fee Book 2 | | : Rie Fr eB | | : | ~~ \" ae Your favourite ABRSM piano exam pieces Compiled by Karen Marshall Book 2Encore Your favourite ABRSM piano exam pieces Book 2 GRADE 3 Prelude in C, BWV 939 Johann Sebastian Bach Round Dance Béla Barték Wiosna (Spring) Fryderyk Chopin Top Cat! William Hanna, Joseph Barbera and Hoyt Curtin Waldvéglein (Little Woodland Bird) Heinrich Hofmann Clowning Around Dmitry Kabalevsky Zur Sonnenuntergangsstunde (At Sunset) Manfred Schmitz Léléphant (The Elephant) Camille Saint-Saéns Blue Sky Blues Dave Stapleton Sonatina in B flat, Op.4 No.8 Samuel Wesley GRADE 4 Arietta Edvard Grieg Allegro in F Anon. Sonatina in A minor Georg Benda Ballade, Op.100 No. 15 Friedrich Burgmiiler Allegretto from Sonatina in G, Op.36 No.2. Muzio Clementi Carnival in Rio William Gillock Baa, Baa, Blue Sheep's Waltz Terence Greaves Aria from Suite in G, HWV 441 George Frideric Handel Petits bateaux sur l'eau (Little Boats on the Water) Gustave Sandré Freeway Alan Haughton Danna wn 10 12 13 14 15 16 18 20 22 24 26 28 30 32Prelude in C BWV 939 Edited by Richard Jones Johann Sebastian Bach (1685-1750) ie 100] 2 poresc. This is one of a collection of Little Using a flat, lateral wrist “Terecognize how Bach has composed the entire piece Preludes by JS. Bach from around 1727, movement; arpeggio patterns from one matt, explore dominant 7th arpeggios “The first eight notes of the right-hand melody and basic ornaments; independence beginning on C (C-E-G-B8) and G (G-B-D-F). Compose form motif whichis developed throughout ofthe fingers; passing the melody _a efferent matif using these arpeggios. the piece. between hands. (©1988 ty The Associated Board ofthe Royal Schools of Music Adapted rom). Bach, A it Keyboard oak eated by Richard Jones (RBRSM) AB3810Round Dance No. 17 from For Children, Vol, 1 Béla Bartok (1881-1945) Lento 4 = 70 i 4 3 4 3 Ped, ‘Ped.—___1 Ped.__} kt =—— Ped.__1 5 ‘This piace of music is taken from Balance of melody and To aid accuracy in playing, notice which left-hand Bartok’s For Children (1908-10). This ‘accompaniment ata slow chords are repeated and which change. As is common large collection of Hungarian and Slovakian tempo; short bursts of the in folk music, the melody s formed of five notes, here using folksong arrangements is ideal for sustaining pedal: detailed E-A1-G-A-B. Try to compose another melody in folksong, Piano teaching. articulation and changing dynamics. style using the same notes. {© Copyright 1846 cevsed 1998) by Boosey & Hawkes Music Publishers ld/Edio Musica Budapest Reproduced by permission of Boosey & Hawkes Music Publhers i, AB 3810.Edited by Richard Jones Fryderyk Chopin 810-49) Andantino [4. = ¢.60] 1 Tis Chopin's ovm pare arrangement Slang melody and Listen as you play each phase ofthe right-hand of his song Wiosna (Spring) which he accompaniment; part-playing melody, and play each one back again from memory wrote in 1838, The song is 2folksong-like with held notes in the bass; broken To practise transposition try ths also in different octaves, setting of poem by Chopin's fiend chords played with aflexiblewrist. and then in different keys, Stelan Witwick. (© 2012by The Associated Bardo the Roya Schools of Music ‘AB 3810Top Cat! ‘Arranged by Nicholas Scott-Burt William Hanna (1910-2000, Joseph Barbera cis-2006) and aoe Hoyt Curtin 1922-2000) Bright swing tempo (JJ=] 4) J = 132 straight — quavers 7 T 1 1 2 2 2 2 4 ? 