Strauss's Bourgeois Gentilhomme,
the dance of the tailor's movement,
is one big violin solo, and it's a lot of
It's full of character, as most concert
master solos are.
So it's your job to bring that out to the
The double stops that are in here, you
need to have fun with them.
They're not just there to make your life
But starting from the very first entrance,
you, you really have to make a statement.
There's no gliss written there, but that's
totally in character, and
that's why I like to be on that up bow for
I think it's all right if these
double stops sound a little bit wormy,
not in intonation, but, but in sound.
They can, they can slide around a little
Then that alternates with
before it gets more rustic again.
So it's really,
really make it rustic,
really go for it.
One time in an audition I was stopped
playing this solo and
the committee said, play it with more
And I tried it again and luckily they gave
me another chance.
And I heard the conductor's voice from
behind the screen say, go over the top.
So better to,
to tend in that direction right from the
start if you're asked to play this solo.
If you're asked to play this solo in an
audition that means the committee
really wants to hear you play.
They wouldn't ask for such a long and
involved solo otherwise.
So, so make the most of it.
Now shortly after this there's a really
I like up to slide up the octave A on a
I leave the second finger down while I
play a four on the top cuz then I can play
a one for the G.
Then I shift down to harmonic.
Those last five notes,
I really drop on a down bow.
I put in an extra note there to, to make
them all thirds.
I, I don't find that that's any harder
than what's actually written there and
I think it sounds a little better, so I
play all thirds.
And as with any, any notes in spiccato but
especially double stops.
The left hand has to lead the right hand
The, the notes have to be there before the
bow gets there.
You have time when the bow's in the air to
get to the next note.
So my, my fingers are always set.
My fingers are always moving before the
bow plays the next note.
Now in the next page when the orchestra
gets going more,
I like to use two different styles of
bowing for the, the dotted rhythms.
For the stronger ones,
I use a so-called shoe shine bowing where
it's down on the little note.
So that's in the upper half of the bow,
with you know, a nice strong wrist and
hand, and the forearm pronated, to give me
And that stays all the way until rehearsal
48, when the character gets lighter.
And you'll see the dynamic goes down to
Then I go to the more conventional hooked.
And longer notes in general.
Now in context, this part of the solo is
very difficult to hear.
But if you're playing it in audition,
you want to make sure that you follow the
line, make some nice shapes.
Skipping ahead, the end of this
sort of middle section of the solo, again,
in context, very difficult to hear, but
in an audition, you really need to
articulate these notes.
Use more than the normal amount of
That's the only hope you would have of
really cutting through the texture when
you actually play it with the orchestra.
see each time I'm
ending the note.
Right at that strong bounce point.
The strong bounce point being a little
closer to the frog than a normal
So I wanna end all those notes right there
so that I'm, I'm ready for
the really strong articulation.
The last section of the solo, it's nice to
come into it with a harmonic.
Same challenges as,
as the first part with the double stops.
I add the extra third again.
When that A comes back, again I use now a
D string harmonic.
And, the last section of this solo.
Very tender in F-major.
And is your, your sweetest sound.
You see how much you can get away with
playing with the beat while still keeping
it nice and smooth and flowing.
And, and the last scale and last arpeggio,
if you're lucky enough to get that far in
an audition, you want it as smooth as