Suggested Performance Notes For Trinity College London Piano exam pieces 2015-2017 Initial to Grade 8 Edited by Peter Wild and U-Jin Lim Main Contributors: Wong Shuenda, Benjamin Loh, Febe Warman, Raymond Tan Contributors: Chiam Su Lee, Bonnie Chen, Annie Hsu, Joyce Wu, Grace Lee, Patricia Lee, Lu Pei Fang, Methanan Sivayathorn, Tai Cheah Sin, Tran Van Co, Henny Waldemar, Wong Soo-Sein, Yap Chiew Phin, Josephine Yeap

Disclaimer: These notes are intended as suggested teaching guides, based on performing and teaching best practice. They do not constitute the official guide from Trinity College London.

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INITIAL Charlton – Easy Living Establish an internal stable pulse before playing; this will help make a successful performance Make up rhythmic games e.g. making up short phrases of similar syncopated patterns to accelerate the learning process Arm weight should be used to obtain fuller and more solidly accented notes and chords (with all notes of chords perfectly synchronised) Rests should be properly observed especially in bar 17 (finishing with an unrestrained ff!) Crosland – Ready to Go! There are many different articulation and dynamic markings; observe them well Use the phrase “Ready to Go!” Shouting out the word “GO!” - relating it to the accent on the 4th quaver of the recurring opening motif The piece looks difficult at first glance but closer examination reveals it is very manageable ‘Feel’ the 3rd beat rest Note the slight shift in fingering in bar 6-7 in the LH part Holland – On a Wintry Day Hand positions are generally fixed, except for the LH part from bar 24 till the end The musical character has a sad tinge, therefore give the melody a cantabile, almost melancholic, character. Take care with tone matching when melody transferred from LH to RH A good legato technique in the melody line should be observed Observe the rest and long notes at the end of the piece – Count! Observe the dynamic levels, especially the ‘pianissimo’ Hook – Gavotte The playing should be firmly in time to establish a strong pulse – note the ‘march-like’ dance style Use a legato technique in the RH Note the dynamics, e.g. bar 10 (subito p) and bars 13 – 15 (….f) Watch the balance with the duet partner Milne – Smooth and Crunchy The clue to bringing out the ‘Smooth & Crunchy’ character lies in the contrast of articulation being carefully observed. Devise fun, musical exercises to prepare for this technique Syncopated pattern should be practised separately, using rhythmic games Tail-off the phrases neatly in bars 5 & 6 Muller – Summer Swing Count the dotted rhythms found in every phrase accurately Observe the strong-weak-weak beat patterns to bring out the swing musical character Observe the echo-effect in bars 8-12 Similar phrases make for a very manageable piece to learn Watch the balance between hands

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Norton – Spring Day Use rhythmic games to teach the syncopated patterns in this piece as an introduction Observe the RH rests in bars 6 and 8 Notice the differences in dynamics between bars 1-4 (mf) and bars 9-12 (f) Note the 2 bar rests at the end – the music had not ended, so keep the hands in a poised position. The student should look focused until the end of the duet! Vogel – March Time Make note of all the different articulation marks: legato, non-legato, staccato Use a metronome in the practice, to help establish a strong 1st and 3rd beat, which outlines the march character Aim for a stable hand position to obtain a firm and solid tone Once the notes are known, avoid starting the piece too quickly! Walker – The Stroke of Midnight Bring out the mysterious character of the piece by ensuring the different articulations between hands Note carefully that the dynamics in the RH part are softer than in the LH part The softer dynamics should be executed by placing the fingers on the key before depressing / striking it Use a balanced arm-weight to control the chords

