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So here's an analysis of Haydn's
violin Concerto in G major,
1st Movement Exposition.
As you can see,
the tempo marking is allegro moderato.
It's in common time so it's a four common
time, meaning four beats in each measure.
That being said, generally speaking,
this piece is performed at a slower tempo.
And the reason why is because
there's lots of sextuplets in it.
So when you first attempt this, I would
suggest, instead of playing it in four,
I would suggest playing it in eight.
Whereby then each sixteenth note you get
two sixteenth notes per beat as opposed
to four.
So for example,
the first two beats are this
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enlarged beats.
Instead, we'll do it in four.
One, two, three, four, one, okay?
So when you set your metronome, set it at
a slower tempo but play it in eight notes.
So for example, five, six, seven, eight.
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One, two, three, four, five, six.
Because then, as you notice here,
in the first bar of the solo,
there are four thirty-seconds
that are basically pretty fast
if you play it at a tempo that's
something that you can't handle.
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And
that doesn't actually sound how the piece
goes to be perfectly honest with you.
The most common performances are a tempo
that is not necessarily allegro moderato
in four.
But something a little slower but
feels like allegro moderato.
But the timing is in somewhat
of an 8/4 somewhere in between.
So that's getting a little technical,
but overall just feel,
I guess at the height of the most fast
that it's gonna be something like this.
Five, six, seven, eight, one, two.
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Something like that, okay?
Just so that you notice, maybe I'll find
a tempo marking to attach to this one.
I'll play it again through,
we'll put something on the video later.
So that being said,
what I really want you to pay
real strict attention to
are the values of each note.
Cuz like I said, playing rhythmically
means giving every note its proper value.
And what you'll see within the first
three measures of this is that you have
a quarter note.
You have sixteenth notes, you have eighth
notes, you have thirty-second notes, and
you have sextuplets.
So they all are gonna sound different,
obviously.
And the more you, like I say,
really are diligent about playing these
rhythms properly, the more it will
sound very rhythmically solid.
So let me do it slowly and
give you an illustration of what I mean.
First measure.
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Making sure the sixteenth notes are even.
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And then the thirty-seconds.
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In general,
when a student sees thirty-seconds,
they have a tendency to freak out cuz
of all the literally the black notes
on the page, and the black markings.
Making a student think my goodness,
I have to go really fast.
When in actuality,
when you play this in that tempo,
it feels somewhat slow if anything.
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And
I would suggest that you feel
like you're playing it slowly.
That you're not doing anything that's
excessively agitated or forced.
It's very simple, so
if it says sixteenth note, one and a two,
like I said, or
in this case it's an eight.
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80 and a 1, okay?
So playing that slowly, really try to
play those thirty-second notes evenly and
slowly.
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Smoothly,
then we go on to the following measure.
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We have one and then we have triplet,
one and two and a three.
[SOUND] Typically that triplet is
not going to be played properly if
you're sort of all caught up in
the sort of fastness of a four.
That's why, again,
I want you to play it in eight.
So you can really feel one and
two and a three.
So one, two, and a three.
So let me play these first two measures
again because you have all these values of
the notes.
Like I say, sixteenth, you have quarters.
You have thirty-seconds and
then you have sextuplets.
Eventually, you'll have
some eighths later, but
these are the ones that are problematic.
So let's just play it slowly.
Five, six, seven, eight, one, two.
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Now, hopefully you'll get that and
you'll understand it rhythmically.
Let me just also allude to the second
full beat of that second measure.
You'll see that there's a trill.
Typically, we play that trill
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with an ending.
So
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and depending on what edition you get,
you may see some sort of different
editors will put in what they
interpret as what Haydn meant
to be having played there.
So it kind of will fluctuate
depending on the edition you buy.
If you have any questions, please video me
and let me know that this is not what I
thought you said or
cuz sometimes it might look different.
For example,
I know some editions don't even have the
first note being just played as a quarter.
[SOUND] Some additions have a
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and that's fine if you want to play that.
