In this selection from the climax of
the first movement of Shostakovich five,
it's a test of endurance and a test of
So you, you need a rock solid plan for
Something where you're not having to shift
around too much,
where you can use, crossing over and
staying in position as much as possible.
That'll make your life a lot easier, help
you survive through this.
So, let's look.
It's an excellent idea to practice these
as double stops.
When you do that, you get to used to
placing the fingers together and
it's a quick way to tell whether your
shifts are gonna be in place.
If you're trying to put fingers
down just at the exact moment as they
it's likely to be unclean.
Now the articulation has to be super
So you take extra articulation
from the arm on every one of those 16ths.
Now into figure 36, you need to give the
impression of a crescendo.
So, since you've had so many repetitions
of that octave right before,
you need to come down at a certain point
that you can show the committee that you
are growing into 36.
And then you need to practice your pacing
that you ritard exactly into the tempo you
want at 36.
This excerpt has the danger of inviting
sound that's not of a great quality.
So while it's very intense and the,
there's room for
a little noise you still don't want it to,
to get too pressed and
to have that be the dominate impression
that, that people get.
Look right before 37 where it goes up to a
high B flat.
Here's one place where I like to leave a
finger down for safety.
I've shifted up through first finger for
that D, and now I leave it down.
So up top, I play four, four, three,
and then go down to the one I left down.
And then it's back
to first position on that lower G.