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＞ B.Bartók
＞ Mikrokosmos volume2
＞ Mikrokosmos volume1
＞ Mikrokosmos volume3
＞ Mikrokosmos volume4
＞ Mikrokosmos volume5
＞ Mikrokosmos volume6
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| ◎You can develop your playing ability equally with both your right and left hands. ◎You can get used to contrapuntal music from the beginning. ◎You can get used to accidentals from the beginning. 〈learning items〉 tenuto / staccato |
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| 37.In Lydian Mode | A2 | ♫ |
| First, try playing the example given in the upper right corner of the score. Feel the atmosphere of the Lydian mode, which can be found in both major and minor keys. The deciding factor is that B is ♮ compared to the F major scale. ★Syncopated rhythm → It’s a good idea to practice the rhythm without a tie first. | ||
| 38.Staccato and Legato (1) | A2 | ♫ |
| Pay attention to whether the hands are moving counter-progressively or in parallel. The range is narrow, so you don’t have to make large movements, but if your wrists, arms, and elbows move in the same direction as the keys you play, the movements and sounds will be natural. [4] Since both the right and left hands are progressing in an ascending and parallel manner, the sound is directed upwards, as if the field of vision has opened up. It’s a good idea to pull your wrist up a little after hitting the key, and play with a slight crescendo, aiming for the top of the half note. | ||
| 39.Staccato and Legato(Canon) | A2 | ♫ |
| As the title suggests, there are parts where staccato and legato are played at the same time, making it a bit difficult. This is a good exercise for making your left and right hands independent. Practice each slur and staccato part properly. Staccato part: Hit the keys clearly enough that your wrist will jump up a little due to the reaction. Slur section: Use your wrists flexibly so that you drop your wrists a little at the entrance of the slur, and at the exit (in this piece it’s staccato) your wrists go up. ★Right and left hands play melodies with different articulations independently | ||
| 40.In Yugoslav Style | A2 | ♫ |
| It’s easy to play because the left-hand accompaniment is almost the same until the end, but the right-hand melody has irregular phrasing clusters (3, 3, 7, 4, 2.5, 2.5, 2, 3). An interesting and tonally bright piece. As mentioned above, the lengths of the phrases vary, so be aware of the length of each phrase and play with the end of the phrase in mind, without playing haphazardly. There are many parts where the phrasing is different between the left and right hands, so be careful not to be drawn to one side. On the other hand, when phrasing is done with both hands aligned, it will look better if the end (or beginning) of the phrase is aligned properly. | ||
| 41.Melody with Accompaniment | B1 | ♫ |
| The key signature is C♯, which is rare (perhaps not so rare in Bartók’s works…). The left hand is a dispersion chord. It moves based on G. There are many places where the positions of rests and the beginning of phrases are misaligned on the left and right, so play with care. I wanted to enjoy the exchange of accompaniment and melody. | ||
| 42. Accompaniment in Broken Triads | A1 | ♫ |
| The accompaniment, which is made up of broken chords, should be played modestly, paying attention to the balance with the melody. Especially from [19] onwards, the right hand will be playing the accompaniment, so try not to play too loudly. The melody has many whole note sections, but listen carefully to the ends of the notes and get a sense of the pitch between them and the accompaniment. | ||
| 43a.In Hungarian Style | A1 | ♫ |
| It is performed by two pianos. As Bartók wrote in the preface, it is good to start ensemble-playing at an early stage, this volume contains three pieces for two pianos (No. 43, No. 44, No. 55). Although there are few notes, they are quite cool pieces. When Piano II is playing alone, there are some combinations of notes that make you wonder if they are really correct, but when combined with Piano I, the amazing thing about Bartók’s music is that it comes together well. | ||
| 43b.In Hungarian Style | A1 | ♫ |
| This is for solo piano. It uses the same motif as a) (but in a different key). a) is mostly performed in unison, but this one is structured like a canon. Note the ties in the left hand in [6][7]. | ||
| 44.Contrary Motion(2) | A2 | ♫ |
| This piece is performed on two pianos. The key is to play legato with one hand and staccato with the other hand, as in [14][15]. [5][6][7][8] sound as if the key is temporarily modulated, and the timbre changes completely, which is very pleasant. | ||
| 45.Meditation | B1 | ♫ |
| The melody part changes every five bars, so make sure you can switch smoothly. The accompaniment is played in p , so make sure you can play it smoothly. | ||
| 46.Increasing – Diminishing | ||
| 47.County Fair | ||
| 48.In Mixolydian Mode | ||
| 49.Crescendo – Diminuendo | ||
| 50.Minuetto | ||
| 51.Waves | ||
| 52.Unison Divided | ||
| 53.In Transylvanian Style | ||
| 54.Chromatics | ||
| 55.Triplets in Lydian Mode | ||
| 56.Melody in Tenths | ||
| 57.Accents | ||
| 58.In Oriental Style | ||
| 59.Major and Minor | ||
| 60.Canon with Sustained Notes | ||
| 61.Pentatonic Melody | ||
| 62.Minor Sixths in Parallel Motion | ||
| 63.Buzzing | ||
| 64.Line against Point | ||
| 65.Dialogue | ||
| 66.Melody Divided | ||
| Appendix:Exercises | ||