The solos from Scheherazade
are all about beauty and variety of sound.
And, and this opening solo is the best
Here, you have all the registers of the
violin to use.
And so you need to help people hear what
the violin is capable of, or
what all the different registers sound
You also like to avoid repetition when you
repetition in rhythm, repetition in sound
The very first note has a chance to
So the bow should change at the very point
when the sound has reached its, its lowest
or when it doesn't have any more
interesting changes to make.
If you change after that, then you're
basically having a,
a few inches of dead sound, a few inches
of dead bow at the end of the note.
So better to change too early than too
And of course, you want the beginning
of the up-bow to sound the same as the end
of the down-bow.
Now, all the glissandi that you make in
this solo should be the expressive kind.
So, for example, when you're at the
they don't always have
to be the same speed.
But they should not be hidden.
They shouldn't be rushed over.
So these are, these are glisses that you
want to hear, and
you wanna make the most of them.
At the very end, you can span the whole
register of the violin.
So on each string,
you should be making a,
a representative sound on that string.
So if you're starting at a low dynamic on
the G string, as I just did,
you want a, a husky G string sound.
Not just piano or weak, but something
And then it gets more silvery as it goes
up until finally you have
the brilliance and the singing qualities
on the E string.