CLASSICAL Piano Sample Pack 1

PIANO
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PACK
PIANO
SAMPLE
PACK
WELCOME TO THE RSL CONTENTS
CLASSICAL REPERTOIRE
SAMPLE BOOKLET FOR PIANO 3 THE GRADE BOOKS
4 REPERTOIRE AND AUDIO

This interactive booklet is designed to give a flavour of the pieces of
music contained within the graded music exam syllabus and information
5 EXAMS AND ASSESSMENT CRITERIA
on the musical skills and understanding that have been benchmarked
at each grade. This sits alongside the Syllabus Guide which provides full
6 DEBUT
details of the graded examinations run by RSL Awards for Classical Piano.
12 GRADE 1
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18 GRADE 2
Purchase your digital copies of the full RSL Classical syllabus
24 GRADE 3
books including access to Replay, the interactive sheet music tool,
on the RSL Awards shop here...
30 GRADE 4
36 GRADE 5
42 GRADE 6
48 GRADE 7
54 GRADE 8
If you are using Adobe Acrobat to view this document, you will be able to hear the sample audio
alongside the sample repertoire pages. Alternatively, please visit the RSL shop pages linked at each
Grade by clicking the “Buy Now” button to hear the audio previews.
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PIANO
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THE RSL CLASSICAL PIANO BOOKS ARE
DIVIDED INTO THREE KEY SECTIONS:
PERFORMANCE PIECES TECHNICAL EXERCISES SUPPORTING TESTS
Each graded exam book contains all There are either three or four groups There are three types of unprepared
the material you need to learn at each of technical exercise at each grade: supporting test in the exam:
grade and has been benchmarked
according to a set of criteria which are Group A: Scales 1. Sight Reading or Contemporary
contained in this booklet. Group B: Broken Chords / Arpeggios Improvisation & Interpretation.
Group C: Technical Study The candidate chooses which
The songs are also supported they’d like to take in their exam.
by a Fact File and Performance RSL Classical’s Technical Exercises
Notes. These Fact Files cover the are designed to introduce a gradual Sight Reading: Developing the ability
background information on each increase of expressive techniques to read and perform previously
piece of music, the composer and ideas, that collectively enable unseen material.
and the compositional style. The each player to attain a true sense of
Preparation and Performance musicality. Candidates will be marked Contemporary Improvisation
Notes look at the song from the on tone quality and consistency, & Interpretation: Performing
performers’ perspective, focusing maintenance of pulse, and accuracy. improvised passages of melody
on the technical issues the learner or chordal accompaniment to a
will encounter as they navigate each backing track. These tests are in
track. contemporary music styles, and offer
an alternative route for students
The books also contain Exemplar interested in contemporary music.
Audio Recordings to provide the
learner with the ideal level of 2. Ear Tests: Melodic recall.
performance they need to aim for 3. General Musicianship Questions
with their performance pieces. (GMQs): Five questions asked by
the examiner at the end of the
exam.
Note: The grade book contains

examples of the supporting tests –
equivalent ‘unseen’ examples will be
provided for the examination.
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REPERTOIRE: AUDIO:
The pieces of music in the graded exam book have been Audio is provided in the form of exemplar audio
carefully selected to cater for a wide range of musical recording of the pieces, technical studies and supporting
tastes. The syllabus includes ten pieces at each grade, tests (where applicable). Audio files are supplied in
selected to give students a fun, engaging and rewarding MP3 format to enable playback on a wide range of
learning experience. Please refer to the syllabus guide compatible devices. Digital versions of the book include
and our website for more details. audio files in the download. Physical versions of the book
include a code to download the audio at rslawards.
Across the graded syllabus, students will find repertoire com/downloads.
from male and female composers from both the past and
present day, whose work is representative of the music of Students and teachers can instantly access their favourite
its time; music which sought to break boundaries; music graded music materials from their desktop, tablet
which reflects the composer’s own cultural heritage; or smartphone and, with Replay, have access to an
work written for Film, TV, Games and Jazz; and music interactive sheet music player with a range of playback
simply written to challenge the technical player. and practice functions.
Learners also have the opportunity to use Free Choice

