Piano Exam Pieces 2017 42018 Piano Exam Pieces ABRSM Grade 4 Selected from the 2017 & 2018 syllabusABRSM Piano exams Pieces (330 marks) Choosing your pieces ‘This book contains nine pieces ftom our 2017 & 2018 Grade 4 Plano syllabus. In the exam, you ‘will need to play three pieces, one from each of the three syllabus lists (A, B and C). You can ‘choose from the pieces in this book and/or the other pieces set forthe grade: a full ists on the opposite page. Editorial guidance We have taken these pieces from a variety of sources. Where appropriate, we have edited the pleces to help you prepare for your performance. We have added fingering and metronome ‘marks (given in square brackets), and provided ornament realizations. Details of other editorial changes or suggestions are given in the footnotes, Fingering and other editorial additions are for guidance only; you do not have to follow them in the exam, Repeats You will need to observe all da capo and dal segno indications, but you should omit all other repeats (including first-time bars) unless they are very brief (i.e. ofa few bars) or unless the syllabus specifies otherwise Other requirements Scales and arpeggios from memory (21 marks) ee hands together or separtly, advected by the C2686. nino Poet eeaminer innoricormeloceatcandiar's choice E-Brmaors ginningon the tonic (unso0 harmon minors ee eee ‘beginning on any bia naie named Den hands taper ar sepa x diced bythe saresci0s Bb Bh, Ay Dhoaors do, bade together or separately as rected by he ChG% C.F minore ciuminer Sight-reading (21 marks) Aural tests (18 marks) (Total available: 150 marks) Further information ‘You an find additional important information about all aspects of your exam - Including scale speeds and descriptions of sight-reading and aural tests - at www.abrsm.org/pianot. All syllabus requirements ae valid from 1 January 2017 until 31 December 2018. You will find advance notice of any planned changes to the Piano requirements from 2019 (including syllabus overlap information) online at wwwabrsm.crg/pianod from January 2018, Win your exam entry! Enter your detals online o takepart in our prize draw wwvwabrsmorg/winaa @ cic) fl Piano Exam Pieces ABRSM Grade 4 Selected from the 2017 & 2018 syllabus Date of exam Contents Editor for ABRSM: Richard Jones page ust a 1 Joseph Haydn Minuet and Trio: second movement from Sonata in A flat, Hob. X\ 2 2 Johann Ludwig Krebs Praeambulum supra Jesu, meine Freude, KWV 502 3 Johann Baptist Vanhal Allegretto: second movement from Sonatina in A, Op.41 No. 12 uste 1 Heinrich Hofmann Scherzo: No.7 from Skiezen, Op.77 10 2 Robert Schumann Frbhlicher Landmann, von der Arbeit zurlickkehrend: No. 10 from Alon fir ie Jugend, Op. 68 2 8 Arvids Zilinskis Waltzin A “ uste 1 Bruno Bjelinski Uzbuna: from Na veltkom radu 16 2 Ben Crosland Bow-Chicka-Wow-Wow: No.7 from Cool Beans, Vol.2 18 3 Trad. Russian Black Eyes, arr. Moira Hayward 2 Other pieces for Grade 4 usta 4 Clement Allegretto: Ist movt ftom Sonatina in G, Op.36 No.2, Encore, Book? (ABRSM) or Clementi, Sonatinas, (0p. 36,37, 28 (ABRSM) 5 Kirchhoff Courante. Pano Lessons, Book? (Faber) 8 Kublau Allegro: Ist movt from Sonatina in C, Op.88 No, 1. Kulu, Sonatinas, ol] (Peters) oF No.1 fom Das neue Sonatinenbuch Vol 1 (Scho, uste 4 Gurlice Kage: No. 18 from Gunite, 24 melodiscte Eten, Op. 201 (Zen-On) 5 George Nevada Ninotte's Musette: No.5 from George Nevad, Ramanic Impressions (Sehot) or Waltzee~ 48 Original Piano Pieces Schot) 6 Tehalkovsky Mazurka: No 11 from Albu forthe Young, Op. 39 ABRSM) or No, 19 from A Keyboard Anthology, 2nd Seties, Book I (ABRSM) uste 4 Kabalevsky In che Gyrnnasium: No. from Four LitlePeces, Op.16, Kabslevsky, Basy Plano Compositions (Boosey & Havekes) 5 ReLane The Penguin: No.3 fromm Talent Night at she Zoo (altions BLM) 6 Hllssa Mine Foreign Correspondent: fom Pepperbax Jazz, Book 2 (Faber) pbk in 20 ABI Ping Ed, Useutorzat photocopies Mascon by fa Boe ‘whale subiiryOCABRSM, 2 Porn Pas, Arie stets Nopurcofdiepebaton Carb Sate Benji sry Poe moe 1B 1, United glo Imoyberapedueed er orrscited Pineda Elen ge Br ori Ud, ‘Sanisby The Aswad Boar of te RyalSchaosofbaic Inmiyfomer by any ans wthow the en ateralstrom sna uregat chouthonzed Minuet and Trio ie Second movement from Sonata in A flat, Hob. XVI:43 Joseph Haydn (732-1809) ae 3 a ee coe eee Haydrs reputation has long rested largely on his symphonies and string quartets, but i is now widely recognized that his plano sonatas are of ‘comparable importance. He composed over 60 sonatas during «period of roughly 38 years (¢. 