By mario - Mario's Rainbow, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=91728760
Indigo Paul Harris Grade 3 ABRSM 2025 – 2026
Story/character of the piece – it will be advantageous to think of this piece in relation to the set of pieces it comes from. This is the description that is available on the internet ‘From the educationalist and composer Paul Harris, Rainbow is a collection of piano miniatures based on each of the seven colours of the rainbow. These characterful pieces are ideally suited for teaching and would be a rewarding addition to any young pianist’s repertoire’. The new edition from 2023 contains online audio and useful notes for the pieces contained in the book. Paul Harris states in the notes that ‘indigo is often thought of as a very meditative and thoughtful colour’ which is an apt description of the colour. The music has a dream-like quality to it where the person it is depicting thinks about one topic for a time before moving onto another topic such as in bar 8. In bars 14 and 15 there is a hiatus whilst the person concludes thinking about a particular topic before letting it connect with the following thought patterns in bar 16.
Form – this piece could be thought of as a character piece with an episodic quality to it with the person not reaching any conclusion. It is as if it is a ‘moment in time’. Even though it has an episodic quality there is structure with the first section ending at bar 15, the second section ending at bar 24 and the last section ending at the final bar.
Main part of the music – this should occur at the beginning of bar 36 at a forte level. This should contrast with bars 10 – 12 where the loudest part should be at the end of bar 11 at a mezzoforte level. The dynamic levels within each of the sections will need to be carefully considered with there being a main part of each of the sections.
Phrasing – there is interesting use of phrasing in this piece with phrases varying in length throughout. For example, the first two phrases are only 7 bars long. Some of the phrases commence on the first beat of the bar whilst others start on the second beat of the bar. Often the phrases occur in sets of two where the second phrases will balance the first phrase. Some of the phrases overlap.
Tempo, time signature and rhythmic patterns – the suggested tempo of 60 dotted crotchet beats per minute is appropriate. Too fast a tempo will destroy the reflective and slightly wistful character of the music. There is a danger that if played too slowly it will sound too serious in character. Over time, familiarity with the piece may cause the player to play too fast. The listener must be made aware of the compound duple time signature used in this piece with subtle accents where appropriate. There are occasions in this piece where it feels as if some of the bar lines have been removed. There are no rhythmic patterns present in this piece that should cause undue concern however the player must be careful with the patterns such as those in bars 14 and 15.
Touch/articulation – clearly all the indications are that the piece must be played with a legato touch. The composer has written the words andante espressivo at the beginning of the piece as well as the words sempre dolce e legato in the first bar. Obviously, the pedal will enhance the touch as well. Nevertheless, the use of the pedal should not obscure any lack of legato in the fingers. There are a few large intervals to cover, for example in the L.H. in bars 26 to 27 the L.H. has a seventh to move to. Often there are sixths in the L.H. line. The R.H. will need to be played with a slightly intense touch at times so that it is sufficiently heard above the L.H. The composer has marked in the articulation in this piece, and this should be carefully followed. For example, a lift in the R.H. in bar is necessary to delineate the phrases. However, the L.H. must continue to remain legato in most areas. The exceptions where lifts can occur at the end of bars 15, 24, and 39. The only addition where lifts could occur in the R.H. is from bars 12 – 13 and bars 35 – 36 where there is a sequential pattern occurring. For example, a lift after the R.H. D and E will highlight the sequence for the listener in bars 35 - 36.
By Jess Mann, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=44954408
Balance between the hands – the balance in this piece should clearly be to the R.H. this will need to be carefully judged as often the L.H. is playing more notes than the R.H. in most bars. The player will need to be very careful in how loud the L.H. should be played in comparison to the R.H. The player must ensure that they listen to the fading tone of the R.H. as this will provide the indication as to how loud the L.H. should be played. And, the use of the pedal will clearly contribute to the overall sound level too.
Dynamics – as already discussed the only time the forte dynamic should be used is where the main part of the music occurs in bar 36. The range of dynamics should be from pianissimo to forte. The player will need to have the ability to control the dynamics expertly within a quiet range. The loudest note of a melodic line does not necessarily need to be the loudest. Any crescendo or diminuendo used in this piece should be carefully judged so that it does not sound predictable in any way. Tone-matching is an important skill when playing this piece, particularly in the R.H. There are times where the L.H. prepares the dynamics for the R.H.
Agogic effects – this is an aspect the player must consider when playing this piece. Any easing of the tempo in a phrase must be balanced by an acceleration elsewhere in the phrase. And, the application of rubato must not become predictable and should always be considered as to what effect it is having on the character of the music. The rall and molto rall should be observed without the use of an acceleration elsewhere in the phrase. These agogic indications must be considered in relation to the rhythmic patterns of the bar or bars where they are placed. The rhythmic patterns must not be doubled as a result. There should be no rubato applied in the first eight bars.
Pedal – this may be the first time a player is required to pedal in this manner throughout a piece. A range of pedalling skills will be required when playing this piece including the use of flutter pedal as well as half changes. A complete break in the pedal at the end of bar 39 will enhance the ending of the piece. The player must always be conscious of why they are using the pedal in a particular manner. The music could quite easily be ‘swamped’ by the use of pedal.
Considerations when playing this piece –
· Considerable use of arpeggio patterns present in this piece.
· The dynamics of the last R.H. will need to be considered carefully.
· In bar 6 the player should feel as if they ‘reach’ for the high C as there must be no accent when this note is played.
· It feels a little unsettled key-wise.
· One way of approaching this piece is to think of the shade of the colour changing.
· There is an ebb and flow quality to the music.
· The music has a sense of merging in the final bar.