Miyoshi, Akira:The piano pieces for Children〈Forest Echos〉

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＞　Forest Echos　

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Waltz of the Common Chords	A2	♫
Simple melody. Pretty beautiful. As the title suggests, the accompaniment is the pattern of disjunct motion by the third harmony. Focus on the quarter notes, but don’t let the progress get stuck. On the following half note, raise your wrist slightly and relax. There are finger loops, extensions, and position changes, so if you’re not used to it, it’s harder than it looks and you can’t play smoothly. It is desirable to do all of them in a textbook.

Murmuring	B1	♫
Take care of the slur breaks. The melody on the left hand is like another self against murmuring. Enjoy right-hand-left-hand conversation (just alone lol). Basically, there are many descents like as to be consoled, in contrast, the ascent parts in the final have the most of movements even in the piece. Express the dynamics. (When you think you’ve done cresc., the end of the phrase often ends in dim., so be careful and natural.)

Fa’s Tale	B1	♫
F(“F” is called “Fa” in Japanese) is sustained in the right hand. Since there is also a dolce instruction, you should play it naturally in the overall melody without making it stand out. I think it’s just right if you hit the F carefully and when you realize it’s always echoing. (Always listen to F with your ears!) From the middle part [13], F does not stand out and sings around it. The left hand is in the F minor scale, so let’s create a flow. It will be smooth if you also practice the scale. On top of that, the right hand should sing comfortably.

Left Hand-The Sea, Right Hand-The Ripples	A2	♫
The melody is completely played by the left hand. Practice a lot before playing the right hand so that you can sing long phrases. You can play the right-hand notes by light touch so as not to interfere with the left-hand, but the right-hand melody is also beautiful, so you should also listen carefully to the right-hand melody. First, play without rests and check the melody line. Although there are rests every other beat, always keep the melody lines in mind and play calmly.

Legato	B1	♫
Practice playing long phrases. Gradually apply the weight of the arm toward the center of one phrase, and gradually loosen it toward the end of the phrase, and you can play it smoothly in one unit. The author’s cresc. and dim. instructions are also attached along the flow of the phrase, so if you carefully follow the instructions on the score, it will be easier to play. [13] ~ The transition of the left hand sound is beautiful. Listen carefully to the overlapping of the two sounds, the sound held by the thumb and the changing sound, and play.

Memory Ⅰ	B1−B2	♫
One of Miyoshi’s aim is to change the commonly accepted rule of melody for the right hand and the accompaniment for the left hand, thus his pieces are very difficult. There is no part that repeats (in a sense innocently) in the same pattern and you couldn’t play even a simple song if you wouldn’t surely listen to each sound. Practice only the left hand first until you can play the melody of the left hand that changes one after another. [9] ~ Transpose to G major and try to recall the bright “Memory” a little. The melody also ascends. Lighten up your touch by raising your finger up a little. [13] ~ The second time is almost the same as the first time, but it is already covered in a minor key of sadness. Change the mood of sounds. According to the author’s comment, the left hand is a little tenuto and some parts are no problem even if you overlaps with the next sound. The quarter notes on the right hand are also slightly longer. Playing pensively will notice you a difference. Throughout the work, a descending motif that makes you pensive is central, and it is a melancholy ‘Memory’.

The Sea’s Lullaby	B1−B2	♫
This is also a piece that you can enjoy two voices. The melody that spans two bars is one big wave. Let’s express the detailed dynamics firmly, and give a bulge in the middle to create the movement of waves. Don’t let the 6/8 time beat stand out. The length of the note and the movement of the wave are linked, so imagine a slow wave at the point where the note value is long. [18] ~ Until the end, the movement of the left hand gradually decreases, and you fall asleep comfortably. Listen carefully as the chromatic transitions are beautiful.

On the Hammock	B1	♫
At the beginning, the progression of the third note on the left hand is beautiful. [9] transposed to F major. Don’t overdo the dynamics, just add them gently. You should listen carefully to the melody and exchanges on both hands so that the flow does not get stuck. [18] The right hand is the same as the beginning, but the left hand is different. [At the beginning]: Ascending → descending (shaking) [18]: Let’s try to make a difference by paying attention to the movement of the descending sound. Also, the second up beat of [18] changes to Fa ♮, so let me hear it a little.

Ritchan’s Airplane

A Little Expedition

Both Hands

Game of Mimicry

An Orange-coloured Dream

The Little Fox Racing

Cat’s Cradle of the Ripples

A Dance of the Chords

Lullaby

Sleep, Little Baby, Sleep

The Little Whirpool

The Dance of the Dice

The Evening Breeze and the Goldfish

The Dance of the Breeze

Pinwheel

Memory Ⅱ

Black and White

New Yea’s Visit to the Shrine

A Little Leaf Boat

The Festival of Trees

A Dance of the Ribbons

A Dream of Sherbet

Jakq［duo and variation］

A Staircase of Bubbles

Both Hands Playing Tag

The Swinging La

Go! minicars, Go!

【duo】Pavane in Fa