"Dives and Lazarus" presents several challenges that players may encounter, particularly with phrasing, hand coordination, and dynamic control.

1. Hand Coordination: In bars 16-32, the left hand features rapid chord changes while the right hand plays more melodic content. This requires the performer to develop independence between hands.

2. Dynamics Control: The piece requires nuanced control in dynamic contrasts, particularly in sections like bars 44-52, where the intensity shifts from forte to piano demands precision and sensitivity.

3. Technical Demands: The rapid passagework in the right hand during the latter sections (bars 72-80) can be challenging, requiring focused practice to achieve clarity and speed.

To master the technical demands presented in "Dives and Lazarus," here are targeted practice strategies:

1. Measures 1-16: Focus on fluency in the right-hand melody, especially during the transitions between phrases. Use a metronome to gradually increase speed, ensuring evenness and clarity.

Dynamic Exercises

• In bars 44-52, practice crescendos and decrescendos using a "layered dynamics" approach, where you start from a piano, gradually build to forte, and then smoothly return to piano. This will instill an understanding of dynamic shaping throughout sections.

Hands Separately

• Focus on the right hand during the intricate runs (bars 72-80) by practicing slowly, breaking down difficult passages into smaller chunks (4-5 notes), and gradually connecting them until the entire phrase is fluently played.

Use of Pedal

• Experiment with pedal usage during the melodic phrases in bars 32-40 to enhance legato when necessary. Understanding where to lift the pedal will aid in achieving clarity while maintaining smooth transitions.

Musical Analysis of "Dives and Lazarus" (If You Could Hie to Kolob)

"Dives and Lazarus" is a captivating piece composed by Borgtle, structured in the key of A Minor and set to a 4/4 time signature with a brisk tempo of 140 BPM. The melodic expression is characterized by repetition and variation, which creates an engaging listener experience. The primary melody is predominantly carried in the right-hand part, while the left hand offers harmonic support and rhythmic texture.

Unique Aspects

1. Form and Structure: The piece integrates a classic A-B-A-C form. The repetition of sections lends coherence, while the contrasts between them highlight emotional shifts.

2. Harmonic Progression: We observe a rich harmonic language in sections:

• The opening measures (bars 1-8) rely on a simple I-IV-V progression, employing A minor chords, introducing listeners gently to the material.

• A notable shift appears in bars 40-48, where the chord progression deviates into a secondary dominant, enhancing the emotional intensity.

3. Melodic Characteristics: The main theme introduces itself primarily in the first 16 bars. It features stepwise movement with an occasional leap that enhances its lyrical quality. Specific embellishments and ornaments add a touch of elegance, most notably in bars 32-40, where grace notes punctuate the melody, giving it a dance-like quality.

4. Rhythmic Patterns: The rhythm maintains a consistent, driving force throughout the piece, but varies with syncopation in measures 20-24, creating a playful and lively contrast to the more straightforward passages.

Dynamic and Articulation Context

From measures 60 onwards, a crescendo leads into a climactic section, which emphasizes the need for nuance in performance. A strategic use of dynamics from piano to forte showcases emotional crescendo and decrescendo, guiding the listener through the narrative of the piece.

Dives and Lazarus

• Artist
  England Folk Song
• Number of imitations:
  240
• Genre
  England Folk Song
• Key
  a
• Tempo
  140
• Pages
  16
• Notation
  England Folk Song
• Compose
  Borgtle
• Introduction
  Dives and Lazarus' - Borgtle, This music is undefined, arr. by England Folk Song, Suitable for all students to learn