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Bastien Family : Library Piano Solos level 1　My Favorite Lunch

Work Overview

Music ID : 26164
Instrumentation：Piano Solo　
Genre：Various works
Piano Solo
piano solo

Commentary (2)

Author : Ooi, Kazurou

Last Updated: May 14, 2024
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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

Notes on this Piece

  • Shape the melody in measures 1-2 to prevent it from becoming flat. The same applies to measures 5-6. Consider the C on the 4th beat of measure 1 as the target note.
  • In measures 2 and 6, when the same note (A) continues, try to sustain it as much as possible through to the next note.
  • In measures 10-12, play the top note, D, so that it is most prominent. Since it is taken by the left hand, the balance tends to be easily disturbed. If you absolutely cannot achieve this, play F-A-C with your right hand and only D with a strong finger in your left hand; this will make the D resonate.

Furthermore, the lowest note of the chord, F, is also important. Ensure this note is not indistinct.

Although the piece is marked "at a moderate tempo," the fundamental character of this piece is an optimistic mood, and a lively atmosphere that does not drag is desired. Therefore, be careful not to let the tempo become too slow.

Writer: Ooi, Kazurou

Author : Kumamoto, Ryohei

Last Updated: October 9, 2024
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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

Form

F major.

One-part form:

  • a (measures 1-4)
  • a1 (measures 5-8)
  • Coda (measures 9-12)

Analysis

The theme (measures 1-4) comprises two distinct motifs: one in the first two measures and another in the subsequent two measures. The motif in the first half is centered on smooth motion, including non-harmonic tones and passing tones. In contrast, the motif in the latter half uses chords, is rhythmic, and even conveys percussive elements when considering the development of the same motif in the coda.

Furthermore, the first two measures feature a single melody without accompaniment, and legato expression is expected due to the slur extending over two measures. However, in measures 2 and 6, the A note is repeated, requiring legato performance. This necessitates striking subsequent notes with fingers kept as close to the keyboard as possible during the keystroke. If children in the introductory stage practice this, patient guidance will be necessary. Nevertheless, such perseverance might be essential to foster an early awareness of sound and touch in students, considering the educational purpose behind the composition of this piece.

Overall, as the piece largely features a single melody, harmonic shifts are not prominently felt. The only instance is from measures 7 to 8, where a dominant seventh chord in its third inversion, containing the raised fifth (G#), resolves harmonically to the tonic chord. If this G# is considered enharmonically as Ab, it is actually the flat third blue note in the F blues scale. This placement of notes is characteristic of Bastien, an American composer.

In measures 10-12, there is a second interval between C and D. Harmonically, this could be interpreted as an added sixth (D) to the tonic (I) chord. However, it more likely serves as an exclamation mark, expressed through the sharp sound of the dissonant second interval, perhaps even somewhat percussive.

Writer: Kumamoto, Ryohei

Sheet Music

Scores List (1)

Japanese