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APPROVED:
Joseph Banowetz, Major Professor Bradley Beckman, Committee Member Adam Wodnicki, Committee Member Steven Harlos, Chair of the Division of
Keyboard Studies Felix Olschofka, Interim Director of Graduate
Studies in the College of Music John W. Richmond, Dean of the College of
Music Victor Prybutok, Dean of the Toulouse
Graduate School
AN INTRODUCTION TO CONTEMPORARY CHARACTERISTICS IN TWENTIETH-
CENTURY PIANO MUSIC FOR THE LAT E-INTERMEDIATE STUDENT:
A PEDAGOGICAL ANALYSIS OF THE BAGATELLES, OPUS 5
BY ALEXANDER TCHEREPNIN
Meilin Ai, B.M., M.M.
Dissertation Prepared for the Degree of
DOCTOR OF MUSICAL ARTS
UNIVERSITY OF NORTH TEXAS
May 2019
Ai, Meilin. An Introduction to Contemporary Characteristics in Twentieth-Century Piano
Music for the Late-Intermediate Student: A Pedagogical Analysis of the Bagatelles, Opus 5 by
Alexander Tcherepnin. Doctor of Musical Arts (Performance), May 2019, 70 pp., 110 musical
examples, bibliography, 21 titles.
Alexander Tcherepnin (1899-1977) was a Russian-born American composer, his musical
style represents the modern and diverse features of much twentieth-century piano music. The
purpose of this research is to conduct a comprehensive pedagogical analysis of Alexander
Tcherepnin’s Bagatelles, Op. 5 with the goal of introducing contemporary characteristics in
twentieth-century piano music for the late-intermediate student. Chapter 2 contains overall
biographical information regarding Alexander Tcherepnin and a discussion of the general
compositional style of his piano works. Chapter 3 analyzes the Bagatelles, Op. 5 from the
perspective of musical challenges concerning the contemporary characteristics, including
contemporary harmony: interval of seconds, non-tertian chords, special use of the seventh
chords, and ninth chords; contemporary rhythm and meter: shifted accents, asymmetric meter,
meter change, and ostinato; modal melodic resources and tonalities; and other special tonalities.
Chapter 4 has suggestions on fingering, pedaling, articulation, tone, dynamics and phrasing, and
practicing procedures for individual technical difficulties. Studying the Bagatelles, Op. 5
provides a transition for the student from learning standard repertoire of the eighteenth and the
nineteenth century, to contemporary repertoire through the combination of Russian
compositional traditions with twentieth century repertory.
ii
Copyright 2019
by
Meilin Ai
iii
ACKNOWLEDGMENTS
I am sincerely grateful to my major professor Mr. Joseph Banowetz, and my committee
members Dr. Bradley Beckman and Mr. Adam Wodnicki for their advice and guidance.
iv
TABLE OF CONTENTS
Page
ACKNOWLEDGMENTS ............................................................................................................. iii
LIST OF MUSICAL EXAMPLES ................................................................................................ vi
CHAPTER 1. INTRODUCTION ................................................................................................... 1
CHAPTER 2. BRIEF BIOGRAPHY OF ALEXANDER TCHEREPNIN AND OVERVIEW OF HIS COMPOSITIONAL STYLE ................................................................................................... 4
2.1 Brief Biography of Alexander Tcherepnin ............................................................. 4
2.2 An Overview of Alexander Tcherepnin’s Compositional Style ............................. 5
CHAPTER 3. THE MUSICAL CHALLENGES OF THE BAGATELLES, OP. 5 ........................ 8
3.1 Contemporary Harmony ......................................................................................... 8
3.1.1 The Interval of 2nds .................................................................................... 8
3.1.2 Non-Tertian Chords .................................................................................... 9
3.1.3 Special Uses of the 7th Chords .................................................................. 11
3.1.4 The 9th Chord ............................................................................................ 13
3.2 Contemporary Rhythm and Meter ........................................................................ 15
3.2.1 Shifted Accents ......................................................................................... 15
3.2.2 Asymmetric Meter .................................................................................... 18
3.2.3 Meter Change ............................................................................................ 19
3.2.4 Ostinato ..................................................................................................... 23
3.3 Modal Melodic Resources and Tonalities ............................................................. 28
3.4 Other Tonalities .................................................................................................... 32
CHAPTER 4. THE TECHNICAL CHALLENGES OF THE BAGATELLES, OP. 5 .................. 36
4.1 Fingering ............................................................................................................... 36
4.1.1 Redistributing Notes Between the Hands ................................................. 36
4.1.2 Chromatic Fingering ................................................................................. 40
4.1.3 Legato Fingering ....................................................................................... 43
4.1.4 Other Fingerings ....................................................................................... 43
4.2 Pedaling................................................................................................................. 46
4.2.1 Melodic Material Pedaling ........................................................................ 46
v
4.2.2 Pedaling as an Aide to Phrasing and Articulation .................................... 47
4.2.3 Rhythm-Projecting Pedaling ..................................................................... 48
4.2.4 Blurring for Color and Special Effects ..................................................... 48
4.2.5 Other Uses of Pedal .................................................................................. 49
4.3 Articulation and Notation ..................................................................................... 51
4.4 Tone, Dynamic, and Phrasing ............................................................................... 55
4.4.1 Sequential Phrases .................................................................................... 55
4.4.2 Repeated Phrases ...................................................................................... 57
4.4.3 Balance ...................................................................................................... 59
4.4.4 Other Dynamic Suggestions ..................................................................... 60
4.5 Other Techniques .................................................................................................. 61
4.5.1 Leaps ......................................................................................................... 61
4.5.2 Repeated Notes ......................................................................................... 64
4.5.3 Large Chords ............................................................................................. 65
4.5.4 Appoggiatura (Grace Notes Notated as ) ........................................... 67 CHAPTER 5. CONCLUSION...................................................................................................... 68 BIBLIOGRAPHY ......................................................................................................................... 69
vi
LIST OF MUSICAL EXAMPLES
Page
EXAMPLE 3.1: Tcherepnin: Bagatelles, Op. 5, No. 1, mm. 7-8 ................................................... 8
EXAMPLE 3.2: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 1-2 ................................................... 9
EXAMPLE 3.3: Tcherepnin: Bagatelles, Op. 5, No. 7, mm. 1-4 ................................................... 9
EXAMPLE 3.4: Tcherepnin: Bagatelles, Op. 5, No. 7, mm. 20-23 ............................................... 9
EXAMPLE 3.5: Tcherepnin: Bagatelles, Op. 5, No. 3, mm. 20-21 ............................................. 10
EXAMPLE 3.6: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 4-6 ................................................. 10
EXAMPLE 3.7: Tcherepnin: Bagatelles, Op. 5, No. 7, mm. 146-150 ......................................... 11
EXAMPLE 3.8: Scriabin: 24 Preludes, Op. 11, No. 6, mm. 50-54.............................................. 11
EXAMPLE 3.9: Tcherepnin: Bagatelles, Op. 5, No. 1, m. 15 ..................................................... 12
EXAMPLE 3.10: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 30-31 ........................................... 12
EXAMPLE 3.11: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 23-30 ........................................... 13
EXAMPLE 3.12: Prokofiev: Vision Fugitives, Op. 22, No.15, m. 7 ............................................ 13
EXAMPLE 3.13: Tcherepnin: Bagatelles, Op. 5, No. 1, mm. 1-4 ............................................... 14
EXAMPLE 3.14: Tcherepnin: Bagatelles, Op. 5, No. 3, mm. 76-77 ........................................... 14
EXAMPLE 3.15: Tcherepnin: Bagatelles, Op. 5, No. 5, m. 7 ..................................................... 15
EXAMPLE 3.16: Prokofiev: Vision Fugitives, Op. 22, No.1, mm. 1-4 ....................................... 15
EXAMPLE 3.17: Tcherepnin: Bagatelles, Op. 5, No. 3, mm. 36-40 ........................................... 16
EXAMPLE 3.18: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 23-30 ........................................... 17
EXAMPLE 3.19: Tcherepnin: Bagatelles, Op. 5, No. 8, mm. 26-27 ........................................... 17
EXAMPLE 3.20: Prokofiev: Vision Fugitives, Op. 22, No. 19, mm. 1-4 .................................... 18
EXAMPLE 3.21: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 16-18 ........................................... 18
EXAMPLE 3.22: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 13-18 ........................................... 19
EXAMPLE 3.23: Scriabin: 24 Preludes, Op. 11, No. 14, m. 1 .................................................... 19
vii
EXAMPLE 3.24: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 4-7 ............................................... 20
EXAMPLE 3.25: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 23-25 ........................................... 20
EXAMPLE 3.26: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 13-18 ........................................... 21
EXAMPLE 3.27: Tcherepnin: Bagatelles, Op. 5, No. 5, mm. 5-8 ............................................... 21
EXAMPLE 3.28: Tcherepnin: Bagatelles, Op. 5, No. 6, mm. 10-13 ........................................... 22
EXAMPLE 3.29: Tcherepnin: Bagatelles, Op. 5, No. 7, mm. 126-130 ....................................... 22
EXAMPLE 3.30: Scriabin: 24 Preludes, Op. 11, No. 16, mm. 1-2 .............................................. 23
EXAMPLE 3.31: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 10-12 ........................................... 23
EXAMPLE 3.32: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 13-15 ........................................... 24
EXAMPLE 3.33: Tcherepnin: Bagatelles, Op. 5, No. 3, mm. 16-20 ........................................... 24
EXAMPLE 3.34: Tcherepnin: Bagatelles, Op. 5, No. 3, mm. 51-55 ........................................... 24
EXAMPLE 3.35: Prokofiev: Vision Fugitives, Op. 22, No. 4, mm. 31-39 .................................. 25
EXAMPLE 3.36: Tcherepnin: Bagatelles Op. 5, No. 4, mm. 1-3 ................................................ 25
EXAMPLE 3.37: Tcherepnin: Bagatelles Op. 5, No. 5, mm. 1-4 ................................................ 25
EXAMPLE 3.38: Tcherepnin: Bagatelles Op. 5, No. 6, mm. 1-2 ................................................ 26
EXAMPLE 3.39: Tcherepnin: Bagatelles Op. 5, No. 7, mm. 1-9 ................................................ 26
EXAMPLE 3.40: Tcherepnin: Bagatelles Op. 5, No. 8, mm. 13-16 ............................................ 27
EXAMPLE 3.41: Tcherepnin: Bagatelles, Op. 5, No. 9, mm. 20-24 ........................................... 27
EXAMPLE 3.42: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 4-7 ............................................... 29
EXAMPLE 3.43: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 34-35 ........................................... 29
EXAMPLE 3.44: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 25-26 ........................................... 30
