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Grade Piano Exam Pieces 2017 & 2018 Piano Exam Pieces ABRSM Grade 2 Selected from the 2017 & 2018 syllabus ABRSM Piano exams Pieces (3x30 marks) ‘Choosing your pieces Tis book contains nine pieces from our 2017 & 2018 Grade 2 Piano syllabus. tn the exam, you will eed to play three pieces, one fom each ofthe three syllabus lists (A, Band G). You can choose from the pieces in this book an/or the other pieces set for the grade: ful ists on the opposite page Editorial guidance Weave taken these pieces fom 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 inthe exam. Repeats You will need to observe all da capo and dal segno indieations but you should omit all ovuer repeats (including first-time bars) unless they are wery bref i.e. ofa few bars) or unless the syllabus specifies otherwise Other requirements Scales, arpeggios and broken chords see inside back cover (21 marks) Sight-reading (21 marks) Aural tests (18 mars) (Total available: 150 marks) Further information ‘You can find additional important information about all aspects of your exam - including scale ‘speeds and descriptions of sight-reading and aural tests - at wwwabrsm.org/plano2 Allsyllabus requirements are valid from } January 2017 until 31 December 2016. You will find advance notice of any planned changes to the Piano requirements from 2019 (including syllabus overlap information) online at wwwabrsm.org/piano? from January 2018. Win your exam entry! Enter your deta online to take pati ou prize daw. wuwabrsiorg/win ir Piano Exam Pieces [ Name ABRSM Grade 2 | Selected from the 2017 & 2018 syllabus Date of exam Contents Editor for ABRSM: Richard Jones page usta 1 Thomas Attwood Allegretto: first movement from Sonatina No.3 in F 2 2 Wolfgang Amadeus Mozart Ein Midchen oder Weibchen (rom Die Zauberfldte, K.620), arr, Christopher Norton 3 3 Tylman Susato La Mourisque, arr. Martin White 4 ust e 1 Carl Reinecke Song: second movement from Serenade, Op. 183 No. 1 5 2 Bed#ich Smetana Waltz in G: No.2 from Poklad melodii, Vol.2 6 3 Stanley Wilson ‘The Stowaway: No.7 from Ship Ahoy! 7 ust 1 ‘Trad. Scottish The Piper o' Dundee, arr. Richard Michael a 2 Sergey Prokofiev The Cat (from Peter and the Wolf, Op. 67), art. David Blackwell 8 3. Manfred Schmitz Gospel Flair: No.43 from Mini Jazz, Vol. 1 10 Other pieces for Grade 2 USTA 4 J. Clarke The Prince of Denmatk’s March, Bucore, Book 1 |ABRSM) or No.25 from Baroque Keyboard Pieces, Book (ABRSM) 5 L.Moxart PolonaiseinC. P.M from 1, Mozart, Notenbuch fir Wolfgang (Schote) {6 Telemann Dolee (from Fantasia No.4 in G), Keynotes, Grades 1-2 Faber) uste 4 Bortkiewicz Through the Desert No.1 from Romantic Pano Antology Vol.1 (Schot®) 5 Gedike Poit pic, Op.6No. 11. No.7 from Russian Music for Plano, Book (Chester) {6 Holst Jupiter from The Planets, Op. 32), ar, Benziget. Piano Mix 2(ABRSM) uste 4 Bben The Goose-gl in Winter: No.30 from Hands Together 52 Ceech Fol-tunes (Faber) {7] 5 Simone Pé La poule dans|e jardin (The Hen in te Garden): No. 15 from Les chants ees jeux (Lemoine) [8] 6 SaranWatts Rock Pools. Sarah Watts, faz Sls, Book 1 (Kevin Mayle), o Sarah Watts, Razeamajazz Repertoire Piano (Kevta Mayhew) ext pbs e201 ABO Pasig Ld Unguthorbed plooeapying legal si agintion tla nee Swholromnedauisicey ofABISH21Tertandace _Alnharearee No parol poston Corry ate earn ney Poe {po i 0, iad King eyterpadiced cmiedariansnited — feinella Bent by lalean eid, Ament, (O20IGby thence Hondo theToalSchosis of Mane iranyfomorbyanyzents iat the Bula on satel emeuralabl are Allegretto Seale First movement from Sonatina No. 3 in F Thomas Attwood (1765-1838) 84] Allegretto (J [se ‘The English composer and organist Thomes Attwood sang inthe choi ofthe Chapel Rayal fram the age of nine. He studied in Noples andl hen vith Mozarcin Vienna (1788-7), After his retuen to England he became musi eutorto the royal family and later organist of St Paul’ Cathedral and composer tothe Chapel Royal ‘This piece ustates his graceful, elegant style that often seems o eve much to Mozart. Wien he was studying in Vienna, Mozart said of bi: ‘He partakes more of my