The "Turkish Rondo" is the last movement of the Sonata in A major, K331. However, it is quite often heard on its own, and has become one of Mozart most popular piano pieces. Its joyous, dancelike character and fast ornamental patterns speak to people of all ages.
The army music of the 17th century Ottoman Turkish Empire was something that inspired several Western composers, not only Mozart but also Haydn, Beethoven, Jean- Baptiste Lully and others. In the west, this was often called Janissary music, after the elite troups of the Sultan, the yeniçeri. Common instruments in a Janissary band were the zurna (a very loud, oboe-like double-reed), a boru (a trumpet), the nakkare (small kettledrums), the davul (a large bass drum), and the zil (cymbals); loud percussion and piercing wind instruments, designed to be heard on the battlefield. In Mozart's time, when imitating this kind of music at the keyboard, it was not unusual to make use of a so called Turkish stop, a pedal that caused a bell to ring and/or a padded hammer to strike the soundboard in imitation of a bass drum.
Don't feel forced to play this movement extremely fast, even if that is what you hear in several recordings. After all, the tempo marking is Allegretto, not Allegro or Presto. Keep a steady pulse throughout; remember that the music is supposed to suggest a marching military band!
Play clearly and lightly in the sections marked piano (eighth-notes staccato), and save the heavier touch as well as the right pedal for the octave sections and the coda. The right hand chords in bars 97, 98, 103,104,116 and 117 should be... Sign up for a Gold membership to read the practice tips.
I'd like ideas for teaching a particular section of Rondo alla Turca. The 3rd theme (sorry, don't have the measure numbers in front of me) reappears near the end, but this time as octave 16th notes (A A B B C# C#). It goes too fast to use a lot of wrist rotation, although of course a very relaxed wrist is essential. My student is struggling to get this to all sound clear and fast enough. What's the best way, technically, to get through this section? I've given him several tips, but he is still struggling.
Just wondering if anyone knows of an ez version of Mozart's alla turca. I got a six year old who is love with anything classical and made a request to play this. (It makes me happy when little kids tell me they want to play Bach or Mozart, especially if they've only been playing a short while. All hope is not lost!) If not I guess I'll just have to do it myself, which isn't such a bad thing. Peace.
I'm getting ready to perform this piece in a recital, so I've been listening to as many different recordings of it as I can, in order to get a sense of how I should play it. I come across the usual differences you'd expect from one performance to another (stoccato vs. legato, some phrasing issues, tempo) but when I listened to Rachmaninoff's recording, I found one very interesting deviation. In the second beat of the fifth measure, my version (and all other performances I have heard) play A and then C before moving onto the grace notes. Rachmaninoff plays G and then A. I just found this peculiar. There were some other interesting qualities about his playing, but this is the one that stuck out most to me. The thing is, I think it might actually sound better the way he plays it.
Is there some ambiguity as to which are the correct notes? I know that with some scores, there are certain things that can't be authenticated, and we're left with guesses at what is correct or incorrect. Or was it that Rachmaninoff just felt like playing things differently to how they were written? I wouldn't be surprised either way, though it seems to me like he'd be more inclined to follow the score, as any classical musician would.
Of course, I'm also curious about the eighth notes at the beginning of the second and third measures. In some of the recordings I have heard, they're played as stoccatos, in others legato. In my version, they're slurred to the previous tuplet as eigth notes, with an eighth rest afterward. Is there such a variance in scores that they are on some marked as stoccato? That's the only reason I can think of that someone would play them as such.
These sort of inconsistencies interest me, as I try to maximize the quality of every piece I perform by listening to different recordings and trying different ways of playing. Any insight would be helpful.