EXAMPLE 3.45: Tcherepnin: Bagatelles, Op. 5, No. 3, mm. 76-78 ........................................... 30
EXAMPLE 3.46: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 27-30 ........................................... 31
EXAMPLE 3.47: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 16-18 ........................................... 31
EXAMPLE 3.48: Prokofiev: Visions Fugitives, Op. 22, No. 16, mm. 9-10 ................................. 31
viii
EXAMPLE 3.49: Tcherepnin: Bagatelles, Op. 5, No. 5, m. 1 ..................................................... 32
EXAMPLE 3.50: Tcherepnin: Bagatelles, Op. 5, No. 5, mm. 11-12 ........................................... 33
EXAMPLE 3.51: Tcherepnin: Bagatelles, Op. 5, No. 6, m. 16 ................................................... 33
EXAMPLE 3.52: Tcherepnin: Bagatelles, Op. 5, No. 8, m. 4 ..................................................... 34
EXAMPLE 3.53: Tcherepnin: Bagatelles, Op. 5, No. 8, m. 25 ................................................... 34
EXAMPLE 3.54: Tcherepnin: Bagatelles, Op. 5, No. 10, mm. 103-109 ..................................... 35
EXAMPLE 4.1: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 1-3 ................................................. 36
EXAMPLE 4.2: Tcherepnin: Bagatelles, Op. 5, No. 2, m. 30 ..................................................... 37
EXAMPLE 4.3: Tcherepnin: Bagatelles, Op. 5, No. 5, mm. 9-10 ............................................... 37
EXAMPLE 4.4: Tcherepnin: Bagatelles, Op. 5, No. 1, m. 15 ..................................................... 37
EXAMPLE 4.5: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 34-35 ............................................. 38
EXAMPLE 4.6: Tcherepnin: Bagatelles, Op. 5, No. 3, mm. 78-86 ............................................. 38
EXAMPLE 4.7: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 16-18 ............................................. 39
EXAMPLE 4.8: Tcherepnin: Bagatelles, Op. 5, No. 9, mm. 53-58 ............................................. 39
EXAMPLE 4.9: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 12-13 ............................................. 40
EXAMPLE 4.10: Tcherepnin: Bagatelles, Op. 5, No. 2, m. 1 ..................................................... 40
EXAMPLE 4.11: Tcherepnin: Bagatelles, Op. 5, No. 7, mm. 49-60 ........................................... 41
EXAMPLE 4.12: Tcherepnin: Bagatelles, Op. 5, No. 7, mm. 89-96 ........................................... 41
EXAMPLE 4.13: Tcherepnin: Bagatelles, Op. 5, No. 8, mm.13-14 ............................................ 42
EXAMPLE 4.14: Tcherepnin: Bagatelles, Op. 5, No. 8, mm.15-16 ............................................ 42
EXAMPLE 4.15: Tcherepnin: Bagatelles, Op. 5, No. 10, m. 1 ................................................... 43
EXAMPLE 4.16: Tcherepnin: Bagatelles, Op. 5, No. 2, m. 34 ................................................... 43
EXAMPLE 4.17: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 4-5 ............................................... 44
EXAMPLE 4.18: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 12-15 ........................................... 44
EXAMPLE 4.19: Tcherepnin: Bagatelles, Op. 5, No. 6, m. 1 ..................................................... 45
ix
EXAMPLE 4.20: Tcherepnin: Bagatelles, Op. 5, No. 7, mm. 10-29 ........................................... 45
EXAMPLE 4.21: Tcherepnin: Bagatelles, Op. 5, No. 10, mm. 65-80 ......................................... 46
EXAMPLE 4.22: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 30-32 ........................................... 47
EXAMPLE 4.23: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 23-26 ........................................... 47
EXAMPLE 4.24: Tcherepnin: Bagatelles, Op. 5, No. 1, m. 3 ..................................................... 48
EXAMPLE 4.25: Tcherepnin: Bagatelles, Op. 5, No. 1, m. 7 ..................................................... 48
EXAMPLE 4.26: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 16-18 ........................................... 49
EXAMPLE 4.27: Tcherepnin: Bagatelles, Op. 5, No. 7, mm. 89-108 ......................................... 49
EXAMPLE 4.28: Tcherepnin: Bagatelles, Op. 5, No. 3, mm. 84-88 ........................................... 50
EXAMPLE 4.29: Tcherepnin: Bagatelles, Op. 5 ......................................................................... 51
EXAMPLE 4.30: Tcherepnin: Bagatelles, Op. 5, No. 8, mm. 13-14 ........................................... 52
EXAMPLE 4.31: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 5-6 ............................................... 52
EXAMPLE 4.32: Tcherepnin: Bagatelles, Op. 5, No. 9, mm. 24-27 ........................................... 52
EXAMPLE 4.33: Tcherepnin: Bagatelles, Op. 5 ......................................................................... 53
EXAMPLE 4.34: Tcherepnin: Bagatelles, Op. 5, No. 1, mm. 11-12 ........................................... 54
EXAMPLE 4.35: Tcherepnin: Bagatelles, Op. 5, No. 6, m. 1 ..................................................... 54
EXAMPLE 4.36: Tcherepnin: Bagatelles, Op. 5 ......................................................................... 55
EXAMPLE 4.37: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 26-28 ........................................... 56
EXAMPLE 4.38: Tcherepnin: Bagatelles, Op. 5, No. 3, mm. 36-47 ........................................... 56
EXAMPLE 4.39: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 1-6 ............................................... 57
EXAMPLE 4.40: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 1-4 ............................................... 58
EXAMPLE 4.41: Tcherepnin: Bagatelles, Op. 5, No. 6, mm. 1-3 ............................................... 58
EXAMPLE 4.42: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 1-3 ............................................... 59
EXAMPLE 4.43: Tcherepnin: Bagatelles, Op. 5, No. 5, m. 7 ..................................................... 60
EXAMPLE 4.44: Tcherepnin: Bagatelles, Op. 5, No. 1, m. 15 ................................................... 60
x
EXAMPLE 4.45: Tcherepnin: Bagatelles, Op. 5, No. 1, mm. 5-8 ............................................... 61
EXAMPLE 4.46: Tcherepnin: Bagatelles, Op. 5, No. 10, mm. 12-25 ......................................... 61
EXAMPLE 4.47: Tcherepnin: Bagatelles, Op. 5, No. 1, mm. 15-17 ........................................... 62
EXAMPLE 4.48: Tcherepnin: Bagatelles, Op. 5, No. 3, mm. 20-24 ........................................... 62
EXAMPLE 4.49: Tcherepnin: Bagatelles, Op. 5, No. 10, mm. 58-61 ......................................... 63
EXAMPLE 4.50: Tcherepnin: Bagatelles, Op. 5 ......................................................................... 63
EXAMPLE 4.51: Tcherepnin: Bagatelles, Op. 5, No. 3, mm. 84-89 ........................................... 64
EXAMPLE 4.52: Tcherepnin: Bagatelles, Op. 5, No. 1, m. 9 ..................................................... 65
EXAMPLE 4.53: Tcherepnin: Bagatelles, Op. 5, No. 7, mm. 120-122 ....................................... 65
EXAMPLE 4.54: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 29-32 ........................................... 66
EXAMPLE 4.55: Tcherepnin: Bagatelles, Op. 5, No. 5, mm. 7-10 ............................................. 66
EXAMPLE 4.56: Tcherepnin: Bagatelles, Op. 5, No. 3, mm. 72-77 ........................................... 67
1
CHAPTER 1
INTRODUCTION
Alexander Tcherepnin (1899-1977) was a Russian-born American composer. Growing up
in a musical and artistic Russian family gave his musical style a Russian root that relates to
Sergei Prokofiev and Modest Mussorgsky.1 His later relocating to Tbilisi, Georgia, Paris and the
United States, and his interests in Asian folk music made him a stylistically cosmopolitan
composer. According to Tcherepnin himself, the Bagatelles, Op. 5 is one of the “outstanding”
piano compositions of his first compositional period.2 In this period, the composer was still
searching for his own style through the influences of both the old and the new schools of Russian
composers; therefore studying the Bagatelles, Op. 5 can function as a bridge which links the old
Russian compositional tradition to the new style of the twentieth century. This set is more
accessible to late-intermediate students compared to other twentieth-century works. Instead of
pages of avant-garde writing and atonal materials, this set still uses tonal harmonies and melodic
material with which intermediate students are familiar. The short length of each piece makes
learning and memorizing less challenging. The composition is also pleasant to the ear with its
well-arranged rhythmical and lyrical elements while having dissonances and chromatic passages.
Tcherepnin’s musical style represents the modern and diverse features of much twentieth-century
piano music.3 These contemporary characteristics can help introduce the late-intermediate
student to nontraditional musical material. Studying these features provides a foundation for the
student to learn more advanced twentieth-century works.
1 Enrique Alberto Arias, Alexander Tcherepnin: A Bio-Bibliography (New York: Greenwood, 1989), 28. 2 Guy S. Wuellner, "The Complete Piano Music of Alexander Tcherepnin: An Essay Together with A Comprehensive Project in Piano Performance," (D.M.A. diss., The University of Iowa, 1974), 41. 3 Charles Wilson, "Twentieth Century, The," The Oxford Companion to Music, accessed December 15, 2018, http://libproxy.library.unt.edu:2571/view/10.1093/acref/9780199579037.001.0001.
2
Late intermediate level can be defined by the standard repertoire that the student plays.
Jane Magrath provides a level chart for standard repertoire, with levels 1-10, representing
beginning to early-advanced. The exact level of each bagatelle is assessed by Jane Magrath,
using her 10-category leveling system, which is explained in her book The Pianist’s Guide to
Standard Teaching and Performance Literature. The first bagatelle from this set is assessed as
level 7. The standard repertoire from this level includes Bach Invention No.1 in C Major, BWV
772, from Two-Part Inventions, Clementi Sonatina in C Major, Op. 36, No. 3, and
Chopin Waltz in A Minor, Op. posth. The second, fourth, fifth, sixth, seventh, ninth, and
tenth bagatelles from this set are assessed as level 8. The standard repertoire from this level
includes Scarlatti Sonata in A Minor, K. 149, L.93, Beethoven Sonata in G Major, Op. 49, No. 2,
and Schumann “Dreaming (Träumerei)” from Scenes from Childhood, Op. 15. The third and the
eighth bagatelles are assessed as level 9. The standard repertoire from this level includes Bach
“Sinfonia No.15 in B Minor, BWV 801,” from Sinfonias or Three-Part Inventions, Mozart
Sonata in G Major, K. 283, and Chopin Nocturne in E-flat Major, Op. 9, No. 2.4
The purpose of this research is to conduct a comprehensive pedagogical analysis of
Alexander Tcherepnin’s Bagatelles, Op. 5 with the goal of introducing contemporary
characteristics in twentieth-century piano music for the late-intermediate student. These
compositions provide a transition for the student from learning standard repertoire of the
eighteenth and the nineteenth century, to contemporary repertoire through the combination of
Russian compositional traditions with twentieth century repertory. Analysis and effective
pedagogical solutions that benefit the student’s further studying of more advanced twentieth-
4 Jane Magrath, The Pianist’s Guide to Standard Teaching and Performance Literature (California: Alfred Publishing Co., Inc., 1995), 530-531.
3
century repertoire will be presented in this document regarding specific musical and technical
challenges in the Tcherepnin Bagatelles. Overall biographical information regarding Alexander
Tcherepnin and a discussion of the general compositional style of Tcherepnin’s piano works will
be included in this document to serve as background information. The 1923 Heugel edition5, the
1964 revised Heugel edition6, Tcherepnin’s live recording from 19687, and American concert
pianist Martha Braden’s recording of the Bagatelles, Op. 58 will be used as references for
dynamic markings, articulations, fingering, and pedaling analysis. These editions are chosen
because the 1923 Heugel edition is the first known edition (the real first edition was destroyed
shortly after its publication earlier in the same year because of copyright issues), and the 1968
revised Heugel edition is the “true, authentic version, and is meant to replace all others as the
one” according to Tcherepnin.9 This is also justified by Tcherepnin’s 1968 recording of the
work.
