Subscribe to Free Piano Sheet Music

I will not spam you or rent, sell or pimp
your email address. I 100% respect your privacy.

Copyright 2008 © - Free Piano Sheet Music

Source: ‘Well Known Piano Solos – How to Play Them, Charles W. Wilkinson, Theo. Presser Co. 1915’

All of us, no matter how proficient technically, enjoy occasionally sitting down to play one of these smaller compositions that require almost no effort unless it be the tuning of our soul to that of the composer. And such is this little minuet, which, with its many repeated sections, covers scarcely more than half a page. What a joy it is to hear Maud Powell, as she nestles her cheek to her precious violin, thrill the soul with every tone of this simple melody.

In construction it is simplicity itself. Four themes of eight measures each, and each one repeated, come in direct succession; and then the first two are used again to complete the form. So we have just five periods of sixteen measures each, not a note more, not a note less, as clear cut as the finest jewel.

Absolute neatness must be your first aim. Don't hurry! The spirit of the whole piece is reposeful. The thirds of the first phrase, under the slur, must be as clear cut, yet connected, as you would make any single-note melody. Easy? Not at all; and the more mature your musical experience, the more you will realize this. All editions are well fingered; but if, by any change, you find you enable yourself to add to the singing and legato quality of the theme, do not hesitate to use it. Hands are built differently and sometimes must be accommodated.

At the last beat of measures two and three of the first theme I like to linger just a little on the dotted eighth-notes. A little heart throb here. Those repeated thirds in the last two full measures will require the greatest care. Phrasing the slurs will help you. Remember, the last note of a slur is always done lightly and the hand lifted to give the effect of stopping for breath, at a pause, when reading or singing. Then the hand drops back to give the proper accent to the first note of the next slur.

The second period starts with a measure of flowing, four-part harmony. Do not slight the little run of four sixteenth-notes. Measure and draw out its tones with a feeling of their value and importance as the beginning of a new phrase. The sixths of measures six and seven of this theme I like to do similarly to the thirds in two and three of the previous one.

The trio requires a little more spirited movement than those almost too saccharine thirds and sixths of the first part. Its first section is one long, limpid phrase of eight measures of even eighth-notes. Make it a string of pearls. Your success in phrasing well the slurs of the second theme of the trio will determine its interest and beauty. Use the pedal sparingly throughout. Do not forget to vary the tone colour when repeating a theme.