jrade Da HS ahiSes SHR Piano Scales & Arpeggios Grade 5 GRAAL ABI aI ABRSMRAERRAREL (CIP) tts BERRSET. HER AMAKHRERRERRS — AiR: ARBRAMAL, Bont, 4 (2014. THEN) RUERE TARA RAG RE OO ISBN 978-7-108-04005-0 LOW 1. O#- 1. OM RE-AES BORA WV. Dieu.16 PRUNRIE-BHR CIP RARE (2010) $f 160481. Rea: Ee Stet: mE 206 HEATER ORR SORTER, ABSTERERR ERAS HM)ARA RMI (cos sae ERA PICO AMAA RARE ORAS AC RIREL ARS RA mt amt ed {AROMA KOE 6S gat, 10010) ip: se. mee comm Earn yma, RRM RE LSE TNARARGE Mono 3 TR BOUL ASG tate se A WR: 4m Bt 2.00 HOR BRR ARTENES, MARANA ITER, 58. (010) soe LRH, (O10) sso OR, SH REE, ANCA, i, OD) HESSSm Ss = WSER hk ATZESA SB KLLAAFELSR SEROH. WHA SPRUCE RAPHE SRE TE WAR BAA AB AIA AY MUA BP FTE. AMAT Ae IE SHOWS WRB, FM. WENA, RES PRAM TH), TL. AMR Se H, SALAMA MUIR, READ F: RRPAHMAMRE, RAVER TRAD HOES, SHARD, WANA UR. REBB SPAMMER, BBA BEEA-AHELEAEROT RARER. % EERIE ASAE BEET, TAA Bee WERE. APH TRAAHTAA MED, EEA TURE ERRNE PEERS esoRe. Ra Be WEE EAS ERIE HE A Re ASEOLKER. ASRS Me AR RBCACHEE AREER ie ROT SCOR. RMR ARE PAF ENED, THOR DER MR Ret. i Bop SaRRE RTA A Ae, HE ARH, BRTLUEREARAM, SHAY, ME SUSI AR A. SHS ATH RL “4/3” eR. EDP RERAT REE MADSER, SEMRARRBE & 8 CES (BRADGATE NTE ETE, REST REA T HELM.) ak FRBAASROR WI, BHM AS BEELER, ARM T HMB B. © eR, Bae 052, Heme RAR @ aries 0 A, RIERA SER © RABIES, ImenoB AREAS, SEROMA, CERT ARERANT fea ARAMA AW CORE SRD, SCA CRA SIM, LEER A AAPDTCUR Rove abram org EAGT, BIKA MRR ETL, (= ##*)Piano Scales & Grade Arpeggios Why practise scales? ‘Welcome to this book of scales and arpeggios for Grade 5 Piano. Scale practice plays an essential part in developing a pianist’ skils, and time devoted to these exercises within ench practice session will Improve keyboard fuency: Not only can many areas of piano technique be developed through scale practice (sach as posture, hand position, co-ordination, balance between the hands and movement ofthe em), but the sense of key and pattern acquired through fainiaity with scales and arpeggios has several benefits ft speeds up the learning of new pices, develops evenness of line and quality of tone, builds aural awareness, and increases fmiiarty withthe geography of the piano, About this book ‘The requirements are printed in this book within a two-octave range, as finger pattern axe sufficientiy ‘established within this compass and unnecessary duplication of information is avoided. ‘The printed pitches have been chosen primarily for ease of reading and the starting notes may not always be in the most appropriate or comfortable octave(s). Candidates are therefore free to startin a different octave as long as the required range is covered. ‘The printed rhythmic groupings are not compulsory; of overriding importance is that the requirements are played with shythmic evenness and without undue accentuation. For the exam Tempo ‘The given metronome mazke indicate minimum recommended speeds and serve asa guide tothe expectations of the examiner. Experienced teachers will know what their candidates are able to achieve safely, butit is important to avoid accurate but laboured playing which shows thatthe scale or (©2005 by The Assodstd Beard ofthe Roya Schools of Muse arpeggio has been memorized but lacks the finger facility that is such an important part of developing technique, Fingering ‘The suggested fingerings shown here are neither obligatory nor exhaustive; any practical and systematic fingering which produces a good result willbe accepted inthe exam. Some altemative fingerings shown a followe: 4/3. The decision as to which fingering to adopt will depend an the sizeand shape ofthe player's hand, and candidates should experiment to find solutions that work for them. (Examiners will not comment on the choice of ‘ingesing, unless it interferes with the performance) On the day All reguirements must