This excerpt from, near the beginning of
Schubert's Second Symphony has two
main challenges: the coordination of the
two hands, both in pianissimo and
fortissimo, and then, the end which just
has an awkward shift.
[LAUGH] And there are few options for
doing that, which we'll get into.
The ties in this excerpt also need to be
that has a tendency to throw people off.
So let's get a good start first, from the
I like to play this up-bow, so that I can
get the accent on down-bow.
I hook after the, after the forzando an
extra down-bow so
that I can repeat the same bowing in the
So each forzando I want on the down-bow.
Now these are forzandos within piano.
So the whole opening section until
rehearsal A should be in
pianissimo in fact.
And then after that they're you know, more
Especially in the fortissimo,
listen carefully to see if the two hands
There are some, some shifts in there as
well, which I prefer to do on half-steps.
When that gets faster, you have to make
sure that that both
hands are matching up and you're not
getting extra noise,
which could mean that the, the bow is
beating the fingers or vice versa.
You want the same clean sound on every
Now let's look at the end.
So, let's look at fingering options for
There are two main ways to do it, one of
which is to just shift for
the last note, and to make it easier to
play everything before in tune.
There you're just shifting for the last
note, and you're using a guide finger.
So if you're comfortable with a shift of a
then you can use the guide finger, silent
guide finger to get up to the G.
Now I prefer something else, which is to
get into position earlier.
What that does is that gets me into fifth
position with my second finger covering
two strings so that I can just reach
comfortably for the last note.
So when you shift up to fifth position,
the two really does have to be covering
both strings equally.
There's one last trick that I like to do
because when you play this fast,
It's a more comfortable bowing the other
way around with the up-bows on the E
So to get there, I do something I wouldn't
really be able to do in orchestra, but
it sounds good in an audition.
That's four before B, I play the first two
Since I'm bouncing anyway, it sounds the
Then I can have the right bowing for
the string crossings right before the end
of the excerpt.