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Contents
2
Performance notes
GROIJP A
6
Couperin Allemande (f rom L'arf de toucher le clavecin)
8
CPEBach Adagio (2nd movt from Sonaf a in B minor,H132,Wq62122)
11
l-taydn Finale (3rd movt f rom Sonaf a in C maior, Hob XVI:35)
14
Farrenc lmpromptu
16
Klrachaturian lvan ls Very BusY

GROUP B
1V
Bart6k Stamping Dance (f ro'm Mikrokosrnos, Sz.1O7, vol 5)
pezziinfantili) 22
Casella Galop final (f rom 11

24
Dello Joio Praver of the Matador (no. 2 f rom Lyric Pieces for the Younq)
26
le Fleming Lullaby for Oscar
28
Wilkinson Jazzin'Grace
30
E|€ra-Tagrine Terminal2.
34
Huang-Hsu Epilogue (5th movt fromTawdhi)
36
Exercises
41
Scales and arPeggios

of more than a few bars

Metronome markings are given as a usef ul guide and are not definitive. Repeats
dacapo andda/seglno
shoufdbeomittedintheexamunlessotherwiseinstructed,asindicatedinthisbook.All
instructions should be observed.

please refer to the piano Syllabus 2021-2023 for details on all sections of the exam'
version'
Ch€ck trinitycollege.com/piano to make sure you are using the current

Summary of exam requirements

PIECES
at least one
list in the syllabus and containing
candilates perform a balanced programme of three pieces, chosen f rom the complete published
.ove, of this book for alternative exam repertoire by Trlnity. An own composition may be
p-ece from each group. see the buck
pd instead of one of the listed pieces.

TEH}IICAL IYORK
Carfiates prepare 1. Scales, 2. Arpeggios and 3' Exercises

9.TFORTING TESTS
Crdates prepare:
- ryf rediq
- Ardrinprovisation
, Sqt rednq examptes can be found in Slqht Readinq Piano: Grades 6-8 (TCL O2O5O2) (available late 2020)
r kai:Pard t6tscanbefound inAurallesfsbook 2(Grades6-8)from2017FCLO15815)
t r re'q d nes/rurces to support teaching and learning is available at trinitycollege'com/piano-resources
r t-. q,nf= st rnprovisation, please visit trinitycollege.com/supporting-tests or refer to the syllabus

IrFrepertoire in this book can also be used for Trinity's submission exams.
s'
Please check trinitycol lege.com/su bm i ssion'exam s f or m o re d etai
I
-
FIINITY
COLLEGE LONDON PRESS

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PIANO Xi
21 pieces plus exercises for
Trinity College London
exams 2021-2023

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Published by
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Copyright A 2O2O Trinity College London press Ltd

