By Conrad Kiesel Public Domain, https://commons.wikimedia.org/w/index.php?curid=52420506
Daydream Kristina Arakelyan Grade 2 ABRSM 2023 – 2024
Character/story of the piece – considering that the title of the piece is ‘Daydream’, this is the best place to start when thinking about the character and meaning of the piece. The player needs to think of a story to accompany the piece, so that when they are playing the piece, they are imagining what the person is thinking about. Perhaps the story could cover a person’s goal, for example working towards a sporting event. In the first section, the player should imagine the work that is required to achieve the goal. From bars 9 – 20, the player is achieving the goal and in the final extended phrase the player is reflecting on what has been achieved. In the footnotes the composer has written “It’s about getting lost in our thoughts, discovering a beautiful world which lives within us and expressing it through music”.
Form – this piece is in binary form, the second section being twice as long as the first. The piece commences in E minor and by the end of the first section it has moved to D major. At the beginning of the second section the key is E minor however there are touches of C major in bars 17 and 18. The key has returned to E minor at the end of the piece.
Main part of the music – the composer has specifically marked where the main part of the piece is located. This is where the dynamics are marked mezzoforte in bar 19 and prior to this the composer has marked a crescendo throughout bars 17 and 18. The main part of the music coincides with the music being in the key of C major at that point. Considering the character of the piece, the dynamics should feel restrained so having the loudest being at a mezzoforte level is appropriate.
Phrasing – there are six phrases in this piece, and apart from the final phrase, all are four bars long. The final phrase is five bars long. Each set of two phrases has a question-and-answer character, the first one being the question and the second one being the answer.
Tempo, time signature and rhythmic patterns – the tempo indication has been provided by the composer being approximately 60 dotted crotchet beats per minute. This is an appropriate speed, however there is a danger that with familiarity the player may speed up. Consistent use of the metronome will ensure that the correct speed is maintained. Considering the title, the player should not play the piece too fast as this will affect the character of the music. It is possible that in playing this piece it may be the player’s first exposure to the dotted crotchet time signature. When playing this piece, the player must ensure that the listener understands that it is written in compound time. This is particularly necessary in the first section as there are few L.H. notes, although these notes do play on the beat. It is not necessary to emphasise the first note of every set of three quavers however some require a little emphasis. Some players may have a little difficulty in ensuring that the quaver patterns are played evenly.
Touch/articulation - changes in the touch will provide contrast for the listener. In the second section the player should use a warm cantabile touch in both hands. In the first section that player should employ a delicate, slightly intense touch and they should revert to this touch in the final three bars. The composer is specific about where she requests the player to lift, such as in the L.H. at the end of bar 18. Some of these lifts do not coincide with what the other hand is doing at the time. These lifts add ‘breathing’ places to the music.
Balance between the hands - in the first section the balance is to the RH however in bars 7 and 8 the hands should merge sound-wise. There is considerable part-playing in the second section and the player must be aware of which hand they wish to highlight at a particular time. In this section the L.H. is playing on its own and these parts must have direction as well as maintaining their own part. The hands must be lifted gently at the ends of the melodic fragments.
By Carlos Andrés Reyes from Cologne, Germany - Daydreaming, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=97363941
Dynamics – the composer has been particularly helpful in providing several dynamic markings in this piece. She has asked the player to use dynamics that are reasonably quiet, never exceeding mezzoforte. Some players may find it difficult to control the dynamics in the quieter areas as there is a danger that some notes may not sound at all. Discussing with the player the use of controlled weight when playing these quieter areas will be hugely beneficial. Careful tone-matching is required. The quietest dynamic should be reserved for the final bars.
Agogic effects – the composer has requested a slowing down at the end of the piece, which is entirely appropriate. The only two other areas which would benefit from the addition of some rubato would be a slight slowing at the end of the first section and slight quickening of the pace prior to the main part.
Considerations when playing this piece –
· The rests must be strictly observed.
· Using the pedal certainly enhances the endings of the sections but there is a danger that the music may suddenly have an increase in sound that would not be appropriate. Discussing with the player the gentle application of the pedal will be a help. In bar 8 the R.H. chord should blend into the overall sound.
· Any long note that is played in the piece will require a degree of resonance according to the context.
· The player must carefully lift off both hands and pedal simultaneously at the end of the piece so there is no banging ‘pedal’ noise.
· The last R.H. note must be heard with clarity.
· There is a danger that the player may hold onto some notes of the broken chords unnecessarily.
· This may be the player’s first exposure to a compound time signature.
· At the ends of the two sections the composer placed a fermata. The length of time to wait should be determined by its position (do not wait as long at the end of the first section in comparison with the second section) as well as allowing some of the sound to die away.
· Some players may find this piece a little hard to relate to, it has passages that are not always predictable.
· The R.H. thumb must be carefully played at the start of the R.H. patterns in the first section.
· There is a danger that the first not may not sound considering the dynamics are quiet.
· There is melodic imitation in bars 9 and 10 and bars 13 and 14.