By Pierre Petit - This file comes from Gallica Digital Library and is available under the digital ID btv1b84217752, Public Domain, https://commons.wikimedia.org/w/index.php?curid=136672691 PD - US - unpublished
Melody in C No. 21 from A. B. C. du Piano Le Couppey Grade 1 ABRSM 1999 – 2000
Character/story of the piece – this piece comes from A. B. C. du Piano which Jane McGrath discusses Le Couppey’s music in her excellent book ‘The Pianists Guide to Standard Teaching and Performance Literature’ by stating ‘in addition to composing piano character pieces Le Couppey published several successful methods.’ She references ‘The Alphabet’, Op. 17, 25 Very Easy Studies. She says ‘each study is preceded by a seven-measure exercise that is to be repeated several times. A variety of keys are used. The best studies are Nos. 1, 2, 5, 6, 18 and 21’.
This piece reflects the characteristics of a character piece, as well as requiring of the player, attention to a variety of technical requirements. These include attention to the evenness and legato playing of scales, dynamic control with considerable notice given to tone-matching, the control of the dynamics within the phrases as well as pedalling skills.
Perhaps the player could consider that they are attending an exhibition. During the first and last sections they are walking through the exhibits however in the second section, a particular exhibit has taken their attention.
Form – as already mentioned, this piece is in ternary form. The first and last sections are in C major with the second section in F major.
Main part of the music – this should occur at the start of bar 15 at a mezzoforte level. As this is approximately two-thirds through in the piece, the player must ensure that the listener’s interest is maintained until the end.
Phrasing – there are six phrases in this piece, with two phrases in each section. The first and second phrases (as well as the last two phrases) overlap. The L.H. continues without lifting in this section, however the R.H. commences the second phrase on the second quaver of the first beat in bar 5. Each set of two phrases has a question-and-answer format. In the second section the opening two bars in the third phrase are repeated in the following phrase.
Tempo, time signature and rhythmic patterns – the suggested tempo of 66 dotted crotchet beats per minute is appropriate for the style and character of the piece. Obviously, if played too slowly the piece will sound laboured and dull. And, if played too fast, some of the nuances and details will be lost. This may be the first time a player has been required to play using a compound time signature. Players need to highlight that the piece is in compound time by gently stressing the first quaver of each beat. There are no rhythmic patterns that should give cause for concern for the player.
Touch/articulation – a cantabile touch is required throughout this piece. Any lifts at the end of a melodic pattern must be achieved by lifting with the fingers in contact with the keys. It is interesting to note in the ABRSM copy has legato inserted at the beginning of the second phrase and legatissimo at the start of the third phrase. Some players may find a slight overlapping of the fingers in the legatissimo section a little difficult to achieve. Le Couppey has been specific as to which touch he requires. So, in the first phrase the articulation that is written in should be followed. The dotted crotchets and minims must be separated from the two-note slur. This articulation provides a contrast to the following legato phrase.
By This file comes from Gallica Digital Library and is available under the digital ID btv1b8421772t, Public Domain, https://commons.wikimedia.org/w/index.php?curid=136672779 PD - US- unpublished
Balance between the hands – clearly the R.H. has the balance in this piece however this does not mean that the L.H. does not play an integral role in the piece. In the second section the L.H.’s dynamics should increase so the difference between the hands dynamically will be not as noticeable. The balance between the hands could diminish as the piece draws to a close. Some players will find this difficult to achieve considering how ‘busy’ the L.H. is in the first and last sections. The player must always be aware of how loud the L.H. thumbs sound as often these can be played with too much energy.
Dynamics – as already alluded to, the dynamics in this piece should not be too loud overall. The dynamics should range from pianissimo to mezzoforte. There needs to be a definite change of character in the second section; the dynamics should be louder overall in this section. Even though the balance is to the R.H., the dynamics of the L.H. often dictate the overall dynamics. Tone-matching is a skill that is required throughout this piece. In addition to this, the player must ensure that they do not always ‘drive’ into the end of the melodic patterns.
Rubato - clearly small touches of rubato when playing this piece is appropriate however the player must not distort the rhythmic patterns in doing so. Obviously a small ritardando at the end of the second and third sections is suitable, but the player must ensure that the rests are not doubled, for example in bar 16.
Pedal – use of the pedal would enhance the playing of this piece however the pedalling skills required for this piece may be beyond the ability of a Grade 1 player.
Considerations when playing this piece –
· The top note of a melodic pattern is not necessarily the loudest.
· Notice how the music does not modulate at the end of the first section; the move to F major at the beginning of the second section is a slight surprise. The move to F major provides the music with a bolder character.
· There is a danger that the player may not play and/or sound all the notes of the L.H. chords in the second section.
· The repeat in bars 13 and 14 of bars 9 and 10 provides the music with a kind of “I have said this before” quality.
· Obviously, the dynamics need to be changed when playing the repeat of the first section.
· In the ABRSM notes it states ‘keep the quavers lighter as the arpeggio ascends, the arm relaxed and fingers close to the keys’.