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Burgmüller, Johann Friedrich Franz : 18 Etudes de genre (faisant Suite aux Etudes faciles op. 100) La Sérénade Op.109-11

Work Overview

Music ID : 34164
Instrumentation:Piano Solo 
Genre:etude
Total Playing Time:1 min 40 sec
Copyright:Public Domain

Commentary (2)

Author : Ooi, Kazurou

Last Updated: November 15, 2022
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

1. Keep the volume of ornaments subdued and bring out the melody clearly

Ornaments tend to naturally become louder due to their numerous notes. In situations like this, where there are many ornaments within a single measure, they tend to stand out. Ornaments should be played as softly as possible (pp) and gently, ensuring the melody line is clearly articulated.

2. Apply Rubato

Since this piece is in a compound meter, it can generally proceed straightforwardly. However, avoid a mechanical progression at a tempo close to a metronome. It is advisable to apply rubato in four-measure phrases.

3. Perceive Chord Changes and Progressions

This is the most crucial aspect of this piece. Within the composition, there are chords that temporarily modulate to different keys using borrowed chords, and the expression of these sections is vital. For instance, the progression in measures 5-6, compared to measure 2, represents a kind of surprise and an emotional element. Measures 17 and 19 are similar, but their chords differ. In this way, one must delicately perceive and fully express the changes and progressions of the chords.

4. Understand the Form

The form of this piece is as follows:

  • A 1-8
  • A 9-16
  • B 17-24
  • B 25-32
  • Coda 33-38

The two A sections are identical, and the two B sections are almost unchanged. While the piece progresses by repeating the same material twice, these "two times" must not be exactly alike. Some kind of variation is necessary. For example, the second time could be played slightly slower and softer (p) compared to the first, or conversely, the second time could be played with greater volume and more time. Please introduce variations in dynamics, tempo, etc.

Writer: Ooi, Kazurou

Author : Sato, Takashi

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

A serenade is a love song sung with a guitar in hand, looking up at the balcony of a lover's room. This piece is in A minor, a somewhat melancholic serenade, but the accompaniment, as is customary, imitates the strumming of a guitar. This accompaniment pattern closely resembles Mendelssohn's 'Spring Song,' Op. 62-6 making it an ideal preparatory piece for it.

Performance Points (Original ♪=176)

The technique of simultaneously playing three parts—'melody,' 'inner voices (harmony),' and 'bass'—which also appeared in 'Morning Prayer Bells,' is called 'three hands' and is a fundamental technique frequently found in Romantic piano pieces. In this piece, the inner voice arpeggios are distributed between both hands in a 'right → left' order. First, ensure that the speed of the arpeggios in both hands is consistent. Be careful not to let the right-hand arpeggios become too loud and obscure the melody, or conversely, for the melody notes accompanied by arpeggios to stand out too much.

(From To-on Edition 'Burgmüller 18 Etudes' (NS61))

Writer: Sato, Takashi

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