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Bartok, For Children Vol. I, Play-Along: Post Four (Nos. 11- 15 Reaction)

A new approach to presenting these pieces to you…. so if you’ve haven’t had a chance yet to play through these 5, you should get a good sense of what they’re all about by first listening to the video and then reviewing my reactions.  Enjoy, and let me hear your thoughts!

Quick scan thoughts:    

  •  Bartok continues to present varied tempos in these pieces and within a single piece as well.  I would classify Nos. 11,  14, 15 as late elementary in level and Nos. 12, 13 as early intermediate, taking into account tempo, coordination of the hands, detailed articulation, and especially the maturity required for expression.
  • 4 out of the 5 key areas are centered on “D,”  with the tonality being either D Major or d minor.
  • I notice “attaca” on Nos. 13 and 14.  Perhaps Bartok intended Nos. 13,14, and 15 to be performed as as set?  It would work well.
  • All the pieces are less than a minute in length, except for no. 12.  He is a master at saying a great deal in such a short amount of time.
  • Bartok continues to create much nuance and inflection through his highly specific use of dynamics, articulation, and tempi.

No. 11  – Untitled (“Lento”)

The Expressive Idea:  Sweet, tender melodic playing in a highly expressive manner.

Technical Challenges:  A student should already be familiar with the execution of part-writing in the LH (2 or more voices in the hand).  In this case, there are “tie-downs” as pictured here:

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Measures 9 thru 11

Playing doubled-notes legato is also required.  This is a great lesson in evocative playing and both hands get the chance to do this.  The melodies must be shaped quite expressively for a convincing performance.  Besides the hairpin cresc./dim. markings, notice the Bartok’s use of espr. and molto espr. 

Unique Aspect:  I love how Bartok incorporates a fragmented version of his main theme as his closing theme. Very clever and effective! The PP dynamic at the slower tempo will require some control.  Notice Bartok’s specific use of the pedal at the end to inform the performer of the importance of connecting the chords.

Correlated To:  Faber Piano Adventures, mid-to-late 2B to Early 3A, but keep in mind the LH stretches and LH legato technique required.

No. 12  – Untitled (“Allegro”)

Enjoy this beautiful recording of Geza Anda performing this piece (Sold!)

The Expressive Idea:  Very child-like melodic theme.  In stances like these, I ask students to describe the scene or mood implied by the innocent sound of the theme, especially as it travels here to the lower register.

Technical Challenges: The broken-chord accompaniment in both hands is unusual.  Requires strength and agility in the 4th and 5th fingers of LH and rotation technique here is a must!  In m. 28, my preference is fingers 5 and 3 for beat 1 rather than 3 and 2.  Keeping this accompaniment consistently controlled and quieter than the melody will take some work.  And I wonder why Mr. Anda leaves out the pedalling that Bartok indicated.  Personally, I think it supports the cresc. effect and creates good contrast.

Unique Aspect:  In mm. 24- 27 and again in mm. 52-56 it seems as if Bartok might modulate, yet he reverts both times to C Major.  Interesting…

Measures 25- 27

Measures 25- 27

Correlated To:  Faber Piano Adventures, Level 3B or later due to the intricate finger work and opposing articulations.

No. 13  – Ballad

The Expressive Idea:  The only one of the 5 pieces with a title.  So I would ask the student in this case:  “What’s the story all about?”  Note how Bartok uses espr. markings with the melodies in both the RH and LH.  I often tell students that this is a clear clue that the narrator in this ballad is really trying to get a point across to the listener.

Technical Challenges:

  • RH control of long notes which must be played in a hushed, sustained manner.
  • Smaller hands may have trouble playing the RH of m. 12  Use pedal between the notes if needed:

    R.H. stretch in m. 12

    R.H. stretch in m. 12

  • In m. 16, play the rolled chords slowly and gently.  In the video above, you’ll hear how they sound clipped and abrupt when played too fast.

Unique Aspect:  Bartok can sure say a lot in such a short time.  Through his clever use of harmonies, you might never realize that this piece is a mere eight-measure melody repeated once.  Note his use of “attaca” at the end and no double bar.  He intended this to move right into No. 14, which is also in the key of D minor.

Correlated To:  Faber Piano Adventures, Level 3B or later; the student should be familiar with syncopated rhythms, part-writing texture, and thumb tucks,

No. 14  – Untitled (Allegretto)

The Expressive Idea:  A rather quirky piece with its fragmented melodic ideas.  It has an insistent quality as each idea is expressed more loudly than the previous.  And then it becomes calm again. I can see how this might serve as a link between two other short pieces (see “attaca” at the last measure).

Technical Challenges:  Special attention must be given to the expression and timing of this piece in all its quirkiness.  What exactly is being expressed? The dynamics and articulation are especially revealing.

Here’s a statement that appears out of the blue and not at all linked to the previous melody:

Measures 5 -6

Measures 5 -6

Unique Aspect:  I’m beginning to notice how Bartok often uses his main theme, or portion thereof, as his conclusion to a piece.

Correlated To:  Faber Piano Adventures, Level 3A or later; student should be familiar with alternating-finger staccato and dotted rhythms; a strong sense of rhythmic division is necessary and a hand span of a 7th

No. 15  – Untitled (Allegro moderato)

Of Nos. 11- 15, this one is the most often played. 

