Elgar Concerto Movement 4 Notes — Transcript

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1. 0:02Hi, Colin. Great job on the Elgar. The
2. 0:04energy, focus, and memorization. Well
3. 0:08done. Nice sound production. So, I'm
4. 0:12going to walk through a couple things I
5. 0:13think need refinement or the next step
6. 0:15of refinement. And that's going to be a
7. 0:17little bit of coordination of shifts,
8. 0:20the bow and verb so that you keep all
9. 0:23that great energy and sound, but there's
10. 0:26less gissando when you don't want them
11. 0:28or that the verb is just a little bit
12. 0:31more artistic in how you develop it.
13. 0:34Even something like here at the
14. 0:36beginning
15. 0:54So, I hope you can hear the artistic use
16. 0:56of VBR and the mostly clean shifting
17. 1:00coordination with the bow, though
18. 1:01sometimes there's a little gissando. Oh,
19. 1:03and apologies. I've got my practice mute
20. 1:05on because I'm in a hotel and I can't
21. 1:07play too loud. So, I hope you're able to
22. 1:08hear all of that. Same thing with
23. 1:12coordination on something like
24. 1:17and so I slow the bow down a little bit
25. 1:22gissando is fine but it helps me to
26. 1:25get that high B uh with a sense of
27. 1:28control. Even
28. 1:32there
29. 1:33you see me slow the bow down just a
30. 1:35little.
31. 1:37But when it's in tempo, it's so fast, no
32. 1:39one would ever notice.
33. 1:42So again, looking for coordination and
34. 1:44clean bow usage related to shifts.
35. 1:49All right, let's jump to the
36. 1:52the um
37. 2:00to this section. And I know I've had you
38. 2:02practice just the melody and keep doing
39. 2:05that because it helps preserve the line,
40. 2:07but it's a little bit messy with the
41. 2:09inonation and the coordination. Practice
42. 2:12immediately stop and go and sat there
43. 2:15and then wait. Stop and go. Set.
44. 2:21Same thing. I jump and then I wait. I
45. 2:24jump and then I wait.
46. 2:26So, I hope that leads you to something
47. 2:29where
48. 2:31where the chords are just a little bit
49. 2:33cleaner, more in tune, and easy. Do the
50. 2:37uh
51. 2:40up and down and then add a group like
52. 2:46and back and back and forth all of that.
53. 2:51I like your energy on the algro, so keep
54. 2:53doing that. That sounds very healthy.
55. 2:56the spot before rehearsal 46. Think bow
56. 3:00coordination or bow distribution
57. 3:03out here
58. 3:06and then you come closer to the frog
59. 3:10back to the frog
60. 3:12more tip.
61. 3:15And I just find that a healthier way to
62. 3:18think about bow distribution. Makes the
63. 3:20playing exciting and cleaner. Or we
64. 3:22could call that run pony, run pony, run
65. 3:25pony, run pony.
66. 3:29All right, 47.
67. 3:32The following exercise won't sound that
68. 3:34beautiful, but I'd like for you to
69. 3:36measure your verb and practice.
70. 3:46And then this doesn't matter. No verb
71. 3:49there. But then back to measured verb.
72. 3:51And let me tell you the measurement.
73. 3:55These are like 32nd note verbat where
74. 3:58I'm getting ya ya ya inside of each
75. 4:00eighth note. Ya ya ya. You hear that?
76. 4:08And then again the same thing measured
77. 4:20etc. etc. So start that way with the
78. 4:23verb. I find that it'll give your left
79. 4:26hand a nice sense of
80. 4:29not being frantic. And then of course
81. 4:32you can change the verb so it's not
82. 4:34always the same speed. But this will
83. 4:36help to relax the left hand. Back to the
84. 4:39bow in the shifts. Microscopically, I'm
85. 4:42doing a lot of
86. 4:44slow
87. 4:46right before the shift
88. 4:50and then slow bow before.
89. 5:00So, I exaggerate a little bit here for
90. 5:02the video, but that gives me that sense
91. 5:04of control and helps guide the shift so
92. 5:07that it's of course in tune, which we
93. 5:09want, but so that the sound doesn't
94. 5:11become like, oh gosh, there was a wobble
95. 5:14because of how hard the shifts are,
96. 5:15which I know they are quite hard. Let me
97. 5:18know if there's any um questions about
98. 5:20what I've just said. On to the hard
99. 5:23part. Nice job. When I say the hard
100. 5:24part, I mean,
101. 5:27nice job on that. So good for you.
102. 5:30Continue to work. Of course, we continue
103. 5:32to tune it. You can use double stops.
