By zaui/Scott Catron - https://www.flickr.com/photos/zaui/4455991107/in/photostream/, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=17114225
A section
Prelude in C minor, BWV 999, J. S. Bach
This well-known piece with its arpeggiated melody, rhythmic patterns shared between the hands and its improvisatory feel will appeal to some candidates. It basically serves as an etude and was originally written for the lute-harpsichord. In some ways it is a ‘moment-in-time piece’ which some players may find in playing it, hard to maintain the interest for the listener considering its relentless energy and similarity of patterns. I have found this piece was in the ABRSM syllabus for Grade 3 in 1981.
Kabalevsky, Dmitri, 30.12.1904 - 18.2.1987. From Alamy.com
Etude in A minor: No. 3 from 30 Children's Pieces, Op. 27 Kabalevsky
Here is a piece that will appeal to this candidates who possess flamboyance, confidence and excellent finger facility. It is an exhilarating piece to play containing an undercurrent of menace with a slightly sparse atmosphere. There are scale passages to play in the RH and slurred quavers in the LH. If chosen to play for the exam it would be an excellent piece to complete the set.
Minuet and Trio, D. 41 No. 21 Schubert
This piece, although elegant, refined and reminiscent of Mozart, doesn’t involve the emotions too much. The trio is not overly contrasted to the minuet. In some cases, players may find it difficult to maintain the listener’s interest.
Gavot: 3rd movement from Suite No. 2 in Bb Alcock
On first hearing this piece, the candidate may be intimidated by the presence of a number of ornaments. However, this pieces well-worth considering with its elegance and touches of Handel’s style. It is in ternary form and the middle section, although maintaining its elegance, contrasts well with the outer sections. It contains a number of different melodic patterns which help provide the listener with continuity and interest.
Allegro assai: 1st movement from Sonatina in F, Anh.5 No.2 Beethoven
Another justifiably well-known piece, is Beethoven’s Sonatina in F. Although there are references to Mozart’s style, it is unmistakably written by Beethoven. It contains drama within a refined manner, many scale passages and two-note slurs and the development section provides enough variation to maintain the listener’s interest. This may be the candidate’s first exposure to a piece written by Beethoven and would be a rewarding experience both learning and performing it.
By Johannes Voorhout - Alexander M. Winkler, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=117593053
Saraband: from Suite in E minor, BuxWV 236 Buxtehude
This piece may well appeal to those candidates who prefer playing music that is less relentless in its energy and momentum and this piece by Buxtehude could fill that category for them. It is a serenely beautiful piece containing a melancholic character, poise and haunting and elegiac melodies. The player must be capable of voicing particular notes and allowing the LH to support the RH in a resonant but non-obtrusive way.
Scherzando: from 12 Pieces in the Form of Studies, Dring
An interesting piece that may not appeal of first hearing however it would be wise to listen to it a number of times before making a decision as to whether to play it or not. This piece has a Baroque feel with its flowing melodic lines shared between the hands, fugal character and it sense of momentum. Madeline Dring first attended the Royal College of Music at the age of nine having won a scholarship to study there. Later on she studied with Herbert Howells.
Allegretto scherzando: 3rd movement from Sonatina in C, Op. 188 No. 4, Gurlitt
Even though Gurlitt’s life places him in the Romatic period musically speaking, this piece is Classical in character and style. There are references to Mozart with its use of scale passages and Albert bass patterns. It is a little cheeky in character, unpretentious and unchallenging and contains some ‘catchy’ melodies. There is repetition in the music and seems to be a Rondo, as the theme returns on more than one occasion. It is quite long; some players may find it hard to maintain the listener’s interest through to the finale.
By Thomas Hardy - Unknown source, Public Domain, https://commons.wikimedia.org/w/index.php?curid=620261
Allegro scherzando in F, Haydn
One cannot be affected by the infectious energy and enthusiasm that is present in this well-known piece by Haydn. It is demanded of the player that they are confident with using a wide-range of registers of the piano and are confident in the playing of a wide-ranging LH. At the end of the piece, the LH is required to play some staccato octave chords. This would be an excellent choice to finish a programme with considering its bright and chirpy character.
