Wagner, Ride of the Valkyries and Prelude to Act 3 of Lohengrin

Music Lesson: Wagner Excerpts

In this video, I'm going to discuss two Wagner excerpts:

• The Ride of the Valkyries
• The introduction to Act 3 of Lohengrin

The Ride of the Valkyries

It's a bit of a hot potato. It's been my experience that if you ask 10 different German people, they'll tell you 10 different ways to play the Ride of the Valkyries. It's almost as if Wagner invented the piece so that German trombone players could argue with each other.

Everyone seems to think they stylistically have it right. And to be honest, I'm trying to stay out of it completely. What I want to do is give you the basic bare bones: how you put it together, how you prepare it, and what's stylistically appropriate.

Every orchestra is going to do it slightly different. You must do your research. It's not good enough to play it well; you must play it well in the style of the orchestra you're auditioning for.

Key Points to Consider

1. The First Beat

   • The accent on the first beat of the bar needs stressing. It should be very clearly in three.

2. Upbeats

   • It is important that the upbeat is in tempo. We have to hear those eights (quavers) running through our head before we perform.
   • Practice those without tongue.

3. Embouchure

   • Maintain your embouchure position, and then simply add the tongue for clarity.
   • If you're having trouble and it sounds like "kind of thing," it may be because your embouchure is closing at the end of the F sharp before you transition to the B.
   • Keep the aperture open after the F sharp to avoid issues.

4. Air Control

   • Another exercise is to use the tongue in the air. Check if you're using a very pronounced "two."
   • Often, people allow the air to stay in their head; the goal is to get the air out.

5. Articulation

   • It's crucial to articulate the sixteenths going into the eighths separately.
   • The long dotted eighth note defines the Germanic style, with short following notes.
   • Wagner's notation shows that the sixteenth and eighth notes following the first beat are marked staccato.

6. Dynamic Variation

   • The first occurrence should be played forte, not fortissimo. This sets the style and atmosphere of the piece.

Performance Considerations

Moving on to the next passage where it transitions into the major:

• Don't try to play too loud or too long; keep it lighter.
• Different orchestras may require different note lengths and accents, so as trombonists, we must stay flexible.
• The conductor's interpretation takes precedence over personal preference.

One more tip: if you want to achieve clarity, don't hesitate to take the excerpt apart and play it just with air. It can be a highly effective exercise.

Introduction to Act 3 of Lohengrin

Now, let's transition to the introduction of Act 3 of Lohengrin, another excerpt frequently encountered in auditions.

Key Points to Remember

• Direction of Air

  • Clarity is essential as we play fast triplet eighth upbeats (quaver upbeats).
  • It's easy to become bogged down, so remember that these triplets are dynamic upbeats.

• Phrasing

  • Maintain a sense of phrasing; this is not Armageddon, it's still a tune.
  • Avoid the pitfall of jazz articulation; the sixteenth notes into the eighth notes must be clean, just as in the Ride of the Valkyries.

Conclusion

• The long dotted note identifies Germanic style, so it's vital to keep that in mind while practicing.
• As you approach the passage leading up to the G sharp, make sure to subdivide clearly in your head, this will be apparent when played.

Final Thoughts

Don't forget to keep the dynamics under control; a slight drop allows for better shape and phrasing.

In summary, both excerpts, Ride of the Valkyries and the introduction to Act 3 of Lohengrin, are quite similar, appearing in many auditions. Focus on:

• Long dotted notes followed by clearly defined sixteenths and eighths (semiquavers and quavers).

That's what marks out the Germanic style. So there you go! That's how I dismantle and reconstruct the excerpts. I hope you enjoy practicing them as much as I do. I've played both pieces many times, and it's a great experience, really fun! Enjoy your practice!