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Encounter of Santander
Concerto for double bass and piano no. 2 in B minor
I. Allegro moderato
Janne Saksala, guest professor
Erick Martínez Olivo, student
Jesús Gómez Madrigal, accompanying pianist
Professor Saksala comments that it is important to take time differently within passages to get the specific phrasing, not always the same breathing and pause. He gives some indications to the pianist. Continuing with phrasing, the student should pay attention to the most important notes in the phrase and Saksala talks about color and expressive resources to be applied. Bowings (bow changes and use of the bow) are used in relation to the phrasing as well.
Saksala mentions some kind of articulation between the slur and the separated sound. The Professor purposes alternative fingerings that the student should try and chose the best option for him. Saksala makes notes on the score and links with the phrasing and the bowings. In specific phrases, it is important to remark the lowest note and not to rush. On the D string, the student should play a wider bowing to be heard over the orchestra. To play a single note, it is better not to use the D string because that breaks the legato and the sound, so the key is to get the same sound with the fingering adapted to the phrase.
About the character, it is not necessary to play louder if we want to achieve a mysterious atmosphere.
Finally, Professor Saksala explains how to work the 'spiccato brillante'.