By Peter Balcerzak - Imported from 500px (archived version) by the Archive Team. (detail page), CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=75814876
Secret Garden Pauline Hall Initial ABRSM 2023 – 2024
Character/story of the piece – there is a lovely illustration on the same page as this piece which will help provide ideas for the interpretation of the music. In the first phrase the person is walking towards and through the garden’s gate. This garden cannot be seen from the outside as there are walls around the entirety of it. Once the person is inside the garden they begin walking through the passages as if it is a maize. This is depicted in the second phrase. And in the final phrase from bar 15, the person has come to the focal point of the garden. This could be a lake, or a waterfall or a particularly beautiful tree. The rit. in bar 16 encourages the person to sit down, to pause a while. The composer has provided the words ‘slowly and mysteriously’ at the start.
Form – this is a character piece with a free-flowing form. The descending melodic changes from key to key contribute to the free-flowing character. In the final phrase, the melodic pattern ascends briefly before settling into a stationary pattern in the final bars. For example, in the first phrase, the first two bars are in A minor, the second two bars in G major, the third two bars are in F major and the final two bars are in the dominant of A minor.
Main part of the piece – this should occur at the start of bar 16 just before the melody leaps a sixth. Considering the gentle nature of this piece, too loud a dynamic level at this moment would be inappropriate. The dynamic level in bar 16 should be mezzoforte. There should always be a feeling of restraint in the dynamics when playing this piece.
Phrasing – this piece has an interesting set of phrases. This first two phrases are each four bars long. The following phrase lengthens to six bars. And the fourth and final phrase is six bars long. The different phrase lengths contribute to the free-flowing character of the piece.
Tempo, time signature and rhythmic patterns – there may be differing opinions regarding the tempo of this piece. In my opinion the tempo should be 100 crotchet beats per minute. However, the player could also think of a dotted minim beat, a one-in-a-bar feel. There is a danger that the player may either accelerate or slow down when playing this piece. To ensure that this does not happen the player should play the piece on a regular basis with the metronome. The dynamics will need to be carefully judged so the emphasis is not always the same on the first beat of the bar. Obviously, the triple time signature is the right one for the character of the piece. There are no rhythmic patterns that should cause concern.
By The Secret Garden? by Michael W Beales BEM, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=114787403
Touch/articulation – a cantabile touch is required throughout most of the piece with sporadic moments of a more intense touch in bars 15 and 16. The composer has specifically written in numerous short slurs, and these should be strictly observed. However, there is a danger that the player may lift the R.H. too soon when lifting between the end of one slur and the start of another.
Balance between the hands – the balance between the hands should be to the R.H primarily although from bar 15 the balance between the hands should decrease with the final four bars having little difference between the hands balance-wise.
Dynamics – as discussed before the dynamics used in this piece should not be overly loud considering the character of the piece. The player is required to listen carefully to any changes in the phrases, tone-matching is a necessary skill when playing this piece. Although the dynamics need to sound restrained, at no point should they sound thin or lacking in depth. Even when playing quietly the music should sound rich and resonant.
Pedal – this would clearly enhance the richness and warmth of sound produced however this may be a skill that is beyond most Initial grade player’s abilities. If pedal can be applied with subtlety, encourage the player to use it. If used, some flutter pedal will need to be applied in bars 9 – 16.
Agogic effects – the use of rubato is appropriate for the character of the piece. Nevertheless, this should be kept to a minimum. The beat must be firmly established first before any rubato is introduced. A slight slowing at the end of the second phrase will give the listener a little time to adjust before the new melodic pattern is introduced. The third phrase should not contain any rubato however a slight acceleration prior a small easing of the tempo in bars 15 and 16 will not only highlight the main part but will also add an attractive aspect to the playing. The application of the rit. in the final five bars should be carefully applied ensuring that the rhythm does not become distorted as a result. The player must regularly play the piece with the metronome, then they will know how they are modifying Thethe beat.
Considerations when playing this piece –
· The top notes of the R.H. chords could be highlighted however this is a skill that may be too sophisticated for an Initial player.
· The melodic line at the top of the chords is contained in a two-note chord and then a three-note chord.
· Some players may find maintaining the legato from the no. 5 to no. 3 finger in the R.H.
· At the start of the third phrase, the L.H’s dynamics should decrease. During the playing of the phrase the L.H’s dynamics should gradually increase.
· The quietest dynamics in the piece should be at the end.
· Considerable skill is required in tone-matching; the player must consider how loud the L.H. should be played, such as in bar 1, in comparison to the remaining sound of the RH’s chord.
· The player should be in contact with the keys before playing the chords, these chords should be played with shoulder weight and a fluid gesture.
· To a certain extent the L.H. dictates the dynamics overall.
· The player must always be thinking ahead however this is particularly important in bars 14 and 15.
· The player must be constantly aware of what the L.H’s dynamics are doing and where they are moving the phrase.
· The player must lift both hands off at the end without any ‘clunking’ sounds.