Quadbass

The Quad
Volume 1
Edited by Hal Robinson
© 2014, 2020 Ranaan Meyer Entertainment

The Quad
Volume 1

Engraving/Consultation by Brent Edmondson
Published by Ranaan Meyer Publishing © 2014, 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 1
Preface 4
Mahler Symphony No. 1 Analysis 5
Prokofiev Lt. Kijé Romance Analysis 6
Mahler Symphony No. 1 and Prokofiev Lt. Kijé Excerpts 7
Mozart Symphony No. 35 Movement 1 Analysis 8
Mozart Symphony No. 35 Movement 1 Excerpts 9
Strauss Don Juan Analysis 15
Strauss Don Juan Excerpts 16
Beethoven Symphony No. 9 Movement 1 Analysis 20
Beethoven Symphony No. 9 Movement 1 Excerpts 21
Smetana Bartered Bride Overture Analysis 33
Smetana Bartered Bride Overture Excerpts 34
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
Gustav Mahler Symphony No. 1 - Movement 3 Bass solo
This little nursery rhyme has brought many old pros to their knees, and I believe this
is due to a myriad of reasons. First of all, bass players get very few solos. When the
time comes, the pressure to play well for one’s maestro and more importantly one’s
colleagues can be paralyzing. It is always interesting to feel how different the
muscles and distances feel when we are nervous. Certainly it is similar to pressure
felt at an audition but one has the Tirst 2 movements of the symphony to “think
about it” and if one doesn’t approach it in a user-friendly way, disaster can happen. I
employ 2 main techniques:
• I am genuinely thankful for the opportunity to bring my skills out on display.
Even when you don’t feel this way, fake it.
• Rather than think the negatives of “what if I miss a shift” or “what if I play out
of tune,” I envision myself coming off stage afterwards satisTied with the
result.
Details: The original bowing is bar by bar. The concept is good, but the practicality
is not. Most players split all the bars - some like to begin up bow, accentuating the
phrase to the mid bar. However, I prefer to begin down bow and split the bars for
two reasons: 1. I am better able to control the comma ending each bar at the frog.
2. I am more conTident with the big shifts on down bow, creating a similar motion for
both hands. I recommend selective vibrato (perhaps only the half notes) and would
rarely try to vibrate every note on any passage anyway. Finally, I believe the passage
represents 8 one-bar units that make an 8-bar phrase. It begins simply and relaxed,
climaxes in bars 5 and 6 and decays from there.
5
Sergei ProkoTiev “Lt. Kijé” - Romance Bass solo
This solo is performed much less often than the Mahler 1 solo, as it is programmed
so much less. It is similar to the Mahler solo in that it is a simple melody that is
repetitive. I have come to really appreciate ProkoTiev’s bass writing. There seems to
always be an interesting and vibrant beat. Also, he seems keenly aware of the effect
of his bowings on the phrasing. At Tirst glance, this excerpt appears clumsy with the
bow and many players attempt to “square the bowing” or make it more even by
changing the pattern to quarter by quarter, but I think this is a mistake. Find a way
to work the bow speed along with where in the bow you are to start the passage.
This awareness will help to keep the original bowing, as well as shape the phrase.
Details: Supporting the Neo-Romantic style, I strongly urge a shift in the Tirst two
notes, discouraging either harmonics or a cross string Tingering. Transfer the weight
from 1st Tinger to 3rd Tinger during the shift. Shift as slow as you can within the
conTines of good taste. Allowing for the mp dynamic and bow distribution issues in
the second measure, I begin the passage in the middle of the bow. The two slurred
quarters in measure 2 help to shape the phrase away. In fact, this is one of the few
phrases I know of that begins strong, weakens to the middle of the phrase and builds
to the end. The entire phrase repeats itself one dynamic higher. One might begin the
second phrase a little closer to the frog, but keep in mind the bow distribution issues
in measure 6. Finally, I believe there is some latitude in interpreting the lines/dots
on the last 4 notes of both phrases. There can be slight separation, but I prefer them
longer with the bow change being enough separation.
6
Mahler Symphony No. 1
Movement 3
Feierlich und gemessen, ohne zu schleppen
≥ ≤ 1
3
≤
3
3 ≤
2
4
œ≤ œ œ
2 2 1
3 solo œ1
œ œ œ œ 1 , œ≥ œ ,œ œ ˙ ,œ œ ˙ ,
? 44
p con sord.
2
≤ 3
≤2 + 4 2 3 2 + 4
œ™ œ œ œ œ œ , œ™ œ œ œ œ ™œ , œ
b œ ™ b œ ≤ 2 2 2 1 2 1 ≤
7 1 1 1 ,œ 1
? œ ˙ œ ˙
ossia: G
Lt. Kijé,
II. Romance
Andante
3 solo ≥ ≥ ≤ 1
1 3 1 2 1 3 1 + 1 2 1 2 1 1 1 + 1 2
b -œ œ œ œ œ
& b œ- œ- œ œ œ œ- œ œ œ-
œ- œ œ œ- œ
mp con sord
G
6 2 3 2 1 2 1 3 1 2 1 3 1 + 1 2 1 2 1
bb œ -œ. -œ. -œ. -œ ™ ‰

-œ œ œ œ œ
& œ- œ- œ œ œ œ- œ œ
mf G
9 1 1 + 1 2 1 2 3 2 1 2
69 2 3 1 3
-
&b
b œ- œ œ œ- œ œ œ. -œ. -œ. -œ ™ ‰ œ œ ˙-
œ- œ-
mp D
7
Wolfgang Amadeus Mozart Symphony No. 35 “ Haffner” - Movement 1
Now we get to one of great Mozart symphonies! Mozart is such a delight to play well.
Clean playing, along with clear and tasteful gestures are goals for all instruments.
The bowings should compliment the gestures, but one must have an opinion where
the phrase goes at all times. I love to ask the Tirst page on Philly auditions because of
the huge variety of technical demands (thematic playing, dotted rhythms, dynamic
contrasts) along with obvious style points.
Details: The Tirst two bars of the theme (m.13 & m.14) are pronounced, as though
annunciated. It’s OK to put a space between the Tirst and second notes, and mark
them. Any 16th notes, both as pickups and within the dotted rhythms, are crisp and
tight to the beat. Whenever there are octave quarters at the start of a measure, the
second note is almost always less. In fact, most of music is strong beat related. It
seems like an overly simpliTied concept, but I liken it to the sun coming up in the
East every day - very simple, natural and constant. In the dotted rhythm bars, 13 and
15 before A, I prefer the bowing listed. It accommodates and promotes the “gesture”
concept. I also like a slightly longer quarter note on beat one of these bars as well -
putting you in the right place in the bow to play the trill on an up bow. I start these
trills from the principal note. The dotted 8th notes in m. 16 and m. 18 are not full
value, probably like a short 8th. On the scales in m. 20 and m. 22, the E natural is the
strongest note and the scale gestures away (slight diminuendo).
Be sure to play m. 26 at a healthy forte to contrast the ƒp’s in m. 27. It’s a small
psychological and physical difference, but I try to think of m. 27 in piano with an
emphasis on the downbeat and beat three, instead of thinking forte and attempting
to back off. There are almost zero excerpts that are shapeless. Most everything we
play has ebb and Tlow both rhythmically and dynamically. M. 29 leads to 30. M. 31
leads to 32 and phrases away from the downbeat at m. 33. Measure 34 can be played
with or without slurs. Recent editions have attempted to be more accurate as to
what Mozart actually wrote, rather than some of the edits that have been acceptable
in the past. The trend is deTinitely towards the separate here in m. 34, as well as in
m. 24 and the passage beginning at m. 58. The added beneTit is that the separates are
easier to play cleanly, so it is a welcome discovery. In the piano 8ths beginning in m.
35, there is a natural tendency to slow down (loud playing tends to encourage
rushing), so keep the pace until you arrive back at the theme in m. 41. At m. 58, I
have posted both slurred and separated strategies. When attempting the separated
version, be sure to fashion the down-downs in m. 60, 62 and 63 more like a hook
rather than a recovery. Finally, it is important to shape this to the bar line and beat
three of each measure. Many make the mistake of emphasizing the Tirst 16th or the
Tirst 8th after two 16ths. Although it is rarely asked, I included the passage at the end
of the movement. Be sure to show the difference between triplet 16ths, duple 16ths
and 32nds.
8
Symphony No. 35 "Haffner"
Movement 1
Allegro con spirito W.A. Mozart
≥ ≤
4 ≤ ≥ ≤ ≤ 4
1 .œ ≥ ≤œ.
1 ˙ œ ™™ 2 ≤r ≥ ≤1 ≥ Ÿ
? ##C w œ œ. Œ ‰™ œ œ œ ™ œ œ ™ œ œ œ Ó ∑
R .
f
7
. œ. . . œ. 1
? ## ˙ œ‰Œ
J ∑ ˙ œ‰Œ Ó
J Œ œ Œ Œ œ œ
Œ Œ w
p f
4 ≤ ≥ ≤. ≤
14
˙ œ ™™ ≤ .œ 2
≤ ≥ ≤ ≥Ÿ ≤ ≥ ≤ ≥Ÿ 4 1 0 1 4 1 1 1 2
? ## œ. œ. Œ ‰ ™ œr œ œ ™ œ œ ™ œ œ œ œ Œ ‰ ™ œr œ œ ™ œ œ ™ œ œ
R .
4
1 4 1
19 œ œ œ œ ™œ ™ œ œ œ œ ™œ 2 1 4 2 1 4
? ## œ Œ Œ
1
œ œœœ œ Œ Œ œ œ œ ™œ œ Œ Ó 1 2 1 4 1
1 2 1 4 1
24 ≤ ≥ 1
™ 4
0 1 4 1 2 4 ≤ ≥
0 1
4 0 1 4 2 4 1 4 0 4
? ## œ œ œ œ œ#œ œ œJ ‰ Œ œ œ œ œ#œ œJ ‰ Œ #œ œ œ œ œ œ
. œ. œ #œ œ
D
27 ≥™
œ œ1
œ ™ ≤ œ™ œ œ ™
2 4 2 1 1 2 4 1 1 4 1 1 4 1 0 4 1 0 4
? ## œ œ œ
J‰
œ œ œ#œ œ œ
J‰ œœœ œœœœœœœœ œœœœœœœœ
fp fp f
31 ≤ œ≥ ≤ ≥ ≤ A
4
2 4 1 1 1 4 1 4
? ## œœœœœœœ œœœœœœœœ œ ™ œœ œœ œ
œ œ Œ Ó œ œ
≥ ≤ ≥
35 ™ ™ 2 4 2 1
0 0 1 0 0 1 4 0 1 0 4 0 1 2 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 œ œ
fp
4
39 ™ ™ .
4 1 0 1 4 1 4 1 2 1 1 0 4 0 1 4 1 ˙ œ ™™ ≤
? ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w .œ œ œ Œ ‰ ™ œr
œ R .
f
44 ≤ ≥Ÿ ≤ ≥ Ÿ œ. 1-2 1
.œ 2 1 4 1
? ## œ œ ™ œ œ ™ œ œ #œ œ ™ œ œ ™ œ œ œ.
œ œ. Œ ‰ ™ R Œ ‰ ™ œR œ Œ Ó
D
9
49
? ## œ Œ Ó œ Œ Ó œ Œ Ó œ Œ Ó œ Œ Ó
p
54
? ## œ Œ Ó œ Œ Ó œ. œ. œ. œ. œ. œ. œ. œ.
œ Œ Ó
≤ ≥ ™ ≤ ≤ 1 4 1 4 2
4
°? ## ‰ œ œ œ œ œ œ œ œ #œ™
4 2 4 1 4 4 1 4 1 2 2 1
œ œ #œ œ œ œ œ œ œ 2 œ 4 ™ 2
œ œ œ œ œ œ œ œ #œ
4 1 4 4 1 4 1
f
≥
59 ≥ ™≤ ≥ ≤ #œ≥™ ≤œ œ≥#œ œ œ œ œ œ œ œ ≥
4 2 4 1 4™ ≤ 4 1 4 1 2 2 1 2 1 4
1 4 2 4
4 2 4 1 4 4 1 4
1
? ## ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ
¢
f
™ 4 4
°? ## œ œ #œ œ œ œ œ ™œ œ
2 2 1 2
1
4 1 4 2 1 œ œ œ™ œ #œ2
1 4 2
1 4 2
œ œ œ œ #œ ™œ œ œ
4
1
2 1 4 1 0 4
œ œ œ œ œ
62 ≥ ™ ≥ ™≥ ™ ≥ ™≥1 4 1 4 2 1 4 1
2 œ 2 1 œ œ 2
œ œ #œ œ œ œ œ œ œ œ #œ œ œ 4 2 1
4 2 2 4 4 2
? ## œ œ#œ œ œ œ œ œ œ œ œ
1 4 4 1 0 4
¢
65 B
4
1 4 œ
? ## œ œ œ œ œ œ œ œ
œ Œ Ó J ‰ Œ #œJ ‰ Œ œJ ‰ Œ nœJ ‰ Œ
p
A
73
4
≥ ≤1
≥ ≤ 2
≥ ≥≤ ≤ 2 4 2 4 1 2 2
? ## œ ‰ Œ œ ‰ Œ r r r
J J ˙ œ ™ ≈#œ ˙ #˙ œ ‰ ™#œ ˙ #˙ œ ‰ ™ œ œ ™™ #œR œ ™™ #œR
f sf sf sf sf
4 4 1 4
78 ≥ ≤ .
œ . œ. œ.
œ 2 4 2
4 1 ™™
2 œ ™™ # œ 2 4 4 0 0
? ## œ ™™ #œR œ ™™ œR n œ # œR R œ. ‰ œ. œ. œ. œ. œ œ ™ œ œ œ ‰
. J . .
sf sf sf sf sf
≤ ™ 2 1 4
1 4 4 1 4
4 2 4 1
83
œ. œ. œ ™ œ œ
4 ≥
œ œ œ œ œœ œ œ œ œ œ œ
4 2
0
1 2 4
4 4 1 1
4 1
? ## J ‰ œœœœ ‰ œœœ œ ‰ ‰ ‰ ‰ œœ
sf 3 3 3 3
3
4 1 4
87 1
0
œœœœ
‰ œ œ œ œ œ œ œ œ æ˙
? ## œ ‰ ˙ ˙ œ œ œ ˙
æ æ œ æ
3
91
? ## æ˙ ˙ œ Œ Ó œ™ œ#œ œ œ ™ œœœœ œ œ œ Œ
æ
3
10
Wolfgang Amadeus Mozart Symphony No. 35 “ Haffner” - Movement 4
This movement strikes fear into the heart of most bass players. In fact, I think
Mozart in general tends to be an Achilles’ heel for most bassists. Again, the goal and
approach should be more leggiero, crisp, clean and articulate. The dynamic range is
certainly compressed when compared to Brahms, Strauss, Shostakovich, and is more
similar to Schubert and Haydn. I think one contributing factor to teaching and
performance difTiculties with this movement is the tradition of playing the 8ths “off
the string”. I have always felt uncomfortable with this for a couple substantial
reasons. First of all, this tradition grew out of a time when basses, strings, and bow
usage were more tubby, fuzzy and spread. With the advent of adjustable bridges, a
huge variety of steel strings, and bass players increasing their articulation and
clarity, I believe we can approach the 8th notes in this movement just as the violas
and cellos do: on the string with a mild degree of stick Tlex. The other substantial
reason I don’t like the off-string approach is that it severely limits one’s ability to
shape the line, which is essential. One added beneTit to the on-the-string approach is
that you can practice all the 8ths legato from the very beginning (slow tempos and
all). There are three main sections to this movement. The opening theme and 8th
note section are sometimes asked. More often, the passage beginning with the
“snake” (m. 110) through the theme and ensuing 8ths is asked. If a committee really
wants to get tough they will ask the scale passage from m. 88 leading to the “snake.”
Playing two measures forte followed by two measures in piano cause all sorts of
problems with bow distribution and placement. Remember, if you want to make
your bass demands approachable and attainable, learn the 8ths on the string!!!!
Details: I think the obvious shape of the beginning is m. 1 to m. 2, m. 3 to m. 4. M. 7

must diminuendo into m. 8. Shape m. 9 to m. 10 and away to m. 11 leading to m. 12
and away. M.14 leads up. M.16 leads down. M.20 is strong, shapes away to m.21,
back up to m. 22 and so forth. Always with a shape!!!! There is one other important
point about m. 1. The two quarters should end exactly the same way, with a release.
Some players turn the bowing around at m. 32 to facilitate the string crossing on the
octaves at m. 32-36, but that hasn’t helped me. I always try to be open to different
ideas. At m. 59 and 60, the quarters should be treated as if there is a line and a dot -
basically playing an 8th note length with decay. As before, at Letter B, play in piano
with emphasis on each ƒp rather than playing forte and trying to drop. In the scale
passage from m. 88-91, I play out in the bow a bit more than my other forte 8ths
sections to accommodate the subito piano in m. 90. Finally, the “snake” is one big
conglomeration of pivoting and shifting. The digits should Tire independently
producing clarity under the slur.
11
Movement 4
Presto ≤
1 4
4
4 ≥ 4 2 ≥ ≤
˙ œ. œ. œ ™œ Ó 4 1 œ œ #œ œ œ ™ 4 4 1 2 1
? ## œ Ó œ Œ Ó œ Œ Ó
p
7 ≥ ≤ ≥ ≤ 4 2 4 2 4
2 1 2 0 0 1
œ œ œ œ œ œ œ œ œ œ ™œ ™œ
4 0 1 4 2
4 4 1 4
œœœ
? ## ˙ œ œ œ Œ Ó œ œ œ œ œœœœœ
f
12 ™ 4 2 4 2 4
œ œ œ 4 2 4 2 4 1 4 1 4 œ œ œ œ œ œ ™ ™œ 4 1 4
? ## œ œ œ œ œ œ Œ Ó
1
œœœœœœœœ œ Œ Ó œ
D
17 4 4 4
1 4 1 4 œ œ œ œ œ œ ™œ œ œ ™ œ œ œ œ
2 2 4 1 4 4 2 4 1 4 1 4 4
? ## œ Œ Ó œœœœœœœœ œ Œ Ó œ œ œ
0 2 4 1
22 4 4 4
œ œ œ ™ ™ œ œ œ œ œ œ#œ œ œ œ
1 4 4 2 4 1
2
1 4 2 4 2 4 4 1 4
? ## œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ Œ œœœ
0 2 4 1
27 4 ™
2 ™ œ œ œ
4 1 4
™ 1 4 4 4 2 4 2 4 4 1 4
4 2 4 1
4 1 4 4 4 2
# 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 nœ
A
4 4
32 œœœ˙ nœ œ œ ˙ œœœ˙ œœœ˙ œœœ˙
1 1
? ## œ æ nœ æ œ æ œ æ œ æ
sf sf sf
37 A ≤ ≤
4 ≤ ≤ ≥ ≤ ≤ ≤
˙ 2 4
2
1
4
œ
? ## Ó
œ Œ œ Œ #w œ. œ. œ. œ. ˙ Ó œ Œ œ Œ ˙™
p fp fp
D
44 1
. ™ . 2
4 2
≥ 4
≤ ™ 2
≤ ≥ 4 1 0 4 2
? ## œ #œ. œ #œ. ˙ œ œ nœ œ œ œ œ œ #œ œ œ œ œ œ œ œ
fp
49 2
œ œ œ œ œ œ œ œ œ 1 1
4
1 1
3
? ## ˙ Ó œ œ œ ˙ Ó
12
57 ™ ™ ™ ™ œ œœ ™
4 4 1 4 4 2 4 1 4 1 4 4 4 4 1 1
œ œ œ
? ## #œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œœ œ œœœ œœ
f
1 4 4
61
2 0 1 1
B
1 . . œ . œ. fR œ œ œ. œ. œ . .
œ 4 2
? ## œ œ œ œ œœ œ œœ œ
œ œœ œ œ œ œ œ
D fp D fp fp fp G
2 4 4 2 4
≥
4 ™
1
65
œ œ œ. œ. œ œ œ. œ. œ œ™ œ œ œ # œ œ œ 1 4
1 4 1
1 1 ˙ œ œ 2 1 4
? ## œ Œ Ó Œ ˙ œ
fp fp G f sfp sfp
70 ≥ 2
≤ 0 1 ≤ 4
? ## Œ Œ b w œ #œ œ Œ Ó
œ œ w bw w bw œ œ
sfp
78 ≤ 1
2 4 1
2 ≤œ
? ## Ó œ b œ nœ n œ # œ ˙ œ ≤œ. œ œ Ó œ #œ œ œ œ Ó
Œ
p
84 ≥ 4 2
0 1 4
0 1
œœœ 4
? ## œ Œ Ó œ Œ Ó ˙ œ œ œ Œ Ó œœœœœ
f
89 4 2 2
œ œ œ œ œ œ ™ ™œ 4 4
œ œ œ 4 1 4 0 1 4 ™ ™˙
œ œ œ œ œ œ œ œ œ œ œ œ œ œ #˙ 2 1 4
? ## ˙ Ó
p f
94 4 2 4 2 4
2 4 2
4 ™˙ 1 4 1 4
œ œ 0
œ #œ œ œ#œ œ œ œ œ œ œ
1 1 4 4 4 0 4 1
œ œ4œ #œ œ
0 1 1 4
? ## #œ œ œ œ Ó œ œ œ œœ œ
p f G G p
99 4 4 4
œ#œ œ œ œ œ œ 2 2 4
œ #˙
0 4
2
#˙ 4 1
˙ ™ 1
#™œ œ 4 1
˙
? ## Ó #œ œ Ó
f p
104
? ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ó
œ œ œ œ œ ˙
f
13
U.H.
134 ≥ ™
4 2 ™ 1 ™ 0 ™ 4 ™ 0™ ™ ™ ™
4
≤ 1
™ 2 1 4 1 4 1 0 1 4 1 2 1 4 1 4 1 0 1 4 0 1 2 4 2
œ
? ## œ œ œ œ œ œ#œ œ#œ œ œ œ œ nœ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ nœ œ
#œ
p sempre
138 ™ 2 1 4 0 1 4 2
4 ≤
œ. œ. œ ™œ Ó
4
˙ 4 1 œ œ #œ œ œ
? ## œ œ œ œ œ œ œ œ œ Ó ≥
œ Œ Ó
p
144
? ## ≤œ Œ Ó
≥ ≤ ≥
œ œ œ œœœ œœœœœœœœ
˙ œ œ œ Œ Ó œ œ
f
149
œ œ œ œ œœœœœœ œ
? ## œ œ œ œ œ œ Œ Ó œœœœœœœœ œ Œ Ó
154
œ œ œ œœœœœœ œ
? ## œ œ œ œ œ œ Œ Ó œœœœœœœœ œ Œ Ó œ
159
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 Œ Œ
164
? ## 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 œ œ
4
168 œœœ˙ œ
2 1 2 4 1
? ## œ œ Œ œ Œ #œ Œ nœ œ œœœ˙ œ œœ˙
æ œ æ
A < > mf
D
173 4 4
4 0
œ 4 1
œ œ œ 1 œ œ œ œ œ #œ œ œ ˙
0 4 1 4
? ## œ œ œ æ˙ œ œ æ
˙
æ
œ œ #œ
< >
177 ≥
4 2
≤ 0
≥ 1 4
≤ 2 0
0
≤
4 0
? ## œœœ˙ ˙ nœ ™ œ œ ˙ nœ ™ œ œ œ
œ æ œ œ œ ˙ Ó
sf sf
14
Richard Strauss “Don Juan”
This is one of the more playable of Strauss’s famous “tone poems”. All of the tone
poems have a story and a character that should affect one’s approach. The character
of Don Juan has been the center of poems, plays, operas, ballets and musical scores.
The character that I keep in mind is that of an amorous and swashbuckling male
mainly interested in the chase and conquest of the fairer sex, for better or worse.
One should play with boldness and conTidence as well as tenderness and playfulness
in different parts of the score.
In orchestra repertoire (as well as solo) I think a “bow arm Tirst” approach helps to
codify one’s presentation and save time. In other words, one must decide what the
basic strokes and bowings are to be before choosing the Tingerings. Of course, this is
not to suggest that there are never any changes or adjustments, but this approach
addresses our sound, clarity and articulation, which in today’s competitive audition
scene is extremely important.
Details – Triplets are on the string with some stick Tlex. Dotted rhythms are crisp
and probably leaning to the stylized side. Any 16th passages should be on and into
the string. In this range of the bass, clarity becomes more difTicult. Keep the stroke
into the string and compact. In the lyric passage at letter F, vibrato speed and shape
are important components. The un poco più lento is approximately 2/3rds the tempo
of the E#’s at the end of the molto appassionato string. The 8th note triplets before
and after Q are out in the bow with the Tirst triplet 8th emphasized. Detaché
produces light articulate triplets. In the slurred triplets before S, it is very important
to articulate with pivots, hammering the Tingers and jamming the shifts for clarity. I
have attempted to detail pivots and bracketing of positions where most needed.
Finally, in the heroic letter X excerpt, pay close attention to where the fortes and
fortissimos occur.
15
Don Juan
Allegro molto con brio Richard Strauss
≥
4
˙ 4
nœ œnœ œ2 1 1
≤ ≤ ≥ 2 1 1
≥
4 ≤ ≥≤
? ####C Ó Œ nœ ™ œ ˙ #˙ œ œ™ œ
˙ œ ‰ Œ Ó
J
ff 3 >
pizz.
? #### ∑ Ó Œ œ Œ œj ‰ Ó j
œ ‰ Œ Ó j
œ ‰ Œ Ó
>
ff ff
? #### Ó j j j ‰ œj ‰ Œ #œj ‰ œj ‰ Œ œ ‰ œj ‰
œ‰ Œ œ‰ Œ Ó
Ó
œ
Ó J
arco pizz.
? #### Œ œ ‰ Œ ≥ w≤ ≥ ≤
J œ œ Œ Ó w Œ
œ ˙ nœ Œ œ Œ nœ Œ œ Œ
mf mf
A arco
≥ ™
2 ™ 1 1
4 1 2 2 4
≤
1
1 4 0
1 2 1 2 4 1 ≥
1
? #### œ œ œ œ œ œ #œ œ œ ˙
˙™ Œ œ œ nœ #œ œ œ ‹œ ˙
3 3 3 3
ff ff
≥ ≥ ≥
1 4 4 1 4 0 0 ™ 1
3 ≤œ nœ nœ C
0 1 4 0 2 1 4 1 4 1 2 4 1
? #### œ œ nœ œ œ œ
œ ˙ œ œ nœ#œ œ ˙ bœ bœ nœ œ nœ bœ n˙
b 4 œ nœ
3 3 3 3 3 3 >- >- n>œ-
≥ ≥ ≤ ≤ ≥ 4 1 ≤
? ####C n˙ œ œ™ œ
j
n>˙ ˙
˙
œ n˙ w œ Œ Ó w œ ‰ Œ Ó
> f
fff
≥ 4
≤
4 2 1 4
≥ ≤ 2 1
≤ ≥
n˙ œ n œ œ #œ >
œ ™ nœ œ œ™ n>œ œ
4 2
≤ ≤
? #### Ó Œ œ™ œ
ff 3
B 4
pizz.
0 1 2 4 0 1 2 4
0 1 4 0 1 2 2 1
j 2
? #### Œ ˙™ œ Œ œ n˙ nœ ‰
œ œ œ‹œ#œ œ3 œ #œ œ œ œ œnœ3#œ pp
3 3
ff ff
16
45 arco C molto≥vivo ≤ ≤ 4
tranquillo 4 2 1 4 1
? #### œ≥ Œ ˙≥ ˙™ œ œ Œ Ó ∑ Ó
#˙ #œnœ œnœ
Œ #œ ™ œ Œ Ó
4
> 3
#œ
ff f
≤ ≥
52 4 n˙ ˙ bœ nw #w w
? #### J ‰ Œ Ó
p cresc.
61
≤ ™ ™ ≤ ≤ ≥ 1 4
1 4 1 4 1 0 1 4 1 ™ 2 4 4 1
? #### n œJ ‰ Œ ≈ nœ nœ œ bœ œ œ œ b˙ nœ #œ nœ #œ Œ
œ ™ bœ n œ
Œ
nœnœ bœ œ œ 3
ff
F ≤ 1
≥ ≤ 2 4 4 ≥ <,> ≤ ™ ™ œ 2 2 3
128 1 1 1 1
œ ‹ œ œ™ œJ # w 1
? #### w≥ w
2
w w >
w w B œ ‹œ œ J #w
A G mf espr.
p cresc. espr. f
™ molto appasionato string.

