Page 4 - para las clases de piano
P. 4
S carlatti
Domenico
34
Sonate in d
K. 32
Domenico Scarlatti
(1685 –1757)
Aria 1 œ 5 2 1 2 œ 2 1 2 1 3232 3 1 3
‚
3 œ œ œ œ œ
b
& 8 œ # œ œ œ œ œ œ œ # œ œ # œ œ œ œ œ œ œ
œ
? 3 . œ . . œ œ . œ . . œ . œ . œ # . . œœ œ . . œ . œ . œ # . œ œ n . . œ œ œ œ
œ
b 8
7 1 32 1 œ # 4 œ 1 4 5
‚
. .
& b œ œ œ œ œ . . . œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
? b œ 3 œ 2 j œ . . . . œ . . œ œ . œ . œ œ n J œ . œ . œ œ œ 1 œ œ
. .
J
13 2 1 ‚ œ 1 5 2
œ #
& b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J œ œ œ œ œ œ œ # œ
œ
œ
œ
? b . œ . œ œ ¨ œ # œ œ p œ œ œ œn œ œ œ . . œ . œ . . œ
J
J
4
1
19 2 ‚ 2 1 2 œ ‚
œ œ œ œ
œ
œ
b œ# œ œ œ
œ
WUE_Urt_Primo_UT_52001_Kommentra_d/e 04.10.12 16:35 Seite 61 œ œ œ œ # œ . œ .
& œ # œ œ # œ .
? b . œ # . œ œ . œ 1 œ 1 œ . œ . . œ # œ œ œ j œ œ œ œ œ . œ . .
œ
61
Consejo para la práctica y ejecución why it may have been easier to raised away from the body to accommodate such a
ver sion illustrates
Sonate in G
imply such a reading, rather than notate it.
movement, and remain in this position until the sub-
De vez en cuando, la anotación de algún efecto musical remite a un modo interpretativo concreto que a
primera vista no se aprecia. De hecho, en el siguiente ejemplo de la Sonata K. 32 de Scarlatti, desde un has been played.
œ
K. 80
sequent c
1
œ œ œ œ œ
3 œ œ œ œ œ
œ
œ #
D. Scarlatti
b
Learning Baroque keyboard works generally re-
& 8
punto de vista musical es muy importante interpretar el acorde del bajo y los tonos de la primera octava
3
Minuet
de la voz superior como parte de un arpegio. 3 1 2 4 quires the willingness to experiment with music be-
2
1
œ œ œ
œ œ œ
#
œ
3
œ
& 8 ? 3 œ œ . œ . œ œ œ . œ . œ . œ œ œ . . œœ . œ . œ # œ œ b œ # œ œ œ œ œ fore finalising many of the decisions that have an im-
b 8 .
pact on the choice of fingering. From the perspective
œ
? # 3 œ œ . œ 6 ‰‰œ J . œ ‰‰. œ of learning this music, it seems almost preferable to
J
8
3
J
gain a ‘rough’ understanding of the score without com -
3
b
& 8 œ œ œ œ œ œ œ # œ œ œ œ œ œ mitting oneself to any particular musical detail, and
then to experiment with articulation and ornamenta-
œ
œ œ
œ
œ #
œ
œ
œ
œ œ
œ œ
? 3 œ œ œ œ œ œ œ œ œ œ . œ . œ . œœ tion before deciding on a particular way of playing a
œ
·
b 8
work. Carl Philipp Emanuel Bach summarised the
·
3 issue of musical context very succinctly when he wrote
that ‘in performance one always has to consider what
Fingering follows next as this is often the reason for using a fin-
Closely linked to both articulation and ornamenta- gering other than the customary one .’ 4
tion is the issue of fingering which can be used to en-
Urtext Primo – 1 (Bach – Händel – Scarlatti) página 34
Some specific suggestions
hance the shape of a musical line by employing a fin-
gering that supports the articulation a performer de- Both Bach Preludes BWV 999 and 846-1 are works in
cides to use. In other words, much of the patterned which one texture is used throughout. This can both
aspect of music, such as the use of scales and arpeg- help and hinder the learning of these pieces. The ben-
UT Spanischer Flyer Schottmailing.indd 4 9/22/2015 11:33:51 AM
gios, can be enhanced by the use of a specific finger- efit is clear; once the initial few bars have been learnt,
ing that supports the musical context. For example, the rest of the piece no longer presents a technical
the following C major scale could be played in a problem. But the repetitious texture also means that
number of different ways, depending on its rhythmic memorisation of such music can be difficult as there
context: are no obviously different sections. Harmonic analy-
5 1 3 1 sis will help, of course, but learning each bar as a
& w w w w w w w w chord progression will secure hand positions and en-
able the performer to practise these chords out of
3 1 3 3 context, thus strengthening the harmonic (aural)
.
