Character/story of the piece - clearly it would be best to start with discussing the characteristics of the minuet and how these will apply to this piece of music. There are a number of videos online that the player could watch which would assist in the understanding in the character of a minuet. A minuet is a slow, stately dance in triple time for groups of couples, originating in France. The name minuet comes from the small minute steps that are used in the dance. In this piece the player should think of each hand as being a dancer and the movements and steps they are taking in relation to the music. The music is particularly evocative with the music invoking many dance movements such as bowing, circling, side-stepping and raising up and down on the toes. In addition to this, the player could consider each hand being played by a different instrument.
Form - the music is in binary form with each section repeated although the repeats would not be necessary for the examination. In the first section, the phrases could be considered as a pair however this is not the case in the second section. At the end of the first section the music has modulated to the dominant key, E major however by the start of the second section the music returns to A major.
Main part of the music - this is at the start of the fourth phrase in bar 13. Here the editor has marked forte and this dynamic is appropriate for the melodic material contained in this phrase. Considering that the main part of the music is approximately two-thirds of the way through the piece, the player must ensure that the listener’s interest is maintained until the end of the piece.
Phrasing - there are five phrases in this piece and the last three phrases are unique melodically. The first two phrases, as discussed above, should be considered as a pair as both have the same starting material.
By Nathaniel Hone the Elder - https://www.bmimages.com/preview.asp?image=01613694340, Public Domain, https://commons.wikimedia.org/w/index.php?curid=91309505
Tempo, time signature and rhythmic patterns - often the speed of a minuet is between 100 and 120 crotchet beats per minute. The suggested speed for this minuet is approximately 92 crotchet beats per minute and this speed is appropriate and should be followed. The grace and elegance of the music will be compromised if played faster than this. And, there are so many details in this music such as ornaments, articulation and dissonances that will not have the same impact if the music is played more quickly. All minuets are in triple time. There are some rhythmic patterns that some players will need to ensure that they are playing correctly. The first challenging rhythmic pattern of the piece is encountered right from the start with the use of the dotted quaver/demisemiquavers pattern. When working out this pattern on a rhythmic basis it would be best to double the notes initially so it is easier to understand. All of the ornaments will require special attention so that they are played in correct time and with direction. And, the two triplet patterns in bar 6 will demand special attention so that the notes are not played all at the start of the beat rather than being spread out throughout the beat. The rests are important in in bars 13 - 15 as the music should sound as if each hand is being answered by the other.
From Alamy.com
Touch and articulation - there is much in this piece for the player to consider regarding touch and articulation. This piece demands an intense and bright touch using well-curved fingers and energy into the keys, more or less according to the dynamics required. Some notes in both hand require a degree of resonance with some weight provided by the shoulder such as the RH A in bar 13 or the LH minims so that they have enough sound to last for their duration. Bars 13 -15 demand very special attention considering that the LH has in important role however in each bar it does not start to play until the second part of beat 1. The are a number of articulation marks which should be strictly observed. There is little articulation written in for the LH so some decisions will need to be made as to how the LH will need to be played articulation-wise. For example, in bars 1 - 4, the first two bars could be played gently detached and bars 3 and 4 could be played legato. Any notes in this piece that are not played legato should be played gently detached.
Balance between the hands - primarily the balance will be to the RH however this is not to say the LH does not provide a critical role in this piece in providing, amongst other aspects, the momentum for the piece. The LH takes on a melodic role in bars 8, 12 and 13 - 16.
Dynamics - the player must remember that the dynamic levels that they choose are appropriate for the Baroque Period. The forte in bars 13 - 15 should in no way be harsh or strident. It is suggested that the dynamic level at the start of the second phrase at bar 5 should be quieter, perhaps mezzopiano, so that the dynamic level in bar 7 could be mezzoforte. The change in dynamics from the first to the second phrase could be achieved to a certain extent by a change in the LHs dynamics. It is important that the forte level is reserved for the fourth phrase.
Line engraving from Kellom Tomlinson's 'Art of Dancing,' 1735. From Alamy.com
Ornaments - the player needs to examine why the ornaments have been used at the particular points in the music. All ornaments need to have dynamic shape and direction. For example, the ornament in bar 7 provides a feeling of rest in the music before the connection into the subsequent phrase.
Considerations when playing this piece -
· There can be a slight slowing down at the end of the music.
· In bar 11 the player should play the first note of each triplet with a small emphasis which helps to provide the music with a steady sense of beat.
· The syncopation in bars 17 and 18 heightens the tension and drama in the final phrase..
· The piece presents a little difficulty in tying all of the melodic parts together.
· There should always be a degree of restraint when playing this piece.
· There is a danger that the highest notes in a melodic pattern could be played too loudly.
· The RH E in bar 9 needs to be played carefully, as if it comes from what the LH has played on the first beat.
· The RH E in bar 8 should be played with care.