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Piano Exam Pieces ABRSM Grade 1 Selected from the 2015 & 2016 syllabus REFERENCE cory ABRSM GRADE 1 ‘Students will usually have been learning for up to 18 months by the time ide 1 is on the horizon, They may have taken the Prep Test during this which case they will probably feel quite confident when facing ‘graded exam. A wide choice of pieces should help to keep motiv- ‘so why not have some alternatives prepared, then choose the hree as the exam approaches? You can find the mai it ‘grades in the 2015 & 2016 ABRSM Piano syllabus and on our wel A:1 Clementi Arietta ‘The title Arietta, meaning ‘Little Song, gives the clue to the character of phrase shape and singable melody. 7 ‘present few problems since there are no awkward changes ‘main challenge is to create a gent ‘companied by aless promi Wm in tempo choice is that the mi {in crotchet beats. A constant pulse should be maintained when the tendency to hurry at the final forte four bars in length and a slight breath ie end of each one will help uate the piece. The characteristic ‘sighing’ appoggiatura, first heard in bar 2, becomes @ roughout the piece. A little stress on the first note, followed by @ ‘d second note, will produce the desired graceful effect. Clear sed exactly on the second crotch let air into the texture at 0. The rise in pitch in these bars seems to suggest a crescendo, to bbe reversed as the hairpins that follow effect a diminuendo fort piano. The two left-hand Bbs add colour to the otherwise - ‘major and the forte at bar 17 provides a welcome surprise for the A:2 Haydn Minuet inG mood of this dance seems to evoke perfectly the ‘ofan eighteenth-century candlelit ballroom. Imagine a scene sly dressed people enjoying the elegant movements of a min- 10 music provided by a resident orchestra. po should have an sd feel, with a mixture of strong and jon to the dance steps. Phrasing is largely left to xt detaching all erotchets or incorporating some ing notes, are both stylish options. Left- ‘03/2 drop below mezzo-forte in order to provide greater scope for the crescendo. ‘Awell-paced ritardando through the final quaver group and a full-length final note will ensure chat an elegant composure remains to the end of the performance, ‘A:3 Trad. English, arr. Davies The Lincolnshire Poacher “The inclusion of well-crafted arrangements s by now afar empo changes an instant appeal ge for inexperienced chaps using a scale or fv note figure, The left-hand role is mainly to accompany, ‘or more detached chords, Careful jotes sound evenly, especialy the fifth jon is needed for the independent phras- ‘The dynamic contrasts can be enhanced if the mezzo-forte phrases drop further in volume. The crescendo and ritardando in bars 11-12 that lead to the pause on the augmented chord and the tempo changes in the final four bars help add touches of humour to a performance; this is particularly effective when followed by a light ending, played as quickly as is safe to do so. ‘tt Das Schaukelpferd (The Rocking Horse) or pretend, have inspired a diverse range of children's piano jm Schytte to Schumann, and the i {ore Kinderszenen is particularly worth comparing. Gurl a eewof Schumann wild abandon with @ “hunting horn he opening gues, makingno secre of where we Imagine wer Conveying the horse's, rock communicating the energy and excitement of the a firm emphasis atthe pars are all one phrase; a away a litde. This will help hi jen dramatic and galloping tone and rhythmic emphasis, which jgth an abrupt Jll in the rocking before fe there might be a sudden piano in bar ‘the final dotted crotchet, as our imaginary ce of al before heading off across the B:2 Knut Nystedt Lovet faller (Falling Leaves) piece may not only elect alling leaves but also express «tng of es that the dark, cold Norwegian winter is around the covnet sine suggested