symphony #2, third movement.
Now this is one of the most beautiful and
juiciest solos that we get to play
in all the orchestra literature.
The typical thing that we need to
do is to have a singing sound,
flexible tone and musicianship, is a must.
The most important thing that we have
to try and do when we're playing,
especially in an audition set up, is to
create a great deal of dynamic control,
and show a lot of different dynamics.
Now because we want to maintain
the Quality of their sound,
what I would say, is that you have to try
to create the world by expanding a little
bit on the top dynamic but also just
a lot more in the lower dynamics range.
So that then, you can show subtlety and
therefore you don't have to force, and
you keep your sound always
In the beautiful range.
The three things that I would like to
say about this one is, number one,
the rhythmic part of it is extremely
important in the sense that we have to be
aware that in the orchestra, they're
always are moving notes, moving triplets.
So you may want to practice
this with the metronome,
with triplets going in the background.
So that you feel that there
is a fluidity going to it.
But it's not so
that you can play absolutely,
mechanically is actually so
that then, it helps you to grade and
graduate the taper, so
that then you can actually breathe,
just with a little bit more time and
without getting late.
One of the things that it's very
good to be thinking about that is
in the exercises for
the long tones that you can go back and
check, we're talking about
the intensity of the air.
Whenever we're doing the diminuendos,
we have to increase the intensity,
that then we maintain a longer line.
I will try to show you with the metronome,
a little bit of the work that is
good to do so that then we can see how
we can use the tempo to get the tapers.
And then to be able to come in and
get it in a way that is smooth so that
you don't feel like you have to play very
long verses without running out of air.
But, while you'll be able
to do it effectively by
degradation of the tapers and
how to come in.
So then we feel like we are actually
continuing the line through the silence.
So as you can
hear with the triplets
going, it creates,
you have a few rhythms
were you actually
line-up the triplet.
And most of the time,
playing duplets, so
you create a hemiola.
A hemiola is a rhythm where we have
three against two in one beat.
So it's like [SOUND], so
that actually helps us to get the eighth
note driving because we can hear that
triplet that keeps the intensity and
therefore it will help us with the thing.
Now as, also one of the important
things we can think about
is the finger legato which we discussed
in the lesson for finger technique.
For sure in this one we need to be
thinking of the octopus fingers so
that then we can maintain
a very nice fluidity.
The octopus fingers is not only so
that we avoid the popping sounds but
it helps us to get everything in rhythm.
Our breathing has to be rhythmically
propelled so that then we're not
lingering in the long notes, and
that we don't rush the fast moving notes,
and also with the fingers,
it helps us to get a nice flow.
So basically what we have to do
with this one is just like what
we were talking about in the Beethoven's
6th, slow movement, which
it's extremely important to try to get
all of our body movements into the music.
And not just move around so
then we feel, and we look good.
We look good already, so
don't worry about that.
But it's so that then,
you use every single
inter out part of your being into, and
put it, and connect it to the music.
So that way,
we don't have to be thinking artificially
while we're playing a long note,
da da da da da da.
If we're thinking like that,
then we are actually
missing the opportunity
to shape the note and
be able to see what goes to the next part.
Another important element of
this piece is that we have,
in the marking you have piano.
But you see, the beginning phase it says
piano es precibo el cantabulour [FOREIGN].
So what does that mean?
Expressive and singing, okay?
Now the orchestration is extremely full.
You will be surprised to know that
there's two sections, there's violins,
everybody's playing moving triplets,
the basses are playing, the cellos,
if you ask everybody in
the strings is playing.
And therefore, it's a very rich
background that is going, and
you're supposed to sail above that,
and therefore the piano has
to be basically a color,
not a dynamic, in practicality of it.
When you are playing by yourself for
an audition, it is yes,
it is good to start piano so
we have room to crescendo.
But you see immediately it says piano.
Es precibo el cantabulour,
the first measure.
The second measure you already
have poco crescendo with tenudo.
Okay, and the diminuendo doesn't
start until the third measure.
So we have a trajectory of
a long time where we have to
be opening the sound and
being able to not max out.
Then the trick to make sure
that this whole thing works
out well is what we do in
the treatment of diminuendos.
In this piece, diminuendos are the place
where we have to be thinking
that is the climax of that
particular phrase before we go down.
So, in other words, when you see
a diminuendo that means that you have to
have intensity by the time you get
there in terms of volume and air speed.
And the diminuendo, the definition is
getting softer, start getting softer.
the key words, start getting.
Those two words.
Start getting softer.
Don't play softer right there.
That's why we usually make
the mistake that [SOUND].
We play to the.
We play soft and we have nowhere to go.
I will have three beats and
then we paint ourselves into a corner.
So, for example in the very first phrase,
the very first four measures,
we have to make sure that when we see that
diminuendo, we have enough intensity.
I'm going to try and demonstrate it now.
So as you can see,
when I get to the fa-me-fa,
which is where
the diminuendo is I
have to have intensity,
so then in the long note I
have the diminuendo.
And then I can start soft.
So this is all about being able to grade,
grade where we're going and
where we're coming from, and
therefore it will have a very nice flow.
If you would like to submit
this rockmaninoff excerpt,
here's what I am looking for.
Singing, singing, singing, singing.
Also make sure that we
are not popping fingers.
And let's make sure
that our intonation and
the operation doesn't get
too sharp in the pianissimo.
Before user media video,
be sure to watch the other video exchanges
from this excerpt once you have done that,
submit your video.
I will take a look and
give you some feedback.