Handel: Allemande HWV • A minor • Dignified dance in 2/2 time • Several types of trill ornament • Two-part counterpoint (one line in each hand) • RH has the. Allemande in A Minor, HWV George Frideric HandelDaniel Estrem. Play on TIDAL. or open in our Desktop app. Share. The Allemande in A Minor has two independent melodic lines and presents a well-elaborated polyphonic character. The difficulty of this piece resides in.

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Georg Frideric Handel, Allemande in A minor, HWV 478

Imagining their bowing can help with articulation and phrasing. Bar 12 is quite awkward to coordinate and will need careful practice however it is fingered.

However, there is quite a range of possibilities for detaching and slurring.

The idea was to prolong the sound so that the chord would ring pleasantly through the instrument and give an extra dimension to the texture. Security of fingering is therefore vital.

TIDAL: Listen to Allemande in A Minor, HWV by George Frideric Handel on TIDAL

However, with its origins in dance allenande is no need to make a pedantic or pompous impression. Fingering must be established and consistently used from the very first note learning. Experiment with different articulations in the LH as if the cellist wished to try detaching and slurring mior notes. Holding down the chord notes beyond their notated value at bars12, 13, and 18 provides an insight into the way the melody sometimes makes counterpoint with itself — the top RH notes connect miinor in bar 9, the B and then the D, the C and then the E.


It is wise to try out a preferred articulation in all the places that seem musically parallel e. This means the im must play as if ending a phrase e.

A break can be made in the middle of the second beat of bar The two-part texture of this piece could easily be imagined as a dialogue between a violin and a cello.

At grade 5 there will be an expectation that ornaments will be attempted, but simpler ones are still permissible.

The music should keep moving forward. Allwmande the more musically mature student, the following technique is suggested, but is by no means obligatory for less competent students. As ever, ornaments are optional and must not disrupt the musical flow. The least interesting option would be to play all the LH legato.

For a musically satisfying performance the player needs to be aware of the original style but also able to use their instrument to express everything the music is saying. Students who prefer to play as much as possible hands together from the outset need alemande take this whole piece very slowly indeed, with absolute certainty about which finger goes with which.


Phrase lengths are quite regular in the first half, starting with an upbeat and continuing for two bars. In bars LH the 5th finger moves in under the 4th but does not have to be played legato. Here is a performance that demonstrates a stylish interpretation of this piece: In minlr second half the phrase lengths become irregular, as is so often the case in Baroque music, and from bar 13 upbeat to 14 to the end they could be said to overlap. The violin analogy is also useful for shaping the phrases on the piano is a way that is not available to harpsichord players.

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