Cockatoo, photo by Manny Moreno, from Unsplash.com
This is an engaging 12-bar blue piece which will appeal to many Grade 1 candidates. Even though the piece is only 12 bars long, its twists and turns create a picture in the listener’s mind of the character and antics of this cheeky and mischievous bird.
Character/story of the piece - obviously the title of Cockatoo is the starting point for the interpretation of this piece. Elissa Milne has used a lovely word at the start of the composition, pertinacious which may require some explanation. It means determined, tenacious, persistent, purposeful and intractable and in respect to this piece, the cockatoo is trying to gain the attention pf someone and will not give up until he does. The player should watch some footage of how cockatoos walk, fly, behave and interact. Or better still, a visit to a bird park or similar where there are cockatoos would be extremely beneficial. These birds have an unfair reputation, often when they are kept as pets. They are extremely intelligent birds with a mischievous streak but if not paid enough attention, will become moody and temperamental. Cockatoos walk in a ‘pigeon-toed’ manner which is rather comical which has a certain amount of swagger and bounce. Their sound can be quite loud and sharp however they do use quieter sounds as well. When playing this piece the player should think of the bars 1,2,5 and 6 as the bird flying and landing on a balcony rail for example. The last LH crotchets of bars 1,2,3 and 6 could be the cockatoo squawking gently to let someone know they are there. In bars 9 and 10, the cockatoo is becoming more insistent in telling someone that they are there. Bars 3,4,7 and 8 are where the cockatoo is walking along the balcony rail with swagger and bounce. In the last two bars the cockatoo has managed to attract the attention of someone.
Form - here is an excellent opportunity to discuss the 12-bar blues form with a pupil. Elissa Milne in her notes to her Little Pepper series does though state that considering the harmonies in this piece are quite complex, this piece would not be the best one to explore the form of the blues. There may be other pieces that the player could explore that will broaden their understanding of this form.
Cockatoo, photo by Terri Raponi, from Unsplash.com
Main part of the music - the composer has written very clear instructions as to how this piece needs to be played and she shows that the main part is in the last bar. This is also highlighted by the use of molto rall. and a long crescendo in the penultimate bar. The player should be at fortissimo level in the final bar, allowing some of the sound to die away before playing the final chord.
Phrasing - there are three phrases in this piece in line with the fact that the piece is a 12-bar blues. All of the phrases– have two parts to them; a kind of question and answer effect. The player should notice how the composer has used the harmony with effect at the start of the last phrase as this provides the music with a degree of expectancy.
Tempo, time signature and rhythmic patterns - the footnotes suggest that the piece could be played at 116 crotchets per minute however it is best to play it at 126 crotchets per minute to ensure that the character of the cockatoo is portrayed. The music must have a cheeky and bouncy character. The time signature is in simple quadruple time although because of the swing aspect it is in compound quadruple time. This may be the player’s first introduction to the use of swing, numerous clapping activities will help to reinforce this rhythm. There are minim rests at the end of the first two phrases, these must be strictly observed as these add tension and anticipation to the music.
Touch/articulation - this music is full of contrast in numerous ways. The player can exploit the contrast with the use of different touches in the two parts of the phrases, especially in the first and second phrases. In bars 1,2,5 and 6 the player should use a energetic touch with a degree of intensity with a small accent on the first note of the pairs of quavers. Following these bars the player should use a cantabile touch with weight from the shoulders. The two-note slurs can be achieved by using the ‘drop-float’ approach. This use of touch needs to be in conjunction with the use of articulation and in this respect, the player has a range of articulation marks that must be observed. Firstly, the player should notice is where the staccato mark is used. It occurs on individual crotchets, for example in the LH in bar 1. Subsequent to this, these occur for example on the RH crotchet in bar 2, however this is part of a slur and needs to be played with the lifting of the wrist. The staccato marks in both hands in bars 10 and 11 should be played with the arm and shoulder but with not too much separation considering that they are marked on crotchets. These staccato marks require a sharper sound in comparison to those that are placed at the end of a slur. Surprisingly, the only accent mark is in bar 8 and although this must be highlighted it should not be played excessively louder than the notes before and after. Some players may find the use of slurs from the off-beat to the beat a little unsettling. All slurs must be strictly observed.
Dynamics - the player of this piece is left in no doubt as to what the dynamic level should be at any given point. Considering that the main part of the music is in the final bar, it would be advisable to commence at a mezzopiano level so that the player has the space to execute the crescendo and diminuendo in bars 3 and 4. The second phrase could start at mezzoforte level so that the sudden change to piano is effective in bar 7. And, as is shown in the third phrase, there are sudden changes of dynamics too. As in many cases, changing the dynamic level of the LH will make a considerable difference to the dynamic level overall. There should be a definite change in the dynamics at the start of bar 11. Some players may find the use of these dynamic indications a little different to what they experience in other types of music. The sudden changes highlight the character of the cockatoo. The player needs to be reassured that it is appropriate to employ the dynamics in this manner.
Balance between the hands - this is not a traditional melody and accompaniment piece with both hands playing an important role throughout the piece. The player should think of the parts in relation to instruments, in particular jazz instruments. In bars 1,2,5 and 6 the last LH note must be considered dynamically in regards to the RH. However, in bars 3,4,7 and 8 both hands should be played with equal dynamics. In the penultimate bar the LH has a very important role in supporting the RH.
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Agogic features - the molto rall. in bars 11 and 12 adds a feeling of triumph, it sounds as if the cockatoo is boasting about obtaining someone’s attention. Nevertheless, the slowing down must not affect the beat of the music to the point where all of the notes are doubled or more in time value. In addition to this, the slowing down should happen gradually not immediately at the beginning of bar 11.
Considerations when playing this piece -
· Starting in the LH with a thumb on the first not in bar 1 may be a little difficult for some players, perhaps a number 2 finger could be used instead.
· Bars 3 and 4 must always have direction, the dynamics are the key.
· The playing of the thirds in the RH in bars 3,4,7 and 8 may be difficult for some Grade 1 pupils. Often the notes can split, so working at a slow speed and with controlled weight into the keys will be effective. And, although it is appropriate to highlight the top notes of the thirds this could be problematic for some Grade 1 pupils.
· The top note of a melodic pattern does not necessarily need to be the loudest.
· The fingering in the RH in bar 12 will require some work.