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Violin Lessons: Bruckner - Symphony #9, 3rd Mvt (2nd Violin), Reh. I - K

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[MUSIC]
This excerpt from Bruckner ninth last
movement for the second violins is one
that's
important to listen to in a recording or
if you,
of course have the chance to play it in an
orchestra even better.
It's very difficult to get a sense for how
this is supposed to sound just looking at
it on the page or, or even hearing a solo
violin play it.
It's very complex harmony that's going on
here even though the rhythm is so simple.
So yes the sound quality needs to be great
the pitch needs to be accurate.
But to really get the flavor here you
should hear it in context.
It's, it's a beautiful passage that
doesn't necessarily sound beautiful when
you play it by yourself.
Also listening to the recording and
knowing the harmony or
looking at the score.
And knowing the harmony makes it easier to
hear the pitches, and
to know where they should be, and what
needs to match.
But even without doing any of that you can
still match important pitches
notes that come back either in unison the
same octave or
a different octave or the perfect
intervals, fourths and fifths.
So in, for example, in the very beginning.
[MUSIC]
You have many E flats,
they should all be the same.
Also the A flat with the E flat that's a
perfect fifth.
[MUSIC]
This is why it's
important to work
within the hand frame.
There are gonna be, there are so many half
steps in this excerpt that you're gonna
be moving a finger up or down a half step.
When you do that, you need to keep the
frame exactly where it was.
So you'll see that when I move my third
finger from a D to D flat.
I'm gonna keep everything else where it
was, so
that I can keep a consistent pitch, and a
consistent frame.
[MUSIC]
Then I can be sure to return
right back to the notes that I had.
This is another one like, Beethoven ninth
slow movement,
where you need to vibrate through the
line.
It's, this is the notes move a little
slower here than in that
Beethoven excerpt.
But even so, there's not really time to
vibrate on a note by note basis that would
sound strange and, and notes would stick
out.
So, you'd vibrate the hand, the entire
hand through the line.
[MUSIC]
Maybe it goes without saying but
I'll say it anyway that the bow
changes should be smooth.
There shouldn't be any portato or
unintended articulation in the bow during
these slurs.
It should be absolutely smooth.
Now the important dynamic change only
comes in the end, so
you have to save a little bit of that
crescendo.
So you can still end the excerpt with a
quality sound.
[MUSIC]
[MUSIC]