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Violin Lessons: Mozart - Symphony #41, 4th Mvt, (2nd Violin) opening - Reh. A

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[MUSIC]
The last movement of Mozart's forty first
symphony, the Jupiter Symphony is a
wonderful movement.
Even playing the excerpt is pleasurable.
Sometimes the entire movement is asked in
audition,
it could be the first violin part, the
second violin part.
This relatively short selection from the
second violin part is representative,
it includes a lot of the same challenges
that go throughout the movement and
it also includes a nasty surprise in the
very opening
that is sometimes asked at auditions.
Your main challenges here are the pulse
and shape.
Again it's very simple elements that make
up this movement.
Mostly eighths, quarters, halves and whole
notes.
So the simpler the elements the more
thought has to go into shaping them.
Let's look at this opening first, this is,
well let's play it first.
[MUSIC]
Some of those measures are possible to
finger on one string but it doesn't make
sense to do some and
not others so you alternate the entire
way.
What you want is simply to get a good
start.
It's helpful to think of your arm level as
existing here,
[MUSIC]
right in the middle of the two strings.
However, you do need a fair amount of
motion from the wrist in order to cleanly
articulate.
If this were just a simple string
crossing,
you'd want to cross just from the A side
of the D to the D side of the A.
[MUSIC]
However,
when you try to do that very quickly,
you often end up with a double stop when
your trying to go back and forth.
[MUSIC]
It's not the worst thing in the world but
it's nicer to have a cleaner articulation.
Therefore, you get the arm level set to
the double stop, but
you use the wrist to cross nice and
strongly between the two strings.
[MUSIC]
Maybe it goes without saying that you
put the fingers down always as double stop
so
you are not trying to time that as well.
The most important thing in the audition
is to remember to keep the arm moving.
If you slow down the bow too much, you can
see how your wrist ends up, the whole
thing ends up feeling too vertical
[MUSIC]
and the sound will pinch.
So keep that arm moving horizontally.
Even if you think you may be playing more
than piano, it's okay.
It's an important accompaniment figure.
It's only the two violin sections playing
in the beginning.
So the firsts have the fugue subject and
the seconds have this.
[MUSIC]
You can see, I favor something
toward the upper part of the bow,
to avoid any pinching
[MUSIC]
of the sound.
Now, once you've gotten past that, you're
you're feeling relief.
Fortes that you have, such as when the
seconds get the fugue subject,
those bars have a natural taper to them
[MUSIC].
That's how I interpret those dots, for
separation not, not just a stop.
The quarters and eighth notes have
a moderate amount of articulation
[MUSIC].
It's nice if you can articulate those
eighths slightly off the string and
what you want when you have the mixed
slurs and
separates is to release the slurs
[MUSIC].
And as always,
you release the slur to the same height as
you're gonna bounce the eighths.
When you have a whole string if eight
notes, you need patients there, so
they don't move ahead.
This whole movement, has to, just go like
clockwork, and the, and
the genius is in how the, all the parts
fit together.
They don't fit together if one section is
rushing so
you have to bare that always in mind
[MUSIC].
It's great to have direction toward the
end of those, but not direction in tempo.
So that your eighths line up with the
quarters, halves and
whole notes of the rest of the orchestra
[MUSIC].