First impression, June 2020

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 Performance notes
Allemande / Couoerin Page 6
Barooue
Ornamentation
Lightness of touch
Couperin's L'art de toucher le clavecin ('The art of ptaying
the harpsichord') is one of the most important didactic
survivals from the Baroque period, providing information on
ornaments, fingering and stylistic playing techniques.
'Allemande' translates as 'German dance', .nj tf i, typical
example has a lively character, with the constant semiquaver
movement giving a constant energy to the music. Keeping
the semiquavers even is a challenge here, and where you
have large jumps (in either hand), you might like to consider
shortening the note that comes before the move, so that you
give yourself the maximum amount of time to get to the next
note on time. In general, a relatively detached articulation
will assist in this regard. Certainly, the opening indication
of Leqdremenf is a helpf ul one from this point of view: it is
often taken to be an instruction to play 'lighily', although
it can also be a tempo indication similar Io Allegro - or
perhaps both apply!
ln L'art de toucher le clavecin, Couperin gives several detailed
examples of how to substitute the fingers (ie swap from one
f inger to another while holding down a note), so it would be
perfectly in keeping to try this here.
lf you haven't played or heard a harpsichord before, do try to
have a listen to this piece (or another) performed on one, as
Couperin would have done.
Adagio/CPEBach Page 8
Classical
Ornamentation
Ph rasing
Carl Philipp Emanuel Bach is perhaps the best-known son of
Johann Sebastian Bach, and although his compositions show
much of his father's mastery of counterpoint, his style also
incorporates many inventive and quirky features.
A prolif ic writer of keyboard sonatas, C P E Bach's works
are characterised bv the melodic and harmonic sense of
freedom that we can see in this movement. Technicallv, the
ornaments are the main challenge, and you might like to
focus initially on the rhythmic integrity of these. Bar 23 is
a good example of this, where the main pulse needs to be
maintained, despite the very f lorid writing for the right hand.
Musically, the challenge is to make sense of the long phrases,
keeping the ornaments as part of the f low.
Perhaps a good comparison might be with reading a short
story out loud - for example, you could think about where
the musical 'punctuation' is in this piece. Another helpful
exercise could be trying to make sense of the bars that
initially look rather overcrowded with notesl Take bar 21, for
example, which is a heavily decorated version of bar 3 - see
if you can see what the two bars have in common. Lastly,
it's good to remember the typically Classical character of
the piece, with a beautiful melody taking the lead, and each
phrase needing to be shaped as elegantly as possible.
lf you can, have a listen to a recording of this played on a
clavichord, which is the instrument for which this piece was
originally written. lt's a predecessor of the piano, and has a
verv delicate sound.
Finale / Haydn Page 11
Classica I
Interpretation of limited dynamic markings
Pauses and use of rubato
This lively 'Finale' is in rondo form, with the opening theme
returning several times in the course of the piece. This
sonata was published as part of a set that was labelled for
playing on a fortepiano (an early piano). All Haydn's sonatas
published prior to this seem to have been primarily intended
for the harpsichord, so the dynamic markings here mark
a significant departure from the limited possibilities of
the harpsichord.
As well as the dynamic indications, there are various other
markings that suggest this should be a witty and light-
hearted piece. Take, for example, the pause in bar 1Z just
before the f irst return of the opening theme, which keeps
the listener in suspense for just a moment longer than you
might expect. You could consider a slight rallentando leading
up to the pause, just to add a little more sense of a 'raised
eyebrow'to that passage. You might also like to expand upon
the dynamics already marked - perhaps adding an echo
effect for the repeated material between bars 63 and 66.
Similarly, there are different ways of treating the central
C minor episode starting in bar 54; a louder dynamic might
suit a more forthright interpretation, or a softer dynamic a
more wistful reading of the material.
In bar 57 the appoggiatura is probably best interpreted as
a crotchet, so that the right-hand part in that bar contains
three crotchet chords, with a slight emphasis on the fir:st.
It would be well worth comparing a few different recordings
of this piece, to get a sense of the range of possibilities for
dynamics, approaches to the pauses and overall style of
phrasing in this delightful movement.
lmpromptu / Farrenc Page 14
Romantic
Projecting melodic lines
Sensitive use of the sustaining pedal
lmpromptu is used to describe a composition that gives
the impression of being improvised. They are staples of the
Romantic piano repertoire, and this beautiful example is by

