Performance Guide: French Courante

This is a slow French-style Courante. While the number of voices varies in places, it can generally be considered a four-voice texture. In pieces where many voices intertwine like this, the key to performance is to pay the utmost attention to the independence of each voice.

Before proceeding, let's identify the themes. The main theme begins in the soprano in m. 1 and extends to the whole note G in the right hand of the following measure. The secondary theme begins in the soprano on the first beat of A-flat in m. 3 and extends to B in m. 4 (it may also extend to D on the third beat).

In m. 1, present the main theme. When the alto enters in the right hand on the third beat, play it as softly as possible (pp) to achieve voice independence. In m. 2, the main theme appears in the tenor, so bring it out. Since this measure has a three-voice texture, continue to play the alto pp.

In m. 4, the secondary theme appears in the soprano, so bring it out. From the second beat, the alto enters, so play it pp to ensure voice independence. Simultaneously, in the left hand, bring out the bass and play the tenor discreetly.

In m. 6, this is a variation of the main theme, so bring out the soprano. There is no particular concern regarding voice independence in this measure.

In m. 7, similarly bring out the soprano, but in this measure, the alto enters from the second beat, so keep it as subdued as possible.

In m. 8, the main theme appears in the bass, so bring out the bass. For the two upper voices, continue to play the soprano brilliantly and the alto discreetly.

In m. 9, this is a measure where the tension rises. Bring out the soprano.

In m. 10, bring out the soprano and bass. Play the tenor and alto discreetly.

In m. 11, bring out the soprano. In m. 12, reduce the alto's volume so that the sustained G on the first beat of the soprano is not obscured by the alto.

While there are many techniques for achieving voice independence, one key tip is to continuously listen to sustained notes. Try to control the volume of the sustained notes so that you can hear them with your ear until the very end, and also control the overall volume (balance) of the multiple voices.

Using these examples as a reference, aim for voice independence and bringing out the themes in the latter half of the piece as well.