Pieces alongside this specified repertoire and the
benchmarking criteria in this booklet should be used to ADDITIONAL INFORMATION:
identify whether the piece they want to use meets the
required standard for the grade chosen. These pieces can The books also contain information on exam procedures,
be taken from our Rockschool Piano and Keys graded including online examination entry, marking schemes,
books and from other UK-recognised exam boards. information on Free Choice Pieces and any performance
and technical guidance for each grade.
This is also available on our website.
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EXAMS: WHAT ARE ASSESSMENT CRITERIA?
When they are ready, candidates can enter for the Assessment Criteria are how we assess the learning
following types of exam: outcomes.
Graded Music Exam Assessment Criteria are how we assess the learning
Candidates perform Three Pieces; a selection of Technical outcomes.
Exercises; and a series of Unseen Tests. They are applied to evidence musical outcomes at
progressing grades.
Performance Certificate Each criterion is equally weighted.
Candidates perform Five Pieces only. Each is considered / marked separately.
The combination gives the total mark for each piece/
Exams can be booked as a face-to-face exam or recorded supporting test.
video exam and are also available in some centres as a
live-streamed video exam.
ASSESSMENT CRITERIA:
LEARN MORE ENTER NOW 1. Command of Instrument
The quality of the sound produced from the
Learners can take their exam at one of our Public Exam instrument, including the consistency of sound/tone,
Venues or, should your venue meet certain criteria, we control of sound/tone commensurate with grade.
can convene a private exam day at your venue for your
students. Find out more here… 2. Sync or Pulse
Alignment of the performance to backing track,
metronome or applied to a solo performance,
ASSESSMENT: observing notation markings. For unaccompanied
pieces candidates should maintain a secure internal
Candidates are assessed against specific Learning pulse and adjust the pulse where instructed within the
Outcomes and Assessment Criteria which are detailed in music.
full in the Syllabus Guide and on our website.
3. Accuracy and Understanding
We have also included a summary of the Assessment Representing the written notation accurately, except
Criteria in this booklet. by instruction through performance notes, or
interpreting the written part with equivalent skills
demonstrated. Secure understanding of musical
LEARNING OUTCOMES: structure evidenced through transitions of phrases,
bars and sections.
There are three learning outcomes in RSL Awards graded
music exams: 4. Style and Expression
An expressive and commanding performance of the
1. Be able to perform music in a range of musical styles. notated material dictated by the demands of the
2. Be able to demonstrate technical ability on an performance piece.
instrument/voice through responding to set
technical demands.
3. Be able to demonstrate musical understanding
through a range of set tests.
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RSL CLASSICAL PIANO DEBUT MUSICAL SKILLS AND FEATURES
FREE CHOICE PIECE GUIDELINES | Debut
Duration 40 secs–1 min 20 secs
Key C major / A minor
Tempo 60-130 bpm
Time Signatures 4/4, 3/4
Rhythmic Values Quavers and rests, occasional dotted crotchets
Dynamics Very simple/sparse
Articulation &
Very simple/sparse
Phrasing
Melodic Features Mainly stepwise movement or small intervallic transitions
Harmonic
Occasional two-note chords in one hand (three-note chords will be between both hands)
Features
Rhythmic Features Non-complex rhythmic groupings
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‘La Valse D’Amélie’ 
Composer: Yann Tiersen (b.1970)
Nationality: French (Belgian & Norwegian heritage)
Source/Date: Amélie Soundtrack (2001)
‘La Valse D’Amélie’ is taken from Yann Tiersen’s award winning soundtrack for the French romantic comedy, Amélie.
Tiersen’s beautiful composition features on the soundtrack twice, both as an orchestral piece and a piano piece. The
composer also included the orchestral version in his fourth studio album, L’Absente, shortly after the release of the
soundtrack in 2001.
Yann Tiersen was born in Brittany, France in 1970. He delved into music at the very young age of four, initially with piano
lessons but soon expanding into violin and becoming a multi-instrumentalist at just six years old. At the age of 13 he added
electric guitar to his bow and began playing in rock bands. Although many think of him as a composer, Tiersen is also a
hugely successful touring musician and collaborator.
Preparation 
When first learning this piece, you may find it useful to count out loud, particularly in the first and third sections. Bars 6,
14, 38 and 46 all contain quaver (eighth note) passages that start with a tied note from the previous bar. If you find timing
this pattern a challenge, try rehearsing without the ties in place until the quaver rhythms are secure.
Be sure to look at the suggested fingering pattern in bars 14, repeated in bar 46. Playing the quaver on beat 3 with
your fifth finger will allow you to get your hand in a position ready to play the lower E in the following bar. Shifting hand
position mid phrase may benefit from being practised in isolation to ensure a smooth and undetectable transition.
At bar 17, the right-hand part plays a more accompanimental role to the simple dotted minim (dotted half-note)
melody in the left-hand part. Take care to place these dyads (two notes played together) precisely in time, both notes
always sounding evenly balanced. As the roles between the two hands switch over at bar 33, the balance between the
hands should also reflect this change. The right-hand part should be played slightly quieter and more lightly than in the
first section to allow the left-hand part to take the leading role throughout this middle section.
Performance p
The tempo of this piece helps provide a lilting dance-like character for this pretty waltz. Maintaining a steady
d
pulse throughout is key to establishing a secure performance. Allow the melody to sing out over the accompaniment,
particularly when the melody moves into the left-hand part for the middle section. ‘Dolce’ at the start of the piece means
‘sweetly’, so aim for a light touch with legato phrases.
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7
‘La Valse D’Amélie’
Yann Tiersen
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11
RSL Classical Piano | Debut
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Copyright © 2001 by Universal Music Publishing MGB France and Ici D’Ailleurs
8 All Rights for the United States and Canada Administered by Universal Music - MGB Songs
International Copyright Secured All Rights Reserved
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Technical Exercises
In this section you will be required to play a selection of exercises drawn from each of the groups below. The examiner will
be looking for the speed of your response and will also give credit for the level of your musicality. Please see the syllabus
guide for details on the marking criteria.
■ All scales and broken chords need to be played hands separately, legato, ascending and descending, in the keys and
octaves shown.
■ Pentatonic scales are right hand only.
LE
■ There is no memory requirement, and you may use your book for all technical sections at this grade.
■ Any fingerings shown are suggestions only.
■ All groups are played unaccompanied (without metronome or click).
■ Candidates will be marked on tone quality and consistency, maintenance of pulse, and accuracy. Performances slower
than the stated minimum tempo may be subject to qualitative judgement by the examiner, according to extent and
commensurate with the grade.
Group A: Scales
The minimum tempo for this group is q = 52 bpm.
MP 1. C major scale | hands separately
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3 4 5
œ œ
2
& œ œ œ œ œ œ œ œ
1 2 3 1
œ œ œ œ
?œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
1 3 2 1
5 4 3 2
SA
2. A natural minor scale | hands separately
œ
3 4 5
& œ œ
2
œ œ œ œ
1 2 3 1
œ œ œ œ œ œ œ œ
? œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
5 4 3 2 2 1
1 3
28
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Sight Reading
In the exam, you have a choice between either a Sight Reading test or an Improvisation & Interpretation test. The examiner
will ask you which one you wish to choose before commencing. Once you have decided you cannot change your mind.
In the sight reading test, the examiner will give you a 4–6 bar melody in the key of C major, to be played unaccompanied. You
will first be given 90 seconds to practise. After the practise time, the examiner will ask you to commence the test.
■ All sight reading tests at Debut should be played at a minimum tempo of q = 60 bpm.
LE
■ At Debut, you are tested on your ability to perform previously unseen pitches and rhythms. No dynamics are shown,
however, you should maintain an even tone quality throughout.
■ While the assessed part of the test is not played to a metronome click, you may ask to hear the minimum tempo on a
metronome at the start of, or throughout your practice time. Additionally, you may ask to hear a few seconds of the tempo
on a metronome before the assessed part of the test begins.
Sight Reading | Example 1
4 ∑ ∑ œ œ ˙ ˙ ˙
&4
MP ? 44 œ œ ˙ ˙ ˙
∑ ∑
& 44 ˙ œ œ ˙ ˙ ∑ ∑
? 44 ∑ ∑ ˙ œ œ ˙ ˙
SA
Please note: The tests shown are examples: The examiner will give you a different version in the exam
32
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RSL CLASSICAL PIANO GRADE 1 MUSICAL SKILLS AND FEATURES
FREE CHOICE PIECE GUIDELINES | Grade 1
Duration 50 secs – 1 min 30 secs
Key One sharp or one flat, or no sharps or flats but accidentals may occur within the piece
Tempo 60-140 bpm
Time Signatures 4/4, 3/4, 6/8
Quavers and rests, dotted quavers and syncopations, occasional semiquavers, occasional non-
Rhythmic values
complex triplet groupings
Dynamics Simple dynamics
Articulation & Simple changes in articulation and phrasing, occasional slurs and simple occasional use of
Phrasing staccato and accented articulation may occur.
Melodic features Mainly stepwise movement or small intervallic transitions
Two-note chords in one hand, occasional three-note chords, four-note chords will generally be
Harmonic features
spread across both hands
Rhythmic features Rhythms will be simple; simultaneously differing patterns will be limited
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‘Jupiter’ 
Composer: Gustav Holst (1874–1934)
Nationality: British
Source/Date: The Planets (1914–1916)
‘Jupiter’ is taken from Gustav Holst’s widely acclaimed orchestral suite, The Planets. The suite contains seven
movements, each named after a planet, and features Jupiter in the centre. Although composition began in 1914 it wasn’t
until 1918 that the suite was performed in its entirety, at Queen’s Hall in London during a private concert hosted by Adrian
Boult. It is believed that Holst held Boult partly responsible for the success that The Planets went on to receive and was
forever grateful for his inclusion of the suite.
The Planets brought Gustav Holst, born in Cheltenham 1874, worldwide fame is known across the globe as one of the
most significant orchestral suites of the 20th century. Modern composers such as Hans Zimmer and John Williams site
The Planets as greatly influential to their award-winning film scores.
Preparation 
Take time to study the suggested fingering to ensure you have a pattern that is both comfortable to play and allows
you to use legato phrasing throughout. Many students will find it helpful to rehearse both parts individually to secure the
finger patterns and rhythm before putting them together. Notice the dotted rhythms in bar 1, 5, 17 and 21. These should
be kept rhythmically precise, giving a nice contrast to the straight quavers in the first part of the phrase, yet remain
legato throughout.
Take time to study the melodic shape and structure of the piece to understand how to phrase and express the music in
terms of the shape of each individual phrase and as a piece overall. Notice how the pitch range increases and rises with
each phrase, all leading to the top A on beat 1 of bar 23. Aim to keep this feeling of a slow but continuous build up to help
give your performance direction and a feeling of constant forward movement.
Getting the balance right between both hands is important as the melody should sing out above the accompaniment,
yet the bassline should carry a feeling of weight and substance, supporting the melody.
Performance p
It is not surprising that this wonderful melodic theme from Holst’s ‘Jupiter’ was later reworked by the composer to set
Cecil Spring Rice’s patriotic poem to music. ‘I vow to thee, my country’, is now commonly associated with Remembrance
Day. ‘Andante Maestoso’ instructs the performer to use a tempo set at a steady walking pace, and with a majestic
feel. Although Holst liked his seven planet pieces to be performed as a complete Suite, and in his chosen order, many
conductors prefer to end with Jupiter as this powerful and stirring hymn-like theme provides a wonderful finale. Make
sure to listen to an orchestral recording of Jupiter to help you capture the stately mood of the piece.
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‘Jupiter’
Gustav Holst
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RSL Classical Piano | Grade 1
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8 International Copyright Secured All Rights Reserved
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Technical Exercises
■ Major scales, minor scales and broken chords need to be played hands separately, ascending and descending, in the
keys and octaves shown.
■ Candidates must choose to play either natural minor or harmonic minor or melodic minor scales in the exam. The
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examiner will ask the candidate to state which set of minor scales they have prepared.
■ Groups A (scales)and Group B (broken chords) must be played from memory. You may use your book for Group C
(Technical Studies).
MP Group A: Scales
1. F major scale | hands separately
œ œ œ œ œ œ œ œ œ
3 4 1
&b œ
2
œ œ œ œ œ œ œ
4
œ
3
œ
1 2 3 4 1 2 3 1 2
œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
?b œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
4 3 2 4 3 2 1 3 2 1
5 2 1
1 3
SA
2. G major scale | hands separately
#
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5
& œ œ œ œ œ œ œ
2 3 4 1 3 4
1 2 3 1 2 3 1 2
œ œ œ œ œ œ œ œ œ œ œ
?# œ œ œ œ œ œ œ œ œ
œ œ
5 4 3 2 4 3 2 1 3 2 1
1 3 2 1
34
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Contemporary Improvisation & Interpretation
In the Improvisation & Interpretation test, the examiner will give you a 4–6 bar chord progression in the key of either G major
or F major. You will first be given 90 seconds to prepare, after which the examiner will play the backing track twice. The first
time is for you to practise and the second time is for you to perform the final version for the exam. For each playthrough, the
backing track will begin with a one bar count-in. The tempo is q = 70 bpm.
LE
■ At Grade 1, you have the choice to improvise either a melodic line or a chordal part to complement the backing track.
■ During the preparation time, you will be given the choice of a metronome click throughout or a one bar count-in at
the beginning.
■ The backing track is continuous, so once the first playthrough has finished, the count-in of the second playing will
start immediately.
Improvisation & Interpretation | Example 1
q = 70
Bb Bb
MP
& b 44 ’ ’ ’ ’
F
’ ’ ’ ’
C
’ ’ ’ ’ ’ ’ ’ ’
q = 70
#4 G C D C
& 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
SA
41
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Recommended
Maximum 1 min 10 secs–1 min 45 secs
Duration
Key Two sharps or flats (or fewer, but accidentals may occur within the piece)
Tempo 60-140 bpm
Time Signatures 4/4, 3/4, 2/4, 6/8, 9/8, 12/8
Semiquavers and rests, dotted quavers and syncopations, occasional semiquaver syncopation,
Rhythmic values non-complex triplet groupings. Simpler rhythms may appear in conjunction with other
elements (e.g. more detailed harmonic work)
Dynamics Simple dynamics [P, F, MP, MF], crescendo (<) and diminuendo (>)
Articulation & Frequent changes in articulation and phrasing, slurs and simple use of staccato/accented
Phrasing articulation may occur.
Melodic features Greater intervallic transitions and more frequent accidentals may occur
Two-note chords in one hand, occasional three-note chords, four-note chords will generally be
Harmonic features
spread across both hands
Rhythmic features Rhythmic groupings may differ more frequently between hands
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‘Tarantella in G minor’ 
‘Tarantella in G minor’ 
‘Tarantella
Composer:inGlenda
G minor’
Austin 
Nationality:
Composer: American
Glenda Austin
Date:
Nationality: 2014–2016
Composer: American
Glenda Austin
Nationality:
Date: American
2014–2016
‘Tarantella in G minor’
Date: is a piano solo written by American composer, teacher and musician, Glenda Austin. One of her
2014–2016
many compositions
‘Tarantella to be published,
in G minor’ this written
is a piano solo piece functions as ancomposer,
by American exciting teaching
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exciting end.
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with Glenda
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excitingOne of her
end.
Glenda Austin graduated with a bachelor’s degree in Music Education and a master’s degree in Piano
many compositions to be published, this piece functions as an exciting teaching aid with a surprising and exciting end.Performance.
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Preparation 
Preparation 
Preparation
Make sure you have warmed up before playing this piece. If you find your hand is getting tired, stop and let the 
whole
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find changing
you do start tothe
changes at aarticulation
rush, slower tempo,patterns
try rehearsing can
ensuring
along help,
that
with forquaver
a the example,
metronome tryslow
playing
(eighth-note)
and the
the
tempofirst
patterns eight
down bars
are kept as
to a clean staccato,
manageable maintaining
and precise.
speed. If you a relaxed
find you do
Temporarily wrist
changing position.
start tothe
rush, try rehearsing
articulation along
patterns with
can a metronome
help, for example, and
tryslow the
playing
tempo
the firstdown
eight to a manageable
bars speed. Temporarily
as staccato, maintaining a relaxedchanging the articulation patterns can help, for example, try playing
wrist position.
theInfirst
theeight
first bars
section, one of the
as staccato, biggest challenges
maintaining for the
a relaxed wrist left-hand part is in making fast and accurate hand position
position.
changes in bars 9 to 16. Students may find it helpful
In the first section, one of the biggest challenges for the left-handto apply the sustain pedal
part is ininmaking
these bars, andaccurate
fast and again in bars
hand44 to 49,
position
remembering
In the in
changes first
barsto 9lifttoat16.
section, the
one end of each
of the
Students maybar.
biggest This will help
challenges
find it helpful create
forapply
to a more
the left-hand
the legato
sustainpart isfeel,
pedal allowing
ininmaking theand
fast
these bars, leftaccurate
and hand to
again in get
hand
bars in44
position
to 49,
for the following
changes in bars
remembering dyad without
to 9lifttoat16. cutting
theStudents
end of each each
maybar. dotted
findThis minim
it helpful (dotted
to apply
will help createthe half-note)
sustain
a more too
pedal
legato short.
in allowing
feel, these bars,theand
left again in get
hand to barsin44 to 49,
position
remembering
for the following to lift
dyad at without
the end of each each
cutting bar. This willminim
dotted help create
(dotteda more legatotoo
half-note) feel, allowing the left hand to get in position
short.
forEnjoy the dynamic
the following dyadvariations withineach
without cutting the piece,
dottedgiving
minim plenty of contrast
(dotted half-note)andtoocolour
short.to the different sections. Ensure that
theEnjoy
forte the
in bar 44 reserves a little volume to give room for an effective
dynamic variations within the piece, giving plenty of contrast and colour crescendo andtofortissimo in the
the different final twoEnsure
sections. bars. that
theEnjoy
forte the dynamic
in bar 44 reservesvariations within
a little volumethetopiece,
give giving
room for plenty of contrast
an effective and colour
crescendo andto the different
fortissimo sections.
in the final twoEnsure
bars. that
the forte in bar 44 reserves a little volume to give room for an effective crescendo and fortissimo in the final two bars.
Performance p
Performance p
Performance y
A lively dance in time, this dramatic piece fits comfortably under the fingers, while providing plenty of p
technical
challenges for theinperformer.
A lively dance Asdramatic
time, this
y well as the obvious
piece fits similarities
comfortablytounderthe name
the of a rather
fingers, well-known
while spider,
providing plentya ‘tarantella’
of technicalis
theAname
livelygiven
challenges dance toin
for the aperformer.
group
time,ofthis
y various
wellItalian
Asdramatic folk
piece
as the dances that are characterised
fits similarities
obvious comfortably tounder the of
the name bya an
fingers,energetic
while
rather tempospider,
and
providing
well-known dramatic
plenty ending.
of technical
a ‘tarantella’ is
challenges
the for the
name given to aperformer. As wellItalian
group of various as thefolk
obvious
dances similarities to the name ofbya an
that are characterised rather well-known
energetic tempospider, a ‘tarantella’
and dramatic ending.is
theThe
namesecret behind
given an effective
to a group performance
of various Italian folk of this piece
dances is tocharacterised
that are start with a fast butenergetic
by an sustainable tempo
tempo andthat will drive
dramatic the
ending.
music
Theforward while an
secret behind allowing theperformance
effective music and dynamics to bring
of this piece is tothe music
start with to a dramatic
a fast climax. The
but sustainable performance
tempo should
that will drive the
sound
music exhilarating
Theforward
secret behind butan
while stay
allowingvery
effective much
the musicin control
performance ofwith
thisapiece
and dynamics fast and
is tosteady
to bring start
the pulse.
with
music a fast
to but sustainable
a dramatic tempo
climax. The that will drive
performance the
should
music forward
sound while
exhilarating butallowing
stay verythe music
much and dynamics
in control to bring
with a fast the music
and steady to a dramatic climax. The performance should
pulse.
sound exhilarating but stay very much in control with a fast and steady pulse.
1
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www.rslawards.com info@rslawards.com 20 1
1
‘Tarantella in G minor ‘
Glenda Austin
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LEARN MORE
Technical Exercises
■ Major scales, minor scales and arpeggios need to be played hands together, ascending and descending, in the keys
and octaves shown.
LE
■ Groups A and B (scales & arpeggios) must be played from memory. You may use your book for Group C (Technical Studies).
Group A: Scales
MP The minimum tempo for this group is q = 66 bpm.
1. B b major scale
b œ œ œ œ œ œ œ œ
4
&b œ œ œ œ
1 2 3 4 2 3
1
œ œ œ œ
3
œ
3 1 2 3 1 2
œ œ œ œ
? bb œ œ œ œ œ œ œ œ œ œ œ
?
œ &
œ œ œ œ
3 2 1 4 3 2 1 3
œ 1 4 3 2 1
œ œ œ œ
3
2
œ œ œ œ œ œ
2. D major scale
## œ œ œ œ œ œ œ œ œ œ
5
& œ œ œ œ œ œ œ œ
4
SA
2 3
œ œ œ œ œ
1 3 1
1 2 3 2
2 3 4 1
œ
? ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ
œ
& œ œ œ œ œ œ œ
1 3 2 1 4 3 2 1
5 4 3 2 3 2 1
3. G natural minor scale

