London College of Music Examinations Piano 2018-2020 Grade 3Piano: Grade 3, Recital Grade 3 and Lelsure Play Grade 3 ‘Thi handbook is part ofa progressive series of handbooks, primarily Intended for cendidates considering taking London Collage of Music examinations in piano. All candidstes must bring thr own copy of the relevant handbook tothe exam. Candidates must alo rater tothe current ellabus Syllabus valiaity hie handbook i valid for examinations from Spring 2018 to Winter 2020. Further information To enter for an exam or view the current syllabus, please visit the LCM Examinations websit leme.uwl.2e.uk Editorial guidance Editril input has been kopt toa minimum in order to reproduce the composers intentions as clesly as possible Editrial nates are available to download from the LCM Examinations website, detailing any additions. ‘Metronome markings ané fingerings have been glen as an ald to developing your own interpretations: they have been included for guidance and do not have tobe followed in the exam, ‘The use ofthe sustaining pede, particulary inthe higher grades, hes baen taken for grantad and anly indicated when itis required fo a speci fect. Uniess specie, the pedal markings given are for guidance only, as the use ofthe pedal deponds to @ large extent on the characteristics ofthe plano, the acoustics ofthe room, and the Interpretation ofthe pices. Repeats Pertormance of repeats is at the candidate's diccretion. n goneral repeats should be included, but longer repeats Wor example, the full exposition of sonata form movement should not be played. Da Capo and Del Segno signs must be observed. Piano: Grade 3 Catalogue number: LL306 ISMN: 679-0-5701-2178-6 © 2017 University of Was London, LOM Publications Compiled by Wiliam Alexander, David Duncan, lor Flt, Tony Pegler, Lizzie Moor Series Editor: David Duncan Performance notes by Melanie Spanswick, Kirsten Johnson and Zubin Kenge Biographical information by Freya Crabtree Music and text setting by Moxwell Knight Cover design by Lovers Original artwork by Joe Cruz Printed and bound by Helstan & Co. LCM Examinations lemesuwl.ae.kontents GRADE 3 TECHNICAL WORK Scales, broken chords and arpeggios Study PERFORMANCE UsT A Prelude in C: Johann Sebastian Bach Allegretto: Wolfgang Amadeus Mozart Cossack Air: Leopold Kozeluch usTB A Little Song: Aram Khachaturian From the Rue Vilin: Max Richter Dancers of Taranto: Paul Beaumont ust Cc Clowns: Dmitry Kabalevsky Grouch: Elissa Milne ada Sketch: Arlene Sierra DISCUSSION SIGHT READING AURAL TESTS 4 16 18 20 23 27 30 32 34 36 38 40TECHNICAL REQUIREMENTS WORK * Scales * Contrary motion scales SCALES, BROKEN * Chromatic scales, hands separately 2 * Broken chords, hands separately CHORDS AND * Arpeggios, hands separately ARPEGGIOS Candidates are to prepare either all of the following scales, broken chords and arpeggios, or the study (page 12). Scales, broken chords and arpeggios are to be performed legato, trom memory. Scales: D, A, F, Bb and E> major Opetyee E, Gand C minor (harmonic or melodic) + Hands separately and together + Piano and forte * Recommended tempo: AmajorF major E harmonic minor E melodic minor Oy the 19 weG harmonic minor C harmonic minor C melodic minorContrary motion scales: E and E> major 2 octaves © Piano and forte ‘+ Recommended tempo: E major > Chromatic scales, Beginning on A and Fé hands separately: See 2 octaves + Recommended temp. Beginning on A sane tt gy ag ¢ SS 2 eee RH LHBeginning on Ft Broken chords, G major — hands separately: Eand D minor Patterns as written + Forte * Recommended tempo: / = 72 G majorD minor Arpeggios, D and A major hands separately: cand Cen 2 octaves * Forte + Recommended tempo: J = 72 D major RH LHAmajor C minor RH G minor 10Technical work: Study Etude in D, Op. 65 No. 24 Carl Albert Léschhorn Allegretto [J = ca, 88-96] (© 2017 University of West London, LCM PublicationsPerformance: List A Prelude in C Johann Sebastian Bach BWV 939 About “The only source for this Prelude was a manuscript found in the collection of Johann Peter Kellner, a contemporary of Bach, who produced copies of a number of his scores. As the manuscript is untitled, their attribution has been questioned. The piece was first published in a nineteenth-century compilation, Twelve Little Preludes, which included five works from Keliner’s untitled manuscript. Many of the others were taken from a collection of keyboard music which Bach had compiled for his eldest son, Wilhelm Friedemann. This book, the Klavierbiichlein fir Wilhelm Friedemann Bach, is particularly interesting as it contains a table written by Bach describing how to perform the ornaments such as the one in this Prelude. In performance ‘These preludes would have been composed for teaching purposes. To get a sense of style for the piece, listen to Bach's organ music. ‘The left hand octave that opens the piece can sound like an organ pedal note and the arpeggiated right hand can be broad and full. Perhaps think of the start