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The ABRSM Teaching Notes for the 2007 – 2008 syllabus provides an excellent introduction to this piece “this attractive, spirited Hornpipe needs to be approached with the rum-filled boisterousness of a galleon of sailors. It is not fast, but energetic, with rhythmic vitality, charismatic phrasing and a strong left hand”.
Character/story of the piece - As this music is in a dance form, the player can take their inspiration from the title. A hornpipe is an Irish, Scottish and English sailor’s dance that is performed with folded arms. The steps incorporate some of the actions involved in working on a ship: hauling in the anchor, climbing the masts, folding the sails and working with the ropes for example. Often the dancers wear hard shoes so that the sound of their feet helps them stay in time. Bagpipes or a fiddle sometimes accompanies the dance. There are variations of the hornpipe; some fast and some slow. One variation was popular in northern England and the lowlands of Scotland, which was in a lively triple time. An example is the song, ‘Dance ti they Daddy’. Often hornpipes have offbeat accents. The player should consider what the dancer(s) are doing in the music in relation to their movements. The player should be encouraged to watch the hornpipe dance, so they understand the character of the dance.
Form – this piece is in binary form, with both sections being of equal length. By the end of the first section the music has modulated to Bflat major. The music remains in this key until the end of the third phrase where it begins to return to G minor. The first two bars of the final bar seem to reinforce the key of Bflat major rather than G minor.
Main part of the music – this should occur, as suggested by the editorial markings, in the penultimate bar. As is always the case, the forte used here should not be too loud, the musical period in which this piece was written should be referred when deciding the dynamic levels. Therefore, it may be appropriate to commence the piece at a slightly quieter dynamic so that the forte level can be reserved for the finale of the music.
Phrasing – this piece contains four phrases with each section having two phrases each. At the end of the first and third phrases, the LH connects to the subsequent phrase using a crotchet note, a value of half of the beat. In addition to this, the RH overlaps as well at the end of the third phrase with an upbeat for the last phrase. This provides a small amount of tension with this forward movement to the last phrase.
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Tempo, time signature and rhythmic patterns – some players may find that suggested speed of 80 minim beats per minute a little difficult to achieve however this speed is appropriate for the piece. The character of the dance must be projected and the speed at which it is played is one of the ways that it can be conveyed. The triple duple time signature may not be one that the player has had much experience with. It is interesting to note that some of the bars have different accents because of the length of the notes in the LH. For example, in bar 1 the LH plays a minim at the start of every beat. However, in bar 2 there is a minim played on beat one and a semibreve played on beat 2. This pattern provides the music with a degree of delicacy that contrasts with the metrical accents of those bars where the LH plays minims on every beat. The player must ensure that all of the long notes in the LH are held for their correct length, so in some circumstances silent finger changing may be required or a finger played underneath another as in bars 11 to 12. The ornaments in this piece may be difficult for some, using time names and ensuring that the LH remains constant will be necessary for the correct playing of them. Apart from the realisation of the ornaments, there are no particularly complex rhythmic patterns. It is interesting to note that Purcell writes the crotchet and two quaver pattern in two ways, one with the crotchet first and the other with the quavers first. The player should consider how the use of the quaver pattern first alters the character of the music, it provides the piece with even more energy and forward movement.
Touch/Articulation – this piece is complex regarding both aspects. Changes in both aspects will make a considerable difference to this piece. The LH requires two kinds of touches to be used, one lighter and more energetic and the other legato, sustained and resonant. The resonant touch should be used when playing the minims and semibreves as this is the lower part of the LH and helps to underline the harmony of the bar. The crotchets in the LH, which are primarily absent from the second section, should be played in a gently detached manner that is supportive for the RH, they help to provide energy for the music but do not overwhelm the lower part. The RH should be played with an intense touch, the level of intensity can be altered according to the dynamics and movement of the phrase. The degree to which the RH fingers lift off the keys is important for providing the dynamics of each phrase. The articulation used in this piece is certainly complex and it would be beneficial for the player to play each part separately before playing them together. The detached notes should be gently detached unless they are present where the dynamics are louder, here they should be played a little more detached in comparison. On the whole, the notes at the end of the RH’s three note slurs should be lifted simultaneously with a wrist and elbow movement.
Balance between the hands – it may be beneficial for the player to think of this piece in relation to instrumentation. A bagpipe for instance could be playing the RH with another wind instrument playing the upper part of the LH. For most of the piece, the balance should be to the RH however there are parts, such at the ends of the phrases where the hands ‘blend’ together momentarily. This is not to say that the LH should be in the background, the LH plays a vital role in this piece. The long notes in the LH should be heard for their full length.
Dynamics – s full range of dynamic levels can be used in this piece. The player must keep in mind the musical period, so the forte in the penultimate bar should not be excessive. Commencing the third phrase at a pianissimo level will provide suspense and drama, and this will provide the player with a greater range of dynamics in the second section. The cresc. poco a poco does not necessarily just be getting louder, pulling back a little dynamically prior to the penultimate bar is effective. At times, the LH ‘pushes’ the RH dynamically. There are numerous repeated patterns in the RH and the player would be wise to ensure that not all of them are played identically dynamically.
Ornaments – these will be difficult to realise for some players however the perseverance in learning them will pay dividends. As discussed before, maintaining the consistent beat in the LH is paramount, so often the RH dictates the LH when ornaments are played in the RH. The player should consider the reason why the ornaments are in the music. As is always the case, the ornaments should be ‘blended’ into the melodic line at all times.
Considerations when playing this piece –
· it goes without saying that learning the piece with the correct fingering right from the start is necessary.
· The ornament at the start of bar 2 provides a degree of dissonance which should be subtly exploited. This occurs on other occasions too.
· There are some quite large stretches in the LH.
· Notice how the LH’s melodic patterns change throughout the piece and how these affect the character.
· In bar 12 the ornament sounds incomplete; this is deliberate as it leads into the following phrase.
· It would be easy to accelerate in the third phrase. Sequential patterns are present in this phrase.
en.wikipedia.org/wiki/Hornpipe