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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Security of fingering is therefore vital.

Georg Frideric Handel, Allemande in A minor, HWV | UIPianoped Wiki | FANDOM powered by Wikia

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. For the more musically mature student, the following technique is suggested, but is by no means obligatory for less competent students. 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.

The two-part texture of this allemznde could easily be imagined as a dialogue between a violin and a cello.


Allemande in A Minor, HWV , a song by George Frideric Handel, Luca Guglielmi on Spotify

As ever, ornaments are optional and must not disrupt the musical flow. It is wise to try out a preferred articulation in all the places that seem musically parallel e. Bar 12 is quite awkward to coordinate and will need careful practice however it is fingered.

This means the performer must play as if ending a phrase e. Phrase lengths are quite regular in the first half, starting with an upbeat and continuing for two bars.

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 up in bar allemanee, the B and then the D, the C and then the E.

The music should keep moving forward. A break can be made in the middle of the second beat of bar The violin analogy is also useful for shaping the phrases on the piano is a way that is not available to harpsichord players.

Students who prefer to play as much as possible hands together from the outset need to take this whole piece very slowly indeed, with absolute certainty about which hev goes with which. Here is a performance that demonstrates a stylish interpretation of this piece: Fingering must be established and consistently used from the very first note learning.


In bars LH the 5th finger moves in under the 4th but does not have to be played legato. However, there alleamnde quite a range of possibilities for detaching and slurring.

At grade 5 allenande will be an expectation that ornaments will be attempted, but simpler ones are still permissible. The least interesting option would be to play all the LH legato.

However, with its origins in dance there is no need to make a pedantic or pompous impression. In the 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.

Imagining their bowing can help with articulation and phrasing. Experiment with different articulations in the LH as if the cellist wished to try detaching and slurring different notes.

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