Czibulka, Alphons : 冬のおはなし
Work Overview
Genre：Various works
Total Playing Time：1 min 00 sec
Copyright：Public Domain
Commentary (2)
Author : Kumamoto, Ryohei
Last Updated: March 4, 2025
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Author : Kumamoto, Ryohei
It is in ternary form.
- A [a (measures 1-4) + a1 (measures 5-8)]
- B [b (measures 9-12)]
- A [a (measures 13-16) + a1 (measures 17-20)]
The main key is G major. The piece begins with a dark sound, as it starts on the VI chord.
The A section is divided into two four-measure sub-sections. Both sub-sections end with a perfect authentic cadence; however, while the first half (a) consistently uses a dominant-to-tonic harmonic progression, the second half (a1) progresses from the subdominant II to the dominant. In measure 6, a V7 chord of the II key is used as a borrowed chord, harmonically emphasizing this utilization of the subdominant II.
An accent is placed on the third beat of the first measure of the theme (measures 1, 5, 13, 17). However, considering the piece as a whole, there is no characteristic motif that specifically emphasizes the third beat. Therefore, it is likely not a rhythmic (percussive) element, but rather an accent with emotional expressive meaning, intended to create a sense of a phrase's peak. From the beginning, one should aim to express this with a slight expansion of the phrase towards this accent, giving it a bit of weight.
The middle section B modulates to the parallel key of E minor. Although short, this four-measure section features a two-measure melody that is then repeated an octave lower in a slightly varied form.
Author : Ooi, Kazurou
Last Updated: May 30, 2025
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Author : Ooi, Kazurou
The classic problem of muddiness when holding the pedal down, and losing the bass when changing the pedal, is an eternal challenge for those of us involved with the piano. This piece presents precisely that problem, but the author will impart a special fingering technique. This method makes it possible to avoid muddiness without losing the bass.
Bar 1
There are two methods. One is to apply the pedal every two beats. For beats 1-2, since the notes are EGH, holding the pedal down will not cause muddiness. For beats 3-4, since the notes are ACE, holding the pedal down is also fine. However, the melody will overlap. Therefore, another method is to hold down the bass E with the 5th finger on beat 1, play GHE on beat 2, and change the pedal on beat 2. This avoids overlapping the B and G in the right hand. This is a matter of preference, so either method is acceptable. For beats 3-4, holding the pedal down is fine. The eighth note E in the melody line is momentary, so it is not a concern.
Bar 2
While sustaining the bass D on beat 1 with finger pedaling, play F# with the 3rd finger and both C and D simultaneously with the 1st finger on beat 2. Here too, change the pedal every beat. This prevents mixing the D and A between beats 1 and 2. Of course, you can also hold the pedal down for beats 1-2 without such trouble. For beats 3-4, there is no problem, so continue holding the pedal.
Bar 3
Change the pedal every beat. Hold down the bass B on beat 1 with the 5th finger, and on beat 2, play only the B an octave higher; the D above it is taken by the right hand. On beat 3, play G and A normally, sustain the A with the 5th finger, and on beat 4, play only the A an octave higher. With the right hand, play the C and D from the left hand on beat 4 simultaneously with the melody G.
Bar 4
Change the pedal every beat. Hold down the bass D on beat 1 with the 5th finger, and on beat 2, play A with the 2nd finger and both C and D simultaneously with the 1st finger for ACD.
With these techniques, for bars 1-8 and 13-20, all bass notes will be sustained for two beats, and the melody will remain clear.
Bar 12
Do not use the pedal at all. Connect everything with your fingers.
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