Ok, I'm new..... In about a month I am going to have a recital(nothing big...I am late intermediate). A recital for all the students my teacher teaches. From the subject you see what I'm playing. Any tips or anything y'all might could give me on playing this piece? Well, thanks! HisCookieMonster
im really having a hard time mastering the coda for this piece(the ending). i've fully mastered everything else except for this part and the spreading octive part needs a touch up. i find it extremely hard to play comfortably. please help with some technical advice or maybe some specific excercises that will help. >< Dont get me wrong, im not much of a newbie, i mastered a few hard pieces than this that are a higher level than this piece .
rondo alla turca: its over here page 4 http://www.mfiles.co.uk/scores/alla-turca.htm and i need a little help with page 3 with the spreading octives please but more importantly page 4. accenting with the 5th finger, the chord trill, playing ff than all of a sudden you got to play it soft for the mp part smoothly. practically the whole thing. If you played this piece please give me some tips, i want to master this piece.
Hey guys . I am new to playing the piano (started a year ago) and i am attempting to play Turkish March by Mozart. I am having a few problems playing the grace notes (ornaments) in the beginning of measure 6 ( the notes are GAB) in the treble clef.
Whenever i play it, it sounds like i am hitting a chord instead of three different notes in quick succession.
I think the problem is in the fingering. I am now using RH 345 to play it.
I really do not understand this. Why, in some editions, does it list Rondo Alla Turca (Mozart, of course) as K331, while others use K311? Most say K331, but I've seen at least two editions listing it as K311. Is K311 a typo?
Specifically, the left hand pattern from measure 21-26, and also the right hand 16th note runs in measures 36-44. What are the conventional fingerings for these, and what do YOU use? All help is greatly appreciated.
This is my first post here, so I will introduce me. My name is Bart de Keijzer, 20 years old, I'm playing piano for 2 years now. Unfortunately I have no money for a teacher. I'm not _completely_ new here, I have been reading/observing this forum for about a year. I find it really helpful. I just didn't post anything before, because I feel I'm too unproficient to provide any useful comments/advice.
However, I would really like to receive some feedback on this problem I'm facing. It's about this piece I attached. I have been playing it for way too long (I don't dare tell you how long). I wanted to play this thing perfect, but it still isn't. There are even some very obvious mistakes in it, and I think it's just far from being at the level of playing you usually hear on a CD recording.
Furthermore, I want to add: When I started to practice the piece, I thought I could easily handle it. It turned out to be lots more difficult than I thought it was (by hearing). I'm guessing I picked a piece that's just not within my grasp.
So first of all, what do you think of the playing? And secondly, what do you advise me to do next? Should I quit practicing this piece or should I continue to improve it? This really begins to frustrate me. I'm starting to suspect it's impossible for me to get it right.
"All of my students are members of Pianostreet and many of my teacher colleagues have joined as well.
It is an excellent resource for students and teachers alike and there is very rarely any need to visit another website or music store in search of sheet music."
"As a frequent user of pianostreet.com I find it easy to navigate, great value for money and very professional. The pieces are all well-graded and the audio is really useful, especially for pieces not heard before. I have recommended the site to many of my friends who play the piano. Keep up the good work."
"Wonderful service! [...] I have no reservation in recommending it as a “must” to all pianists, both teachers
and students, amateur and professional." Read full review >>
Dr. Robert J Keane, pianist
"I was in Poland the past summer to give 2 concerts. At the last minute they requested some Chopin, which I had not brought with me. So, I google-searched for classical downloads and found your site. I was able to print out excellent editions of the pieces I needed within minutes. To find the scores locally would have been inpossible as it was a smaller town, the nearest music store 45 minutes away."
"Piano Street has been a wonderful tool to me as both a pianist and a piano teacher. I can browse the collection for pieces I want to play and/or have my students play. The difficulty rating system that Piano Street uses enables me to search by difficulty level for pieces at my students' various playing levels. It is helpful that many of the scores include an audio clip of the piece being played. I have recommended to my advanced students that they also join Piano Street since getting sheet music from there is a much less expensive alternative to ordering and paying for the music.
Steve D. Allen, Ph.D.
Owner/Piano Teacher, Allen Music Studio
Houston, Texas Read full letter >>