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Suggested Performance Notes

For Trinity College London Piano exam pieces 2015-2017


Initial to Grade 8
Edited by Peter Wild and U-Jin Lim
Main Contributors:
Wong Shuenda, Benjamin Loh, Febe Warman, Raymond Tan
Contributors:
Chiam Su Lee, Bonnie Chen, Annie Hsu, Joyce Wu, Grace Lee, Patricia Lee,
Lu Pei Fang, Methanan Sivayathorn, Tai Cheah Sin, Tran Van Co,
Henny Waldemar, Wong Soo-Sein, Yap Chiew Phin, Josephine Yeap

Disclaimer: These notes are intended as suggested teaching guides, based on performing and
teaching best practice. They do not constitute the official guide from Trinity College London.

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INITIAL
Charlton Easy Living
Establish an internal stable pulse before playing; this will help make a successful performance
Make up rhythmic games e.g. making up short phrases of similar syncopated patterns to
accelerate the learning process
Arm weight should be used to obtain fuller and more solidly accented notes and chords (with
all notes of chords perfectly synchronised)
Rests should be properly observed especially in bar 17 (finishing with an unrestrained ff!)
Crosland Ready to Go!
There are many different articulation and dynamic markings; observe them well
Use the phrase Ready to Go! Shouting out the word GO! - relating it to the accent on the
4th quaver of the recurring opening motif
The piece looks difficult at first glance but closer examination reveals it is very manageable
Feel the 3rd beat rest
Note the slight shift in fingering in bar 6-7 in the LH part
Holland On a Wintry Day
Hand positions are generally fixed, except for the LH part from bar 24 till the end
The musical character has a sad tinge, therefore give the melody a cantabile, almost
melancholic, character. Take care with tone matching when melody transferred from LH to RH
A good legato technique in the melody line should be observed
Observe the rest and long notes at the end of the piece Count!
Observe the dynamic levels, especially the pianissimo
Hook Gavotte
The playing should be firmly in time to establish a strong pulse note the march-like dance
style
Use a legato technique in the RH
Note the dynamics, e.g. bar 10 (subito p) and bars 13 15 (.f)
Watch the balance with the duet partner
Milne Smooth and Crunchy
The clue to bringing out the Smooth & Crunchy character lies in the contrast of articulation
being carefully observed. Devise fun, musical exercises to prepare for this technique
Syncopated pattern should be practised separately, using rhythmic games
Tail-off the phrases neatly in bars 5 & 6
Muller Summer Swing
Count the dotted rhythms found in every phrase accurately
Observe the strong-weak-weak beat patterns to bring out the swing musical character
Observe the echo-effect in bars 8-12
Similar phrases make for a very manageable piece to learn
Watch the balance between hands

Norton Spring Day


Use rhythmic games to teach the syncopated patterns in this piece as an introduction
Observe the RH rests in bars 6 and 8
Notice the differences in dynamics between bars 1-4 (mf) and bars 9-12 (f)
Note the 2 bar rests at the end the music had not ended, so keep the hands in a poised
position. The student should look focused until the end of the duet!
Vogel March Time
Make note of all the different articulation marks: legato, non-legato, staccato
Use a metronome in the practice, to help establish a strong 1st and 3rd beat, which outlines the
march character
Aim for a stable hand position to obtain a firm and solid tone
Once the notes are known, avoid starting the piece too quickly!
Walker The Stroke of Midnight
Bring out the mysterious character of the piece by ensuring the different articulations between
hands
Note carefully that the dynamics in the RH part are softer than in the LH part
The softer dynamics should be executed by placing the fingers on the key before depressing /
striking it
Use a balanced arm-weight to control the chords

