The Quad Volume 3 Edited by Hal Robinson © 2017, 2020 Ranaan Meyer Entertainment The Quad Volume 3 Edited by Hal Robinson Engraving/Consultation by Brent Edmondson Published by Ranaan Meyer Publishing © 2017, 2020 Glossary of Symbols m "Fork" Using two fingers to play notes across from one another on two adjacent strings A bracket denotes the use of one position to play all notes beneath it . A dot used under a bracket denotes a pivot, where the hand rotates around a stationary thumb 2 The Quad Volume 3 Preface 4 Strauss Ein Heldenleben Analysis 5 Strauss Ein Heldenleben Excerpts 7 Beethoven Symphony No. 5 Movement 2 Analysis 12 Beethoven Symphony No. 5 Movement 2 Excerpts 13 Beethoven Symphony No. 5 Movement 3 Analysis 14 Beethoven Symphony No. 5 Movement 3 Excerpts 15 Mendelssohn Symphony No. 4 Movement 1 Analysis 17 Mendelssohn Symphony No. 4 Movement 1 Excerpts 18 Mendelssohn Symphony No. 4 Movement 4 Analysis 20 Mendelssohn Symphony No. 4 Movement 4 Excerpts 21 Stravinsky Pulcinella Duetto Analysis 23 Stravinsky Pulcinella Duetto Excerpt 24 Verdi Otello Bass Soli Analysis 25 Verdi Otello Bass Soli Excerpt 26 Mozart Symphony No. 39 Movement 1 Analysis 27 Mozart Symphony No. 39 Movement 1 Excerpts 28 Mozart Symphony No. 39 Movements 2 and 4 Analysis 30 Mozart Symphony No. 39 Movements 2 and 4 Excerpts 31 3 Preface What are the Quads? The quads represent a teaching tool I developed back in the late 1980’s when I was teaching at the Peabody Conservatory in Baltimore, MD. Even though I had been teaching for 10 years prior to starting there, I had not worked with so many grad students looking to continue their pursuit of an orchestral job after four years of college. Within a two year period (4 semesters) I was determined to introduce or review the basic orchestra repertoire consisting of the most commonly asked excerpts with the students that had already used up a large portion of their “school” time and needed to polish their presentations. An interesting phenomenon occurred when I also began including my freshman class: After the first two year loop, these Freshman, who were now Juniors, had already had an initial run through this basic excerpt list and were now poised to attack the list with greater detail and empowered with muscle memory and musical intention. For those young students that were not initially technically ready to take on some of the advanced demands of such a list, I merely reduced the size and scope of the passage work while insisting that they monitor the tempos keeping quality control as the guiding principal. In addition, my studio has always exemplified “sharing the knowledge” concepts, and to that end, the younger players always benefitted from seeing the upperclassmen and grad students doing the work and providing the example. I am happy to share the material that I teach from as long as folks are aware that there is NO dogma here. Nothing is untouchable, unchangeable, or fixed for all eternity. I’m sure it would be interesting to see my initial fingerings and bowings for all of these excerpts along with a list of the changes that have occurred in the decades since. Everyone is an individual and there are numerous variables (bass size, string length, hand size and arm length, standing or sitting, German or French bow, and probably most importantly, gauging one’s tendencies and ability to do certain things well), so each person should use this publication as reference only, and work to develop one’s own presentation of the excerpts. I also choose to pare down the excerpts to the most commonly asked sections. It has always been my teaching style to get my students to “master” the main passages rather than be moderately good at voluminous amounts of material. Finally, I don’t claim to be an historian or musicologist so there is not a lot of historical reference. My comments usually reference stroke or style issues, and will especially refer to consistent problem areas shared by most of us. Happy practicing and performing!!!!!! Hal Robinson Editors Note: Where possible, original slurs and dynamics have been retained and editorial markings or suggestions are denoted by dashed line slurs and parentheses. While every effort was made to find scholarly sources, there are differences among editions that could not be indicated here. - Brent Edmondson, 2020 4 Richard Strauss Ein Heldenleben The title of this tone poem (translated into English as “A Hero’s Life”) says it all. Never has the character of a piece, and therefore the style and approach, been so informative. What does a “hero” sound like? Confident. Obviously, this depicts the height of egoism. The soaring arpeggios and high energy parrying with critics along with tender moments with a loved one make this one of the absolute greatest excerpts we are required to know. This is by far the most asked Strauss excerpt, and it requires repeated study over months and even years. Each time one comes back to it, one is able to glean more information as well as find solutions for the extreme technical demands called upon throughout the work. Details: Rehearsal #9 to #11 could be considered the signature Strauss passage for the bass and stands shoulder