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GRADE 1 Cleaver – Railbird Rag Maintaining a steady pulse and a firm 1st and 3rd beat are essential to bringing out the rag character Note the melodic major 9th leap in bar 4 Note the fingering changes in bars 6 and 15 Ensuring that the detached nature of the LH accompaniment is maintained Harris – Ghostly Conversations Note the various changes in dynamic and tempo markings Ensure the LH notes are pressed down silently throughout the piece to maximise the harmonics (ghostly) effect Let total silence be heard at the end of the playing before the LH notes are lifted Enforce the accents on beats 2 & 4 Haughton – Swing’s the Thing Use rhythmic games by making short phrases of the different rhythmic patterns to accelerate the learning process Note the shifting hand positions A firm and steady pulse is essential to the music character Watch the balance between the two players and LISTEN carefully Be ready for the very effective subito piano in the final bar Holland – Donkey Trot Observe the various articulation markings: legato, non-legato, staccato Use a ‘down-up’ technique in the 2-note slurs in bars 11-16. A real sense of the slur effect is achievable by joining the top notes of each pair Judicious use of the una corda pedal at the ‘ppp’ dynamic level will give a tonal colour change as well as achieve the soft tones Le -

Couppey – Melody in C Use the appropriate quaver figures to develop a sense of rotary freedom Ensure balance between hands are in place to bring out the clarity of the main melodic material Note the shift in the LH part in bars 17 – 20 Observe the dynamic shaping in bars 17 – 23

Lully – Minuet Be aware of the triple metre minuet dance style but also be aware that the ‘French’ idiom has some feeling of the hemiola effect (prevalent in the first and third system) Note the contrasts in articulation in the first system Note the fingering in bar 3 (1-3-1) Note the hand position changes and articulation at the same time in bars 4 and 5

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Ponchielli – Dance of the Hours A loose but directed wrist movement is essential for proper playing of the 2-note slur Steady pulse important for the dance character The octave leap in bar 12 needs care for smaller hands. It would be acceptable for a smaller span to make both notes staccato Highlight the high ‘E’ note at the end of bar 12, which would probably be a new note at this level. Remembering the pair of notes as an octave leap E to E will make negotiation of this moment easier. Rea – Red Square March Establish a steady pulse to fully realise the march character Highlight the dotted rhythm in bars 7 and 8 Strong fingerwork is needed to maintain the solid tone essential to the musical character Use arm weight in the accented final two chords for a firmer tone The co-ordination of the off-beat L.H rhythms may feel a little strange – tapping out the rhythm (on a solid surface – the piano lid?) can be a good way of practising the hand coordination Tanner – The Owl and the Pussycat Explain the difference between two-in-bar and four-in-a-bar Practice slowly to master the technique of contrasting articulation between hands Particularly watch for the details of RH articulation in bars 2, 6 etc.

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GRADE 2 Adam – Allegro un peu loure from Giselle - LH rhythmic pattern should be kept light and crisp as a background accompaniment while playful right hand melody plays the leading role - Note the mixed articulation in the RH melody: slurred notes detached, and observe this carefully to express the playfulness. Taking care not to accent the second note of each slur - Note the dynamic range from pianissimo in the beginning until the end of fortissimo with highlight of tonic chord with accents. The pianissimo only comes on the repeat which would not be needed for the exam Boyce – Gavotte - Two voiced texture with mixed articulation treatment (detached and slurred note), but with a dance-like character in gracefulness (Grazioso) - Appreciation of the half-bar anacrusis (typical of a gavotte)which is important in terms placing the main stress. - Phrasing in RH and LH may not start and end in the same place, independence of hands required - LH part is fairly repetitive, like a bass line ostinato - Observe the short but concise A-B-A structure, use dynamics to differentiate this Bullard – Street Beat - Anacrusis and Syncopation provides a rhythmic twist in the RH part while the LH chords should be steady and even - Accents are unexpectedly placed - From bar 8-16 note the texture changes and role alternates between hands. This is a transition passage - Note the extreme dynamic contrast from bar 24 to the end: piano to fortissimo - Observe the rest in the last bar – the silence is part of the performance Crosland – The Swing Detectives - Play it in a boogie-woogie style with strong articulation and steady swung-quavers - Syncopation and accents on up-beats bar 9-12 is intrinsic to the musical character – observe the musical details - Note the big dynamic contrast e.g. bars 12, 15 and 16 Donkin – Penguin Parade - Swung quavers must be well-observed while maintaining the continuity of the legato phrase as marked, combined with detached notes. - Take care with the presentation of the many RH phrases which start with anacrusis – usually three quavers leading onto the stress in the following bar - Note the long crescendo across the final beat of bar 12 to the end. - Aim to give a slight contrast in the second half of the piece to avoid monotony as it is quite similar to the first half but an octave higher - Practice well the cheeky ending with the hands crossed over