GRADE 1
Cleaver Railbird Rag
Maintaining a steady pulse and a firm 1st and 3rd beat are essential to bringing out the rag
character
Note the melodic major 9th leap in bar 4
Note the fingering changes in bars 6 and 15
Ensuring that the detached nature of the LH accompaniment is maintained
Harris Ghostly Conversations
Note the various changes in dynamic and tempo markings
Ensure the LH notes are pressed down silently throughout the piece to maximise the harmonics
(ghostly) effect
Let total silence be heard at the end of the playing before the LH notes are lifted
Enforce the accents on beats 2 & 4
Haughton Swings the Thing
Use rhythmic games by making short phrases of the different rhythmic patterns to accelerate
the learning process
Note the shifting hand positions
A firm and steady pulse is essential to the music character
Watch the balance between the two players and LISTEN carefully
Be ready for the very effective subito piano in the final bar
Holland Donkey Trot
Observe the various articulation markings: legato, non-legato, staccato
Use a down-up technique in the 2-note slurs in bars 11-16. A real sense of the slur effect is
achievable by joining the top notes of each pair
Judicious use of the una corda pedal at the ppp dynamic level will give a tonal colour change as
well as achieve the soft tones
Le
-

Couppey Melody in C
Use the appropriate quaver figures to develop a sense of rotary freedom
Ensure balance between hands are in place to bring out the clarity of the main melodic material
Note the shift in the LH part in bars 17 20
Observe the dynamic shaping in bars 17 23

Lully Minuet
Be aware of the triple metre minuet dance style but also be aware that the French idiom has
some feeling of the hemiola effect (prevalent in the first and third system)
Note the contrasts in articulation in the first system
Note the fingering in bar 3 (1-3-1)
Note the hand position changes and articulation at the same time in bars 4 and 5

Ponchielli Dance of the Hours


A loose but directed wrist movement is essential for proper playing of the 2-note slur
Steady pulse important for the dance character
The octave leap in bar 12 needs care for smaller hands. It would be acceptable for a smaller
span to make both notes staccato
Highlight the high E note at the end of bar 12, which would probably be a new note at this
level. Remembering the pair of notes as an octave leap E to E will make negotiation of this
moment easier.
Rea Red Square March
Establish a steady pulse to fully realise the march character
Highlight the dotted rhythm in bars 7 and 8
Strong fingerwork is needed to maintain the solid tone essential to the musical character
Use arm weight in the accented final two chords for a firmer tone
The co-ordination of the off-beat L.H rhythms may feel a little strange tapping out the
rhythm (on a solid surface the piano lid?) can be a good way of practising the hand coordination
Tanner The Owl and the Pussycat
Explain the difference between two-in-bar and four-in-a-bar
Practice slowly to master the technique of contrasting articulation between hands
Particularly watch for the details of RH articulation in bars 2, 6 etc.

GRADE 2
Adam Allegro un peu loure from Giselle
- LH rhythmic pattern should be kept light and crisp as a background accompaniment while
playful right hand melody plays the leading role
- Note the mixed articulation in the RH melody: slurred notes detached, and observe this
carefully to express the playfulness. Taking care not to accent the second note of each slur
- Note the dynamic range from pianissimo in the beginning until the end of fortissimo with
highlight of tonic chord with accents. The pianissimo only comes on the repeat which would not
be needed for the exam
Boyce Gavotte
- Two voiced texture with mixed articulation treatment (detached and slurred note), but with a
dance-like character in gracefulness (Grazioso)
- Appreciation of the half-bar anacrusis (typical of a gavotte)which is important in terms placing
the main stress.
- Phrasing in RH and LH may not start and end in the same place, independence of hands
required
- LH part is fairly repetitive, like a bass line ostinato
- Observe the short but concise A-B-A structure, use dynamics to differentiate this
Bullard Street Beat
- Anacrusis and Syncopation provides a rhythmic twist in the RH part while the LH chords should
be steady and even
- Accents are unexpectedly placed
- From bar 8-16 note the texture changes and role alternates between hands. This is a transition
passage
- Note the extreme dynamic contrast from bar 24 to the end: piano to fortissimo
- Observe the rest in the last bar the silence is part of the performance
Crosland The Swing Detectives
- Play it in a boogie-woogie style with strong articulation and steady swung-quavers
- Syncopation and accents on up-beats bar 9-12 is intrinsic to the musical character observe
the musical details
- Note the big dynamic contrast e.g. bars 12, 15 and 16
Donkin Penguin Parade
- Swung quavers must be well-observed while maintaining the continuity of the legato phrase as
marked, combined with detached notes.
- Take care with the presentation of the many RH phrases which start with anacrusis usually
three quavers leading onto the stress in the following bar
- Note the long crescendo across the final beat of bar 12 to the end.
- Aim to give a slight contrast in the second half of the piece to avoid monotony as it is quite
similar to the first half but an octave higher
- Practice well the cheeky ending with the hands crossed over