104. 5:34And
105. 5:39so I like doing that sort of work for
106. 5:41inonation, hidden double stops. And keep
107. 5:44thinking about relaxation.
108. 5:46I see a little bit of flailing with the
109. 5:49left hand. I think you can
110. 5:53you can find a little bit more energetic
111. 5:55but small. This is good passage to
112. 5:58practice on a tabletop. Feeling like
113. 6:01you're bouncing with a lot of energy but
114. 6:03not flailing high.
115. 6:07When it gets hard near the end, like
116. 6:13how's it go?
117. 6:17I find slightly pointy bows help to
118. 6:20clean up the shifts.
119. 6:27that you can use that to help uh clean
120. 6:30up all of the shifts. Really nice job
121. 6:32before rehearsal 55. I thought the D had
122. 6:36great energy to it. 55 the sexlets and
123. 6:43I don't think that those actually have
124. 6:45to be that loud. It's a texture
125. 6:47underneath the winds. So we want them to
126. 6:50speak and be buoyant. But don't overplay
127. 6:52them. Don't uh pretend as if you're at
128. 6:54the sawmill just sawing away. Feel that
129. 6:57it's a little bit more bouncy with the
130. 6:59right elbow like a funhouse at a
131. 7:01carnival.
132. 7:12etc etc.
133. 7:16The next passage is going to be the
134. 7:18same. So just keep doing your good work
135. 7:20on that.
136. 7:23want to jump to 60. Well, actually
137. 7:27before 61
138. 7:30this passage unlike the beginning. So
139. 7:32these are three or four measures before
140. 7:3461. Find
141. 7:40a very relaxed and singing type of
142. 7:43eighth note 16th. not dancing anymore.
143. 7:45But we want
144. 7:48we don't want
145. 7:50something that dances too much. So keep
146. 7:52it
147. 7:56keep it beautifully singing on that.
148. 7:5962 is similar to the previous
149. 8:0563. Yeah, I'm going to do this quite
150. 8:08slowly because there's a good bit of um
151. 8:10depth of sound quality without forcing
152. 8:13the sound that I'd like for you to look
153. 8:16for. So, this is a little bit after 63.
154. 8:20There's an allarando.
155. 8:24We'll go slowly and we're feeling our
156. 8:29weight
157. 8:33sinking into the cello.
158. 8:42I'm going to do that one more time so I
159. 8:43can get that a little bit more in tune.
160. 8:44But I hope you you get the idea. So the
161. 8:47weight's coming from here, not pressing.
162. 8:49And then the left hand is very relaxed,
163. 8:57gentle on that. Don't like hit that
164. 9:00note. Just give it a beautiful rich
165. 9:02sound. And then wait.
166. 9:09Same thing there. There's no accent on
167. 9:11it. Just a beautiful healthy note. Bow
168. 9:14weight sinking in through your body.
169. 9:24All right.
170. 9:25Next part's fine. Like to jump to 66.
171. 9:29And this goes back to our conversation
172. 9:31of coordinating the
173. 9:35VA
174. 9:37bow usage,
175. 9:39especially relating to shifts.
176. 9:47And so you'll see my bow is deliberately
177. 9:51aware
178. 9:54of when there's a shift coming up.
179. 10:05So the bow takes care of the end of the
180. 10:07note before the shift. It's a very
181. 10:10deliberate way, a deliberate way to
182. 10:12think about the upcoming shift. And
183. 10:14you'll notice this verb, it's either
184. 10:18sixuplets or 302 notes. Try to measure
185. 10:21that as a starting point and then you
186. 10:23can get artistic with the rhythm of it.
187. 10:32So that's about the speed that I look
188. 10:34through look for throughout all of this
189. 10:37on the big shifts like uh take rehearsal
190. 10:4069.
191. 10:45Just go for it. Relax.
192. 10:48So you see my elbow lift up, but then
193. 10:50it's total relaxation
194. 10:54and a little bit of gissando is good,
195. 10:56but we don't want, you know, smears or
196. 10:58anything like that. So
197. 11:01again, you see my bow speed slow down
198. 11:03just a little bit before the top note,
199. 11:06which has azado on it. So that helps to
200. 11:08make the sports auto, but the slowing
201. 11:10down bow helps for me to
202. 11:13really feel good about the shift
203. 11:15distance.
204. 11:17Well, I think that's about it. I I hope
205. 11:19that's enough to think about.
206. 11:22The things I've mentioned probably
207. 11:24pertain to all of the fourth movement.
208. 11:26So, really be thoughtful about applying
209. 11:28it to all of the notes. All right, I'll
210. 11:30see you in a little bit. I should be
211. 11:32back in the country in several days and
212. 11:34then we can start up in second week of
213. 11:36August. Bye.