8 5 5 2 = The Amercancomposerandaranesr ff Swing cuaers orange ‘Tobecome familiar with jazz improvisation, play the Hoyt Curtin was best known for his articulation and finger touch; left-hand bassline in bars 1-8, On top oft, improvise @ music for TV programmes. As well as Top syncopation: precise, well- ‘melody for your right hand, using the chords and nate Cat, Curtin created scores for The Flintstones articulated chords. patterns of bars 1, Sand 6 (right hand), or nates from the ‘and Scooby-Doo, also by Hanna-Barbera, Dues scale in C(C-€b-F-F4-G-Bt), and chromatic notes, Words and Musi by Willa Hanna, Joseph Barbera and Hoyt Curtin (©1962 Warner Tameilane Publishing Corp, USA. Warner/Chappsl North America Ld, London W SOA. Top Cat™ trademark af and copyrighted by Hanna raductions Inc. Reproduced by permission ef Faber Music Lid, Alright reserved AB 3810Little Woodland Bird Waldvéglein No. 15 from Skizzen (Sketches), Op. 77 Edited by Thomas A. Johnson Heinrich Hofmann 1842-1902) Andante con moto [#) = ¢.104] ama a —— oo Heinrich Hofmann was a German Balance of melody and Consider what techniques the composer has used to composer who often wrote music accompaniment; even give the impression of a woodland bie. Identify the inspired by nature. Ths piece imitates the semiquavers and dotted hythms; _different intervals in the music eg, in the dotted right-hand song of a woodland bir, pictorial expression with extensive figures); this wll help note-learning as well as build theory use of acciaceaturas. and aural skills (© 1986 by The Assoclated oad ofthe Roya! Schoo's of Music produced from Hofmann 7 Miscalaneos Pees, ected by Thoms A, Johnson (RBRSND (AB3BI0AB 3810Clowning Around No. 10 from 30 Children’s Pieces, Op. 27 Dmitry Kabalevsky 1904-87) Vivace (J. = 138] ¢ 2 Ped___} ‘The Russian composer Dmitry [TIT] Sconce betneenthehands ‘Memorize the fst four bars of music in order to Kabalevsky wrote a great deal of piano while performing rhythmically develop accurate playing. Werk out how many times teaching music, as well as operatic and at speed; playing 2 range of this phrase appears inthe music and notice where it orchestral works. He was influential within changing dynamics; selective use of changes slightly. Play the three-nate figures as solid chords the USSR’s composers’ union the sustaining pedal tohelp lear the correct hand positions Fingering and pedaling is editor. {© Copyigh 1938 by Boosey & Hawkes Music Publishers Lt forthe Unite Kingdom nd the Republi of ela Repeoduce by permision of Boosey & Hawkes Music PublshersLid AB3810AB 381010 At Sunset Zur Sonnenuntergangsstunde No. 7 from Regenbogen Préludes (Rainbow Preludes) Manfred Schmitz (born 1939) Tempo rubato 4 = «.100 a 3 ritard, ee ‘a tempo _— The composer, pianist and teacher Rhythenic challenges; tempo Interpretation ofa piece can be improved through Manfred Schmitz studied at the Franz changes; melody shared ‘understanding the tools used by the composer. Try to Liset Academy, Weimar. His collection of bbotween the hands; keyboard list the effects in the music that help create a depiction of a Rainbow Preludes is subtitled 21 Troume geography; legato pedalling. ‘sunset. Think about the note-patterns, rhythms, tempo ‘am Klavier (21 Dreams atthe Piano). ‘markings, and use ofthe pedal, (©1996 by Deaschar Verag or Mus Leipzig Reproduced permission Al ighsresorved, Ag 3810a tempo 2 AB 3810,| 2 The Elephant. L'éléphant from Le carnaval des animaux (The Carnival of the Animals) Arranged by Hans-Gtinter Heumann __, Camille Saint-Saens (4835-1921) Allegretto pomposo [4 = ¢.112] 3 4, mare, This piece clearly depicting aheavy- (I) asedartestin balance ‘Teimprove your understanding of the music, find and footed elephant isan arrangement ofa hand melody with listen toa recording ofthe orignal chamber ensemble mavement from Saint-Saéns'famous