10. A Little Expedition

About the Composer

Akira Miyoshi (1933-2013) was a leading Japanese composer who left behind important works not only in orchestral and piano music but also in choral, wind band, and music education fields. Many teachers likely incorporate methods such as the Miyoshi Piano Method into their lessons. "A Little Expedition" is included in Oto no Mori (Forest of Sounds, 1978), a collection of 36 piano pieces for children, including duets.

Although it is a collection for children, as Miyoshi was a master of contemporary works, it does not simply end with major and minor keys. Even in sections where the key is relatively clear, there are notes outside the chords, as if questioning "Is that really so?", and chords freely and improvisationally added to the melody, demonstrating ingenuity to make children feel and think. Rather than analyzing harmonically, it might be easier to enter the piece's world by focusing on the direction of the sound, its vector, or its color (timbre/coloristic sense).

Measures 1-8

The goal here is to allow the succession of root position triads and the sprightliness of the right hand to coexist effectively. It would be good to play while carefully feeling the connection in the left hand (C→D→F→G→F→E→D→C). From m. 5, as the highest note in the right hand and the lowest note in the left hand expand outwards, a crescendo should naturally emerge.

Measures 9-16

This is a section where one should fully acknowledge the shift to a minor key (minor mode) and change the mood accordingly. However, the dynamic marking is mf, which is the same as the beginning. The dotted line connecting Eb (D#) → E in measures 11-12 represents the movement of the third (leading tone) of the double dominant in A minor; pay particular attention to connecting these notes. In measure 13, the crossing of the hands is linked to the dynamic becoming p. It returns to the original state immediately in measure 15, but be careful to control it well so it doesn't jump out.

Measures 17-20

This section features the freest harmonic treatment in the piece. Various chords accompany the melody written in the lower staff; as the piece gradually prepares for a major key, moving from dark-toned chords to major triads while crescendoing, one can infer the image of emerging from a tunnel towards C major.

Measures 21-24

The progression is generally similar to the first paragraph, but in contrast to the cresc. from mf there, here it starts from mp and ends with a decresc.. The common point is the desire to make the bass line clearly audible. From measure 22, a progression in thirds, reminiscent of Bartók, can be observed; it might be interesting here to search for hidden notes and complete the chords. In terms of how one feels and how one plays, every piece is an "expedition."