style than any scholar I ever had; and l predict that he will pove a sound musician’ Alldynamies and shir ae editorial suggestions only. Source: Basy Progressive Lessons Fingered for Young Beginters on the Plano Forte or Harpsichord (London, ¢.1798) (© 1505 by Me Astocised oar ofthe Hoy Schoo of Music /Adaped fom Atwood: Ear Progressive esons edd by Richard Jones (RSM) AB3e14 3 Fora Girl ora Woman ‘emote Unaatherizes zest Ein Madchen oder Weibchen from Die Zauberfléte, K. 620 Arranged by Christopher Norton W. A, Mozart (1758-91) [Gently J = ¢.112) In Mow 1791 opeta Die Zauberfldte (The Magic Flute, this tune is sang by a comie character called Papageno the queens bird-atcher. He ‘accompanies the hero Tamina i is questo rescue the queen's daughter Pamina, who has been abducted. To protect them, Tamino i given a magle flue, and Papageno magic bells. the aria arranged here for pla Papageno longs to meet the gi of bis dreams, who later tas ou 0 be Papagena. He accompanies the song an his magic bells, which in the opera are played on the glockenspiel {©2016 by Te Aston Doar of he Roy Seools of Musle AB 3814 Oricon tomate Unoutherizas La Mourisque Sass espynaht Arranged by Martin White ‘Tytman Susato (css10115-c18701 Stately J= .72 Jylman Susato was a town musician in Antwerp, where he ran « flourishing music publishing business. is attractive instrumental dances, ‘published in 155, are simple arrangements of well-known chansons (Pench songs for several voices parts) tn this danee, the upper left-hand Cinbb.17,2t and 25 may be omitted, (©2018 by The Assorted Board ofthe Royal Schools of Music eprodeed rom Piano Mix 2 compiled and eit by Davi Blackvel ARSM) Anaeu4 tis. ” egal ae Song Second movement from Serenade, Op. 183 No. 1 Cart Reinecke [na26-1910), Andante con moto [J = ¢.104} 2 2 pdoce | ———+ ———| ——— tet ‘The German composer Cat Relnecke built up a ne reputation as a planis in Germany and Scandinavia duting the 1840s andl 1850s. In de ate loth cencury he settle in Leipzig as professor (later director) ofthe conservatory and conductor of the Gewandhaus Oreestr. Reinecke plana muse includes many plees for children, such as anf Serenade fr de Jugend (Five Serenades forthe Young), Op. 18, from ‘whieh this movement is selected, As she tile suggests, this a song-ike piece in syle and texture. Being written for che plano only it belongs to the tradition of Mendelssohn Lieder ohne Worte (songs without words). Source: Ff Claver-Serenaden fr aie jugend, Op. 183 (Leipzig, 1885) © 19a by The Assoclsted Hoard ofthe Royal Schools of Me ‘Adapted rom Bsneck ly Serenades forthe Young, Op. 183(ABRSM) Angas Te ‘Hagel Waltz in G es No. 2 from Poklad melodii, Vol. 2 Bedfich Smetana (1924-26), [Allegretto J. = ¢.60) Bedfich Smetana settled in Praguein 1043, where he taught the piane and studied theory and composition. After the premierein 1866 of his most ‘amous work, the opera Prodand nevéra (The Bartered Bride), he wes appointed chief eonductor ofthe Provisional Theatre, a post he retained until 1874, wher he became deat. Despite this disabilty, over dhe next Five years he composed hs famous cycle of six symphonic poems Mé vlast, (iy Fatherland) and his most important chamber work, the string quartet Z mht Zivote (From My Life). ‘Smetana also composed a signifleanc amount of plano music, including the two volumes of Potlad melodi (Treasure of Melodies), which date from 1819-50, The second piece from Vo. 2, selected here, s unnamed inthe source Here ici given an editoval de that reflets its dance syle. “The dynamnes in bb. 1-21 ate editorial suggestions onl: Soutee: autograph MS, National Museum of Prague, Czech Museum of Mi Be Jy Smetana Museum, $217/1357 ‘B2016by The Aesclted ant othe Schools of Mase 384 The Megat Unauthorised Sees The Stowaway Eee No. 7 fram Ship Ahoy! Stanley Wilson 11399-1953) ves sempre staccato ideal pgeneeeeee Ship Ahoytis made up of eelve nautical scenes forthe plano, "The Stowaway; selected here is a play on ‘Down among the dead men; an English traditional song attibuted to John Dyer (1700-58). The piece isto be played piantssiomo throughout, and one can imagine the