Symphony No. 4 Example 1 Allegro vivace 0=80 in Bb P dolce 6 Example 2 a EXAMPLE 1 is a “solo,” The only suggestion I have is to make sure the lower notes are heard. Come in with authority because the passage is a canon. A dynamic of mf is probably more realistic than the marked p. EXAMPLE 2 is another “solo.” It starts in the fifth measure of the excerpt. A nice litle effect is to crescendo to the G in measure 8 and do a subito piano on the C. Ludwig van Beethoven, Op. 60 —, ow EXAMPLE 3 needs a burst of energy on the first ‘eighth notes, Make sure you articulate the C in measere 1 and get in the background by the fourth measure. EXAMPLE 4 is exactly like Example 1. It should be played the same way. Beethoven — Symphony No. 4wesc. of P EXAMPLE 5 is with the flute. You must, therefore, be perfectly in tune with everything else so that the flute player will feel comfortable matching your pitch. Be es- Pecially careful about your throat notes in measures 11 Example 6 ( cantabile erese. f and 12 (counting the first nine measures rest). The best place to take a breath is after the E in measure 12. Make sure the p in measure 14 is a subito, and don’t crescendo until measure 13 (where it’s written). ~~ = a SSS Se eae erese. f P 10 z In EXAMPLE 6 try to articulate the repeated D's in the first measure more with your air than your tongue. Crescendo for the first two beats of the second measure, then diminuendo on the two sixteenth notes while making, @ tenuto on the A-flat. I think it’s probably better not to auticulate the first notes in measures 3, 4, 5, and 9. How- ever, i's certainly acceptable to articulate measure 9 if it helps to nuke the piano subito. Play a large crescendo in measure $ with a very sudden drop in dynamic level on the downbeat of measure 6. Finally, be sure to keep the triplets in measure 8 in tempo. Beethoven ~ Symphony No. 4 crese. f EXAMPLE 7 is played as an introduction to a very difficult horn entrance in the fourth measure so don’t play it t00 sofily or with too light of a tone. It is probably a good idea to do a small crescendo into the downbeat of measure 4. Measures 5, 6, and 7 are played just like the similar phrase in Example 5. Try not to be late witen en- (ering alter the sixteenth rests. Play the staccato notes at the end of measure 9 rather long. The grace note in meas- ture 10 is better if you play it using the top two side keys.15 Example 9 Allegro ma non troppo d=80 in Bb Example 10 P) dotce EXAMPLE 8 is the big “solo.” In general, it is played exactly like Example 6, with the same crescendi, subito iani, etc. In measure 2 most players sound better if they play the D-flat with the bottom two side keys, usually adding some keys or fingers to make the note match the ‘others. The final 32nd notes in measures 18 and 19 lead into the flute so try to sound as “flute-like” as possible on the last two or three notes. EXAMPLE 9 is here only because itis exposed and, if itis taken at ‘he indicated tempo, goes quite fast. Actually, at half note = 80 it would be almost as fast as the scherzo, from A Midsummer Night's Dream. EXAMPLE 10 is almost impossible for most players to articulate because of the tempo. You should work out a way to play it either by adding some slurs or by double tonguing. One slur, which is tricky to learn but very help- ful, is from the last note of measure 2 through the grace note to the C-sharp. Finally, don’t try to play staccato. This entire passage is in unison with the violins and you could probably slur almost the whole thing. I put the p in brackets because it seems from the score that it should be there, but it isn’t Beethoven - Symphony No. 4