to shoulder with the Recits of B9 and Scherzo/Trio of B5. The arpeggios between #9 and #10 are extreme in their demands. It is safe to say that they taught me the importance of musical phrasing informing technique. After learning and mastering the technical requirements, learn to use the musical phrasing to ease the execution. The phrasing direction from measures 1 to 2, 3 to 4, 5 to 6 and from measure 7 all the way to rehearsal #10 can offer relief from thinking about playing each note perfectly. Along with the dynamic ebb and flow, I utilize the time honored tool of “hesitation then movement” in a subtle way to give direction and offer this respite from having to achieve perfection (not an ability available to mere humans). I utilize this in every triplet motif to varying degrees. I used to split bows in measure 4 and 6 of #9; that now seems too workmanlike, too simple a solution. Sustain these bars on one bow and do a quick recovery. The measure before #10 requires two bows to accommodate the crescendo to fff. I add a tenuto to the first note of #10, making sure that B is an arrival point as well as giving energy moving forward. In measure 3 of #10, the 16 s can be slightly stylized (slightly later and quicker). Three measures before #11, dim. below forte to set up the accents leading to #11. Don’t get hung up on the trill at #11. Make it sound easy, and don’t worry about remaining ff. Three measures before #12, try to minimize the bow distribution issues by using no or very little recovery between the dotted half and the dotted rhythm. Think “long phrase.” One can set the tempo a bit on the 8 s leading to #12 but avoid a huge ritard. th th The next section between #15 and #22, represents the “Critics.” It’s not asked very often, but is nevertheless worthy of study. The sections between #27 and #41 represent the “Hero’s Companion” and should be played generally tenderly with a few agitated sections exemplified at #30. The passage at #40 is another very commonly asked passage. Begin with a healthy piano, leaving room to get incredibly soft at the ppp. After #40, the music ramps up into the notorious “Battle Scene.” #49 is frequently asked, and the stroke is heavy, off the string. At #51 and every similar motif, I prefer a very small recovery mid-bar making sure to not accent the second down bow in the weaker part of the bar. Some choose to take the slur out in the first bar of #51, and others choose to do two ups or two downs in the quarter note bars to make things come out right. Whichever choice one makes, be sure to play with ample energy and conviction. I would also advise applying this choice to all similar motifs except for the one after #60 as the requirement at #61 can be solved with an up bow. I recommend a bit of “hesitation then movement” on every descending scale whether straight 8 s or dotted rhythms. As in all of Strauss’ music, keep the dotted rhythms crisp and slightly stylized. These couple pages of the “Battle Scene” represent one of the truer stamina tests in our literature (similar to the Turkish March section in the last movement of Beethoven 9). Clarity is a massive issue that is rarely ever mastered between #66 and #69. Utilize “pull, hammer, jam” left hand techniques for all of the slurred 16 s. th th 5 Finally, we arrive at our chance to play the beginning of the main theme at the other commonly asked excerpt at #77. One MUST embody all that is hyper-confident and egotistical in these 8 bars. Sustain as much as possible. A natural breathing place occurs after the dotted half 4 measures after #77 – a small recovery is possible there. However, one should avoid this in the 2 bar of #77. nd 6 Ein Heldenleben Richard Strauss Lebhaft bewegt ≥ ≤ œ ˙ bœ œ œœ 0 4 1 3 1 1 ≤ 4 0 1 1 2 2 1 9≥ ? bb 44 b ˙ œœœ 3 4 ≤ ≥ w ≤ 1 + 3 ≥ 1 2 nœ 1 0 nœn œ œ n˙ œnœ 1 2 œ 4 œ œ Bœ œ ˙ œ 3 3 E 3 D ff 3 D 3 A E ≥ ≤ 10 ≥ œ œ œ œ œ œ ? œœ ≤ 4 1 œ w≥ ≤ œœ + 1 2 ≥ ≥ > B bbb nw 1 3 1 4 1 1 4 4 1 1 œ œœ ˙ 3 3 A 3 D G 3 fff ≤ œ J ≤ ≥ œ œ œ œ œ #œ œ ™ B 1 4 1 1 2 ? bb b 3 ≥ ≤ ≥ œ œ. b œ. œ 0 + 4 3 2 1 1 ≤ ≥ ≤ ≥ ≤ œ nœ. nœ. bœ. œ. œ. 4 2 1 4 1 3 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≤ 11 Ÿ≥ ≥ ≤ ≥ ≤ ≤ ≤ >˙ w w w ˙ nœj œ œœœ ™>≥ ˙ ≥ ≤ ≥ ≤ °B bbb ˙™ nœ ˙ ?>˙ 1 4 2 4 2 1 1-4 G f cresc. div. ff Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w w ˙ nœj œ œ œ œ B bbb ˙™ nœ ˙ ? ¢ >˙ ˙ >˙ > ≥ ≤ ≤ ≥ œ œ ˙™ œ™ ˙™ œœ œ œœ 0 1 3 ≥ ≤ 12 œ œ≤ ≥ -œ -œ -œ œ œ œ œ ˙ 0 + 3 1 4 1 1 (1) ? bb b˙ ≤ 4 1 1 4 1 2 œ 1 1 (1) 3 3 œœœ œ œ3 D 0 0 ff ff 3 ≥ ? bb ˙ ™ b 1 ™ œ ˙ ™ œ 1 ≤ œ 4 œ œ≤ œ œ 1 1 ≥ G ≤ ™œ œœœœ w J ‰ Œ Ó 4 1 2 2 ff D 7 3 ≤ œ ≥ ≤ ˙ œ œ jœ J œ 4 40 ≥ ? bb b b bb ˙ ≥ ™ œ nœ œ œ 3 3 2 2 4 4 ˙™ D 1 1 2 4 4 1 ™ œ œ œ n œ ˙™ 3 1 2 G p zart hervortretend pp 1 ≤ œ nœ œ œ ˙™ ≥ ™ œ™ œ œ œ ˙ 2 4 2 41 to 1 4 2 w 2 1 ? bbb bbb D3 w w 3 ppp ≤ ™ œ ≥ œ œ œ nœ≥ œ œ œ œ œ œ œ œ œ œ œ œ ? bb ‰ nœ J ‰ nœj ‰ ‰ nœ J ‰ nœj ‰ ‰ nœ J ‰ nœj ‰ ‰ nœ J‰J‰ b 2 4 1 1 2 4 1 G A D f cresc. 4 49 ≤ ™ # œ # œ n œ œ # œ ™œ n™œ n œ nœ #œ #œ nœ #œ #™œ ? bb nœ #œ œ nœ b 1 2 4 1 4 4 2 4 1 4 2 4 4 1 4 1 1 3 3 3 E ff 4 nœ ™ # œ # œ n œ ™œ nœ n œ # œ œ # œ n œ n œ ?b #œ #œ B #œ #œ J bb 2 1 2 1 2 + 4 4 1 1 4 4 4 1 1 D G ≤ ≥ >≤ ≥ 51 ≥ ≥ œ ˙™ > G > j œ ? bb j œ nœ œ b nœ œ 4 1 1 1 2 1 ‰? 