The third movement of the Beethoven #6
also has one little solo which is
supposed to sound a lot of fun and
happy and bouncy, yet
is a little bit treacherous because of
the fast articulation that we have to do.
So, what is expected?
Clear articulation, and steady rhythm, and
being able to keep the quality
of sound as we get louder.
So, it is important to make sure
that we don't force anything.
Now, one of the things that I like to
suggest is that when we are playing
the long A, that we actually can do it
again with using this lever a little
bit lightly so that then it forces us
to relax a little bit at the beginning.
And as we increase our articulation
then we get back the intensity of
the embouchure, and therefore we
are getting a crescendo on an A that gets
its focus from the beginning but then it
gets more intense and it doesn't go flat.
Now, the other thing that is important in
order to get that piano subito at the end.
Most people, because we are busy
trying to do the articulation,
we forget that there's actually
a piano subito in there.
So we go [SOUND] it happened, thank God.
But we're trying to make sure
that every excerpt we do has
something that makes us special and
better than the next person and
one of those things was
trying to read the map.
We're trying to keep true to what actually
the true genius of the whole thing is,
which is Mr. Beethoven, okay.
So how do we do that in
a way that we can control?
Well, it's all about contrast.
When we are talking about an audition and
trying to show this dynamic.
So I would recommend as you get going
to learn the crescendo going down,
think of actually accenting the low F
sharp right before the piano subito.
So it doesn't matter how soft or
the last G is because you're giving
a little more intensity on the previous
note, it will sound softer.
Therefore, it will sound like you
are actually doing the dynamic.
So slowly it would sound like this.
Sounds a little severe when
it's going slowly, but
did you hear that the last note actually
was softer than the previous one, right?
So when we go in a fast motion, then,
of course, since we're going fast,
we are going to do a slightly
lighter articulation, but
to get to that same feeling.
And there you have the last note.
And we have the piano subito, okay.
Now the other thing to be thinking about
is that sometimes if our articulation
is still a little bit slow because we
are still working on the no shortcut
shortcut from the fundamental story
that we were supposed to be doing
is that we have to create a way of
sounding like we're articulating.
And whenever we have to add slurs,
that they do not get in the way
of showing that perkiness.
So what I would suggest, this is one of
the few spots where it's important to
have what I call bumpy legato,
okay, which means that in this one
we are allowed to be a little bit
more mechanical with the fingers so
that there will be a bump
because of the fingers.
And then we're going to
slur from the A to the C
But the way that we are going to do
it is to make sure that the last note
on the articulation is clipped.
So that way, from afar,
it will sound like it is articulated.
So in slow motion, is as follows.
When we do it fast
it would sound
And then from afar, what happened?
And then you can get away
with it a little bit.
But, better with the F
sharp a little louder.
and we always get
the piano subito at the end.