pictorially, with each harmony change as a progression and intensification, rather like a sunrise, ‘Try to avoid accenting the first beats — the melodic ‘units begin on the second quaver of each bar, The inverted mordents in bars 9 to 11 should start on the beat; think of them as a device to intensify the rhythm, Bar 14 should be played in the style of an improvised cadenza — be grand rather than brilliant! (Daniel Grimwood) (© 2017 University of West London, LCM Publications 1“Prelude in C Johann Sebastian Bach (1685-1750) [4 = ca, 104-116] teu vat 7 6Performance: List A Allegretto Wolfgang Amadeus Mozart K. 15a About “This is the first work in Mozart's London Sketchbook, a book containing 43 pieces written by Wolfgang during his family’s extended stay in London, in the midst of their ‘grand tour’ of Europe. It was written when Mozart was only 8 years old. During their tour Wolfgang and his sister Nanner] performed in Munich, Frankfurt and Brussels before spending several months in Paris and a year in London. Soon after their arrival in London they were performing for King George III, and during their first months there they had a number of successful public performances. While they were living in London, Mozart’ father Leopold fell ill and was unable to arrange any more performances, so Wolfgang had more free time to write music. The London Sketchbook contains the first pieces that he wrote out without anyone's help. In performance ‘This is an appealing and attractive work which lies comfortably under the fingers. Articulation is key here; clarity will give your performance an elegant feel, Wedge markings (such as those in bar 1) indicate an extremely short, staccato touch, so aim to remove ‘your finger from each note as swiftly as possible, Many left hand quaver passages would also benefit from this: touch (in bars 15 to 20, for example). “The demisemiquaver passages which form the upbeat to the phrases need to be rhythmically evens practise playing each four-note passage slowly, using a heavy touch, with fingers playing deeply into the key bed. When played lightly (and faster), the quick runs should sound rhythmical and precise. ‘Try to keep the left hand accompaniment soft, and ‘aim for real contrasts between the legato passages and those which are short and crisp. (Melanie Spanswick) © 2017 University of West London, LCM Publications 16Allegretto from the London Sketchbook Wolfgang Amadeus Mozart (0756-1751) [Allegretto J. = ca, 58-69] 1 522 f 7 tPerformance: List A Cossack Air Leopold Kozeluch P XIN:G2 About ‘The son of a shoemaker, Leopold Koéeluch initially studied law in Prague; while there he also continued his education in music, studying keyboard performance and composition with his cousin, the composer Franti8ek Xaver Dusek. By his early 208 he had become an exceptional piano player and had also written some successful ballets and pantomimes. He decided to abandon his law studies and move to Vienna to continue his compositional career. While there Koieluch quickly made a name for himself as a composer. His works include a number of attractive pieces written for amateur performers, many of which he published through his own publishing house which he opened in 1785. After Mozart's death in 1791 Kozeluch took over his roles at the court of the Emperor Franz II. During his life he was sometimes held in even higher regard than Mozart, but afterwards his reputa- tion waned while Mozart's soared. In performance Koieluch’s Cossack Air is a bouncy, energetic piece which bubbles along at a fairly brisk pace. Staccato is featured in much of the passagework ‘The short, quick movements necessary for cleat, crisp articulation might be easily grasped if you can imagine each note as boiling hot. Aim to use a scratching or tapping motion with the tip of your fin- gers, moving the finger inwards towards the palm of your hand, The piece is also punctuated with accents, so play these with much fire and vigour. Keep the semiquavers very rhythmical (in keeping with this style); counting out loud in semiquavers can be a useful tool when placing rapid passages. ‘The appoggiaturas in bar 3 and bar 7, could also be played just a fraction before the main beat, more like « modern acciaccatura (or crushed note), to add a spicy flavour. Experiment with the dynamics, but make sure to mark the change of key at bar 17 with a lighter (leggiero) tone. (Melanie Spanswick) (© 2047 University of West London, LCM Publications eCossack Air Leopold Kozeluch Allegretto giocoso (707-818) {J =ca. 84-96] eS f F giocoso pédolce 7 leggiero 9Performance: List B A Little Song Aram Khachaturian from Pictures of Childhood About Born in Tbilisi to an Armenian family in 1903, ‘Aram Khachaturian grew up surrounded by the Georgian, Armenian and Azerbaijani folk tunes and dances which accompanied many aspects of people's lives. This music laid the foundation for his own. compositions later in life and he referred to Komitas, an Armenian priest and