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Home > Thompson, John Sylvanus > Spring Song

Thompson, John Sylvanus : Spring Song

Work Overview

Music ID : 87866
Instrumentation：Piano Solo　
Genre：Various works
Copyright：Needs Research
F dur

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.

Performance Tips

These performance tips are written with the assumption that no pedal is used. The opening indication states "Smoothly." Therefore, it is likely that the arpeggios in the first two measures should be played legato, not staccato.

Differentiating Repeated Phrases

The main challenge in perfecting this piece lies in "how to differentiate 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.

Dynamic Markings

Regarding dynamic markings, only "mp" appears in measure 1, with nothing else indicated thereafter. For measures 5-8, at least, set the dynamics to be different from those in measures 1-4.

Hand Voicing and Intervals

In both measures 1-4 and 5-8, the interval between the left and right hands becomes a sixth in measures 3-4 and 7-8. Be sure to bring out the right hand, ensuring the left hand does not become too prominent. The sixth is an interval that requires particular attention.

Measures 9-12: Left Hand and Right Hand

The left hand in measures 9-12 consists of "pedal tones" (or "sustained tones"). These should not be played loudly. Maintain a subdued sound, distinct from the right-hand phrase. For the right hand during these measures, a slur is indicated, so in each measure, the third beat should never be louder than the second beat; play it so that it fades away.

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.

The overall structure is binary form.

  • A [a (measures 1-4) + a (measures 5-8)]
  • B [b (measures 9-12) + a (measures 13-16)]

Motif 'a' is repeated without any change from measures 5 to 8. Overall, motif 'a' appears three times with an identical structure.

The bright tonality of F major evokes a serene atmosphere, reminiscent of Beethoven's Symphony No. 6 'Pastoral'. The arpeggiated line spanning two measures in the theme, or the ascending and descending motion over four measures, and the two-measure harmonic fluctuation in the middle section (measures 9-12) convey a sense of generous and gentle spring awakening and breath.

A characteristic feature of the theme is the arpeggiated line in quarter notes. While quarter notes might lead young children to play them as individual notes, the score indicates a slur spanning two measures. Therefore, pedagogical ingenuity is desired to connect these two measures as a single flow. The overall structure of the theme is an ascending and descending line, and the descending motion exhibits a dominant-to-tonic harmonic resolution, suggesting that the nuance should include such harmonic expression.

The cadence is an imperfect cadence on the first inversion of the I chord. However, given that this piece serves an educational purpose at the introductory stage of piano instruction, it is considered better to prioritize expression centered on harmonic resolution rather than the instability of the inversion.

Writer: Kumamoto, Ryohei

Sheet Music

Scores List (1)

Japanese