Hey Everyone,
I'm taking ATCL in December. Just wanted to know, is it mandatory to follow the louds and softs and other instructions that are written on the book? Or is it at the user's discretion.
Thanks a tonne,
Love
Tanmoy
Full Version: Is It Compulsory?
QUOTE(tanmoy_22 @ Nov 17 2005, 09:10 AM)
Hey Everyone,
I'm taking ATCL in December. Just wanted to know, is it mandatory to follow the louds and softs and other instructions that are written on the book? Or is it at the user's discretion.
Thanks a tonne,
Love
Tanmoy
I'm taking ATCL in December. Just wanted to know, is it mandatory to follow the louds and softs and other instructions that are written on the book? Or is it at the user's discretion.
Thanks a tonne,
Love
Tanmoy
depends on what era is the music...if it's baroque, it does really matters much but definitely you should obey what's its written for dynamics for the other eras...
How don't you want to follow the suggested dynamics anyhow?? The dyanamic given is tested by many wonderful musicians to order to interpret the style of the piece, it's very approriate to use them.
Hi Tanmoy
At ATCL level you should be able to decide for yourself how to communicate the works you are performing. And this will naturally include the dynamics.
Your programme note research will surely give you an idea of whether the dynamics you see on the page are the composer's intentions or an editor's suggestions, and listening to critically performances of the works will give you some ideas as to how other performers view those markings.
While you don't get a Viva Voce with ATCL, you do need to be absolutely certain of what you're doing, and make sure your performance is a convincing justification of your choices of dynamics and expression.
Best of luck
Katyjay
At ATCL level you should be able to decide for yourself how to communicate the works you are performing. And this will naturally include the dynamics.
Your programme note research will surely give you an idea of whether the dynamics you see on the page are the composer's intentions or an editor's suggestions, and listening to critically performances of the works will give you some ideas as to how other performers view those markings.
While you don't get a Viva Voce with ATCL, you do need to be absolutely certain of what you're doing, and make sure your performance is a convincing justification of your choices of dynamics and expression.
Best of luck
Katyjay
Thanks a tonne for your responses.
For my ATCL Performance exam i have
Mozart K309
Chopin Polonaise in C# minor, O 26
Benjamin Britten, Sonatina Romantica.
There are a few parts in Britten, i mean, that i want to make it a bit louder. I personally think it might sound nice.
Same with a few parts in Chopin.
So, i was just asking
Thanks a tonne,
Tanmoy
For my ATCL Performance exam i have
Mozart K309
Chopin Polonaise in C# minor, O 26
Benjamin Britten, Sonatina Romantica.
There are a few parts in Britten, i mean, that i want to make it a bit louder. I personally think it might sound nice.
Same with a few parts in Chopin.
So, i was just asking
Thanks a tonne,
Tanmoy
If you can trust the edition, i.e. it is an Urtext, then the notated dynamics should be judged as the composer's true intent. Otherwise, you have more freedom perhaps..
sometimes its good to look at a few editions, and listen to a few recordings, to get a good idea of what other people think.
Really, the interpretation is up to you up to a point ...obviously, notes cant be changed really, and would be silly to exaggerate something to the point of stupidity and loss of effect. But you just want to think what youre trying to get across, and how you can do this best by changing the interpretation of the piece.
Really, the interpretation is up to you up to a point ...obviously, notes cant be changed really, and would be silly to exaggerate something to the point of stupidity and loss of effect. But you just want to think what youre trying to get across, and how you can do this best by changing the interpretation of the piece.
Hello Everyone,
Thanks a tonne for all your opinions. Well yea, my Sir did tell me that the player has some amount of liberty to play it with the louds and softs, at their own discretion. But he said, not to change it completely, as people have mentioned, the edition specifies louds and softs after a lot of performances by other people.
I do personally feel that Mozart doesn't require much of pedal work. Apart from the 2nd movement of K309, the remaining requires very little pedal work, as is quite the case with majority of the Mozart sonatas, i think. The Chopin polonaise in c# minor has a lot of pedal work, with the typical rubato effect. It tends to get really really loud (ff) towards the end of the 2nd part of the play. But i've noticed that on the exam piano, which echoes a lot, if i play it too loudly then the sound of the notes become very indistinct. Thus i think, i won't take it that loud.
For another girl's examination, the examiner had commented that the Benjamin Britten Sonatina Romantica needs to played more dramatically. But then again, i guess pedalling will be a concern.
