Michael Heald, for their valuable time and effort in supporting me through the process of
completing my degree and this document.
Lastly, I would like to express my deep gratitude to Professor Maggie Snyder. During the
last three years under her direction, I have improved as a viola player more than any other time
in my life. Particularly, all the suggestions from my own observations in studying viola excerpts
could not have been acquired without her advice. Heartfelt appreciation again for her support and
help as a mentor, teacher, and editor throughout this process.
iv
TABLE OF CONTENTS
Page
ACKNOWLEDGEMENTS ........................................................................................................... iv
CHAPTER
1 Introduction ....................................................................................................................1
2 Felix Mendelssohn, A Midsummer Night’s Dream, Scherzo .........................................7
3 Richard Strauss, Don Juan ...........................................................................................13
4 Dimitri Shostakovich, Symphony No. 5 in D minor, Op. 47 ......................................25
5 Aaron Copland, Suite from Appalachian Spring .........................................................32
6 Wolfgang Amadeus Mozart, Symphony No. 35 in D Major, K. 385 .........................38
7 Ludwig van Beethoven, Symphony No. 5 in C minor, Op. 67 ....................................46
8 Johannes Brahms, Symphony No. 4 in E minor, Op. 98 .............................................51
CONCLUSION ..............................................................................................................................56
BIBLIOGRAPHY ..........................................................................................................................57
APPENDICES
A DOCUMENTATION OF REPRINT PERMISSION FOR MUSICAL
EXAMPLES ................................................................................................................60
B DOCUMENTATION OF REPRINT PERMISSION FOR MUSICAL
EXAMPLES ................................................................................................................61
v
CHAPTER 1
Introduction
Purpose of the study
During a typical college curriculum, it is important for students studying orchestral
instruments to find opportunities to learn how to prepare orchestral excerpts. For orchestral
instrumentalists, the study of excerpts is equally important to the study of other repertoire. It is
rare for instrumentalists to become professional soloists or play in a small ensemble as their main
occupation. Much of the focus in a four-year degree is on the acquisition of repertoire and
technical improvement. In such a curriculum there are few opportunities to learn how to prepare
orchestral excerpts. Masterclasses offer good opportunities to experience other students’ playing
and other professors’ teaching methods, but orchestral excerpts are not usually a subject of
masterclasses. Additionally, there are fewer colleges offering specific classes focusing on
orchestral excerpts. Due to a lack of opportunities to thoroughly study excerpts, students often
resort to studying them by themselves, or starting in a limited way later in their college career.
References to viola orchestral excerpts are not voluminous; there is not one book solely
devoted to the studying of them. Instead, there are just a few journals, videos of masterclasses,
and two CD guides on this topic. A greater number of resources can be found if we broaden the
subject to the problems that players might have while practicing excerpts (left- or right-hand
techniques). However, undergraduate students have less experience and fewer practice
techniques that allow them a more independent study of them. Furthermore, it is easy for those in
their early years of study to develop bad habits when they first encounter orchestral excerpts.
1
This paper will guide viola students in their preparation of orchestral excerpts and help them
reduce poor habits by presenting proper practice methods, fingerings, and right/left-hand
techniques. I will analyze some intricate details in a selection of standard viola excerpts,
including works by Mendelssohn, Strauss, Shostakovich, Copland, Mozart, Beethoven, Brahms.
This paper offers a detailed discussion of practice methods for each of these works along with
their purpose and result of said practice methods by presenting examples connecting each
method to certain parts of excerpts.
When we consider elements of technique, we often write down only minimum
indications, fingerings, or bowings directly on the score instead of on a separate sheet of paper.
In my experience, I would often forget detailed elements of technique when I reopened the same
piece because the information I had marked on the score was not detailed enough. As a teacher, I
would also struggle to recall specific details when teaching a piece. Furthermore, unlike other
repertoire, most performers do not study excerpts consistently over time. For example, students
generally study sonatas or concerti throughout their entire college career, while excerpts are
studied for specific circumstances, such as orchestral auditions or music camp auditions.
Therefore, each time the orchestral audition season approaches, we often find ourselves re-
studying excerpts which have received less consistent attention.
Excerpts are different from other works within the standard repertoire. There is a
particular quality or skill for each excerpt that is the main focus (style, stroke, lyricism, etc.), and
excerpts normally do not require the same level of technical skill as found in the major works,
such as concerti. Furthermore, because personal interpretation is limited in most cases within an
orchestral excerpt, things such as articulations, bowings, or dynamics are treated very
particularly. Conversely, players can sometimes be flexible on these issues when playing as a
2
soloist in a concerto. It is very important for performers to follow every indication on the score
when playing an orchestral excerpt. Although the length of an excerpt is relatively short, there
are still many things that players need to keep in mind when performing them. Minor mistakes
could prevent a performer from winning an audition. Conversely, small changes can sometimes
fix significant problems.
The recommendations in this paper are compiled from references by professional players
and from my own observations. The various issues that instructors have experienced from
numerous students are significant. I have adapted and interpreted the practice methods that I
have used to improve my own playing. This paper will guide students to further their
independent study of excerpts without missing important details.
Delimitations
In this paper, I am going to examine seven selected standard viola excerpts:
1. Felix Mendelssohn – A Midsummer Night’s Dream

2. Richard Strauss – Don Juan
3. Dmitri Shostakovich – Symphony No. 5 in D minor, Op. 47
4. Aaron Copland – Suite from Appalachian Spring
5. Wolfgang Amadeus Mozart – Symphony No. 35 in D Major, K. 385
6. Ludwig van Beethoven – Symphony No. 5 in C minor, Op. 67
7. Johannes Brahms – Symphony No. 4 in E minor, Op. 98
This paper will not address other audition repertoire, or the standard audition excerpts for
principal positions. Each of these selected excerpts deals particularly with one or two specific
technical issues. I believe the skills covered in my study of these excerpts will assist students in
their future studies of other excerpts.
The target audience for this document is college level or early graduate players because
high school players generally are not yet studying orchestral excerpts on a detailed level.
3
Therefore, I will not include basic explanations of practice methods, fingerings, bowings, or
techniques.
This paper also does not include theoretical analysis, though some of the works have very
interesting theoretical components. For example, thematic development is an important musical
element in Strauss’s Don Juan, addressed by Denis Wilde in his book “The Development of
Melody in The Tone Poems of Richard Strauss.”1 While useful for understanding the form of the
work, Wilde’s book does not consider the physical aspects of playing the excerpts, which is what
my paper addresses.
Methodology
Each of the seven excerpts will be assigned an individual chapter in the following order
according to pedagogical reasons, Mendelssohn-Strauss-Shostakovich-Copland-Mozart-
Beethoven-Brahms. In each chapter, I will combine information from my own observations with
published research on the excerpts. At the beginning of each chapter, the full score of an
assigned excerpt will be included to facilitate a better understanding of suggested fingerings and
bowings. Some parts of an assigned excerpt will also be used as examples within the chapters to
illustrate specific practice methods.
Discussion of the musical characteristics of periods and composers provides an important
backdrop for specific techniques within these excerpts. For example, understanding the musical
characteristics of Shostakovich and Brahms will give players the right idea of what kind of
vibrato and tone color are appropriate for Shostakovich’s Symphony No. 5 and Brahms’
Symphony No. 4 respectively. Additionally, understanding the musical characteristics of the
1
Denis Gerard Wilde, “Don Juan,” in The Development of Melody in the Tone Poems of Richard
Strauss: Motif, Figure, and Theme (New York: Edwin Mellen Press, 1990), 65-95.
4
Classical period will give the right idea of what specific articulation is required in playing
Mozart’s Symphony No. 35.
Organization
CHAPTER 1: Introduction
Purpose of the Study
Delimitations
Methodology
Organization
CHAPTER 2: Felix Mendelssohn, A Midsummer Night’s Dream

Introduction
Bow Stroke
Spiccato vs Sautillé and Détaché vs Sautillé
Staying in Tempo
Fingerings and Bowings
CHAPTER 3: Richard Strauss, Don Juan

Introduction
Tempo
Measure 1
Measure 4
Measure 6
Measures 21-22
Measures 23-26
Measures 32-36
Measures 37-49
Measures 50-66
CHAPTER 4: Dmitri Shostakovich, Symphony No. 5 in D minor, Op. 47

Introduction
The First Phrase
The Second Phrase
The Third Phrase
Phrasing and Vibrato
CHAPTER 5: Aaron Copland, Suite from Appalachian Spring

Introduction
Solid Left Hand-frame in All Hand Positions
Cross-rhythm
Staying in Tempo
5
CHAPTER 6: Wolfgang Amadeus Mozart, Symphony No. 35 in D major, K. 385
Introduction
Dynamics and Articulation
The Appoggiatura Trill vs the Main Note Trill
Final Movement
CHAPTER 7: Ludwig van Beethoven, Symphony No. 5 in C minor, Op. 67

Introduction
Beginning-Measure 10
Measures 23-27
Measures 49-58 and Measures 98-106
CHAPTER 8: Johannes Brahms, Symphony No. 4 in E minor, Op. 98

