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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TIDAL: Listen to Allemande in A Minor, HWV by George Frideric Handel on TIDAL

At grade 5 there will be an expectation that ornaments will be attempted, but simpler ones are still permissible. Fingering must be established and consistently used from the very first note learning. The music should keep moving forward. As ever, ornaments are optional and must not disrupt the musical flow. However, there is quite bandel range of possibilities for detaching and slurring.

In bars LH the 5th finger moves in under the 4th but does not have to be played legato. It is wise to try out a preferred articulation in all the places that seem musically parallel e.


However, with its origins in dance there is no need to make a pedantic or pompous impression. Phrase lengths are quite regular in the first half, starting with an upbeat and alkemande for two bars.

This means the performer must play as if ending a phrase e. The violin analogy is also useful for shaping the phrases on the piano is a way that is not available to harpsichord players.

Georg Frideric Handel, Allemande in A minor, HWV 478

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. 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.

Security of fingering is therefore vital. The two-part texture of this piece could easily be imagined as a dialogue between a violin and a cello.

Here is a performance that demonstrates a stylish interpretation of this piece: The least interesting option would be to play all the LH legato. A break can be made allemandee the middle of the second beat of bar Bar 12 is quite awkward to coordinate and will need careful practice however it is fingered. Imagining their bowing can help with articulation and phrasing.


For a hw satisfying performance the player needs to be aware of the original style but also able to use their instrument to express everything the music is saying. For the more musically mature student, the following technique is suggested, but is by no means obligatory for less competent students.

Handel : Allemande HWV –

Minof 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.

Holding down the chord notes beyond handl 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.

Experiment with different articulations in the LH as if the cellist wished to try detaching and slurring different notes.