3
&8 œ œ œ œ œ œ œ œ œ œ . memory. Bars 1–4 of BWV 846-1 would thus look
.
like this:
4 3 2 1 4 1 2 .
. .
2
w
w
w
w
w
&4 œ œ œ œ œ œ œ œ œ Œ & c w w w w
w
w
w
. . w w w
Although the above example is in some ways self-ex- ? c w w w w w
planatory, it does illustrate how inter-connected the
understanding of rhythm, its implied articulation and Bach’s Menuet BWV Anh. 116 provides an excellent
the subsequent choice of fingering can be. opportunity for reflecting on the connection between
An interesting example of this observation is how harmony and articulation. Bar 1 suggests a harmonic
one might approach the fingering in Handel’s Pre - rhythm of 2 + 1 crochets, thus disconnecting the ar-
ludio HWV 442. Many of the scale passages could be ticulation of the 3 rd beat from what has gone before:
played by using the standard fingering that applies to
the key of a particular scale. On the other hand, the # œ œ œ
fingering can be used to emphasise the grouping of & œ œ œ
notes, as shown in the semiquavers of bars 10 and 12. Uniform groups of notes can have an implied melod-
It is also possible to connect moments of metric im- ic line, which requires emphasising by moderating the
portance with the use of a ‘strong’ finger, as is evident keyboard touch effectively. The following example
in the use of the thumb in the first G major scale of from Bach’s Menuet from BWV 825 would thus ben-
this piece. efit from the following dynamic grading:
At times, the pursuit of a specific musical effect
may call for seemingly unconventional fingering so-
lutions. Peter Williams’ suggestion to divide the scale & b b œ œ œ œ œ œ œ œ œ œ œ œ
in Handel’s Prelude HWV 437, bar 14 (see p. 25) be- f p fpf p f p
tween both hands is borne out of an understanding of When Bach suggested in the foreword to his In -
what eventually (though maybe not at first) feels com -
fortable to play. ventions that learning this music would aid both the
development of playing and composing skills it shows
There are also instances when a fingering, seen out
of context, may seem somewhat awkward to execute. how closely connected these two activities used to be
in the Baroque period. Scarlatti’s sonata K. 80 makes
The alternative left hand fingering in bar 12 of Han - similar point. Written as a two-part texture with fig-
del’s Gigue HWV 452 (p. 32) is such a case. As the
second finger crosses over to the d , the hand changes
1
its angle in relation to the keys. The elbow would be 4 C. P. E. Bach, Versuch, first part, p. 20, I, § 16.
Domenico
34
Sonate in d
K. 32
Domenico Scarlatti
(1685 –1757)
Aria 1 œ 5 2 1 2 œ 2 1 2 1 3232 3 1 3
‚
3 œ œ œ œ œ
b
& 8 œ # œ œ œ œ œ œ œ # œ œ # œ œ œ œ œ œ œ
œ
? 3 . œ . . œ œ . œ . . œ . œ . œ # . . œœ œ . . œ . œ . œ # . œ œ n . . œ œ œ œ
œ
b 8
7 1 32 1 œ # 4 œ 1 4 5
‚
. .
& b œ œ œ œ œ . . . œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
? b œ 3 œ 2 j œ . . . . œ . . œ œ . œ . œ œ n J œ . œ . œ œ œ 1 œ œ
. .
J
13 2 1 ‚ œ 1 5 2
œ #
& b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J œ œ œ œ œ œ œ # œ
œ
œ
œ
? b . œ . œ œ ¨ œ # œ œ p œ œ œ œn œ œ œ . . œ . œ . . œ
J
J
4
1
19 2 ‚ 2 1 2 œ ‚
œ œ œ œ
œ
œ
b œ# œ œ œ
œ
WUE_Urt_Primo_UT_52001_Kommentra_d/e 04.10.12 16:35 Seite 61 œ œ œ œ # œ . œ .
& œ # œ œ # œ .
? b . œ # . œ œ . œ 1 œ 1 œ . œ . . œ # œ œ œ j œ œ œ œ œ . œ . .
œ
61
Consejo para la práctica y ejecución why it may have been easier to raised away from the body to accommodate such a
ver sion illustrates
Sonate in G
imply such a reading, rather than notate it.
movement, and remain in this position until the sub-
De vez en cuando, la anotación de algún efecto musical remite a un modo interpretativo concreto que a
primera vista no se aprecia. De hecho, en el siguiente ejemplo de la Sonata K. 32 de Scarlatti, desde un has been played.