5 Alexander Tcherepnin and Isidore Philipp, Bagatelles: 10 Pièces Pour Piano (Paris: Heugel, 1923). 6 Alexander Tcherepnin, Bagatelles: 10 Pièces Pour Piano (Paris: Heugel, 1968). 7 Alexander Tcherepnin, Tcherepnin. Alexander Tcherepnin, piano. EMI, CVC 2124, 1968. 8 Alexander Tcherepnin, Alexander Tcherepnin. Martha Braden, piano, CRI Archival Release, 2002. 9 Wuellner, 430.
4
CHAPTER 2
BRIEF BIOGRAPHY OF ALEXANDER TCHEREPNIN AND OVERVIEW OF HIS
COMPOSITIONAL STYLE
2.1 Brief Biography of Alexander Tcherepnin
Alexander Tcherepnin (1899-1977) was a Russian-born American composer, conductor
and pianist. He was born in Saint Petersburg into a musical and artistic family. His father was
Nikolai Tcherepnin, who was a conductor at the Imperial Opera House, and also conducted for
the first Paris season of Sergei Diaghilev’s Ballets Russes, studied under Rimsky-Korsakov, and
taught conducting at the St. Petersburg Conservatory. Sergey Prokofiev was one of his notable
students. His mother was a member of the artistic Benois family. Young Tcherepnin grew up
under the influence of most of the great figures of Russian music and dance, among them
Rimsky-Korsakov, Liadov, Glazunov, Stravinsky, Chaliapin, Diaghilev, Pavlova and Fokine.10
Tcherepnin’s musical education started with receiving instruction in applied music (voice
and piano), notation, and theory from his mother when he was five years old. As he said in an
interview with Oliver Daniel, he learned how to write music and how to notate his musical ideas
before he learned how to write words, even before he learned the alphabet.11 His formal theory
and composition studies began in his late teens. He had already composed hundreds of pieces by
then, including several piano sonatas. When he was 18 years old, he entered the St. Petersburg
Conservatory, where he studied with Leocadia Kashperova, a protégée of Anton Rubinstein, and
Nikolay Sokolov, a pupil of Rimsky-Korsakov12.
10 Ludmila Korabelnikova, Anna Winestein, and Suellen Hershman. Alexander Tcherepnin: The Saga of a Russian Emigre Composer (Indiana University Press, 2008), 1-15. 11 Oliver Daniel, Composer Brochure, "Alexander Tcherepnin" (New York: Broadcast Music, Inc., 1965), 1. 12 Wuellner, 9.
5
After the 1917 Russian Revolution, the Tcherepnin family moved to Tblisi, Georgia.
During this time, Tcherepnin continued his studies at the University of Tblisi, gave concerts as
both pianist and conductor in Georgia and Armenia, and wrote music for the Kamerny
Theater. After Georgia was Sovietized, the Tcherepnin family moved again in 1921, and settled
in Paris for the next twenty-eight years. Tcherepnin completed his studies with Isidor Philipp,
who helped him publish several pieces that he had composed in Russia, which includes the
Bagatelles.
In 1922, Tcherepnin began an international career as a composer and pianist with his
debut in London. He started yearly visits to the United States in 1926 and made several extended
visits to China and Japan between 1934 and 1937. During these visits to the Far East, he
promoted numerous local composers, and encouraged compositional activities through
competition. He also met pianist Lee Hsien Ming in China, who later became his wife.
After World War II, Tcherepnin moved to the United States. He settled in Chicago in
1950, taught at DePaul University, and became an American citizen in 1958. He moved to New
York in 1964, and divided his time between the United States and Europe. He died in Paris from
a heart attack in 1977.
2.2 An Overview of Alexander Tcherepnin’s Compositional Style
Tcherepnin’s compositional style is diverse and cosmopolitan, which relates to his travel
and relocations. His student, Guy Snyder Wuellner, divided Tcherepnin’s stylistic periods into
five phases: "Search" (1899-1921), "Nine-Step Scale and Interpoint" (1921-34), "Folk Cure"
(1934-49), "Synthesis" (1949-58), and "Eight-Step Scale" (1958-69).13
13 Wuellner, 39.
6
In the first period, Tcherepnin had favored writing for piano. His compositional style
from this period was influenced by both the old school and the new school of Russian
composers. Mussorgsky’s writing of bell-like effects, a thin texture with the lines spaced far
apart, and the parallel movement of chords and modal lines can be found in Tcherepnin’s work.
Prokofiev’s driving rhythms and harsh dissonances can also be found in Tcherepnin’s work.14
Besides these influences, Tcherepnin also found his own voice in combining the major
and minor modalities and the major-minor tetrachords and hexachords. These led to his second
period – “nine-step scale and interpoint.” The “nine-step scale” has nine notes and consists of
three conjunct semitone-tone-semitone tetrachords. The “interpoint” is a contrapuntal method
which combines linear elements vertically, horizontally, or metrically. Although the third period
“folk cure” started from 1934, Tcherepnin’s interests in folklore are showed as early as his
teenage years in Russia. Quotation and imitation of Russian and Georgian sacred and secular
music can be found in Tcherepnin’s compositions. In this period, Tcherepnin added the
pentatonic scale and Chinese folk music to his folklore interest, adaptions of Chinese folk songs
in a modern manner can be heard in his work.15 Works from the “synthesis” period have
combined all characteristics from his earlier periods with continued usage of the systems and
techniques that interested him before. In the last period, Tcherepnin used new techniques on the
foundation of previous techniques. The “eight-step scale” created a fundamental chord that is the
result of all of the notes in a tetrachord.
Representative works from each period including Toccata, Op. 1; Sonatine Romantique,
Op. 4; Bagatelles, Op. 5; Five Arabesques, Op. 11; First Piano Concerto, Op. 12; and Sonata in
14 Arias, 28-33 15 Alexander Tcherepnin, "Basic Elements of My Musical Language," The Tcherepnin Society, accessed December 14, 2018, http://www.tcherepnin.com/alex/basic_elem5.htm.
7
A, Op. 22 from the first period; Four Romances, Op. 31; Message, Op. 39; Entretiens, Op. 46;
Second Piano Concerto, Op. 26; Concertino, Op. 47; and Third Piano Concerto, Op. 48 from the
second period; Suite géorgienne for piano and string orchestra, Op. 57; Five Concert Studies for
solo piano, Op.52 from the third period; Expressions, Op. 81, Songs Without Words, Op. 82,
Twelve Preludes, Op. 85; and Eight Pieces for Piano, Op. 88 from the fourth period; Second
Piano Sonata, Op. 94; Seven Chinese Folk Songs, Op. 95; Piano Concerto No. 5, Op. 96; Piano
Concerto No. 6, Op. 99; and Ascension from the last period. 16
16 Wuellner, 41-115
8
CHAPTER 3
THE MUSICAL CHALLENGES OF THE BAGATELLES, OP. 5
3.1 Contemporary Harmony
Functional harmony has lost its predominant role in twentieth-century music. Composers
start to see chords for their colorful effects rather than their harmonic functions.17 New ways of
harmonic writing can be observed from the following analysis, including the use of intervals of
seconds, non-tertian chords, special uses of seventh chords, and ninth chords.
3.1.1 The Interval of 2nds
The harmony of 2nds is used as motives for the first, second, and seventh bagatelles. In
the first bagatelle, the harmony of major and minor 2nds can be found in the B section in
between hands, which creates strong dissonances (EXAMPLE 3.1).
EXAMPLE 3.1: Tcherepnin: Bagatelles, Op. 5, No. 1, mm. 7-8
The same kind of harmony can be found in the opening motif of the second bagatelle
(EXAMPLE 3.2). There can be observed a major 2nd in between hands from the first beats of
measures 1 and 2. In the seventh bagatelle, similar uses of major 2nd in between the hands can
be seen in the opening measures 1-4 (EXAMPLE 3.3) and chromatic passages in measures 61-
72.
17 Ellen R. Thompson Teaching and Understanding Contemporary Piano Music (San Diego: Kjos West, 1976), 79.
9
EXAMPLE 3.2: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 1-2
EXAMPLE 3.3: Tcherepnin: Bagatelles, Op. 5, No. 7, mm. 1-4
Besides, a different use of seconds can be found in measures 17-31(EXAMPLE 3.4).
Instead of the 2nds that are written in between hands, here the use of 2nds appears in the right
hand alone.
EXAMPLE 3.4: Tcherepnin: Bagatelles, Op. 5, No. 7, mm. 20-23
3.1.2 Non-Tertian Chords
In this set of bagatelles, the use of non-tertian chords includes secundal, quartal, quintal,
5/4 chords, and chords with an added note. Secundal, quartal, and quintal chords are formed by
combinations of their intervals; 5/4 chord is called by the intervals from the root of the chord;
and added note chord is a usual tertian chord with an added note that is usually a second or a
10
sixth from the root.18 Some of these are used by themselves and others are used combining with
special 7th chords and 9th chords.
In the third bagatelle, the use of 5/4 chords can be found in measures 18-20 (EXAMPLE
3.5). These chords create a special color for this passage while alternating with major-minor 7th
chords. Similar use of 5/4 chords can be found from the downbeats and the third beats of
measures 26-29, alternating with the secundal chord in between.
EXAMPLE 3.5: Tcherepnin: Bagatelles, Op. 5, No. 3, mm. 20-21
In the fourth bagatelle, the use of secundal chord can be found from the downbeats of
measures 3-10 (EXAMPLE 3.6). These secundal chords are built in 2nds, from F-sharp to C-
sharp, with the omission of A in measures 5-6 and 9-10. The same writing returns in measures
20-22.
EXAMPLE 3.6: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 4-6
18 Thompson, 84.
11
The last chord of bagatelle No. 7 is an example of the added chord (EXAMPLE 3.7).
This use of the E-flat triad with added 2nd gives this piece, written in minor and contains lots of
chromatics and dissonances, a refreshing ending.
EXAMPLE 3.7: Tcherepnin: Bagatelles, Op. 5, No. 7, mm. 146-150
The use of 5/4 chord and added chord can be found in Scriabin’s 24 Preludes, Op. 11,
No. 6 (EXAMPLE 3.8). Here, Scriabin ends the piece with a couple of special chords. Measures
51-52 is a 5/4 chord, and measures 53-54 is an augmented triad with the added 2nd.
EXAMPLE 3.8: Scriabin: 24 Preludes, Op. 11, No. 6, mm. 50-54
3.1.3 Special Uses of the 7th Chords
The untraditional use of 7th chords can be found throughout the set, including major-
major (a major triad with a major third above), minor-minor (a minor triad with a minor third
above), and minor-major (a minor triad with a major third above) seventh chords. In the first
bagatelle, a broken chord pattern of minor-minor 7th can be found in measure 15, which is built
from the tonic note of the piece with the omission of the 5th note (EXAMPLE 3.9).
12
EXAMPLE 3.9: Tcherepnin: Bagatelles, Op. 5, No. 1, m. 15
In the B section of the second bagatelle (EXAMPLE 3.10), we can find the use of the
minor-minor 7th chord (a second inversion of G mm7) on the second beats of measures 30 and
31, which contrasts with their following major-minor 7th chords.
