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Home > Absil, Jean > Cinq Bagatelles > No.5 Toccata B-Dur

Absil, Jean : Cinq Bagatelles No.5 Toccata B-Dur Op.61-5

Work Overview

Music ID : 34578
Instrumentation:Piano Solo 
Genre:pieces
Total Playing Time:1 min 15 sec
Copyright:Under Copyright Protection

Commentary (1)

Author : Ooi, Kazurou

Last Updated: November 6, 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 crucial aspect of this Toccata is its directionality. Although a very short piece, it contains several peak points. It is essential to establish a sense of direction leading towards these peak points. The piece is broadly divided into two sections: the first from measures 1 to 26, and the second from measures 27 to 62.

First Section: Measures 1-26

Let us examine the first section, measures 1-26. The peak point of this section is measure 15.

To build towards this peak:

  • The first phrase (measures 1-6) features the melody line in the uppermost, changing notes. It concludes on F.
  • The second phrase (measures 7-10) differs from the first in its notes; while the first phrase ends on F, this phrase concludes on F-sharp. As this creates higher tension, play the second phrase with greater intensity than the first.

Measures 11-14 are a section where the notes ascend, a crescendo builds, and tension increases to reach the peak at measure 15.

The peak point is reached in measures 15-18. In measures 19-22, the dynamics decrease by one level. In measures 23-26, the dynamics are further reduced, leading into the next section at measure 27.

Therefore, the dynamics in the first section should be shaped with the image of ascending and then descending a mountain.

Second Section: Measures 27-62

Next, let us consider the second section. Measures 27-32 mark a new beginning. Notice that the phrase from measures 7-10 is absent here. To abruptly reach the peak at measure 41, the notes immediately begin to ascend, building a crescendo until measure 41 is reached.

This time, instead of a gradual descent, the dynamics suddenly become pianissimo (pp) in measures 45-48, changing the 'color' of the sound. At measure 49, fortissimo (ff), which has not appeared until now, makes its debut. The tension continues to rise, reaching fortississimo (fff) at measure 55. From there, the dynamics slightly decrease towards measure 60, but then return to fortississimo (fff) in measures 61-62.

Keep these structural elements in mind and perform with a clear sense of direction.

Writer: Ooi, Kazurou
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