138 1
2 3 3 1
2 2 3 3 ™ 2 2 3 3 1
2 4 1
™ œ w œ œ # œ ™ œJ w 1
˙™ œ ‹ œ ™ œJ # ˙
B #### œ ‹œ œ J #œ œ ‹œ ™ œJ w ?
f cresc.
poco calendo
146 ≥ ≥ un poco più lento
? #### #˙ 2 ≤ ≥ ≤ ≥
˙ ˙ #˙ nœ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ w
fff 3 3 3 3 dim.
184
I pizz.
? #### bœ ‰ Œ œ ‰ Œ bœ ‰ Œ Ó bœ ‰ Œ œ ‰ Œ bœ ‰ Œ Ó
J J J J J J
ff
arco
4 ™
188 ≥ 1 2
™ 4 1
w 4 1 2 4 1 ≥ 1 2 4 2
4 1 2 2
? #### œ nœ #œ œ œ œ ‹œ #œJ ≈ œR œ
0 œ #œ
# œ #œ œ œ nœ
nœ J ≈ R
3 3 3 3
4
≥ ≤ 1 3
4
191 nw œ 1 ™ 4
™œ œ œ # œ œ œ
1 2 2 4 1 4 1
? #### J ‰ Œ œ œ
Ó Ó Œ œ œ œ #œ œ
> 3 3 3
ff 3
1 2 + 1 3 + 1 3
Ossia
A
17
≤ ≤ 1 2 4
≤ ≤ 1 2
336 ™ ™ bœnœn œ # œ >œ ™ >œ # w
™ > 1 2 4 4 ™ 4 1 4 1 1
™ #>œ ™n>œ
2 4 4
≤ 4 1 4 1 4
1 4 1 0
˙ œ #œnœ #œ
? ≈
b œ#œ œ˙ Œ ≈ #œ œ œ#œ#œ Œ
œ
œ œ œ 3
#œ œ 3
ff
3 ≥ ≤ ≥
341
>
#w P 0
1 4
2 1
4
≤ 4
1 2 1
˙ œ œ œ -œ -œ œ 2 1
œ œ œ ™ bœ w
? Œ nœ Œ ˙ J
ff espr. D
347 ≤ ™ 4
2
1
<≤ > pizz. 3
1
? œ œ bœ ™ nœJ #w ˙ œ ‰ Œ œ ‰ Œ Ó
J J
string. mf
arco 4
4 4
354 < > > 2 2 1 j
œ. œ. œ. œ œj # œ œj n œ <>œ. >œ. œ. œ. œj bœ œj œ #œ œ ™œ. #œ. nœ œ# œ. œ. œ ˙ 4 2 2 1
1 1 2 4 1 2 2
? J‰ J‰ J‰ J‰ J‰ J‰ Ó ∑
3 3 3 3
p grazioso
4
<>œ. >œ. œ. œ j
359
™ 2 1 4 1
Q
# œ n œ # œj œ ™ 1 pizz. 3
? J ‰ J ‰ J ‰ œJ ‰ Œ Ó ∑ j Ó œ ‰ Œ œj ‰ Œ Ó
œ‰Œ Ó J
p3 < mf >
arco
4
<>œ. >œ. œ. œ œj
368
b œ œj bœ > j j ™≤ ≥ ≤ bœ. nœ. bœ 4 4 2 2 1
1 1 2 4 1 2 4
? J ‰ J ‰ J ‰ œ œ œ œJ ‰ œ bœJ ‰ œ œJ ‰ œ œ œ#œ nœ œ J ‰ Œ Ó
3 3 3
D 3
p grazioso
≤ ≥≤ pizz.
≥
372 . . 1 2 4 1 2 4
bœ œ
? w
1
œ œbœ. nœ. bœ œ nœ œ b œJ ‰ Œ Ó ∑ Œ Ó Œ Ó
D sempre 3 3 mf cresc.
pp
R arco ≤ ≤
≤ 4 4 1 2 3
378 ≥ 1
™ ™ #˙≤
4
1 2 4 1 4 1 #œ œ #œ #œ
1 2
>œ™ n>œ #>˙
? ≈ # œ #œ œ Œ B Ó ∑ ?
#œ #œ œ #œ 3
ff
18
≤ S
382 ≥ 1 4
2
1 2 2 4
≥ 1 4 4
1
4 1 4 2 2 1 ≥ ≥
4 œ # œ # œ #œ 3 4
? 3#œ œ ‰ #œ#œ#œ nœJ ‰ #œ œ#œ nœJ ‰ #œ#œ#œ Œ Ó

2
˙ ˙
#œ#œ J 3 3
> >
E--- A A D 3 ff
≥ ≤ ≥≤
386 ≤ ≤ ≥ ≤ ≤ #w
0 4 4 1 4
4
œ #œ ™ œ ˙
≥
#˙
≥ ≤ ≤ ≤ ≤
# œ ™ œœ œ ™ œ # w 1
4
œ œ 1
? œ #œ œ™#œ #˙ œ #˙
œ ™#œ ff
> D
<≤> 4
≥ 1 2
≥ T
393™>≥ 1
™ 4 4
˙ n ≤˙
œ œ #œ œ #œ ˙
1
#w w w w >
? #w ˙™ œ w
D 3 3 cresc. f
f
483 4 0 1 4
™ 0 1
>˙ 4 1 4 1 4
1 4 >≥
>˙ X w
0 1 2 4 1 2 n
? #### œ nœ œ œ nœ#œ œ œ #œ œ œ
œ ˙™ #œ œ nœ œ œ
3 3 3 3 f
ff D
<≤ > ≤> >≤ ≥ ≤ ≥ <≤ > ≤ ≤ ≤
488 w ˙™ œ™ œ œ œ œ œ 4 1 4
1
> 4 >œ ™ >œ œ # œ n™œ œ
3
3 2 2 1
? #### w w ˙™ B
ff espr. f D ff
>4 1 2
4 <≤>
3 ≤
œ n>œ #>œ >œ n w
495 1 1 2 w
> 1
> w 1 2 4
B #### w ?
˙™ #œ nw #˙ ™ nœ
f G cresc.
< > Y
2
≤ ≥ ≥≤ 1
4 ≥ ≤ ≥
503 1 2 1 1
1 4 2 >œn ˙ œ ˙
œ 2 #˙ œ nœ w œ
? #### #˙ ™ 4 C nœ ≈ J ‰ Œ Ó
sf cresc. ff
G
Cc
561 4
4 2
≥≤ ≤≥ 2 1
≥ ™ ≤ ≥ ≤ 1 2 4 1 2
4
1
n˙ 1 4
œ n œ œ#œ œ ™n>œ œ œ™n>œ œ 4 2
≤ ≤ ≥ œ œ #œ ˙ ™ nw 1 4
? #### Ó Œ œ ™ œ Œ œ œ‹œ#œ
ff 3 œ 3 3
19
Ludwig van Beethoven Symphony No. 9 - Movement 1
The Symphony No. 9 in D minor, Op. 125 is the Tinal complete symphony of Ludwig
van Beethoven (1770–1827). Completed in 1824, the symphony is one of the best-
known works of the repertoire of classical music. Among critics, it is almost
universally considered to be among Beethoven's greatest works, and is considered
by some to be the greatest piece of music ever written.
By far, the last movement (mainly the Recitatives) is asked more often than just
about any passage in the repertoire. However, Movement 1 is asked often enough to
merit study. Take page one for example. There are so many different demands
regarding stroke, and it is so important to pay very close attention to detail. There
are 8ths with dots and without. There are crisp 32nds and dotted 8ths that embody
length. One of the common motifs in this movement occurs at the 5th bar of B where
the 16ths are played with offset slurs, and these are played long and connected. The
16ths before letter C become increasingly more difTicult with the required shifts. The
16ths just before letter D are as close to impossible as anything that I have
encountered due to the double string crossing. The dynamic ranges vary from pp to
ƒƒ and the wider range you can display, the more impressive the performance or
audition. This movement embodies playing from reticent, delicate and beautiful to
aggressive, angular and virile.
Details: In the D minor section before letter A, play crisp 32nds. There are no hooks.
Recover the bow before each single or set of two 32nds. The dotted 8ths are full
length with taper. The sƒ’s at letter A are front end and broad at the same time. Even
though the dots stop on the 16ths the measure before B, they are played the same as
the preceding 16ths with dots. 5 after B, play long in the middle of the bow helping
one to stay on without breaks. At the double bar after B, each group of notes tapers
away slightly except where the hairpin is. Each 8th note following the four 16ths is
normal length. Moving on to the passage 12 before D, each two note motif is tapered
away even in the crescendo. Two before D presents an immensely difTicult passage. I
try to roll over the A string with as little sound with the bow in the string crossing
while simultaneously transferring some of the weight with the left hand. All players
are different when it comes to barring one Tinger across two strings, but in my
world, bars are generally difTicult to do without tension. When the left hand tension
goes up, the sound tends to become strained. At letter H, the hammer stroke is
employed with the exception of the slurs. It is important to decide if the 2nd note of
the slur is released or the Tirst detached 16th is from the string. I prefer the latter.
Note that the dynamic is forte until the last two 16ths before I. That’s a very quick
diminuendo. There is debate about the meaning of più p in the second bar of I as to
whether is a drop or a diminuendo. Logic tells me it is fading until the pp 5 bars later.
The 32nds at letter K are basically legato with a little Tlex in the bow to allow a little
articulation, but they are still long. Everything remaining in the movement is a
variation of what has occurred before.
20
Symphony No. 9
Movement 1
Allegro ma non troppo, un poco maestoso Ludwig Van Beethoven
16
≤ ≥ ≤ ≥ ≤≥ ≤ ≥ ≤≥ 4
≥ ≥ ≥ 4
≥ ≥ ≥ ≥ 4
œ œ œ ™™ . .4
. . œ™ 1
™ 0 1 1 2 4 2 1 0 4 1 4 4 4
1
4 4 1 2
? b 42 Œ ‰ ≈® RÔ œ œ ™™ œœ œ œ œ œ. œ. œ œ œ. œ J ≈ œJ ≈ œ ™ ≈Œ œ™ ≈œ ™ ≈ œj bœ ™
œœ™ J J J
ff sf sf sf sf sf A
ff
25
≥ ≤ A≥ ≥
4
≥ ≥ ≤
≥ ≤
1 1 2 4
( ) ≤. ≥. ≤.
? b <b>˙≤
1 1
œbœ œ œ nœ ‰ Œ œj ‰ Œ œj ‰ Œ œj ‰ Œ œj ‰ œ œ #œ œ œ œ œj ‰ œ Œ
J
sf p f p f sf sf sf sf dim.
50 4 4 0 1 1 4 4 0 1 ™ 0 4 1 4 1 4 4 4 4 1 0 4 2 4 2 1
4
? b Œ ‰ ≈® œRÔ œ œ ™™ œ œ ™™ œ ™ œœ œ œ œ œ œ œ. bœ. œ. œ. œ ‰ ≈ œ. bœ. œ. œJ ‰ Œ nœ ‰ ≈ œ. œ. œ. # œJ ‰ Œ

œ ... J J
ff sf sf sf sf
B
59 ™ 4 4 4 ≥ ™j ≥
2 . œ. . œ œ. œ. ™ . œ œ. œ. ™œ. œ
œ 1 0 2
#œ œœ
4 1 1
4 2
1 2 4 1 1 4 0 4 0
. . . 1 2 4 2 1 0 2 4
? b œ ‰ ≈ œ J ‰ ≈ #œ J ‰ ≈
J œ œ œ#œ ˙ #œ. œ. œ. œ œ œ œ. œ. #œ ™ ≈œJ ™ ≈
sf sf sf sf sf sf ben marcato sf sf
67
≥≤ 4
1 0 2
≥ ≥ ≥ ≥ ≥ ≥ ≥ ≤ ≥≤ ≥ 1 2 4
0 2 4 1 4 2 4
1 1 4 2 1 1 4
œ œ œ
? b œ œ œ œ œ œ œ œ #œ œ œ œ œ™ œ ™ ≈ œ™ ≈bœ ™ ≈ œ™j ≈ j ≈ j ≈ j ≈ j œœœ ‰
J ≈
œ œ œ œ œ œ œ œ œ J J J bœ ™ œ™ œ™ œ J
sf sf sf sf sf sf sf p
D
75 ≥ ™. œ . nœ. œ
0 1 2 4 1 4 1 1 2 2 1 2 4
2
? ∑ ‰ œ≥ œ≤ œ≥ ‰ ∑
≥œ œ≤ œ≥ j œ . .
œ œ
‰ J ‰ Œ ‰ œ bb œ œ#œ. œ. J ‰ #œ. œ J ‰ nœ.
.
œ œ J‰
2
b J .
sempre p
™. œ 4 4
83
. œ 4 2
1
. . œ . ™. œ . œ . ™œ. œ. œ
2 1 2 1
2 1 1 4
1 4 2
4
2 4
1 2
3
. 1 . b œ . œ . 0 0 4
? b œ. œ œ J ‰ Œ œ. œ œ J ‰ œ. œ œ J ‰ œ. œ. œ œ J ‰ œ. œ J ‰Œ
b
p
A D A D A A
21
≥ 3
C
2 4
bœ œ œ œ œ 1 4 4
92 ≥
1
≤4 2 1
≤ œ 4 1 1 4 2 4 1 4
?b œ œ œ œ œ œ œ œ nœ œ œ œ œ ‰ J ‰
1
b œ™ J J
cresc. A D f
4 4 3
≥ ≤ 1 0
120 1
œ 0
œ 0 2 œ 2
2
1 0 0 2 2
2 1
1 4 1
4
1 4 2
? bb ‰ j ‰ œ ‰ œ J ‰ J ‰ j ‰ œ ‰ œ J ‰ J ‰ œ ‰ œ œ ‰ œ‰ œ
œ œ œ œ
œœ œJ œœ œJ œ œ
pp A cresc. A D A
D ≥ ≥
130
≥
1 1 ≤ ≥ ≤œ ≥ ≤œ ≤ 0
≥
œ bœ
1 4
™œ≥0 4
4
1 4
4
1 2
3
1 4
3
1 4 4 4 0
1 4
1
œ j œ 1
? bb œ œ œ œ œ œ œ œ œ œj œ œ œ œ œ. œ œ œ. j œ
œ œ œ œ œ œ œ œ œ . . J J œ
œ œ. œ œnœ.
f sf sf sf sf sf sf
≤ ≤ 1 3
1 4
4 . œ. œ. œ. ™ œ. œ. . . œ. œ.
2 4
≤
138 œ. œ™ 1
œ™ . 2 1 1 1 2
? bb œ. Œ Œ ‰ œ. Œ Œ ‰ œŒ Œ ‰ œŒ Œ ‰ œJ
ff p ff p ff p ff p f
148 ≥ ≤
4
≥
2
≥ ≤E 2 1 1 2
. œ. œ ™ . . œ
. œ. œ œ™ 4 1 1 4 1 2 2
1
4
2 1
2
. .
? bb bœ œ ≈ œ nœ ≈ nœ œ ≈ œ œ œ ™ œ ™ œ œ ™ œ. ™ œ. œ ™ œ ™ œ œ œ™ œ™ œ œ. ™ œ.
. .
f f f ff ff f sf A f f
155 2 0
4 1 0 1 1 (4) 1 1 4 1 4
≥ ≤ 4 1 U.H. 1 0
? bb œ œ. ™ œ. œ œ ™ œ œ ™
œ œ œ
.œ ™ œ. J ‰ ‰ ≈ ™ RÔ œ ‰ ≈ ™ œKr œ Œ
œ™ œ œ œ. œ.
. . . œ. œ™ œ
. . f
f f f f f decresc. p pp
H
≤ ≤≤ ≤≤ sim.
236 4 1 0 4 1 0 1 1 4 4 1 0 4 1 4 1 1 4 1 1 4 2 4 1 4 1 1 1 0 1 0 4 1 0
.
? b ≈ œbœ. œ. œ œ œ œ œ œ œ œ œœ œœœ œ œ . . œ. œ. œ œœœ œ
. . œ. . œœ. . œ. . . œ. œ œœ. bœ. œœ œœ. . . . . œ. œ œœ. œ. œ. œ. œ. œ.
......
f
242 1 4 1 4 2 4 2 4 1 1 2 1 2 4 1 2 4 2 4 2 4 1 2 4 2 4 1 4 1 1 4 2 2 2 4 2
? b œ œ œœ nœ . œ. œ. œ. œ. œ.
œœ
œœ. . œ. . . œ. œ#œ œ. œ. œ. nœ. œ. œ. œ#œ œ. œ. œ. nœ. œ. nœ. œ#œ œ œ. œ œ. œ. œ œ#œ œ œ. nœ œ. œ. œ
. . . . . .
248
... 2 0 4 2 0
I 0 2 1 0 2 1 2 0
? œ œœ œ œ œ œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ. œ. œ. œ. œ œ œ
. . . œ . . . . . . . . . . . . . . . . . . . . . . . .
b . nœ. . .
p
4
254
. . nœ. . œ.
œ . œ. œ. œ.
œ 1 1 2 4 4 1
2 1 0 2 1 1 2 0 1
? b œ. œ œ. œ. œnœ œ œ œ. œ J ‰ ≈ J ‰ ≈ œ. œ. œ. œnœ œ œ œ. œ. œ. œ. œnœ œ œ œ ‰ Œ
. . .. . .. . . .. . J
più p pp
22
3
0 2 K
297 œ. œ. œ. # œ. œ. œ. œ. . .
1
1 4
1 4 2
. œ. . . 0 2 1 0 1 4 2 1
#œ œ 4 1 0 4 2 2 1 0 1 2 1 0 4 1 0 4 2 1
4
4
. œ . . . œ
? b #œ. œ œ œ . œ .
œ œ œ #œ œ. œ œ . œ œ œ œ œ#œ œ œ ææ æ #æœ æœ æ ææ #æœ æœ
. . .
. . .œ . . . œ. #œ œ æ æ æ æ
f f f f f f ff A G D
4
305 1
#œ 1
œ 4 1 1
#œ 4 1 1 #œ 4 2 1
?b æ ææ #æœ æœ ææ ææ #œ œ æ#œ ææ #œ æ#œ ææ #œœœœnœœœœ ææ ææ ææ
#œæ œ æ æ ææ ææ #œæ ææ ææ #œæ ææ œ œ œ œœœœœœœnœ
ff A D ff ff
≤ 4
.œ œ. œ. œ œ œ. œ≤. . œ. œ. nœ œ œ bœ œ. œ. . œ. œ. œnœ œ ˙
315 1 4 1 2 4 4 1 1 1 2 4 4
4 4 1 4 1 0 2 0 1 0 4 0 1
?b œ œ ™™ œœ œ œ #œ
œ™™œ œ œ™™œ
3
ff sf sf sf sf f
324≥ ™ œ≥ ™ ≥ 1 4
≥1 bœ œ œ œ 1
4 1 2
œ
?b J ≈J ≈ ˙ bœœœœœœœœ #œœœœœœœœæœ æœ æœ æœ æœ æœ æœ æœ æœ
œœœœ æ æ æ æ æ æ æ æ æ
f f f sf sf sf
332 L≥≥ 1
4 1
?b œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œJ ‰ ∑ ‰ œ œ œj ‰ ∑
ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ
sf sf sf p
343 2 4 2 4
. .œ . . nœ
4 0 . 2 4 1 4 4 4 1
4 2 4 1 2
4 4 2 2 4 4
? b ‰ œœœJ ‰ Œ ‰#œj œ œ. #œ. #œ. œJ ‰ #œ. #œ. œ# œ J ‰ nœ. œ. œ# œ J ‰ #œ œ. #œ. œJ ‰ œ. #œ. #œ. œœJ ‰
2
œ. .
2 4 4 4 4
350
. . # œ. œ. œ
œ 1 4
. ™. œ. œ . ™œ. # œ. œ. fR . œ. # œ. œ 4 1 2 4 4 1 4
2
4 4 1 4
2
2 4 1 4
1 3
? #œ J ‰ Œ œ. nœ#œ J ‰ œ œ ‰ œ. œ J ‰ #œ œ. œ. œ ‰ Œ
b J œ. . J
p
A D A D A
359 ≤
1 4 2 1 4 2 4 1 0 . ≤ 4 2 1 4 1 1 0 1 4 2 1 4 2 1 4 2 4 1 0 4
œ œ#œbœ œ œ œ#œbœ
?
b˙ œ œ œ œ œnœnœ œ œ œ œ œ œj ‰ J ‰ ˙ œ œ œ œ œj ‰ Œ ∑
cresc. D f G p cresc.
4 2 1
367 bœ™ œ #œ œ œ œ 4
2 4 1 1 0 4 2 4 4 2 4
?b J œ nœ œ #œ. œ œ. ™ œ. #œ ‰ œ #œ. ™ œ. œ. ‰
J J
f
23
+ 3 1
419 4 1 1
. œ. ™ œ fR œ™
.œ ™ œ. œ œ™
. œ. œ . . œ
1
œ™ œ
4 +
1
?b œ™ œ. ™ œ. œ ™ œ. ™ œ. œ ™ œ. ™ œ.
ff sf sf f f
424 1 4
œ 2 1 œ4 1 0 4 1 0 (1) 0 1
?b œ. ™ œ. œ œ. ™ œ. œ œ J œ ‰ Œ
œ™
. .œ œ™ œ œ œ™ J
. . . œ. œ™
. œ.
f f f f f p
P 4 2
453 1
≤ œ
#œ œœœ œ nœ œœœ
4 2
4 ≤≥ ≤ œ œ
2 2
1
œ#œ œœœ 4 1 1
4 4 1
4 1 2 1 0 4 4 2
4 2 2
1 4
1 1 0
≤ ≥ 1
4
≥ œ 1 œ
?b œ œ œœ œ œ œ œJ ‰ œ J œœ œ ‰ Œ ∑ œ™ J
œ™ J œ™ J
ff D (ff) p cresc. (mf) cresc.
G
(to tip)
≤ ≥ ≤ ≥ ≤ ≥ ≤≥ ≤ ≥ ≤ ≥≥ ≥ 2 1
2
4 1
462 2 4 . . 1
2
. œ. œ œ #œ. ™ œ. #œ œ œ. ™ œ. œ œ™ œœnœ ™ œ nœ œ ™ œ # œ œ. ™ œ.
1 0 4 1 0
? b œ œ#œbœ œ œ œ j œ #œ. ™ œ. #œ œ œ™
4 4. .2 . . 4 1 1 4 2 4
œ œ J J J
Q
469 ( ) ≤
≤
?b ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 1
. œ. . œ œ. œ. œ œ œ. . œ œ œ. ™ . ™œ
œ
4 2 1 4 1 4 4 1 4 4 4 1 4
œ œ œ œ #œ
p sempre p A
≤ ≥≤ ≥≤ ≤ 4 1 4
481 4 1 4 4 1 4 4 1 0 1 4 1 2 0 1 4 1 4
1 4 # œ œ œ. . œ 0 1 2 4 4
? b œ œ. œ. œ œ œ. œ. œ œ œ. œ. œ œ œ. œ. œ œ œ. œ. œ œ œ bœ œ œ #œ œ œ. œ. #œJ
. œ. . œ. J
cresc. G f ff
≤ ≥ 3 2
490 2 4 4 2 4 2 ™ ≥ ≥ œ™ # œ
4 4 2 2 4 2 2 0 4 2 1 2 1
œ
? <#>œ œ. . bœJ œ œ. . nœ œbœ. . œ œ œ. . œ œ œ. . œœœœ œ œ œ œ œ ‰ Œ ‰ J ‰ œJ J
b œ œ œ œ œ ææ ææ æ æ J
æ æ
dim. più p pp cresc. f p cresc.
A
≤ 1 4
≥ ≤ 3 3
2 2 1 4 2
500 n œ ™
œ œ œ#œ œ # œ1 4
œ œ œ # œ bœ œ
2 4 1 1 0
œ2
œ 1
1 4 1
4 2 4 1 2 0 4 1 0
4 1 2 0 2 1 0 1 2 0 1
?b œnœ œ œ œnœ nœ œ œ œ œnœ œ œ œ

œ œœ œ J‰Œ
nœ œœœœœœ
D f p
24
Ludwig van Beethoven Symphony No. 9 - Movement 4
This amazing movement has been characterized as a symphony within a symphony

with four distinct movements within the entire movement. One will Tind the
recitatives listed in almost every orchestra’s audition list. As the performance
practices of crisp, historically informed interpretations are growing in favor, one
needs to be careful not to wax too romantic. I still believe that one can show tasteful
musical direction and that is the main reason a passage like this is asked. The “Ode
to Joy” theme could be the most renowned passage known on Earth, and it all starts
off with the basses and cellos. Cool!!! The Allegro assai - vivace alla Marcia section is
also asked quite a bit and it is a stamina test. This is a great example of the hammer
stroke or spiccato with substance. The last two sections I list are the 6/4 passages
that require creative Tingering and pieces of the frenetic Tinal 2 page sprint to the
Tinish. This movement is so varied in styles and so much fun to work up. I can’t think
of anything more thrilling to play in concert.
Details: Each of the Recitative phrases has a similar characteristic in that it basically
starts in time and then the remainder of the phrase utilizes the natural rubato
technique of hesitation -> movement -> relaxation (pull back, move forward, and
relax). This occurs in the third bar of recit #1, third bar of recit #2, second bar of
recit #3, fourth bar of recit #4, eighth bar of recit #5, and the sixth bar of the last
recitative. The origins of many of the bowing and articulation markings that are in
some of the editions are questionable. I was able to study an urtext with Maestro
Sawallisch many years ago and there were no bowings or lines or dots. Many of the
slurs that have been handed down have become an accepted part of today’s
performance, but I take strong exception to many of the dots and lines for the
detached 8ths. I try to make them very similar, with slight variations that compliment
the phrasing. Remember, the ability to identify and perform consistent strokes
enables one to create nuanced phrases through slight differences in the stroke. One
other important note about the recitatives - don’t put in huge ritards where none is
printed. Keep things generally crisper with moderate rubatos. Often, the Tirst 16 bars
of the ode are included with the recitatives. The key word here is “simple”. Keep the
line simple and pure, employing minimal vibrato, if any. I also feel strongly that the
passage is best played up and down the D string using shifts and an open D. Note
that the crescendo in bar 12 is moderate and there is a subito piano in the middle of
the tied F#. The rest of the page is similar in nature. However, the bowings need to
be planned out, keeping bow distribution and that “simple” sound and approach in
mind. Moving on to the March at letter K, this is basically straight ahead power
playing. Consistency in stroke is the key, with the string crossing 5ths and octaves
presenting supreme challenges. Although hooks are standard practice in the
sections with quarters and eights, the quarters are played as if they are long 8ths. I
like to reverse the bowing 5 before L and 3 after L rather than do two up bows
before the dotted quarters. Finally, the slurred 8th note passages before letter O and
at letter Q require an active left hand articulation. I utilize hammer ons, pull offs, and
jam shifting to activate this articulation. For me, the understanding and employment
of the “pivot” is paramount for this passage.
25
Movement 4
Presto
7 ≤ ˙≥ ™ 1
4
™ 2
™ ≤ ≥
œ œ # œ œ œ œ - -œ -œ œ
≤ ≥≤ ≥
1 1
≤ ≥ 4≤ ≥
> 0 1 2 1 1 4 2 1 4 2 0 1
2
? b 43 Œ Œ Œ œ œ œ œ œ#œ œ œ ™ œj œ ˙
-- œœ
f A
15
≤ 1
≤ ≥ ≤ ≥ ≤ -œ -œ b œ ™ 4 4
œ œ œ 4
1 4 1 7 1 1 1
? b œ -œ ™
4 -
œ. œ œ Œ
J ‰ #œJ œ Œ Œ ‰ nœ
dim. p f
≥ -≤ ≥ Allegro ma non troppo

f ≥ 4 4
27 R 2 - 1 ≤ 1
≤ 1
? b œ œ œ≤ œ≤ œ œ œ œ ‰ bœ. œ. œ. œ œ Œ Œ 42 #˙ ˙ ˙ ˙ ˙ ˙
4 2 4 1
˙ ˙ 43
A pp
≥
38 ≥ b˙1
4
œ ™ b -œ≤ -œ -œ œ œ œ ≤ œ œ≥1 2≥ ≤ ≥ 1 4
2
nœ -œ -œ -œ -œ
1
4
1 2 4 2 2 1 2 4
2
1
? b 43 #œ œ J #œ œ - j
œ œbœ œ œ œ ™ œ œnœ nœ œ œJnœ œJ œ
f ff dim. ritard.
poco Adagio
Vivace Tempo I
≤ ≥ ≥ ≥ ≤
45 4
˙™
2
˙ nœ œ œU
1 4 1
8 œ œ≥
4
4
f
œ bœ≤. œ≥. œ œ œ≥ <,> œ≥ œ ™ R œ≤ œ≥ œ≤
4 2 1
2 1 4
?b Œ Œ Œ J
f
G ----
Adagio cantabile Tempo I
≥ 2 1 ≥ ≤ ≥ 4 1 2 4
≤ ™ 4 4 1 2
60
≤ ≤ - -
œ œ œ œ œ œ bœ
≤ 2 2
1
?b œ œ œ œ œ 3 ˙™ ˙ b œ b ˙ bœ b˙ œ
‰J Œ Œ bb c 4
G dim. p
D
69 ≤ ≤ ≥ ≤ ≥ ≤
4 ≥4
- - # œ ™ ≥ ≥ 2 2 1 2
1 4
4 1 2 2
b œ ≥ 1
# œ - ™ nœ œ # œ œ # œ # œ #œ œ# œ œ n œ # œ1 1
#œ# œ # œ #œ 2 2
? bb Œ Œ œ b˙ #œ J #œ Œ ∑ ##
cresc. D ff
E
Allegro assai Tempo I
77 ≤ ≥ 4
≥
1 4 2 1
4 1
3 1 œ œœ œœ œ œ ™œ 1 4 2 1 1
? ##C Ó œ Œ 3 Œ Œ ‰ J œ™ œ œ œ œ
4 J
f f
4 f 2
1 1 4 1 4 4
R
85 œ™ œ œ œ œ œ œ œ œ œ œ 4 1 4 4 1 0 2 1 4
≥ ≥ 1 2 4 0
? ## œ œ œ œ nœ nœ ˙ œ™ œ œ œ
œ #œ œ Œ ∑
sf
26
Allegro Assai
92 4 1 4 1 4 1 0 1 4 1
<,> 4 1 4
<,> 1 4 1 0 1 4 1 0 1 4 0
? ##C ˙ œ œ œ œ œ œ ˙ œ œ œ ™ œ ˙ ˙ œ œ œ œ œ œ ˙ œ œ œ™ œ ˙ ˙ œ œ
J J
p
101
1 2 4 2 0 1 2 4 2 1 4 1 0 1 4 1 0
< ,>
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 ˙ ˙ œœ
œ J
cresc. p
109 ≥ 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 J
cresc. p sempre p
117 ™ ≥ 2 ≤ ≥
4 1
≤ ™
1
≥ ≤2 ≥ ™ ™≤ 0 4 1
1 4 2 4 1 4 0 4 1 4 4 4 1 0 1 4 1 2
j
? ## œ ™ œ œ œ œ œ œ œ œ œ œ ˙ jœ œ œ œœœ
œ ˙ œ™ œ œœœ œ œ œ œ
124 ™
4 1 4 ™0 1
1
≤ 2 2
4 ≤ ™ ≥ 2 4 4 1 0 4 1
4 2 4 4 œ n˙ 4 2 1 4 0
? ## ˙ œ œ ˙ œ #œ œ ˙ j œ œ œœœ
œ œœ ˙ n˙ œ ™ #œ œ œœœ
cresc. p
131 œ n˙
≤ œ #œ œ ˙
? ## ≤ œ≥ ˙ œ œ
œ œœ ˙
j œ
œ œ œ ˙ n˙ œ ™ #œ œ
cresc. p
A
138 ≥ ™≤ ≤ ™ ™≥ 1 4 1 4 2 1 4
( )
≤ ≥ ≤ ≤ ™ ≥
4 0 4 2 1 4
? ## œ œ œ œ œ œ œœ œ œ œ œ ˙ œœœœ w
œ œ œ œ œ w w w
≤
œ œ œ œ ™œ ™ ™ œ≥
4 1 4 1
≤ 4 ≤
146 2 ( ) ™ ≥
w≥
1 4 0 1 4 1 1 2 1 4
? ## œ œœ œ w ˙™ œ œ ˙ œœ w 1
œ œ w
cresc. p
™ ™
œ œ œ œ™
4 2 1 4
154 ™ 2
1 4 0 1 4
≥
( ) ≤ œ
1
1 2 1™ 4 1
? ## œ œœ œ œ œ w w ˙™ œ ˙ œœ w
œ
cresc.
™ ™ ™ B
4 ≥ 2 1 4
161 œ œ œ œ œ ™œ ≤ œ œ 2
1 4
0
4 2 1
4
? ## w œ œ œ œ œ œ ‰ œ ‰ œ œ ‰ jœ ‰ j œ
œ J J œ œ
f
27
Allegro assai vivace alla Marcia
K
431 1 2 1
œ œ œ œ b œ n œ n œ œ œ b œ œ n œ bœ œ œnœn œ œ n œ bœ nœ ≤ ≥ ≤≥ 3
≥ œ≤ n œ≤
1 4 2
4 1 1 2 4 1 4 1 4 4
4
1 4 4
4 1
1
? ## 68 nœ œ bœ œ nœ œ ™ œ œJ œ™ œ œJ J
J
ff sempre sf sf
A E D
438 2 1 1 4 4 2 4 12 ≥bœ≤ ≤ 4
4 1 0 1 4
? ## bœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ Œ ™ ‰ ‰ nœJ bœJ œbœ
bœ œ œ œ
f
4 4 4 4 4
456 1 4 1 4
nœ nœ œ œ œ 4
1 4
b œn œ œb œ n œ2n œ 4 1
œnœ bœnœ œnœ œ œ nœnœ œ œ œ nœ œ œ œ nœ œ œ œ œ œ œ œ 4 1 2 1 4 1 1 1 1 1 1 1 1
? ##
D
4
462 bœ
bœ 1
4
1 2 4 2 4 1 1 4 1 2 1 1 4
? ## bœ œ bœ œ bœ œ œ œnœbœ bœ œ œ œnœbœ bœ œ œ œbœnœ nœ œ œ œbœbœ nœ œ œ œbœbœ
A sempre
≥
468 nœ œ nœ ≤
1 2
≤ ≥ 1
≥≤ ≤ ≥
4
1 4
4 4 2 1
≥≤ ≤
1 4 b œ bœ bœ œb œ b œ
2 2 4 1 1 4 1
1
2
? ## bœnœbœ œ j j bœ b œ b œ b œ b œ b œ œ
bœ œ ™ œ nœ œ™ œ bœJ nœJ bœ
nœ œ
œ J J J J J J J
J
sf sf
476 ™ bœ
1 4
≥ 1 b œ b œ œ b œ œ b œ bœb™œ
4
1
™ bœ
1 1
2 1 4 1 2 1 4 1 4 1 2 1 4 1 4 1
b œb œ
? ## bœ bœ œ bœ ‰ b œ œ œ b œ bœ œ œ bœ œ œ œ bœbœnœbœ ‰
b œb
G
3 4
≥ ≥ œ œ œ œ œ œnœ œ œ 1 4
482 4 4 1 2 1
bœ œ œ œn œ b œ bœbœbœ
1 4 4 1 1 2 1
? ## Œ ‰ Œ ‰ bœ œ œ nœ œœ
G A
3 1 2 1 4
≤ ≥ 4
491 œ œ œ œ œ œ œ œ œ œ œ œ L nœ œ œ œ ™
0 + 4 1 4 2 1 œ œ
œ ≤ 1 2 1 4 1 4 2 1
? ## ## J ‰ œœœœœœ œœœœœœ
G sempre sf sf D A
497 ≥ ≤ ≤ ≥ ≥
2 4 2
4
1
# œ œ™ œ # œ œ œ nœ œ œœœœœœ œœœœœ 1 1 4 2 4 4 1 1 2 2
? ## œ≤ œ J J # œ œJ J œ œJ œ œJ #œ œJ œ œJ #œ
sf D sf
504 4 1 4 1 2
œ 2 2 1 œœœœ œœœœœœ
4 1 4 1 4 1 4 1 4 1 4 1 1
? ## œ œ œ#œ#œ #œ œ™ œ #œ#œ ‰ œ œ ™ œ œ#œ ‰ œ œ

