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Hummel, Johann Nepomuk : Six pièces très faciles　Ecossaise Op.52-5

Work Overview

Music ID : 48777
Instrumentation：Piano Solo　
Genre：pieces
Total Playing Time：0 min 40 sec
Copyright：Public Domain

Commentary (2)

Author : Ooi, Kazurou

Last Updated: May 30, 2025
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

This is a very difficult piece. There are two main areas of difficulty.

1. Varying Dynamics

One is the issue of how to vary the dynamics. The composer's score indicates four dynamic markings: F, p, pp, and FF. Firstly, regarding how to differentiate between F and FF in the opening 8 measures and measures 33-40, one suggestion is to vary the volume of the left hand. By playing the left hand at a piano (P) dynamic in measures 1-8 and at a forte (F) dynamic in measures 33-40, the distinction between F and FF can be achieved.

2. Differentiating Repetitions

The second difficulty lies in creating differentiation when repeating the same material twice. Instead of simply repeating the exact same thing, some kind of variation is desired. Measures 17-24 and 25-32 are identical in terms of notes, rests, and rhythm. If the author were performing this, even if a piano (p) dynamic were indicated for measures 17-24, they would continue playing forte. Conversely, for measures 25-32, even if a forte (F) dynamic were indicated, they would continue playing piano. In any case, try to strive for some kind of variation, even if it means not strictly adhering to the indicated dynamics.

Writer: Ooi, Kazurou

Author : Kumamoto, Ryohei

Last Updated: July 21, 2025
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

The piece is in C major and is in binary form.

A [a (measures 1-4) + a1 (measures 5-8)]

B [b (measures 9-12) + c (measures 13-16)]

The A section features a melody composed of chord tones, characterized by more disjunct motion and a rhythmic quality compared to the B section.

The B section begins with C6, the highest note in the piece, and is generally constructed in the high register. Furthermore, the melody is composed of non-chord tones such as neighboring tones, which suggests the potential for a smoother expression.

When considering musical expression, developing contrasting interpretations based on these sectional differences is crucial for achieving a nuanced performance, rather than solely relying on dynamic variations.

Writer: Kumamoto, Ryohei

Arrangements & Related Works(1)

Sheet Music

Scores List (9)

Japanese