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There is good dynamic variety and detail here too. The sonatina’s essential charm lies in its simplicity of diabepli line and this must not be blurred by inept pedalling, particularly if the child is not yet tall enough to reach the pedal comfortably. It is important to balance the textures so that the LH part remains subtle and the RH melody can sing out.

This fingering does work well and you can explain it in terms of giving neat control of the first two notes followed by a strong finger for the important B that begins Bar 2. 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!

Diaabelli fingers need to be quite close to the keys, but should not all rest on them as this can encourage pressing the key with individual anhon, causing too much tension. The piece has no wide stretches and is easily manageable by small hands. However keeping the fingers on the keys and pushing with each finger will create excess tension and give rhythmic unevenness.


If this piece is to be played from memory the teacher will need to give clear guidance about understanding the structure of the music. Xiabelli appropriate pace with carefully detailed articulation will give a sense of character. 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.

Always insist on consistently correct fingering right from the start of the learning process. Diabelli – Sonatina in G Op No 2. Notice the way in which the performer both contrasts and grades the dynamics to give musical interest. Ornamentation The dixbelli are turns, as shown below the first page of the piece.


Here is a performance in which articulation detail is carefully given and the music is well known, even though technical control is not yet confident, with some unevenness at times, particularly in the ornamentation. A sound performance will show continuity at, perhaps, quite a cautious pace.

Some students will question the RH initial fingering which suggests changing from 2 to 3, then using thumb-under on the last quaver of Bar 1. It also helps the student to appreciate and remember the chord progressions. If you agree with the LH playing Fingers 4 – 1 – 2 – 1 for the first bar, do insist on a healthy sonatiba position where a straight line is kept down the Finger 5 side of the wrist, rather than bending the hand to the side.

There will be detail in dynamics and articulation at an appropriate pace, although technical control may be less assured than in an excellent performance. 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. The opportunity to play a short piece with Alberti bass and few technical demands can enable the student to enjoy this kind of music in preparation for the sonatinas of Mozart and later for playing lengthier sonayina.

Students need to have performing opportunities before the big occasion since the problem can be 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.

Since Diabelli was a teacher, it is highly likely that Op was written for use as a teaching piece. An equally good alternative is using 5 – 1 – 3 – 1. The turn in Bar 43 must be played in exactly the same way: It is sonatinna difficult to mark down a performance like this one! Fingering The fingering given within the Harris publication is well considered. Older students may wish to use some subtle pedal on the first beat of each bar.

Diabelli : Sonatina Op. , No. 2 (I) –

There may be some expressive detail, which may be over-enthusiastic with tone control issues, or maybe not sufficiently convincing. This is a side to side, rocking motion created by rotating the forearm.


Diabelli’s sonatinas are ideal material for children – very approachable technically, without wide stretches and featuring attractive melodies. This helps enormously with memorisation, since all four notes must be read more or less simultaneously for maximum fluency.

Diabelli – Sonatina in G Op 168 No 2

You on hear a complete antoj of this sonatina played here by Phillip Sear. 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 be quieter in relation to the RH.

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 remains in the key of G major.

Discourage young students from extremes of dynamics in this piece, but encourage a pleasing tone. The RH needs arm weight to give a prominent melodic line, rather than either pushing with the fingers or bouncing the hand on the keys.

Diabelli – Sonatina in G Op No 2

The ornaments are turns, as shown below the first page of the piece. 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. Practice should be undertaken in sections, in accordance with what has been taught in the lesson.

The LH part could be learned by playing each set of four quavers as a chord. This gives a series of musical ‘signposts’ so that the performer need not feel lost if there are any small slips. Plenty of time should be allowed for learning the middle section so that this becomes as fluent as outer sections.

An excellent performance will dibelli confident in fluency with poised tone control. A good performance will be securely known and will show good continuity.