3. Gavotte

A Gavotte is a French dance in duple meter. In contrast to the second piece in this collection, this movement proceeds steadily, without rubato. Within this straightforward tempo, one should aim to incorporate changes in dynamics and timbre. Upon examining the score, it becomes clear that the writing is instrumental. There are small ensembles of woodwinds and strings, as well as sections for orchestral tutti.

A hint for this piece, I believe, is to apply changes in timbre and dynamics for each section, reflecting the different instrumental groupings. For example, measures 1-4 are a small ensemble, but from the second beat of measure 4 to the first beat of measure 9, it should be considered a full orchestra. These sectional differences must first be clearly distinguished by volume; however, a common reason why these two sections become indistinguishable is due to unnecessary dynamic changes.

For instance, from the second beat of measure 4 to the first beat of measure 9 is considered a full orchestra, and in this section, the chord on the first beat of measure 6 serves as the goal. There is a crescendo leading up to this point. However, once past this point, the harmonic and melodic progression tends to suggest a gradual decrease in volume.

Therefore, one must be careful not to reduce the volume too much, for example, when resolving from V7 to I in measure 8. While it becomes p within the tutti, making it too soft would make it indistinguishable from measures 1-4, thus losing contrast. It should be considered p within the context of a tutti, so be careful not to reduce the volume excessively.

From this point onward, the contrast between small ensemble and full orchestra continues. The sections for full orchestra are listed below:

• From the second beat of measure 4 to the first beat of measure 9
• From the second beat of measure 19 to the first beat of measure 24
• From the second beat of measure 28 to the first beat of measure 32
• From the second beat of measure 36 to the first beat of measure 41

Now, regarding the Musette section in the B section, ff appears again here. However, I personally do not consider this section to be an orchestral tutti. I consider it ff within a small ensemble, so it should not be played excessively loud. For your reference.