Loved analyzing the chord resolution at measures 157 and 158: E half diminished 7 add 11, resolving to E minor add 9. Or Eø7(11) - Em(9). The half diminished 7 also has F# lingering in the bass for added tension. Suspense, yearning, tension, and beauty all occurring within in a few seconds. I find it to be especially powerful in the instrumental versions of this piece.
We are in e minor, the double dominant is F# major. In bar 157 we have the root in the bass (F#), the E is the seventh of the chord, the B is simply a suspended fourth resolving to the third (A#), the D is an unresolved suspended sixth (D to C#), although it could also be viewed as a raised fifth (C# to Cx, spelled enharmonically). We also have a minor ninth (G), which is briefly suspended (A to G). In bar 158, Grainger resolves to the dominant (B major), adding a pedal on the tonic in the bass (E) and omitting the third (D#). Another interpretation would be to view the F# seventh chord as an intermediate dominant which resolves to b minor, again without the third (D) and with a pedal on the tonic in the bass (E). Cheers!
Just to be one of those rude commenters, the tempo is about what Grainger wanted: His three recordings are all a tad faster than this one. My beef with this performance is its ignoring of Grainger's meticulously-marked pedaling, such as bars 57, 62, and 142, which results in some loss of the piece's propulsive energy. (Nevertheless, she plays it better than I do!)
Although I think this version gives so much joy, I feel as though the articulation should have been more important and the bass harmonies brought out more
I'm sure some will disagree... But in my opinion Marc-Andre Hamelin's Grainger is both effortless and heart wrenching (many will say he is just a 'virtuoso'.... But a fine example of his ability to bring a tear to your eye is his Grainger disk)... He Really brings out the beauty of Grainger's marvelous harmonies and delicate voicings...
Not to be one of those rude commenters or anything but I think it's a bit fast...the triplets are getting lost and so are the eighth notes directly surrounding them. Very well done though, besides that. Grainger is the best.
I believe it is the available at the IMSLP Petrucci Music Library. They have PDF files of most of Percy Grainger’s public domain pieces, including this one I think.
this should be in cut-time.... not 4/4. if it was in cut-time, it wouldn't sound as rushed as it does. But being in 4/4 this is pushing 220 for a tempo.... re-arrange it to cut-time and put the temp around 120. It will sound the exact same, but you wont find yourself always needing to push the time. and it makes for sub-dividing A LOT easier.
Still prefer the military band arrangement. I dislike all the pulling about of the tempo and 'pauses' inbetween sections; not to mention the tempo which causes the piece to lose its magic.
Me, to an unassuming fellow percussionist: "Hey I have this great idea for a marimba duet..."
I think this is a MARVELOUS ideal!❤
Loved analyzing the chord resolution at measures 157 and 158:
E half diminished 7 add 11, resolving to E minor add 9. Or Eø7(11) - Em(9). The half diminished 7 also has F# lingering in the bass for added tension.
Suspense, yearning, tension, and beauty all occurring within in a few seconds. I find it to be especially powerful in the instrumental versions of this piece.
Em7/F# to Eø(4)/F#
That's what I saw
Em7Eø(4)/F# to B5/E
Sorry, I was looking at the wrong part. That's my real analysis.
We are in e minor, the double dominant is F# major.
In bar 157 we have the root in the bass (F#), the E is the seventh of the chord, the B is simply a suspended fourth resolving to the third (A#), the D is an unresolved suspended sixth (D to C#), although it could also be viewed as a raised fifth (C# to Cx, spelled enharmonically). We also have a minor ninth (G), which is briefly suspended (A to G).
In bar 158, Grainger resolves to the dominant (B major), adding a pedal on the tonic in the bass (E) and omitting the third (D#).
Another interpretation would be to view the F# seventh chord as an intermediate dominant which resolves to b minor, again without the third (D) and with a pedal on the tonic in the bass (E).
Cheers!
@@mrtchaikovsky "it is," not "we are" -- sounds more appropriate that way. Great analysis though.
Gosh this sounds so different from the band version haha
This sounds more bonnie.
Just to be one of those rude commenters, the tempo is about what Grainger wanted: His three recordings are all a tad faster than this one. My beef with this performance is its ignoring of Grainger's meticulously-marked pedaling, such as bars 57, 62, and 142, which results in some loss of the piece's propulsive energy. (Nevertheless, she plays it better than I do!)
Good to hear some good, well-informed criticism for a change! And I'll bet you play it wonderfully!
Although I think this version gives so much joy, I feel as though the articulation should have been more important and the bass harmonies brought out more
I was just waiting for those giant descending runs, but they never came :(
I'm sure some will disagree... But in my opinion Marc-Andre Hamelin's Grainger is both effortless and heart wrenching (many will say he is just a 'virtuoso'.... But a fine example of his ability to bring a tear to your eye is his Grainger disk)... He Really brings out the beauty of Grainger's marvelous harmonies and delicate voicings...
I agree that the tempo is fine, but if the performer wants to play at that tempo, it needs to be much cleaner.
What if I like it “sloppy” sometimes? I think it adds more to the musicality than a sterile performance.
1:55
2:47
wonderful!
Not to be one of those rude commenters or anything but I think it's a bit fast...the triplets are getting lost and so are the eighth notes directly surrounding them.
Very well done though, besides that. Grainger is the best.
This is so good!
Bravo
Hello - what edition of the sheet music is this, please? Anybody out there know? The fingering is very useful.
I believe it is the available at the IMSLP Petrucci Music Library. They have PDF files of most of Percy Grainger’s public domain pieces, including this one I think.
The pianist can’t keep time worth a damn
She’s doing a phenomenal job. Piano solo performances are fundamentally different than an orchestra regarding tempo expectations.
Percy Grainger-GENIAL!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Penelope Twaites-GENIAL!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Beide zusammen-SUPER GENIAL!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
BRAVISSIMO!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
where does one get this sheet music?
It is available on imslp.org
this should be in cut-time.... not 4/4. if it was in cut-time, it wouldn't sound as rushed as it does. But being in 4/4 this is pushing 220 for a tempo.... re-arrange it to cut-time and put the temp around 120. It will sound the exact same, but you wont find yourself always needing to push the time. and it makes for sub-dividing A LOT easier.
This is a common band piece and it is actually in cut time, typically played in the range of 80 to 100 BPM.
1. You realize this is Grainger's arrangement?
2. You realize it says to be played in 2?
Still prefer the military band arrangement. I dislike all the pulling about of the tempo and 'pauses' inbetween sections; not to mention the tempo which causes the piece to lose its magic.
Voted "like" on 22 February 2016