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Cullen – Mexican March - Maintain a good balance in both hands as they are moving in parallel 3rds - Listen for very precise co-ordination of the hands - Clear observation of the articulation marks - staccato, accents – and a good strong pulse are important points to remember - Observe the varied dynamic markings to build up the music as the texture thickens, particularly bar 8 and bar 16 - Aim for even quavers in the toccata-like texture from bar 17 Proksch – FreuDich / Feelicitous - RH melody moves up in a sequence with the same rhythmic pattern as a repeated motif - LH plays steady quavers like a bass player, crisp staccato line but always at a slightly lower level dynamic than the RH - Contrasting articulation requires independence of hands - Tempo is quite fast – Vivo – thus ensure clarity of melodic line and a good balance even though played fast Sullivan – Willow, tit-Willow (from the Mikado) - Note the contrasting lengths of phrasing: long (e.g. opening bars) and short (bars 3 and 4) - RH is to be played espressivo: aim for a cantabile tone with good phrase shape - Avoid accentuation of the anacrusis semiquavers - Do not rush the playing – it is an Aria - Various dynamic contrasts play a part in shaping this operatic aria – observe it well. The ending needs a gentle tail-off; it is an echo of the previous phrase but one octave apart. Schubert – Ländler - Maintain an even quaver line, with good phrase shaping and melodic direction - The triple metre should flow with a dance-like charm – particularly the delicate RH articulation in the 2nd half - LH accompaniment pattern varies between the first beat in the 1st half and bass on the first beat in the 2nd half, and the dynamic indications help to provide contrast to these two sections. Take note of it. - Good balance between hands and note the mixed articulation in the RH from bars 9 onwards. Detailed practice helps.

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GRADE 3 Bartok – The Highway Robber (from For Children) Note the different articulation – non-legato, legato, accents, tenuto, etc. Bartok’s own pedal markings have been slightly modified for greater clarification; the given solution works very well and should be adhered to if possible Finger the last system carefully, giving attention to voicing and balance Contrast the rustic boisterous mood with the serene tranquillo sections Haydn – Allegro (from Sonatina in G) Observe evenness of tone and rhythm in the quaver passages Take care not to ‘bump’ the two-note slurring feature Bring out the elegance and poise in the music through careful phrase direction Note the f dynamic in bar 21 to the end – finish the piece in a grand manner Aim for a lyrical character in the middle part from bar 9, with a LH legato Johnson – Sad Song There is extensive use of the pedal here. Possible practice method: LH with pedal first, ensuring clarity in the harmony Portray the melancholic musical character. Initiate discussions about a descriptive journey to help paint a programmatic thread to the playing Use the LH of bars 15 & 16 to characterise the ‘sonore’ – like a rising and falling ‘cello line Legato line in the RH is not to be blurred by over-pedalling Play the chromatic notes in bars 16 (and etc) carefully, with shallower pedal to avoid blurring the harmonies Leiber / Stoller – Hound Dog Evoke the impression of Elvis Presley and his sense of performing flair and stage presence Sense of rhythm and beat has to be very strong throughout to reflect the Rock and Roll style Coordination of hands is important for the music to sound tight Suitable for those with confidence and panache in their playing Get a clear idea of the structure in your head – it jumps around! Lemoine – Study, Op. 37. No. 34 Note the metronome marking, chosen tempo must not be too slow, to be performed as onein-a-bar Evenness and timing of the triplets must be maintained; make it slightly dance-like Note the different articulation and contrasts between light staccato and lyrical legato Note the sudden change in dynamics between f and p in bars 40 - 41

