TCL021168e Piano Additional Pieces 2021-2023 Initial [PDF]

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INITIAL PIANO

HEUMANN REINAGLE DAXBÖCK HARRIS CHARLTON BÉRA-TAGRINE STRECKE BADINGS STAHL

Nine additional pieces for Trinity College London exams 2021–2023 Extended Edition ebook

This download is available exclusively as part of Piano Exam Pieces Plus Exercises 2021–2023: Initial | Extended Edition Prepared exclusively for Amz Joe ([email protected]) Order: 26807 Powered by TCPDF (www.tcpdf.org)

INITIAL PIANO

Nine additional pieces for Trinity College London exams 2021–2023 Extended Edition ebook

ISBN 978-0-85736-986-4 Published by Trinity College London Press Ltd trinitycollege.com Registered in England Company no. 09726123 Copyright © 2020 Trinity College London Press Ltd This impression August 2020 Unauthorised file sharing is illegal No part of this digital publication may be copied, printed or reproduced in any form or by any means except as specifically permitted in writing by the publisher or as allowed under the terms and conditions under which it was purchased.

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Contents Stahl

Stick and Hat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Reinagle

Allegro (no. 4 from 24 Short and Easy Pieces, op. 1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Badings Canon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Heumann

Spanish Guitar Player . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Harris

Spies on a Mission . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Béra-Tagrine Conversation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Strecke

The Waltz of the Toads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Charlton

Tickery Tockery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Daxböck et al.

Lullaby . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11





Performance notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Duet parts must be performed in the exam by the teacher, another adult or another pupil and may not be pre-recorded. Please note that different regulations may apply in submission exams (see footnote). Metronome markings are given as a useful guide and are not definitive. Repeats of more than a few bars should be omitted in the exam unless otherwise instructed, as indicated in this book. All da capo and dal segno instructions should be observed. Please refer to the Piano Syllabus 2021–2023 for details on all sections of the exam. Check trinitycollege.com/piano to make sure you are using the current version.



other publications

video and online resources

The repertoire in this ebook can also be used for Trinity’s submission exams. Please check trinitycollege.com/submission-exams for more details.

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Contents

Performance notes

Stick and Stick andHat Hat (duet part) (duet part) Moderato q = 117

œ

? 44 Œ œ

{

œ

Ó ˙™ œ œ Œ

Œ œ

w

w

œ

Michael Stahl (b. 1970)

Ó ˙ œ œ Œ Œ

œ

p

? 44 w

˙

˙

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Πw

6

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{

˙

˙

w

˙

œ ˙

12

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p

f

w

œ

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˙

œ

w

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œ

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w

From Der Wurm im Turm © 2014 by Breitkopf & Härtel, Wiesbaden

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˙

f

?˙

{

˙

Stick and Hat (candidate's part) Stick and Hat

Contents

Performance notes

(candidate’s part)

Michael Stahl (b. 1970)

Moderato q = 117

45 &4 ˙

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˙

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˙

w w

w w

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6

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w w

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p legato

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12

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w

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17

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* Duet performance only. ** 15ma not required in the exam. From Der Wurm im Turm © 2014 by Breitkopf & Härtel, Wiesbaden

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3

Contents

Performance notes

Allegro Allegro No. 4 from 24 Short and Easy Pieces, op. 1 q = 120

2 œ1 &4

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? 42

5

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9

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D.C al Fine

© Copyright 2017 Trinity College London Press

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™™

˙

˙

œ

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p

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Fine

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13

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Alexander Reinagle (1756–1809)

Contents

Performance notes

Canon Canon

Henk Badings (1907–1987)

Allegro q = 132

3œ &4

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5

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3 &4

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From Arcadia Vol. 1 (ED 4176) © 1985 Schott Music, Mainz. Reproduced by permission. All rights reserved

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5

Contents

Performance notes

Spanish Guitar Spanish GuitarPlayer Player

Hans-Günther Heumann (b. 1955)

3 &4

{

Allegro q = 146

∑

mf

? 43 >œ

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5

5

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D.C. al Fine

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Do not play the repeat in the exam.

