From personal photo collection.
No Time to Die ABRSM Grade 3 2025 – 2026
Mood/character of the piece – clearly the starting point for the interpretation of this piece is the lyrics and listening to Billie Eilish singing the song. The arranger has added the word ‘brooding’ at the beginning of the music which is completely appropriate for the piece. Knowing which melodic parts show where the singer is singing the lyrics and what parts constitute the accompaniment is very important. The player should notice the word lontano which means ‘in the distance’. This is indicating the accompaniment, and as such, should be played accordingly. The phrasing of the music allows the singer to ‘take a breath’ as the singer would.
This piece has two contrasting themes; the player could think of different instruments playing these themes.
Form – the first four bars constitute the introduction helping to set the scene for what is to follow. There are two major themes in this piece. The first section covers bars 5 to bar 12. The subsequent section, commencing at the end of bar 12, continues until bar 16. Following this, the melodic material presented is a variation of the first section, then a variation of the second section from bars 20 to 22 with the final part a combination of the two themes. At the start the music is in the key of E minor with the introduction ending on the dominant chord. In the first section the music is a little unsettled key wise as it moves through A minor and E minor before settling on the dominant chord of E minor at the end. The second section moves strongly into C major and its rising movement through E minor, A minor to the dominant of E minor provides a dramatic effect for the music. Then there is a return of E minor, C major and A minor before finishing on E minor with an unresolved chord.
Main part of the music – the main part of the music should occur at the end of bar 19 with additional tension added by commencing the dynamics at bar 17 very quietly. Two other areas require highlighting dynamically being bars 16 and 23.
From personal photo collection.
Phrasing – the phrasing in this piece is episodic with some commencing on the first beat of the bar with others commencing on different beats of the bar. Because these phrases start on different beats of the bar it provides the music with a slightly restless and uncertain quality. After the first three phrases, all of the phrases commence on the last beat of the bar and to a certain degree this provides the music with a degree of definition.
Tempo, time signature and rhythmic patterns – the tempo of 72 crotchet beats per minute is appropriate, as playing this music too fast will destroy the character it is meant to portray. Conversely playing the music too slowly will result in a laboured and mournful character. The time signature of four beats in the bar helps to allow the phrases to develop. There are no particular rhythmic patterns that should cause concern, however some may find the dotted crotchet/quaver and dotted crotchet/two semiquaver patterns tricky, especially if they occur on beats three and four in the bar. The player must clearly show the rests as often they are vitally important because of their position at the beginning of a phrase.
Touch/Articulation – the arranger has written sotto voce at the beginning of the piece which is excellent advice. Because there are two themes presented in this piece the player should utilise touch as one of the ways contrasts can be shown. The first theme, the one present at in bars 5 to 10 requires a cantabile with weight from the shoulders to the hand and fingers via a relaxed and supple wrist. However, the second theme which occurs, for example in bars 10 and 11, requires a slightly energetic touch. Constant changing between the two types of touch will be necessary throughout the piece. The longer L.H. notes will need to be played with resonance with the player transferring the weight to the bottom of the keys. Occasionally the L.H. will need to take on a melodic role such as in bars 11, 16, 18 and 22 to 24. Here the player must use cantabile weight from the shoulder. There are some L.H. chords that have a tenuto mark; this never occurs in the R.H. The arranger has been very helpful in marking in the articulation, and this must be followed. However, one addition could be a lift in the R.H. at the end of bar 11 as this helps to provide the music with a lessening of the tension. The two-note slurs in the L.H. in bar 23 must be adhered to. Even though there are large leaps at times to be played in the L.H. the player should ensure that the L.H. is as legato as possible. The pedal should not be employed to provide a legato sound if the player could play the music legato.
Dynamics – a wide range of dynamics can be employed when playing this piece however the player should not remain at the louder dynamics for very long. The player will need to have at their disposal the ability to use dynamics that range from pianissimo to fortissimo. As is often the case, a change in the L.H.’s dynamics will make a considerable difference to the overall dynamics. Tone-matching is an important skill when playing this piece especially after the dotted crotchets and tide notes. Considering there are numerous parts where the dynamics are at the quieter spectrum the player needs to be able to play these notes with controlled weight into the keys.
Balance between the hands – the balance is to the R.H., however there are occasions where the L.H. has an important role to play by either helping to provide the music with momentum or by helping to sustain the melody. In bars such as bar 11 the L.H. notes (that are played on the beat) are vitally important in providing the momentum but also the dynamics where it feels as if the R.H. is trying ‘to catch up’.
From personal photo collection.
Pedal – clearly the use of pedal when playing this piece is mandatory however some modification of what is provided would be advisable. Some half-changes and the use of flutter pedal are suitable. The player should ensure that the upbeats at the beginnings of the phrases from bar 12 are not pedalled. It is inevitable that there will be a little blurring in the application of the pedal at times.
Agogic effects – clearly some use of rubato is appropriate however the player must consider why they are using rubato at any given point. Because of the speed, if there is too much easing of the tempo the piece may become progressively slower. The arranger has provided a rit. At the start of bar 23 with three bars still to be played in the piece. It may be advisable to delay the application of the rit. until the penultimate bar. The fermata is a lovely touch; the player should imagine that some of the sound is dying away before playing the final chord.
Considerations when playing this piece
· There is a small amount of part-playing in this piece such as in bars 10 and 11.
· The fingering could be changed in the R.H. in bars 3 and 4 with the G being played with a 4 changing to a 1 and the subsequent notes and chords being played with a 4,5 and 14.
· There are occasions where the melody is contained in the top notes of chords.
· In bar 12 in the L.H. it would be advisable to change the second chord’s fingering to 24.
· The lifts in the R.H. help to increases the tension.