Gillock, William : Album for chirdren Tarantella
Work Overview
Genre:pieces
Total Playing Time:0 min 50 sec
Copyright:Under Copyright Protection
Commentary (3)
Author : Ikeda, Ami
Last Updated: February 28, 2022
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Author : Ikeda, Ami
6/8 time, E minor. It is in ABA ternary form. The melody in the A section requires a crisp, articulate sound, achieved through a 'tonguing' touch. The B section is characterized by frequent use of staccato and slurs, creating a lively rhythm.
Author : Ooi, Kazurou
Last Updated: May 20, 2022
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Author : Ooi, Kazurou
The Tarantella should not be heavy. A light, duple meter rhythm is required. The key is not to accent the off-beat notes. For example, in measures 5-8, the eighth note and the following quarter note should be treated as a pair. Play the two notes with a single motion. The off-beat should be weak, and the on-beat should be clear. Remember to play with a single motion (applying force only once on the on-beat, not twice).
Other Points to Note
- Be careful not to make the forte in measures 4 and 12 too strong.
- In the chords in measures 23-24 and 30-31, bring out the top voice.
Author : Sugiura, Nanako
Last Updated: April 2, 2025
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Author : Sugiura, Nanako
Gillock's "Tarantella" is a vibrant piece derived from a folk dance of Southern Italy. It employs the rapid 6/8 meter characteristic of the tarantella, featuring a lively rhythm and striking, bouncing melodic figures. When performing, it is essential to fully express its rhythmic dynamism.
In measures 1-4 and 9-12 at the beginning, there is a progression from p to f; rather than merely increasing the volume, focusing on the amplification of inherent energy will create a natural crescendo. In contrast, in measures 5-8 and 13-16, applying a sudden, subdued expression, as if cutting off the preceding momentum, will highlight the piece's dynamic contrasts more effectively.
In the middle section, the left hand's chords create a richer texture for the piece. This section is characterized by a powerful, almost frenzied sound and a vibrant sense of rhythm. The right-hand melody should move rhythmically, like a pendulum. By being mindful of the directional sense of ascending and descending phrases and smoothing the connections between notes, the melodic movement will become clearer.
In the coda, after a two-measure crescendo, the sudden fermata on the bar line is striking. Here, pausing the motion momentarily creates tension, and the subsequent final four measures should be played p and leggiero (lightly). Throughout the piece, even at a fast tempo, strive for evenness in note articulation, crispness, and a passionate performance to bring out the charm of the tarantella.
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