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Moore – The Rainbow Bring out the lyrical nature of the music by ensuring proper pedalling and good balance between hands Shape the 4-bar phrasing and always maintain a cantabile line Apply the pedal lightly to bring out the tinges of harmonic changes, especially in the middle section of the work Aim to maintain the sustained minim bass lines Mozart – Bird-catcher Song (from the Magic Flute) This is an aria, observe the phrasing and breath marks of a singing voice The LH should accompany lightly and maybe played detached if so desired. Imagine the flute when playing the demi-semiquaver patterns in bar 13/14 and bar 19/20; light tones Portray the humorous musical character Pause in Bar 12 to be interpreted as a slight breath mark Tadman-Robins – Square Dance The tight-knitted rhythmic figures and the syncopations must be played accurately to reflect the lively dance character Coordination between hands is important; work on the synchronisation of the hands Voicing in the bass line (legato crotchets) must be observed to contrast with the bucolic nature of the piece Tchaikovsky – Dance of the Little Swans (from Swan Lake) Think orchestral sounds – e.g. Bassoon for the LH The LH staccato articulation must be maintained whilst keeping the momentum going Rhythmic matters such as syncopations in bars 11 & 19 must be observed, the syncopation has a better effect if the RH notes are separated Demisemiquavers must be crisp and accurate Shape the melodic phrases with slight crescendo and diminuendo throughout Play out on the sudden change to f in the final chords

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GRADE 4 Haydn – Presto (3rd movt from Sonata in A, Hob. XVI/26) - Pulse should be steady but with perhaps a tiny rit. at the end of the piece - 2-note phrase should follow inflection of loud-soft - Repeated phrases should be contrasting in dynamics and tone - Recognise the metrical impact of the anacrusis in many of the phrases Gounod – Soldier’s Chorus (from Faust) - Note the LH melodic part from bars 1 to 8 – think of a brass sound - Appropriate balance between hands essential - Maintain the march-like character with a firm incisive touch - Really USE the dynamics Kohler – Allegro Moderato (1st movement from Sonatine Op. 300) - The LH alberti-bass is the rhythmic driver and needs a firm pulse - Shape the phrases well, and note some LH melodic parts, e.g. bars 8 to 12 - Staccato over slur-marks is to be played portato – not too short Podgornov – Der Schmetterling und die Blume (June from The Seasons) - Light fingers and crisp articulation important to bring out the Leggiero musical character - Think about the title ‘The butterfly and the flower’ - Gentle acciaccaturas in the introduction (again, think butterfly!) - Note the fermatas (Pause marks) over the rests – silence is part of the performance here - Practice to ensure well-coordinated hands for the chords, e.g. bars 7 – 8 - Waltz-like character needs lilting rhythms with a slight stress on the first beat of the bar - Ensure that there is a natural well-graded flow in the handling of the ritenuto. Benda – Sonatina no. 16 - Observe the Risoluto character in the opening by using firm and strong articulation in the fingers - Various phrase and articulation marks – especially the LH accompaniment part - must be closely observed, as well as the dynamic markings - Senza ped. Instructions mean good finger and hand control essential for phrase shaping and a clear line - Rococo period – tone is to be suitably light and not too heavy forte Crosland – Cucumber Jam - This jazzy number needs a slinky and rhythmic lilt, with leanings on the syncopated quavers - Give the pedal a light touch, following closely the suggested pedal markings in the opening bars, so as not to blur the texture - Part-playing – held semibreves in bars 5, 9, etc – must be practiced, adjust the wrist position to ensure a good balance between parts - Even though the ending is soft, the strict pulse must be maintained

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MacMillan – Matsuri - A gay and happy character, give the LH quavers a good bounce and well-articulated RH to convey this musically - Some pedal may be used in the middle section but do watch for little details of articulation here - The middle section has a contrasting singing quality with longer phrase lines Milne – Garden Path - Tranquil and dreamy effect can be achieved by close careful pedalling, cantabile RH long well-shaped phrasing - Offer some tonal contrast in the repeated phrases but nothing vastly different – everything should be calmly done - Part-playing in bars 25-26 should be observed with careful balance; good wrist control - Keep fingers closed to the keys to produce a rich yet soft cantabile tone - Triplets should not be hurried in this ‘meandering’ style Tanner – Forty Winks - Feel the Latin groove with crisp articulated staccatos, well-contrasted LH short 2-note slurs against a legato RH - Maintain a firm beat, observe the syncopated RH line, especially bars 19ff. It should have an ad-lib feel - Accents, tenuto marks, rests should all be closely observed to bring out the cheeky character - Take care not to ‘bump’ the staccato LH 4th beat