Carnivel right-hand accompaniment; precise _version of this movement. Identify which instrument is ofthe Animals, asute for chamber ensemble. placement of two- and three playing the melody. Then try playing the melody by ea. rote chords, (©1997 Schat Music, Main, Gaeany Reproduced by pemisson Allright reserved AB 38103 Blue Sky Blues No. 1 from Jazz Jazz Jazz Dave Stapleton on Gorn 1979) Moderate swing 4 = «112 (1 =))) 2, 2 . gure Dave Stapleton isan acclaimed jazz (my Sess ts Find the meoic patterns that are repeated and composer and pianist, a well as owner syncopated rhythms consider if they change in any way. Ty memorizing of ajaze record label, His style of azz has balancing melody and them, playing them in diferent areas ofthe keyboard, ‘many influences, including that of ‘accompaniment; two- and Spotting pattems and sequences helps with note-learning, classical music, three-note repeated chords, {ands also useful preparation for theory and aural work © Copyright Dave Stapleton ‘Mrightsreserved, Reproduced by permission AB3810TT 4 Sonatina in B flat No. 8 from 12 Sonatinas, Op. 4 Edited by Richard Jones Vivace [J =.92] 2 rail. Samuel Wesley (1766-1837) Samuel Wesley, nephew of Methodism Playing even semiquavers at founder John Wesley, was a child speed; regular and balanced prodigy, andlatera composer and esteemed classical phrasing articulating ‘organist, He played a significant roe in the ightly detached quavers; English revival ofS. Bach’s music, block dynamics, (© 2004 by The Associated Board ofthe Royal Schools of Mus ‘AB3810 In order to understand the musical structure of this sonatina (ite sonata), notice when the theme recurs and how it changes. Lok for melodic sequences, and also tuy to identify the cadences used in bars 8,16 and 241s. Arietta No.1 from Lyric Pieces, Op. 12 Edited by Angus Morrison Edvard Grieg Poco andante e sostenuto [J = «.54] (1843-1907) 3 =r = =, OP pi T we a Ped The Norwegian composer Edvard Paceaying with ‘The music ae three (and somtimes fou) parts m Gey several vues fyi ces Independence of the pats; Pay cach patina ard then yt ly erent : i" y inelude some of his best-known music. legato pedalling: subtle fluctuations parts together, for example, the lowest with the highest. Arietta (Litle Ara) i from the first volume, in dynamics anc! tempo This shows the importance of each individual ine and is published in 1867. also a useful practice technique. {©1984 by The Associates Board ol the Royal Schools of Musi Reproduced ior Grieg, ye Peces ard Foci TorePctures, Opp. 1263, edited by Angus Morison (ABRSM) Ag 381016 Allegro in F No. 33 from Nannerl Notenbuch (Notebook for Nannerl) Edited by Richard Jones [J =<.80) Leopold Mezrtcompled Notebook for Paving eve, continuous Nannerl when he was teaching the piano semiquavers; smooth tohis daughter (nicknamed Nanner!). left-hand movernent between clefs; Leopold wrote some ofthe pieces, and afew stylistic phrasing and articulation are by his son Wollgang Amadeus, but most, (lightly detached quavers) including this piece, ae anonymous. {©2010 by The Acsocited Board ofthe Roya choos of Muse AB 3810 Anon, ‘Tohelp learn the notes more quickly play arpeggios of F major, C major and D minor, and find them inthe ‘music Identify ather repeated patterns and bars, and locate the cadences, Using this knowledge, work out the overall structure of the music7 AB38108 Sonatina in A minor Edited by Richard Jones Allegro [4 = .100] 4 Fest, large leaps around the keyboard; even fingerwork in scale and arpeggio passages; crossing of the hands; varied articulation; changing rhythms. ‘Georg Benda, from a large