Orchestral Excerpts for Viola with Written and Spoken Commentary with Yizhak Schotten

Orchestral Excerpts for Viola with Written and Spoken Commentary with Yizhak Schotten (PRACTICE TIPS AND CHAPTERS BELOW)
Seven practice methods that I find helpful for learning orchestral excerpts:
1. Use the metronome for slow, lyrical passages as well as fast, technically difficult ones. Begin at first by playing everything half tempo with the metronome, whether the final tempo is slow or fast. At this slow pace it is easier to hear details and gain control of intonation, phrasing, sostenuto and articulation. Gradually increase the speed until you reach the tempo of your choice. When increasing speed in any type of practice, use the metronome and upon repetition incrementally advance the tempo.

When playing lyrical passages in tempo, use the metronome to control the tendency to slow down whenever you want to be expressive. Of course, in an actual performance you will want to be freer, but practicing this way will prevent you from overdoing it. Remember--rubato and vibrato are devices that allow you to play expressively while maintaining a good rhythm.

When playing fast passages up to speed, drill this final tempo often with the metronome for steadiness and endurance. It is extremely important in an audition to play fast passages with a steady pulse, and it is safer to play very cleanly at a slower tempo rather than too fast and risk losing control. If the tempo is too slow and you are asked to play the excerpt faster, you would have the benefit of having already played it successfully.

2. When practicing spiccato, play détaché, digging into the strings but keeping your wrist and fingers loose. This way you will be able to practice the stroke correctly and for longer periods without tightening and tiring your arm.

A good way to begin practicing soft spiccato is to play open strings loudly at various speeds and gradully drop the dynamic level until you are able to control your soft spiccato. Then apply this technique to spiccato excerpts, playing loud at first and gradually dropping the dynamics to reach the desired level.

3. For détaché or spiccato excerpts that involve string crossings, reversing the bowings is helpful. Play the opposite of your normal bowings, starting slowly and gradually increasing the tempo

4. Play détaché and spiccato passages using only your right hand. Pretend you are using your left but leave your fingers off the strings so that only the open strings will sound.

5. For clear articulation in fast slurred passages:
A. Practice with vibrato quickly lifting each finger energetically off the string and the relaxing it as you play the next note. This helps left hand clarity and prevents tension.
B. Use left hand pizzicato to build finger strength and agility.
C. Practice even notes in dotted rhythms, especially when string crossings are involved. (ex: long-short and short-long).
In these exercises, start slowly and increase the tempo gradually.

6. For evenness in frequent string crossings:
A. Practice the string crossings as double-stops. This is very helpful in obtaining good intonation, control, and a beautiful legato in slurred passages.
B. Practice in different parts of your bow to gain more control. For best results when actually playing string crossings in various dynamics, play near the middle of the bow.

7. Practice technically difficult passages in small increments and then combine them. This should be done at the final performance tempo only after you have practiced them first slowly and carefully to ensure good intonation and rhythm.

Chapters:
0:00:00 - Introduction
0:00:58 - Mozart Symphony no. 35, Movement 1
0:03:10 - Mozart Symphony no. 35, Movement 4
0:04:46 - Beethoven Symphony no. 3, Scherzo
0:07:04 - Beethoven Symphony no. 5, Movements 2 + 3
0:13:02 - Rossini La Gazza Ladra, Overture
0:15:18 - Mendelssohn Midsummer Night's Dream, Scherzo
0:17:19 - Berlioz Roman Carnival, Overture
0:19:54 - Wagner Tannhauser, Overture
0:22:03 - Smetana The Bartered Bride, Overture
0:23:41 - Brahms Variations on a Theme by Haydn, variations 5, 7, 8
0:29:12 - Brahms Symphony no. 2, Movements 1, 2, 3, 4
0:37:46 - Bruckner Symphony no. 4, Movement 2
0:39:55 - Strauss Don Juan
0:43:20 - Tchaikovsky Symphony no. 6, Movement 1
0:45:46 - Strauss Don Quixote
0:47:16 - Strauss Ein Heldenleben
0:51:30 - Mahler Symphony no. 10
0:54:17 - Ravel Daphnis and Chloe Suite no. 2
0:58:16 - Shostakovich Symphony no. 5, Movement 1
1:00:02 - Prokofiev Classical Symphony, Movements 1 + 4
1:03:27 - Strauss Don Quixote, Solo
1:07:10 - Enesco Romanian Rhapsody no.1, Solo
1:08:05 - Ravel Mother Goose, Solo
1:08:53 - Kodaly Hary Janos, Solo
1:10:02 - Ginestera Concert Variations, Solo