1 ≤ œœœ ≤ œ ≥˙ œ™ G≤ ˙ 4 3 1 ≥ œ >˙™ ≤ ™ œ™ œ œnœ D G 2 1 1 1 1 4 1 0 ff 52 n˙ ™ œ œ œ œ œ 3 1 4 1 4 1 4 ? bb nœ b ≤ ˙™G ≤ ≥ œ™ œ œ œ n œ≤ œ ≥53 #œ œ J œ ˙™ 3 1 4 1 2 0 1 8 p ˙™ ˙™ ? bb ˙ ™ b ˙™ ˙™ 54 ˙™ ˙™ ˙™ ˙™ ≤ > ≤ > œ œ ™ œœ œ œ ™ œœ ˙™ f cresc. 0 3 55 ≤ >≥ >œ ≥ ™ ≥ ≥ ≤ ˙ ? b œ #˙ nœ œ œ >œ nœ bb J nœ J ≤ ≥ ≥ ≤ > ≥ ≥ n œ n˙ ™ G j j n>œ >œ œ œ œ œ 4 4 1 1 ˙™ 1 4 4 4 2 1 1 4 1 1 fp A 0 ff cresc. ff ≤ œ ˙ #œnœ œ > œ™ nœ n˙ ™ ≥≤ ≤ ≥ ≤ ≤ ≥ ≤ ≥ ≥ ™ œ œ™ œ œ™ œ œ œ ™bœ œ ™ œ œ 3 4 1 1 2 2 1 1 G≤ ˙™ 2 1 G ˙≤ <n> ? bb b D G 56 ≥ ™ ˙ 85 ? bb b 4 1 1 0 4 0 D ≥ ≥ ≤ œ œ œ œœ J J ‰ Œ Œ J 3 4 0 3 ≤ ≥ >≤ 57 2 ≥ ≥ œ >œ >œ B œ j œ œœ J > D + 1 4 2 1 ∑ 1 f f 3 ≤ œœœ 3 1 4 + ˙ B bbb 2 2 2 œ ™ œJ œ œ œ œ ™œ œ œ œ œ œ œ œ œj ‰ Œ Œ 1 2 4 1 bœ ? >˙ ™ 1 4 1 2 4 1 0 3 4 3 3 3 ≥ 58 2 2 ≥ œœœœ œ Œ ‰ J ‰ ? bb Œ ‰ œ œ œ œ œ ‰ b J >œ 59n ˙ ™ ≥ >œ b>œ ? œ ? bb B j b œ œ bœ J ∑ 2 1 ≥ + 2 4 1 2 D ff ffp 9 ˙™ 60 2 2 ≥ ≤ ≥≤ ≤ >œ b œ >œ > ≥ ≥ n ≤ >˙ ≥ > œ n œ n œ œ œ œ™ b > œ ? bb œ nœ J j n œ bœ œ J 61 3 4 0 1 4 1 4 1 4 ™> ∫˙ ∫>˙ 1 1 4 b >˙ 4 4 1 1 2 2 D ff f ≤ ≥ ≤ >œ ≥ ≥ > > Œ bœ œj bœ bœJ B œ bœ 62 ≥ ˙™ 3 4 ? b b˙ bb ≤ bœ œ œ m œ >˙ 3 2 1 + 1 b œ ™b œ ˙ 1 1 1 cresc. 2 2 D ff ff 63 ≥ ≤ ≤ ≥ ™≥ ≤ ≤ ≥ b œ≥ b œ≤ ™ œ≤ ˙™ B bbb œ™ ?œbœ ™bœ œ™ œ bœ ™ œ œ™ 1 4 1 1 2 1 4 A 1 2 1 D 4 G æ ˙™ æ ˙™ ff mf æ ˙™ æ ˙™ 64 ≥ œœ œ >> œ œ œbœ >œ > œ J ‰ Œ Œ œ™ J œ œ œ œ bœ œœœœœœ 4 1 4 1 4 1 2 4 2 1 j‰ Œ ? bb œ b œœœœ D ff cresc. 4 4 1 2 ≥ ≤ ≤ ≥ ≥ ≤ ≤ b œ œ œ >œ >œ >œ > ≥ œ™ J œ œ ˙™ b œ ™ ? bb œ œ™ œ œ™ b b˙ œ™ œ 4 ≥ 1 0 1 4 4 1 4 1 1 2 1 G 65 ≥ ≤ ™≥ ≤ ™bœ≤ n ˙≥ ™ œ ™bœ œ ™ œ œ 2 4 1 4 4 1 4 D 66 ≤ ™ > >œ >œ œ b >œ >œ≥ ≥> J ‰ Œ Œ œ‰ Œ Œ J ‰ Œ Œ Œ ‰J J 4 1 1 1 3 ? bb ˙≤ ™ b œ‰ Œ Œ J ff 10 2 1 mit grossem Schwung 67≥ ≤ G≤ ™ f > ˙ R bœœœ œ˙ ≥ ≤ ≤ ≥ ≤ ™ œ ™ >œ≤ b ˙≥ ™ ? bb œ œœ œ œ ™ >œ œ œ œœ œ œbœ bœ œœ 1 2 1 1 1 4 4 4 2 1 2 1 4 1 1 1 1 1 4 1 j‰ Œ Œ œ ff E ≥ ≤ ≤ ™ > ≤ ≤ ≥ ≥ œ™ œ b ˙ ™ > œ™ œ ? bb œ œ œ œ œ œ œ œœœœœœ b œ 68 G≤ ˙™ 1 4 2 1 4 1 1 2 4 1 4 2 f R E A ff ≥ ≥ ≤ ≤ ≥ ™ ≤ ™ œ™ >œ≤ n œ >œ œ œ œ œ œ œ œ œ ™ œ J ‰ Œ Œ œ œnœ œ œ œ œ ≥ ≤ 165 b >œ œ œ ?b œ˙ bb 1 2 4 4 2 4 2 1 4 1 4 1 1 4 1 1 2 4 fff A D ≥ > Œ #˙ 69 ≥ ≥ œ #>œ #>œ n>œ > nœ œ œ œnœ œ œ œ œ 4 2 1 ? bb b ∑ 4 1 1 œ ™ nœJ œ 1 D f ≥ 174 ≥ >˙ ? bb œ ‰ bJ 70 ≤ ≤ ≥ ≥™ ≤ ™≥ ≤ ≤ œ™ œ œ b œ ™ œ œ J‰Œ Œ œ™ œ bœ ™ 1 1 4 4 4 2 1 >œ b >œ >œ ≥ œ œ œ œ™ J b>œ b˙ 2 1 1 4 1 2 1 4 1 f p dim. ff cresc. D 0 3 œ ˙≥ ™ œœ 1 ≤ 1 1 ≥ 1 + 3 1 77 ≥ ? bb 44 G b ˙ ≤ œœœ ≤ ≥™ œ ˙ B œ™ 4 1 G 4 1 4 1 2 2 œ ˙™ œ œ œ ≤ œ™ œ 3 3 0 D D D ff ≥ œ˙ 3 ≥ b ˙ Bb b ≤ ˙ ≤ ≥ ≤ ≥ ≤ ™ œ œ œ œ œ œ ≥ œœ 3 0 press 3 1 1 + 1 4 1 œ™ œ™ Ó 11 G Ludwig van Beethoven Symphony No. 5 – Movement 2 I find it painfully amusing that the Scherzo/Trio movement to this symphony is one of the first excerpts given to young bass players, often in high school and occasionally even earlier. The notion that these are easily approachable and good “starter” excerpts is quite ambitious. On the other hand, these excerpts belong in the “Top 5” of most asked excerpts and deserve repeated attention. One must seriously hone the skills of soft playing in the Scherzo as well as an agile long spiccato stroke in the Trio. I include the second movement passage as well, often included alongside the more prominent third movement passages for auditions and worthy of study on its own merits. Details: In the passage at letter C, I greatly prefer the even 6 + 6 bowing as opposed to the commonly seen 5 + 7 or 4+4+4 choices. As the predominant phrasing is to and away from the bar line in each measure, I fail to see the advantage of accepting the uneven bowing. My fingerings are designed to fit this 6x6 bowing. Notice the natural, stronger bar lines of measures 115 and 117 based on the topography of the line. In measure 120, the bowing is designed to facilitate migrating to the tip to accommodate the dotted quarter in the next bar. The next passage that is included is rarely asked, but worthy of study. Take note of the fingerings designed to correlate with the bowings. The 32 s from measure 129 on are performed on the string, marcato and detaché. nd 12 Symphony No. 5 Movement 2 Ludwig van Beethoven Andante con moto ≤ ≤ ≥ ≥ C 114 ™ ≤ œj œ ? bb b83 j ® œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œnœ œnœ œ œ œ œ œ b œ 0 1 0 4 1 4 1 0 1 0 1 1 4 1 1 2 2 2 2 4 1 4 4 4 2 4 2 1 2 4 1 1 p f ≤™ ≤ ≥ ≤ ≥ ™ ™ ™ ™ ™ ≥ 117 ™ ™ œ œ œ œ œ œ bœ œ œ œ ™ œ œ œ œ n œ b œ œ œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ ? bb b b 4 2 1 4 2 4 2 1 2 1 2 4 4 0 4 1 2 4 4 2 0 0 1 1 1 1 2 1 0 1 1 4 4 1 2 1 ≥ ≥ ≤ ™ ™ 120 ≤ b œ œ œ ? bb b œ œ œ b bœ œ œ œ œ nœ œ™ 4 4 ≤ 4 1 1 1 2 1 4 1 4 0 4 1 0 ≥ œ œ œ 4 2 ≥ U œ n œ œ œ œœ 1 4 1 4 ≥ ™ ≤ ™ ≥ ™≤ ≤ 180 œ œ œ œ œ œ œbœ œ œ œ n œ ? bb b ‰ ‰ œœ œœœ b œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœ 4 2 4 1 4 1 4 1 4 2 1 4 2 4 4 1 1 2 2 1 4 2 1 1 2 1 2 pp crescendo ff f 4 1 4 186 4 1 4 1 2 ? bb b œœœœœœœœœœœœ œœœœ œœœœœœœœœœœœ b œœœœœœœœ œœœœœœœœœœœœ ™ ™ ™ œ œ œ b œ œ œ œ œ œ œ 2 1 4 2 1 2 1 190 4 1 4 2 4 1 0 1 ? bb b œ œ œ œ œ œ œ œ b œ œ œ œ œ nœ ≤ ≤ ≥™ G ≤ œ œ ™ œ œ ? bb b J ‰ b 4 192 4 f R 1 2 ≥ œ 2 4 1 ™ ™ ™ ™œ œ ™œ œ œ œ œ J ‰ ‰ œ œ œ œœ 4 1 4 1 4 sf 13 1 2 4 1 2 Ludwig van Beethoven Symphony No. 5 – Movement 2 We move