Cullen Mexican March


- Maintain a good balance in both hands as they are moving in parallel 3rds
- Listen for very precise co-ordination of the hands
- Clear observation of the articulation marks - staccato, accents and a good strong pulse are
important points to remember
- Observe the varied dynamic markings to build up the music as the texture thickens, particularly
bar 8 and bar 16
- Aim for even quavers in the toccata-like texture from bar 17
Proksch FreuDich / Feelicitous
- RH melody moves up in a sequence with the same rhythmic pattern as a repeated motif
- LH plays steady quavers like a bass player, crisp staccato line but always at a slightly lower
level dynamic than the RH
- Contrasting articulation requires independence of hands
- Tempo is quite fast Vivo thus ensure clarity of melodic line and a good balance even though
played fast
Sullivan Willow, tit-Willow (from the Mikado)
- Note the contrasting lengths of phrasing: long (e.g. opening bars) and short (bars 3 and 4)
- RH is to be played espressivo: aim for a cantabile tone with good phrase shape
- Avoid accentuation of the anacrusis semiquavers
- Do not rush the playing it is an Aria
- Various dynamic contrasts play a part in shaping this operatic aria observe it well. The ending
needs a gentle tail-off; it is an echo of the previous phrase but one octave apart.
Schubert Lndler
- Maintain an even quaver line, with good phrase shaping and melodic direction
- The triple metre should flow with a dance-like charm particularly the delicate RH articulation
in the 2nd half
- LH accompaniment pattern varies between the first beat in the 1st half and bass on the first
beat in the 2nd half, and the dynamic indications help to provide contrast to these two sections.
Take note of it.
- Good balance between hands and note the mixed articulation in the RH from bars 9 onwards.
Detailed practice helps.

GRADE 3
Bartok The Highway Robber (from For Children)
Note the different articulation non-legato, legato, accents, tenuto, etc.
Bartoks own pedal markings have been slightly modified for greater clarification; the given
solution works very well and should be adhered to if possible
Finger the last system carefully, giving attention to voicing and balance
Contrast the rustic boisterous mood with the serene tranquillo sections
Haydn Allegro (from Sonatina in G)
Observe evenness of tone and rhythm in the quaver passages
Take care not to bump the two-note slurring feature
Bring out the elegance and poise in the music through careful phrase direction
Note the f dynamic in bar 21 to the end finish the piece in a grand manner
Aim for a lyrical character in the middle part from bar 9, with a LH legato
Johnson Sad Song
There is extensive use of the pedal here. Possible practice method: LH with pedal first,
ensuring clarity in the harmony
Portray the melancholic musical character. Initiate discussions about a descriptive journey
to help paint a programmatic thread to the playing
Use the LH of bars 15 & 16 to characterise the sonore like a rising and falling cello line
Legato line in the RH is not to be blurred by over-pedalling
Play the chromatic notes in bars 16 (and etc) carefully, with shallower pedal to avoid
blurring the harmonies
Leiber / Stoller Hound Dog
Evoke the impression of Elvis Presley and his sense of performing flair and stage presence
Sense of rhythm and beat has to be very strong throughout to reflect the Rock and Roll
style
Coordination of hands is important for the music to sound tight
Suitable for those with confidence and panache in their playing
Get a clear idea of the structure in your head it jumps around!
Lemoine Study, Op. 37. No. 34
Note the metronome marking, chosen tempo must not be too slow, to be performed as onein-a-bar
Evenness and timing of the triplets must be maintained; make it slightly dance-like
Note the different articulation and contrasts between light staccato and lyrical legato
Note the sudden change in dynamics between f and p in bars 40 - 41

