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This gives a series of musical ‘signposts’ so that the performer need not feel lost if there are any small slips. Notice the well shaped phrasing and detail in dynamics and articulation. Practice should sonatins undertaken in sections, in accordance with what has been taught in the lesson. An excellent performance will be confident in fluency diahelli poised tone control. If you agree with the LH playing Fingers 4 – 1 – 2 – 1 for the first bar, do insist on a healthy hand position where a straight line is kept down the Finger 5 side of the wrist, anron than bending the hand to the side.
Students who are comfortable with pedalling might pedal the first and second of crotchets separately but it is easier to simply pedal the first crotchet of each bar unless the note is a minim in which case the pedal might extend for the whole two beats.
7 Piano Sonatinas, Op.168 (Diabelli, Anton)
In bars with rests, such as Bars 2, 8 and 16, care should be taken to observe the silence since precision is integral to the style of the sonatina. However keeping the fingers on the keys and pushing with each finger will create excess tension and give rhythmic unevenness. Pedalling Small children playing this sonatina need not use any pedal at all. Separate hands work of each two-bar phrase before trying very slowly, hands together should yield good results.
Diabelli – Sonatina in G Op 168 No 2
In particular draw attention to the changes in the outer sections that depend on the key change to the dominant in the first section, with the introduction of the C sharp, as compared with the final section that remains in the key of G major. An appropriate pace with carefully detailed articulation will give a sense of character. The performance marking is Allegro moderato so the tempo needs to reflect a moderately lively character. There may be some expressive detail, which may be over-enthusiastic with tone control issues, or maybe not sufficiently convincing.
Diabelli – Sonatina in G Op No 2
Since Diabelli was a teacher, it is highly likely that Op was written for use as a teaching piece. Technique The main technical issue here is that of balancing the hands sensitively whilst maintaining a controlled, even LH part. Students need to have performing opportunities before the big occasion since the problem can be that students have been playing with dynamic contrast in lessons but under the challenge of an audience, concentrate only on getting the notes right and forget the expressiveness.
Here is a performance in which articulation detail is carefully given and aton music is well known, even though technical control is not yet confident, with some unevenness at times, particularly in the ornamentation.
It is so lovingly played with such a genuine feel for the beauty of the melodic lines, with phrasing tenderly shaped, that the fact that is is not even moderately allegro can begin to seem unimportant!
Discourage young students from extremes of dynamics in this piece, but encourage a pleasing tone. In many respects this performance is good, being confident in fluency with a sense of character, so it is a pity wonatina the LH needs to be quieter in relation to the RH.
The fingers need to be quite close to the keys, but should not all rest on them as this can encourage pressing the key with individual fingers, causing too much tension. Using a rotary action a rocking v of the hand as the forearm rotates will help to achieve even control.
Small children playing this sonatina need not use any pedal at all. Always insist on consistently correct fingering right from on.2 start of the learning process. You could teach the outer sections first, then teach the middle section. The main technical issue here is that of balancing the hands sensitively whilst maintaining a controlled, even LH part.
The turn in Bar 43 must be played in exactly the same way: This is not a piece that will present many difficulties but those that do arise will probably be related to interpretation – giving a clear sense of the elegant character, with well shaped phrasing and dynamic variety. Using some rotary motion in the LH will help to achieve even control. The piece has no wide stretches and is easily manageable by small hands.
Diabelli – Sonatina in G Op No 2.
Troubleshooting This is not a piece that will present many difficulties but those that do arise will probably be related to interpretation – giving a clear sense of the elegant character, with well shaped phrasing and dynamic mahor. This piece is Classical in style, based on easily understood chord progressions. There will be detail in dynamics and articulation at an appropriate pace, although technical control may be less assured than in an excellent performance.
The LH part could be learned by playing each set of aanton quavers as a chord.
A sound performance will show continuity at, perhaps, quite a cautious pace. If this piece is to be played from memory the teacher will need to give clear guidance about understanding the structure of the music. Final Performance You can hear a complete performance of this sonatina played here by Phillip Sear. It also helps the student to appreciate and remember the chord progressions.
There is good dynamic variety and detail here too.