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GRADE 5 Diabelli – Rondo (3rd movement from Sonata in F, Op. 168) Ensure a steady pulse and flow in the LH broken chorda accompaniment Ensure clear articulation and phrasing in the RH melodic material Play the repeated LH chords from bar 16 with firm fingertips and wrist staccato Plan carefully and pace well the crescendo from bar 56 till the end For a convincing ending, play the final chords decisively; use a crescendo on the quavers in bar 62 to enhance the excitement and propel the music forward Observe the balance between hands Ensure the 6/8 is not played as 3/8 Jones – Giga in D minor Clarity in articulation and evenness of musical flow are the essentials to making the movement come to life The gigue is lively, spirited and exuberance dance – bring out this musical character The listener must be able to sense the effect of the compound metre Ornaments are to be played neatly and carefully integrated as part of the line Note the changes in the articulation in bar 17 LH passage in bar 9 requires firm finger-work Scarlatti – Capriccio in G Start the opening chords full of confidence at forte dynamic level to contrast with the piano second phrase Note the changes in the articulation in bar 25 Rotate the RH in bars 44 to 47 Aim for evenness of tone on the semiquaver passages – a suggestion would be to practise these passages slowly to begin with Vogel – Andantino (from the Sonata on Themes from The Magic Flute) Ensure the phrases are properly shaped with clear phrase ends Slurring detail needs to be very sensitively handled Grazioso in bar 33 with staccato chords to be played with lightness and with a hint of pedal for colouring Carefully voice the parts in bar 36 to 38 for a good effect Piu lento section need a greater sense of freedom Balch – What to do when it rains The song-like piece needs a cantabile RH and subdued LH part for a convincing performance Note the change in character in bar 17: use your imagination to characterise the music Listen to the pedalling – ensure it is changed properly and does not blur the harmonies Goedicke – Miniature. Op. 8 no. 10 Establish the rhythms of the opening bars with rhythmic games Suggested use of the una corda pedal in the final two bars for a change in tone colour and also in the mezza voce section Pace the tempo changes in a convincing manner

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Gillock – Mister Trumpet Man A steady and pronounced beat is essential to the style of the music Observe all the accent and tenuto markings, as well as the contrasts in dynamics Short accented chords in bar 12 needs to be sharp and show some ‘bite’ Watch out for the leap in bars 11 and 35 Note the difference between Granados – Dedicatoria (from Cuentos de la juventud, Op. 1) Balance between parts are essential – ensure the triplet accompaniment in the inner RH part is played softly enough so that the top melodic line can be brought out Aim for a cantabile tone to bring out the musical character Study the texture and note the balance and voicing of the parts, example in the opening bars Perfectly placed pedalling is essential for this piece to be successful Roxburgh – Spanish Dancer (from Les Miroirs de Miro) Ensure an accurate and steady Spanish rhythm Notice the characteristic slurring detail on beats 2 & 3 in the introduction and other similar bars Create a contrast in tone colour between the opening 2 bar intro and ending and the cantabile RH melody Character change in bar 16 (mf sostenuto) – aim for a warmer sound The instrumental recitative (ad lib) should be given freedom of expression for a convincing parlando effect Play the Dolce from bar 29 quietly Rests in bar 33 should not be shortened