on to the famous Scherzo/Trio movement. This pp opening bowing I prescribe is an example of a choice I make differently between performances and auditions. In almost every orchestra I have performed this with, the movement begins on an up bow. It is incredibly hard to control from the tip. In auditions, I always begin it down bow, finding the control vastly superior. I would contend that playing softly is much more challenging than playing loud. The sfp in bar 13 works better in the upper half. Be very careful to only ritard slightly in bars 8 and 13. The quarter notes beginning at measure 20 should be resonant. This is achieved using the correct bow speed with a follow through and a sustained left hand. In the dotted halves beginning in measure 27, I prefer a continuum of nice round vibrato. In other words, don’t allow the motion to stop when changing from note to note. The string crossings in measures 39, 41, 42, and 43 are challenging. Take your full arm through the crossing. Make the distinction in the attack of bar 44. There is no sf and there is a diminuendo. This requires attention and focus. In measure 56, I advise minimizing the space used to make the shift. Lighten the bow pressure and maintain a sense of connection. Intonation in the following quarter note sequence is often an issue. Pay closely attention to the intervals in measures 67 and 68. In the Trio, the 8 note bow stroke is crucial. It can be achieved either on or off the string, and your choice of one or the other should be driven by a desire to create direction. All of the hairpins on this page are edits on my part to show dynamic direction - when you look at a clean part, none of these are there. If you make all the 8 s sound the same, it will be quite boring. I have included editorial dynamics in the quarter note section as well. The timing in the section following the 2 ending is a notorious rhythmic issue, caused by the rests on the first beats of measures 125 and 127. Be sure to keep the rhythm in your body silently but accurately, and practice with and without the metronome. In measure 144, drop a little so that you have room to shape with the long sequence. Do the same in measure 150 when the consecutive quarters occur. I like to put vibrato on the tied quarters in 144 - 149. I have to release my 1 finger from the low G so that my hand can bring the weight to the little finger. In measure 161 there is a diminuendo. Be careful not to just do three volume levels of the repeated figure. Actually start 161 forte and diminuendo. Lastly, get softer and softer from 171 to the end. This stroke is absolutely best performed “on “ the string. th th nd st 14 Movement 3 Scherzo poco rit. a tempo Allegro h.=96 ™œ 1 2 œ ˙ 1 ? bb 43 œ œ b œ ≤ #œ ˙™ 1 ˙ ≤ ≥ ™œ U œ ˙ œ ˙™ ˙ œ œ ≥ ™ ˙™ 4 1 1 2 ≥ 1 2 ˙™ 4 1 1 2 1 1 1 pp poco rit. ≥ 1 ≤ 11 ˙ ? bb #œ ˙ #œ ˙ ™ b 2 2 ≤ U ˙ nœ n˙ œ ˙ nœ ˙. #œ. ˙ ™ sfp a tempo ≤ 19 ≥ ≥ ≥ ≥ ? bb ∑ œ Œ Œ œ Œ Œ œ Œ Œ nœ Œ Œ œ Œ bœ Œ œ Œ Œ ˙ ™ ˙™ ˙ ™ b˙ ™ b œ œ f A f ≤ ≤ ≤ 31 ≤ ? bb ˙ ™ ˙ bœ b˙ œ. b˙ ™ b˙ œ ˙ b œ. b˙ ™ ™ ≥ ≥ ≤ 38 ≥ ≤ ≤ bœ ˙ ˙ ? bb ˙ ™ ˙ œ ˙™ ˙™ n œ b œ ™ ™ ˙ ˙ ˙ ˙ ˙ œ b œ œ œ œ A sf 2 1 1 2 1 2 2 1 2 2 1 4 1 4 1 1 4 2 1 2 4 2 1 1 4 1 1 2 4 4 2 1 1 4 2 1 0 1 1 2 sf sf sf pp dimin. ≤ œ ˙ poco rit. a tempo 2 ™ ˙ bœ ˙ 4 3 2 1 1 ≥ ? bb ˙ ™ b ≤ U ≥ ˙ ™ ˙ œ œ bœ œ 2 50 1 1 1 2 nœ ˙ ≥ nœ ˙ œ ˙ #œ ˙ + 2 4 1 1 2 1 #œ pp D ≤ ≥ ≤ ≥ ? bb ˙ ™ ˙ #œ ˙ ™ œ #œ œ œ #œ œ œ #œ œ œ œ œ œ nœ œ nœ #œ œ œ #œ nœ b 1 4 61 2 2 2 1 2 1 2 2 2 2 0 1 1 2 4 4 2 G cresc. ≤ ? bb n˙ ™ b 4 2 71 4 ˙™ 2 ˙™ ˙ ™ n˙ ™ 4 1 1 2 4 ˙ bœ ˙ œ. ˙™ ˙™ ˙™ ˙ ™ n˙ ™ ˙ ≤ ˙™ ˙ 2 2 ˙™ ≥ f 84 1 4 1 4 1 4 1 2 4 ? bb ˙ bœ b˙ œ. ˙™ b ˙™ b˙ œ ˙ œ. ˙™ sf œ œ sf 4 2 ≥ ? bb ˙ b ≤ œ ˙ sf sf 1 1 ≥ 2 1 œ ˙ 1 94 œ ˙™ ˙ œ œ œ A dimin. pp 15 #œ œ≤ Œ Œ Trio (h.=76) ≤ ≤ ≤ ™ œ œ œ œ œœ™ œ œ ˙ œ ? ™™ œ œ œ œ œ œ œœ œ œ œ œ œœœ œœœœœ < > < f ≤ ≥ œ œ 149 œ œ œ œ ™ ™ œ #œ œ œ œ œ œ œ œ ? #œ œ œ œ œ œ > 4 1 1 1 4 1 1 1 2 0 0 1 1 4 2 1 2 1 2 0 4 0 1 2 140 2 1 4 2 4 1 4 4 2 2 4 1 4 2 1 4 0 4 0 2 1 0 1 4 0 2 2 1. ™ œ #œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ 156 ™ ? œ œ œ 2 4 4 1 2 4 1 0 1 2 1 4 1 0 1 2 1 4 1 0 1 2 ™™ ≤ ≤ ≤ ? Œ Œ Œ Œ œ œœœœœœ Œ Œ œ œœœœœœ Œ Œ œ œœœœœœ œœœ œ œ œœ < f ≤ ≤ 169 ™ ™ ? œœœœœ œœœœœœ ˙ œ œ œ œ œ œ œ œ œ œ œ > ≤ ≥ 175 ™ ˙ ˙ b œ b œ œ œ œ œ ˙™ ? œœ œœœ œœœ œ Œ ˙ œ ˙™ < > 161 2. 4 0 1 2 1 1 4 0 1 2 1 2 1 1 4 1 0 1 4 1 1 0 1 2 4 1 4 2 1 2 1 0 1 1 2 1 2 1 0 2 1 0 4 4 1 1 4 1 1 2 1 1 1 4 1 0 2 1 1 2 1 1 0 1-6 183 2 4 3 4 5 6 4 1 ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ < mf > mf ≤ B 193 ≤ ™ ™ œ œ œ œ œ œ œ œ œ œ ? œ œ œœ œœœ œœ œœœ œ Œ Œ Œ Œ œ œœœ Œ Œ œœœœœœ 1 0 2 1 4 1 1 0 4 1 1 0 2 1 4 2 4 2 0 1 1 1 f dimin. 