yamaha music foundation & yamaha music media corporation : *in preparation* *in preparation*
Work Overview
Genre:exercise
Total Playing Time:0 min 30 sec
Commentary (2)
Author : Ooi, Kazurou
Last Updated: May 14, 2024
[Open]
Author : Ooi, Kazurou
Although marked as 4/4 time, to avoid a drawn-out performance, a tempo of quarter note = 80 is desirable. As the music evokes percussion instruments, a vertical, block-like musical texture is acceptable. Maintain an absolutely steady tempo from beginning to end. No ritardando should be applied.
The main challenge in refining this piece lies in "how to differentiate the repeated phrases." Measures 1-4 and 5-8 are identical in both notes and rhythm. Measures 9-10 and 11-12 are also identical. Furthermore, measures 13-16 are the same as measures 1-4. These "identical phrases" should not be played identically; some variation is desired.
As mentioned, the variation should not involve changes in tempo, but rather in dynamics and tone quality. Measures 5-8 may be played around mp to create a contrast with the mf of measures 1-4, but even if played p, it should be a "tense p." A mysterious atmosphere is desired.
For measures 1-4, 5-8, and 13-16, establish a sense of direction from the first measure, with the third measure of each phrase serving as the peak point.
Author : Kumamoto, Ryohei
Last Updated: October 9, 2024
[Open]
Author : Kumamoto, Ryohei
Form
A [a (measures 1-4) + a1 (measures 5-8)]
B [b (measures 9-12) + a2 (measures 13-16)]
Tonality
Although there is no key signature, the tonality is C minor. The absence of a key signature is intentional, for educational purposes.
Theme and Atmosphere
The theme is found in measures 1-4. The quarter-note bass ostinato in the left hand evokes the drum, as suggested by the title. Furthermore, the combination of the dark C minor tonality and the bass ostinato creates a uniquely mysterious atmosphere.
Harmonic Analysis of the Theme
Due to the identical repetition of the bass ostinato, harmonic changes are scarce within the theme; however, the F# on the second beat of measures 3, 7, and 11 implies a dominant chord. By perceiving these measures as subtly dominant and feeling the harmonic resolution in the subsequent measures, a clearer phrase structure can be understood.
Analysis of the 'b' Section
In the b section, a melodic line can be observed in the bass. Such changes in register lead to changes in timbre; therefore, a clear change in tone color is desired here, perhaps through pedagogical ingenuity such as personifying different characters. Harmonically, the progression of I → double dominant is repeated, and as an imperfect cadence, it transitions to the next section without harmonic resolution. For this reason, rather than harmonic expression, an intervallic expression that captures the augmented second from Eb to F#, or the augmented fourth from C to F#, is desired. Furthermore, while the accented major second in the upper voice seen in measures 10 and 12 are chord tones, their percussive nuance is considered stronger.
Arrangements & Related Works(1)
yamaha music foundation & yamaha music media corporation: インディアンのたいこ(NEWピアノスタディ1,なかよしピアノ2)
Total Performance Time: 0 min 35 sec
PTNA & Partner Channel Videos(7items)
Sheet Music
Scores List (1)

(株)ヤマハミュージックエンタテインメントホールディングス