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    Trinity g2

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    Trinity g2

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    Trinity g2

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    eoltscateN oN ad 02 PIANO Contents Performance notes a nue in Gcrom Claverbchleln for Anna Magdalena Bachy : nile flegron an canzonet " Neete Mazurka manus : nee tern te So" : ‘i sch FreuDich/Feelicitous ® robs vende Fun Fir Blues ® oe rpheus in his Underpants 8 renner Donkin The Penguin Parade is Creslond Beni the Rules ; cumbiey “Nulf Sold sukontapatipark Floating Balloons ‘ Exercises 3 + The duet part in ‘Island inthe Sun’ must be performed in the exam by the teacher, another adult or another pupil but may not be pre-ecorded. Metronome markings are given as a useful guide and are not definitive. Repeats of more than a few bars should be omitted in the exam unless atherwise instructed, as indicated in this book. All de capo and dal segno instructions should be observed, Please refer to the Piano Syilabus 2021-2023 for details on all sections of the exam. CCheck trinitycollege.com/plano to make sure you are using the current version, Summary of exam requirements neces Cena rer tance rogramme of tre pices, chosen frm the complet inthe aus Sete bck coves th nk tg ater exanrepetarepbished Tint. Oly one det may oe chosen, An own compotion maybe payedineel el totsed ose TECHNICAL WORK Cones prepare Ses. 2Arpeogio and 3. eres suPporriNe rests Cares chore TWO fhe owing 7 Seng a) “Irvin = Mal rote » Soh ceing ex > paca als a be on gt cng Plana ht ade 2 TC 020482 aan 202) Kamara ant sn Ara Tes ode) fom 207 (TL O60) rca outs t0 sport eating and earrings avalace at trntycolegecom/panorescuces rovsaton and musica hnowedge please vst tritycollegecom/suppotig-test ree tothe satis —. $$$ ae ‘The tepertoire inthis book cn also be used for Trinity's submission exams ————_P8se check trinitycotlege.com/submission-exams for more detail TRINITY COLLEGE LONDON PRESS 02 PIANO 12 pieces plus exercises for ‘Trinity College London exams 2021-2023, ‘Now with performance notes GRADE Published by “nity College London Press Lis trintycalegecom Realstoredin England (Company no, 09726123 Copyright © 2020 Tiny College London Press Ltd Fist impression, June 2020 Unauthorised photocopying is eget No prt of hs puication may be copies or reproducedin ny form or by any means without the prior permission of the publisher Cover photograph courtesy of Steinway 6 Sons Printed in England by Calgravig Li Performance notes Minuet in 6 / Bohm Page 6 Baroque Minuet style Paying roups of quavers evenly ‘Hischaming minut comes rom a calection of ces presented bythe composer Johan Sebesion Sach to Is second wie Anra Mogdlens Not the wars were Compose by Bach ins an the ection gs 98 ish othe sort f mise payed Rome urna he coe cotry. ‘Judging the tempo correctly is often aificlt when playing a ‘minuet ~ neither too fast nor too slow! The metronome mark given here's helpful, and you might algo ike to think of the {quavers in this piece being ful of enaracter and maybe even quite expressive, rater than particularly quick, The quaver ‘groups are often used to lead into the next phrase or section ‘ofthe pece eg the end of bars 4 and 3, an so you might lke to think of them growing slightly in dynamic int the next bat. The exception is bar 17, where the quavers ciminuendo through the barn order to keep these quavers eve, you ‘ould practise them in a dotted rhythm a few times and then ‘goback tothe notated rhythm. t Taking broader look atthe piece, why not look up te sort ‘of costumes worn for dancing inthe eighteenth century? (Once you've seen them, imagine dancing in them yoursel, and then pieture this poce a the accompaniment frit Minuets were a very popular form of composition in the Baroque and Classical periods, Often tuneful and elegant, see it you can find same by Bach or Mozart, and listen forthe similarities with this piece. ‘Allegro in € / HBssler Page? Classical » Fanlare style | » Clarity of articulation Johann Hassler was a German musician who traveled | Widely in Europe, spending time in London before eventually setting in Wascow. ‘This vety ang upbeat piece is suggestive ofa fanfare — particularly the opening with is repeated notes and writing In thirds for the right hand, Perhaps you could imagine it pslayes by a pair of trumpets, and aim for @ similar bold tone an the plane. You might aso like to think ofthe repeated notes bars and 3 s geting sightly louder as you go through te bay, so each note i slightly more important than the previous one. The left hand here Isnt marked legato ‘or staccato, sof you aim for something between the two (ie signtiy detached), youlbe able