View previous topic :: View next topic |
Author |
Message |
trjeam Heavyweight Member
Joined: 06 Nov 2001 Posts: 2072 Location: Edgewood, Maryland
|
Posted: Sat Nov 23, 2002 6:49 am Post subject: |
|
|
As you guys know by know whenever I'm going to perform a "legit" piece I usually ask for your help and how i should approach it when I'm going to practice it. Last year I worked with the Haydn trumpet concerto and know this year for solo and ensemble I am going to do the goedicke concert etude. I can pretty much play the piece when it comes to notes but what are some of the things that I should do to make it into music? What are things that i should or shouldn't do with the piece?? And can you guys give me a little history on the piece or the composer so that i can get a better understanding of the piece.
Thanks for any help. _________________ Jorge Ayala Jr: Trumpeter/Producer
http://www.facebook.com/JorgeAyalaJr
http://www.twitter.com/JorgeAyalaMusic |
|
Back to top |
|
|
DaveH Heavyweight Member
Joined: 20 Nov 2001 Posts: 3861
|
Posted: Sat Nov 23, 2002 7:58 am Post subject: |
|
|
That piece has 2 distinct parts - I would play the double tonguing parts light and crisp and with good speed - molto allegro is marked(although maintaining control and good articulation at all times) and not too loudly.Good, crisp fingering is needed.I play it lightly yet rather furiously.Show much contrast between these two aspects of the piece. Build toward the end with a strong finish on the F, F# and A(also note the pesante and ritardando at that point ) as you approach the trills.These need to be built toward and represent the "climax" of the excitement of the piece. Note the crescendo and decrescendo markings throughout the piece - they tend to flow with rise and fall in the notes as you go along). Good dynamics and dynamic changes will help to give the piece the appropriate "effect." - especially in the double tongued sections. The other section is cantabile - in a broad, expansive, singing style - make much contrast between the two.
After the trills, return to a soft, light articulation and phrasing. The last several measures as you move toward the ending measure become soft and light - yet molto allegro but diminuendo as you approach the final two measures.
I believe this piece is a study in double tonguing with the two lyrical contrasts. It is an "etude" and as such is a sort of technical study. I feel a sort of tension throughout the piece which is partially released in the cantabile sections and then fully released at the point just before and at the trills and is then the tension returns until the end.
I think the piece has sort of a "mysterious" and even "dark" sound in the allegro portions, especially with the piano accompaniment. The piano accompaniment is very interesting and helpful when played by a skilled pianist - a good accompanist is needed on this piece.
I have played the piece for many years, starting in high school. It is a great one - best wishes with it. |
|
Back to top |
|
|
DaveH Heavyweight Member
Joined: 20 Nov 2001 Posts: 3861
|
Posted: Sat Nov 23, 2002 8:02 am Post subject: |
|
|
My copy of the piece, which includes the piano accompaniment, has three introductory paragraphs about the piece and the composer on the inside of the front cover. Do you have that information? |
|
Back to top |
|
|
|