The Schumann Scherzo videos, part 4

Let's wrap this one up... with the coda! Many audition lists will also include the last page, or coda, as well as the first page. Here it is:

It's basically more of the same, with an unwritten option (one that I accept) to bump the tempo up a bit for a more exciting ending. If you've shown great control and restraint in the main section, here you can show more virtuosity.

I'd like to end with just a few small demonstrations. The first is a basic practice method for evening out fast passages: dotted rhythms.

Next, take a look at my left hand at half-speed. I know I'm not the first person to think of doing this since they did that great Heifetz video with the Scherzo-Tarantella, but I'm trying to make a point here! Plus we're going to go Mod and do a split screen. On the left I'm playing the beginning as normal. On the right, it's the same notes at the same tempo, but my fingers are working a lot harder than necessary. They're flying higher, pressing harder, and generally tiring my hand out. I'm going to be in trouble by the bottom of the page! This is a silent film:

The difference is subtle, but you notice it more if you pick one finger to compare between the two halves of the screen. And finally, I'd like to give you a look at my right hand at half speed (another silent film):

There's no special bow hold for this excerpt, just a comfortable grip with only enough pressure to allow the fingers to flex in either direction. The finger motion that you see in the video is a byproduct of the fingers' flexibility; I'm not "moving" them, but they flex from the bow catching the string on each note.

If I might say another word about the right hand and right arm, notice how the hand and forearm remain at approximately the same level. This allows the wrist to remain relatively straight. When the wrist is allowed to bend (usually in the mid to lower part of the bow), it must then be straightened for the upper part of the bow. A smoother stroke can be achieved when the arm finds the appropriate level so that this adjustment isn't necessary during the bow stroke. To do this during string crossings, as in the scherzo, it's important to allow the right arm to move to the correct string level rather then trying to flick the wrist across the strings. Then the hand can stay "quiet", simply responding to the motion of the arm.

I hope you've enjoyed this look at the Schumann scherzo. I invite you write in and share your experiences with this piece, whether in the practice room or in auditions. Happy practicing!

Part 1
Part 2
Part 3