Through two excerpts from the Ravel Piano Concerto in G and the Rossini Semiramide Overture, Jennifer explains how to get the best articulation in relation to the musical result we want to achieve.

INDEX OF THE LESSON:

0.00 Welcome back!
0.24 The subject of this lesson
1.00 The Ravel Piano Concerto in G: why a t-u-t-u articulation doesn’t work
2.32 How to expand dynamics without cracking the accented Gs
4.42 Demonstration on the piccolo
6.39 Practice session starting from the low D
9.14 The Rossini Semiramide Ouverture
11.07 An articulation that replicate a long singing F sharp
15.57 Practicing putting it in a scale