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Violin Lessons: Haydn - Symphony #103, 2nd Mvt mm. 84 - 108

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[MUSIC]
If the solo from the slow movement of
Haydn 103rd Symphony appears on a list.
It's because the committee wants to see
your absolute creativity and
variety in classical repertoire.
Haydn, in the string quartets for example,
rouge bowing sometimes but not always and
there's always debate when reconstructing
quartets from his manuscript.
Just how many bowings he wrote and what
were put in by editors.
The consensus is though that it's, there's
a real freedom for
the first violinist in a quartet.
For example, who takes most of those big
solos to make up bowings and
articulations, as you want.
And that's true in this solo as well, and
that's compounded by the fact
that there are two halves to the solo with
repeat signs.
So you definitely don't wanna do, do the
same thing twice.
There's all sorts of room for variations,
which we'll get into this solo it's, it's
a movement in minor.
It's a major movement in C minor and this
solo marks the return to the major.
And so it has to be extra sunny,
especially in the beginning.
[MUSIC]
so you'll want
to use the whole library
of separate strokes here.
You have, sometimes smooth when you, when
you want to be sweeter.
You'll have longer strokes with
articulation when you wanna be rustic.
[MUSIC]
You'll have the more standard
separate and off the string
[MUSIC].
And then there are the slurs and the
variations you can do with that.
For example,
in this edition my second half is marked
[MUSIC]
with one bar, two slurred ones
separate and then the next bar all
separate.
It could just as easily be, though.
[MUSIC]
The point is that you want to play this
enough and get comfortable enough with it
that you can make these things up on the
fly.
I would recommend that rather than
planning everything out to
the last stroke in detail.
Although that, that's certainly a valid
option especially in an audition if
you wanna write one thing above the staff
another thing below the staff.
But it should sound,
of course improvised it should sound
unplanned, so should the shapes.
And you need to have, what I would suggest
is that you have a plan for
the shapes at major checkpoints.
For example in the first half of the solo
you get up to a high C.
[MUSIC]
How you get up to that C and how you come
out of it, that might be a good idea to
play on and
do it one way one time and another way on
the repeat.
[MUSIC]
Likewise you should know
how you're going to end both halves.
Now, the second half has a, uuh, a fermata
with quite
a high note before it, that also gives you
a chance for variety.
You could even throw in a cadenza there
that would certainly be in style.
A short one
[MUSIC]
or
[MUSIC]
ending more up and
then the little tag that
goes at the end could be slurred or
separate.
[MUSIC]
So the sky is the limit,
the committee wants to see you have fun
and
you want to stand out by having smooth
lines.
So your changes should blend one into the
next
whether they're changes of length, stroke
or dynamic.
[MUSIC]