Moore The Rainbow


Bring out the lyrical nature of the music by ensuring proper pedalling and good balance
between hands
Shape the 4-bar phrasing and always maintain a cantabile line
Apply the pedal lightly to bring out the tinges of harmonic changes, especially in the middle
section of the work
Aim to maintain the sustained minim bass lines
Mozart Bird-catcher Song (from the Magic Flute)
This is an aria, observe the phrasing and breath marks of a singing voice
The LH should accompany lightly and maybe played detached if so desired.
Imagine the flute when playing the demi-semiquaver patterns in bar 13/14 and bar 19/20;
light tones
Portray the humorous musical character
Pause in Bar 12 to be interpreted as a slight breath mark
Tadman-Robins Square Dance
The tight-knitted rhythmic figures and the syncopations must be played accurately to reflect
the lively dance character
Coordination between hands is important; work on the synchronisation of the hands
Voicing in the bass line (legato crotchets) must be observed to contrast with the bucolic
nature of the piece
Tchaikovsky Dance of the Little Swans (from Swan Lake)
Think orchestral sounds e.g. Bassoon for the LH
The LH staccato articulation must be maintained whilst keeping the momentum going
Rhythmic matters such as syncopations in bars 11 & 19 must be observed, the syncopation
has a better effect if the RH notes are separated
Demisemiquavers must be crisp and accurate
Shape the melodic phrases with slight crescendo and diminuendo throughout
Play out on the sudden change to f in the final chords

10

GRADE 4
Haydn Presto (3rd movt from Sonata in A, Hob. XVI/26)
- Pulse should be steady but with perhaps a tiny rit. at the end of the piece
- 2-note phrase should follow inflection of loud-soft
- Repeated phrases should be contrasting in dynamics and tone
- Recognise the metrical impact of the anacrusis in many of the phrases
Gounod Soldiers Chorus (from Faust)
- Note the LH melodic part from bars 1 to 8 think of a brass sound
- Appropriate balance between hands essential
- Maintain the march-like character with a firm incisive touch
- Really USE the dynamics
Kohler Allegro Moderato (1st movement from Sonatine Op. 300)
- The LH alberti-bass is the rhythmic driver and needs a firm pulse
- Shape the phrases well, and note some LH melodic parts, e.g. bars 8 to 12
- Staccato over slur-marks is to be played portato not too short
Podgornov Der Schmetterling und die Blume (June from The Seasons)
- Light fingers and crisp articulation important to bring out the Leggiero musical character
- Think about the title The butterfly and the flower
- Gentle acciaccaturas in the introduction (again, think butterfly!)
- Note the fermatas (Pause marks) over the rests silence is part of the performance here
- Practice to ensure well-coordinated hands for the chords, e.g. bars 7 8
- Waltz-like character needs lilting rhythms with a slight stress on the first beat of the bar
- Ensure that there is a natural well-graded flow in the handling of the ritenuto.
Benda Sonatina no. 16
- Observe the Risoluto character in the opening by using firm and strong articulation in the
fingers
- Various phrase and articulation marks especially the LH accompaniment part - must be
closely observed, as well as the dynamic markings
- Senza ped. Instructions mean good finger and hand control essential for phrase shaping and a
clear line
- Rococo period tone is to be suitably light and not too heavy forte
Crosland Cucumber Jam
- This jazzy number needs a slinky and rhythmic lilt, with leanings on the syncopated quavers
- Give the pedal a light touch, following closely the suggested pedal markings in the opening
bars, so as not to blur the texture
- Part-playing held semibreves in bars 5, 9, etc must be practiced, adjust the wrist
position to ensure a good balance between parts
- Even though the ending is soft, the strict pulse must be maintained

11

MacMillan Matsuri
- A gay and happy character, give the LH quavers a good bounce and well-articulated RH to
convey this musically
- Some pedal may be used in the middle section but do watch for little details of articulation
here
- The middle section has a contrasting singing quality with longer phrase lines
Milne Garden Path
- Tranquil and dreamy effect can be achieved by close careful pedalling, cantabile RH long
well-shaped phrasing
- Offer some tonal contrast in the repeated phrases but nothing vastly different everything
should be calmly done
- Part-playing in bars 25-26 should be observed with careful balance; good wrist control
- Keep fingers closed to the keys to produce a rich yet soft cantabile tone
- Triplets should not be hurried in this meandering style
Tanner Forty Winks
- Feel the Latin groove with crisp articulated staccatos, well-contrasted LH short 2-note slurs
against a legato RH
- Maintain a firm beat, observe the syncopated RH line, especially bars 19ff. It should have an
ad-lib feel
- Accents, tenuto marks, rests should all be closely observed to bring out the cheeky
character
- Take care not to bump the staccato LH 4th beat