The Expressive Idea:  Lots of graceful, cheerful humor here. This piece contains the same off-beat accompaniment in the LH as in No. 5, which gives it a nice romp. However…. notice how Bartok uses a quiet dynamic (P) and leggiero for every entrance of the theme therefore informing us not to give it too much “romp.”

Technical Challenges:  Though I categorize this piece as late elementary in level, those with small hands need to beware of the use of harmonic 7ths in the LH, especially 7ths with a note within such as this one:

LH span in measures

LH span in Measures 7-8

Unique Aspects:  This piece is created simply from two 4-mm. phrases which Bartok manipulates through tempo and/or harmonization.  At this point in the Play-Along, I’m beginning to notice Bartok’s affinity for entrances on off-beats, especially in the LH.

Correlated To:  Faber Piano Adventures, mid-to-late 2B, and small hands will need to be able to reach a 7th.

No. 12 is a new favorite for me.  What’s yours?

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Bartok, For Children Vol. I, Play-Along: Post Three (Nos. 6 – 10 Reaction)

I’ve decided to take a different approach to my reaction posts in an effort to get right to the point and make it easier for readers to get the essentials.  I’m writing with the assumption that you have played through the pieces and that you might have your score in hand, but even if not, a casual reader will hopefully walk away with some food for thought after viewing the YouTube videos included.  Let me know what you think of the new format.

Quick scan thoughts:    

  •   I like the fact that the first 10 in Vol. 1 exhibit a variety of tempos and key areas – a little something for every student’s taste and need. I would classify Nos. 6 thru 9 as late elementary in level and No. 10 as early intermediate due to the quick tempo, coordination of the hands, and the detailed articulation, especially the opposing articulation between the hands.
  • Simple key areas are still used, including the Aeolian mode (natural minor) and both hands are still generally one octave apart. Melodies appear in the RH.
  • Bartok continues his precise dynamic and articulation markings.  I notice more tempo changes within a piece and a more percussive nature in three of the pieces.
  • Bartok seems to enjoy the writing variations of a single theme as the basis for his forms. You don’t see this often in easier classics.  Very unique.
  • All the pieces are less than a minute in length, except for no. 8 and 9.  He doesn’t provide a timing for No. 9, but it would appear that it would extend longer than 60 seconds.

No. 6  – Study for the Left Hand

The Expressive Idea:  Given the title, I would say this is a study in LH ostinato at a fast tempo and at various dynamic levels.  Do you notice how Bartok starts the piece the forte (molto marcato) and gradually diminishes the volume with each repeat of the melody?  Excellent etude in dynamic control.

Willard Palmer titled this “Folk Dance” in his collection “Bela Bartok: Introduction to his Piano Works.”  Here is the translation of the lyric that was sung to this old Hungarian melody:

Flowers tell my love for you.
Tulips, red carnations too,
Larkspur and this scarlet sage tell my burning love for you.

Who would have guessed this melody was originally a love song?

Technical Challenges: – Rhythmic steadiness in the LH while keeping the sound sharp and clear.  No slumping pinkies here!  Keep the hand rounded and with firm fingertips. To maintain the detached effect in the LH eighths, I would recommend a quick forearm staccato using the elbow as the hinge.
Excellent piece for teaching alternating-finger staccato (see m. 5).  I highly recommend alternating fingers for the best clarity in staccato.  It’s not too difficult for young students to learn.  In fact, they often find it fascinating.

I suggest the following fingering changes for students with smaller hands or shorter fingers:

IMG_0771

Mm. 36-38 (also notice my LH accents here to help students create pulses for rhythmic steadiness, but don’t over-emphasize)

ALSO…..In MM. 42 and 48  – try 1 and 5 in the LH instead

Recommended For:  Students who love those primal-sounding pieces and who want something fast and exciting.  This work could replace that supposed “Native American” piece to which students of today are still quite attracted.  Great for those who need work in steadiness.

Correlates To: Late 2B to Early 3A of Faber Piano Adventures.  Keep the LH forearm staccato technique in mind, plus the RH alternating finger staccato and fast-changing articulations.

https://www.youtube.com/watch?v=PII2sIkEIFs

No. 7  – Play Song (also seen as “Sewing Song”)

The Expressive Idea:  This is the sound of quiet play, as when a child is playing alone quite peacefully and chanting to himself/herself.  Notice the use of falling 3rds and 2nds which are so typical in children’s songs.

Again in Mr. Palmer’s “Bela Bartok: Introduction to his Piano Works, ” he provided the the translation of the song that was sung to this melody.  It was all about a mother mending a child’s shirt! (hence, his title of “Sewing Song”)

Technical Challenges:  Playing an expressive, singing melody is definitely in order.  It’s one of the first things I would ask the student to learn well and completely separate from the accompaniment. Notice Bartok’s change of fingering in the RH of m. 1 to imply separating the tenuto note from the slurred notes.  He really desired a change of inflection here (2 separate ideas:  a single sound followed by a legato phrase).  The LH is quiet, filled with legato double notes and chords.

Please consider the student’s reach especially in areas like these:

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Notice how Bartok occasionally cues the performer to use the pedal to achieve the legato in the 2-note slurs — mm. 5-6, and similar areas.

