Goedicke, Alexander : 25 Easy Pieces Slow Waltz
Work Overview
Genre:pieces
Total Playing Time:1 min 30 sec
Copyright:Public Domain
Commentary (2)
Author : Ooi, Kazurou
Last Updated: June 17, 2024
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Author : Ooi, Kazurou
This waltz offers many insights. Upon observing the opening eight measures, the emotional peak is around the fifth measure. In the first measure, the root of the ACE chord is omitted in the accompaniment. Let's compare an accompaniment figure with the root (ACE) to the original, which only has CE. The CE alone expresses instability and loneliness. From there, the bass descends stepwise, and the emotional intensity gradually increases. It reaches its peak in the fifth measure and then declines. Therefore, although a crescendo is indicated in the eighth measure, this is merely a supplementary element. The volume should never exceed that of measures 1-7.
Phrases typically progress in eight-measure units, so one might expect measures 9-16 to be the second phrase; however, it only spans measures 9-15. This creates a sense of surprise for the listener. The B section begins with one measure missing. In measure 16, although 'p' (piano) is indicated, when listening to the melodic line FHF and its accompaniment EA, it is emotionally quite unstable and intense, so a certain level of volume may be appropriate.
In measure 32, produce a warm sound with a different timbre.
Author : Kumamoto, Ryohei
Last Updated: November 28, 2024
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Author : Kumamoto, Ryohei
Musical Analysis
Ternary Form: A [a (mm. 1-8) + a1 (mm. 9-15)] B [b (mm. 16-19) + c (mm. 20-23)] A1 [a (mm. 24-31) + a2 (mm. 32-39)]
In the flow of the theme from the opening measures 1-8, there is little clear triple-meter accompaniment movement in one-measure units typical of a waltz. Coupled with the indications of Tranquillo (quietly) and p (piano), this suggests that the character of the phrase evolves gradually rather than undergoing abrupt changes. The thematic motif, consisting of two eighth notes and a half note, also lacks a sense of lively motion. These small pitch changes should be expressed with a delicate touch. Throughout the entire piece, no dramatic changes occur in a short time, truly embodying the title as a gentle waltz.
Looking more closely, the first beat of measure 1 features the third of the tonic triad (I) in the bass, forming a first inversion. The sound is inherently less stable compared to a root position chord where the root is in the bass. This unstable third descends stepwise (C→B→A→G→F→E) with each passing measure, creating a strong sense of horizontal motion, suggesting that the phrase builds towards the dominant seventh chord in measure 6 as its peak of tension. The crescendo and decrescendo from measures 4 to 7 are likely expressions of this horizontal flow and harmonic movement. Incidentally, the G in the bass of measure 4 is not the seventh of the I7 chord; from a stylistic perspective (Romantic-style writing), it is more naturally interpreted as a non-harmonic passing tone.
Measure 8 concludes with a half cadence on the dominant seventh chord, and from measure 9, the opening of the theme is restated. From measure 12, there is a partial modulation to E minor. As a precursor to the F#m7-5 chord (a dominant ninth chord on III in E minor), the A minor I chord in measure 11 is a triad (a doubled fifth in measure 3), which enhances the darker sound of the minor triad. Measures 13-14 feature a hemiola cadence; following the indicated slurs here allows the polyrhythm of the hemiola to be clearly felt.
The B section begins at measure 16. The melodic line in measure 16, with its augmented fourth progression from F to B, is the most distinctive feature in the piece. With the dominant as a pedal point, this is a II7 chord. Measures 18-19 are a variation of measures 16-17, and the harmonic progression is actually the same. While starting a phrase with an imperfect cadence from the subdominant is characteristic of the Romantic period, the fact that the II chord in a minor key is a diminished chord, and the melody begins by forming an augmented fourth interval between its fifth and root, is a bold idea from a compositional perspective. Furthermore, if we list the constituent notes of measure 16, they are La-Si-Mi-Fa, which for Japanese listeners, evokes the familiar Yonuki minor scale (La-Si-Do-Mi-Fa). This seems to be the factor that creates an oriental atmosphere.
From measure 20, the dynamics gradually diminish through a diminuendo. However, measures 20-23 show an ascending melodic line (G#→A→B) and harmonically, the tension increases towards the dominant. Despite this, the volume decreases, eventually stopping at measure 24 with a fermata on a unison, where no chord is even formed. Only a single E note remains. This movement seems significant and cannot be simply dismissed as a half cadence or the end of a phrase. By imagining the decay of sound while maintaining harmonic tension as a human emotional gesture—for instance, someone wanting to speak but remaining silent—one might achieve a natural expression rather than a mechanical one, even if the composer's true intention remains a mystery.
From measure 25, the theme is restated. From measure 32, it modulates to F major, and the theme is developed. In measure 36, it returns to the tonic A minor, where a lowered fifth and a double dominant (i.e., augmented sixth chord) are placed, forming a cadential formula in measures 37-38. Notably, measures 37-38 also feature a hemiola, similar to measures 13-14. However, the inner voice of the left-hand accompaniment chord forms a counter-melody (A→F→F#→G#). Highlighting this inner voice line to express a polyphonic structure with the main melody would lead to a more three-dimensional performance.
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