LESSON 60: INTERCHANGE BETWEEN THE HANDS
On these pages, Pianist covers the most basic stages of learning through a series of lessons by Hans-Günter Heumann. German composer Cornelius Gurlitt’s one-page study focuses on the interchange of notes between the hands.
Gurlitt Study Op 187 No 54
The passing of notes from one hand to the other should ‘sound’ seamless. Try to find the exact same weight and tone for the notes, with a slight emphasis on the first beat of the bar.
To find out more about Heumann, visit www.schott-music.com
Johann Christian BACH (1735-1782)
March in F major BWV Anh 131
TRACK 1
BEGINNER
This spirited piece comes from JS Bach’s Notebook for Anna Magdalena Bach – a set of two volumes of works that he presented to his second wife, Anna Magdalena. Keyboard music (minuets, rondos, polonaises, chorales, sonatas, preludes, musettes, marches, gavottes) makes up most of both notebooks, and a few pieces for voice (songs and arias) are included. The two notebooks are known by their title page dates of 1722 and 1725. The title ‘Anna Magdalena Notebook’ is commonly used to refer to the latter. The primary difference between the two collections is that the 1722 notebook contains works only by JS Bach (including most of the French Suites), while the 1725 notebook is a compilation of music by both JS Bach and other composers of the era, including sons JC and CPE. This is a great little warm-up and/or sight-reading piece for those of a more advanced level. Pedal is not required.
Look at the technical tips within the score.
Melanie SPANSWICK
Gigue
TRACK 2
BEGINNER
Notes from the composer: A gigue is a fast dance usually in binary form, featuring a compound time signature. The dance originated in the UK and was especially popular in Ireland (called the ‘Jig’), before becoming known in France from the 1650s. A favourite musical form among Baroque composers, the gigue typically appears as the last movement in a suite. In the key of G major, this lively dance requires deft fingerwork and a firm sense of pulse. Start out by tapping the rhythm on your piano lid or on your knees – with the RH tapping the note patterns in the treble line and the LH tapping those in the bass line. In the early stages, it may help to use the metronome. Now add the notes to that rhythm, articulating a firmer beat on each crotchet in the melodic line, and a lighter touch on the quavers. The LH dotted crotchets should ideally be played non legato, or slightly detached, throughout. The RH will be effective with a smooth legato touch and be
