By Imran Shah from Islamabad, Pakistan - Common Cuckoo (Cuculus canorus), CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=81865350
The Cuckoo Miroslaw Gasieniec Grade 2 ABRSM 2023 – 2024
Story/character of the piece – obviously the title is the starting point for the interpretation of this piece. The player should imagine a conversation between two cuckoos which, are at various points in the piece, close to each and at other times, further away. This will enhance the use of echoes in the repeated melodic patterns, where necessary. To help with the interpretation of the piece, the player should create some words that fit the melodic patterns. Apparently, the cuckoo is capable of a range of sounds in addition to the familiar monotonous call that most are familiar with. The website www.nzbirdsonline.org.nz has several calls of the NZ shining cuckoo, which are very attractive.
A lesson in dynamic control and application of dynamics.
Main part of the music – this should occur in bar 23. The player must be conscious of how the positioning of the main part affects the character of the music. And, in addition to this, the player must maintain interest to the end of the piece even though the main part is approximately halfway through the piece. At the main part the music should be played forte however this should only be maintained for a very short period.
Form – there are three sections in this piece, with each commencing with the same melodic material. The music starts in E minor and the first section ends on the dominant of this key. During the second section there is a modulation to G major in bar 19. In the course of the following phrase the music has a slightly unsettled tonality before returning to the dominant of E minor. The final section is in E minor.
Phrasing – the phrases in this piece have different lengths. For example, in the first section the first phrase is four bars in length however this is followed by a six-bar phrase. During the second section the phrasing is more predictable, with three phrases that are four bars in length concluding with a five-bar phrase. In the last phrase, there are three phrases with the first two being four bars in length finishing with a six-bar phrase.
Time signature, tempo and rhythmic patterns – this may be a player’s first exposure to this type of time signature. To a certain extent, there are occasions where the music feels as if it is in compound duple time rather than simple triple time. The tempo of 108 quaver beats per minute is an appropriate choice. The music must have spaciousness and control; if played too fast the piece will sound trivial and more light-hearted than it should. On the contrary, if played too slowly the momentum and suppressed energy will not be conveyed. The player may encounter a little difficulty in playing bars such as bar 8 where the L.H. continues playing. The second L.H. chord could potentially be played too soon in these bars. Some players may find it difficult to play the semiquaver patterns with evenness.
Touch/articulation – although this piece requires a delicacy and lightness of touch, the player must use weight from the shoulder, combined with a drop and lift of the wrist when playing the two-note slurs. These two-note slurs are then contrasted with the lightly played staccato note at the beginning of the quaver/four semiquaver patterns. The semiquaver patterns should be player with a degree of cantabile playing which will be altered according to the context of the dynamics within the phrase. The detached notes present in bars 25 – 28 and bars 38 to the end should be barely detached, not a crisp, energetic staccato. In this piece the L.H. chords need to be played with weight and control from the shoulder. The amount of weight will need to vary according to the dynamics of the phrase. The lifts in this piece are extremely important as they contribute to the spaciousness and gracefulness of the music.
Balance between the hands - clearly the balance is to the R.H. in this piece except where the music becomes monophonic in style such as in bars 25 – 28. Most of the time the L.H. plays a supportive role providing harmony and momentum for the music. However, the L.H. has a vital role to play, as it is the generator of the dynamics as described below. The player will need to consider which notes to highlight in the L.H. chords, if necessary. In bars 20 – 25, the L.H. takes on a more melodic role.
By Åsa Berndtsson - Gök / Common Cuckoo, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=86512532
Dynamics – the loudest part of this piece should occur at the beginning of bar 23 as stated above. Considering that the main part of the music occurs just over halfway through, the player must ensure that the listener’s interest is maintained to the end. One way that the player can maintain interest for the listener is to ensure that the dynamics remain warm, resonant and reasonably loud. Throughout this piece, the player needs to employ considerable skills regarding tone-matching. And, careful control of the dynamics is required, with consideration as to how loud the beginning of one phrase is in comparison to the end of the previous phrase. As is always the case, the L.H. is a very important part of the piece. An increase in the dynamics in the L.H. will increase the tension of the music. Any L.H. chords played on their own must be considered; how loud should they be played? At the same level as the present dynamics, or more or less? This will depend on the overall development of the dynamics within the phrase. As an overall comment, the dynamics of this piece should always feel restrained and dignified.
Agogic effects – these should be kept to the minimum in this piece as there could be a danger that in hesitating on a chord or note that the rhythm is doubled. A couple of areas where the tempo eases will be appropriate. The rit at the end should not be exaggerated.
Pedal – this is an aspect that may be difficult for some Grade 2 players so would be best omitted if it could not be achieved with ease. A ‘dab’ of pedal on the first beat of the bars such as bar 1 would help to highlight this beat.
Considerations when playing this piece –
· There should be a feeling of restraint in this piece.
· The main part of the music occurs where the piece briefly moves to G major, the relative major.
· There is a danger that not all notes of the L.H. chords are heard. This can be the case where the chords are repeated, one or more notes are not lifted sufficiently to allow their replaying.
· There are areas in the L.H. where the player may find it difficult to be as legato as possible.
· There are instances where the melody in the R.H. moves from a single note to a note within a chord. The player must be very careful that when playing the chord, it is not significantly louder than the single note, for instance.
· Any monophonic part must have direction and momentum. In these areas it feels as if the bar lines have been removed.
· In this piece there are parts that are repeated; the player must ensure that there is interest for the listener. For example, when playing bars 1 and 2, is bar 2 an echo of the first bar?
· Some players may find it hard to synchronise the notes in bar 11 and bar 39.
· There is an unexpected change of chord in the L.H. in bar 16.
· As in any playing, the player must be constantly anticipating the moves that are approaching.
· Think about having a ‘fluid’ arm.
· Think about having ‘soft landings’.
· The listener must hear the difference between the quaver and the crotchet; there is a danger that the crotchet may not be held for long enough.
· In bar 25 both hands must lift off simultaneously on the first beat of the bar.
· There are some awkward movements in the L.H. in bars 18 – 19.
· The L.H. Gs in bars 21 and 23 are the cuckoo ‘interrupting’.
· A lesson in contrasts.
· At times the L.H. has a secondary melodic role to play such as in bars 5 – 10 with its descending pattern.