Treasures for Piano - A Guide for Teachers

View Piece

Composer

Kabalevsky, Dmitri

Title

Variations Op. 40, no. 2 in A Minor

Era

2

Level

5

Key

A Minor

Meter

2/2

Tempo

Medium

Measures

127

Highlights

Articulation,Broken chords,Chords blocked,Dynamic contrast,Fortissimo,Imitation,Lyrical,Octaves,Pianissimo,Triplets,Wide

Comments on Piece

This piece requires a larger hand than the Op. 40, no. 1 variations. It is an excellent exercise in differentiating articulation between the hands. Phrasing is a major issue in the opening Theme, it is 14 measures long with several sub-phrases. The counterpoint in the first variation is imitative and requires great attention to detail of articulation. Variation no. 2 explores a completely contrasting affect. This is a great opportunity to reinforce the concept of two-note slurs. Variation 3 is a study in voicing and pedaling. This creates an opportunity to discuss balance between the hands and the need for a true-legato-singing melody. In Variation no. 5, the challenge is in dynamic control, Kabalevsky marks nuance changes in dynamics at short intervals. For example, the first measure is marked, piano, and the very next measure, forte. Immediately following, pianissimo is marked. Variation no. 5 appears to be the most Prokofiev-esque of this piece. Not only are there whimsical character changes, but the pesante forte accent sound at the beginning is a good chance to practice weight distribution from the shoulders and back and tone production and control.

Teaching Tips

This piece is a wonderful break away from the five-finger pattern. Have students begin by playing the melody of the theme alone, in the right hand. Ask the student to write in the appropriate breathe marks within this 14 measure theme. As a duo, sing the theme together. The most important interval in the theme happens at the very beginning. It is crucial that the student feel the stretch within the octave leap, (as a cellist would be required to stretch.) Once the theme is solidly understood and musically sound, the variations will begin to make sense. Variation no. 1 is essentially a two-part invention. It is important to mark in the score the fragmentation of the opening theme. Have students play this initially with no pedal, listening very carefully as one voice is passed off between the hands. In Variation no. 2, discuss the reasons why Kabalevsky has chosen to change fingerings on a repeated note. Have students close their eyes and listen as you play a repeated note first with the same finger, and then changing. Ask the student to differentiate aurally and then discuss the musical reasons behind changing fingers. Variation no. 3 is an opportunity to explore a lush-warm sound. Discuss the relationship harmonically of this variation to the theme. I like to call the Neapolitan an eye-brow-raise moment. We have been very comfortable in nostalgic a minor, and all of a sudden we are jolted up a notch to flat-two, this deserves attention. In Variation no. 4, it is important to not only change mood and stroke just about every other measure, but the most important measure are , for example in m. 6, with the voicing. It is very important, as in a Bach Invention to differentiate between the voice leading. The final variation no. 5, marked allegro molto, is a real adrenaline rush to the finish. This is an exercise is pacing and stamina. It is three pages and requires careful planning. The drastic switches between pesante and leggiero also require attention. Have the student practice exaggeration of these moments. I always find leggiero difficult to describe. It is not legato, not staccato, it is defined as light, airy and delicate. It requires a certain kind of finger-technique, with close finger-tip contact with the key and slightly higher wrist, to allow for a more \airy\ kind of sound.

Etudes

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Audio

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	View Piece Composer Kabalevsky, Dmitri Title Variations Op. 40, no. 2 in A Minor Era 2 Level 5 Key A Minor Meter 2/2 Tempo Medium Measures 127 Highlights Articulation,Broken chords,Chords blocked,Dynamic contrast,Fortissimo,Imitation,Lyrical,Octaves,Pianissimo,Triplets,Wide Comments on Piece This piece requires a larger hand than the Op. 40, no. 1 variations. It is an excellent exercise in differentiating articulation between the hands. Phrasing is a major issue in the opening Theme, it is 14 measures long with several sub-phrases. The counterpoint in the first variation is imitative and requires great attention to detail of articulation. Variation no. 2 explores a completely contrasting affect. This is a great opportunity to reinforce the concept of two-note slurs. Variation 3 is a study in voicing and pedaling. This creates an opportunity to discuss balance between the hands and the need for a true-legato-singing melody. In Variation no. 5, the challenge is in dynamic control, Kabalevsky marks nuance changes in dynamics at short intervals. For example, the first measure is marked, piano, and the very next measure, forte. Immediately following, pianissimo is marked. Variation no. 5 appears to be the most Prokofiev-esque of this piece. Not only are there whimsical character changes, but the pesante forte accent sound at the beginning is a good chance to practice weight distribution from the shoulders and back and tone production and control. Teaching Tips This piece is a wonderful break away from the five-finger pattern. Have students begin by playing the melody of the theme alone, in the right hand. Ask the student to write in the appropriate breathe marks within this 14 measure theme. As a duo, sing the theme together. The most important interval in the theme happens at the very beginning. It is crucial that the student feel the stretch within the octave leap, (as a cellist would be required to stretch.) Once the theme is solidly understood and musically sound, the variations will begin to make sense. Variation no. 1 is essentially a two-part invention. It is important to mark in the score the fragmentation of the opening theme. Have students play this initially with no pedal, listening very carefully as one voice is passed off between the hands. In Variation no. 2, discuss the reasons why Kabalevsky has chosen to change fingerings on a repeated note. Have students close their eyes and listen as you play a repeated note first with the same finger, and then changing. Ask the student to differentiate aurally and then discuss the musical reasons behind changing fingers. Variation no. 3 is an opportunity to explore a lush-warm sound. Discuss the relationship harmonically of this variation to the theme. I like to call the Neapolitan an eye-brow-raise moment. We have been very comfortable in nostalgic a minor, and all of a sudden we are jolted up a notch to flat-two, this deserves attention. In Variation no. 4, it is important to not only change mood and stroke just about every other measure, but the most important measure are , for example in m. 6, with the voicing. It is very important, as in a Bach Invention to differentiate between the voice leading. The final variation no. 5, marked allegro molto, is a real adrenaline rush to the finish. This is an exercise is pacing and stamina. It is three pages and requires careful planning. The drastic switches between pesante and leggiero also require attention. Have the student practice exaggeration of these moments. I always find leggiero difficult to describe. It is not legato, not staccato, it is defined as light, airy and delicate. It requires a certain kind of finger-technique, with close finger-tip contact with the key and slightly higher wrist, to allow for a more \airy\ kind of sound. Etudes Image Audio Video


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