By Sri Namagiri Mahalakshmi Baskaran - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=119887478
Mango Walk Trad. Jamaican arr. M. Cornick Grade 1 ABRSM 2023 – 2024
Character/story of the piece – the song Mango Walk refers to a mango orchard and number 11 is a type of mango. It would be beneficial if the player has read the words to the song and how they fit the music they are playing. Singing the lyrics to the music is advisable as this will show where to accent particular notes within a phrase. The song is based on the calypso genre, the characteristics being a call-and-response format, a syncopated beat and witty and satirical lyrics. These characteristics the player must highlight when playing the music. The player would benefit from listening to music that contains calypso rhythms. The notes that accompany this piece state ‘much of the strength of this piece results from the way in which the notes of the melodic line are frequently drawn from the simple tonic and dominant harmony’.
Form – this piece is in two sections with the second section being a little shorter than the first, although if the piece was played as written, the second section would be considerably longer. The music is in G major, and the harmony is straightforward with its use of the primary chords.
Main part of the music – the main part of the music should occur in the final bar, at a fortissimo level. There should be a greater range of dynamics in the second section, as this will provide more drama to this section.
Phrasing – all the phrases in this piece commence with an upbeat. The player should consider how the upbeat contributes to the character of the music. There is an introduction of two bars, which helps to set the scene. After the introduction, there are four phrases containing four bars each. It is interesting to note that the introduction is repeated at the start of the third and fourth phrases, the melodic patterns at the start of the first and second phrases are omitted.
Tempo, time signature and rhythmic patterns – the arranger has stated that the speed should be 132 crotchet beats per minute. This is an appropriate speed; as is always the case, if played any slower the music will drag and lose its jaunty feel. If played too fast, the calypso lilt will be lost. Although this music is written in quadruple time, it would be advisable if the player considered the piece in duple time. Considerable time will need to be spent in preparation for learning this piece regarding the rhythmic patterns. The player and teacher could alternate between clapping the rhythmic pattern and the beat. It is important for the player to know exactly where the second beat of the bar should occur, such as in bar 4.
By Karthik Rangappa - https://www.flickr.com/photos/krpics/51204721765/, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=105987795
Touch/articulation – these are two aspects the player can utilise, as these will contribute to the jauntiness and changeable nature of the piece. Concerning touch, the player should employ as legato touch as possible in the introduction (and the repeats of this pattern) as well as the R.H. in bars 3 and 7. The slurs must be strictly observed, again using a legato touch with a gentle lift on the second notes. However, the player must contrast this legato touch by adopting a more intense, brittle touch when playing the single notes and the final accented crotchets. Contrast should also occur in the playing of the detached notes. When playing the detached notes at the end of a slur, the lifting finger should remain in contact with the key as it is lifted. The other isolated detached notes should be played with more energy and intensity.
Balance between the hands – for most of the time when playing this piece, the balance should be to the R.H. However, during the introduction, the repeats of the introduction and in bars 10, 14 and the final bar the hands should be more balanced in dynamics.
Dynamics – the dynamics that have been written, are overall, primarily loud. It will be advisable for the player to reduce these dynamics reserving most of the louder dynamics for the end. The use of a large range of dynamics is beneficial in highlighting the character of this piece.
Considerations when playing this piece –
· It is assumed that there should be a two-note slur present in the R.H. in bar 9.
· It is not suitable to employ any agogic changes when playing this piece, it is best to be played in strict time throughout.
· There are a few instances where the L.H. needs to move out of the way of the R.H.
· Even though the player should emphasise two beats in a bar, it will be advisable to not always emphasise these beats in the same manner every time. Variety in this regard will ensure that the listener will remain engaged.
· If the player could highlight particular notes of the chords, such as the lower note in the L.H. and the upper note in the R.H., this would be stylish addition to the music. However, this may be a little sophisticated for a Grade 1 player.
· Considering that the music contains a question-and-answer aspect, players could also think of it in relation to instrumentation. Maracas, steel drums, guitars, cuatro (a string instrument) and bamboo poles that are struck are calypso instruments.
· Even though the introduction is repeated, the player must notice how the articulation is changed when repeated.
· There is an awkward move at the end of the penultimate bar. The player must be ready to play the R.H. 5 on the A.
· A sudden change in dynamics at the end of bar 2 is appropriate as it will have the listener guessing as to what is following.
· Careful consideration must be given to how loud the fourth beat of the bar is played, for example in bars 4 and 5.
· Changing the R.H. to a 3 on Fsharp in bar 9 is crucial for what is following.
· This piece contains many ‘twists and turns’, and the player must always be thinking ahead as to what must be played next.
· The L.H. chords, such as those in bar 3, must be played with a full gesture.
· The hands must be left suspended over the keys for the final minim rest.
· To a certain extent, the piece feels as if there is a degree of suppressed energy.
· Even so, the music must have a sense of energy, determination and forward movement.