#œ J J œ J J
D sf sf D sf sf G sf
2 3 2
4 4
511 œœœœœœ œœœœœœ
1 1 1 4 1 1 1
1 4 1 1 2 1 1 4 1 1 4 1 1 4 1 1 2 1
? ## œœœœœœ œœœœœœ œœœ
œœœ œœœœœœ
D
E
28
4 4 4
517 œ™ œ œ 1
œ™ œ œ 1 4 1 4 1 1 4 1 4
? ## œ ™
Jœ œ œ ™
œœ œ œ J œ™ œ œ j œ™ œ ‰ Œ™
œ J J œ™ œ J J J œ™ œ œ
ff sf sf sf sf sf sf sf sf
526 3 4 4 ≤
0
≥≤ 1 4
? ##
˙™ ˙™ ˙™ ˙™ ˙™ œ™ œ œ œ
p pp pp cresc.
M
4 1 4
543 0œ. œ. œ. œ. œ.
2 4
œ œ œ 1
œ œœ œœœœœœ œœœ
0 ™
4 1 0 4 1 1 0 1 4 1 2
0 1 4 1
2 4
4 1 4 1 0 2 4 1 0 1 4
? ## œ. œœœœœ œœœ œœœ œ
œ œ #œ
ff
0 0
4 1 4
549 0
œ œ œ1œœ œœœœœœ œœœœ
4 1 2 1
œ œn œ œœ œœœœ 1 4 1 1 2
4 1 0 4 1 0 1 0 2 1 0 2 1 4 1 4
1 4 2
? ## œ œ œ œ œnœ œ
œ œ œ œœ
D G D
0
œœœœœ 4 1
555 2 1 1
0
œœœœœ
4 1 1 4 0 1 0 4 0 4 0 4 2 4 1 0 0 4 2 4 4 1 0 4 2 4 1 0
? ##
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
561 0 4 1 4 2 4 1 0 1 4 1 0 1 4 1 4 1 4 0 1 0 4
1 0 0
? ## œœœ œ#œ œ œ œ œœœ #œ œ œ œ œ œ œ œ œ œ œ œ
œ œœ œ œ œ œ #œ œ œ œ œ
œ
ff
0 0 4
4
567 4
œnœ œ œ œ1 œ œ œœ œ 1 4 1 œœœœœ 1 2 1 1
? ## œ
0 4 1 0 4 1
œ œ œnœ œ
0 2 1 0 2 1
œ œn œ 4
œ 1 4 2 0
œœœœœ
4 1 1 4 0
œ œ œ
œœ œ
573 1 0 4 0 4 0 4 2 4 1 0 0 4 2 4 4 1 0 4 2 4 1 0 0 1 4 1 0 0 4 2 4 1 0
? ## 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 œ œ œ œœ œ
579 4 1
? ##
0 1
œœœ 4 1 0
#œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ
1 4 1 4 1 4 0 1 0 4 0 4 0 4 1 0 4 1 0 2 1 0
œ œ œ #œ œ œ œ œ nœ œ œ
œ
ff
4 0 0
4
585 œ œ œ 4 1 œ œ œ œ œ 1 2 1
œ œ nœ œ œ 1 1
? ##
2 1 4
œ 1 4
2 œ œ œ œ œ 0
œ œ 4 1 1 4 0 1 0 4 0 4
œ œ
œ œ œ œ œ #œ œ
0
590 0
4
œ œ œ 2 4
1
œ œ 4
nœ 0
œ œ œ U 4 0 4 1 4 1 0 2 1 0 2 1 0 0 4
1
? ## œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ ‰ Œ™
œ
sf sf
29
Allegro energico sempre ben marcato
663 4 ™ 1 ™ ™ ™ 4
œœœœœœœœœœœ ™ ™ ™ ™ ™
2 4 1
™ ™ ™
4
1 4 1 2 4 1 4 1 1 4 1
1
2 1 1 4 1 1 2 4 1 2 1 2 4 1
œ œ œ œ œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ 4 2 4
? ## 46 œ œ#œ œ œ
œ
ff
Pivots continue ad nauseam

™ œ
2
™ 4 2 1 4 1 0 0 1
666
œ œ œ œ œ œ œ œ nœ œ œ
1
1
4 1
0 4 0 1 ™ 4 0 1 4
1 4
1
? ## œ œ œ #œ
œ œ œ œ œ
œ œ œ
≥ 4
™ 4 2
668 ™ œ
1
4™ ™ 1 0 ™ 1 ™ ™ ™
0 2 œ 4 2 1 4 1 0 1 0 2 4 2 1 4 1 0 1 0 4 0 1 2 4 2 4 2
? ## œ œ nœ 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
ff
Q
709 1 ™
1 4 ™ 2
™ 4 ™ f
R
1 2™ 1 ™ 1 4 0 1 2 4 2 1 4 1 0 1 0 2 4 2 4 1 4 2 4 1 4 1 4 2 4 1
? ## œ nœ
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#œ œ œ œ
ff
712 1
™ 4 ™ 1 2 ™ 4 ™
2 1 4 1 1 4 1 4 1 4 2 4 1 4 1 4 2 4 1 1
4 1 1 2 1 1 4 1 1 4 1
? ## œ#œ œ#œ œ œ œ œ œ œ œ œ œ œ œ#œ œ œ#œ œ œ œ nœ œ œ œ œ#œ œ œ œ œ œ œ œ œ
1
715 ™
4 ™ ™œ œ œ œ œ œ œ ™œ œ ™œ œ œ œ
2 1 2 4
1
1
4 1 4 1
1
4 1 1 2
1 1 4 1 1 4 1 4 1 4
1 0
? ## œ œ #œ œ œ œ œ œœœœ œœœœ
œ Ó™
30
763 Allegro ma non tanto
2 4 1 4 1 0 4 1 0 4 4 1
? ##C Ó œœœœ œœœœœ
œœœ œ Œ Ó œœœœœœœœ
pp pp
4 1
1
773 œ œ œ œ œ œ œ œ œ™ ™œ œ œ œ œ œ œ#œ œ œ œ œ œ#œ
1 4
2 1 2
4 2 4 1 1 1 4 1 1 4 1 0 4 1 0
? ## œ Œ œœœœœ
œ Œ Ó
pp
S arco
795 1 ™ 0 f 4 ™œ
4 4 1 0 1 4 2 4 1 0 1 4 2 1 0 1 0
œ œ œ œ œ œ R œ œ œ œ
? ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
p cresc f sf
3 1
4
802 4 2 œ œ4
œ œ œ œ œ
1 4œ œ œ1
4 2
1
4
4
0
4
0 1 4
4 2 4 1 4 1 0 4
? ## œ œ œ œ œ œ œ œ J œœœ œœ œ œœœ œœœœœœœ
f f f f ff f f f p cresc. ff f
Poco Adagio
3 3 2
808 4 1 œ œœœ œ
0 2
œ 0 4
1
4
1
4
4 1 4 1 >œ
œ œ >
? ## œ œ œ œ œœœ œ Œ Ó Œ Ó œ Œ Ó œ Œ Ó
œ
f f f p
814 Tempo I
3
? ## ˙ Ó œ Œ œ Œ œ Œ œ Œ
œ œ œ œ œ œ œ œ œ
œ œ œ
p p cresc. f f
823 œ œ œ œ œ œ œ œ œ 4
0
4
0 1 4
? ## œ œ œ œ œ œ œ œ J œœœ œœ œ œœœ
f f f f ff f f f p cresc. ff
Poco Adagio
3 3 2
828 4
œœœ œ 2 4 œ1
œœœ œ
4 1 œ 0 œ ™ ™œ œ
4 4 1 0 2
œ 0 4
1
4
1
4
4 1 4
4
4 1 4
4
2 1 4
4
? ## œ œœœ œ œ œ œ#œ Œ Ó
œ
f f f f
31
843 Poco Allegro stringendo il tempo, sempre piu Allegro
? ## Ó 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 œ
pp cresc.
851 Prestissimo 4
œ 2 ≤ ™ . . 1
. .
2
. œ #œ
4
œ #œ œ œ œ 4 2 0 2 2 1 2 1 4 0 1 2 1 1 1
? ## Œ Ó Ó œ œ œ œ #œ œ œ
œ œœ œ. œ
. œ.
ff ff sf sf sf sf
859 4 ™ 2 1
™ ™ 0 4 1 0 4 1
4 2 1 1 4 2 1
? ## nœ œ .
œœ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
. œ.
sf f f f
865 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
f
872 œ f œ œf œ f
œ œ œ œ 4 4 2 4
4
œ œ #œ œ 4 2
4
? ## œ œ œ œ œ œ œ œ
œ œ ∑
œ œ
. œ≥ 0
879
≥ ≥ . . . . . . n .
˙ .
˙ n .
˙ .
˙ n ˙ ˙. ˙≥. œ≤
? ## œ œ #œ œ œ ˙ ˙ ˙ ˙ ˙ ˙
ff 4
887 n˙ ˙ 1
? ## œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ n˙ ˙ n˙ ˙
æ æ
æ æ æ æ æ æ æ æ æ æ æ
ff sf f f f f ff f f f ff f
0 0
1 3 3
œœ ™ œœ œœœœœœ
n œ œ n œ œ œ œ œ œ œ œ œ œ # ™œ œ œ œ œ œ
4
894 1 4 2
1 +
2 0 1 4 0 nœ œ
? ## æ˙ œœœœœœ
f f ff
3 0
899 4
œ œ # ™œ œ œ œ œœ œœœœ 0 œœ + 1 3 1 +
œœœœ œœœ œœœ
+ 0 1 2 2
0
? ## n œ œ œ œ œ œ œ œ
1 4 0 1
œœ œœ
œœœœ
ff f
+ 1 + 1
904 1n œ œ œ 2
œ +
# œ œ œ
2 œ œœ œ œœœœœ
1 + œ œ œ œ
2
œœ + 1 2 + 1 3 + 1
3
+ 1 3 + 1
3
+
+ 1 3 + 1 3
+ 1
? ## œ œ œœ œœœœ œœ œœ
œœ œœ œœ
f f ff ff
1 3
909
+ œ œ œ œœ 1™ ™ 3 ™
+ ™ 1
œ n
3
œ œ œœœ +
4 1 0 1 1 0 1 4 1 1 1 4 0 1 4 1 2 1 4
0 1 4
? ## œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ
œ nœ œ œ
ff 4 3
913 1 4 0 1
œ œ n œ1œ œ œ 0 1 4 1 1 1 4 0 1 4 1 2 1
1
Maestoso
? ## œ œ œ œ œ œ œ œ œ #œ œ œ œ œ ˙
æ 3œ Œ Œ
4
ff ff
32
Bedřich Smetana “The Bartered Bride Overture”
This is one of those peripheral excerpts that show up from time to time. It’s good to
put some work into it in advance, as it is not conducive to short preparation times. I
include only the Tirst page, as that is generally what is asked when this is on an
audition list.
Details – the separate 8ths are articulate, off the string both in ƒƒ and pp. For me, the
ƒƒ 8ths function better closer to the frog, whereas the pp ones work better out in the
bow. My solution is to hook rather than recover the second down bow on the 4th line,
thus moving out in the bow a bit for the pp the following bar. Unfortunately, it
compromises the veracity of the 8ths in the last ƒorte bar, but I have yet to Tind a
better solution. I strongly recommend slow metronome work on this entire page
with special attention to the Tirst line. The way the slurs, string crossings and ties
over the bar line lie, it is best to organize the rhythm from the very beginning. The
pivots in the third line as well the Tirst half of the pp 8ths are essential for smooth
and clean playing. I’m not a huge fan of over shifting or extensions here. The last
point I would like to make involves the manner of shifting in the pp section. Avoid
jerk shifting. The arm and hand should move smooth and seamlessly, with the elbow
preceding the hand.
33
The Bartered Bride
Overture Bedrich Smetana
≥ 1
≤ ≥
4
≤ 1 ≥ ≤ 1 1
4
1 >˙ 4 > > 4
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 4 1
4 1 4 1 1 0 1
œ
? bC Œ ‰ J œ
ff sf non legato
6 4 1 0 1 0 1 0 1
1 0 1 4 1 1 4 1 0 1 2 0 1
?b 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 œœœœœœ œ
sf sf sf sf
11 2
™ 1 ™ ™
2 ™> ™
4
1 0 1 2 1 2 4 2 1 0 1 2 1 2 4 2 1 1 2
> > >
œ > > > > >
? b œ œ œ œ >œ œ œ œ œ œ œ >œ œ œ œ œ œ >œ >œ >œ >œ œ Œ Ó
> œ > > > > > >
ff sf sf
73
>> >>>> >>>>>> >
?b Ó 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
f sf sf sf
78 ™ ™
2 1 2 4 2 ™ ™ 0 1 0 2 2 1 0 1 4 1 0 2 4 2
? b 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 œnœ œ œ œ œ œ œ œ œ œ œ œ
pp
83 0 1 ™ ™ 0
œ 0 1 4 1 0 0 1 2 1 4 1 2
? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ bœ œ œ œ
87 1 2 1 4 1 2 1 0 1 4 1 1 4 1
œ ™ ™ œ œ 2 1 2
?b 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 œ œ œ œ œ œ œ
2 4 2
92
?b 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 œ œ
cresc.
96
0 4
? œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ
b
poco a poco cresc.
100 1
4
≥ ≥ 1 4
4 1 2
œ ˙ 1
˙ œ > >œ ≤
?b œ ˙ œ œ œ Œ Ó
œ > >œ sf˙
ff sf sf sf sf
34
The Quad
Volume 2

The Quad
Volume 2

Glossary of Symbols
m
.
2
The Quad
Volume 2
Preface 4
Britten Young Person’s Guide Analysis 5
Britten Young Person’s Guide Excerpts 6
Bach Orchestral Suite No.2 Analysis 8
Bach Orchestral Suite No. 2 Excerpts 9
Brahms Symphony No. 2 Movement 1 Analysis 10
Brahms Symphony No. 2 Movement 1 Excerpts 11
Mahler Symphony No. 2 Movement 1 Analysis 18
Mahler Symphony No. 2 Movement 1 Excerpts 19
Mozart Marriage of Figaro Analysis 27
Mozart Marriage of Figaro Excerpts 28
Haydn Symphony No. 88 Analysis 29
Haydn Symphony No. 88 Excerpts 30
3
Preface
What are the Quads?
example.

Hal Robinson
Benjamin Britten “The Young Person’s Guide to the Orchestra” - Variation H and Fugue
“The Young Person’s Guide to the Orchestra” is one of those fun little excerpts that we see on
many auditions. It was written in 1946 as an educational guide for the London Symphony
Orchestra and it quickly became one of Britten’s best known works. The piece begins with the
orchestra introducing a theme by Henry Purcell and builds toward a massive Fugue. In between,
each voice of the orchestra gets a chance to show their stuff. The bass variation (H) is really well
written and a load of fun to play. Although rarely seen on auditions, I have included parts of the
Fugue as it is pretty tough to play the many fast moving scales convincingly.
Details: In Variation H, there are three clearly defined sections. The material of the first and last
parts are very similar, with the latter section being a clear inversion of the first. The middle
section offers a great opportunity for contrast, being smooth and melodic in nature. The 8th notes
that occur in the first eight bars are all exactly the same, with the line/dot indicating notes that are
not short and not long. Make sure to drop back in volume at the start of each hairpin, and grow
with each set of three notes, as there is an implied crescendo that culminates at the ff in measure
9. The syncopations in measures 9, 10, 37 and 38 are slightly spaced to accommodate the
accents. I offer two solutions to the scale in measures 11 and 40. One choice is the traditional
duple fingering and the other offers a “thumbage” approach. Truth be known, I can actually make
a one-finger fingering sound totally plausible. In measure 12, I learned to bow the glissando by
splitting the bar in half, with the gliss basically occupying the second half of the bar. It is also
possible to gliss the entire bar on down bow and land an up on the sf in measure 13.
In the middle section, I prefer to play completely legato, interpreting the line over the single 8th
every third bar to signify connected and legato with expressive quality. Try to confine the hairpin
to where it is clearly marked and don’t allow a big swell on up bow at measures 15, 18, 21, and
24. Measures 28, 29 and 30 are very declamatory. Allow the fermata to fade to nothing.
In performance, the downbeat of measure 30 is the cutoff of the fermata. The winds play an 8th
note after the cutoff, giving the basses a chance to reset the bow for the first line/dot 8th marking
the last third of the excerpt. In the Fugue, we join the theme at letter H and play with a lot of
gusto and attack. For the scales before J and after K, an active left hand is required (pull/
hammer/jam) to clearly define pitches and rhythm.
5
Young Person's Guide to the Orchestra
Variation H Benjamin Britten
Comminciando lento ma poco a poco accel.
≤ ™ ≤ 4
™-4 1 >3
4 1 1 1 1 - -1 -4. œ. -1. -œ. -1. # œ. œ. -1. b -œ. œ
™ - 1 -2
2 -1
-
. 2 -1 -
. 1 -
4 - .
œ -4. n-œ1. b-œ. -œ4. -œ1. œ. . bœ
- . - . #œ - .
? # 42 ‰ œ. #œ œ ‰ œ. #œ ‰ #œ. œ ‰ œ ‰ ‰ œœ œ œ
pp ff
al Allegro (q=126)
≥
4 1
/≥ ≤ ≤ 0
0
4 1 4
9 œ >œ >œ œ >œ >œ œ œ œ œ œ2 1 1+ 0-1,2,3 liss.
3 1 + œ3
?# J J J J œ œ œ œg J ‰ Œ ∑
veloce
sf
G D G
≤
1 1 3 1 1 2 1
15 œ œ +œ œ œ -œ ˙1 œ œ œ œ+ œ œ -œ ˙1 œ œ
1 3 1
œ # +œ œ œ -œ
?# Œ
mf espr. f f f
rall. molto
≤ >≥ ,
23 2
#˙ œ #œ
1 2 4 2
œ #œ#œ œ œ œ #œ#œ œ œ œ #œ œ #>œ # œ >≤œ @ ? #>œ≥
?#
cresc. ff 3
Comminciando lento ma poco a poco accel.

≤ ≤
30 U b -œ4. -4. 1 -œ4. -4. 1 -œ4. -4. 1 -œ4. -4. -0 4 ™1 1
- 4 1 4 ™1 1 ™1 4 2
œ - - . - - -
? # J bœ œ. ‰ œ nœ.
‰ œ -
. . œ
œ ‰ œ œ ‰ #œ #œ. . - #œ. -
. . -
.
œ œ #œ #-œ. œ. #œ
- -. nœ
poco a poco cresc. >
pp ff
al Allegro ≥ 4
/≥ ≤ ≤0
0 -1,2,3 1 4 1 0
≥0 1 4 3
37 œ œ œ + 3 (l.v.)
+ 1 2 + 1
1 2 0 1 4 0 œ œ œ
œ œ s.
?# j j j j œ œ œ œ glis J ‰ Œ
œ >œ œ œ >œ œ œ œ œ & œ œ
> > veloce fz
6
Fugue
Allegro molto (e=180)
≤ ≤ ≥
H ≥1 1 4 Æ1 2≥ 1≤ 4Æ 2 Æ2 >4 2 ™1 0≤ 1 0 4 1 4 0 1 4≤ 1≥ ≤1 ≥0 4 1 ≤Æ 0 1 4
? ## >œ œ#œ. œ œÆ #œÆ œ œÆ œÆ œ œ#œ œ œÆ œÆ œÆ œÆ œÆ >œ œ œ. #œÆ œÆ œÆ >œ œ œ œ œ œ œ œ œÆ œÆ
. >œ . >œ . œ-
ff con tutta forza D cresc.
D GD ≥ 0
≥ 0 3
≥4 4 4 I
4 4Æ 3 Æ
n œ Æ
œ 4 Æ
9 Æ Æ œ Æ Æ œ Æ
œ œ œÆ œ œÆ œÆ Æ Æ œÆ pizz.
? ## ≥ œ œ œ œ œÆ œÆ #œÆ œ œ œ œ j ‰ Œ Œ nœj ‰ bœj ‰ Œ
œ .œ . œ- œ- œ- œ
> > : ; ff dim. pp pp
arco
≥ 2 0 1 4 2 1 ™4 1
19 ™ 1 41
4 0 1 2
0 1 2 1 2 1 4 1
1 0 1 œœ œœœœ œ œœ œ
? ## Œ œ ‰ nœj ‰ Œ bœ ‰ Œ ∑ nn œ œ œ œ œ œ œ œ œ
J J œ œ œœœœœœ œœœ œ œ
pp D DG
(bring thumb around)
™ ™
4 2
1 2 4 1 2
1
≤ 0 4 2
≥ ≤ J
27 œ œ œ + 1 2 + 1 4 1 2 1
œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ
? B œ œ œœœ œ œ œ œ œ œœœœ ? œœœ œ ‰ Œ
J
cresc. f
K
33 2 1 0 ≥ ≤ œ œbœ 0 1 2 1 2 4 ≥2 1 2 -2 1 2
™
? Œ ‰ bœ œ œJ ‰ Œ Œ ‰ œ œ œ nœ œ bœ œ nœ - œ™ #œ œ
‰ œ œ J œ J ‰ nœ #-œ #œ
J‰‰ Œ
-
p p D
4™ 2 1 ™ 4 1 ™ 4 2 ™2 ™1 ™4 ™1 2 1
2
42 1 ™4 -1 ™1 4
# œ œ #œ #œ 1 4 1
? j j
#œ œ #œ #œ nœ ‰ ‰ œ b-œ bœ b-œ b œ b œ œ bœ bœ
. œ- bœ bœ œ
cresc. D
4
L
47
≥ ™ 1 2 4 ™ 1 2 4 2 ™1
Æ m.b.1 4 1 4
? bœJ ‰ Œ b œ œ b œ b œ œ b œ b œ b œ b œ œ œ œ œ b œ œ b>œ ‰ Œ
bœ J
D
7
Johann Sebastian Bach Orchestral Suite No. 2 - Double and Badinerie
While it is common for many audition lists to include a movement of one of the solo cello suites
by J.S. Bach, the Badinerie from the Orchestral Suite No. 2 remains a popular choice in the
excerpt portion. Badinerie (synonymous with scherzo, literally "jesting" in French) has become a
show-piece for solo flautists because of its quick pace and difficulty. The bass part requires
stylistic agility and subtle phrasing that gives many bass players fits. Sometimes, one will also
see the Double required, although it is much less frequently asked.
Details: Let’s cover the Badinerie first. As the name of the movement implies, the stroke should
be on the lighter side. I prefer a brush stroke on the 8ths and a simple legato detaché on the 16ths.
This brush is a form of spiccato that remains fairly close to the string. I don’t believe an on-the-
string marcato works. It’s too heavy and doesn’t produce the right character. There are very few
dynamics on the page, but I prefer a compressed dynamic range between mp and mf. There are
ALWAYS dynamics within the dynamics and in this case, it is vital to manufacture your own
dynamics in the A section. These dynamics basically follow the shape of the line. Please note that
I have edited the dynamics in the B section, moving them one 8th note value forward for both
practical and performance reasons. Also, in measure 29, I elect to play the three note motif up an
octave (as I need the open E string in measures 34, 35 and 36).
The Double is a delicate movement in 3/4 time. The commonly used bass part (as found in the
Zimmerman complete parts series) has very few bowings, but the ones that are there give
indication of what one might do throughout. All of the dotted rhythms are stylized. That is to say,
they are not squarely exact, but more like a sextuplet rhythm as opposed to a straight 16th. They
are not double dotted however, as that is too strict an interpretation. In each measure, beat one is
always the strongest, beat two is always the weakest, and notes in beat three always lead back to
beat one. All the notes are long yet slightly detached, more like line/dots. Finally, in this style, it
is not appropriate to sustain the half notes in measures 4, 8 and 12. Rather, taper the note and
leave plenty of time for the recovery to the down bow in measure 5.
8
Orchestral Suite No. 2
Double J.S.Bach
≥ ™≥ ≤ ≥ ≤ 1 ≥ ≥4 ™
4 2 1 4 ≥1 4≥ 2 4 ≤ ≤ ≥
1
œ™ œ œ œ #œ ™ œ œ œ™ œ œ œ1 œ œ#œ œ œ™ œ œ œ nœ1 œ4 2 1 4 ™ 4
4 2 2 1 4 1 2
? ## œ œœ˙ ™™
p
≥ 4≥ 1 1
1 4 ≥
≥4 ≤ ≤ 2 2 4 2 œ4 œ4 1 4 1 4 1 4
5 œ™ œ œ œ ™ œ œ œ ™ œ œ1 œ4 ™œ2 #œ1 œ™
1 œ 2 1
œœœ œ œ œ œ œ#œ#œ1 1
? ## ™™ ˙
G sempre D
9
≥1 ≥4 2 ™ 1 4 ≥
≥ 1 4
≥ œ≥4 ≤ ≤
œ 1 4 1 2 4
? ## œ™
œ œ #œ ™ œ œ ™ œ #œ œ œ ™ œnœ œ™ #œ œ œ4 œ1 4 2 4 1
2 œ 1 2 4 1
œ œœ˙ ™™
D
Badinerie
1 4 4 1 1 ™ 2 4 2 ™1
≥ ≥ 1
4 4 4 œ
1 0
4 4 0 1 4 0
? ## 42 œ œ œ œ œ œ œ œ œ œ œ œ œ
0 1 4 0
œ œ œ œ œ4
œ œ œ œ
. . œ œ œ œœ œ
staccato D
8 ™1 ™œ4 ™1 2 1 2 2 œ1 2 œ2 œ4 ™œ1 œ4 œ1 œ4 ™ 1 ™œ4 ™1 œ1 œ2 œ1 ™œ4 1 1 œ1 4 œ4 1

? ## #œ œ œ œ œ œ œ #œ œ œ œ #œ
œ
D
13 1 1 4 1 0 1 1 œ 4 1 œ4 ™1 ™ 2 ™4 1 4 1 1 1 0 1 4 0 4 1 4 ™ 1 ™4 ™1 2
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 œ
p*
21 4 0 1 ™ 2 ™ 1 0 1 2
™1 ™4 0 4 ≤ ≥4
2 4 0 1 4 1 4 1 4 2 4 1 4 4 1 2 4 1 4 1 4 0 0 4 1 2 œ4
? ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œœ
f
œ D
œ
≥ ≥ ≥ < >
30
≤ ≤ 4 1
≤
1 4 1 2 1 2 4 4 1 4 œ œ 4 œ1 4 4 2 4 4 4 0 1 1
œ
? ## œ œ œ œ œ œ œœ # œ œœ œœ œ œ œ œ œ œ œ œ œ
#œ œ œ œ
D A
< >
36 4
1 œ œ 1 4 1 4
#œ œ œ 1 ≤ œ≤ œ œ 1 œ1 1 0 1 0 4 1 1
? ## œ œ œ œ œ œ œ œ œ œ œ œœœ œ ™™
œ œ
p f
* Dynamics in 20, 21, 37, 39 have been shifted one eighth later to aid execution
9
Johannes Brahms Symphony No. 2 - Movement 1
Brahms Symphony excerpts are a mainstay of American audition repertoire lists. I believe this is
because Brahms is so singular in style. His music contains some of the most sustained playing as
well as the most severe short martélé in the repertoire. The additional challenges posed by the
melodic nature of his writing along with the extreme dynamic swings allow one to appreciate
why it is asked.
Details: In the first passage beginning at measure 54, we have an opportunity to exhibit
extremes from the sustained to the markedly short. There should be no spaces in the first 6 bars,
which becomes more difficult when negotiating the double string crossing in measure 57. In
measures 59 and 60 I employ a short from-the-string stroke. I liken this stroke to a check-mark.
Place the hair on the string, apply weight before the stroke, and release the weight each time. Of
course, when the tempo is too fast to allow this maneuver, one must try to emulate the sound -
full bodied, resonant and still short.
The passage at letter E is one of the most commonly asked passages in the audition literature. In
the first 9 measures of letter E, almost every note has a dot on it. I believe it is impossible to
differentiate between the 8ths with dots and the 16ths with dots, both being incredibly short.
However, one can make the difference through quarters with dots, basically playing a marked 8th
note in length. There is no room for stylization with the dotted rhythms at all. I play strict
rhythms and insert clear spaces between the 16th and the next beat. At measure 127, a series of
quarters occur with accents. Although the stroke is broad here, there is a slight space between
notes, helping to articulate the accents. In measures 129 and 130, don’t accent the up and down
bow while making a smooth line, despite this double string crossing. In measure 131, resume the
accents exactly as before. I prefer less vibrato here, allowing the rhythm and pulsations to carry
the day. There is a subito ff on the low E in measure 134, but it doesn’t sound great to overplay it
- just play a little bit more.
At the poco f espr. in measure 136, a long sequence canon with the melody begins. I interpret the
poco f to be about a mf. I prefer not to vibrate the quarters, leading to a nice vibrated half tied to
the quarter. Although there is no printed dynamic here, I phrase to the long note. In measure 152,
there is a traditional release of the G#. Again, in measure 153 through measure 155 it’s back to
the short, check mark stroke. I taper slightly to the last note before letter F.
The rest of the passages that I have included from the 1st movement are rarely asked, but
valuable to know. At measure 212, the quarters are similar to the accented ones at measure 127,
based on the marcato command. Remain vigilant with the marcato stroke on the 8th notes in
measures 220 and 221. I include my favorite passage at measure 282 as it can be a real challenge.
I encourage the high notes on the G string and shifting rather than playing across. This helps with
the vibrato on the long notes and offers a clearer sound. It is important to utilize geographical
location of the F’s in measures 282 and 284 and the F#’s in measures 286 and 288. I simply feel
where the shoulder meets the neck and the F’s and F#’s are right there. Finally, I have included
the passage that mirrors the passage at letter E. It is made more difficult with the shift to the high
A in measure 398, but all the musical ingredients are the same, just played in a different key.
10
Symphony No. 2 Johannes Brahms
Allegro non troppo (q=112) Movement 1 ≤
3. 4
≥ ≤ 2 ≥ ≤ ≥ ™ ≤ ≥ ≤ ≥ œ+. œ 10. œ. 1
54 4 4 4 ™1 ™ 4 2 ™ 1 4 1 0 1 4 2 1 œ 1 2 1 4 0 1 4
? ## 43 œ™ œ œ œ œ œ œ œ œœœœ œ œœ œ. ‰ œ œ.
˙™ œœ œœ
p cresc. D A f
≤
4 2 4 ≥ ≥ ≥ ≤ 4≥ B
60 2
. 1 4 ™1 4 0 œ # œ œ 4 2. 4 ™4 0
. 1 . œ ™1 œ. 0 1
? ## n œ œ œ. #œ. nœ. . œ ™ œ ≥j œ ‰ Œ Œ
˙™ 1
œ . œ ™ œ j
œ ‰ œ .
œ œ. œ. J
sf sf sf sf p
A E A G D
quasi ritenente
E
≥ ≤ >4≥ ≥ ≥ 1 >œ4 ™ ≥ ™≤ ≥ ≤ ≥ ≤ ≥ 1≥ ≥ ≤ ≤ ≥ ≤ ≥1
118 0 1 œ™ 1 2 2 0 1 1 2 4 4 1 0 > 1 0 1 0
. œ. œ ™ j >œ ™
? ## ≈ œ. ‰ ≈ œ œ. ≈ œ. ‰ ≈ ≈ œ. œ ‰ ‰ .
œ ≈ .
œ j ‰ ‰
#œ. . #œ. œ
. #œ. œ
. œ
. œ
. . œ
œ. œ.
f sf ben marc. sf marc.
≤ ≥2 ≤ ≥ ≤ ≥1 ≥ ≤2 ≥ ≤
125
≤ ≥ ≤ ≥ ≥ 4
≤ 4 1 ≥
1 0 0 1 0 >œ >œ >2 >œ1 1 >œ œ 1 ™2 4 œ œ >œ >œ4 >œ2 4 1 4 2 1
? ## œj ‰ œ. ‰ j ‰ ˙ œ #œ >œ
. J œ. œ. f #œ #œ œ >œ #>œ œ n>œ >œ
>
134 1 0 ™ ≤4 2 4 ≥4 ™≤1 ™2 4 ≥
? ## ‰ œ #œ œ ˙ œ #œ #œ œ ˙ œ #œ #œ
œ n>œ œ ˙ ™
j œ ˙ œ
#œ #œ
œ
> E A
ff poco f espr.
143 1 ™2 ™2 4
? ## œ ˙
4 4
˙ œ ˙ œ 1 ˙4 œ
œ œ #œ œ œ #œ œ #œ #œ œ #œ #œ
A cresc. D
F
151 4
≤2 , ≥4 1 . 1™ 4
4 2 pizz.
2
- @ ?
? ## œ #œ œ #œ ˙ œ œ1. 4. 1. œ. œ4. œ1. n œ œ. #œ4. œ1. 0. 1 4 0
#œ œ nœ œ #œ œ. œ. œ œ Œ
. . œ.
ff ≤ p
≥
≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ 4 n œ4 ≥ 1. ™4 2. 4
212 ™ 4 bœ2 1 nœ4 # œ2 ˙
0 1 2
˙ œ ™1. œ4. œ n œ. œ2. œ n œ. œ2. œ4. œ1. 4. 1. ™1. ™4. œ1. 4. #™œ1. 2.
? ## œ œ œ œ #œ œ #œ œ œ œ
f marc. G più f D
≥4 ≤ ≤ ≥ ≤
™≤1. ≤4 >œ4 #™œ1≤. ≤2. >œ #™œ2. 4.≤ >˙4
4 ≤
1
219
œ #œ. . . n œ œ. >œ
1. 4 1 4 . 4
œ œ #œ. œ œ 1
œ. 0 1
œ4
? ## œ Œ ˙
> ˙
ff
11
≥ 3
≥ 3 ≥
(,) 1 3
≥ 3
1 1 1
282 n˙ œ ≤
1 0
n œ œ ≤2 1 ≥1 0 # ˙ œ ≤
1 0
œ œ ≤4 1 ≥1 0
? ## nœ œ œ œ
n˙ œ nœ œ #˙ œ œ œ
ff G D G D
G
quasi ritenente
382 ≥4 ≤ ≥ ≤ 2≥ ≥ ≤ ≥ ≤ ≥2 ≥ ≤ ≥ ≤4 4≥. 1≤
1 2
? ## b˙ ™ b˙ nœ4 œ 1 0 2 .
j ‰ >œ ™ ‰ #œ. ≈ œ. œ
1 0 >œ ™ . 1. 2. œ. œ œ.
1
b˙ ™ b˙ œ. œ. ‰ #œ ≈ œ #œ ≈
p cresc. f sf ben marc.
≥ 1≤ >4 ≥4
≥ ≤ >4 ≥ ≤ ≤≥ ≤ ≤4
390 0 œ™ 4 1 4
. 1 1 >œ™ ≤
4 1 1 4 0 >œ œ >2 >œ1 1≤ >œ œ ≤1 4
? ## œ. ≈œ. ‰ œ. ‰ œ ≈ œ. ‰ œ. ≈œ. ‰ œ. œ. œ. ˙
. œ œ
œ œ #œ
J J œ. >
f A
≥2
+ 0 ≤ ≥
398 œ œ œ2 œ3 œ4 1 4 ≥4 ≤2 ≥1 ≤ ™ ≥
1 1 0 1 2 4 4
? ## œ œ œ œ œ nœ j ‰ œ #œ œ ˙ œ
œ #œ
> œ œ bœ œ ˙™ œ
>
marc. ff poco f espr.
407 ™2 4
? ## œ ˙ œ œ ˙ œ œ ˙ œ œ1 #œ œ4 ˙
œ #œ œ #œ
414 2 4 2 4
4
œ ™1 #™œ2 4
≥ 4 ™≤1 ≥2
? ##
œ 1
œ #œ œ4 ˙ œ 2
œ #œ œ ˙ #œ œ #œ2 œ œ ˙
cresc. D G ff
0 L
3
421 œ œ1. 4. 1 0 1 n œ. œ4. ™œ1. 2. ™ 1 4 4 0 2 1
pizz.
0 œ nœ. 4
? ## #œ œ. œ. . œ. œ œ œ Œ
œ œ. . œ. œ. œ
. p
12
Although not asked as often, there are a couple passages in this movement that are wise
investments of time and thought.
Details: Beginning at measure 47, achieve a smooth legato with an even crescendo over the 2
bars leading to Letter C. The next 8th notes at letter C are very short. Grab the string and release
leaving the left hand down for resonance. There are f markings at measures 53 and 54 without
any indication of a drop. You have to manufacture that effect yourself. At the poco f in measure
51, begin at a mild mf. There is some natural phrasing to each C natural with the biggest
crescendo into the f at measure 53. I do a slight dim on the last 16ths of measure 53 to about a mf
at measure 54 allowing room for another crescendo to f on the low E. The 16ths in that bar are the
same short martélé checkmarks that produce short and powerful strokes.
Finally, in measure 82, we’re back to the long smooth sustains that are common in Brahms.
Don’t allow any spaces to show between bow changes or string crossings in measures 82, 83 or
84. The high G in measure 86 is short with the bow, but with a reasonable amount of ringing
resonance. After that, sustain your dotted halves, and play sticky connected 8th notes to the end.
13
Movement 2
L'istesso tempo, ma grazioso (q. =48)
47
≥ 1 2 1 4≤ 2 4≥ 1 ≤ ≥ ≤ C ≥1
4 2 1 1 4 1 0 4 0 4 4 1
? #### 12 œ
œ œ œ œ#œ œ œ œ œ nœ œ œ nœ œ œ œ ## œj ‰ ‰ Œ ‰ Ó™
# 8 Œ ‰ J œ œ
œ .
p cresc. f
D
50 ≥4 ≤ ≥ ≤0 ™1 2 ™ 4≥ 1
™≤ 2
? ## Ó™ nœ. ‰ ‰ œ4. ‰ ‰ 1
j ‰ ‰ œ œ bœ
nœ œ œ œ1 œ
J J
J œ.
f poco f
™4≥ 1 ™≤1 2 ™≥4 1 4 ≤2 ≥4 ≤ ≥ 1 1 4 1 4 ™2 4 œ1 4 1 4 1