bb œ œ œ œ œ œ œ œ
5
& œ œ œ
2 3 4 1 3 4
1 2 3 1 2 3 1 2
œ
? bb œ œ œ œ& ? œ œ œ œ
œ œ œ œ 4 3 2 œ œ œ œ œ œ œ œ œ œ œ œ
2 œ œ œ œ
1
œ
5 2 1 1 3
1 3 3 2
4
32
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Sight Reading
In the sight reading test, the examiner will give you a 4–6 bar piece in D major or B b major, to be played unaccompanied.
You will first be given 90 seconds to practise. After the practise time, the examiner will ask you to commence the test.
■ All sight reading tests at Grade 2 should be played at a minimum tempo of q = 80 bpm.
LE
■ At Grade 2, you are tested on your ability to perform previously unseen pitches, rhythms and basic dynamics.
■ While the assessed part of the test is not played to a metronome click, you may ask to hear the minimum tempo on a
metronome at the start of, or throughout your practice time. Additionally, you may ask to hear a few seconds of the
tempo on a metronome before the assessed part of the test begins.
# 4
& #4 Ó œœ œœ Ó œœ œœ œ œ œ œ ˙˙ œœ Œ
MP ? # # 44
F
˙ Ó ˙ Ó ˙ ˙ ˙ œ Œ
Please note: The test shown is an example. The examiner will give you a different version in the exam.
b
& b 44 œ œ
˙ œ œ ˙ ˙ ˙ ˙ ˙
SA
P
? b b 44 w w ˙. œ œ œ ˙
Please note: The test shown is an example. The examiner will give you a different version in the exam.
38
LEARN MORE
BUY
NOW
LEARN
LEARN MORE
MORE
PIANO
SAMPLE PACK
Duration 1 min 30 secs –2 mins
Key Three sharps or flats (or fewer, but accidentals may occur within the piece)
Tempo 60-150 bpm
Time Signatures 4/4, 3/4, 2/4, 6/8, 9/8, 12/8
Semiquavers and rests, syncopation, triplet groupings. Simpler rhythms may appear in
Rhythmic values
conjunction with other elements (e.g. more detailed harmonic work)
Dynamics [P, F, MP, MF], crescendo (<) and diminuendo (>)
Articulation &
Articulation and phrasing will have variety and may differ between hands at simultaneous points
Phrasing
Greater intervallic transitions may appear spanning over an octave, and more frequent
Melodic Features
accidentals may occur
Harmonic Three note chords may appear in either hand, occasional four note chords in either hand may
Features be present
Rhythmic Features Rhythmic groupings may differ more frequently between hands or occur simultaneously
Melody and accompaniment voicings may appear in one hand; musical passages may spread
Other Features
between both hands
LEARN MORE
‘Bluebird’ 
‘Bluebird’ 
‘Bluebird’
Composer: Alexis Ffrench (b.1970)