Here’s a fingering change I would recommend. His is quite a stretch!

IMG_0775

Recommended For:  Students who love a beautiful melody or a student who needs work in “cantabile” playing and may not desire a long piece.  The intermittent pedaling wouldn’t be difficult to achieve.

Correlates To: Faber mid-to-late 2B to Early 3A, but keep in mind the LH stretches and LH legato technique required.

https://www.youtube.com/watch?v=pyamHbyMjYA

No. 8  – Children’s Game

The Expressive Idea:  This piece evokes images of children running outdoors and playing games like tag, circle games, and so forth.  Ask students to describe the children’s activities and antics while you demonstrate the various sections.  This really brings it to life for them.

Again in “Bela Bartok: Introduction to his Piano Works, ” Palmer provided the the translation of the song that was sung to this melody.  It was all about a mother mending a child’s shirt!

Technical Challenges:
1. Much of the focus here is on the coordination between hands which work opposite of each other in articulation, rhythm, or both. Here’s such an area where the player really needs to focus on releasing RH slurs while the LH remains legato:

IMG_0776

Mm. 13- 16

2.  The tempo changes need to be planned and executed carefully.

Tricky Section Alert!  Isolate this LH 2-note slur section immediately at lesson one so a student may get it immediately into “automatic” mode, as I often call it. Truly drop the wrist and execute a forward lift on the 5th finger.

IMG_0778

Mm. 62 – 68

Recommended For:  Students who are intrigued by a story-telling piece or a “character” piece, or who might need such a piece to motivate them.  The rhythmic flair is appealing, too.  Try to demonstrate this well to students and tell your own version of the story while doing so.  I did this recently and the student just lit up!

Correlates To: Faber mid-late 2B to early 3A, but keep in mind the LH reaches.  Prior experience in a multiplicity of short slurs is a must! And they must be willing to go after that tricky LH part (mm. 62 – 68).

https://www.youtube.com/watch?v=YoIUC6Okslw

No. 9  – Song

The Expressive Idea:  This is not a commonly-played piece in the “For Children” Volume One. It’s brief, yet long on expression, especially due to the long notes on the cadences. I hear two moods associated with the contrasting sections (the Adagio vs. the Poco piu vivo).  In pieces such as this, I ask students to describe what the child might be singing about while I demonstrate (EX: something sad or troublesome in the slow section vs. the spark in the faster sections – perhaps a happy memory of a playful time?).  I think students really enjoy character changes within a piece, especially if they can picture it in their minds.

Technical Challenges:
1. There are not many notes in this piece, but good control is required for the sound effects Bartok outlines quite clearly. EX:  The decay of the long notes in the cadences.
2.  He is precise about the differences in tempo between the sections.  For the Poco piu vivo, the student needs to be absolute about the length given to the changing note values and observant of the tapering wrist lifts at the ends of phrases.

Tricky Section Alert!  LH MM. 9-11 and 23-25: For those with small hands, the LH requires some contortion!  To connect these particular chords, apply the pedal between them.

Recommended For:  An older child or adult, in my opinion.  An effective expression for this piece would require some maturity and good sense of timing.  However….a pensive performance could be taught to any sensitive and willing student.

Correlates To: Faber 2B or later.

https://www.youtube.com/watch?v=zOOh4pEFz3w

*The tempo in the poco piu vivo not quite animated enough for the contrast.

No. 10  – Children’s Dance

The Expressive Idea:   Images of many children playing on a playground come to mind.  Lots of whirling and twirling in the hands creating a rich, propelling sound.  Bartok refers to it as “impetuoso” in m. 5 (full of sudden or rash actions).  I like how the sounds reach a full din, subside some, and then start up again.  Just like kids, right?  Bartok knew what he was doing.

Technical Challenges:   I have an adult student working on this piece currently and here are some of her conclusions made during her early stage of learning this piece, in mostly her words:

1. Become aware of the LH chordal shapes by blocking them measure by measure and then playing them blocked while RH plays as written.
In mm. 13-14, this is the first time that the RH breaks off from the usual pattern:

  IMG_0779Take these 2 measures apart to to learn what is happening in each hand. (Me: notice the other “impetuous” shifts Bartok inserts later also)

2.  Learn the 4mm. phrases individually by isolating each and practicing them for fluency.  Then start combining them.

Recommended For:  A student who has already had some experience with simultaneous movement in both hands and opposing articulations.  A good sense of rhythmic steadiness would also help. This is an unrelenting mini-toccata.

https://www.youtube.com/watch?v=A2JLfe011Dk

*A little on the slow side.

Correlates To: Faber 3B or later due to the fast finger work and it’s especially intricate articulation.

A vastly different set of 5 than before.  Which do you like?  I played Nos. 6 and 8 as a child and recall liking them very much.  I’ve taught Nos. 7, 8, and 10.  One of my adult students really enjoyed No. 7 and she’s currently gnashing her teeth over No. 10, but she’s determined!

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Bartok’s “For Children, Vol. I” Piano Play-Along: Post One (Introduction)

Welcome to the Play-Along for For Children, Vol. 1, by Bela Bartok.  For more information on this play-along, check out the entire schedule HERE.