12

GRADE 5
Diabelli Rondo (3rd movement from Sonata in F, Op. 168)
Ensure a steady pulse and flow in the LH broken chorda accompaniment
Ensure clear articulation and phrasing in the RH melodic material
Play the repeated LH chords from bar 16 with firm fingertips and wrist staccato
Plan carefully and pace well the crescendo from bar 56 till the end
For a convincing ending, play the final chords decisively; use a crescendo on the quavers in bar
62 to enhance the excitement and propel the music forward
Observe the balance between hands
Ensure the 6/8 is not played as 3/8
Jones Giga in D minor
Clarity in articulation and evenness of musical flow are the essentials to making the movement
come to life
The gigue is lively, spirited and exuberance dance bring out this musical character
The listener must be able to sense the effect of the compound metre
Ornaments are to be played neatly and carefully integrated as part of the line
Note the changes in the articulation in bar 17
LH passage in bar 9 requires firm finger-work
Scarlatti Capriccio in G
Start the opening chords full of confidence at forte dynamic level to contrast with the piano
second phrase
Note the changes in the articulation in bar 25
Rotate the RH in bars 44 to 47
Aim for evenness of tone on the semiquaver passages a suggestion would be to practise
these passages slowly to begin with
Vogel Andantino (from the Sonata on Themes from The Magic Flute)
Ensure the phrases are properly shaped with clear phrase ends
Slurring detail needs to be very sensitively handled
Grazioso in bar 33 with staccato chords to be played with lightness and with a hint of pedal for
colouring
Carefully voice the parts in bar 36 to 38 for a good effect
Piu lento section need a greater sense of freedom
Balch What to do when it rains
The song-like piece needs a cantabile RH and subdued LH part for a convincing performance
Note the change in character in bar 17: use your imagination to characterise the music
Listen to the pedalling ensure it is changed properly and does not blur the harmonies
Goedicke Miniature. Op. 8 no. 10
Establish the rhythms of the opening bars with rhythmic games
Suggested use of the una corda pedal in the final two bars for a change in tone colour and also
in the mezza voce section
Pace the tempo changes in a convincing manner

13

Gillock Mister Trumpet Man


A steady and pronounced beat is essential to the style of the music
Observe all the accent and tenuto markings, as well as the contrasts in dynamics
Short accented chords in bar 12 needs to be sharp and show some bite
Watch out for the leap in bars 11 and 35
Note the difference between
Granados Dedicatoria (from Cuentos de la juventud, Op. 1)
Balance between parts are essential ensure the triplet accompaniment in the inner RH part is
played softly enough so that the top melodic line can be brought out
Aim for a cantabile tone to bring out the musical character
Study the texture and note the balance and voicing of the parts, example in the opening bars
Perfectly placed pedalling is essential for this piece to be successful
Roxburgh Spanish Dancer (from Les Miroirs de Miro)
Ensure an accurate and steady Spanish rhythm
Notice the characteristic slurring detail on beats 2 & 3 in the introduction and other similar bars
Create a contrast in tone colour between the opening 2 bar intro and ending and the cantabile
RH melody
Character change in bar 16 (mf sostenuto) aim for a warmer sound
The instrumental recitative (ad lib) should be given freedom of expression for a convincing
parlando effect
Play the Dolce from bar 29 quietly
Rests in bar 33 should not be shortened

