Haydn, Franz Joseph : Minuetto in C C-Dur
Work Overview
Genre:menuetto
Copyright:Public Domain
Commentary (2)
Author : Ooi, Kazurou
Last Updated: May 14, 2024
[Open]
Author : Ooi, Kazurou
While it would be ideal to play this piece joyfully and lightly, the biggest challenge lies in the turns in measures 7 and 15. There are two ways to play these: a pattern of playing four notes (C-H-A-H) and a pattern of playing five notes (H-C-H-A-H). Naturally, the latter is more challenging. Playing these turns smoothly, lightly, and without revealing technical immaturity is quite difficult; therefore, learners who decide to play these turns will require considerable practice. When this piece is used in competitions or similar events, these turns become particularly crucial.
In such cases, it is recommended to use fingers 1-2-3. In any case, these three fingers must be completely independent, and incorporating exercises that promote finger independence, such as those by Dohnányi or Pischna, is one suggestion. Furthermore, learners whose first joint hyperextends must first correct this issue, otherwise good results cannot be achieved. Consider this a good opportunity to correct your finger posture.
Author : Kumamoto, Ryohei
Last Updated: November 14, 2024
[Open]
Author : Kumamoto, Ryohei
Binary Form
A [a (bars 1-4) + b (bars 5-8)]
B [b1 (bars 9-12) + b2 (bars 13-16)]
Note: Each small phrase begins with an anacrusis, but the bar numbers above do not include the anacrusis.
The most characteristic motif is the descending arpeggiated figure of triplet eighth notes, appearing from bar 4. Just when one might expect a perfect authentic cadence due to the harmonic progression V→I (dominant to tonic resolution) at the beginning of bars 2-3, this descending triplet eighth-note motif abruptly appears at the third beat of bar 3, leading to a half cadence. Melodically, it ascends in bars 1-2, then descends and settles in bars 1-2 of bar 3, only to suddenly leap up a sixth and become a descending arpeggiated line. This resembles a 'hiccup'.
This can be considered a musical joke by Haydn. It is a motif highly characteristic of Haydn, and indeed, in the development from the b small phrase onwards, this motif is always played as an anacrusis at the beginning of the phrase. Consequently, while it is generally considered conventional practice to play an anacrusis lightly when moving to the main beat of the next bar, with the main beat expressed slightly more heavily as the destination of energy, a slight emphasis in nuance seems necessary to convey the humorous nature of this motif.
Although this is a piece in 3/4 time, it is important to note that it is a minuet. The sense of pulse differs from a waltz; a minuet does not move in large, two-bar units. It is strictly a 3/4 time within each bar. This is also crucial for tempo setting; if one attempts to interpret it broadly across bar lines, like a waltz, the tempo tends to become too fast, so caution is advised.
PTNA & Partner Channel Videos(8items)
Sheet Music
Scores List (5)

(株)全音楽譜出版社

(株)ヤマハミュージックエンタテインメントホールディングス

(株)ヤマハミュージックエンタテインメントホールディングス

(株)ヤマハミュージックエンタテインメントホールディングス