He was convinced that origin- At times, Prokofiev used unrelated tones merely to ality was possible within the confines of traditional mu- add color and not for the purpose of modulation.
He sical structures Ward, , pp. At times, he also used these altered tones to strengthen otherwise would compose one movement works employing sonata bland melodies. In melodies, this type of usage enhances form in imitation of nineteenth century composers the restatement of a theme.
For instance, the first state- Minturn, c, p. It is apparent that even though ment may be straightforward, then the second statement Prokofiev found harmony classes with Lyadov cumber- is given greater emphasis or excitement by adding acci- some and bland, it is clear this instruction kept his mod- dentals. This usage leads us away from harmonic devices Prokofiev felt that it is essential for a composition to into the realm of melody.
He sincerely believed that there was no impact while employing thinner less important har- future for atonal or chromatic music. In his mind, dia- monies. His harmonies were triadic, al- that overlapped as accompaniment. Other times, in though at times polytonal or polychordal and his use of keeping with a Russian folk style, he employed quartal, chromaticism almost verged on pitch class structure.
He quintal or octave voice doublings Bakst, d, p. The use of chromatic alterations he had heard as a child, he copied style instead of con- led to volatile modulations. He believed that dissonant combi- pite all that. At any rate, some twenty-four years later nations are independent chords which do not necessarily when I first tried to make my music Russian, the mater- need to be resolved Bakst, c, p. Prokofiev be- ial — my own, but in the Russian mood — came easily lieved that the tonic is impulsive.
He did not believe that and naturally Prokofiev, n, pp. He did not agree that evading tonic usually in four or eight bar phrases. His tendency in this would produce melodic tension. In fact, he thought the direction was developed during his childhood lessons opposite. In his view the tonic should be supreme, and with Glier, another classical proponent like Lyadov. They were the age. His first exercises were to write small songs in 4 bar hope of the communist future.
As a result writers, film- sections. Despite his sometimes caustic, tactless and the overuse of sequences, which he later came to des- downright rude demeanor, he also had a charming child- pise.
His sequences, when used, are always altered in like innocence and thirst for life Robinson, c, p. He had a tral settings, involved jumping around between all regis- unique understanding of what appealed to children, ters. He particular feeling or paint a picture. I believe that the tapping eighth note rhythms and chord clusters represent raindrops. The tonal move- Examining OPUS 65 ment of the piece is akin to an arch and may be a repre- The centerpieces of the second period, or stylistic shift, sentation of a rainbow.
They marked with The Rain and the Rainbow. Due to copyright re- a great maturation of style. He did love children and had strictions I have had to omit musical examples. Please two of his own. He spoiled them much like he had been. In later years, how- the score. He knew how to make them simple never be performed otherwise, using what was to have yet interesting. They are each pictorially, melodically, been punishment to promote what would have otherwise and harmonically rich, a difficult task to achieve in such been silenced Krebs, e, p.
It was also a retreat tiny works of art. The Rain and the Rainbow is one page from what were tumultuous times for modern com- in length, but it is rich in features. Nevertheless, it is in ternary form with a periods. The whole of section A, measures 1—16, uses two phrase with parallel periods. To round out the form, eight bar phrases in four bar contrasting periods.
The Prokofiev used a partial representation of the first theme melody is varied from high register to low register with in variation, which he ends with a six measure phrase quickly changing dynamic ranges. The first phrase be- for added flair. However, his first order of business is to alter as a leading tone into resolution. Suspensions are used tonic up a half step to throw the listener off balance, to prolong the cadence and the resolution elides into the and he uses a cadential succession in distant harmonic beginning of the second phrase.
The piece effectively relationships. The harmony is chromatic and not always uses the raised seventh of the harmonic minor.
There are non-diatonic tones used for color. In the second eight bar phrase, beginning with meas- The key relationships are not always certain, although ure 9, there is melodic doubling in a two octave range the chords appear to flirt with D major and G flat minor.
The This is a tritone relationship, functioning like an un- melancholy nature of the melody is similar as well, but usually constructed six chord resolving to the dominant in my opinion more profoundly so.