EXAMPLE 3.10: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 30-31
Use of 7th chords combined with other non-tertian chords can be found in the fourth
bagatelle, from measure 25 to 28 (EXAMPLE 3.11). This ending creates a very special sound
through the use of 5/4 chord in the second beat of measure 25, the use of major-major 7th chord
in the second beat of measure 26, and the minor-major 7th chord from the second beat of
measures 27 to 28.
13
EXAMPLE 3.11: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 23-30
Similar special uses of 7th chords can be found in Prokofiev’s Vision Fugitives, Op. 22,
No. 15 (EXAMPLE 3.12). Here in measure 7, the first chord is a minor-minor 7th chord (a third
inversion of C-sharp mm7), and the second one is a minor-major 7th chord (a third inversion of C
mM7).
EXAMPLE 3.12: Prokofiev: Vision Fugitives, Op. 22, No.15, m. 7
3.1.4 The 9th Chord
The 9th chord is used for colorful effects, and they are produced by adding a third above
the 7th chord. Unlike being used mainly for dominant chords from the nineteenth-century
composers, the 9th chord can be used in other scale degrees in twentieth-century music. The use
of the 9th chord can be observed in several bagatelles.
14
In the first bagatelle, the 9th chord can be found from the first and the third chords in
measures 1 and 2, and the second chords in measures 3 and 4 (EXAMPLE 3.13). Special colors
are created through the alternations of these chords and regular tertian chords.
EXAMPLE 3.13: Tcherepnin: Bagatelles, Op. 5, No. 1, mm. 1-4
Similar usage of the 9th chord can be found from the third bagatelle, on the downbeats of
measures 76 and 78 (EXAMPLE 3.14). These 9th chords not only make contrasts from their
following chords, but stretch the ear with the use of modal melody and tonality. This will be
further discussed in the “Modal Melodic Resources and Tonalities” section of the current
document.
EXAMPLE 3.14: Tcherepnin: Bagatelles, Op. 5, No. 3, mm. 76-77
15
Combinations of a series of nontraditional use of chords can be found in the fifth
bagatelle (EXAMPLE 3.15). In measure 7, we can observe the use of quintal chord on the
downbeat, and major-major 7th chord on the second beat, which is followed by the minor-minor
7th chord. The 9th chord can be found from the last chord of the measure.
EXAMPLE 3.15: Tcherepnin: Bagatelles, Op. 5, No. 5, m. 7
Similar uses of 9th chords can be found in advanced level repertoire such as Prokofiev’s
Vision Fugitives, Op. 22, No. 1 (EXAMPLE 3.16). Here, three 9th chords (circled) can be found
in the opening measures with omissions of the fifths. The uses of these 9th chords that alternate
with minor-minor and major-minor 7th chords creates a special color and a sense of serenity for
this passage.
EXAMPLE 3.16: Prokofiev: Vision Fugitives, Op. 22, No.1, mm. 1-4
3.2 Contemporary Rhythm and Meter
3.2.1 Shifted Accents
Syncopation is created by the regular shifting of each beat in a measured pattern by the
16
same amount ahead of or behind its normal position in that pattern.19 The usages of this
compositional skill are expanded by twentieth-century composers. In order to make the shifts
more unpredictable, regular metric pulses in the passage became unnecessary, and the new
device “shifted accents” is widely used.20
In the third bagatelle, the shifted accents from measures 35-36 and 39-40 (EXAMPLE
3.17) disrupt the regular rhythmic pulses from the triple meter, and create a rhythmic ambiguity.
This prepares the ear for the following passages with irregular phrasings, until the return of the
first theme in measure 59.
EXAMPLE 3.17: Tcherepnin: Bagatelles, Op. 5, No. 3, mm. 36-40
In the fourth bagatelle, measures 25-28 (EXAMPLE 3.18) serve as the extension of the
preceding phrase. The use of shifted accents can be found in these measures, in which the natural
pulse of the duple meter shifts to the second beats, and helps create an extended feeling of the
phrase. It gives the illusion of being picked up in the air, and finally back to the ground with the
downbeat of the last measure.
19 Justin London, "Syncopation." Grove Music Online, accessed January 27, 2019. http://libproxy.library.unt.edu:2173/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000027263. 20 Thompson, 53.
17
EXAMPLE 3.18: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 23-30
In the eighth bagatelle, the shifted accents in measures 26-27 and 30-32 (EXAMPLE
3.19) make the regular marching rhythm sound special. Instead of accenting downbeats and the
third beats, these passages have accents in the second beats. They help justify the irregular
ending of the piece, for which the ear will feel like it is the last beat of the measure instead of the
first.
EXAMPLE 3.19: Tcherepnin: Bagatelles, Op. 5, No. 8, mm. 26-27
Prokofiev’s Visions Fugitives, Op. 22, No. 19 has similar usages of shifted accents
(EXAMPLE 3.20). Here, the accents in the first three measures are on the second beats, which is
a weak beat in 3/4 time. The accent shifts back in measure 4, to the regular strong beats of 3/4
time -- the downbeat and the third beat. These shifted accents help drive the beats and make the
passage sound agitated.
18
EXAMPLE 3.20: Prokofiev: Vision Fugitives, Op. 22, No. 19, mm. 1-4
3.2.2 Asymmetric Meter
The asymmetric meter is another device for twentieth-century composers to create
unpredictable rhythmic patterns. This meter includes beats that cannot be divided evenly, such as
5, 7, 11, and 13.21
In the second bagatelle, the asymmetric meter in measure 17 (EXAMPLE 3.21) simply
functions as the transition from the preceding phrase to the opening theme. It has the asymmetric
beat of 2+2+1, in which the first four beats are extensions to the former phrase, and the last beat
is the upbeat of the coming section. They are divided by the dashed bar line.
EXAMPLE 3.21: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 16-18
In the fourth bagatelle, measures 15 and 17 have asymmetric meters of 11/16 and 10/16,
in which measure 15 is divided into 3+4+3 and measure 17 is divided into 4+4+2 (EXAMPLE
21 Leon Dallin, Techniques of Twentieth Century Composition: A Guide to the Materials of
Modern Music (Dubuque, Iowa: Wm. C. Brown, 1974), 60.
19
3.22). These two measures break the overall static atmosphere and function as the peak of the
piece.
EXAMPLE 3.22: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 13-18
Scriabin uses the asymmetric meter in the fourteenth prelude of his 24 Preludes
(EXAMPLE 3.23). We can see that this piece’s time signature is 15/8, which is divided into 3
groups of 3+2 in each measure.
EXAMPLE 3.23: Scriabin: 24 Preludes, Op. 11, No. 14, m. 1
3.2.3 Meter Change
In order to break free from predictable metric pulses, meter alternations are commonly
used by twentieth-century composers to achieve rhythmic variety. Unlike the traditional use of
20
changing meter, in which one meter will usually be used throughout a large section of the piece,
one or multiple meter alternations can be found in brief passages of a twentieth-century work.22
In the second bagatelle, measure 7 alters the meter from 4/4 to 3/2 (EXAMPLE 3.24).
This change of meter is expanded later in measures 24-28 and 44-49 (EXAMPLE 3.25). These
alternations transform the duple meter into triple, which give these passages a sense of
expanding.
EXAMPLE 3.24: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 4-7
EXAMPLE 3.25: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 23-25
In the fourth bagatelle, from measures 15 to 19 (EXAMPLE 3.26), the meter is altered in
every measure to make a contrasting impression to the static atmosphere from the preceding and
following parts. They break the pulse of duple meter, and make the listener seek regular
rhythmic pulses. This interruption of the pulse also makes the return of the original theme seem
more static.
22 Thompson, 58.
21
EXAMPLE 3.26: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 13-18
As the meter alternation in the fourth bagatelle, measures 7-10 in the fifth bagatelle
(EXAMPLE 3.27) also alter the meter to create a more flowing impression. The meter is
changed from 4/4 to 3/4, which makes the length of each measure shorter, therefore giveing the
passage a sense of pushing forward.
EXAMPLE 3.27: Tcherepnin: Bagatelles, Op. 5, No. 5, mm. 5-8
In the sixth bagatelle, from the passage of measures 10-13 (EXAMPLE 3.28), the
constant 4/2 meter is altered by the change of meter in measure 12. The use of the rare meter 3/1
functions as a written-in ritardando that gives the illusion of slowing down. This meter
22
alternation is well-prepared and transitioned by the sfs from the preceding measures and within
the measure, which interrupt the metric pulse.
EXAMPLE 3.28: Tcherepnin: Bagatelles, Op. 5, No. 6, mm. 10-13
The seventh bagatelle has meter alternations in the passage of measures 122-150, in
which the meter changes from 3/8 to 6/8; within this passage, alternations of the meter 6/8 and
4/8 can be found as well (EXAMPLE 3.29). In measures 125 and 129, the division of the meter
changes from 3 to 2, with the eighth notes keeping the same beats.
EXAMPLE 3.29: Tcherepnin: Bagatelles, Op. 5, No. 7, mm. 126-130
Scriabin used meter alternations in his sixteenth prelude from his set of 24 Preludes
(EXAMPLE 3.30). This piece has the time signature of 5/8 and 4/8, in which these two sets of
time alternate every two measures until the ending phrase.
23
EXAMPLE 3.30: Scriabin: 24 Preludes, Op. 11, No. 16, mm. 1-2
3.2.4 Ostinato
Ostinato writing is widely used by twentieth-century composers. Unlike functioning as
repetitions of melodic and harmonic progressions from the eighteenth and the nineteenth century,
ostinato can serve as a simple accompaniment figure in twentieth-century works.23 The
following are examples of using ostinato as a constantly repeated bass line beneath changing
upper parts and vice versa.
In the second bagatelle, we can observe the bass line pattern of a broken D-minor 6/4
chord, with a passing tone in between the minor third, repeats from measure 10 through the
downbeat of measure 12 (EXAMPLE 3.31). This ostinato makes the passage more static while
the upper parts change constantly. The following measures 13-17 have a switch of ostinato and
moving part in the left and the right hand. Here (EXAMPLE 3.32), the ostinato appears in the
upper part, while the bass line keeps moving until the unison in measure 16, which brings the
passage back to the opening melody.
EXAMPLE 3.31: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 10-12
23 Thompson, 66.
24
EXAMPLE 3.32: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 13-15
In the third bagatelle, the use of ostinato can be found in measures 18-20 (EXAMPLE
3.33) in both hands. The left hand has a repeating pattern of single notes – A and F-sharp, and
the right hand has F-sharp on every beat through the top voice with reoccurring chord patterns.
Similar writing can be found in measures 46-50 and 51-58. Ostinato pattern of B-flat (B natural
in measures 51-58) and A can be found in both hands until they go back to single voice in
measure 55, and the note G repeats on every beat throughout these passages (EXAMPLE 3.34).
EXAMPLE 3.33: Tcherepnin: Bagatelles, Op. 5, No. 3, mm. 16-20
EXAMPLE 3.34: Tcherepnin: Bagatelles, Op. 5, No. 3, mm. 51-55
Similar ostinato writing can be found in Prokofiev’s Vision Fugitives, Op. 22, No. 4,
from measure 29 (EXAMPLE 3.35). Here this pattern stays for 19 measures in the right hand,
with added voices and alternations of beats in the left hand.
25
EXAMPLE 3.35: Prokofiev: Vision Fugitives, Op. 22, No. 4, mm. 31-39
The fourth bagatelle opens with an ostinato in the left hand (EXAMPLE 3.36). The
stepwise moving line with the 7th-6th harmonic interval patterns is repeated in each measure, with
slight rhythmic alternations in some measures. The same passage returns in measures 11-14. This
ostinato pattern creates a static atmosphere for the Lento con tristezza mood indication, and it is
also amplified by the repeated 2nds from the middle voice.
