Young Person’s guide to the orchestra B.Britten

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    mr-s on #151430

    Hello i am trying to practice this orchestral part from Sarah Bullens book, in variation I Maestoso the first bar with arppegios why she putted an accent sign on the top end note of the left and right hands, usually we do accent the highest note or the last high note of the arppegio both hands? and the 2nd bar she wrote the glissando down R.H

    Saul Davis Zlatkovski on #151431

    You should always know the full part in case they ask you to sight-read it, and to musically know the piece. I believe they do usually ask for the fugue as well as the solo variation. I think you will find the best fingerings in Beatrice Rose’s book. She invented a whole new way of fingering double arpeggios for this part. I’m not sure playing a lot of glissandi would be in taste for Britten, it depends. I’ve never heard anyone do it.

    Tacye on #151432

    I read the Sarah Bullen book as suggesting that the first gliss the LH should play with more than one finger- like the one on the last page of Tournier’s Au Matin.

    marguerite-lynn-williams on #151433

    Mr. S,

    I am one of Sarah’s students, so I thought I could help clarify…

    The opening rolled chords have an accent on the top note in both hands so that the descending melody line D-A-F-D is clearly heard.

    mr-s on #151434

    Hi Lynn, i am happy to find one of Mrs Sarah’s students here, but the descending melody can be heard by on accent on the last top note in the right as i know when i play arppegios both hands L.H 4 notes R.H 4 too the 7 notes go toward the last high 8 note, but maybe Britten add the accent in the high note in both hands for a reason he wanted or Mrs Sarah’s did that? the second bar the glissando ,thanks for explaining, but when we play the glissando from C the R.H down to the chord A.D.F.A do i need to play the whole notes of the chord or only the lowest A in her recording i didnt hear the whole chord played ?? i think this glissando from C down should be played not only R.H also L.H as the R.H cant go too down .

    pedalization in bar 4 and 5 moving pedal D from b position to sharp directly

    Saul Davis Zlatkovski on #151435

    It is difficult because it is poorly written for the harp, and I don’t think you should worry about being exact, except for an audition.

    Saul Davis Zlatkovski on #151436

    I don’t see which measures you mean with pedalization.

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