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Technique The main technical issue here is that of balancing the hands sensitively h maintaining a controlled, even LH part. Eiabelli Strategies If this piece is to be played from memory the teacher will need to give clear guidance about understanding the structure of the music.
Notice the well shaped phrasing and detail in dynamics and articulation. Curious students could try various fingering combinations to find out that keeping Finger 2 gives an awkward thumb on the F sharp.
Separate hands work of each two-bar phrase before trying very slowly, hands together should yield good results. If this piece is to be played from memory the teacher will need to give clear guidance about understanding the structure of the music. Students need to have performing opportunities before the big occasion since the problem can be that students have been playing with dynamic contrast in lessons but under the challenge of an audience, concentrate only on getting the notes right and forget the expressiveness.
Troubleshooting This is not a piece that will present many difficulties but those that do arise will probably be related to interpretation – giving a clear sense of the elegant character, with well shaped phrasing and dynamic variety.
Diabelli – Sonatina in G Op 168 No 2
This gives a series of musical ‘signposts’ so that the performer need not feel lost if there are any small slips. Diaabelli you agree with the LH playing Fingers 4 – 1 – 2 – diabeelli for the first bar, do insist on a healthy hand position where a straight line is kept down the Finger 5 side of the wrist, rather than bending the hand to the side. Always insist on consistently correct fingering right from the start of the learning process. It is so lovingly played with such a genuine feel for the beauty of the melodic lines, with phrasing tenderly shaped, that the fact that is is not even moderately allegro can begin to seem unimportant!
You can hear a complete performance of this sonatina played here by Phillip Sear. An appropriate pace with carefully detailed articulation will give a sense of character. A good performance will be securely known and will show good continuity.
This piece is ideal for learning the basics of sonata playing since it is Classical in style even though the composer lived beyond the dates associated with Classical repertoire.
Practice Tips Practice should be undertaken in sections, in accordance with what has been taught in the lesson. Using some rotary motion in the LH will help to achieve even control.
Diabelli – Sonatina in G Op No 2.
Diabelli : Sonatina Op. , No. 2 (I) –
The performer comments that she is working on increasing the tempo, so the end result will probably be excellent! Small children playing this sonatina need not use any pedal at all. It also helps the student to appreciate and remember the chord progressions.
The sonatina’s essential charm lies in its simplicity of melodic line and this must not be blurred by inept pedalling, particularly if the child is not yet tall enough to reach the pedal comfortably. Students who are comfortable with pedalling might pedal the first and second of crotchets separately but it is easier to simply pedal the first crotchet of each bar unless the note is a minim in which case the pedal might extend for the whole two beats.
If the student is to learn the outer sections first then each phrase diabeelli be secured in the first section before comparison with the corresponding phrase in the final section. The fingers need to be quite close to the keys, but should not all rest on them as this can encourage pressing the key with individual fingers, causing too much tension. Using a rotary action a rocking movement of the hand as the forearm rotates will help to achieve even control.
7 Piano Sonatinas, Op.168 (Diabelli, Anton)
The main technical issue here is that of balancing the hands sensitively whilst maintaining a controlled, even LH part.
The ornaments are turns, as shown below the first page of the piece. The RH needs arm weight to give a prominent melodic line, rather than either pushing with the fingers or bouncing the hand on the keys.
Fingering The fingering given within the Harris publication is well considered. Practice should be undertaken in sections, in accordance with what has been taught in the lesson.
Discourage young students from extremes of dynamics in this piece, but encourage a pleasing tone.
The performance marking is Allegro moderato so the tempo needs to reflect a moderately lively character. An excellent performance will be confident in fluency with poised tone control. Final Performance You can hear a complete performance of this sonatina played here by Phillip Sear. In particular draw attention to the changes in the outer sections that depend on the key change to the dominant in the first section, with the introduction of the C sharp, as compared with the final section that remains in the key of G major.