First, the students must learn to accurately play the dotted sixteenth rhythms which occur throughout the piece. Another rhythm that is unique to this edition is the dotted quarter-sixteenth that appears at the end of the piece. Musicians naturally try to rush these rhythms. To rehearse and fix this problem, it is important to isolate these rhythms before the students read the piece. Time will be spent on counting and clapping the rhythms to ensure that the students are internalizing the beat. In addition, I will have them play the dotted sixteenths as four sixteenth notes during rehearsal to make sure that the rhythms are square and in time; with time we will play the rhythms as written. In addition to problems with timing, beginning students will need to master the different articulations that occur throughout the piece. Accents, specifically the marcato marking are the most common articulations used in this piece followed by the
First, the students must learn to accurately play the dotted sixteenth rhythms which occur throughout the piece. Another rhythm that is unique to this edition is the dotted quarter-sixteenth that appears at the end of the piece. Musicians naturally try to rush these rhythms. To rehearse and fix this problem, it is important to isolate these rhythms before the students read the piece. Time will be spent on counting and clapping the rhythms to ensure that the students are internalizing the beat. In addition, I will have them play the dotted sixteenths as four sixteenth notes during rehearsal to make sure that the rhythms are square and in time; with time we will play the rhythms as written. In addition to problems with timing, beginning students will need to master the different articulations that occur throughout the piece. Accents, specifically the marcato marking are the most common articulations used in this piece followed by the