EXAMPLE 3.36: Tcherepnin: Bagatelles Op. 5, No. 4, mm. 1-3
In the fifth bagatelle, an ostinato with a repeating two-note pattern can be found in the
opening, measures 1-4 (EXAMPLE 3.37). It helps to create a similar static atmosphere as the
fourth bagatelle. Measures 11-14 are variations of the opening measures with added voices. The
original two-note ostinato pattern can still be heard, and it is expanded with a descending scale.
EXAMPLE 3.37: Tcherepnin: Bagatelles Op. 5, No. 5, mm. 1-4
26
In the sixth bagatelle, ostinato writing can be found in measures 1-10 and 13-14. In
measures 1-4 (EXAMPLE 3.38), the accompaniment figures of broken chord patterns are
grouped in ascending and descending triplets with different bass notes, in which four groups can
be found in one measure, and the same pattern is repeated in each measure. Similar patterns can
be found in measures 5-8 with the pitches a major second higher. In measures 9 and 10, each
group of the triplet pattern is repeated within the measure. Measures 13-14 reiterate measures 1-
2. These ostinatos are used simply as accompaniments for the melodic lines in the upper part.
EXAMPLE 3.38: Tcherepnin: Bagatelles Op. 5, No. 6, mm. 1-2
In the seventh bagatelle, the ostinato pattern is written across bar lines. We can see from
measures 1-16 (EXAMPLE 3.39), this three-note group pattern starts from the second beat of the
measure, which helps to eliminate the feeling of downbeats, and creates a continually driven
movement. The same patterns can be found in measures 37-52, 107-115, and 135-146 (with
changes of pitches and tempo).
EXAMPLE 3.39: Tcherepnin: Bagatelles Op. 5, No. 7, mm. 1-9
27
The eighth bagatelle uses similar ostinato patterns as the sixth bagatelle. It also has
ascending and descending patterns with six notes as a group. It differs from the patterns in the
sixth bagatelle in two ways: it has different metric emphasis, therefore only two groups can be
found in a measure; instead of broken chords, the patterns here are chromatic scales and minor
thirds. EXAMPLE 3.40 shows measures 13-14 have patterns that are repeated in each measure,
and within each measure, two 6-note groups can be found a major third apart. From the second
group of measure 15, the same group is used repeatedly until the end of measure 20. From
measure 21, the pattern changes to a stepwise motion, and the same group is repeated through
measure 24.
EXAMPLE 3.40: Tcherepnin: Bagatelles Op. 5, No. 8, mm. 13-16
In the ninth bagatelle, ostinato appears in measures 20-25 (EXAMPLE 3.41) with
ascending and descending chromatic lines. We can see two measures as a pattern, and these
patterns are used three times in a row. A transition of these patterns can be found in measures 28-
33, a minor third higher.
EXAMPLE 3.41: Tcherepnin: Bagatelles, Op. 5, No. 9, mm. 20-24
28
3.3 Modal Melodic Resources and Tonalities
Church modes are widely used as melodic resources in twentieth-century music. In order
to break free from the traditional usages of major and minor scales, contemporary composers
look back to modal scales from the early music, and give them new lives by expanding their
usages.24
Originally, church modes consisted of seven tones that were built from notes of the C
Major scale. In other words, different modes are built using white keys of the keyboard, which
creates different patterns of whole steps and half steps. Starting from the note C, white notes are
used successively to build the Ionian mode. Same patterns are used for other modes with
different starting notes: Dorian mode starts from the note D; Phrygian mode starts from the note
E; Lydian mode starts from the note F; Mixolydian mode starts from the note G; Aeolian mode
starts from the note A; and Locrian mode starts from the note B. Compared to traditional major-
minor keys, Ionian (same as major), Lydian (major with raised fourth) and Mixolydian (major
with lowered seventh) have a similar sound to major keys because the scale degrees one and
three notes from these modes form a major third. Other four modes – Aeolian (same as natural
minor), Dorian (minor with raised sixth), Phrygian (minor with lowered second), and Locrian
(minor with lowered second and fifth) have a similar sound to minor keys because they have
minor thirds between their first and third scale degree notes. 25
In twentieth-century music, these modes can start from any given note. The key signature
can be written as either the key signature of the scale degree one note of the mode, or it can have
the key signature that shows the alternation of the mode compared to a regular major-minor key.
24 Thompson, 20. 25 Dallin, 19.
29
For example, D Dorian mode can have the same key signature as D Minor, in which the sixth
will be raised using accidentals. It can also be written without key signature, because of the
raised sixth, which would make the original D minor key signature B-flat become natural.26
In the second bagatelle, a mixture of D Aeolian and D Dorian modes is used. In the A
section, this mixture can be found at measures 3-4 and measure 7; reiteration of these measures
appears in measures 20-21 and measure 24. The same writings reappear in the A’ section in
measures 40-41 and measure 44. EXAMPLE 3.42 shows the alternations of B and B-flat, the B-
natural in measure 3 and measure 7 indicates the use of D-Dorian mode. These B-naturals have
different functions than the B-naturals in measure 1 and 2, in which the latter function as part of
the chromatic melody lines. The B-flats in measure 4 and 7 show the return of D Aeolian mode.
EXAMPLE 3.42: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 4-7
EXAMPLE 3.43 is from the middle section of the same piece. Here, the same melody as
measures 3-4 is used in lyrical style.
EXAMPLE 3.43: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 34-35
26 Ibid, 20.
30
A mixed use of D Minor (harmonic) and D Phrygian mode can be found in this piece as
well. In measures 25-29 (EXAMPLE 3.44), the use of E-flats indicates D Phrygian mode, while
the use of C-sharps indicates D Minor. Similar writing can be found at the end of the piece, with
a slight change in the last two measures. Instead of ending the section in D Minor, it ends in D
Phrygian.
EXAMPLE 3.44: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 25-26
The third bagatelle is mainly written in the key of D Major, but we can also observe the
use of the mode D Phrygian in measures 75-78 (EXAMPLE 3.45). The use of F-natural, E-flat,
and B-flat gives this passage a refreshing modal sound. After this brief passage, the following
measures 79-82 bring back the original key of D Major.
EXAMPLE 3.45: Tcherepnin: Bagatelles, Op. 5, No. 3, mm. 76-78
The fourth bagatelle starts with an F-sharp Phrygian mode, which is indicated by the
lowered scale degree two from measure 1 to measure 14. This lowered scale degree is shown in
the key signature, from which we can observe the lack of G-sharp for F-sharp Aeolian mode,
which we can find later in this piece, from measure 15 to measure 19, and the ending measures
31
27-29 (EXAMPLE 3.46). There are also mixed uses of F-sharp Dorian modes, which can be
found in measures 16, 18, and 29, within these F-sharp Aeolian passages. Measures 16 and 18
(EXAMPLE 3.47) show the brief usage of D-sharps. Although these sharps are canceled in the
descending melody line right after their appearances on the downbeats, these modal changes are
noticeable to the ear.
EXAMPLE 3.46: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 27-30
EXAMPLE 3.47: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 16-18
Similar writings can be found in Prokofiev’s Visions Fugitives, Op. 22, No. 16
(EXAMPLE 3.48). This piece is written in E Phrygian mode, which is indicated by the lowered
2nd of the E-minor scale.
EXAMPLE 3.48: Prokofiev: Visions Fugitives, Op. 22, No. 16, mm. 9-10
32
The A (mm. 1-6) (EXAMPLE 3.49) and B (mm. 7-10) sections in the fifth bagatelle are
written in the F-sharp Dorian mode. One can argue that these sections can be seen as they are
written in C-sharp minor, especially with the B sharps in measures 1 and 2. However, the bass
note F-sharp almost keeps appearing through these sections (except for mm. 5-6). This pedal
tone, along with the three-sharp key signature that is given by Tcherepnin, emphasize the scale
degree one note – F-sharp. Therefore, the D-sharps should be treated as raised scale degree six,
which makes these sections modal.
EXAMPLE 3.49: Tcherepnin: Bagatelles, Op. 5, No. 5, m. 1
3.4 Other Tonalities
Besides the use of modal tonalities, other tonalities can also be found in this set of
bagatelles. From the fifth, the sixth, the eighth, and the tenth bagatelles, we can observe that
although traditional tonal centers are used, interesting modulations and shifted tonalities can be
found.
The first two sections of the fifth bagatelle have modal tonalities, but the last section has
a tonality of C-sharp minor. From measures 11-14 (EXAMPLE 3.50), we can observe the
repeating pattern of an F-sharp 7th chord going to a C-sharp triad, in which the F-sharp chord can
be seen as the subdominant of C-sharp minor, and the C-sharp triad can be seen as the tonic
33
chord. This section finally ends in C-sharp major with the use of a Picardy third at the end. The
same Picardy third writing can be found at the end of the ninth bagatelle.
EXAMPLE 3.50: Tcherepnin: Bagatelles, Op. 5, No. 5, mm. 11-12
The sixth bagatelle is written mainly in G-flat major. However, the opening part of the
middle section transposes the first section a major second higher, which makes it A-flat major.
The modulation goes on with the change of left-hand broken 7th chords, which starts from a
minor-minor 7th in measure 9 to a major-minor 7th chord in measure 10. Then it reaches C major
in measure 11, with the half-diminished 7th chord in the left hand. After the return of the G-flat
major in measure 13, a shifting tonality can be found in measure 16 (EXAMPLE 3.51), which is
written with the notes E and B with double flats. This shifting is facilitated by the descending
bass line of a chromatic scale, starting from measure 15. The original key is brought back in the
end through a dominant-tonic motion in the right hand.
EXAMPLE 3.51: Tcherepnin: Bagatelles, Op. 5, No. 6, m. 16
Shifted tonality27 can also be found in the end of the first phrase of the eighth bagatelle in
measure 4 (EXAMPLE 3.52). This piece starts in the key of A-flat major, then reaches the tonic
27 Dallin, 126.
34
note of B major on the downbeat of measure 4 through descending chromatic lines. Here the
chord is written in flats. From measure 16, we can observe the change of tonality from A-flat
major to F major. This tonality is not clear to the ear due to the chromatic accompaniment lines
in the left hand. It becomes clear at measure 25 (EXAMPLE 3.53), with the return of the opening
theme. It shifts back to the original key of A-flat major in measure 29 through a similar way as
the beginning phrase. A series of shifting tonalities can be found briefly after the return of the
original key. Measure 30 uses an F-major 7th chord, and the use of A-flat minor can be found in
measure 31. Although the key returns to A-flat major in measure 33, a hint of the A-flat minor
key can be found in the beginning of measure 35 with the flat F and the flat G. The piece finally
ends in major through the A-flat major scale.
EXAMPLE 3.52: Tcherepnin: Bagatelles, Op. 5, No. 8, m. 4
EXAMPLE 3.53: Tcherepnin: Bagatelles, Op. 5, No. 8, m. 25
The last bagatelle is written mainly in the key of c minor. However, towards the end, it
switches to C major starting from the use of E-naturals in measure 100 (EXAMPLE 3.54).
Despite the chromatic lines, we can still feel the C-major tonal center through to the end.
