Presentation Analysis

PRESENTATION ANALYSIS DipLCM 13th Nov 2008

Copyright . Prelude & Fugue

Contents Piece

Composer

Grade

1

Gavotte

Georg Philip Teleman

1

2

A Toij

John Bull

4

3

Bagatelle in A

Ludwig Van Beethoven

5

Contents  Background Of the Piece  About the Composer  Analysis  Teaching  General  Techniques

 Recommended Exercise  Common Mistakes

Gavotte

Georg Philip Teleman

Background of Gavotte  Originated as French folk dance, become popular in court of Louis XIV  Notated in 4/4 or 2/2 time and of moderate tempo  distinctive rhythmic feature of the original gavotte is that phrases begin in the middle of the bar  in either 4/4 or 2/2 time, the phrases begin on the third quarter note of the bar, creating a half-measure upbeat  Binary form

About the Composer  German Baroque music composer  Known for writing concertos for unusual combinations of instruments, such as multiple violas or trumpets or oboes or harpsichords  Wrote over 3000 compositions  1400 cantatas  40 operas  125 orchestral suites  125 concertos  40 quartets  87 trios  145 pieces for keyboard etc

Analysis  Written in 4/4 time, upbeat occurs at 3rd crotchet beat  Phrasing occurs at every 4 bars  Binary form AB  A :Bar 1 to 4, Bar 5 to 8  B: Bar 9-12 • Bar 8 to 10, new melody in C major • Bar 10 to 12, sequence of the previous phrase in A minor • Bar 12-16 end in perfect cadence in C major, rounded Binary

Teaching - General  Learn phrase by phrase  To play by RH followed by LH and BH  Weight touch is required by RH melody  Quaver passage will be played with finger touch but weight coming from the arm  LH accompaniment is mainly in crotchets and minims.  Staccatos to be played lightly, the rest of the notes in forearm touch  LH accompaniment to be played softer

Teaching - Techniques  Bar 1, 4,12 : start of the phrase  the first 2 notes starts with staccato • Played delicately with fore arm touch

 Bar 2-3, 4,5,6 . The slur should be played with drop and roll on each crotchet

Teaching - Techniques  Bar 8-12  First note should be stressed  Last note to be played lightly

Piano & rall

Recommended Exercise  2 notes slur  Drop & Roll  Gentle weight drop  Scales practice

Common Mistakes  Minims are not held to full value

 Younger players may have difficulty reaching note C from G using 2-1 fingering

A Toij

John Bull

Background of A Toij  A Toy  Compose for Virginal  Spans only 4.5 octaves  Transcribed from by Lynar A1 manuscript Book

About the Composer  Was an English composer, musician  One of the most famous composers of keyboard music of the early 17th century  His first (and only) publication, in 1612 or 1613, was a contribution of seven pieces forming part of a collection of virginal music entitled Parthenia

Analysis  Written in 3/4 time, similar to minuet  G major  Phrasing occurs at every 4 bars  Binary form AB  A :Bar 1 to 4 • Plagal Cadence V-IV-I  A: Bar 5 to 8 • D major, similar to Bar 1 to 4  B: Bar 9 to 17 • Consists of 2+2+4 units • Alternating between G,C,D,G major starting from Bar 9-17  B :Bar 18-26 • Variation of Bar 9-17

Roll the chords

Roll the chords

Roll the chords

Teaching - General  Learn phrase by phrase  Play the R.H, followed by L.H and B.H  Weight touch for R.H melody  Finger touch with weight  Forearm touch with weight  “f” markings should not be played as loud  Every note should have a strong attack similar to plucking of the strings  Chord could be arpeggiated at Bar 8, 17 & 26

Teaching - Techniques 

Slur at the end of the note to be played lighter at Bar 1,3 & 5 etc Sound is cut off if it is lift up 



Triads at Bar 8,17 & 26 To be played softly and gently 

Teaching - Techniques  Holding dotted minims and minims notes to full value  Accent on the minim notes on the 2nd beat bar 9, 10, 11 & 12

Teaching - Techniques  Quaver notes in Bar 18-23  Played with slight higher fingers to emulate the sound effects of virginal

Teaching - Techniques  Hemiola Effect Bar 15-16, 24-25

Teaching - Techniques  Dynamics

Roll the chords

Roll the chords

Roll the chords

Recommended Exercise  Staccato Scales practice

Common Mistakes  Incorrect counting at Bar 3

 Difficult to reach notes at Bar 5 -6

Common Mistakes  Notes in tie are not held at Bar 15-16, 24-25

Bagatelle In A Op.119 No 4

Ludwig Van Beethoven

Background of Bagatelle in A Op.119 No 4  “trifle“  A short piece of music  Light, mellow character  François Couperin, harpsichord  11 were composed in Op 119

About the Composer  German composer and pianist  Known as one of the 3 “B”s  Pivotal figure in the transition from 18th century musical classicism to 19th century romanticism  Compositional career is usually divided into Early, Middle, and Late periods  Period of Assimilation  Period of Assertion  Period of Contemplation

Analysis  Written in 4/4 time  Phrasing occurs at every 4 bars  Binary form AB  A :Bar 1 to 8 • Bar 1-4 , A major • Bar 5-8 , E major  B: Bar 9-16 • Bar 9 – 12, 7 note motifs • Bar 12-16 rounded binary, end in perfect cadence in A major

Teaching Notes General  4 bars, 1 phrase learning  To played by RH followed by LH and combine both hand  Melody in the RH  Single notes  Double notes  L.H accompaniment to be played softer in contrast to RH  Quavers passage

Teaching - Techniques  Bar 8,9 10  ‘Sfp’ marking followed by ‘ p’ Played softly

Teaching - Techniques  Bar 8-12  2 notes slur

Teaching - Techniques  Bar 9-12  Slight thickening of the texture in the bass

Teaching - Techniques  Dynamics

Recommended Exercise  Holding of notes in 6th with 1-3, 1-4 and 2-5 fingers  Pedalling technique  Rhythmic Pedalling  Legato Pedalling

Common Mistakes  Playing of the notes in 6th that sounds disjoint at the top melody notes

Common Mistakes  Playing of the melody in scales instead of in pairs

General Teaching Aides

Student’s Assessment Sheet Composition:_____________________________________________

Date:_____________

No

Assessment Area

Ratings

Comments/ Suggestion

1

Accuracy

1

2

3

4

5

2

Technique

1

2

3

4

5

3

Rhythm

1

2

3

4

5

4

Phrasing

1

2

3

4

5

5

Memory

1

2

3

4

5

6

Balance Of Melody & Accompaniment

1

2

3

4

5

7

Interpretation

1

2

3

4

5

8

Dynamics

1

2

3

4

5

9

Pedaling

1

2

3

4

5

Follow Up

Review Date

Time Line for Learning Wk 1 Playing by hand separately Playing by both hands

Playing with continuity

Playing with articulation etc Assessment & correction Corrections in playing

Final Assessment & submission of piece

Wk 2

Wk 3

Wk 4

Wk 5

Wk 6

Wk 7

Wk 8

Wk 9

Wk 10