œ
K. 80
sequent c
1
œ œ œ œ œ
3 œ œ œ œ œ
œ
œ #
D. Scarlatti
b
Learning Baroque keyboard works generally re-
& 8
punto de vista musical es muy importante interpretar el acorde del bajo y los tonos de la primera octava
3
Minuet
de la voz superior como parte de un arpegio. 3 1 2 4 quires the willingness to experiment with music be-
2
1
œ œ œ
œ œ œ
#
œ
3
œ
& 8 ? 3 œ œ . œ . œ œ œ . œ . œ . œ œ œ . . œœ . œ . œ # œ œ b œ # œ œ œ œ œ fore finalising many of the decisions that have an im-
b 8 .
pact on the choice of fingering. From the perspective
œ
? # 3 œ œ . œ 6 ‰‰œ J . œ ‰‰. œ of learning this music, it seems almost preferable to
J
8
3
J
gain a ‘rough’ understanding of the score without com -
3
b
& 8 œ œ œ œ œ œ œ # œ œ œ œ œ œ mitting oneself to any particular musical detail, and
then to experiment with articulation and ornamenta-
œ
œ œ
œ
œ #
œ
œ
œ
œ œ
œ œ
? 3 œ œ œ œ œ œ œ œ œ œ . œ . œ . œœ tion before deciding on a particular way of playing a
œ
·
b 8
work. Carl Philipp Emanuel Bach summarised the
·
3 issue of musical context very succinctly when he wrote
that ‘in performance one always has to consider what
Fingering follows next as this is often the reason for using a fin-
Closely linked to both articulation and ornamenta- gering other than the customary one .’ 4
tion is the issue of fingering which can be used to en-
Urtext Primo – 1 (Bach – Händel – Scarlatti) página 34
Some specific suggestions
hance the shape of a musical line by employing a fin-
gering that supports the articulation a performer de- Both Bach Preludes BWV 999 and 846-1 are works in
cides to use. In other words, much of the patterned which one texture is used throughout. This can both
aspect of music, such as the use of scales and arpeg- help and hinder the learning of these pieces. The ben-
UT Spanischer Flyer Schottmailing.indd 4 9/22/2015 11:33:51 AM
gios, can be enhanced by the use of a specific finger- efit is clear; once the initial few bars have been learnt,
ing that supports the musical context. For example, the rest of the piece no longer presents a technical
the following C major scale could be played in a problem. But the repetitious texture also means that
number of different ways, depending on its rhythmic memorisation of such music can be difficult as there
context: are no obviously different sections. Harmonic analy-
5 1 3 1 sis will help, of course, but learning each bar as a
& w w w w w w w w chord progression will secure hand positions and en-
able the performer to practise these chords out of
3 1 3 3 context, thus strengthening the harmonic (aural)
.
3
&8 œ œ œ œ œ œ œ œ œ œ . memory. Bars 1–4 of BWV 846-1 would thus look
.
like this:
4 3 2 1 4 1 2 .
. .
2
w
w
w
w
w
&4 œ œ œ œ œ œ œ œ œ Œ & c w w w w
w
w
w
. . w w w
Although the above example is in some ways self-ex- ? c w w w w w
planatory, it does illustrate how inter-connected the
understanding of rhythm, its implied articulation and Bach’s Menuet BWV Anh. 116 provides an excellent
the subsequent choice of fingering can be. opportunity for reflecting on the connection between
An interesting example of this observation is how harmony and articulation. Bar 1 suggests a harmonic
one might approach the fingering in Handel’s Pre - rhythm of 2 + 1 crochets, thus disconnecting the ar-
ludio HWV 442. Many of the scale passages could be ticulation of the 3 rd beat from what has gone before:
played by using the standard fingering that applies to
the key of a particular scale. On the other hand, the # œ œ œ
fingering can be used to emphasise the grouping of & œ œ œ
notes, as shown in the semiquavers of bars 10 and 12. Uniform groups of notes can have an implied melod-
It is also possible to connect moments of metric im- ic line, which requires emphasising by moderating the
portance with the use of a ‘strong’ finger, as is evident keyboard touch effectively. The following example
in the use of the thumb in the first G major scale of from Bach’s Menuet from BWV 825 would thus ben-
this piece. efit from the following dynamic grading:
At times, the pursuit of a specific musical effect
may call for seemingly unconventional fingering so-
lutions. Peter Williams’ suggestion to divide the scale & b b œ œ œ œ œ œ œ œ œ œ œ œ
in Handel’s Prelude HWV 437, bar 14 (see p. 25) be- f p fpf p f p
tween both hands is borne out of an understanding of When Bach suggested in the foreword to his In -
what eventually (though maybe not at first) feels com -
fortable to play. ventions that learning this music would aid both the
development of playing and composing skills it shows
There are also instances when a fingering, seen out
of context, may seem somewhat awkward to execute. how closely connected these two activities used to be
in the Baroque period. Scarlatti’s sonata K. 80 makes
The alternative left hand fingering in bar 12 of Han - similar point. Written as a two-part texture with fig-
del’s Gigue HWV 452 (p. 32) is such a case. As the
second finger crosses over to the d , the hand changes
1
its angle in relation to the keys. The elbow would be 4 C. P. E. Bach, Versuch, first part, p. 20, I, § 16.
