The last movement of
the Classical Symphony.
The point of this one is absolute clarity
in piano and pianissimo.
Now the bowings that are printed in the
part, they, they don't always fit.
So you need to make up your own bowings.
They have to fit the character and
they have to fit the articulation that you
Strangely, a lot of these
accents feel better on up-bows.
When you put them on down-bows, they
sometimes can get too long.
And there's a natural, well, a lot of the
time on up-bows,
we try to fight the tendency to accent.
But here, you can just use it to your
And it works nicely.
There are a couple downbeats in here that
don't have accents.
One of them I had just played.
you have to think of what's coming right
So that's one bar that needs no accent.
And then rehearsal 49, as well,
that's a pianissimo that's coming out of
some bouncy stuff.
It's only the next
downbeat that gets the accent.
I'd to share just a couple of fingerings.
The harmonic, too, before rehearsal 48 can
And then starting and
staying in fourth position, and
then just reaching up for rehearsal 48.
Same for the run at 49,
to just stay in fourth position there.
And finally, the,
the very end of this excerpt
to start in second position.
And then to shift to one, fourth position.
Because if you played without the grace
You'd just end up reaching back for
that last grace note.