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Grade Piano Exam Pieces 2017 & 2018 ] reo Piano Exam Pieces ABRSM Grade 7 Selected from the 2017 &2018 syllabus Piano Exam Pieces ABRSM Grade 7 Selected from the 2017 & 2018 syllabus Date of exam Contents Editor for ABRSM: Richard Jones lan page {CD usta [i] 1 Musto Clementi Allegro assai: second movement from Sonata in G,Op.1 No.2 [22 Joseph Haydn Presto: third movement from Sonata in F, Hob. XVI23 [3] 3 Domenico Scarlatti Sonata in B minor, kp.377 2 Liste 1 Fryderyk Chopin Nocturne in C sharp minor, Op. posth., KK IVa No. 16 16 2 Wanghua Chu Love Song: No.1 from Two Folksongs aes 3 Agathe Backer Grondahl Sommervise: No.3 from Fantasistykker, Op.45 ust [i] 1 Maurice Ravel Valse: No.5 from Vases nobles et sentimentales a [id] 2 Christopher Norton Forcing the Pace: No.7 from Rock Preludes 2 26 {i8] 3 Jean Abstl Humoresque: No. from Humoresques, Op.126 30 Other pieces for Grade 7 usta [Z] 4 4.8.Bach Fuguein G, BWV95S (rom Klavier for W. Bac. J.S.Bach, A Little Keyboard Book (ABRSMD [5] 5 Fasch Presto: 3rei movt from Sonata No.5 in F (Edition HED) [2] 6 John Loetllet Giga. Encore, Book 4 (ABRSM) usta [id] 4 A.Beach Scottish Legend, Op. 54 No. Ashe Plano with Women Compacrs (Aled) [3] 5 Poulene Noctume: No.8 from Nocturnes (Huge!) [12] 6 Schubert No.1: from Moments musicaus, Op. $4, D.780(ABRSM) ustc [4 Bonsor witio Wagglesticks Walkabout: Encore, Book 4 (ABRSM) oF No.4 from Jazsy Piano 2 Universal [Z 5 _DelloJoto Bright: 2nd movt from Suite for lana (G. Sehirmer) or 20e Century Amerlean Composers, Upper Intermediate Level (6. Sci 6 Dave Grusin Rays ues. The Firm (Piano Solo) (Famous Musi) 0) ist pabed n201 by ABRs Publis La ‘Unahortat photocopying legs ui gna bya ever way onmedsubsllryofABRSM, 2 Fotand Pas, —_Arnereve Nop uepcaan omer Soe Bon ssn Ps {andor 1, United Ringo ‘naj bereprdice, sadedernemted| Pre ge by Clips hed Swisty ensarredtomdaltetetScvdsot Mise enplomryy any mestswtiabe Nexo nro mae te egal ‘emake Sao Allegro assai Second movement from Sonata in G, Op. 1 No. 2 Muzio Clementi (0752-1832), Muzio Clementi, an English composer of ltallan bith, settled in London in 1774 and established a successful career as a planist and teacher. Bis most important compositions are his keyboard works, which inelude about 70 solo sonatas as well as sonatinas and variations. During a ‘continental tour a a golo pianist in the eatly 1780s, he stayed in Vienna for six months, taking part in a famous piano contest with Mozart Afterwards, Mozart commented on his ‘temarkable technique at the keyboard In 1796 Clementi established a fm in London that not only published music bu also manufactured pianos. ‘Clemens Six Sonatas, Op. 1, appeared in c-1771 during an ealy period of seven or eight years (€1768-74) in which he wae studying music ‘and ating as house musilan at the Dorset country estate of Peter Beckford, to whom the sonatas are dedicated. The finale of Sonata No.2 in G, selectod hore, was borrowed from an unpublished sonata in de same key (WoO 14) that dates from 1768, when the composer was only 17. I Aisplays an early Classical styie, withthe occasional hint of Domenico Scart. Te picee fills nto rondo form - A (upbeat to b. 1) B (21), A {upbeat to 62), (88), A (upbeat to b 138) though with elements ofbinary-sonata form: A + B make up a ronie-dominant exposition but the tonic-minor episede C replaces a development section, and enly Ais reeapitlated at the end, Grace-nates are o be played on the bea all slurs ograce-notes ae editorial, Source: Six Sonatas for the Harpsichord or Plano Forte, Op. 1 (London: Welcke, 1771) lease turn the page for the music. (© 216i The Associate Bond of he Royal