stowaway hiding deep down in the hold ofthe ship, perhaps awareof the sailors asleep in their berths. The tomb-like atmosphere might explain the referenceto the ‘doed men’ Although the published! metronome mark is J» 132, candidates may prefer a more relaxed tempo, such as J= Stanley Wilson was a student at London's Royal Collegeof Music (1915-21, with an interruption for war servic), studying composition with Stanford and conducting with Boult.n ater yeas, he taught at Ipswich Grammar Schoo! and Dulwich College Source: Ship Alioy! (Manchester: Forsyth, 1982) © Forsyth trothers tid ‘rom Ship oy by taney Wilson, publshedby Forsyth others Lid. Used by permission ofthe publishes. llenquiis about his pee, apart fam those dieey ‘ektng tthe ex, shouldbe addteseed wo Forsyth Brothers 2, 126 Deansgate, Manchester M2 2GR or publishingforti cok, gael u ite egal ‘oak The Piper o’ Dundee cee Arranged by Richard Michael Trad, Scottish Wild Scottish groove 12, poco rit. es ee ¥ t/ a7 a7 a7 ev ‘The arcanger, Richard Michael, tells us that “This taditional Scottish felk song should be played as if marching to the bagpipes! The Piper of Dundee was.a prominent Jacobite —in ther words, he fellowed the exiled King amos Il of Scotland (wivo was also King James of England und father ofthe Old Pretender). He's sad to have attracted many followers co the Jacobite cause, which was led by his master Viscount Dundee Goh Graham of Claverhouse} As result, Dundee managed to raise a Jacobite army large enough to defect the English gavernment forces at the Battle ‘of illcerankie in 1689, (©2016 by he Associated Bod ofthe Royal Schools of Mule ABSEI4 ‘Megat ase The Cat from Peter and the Wolf, Op. 67 Arranged by David Blackwell Sergey Prokofiev havi-1953), Moderato J= ¢.88 ‘Suddenly, something cough Paa's ee “He saw cat craaling through uh long gras. an pe mp con eleganza Cores on ‘The cat hough: The bird is busy arguing jst grab i.” Poco rit. Stealthy, § ? ime ines 2 tempo 12 steve torsade hsm o her oles aes in rall. Peter andthe Wolf{Mers » nk Petya i vol is a fol tale for narrator an smal orchestra, composed by Prokofiev (who also wrote the words) in 1836, the yearn which he settled permanently in Moscow after many yeat abroad, Ithas become one ofhis most enduringly popular scores, Each character in the story i represented by a particular theme, played ona specifi instrument: the Bird themeby flute the Duckeby oboe, Grandfather bby bassoon, Pter by strings, the Wolf by horns, and the Cat (ansanged here for piano) by clarinet. In this arrangement, the words ofthe story are included for interest ~they should not be wad aloud in the exo, Ys will have to listen t the rest ofthe piece to Sind out what happen next © Copyright 1957 by Hawkes &S0n London) Lad Thisazrangement © Copyeght 205 by Hawkes & Son (London) Ld Reprdice by permission of Boosey & Hawkes Muse Publishers id Al engures abou this piece. apart rom those drety eating eo the exams, should be addressed to Boosey & Hawes Musi Pbilshers Lid Aldjeh House, 7-51 Aldwyeh, Landen Ween aN AB3e14 10 Oikoa ‘omae Ueautherizad opis ots copyrant Gospel Flair No. 43 from Mini Jazz, Vol. 1 Manired Schmitz (1999-2014) DS. al Fine ‘Manfted Schmitz, composer of Mini Jag, says: "You have lots of fan “moving” into the exiting, wonderful word of|aza!” He add:"You can srke theaccented notes alot harder than you would in pieces by Bach or Mozac...your performance should reflec the fun you'tehaving while playing” In Gospel Flair, quavers should be straight, not swung, The fermata in b, 8 sigalfes the end, not prolongation (te chord is staccato), The German composer and pianist Manfied Schmitz studled atthe Franz Liszt Academy of Music in Weim, where he ate taught (1968-4). ‘After 1960, he often toured with his Maned Schmit jz To, and he also wrote a number of jzz-inluenced pieces fr children. {© 195 wy Deutscher Verlag fir Musk Lalla eprodced by pemsson Al gts erevedAllenquresabowthieptes, par fom those dee eatingto th gxams, sould be adessdto Deutscher Vig ‘Gr Masi LeipelgGmbt, Wlkmhlsteae52, 65105 Wiesbaden German. 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