Our venture into the piano music of Bartok once again explores the influence of folk music in piano literature, and in this case, material that was intended for teaching purpose.  Throughout his life, Bartok dedicated himself to composing piano pieces for students at all levels, elementary to advanced.  His For Children, a two-volume set for elementary to intermediate pianists, is based on folk songs and dances he collected from Hungary and Slovakia.  We will be focusing on the Vol. 1 which is based on Hungarian folk melodies.

The entire set was composed in 1908-09 and later revised by Bartok in 1945 when he decided to reduce the number of pieces and provide titles for them.  Bartok marked fingering, articulation, phrasing, dynamics and metronome indications quite meticulously and is known to have worked closely with Boosey and Hawkes on the revised edition, pictured here:

51JkAp6YPOL

We will compare it with the 1998 revised and re-engraved edition by his son, Peter, here.

Bartok For Children image

Apparently there are a few changes of notes and more dynamics added in this later edition.  The foreword by Peter Bartok might reveal some new information (at this writing, I don’t have a copy in hand, but I’ll remark on this later).

The For Children has been a piano teaching classic for generations and I hope you enjoy our exploration into what makes it so engaging and delightful for all ages to play.  During the Play-Along, please let us all know if you have played or taught a particular selection before and share your thoughts about your favorites and why.

Feel free to use any edition you may already have on hand.  You may certainly grab a Boosey and Hawkes copy HERE if you like, but try to support your local music store if you can.

Remember to post your reactions for the selected pieces each week through Dec. 7.   I look forward to what you have to say regardless of whether you have played or taught the pieces.  It’s always great to hear fresh thoughts and reactions to new music.

Post your comments and certainly ask questions in the Reply section below or on the FB group page HERE.  I’ll answer questions as quickly as I can.  And please chime in on questions, too!

Fingers ready???  Go!
Nos. 1 -5 first.  See you on the blog next Monday!

Elizabeth

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Khachaturian “Adventures of Ivan” Piano Play-Along: Post Four (Nos. 5 and 6 Reaction)

Ivan’s adventures are becoming much more involved.  I found myself playing Nos. 5 and 6 many times this past week and with each playing I enjoyed new discoveries in sound color, rhythm, and texture.  How could anyone tire of these pieces?  They’re so captivating!

Quick scan thoughts:

  • No. 5 “Ivan is Very Busy” is filled with finger antics as it explores a multitude of staccato touches with repeated notes and repeated patterns, especially in the LH.  It’s constantly moving without a single rest until the penultimate measure.  Since it’s rapid and lightly textured, it should result in light, nimble sounds.  Interesting to notice that the hands are positioned closely together throughout
  • No. 6 “Ivan and Natasha” is a lush, Romantic texture especially compared to the previous movements.  The LH provides a good deal of rhythmic movement to propel the phrases.  Of course Khachaturian’s trademark chromaticism is evident with accidentals all over this score. It seems he couldn’t confine himself to any one key area for too long.

Thoughts while playing….

No. 5 –  “Ivan is Very Busy” (also seen as “Ivan is Busy” and “Etude” in other collections)

An excellent piece for repeated staccato-note playing and alternation between the hands.  I played this for a student this week to get his impression.  His reaction:  “I like that!”  It’s easy to hear why this piece would be motivating to a young student. It’s energetic and truly adventuresome in sound, rhythm, and range.

First impressions:

  • Stay alert about the accidentals.  They change rapidly.
  • Your LH will get a staccato workout and a quick forearm staccato would probably add a lighter effect than just a finger staccato.  Here’s a demo of the idea:

https://www.youtube.com/watch?v=3mrt90agWXQ&index=2&list=UU2Awk8myQ8pMHbnnbeQCr6g

Fingering:  Measures18 & 19 – I found Mirovitch’s LH 4-2-3-2 pattern difficult to coordinate with the RH, so see my suggestion below.  It was much easier to process when playing both hands together at the fast tempo.

IMG_0668

And this re-distribution for the top of p. 3 was also much easier to grab onto:

IMG_0670

For the repeated notes in the LH of m. 39, I preferred the standard 3-2-1 repetition.  It felt lighter and it naturally sorted itself out in the latter measures as well.

IMG_0672

Pedaling:   I would keep it light and dry where indicated, except for the C Major build-up at the end.

Such an invigorating piece!  Here’s a sample YouTube video.  There were several. but I had difficulty locating one where a performer truly played staccato in the LH.

https://www.youtube.com/watch?v=m-umb1QU7go

No. 6 –  “Ivan and Natasha”

Words that came to mind as I played:  dreamy, exotic, luscious, mysterious….. And just who is this Natasha?  Sister, friend, girlfriend?  This piece should be better known.  It would be excellent preparation for Impressionistic repertoire.  So much of the harmonic color and texture reminded me of Debussy.

How many times do you see a falling augmented 5th like this one as the basis of a melody (soprano line)?  Khachaturian makes it sound like a good fit.

IMG_0677

Khachaturian creates many beautifully-exotic harmonies in such a short piece and his use of chromaticism quite naturally provides the push-and-pull for the phrasing and climaxes.  Both hands are filled with melodic figuration.  I especially enjoyed this exquisite subito P color change after the climax in m. 17.

