Music Lesson: Umbra Bella

Okay, so Umbra Bella, this piece in particular, is an homage or tribute to a legendary British instrumental pop group called The Shadows. They were formed in the 1950s and became quite famous for backing pop singer Cliff Richard. However, they also achieved great success in their own right with a long list of instrumental hits, which is particularly unusual these days.

Overview of the Piece

Looking at the piece, it is very much pop music. We don't have any flashy techniques or particularly complicated rhythms or chords for that matter. Stylistically, as it should be, the melody is the most important thing. In this piece, it's a nice, strong, clear melody.

Key Signature

• The first thing to look out for in this piece is what we call a key signature.
• You'll notice at the very beginning of bar one, in section A, at the top of the piece, there is a flat symbol.
• This refers to which note in the scale is flattened.

Don't be put off by the fact that the first chord of this piece is A major. This is a four-bar intro. The A major is the fifth note of the scale we're actually in: D minor.

However, we also have something called relative minors and relative majors. The relative major of D minor is F major, which is where we find the B flat. If you've covered the F major scale with your teacher, you'll know what I'm talking about.

So, that's where we're getting the one flat from. Remember, every major scale has a relative minor. In this case, F major's relative minor is D minor, which is the key of the piece. Just be careful at the very top when you're looking at the A major and thinking, "I don't quite understand what's going on here." That's the dominant chord of the key we're in, used as a device in the intro.

Accidentals

Also, look out for what we call accidentals, which is the little sharp sign in bar one. This tells you to raise the third of that chord. Essentially, instead of being an A minor, it's an A major with a sharpened third.

Note Length and Melody Flow

The second thing to consider when tackling this piece, moving into the B section, is the note length.

• This might seem quite obvious, but it's easy to cut notes a little short.
• Everything's been written here for a reason by the composer.
• You want to try and honor that, making the melody flow smoothly and seamlessly without cutting any bits short.

To demonstrate that, count: 1, 2, 3, 4.

When you add in the left hand, you may notice that we have rests occasionally. While concentrating on the melody in the right hand, you may forget to lift your left hand for that rest. Be slightly aware of that when you're playing this piece.

To demonstrate again: 1, 2, 3, 4.

Always remember to restrike notes, even if they're the same notes from bar to bar, especially when they're not tied over. The composer intends for you to strike the chord again.

Make sure that all of the notes you're playing in these chords sound at the same time, if they're intended to be struck together. It can be easy to make a mistake called flamming, where the notes don't quite sound simultaneously.

Starting at Section B

Here's how not to do it from the start at B: 1, 2, 3, 4.

As we progress through the piece and add in the right hand, remember these small details. They may seem obvious now, but caring about these details will be beneficial later, particularly when the music becomes more complicated, and your brain power is focused on other things.

Using the Sustain Pedal

Another aspect to consider is using the sustain pedal, which is the right-hand pedal on a piano.

• This pedal lifts off what we call dampers, which mute the strings.
• Using the pedal allows you to hold a chord for as long as the string can resonate.

This technique will help achieve a seamless flow between the notes, but use it sparingly and with caution. You might want to approach your teacher about techniques for using the sustain pedal.

Here's a demonstration without the pedal from section B: 1, 2, 3, 4.

Now, let's try it with the pedal: 1, 2, 3, 4.

For me, the second version has a bit more depth and resonance. This is personal preference, just how I enjoy playing this piece.

Effective Use of the Sustain Pedal

A good spot to use the sustain pedal effectively would be bar 26 for three bars, where in the right hand you build an A major chord using arpeggios.

This can create a cool effect when you keep the pedal down. Here's how you can achieve this: 1, 2, 3, 4.

This is great towards the end of the piece, something to explore with your teacher.

Fingering Tips

Be cautious of fingering in bars 14 to 16. Nothing too complicated, but if you don't plan ahead, you might find yourself tripping up a little in those bars. Speak to your teacher for advice on that.

Conclusion

All in all, I think it's a very nice piece to start with. It contains some basic tools that will come in handy later on.

As I said earlier, and most importantly, remember to have fun.

Okay? All the best. See you next time!