Comments on the B section, Grade 3 2019 - 2020, ABRSM, piano examination
Walter Carroll, Shadows, (No. 3 from River and Rainbow)
This wonderfully expressive and descriptive piece is one in which the player will learn much about pedalling skills, part-playing and voicing. The player will need to have an image in their mind whilst playing the piece, of a river flowing into the sea and a stick or leaf being carried down on the currents. The composer has provided numerous dynamic and tempo markings that help the player invest interest and colour in the music.
Gurlitt, Allegretto Grazioso (No. 11 from Kleine Blumen, Op.205)
This beautiful, graceful and slightly wistful piece requires considerable tonal control. The middle B major section necessitates the player to play with confidence to ensure that the music maintains its momentum. Sophisticated pedalling skills are indispensable to ensure that the third beat of the bar is not too loud in comparison with the first beat of the bar. The LH needs careful consideration too, as it needs to gently support the RH but also to be heard as a melodic basis itself.
Reinecke, Prelude (1st movt from Serenade in C, Op.183 No 1)
Here is a wonderful opportunity for the player to develop a beautifully singing LH tone by playing this elegant piece. In addition to this, the player must use some sophisticated pedalling skills to enhance the music. The RH needs careful consideration in relation to how much tone it requires, so it doesn't swamp the LH. However, the RH helps the LH's dynamics and it has its own melody too that requires highlighting. The player will have the opportunity to develop their rubato playing by learning this piece.
Leonard Cohen, Hallelujah, arr. Miller
This is a lush and dramatic piece that requires good RH balance, cantabile melody and dynamic control. What a marvellous opportunity to reinforce the need to practise arpeggios. Good legato pedalling is required throughout the piece and the player has to judge the balance in relation to the overall sound. This may well be a popular choice.
Martha Mier, Thistles in the Wind
Here is another chance for the player to develop a beautifully cantabile and resonant LH by playing this charming and uncomplicated piece. This piece demands excellent listening skills from the player, as the placement dynamically of the accompanying hand is very important. An image in the mind of the player of a thistle blowing in the wind from side to side will help to convey the character of the music.
Tchaikovsky, Old French Song (No. 16 from Album for the Young, Op. 39)
This piece, full of longing and pathos, requires a cantabile RH supported by a resonant LH. The piece is an excellent introduction to part-playing and there are times where the LH has a melodic role to play. The player must have at their fingertips a wide range of dynamic colours to use within the fairly quiet dynamics the piece demands.