(wip)allegrocantabileanalysis

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Allegro Cantablie (Left hand only)

Allegro q = 172

                                   1 5 1 5 5 5 1 1 5 5

5 5 1 5 5 5 1 1 5

5 5 1 5 5 5 1 1 5

5 5 1 5 5 5 1 1 5

5



 



                              

5 5 1 5 5 5 1 1 5

5 5 1 5 5 5 1 1 5

5 5 1 5 5 5 1 1 5

3 - 3 - 2 Structure

5 5 1 5 5 5 1 5

3 - 2 - 3 Structure

9



                                   

5 2 1 1 5 1 3 5 Three

Three

Two

2 1 1 5 1 1 3 5

Three

Three

2 1 3 5 5 2 1 5

Three

Two

Three

E

F

C

2 1 1 3 5 2 1 5 Two

Three

Three

G

A

E7

Two

F

3 - 3 - 2 Structure 13

                                    2 1 5 1 3 5 1 2 1 1 3 5 2 1 5 2 1 1 5 2 1 3 5 2 1 1 5 1 3 1 5

Three

(F)

Three

Two

E

Three

Three

A

Three

Two

D

Three

Two

1

Three

G

Three

Two

2 Upon closer inspection the displaced eigth at the very last beat throughout every bar can actaully form a pattern much easier and uniform then the one I have superimposed last time: I have added the intented bass line, and its duration in numbers of beats above the running left hand to empahzise the important notes. Fingerings should be added within the context of these accented bass notes. (meaning the pinky should be used to play the first note of every segment whenever possible.

17

4(5) 





  

3







(5)







   

5

3

  

 

5

3



 

5  

                         

5 3 2 1 5 1 3 5 21

3 

5

3 2 1 5 1 2 3 5

3

4



  

4

3 2 1 4 5 3 1 5

4

 

  

4

2 1 2 4 5 3 1 5

4

 

4

  

  

 

                                 1 2 1 5 1 3 5 1 3 2 1 2 5 3 1 5 3 2 1 5 2 1 3 5 3 2 1 5 1 2 3 5

One of the prevalent left hand motion (5-3-2-1)is rather conventional and common. Throughout the playing of the notes You would need to turn your wrist from one direction to another (and back). Now lets see would this pattern continue for the rest of the piece:

25

4(5)









3



5   

3  

5   

3 

5

3

  



5 

                                5 3 2 1 5 1 3 5

3 2 1 5 1 2 3 5

3 2 1 5 1 2 3 5

3 2 1 3 5 2 1 3

yep.

29

4(5)

  

3



5   

3  

5   

3 

5

3

  



5 

                                5 3 2 1 5 1 3 5

3 2 1 5 1 2 3 5

3 2 1 5 1 2 3 5

3 2 1 3 5 2 1 3

3 Beat pattern changes here to a very squarey 4 beats per segment, approaching the eventual key change: How you turn your wrist and fingers to play the wide spans of running notes is really one's personal choice, but I would advise trying to stick to playing in only one motion for the sake of engendering motor memory.

4 

33



 

4

4

4

4

4

4

4















      

                        3 2 1

5 3 2 1 5 1 2 1 5 5 1 2 3 (2 1 2) (2 1 2) (3)

4 

37



 



 

4

4

4









 







 



5 3 2 1 5 1 2 3

5 3 2 1 5 1 2 3

4 

  



                  

5 3 2 1 5 1 2 1 5 3 2 1 5 1 2 3 (2 1 2) (2 1 2) (3)

41











                 





















49















































59


































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