202 ≤ œ ? Œ Œ œœœœœœ œœœœœœ œœœœœœ œœœœœœ ˙ œ œœ œ œœœ p 210 ? œ œ≤ œ≤ œ œ œ œ œ œ œ œ œ œ œbœ ˙ bœ œ œ Œ œ Œ Œ œ Œ Œ œ Œ Œ œ < > sempre più piano 16 Œ Œ œŒ Œ Felix Bartholdy Mendelssohn Symphony No. 4 – Movement 1 This symphony has its origins in Mendelssohn’s European tour from 1829 to 1831. The beauty and old-world charm of Italy, where Mendelssohn spent a year making sketches, is present in every note. This music can be a joy to play, though it presents challenges for bass players not dissimilar to that of Schubert’s 9 Symphony or the later Mozart symphonies. One must exhibit a light touch and deft facility. There are rather extended passages in both the first and last movements that are frequently asked. th Details: The opening passage in movement 1 is difficult to start. The ascending scale in piano and the repeated 8 s motif in measures 43 through 46 with crescendo befuddle many a player. Measures 44-46 have no downbeat, so to keep the rhythm clear and apparent one should phrase slightly to the middle of the bar (thus the down bow to start each measure). My interpretation of measures 47 and 48 is a plateau of mf and then a subito forte on the 2 8 of measure 49. I offer two bowing options in measure 47 (with the bottom one making the string crossing easier in measure 49) but I recommend starting 47 on an up bow. The ffs in this symphony are never heavy, exemplifying the lighter nature of the style. One should use a slightly compressed palette of dynamics but should still show the differences. The sfz figures in measures 59 and 63 are more delicate than forced. Be careful not to alter the rhythm when showing the sfz by using weight and not bow speed. Phrase away from the quarter note in measure 66. The next 6 bars should grow in intensity culminating in the thematic material beginning in measure 74. The detaché 8ths in measures 76 and 80 should remain on the string and phrase away. Also, the pickups to measures 74, 75, 76, 78,79, 80, and 85 should be tight to the beat, never spread or separated. Make a distinction when there is no sf in measure 90 compared to the three previous bars. th nd th In the next passage beginning at measure 237, the grace notes must remain so close to the mid-bar 8 note that the rhythm remains clear and intelligible. Many bass players become clumsy whenever there are grace notes of any kind – don’t be like them! Try to make a slight difference between the quarters and 8 s here with the quarters slightly longer in this entire passage through measure 256. Although the dots over the 8 s stop in mm 247 onward, the stroke does not change. There is a natural topographical cresc. (not indicated) in measures 269 and 270, and one can allow the dynamic to come down a bit at measure 273. Although the bowing at measures 273-275 begins with an up bow to maintain the same stroke employed so far, the emphasis must clearly be from the beginning of each bar (note the accent). Do not accentuate the mid bar!! In measures 283 and 284, one finds a great spot to employ thumbage technique. The rest of the movement is pretty clear and similar to what has come before. The bowing at measure 313 looks a little strange, but it sets the phrase up properly. Again, keep the grace note in measure 319 and 323 close and tight to the mid bar! th th th 17 Symphony No. 4 Felix Mendelssohn Bartholdy Movement 1 4 ≥ ≥ ™ ™. . œ. œ. ™œ. # œ. œ. œ. . ≥ . ? ### 68 ‰ œ œ#œ. œ. œ œ œ œ. #œ œ œ ‰ œ œ. #œ œ œ ‰ œ. œ. #œ œ œ . . . . . . . . . . . < > A D G D A p cresc. ≤ . œ. . . . . œ. . . . 46 œ ≥. n œ œ œ œ œ. œ. . œ œ œ œ. œ. . ? ### ‰ œ œ. #œ œ ‰ œœœœ œ œ. œ œ . . . œ. . . . . . œ < > ≥ 1 4 1 41 4 1 4 2 1 1 4 4 1 4 1 1 4 4 4 1 1 2 4 4 1 2 4 4 1 1 2 1 1 4 4 1 1 0 0 1 mf f 51 4 ™ ˙™ æ 4 ? ### œ œ œ œ œ æ˙ ™ œ ≤≤ ˙™ æ ˙™ æ ™ œœœœœœ œœœœœœ 1 ˙™ æ 2 4 4 2 ff 59 ™ # ? ## ˙ ™ æ ™ œœœœœœ œœœœœœ æ ˙™ 1 2 4 4 0 ™ œœœœœœ œœœœœœ 1 2 1 4 4 ˙™ æ 1 A sf sf 66 . . œ. . œ. . . œ. . œ. œ . œ . œ œ œ J ‰ ‰ Œ ‰ œ œ œ ‰ Œ ‰ ‰ ‰ ‰ Œ ‰ ‰ J œ 0 ? ### 1 4 D ≥ ≤ ≤ . . . 71 ≥œ™ œ ≤ ≥ > > ≥ ≤ œ œ œ . . . œ™ œ™ œ‰ œ œ‰ œ œœ ? ### ‰ œ œ œ J ‰ ‰ Œ ‰ Œ ‰ Œ œJ J J J J 1 4 1 1 1 1 D 4 D sf ff ≥ ≤ ≥m ≥ ≤ ≤ ≤ m œ ™ œ œ ≥ ™≤ ≤ 77 f ™ ™ œ œ ™≤ œ œ œRœ œ œ™ ? ### #œ ‰ Œ œJ J‰J J‰J œ™ #œ œ œ œ œ œ #œ œ œ œ œ œ 3 3 2 2 4 + 4 1 1 4 1 sf sf sf 2 sf sf 84 ? ### ‰ ≤ ≤ j œ ™ #œ œ œ œ™ sf sf ≥ ˙™ ˙≤ ™ œ ‰Œ ‰ sf 18 G D ff sf ≥ #˙ ™ sf ≤ œ ‰Œ ‰ 4 r 2 nœ 2 r . . #œ. œ. ™ r. . . . œ. nœ œ nœ œ œ œ # œ bœ œ n œ œ ? ### ‰ # œ œ ‰Œ ‰ œ ‰Œ ‰ œ ‰ ‰ ‰ ‰ 237 2 4 2 1 4 2 1 1 2 1 p D 4 243 4 r2 bœ 1 4 4 1 2 œ ‰ œ. #œ. œ. #™œ ‰ œ ‰ œ ‰ œ œ œ œ ‰ Œ ‰ 2 2 1 œ ? ### œ ‰ œn œ nœ ‰ Œ ™ 2 2 1 1 1 sempre pp D 249 ™ ™ ™ ™ ™ œ œ # n œ ? ## ‰#œ ‰ œnœnœ œ œ ‰ œ ‰ #œ œ œ œ œ œ œ ‰ Œ ‰ Œ ‰ œ ‰ 4 0 1 1 2 4 4 4 4 1 1 1 1 1 1 0 2 1 G 255 4 4 4 1 1 ? ### nœ ‰ œ ‰ œ ‰ œ ‰ ˙ ™ ˙™ ˙™ ˙™ ˙™ mf cresc. ˙™ cresc. 263 ™ ™ ™ ™ ≤ n œ œ œ œ œ œ œ #œ œ œ œ œ œ œœœœœ œ œ # œ œ œœ 2 1 1 4 1 4 1 4 2 4 0 0 4 1 2 2 1 4 1 2 ? ### ˙™ ˙™ 0 E cresc. f ≤ 4 4 269 ≤ ™ ™ #™œ œ ™ #œ™ œ œ # ˙ ™ # ? ## œ#œ œ œ œ œœ 1 4 4 1 2 0 1 1 4 1 4 2 G 4 1 4 D ™≤ œ œ œ œ œ œ ‰ œ ‰ œœ ‰ œœ 4 2 1 4 2 1 1 2 1 n˙ ™ œ DG f ≥ ™œ ˙ ™ œ œ ? ### œ ‰ nœ ‰ œ œ œ œ œ œ œœœ 276 4 1 0 4 0 4 4 0 1 2 2 4 1 4 1 1 ˙™ ˙™ D ≤ œnœ œ œ œ œ 3 1 3 + 1 282 + 4 C œ œ n œ œ œ n˙ ™ æ 2 1 + 4 2 1 ? ### ˙ ™ ‰ G D D A f ff 19 n˙ ™ æ nœ ‰ Œ ‰ Felix Bartholdy Mendelssohn Symphony No. 4 – Movement 4 Details: There are 3 main passages in this movement that I train my students to learn. The title of the movement is Saltarello, which is a 14 century dance of Italian origin usually in 3/4 or 6/8 time, characterized by leaps and skips. The most important aspect of this rhythm is the supremacy of beats 1 and 3 in 4/4 time. The bowing mistakenly invites the performer to accent the second down bow of each motif - Don’t