14

GRADE 6
Dello Joio Prayer of the Matador
- Matador like with an attitude bold! but maintain the lyrical character in the melody line
- The Habanera LH rhythmic pattern must maintain a firm pulse, although some leeway for
rubato can be applied at proper moments. Follow the musical directions.
- Note the dynamic contrast and register change from bar 19; with the LH leading the melodic
line. The tenor register of the LH part needs to be well-coloured
- A variety of tonal colours can be achieved by varying the hand shape and wrist movement
to give this work a programmatic thread
Clementi Sonatina Op. 36 No. 6
- Evenness of tone, with well-graduated dynamics and well-directed phrase shapes are crucial
in this Rococo style popular piece
- LH alberti-bass must be steady. Homophonic texture throughout so student needs to
maintain balance of volume between parts
- Highlight instrumental-like melody and imagine orchestral instruments, e.g. timpani in the
LH part in bars 54-56, nice bouncy violins in the development section LH, etc. Extend the
musical imagination
- Even scales and semiquaver patterns in the RH
- Maintain dynamic contrast and good articulated playing with careful balance between hands
Dussek Andatino Grazioso (2nd movement from Sonata in F)
- 2nd movement of a sonata allows for some leeway in bringing some romantic shading and
character but within a strict classical context
- Touch and articulation must be elegant-like, with good wrist and arm control
- Maintain a balanced tone between hands and feel the elegant compound duple timing
- Think of different orchestral instruments, such as a clarinet in the opening good firm
fingers but a light tone
- Provide different tonal shading to the minor tonality sections, compared to the major
tonality sections
Peerson The Fall of the Leafe
- Pay attention to the various articulation marks
- Always well-articulated finger-work especially in the detail of the ornamentation
- Play ornaments within the intended rhythm
- The title indicates an autumnal sadness, the sighing motif is prevalent in both hands use
expressive tonal shading to illuminate this
- Phrasing long and short must create the right dynamic shape especially when two parts are
repeating the same materials.
Armstrong Castleward, Temple Dancer in Blue
- Homage to Saties Gymnopedie, but with a blues twist
- Think of an instrumental sound in the RH an expressive saxophone tone maybe?
- Avoid unnecessary wrist and arm movement to maintain a soft-tone throughout
- Pedal is usually one-per-bar change
- The RH line must be evenly maintained

15

Merikanto Valse Lente


- Maintain a good melodic-line phrase shape in the opening
- RH chordal texture from bar 17 onwards bring out the inner tenor line in the RH
- Watch the tempo changes and the waltz lilt must be maintained
- Observe the LH articulation in the middle section
Mompou Evocation from Variations sur un Theme de Chopin
- Lyrical Chopinesque but in 4-part texture; maintain a good balance between parts and bring
out the melodic part
- Close and careful pedalling to avoid blurring the texture
- The hymn-like writing in Tranquillo section requires the upper notes to sing-out
- Good wrist / hand control required to avoid jerky movements and spikes in the dynamics as
the melody has leaps
- Well-connected lines required for the molto legato
- LH semiquavers in bars 24ff should be light but well-shaped
Tanner The Wit and the Wisdom of the night
- A firm pulse to be maintained throughout, establishing the momentum
- Various articulation marks: 2-note slurs, staccatos, accents should be closely followed
- The drive of the piece should never be allowed to flag
- Contrasting dynamics in bar 7 to 8 can be achieved by added arm weight and pedal
Wilkinson Jazzin Grace
- Relaxed swing style, almost careless but observe the many syncopation pattern and in
melody and accompaniment
- Played dry or with selective pedal sections to create the crisp rhythmic tones and rests to
emphasis the upbeats
- Dynamic contrast help in creating the musical character do not miss this out
- Build up the musical thread by beginning with a relaxed jazz feel and showing more
commitment in the climax before tailing off

