|Published (Last):||28 June 2015|
|PDF File Size:||11.27 Mb|
|ePub File Size:||4.39 Mb|
|Price:||Free* [*Free Regsitration Required]|
Always insist on consistently correct fingering right from the start of the learning process. You could teach the outer sections first, then teach the middle section.
Small children playing this sonatina need not use any pedal at all. Students need to have performing opportunities before the big occasion since the problem can be that students have been playing with dynamic contrast in lessons but under the challenge of an audience, concentrate only on getting the notes right and forget the expressiveness. If this piece is to be played from memory the teacher will need to give clear guidance about understanding the structure of the music.
The LH part could be learned by playing each set of four quavers as a chord. This is a side to side, rocking motion created by rotating the forearm. Majir will be reliable overall and there will be quick recovery from any slips.
However keeping the fingers on the keys and pushing with each finger will create excess tension and give rhythmic unevenness. An excellent performance will be confident in fluency with poised tone control.
Separate hands work of each two-bar phrase before trying very slowly, hands together should yield good results. Curious students could try various fingering combinations to find out that keeping Finger 2 gives an awkward thumb on the F sharp. Pedalling Small children playing this sonatina need not use any pedal at all.
An appropriate pace with carefully detailed articulation will give a sense of character. The hands are nicely balanced and the tone is never forced in forte, which is important for the young pianist’s technical and musical development. o.168
Diabelli – Sonatina in G Op 168 No 2
Fingering The fingering given within the Harris publication is well considered. This gives a series of musical ‘signposts’ so that the performer need not feel lost if there are any small slips. Notice the well shaped phrasing and detail in dynamics and articulation. It is so lovingly played with such a genuine feel for the beauty of the melodic siabelli, with phrasing tenderly shaped, mmajor the fact that is is not even moderately allegro sonwtina begin to seem unimportant!
The tempo might, on the other hand, be quick but rhythmic control might be lacking. This fingering does work well and you can explain it in terms of giving neat control of the first two notes followed by a strong finger for the important B that begins Anron 2. If you agree with the LH playing Fingers 4 – 1 – 2 – 1 for the first bar, do insist on a healthy hand position where a straight line is kept down the Finger 5 side of the wrist, rather than bending the hand to the side.
Practice Tips Practice should be undertaken in sections, in majlr with what has been taught in diaabelli lesson. Plenty of time should be allowed for learning the middle section so that this becomes as fluent as outer sections. Final Performance You can hear a complete performance of this sonatina played here by Phillip Sear. Troubleshooting This is not a on that will present many difficulties but those that do arise will probably be related to interpretation – giving a clear sense of the elegant character, with well shaped phrasing and dynamic variety.
The fingers need to be quite close to the keys, but should not all rest on them as this can encourage pressing the key with individual fingers, causing too much tension. The way to avoid this is to begin to be expressive early in the learning process so that it is integral to the music – once the piece has been memorised un student will no longer be looking at the score for information about dynamics.
Technique The main technical issue here is that of balancing the hands sensitively whilst maintaining a controlled, even LH part.
Diabelli : Sonatina Op. , No. 2 (I) –
If the student is to learn the outer sections first then each phrase may be secured in the first section before comparison with the corresponding phrase in the final section. A sound performance will show continuity at, perhaps, quite a cautious pace. Here is a performance in which articulation detail is carefully given and the music is well known, even though technical control is not yet confident, with some unevenness at times, particularly in the ornamentation.
The opportunity to play a short piece with Alberti bass and few technical demands can enable the student to enjoy this kind of music in preparation for the sonatinas of Mozart and later for playing lengthier sonatas. Notice the way in which the performer both contrasts and grades the dynamics to give musical interest. In many respects this performance is good, being confident in fluency with a sense of character, so it is a pity that the LH needs to be quieter in relation to the RH.
The RH needs arm weight to give a prominent melodic line, rather than either pushing with the fingers or bouncing the hand on the keys.
It also helps the student to appreciate and remember the chord progressions. Teaching Strategies If this piece is to be played from memory the teacher will need to give clear guidance about understanding the structure of the music. It is important to balance the textures so that the LH part remains subtle and the RH melody can sing antln.
The piece has no wide stretches and is easily manageable by small hands. Ornamentation The ornaments are turns, as shown below the jajor page of the piece. The ornaments are turns, as shown below the first page of the piece.
Diabelli – Sonatina in G Op No 2
Practice should be undertaken in sections, in accordance with what has been taught in the lesson. This is not a piece that will present many difficulties but those that do osnatina will probably be related to interpretation – giving a clear sense of the elegant character, with well shaped phrasing and dynamic variety.
The sonatina’s essential charm lies in its simplicity of melodic line and this must not be blurred by inept pedalling, particularly if the child is not yet tall enough to reach the pedal comfortably.
There will be detail in dynamics and articulation at an appropriate pace, although technical control may be less assured than in an excellent performance. There somatina be some expressive detail, which may be over-enthusiastic with tone control issues, or maybe not sufficiently convincing. A good performance will be securely known and will show good continuity.
Diaeblli is good dynamic variety and detail here too.