Clouds Walk- The Piano Pieces for Children for small hands No.7 - Ikebe, Shin‐ichiro

Ikebe, Shin‐ichiro : Clouds Walk- The Piano Pieces for Children for small hands　No.7

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Work Overview

Music ID : 47772

Instrumentation：Piano Solo　
Genre：for children

for children

Piano Solo

piano solo

Commentary (2)

Author : Imazeki, Shiori

Last Updated: March 15, 2018

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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

The work has a very clear structure in A-B-A ternary form with a coda, and essentially, the right hand carries the melody while the left hand provides the accompaniment. The accompaniment in A (measures 1-8) consists of a repeating pattern of the third inversion of the dominant seventh chord of E-flat major (Es-dur) and the VI chord functioning as a tonic. The absence of the E-flat major I chord contributes to a dreamlike atmosphere.

In B (measures 9-17), the Aeolian mode is used instead of major or minor scales, pursuing a different kind of dreamlike expression compared to A. A two-measure motif is repeated three times at different pitches, reaching the highest note, g''', in measure 16, before returning to A (measures 18-25).

In the coda (measures 26-31), which features frequent meter changes, the ascending melody from A is used in the right hand, while, in contrast, the bass line descends.

Writer: Imazeki, Shiori

Author : Ooi, Kazurou

Last Updated: June 20, 2018

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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

When performing this piece, the following points should be observed:

Employ rubato for rich expression; avoid playing metronomically.
Impart distinct colors to reflect the varying moods of the chords.
Pay attention to elements not explicitly notated in the score.

The form is ABA, with Section A spanning measures 1-8, Section B measures 9-17, the returning Section A measures 18-25, and the Coda measures 26-31.

Let us begin by examining the opening accompaniment.

A Section

The accompaniment in the A section features a dotted half note on the first beat and a half note on the second beat. While it is always preferable to play the accompaniment softly, particular attention should be paid to playing the chord on the second beat quietly. Reducing the volume on the second beat relative to the first will ensure a smoother flow.

The melody line should be sufficiently shaped and may be performed in a singing manner. Regarding dynamics, while there is a slight increase in tension in measures 5-6, it should remain within the mezzo piano (mp) range. The dynamics in measures 3-4 should be slightly softer than in measures 1-2, and measures 7-8 slightly softer than measures 5-6.

B Section

The B section can be conceptualized as progressing in two-measure phrases. This allows for a division into four segments: measures 9-10, 11-12, 13-14, and 15-17 (the final segment comprises three measures). It is crucial to consider the mood of each individual phrase. By differentiating the 'color' of all four segments, a variety of expressions can be achieved.