From Alamy.com
Dance, Alexsandr Gedike
This piece is present in the Getting to Grade One book, edited by Elissa Milne, published by Hal Leonard. (This series is excellent; each book contains a range of music with a reasonable number of the contemporary pieces. Possibly some of the later ones in each book may be a little difficult for the grade however it must be remembered that there is a Preliminary exam in the AMEB system which one should consider as Grade 1).
There have been many Gedike pieces in the ABRSM syllabus, some of which are listed below. Please note that the spelling of the composer’s name has altered over the years.
Gedike Aleksandr Fyodorovich Étude in A Minor, Op. 36 No. 13. Piano Time Pieces 3 (OUP) 1 1991 A 20C Gedike Aleksandr Fyodorovich Heiteres Lied (Cheerful Song): No. 31 from 60 Easy Piano Pieces for Beginners, Op. 26, Vol 2 2 2021-2022 A 20C
Gedike Aleksandr Fyodorovich Kummer: No. 39 from 60 leichte Klavierstücke, Op. 36 1 2015-2016 B 20C 1 2009-2010 B 20C
Gedike Aleksandr Fyodorovich Miniature in D minor, Op. 8 No. 2 Encore, Book 3 (ABRSM) 5 2017-2018 B 20C
Gedike Aleksandr Fyodorovich Miniature in D minor: No. 2 from Dix Miniatures en forme d'études, Op. 8 5 2011-2012 B 20C
Gedike Aleksandr Fyodorovich Miniature Op. 8 No. 10 5 1997 Alt 20C
Gedike Aleksandr Fyodorovich Miniature, Op. 8 No. 7: No.11 from Russian Music for piano, Book 3 5 2013-2014 B 20C
Gedike Aleksandr Fyodorovich Miniature, Op. 8, No. 10 5 1990 B 20C
Gedike Aleksandr Fyodorovich Moderato No. 2 from 20 malen'kikh p'es dlya nachinayushchikh, Op.6 1 2013-2014 B 20C
Gedike Aleksandr Fyodorovich Petite pièce, Op. 6 No. 11. No. 7 from Russian Music for Piano, Book 1 (Chester) 2 2017-2018 B 20C
Gedike Aleksandr Fyodorovich Petite Pièce, Op. 6, No.2 2 1983 A 20C
Gedike Aleksandr Fyodorovich Russian Song, Op. 36 No. 24 1 1997 Alt 20C
Gedike Aleksandr Fyodorovich Russian Song, Op. 36, No. 24 1 1985 B 20C
Gedike Aleksandr Fyodorovich Schulstunde (School Lesson): No. 36 from 60 Easy Piano Pieces for Beginners, op. 36, Vol. 2 3 2015-2016 B 20C
Gedike Aleksandr Fyodorovich Slow Waltz, Op. 36 No. 19 3 1995 Alt 20C
Gedike Aleksandr Fyodorovich Cossack Song, No. 41 from 60 Piano Pieces for Beginners, Op. 36, Vol. 2 1 2003-2004 B 20C
Gedike Aleksandr Fyodorovich Miniature in D minor. No. 2 from 10 Miniatures en forme d'Études, Op. 8 5 1998 A 20C
Gedike Aleksandr Fyodorovich Miniature, Op. 8 No. 10 5 1990 B 20C
Gedike Aleksandr Fyodorovich Night in the Woods, Op. 36 No. 32 2 2001-2002 B 20C
Gedike Aleksandr Fyodorovich Petite-Pièce, Op. 6 No. 2 2 1983 A 20C Gedike Aleksandr Fyodorovich Russian Song, Op. 36 No. 24 1 1985 B 20C
Gedike Aleksandr Fyodorovich Barcarolle 2 2005-2006 B 20C
Character/story of the piece – the title of the piece immediately grabs the player’s attention. There are two dancers in this piece, each hand represents a dancer. The LH is providing the beat, perhaps the player could imagine the dancer stamping their feet with a louder stamp on the first beat of the bar. There are exceptions to this as discussed in the section concerning the time signature. The dancer the RH represents is a little more active. Considering the beginning is bold and triumphant, perhaps the player could imagine that these two dancers have just leapt onto the stage. It is surprising that the piece is so upbeat considering that it is written in a minor key.