Introduction
Measures 41-56
Measures 57-72
Measures 73-80
6
CHAPTER 2
Felix Mendelssohn, A Midsummer Night’s Dream, Scherzo.
Musical Example 2.1. Viola part from A Midsummer Night’s Dream, Scherzo
by Mendelssohn, first page.2
2
Felix Mendelssohn, A Midsummer Night’s Dream, incidental music, Op. 61, viola part
(Leipzig: Breitkopf und Härtel, n.d. [ca. 1880], reprint, New York: E.F. Kalmus, n.d. [1933-
1970]), accessed from IMSLP Petrucci Music Library,
https://imslp.org/wiki/A_Midsummer_Night's_Dream%2C_incidental_music%2C_Op.61_(Men
delssohn%2C_Felix), 5.
7
*According to Robert Vernon who served as the Principal Violist of the Cleveland
Orchestra, students do not have to play double stops unless non-divisi is marked on a score or
count every bar of rest if the rest is more than one or two bars.3
Introduction
Felix Mendelssohn composed A Midsummer Night’s Dream Overture in 1826 soon after
he became inspired by Shakespeare’s play by the same title. He also composed incidental music
which the existing Overture was incorporated into in 1842. The Scherzo is one of the movements
of the incidental music. Marian Wilson Kimber writes, “Mendelssohn’s “elfin Scherzo” style,
with its transparent orchestration and fleeting staccato string and woodwind writing, signified the
musical depiction of “fairies””.4 Students should always bear in mind that the notes with sf and
accent should not be played too strongly, in order to follow the composer’s intention.
Additionally, students need to be careful to not play too crisply on off-string strokes because, as
Carrie Dennis points out, “the feet of the dancers in such a production would be covered in silk
and animal skin, no metal and no plastics in contact with a wood floor, for reference to the
bow.”5
Bow Stroke
In this excerpt, the most important qualities that orchestras look for will be spiccato and
sautillé. When young players first encounter these strokes, they probably feel confused because
3
Robert Vernon, “Mendelssohn Scherzo, Mozart Symphony #35, and Strauss Don Juan,”
Journal of the American Viola Society 15, no. 3 (1999): 33, accessed December 2, 2017
https://www.americanviolasociety.org/Education/Orchestral-Training.php.
4
Marian Wilson Kimber, “Reading Shakespeare, Seeing Mendelssohn: Concert Reading of A
Midsummer Night’s Dream,” The Musical Quarterly 89 (2006): 205.
5
Carrie Dennis, “Shostakovich Symphony No. 5, Enesco Roumanian Rhapsody No. 1,
Mendelssohn Midsummer Night’s Dream Scherzo,” Journal of the American Viola Society 26,
no. 2 (Fall 2010): 60.
8
both strokes are played off-string and have very similar definitions (they are sometimes used
synonymously).6 Simply, the biggest difference between them is speed. Sautillé is generally used
in faster tempo than spiccato. Through the following exercises, young students can easily
execute sautillé:
Step 1. Hold your bow only with your thumb, index, and middle finger.
Step 2. Play tremolo in the upper half of the bow by using your wrist only (your forearm
should not be involved in motion). Feel the natural movement of your fingers.
Step 3. While doing tremolo, gradually move your bow up toward to the frog. The bow
will begin to leave the string all by itself when it arrives at its bouncing point.
While playing sautillé, the bow bounces less and produces a lighter (less percussive) sound than
spiccato by relying more on the natural resiliency of the bow. Sometimes, in a very fast tempo
and with a quiet dynamic, it looks like the bow hair stays on the string while only the bow stick
slightly bounces. The first page of the Scherzo mostly consists of sixteenth notes and eighth
notes. Roger Benedict writes, “although dots are only printed on some sixteenth notes and eighth
notes, it is expected that the bow stroke will be basically the same throughout.”7 I suggest using
spiccato for eighth notes and sautillé for sixteenth notes. To create the proper sound of sautillé,
the first thing students need to think about is setting a proper tempo. This particular stroke
requires a certain tempo in order to use the natural resiliency of the bow. In my research, the
suggested tempo for this excerpt varied from a quarter note equals 80 to 92. Too slow of a tempo
will make players lose the resiliency and separated sound. I suggest students try different
performance speeds between 80 and 92 to find the best tempo for the articulations (particularly
for sixteenth notes) depending on their bow’s elasticity. A tempo which is faster than 92 will not
6
David D. Boyden and Peter Walls, 2001 "Sautillé," Grove Music Online, accessed December
6, 2017, http://www.oxfordmusiconline.com.proxy-
remote.galib.uga.edu/subscriber/article/grove/music/24643.
7
Roger Benedict, “Mendelssohn A Midsummer Night’s Dream,” Strad 117 (March 2006): 72.
9
be proper for this excerpt because it should not be faster than, as Benedict suggests, “the speed at
which the wind players (especially the clarinets) can tongue their semiquavers.”8 The second
thing all players need to think about is the strings. Our instrument has four strings and each of
them has a different thickness which makes four different natural elasticities. According to
Benedict, “each different string requires a slightly different point of contact from the bow – the
lower (or thicker) the string the further from the bridge is this point, the higher (or thinner), the
closer.”9 Additionally, from my experience playing passages at B and 12 measures after B, I
would lose the elasticity of the bow when the bow moves to the C string at the end of passages.
To avoid that situation, I have found some useful ideas from my own observation:
1. Detach your little finger from the bow to give a little more weight and vertical motion to
the bow for a higher bounce. You will not need to place your pinky back on the bow until
the next eighth note.
2. Use the flatter hair of the bow. It will allow you to catch the G and C string more easily
and produce a clearer sound.
3. Apply a subtle accent on the first sixteenth note on the C string. It will give a fresh
bounce to the bow and therefore serve as a resetting of the bow.
4. Think playing on the string during the string crossing to avoid holes in the stroke.
Spiccato vs Sautillé and Détaché vs Sautillé
In this excerpt, there are many places (such as at letter A) that alternate spiccato and
sautillé (eighth notes and sixteenth notes). As I mentioned above, sautillé uses the natural
resiliency of the bow. The bow naturally bounces on the string in proportion to the height from
which it is dropped. Again, spiccato tends to create bigger bounces than sautillé. Therefore, if we
do not relocate the bow close enough to the string after we play eighth notes (spiccato), the bow
will bounce too high producing improper articulation for sixteenth notes. The pinky has a very
important role in relocating the bow. Place the fingertip of your pinky (not pad) to the stick of
8
Benedict, “Mendelssohn A Midsummer Night’s Dream”: 73.
9
Ibid.
10
the bow to prevent the pinky from sliding. That rhythmic pattern at letter A occurs many times in
this excerpt. In that rhythmic pattern, as Benedict says, “a common fault is to play the first
sixteenth note late.”10 This is because the preparation of sautillé takes too long or players
unconsciously make themselves play sixteenth notes faster for an easier articulation. Players
need to relax their right arm (specifically wrist) as much as possible (but not too floppy) to react
to different bounces created by two different rhythms.11 These techniques can also be applied at
five measures after C, but this time players need to relocate the bow both vertically and
horizontally to come back to the right position to re-start the sautillé stroke because a quarter
note has a longer note value than an eighth note at A.
Staying in Tempo
In this excerpt, crescendo, decrescendo, and the natural tendency of sautillé easily make
players rush. A metronome is the most important practice tool for this excerpt. There are several
ways of practicing with metronome to help players stay in tempo. First, setting the metronome
for an eighth note will help players play equal length of each eighth note and sixteenth note by
making them hear the dotted-quarter note’s subdivision consistently. If players still feel they are
rushing without a metronome, they can try alternatively playing against the metronome. There
are two different metronome settings for this method. The first one is putting the metronome on
the second or third eighth note of the bar instead of the first.12 The second one is setting the
10
Roger Benedict, “Sydney Symphony Orchestra Master Class - Viola - Mendelssohn.”
YouTube, November 18, 2010, accessed February 26, 2019.
https://www.youtube.com/watch?v=cn0yQzrgWgk.
11
Benedict, “Mendelssohn A Midsummer Night’s Dream”: 72-73.
12
Benedict, “Sydney Symphony Orchestra Master Class - Viola - Mendelssohn.”
11
metronome twice as fast so that two clicks per bar can be heard.13 Using this method, students
can develop a much stronger sense of internal rhythm.14
To keep a consistent off-string quality throughout the excerpt, select fingerings that allow
players to avoid string crossing as much as possible. Too many string crossings can cause losing
the resiliency of the bow. Additionally, fewer string crossings also help to have a better idiom of
the music by making a group of linked notes stay on the same string as long as possible. In this
excerpt, most of the passages unusually start with up bow (even with an accented note) to avoid
an odd movement of the right arm while playing sautillé. Suggested fingerings and bowings can
be found in Musical Example 2.1.
13
Ibid.
14
Ibid.
12
CHAPTER 3
Richard Strauss, Don Juan
Musical Example 3.1. Viola part from Don Juan by Strauss, first page.15
15
Richard Strauss, Don Juan, viola part (Munich: Jos. Aibl Verlag, n.d. [1890], reprint, New
York: E.F. Kalmus, n.d. [1933-1970]), accessed from IMSLP Petrucci Music Library,
https://imslp.org/wiki/Don_Juan%2C_Op.20_(Strauss%2C_Richard), 1.
13
Musical Example 3.2. Viola part from Don Juan by Strauss, measures 50-66.16
Introduction
When students play an excerpt which is based on literature, it is good for them to know
its compositional background beforehand to set up general ideas of the piece. Richard Strauss
composed Don Juan after he was inspired by a poem of the same title by Nikolaus Lenau in
1888. Generally, music which is based on a certain literary piece follows its plot, such as Don
Quixote. In contrast, this piece describes Don Juan’s characters and moods.17 Therefore, students
do not need to investigate the entire poem to establish the mood or tone color of the excerpt. In a
preface to the score, the composer added several passages from the poem so performers can
better understand this piece:
I want to fly through all places where a beautiful woman blooms, to kneel… conquer… if
only for a few moments… when I wander with my changing affections… my love for
each woman is different… passion must be new each time; it cannot be transferred from
one woman to the next… ever new victories as long as the fiery ardors of youth still
soar.18
16
Strauss, Don Juan, viola part, 2.
17
Peter J. Burkholder, Donald Jay Grout, and Claude V. Palisca, “Late Romanticism in Germany
and Austria.” in A History of Western Music, 8th ed. (New York: W. W. Norton, 2010), 742.
18
Wilde, “Don Juan,” in The Development of Melody in the Tone Poems of Richard Strauss, 65.
14
Some of the words in the preface are directly described by themes in the excerpt. For example, a
rising fanfare at the beginning of the excerpt describes ‘fly’ and ‘soar’ which represent Don
Juan’s passionate personality.19 The dotted-rhythm passage before A also depicts the sentence,
“my love for each woman is different… passion must be new each time.”20 Measures 45 and 49,
where the mood and timbre are completely different from other sections, portray Don Juan’s
loves.21
Tempo
According to Robert Vernon, “very often, this excerpt is played too fast and too loud.
Choose a tempo that allows you to execute with clarity and control. 168 to the quarter is a good
tempo.”22 Before starting to play, reminding yourself of difficult spots in the tempo is very
helpful in maintaining a steady tempo throughout the excerpt. Particularly, there are many
different rhythms in this excerpt such as dotted-rhythms, triplets, quintuplets, and sextuplets. So,
subdividing and running through those rhythms in your head will prevent you from changing
tempo when you encounter them.
Measure 1
For the first measure of the excerpt, some young players might consider starting on the C
string (Musical Example 3.3) Not only does this allow a stronger tone which could work more
effectively with the fortissimo but it allows them to stay in the same position (3rd) which could
provide better intonation. However, by looking at the score, the composer’s reason for the
fingering becomes clear (Musical Example 3.4). Strauss placed the exact same notes in the first
19
Wilde, “Don Juan,” in The Development of Melody in the Tone Poems of Richard Strauss, 66.
20
Ibid.
21
Ibid.
22
Vernon, “Mendelssohn Scherzo, Mozart Symphony #35, and Strauss Don Juan”: 37.
15
two beats for first and second violin, and viola. It is obvious that the composer wanted to have a
strong unison sound from three sections of instruments for a more effective start of the opening
fanfare. Because the C string doesn’t exist on the violin, violin players must start on the open G
string and viola players are required to match the fingering with the violins to follow the
composer’s intention (Musical Example 3.5).
Musical Example 3.4. Score from Don Juan by Strauss, measure 1.24
The first ascending sixteenth note passage looks very simple to play, but it is not. It is
easy to make a mistake by not playing every single note clearly. In addition, unintended tension
on the string caused by anxiety can affect the performer, since this is one of the hardest viola
excerpts to play. Normally, the tension starts from the player’s neck and spreads to the upper
back, jaw, and both arms. The tension results in faster or slower (than tempo) left-hand finger
movement that doesn’t perfectly coordinate with the bow. Furthermore, too much tension on the
23
24
Richard Strauss, Don Juan, score (Munich: Jos. Aibl Verlag, n.d. [1890], reprint, New York:
E.F. Kalmus, n.d. [1933-1970]), accessed from IMSLP Petrucci Music Library,
https://imslp.org/wiki/Don_Juan%2C_Op.20_(Strauss%2C_Richard), 1.
25
16
right arm will also result in over-pressed bow contact that causes an unclear sound. Of course,
the dynamic of the opening is marked ff, but students should focus on putting more arm weight
with accurate bow contact rather than having tension. I believe that one side of our body is
connected to the other side. In other words, if a player has tension in the left or right arm, he/she
will immediately feel the tension on the other side as well. And, from my experience, it is more
common for tension to start in the left arm rather than the right when playing the instrument.
Therefore, the tension in the right arm will be easily released if we can release the tension of the
left arm. There are two methods that easily release or reduce the tension on the left arm. Most
often, this tension is created by holding the instrument too tightly by lifting up the shoulder,
pressing the instrument with the jaw, or both at the same time. The first method is detaching the
jaw from the chinrest until the third beat of measure 1. Generally, we need to put our jaw on the
chinrest to hold the instrument when we need to vibrate or shift down because the instrument
moves in these circumstances. However, for the first two beats, vibrating or shifting down are
not occurring, so detaching our jaw will not affect playing. The tension will be immediately
removed by doing this. If players still feel insecure about detaching the jaw while playing, they
can try the second method. This method is to gradually reduce the tension of the left arm in
practicing by feeling the tension anytime it is applied. The idea is to hang a handbag (or any
other item that is heavy enough to recognize) over the left shoulder before playing the
instrument.26 By doing this, we will easily notice if we raise our shoulder anytime while
26
Tomas Cotik, “Natural Playing, Inspired by the Alexander Technique: Exercises to Release
Tension and Improve Ease of Movement When Playing the Violin,” Strad 128 (December 2017):
87.
17
playing.27 Later, although there is nothing hanging over the shoulder, we will be able to notice if
a tension is applied to the shoulder, and we will gradually fix the bad habit.
Measure 4
Measure 4 is the first challenging spot in the excerpt. There are two fingering suggestions
(Musical Example 3.6). The bottom fingering is the most common for this passage. The other
fingering is shifting on the 5th position at the third beat (beginning of the slur). It helps students
to have secure intonation because there is no position change during the slur. However, the 5th
position is probably not a comfortable position for some students. Therefore, students might need
extra work to get familiar with the 5th position. Unlike the first measure, it is difficult to tell
which fingering is the best in most circumstances. So, students should consider carefully when
they choose fingerings to hide their weakness as much as possible or highlight their strengths.
Musical Example 3.6. Viola part from Don Juan by Strauss, measure 4.28
A good practice method for this passage is building up backwards (Musical Example
3.7).29 If students choose the bottom fingering in Musical Example 3.6, the place that they want
to concentrate more (in practice) will be the later part of the passage. Normally, students practice
a challenging spot in the order it is written. However, in this particular case, if students start from
the beginning (F#, dotted-eight note), they will not always arrive on the last note of the passage
27
Ibid.
28
29
Roger Benedict, “Sydney Symphony Orchestra Masterclass - Viola- Strauss.” YouTube,
November 21, 2010, accessed December 6, 2017,
http://www.youtube.com/watch?v=MFnhoBzJGnk.
18
(B, which is omitted in Musical Example 3.7). By doing this practice method, students will have
more of a chance to focus on the more difficult section of the passage.30
Musical Example 3.7. First practice method for measures 4-5.
Once students get familiar with the fingerings and can play close to the tempo, it is time
to work on more details in this passage. Students need to be careful not to play a quintuplet and a
sextuplet the same. In practicing, the feeling of the rhythmic difference between these two can be
easily acquired by adding a small break between them (Musical Example 3.8) and saying out
loud a five-syllable and six-syllable word. Finally, the hairpin is also one of the things that is
easily forgotten when playing this passage. To make the crescendo in measure 4 happen
effectively, students need to drop down the dynamic first to give room for it (Musical Example
3.6).
Musical Example 3.8. Second practice method for measures 4-5.
Measure 6
A small tip for this passage is being ready for the next note in advance. When playing the
second and third notes of the first triplet (B and E), you will save the extra first finger movement
from A to D string if you hold both notes at the same time (play or “block” the fifth). This also
applies to the last beat of measure 32 (Musical Example 3.9). If it is not connected with a slur
and students are not sure about the intonation of the fifth, they can lift their finger and re-locate it
30
Benedict, “Sydney Symphony Orchestra Masterclass - Viola- Strauss.”
19
on the other string (Musical Example 3.10). However, when it is slurred, it is easy to play an
open string when they lift their finger because the bow does not stop while in a slur.
Musical Example 3.9. Viola part from Don Juan by Strauss, measure 6 and measures 31-32.31
Musical Example 3.10. Viola part from Don Juan by Strauss, measure 35.32
Measures 21-22
Every time there is a dotted-rhythm in a passage, students should pay extra attention to
the shorter note coming right after the dotted-note. In this case (measure 21), the sixteenth note
must be short enough to be not heard like a triplet. A good practice method for this passage is
subdividing all the notes into sixteenth notes (Musical Example 3.11). It will help students feel
the exact length of the dotted-eighth note. The other thing that students need to keep in mind is
articulation. In measure 21, the articulation should be different between the second beat and the
fourth beat. Students must stop the bow (whatever bowing they choose) before they play the
sixteenth note (E), but the two notes on beat four should be completely connected (same as
second and fourth beats of measure 22) (Musical Example 3.12). The composer is clearly
indicating that difference by putting an accent when it needs to be separated. This also applies to
measures 27-30 (Musical Example 3.13).
Musical Example 3.11. A practice method for measures 20-22.
31
32
Ibid.
20
Measures 23-26
The stepwise motion, arch-like passagework, crescendos at the end of each phrase, and
relatively easy running triplets can easily make young players rush in this passage (Musical
Example 3.14). If a player rushes here, he/she will end up having trouble later at the most
challenging spot (around measure 35). To avoid that disaster, there are several ideas students can
try in practicing to stay in tempo. First of all, the suggested fingering (Musical Example 3.15)
will assist players in feeling the beats more easily by shifting on the beats (also mostly the same
fingering on each beat). Second, students can practice this passage in different rhythms (Musical
Example 3.16). These three rhythms focus on each note of the triplets. One of the biggest reasons
why players rush when they are playing a running passage is our left-hand suddenly becomes out
of control resulting in unequal lengths of notes. This idea will fix that problem by making all the
notes balanced. The last practice method provided involves practicing in groups of two instead of
groups of three (Musical Example 3.17). This is another method for playing all the notes equally.
By thinking about triplets and seeing beams grouping three notes, players often unconsciously
emphasize either the first or last note of each triplet, which tends to push the tempo. However, by
practicing differently, players will feel different rhythmic accents, and all the notes will be more
balanced. This also helps to have better coordination between the left- and right-hands.35 Dotted-
33
Ibid.
34
35
21
rhythm practice can also be applied to this passage (Musical Example 3.18). All the separated
triplets in the excerpt (without dots) should be played on the string by using the lower middle
part of the bow.36
Musical Example 3.18. Third practice method for measures 23-26.
Measures 32-36
For this passage, all the methods mentioned above can be applied such as building
backwards and dotted-rhythm. The key points in this passage are staying in tempo and string
crossing. After measure 34, phrasing it from the second note of each group should help to stay in
tempo (Musical Example 3.19). This idea will give players four arriving points (G, B, D, F)
36
Robert Vernon, Orchestral Excerpts for Viola, CD-ROM (Tempe, AZ: Summit Records,
1997), disc 11.
37
38
Ibid.
22
which builds momentum and prevents rushing. Additionally, these ascending arrival points will
help players feel the direction and create a more effective crescendo at the end.
In playing this passage, another common mistake is that notes are not clearly presented
because of too much unwanted sound. Most likely, the unwanted sound is caused by open strings
resonating during poorly executed string crossings. To solve this problem, students need to have
a suitable fingering first. The suggested fingering (Musical Example 3.1) will reduce string
crossings as much as possible without weird shifting or finger movement. In addition, students
should play everything in this passage on open strings (Musical Example 3.20). This will help to
concentrate only on the right-hand without being concerned about the left-hand. Finally, students
can play everything slurred (slowly), particularly in measures 34-35. Using this method, players
will be able to notice the exact moment when the bow and finger are transferred from one string
to another.
Measures 37-49
The rest of the first page is all about dynamics. Particularly at B, many violists play a
louder dynamic on the second beat than the first.40 However, it is still ff until the first beat of
letter B. Measure 44 is marked pp which is the softest dynamic in the excerpt so far. That is also
39
40
23
the first entrance of a love theme which portrays the other side of the personality of Don Juan.
Players need to present a stark dynamic contrast.
Measures 50-66
In this passage, the first thing we need to think about is getting ready for an off- string
stroke. There are many places that alternate between playing on and off the string. Every time
there is spiccato, wherever your bow was located before, it needs to come back to the perfect
place where you can most easily control the bounce of the bow. The second thing is the correct
rhythm. Measures 51-52 have triplets right after a dotted-rhythm. In this case, the first triplet in
measure 52 can easily be played like a dotted-rhythm. The E# should be played early enough.
Additionally, in measures 52-53, some students might mentally group these measures in two
groups (Musical Example 3.21). However, I suggest playing a group of three (Musical Example
3.22). This is because dividing into two groups can make players lose the beats which could
make them rush in running triplets. Furthermore, when the section is repeated in measures 54-55,
I often played the first note too early and felt the loss of the control of the left-hand at the end of
the section, but the suggested idea solved these issues. Finally, students need to plan carefully for
the seven measure long crescendo from p to ff.
41
42
Ibid.
24
CHAPTER 4
Dmitri Shostakovich, Symphony No. 5 in D minor, Op. 47
Musical Example 4.1. Viola part from Symphony No. 5 by Shostakovich,