16

GRADE 7
Clementi Allegretto (2nd movement from Sonata in F, Op. 4 no. 6)
A large hand-span is required to attempt this piece well, especially the broken octaves and
chords
Top notes to be brought out in melodic passages
A relaxed hand-weight is essential for a successful playing of the double-thirds
Contrast the different sections well and understand the Rondo structure of recurring themes
and episodes
Generally a graceful and dolce musical character
Paradis Sicilienne
A soulful and melancholic music character
The sicilienne rhythmic character is to be brought out
Balance the chords in the LH and ensure evenness; watch that the arm-weight is evenly
distributed to the fingers
Middle voices are to be observed and performed with warmth and well-blended into the
prevailing harmony
The diminished chords at bar 44 is the climax of the piece.
Gregson Adams Allemande (from An Album For my friends)
Take note of the various dynamics
Convey the anacrusic structure of the phrase-lengths
The poco rubato should be teasing in its flexibility
Pedal points to be observed
Indulge the tempo changes on the last line, observing the pesante and the following effect of
the tempo giusto
Scarlatti Sonata in D, KP. 512 L. 339
Design and plan your dynamics well: always look for the echo and repeated phrases as a
gauge in the level of the dynamics. As a rule of the thumb, moving upwards would mean an
upward swell and conversely, when a passage transposes sequentially downwards, reduce
the dynamic level
A suggested dynamic scheme f in beginning, mp in bar 12, crescendo in bar 17, mf in bar 24,
mp in bar 26, mf in bar 32, mp in bar 34, crescendo in bar 36, mf in bar 40, mp in bar 42,
crescendo in bar 47, and etc.
Arne- Presto (1st movement from Sonata in A)
Keep the tones generally light throughout. Start with a confident f in bar 4, get softer and
then rise with the music to a grand f in bar 10
Finger bar 17 carefully; different hands may require a different fingering pattern
Practice the simultaneous semiquaver passage to ensure proper coordination of hands.
Suggested practice exercise include practicing groups of semiquaver patterns, with the aim
of controlling articulation and balance
The short trills are to be crisp and brilliant in tone with strong fingers and a stable wrist and
arm

17

Earl At Miss Florences


A homage to Schumann; the texture requires careful voicing, slight rubato and dreamy ala
Eusebius from Schumanns Carnaval
Give consideration to the romantic rubato push/pull, note the slightly irregular phrase marks
and various tempo markings (poco rit.) need careful attention
The musical character is deliberately ambiguous with meandering melodies (think of
Traumerei from another of Schumanns works Kinderscenen) without any clear climatic
moment in the work, except for some techni-colour modulations in the middle (harmonic
twist of transposition to Ab and A major heightens the dreamy character)
Each melodic line is to find its own
Faure Improvisation (from Pieces breves pour piano)
Maintain the lyrical melancholic character of the melody, regardless of the musical tapestry
and prevailing colourful harmonies.
A suggestion is to imagine the shifting of harmonies as shifts in visual colours or emotional
moods in order to better understand the musical character
There is a dramatic build-up to the outpouring of grief in bar 17
There is a sense of intimacy in this miniature work
The triplet quavers are to be played smoothly when juxtaposed with the LH quavers
Tempo is to be flexible, never rigid
Grovlez Petites litanies de Jesus (from LAlmanach aux images)
Note the title and understand the sense of praying and yearning is apparent in this piece
The serene atmosphere must be maintained through a very calm hand and arm
movements, well-coordinated and well-placed chords, together with the help of a fine pedal.
A keen ear helps!
The upper line always needs to sing out. Textural voicing must be observed, such as the
middle voices in bars 7 13
Finger changes to be calm and unobtrusive, always maintaining the modal Gregorian chant
atmosphere
Lane Struttin at the Waldorf (No. 3 from Three Little Bites at the Big Apple)
Note the subtle rhythmic differences between the 2 vs 3 and the dotted rhythms which will
lend freshness and variety to the jazzy piece
Glissando technique must be well practiced, making aware the angle and exact location of
the finger/s to achieve maximum brilliance (and minimum pain!)
Achieve the big jumps in the LH by arch-like movements of the hands or a good sense of
hand displacement technique
Aim for a brilliant cheerful sound throughout and a confident tone
Rhythmic middle section to mimic the tap dance steps rests to be rhythmically tight, akin
to pregnant pauses, instead of empty spaces of sound.

