Transcript
SLLECTED PIANO EXAM PIECES
ruII
& 2OI2 GRATE 2
ABRSM Piano exams Pieces This album contains nine pieces from ABRSM's 2011 &2012 Piano syllabus. In the exam, candidates must play three pieces, one chosen from each of the three syllabus lists (A, B and C). Candidates are free to choose from the pieces printed in this album and/or from the other pieces set for the grade a ftrll list is given on the opposite page as well as in the 2011 & 2012 syllabus booklet. All the pieces are valid from I |anuary 2011 until 31 December 2012, with a permitted overlap into 2013 as follours: UK & Republic of lreland- until the end of Period A (spring exams) 2013 All other countries- until3l December 2013 The pieces in this album have been taken from a variety of different sources. \,Vhere appropriatg the pieces have been checked with original source material and edited to help the player when prepariry for performance. Ornament realizations have been added by the editor, as have metronome maft shown within square brackets. rvVhere necessary the fingering has been amended by the editor to ensure a consistent approach within the a1bum. Details of other editorial amendments or suggestkm are given in the footnotes. Fingering and all editorial additions are for guidance only; they are not
comprehensive or obligatory.
0ther requirements Scales, arpeggios and broken chords The following requirements are reproduced from the 2011 & 2Ol2Piano syllabus. For further details, see also p. 6 of the syllabus booklet.
Scales (similar motion) G, D,A, F majors E, D, G minors
hands together and separately
2 octaves
(melodic or harmonic at candidate's choice)
Contrary-motion scales C, E majors
hands beginning on the key-note
(unison)
2 octaves
Chromatic scale beginning on D
hands separately
I
hands separately
2 octaves
hands separately, as pattem below:
2 octaves
octave
Arpeggios G, D, A majors
D, G minors
Broken chords F major E minor
Sight-reading (see 2011 & 2012 Piano syllabus) Aura[ tests (see 2011 &2OLZ Piano syllabus) ADDITIONAL IMPORTANT INFORMATION \Mhen planning an exam entry it is important to refer to the following publications:
. .
.
the current Piano syllabus (ZDll &2012) the current Examination Information & Regulnrlons (published annually) These Music Exnms (containing practical advice for candidates, teachers and parents)
These contain information on all aspects of the exrun, from entry details to performance requirements such as the observance of repeats. All three publications are available free of charge from music retailers and as downloads from www.abrsm.org/exams.
30119 025 368
9S
Grade
Date of exam
Contents Editor for ABRSM: Richard Jones page LIST A
I
Louis-Claude Daquin (1694-1772) Suite de la r6jouissance (Gavotte en rondeau): from Premier liure de pidces de clauecin
2 3
Pauline Hall, based on IosephHaydn (tZZ2-1809) Military Minuet
3
Iohann Krieger (165r-1735) Bourr6e: from sechs musicalische partien
4
2
LIST B
1 2 3
IsaakBerkovich (1902-72) Mazurka
5
|ohannes Brahms (1S33-97) The Sandman: No.4 from Vollcs-Kinderlieder,WoO 31, arr. Franklin Pike
6
Franz Schubert (1797-IBZB) Trio from Symphony No. 5 in B flat, D. 485, third movement,
7
arr. MartinWhite LIST C
I 2 3
Iohn Kember Bah-ba-doo bah: No. I fromJazz Piano Studies I Timothy Salter Cat being bold at first
B
I
Trad. American Dovrm by the Riverside, arr. Tim Richards
10
0ther pieces for this grade LIST A
4 5
Hummel DialogueTaquin. No. 17 fromVennaClassic (Biirenreiter) Petzold Menuet[II] inGminor(withnoD.C.toMenuetI),BWVAnh. llll5.TheAnnaMagdalenaBachBookof I72S
6
Vaughan Williams T\ryo-Part hrvention in G: No. 6 from A Lixle Pinno Book (O[JP)
(ABRSM) or pp. 47-48 from Baroque Keyboard, Pieces, Book
I
(ABRSM)
LIST B
4 5 t6
Duvernoy Andantino, Op. 176 No. 15. More Romantic Pieces for Fiano, Book 1 (ABRSM) Gurlitt Gavotte in A minor. No. I from Romantic Piano Anthology 1(Schott/MDS) Tchaikovsky Waltz (from The Sleeping Beauty). Pinnoworks Collection 7, arr. Bullard (OUP)
LIST
C
4 5 6
EliasDavidsson Men's Dance: from The Gifi ofMusic(Spartan press) Ianina Gar.6cia In the Train: from Miniatures for piano, Op. 5 (p\MM/MDS) Christopher Norton Cloudy Day: No. 9 from Miuojazz Collection 2 (Boosey & Hawkes/MDS)
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Suite de La rdjouissance
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Gavotte en rondeau
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from Premier liure de piDces de clauecin Louis-Claude Daquin
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Suite de lardiouissance Continuation of the Rejoicing; Premierlivre de pilces de clavecin First Book of Pieces for the Harpsichord The French composer Louis-Claude Daquin (1694-1772) was very precocious as a child, holding organist's posts in Paris from the age of 12. In 1739 he was appointed organiste du rol (organist to the kin$. He was widely regarded as the flnest French keyboard player of his generation. Daquin's Premier liure de pibces de clauecin is made up of four suites. The Gavotte en rondeau printed here is the last movement from the
fourth suite, most of which consists of a diuertissemen (entertainment) celebrating the pleasures of hunting. This gavotte is entitled 'Continuation of the Rejoicingl as it immediately follows a movement in which the hunters are depicted rejoicing over the success of their sport. The piece illustrates the simplest type of rondeau form: A (rondeau theme, bb. 1-16), B (episode, bb. 17-28), A (da capo of the rondeau theme). The quavers might be ptayea in unequal pairs (roughly f] = Ib according to the French notes inigales of the period. The slur, staccatos and dlmamics are editorial suggestions only. Source: Premier liure de piices de claveciz (Paris, 1735) @ 1991
