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Violin Lessons: Beethoven - Missa Solemnis, Sanctus 4 before Reh. E - 1 after Reh. F

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[MUSIC]
In the Missa Solemnis solo what
you're after is shimmering beauty
of sound and total smoothness.
Beethoven's calling up the violin to,
to represent that ethereal and, and just
angelic sound.
This is a very long movement and
a song solo well be studying a portion of
it in this lesson.
You don't need anything complex, the
shapes can naturally follow the line.
You don't need to really make much happen
it's this is
religious work and the, the sound quality
and
the ease of execution should really sound
for themselves.
So with that said, you need to listen to
your vibrato in the E string and
make sure that, that fits the sound of
this type.
That it's not pushy, that it doesn't call
attention to itself.
[MUSIC].
So that all the finger changes, all the
string changes keep that same, same sound.
Dead notes in this excerpt will really
stick out,
meaning, dead of vibrato, so if you have
notes.
If you have a note that's surrounded by
notes that are vibrated
then that note needs to be vibrated too.
You can scale it back or scale it up
depending on the line but
there can't be any sudden dips.
If you'll look starting at the, the bar
before rehearsal E,
you're more, more than likely gonna end up
on the A string somewhere there.
I would stay away then, from the E string
until much later, so.
[MUSIC]
Here, I would
go up to the A string.
[MUSIC]
And
only here switch.
[MUSIC]
I think that's, that's a nice place to,
to make the change to the E string and
the, the sweet sound there.
In the next line you have a, a slide up
well you have a change up to an octave G.
I think that should be an audible, and an
expressive slide.
That one doesn't need a lot of bow
pressure,
as it might a big octave shift on the G
string or something.
But it does need, you should, whatever
pressure you had you
should keep it while the, the hand moves
very smoothly.
[MUSIC].
A shift like that is great to practice
without the bow so
that you can actually see and feel your
timing.
I like to call it the choreography of the
shift.
[NOISE].
And when you're practicing without the
bow, you always imagine the sound,
the great sound on that top note.
You may be hitting it with your finger.
You may not be but
it's important to imagine that sound
because over time your body will adapt.
And you'll be able to do that pace of the
shift that you like and
you will hit the top note.
[NOISE] If you notice that your motion is
not very smooth
than simply keep repeating it and try some
different motions.
For example, if I notice that I was pretty
fast.
[NOISE] Kind of jerky getting up to the
top.
I would purposely choose a different
speed, just to try it without the bow.
[NOISE] You want that nice, smooth,
satisfying arrival.
[MUSIC].
And then whether you hit the pitch exactly
the way you want when you first put
the bow back on.
You keep repeating it, concentrating on
the choreography and
the pitch will center you'll see it happen
time and time again.
There is a trill in bar 129 that should
fit in the style that you've been playing.
In other words, it should start a little
more slowly and
it should not build up to something
tremendously fast.
It's just not that, not that mood here.
[MUSIC]
And same for
the finishing trill.
[NOISE]
[MUSIC]
You can let those finishing grace notes
blend in with the trill before you resolve
to the D.
[MUSIC]