Introduction (bars 1 to 5, A commercial mode). The introduction is directly from the first phrase in A. The right hand single notes and the left hand octave chords are marked with accented notation. The whole introduction is very grand, and you need to use the strength of your upper arm when playing to produce a majestic and heavy orchestra sound.
The first theme, A (6 to 24 bars, in the key of A), the allegro ma non legato (fast, but not legato), the leggiero (light), and the mp's control of the intensity of the theme, determines the theme's style different from that of the introduction. The contrasts between continuo and skipping, and the delicate contrasts between strength and weakness, all contribute to the theme's lightness and sweetness, its liveliness and elegance. The theme should be breathed and articulated with the introduction. This section is fast, and should be played delicately, with accurate rests, controlled contrasts between legato and skipping, and contrasts between the timbres of the same phrase in different registers. 14 to 16 bars are the only lyrical phrases in the A. They are soft and expressive, contrasting with the lightness and vivacity of the preceding and following phrases. The accent in the last phrase should be prominent.
The first variation of the theme, A1 (bars 25 to 43, in F modulation), with its moderato tempo and dolce (soft, sweet) expression, transports the lively theme at once into another quiet, lyrical one, and uses a variation of the countertenor canon to express a lingering mood. The horizontal melodic layers in polyphonic music can be handled with a certain degree of stretch in the rhythm.
The second variation of the theme, A2 (bars 43 to 59, in B-flat mode). The più mosso (faster) tempo transforms the melody into a dance. A succession of sixteenth note progressions in the upper voices, accompanied by sometimes light skipping, sometimes powerful column chords in the lower voices, and sometimes accompanied by simultaneous running sixteenth notes in the upper voices, resemble two carefree butterflies chasing after each other and frolicking in the flowers. From bar 54 to the end to get excited, ff the intensity of the two hands like two fluttering butterflies, should be neat and clean, a one-two punch, to advance the music to a passionate climax.
The third variation of the theme, A3 (bars 60 to 93 and 94 to 107, in E-flat mode). There is a return to the AndantinoModerato (restrained cadenza), tempo rebuto (telescoped treatment), and espressivo (expressive, expressive). This variation uses special rhythms and colorful altered chords to make the music sound like a lament. The Rebuto, especially in bars 63 to 73, should be played with a certain fantasy.
Theme II B (bars 108 to 123, in E-flat mode). At the tempo of Andante più Allegretto (a slightly faster cadenza), with an expression of semplice (alone, pure and simple), its joyful melody, together with the lively rhythmic weaving of single-note leaps of eighth notes, creates a striking contrast of mood with the previous section. In the first eight bars, the lower voices use light finger skips in the p range to emphasize the fresh, quiet tune of "Daffodils" in the upper voices. In the last six bars, the left hand melody should be emphasized expressively, and the right hand's large number of small links in groups of two notes should be played accurately, bringing the mood to a climax in the crescendo and rhythmic tightening.
Variation of the second theme, B1 (bars 123 to 137, in the key of A merchant). allegro moderato con fuoco (tempered allegro, and fiery, passionate). The variation is completely broadened, with the melody hidden in the inner layers of the column chords, a treatment that makes the melody and the accompaniment distinct, while at the same time adding to the momentum of the piece, and the whole variation is filled with the brilliant sound of an ardent atmosphere. The volume of this variation is between f and ff, and the tempo is faster than that of the second theme, which makes this variation a fiery, aggressive song.
The fourth variation of the first theme, A4 (bars 138 to 146, in the key of A). This variation is the same in tempo and mood as the introduction, and intensifies the introductory material in a vigorous weave, with the strongest note, fff, appearing as a recapitulation and reproduction of the first theme.
The final coda, with chords played in rounds at the pace of the presto (sharp), crescendoing and slowing down to the final columnar chord, ends the piece with a brilliant, full sound.
The main technical subjects of this variation are: finger and wrist skipping exercises; polyphonic and singing exercises; fast sixteenth note exercises for the left and right hands; long-distance skipping exercises for the left hand; right hand triplets, left and right hand sextuplets and alternations; left hand finger skipping exercises; left and right hand hidden melodies and octaves; long-distance movement exercises for the left hand; right and left chordal octaves; and left and right chords. Exercises.
The musical variability of "Variations on a Theme of Two Flying Butterflies" includes diverse technical requirements. The same tune or melody undergoes changes in different modes, rhythms, and temperaments, which can enhance the player's understanding of the theme and help him or her to grasp the structural layout of the work and its style from a macroscopic perspective, so as to be able to make a clear picture of it, and to better compose the work in the middle of the performance. In order to create a rich and incomparable musical interest, vivid image and emotional connotation out of the simple material, the variations are characterized by getting rid of singularity and boringness from the beginning of their appearance, which puts forward the requirement for the learners to pursue a rich variety of variations in terms of skillful approach, sound level and musical expression.
But Mr. Zhaoyi found in the unified textbook of Russian secondary music schools that Russian music education pays great attention to the application of the form of variations in teaching, and from the basic level of the students have just acquired a variety of types of technology, let them learn to use it in the variations. Therefore, teachers should take variations as an indispensable form of teaching in their daily teaching, so that it can take its rightful place in the teaching materials of piano teaching.
References:
1. "Analyzing Chen Peixun's Variations on the Theme of the Double Flying Butterflies" by Zhang Xia was published in the Fifth Issue of Yunmeng Journal in 2006.
2. Peng Peng, "Overview of Piano Sonatas, Concertos and Variations", published in the fourth issue of Journal of Music, 1999.
3. But Zhaoyi edited "Selected Piano Variations", published by Shanghai Music Press in 2003.