By Mecun - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=25586622
Latin Laughter Jane Sebba Grade 1 ABRSM 2023 – 2024
Character/story of the piece – considering that this piece is the primo part of a duet, the player should be aware of what the secondo player would be playing at the same time. Obviously, the title is an excellent place to start when considering the interpretation of this piece. There is an area at the beginning of the second section where the primo part is reasonably static because the secondo part would be more active at that time. The player could think of a dance, with movement in parts such as bars 3 and 7, and parts where the dancers are more stationary, such as bars 4 – 6. In these more stationary areas, the players could be stamping their feet, clapping and/or singing. Also, the player should consider what instruments would be playing to accompany the dancers. There is a mercurial character to this piece, there are occasions where the listener does not know what will be played next. The player needs to possess a degree of courage, an aura of vitality and a degree of flamboyance.
Form – there are two sections in this piece, with the second section being significantly longer than the first section. It is interesting to note that the composer has written a repeat at the end of the first section. This would mean that the sections would be even in length because there are two bars at the start prior to the commencement of the primo part. The piece is in C major, and it modulates to G major in bar 18 with the music returning to C major by the end of the piece. The primo part has an interesting beginning with the scale pattern commencing on the supertonic.
Main part of the music – the composer has written fortissimo at the beginning of the last bar, and this is where the main part of the music should occur. Each third of the piece should have a main part so that the piece has cohesion and structure. In bar 18, at the end of the two-thirds mark, the music should be at a forte level for a brief time.
Phrasing – there are six phrases in this piece, with all being four bars long except for the final phrase which is six bars long. Each set of two phrases have a balancing effect, with the second phrase ‘answering’ the first phrase. Phrases one, two, five and six all start with the same ascending scalic pattern.
Tempo, time signature and rhythmic patterns – the composer has written ‘not too fast’ as a tempo indication. Even though the piece must possess an energetic character, it must have a reasonably relaxed character too. A tempo of 116 crotchet beats per minute would be appropriate. Even though the piece is in quadruple time there are occasions where it feels as if some of the bar lines have been removed. Some players may find the use of syncopation a little difficult to achieve. It may be helpful for the player and teacher to each clap a hand. There is a ‘call and response’ character to this piece.
Touch/articulation – contrasts to the touch in this piece will contribute to the mercurial character of the piece. In the opening bar, the player should play with a cantabile touch with the hands seamlessly joining together. However, in the following bar there is a change, with the L.H. playing the semibreves with resonance and depth so that their sound continues throughout the bar. The R.H. needs to be played with a lighter, energetic touch on the two Es but of course, a little weight will need to be applied to the playing of the first note of the two-note slur. In bar 9 for example, the notes should be played with a slightly intense touch. The chords in bars 10 and 28 should be played with some weight from the shoulder but with a relaxed wrist supported by the forearm. If the player could highlight the top notes of the R.H. and the lower notes of the L.H., this would be an advantage. Carrying on into the second section, some notes will need to be played with resonance however a lighter more intense touch should return in bar 18. There is an interesting ‘call-and-answer’ part in bars 25 and 26 where the first L.H. note must be played with resonance however at the end of the bar it is part of the R.H. pattern. The composer has written in many articulation marks, these must be observed as written. The player must be careful to differentiate between the length of the staccato crotchets and staccato quavers.
Balance between the hands – this aspect is rarely required when playing this piece. As described before, the hands are often in a ‘call and answer’ scenario. There are a few occurrences where the balance is to the R.H. such as in bar 17. In bars 9 – 10, 15 - 16 and 27- 28 the hands are equal in balance. Again, these changes in the balance between the hands contributes to the mercurial and changeable quality of the music.
By Silar - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=50542901
Dynamics – a wide range of dynamics can be employed when playing this piece, from fortissimo to pianissimo. Nevertheless, any louder dynamics must never be played with a harsh or strident tone. Careful consideration must be given to how one phrase moves to the following phrase dynamically. The dynamics in bars 25 and 26 seem a little counter-intuitive, however they are effective.
Agogic effects – in my opinion no agogic effects should be applied to this music as it would affect the energetic yet mercurial character of the piece.
Considerations when playing this piece –
· An excellent opportunity to discuss with the player the use of sequential patterns.
· The movement between one hand and the other such as in bar 3 should sound as if one hand is playing the scalic pattern. There should be no discernible ‘bump’ when moving from the L.H. to the R.H.
· The lifts are very important, for example the lifts in the R.H. in bar 4.
· The music must continue immediately at the end of bar 18, there is a danger that the player may insert an additional beat at the end of bar 18.
· In bar 17 the player must ensure that the crotchets are held for long enough so that there is a contrast with the quaver notes.
· The grace notes in bar 18 are a kind of flourish, as an aside.
· The position of the two-note slurs provides a contrast in the bars that they are present in.
· The player must look ahead so that they can get their hands into position for the chords, such as in bar 10.
· It would be wise to practise bar 9 and bar 25 knowing where they are the same and where they are different.
· The player must be ready to play the quaver patterns in bar 13.
· Bar 10 should not sound as if it is the ending.
· The hands must be held over the keys at the end of the piece so that the crotchet rest is acknowledged.
· What to do with the R.H when it is not playing in bars 11 – 14?