Comments on the A section Grade 2 2019 - 2020 ABRSM piano examination
Diabelli, Lesson in C, (No. 10 from Die ersten 12 Lektionen, Op. 125)
This is a lively and energetic piece yet it contains much elegance too. It calls for an independent LH, as this hand has different roles throughout the piece. The use of the Alberto bass pattern in bars 17 - 24 could be the first time a pupil has been exposed to this. There needs to be an overall dynamic scheme in the mind of the player whilst playing this music because there is repetition of some of the melodic material. A lovely piece and this will suit the player who is able to play the 7th chord with ease.
Anon., Musette in D, BWV Anh. II 126
Here is an energetic and bold piece that will appeal to many. The player must have confidence in their ability to move with ease from one position to another and often both hands are required to move simultaneously. When playing this piece, the player must use a wide range of dynamics of Baroque dynamics to provide the contrasts in the music. As in the case of the Diabelli piece, an overall dynamic scheme must be worked out to provide interest when the music is repeated. This is an exciting and rewarding piece to play.
Telemann, Gigue à l'Angloise (6th movt. from Partita in G, TWV 32:1
Telemann has written a charming and elegant gigue that the sensitive player will relate to. When teaching this piece it is extremely important that the player is fully aware of the compound time signature before commencing, as the time signature provides one aspect of the character of the music. Some players may find the articulation, such as that in bar 1, a little complicated to execute, so amend where necessary. Although the player will need to give this piece considerable preparation for the performance of this piece, it will be an immensely rewarding piece to play.
Clementi, Arietta in F, (from an Introduction to the Art of Playing on the Pianoforte)
Clementi's Arietta has a lovely singing and cantabile quality to it. The player is required to have a fully independent LH, as there are some notes that need to be held whilst others are playing, there are Alberti bass patterns and at times it has a melodic quality too. The elegance of the music can be enhanced by the subtle use of dynamics, which need to be within the Classical Period range. A little restraint is advised, especially when the dynamics are loud. Point out to a potential player of this piece that there are only eight bars to learn in total.
Handel, Air (Hornpipe) in D minor, HWV 461
Handel's Air has a bold but also a slightly melancholic character. Do ensure that the piece is not played too fast; otherwise the character will be compromised. There is considerable use of the two semiquaver/one quaver pattern throughout the music and this provides energy to the music. Make sure that these patterns are not played in exactly the same manner each time, as there could be a tendency to always play them with a crescendo and in so doing, the playing could become predictable.
Haydn, Allegro (4th movt. from Sonata in G, Hob. XVI:8)
This Allegro is a delicate and complex piece to play with it use of Alberti patterns in both hands. The player needs to be able to change 'mode' very quickly, as there are quite sudden changes in the melodic material in both hands. Here is an excellent introduction to the use of the Alberti pattern and it would be wise to highlight the melody within these patterns. Most Grade 2 pupils will not be able to reach the octave chords in the LH in bars 13 - 16, so eliminate the higher note of each chord to make it easier for the player.