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GRADE 6 Dello Joio – Prayer of the Matador - Matador like with an attitude – bold! but maintain the lyrical character in the melody line - The Habanera LH rhythmic pattern must maintain a firm pulse, although some leeway for rubato can be applied at proper moments. Follow the musical directions. - Note the dynamic contrast and register change from bar 19; with the LH leading the melodic line. The tenor register of the LH part needs to be well-coloured - A variety of tonal colours can be achieved by varying the hand shape and wrist movement to give this work a programmatic thread Clementi – Sonatina Op. 36 No. 6 - Evenness of tone, with well-graduated dynamics and well-directed phrase shapes are crucial in this Rococo style popular piece - LH alberti-bass must be steady. Homophonic texture throughout so student needs to maintain balance of volume between parts - Highlight instrumental-like melody and imagine orchestral instruments, e.g. timpani in the LH part in bars 54-56, nice bouncy violins in the development section LH, etc. Extend the musical imagination - Even scales and semiquaver patterns in the RH - Maintain dynamic contrast and good articulated playing with careful balance between hands Dussek – Andatino Grazioso (2nd movement from Sonata in F) - 2nd movement of a sonata allows for some leeway in bringing some romantic shading and character but within a strict classical context - Touch and articulation must be elegant-like, with good wrist and arm control - Maintain a balanced tone between hands and feel the elegant compound duple timing - Think of different orchestral instruments, such as a clarinet in the opening – good firm fingers but a light tone - Provide different tonal shading to the minor tonality sections, compared to the major tonality sections Peerson – The Fall of the Leafe - Pay attention to the various articulation marks - Always well-articulated finger-work especially in the detail of the ornamentation - Play ornaments within the intended rhythm - The title indicates an autumnal sadness, the sighing motif is prevalent in both hands – use expressive tonal shading to illuminate this - Phrasing long and short must create the right dynamic shape especially when two parts are repeating the same materials. Armstrong – Castleward, Temple Dancer in Blue - Homage to Satie’s Gymnopedie, but with a blues twist - Think of an instrumental sound in the RH – an expressive saxophone tone maybe? - Avoid unnecessary wrist and arm movement to maintain a soft-tone throughout - Pedal is usually one-per-bar change - The RH line must be evenly maintained

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Merikanto – Valse Lente - Maintain a good melodic-line phrase shape in the opening - RH chordal texture from bar 17 onwards – bring out the inner tenor line in the RH - Watch the tempo changes and the waltz lilt must be maintained - Observe the LH articulation in the middle section Mompou – Evocation from Variations sur un Theme de Chopin - Lyrical Chopinesque but in 4-part texture; maintain a good balance between parts and bring out the melodic part - Close and careful pedalling to avoid blurring the texture - The hymn-like writing in Tranquillo section requires the upper notes to ‘sing-out’ - Good wrist / hand control required to avoid jerky movements and spikes in the dynamics as the melody has leaps - Well-connected lines required for the molto legato - LH semiquavers in bars 24ff should be light but well-shaped Tanner – The Wit and the Wisdom of the night - A firm pulse to be maintained throughout, establishing the momentum - Various articulation marks: 2-note slurs, staccatos, accents should be closely followed - The ‘drive’ of the piece should never be allowed to flag - Contrasting dynamics in bar 7 to 8 can be achieved by added arm weight and pedal Wilkinson – Jazzin’ Grace - Relaxed swing style, almost careless but observe the many syncopation pattern and in melody and accompaniment - Played “dry” or with selective pedal sections to create the crisp rhythmic tones and rests to emphasis the upbeats - Dynamic contrast help in creating the musical character – do not miss this out - Build up the musical thread by beginning with a relaxed jazz feel and showing more commitment in the climax before tailing off