1761-85). Hayda moved to Esterhdza, Hungary, in 1766 and around the same time discovered the keyboard music of C. PE. Bach. Later he saw these wo events as crucial for his development asa ‘composer. The relative isolation of Esterhza encouraged bin to be original and in C. PE. Bach he found a model for must of great depth and emotional profundity ‘The Sonata in A lat (Hob. XVIA3), whose middle movement i selected here, belongs to the peried after these events had taken place. Its ‘hough to date from around 1771-3, and was first published in London in. 1788, probably without the composers knowledge, Haycn used the wedge (bb. 0-2) to indicate nocmal staccato, not slaceatissimo. Dotted-rhythm figures of this kind might be played staccato throughout. All ‘dynamics are editorial suggestions only. Only he right-hand slurs in Db. 10-11, 19-21, 24-7 and 1-8 ate present in he source: the remainder ae editorial Source: first edition, A Ft Set of Sonatas for she Piano Forte or Harpsichord (London: Beardinore & Birchall, 1788) (©2016 y The Associated Boudofthe Royal Sehool of Mule AB S016D.C. al Fine AB3e164 tis Prelude on “Jesus, My Joy Orig Praeambulum supra Jesu, meine Freude \oauthorized KWV 502 copie a is copyright JL. Krebs 1713-80) ‘The Getman composer and organist Johann Ludwig Krebs fs iad music lessons with is father Johann Tobin Krobs. In 1726 he enrolled at the ScThomas School in Leipzig, became a member of the Thomas Church choir, and stared having lessons with JS, Bach. n 1729 he became one Df Bach chief assistants, eopying out muste and playing the harpsichord inthe eollegiuin musieum (musk society) that Bach directed, In later years he was emplayed as an organist ~at St Marys, Zwickat (from 1737), atthe Castle Church, Zeie (fom 1743) and atthe court of Altenburg (from 1756) Krebs’ Clavler Obung (Keyboatd Practice) contains all the best-known Lutheran chorales (hymns), each weated in thee diferent ways: @ pracambulum (prelude), only very loosely besed on the chorale melody asin the piece selected here); pln chorale with ord bass and a plain chorale with figured bass. Dynamies are lft tothe player’ discretion. Source: Este Liferung der Clavier Obung bestehend in verschiedenen Vorsplelen und Veraenderungen elelger Kirchen Gesaenge (Nuremberg: Balthasar Schmid, n.d) (©2016 by The Assocaed oat ofthe Roy Schools of Music AB 3816AB S816Blank pageMegat ake Sous Allegretto Second movement from Sonatina in A, Op. 41 No. 12 J.B. Vanhal (1799-1813) Allegretto (J ¢.96] ‘The Czech composer Johann Baptist Vanhal played the violin, cello and organ, and composed over 700 instrumental works, more than 70 symphonies and around 60 masses. He studied with Dittersdott in Vienna, witere he established himself as a successful composer and teacher (hs pupils included Pleyel) From 1769 0 1771 he traveled in aly. The Allegretto from Vanbals Sonatina in A, selected here llusteates his atractive, rather Mozaritan style. The piece is cas in rounded binary form ~A,B (0.17), (. 34) ~ plus a substantial coda (b. $1). The indication doe also implies ‘soy Lef-hand crotchets, plus the right-hand crotchets in the coda, might be played staccato (Le. as quavers) in order to preserve the lightness of touch that is appropriate o this piece, The second slurinb.7 and the tempo marks in bb. 32-24 are editorial additions. Source: 12 Sonaines facile et progressfes pour lePlano-Forte, Op. 41 (Mayence: Schott, 1808) (©2016 by The Associated ose of the oyal Schools of Muse AB 3016So. ume - 2. dolce AB3a16AB 381610 egal mate Scherzo Sens fecpyont No. 7 from Skizzen, Op. 77 Heinrich Hofmann (1942-19021 Moderato = 69] 4 at Heinrich Hofmann was a German composer and pianist who became a cathedral chorister at the age of nine and entered Kallaks Nowe Akademie der Tonkunst (New Academy of Music), Betlin, atthe age of fifteen. He then began to teach and play the plano professionally. Nowadays he is best known for his chamber music and keyboard pieces. Skizzen (Sketches), Op.77, ftom which No.7 is selected here, contains 20 pieces, ll with programmatic or gente titles. In this Mendelssohn-lke Scherzo, ll pedal mares are editorial suggestions only. Souoe:Skizen 20 keine melodiése Klavier Sticke, Op. 77 (Lekpa: Carl Rk, n.8) (©2016 by The Associted Hoar the Royal Schoo of Muse AB 3816ul Pea Ped Pod____’____J} AB B1612 a Megat ‘The Merry Peasant, Returning from Work Unouthor Frohlicher Landmann, cel von der Arbeit zuriickkehrend