Okay, class, get ready. What are you doing?
Okay, stop for a second. You're not settled yet.
Hurry hurry. Be settled.
If anybody has gum, get rid of it.
It's not a new rule.
Okay. Are you all settled?
Soflty, at the tip.
Okay, stop for a second.
You have to be softer than she is.
Because I heard out of tune playing at the beginning.
Okay, listen.
And listen to her D again.
Soft. Listen.
-Did you check with your stand partner. -Sure did!
Good.
Be sure you're listening. And as always, soft.
Okay, please do not forget that tomorrow is parent conferences.
Your parents are coming in the morning.
I'm only here till 10:45.
So if they're coming tomorrow, just remind them.
I'm here till 10:45.
-What about tonight? -It goes till noon.
-Tonight, I'm here. -Okay yeah, that's what my question was.
Yeah tonight it's fine.
Please don't forget to tell them that. Okay.
Find the note.
Think about what your bow is going to do on the note before the whole note.
And then what is your bow doing during the whole note.
All right.
Instrument up. Bows on that string. Double check.
Is it closer to the bridge or the fingerboard?
One, two, adapt it,
One, two, three, four.
Did you let down bows, especially on the whole note decay?
-Did you notice? -A little slight decay.
A little bit. They were doing it a little bit.
You did a better job at the beginning, than you did toward the end.
So you were letting them decay.
What are you going to do to not do that?
Save. What else?
-Prune it? -Prune it.
That's all you have to do is prune it. So you add that weight to that tip.
Let's all do just an open D string, let's do a down bow whole note.
Let's see if we can not die.
You ready?
Two, three, go.
Wait. Where must you start the bow?
Middle off. Oh okay. Right, let's try it again.
One, two, conduct.
Did it stay the same or did it die?
It was, it stayed the same.
Yeah actually it was pretty, it was pretty much the same.
Actually it was better, but you got to do that.
Every single time.
And you cannot get halfway through and go, Okay. I'm tired of this.
-I'm tired of thinking. -Oh, forget it. It can just decay.
Don't do that. You're smarter than that. You're better than that.
D scale.
One-off. One-off. There's your rhythm.
Okay now now look at it a second.
Look at the dynamic marking. What's your bow going to do?
Okay. Let's try that. Let's do the D.
Let's see what we come up with.
Two, three, four, one.
Okay let's do it again. Two, three, four, one.
Not bad. Do you use more bow on the last note or less bow on the last note?
Less.
Is it faster or slower?
-The same. -Slower?
Let's try it. All right. Let's try and make it, let's try.
Could be. Let's try the last out and let's use faster bow.
Two, I want open D. But we're still going. We're still starting up.
Two, three, four, one.
Did you use fast bow?
Same.
Okay. Some of you used the same. Everybody use slow bow for me.
Two, three, four, one.
What do you think?
-Better. -It was better.
Use a slow bow on the end.
Slow bow on the end.
Okay, now let's do a D scale. There's your rhythm. There's you're donet.
One, two get them up there. Where are you in the bow?
Look around you. Where are your section leaders?
One, two, three, four, rest.
Rest.
And.
Rest.
The last note.
I need a violin volunteer.
-I need a violin volunteer. -[inaudible]
If it makes you feel better today,
I'll just tell you this won't be a playing one because I won't do that to you today.
Okay, I need a female volunteer. Uh, we'll let Megan do it.
-He always gets to do it! -Okay, tell us, are there any volunteers?
Volunteers.
Rebecca, you did it.
-Okay, Justin. -Thank you. Does it involve standing?
-Yes. Okay you can do it. -Okay not doing it.
Okay, you're going to do the bases also.
-Sit down. -Volunteers, come up.
All right, so.
You are watching your section,
and you are noticing,
are they doing what's here? Does the last note decay?
How much bow do they use?
Do they use the same amount? Does it really decay?
Does it do that the whole way through?
All those things. I want you to just listen and note.
Okay. Ready? D scale, right from the top.
Two, three, let's start with the bow on the string.
Three, four, one.
Okay. What do you think?
Uh something felt delayed.
-Okay. -It was pretty good.
And were they using pretty much the same amount of bow?
-Did it decay at the end? -Yeah.
Okay. Oaky. That's fine.
-Megan, what did you notice? -It was good.
Well, first I noticed I couldn't hear anything,
cause there's only three of us, but we sounded pretty good.
But I think we started in different parts of it though.
Okay, good.
And did we decay.
Okay. Very good. Yeah. I noticed you moved closer.
Okay. That's good.