35
EXAMPLE 3.54: Tcherepnin: Bagatelles, Op. 5, No. 10, mm. 103-109
36
CHAPTER 4
THE TECHNICAL CHALLENGES OF THE BAGATELLES, OP. 5
4.1 Fingering
The fingering indications from the 1923 fingered edition, published by Heugel in Paris,
are given by the composer himself, and they are also endorsed by Isidore Phillipp, who was
Tcherepnin’s musical advisor and piano teacher in Paris.28 The following fingering suggestions
are alternative possibilities to Tcherepnin’s fingerings, and adjustments may be done according
to the performer’s hands.
4.1.1 Redistributing Notes Between the Hands
Redistributing notes between the hands is recommended for several reasons, and one of
the reasons is that it can help the player with small hands sound the notes simultaneously as
written and avoid unnecessary rolls. In measure 3 of the second bagatelle (EXAMPLE 4.1), the e
in the left-hand second note can be taken by the right hand if the player could not reach a tenth.
EXAMPLE 4.1: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 1-3
In measure 30 of the second bagatelle (EXAMPLE 4.2), the left-hand note f1 on the
second and the fourth beats can be taken by the right hand with the thumb playing both f1 and
g1.
28 Wuellner, 421.
37
EXAMPLE 4.2: Tcherepnin: Bagatelles, Op. 5, No. 2, m. 30
In measure 10 of the fifth bagatelle (EXAMPLE 4.3), the second a1 and the following
g1-sharp in the left hand can be taken by the right hand to avoid a tenth.
EXAMPLE 4.3: Tcherepnin: Bagatelles, Op. 5, No. 5, mm. 9-10
Another reason for redistributing notes between the hands is to help the player with
technical difficulties. In measure 15 of the first bagatelle (EXAMPLE 4.4), the left-hand note C4
can be taken by the right hand as an octave, so that the left hand can have more preparation time
for the leap back.
EXAMPLE 4.4: Tcherepnin: Bagatelles, Op. 5, No. 1, m. 15
A similar leap can be avoided in measure 35 of the second bagatelle (EXAMPLE 4.5).
Here the left-hand note g1 can be taken with the right hand, so that the left hand will only need to
play one broken octave, and no position change is needed. However, one should be careful with
38
the timing of this certain chord. It should be slightly delayed to accommodate the composer’s
intention of delaying this chord by adding the grace notes before.
EXAMPLE 4.5: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 34-35
For measures 82-86 of the third bagatelle (EXAMPLE 4.6), it is possible to redistribute
these notes between hands rather than play them with the same hand. The right hand can be used
for the notes a, c1, and a1, c2-sharp, and the left hand will play the rest of the notes. In this way,
the right hand can have more time to prepare the octave change in measure 84.
EXAMPLE 4.6: Tcherepnin: Bagatelles, Op. 5, No. 3, mm. 78-86
For measures 16 and 18 of the fourth bagatelle (EXAMPLE 4.7), redistributing notes
between the hands can also be used for the left-hand grace note and leap gesture. In order to keep
the continuity of the phrase, and maintain accuracy of the playing, the left hand c1-sharp can be
m
.s.
m
.d.
m
.s.
39
taken with the right-hand finger number one, with which the right hand now will be playing both
c1-sharp and d1-sharp.
EXAMPLE 4.7: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 16-18
The ending of the ninth bagatelle has a large leap in the left hand (EXAMPLE 4.8); the
solution for this is to take the first chord all in the right hand, so the left hand can have more time
for preparation.
EXAMPLE 4.8: Tcherepnin: Bagatelles, Op. 5, No. 9, mm. 53-58
In addition, redistributing notes between the hands can also help avoid awkward hand
positions. In measure 13 of the second bagatelle (EXAMPLE 4.9), there is a hand cross on the
third notes that requires the left hand to cross the right hand for one note and then immediately
come back for the following note. This would cause inconvenience for the player, especially in a
fast tempo. Therefore, a redistributing of the notes between the hands is helpful; switching the
note a1 and the note f1 in hands will solve the issue of hand crossing. The fingering for the right
hand will change to 12212313 to accommodate this redistribution.
40
EXAMPLE 4.9: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 12-13
4.1.2 Chromatic Fingering
The traditional fingering (1313123) for chromatic passages is taught for the intermediate
student at an earlier stage of piano learning.29 In order to improve the student’s playing of
chromatic passages, especially the ones with a rapid speed, using a fingering pattern that avoids
overusing of the thumb is essential, because the overuse of thumbs can cause tension in the hand,
slow down the speed, and create unevenness. 30
In the beginning of the second bagatelle, the right hand has an ascending and descending
chromatic scale pattern (EXAMPLE 4.10); instead of the traditional chromatic fingering, using
1234321 is recommended.
EXAMPLE 4.10: Tcherepnin: Bagatelles, Op. 5, No. 2, m. 1
In the seventh bagatelle, two passages of descending chromatic scales can be found, each
from measures 53-72 and measures 89-107. The first passage has descending chromatic scales in
29 James W. Bastien, How to Teach Piano Successfully (San Diego: Kjos Music, 1988), 282. 30 Julien Musafia, The Art of Fingering in Piano Playing (New York: MCA Music, 1971), 36.
41
both hands, and the hands are only a major second apart. The fingering that is given by
Tcherepnin is not the traditional fingering for the chromatic scale. Besides finger number 1-3, it
uses finger number 4. Here the finger patterns repeat in every octave. Another possible fingering
of this passage has a pattern that recurs every two octaves (EXAMPLE 4.11). The fingering for
the right hand is 4321 321 4321 321 4321 321 321, and for the left hand, the pattern starts from
measure 55: 123 123 1234 123 1234 123 1234. This pattern can also be applied to the second
passage, from measure 89 (EXAMPLE 4.12), with the right-hand fingering pattern 4321 321
4321 321 321 4321 321 until measure 99, and the left-hand fingering pattern 1234 123 1234 123
123 1234 123 from measure 89 to measure 107.
EXAMPLE 4.11: Tcherepnin: Bagatelles, Op. 5, No. 7, mm. 49-60
EXAMPLE 4.12: Tcherepnin: Bagatelles, Op. 5, No. 7, mm. 89-96
In the eighth bagatelle, there are chromatic accompaniment figures in the left hand from
42
measure 12 to measure 25. Instead of the traditional 13 alternations that the original fingering
gives, another possibility can be used. EXAMPLE 4.13 shows the possible fingering for the left-
hand pattern can be 531 234 313 231; EXAMPLE 4.14 shows that, for measure 15, the left-hand
fingering can be 321 234 321 213, which can be divided into three groups per measure for
practicing, and each of these groups contains four notes that can be blocked as one hand position;
for measures 16-20, every six notes is a pattern, for which the fingering is 531 213. The fingering
for the first six-note group in measure 21 is 132 123 because of the change of position, and the
rest of the patterns will use the same fingering as the preceding measures: 531 213.
EXAMPLE 4.13: Tcherepnin: Bagatelles, Op. 5, No. 8, mm.13-14
EXAMPLE 4.14: Tcherepnin: Bagatelles, Op. 5, No. 8, mm.15-16
The opening of the last bagatelle has a rapid chromatic scale in the right hand
(EXAMPLE 4.15); instead of the original fingering 2313123, one can start with the finger
number 1, which gives a pattern of 1234123 for this passage. This pattern can help the performer
play this phrase more smoothly and rapidly.
43
EXAMPLE 4.15: Tcherepnin: Bagatelles, Op. 5, No. 10, m. 1
4.1.3 Legato Fingering
Fingerings for a legato passage that is played with the damper pedal can be designed to
help create the legato sound. In measure 33 of the second bagatelle (EXAMPLE 4.16), it is
recommended to change the original fingering of 3222 to 3232 for maintaining the legato sound
because 3232 is a more legato fingering than 3222, and the break between 32 and 32 would not
be noticeable within one pedal.
EXAMPLE 4.16: Tcherepnin: Bagatelles, Op. 5, No. 2, m. 34
4.1.4 Other Fingerings
The following examples are recommended as alternative fingerings for the original
fingerings that are given by Tcherepnin, based on individual reasons. In measure 5 of the second
bagatelle, the original fingerings for the left hand are given as 21213 (EXAMPLE 4.17).
However, this fingering creates an awkward position change. In addition, the following pattern is
identical to the pattern that starts at the last beat of measure 4, which is marked with 1 and 5.
44
Therefore, the fingering of 2123, 1 and 5 is recommended for measure 5 because it is more
efficient to keep the same fingers on the same keys in a passage,31 and in this way, the awkward
position change can be avoided as well. Measure 12 of the same bagatelle can use the similar
efficient solution of keeping the same fingers on the same notes. Here (EXAMPLE 4.18) the
original fingering for the left hand is given as 5124. However, it would be more convenient to
play the note e1 with finger number 2 and the note c1 with finger number 3, for they appear in a
row within the following measures.
EXAMPLE 4.17: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 4-5
EXAMPLE 4.18: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 12-15
In the sixth bagatelle (EXAMPLE 4.19), the left-hand broken chord patterns can all use
the fingering 532123, instead of the original fingering 542124 to avoid the tension between
finger number 5 and number 4.
31 Musafia, 18.
45
EXAMPLE 4.19: Tcherepnin: Bagatelles, Op. 5, No. 6, m. 1
In the seventh bagatelle, from measure 17 to measure 31, the original fingering for the
right hand is given as 23 1 23 23 1 23 and so on (EXAMPLE 4.20). The right-hand pattern here
can be six-note groups, and within one group, every three notes changes the hand position.
Therefore alternations of finger number 23 and 34 are recommended. This pattern is more
efficient because it uses two groups of fingerings instead of only one, which help with the
tiredness in the fingers, and it is also helpful for achieving speed and accuracy.
EXAMPLE 4.20: Tcherepnin: Bagatelles, Op. 5, No. 7, mm. 10-29
Similar situations can be found in the last bagatelle. From measure 69 to measure 82
(EXAMPLE 4.21), the left hand has the pattern of repeated Cs and Gs. The original fingering
suggests all these notes being played by finger number 2. However, one can also choose to
alternate finger numbers 1 and 2 for different notes in measures 69-77, and use finger number 5
for the Cs starting from measure 77.
46
EXAMPLE 4.21: Tcherepnin: Bagatelles, Op. 5, No. 10, mm. 65-80
4.2 Pedaling
Different ways of using the damper pedal are required in this set of bagatelles. According
to Joseph Banowetz’s book The Pianist’s Guide to Pedaling, except for “legato pedaling” that
the late-intermediate student commonly uses32, use of the damper pedal also includes “melodic
material pedaling”, “pedaling as an aid to phrasing and articulation”, “rhythm-projecting
pedaling”, and “blurring for color and special effects.”33 The following examples demonstrate
these different ways of pedal use in this set of bagatelles.
4.2.1 Melodic Material Pedaling
In the middle section of the second bagatelle, large rolls can be found from measures 30-
32 (EXAMPLE 4.22). The change of the pedal needs to be made on the bass note of the roll, and
the roll comes before the beat. In order to connect the melody line while changing the pedal, the
right-hand top line notes need to be played without any break within the measure.34
32 Marienne Uszler, Stewart Gordon, and Scott McBride-Smith, The Well-Tempered Keyboard Teacher (Australia: Wadsworth Cengage Learning, 2000), 215. 33 Joseph Banowetz, The Pianist's Guide to Pedaling (Bloomington: Indiana University Press, 1985), 16-76. 34 Jozsef Gat, The Technique of Piano Playing (London: Collet's, 1968), 69.
