Sonatina in B flat No. 8 from 12 Sonatinas, Op. 4, Wesley Grade 3 2005 – 2006
Character/story of the piece – this piece has a dance-like quality, a dance that has a refined and elegant character. The player could imagine the movements that the dancers use in each section, clearly there is an imitative aspect to the dance movements in the middle section. The ABRSM notes that accompanied the pieces in 2005 – 2006 state that this piece would be an excellent choice for a school concert considering its appealing melody.
Form – this piece is in ternary form; the player would be heartened to know that they only must learn 16 bars in total. The piece commences in BB major with the first and last sections remain in this key. Although the second section contains a descending sequential pattern for most of the time, this descending melodic movement remains in the key of BB major. This section ends on an imperfect cadence. This piece provides excellent material for the study of harmony and the use of cadential progressions.
Main part of the music – the loudest part of the music should occur in bar 15, the penultimate bar of the middle section. This should be played at a forte level however the player must be careful that the dynamics applied in this piece are not too loud overall, as the louder dynamics would not suit the style and period of the piece. Considering that the main part of the music is approximately two-thirds of the way through the music the listener’s interest must be maintained to the end of the piece.
Phrasing – as one would expect in a piece of this style, the phrases complement each other rather like a question-and-answer format. Each section contains two phrases, each phrase being four bars long. It is interesting to note that although the first phrase in the first and last sections commences on the first beat of the bar, the second phrase begins with a quaver upbeat. This upbeat provides a small degree of tension in the music.
Tempo, time signature and rhythmic patterns – the editor has suggested that the music is played at the speed of 92 crotchet beats per minute which is an appropriate speed for this piece. The use of a duple time signature in this music is important as it provides the music with vitality and momentum. There could be some players who potentially may find the constantly changing rhythmic patterns, for example in bars 1 and 2, there is a crotchet, followed by a set of semiquavers, then a set of quavers and finishing with a crotchet, a little difficult to execute. The player must be certain of the tempo and how the rhythmic patterns fit the beat. Some players may find the second section a little difficult to play as it requires independence of fingers and co-ordination of the hands. Potentially the speed of the piece could be slower in the middle section as a result. There could be some unevenness in the playing of the semiquaver patterns.
Touch/Articulation – in the first and last sections the player should employ an intense, steely touch using strong fingers and energy into the keys supported by a supple wrist. There are occasions where the player will need to highlight the upper R.H. note of a chord so that the melodic line is projected to the listener. However, a small contrast can be achieved by playing the semiquaver patterns in the second section with a cantabile touch. Contrasts in the articulation are important in this piece and consistency in their application is crucial. Each semiquaver pattern should be gently detached at the end, with the finger lifting off the final note in contact with the key. The cadential points need to be slurred, again this will provide contrast and interest to the music. Primarily the L.H. is detached except for the cadences and the semiquaver patterns. The footnotes state that the ‘quavers may be lightly detached’.
Balance between the hands – this is also an aspect that will provide interest and contrast to the music. In the first and last sections the balance is to the R.H. however there should be a degree of blending of the hands at the cadential points. This changes in the middle section as the hands have an equal role to play with the hands alternating in prominence. Nevertheless, the final two bars of this section revert to a traditional R.H. balance situation.
Dynamics – as already mentioned, the player must consider the application of dynamics in relation to the style and period of the piece. Each section must contain a focal point and considering the first and last sections are the same, the focal points must be placed in different places. The loudest part for the first section should occur on the second beat in bar 8 at a mezzopiano level. In the final section the loudest part should be in bar 22 at a mezzoforte level. A small fermata at the end of the bar will help to highlight the dynamics at this point. The footnotes state that the dynamics are authentic, except for the editorial p in the first bar.
Death notices from Findmypast
Considerations when playing this piece –
· Bold writing in the L.H.
· The melodic pattern on the first beat of bars 7 and 23 is quite a tricky manoeuvre for the R.H. coupled with the fact that the last note must be detached.
· There is a danger that the longer notes are not held for their correct value and that the quaver rests are not observed.
· As is always the case, the fingering is vital and of course, the adherence to it.
· Tone-matching is a necessary skill in the middle section.
· In bars 3 and 4 the melodic line in the L.H. must be highlighted.
· Music consists of scalic, arpeggio and broken chord patterns.
· In bar 15 the player should subtly emphasise the syncopation in the L.H.
· A slight pause at the end of bar 22 is appropriate, it is as if the music is gaining energy to play the last two bars.
· One could think in terms of Classical instrumentation.
· The use of articulation lightens the mood of the music.
· The highest note of a melodic pattern is not necessarily the loudest.’