That's not what Haydn wrote
in this particular version.
And the one I usually play,
I just play this quarter note.
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And I think that's kind of suitable for
this piece.
So, again, that's your call.
But check with me in terms of editions and
fingerings and whatnot cuz,
like I say, everything is interpretive.
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So, going forward,
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We have sextuplets
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And we have essentially nine of them in
a row, one is tied to the previous note,
the B natural.
Please really, really respect
the values of these notes, and
try to play them evenly.
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Try not to get overly impulsive.
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As much as we're trying to play it
rhythmically, so
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same thing here.
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And here.
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So
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one phrase.
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Try to really think of the large shape of
these rhythms, and these sort of triplets,
or excuse me, these sextuplets.
I'll do it again.
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Not being too worried about
the bar lines or where the beats are,
but thinking long line.
Then let's move on to this measure,
measure 28.
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Each of these notes in this addition and
in many additions, have what
are called carrots over these notes.
Carrots are basically,
those are basically dots or
sort of marketing that is interpreted,
as shorty having them played
short like with staccato stroke.
Short or staccato.
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And the way I perform this is I play them
somewhat brush, not overly picky.
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And too short, cuz that sounds kind of not
very appropriate in the piece, and given
the tempo given the notes that are played.
And when you have string
crosses like this.
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When you're going to each string down to G
string.
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It's a large leap, and the leap of it in
of itself is gonna create a shortness
of stroke without even trying.
So let me just do this again, and the way
I do it is I play the notes on the D
string, the bottom two notes which
are kind of like bass notes.
To be played up up, to kind of give me
sort of flexibility with the 30 seconds,
that are coming soon after, like so,
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up-up.
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Up-up.
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Up-up.
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Then I do these two up as well
[SOUND] up [SOUND].
So, up-up, down, up-up [SOUND].
Up-up, [SOUND], up-up, [SOUND].
Okay?
Following bar.
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Here, very good measure to
kinda understand the musical groupings.
And I talked about this in another video,
so
look at it this musical
groupings of notes video.
Because this is very appropriate
to kind of understand, and
give you sort of a tool,
as to why we do this.
But just recognize that
the notes on the beat,
are not the ones to where
we wanna start the phrase.
Instead of playing it like this.
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And then so on.
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Playing it very downbeat heavy.
Really, that does not sound
like I would say musical, and
that's why we talk about
musical groupings of notes.
Whereby instead of feeling
like the downbeats are heavy,
rather we actually want to make
them sound quite the opposite.
Light, and not that important, so.
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Downbeat.
Okay, maybe this downbeat, fine,
[SOUND] but the ones before that.
[SOUND] And if anything, we sort of
make a diminuendo into that bar,
where the 30 seconds start,
so that we can then pick up.
[SOUND] Going forward,
starting with each phrase,
micro phrase,
starting with the bottom note, like this.
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Okay, so try doing that, and
understanding in terms of the groupings,
and
really try to musically phrase,
while we're doing these groupings.
With a large phrase overall, like so.
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And
so on.
Two measures later, we have this.
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[SOUND] I like to play these.
These actually have dots, and
they have them under a slur.
[SOUND] I think that's
a little bit tedious.
I don't think it's necessary.
I think you can kinda do
some ups within a slur.
But then I think you can
also brush these as well.
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And then as we get broader and
we make more of a crescendo,
you can brush these strokes,
and make them even that much less short.
Like this,
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first I'm fine,
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second time though,
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longer.
[SOUND] So as to kind of create a little
bit more intensity in the phrase, and
change up the stroke.
And again, I should indicate that
when we talk about strokes, detaché.
When we talk about spiccato, sautillé,
no matter what the stroke, everything,
like I say.
Please remember this, they're just
bowings, they're just strokes,
they're just techniques.
The music is what reigns supreme
no matter what we're playing, and
that is really what the end goal is.
To play a good musical phrase,
a nice line, no matter what the stroke.
And let the stroke be
dictated by the musical line,
and the musical phrase that's
being composed by the composer.
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