By Rosendahl - http://www.public-domain-image.com/public-domain-images-pictures-free-stock-photos/flora-plants-public-domain-images-pictures/flowers-public-domain-images-pictures/thistle-flower-pictures/seeding-flower-on-wind.jpg, Public Domain, https://commons.wikimedia.org/w/index.php?curid=24904825
What is the story the player wishes to convey to the listener?
The title of this piece will encourage the player to use their imagination when working out a story for this piece. Considering that the piece is elegant and uncomplicated, the story will need to reflect this. Perhaps the player could imagine a thistle bending in a gentle wind before it takes off on a journey. In the final phrase the thistle has landed and settled in another area.
What is the structure of the music?
The music is in three sections, with the second section starting in the same manner as the first. The first two sections contain 8 bars each however the final section is shorter with only 6 bars. The climax of the music is in bar 12, so the player must ensure that the listener's interest is maintained until the end using different dynamics and touches of rubato.
Main part of the music
As stated above, the main part of the music is in bar 12. Martha Mier has stated this by using a f dynamic marking at this point. The player needs to maintain the dynamics by keeping the level reasonably loud in the bars following the climax. And, it would be wise to start the last section at an mp level otherwise there is a danger that the music may become too quiet too soon.
Phrasing
In the first two sections there are two sets of four bar phrases in each and these sets of phrases balance each other. However, the last section contains an extended phrase of six bars, which contributes to the music coming to a close.
Metronome mark, time signature and rhythm
The metronome speed for this music needs to be chosen carefully because if played too quickly its character will be lost. Conversely, if played too slowly the music will not have the flow and energy that it requires to provide a convincing performance. A metronome speed of crotchet = 108 will provide an effective performance of this piece.
The player must project the triple time signature throughout the music. The music has a waltz-like character, which is emphasised on occasion by the accompaniment. The chords played on the second and third beats in some bars and the two-part playing in the latter part of the music contribute to the character.
The player must ensure that any agogic touches do not result in the note values being doubled.
Unexpected moments
Martha Mier has provided some unexpected moments in this music. For example, the D flat the LH in bar 4 is not what the listener may have expected to hear. The player needs to highlight this for the listener. And, again in bar 12 the listener may have expected D flat rather than D. In addition to this, the listener may not expect the RH taking over the melody in bar 13.
Beginning and ending
When commencing this music, the player needs to feel as if they are adding into music that is already playing. There could be a concern with the first note not sounding since it is played with the LH no. 5. The player needs to ensure that the LH no. 5 is 'active' and ready to go at the start of the music. This first note needs to be played with controlled weight into the key.
The ending is quite traditional in a way with its ascending arpeggio type patterns being played. This ending will need to be practiced quite a lot so that there is sufficient sound to the end of the piece.
Details and consideration
Musical Period and composer
There is information concerning Martha Mier on the Alfred Music Publishing website. It states that she joined Alfred Music Publishing in 1989 as a clinician and composer. One of her well-known sets of pieces is the Jazz, Rags and Blues series, a few of which have been set as ABRSM exam pieces. This piece is taken from The Best of Martha Mier, Book 2. She graduated from Florida State University and for many years had a piano studio in Lake City, Florida. She also has been active in Church music and as a professional accompanist. She has presented workshops in Australia, New Zealand and the United States.
Touch
Here is an opportunity for the LH to develop a cantabile and resonant tone since it has the melody up until bar 12. Nevertheless, the LH has a strong contribution to make to the music because from bar 13 until the final three bars it has two parts to play. The first LH notes of each bar, a dotted minim, need to be played with weight and resonance since this note needs to be heard throughout the bar. The RH will need to be played with a cantabile touch once it takes over the melody in bar 13. Up until the end of bar 12 the RH's chords need to be played quietly, blending in with the remaining sound of the LH as in bar 2. These RH chords must sound as smooth as possible, detached chords in this music will not be appropriate for the character. The final three bars will require a light and delicate touch as there should not be too much sound in these bars. Careful listening and control will be required so that the overall pedal sound does not become overwhelming.
