In this last movement of
Mozart's 35th Symphony,
what you want is steadiness and style.
To get an appropriate tempo, as with so
it's important to think ahead.
It's all too easy to get yourself started
to be stuck with some really frantic
So think ahead perhaps to here.
And that will give you.
Now we've got some three note chords.
That's in bar nine.
And I don't think you need to play all
three notes at once.
I think you should play the chords.
It sounds fuller and, and just nicer.
But instead sweep them.
So rather than a, a don't one kind of
Instead, you, you roll them a little, and
with the free bow.
And I prefer to do it down, up, down, to,
to avoid a, too rigid an accent on each
And in general this excerpt lends itself
sometimes to getting a little beaty.
So, one way that you can make yourself
stand out is to have a more musical shape,
even when the rhythm is repetitive.
Rather than that same accent and the same
shape on each one,
you may link a couple of bars together.
So a four bar shape might have a stronger
And, then, a weaker second half.
But then, since it repeats twice, maybe
the second time,
you could crescendo into bar 20.
So the whole eight bar structure, one
option is something like this.
Here we have a series, so it goes up, bit
by bit, and
you should reflect that with your dynamic.
In this way, no matter what you do with
you are showing that you're, you're making
a line, and Mozart is often,
his line can be found in simply the high
and the low notes.
So as it gets higher, you get more.
You'll see that over and over in the
symphonies and, and the concertos.
Now these eighths, it's important even if
you're going in a direction,
you don't want the tempo to go in that
So the eighths require discipline, sit
back on them.
It may help to think of the accompaniment
that, that happens there, which has some
Sometimes when I imagine the actual sound
of that, that helps me hold back.
Now, the very end of this excerpt has a
rhythm that's difficult to execute.
Three beats, and then the last beat,
dotted eighth 16th.
Except the tempo is,
actually a little bit
quicker than that, even.
What I often hear is that the dotted
eighth 16th comes in too soon,
and it compresses the whole rhythm.
Makes it easier, but it's not correct.
That's almost turning it into three four
bars, but instead,
here are three full quarter notes during
the dotted half.
And a little bit of help from the hand.
To articulate that
16th note each time.