Piano Song - Sonatina Op.55, No.1 (Part 2)

An indispensable element crucial in building piano technique is the practise of arpeggios. In this piano song, there are several occasions where they or those almost similar to them make appearances. 

One instance, in bar 5, right after the chords a half-arpeggio-like phrase that is ended with a pair CE chords is apparent. A slightly varied one then follows before a bar of strong character consisting entirely of chords finishes the passage.

There are a couple of chords in this bar which are accented. Play them loud emphasizing the accents with steely clarity, and here is the hard part; slur and immediately soften the next chord that comes next which is not accented. The tendency is to play the whole bar accented. Resist this - observe the sign and finish the bar neat and tidy.

As soon as you have executed the final chord in the sequence, without missing a pulse use thumb under to land on D and start the ascending scale all the way until the D in the next octave. 

Lend a bit of dynamics when making the climb up the scale to color the phrase. Very delicately use the 5th finger to connect with the highest D. It has to be drawn out it with the softest of touch to produce the dolce it is required to voice.

An enthralling repetition of F#s adorns the 10th bar of the piano song - alternate between the 3rd and 2nd finger to play it 4 times while amplifying the sound gradually with every press of the key. 

It is while playing the melody in this bar, when the LH enters an accompanying musical line extended over 5 bars – played light and quick in an unbroken smooth flowing phrase. They are a combination of 2-note chords and D, for example AC and D in bar 10 and BG and D in bar 11. 

Correct fingering is of importance to be able to play this passage perfectly. Use the 2nd and 4th finger to play AC and the thumb to play D.

In the following bar use the 3rd and 5th finger to play BG. Open your LH palm wider to use the 2nd and 5th finger to play F#C in the final piece of this pattern in the 13th bar. 

By the time you have finished playing it, the melody has progressed halfway through a new phrase in the RH. Enhance the prominence of the melody’s second half, in bar 13, by strictly observing the rests signs in the bass clef. 

There are 4 rests that have to be played in the bass clef of this segment of the piano song, lift the LH away from the keyboard to obey the crotchet rests and be amazed while the RH sings its part. You shall be able to see how beautiful the melody sounds when the LH is suddenly silent for brief moments while the RH does its work.

After that little display of piano showmanship, in the next bar one long and easy to play scale phrase follows. Even the LH is given some breathing space here, rests for 5 counts. Notice the crescendo sign nearby – you are required play it softer at first and getting louder nearing the end. Such tonal gradation can only be created by varying the touch of your fingers as they connect with the keys of the piano. 

Touch the keys first before actually playing them. Place your thumb on the G that begins this scale phrase, it should be a mild contact. Then, press to play it. Do the same for the notes that come after as well. Grasp the keys and draw out the sound from the piano. As you make the climb up, gradually increase the strength of each press of the keys to make the phrase crescendo.

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