It’s great to see old favourites like this wonderful work on various examination lists, and this piece often appears on Grade 8 syllabuses. Hungarian composer Béla Bartók (1981-1945) is a particularly popular choice.
Whilst not every student’s cup of tea, Bartók’s style is one of the most highly original of the Twentieth century. A superlative pianist and prolific composer, there’s an abundance of recordings of his playing on YouTube. I researched his piano music (specifically the three concerti) in Budapest when I was a student, and had the opportunity to speak to the renowned Bartók specialist and musicologist László Somfai. We spoke about the composer’s highly individual style of writing combined with his use of harmony and folk songs. The meeting was both informative and enlightening.
Bartók amassed a large collection of folk songs. He acquired these songs by visiting various Hungarian villages and beyond. He recorded local musicians on an Edison Phonograph. Here’s a wonderful example of a typical recording which features a Romanian Folk Dance and is over 100 years old:
Bartók notated and catalogued all the folk songs in his collection. They became a crucial source of inspiration in his own compositions, and the ‘folk song’ element was eventually completely assimilated into his style. Indeed it was to be his ‘hallmark’.
Mikrokosmos Sz. 107, was written between 1926 and 1939, and consists of 153 pieces in six volumes, progressing from very simple pieces for beginners to advanced level works. They demonstrate Bartók’s commitment to and interest in music education: he wrote several sets of piano pieces for educational purposes. According to Bartók, the collection “appears as a synthesis of all the musical and technical problems which were treated and in some cases only partially solved in the previous piano works.”
Mikrokosmos concludes with the Six Dances in Bulgarian Rhythm, which are traditionally performed as a group, feature in Volume No. 6 and were dedicated to Harriet Cohen. The 2015/16 ABRSM syllabus includes the fourth dance in the set, No. 151, and it appears on List C (C1). Bartók’s music has been described as dissonant and violent, and whilst there are elements of these qualities in his works, the breadth of musical variety found in this particular Dance, is breath-taking.
For those considering this piece as an option for the Grade 8 exam, or perhaps who have already started learning this work, I have compiled a few practice ideas for combating certain difficulties within the work which may be helpful.
Of utmost importance is the rhythm, and more specifically, the time signature: 3+2+3 over 8. Unusual time signatures are renowned in the Hungarian composer’s style, and Bartók has used the rhythm of traditional Bulgarian dances here, but the melodic material is all his own. Interestingly, he described this dance as in the style of Gershwin but with his (Bartók’s) own tonality. This becomes apparent just by clapping the pulse. The unusual rhythmic patterns may be unfamiliar to some, so they need complete assimilation before practising commences. Start by clapping the pulse. Then follow it with the rhythmic pattern of the melody. This can really ingrain the ‘feel’. After which, focus on clapping the rhythmic pattern whilst counting each beat out loud at the same time. Although there are few accent markings in this work, there is a definite ‘push’ (or groove?) on the fourth beat of each bar which could be mistaken for, or feel akin to, jazz. Once the rhythm has been understood, it’s easy to make swift progress.
The melody is featured in some guise or other most of the time during this short piece. It appears alone in the right hand (bars 1-8) and the left hand (bars 9-16, where it’s inverted). It is played in unison (bars 20-24). It is also played as repeated notes (bars 44-50). You can hear it in right hand octaves (bars 55-58) and in sixths, too (bars 59-66). So the trick is to find a way to vary the sound and touch throughout. Bartók is always very specific about tempo and dynamic markings. Beyond this, the interpreter must work some magic. Here’s the original tune, which is bright and jocular, and must be played very softly and serenely at the opening:
Start by compartmentalising the melodic sections, so you know where the melody occurs and how it has been transformed as the work progresses. Analysing a piece can prove extremely effective and using red pencil is a good way to identify sections. Then write as much fingering in as possible. Suitable fingering makes all the difference when honing a smooth performance.
Next, concentrate on the ‘accompanying’ material, which is just as important. Often it’s more important. Again, write in all fingerings. The touch should be predominantly legato. Keep pedal use to a minimum. The copious chordal left- and right-hand passages showcase Bartók’s use of bitonality. He often uses two keys at once. In many cases, these passages also demonstrate polytonality, where many keys are used at the same time. This Dance is in the key of C major. However, the increasingly dissonant harmonic progressions throughout provide exotic flavour and spice.
As always, working in small sections usually proffers the best results, and certain passages require special attention. Take note of the ‘off beat’ accompaniment sections from bars 25-32 and bars 33-39. The syncopated chords can be lighter and generally shorter than the melodic material. However, placing them correctly is vital and challenging. Success will depend on the grasp of the pulse, and assimilation of the ‘groove’. If rhythm is causing some grief, try breaking down further. Divide each bar into three sections. Play the first three quaver beats (the first ‘3’ in the time signature). Then take a short pause. Now continue with the two quaver portion (the ‘2’ in the time signature), now another pause. Then finally the last three quavers in the bar (the last ‘3’). It’s easier to understand a complicated pattern when broken up completely. This will take time. Eventually, the 3+2+3 will be easily grasped. Joining bars or groups of bars will be relatively straightforward.
Chordal progressions such as those in bar 51-54 need flexibility technically. The 3+2+3 pattern provides the perfect opportunity to split the bar. Play the first three quaver group. Immediately follow it with the duplet (quaver) group. Then, take a slight pause (to ‘rest’ the hand) before playing the last group of quavers. Give the wrist a ‘rest’ between the chords. This allows for release of any tension. It also encourages a slight ‘push’ on the sixth beat of the bar. This adds to the rhythmic energy and momentum. All chordal sections can be broken down in this way.
The other issue which needs addressing is moving at speed from one ‘section’ to another. Dance No. 4 has a swift tempo. Many figurations move quickly from one place on the keyboard to another. The dynamics sometimes change just as rapidly. This means a free arm and body are needed for accuracy. Try taking two bars such as this (bars 8 and 9):
And start by working hands separately. Leaps or jumps can be surmounted by slow, deliberate work. Play the last beat of bar 8. Then, move to the first beat of bar 9 over the jump. Carefully calculate the movement needed by each hand. Ensure each hand lands accurately in the middle of the note with correct fingering each time. Play the last chord of the left hand in bar 8. It consists of A, C sharp, and E. Then, take your time when finding the low E in the next bar. Once found, don’t play it, just sit on it and survey the movement needed for the jump. Do this slowly, taking your time. Once you’ve done this a few times accurately, you can go ahead and play the notes. Do this with the right hand too. Then slowly put hands together. Gradually build confidence with each jump. Increase the speed afterwards.
Another useful tool is to practice going too far. This means going one octave higher or lower than necessary. In the case of bar 8 to 9, it involves jumping in the left hand in bar 8 (last chord of the bar) to bottom E (first beat of bar 9), but going one octave lower than written. Leaping much faster than actually needed can also work well. When the speed is slowed down to the actual or original tempo, the jump can seem easy. Also working with accents and different touches (especially important for changing dynamics) can reinforce the accuracy of the jump. It is important to prepare the body mentally and physically for any jump. This preparation becomes easier when the upper body is loose and relaxed. Build a feeling of relaxation into jumps. Incorporate physical freedom too. This way, at the crucial moment, your body resists the urge to ‘lock-up’. Your arm feels light and free during the leap. Leaps are easier to judge if they are memorised.
These tips are just to help you get started. There are so many ways to work at a piece. Here’s a recording of Bartók playing all six dances. The fourth can be heard at 4 minutes 30 seconds.