6

From Give Me 5 © 2015 SCHOTT MUSIC, Mainz. Reproduced by permission. All rights reserved

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Contents

Performance notes

Spies on a Mission Spies on a Mission

Paul Harris (b. 1957)

Allegretto q = 100

4 &4

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b#( œœœœ) .* > sfz

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* The G may be omitted for exam purposes. © 2015 by Faber Music Ltd Reproduced from Improve your sight-reading! – A piece a week – Grade 2 Piano by permission of the publishers. All rights reserved

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7

Contents

Performance notes

Conversation Conversation

Nathalie Béra-Tagrine (b. 1960)

Andante q = 67

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© Van de Velde, Paris. All rights reserved

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j œ ‰

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4

Contents

Performance notes

TheWaltz Waltz of The of the theToads Toads

Kirsten Strecke (b. 1961)

Moderato q = 113

3 &4

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From Tio on Tour © 2015 by Breitkopf & Härtel, Wiesbaden

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œ. œ Œ

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3 2

9

Contents

Performance notes

Tickery Tockery Tickery Tockery

Kay Charlton (b. 1968)

Andante q = 108 4 1

4 &4 Œ

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5

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1

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4

5

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œ #œ ∑

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1

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Contents

Performance notes

Lullaby Lullaby

Daxböck et al.

Andante q = 78

j œ ˙

43 & 4 Ϫ

{

p

? 44 œ

œ

œ

j œ œ™

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mf

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From 70 Keyboard Adventures © 2001 by Breitkopf & Härtel, Wiesbaden

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11

Performance notes

Contents

Stahl

Stick and Hat (duet)

page 2

The added warmth and harmonic richness that comes with the addition of the secondo part transforms the simple primo. Secondo players could add in some subtle pedalling too, again to add warmth — despite its rather enigmatic title, this sounds more like a lullaby to me, fading into sleep in the final bars. Most of this is self-explanatory. The dynamic levels are carefully marked, ensuring the part with the melodic interest projects most strongly. Get primo players to sing the secondo melody in the middle section as they play their accompaniment, both to keep those rocking crotchets steady, and to add shape to what is otherwise a rather uninteresting six bars. For the exam, there is no need to move up an octave for the chords in bars 19–20, but it is a nice effect in concert. Make sure pianists know exactly where they are going before they start to move position, and that secondo is aware that primo has a move to make, and a change of dynamic. Distances are often closer than we think — look at where you’re going first, then move straight there. Easy!

Reinagle

Allegro (no. 4 from 24 Short and Easy Pieces)

page 4

Although born in Britain, Alexander Reinagle made Philadelphia his home, where he had a private teaching practice as well as getting involved in many of the musical activities of the city. We primarily know him as a composer of teaching pieces and, although this is not the most inspiring choice at Initial level, it is solidly crafted and pedagogically sound. In the central section, play the bass line legato, following the natural shape of stressed dominant resolving to tonic within the contrasting dynamic levels. It may be a little early to teach your pianists to conduct, but I find it useful to imagine how a conductor would direct the wind to play forte, then elicit a piano response from the strings — it needs a fraction more space than if both were to play forte. The pulse doesn’t stop, but bends just enough for a different piano character and colour to be recognised and appreciated before returning to the confident, full forte tone.

Badings

Canon

page 5

This is quite a sophisticated little piece, despite its apparent simplicity. It requires independence from the two hands, which also implies an ability to hear two separate voices. All sorts of games can be played to help develop this: singing rounds of course, but also playing one line and singing another, playing as a duet and listening to spot a mistake in the teacher’s part. Even getting pianists to talk to you while they play a scale gets different parts of the brain firing at once. But even before that, it will be useful to play the theme here with both hands at the same time (ie beginning the LH one bar early). You can play the notes as written, a tantalising 7th apart, or move the LH to make it more consonant. Listen for the release of the fourth note, making it sound as natural as possible. Then play that phrase one hand after the other, listening to ensure they sound the same, then overlap as written. There you are — one of those essential pianist’s skills that probably helps develop the brain for many other subjects as well!