52 œ 0 0 2 1 1
n œ b œ œ œ œ œ œ œ œ n œ nœ œ#œ œ
? ## J œ œ nœ nœ œ œ œ#œ œ œ #œ œ œ
cresc. f
54 ™2 4 0 ™1 ™ 4 0
1 œ4. # ™œ1. 1. 2 4 1 1
? ## œ #œ œ #œ œ. œ. . j ‰ ‰ Œ ‰ Œ™
œ œ œ œj ‰ ‰ œ #œ. ‰ Œ
.
f
A
≤ ≥ 1 03
82
≥ ™ ≤™1 1 1 ™4 ≥1 1 1 2 ≤0 ™4 0 ≥2 0 ≤4 0 ≥1 ™2 4 ™1 4 0 œ4 n œ. ≤
? #### c Ó Œ
1 4
œnœnœ œ œ œ œ œ œ
œ œ œ4 1 œ
Œ Œ ˙™
# œ n˙ œ œ œ œ nœ œ œ œnœ œ œ œ 3 3 G
3
p cresc. f f
88 ≥2 ≤≥ ≤ ≥≤ 4 ≥ ≥
4 1 4 1 1 4
œ 2 4 1 4 2 4 2 4 2 2 1 4
? #### œ #œ œ œ œ#œ œ œ nœ#œ nœ œ œ œ nœ œ#œ œ. 1 12 nœ ™ œ ™ #œ ™
œ
# ˙™ nœ œ J ‰ œj ‰ 8 œ™
. f
D
14
The two passages I display for this movement are both good candidates for common audition
repertoire. The passages are very similar, but I find the second one more challenging because of
the extended slurred passage at letter L.
Details: The passage begins the movement and the dynamic marking is p sotto voce which
means “under the voice”. You want to play quietly, but not so soft that you are not able to make a
perceptible drop at measure 13 at the pp marking. In measure 1, there is an 8th note rest that I like
to treat as a portato by keeping the bow moving and releasing the weight (as opposed to stopping
the bow). The string crossing between measures 1 and 2 presents a real difficulty. One could opt
to play the second D with an open string, but I don’t like the brighter sound in the sotto voce
character. In measures 5 through 8, one can play these off-the-string or from-the-string based on
preference. In either case, the notes should sound short and resonant at the same time by using a
sustained left hand. At measure 13, one must play incredibly softly while keeping the left hand
clear and articulate. From this intense quiet, you must still show the effect of diminuendo in the
last couple of bars before A. At letter A, you must explode with energy and power by attaining a
heavy spiccato. Recover the bow at measures 25 and 27 after the long notes. It is impossible to
start from the string for the sf at measure 32, as we are in full heavy spiccato mode. Beginning at
measure 33, start each sf from the string and come off for the next two 8ths. The effect of these
8ths should be a slight diminuendo from the sf. While one can observe that the 8ths between
measures 24 and 32 do not have dots, they should be executed identically to those with dots.
The second passage begins at measure 244 and this time the beginning dynamic is pp so there is
no perceptible drop-off at letter L. The extended slurred passage at letter L for 10 bars is a true
test of one’s ability to play incredibly delicately with the right hand while remaining decisive and
strong with the left hand (using pulls/hammers/jams). The marking sempre più f (always a little
louder) at measure 264 is best exemplified from measures 268 through 274. Remember that
sometimes the best way to show a volume increase is to begin softer, as in measure 268. Finally,
notice that at measure 279, there is no sf, and we try to show this detail in the score. Only drop
enough to demonstrate this fact, and no more.
15
Movement 4
Allegro con spirito
≥ ™1 0 ≤ 1 0 2 ≥4 1 4 0
1 ≤ 2 4 2 4 ™1 0 ™ 2 4 2 4 1 4 0
? ##C ˙ ‰ œ œ œ œ œ œ œ œ œ œ4 œ œ œ. œ œ
4
.œ œ . œ. œ.
œ
œ œ œ . . œ. œ. . œ. œ.
p sotto voce ≤ ≤
≥
8
≤ ≤4 ≥ ≥4 ≤ 1 0 2 ™ 4 ≤ 1 2
2
4 2
4 2
1 4 1 0 4 4 2
? ## œ. œ œ.
0
œ. 0 œ. 0 œ
œ
#œ œ œ œ#œ œ
. œ ˙™ w ˙™ w œ œ
œ œ#œ œ œ œ
. pp G
D
≥™ ≤ ™4 ≥ 2 ≤ ™
16
1 4 1
œ 2 1 2 ™ 4 ™4 1 4
≥ ≤4
œ œ œ n ˙ b œ 1
œ ˙ #œ œ nœ œ 4 1
b œ 1
? ## œ n˙ b˙ ˙ ˙ ˙ œ Œ
dim.
D A E
A
≤ ™4 ™ ™ 4 2 4 2 0 ™4≥ ≤1 0 ™2 4 ™1 1 0 ≥ ≤ 4≥
œ œ1 œ0 ™œ2 œ4 œ™1 œ1 œ0
23
1 1
? ## ‰ œ4. œ. œ. 0. œ4. œ. œ. œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ4. 1 ˙
œ œ.
f sf sf
™4
28 4 1 0 4 1 0 4 1 0 œ1 œ œ1 œ4 œ2 œ4 œ1 0 1 0 1 ™2 4 2 0 0 ™1 0 1 ™2 4 2 0 0 1 2.
? ## 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. bœ ‰ Ó
œ
sf
D
1 4.
33
. bœ2.
0 1 1 1™ 4. ™1. 4.
1 .œ œ2. œ4.
4 œ4. œ. œ
? ## .
œ œ ‰ Ó #œ. œ. nœ ‰ Ó .
#œ œ ‰ Ó
œ ‰ Ó ‰ Ó
sf sf sf sf sf
16
in tempo
≤4 ™ ≥ ≤ 1 0 2 ≥
4 ™1 0
244 2 4 1 0 ™2 2
2 4 4 4 1 4 0 4 1 4 0
? ## ˙ ‰ 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.
pp
≥ ≤
L
251 ≤ ≥ 4 1 1 4 4 ™1 2 ™4 1 4 ≤ fR 4 1 1 4 4 ™1 2 1 ≥4 1 4 2 4 2
1 4 1 4 1 œ
? ## œ. œ œ. 0 ≤ 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. pp sempre
257 ™≤2 1 ™ 4 2 4 ≥ 1 4 2 4 2 4 ™1 4≤ 2 1 2 1 ™4 ≤ ≥ ™ 1 ™ 4 ≤1 ™4 1
n œ 1 0 4 # œ œ œ œ œ n œ 1 0 4 1 4 . œ œ nœ
? ## œ œ#œ œ œ œ #œ œ œ œ œ œ#œ œ œ
œ #œ œ œ #œ #œ
2 4
≤
.œ ≥1 ≤4
262 # œ.
œ. Œ Ó œ. œ1. 4. ™1 0 2 ™≤2 4 2 4 ™1 0 ™2 ≤4 ≤ 4 2
2
? ## Œ Œ ‰ œœ œ ˙ ‰ œœœ œ œ œ œ ˙ ‰ œœœ
. .
f sempre più f f
268 4 1 2 1 0 1 2 4 4 1 2 1 0 1 2 4 4 1 2 1 0 1 2 4 4 2 4 1 1 4 1 2
? ## œ nœ œ bœ nœ œ #œ œ nœ œ bœ œ œ #œ œ nœ nœ bœ œ œ #œ œ œ œ nœ nœ #œ œ #œ
œ œ œ
272 4 1 4 2 ™ 2 1 4 1 2 4 0 1 2 4 0 1 4 0. 1. bœ2.
1 4 1 2 4 1 4
? ## œ nœ œ nœ œ #œ œ #œ œ œ œ nœ œ #œ œ #œ œ nœ nœ œ œ œ œ œ œ œ ‰ Ó
sf
D
276 1
42 ™1 0 4 0 4 4 0 44
.
? ## œ. œ. œ. ‰ Ó œ. œ. ‰ Ó œ. œ. ‰ Ó
.
œ œ
‰ Ó
œ. œ. œ.
sf sf sf
E A A D
17
Gustav Mahler Symphony No. 2 “Resurrection” - Movement I First page
With the possible exception of the 8 bar solo from the third movement of Mahler’s 1st symphony,
the first page of the 2nd Symphony is asked on auditions more than any other Mahler excerpt. The
first movement is a classic funeral march, asking the question “Is there life after death?”, and it
opens with one of the most bombastic and suspenseful four bars in the industry. This excerpt
seems to go from sorrow and rage to a stoic reflection on the meaning of life. Character plays a
huge part in presenting this excerpt in auditions. For me, after the explosive opening, the excerpt
is to be interpreted exactly as written, juxtaposing duple/triple rhythms and extreme dynamics.
Details: One must really listen to performances of this opening to get a sense of the tension
created with the tremolo in the strings and the “Wild” entry of the basses. I have been taught that
anything over ff is past the point of a nice sound. Be sure to make the first note of measures 2 and
4 the strongest. A standard formula for the length of the fermata is approximately the length of a
half note rest. Try to make the accelerating 16ths clear with direction. With the a tempo in
measure 6, the faster tempo prevails throughout measure 5. From the pickup to measure 6 to the
end at measure 41, there should be an absolute adherence to a strict tempo. Unlike most orchestra
music, where there is some rubato in most everything, I teach that there is none in this section.
Instead, great attention must be paid to the severe difference between duple and triple 8ths and
16ths.
Upon close examination, there is a bewildering level of detail in the notation - dots on some
notes, and not on others. This is easily one of the most common conversations I have had over
the years in orchestra rehearsals. What do the dots or lack thereof mean interpretively? The only
notes played without dots are the 8 quarter notes spread throughout the page, and traditionally
the 16ths in measures 15 and 30, which are played legato. EVERY other note should be played as
if it has a dot. Duple 8ths, triplet 8ths and 16ths are all played the same length. Don’t make
yourself crazy trying to thread the needle and make differences! Instead, concentrate on duple vs.
triple, and the extreme dynamics, because these carry the day.
There are a couple of tendencies to guard against. The big one is to play longer on the subito
fortes and louder dynamics. Keep them short and achieve the dynamics with weight over bow
speed. Conversely, in the soft sections, the natural inclination is to play much shorter, but you
can avoid that and show discipline and consistency here. Finally, one must determine whether
this short stroke comes from-the-string or is a spiccato, and the answer is both. For example, all
16th note groups should start with one note from the string and the rest off. The triplets are
generally slow enough to play marcato from the string. All 16th pickups should be from the string
with the following note thrown. Aim for consistency in stroke and rhythm, and things should
work out well.
18
Symphony No. 2 "Resurrection"
Movement 1
Gustav Mahler
Allegro maestoso Mit durchaus ernstem un feierlichem Ausdruck
(q=80) 2 1 2 2 4 ™ ^4. 4 1
4 0 2 2
wild ^ 1 0 1 1 4 1 U 40 nœ œ œ. j 4
? bb 44
b ∑ œnœ œ œ œJ ‰ Ó ∑ œ^ œ œ œ œJ ‰ ≈ œ œ œ œ œnœ ™
≈ œ. ‰ Œ ‰ Rœ
sf
sf ff accel. sf f
fff
fff
a tempo ™ . ™1 2. immer wuchtig
4. 2 4. 4. 1
6
? bb
œ4 œœ
-
œœ œ
. nœ
œ
. œ œ œ .
œ œ . œ #œ. œ2. 4. œ2. . œ. 1. nœ4. 1. ™.1 2.
2
œ
4
. 1
b ≈ ≈ ‰ J ≈ ≈ ≈œ ≈œ ≈œ œœœ
3 3
D mf A
9
≤ 4. ≤ 4 4.
1 2 1 . 2 1 4 1 1 4
2 4
. 1 œ 14 1
4 1 1 2 . œ
? bb œ. ≈ œ. œ. ≈ œ. œ. ≈ œ. œ œ. œ. œ. œ. ≈ œ. j ‰ ‰ œ. œ. œ œ. œ. ≈ œ. j ‰ ‰ œ. œ. œ œ.
b œ œ.
3 3 3 3
ff ff f
D
12 ™ ™ 4 4 1 0 4 1 4 4
≥
œ1 2 4 1 0 4 1 4 4 2 1 4
4 1 œ 1 2 œ 2 4 1 0 1 4 1 4 0
? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. ≈ œ. j ‰ ‰ œ. œ. œ. œ. œ. œ.
b œ œ.
3 3 3 3 3
3 3
p subito 3 f p f p
geth. unis.
15 4 1 1 2 4 2 1 4
1 1 1 1
1 1
? bb œ. ≈ œ. j ‰ ‰ #œ œ œ œ nœ œ œ ≈ œ ≈ œj ‰ ‰ j œj ‰ ‰ j œj ‰ ‰ j
b œ. #œ œ œ œ nœ œ . œ. . œ. . œ. . œ. . œ.
f p f mf p
18 ™
1 1 4 1 0 1
≤ 2 2 ™2
4
. 4. 1
2 2
4 0 1 4 0 nœnœ œ
? bb œ ≈ j ‰ ‰ œ ≈ ‰ ≈ œ œ œ nœ œ ≈ œ œj ‰ Œ ‰ œ.
b . œ.
œ #œ. œ. nœ. œ. œ. nœ. . œ. œj . J
ppp . . sempre pp
. ≥
21
œ. . . . . œ . 1. 2 2 4 1 2 1 4 1 ™1 2
? bb ≈ œ. œ ≈
.œ
œ . œ nœ œ œ œ œ œ œ #œ œ
œ
‰ J ≈ ≈ œ œ
≈ œ ≈ œ ≈ œnœ œ œ œ
b
3 3
A
19
4
. 1. 4 1 4.
1 ™2 1 ™2
24 4 1
1
. 2 1 2 2 1 4
. 4 1 . 4
. 1 œ ^ . 4
. 1 œ
. . .
? bb œ ≈ œ œ ≈ œ œ ≈ œ œ œ œ œ œ ≈ œ. j ‰ ‰ œ œ œ œ œ ≈ œ. j ‰ ‰ œ œ œ œ .
b œ. œ.
3 3 3 3
fp
27 4 1 2 4 1 0 4 1 4 4
1 2 4 1 0 4 1 4 4 2 1 4
4 1 œ 2 4 1 0 1 4 1 4 0
? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ^ ≈ œ j ‰ ‰ œ œ œ œ œ œ
œ œ œ œ
b œ œ
3 3 3 3 3
3 3
3
30 4 1 1 1 2 4 2 1
4 3 3
? bb œ^ ≈ œ j ‰ ‰ #œ œ œ œ nœ œ œ ≈ œ ≈ œj ‰ ‰ j œ ‰ j œ ‰ j œ ‰ j œ œ œ
b œ #œ œ œ œnœ œ œ œ œ. œ œ œ œ œ œ
fp mf
4
.œ œ. œ4. œ1. b œ.
34 4
4 4 4 4
? bb œ ≈ œœ œ4 œ1 œ0 œ4 œ1 0 4 4 4 1 1 3
œœ
4
b ‰ œ œ ≈œœ ‰ œœœœœ œ ≈ ‰
3 3 3
sempre cresc.
tremolo
37 2
. œ4. 1. 4. 1. ™4 1 ™1 4. ™4. 1. ™4 1 4 1 ™4 2 ff
œ
? bb ≈ œ ≈ œ œ ≈ œ. bœ ≈ œ œ ≈ œ œ ≈ œ. bœ ≈ œ œ ≈ j æ j
b . . . . . œ. œ ‰ Œ Ó wæ œ‰ Œ Ó
ff pp molto cresc.
20
Ludwig van Beethoven Symphony No. 7 - Movement I Excerpts
One will find Beethoven of some kind on almost every audition list, and deservedly so.
Symphonies 5 and 9 are asked far more often, but occasionally one will see either the Third or
Seventh as peripheral choices. Both have distinguishing characteristics that set them apart from
all works, whether it is the Third Symphony Scherzo in its delicate spiccato or the Seventh
Symphony for its scales and 6/8 dotted rhythm. Both are worthy of study as you will more likely
than not see them on a list at some point.
Details: The stroke for the 16ths beginning at measure 14 is a long spiccato. The ff is big but not
crass. None of the quarter notes should be held longer than their written value. That sounds a bit
simplistic, but many players are guilty of over sustain in this instance, and it is a safer bet to
consider the style of Beethoven as leaning more to the Classical side than the Romantic. It’s best
to show a subtle direction on the scales through the bar line to each quarter note. Also, I have
placed an editorial mf in measures 22 and 37 to suggest a metered diminuendo.
The Vivace section presents the most compelling reason to ask this movement. This is a singular
rhythm test amongst all the excerpts. It is very important to understand the hierarchy of each note
in the repeated dotted rhythm motif. Beat one is always the strongest, beat three is the second
strongest, and the sixteenth occurring in the middle is best played late and less. A good exercise
to master this skill is to begin playing only the first 8th of each motif. Then add the last 8th
playing 1 3/1 3/1. Finally, add the 16th playing 1 &3/1 &3/1. I like to play the first 8th a little
longer, allowing the bow to travel out slightly. I then “quasi-ghost” the 16th, and play the final 8th
with a leading impulse back to one. The recovery of bow is made after the third 8th each time.
This is very difficult to describe, and one has to hear it to really understand. The only absolute I
can offer: don’t play all equal and square, because there has to be a perpetual swing to it.
In measures 83 and 84, there is a recovery before the last 16th and 8th of each bar, but play them
late. Placing them early makes it sound very square and incorrect. On the repetitive A’s from
measures 89 through 94, I prefer closing the A as it is easier to get a more consistent attack and
sound on the closed string. Conceptually, I move the p in measure 100 to the 16th note, finding it
virtually impossible to place it only on the last 8th of that bar. The 16ths in 109 are played legato.
Note the move to the D string for the p in the middle of measure 110. Finally, the passage
beginning at measure 277 is a real test of stamina. There are no dynamics listed, but supporting
the natural topography of the line works well for musical reasons, and it helps with the demands
of strength and dexterity.
21
Symphony No. 7
Movement 1
Ludwig Van Beethoven
4 2 3
. 3
14 (q=69) ™ 2
. 4
. 1
. .
œ .
œ œ 1 4™1 4 1
. . . . œ.
œ
0
. 2 4 1
.
. œ. œ œ œ œ 0 4 0 1 4 2 4 .
. œ. œ. œ œ œ œ
? ###c ˙ ˙ . . œ œ . . œ
œ. œ. œ. œ. œ œ . œ
æ æ œ Œ Ó œ. œ. œ. œ. œ
œ
pp cresc. ff D G D G
4 4.
18 2 4 1
. œ. œ. œ. 1 4
2
. . . n œ
. 4 4 0 1 2 0 1 2 0 1 4 œ
? ###
2 1 2 0
œ . . .
œnœ œ œ0 1
œ 1
œ nœ. nœ. œ. œ. n œ œ
nœ Œ Ó œ œ Œ Ó œ
œœ
.. nœ.
œ
œ. . . . . nœ nœ. œ. nœ. œ. œ. nœ. . .
A
22 2 1 4 5
? ### æ j
Œ nœ œ œ œ œ œ œ œ nœ Œ Ó Û∑ æ
˙
j
œ ‰ Œ n˙ œ‰ Œ æ
˙
j
œ‰ Œ
œ
dim. (mf p) pp
1. 3.
28 ™ 4 1. 4. # œ #œ 4
. 2
. 1
œ .
4. . # œ œ œ
? ### n˙æ œ ‰ Œ æ j‰ æ j‰ . . œ. #œ#œ œ
œ
J œ
nœ #œ œ nœ #œ. œ. œ. .
#œ #œ Œ Ó
cresc. ff D G
32 ™1 4 0 1 4. 1. 4. œ1. œ4. œ1. œ4. 1 4. ™1. 4 4 2 4

. . ™1. #™œ2. œ4. 1 2 1
1 1 4 1 2 1
.
. nœ. nœ œ œ œ . œ. œ.
? ### . œ. œ œ#œ
œ . œ œ #œ Œ Ó
œ .
œ œ œ
œ
#œ. œ. œ. . œ. œ. œ. #œ.
ff ff D
35 4
4 1 4 0 1 4 0 1 2 0 1 2 0 1 2 . . œ. n œ. æ næœ n œ Œ Ó
? ### œ Œ Ó nœ œ œ . .
œ .
œ nœ. nœ œ
Œ
n œ nœ nœ. œ. œ. nœ nœ nœ
œ
n œ. œ. . . . nœ
ff dim. (mf )p
22
Vivace (q.=104)
≤ ≥ ≥≤ ≥ ≥ ≤ ≥ ≥ ≤ 1≥ ≥ ≤ ≥4 ≥ ≤ 4≥ 1≥ ≤ ≥
83 . 1
4 0 4 1 2
? ### 68 Œ ‰ ‰ ‰ ™ œ1 œ™ œ™ œ œ™ œ™ œ œ. ≈ œ œ œ. ≈ œ. œ
1 0 2 2 0
œ. œ1. œ2 œ œ. œ4 U
œ™ Œ ‰
. œ. . #œ. . ≈ ≈
R
f sf sf sf sf sf
89 ≥4 ≥ ≤ ≥ ≥ ≤
? ###
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 œ™ œ œ œ™ œ œ
ff simile
95
≤ ≥ ≤
2 4 0 1 0 4 1 4 2 4 0 4 1
? ### j j nœ œ œ. j j 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™
. .
p
4.
101 2 1 4
. 1 1œ4. .
1 4
1 .
2 1
4
2 1
4
.œ œ. œ.
1. œ
œœœ œœœ
œ 4 0 4 1 0 0 4
? ###
0 4 1
œ 0 0
œœœ 0 1 0 0 4 1 1
œ. œ
œ™ œ œ œ™ œœ œ™ œ œ. œ™ œ. œ. œ. œ. œ.
œ
œ. œ. .
. . . D
cresc. staccato
1 4.
C
107 1 4 . 1
. œ. œ 0 1 0 œ2. œ. œ 0 1 4 ™1 œ4 œ œ œ œ œ ™ œ™
™ 1 4
? ### œ œ æ æ
œ œ
æ
œ œ™ œ™ œ ‰ œ ‰
œ
œ. œ. . œ. œ. . œ æ æ
D
ff p
≥
4
277 1 4 2
4 ™1 4 1 œ
œ . ≥0 ≤ ≥ ≥1 4≤ (etc.) 4 0 1 4 1 0 4 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
3 . . œœ
(1 4 1 2 4 1 2)
più f ff
4
1 œ
282 1 œ 1 1 4 0 0
œ œ œ œ 4 1 0 1 0 0 4 1 2
? ### ≈ œ
œ œœ œ ≈œœ œ ≈œœ œ ≈œœ œ ≈œœ œ ≈œ œ œ ≈œœ ≈ ≈ ≈œœ
A
287 0
™œ4 1 2 4 1 4
œ
3 2
1 nœ œ 1 1 4 0 0
™4 0 4
1 œ 4
# œ œ 0 4
nœ
1 œ œ œ 0 4 1 2
œ œ 1 1
œ 1 œ
œ
? ## ≈ œ œ ≈ ≈ œ ≈œœ œ ≈œœ ≈
œ œ ≈œ ≈ œ ≈œœ ≈
A A G
292 ™œ4 4 1 ™4 œ4 œ™1 4 œ4 œ1 1 1 4 œ1 2 œ2 œ1

