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Home > Iwama, Minoru > さあ、のみほしてよ(イギリス民謡)

Iwama, Minoru : さあ、のみほしてよ(イギリス民謡)

Work Overview

Music ID : 67221
Instrumentation:Piano Solo 
Genre:Reduction/Arrangement

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.

This piece has strong polyphonic elements and is considered a two-voice polyphony. Learners are advised to practice each voice part individually and memorize them. Following that, the two voices are combined, but this piece features many sixths. This is where caution is needed.

A sixth, when played with the right hand, means the inner voice will invariably be played with fingers 1 or 2, and if fingers 4 and 5, which are responsible for the outer voice, are not strong, the inner voice will tend to dominate in volume. It is a very delicate interval. If these sixths are not played well, the presence or absence of technique will become more apparent than with other intervals, thus requiring the utmost care. Although I mentioned it's a two-voice polyphony, the melody line is considered to be in the right hand, and the left-hand voice part is considered to be a supporting voice. Ensure that the inner voice does not become too loud.

Therefore, the left-hand voice part should be played with less volume than the right, and with a different tonal quality. Furthermore, do not forget to shape the left-hand line.

The tempo, articulation, pacing, etc., of this piece are subjective, so there is no single correct answer, but at the very least, it is not a serious piece and contains optimistic elements, so a certain lively atmosphere is desirable.

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.

Source: Tanoshī Polyphony 1 (Yamaha Music Media Corporation). This textbook is designed for players who have reached the level of mastering Beyer. It serves as an introductory piece for polyphonic piano music.

Particular attention should be paid to the nuanced phrasing and balance of the lower voice (left-hand part), especially when the upper and lower voices exhibit contrary motion or different movements.

The tempo indication in the score is Andante. Andante signifies a walking pace. Here, considering the characteristic feel of 6/8 time (a two-beat feel where three eighth notes are perceived as one beat), the tempo indication should not be regarded merely as a speed notation. Instead, one should consider a tempo that allows for the expression of the piece's character and the unique sway inherent in 6/8 time. Extremely slow tempos that obscure the structure, or conversely, excessively fast tempos that make it difficult to grasp the piece's character, should be avoided. As can be understood from the theme, which has gentle motives and no abrupt changes in range, a smooth and calm expression should be felt throughout the piece.

Overall Structure

The overall structure is a small-scale ternary form: a (measures 1-4) + b (measures 5-8) + a (measures 9-12)

In the 'a' section, the first ending of measure 4 features an imperfect cadence, while the second ending features a perfect cadence. The perfect cadence in the second ending, where the tonic proceeds to the bass on the fourth beat, provides a greater sense of stability.

In the 'B' section, the melody moves more extensively, presenting a contrasting character to the 'a' section, which has gentler melodic movement within its range. Dynamic indications such as mp and mf should not be interpreted merely as changes in volume, but rather as reflections of these changes in the character of the sections, guiding the expressive interpretation. (Perhaps this is why dynamic indications are not ultimately expressed in decibels.)

Sheet Music

Scores List (1)