IMG_0675

At this moment (top of second page), the harmonies descend quietly and melt into the return of the main theme in m. 22 (lovely!).   I often have students block the harmonies in sections like this one in order to hear how the harmonic progression guides the phrase to its destination.  Here’s an example in this video.

https://www.youtube.com/watch?v=vsi7h9ZjCtc

This piece will stretch a student’s expressive capabilities!  A well-crafted gem! Here’s a sensitive performance I discovered on YouTube.

https://www.youtube.com/watch?v=FO5VAKraDYg

Have you heard Nos. 5 or 6 before?  Taught them previously?  I would love to know about students’ reactions.  I’m keeping “Ivan and Natasha” on file for future use with late intermediate students.

 

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Khachaturian “Adventures of Ivan” Piano Play-Along: Post Three (Nos. 3 and 4 Reaction)

These next two in the set were less familiar to me upon my reading.  How about you?

Quick scan thoughts:

  • Khachaturian seemed to like the idea of not including a keysignature and just filling a piece with accidentals.  Perhaps this is due to his frequent use of chromatic harmonies.  It does keep you on your toes during the reading process.
  • No. 3 looked quite s-l-o-w moving…

Thoughts while playing….

No. 3  –  Ivan is Ill (sometimes seen in other collections as “Ivan is Sick”)

Listening to all the unexpected dissonances made me think Ivan must have been quite queasy.   Nothing felt settled in this work, at least not until the end of the piece.

Three things went through my mind as I played (tempo at quarter = 58, which I thought offered a convincing “lento.”):

  1. Would any of my students find this piece too dissonant for their predictable ears?
  2. How could I convince a student to play a piece that moves this slowly?
  3. What about the control needed to spin out this slow-moving melodic line in the RH? including the voicing of the soprano?

This piece wouldn’t be an instant “sell” to a typical student.  This doesn’t mean that I don’t care for the piece.  I actually like it for all its quirkiness and find that it lends itself to the imagination quite well.  I would have to paint a real sound picture, through my own vivid performance, to entice a student to give it a try.  You never know.  Some students like pieces that are different from all the rest.

I would sell this piece on the fact that it sounds “queasy” and that Ivan may be feeling a stomach issue in progress, so to speak.  Young students can relate to that, right?  As I demonstrate the piece I would ask the student:  “What do you think could be happening here?” and continue with this type of questioning all the way to the end in order to create a story or scene.  With a picture in mind and the imagination activated, I think students then become far more interested and maybe inclined to illustrate an interesting picture like this one with colorful sounds.

A few details to keep in mind:

1. Notice the shift in the LH articulation from legato to tenuto (detached) in mm. 1-2 and 5-6.  The resulting effect is quite different.

IMG_0640

Measures 1 and 2 

IMG_0641

Measures 5 and 6

2.  Measure 11 – I’m convinced the the C-natural in the soprano is a typo.  I couldn’t embrace it.  C-flat sounds like the intention. Your thoughts?

IMG_0644

Measure 11

3. The dynamics, especially the swells (hairpin cresc. and dim. marks – see Measures 1 and 2 above), help shape the long melodic phrases and give them direction.  I would ask the student to insert this type of “swell shaping” in all of the phrases, even where it’s not indicated, to prevent the piece from sounding flat and vertical.  Most of the phrases here are either 2 or 4 measures in length.

And what finally happened at the end?  —  I would ask the student to describe the scene. It gradually calms down. Perhaps Ivan was finally able to fall into some restful sleep after a tortured spell of nausea.  Poor guy.

No. 4  –  Ivan Goes to a Party (subtitled “Waltz” and sometimes referred to as “The Birthday” or “The Birthday Party” in other collections)

This piece falls into the category of “sounds harder than it plays” especially once you sort through all the accidentals and get it your fingers wrapped around it.  Both the MCA and Schirmer scores indicate the tempo of quarter note = 72, but surely they meant the dotted-half-note.  This waltz requires some lilt!  I enjoyed this bouncy, colorful waltz the more I played it.

How many pieces do you know in the standard piano repertoire that start on the leading tone and resolve downward (see RH below)?

IMG_0649

Measure 4 – D# leading tone

Notice above how the editor is quite clear about the LH’s lightness (PP, staccato, and senza ped.) with beat 1 to receive some length and emphasis.

Unique features:  I especially enjoyed Khachaturian’s tasty harmonies throughout, but especially during places like the rit. in mm. 33-35.  Play these measures quite slowly a few times to notice how the chords change color and resolve to B-flat minor.  I would ask a student to “listen for” these color shifts while creating a smooth meltdown.

https://www.youtube.com/watch?v=Garmev_Ej44

This “party” is  full of interesting twists and turns (or “characters” or “events”) which is why I think students would really enjoy it.  The unexpected hemiola in mm. 61 – 64 is refreshing (indicated through the use of accents).

https://www.youtube.com/watch?v=DyXZmrMZQ9A

I also enjoyed the back-and-forth from E Major to D-flat Major in the Coda (last 15 mm. of the piece.).  Party’s over.

What are some of the features you enjoyed?