ternpo conveys the gende rocking drop ofthe Jesves es ‘prone in a bar. Feeling this across two bats (@s wel lightness and delicate end to the opening hand fingering wil avoid any hesitation. four-bar phrase implies a breath of wind, butaslight needed as the phrase swells with the gentlest of erescenclos. A frst erotchet in bar 7 will provide the light touch required for the repeated n Mt ey 12 move optimistically to the relative major. like sunshine srg up the ed end golden leaves. The mf should not be too robin wana imply a litle more projection ofthe melodic line, with great {he right-hand fingers o carry the tune. Achieving the right ae between hands is crucial even in easly grades and makes a huge, i aynallest of itardandos in bar 14 wil give the leaf a soft landing, and iy breath before the delicate final chords will provide # moment of Jeas the leaf settles on to the ground. wc /2 B:3 Trad. Catalan, arr. Marshall El cant dels ocells (The Song of the Birds) For the imaginative piat song, bird-call and sound-world are evocative reveals everything rr arsed tempo and detailed expresive markings Buide the ‘performer. “The musical challenges of the opening lie in creating ® controlled and ra ccounds overlapped with enough weight to produce S gentle, expressive crescendo. The tone needs fo 9° aa through bar 2 and relaxed in the second part of the phrase with- Sat angularity or interruption from theleft-hand accompa in bar 6 slowing pulse through the minim and pause bar while re phere produced by the pedal. ‘the pedal down early here Prva the frst half ofthe bar, so this should be avoided: Whe sounds tne Fath (comma in bar 7) before the song resumes. Sube arcana is required in bar 9 where the left-hand Cc conan intrusive, and bat 13 needs a sense of the melody going so the l hand’s A. sn Nid lef-hand Stds and the pedaed effect across the ti ihe final bars are gorgeous. Lifting the pedal after ard sounds: id too abrupt an end to the beautiful bird-c help the right-hand erotchet extend a ite across the Dar ing C:1 Stephen Clarke The Gian: t's Coming Children always enjoy a scary story (as indeed do grown-u bbe a popular choice for players of all ages. ‘Distant ramblings herald the approach of the giant, and al wad but instead &t within the pianissimo level “he dynamies and accents are scrupulously observed your student ‘will create an exciting scene, ind in bars 3-6 some players might pr 2.0n the Ab of t chen allow the thumb 2 ore id avold a finger change in bar 6, Stronger fingering ray also seeait from placing the thumb on the first quaver in bars 8 and “The inclusion of the 5/4 bars gives a jolt to the rhythm, esp second one (bar ‘carefully. For the notes just reore the pause it ight be helpful to think of a whispered warning’Look acters he excitement builds with the change to tiple time and gradual ou ido, until the giant arrives in bars 12-14. The sudden picts) (bar 14) and the whole-bar pause jows must not be overlooked. Par Jone has run avy and the giants Ieftalone wondering rather sadly, why nobody wanted to play with him. ‘15/3 C:2. Stephen Duro Calypso Joe ‘The West Indian calypso, with its syncopated rhythms and jaunty style, has a universal appeal. Ie conjures up pictures of whire sands, hot sun and the wonderfully clear waters of the Caribbean, “The two main stresses of each bar lie on the lowever, these should n fer-changing on the first three notes is well worth practising, and tbe matched with fin bar 3. The left-hand part is very inde the five fingers (F-C) until a shift ist phrase. is added, there will be very little contrast, fed without repeats. It should begin forte but at bar it ‘o-forte. Starting the second half forte, your student lepwise decrescendo through the sequences to reach jar 13, Then a strong crescendo to forte for the last two exhilarating ending, faceato using a nervous effect of the