No. 10 from Album fiir die Jugend, Op. 68 Robert Schumann (1810-56) Frisch und munter [4 = ¢.96] e 4 Robert Schumann's Album er die Jugend (Album fo the Young), from which this pieces selected, was composed in less than a month tn 1648. At ‘the time, the composer wrote: dott remember ever having been in such good musical form...the pleces simply poured oxt, ane after another: Some ofthe 42 pieces in the collection were dedicated to Sehumanns daughter Marie on her seventh birthday, ‘Schumana’s markings makeitclear thatthe opening phrase and is repeatsare o be played fore, However, to createadegree of ight and shade, the phrases at bb. 9-10 and 15-16 might be played ata lower dynamic level. Source: 43 si] Clavierscke frac Jugend, Op. 68 (Hamburg Schuberth & Co, 1850) © 1961 by The assole oar ofthe oy! Schools of Muse ‘Adapted tor Scumann Album fre ugon Op, 6 eda by Howard Ferguson (ABR) AB 3816AB 38161 7 Te | ‘legal ‘emake Waltz inA ieee Arvids Zilinskis (1905-93) Méreni (moderately 4 = ¢.96} “The Latvian composer and pianist rvs Zilinskis was the son af farmer and grew up in rural environment, often helpinghis father to herds cattle and horses, He began learning the plano when displaced to southern Ukraine a the end ofthe Fist World War. On his return to Latvia, he entered the Riga Conservatory atthe age of 15. Following his graduation in 1983 he started to give concerts in schools, and wrote numerous songs nd piano pieees that became very popular wit children. Many of these pioces reflect his love ofthe Latvian countryside. He taught for many years at the Latvian Conservatory, and in all eomposed over 1,500 works Including ballets and operettas. “The piece selected here Vales (Wz) - Isa slow waltz in A major Ir falls nto ABA da capo orm, with a central B section in the relative minor Far, (© Copyright Musica Bale id, Riga 2001 Reproduced by permission. All engues about thie piece, apart fom hate dee rlating to heoxams, shouldbe adresse to Mosca Bali, Kx, Baron lle 89, Riga V-101, ae. AB 3016> F y (2 es Fine AB 381616 Alarm Uzbuna from Na velikom brodu Oi cone ae a Bruno Bjelinski (909-921 The Croatian composer Bruno Bjliask was bor in Trieste anc snadied law and composition In Zagreb He taught tthe Zagreb Academy of Music for over 30 years (1945-77). His piano collection Na vltkom bredu (On the Great Ship), rom which this pice is selected, was composed in 186. Although the published metronome marks J= 144, cendidates may wish to choose a more relaxed tempo, fr example ©1906. Musee Hans Gera Kala 1900 asignd to Grikop Hine Wesbaden, Reproduced by parison Alright served Al enquesabout his lee, apr om those died lating tthe samy shouldbe need to Bethy & Havel, alkmthlstae 2, 65195 Wlesbaden. Germany 3016wv AB S81618 Tus Megat ‘orale Bow-Chicka-Wow-Wow a No. 7 from Cool Beans! Vol. 2 Ben Crostand (born 1968), ‘As a teenager, Ben Crosland develaped a strong interest in composition and synthesis, and has since experimented with various compositional styles, He began his teaching caver in 1987, and has found fulfilment as a composer in writing educational music forhis plano pupils, mostly in Jazz and popular styles. He runs a musle school, ‘The Music Grove n his home town of Worcester. ‘he composet has written: "In this piece Ihave tried to eapture the fee of funky, wah-wah gulta, Tempo mus be absolutely solid throughout ‘be careful no to take too fas, o the right-hand jumps become too difficult. For an instant wah-wah piano effect, your audienee might ry gently Aepping the palms of thelr hands over chir ears as they listen do not recommend asking your examiner to do this, however!) (© Ediions Musica Ferrum and Ben Grosland 2013 ‘lenges south pice apart rom thse dey lating to de exams shuld be aldveted to Eitons Musca Ferrum at informusesfetrum com, othe Comporer at enqulsesobencrsiand cauk ‘AB 3816be AB S01620 Osm sépubie Ochi chérnye Black Eyes Arranged by Moira Hayward Trad. Russian Moderato J= ¢.144 fi Rubato d= «120 1 —— mf ‘molto espress. ¢ cantabile “This isa piano arrangement of a traditional Russian song, whose music is appaventiy related to a piece entitled Valse hommage by Florian Hermann, published in 1984, The lyecs (Published in 1843) by the Ukranian poet Yevhen Hrebinka, begin as follows ‘Black eyes, passionate eyes. Burning and beautiful eyes! How love you, how I fear you. leseems I met you in an wnlucky hourt (22016 by The Arsocited Hoard athe oyal Schools oF Music AB 3816ai 0 5 ” Allegro e accel. - t Prsubito Bhebe: An3016