fall into this trap! In fact, I advise against recovery here. Soft-sell that second down bow and migrate back toward the frog for the next strong beat. I have placed dynamic phrase marks in measure 32 to illustrate what I believe helps to the keep the rhythm clear and secure. The core of the first excerpt in this movement is the juxtaposition of the duple and aggressive rhythms in measures 34, 35, 38, and 39 with the more linear triplet motifs. Follow the topography of the line from measure 40 until measure 44. In all my years of teaching, I have maybe heard one or two players successfully use a 4-2-1 fingering in measure 44 to play in tune. I recommend my “stupid” fingering of 4-4-1, with the next best option being to deploy thumbage and play 2-1-+. Some will choose 4-3-1 using an extended hand. Stay relaxed and play IN TUNE. This movement should sound lively and with plenty of phrasing and direction. th The next section at beginning at measure 166 is one of the best examples of pivot use in the literature. In measure 168, every shift to the 4 finger is a thrown shift (as opposed to an on the string slide shift - the most common). I use three up bows on the quarters in measure 169 to get back to the lower half. These quarters are played on the string and marcato. Again at measure 175, the pivot promotes clean playing under the slur. Remember to hammer those fingers to the board. When descending, pull the upper digit to produce more clarity. Finally, in the 1-1 shift in the first beat of measure 176, use a quick shift to produce the same clarity. These three tools (the hammer-on, pull-off, and jam shift) are key to making this passage effective and attractive. th While I have included an additional passage at measure 222, there is little new information vital to executing it successfully. Employ the same bowing style as the beginning of the movement. With all the strokes being detached, there is no necessity for the hammer, pull, and jam approach discussed earlier. 20 Movement 4 Saltarello Presto ≤ ≤ ≥ ≤ ≤ etc. . œ. ≥ ≥ ≥ ≥ n œ 3 œ œ œ. nœ. ? ### 44 ‰ œ œ œœœœ ‰ œ œœœ œ‰ œœœœœ‰ œœœœ œ > ff < f ff ff 4 32 2 2 2 1 0 4 ≥ ≤. ≤. . . ™ ™œ œ œ ≥ ≥ 35 n œ œ œ. œ n œ. œ œ. n œ. ™. œ. ™ ™ n œ #œ ‰ œ œ#œ œ œ ‰ œ œ ? ### nœ œ ‰ œ œ#œ#œ 4 4 4 4 4 2 4 4 1 1 2 1 1 1 2 2 2 2 1 4 1 4 1 1 1 1 1 3 3 A ≤ ≤ ≤ ≤ œ. œ. n œ œ œ. œ. ≤ ≤ œ #œ œ. nœ. nœ. œ. œ. œ. 4 1 2 4 4 38 2 2 ? ### œ G 2 1 2 0 4 40 1 . . 3 ? ### œ. œ nœ. œ œ ‰3 nœ nœ ‰ œ ‰ n œ œ œ œ nœ œ œ nœ œ œ œ 42 2 4 1 0 1 œ #œ œ œ œ n œ ? ### nœ ‰ œ œ œ nœ œ ‰ n œ ‰ œ œ œ #œ œ ‰ œ œ ≤™ ≥ œ n œ œ œ œ œ œ œ œ œ n œ œ œ œ œ œ#œ œ ? ### < f G 4 44 4 4 4 2 1 2 1 2 ≥ nœ œ œœœœœœœœ 4 4 1 2 less 2 1 + 4 47 . . . . œ n œ œ œ œ œ œ œ œ œ œ. n œ œ. œ œ. œ œ. œ 2 4 2 2 1 2 ? ### n œ œ œ œ œ œ#œ œ > < less (U.H.) 50 . n œ. œ. œ. œ. œ. œ. œ. œ≥ n œ≤ œ≥ ≤ œ # ? ## J ‰ J ‰ J ‰ œJ ‰ > ff 21 œ≥ ≥ ≥ ≤ Œ œ Œ #œ Œ œ Œ p 1 4 4 1 2 0 1 4 ™ ™ ≥ nœ œ œnœ n œ n œ œ œ œ œ œ œ œœœœœ œ œnœ œ œ#œ œ œ œ œnœ ? ### Œ œ œ#œnœ œ 2 4 2 4 1 2 2 2 1 4 0 1 166 4 0 1 0 3 f 3 ≤ ) . ≤ ≥ ≤ ≤ ≤ 169 . œ. . . . . ™œ. nœ. œ œ. n œ. œ. n œ. œ. # œ. n œ b œ . . nœ nœ nœ #œ ? ### J ‰nœ œ. œ. nœ œ. #œ. œ. nœ . 4 ( 1 2 1 4 2 4 2 0 1 2 2 4 2 2 1 1 4 0 0 1 4 1 0 f ≤ ≥ ™ ™ ™ ™ ≤ .œ ≥ ≤ ™ 175 œ œ n œ œ n œ œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ nœnœ œ œ œ ? ### œ#œ#œ œ#œ#œ 4 4 1 1 2 1 4 1 1 4 2 2 1 2 2 2 1 1 2 4 1 4 2 1 4 4 0 1 1 4 1 2 2 1 D f ≥ ≤ ™ ≥ # ? ## nœ œ œ nœ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ 0 0 1 2 1 2 0 0 178 1 1 2 2 1 ff ≥ ≥ ≥ ≥ œ n œ œ œ n œ œ œ œ ™œ œ n œ œ œ œ œ œ œ œ n œ ˙ ? ### œ ‰ J‰ ‰ ‰ ‰œ < ff > f 4 4 2 4 4 2 4 4 1 4 1 4 1 222 1 4 1 1 1 1 1 4 2 œ œ n˙ 2 œ 4 1 D sim. ≤ ≥ 226 œ n œ œ œ n œ œ œ œ œ œ n œ œ œ œ œ œ œ œ œ n œ œ œ œ œbœ œ œ œ ? ### ‰ ‰ ‰ ‰ ‰ ‰nœ œ 4 4 4 2 2 4 4 1 4 1 1 4 4 1 1 1 4 1 2 2 1 1 1 1 2 0 2 1 1 229 1 2 4 1 4 4 1 2 1 1 1 ? ### œ ‰ nœ œnœ œ œ ‰ œ œ œ œ nœ ‰ œ œ œ œ œ Œ nœ ‰ œ œ œ œ œ Œ D 232 ? ### œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ˙≥ E œ œ‰ œœœœœ‰ œœœœ œ Œ Ó 22 0 Igor Stravinsky Pulcinella Suite – Movement 7 “Duetto” With the ballet and subsequent published Suite of music from Pulcinella, Stravinsky unveiled what has become known as his “neoclassical” style. He took works by 18th century composers and added modern touches that sometimes preserved the source material and other times distorted it to the point of being unrecognizable. The bass is featured in the Duetto movement, unfairly paired in a duet with the trombone - certainly not a fair fight! Employing extreme dynamics foreign to Baroque or Classical style, Stravinsky’s depiction of the clown Pulcinella makes use of the bass and trombone at their most cartoonish. Details: There is very little legato on the page, even in bars where there are no rests. In the first measure, the two quarters notes are long but separated, and articulated with accents. The rhythmic figure in measures 2 and 4 should be quick. The trombone is glissando here so clarity in the bass in not important. Just DO NOT PLAY 16THS! In measures 7-14, there are slight spaces between each measure. It is extremely important in these bars to make the first note of each bar the heaviest, which keeps the rhythm intact and recognizable. In measures 14-19, the second 8th is the strongest, thus the bowing always begins with an up bow. The glissando at measure 20 should occupy the space where the 16ths actually occur while maintaining a smooth slide. This is one of the few instances of legato, as the glissando connects to the first 16th in measure 21. The grace notes in measures 30, 31, 34, and 35 should be very tight to the beat. Again, don’t play 16ths here - honor the 32nds. The character changes to a lyrical dolce at measure 46 for four measures, then begins to return to an angular style in measure 48. Finally, end with a flourish in the last two bars. My reverse bowing is counterintuitive there, but I find it adds punch and finality. 