Heumann

Spanish Guitar Player

page 6

An unusual piece, the flattened second providing the Spanish flavour. The slurs in the first section are ambiguous; they imply a releasing of the third crotchet, but I would suggest making the silence between the bars minimal. Each bar diminuendos from the downbeat accent, and this lightening of the last crotchet, releasing it just before the next accent, is enough to fulfil the demands of the slur. The central section has a contrasting mood, lyrical, gentler, more wistful perhaps. Listen for perfect synchronisation of the bass chords and enjoy the crescendo back to the more dark and upright opening music. Note that the two first time bars will not be played at all in the exam.

Harris

Spies on a Mission

Articulation first. Ideally the crotchets in the thematic material should be longer than those marked staccato in the accompaniment in bar 9. Similarly the two-note slurs all end with a staccato quaver, but the three-note slurs finish on a crotchet, that will naturally be, if not a full crotchet’s length, longer than the released quaver. Rhythm: it’s easy to keep time on the second and third lines, against a regular crotchet pulse, but more tricky on the first and last lines. Don’t think of the rests as empty time; hear the repeated crotchet chords in your head, or imagine an echo of what you’ve just played in the rest. Lastly, dynamics. Fairly straightforward, but remember that the accompanying chords should always be a little softer than the melodic material. Enormous fun — enjoy!

Béra-Tagrine

Conversation

page 8

This moves at an unhurried pace, but it is surely the right hand doing most of the talking? Perhaps the conversation is between the phrases, bar 2 agreeing with what was said by bar 1. A flexible wrist will allow the hand to adjust laterally as it moves from the thumb to the fifth finger, and to gently rise to release the third quaver. No exaggerated movements, but the diminuendo marking implies a passive, floating end to the three-note phrase, rather than the more active, definite staccato asked for in the last bar. The commas at the end of lines 2 and 3 are simply small breathing places, but shouldn’t interrupt the even flow of the crotchet pulse. Plenty of articulation detail to work on — a brilliant brain workout as you practise maintaining the legato in one hand, while the other lifts. Try playing the final bass note with a finger 2 or 3 rather than 5, making it easier and safer to find and to accent. Try writing your own script for this conversation, make those dynamics come alive by putting real thoughts and feelings behind them.

Strecke

The Waltz of the Toads

page 9

The title is no doubt meant disparagingly, the grating seconds representing the croak of the toads. But there are fewer toads than there used to be, so it is good to have an opportunity to put them centre stage. This would be an excellent piece to teach by rote; whereas you could spend ten minutes getting a young pianist to read the notes of the chords, you could show them where they are on the piano much more quickly. I would use fingers 2 & 3 for all the seconds — the hand is well-balanced with that fingering — and save the thumb for the sixths. Listen for the release of the minims in the bass and avoid lifting the hand too far off the keys for the staccato. Staying close to the keys is safer and will probably produce a better sound. A delightful choice.

Charlton

Tickery Tockery

page 10

This sounds immediately attractive and fun, but Kay Charlton has packed it with detail to make it educational as well. There are several position changes, and a useful practice technique would be to find each position in turn, playing the first note or chord only. So the RH would play the first chord in bar 1, then move to the E in bar 4, then to the chord in bar 8, etc. Check that the wrist and arm stay supple, avoiding any tension as you plan and visualise each move in advance. Once the positions are well known, try finding them out of order: where is the RH in bar 9, bar 4, bar 13? This should be a fun game, the aim being to find ease in negotiating your way around the keyboard.

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page 7

There’s relatively little material here; Paul Harris very cleverly places the same motifs within different surroundings. But don’t be fooled — there’s still a wealth of detail to incorporate into the performance. Having a story may help: confident swagger at the opening, seeing something that makes you suddenly more nervous at bar 5, pretending nothing at all happened in bar 9, but gradually slinking away at the end, until, BAM, a car backfires…

Contents

Play legato only where marked, otherwise slightly separate the crotchets, for instance in bars 2 & 3. Play the same phrases at different dynamic levels; how does mf feel and sound in comparison to f, to ff ? Finally, the title suggests something clock-like, so be sure to keep that pulse absolutely steady, particularly during the rests. Two beats only for the final chord — feel that last rest firmly stopping the sound. Rests have power too!

