By USMC Archives from Quantico, USA - Marine Jazz Band, circa 1918, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=42675802
A Neat Beat, Martha Mier, Jazz, Rags and Blues Book 1
Character/story of the piece – here the player could imagine that they are partaking in some kind of physical activity which has a respite in the middle of it. And, accompanying this physical activity, is this music which is played by some jazz instruments – trombones, saxophones and trumpets accompanied by some drums.
Form – this piece is in ternary form with the first and third sections commencing with the same melodic material. The third section does not contain the opening introductory phrase that the first section has. The piece is in C major with some blues notes added. To a certain extent the first and last sections are based on the 12-bar blues pattern.
Main part of the music – Martha Mier has been quite specific about this; it should occur in the penultimate bar at fortissimo level as suggested. To provide cohesion for the listener the player must ensure that the first and second sections have a main part too, obviously the dynamics for these sections should be less than the dynamics in the penultimate bar.
Phrasing – all phrases in this piece are four bars long; some overlap such as the second and third phrases. Even so, the phrasing is not grouped in sets of two with the first phrase ‘answering’ the second phrase. This piece has a continuous and cumulative character, and the phrasing is a contributing factor. The phrasing in the middle section could be thought of as four phrases of two bars in length however it would be preferable to think of the phrasing in a four-bar length. It is important for the player to consider how one phrase moves to the following dynamically.
Tempo, time signature and rhythmic patterns – there are some players who may find achieving the suggested tempo of 144 crotchet beats per minute a little hard to accomplish. In saying this though, it should be played at a reasonably fast tempo, otherwise the character of the piece will not be projected. There should be no hint of a swing rhythm when this piece is played however it would be interesting for the player to experiment with a swing rhythm to understand how much the character is altered as a result. The rhythmic patterns present in this music should not present any particular concern. Nevertheless, the player should constantly play it with the metronome so that the rhythm remains ‘taut’ so the syncopated notes are not played on the beat. There is a danger that the player may not hold the longer notes for their full value such as the L.H. minim in bar 4 or the minims in bar 18.
Touch/articulation – the staccato touch employed in this piece should be energetic and bright in sound. The playing of the numerous accents should be considered according to the context in which they are located and in relation to the dynamics of the phrase in which they are played. In the middle section there should be a change of touch, here the player should use a cantabile touch as this will contrast with the outer sections. And, concerning that Mier has written in the articulation to be used, this should be carefully followed. The middle section’s legato (and cantabile) section contrasts with the outer section’s energetic sound.
By Nenea hartia - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=104694906
Balance between the hands – this is clearly not an aspect that the player must consider for most of the time. In the bars where the R.H plays a chord the balance is to the L.H. However, the balance is to the R.H. in bars such as bars 13 and 14. There should be no balance between the hands in bars 17 to 24. This is also the case in the last two bars where the hands play together.
Dynamics – considering the character of the piece, the dynamics need to be vivid, changeable, and surprising in some cases. The player is left with no uncertainty about the dynamics that should be used as Mier has written many markings on the music. Nevertheless, the player must ensure that the listener is presented with a wide range of dynamics, there is a danger that the dynamics used are primarily loud. The player must make sure that the fortissimo dynamic is not harsh and strident.
Agogic features – this again is not an aspect that needs to be considered when playing this piece. A slight slowing in bar 16 prior to the entry of the second section is appropriate however this should be of minimal duration. No other agogic effects should be employed when playing this piece.
Considerations when playing this piece –
· Should the first note of each L.H. pattern such as the low C in bar 1 be quieter than the rest of the pattern? Is the low L.H. C played by a different instrument than the rest of the pattern? Whatever is decided the player must ensure that the piece starts with an impulse so that there is a bold start.
· In bars such as 13 and 14 the L.H. chord must be played with resonance.
· The player should use appropriate hand and arm gestures when lifting off at the end of bars such as bar 18.
· Often there is a concern when playing a single melodic line that it loses its rhythmic drive. In this piece this is a not a major concern although the player should be aware of this aspect even so.
· In bar 25 the player should start the bar at a dynamic level less than the end of bar 24 as this will provide the ‘space’ for the crescendo.
· In bars 10 and 36 there is a crotchet rest that the player may not observe.
· It is not the easiest piece to play with a metronome.
· The player must hold their hands over the keys at the end so that the final rest is acknowledged.
· The lifts in the middle section are very important.
· The greatest variety of dynamics should be played in the final section.
· Considering that the R.H. does not play for the first four bars the player should decide when the R.H. is brought to the keys ready to play.
· Bearing in mind that many of the melodic patterns are repeated there must be variety in the dynamics applied as well as differing how the accented notes are played.
· The R.H. semibreves in bars such as bar 5 must be played with a degree of resonance so that the sound remains for the entire bar.
· The quietest area of the piece should be at the beginning of the last section.
· Often the hands lift and move simultaneously, the player must ensure that the hands lift off together otherwise it will look untidy.
· The player could think of the middle section having suppressed energy.
· The contrast of the legato pattern in the last two bars provides a contrast with the other melodic material.