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

Work Overview

Music ID : 57109
Instrumentation：Piano Solo　
Genre：eｘercise
Total Playing Time：1 min 05 sec
eｘercise
Piano Solo
piano solo

Commentary (2)

Author : Ooi, Kazurou

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

While the degree of dynamism in this piece may be subject to individual interpretation, it is certainly not a somber work and possesses an optimistic mood; therefore, it should not be rendered with excessive solemnity.

Another concern is that due to the scarcity of dynamic markings, the piece itself tends to result in a flat performance, which must be avoided.

The most crucial element in this piece is "directionality." By establishing directionality, a flat performance can be avoided. Each phrase progresses in two-measure units. Within these two measures, one should consider "where to progress towards."

For instance, in measures 1-2, the progression is towards melody line B on the first beat of measure 2. In measures 3-4, it is towards melody A on the first beat of measure 4. To reach these peak points, for example, in measure 1, the tension should increase from the first beat to the second beat, reaching the first beat of measure 2, and then gradually receding.

Using this as a reference, directionality should also be applied to other measures. In the A section (measures 1-8), measure 6 becomes the climax, so in the preceding measure 5, the tension should gradually increase from the first beat to the second beat. Do not forget that the left hand should support the right hand (the left hand also requires directionality). In measure 5, the left hand plays the same chord twice; ensure that the second beat is played with greater emphasis than the first.

Writer: Ooi, Kazurou

Author : Kumamoto, Ryohei

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

Ternary Form

  • A [a (measures 1-4) + a1 (measures 5-8)]
  • B [b (measures 9-12)]
  • A is repeated via D.S. al Fine, resulting in a ternary form.

The structure is asymmetrical, with the A section being 8 measures long while the B section is 4 measures. It can also be considered that the short B section acts as an interlude inserted during the repetition of the A section. A key point supporting this view is that the B section has less melodic and harmonic movement compared to the A section.

Harmonically, the subdominant progression of I→IV→I is striking throughout the piece. This progression has a softer character compared to dominant progressions, where the dominant chord reaches the peak of harmonic tension. Notably, the IV chord in measure 6 is given a fermata in root position, not an inversion, emphasizing the nature of this chord. However, the harmonic cadence from measures 5 to 8 is I (T) → IV (S) → I second inversion, V7 (D) → I (T). Since the IV chord is part of this cadence, it is crucial to be aware of the harmonic resolution up to measure 8, even while expressing the fermata.

In the B section, the melody from measures 9-10 is imitated in a lower register in the subsequent measures 11-12. There is also a dynamic change from forte to piano. Given the characteristics of the piano, rather than simply perceiving this as a change in dynamics, it's worth considering that a change in register also alters the timbre. Imagining personifications, such as two different characters, might be helpful. It can be assumed that the composer naturally intended such nuanced changes accompanying shifts in register.

Writer: Kumamoto, Ryohei

Sheet Music

Scores List (1)

Japanese