The Beethoven Nine Scarstro is
another control excerpt, but
it does have some tricky elements as well.
The rhythm right in the first bar, the
dotted quarter eighth and quarter.
It should be a simple rhythm, but
it's played incorrectly very often in
The problem is that it can come across
sounding as a duple rhythm,
with two equal parts of the bar.
You can hear that I'm accenting the last
note, and that gives the impression that
it's bum babum.
And not only is that not a great idea
but it makes it sound like an incorrect
You really need to feel the missing
quarter note, the second beat of the bar.
You need to feel that, and so that you
play the first note long enough.
If you wanted to divide the bar into two
parts, the halfway point would actually
come on the eighth note.
So, it helps some people to think of it
that way, but the real point is that the,
the strongest part of the bar needs to be
That first note needs to be long enough,
and you need to feel the missing second
So, that can be, that can take some
working out, getting the articulation on
the eighth note, playing the three
notes strongly, but without any of them in
particular sticking out.
Now, that challenge is magnified when you
have to repeat the rhythm all the time for
example as at letter C.
That's one place, especially in the heat
of the moment,
where the repeated rhythm can again start
sounding like duples.
Here's what that would sound like.
You can hear a clear one two,
one two rhythm going on there and that you
It needs to be a three rhythm
So, if you have someone to play with you,
for example, you can
have them play just a half and quarter,
while you practice fitting in the eighth
You can do that also with a metronome, so
that you hear bum, bum bum.
not every audition makes you play a bunch
of extra bars at C,
but many cases, you will have to play
So, be prepared to repeat that rhythm
Now, a lot of this excerpt resembles the
it's pianissimo off the string quarter
So, let's talk about a couple of bowing
options when you start the pianissimo.
I like to play at the second
bar of that entrance.
I like to play an extra up bow because it
prevents me from putting an accent.
I want to have a much longer line than
And, like other short,
short note excerpts like this one,
when you crescendo, you wanna start using
So, this one doesn't have as short a
crescendo, for example,
as the Beethoven Three.
You want to pace this one and gradually
start using more bow.
And, let's look, as far as bowings,
let's look also at letter A because there,
you get to choose how you wanna
bring out those repeated fortes.
Beethoven often does this those, those
are, treat them like sforzandos,
and in, in some music you would treat them
actually as a crescendo.
You don't really have that much room to
crescendo further in this excerpt, so
what they are is really sforzandos or
I prefer to have all of those come on a
So, I do hook the other two quarter notes.
If you're getting too much noise
on those repeated down bows,
too much consonant,
you may consider just playing it as it
doing accent on down, and then up.
However, if you do that you have to take
care that the down bow bars don't sound
stronger than the up bow bars.
That's really the whole point of doing the
hooked bowing where you have them all on
So, I'll play the bowing I use.
The big danger of that bowing
is that the hooked quarter notes now,
get compressed, that they rush.
So, whatever bowing you use, you, you have
to have in your ear the exact sound that
you want, and then force the bow to fit