? ### œ1 œ4 œ4 1 1
œ 1
œ 2
4 œ
œ
≈ ≈ œ œ ≈œ œ ≈ ≈ œ ≈ œ œ ≈œ œ ≈
D D D
296 2 1 2
2 œ 1
4 œ 2 ™ œ4 œ1 2 1 ™œ4 2 2 1 ™4 1 1 U
0
#
? ## œ ≈ œ œ ≈#œ œ ≈ œ ≈ œ œ
œ ≈œ œ ≈œœ ™ Œ ‰
œ
D
23
Ludwig van Beethoven Symphony No. 3 “Eroica” - Movement III First page
Details: This movement requires the lightest of spiccato. The markings of p sempre staccato and
sempre pp are a bit confusing. I suggest playing the beginning a very soft p, but with a bit of
room to show the pp at measure 31. The single quarter note measures beginning at 41 should be
played from the string. The quarters in measure 52 are played the same as if with dots. Although
the dots end in measure 83, make no difference. All quarters are short in this excerpt.
The crescendo in measure 92 must be fast and large. The 8ths in measure 97 must be incredibly
articulate from the left hand. One must throw the 4th finger to the D note from Eb before in this
slurred passage. In the pattern that begins in measure 116, the quarter is played from where the
half note ends, with no recovery before the quarter. I find that there is not time for more than a
single turn during the trill in measure 119, with the effect of basically playing a triplet. Again, I
strongly recommend that you pay no attention to when the dots start and stop, opting instead to
establish a consistent character for the excerpt.
24
Symphony No. 3 "Eroica"
Movement 3 Ludwig Van Beethoven
Allegro vivace (h.=116) ≤
14 ≥ 4.
≥1 œ4. 1.
? b 43 Œ œ œ2. 2. . œ4. 2. 4 œ
bb œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ œ œ. œ.
p sempre staccato
22 4. 1
1. œ . œ1. œ. œ1. œ4 1 nœ2 œ4 0 1 bœ2 1 4 1 4 4 1 ≥
œ 1 2
? bb œ nœ œ nœ œ œ œ œ œ œ œ œ œ bœ œ
b bœ. œ œ.
. . . . .
31 2 2 4 2 4 0 1
? bb ™™ œ bœ œ bœ œ nœ œ bœ. œ bœ. œ œ. œ bœ œ bœ œ œ œ bœ œ bœ nœ œ œ œ œ
b . . . . . . . . .
sempre pp
40 2 4 4 4
? bb œ nœ 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
b
49
≥ ≤ ≥ ≤ 1 ≤ 4. ™ 4.
2 2 2 1 4 2 4 4 4 2 0 œ 1. 4 2 1 4. 1 2. 4. œ
? bb Ú ˙™ œ œ œ Ú >˙ ™ .
œ œ œ #œ. œ. .
œ œ œ. . nœ #œ. œ œ
œ
b >
sempre pp
61 œ2. # œ1. œ2. nœ2. œ4. 1. œ2. 2 4 2 4 1 2 1
? bb
b
#œ œ. œ. œ. œ. #œ. œ. #œ. œ. #œ. œ. œ. œ. #œ. œ. #œ. œ. œ. œ. Œ Œ
70 1 2 3 4 5 6 7 8
3
? bb Ú ∑
b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
pp
81 9 10 11 12
œ œ œ œ œ œ œ œ œ nœ nœ œ 0 nœ1
?b œ
b b œ. œ. œ. œ. œ. œ œ œ œ œ œ œ œ
A ≥ 41
1 1 4 1 ≤
90
b 2 1 4
œ 1 4 4 1 4 0 1 0 4
œ 1 0 1
œ œ œ œ œ œ œ œ œ œ œ 4
œ ˙™
? bb œ œ .
œ œ œ œ œ œ œ œ œ œ
b . .
cresc. ff D G
99 ≥ ≤0 4 ≤ ≥4 4 ≤ ≥ 0≤ 4≤ ≥ ≤ ≤ ≥ ≤ ≥ ≤ ≤ ≥ ≤ ≥
1 1 . 1
? bb ˙ ™ œ œ œ. œ œ œ. œ. œ. œ ˙ ™ œ œ œ. œ œ œ. œ œ œ. b˙ ™
œ œ œ.
b
sf sf sf
25
0
109 ≤ 4 4
≤ ˙3. 2.
œ 2
4
1 . 1 4. 1 4. 2 1 2 1 0. 1 . 1 . 1
˙. 0
? bb œ. œ œ. œ œ œ .œ œ œ œ œ. œ. ˙1.
b . œ. œ. œ. œ. œ. œ. œ. œ.
≥ 0 sf sf sf
≥ ≤ ˙ 3
118 1
1-4
1 1 1 œ2 ˙2 Ÿ
? bb œ Œ Ÿ Œ Œ ∑ Œ œ. œ ˙
b œ œ œ œ œ œ œ œ Œ œ
p f sf sf sf
A
127B
? bb
13 4
.œ œ2. œ2. 4
œ. nœ œ
1 2 1
œ4. nœ1. 2 2
œ. #œ œ4.
1 œ4. #œ2.
bœ Œ Œ Ò œ. œ.
. . .
p cresc.
146 4
0 1 2 2 4 1 2 4 1 4 0 1 œ2 œ4 1 œ4 ™œ1 ™œ2 ™œ4 œ™1
? bb œ. œ. œ. .
b œ. œ œ #
œ. .
œ œ œ œ œ œ œ
. . ff
1. 2.
153 2
œ œ ≥ ≥ ≤
? bb Œ Œ œ Œ œ œ. bœ. œ. bœ. œ. œ. ™™ Œ Œ œ Œ Œ œ œ œ œ Œ Œ
b
f f p f f f
26
Wolfgang Amadeus Mozart Overture to “Marriage of Figaro”
While this excerpt appears simple, the Overture to one of Mozart’s most famous operas is
frequently asked on auditions in both opera and symphonic contexts. It is a classic example of
Mozart’s light and graceful style and the surprising challenges of playing in unison with upper
strings. The simplicity leaves little room for error, and you need to get it under your fingers
sooner rather than later.
Details: The bowings displayed in the pp slurred passages are my preference. Often, one will
see many bars included in the same bow, and although this may work for the upper strings and
even the cello, I find they needlessly complicate an already difficult passage. It is imperative that
the left hand be overly articulate while the right hand remain absolutely pianissimo. Again, you
should resort to the hammer/pull/jam approach I recommend in other soft, slurred passages. In
measures 86, 87, and 88, I prefer to keep the slurs intact. Finally, I recommend playing the trills
in measures 263 and 268 with a 1-2 fingering rather than 2-4, which can be slower and more
cumbersome.
27
Overture to "The Marriage of Figaro"
Presto (h=76) Wolfgang Amadeus Mozart
1
≥
4 2 ≤ 2 4 ™1 4 ≥
? ##c œ œ œ œ œ
4
œ œ
1
œ œ4 #œ œ œ œ
Œ œ œ œ œ œ Œ
pp
≤ 1 ™1 2 4 1 0
4 2 4 2 1 2 ™ 2 4 2 ™1 0 4 0 1
0 4 0 1 4 ™4
? ## œ #œ œ #œ œ nœ nœ œ
œ œ #œ œ œ œ œ nœ œ œ œ œ œ œ œ œ Œ Ó
œ
G
4
84 ≤ 1 2
œ4 œ1 ≥ œ œ 1
˙ œ œ œ œ #œ œ œ œ œ #œ
? ## ˙ ˙ Œ Œ Œ œ
æ æ
f
44 2 4 2 ™
90 œ œ n ˙ ˙2 # ˙4 n ˙2 œ1 œ œ1 œ œ4 œ
? ## œ œ 1
œ œ œ1 Œ Ó
132 0 1
™2 4 2 4 2 ™1 4 1 0 4 1 0
4 0 1
? ## #œ nœ œ œ œ œ œ œ œ œ œ
˙ Ó œ œ œ œ œ œ Œ Ó
f
156 4 2
4 2 4 0
? ## 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
p D
160 4 2 2 1 1 4 1
4 2 2
1 4 0 4 1
? ## nœ œ œ œ œ Œ œ œ œ#œ ˙ ˙
œ#œ œ œ#œ œ œ œ œ œnœ œ œ œnœ œ œ œ œ œ æ æ
D D f
Ÿ
258
. . . œ4 œ2 œ4 œ1 0 2-1 1 4 0 œ4
? ## œ. œ. Œ œ œ. œ œ. œ ˙ ™ ‰J œ œœœ œ w œ Œ Œ
w œœ
f
Ÿ
265 1 4
œ 1 2-1 1 4 0 œ4 œ
? ## œ Œ Œ w w œ œ œ Œ Œ œ Œ Œ
270
? ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
28
Franz Joseph Haydn Symphony No. 88 - Movements I and IV
Completed in 1787, this is one of Haydn's best-known works, even though it is not one of the
more famous Paris and London symphonies, and it does not have a descriptive nickname. It is
the only non-solo Haydn symphony excerpt I have ever seen on any audition, and it is somewhat
rare to see on auditions these days. Despite this, I believe it is excellent for studying, requiring
crisp left hand dexterity along with a deft bow hand.
Details: The 16ths notes in Movement 1 are very similar in approach to those in the last
movements of Mozart symphonies 35, 39, and 40. One pattern that I believe it is vital for every
bass player to master is 2 notes slurred, followed by 2 notes detaché. I believe it is impractical to
go off the string with these, and I prefer to employ the “flex” stroke -basically a legato stroke in
the part of the bow that allows the stick to jump a bit while the hair remains on the string. All the
8th notes are a brush spiccato and all the dynamics are compressed compared to those in the
“Romantic” literature.
Beginning at measure 25 the underlying phrase leads from measure 25 into 26 and measure 27
into 28. The same is true from measures 85 and 86 leading into 87 with a slight diminuendo to
make the same shape at measure 89. In the repeated motif beginning at measure 47, I prefer to
begin the first up bow from the end of the previous note rather than shortening the 2nd note of the
slur. This also occurs in measures 52 through 56 and measure 72 for four measures.
The technical challenge at measure 85 is handled with traditional fingerings, but in the similar
passage at letter C, I have chosen to employ a “thumbage” fingering on the D string. Trying to
bar across two strings with the 4th finger in measure 162, along with the shift in the following
bar, created the need for this special fingering solution. Finally, the two bars of 16ths in measures
188 and 189 can and should be played on the string as the string crossings give the impression of
more articulation.
In Movement IV, there is one overarching challenge - the clarity of the four note slurred 16th
patterns that occur many times and in many parts of the bass. Players with bigger hands have
opted to play extension fingerings for many of these, while I have chosen the small hand
technique of playing two notes, jam shifting, and then playing two more notes on almost every
one of these motifs. The only exceptions are as follows: employing an open string in measure 95,
and the three opportunities for “thumbage” in measures 124, 127, and 130. Not unlike the 1st
movement, the detaché 16ths in measures 74, 75, and 76 are performed on the string using the
“flex” stroke, and all the 8ths notes are a brush spiccato.
29
Symphony No. 88
Movement 1
Allegro (q=132) Joseph Haydn
≤4 2 ≤ 4
25 ™
4. 0 1 2 4 ™ œ # œ œ œ œ œ œ. œ4. ™.1 0 œ4. n œ1. œ4. œ. œ1. ™4. 2 ≤. ≤. 4
4 2
? # ‰ œ œ œ œ œ œ œ œ. œ. . œJ ‰ ‰ œ œ. œ œ œœ œ œ œœœœ
œ
f ff
33
≥ ≥
≤1 2 4 ≤4 ≤ 1 2 ≥ ≤
≤4 ≤ 2 4œ œ ™1. ≤. 1 2
4
? # 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 œ œ œ
. œ œ
œ
41 ≥2 ≤ ≥ ≤ 1 ≥1 2 ≤ ≤
1 4
? # œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œJ ‰ œ ‰ œ ‰ œ1. œ. œ. œ#œnœ. œ. œ #œnœ. œ. œ #œnœ. œ.
J J J
sf
1 4 1 2 1 4 ≤. ≥
≤ ≥ ≤
50 ≥ ≥1 4
. . . . œ .
œ .
œ œ œ œ .
œ 4 1 4 2
œ œ œ œ 1
.
1. 4. œ
4. 1 4
4. œ . œ. 1.
œ
. . .
œ .
œ .
œ œ œ œ œ œ# œ œ œ # œ # œ œ œ # œ œ œ
? # œ #œ œ œ J ‰
G sf sf sf sf sf
58
A ≥1 4 4 1 ≤
1 4 2 4 4 2 4 1
# œ œ œ 0 1 0 4 1 0 1 4. .
. œ. . . œ. œ. 1.
? # œ œ œ œ œ œ œ œ œ œ. œ. œ. œ. œ œ ˙1 ˙ œ œ œœ ˙ ˙ œ
œ J‰
fp pp
68 4 4 ™1. œ1. 2 ™4 1 ™1. . 2 . . 1 4 . . 1 4 . . 4 2 . . 4. . . .

. .
? # œ. ‰ œJ ‰ œ ‰ J ‰ œJ ‰ œ. ‰ œ. ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ
J J J J
crescendo f sf sf sf sf ff
≥ ≤2 2 ≥4 2 4 4≤ 2 4 4. 4. 4
77 1 5 1. .
œ œ œ4 0j œ # œ œ œ2. œ œ1 œ. œ2. œ # œ œ. œ1. œ œ œ. œ1. œ œ1. œ œ1. œ. œ1. # œ1. œ2.
2 1 2.
?# œ Œ Û∑ Œ J‰œ‰
f ff
4 2 4 4 2 4 4 4 4
89 œ2 # œ1 œ2. œ2. œ2 œ1 œ2. œ2. œ # œ œ. œ1. œ œ œ. œ1. œ œ1 œ œ1 œ œ1 # œ2 œ4 œ4 # œ2 œ2 #œ1 œ2 œ œ œ œ2 # œ2 œ4 œ2 œ2 #œ1 œ œ
?#
95 4 2 1œ
2 œ
2#œ œ 4 2 4 1
œœ œ œ 4
≤ ≤ 1 4 0 2 4 1 4 1. 2. n œ4 2 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
4 0
œ
œœ
30
B ≤ ≤
2 4. 4
130
œ4 2
œ œ 4. 4 ™ 1 0 4
œ œ
? # ‰ #œ œ œ œ. #œ. . J ‰ ‰
œ # œ œ œ œ œ œ 4
.
œ 1 0œ
.
4
nœ œ. J ‰
4 n œ4 œ2 œ œ œ œ œ4. œ4. 1. 2 œ4
Û ‰ œ œ. J ‰
œ
f f
137 4
≥ 14 ≤ ≤ 4 ≤ ≤ 4 ≤ ≤ ≥ 4
4 2
? # ‰ nœ œ œ œ œ œ nœ. œ œ ‰
3 1. .
œ œ œ œ œ œ#œ2. œ. nœ1 œ œ œ#œ2. œ. nœ1 œ œ œ œ1. œ. 0 œ œ1 2
. œ. nœ J Ú∑ Œ œ œ
. f
D
≥ ≤ ≤
147 ™œ œ œ4
1 2 4 2 1 .œ œ. œ œ4 œ1. œ. œ. œ≥. œ. œ1 œ2 4≤. .≤ 4 2 1 4 2 1 4≤ ≤1
1
?# œ œ œ œ œ œ #œ nœ œ nœ œ œ œ j
œŒ Œ J‰ J J J œ
sf sf
C
≥ ≤ ≥3
156 1 2 3 4 5 2 3 3 2 3 3 1 3 3 1 3
+ œ#œ œ + œ œ œ + #œ#œ œ
3
+ œ œ œ+ œ +
œ2 + œ1 # œ3 + œ3
?# ˙ œ œ œ œ œ œ œ œ
˙ ˙ ˙ ˙ œ™ J
ff
D
3 ≤
166œ3 # œ2 œ3 œ+ œ3 œ2 œ3 œ+ # œ3 # œ1 œ3 œ+ œ3 œ1 œ3 œ+ œ. œ. 01 œ3. 1
. 0 œ.
?# œ. œ
‰ œ.
≥ ≤4
170 œ1. 0 œ. œ. œ. 0 4 2 4 0 4
?# ‰ œ. ‰ œ. .œ ‰ œ. ‰ œ œ œ œ. œ œ œ. œ. œ. œ1. œ. œ. œ. ‰ Œ
.
J J J
D
4
œ1. œ. œ. 1. œ1. œ. œ. œ. œ œ œ œ œ 2 0 1 2 0. 1. 2. œ4. 1 4. . . 1 œ4 2 œ œ
?# Œ J ‰ œ‰ . œ œ œ. œ œ œ J ‰ œ œ œ ‰ œ œ . œ œ œ
J œ. . . . . J œ
f mf ff
≤4
185 4 0 1 2 4 œ # œ2 œ œ œ œ œ4 œ4 1 0 œ4 2 1 ™4. ™2 1 0. ™œ4.
0
? # œ. œ œ œJ ‰ ‰ œ œ J ‰ . œ . œ
.œ œ. œ œ. œ
. . œ.
189
™4. ™ ™4 4.
0 . 2 1
œ 0 1 . œ 1 1 1 1 1
? # œ. œ. œ œ. œ. œ œ Œ Œ œ œ œ Œ Œ œ œ œ œ œ Œ
sf ff
31
Allegro con spirito (q=144)
Movement 4
66A 1 4 ™1 ™4 1 ™4 0 ™4 2 1 1 0 1 4 2. œ4 2 4 1 4 2 4 1 1 0 1 4 œ4 2 4 1 0
. . 4 . . 0
? # 42 œ. œ#œ. œ œ. œ. . œ. œ. œ œ. œ. œ# œ ‰ # œJ ‰ œ œJ ‰ œ œ œ. œ. œ . œ œ œ # œ œ œ œ
œ œ. œ . J œ
f
.
4 2
75 n œ œ œ œ œ œ nœ 1 4 ≥ 4 ≥
4 0 1 4 1 0 4 1 0 1 2 4 2 1 0 4
œ œ œ 1 0 0 ≥ œ 2 œ ™1
? # œ œ œ œ œ œ œ œ œ œ œ œ#œ œ b œ œ œœ
bœ œ œ œ œ œ œ œJ ‰ œ œ
fff A sf sf
2
83 œ4 pizz. arco
œ. œ.
?# Œ ∑ œ Œ œ Œ œ Œ œ Œ œ Œ œ ‰ œ. œ. œ. œ. œ. œ.
J œ Œ ∑ Œ
sf p f
2 4
95 4 4 1 0 4 0
? # œ. œ. œ œ œ œ1 #œ Œ # œ. œ. œ. œ. #>œ. œ. #>œ œ œ1. œ. œ2. œ. ™œ4. œ. œ1. œ. 4. . œ4. œ. 0
∑ Œ œœ
œ œ. œ.
B ≤ ≤ 1™ ≤ ≤ 4
≤ ≤
0 1
≥1 ™ 4 4 1 2
104 4 1 1 2 œ œ œœ
1 2 4 1 1 4 2
. . 4 2 œ œ nœ œ 4 œ œ œ œ 1
? # œ œ œ œ bœ œ œ œbœ œ œ. œ. œ œbœ. œ. œ œ œœœ œ œ
. . œ
. . œ
œ. œ. sf D
≤0 ≤
3 4 1 ™1 2 ≤ ≤
≤ ≤ 4 4 1 ™1 2 ≤≤
112 1 4 2 ™1 4 œ œ œ 4
œ 4 2 ™1 4 0 œ œ 1 ™ 2 ™
1 2
œ œ œ œœœ œ œœœœ œ 1 4 1 œ 4
œœœœ œ œ œ
œ œ œ œ œ œ œ œ œ 4 4 # œ
?# œ œ#œ œ œœ
D
0
œ3 œ œ4 œ #™œ1 œ 4 ™ ≤ ≤ 02 1 + 1 ≤2 ≤ 2 1 + 1
œ
120
#œ œ œ1 œ nœ2
œ œ#œ
4 2 1 2
#œ œ 4
œ œ œ # œ œ œ œ œ #œ+ œ œ+ œ œ œ œ
?# Œ Œ œœ
D
≤2 ≤ 3 1 + 1 ≤ ≤
128 œ œ 1 +
œ œ œ œ
3
œ œ # 2
œ œ œ n œ œ œ œ+ œ œ4 œ œ1 œ œ4 1 ™1 2 1≤ ≤ ™4
?# œœœ œ œ œ œ
134 ™ ≤1 ≤ 2
f ≥ ≤≤ ™
1 R4
2 1 41
?# œ œ œ œ œ œ œ œ œ œ ˙ œ2 œ œ4 œ œ4 1 ™1 2 2 œ4 œ œœ
˙ œ œ#œ œ œœ œœ
32
The Quad
Volume 3

The Quad
Volume 3

Glossary of Symbols
m
.
2
The Quad
Volume 3
Preface 4
Strauss Ein Heldenleben Analysis 5
Strauss Ein Heldenleben Excerpts 7
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 Movements 2 and 4 Analysis 30
Mozart Symphony No. 39 Movements 2 and 4 Excerpts 31
3
Preface
What are the Quads?
example.

Hal Robinson
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 beth
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
th
but avoid a huge ritard.
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
th
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
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
Lebhaft bewegt Richard Strauss
0
≥ ≤ ≤ ≤ 0
4 1 3
≥ 1 2 2
1 4 1 ≤ 1 + 3
9≥ 4
œ ˙ bœ 1 1 nœ
w
2 1
0
1 ≥
4
1 2
œ
œ œ nœn œ
? bb 44
b ˙ œœœ
œ
n˙ œnœ
œ ˙ œ œ œ Bœ œ
3 3 3 D 3 E 3 A 3
ff E D
≤ ≤ ≥ 1 4
≥ 1
≥
4
œ w≥ ≤
1 2 1 + 3
1
10 ≥
œ œ 1
œ œ œ
4 1
4
>
B bbb nw œœ ? œ 1
˙ œœ
œ œœ
3 3
D G A 3
3
fff
≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤
4 1 4 1 0 3 2
1 1 1
œ œ œ œ œ #œ œ ™ 2 +
œ œ œ. b œ. œ 4 2
œ nœ. nœ. bœ. œ. œ. 1 4 1
? bb B J
b
3 3
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
≥ ≤ ≥ ≤ ™>≥ 4
≤ 11 Ÿ≥ ≤ ≥ ≤ ≤ ≥ ≤
1 2 1-4
1
°B bbb ˙™ nœ ˙ ?>˙ 2 4
˙ >˙ w w w ˙ nœj œ
œœœ
G
div. f cresc. ff
B bbb ˙™ nœ ˙ ?
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
¢ ˙ w w w ˙ nœj œ œ œ œ
>˙ > >˙
≤ 0
≥ 3
≤
0
≤ ≥ 12
≥
(1)
1 1
4
œ ˙™ œ™ ˙™
1 3
œ 1
1 +
œ œ≤ 4
≥ 1
≤
1
1 2
1 4
œ
(1)
? bb œ œœ -œ -œ -œ œ œ œ œ œœœ
b˙ œ œ3 3 ˙ œ œ3 3
0 D 0
ff ff
≥ 1
3
™ ≤ 4
1 œ ™ œ ˙ œ œ œ≤ œ œ
1 ≥ G≤ ™
1 2 1 4
? bb ˙ ™ œœœœ w œ‰ Œ Ó
J
2
b
D ff
7
≥ ≤
3 ≥ ™
40 ≥ ≤ 4
4 2 1
œ 4
™ 4 2 1 2 1 2 4
1 œ ˙ ˙™ œ œ œ n œ ˙™ œ nœ œ œ
? bb b b œ
jœ J
bb ˙ œ
D G 3 3
p zart hervortretend pp
1
≤ 2 2 4 2 ≥ ™ 2 4 1 to 41
w œ nœ œ œ ˙™ œ™ œ œ œ ˙ 1
w w
? bbb
bbb
D3 3
ppp
≤ ™ œ ≥
1 2
1 2 4
œ œ œ nœ≥
œ œ œ œ œ œ œ1œ œ œ œ œ 4
? bb ‰ nœ J ‰ nœj ‰ ‰ nœ J ‰ nœj ‰ ‰ nœ J ‰ nœj ‰ ‰ nœ J‰J‰
b
G A D
f cresc.
49 ≤ 4 1
# œ # œ n œ œ # œ ™œ n™œ
4
2
™ 4 1 4 2 4
#œ #œ nœ #œ #™œ
4 1 4 2 1 4
1 nœ nœ 4 1
? bb nœ #œ nœ œ
b
3 3
E 3
ff
4
# œ # œ n œ ™œ nœ
2
nœ œ
1
™ nœ #
2
œ # œ n œ nœ 4
1 4 1 4
1 4 1 4 + 1 2
?b #œ #œ B #œ #œ J ‰ ?
bb
D G
≤ ≥ >≤ ≥ ≤ œ ≥˙ ≤
51 ≥ ≥ œ ˙™ 1 1
4
1
G≤ 1
3
œœœ
4 1 2 1 ≥ 1
≤ ™
G1
j > > 1 2
˙ œ™ œ >˙™ 1 4 1
? bb
b j œ nœ œ œ œ™ œ œnœ
nœ œ D G
0
ff
52 ≤ ≤ ≥
4 1œ œ œ œ4
n˙ ™ 1 4 1
3
˙™G œ™ œ œ œ n œ≤ œ ≥53
3 1 4 1
2
0
? bb nœ œ J #œ œ 1
b œ ˙™ ˙™ ˙™
8 p
54 ≤ > ≤ >
? bb ˙ ™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ œ œ ™ œœ œ œ ™ œœ
b
cresc. f
0
55 3 ≤ ≥
≤ ≥ ≥ ≤ >≥ >œ ≥ ™ 4 1 ≥ ≥ ≤ ≥ >
n œ n˙ ™ 1
4
2
? b œ #˙ nœ œ œ >œ nœ ˙ 4 4 4 1
˙™ G j j n>œ >œ
1 1 4 1 1
bb J nœ J œ œ
A
fp œ œ
0
cresc. ff
ff
≤ œ ˙ 3 4 1 2 ≤ ≥ ≥≤ ≤ 1
G ˙≤ 1
œ™ #œnœ œ > 2 1 G≤ ≤
≥ ≤ ≥ ≥ ™ œ œ™ œ œ™ œ 0 1 1 4 1 2
0 1 4
? bb <n> nœ n˙ ™ ˙™ œ œ ™bœ œ ™ œ œ
b
D G D
56 ≥ ™ ≥ 0
85 ˙3
≥ ≤ œ œ 4
4 3
57 ≤ ≥ >≤ 2
1 +
1 2 ≥ ≥ œ >œ >œ B œ
? bb ∑ œ œœ J J ‰ Œ Œ j
b J œ œœ J
f > D
f
3
≤
3 1
+ 4 2
˙ 2 2
œ ™ œJ œ œ œ œ ™œ œ œ œ œ œ
œœœ 2 1 4 1
>˙ ™ 4 2 4 1
1 0 4
1
B bbb bœ ? œ œ œj ‰ Œ Œ
3 3 3 3
≥ 58
2 ≥ œœœœ 2
? bb Œ ‰ œ œ œ œ œ ‰ Œ ‰ œ J ‰ ∑
b J
≥
1
≥ >œ 59n ˙ ™ 4 2 +
2
1
˙™ 2 60 2
2
? bb j œ B >œ b>œ ?
b œ œ bœ J
ff D ffp
9
61 ≥ ≤ ≥≤ 3 0 4
≤ ≥ ≤ n >œ b œ >œ > ≥ 1
1 4 1
1 4
1 ™> 4
≥ 4
> >
œ 4n œ œ œ œ4œ™ n œ b >˙ b >˙ 1
? bb 1
œ nœ J ∫˙ ∫>˙
j
bœ œ Jnœ
2 2
ff D
f cresc.
62 ≤ ≥ 3
≤
2
≥ ≤ ≥ > 3 1
b œ ™b œ ˙ bœ œ œ m 1 +
2
>œ b>œ œ 1 1 2
1 ≥ 4
˙™ œ >˙
? b b˙ Œ bœ œj bœ bœJ B
bb
D
ff ff
63
≥ ≤ ≤ ≥ ™≥ ≤ ≤ ≥ b œ≥ b œ≤ ™ œ≤ ˙™
1 2 1 4 1 2 1 4 1 4 1
B bbb œ™ ?œbœ ™bœ œ™ œ bœ ™ œ œ™ æ æ æ æ

˙™ ˙™ ˙™ ˙™
A D G ff mf
64
1 2 4
1 4
œ ≥ œœ œ >> 1
4 1 4 2 1
? bb j‰ Œ œ œ œ œ
œ J ‰ Œ Œ œ™ J œbœ >œ >
b œœœœ œ œœœœœœ œ bœ
cresc. ff D
4 4
65
≥ ≥ ≤ ≤ ≥ ≥ ≤ ≤ b œ œ œ >œ >œ >œ > ≥
4 0 4 1
4
1 2
1 4
≥ ≤ ™≥ ≤ ™bœ≤ n ˙≥ ™
1 4 1 4
2 4
œ ™bœ œ ™ œ œ
1 4 1 œ™ J 1 2 1
? bb œ œ™ œb œ ™ œ œ ˙™
b b˙ œ™ œ œ™
G D
≤ ™
1 1 4
66
1
3 >
>œ >œ œ b >œ >œ≥ 2
≥>
? bb ˙≤ ™ œ‰ Œ Œ Œ ‰J J ‰ Œ Œ œ‰ Œ Œ J ‰ Œ Œ
b J J
ff
10
mit grossem Schwung
67≥
≥ ≤1
≤ ≥ ≤ ™ œ ™ >œ≤ b ˙≥ ™
1 4 4
1 2 1
1 1 4
1 4 1 2 1 G≤ ™
˙ f
R b >
œ œœœ
4 2
≤ 1
1 1
? bb œ œœ œ œ ™ >œ œ œ œœ œ œbœ ˙ œ
j‰ Œ Œ
bœ œœ
ff
E
≤ ≥ 4 1 2 G≤ 68
≥ ≤ ™ 1≤ ≥ ≤4
> 1
œ™ œ b ˙ ™ 4 1 2 2 4
1
˙™ f
? bb œ œ œ œ œ œ œ™ >
œ œ œœœœœœ R
b œ
E A
ff
≥ ≥
4 ≤ ≥ ≤ ≤ ≥ ™ ≤ ™ œ™ >œ≤ n œ
4
2 1 4
2
165 b >œ œ œ 2 1
1 1 1 4
œ ™ >œ œ œ œ œ œ œ œ œ 1
4 2
4 1 4
?b œ˙ œ œnœ œ œ œ œ J ‰ Œ Œ
bb
fff A D
69
≥ 4 2 ≥
1 4 1
> œ #>œ #>œ n>œ > ≥ 1 1
? bb
b ∑ Œ #˙ œ ™ nœJ œ nœ œ œ œnœ œ œ œ œ
D
f
≥ 1 ≤ ≤ 70
1 4
>œ b >œ >œ ≥ 4 2
≤ ™≥ ≤ ≤ œ™ ≥™≥ 1 4
174 ≥ >˙ œ
œ™ J œ œ 1
1œ b œ ™2
œ œ 1 4
1 2
? bb œ ‰ b>œ b˙ 1 4
œ™ œ bœ ™ œ J‰Œ Œ
bJ
f dim. p cresc. ff
D G
0 ≤
77 ≥ 1
≤
1 1 œ ˙≥ ™4 1 3
1
≤
1 œ
≥™
˙ 3 1
œœœ
+ 4 4
≥
1
≤
2 2
? bb 44 G œ œœ B œ™ œ ˙™ œ™ œ
b ˙ œ œ3 3
0 D D D G
ff
3
≥ ≤ ≥ ≤ ≥ ≤ 3
≥ 3
0 press
≤ 1
≥ 1
œ˙ œ ™ œ œ œ œ œ 1 + 4 1 œœ
b
Bb b ˙ ˙ œ™ œ™ Ó
11
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
nd
performed on the string, marcato and detaché.
12
Symphony No. 5
Movement 2 Ludwig van Beethoven
Andante con moto
≥ ≤ 0
≤ 1 4 1
114 C 0 4 1 ≥ ™ 1
4 4 1 1 0 0 1 4 2 4 2 1 2 1 2 2 4 2
≤ œj 4
œ 4 2 1
? 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

1 1
b œ
p f
≥ ™ ≤
4 2 1 4
≤™ ≥ ™ ™≤
117 4 2
œ œ œ œ œ œ bœ œ œ ™≥ ™ ™ 1
™4 0 1 1
œ ™ 4 2 4 1 2 1 0 2 4 0 4 1
1
0 1 2 1 4 2 1 2 2 4 1
? bb b nœ
œ œ œ nœ œ œ œ œ œ œ œ œ œ b œ nœ œ œ œ œ œ œ œ œ œ œ 1
≥ ≤ ≥ ≥ ≤ 4
0 1 4 1 4
120 4
™ 1 ™ 2 ≤ 4 4 4 1 1 2 1
≥ n œ U
œ 4
œ œ b
? bb b œ œ œœ 4 0 1 1
œ œ œ œ
b bœ œ œ œ œ nœ œ™ œ œ œ
≤ ≥ ™ ≤ ™ ≥ ™≤ 1 4 1 4 2 4 1 4 2 1 4 2 4
2 1 4 4 1 2 1 4 2
1
180
œ œ œ
1 2
œ œ œ œ œ œbœ œ 1
2
? bb b ‰ ‰ nœ œœ œœœ
b œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœ
pp crescendo ff f
186 4 4 1 4
2 1 4 1
? bb b œœœœœœœœœœœœ œœœœ œœœœœœœœœœœœ
b œœœœœœœœ œœœœœœœœœœœœ
190 2
™ 1
™ ™ 2
1 4 1 4 1 2
4 2 4
1 0 1
? bb b œ œ œ œ œ œ œ œ œ œ b œ œ œ œ
b œ œ œ œ œ nœ œ œ œ œ
≤ ≤ ≥™ G ≤ f 4 ≥ 1 4
192
œ4
œ ™ œ œ R 2
1 2
œ 1 ™ ™ ™ ™œ œ ™œ œ œ œ
4 1 2 4 1 2 4 1 4
? bb b J ‰ œ J ‰ ‰
b œ œ œ œœ
sf
13
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,
th
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
th
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
nd
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
st
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.
14
Movement 3
Allegro h.=96 Scherzo poco rit. a tempo
≥ 2 1 1 ™œ 4 2 ≤ ≥ ≤ ≥ ™œ 1 2 1 1 4
˙ 1 ˙ 1 ™ 1 1
1
? bb 43 œ œ œ #œ ˙™
2
˙™ U
œ œ ˙ 1
b œ ˙™ ˙™ ˙ œ œ
pp poco rit.
11 2 ≤ 1 2
1
≥ ≤ 2
˙ 2
2 1
U 2 2 1 2
1
? bb #œ ˙ #œ ˙ ™ ˙ nœ n˙ œ ˙ nœ ˙. #œ ˙ ™
b
sfp
.
a tempo
19 ≥ ≥ 2
≥ ≥ 1 4
≤
1 4 1 4 1
2 4 1
? bb ∑ œ Œ Œ œ Œ Œ œ Œ Œ nœ Œ Œ
b œ Œ bœ œ Œ œ œ Œ Œ ˙ ™ ˙™ ˙ ™ b˙ ™
f f A
31 ≤ ≤ ≤ 2 1
2 4 1 1 4 ≤
1 4
? bb ˙ ™ ˙ bœ b˙ œ. b˙ ™ b˙ œ ˙
b b˙ ™ œ.
38 ≥ ≥ ≥ ™ ≤ 2 1 1 4
2
1 ≤ 0 ≤ ˙ bœ ˙
1 1 2
? bb ˙ ™ ˙
b ˙™ ˙ œ ˙ œ ˙ œ ˙ ™ œ bœ œ nœ ˙ ™ ˙ ™
sf
œ A
sf sf sf dimin. pp
poco rit. a tempo ™ ≤ ≥ 3 2 +