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GRADE 7 Clementi – Allegretto (2nd movement from Sonata in F, Op. 4 no. 6) A large hand-span is required to attempt this piece well, especially the broken octaves and chords Top notes to be brought out in melodic passages A relaxed hand-weight is essential for a successful playing of the double-thirds Contrast the different sections well and understand the Rondo structure of recurring themes and episodes Generally a graceful and dolce musical character Paradis – Sicilienne A soulful and melancholic music character The sicilienne rhythmic character is to be brought out Balance the chords in the LH and ensure evenness; watch that the arm-weight is evenly distributed to the fingers Middle voices are to be observed and performed with warmth and well-blended into the prevailing harmony The diminished chords at bar 44 is the climax of the piece. Gregson – Adam’s Allemande (from An Album For my friends) Take note of the various dynamics Convey the anacrusic structure of the phrase-lengths The poco rubato should be ‘teasing’ in its flexibility Pedal points to be observed Indulge the tempo changes on the last line, observing the pesante and the following effect of the tempo giusto Scarlatti – Sonata in D, KP. 512 L. 339 Design and plan your dynamics well: always look for the echo and repeated phrases as a gauge in the level of the dynamics. As a rule of the thumb, moving upwards would mean an upward swell and conversely, when a passage transposes sequentially downwards, reduce the dynamic level A suggested dynamic scheme – f in beginning, mp in bar 12, crescendo in bar 17, mf in bar 24, mp in bar 26, mf in bar 32, mp in bar 34, crescendo in bar 36, mf in bar 40, mp in bar 42, crescendo in bar 47, and etc. Arne- Presto (1st movement from Sonata in A) Keep the tones generally light throughout. Start with a confident f in bar 4, get softer and then rise with the music to a grand f in bar 10 Finger bar 17 carefully; different hands may require a different fingering pattern Practice the simultaneous semiquaver passage to ensure proper coordination of hands. Suggested practice exercise include practicing groups of semiquaver patterns, with the aim of controlling articulation and balance The short trills are to be crisp and brilliant in tone with strong fingers and a stable wrist and arm

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Earl – At Miss Florence’s A homage to Schumann; the texture requires careful voicing, slight rubato and dreamy a’la ‘Eusebius’ from Schumann’s Carnaval Give consideration to the romantic rubato push/pull, note the slightly irregular phrase marks and various tempo markings (poco rit.) need careful attention The musical character is deliberately ambiguous with meandering melodies (think of Traumerei from another of Schumann’s works – Kinderscenen) without any clear climatic moment in the work, except for some techni-colour modulations in the middle (harmonic twist of transposition to Ab and A major heightens the dreamy character) Each melodic line is to find its own Faure – Improvisation (from Pieces breves pour piano) Maintain the lyrical melancholic character of the melody, regardless of the musical tapestry and prevailing colourful harmonies. A suggestion is to imagine the shifting of harmonies as shifts in visual colours or emotional moods in order to better understand the musical character There is a dramatic build-up to the outpouring of grief in bar 17 There is a sense of intimacy in this miniature work The triplet quavers are to be played smoothly when juxtaposed with the LH quavers Tempo is to be flexible, never rigid Grovlez – Petites litanies de Jesus (from L’Almanach aux images) Note the title and understand the sense of praying and yearning is apparent in this piece The serene atmosphere must be maintained through a very calm hand and arm movements, well-coordinated and well-placed chords, together with the help of a fine pedal. A keen ear helps! The upper line always needs to ‘sing out’. Textural voicing must be observed, such as the middle voices in bars 7 – 13 Finger changes to be calm and unobtrusive, always maintaining the modal Gregorian chant atmosphere Lane – Struttin’ at the Waldorf (No. 3 from Three Little Bites at the Big Apple) Note the subtle rhythmic differences between the 2 vs 3 and the dotted rhythms which will lend freshness and variety to the jazzy piece Glissando technique must be well practiced, making aware the angle and exact location of the finger/s to achieve maximum brilliance (and minimum pain!) Achieve the big jumps in the LH by arch-like movements of the hands or a good sense of hand displacement technique Aim for a brilliant cheerful sound throughout and a confident tone Rhythmic middle section to mimic the tap dance steps – rests to be rhythmically tight, akin to pregnant pauses, instead of empty spaces of sound.

