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Home > Bartók, Béla > Gyermekeknek > No.27 Jest -Allegramente

Bartók, Béla : Gyermekeknek　No.27 Jest -Allegramente

Work Overview

Music ID : 32757
Instrumentation：Piano Solo　
Genre：for children
Total Playing Time：0 min 58 sec
Copyright：Public Domain

Commentary (2)

Author : Ooi, Kazurou

Last Updated: July 13, 2021
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

Tempo Markings and Structural Analysis

It is crucial to strictly adhere to the tempo markings in this piece. Read the score in detail and follow it. The piece can be broadly divided into three sections:

  • Measures 1-16
  • Measures 17-33
  • Measures 34-49
  • Coda

Sequentially, the three sections (1, 2, and 3) gradually extend the sense of time. Specifically, the rall. in the first section begins from measure 12, but remember that poco is written. This means 'only a little.' It then returns to a tempo in just two measures.

The rall. in the second section also lasts for two measures, starting from measure 28, but this time poco is not present. Apply more rall. than in the first section.

The rall. in the third section begins from measure 42 and extends for five measures. Furthermore, rallentando molt is written, meaning 'most rall.' Then there is a silent fermata, and finally, it returns to a tempo at measure 47.

As the piece progresses, there are unexpected tempo changes. Many performers apply too much rall. from the beginning. Let's adhere faithfully to the markings.

Writer: Ooi, Kazurou

Author : Imazeki, Shiori

Last Updated: March 1, 2021
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

2/4 time, D major. The lighthearted D major theme, presented in the opening 16 measures, is repeated throughout the entire work, varying in key, subtle harmonic nuances, and accompaniment patterns. In the first repetition, the left-hand accompaniment becomes a more legato pattern of four eighth notes, and after a full stop, it reaches a deceptive cadence (VI chord) (m. 33). In the second repetition, the D major theme is played over the VI chord.

Writer: Imazeki, Shiori
Japanese