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Work Overview

Music ID : 69284
Instrumentation:Piano Solo 
Genre:Various works
Total Playing Time:0 min 40 sec
Copyright:Public Domain

Commentary (2)

Author : Ooi, Kazurou

Last Updated: May 14, 2024
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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.

This piece has five phrases. The first three phrases remain the same when repeated, but the fourth phrase has two versions (first and second endings), making a total of five phrases. Each phrase, except for the final phrase in the second ending, should generally be executed with a crescendo and diminuendo. Be careful not to place an accent on the final note of a phrase (e.g., the half note D in the left hand on the third beat of measure 2).

Let's consider these four similarly shaped phrases. In the first phrase, the right hand reaches A, the highest note in the piece. This phrase can be played somewhat loudly. In contrast, the second phrase descends by a second and is a bit more subdued. Try to create a contrast with the first phrase.

The third phrase descends even further than the second phrase, but it is the only phrase where you can perceive two lines progressing in two voices (due to the third progression in measure 5), making it a melodic phrase.

The fourth phrase descends even further. Learners, please feel the differences in mood, character, or emotion—anything you perceive—for these four phrases. Discuss with your teacher which phrase has higher or lower tension, or a special mood, and then express these differences. Please be sure not to play them all in the same way.

The entire piece progresses in thirds, as if sung by a choir. It can be played beautifully by slightly suppressing the left-hand volume to highlight the right-hand melody.

Writer: Ooi, Kazurou

Author : Kumamoto, Ryohei

Last Updated: November 14, 2024
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

Melartin is a Finnish composer who, Sibelius, lyrically expressed the natural landscape of his homeland, Finland.

Although a short piece, this work offers a glimpse into Melartin's style, and as the title "Song" suggests, its main characteristic is a melody with long phrasing.

Partial Form

  • a (measures 1-4) + a1 (measures 5-8)

The overall structure presents a four-measure theme, followed by the theme's varied development in the subsequent four measures, leading to the conclusion. It is a simple structure.

The theme consists of two movements: ascending and descending. Placing a dominant seventh chord at the peak of the initial ascending figure creates a climax of tension, and at the end of the descending figure, in measure 4, a perfect authentic cadence is formed with the tonic triad. However, the fourth beat of measure 2 is an ascending anacrusis, and while the entire four measures form a single wave-like flow, the ascending and descending movements in the latter two measures should also be recognized to express a subtle expansion of the phrase.

The piece is confined to the range of the treble clef, and the absence of low notes contributes to its lightness. The sense of meter and rhythm is subtle, with a horizontal flow being prioritized. This truly embodies the concept of a "song."

The D note occurring on the third beat of the left hand in measures 2, 4, 6, and 8 serves as a demarcation point, reminiscent of the rowing motion in a barcarolle.