By Jack Mitchell - This file was derived from: Lennons by Jack Mitchell.jpg, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=15666704
Imagine John Lennon Grade 1 ABRSM 2025 – 2026
Character/story of the piece – there are few people who would not know this song and the message that it conveys. The lyrics suggest that there should be a world with peace with no religion, no materialism and no borders between countries. Knowing where the melody is at any given time in the music is paramount to understanding the piece. The arranger has provided the words ‘flowing and hopeful’ at the start of the music. And the words dolce and semplice are provided at the start of the music. John Lennon recorded this song using a Steinway upright piano and was accompanied by a bass guitar, some string players and a drummer.
Form – there is no introduction to this piece. The first section ends at the beginning of bar 12, with the second section commencing on beat three of the same bar. The piece commences in C major and remains in this key throughout. There are some lovely chromatic touches present in the piece.
Main part of the piece – this should occur at the beginning of bar 18 at a forte level. The dynamics should not remain too long at this level considering the message the song is conveying.
Phrasing – there are five phrases in this piece all approximately four bars long. The first phrase commences on the first beat of the bar however the second and third phrases begin on an upbeat which utilises a wonderful pattern of two semiquavers and a quaver. The fourth phrase commences on the third beat and the final phrase starts on the second beat. The slightly differing length of the phrases provides the music with a gentle and reflective character. Because the third phrase is shortened, this adds a degree of tension and drama to the music.
Tempo, time signature and rhythmic patterns – the suggested tempo of 72 crotchet beats is appropriate for the character of the music. Too fast a tempo will affect the hopeful and slightly yearning quality of the piece. The quadruple time signature allows the phrasing to have breadth and for the phrases to flow easily. There are many areas where the player will need to ensure that they become familiar with the rhythmic patterns prior to learning the piece. And constant checking with the metronome will be required so that the rhythms remain taut, controlled and correct. The rests must be strictly observed.
Touch/articulation – even though there are numerous repeated notes in this music, as well as the use of thirds, the touch will need to be as legato and cantabile as possible. This applies to the L.H. as well as the R.H. as the music that has been arranged feels as if it is primarily the piano part of the original. A Lift in the R.H. in bar 19 as this helps convey to the listener that the music is drawing to its conclusion.
Dynamics – the range of dynamics employed in this piece should range from pianissimo to forte. The p sub. located in bar 11 is particularly effective. The player must always be conscious of the dynamic levels from one phrase to the subsequent phrase so that the singing aspect is conveyed. The level of the L.H.’s dynamics is crucial; a small change in the L.H.’s dynamics will make a considerable change to the overall dynamics. There are many instances where the L.H. plays on its own, often with repeated chords. These chords must be carefully graded with awareness to the fading sound in the R.H. and the dynamic direction of the phrase. To a certain extent the R.H. is being generated by the L.H.
Balance between the hands – for the most part there is R.H. balance in this piece however there are a few melodic segments where the balance between the hands is either reduced or they are in unison dynamically. For example, in bars 11 and 12 the hands should be equal in dynamic level considering what they are playing. In bars 15 and 16 and bars 19 and 20 the hands should gradually merge.
Rubato – this piece requires little use of rubato as the arranger has written some in, especially the areas where the L.H. is playing on its own for most of the bar or for all of the bar. The rit. in the penultimate bar must be observed but not at the expense of doubling the rhythmic patterns.
Considerations when playing this piece –
· The L.H. could seem a little boring at the beginning so judicious use of dynamics will ensure that the listener does not become bored.
· The hands are at times, quite close together.
· The player must know exactly where the melodic line is.
· There are occasions where the melody moves from a single note to a note of a chord and vice versa.
· There is interesting use of the two semiquaver and quaver pattern in the L.H. which joins melodic segments within a phrase and from one phrase to the following.
· The L.H. fingering in bar 9 on beats three and four could be changed to 1 2 and 5.
· The placement of the final L.H. chord is crucial; there is a danger that this chord could be played to loudly or that some of the notes of the chord do not sound.
· The player must consider how long to wait at the end before lifting their hands from the keys.
· The melody moves into the L.H. on the first beat of bar 16.
· The grace note in bar 12 needs to be played with delicacy.
· ‘Play’ the rests as they are an integral part of the music.
· Bar 8 is a transition bar; there is a change of character in bar 9.
· Particular L.H. notes in chords could be highlighted.
· There should be a larger range of dynamics in the final phrase.