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Violin Lessons: Mozart - Symphony #39, 2nd Mvt, opening - m. 19

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The opening of the slow movement of
Mozart's 39th Symphony is a very popular
one on audition lists, and for good
It, when you're playing in the section
with someone whose rhythm is
not matching up with yours.
It is very hard to create the proper
atmosphere in this movement.
So, committees want to be certain that
prospective candidates can,
can really play this with accurate rhythm
and the great sound.
The pitch of course, is also important.
The key of E-flat is not always the
easiest one to,
to hear properly on the violin.
And then lastly the sound quality through
what can be some, some type rhythms.
So your first task is to get this started.
I would call this a soft start.
It's a technique that I like to use any
time I need to start softly near the frog.
I get the bow very close to the
It's actually not bad practice to to
practice hovering just over the instrument
to feel what that feels like and, and not
to panic.
Then, to get started,
I move the violin up into the bow rather
than the bow down into the violin.
So, again the bow is either hovering
just above or just contacting the string,
then the violin gets the stroke started.
The reason I think this works well is that
if you'll notice,
if you pick up a barbell or a book, a
heavy book for example, not a barbell,
a dumbbell, a heavy object that you hold
in your hand,.
If you move it up and down you'll see how
smooth that motion is,
whereas if you're moving a lighter object,
you know, your, your body's,
your natural shakes can sometimes make it
a little less than smooth.
And when you're dealing with a start right
at the frog.
That needs to be especially soft.
You wanna be moving the bigger object,
which is the violin, the bigger muscles of
the, the upper arm here.
So this is maybe the,
my best example of when to use a start
like this.
But, but you can use it all throughout
your playing.
Now the perfect intervals are the ones you
wanna listen for and match.
That's starting with a unison, all the
All those E-flats
should be the same.
Then the A-flats and B-flats are perfect
with those.
That's one way to prevent
crawling up the fingerboard and
getting higher and higher.
Now this is a theme like in the first
movement, that includes a lot of rests.
You want to play just into those rests and
release the sound as you want to continue
Rather than letting the sound abruptly die
right at the rest.
This dotted rhythm
needs to be a true dotted
rhythm and not a triplet.
All too often I hear this rhythm turned
into triplets,
especially when it gets repeated over and
over as it does later.
And now it's
become triplets.
You need to maintain the integrity of that
while still keeping a,
a smooth sound, so you can't really help
with the bow to articulate the rhythm.
It has to be in the left hand.
Now, you should still make shapes,
whether it's slurred or separate.
You just can't beat or articulate with the
So in the very beginning, you can have a
natural growing decay in the bar.
That follows the dotted line as,
as the notes go, go up.
Same here.
And by making those kind of intelligent
shapes throughout this excerpt, you show
that you're
more thoughtful than someone just trying
to get through it.