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Caprice no. 24



I love number 24 for its completeness. Its form is reminiscent of many Baroque compositions, where short movements are packaged together (often alternating slow/fast tempi) to collectively make a piece that is about the same length as a long pop song.

Campagnoli utilized the variation to include many different techniques: double-stops, bass and treble voicing, fast passagework, and string crossings. I am glad the fast movements were not any longer. The single take recording was quite a challenge!




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Caprice no. 16

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Caprice no. 20

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In fact, I have never been made to hang out in seventh position unless I'm playing on the A string for some stratosphere work. So, it was a new experience having to traverse ALL the strings in these high positions. It was uncomfortable, and very tricky to eliminate extraneous noise, such as a plucked string when crossing over to the next one. Plus, getting a stellar sound way up there is a constant challenge! I had to pay extra attention to my bow: in order to make a good sound it had to be in exactly the right place with the perfect amount of tension and speed.



Caprice no. 23

No. 23, Andante sostenuto, is a melancholy work that draws its character from the beautiful sonorities of the viola. This is a great piece to explore your rich sound in many different forms. Because it repeats so many times, there are small opportunities to improvise with ornaments, change dynamics, or play certain notes on different strings. All of these variables can help you to change the character as you wish.