The last movement of Mozart 39 is one of
those total test excerpts that,
that is very reveling.
There's a mixture of challenges here.
The first is the articulations.
You have slurs and separate notes in very
close proximity to each other.
And those need to be cleanly articulated
and they need to proceed evenly.
They can't take away from the rhythm.
There are all kinds of etudes in the
curriculum that can help you with that.
The, the mixed slurs in separate
articulations are very common variations
to very simply etudes.
So, you can use that knowledge in the
You can also use it here by sort of making
an etude out of this,
practicing it with different
So rather than simply.
You can do all separate.
You can do all slurred, different groups
of slurs, mix it up.
The point is to get your ear used to
the rhythm with a variety of
What often happens is that if you get in
the habit of practicing it,
just as it's printed on the page, various
habits can start to slip in.
The separate notes can start to rush, or
hook notes can start to rush.
The sound is not even at the end of slurs.
So, you have to use a critical ear to
listen for those things, and it helps to,
to mix it up a little.
Your second challenge is the, in this is
the multitude of string crossings,
especially in the forte section that comes
later, so we'll talk about that.
And the third challenge is one even pulse
for the whole except.
I like to start my work on this excerpt by
going to the forte section first.
A lot of people get hung up in the
beginning when it's piano, and the,
the notes aren't speaking very well.
So, let's, let's solve some forte problems
Start on the string,uh, start from the
string I should say, and
then stay close to the string for
So, this is the pick up to bar nine.
So, here we have all our challenges the
So, I want to hear the second note of the
slur, as clearly as I do the first.
A lot of times what I hear is this.
And that just comes from practicing it the
same way for a long time, and, and
getting a certain habit.
And the ear not even missing that that
note was, was weak.
So, focus with the right hand on playing
both of those notes evenly.
Now since it's forte, you wanna be free
and easy with the bow.
Especially in the separate 16th notes.
Because then, what you can do to get the
piano for the opening,
is simply to use less bow as we do so many
you've solved the problem with the opening
once you practice your opening routine.
Okay, so we've got a basic stroke and
we've got some dynamics.
Now, we want to link bars together,
because again a, as so
much of Mozart, the rhythm can be
Right there already that, that's two times
Instead, connect the first to the second.
And that, that solves it.
That makes sense then, and it's, it's a
I'd like to talk about the string
crossings in the forte section.
There's a Kreutzer etude that fits
perfectly right into this because here,
as in that etude, we have two different
types of string crossings.
You have one type which has to get you
from the D string
[SOUND] all the way to A and E [SOUND].
And that you do with the arm, your arm
But alternating between E and A, [SOUND]
that happens with the wrist.
So I hear people getting into trouble when
they're trying to do all the crossings
with the arm.
Where all the crossings were at the wrist,
and those problems look like this.
That's very fatiguing for the arm.
Or this with the wrist, that doesn't
really get it cleanly.
So, this you can work out under tempo
starting from bar 16.
The most important tool for this is
actually just your,
just wanting to get all those notes and
string crossings clean.
Hearing, if there's a particular one
that's giving you trouble over and
over because most of the time problems are
If, if you're playing and it just sounds
messy and you play it again and
it sounds messy, it's usually the same
string crossings that are tripping you up.
So, remember to anticipate the crossings
with your arm.
So that you're not having to make split
And figure out when you can do the
crossings with the arm and
when the wrist will be able to get you
from one string to the next.
And always listen for the second notes of
That's a common theme throughout this.
I'd like to tell you about one thing that
I noticed in an audition one time
this excerpt was asked for quite a long
ways into the excerpt.
And when the candidate got to bar 54 those
the committee noticed that the tempo had
slowed way down.
The candidate obviously wasn't thinking of
the sixteenths remaining.
And instead the tempo slowed way down.
And someone on the committee said oh,
we need to ask them to play that again,
you know, in the proper tempo.
And the music director simply said, if
they don't know what tempo they're in,
if they can't keep the same tempo, I'm not
And that was effectively the end of their
So, it's worth remembering especially when
you're going from quick notes
to longer notes, to keep that going so the
pulse remains absolutely steady.
you're demonstrating great internal rhythm
without a section around you.