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Suite de la rejouissance - Grade 2 ABRSM Piano


Teaching Notes

The first thing you will notice from the video performance above is that the quavers are played in unequal pairs, like a modern swing rhythm. However, far from being a modern interpretation, it was quite stylistic to play music from this period in the French "notes inegules" of the day. This is not compulsory for an ABRSM exam and you are free to play them as normal equal quavers if you prefer.
That said, if you do go for the unequal pairs, you need to pay attention to the ornaments in bars 15 and 27 so that the two semiquavers shown in the "realisation" above the ornament, are played in the last THIRD of the beat, rather than the last HALF of the beat. The same is true for the last quaver in both of these bars. 

Other areas of "choice" are that of dynamics and articulation. As it says in the footnote of the ABRSM edition, any of the former in the book are editorial suggestions only.

Regarding dynamics, the above video performance follows quite closely what is suggested, but instead of a sudden increase in bar 21, a more gradual crescendo was employed on the last line.

As a rule, all crotchets were articulated separately (staccato) whereas quavers were played legato throughout. This ignores, the editors offering of three note slurs in bars 17 - 20, which apart from anything else, is not in keeping with the style of the rest of the piece and in any case, most grade 2 students would find this articulation rather challenging to perform effectively.

One final observation are the minims found at the beginning of the octave jumps in the LH in bars 15, 16 and 27. Be sure to make the top note overlap the lower one.

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