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Home > Haruhata, Celéri > Pim on Corn Poppy Street > One Morning, When I Turned the Corner

Haruhata, Celéri : Pim on Corn Poppy Street One Morning, When I Turned the Corner

Work Overview

Music ID : 71548
Instrumentation:Piano Solo 
Genre:for children
Total Playing Time:0 min 30 sec

Commentary (1)

Author : Ooi, Kazurou

Last Updated: May 20, 2022
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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.

Structure and Dynamics of the Piece

The piece can be considered as 16 measures (8 measures x 2), with each 8-measure section forming a single phrase. When considering the first 8 measures, they can be further divided into two 4-measure units. The opening 4 measures can be further subdivided into two 2-measure units, with the tension increasing more in measures 3-4 than in measures 1-2. The melodic line also ascends to B.

Now, to the main point: how do you analyze the chord in measure 1? If measures 1-2 consist of a tonic chord (C-E-G) and a chord on the sixth degree (A-C-E), the chord on the sixth degree might have higher tension. However, it is noteworthy that in measure 1, the left hand is written with a minor second (C and B). One could consider measure 1 as C-E-G-B, with this B then descending to A in the next measure, and G ascending to A, thus resolving. In this case, the author suggests that measure 2 could, in fact, be dynamically softer than measure 1. What are your thoughts on this?

The exact same phenomenon occurs in measures 3-4. Although a crescendo marking is present, the author considers this crescendo marking to be primarily for the right-hand melodic line. The author still perceives the left-hand chords in measure 4 as weaker than those in measure 3.

Similarly, the author suggests playing measure 6 softer than measure 5, and measure 8 softer than measure 7. Consequently, within these first 8 measures, all four phrases conclude in 2-measure units, and each second measure can be considered weaker than its preceding first measure.

The second half of the piece is structured as one phrase in measures 9-10, another in measures 11-12, and finally, one phrase in measures 13-16. The character changes from the first half; let us express the direction with measure 12 or measure 13 as the goal. For instance, measure 2 could be considered a point of repose, but in the second half, the bass line continuously descends, increasing the tension. It would be appropriate to build tension progressively through measures 9, 10, 11, and 12.

Writer: Ooi, Kazurou

Sheet Music