to create a sense of energy and excitement right from the start ofthe plece [At the end of bar 10 there is an echo effect withthe ‘dynamics, before the energy bulls agin onthe bottom ne, Don't forget to use your left hand to help crive the crescendo here, eventhough te right hand has the most notes to play! It would be a god idea to sten to some fanfares to get in the mood for this plece ~ even better if you can Iisten to some fanfare trumpets, Or fora piace with very similar ‘opening bar (and inthe same celebratory mood) try Hande’s ‘La Réjouissance’'from the Music forthe Royal Fireworks. Canzonet / Neate Page 8 » Classical » Expressive playing » Phrasing ‘The composer of ths piece, Neefe,s best known as being Beethoven’ pana teacher. "Canzone isan unusval ile, but indicates a short song lke work, which Is also shawn by the tain term cantabile Cina singing style) marked at the ‘opening, ‘You might le to imagine or even ty, singing the right-hand par. You find that many ofthe phrase markings inthis Piece are only two bars ong ~ thisiscearest to seein the left hand. Asa resut, there are penty of places to Breathe when singing. You could think ofthese short phrases as. arches, withthe dynamic rising slightly towards the start of the second bar and then fading anay slightly towards the end ofthe ba. Toadato the expressive charactor of the melody, you can use the repeated notes, with the second ofeach pair being the more important one. You might compare it tothe way the texts set in songs, wit the important words or sylables Conciing withthe important beats inthe music, particularly the fst beat of aba, With that song comparison in mind, imagine breathing between phrases and sections. Take your time, with plenty of space for that imaginary breath before starting the nest phrase. You could even try taking 3 breath ‘yoursatin those paces when practicing! Neefe's teaching must have instiled an understanding ‘and apreciation of tis singing style of music in his pup Beethoven, and I's possole Beethoven himself played this place when learning the piano. Have listen to Beethoven's "Bagatelle op. no. 4 fr a very similar style of pice. Mazurka / Szymanowska Early Romantic » Mazurka style riple-time dance) Grace notes Maria Saymanowska was a Polish composer and one of the fist professional concert pianists. Her style pave the way for one of the most famous fal composers fr the piano alo from Poland Frédéric Chopin. The Mazurka is ’ traditional Polish dance-form, which s characterised by ‘repetition as inthis exemple. ‘Although the right nand has the melody and most of the interest in this piece its worth getting the left-hand part {oina fist As well as getting used t the ectave jumps inthe first section remember that in three time the fist beat of the bar is much more important than the other two beats. Imagine dancing to this Mazurka = the second and third beats are graceful dance steps, whereas you might think (of putting both fet firmly onthe flor forthe fst beat. ‘The small notes are formally called ‘acciaccaturas’. but the Informal name of ‘rushed notes is much more heiptul ~ they are played very quichly and ‘crushed’ into the note that follows them. Although they look curious on the page and are unt play, don't forget that theyre just decorations, ‘acing 2 ite flourish to the melody rather than taking ver completely! Chopin's Mazurkas are cornerstones o the piano repertoire, fullof eneray and often incresibly vituosic.f you haven't heard atleast one, have listen and see if you can spot any similarities with this eater Mazurka. Island in the Sun (duet) / Heumann Page 10 Extended range in the higher register Dialogue between right and left hands ‘Suspensions {As the title suggest, "sland in the Sun’ Isa descrintive piece, painting @ musical picture. Like a lot of piano music about the water ithas@ flowing and irical quality. ‘The scene for tis duet could be anislandin the Mediterranean, where the sun shines high Inthe sky and makes the water glsten. The high registers inthe candidate's part also have a twinkling quality, which could be the sun on the water As such, the melody will sound best played clearly {and strongly but aio in a flowing way. The left hand andthe accomganying duet part also emhasise the rocking quality, indicating the image of waves on the shore. “This plece uses suspended notes in bars 7 and 15, which emphasise the sense of contented resolution This musical ‘sigh will sound most effective by keeping the fourth finger ‘ofthe rit hand down to maintain control as the bottom line ‘moves under the heid note FrewDich/Feelicitous / Proksch Page 12 Lefsnand staccato Baroque style Ground bass *reudich /Felcitous'is stylistically similar to the farnous “Pachelbel's Canon’. Like much stately