I leave you with a YouTube video I found of a young pianist who has captured a good spirit for this piece.

https://www.youtube.com/watch?v=KF1Fl_Abjnc&list=PLr7wWY37SYA82vMki6QmDHCN7faj9l9ou&index=1

 

 

 

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Khachaturian “Adventures of Ivan” Piano Play-Along: Post Two (Nos. 1 and 2 Reaction)

Here’s the first reaction post for the Khachaturian Piano Play-Along! Don’t worry if you haven’t played through these first two pieces yet. You have all of August to read through the set.

Have you seen the entire Play-Along plan for August yet?  You can read it HERE.  Please be sure to express your own reactions here on the blog at the different posts or on the Facebook page.  I really do want to know your thoughts about these very intriguing pieces.

Quick scan thoughts:

In the preface of the MCA edition, the editor, Alfred Mirovitch, describes the set as such: “The refreshing originality of mood, harmonization and pianistic invention in these easy, amusing, but provocative compositions will act as a stimulus and challenge to alert all students and teachers.”   Well said.  I couldn’t agree more.  I found myself playing both No. 1 and especially No. 2 several times in order to fully absorb Khachaturian’s craftsmanship.  For me it was his harmonic choices and interesting chord progressions that immediately tickled my ear.  No. 1 is more predictable in its construction, but No. 2 was less so and I dug into that one more deeply for better understanding.

Thoughts while playing….

No. 1  –  Ivan Sings (subtitled “Andantino” in the MCA edition, but not in the Schirmer)

This piece’s popularity is understandable.  Khachaturian created a beautiful song without words by simple means.  The lovely, plaintive melody captures you from the beginning and compells you to continue.  The simple 3rds in the LH support the sweetness of character (I can’t imagine thick 3-note chords in the LH at all!),  and the descending bass line and chromatic harmonic movement evoke even more melancholy.

Khachaturian made a masterful move in m. 18 for the variation of the main theme.    He merely inverted the LH 3rds into 6ths, adjusted the range a bit, and added a simple touch of rhythmic syncopation for lilt.  Brilliant.  Now the theme sounds even more tender.  Note how he also inverted the RH in m. 18, compared to m.2.  The grace notes add playfulness.  I’ve had to remind students to play the grace notes quickly and quite lightly, before the beat.

The other aspect I address often with students is the LH repeated notes.  I tell them that they should play the repeated notes as sustained as possible to maintain a very smooth, unarticulated texture.  I ask that they use a gliding motion on the keys in order to accomplish this and to watch carefully to prevent the key from coming all the way up.  Here’s a student giving it a whirl:

Opening measures of LH (“gliding” somewhat exaggerated here due to slow tempo):

M. 18 LH (aiming to sustain the thumb and play it more lightly than the lower note):

Two other issues I often address:

  1. Tempo – students are often compelled to play this piece too fast and they have a tendency to rush the tempo during the variation of the theme in m. 18.
  2. Pedaling – they must be attentive to the syncopated pedaling and other changes as indicated (Mirovitch says that the pedaling is his, not Khachaturian’s.)

*I like the tempo indication of quarter note = 88.  It’s reasonable for the mood.

No. 2 – Ivan Can’t Go Out Today

At first glance this piece looks rather fleeting so I checked the metronome indication first.  Personally I feel that 66 to each measure seems too slow for an Allegro moderato, so I bumped it up a little (around 74-76 per measure) and it provided more direction to the phrases.   It also hastened the harmonic movement so I could hear the chord progressions and cadences more clearly.

Speaking of harmony, this piece was an unusual adventure in that respect.  The key center was hard to pin down at first due to all the chromaticism, but I settled on C natural minor, due to the frequent use of C minor triads, use of G leading to C, and then of course, the Picardy third at the end resulting in C Major.  Interesting how Khachaturian uses only accidentals and no keysignature.

Does the music reflect the title?

With title in mind, I played this adventure at the slightly faster tempo of 76 a few times. I imagined a child’s complaint or outcry in Measures 5 thru 12:

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Mounting frustration in m. 37:

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Flip-flopping moods in mm. 63 thru 77:

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And finally the child’s resignation with the rit. and dim. at the end.  Lots of nervous energy throughout.  What do you hear?

Reading Schedule:

  • Introduction Post:  Monday, August 11
  • Khachaturian, Adventures of Ivan, Nos. 1 and 2 reaction:  Thursday, August 14
  • Nos. 3 and 4 reaction:  Monday, August 18
  • Nos. 5 and 6 reaction:  Monday, August 25
  • Nos. 7 and 8 reaction:  Wednesday, August 27

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Khachaturian “Adventures of Ivan” Piano Play-Along: Post One (Introduction) 

Welcome to the Play-Along for Adventures of Ivan, by Aram Khachaturian.  For more information on this play-along, check out the entire schedule HERE.

Khachaturian’s eight intermediate-level pieces, Adventures of Ivan, offer a good glimpse into the beauty of his writing and the talents that confirmed his standing as one of the greatest Russian composers of the 20th century.  If you’ve heard his piano music before, you may have encountered the all-too-frequently-played Toccata and perhaps the brilliant Sonatina in A minor (1959), both of which still appear on competition lists from time to time and are popular with advancing students.

