JAVS Fall 2002

81

ORCHESTRAL TRAINING FoRuM: PREPARING A SuccESSFUL AuDITION-BEYOND THE BAsics

by Yizhak Schotten

It is more difficult to get a good sound on the lower strings, since they are heavier and less respon sive. Using less bow and playing as much as pos sible in the lower half of the bow, even in soft dynamics, will center and project the tone. Playing in the strongest part of the bow closer to the frog uses more of the arm weight and helps to get the best sound out of the G and C strings. Also when playing on the lower strings the bow should not be quite as close to the bridge as on the upper strings. By contrast, you should use more bow on the A and D strings. On faster notes, especially in the low register, digging into the strings by using a circular wrist and finger motion creates a very clear sound. This is achieved by playing the down-bow on the lower side of the string and the up-bow on the higher side, as if crossing strings. Clear Articulation Another important aspect of a good audition is having clear articulation: suggestions for practicing spiccato and legato articulation are in the practice methods below. When playing short notes, both loud and soft, avoid throwing the bow on the strings. In general, start from the string using your fingers and wrist exactly as you would play an up bow or down-bow staccato. A little vibrato will add vitality and energy to these short notes. Intonation The saying "One's intonation most often reflects one's standard of living" is especially true with regard to successful orchestra auditions. Left-hand accuracy is of the utmost importance and practic ing your technical regimen on a daily basis is a good idea, particularly scales, arpeggios and double stops. Practicing slowly with a tuner will yield excellent results. Be sure to use your vibrato with the correct width and speed that will not distort the pitch. Various speeds of vibrato can be used, from faster and narrower in the high register to slower and wider in the low one. It is important to vary

Playing in tune and in time: the two most impor tant aspects of a successful orchestral audition. As simple as this may sound, a great deal of acumen, discipline, and practice is necessary to achieve this. After many years of experience I have compiled some principles of sound production and practic ing which have helped my students prepare orches tral excerpts for auditions. In the comments and practice methods that follow I hope to share with musicians embarking on a symphonic career some of the insights I have gained over the years. Tone Beyond good intonation and rhythm, a beautiful tone and musicality will distinguish one's playing from others'. Remember that tone is produced by the bow arm and not by the left hand; in fact, the bow arm of a string player is equivalent to the voice of a singer. A highly focused and centered tone with the bow is essential. One must find the sounding point as it relates to the string, bow pressure, and bow speed, which will vary according to the instrument, string, and dynamic level. An excellent way to prac tice this is to draw the bow, holding it with the thumb and the middle finger only to get the fullest sound (this was one of Primrose's favorite exer cises). The bow should be parallel to the bridge at all times and be slowly pulled from the frog to the tip and back. It is better to start with the A string, since it requires the least amount of pressure, then work down to the C string. As this is very strenu ous you may have a weak tone at first, particularly at the tip where gravity cannot help. Until you develop strength in these two fingers, it is impor tant to practice this carefully so as not to injure yourself. Before your hand gets fatigued, put the rest of the fingers down on the stick without stop ping the bow. This will help focus the sound and enable you to feel its core. A good practice is to exe cute this on open strings first and then with vibrated notes.