Bohemian family of musicians, was 2 violinist ‘and harpsichord player. Of his many ‘compositions, his melodramas have had the most lasting influence (©1987 by The Associated Board f the Royal Schools of Muse Rapeoduced rom Berd, Telve Sarathes, etd by Richard Jones (ABRSM) ‘AB 3810 Georg Benda (1722-95) To develop the keyboard spatial awareness required for this piece, ‘play’ the music without pressing the keys or letting the notes sound, Focus on the size of the movements, practising the jumps trying bars 17-22 first Find the different rhythmic pattems and clap them against a pulse® , = ‘ D.C. al Fine AB381020 Ballade Op, 100 No. 15 Edited by Lionel Salter Friedrich Burgmiller (1806-74) Allegro con brio [4. = P misterioso The German composer Friedrich Melody in the bass, requiing To help develop expressive playing, imagine a story Burgmiller’s Op. 100 sa set of 25'easy careful balance withthe that this music can tell, Work out the musical and progressive’ studies, all wth imaginative treble; fast staccato chords; structure, using the key change in bar 3 to help. Practise {ites to encourage expressive playing. A accurate even serniquavers; the left-hand mot in bars 3 and 4 in different ways, ballad is a story in musical form, dramatic dynamics and articulation; for example, playing it with a dotted rhythm, or with an playing with expressive contrasts. accent on the first of each ofthe semiquaver groups. AB 3810AB 381022 Allegretto First movement from Sonatina in G, Op. 36 No. 2 Edited by Richard Jones ‘Muzio Clementi (17521832) Allegretto [4 = c,100) -_ = as mf The ltalan born Muzio Clement sted Abert bass; even scaleand tthe diferent dynamic a articulation mating. mM er in England and became a renowned acpeagio passages and octave Which are easy details to miss. Listen to your teacher teacher, pianist and composer. Op. 36s @ work; varied articulation with perform the piece, and follow the score as you listen. Notice collection of six sonatinas from around 1820. stylistic phrasing. the dynnamies and articulation as markedin the score as you listen to that particular performance ©1998 by The Associated Bardo the Royal School of Musi AB 381023 88 381024 Carnival in Rio William Gillock (917-93) ‘Tempo di samba [J ° 5 72) Ped.___} Wiliam Glock, a enownee American Syncopation independence Spot the repeated note-pattes and chords the music educator composed many athe hands legato against musi and try marking them onthe page (Perhaps popular piano pieces. This piece is a samba staccato); playing chythmically using colour), to help speed up note-learning, Watch a Jeraslan carnival dance characterized by precise lel-hand chords; varied _video ofa samba being danced on the iter, an think a valy syncopated hythm Briculstion and phasing atiout the character ofthe musi that goes wthit © Copyright 1969 by The Ws Musi Company Florence, Kentucky, USA. ‘herrstered by Chester Musi Limited wading as Carvel Connelly & Co for Europe, Astral, New Zealand and South Aica, Worldwide rights by permission of The Wills Music Company. Allights Reserved, Itermtional Copyright Secured ‘AB 3810Ped. dim. poco a poco AS8381026 Baa, Baa, Blue Sheep's Waltz No. 5 from More Swinging Rhymes Lento e doloroso 4 =«.84 4 2 pes |e as sm con Ped. haat eit li af cerese. Inhiscolecton More Swinging Rhymes, fy Payne at exile tempo the British composer Terence Greaves within ento; part-paying: arranged popular nursery chymes in a variety jazz harmonies; swung quavers: ‘of papular styles. Here the lack sheep turns careful pedalling, blue ina sentimental waltz, {©1995 by The Associate oar ofthe Royal Schools of Music Reproduced