From Alamy.com
Study in A minor, Op. 45 No. 2 Heller
This piece is unmistakably written by Heller with it dramatic changes of mood and dynamics. As with the Kabalevsky piece, this Heller study requires a player who has considerable aplomb and confidence because any timidity in the playing would not portray the necessary character. There is a sense of foreboding throughout the piece which is not changed by the end of the piece. It contains numerous scalic passages, much swapping between the hands and accents which must be played within the context of the dynamics.
My personal favourites - of course one’s choice is in relation to what will be chosen for the B and C sections of the exam. If the A piece is played at the end of the programme, the Haydn and Beethoven pieces would be excellent choices. So too would be the Kabalevsky, however this is in a minor key. The Buxtehude Saraband is a beautiful piece but would be best played earlier in the programme considering its character.
Kabalevsky Etude in E minor
Alcock Gavot
Beethoven Allegro assai
Buxtehude Saraband
Gurlitt Allegretto scherzando
Haydn Allegretto scherzando
B section
Moonbeams: No. 1 from Rendezvous with Midnight Arens
A stunningly beautiful piece commences the B set. This piece will no doubt be a popular piece amongst some of the Grade 4 candidates with its lyrical melody, lush-sound picture, peaceful and reflective mood and exquisite ending. The player will need to be able to command a RH cantabile touch, excellent pedalling skills, the use of subtle rubato and being able to project the melody in the RH when it is part of a chord.
Miniature Pastoral: No. 2 from Three Miniature Pastorals, Set 1 Bridge
Portrait of English musician Frank Bridge (1879-1945). Date: 1923 from Alamy.com
The second piece in the set by Frank Bridge is a beguiling waltz which will require of the pianist the ability to play a cantabile melody with both hands, often swapping between the hands in quick succession. This piece conveys a slight sense of foreboding, but with a degree of restraint, that is not resolved at the end. The hands merge together to a certain extent in the second part of the piece and this is where the main part of the music is located. At the end of the piece, the melodic patterns change and this to a certain extent provides the music with a mini-climax. Subtle and sophisticated pedalling skills will be necessary.
Erster Verlust (First Loss): No. 16 from Album für die Jugend, Op. 68 Schumann
Schumann’s First Loss is a justifiably well-known piece with its sense of poise and haunting melodies. The emotion explored in this music is one that some Grade 4 candidates may not have (or should not have) experienced. In consideration of this, this piece may be more appropriate for an older, more mature candidate. The feeling of melancholy, sadness and despair permeates this piece with a brief moment of anger at the conclusion. Here the player must be able to play the melodic lines with a sense of direction and purpose. On first listening to this piece, a candidate may consider it an ‘easy’ option but this is not the case. Being able to play with tonal control and tone-matching is paramount, as is being able to subtly enhance the music by using the pedal. An exquisite piece that is very satisfying to play.
I have been spending time creating a spreadsheet of some of the pieces that have been in the ABRSM piano exams over the years. of course, certain pieces keep coming up over the years and First Loss is one of them. It was in the Grade 2 syllabus in 1974.
Andante, Wq. 55/3 C. P. E. Bach
C. P. E. Bach’s Andante takes the listener on a journey of emotion as the melodic material ‘pulls’ you along in every phrase. It contains a degree of angst and yearning. Even so, the haunting melodies always retain their elegance and delicacy throughout. There are a few ornaments present and the LH is an integral part of the music, at times provoking the RH. The player will need to possess the ability to control their playing tonally and be aware of tone-matching.
Sunrise: No. 7 from River and Rainbow W. Carroll
Carroll’s Sunrise is an infectious piece with its lush pedalled chords interspersed with lighter arpeggiated patterns. Here the player can enjoy Carroll’s sound-world with the use of a resonant LH, excellent pedalling skills, perfectly co-ordinated chord-playing and the projection of the top notes of the RH chords. The climax, which is the finale of the piece, brings the music to a satisfying and enjoyable conclusion.