-^- 1f,ro',,isatory quality of this piece means there is plenty
c; room for rubato, perhaps most usefully at the beginning
and ends of sections. Try to imagine listening to someone
improvise this piece for the f irst time - you might like to
think of it as a musical exploration, taking the opening theme
as its starting point.
Technically, one of the challenges in this piece is the
projection of melodic lines - once you've worked out where
they arel Many of the lines begin with repeated notes, such
as in bar 5, where the top line has that melody for the first
time. lt only really makes sense as a melody a couple of
bars late; although the composer gives us a clire with the
crescendo marking.
In a similar way, the pedalling takes a bit of deduction, with
the marking at the start not giving much away. With so many
scale-based f igurations, you may f ind that relatively little
pedalling is needed, although there are some places where
it might be helpful, for example where there are jumps or
stretches, such as bars 13 and 14.
As well as listening to some recordings of this piece, do also
explore other works by Louise Farrenc. Her style is very lyrical
and accessible, and her works deserve to be better-known!
lvan ls Very Busy / Khachaturian Page 16
Phrasing shared between hands
Cross-staff notation
Clef changes in both hands
This piece is by the Armenian composer, Aram Khachaturian.
'lvan ls Very Busy' is taken f rom his Children's A/bum, which
features a number of pieces that follow the adventures of a
character named lvan.
From bar 16 and other similar places, the left hand takes over
the melody so you could give due emphasis to the left hand
in these moments, helping to build the swirling and manic
character of the piece.
ldeally, the grace notes, for example in bars 27 and29,
will come before the beat without obstructing the rhythm
and so maintaining speed and accuracy. Like much of
Khachaturian's piano music, this piece is physically involved,
so you may find that added weight to these gestures and
articulations will benefit the piece.
In terms of f ingering,the performer may wish to alternate
fingers 2 and 3 in the Ieft hand over the last three notes of
bar 38, as indicated in the following bars. For the dynamics
over bars 67-69, the dramatic crescendo lines do not give an
end dynamic, but each new bar could return to the original
dynamic marking, creating busy'whooshes' of activity.
It is a good idea to listen and perhaps play through other
pieces from Khachaturian's Children's Album.
Stamping Dance l:-:: race 2C
ah -^^;^^
Lndngtng t;-^
I|me -;^^ -
srqnatures
Dialogue between right and left hands
Speeds up towards the end
'Stamping Dance', also known as'Peasant's Dance', is
taken from Mikrokosmos by Hungarian composer B6la
Bart6k. This set contains 153 pieces emphasising technique,
while exploring aspects of modernism and East-Frrrono^n
folk music.
As this is a peasant's dance, it is perhaps not meant to
be overly elegant or ref ined - the beginning of the score
indicates that the music is to sound heavy (Pesante). As
the performer, it will help you to embody the physicality
behind this dance if you play with an appropriate amount
of intensity. This strong sense of rhythm even informs the
more lyrical passage from bar 28. This section has a regular
rhythm, but each quaver has a weighty emphasis. This stress
will help bring out the interaction between hands, like a
dance between two people.
Bart6k explores changes of tempo in this piece, creating
a sense of moving towards an increasingly intense and
energetic close. You might want to practise the acceierando
passage f rom bars 55-60 caref ully, so that you can build
the speed gradually, whilst also maintaining control and
synchronicity between both hands throughout.
Feel f ree to play through and listen to other pieces in
Bart6k's Mikrokosmos. These works get progressively more
challenging, so you could try pieces f rom different levels that
use similar techniques.
You might want to play through and listen to other pieces
from 12 Children's Pieces, perhaps no. 7 'Romance', to help
achieve expression and control a f ull, rich sound.
Galop final / Casella Page 22
Groups of grace notes
Extreme dynamics and articulation
Fast tempo
'Galop f inal' is the explosive conclusion to 11 pezzi infantili or
11 Children's Pleces - a set of short piano works by the ltalian
composer Alfredo Casella, composed in1920. These pieces
contain many different styles, especially dances.
You can imagine an energetic, merry gallop throughout
this piece that builds in excitement towards the end. As
the tempo is presfissimo, it requires discipline and control
to ensure that you do not fall off! So whilst practising, you
may want to build up the speed gradually, making sure the
f ingering is in place for these showy 'f lurryings'.
The score does not specify any pedalling - another reason
for ensuring the fingering is precise, Using allof your fingers
to make leqato phrases (bar 4, for example) as smooth as
possible will help create these 'whooshes'. The grace notes,
in bars 20 and 24 for example, come before the beat so that
they sound crisp, creating what could be a whip-crack effect.