18

GRADE 8
CPE Bach Allegro Assai
- Rhythmic vitality essential, with a strict pulse, with only a hint of ritardando at the end.
- Dotted quaver and semi-quaver should be precise. Aim not to make this rhythmic pattern
lazy.
- Ornaments should fit precisely into the beat
- Notes must be cleanly articulated, in keeping with the sturm und drang style. Dynamic
effects should be well-marked.
Debussy Golliwoggs Cake-walk (from Childrens Corner)
- Firm and incisive fingerwork, clear articulation is required to bring out the lively character
- Rhythmic opening must be precise, practice with the metronome
- In bar 10 and 11, watch the balance of parts with the lower voice of the RH softer than the
upper voice
- Tempo should be more relaxed from bar 47, and pay attention to the various tempo
changes. Aim to understand Debussys parody idiom in this section expression here is
quite exaggerated.
Grieg Notturno, Op. 54 no. 4 (from Lyric Pieces)
- A strong singing legato is required here for the RH whilst the LH accompaniment pattern
should be quite subdued
- Descending bass-line in the first two systems (dotted crotchets) should be slightly
emphasised
- 2-against-3 rhythms should be practised slowly so that the final result is not stilted playing
- Note the voicing of parts throughout the piece, e.g. bars 9ff, 42ff: the lower voice in the RH
should be softer
- Music pushes forward from bar 21 but the tone is even more controlled and subdued;
control from the wrist. Observe the wide dynamics and various performance directions
- Prepare una corda for central episode
Haydn Moderato (1st movt from Sonata in E, Hob. XVI / 31)
- Aim for a noble and dignified opening
- Running passages should be crisp with even well-controlled semiquavers. Observe closely
the varied articulation marks, especially in the LH.
- In bar 30 and 31, the LH should be controlled with an even wrist; practice the different
rhythmic patterns from quavers to triplet semiquavers use a metronome during practice
to maintain a strict pulse
- With the exception of the ritardando in bar 24 and 65, the rest of the piece should have a
strict pulse
Berkeley No. 6 (from Six Preludes)
- The quiet pensive character can be achieved by playing the chords with a loose and relaxed
arm but firm fingers
- Voice the top melody line in the RH carefully, leaning the wrist slightly to the top part
- The tenor melody in the LH from bar 28 to 38 should be brought out, after which the bass
melody takes over
- Lightly pedal, using the LH rhythm as a rough guide to pedal changes

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Chopin Valse OP. 64, no. 1


- The fast running passage requires a bright sparkling tone in the RH and a light buoyant LH
accompaniment
- From bar 37 to 69, the music becomes more cantabile, with a strong legato required in the
RH
- Pedal lightly, one in a bar, taking care not to blur the texture
- Lead with the RH, with a good relaxed wrist movement, rotating ever so slightly to guide
the phrase shaping
- Observe the various dynamic markings, especially the long drawn-out crescendo and
diminuendo
Falla Danse du meunier (from El Sombrero de Tres Picos)
- A wide range of dynamics required to bring out the tonal colours
- Flamboyant musical character, Spanish flavour, contrasting the il canto cantabile line
alongside a portato LH accompaniment (note the articulation carefully) with the rhythmico
chords
- Listen to the orchestral version you will be inspired in terms of colour!
- Quavers in bars 29ff should have good finger-work, increasing the bite as the dynamics
increase to ff
- Pesante chords should be played with good arm weight
- Accents need to be executed with a sharp attack from the arms
- The final page will probably fare better if the text is memorised think in four bar
structures so that you don t get lost and also to structure to gradual accelerando
Kaski Nacht am Seestrand, op. 34 no. 1
- This nocturnal piece should be played with a singing RH melody, leading with the wrist, the
LH accompaniment should be subdued. Think of the title and the setting - Night on the
Seashore and let your musical imagination run
- The chordal melody needs to be warm and full tone, employ arm weight and lean into the
keys
- Important to create a variety of tonal colours and observe the tempo markings closely to
prevent a monotonous and colourless performance
- Careful pedalling is crucial to (1) ensure the LH arpeggio patterns are not stilted and (2) the
harmonic textural changes are changed on time and not blurring the harmonies
- Maintain a subdued tone at the end
Scarlatti Sonata in A, Kp. 209 L. 428
- A sunny and sparkling disposition, crisp finger-work and incisive articulated notes
- Dance-like character, the playing should be buoyant, even tones
- Contrast the repeated phrases by way of dynamics and finger touch
- Voicing should be carefully observed e.g. bring out the top part of the semiquaver line
from bars 40ff, with the thumb slightly softer
- Insert some dynamics although it is not indicated

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