Balance between the hands
Both hands have the balance here in this music at different times. For the first 12 bars the LH has the balance because the melody is in this hand. At bar 13, the RH takes on the melodic role, relinquishing it at bar 20. The accompanying hand must ensure that it is not too loud so that it overshadows the hand playing the melody. The hands are evenly balanced in the arpeggio section in the final three bars. Careful listening and control will be required throughout.
Phrasing
In the first two sections the player can consider that the two sets of four bar phrases balance each other, rather as if it is a question in the first phrase and an answer in the second phrase. The player needs to consider where the main part of each phrase should be so that there is variation to maintain the listener's interest. Since the first four phrases are in sets of two, the player must ensure that there is flow from the first phrase of the set to the second phrase of the set. In addition to this, the player should think about how the phrases connect each other dynamically. For example, at the start of the second phrase, should this phrase start at the same level as at the end of the previous phrase? Since the climax of the piece is in bar 12, the player should start the following bar at a slightly lower dynamic level.
Articulation
This music must be played legato throughout and there should be no detached sounds at all. Subtle use of the pedal in some areas will help to sustain some of the longer notes. When playing the repeated accompaniment chords, the player must ensure that each chord sounds equal in length and that when playing the second chord of the set, the fingers stay in contact with the keys when lifting to play. This will ensure a smooth and connected sound. The rests in this music are an important component of this piece.
The player needs to adhere to the articulation marks, lifting at the end of bar 2 in the LH, for instance. This adds to the character of the music; perhaps another small gust of wind is coming towards the thistle? The lifts in the following phrase from bars 5 - 7 help to provide forward movement in the music. When lifting though, the fingers should stay in contact with the keys when lifting from one melodic pattern to the next.
Seeds blowing in wind at Southwest Eastern Island, Midway Atoll, Hawaii. March 28, 2015. By Forest & Kim Starr, CC BY 3.0 us, https://commons.wikimedia.org/w/index.php?curid=71952361
Dynamics
Martha Mier has left no doubt as to her wishes regarding dynamics in this music. Although there is an mf marking at the start of the music, I feel that it would be best to start a little quieter so that the loudest part for the first eight bars is at an mf level. It might be wise to start bar 9 a little quieter than the dynamic at the beginning of the music thus giving the opportunity to have a wider range of dynamics in the second section. The player needs to ensure that the loudest part is played f in bar 12, however this should be the only bar that is at f level. As, I have stated before, do not drop the dynamic level too far at bar 17 since there are six bars of the music to play to the finish. There should be a wide range of dynamics in this phrase, the widest for the entire piece.
Rubato
Touches of rubato can be used throughout this piece. Some touches of forward moving rubato, especially when nearing the climax, is appropriate for the character of the music. In my opinion there should not be any use of rubato in the first eight bars in this piece because the listener must be fully aware of the speed of the beat before any small touches of rubato are employed. And, the player must ensure that at the rit in bars 13 and 14 and the molto rit. in bars 21 and 22 the note values do not become doubled. The lengthening of the notes, should in each case, be only a little longer than their correct value with the lengthening becoming greater as the rits progress.
Use of the LH
As discussed before, the LH has a number of different roles to play in this music, as does the RH. Throughout the first 12 bars the player must ensure that the LH chords are played in a consistent manner, as there is a tendency when playing the pairs of chords that the second one is held too long. The LH projects the melody up until the climax at the end of bar 12. At this point, there needs to be a smooth transition between the melody, as it moves from one hand to the other. In bars 13 until bar 19, the LH has two parts to play. The LH shoulder needs to be utilised as it plays the dotted minims so that these notes are played with sufficient resonance so they can sound throughout the entire bar. The minim notes in the LH must be played quieter than the dotted minim notes so that they blend in with the remaining sound of the dotted minims in each bar. In the final three bars the hands should sound as 'one'.
Use of the RH
The RH chords in the first 12 bars should be played with the fingers staying in contact with the keys so that their sound is not too short or abrupt. The player must constantly consider how loud these chords should be played, as they must not overwhelm the music. The only instance where this would be an exception is in bar 12 where the RH chord can be played at the same level as the LH note. The player then must be ready to immediately let the RH take over with the projection of the melody.