Any comments will be really appreciated,
Tanmoy
Thanks a tonne for all your opinions. Well yea, my Sir did tell me that the player has some amount of liberty to play it with the louds and softs, at their own discretion. But he said, not to change it completely, as people have mentioned, the edition specifies louds and softs after a lot of performances by other people.
I do personally feel that Mozart doesn't require much of pedal work. Apart from the 2nd movement of K309, the remaining requires very little pedal work, as is quite the case with majority of the Mozart sonatas, i think. The Chopin polonaise in c# minor has a lot of pedal work, with the typical rubato effect. It tends to get really really loud (ff) towards the end of the 2nd part of the play. But i've noticed that on the exam piano, which echoes a lot, if i play it too loudly then the sound of the notes become very indistinct. Thus i think, i won't take it that loud.
For another girl's examination, the examiner had commented that the Benjamin Britten Sonatina Romantica needs to played more dramatically. But then again, i guess pedalling will be a concern.
Any comments will be really appreciated,
Tanmoy
Hi,
I'm playing Britten's Sonatina Romantica too for my ATCL next Nov
For that piece, my teacher emphasized on the dramatic aspect as it needs to sharply contrasted with the Nocturne, so I pedalled for the accented notes at the beginning and from bar 17-25. yeap that area. and for the 'brillante' part, don't use pedal, instead to give that brilliant effect you could try what i'm doing, which is taking the appeggio-like section from a drop..it makes it much faster to and easier to play and it sounds much more brilliant! 
And for the poco agitato part i guess you need to really make the right hand chords all short and detached and...agitated i guess! hope these comments help!
For the Nocturne, mine's pretty dull...as in tending towards boring already! And my pedalling's really smudgy..any advice you could give?!
by the way, my 3 other pieces are Prelude and Fugue in A minor (BWV 865) by Bach, Sonata in C minor, Op.10 No.1 by Beethoven, and the Intermezzo in A,op.118 No.2 by Brahms. Any advice on these pieces would be greatly appreciated!
debbie
Hello Everyone,
Thanks a tonne for all your opinions. Well yea, my Sir did tell me that the player has some amount of liberty to play it with the louds and softs, at their own discretion. But he said, not to change it completely, as people have mentioned, the edition specifies louds and softs after a lot of performances by other people.
I do personally feel that Mozart doesn't require much of pedal work. Apart from the 2nd movement of K309, the remaining requires very little pedal work, as is quite the case with majority of the Mozart sonatas, i think. The Chopin polonaise in c# minor has a lot of pedal work, with the typical rubato effect. It tends to get really really loud (ff) towards the end of the 2nd part of the play. But i've noticed that on the exam piano, which echoes a lot, if i play it too loudly then the sound of the notes become very indistinct. Thus i think, i won't take it that loud.
For another girl's examination, the examiner had commented that the Benjamin Britten Sonatina Romantica needs to played more dramatically. But then again, i guess pedalling will be a concern.
Any comments will be really appreciated,
Tanmoy
I'm playing Britten's Sonatina Romantica too for my ATCL next Nov
For that piece, my teacher emphasized on the dramatic aspect as it needs to sharply contrasted with the Nocturne, so I pedalled for the accented notes at the beginning and from bar 17-25. yeap that area. and for the 'brillante' part, don't use pedal, instead to give that brilliant effect you could try what i'm doing, which is taking the appeggio-like section from a drop..it makes it much faster to and easier to play and it sounds much more brilliant! And for the poco agitato part i guess you need to really make the right hand chords all short and detached and...agitated i guess! hope these comments help!For the Nocturne, mine's pretty dull...as in tending towards boring already! And my pedalling's really smudgy..any advice you could give?!
by the way, my 3 other pieces are Prelude and Fugue in A minor (BWV 865) by Bach, Sonata in C minor, Op.10 No.1 by Beethoven, and the Intermezzo in A,op.118 No.2 by Brahms. Any advice on these pieces would be greatly appreciated!
debbieQUOTE(tanmoy_22 @ Nov 20 2005, 12:58 AM)
Hello Everyone,
Thanks a tonne for all your opinions. Well yea, my Sir did tell me that the player has some amount of liberty to play it with the louds and softs, at their own discretion. But he said, not to change it completely, as people have mentioned, the edition specifies louds and softs after a lot of performances by other people.
I do personally feel that Mozart doesn't require much of pedal work. Apart from the 2nd movement of K309, the remaining requires very little pedal work, as is quite the case with majority of the Mozart sonatas, i think. The Chopin polonaise in c# minor has a lot of pedal work, with the typical rubato effect. It tends to get really really loud (ff) towards the end of the 2nd part of the play. But i've noticed that on the exam piano, which echoes a lot, if i play it too loudly then the sound of the notes become very indistinct. Thus i think, i won't take it that loud.