Schools of Muse AB 3819 4 (© 2016 bye Associated Bond of he Royal Schools of Mule AB 3619 apauis AB 3819 AB3819 Oita emake Unauthorised Presto Third movement from Sonata in F, Hob. XVI:23 Edited by Howard Ferguson Joseph Haydn (1732-1809), Presto [4 = ¢.126} A 5% 2% 1 be 2 ae. Hayes reputation has long rested largely on his symphonies an string quartets, but iis now widely recognized tha his plano sonatas are af ‘comparable importance. He composed over 60 sonatas during a period of roughly 35 years (¢.1761-85). Between 1774 and 1760 Haydn published three sets of six sonatas, which occupy’ a transitional place between his earlier Sturm unt Drang (Storm and Strese) sonatas and the Classlal-siyle sonatas of 1788-85, The fst set was composed In 1773 and published shorlly aterwards (Vienna, 1774) with a dedication to Haydn employer, Prince Nikolaus Esterhézy, ts the Presto-finale from the third of these sonatas that is selected here, A monathematic sonata-form movement, itis Igely dominated by the typeally graceful opening subject, of which a variant forms the second subject in the dominant key (b. 33). Note the ‘comieal differences in articulation between [its entries in] bb. 33, 5 and 41 (Gioward Ferguson). Futher variation of this theme occurs in the development (upbeat to b. 3), largely in related minor keys In this ection, bb. 66-73 might be played with tenuto touch, as ifnotated |d » + , | etc, The recapitulation (b. 94) is first expanded (bb. 99-111 are new) and then condensed (the material from bb. 14-21 is omitted), with characteristic Haydnesque freedom. Sources: autograph MS, Sonata No. from Sei Sonate per emsbalo, 1773 (Pats, Bibliotheque nationale} frst edition, Sonata No, from Sel Sonate da Clavleembalo (Vienna: Kurzbick, 1774) (© 19459 he Astolated Board of the Royal School of Music Reproduced tom Haydn: Selo Keoar Sonatas, Book, edd by Howard Ferguson (ABRSM) AB3BI9 ABS819 RR AB3a9 nL % A 4 Aes AB3BI9 12 Gite etn Sonata in B minor Kp. 377 Domenico Scarlatti 104] 11685-17571 Domenico Seatat son of the celebrated Neapolitan opers compaser Alessandro, emigrated to Portugal in 1719 and then to Spain in 1728. He spentthe rest of hislife in Madi as nest deeapia and musie master tothe young Princess Maria Barbara, who later became Queen of Spain, “Most of his solo keyboard sonatas, well over 500 in number, were composed after hls emigration tothe Tbeian peninsula ‘Scarlatti own desertion of is sonatas inthe preface tothe Bsercz of 1738, the only collection he published himsel, applies equally later pleces such as this B minor Sonata: In these compositions, donot expect any profound learning, but rather an ingenious jesting with at Since there are no dynamics inthe source, thet choice is Tet to the player's discretion, Scarlatt’s mature binary form isa clear preeursor of CClassial sonata form. in this sonata a frst group, rch in ideas, Includes wetten-out tills overan ostinato bass (bb. 8 and 10), repeated notes plus decorative til igues (bb, 12-14), octaves plus descending Ath gues (b.24),andavariantoftesame, wth he octaves inhythmlc augmentation (6.80). The second subject (b. 34), inthe relative major D,fores.a complete contrast~-more lyrical, and characterized by the syncopated aythms and appoggiatura cadences ofthe galant style that swept Europe inthe mid-1oth century. Alera brief modulatory development (b. 48) the tonie return (b, 68) eoincides with a partial reeapitulation ofthe frst group, nor in a different order. Finally, the second subject returns (b. 75), transposed tothe tonic B miner. Source: Parma MSS, Vol X, No. 20, (©2016 by The Aesocited Hoard ofthe Royal Schools of Mase AB 3819 13 Anas19 4 AB3a19 15, A319 16 