All markings for the articulation of the RH also should be observed and the player should consider what effect these markings have on the character of the music at that time. On the whole the LH should be played with a legato touch, however the tenuto markings and two-note slurs should be observed. It should be noted that the only articulation marks that are provided in the original are the RH slurs in bars 5, 7, 10, 12 and 15 all other markings are editorial. Any quaver patterns that are required to be played in the LH these should be played with a light cantabile touch. ![]() By altering the dynamic level of the LH, this will have a dramatic effect on the overall dynamics of the music. The LH should be played with a degree of resonance and the amount of resonance require will be determined by the length of the note as well as the dynamic level at the time. The LH has an important role to play in this piece as it helps to maintain the momentum as well as providing the harmonic basis along with some connecting scalic patterns or arpeggio-like at the end of the phrases. A slightly more intense touch using more curved fingers and with fingers lifting higher off the keys can be employed in the third phrase, as this will help to highlight that this phrase contains the main part and that this phrase is a little different to the others with its use of sequence. Touch/articulation - considering the character of the piece, the touch required in the RH is primarily cantabile. These patterns could result in be played as a triplet. Some players may find the semiquaver/quaver patterns a little hard to play initially and it should be noticed that the pattern of two semiquavers and one quaver is reversed in the RH at the start of bar 7. Obviously the piece is in triple time and it should be discussed with the player how each phrase contains two sets of two bars. If played too fast, there is a danger that the piece’s character could be trivialised. This piece has a melancholic and slightly despairing character and if played too fast, this character will be lost. I have seen some instances where the suggested speed can be up to 116 crotchet beats per minute however in my opinion, the speed of 100 crotchet beats per minute is preferable. Tempo, time signature and rhythmic patterns - there are varying ideas as to the appropriate speed at which this piece should be played. The connecting material is important when moving from the end of one phrase to the beginning of the next, as this helps to provide the music with the momentum it requires. Although there are melodic and rhythmic similarities between the phrases, basically the phrases stand on their own individually. In this piece, the phrases do not consist of a ‘question and answer’ scenario. Phrasing - there are four phrases in this piece, all four bars long. It would be best if the player provides a secondary main point in the last phrase, if not, the music will lack direction in the final phrase. The player must consider how the placement of the main part of the music at the half-way point affects the character of the music. Main part of the music - this is at the beginning of the second section where the music is in F major and the melodic material provides a robust and triumphant character. This is an excellent piece for the player to study the key of D minor, both melodic and harmonic. By the end of the first section the piece is in F major with the piece remaining in F major for the following two bars of the second section before returning to D minor in bar 11. The melodic patterns should be thought of regarding the steps and movements of the dance.įorm - this piece is in binary form with each section being of equal length. ![]() The player should imagine each hand being one of the dancers, the left hand is the male dancer and the right hand is the female dancer. It was be advisable to suggest to the player that they could watch videos of this dance so they can understand the character it. The name is also given to a musical composition written in the same time and rhythm, but when not accompanying a dance the tempo was quicker. The minuet became a stately court dance in the 17th and 18th Centuries. At the time when this dance was the most fashionable, it was slow, ceremonious and graceful. ![]() The word minuet is most probably used because the steps in the dance are quite small and short. The word minuet means small, pretty and delicate. Character/story of the piece - a minuet, sometimes spelled menuet, is a social dance for two people, usually in a time signature of three crotchets in each bar.
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