Once you start playing the fourth segment of the phrase, make it a bit softer as if to give the impression that the musical line is about to end and at the same time promising something different is about to begin.
Through the variation in tone that you have just accomplished, the listener can not help but wonder what she is about to experience next. As they say; anticipation heightens the suspense. So pay attention to the playing notes indicated in the score, if it says diminuendo or crescendo or forte you better be sure to follow them, or else the magic will be lost.
The expressions conveyed through the lifting of the hands, movement of the arms and sway of your body depicts the smooth flowing sweet sounding musical phrase of line No.6 of the piano song. Near its end when we are asked to play it softer, it hints of a change in mood in the piano song.
The change happens abruptly, chords of CE recur for 2 whole bars while the right renders three bursts of acciacaturas in succession. Take some extra care to play the correct pair of notes for the chords because of the treble clef sign there even though we shall be playing them with the left hand. It is always the small things that escape our attention.
Slur the the grace notes of the acciacaturas and their pairing notes to mimic the sound of a trotting pony. Hold the A after the third acciacatura a while longer as it is a dotted crotchet and use the momentary stillness to prepare for the string of the demisemiquaver that is about to appear.
B,A,G# and A are the notes that make up the the first string of demisemiquavers we have seen so far in this piano song. Your RH fingers 4,3,2,3 will have to land on the keys and complete their work before the end of the CE chord accompanying them. In other words you will be playing 4 notes in one beat.
After that mad dash of demisemiquavers, bring the tempo a notch down to return it to a more levelled pace - having said that though, the serene levelness does not last long before a minim trill surfaces soon after in the first bar of the eighth line.
Trill using your third and second finger accompanied again, after a short absense, by the alberti bass. We have missed you so much dear Albert.
Following the trill is a gorgeous phrase that arches up the melodic line and slopes down to rise and drop again. It is then echoed in the same rhythm at a varying pitch one octave lower.
Use your arm to move the right hand, guiding it so that it can follow the shape of the phrase. The arm is the sherpa helping your hand hike the curvature of the arc of the legato line that shapes this musical phrase. Guided safely down the slopes, the phrase ends with a triumphant thump of chords.
Exert some force into the chords to make the staccatos stand out. After all, they are a proclamation of your great achievement climbing up and safely coming down from the mountain of fingering manouvers just recently.
The arched phrase that you have just played is not the only one in this piano song. Actually, immediately after the triumphant staccatoed chords, two more await you - with the same melody but different notes, singing a slightly diverse tune.
Knowing how wonderful the arc phrases would sound, Mozart had the bass clef relatively quiet throughout them. Observe the many rests in the bass clef during this time – only on certain intervals does the left hand chime in to play chords. Emphasize their beats by playing them in staccato. Continue reading part 4 of 'Piano Song - Sonata K545'.