Nationality:
Composer: British
Alexis Ffrench (b.1970)
Composer:
Date:
Nationality: 2017Alexis
BritishFfrench (b.1970)
Nationality: British
Date: 2017
‘Bluebird’ wasDate: 2017single release for British composer Alexis Ffrench. The song features a beautiful piano
a 2017
solo, performed by Ffrench
‘Bluebird’ was a 2017 single himself, andfor
release includes
British an impressive
composer accompaniment
Alexis Ffrench. The from
song the highlya regarded
features beautiful BRNO
piano
‘Bluebird’
Philharmonic
solo, performedwas a 2017
Orchestra.
by Ffrenchsingle release
himself, andfor British an
includes composer
impressiveAlexis Ffrench. The from
accompaniment song the
features
highlya regarded
beautiful BRNO
piano
solo, performed
Philharmonic by Ffrench himself, and includes an impressive accompaniment from the highly regarded BRNO
Orchestra.
Philharmonic Orchestra.
Alexis Ffrench began improvising with the piano at just four years old. Deemed a virtuoso, Ffrench received
scholarships for several
Alexis Ffrench began highly regarded
improvising withinstitutes
the pianoincluding The years
at just four Royal old.
Academy
Deemedof Music, The Purcell
a virtuoso, FfrenchSchool for
received
Alexis
Young
scholarshipsFfrench
Musicians began
for and
several improvising
the Guildhall
highly with
School
regarded the piano
ofinstitutes
Music and at just four
Drama.
including The years
Royal old.
Thecomposer Deemed
prides
Academy a virtuoso,
himself
of Music, onThe Ffrench
combining
Purcell his received
classical
School for
scholarships
music training for several
with his lovehighly
for regarded
roots and institutes
R’n’B Music. including
He is a The
strong Royal Academy
believer in of Music,
diversifying The
classical
Young Musicians and the Guildhall School of Music and Drama. The composer prides himself on combining his classical Purcell
music School
and for
feels it
Young
is
music Musicians
important towith
training andhis
ensure the Guildhall
that
love the School
for genre
roots of Music
continues
and R’n’B andHe
to move
Music. Drama.
forward The composer
while
is a strong prides
engaging
believer in himselfclassical
musicians
diversifying onall
of combining
musichis
ethnicities. classical
Ffrench’s
and feels it
music
is training
discography
important towith
includes his
ensure love
two for genre
studio
that the roots and
albums R’n’B
and fourMusic.
continues single
to moveHe is a strong
releases.
forward believer
while in diversifying
engaging musicians classical music and
of all ethnicities. feels it
Ffrench’s
is important to ensure that the genre continues to move
discography includes two studio albums and four single releases. forward while engaging musicians of all ethnicities. Ffrench’s
discography includes two studio albums and four single releases.
Preparation 
Preparation 
Preparation 
Take time to prepare the left-hand accompaniment part separately. While the pedal will assist in creating a legato feel,
be Take
careful
timeto to
liftprepare
and place theaccurately to avoid a muddypart
left-hand accompaniment sounding texture.
separately. Notice
While the how
pedalthe left-hand
will assist in part has aa held
creating legatodotted
feel,
Take
minim time
(dotted to prepare
half-note) the left-hand
with two accompaniment
crotchet part
(quarter-note) separately.
dyads on While
beats the
2 andpedal
3. will
Take assist
care
be careful to lift and place accurately to avoid a muddy sounding texture. Notice how the left-hand part has a held dotted toin creating
hold the a legato
dotted feel,
minim
be careful
for fulltolength
the(dotted
minim lifthalf-note)
and ofplace accurately
eachwith
bar, two to avoid
rehearsing
crotchet a muddy
quick hand sounding
position
(quarter-note) dyads texture.
changes
on beatsNotice
as the how
2 and 3. the
Takeleft-hand
harmony progresses
care to holdpartthrough
has dotted
the a held
thedotted
chord
minim
minim
for the(dotted
changes. fullMake
lengthhalf-note)
sureof that with
eachthe
bar, two
crotchetcrotchet
dyads
rehearsing (quarter-note)
are placed
quick dyads
in time,
hand position on beats
cleanly,
changes but 2without
as theand 3. Take
harmony care
too to
beingprogresses holdthrough
heavy asthetodotted
the minim
interrupt the
chord
for the
melodic full
line length
above. of each bar, rehearsing quick hand position changes as the harmony progresses
changes. Make sure that the crotchet dyads are placed in time, cleanly, but without being too heavy as to interrupt the through the chord
changes.line
melodic Makeabove.sure that the crotchet dyads are placed in time, cleanly, but without being too heavy as to interrupt the
melodic
As theline above. part moves into the continuous flowing quaver (eighth-note) pattern at bar 41, and again on the
right-hand
repeat at bar
As the 81, it is important
right-hand part moves to into
avoid inadvertently
the continuous changing the tempo
flowing quaver or volume.pattern
(eighth-note) Notice howat bara simple
41, andmelody
again on line is
the
As the
highlighted
repeat right-hand
at bar with
81, itthe partofmoves
use
is important to into
tenuto the continuous
articulations.
avoid flowing
To hear
inadvertently quaver
this internal
changing (eighth-note)
pattern,
the tempo pattern
try playing
or volume. Notice atleft-hand
thehowbara simple
41, and again on
accompaniment
melody linethe
is
repeatwith
along at bar
highlighted the81,right-hand
with it is important
the use of part toonly
tenuto avoid inadvertently
playing
articulations.theTo changing
notes
hear marked the tempo
with
this internal or volume.
a tenuto
pattern, placed
try Notice
playingabovethehow
the anoteheads.
simple
left-hand melody
While
accompanimentline is
this
highlighted
pattern helps with
to the
give use of
shape tenuto
to this articulations.
section of To
music, hear
take this
care internal
to avoid pattern, try
exaggerating playing
the
along with the right-hand part only playing the notes marked with a tenuto placed above the noteheads. While this the
balance left-hand
between accompaniment
the tenuto and
along with
non-tenuto
pattern helpsthetoright-hand
notes, allowing
give part
shape the only
music
to this playing
to
sectionflow the notes
takemarked
of effortlessly
music, and with
carelightly as aexaggerating
to avoid a tenuto
sparklingplacedtheabove
melody fromthe
balance noteheads.
a between
music box. While and
the tenuto this
pattern helps
non-tenuto to give
notes, shape the
allowing to this section
music of effortlessly
to flow music, take andcarelightly
to avoid
as exaggerating the balance
a sparkling melody from a between
music box. the tenuto and
non-tenuto
Once you notes, allowing
have secured thethe music
notes andtoyour
flowfinger
effortlessly and
patterns, lightly
your asshould
focus a sparkling
be onmelody
developingfromana expressive
music box.and balanced
performance.
Once you have Much of thethe
secured charm
notes ofand
theyour
piece lies within
finger theyour
patterns, natural ebb
focus and flow
should be onofdeveloping
the lyrical anmelodic lines.and
expressive Take time to
balanced
Once
consider you
the have
shape secured
of eachthe notes
phrase, and your
treating finger
them patterns,
like musicalyour focus
sentences.should
By be on developing
identifying the forman
performance. Much of the charm of the piece lies within the natural ebb and flow of the lyrical melodic lines. Take time to expressive
and peak of and
each balanced
phrase,
performance.
you can then
consider the useMuch
shape ofeach
subtle
of the charm
dynamic
phrase, oftreating
the piece
variations and lies
them within
emphasis
like the
to natural
bring
musical yourebb
music
sentences. and flowjust
Byalive, of the
as we
identifying lyrical
the do melodic
with
form speech
and lines.
peak Take phrase,
patterns.
of each time to
consider
you the use
can then shape of each
subtle phrase,
dynamic treatingand
variations them like musical
emphasis sentences.
to bring your musicByalive,
identifying thedo
just as we form
withand peak patterns.
speech of each phrase,
you can then use subtle dynamic variations and emphasis to bring your music alive, just as we do with speech patterns.
3 3 3
| Grade
Performance
| Grade
p
| Grade
Performance p
Piano
Performance p
Although the lilting gentle waltz-like accompaniment and simplicity of the melody line evokes a nostalgic and
Piano
dreamlike
Although mood, make sure
the lilting gentlethewaltz-like
tempo keeps the music pressing
accompaniment forward, never
and simplicity of theslowing
melody down
line or with excessive
evokes rubato.
a nostalgic and
Piano
Classical
A Although
polished
dreamlike the lilting
performance
mood, gentle
make surewill thewaltz-like
havetempo accompaniment
beautifully
keeps phrased
the music melodyand simplicity
lines
pressing of the
with a well
forward, never melody
controlled
slowing line
and
down evokes
balanced
or a nostalgic
accompaniment.
with excessive and
rubato.
Classical
dreamlike
Ffrench mood,
described make
this sure the
particular tempo keeps
composition the
as music
born pressing
out of forward,
improvisation, never
and slowing
filled withdown or with
influences
A polished performance will have beautifully phrased melody lines with a well controlled and balanced accompaniment. excessive
including rubato.
Debussy
Classical
A polished
and Satie.
Ffrench Itperformance
is recommended
described will have
this particular beautifully
that composition
the performerphrased
astakes melody
borntime lines to
with
to improvisation,
out of listen a well
some andcontrolled
piano pieces
filled byand
with balanced
these accompaniment.
two composers,
influences including as well
Debussy
Ffrench described this particular composition astakes
bornunderstand
out of
to improvisation, and filled with
theinfluences including Debussy
RSL
as
andlistening
Satie. Itto
is recordings
recommended of this original
that piece, to
the performer help time listenFfrench’s
to someintentions
piano for
pieces by styletwo
these andcomposers,
mood of the piece.
as well
and Satie. It is recommended that the performer takes time to listen to some piano pieces by these two composers, as well
RSL
as listening to recordings of this original piece, to help understand Ffrench’s intentions for the style and mood of the piece.
RSL
as listening to recordings of this original piece, to help understand Ffrench’s intentions for the style and mood of the piece.
0
0
0
LEARN MORE
‘Bluebird‘
Alexis Ffrench
Tenderly ~h. = 50
œ™ ˙™
&b 4 Œ Œ œJ Œ œ œ œ œ ˙™
b3 œ œ œ œ ˙™
{ Œ Œ
mp
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LE
˙ ™ œœ œœ ˙ ™ œœ œœ
?b3 ™ ˙ ™ œœ œœ ˙ ™ œœ ˙ ™ œœ œœ
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Con pedale
b Œ œ œ™ ˙™ œ ˙™ ˙™
& ˙™
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7
MP
b
œ ˙™ ˙™ Œ œ œ
œ
& bb ˙™
œ œ œ œ œ
{
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b ˙ ™ œœ œœ ˙™ ˙™ œ œ
13
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& bb Œ
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œ œ œ œ œ œ
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b
25
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All Rights Reserved Used by Permission 31
LEARN MORE
Technical Exercises
■ Major scales, minor scales and arpeggios need to be played hands together, ascending and descending, in the keys
and octaves shown.
LE
MP Group A: Scales
1. E b major scale
3
b œ œ œ
1 2
4
&bb œ œ œ œ œ œ
3
œ
1 2 3 2
œ
3 1
œ
3
œ
4 1 2
? bb œ œ œ œ œ œ œ œ œ œ œ œ œ ? œ
b & œ œ œ œ œ œ
1 4 3 2 1 3 2 1 4 3 3
3 2 2 1
2. A major scale
### œ œ œ œ œ œ œ
SA
5
œ œ
3 4 1 4
&
2 3
œ
2
œ œ œ œ œ œ
1 2 3 1 2 3 1
œ œ œ œ
? ### œ œ œ œ œ œ ? œ œ œ œ
œ œ œ œ
&
5 4 3 2
1 3 2 1
3 2 1 3 2 œ œ œ œ
1
4
3. C natural minor scale

b œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
5
&bb œ œ œ œ œ œ œ œ
2 3 4 1 3 4
2
œ œ œ œ œ
3 1
1 2 3 1 2
? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ
b
1 3 2 1
&
œ œ œ œ œ
3 2 1
œ œ œ œ œ œ
2 4
5 4 3 3 2 1
36 LEARN MORE
Sight Reading
In the sight reading test, the examiner will give you an 4–6 bar piece in A major or E b major, to be played unaccompanied. You
will first be given 90 seconds to practise. After the practise time, the examiner will ask you to commence the test.
While the assessed part of the test is not played to a metronome click, you may ask to hear the minimum tempo on a
LE
metronome at the start of, or throughout your practice time. Additionally, you may ask to hear a few seconds of the tempo on
a metronome before the assessed part of the test begins.
Andante (c 90)
### 4 œ œ œ œ œ ˙ œ. œ œ
& 4 œ œ œ ˙ J
œ
P
? # # # 44 ˙ . œ ˙. œ w
MP
### w œ œ œ œ
& œ w
? # # # ˙˙ ˙˙ ˙ ˙ ww
[4]

SA
Andante (c 90)
b
& b b 44 œœ .. j
œœ ˙˙ œœ ..
j
œœ ˙˙ œ œ œ œ
F
? bb 4 w w ˙
b4 ˙
b
&bb ˙ Œ œœ
˙ œœ œœ ww
? bb œ
b . œ. œ. œ. Ó Œ œ w
[4]
Please note: The tests shown are examples: The examiner will give you a different version in the exam.
42
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SAMPLE PACK
Duration 1 min 45 secs–2 min 15 secs
Four sharps or flats (or fewer, but accidentals may occur within the piece)
Key
There may be very occasional, simple key changes
Tempo 60-150 bpm
Time Signatures 4/4, 3/4, 2/4, 6/8, 9/8, 12/8. There may be very infrequent, simple time signature changes
Semiquavers and rests in more complex groupings, occasional demisemiquavers, syncopation.

Rhythmic values
Simpler rhythms appear in conjunction with other elements (e.g. more detailed harmonic work)
Articulation &
Articulation and phrasing will have variety and may differ between hands at simultaneous points
Phrasing
Melodic Features Intervallic transitions may span over an octave and frequent accidentals may occur
Harmonic Five note chords may appear in either hand, and partial chords may be combined with melodic
Features elements
Rhythmic Features Rhythmic groupings may differ more frequently between hands or occur simultaneously
Other Features Variety in voicings and accompaniment styles within sections
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Allegro in F Major S
Composer: Franz Joseph Haydn (1732–1809)
Nationality: Austrian
Date: Unknown
‘Allegro in F Major’ is an instrumental solo by Austrian Composer Joseph Haydn. The date and original intent of the
composition is difficult to pin point, but it can now be found in a collection of Haydn’s work intended for beginner to
intermediate pianists: 12 Easy Pieces (2014). It is now regularly used as a teaching and learning aide.
Joseph Haydn was born in 1732 in a small village of Austria, near the borders of Hungary. From a young age, Haydn
showed great musical potential but unfortunately the village in which he lived offered little opportunity. For this reason,
the young musician was sent away to study under his relative and went on to become a skilled violin and harpsichord
player. Haydn composed an incredible number of works and was thought to be instrumental in the development of
chamber music.
Preparation Ų
There are so many technical details within this piece that it is worth taking time to step back and look at the piece as
a whole, listening and following along with the music. Notice that this piece is written in ternary form with a short coda
at the end. Listen out for how the opening eight-notes of the melody is re-used in different ways throughout the piece,
particularly the first two-note quaver (eighth-note) pattern falling across the bar line. Take note of how Haydn uses
dynamics and different articulations to create a constantly changing soundscape.
The first eight bars form the opening A section. Take time to learn the parts separately to both secure your finger
patterns and accurate articulations. Notice the suggested finger pattern in bar 3. Changing the finger on a repeated note
will ensure you lift between notes, helping you to deliver a relaxed but crisp sounding staccato effect. It will also avoid
fatigue in what is often our weakest finger.
The B section starts after the repeat with a harmonised re-iteration of the original melody. Make sure to bring out
the top melody through this section. Rehearse this passage a much slower tempo to ensure you can hear all the notes
clearly with good dynamic contrast between the legato and staccato notes. As the two-note motif is playfully extended
and re-used throughout the second half of the B section, right up until the end of bar 26, be careful to keep a steady pulse
going through this passage or risk inadvertently slowing down or speeding up!
Leading into bar 27, the music returns to the original melody from the opening section, dropping down in bar 30 to
allow for a dramatic crescendo. The short coda section leading into bar 35 requires quick hand position changes and a
good independence of articulation between both hands in bars 28 to 41, before the final chordal flourish.
Performance p
This lively piece is a wonderful exercise in taking a simple melodic idea and then recycling and reshaping different
elements to create an entire piece full of charm and contrast. A good performance will be technically accurate and set
at a fast but controlled tempo that allows the music to sound full of life and energy. Of equal importance will be the well-
observed dynamics and articulations that bring definition and sparkle to the performance.
0
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Allegro in F Major
from 12 Easy Pieces By Franz Joseph Haydn