Daxböck et al.

Lullaby

page 11

There are two main elements to this rather mesmerising lullaby: the rocking bass part and the smooth dotted rhythms in the melody. A little rotary motion will perhaps help the LH, keeping the movements small and the wrist flexible. You may like to practise the dotted rhythms in scales, keeping one hand on even crotchets, the other playing dotted crotchets and quavers. Try it both ways around, always listening for the quaver to be precisely in the middle of the two crotchets, maintaining the legato. Try singing the dotted rhythm against the LH crotchets, and then singing crotchets against the RH melody. All these games aim to allow beautifully smooth, bump-free, lyrical playing. When that is completely mastered, do also check that the melody is projecting more strongly in relation to the accompaniment in both dynamic levels. In the final bars remember that to play softer the notes need to go down more slowly. Keep the fingers close to the keys and feel the resistance as they depress…how slowly can you press the last notes and still have them sound enough to sustain for two beats and a pause?

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Publications available from trinitycollege.com/shop or your local music retailer Contents

NEW Sight Reading Piano Trinity College London Press is proud to announce a new progressive sight reading method, available late 2020. Ten lessons per grade each lead step-by-step to a duet to read from sight with the teacher, to encourage the development of ensemble sight reading skills — whilst this is not required in grade exams, it is vital in building confidence in sight reading. Specimen tests are included at the end of each grade, offering a wealth of practice opportunity and making this a truly comprehensive package: everything you need to prepare for the sight reading test in your exam.

Initial–Grade 2 Grades 3–5 Grades 6–8

TCL 020482 TCL 020499 TCL 020502

ISBN 978-0-85736-925-3 ISBN 978-0-85736-926-0 ISBN 978-0-85736-927-7

Raise the Bar — Piano Raise the Bar is an invaluable collection of graded pieces, enhanced with helpful teaching notes. Each book contains an attractive and varied selection that will help pianists expand their repertoire and discover more music from different styles and periods. Pieces from all grades are listed on the Trinity Piano syllabuses for 2018–2020 and 2021–2023.

Initial–Grade 2 TCL 015372 ISBN 978-0-85736-492-0

Grades 3–5 TCL 015389 ISBN 978-0-85736-493-7

Grades 6–8 TCL 015395 ISBN 978-0-85736-494-4

Piano Dreams Pieces by Anne Terzibaschitsch for beginner and intermediate pianists, weaving storytelling with music through the use of programmatic text, imaginative titles and lively illustrations.

Solo Book 1 TCL 015334 ISBN 978-0-85736-488-3

Solo Book 2 TCL 015341 ISBN 978-0-85736-489-0

Duet Book 1 TCL 015358 ISBN 978-0-85736-490-6

Duet Book 2 TCL 015365 ISBN 978-0-85736-491-3

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Publications available from trinitycollege.com/shop or your local music retailer Contents

NEW Piano Exam Pieces Plus Exercises 2021–2023 | Extended Edition ◗ ◗ ◗ ◗ ◗

21 exam pieces: 12 in the printed book plus nine included as a downloadable ebook Performance notes for all 21 pieces New technical exercises Scales and arpeggios Downloadable audio for all 21 pieces

The new Extended Edition of Trinity's graded exam books for Piano provides the candidate with a much greater choice of repertoire than ever before, with 12 pieces in the book and nine more in a downloadable ebook. Each book has been compiled and edited by leading piano educators and contains pieces from across a range of styles and periods, along with new technical work exercises.

Initial Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

TCL 020512 TCL 020529 TCL 020536 TCL 020543 TCL 020550 TCL 020567 TCL 020574 TCL 020581 TCL 020598

ISBN 978-0-85736-928-4 ISBN 978-0-85736-929-1 ISBN 978-0-85736-930-7 ISBN 978-0-85736-931-4 ISBN 978-0-85736-932-1 ISBN 978-0-85736-933-8 ISBN 978-0-85736-934-5 ISBN 978-0-85736-935-2 ISBN 978-0-85736-936-9

Performance notes are included for all 21 pieces, and duets are included up to Grade 3. For the first time, the scales and arpeggios for the grade are included in the graded exam book (Extended Edition only). Downloadable demo recordings are included along with separate part recordings for the duets, although separate CDs are available to purchase for those who prefer.