music, It has regular, pulsating rhythms, a repeating (ground) bassline and ‘decorative fast notes that move in semiquavers. This piece has a grand character throughout it could be an important procession. As such, the first beat of each bar has a clear emphasis, while the alternating smooth and short ‘otes inthe right hand bring a graceful, decorative quality. The regular, repetitive left-hand rhythm also suggests that you play ina steady tempo throughout. Whit the 234 fingering patterns frequently used for ascending steps in the right hand, an alternative fingering for bar 5 would be to put the thumb under to play the D conte second beat, ready fora -2-3 ascent. This would minimise the number of hand jumps, but this wll depend on what feels comfortable, allowing the audible resuit tobe the same throughout the piece. ‘As Baroquestyle music tk this often uses sudden contrasts In volume, you could experiment with how gradual the ‘changes in volume are, depending on how snappy 2 contrast they want to achieve. For further listening, "Canon in D' by Pachelbel andthe ‘Arrival ofthe Queen of Shebs' by Handel wil help you to become familiar with the Baroque styles and techniques, inelucing around bass and decorative graceful semiquavers. Fun Fair Blues / Yandel! ‘swing rhythms Chromatic siding notes Broken closing chord Page 3 Fun Fair Blues’ isn a quick blues style and contains many bluesy elements jazzy chords, walking basslines and a smung rythm. Even though the tempo i fairly fast, ithas 2 chille-out feel. ‘The scene here might a busy fun fair ~ maybe people are stroling around at their leisure, giving the music an easy but confident feel. Notes ae played in lots of diferent ways in this piece. Melodies that are not marked witha slur wll need ‘more separation between them, whist those that do have slurs often lead into a short (staccato) note, emphasising the {un style. The final chord is played ina sightly broker-up way, creating a jazz hands’ finish ‘Tohelp feel the blues, you could listen to examples such as “One Shoe Blues’ by B B King. Orpheus in his Underpants / Tanner Page 14 » Playing and clapping Crossing hands » Can-can style “Orpheus in his Underpants’ sa reference to Orpieus in the LUnderworid by Offenbach, This was a comic opera, the fina section of which has been immortalised by bea uses for the ‘can-can’ dance. can, it makes sense t0tTY energy ~ cont be rae of fun. Youright are, paying fr this As this plece i based on the can topay with great conicene and tomate the most ofthis ond aves vant to imagine you rein arene crany dance! ‘Tis piece ses race note mal shart atest cor before the first a ‘of certain bars) which could felis syed efetre the beat or onthe bat Rsk Paina: tSe ape ne Det might ato the srapy arc ®t ete you coud adscuss ths wih your tee 3) sie a otcep our et rand oston DR, Sty the D note when crossing your —_——il Loman conto whist lowing yout ad i sua ae ‘to your performance. nt Listening to Offenbach's Orpheus inthe Underword wil help you throw yourself into the world of can-can music. ‘The Penguin Parade / Donkin Page 15 vazzstyle » Keyboard famiiaity » Expression ‘This appealing march offers plenty of scope for characterful playing with its contrasting staccato crotehet and quaver. ‘motifs, and is easy to imagine a group of penguin perkity hopping about onthe rocks and diving into the water. Why not take look at some fm of penguins to help you shape the music, ‘The mood of this pice Is cheerful and fun. Sung quavers bring 3 cathy, jazzy flavour to the music and expire the technique of gradually changing hand postions, which will help bulla confidence in finding your way around the keyboard, In the final bars the hands actually ross over. “There is also scope to practise scale technique and fingering asthe thumb tucks under in the right-hand quaver phrases in bars 3,6 and 9, Dynamics add to the character ofthe ice, and the long crescendo from bar 12is an excelent exercise in sound control and building dram, so don't be fempted to start the crescendo too soon, Changes intempo, inclading the poco rit, at bar 7 andthe fermate (Pause) fellowes by 2 marked break the comma sig) at bar 8 tenhance the playful mood othe music Bendin’ the Rules /Crostand Page 16 » Conternporary rock’ rl ste » articulation > Lett-nand independence rtish composer Ben Cresland manages to combine fn 2nd ‘earning in his maginaive musi for young pianists nts ipetance the rules belng broken are perhaps he notion (reine right hand always gts to play the tune and that a that have to sound te same. Here, diferent articulations Caretta. orp surs* and legato) introduce the student to tac os of touch and bring character and vibrancy 0 Perea ake the staccatos rally crisp to contrast with the slurred