LE

MP

SA


Copyright © 2020 by HAL LEONARD LLC
International Copyright Secured All Rights Reserved 11
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Sight Reading
In the sight reading test, the examiner will give you an 8 bar piece in E major or A b major, to be played unaccompanied.
You will first be given 90 seconds to practise. After the practise time, the examiner will ask you to commence the test.
While the assessed part of the test is not played to a metronome click, you may ask to hear the minimum tempo on a
LE
metronome at the start of, or throughout your practice time. Additionally, you may ask to hear a few seconds of the tempo on
a metronome before the assessed part of the test begins.
Adagio (c 66)
#### c œ . œ œ. œ œ œ
j
& œ. œ œ. œ œ œ œj œ . ˙
J w
f p >œ
œœ œœ ..
? # # # # c œœ Œ Ó Œ
œœ
Œ ‰ Ó Œ
œ œ œ
MP
#### œ . œ œ. œ œ œ j
& J w œ. œ œ œ w
f
œœ ˙ ˙˙
? # # # # œœ Œ Ó Œ
œœ
Œ ˙
www
[5]

SA
Adagio (d66)
b œ œ œ œ œ œ j
& b b b 68 œ. œ Œ ‰ œ œ œ œ œ œ œ. œ œ œ
p œœ .. œœ .. œœ ..
œ . œœ .. œ. œ.
? b b b 68 œ.
b
b œ œ œ œ œ œ œ œ œ œ œ œ
& b bb
œ œ œ œ. ˙.
f
œœ .. œœ .. œœ .. œ. ˙˙ ..
? bb b œ. œ. œ.
b
[5]
Please note: The tests shown are examples: The examiner will give you a different version in the exam.
46
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Contemporary Improvisation & Interpretation
In the Improvisation & Interpretation test, the examiner will give you a 8–12 bar chord progression in the key of either
E major or A b major. You will first be given 90 seconds to practise, after which the examiner will play the backing track
twice. The first time is for you to practise and the second time is for you to perform the final version for the exam. For each
playthrough, the backing track will begin with a one bar count-in. The tempo is q = 60–130.
LE
■ At this grade, you have the choice to improvise either a melodic line or a chordal part to complement the backing track.
■ During the preparation time, you will be given the choice of a metronome click throughout or a one bar count-in at
the beginning.
■ The backing track is continuous, so once the first playthrough has finished, the count-in of the second playing will
start immediately.

q = 100
#### 4 E G#m F#m

MP & 4 ’ ’ ’ ’
B
’ ’ ’ ’
A E
’ ’ ’ ’ ’ ’ ’ ’
#### E B A A B
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
####
[5]
A B E A B E
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[9]

SA
q = 100
b Eb Db Ab Bbm
b bbb 4 A Cm
& 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Ab Eb Db Db Eb
& bbbb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Db Eb Ab Db Eb Ab
[5]
& bbbb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
[9]
47
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SAMPLE PACK
Duration 2 mins–2 mins 45 secs
Five sharps or flats (or fewer, but accidentals may occur within the piece)
Key
There may be occasional key centre changes
Tempo 60-160 bpm
4/4, 3/4, 2/4, 6/8, 9/8, 12/8. There may be occasional time signature changes, or odd time
Time Signatures
signatures depending on the complexity of the music
Semiquavers and rests in more complex groupings, occasional demisemiquavers, semiquaver
Rhythmic values syncopation. Simpler rhythms appear in conjunction with other elements (e.g. more detailed
harmonic work)
Articulation & Articulation and phrasing will have variety and may differ between hands at simultaneous
Phrasing points. More subtlety of control between legato and staccato will likely be required
Melodic Features Intervallic transitions over an octave may be regular, and frequent accidentals may occur
Features elements. Chordal cluster voicings may be more advanced or more frequent
Rhythmic groupings may differ frequently between hands and occur simultaneously; faster
Rhythmic Features
note values may be more repetitive/continuous
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‘Staccato Beans’ 
Composer: Tan Dun (b.1957)
Nationality: Chinese
Source/Date: Eight Memories in Watercolour (1978/2002)
‘Staccato Beans’ is a piano solo by Chinese composer Tan Dun. The piece features in both Tan Dun’s 1978 suite, Eight
Memories in Watercolour, and in its 2002 revised release. This collection of piano solos is said to blend traditional Chinese
folk music with sounds of the Western World. Dun’s original release is said to recall the period of his life in which the
violence of the Cultural Revolution was coming to an end and Western music was no longer banned, hence its important
inclusion in his composition.
Tan Dun is a Chinese composer, multi-instrumentalist and conductor. He is widely known for his work in music for film,
including scores for Hero and Crouching Tiger, Hidden Dragon, as well as his compositions for the 2008 Beijing Olympics
medal ceremonies.
Preparation 
As with all pieces that are intended to be performed at a fast pace, taking time to secure the basics first is a crucial step
in the preparation process. The note patterns and finger position changes are relatively easily mastered. Be careful not to
raise the tempo too quickly until you have truly mastered the articulations and dynamic changes.
Good hand positions and relaxed wrists are required to allow the various staccato and accented notes to be effective.
Be sure to practise the left-hand opening bar in isolation, aiming for a clear contrast between the legato and staccato
notes. Keep an even volume across the bar, taking care not to overly accent the first note of each bar so that when accents
are required, they will have more of an impact.
When ready to assemble both parts together, rehearse at a slower speed to take the time needed to understand
how best to balance the parts. Unlike some pieces where one hand takes on an accompanimental role throughout, this
piece switches roles between both hands, as well as points where both hands should be well balanced to allow both
contrapuntal lines to sing out, such as in bars 19 to 24.
The piece is an exercise in dynamic variation and control, sometimes moving from one extreme to another within the
space of a couple of beats. It can be challenging to control dynamics effectively and without affecting your articulation
or tempo. If this is proving challenging, you may find rehearsing along to a metronome click will help to maintain an even
pulse throughout.
Performance p
‘Allegro scherzando’ translates as fast and playful. With a wide range of articulations and an equally varied range of
dynamics, this extrovert piece is full of energy and character. The faster tempo on repeat helps to drive the performance
forward to an even more exhilarating second half and final flourish. While the energy and drive needs to be constantly
present, particularly in the quieter passages, be careful not to let this piece turn into a runaway train.
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‘Staccato Beans’
Tan Dun
. .
œ3 œ œ. œ œ œ. >œ. >œ. 3.
Allegro Scherzando [ q = c.1 44]
&b 4 ∑ ∑ ‰ J
2 œ œ
{ ? 2 œ
. . mp
œ. œ. œ. œ. œ. œ. œ. œ.
LE
b4 œ œ œ œ
1 2
5 2
(the second time faster)
œ. œ. œ. œ œ. >œ. >.
œ ‰ œJ œ œ. œ. œ. œ œ.
&
{
b œ œ œ
œ. œ. œ. œ. œ. œ. . œ. f
? œ œ
œ
& œ œ œ
œ œ œ œ
>. >. >
MP 6
b œ œ
4
“3” . .
>œ. >.
œ Œ œ œ œ. œ œ œ œ. >œ. >œ. 3. . .
œ œ œ. œ
&b ∑ ‰ J
œ
{
.j .j .j .j
‰ œ ‰ œ
p
œ ‰ œ œ ‰ œ
&b œ œ œ. œ. œ Œ
œ œ
-3 -
˙ ˙
> >. -4
˙
-5
˙
11
:“;
œ œ. >œ. >œ. œ œ œ. œ. œ. œ œ œ. >œ œ.
‰ Œ Œ œ. œ. œ œ
4
SA
&
3
J
. . œ. œ.
{
b œ
.j .j
>œ. >œ. >œ
f
‰̇ œ œ ‰ œ . . œ. œ. >œ œ.
‰ œ. œ œ Œ ∑ ?
j
&
œ œ
b
- -
˙
4 2 1 3
17
>. >œ1. >œ1. >œ. >œ. œ >.

3 5
& j ‰ Œ ∑ œ ‰ œ œœ œœ œœ œœ
3 4
{
b
J > > > >
œ œ œ
œ. œ œ œ œ œ
œ. œ. œ. œ. œ. œ. œ. œ. œ œ. œ. œ œ œ. œ.
ff
? œ œ œ œ
b œ œ œ œ œ
24 1
5 2
Copyright © 1996 by G. Schirmer, Inc. (ASCAP), New York, NY

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Technical Exercises
Candidates can choose to play either natural minor or harmonic minor scales
■ Major scales, minor scales, chromatic scales and arpeggios need to be played hands together, in legato feel,
ascending and descending, across three octaves (except contrary motion scales and pentatonics, which must be
LE
played over two octaves).
■ Candidates must choose to play either natural minor or harmonic minor or melodic minor scales in the exam.
The examiner will ask the candidate to state which set of minor scales they have prepared.
MP Group A: Scales
1. B major (three octaves, two octave example shown)
#### œ œ œ œ œ œ œ œ œ œ œ œ œ
5
3 4 1 4
& #
2 2 3
œ
1
œ
1 2 3 1 2 3
œ œ œ œ œ œ
? #### œ œ œ œ œ œ ?œ œ œ
# œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ
4 3
œ 2 1 4
œ œ œ œ
3 2 1
2 1 4 3 2 1
3
2. B major | contrary motion
SA
#### œ œ œ
5
3 4 1 4
& #
2 2 3
œ
1
œ
1 2 3 1 2 3
œ œ œ œ œ œ
? #### œ œ œ œ œ œ œ œ œ œ œ œ œ
# œ œ œ œ œ œ œ œ
1 2 œ œ œ œ œ œ œ œ
3 4 1 2 3 1 2 3 4 1 2 3 4
3. D b major (three octaves, two octave example shown)

b œ œ œ œ œ œ œ
2
& b bbb œ œ œ œ œ œ œ œ
4 1
3
œ œ œ œ œ
2 1 2
2 3 1 3
3 4 1 2
œ
? bb œ œ œ œ œ œ œ œ œ œ œ œ ?œ œ œ œ œ
bbb &œ œ œ œ œ œ œ œ œ œ œ
3 2 1 3 2 1 4 3
3 2 1 4 2 1 3
50
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Technical Exercises
Group C: Technical Studies

