ViolinExcerpts With Bowings and Fingerings3 PDF [PDF]

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Violin Excerpts With Bowings and Fingerings Ludw ig van Beethoven:

  Symphony No. 3 Mvt. 3, (m. 1-2nd ending)...............................................5 Symphony No. 9 Mvt. 3, (m. 99-115)............................................................6

Johannes Brahm s:

Symphony No. 1 Mvt. 1: Page 1......................................................................7 Symphony No. 2: Mvt. 1: (m. 18-66)..............................................................8 Mvt. 1: (m. 101-157).........................................................9 Mvt. 2: (m.51-55).............................................................10 Symphony No.4 Mvt. 1: (m.1-53)................................................................11 Mvt. 1: (m. 392-End)......................................................12 Mvt. 2: (m. 74-103).........................................................13 Mvt. 3: (m. 1-61 or Reh. C).........................................14 Mvt. 4: (m. 33-80)............................................................15

Felix M endelssohn:

Midsummer Night s Dream Scherzo, (Page 1)............................................................16 Symphony No. 4 Italian Mvt. 1 (m. 1-110)........................................................... 17

W .A. M ozart:

Symphony No. 39 Mvt. 1 (m.1-142) .............................................................19 Mvt. 2 (m. 1-53) ..............................................................21 Mvt. 2 (m. 1-27) Crunch-time version.............22 Mvt. 2 (96-125).................................................................23 Mvt. 4 (m. 1-104).............................................................24

Sergei Prokofiev:

Symphony No. 1 Classical Mvt. 1 (m.1 until Reh. H (the G.P.)........................ 26 Mvt. 2 (m.1-20 or Reh. C)............................................27

Robert Schum ann:

Symphony No. 2 Mvt. 2, Scherzo (m. 1-97)...........................................28 Mvt. 2, Scherzo (Coda)................................................30

Dm itri Shostakovich:

Symphony No. 5 Mvt. 1 (Reh. 32 until 2m. after Reh. 38)............. 31

Bedřich Sm etana:

Overture to The Bartered Bride (m.1 until 16m. after Reh A) 2nd Violin Super Colorized Version.............................................33

Richard Strauss:

Don Juan, Op. 20, Page 1..........................................................35

       

About the Editor  

 

Hi, I m Michael O Gieblyn. I am currently a member of the Memphis Symphony Orchestra, and Huntsville (AL) Symphony Orchestra. In addition to that, I live and freelance in the Nashville area and play recording sessions, musicals, tours, and of course the occasional wedding. Auditioning for professional orchestras is my other main pursuit. I m actively preparing excerpts in hopes of winning winning a larger, full time orchestra position.

The bowings and fingerings to the excerpts listed in the pages that follow come from a multitude of sources. They primarily come from the lessons I ve personally taken with Cyrus Forough (student of David Oistrakh and Josef Gingold), Elisabeth Small (student of Dorothy Delay and Glenn Dicterow), Jun Iwasaki (Concertmaster Nashville Symphony), and Alison Gooding (Nashville Symphony). Special thanks also to colleagues Michael Jorgensen and Matthew Kiefer for sharing their personal collections of bowings and fingerings as well. In preparing this compilation, I also researched the material available to the public including the Masterclasses on YouTube created for the 2011 YouTube Symphony Orchestra; William Preucil s excerpt CD by Summit Records; and printed excerpt books by Josef Gingold, William DePasquale, and the Royal Conservatory of Music.

The Result What I have to offer here is the result of my personal bowings and fingering choices, as well as other recommendations from the above sources.

How to use this book: It goes without saying that bowings and fingerings are a personal preference and that if done convincingly, any choice can be a good one. The best fingering choice of course is one that allows you to play beautifully and in tune. Furthermore, I believe that it s better to choose fingerings that help you play this way, rather than follow the choices of a famous concertmaster or teacher if it causes you to play out of tune. With that in mind, I have tried to present a few different options, as to accommodate different player s preferences. For example, some people may prefer shifting or using extensions, while others may prefer staying in position and crossing strings. The bowings and fingerings on the top line are what I use and recommend, and should present a clear option from beginning to end. The bowings and fingerings on the bottom line are an alternative option, and can be followed either for that passage until it lines up with the top option, or mixed and matched throughout. To clarify, lets look at the busiest passage from Don Juan, by Richard Strauss:    

                                                                                The top line presents one good option all the way through. If that works for you, keep moving. The bottom line also is another good option, however it s also perfectly fine to find a combination, for instance following the top line until the high D (in the 5th m.) and then shifting down to 3, as indicated in the bottom line. One last clarification, I occasionally use Roman numerals to clarify which string the fingering is to be played on (not to be confused with which position, as others sometimes use). For example, IV would be on the G-String, and I would be on the E-string. I hope this book serves you well, and I wish you all the best on your upcoming audition. Be well and practice well, Michael O Gieblyn [email protected]