Dedicatoria: No. 1 from Cuentos de las juventud, Op. 1 Granados
This piece by Granados is charming, reflective, restful and on the whole, not too challenging emotionally for the listener and player. Here the candidate may encounter for the first time the necessity in being able to project three parts and often the LH is part of the inner melody. Skills that that the player will need to possess are those of sophisticated pedalling, being able to play some LH notes with a degree of resonance, tonal control, rubato and being able to project the upper RH melodic line with a cantabile touch.
Soviet Armenian composer Aram Khachaturian in the Netherlands in 1971.
By Mieremet, Rob / Anefo - Fotocollectie Anefo. Nationaal Archief, Den Haag, nummertoegang 2.24.01.05, bestanddeelnummer 924-9784., CC BY-SA 3.0 nl, https://commons.wikimedia.org/w/index.php?curid=35017517
A Little Song (Andantino): No. 1 from Pictures of Childhood Khachaturian
This is a piece that contains haunting and beautiful melodies which are well-supported by the LH. The LH is an integral part of the music and a keen awareness is required in regards to the balance between the hands. In the playing of this piece, the player must employ a range of touches, use rubato with subtly, support the melody with sensitive pedalling and be able to project the ‘layers’ of the music. It is essential that the player does not ‘wallow’ too much in the emotion of this piece, even though it evokes an undercurrent of despair. It should not sound morose or depressed in character.
La cloche sonne (Ring the bell), S. 238 Liszt
It is not often that a piece by Liszt is present in an earlier grade exam syllabus. He has written a very simple setting of a French folk-song. It has a slight melancholic feel and portrays a certain sparseness. Liszt has employed some interesting harmonies and often the melody is present in the LH. The title is conveyed with the use of bell-like chords or notes that are played with the non-melody hand. These chords or notes must be loud enough to be slightly penetrating but never obtrusive. The player will be required to play with considerable tonal control, a little rubato and with restraint.
Andante: 2nd movt from Violin Concerto in E minor, Op. 64 Mendelssohn
By William Rothenstein - Reproduced in, and scanned from, Music & Letters (Oxford University Press) Vol. 1, No. 2 (April 1920), p. 78, Public Domain, https://commons.wikimedia.org/w/index.php?curid=53578165
This pretty and delicate piece does not demand too much of the listener. One can hear the long lines that would be perfectly suited for a violin to play. The LH at times contains an inner melody and this hand helps to connect some of the melodic material. The climax of the piece is about two-thirds of the way through the music where there is a feeling of turmoil present. On occasion the LH ‘provokes’ the RH’s dynamics. The player will need to have excellent tonal control and also be able to employ the use of a little rubato.
Valse lente: from Six Teaching Pieces Vaughan Williams
Vaughan Williams has composed a waltz that has an episodic feel. Some candidates may find this piece a little difficult to interpret because of this episodic nature with its sparse melodic lines threading throughout the piece. The melody is frequently interspersed between one hand and the other, there are lush moments containing arpeggiated figures and excellent pedalling skills will need to be employed.
My personal favourites - considering the sheer number of pieces in this set, there are bound to be those that are similar in style and character. Although all of the pieces I have listed below are stunning in their own right, it is always important to consider how the three pieces work together as a whole. The piece that stands out for me in particular is, C. P. E. Bach’s Andante.
Moonbeam Arens
First Loss Schumann
Andante C. P. E. Bach
Dedicatoria Granados
A Little Song Khachaturian
From Alamy.com
La cloche sonne Liszt
C section
Teasing Song: No. 18 from For Children, Vol. 2 Bartók
Bartók’s well-known Teasing Song is fun and exciting to play with its articulation and momentum. It certainly lives up to its title as it has a cheeky, unpredictable and infectious character. The introduction is wonderful, as there is an air of expectancy and at the conclusion of the piece, there is interesting material to be played. Balance between the hands is an important consideration although at the end of many phrases the accompanying hand becomes more prominent. This piece is undoubtedly written by Bartók with it percussiveness (the player must avoid being harsh or strident), its rhythmic drive and its use of articulation. An excellent piece to play at the end of the programme. I have found that it was part of the ABRSM Grade 4 syllabus in 1982.
