Photo by Anthony Gomez on Unspalsh
Lazy Days Brian Chapple Grade 4 ABRSM 1992
Character/story of the piece – according to some very old notes this piece requires ‘a pupil who can appreciate the blues- type of idiom of modern dance bands. The piece needs an appreciation of the elements of free musical embroidery that can be woven over a strictly rhythmic background; this is something that can be caught rather than taught’. The player should imagine a half-asleep blues player singing in the R.H. that is accompanied by a banjo in the L.H. The music requires an unhurried, easy-going feel, the player should create some words to accompany the R.H. There is a change of character in bar 9, here the music should feel more positive and hopeful before returning to the somewhat mournful character of the opening music.
In addition to what is discussed above, the player must also think in relation to jazz instruments. For example, in bars 3 and 4 one instrument is ‘answering’ another instrument that played in bars 1 and 2.
Main part of the music – this should occur in bar 23 with the dynamics briefly at a fortissimo level. Each section should have a focal point and the dynamics of the second section should be more restrained than the outer sections.
Form – there are three sections in this piece; the third section is the longest. Each of the sections are connected with a stepwise melodic pattern. The first two sections are eight bars in length and the last section is 11 bars in length. The first section is in G major, although of course, blues notes are present. The second section is in C major, again with blues notes present. At bar 17 the music returns to G major, with the piece concluding with a dominant chord, although the final ad lib notes belong to an A major chord.
Phrasing – primarily the phrases are four bars long however the final two phrases are a little hard to determine where they commence and finish. From bar 21, there are two phrases, the first three bars long and the last phrase being four bars long. This though, is a little arbitrary.
Tempo, time signature and rhythmic patterns – this is a rather tricky piece tempo-wise; the suggested speed of 132 crotchet beats per minute could be a little fast because at this speed the easy-going, laid-back character could be lost. Conversely, too a slow a speed will make the music drag, resulting in the music lacking in momentum and vitality. Although the piece is written in quadruple time, there are occasions where the music feels as if it is in duple time. If the player has not been exposed to this kind of rhythmic pattern prior to playing this piece, an explanation of the time signature in relation to the jazz patterns is advisable. Potentially the most difficult rhythmic pattern in this piece is the one where the semiquaver is tied to the subsequent beat, such as in the R.H. in bar 1. Another rhythmic concern could be the entry of the R.H off the beat after the L.H. playing on the beat such as in bar 7.
Touch/articulation – attention to both aspects will provide colour and interest to this piece. For example, in bars 1 and 2, a weighted (appropriate for the dynamics of the part) cantabile touch will contrast with a more intense, brittle kind of touch in the following two bars. The same approach could be applied to the second section, although the change from a cantabile touch to a more intense touch should occur gradually. These changes in touch, to a certain extent, coincide with the changes in the articulation. The composer has added comprehensive articulation markings to this piece, all of which should be applied as written. All the staccato dots are applied to crotchets rather than quavers, so the player must ensure that these notes are held long enough thus acknowledging their full length. There are numerous accent marks used too, the player must be careful so that these notes are not played too harshly in any way. More accentuation (think tenuto) on the tied semiquavers could be applied in the final section. The accented notes should be prepared for, both mentally and physically with the player moving closer to the piano at these points.
Balance between the hands – for the most part, this piece requires R.H. balance. This is not to say that the L.H. is a passive partner; to a certain extent the dynamics are generated by the L.H. Considering that the L.H. continues playing whilst the R.H. is being held in many instances, the player must be constantly listening to how loud the R.H. will need to be played in comparison to the L.H. In addition to this, there are occasions where the R.H. plays after the playing of the L.H., such as in bar 7.
Dynamics – a fairly wide range of dynamics should be employed whilst playing this piece, from piano to fortissimo. Sudden changes in dynamics are appropriate, as this will add a dramatic effect to the music. As stated above, the L.H.’s dynamics are extremely important as the underpin the dynamics of the music.
Agogic effects – no agogic markings have been written into the music and one should assume that the composer does not wish for the player to introduce any effects in this respect. Even so, the ad lib. at the end of the piece demands a degree of flexibility tempo-wise and the fermatas must be observed in the final bar. The player should allow a certain amount of sound to fade before lifting off their hands at the end. A minimal slowing in the R.H. in bar 16 would be an attractive addition to the music.
Considerations when playing this piece –
· The lower notes of the L.H. chords could be highlighted.
· There is a danger that all of the first notes are heard; the player must be fully prepared to start with the fingers, hands and arms ready to start.
· The player could think of the chord that is played on the third beat of bar 4 as a trumpet player standing up to play at that time.
· The dynamics should not be too loud at the beginning and the largest range of dynamics should be reserved for the ending.
· The player must ensure that the dotted quaver/semiquaver pattern does not become too ‘dotted’, the rhythm must be swung.
· The player must ensure that notes and chords are held for their correct length.
· The player must consider how the phrases connect from one to the next dynamically.
· The dynamics of the chords in bars 15 and 16 are dictating the dynamics of the R.H.
· The pedal at the end should be carefully applied, the listener does not wish to hear a sudden ‘explosion’ of sound.
· The highest note of a melodic pattern is not necessarily the loudest.
· The middle section has a more personal/reflective character.