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yamaha music foundation & yamaha music media corporation : *in preparation*　*in preparation*

Work Overview

Music ID : 57047
Instrumentation：Piano Solo　
Genre：eｘercise
Total Playing Time：0 min 15 sec
eｘercise
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.

Once you can play all notes accurately and in time with the rhythm, you will move to the next stage. Let's gradually build the piece, step by step.

  1. In the case of this piece in 3/4 time, emphasize the first beat, and do not emphasize the third beat, as it is a preparatory beat leading to the first beat (this does not apply to measures 5-6, which are a solo section). Always maintain a pattern of strong, weak, weak, strong, weak, weak.
  2. Maintain balance. Ensure that the left hand never plays louder than the right hand. Particularly, in the perfect fifths in measures 2, 4, and 8, be careful that the upper G, played with finger 1, is not too loud.
  3. Measures 1-2, 3-4, and 7-8 are each composed of one measure of dominant and one measure of tonic. Play the dominant slightly louder, and the tonic more subdued.
  4. In measures 5-6, create a dynamic shape resembling a crescendo and diminuendo; be careful that the six notes are never played at the same volume.
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.

Analysis of “Shinpan Minna no Organ Piano no Hon 1” (No. 29)

This piece is the 29th in “Shinpan Minna no Organ Piano no Hon 1” (Yamaha Publishing). Since this textbook's pedagogical aims and difficulty levels vary progressively, considering the educational outcomes of practicing this piece and its position within the overall textbook helps determine the appropriate timing for assigning it to students.

A preliminary overview of the score reveals that the piece concludes on a C major I tonic chord, indicating it is in C major when considering the 24 keys. While this may seem obvious, there is a reason for stating it explicitly: when played solo, the piece begins on the dominant, which can sometimes make it sound like the Mixolydian mode. Measures 1 and 3 at the beginning are imperfect cadences starting on the dominant chord, lacking the third of the chord. The absence of this third, which provides harmonic color, makes the tonality feel ambiguous. To compensate for this ambiguity in tonality, an accompaniment part for the teacher is provided at the bottom of the score. Furthermore, in measures 1 and 3 of the teacher's accompaniment, the simple V chord is transformed into a dominant seventh chord, further emphasizing the image of the tonic key. Therefore, to help students develop a sense of tonality, it is essential for the instructor to play the teacher's accompaniment part for this piece.

Structurally, after the theme is presented through an imperfect cadence in measures 1 to 4, the piece concludes from measure 5 onwards. It is in a one-part form.

As mentioned earlier, the dominant chord passages in measures 1 and 3, lacking the third, have a poor sense of harmony. When the subsequent I tonic chord arrives, the sudden drop in register and the perfect fifth dyad (C and G) in the left hand often lead to a harsh attack. In terms of instruction, to teach the mechanism of harmonic resolution from dominant to tonic, it is crucial to aim for a stable sound without harshness in the tonic chords of measures 2, 4 (and also the final measure).

Writer: Kumamoto, Ryohei

Sheet Music

Scores List (1)

Japanese