ANTON DIABELLI SONATINA IN G MAJOR OP.168 NO.2 PDF
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Fingering The fingering given within the Harris publication is well considered.
This fingering does work well and you can explain it in terms of giving majkr control of the first two notes followed by a strong finger for the important B that begins Bar 2.
The LH part could diabslli learned by playing each set of four quavers as a chord. It is so lovingly played with such a genuine feel for the beauty of the melodic lines, with phrasing tenderly shaped, that the fact that is is not even moderately allegro can begin to seem unimportant!
Discourage young students from extremes of dynamics in this piece, but encourage a pleasing tone.
7 Piano Sonatinas, Op.168 (Diabelli, Anton)
It is important to balance the textures so that the LH part remains subtle and the RH melody can sing out. Diabelli – Sonatina in G Op No 2.
Students need to have performing opportunities before the big occasion since the problem can ajton that students have been playing with dynamic contrast in lessons but under the challenge of an audience, concentrate only on getting the notes right and forget the expressiveness. Final Performance You can hear a complete performance of this sonatina played here by Phillip Sear.
This piece is ideal for learning the basics of sonata playing since it is Classical in style even though the composer lived beyond the dates associated with Classical repertoire.
Diabelli : Sonatina Op. , No. 2 (I) –
Using a rotary action a rocking movement of the hand as the forearm rotates will help to achieve even control. The RH needs arm weight to give a prominent melodic line, rather than either pushing with the fingers or diabelll the hand on the kp.168. The important consideration is that the harmonies are clearly defined and should remain clear, with the pedal used only to enhance the tone rather than to sustain the notes.
A sound performance will show continuity at, perhaps, quite a cautious pace. The performer comments that she is working on increasing the tempo, so the end result will probably be excellent!
Diabelli – Sonatina in G Op 168 No 2
The performance marking is Allegro moderato so the tempo needs to reflect a moderately lively character. Students who are comfortable with pedalling might pedal the first and second of crotchets separately but it is easier to simply pedal the first crotchet of each bar unless the note is a minim in which case diabbelli pedal might extend for the whole two beats. The piece has no wide stretches and is easily manageable by small hands.
Plenty of time should be allowed for learning the middle section so that this becomes as fluent opp.168 outer sections. You could teach the outer sections first, then teach the middle section.
Some students will question the RH initial fingering which suggests changing from 2 to 3, then using thumb-under on the last quaver of N.o2 1. There may be some expressive detail, which may be over-enthusiastic with tone control issues, or maybe not sufficiently convincing. Teaching Strategies If this piece is to be played from memory the teacher will need to give clear guidance about understanding the structure of the music.
This helps enormously with memorisation, since all four notes must be read more or less simultaneously for maximum fluency. In many respects this performance is good, being confident in fluency with a sense of character, so it is a pity that the LH needs to diabeelli quieter in relation to the RH. O.168 students may wish to use some subtle pedal on the first beat of each bar. The hands will be sensitively balanced and dynamic contrasts will be colourful, whilst maintaining a pleasing tone.
Diabelli – Sonatina in G Op No 2
Always insist on consistently correct fingering right from the start of the learning process. This is a side to side, rocking motion created by rotating the forearm. The turn in Bar 43 must be played in exactly the same way: A good performance will be securely known and will show good continuity.
Pedalling Small children playing this sonatina need not use any pedal at all. Notice the way in which the performer both contrasts and grades the dynamics to give musical interest. You can hear a complete performance of this sonatina played here by Phillip Sear. The way to avoid this is to begin to be expressive early in the learning process so that it is integral to the music – once the piece has been memorised the student will no longer be looking at the score for information about dynamics.
In bars with rests, such as Bars 2, 8 and 16, care should be taken to observe the silence since precision is integral to the style of the sonatina. The hands are nicely balanced and the tone is never forced in forte, ni is important for the young pianist’s technical and musical development.
In particular draw attention to the changes in the outer sections that depend on the key change to the dominant in the first section, with the introduction of the C sharp, as compared with the final section that anron in the key of G major. Practice should be undertaken in sections, in accordance with what has been taught in the lesson.