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Home > Türk, Daniel Gottlob > Ein kleiner Walzer. D-Dur

Türk, Daniel Gottlob : Ein kleiner Walzer. D-Dur

Work Overview

Music ID : 75157
Instrumentation:Piano Solo 
Genre:exercise
Copyright:Public Domain

Commentary (2)

Author : Ooi, Kazurou

Last Updated: April 16, 2023
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

Interpretive Considerations

Please note that the following is the author's subjective view and should be considered as one possible approach. This short 8-measure piece is difficult to play without repeats; it is highly recommended to observe them. The following discussion assumes the observance of repeats.

Let's examine measures 1-4. The highest notes are A in measure 1 and A in measure 4. Between these two, which A should be emphasized more? In my personal opinion, I would play the A in measure 1 with more emphasis. The reason is its longer note value. Since the A in measure 4 is a sixteenth note, playing it too loudly might make it sound harsh. Measure 4 should ideally sound light, so I would play measure 1 loudly and gradually decrease the volume as the phrase progresses.

Looking at measures 5-8, there are two ascending sequences in measures 5-6. Here, two approaches are possible. One approach is to emphasize the second sequence in measure 6 more than the first sequence in measure 5, as it is positioned higher.

Conversely, another approach is to play the second sequence more softly, considering that the first sequence in measure 5 is a dominant and the second sequence in measure 6 is a tonic, thus representing a harmonic resolution.

In the former case, one would further crescendo towards measures 7 and 8, building tension, whereas in the latter case, the approach would be to not increase the volume as much, leading quietly into measure 8.

Regarding these two approaches, since repeats are observed, one could also introduce variations, such as a crescendo on the first repeat and a diminuendo on the second. Varying the repeats rather than playing them exactly the same way can help avoid monotony. For your reference.

Writer: Ooi, Kazurou

Author : Kumamoto, Ryohei

Last Updated: July 21, 2025
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

In D major, it is in one-part form.

A[a(measures 1-4) + b(measures 5-8)]

Although the piece is divided into two sub-phrases, the presence of a half cadence in measure 4 and a perfect authentic cadence in measure 8 indicates that these two sub-phrases are not independent but rather form a pair. Therefore, the piece is largely considered as a single phrase, classifying it as a one-part form.

The tempo indication is Poco Allegro, meaning a somewhat lively speed; however, the tempo should not be excessively fast. As it is a waltz, it should be performed with a sense of 6 beats, treating every two measures as a single unit.

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