pecking beaks. little practi can then be transferred smooth background and the fingering is provided to nchleve tl One could imagine some josling for position and rafting of feathers ye music makes a crescendo and the left hand, wit Care will be needed | ing the different articu- pecking unchallenged the other contender in the slide gently into the ing the right hand very legato. ‘The suggested metronome mark does not pose any great demands, and the spacing-out of the ending rounds off the piece with no need of a rallentando. i ll elsiel&) f fall) [s) & fs] BIE fi Piano Exam Pieces le | ABRSM Grade 1 | oro Selected from the 2015 & 2016 syllabus Date of exam Contents Editor for ABRSM: Richard Jones page LISTA 1 Muzio Clementi Arietta: Lesson Five from Op. 42 2 Joseph Haydn Minuet in G: No.2 from 12 Minuets, Hob. IX3 3 Trad. English The Lincolnshire Poacher, arr. Hywel Davies usTs 1 Cornelius Gurlitt Das Schaukelpferd: from Technik und Melodie, Op.228, Vol. 1 5 2 Knut Nystedt Lovet filler: from Barnebilder 6 3 Trad.Catalan El cant dels ocells, art. Mark Marshall Fi LISTC 1 Stephen Clarke The Giant's Coming 2 Stephen Duro Calypso Joe: No. 9 from Finger Jogging Boogie 3 Petr Eben Na krmitku: No. 19 from Suét maljcl 10 Other pieces for Grade 1 LsTA 4 Blow Hornpipe. Keynotes, Grades 1-2 (Faber) 5 L.Mozart Menuett In G. No.4 from L, Mozart, Notebook for Nannerl (Schott) 6 Neefe Allegretto in C. No.2 from Claviersticke fir Anfinger (Sehor®) usta 4 Godike Heiceres Lied (Cheerful Song): No.3 from 60 Easy Piano Pieces for Beginners, Op. 36, Vol.2 (Peters) 5 Lajos Papp Waltz: No.5 from 22 Little Piano Pieces (Editi Musica Budapest) 6 Ponehielli Dance of the Hours (from La Giocond), at. Bullard. Pianoworks:A Night at the Theaire (OUP) uste 4 Bart6k Children a Play: No, from For Children, Vol. (Boosey & Hawkes) 5 Ornstein My; what adin the cuckoos are making! Keynotes, Grades 1-2 (Faber) 6 Kevin Wooding The House on the Hl. Spooky Piano Time (OUP) pbs in 2014 by ABRSAC Ding Ld, Ungutoried photocopying slag Msc xgnaion by hla oes {oly owned subsidy EABRSM, 24 Furtund | Alightsreerted No parton puiion Cover by Kate Benjin & Andy Pts ace, Londen 78 LU, ited Kingdom thay berepradaceeentosor ransmited ria England by Habtan& Co. ad by The Associated Boat of the Rava Inform orbyany meanewitiut he Amersham Hus Schon of Mase Prior person ofthe eapyight own wis egal Arietta seas Lesson Five from Op. 42 Muzio Clementi (1752-1832) . Allegretto [4 = ¢.100] . 1 3 > 2 1 3 1 Muzio Clementi, an English composer of Italian birth, settled in London in 1774 and established a successful career as 4 pianist and teacher His most important compositions are his keyboard works, which include about 70 solo sonatas as well as sonatinas and variations. During a Continental tour asa solo pianist in the early 1780s, he stayed in Vienna for six months, taking part in a famous piano contest with Mozart. Afterwards, Mozart commented on his remarkable technique at the keyboard’: In 1798 Clementi established a firm in London thet not only published music but also manufactured pianos. Clementi wrote two influential educational works, the Introduction 10 the Art of Playing on the Piano Forte (London, 1801) and Gradus ad Parnassum (London, 1817-26) This Arietta is taken from a revised edition ofthe Introduction, published in 1826. The fist phrase (bb. 1-4), from: Which the rest of the piece is derived, is not unlike a folksong in character. All slurs and dynamics are Clement own, except the hairpins in bbb. 14-16, which are editorial suggestions only. Source: Eleventh Edition, with Great Improvements of Clement’ Introduction to the Art of Playing on the Piano Forte, Op. 42 (London: Clements & Co, 1826) (© 2014 by The Associated Hoard ofthe Royal Schools of Music Minuet in G No. 2 from 12 Minuets, Hob. IX:3 Joseph Haydn (1732-18091 ‘The great Austrian composer Joseph Haydn