Professional Documents
Culture Documents
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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.
2 octaves
Contrary-motion scales
C, E majors
hands beginning on the key-note hands separately hands separately
(unison)
2 octaves
Chromatic scale
beginning on D
octave
Arpeggios
G, D, A majors
2 octaves
D, G minors
Broken chords
F major E minor
hands separately, as pattem below: 2 octaves
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.
9S
Grade
Date of exam
Contents
Editor for ABRSM: Richard Jones
page LIST A
I 2 3 1 2 3
Louis-Claude Daquin (1694-1772) Suite de la r6jouissance (Gavotte en rondeau): from Premier liure de pidces de clauecin Pauline Hall, based on IosephHaydn (tZZ2-1809) Military Minuet
LIST B
LIST C
I 2 3
Iohn Kember Bah-ba-doo bah: No. I fromJazz Piano Studies I Timothy Salter Cat being bold at first
Trad. American Dovrm by the Riverside, arr. Tim Richards
I
10
4 5 6 4 5 t6
LIST
Hummel DialogueTaquin. No. 17 fromVennaClassic (Biirenreiter) Petzold Menuet[II] inGminor(withnoD.C.toMenuetI),BWVAnh. llll5.TheAnnaMagdalenaBachBookof I72S
(ABRSM) or pp. 47-48 from Baroque Keyboard, Pieces, Book
(ABRSM)
Vaughan Williams T\ryo-Part hrvention in G: No. 6 from A Lixle Pinno Book (O[JP)
LIST B
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)
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)
tThis arrangementonly
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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
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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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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
thesecond.
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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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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.
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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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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.
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