The beginning four with the dominant returning to tonic at phrase end. The second half of the phrase is pointing toward an implied D major, which in turn acts almost identical to the corresponding portion of the as the subdominant of the key of G major, resolving first, except the cadence is extended and the suspensions there, and then resolving further to C major.
To round out this section the reso- This is followed by a chain of cadences, which drives lution is delayed by a dramatic pause, and, as a surprise, the key from G flat minor, a tritone relationship to tonic, the resolution pivots from the A in the bass in measure with E flat acting as a flat six, an enharmonically aug- 16 away from tonic to the subdominant of the relative mented fifth again acting as a six chord, which then re- major tonality, which serves to begin the B section.
There are four Section B, measures 17—24, has a deep chromatically measures, which are driven by plagal cadences, which ascending bass line with a high pitched descending end with authentic cadences. All sequential material is arpeggiated right hand accompaniment. This center sec- varied to avoid repetition.
These serve a dual purpose, tion is only one 8 bar phrase. It moves from the sub- they appear to be chord clusters and exude all the color dominant of the relative major to tonic in first inversion. It moves the tonality to G minor Section B, measures 9—16, commences with traditional momentarily. Then from a raised C sharp and a passing progressions and meandering scalar motion. The melody tone, in measure 24, the second half of the center sec- is comprised of chord tones and passing tones.
The tion moves to E flat major, the subdominant of B flat harmonies are in C major moving from tonic to sub- major. Then after dominant. Then, Prokofiev throws in a little tritone, passing through neighbor tones, anticipations and escape which moves the piece into G major. This works to sub- tones, we reach the outline of an F minor tonic triad in stitute dominant for tonic, which finally elides into the which the fifth is augmented, acting as a leading tone to second period using an authentic cadence, which moves the dominant of D minor, the cadence of which elides with back into C major.
The first four of the final six bars are the second A section and return to home key. The last two bars are like the same as in the beginning, but this time with embel- a small coda with a spicy little cadence. This piece, as lishing tones, arpeggiated triads, and melodic doublings with all those in this collection, moves through every of an octave and a third. The harmonic progressions are tessitura so the whole keyboard is explored.
It is selection number five in the reaches its climax at forte and suddenly breaks off into a collection.
It is a hauntingly melancholy composition modulating coda with a dynamic marking of piano in with a depth of emotion almost too mature and complex measure This time the central modulating tone of D for a child to identify with and perform effectively. This work touches my because music so captivating and colorful is unusual in sensibilities.
It is emotionally stirring music and a tech- early piano literature. The scores look perfect. Yes 80 No Yes 78 No Follow this composer Be informed by email for any addition or update of the sheet music and MP3 of this artist. Follow this arranger Be informed by email for any addition or update of the sheet music and MP3 of this artist. Close collections of bernard-dewagtere.
Collections of bernard-dewagtere Anthems. Choral works. Christmas music Vocal or instrumental. Exotic Latin, Asian Great works - Themes. Operas Vocal or instrumental.
Peter and the Wolf. Pictures at an exhibition. Popular, traditional. Religious celebrations Marriages Sacred music. Style : 1. Style : 2. Style : 3. Style : 4. Plates R. Composer Time Period Comp.
Kalmus Scores Prokofiev, Sergey Early 20th century style Early 20th century Pieces For piano Scores featuring the piano For 1 player Works first published in Works first published in the 20th century Pages with commercial recordings Pages with commercial recordings Naxos collection Pages with commercial recordings BnF collection Pages with links to Prokofiev catalogue. Pieces ; For piano ; Scores featuring the piano ; For 1 player.
Contents 1 Performances 1. Editor First edition. Paris: Editions Russes de Musique , Then after passing through neighbor tones, anticipations and escape tones, we reach the outline of an F minor tonic triad in which the fifth is augmented, acting as a leading tone to the dominant of D minor, the cadence of which elides with the second A section and return to home key.
Here, in the final section, measure 25, the melody is the same as in the beginning, but this time with embellishing tones, arpeggiated triads, and melodic doublings of an octave and a third.