For another girl's examination, the examiner had commented that the Benjamin Britten Sonatina Romantica needs to played more dramatically. But then again, i guess pedalling will be a concern.
Any comments will be really appreciated,
Tanmoy
Hi
I played the Brahms Intermezzo for my DipAbrsm two years ago and was having lessons from a Royal Academy professor.
He told me that in the Brahms it is very easy to overplay the melancholic feeling by using too much rubato. Let the notes speak for themselves and keep a fairly strict tempo throughout - except at the climax points. There should be a very clear accent on the first beat of the bar, especially at the beginning in order to establish the time signature. Be careful with the use of the pedal - Brahms was very specific on how this should be used and you may be asked about this in the Viva.
The Op116-119 piano pieces are the last works Brahms wrote for the piano and were written after a 10 yr break from the instrument. Clara Schumann commented that they needed both power and great expression in order to achieve the effect Brahms intended. Rather than being easy pieces, i think they form one of the most sublime and difficult to play pieces in the entire piano repetoire.
I´m now practicing 3 Capriccios from the Op. 116 fantasien for the LRSM.
Good luck,
Andrew
I played the Brahms Intermezzo for my DipAbrsm two years ago and was having lessons from a Royal Academy professor.
He told me that in the Brahms it is very easy to overplay the melancholic feeling by using too much rubato. Let the notes speak for themselves and keep a fairly strict tempo throughout - except at the climax points. There should be a very clear accent on the first beat of the bar, especially at the beginning in order to establish the time signature. Be careful with the use of the pedal - Brahms was very specific on how this should be used and you may be asked about this in the Viva.
The Op116-119 piano pieces are the last works Brahms wrote for the piano and were written after a 10 yr break from the instrument. Clara Schumann commented that they needed both power and great expression in order to achieve the effect Brahms intended. Rather than being easy pieces, i think they form one of the most sublime and difficult to play pieces in the entire piano repetoire.
I´m now practicing 3 Capriccios from the Op. 116 fantasien for the LRSM.
Good luck,
Andrew
Hi
Thanks so much for your advice! I'll make sure I follow through with it
Good luck with your LRSM too and may the force be with you
Thanks!
Debbie
Hi
I played the Brahms Intermezzo for my DipAbrsm two years ago and was having lessons from a Royal Academy professor.
He told me that in the Brahms it is very easy to overplay the melancholic feeling by using too much rubato. Let the notes speak for themselves and keep a fairly strict tempo throughout - except at the climax points. There should be a very clear accent on the first beat of the bar, especially at the beginning in order to establish the time signature. Be careful with the use of the pedal - Brahms was very specific on how this should be used and you may be asked about this in the Viva.
The Op116-119 piano pieces are the last works Brahms wrote for the piano and were written after a 10 yr break from the instrument. Clara Schumann commented that they needed both power and great expression in order to achieve the effect Brahms intended. Rather than being easy pieces, i think they form one of the most sublime and difficult to play pieces in the entire piano repetoire.
I´m now practicing 3 Capriccios from the Op. 116 fantasien for the LRSM.
Good luck,
Andrew
[i][i]
Thanks so much for your advice! I'll make sure I follow through with it
Good luck with your LRSM too and may the force be with you
Thanks!
Debbie
QUOTE(ajm3212 @ Nov 27 2005, 08:35 PM)
Hi
I played the Brahms Intermezzo for my DipAbrsm two years ago and was having lessons from a Royal Academy professor.
He told me that in the Brahms it is very easy to overplay the melancholic feeling by using too much rubato. Let the notes speak for themselves and keep a fairly strict tempo throughout - except at the climax points. There should be a very clear accent on the first beat of the bar, especially at the beginning in order to establish the time signature. Be careful with the use of the pedal - Brahms was very specific on how this should be used and you may be asked about this in the Viva.
The Op116-119 piano pieces are the last works Brahms wrote for the piano and were written after a 10 yr break from the instrument. Clara Schumann commented that they needed both power and great expression in order to achieve the effect Brahms intended. Rather than being easy pieces, i think they form one of the most sublime and difficult to play pieces in the entire piano repetoire.
I´m now practicing 3 Capriccios from the Op. 116 fantasien for the LRSM.
Good luck,
Andrew
[i][i]
This is a "lo-fi" version of our main content. To view the full version with more information, formatting and images, please click here.