This piece is written in 2/4 time, andante, which means a somewhat slow movement. You must count 2 to the measure, counting one for each beat of your pulse, playing a quarter note to each count, (or something equal to that) or perhaps you will find it easier to count it as though it was written in common time, treating a quarter note as a half and an 8th note as a quarter and counting a good lively 4 to each measure.

In the 3rd measure there are 2 triplets each of which gets the value of one 8th note. Pay no attention to the grace notes at present as they are merely ornaments and are to be added after you have learned the piece will without the, then they may be added as ornaments or finishing touches.

The wedge-like signs under the different staves are expression marks. WHen the point of the wedge points to the left it means to gradually swell the sound from soft to loud, and when it points to the right it means to decrease or diminish the sound from loud to soft.

The 1st variation should be played about the same tempo (time) as the original theme paying particular attention to the slurs, ties, fingering, and expression marks and to the use of the 4th finger whenever you see a 4 over a note.

There being no new styles of bowing introduced in the 1st variation, nothing need be said about it, as it has been carefully explained in former lessons.

The 2nd variation introduces one new phase however in the way of variations, ie, the triplets which are intersected with staccato notes, of course the latter (staccato) have been carefully treated heretofore, and the triplets are nothing new to us, but these particular triplets are to be played legato (slurred) whilst all the 16th notes are to be distinctly staccato and brought out very crisp and snappy.

There is nothing else in this solo that has not been carefully explained in former lessons.

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© 2003 R. Fingerson
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