musicologist who collected folk songs, as his greatest teacher. In 1948 Khachaturian was denounced by the Communist Party of the Soviet Union, along with several other contemporary composers including. Shostakovich and Prokofiev, for writing music that was ‘formalist’. He was however not blacklisted for Jong and came back into favour by the end of 1948, During his life Khachaturian was regarded as one of the leading Soviet composers, alongside Shos- takovich and Prokofiev. He is perhaps most famous for his ballets and his first piano concerto, which is frequently performed and recorded. In performance ‘This delightful composition may be called a ‘ttle song but the melody is expansive, with a Russian flavour typical of Khachaturian’s style. You could start by practising the left hand alone, aiming for rhyth- mical chords — to place them exactly on each beat, try counting in quavers. The chords are marked with tenutos, therefore keep them depressed until you play the next note and strike with a deep touch, leaning into the keys. The offbeat accompaniment in bars 18 to 25 needs careful counting (and a light thumb); the ‘minims should be held for their full length, “The melody is marked cantabile (in a singing style) — to produce a full, rich sound (like that of a singer), relax your wrist and harness the weight from your arm, allowing your fingers to explore the depth of each key; this will help attain a beautiful singing tone. Occasional rubato (or taking a little time for expressive effect) at the ends of phrases will make for an engaging, poignant rendition, (Melanie Spanswick) {© Copyright 1049 by Anglo-Sovlet Music Press Ltd, London 20A Little Song from Pictures of Childhood ‘Aram Khachaturian (903-1978) J=88 —— P| of cantabile sss leas | Fee ST - | -——_. 3 con Bid, a 6 rit. atempo |Performance: List B From the Rue Vilin Max Richter About Known for writing melodic post-minimalist pieces that often evoke melancholic and bittersweet emotions, Max Richter is one of the most prolific composers working today — writing music for theatre, film and opera as well as creating his own albums and collaborating with a wide range of other artists His music is featured in over 50 films; his most famous piece, On the Nature of Daylight, is particu- larly popular in film scores, having been used in at least six films including Arrival (2016) and Shutter Island (2010). From the Rue Vilin is taken from his third album Songs From Before. The album mixes instrumental pieces with readings from the works of author Haruki ‘Murakami. The album's title is a way of acknow!- edging that there are thousands of songs spanning hundreds of years that influenced and facilitated the ‘writing of the album’s songs in some way. In performance ‘This piece uses very few resources to fashion an ‘enchanting and atmospheric soundworld. Learn the piece with blocked chords, one per bar, so that you understand the harmonic progression. Notice that bars 11-20 are very similar to bars 1-10, with subtle harmonic colour changes to bring out in bars 14, 16 and 19. Voice the melody and bass line carefully so that they resonate above the murmur of the inner voices and play very close to the keys. Feel the move- ment of the top line as it repeatedly descends from A to Fe Notice that the piece is entirely in shades of piano — the loudest dynamic is mp in bar 15. I'd begin with the una corda pedal, removing it in bar 11 Start your dim. in bar 16 from mp and gradually get softer — you only reach pp in the final bar. Savour the suspension in bar 21, lingering on the inner voices as you slow down into the culminating cadence. (Kirsten Johnson) "From the Rue Vly: Composed by Max Richter. (© Copyright Mute Song Limited. ll Rights Reserved, International Copyright Secured 2aFrom the Rue Vilin Max Richterdim. al fine “closed my eyes and tried to bring to mind as many beautiful lost things as I could. Drawing them closer, holding on to them. Knowing all the while tha their lives are fleeting” Haruki MurakamiPerformance: List B Dancers of Taranto Paul Beaumont About Paul Beaumont was a pseudonym of the British composer and pianist Sydney Smith; he also published works under the name Victor Delacour. Raised in a musical family, as a child Smith would perform in concerts with his brother and father. He left England aged 16 to study piano, cello and composition in Leipzig, before returning in 1858 and settling in London. Upon his return he made a career for himself as a piano teacher and composer; during. his life he wrote and transcribed around 400 pieces, nearly all for solo piano. His Tarantella in A minor for piano is the piece he is most famous for nowadays; Dancers of Taranto is an abridged arrangement of this piece. The tarantella, a name for a family of folk dances originating from southern Ttaly, and Lycosa tarantula, the tarantula ‘wolf spider, both take their name from the city of Taranto, in southern Italy. In performance Different folk traditions surround