Is it 'okay' to play the bottom G with my LH little finger, then use my thumb for the G an octave higher and the finger next to it to play the Bb? So that they cross? If not, how should I play it, bearing in mind I can just about manage an octave!

Thanks
Rosemary

Sounds ok. Might depend a bit on what happens next.

It drops back down to a G then repeats for a bit. but looking further ahead it gets unworkable when theres 3 notes to play at the top and double octaves at the bottom I don't even have that many notes on my keyboard! Looks like I'll have to jump around a bit after all... I can't strectch 2 and a third octaves!

Ok... just found it.

The bass clef notes with stems down are LH and stems up RH.
From bar 7 the LH palys all the bass clef notes
You will need to play the lower one then move up to the others.
On piano a little pedal would help here.

Ah, that makes sense. I WOULD pedal, if I had one! As from bar 7 its basically the same pattern, I might just play it with my left hand throughout... No point in confusing myself more than I have to! Thanks

better to do it the other way at the start then you can hold the crotchets for their full value.
At bar 7 it's all quavers

Good point!

Er ... if your keyboard doesn't have a sustaining pedal, and its range is smaller than that of the piece, it sounds like your talent is way ahead of your instrument. Time for a piano, or at least a better keyboard, I think.

I would love to get a piano, but its not my first instrument, and theres nowhere to put it. I mostly practice at school anyway, they've just got a very nice yamaha upright

To be fair, the keyboard is actually older than I am

Agree with this. On my copy from bar 7 the first bass G of each group of 3 is marked staccato; makes it easy to move up to the others.

How strange... On my copy theres no staccato until the bar that has an F# in the bass (No bar numbers either!). Theres only about 3 bars worth as well. Though it is very old... Someones pencilled in pedal markings there anyway.

Mine too... bars 22 and 23 are the only ones with staccato bass note.

I've got 2 different editions of this. One is very old (the date on the inside cover of the book is 1893) and has no editorial markings at all. The other is the ABRSM edition which has loads of notes and lots of editorial markings. It all depends what edition you have as to what helpful (or otherwise) markings there are. I'm re-learning Op38 No 6 at the moment and using the ABRSM edition. Would prefer to use the really old one as I find the layout of the music easier to read, but the book is literally falling apart and I don't want it to deteriorate any further. I expect both of you have different editions to me.

I’m learning this right now with a Wiener Urtext edition. This also gives staccato on the first of each group of triplets from bar 7 onwards. The following two quavers are then always slurred. I wondered about it at first, because I didn’t want it to sound too dry. However if you pedal very delicately, and keep the right hand very legato, you get a nice contrast of texture, (well, at least my teacher does!) I think if it’s well done, you can get that impression of a boat rocking, not quite regularly as in a lullaby, but like little ripples and eddies pushing it this way and that: a little restless.


i started doing this at first, didn't look at the tails, but I've found it's definitely better in bars 1-7 to take the middle voice with the RH, only taking the bass notes with the left hand. It feels much more relaxed. Then you can hold the crochets for their full value without having to pedal heavily.

By the way, do the accented notes as in bars 14, 19, 20 have any particular meaning? I've noiced this effect in other gondollieds too eg in Liszt's. Maybe boatmen's calls? Anyone know?

I may have the same editiion as you - It has 1894 on the inside cover! I'm retyping it up on the computer so I can take it to school without risking it falling apart entirely.

Thanks for the thoughts everyone, I'll keep them in mind as I'm learning this!