Now, this little solo at the end of
the symphony, in the fourth movement,
we start the very first part
of the fourth movement,
and we have a trill with
the second clarinet.
Of course, we have to really get very
good finger control for this one,
and very important for us to watch
the quality of the tone in the fortissimo,
because we can get a little bit over
excited, and the sound can get very brash.
Yes, super brilliant.
Super brilliant, yes.
That's for others.
Not for us.
So, to get a little bit more secure
at the beginning of the solo,
I would suggest reducing the right hand,
the full right hand for
the leap going from the A to the D.
And then I have two little
For the F sharp
I actually leave the right hand down.
It makes the note sound a little flat,
but when we're going at the big speed,
what it does is that it ensures that
I'll be able to get that B very quickly.
And then there's something going for the E
flat, I use the whole right hand down.
So with E and one, two,
three, and the C key.
So that basically there
are two little notes.
One of the few times that I advocate
playing with notes that we know for
sure are out of tune.
[LAUGH] But what I'm trying to
gain here is good smoothness, so
that when it goes slowly
it sounds a little funky.
That's what it sounds like when
we're doing it slowly.
But when we go fast,
we don't get any of those notes.
So then we get all the notes,
you can hear them, and then it's smooth.
Now, the other thing to remember
is to make sure that whenever
you are blowing a lot of air for
the rest of the movement,
try to be thinking that
the articulation has to be a little
bit more gentle so
that then the sound doesn't explode.
For example, the passage
That is very important to practice,
that then we get clarity of
articulation and fingers.
So the passage around 16,
a few mentions before 16, etc.
The part where we're having to blow
with a lot of air and it's written
[SOUND] is one of those spots where we
have to control the quality of the tone.
So when we blow with a lot of loud air,
we have to tongue pianissimo, so
that then it doesn't explode.
Therefore, I practice
it slurred many times.
And then, little by little,
I add an articulation
that is simply just to
separate the notes but
not to make a clear gap.