In this third movement of
Beethoven's Ninth Symphony,
we have a variation.
There's a, a main theme that's been going
on since the beginning of the movement,
and now we have a beautiful first violin
variation on that theme.
So what the committee wants to hear in
this one is smooth even singing sound
again something that would work together
in a section with a steady pulse but
Never feeling the individual notes but
rather the whole line.
So, it's helpful to familiarize yourself,
probably re-familiarize yourself with a
recording of this movement.
Or if you've played it recently, you think
to the feeling that you get from this
You have to imagine a sort of sound world.
And everything that you play in this
excerpt has to exist within that
Too often we hear on the committees
sounds that really go out of the bounds of
expression of this particular movement
with shapes that are way too obvious and,
and that detract from the overall line.
There, there are a lot of little hairpins
Those need to be subtle so that it doesn't
disturb the pulse and the feeling.
If you remember the main theme.
So the 16th notes
that you play here in this variation,
need to fit within that feeling.
The vibrato in
this excerpt needs to
happen through the line.
Not on a note per note basis.
Because the tempo's just too fast and it
would sound silly for
the vibrato to stick out like that.
But the hand should be flexible enough to
vibrate, vibrate through the line.
You'll see my hand moving just a little
Then when you're playing this
keep careful listening with your ear,
to hear any accents,
either from the right hand or the left
There are shifts, the shifts are gonna be
necessary in this excerpt, but
they can never stick out.
And so the mo, the shifting motion needs
to be very smooth.
You'll wanna hide it with the bow where
However, it's usually the right hand
that's the culprit with the accents,
so all the bow changes need to be
I would not
make a big deal out of
the various slurs that
are marked in here.
Often it's true that in Mozart you'll
shape things according to how it's slurred
or how it's beamed, I think that detracts
in this exert.
So for example those, those slurs of two
on the B-flat octave that I just played.
I don't bring out.
I, I find that distracting.
Those groups of three, I think it's enough
just to play them bowed as three but not
to, not to bring out that grouping.
Lastly you have repeated
hairpins marked in bar 109 and
those should be very warm and expressive,
we like to say more left hand than right
So its again not, not real accents, but
it just supports the, the overall
that's going on in this except.
It's important to as in all music,
but especially the excerpts to count the
You have 16th notes section of this, you
have a triplet section.
Every time you stop,
committee members may be back there kind
of tapping the eighth rests to themselves.
So you need to do the same thing.
Count them all fully.
This would be the end of bar 107 into 108
And it's, it's a nice way actually to get
the triplet rhythm going in your head so
while you're counting the eighth rests
it's not just bum,
bum, bum, but you can think [SOUND]
Then you'll be sure that you have the,
the pulse continuity.
When I talk about bar 111, this is an
example of how you can place
a guide finger down to make a double
string crossing a little smoother.
You see, you have to cross all the way
from the A to the G.
And it's, you really don't wanna take time
to do that.
So that's a bit of a distance for
your arm to travel cuz you're trying to
avoid the D string.
What you can do instead is to place the
first finger on the octave G.
What that does is to lower the D string so
that your bow doesn't have to skip over
And if you happen to hit the D string a
little bit it'll just be on an octave G
and no one will be able to hear it.