For this solo at the start of the second
movement of Scheherazade,
remember that the audience and your
colleagues have heard this theme before.
So, you find a way to mix it up.
Perhaps not the same coaxing sound as in
Rather than growing into it like you might
have in the first movement.
Remember too that the first movement ended
in E major.
And now suddenly, with this beginning of
the second movement it's in E minor.
And so you want a little bit more of a
Now, the challenging part of this solo
comes after you've done the opening solo.
There are some tricky double stops, and
what you need is to build the dynamic as
you go up in register.
Let's look at the fingerings.
What you want is to not have to replace
fingers when you don't have to.
So the first double stop is four-one.
Then you've got three-two, and then
So you always working with opposite pairs
And you want it to sound as smooth as
So avoid helping too much
the articulation with the bow.
In the second set of three, I can go ahead
and slide the two down.
And then I do have to make a quick
switch for the one across the strings.
I shift up to a second finger for the E.
So I really only have
the one shift there.
Now for the E, I play a harmonic.
So I find that in tempo,
I'm able to touch the harmonic with the
put the three right back on the E string
for the C sharp.
The last note of the solo should not
linger too long because it's only an
and the bassoon solo comes in right on the
second eighth of the bar.
So your last note has to clear out of the
way relatively quickly while
still having a nice quality.