byTheAssociated Board of the Rqral Schools of Music
Adapted from Barque
KeyfurdAi@,
Book I, edited by Richard
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MilitaryMinuet DO NOT PHOTOCOPY
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Pauline Hall based on Joseph Haydn
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D.C. al Fine The great Austrian composer Joseph Haydn (1732-1809) visited Iondon nrice during the l790s There the last f2 symphonies that he composed, the so-called'London' symphonies, all received their first performance to great acctaim- Ite etghft of the 12, f.fo. friO in G of lTg4,was later niclaramed the 'Military' Syrnphony due to the imitation of lirkish military music in the second pgvtmcnt Tte first half of the minuet given here uses the theme from the third movement. @ Odord University Press lg8g Reproduced by permission. All rights reserved. All enquiries about Odord University Press, Music Departrnent, Great Clarendon Street,
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Iohann Krieger
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Sechs musicalische Partien Six Musical Partitas
The German composer Iohann IGieger (1651-1735) was bom in Nuremberg but settled in the city of Zttau in eastern Germany, where he was employed as cantor (director of church music) and organist for A3 years. He published two books of keyboard music in the 1690s and is regarded as one of the best German keyboard composers of his
generation
The bounde is a moderately guick dance in duple tirne - deslrite the time signature of IGieger's Bourr6e, it is preferable to think in terms of two minim fs4ts per bar. All slurs, ornaments and dynamics are editorial zuggestions only. tn the exam, the frst repeat should be played, but not
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The Sandman No. 4 from Volks-Kinderlieder,WoO 31
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Volks-Kinderlieder Folksongs for Children of 1857, which The many folksong arrangements by the great German composer lohannes Brahms (1833-97) include the 15 Volks-Kinderlieder (literally, 'little Sandmcinnchen fourth, is the songs of these famous he dedicated to the children of Robert and Clara Schumann. The most as bedtime smart eyes children's makes that tiredness 'sandman' personifies the The piano arrangement. given in a here is sandman,), which reads: Edition) Peters published by (included songs in a volume of Brahms approaches. A singinf translation of the first starza
/ The rosetree The flow,rs have long been sleeping beneath the pale moonshine, / their tiny heads are nodding upon their stalks so fine. baby dear! sweet my own slumber, petals red. / Slumber, her and shakes head, dreaming bends her O Copyright f 959 EdwinAshdown I imited relating to the Rll righs reserved. Intemational copl,right securd. Reprinted S'permission. All enquiries about ttris piece- aparr from those directlv exams, should be addressed to Music Sales, 14i 15 Bemers Street, London\\'lT 3LI-
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7
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from Symphony No.
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in B flat, D. 485, third movement Franz Schubert
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This piece is adapted from the trio that forms the middle section of the third movement (Menuetto) of Schubert's Fifth Symphony. Alongside the 'Trout Quintet, this symphonyis one of his earliest instrumental masterpieces, written in 1816 when he was only 19 years old. The trio is notable not just for its lovely Schubertian melody, but for its lilting dance-like quality.
No. 1 from lazz Piano Studies
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Iohn Kember studied at Trinity cotlege of Music, tondon, and is now active as a composet teacher, pianist and conductor. This piece is a study in swing rhythm: the quavers should be played in lonyshort pairs throughout, as sholvn above the fust bar. @ 2005 Faber Music Ltd, lrndon Reproduced by permission of the publishers. All enquiries abour &is piece, apart from those directly relating to rhe pmms, should be addressed to Faber Music Ltd, Bloomsbury House, 74-77 Great Russdl stect rondonr,ttir soe.
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Itmothy Salter (b. 1942, Yorkshire) studied piano with Iamar Crowson. He teaches composition and performance studies at the Royal College of Mrsic and is active as a comlrcseE conductor and pianisl About this piece, composed in 1997, he wrote: 'Cat being bold at first, thinking better of ig going for the prudent option- Any accidental refers only to the note it directly precedes. @
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Down by the Riverside
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TIad. American
Arranged by Tim Richards
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This piece is a piano arrangement of the well-known spiritual, a version of whose flrst verse and refrain reads:
Gonnalay down mysword and shield Down bythe riverside, I'll studywar no more. I ain't gonna studywar no more. @
2010 byTheAssociated Board of the Royal Schools
ofMusic
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