Giga
Carlos de Seixas
ABRSM Grade 3 Piano 2019 - 2020.
It is worth noting that the dynamics and articulation marked in the ABRSM edition are editorial suggestions, not the only way of playing this piece. Indeed the video performance you just heard uses DIFFERENT dynamics to those you see printed in the ABRSM Grade 3 Piano book and the examiner will give credit for individual creativity that is stylistically authentic and characterful. For example, the performance you just heard brings the forte of bar 10, forward to the 2nd half of bar 8. Have another listen and see if you can spot any other differences.
Whatever dynamics you choose, it is stylistic of this period to use stepped or terraced changes (i.e. with crescendo or decrescendo).
Likewise with the articulation, feel free to experiment, but be aware, that it is stylistic of baroque keyboard music to slightly separate the longer notes i.e. in this piece the dotted crotchets of the LH.
Notice also in the above performance a small rit at the end.
Teaching Notes
The title Giga refers to a lively Baroque dance in 6/8 time and so to capture the style and character of this piece, your performance needs to have a fast lilting feel, being careful that all quavers are played evenly. In order to achieve this careful SLOW practice is at first necessary.It is worth noting that the dynamics and articulation marked in the ABRSM edition are editorial suggestions, not the only way of playing this piece. Indeed the video performance you just heard uses DIFFERENT dynamics to those you see printed in the ABRSM Grade 3 Piano book and the examiner will give credit for individual creativity that is stylistically authentic and characterful. For example, the performance you just heard brings the forte of bar 10, forward to the 2nd half of bar 8. Have another listen and see if you can spot any other differences.
Whatever dynamics you choose, it is stylistic of this period to use stepped or terraced changes (i.e. with crescendo or decrescendo).
Likewise with the articulation, feel free to experiment, but be aware, that it is stylistic of baroque keyboard music to slightly separate the longer notes i.e. in this piece the dotted crotchets of the LH.
Notice also in the above performance a small rit at the end.
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