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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However, there is quite a range of possibilities for detaching and slurring. However, with its origins in dance there is no need to make a pedantic or pompous impression. The least interesting option would be to play all the LH legato. 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 9, the B and then the D, the C and then the E.

At grade 5 there will be an expectation allekande ornaments will be attempted, but simpler ones are still permissible. A break can be made in the middle of the second beat of bar In bars LH the 5th finger moves in under the 4th but does not have to be played legato.


Handel – Allemande HWV (Trinity Grade 4)

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

Fingering must be established and consistently used from the very first note allemanee.

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. Here is a performance that demonstrates a stylish interpretation of this piece: Experiment with different articulations in the LH as if the cellist wished to try detaching and slurring different notes.

The music should keep moving forward. Bar 12 is quite awkward to coordinate and will need careful practice however it is fingered.

Handel : Allemande HWV –

Security of fingering is therefore vital. The violin analogy is also useful for shaping the phrases on the piano is a way that is not available to harpsichord players. As ever, ornaments are optional and must not disrupt the musical flow.

The two-part texture of this piece could easily be imagined hajdel a dialogue between a violin and a cello. 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 finger goes with which. 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.


Allemande in A minor, HWV 478 (Handel, George Frideric)

It is wise to try out a preferred articulation in all the places that seem musically parallel e. Phrase lengths are quite regular in the first half, starting with an upbeat and continuing for two bars.

Imagining their bowing can help with articulation and phrasing. For a musically satisfying performance the player needs to be aware minof the original style but also able to use their instrument to express everything the music is saying.

This means the performer must play as if ending a phrase e.