In this section candidates must perform their choice of one of the following technical studies.
Technical Study 1
Allegro
bb œ œ œ œ œ
5 2
& b b bb c ≈ œ œ œ œ œ œ ≈ œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ
4 1
1 2 4
p
? b b b b c ˙˙ ˙˙ ww
LE
1
3
bb
bb
& b b bb ≈ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
5 2 3 1
nœ œ œ œ
5 4 3 2 5
œ nœ œ œ œ œ œ œ œ œ œ œ
1 2 3 1 2 3 4
f p
? b b b ˙˙ ˙˙ ww ˙˙˙ ˙˙˙
1
MP
bbb
[3]
2
4
1
3
2
4
b
& b bbbb b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ r ≈ ‰ Œ
5 4 3 2 5 5 4 4 5 4 4 5 4
4 2 1 2 5 3 2 2 3 5 3 2
1 1 4 2 1 2 1
œ œ œ
f
? b b b ˙˙˙ ˙˙˙ ˙˙ ˙˙ œ ≈ œ œ œ œj ‰
1
Œ
3 2 1
bbb
5 5 4 2
[6] 5
1 2 3
SA
This study has been adapted from No. 73, 125 Exercises in Passage Playing, Op. 261(Czerny)
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SAMPLE PACK
Duration 2 min 15 secs–3 mins
Six sharps or flats (or fewer, but accidentals may occur within the piece)
Key
There may be key centre changes
Tempo 50-200 bpm
4/4, 3/4, 2/4, 6/8, 9/8, 12/8. There may be more regular time signature changes, or occasional
Time Signatures
irregular time signatures
Semiquavers and rests in more complex groupings, semiquaver triplets, demisemiquavers and
Rhythmic values frequent syncopation may occur. Simpler rhythms will appear in conjunction with other
elements (e.g. more detailed harmonic work)
Dynamics [PP, F, MP, MF, FF], crescendo (<) and diminuendo (>)
Phrasing points.
Features elements. Chordal cluster voicings may be more advanced, denser and/or more frequent
Rhythmic Features
note values may be more repetitive/continuous
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‘Silk Hat & Walking Cane’ 
Composer: Florence Price (1887–1953)
Nationality: American
Source/Date: Dances in the Canebrakes (1953)
‘Silk Hat & Walking Cane’ features as the third movement in Florence Price’s piano suite, Dances in the Canebrakes.
Originally composed for piano solo, the suite was also for orchestra.
Florence Price was an African-American composer born in Little Rock, Arkansas in 1887. She was initially taught
music by her mother, a respected music teacher and went on to study piano and organ at the New England Conservatory,
Boston. She began as a teacher and performer, but later in life went on to establish herself as a leading composer of
orchestral pieces, radio adverts and silent films. Her Symphony in Em was first performed by the Chicago Symphony
Orchestra in 1933 to great acclaim and, like her piano works, brings together stylistic features from both European and
African-American traditions, reflecting her own cultural influences and passions.
Preparation 
While much of the melodic material fits neatly under the fingers, there are several points in the music where the right
hand plays two simultaneous lines requiring careful balance and phrasing, for example, in bars 14 to 23. Bars 21 and 22
involve holding the upper note while phrasing pairs of dyads underneath. This pattern can be easily adapted to create
an effective warm-up exercise by ‘staircasing’ the motif in bar 21 as an ascending sequence. Try experimenting with
different articulations to develop your ability to phrase multiple independent lines within the same hand.
The observance of rests, articulations and dynamics will help bring this piece alive. You may find that subtle rubato and
additional dynamic shaping may be useful in bringing out the character and charm of the music. The move into the second
main section at bar 55 benefits from a clear drop in dynamics for the two-bar introduction, before the melody enters in
the following bar. Enjoy the constantly changing textures and articulations in this middle section, keeping the staccatos
and accents precise so that the legato melody line can soar above.
The final section reprises the opening sequential melody with an increasing sense of scale and drama. Bars 94 to 98
will benefit from rehearsing slowly and in isolation to secure the fingering patterns and clean phrasing before applying
the accelerando. Once secure, also take time to rehearse those bars leading in and out of this passage to secure the
transition between phrases. Make sure you practise the final chord, starting to move the left hand over the top of your
right hand as soon as it has finished playing the three lower notes to allow for a fast and confident spread chord effect.
Performance p
The title of this third movement of Florence Price’s ‘Dances in the Canebrakes’ evokes an image of a glittering ballroom
full of theatrical drama and elegance. The flowing, syncopated melodic line, complete with straight eighth-note pattern
accompaniment of the opening sequence, sets the mood for the poised and graceful cakewalk style. Set in three parts, a
successful performance will be full of charm, light and shade, and sound effortless.
7
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‘Silk Hat & Walking Cane’
Florence Price
Moderato (q = 70)
œ œ œ œ œ œ œ œ œ œ1 œ5 œ3 œ œ œ œ œ1 œ5 œ4
&b 4
2
{
œœ œœ œœ
mflegato
LE
? œ œœ œ œœ
& b 4 œ œœ œ
2 œœ œœ œœ
œ œ œ œœ œ œœ
‰
œ œœœœœœ œœ œœœœœ
& œœ œœ
œœœ
{
b œœœ œœ œœ
? œ œœ œ œœ œœ ‰ œœœ œ œœœ ‰ j œ œ
œ
&œ
œ œ œœ
MP 5
b
5
1
3 5
1
2
4
œ œ
5
J œ
1 5 1
2
4
2
œ œœ1 œ œœ1
4 2 5 2
&b
œœ œœœœœ œœ œ œ ‰
œœœ
{
œœœ œœ œ œ ˙œ
˙ œ
? œ œœ œ œœ œ œœ œ œœœ œœ ‰ œœœ œ œ œ œ. .
&b œ œ J œ
œ œœ œ œœ
10
5
5 2
œ ™ œ œ œj œ ™
4 5 3 1
‰ œœœœœ ˙
4
j
&
œ
{
b œ œ œ œ œ œ œœ œ œ œœœ
SA
J œœ œœœœœ
1 3 2 4 2 1 1 3 2 1
cresc. ff
œœ dim.
? œ
œ œ œœœ œ
b œ œ œ œ œ œ œ œ œ œ œ
15
œ œ œ œ
2 1 3 1 3
3 1
&b
5 5 5 1
œ
{
‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ œ1 œ2 œ œ3 œ nœ œ œ nœ œ œ
œ œ œ œ ˙ #˙ ˙ œ nœ œ
œ œ
œ œ 1 2 1
? œ œ
b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
20 œ
Copyright © 1953 by G. Schirmer, Inc. (ASCAP), New York, NY
8 Copyright Renewed
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Technical Exercises
■ Major scales, minor scales, chromatic scales and arpeggios need to be played hands together, ascending and descending
across four octaves.
■ Contrary motion scales and pentatonic scales need to be played hands together, ascending and descending across two octaves.
LE
■ The examiner may also ask for legato or staccato.
MP Group A: Scales
The minimum tempo for this group is q =152 bpm.
1. F # major (four octaves, two octave example shown)
#### # œ œ œ œ œ œ œ œ œ œ
4 1 2
œ
3
& # œ œ
2
2 3 4 1 2 3 1 2 3 1
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
? #### # œ œ œ œ œ œ œ
# œ œ œ œ œ œ œ œ œ œ œ
3 2 1 3 2 1 3 2 1 2
4 4
3 2 1
2. F # major | contrary motion

SA
# œ œ œ œ
2
# # œ œ œ œ œ œ
3 1
& # ## œ œ œ œ œ œ
1 2
œ œ œ œ
2 3 4 1 3 4
1 2
2 3
? #### # œ œ œ œ œ œ œ
# œ œ œ œ œ œ œ œ œ œ œ œ
2 1 2 3 1 2 3 4 1 2 3 1 2 3 4
3. G b major (four octaves, two octave example shown)
b œ œ œ œ œ œ œ œ
& b bbbb œ œ œ
2 1 2
2 3 1 3
2 3 4 1 3 4 1 2
œ œ œ œ
? bb b b œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
bb œ œ œ œ œ
4 3 2 1 3 2 1 3 2 1 2
3 2 1 4
52
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Sight Reading
In the sight reading test, the examiner will give you a 12–16 bar piece, to be played unaccompanied. You will first be
given 90 seconds to practise. After the practise time, the examiner will ask you to commence the test.
LE
b ˙˙
Allegretto
b
& b b 44 ˙˙ ˙
˙
˙˙ n˙ ˙˙
F ˙ ˙ ˙˙ ˙˙
˙
? b b 44 ˙˙ ˙ w
b
MP
b ˙ ˙ ˙˙ ˙ ˙˙ ˙œ
&bb ˙ ˙ ˙ œ
˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙
? b
bb
[4]
b
& b b ˙˙ œ˙ nœ n ˙˙ ˙˙˙ ˙˙ ˙˙
SA
˙
f
˙ œ nœ n˙ ˙ ˙˙
? b œ œ ˙ ˙ ˙
bb n˙ ˙
[7]
b ˙˙ ˙˙
& b b ˙˙˙ ˙
rit.
n ˙˙ ˙˙ w
˙ ˙ w
˙˙ ˙˙ ˙˙ ˙˙ w
? bb ˙ ˙ w
b ˙ ˙
[10]
Please note: The test shown is an example. The examiner will give you a different version in the exam
60
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PIANO
SAMPLE PACK
FREE CHOICE PIECE
RSL CLASSICAL GUIDELINES
PIANO GRADE 7 |MUSICAL
Grade 7 SKILLS AND FEATURES
Duration 2 mins 30 secs–3 mins 30 secs
Seven sharps or flats (or fewer, but accidentals may occur within the piece)
Key
There may be more frequent key centre changes
Tempo 50-200 bpm
Time Signatures Any, with changes
Any, up to demisemiquavers. Complex combinations beyond semiquaver triplets will not be

