Performance Considerations for a Song-like Piece

This piece is essentially a song, with the melody line representing the vocal part. While this may seem obvious, there are many ways to interpret it, which will be discussed later. Before that, I will outline the basic considerations when performing a piece composed of a vocal part and accompaniment. When performing such a piece, imagine yourself sitting in the front row of the audience, with a singer standing before you, singing with immense vocal power, and the piano accompanying them from behind.

In such a scenario, the vocal part would be clearly audible, and the accompaniment would not obscure it. You should aim to recreate this situation. In other words, play the vocal part with a clear, full tone, and the accompaniment part softly, as if heard from a distance. Fundamentally alter the sound quality between the vocal and accompaniment parts. The vocal part should be played so that it is clearly audible to anyone, at any time.

When the vocal part is sung in a register distinct from the accompaniment, this task is relatively easy. However, various difficulties arise when the vocal and accompaniment parts are close, or when the vocal part is lower, or embedded within the accompaniment, or when the accompaniment has an extremely dense texture that might obscure the vocal part. In such cases, ingenuity is required to still emphasize the vocal part.

For the first three measures, until the third beat of measure 3, only the accompaniment is present. This should be played pp, with a dolce and somewhat blurred sound quality, to the extent that the soft pedal may be used. From the third beat of measure 3, the vocal part enters, so from this point, the melody line should be played clearly and expressively. The end of this phrase is the first beat of measure 11. This entire segment will be referred to as Section A.

Observing the dynamics in Section A, mezzo forte and piano alternate. A common pitfall for performers is that as soon as a p marking appears, the vocal part loses its inherent sound quality and is played with a delicate, fragile tone. Regarding the p markings in this piece, consider them to be more for the accompaniment than for the vocal part. Of course, the vocal part must also have dynamic variations to some extent. However, if it shrinks along with the accompaniment, the valuable vocal part becomes fragile and sounds as if it were merely part of the piano accompaniment.

No matter how p it may be, the vocal part must be clear and distinct in sound quality from the accompaniment.

Now, regarding the overall idea. Although this piece is in a major key, it also expresses sadness. The vocal part in Section A, in particular, embodies this expression. From the third beat of measure 3 to the second beat of measure 5, consider it a single statement, and play it as an expression of sadness. From the third beat of measure 5 to the first beat of measure 7, consider it the “consolation part.” This might be a duet or a solo, but these two statements alternate.

When performing the melody line of this A section, do not proceed too smoothly. There must be a sense of urgency. To achieve this, you must, to some extent, deviate from conventional timing and resolution (harmonic resolution). For example, the E on the first beat of measure 8 ascends from the E an octave lower in measure 7. Typically, singers take a considerable amount of time when singing wide leaps such as octaves. While we pianists can reach an octave higher note instantly, singers cannot. Utilize this characteristic of a singer. When moving from the final E of measure 7 to the E of measure 8, take ample time and give sufficient volume to the E in measure 8.

The peak point at measure 13 should reach forte from a crescendo without hesitation, so play it with a large sound.

Although measure 15 is marked p, it immediately follows a peak, and the left-hand bass has a sustained dotted half note, so the volume should still be relatively large. Then, in measure 15, instead of a dotted half note, a rest appears in the left hand, so reduce the volume here.

Measure 24 is a very cadential section. Take ample time and sing the melody line.