Right at the beginning here of the slow
movement of the A measure of Mozart
we have a, a classic Mozart dilemma.
How much articulation on the individual
bows versus on the shape of
the overall line?
So, it can be difficult to shape this with
so many bow changes.
do you do?
If you add more articulation, it can make
it sound more, more interesting maybe,
cuz it's a grouped.
Now that sounds to me even worse
because there's just a stop at
the end of every bow practically.
So I think there are some slurs that are
meant as grouping, some slurs that simply
join notes together without necessarily
drawing attention to the grouping.
So I group every four notes, but not on
But because in Mozart I, I really hate to
do things three times the same way,
twice the group falls away and third time
it continues in a crescendo.
So that's one solution for that opening
But whatever you do, you'll have to let
your ear be the guide.
It should sound like a vocal line that's,
that has interest but that has direction.
There are a lot of quick notes in this
and, because it's written in
a slow two-four, even the 32nds have time
to be express it, expressive.
play with both bow and
Make them very expressive.
Now, when you have long strings of 32nds,
you want to avoid repetition and, and
symmetry in the shapes.
So maybe one bar falls away, the next bar
grows a little bit at the end.
Now the sound of the development is on the
A string rather than the E string.
Go, go ahead and make that difference.
It's not quite as plaintive as the
Because when you get to the E string here,
it's more an angelic sound.
Slower bow, thinner vibratro.
So, here, the E string, rather ringing,
is, it anticipates rather
than really delivering something fully
expressive right there.
So, the E string plays different roles in
In fact, so
much of this movement is very high on the
instrument that when you finally get
the chance to go into a different octave,
maybe what you'd call an alto register,
you want to make the most of it, and that
comes pretty late in the movement.
You've been way up high.
There you want to make the most of it,
it's a very, it's a,
it's a full alto register.
And it's unlike anything else that you've
played in the movement so far.
Now in the cadenza, you have to find the
beauty in these double stops.
They can't sound like exercises.
Here I'm connecting the,
the fragments rather than letting each one
die the same way into the rest.
You don't have to be in a rush, but it
can't sound fragmented.
The vibrato in the double stops is
essential so that the double stops
don't sound different than just single
notes that you would play.
Now here's an interesting passage that
really tests the independence of the
And it's great to practice with dotted
The dotted rhythms will really even that
But this is a good one just to.
Once you memorize it, you can include it
in your daily routine.
And it's fun to see the fingers going up
Some staying on the string and others
So make sure that's really clean.
Now there's an arpeggio later in here.
And I would use the same techniques here
that I might
in an excerpt like Don Juan that includes
a run up to a very high note.
I might build it from the top.
And then start adding notes from before.
I keep the same bowing that I'm gonna have
What this does is
it gets my ear used to
a great sound on top.
What happens if you always practice from
the bottom and
don't always have a great percentage
hitting the top notes,
you never get that good sound at the top
in your ear.
So, by practicing it in reverse, you have
confidence that when you get to the top
it's gonna sound like you've heard it
hundreds of time up there.
Now the timing of the end of this credenza
with the double-stop trill.
There's only so fast probably that
your double-stop trill is gonna go, so
you don't want to lead into it too fast.
And it's nice if your finishing notes
approximate the tempo that the
accompaniment is gonna enter,
that the orchestra is gonna enter right
after you finish.
So it's nice if you're finishing notes.