first movement, [15]-[17].43
*Roman numeral with a dot indicates which string to play on.
Introduction
In 1935, Joseph Stalin began a campaign of repression known as the Purges, warning
composers in the Soviet Union against all forms of modernism. As a result, Shostakovich’s opera
Lady Macbeth of the Mtsensk District was violently attacked by the newspaper Pravda in 1936.44
One year later, Shostakovich composed his Symphony No. 5 and endorsed the commentary that
this work was “the reply of a Soviet artist to just criticism.” Burkholder, Grout, and Palisca write
that “The symphony outwardly conformed to the tenets of socialist realism, infusing the most
prestigious nineteenth-century instrumental genre with an optimistic, populist outlook and
adopting a clear, easily understood tonal language.”45 “Yet it was also possible to hear in its
43
Dimitri Shostakovich, Symphony no. 5 in D minor, Op. 47, viola part (Miami: Edwin F.
Kalmus & Co., [198-]), 2.
44
J. Peter Burkholder, Donald Jay Grout, and Claude V. Palisca, “Between the World Wars: The
Classical Traditions,” in A History of Western Music, 8th ed. (New York: W. W. Norton, 2010),
890.
45
Burkholder, Grout, and Palisca, “Between the World Wars: The Classical Traditions,” 891.
25
messages of bitterness and mourning in the face of totalitarian repression.”46 To reflect the
piece’s complex and tumultuous compositional background, Evan Wilson suggests that
performers play: “Stark, barren and cold - this “tragically tense” music must be played with an
intense but restrained sensitivity. Complete attention must be given to continuity of phrasing -
specifically string crossings, bow speed, contact and smooth changes, speed and type of vibrato,
and overall color.”47 According to Carrie Dennis, this excerpt can be divided into three phrases:
first arch [F#, F#, B, and C], second arch [G, G. E♭, and C], and the descending passage.48
The First Phrase
There are two suggested fingerings for the first phrase (Musical Example 4.1). The
bottom fingerings allow players to stay in the same position (V) throughout without a shift by
playing the first F# on the G string. The absence of a shift will allow players to have better
intonation, better-connected vibrato, and a clearer sound without the unwanted sound of slides
(shifts and slides should not be audible in this excerpt).49 The double string crossing could be one
of the reasons that the first two notes are not fully connected, but the shape of the bridge will
assist players in having a smooth string crossing.50 The top fingerings allow violists to play the
first note of the excerpt in a lower position where they feel more comfortable. With these
fingerings, players will have a solid start without anxiety concerning poor intonation possibly
created with the bottom fingerings (higher register). However, players need to be very careful to
46
Ibid.
47
Evan Wilson, “Orchestral Training Forum: Shostakovich Symphony No. 5 in D minor, Op.
47,” Journal of the American Viola Society 5, no. 1 (2000): 31, accessed March 22, 2019,
http://www.americanviolasociety.org/PDFs/Journal/JAVS-16.1.pdf.
48
Carrie Dennis, “Shostakovich Symphony No. 5, Enesco Roumanian Rhapsody No. 1,
Mendelssohn Midsummer Night’s Dream Scherzo,” Journal of the American Viola Society 26,
no. 2 (Fall 2010): 59.
49
Robert Vernon, Orchestral Excerpts for Viola, CD-ROM, disc 18.
50
Wilson, “Orchestral Training Forum: Shostakovich Symphony No. 5 in D minor, Op. 47”: 31.
26
find a perfect moment when the bow changes to avoid the audible shift between the first two
notes. Players should not have too much tension in their left arm and should not press their finger
too much into the fingerboard so that their shift becomes smooth and quick. To avoid incorrectly
compressing the rhythm of longer notes, Charles Noble suggests to, “keep in your ear the rhythm
which underlies the excerpt, the quarter note and eight notes, and use that as your internal
metronome.”51
The Second Phrase
The second phrase is very similar to the first. I have tried various fingerings for this
phrase. Some of them contain a double string crossing or a big shift which could cause students
to have poor intonation (E♭) and slide. Again, as Evan Wilson points out, “none of the shifting in
this excerpt should be particularly expressive or romanticized.”52 The suggested fingering allows
players to get ready for the high position (E♭) early enough without having those issues. It allows
students to have a more solid hand shape in a high register which helps them to not lose the
consistency of the vibrato. Most students often feel uncomfortable with the vibrato in a high
register because their elbow, wrist, and shoulder do not fully support their hand to provide a
suitable hand shape for the vibrato. This is also because often times there is a wide shift (leap)
between a high note and the note before. However, with the suggested fingering, the hand will
gradually move to 9th position note by note, giving students enough time to adjust their left arm
position to support their vibrato during the process. Players can play E♭ with the third finger
instead of the fourth by extending a half step if they do not have a strong fourth finger vibrato in
the high register. But the second finger should be pressed down while the third finger is lifted
51
Charles Noble, “Tricky Corners,” Strad 110 (August 1999): 832-834.
52
27
and extended for the E♭ on the A string to avoid an unwanted open D string created by detaching
the third finger from the D string. The last thing students need to be careful about in this phrase
is the two upbows located between longer down bows. Often times, these upbows are played
with an accent and louder dynamic because players want to set themselves up in the correct part
of the bow for the upcoming down bow. To avoid these issues, the upbows require moving faster
and lighter than the down bows.
The Third Phrase
Players must shift their hand for the first note of the third phrase because there are no
reasonable fingerings to avoid the shift between C and F. I suggest a 2-1 shift because it has the
shortest length of the shift (along with 2-2 and 2-3). Between C and F, the space is often
requested when playing in orchestras, so players might take a little bit of time between the two
notes.53 This is a perfect place to demonstrate the following practice method which improves
students’ hand shape in shifting on the same string (Musical Example 4.2). By keeping the finger
of the departure note on the fingerboard as long as possible before landing on the arrival note,
students will not lose their hand shape while shifting. Particularly, this practice method is very
useful in circumstances where there is a wide shift (leap) to a high register because often students
have a poor right-hand shape in the upper part of the fingerboard. It will also support students in
having a better vibrato in case they desire vibrato on the arrival note.
53
Vernon, Orchestral Excerpts for Viola, CD-ROM, disc 18.
28
Musical Example 4.2. A practice method for the first two measures of [16].
Step 1: Play ① slowly. The glissando should start right away.

