25 Etudes faciles et progressives, conposées et doigtées expressément pour l'étendue des petites mains Progres Op.100-6 - Burgmüller, Johann Friedrich Franz

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Burgmüller, Johann Friedrich Franz : 25 Etudes faciles et progressives, conposées et doigtées expressément pour l'étendue des petites mains　Progres Op.100-6

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Work Overview

Music ID : 20807

Instrumentation：Piano Solo　
Genre：etude
Total Playing Time：1 min 00 sec
Copyright：Public Domain
Additional Notes：表記ゆれの例：　前進

etude

Piano Solo

piano solo

Commentary (3)

Author : Sato, Takashi

Last Updated: January 31, 2022

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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

The ascending scales in both hands evoke an image of "progress" and "advancement." Key points for expression include the differentiation between staccato and legato in measure 3, the interplay between the right and left hands in measures 3 and 4, and in the middle section from measure 9, the short slurs and staccato notes that span from the off-beat to the on-beat. Dynamics are also meticulously notated, so be sure to observe them and perform dynamically.

Performance Points (Original tempo ♩=132)

Ensure that the scales at the beginning are synchronized between both hands.
From measure 9, place emphasis on the off-beats and release it on the on-beats.
The whole notes are double thirds, but in reality, the fifth is omitted. If unaware of this, the other hand might make an unexpected mistake, so grasp them as triads.
From measure 13, the off-beats still carry weight, but since the staccato on-beat notes form the melody, strike them firmly with the fingers to emphasize them.

(From To-on Edition "Burgmüller 25 Etudes" (NS70))

Writer: Sato, Takashi

Author : Iida, Arisa

Last Updated: March 15, 2018

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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

Musical example provided by: Ongaku no Tomo Sha

Writer: Iida, Arisa

Author : Ooi, Kazurou

Last Updated: January 31, 2019

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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

It is advisable to play this piece with a relatively precise, metronome-like rhythm, without fluctuating the tempo. The overall structure is written with a consistent rhythm, mindful of the beat. The interest of this piece lies in its clockwork precision of rhythm; from measure 10 onwards, accents are marked on the off-beats, and emphasizing these accents will make the piece more engaging to listen to. Therefore, articulate clearly, distinguishing between legato and staccato. While there are almost no lyrical melodic lines, strive to emphasize and sing the melodic line in the left hand from measures 14-16. At measure 17, pressing the pedal can help avoid dry-sounding repeated notes.

Technical Difficulty

The technical difficulty of this piece lies in the staccato. During the sight-reading stage, practicing legato without the staccato will help your fingers learn the positions more quickly.

Interpretation

For interpretation, consider it as an interplay between two characters. For example, in measure 3, the right-hand line speaks, and in measure 4, the left-hand line begins to speak. The same applies to measures 10-13. Play with energy and liveliness.

Writer: Ooi, Kazurou