the Megat Nocturne in C sharp minor ceenais Op. posth., KK IVa, No. 16 Eeryraht Fryderyk Chopin (810-48) The title ‘nocturne’ was Fes used by the Irish planist-composer John Field in the eary-19th century to deserlbe a yea, songelike piano piece, with pedaled broken-chordal avcempaniment, that evokes a dreamy, night-time atmosphere. The high point ofthe genre was reached in the 21 sutviving nocturnes by the Polish pinnist-composer Feyderyk Chopin, The majority of these pieces wete composed after Chopin had setled in Paris in 1831 but several early noctumes, ineluding this piece, were composed before he let Warsaw in November 1830 at dhe age of 20, and remained unpublished during his foie. The early Nocturne in C sharp minor was composed i the spring of 1890 and dedicated to Chopin sister Ludwika. Is cast ina simple ternary form, AIM {bb.3, 19 and 44). The B-seetion (b, 19} which begins in the submediantA major, quotes ftom Chopin's Fminor piano concert, wich was premiered by the composer in March 1830 around the ime when the nocturne was composed. This Nocturneis heard atthe beginning and the end of Roman Polanski’ 2002 film The Pianist. Sources Polish fst edition (Paznar M. Leitgeber, 1875); Englsh frst edition (London: , Aschesberg, 1099), (© 2016by The Assciated Boat ofthe Real Schools of Mase AB 3819 7 con forza E: con forza ABa019 18 aoe morendo con forza === | appassionaro Anaeis 19 = sempre pip delicato 3 AB3a19 20 {IK Ging Ge Aegt Love Song sags No. 1 from Two Folksangs Wanghue Chu ‘Moderato andante [J = ¢.40) Torn 1941) pocor, EBA oo \Wanghiva Chu studied piano and composition athe Central Conservatory of Music in Beijing. where he was later appointed aleccret In the ate 1980s he undertook postgraduate studies atthe University of Melbourne, Australia. He is best known for his taccessful amalgamation of Chinese ‘and Western musical styles ins piano works. "Love Song, the frst of wo FolKsongs (REX E Min Ge Liang Show isa waditional mela from Kangding inthe Sichuan province of Cina ‘The whale tune is played twice (ob. 3 and 16) ~ second time, with atieher texture and varied harmonization. Note the lefchand echoes atthe ‘phrase ends in bb, 6and 10. The last phrase (11) is varied three times atthe end (Db. 26 31 and 36) bringing the pece toa powerful and heartfelt fonclusion ‘© Copyrit 1900y Wana Chu/ NCSC epducey pecmision sighs ever ve lengli abot his piece, apart rom hose ret eating the eas, should be aese to Muse Copright Soult of Chins SF ng Pg Balen No, 59 Dong a Sa Tae, Dong Chen Dist, Bejing 10005, Chins. A319 AB3819 22, Summer Song {gat / tnauthorzed Sommervise Sone No. 3 from Fantasistykker, Op, 45 ms Agathe Backer Grendahl Andantino semplice J'= 104 5 (1247-1907) i 4 el ae i) “The Nocweglan composer and pianist Agathe Backer Grondahl studied with Bulow in Florence and wit Liszt in Weimar. She toured asa concert pianist in Seandinavia, Germany and England, earinga reputation as an outstanding player. She is best knove: today as « composer of ngs, ‘Norwegian folksong arcangements, and piano pleces ~ mostly Iysical, with descriptive tite, and often with considerable melodic charm. ‘Soinmervis’ {com Fantasistybker (Fantasy Pieces), Op. 45, iscast ina simplebipartte form with varied repeats (A: bb, 1 and ;B: bb. 17 and 25). "Me repeats are varied by moving the melody tothe left hnd and accompanying it in the right hand with decorative, impressionistic tril figures Source: Fantasltykker, Op. 45 (Oslo, 1897) (©2016 by The Associated Board ofthe Royal Schols of Muse ‘AB 3819 una corda AB 3819 24 Waltz ‘cot Valse coberoltie opi No. 5 from Valses nobles et sentimentales Maurice Ravel (1875-19971 Presque lent - dans un sentiment