23 Pulcinella Suite ≤ ≥ >œ >œ >œ™ >œ >œ >œ ™ Vivo 0 3 3 Duetto 1 + 4 4 2 >œ > > > ? b 42 œ œ œ œ ‰ œ œ œ ‰ 4 ≥ ≥ œœœ ‰ œœœ ‰ 4 4 1 1 1 1 2 1 0 2 >œ. J‰Œ >≥œ. J‰Œ 0 2 1 fff sff sff ≤ ≤ >œ >œ >œ >œ >œ > œ ‰J ‰J 0 3 3 ™ >œ >œ >œ™ 1 4 4 + 2 2 4 1 8 1 4 1 4 >œ >œ >œ ™ 4 1 >œ >œ >œ™ 1 1 2 >œ >œ >œ ™ 1 1 0 0 ?b ≤ >œ >œ >œ > 16 œ ?b ‰ J J ‰ Œ 4 2 4 2 >> œ œ >œ™ >œ >œ >œ ™ œ œ œ œ œ œ œ≥ œ≤ œ >œ > > > > œ œ œ > œ nœ >œ >œ œbœ ™™ ‰ J ‰ J ‰ J gliss. < ff mf > f sim. Æ >œ >œ Æ Æ n œ Æ œ Æ œ Æ œ œ œ œ œ œ nœ œ œ œ œ ‰ œ œ œ ‰ œÆ œÆ œ œ ‰ ‰ J‰Œ 0 3 3 1 + 2 4 4 4 1 1 4 2 1 0 1 0 + 3 2 0 + 1 2 0 + 4 2 2 1 1 4 4 1 4 1 1 œ ?b J ‰ Œ 22 2 1 4 1 1 4 1 1 AD < ff mf > œj œ nœ œ ™ 4 œ n™œ œ ™ œj 1 28 œ œ œ œ œ nœ œ ?b ‰ ‰ J‰Œ 1 2 Œ 4 1 1 1 Œ 4 34 ?b 4 4 1 1 œ œ œ™ Œ 2 1 1 1 œj 2 4 1 œ™œ œ™ Œ œj 1 1 2 2 1 0 3 3 + 1 œ œ œ™ œ œ œ œ œ œ >≥ >≤ ‰ œJ œJ ‰ 4 ≥≤ >> ‰ #œJ œJ ‰ œ œ œ ™ œ ™œ œ™ 4 1 œœœ œœœ 2 fff détaché ≥ bœ œ ™™ J ≥ ≤ œ. n>œ œ ™ J J 2 3 4 1 4 1 4 41 4 1 œ œ œ™ 2 1 1 1 œ œ œ™ 1 œ œ œ™ 0 2 0 œ œ œ™ ?b œœœ Œ 2 1 2 dolce ≤ ≥ b œ≤. ≥ œ œ œ. œ œ œ. œnœ 50 ?b J J ‰J ‰J 2 1 + 1 3 + 1 1 1 4 1 1 4 1 1 >œ 4 œœ ‰ >œœœ ‰ œ ‰ Œ J ≥ ≤ ≥ ≤ œ œ œ œ œ œ œ œ œ œ œ 62 œ œ œ U œ œœ ?b ‰ J ‰ J ‰ J Œ ‰ ‰ Œ 3 2 1 2 2 1 3 3 + 1 1 1 + 3 1 + 1 + 1 ff 24 ™™ Giuseppe Verdi Otello - Bass Soli from Act 4 For some reason, this excerpt (which I have never played with a symphony orchestra) remains a commonly asked excerpt for many auditions. I don’t know when it entered the audition repertoire, but I am happy that it is a staple. The scene where the bass soli occurs in Act 4 depicts Othello sneaking in to his wife Desdemona’s bedroom to kill her for being unfaithful, only realizing he has been manipulated by Iago after the deed is done. The emotional content of the scene is best realized by beginning incredibly quietly with muted dynamics in the first half of the excerpt. We must also display dramatic lyricism by employing vibrato, shape, and ease of shifting. Details: I recommend playing this excerpt with a mute as it creates a different timbre that I find attractive. The accent in the first bar should only be enough to nudge the start of the note. Some editions have no accents at all; some have one only on the first low E. Throughout this excerpt is a recurring figure of dots under a slur. This could be misunderstood as staccato but it is crucial that they be played as portato. Keep your phrasing on the minimal side early to allow for more expressive dynamics later. The descending shifts that occur in measures 10 and 17 are often played out of tune - Be Careful! Give consideration to the sequence between measures 13 and 20 as to how to shape these. I do like to sustain the high C in measure 20 through the value of the note (despite the markings showing a diminuendo). Also, there is no accelerando indicated, but it is traditional. I advocate only a moderate change in tempo, making sure to show the difference of the 16 s with dots and the 16 s with accents in measure 24. I play the dots short with release and the accents into the string with force. th th 25 Otello Giuseppe Verdi < ô> Bass Soli from Act IV ≥ ≥ 4 1 2 4 1 1 4 0 0 j ™ # œ #œ nœ Ó n œ # œ œ ? bb bc b nw > (con sordino) pp nœ nœ #œ n œ ™ Ó J n œ œ nw D 4 2 2 4 1 4 1 4 1 œ b œ. œ. œ. œ b œ œ b œ œ b œ b œ b œ ™ œ œ œ œ 2 4 1 4 2 7 1 #˙ ? bb b nœ #œ nœ ™ # œJ b 4 1 D G G D f un poco marcato ≤ œ. œ. œ. b >œ œ™ œ b œ œ™ 4 2 4 1 2 1 11 1 1 2 1 ? bb b ˙ bœ œ ˙ b D A D ppp morendo Ó Ó 2 1 bœ ˙ ‰ Ó D A ≤ œ. œ. œ. b œ œ œb œ œ œ œ b œ 2 ≤ ≥ ≤ b˙ œ. œ. œ. 2 4 2 4 4 1 2 16 1 ? bb b Ó b 1 ‰ Ó Ó 2 1 œ œ œnœ 1 1 ‰ p p 2 œ œ b œ b œ œ œ < -. œ œ -. -. > 21 b œ œ œ œ œ œ œbœ bœ. bœ. œ. œ. œ. œ. . œ. . . bœ. . . . . ? bb b œ œ œ œ œ œbœ. œ b 1 4 4 4 1 1 1 4 2 1 4 2 4 1 1 4 1 4 1 1 4 1 4 2 2 2 4 1 1 1 1 D p dim. f un poco marcato A 4 4 1 4 ™ ™ > > > >œ >œ b >œ >œ œ ™ ™ >œ > n œ . ? bb b œ n œ J ‰ œJ ‰ J ‰ Œ b . nœ. œ. œ. bœ. œ. œ. œ. œR œ 24 1 1 0 1 2 4 1 2 1 2 4 1 4 1 f ff 26 Wolfgang Amadeus Mozart Symphony No. 39 – Movement 1 This gem of a Mozart symphony, together with the two that follow it, represents the culmination of the composer’s style and his propensity for challenging bass writing. This is the 3 most frequent audition request behind Mozart’s 40 and 35 symphonies. Like all of his works, an elegant touch is required to be successful. rd th th Details: The opening Adagio presents an opportunity to showcase one’s elegance and stylistic awareness. The dotted rhythm (8 , rest, 16 ) should be consistent