By Reverend Thomas Streatfeild (1777-1848) - http://collections.rmg.co.uk/collections/objects/154241, Public Domain, https://commons.wikimedia.org/w/index.php?curid=62491385
What shall we do with a drunken sailor? Trad. ABRSM Initial 2023 – 2024
Character/story of the piece – fortunately the title and words of the song provide the material for the interpretation of the song. It would be beneficial to discuss with the player how a sea shanty was used. In these songs, for example, the sailors would pull on the ropes for the sails on particular words. In this sea shanty the first syllable of ‘drunken’ could well be the word on which they pull. In the chorus, the pull could be on the word ‘up’. By listening to other sea shanties, the player will be able to understand the character of these songs. In the introduction the player could imagine that all of the sailors are getting into position ready to pull up the sails.
Form – this song has an introduction of four bars, and after this the music is in two sections which follows the words printed at the bottom of the page. The piece is in the key of A minor, however at times, the music feels a little unsettled key wise. The final chord provides a surprise by being, as would be expected, not in A minor but in A major.
Main part of the music – this should occur at the end of bar 21, and at that point the music should be fortissimo.
Phrasing – there are five four bar phrases in this piece. Three of the phrases commence on the first beat of the bar, these being the introduction, the first and the third phrase. The second and fourth phrases start with an upbeat, and the player should consider how the use of the upbeat affects the character of the music. This upbeat beginning creates a sense of urgency and momentum into the music. Phrases two and three and phrases four and five have a question and answer format with the phrases overlapping.
Tempo, time signature and rhythmic patterns – the suggested tempo of 138 crotchet beats per minute is appropriate, the music requires a reasonably fast tempo so that the character is portrayed. There are some bars in this piece where the music changes from four beats in a bar to two beats in a bar. For example, the bars such as bars 5 and 7 have a feeling of two beats in a bar. This changing from four to two beats creates a sense of tension and relaxation. The rhythmic patterns used in this piece should not provide any concern for the player however evenness must always occur in the playing of the quaver patterns.
By Percy Benzie Abery - This image is available from the National Library of WalesYou can view this image in its original context on the NLW Catalogue, CC0, https://commons.wikimedia.org/w/index.php?curid=46936392
Touch/articulation - changes in the articulation could also highlight the changes in the two beats to four beats in a bar as discussed above. In the introduction, the player must ensure that the repeated crotchet notes are not lifted too soon, there is a danger that the player may be tempted to play them as if they are quavers. Bars such as bars 5, 7, 9 and so on should be played with an energetic intense touch whereas the intervening bars and those such as bars 10 – 12 should be played with a cantabile touch. A small emphasis should be placed on the note where the sailors pull on the rope. The articulation that is written in the music must be strictly observed. The melodic line must be projected cleanly, there is a danger that the player may linger too long on notes such as the R.H. E in bar 6.
Balance between the hands – this is another area where there are changes. For most of the piece the R.H. is louder than the L.H however both hands contribute to the melody, such as in bars 6 and 8, for example. In bars 11 and 19 the balance between the hands should be reduced as the end of the phrases nears.
Dynamics – a large range of dynamics should be employed when playing this piece. To a certain extent the dynamics should be cumulative, as if the singing is becoming more insistent as the piece progresses. Rather than starting forte, the player could commence piano which will provide a degree of hesitancy to the music. By the third phrase the dynamics could have increased slightly, a mezzoforte dynamic would be appropriate by the end of bar 10. The fourth phrase should remain quiet, as this will contrast with the final phrase which should commence at mezzoforte with a crescendo to fortissimo in bar 18 before decreasing in dynamics in the final two bars. The player must carefully consider how to play the repeated notes dynamically. Often it is the final note of a repeated pattern that dictates the following dynamics.
Considerations when playing this piece.
· The final chords should be played very quietly, and the player should wait until most of the sound has died away before lifting their hands off the keys. Pedal could be added to the playing of this chord.
· In the introduction the player should focus on the L.H. chords, the dynamics are generated by the L.H.
· The L.H. takes on a melodic role from bar 13, it is as if there are two parts to the song, perhaps it is being sung in a round.
· In the introduction the player must be careful to lift the L.H.’s minims at the correct time and with an appropriate gesture.
· The hands must be left suspended to acknowledge the rests in bar 4.
· There is a danger that there could be splitting in the playing of the L.H. chords.
· There is a change of energy and character in bar 5.
· Any changes in the L.H.’s dynamics will make a considerable difference to the dynamics overall.
· There should be a larger range of dynamics in the second section.
· Some players may find it difficult considering that the melody moves constantly from single notes, to being a melody with an accompaniment.
· Another suggestion – the player could imagine a choir singing this song. In the introduction and the first section the lower voice is humming, however by the second section the lower voice is singing the words. On the final chord, all voices are humming.
· Some of the fingering can be changed.
· The rest in bar 4 is very important.
· At the end of the piece the player must allow for some of the sound to die away before lifting their hands neatly off the keys without any resulting ‘clunking’ sounds.
· There is a danger that the piece may become too fast once the player is familiar with it.
· The player should use appropriate gestures when lifting off the keys.