Wedding-Day at Troldhaugen

This is a rather light sounding piano piece by Edvard Grieg, composed in an A B A format. (He also produced an orchestral version.) When playing this piece, aim for good contrast between staccato and non-staccato notes.

Bars 1 - 20
In the first 10 bars, the theme is introduced. Note how the first time the theme is stated, the ending chords involve sixth chords. This is present in bar 4. Afterwards, this is nicely resolved the next time in bar 6.

Bars 11-20 is a restatement of the theme, but an octave higher. Note how it is marked as pp, as opposed to p.

Bars 31 - 48
These series of 16th notes form a bridge or transition type series. Observe how Grieg alternates playing the notes on the left and right hand, and how the chords are slightly syncopated from the bar lines. This creates interest in the music.

One more thing to observe, are the partial use of whole tone scales. This of course, is characteristic of the era. The scales first start on D flat and increase in tone after the pattern is repeated.

Another interesting element are the bars 45-48 - the chords are dissonant with respect to the left hand. The large range of the notes also increases the sense of excitement in the music.