is noted for the inexhaustible variety of his treatment ofthe minuet, an elegant dance in moderate triple time, very popular throughout the 18th cencury. Haydn not only included minuets in his symphonies, but he also wrote over 100 separate forchestral minuets. Many ofthese, including the 12 Minuets of around 1763-7, from which this piece is selected, were later arranged by him for Keyboard. Only the slur in b. 7 is original; all the others are editorial suggestions only, as are all the dynamics. Source: autograph MS, Budapest, National Szécheényi Museum (Esterhézy Archiv) (©2014 by The Associated Board ofthe Royal Schools of Music AB 3730 E (ikem | The Lincolnshire Poacher a | Arranged by Hywel Davies Trad. English Boldly J.= c.104 te rit. atempo 2 a suddenly slower .= c.69 suddenly faster d.= ¢.126 aes 16 5 ical 1 1 P ‘Tis piece is a modern piano arrangement ofa traditional English song expressing a poacher’ delight in his ilicit activity. The song was frst published inthe late 18th century, and the frst verse and refrain read When Iwas bound apprentice, in famous Lincolnshire, Full well I served my master for more than seven yeat, ‘TULL t00k up to poaching, as you shall quickly hear, (Okt "ts my delight on a shining night inthe season ofthe yar Note that the fist rwo left-hand notes are part of the melody, as shown by the dotted linesin bb. 2nd 14. This arrangement builds up toa pause chord atthe start ofthe refrain (b, 12). Slowing down atb. 17 might suggest the poacher being more stealthy as the gamekeeper approaches. ant then managing to escape ater the pause in b. 18 (©2014 by The Associated Board ofthe Royal Schoo of Music Das Schaukelpferd from Technik und Melodie, Op. 228, Vol. 1 Cornelius Gurlitt (1820-1901) spay poco rit. atempo a Das Schaukelpferd The Racking Horse Comelius Guritt was born in Altona, near Hamburg, and studied organ, piano and composition in Copenhagen. After travelling around Europe for some years, he settled in his native town, becoming organist of Altona Cathedral and professor at the Hamburg Conservatory. He ‘composed over 200 works, including many small, attractive pieces for chikisen. Typically, these are character-pieces with descriptive titles In Das Schaukelpferd, the compound-time rhythms convey the rocking of the horse Source: Technik und Melodte: Flementar-Klavierschule, Op. 228, Hel | (Mainz and Leipaig: Schott nd.) {© 2014 by The Associated Board ofthe Royal Schools of Musi tis iegat fomake Unauthorized copies of ths copyright Lovet faller from Barnebilder Knut Nystedt (born 1915) Andante [= c.104] f z a = ewe eS : | : = , oa = es RB Ale § n dim, ba ca ——= Lovet faller Falling Leaves; Barnebilder Children’s Pictures “The Norwegian composer Knut Nystedt was born in Oslo and studied organ, composition and conducting atthe Oslo Conservatory. In 1947 ‘undertook further composition studies with Aaron Copland in the USA. He became organist and choirmaster at the Torshov Church, Oslo 1946 and a professor at the Oslo Conservatory in 1964. ‘Barnebilder, fst published in 1952, is made up of ten easy character-pieces for children, each evoking something familiar from the: world, The composer tells us that in ‘Lovet fller’ strict legato should be kept in both bands (this does nat, of course. apply to b. 7). (© Copyright 1952 by Harald Lyche& Co, A/S Mustforiag: Deammes. Oslo Repriuted by permis. Al Fights reserved. Al engeiesabost tis piece, spar Som those eecty sting tothe coms should be aioe 1 Musilkorlag A/S care of Norsk Musikforiag A/S, Postboks 1288 Wika. S196 Os Nerves. ‘Arranged by Mark Marshall Trad. Catalan Unhurried, expressive J mp/eantabile dim. a niente Ped. Ped Pe El cant dels ocells The Song of the Birds ‘This song, thought to date back to about 1600, comes from Catalonia a principality that les across the southern tip of France and north-eastern Spain - where the Catalan