This piece has been in the Grade 2 syllabus on three occasions that I am aware of, in 1975, 1986 and 1995.
JOHAN SEBASTIAN BACH (1685-1750) German Baroque composer with his sons painted by Balthasar Denner in 1730, from Alamy.com
Character/story of the piece - a minuet, sometimes spelled menuet, is a social dance for two people, usually in a time signature of three crotchets in each bar. The word minuet means small, pretty and delicate. The word minuet is most probably used because the steps in the dance are quite small and short. At the time when this dance was the most fashionable, it was slow, ceremonious and graceful. The minuet became a stately court dance in the 17th and 18th Centuries. The name is also given to a musical composition written in the same time and rhythm, but when not accompanying a dance the tempo was quicker. It was be advisable to suggest to the player that they could watch videos of this dance so they can understand the character it. The player should imagine each hand being one of the dancers, the left hand is the male dancer and the right hand is the female dancer. The melodic patterns should be thought of regarding the steps and movements of the dance.
Form - this piece is in binary form with each section being of equal length. By the end of the first section the piece is in F major with the piece remaining in F major for the following two bars of the second section before returning to D minor in bar 11. This is an excellent piece for the player to study the key of D minor, both melodic and harmonic.
Main part of the music - this is at the beginning of the second section where the music is in F major and the melodic material provides a robust and triumphant character. The player must consider how the placement of the main part of the music at the half-way point affects the character of the music. It would be best if the player provides a secondary main point in the last phrase, if not, the music will lack direction in the final phrase.
Phrasing - there are four phrases in this piece, all four bars long. In this piece, the phrases do not consist of a ‘question and answer’ scenario. Although there are melodic and rhythmic similarities between the phrases, basically the phrases stand on their own individually. The connecting material is important when moving from the end of one phrase to the beginning of the next, as this helps to provide the music with the momentum it requires.
Tempo, time signature and rhythmic patterns - there are varying ideas as to the appropriate speed at which this piece should be played. I have seen some instances where the suggested speed can be up to 116 crotchet beats per minute however in my opinion, the speed of 100 crotchet beats per minute is preferable. This piece has a melancholic and slightly despairing character and if played too fast, this character will be lost. If played too fast, there is a danger that the piece’s character could be trivialised. Obviously the piece is in triple time and it should be discussed with the player how each phrase contains two sets of two bars. Some players may find the semiquaver/quaver patterns a little hard to play initially and it should be noticed that the pattern of two semiquavers and one quaver is reversed in the RH at the start of bar 7. These patterns could result in be played as a triplet.
Touch/articulation - considering the character of the piece, the touch required in the RH is primarily cantabile. A slightly more intense touch using more curved fingers and with fingers lifting higher off the keys can be employed in the third phrase, as this will help to highlight that this phrase contains the main part and that this phrase is a little different to the others with its use of sequence. The LH has an important role to play in this piece as it helps to maintain the momentum as well as providing the harmonic basis along with some connecting scalic patterns or arpeggio-like at the end of the phrases. The LH should be played with a degree of resonance and the amount of resonance require will be determined by the length of the note as well as the dynamic level at the time. By altering the dynamic level of the LH, this will have a dramatic effect on the overall dynamics of the music. Any quaver patterns that are required to be played in the LH these should be played with a light cantabile touch. It should be noted that the only articulation marks that are provided in the original are the RH slurs in bars 5, 7, 10, 12 and 15; all other markings are editorial. On the whole the LH should be played with a legato touch, however the tenuto markings and two-note slurs should be observed. All markings for the articulation of the RH also should be observed and the player should consider what effect these markings have on the character of the music at that time. Lifting in the RH in bars 9 and 11 after the first and second notes is appropriate too as well as lifting in the RH after the first notes in bars 1 and 5.
BACH Johann Sebastian With his family in 1870 painting by Toby Rosenthal, from Alamy.com
Balance between the hands - this piece requires RH balance for the most part however there are some instances where the hands should be more equal in balance. For example, in bar 7 the hands should merge together dynamically in the cadential progression to bar 8 where the LH should have the focus.
Dynamics - as is always the case, the level of dynamics used in this piece should be appropriate for the Baroque Period. There should always be a feeling of restraint regarding the dynamics and the forte applied at the start of bar 9 should in no way sound strident or harsh. The player should consider the level of dynamics they will use at the start of each of the phrases and how this level relates to what was used at the end of the previous phrase. In the last phrase, for example, starting at a level less that what was used at the end of the third phrase provides the player with the opportunity to employ a wide range of dynamics. This results in this phrase sounding more dramatic.
Rubato - any slight hesitations in this piece should be applied in moderation. A slight slowing down at the end of the first section and at the end of the piece is appropriate. In addition to this, a very slight hesitation prior to playing the RH B flat in bar 14 highlights the fact that this is the highest note in the piece. A very slight accelerando in the notes before this B flat is necessary.
Considerations when playing this piece -
When playing the leaps in the RH in bars 9 and 11, the player should use an arching gesture rather than sticking too closely to the keys. These leaps provide a heightened tension.
The top notes of a melodic pattern do not necessarily need to be played as the loudest.
The two-note slurs in the RH in bar 5 provide the music with a slightly despairing character.
There are some awkward passages in this music such as placing the RH thumb on the C sharp in bar 4. The player must be thinking and looking ahead constantly, knowing the changes in hand position and any leaps required.
In such places as the RH F in bar 1 and others, the F should not be played · player should imagine that they are ‘reaching’ for this note.
This piece provides an excellent opportunity to discuss with the player the use of modulation.
In any long quaver passages there must always be forward movement.
Detaching the LH in bar 13 helps to provide tension moving towards the high B flat.
The second section is more dramatic than the first.
This requires of the player a degree of confidence when playing the large leaps that are found in the piece.
The dynamics of bars 7 and 15 should be different when playing the second and third beats.