By joanne clifford - Forlorn, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=79493256
Let it Go from Frozen Kristen Anderson-Lopez and Robert Lopez Grade 1 ABRSM 2025 – 2026
Character/story of the piece – obviously knowing the words that accompany the music is a necessary aspect for the interpretation of the piece. The word given at the start by the arranger, Kelvin Thomson, is smoothly.
Form – this piece commences with a four-bar introduction beginning on the first beat of the bar. The introduction does not use the key of G major; it has a slightly unsettled feeling of key. The first section is covered by bars 4 through to 13, with the second section commencing at bar 14 and finishing at the final bar. This piece is in the key of G major however the key is not established until bar 5. In the first section the key moves between C major and G major. At the start of the second section the music is firmly in the key of G major however as the section progresses the key becomes less definite, and the piece ends with an unresolved feeling key wise.
Main part of the piece – this should occur in bar 15 at a forte level. In this bar the arranger has inserted three accent marks, the most that are used in this piece.
Phrasing – there is interesting use of phrasing contained in this piece. There are five phrases in this piece; they are all four bars in length however some are a little longer and others a little shorter than others because of the use of an upbeat in some cases. The first phrase, the introduction, is nearly four bars long as the second phrase commences on an upbeat. The third phrase is longer; it commences with an upbeat however the last bar of the phrase is complete thus allowing the fourth phrase to begin with a degree of strength. The final phrase commences with an upbeat. Considering the differences in the beginning of the phrases the player should consider how this affects the character of the music.
Tempo, time signature and rhythmic patterns – the tempo of this piece is quite fast; some players may find it hard to achieve this tempo successfully. The tempo suggestion is appropriate for the character of the music. The quadruple time signature allows the music to contain long flowing melodic lines as well as effective syncopated passages. This piece contains many complex rhythmic patterns, and it would be wise for the player to know these rhythmic patterns well before commencing to learn the music. Tapping out the rhythms is one suggestion as well as the teacher and player each clapping a particular pattern or patterns. The player must have a ‘rock-solid’ sense of the beat throughout. The sense of syncopation becomes stronger in the second section.
By Telkamar - Own work, CC BY 4.0, https://commons.wikimedia.org/w/index.php?curid=166572129
Touch/articulation - the L.H. has an important role to play in this music, at times it requires resonance with weight from the shoulder such as in bars 1 – 3. Often the L.H. is in a supporting role, playing repeated chords such as in bar 5. Here the L.H should employ a slightly detached touch when playing the staccato chords and a more weighted touch when playing the chords that are accompanied by a tenuto marking. In the second section, the L.H. contributes to the melodic line in bars 13 and 15 – 16. For the most part, the R.H should play with a slightly intense touch, as much of the melodic line is in a high register on the piano. Weight from the shoulder needs to be used when the notes with the tenuto and accented notes are played. The lifts in the R.H. in the introduction must be adhered to.
Dynamics – a wide range of dynamics should be used when playing this piece from pianissimo to the forte already mentioned. However, the player should use restraint when applying the dynamics in the louder range; these should be reserved, for the most part, for the second section. The first section should sound a little unsure and diffident; using louder dynamics would not be appropriate for the character at that point in the music. The player will need to carefully listen to the fading tone of the R.H. in bars such as bar 5, so that the playing of the L.H. chords does not overwhelm the remaining R.H. sound. Nevertheless, the L.H. ‘drives’ the dynamics of the piece.
Balance between the hands – as has already been alluded to, the balance is, for the most part, to the R.H. The repeated L.H. chords will need to be carefully played ensuring that they do not overpower the R.H., however they enable sufficient tone to remain for the R.H.’s subsequent entry. In bars 13 – 16, the hands are equal in balance.
Considerations when playing this piece –
· There is room for the use of more pedal than is marked in this piece.
· Tone-matching is a very important skill for the playing of this piece.
· The forte in bar 4 seems to be a very strong dynamic suggestion considering the point that it occurs in the music.
· A few touches of rubato could be applied to this piece however the player must ensure that these do not affect the rhythmic patterns and the syncopation.
· The first C in the R.H. in bar 19 should be clearly heard.
· The final notes must be carefully judged dynamically.
· The player must consider how long to wait at the end before lifting their hands and pedal.