- S,-=-l:- --: SC- e-CaS:l
v, vllr n\/ ;c : n^nd roenrrrao
:-i-ayer of the Matador / Dello Joio
LOntem00rarv
Rhythm
Voicing
A matador is the principal performer in a bullfight and it is
traditional for bullf ighters to pray before a f ight. Although
written by an American composer, this piece is distincily
Spanish in character. lts swaying bass rhythm recalls the
habanera, a dance similar to the tango (the,most famous
being from Bizet's opera Carmen), while its simple but lyrical
melody sounds almost improvised.
This atmospheric music needs careful shading so pay close
attention to the expression markings and let the moody
Spanish harmonies inf luence your dynamic palette. Keep
the tempo very slow, allowing you to count the melody
accurately (subdivide it into quavers in order to bring in
the right-hand entries on time), and manage the dynamic
contrasts. The fenufo markings in bars 5 and 11, for example,
suggest greater emphasis or weight on the notes, rather
than a brightet accented sound - imagine the notes as if
played on a Spanish guitar. The brief middle section is more
impassioned and here the left hand takes over the melody,
again perhaps imitating a guitar in sound. Shape the melody
and dynamics according to the phrases and don't hold back
on expresston.
The piece can be pedalled throughout to add resonance and
expression, and to assist in the /egafo, but try to use 'f inger
leqato'where there are note subdivisions (for example, the
demisemiquaver motifs) so as not blur the melody. Sustain
the f inal chord allowing the f inal habanera reference in the
treble to fade awav.
Lullaby for Oscar / le Fleming
Contemporary romantic
Sicilienne
Voicing
The music of British composer Antony le Fleming has been
described as'unashamedly romantic' and this charming
lullaby in the style of a Sicilienne, with its distinctive dotted
rhythms and lilting melody, harks back to the music of
tnglish Romantic composers such as John lreland, Frank
Bridge and Frederick Delius.
The f requent tied notes in the melody and accompaniment
may present some challenges in voicing. You may find
ir helpf ul to highlight the melody notes and to then
ractise the melody without the surrounding notes or
::companiment. lmagine it being sung to a child and aim
':';n elegant cantabile in the right hand. Inner voices also
r:s:T\/e attention, such as at bars 18-19 and 27.
-: :','erall mood of the piece is gentle and even when the
. -:- : level reaches forte,you should keep in mind the
-^:,- - = cualities of this music. There is much scope for
, : -:ss i: and your dynamic palette may be inf
luenced
-, - c - - , _: -: -- _: : _
=.--_-=e =- = - -
intrcCr,c.-9 sJme :-t=:: -.: -
i oe Sl',r 65or- =^ --: .-:
Don
most tender moments in the music. There ar: :i,: : : :::=
markings in bars 16-17 and 36-37, but you might experir :r:
Page 24
with pedalling throughout the piece to add more colour
and resonance,
J azzin' Grace / Wil kinson Page 28
Rock'n' roll stvle
Swung rhythms
Accidentals
This is a jazzed-up version of the song Amazing Grace',
though only f ragments of the original melody are obvious
amidst the energetic rock'n' roll riffs, rhythms and chords.
For a f lavour of the kind of music which inf Iuenced this piece,
listen to some iconic rock 'n' roll by Jerry Lee Lewis, one of
the twentieth century's greatest rock 'n' roll pianists.
The marking 'ln a relaxed swing style' sets the tone for
the approach to the quavers throughout the piece: swung
quavers lend 'coolness' to the music and def initely add to the
rock'n' roll vibe, this means that off-beat crotchets, dotted
crotchets, and quavers should allfallon the last beat of a
quaver triplet.
Grace notes and ornaments should also have a relaxed,
'smeared' sound (imagine the twang of an electric guitar);
anything more precise will sound far too classical! Be alert
to allthe accidentals - these add colour to the chords and
are integral to the character of the music. Strong left-hand
chords underpin the music - again drawn from rock'n' roll.
Experiment with a 'thrown'action in the hand, to drop onto
the keys and bring greater weight and resonance to the
sound. There is no need for polite playing herel
Although not marked explicitly but idiomatic of the style,
you may like to have some fun and try a tremolo (roll) in the
long right-hand chords in bars 17-22:keep the wrist relaxed
and use a rolling movement. Melodic riffs (eg bars 14-16, bars
Page 26 23-24 and the left-hand descent in the f inal 2 bars) should be
confidently placed - good fingering will help with this. The
f inal chord is a witty pianisslmo spring off the keys.
Terminal 2 / Bera-Taorine Page 30
Contemporary waltz
Ternary form
Expression
Marked'nostalgique' (nostalgic), this expressive waltz
by French pianist, composer and teacher Nathalie Bera-
Tagrine owes much to the waltzes of Fryderyk Chopin and is
reminiscent of his 'Waltz in B minor', op.69 no. 2, in both its
structure and bittersweet character.
Chopin elevated the waltz genre from a dance to a drawing
room piece - to be played or listened to, but certainly not a
waltz you could dance to; similarly with this piece, with its
winding melody and poignant atmosphere.
Note the phrasing in the melody and approach each phrase
as a single gesture, almost as if there are no bar lines. Good
fingering will help you to play with a lyrical legato. Practise
the left{tard prt separatety to feel onfident about movhq
ftorn the lower note to the chords These notes shouH be
slightly detached to create a dancing metre in the left hand.

The middle section (bars Z-40) has more forward movement

and a fuller dynamic range. Try to keep the right hand relaxed
when playing the octave quavers and don't practice them at
forte to begin with. Listen as you pedal to ensure that the
melody notes are not blurred and enjoy the opportunity to
bring plenty of expression and emotion to this music; don't be
shy about using rubato at the end of phrases, for example in
bars 15 and 19, and be generous with the rlf. markings.

-epilo_9r19_l_!91n9_!-1q_ -_P*eg-g_s,_4
E Contemporary romantic
l; Voicing
i Expression

Tawahi is a Maori word meaning 'on the other side' (of the
sea, valley or river) or'overseas' and the title 'Epilogue'
perhaps suggests the conclusion of a journey. The composer
also writes film scores and this piece has a cinematic quality
with its sweeping romantic melody and emotional range.

