![]() This is not likely to be the first minuet the student has played, but they may not previously have encountered a 'Trio' section. At the very most it could be used in a couple of places such as Bars 13-16 to help join the octave jumps, but it would have to be done skilfully to avoid blurring. There is no need to pedal this music at all. In Bar 1 there are three possibilities: probably the least popular will be 5/3 4/2. Obtaining a comfortable legato in the RH double thirds will require carefully considered fingering. The twisting and turning of the RH in the Trio may need care in learning the notes (consistent fingering is vital) and then in playing without unwanted accents. Elsewhere, the LH provides a 'walking' style of bass which should receive its share of technical attention so that it gives adequate support to the RH. The LH plays octave arpeggio and scale notes in bars 13-15. Techniqueĭouble thirds and sixths are a feature of the RH in the first 16 bars. The sf markings in Bars 14 and 15 are not sharply accented but more of an extra lean into the notes to give the music a different impetus. The main danger is that the effort of keeping the RH in time will make the tone sound laboured. The LH line will stay in the background unless the player actually tries to emphasise it. The writing makes it easy to balance the hands, since the RH with its thicker texture and/or faster moving notes will naturally keep the listener's attention. Through most of the piece, RH is the main carrier of the melody and LH provides the accompaniment. In the Trio section the phrases are still essentially 4 bars long but can be mentally broken down into shorter sub-phrases for the purposes of shaping (see Teaching Strategies). The main minuet music is arranged straightforwardly in 4-bar phrases, with an anacrusis each time. This piece was originally scored for orchestra, a version now lost, and is a straightforward Minuet and Trio with no apparent subtext or abstract connotations. ![]() Style & TempoĪ Minuet is danced in a dignified and unhurried way (see video clip under 'Background'). ![]() Once the technical problems have been conquered, the best performance will be given by a student with a sense of gracefulness in their playing and an empathy with the 18th-century Classical style. However, this can be overcome by judicious fingering and adopting a less legato style! Students with small hands may find some of the stretches awkward when trying to achieve a legato (e.g. It is possible to give this piece as a development exercise to a student whose technique is not equal to the task but in that case it should be introduced alongside or after more focused exercises such as those in Tankard's “Foundations of Pianoforte Technique”. The student who performs this successfully will have a strong technique – the thirds and 6ths in the first part need good control and this is something that can only be achieved over time. It was partly due to Beethoven's influence that the minuet fell out of favour as a symphony, quartet or sonata movement – he regularly replaced it with a “Scherzo”, following an example set by Haydn. Notice the dotted rhythms here, similar to those found in Beethoven's Minuet. Its steps would have been familiar to audiences of his day. As a standard form it was regularly included in all types of multi-movement instrumental music: symphonies, sonatas and chamber music. By the time Beethoven was composing, the minuet was the only surviving dance from the Baroque era to retain its popularity. The minuet first appeared as a court dance around 1660 in France. ![]()
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