Some of Brian Chapple’s pieces have featured over a number of years in the ABRMS piano examinations and March Hare, is no exception. It was in the ABRSM Grade 2 syllabus in 2003 -2004.
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Character/story of the piece - clearly the title is the starting point for the interpretation for this piece. The term Mad as a March Hare is an English phrase derived from the behaviour of hares during the mating season in March. This unusual behaviour includes boxing other hares, leaping into the air unexpectedly and chase each other around. The phrase first appeared in Lewis Carolll’s Alice in Wonderland - “The March Hare ... as this is May, it won't be raving mad - at least not so mad as it was in March." Therefore the player must project a mercurial, unpredictable and changeable character when playing the piece so that the behaviour of the hare is shown. The player could envisage standing in a paddock watching the hares run around, sometimes they are close and at other times they are further away.
Form - this most probably would be best described as a character piece. There are two melodic patterns that are used throughout the piece, the 5/8 bars with the pattern alternating between the hands and the chromatic patterns in 6/8 time.
Main part of the music - this is in the final bar where the composer has marked forte. It would be advisable for the player to commence the piece slightly quieter than mezzoforte. Some of the dynamics should be thought of regarding the position of the hares in relation to where the person is standing in the paddock.
Phrasing - there are four phrases in this piece, all four bars long. The phrases, apart from the first two which contain similar material, are slightly different lengths according to the use of two time signatures, 5/8 and 6/8. All of the phrases have a connecting passage from one phrase to the following.
Tempo, time signature and rhythmic patterns - clearly the speed needs to be quite fast as the composer suggests, the tempo indication shows five quavers being played at the speed of approximately 42 per minute. This may be the first time the player has been exposed to the use of an irregular time signature and there may be the danger that the player may try to ‘correct’ it by adding another quaver to these bars. The constant changing between the two time signatures contributes to the mercurial nature of the piece and it is only in the final phrase that the 6/8 time signature is used throughout providing a degree of stability. There are no particular patterns that would concern the player however the player must be very careful that only one quaver is heard except on the three instances in the final bars where two quavers are played together. Counting 123/12 and 123/123 according to which time signature is used will be helpful.
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Touch/Articulation - the touch can be changed in this piece which will help to contribute to the changeable character of the hare. Bar 1, for example, requires the LH to play the staccato quavers with a degree of resonance, feeling right to the bottom of the key bed with a gentle push. The RH quavers require a lighter staccato touch using energetic fingers with a stable forearm. The LH notes represent the hind legs of the hare and the RH quavers the front legs. It is important to ensure that the staccato notes are not held for longer than they should. When playing the chromatic quaver passages, the player should use a cantabile touch. The composer has written all of the articulation marks that are required. Some players may find it a little difficult to play the quavers with evenness. Clearly the fingering is extremely important in these passages (as it should be at all times) and although these patterns must have direction there should not be any notes that sound considerably louder than others.
Balance between the hands - obviously not a concern in this piece however some players may find the way in which the LH is played in this piece a little different to what they usually play. To a certain extent the LH generates the dynamics and momentum of the piece, in nearly every bar the LH plays on the first beat of the bar.
Dynamics - the player should not be afraid to use sudden changes in dynamics where appropriate. In the first phrase the range of dynamics need not be too large, staying within a mezzpiano to mezzoforte level is suitable. In phrase 2 though, the range of dynamics should be larger, piano to mezzoforte. Following this in phrase 3, the player should employ an even greater range of dynamics, ranging from pianissimo to mezzoforte. And, as discussed before the forte dynamic should be reserved for the final bar. In addition to this, the player should ensure that the loudest part of each phrase is in a different position each time.
Agogic effect - there should be no changes in the tempo in any way at all. The rests in the final bar provide an agogic effect to a certain extent.
Considerations when playing this piece -
· Think about how the hare runs - thumping sounds, back feet stronger than the front, darting about and resting at times.
· The melodic part in bars 9 - 12, the top notes of the chords, should be highlighted. Some Grade 2 players may find this a little tricky to execute however it is worth trying to do.
· The hands must be held over the keys at the end to indicate the final two quaver rests before putting the hands back in the lap.
· The finger number in bar 3 RH could be changed to a no. 1 as this would preserve the chromatic fingering.
· Gestures are important, for example a roll-off is required at the ends of the patterns such as the beginning of bars 4 and 5.
· In the last phrase the hare or hares are deciding which way to go and then they run off into the distance.