language is still spoken today. The words reer to Christmas, describing many different species of birds visiting the baby Jesus in his manger in Bethlehem. In modern times the carol has been revived in various arrangements, riotably by the cellist Pablo Casals ‘and the singer Joan Baez. In this piano arrangement, the birdsong is heard in bb, 7 and 14-16. The arranger, Mark Marshall lives in Vivés ~ a ‘illage in French Catalonia. (© 2014 by The Associated Doar ofthe Hoya Schools of Music AB 3730 Oita tomate The Giant’s Coming Saal Stephen Clarke Iborn 1966) ‘Stephen Clarke is a conductor, educator and composer. Aftera career conducting opera, he is now precentor (head of music) at Radley Colles (Oxfordshire, He has written about this plece: ‘Having worked in theatres for 20 years before teaching. I really like dramatic music that paints = picture and tells a story, so I would perform this piece as if accompanying a scary childrens cartoon (© 2014 by The Associated Hoard ofthe Royal Schools oF Music Calypso Joe (2) No. 9 from Finger Jogging Boogie Stephen Duro thorn 1939), Moderately (4 213 Bee iwal A = == SS ee Se Ff (mf second time) : 2 ar 3 —— 4 4 = SS SS ee 4 —e £ = o—to—* = = SS hee aot cS ee = 5 ri=-= inf (f second time) == = = =. 2 2, i eens Sect ae A et : J f = ae . Hee SS 2 ee > ae =| = stephen Duro studied at the Royal Collegeof Music London after which he read musicat Cambridge Unlvesiy-1n 1908 he travelled to Boston, Neceachusetts where he studied jazz and taught the piano, returning to England in 1966 aay ner oping Boogie rom which hls pece ls selected, sa colloton of 7 pieces lighter styles for theyounge: Pints. One ofthese "Trinidad. Calypsos were first sungby slaves onthe plantations. Nowadays styles is that ofthe calypso, aWest Indian dance and song, chiefly from! they often have opeal texts, are fequentl sung during the caval and are played on steel pans Calypso oe! iustrates the jaunty, syncopated shythms ofthis style of music. “© 1995 by The Associated Board ofthe Royal Schools of Music eproiuee fromm Finge Jogging Boogie BRS) AB 3730 eens 10 = Na krmitku a No. 19 from Svat malych to [= c.112} ae 5: ca Te = an P ———SS—_ P (a e zuglae a = ———— 1 3 Na krmitku Bird at the Feeding Box; Svét malfch The World of Children “The Czech composer, pianist and organist Petr Eben studied piano and composition atthe Prague Academy from 1948 19 1998. Ne qePrague Univesity (1955-90) and athe Academy where he had studied (1990-4). During the same priod he also Pursue 3 arses pianist, travelling widely in Europe and America. Sods maljeh, from which this plece i selected, consists of20 bite compositions forthe piano, They are ities i> 2 comecaeerao nave programmati titles, which show th player how they shouldbe characterized. ‘Na krmiti evokes she quick pecking ofthe bird © 1961 stent hudebnfvydavatlse Praha, now Barenrelter Pr OE ee ees abou this lc, part om how recy mating ot am shen be desea MSS lzabeth Way Harlow CM20 211% aBs70 Piano Exam Pieces This alburn contains nine pieces from ABRSM's 2015 & 2016 Grade 1 Piano syllabus, Key features: * three pieces from each of Lists A, Band C * appealing and varied repertoire * carefully edited and clearly presented throughout ® helpful information about the pieces and the exam’ cD The OD features performances of all syllabus pieces by RCM Junior Department Students Isaac Ettedgui ani Tomoka Kan, and ABRSM examiner Vanessa Laterche: Support material for ABRSM Piano exams 6) Distt estore re asneviabe fom the ABRSM SA) app centre: wn.abrsm.ora/appcentre. ABRSM is the exam board of the Royal Schools of Music. We are Committed to actively supporting high-quatity music-making, Iesrning and development throughout the world, and to producing the bast possible resources for music teachers and students. gncm ft om no eed ee IA ie niry eee) s. ° 6 ——-- 9 LOZ *8GLOZ SaDa1q WeXy OUI