Album for chirdren Valse triste - Gillock, William

Gillock, William : Album for chirdren　Valse triste

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Music ID : 45147

Instrumentation：Piano Solo　
Genre：waltz
Total Playing Time：1 min 30 sec
Copyright：Under Copyright Protection

Commentary (2)

Author : Sugiura, Nanako

Last Updated: April 2, 2025

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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.

This piece is structured around the alternation of ascending motifs that evoke a sense of uplift and descending motifs that suggest a sigh. It requires careful attention to the space between each note and a clear perception of pitch changes during performance. For instance, the leap of a sixth from the anacrusis 'C' to the 'A♭' on the first beat of measure 1 should not be treated merely as a shift in pitch, but rather expressed with a full sense of ascending energy. Within the leisurely Lento tempo, it is crucial to savor the flow of energy embedded between the notes and to play with meticulous care.

From measure 9, marked f, the bass notes resonate deeply, and the music takes on a profounder sense of sorrow. It is advisable to perform with an awareness of deep breathing.

In the middle section from measure 17, the left hand carries the melody. It is crucial to aim for a rich and profound sound, akin to a cello, creating a resonance that combines both strength and flexibility. While the right hand primarily plays quarter notes, differentiating between notes marked with tenuto-staccato and unmarked quarter notes from measure 21 onwards allows for expressive variation in the music. By giving a slight weight to the tenuto-staccato notes and playing the unmarked ones somewhat lighter, the melodic flow becomes more natural, leading to a well-balanced performance.

Throughout the entire piece, it is essential to maintain the elegant flow of a waltz while expressing sorrow and hesitation. It is advisable to strive for a sound that allows inner emotions to permeate, by feeling the meaning of each individual note.

Writer: Sugiura, Nanako

Author : Ooi, Kazurou

Last Updated: March 12, 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.

4. Valse triste

The primary consideration for this piece is its tempo. The tempo indication is 'Lent,' accompanied by the English word '(slowly),' which means 'slowly.' However, the precise degree of slowness is quite subtle; if played too slowly or without any tempo fluctuation, the piece can become very tedious and lose its momentum. Thus, it must progress at a certain speed. To achieve a 'slow and leisurely' effect under these conditions, a rather exaggerated rubato is necessary.

An interesting aspect of this waltz is that, despite its title, the accompaniment never exhibits the typical waltz pattern where the first beat is the bass and the second and third beats form the accompaniment. There is always a rest on some beat, or the first beat carries the melody line, meaning all three beats are never entirely filled by accompaniment. Essentially, this can be interpreted as an instruction to take ample time. In other words, it also implies avoiding a constant forward momentum.

Let us examine measures 1 through 8. In measures 1-6, the left hand only plays up to the second beat. The rest on the third beat allows the left hand to lift slightly, facilitating a slow breath. Measures 7-8 gradually lead to a fermata.

At measure 9, a forte marking appears. Take a considerable, even exaggerated, amount of time here, playing quite slowly. Then, gradually return to in tempo, apply a ritardando again at measure 15, and slowly arrive at measure 16.

The B section commences on the third beat of measure 16, with the melody line in the left hand. It is important to play the three eighth notes that appear mid-phrase as a single unit, without emphasizing each note individually. At measure 24, there is a slash, indicating a slight pause before proceeding. From the third beat of measure 24, the same melody line as before returns, but measures 29-31 feature different notes. In fact, measures 29-30 are analyzed as a single chord: a special augmented sixth chord known as the French six-five (Fr6/5) (D-flat, F, G, B-natural). This chord resolves to the V chord (C-E-G) of F minor in measure 31. Consequently, measure 31 should not be played louder than measure 30. The Fr6/5 is a very dramatic chord, and it is appropriate to emphasize it.

Writer: Ooi, Kazurou