the origin of the tarantella — one belief was that a person bitten by a wolf spider would develop a dancing mania, going round and round until they were completely exhausted and collapsed in a heap. Tarantellas are usually fast and in 6/8 time. To perform the piece, keep the right hand very close to the keys and legato. The left hand, by contrast, is generally staccato and light. Play softly, but allow the melody to swirl by shaping the upward and down- ward fall of the notes. Follow the dynamics carefully and bring out the echo effect between bars 17-20 and 21-24. In bar 25, the left hand takes over the melody, played legato but emphasising each note. Start softly and gradually crescendo to the ff climax. The opening melody comes in one last time, this time finishing for the first time with an upward leap to the (Kirsten Johnson) {© 2017 University of West London, LCM Publications 2Dancers of Taranto Paul Beaumont (0839-1889) Vivace J. = 126 [SS ™poco a poco erese. 29Performance: List C Clowns Dmitry Kabalevsky Op. 39 No. 20 About ‘A talented pianist from a young age, Kabalevsky was already teaching the piano in his mid-teens — his first pieces were written for his students to perform. He would maintain a dedication to teaching music throughout his life. Kabalevsky’s reputation as a composer slowly grew through the 1920s, but he truly made his name in 1928 with the premiere of his first piano concerto. He began teaching composition at the Moscow Conservatory in 1932, where he himself had been a student. ‘Asa composer he wrote in a variety of genres but largely stayed true to the style of music that was, favoured by the ruling Communist Party of the period. In addition to his numerous pieces for children he also wrote many larger-scale works, including four symphonies, concertos for piano, violin and cello, and a number of operas, In performance Itcan be tricky to convey humour in music — first learn the piece in strict time, then, as you grow more confident, introduce rubato by giving space to disso- ances and at the ends of phrases. In the right hand, the three-note gestures which permeate the piece should be played with a loose wrist, dropping on the first note and lifting on the last. Make a lot of the interplays between major and ‘minor throughout the piece. Observe the many accents and sfs, almost poking the notes — don't be shy! Bars 16 and 17 can be sassy, slightly broadening as you approach bar 18. Make the most of the dynamics. ‘The first fis in bar 18, so keep something back for this last statement of, the melody. The final three chords should be played in time, detached, and with emphasis. Very little pedal, if any at all, needs to be used in this piece. (Kirsten Johnson) '© Copyright 4967 by Anglo-Soviet Musi Pross Lt. 30Clowns from Twenty-Four Easy Pieces Dmitry Kabalevsky Allegro capriccioso [J = ca. 108-116] (0904-1987) : _— - : ufPerformance: List C Grouch Elissa Milne About ‘Taught by her mother, a piano teacher, Elissa Milne began writing music when she was just six years old. Her passion for teaching music began as a teenager in ‘Auckland when she gave her first piano lessons. Milne studied composition at the University of ‘Auckland, semiotics and education at the University of Sydney and arts administration at the University of ‘Technology in Sydney. Her first collections of educational compositions, Pepperbox Jazz and Little Peppers, were published in 1997; she has since published further additions to ‘each series and many of her compositions feature in exam syllabuses worldwide. Milne is also known for thinking and writing about the ways in which piano teaching is changing in the twenty-first century. Her blog is one of the most popular and widely read piano teaching sites in the world. In performance Coordination between hands is a feature throughout, and there is plenty of running around the keyboard too. With this in mind, aim to work out notes, fingerings and hand position changes carefully from the beginning; give yourself ample time to assess the amount of movement needed to arrive at note patterns in time, Phrase marks and articulation are precisely marked, and accents and staccato markings could do with a heavy touch, capturing the ‘Grouch’ mood. A rhythm may be a useful way to work at perfecting the swing feel to begin with (for all quaver passagework), relaxing this when fully learned. Practise bars 23 and 24 by playing very slowly; watch your fingerings (turning the thumb under the hand quickly) and ensure that the LH and RH notes all sound together. Have fun with the sfzs (suddenly loud) — they can be really loud at the end. (Melanie Spanswick) (© 2006 Faber Musle Ld Reproduced from Mors Litle Peppers by permission of the publishers. All Rights Reserved, 2Grouch Elissa Milne Feeling better than usual J= 144(J7 = J J) 1 FPerformance: List C Cicada Sketch Arlene Sierra from Birds and Insects, Book 1 About London-based American composer Arlene Sierra began playing