By René Clement - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=40675114
Sneaky Business Martha Mier ABRSM Grade 1 2023 – 2023
Character/story of the piece – this piece provides considerable material regarding its interpretation. The player could imagine that they are providing the backing music for a short film. In the first section from bars 1 – 10, the main character is looking for something and it has been found in bars 9 and 10. In the second section, the main character is thinking over what they have found and why it is where it was found before preparing to investigate another area. Perhaps in the final bars, the main character has solved the case. Also, the player can think of this piece regarding jazz instruments with each character depicted by a particular jazz instrument.
Main part of the music – the composer has written many helpful details for the playing if this piece and in the final phrase she has written crescendo at the beginning, with forte at the start of bar 27. This is where the main part of the music is. Also, the player would be wise to know where the main parts are situated in the previous two sections as this will help to provide continuity and cohesion to the piece.
Form – as has already been alluded to, there are three sections in this piece. At the start of the piece, there is an introduction of two bars which helps to set the scene. The second section commences at bar 11 and concludes at bar 18. The last section commences with the same music as the first section however the R.H pattern that is present in bar 9 is extended in bars 26, 27 and 28. The key of the piece is A minor.
Phrasing – as already discussed the piece starts with a two-bar introduction. After this introduction, there are six phrases although they do not contain four bars on every occasion. The longer phrases, these being six bars long, are the first and the penultimate phrase. Although, the last phrase could be six bars long with the penultimate one being only four bars long. In the first and second sections the phrases have a ‘question and answer’ quality however in the final section the phrases do not have this quality.
Tempo, time signature and rhythmic patterns – the composer has written a tempo indication on this piece of 132 crotchet beats per minute. This is appropriate for the character and style of the music and should be followed. It is interesting to note how Martha Mier has written the music in such a way that bars 3 and 4 feel as if they are one bar rather than 2. But as a contrast, the subsequent bars do project the quadruple time signature. The only rhythmic pattern encountered that may provide difficulty is the one in bar 5, and this is used in several of the following bars. Tapping out the rhythm with the hands is an excellent way to learn and understand this rhythmic pattern. The player must be extremely careful with how they play the note or notes after the tied note.
By Horst J. Meuter - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=73428323
Touch/Articulation – the L.H. is required to play with a variety of touches. In bars 1 – 4 for example, the staccato touch must be spiky and light, played with energetic curved fingers with a well-supported hand from the wrist. In bar 5, these notes must be played with a degree of resonance supporting the R.H. melodic pattern. This is also the case in the middle section as the L.H. needs to be played with resonance so that the chords sound throughout the bar. However, it is interesting to note how the composer introduces the material from the previous section at the end of the second section with the spiky and energetic pattern returning. The R.H. has considerable variety in its touch too as it commences with a resonant touch before becoming a little intense in bar 5. In bars 9 and 10, for example these chords will need to be played with a little shoulder weight and if possible, the player could highlight certain notes of these chords. The composer has written some accents on the music; however, the player must consider their placement when playing these. The accents used in the second section could gradually become more intense as the section progresses. In the final phrase these accents should have a slightly percussive quality however they should not be played with any harshness. All the articulation has been written in by the composer and all of these markings should be strictly observed.
Dynamics – there should be a wide range of dynamics employed when playing this piece. The dynamics should range from piano to forte. The loudest note does not necessarily have to be at the end of a crescendo marking on all occasions. By placing the loudest note at an earlier stage will provide interest, and the dynamics will not be predictable. The quietest dynamics of the whole piece should be at the start of the second section and the player should not be afraid to use a wide range of dynamics in this section.
Balance between the hands – for the most part, the balance is to the R.H. in this piece however the instances such as bars 3 and 4 the L.H. is quite loud in comparison to the R.H and to a certain extent is controlling the dynamics. In bar 6 the L.H. will be louder dynamically than the R.H. There will be less difference between the hands at the start of the second section.
Rubato – apart from a slight rallentando at the end of the piece there should be no other agogic aspects used. This piece requires, for the most part a sense of momentum and energy and this will be disrupted if any small fluctuations in the tempo are employed.
Considerations when playing this piece –
· The player must be extremely careful when counting bar 10, there is a danger that the semibreve may be cut short.
· The player must be very careful in ensuring that all staccato notes are played correctly. For example, in the R.H. in bar 11 the R.H. D could be joined to the middle C in the following bar.
· The R.H must at times, cover a distance when moving from one hand position to the following. There should be no accent on the first note of the subsequent patterns. The player needs to look ahead to the new position so that the hands can be moved to where the eyes are looking so avoid any cessation of the tempo.
· Patterns such as those in the L.H. in bars 1 – 4 and 17 – 18 for example must always have direction and momentum.