By Michele Campeotto from Italia - Flickr.com - image description page, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=332259
Climbing High Alan Bullard Grade 1 ABRSM 2025 – 2026
Character/story of the piece – the illustration that accompanies this piece as well as the title depicts it all. In the first section, bars 1 – 8 the melodic patterns depict the person climbing higher before reaching a plateau. Then, in the following section the person makes it to the top.
Form – as already alluded to, there are two sections in this piece, both eight bars each in total. The piece commences in D major and remains in this key throughout. The player will appreciate the fact that the first and third phrases are repeated however the melodic material changes in bars 5 and 13 where the second and fourth phrases start.
Main part of the music – the composer has indicated that the main part of the music should occur at the start of the final bar. This is entirely appropriate and the crescendo leading to this bar is vital to the fortissimo indicated in bar 16. In the first section the loudest part should occur at the beginning of bar 6 at a mezzoforte level.
Phrasing – there are four phrases in this piece, each four bars long. The phrasing in this piece is more episodic in nature, for example, the second phrase is an extension of the first phrase rather than an answer to it. Even so, the second and fourth phrases contain and question and answer character.
Tempo, time signature and rhythmic patterns - a tempo of 144 crotchet beats per minute is an appropriate speed for this piece. It requires a lively and buoyant tempo so that the momentum and energy is portrayed. The quadruple time signature allows the music to be imbued with a relentless drive to the final notes. The two-quaver pattern may be played unevenly.
Touch/articulation – the legato notes will need to be played with energy and precision, as if the player is playing a staccato touch within the legato touch. The composer has been extremely helpful in providing the articulation marks required when playing this piece. There will need to be a discernible difference in the playing between the staccato dot at the end of a legato pattern and the individual staccato dot. And the length of the staccato dots must be considered as these are written on crotchet notes not quaver notes.
By Mountain bikers climbing Lower Man by Bill Boaden, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=137435847
Dynamics – a wide range of dynamics can be utilised when playing this piece, from pianissimo to the fortissimo at the end. The dynamics provided by the composer should be followed although the second phrase could commence a little quieter as well as the final phrase. For example, commencing the final phrase at a pianissimo level will contribute to the drama and energy in the final phrase. The L.H.’s dynamics are integral to the overall dynamics.
Balance between the hands - overall, this is not a consideration when playing this piece. There are a few bars where the balance will need to be to the R.H. such as in bars 6 and 13. In bar 7 the focus should be to the L.H.
Considerations when playing this piece –
· There should be no slowing down at the end.
· The L.H. takes on a melodic role such as in bar 1.
· The player needs to acknowledge the final beat of the last bar by holding their hands over the keys.
· The player must be aware of the difference between bars 5 and 13.
· There are occasions where the hands are in each other’s way.
· The piece commences with definition, energy and a degree of intensity.
· The player should notice how the addition of the L.H. notes in the final phrase contributes to the energy, determination and drive at the end of the piece.