NEW Piano Exam Pieces Plus Exercises 2021–2023 12 exam pieces ◗ Performance notes ◗ New technical exercises ◗

Graded books for Piano exams in 2021–2023. Each book has been compiled and edited by leading piano educators and contains 12 pieces from across a range of styles and periods, along with new technical work exercises. Performance notes are included for all 12 pieces in the book, and duets are included up to Grade 3. Separate CDs are available to purchase, containing demo recordings of all pieces and exercises in the above Extended Edition, along with separate part recordings for the duets.

Initial Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

TCL 020239 TCL 020246 TCL 020253 TCL 020260 TCL 020277 TCL 020284 TCL 020291 TCL 020307 TCL 020314

ISBN 978-0-85736-914-7 ISBN 978-0-85736-915-4 ISBN 978-0-85736-916-1 ISBN 978-0-85736-917-8 ISBN 978-0-85736-918-5 ISBN 978-0-85736-919-2 ISBN 978-0-85736-920-8 ISBN 978-0-85736-921-5 ISBN 978-0-85736-922-2

Piano CDs 2021–2023

Piano Scales & Arpeggios

An alternative to the audio included with the Extended Edition.

Valid for the 2021–2023 syllabus.

Initial Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

TCL 021038 TCL 021045 TCL 021052 TCL 021069 TCL 021076 TCL 021083 TCL 021090 TCL 021106 TCL 021113

ISBN 978-0-85736-977-2 ISBN 978-0-85736-978-9 ISBN 978-0-85736-979-6 ISBN 978-0-85736-980-2 ISBN 978-0-85736-981-9 ISBN 978-0-85736-982-6 ISBN 978-0-85736-983-3 ISBN 978-0-85736-984-0 ISBN 978-0-85736-985-7 Initial–Grade 5 TCL 012982 Grades 6–8 TCL 012999

ISBN 978-0-85736-344-2 ISBN 978-0-85736-345-9

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Publications available from trinitycollege.com/shop or your local music retailer Contents

Theory of Music Workbooks Grades 1–8 Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

TG 006509 TG 006516 TG 006523 TG 006530 TG 006547 TG 007476 TG 007483 TG 007490

ISBN 978-0-85736-000-7 ISBN 978-0-85736-001-4 ISBN 978-0-85736-002-1 ISBN 978-0-85736-003-8 ISBN 978-0-85736-004-5 ISBN 978-0-85736-005-2 ISBN 978-0-85736-006-9 ISBN 978-0-85736-007-6

Aural Tests from 2017 Aural Test books for Trinity exams Grades 1–8 — includes CD Book 1 (Initial–Grade 5) Book 2 (Grades 6–8)

TCL 015808 TCL 015815

ISBN 978-0-85736-535-4 ISBN 978-0-85736-536-1

Student Practice Notebook A diary (in A5 format) for instrumental and singing teachers to record student progress and set goals. Also useful for parents guiding their child’s practice. Includes termly evaluation sheets, useful hints and advice on practising, top tips on preparing for exams, and essential theory. TCL 015310

ISBN 978-0-85736-487-6

Musicianship A Handbook of Musical Knowledge

TCL 001191

ISBN 978-0-85736-015-1

The Music Teacher's Handbook

TCL 011602

ISBN 0 571 52330 7

Keyboard Musicianship Book 1 Keyboard Musicianship Book 2

TCL 617002 TCL 618009

ISBN 978-0-85736-010-6 ISBN 978-0-85736-011-3

Getting Started Series Composition Theory Aural (book & CD) Keyboard Musicianship

TCL 011381 TCL 011404 TCL 011374 TCL 011398

ISBN 0 571 52236 X ISBN 0 571 52195 9 ISBN 0 571 52137 1 ISBN 0 571 52136 3

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