1 4 2 4 2 1
50 ≥ 1
≤ ≥ bœ ˙ œ ˙ œ ˙ 1
2 1 1
2
1 2
1
? bb ˙ ™ U œ ˙ ˙ nœ ˙ #œ ˙ #œ
b ™
˙ ˙ œ œ b œ nœ
pp D
61 ≤ ≥ ≤ ≥ 2 1 2 1 2 2 0 1 1 2 4
2 2
4
4 1 2
? bb ˙ ™ ˙ #œ ˙ ™ œ #œ œ œ #œ œ œ #œ œ œ œ œ œ nœ œ nœ #œ œ œ #œ nœ
2 2
b
cresc. G
71 2
≤ ™ ˙™ ˙ ™ n˙ ™ ˙ bœ ˙ œ. ˙™
4 2 4
2
4 1 1 4
? bb n˙ ™ ˙ ˙ ™ ˙™ ˙ ™ n˙ ™ 2 2
b ˙™
84 f ≥ ≤
4 1 4 4 1 2 1 1 4
? bb ˙ bœ b˙ œ. ˙™
b ˙™ b˙ œ ˙ œ. ˙™ ˙ œ ˙™ ˙ œ
sf sf
≥ 2 1 1 4 2
94 ≥ ≤ ˙ œ ˙ ≤ 1
1
? bb ˙ œ œ #œ œ Œ Œ
b œ ˙ œ ˙™ œ
A
sf sf dimin. pp
15
(h.=76) Trio
≤ ≤ ≤ 4
140 2
™ 1 1
œ œ4 œ œ œ œœ™
1 œ 0 1 2 1 2 0 1 1 4 2 1 2 1 2 0 4 0 1
1
4 1 2 4 1
? ™™ œ œ œ œ ˙ œ œ œ
œ œœœ œœœœœ œœ œ œ œ
f < > <
≤ ≥ œ œ 2 4 4 2
149
4 ™ œ #œ œ 0 œ 2
œ œ œ œ ™
4 œ
2 1 1 2 1 4 0 0 4 2 1 0 4
? #œ œ œ œ œ œ œ œ œ
œ
>
156 ™ 1.
™2 4 1
4 2 4 1 1 0 2 1 4 1 1 0 2 1 4 1 1 0
2
? œ œ œ œ #œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ ™™
161 2. ≤ ≤ ≤ 4 4 0 1 2 4 1 1 4 1 0 1
1 1 1 1 0 1 2
? Œ Œ Œ Œ œ œœœœœœ Œ Œ œ œœœœœœ Œ Œ œ œœœœœœ œœœ œ
œ œœ
f <
169 0 ™ 1 2 1™ 2 4
≤ ≤ 0 1 1 1 4 2 1 2 1 0 1 2 2 1 2
1 0
? œœœœœ œœœœœœ ˙ œ œ œ œ œ
œ œ œ œ œ œ
>
175 4
≥ ≤ ™ 1 4 1 1 2 1
4
1
1 1 ˙ 1 ˙ 2 1 2 0 1 4 1
œ
? œœ œœœ œœœ œ œb œ b
1 œ œ 0
œ Œ ˙™ ˙ œ
˙™
< >
1-6
183 4 4 2 3 4 5 6
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 >
193 ™ ™ B ≤
1 ≤ 4 2
0 2 1 4 1 1 0 2 1
4 1 1 0 2 4 1 1 0 1
? œ œ œ œ œ œ œœ œœœ œœ œœœ œ Œ Œ Œ Œ œ œœœ Œ Œ œœœœœœ
œ œ œ œ œ œ
f dimin.
202 ≤
? Œ Œ œœœœœœ œœœ œ œœœœœ œœœœœœ ˙ œ œ œ œ œ
œ
œœ œ œ œ
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 Œ Œ Œ
œ œ
sempre più piano < >
16
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
th
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.
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
th
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
nd th
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.
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
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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
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entire passage through measure 256. Although the dots over the 8 s stop in mm 247
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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!
17
Symphony No. 4
Movement 1 Felix Mendelssohn Bartholdy
4
™. . œ. œ. ™œ. # œ. œ. œ. . 4 1
≥
.œ œ. ™
41 ≥ 4 1 1 4
1 4 1 2 4 1 4 ≥. 1 4 1
1 4 2 4 1
? ### 68 ‰ œ œ#œ. œ. œ œ œ œ. #œ œ œ ‰ #œ. œ. œ ‰ œ. #œ. œ. œ
œ
. . . . . . < .>
A D G A D
p cresc.
≤ 4
. œ. . . . 4 1
46 . œ. . . . 2 4 4 1
≥. n œ œ œ œ œ. œ. . œ œ œ œ œ. œ. . 1 1 4 1 0 4 1 0 1
2 1
? ### ‰ œ œ. #œ œ ‰ œ œ. œ œ . œœœœ
. . œ. . . œ . . .
< > ≥
mf f
51 4 4 ™ 1 ™
2 4 4 2
? ### œ œ œ œ œ æ˙ ™ ˙™ ˙™ ˙™
æ ˙™ œœœœœœ œœœœœœ
œ æ æ æ
≤≤
ff
59 ™ 1 ™ 2 4 0 1 ™
2 4
4 1 4 1
? ## ˙ ™
# œœœœœœ œœœœœœ æ ˙™ œœœœœœ œœœœœœ
æ ˙™ æ
sf A sf
66 0 1 . . œ. . œ. 4
. . œ. . œ.
œ . œ
? ### ‰ Œ ‰ ‰ .
œ œ œ J ‰ ‰ Œ ‰ ‰ œ œ œ J ‰ ‰ Œ ‰
œ
D
1
≥ ≤
71
. œ.
1
. .
œ . .
œ ≤ >
œ™ ≥ >
œ™ ≤ ≥œ™ œ ≤ ≥ 1
4
1 1 4
? ### ‰ œ œ œ J ‰ ‰ Œ ‰ Œ ‰ Œ œJ œ‰ œ
J J
œ‰ œ
J J
œœ
D D sf
ff
≤ ≥m ≥ ≤ ≥ ≤ 3
77 ™≤ m œ ™ œ 2
™ f
≤ œ ™ œ œ ≥ ™≤ ≤
3 2 4
1 + 4 1 4 1 2
? ### #œ ‰ Œ œJ œ œ
J‰J
œRœ
J‰J
œ œ™
œ™ #œ œ œ œ œ œ #œ œ œ œ œ œ
sf sf sf sf sf
84 ≥
? ### ‰ ≤ ≤ j œ ™ œ ‰Œ ‰
˙™ ˙≤ ™ ≥
#˙ ™
≤
œ ‰Œ ‰
#œ œ œ œ™ G D
sf sf sf ff sf sf
18
4
237 r 2 r . 1 2 4 2 4
œ . #œ. œ. ™
2
œ nœ œ nœ œ #œ. œ. r. . .
bœ œ
1 nœ 2
1 2
1
? ### ‰ œ ‰Œ ‰ ‰ œ ‰Œ ‰ nœ ‰ #œ œ œ ‰ ‰
p D
243 1 4 4 4 1 4
2
œ ‰ œ. #œ. œ. #™œ ‰ œ ‰ œ ‰ œ œ œ œ ‰ Œ ‰
r2
2 œ 2 1 1 2
2 1
? ### œ ‰ œn œ nœ ‰ Œ ™ bœ 1
D sempre pp
249 4 ™ ™ ™ 0 1 1
# œ ™ ™ 1
nœ œ 1 2 0 1 4 4 2 4
1 1 4 1 1
? ## ‰#œ ‰ œnœnœ œ œ ‰ œ ‰ #œ œ œ œ œ œ œ ‰ Œ ‰ Œ ‰ œ ‰
G
255 4 4
1 1 4
? ### nœ ‰ œ ‰ œ ‰ œ ‰ ˙ ™ ˙™ ˙™ ˙™
˙™ ˙™
cresc. mf cresc.
263 ™ ™ ™ ™ 2 1 1 4 1 4
≤ 4 1 4 1 2 4 1 0 4 0 2 1 2
2 0
? ### œ œ œœœœœ œ nœ œ œ œ œ œ #œ œ œ œ œ œ
˙™ ˙™ œœ œ#œ
f E cresc.
269 4 ≤ ≤ 4
# 2
™ ™ #™œ œ ™ #œ™ œ œ # ˙ ™
1
? ## œ#œ œ œ œ
2
œœ
4 1 2 4
4 1 2 4 1 0
4
œ œ 1
œ ™≤ œ œ œ
1 4
1 1 4 1
2 1 4
œ ‰ œœ ‰ œ ‰
n˙ ™ œœ
D G DG
f
276 ≥ 1 0 ™œ ˙ ™ 4 0
1 4 2 4
1 4 2 4 1 4 0 1
? ### œ ‰ nœ ‰ œ œ œ œ œ œ œ œœœ œ
˙™ ˙™
D
≤ C 1 3
282 4
œnœ œ œ œ œ œnœ
+
+ 1
3
+ 1 2
1 2 4
? ### ˙ ™ ‰ œ œ œ næ˙ ™ n˙ ™
æ nœ ‰ Œ ‰
A G D D
f ff
19
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
th
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.
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
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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.
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 ≤ ≤ ≥
32 ≥ ≥ ≥ etc. . œ. 4 2 2 1
≤ ≤
2 0
? ### 44 ‰
4
3 ≥ n œ œœ œ. nœ.
‰ ‰ ‰
œ œ œœœœ œ œœœ œ œœœœœ œœœœ œ
ff < f ff > ff
≥ ≤. ≤. . . 4 4 4 4 ™.
4
35
2
n œ œ œ. œ n œ. œ œ. n œ. ™.
1
2 1 4
2 1 œ 1™≥ ™ œ œ œn™œ œ œ ≥
1 1 4 1 2 2 2
1 1 4
1 1 4 1
? ### nœ œ œ #œ ‰ œ œ#œ œ ‰ ‰ œ œ#œ#œ
3 3
A G
4
≤ ≤ ≤ ≤ ≤ ≤
38 2 œ. œ. n œ œ œ. œ. 1 4 2 4 2 2 1
œ #œ œ. nœ. nœ. œ. œ. œ. 2 0
? ### œ
40 1 4
. . 3
? ### œ. œ nœ. œ œ ‰3 œ nœ ‰ œ œ œ nœ nœ ‰
nœ œ œ nœ œ œ œ
42 0 1 4 2
1
? ### nœ ‰ œ œ œ nœ œ ‰ nœ nœ œ œ œ œ #œ
œ œ œ #œ œ ‰ œ œ ‰
44 4
≤™ ≥ 4 4 4 2
≥ nœ 4 4
œ n œ 1
œ œ œ œ œ œ œ œ n œ œ œ œ œ œ#œ œ 2 1 2
œ œœœœœœœœ
2 1
? ###
f G <2 1 + less
47 . . . . 2 4
4
? ### n œ œ œ œ œ œ#œ œ
2 2 1 2
œ n œ œ œ œ œ œ œ œ œ œ. n œ œ. œ œ. œ œ. œ
less > <
(U.H.)
œ≥ ≥
50 . n œ. œ. œ. œ. œ. œ. œ. œ≥ n œ≤ œ≥ ≤ ≥
? ### œ ≤
J ‰ J ‰ J ‰ œJ ‰ Œ œ Œ #œ Œ œ Œ
> ff p
21
2 4 1 4 1 0 1
™ ™ 4 2
166 ≥ 1
4 0 1 2
nœ œ œnœ 4 2 1 4 1
0
2 4 2
0
? ### Œ œ œ#œnœ œ œ n œ œ œ
œ œnœ œ œ#œ œ œ œn œ œ œ
œ œnœ œœœœœ
3
f 3
≤( ) ≥ ≤ . ≤ 4 1 1 2
169
n 4
œ ≤ ≤
2 1 . œ. . . . . ™œ. nœ. œ œ. n œ. œ. n œ. œ. # œ.
0 2 0 1 2 4
4 2 0 4 0 1 1 4 2 1 2
. .
? ### J ‰nœ œ. œ. nœ œ. #œ. œ. nœ b œ nœ nœ nœ #œ
.
f
≤ 4 ™ ™ ™ ≤ ™ ≥ 4 1 1
175 .œ ≥ 1 œ 4 2 4
œ 1 2
≤ ™ 2 1
1 1 4 2 4 1 2 4 1 1 2 1 2 1 2 4 1 0 2 4
? ### œ#œ#œ œ œ n œ œ œ n œ œ œ œ œ œ œ œ n œ œ œ œ œ œ 2 1
œ#œ#œ #œ nœnœ œ œ œ
D
f
178
≥ ≤
0 2 0 1 0 2 1 0 1
™ 2 1 ≥ 2
1
#
? ## nœ œ œ nœ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ
œ
ff
≥ ≥ 4 ≥ 4
222 ≥ œ n œ œ œ n œ œ œ œ ™œ œ n œ œ œ œ œ œ œ œ n œ ˙
1
4
1 4 2 1 2 1
4
1
4 1 1
4
4
4 1 1 2
4 1
œ œ n˙ 4 2
œ
? ### œ ‰ ‰ ‰ ‰œ J‰
< ff > f D
sim.
226 ≥ ≤ 4
1
2 4
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
4 1
4 2 1 4
1
4 1 1 4 4 1 2 4 2
1 1 1 1 1 2 0 2 1 0
œ
? ### ‰ ‰ ‰ ‰ ‰ ‰nœ œ
229 1 2 4 1 1 4 1 4 1 2
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 ˙≥ E
? ### œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ œ œ‰ œœœœœ‰ œœœœ œ Œ Ó
22
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
Vivo
Pulcinella Suite ≤
Duetto +
≥ 1 3
0
3 4
>œ > > 4
4 ≥ ≥ >œ >œ >œ™ >œ >œ >œ ™ 2
>
? b 42 œ œ œ œ ‰ œ œ œ ‰
4
1 1 4 1
1
2
>œ. 1 0 2
œœœ ‰ œœœ ‰ 0 2 1 >≥œ.
J‰Œ J‰Œ
fff
sff sff
≤ ≤ 0
3
1
™2 4
4 1 4 >œ >œ >œ 1 + 3
>œ >œ >œ 4 2
8 >œ >œ >œ™ >œ >œ >œ ™ 1 4
>œ >œ >œ™
1 4 1
>œ >œ >œ ™ 1 0 1 2 1 0 2
?b œ œ >œ™
>> >œ >œ >œ ™
‰J ‰ J
≤
16 >œ >œ >œ > 4 2 4 1 œ œ œ œ œ œ œ≥ œ≤ œ 3
> > >

1
>
œ >œ +
0
3 4 2 4 2 4
1 0 1 2 1 4 2
?b ‰ J œ œ œ >
nœ >œ >œ œbœ œ
J ‰ Œ ‰ J ‰ J ‰ J ™™
f sim. gliss. < ff mf > 0 2 3 0
1
4
Æ Æ Æ
œ Æ
œ n Æ >œ >œ
œ 4
0
+
1 2 + +
4 1
1 4 1
22 œ Æ œ 1 1 2
œ œ œ ‰ œ œ œ ‰ œÆ œÆ œ œ œ œ œ œ œ nœ œ
4 1 1 4 1 1
?b J ‰ Œ ‰ ‰ J‰Œ
AD
< ff mf >
4 4 4
≥≤
28 œ œ œ œ œ nœ œ œj 1 œ n™œ œ ™
1 2 œj œ nœ œ ™ œœœ œœœ 1 1
>>
1 1
1 2
?b ‰ ‰ J‰Œ Œ Œ ‰ #œJ œJ ‰
0
3 3
+ 1 œ œ œ ™ œ ™œ œ™
4 4
œ œ œ œ œ œ >≥ >≤ œ œ œ™
4 2 2
34 4 1 4 1 1
?b œj œ™œ œ™
1 1 2
œj œ œ œ™ 1 1 1 2
Œ Œ ‰ œJ œJ ‰
fff détaché
≥ ≥ ≤
3 2
2
1
41 4 1
œ œ œ™ 1 1 4 4 4 1 1 2 1
b œ œ œ. > ™ 2
?b œ œ œ™ œ œ œ™ 0
œ œ œ™
1 0
œœœ Œ 2
™™ J J nœJ œ ™™
dolce
≤ ≥ b œ≤. ≥
+ 1
2 1 +
1 3 1 1
50 œnœ œ œ œ. œ œ œ. >œ 4 3 4 1
1 4 1 1
2
?b J J ‰J ‰J œœ ‰ >œœœ ‰ œ ‰ Œ
J
2 1
≥ ≤ ≥ ≤ 3 +
1 2
1 1 3
œ œ + 1 + 3 1 + 1 1
62 œ œ œ œ œ œ œ œ U œ œ œ œœ œ œ
?b ‰ J ‰ J ‰ J Œ ‰ ‰ Œ
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
th th
short with release and the accents into the string with force.
25
Otello Giuseppe Verdi
< ô>
Bass Soli from Act IV
≥
0 4 1 4 ≥ 0
1 1 4 2
? bb bc j nœ ™ nœ nœ #œ
b nw #œ nœ ™ #œ #œ nœ Ó nœ J Ó
œ nw œ D
>
(con sordino) pp
4
2 2 4
1 4 1 1 4
7 1 #˙
4
1 4 2
œ b œ. œ. œ. œ b œ œ b œ œ b œ b œ b œ ™ œ œ œ œ 1 2 4
? bb b nœ #œ nœ ™ # œJ
b
D G G D
un poco marcato f
≤ 4
2 4
œ. œ. œ. b >œ œ™ œ b œ œ™
1
2 1
11 1 2 1 2 1
1
? bb b ˙ bœ œ ˙ Ó Ó ‰ bœ ˙ Ó
b
D A D D A
ppp morendo
≤ ≤ ≥ ≤ b˙ 2 1 2 1
2 4 2 1 4 4 1 œ œ œnœ
16 œ. œ. œ. b œ œ œb œ œ œ œ b œ 1 2 1
œ. œ. œ.
? bb b Ó ‰ Ó Ó ‰
b
p p
21 œ œ b œ b œ œ œ < -. œ œ -. -. >
1 4
1 4 1
1
4 1
4 2 1
4 2
1 4 1 4 4
b œ œ œ œ œ œ œbœ bœ. bœ. œ. œ. œ. œ. . œ. . . bœ. . . . . 1 1 1 1 2 1 2 4 2 1 4 1 4
? bb b œ œ œ œ œ œbœ. œ
b
dim. D p f un poco marcato A
1 4 4
4
24 ™ 1 ™ 2 ™ ™ > > > >œ >œ b >œ >œ œ
4 1 2 1
> 2>œ 4 1 4 0 1
1 1
? bb b œ . nœ nœ J
b . nœ. œ. œ. bœ. œ. œ. œ. œR œ ‰ œJ ‰ J ‰ Œ
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
rd th th
all of his works, an elegant touch is required to be successful.
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
th th
the 8 s, and the separation of the 16 from the next 8 . I learned to play it with a hooked
th th th
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.
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
th
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
th
pivot fingerings and thumbage fingerings underneath.
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
th
the bow on the string through each set of slurred 16 s. Be careful not to fall into the
th
common trap of compressing the 16 s. Instead, claim the time and give direction to the
th
bar with two quarters. These are ALWAYS played “strong-weak.”
27
Symphony No. 39
Movement 1
W.A. Mozart
Adagio 1 4
≤
0 1 4 1 4 1
13 ≥ ≥ ≤ ≥ 1 4 0
≤ 0
œb œ œ œœœ
? bb C œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ ˙ ‰ nœ œ œ œœœ
b
p f
≥
4 ≥≤ 1 4 0 1 4 1 4 2 4
15 œ 4
œœ 2
≤ ≥ ≤
1
4 0
œ
œ œ œ œnœ
4 1 4
œœ 2 4 1
? bb
b ≈ ≈ ≈œœ ≈œ ˙ ‰ œœœœœœ
D p
≥
3
(A) E
≥ “”
œ n œ≤
0 ≤ ≤
œ 4 2
17 4 2 ≥ 1 4 1 2 1 4 0 1
bœ œ œ œ œ 4 1 4 1
1
4 1 2
? bb ≈ ≈ ≈ ≈ ˙ ‰ œ œb œb œ œnœ œ
b b œ b œ œbœ œ
0 1 1 2
f E A D
19
≥ ≥≤ ≤
4 ≥ ≤ ≥ ≤ ≥
4 2 4 2 4 1 4 1 4
œ 1 4
œ œ ≈ œ œ ≈ bœ ≈
? bb
b ≈ œ œ œ ‰ ™ œr œ ‰ ™ œr œ Œ Ó
E A
D
28
Allegro ≥ 3
0 1 1
≥ 1 4
≥ ≤ 2 œ œ ˙ 2 ≤ ™
40
2 1 œ œ œ ˙™ 1 0
1 4 2
? bb 43 Œ œ œ ˙™ œ
Œ
œ
œ œ
˙ œ
b
A D < >
p
48 ≤ œ ≥ 1 ≤ œ ≥ 4 ≤ ≤ 4 4 4
œ 2 2 4
? bb Œ œ ˙ œ Œ œ ˙ œ œ Œ Œ Œ Œ
b
< >
54 A 2 4 4 2
4 2 4 4 2 1 2 2 1 4
? bb œ œ ˙ ˙ œ œ ˙æ œœœœ
œ œnœ œbœ œ œ œ œ œ œœ
b æ æ œœ œœ
f
ten.
60 4 2 2 ™ 1 1 1 4
™˙ ™1 b˙™ 2
œ˙ 1
? bb œ œnœ œbœ œ œ Œ Œ ‰ œJ ˙ æ˙ ™ æ˙™ æ ‰ Jæ

b æ
68
B 4
4 . 4 1 4 2 4 4 . . .1
? bb næ˙ ™ œ
Œ Œ Œ
œ
œ. œ. œ. œ. œ. œ. œ. ˙™ œ. œ œ. œ œ. œ ˙ ™
b
G A A
75 1 1 . . .1
2 2 1 4 4 4
? 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
b
D
0
82 ≥ 4 2 +
1
nœ œ œ œ nœ œ œ œ n œ
0 1 2 1
4 1 4
? bb ˙™ ˙™ ˙™ ˙™ ˙™ œœ œ
b æ æ æ æ
D
≥ ≥
1 3 +
≤ ≤ 3
89 œ. œ n œ œ. œ œ œ. œ œ 1
œ ≥ œ. œ œ œ. œ œ œ. œ œ œ
+
1 + 1
+
? bb œ Œ œ Œ
b
≤
1 2 +
≤ 3 + C
93 œ. œ œ œ. œ œ œ. œ œ œ 1
0
1
œ. œ œ œ. œ œ œ. œ œ œ 1 4
1
? bb œ Œ œ Œ æ
b ˙™
D 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
nd
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.
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
th
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.
30
Movement 2
Andante con moto
9 ≥ 1 4 2 4 4 1
≥ 4 1 4 4 1
≥
1 ™ 2 1 4 2
1
? bb b 42 œ œ ™œ œ ™ œ œ ‰ Œ
1
œ œ™ œ œ™ œ œ ‰ Œ œ œ ™œ œ œ œ ‰ Œ
b J J J
D
p ≤
15 4 4 1 2 4 1 1
1 2 2 2
? bb b ≈ ®œœ ®œœ ®œœ ®œ œ œ j
b œ ‰ Œ
D A E
40
≥
1
0 4 1 4
≥
1
0 1 0 4
≥
1
0 ≤4 1 4 1 4
2 4 1 4 2
? bb b œ ™ nœ ™ œ œ™œ œ ™ œ ™ œ™ bœ œ ‰ Œ
b nœ ∑ œ ™nœ œ™nœ œ œ ∑ œ ™nœ œ œ œ J
p A D D
A ≥
46 ≤ ≥ ≤ 1 4
≥ ≤ ≥ ≤ ™ 2 1 4 1 1
1 0 2 1
0 2 1 4 4 2 4 1 4 0 4 4 1 4
1 4 1 1
? 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
f D D A D A
p
A
Movement 4
Allegro 4 1
≥ 1
104 1 1 œ œ œ œ œ œ nœ
4 1 1 0 8 2
1 4 1 1
? bb 42 nœ œ œ œ nœ
b nœ œj J ‰
f ≥™
115
™. ™ ≤ nœ≤
1 1 4 1 ≤ nœ≤1 4 1
≤ ≤ 4
1 0 1 2 1 0 2 1 4
? bb Œ ‰ #œnœ #œnœ#œ#œ. nœ nœ ‰ #œ œ #œnœ#œ. #œ. nœ nœ ‰ nœ œ œnœ œ. œ. nœ œ
b
f
≥ ≤ 0
121 1
≤ ™≤
1 1 œ
4 1 . nœ. ≤ œ œ œ ™œ œ œ œ bœ œ œ
1 0 2
4
1 2 1
4 1
4 1 0
3
4
1 2
4 2
4 1 1 1 0 4 1
nœ œ œ nœ 4 0
? bb œ ‰ nœ œ œ œnœ œ œ ‰ œ œœ œœœ
b . nœ. œ
4 1 4 4
127 œ 4 1 1 4 1
1
1 4 1
4 1 0
1 0 1
? 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
0 0 1 1 1 0 4 1 4 0 1 0 4 2 0 4
b
4
132
œ ™œ œ œ œ
1 2
œ ™2 ≤ ™≥ ≤
4
1 1 œ œ œ nœnœ ™œ
1 1
4 1
4 2 1 2 1 1 4 1 1 0 2 4 1
4 1
4 1 4
1 b œ œ œ nœ 1
? bb œ œ œ œ œ #œ
b bœ œ ‰ nœ œ œ œnœnœ œ J‰
(0)
31
The Quad
Volume 4
© 2020 Ranaan Meyer Entertainment

The Quad
Volume 4

Published by Ranaan Meyer Publishing © 2020
Glossary of Symbols
m
.
2
The Quad
Volume 4
Preface 4
Brahms Symphony No. 1 Movements 2, 3, and 4 Analysis 15
Brahms Symphony No. 1 Movements 2, 3, and 4 Excerpts 16
Shostakovich Symphony No. 5 Analysis 19
Shostakovich Symphony No. 5 Excerpts 20
Berlioz Symphonie Fantastique Movements 1 and 2 Analysis 23
Berlioz Symphonie Fantastique Movements 1 and 2 Excerpts 24
Berlioz Symphonie Fantastique Movements 3, 4 and 5 Analysis 25
Berlioz Symphonie Fantastique Movements 3, 4 and 5 Excerpts 26
Schubert Symphony No. 9 Analysis 30
Schubert Symphony No. 9 Excerpts 31
Ginastera Variaciones Concertantes Analysis 35
Ginastera Variaciones Concertantes Excerpts 36
3
Preface
What are the Quads?
example.