notes. “Tne rection “sassiy’ is 2 reminder to play tis usc etl and wth plenty of spit Be careful to KeeD 2 corny pule, to ensure noes come in one, espec ay steady putzse begins on a weaker beat (e9in bar 4) Gye were 3 fpr character ofthe lec. dont be aa put tre oom into te efthand notes maging IN Bley gg sound ofa bas guar oF cout DSS od deep. he gecante chor pune and gh espace he aa nt wichis accented ae marked Buildup tot pe crvaly sft plano and surprise Your istener! itn sur across them. The second note is + ppatof notes a ter to create an interesting articulation. playe sity shot ‘Nutt Said / Gumbley Paget? Contemporary, rock style » Syncopated rhythms » Dynamics and expression ‘This characterful piece by British composer Chris Gumbley “as inspction from the rhythms and energy of rock music and the music hasan appealing immediacy i ts melody and harmonic tists “The direction ‘straight quavers! means that you should play the quavers evenly and not swung). The swinging’ Fhythms inthis plece come from the ied notes which create Syncopatin. count these carefully as quavers often appear Shthe off boat and use the accented notes to highlight this Most othe notes ie comfortably under the hand ia five finger postion and the right-hand melocy i largely based around an A minor broken chord. The left hand most comprises fong sustained notes ~ try to ge these Tesonance, so that they sounc right through the bs and beyond inthe case ofthe tied notes (eg bars 7-6). Theres plenty of scope to explore changing dynamic levels and in the las ne you have just S bars to move from pp to that final ff accented chord, so don start the crescendo too soon and build up the drama gradual. Floating Balloons / Sukontapatinark Page 18 » Contemporary » Romantic » Scale patterns Party balloons or the hot air variety are atmosphericaly troked inthis attractive piece by young Thal composer ‘Wars Sukontopatipark The rising scales, sensitively shaded dynamics and choice of registers beaulifuly suggest bolloons floating up int the sky. “Te piece Is uit around several repeating patterns, rom the opening sale figure tothe right-hand rhythmic motif inhi ist appears in bac 5 detifying these repetitions tn help you Tear te piece more quickly and confident be mincfot ofthe contrasting articulation, frm staccato to fegato within a single ahase, plus some notes are marked fenut, and Gott be afraid of expressing the dynamic fly ~ these aspects al help to bring character and atmosahere to the music. Good scale fingering wil help you to manage the opening prrases (suggested fingering 241-242-3-412-3-4, The Fax of the piece sat bar 14 with the accented forte dotted ciotenet Linger on ths note before rising up the keyboard Spain to the final Ine which needs delicacy of touch and ‘Fnac to suggest the baloons have floted faraway into the blue sky, ‘uthors: Martin Ford, Onen Barton and Frances Wilson Minuet in G from Clavierbiichlein fur Anna Magdalena Bach Georg Bohm cese733), Fe Omit the repeats in the exam. fe “© Copyright 2020 Trinity College London Press Ud Allegro in C Johann Hassler 1747-1822) ed, Pauline Hall omit the repeats in the exam. trom Muse Trough Time Book Ty Jonann Hasse eed by Pauline Hall sre ord Univers eres 1993, Reproduced by permission. lights reserved A Canzonet christian Gottlob Neete 748-1798) are by Fanny Waterman and Marion Harewood Andantino 4=c84 nf cantabile Omit the repeats in the exam, 8 (©1985 by Faber Music Ls, Reproduced from Piano Progress Book 2 by permission of the publishers. All rights reserves — Mazurka Maria Szymanowska (17@9-183) Moderato 2=88 ee x Fine D.C. al Fine ‘omit the repeat in the exam, but do observe the DC. «© copyright 2020 Tent College London Press Ls Island in the Sun (duet part) Hans-Ginter Heumann (0.1955) Flowing /~72.80 ‘Pey____ nA sinile {rom Piano Junior: Duet Book 4, ED 13824 10 © 2018 Schott Music, Mainz Reproduced by permission. Allright reserved Island in the Sun (candidate's part) Hans-Gunter Heumann 0.1955) Flowing = 72-80 ; } ay j P ez OO car pelosi i Te eee Le epocbypemiin I = eee FreuDich/Feelicitous Michael Proksch (0.1958) Vivo 1-76 fa 1h stacearo © 2013 by Breiopt & Hartel Wiesbaden Fun Fair Blues ‘Naomi Yandel! (o1960) Steady and confident (swung quavers) J=120 / ‘© copyright 2020 Tint Colege London Pres Lis % Orpheus in His Underpants Mark Tanner (0.1963) As evenly as you can-can .~ 110 clap (ch over) 6 a4 slightly slower hold 2 back in time mp 4 © 206 Spartan Pres Music Pushers Lc Unt 28 Staton Rood, Scots Highlands, PHONIER. UK The Penguin Parade christine Donkin (@.1967) erty = 108 : i a poco rit. ‘© copyright 20:4 Try College London Press Lid a Bendin’ the Rules Ben Crossiand (0.1968) Sassily /=76 v ' =

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