My review: Romance Nº 1 is a piece in three sections, with an accompanied melody texture and a tranquil tempo, creating an atmosphere of calm and reflection. The thematic unity and the constant accompaniment of arpeggios give the piece a sense of cohesion, with a second development section and a third recapitulation section. In fact, it is constructed from a harmonic progression (accompaniment) upon which small variations on the main theme melody are layered. Gimenez's social links: Facebook YouTube SoundCloud Enjoy "Romance Nº 1" , performed by Carlos Marín Trigo:
Walking 4is the fourth and last of the piano pieces that make up Ronald Karle's Walking Suite.
The first thing that strikes you about this last of the four pieces in the suite is its key; it's the only one not in B minor, but in C minor.
It's also the one that most strongly evokes an atmosphere similar to Erik Satie's Gymnopédie (although all four pieces create this atmosphere).
On the other hand, just as the first two pieces of the suite share much in common (same harmonic structure, same key, and same time signature), this one resembles the third, especially in its construction.
To a certain extent, the arpeggio accompaniment is abandoned, replaced by one in which, on the first beat of the measure, the left hand plays the root of the chord, and on the second beat, the complete chord, but arpeggiated (note the difference between an arpeggio, which is played with a measured rhythm, and an arpeggiated rhythm, which is played quickly and without a measured rhythm).
The piece is monothematic (like its predecessor), although with a greater degree of elaboration.
In the first section, the theme is presented in the key of C minor, with a melodic texture accompanied by the left hand. After this section, it is repeated, and as an introduction, the left hand plays a cadential process that leads to the dominant (G minor), where the theme is presented again, this time adding filler notes to the right-hand melody. This second section is repeated, after which another cadential process returns us to the main key.
In the third section, the theme reappears in C minor, with a greater density of notes in both the right and left hands, and is then repeated.
A new cadential process by the left hand suggests the end of the work, although a coda unexpectedly appears. which is none other than the main theme, slightly varied, in the form of improvisation (as we already noticed in the previous piece), highlighting a three-note motif, reminiscent of the coda of Walking 3. Finally, we hear again the characteristic cadential process that has linked each of the sections of the piece, to, this time, bring it to a close.
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