frequent, but variations may occur regularly. Simpler rhythms will appear in conjunction with
Rhythmic values
other elements (e.g. more detailed harmonic work, faster tempos or more complex time
signatures)
Dynamics Any, with changes, and including strong contrasts
Phrasing points. Subtlety of control between legato and staccato will be required
Features elements. Chordal cluster voicings may be more advanced, denser and/or more frequent
Rhythmic Features
note values will be more repetitive/continuous and combine in both hands
Voicings and accompaniment styles within sections will show depth and variety of technique
Other Features
Cadenzas may feature
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‘Deep Sleep Playing’ 
‘Deep Sleep Playing’ 
‘DeepComposer:
Sleep Playing’
Michael Nyman (1944) 
Nationality:
Composer: British
Michael Nyman (1944)
Source/Date:
Nationality: The Piano (1993)
Composer: British
Michael Nyman (1944)
Source/Date:
Nationality: The Piano (1993)
British
‘Deep Sleep Playing’ was written by Michael Nyman and featured in the 1993 film release, The Piano. Although the
piece Source/Date:
doesn’t The Piano (1993)
‘Deep Sleepfeature
Playing’on the
was official
writtensoundtrack,
by Michael itNyman
does make an appearance
and featured in the in thefilm
1993 film release,
and is also
The included in the official
Piano. Although the
sheet
piece music.
doesn’t Nyman
feature received
on the two esteemed
official nominations
soundtrack, it does for
make The
an Piano, the
appearance Golden
in the Globe
film andAward
is also and the BAFTA
included in thefor Best
official
‘DeepScore,
Original Sleep and
Playing’
the was written
album achieved byGold
Michael Nyman
status and
in both thefeatured
UK Piano,in the
and the 1993 film release, The Piano. Although the
States.
sheet music. Nyman received two esteemed nominations for The the Golden
piece doesn’t feature on the official soundtrack, it does make an appearance in the film GlobeandAward
is alsoand the BAFTA
included in thefor Best
official
Original
sheet Score,
music. and
Nyman the album achieved Gold status in both the UK and the States.
Michael Nyman is received two esteemed
a British pianist nominations
and minimalist for The
composer. HePiano,
is bestthe Golden
known forGlobe Award
his work andscores,
in film the BAFTA for Best
but has also
Original
written Score,
a number and the album achieved Gold status in both the UK and the States.
Michael Nymanofisoperas and
a British has released
pianist severalcomposer.
and minimalist studio albums.
He isNyman has received
best known manyinaccolades
for his work throughout
film scores, his
but has also
career
writtenand is highly
a number regarded among both musicians and the public, perhaps most notably he was appointed CBE in 2008.
Michael Nymanofisoperas and
a British has released
pianist severalcomposer.
and minimalist studio albums.
He isNyman has received
best known manyinaccolades
for his work throughout
film scores, his
but has also
career and is highly regarded among both musicians and the public, perhaps most notably he was appointed
written a number of operas and has released several studio albums. Nyman has received many accolades throughout his CBE in 2008.
career and is highly regarded among both musicians and the public, perhaps most notably he was appointed CBE in 2008.
Preparation 
Preparation 
This piece falls into five contrasting sections, each with its own technical challenges. While the opening thematic material
Preparation
is reworked in sections 3 and 5, these are not straight repeats and have their own tempos and subtly different characters. 
This piece falls into five contrasting sections, each with its own technical challenges. While the opening thematic material
is reworked
This piecein sections
falls 3 and
into five 5, these sections,
contrasting are not straight
each repeats
with itsmeans
own and have their
technical own tempos
challenges. andthesubtly different characters.
The opening performance direction ‘cantabile semplice’ ‘play simply’ and ‘inWhile
a singing opening thematic
style’. Once material
the notes are
is reworked
secure, rehearsein sections 3 and 5, these
placing eachdirection are not
chord precisely straight
and repeats
quietly, meansand have
gently leaning their own
into the tempos and subtly different characters.
The opening performance ‘cantabile semplice’ ‘play simply’ andfirst
‘in anote of each
singing two-bar
style’. Once the phrase
noteswith
are
a light
secure, accent
rehearse on the first
placing beat
each of the
chord second
precisely bar of
and the phrase.
quietly, As
gently the music
leaning quickly
into the accelerates
first note of through
each bars
two-bar 6 and
phrase 7,with
the
The opening
dramatic effect performance
isthe
heightened direction
bythe ‘cantabile
thesecond
rapid semplice’
crescendo. means ‘playwill
A metronome simply’ and ‘inin
bequickly
helpful a singing
monitoring style’. Once
your the notes
tempo until are
the
a light
secure, accent
rehearse on first
placing beat
each of
chord precisely bar of
and the phrase.
quietly, As
gently the music
leaning into the accelerates
first note of through
each bars
two-bar 6 and
phrase 7, the
with
transition
dramatic becomes
effect instinctive. by the rapid crescendo. A metronome will be helpful in monitoring your tempo until the
a light accent onistheheightened
first beat of the second bar of the phrase. As the music quickly accelerates through bars 6 and 7, the
transition
dramatic becomes
effect is instinctive. by the rapid crescendo. A metronome will be helpful in monitoring your tempo until the
heightened
The second section should retain energy and drive until the final bar (bar 15). A good hand position and relaxed wrist
transition
areTherequired becomes
tosectioninstinctive.
deliver the repeated
second should retain triplet
energychords,
and driveemphasising eachbar
until the final half bar.15).
(bar EnsureA goodthathand
you lift the pedal
position as instructed
and relaxed wrist
to avoid
areThe a
required muddyto texture
deliver theand bring
repeated out the
triplet melody
chords, in the bass
emphasising line.
each half bar. Ensure that you lift the pedal as instructed
second section should retain energy and drive until the final bar (bar 15). A good hand position and relaxed wrist
to avoid
areAlthough a muddy
required texture
to deliver theand bring out
repeated the melody
triplet inemphasising
the bass line.
the third section re-visits thechords,
melodic material from each half
the bar. Ensure
opening that take
section, you lift
notetheofpedal as instructed
the performance
to avoid
direction a muddy
‘tempo texture and bring out the melody in the bass line.
Although the primo ma piu mosso’,
third section re-visitsi.e. atmelodic
the the original tempofrom
material but with
the more
openingmovement.
section, Practise
take note bars 20–21
of the in isolation
performance
to secure ‘tempo
direction finger patterns and
piuensure that each note can be heardbut clearly,more
phrased in pairs. Practise bars 20–21 in isolation
Although the primo ma
third section mosso’,
re-visitsi.e. atmelodic
the the original tempo
material fromwith the opening movement.
section, take note of the performance
to secure ‘tempo
direction finger patterns
primo ma and
piuensure
mosso’,that
i.e.each
at note
the can be
original heardbut
tempo clearly,
with phrased
more in pairs. Practise bars 20–21 in isolation
movement.
The fourth section has an ABA structure with a contrasting middle section in time. Study each part separately and
f
to secure
at aThe
slower finger
tempo patterns
to secureand ensure that each note can bephrasing
heard clearly, phrased in pairs.
fourth section has antheABA notes, articulations,
structure and
with a contrasting before
middle putting
section in both
f time.together.
Study eachAt bar 30,separately
part add extra armand
weight
at aThe to
slower help
tempoemphasise
to secure the octave
the notes,minims (half
articulations, notes)
and marked
phrasing ‘pesante’,
before meaning
putting both heavy, as
together. the
At bass
bar line
30, addrevisits
extra the
arm
phrase fourth
first section
heard has an
in the second ABA structure
section. with
Keep(half a
up thecontrasting
volume middle section
and intensity rightin f time.
through Study
the as each
final part
eight separately
bars to and
allow the
for
weight
at to
a slower help
tempoemphasise
to secure the octave
the notes,minims
articulations, notes)
and marked
phrasing ‘pesante’,
before meaning
putting heavy,
bothagain
together. the
Atoutbass
bar 30,line revisits
addwith
extra arm
plenty
phrase of contrast
first heard with the final
in the second six bars
section. of the piece.
Keep(half
up the The
volumefinal section
and intensity should once sound simply a final
weight
ritardandoto help
in theemphasise
penultimate thebar.
octave minims notes) marked ‘pesante’,right through
meaning the as
heavy, final
theeight
bassbars
line to allow the
revisits for
plenty of contrast with the final six bars of the piece. The final section should once again
phrase first heard in the second section. Keep up the volume and intensity right through the final eight bars to allow for sound out simply with a final
ritardando in the penultimate
plenty of contrast with the finalbar.six bars of the piece. The final section should once again sound out simply with a final
ritardando in the penultimate bar.
Performance p
Performance p
A good performance will be technically accurate and deliver expressive and contrasting sections with excellent control
Performance
over p
dynamics, tempo and meter. As with all minimalist compositions based around repetition and change, it is important
A good performance will be technically accurate and deliver expressive and contrasting sections with excellent control
to find
over nuance and
dynamics, musical
tempo and expression
meter. in both
As with all each individual
minimalist motifs and
compositions across
based the whole
around composition
repetition to deliver
and change, a varied
it is important
andA good performance
cohesive will
performance. be technically accurate and deliver expressive and contrasting sections with excellent control
to find nuance and musical expression in both each individual motifs and across the whole composition to deliver a
over dynamics, tempo and meter. As with all minimalist compositions based around repetition and change, it is important varied
and cohesive performance.
to find nuance and musical expression in both each individual motifs and across the whole composition to deliver a varied
and cohesive performance.
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‘Deep Sleep Playing ‘
Michael Nyman
>
# -œœ # -œœ œœ #œœ> œ ˙ # -œœ # œœ ™™
q = 56
œœ ™™ œœ ™™
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œœ œœ # œ ˙˙ œœ
& 4 #œ
3 œ™ œ™ œ œ œœ ˙˙
{
œ œ #œ ˙ #œ œ
J J J
pcantabile
LE
semplice
& 4 œœ
3 ˙˙ œœ ˙˙ œœ ˙˙ #œ ˙ œœ ˙˙
œ ˙
P ø ø ø ø ø ø ø
> accel. molto h = c.72

#œ œœ œœ œœ œœ œœ œœ œœ 4 >œœ œœ œœ >œœ œœ œœ >œœ œœ œœ >œœ œœ œœ
œ >œ œ œ œ œ œ >œ œ œ œ œ œ
& œ œ œ œ œ œœ œ 4 œ œ œ œœ œ œœ œ œœ œ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
{
MP 3 3
4Ó
3 3 3
>
3
ff marc.
3
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ø ø ø ø ø ø ø
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3
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œ œœœ >œœœ œœœ œœœ œœœ œ œœœ
&
{ >œ >œ >œ >œ >œ >œ

3 3 3 3
>œ
3 3 3 3 3 3 3 3
>œ >˙ ™ >œ

SA
? œ
œ
œ œ œ œ œ œ œ œ ˙™ œ
ø ø ø ø ø ø ø
9
œ>œœœ œœœœ œœœœ œœœœ œ œœœœ œ>œœœ œœœœ œœœœ œœœœ œ œœœœ
4
>œ œ œ œ œ œ >œ œ œ œ œ œ
3
>œœ œœ œœ œœ œ œœ >œœ œœ œœ œœ œ œœ
2 3
2 2
1 1
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
{
œ œ œœ œœ œ œœ œ
œ> œ> œ> œ> œ> œ> œ> œ> œ> œ

3 3 3 3 3 3 3 3 3 3 3 3
? œ œ> œ>
>œ
œ œ œ œ œ œ œ œ œ œ œ œ
ø ø ø ø ø ø ø ø ø ø
12
26 © Copyright 1993 Michael Nyman Limited and Chester Music Limited

