Search

Filter

Tags

Found 12 results...

Sonatine

Walkthrough - 3rd Movement (3)

Practise the RH line until you are completely happy with how you want to shape and shade it. This section demands the utmost delicacy of touch (semiquavers are leggiero, as though staccato), combined with sensitivity of the right foot (shallow pedals for resonance with transparency)....


Sonatine

Walkthrough - 3rd Movement (2)

Flutter the pedal in this bar to thin out resonance gradually in the diminuendo. The Agité section needs very light, shallow pedalling to avoid it sounding muddy. Hold low F sharp basses as long as comfortable, and work towards a finger legato in the upper...


Sonatine

Walkthrough - 1st Movement (1)

This walkthrough and accompanying Annotated Study Edition was kindly commissioned for the Online Academy by Rachel Woodhouse. The texture is very delicate and transparent. Aim to make legato connections by hand and then use shallow touches of pedal for resonance and colour. The movement...


Sonatine

Walkthrough - 1st Movement (4)

In the absence of harmonic support from the bass it is challenging to create an effective ff here. As before, aim for brilliance in the top line and practise each RH line alone to ensure the RH is well coordinated. My fingering, which appears odd...


Sonatine

Walkthrough - 2nd Movement (1)

The tempo is restrained; feel three beats in each bar, and not too fast. Play the melody line legato; gently lift lower notes out of the keyboard for the mezzo staccato touch while lightly pedalling quaver beats. Experiment here – some players prefer a more...


Sonatine

Walkthrough - 1st Movement (2)

The RH is awkward here. Practise the top line alone with the fingering you will use in performance, and experiment with the following practice formulae. En dehors tells us to project the top melody line (violin 1). This line needs...


Sonatine

Walkthrough - 3rd Movement (1)

General: it is often not possible to achieve a true finger legato in notes under slurs. Joining by hand where possible is a good general rule for any passage to be played legato (it gives the best control of sound and phrasing); where it is awkward or...


Sonatine

Walkthrough - 1st Movement (3)

The octave Es (lower stave) are usually played by the LH (passing underneath the RH) but may be played using both hands (LH takes the lower note, RH the upper). The section from bar 31-34 is somewhat awkward; if playing according to the score layout,...


Sonatine

Walkthrough - 3rd Movement (5)

Use light (shallow) pedals in this section, changing each bar. Bars 142 - 143 If it helps, take the lowest RH note on the last beat with the LH. Bars 159 - 161 ...


Sonatine

Walkthrough - 2nd Movement (2)

Respect the value of the dotted crotchet chords over the next three bars by avoiding a change of pedal on the downbeat of bar 14. Make an adjustment if you really need to, but retain the bass F (the accented Fs are important; project...


Sonatine

Walkthrough - 2nd Movement (3)

Do not return to the tempo yet – this section is slightly slower. Ravel achieves yet another magical sound world here – allow the glassy top RH to ring out gently, bringing out clearly the canon in augmention in the top notes of the...


Sonatine

Walkthrough - 3rd Movement (4)

You might think of the next 11 bars as a pedal texture, experimenting with a long, partial pedal all the way to bar 71. Because this low A can be present throughout, the amount of tone you give it needs to be judged carefully....