What is the story the player wishes to convey to the listener?
Discuss with the player that even though this piece is entitled a minuet the music sounds rather rustic and a little march-like in style. In some minuets that basic unit is two bars long, as this relates to the pattern of the dance steps. The first two phrases contain entirely different characters, the first phrase being rather bold in style, which is contrasted, with a more lyrical style in the following phrase. The second section contains a similar character throughout. The player could consider that the first phrase is ‘setting the scene’ with both dancers preparing for the dance. In the second phrase, the RH is portraying the female dancer and the LH the male dancer. From bar 9 until bar 16, both dancers become more energetic in their dancing. Perhaps the player could imagine that there are other people watching the dancers who, are at the time, accompanying them with clapping. The last two phrases are a repeat of the first two phrases. In the penultimate phrase, the dancers are catching their breath before their final dance in the last phrase.
In some publications, this piece is called Trumpet Minuet or Trumpet Fanfare.
Hand-coloured woodcut of a 19th-century illustration, from Alamy.com
What is the structure of the music?
This piece is in ternary form with the first section repeated at the end. Each section contains two phrases, each phrase being four bars long.
Main part of the music
The main part of the music should occur at the end. It would be advisable for the player to commence the third section at a quiet dynamic level so that the dynamic increase is more dramatic and effective.
Considering that this piece is from the early Classical Period, the forte used at the end of the piece should not be too loud.
Phrasing
As discussed before, this piece contains six phrases of four bars in length, with each set balancing each other in the first and final sections. The second section’s two phrases contain similar material, and this provides the music with a feeling of anticipation at the end of the section.
The second and last phrases commence with an upbeat. This adds a feeling of urgency to the music.
The suggested metronome mark of q = c. 120 is an appropriate tempo indication. If played any faster, some players may find that they start to become tense when playing the repeated notes and chords.
There are no difficult rhythms present in this piece however there is a danger that some players may play the quaver patterns unevenly. This may be especially apparent in bars 5 and 6, for example. To overcome any unevenness, the player should use time names in their head when playing these patterns and also ensure that their fingers are equally curved and the thumb is being played in the correct position. And, of course the player should be listening carefully to the sound that is being produced.
They player can emphasise the triple nature of the time signature being gently placing a slight accentuation on the first beat of every bar.
Beginning and ending
This piece should begin with energy and grandeur. Discuss with the player the gesture that can be used when commencing to play this piece.
Considering that the loudest part of the music is at the end of the piece, it needs to end much in the same manner as it began, with pomp and magnificence. A slight ritardando is appropriate in the final two bars, however this should not be overly exaggerated. The slowing down should not result in the note values being doubled. The player should a little longer on the final notes before releasing them.
Details and considerations
Musical Period and composer
Classical Period, Duncombe. According to the ABRSM footnotes, little is known of William Duncombe. He lived in London in the late 18th century and he was the organist of St Dunstan’s, Highgate. He is mainly remembered for a handful of keyboard pieces.
Touch
Here is an opportunity for the player to employ a range of touches as well as different articulations. In the first phrase the player should play with a supported arm, with well-curved fingers and with energy into the keys to produce a bright and intense sound. The longer notes such as the minims and dotted minims will need to be played with weight from the shoulder and with a flexible elbow so that these notes have enough resonance to be held for their entire length. The RH in the second and last phrases of the piece should be played with a more cantabile touch so that there is contrast with the other phrases.
Balance between the hands
Throughout this piece the balance will need to be to the RH. However, this does not mean that the LH is an insignificant part of the music. During the second and last phrases the LH supports the RH melody and this should be highlighted for the listener. In the middle section there are many repeated chords being played in the RH so here the balance could be reduced so that the descending patterns in the LH can be featured.
Tone-matching
In respect of the repeated notes and chords in this music, the player will need to consider how they will play these dynamically. This is especially true in the second section where a crescendo in every bar where there are repeated chords is not appropriate. The player will need to decide which of the chords or notes of these repeated patterns is the loudest. Careful tone-matching will need to be used to ensure that each set is played in the way the player wishes the dynamics to be employed. In addition to this, the player will need to consider how loud the RH D should be played in bars 4 and 20.
