This section of Strauss's Zarathustra
is a real endurance test.
It's a long excerpt and a lot of it is
loud and sustained.
So you need to pace yourself.
We need to treat fortes perhaps like
mezzo-fortes in, in other music.
But you still need to have accurate
there are a lot of black notes on this
page and they're not all the same.
You really need to subdivide, for example
in the very beginning of this excerpt,
to count the eighth notes to know when to
begin the quicker notes.
So all of that needs happen
in that very last eighth note.
a few bars later the run has to come in
on the second eighth note, so, rest.
So right there,
just in one bar, you've
got a full eighth note.
You've got seven notes to the eighth.
Then you've got three, and then you've got
a dotted 16th-32nd.
Those should all be clear.
That's also why it's important
not to choose a tempo that's too quick
in the head right in the beginning.
Because you have to get quicker at the
then you need to get even quicker at
rehearsal four, nach bewegt.
This is another excerpt similar to Mahler
5 with a lot of chromatic runs.
There are so many different options that
it, it seems like it would be easy.
But the fact that there are so many good
options makes it difficult unless you've
written down your fingerings, planned them
in advance have a system that you like.
The bowings, however, are free.
This is too loud and
too sustained to really realistically do
the bowings that are on there.
So break when you need to.
Or I should say split the bows when you
But sustain the sound so that right to the
end of the ups and the down-bows.
Let's look at the fingering getting into
into the bewegt that goes up so high.
What I like to do is minimize the number
You, you either, you can minimize the
distance of your shifts and
have more of them or you can have fewer
shifts that are bigger.
In a quick passage like this,
I find it's better to move the hand a
lower number of times.
So, two bars before the bewegt.
I shift into third position after the run.
That's all in a position.
And then I shift up just a third.
far I only had one shift since I was in
Then I shift one more time for
the ending, two, one, two, three.
The bow can't
be too fast for
that last note.
It's such a tiny string length, and the
bow's gonna be so close to the bridge
that if you use too quick a bow, you run
the risk of either scratching or
glassing over the note or even going
behind the bridge.
[LAUGH] So you need to make an accelerando
through that last run up to the top note,
but control the bow.
Now at the bewegt,
it's traditionally played on the G string
that has the right sound for this.
So, I like to shift up on the F sharp.
It's just a little
bit of crawling there.
The next one.
So I shift up again on the F sharp
to a first finger and then I,
I play the top C with the third finger.
It's a little stronger than, than my four.
Now, the dynamic pacing, as I said, this
excerpt starts forte which
should be comfortable rather than pressed
because you have a long way to go.
And since this excerpt is so long.
There are many fortissimos, so the very
first fortissimo can't be a high point.
What you want is always a quality sound
that sounds like it's going somewhere.
So there are gonna be natural ups and
They need to be within a very strong
intense sound and dynamic.
But you have to release the sound
the long notes are the best places to do
So you can release it, for
example, before rehearsal 5, a few bars.
It's not going
to be a straight dim like that.
But it's just releasing the sound a little
bit, so that you can have a strong pickup
to this fourth there.
there that appoggiatura.
As long as you're not really letting
the sound die or ending piano or anything
that's a good place of repose in the
sound, then you pick it back up.
So it's all about those little
moments of release that you can steal
to save both your hands and both your