in the taper of the 8 s, and the separation of the 16 from the next 8 . I learned to play it with a hooked bowing in both loud and soft contexts, but one could easily argue that the bowing should be done separately. Either way, I find consistency allows me to concentrate on the phrase and the dynamics. The scales should all have direction whether in forte or piano. Finally, the half notes in measures 14, 16, and 18 and the quarters in measure 98 should taper away, never having an artificial sustain. th th th th th The theme in the Allegro offers a rare opportunity for us to play a melody. The bowing that I prescribe encourages linear playing. Be sure to begin measure 60 very near the tip of the bow. After measure 63, do not recover, but begin the next two quarter notes where you finish. The 8 s at letter A are brushed. Accentuate the topography of the line and demonstrate Mozartian stylistic conventions by tapering away in measure 61. At letter B, each measure of 8 s leads to the following dotted half. From measures 91 to 95, I list pivot fingerings and thumbage fingerings underneath. th th At measure 102, I have always used a reverse bowing so that measure 109 begins on an up bow. This promotes the release of the 8 s (with staccato dots) and allows one to keep the bow on the string through each set of slurred 16 s. Be careful not to fall into the common trap of compressing the 16 s. Instead, claim the time and give direction to the bar with two quarters. These are ALWAYS played “strong-weak.” th th th 27 Symphony No. 39 Movement 1 W.A. Mozart ≤ Adagio 4 1 1 4 0 4 1 1 ≥ 0 4 1 13 ≥ ≥ ≤ ≤ ? bb C œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ ˙ b 0 ‰ nœ œ œ p f ≥ œ 4 ? bb b 1 4 1 0 ≥≤ œœ 4 15 œœœ œ b œ œ œœœ 2 ≈ 2 4 4 1 ≤ œœ 4 4 1 ≈ ≤ 0 4 ≥ ≈œœ ≈œ ˙ 1 4 2 4 1 ‰ œœœœœœ œ œ œ œ œnœ p D ≥ œ E (A) 3 0 ≥ œ n œ≤ 4 2 17 ≤ bœ œ œ œ œ ˙ ≈ ≈ ≈ “” ≥ 4 2 ≤ 1 1 4 2 0 4 1 1 2 4 1 1 4 1 ? bb b ≈ 4 1 œnœ œ b œ ‰ b œ œ œ b œ b œ œbœ œ 1 1 2 0 f E A ≥ ≥≤ ≤ ≥ ≤ ≥ ≥ ≤ œ œ œ ≈ œ œ ≈ bœ ≈ ? bb ≈ œ œ œ ‰ ™ œr œ ‰ ™ œr œ Œ b D 19 4 4 2 4 4 2 4 1 1 4 1 4 E A D 28 Ó 3 0 ≥ œ œ ˙ œ Allegro ≤ 40 ≥ ? bb 43 Œ œ œ ˙™ b < A D 1 ≥ ≤ œ œ ˙™ 1 1 4 2 2 1 2 ™ ˙ œ œ 0 1 œ 4 2 1 œ Œ œ > p ≤ œ ≥ ≤ ≤ ≤ œ ≥ œ ? bb Œ œ œ Œ œ œ œ Œ Œ ˙ ˙ Œ Œ b < > 54 A œœœœ œœ ? bb œ œ ˙ ˙ œ œ ˙æ œ œ œ œnœ œbœ œ œ œ æ b œœ œœ æ 4 48 1 4 4 4 2 2 4 2 4 4 2 2 2 2 2 4 4 4 1 1 4 f ten. ™˙ ™ æ 60 ™ ? bb œ œnœ œbœ œ œ Œ Œ ‰ œJ ˙ æ˙ ™ æ˙™ æ b B 68 . œ œ . œ. œ. œ. œ. œ. ˙™ ? bb næ˙ ™ œ Œ Œ Œ œ. b 4 4 2 2 1 1 2 1 1 1 b˙™ œ˙ ‰ Jæ 4 4 4 1 2 1 . . . œ. œ œ. œ œ. œ ˙ ™ 4 4 4 G A A 75 1 1 . . . œ. œ œ. œ œ. œ 1 4 2 4 2 1 4 ? bb œ. œ. œ. œ. œ. œ. ˙™ b œ. œ. œ. œ. œ. œ. ˙™ .œ œ. œ. œ. œ. œ. ˙ ™ D ≥ ˙™ æ 82 0 2 4 4 1 1 1 4 0 ? bb ˙™ ˙™ ˙™ ˙™ b æ æ æ D ≥ ≥ ≤ .œ œ n œ œ. œ œ œ. œ œ œ≤ ≥ 89 œ. œ œ œ. œ œ œ. œ œ œ ? bb œ Œ œ Œ b 3 1 + 3 1 1 + 1 + + ≤ œ. œ œ œ. œ œ œ. œ œ œ 2 + 1 ? bb b ≤ œ. œ œ œ. œ œ œ. œ œ œ C 3 + 1 1 93 + œ nœ œ œ œ n œ œ œ n œ œ œœ 1 2 1 0 œ Œ 4 1 œ Œ D æ ˙™ A sfp 29 Wolfgang Amadeus Mozart Symphony No. 39 – Movements 2 and 4 Details: I included a couple passages from the 2 movement although they are rarely asked. They are fun to play and study of them will improve your comfort level with the style of Mozart as well as your value within an orchestra. nd The excerpt in Movement 4 is asked fairly often. Take a look at the few notes that have dots. They are misleading and should be played similarly to all the detached 16 s. It makes the most musical sense to begin each motif with a down bow, shaping the phrase to the barline. Don’t slam each quarter. Instead, shape away from the beginning of the phrase. I also like to modestly bring out the masculine/feminine aspects beginning in bar 125 (masculine) and 126 (feminine) alternating every bar until measure 131, where it follows the phrase up. The last note of the passage could be played with an open string, but only if it does not come across too bright or harsh. th 30 Movement 2 Andante con moto ≥ œ œ™ œ œ™ œ œ ‰ Œ J ≥ ? bb b 42 œ œ ™œ œ ™ œ œ ‰ Œ b J 9 2 1 4 ≥ ™ œ œ ™œ œ œ œ ‰ Œ J 1 2 4 1 4 2 4 1 4 4 4 1 1 1 1 D p ≤ ≈ ®œœ ®œœ ®œ 15 4 4 4 1 2 1 1 1 ? bb b b D ≥ A 2 2 2 E ≥ ≥ 1 4 4 0 ≤ bœ œ ‰ Œ ™ œ™ œ œ œ œ ™nœ J 4 0 j œ ‰ Œ œ ®œ œ œ 0 0 4 1 1 4 1 4 40 1 1 1 2 4 1 4 ? bb b œ ™ nœ ™ œ œ™œ œ b nœ ™ œ œ ™nœ œ™nœ œ œ ∑ 2 ∑ p A D D ≥ ≤ ≤ ≥ ≤ ≤ ™ A ≥ ≥ ? bb b nœ ™nœ œ ™ œ œ™œ œ nœ ™œbœ ™ œ œ ™œ œ œ™nœnœ ™œ œ™œ œ nœ ™ œ™œnœ ™œ œ j ‰ Œ b nœ bœ 4 1 46 1 1 2 0 2 1 1 4 1 1 4 0 2 0 4 2 4 4 1 4 4 1 4 1 1 4 1 p D f D A D A A Movement 4 Allegro 4 1 1 ≥ 8 œ œ œ œ œ œ nœ ? bb 42 nœ œ œ œ nœ J ‰ b nœ œj f ≥™ ≤ ≤ 115 ≤ ™. ™ ≤ nœ≤ ≤ n œ ? bb Œ ‰ #œnœ #œnœ#œ#œ. nœ nœ ‰ #œ œ #œnœ#œ. #œ. nœ nœ ‰ nœ œ œnœ œ. œ. nœ œ b f ≥ ≤ ≤ ™≤ 121 . nœ. ≤ œ œ œ ™œ œ œ œ bœ œ œ œ œ œ n œ n œ œ ? bb œ ‰ nœ œ œ œnœ œ œ ‰ œœ œœœ b . nœ. œ 127 œ ? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œnœnœ œ œ œ b ≤ ™≥ ≤ ™œ œ œ œ 132 ™ œ œ nœnœ ™œ œ œ œ b œ œ œ n œ œ œ œ œ ? bb œ #œ J‰ b bœ œ ‰ nœ œ œ œnœnœ œ 1 104 4 1 1 1 1 4 1 1 0 2 4 4 2 1 1 4 1 1 0 1 2 1 4 1 0 1 1 0 3 4 4 2 4 1 2 4 4 4 1 1 1 1 4 1 1 0 2 2 1 1 1 1 0 1 1 4 0 0 4 1 4 4 1 4 1 4 1 1 4 1 4 1 1 1 4 1 0 0 1 1 1 0 0 1 4 1 4 0 4 0 0 2 1 4 0 4 2 4 4 2 1 1 1 1 1 1 4 1 4 2 1 1 1 4 1 4 1 1 4 1 4 0 2 2 1 1 (0) 31