Khachaturian relied heavily on the folk music of his native Armenia to influence his approach.  He adored the songs and dances of his homeland and his compositions are filled with tuneful melodies that range from colorful and cheerful to quite plaintive or melancholic.  His pieces are brimming with strong character and humor portrayed often with propulsive and exciting rhythms.  Though he wrote only two volumes of  intermediate-level piano pieces (Adventures of Ivan and Ten Pieces for the Young Pianist), his small output at this level has a great deal to offer the piano student, and the piano teacher as well!

Some Background 

The one adventure with which you may be familiar is the first adventure in the set of 8 entitled “Ivan Sings” (or referred to as Andantino in some publications).  This particular piece appears in a few older piano anthologies (to be listed later) but not in the more current piano collections due to copyright restrictions.

Khachaturian composed the Ivan pieces over a period of years prior to their publication in 1948 by Leeds Music Corporation in the U.S.  “Ivan Sings” was composed in 1926.  Though it seems that Ivan’s Adventures should contain a narrative of some sort, they are simply snapshots of the life of a young boy.  The titles assist the player in finding a character, mood, or expression in the music (and thus the reference to the set as “character pieces.”)

My Copy

I’ll be playing from the Schirmer Edition for this Play-Along, shown here. It contains the complete set of 8 pieces.

Khachaturian album

I’ll compare it to the older MCA edition pictured here, which I found in my local library:

Adventures of Ivan

Please use any edition you may have on hand.  You may certainly grab a copy HERE if necessary, but try to support your local music store if you can.  NOTE:  After a Google search I found that a digital download is available on Scribd, but I encourage you to purchase a hard copy to have available for your students or just for yourself.

Remember to post your reactions for the selected pieces each week of August.   I look forward to what you have to say, whether or not you’ve taught or played the pieces before.

Along the way I’ll comment on some of the specifics I notice in both the Schirmer and MCA editions and offer some insights for teaching.

Post your comments and certainly ask questions in the Reply section below or on the FB group page HERE.  I’ll answer questions as quickly as I can.  And others may chime in on questions, too!

Enjoy learning more about this imaginative set!

 

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Kabalevsky Piano Play-Along: What Are Your Favorites from the Op. 39?

Unknown-824-pieces-for-children-op-39-dmitri-kabalevsky-paperback-cover-artSo what are your favorite pieces from Kabalevsky’s Op. 39 24 Pieces for Children.   List them here and you’ll earn an entry to the August 1 prize drawing! Explain why you like a particular piece (or two), and earn a second entry!  What about a new fave?  Ready, set, go!

TITLES:   1. Melody  2. Polka  3. Rambling  4. Cradle Song  5. Playing  6.  A Little Joke  7.  Funny Event  8.  Song  9.  Song  10. A Little Dance  11.  Song of Autumn 12.  Scherzo  13.  Waltz   14.  A Fable  15.  Jumping  16.  A Sad Story  17.  Folk Dance  18. Galop  19. Prelude  20. Clowns  21. Improvisation  22. A Short Story  23. Slow Waltz  24.  A Happy Outing

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Kabalevsky, Op. 39, Play-Along: Post Six (Nos. 17 – 20 Reaction)

Please don’t stress if you’re a little behind on the Play Along (like this post) or if you’ve just discovered the Play Along.  You can start now with the first Reaction post here and catch up a little each day.  You have plenty of time to read through the pieces and post comments until July 31.  The prize drawing for those who have read and posted at least 3 comments (either here or on the Facebook group page) will be held on August 1.

If you missed last week’s reaction post (the 5th one) on Nos. 13 thru 16, you can read it HERE.

Quick-scan thoughts for Nos. 17 thru 20:

  • The pieces are now solidly at the early intermediate level and the hands are really moving about.  LH is more technically demanding than seen before.
  • More pieces with 16th notes, and there are a multitude of rhythmic patterns present.
  • More complexity in the HT playing with opposing rhythms and articulations.
  • Kabalevsky seems to favor 2/4 time at this stage and earlier as well. It promotes a more lively character in the faster pieces.
  • In these four selections, the hands are approx. one octave apart most of the time.

Thoughts while playing….

No. 17  – Folk Dance  (I see “Dance” indicated in a different edition) 

When presented with the option of this piece, or No. 18, 19, or 20, one of my summer students selected this one in an instant.  She said she liked how the hands matched each other (we’ve seen Kabalevsky’s parallel movement of the hands in several pieces before).

My student is at the intermediate level and she learned this piece hands together in one week! (medium tempo) but….I must admit that she was highly motivated.  She said she really enjoyed how the hands jumped around and imitated each other, first the RH in m. 5  and then the LH in m. 21.  This student was familiar with D major (the scale, chords, and basic cadences) so the keysignature wasn’t a major stumbling block.

She and I worked on using forearm staccato similar to what is demonstrated here:

Read More

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Kabalevsky, Op. 39, Play-Along: Post Five (Nos. 13 – 16 Reaction)

Ok.  A day late, but I just couldn’t resist an extra day of 4th of July vacay when the opportunity presented itself.  Hope your summer is going well.  Are you managing to play along?

If you missed last week’s reaction post (the 3rd one) on Nos. 9 thru 12, you can read it HERE.

Quick scan thoughts for Nos. 13 thru 16:

  • We’ve ventured into more pieces in triple time.
  • The melodies have become more expansive (larger intervals contained within)
  • Kabalevsky has continued his inclination towards parallel movement between the hands (nos. 14 and 15)
  • A keysignature of more than 2 sharps or flats has appeared (no. 14)
  • A piece in the Dorian mode has now appeared (no. 16)

Thoughts while playing….

