The two short solos that begin the last
movement of Scheherazade are two
They both have to be chock full of
You'll see that the first one is marked
piano and capriccioso.
Piano you should take as a relative
dynamic because the second one
is con forza and should sound much
So you're looking for something that goes
along with the drum roll,
builds anticipation, but is still displays
a good sound on the violin.
I take the capriccioso to
differentiate from the way you've
played this tune in other movements.
So for example, it wouldn't really work
It is a cadenza, but
we've heard that too many times now for,
that really to be effective at this point
in the piece.
So, you're looking for Capriccioso in, in
feel, in sound, in anticipation.
And then at the very end of both of these
solos, actually, you have a very snappy
rhythm and I think that should be, that
should be quite, quite snappy.
Now the second solo you have
separate notes and, as always,
I think those should be varied.
Maybe one time could be very on, very
gluey, the other time more hammered.
For that hammered sound,
you wanna be right near the frog with very
and you want to, without having a tight
tight fingers, you wanna keep it all kind
of as a block,
more of a percussion instrument.
And these three octaves here
should be on the G string in D.
And again, that snappy
rhythm to close out the solo.