In this big excerpt from Mahler's
5th Symphony the watchwords are rhythm and
This is a long excerpt, and almost all of
it is very loud.
So it's okay to, to push the boundaries of
the sound you don't
want a bad sound, but what you want is, is
energy, sustained over a long period.
That happens all the time in orchestra,
committees need to know that you have
that, that gear.
The rhythms in here are difficult because
of all the ties and
the mixture of triplets and eighth notes.
So some of the ties are tied to a single
note, some are tied to a double note, so
you have to know that and play the exact
So you need
to use a metronome
to check your
As usual, put it on the big beats perhaps
the bar lines,
could be even every two bars, could be on
the half bars.
But the triplets and the, the duples,
the eighth rhythms need to match so that
the pulse never changes.
Because in the orchestra, this just, it
just rolls along.
This is a great excerpt, if you're not in
the habit of riding your
fingerings in excerpts, this is a tough
one to, to memorize fingerings,
or to try and do it on the fly.
The, you can get into trouble if you end
in the wrong place in the finger board on
the wrong finger.
Just, things happen in auditions.
It's better to work this one out and have
it more or less set in stone.
You might ask about what if they make you
the orchestra parts that are there on the
If that should happen, it's never happened
to me, if that should happen,
then hopefully, your preparation using
the fingerings that you've written in your
own part and practicing it over and over.
Hopefully that preparation then would
carry you in that case, but in ever case,
auditions I've taken I've been able to use
my parts, and
I've been glad to have fingerings written
in, especially in something like this.
Let's look in more detail at some of these
So I'm in bar one,
two, three, four, and
five of this excerpt.
The triplets in bar four are really
exactly the same as the triplets in bar
five you're just not playing all the notes
in bar five.
So if you were to fill in the rests
I hear many people confused about
the rhythm there, so in tempo from the
So whenever you have the so-called
big triplets, the quarter note triplets,
each of those is equal to exactly two
eighth note triplets.
Same in bar five when you have that,
that's basically a quarter note triplet
note rhythm except you're not playing all
the, all the little notes.
So work out all those triplets, be very
exact about it.
Because the pulse in this must remain the
same except for
the pesante bar, after which it goes right
back to how it was.
So, this is important to practice all the
It's, we get used to practicing excerpts
in sections much of the time.
This one it's important to make sure that
you are comfortable getting all the way
through it, so that there aren't any
surprises in an audition in
the second half or near the end where you
may be fatigued.