JAVS Fall 2003

and feel like you have to travel too far in bar 104 to get to the tip for 105. This would undoubtedly cause a banana bow effect in this passage, which may frustrate the player and annoy the committee. The issue I would like to touch on here is the string crossing in bar 105. I see a lot of people doing this with the wrist on the bow arm. I would like to convince you to try doing this with the forearm, keeping the wrist relatively quiet. This string crossing should be accomplished with as little motion as possible. Keep the bow close to the fingerboard, as the strings are close together, and try articulating with some finger action in the left hand. Also, as stated before, use as little bow as possible at the extreme tip with flat hair. I believe that using the wrist here promotes a bit of rotation in the bow which can result in the bow turning slightly, so that all of the hair may not be used. This can compromise the articulation which is helped by having flat bow hair. Beethoven Symphony No. 5, Movement 3 Allegro flex some muscle in terms of sound and tempi. This excerpt should be practiced at a wide vari ety of tempi. I have noticed a big shift in "acceptable" scherzo tempi with regard to Beethoven's music over the past ten years, and one should be prepared for just about anything from a committee. I don't know if this is because of new With the third movement, you have the chance to break loose and

show control over bow distribu tion, and we have a fun little bow ing for this that I thought I would share. In concert this is a very tricky entrance that we need to take from the celli, and although it is marked pp, if it does not sound it can leave an awkward hole in the music. So, I lean toward a fuller

scholarship (our orchestra has a new set of Barenreiter parts), or if it is because of a more mainstream acceptance of period practice. I know that when I walk into rehearsal I could be facing just about anything these days, which I personally enjoy as does our audi ence in performance.

I decided to include this excerpt because I was asked to sight-read it at an audition once upon a time. It is actually a very good excerpt to

sound and start the bow at the tip to insure a smooth entrance. In bar 62 we continue up bow with an articulation to establish ourselves

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