LentheLessons
|
|
|
|
David Lesson 1 The introduction to this Konzertino is truly a beautiful piece of music. The woodwind choir harmonizes on a beautiful Mendelssohn-like choral, the whole orchestra then joining to churn rising and cascading waves of excitement and anticipation. One can't ask for a better build up to a dramatic entrance. Four bars to go.... ....and it is time for you to Make a statement!
!!! Here you must enter the stage with a bold declaration, with drama and heroic purpose. Listen as this advanced student plays.
And finally - Makes a
statement! It is worth trying a half dozen times or so to make this really announce a hero! Imagine your favorite superhero arriving at the scene - and paint that picture!
This very first motif is important to the work, and you will find it throughout. The rhythmical tension generated between the dotted and the triplet rhythm is key here, and care should be given to make sure that it is accurate. The tongue should hop on the 16th, and the triplet should drive through to the arrival note. You can make exercises out of this, and may find it helpful in solidifying this execution. Play around with this and similar exercises until you "own" this rhythm. It will serve you well in this piece (and beyond). You will find some examples of this motivic rhythm in measures 46, 48, 102-106 and countless other passages. In the funeral march the rhythm is also implied in double values. Now, after you have gotten your listeners' attention with your opening motif, you must still captivate them with your entire statement (m. 42-65). some of the key elements here will be poetic pairing contained in m. 44-47 and m. 48-51. There are many ways to turn a phrase. The only wrong way would be to not inflect it at all. Your background knowledge of this style will help you make an informed choice among the many options. These couplets in m. 44-47 & 48-51 are then followed by the dramatic 'punch line', if you will, of m. 52-55. This is a good dramatic 'build'. really try to 'grow' through the half notes in measure 52. Listen to the same advanced student work on this. Now he's got it! You may notice that the student added some vibrato on the third try. While that certainly enhanced the overall effect, vibrato in itself will not bring the drive through these notes that we are looking for. Be sure that the tongue is only articulating the air/tone column, not interrupting it! That concept is also dealt with in the in the Barat lessons. And
finally, There are always a few passages that require repeated attention and practice, and this may be one for you. Since this is the final flourish of your opening statement, it should be polished and dependable. I draw your attention to three points
|
!!!