Reprinted by Permission
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Technical Exercises
■ Major scales, minor scales, chromatic scales and arpeggios need to be played hands together, ascending and descending
across four octaves.
■ Contrary motion scales need to be played hands together, ascending and descending across two octaves.
LE
■ Major scales in thirds need to be played hands separately, ascending and descending across two octaves.
■ Candidates must choose to play either natural minor or harmonic minor or melodic minor scales in the exam.
The examiner will ask the candidate to state which set of minor scales they have prepared.
MP Group A: Scales
The minimum tempo for this group is q =160 bpm (except C major scale in 3rds: q =100 bpm)
1. C # major (four octaves, two octave example shown)
#### ## œ œ œ œ œ œ œ œ œ œ œ œ œ
2
& # œ œ œ œ œ œ œ œ œ œ œ œ
3 4 1 2 4 1
2 3
œ œ œ œ
2 3 1 2 3 1
? #### ## œ œ œ œ œ œ œ œ ?œ œ œ œ
# & œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
3 2 1 3 1 4 3
1 4 2 3
3 2 2 1
SA
2. C # major | contrary motion
#### ## œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
2
œ œ
3 4 1 2 4 1
& # œ
3
œ
2
œ œ œ œ œ
1
œ
2 3 1 2 3
œ œ
? #### ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ
# œ œ œ œ œ œ œ
3 1
2 3 1 2 3 4
4 1 2 3 1 2 3
3. C b major (four octaves, two octave example shown)
bb b b b œ œ œ œ œ œ œ œ œ œ œ œ œ
5
& bb œ œ œ œ œ œ œ œ œ œ œ œ œ
2 3 4 1 3 4
1 2
3
œ œ œ
1 2 3 1 2
? bb b b œ œ œ œ œ œ œ œ ?œ œ œ œ
bbb & œ œ œ œ œ œ œ œ œ œ œ œ
œ 4
œ œ œ œ
3 2 1 2 1 4
1 3
4 3 2 3 2 1
52
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NOW
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PIANO
SAMPLE PACK
Duration 2 mins 30 secs – 3 mins 45 secs
Key Any, with changes
Tempo 50-200 bpm
Time Signatures Any, with changes
Any. Complex combinations beyond semiquaver triplets may be frequent and variations may
Rhythmic values occur regularly. Simpler rhythms will appear in conjunction with other elements (e.g. more
detailed harmonic work, faster tempos or more complex time signatures)
Dynamics Any, with changes, and including strong contrasts
Articulation and phrasing will have wide variety and may differ between hands at
Articulation &
simultaneous points throughout. Subtlety of control between legato and staccato will be
Phrasing
required
Five note chords may appear in either hand, and partial chords may be combined with melodic
Harmonic
elements. Chordal voicings may be more advanced, denser and/or more frequent, and differ
Features
regularly
Rhythmic Features
note values will be more repetitive/continuous and combine in both hands
Voicings and accompaniment styles within sections will show advanced depth and variety of
Other Features technique
Cadenzas may feature
LEARN MORE
Welcome to RSL Classical Piano Grade 8
Welcome to the RSL Classical Piano Syllabus 2020. This syllabus is designed to support pianists in their progression from
Debut to Grade 8 through an engaging and rigorous pathway. The grade books contain a diverse repertoire selection
supported by techniques and musical skills required for success as a classical pianist. For students engaging with
contemporary styles such as jazz, rock and pop, we have included improvisation tests from RSL’s contemporary piano
syllabus, which are an optional alternative to sight reading tests all the way through the grades.
Piano Exams
At each grade you have the option of taking one of two different types of examination:
■ Grade Exam
A Grade Exam is a mixture of music performances, technical work and tests. You are required to prepare three pieces (two
of which may be Free Choice Pieces) and the contents of the Technical Exercise section. This accounts for 75% of the exam
marks. The other 25% consists of: either a Sight Reading or a contemporary Improvisation & Interpretation test (10%),
one Ear Test (10%), and five General Musicianship Questions (5%). The pass mark is 60%.
■ Performance Certificate
A Performance Certificate is equivalent to a Grade Exam, but in a Performance Certificate you are required to perform five
pieces. A maximum of three of these can be Free Choice Pieces. Each song is marked out of 20 and the pass mark is 60%.
All elements required to participate in an RSL exam can be found in the grade book. These are as follows:
■ Exam Pieces
The 2020 syllabus includes ten pieces at each grade, selected to give students a fun, engaging and rewarding learning
experience. Students may also submit alternative pieces from extended lists, or alternative selections as Free Choice
Pieces. Please see the website for more information.
■ Technical Exercises
There are three groups of technical exercises at each grade:
Group A: Scales
Group B: Broken Chords / Arpeggios
Group C: Technical Study
■ Supporting Tests
There are three types of unprepared supporting test in the exam:
1. The first type of test can be one of two options (this is the candidate’s choice):
Either:
Sight Reading: developing the musician’s ability to read and perform previously unseen material;
or:
Contemporary Improvisation & Interpretation: developing the musician’s ability to develop previously unseen
material by performing improvised passages of melody or chordal accompaniment to a backing track. These tests are
in contemporary music styles, and offer an alternative route for students interested in contemporary music.
2. Ear Tests: Candidates are tested on their ability to recall melodic content.
3. General Musicianship Questions (GMQs): Five questions asked by the examiner at the end of the exam.
Note: The grade book contains examples the supporting tests – equivalent ‘unseen’ examples will be provided for the examination.
4
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Prelude And Fugue In C Minor, BWV 847 
Composer: Johann Sebastian Bach (1685–1750)
Nationality: German
Source/Date: The Well-Tempered Clavier, Book I (1722)
Prelude & Fugue in C Minor, BWV 847 was composed by Bach for his first prelude and fugue collection, The Well-
Tempered Clavier, Book I, which featured compositions in all major and minor keys. Bach later began composition on a
second collection in 1739.
Johan Sebastian Bach was born in 1685 to an exceptionally musical family. Having been orphaned at just ten years
old, Bach was raised by his eldest brother (who was also a musician) before going on to begin his career as a working
organist at just 15 years old. His compositions for organ, piano and strings have become some of the most famous in the
world and he continues to be viewed as one of the most influential composers of the 19th century.
Preparation 
The underlying harmonic progression within the prelude will help you to make an informed decision regarding your
phrasing. A simple way to hear this harmonic framework is to take the notes from each half bar, ignoring the passing
notes, and playing each as block chords. Once you can strip back the music to hear the harmonic progression, you will be
able to consider shaping each phrase with dynamics, tone and expression.
Once the notes are secure, the opening 24 bars of the prelude can create a useful technical warm-up exercise,
experimenting with varying the rhythmic pattern and combinations of legato and staccatos. As the opening section
builds into the dramatic presto section, the following adagio interlude provides welcome contrast, sounding free and
improvisatory in style. Be careful not to rush through the final allegro, particularly in placing the C on beat 3 of bar 37,
before the final flourish leads us to the picardy third ending.
The fugue introduces the melody, known as the ‘subject’ in the middle line before the two counter-subjects enter
one at a time. As with all contrapuntal compositions, the challenge lies in delivering three independent lines that work
together in balance, allowing each line to sing out. The intricate construction of canons and sequences that help to drive
the music forward will benefit from rehearsing at a slow tempo and parts in isolation to secure finger patterns ahead
of assembly. A useful study technique is to record one part, then play the other along to your recording, allowing you to
focus on one part at a time, while shaping and responding to the recorded track.
Performance p
A good performance will be technically accurate, well balanced, and with intelligent phrasing. The contrapuntal lines
should be phrased as independent voices while also working together with a sense of symmetry and balance. You will
notice the lack of phrasing and dynamic guidance within the score, in keeping with the style of music. It is advisable to
take time to listen to different performances of the piece and similar works from the same era to help make your own
artistic judgements regarding phrasing and expression.
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Prelude and Fugue in C minor, BWV 847
Johann Sebastian Bach
Praeludium
& b b c œœœœ œœœœœœœ œœœ

b
{
œ œnœ œ œ œ œ œ œ œ œ œ œ œ nœ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
? b c œœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
LE
bb
& b b œœœœœœœœœœœœœœœœ œœœœœœœ œœœœœœœ

b œ œ
{
œ œ
#œ nœ œ œ œ œ œ œ œ œ œ œ œ œ
? b œœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ
bb œ œ #œ œ œ œ œ œ
4
MP & b b œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œnœ œ œ œ œ œ œ œ œ œ œ œ œ œ œnœ œ œ œ œ œ œ œ œ œ œ œ
b œ
{
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? b œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
bb œ œ œ œ œ œ
7
& b b œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b
{? b œ œœœœœœ œœœœœœœ œœœœœœœ œœœœœœœ œœœœœœœœœœœœœœœœ

bb œ œ œ œ
SA
10
& b b œœ œ œ œœœ œ œ œ œ
b
{
œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ
? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
bb
13 4 4 4
& b b œœ œ œ œœœ œ œ œ œœ œ œ œœœ œ œ œ œ

b
{
œ nœ œ œ œ œ œ nœ œ œ œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ œ
? b œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ
bb bœ
16 4 2
8 Copyright © 2020 by HAL LEONARD LLC

LEARN MORE
Technical Exercises
In this section, you will be asked to play a selection of exercises drawn from each of the groups below. The examiner will be
looking for the speed of your response and will also give credit for the level of your musicality.
■ Scales and arpeggios (including those from previous grades) need to be played:
– hands together
– ascending and descending
– either legato or staccato articulation (as directed by the examiner)
LE
– across four octaves (except half-whole and whole tone scales, which must be played over two octaves)
■ Candidates must prepare natural minor, melodic minor and harmonic minor scales
MP Group A: Scales
The minimum tempo for this group is c176 bpm.
1. C half-whole diminished scale
œ
b œ # œ œ #œ œ œ bœ bœ œ œ #œ œ #œ bœ œ
3
œ
2
& œ bœ #œ œ #œ œ œ bœ bœ œ œ #œ œ
2 3 1 2 3 1
1 2
1 2 3 1 1 2 3
#œ bœ œ
œ
? œ bœ #œ œ #œ œ œ bœ & œ b œ œ b œ œ œ #œ œ #œ bœ ? bœ œ œ #œ œ #œ bœ
œ
œ bœ #œ œ #œ œ
3 2 1 2
3 2 1 3 2 1 2 1
4 3 2 1 1
SA
2. C whole tone scale
œ œ # œ # œ #œ œ #œ #œ #œ œ œ
5
& œ œ #œ #œ #œ œ œ #œ #œ
3 4
2
#œ œ œ œ
1 2 1 2 3 4 1 2 1
œ
œ œ œ œ œ
? œ œ œ #œ #œ #œ & œ #œ #œ #œ
œ #œ #œ ? #œ #œ #œ œ œ
œ
#œ
3
3 2 1 2 1 4 3 2 1
3 2 1 4
74
LEARN MORE
REVOLUTIONISE
YOUR MUSIC PRACTISE
The interactive sheet music tool that works on any device.
LEARN MORE
www.rslawards.com/replay

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PIANO

4 REPERTOIRE AND AUDIO

Note: The grade book contains

Learners also have the opportunity to use Free Choice

Duration 40 secs–1 min 20 secs

Key C major / A minor

Tempo 60-130 bpm

Time Signatures 4/4, 3/4

Rhythmic Values Quavers and rests, occasional dotted crotchets

Dynamics Very simple/sparse

Melodic Features Mainly stepwise movement or small intervallic transitions

Rhythmic Features Non-complex rhythmic groupings

2. A natural minor scale | hands separately

Sight Reading | Example 1

Sight Reading | Example 2

Duration 50 secs – 1 min 30 secs

Tempo 60-140 bpm

Time Signatures 4/4, 3/4, 6/8

Dynamics Simple dynamics

Melodic features Mainly stepwise movement or small intervallic transitions

Copyright © 2020 by HAL LEONARD LLC

1. F major scale | hands separately

2. G major scale | hands separately

Improvisation & Interpretation | Example 1

Improvisation & Interpretation | Example 2

RSL Classical Piano | Grade 1

Tempo 60-140 bpm

Time Signatures 4/4, 3/4, 2/4, 6/8, 9/8, 12/8

3. G natural minor scale

Sight Reading | Example 1

Sight Reading | Example 2

Duration 1 min 30 secs –2 mins

Tempo 60-150 bpm

Time Signatures 4/4, 3/4, 2/4, 6/8, 9/8, 12/8

Dynamics [P, F, MP, MF], crescendo (<) and diminuendo (>)

3. C natural minor scale

Sight Reading | Example 1

Sight Reading | Example 2

Tempo 60-150 bpm

Semiquavers and rests in more complex groupings, occasional demisemiquavers, syncopation.

Dynamics [P, F, MP, MF], crescendo (<) and diminuendo (>)

Other Features Variety in voicings and accompaniment styles within sections



Sight Reading | Example 1

Sight Reading | Example 2

Improvisation & Interpretation | Example 1

#### 4 E G#m F#m

Improvisation & Interpretation | Example 2

Duration 2 mins–2 mins 45 secs

Tempo 60-160 bpm

Dynamics [P, F, MP, MF], crescendo (<) and diminuendo (>)

Other Features Variety in voicings and accompaniment styles within sections

>. >œ1. >œ1. >œ. >œ. œ >.

Copyright © 1996 by G. Schirmer, Inc. (ASCAP), New York, NY

1. B major (three octaves, two octave example shown)

3. D b major (three octaves, two octave example shown)

Group C: Technical Studies

RSL Classical Piano | Grade 5

Duration 2 min 15 secs–3 mins

Tempo 50-200 bpm

Other Features Variety in voicings and accompaniment styles within sections

1. F # major (four octaves, two octave example shown)

2. F # major | contrary motion

3. G b major (four octaves, two octave example shown)