Watanabe, Kenji : Broken Trumpet
Work Overview
First Publisher：カワイ楽譜出版社
Instrumentation：Piano Solo
Genre：for children
Commentary (2)
Author : Ooi, Kazurou
Last Updated: May 14, 2024
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Author : Ooi, Kazurou
This piece fundamentally progresses in two-bar units. Every two bars, there is a part for the trumpet and another part. While the latter could be an accompaniment, an ensemble, or a response, for clarity, we will refer to it as the 'ensemble' for now. Specifically, the trumpet sections are designated as bars 1-2, 5-6, 13-14, and additionally, bar 17. All other sections are designated as the ensemble. This creates an interplay between the trumpet and the ensemble.
Therefore, in the trumpet sections, for example, the right-hand part in bars 1-2 should be played like a wind instrument, with staccato or semi-staccato. It should not be played legato. The left hand can also be played staccato. Subsequently, the ensemble sections in bars 3-4 should be played legato. By creating such a clear contrast in articulation, the piece becomes very easy to understand, and it immediately becomes clear which part is being played (trumpet or ensemble).
Bars 9-12 are considered the B section. This is regarded as an ensemble section, not a trumpet section. The tone quality should be light and elegant, played in a way that does not depict a 'broken trumpet'.
Author : Kumamoto, Ryohei
Last Updated: November 14, 2024
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Author : Kumamoto, Ryohei
Musical Analysis
Binary form
- A [a (bars 1-4) + a1 (bars 5-8)]
- B [b (bars 9-12) + a2 (bars 13-18)]
Bars 1-4 present the theme, which is composed of two motifs with distinct characteristics. One, found in bars 1-2, is characterized by a diminished 3rd (A♭ and F♯, equivalent to a major 2nd, thus a dissonant interval), resulting in a weak sense of tonality. The other, in direct contrast, is the movement in bars 3-4, which has a clear sense of harmony.
This diminished 3rd interval, though seemingly abrupt and evocative of a broken, out-of-tune trumpet as suggested by the title, can in fact be explained harmonically. It is a double dominant with a lowered 5th. With not all constituent notes present, only the 3rd and the lowered 5th are heard. Furthermore, in typical harmonic progressions where a double dominant is used, it is usually followed by a dominant chord; however, in this case, the repetition of I (tonic chord) → double dominant contributes to the weakened sense of tonality.
Bars 3-4 and 7-8 are identical in their melodic and rhythmic content, though they differ in key. However, this does not mean they should be performed identically. Bars 3-4 are in the tonic key of C major, from which a partial modulation occurs to the dominant key of G major in bars 7-8. Opportunities to express the relationship between tonic and dominant keys in this manner are rare, making this a unique chance to highlight the difference between tonic and dominant in the era of equal temperament. Nevertheless, the difference in tonality here is likely more about the impression derived from a simple comparison of pitch levels rather than the distinct character differences of keys found in the unequal temperaments of the Baroque era.
From the b section starting at bar 9, the music returns to the tonic key of C major. Bars 9-12, with their strong repetitive elements, create a transitional impression. They are considered a bridge to the subsequent a2 section, which progresses rhythmically, rather than a dense musical development of the theme.
Bars 11-12 are a variation of bars 9-10, featuring more movement with the inclusion of non-harmonic tones (embellishing tones) in eighth notes.
Bar 13 employs a dominant 7th chord instead of a double dominant, momentarily suggesting functional harmony. This passage seems as if the broken trumpet has momentarily regained its tune. However, by returning to the out-of-tune double dominant with the lowered 5th in bar 14, the descriptive portrayal of the situation becomes more vivid. Such details reveal the composer's meticulous craftsmanship, making this a truly delightful moment.
Bars 16-18 represent an expanded movement of four bars. What appears in bar 17 is not a double dominant, but a diatonic dominant 7th chord containing a lowered 5th. After this tense dominant chord is played with an accent, there is a pause created by an eighth rest and a half rest, followed by the tonic note played in unison in the bass, leading to the conclusion.
