"Acacia Tree" by D-Stanley is licensed under CC BY 2.0.
Under the Acacia Tree Initial ABRSM 2021 – 2022
Character/story of the piece – it would be best to commence by looking at photos of an acacia tree and imagining how one would feel sitting underneath enjoying the shade that the tree provides. The footnotes state ‘the simple left-hand rhythms and smooth, stepwise moving melody help create the calm and peaceful atmosphere of sitting under an acacia tree in Africa’. It goes on to say that Under the Acacia Tree is from Safari, a set of 23 character pieces by June Armstrong.
The changes in the melodic patterns could be thought of in relation to how the sunlight is filtering through the leaves of the tree as well as the wind ruffling the leaves of the tree. It is interesting to note that the composer has written ‘shadily’ at the start of the piece.
Form – this piece is in ternary form although one can say it is loose in its format. The first section is in the key of E minor and this covers bars 1 – 6, although the first two bars are the introduction. The second section, commencing at bar 7 continues until bar 10 is in the key of D minor. At bar 11 the first section returns, and the piece concludes with a short coda.
Phrasing – the first phrase is six bars long, and as stated before, it contains the introduction. The following phrase is four bars long. When the first section returns, this phrase is extended to six bars in length. The coda is four bars long. This phrasing provides the music with the serenity, calmness and a fluidity the music requires. The final tow phrases overlap.
Main part of the music – this should occur at bar 14 at a mezzoforte level. The dynamics used in this piece should be subdued, as this will contribute to the character of the music.
Time signature, tempo and rhythmic patterns – the quadruple time signature is the best choice for this piece as it provides length to the phrases and provides the music with fewer accented notes too. The tempo suggestion of 100 crotchet beats per minute is suitable, as obviously too fast a tempo will destroy the character of the piece. There are no rhythmic patterns that could cause concern for the player although there is a danger that the long notes in the L.H. are not held for their correct length.
Touch/articulation – clearly a warm legato touch is necessary when playing this piece. The player must lift, for example at bar 5, at the beginning of each new melodic pattern. This will highlight the melodic detail to the listener.
"Umbrella Acacia Tree" by justin is licensed under CC BY 2.0.
Balance between the hands – the balance is to the R.H. in this piece although the L.H. has a significant role to play in this piece. The player needs to be careful when playing the L.H. dotted minim as it must not be played louder than the remaining R.H. sound. This dotted minim must be played with a degree of resonance so that its sound remains throughout the bar. Even though the balance is to the R.H. the L.H. has a crucial role to play regarding the dynamics when playing this piece.
Dynamics – as already stated, the overall dynamics used in this piece should not be too loud with mezzoforte being the loudest dynamic used overall. The player should be careful to ensure that the highest note of a melodic pattern or phrase is not always the loudest note within a phrase.
Considerations when playing this piece -
· Careful tone control is extremely important when playing this piece.
· This piece sounds deceptively simple; it is easy to underestimate the skills required to play it successfully.
· If possible, the use of pedal will enhance the successful playing of this piece. It would be wise to sustain the first two beats of each bar until beat 3, such as in bar 3.
· There is a danger that the player will depress the pedal too far at the end resulting in too much sound overall which would not be appropriate for the ending of a piece such as this.
· There should be no slowing down at the end, to a certain extent the composer has written a ritardando into the music at that point. A pause at the final bar will be a stylish addition.
· A little rubato could be applied when playing this piece.