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Remember Me Kristen Anderson-Lopez and Robert Lopez Grade 1 ABRSM 2025 – 2026
Character/story – the ABRSM Teaching Notes offer valuable advice and thoughts regarding this piece. As suggested, knowing ‘how the speech-like pacing conveys the meaning and influences the choice of tempo and dynamic shading’. The player will need to work out where the melody is at any given time and the words that accompany the melodic line. One feature of the melodic line is the constant use of repeated notes. And, this occurs in the L.H. accompaniment too.
Form – this piece consists of two sections, with the first section ending in bar 8, and the second section is slightly longer. The music is in the key of C major however the piece has a restless quality key wise as it moves through several keys. In bar 5, the music is in A minor which is followed by F major in bar 7 with a return to C major at the end of the section. During the second section the music is in F major in bar 13, immediately followed by A minor in the subsequent bar and although the music ends in C major there is a hint of C minor in bar 15 and 16.
Main part of the music – this should occur in bar 13 on the third beat at a forte level however it should not remain at this level for very long. It is interesting to note that the arranger has written a tenuto mark in bar 12; this helps to provide the listener with a degree of tension when moving towards the main part. The quietest part of the music should occur in the last two bars.
Phrasing – there are four phrases in this piece, with two phrases in each section. In the first section the two phrases complement each other as if there is a question-and-answer format to them. However, in the second section the phrases are more episodic in character. The player will need to note how the character of the music is affected by using the upbeat or upbeats at the beginning of the phrases. Because the last phrase does not commence with an upbeat, it strengthens the mood of the music
Tempo, time signature and rhythmic patterns – the arranger of this piece, Alexander L’Estrange, has suggested a tempo of c.88 crotchet beats per minute which is a suitably appropriate speed for the character of this piece. Too fast a tempo will destroy the nostalgic and slightly wistful character that the player will need to convey. Clearly too slow a tempo will not allow the music to have the momentum it requires. Even though the term molto expressivo is suggesting the character that is required it does also provide an indication for the tempo. The quadruple time signature provides the music with long phrases and less accentuation than a triple or duple time signature. This piece presents no difficult rhythmic patterns although some players may find it difficult to accurately count themselves in at the start of the piece considering the upbeat. There is a danger that some players may not hold the long rhythmic values for long enough in their desire to be in position in time for the following note or chord.
Touch/articulation – as stated before, the use of molto expressivo at the beginning is crucial in conveying the character of the piece. This piece presents an opportunity for the player to learn how to apply a cantabile touch in the R.H. In bar 13 the R.H. melodic line is contained in the top note of a third and here the player must ensure that they highlight the top note of these chords. The L.H. semibreves, dotted minims and minims will need to be played with a degree of resonance so that they sound for the full length. This also applies to the R.H. minims that are played at the end of a melodic segment. On four occasions the L.H. plays a set of repeated thirds and these, if played heavily, will affect the molto expressivo character of the music. In no way should these repeated thirds sound staccato, the player should gently lift the chords by staying in contact with the keys prior to playing them again. The arranger has inserted a few small breaks in the melodic line which must be adhered to, as these convey the way the singer would need to take a breath. The use of the tenuto marks is subtle and poignant.
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Dynamics – the dynamics in this piece should be mostly restrained and will need to portray an intimate and reflective character. Tone control is an essential skill when playing this piece and each phrase must be dynamically shaped, so the meaning of the words is conveyed. The player must ensure that the main part of each phrase does not occur in the same place, as this could mean that the dynamics will become predictable for the listener. Even though the L.H. has an accompaniment role in this piece it does have an important part to play, warmly supporting the R.H. or by providing the momentum for the piece.
Balance between the hands – this is clearly to the R.H. although in bar 14 both hands should be equal in balance considering the melodic material. The player will need to judge how loud to play the L.H. considering the dynamics of the R.H.
Rubato – judicious use of rubato when playing this piece is appropriate although this is a skill that some Grade 1 players may find it difficult to relate to. Any rubato employed should be kept to a minimum; and it should never sound predictable. When applying rubato, the player needs to consider why it is being applied. In bar 8 the poco rit should be played without any acceleration prior to it, however the lift in the R.H. denoting the commencement of the subsequent phrase must be carefully judged, as it could result in the rhythmic values being doubled. The slower tempo suggested in the penultimate bar must be adhered to, although not to the point where the time values are doubled.
Pedal – as with rubato, this is most probably a skill that is not always expected of a Grade 1 player. Nevertheless, pedal is provided in this music and a few additions and alterations to these markings are suitable. For example, in bar 1, the pedal should be changed on beat 3 otherwise the R.H. rest will not be observed. Again, discussing with the player why the use of pedal is suitable will be beneficial. The application of pedal must enhance the melodic line, not swamp it in any way.
Considerations when playing this piece –
· The player will need to consider how long to wait at the end of the piece before lifting their hands and pedal.
· It is interesting to note the use of the GV at the beginning of bar 4 in the L.H. Could an AB been used instead?
· The dynamics of the L.H. repeated chords must be carefully judged.
· The dynamics of the repeated R.H. notes in bar 15 are crucial.
· There is a danger that not all the notes of the L.H. chords are completely heard.
· There is a diffidence and uncertainty at the beginning.
· There is a leap of a seventh in the R.H. in bar 7; what effect does this have on the melodic line?
· It is interesting to note that in the original song the singer is accompanied by a guitar.