the piano when she was five, later stud- ying Electronic Music at Oberlin College Conserva- tory of Music where she wrote her first compositions. Her early electronic music continues to influence her thinking, especially with regard to using ‘found’ sounds in the environment, that she can then augment and transform to create a multilayered texture. Sierra's work is often inspired by the natural world and she has written several pieces that use birdsong or insect calls as a starting point; she has said that the sounds these animals make invokes a strong sense of place. Cicada Sketch is inspired by the call of the cicada, a family of insects made up of at least 1300 different species, each with their own distinctive song, ‘Their loud call, which the males make by vibrating membranes on their abdomens, is one of the most evocative sounds in nature, particularly characteristic of the height of summer. In performance Cicada Sketch is the third movement of a cycle of pieces for piano, Birds and Insects, Each movement features one bird or insect, exploring their distinctive calls and the sounds of their habitats. This slow move- ‘ment focuses on the sound of the cicada, heard as a gently oscillating ostinato in the right hand. It is night, and other nocturnal creatures gradually enter the texture, some quietly roaming in the background, while others suddenly emerge into the foreground. ‘The piece requires imagination, poise and a sense of stasis, using different colours to portray the dif- ferent creatures of the night. Precise pedalling is also required to ensure there are no sudden breaks in the sound, except for the brief cut-off in bar 10. A balance between clarity and the merging of sounds should be maintained through close listening; filtering the pedal if needed to adjust to the characteristics of the piano and acoustics of the room, (Zubin Kanga) (© 2007 Cecilon Music 4Cicada Sketch from Birds and Insects, Book 1 Arlene Sierra Misterioso ¢ = 60 5 = PDISCUSSION REQUIREMENTS * Short discussion with the examiner This part of the exam provides an opportunity to communicate your understanding and interpretation of the pieces performed, and your knowledge of musical fundamentals. 36 ‘The examiner will ask questions about the pieces performed in the exam. They will be looking for you to speak with confidence and to be able to clearly articulate your answers, using appropriate vocabulary. The examiner will also ask questions about your knowledge and understanding of musical fundamentals. ‘The following page contains examples of the type of questions which may be asked at Grade 3. The current syllabus should be consulted for the full list of the requirements at this grade.‘Sample questions * Which of the pieces that you played today is your favourite, and why? ‘* What mood is evoked by this piece? Are there any contrasts of mood within the piece? © What is the interval between these two notes? * How many beats is this rest worth? * Can you point to an accent in this piece? * Can-you describe this time signature? * Can you describe the dynamics in the first section of this piece? © What does staccato mean? 7SIGHT READING REQUIREMENTS. * Performance of a short, previously unseen piece of music ‘One minute of preparation time will be given, during which you may study and try out parts of the test before performance. The following are examples of the style and standard of Grade 3 sight reading tests. Example 4 Andante = 76 nf Example 2 Brightly J =88 a 38Example 3 With movement J = 80 Example 4 Andante J = 76 a | Example 5 Brightly J=88 JAURAL TESTS REQUIREMENTS + Test 1 (Rhythm) + Test 2 (Pitch) These aural tests are designed to assess your listening ability and musicianship. The following are examples of Grade 3 aural tests. Test 4 a) A short harmonised passage in 6/8 will be played. You will then be asked to beat (conduct) time, with a clear conducting pattern (2 beats in the bar), in time with the examiner's playing, as they play the passage again. 40Moderato Andante a(Test 4) b) You will be given a line of music, containing four idual bars in 6/8 time. The examiner will play one of these bars twice, and you will be asked to identify which bar itis (A, B, C or D). The test will then be repeated with a different line of music. Test 2 2) An interval will be played twice, once with the pitches sounded successively, and once with the pitches sounded together. The intervals will be restricted to the following: major 2nd, major 3rd, perfect 4th, perfect Sth. You will be asked to identify the interval by numerical value only (2nd, 3rd, 4th or Sth). The test will then be repeated using a different interval. 2(Test 2) b) The key-chord of a major or minor key will be played, and the key stated. A short unharmonised melody, in the same key, will be played twice. You will then be asked to sing back the melody. aLCM Examinations University of West London ‘StMary’s Road London WSSRE 08231 2364 lemeuwlacaak Jemexams@uwlacuk