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Violin Lessons: Dvorak - Symphony #8, Adagio Reh. D - 8 after D

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[MUSIC]
The solo in the slow movement of
the Dvorak's eight symphony is a short
opportunity for
a concert master to display virtuosity,
always beauty of sound and add a really
pleasing character.
This is an open key G major this section.
That's the key of the symphony as a whole
but
the, the movement in question is not in a
very open key.
So this section,
this major section is the contrast, so
right from [COUGH] the beginning of
the solo that's what you have to project
that now were in a different sound world.
So helpful to listen to the rest of the
movement and understand what sound you're
coming from and why this sound needs to be
open and pleasing.
It's written pianissimo, espressivo,
there's really no way to play that
pianissimo and have the proper character
and project, as a concertmaster.
So you, you can safely ignore the
pianissimo.
It's worth remembering that it's not forte
so it should never be that kind of sound.
It should shimmer and I, I think that's
what the, the pianissimo represents.
But that's a little bit of an optimistic,
dynamic
you start out with quite a few D's so need
to match.
[MUSIC]
The first pair of D's and
the second pair of D's, you should be
leaving
a finger down anyway so that won't be a
problem but
between the two pairs they need to match.
Now, the first three bars each start out
with a D dotted quarter.
That can sound repetitive, so you need
some kind of plan, a shape.
If you group the first two bars together
and
go to the top note then that second D can
fall away.
[MUSIC].
That means that the third bar starts out a
little, a little weaker and
you can grow from there, continuing with
the crescendo that's marked there.
There's a pulse and there's accompaniment
this whole time going, so from the time
you
play your downbeat they play
[MUSIC].
So there's really not room for much rubato
until you get to the sixth bar and
right at that point you're free
[MUSIC]
for all the double stops.
So there, that's just a gradual lessening
of the sound, of the energy.
So it, it needs to start [COUGH], you
know, up on the higher side,
very capricious and then it gradually
loses energy as it gets down to a
pianissimo and the tutti.
So I would, for those double stops,
you want it to sound as smooth in the left
hand as possible.
[MUSIC]
So, my one shift so
far is an expressive shift.
[MUSIC]
Now I would play 3,
1, 4, 2.
[SOUND] cause then you're in position for
the next one [SOUND].
Then you go back down to first,
[MUSIC]
that's a chad, chance for
a nice gliss there and that should,
you should really hear that with, with the
bow pressure.
[MUSIC]