47
EXAMPLE 4.22: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 30-32
4.2.2 Pedaling as an Aide to Phrasing and Articulation
In measures 25 and 26 of the fourth bagatelle, the damper pedal can be used as an aid to
phrasing and articulation (EXAMPLE 4.23). The pedal can be applied on the first chord and be
released gradually after the second chord to keep the continuity of the phrase. Similar gradual
release of the pedal can be applied to measure 28 for the last portato note, where a fading-away
sound effect is required. As Banowetz suggests “If at all possible, the raised dampers should be
released gradually at the end of each note to avoid stopping the sound in an abrupt, chopped
manner. Done correctly, the effect should be similar to that of a string player tapering off the last
note of a phrase as the end of the bow is reached. It is important to release the keys with the
fingers just before raising the pedal over the notes”.35
EXAMPLE 4.23: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 23-26
35 Banowetz, 49.
48
4.2.3 Rhythm-Projecting Pedaling
In the first bagatelle, the damper pedal is used to project rhythm and to color and
emphasize the written accents in measures 2-5 (EXAMPLE 4.24). In these places, the use of the
pedal should be brief and no alternations of the articulation should be made because its function
is not connecting notes. Similar examples can be found in the third bagatelle from measures 17,
21, 25, and 29.
EXAMPLE 4.24: Tcherepnin: Bagatelles, Op. 5, No. 1, m. 3
4.2.4 Blurring for Color and Special Effects
Examples of using the pedal for blurring scales and patterns can be found in the first,
fourth, and seventh bagatelles. In the first bagatelle, measures 6-7 have pedal markings for each
measure, in which measure 6 has a pattern of repeating octaves and seconds in between hands,
and measure 7 (EXAMPLE 4.25) has ascending and descending unison scales.
EXAMPLE 4.25: Tcherepnin: Bagatelles, Op. 5, No. 1, m. 7
The same kind of pedaling marking can be found in the fourth bagatelle, from measures
15 to 18 (EXAMPLE 4.26). Here, each measure has a descending scale, and the pedal should be
held through each scale, except for the last one with a lower register. If the pedal is held through
49
this measure, the last three notes will be too blurred to the ear, therefore pedal changes are
marked with each of these notes.
EXAMPLE 4.26: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 16-18
The seventh bagatelle has a long pedal from measures 73 to 99 (EXAMPLE 4.27). This
passage can be held in one pedal because of the wide range of register, and the long pedal helps
to create a climax for the piece. Another long pedal can be found in measures 107-115, for here
the pedal creates an impressionistic atmosphere, along with the pianissimo dynamic.
EXAMPLE 4.27: Tcherepnin: Bagatelles, Op. 5, No. 7, mm. 89-108
4.2.5 Other Uses of Pedal
In the first bagatelle, Tcherepnin’s indication for measure 7 (EXAMPLE 4.28) is one
long pedal until the last note. However, in his own recording from 1968, he did not use any pedal
for this measure. Therefore, both ways are justified for the performer to follow. In the case of
using the pedal as indicated on the score, the performer should be aware of the sudden dynamic
50
change between the last two notes of the measure. In order to make the first pianissimo note
sound clearly, the pedal should be lifted immediately after the last octave being played, so that
the last note in the measure would not be covered by the preceding fortissimo octave.
In measures 87-88 of the third bagatelle (EXAMPLE 4.28), Tcherepnin’s marking of
poco espr. can be found in the 1964 revised edition. Here, the damper pedal can be used for an
espressivo tone. The pedal can be applied to the downbeats of these two measures to create a
contrasting color to the preceding and following staccato passages.
EXAMPLE 4.28: Tcherepnin: Bagatelles, Op. 5, No. 3, mm. 84-88
The performer should pay extra attention to the three special endings with different
pedaling. The sixth, seventh, and ninth bagatelles all end with staccato notes, however the use of
pedal for these notes is different (EXAMPLE 4.29). For the sixth and the seventh bagatelle, the
release signs of the pedals are marked right below the last notes, which indicate the last note
should sound like a staccato. On the contrary, the release sign of the pedal for the last note of the
ninth bagatelle is placed after the note. This suggests that the pedal needs to be held longer than
the ending of the sixth bagatelle, and the staccato here can be treated as a light accent. These
different uses of pedals are both justified by Tcherepnin’s own recording.
51
(1) No. 6, mm. 16-17
(2) No. 7, mm. 146-150
(3) No. 9, mm. 49-58
EXAMPLE 4.29: Tcherepnin: Bagatelles, Op. 5
4.3 Articulation and Notation
Articulation indications should be followed carefully in Tcherepnin’s work. From the
“notation and performance questionnaire” in Wuellner’s dissertation, we can find Tcherepnin’s
answers to some of his notations. The differences between the wedge and the plain dot are that
the wedge means a sharper staccato, and it should be played slightly louder than the plain dot,
and with more energy.36 Examples can be found in the eighth bagatelle, the wedge notation can
be found in measures 12-15 (EXAMPLE 4.30), underneath the first notes of each six-note group.
Differences of this articulation to the plain dots should be observed in this piece.
36 Wuellner, 139.
52
EXAMPLE 4.30: Tcherepnin: Bagatelles, Op. 5, No. 8, mm. 13-14
In the same questionnaire, Tcherepnin emphasizes a dash over a note marking simply
indicates the tenuto articulation, therefore no tempo changes can be made for these notes.
Examples of this notation can be found in the fourth bagatelle, all the way through the melody
lines (EXAMPLE 4.31). The performer should be aware of this articulation, stress the note, and
hold it for the full length.
EXAMPLE 4.31: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 5-6
The same notation can be found in the ninth bagatelle in measures 25-31 (EXAMPLE
4.32). The combination use of two articulations here shows Tcherepnin’s intention of bringing
out the contrasts between staccato and tenuto; therefore, the performer should show these
differences carefully in the playing.
EXAMPLE 4.32: Tcherepnin: Bagatelles, Op. 5, No. 9, mm. 24-27
The first bagatelle includes all the notations that have been mentioned above; following
these articulations carefully can help show the character of this piece. The first four notes in
53
measure 1 are marked with accents, and the rest of the notes in this measure have wedge
indications; similar writing can be found in measure 3, with notes from the latter part of the
measure marked tenuto (EXAMPLE 4.23). Although all notations contain the indication of
stressing the note, they should be articulated differently. The accented notes and the notes with
the tenuto markings should be held for the full length, but the notes with wedge markings should
only be played with half of their note value. For the A’ section of this piece, from measures 10 to
13 (EXAMPLE 4.34), the performer should be careful with changes of notations (in the 1964
revised edition) compared to the A section. Despite the similarity in notes, the articulation in the
A’ section is largely different from the beginning section. We can observe that only the
downbeats in the A’ section have accent markings, and every note in measures 10-11 is marked
with plain-dot staccatos. For measure 12, instead of tenuto for the last three notes, the last two
notes are marked staccato, and a two-note slur is added as well.
(1) No. 1, m. 1
(2) No. 1, m. 3
EXAMPLE 4.33: Tcherepnin: Bagatelles, Op. 5
54
EXAMPLE 4.34: Tcherepnin: Bagatelles, Op. 5, No. 1, mm. 11-12
A different way of using the plain-dot staccato sign can be found in the sixth bagatelle.
The accompanimental figuration can be found throughout the piece in the left hand (EXAMPLE
4.35). The first note of every six-note group is a double-stem note, which also has a staccato
marking. Here the staccatos indicate light accents for the fundamental bass line, and both the
double stems and staccatos indicate that these notes should be stressed lightly.
EXAMPLE 4.35: Tcherepnin: Bagatelles, Op. 5, No. 6, m. 1
Besides the articulation indications on the score, we can also add some articulation to the
pieces. For example, a light accent can be added to the downbeats of measure 1 in the second
(EXAMPLE 4.36), third, and the seventh bagatelles to show the rhythmic pulse.
(1) No. 2, m. 1
55
(2) No. 3, m. 1
(3) No. 7, m. 1
EXAMPLE 4.36: Tcherepnin: Bagatelles, Op. 5
4.4 Tone, Dynamic, and Phrasing
There are numbers of repeated phrases and sequential phrases in this set of works, and
variations in tone and dynamics will help to avoid dullness and make the performance musical.
Although different dynamic indications might not be noted on the score for certain phrases, we
can interpret them accordingly.
4.4.1 Sequential Phrases
In the second bagatelle, there are sequential passages in measures 25-28 (EXAMPLE
4.37). Having a direction for these passages is needed. Although the preceding dynamic marking
is pianissimo, the performer can make a crescendo in the beginning of measure 25 with the
ascending motion, which will take the dynamic level to mf; then this mf can give these sequential
passages room for diminuendo, until the long note in measure 29. Having a direction in these
passages can also help guiding the ear for tone production. A fuller tone should be applied to the
first sequential passage in measure 25, where it is marked diminuendo, then a more subdued tone
56
should be produced for the passages from measures 27-28, where the left-hand octaves become
single notes.
EXAMPLE 4.37: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 26-28
Similar sequential passages can be found in the third bagatelle from measure 33 to
measure 58. Two kinds of dynamic directions can be applied to these passages. One is to start
from the dynamic level piano in measure 33, and gradually bring the dynamic level higher as the
passages progress until reaching the ff marking in measure 54. Another way is to start these
passages with the mf dynamic level, as the consequence of the preceding crescendo from
measure 26 to 32. Then the dynamic level should be dropped back to mp in measure 40, and
piano in measure 44 (EXAMPLE 4.38). In this way, there will be room left for one consecutive
crescendo from measure 47 to measure 54. The first interpretation can be found in Tcherepnin’s
recording, and the second one can be heard from Martha Braden’s recording. Both ways are
musical and logical to the ear.
EXAMPLE 4.38: Tcherepnin: Bagatelles, Op. 5, No. 3, mm. 36-47
57
4.4.2 Repeated Phrases
Repeated phrases are widely used in this set of bagatelles. Repeating the phrases in the
exact same manner can sound dull and unmusical, especially in lyrical passages. This can be
solved with diversity in dynamics and the slight use of tempo rubato.
In his book Playing the Piano with Confidence, D’Abreu discusses that “Though it is not
always indicated, some contrast is needed when a phrase is to be repeated. Quite often the
repeating phrase can effectively be made into an echo of the first phrase. At other times, if one is
moving towards an exciting passage, agitation can be built up by increasing the intensity of each
repetition of the phrase”.37 In the fourth bagatelle, the first phrase is repeated in measures 7-10
(EXAMPLE 4.39). Diversity can be created through tone and dynamic differences. The
performer can use the left pedal in measures 3-6, and lift the pedal for measures 7-10 to create a
slightly higher dynamic level and a fuller tone for the repeated phrase.
EXAMPLE 4.39: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 1-6
For the fifth bagatelle, repeated phrases can be found throughout the piece, but the
performer can create diversity for them in different ways. The opening measures are good
examples for showing these ways (EXAMPLE 4.40). Measure 2 can be played with a slight
increase of the tone, which will lead the phrase to a higher dynamic level in measure 3, and then
37 Gerald D’Abreu, Playing the Piano with Confidence: An Analysis of Technique, Interpretation, Memory and Performance (New York: St. Martin’s Press, 1974), 70.
