25 Etudes faciles et progressives, conposées et doigtées expressément pour l'étendue des petites mains Ballade Op.100-15 - Burgmüller, Johann Friedrich Franz

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Burgmüller, Johann Friedrich Franz : 25 Etudes faciles et progressives, conposées et doigtées expressément pour l'étendue des petites mains　Ballade Op.100-15

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Work Overview

Music ID : 23990

Instrumentation：Piano Solo　
Genre：etude
Total Playing Time：1 min 30 sec
Copyright：Public Domain

etude

Piano Solo

piano solo

Commentary (3)

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.

"Ballade" was originally a literary term, referring to an epic poem (a poem recounting historical events). In music, a ballade refers to a song that sets an epic poem to melody. A representative example is Schubert's "Erlkönig," composed to Goethe's poem. This etude also shares a similar atmosphere with "Erlkönig," featuring the right hand's triple-division repeated notes, the left hand's intricate figures, and a sense of urgency. Try to imagine for yourself what kind of scene it depicts.

Performance Points (Original Tempo ♩.=104)

The right hand's repeated notes should be as precise as a metronome, with the left hand aligning to them. Ensure that the A on the third beat of the left hand aligns perfectly with the right hand. To achieve this, play the G just before it (on the off-beat of the second beat) firmly. The middle section from measure 31, in the parallel major (C major), is a four-measure phrase that should be played in one breath. Avoid breaking it every two measures. For measures 53-56, count three beats carefully.

(From To-on Edition "Burgmüller 25 Etudes" (NS70))

Writer: Sato, Takashi

Author : Iida, Arisa

Last Updated: March 15, 2018

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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.

Musical example provided by: Ongaku no Tomo Sha

Writer: Iida, Arisa

Author : Ooi, Kazurou

Last Updated: May 10, 2019

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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.

This piece can be considered one of the most technically challenging among these 25 etudes. Many performers reduce the tempo because they cannot play the left-hand sixteenth notes fluently. The tempo marking is dotted quarter note = 104, which is quite fast. This is almost the same tempo as recorded by the author. However, I have generally not heard performances at such a fast tempo; in many cases, the left hand falters, becomes uneven, lacks clarity, or even the right hand in the Coda cannot be played well. Unless this sixteenth-note problem is resolved, performing this piece will be difficult, so it must be addressed first.

Rather than performance tips, these are practice tips: Place the left-hand finger 1 on the note C, depress the key, and keep it held down without releasing. In this state, place finger 2 on H, finger 3 on A, and finger 4 on G. Then play G and H simultaneously, followed by A, creating a tremolo. Repeat this as G H A G H A G H A. Then practice these three notes (G, A, H) in every possible combination. For example, as single notes: GHAHGHAH, AGHGAGHG, etc. Or mix in double notes as mentioned before; in any case, explore and practice all possible combinations.

Another tip is to incorporate finger 5. Although the left hand in measure 3 only uses fingers 1, 2, 3, and 4, place finger 5 on

F, depress the key, and keep it held down. Then practice the sixteenth notes C H C G A H. Incorporating finger 5 increases the difficulty, but there are cases where releasing it makes it considerably easier.

If you still cannot play well after trying the practice methods above, it indicates a fundamental lack of muscle strength. In that case, you must practice etudes like Hanon, specifically those that strengthen the left hand. This will likely require a significant amount of practice and a considerable period (over 3 months).

Assuming the above practice methods are successful, the left hand in measures 3-4 should gradually crescendo from p. Be careful not to make it flat (create a sense of moving towards the left-hand A in measure 7).

Writer: Ooi, Kazurou