I have two things.
Um, one, you all could have been louder at the beginning,
and decayed the sound. Okay.
And then what we need to have as a little bit more swagger.
Okay.
He's swaying a little bit back and forth.
You all need to do it. Kind of, I mean, I can't do that because of this,
but you all can pick it up a little bit.
That's very good observation.
We need more sparkle.
Flow. You all don't do that.
-Sorry. -Okay. That's very good though.
-Everybody could do that. -Yes.
Though swagger isn't the word I probably would have used.
But actually it's a very good word.
If everybody moved, la dum.
Are you not leaning into that second note more when you do that?
La dum. Let's try it.
That was a very good observation. Good for you.
Two, three.
Two, three, four, one.
Releasing together.
And.
The pitch in the cello.
-Okay. It is better? -Better, oh yeah.
It is better. It is better.
What about legato, is everybody using it all the time?
-Yes. -Most of you are.
That's a good thing. Okay, good. It's getting better.
We'll come back to that technique in just a minute.
Okay, rhythms and rhythmic bowings.
Page two. We are on line ten.
Line ten. Page two.
Rhythm and rhythmic bowing.
Page two, line ten.
Ready?
On three. Sitting up straight.
What are you going to do on the rest? Two. Three.
And. Okay, wait, wait.
See you should be able to change styles, keys.
Bowing, everything.
In a split second. Two, three.
Okay. So if I played this
and I did this, wherever we are, here.
So if I do this.
That's beautiful Ms Wagner.
Do I sound like I have any confidence whatsoever?
-Yes. -I do?
-No. -Really?
-Is that any confidence? -No?
For me that's the, Oh no.
I might play in a rest.
Oh no. I might play it wrong. Well, you know what?
Okay then.
-Did I play it wrong now? -No.
-You sure? -Yes.
I played on three.
-Where do we play? -Four.
But did I play with confidence?
Yeah.
So if I make a mistake, let me make it a big one.
Yeah, let's do it. Ready? It's your turn.
And if I can do it, anybody can do it. Ready?
I have a new titanium shoulder. Ready? One, two, ready, go!
Okay, come on!
Was it better? Yes it was. Let's do line 11.
Ready? Here's line 11? One. You ready? You there?
Cross your brigde. Are you vibrating? Two. Ready? Go!
Okay.
So let's say that you are contest judge.
And we just performed in the site where you're working.
What, what would you have to say about that performance of that line?
-Don't play in the rest. -Okay, don't play in the rest.
That's a really good thing, let's not play in the rest.
But if you happen to, make it your best sound.
And follow your stand leader, even if he's wrong.
Okay, follow your, okay, follow your section leader.
Okay. That's a good thing. I like that. What else you had?
-Uh, right key. -The right key.
Always a good thing. What about your balance and blend?
-Did we have any of that? -No, not so much.
Okay let us do it again.
Pretend this is your first time. What's your balance and blend doing?
One, two, three. And.
Vibrate.
Big sound, making it clear, like an organ.
Was it better?
Yeah. It was better. Did you release exactly together?
Mostly. Yeah. That's pretty good answer. Mostly.
-Overall we were together. -Yes overall you were.
Be careful also. Okay, your release notes. Remember?
Don't let them don't let them talk, taper them. But that was better.
I liked that. It was better. Okay, here's a 12.
-Is that the key signature? -Yes.
-We're just going to take notes. -Yes, sir.
One, two, ready, go.
Okay. Always notice the volume is going equally.
All right, next line.
This is where your're in parts, is it balanced?
Notice your keys. No opening flats. Two, three.
When you walk into the sight reading room,
you have no idea what key you're going to be in.
You must be comfortable in every key.
No we haven't played as much in B Flat, that's true.
But you have to be confident and comfortable. Let's do it again. Ready?
And blend while you go, tune it while you go.
Two, three. Oh my, I see dead hands.
Start the engines.
One, two, ready?
That's better.
Watch that last chord. It can be tooting all the way through.
Violins, it was better on the E Flat.
And one of the reasons I harp on you to keep playing four fingers all the time,
is even if when you're sight reading,
If you would miss it and play an E Actual instead of E Flat,
at least you haven't closed off.
And you could make that quick adjustment.
So keep those four fingers going all the time.
Okay, let's get our procession.
Okay. First violins.
We need your help.
And you are going to go with the second.
You don't have this line. See that line?
That line you're going to do, that part.
Somebody tell me how we're going to play these measures?
Beautifully. [inaudible]
-I'm hearing it, I'm hearing it Claire. -The way we did it in the scale.