Step 2: Gradually increase the tempo. This time, stay on the C longer than before so that
the glissando becomes faster and the G is played shorter (like ②).
Step 3: In the same manner as Step 2, exaggerate the dotted-rhythm more like triple-
dotted, quadruple-dotted, and so on. By doing that, students will gradually stay on
the C even longer and the glissando will become even faster.
Step 4: Play until the glissando and the G is fast and short enough that they are not heard.
The bottom fingerings will allow players to have a longer sustained tone color by making them
stay on the A string as long as possible. During the shift, students might slow the bow
imperceptibly to hide the slide, as Evan Wilson suggests.54 The top fingering will allow players
to have better intonation by staying in the same position. A tip from Paul Silverthorne for the F
and B♭ three measures after 16 is, “to put the first finger down on the D string to lower the string,
so that the second finger can slip across more easily.”55 Suggested fingerings by Evan Wilson for
the last six notes will help players feel the end of the phrase better by using the dark color of the
C string earlier.56
Phrasing and Vibrato
The melody line of this excerpt is very simple and clear. Although there is no crescendo
or decrescendo written on the score, students should add subtle dynamics while they play this
excerpt (Musical Example 4.3). However, too much expressive crescendo and decrescendo will
54
55
Paul Silverthorne, “Masterclass,” Strad 116 (September 2005): 89.
56
29
sound out of context. Remember, Shostakovich marked espress. in p. The dynamic at the end of
each crescendo should not go beyond mp.
Musical Example 4.3. Viola part from Symphony No. 5 by Shostakovich,

first movement, [15]-[17].57
In this excerpt, a romantic and rounded vibrato is not required.58 Evan Wilson says the
restrained emotion can be expressed with a fingertip vibrato controlled with a narrow
oscillation.59 This unobtrusive vibrato should not be interrupted throughout the excerpt. There
are several tips for the vibrato. First, students always need to feel the movement of the fingertip
joint. Although fingertip vibrato uses less finger pad than normal vibrato, the oscillation will not
be audible if that joint remains stiff. If the movement of your fingertip joint is not consistent, you
can try the following methods:
Step 1: Without the bow, hold your viola in guitar position or “shotgun position” (in front
of the right shoulder).60
Step 2: Try vibrato in first, second, and third position only. You will more easily
feel the movement of the fingertip joint in those playing positions because tension
created from your upper arm cannot be involved in those positions.
Step 3: Try vibrato in normal playing position slowly. Try to feel exactly the same
feeling you had in Step 2.
Step 4: Try vibrato in a higher position (beyond third). Make sure you adjust your
elbow and shoulder to have a proper left-hand shape. You might also try
different angles of your instrument or different positions of the shoulders.
57
Shostakovich, Symphony no. 5 in D minor, Op. 47, viola part, 5.
58
59
Ibid.
60
Michel Kimber, Playing and Teaching the Viola: A Comprehensive Guide to the Central Clef
Instrument and Its Music, ed. Gregory Barnes (Fairfax, VA: American String Teachers
Association with National School Orchestra Association, 2005), 58.
30
Second, too fast of a vibrato is not good for this excerpt. We lose our vibrato for a very short
moment when we change our finger or when we shift. I believe this change is more obviously
heard when we have too fast of a vibrato. Along with too many oscillations, that moment can
sound out of context.
Furthermore, our instrument needs time to produce sound (especially longer than the
violin). For example, when I recorded myself playing fast passages, I often found that I could not
hear clear vibrato because I had too fast of a vibrato to let the instrument present the sound of the
oscillation. As a place to start, I suggest students match the speed of their vibrato to the tempo of
this excerpt (one oscillation equals an eight note). I believe it will match the context more
suitably and make your vibrato clearer.
31
CHAPTER 5
Aaron Copland, Suite from Appalachian Spring
Appalachian Spring by Aaron Copland