The piece opens with a simple melody and broken chord

accompaniment which become more involved and florid as
the music progresses. Securely-learnt fingering in the left
hand combined with a f lexible wrist and lateral movement
will allow you to play the broken chords and arpeggios
smoothly and in time. Voice the right-hand melody caref ully
so that the top line is highlighted - practise without the
lower chord notes at first, so that you can hear the melody
clearly and become familiar with it before adding the chords.

The composer gives only limited dynamics in the score but

you should explore including more to bring greater character
to the music. The rise and fall of phrases and changes in key
or harmony will help you decide when to increase or reduce
the dynamic level or introduce some rubato to highlight
specific aspects of the music. Apart f rom where marked,
pedal is on an 'ad lib' basis, meaning you should pedal as you
feel is appropriate for the music.

Authors: Martin Ford, Owen Barton and Frances Wilson

Group A

Allemande
f rom L'art de toucher le clavecin
FranEois Couperin
0668-1733)
L6girement ) = 63-12
(t) 3 4

z 4lY

(4)
554,

NB: We have.included a key signature for this edition. Other versions do not.

6 Omit the repeats in the exam. O Copyright 2020 Trinity College London Press Ltd
 (6)
232
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(6) (7)
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i --i-J H

Adagio
2nd movt from Sonafa in B minor,H132,Wq62122
CPEBach
(1714-1788)

Adagio
(1)
2N

2l
p

S:-: dynamics in this piece have been altered to better suit modern instruments.

@ Copyright 2020 Trinity College London Press Ltd

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10
Group A

Finale
3rd movt from Sonafa in C major, Hob XVI:35
Joseph Haydn
(-I732-18fE,

Allegro ) = tZZ-t++

Omit the repeats in the exam.

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 lvan ls Very Busy
Aram Khachaturian
(1903-1978)

Allegro moderato ): hA-SZ

pp sempre staccato r"nrofd.

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23232424

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 Stamping Dance
from Mikrokosmos, Sz.1O7, vol 5
Bela 6artoK
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Moderato ) = ttZ

f p"tont" sempre sim.

pochiss. allarg.

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42s 2 s

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21
 Galop final
f rom 11 pezzi infantili
Alfredo Casella
(1883-1947)

Prestissimo ):140

<,sf stacc sempre assai

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stringendo

Ancora pii prestissimo (in uno)

poco allarg.

23
Group B

Prayer of the Matador

f rom Lyric Pieces for the Younq
Norman Dello Joio
0913-2008)

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Cru.p B

Lullaby for Oscar

Antony le Fleming
(b.1941)

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554^

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a tempo

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27
 Gror.rp B

Jazzin'Grace
Garry A F Wilkinson
(b.1941)
In a relaxed swing style .l : Sl ,n= )i
D 2
5 2
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25

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Group B

Terminal2
Nathalie 86ra-Tagrine
(b. r960)
Pas vite et tris nostalgique .J :92

€D. n n sim ad lib.

4t421

30 O Van de Velde, Paris. All rights reserved

 trE per phs dlelt cr tris cbent6

confh. ad lib.

25

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32
IBlank page to facilitate page turns]
 Group B

Epilogue
5th movt from TdwEhi

Oliver Francis Huang-Hsu

(b.1991)
Adagio ) = c.68
s,fi
LI tttl i I I i t-

---A confA. ad tib.

34 O Copyright 2O2O frinity College London Press Ltd

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35
 Exercises

la. chromatic Romantic - tone, barance and voicino

Moderato J = 69

1b. ornamental Filigree - tone, barance and voicinq

Andante con rubato J = 76

fd. r

36
@ Copyright 2020 Trinity College London press Ltd
2a. Strutting Along - co-ordination
Tempo giusto ,:108

f
Z-,

@ Copyright 2020 Trinity College London Press Ltd

 2b. Bells Are Ringing - co-ordination
Joyful J: eo

f:_'
I -d ) J: ) l' .L.LJl
f-l
) I:F + rl a- -l ) -l

38 @ Copyright 2020 Trinity College London press Ltd

3a. COn AffettO - finger & wrist strength and ftexibitity
Moderato con rubato . = c.82

3l

-_-

@ Copyright 2020 Trinity College London Press Ltd 39

3b. The CO|OUffUl AViafy - finser & wrist strensth and ftexibitity
Brightly ).:66

40 @ Copyright 2O2O Trinity College London Press Ltd

 Scales and arpeggios
The f ingering given in this book is offered as a recommendation only. Any other logical system of f ingering is
acceptable provided that it is consistent and allows an even execution of the requirements.

