Album for chirdren Sarabande - Gillock, William - PTNA Piano Music Encyclopedia

Gillock, William : Album for chirdren　Sarabande

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Music ID : 45158

Instrumentation：Piano Solo　
Genre：pieces
Total Playing Time：1 min 40 sec
Copyright：Under Copyright Protection

Commentary (2)

Author : Sugiura, Nanako

Last Updated: May 13, 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.

Gillock's "Sarabande" is a piece that imitates Baroque dance music, yet it possesses a somewhat modern sound and a soft, emotionally rich expression. The opening, with its slowly descending bass line in a leisurely triple meter, evokes a fantastical atmosphere, as if inviting the listener to an unknown place. While not overtly flashy, its inherent lyricism and the beauty of its sonorities gently linger in the mind.

The right-hand melody features detailed indications for tenuto and staccato, requiring careful differentiation of each note while sensing the meaning embedded within them. Aiming for a core sound while maintaining a soft attack will significantly deepen the piece's overall serene world. For tenuto notes in particular, it is advisable to incorporate a slight pause, as if taking a longer breath, and to cherish the lingering resonance of the sound. The sixteenth-note motifs can easily become mechanical; instead of playing them fast, try to perform them with a gentle, conversational touch, as if imbuing each note with affection.

In performance, it is crucial to create a natural phrase flow while being mindful of the weight of each beat. Furthermore, paying attention to the inner voice movements and cadential approaches, and striving for an expression that aligns with the Baroque style, will further enhance the piece's charm. This understated yet profound "Sarabande" is a work to be approached with enjoyment, focusing on subtle expressions such as sound quality and the handling of pauses.

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.

15. Sarabande

You may play this a little more freely than a Baroque sarabande. Perhaps the most important thing is to ensure it does not sound flat or monotonous. If measures 1-16 are designated as Section A, then these 16 measures contain two phrases, each divisible into 8-measure units. Let's examine the melodic line in measures 1-8. It begins on C, followed by B (H in German notation), A in m.3, G in m.4, then F, E, D-C, and finally ends on B. This indicates a descending scalar progression. If you consider the final B to be the softest in terms of volume, then, working backward, it would be advisable to play the initial C slightly louder, so that a gradual decrease in volume from C aligns logically.

Throughout the piece, particular attention should be paid to the pedal markings. For instance, in measures 2 and 6, Gillock specifically instructs to release the pedal on the first beat. This is because holding the pedal down, even for a single beat, would create muddiness. It suggests that the piece is perhaps less romantic and more solemn or restrained.

The sixteenth notes in the middle should be played in a conversational manner, so a slight rubato is permissible rather than strict metronomic accuracy. In measure 8, the second beat is not part of the melodic line; it is a resonance (afterglow). Play this note pp. The dynamics differ between the beginning of measure 1 and measure 9. Observe the mp and mf markings.

At measure 17, Section B begins, presenting a peaceful, dreamlike melody, a stark contrast to the serious atmosphere of Section A. The psychological state is akin to recalling a serene moment from the past. Although the melodic line also descends here, a crescendo is marked in measure 24, making the final E the target note in this instance. The atmosphere is one of being brought back to a harsh reality. Measures 25 onwards serve as an echo of measures 17.

In measure 33, play the arpeggio quite broadly and slowly. The sound may be loud. The final chord is again a resonance, so it would be advisable to play it p or pp.

Writer: Ooi, Kazurou