By Kwameghana(Bright Kwame Ayisi) - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=149054278
Sparkling Splashes and Smooth Water Barbara Arens Grade 2 ABRSM 2025 – 2026
Character/story of the piece – clearly the title of the piece provides inspiration for the interpretation of the music. The splashes are represented by the staccato chord patterns, for example in bars 1 – 4 and the smooth water is depicted in the legato patterns such as those in bars 5 – 8. The player could consider that they are sailing on a lake and are encountering some rougher water when the wind begins to blow and calmer water when the wind is gentler. It is interesting to notes that the sparkling and splashing water has the ‘last say’ in the piece. The louder dynamics in the sparkling sections could represent an area that is sparkling or splashing more. And the composer has cleverly used a crescendo in the smooth water sections. Here, the player could imagine that the smooth water is joining up with the sparkling and splashing water. It is an evocative and imaginative piece.
Form – as has already been alluded to, there are five sections in this piece; all of the sections are four bars long. There is a connecting note between the second section and the following section as well as between the fourth and last section. These two notes prepare them listener for the following ‘sparkling splashes’ section.
Phrasing – as with the sections, the phrasing is balanced and easy to identify. The second and fourth sections, the smooth water sections have one phrase each rather than the other sections which contain two phrases each except the final one. The music is in F major however this is not apparent to the listener at the commencement of the piece. By the start of the section the music is briefly in F major but by the end of the section there is movement to B flat major. The third section commences in the key of F major however the music does not remain long in this key with B flat major returning at the start of the penultimate section. The final section is in F major providing the music with an impressive finale.
Main part of the music – this should occur at the end of the penultimate bar at a fortissimo level. Each section will require a focal point too.
Tempo, time signature and rhythmic patterns – the tempo provided by the composer is appropriate. There is a danger that the player may play this piece too fast so consistent use of the metronome when practising this piece is advisable. Alternatively, too slow a tempo will not portray the energy and momentum that this piece requires. Sime players may ask why the time signature is not written as four crotchet beats rather than eight quaver beats. The composer wishes the piece to convey the (3+3+2) aspect and therefore the quadruple time signature would not be suitable. The player must count either 1 2 3 4 5 6 7 8 or 1 2 3, 1 2 3, 1 2. The latter would be preferable. The metronome marking of 120 crotchet beats per minute is the one that should be used when playing it with the metronome as the dotted crotchet metronome marking will not be suitable. There is a danger when playing this piece that the player adds another quaver beat at the end of each bar, thus the time signature becomes three dotted crotchets in every bar. As preparation for the exam, the pupil must be able to play this piece at a range of speeds. Some will do this instinctively; it is an aspect some players will initially find difficult to relate to. The L.H. rest in bars 8 and 16 must be clearly shown.
By Kirt Edblom from Albany, Oregon, United States - Smooth Sea of Cortez, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=123026862
Touch/articulation – clearly this is an aspect, along with dynamics, speed, articulation and pedal, that will contribute to the character and story of the piece. A slightly intense touch in both hands in the ‘sparkling splashes’ section is suitable so that the brightness of the water is conveyed. The ABRSM notes state that ‘the staccato passages require a firm hand shape to keep a tight hold on the rhythmic elements, whilst the legato sections require flexibility in the wrists to create a smooth and clam character’. Their suggestion is to think of clockwise circles in the L.H. and anti-clockwise circles in the R.H. The staccato touch should be bright and crisp with the fingers supported by the hand, arm shoulder and supple wrist. A distinction must be made when playing those staccato chords that are accompanied with an accent. These accented chords provide the music with the 3+3+2 aspect. There is a danger that the player could play some of these chords with a degree of harshness or stridency. This must be avoided at all costs. In the ‘smooth water’ sections the player must adhere to the articulation the composer has provided observing the lifts at the end of each bar as shown.
Balance between the hands – obviously in the ‘sparkling water’ sections this is not an aspect the player will need to consider. However, in the ‘smooth water' sections the balance will need to be to the R.H.
Dynamics – considering the character and its contemporary nature the dynamics employed in this piece should be wide ranging and on occasion, quite changeable. The dynamics should range from pianissimo to fortissimo with the loudest dynamic reserved for the penultimate bar. The final crescendo should be the most dramatic; this should occur in the final phrase. Concerning the suggested dynamics the player would be wise to reduce some of the levels. Considering the dynamic levels when moving from one phrase or section to the next is extremely important. The dynamics are more changeable in the splashing sections. The L.H. is an integral part of this music and often it dictates the dynamics.
Pedal - legato pedalling should be used in the smooth water sections. This will help to enhance the contrast between the two sections. The pedal should be applied in the final bar with the player gradually depressing the pedal so that some resonance is maintained.
Agogic effects – the poco rit. is situated in the same place in the second and fourth sections. It would be wise to alter the position otherwise it could become predictable for the listener.
Considerations when playing this piece –
· The player should notice how the melodic line, for example in bar 7 moves to a note of a chord in bar 8 in both hands.
· At the end, the player must consider how long to wait before lifting the hands and pedal. Some of the sound must have reduced prior to the lifting of the hands and pedal.
· It is interesting to note that the music moves into a higher register at the end.
· As a practice technique, ask the player to play the music to someone who does not know the title and ask the listener to name the piece.
· The player needs to highlight the changing R.H. notes.
· In bar 8 and 16 the player could consider using a R.H. 3 on the G as it is a stronger finger in this situation.
· For example, at the end of bar 2 the player must be looking ahead to what will need to be played in the subsequent bar.