© 1945 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes, Inc.
Sole Licensee.
All Rights Reserved. For the Sole Use of Seonkyu Kim, University of Georgia.
Musical Example 5.1. Viola part from Appalachian Spring by Copland,

[6]-4 measures after [7] and [8]-[11].61
*Roman numeral indicates which hand position the player is required to use.
61
Aaron Copland, Appalachian Spring, viola part (New York: Boosey & Hawkes, Inc., [1945]),
1.
32
© 1945 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes, Inc.
Sole Licensee.
Musical Example 5.2. Viola part from Appalachian Spring by Copland,

[11]-20 measures after [12].62
*Roman numeral indicates which hand position the player is required to use.
Introduction
Aaron Copland composed this work for Martha Graham as a commission from the
Elizabeth Sprague Coolidge Foundation in 1944. The story of the ballet tells of the preparation
for a wedding of American pioneers in the early 19th century.63 The original work is for 13
instruments and is divided into eight sections. The excerpt starts at the beginning of the second
section which portrays a lively dance by recalling fiddle music.64 For that reason (along with the
composer’s indication, vigoroso), players need to use spiccato for all the eighth notes in this
62
Copland, Appalachian Spring, viola part, 2.
63
Neil Butterworth, The Music of Aaron Copland (London: Toccata Press, 1986), 100.
64
Ibid.
33
excerpt to have the right quality of sound. Along with spiccato, in this excerpt, players need to
demonstrate how to deal with consistent change of metrical pulse and hand position.
The suggested fingerings and bowings for this excerpt can be found in Musical Examples
5.1 and 5.2. At the third measure after [6], after the fermata, the first finger should still be held
down while the fourth finger is extended for the E to have solid intonation on the next A. For the
first shift from the fifth position to the first position, be careful not to start your hand moving
down before the bow leaves the string. This should be applied to all other areas of shifting in this
excerpt to avoid the unwanted sound of slides. At one measure before [7], after playing A with
the first finger, keep your first finger on the fingerboard until the first note of [7]. You can lift
your second finger to give more flexibility to your hand to extend your third and fourth fingers
for E and G#. In this excerpt, double down bow is used many times for a more effective quality
of sound (accent) and to feel comfortable with spiccato, for example on the third beat of [7]. A
quarter note should be long enough, and the motion of retaking the bow should be agile to start
the next eighth note right on time. At the fourth and third measure before [10], playing the octave
will sound better than playing five open A strings in a row and will help with intonation and
solid left-hand frame. For solid intonation on the octave, on the fourth beat in the fourth measure
after [9], be careful not to extend your second finger for the whole step shift. Instead, put your
first finger in the fifth position when you play D and then shift your first finger (still on both A
and D string) with your thumb first and then drop your second finger for F#. This will help you
to have a solid hand frame for the octave in the next measure. This also applies for the third beat
in one measure before [10].
34
Solid Left Hand-frame in All Hand Positions
As you can see in Musical Examples 5.1 and 5.2, various position-work is required for
this excerpt. Except for the first and third positions, we often feel uncomfortable with other
positions. This is because we have relatively less experience in those positions. Having a poor
hand-frame does not allow players to put all four fingers down reliably resulting in poor
intonation and hesitation in playing difficult passages. Furthermore, without awareness of a
subtle intonation distinction between fingers in each position, our tuning will not be consistent.
For example, after we shift our hand to the fourth position at one measure before [9], if we do
not have a good hand-frame and do not know where to put all four fingers down exactly, we will
never get a solid intonation on the octave in the next measure. The first study in Changes of
Position and Preparatory Scale Studies Op. 8 by Otakar Ševčík (viola version arranged by
Lionel Tertis)65 is a great source for students to recognize subtle intonation distinctions between
each position and to develop smooth shifts by not over-pressing their fingers down on the
fingerboard. As another practice method, Helen Callus (professor of viola at Northwestern)
introduces some methods to help students feel comfortable in every position in her article
“Navigating the Fingerboard.”66 The following Musical Example is one of her practice methods
to help students keep a solid hand-frame in all hand positions:
65
Otakar Ševčík, Ševčík for Viola – Opus 8: Changes of Position & Preparatory Scale Studies,
arr. Lionel Tertis (Music Sales America, 2003), 5.
66
Helen Callus, “Navigating the Fingerboard,” Strad 127 (January 2016): 77.
35
Step 1: Play a chromatic scale in sixths (2-3).
*other finger combinations of sixths will not fully support your hand in being
balanced such as 1-2 and 3-4.
Step 2: Play a chromatic scale in thirds (3-1) and finally octaves (1-4) in the same
manner.
Step 3: Repeat Step 1 and 2 on different strings
Musical Example 5.3. A chromatic scale in sixths, thirds, and octaves.67
Cross-rhythm
According to Oxford Music Online, cross-rhythm is “the regular shift of some of the
beats in a metric pattern to points ahead of or behind their normal positions in that pattern.”68 As
one of the features of this excerpt, cross-rhythm (starting at the last beat of the second measure
after [13]) makes it difficult for players to feel metrical pulses. When it happens, instead of
trying to feel metrical pulses in each measure, students should quickly react to different groups
of notes between 2 and 3 (the composer kindly indicated these on the score with beams). For
those students who often end up rushing in playing group of three, please refer to the practice
methods on pages 21 (Musical Examples 3.16, 3.17, and 3.18).
Staying in Tempo
Although the suggested tempo for this excerpt is a quarter note equals 160, players do not
need to be concerned about fast passages because all the notes in this excerpt are longer than a
sixteenth note. Yet, players need to be careful not to rush and shorten the value of long notes and
long rests. The following practice method (Musical Example 5.4) will help players feel steady
67
Ibid.
68
"Cross-rhythm," Grove Music Online, accessed December 8, 2019,
http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/o
mo-9781561592630-e-0000006882.
36
eighth notes during long notes and rests by converting them to eighth notes. I suggest students
play this method with a metronome first, an eighth note equals 320 (using subdivisions on the
metronome if available). Additionally, the rests in this particular excerpt are hard to recognize
because meter and clef change frequently. I suggest students highlight the rests in their own way
to be recognized.
Musical Example 5.4. A practice method for Musical Example 5.2.
37
CHAPTER 6
Wolfgang Amadeus Mozart, Symphony No. 35 in D Major, K. 385
Musical Example 6.1. Viola part from Symphony No. 35 by Mozart, first movement,
Beginning-measure 70.69
69
Wolfgang Amadeus Mozart, Symphony No. 35 in D major, K. 385, viola part (Leipzig:
Breitkopf und Härtel, n.d., reprint, New York: E.F. Kalmus, [1933-70]), accessed from IMSLP
Petrucci Music Library,
https://imslp.org/wiki/Symphony_No.35_in_D_major%2C_K.385_(Mozart%2C_Wolfgang_Am
adeus), 1.
38
Introduction
Wolfgang Amadeus Mozart composed his Symphony No. 35 in 1782. This piece is also
called the Haffner Symphony because Mozart wrote this piece for celebrations for the
ennoblement of his childhood friend Sigmund Haffner.70 Like the Jupiter Symphony, the music
begins with loud, vigorous statements in octaves. During the Classical period, starting with a
slow introduction was often used in orchestral music as an influence of Haydn. Instead, Mozart
placed two long notes at the beginning of the piece to create an illusion that the piece begins with
a slow introduction for the audience until the first sixteenth note in measure 2. As one of the
most famous opera composers, there are some common features between his operas and
symphonies. For example, whimsy and humor in the final movement of Symphony No. 35
provide a reminiscence of his comic operas.
In playing Mozart’s Symphony No. 35, we need to think about some of the style
characteristics of the Classical period. First of all, students should remember that one and three
are strong beats while two and four are weak beats during this period.71 More specifically, beat
one is stronger than three and beat four is weaker than two. Therefore, it is better to start with an
upbow on the third beat of measure 13 to make the first note of measure 14 stronger by using a
downbow. I personally prefer to play the next three notes (D, C#, and C#) in the third position
because the tone color of the A string will be too strong if we play those three notes in the first
position (the last C# will be played on the A string). Again, the first beat is stronger than the
70
J. Peter Burkholder, Donald Jay Grout, and Claude V. Palisca, “Classic Music in the Late
Eighteenth Centaury,” in A History of Western Music, 8th ed. (New York: W. W. Norton, 2010),
559.
71
Robert Vernon, “Mendelssohn Scherzo, Mozart Symphony #35, and Strauss Don Juan”: 35.
39
second beat. In the same manner, at measure 16, I prefer to separate the bow for the dotted-
quarter and sixteenth notes instead of using double upbows to play the first beat of the next
measure with a downbow. At measure 24, I prefer to use an upbow for the eighth note and a
downbow for the slur to avoid unwanted accents or short articulation on the last note of the slur.
It also helps to produce a better phrasing. At measure 42, the fingering for the first note is
different from measure 14. The fourth position on the D string was suggested before to avoid
double-string crossing. However, this time there is no reasonable fingering to avoid multiple
string crossing. Playing D in a lower register on the A string would be a better idea, to provide
more solid intonation. Finally, in measures 59-66, the bottom bowings are a possibility for this
passage, but I prefer the top bowings because I often feel the tension on my right shoulder when
I retake the bow (double downbow) for the one eighth note and two sixteenth note combination.
It also helps players feel the musical direction of the melody (not in measures 63-64 though).
Students might have trouble with the double upbows causing the bow to keep moving toward the
frog and end up in losing clear and steady articulation. To avoid this, adjust the bow location
slightly during the five eighth notes between each ascending and descending line to stay in the
proper location of the bow for spiccato. Double up-bows also tend to rush, so attention should be
paid to this should the double up-bows be used.
Dynamics and Articulation
Regarding one of the style characteristics of the Classical period in this excerpt, dynamics
(specifically f) should not be aggressive and should be sustained throughout long notes such as
whole notes, half notes, and some of the quarter notes.72 Yizhak Schotten suggests players
72
Yizhak Schotten, Orchestral Excerpts for Viola with Written and Spoken Commentary, CD-
ROM, (2004), disc 2.
40
emphasize the beginning of these long notes and then release the weight of the right arm, like
Martelé.73 In playing the music of Mozart, notes should not be always fully connected. It is okay
to put a small release or air after each of these notes (if they are not slurred), but players need to
produce a clean and resonant tone for the notes to fill the air. “This Symphony is bright and
exuberant, and the music sparkles with joy,”74 as Robert Vernon states. For that reason, players
should use spiccato for all eighth notes in the first movement (but not too crispy, stay close to the
strings). The fp should not be too strong at measures 27 and 35. Particularly at measure 27, it is
easy to play the first sixteenth note of each slur longer than its note value, so be careful.
The Appoggiatura Trill vs the Main Note Trill
In the music of the Baroque period (for example, the music by J.S. Bach), there was just
one type of trill, the appoggiatura trill. This starts from the note above the principle note.
However, in playing the music of the Classical period, choosing between the appoggiatura trill
and the main note trill is controversial and complicated. Mozart’s Symphony No. 35 was
composed in 1782, clearly a Classical period work. Therefore, the decision about the type of trill
for this excerpt is open to the players’ interpretation and common practice techniques. No matter
what type of trill you use, the key point is consistency. In this excerpt, the trills appear 6 times.
Every time, the speed of the trill should be consistent. You can alternate between the principal
note and the note above four or five times before two suffix notes, or you can alternate less and
stay a bit longer on the last principal note before two suffix notes, but your decision should be
applied to all of the trills. The following practice method is helpful in building strength and
independence of each finger for having a solid trill.
73
Ibid.
74
41
Step 1. Set the metronome to a whole note equals 40.
Step 2. Try to play 4 trills in one beat first, and then increase the number of the trill
gradually (Musical Example 6.2). Try to put and lift the second finger as fast as
possible like playing a grace note. If you can reach to 8 or 9 trills in one beat, your
trill is fast enough to play this excerpt. Remember, each trill should be balanced
without tension on your left arm. Try to release the finger of the principle note
(in this case, first) as much as you can.
Step 3. Try a major second (whole step).
Step 4. Try different finger combinations, 1-3, 2-3, 2-4, and 3-4 (both minor and major of
each).
Musical Example 6.2. A practice method for the trill
You can skip the 1-2 and 1-3 finger combinations, and start directly on 2-3, 2-4, or 3-4 since the
third and fourth fingers are relatively less independent than the second. No. 16 in Kreutzer’s
Forty-two Studies is a great method for those students who want to focus more on building
strength and independence on the third and fourth fingers.75
The book Ornamentation and Improvisation in Mozart by Frederick Neumann includes
plenty of sources on both types of trills.76 Here I organize some of the sources supporting each
type of trill. This information can help students when they make a decision on the type of trill for
this excerpt. Neumann identifies sources supporting the appoggiatura trill:
1. “Conventional wisdom has it that the whole of the 18th century knew only the
appoggiatura trill and, as some writers insist, in a form that carried the initial emphasis on
the upper note throughout the length of the ornament.”77
2. The graphic pattern in C.P.E. Bach’s treatise of 1753 shows the appoggiatura trill was
used in his music, and Mozart followed the tradition of C.P.E. Bach.78
75
Rodolphe Kreutzer, Forty-two studies for Viola Solo (Pagels), 한국음악사, 1994.
76
Frederick Neumann, Ornamentation and Improvisation in Mozart (New Jersey: Princeton
University Press, 2019), 104-135.
77
Neumann, Ornamentation and Improvisation in Mozart, 104.
78
Ibid.
42
3. “Many of the theorists of Mozart’s time give in their ornament tables the appoggiatura
pattern as the chief trill model. Among them are J.C. Bach and Ricci, J.G. Schubert, and
most orthodoxly, Türk.”79
4. Starting from the note above the principle note, “results in an even division of two plus
two, four plus four, and so on, without leaving an extra tone, which would be
rhythmically disturbing.”80
The sources supporting that the main note trill can be used in some circumstances:
1. “The monopoly of the appoggiatura trill was limited to a few islands of doctrinaire
rigidity.”81
2. “Even in France, the homeland of the upper-note start, the other trill forms played a
substantial role during the whole of the 17th and 18th century.”82
3. In his book, Neumann shows plenty of examples where the main note trill works better
than the appoggiatura trill. Among them, I found one example which is very similar to
the trills in this excerpt (Musical Example 6.3). Neumann explains “the energy of the
military, signal-like theme would be senselessly softened by inserting an appoggiatura.”83
The mood and theme of the example are very similar to this excerpt, so I think his
suggestion can be also applied to this excerpt.
Musical Example 6.3. Viola part from Piano Concerto No. 22 by Mozart,
first movement, measures 1-3.84
79
Ibid.
80
Ibid.
81
Ibid.
82
Ibid.
83
Neumann, Ornamentation and Improvisation in Mozart, 119.
84
Wolfgang Amadeus Mozart, Piano Concerto No. 22 in E flat major, K. 482, viola part
(Leipzig: Breitkopf und Härtel, [1879]), accessed from IMSLP Petrucci Music Library,
https://imslp.org/wiki/Piano_Concerto_No.22_in_E-
flat_major%2C_K.482_(Mozart%2C_Wolfgang_Amadeus), 1.
43
Musical Example 6.4. Viola part from Symphony No. 35 by Mozart,
final movement, measures 134-187.85
Final Movement
For orchestral auditions, excerpts from the two outer movements are most commonly
required. In the first measure of Musical Example 6.4, I prefer to start with the second position
because if you start with the first position, the “B on the A string will stick out too much,” as
Schotten says.86 Until measure 142, stay in the upper part of the bow to have a smooth left elbow
angle adjustment for better string crossing in p.87 The basic sense of the bow stroke is the same
as the first movement. However, this time separated quarter notes should also be played off-
string, and sautillé should be used for the separated eighth notes because the final movement is
much faster than the first (for detailed information about sautillé, please see CHAPTER 2). In
85
Mozart, Symphony No. 35 in D major, K.385, viola part, 6.
86
Schotten, Orchestral Excerpts for Viola with Written and Spoken Commentary, CD-ROM, disc
4.
87
44
the Classical period, when there is a passage that appears twice in a row, players often use the
opposite dynamic to vary the second sequence (or ‘echo’ effect). For that reason, although there
is no p written, measures 149-150 are often played in p (“use the same stroke, just lighten it
slightly”88). All eighth notes in this excerpt should be practiced with dotted-rhythm to be steady
and balanced without rushing (for the details of dotted-rhythm practice, see Musical Example
3.18 in CHAPTER 3). Finally, measures 172-175 are the most challenging spot in this excerpt
because of octave intonation and the complex pattern of the bow. I suggest students practice the
right- and left-hand separately for this passage in the following order, Musical Example 6.5, 6.6,
and 6.7. Practice open strings (6.5) until you become familiar with the string crossings.
Remember, stay as close as possible to both strings and minimize your forearm motion while
crossing strings. Musical Example 6.6 will help you to retain your hand-frame while shifting (do
not forget the glissandos), and you will get a sense of how much you need to extend and contract
the gap between your first and fourth fingers while shifting up and down.
Musical Example 6.7. Third practice method for measures 172-175.
88
Ibid.
45
CHAPTER 7
Ludwig van Beethoven, Symphony No. 5 in C minor, Op. 67
Musical Example 7.1. Viola part from Symphony No. 5 by Beethoven,