No. 13  – Waltz  (I see “Dance” indicated in a different edition) 

I gave this to a student this summer as a special project and I must say that she is “in love” with this piece.  She just can’t say enough good things about it such as:

“I like the beginning” – (at the first lesson)

“I just love the RH” – (at the second lesson)

I think this broad and evocative RH melody offers instant appeal, especially when combined with the sad key of D minor.  I’ve had several students in the past decide to learn this piece upon hearing it just once.  And if you want to teach both distinctive phrase shaping and the waltz style, then this is a great go-to.

When first introducing this, my summer student didn’t notice that the LH was in the treble clef (that’s one thing I like about Kabalevsky; he mixes those clefs).  We navigated the LH at the first lesson by playing only the lowest note of each stacked interval.  We named each low note as she played continuously from measure to measure (EX:  “D – D- rest, D – D – rest, etc.”).  Once done, she better understood how the LH moved along .  Later she played the LH as written watching the lower notes move horizontally while detecting the harmonic interval above (3rd vs. 4th vs. 5th).

Here she demonstrates the detached LH with a forward wrist motion for lightness:

Here, with her RH, she is showing the arching of the hand as it rocks from one side the other while playing the broken intervals (mm. 16 to the end).

She mentioned afterwards that she forgot the diminuendo in this excerpt above. Good catch.

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No. 14  – A Fable (seen before as “A Gay Little Story” in a much older edition.)

Similar to No. 20 in this set,  “Clowns,”  students love the major-minor shifts in this piece.  They discover that the dynamics follow the harmonies and then they spot the form of the piece instantly.  The student in the video below told me what convinced him to learn this piece:

“I liked all the movement, all the techniques involved, and the patterns.  It’s jumpy and happy, and I liked the A Major sound and how it felt under my fingers once I learned it, especially with the staccatos.”

It’s a wonderful piece for developing touches.  Later I asked him what was most difficult about learning this piece, he said:

“Getting the legato vs. staccato in mm. 3-4, combined with the drop-lifts of the wrist.”

After mastering this piece at a faster tempo, his tendency was to rush with all the fun he was having.  It’s quite the finger tickler at that point.  Here’s his medium-paced version:

 

No. 15 – Jumping  (I’ve seen this titled as “Galloping” and also “Leap Frog”)

Indeed this is jumpy.  It looks daunting to some students at first because of the  eighth rest- eighth note rhythmic idea (see RH, measure 1).  They forget that the eighth rest plus eighth note combination is the equivalent to 2 beamed eighth notes (of which I remind them).  I start out by saying that the LH in measure one is the hand that’s “jumping” (2-note slur followed by a staccato quarter note; I demo this) and then I tell them that the RH is “skipping” in m. 1 (due to its delayed start on the “and” of beat 1, which I also demo).

I have students learn the entire piece with both hands playing the straightforward rhythm of the 3 quarter notes per bar.   RH plays exactly with the LH in measure one, and then in measure 9, the LH would copy the RH, and so forth all the way to the end.  They can also match the wrist lifts by playing this way:

Here’s a demo:

After learning the piece with the LH and RH playing simultaneously on quarter notes and mastering the notes and fingering this way, it’s so easy for students to delay one hand by playing on the “and” of beat one.  I have my students count “1 – and, 1, 1” for each measure of the piece as they coordinate the rhythms of both hands.  Tapping the two rhythms together on the keyboard can also solidify the coordination.

They love the gymnastic effect of this piece once they get the hang of it.

 

No. 16 – A Sad Story  (also seen as “A Sad Tale” )

This is the follow-up to the happier story in No. 14, “A Fable.”  I think the two pieces would make a nice pairing.  The student could play No. 16 first and follow with No. 14.  Better yet, add No. 22 “Short Story” to the set and make it a trio!

I hear this piece in the key of “A” Dorian.  It seems to center itself on “A” as “home” and keeps returning to “A” even though it finally settles on “E” at the end.  It’s funny how the final “E” didn’t sound so incomplete to me.  My ear could accept it as a final note.

Now the question is:  which hand is really the melody?  The LH in the opening is marked cantabile with a louder dynamic which leads you to believe LH might be the melody though it’s not very lyrical. The RH has a nice sway to it which sounds cantabile as well.  Perhaps it’s truly 2-voice writing and both hands create compatible melodies.

Here’s Jason Sifford’s performance with the Univ. of Iowa Piano Pedagogy Recording Project. .  I like how he maintains an Andante tempo with just enough movement for a cantabile feel.

Look forward to your thoughts on this varied set for this week.  Have you taught any of these before? Any tips to share?

Play-Along Schedule:

  1. Introduction Post:  June 1
  2. Kabalevsky, Op. 39, Nos. 1 thru 4 reaction:  June 2
  3. Nos. 5 thru 8 reaction:  June 9
  4. Nos. 9 thru 12 reaction:  June 30
  5. Nos. 13 thru 16 reaction:  July 7
  6. Nos. 17 thru 20 reaction:  July 14
  7. Nos. 21 thru 24 reaction:  July 21

 

 

 

 

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