By Elvinamonica - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=60482401
Voyage of the Sampan Malay/Indonesian Folk Song arranged by Charmaine Siagian Grade 4 ABRSM 2025 – 2026
Character/story of the piece – in this book there are excellent notes about the migration to the region and how the Malay language is the unifying aspect for the collection of pieces contained in the publication. The arranger states ‘most traditional Malay folk songs are based on a pantun (an allusive poem with love as its most common theme) and follows a basic musical form: verse – chorus – verse – chorus. Verses are often improvised’.
The sampan is a reasonably flat-bottomed boat found in East, South-east and South Asia. Many have a small shelter on board, and these are used for accommodation. These boats are used for fishing and for transportation. They are not used in open water because they are not designed to be used in rough conditions. They are propelled by poles, oars (sometimes a single stern sculling oar) and outboard motors.
In the notes for the piece the arranger states that mass migration from mainland China occurred between 1800 and 1950 and it is possible that Voyage of the Sampan is from that period. She writes ‘its homesick quality should warm to a welcoming one in measures 14 – 15 and imagines that Chinese immigrants rowing first to Singapore and then north to Malaysia’.
In the first four bars, being the introduction, the arranger is setting the scene and introduces the listener to the fact that the first part has the L.H. playing in a reasonably high register. Even though this contradicts what the Wikipedia article says however the player could imagine the first two sections is where the sampan is travelling to Singapore over very calm and peaceful waters. Once bar 25 has been reached, the player has arrived in Singapore and the welcome is positive and warm. However, at bar 33 the slightly nostalgic and homesick character returns. Here, the player could be contemplating another move or has sailed away to another land.
Throughout this piece there are ‘waves’ of nostalgia and homesickness. There are occasions where the person is coping with these feelings and others where they are not. Or, it could be thought of as the person sometimes dreaming and at other times consciously thinking about where they are living.
Form – as has already been alluded to there are three sections in this piece and there is an introduction and a postlude. This piece commences in EB major and it is interesting to note that this piece contains no accidentals. Bars 25 – 32 convey a richer, more resonant tone however this does not seem to be a modulation to another key. The use of the different chordal patterns and structure add variety and interest to the piece.
Main part of the music – this should occur at a forte level in bar 26 and this will contribute to the contrast of dynamics in the subsequent phrase which should be played at a mezzopiano level. Considering that the main part of the music occurs about two-thirds of the way through the music, the player must ensure that the music does not lose its momentum towards the end. Each section should have a focal point and because the first and second sections are the same, the main part needs to be in a different place. At bar 26 it is as if the sampan has come into clear view.
Phrasing – the phrasing in this piece has an episodic quality although there is balance and symmetry found in the groups of phrases. In the first and second section there are three phrases, the first one is four bars long and the following one(s) could be considered either six bars or two phrases of three bars long. The final three bar phrase commences with an upbeat. The final section contains three phrases at the start that are more conventional in structure. However, the final two phrases revert to a more episodic character. The phrasing in this piece reflects the character and story of the piece.
Tempo, time signature and rhythmic patterns – even though the time signature is simple quadruple, the tempo indication is expressed as being in duple time. Perhaps the arranger wishes the music to contain little accentuation; in a sense, on occasions, the music feels as if some of the bar lines have been removed. The tempo of 58 minim beats per minute is entirely appropriate, anything faster will affect the languid and nostalgic character. It does seem to be a reasonably fast speed considering the character. Apart from several tied notes, most players will not find this piece rhythmically difficult to play. The long notes must be held for their correct value.
Touch/articulation – the arranger has used the word delicately in bar 5. However, this does not mean that the player should not adopt a full sound, because if the sound is too thin, the character will not be conveyed. In the introduction, first and second sections, the player needs to utilise an intense R.H. legato touch, highlighting the upper notes of chords where necessary. At the commencement of the final section, the player should employ a cantabile touch for the first two phrases. Then, at bar 33, the player should revert to the R.H. intense touch. There is part-playing in the final two sections; the upper R.H. needs to be cantabile with the lower part more intense. The L.H. has an extremely important role to play regarding its touch as it needs to be resonant, often cantabile and legato. The degree of resonance will depend on the dynamics of the phrase. A few judicious lifts, for example before playing the R.H. F in bar 11 is a stylish addition to the playing.
Dynamics – even though the loudest part in bar 26 is at a forte dynamic, for the most part, the music with its nostalgic character, should not be played with dynamics that are too loud. The player should consider using piano to mezzopiano levels for most of the time, reserving the louder or quieter dynamics for moments of drama or intensity. As is always the case, a change in the L.H.’s dynamics will make a considerable difference to the overall dynamic level. In the penultimate bar the player should not reduce the dynamics too soon.
By Bisajunisa - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=113815361
Balance between the hands – the balance between the hands needs to be to the R.H. in this piece. Nevertheless, there are many bars where the L.H. is either playing the most or playing entirely on its own. Careful thought and listening must be employed on the part of the player as the L.H. should be played with consideration regarding the remaining R.H. sound.
Rubato – obviously small touches of rubato could be applied when playing this piece however the player must ensure that the rhythmic patterns are not compromised and that it does not become predictable. The poco rit. written in bar 22 should be applied without the need to balance it by some acceleration in the earlier part of the phrase. This rit. should be minimal so that it contrasts with the molto rit., a tempo and rit. used in the final phrase. A slight acceleration prior to the main part is appropriate. A little indulgent rubato applied at the end of bar 10 will allow the player to position their hands for the subsequent bar. There should not be too much slowing down at the end.
Pedal - legato pedalling is required throughout this piece with a few touches of flutter pedal and half-pedalling where necessary. Thought must be given to why the pedal is being used in a particular way. There are ‘washes’ of pedal sound at times throughout the piece.
Considerations when playing this piece –
· The player must be ready for the sudden change of register at the start of bar 23.
· The player must consider how long to wait at the end before lifting their hands and pedal off the piano.
· The player must have a good geographical sense of the piano.
· The player should consider what affect on the character is created by having the hands play further apart such as in bar 23.
· The R.H. C at the start of bar 25 should sound as if it is a continuation of the L.H. of the previous bar.
· In the introduction the L.H. EBs set the scene and are important to the dynamics.
· The BBs in bars 37 – 40 have a similar role as above.
· At the end of bar39 the texture ‘thins out’.
· At the beginning of bar 33 both hands must move simultaneously into the new position.
· When the hands are playing in a higher register the music is provided with a simplicity.
· In bars 37 and 38 the two-part playing is a kind of ‘upside-down’ introduction.
· There is a change of character when the L.H. moves into a lower register in bar 23.
· The rests are an integral part of the music.
· There must not be any perceptible ‘bump’ between bars 4 and 5.
· At times the L.H. leads into the following phrase.
· Interesting use of fourths in this music.
· The highest note of a melodic pattern affects the character and dynamics of the music.
· In bar 14 it is easy to miss playing the R.H. D.
· There is subtle use of syncopation in this music.
· The player must ensure that the chords do not split when played.
References
https://en.wikipedia.org/wiki/Sampan