Akimoto, Eriko : *in preparation*
Work Overview
Instrumentation：Piano Solo
Genre：for children
Total Playing Time：1 min 00 sec
Commentary (2)
Author : Kumamoto, Ryohei
Last Updated: March 4, 2025
[Open]
Author : Kumamoto, Ryohei
It is in ternary form.
A [a (measures 1-8) + a1 (measures 9-16)]
B [b (measures 17-24) + c (measures 25-28)]
A1 [a2 (measures 29-34) + Coda (measures 35-39)]
The key is A major, with no modulations. Although some borrowed chords are present, the overall structure is simple, primarily centered on diatonic chords. The pedal point on the tonic, observed in the theme, occurs in the inner voice. Typically, pedal points are found in the outer voices, either the bass or the upper voice. Let us imagine what such a pedal point might signify when combined with the title. For instance, it could represent the unchanging gestures or characteristics (pedal point) of a cat that gradually begins to age with the passage of time, or the owner's unchanging affection for the cat. Although these are minor musical occurrences, by using them as a catalyst for expression, a mere pedal point can transform into something significant for the performer.
A notable characteristic is the descending progression of harmonies throughout the piece. While individual harmonic resolutions exist, this emphasizes horizontal connections and an awareness of the melodic lines. Nevertheless, there are also several emotional chords, such as the dominant ninth of C major (V9 of the bIII key) descending chromatically in measures 23-24, or the quasi-diatonic double dominant in measure 26; one should thoroughly appreciate and express their brightness and changes in color.
Author : Ooi, Kazurou
Last Updated: May 30, 2025
[Open]
Author : Ooi, Kazurou
Excluding chords, the overall texture is two- or three-voiced. The left hand is sometimes two-voiced. For example, in the first four measures, the left hand is two-voiced, and these two voices should be clearly differentiated. Specifically, there is a bass progression, and another voice enters above it from the second beat. The upper voice of the left hand (tenor voice) is almost always a pedal point, so its volume should be kept as soft as possible (e.g., pp), while the bass should be clearly articulated (though, of course, softer than the right-hand melody line). From this point onward, pay attention to the distinction between the left-hand voices.
Another aspect to consider is the number of measures per phrase. First, consider phrases in units of eight measures: one from measures 1-8, another from measures 9-16, and so on. In such cases, avoid stopping the music at measures 4 or 12. Aim to play all eight measures in one continuous flow.
Subsequently, consider one phrase from measures 17-20, one from 21-22, one from 23-24, one from 25-28, one from 29-34, and finally one from 35-39. Of course, this is merely an example, and other divisions are perfectly acceptable. The important thing is to be aware of "where each phrase begins and ends."
