Hi my name is Joseph Conyers and you're about to watch
a preview from my course Orchestra Chops made available on discoverdoublebass.com
- So the exposition of
Mozart's 39th symphony
is a beautiful one.
It's actually quite elegant.
It's the epitome of this
classical style that we're
trying to achieve when
playing the music of Mozart.
This first shows up is
in our first entrance
after our coordinates of course.
Which is this melodic line that's actually
been played by the violins just before.
So, I mentioned this before
but it's always really
really great to hear recording.
We live in modern era, you can actually
just even go on YouTube.
Look up the thirty ninth
symphony of Mozart.
Just see what's going
on to put in context how
this part fits in with everything else.
So, the way even Mozart did his bowings.
It's very easy to to maybe play this this
this theme converse segmented.
So,
There's that, and then
And then
Then
One of the
Along with the many saying that I have.
One of the things I had,
that I say all the time
conducting or working with students,
is a long note is an opportunity.
I mentioned before that in Mozart
we don't necessarily hold
long note and sustain,
but a note can actually
have more direction
and then lead to another note.
Because as I said, in another session,
is that the notes going somewhere
or coming from somewhere.
So, like in the theme to
the Mozart 39th Symphony.
I would recommend that
the B flat, the long note.
That's an opportunity to do something
and that's to go forward musically.
Which makes it basically means I might
change my vibrato a little bit,
but I'll definitely maybe a
slight increase in volume.
So that it sounds like the music
wants to ultimately move on.
I can demonstrate that by doing this.
So there you saw there
was a groan that B flat.
So even, if you wish.
I'll play the other way,
and you see.
If it's way that way it doesn't feel
like the music and
wants to move somewhere.
That's one.
Two, there's no accent on high G.
The G comes out of the B flat
So, should be very melodic and elegant.
Because the ultimate goals this E flat.
That is our goal in this piece one,
for all kinds of reasons.
One it just happens to be the key
of the piece, Mozart 39th Symphony.
But it's actually um, in this in
this moment um, a dissonant note.
I was not gonna talk talk very briefly
about something and I of
encourage all looking up
The word, or ask your teachers.
The word Appoggiatura.
This E flat here is an Appoggiatura,
and a Long story short.
The Appoggiatura, literally means lean,
on all Appoggiatura musically.
We always want to lean on that note.
It happens because, it's a dissonance
that didn't generally
resolves down by stuff.
We can also resolve up
to the resolution note.
So, it's kind of like tension and release.
You may have heard that used before.
The E flat is the tension,
and the D is the release.
Generally, all your music, in particularly
baroque and classical well and everything,
goes to the Appoggiatura,
or leads the Appoggiatura.
So, in this whole thing,
instead of thinking,
about this segment at
chunks of musical line,
is actually this one, long beautiful line
that Mozart has created that,
that the cellos and basses get to play.
And then we do it again,
with this consequent phrase.
Now I said consequent phrase because
it's kind of an antecedent, consequent.
That's another, these
some musical terms that
you'll probably learn in school, someday.
but the antecedent phrase
kind of asks a question
and then the consequences
phrase is your answer.
So, that is the melodical material
We want to emulate the horns,
that actually also play this tune.
Very very elegant we talked about
bow changes in the introduction.
So, the bow changes are very,
very smooth when you do this.
You also realize that I start in a
different part of the bow.
Is very, when you see a down bow.
is very, very typical to want to start
at the frog 'cause it says down right.
But, if I were, look what happens if
I started the frog this excerpt.
I run out of bow.
So, we have to be very very thoughtful
in planning of where we
start all of our experts.
And here, because I use this bowing,
and there are many different bowings
that are used for this excerpt.
But, because I start and have a long note
after I start way further out.
It helps with bow distribution,
but also helps with playing though
that long note and using
it as an opportunity.
Also, make those changes way easier
to bow changes types, away is also easier.
So, I Hope that makes sense in this
looking at this first
part of the exposition .
Um, the coordinates before letter A.
Should be elegant and looking up.
You notice I did not go.
'Cause those notes sound very flat,
and very uh I would say, expressively
they go down, there's
not, there's not spirit.
So, it should be
So you ask, "why do I do that?"
"How do I know to do that."
Well, if you know the piece.
The violins are going.
Quite short, and quiet I say, up.
The notes go up. So we don't wanna go.
Then surprise, with the Subito Forte.
Thanks so much for watching I hope you enjoyed it
Full details about the course are at the link below
