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for piano

Composer:   Jillian Bray

Films, Audio & Samples

Sample Score

Sample: the first system of pieces 1-7 and bars 19-20 of 8

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Designed to foster principles of performance.

10 and under 12 years:


Ties, rests and repeated articulation can be overlooked with a lack of concentration. One may find a tendency to shorten notes of longer duration in this age group and some pupils struggle to emphasise theme over accompaniment. Maintain one's guard in approaching the end of a performance or mishaps may occur! Emphasis of the first beat in the bar will give impetus.


is primarily a study in dotted rhythms. There is sometimes a tendency to mistime dotted crotchet-quaver, particularly in combination with dotted quaver-semiquaver as found in this piece. Identify with the mood of the piece as indicated by the title without causing a distraction!

12 and under 14 years:


Played with a sense of excitement Anticipation requires precision, and emphasises the need to be prepared for what lies ahead: given sudden changes in tempo, dynamics and hand position, - not forgetting readiness to use the pedal in the last bar!


The role of a performer is to communicate the composer's work to the audience as authentically as possible. This piece calls for some dexterity but generally lies under the hand. Good coordination is a prerequisite and articulation is important. The pedal is not required.

14 and under 16 years:


Improvisation is designed to assist pupils to respond to the Romantic element in music. Sensitive pedalling is required, in order to enhance the cantabile melody, with subtle nuances in the shaping of phrases. The left hand should flow unobtrusively.


In competitions not all are destined to win, but should aim to do their best to achieve a positive outcome from the experience. Consolation requires good tonal differentiation, sensitive pedal control and with subtle rubato must not be hurried. The relationship between right and left hand parts should be observed.

16 years and over:


Sensation reminds us to consider both emotional and muscular response. How do we feel about the music? How can we achieve the best results, avoiding tension? Touch control is essential in this piece in order to master the demands of melody and accompaniment concurring in one hand. The continuous quaver movement must remain inconspicuous. Give attention to underlying strands of melody.


Expectation of a bright future is contemplated by students in this age group. Hard work has brought them to this point. May they continue to find fulfilment in Music.

Commissioned note

Commissioned for the Hutt Valley Competitions taking place in 2014–15.

Dedication note

For Carolyn Rait

Performance history