Shostakovich Festive Overture

July 6, 2019, 5:57 AM · The college orchestra I play in requires re-auditions at the beginning of each school year. One of this years excerpts is from Shostakovitch's Festive Overture.The excerpt can be found here:

I'm having difficulty finding a comfortable fingering for part of it. I start in 4th position until 5 after 21 and shift to 7th, jump down to 3rd at 22, but then 5 after 22 until about 9 after 22 is where i get messed up. I shift to 6th and then back to third on the C natural 7 after 22. I think it's way to wonky, but I can't seem to figure out a decent fingering for that. Any suggestions would be greatly appreciated, as I currently do not have a teacher to go to until I move back on campus.

Replies (4)

Edited: July 6, 2019, 8:32 AM · 404 Not Found, and I'm out of town with no access to my personal copies of orchestral parts.

Edit: found it by doing a search--the actual URL is longer than what you posted, but when I copy and paste it into this comment, it ends up truncated exactly the same as yours. After the _2017_ in the link, add FO_Audition_Violin.pdf

I'm in 5th position, not 4th, at the start of the excerpt, in order to facilitate vibrating the E. Then shift up to 7th, as you say, but for one bar, back to 5th for most of the next bar but 2-2 at the end of that bar back to 7th. Then back to 5th (3rd finger) the bar before 22. 3rd position on the 2nd beat of 22.

Shift to 6th (1st finger) on the 2nd beat of the 5th bar of 22. On the 7th bar of 22, shift from 4 on the high G to 4 on the F# (next note, half step shift). Down to 3rd position on the Bb at the beginning of the next bar, 2-1-2-3 (shift) 1-2 (shift) 1-2-3 (shift) 2 on the F#. You could just stay in position at that point but I think I go back to 5th for the next slur starting on D and then back up to 7th 2-2 at the end of the bar as before. Back to 5th position on the 2nd beat of the 5th bar before 23 and stay there.

Hope this is helpful--I'm typing without a violin in my hand so I can't say 100% this is exactly what I would do.

July 6, 2019, 10:42 AM · Thanks for the help on the link, Mary Ellen.
You need to be in 4th on the bar of 21, then stay there for a bit - crossing strings. Then up to first finger on the G in the 5th bar - and stay there. Down to a 1 (third position) in the bar of 22. Up to a 1 on the D in the 5th bar of 22.Up to a 2 in the 9th bar, then a 1 on the c sharp in the 13th bar.
That's probably what I'd do - but it's up to you. Depends if you're happy going across strings. There isn't time to shift, and it's risky.
Good luck.
It's a bit of a (insert rude word here), isn't it?
Edited: July 16, 2019, 11:15 AM · Very interesting, however, Mary Ellen makes a small mistake in the 7th bar of 22 as that is an F natural, not an F sharp. You could simply shift back to 3rd position on the C instead. As Mary Ellen suggests, for fast chromatic scales, the "123123" fingering, or some variation, is indispensible (see Flesch scale book). Mary Ellen suggests 12312123, you could also do 12312312. Malcolm, how would you take that chromatic run?

edit: Jacob only now I see it is that going down to 3rd on that C that is exactly the wonky part for you. But I'm sure this can work for you.

July 16, 2019, 2:30 PM · Thanks for the correction, Jean.

This discussion has been archived and is no longer accepting responses.

Facebook Twitter YouTube Instagram Email is made possible by...

Shar Music
Shar Music

Yamaha Silent Violin
Yamaha Silent Violin

Corilon Violins
Corilon Violins

Pirastro Strings
Pirastro Strings

Dimitri Musafia, Master Maker of Violin and Viola Cases
Dimitri Musafia, Master Maker of Violin and Viola Cases

Anne Akiko Meyers
Anne Akiko Meyers

Nathan Cole's Violympics
The Violympic Trials

Bay Fine Strings Violin Shop

Bobelock Cases


Los Angeles Violin Shop

Nazareth Gevorkian Violins

Wangbow Violin Bow Workshop

Laurie's Books

Discover the best of in these collections of editor Laurie Niles' exclusive interviews. Interviews Volume 1 Interviews Volume 1, with introduction by Hilary Hahn Interviews Volume 2 Interviews Volume 2, with introduction by Rachel Barton Pine