Successful execution of the ascending arpeggio phrase in the second bar rewards you with a change in atmosphere in the third bar of the piano song. When going on vacation in a foreign land sometimes I wished things were not so different, which is why even in India I will go looking for a Macdonald’s for a bite. We crave familarity to keep us comfortable.
The change of atmosphere that occurs in the third bar of the piano song is only a change in pitch. The rhythm stays familiar as the one in the first bar - only the melody is played an octave higher.
The effect is a soft whisper-like echo of the first bar. To create this most desirable effect, apply utmost tenderness in the touch of your fingers when they make contact with the keys on the piano.
The musical line is kept at the current pitch as the piano song progresses into the fourth bar. Evidently the bar has the same rhythm as the second bar, only it too is played an octave higher. This time though, it does not echo the second bar in full, only halfway. It comes to an end with a lengthy minim A.
While that makes the treble clef easier to play, the bass clef is a whole different story. The accompaniment in the left hand is something totally unique from what we have encountered so far in the piano song.
Up until now they are mostly single quaver notes neatly arranged next to each other singing evenly, however the accompaniment in the fourth bar has a couple of chords in it. They are not composed consecutively into the bar so they are not chord progressions either.
This bar requires you to first play a quaver B and quickly make the leap to strike F#, A and D rendering the chord harmoniously. It is like being asked to do a triple sommersault all of a sudden while taking a leisurely walk.
Next, play the quaver E and strike the double note chord of GD. What I have learned from practising this bar repeatedly is; in order to make a smooth transition from the triple note chord of F#, A and D to landing the fifth finger on the quaver E, all you have to do is let the fifth finger drop on the keyboard, without having to move it too much trying to get into position or lifting it too high to gain momentum.
The reason is; when you have played the triple note chord, the left hand is already in position to play the E, you will notice your fifth finger is already directly above it. Just drop the finger down and you will have a smooth perfect flow of accompaniment articulately legatoed.
The minim A in the treble clef of the fourth bar completes the unwrapping of the decorative part of the piece - soon we shall witness its inner romantic soul.
When playing the A, staccato the other A in the bass clef with the fifth finger of your left hand. Continue without pause with the semiquaver phrase that comes after it.
The phrase is a brief one but the fingering involved requires some extra thinking. Being right handed, my left hand is naturally weaker so the control is not as strong as the RH.
Furthermore most of the time the LH is asked to play light accompaniment, nothing too strenuous. The string of notes here poses a challenge to the LH.
Use the index finger to play E after the staccato A and the thumb to play F#. From F# you will have to descend to E again before playing C. Here is the hard part; you will have to stretch your hand a bit to be able to place the fourth finger on C.
Ascend from there using the remaining free fingers that you have. You can figure that one out easily. It is an enjoyable change when the bass clef does the ending by delivering the melody once in a while doesn’t it. Continue reading part 3 of 'Piano Song - La Petite e'Toile'.