The way we did it in the scale.
So you make the last of softer than the middle note.
Let's try it. Ready.
Set.
First. We're going to count the seconds.
Two, three, four, one.
One.
Okay stop. I want to go back.
Let's see if we can put the same dynamics that we did on the scale,
in that part.
Ya di.
Let's start it again.
You ready?
Let's do it. See if you can do it.
Now you know where we are and what we're doing.
Two, three, four, one.
And.
One.
Stop.
Could I hear the very first note you played?
Together, hear it in your head. No,
I didn't ask you to start yet. Hear it. Now play it.
It's on the D, right?
The next note in the bar.
Next.
D Major.
You can close that off.
A big space for the first note.
Next.
D. Hold on, hold.
Next measure, first note.
First double bass.
Hear it. Next.
Next.
There's only a few left. Next.
Start humming that note.
Keep playing it.
Okay, stop playing it. Hum only.
Okay. Now would you join yourself? Keep singing.
Join yourself and make your finger go to what you're humming.
Hum it only.
Join yourself. Make your finger go to what you're humming.
Now what I want to do is, I want to start with that very first note.
I want no rests, and we're going to play to that half note. Okay.
So we are going to start here, and play till here.
See where I am in your music.
Without rests?
Without rests.
It is a choral without rests. Ready?
Three, four, one.
Let's do it again.
Now we know what we're doing. Let's do it again.
-Do you want us to still do the up note? -No you can start up though. That's fine.
-We'll start up. -Do I keep my foot the second three notes?
No. You don't have to. You don't have to.
I'm interested in the blend and the pitch here. Ready?
Three, four, one.
I need,
in measure three, which is this measure.
I need to hear the first note. Ready? And.
Let me hear all the A's.
Let's hear the second violins. Ready.
Okay. It's the violas hum that makes them the A's.
So you need to splitt he bass all right?
So violas get inside their pitch.
No vibrato right now.
Ok, and vibrato with the basses.
Add the C Sharp. Not louder than the basses.
Next, slow to the bar.
[inaudible] And we're going back to the first note.
Just play that measure for me please. Let's do the full measure please.
Two, three, four, one.
Let's sing that measure on laa.
Three, four, one.
Laa, laa, laa, laa.
Okay. Play it. Three.
Ready? Three, four, one.
Sing it again.
-Three, four, sing. -Laa, laa, laa, laa.
Play it. Three, four, one.
Let's do it again. Sing it.
-Three, four, one. -Laa, laa, laa, laa.
Play it and sing it. Three, four, one.
[Inaudible].
It's better. It's better.
You've got to keep listening though. Here's the beginning.
Not yet. Not yet. I'll make you wait.
Two, three, four, one.
What happened to the pitch?
Wasn't so hot, was it?
Cello, especially, you have to be careful
when you drop down to that lower sharp, gravity makes that rumble down there.
Okay. Do it again. Ready.
What does the bow do? Lot's to think about.
Pitch what the bow is doing. Your balance and blend.
[inaudible]. Sorry James is trying to improvise the music, so.
I hope you have a- You know he still has that ankle strap, so.
One. Beginning. Two, three, four, one.
What's your bow doing?
Was it better?
Yeah, it was better.
Cellos, you and bass, it's going down from the F Sharp to the B.
You've got to hear it.
But whatever fingering you guys used, I liked it.
I liked it.
That was better.
Now can I hear viola and cello.
Uh, yeah, it's the eighth note.
-Sorry what are we doing? -You're playing the eighth note.
I'll give you one te, two te, three, come in on four.
One te, two te, three te.
Yeah, let's do it again. That was better than yesterday.
And it will help you.
if you're not too close to the frog, the closer you are to the frog,
the harder it is to go straight across.
Here, it's too much work. But down here.
It's much easier on the other part. So move down a little bit.
You ready? One te, two te, three te.
That was better.
Now I want you to practice that, shadow practice silently.
From the first violin please.
Okay ready? On your part. Yes.
On your part. I didn't forget you.
I missed the first violin. One, two, three.
[Inaudible].
Echo.
[inaudible]
Silent practice.
Now.
When you're going into seven, it will really help you
if you get back toward the frog for the down, down.
So some of you got stuck out on the middle and that's too hard.
Down, pull it down. You went dum dum.
And you got to do that, both circled the frog.
Let's put it together, everybody on your part. Ready?
Remember they come in first.
One te, two, start.
One.
It's better. It's better than what it was yesterday.