Hal Robinson
Wolfgang Amadeus Mozart Symphony No. 40 - Movement 1
Mozart’s 40th Symphony in G minor was written in 1788; the same year he also
composed the 39th and 41st symphonies. I find the music of this work particularly difficult
because of the spiccato thirds across two strings, a theme that is prevalent in the first
movement. I thought I was so clever by reversing the bowing when I should have just
mastered the bowing in the correct direction. The reality is that there are some excerpt
lists that expressly demand beginning this passage down bow. For all its difficulty, this
symphony is among the 10 works that one has to know to succeed in today’s
competitive audition environment. One must master the two big passages in the first
movement as well as the last movement.
Details: Beginning with the development passage at measure 114, the basses get a
taste of the theme for four measures and then must shift to a facile and supportive role
with the long line of 8th notes. For this reason, I prefer to play the theme more
prominently, shaping the last half of the theme down to the running 8ths.
Please note that the hairpins between the parentheses () are editorial on my part.
Simply follow and support the topography of those ensuing 8th note lines. That line
finally crests around measure 132. When settling back into the four measures of
consecutive 8ths, be sure to give some direction. Personally, I build slightly in measure
134 and 135 and back off a bit in 137 and 138.
The other main passage to know begins at measure 191 and lasts for about 35
measures. The first two measures should be played thematically and prominently.
Then, settle into the 3rds by playing sprightly and cleanly. Build slightly into the theme at
measure 198 and play out. The ensuing quarter note motifs are aggressive and should
slightly fade on each set of three quarters.
5
Symphony No. 40, K. 550
Movement 1
Allegro Molto h=112 Wolfgang Mozart
≤
4 1
88 œ œœœœ 4 1 4 1 0 4 4 1
? bb 4 ˙ Œ ‰ J œœœœ œ œ œ œ œœœœœœœœ œœ 4 2 0 4 1 0 1 1 1 1 4 2 0 4 1 0 4 1
4 œœœœœœ
93 0 1 ≤ ≥ ≤ 1 4 1 4 1 1
? bb œ œ œ œ œ œ
œ œ œ Œ œ Œ Œ œ Œ
œ
97
? bb œ Œ œ Œ
œ œ œ œ œ
Œ Ó
3
114 U.H. ≥
4 ≥ 2 ≤ ≥ œ 2
0
œ≤ # œ n œ œ œ œ œ . . œ. . . . .
2
4 1 4 4 2 1 2 4 2 1 2 0 1
œ nœ nœ≤ œ œ œ≤ œ œ nœ nœ œnœ œ œbœ œ. œ
? bb nœ Œ Œ Œ
D
( )
p f
4 ™ 4 1
≥ ≥ U.H. ≥
119 2
. . œ. . . œ. # œ. .
œ
4 2 1
2 0 0 1 2 4 0 0 1 2 0 1 2 4 0 0 1 2
œ 2 4 1
? bb œ œ nœ œ œ œ nœ#œ œ œ œ nœ œ œ nœ#œ œ œ œ œ Œ
œœ
D
œ
≥ ≤
1 4 4 1
123 ≤ œ≥ ≤ œ≤ n œ œ œ œ œ œ ™œ œ . . œ. . . . . 4 1 1 0 2 1 4 1 4 . 4 4
1 2
? bb œ œ œ œ œ Œ œ œ œ œ œ œ œ. œ 1 1 4
.œ œ. œ œ. œ. œ. œ. œ.
0 0 4 4
4 2 4 1
128 1 1 œ#œ œnœ 4 1 4 0 1 0 1 1 4 1 4 0 2 0 2 1 4 1 2 1
1 1 4 0 1 0 œ œ
?b œ
œ œœ œ œ œ œ œ œ œ
b œ. œ œ œ. œ. œ. œ. œ. œ œ œ œ œ œ œ
. .
0
3 + 1 3 3
132 # œ œ n œ œ œ b œ œ n œ œ œ ™œ ™ 2 1 4 1 4 2 1 4 1 1 2 4
?b œ œ nœ œ #œ œ œ œ œ œ œ œ œ
b
C
135
?bœœœœœœœœ œœœœœœœœ œœœœœœœœ ˙ Ó
b
6
3 1 3 4
191 ≥ . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. . œ œ œ œ œ œ œ œ œ œ œ œ
1 2
2 2 1 1 1 4 1 2
4 4
1
1
1
2
? bb œ. œ. œ œ œ œ œ œ
D
Ebx f
195 4 4
4 2 4 1 4 1 2 0 4 2 4 ˙™
? bb bœ œ œ œ œ œ œ œ œ œ œ œ œbœ œ œ nœ œ œ œ œ œ œ œ w
œ
‰J
D
3
. 0 4 4
200 .œ b œ. œ
1
2
. . œ.
œ . .
œ n .
œ . bœ. œ.
1
4
. 2 1 2 4 1 4
2
1 1 4 1 1
b œ œ œ œ
? bb Œ ‰ J ‰ J œ ‰ j œ œ. œ ‰ œj
œ .
( ) ( ) sim.
1
205
. .
œ1 j 4
1
. nœ. 0
. nœ. œ. 2 .
œ 1 4 2 4 1 4 1 1
4
1 1 2 4 1
.
? bb œ œ . j
‰ G œ bœ œ. œ ‰ œ œ. œ ‰œ œ .
‰ œj œ. œ ‰ œj
œ . J
210 4 . 4 1
≥
4 1 2 1 4 2
? bb œ. #œ. œ Œ œœœœœœœœ œœœœœœœœ œœœœœœœœ
D
214 2 2 4 1 1 0
≥
0
≥ 1
? b œœœœœœœœ œœœœœœœœ œ œ œ œ
b œ œ œ œ w. ˙. ˙. ˙. ˙.
sf sf sf sf sf
220 4
0 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? bb Œ ‰ œj œ
˙.
sf
223 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
?b Œ œ Œ
b
7
Wolfgang Amadeus Mozart Symphony No. 40 - Movement 4
Details: Now the fun begins. The most common excerpts from this movement are the
two extended 8th note passages at measures 49 and 229. Still, the extended passage
beginning at the development should also be well learned. Sometimes the 8th note
passages begin immediately on the 8ths, and sometimes one must start a few
measures before, requiring the need to begin them in sequence. Learn to start them
from either place. Not unlike other Mozart symphony last movements, the 8th notes at
this tempo and in this style are BEST LEARNED ON THE STRING! I also perform them
ON THE STRING and at this tempo with the proper arm angle and weight, a “stick
bounce” bow stroke can be prompted. The trick is to master everything from totally on
the string.
Shape the 8ths from measure 49 into 50, 51 to 52, and 53 to 54. Measure 57, 59 and 61
all phrase away from the downbeat. As always, show slight direction in the repeated
notes. In this instance in supporting the upper strings I shape from measure 65 into 66
and 67 to 68. This ALL comes from “dynamics within the dynamics,” a concept I strongly
support and strive to LIVE! Importantly, one has to be incredibly nuanced in the
shaping. Just a slight lean here...and a lean back.
The passage at the double bar is incredibly energetic and this line is deceptively
challenging due to the twelve-tone writing. Begin each arpeggio strongly and shape
away. Finally, it must be said that the last 8th note passage has flummoxed many a bass
player. Fingerings on the same string, fingerings across strings, all have advantages
and disadvantages. I present the latest use of thumbage at measure 229, the solution
that is the most accessible in my opinion.
8
Movement 4
44 1
™ ™ 4
1
1 4
1
œœœœœœœœ 4 4
? bb 4 ˙
4 Œ œ ˙ Œ œ ˙ Œ nœ ˙ Œ œ ˙ Ó
f
50 1 4 1 2 2
1œ 2 1 0 4 0 1 4 0 1 4 0 1 2 1 0 4 1 0 1 4 1 0 1 4 1 0
? bb œ œ œ œ œ œ#œ œ œ œ#œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ
54 1 1 4 1 1 0 4 1 0 1 4 1 0 1 4 1 0
œ G >œ œ œ œ
? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ ‰J œ œ œ œ ˙™ ‰ œJ
œ œ ˙
< >
4 1
59 œ œœœœ 4 1 4 1 0 4 1 4 1 4 1 2
? bb G >œ œ œ œ œ œ ‰J
bœ œ œ œ ˙
Ó ˙. ˙. ˙. n˙.
œ œ ˙™
D
< >
65 4
? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ Œ Ó
˙
4 1 4
114 œ œ œ œ œ œ œ œ œ œ
2
4 1 4 0 1 4 0 2 4 4
? bb œ œ œœœœœœœœ ˙ Œ ‰ j
œ
f D
119
? b œœœœœœœ ˙ Œ ‰ j œœœœœœœ ˙ Œ ‰ j Œ œ Œ Œ ™™
b œ œ œ œ œ ˙
4 2≥ ≥ ≥ 1
2 2
2 4 1
? bb ™™ œ
1
. œ. œ. b ˙
œ
0 4 œ . bœ.
nœ
2 2 nœ œ œ
œ Œ nœ Œ Ó Œ ‰
G
. 3
4 ≥
129 œ. ≥ 2
≥ ≥ ≥
?b . 4
œ. 4 2
œ.
4
b Œ #œ Œ Œ Ó #œ. Œ Ó Œ #œ Œ
D
.
9
153 ≥ 4 ™ 4 ™
1 4 2 4
? bb Ó
4 1 4
. œ. œ.
2 2
œ. œ. b˙ œ œ. œ. œ. œ 1 4 2 4
œ
Œ œ œ Œ
œ . œ. œ. bœ. ˙
1 0 2 4 4 1 0 4 1 0 4 1 4 2
D
f
158 ™ œ ™œ œ œ œ ™
2 1 4 2 4 ™ 4
™œ ™ 4 1 1
? bb œ
b œ œ ™˙ 1 4 2 1
b œ œnœ œ œbœ œ œ
2
˙
1 4 2 4 1
1
Œ Ó ∑ Ó Œ œ
D D
164 4 . # œ. ˙
1 4
2 4 ≥ . # œ. n ˙
1 4 1
4 2 4 ≥ 1
.
? bb #œ nœ œ . nœ
Ó ∑ Ó Œ œ #œ #œ Ó Ó Œ
#œ
D
™ 4 2
≥
171 1 2
1 2 . ˙ # œ nœ. #˙
1 1 1
. ™ 0 2 2 0 4 1
? bb nœ œ. #œ. nœ .
Œ #œ nœ nœ
nœ
Ó Ó Œ #œ
œ. #˙
4 2 ≥ 4 2
177 1 2 1 2
1
. #œ.2# œ. n ˙ # œ # œ. #˙
1 1
. #
1
œ. # œ. n ˙ # œ # œ
1 2 1
? bb #œ nœ Ó Ó Œ nœ
#œ #œ
183 1 2 4
≥ ≤ ≥ ≤ ≥
#˙. # ˙. #˙. #˙.
1
#œ 2
nœ 4 1 2 4
œ 3
?b
b Œ Œ #œ Œ #œ Œ Œ Ó
10
0
3 2
≥ 4 ≥
191 2
4 1 2
. . . ˙ # œ n œ. # œ.
œ 2 2 4
1 2
1 2 1
? bb # œ Œ œ Œ #˙ Œ #œ #œ #œ
nœ .
Œ œ Œ #˙ Œ nœ
4 2 4 2
197 1 2 4
œ. œ. 1 ˙ nœ œ. # œ. 1 2 0
? bb nœ #œ. Œ œ. Œ #˙ Œ œ
4 2
201 4 .
2 4
1 ˙™ œ ˙™ œ œ. ™œ. œ. œ. #œ.
1 4 2 2 1
? bb œ #œ. œ. œ Œ Ó
sf sf f
223 2 1
1 2
? bb œ œ œ œ ˙ Ó œ œ œ œ ˙ Ó Ó
œ #œ œ œ ˙
A
229
œ
+
œ œ nœ œ œ œ œ œ œ œ œ œ œ œ bœ œ ™œ œ œ ™œ œ œ œ œ ™œ ™œ œ œ ™œ œ
2 1 + + 2 1 + + 2 1 + 2 1 + 2 1
4
1 4 1
4
1 4 1 4
1 4 1 4 2 2
? bb œ
D D
233 4
1 4 1 4 1 ™4 1 4 1 1 4 1 4 0 1 2 4 2
2
œ œ œ œ œ
? bb #œ œ œ œ œ œ œ œ #œ œ œ œ œ œnœ œ œ #œ œ œ ˙ Œ
238 ˙ 1 2 2 4 1 1 œ œ œ œ œ œ œ
nœ ˙
?b
b Œ Œ œ ˙ Œ #œ œ
243 œ œ œ œ œ œ œ œ œ œ
?b Œ Œ ˙ Ó
b
11
It is said that Brahms took 14 years to write this symphony, writing in the shadow of the
great Beethoven. The man was surely driven by anguish and emotion, a sense which
informs the style. For me, Brahms sets the standard for tasteful sustain along with some
of the shortest from the string strokes in the industry. All four movements contain viable
audition repertoire.
Details: The passage at letter E (along with the passage at letter E of Brahms’ Second
Symphony) is among the top requested passages in all the literature. One must pay
close attention to the accents and sforzando markings. The accents are more pointed
and the sfs are broader and stronger. It is important to develop a good recovery as it
happens often, as in measures 162, 164, 165, 169, and 170. One situation to avoid
recovering the bow is between the quarter and the eighth in measure 164 and 166.
One must bring even more force and punch to the carets that occur between measures
185 to 189. The passage at letter G is not asked often, but it juxtaposes the tight
martélé against sustained arpeggios.
I have to explain the odd fingering at measure 335. I am able to create more diction
under the slur (using pull, jam, and hammer-on techniques) by shifting before the 16ths
and utilizing this left hand technique. Finally, letter O is almost a carbon copy of letter E,
but here there are no sfs.
12
Symphony No. 1
Movement 1 Johannes Brahms
E b œ≤ ™ 4 1
≤ ≥ ≤ ≥ ≥
™ bœ ™
≥
161 1 œ 1 4 1 4 2 4 1 2 4 2 4 1
1 1
? bb 6 œ. ‰ J bœJ œ™ œ bœJ œ ‰ >œ ™ œ œ œ œ >œ™ œ bœnœ n œJ b œ >œ ™ 4
b8 J J J ‰ J ‰
ff D G sf sf
≤ ≥ ≤ 4
4 2 4 0 1 4
168 n œ bœ. . n>œ ™ bœ. . >œ™ bœ. . b >œ ™ œ œ. .
2 4 2 1 4 2 1 4 2 1
1 4 1 4 2
œ
? bb œ J ‰ œ œ. œ œ. œ œ. œ œbœ ‰b>œ ™ œ™ œ j
b . . œ. bœ bœ
D
ff
4
175
1>œ ™ œ ™ œ ≥ bœ. œ. œ.
1
.œ œ. b œ. ™ œ. n œ. œ. b œ œ œ™ 2
nœ. œ. . 4 1 4
1
1 2 4
2
2 1 1
1 4 1 1 4 1 1
? bb ‰ œ œ™ œ œ™ œ
bœ J J œ™
ff
2
182 1
™ . œ. . œ™ b œ. œ. ™œ.
2 0 1 1 1 4
1 4 4
1 4
? bb œ nœ œ
œ™ œ ‰ ‰ ‰ bœJÆ œÆ Œ ‰ ‰ bœJÆ
b œ™ J
ff
187 1. 2.
4 2 1
? bb œÆ ‰ bœJÆ œÆ ‰ œJÆ œÆ ‰ bœJÆ œÆ ‰ bœÆ œ
j ‰ ‰ Œ™ ## ˙ ™
bJ J J J J ' ff
≤ 4 4 2 4 4 4 b˙™ 4
229 G b œ. œ. œ. n œ ™ b œ. œ. œ. œ™ b œ. œ. œ. 1 4 1 4 1 4
b œ ™ bœ ™ 4 1 1
? bb œ ‰ bœ ™ bœ ™
b
D G
f ff
4 4
b œ. œ. œ. n œ ™ b œ. œ. œ. œ™ b œ. œ. œ. b œ ™ œ ™
4 4 4 2 4 4 4 4 4
235
4
bœ™ bœ
4
1 1 1
? b bœ ™ bœ ™ J ‰ ‰ Œ™
bb
D
≥ 4
335 # œ ™ n œ œ #™œ >œ™ # œ ™ >

> 4 1 ≥ 1 2 4 1 1
2 1
4
? bb j ‰ ‰ nœ#œ œ™ bœ Æ n>
œ ™ œ œ n™œ >œ ™ nœ ™ > ™ 4 1 1
2 1 4 2 4
b #œ J ‰ ‰ œ#œ œ
' D
≥ ≥ L 4
339 2
≤ 4
≥ 1
≤ œÆ ≥ 2 ≥1
4 3 2
4
1
2 > 4 Æ 1
? b bœÆ ‰ ‰ nœ Æ J œ j
bb J œ œ œ œ œ™ œJ ‰ ‰ ‰ ‰ œj ‰ ‰ J ‰ ‰ œ ‰ ‰ Œ ™
' ' ' ' ' ' '
ff
13
≥
1
≤3 3 1
347 ≥1
œ™ œ ™ # œ ™ n œ ™ œ™n œ œ n œ œ™ œ™ b œ œ ™œ œ™ œ™ œ ™
2 + 1 4 2 1 4 4 2 1
4
? bb j ‰ ‰ nœnœ œ.
b œ. J ‰ ‰ Œ™
f ff
O
434 1 œ ™œ 4
™ 1 ™ 2 ™ ™ œ.1 4. > 1 1 4 1 2 4 4 1 4 1
2
4
j œ
? bb œ ‰ J œ œ™ œ œ œ ‰ nœ ™ œ œ œ J b œ nœ œ
b ' ‰ œ™ œ œJ J ‰ œ™
J J . > J >
ff
4
≤ ™ ™> >
441 1 ™ 2 4 2 1 2 ™ ™ >
4 2 1 4 ™
4 2 1
4
.œ . . nœ. ™œ. . . œ ™
2 0
4 1 4 1
? bb œ œ nœ ‰ œ. œ. œ. #>œ ™ œ. œ. œ. œ™ œ. œ. œ. œ ™ œœ œ œ ‰
b J
ff
œ™ œ ™ >œ™ œ™ œ ≥
447 2 1
. .
œ . .
œ .
œ .
œ nœ. nœ. b™œ 0 1 1 4 1 1 2 4 2 2 1
4 1 1 4 1
? bb œ. .
œ ‰ œ .
œ œ œ™ œ œ ™ œ œ™
b J J J œ™
D
454 1 1 0 2 2 4 1 0 2 4 2 4 1 4 4
.
? b œ™ nœ. œ. œ. œ ™ #œ. nœ. œ. œ™ œ œ. nœ. Æ j Æ
œ ‰ ‰ ‰ œJ œ ‰ ‰ ‰ ‰ œJ
bb œ™ œ ™
D ff
'
460
? bb œj ‰ œÆ œj ‰ œÆ œj ‰ œÆ œj ‰ nœj b˙ ™ ™ œ> ™ >œ ™ >œ ™ >œ ™ nœj ‰ ‰ Œ ‰
b ' J ' J ' J ' ' > >˙ '
ff
14
Details: This passage is also commonly asked. It begins on what is typically an

unfriendly note on most basses (A on the E string). A is a common wolf note and
many players struggle with the tone. I recommend starting non-vibrato and allow the
vibrato to mirror the hairpin. One must articulate the left hand in measure 18 under the
slur. It can sound like a soupy mix if you don’t. I suggest sustaining the sfs on the
quarters in measures 19, 21, and 22 through the entire beat. Drop back to piano in
measure 22 as well. My suggested hook in measure 23 is to help with the piano and
bow distribution. From measure 24 on, the playing should be liquid, with no breaks, and
a healthy vibrato to keep it warm.
Movement 3
Details: I am including this tough little passage as it is asked sometimes. The main
issue is present in all of the three note motifs. One must pivot or shift in each one
(unless four finger technique is employed). My patterns reflect pivots (notated with a dot
between 2 notes). It is important that when beginning the sequence at measure 104,
one sustains everything except a slight release on the last note of each slur.
The first ending presents an especially tricky turn around and requires close attention to
the dynamic detail. I include the last passage beginning at measure 154. Note the
bowing interpretation, using portato in measures 156, 157.
Movement 4
Details: This music is so joyful, energetic and downright fun to play. At letter D, the 8ths
are all short, whether dotted or not. The three note slurs sustain right up to the short 8th.
All quarter note accents are slightly spaced. The 16ths at 106, 108, and 109 are all
legato detaché - on the string with direction! The direction of the 16ths in 106 lead to
next bar line, and the 16ths at 108 lead away from bar line.
15
Movement 2
Andante sostenuto
16 ≥ ≤ 4 2 ™ ™ ≥ ≤ ≥ ≤
1 4 2 1 ≥ 4 2 1
4 - - 4 1 1 4 2 4 1 4 1 1 4 2 0 2
? #### 3 Ó bœnœbœ œ œ œbœnœ nœ nœ nœ
4 bœ ˙™ œ nœ
bœbœ bœ nœ b˙ œ bœ œ bœ nœ bœ nœ
p sf p A or E sf sf
≥ ≥ ≤ ™ ≥ ™ ≤ ≥™ ≤ 1 4 1 4
≥ 1 4 1 4 1 4 1 4
23 ≤
1 - 4
1 4 1 ™ ≥ 2 1 4 0 1 1 4 0 4 2
? #### #œ j #œJ œ #œ œ #œ œ œ œ œ œ#œ œ œ œ œ œ œ œ œ œ œ nœ œ#œ
#œ #œ- œ
D
sf sf p f f
26
≤
2 4 1 4
≥ ™≤ ≥ ≤ ≥ ≤
2 4 2 1
4 4 1 4 4
4 1
? ####<#>œ œ #œ œ œ œ ˙™ ˙™ œ œ œ nœ œ #œ œ œ œ œ
A D f dim.
≤ Movement 3
87
™ 4 1
1 4
œ œ #œ œ ™4
4 1 2 2 4 4 1 2 1 2
? #### ™™6 œ ‰ ‰ œ œ ‰ œ ‰ nœ ‰ nœ ‰ #œ ‰ ‰ œ œ œ ‰ ‰ œ œ
# 8 ‰‰
mf cresc. D
93 4 0 1 2 ™ 4 0 1 2 4 2 4 1 2 2 4 2
#
? ## # ‰ ‰ ‰ ‰ ‰ ‰ ™ nœ ™ # œ ™ nœ ™ # œ ™ œ ™ œ™ #œ ™ œ ™ ‹œ ™
# nœ œ nœ nœ #œ nœ œ
f sf sf D
101 ≥ ≥ ™ ≤ ™ 4 1
4 4 ™ œ œ œ œ4 1 1 1 2 4 1 4 1 4 1 4
? #### œ™ œ ‰ œ ‰ œ ‰ œ ‰ ‰ œ œ œ ‰ ‰ œ œ J
œ
# œ
ff G D
106 2™ 1œ ™œ œ ≥ 1. ≤ ≥
4
œ œ1
≤ 2. 4 1
2 4 1 1 4 1
? #### #œ nœ œ j œ œ j œ j j j ™™ j ‰ ‰ Œ ™
#J œ œ œ œ œ œ
sf sf sf D p
16
≤ ™4 1
≥ ™ ≤ ™
4 1
154 1
bœ œ œ 4
f œ œ 2
≥ ≤ ≤ ≥ ™ 2 1 4
4
œ œ 1
R œ œ œ œ
? bb b 2 ‰ ‰ J œ œ œ ‰
b4œ
3 3 3 3
p dolce
159
≥ 1 4 ≥ ™
? bb b œ
4
œ œ ™œ 1 2 4
1 2
b ‰ Œ Œ ‰ œ œ œ Œ
3
3
p
Movement 4
Allegro non troppo, ma con brio ≤ 3
1
≥
94 D ≤ > > > ≤ ≤ > > ≥
4 ≤ ≥ ™ . œ œ # œ œ. >≥ ≤ ≥ ≤ ≤ ≤ 0
1 2 4 1
4 2 0
2
4 2 1
4
0 1
? 4 œj œ œ œ œJ œj œ œ œ œ œ œ. œ œ œ œJ J ‰ œ b>œ >œ œj œ œJ j œ œJ 2 0 1 2
4 . . J œ
D
ff animato sf sf sf
4
≥ ≥2 ≥ ≤ ≥4 ≤ ≥ ≤ ≥ 4
≤ > ≤ 4
99 œ#œ œ . œ œ j
1 œ >
œ 1
œ œ˙ 4 2
4 2 1 2 0 0 4 2
1 0 4 2 1
1
1
? jœ œ œ #œ
J œ. œ œ œ j ‰ #œ œ œ œ œ ™ œJ
œ œ. > A
œ.
sf sf sf
104 2
≤ ≥ ≥ 4
0 0 œ ˙
2 1 1 4
1 0 œ œ œ. 2 4 2 4 1 4 1
4 1 1 1 4 4 2 2 1 2 4 1
œ. œ. œ œ#œ œ œ œ œ œ œ œ . .
œ œ 1
? œ#œ . œ
œ œ™ œJ œ. œ Œ œ#œ œ œ
œ
A D f
109 2 1 0 4 4 1 4 1 1 0
E ≤
1 0 2
? œ. œ œ #œ œ œ œ œ #œ œ nœ œ œ. ™ j
œ œ. œ. œ. œ. œ. >œ #œ.
G
112 pizz.
? ≤ ≤ ≤
j j j ‰ j œ. ‰ j #œ Œ Ó
œ. œ. >œ ™ œ œ™ œ œ™ œ œ œ. œ
fp
17
arco 2
257 ≥ ≥ ≤ 4 ™ 1 4
>œ > >œ >œ b œ œ œ œ œ œ bœbœ œ œ œ œbœ œ. œ.
2 0 0 2 4 1 4 2 4 2 4 1 4 4 0 1
0 2 4
? Œ œ
nœ
œ> > b>œ J ‰ J ‰ n œ >œ
sf D >
≥
≥ ≥ 1
vib
3
œ bœ≤ œ ™
≥ ≥ 4 >
261 2
>œ œbœ 1 4
>
>œ n>œ œ 2 1 2 1 1 0 1 4 1 œ bœb™œ œ œ œ œ œ
1 4 2 4 2 2 1 2 bœ 1 œ 2
1
? b œ œ
œ œbœnœ bœ œ bœ
b>œ > J
D
(vib)
M
4
≤ ≥ ≤ 4
4 2
2 1
265
œ œ™ bœ œ b œ ™ b œ œ ≥ œÆ bœÆ Æ ˙ œ
2 2 1 0
˙ #œ
4
4
1
1
1
4
2
? b œ œ œ nœ œ J ‰ Œ ˙ œ‰ Œ J‰Œ
bœ J
J J
D sf sf sf
4
271 4
> > > .
œ 4 4 4
4 ˙ œ 2 > 1
œ # œ œ 1 1 1
? ˙ #œ ‰ Œ J‰Œ j ‰ ‰ j œ ‰ œj ‰ #œj ‰ . ‰J
œ
J ˙ œ. œ. . . J
sf sf sf
≥ ≤ ≥1
≤ ≥ ≤. ≥ 2 4
276b œ. n œ. . >œ4
# >œ
4
>œ œ. b œ. œ œ œbœ 1
2 1
? ‰ J ‰ J œ ‰ ‰ nœ j ‰ j ‰ .
œ ‰ J ‰ J ‰ J ‰ ‰ bœ j
J . #œ. J œ
ff marc.
280
œ œbœ bœ nœ bœ bœ nœ bœ 4 2 1 4 2 4 2 2 1
? ‰ ‰bœ œj ‰ J ‰ œJ ‰ J ‰ œJ ‰bœ œJ ‰ œ œJ ‰ œ bœJ ‰ nœ bœJ
D
18
Dmitry Shostakovich Symphony No. 5 - Movements 1, 2, and 4
Reeling from devastating criticism of his 4th Symphony and fearing for his life, the
pressure on Dimitri Shostakovich to restore his place as a proper Soviet artist was
immense in the mid 1930’s. Amazingly, he was able to please the public AND at the
same time convince politicians that this was a sincere and patriotic return. Better still,
this symphony is very standard repertoire and a blast to play!
Movement 1
Details: The passage beginning at rehearsal number 22 is certainly one of the top 20
excerpts seen on auditions. It should be played with a great sense of energy and drive.
All accented quarters should be slightly spaced. This makes consistent articulation
possible between small intervals as well as sixth and octave leaps.
The passage 2 before rehearsal 23 is a bit controversial. I include a fingering for playing
all of it an octave higher and a fingering for an extension in the proper octave. The
biggest risk here is putting oneself at a disadvantage performing in the correct octave to
a more deft and clean performance an octave higher.
Notice that every note from rehearsal 24 on is accented. Do it regardless of where in the
bow they fall. The notes further out in the bow are the hardest, so it is wise to develop
consistency between frog and tip. Also note the slight tempo advance four measures
after rehearsal 25.
Movement 2
Details: I throw this little passage in as it is a cello/bass soli. It is a rare instance of a

passage that is not difficult and also fun to play. Rostropovich used to love to craft this
with legato quarters, which remains quite different from the normal approach! I loved it!
Movement 4
Details: Passages from this movement are rarely asked, but I have included a few of
the prospective moments. 8ths are short, accented quarters are driving with a little
space. I also included the long pp arpeggiated passage at rehearsal 119. Look closely
at my attempts to avoid the double string crossing before 120.
19
Symphony No. 5
Allegro non troppo q=126 Movement 1 Dmitri Shostakovich
22 ≤ > 1 4
4
≤ > 4
≥ 1
4
4 1 4 4 2 4 4 1 4 4 1 4 4 2 1 2 0
>œ bœ j‰ Œ >
bœ bœbœ œ œ œ b>œ œbœ >œ œ >œ
?c Œ ˙ œ œ bœ œ œnœ œnœ
œ> > b œ
> >
ff ff
≥ < “≥” 4
≥ ≥ >
1 2 > 0 1 4
™ 4 232 2
4 4 1 4 4 1 2 0 1 4 1 4 1 4
? nœ œ nœ nœ nœJ ‰ >
b>œ bœ œ œ œb œ œ b œ b œ n œ n œ bœbœbœ œ nœJ ‰
> > >œ ™ 2 1 2 4 1 4 1
0
2 1 4 1 4 1 4
2 0
≤ ≥ ≥ ≤ ≥ 24 ≤ > ™> b >œ >œ > 4

4
1
0
+
+
1
1 4 ≤ ≤ 1 4 >œ œ ˙™ >
œ bœ 1 4 1 0
? Ó r # >
œ œ ™ #œ œ ™ œ œ™ œ œ™ b œ œ >
‰ ™#œ . #œ .
œ .
œ œ. J‰œ œ &
> . >
ff ≥ ≤≥ ≤ q=132
3
2 +
25 1 >˙ ™ > > #>œ >œ n>œ >œ 2 0 3 + 1
b >œ b >œ >œ œ b 4 1
+ 1
3 3 1 3 >˙™ >œ œ œ 1
b>œ >œ >œ > ?
bœ J ‰ Œ nœ J‰Œ Ó
& >E D D D G
≤ ≥ ™≤ ≤ ≤ ≥ 3 1
3 1 > > 2 1 2 1
b >˙ b >œ >œ >œ™ >œ >˙ + 1 ˙ œ b >œ 26 >œ™ b >œ >˙
3 1
? J J
G
≤ ≥ 1
≤
3
>œ m > >œ œ
œ™ 2
™>≤ 2
≥
œ >˙≥ 1 >˙
? J œ œ ‰ Œ
& J
Movement 2
Allegretto q=138
48
? 3 œ Œ œ≤ œ œ œ
≥
œ œ œ œœœ
4 œ œœœ œ œœœ œœœœœœ
ff
49
? bœ œ≥ œ œ œ œ œ≥ œ œ œ œ œ œ œ œ œ œ
œ Œ bœ œ Œ œ œ Œ
20
Movement 4
q=108 ≥ ≥ ≤ ≥≤ 3
100 (Poco a ≤ ≥ ≥ 0
œ™ œ œ0
œœ ≥ ≤ 1 2 4 1
4 2
1 2
≥ ™ 4 1 4 1 0 1
poco accel.) 1 2
? b 4 Ó Œ ‰ j >œ >œ >œ ™ œ œ œ œ œ œœœœœ œ œbœ œ œ œ
4 œ> nœ œ
ff
101 1 1 ™ 4 1 4 1 1 1 2 4 2 1
? b œ œ œ œ œ œ bœ œ œ œ œbœ œ œ œ nœ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ
™ 1
102
1 2 1 4 1
œ œ œ œ 2 4 2
?b œ œ œ œ œ œ œœ œ 3 œ œ œ œ œ ‰ c bœ œ œ œ œ ‰ Œ
œ œ œ 4 J J
A
q=120 ≤ œ≤ ≥ ≥ œ≤ 2 4 2 1 4
2
? b nœ œ Œ nœ œ Œ bœ œ œj ‰ Ó nœ œ Œ nœ œ Œ bœ œ œbœbœ œnœ #œ ™ nœ nœ œ ™
q=128
1 1
bœ œ œ œ bœ œ œ œ bœ œ œ œ 2 2 1 2
? b bœ œ œ œ bœ œ œ œ bœ œ œ œ œ œ œ œb œ œ œ œ
103 4 2
≥™ ≥ ≤ ≤ ≥ ≥ ≤ ™œ≥ ≤ ≥ ≤ ≥
4 4 2
4
> 0 4 1 2 0 1 œ™ œ # œ œ bœ œ œ
2 0 1 0 1 1 1 2 1 4
? b œ >œ >œ >œb>œ ‰ Œ
œ œ nœ œ
j œ
J
‰ œ nœ œ œ nœ#œ œ œ
ff
104 ≥ ≥ ≤
Allegro =q132 4 3 1
1 ™ 4
≤ ≥ bœ b1
œ ™ œ b œ
œ bœ b
2
œ œbœbœbœ œ œ
4 1
2
1
4 1 4 1 4
1
2 > 1 2 4 4
œœœ‰ Ó Ó
b > > b œ
?
b Œ ‰ œj bœ œ bœ ™ œ œ
J >
A D
4
≥
œ bœbœ 4 ≤ 1
nœ j nœ j œ 4 1
≥ ≥ ≤
?b J ‰ nœ ‰ J ‰ nœ ‰ J ‰ Œ Ó Œ œ >œ œ œ œ œ œ œ œ œ œ œ œ
>
105 accel.
? b ‰ œj ‰ œj ‰ œj ‰ œj ‰ œ. ‰ œ. ‰ œ. ‰ œ. ‰ bœ. ‰ œ. ‰ œ. ‰ œ. ‰ nœ. ‰ œ. ‰ #œ. ‰ œJ.
. . . . J J J J J J J J J J J
p cresc.
21
4
≥ ™1 2 1 ≤ 119 ≥ ≤ 1 2 0 2
? b bœ nœ bœ œ bœ œ bœ œ bœ œ bœ œ bœ œ bœ œ bœ œ bœ œ nœ œ nœ œ
pp (sub. ppp)
≤ ≥ ≤ 1 4 0 4 1 1
≥œ 4
?b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
≥ ≤ ≥ ≤ 2
4 1 2 4
4
™ 1 4 1 0 1 0 4 1
4 1
? b œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ nœ œ bœ bœ bœ œ
D A E
120
≥ ≥ ≤ ≥ 1 1
œ œ œ 0 ≤ 1 0 4
? b bœ œ œ bœ œ œ bœ œ œ ˙™ œ ˙™ œ œ œ œ œ
p
U.H.
≤ G, ≥
1 1 2 1 4
≤ G, ≥ ≤
1 4 1 2 4 1 4
?b w
˙ ˙ œ bœ œ œ ˙ ˙ ˙ bœ bœ œ œ bœ bœ
p A
A
22
Hector Berlioz Symphonie Fantastique - Movement 1
Here we have another symphony composed in the shadow of Beethoven and his
monumental contributions to the genre. This symphony is actually a fantasy of the
composer’s unrequited love, a fantasy colored by opium in the later movements,
resulting in some really wild music. Berlioz was among the first composers to employ a
program in a symphony. The 1st Movement reflects daydreams and passions, the
second movement depicts a masked ball, and the third movement is a pastoral
movement with shepherds in the country. The fourth movement is a scene at the
composer’s imagined execution, and the fifth movement represents the occult rituals of
witches punishing the composer. The last two movements feature imagery of insanity.
One must show this story through style. Some of the tools available include extreme
dynamics, controlled articulations and an excellent pacing to the many tempo changes
throughout.
Details: This excerpt is a constant source of complaints from my students. Having to