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GRADE 8 CPE Bach – Allegro Assai - Rhythmic vitality essential, with a strict pulse, with only a hint of ritardando at the end. - Dotted quaver and semi-quaver should be precise. Aim not to make this rhythmic pattern lazy. - Ornaments should fit precisely into the beat - Notes must be cleanly articulated, in keeping with the ‘sturm und drang’ style. Dynamic effects should be well-marked. Debussy – Golliwogg’s Cake-walk (from Children’s Corner) - Firm and incisive fingerwork, clear articulation is required to bring out the lively character - Rhythmic opening must be precise, practice with the metronome - In bar 10 and 11, watch the balance of parts with the lower voice of the RH softer than the upper voice - Tempo should be more relaxed from bar 47, and pay attention to the various tempo changes. Aim to understand Debussy’s parody idiom in this section – expression here is quite exaggerated. Grieg – Notturno, Op. 54 no. 4 (from Lyric Pieces) - A strong singing legato is required here for the RH whilst the LH accompaniment pattern should be quite subdued - Descending bass-line in the first two systems (dotted crotchets) should be slightly emphasised - 2-against-3 rhythms should be practised slowly so that the final result is not stilted playing - Note the voicing of parts throughout the piece, e.g. bars 9ff, 42ff: the lower voice in the RH should be softer - Music pushes forward from bar 21 but the tone is even more controlled and subdued; control from the wrist. Observe the wide dynamics and various performance directions - Prepare ‘una corda’ for central episode Haydn – Moderato (1st movt from Sonata in E, Hob. XVI / 31) - Aim for a noble and dignified opening - Running passages should be crisp with even well-controlled semiquavers. Observe closely the varied articulation marks, especially in the LH. - In bar 30 and 31, the LH should be controlled with an even wrist; practice the different rhythmic patterns – from quavers to triplet semiquavers – use a metronome during practice to maintain a strict pulse - With the exception of the ritardando in bar 24 and 65, the rest of the piece should have a strict pulse Berkeley – No. 6 (from Six Preludes) - The quiet pensive character can be achieved by playing the chords with a loose and relaxed arm but firm fingers - Voice the top melody line in the RH carefully, leaning the wrist slightly to the top part - The tenor melody in the LH from bar 28 to 38 should be brought out, after which the bass melody takes over - Lightly pedal, using the LH rhythm as a rough guide to pedal changes

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Chopin – Valse OP. 64, no. 1 - The fast running passage requires a bright sparkling tone in the RH and a light buoyant LH accompaniment - From bar 37 to 69, the music becomes more cantabile, with a strong legato required in the RH - Pedal lightly, one in a bar, taking care not to blur the texture - Lead with the RH, with a good relaxed wrist movement, rotating ever so slightly to guide the phrase shaping - Observe the various dynamic markings, especially the long drawn-out crescendo and diminuendo Falla – Danse du meunier (from El Sombrero de Tres Picos) - A wide range of dynamics required to bring out the tonal colours - Flamboyant musical character, Spanish flavour, contrasting the il canto cantabile line alongside a portato LH accompaniment (note the articulation carefully) with the rhythmico chords - Listen to the orchestral version – you will be inspired in terms of colour! - Quavers in bars 29ff should have good finger-work, increasing the bite as the dynamics increase to ff - Pesante chords should be played with good arm weight - Accents need to be executed with a sharp attack from the arms - The final page will probably fare better if the text is memorised – think in four bar structures so that you don’ t get lost and also to structure to gradual accelerando Kaski – Nacht am Seestrand, op. 34 no. 1 - This nocturnal piece should be played with a singing RH melody, leading with the wrist, the LH accompaniment should be subdued. Think of the title and the setting - Night on the Seashore and let your musical imagination run - The chordal melody needs to be warm and full tone, employ arm weight and lean into the keys - Important to create a variety of tonal colours and observe the tempo markings closely to prevent a monotonous and colourless performance - Careful pedalling is crucial to (1) ensure the LH arpeggio patterns are not stilted and (2) the harmonic textural changes are changed on time and not blurring the harmonies - Maintain a subdued tone at the end Scarlatti – Sonata in A, Kp. 209 L. 428 - A sunny and sparkling disposition, crisp finger-work and incisive articulated notes - Dance-like character, the playing should be buoyant, even tones - Contrast the repeated phrases by way of dynamics and finger touch - Voicing should be carefully observed – e.g. bring out the top part of the semiquaver line from bars 40ff, with the thumb slightly softer - Insert some dynamics although it is not indicated

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