This third movement solo from
Scheherazade is the longest solo in the
The difficulties here are the bow control
for the off the string Sautillé and
the connections between the different
fragments, so those have,
those are different problems with
So let's look at the bow control first.
The solo starts in a very familiar way and
we covered that in the other Scheherazade
lessons but pretty soon.
So for this solo,
you obviously need to have a Sautillé
stroke over the four strings that
you're comfortable with.
Once you're comfortable,
you also need to be able to vary the
So you can do that by how far off the
string you get.
In other words, how much energy you put
into the stroke, and
by how flat the hair is, and how close or
far away from the bridge you are.
So, when you wanna slow that stroke down,
generally you flatten the hair.
And get it a little closer to the bridge.
When you get closer to the bridge,
as you can see the distance, the height
between the strings gets larger,
so that's an easy way to, to slow that
When you speed the stroke up or slow it
down is a matter of musical taste.
So let's look at when you might do it
So I like to speed it
up toward the middle and
relax it again at the end.
The important part of starting the
Sautillé because that's most
often the most difficult thing is to get
actually the stroke started.
The most important factor is getting to
that exact spot in the bow
that you wanna do the bouncing.
Now, we have our favorite spots for doing
when we don't necessarily have to change
So for me it's a little past
the mid-way point of the bow.
But I find that to get a guaranteed good
start at this.
And to be able to control the speed, I
like it then a little lower in the bow.
I don't have to worry about being super
quiet in this solo, so it doesn't bother
me that the sound
is a little bit louder lower in the bow.
Last thing you need to know about this
solo is when there is
a regular pulse that you have to follow
and when you're free.
So, the part that's in little print before
Rehearsal L, that's all free and
that's how I discussed with you, speeding
the stroke up and slowing it down there.
But from Rehearsal L.
There's a pulse.
There are woodwind solos that are going on
So it has to be absolutely regular and
that's the tricky part about this solo.
Now that's not to,
to say that you can't take rubato, but
you always have to give time back if you
so if you get into a tight spot and the,
the Sautillé is coming off faster than you
then you have to give the time back after
with some really expressive, long notes.
Most people have more problem on the way
In other words, this is easier [SOUND]
than the reverse.
[SOUND] That's another reason I like it
lower in the bow.
I like to feel each of the four notes on
the way down.
[SOUND] Sometimes our ear glosses over
those notes on the way down.
We listen very carefully on the way up.
So make sure that when you're playing it,
you get all the notes in both directions.
There's a feeling you get in the fingers
and in the hand when the bow is really
the string in both directions there.
Now after a couple free episodes, one of
which is a solo.
And the next of which is
joined by the rest of the orchestra.
There are a couple last Sautillés with a
great octave glissando after it.
You may not wanna make them both the same.
you do the gliss, remember
that the bow has to feed that shift.
The, the shift should happen while you
have good concentration
of the bow into the string, or if you're
going for the wispier kind,
where you have good speed of the bow
through the shift.
Either one of those can be affective,
so I suggest you use both.