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These next two in the set were less familiar to me upon my reading. How about you? Perhaps this is due to his frequent use of chromatic harmonies. It does keep you on your toes during the reading process.
Nothing felt settled in this work, at least not until the end of the piece. How could I convince a student to play a piece that moves this slowly? What about the control needed to spin out this slow-moving melodic line in the RH? I actually like it for all its quirkiness and find that it lends itself to the imagination quite well. I would have to paint a real sound picture, through my own vivid performance, to entice a student to give it a try.
You never know. Young students can relate to that, right? A few details to keep in mind: 1. Notice the shift in the LH articulation from legato to tenuto detached in mm.
The resulting effect is quite different. Measures 1 and 2 Measures 5 and 6 2. C-flat sounds like the intention. Your thoughts? Measure 11 3. The dynamics, especially the swells hairpin cresc.
Most of the phrases here are either 2 or 4 measures in length. And what finally happened at the end? It gradually calms down. Perhaps Ivan was finally able to fall into some restful sleep after a tortured spell of nausea. Poor guy. This waltz requires some lilt! I enjoyed this bouncy, colorful waltz the more I played it.
How many pieces do you know in the standard piano repertoire that start on the leading tone and resolve downward see RH below? The unexpected hemiola in mm. What are some of the features you enjoyed?
Khachaturian: Children's Album for Piano, Book I: 1. Andantino "Ivan Sings"
Ivan Sings sheet music for piano
Biography[ edit ] Background and early life —21 [ edit ] Aram Khachaturian was born on 6 June 24 May in Old Style  in the city of Tiflis present-day Tbilisi , Georgia into an Armenian family. They had 5 children, one daughter and four sons, of whom Aram was the youngest. In Tiflis, which has historically been multicultural, Khachaturian was exposed to various cultures. In a article "My Idea of the Folk Element in Music", Khachaturian described the city environment and its influence on his career: I grew up in an atmosphere rich in folk music: popular festivities, rites, joyous and sad events in the life of the people always accompanied by music, the vivid tunes of Armenian, Azerbaijani and Georgian songs and dances performed by folk bards [ ashugs ] and musicians — such were the impressions that became deeply engraved on my memory, that determined my musical thinking.