beginning – measure 10, second movement.89
Introduction
Beethoven’s Symphony No. 5 was written between 1804-1808 and consists of four
movements. The second movement is often a required repertoire of the standard viola orchestral
audition. The movement is in double variation form, which has two sections where each of two
themes are transformed and extended (measures 1-48 and measures 49-the end).90 In this
movement, Beethoven presents the two themes at the beginning of each section in the viola and
cello. In preparing this excerpt, students need to pay extra attention to the dotted-rhythm, sudden
dynamic changes, and string crossings.
89
Ludwig van Beethoven, Symphony No. 5 in C minor, Op. 67, viola part (Leipzig: Breitkopf
und Härtel, n.d. [1863], reprint, New York: E.F. Kalmus, n.d. [1933-70]), accessed from IMSLP
Petrucci Music Library,
https://imslp.org/wiki/Symphony_No.5%2C_Op.67_(Beethoven%2C_Ludwig_van), 4.
90
George Grove, Beethoven and His Nine Symphonies, 3rd ed. (New York: Dover Publications,
Inc., 1962), 158.
46
Beginning-Measure 10
The most important thing to focus on technically in this passage is playing the correct
rhythms, maintaining the long lines of the phrases, and presenting sudden dynamic changes.
Concerning rhythm, players need to count and subdivide carefully on relatively long notes, such
as the first beat of measure 2, the second beat of measure 4, and the second beat of measure 5.
Particularly, the last sixteenth note in measure 5 should be played long enough not to be heard
like a thirty second note. In practice, students can play with the metronome set to thirty second
notes or play everything in thirty second notes (Musical Example 7.2).
Musical Example 7.2. A practice method for Musical Example 7.1.
Regarding phrasing, Michael I. Strauss states, “The most important part of the marking at
the beginning of this movement is dolce. Piano is only a relative term.”91 The first passage is a
solo for the viola and cello sections. Although p is written, players can play a little louder than
the written dynamic by simply following the melody line according to the composer’s intention,
dolce. As Charles Noble suggests, “It should be very rhythmic without becoming staid or
academic.”92 Too much emphasis on the dotted-rhythm can cause a bumpy sound; it should flow
91
Michael I. Strauss, “Preparing Excerpts from Beethoven’s Third and Fifth Symphonies,”
Journal of the American Viola Society 19, no. 2 (Fall 2003): 71.
92
Charles Noble, “Tricky Corners”: 832-834.
47
evenly.93 Students should put vibrato (not too much) on all the notes except thirty second notes.
Or Students should be generous though not overpowering with the consistency of vibrato.
The suggested bowings in Musical Example 7.1 allow players to stay in the lower half of
the bow to react to subito f (in measure 8, the bow should be lifted and relocated to the lower half
of the bow during the eighth rest). It seems like there should be natural crescendo or decrescendo
before or after each sudden dynamic change in measures 7-10. However, it is a good idea to stay
on the previous dynamic as much as possible in an effort to stay true to the score. Beethoven puts
a crescendo between p and f in the later part of the piece, in measures 57-58 (Musical Example
7.5).

