かっこう（ドイツ民謡） - Iwama, Minoru

Iwama, Minoru : かっこう（ドイツ民謡）

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Work Overview

Music ID : 92275

Instrumentation：Piano Solo　
Genre：arrangement
Total Playing Time：0 min 20 sec
Original/Related Work： German Folk Songs 《Kuckuck, Kuckuck, ruft's aus dem Wald》

Commentary (2)

Author : Kumamoto, Ryohei

Last Updated: February 28, 2025

[Open]

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

This piece is in ternary form: exposition a [measures 1-4] + development b [measures 5-8] + coda c [measures 9-12].

The theme begins with overlapping imitations of a motif that leaps down a third from the dominant C to A. Since this motif leaping down a third resembles the call of a cuckoo, it would be effective to express it with appropriate articulation.

The development section b begins with repetitions of the same notes, such as G-G-A and A-A-B, which is a deformation of the theme's opening where the same notes overlap in both hands. It is interesting that the overlapping of "Dora" in the right voice and "Dora" in the left voice, resulting in the sound "Dodora," is expressed as a motif within this section. Therefore, in measures 1-2, if the opening note C in the left hand is expressed with a very light accent, similar to the melody on the beat, it would create consistency with this middle section. Additionally, the A in the left hand in measures 9-10 should also be given a light nuance, rather than merely treated as accompaniment.

Writer: Kumamoto, Ryohei

Author : Ooi, Kazurou

Last Updated: May 30, 2025

[Open]

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

There are two important points when performing this piece.

1. Independence of Voices

One is the independence of the two voices, separated between the left and right hands. For example, in measure 1, the right hand plays C and A. It would be unnatural for A to be dynamically stronger; rather, it should be played weaker than C. While this is fine, when playing the A in the right hand weakly on beat 2 of measure 1, a separate voice in the left hand simultaneously begins like a canon. The left-hand voice should also have a slight accent on C, and the A on beat 3 should be played with less force. In essence, the two voices should not interfere with each other.

As for practice methods, playing each voice with one hand at a time and completely memorizing them will help achieve voice independence.

2. Direction

Another important aspect is direction. The peak of this piece is considered to be measures 9-10. Measures 1-4 descend in a downward contour, and from there, measures 5-8 ascend in two-measure sequences, aiming to reach measures 9-10. Although the highest note in this piece is C, consider the C in measures 9-10 to have the highest tension when compared to the C in measures 1-2 and measure 8.

Writer: Ooi, Kazurou