The harmonic progressions are identical. The second phrase, measure 33, in this last section has a very similar initial four bar phrase, which reaches its climax at forte and suddenly breaks off into a modulating coda with a dynamic marking of piano in measure This time the central modulating tone of D flat takes us to a D, anticipating an arpeggiated inversion of B minor. The ending is approached through D minor, G minor, and back to D minor.
This work touches my sensibilities. It is emotionally stirring music and a technical challenge for a young student as well. Once again, let us move forward to the first piece in the collection, and the final piece I have chosen for analysis, which is Morning. Again, as with all the compositions in this collection, it is a tone painting which evokes a picture.
Morning is bright, but the tempo marking indicates tranquil. The dynamic markings range from mostly piano and pianissimo to a single mezzo forte around the climax of the piece, as the bright, tranquil sun rises and transitions into day. As the pianist journeys through the expanding dawn, Prokofiev encourages him or her to explore every tessitura of the keyboard again.
Crossing hands is required several times as it is in most of the pieces. The structure is rounded binary with an expansive and lyrical cantabile B section.
The A section, measures 1—8, is an eight bar phrase with two four bar parallel periods. The incidence of multiple sequences is something highly unusual for Prokofiev since, as he mentioned, he thought they were too predictable. Instead of a sequence, it may be viewed as a motive with slight variations. Perhaps it is meant to sound like a rooster crowing at sunrise. Most everything in this section is diatonic to the key of C major. There are only a few accidentals used as neighbor or passing tones to add variety and color.
Section B, measures 9—23, is very interesting and we see Prokofiev passing the melody from bottom to top as the sun rises into the sky. There is a sparkling, arpeggiated accompaniment in the right hand and an ascending bass line moving by step.
Still most everything is diatonic except the tritone in the bass in measure 11 and the raised tonic in measure 12, once again two of his favorite intervals.
The raised tonic propels the piece into modulation in measure 13 and the first key felt is D major and a cadence in that key, but the return to C major is quick on a shared relationship. As we cadence on the dominant to move into the cantabile portion of the center section at measure 18, we experience the chromaticism of the tritone in measure The cantabile section is full of momentary tonal shifts that shimmer like the burning sun.
Each one moves on a raised tonic, subdominant, or dominant. After the beautiful modulations, a suspension and cadence on dominant lead back to a partial repetition of the A section in measure To leave the sun hanging and glittering in the morning sky, the music ends with a MM7, a double suspension that leaves an unresolved seventh.
These charming compositions deserve a more prominent place in the world of piano pedagogy. Not many piano teachers are aware of them, but that is a shame, because music so captivating and colorful is unusual in early piano literature. While beautiful, undertaking these is not without challenge to the student or teacher. There are numerous technical and aesthetic hurdles to jump. But the benefits of facing these challenges pay off in technique, evenness of tone and touch, improved dynamics, phrasing, and articulation.
The whole keyboard is explored from bottom to top, hand over hand, and it gives the student comfort in traversing the entirety of the instrument and all the nuances of each register.
It challenges the young musician to learn to subordinate harmony and elevate melody and to teach him or her that it takes special effort to do it properly in those different tessituras while maintaining clarity and continuity. Alternating from clef to clef so often teaches watchfulness and quick reaction time.
Aside from the technical difficulties, teaching a child the life story and struggles of the composer and his motivating forces along with his intentions are essential to a proper performance of any music and can encourage the student as well. The student learns that genius can take shape in spite of shortcomings and that hard work and dedication pay dividends in success, even if it is slow in arriving.
In addition, the theoretical and formal analysis of a work are essential to knowing key points of transition and breathing within the structure, in fact, making the structure apparent to the performer and as a result enjoyable and identifiable to the listener. Knowledge of these things allows him or her to know when to push or pull, shape, and bring cohesiveness to their music making.
When assigning any of these pieces to a child, or to a beginning adult, it would be helpful to encourage the student to keep the arms light and as free of tension as possible. Depending on the size of the individual, the range may require altering the position at the piano to accommodate enough stretch to reach the ends of the keyboard, if it is a smaller person.