The second and last phrases commence with an anacrusis, so the player must ensure that these notes are not played too loudly in comparison with the previous note or chord. This will help contribute to the more lyrical character of these phrases.
Phrasing
At the end of the first phrase a gentle left in the RH after playing the RH C will alert the listener to the start of the following phrase. There should be no pause at the end of the second phrase before commencing the third phrase. A slight slowing down at the end of the fourth phrase is appropriate however this should certainly not be overly exaggerated. This pause should be just long enough to enable a small amount of the sound to reduce at this point.
Articulation
Because many of the notes and chords in the RH are repeated, these will be played in a slightly detached way as a result. The player should use the articulation provided in bars 5, 6, 21 and 22. The notes that should be played in a detached manner should only be slightly detached. Some players may find the articulation suggested in bars 7 and 23 a little difficult to achieve. As an alternative, the player could play the whole of the RH legato with a lift at the end of the bar. All of the LH crotchets should be played in a gently detached manner. However, in bars 5,6,21 and 22 the player should play the first two crotchets as a two-note sur. This will result in the hands playing with the same articulation simultaneously. If the detached notes and chords are played in a crisp staccato manner the character of the music will be changed as a result. The RH quaver patterns in bars 10, 12 and 14 should be played legato. As is always the case, consistency in the application of the articulation is vital.
Dynamics
As discussed before, considering this music was written during the Classical Period the louder dynamics should not be too loud. Nevertheless, the player should employ a range of dynamics throughout the piece. Considering that the loudest part of the music should be used at the end of the piece, the piece should begin at an mp level becoming louder within the first phrase. In the final section the dynamic level should be p so that the dynamics can be built up towards the end. This will mean that the piece will sound more dramatic in the final section. Whilst playing the repeated notes and chords, the player will ease up on the dynamics as they are being played. Often in these circumstances, the chords and notes that are repeated, sound louder as the repetition progresses by virtue of the fact that they are being repeated.
Rubato
This is not a factor of this music; there should be a slight slowing at the end of the second section and a little slowing at the end. These ritardandos should not be exaggerated at all.
Use of the LH
As is always the case, a change in the LH’s dynamics will make a considerable difference to the overall dynamics of the piece. The longer notes such as the minims and dotted minims will need to be played with resonance. There could be a tendency for some players to not hold the minims and dotted minims for long enough. The crotchet notes in the LH will help to provide the music with a lighter feel. There are two-note slurs in the LH in bars 5, 6, 21 and 22.
Use of the RH
This may be a little difficult for a Grade 1 pupil to achieve however bringing out the top note of the RH chord in bars 8 and 24 will highlight the key of the piece. Some players may find that the repetition of the chords and notes means that they become tense and restricted in their movements. The chords and notes should be played with a fluid wrist and a supporting elbow. The movement needs to be generated from the shoulder. The player must be conscious of their shoulder height whilst playing these repeated chords and notes.
Additional considerations
Some players may find playing the chord in time bars 8, 15 and 24. Discuss with the player the benefit of thinking ahead in readiness to play these chords. And, it would be helpful if they have a muscle memory of the shape of these two chords as well.
To maintain the same fingering throughout bars 9 – 14 it would be advisable for the player to use of 4 instead of a 5, for example, in the RH in bar 10.
There could be a danger that the player may over-emphasise the beginning of each descending pattern in bars 10, 12 and 14. Discuss with the player how to play using tone-matching and how, if it is emphasised, it changes the rhythmic balance of the bar.
Whenever the hands are moving to a new position, ensure that both hands move simultaneously. It looks untidy if one hand moves before the other and there is a danger that one of the hands may be held on for too long. Even if one hand only has a short distance to move, the player must make sure that both hands move simultaneously.
The articulation is this piece helps to provide contrast. In the first and last sections, the first phrase, because of the repeated notes, sounds detached. However, the second phrase’ articulation helps to provide a more lyrical feel to the phrase.