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Violin Lessons: Strauss - Also Sprach Zarathustra 7 after Reh. 26 - Reh. 29

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[MUSIC]
This solo from Also Sprach Zarathustra is
a lot of fun to play and it has one of the
great markings in history of well,
music or concert solo masters [FOREIGN].
Even that word sounds, sounds great and
just sounds like you're gonna be having
fun playing this and
it sounds like swing and definitely this
section has a swing to it.
Sort of like a, well a rocking chair on
the front porch maybe.
But no it needs to have more energy than
that.
This is a waltz in the middle of this very
serious,
very weighty piece so the accompaniment
sounds like.
[MUSIC]
And it repeats several
times before you come in.
Al, almost a time too many people are
wondering, you know,
what's gonna happen now?
Then this concert master solo, which is
marked piano but
I've never heard it that way.
[MUSIC]
So, the, the schoon has to
come in how you decay the note, so
the decay is maybe the wrong word.
The bow just has to travel and this is not
a,
the sound is not serious, like
[MUSIC].
It's way too constant.
[MUSIC]
Even more the second time.
[MUSIC]
Now after this we have
double stops that are slurred.
You're looking for fingerings and
bowing techniques that give you the
smoothest double stops.
So for example,
[MUSIC].
After you hit the top note which I play
with four two.
The next double stop I do a three one and
then four two.
So that I'm not having, for example, to
shift.
[MUSIC]
If I did it all with the same fingers I'd
have, have to make a shift there.
[MUSIC]
The top note you
need to make sure that
you save enough bow.
So take plenty of bows in the preceding
long note and try to change if you're
gonna do it on an up bow as I do I like to
because it gives it that lift feeling.
Then you wanna change pretty soon before
it so you have that most of the bow for
that gliss.
Use a guide finger for me, I'm shifting
from three one to four two.
[MUSIC]
So I'm shifting
a distance of a fourth.
And in order to make the string crossing
from one double stop to another,
there's gonna be one little moment when
I'm just on the A string.
The bow never breaks contact with the
strings.
[MUSIC]
So gradually when, when I'm practicing it
gradually the time that I spend alone on
the A string shifting gets less and
less until it sounds like the two are
blending together seamlessly.
Later on you have sixth, sixths maybe the
most difficult double stops to
make smooth because there's always finger
replacement.
So it's great training for your, the
sideways movement of the fingers.
[MUSIC]
Here a couple of glissandi can help
you because it saves you from replacing
more fingers.
You don't want the whole thing to sound
too, too mechanical.
Now in the non-double stop line that comes
right after that,
you have to save something for the top,
which is tough because when you play it in
context you've got a whole orchestra
behind you.
[MUSIC]
That's where you're going and
when you reach there you wanna make sure
that you're right
near the bridge, that you can sustain that
note.
[MUSIC]
These triplets really have to be
articulated, super articulation.
You can either stay where you were in the
bow.
[MUSIC]
With the tremendous pressure at the tip,
you rotate the forearm.
Not getting your elbow up but rotating the
whole forearm [SOUND] or you could retake.
[MUSIC]
Always keep
that [FOREIGN]
for
this whole solo.
[MUSIC]