Shenandoah trad. Arr, by Ned Bennett Grade 4 ABRSM 2021 - 2022
Character/story of the piece– clearly it would be advantageous for those learning this piece to read about the origins of this song. The player should sing words to the music in their head as they play as this will provide an understanding of the meaning and emotion contained in the music. Opinions differ as to the origin of the song however most agree that the song appears to have its origin from the American and Canadian voyageurs or fur traders traveling down the Missouri River in canoes in the early 19C. These men were often lonely and in many cases, they befriended the Native American people they encountered. There are variations in the lyrics, some versions are sea-shanties or in others, the lyrics refer to a fur trader wanting to marry a Native American chief’s daughter. The Native American chief was called Shenandoah.
Form - this piece is in binary from with the second section commencing at bar 10 and there is a coda of four bars where the previous phrase’s melodic material is repeated with inner parts presents. The first section is in G major and although the rest of the piece remains in this key, there are a number of chromatic notes present in the second section.
Main part of the music - the arranger of this song has provided some excellent dynamic and agogic indications which should not be ignored. The arranger has broadened out the music at the end of the music and this helps the listener to focus on the main part which is at the start of bar 19. As suggested by the arranger, the dynamic level at this point should not exceed mezzoforte.
Phrasing - the phrases in this piece are not of the same length throughout. For example, the second phrase in the first section is six bars long and the last two phrases are three and two bars long. All of the phrases commence with an upbeat and the player should consider how this contributes to the character and mood of the music.
Tempo, time signature and rhythmic patterns - although there is no tempo indication on the music, choosing the correct tempo for this piece is vital in portraying its character and songlike quality. I would suggest that a speed of crotchet = 92 would be appropriate. The time signature of 4/4 provides fewer emphasised beats and allows the music room to breathe. Syncopation is used on occasions in this piece and there may be some players who will require help in playing them comfortably.
By Charles Deas - https://americangallery19th.wordpress.com//?s=charles+deas&search=Go, Public Domain, https://commons.wikimedia.org/w/index.php?curid=66027940
Touch/Articulation - clearly a cantabile touch is necessary throughout this piece as this projects the songlike quality of the music and also assists the listener in knowing where the melody is at any given time. The sound should be warm, rich and resonant. However, there are secondary melodies throughout the piece and these need to be projected too with a cantabile touch. Changes in the dynamics in the melodies being played simultaneously will aid the listener. The RH has the main melody in the first section, and the LH which commences two beats after the RH, plays a secondary melody for most of the time. At the start of the second section, the LH plays the main melody, with the RH for a time taking on the secondary melody. For a short time, prior to the main part, the melodic line is shared between the hands before the RH continuing with the melody and the LH combining both a secondary melodic line chordal accompaniment.
By Cmichel67 - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=107239374
Balance between the hands - there are two parts in this piece that need to be portrayed as discussed above. Very careful consideration must be given to how loud the first note is played after a rest or held note in the other hand. The player must listen very carefully to the remaining sound of the other hand and match the first note to the same level or less than what the other hand’s note or notes have faded to.
Dynamics - when playing this piece, the player must be able to control the dynamics with sensitivity, especially when employing quieter dynamics. Commencing at a pianissimo level is advised and the dynamics should not exceed mezzopiano in the first section. This will enable the player to utilise a wide range of dynamics in the second section. The pianissimo indication in bar 15 will be particularly effective if the player suddenly moves to this dynamic level. Therefore it is important to drop the dynamics in bar 14 a little but not too much. Throughout this music the player must be acutely aware of the dynamic level of each melodic line and that any notes playing on their own need careful consideration as to their dynamic level. On may occasions the music should sound as if there are two singers singing a duet.
Pedal - there are only a few pedal marking present in this music however this does not mean that pedal should only be used in these areas. The pedal should be used in most areas but the anacrusis should be left unpedalled. Subtlety is the key regarding pedalling in this piece, so the pedal applied should be the minimum for it to be effective in conjunction with the use of flutter pedal. As is always the case regarding the application of pedal, the player should be keenly aware of how the pedal is affecting the music and take steps if the music sounds over-pedalled. The player should not commence pedalling until the music is being played HT. Here, the player must be extremely aware that there is no sudden surge in sound once the pedal starts to be used.
Rubato - considering the character of the piece, the addition of rubato is mandatory. Even so, the application of rubato should be subtle and be applied with thought to why it is being applied. It is best to resist using any rubato in the first few bars as this will help to establish the tempo. Apart from a slight slowing down at the end, all other rubato applied should be compensated. For example in phrase 2, a little forward movement could be used in bars 7 and 8 area with this being balanced by a slight slowing down in bar 10, prior to the start of the second section.
Considerations when playing this piece -
On a few occasions there are some repeated notes and these need to be played with sensitivity regarding the dynamics.
The small lifts in the melodic line are very important; these provide the space and breath that the music requires.
Often the hands ‘feed off' each other; one hand will prompt the other regarding the melodic line.
Notes such as the LH D in bar 6 help to maintain the momentum in the melodic line.
There are instances where the hands ‘blend’ together at the end of a phrase, such as at the end of the first phrase.
The dynamic level of the first RH note played is crucial; it should be played with a degree of prominence so that the listener is aware of the secondary melody that the LH will be playing.
There are some instances where the player is required to focus on particular notes of a chord so as discussed above.
To a certain extent it should feel as if there is a contest musically in the third phrase form which the RH ‘wins’.
The player must be careful to not wait too long at the end of the first section.
The syncopation present in bar 16 will be very effective with the application of quiet dynamics that follow on from bar 15.
The use of dissonance at the end of the second phrase, fifth and last phrase is something that should ne brought to the attention of the listener.
The LH becomes more insistent in bar 18.
The LH F sharp in bar 20 basically ‘buts’ in to encourage the music to carry on.
The rit is written at the start of the final phrase however to a certain extent the rit is written in as the note values become longer. So, do not commence the rit too soon.
At the end, the player should wait until some of the sound has died away and the LH D becomes the dominant sound before lifting the hands and pedal off the piano.