Shostakovich's First Symphony has many
little solos that require
good rhythm and energetic playing.
One of the things to be
thinking about in the very
first run that we play is that we
had to try to blow with a flow.
What that means is not blow loud than
we're playing with a loud sound but
if we try to actually
phrase through the run.
Then, it helps us to know where
the fingers are and how the taper will go.
So, let me try to show you.
Since we're going slowly,
this is how it's going to be.
It's like a crescendo, that's how we're
going to be thinking it, but
since we start with the full sound.
So, that all the notes come clear.
And then, after that big flow,
the crescendo has to be short, and
let's try to make sure that when we're
playing forte, that we don't get the first
tones too loose, and focus, and
for them not to get too flat.
And then we can
And that has to be clear, so
we have to find a very good clear
fingering for the throat A.
For then when we put it together,
it sounds a little bit like this.
Okay, now after that, there's,
we can see that there's no diminuendo.
So we must maintain the intensity and
all the way untill we see diminuendo, and
then make the diminuendo gradual.
And the accumulations for
this piece have to be very short.
In the second a little slower,
that is number 8, we
have to always remember that when we play
this, especially in an audition set-up,
we have to play this solo faster because
thats what shostakovich wrote, right?
But we tend to get a little nervous,
and we try to,
we tend to blend in everything a little
too much, so whenever we look at this we
always have to have A feel
that is actually very intense.
Now it's funny because it puts
allegro non troppo for the tempo,
which is with a good fast-paced,
but not so much.
Except that the marking
is 160 to the beat.
[LAUGH] So is actually quite fast.
It could give you the feel.
Then you can think in two.
So that it feels the non troppo [SOUND].
So that feels the non troppo
if we're thinking in two.
If we want to keep looking
at the common time and
there is still in four then it will have a
little bit more intensity, which is great.
Now please be careful
that the 16 note is very
fast at the end of the first beat and
then in the second beat.
Because it's 160 right?
One, two, three, four
So then we can also differentiate
between the 16 note and the triplet.
So let me show you.
When we practice this slowly,
it's good to accelerate that 16 note.
It will be so
fast that it will sound like a grace note.
It sounds really exciting but
when we're talking about 160
And when we're thinking
of it at the very end then it
gives us an opportunity to
make sure that we don't rush.
Because we're trying to make sure
that the long note is longer.
And therefore we get
the character difference.