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Frey, Martin : Im Umfange von 5 Töne　Volksweise

Work Overview

Music ID : 49631
Instrumentation：Piano Solo　
Genre：etude
Copyright：Public Domain
etude
Piano Solo
piano solo

Commentary (2)

Author : Ooi, Kazurou

Last Updated: May 14, 2024
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

To complete this piece, let's master several important points, either in order or out of order.

  • First, avoid accenting the final note of a phrase. However, for the right hand's D in measure 10, apply a crescendo as it ascends from measure 9, but for all other phrases, play the final note piano or pianissimo.
  • Since the piece is like a canon, once point 1 is achieved, combine both hands. For example, in the first beat of measure 2, play so that the left hand's B is more prominent than the right hand's G. This is because the right hand has the final note of a phrase, while the left hand has the initial note. Then, in measure 3, the opposite applies: bring out the right hand and subdue the left hand's G. This is a very difficult technique, so please attempt it once you feel comfortable.
  • Add dynamics. The peak point is the right hand in measures 5-6, which is considered the most tension-filled part of this piece. Convey the sense of progression towards this point.
  • This piece fundamentally features alternating left and right hands, but from measure 5 onwards, it is the first section where both hands sing together. This concludes in measure 8. In measure 8, you may take a very brief moment, almost imperceptibly, before proceeding.
Writer: Ooi, Kazurou

Author : Kumamoto, Ryohei

Last Updated: October 9, 2024
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

The alternative title is "Elementary Exercises [Range of a Fifth]". The "range of a fifth" refers to the hand position, specifically a five-finger position without thumb-under.

Structure

The piece is structured in a small three-part form.

First, a complete two-voice imitation occurs from measures 1 to 4. What is important here is that both the right and left hands carry the melody. Therefore, it is crucial to express the two-voice polyphony by adding nuance to the left hand, just as one would to the right hand.

In the subsequent measures 5 to 8, the upper voice (right hand) features a sequential progression (sequence) with a two-measure unit. At this point, in measures 5 and 8, the C and B notes on the second beat are passing tones, and in measures 6 and 7, the B and A notes on the second beat are neighboring tones. Since all of these are non-harmonic tones, a unified phrase-based expression is desired rather than playing each note individually. The lower voice (left hand) presents a melody different from that of the upper voice and does not involve sequential progression. Particularly in measure 6, the progression in the lower voice from the quarter note A to the half note D exhibits contrary motion (where each voice moves in opposite directions between two voices) with the upper voice. This, combined with differing note values and rhythms, enhances the sense of polyphony.

The concluding section begins from measure 9. Although imitation occurs from measures 9 to 10, the melodic line differs from the opening. In the latter half, measures 11 to 12, the two voices move in different directions. The lower voice has a longer phrase; while the upper voice reaches the tonic and concludes on the first beat of measure 12, the lower voice reaches the tonic later, on the third beat. Therefore, the performer needs to be mindful of the sound until the final third beat of measure 12.

Writer: Kumamoto, Ryohei

Sheet Music

Scores List (2)

Japanese