measures 23-37, second movement.94
Measures 23-37
In this passage (Musical Example 7.3), the bow should stay very close to the string for all
triplets to produce a more rounded off-string quality by staying a bit more on the string than
normal spiccato.95 For the triplets, there are many string crossings that can cause extraneous
interruptions and therefore an unclean sound. Open string practice is a good method for the
consistency of stroke. Additionally, students need to block the fifth for the seventh and eighth
93
Ibid.
94
Ludwig van Beethoven, Symphony No. 5 in C minor, Op. 67, viola part, 4.
95
Yizhak Schotten, Orchestral Excerpts for Viola with Written and Spoken Commentary, CD-
ROM, disc 8.
48
notes (E♭ and B♭) in measure 23 for a cleaner sound. At letter [A], I prefer to play the C on the A
string to maximize the sudden dynamic change by adding a color change as well. In measures
32-37, pay extra attention to the notes on the C string because they are not often produced well in
ff. I suggest staying a tiny bit longer and putting a bit more weight on these notes (but in time,
particularly for measure 36). Finally, playing double stops whenever there is a string crossing
(but not multiple) is a great practice method for intonation, for example, in Musical Example 7.4.


Measures 49-58 and Measures 98-106
These two sections are very similar and share some of the same features. For both parts, I
mostly stay in the first position until the end of each passage. Particularly, at measure 56, I prefer
to stay in the first position to maximize the sudden dynamic change by adding a different color
96
97
49
of the string (do not forget to gradually move your bow toward to the frog before measure 56).
Like the beginning of the second movement, it is marked as p dolce. These passages should also
be played with the direction of the melodic lines by using enough bow. String crossings should
be played “with the forearm, keeping the wrist relatively quiet,”98 as Michael I. Strauss suggests.
He also says to “keep the bow close to the fingerboard, as the strings are close together.”99
Finally, be careful not to play measures 98-105 too softly in order to leave enough room for the
pp in measure 106 (gradually move your bow to the tip before that measure).
98
Michael I. Strauss, “Preparing Excerpts from Beethoven’s Third and Fifth Symphonies”: 73.
99
Ibid.
50
CHAPTER 8
Johannes Brahms, Symphony No. 4 in E minor, Op. 98
Musical Example 8.1. Viola part from Symphony No. 4 by Brahms,

measures 41-80, final movement.100
100
Johannes Brahms, Symphony No. 4, Op. 98, viola part (Leipzig: Breitkopf und Härtel, n.d.
[ca. 1927], reprint, New York: E.F. Kalmus, n.d. [1933-70]), accessed from IMSLP Petrucci
Music Library, https://imslp.org/wiki/Symphony_No.4%2C_Op.98_(Brahms%2C_Johannes),
13.
51
Introduction
Johannes Brahms composed the first two movements of his Symphony No. 4 in 1884 and
the last two movements in 1885.101 In four movements, the final movement is often asked for in
viola orchestral auditions. The form of the final movement is that of a theme with thirty
variations. Brahms often composed his works in the Classic-Romantic style of variation, but this
work is specially drawn on the Baroque tradition of the passacaglia.102 As a foundation of the
passacaglia, Brahms borrowed and altered a theme from Bach’s Cantata No. 150.103 In this
excerpt (measures 41-80), the passacaglia theme [E-F#-G-A-A#-B-B-E] is played by the bass
five times at measure 41, 49, 57, 65, and 73. The things students need to mostly care about are
phrasing, dotted-rhythm, rich tone and vibrato, consistent tempo, and articulation.
Measures 41-56
This excerpt can be divided into three sections, measures 41-56, measures 56-72, and
measures 73-80. In the first section, students need to think about an important characteristic of
Brahms’s music: rich tone. The suggested fingerings allow players to stay in the higher register
reasonably to produce a rich tone of the strings. In the score, the line between numbers means
shift. As a piece from the Romantic period, the sound of slides is acceptable in this excerpt, but it
should not be too much like a glissando. The wide and rounded vibrato is another tool for
producing a rich tone. The explanation about vibrato in CHAPTER 4 can be applied here.
However, this time, players need to use the finger pad instead of the fingertip as much as
possible to make the vibrato wide and rounded. If you use the suggested fingerings, you will
have to play fourth finger vibrato two times in the first line. Putting down your third finger on
101
Walter Frisch, Brahms: The Four Symphonies (Yale University Press, 2003), 115.
102
Walter Frisch, Brahms: The Four Symphonies, 130.
103
Ibid.
52
the upper string (so in measure 42, it should be on the A string) or on the same string while
playing fourth finger vibrato is a great trick for supporting this weaker finger and hand-frame.
Along with crescendos and decrescendos, a clear melodic line gives us enough of an idea
of how to phrase the passage. Proper use of the bow speed is another great tool to shape the
phrase. For example, in measures 41-42, gradually increase the bow speed until C, and then
decrease immediately to close the small arch beautifully. A special note about bow distribution
issues created by different bow speeds: students can try singing the melody while doing open
string practice as one of the solutions (Musical Example 8.2).
I prefer to delay the decrescendo one beat later because I naturally feel that small ascending line
land on the C (the dotted-quarter note). In the first section, this rhythmic pattern (two eighth
notes and one dotted-quarter note) appears five more times. In the same manner, I treat all of
these notes as landing notes of each small phrase and naturally emphasize and release each of the
dotted-quarter notes to give a direction to the following notes.
Measures 57-72
The most important thing in this section is the dotted-rhythms. Often times, the longer
note of a dotted-rhythm is not played long enough. From the sixteenth note pickup of measure 57
to measure 64, playing everything in sixteenth notes is a great method for that problem (see
Musical Example 8.3).
53
Musical Example 8.3. A practice method for dotted-rhythms.
Remember that the sf in measure 66 is located under E♭. The D should not be accented. In
measure 67, after playing the first note, you need to move your bow very quickly to the tip
without touching the string to give room for the crescendo. Again, the first note (G) should not
be accented.
Measures 73-80
The combination of different rhythmic patterns (sextuplet, triplets, sixteenth notes, and
eighth notes) makes students rush in this section. The metronome is always our good friend with
that problem. In practicing, set the metronome to eighth notes, and put extra rests whenever
rhythmic pattern changes (Musical Example 8.4). Additionally, loud dynamic and fast string
crossings can easily result in young players accidentally touching extra strings which shouldn’t
be played. Open string practice is a great tool for this issue (Musical Example 8.5).
54
Make sure you play off of the string on sixteenth notes and eighth notes. Finally, be careful not
to play these three sections in different tempi. The different materials of each section often make
players play too slow in the second section and too fast in the third section. The suggested tempo
for this excerpt is a quarter equals 92.
55
CONCLUSION
In this paper, I have examined details in seven standard viola excerpts. In the main
chapters of the paper (chapters 2-8) the main subject was to focus on the one or two qualities
which each excerpt is mostly known for, such as bow strokes in A Midsummer Night’s Dream by
Mendelssohn, left-hand consistency in fast running passages in Don Juan by Strauss, the styles
of the composer and high register in Symphony No. 5 by Shostakovich, shifting and counting in
Appalachian Spring in Copland, the styles of the Classical period and string crossing in
Symphony No. 35 by Mozart, dotted-rhythm and dynamic changes in Symphony No. 5 by
Beethoven, and styles of the composer and phrasing in Symphony No. 4 by Brahms. Several
practice methods which were introduced individually in each chapter (an open string practice for
string crossings, a subdivision practice to avoid incorrect rhythms, a dotted-rhythm and building
backward practice for left-hand consistency, and a link note shift practice for maintaining the
solid hand frame in shifting) can also be applied to other chapters if students need these
techniques for other issues that have not been covered by this document.
All the suggestions and practice methods in this paper are compiled from various
professional players and my own observations. It is my hope that those who read this paper use it
as the starting point of further investigation of their own technical approaches as well as other
viola orchestral excerpts.
56
BIBLIOGRAPHY
Beethoven, Ludwig van. Symphony No. in C minor, Op. 67. Viola part. Leipzig: Breitkopf und
Härtel, n.d. (1863). Reprint. New York: E.F. Kalmus, n.d. (1933-70). Accessed from
IMSLP Petrucci Music Library.
https://imslp.org/wiki/Symphony_No.5%2C_Op.67_(Beethoven%2C_Ludwig_van).
Benedict, Roger. “Mendelssohn A Midsummer Night’s Dream.” Strad 117 (March 2006): 72-75.
Benedict, Roger. “Sydney Symphony Orchestra Master Class - Viola - Mendelssohn.” YouTube.
Uploaded November 18, 2010. Accessed February 26, 2019.
https://www.youtube.com/watch?v=cn0yQzrgWgk.
Benedict, Roger. “Sydney Symphony Orchestra Masterclass -Viola- Strauss.” YouTube.