Form – this piece does not have any particular form as such although it could be thought of as in binary form; however, the piece is well-balanced and satisfying to listen to. By the end of the second phrase the piece remains in the opening key, E minor. The composer takes the music through G major in bars 9 – 11 but by bar 12 the music pauses on the dominant of E minor.
Main part of the music – this should occur at the end of the third phrase at bar 12. The third phrase should begin very quietly so there is a significant cresecendo to the end of the phrase. Perhaps one or both of the dancers are doing the splits at the climax.
Phrasing – there are four phrases in total, each four bars long. To a certain extent the four phrases are in sets of two with the second phrase of each pair ‘answering’ the first phrase. It is interesting to note that apart from the third phrase, each phrase has an overall descending melodic pattern. The third phrase, in contrast has an ascending pattern.
Temp, time signature and rhythmic patterns – the tempo suggested in the publication is 176 crotchet beats per minute. A speed a little faster than this is appropriate too, 192 crotchet beats per minute lifts the character of the piece even more. Even though the piece is written in quadruple time, it feels as if the composer could have written part of it in duple time. For example, bars 2, 6, 14 and all the third phrase would benefit from being played as if it were written in duple time. All the quaver patterns must be played with clarity and evenness.
Touch/articulation – the fingers need to be curved well when playing this piece, the notes should be played with energy from the fingers. The degree to which the finger is lifted will depend on the dynamics of the passage being played. The detached notes at the end of the three notes should be achieved by having the finger in contact with the key as it is being lifted so that the resulting sound is not too abrupt. A small amount of weight from the shoulder should be applied when playing the three-note slur. The degree of staccato applied in this piece should vary according to the dynamics. For example, in the third phrase the staccato in bars 9 and 10 should be gentle and barely detached however as bar 11 progresses and moves into bar 12 the staccato should be more detached and be played with energy from the fingers. There is a danger that the player may wait longer on the second of the repeated notes such as those in bar 1.
Balance between the hands – clearly the melodic detail in this piece occurs in the RH, therefore the balance should be to the RH. Nevertheless, the LH has a supportive role to play and there are interesting melodic patterns in either the upper or lower notes of the LH chords that should be highlighted. Apart from the third phrase, the hands ‘blend’ together at the ends of phrases. It may be tricky for some players to maintain the balance considering that the RH is at times playing on its own and at others, it is playing with a LH chord.
From Alamy.com
Dynamics – here is an opportunity for the player to apply a wide range of dynamics when playing this piece. As discussed before, the climax of the piece should occur at the end of the third phrase. At this point the dynamics should be at a fortissimo level. This level should not be in any way, harsh or forced. The beginning of the final phrase should be played at a forte level. The player needs to eb able to control their dynamic range with ease and confidence. So often, a player will diminuendo too soon, therefore leaving little room for manoeuvre. Whenever either a crescendo or diminuendo is played, the player should take their time, possibly even increasing the dynamics a little in a diminuendo for example, as this will add drama and interest to the music. The dynamics used when playing the three-note slur must be carefully considered, does the player wish to have the dynamics increasing or decreasing?
Rubato – considering that this music is a dance there should be little rubato applied in this piece. A pause on the second half of bar 12 is appropriate as this will allow for some of the sound to dissipate before the return of the original music. A slight slowing at the end is suitable too.
Considerations when playing this piece –
· Considering that the range of notes in the composition is a little higher than is usual for the LH in particular, the player should sit a little to the right of where they would usually sit.
· There is not a particularly large range of notes written in this piece.
· The minim notes such as those in bar 2, must be played with resonance with the elbow. There is a danger her that the player will lift off these chords too soon.
· The rest in bar 12 must be clearly heard.
· The joining from the end of the third phrase to the start of the fourth phrase is important to achieve.