Please note that the recommended speeds are a guide to what can be expected at each level, For the purposes
of fulfilling exam criteria, accuracy, fluency and evenness of touch and tone should be regarded as equally
important aspects of technical competence.

All four-octave scales and arpeggios have been shown here as two octaves to demonstrate recommended
fingering. Four octaves must be played in the exam where specified in the syllabus.

1. Scales (from memory) - Examiners select from the following:

Bb and D major

Bb and D harmonic and melodic minor mtn. teqato or four octaves

hands togethe:
Chromatic scales in similar motion starting on Bb and D
)=12O
f ornforp
Chromatic scale in contrary motion starting on Eb TWO OCIAVCS

mtn.
C major scale in 3rds /egato only one octave hands separate
l- aa
,,

2. Arpeggios (from memory, in similar motion) - Examiners select from the following:
Bb and D major

Bb and D minor mtn. tegato or

.l = lOO f or ttf or gt
sfaccafo
four octaves hands togethei
Diminished Tths starting on Bb and D

Dominant Tths in the keys of Bb and D

Bb major scale (four octaves)

Bb major arpeggio (four octaves)

 D major scale (four octaves)

D major arpeggio (four octaves)

1

Bh minor scale: harmonic (four octaves)

,3

Bb minor scale: melodic (four octaves)

cl 3a

42
Bb minor arpeggio (four octaves)

D minor scale: harmonic (four octaves)

D minor scale: melodic (four octaves)

D minor arpeggio (four octaves)

l3
 Chromatic scale in similar motion starting on Bb and D (four octaves), for example:
3123

.:Fz--:,
fr+q+ J
#E

chromatic scale in contrary motion starting on Eb (two octaves)

C major scale: hands separately in thirds (one octave)

Right hand
541e
1)i: rl

Left hand

3211 123,
5432
34s;lz3 '34s
I
Diminished 7th starting on Bb (four octaves)

Diminished 7th starting on D (four octaves)

Dominant 7th in the key of Bb (four octaves)

Dominant 7th in the key of D (four octaves)

45
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Audio track list

Recording credits
1 Allemande
Pianists: Yulia Chaplina (track 1),
2 Adagio
Peter Wi ld (tracks 2, 3, G, e, 1j, 13_1s, 21, 23, 25, 26),
3 Finale lrina Lyakhovskaya (tracks 4, 5),
4 lmpromptu Clare Clements (track 7),
5 lvan ls Very Busy Philip Mead (tracks 8,10),
6 Stamping Dance Linda Nottingham (tracks 12, 20,22,24,27)
7 Galop final
Tracks
8 Prayer of the Matador
1, 2, 4, 5, 9, 11, 12, 19-27:
Recording producers: Ken Blair, Sebastran
9 Lullaby for Oscar Recording engineer: Will Anderson
Forbes
10 Jazzin'Grace Audio editors: Charlie Hembrow, Will Anderson,
'11 Terminal2 Ken Blair
12 Epilogue
Tracks l, 2, 4, 5, 9, 11, 12:
13 Exercise la - Chromatic Romantic Recorded at AII Saints,Church, East Finchtey,
14 Exercise lb - Ornamental Filiqree London, January 2O2O
a-
tf, Exercise 2a - Struttinq nlonq Piano tuner: Nigel polmear, Steinway
& Sons
16 Exercise 2b - Bells Are Ringing Tracks 19-27:
17 Exercise 3a - Con Affetto Recorded at Snape Maltings, Suffolk, January
2Of/
18 Exercise 3b - The Colourful Aviarv Piano tuner: Graham Cooke
IY ebook - Coranto Tracks 13-18:
20 ebook - prelude in D minor Recorded by Oli Middleton at Real World
Studios,
21 ebook - Sonatina in Eb maior February 202O
22 ebook - Giga in A minor Audio editor: Charlie Hembrow
23 ebook - Arabesque Tracks 3, 6-9,10:
24 ebook - Progression I Recorded and engineered by Mark Rogers
at
25 ebook-WeavingaSpell The Menuhin Hall
26 ebook - Mazurka A bmp production for Trinity College London press
27 ebook - In Dreams bm p-recording.co.uk

Piano 2021-2023 Grade 6 (ext) lsBN 978-0-857 36-934_5

TCL020574
tsBN 978-0-85736-934-5