be played from memory. The ‘examine wil as fort least one of ech typeof scale or arpegsio requied. ‘The examiner willbe looking for + positive sense of rhythm without undue sccentuation + even fim tone and a musical curve + good legato + sccurate and fluent realization ofthe different ‘pes of sales and arpeggios + convincing negotiation of techcal challenges such as smooth passage of the thumb and hand co-ordination. ‘Reference ust always be made to he sabus for he yearn ‘hich te exam i tobe taken, case say changes have been nade io thezegulcement. Genera} ioformation onthe eam canbe found in Eminaton Information & Regt aa inthe guide for candidates, teachers and pares, These Marc Exams, These and the slabus document axeavallabeoalineat wwrwabesm.org aswell ie, ‘of charge rm ABRSM loca representatives,ABB mason scates) S-TASE coe octaves) J = 63 PART ABI, SFIS cents osteo scar apt el hn ep) CAM (C major) siss233 4 GAH (G major) DAW (O major) ‘i AIR (A major) Paes 7 EX E major) 5 BAIA (B major) : 4. ai ete. 33s pe ee [oc hahaha Tee 2o7 : : pepo 2k be ae racer a i StfA (BHBIG) [Fl major (enharmonic Gb)) aren > +8418 (Bb major) Reuss ate YE KIA (Eb major) : 4 sa348 44X18 (Ab major) ‘OAH (HAC) (Db major (enharmonic CH), ‘ * 9.3406ANAS UY (minor scaLes) SYA curneauney J = 63 HAP EEA ERRATIC Ga moti or armani fer et candate's choi) EPA, WAP BLS hand topeter ove octave apart and bands separately) Ate#B/I88 (A minor melodie) rans agg 2 4 sa 3 2 HRP (E minor melodic) 5 2343 : T2380 ss3 2 2g3H8 2 BEAU (B minor melodic) Ta sed 12 4y3g3 2 oaat EMAIL (FF minor melodie)” ACRES (SBM 40) [C# minor melodic (enharmonig Db)] aah a2 yd oyta sare 321 4 34392 earecrncenre a : fo RANE (BBA) [GE minor melodic (enharmonic Ab)] 72 la e sh AB. 2406 5Diit##/s18 (D minor melodic) SEHERLNE (Eb minor melodic)AME (TEVBT) (minor scates(cont.)1 SNE coveceuves) J = 63 3 (or) AANA (A minor harmonic) wo 342 723 ? 7 EAU (E minor harmonic) 5 Tas saa 3 sagzh AFB (B minor harmonic) $C MUNA (FAHD) [CH minor harmonic enharmonic DH)! 32143 34h tg FO}S/1NH (BH6A) [GH minor harmonic (enharmonic Ab)] naa 7DAF /)iH (O minor harmonic) 238 (C078 (C minor harmonic) F 393838 (F minor harmonic)BQUEE BY (conTRARY-MOTION SCALES) 2A ABE (owocetves) J = 63 SHETESH 1 ARISE 2 2 A BESE-— (qroop | or 2acecidate's choice) SUP PIBAAER (FRG) TERRREAE hands togeter beginning onthe key-oote (nison]) $8148 (GROUP 1) FX (F major) 4 'DAWR (AEC) ID} major (enharmonic C#)] 2319 seas z2ae ties et - F 78/498 (F minor harmonic) 4 1234 4 tags 3 $C-##0i% (BHAID) [CH minor harmonic (enharmonic Db} 123.) 3 hte Sted 2312 4 83408 3& (or) $248 (GROUP 2) tA (SHIRIG) TA major (enharmonic Gi] 3 2 3 4 fgce sacar es tes aa at 7s 58.A18 (8b major) 4F REINA. (F# minor harmonic) 3 233 aes as sai 31 3 8 07) (Bb minor harmonic) 12s tess 1 7 1 10 AB 3406,£4) (curomanic scates) TNE (te oxtmes) J = 72 PRACT Copnsng on ory note named bythe examine) EAI —PABEBAS, PAPE DLE cons ogee oe octave apart and bands separuly) 3} (example) 3£ BZIGIESB (CHROMATIC CONTRARY-MOTION SCALES) 27/\s¢ twoccns) J =72 RFA —AFABE hands together beginning on the sarae note (nnison)} AAD FF (beginning on D)ez (anpeccios) S-VABE (teeta) J = 88 PRT A BERS, TESPFBBE (hands together one cctave spart and hands separciely) CAM (Cmajor) Cuhi8 (C minor) Pt te? GIB (G major) GIN (G minor) Bana a tase i DAW (Dimajor) Déhi (minor) sang ape t ast a AZKIB (A major) Adi (A minor) 236 232 on 2 Bama} a? a? t EXW (major). s EAA (Eminor) 5 2 Teaa sap BAW (B major) B/\8 @ minor)@2 (FIAT) anpeaaios(cont.)] IPAS cove catee) J 4F9R (BMG) (FE major (enharmonic Gt) 4 118 (FE minor) fina t 2 SDX18 (SC) [Db major (enharmonic C#)] 448 (84D) [CF minor (enharmonic Db)] Pisa ise sea SAK1R (Ab major) 4G NH (SFEFRbA) [GF minor (enharmonie Ab)) raf wie e EAN Eb minor) 2 T2070 i sup kt apa $B X38 (Bb major) $B v8 (Bb minor)