Handel: Allemande HWV • A minor • Dignified dance in 2/2 time • Several types of trill ornament • Two-part counterpoint (one line in each hand) • RH has the. Allemande in A Minor, HWV George Frideric HandelDaniel Estrem. Play on TIDAL. or open in our Desktop app. Share. The Allemande in A Minor has two independent melodic lines and presents a well-elaborated polyphonic character. The difficulty of this piece resides in.

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In the second half the phrase ni become irregular, as is so often the case in Baroque music, and from bar 13 upbeat to 14 to the end they could be said to overlap.

The violin analogy is also useful for shaping the phrases on the piano is a way that is not available to harpsichord players.

For the more musically mature student, the following technique is suggested, but is by no means obligatory for less competent students.

The idea was to prolong the sound so that the chord would ring pleasantly through the instrument and give an extra dimension to the texture.

Georg Frideric Handel, Allemande in A minor, HWV | UIPianoped Wiki | FANDOM powered by Wikia

The music should keep moving forward. Imagining their bowing can help with articulation and phrasing. Bar 12 is quite awkward to coordinate and will need careful practice however it is fingered. Students who prefer to play as much as possible hands together from the outset need to take this whole piece allemajde slowly indeed, with absolute certainty about which finger goes with which.

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However, there is quite a range of possibilities for detaching and slurring. The two-part texture of this piece could easily be imagined as a dialogue between a violin hndel a cello.

Handel – Allemande HWV 478 (Trinity Grade 4)

It is wise to try out a preferred articulation in all the places that seem musically parallel e. Phrase lengths are quite regular in the first half, starting with an upbeat and continuing for two bars. The least interesting option would be to play all the LH legato.

At grade 5 there will be an expectation that ornaments will be attempted, but simpler ones are still permissible. A break can be made in the middle of the second beat of bar Here is a performance that demonstrates a stylish interpretation of this piece: Security of fingering is therefore vital. As ever, ornaments are optional and must not disrupt the musical flow.

However, with its origins in dance there is no need to make a pedantic or pompous impression. In bars LH the 5th finger moves in under the 4th but does not have to be played legato. Holding down the chord notes beyond their notated value at bars12, 13, and 18 provides an insight into the way the melody sometimes makes counterpoint with itself — the top RH notes connect up in bar 9, the B and then the D, the C and then the E.


This means the performer must play as if ending a phrase e. Experiment with different articulations in the LH as if the cellist alleamnde to try detaching and slurring different notes. For a musically satisfying performance the player needs to be aware of the original style but also able to use their instrument to express everything the music is saying.

Fingering must be established and consistently used from the very first note learning.