Uploaded November 21, 2010. Accessed December 6, 2017.
https://www.youtube.com/watch?v=MFnhoBzJGnk.
Boyden, David D., and Peter Walls. "Sautillé." Grove Music Online. Accessed 21 March. 2019.
http://www.oxfordmusiconline.com.proxy-
remote.galib.uga.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-
9781561592630-e-0000024643.
Brahms, Johannes. Symphony No. 4, Op. 98. Viola part. Leipzig: Breitkopf und Härtel, n.d. (ca.
1927). Reprint. New York: E.F. Kalmus, n.d. (1933-70). Accessed from IMSLP Petrucci
Music Library.
https://imslp.org/wiki/Symphony_No.4%2C_Op.98_(Brahms%2C_Johannes).
Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. A History of Western Music. 8th
ed. New York: W. W. Norton, 2010.
Butterworth, Neil. The Music of Aaron Copland. London: Toccata Press, 1986.
Callus, Helen. “Navigating the Fingerboard.” Strad 127 (January 2016): 76-79.
Copland, Aaron. Appalachian Spring. Viola part. New York: Boosey & Hawkes, Inc., (1945).
Cotik, Tomas. “Natural Playing, Inspired by the Alexander Technique: Exercises to Release
Tension and Improve Ease of Movement When Playing the Violin.” Strad 128
(December 2017): 86-89.
57
"Cross-rhythm." Grove Music Online. Accessed 8 December. 2017.
http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.
0001/omo-9781561592630-e-0000006882.
Dennis, Carrie. “Shostakovich Symphony No. 5, Enesco Roumanian Rhapsody No. 1,

Mendelssohn Midsummer Night’s Dream Scherzo.” Journal of the American Viola
Society 26, no. 2 (Fall 2010): 59-60.
Frisch, Walter. Brahms: The Four Symphonies. Yale University Press, 2003.
Grove, George. Beethoven and His Nine Symphonies. 3rd ed. New York: Dover Publications,
Inc., 1962.
Kimber, Marian Wilson. “Reading Shakespeare, Seeing Mendelssohn: Concert Reading of A

Midsummer Night’s Dream.” The Musical Quarterly 89 (2006): 205.
Kreutzer, Rodolphe. Forty-two Studies for Viola Solo (Pagels). 한국음악사. 1994.
Mendelssohn, Felix. A Midsummer Night’s Dream, incidental music, Op. 61. Viola part. Leipzig:
Breitkopf und Härtel, n.d. (ca. 1880). Reprint. New York: E.F. Kalmus, n.d. (1933-1970).
Accessed from IMSLP Petrucci Music Library.
https://imslp.org/wiki/A_Midsummer_Night's_Dream%2C_incidental_music%2C_Op.61
_(Mendelssohn%2C_Felix).
Mozart, Wolfgang Amadeus. Piano Concerto No. 22 in E flat major, K. 482. Viola part. Leipzig:
Breitkopf und Härtel, 1879. Accessed from IMSLP Petrucci Music Library.
https://imslp.org/wiki/Piano_Concerto_No.22_in_E-
flat_major%2C_K.482_(Mozart%2C_Wolfgang_Amadeus).
Mozart, Wolfgang Amadeus. Symphony No. 35 in D major, K. 385. Viola part. Leipzig:
Breitkopf und Härtel, n.d.. Reprint. New York: E.F. Kalmus, n.d. (1933-70). Accessed
from IMSLP Petrucci Music Library.
https://imslp.org/wiki/Symphony_No.35_in_D_major%2C_K.385_(Mozart%2C_Wolfga
ng_Amadeus).
Neumann, Frederick. Ornamentation and Improvisation in Mozart. New Jersey: Princeton

University Press, 2019.
Noble, Charles. “Tricky Corners.” Strad 110 (August 1999): 832-834.
Playing and Teaching the Viola: A Comprehensive Guide to the Central Clef Instrument and Its
Music. Edited by Gregory Barnes. Fairfax, VA: American String Teachers Association
with National School Orchestra Association, 2005.
Schotten, Yizhak. Orchestral Excerpts for Viola with Written and Spoken Commentary. CD-
ROM. 2004.
58
Ševčík, Otakar. Ševčík for Viola – Opus 8: Changes of Position & Preparatory Scale Studies.
Arranged by Lionel Tertis. Music Sales America, 2003.
Shostakovich, Dimitri. Symphony No. 5 in D minor, Op. 47. Viola part. Miami: Edwin F.
Kalmus & Co., [198-].
Silverthorne, Paul. “Masterclass.” Strad 116 (September 2005): 88-91.
Strauss, Michael I. “Preparing Excerpts from Beethoven’s Third and Fifth Symphonies.” Journal
of the American Viola Society 19, no. 2 (Fall 2003): 71-76.
Strauss, Richard. Don Juan. Score. Munich: Jos. Aibl Verlag, n.d. (1890). Reprint. New York:
E.F. Kalmus, n.d. (1933-1970). Accessed from IMSLP Petrucci Music Library.
https://imslp.org/wiki/Don_Juan%2C_Op.20_(Strauss%2C_Richard).
Strauss, Richard. Don Juan. Viola part. Munich: Jos. Aibl Verlag, n.d. (1890). Reprint. New
York: E.F. Kalmus, n.d. (1933-1970). Accessed from IMSLP Petrucci Music Library.
https://imslp.org/wiki/Don_Juan%2C_Op.20_(Strauss%2C_Richard).
Vernon, Robert. “Mendelssohn Scherzo, Mozart Symphony #35, and Strauss Don Juan.” Journal
of the American Viola Society 15, no. 3 (1999): 33-39. Accessed December 2, 2017.
https://www.americanviolasociety.org/Education/Orchestral-Training.php.
Vernon, Robert. Orchestral Excerpts for Viola. CD-ROM. Tempe, AZ: Summit Records, 1997.
Wilde, Denis Gerard. “Don Juan.” In The Development of Melody in the Tone Poems of Richard
Strauss: Motif, Figure, and Theme, 65-95. New York: Edwin Mellen Press, 1990.
Wilson, Evan. “Orchestral Training Forum: Shostakovich Symphony No. 5 in D minor, Op. 47.”
Journal of the American Viola Society 5, no. 1 (2000): 31-33. Accessed March 22, 2017.
http://www.americanviolasociety.org/PDFs/Journal/JAVS-16.1.pdf.
59
APPENDIX A
DOCUMENTATION OF REPRINT PERMISSION FOR MUSICAL EXAMPLES
March 21st, 2019

Seonkyu Kim
University of Georgia
RE: Appalachian Spring by Aaron Copland
Dear Seonkyu:
We hereby grant you gratis permission to include excerpts from the above referenced work below in your
dissertation for the University of Georgia.
We do require that you include the following copyright notice immediately following the excerpts for which it pertains:

© 1945 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey & Hawkes, Inc. Sole Licensee.
All copies must be destroyed after the term of your dissertation.
Permission is also granted for you to deposit one copy of your paper with ProQuest. Should you wish to place your paper
elsewhere, beyond that which is required for the degree, you will have to contact us in advance as a royalty may be payable.
Thank you.
BY: __
Erin Dickenson
Copyright Coordinator
Concord Music Group, LLC
60
APPENDIX B
DOCUMENTATION OF REPRINT PERMISSION FOR MUSICAL EXAMPLES
61

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A PEDAGOGICAL GUIDE TO SEVEN STANDARD VIOLA EXCERPTS

FOR COLLEGE STUDENTS

(Under the Direction of Maggie Snyder)

themselves, or starting in a limited way. Additionally, pedagogical references to viola orchestral

practice techniques that allow them more independent study.

details in a selection of standard viola excerpts, including works by Mendelssohn, Strauss,

audition, viola pedagogy

FOR COLLEGE STUDENTS

B.M., The University of Kentucky, 2013

M.M., The University of Kentucky, 2015

A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial

Fulfillment of the Requirements for the Degree

DOCTOR OF MUSICAL ARTS

All Rights Reserved

FOR COLLEGE STUDENTS

Major Professor: Maggie Snyder

Electronic Version Approved:

permission to include excerpts from Copland’s Appalachian Spring and Shostakovich’s

Symphony No. 5 in this document.

completing my degree and this document.

help as a mentor, teacher, and editor throughout this process.

2 Felix Mendelssohn, A Midsummer Night’s Dream, Scherzo .........................................7

3 Richard Strauss, Don Juan ...........................................................................................13

4 Dimitri Shostakovich, Symphony No. 5 in D minor, Op. 47 ......................................25

5 Aaron Copland, Suite from Appalachian Spring .........................................................32

6 Wolfgang Amadeus Mozart, Symphony No. 35 in D Major, K. 385 .........................38

7 Ludwig van Beethoven, Symphony No. 5 in C minor, Op. 67 ....................................46

8 Johannes Brahms, Symphony No. 4 in E minor, Op. 98 .............................................51

A DOCUMENTATION OF REPRINT PERMISSION FOR MUSICAL

B DOCUMENTATION OF REPRINT PERMISSION FOR MUSICAL

Purpose of the study

During a typical college curriculum, it is important for students studying orchestral

including works by Mendelssohn, Strauss, Shostakovich, Copland, Mozart, Beethoven, Brahms.

method to certain parts of excerpts.

When we consider elements of technique, we often write down only minimum

studying excerpts which have received less consistent attention.

fix significant problems.

independent study of excerpts without missing important details.

In this paper, I am going to examine seven selected standard viola excerpts:

1. Felix Mendelssohn – A Midsummer Night’s Dream

their future studies of other excerpts.

interesting theoretical components. For example, thematic development is an important musical

according to pedagogical reasons, Mendelssohn-Strauss-Shostakovich-Copland-Mozart-

illustrate specific practice methods.

Discussion of the musical characteristics of periods and composers provides an important

Symphony No. 4 respectively. Additionally, understanding the musical characteristics of the

Mozart’s Symphony No. 35.

CHAPTER 2: Felix Mendelssohn, A Midsummer Night’s Dream

CHAPTER 3: Richard Strauss, Don Juan

CHAPTER 4: Dmitri Shostakovich, Symphony No. 5 in D minor, Op. 47

CHAPTER 5: Aaron Copland, Suite from Appalachian Spring

CHAPTER 7: Ludwig van Beethoven, Symphony No. 5 in C minor, Op. 67

CHAPTER 8: Johannes Brahms, Symphony No. 4 in E minor, Op. 98

Felix Mendelssohn, A Midsummer Night’s Dream, Scherzo.

closer.”9 Additionally, from my experience playing passages at B and 12 measures after B, I

Spiccato vs Sautillé and Détaché vs Sautillé

note has a longer note value than an eighth note at A.

can develop a much stronger sense of internal rhythm.14

Fingerings and Bowings

be found in Musical Example 2.1.

Richard Strauss, Don Juan

better understand this piece:

tempo when you encounter them.