Pedalling
This is an excellent piece to introduce pedalling to a pupil if they have not already been so. Up until the climax of the piece, the pedal can be used in those bars where the LH dotted minims would benefit from being sustained to the end of the bar, for example as in bar 2. There is a danger here though, of sudden surges in sound when the pedal is depressed. Encourage the player to use as little pedal as possible and that the pedal is not depressed too far. From bar 13, legato pedalling could be used to enhance the richer quality of the music. Some quick half changes and fluttering will need to be employed to ensure that the sound does not become too blurred. A little blurring of the melody may occur nevertheless. The player will need to practice the final bars quite a lot because there is a danger where there could be too much build up of sound. In these cases, the player may push the pedal down too far and as a result; there is too much pedal sound. The player must only push the pedal far enough down to be working, no more than that. As each note is played, it should just be loud enough to be slightly louder than the remaining sound. A little judicious fluttering in bar 21 will help to reduce the overall sound. This of course, has to be achieved whilst becoming quieter, slowing down a little and playing hand over hand in an ascending pattern.
Additional considerations
· whenever playing a crescendo or diminuendo, the player needs to ensure that there is variation in the gradation of the sound. For example, in a crescendo there could be a few notes where the notes gradually become louder, then the next few could drop a little in sound before the final part of the crescendo is reached.
Bars 1 - 4
· start this phrase at an mp level.
· let the peak for this phrase be in bar 4 at an mf level.
· in bars 2 and 4 let the RH chords blend in with the remaining LH sound. The RH chords in bar 4 should be more prominent than those in bar 2. This will help to contribute to the feeling of flow to the following phrase.
· the RH needs to be positioned well forward in bar 2 so that it is easier to play the chord with two black notes.
· there is a danger that some of the notes in the RH's chords do not sound; the player will need to spend time practicing these chords with controlled weight so that all of the notes sound.
Bars 5 - 8
· let this phrase start at the same level as the end of the previous phrase. This level should be mp.
· let the peak for this phrase be at the beginning of the bar at the mp level with the phrase finishing at a p dynamic.
· this phrase should sound as if it has flowed on from the previous phrase as if it is answering what was asked in the first phrase.
· this phrase should sound a little light-hearted in comparison to the more serious first phrase. The articulation in the RH helps contribute to this character. (This is a good opportunity to discuss the use of sequential patterns).
· let the RH merge with the remaining LH sound at the end of the phrase with the dynamic dropping to p.
Bars 9 - 12
· begin this phrase a little quieter than the end of the previous phrase at pp level.
· the loudest part of this phrase is at the end in bar 12, at a f dynamic. By starting very quietly, the crescendo to the climax will add drama to this phrase.
· the final RH chord of the phrase can be played at the same level as the remaining sound in the LH as this will help to prepare the listener for the RH taking over the dynamics.
· start this phrase will a slight easing of the tempo, as if there is uncertainty. However, this will need to be balanced by forward movement in bar 11 just before the climax.
Bars 13 - 16
· begin this phrase slightly quieter than the previous bar at an mf level.
· let the peak for this phrase be in bar 14 at an mf level.
· the lift between bars 13 and 14 in the RH must be observed.
· the rit in bars 15 and 15 should not be exaggerated, a slight easing of the tension will be appropriate.
· this phrase again should be a contrast to the previous phrase. Although this phrase is not as light-hearted as the second one, it should contain less drama than the previous phrase.
· in bar 15 the RH commences on the second of two quavers, there should be no accent on this note, so tone-matching will be very important here.
Bars 17 - 22
· start this phrase at a quieter level than the end of the previous phrase at a pp level.
· let the peak of this phrase be at the end of bar 17 at a p level.
· bring out the RH A in the chord at the start of bar 20, as this is where the melody is.
· observe the agogic markings that Martha Mier has inserted into this music, the rit. in bar 19, the a tempo in bar 20 and the molto rit. in the final two bars. The player needs to ensure that the most slowing down is played in these final bars.
· play the start of bar 20 reasonably quietly as there should not be too much sound in these final bars. There will need to be some gradation in dynamics here so that the overall sound does not drop too much. Each note should be heard just above the remaining sound that the previous notes and pedal have created. Some use of flutter pedal will be appropriate.
· the player must ensure that their body is in a good position to allow freedom of movement as the lower and higher registers are played. These last bars should be played with a 'flourish'.
· in bars 20 and 21 the quavers must be joined smoothly from one hand to the next.