dip down before each hairpin can simulate a bit of seasickness. It may be difficult, but it
is vital to really overdo these dynamics or they won’t be heard. Although unmarked,
there is an implied overall crescendo the last couple measures before rehearsal 9.
Movement 2
Details: This passage is fun and sits well on the bass. Pay close attention to the sfs in
the middle of some slurs. My preference is legato 16ths at rehearsal 21. I included the
passage beginning at measure 123 as it is a visual trap. It should sound like four
staccato notes on beats two and three of measures 123-126.
23
Symphonie Fantastique
Movement 1 Hector Berlioz
Allegro agitato e appassionato assai h=132
86 ≥ ≥ 1
≤ 2
4
≤
2 ≤ 1 ≥ 2 4
2 2
? b˙ ˙ Œ ‰ bœj bw
w œ œ œ ™ œJ ˙ œ œ bœ ™ bœJ b˙ n˙
p sf sf
93 ≥ ≤ ≥ ≤ 1 4
0 4≤ ≥ 2 0 1 2 4 œ4
? ˙ Œ ‰ œj w œ œ #œ
œ œ œ™ œJ ˙ b˙ œ œ bœ ™ œJ ˙ #˙
f sf
™ ™ ™ ≥ ≤ 2 4
3
0 4
3
0
≥ ™ ≥ ™ 2 4 4 1 4 1 2 4 1 4 1 1
100 ™ 2
œ œ1
™≤ œ œ œ œ œ œ #œ # œ œ œ bœ œ œ œ nœ œ œ œ œ œ œ œ
2 4
2
1
1
4 2 4 4
? œ œ œ œ
9≥ ≤ ≥≤ ≥≤ ≥
4 2
107
œ œœœ œœ œ œœœ œœ œ œœœ œœ œ œœœ œœ œ
? Œ Ó
f
Movement 2
Allegro non troppo q=60
3 ≥≤ 2
≥ 1≤ ≥ 1
≥ 4 1 2 4 1 4 4 4 2
n œ 0 n œ 2 0 1 4 1 0 1
œ œ œ œ #œ 1
#
? ## 3 nœ œ ™
nœ œ ‰ ‰ nœ#œ ™
œ œ‰ ‰ œœ J ‰ ‰ œœœ
8œ J œ J #œ
pp sf sf
≤ ™ ≤ ≥ ≤ ≤ ≤
14 ™œ ™
1 4
≥ œ1™ ≤ ≥ ™ bœ™ ≥ 2
1 4
1 4
4 2 1 1 4
1 2 4
2
? ### œ œ nœ ™ œJ ‰ ‰ œ œnœ œ œ #œ ™ nœbœbœ n œ bœnœbœ nœ œ œ 1
0 4 1 2 0 0
nœ œ
J
sf sf cresc. sempre
26
≥™ ™≤ ™ ≥ ≤
4
1
21 ™ ™
œ œ œ 4 2
1 2 2 4
# œ # œ 1
? ### #œ œ œ n œ œ œ J ‰ œJ J ‰ œJ æ æ J ‰ ‰ ‰ ‰ œJ œ ‰ ‰ œ≤ ‰ ‰ j ‰ ‰
1
J J œ
ff ff f
123 1 . 4 1 0 4 1 1 0 2
. . . 2 .
1 2 1 2 2 4
# œ
? ## ‰ #œ ® nœ nœ. ® ‰ nœ. . . nœ. #œ nœ. œ
œ ® #œ nœ. ® ‰ #œ œ ® ® ‰ œ œ. ® ®
. . .
ppp
127 ≥ . ≥ 2 1
2 1 4 1
? ## ‰ nœ. #œ ® R ® ≈ nœ. nœ. ® nœ. ® ≈ ‰ nœj ‰ ‰ œj ‰ ‰ œj ‰ ‰
# . œ 2
Ô ÔR
24
Hector Berlioz Symphonie Fantastique - Movement 3
Details: One has to love the variety in the next passage, from the most bellicose to the
very delicate. Pay close attention to the notes that are dotted, played very short. In the
middle of measure 88, the dots stop and one should play quite long to show a bit of
insanity and contrast. From measure 97, there is a general pushing into a driven tempo.
The tempo drives more from measures 103 to 106 and becomes a gradual leaning
forward all the way to 110. Note where the dots start in the middle of 108 and where
they cease in 110.
Movement 4
Details: The March to the Scaffold requires a certain edge of desperation to convey its
unique character. Drug induced visions of one’s own execution produce contrasts
between somber and wild temperaments. Simply put, overdo the dynamics. The
bowings in the thematic sections are designed to articulate the 8th notes that occur
every other measure. One traditional direction that is not indicated in the score is the
accelerando from measure 137 (approx. 80 to the half note) to a new tempo at measure
140 (approx. 90 = a half note).
Movement 5
Details: This might well be the most popular of all the Symphonie Fantastique
passages to include on audition lists. Being able to articulate in all parts of the bow is
important here. And I will say it again…overdo the dynamics! A great example of this is
the contrast between measures 279 and 280. All of the 16th passages are legato
detaché.
25
Movement 3
41 Adagio
87
œ 1 1
. . œ œ œ™ œ. œ. œ. . . 1 4 4
≤ ≤
1 4
œ œ œ . .
2
œ œ ™ 0 4 1 0 4 1 0 1 2 1
0 4 1
0
1
1 4
2 4
? b 6 œj ‰ œ ® œ œbœ. œ. œ. . b œ œ œ ‰ Œ
8 œ œ œbœ œ œ œ™ œ œ
f ff dim. poco a poco p
™ . . 1
2 4
≥≤ 2 1 4
1 4 4
91 .œ . œ b œ œ™n œ b œ œ. œ. œ. œ. . .
1 1 1 4 2
0 4 1 0 1 4 1 0 1
œ. œ. œ œ œ™ œ. œ. œ.
1
1 4
2
? b Œ ™ ‰ ‰ œ® œ œbœ. œbœ œ œ j ‰ ‰ ∑ ‰‰ ®
œœ
mf ff dimin. p mf f
96
≤≥ ≤≥
2
4 0 1 4 0 1 0 4 1 2
1 1 1 0 4 1
0 4 1 0 4 2 1 1 4 4 0 1 0
4
? b œ. œ. bœ. œ. œ. œ. œbœ œ œ œ Œ
1 0
œ
œ œ. œ® œœbœ ™ œ œ œ ‰ ‰ ≈® œœ#œ ™ œ œ œ ‰ ‰ ≈ œœœ œ œ œ bœ
.
poco animato
100
2 4 ≥ 4 1 2 4
≥ ≥ 1
4 1 4 4 2 1
.œ .4 1 ™
1 4 . 0 œ ™ 4 2 1 1 4 2 1 4 4 0 2 4 2 4 1
? b Œ œbœ ® œ œ œ ™ œ œ bœ œbœ œ ® œ œnœ œ™bœ œ œ bœbœ œ œ œ. ® œnœnœ œ ™ œ œ
bœ œ
3
f 3 3
cresc.
42™ poco
103 ™ animato
™ ™ ™
b œ4 1 4 1 4 1
bœ 4
œ ™œ 1 2 4
bœnœ 1 4 2 4 1 2 0 4 1 2 1 2 0 4 1 0 2 4 0 1 1 2 4 0 1 2
? œœœœ œ
b
œ œ
nœ œbœ œnœ œ bœ œnœ œ œ œ œ œ œnœ œ œbœnœ œ#œ œ
cresc.
rall.
≥ ≤ ≤ ≥≤ ≥ ≤ 1 2 4
106 4 2 . . . . . . .4. . .
œ .
œ .
œ b œ œ 2 1 4 2 4 1
? bæ˙ ™ œ nœ ™ nœ æœ œ œ œ œ œ œ œ # œR œ œ # œ n œ nœ œ nœ œ j j
bæ J‰‰ ææ J‰‰ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ‰nœ ‰œ
ff ff dim. p morendo pp
26
Movement 4
Allegretto non troppo
≥ 3
≤
4
≤ 4 1
≤
1 4 4
17 ≥ ˙1
˙ œ œ. œ. œ≥ 1
2
≥ 1
≥ ≥1 4 1 0 1
0
? bb 4 œ Œ
4 Œ œ Œ ˙ œ œœ œ Œ œ Œ
˙ œ œœ
f ff dim.
23 4
≤
0 4
≥ ˙≥
4
˙≤ œ œ. œ. œ≥ ≥ ≤
? bb œ Œ œ Œ œ ˙ œ œ. œ.
œ Œ ˙ Ó Œ Œ
p mf f dim.
0 + 2
≥ ™. . œ. . . bœ 4 1 +
29 ≥ ≥
? bb œ Œ œ Œ
0 1 4 1 1
≥
2 .œbœ œ œ. œ bœ œ. œ œ
1 1 4
1
4
1
Œ Œ ˙ Ó œ
˙ œ œœ œ œ
p pp A
f
3
0
35 œ. œ. ™œ. ™œ. bœ. œ. œ. œ. ≥ œ≥. œ. œ
4 2 1
4 1 4 1
2 1
2
2
0 4 1 0 4 1 4 0 1 0 1 4 1 1 0 1 1
? bb œ œ œœœœ œœ œ œ bœ œ
œ œ œœœœ
dim. p
≥ 1 + 2 +
39
œ 4 1 1
51 0 1 ≥0
≥ ™ . œ. .
.
4
. œ. b œ œ œ. œ. œ. . . . œ. .
œ 0 4 4 1 1 4
1
4
4
1
0 4 2 1
4 1
4 1
2
œ . œ
? bb bœ œ œ œ œ œ œ œ. œ. œ Œ œ œbœ œ bœ . œ .
1 œ 0 1 œbœ œ œ 2
J
A
ff f dim.
3
44
≥ œ. œ 2
2 0
. 1 0
œ œbœ œ œ≥ ≥ ≥ 4
? bb œ œ œ œœœœ œœ œb œ œ
œ œ œœœœœ Œ œ Œ œ Œ
p ff ff ff
52 pizz. ˙
49 ˙ œ œœ œ
?bœ Œ œ ˙ œ œœ œ Œ
b Œ Œ œ Œ ˙ œ œœ
mf
55
? bb œ Œ œ Œ Œ Œ
œ œ œ œ Œ œ Œ
œ
Œ Œ œ œ
dim. pp
arco
59 ≥ 53
œ œ
?bœ Œ
b œ Œ œ Œ œ Œ œ Œ Œ ≈œœ Œ Ó
p f ff
27
≥ ≤ b œ≥ b œ≤ 3
57 1 4 + 1 ≥ .
130 bœ ≥4
1
≤4
™ bœ ˙.
1 1 4
1 4
˙. b˙ œ œ . .
bœ. œ œ b œ 1 4 1 2
? bb #˙ Ó Œ b˙ ˙ œ bœ
ff ff ff
"shoe-shine"
136 4
œ ≥ . ≥
4 . . . 1
≥ 4
≥ 4
≥ 2
≥ ≥ ≤ ≥ ≤ œ≥ n œ≤ ™ ≥
1 2 4 2 4 4 1 0 4 2 4 1 0 4 1 4 2 4
4 1 2
. . . . .
œ. œ. œnœ œ œ#œ œ nœ#œ. œ nœ. œ. œ. œ #œ nœ œ œ œ.
? bb 1
œœ™#œ œ™ œ
. . . . œ™
(poco accel.)
4 1
141
œ ™1
œ œ™ 4 0
œ ™ ™œ œ ™ œ™ œ™ œ œ™n œ œ ™ œ # œ ™ œ n œ ™ œ œ™ œ œ ™ œ œ™
1 2 0 1 1 4 1 2 œ œ™ œ
1 4 4 2 4
1 2
4
2
2
2
4
0 1 2 4
4 1 2
? bb #œ œ™ œ œnœ ™#œ œ™
D
145 n œ ™ ≤ ≥ ≤ ≥ ≤ 4
4 1
4 4 2 2 2
1 4 0 ™
1 2 œ™ œ œ # œ ™ œ n œ ™ œ œ™ œ œ ™ œ œ™
0 1 1 4 1 2
1 2 1 4 0 1 0 2 0 4 0 1
? bb œ ™#œ œ™ œ œ™ œ œ ™ œ œ œ œ™ œ
2
œ œ ™ œ œ™#œ œ ™#œ
D
≤ ≥ ≥ ≤ ≤ ≥ œ. # œ. n œ. n œ. b œ. . . 3 2 1
149 2 œ œ™
1 0
≤ ≥ ≤
4 2
œ
4 1
œ™ 1 2 1 0 œœ 1 0 4 0 1 2
1 0
4 2
4 1
1 0
4 2 1 4
n œ œ™ œ œ™ bœ œ™ #œ nœ ™ n œ œ™ œ œ
? bb œ ™ œ œ ™ œ œ ™ #œ œ ™ œœ ™
ff
153 . .1 2 0 4 1 0 4 1
≥ 4 ≤ ≤.
? b œ œ œ. nœ. bœ. œ œ œ ≤ œ≥ œ™
œ™ ≤ œ≥ œ™
≤ œ≤ œ≥ ≥ œ™
œ œ
b . . œ. ∑ ‰ ≈ J ‰ Œ ‰ ≈
f dimin.
157 ˙ ˙
≥ ≤≥ ≤ ≥ ≤ æ æ
? bb œJ ‰ ‰ ≈ œR œJ ‰ ‰ ≈ r j ‰ Œ j ‰ Œ œ ‰ Œ œ ‰ Œ
J J
œ œ œ
p pp ff mf
≥ 2 ≥ ≤ 4
161 ™œ œ œ œ 4 1 1 1 2 1
0
? b œœœœœ œ œ Œ œ 1 2 4 1 1
œ œ œ œ
2 0 œ
œ ‰ œœœœ Œ
0
b Œ J
3 3 3 G
28
Movement 5 ≥
236 ™ ™ 2 4 2 4 2
70 2 0 1
1 1 1
? bb nœ œ#œ œ œ œnœ#œ œ œ œ nœnœ œ œnœ
6 œ n
b8 nœ œ œ œ œ œ œ œ ™ ‰ ‰ œnœnœ n n
cresc. 3
ff f
241 ≤ ≥ ≥ ≤ ≤≥ ≤ ≥ ≥ 1 2 4 4
.
œ œ. #œ#œ œ œ œ. œ. œ. œ œ œ œJ
2 0 > 1 . œ 2 4 2 1 0 2 1 0 2 0 1 4 1 4 1 2 1 1
. . œ . . 2 0 2
? œ™ >œ ™ œ. œ. œ œ œJ œ œ œ œj œ œ œ
J . œ. œ. J J J
> sf ff
≤
248 1 4
™≥ 0 1 2
4 ™≥ Ÿ~~~~ ≥ . .
4
1-4 ≤ ≥ 0 1
4
0 2 4 1 1 2
? œ ‰ Œ™ #œ œ œ œœ œ œ ™ œ œ. œ œ œ. #œj œ j
#œ œ
∑ ‰ J J ‰ ‰ ‰ J œ ‰ ‰ ‰ J
mf
71 ≤ ≥ ≤ middle ≥ ≤ ≥≤
254 4 4 2 2 1 0 1 0 1 0 4 0 4 2 4 ≤j 1
? œJ œ#œ nœ œ œ œ ‰ Œ ™
œ œ œ#œ œ œ œ ‰ Œ ™ œ œ bœ œ œ
ff p cresc.
≤ ≤ ≤ 4
261 0 2
. .
? œ œ#œ œ œ œ. œ œ œ œ œ
4 0
œ œ
0≥ œ œ >œ ™
#œ œ
1 1 0 0 1 2 0 1 0 4 0 1 2
1 œ. ™œ#œ œ œ
4
4 2 1 2
œ œ . œ. . . œ. œ. . œ. #œ. œ Œ™ ‰ œ.
f f
4
267 4
72
1 œ. œ. œ. œ. bœ. œ. . . . . . . . . œ.
œ
1 4 2 1 1 0 4 2 1 0 1 4 2 4 2 4 1 2 4
? œ œ œ œ œ œ œ#œnœ œ. œ. œj œ œ #œ œ #œ œ #œ
œ œ œ œ œ œ œ J
sempre f D G
4
. œ. œ. bœ. nœ. bœ. . .
273 2 1 4 2 1 . 0 . .
4 2 1 0 4 1 4 2 4 2 1 2 4 2 4 0 1 2 4
? œ œ œ œ. bœ. œ. . j œ œ #œ œ. #œ. œ. #œ. œ. bœ œ. nœ. nœ. œ. bœ nœ

œ œ J
G cresc.
≥ ≥ ≤ ≤ sim.
1 2 4 4 3
1
278 . . œ 2 .
4
. b œ. n œ. œ b œ œ œ œ œ œ œ œ œ # œ œ œ # œ n œ # œ n œ 2 2 1 2 2 1
œ # œ 1 0 1
? J J J J J J J J bœ œ œ nœJ
J
G
ff p f p
f
73 2
≤ ≥ ≤™ 1 4
≥
284 œ bœ œ nœ œ œ # œ œ œb œ b œ ™ œ ™ bœ ™ œ œ œ
2 4 1 2
2 4 2 4 1
? œ bœ œ œ œ œ ‰ Œ™
J J œ
p cresc. ff
29
Franz Schubert Symphony No. 9 “The Great” – Movements 2, 3, and 4
Schubert’s final symphony is known as “The Great” in contrast to the 6th Symphony, the
“Little C Major,” but it could fairly be called Great for both its length and the
extravagance of its musical material. Schumann commented on its “heavenly length,”
although many bass players have griped about the hour-long piece over the years. The
style is firmly Classical and the music is very challenging. Not unlike “Rite of Spring,”
there were many doubts about the playability at the time it was introduced, 1828 being
only one year after Beethoven’s death. To say the least, there are a lot of notes and so
much fun music to play!
Movement 2
Details: The opening theme is sometimes asked. Play with a lot of character, draw
attention to the crisp dotted rhythms, and show direction in the phrase towards each
accent.
Movement 3
Details: This Scherzo is a mainstay of the audition literature and mastery is mandatory.
Employ a robust spiccato with substance, and add some schwung, that difficult to define
German concept that includes style and attitude. Observe the dynamics carefully at
measure 23. The main passage begins at letter B. Don’t overdo the fzs. I recommend
showing them with weight and NOT with more bow speed. You must be able to the
pulse and show these details simultaneously. I have taken the liberty of changing
Schubert’s bowing at measure 113. Going from ff to p in the wrong part of the bow
demands it. I like a shimmer of vibrato to be available on the half notes, although this
should not be regarded as a requirement. Observe the f dynamic plateau at measure
137 and the step up to ff at 141.
Movement 4
Details: There is a chance you might have to play these passages at some point, which
requires a high level of facility to play quickly and accurately. I try to group my fingerings
so that I am shifting after the dotted 8th rather than between the 16th and 8th notes. I
believe the only way to have a chance of presenting measures 158 and 467 is to begin
up bow. One last reminder about Schubert – his music is closer in style to Mozart and
Mendelssohn than Tchaikovsky or Strauss.
30
Symphony No. 9 "Great"
Movement 2 Franz Schubert
Andante con moto
≤ ≤ ≤ ≥≤ ≤ ≤ ≥≤ ≤
1 0 1 1 4 4 2 1 2 1 4 1 2 1
4 4 1 1 4 0
4 1 1 0
? 2 j ‰ ‰ œj œ œ œ. >œ œ œ >œ œ™œœ™œ >œ œœ™œ œ. œ. ™ œ. œ. œ. j‰ Œ
4 œ. . œ. . . . . . .. . œ™
. . . . œ œ œ
p
> >
4 4
52 4 ≥ ≥ ≥
C œΩ # œΩ Ω œ ≤ 1
1 1
1 4 4 1
? Ω œ J œ#œ#œ œ
œ ‰
˙ œ™ œœœœ ˙ œ™ œœœœ œ™ œœœœ >œ >œ J
p (spiccato) fz
≥ ≤ 1 4
≥
4 1
≤ ≥ ≥ 1 2 4 4
≤ Ω 1 4 1 1 2 1
60 1
™ Ω
œ .
# œ œΩ œ1
Kr
2 4
2 . ≥
1
1
1
4 1
2
4
4
Kr
œ œ . ™œ. œ. ™ œ. >œ œΩ œΩ Ω Ω 4 4 2
. . œ
? œ ‰ Œ Œ œ#œ œ œ œΩ J ‰ œ#œ#œ œ œ œ ™#œœ ™ n>œ
. œ#œ
J J
fz p ffz cresc.
67 1 4 ™ . . ™ . ™ . ™ . ™D> >
0 1 1 4 2 1 1
4 2 1 1 4
j . œ. œ™
. œ œ™œœ™ . œ. œ™œœ™
. œ. œ œ
? ˙ œΩ œΩ Œ j œ
œ. ‰ œ™ Œ œ. ‰ œ™
> >˙ . . œ™œ œ œ
. . º º
ff fz fz fz fz
Movement 3
Allegro vivace
1
≥≤≥ ≥ ≥≤≥ ≥ ≥
1 4 1 1 2 0 1 2 1 4 8 . .
. œ. œ. œ œ ˙™
0 1 2 0 1 1 6
?3
4 œœ œ. œ œ. œ œ. œ. œ. œ. œ. œ. œ. œ. œ. ˙™ œ œ œ œ
.. . . . . œ. œ. œ. œ. . . .
œœ
f ≥≤ ≤ fz f fz
≥ ≥ ™ ™ ™ 2 4 2
23
>
. .1
. . . . 4
>
. . . . . . œ b œ2
œ œ œ œ œbœ œ œ œ œ
4 1 0 2 1 4 1
4 1 1 1
4 4 1 4 1 2 4
? œœ 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.
p cresc. f p fp
31
B 3
1
2
105 œ œ b ˙ ˙
4
2
œ œ ˙ ˙ œ œb˙ ˙
4 1 2 2 4 1 2
1 4
? œ œb˙ ˙ œ œ ˙ ˙ œ œb˙ ˙ bœ œb˙ ˙
ff fz fz fz fz fz fz
D
≤ 1
4
1
112 1 4 2 1
™ bœ ˙ bœ ˙ bœ ≥
4
2 2
4 1
≤
2 2 2 2 #œ 1
4
? œ œ ˙ ˙ b˙ œ b˙ b˙ œ b˙ œ #˙
bœ #˙
fz p
≥ 1
4 0
1 1 ≤ 4
1 œ ˙ 4
121 ˙ # œ ˙ #œ ≤ 4 ≥ 1
#˙
1 2 1 1 1 2
˙ #œ ˙2
#œ ˙ 2 2
? œ #˙ œ œ
#œ #˙
cresc.
G
1 0
0 2 2
+ œ ˙ +
130 1 0 2 2
1
œ ˙ œ ˙ 1 2 4 0 2 1 4 4
? #˙ œ ˙ œ ˙ œ
œ ˙ œ ˙ œ ˙
A
f
3
0
1 2 4
139 4
œ ˙ 2 1 4
1
˙ œ b˙ 1
œ 4 1
C 1 4
? ˙ œ #˙ œ ˙ #œ œ œ ˙ ˙
ff ff
146
1 4
≥ ≤ ≥
4
≥ ≤ ≥
1
? œ œ ˙ ˙ œ œ œ
œ Œ Œ œ Œ Œ œ œ ˙ ˙ œ œ œ
fz fz ff
32
Allegro vivace Movement 4
126 ™ ™
2 1 4 1 ™ 2 4 4 ™ 4 1 1
1 2 4 2
? 2 œ ‰ #œ œ œ œ ‰ #œ œ œ œ ‰ #œ œ œ œ ‰ œ œ#œ ˙ 0 1
œ œ œ œ #˙ œ œ œ#œ
4J J 3 J J
3
fz fz fz fz fz D fz G
≥ ≥. ≤. ™ œ≤. œ≥. ™ œ≥. ≤. ™ ≤. ≥ ≥ sim.

134 2 2 4 1 4 4
™œ 1
™œ 4
1 0 2 1 0 2 1 0 4 1 4 4 1 4
.™ œœ
œ œ œ . ™ œ. . ™ .
œ b b
? œ œ œ™ œ œ™ œ œ œ ‰ œ œ
. . . œ. œJ ‰ J
3 3
fz fz
140 ™œ ™ 2 1 4 1 2 4
? œ ‰ œ œ œ ‰ œ œ œ œ ‰ #œ œ œ ‰ #œ œ œ œ ‰ #œ œ œ œ ‰ œ œ œ
b œ
J 3
J J J J J
fz fz fz fz fz fz
3
0
146 œ œ œ 1 1 1
3
1
? œ œ œ œ œ œ œ œ
1
œ œ 4 4 4 4 4 4 0 4 4 1 2
œ œ œ Œ
œ
ff decresc. p
≤
™ ™
2 1 2 C≥ 1 4 1
158 3
3 ≤ œ Œ
? œ œœœ œ œœœ œ œœœ œ œœœ Œ
ff fz
249 ™
1
œ
4
œ œ œ œ
œ œ
? œ œ œ œ œ
œ œ œ œ ∑
ff
U.H.
≥
258 ≥ ≤. . œ. ™ ™œ. . . 0 1 1 2 4 1
1 0 4 1 2 4 1 4 0 1 2 4 4
? ‰ ™ œ. œ ™ œ . #œ. . œ. œ™ #œ ™ œ œ ™ œ œ™ #œ
œ™ œ œ™ œ™ œ
p cresc.
≤ ≤
263 1 0 2 1 0 1 2 ≤
? œ™ œ œ™
œ œ™ œ œ ™ œ ˙ ˙ ˙ ˙
ff fz fz fz
33
2 4 2 0 2 2
≥ ≤
447
1
. 1 .1
. .
œ . .
œ œ™ . # œ. # œ. ™ œ. œ
. œ. œ™
4 1 1
4
3
œ
™œ ™
4
œ 23 4 1 2 1 1 4
1 4 1 2
. . œ™
? œ™ . #œ#œ ™ #œ ™
. #œ œ™ J œ
‰ nœ œ œ J ‰ œ
œ J ‰ œœœ
ff 3
. . 4
454 . œ 4 4 4
œ
? œ ‰ œ œ œ. .
.œ #œ œ œ #œ. œ. #œ. œ. 4 1 2 1 1 1 2 1 1 3
œ œ œ. œ œ. Œ
J #œ. . . . #œ.
3
ff decresc.
p
≤
467 ™œ ™ 4
K
2 1 2 1 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

≤
A 3 3
ff fz
837 œ œ œ œ
œ œ
? œ œ œ œ œ œ
œ œ œ œ ∑
ff
≥ ≤ ≥ ≤ ≥ ≤
1 3
846 . œ™ . œ. œ. ™ .
. œ. œ™ 1 3 + + 4
1 4 2
U.H. œ œ œ ™ œ œ ™ œ œ ™ œ œ™ œ œ™ œ œ ™ œ 4 1 2 4 1 4 1 4 4
? ‰ ≈
D
p cresc.
851
œ ™ 1 4 ≥ ≤ ≤ ≥ 1 1 0 1 2
? œ œ ™ œ œ ™ œ œ™ œ ˙ ˙ ˙ ˙
ff fz fz fz
34
Alberto Ginastera Variaciones Concertantes - Movement 11
Simply put, this is the best bass solo in our repertoire. You don’t have to play over
anything but a harp, which means there is a rare degree of freedom for the player to
craft all facets of interpretation.
Details: This can be an incredibly personal excerpt. These are the bowings I chose
early in my career and I stand by them (with a few minor changes over time). I have to
have bow speed freedom to shape and phrase, and the tempo is slow. Up bow on the
high E is the only way I feel comfortable with such a delicate note.
35
Variaciones Concertantes
XI. Ripresa dal Tema per Contrabasso
Adagio molto Espressivo q=60

≤ ≥ ≤ 3 ≤ ≥ ≤ ≥
1
œ ˙≥ ™
0 3 4 1
2 4 2 4
2 œ œ #œ ˙ ™ 1 ≥ 4 4 4 œ
1 65 ˙ œ ˙™ ˙ 0 1 1 œœœ
4 1
? 6 Ó™ œ œ
4 œ œœœ œ &
p
œ
A D D
5 3
≤
1 3 ™≤
1 3 ™≤
1 3
≤
2 2 1 2
G 1
9
&4 ˙ œ ˙ œ ˙ ˙™ ˙ œ œ œ œœœœœœœ
#œ
G 3
mf
Poco precipitato rall. a tempo cedendo

66 ≥≤ ≥ ≥ ≥ ≤ ≥ G, ≥ ≥ ≥ 1
7 + 1 2 0 +
2 1 2 1 3 1 2 4 2 3 1 4 1 3 1 2
4 œ™™™ œœ™™ œœ bœ ™™™ Kr 6 9 U
&2 RÔ œ œ ™™ œœ 4 œ™ œj œ œ ˙ 4˙ œ œ- œ œ ˙ œ œ
œ p dolce D
f esultato
rallentando
≥ ≤ ≥
1
10 ≤
3 1 3 G≥ 0
≤
1
≥
6 ˙™ ˙ œ™ ?
U
& 4 #˙ ™ w™ w™
˙™ œ
pp A
36

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The Quad

© 2014, 2020 Ranaan Meyer Entertainment

Edited by Hal Robinson

Published by Ranaan Meyer Publishing © 2014, 2020

Happy practicing and performing!!!!!!

bb œ -œ. -œ. -œ. -œ ™ ‰

Details: I think the obvious shape of the beginning is m. 1 to m. 2, m. 3 to m. 4. M. 7

™ molto appasionato string.

? 3#œ œ ‰ #œ#œ#œ nœJ ‰ #œ œ#œ nœJ ‰ #œ#œ#œ Œ Ó

Allegro ma non troppo, un poco maestoso Ludwig Van Beethoven

? b Œ ‰ ≈® œRÔ œ œ ™™ œ œ ™™ œ ™ œœ œ œ œ œ œ œ. bœ. œ. œ. œ ‰ ≈ œ. bœ. œ. œJ ‰ Œ nœ ‰ ≈ œ. œ. œ. # œJ ‰ Œ

?b œnœ œ œ œnœ nœ œ œ œ œnœ œ œ œ

This amazing movement has been characterized as a symphony within a symphony

≥ -≤ ≥ Allegro ma non troppo

? ## œ œ œ#œ#œ #œ œ™ œ #œ#œ ‰ œ œ ™ œ œ#œ ‰ œ œ

Pivots continue ad nauseam

© 2015, 2020 Ranaan Meyer Entertainment

Edited by Hal Robinson

Published by Ranaan Meyer Publishing © 2015, 2020

Happy practicing and performing!!!!!!

Comminciando lento ma poco a poco accel.

(bring thumb around)

8 ™1 ™œ4 ™1 2 1 2 2 œ1 2 œ2 œ4 ™œ1 œ4 œ1 œ4 ™ 1 ™œ4 ™1 œ1 œ2 œ1 ™œ4 1 1 œ1 4 œ4 1

™4≥ 1 ™≤1 2 ™≥4 1 4 ≤2 ≥4 ≤ ≥ 1 1 4 1 4 ™2 4 œ1 4 1 4 1

32 ™1 4 0 1 4. 1. 4. œ1. œ4. œ1. œ4. 1 4. ™1. 4 4 2 4

292 ™œ4 4 1 ™4 œ4 œ™1 4 œ4 œ1 1 1 4 œ1 2 œ2 œ1

68 4 4 ™1. œ1. 2 ™4 1 ™1. . 2 . . 1 4 . . 1 4 . . 4 2 . . 4. . . .

© 2017, 2020 Ranaan Meyer Entertainment

Edited by Hal Robinson

Published by Ranaan Meyer Publishing © 2017, 2020

Happy practicing and performing!!!!!!

but avoid a huge ritard.

B bbb œ™ ?œbœ ™bœ œ™ œ bœ ™ œ œ™ æ æ æ æ

performed on the string, marcato and detaché.

? 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

poco rit. a tempo ™ ≤ ≥ 3 2 +

> > >

all of his works, an elegant touch is required to be successful.

demonstrate Mozartian stylistic conventions by tapering away in measure 61. At letter B,

pivot fingerings and thumbage fingerings underneath.

bar with two quarters. These are ALWAYS played “strong-weak.”

? bb œ œnœ œbœ œ œ Œ Œ ‰ œJ ˙ æ˙ ™ æ˙™ æ ‰ Jæ

© 2020 Ranaan Meyer Entertainment

Edited by Hal Robinson

Published by Ranaan Meyer Publishing © 2020

Happy practicing and performing!!!!!!

? bb 6 œ. ‰ J bœJ œ™ œ bœJ œ ‰ >œ ™ œ œ œ œ >œ™ œ bœnœ n œJ b œ >œ ™ 4

335 # œ ™ n œ œ #™œ >œ™ # œ ™ >

Details: This passage is also commonly asked. It begins on what is typically an

Details: I throw this little passage in as it is a cello/bass soli. It is a rare instance of a

≤ ≥ ≥ ≤ ≥ 24 ≤ > ™> b >œ >œ > 4

Details: This excerpt is a constant source of complaints from my students. Having to

? œ œ œ œ. bœ. œ. . j œ œ #œ œ. #œ. œ. #œ. œ. bœ œ. nœ. nœ. œ. bœ nœ

≥ ≥. ≤. ™ œ≤. œ≥. ™ œ≥. ≤. ™ ≤. ≥ ≥ sim.

? 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

Adagio molto Espressivo q=60

Poco precipitato rall. a tempo cedendo

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