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Burgmüller, Johann Friedrich Franz : 25 Etudes faciles et progressives, conposées et doigtées expressément pour l'étendue des petites mains La bergeronnette Op.100-11

Work Overview

Music ID : 23986
Instrumentation:Piano Solo 
Genre:etude
Total Playing Time:0 min 30 sec
Copyright:Public Domain

Commentary (3)

Author : Ooi, Kazurou

Last Updated: October 17, 2022
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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

First, it is advisable to understand the bird titled "Wagtail". Please show your students videos of actual wagtails. Upon observation, it becomes evident that this bird is quite small in size and moves rapidly. Therefore, playing this piece at an excessively slow tempo would be challenging for its pictorial depiction; a tempo of at least ♩=145 is desirable.

And like a small bird, the articulation should never be heavy; staccatos should be played lightly and briefly.

The six-measure introduction at the beginning establishes direction, determining which note it progresses towards. While this is also a point of differing opinions, the chord in measure 5 contains a suspension. This is considered a non-chord tone, where the C in the F# A C Eb chord of measure 4 is sustained and extended into the next measure. In other words, measure 5 would originally be a G B D chord, so other notes would be considered non-chord tones; however, this C enters as a non-chord tone and resolves in the following measure 6. The C in measure 5 descends to B in measure 6, resolving.

While there are many exceptions, typically, when a non-chord tone resolves, the resolution tone is played softer than the non-chord tone itself. Therefore, measure 5 should have the highest tension and volume, and measure 6 should be played softer than measure 5.

Next, a section spanning 8 measures appears (measures 7-14). Within these 8 measures, consider which measure's chord

has the highest tension. From the perspective of physical pitch height, the C in measures 8-9 is positioned at the highest pitch. In the first beat of measure 9, the F minor chord (F A♭ C) heightens the tension, so it would be appropriate to make this the peak and then gradually decrease thereafter.

Measures 19-20 are the inverse pattern of measures 1-2. If measures 1-2 depict a descending motion, portraying small birds collectively alighting, then measures 19-20 can be interpreted as their taking flight.

It would also be effective to play while imagining the busy, rapid conversations of small birds.

Writer: Ooi, Kazurou

Author : Sato, Takashi

Last Updated: January 31, 2022
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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

 “Sekirei” (Wagtail) is the name of a bird with a long tail. This piece depicts its charming gait, wagging its tail as it walks, and its high-pitched chirping sounds like “piyo-piyo, pitt-pitt-pitt.” It produces bright, rolling sounds with crisp articulation. The chromatic scales frequently used in measures 3-4 occasionally reappear in the main section from measure 7, serving as a unifying motif for the entire piece. Try to find where they appear.

Performance Points (Original tempo: quarter note = 138)

Since the overall range used is biased towards the higher register, it might be beneficial to sit slightly to the right on the piano bench. Practicing grasping the dotted-rhythm chords in measures 1-2, as shown in the musical example, will enable agile movement.

The right-hand legato thirds from measure 15 utilize the technique practiced in Piece No. 4, “Little Gathering.” Ensure that the first beat of measures 24 and 26 does not have an accent.

(From To-on Edition “Burgmüller 25 Etudes” (NS70))

Writer: Sato, Takashi

Author : Iida, Arisa

Last Updated: March 15, 2018
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Translation in Progress
Writer: Iida, Arisa

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Reference Videos & Audition Selections(2items)

せいれい
津下 翔哉(入選)

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