It's a lot better than what it was yesterday.
Cellos, we still got to get that, and basses, that C sharp, on that F Sharp down there.
And then you have a C-sharp in 13,
that you're coming from F Sharp to C Sharp.
And you got to have that really mashed into that,
so it's that clear clean sound all the way through there.
Please remember when you play piano,
it's only the bow that plays piano.
Left-hand loud and long.
The bow does all the other variations.
Um, I want to go, um,
let's just go right at seven. That's easy. Ready? Seven.
Two te, you ready?
Right on seven.
Three, four, one.
[Inaudible].
That's it. That was the start.
Let's start without first violins at 11.
And the other thing,
is marking this spot.
Everybody has it, a first where you have the two noodle lines longer.
Longer. Count. Taaa.
Almost no separation in that spot.
Let me have everybody but first right at the left.
Ready?
Two, three, go. Oh, no.
That wasn't our big sound.
That finger, yeah down bow.
Three. Go.
[Inaudible].
Take a shortcut and go from A to C sharp, it should be right under your hand.
Two. Come in with that tinker. Two, number 11, go.
[Inaudible]
That's the idea. That's the idea.
Not enough, there's not enough vibrato. It has to have vibrato.
Not an option. And violas and seconds, as you go into the key, you can use more bow.
You're the most important thing here. So you can actually play mezzo forte.
[Inaudible]. Let's see if you can get that vibrato going.
So rings and sing all the way through. Everybody, let's start left.
Much better than it was yesterday. Here's 11.
Two te, three te, vibrate, go.
[Inaudible].
Forte, forte, forte.
Taper the end, and vibrate, and freeze.
Right. Now there are some spots that you need to be sure you have the margin.
For example, uh viola and cello those last three bars, correct?
Get that figured out. Cello, bass, 28.
-Be sure G Sharp is there. -First or second.
That section 23, 24, 25.
You have lots and lots of string crossing.
So be sure you have that marked.
Okay. All right. Charlie Brown.
[inaudible]
Okay. Find for me please. 46.
[Inaudible]. 46.
Got it?
Thank you those of you who can read the board.
[inaudible].
Right.
Ready? One te, two, three, go.
[Inaudible] the other day.
You have to be really careful in this.
Little notes can't jump out of the texture.
You have to be careful on that F Sharp. Because you go, D! Then I lose the D.
Tee daa daa, the D is actually more important.
The F Sharp is going to come out anyway.
Tee daa daa. Would you just play that spot for me? 46?
See if you could vibrate more on the D.
Two. Ready? Go.
Okay. Let's try that again. Tee daa daa.
Don't be afraid to use your thumb. Two. Three. Go.
Okay, I like that better,
but what I don't like is you got to calculate how long the dotted half-note is
so you're not early to the next bar. Okay. But that's the idea.
Let me hear seconds and violas. Please. At 46.
Move exactly together.
Okay. I only thought.
Two, three, go.
Okay. Don't be afraid. It's an F Sharp. That's correct.
Play your first note. Loud.
Next note. D and F Sharp.
Next measure.
Next.
Play an open D, see if you hear it.
There you go. Next.
Okay ready. If you need to play an open B for now, that's fine.
Considering your going to hear that pitch. Ready? Go.
Ooh! Okay, let's do it. Ready. Let's do it.
Can't be afraid of it. Okay ready.
Freshmen. You need to be in your fourth hour class now.
-The bells are acting up a little bit -One, ready, go.
as you can tell.
Now just the seconds. Ready seconds, ready, go.
Relax.
Okay, here's the deal. Remember in a slur,
the only thing that keeps the rhythm is the left hand. Right?
So if you come off
if your fingers move too fast, the rhythm is wrong.
Okay. Let's do it. Ready? Two. Ready?
-Ooh, isn't that an F Natural? -Yeah, that's an F Natural.
Play that second measure. 47. Ready? Go.
Okay.
Mary had a little lamb. Starting on G.
Two, ready. Go.
Okay, that was better.
You didn't like that?
It looked like little miserable minions.
[Inaudible].
Get that F back.
Okay let me hear the seconds and violas in 46.
And that's a spot to put a little X beside.
Ready? Two, three.
That's better.
Okay that's better. Seconds, same thing that I said to the violas.
When you get 51, for now play open D.
For now, so that you hear the pitch.
Let's put everybody at 46 before we pack up. Ready?
Everybody together 46, before we pack up.
-No. -Please.
No. The whole thing. One. No. One. Ready. 46.
[Inaudible].
And we will look at this spot on Monday.