ぼだい樹（ドイツ民謡） - Iwama, Minoru

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Iwama, Minoru : ぼだい樹（ドイツ民謡）

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Work Overview

Music ID : 67185

Instrumentation：Piano Solo　
Genre：Reduction/Arrangement

Reduction/Arrangement

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.

First, it is recommended that learners practice the left and right hands of this piece separately, memorizing both parts before combining them. Our ears tend to gravitate towards the melody, often leading to a flat or unexpressive left hand.

Memorizing the left-hand line (voice) will facilitate practice and lessons.

For instance, in measures 1-4 of the left hand, in measure 1, as the line descends C-H-A, apply a subtle diminuendo from C to A. Then, in measure 2, as it further descends H-A-G#, reduce the volume slightly more than in measure 1.

Since the first note of measure 1 is C, the first note of measure 2 is H, and the first note of measure 3 is A, this also implies a step-by-step descent, so the A in measure 3 should start at the softest dynamic. However, from the subsequent C, the line ascends, so a crescendo should be applied. And the final F should be played softer than the preceding E, and so on.

At this point, the right hand in measure 3 descends from beat 3, gradually diminishing after peaking at E on beat 3, while the left hand, conversely, rises slightly. The piece should be performed with such an approach, respecting both voices.

In measures 5-6, the right hand ascends in an ascending sequence, increasing tension, and since the left hand also presents an ascending sequence from A-C-A to H-D-H, the volume should be increased simultaneously in both hands here.

In measures 7-8, as the right hand descends C-H-A, a diminuendo should be applied, and the left hand also gradually diminishes after E.

While this is merely an example, learners and teachers should incorporate their own interpretations and ensure that even a piece of only eight measures does not sound flat.

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.

Source: Tanoshii Polyphony 1 (Yamaha Music Media). This textbook is designed for players who have achieved a level of proficiency comparable to mastering Beyer. It is, so to speak, an introductory piece for polyphonic piano music.

The technical aim in this piece is primarily to add nuance to the lower voice (left hand part).

Firstly, in measures 1-2, while the upper voice (right hand part) plays the main melody with minimal movement, consisting of repeated quarter notes, the lower voice exhibits a sub-melodic descending stepwise motion after a quarter rest on the first beat. Since this quarter rest falls on the main beat, the first beat of the bass is inevitably missing, which makes it difficult to maintain a sense of pulse if played as is. Therefore, it is advisable to clearly feel and articulate the first beat in the upper voice. The lower voice in measures 1-2 is expected to be played with a smooth legato, as indicated by the slur. Although the upper voice has little movement, it is the main melody and not an accompaniment. Thus, a sense of balance is required to bring out the main melody in the upper voice while allowing the melodic movement of the lower voice to be heard as a background.

Next, the contrary motion between the upper and lower voices in measures 3-4 creates a polyphonic progression where both voices sound independent. In measure 4, while the upper voice pauses on a dotted half note, the lower voice provides a complementary movement with quarter notes, like an interjection. In such cases where only one voice moves independently, it is desirable to add nuance, such as varying the timbre of that movement.

Finally, regarding the movement of the lower voice from measure 5 onwards, it is composed solely of chord tones, and its melodic element is not strongly felt in isolation. However, the intervallic movement, a mountain-shaped motion of ascending and descending thirds in the upper voice, is similar, making the two voices move in a quasi-imitative manner. Therefore, although the nuance here is more subdued compared to measures 1-4, it should still be interpreted as a sub-melodic movement responding to the main melody in the upper voice.