rom Greaves, Move Snining Rhymes (ABRSND AB 3810 Terence Greaves 1933-2009) a tempo Poco rit. marcato il canto poco rit, 7 of dim. dl To build harmonization skills, play the nursery rhyme ‘melody 'B2a Baa Black Sheep’ inthe right hand, starting on an Eb- Against this try out various harmonies, cither using simple triads on chords I IV and Vor making it ‘more jazzy, adding 7ths and other notes to the chords.a7 una corda al fine 7 pit lento ‘molto rit. al fine we LOWE EF ‘AB381028 Aria from Suite in G, HWV 441 Edited by Howard Ferguson George Frideric Handel : (1685-1755) Presto [4 = ¢.112] 5 li» y 3 1 5 poco f Handel was bom in Germany, but spent Rhythmically accurate ‘To develop aural awareness, listen to your teacher most of his fein London, A suite from quevers and semiquavers; perform the piece and follow the music atthe same the Baroque periodis a collection of playing at speed; stylistic detached time. Then try to describe the articulation and dynamics, ‘movernents in the same key based on bass line; ornamentation and identity the cadences. different dance forms, (© 1976.y The Associated Board ofthe Royal Schools of Music AB 381029 ‘AB 3810OT cid Little Boats on the Water Petits bateaux sur l'eau Edited by Lionel Salter Modéré, sans lenteur [4. = ¢.58) bien chanté ‘The composer, arranger and editor [IN Baan meta wit Gustave Sandré was also director of the accompaniment, in long conservatoire in Nancy, eastern France. This phrases; tricky rhythms with piace presents a clear picture of itle boats ornaments; reading lege lines. bobbing on the water. (©1980 by The Associated Board ofthe Royal Schools of Music Reproduced from More Romantic Pieces fo ano Book 2, eitedby Lonel Sater ABRSM) AB 3810 Gustave Sandré (1843-1916) poco crese. Compose your own piece of music with the seme title, Using bars 1~4 in the left hand and notes A-B-C-D-E inthe right a intial inspiration, Find an listen to recording of Mendelssohn's 'Venetian Gondola Sond’ (©p.30 No.6 from his Songs without Words, and notice its similarities and differences to Sandré's pieceplus animé AB 381032 Freeway No.1 from Rhythm and Rag Alan Haughton, (born 1950) Vivace deciso J = 160 8 p legato , =o Xs Alan Haughton isa classical and jaze [I ivineize wt see To become familiar with jazz composition and musician, composer and teacher He has boogie-style quavers improvisation tools, research the 12-bar blues chord ‘written a wide range of educational music, syncopated rhythms; acciaccaturas; structure. Then try to develop a boogie bass using the biues often in a jazz styl, varieé articulation withina chords and left-hand patterns inthis piece; arpegsio strong pulse patterns could also be used. (©1988 by The Assisted Board ofthe Royal Schools af Music Reproduced rors Haughton, Rhythm and Rag (AERSN) ‘AB3810Encore Book1 Grades 1&2 Ce ee Ee) ee Meee Ts Book 4 Grades7&8 Encore is the official collection of best-loved ABRSM piano exam pieces, Poe Meee og ene econ ey appealing mix of repertoire, while teachers can be confident that the Code Ce sce ee ae etre Ma eee EE PM tare etd ‘modern favourites and timeless classics, like Top Cat! or Burgmilller’s Ballade. Footnotes provide background information, a summary of the key skills that Te ee ie coaget aare er RISC Rtas ane oan ae Siar eee Rn ae Eee ‘Pianists will find works they've always wanted to play, CE eg ae cee TR Uma auc rae ‘a vibrant and inspiring series...what better way to encourage students than with these tried and tested favourites’ UC ene ge a ay EC ura * Sav ED ee een _ Evecare (AY || ercremommeniaeccricrs PNT Th ee ee eee set eee || reir pnt eee Bonn B4BIG 98S