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Gillock, William : ACCENT ON SOLOS Gavotte

Work Overview

Music ID : 60455
Instrumentation:Piano Solo 
Genre:Educational works
Total Playing Time:0 min 20 sec
Copyright:Under Copyright Protection

Commentary (2)

Author : Ooi, Kazurou

Last Updated: May 14, 2024
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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 Gavotte is originally a French dance in 2/4 or 4/4 time, generally perceived as light and lively. First, ensure you can play with a firm, solid tone. For left-hand chords, even if marked piano (p), strive for a tone with substance and core. Especially ensure that the bass notes of chords are not faint or missing. Practicing fortissimo is recommended.

Once you can play everything accurately, in tempo, and with correct rhythm, then add dynamics. Simply follow the dynamics, crescendos, and diminuendos as indicated in the score.

Directionality

This piece has four phrases:

  • Measures 1-4
  • Measures 4-8
  • Measures 8-12
  • Measures 12-16

For each phrase, the "target note" is as follows:

  • Measure 1, beat 1, half note E
  • Measure 5, beat 1, half note E
  • Measure 11, beat 1, whole note G#
  • Measure 13, beat 1, half note E

Ensure that the directionality towards these notes is audible.

Writer: Ooi, Kazurou

Author : Kumamoto, Ryohei

Last Updated: October 9, 2024
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

It begins with the characteristic upbeat of a gavotte, a dance. Starting with two single notes on the anacrusis upbeat, the subsequent downbeat, located at the beginning of the next measure, brings a triad in the left hand. This structural placement tends to make the downbeat heavy and prone to clashing. Therefore, it is necessary to ensure that this left-hand I tonic triad is not played too heavily. The dynamic marking, deliberately mezzo forte rather than forte or piano, likely takes this point into consideration.

The overall structure is binary form. Measures 1 to 8 constitute the large section A, and measures 8 (from the third beat anacrusis) to 16 constitute the large section B.

  • A [a (measures 1-4) + a1 (measures 4, from anacrusis, to 8)]
  • B [b (measures 8, from anacrusis, to 12) + a1 (measures 12, from anacrusis, to 16)]

Overall, there are almost no polyphonic (multi-voiced) elements. The only notable instance, if any, is the descending stepwise motion in the left hand at the conclusion of a1 (measures 7 and 15), which includes passing tones. Although this section features parallel motion between the upper and lower voices, it is at a sixth interval rather than an octave, and the line includes non-harmonic tones, suggesting a melodic element in the left hand as well. (However, the polyphony is not emphasized to a great extent.)

Unlike section a, section b lacks thick triads in the accompaniment. The lower voice range is in a higher register, suggesting a lighter character. Furthermore, the placement of quarter rests on strong beats and staccato quarter notes on weak beats gives it a rhythmic quality. Considering and expressing these differences between sections contributes to conveying the structural integrity of the piece.

Sheet Music

Scores List (2)