If it is a larger person, it would be advisable to sit back to keep the elbows from inhibiting motion and crowding against the body. The waist should be loose and act as a pivot, so there will be no difficulty reaching the extreme ends of the piano.
The feet placed properly as stays will keep the leaning pianist on the bench and off the floor. All of this will keep movements quick from one section of the keyboard to another, whether it is crossing over or jumping up or down two octaves. The arm motion will assist in making a smooth longer line and in aiding the shape of the phrase.
This type of free arm movement will aid the hand in small rolling motions on a pivot finger to make a better legato. Speaking of the legato touch, in order to promote clarity and deter muddy performance, the pedal should be avoided at first.
It can be added once the greatest level of legato can be achieved with the arms and hands and fingers. At times, it is helpful to practice a legato section with a light, lifting staccato to maintain the lightness.
Sometimes practicing legato can lead to pushing too deeply into the key bed and the sounds become too heavy for these small compositions. So, possibly alternating to a light staccato every few runs through a phrase, might keep the legato touch soft.
Legato is an important feature in this collection, since the gorgeous singing lyricism of many of the selections require a long and beautifully shaped phrase. Legato cannot be realized without smooth fingerings and resultantly the phrase cannot be properly shaped without proper legato. Prokofiev has been sparse with his fingerings in the original manuscript. The student and teacher should determine the ideal fingerings for the individual and not stray from them.
More importantly in these works, such a great amount of keyboard movement requires development of physical memory in order to get exact location. Training what finger jumps where will quickly aid this. He was known for his strict driving tempos and rhythms with sparse use of the pedal. So, in order to be true to the composer this means not over-exaggerating the lyricisms or ritenutos and the like.
A steady metronome setting while practicing, beginning slowly and gradually increasing to the desired tempo, would be advantageous and then practicing at the chosen tempo for a while without variation would be a good idea.
Push and pull only slightly. So, we should keep that same spirit of proportion in relation to our modern day practice as long as the feeling or heart is not lost in the process.
Dynamics and articulations should be adhered to strictly. Most of the effect of these works would be lost without proper attention and execution of this facet. But always determine what the melody is and raise it one dynamic notch above everything else.
As we have learned, Prokofiev is a neo-classicist. In the classical style of music, the melody is supreme and should stand out while the harmony seasons it lightly. Matching this style, the same should be done with pedal. The only exception to this neo-classical rule might be harsh articulations and larger crescendos and diminuendos. While those were not the rule in the classical era, they are a development of modern music and are retained, and at times when called for, are exaggerated in the world of Prokofiev.
The elements of this paper show an all-encompassing pedagogical approach that motivate the teacher and the student to work together in researching their performances and gaining maximum benefit from not only this volume of compositions, but each subsequent effort as well. Then finally, approach the execution at the keyboard logically, thoughtfully, and artistically. The performance will blossom as a result and the reception of the listener will improve.
Everyone benefits! This quotation is from a secondary source. I had difficulty finding this issue of The Musical Observer published in November I understand that quoting secondary sources is frowned upon, although not completely forbidden when the item is out of print. I found this quote significant. It might be encouraging to talented students struggling with technique to read this.
Paraphrasing would ruin its impact. It is also significant in that Prokofiev indirectly admitted that his technique was not sufficient to have won the Rubenstein piano competition on his pianistic merits alone as we discussed in the preceding section. I hope the reader will indulge my decision. Prokofiev, S. RCA Victor.
Complete music for solo piano [Recorded by G. Piano sonatas nos. Romeo and Juliet [Recorded by M. RCA Red Seal. Slonimsky, N. The Great Composers and their Works. New York: Schirmer Books. Thompson, K. A Dictionary of Twentieth-Century Composers — New York: St. Martin's Press. Bakst, J. A History of Russian-Soviet Music. Westport: Greenwood Press. Krebs, S. Soviet Composers and the Development of Soviet Music.
New York: W. Minturn, N. The Music of Sergei Prokofiev. New Haven: Yale University Press. Standford: Standford University Press. Prokofiev by Prokofiev: A Composer's Memoir. Garden City: Doubleday. Prokofiev plays Prokofiev: Piano concerto no.
Robinson, H.
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