58
measure 4 can be played as an echo of measure 3 to bring the dynamic level back down to
prepare for the coming poco cresc. in measure 5.
EXAMPLE 4.40: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 1-4
Besides the diversity in tone and dynamics, the slight use of tempo rubato can also be
applied to make a repeated phrase sound differently. In the sixth bagatelle, increasing dynamic
levels are written for the passages of measures 1-12; therefore, it will be difficult for the
performer to make tone and dynamic diversities for the repeating phrases. In this situation, the
performer could apply a slight tempo rubato to the repeated phrases, but it has to be done in a
way that still sounds natural to the ear, and would not disturb the flow of the phrase. For the
repeating phrase in measure 3 (EXAMPLE 4.41), one possibility of tempo rubato is to slightly
slow down the grace notes before the D-flat in the melody line.
EXAMPLE 4.41: Tcherepnin: Bagatelles, Op. 5, No. 6, mm. 1-3
59
4.4.3 Balance
For the fourth bagatelle, balance of the three voices in the A and A’ sections is important
for making the performance musical. Independent tone control is required in each voice, as
different notations indicate (EXAMPLE 4.42). The left hand accompanimental ostinato figures
need to be subdued when the melody line comes in from measure 3. This melodic line is marked
with tenuto all the way throughout the piece, therefore a full tone should be applied to it for
emphasizing and distinguishing the tenuto markings.38 The dynamic level for this line can also
be treated one level higher than the accompaniment figures. The middle voice is deliberately
marked pp, which indicates the composer’s will of minimalizing the sound. The performer
should play this voice with a very gentle tone that sounds like a whisper.
EXAMPLE 4.42: Tcherepnin: Bagatelles, Op. 5, No. 4, mm. 1-3
In the fifth bagatelle, similar balance issues can be found from measure 7 to the end
(EXAMPLE 4.43). For these passages, two melodic lines can be found in both hands, one from
the top voice of the right hand, another from the top voice of the left hand (except for measure
15). These lines need to be played with a full tone, but still in a gentle enough manner that fits
the generally soft dynamic level.
38 Karl Leimer and Walter Gieseking, Piano Technique: Consisting of the Two Complete Books, the Shortest Way to Pianistic Perfection and Rhythmics, Dynamics, Pedal and Other Problems of Piano Playing (New York: Dover Publications, 1972), 111.
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EXAMPLE 4.43: Tcherepnin: Bagatelles, Op. 5, No. 5, m. 7
4.4.4 Other Dynamic Suggestions
For the ending of the first bagatelle, it is important to control the tone to fit the piano
dynamic. The performer might have a natural tendency to make a crescendo in measure 15
(EXAMPLE 4.44), as the broken chord pattern ascends, which will contradict the composer’s
intention. In order to avoid it, one can deliberately make a diminuendo for this passage, which
will help balance the overall tone.
EXAMPLE 4.44: Tcherepnin: Bagatelles, Op. 5, No. 1, m. 15
Dynamic contrasting should be shown clearly in the middle section of the first bagatelle
and sections from the tenth bagatelle. Executing the contrasting dynamic markings in the score
with caution is necessary for creating the intended dramatic effect. From the first bagatelle, we
can observe dynamic markings of ff in measure 5, and pp in measure 7 that is written without any
diminuendo (EXAMPLE 4.45). This suggests the pp should be treated as subito pp, and the
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player should keep the passage ff until the first note with the pp marking. This pp sound should
be a surprise to the ear of the audience.
EXAMPLE 4.45: Tcherepnin: Bagatelles, Op. 5, No. 1, mm. 5-8
In the tenth bagatelle, passages with contrasting dynamics can be found in measures 17-
44 (EXAMPLE 4.46). All dynamic levels in these passages should be kept until the next one
without any crescendo or diminuendo to create the contrasting effect.
EXAMPLE 4.46: Tcherepnin: Bagatelles, Op. 5, No. 10, mm. 12-25
4.5 Other Techniques
4.5.1 Leaps
Quick changes of register can be found in this set of bagatelles, which will create the
technical challenge of leaps. This challenge can be solved by slow practicing with mental
participation and physical preparation. The ending of the first bagatelle has four register changes
in 3 measures (EXAMPLE 4). The left-hand leap between the last two notes in measure 15 can
be solved by taking the second to last note with the right hand, which is discussed in detail in the
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“Fingering” section of this document (EXAMPLE 4.4). The key to play these leaps with
accuracy is the awareness of the distance between each leap. The performer can use the Cs to
mentally anticipate the successions of the notes that the leaps land on. Then the distance between
these notes can be physically prepared for, by the rapid movement of the arm-hand unit. Here, a
parallel motion of both hands will be used.39
EXAMPLE 4.47: Tcherepnin: Bagatelles, Op. 5, No. 1, mm. 15-17
Similar leaps can be found in the third bagatelle from measures 21-24 (EXAMPLE 4.48),
with only one direction. In this passage, the performer can practice the leaps individually,
without the notes in between.
EXAMPLE 4.48: Tcherepnin: Bagatelles, Op. 5, No. 3, mm. 20-24
In measure 61 of the last bagatelle, a leap can be found in the right hand (EXAMPLE
4.49). The performer can practice this leap by starting with playing the chord one octave lower,
so that the issue of changing hand-position can be addressed first. After the performer gets used
to the position change, mentally anticipating the chord with one octave higher will help solve the
challenge.
39 D’Abreu, 49-52.
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EXAMPLE 4.49: Tcherepnin: Bagatelles, Op. 5, No. 10, mm. 58-61
Another challenge that can be found with the change of registers is hand crossing. In
measures 2-3 of the sixth bagatelle and measures 16-20 of the eighth bagatelle (EXAMPLE
4.50), a right-hand crossover is required for these passages. For the passage from the sixth
bagatelle, it is important to keep a smooth melodic line, and the hand crossing should not cause
any accents or sudden changes of the tone. The performer should practice conveying the same
amount of arm weight through the hand crossing. The crossing should be made in time but still
gracefully. On the contrary, for the passage in the eighth bagatelle, the performer should make
the crossing as fast as possible, and the elbow should be flexible and alert for the sudden change
of register.
(1) No. 6, mm. 2-3
(2) No. 8, mm. 17-18
EXAMPLE 4.50: Tcherepnin: Bagatelles, Op. 5
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4.5.2 Repeated Notes
Three types of repeated-note patterns can be found in this set of bagatelles. Each one
poses a different technical challenge. The first type is repeating one individual note, which can
be found in the end of the third bagatelle (EXAMPLE 4.51). Here, the ppp makes it extra
difficult to sound, and to be played evenly. The solution is to put a slight accent on the downbeat
of measure 89, which will not only make the rhythmic pulse sound clearly, but help the
performer mentally divide the notes into two groups, and solve the issue of unevenness. The
second type has the notes repeated successively from one hand to another. This can be found in
measure 9 of the first bagatelle (EXAMPLE 4.52). Here the pattern requires the right-hand
playing extra-staccato in order to make the left-hand notes sound clearly. Movements should be
limited to finger tips because of the close hand position. The third type of repeated-note pattern
is double-notes. This pattern can be found in measures 17-31 and 122-124 of the seventh
bagatelle (EXAMPLE 4.53). It is difficult to make the repeated notes sound clearly in the rapid
tempo. Therefore, the performer can practice the repeated notes separately, without the single
note in between, with a dotted rhythm (the first note longer and the repeated note shorter). Extra
effort should be made for the repeated note to be played extra staccato and sound clearly.
EXAMPLE 4.51: Tcherepnin: Bagatelles, Op. 5, No. 3, mm. 84-89
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EXAMPLE 4.52: Tcherepnin: Bagatelles, Op. 5, No. 1, m. 9
EXAMPLE 4.53: Tcherepnin: Bagatelles, Op. 5, No. 7, mm. 120-122
4.5.3 Large Chords
Passages with chords that expand to a tenth can be found in the second and fifth
bagatelles. These chords can create trouble for performers with smaller hands. According to
Tcherepnin’s recording and Wuellner’s dissertation on Tcherepnin, the chords should not be
altered because “the sounds, as written, are absolutely essential”.40 The performer who cannot
reach the large chords can either break/roll the chords or, if possible, redistribute the parts
between hands. The latter solution is discussed in detail in the “fingering” section of this
document. The following suggestions are taken from Tcherepnin’s own recording of this set of
pieces in 1968. Although he had big hands that can easily reach a tenth, interestingly, we can
hear broken and rolled chords, that are not indicated in the score, from this recording. The
middle section of the second bagatelle has large chords throughout. Tcherepnin rolls the left
hand before the beat (EXAMPLE 5.54) in measures 30 and 31 (the last chords), and measures 32
40 Wuellner, 128.
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and 36 (the second and the last chords). All of these chords are rolled from the bass upwards; this
suggests that other large chords can be rolled in the same matter for the performer with smaller
hands.
EXAMPLE 4.54: Tcherepnin: Bagatelles, Op. 5, No. 2, mm. 29-32
In the fifth bagatelle, broken and rolled chords can be heard from measures 7-10
(EXAMPLE 4.55). Rolls from the bass upwards can be heard from the last two chords of
measures 7 and 8, the first chord in the right hand and the second and third chords in the left
hand of measure 9, and the first left-hand chord in measure 10. The first two chords in measures
7-8 are played as 1+2 (individual bottom notes and harmonic fifths), with matching left and right
hands.
EXAMPLE 4.55: Tcherepnin: Bagatelles, Op. 5, No. 5, mm. 7-10
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4.5.4 Appoggiatura (Grace Notes Notated as )
From Wuellner’s questionnaire with Tcherepnin, we know that “all appoggiaturas (grace
notes notated as ) are to be played before the beat so that the main or large note comes on the
beat.”41 One technical challenge can be found in measures 75 and 77 of the third bagatelle with
appoggiaturas (EXAMPLE 4.56). In a rapid tempo, the performer might play the appoggiatura
on the beat, which will make the dotted rhythm sound even. In order to solve this issue, the
performer can firstly practice these measures without the appoggiaturas to get the sense of dotted
rhythm. After that, the appoggiaturas can be added to the sixteenth notes and be played at the
same time. Then the performer can separate the appoggiaturas from the sixteenth notes but keep
the same rhythm.
EXAMPLE 4.56: Tcherepnin: Bagatelles, Op. 5, No. 3, mm. 72-77
41 Wuellner, 135.
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CHAPTER 5
CONCLUSION
This pedagogical analysis provides a teaching guide for teachers who would like to use
selected pieces from Alexander Tcherepnin’s Bagatelles, Op. 5 as an introduction to
contemporary characteristics in twentieth-century piano music for their late-intermediate
students. Tcherepnin’s use of contemporary harmony, such as interval of seconds, non-tertian
chords, special use of the seventh chords, and ninth chords; contemporary rhythm and meter,
including shifted accents, asymmetric meter, meter change, and ostinato; modal melodic
resources and tonalities; and other special tonalities are discussed and demonstrated with musical
examples. Learning these concepts through these pieces will prepare the student for learning
more advanced level twentieth-century repertoire. Suggestions on fingering, pedaling,
articulation, tone, dynamics and phrasing, and practicing procedures for individual technical
difficulties can be used as references.
In order to help the student with the transition from eighteenth- and nineteenth-century
repertoire to twentieth-century repertoire, teachers can also discuss the development of piano
music composition by comparing these bagatelles to the repertoires that are known to the
student.
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