Character/story of the piece - clearly the title of this piece provides much to consider in relation to the interpretation of the music. In addition to this, Bullard states at the beginning of the piece that is should be played with a heavy disco feel. According to Wikipedia, disco is typified by four-on-the floor beats (this is where there is a bass drum hit on every beat), syncopated bass lines (not too much of this present in the piece), horns, electric piano, synthesizers and electric rhythm guitars. The music is beat driven and has a hypnotic rhythm. Some of these aspects need to be considered in relation to this piece and in particular the four-on-the-floor beats, the hypnotic rhythm and the music being generated a driven from the bass. The player could consider the playing of different instruments for the RH, however the same instrument should be thought of for the LH. In the final phrase, perhaps all of the instruments have joined in. In the footnotes of the piece, Bullard states ‘using similar sequences to those found in earlier music, this piece suggests the rhythmic feel with a steady drum beat’.
Form - this piece does not contain a particular formal structure although the phrasing provides cohesion as well as the use of similar material in most of the phrases.
Main part of the music - this should occur at the end of bar16 and the composer suggests this by the use od accents on all of the notes of the bar. This bar contains a crotchet on the final beat something that has not occurred in any of the bars up to that point. The fortissimo dynamic should be reserved for this bar.
Phrasing - there are four phrases in this piece with the first one commencing on the first beat of the bar. However, the subsequent phrases start on upbeats and in this regard the player should consider how this affects the character of the music. Each phrase basically consists of four bars and there is a short coda of three bars at the end.
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Tempo, time signature and rhythmic patterns - the suggested metronome speed that the composer should be followed and there is a danger that once the player becomes familiar with the piece that it may be played too fast. There are many details in this piece that must be realised and too fast a speed may result in some of those details not being played. There are many syncopated patterns present in the RH of this piece and these along with all of the rhythmic patterns that are used may require careful learning away from the piano first. Encourage the player to learn these patterns by tapping them out before attempting to play them on the piano.
Touch/Articulation - there are many changes required to the touch in this piece and this helps to contribute to some degree of variation considering that most of the piece uses similar melodic material. In the first phrase the player should employ an energetic staccato touch in the RH however it should not be overly energetic as this should be reserved for the final phrase. Following this, the second phrase should contrast directly with the first phrase with it used of two note slurs with some weight used from the shoulder on the first chord of the two-note slur followed with a gentle lift off on the second note. The third phrase projects a different character to the first two phrases and here the player must use a cantabile touch in both hands finishing with energetic accent as shown by the composer. In the last phrase the composer has used more accents than before and in this phrase the player needs to employ an energetic and slightly weighted touch at these points. The other notes should be played with an energetic staccato touch. Here the fingers need to be lifted further off the keys so that the speed of the finger descent helps to contribute to the slightly percussive sound. With so much variation in the touch in the RH it would be advisable in the player plays the LH with a staccato and resonant touch in all of the phrases apart from the third phrase where the patterns should be played legato. The degree of staccato used in phrases 1, 2 and 4 should be determined by the overall dynamics of the phrase.
Balance between the hands - the balance should be to the RH in the first, second and third phrases. However, in the third phrase and coda that hands should be more equally balanced. Very careful listening is required when bringing in the LH in the third phrase so that it blends in with the RH. There are upper notes in the RH that require highlighting as these contain an upward moving pattern throughout.
Dynamics - this piece provides the player with an opportunity to apply a wide range of dynamics. Often the player will need to be encouraged to use this wide range of dynamics and also to not be afraid to have sudden changes. One example of this is the change between bar 16 and 17 where the dynamics suddenly change from fortissimo to piano. As discussed before, considering that much of the melodic material contains similarity employing a wide range of dynamics provides the music with drama and interest. The second phrase could be played at a mezzopiano level and commencing the third phrase at a piano level will provide the room for the crescendo at the end of the phrase.
Rubato - this is not an aspect that should be used in this piece apart from the rit that is provided by the composer in the penultimate bar. A very small amount of slowing in bar 16 would be appropriate but this should be subtly applied.
Pedal - as with rubato, the only pedal that should be used should be in the final bars, again as shown by the composer.
Considerations when playing this piece
· Even though the LH often plays a repeated pattern it really is the ‘driver’ of the music.
· To provide interest for the listener the player should ensure that the loudest notes of the phrase should not always be in the same place.
· The use of the two-note slur should be exploited as this provides drama and tension to the music.
· Considering that some of the dynamics are quite loud the player should ensure that these notes are not played with harshness.
· The first phrase is fairly relaxed in style and it is not until the second phrase that it starts to become more syncopated in style.
· There needs to be contrast between the repeated LH crotchets and the LH quavers. The LH quavers help to propel the music forward.
· When playing the third phrase the player needs to employ a suitable gesture with the hands and elbows.
· As the composer states, this phrase must still retain its overall sense of beat evewn though it contains syncopation.
· The articulation is very important in this piece and this is especially the case in the third phrase.
· The RH needs to be lifted at the end of bar 17., as if an instrument is taking a breath.
· The player must ensure that the rit does not dramatically affect the rhythmic sense of the final bars.
· The player should wait for the sound the LH E to ‘emerge’ from the remaining pedal sound at the end before lifting both hands and pedal simultaneously.
· The F# in bar 18 should be a continuation of the melodic line from the previous bar.
· There is a danger that the final bars could be played too loudly; the fingers should be ‘ready to play these notes with controlled weight into the keys.’
· Perhaps the LH quaver patterns such as those at the end of bar 1 could be a group of people clapping.
· There is a feeling of relaxation in the third phrase which is shattered by a return to the more aggressive character at the end of the phrase.