Burgmüller, Johann Friedrich Franz : 18 Etudes de genre (faisant Suite aux Etudes faciles op. 100) La Fileuse Op.109-18
Work Overview
Genre:etude
Total Playing Time:1 min 30 sec
Copyright:Public Domain
Commentary (2)
Author : Ooi, Kazurou
Last Updated: November 15, 2022
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Author : Ooi, Kazurou
One often gets caught up in the right hand's triplet sixteenth notes and neglects the important melody line; however, let's also consider the crucial melody line. The melody line appearing in the right hand in measures 1-2, written in quarter notes, is A A B B A D F#. Try playing this A A B B A D F# as a single melodic line. At least, when playing A A B B A, you wouldn't accent the final A, would you? Consider that the next A is slightly louder than the first A, the following B is louder than that, the second B is even louder, and then it softens on the next A. From there, you would likely crescendo on D F#, but at least on the A in measure 2, beat 1, you should relax the tension.
When playing the right hand's triplet sixteenth notes together, one tends to get distracted, and the A A B B A D F# line often becomes dynamically flat. Let's pay attention to such details. The melody line will be treated similarly hereafter.
In measure 4, beat 4, the chord becomes G# B D F, with only C# being a non-chord tone. This C# creates a dissonance with the following D (the dissonance is noticeable due to the rallentando); therefore, those who are concerned should avoid this C# lingering by changing the pedal or using finger pedaling.
Author : Sato, Takashi
Last Updated: January 31, 2022
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Author : Sato, Takashi
A "Spinning Song" is a perpetuum mobile-like piece that repeats a constant, mechanical motion, much like the rotation of a spinning wheel. It originated from Schubert's Lied "Gretchen am Spinnrade," and examples in piano music include pieces by Elmenreich, familiar to learners, and Mendelssohn's Song Without Words (Op. 67-4). This piece, which uses arpeggiated motion as its motif, is a particularly elegant and refined "Spinning Song." It is also a culminating piece, featuring various techniques learned in previous etudes.
Performance Points (Original Tempo ♩=112)
Initially, the quarter notes on the beat in the right hand form the melody, while the intricate triplet figures are treated as ornamentation. However, with a crescendo from the third beat of measure 2, they suddenly take center stage and descend gracefully from the peak. It is important to naturally align this arc-like line with the dynamics. Keep the wrist flexible, but primarily focus on lateral (side-to-side) motion rather than up-and-down. The climax is the borrowed dominant of the VI degree in measure 14. When repeating, try varying the performance between the first and second times. The chords on beats 2 and 4 in the left hand should be light. The ending is rapidamente (rapidly), concluding with a sudden upward rush.
(To-on Edition "Burgmüller 18 Etudes" (NS61))
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