intime [quite slow — with an intimate feeling] 4= 96 le chant trés en dehors [melody very prominent] t- SE Maurice Ravel was bom inthe Basque tegion of France, but his family moved to Paris whan he was only one yeur ol He became pupil of Fauré at the Paris Conservatoire, but was equally influenced by Chabrier and by Liszt, whose virwoso plano writing he was to surpass (though no great planst himself in some of his larger works He wae a master of subtle, brillant orchestration, with a highly individual harmonic idiom. Ravel’ Vases nobles et sentimentales (Noble and Sentimental Waltzes) are prefaced by a quotation from Henri de Régnier: the delicious and ever-neve pleasure of a useless occupation: The eight pleces were ist performed in 1911, and inthe following year they were orchestrated by the ‘composer and transformed intoa ballet, Adélatde, ou Le langage des flaurs (Adelaide, or the Language of Flowers) Ravel instruction in bb. 19-20 applies tothe dotted crochets. ‘Source: Vales nobles et sentimentale (Pars: Durand, 1911) ‘Copyright © 1911 tons Daand S.A.~ ParsAvima Corp. !Nowtie BY. Aight reserved. Excuse pin rights administered by Hal Leonard MCB se ABS019 pp tres fluide 7 39 eet : belle ud Dy ee Pppsubito AB3519 26 tie Megat mate Forcing the Pace mass No. 7 from Rock Preludes 2 Christopher Norton born 1953), ~ With vigour J= 180 12) Se ee lee wee > ez J gradually add pedal ee ! “ — Christopher Norton sa British pianist and composer who was born in New Zealand and completed an honours musle degree at Otago University, Dunedin, in 1974. He emigrated to Britain in 1927 and studied composition with Wired Mollers and David Blake at York University. Notton composesin a variety of contemporary popular tes. Mlerojazz, begun in 1883, has become a suecessfl and widely sed educational se ‘Norton's rock prelude Forcing the Paces essentially bipartite: an exposition, consisting of themes Ato 1) and (8) plus episode C0, 25s followed bya reprise (Aatb 35, Bat 89, interupted by anew episode D(b. 8) and brought to conclusion by acoda .77).Amore moderate tempo than the composer’sindicatedebove~ perhaps J=¢.166- would be acceptable the exam. copy 1885 Noose Hes Muse Publis et Reproduced prion Al enquies both, apart fom thee drs eating tothe exams shuld be adress o Boosey & Hawkes Muse Plies Lid Aly Hous, 71-1 Ald, London. WEZB HN. ABaa19 oii ieee Baa 27 ADPIN HOS Auris) poco a poco cres. ABS819 29 30 ie Megat Humoresque erst No. 3 from Humoresques, Op. 126 Jean Absit 193-1974) sempre staccato ‘court (short) 24 134 2 12m? a 4" ‘sempre staccato ‘The Belgian composer Jean Absil studied atthe Brussels Conservatory fom 1913 with a view to pursuinga career as. an organist and then again fn 1920-2, this time setting his sights on becoming a compose. He began teaching atthe same conservatory in 1930 and was later a professor there for20 years (1989-59), His mature, polytonal style was influenced by Berg, Milhaud, Hindemith and others. ‘Absil inherited from Schuman, DvoFSk and other 19th-century composers his use of the tite hurmoresque’ fora fanciful piece that conveyed certain hamour, o state of mind not necessarily wit, though this particular piece is all fi Toceata-like in manner, i falls into a tripartite form: A (upbeat tb. 1), B (b. 28), A (b, 42}, plus coda (based on Bb 63). The musical material includes a comic, syncopated theme over cross- shythm ostinato (b. 2), eantrary-motion ehramatics(b. 11, and dissonant chords in asubversive dhytm, reminiscent of Stravinsky or Bartok frst tb, 2; fully developed atbb. 40 and 63) ‘Source: Humoresques, Op. 126 (Paris: Lemoine, 1968) © Exitins Heney Lemoine, as Allg resered Angais 31 ABaa19 32 ‘sempre staccato