I Hear What You Say: No. 4 from Cool Beans!, Vol.1 Ben Crosland
This mesmerising and expressive piece may possibly be better for inclusion in the B section. it contains a verse/chorus format and considering its lyrical style, the performer could write some words to it. The piece conveys a slightly wistful and plaintive character and the RH will need to be played with a cantabile touch. The Lh though, has an important role to play because along with playing accompanying chords it offend links the phrases one from to the next, on a few occasions plays the melody and also helps to build the tension. After the climax the music comes to a close with an unexpected but lovely ending. It is interesting to note that Ben Crosland is a teacher as well as a composer. His aim is to create music which students will find both inspiring and achievable, while still being gently challenging and technically beneficial.
Shark Soup: from Sam Wedgwood's Project, Book 2 Sam Wedgwood
Sam Wedgwood’s piece Shark Soup is an instantly like-able one with its mellow and relaxed character. This piece would be ideal for the jazz-loving candidate. At 2 minutes 2 seconds in length it is the longest one of all of the pieces in the Grade 4 syllabus. The hands often contribute equally to the melodic lines and it would be best to think of specific instruments playing specific parts. There is a short contrasting section which is more like a solo in character. The ending is wonderful as it contains a little more drive and energy in comparison wo the rest of the piece. A programme could be commenced with this selection. Sam Wedgwood is one of Pam Wedgwood’s sons.
At the Smithy, Op.8 No.5 Maikapar
At the Smithy is a true character piece and some candidates may require an explanation of what a smithy was. On the whole the blacksmith in this piece is contented with his work, as the music mostly conveys a bright and energetic character. Here the player will be require to play the chords at the opening with co-ordination and without tension. These opening chords must be kept ‘tight’ rhythmically. There are changes from these opening ‘ringing’ chords to more ‘solid’ chords which will require a different gesture in playing them along with light pedalling. In the middle section there are a few unsettling notes which provide a little turmoil however this doesn’t last long. the LH plays a prominent role in this section. The music comes to a conclusion with a very satisfying ending.
Buried Rubies: No. 8 from Treasure Trove Alison Mathews
This piece may not appeal to all candidates however it is worth encouraging them to consider it. Alison Mathews has created a sparkling sound-world that evokes the glistening of the jewels. The LH plays a major part in this piece and when the RH has the melody, it is played in a high register of the piano. The phrases are long, so there performer will need to be able to convey the sparseness and delicacy of the piece using excellent tonal control, subtle pedalling and be confident using a wide range of dynamics.
Worrisome Blues: from Jazz, Rags & Blues, Book 3 Martha Mier
Martha Mier’s pieces never fail to appeal and it is excellent to see one of her pieces included in the Grade 4 syllabus for 2021 - 2022. This piece is in ternary form with an introduction and ending. Worrisome Blues would be a suitable choice to commence the programme because of its speed and character. There are some lovely touches in this music with its exquisitely beautiful falling patterns and relaxed ornaments. The soulful melody, even though it evokes a feeling of despair, has a soaring quality which the player could imagine a clarinet playing. the middle section, which is richer and brighter in character, could be imagined played by a saxophone.. The player must strive to show this difference to the listener. There is no resolution at the end of the piece, just a lingering mood of resignation.
Für Anna Maria Arvo Pärt
This pretty piece is essentially ‘a moment in time’ with its ethereal, serene and reflective style and it always maintains a positive character. Considering its character and style, the performer must ensure that the listener’s interest is maintained throughout. The RH arpeggiated patterns remain, on the whole, similar throughout with interest and resonance contributed by the LH. The player will need to use a little rubato and be able to use the pedal to enhance the music with subtlety but never overpowering it.
Marche: No. 10 from Musiques d'enfants, Op. 65 Prokofiev
This well-known Marche written by Prokofiev, part of his Opus 65, is a rather comic rendition of march. There are numerous grace notes in this piece and these help to contribute to this character. This piece requires of the player a certain degree of flamboyance and a sense of aplomb and panache. The player will need to be comfortable with moving around the keyboard a lot and also be confident with hand crossing. Some of the dynamics are forte and the performer must ensure that any notes or chords that are to be played forte are never harsh or strident, as always they need to be played within the context of the music. The LH has a very important role to play in this piece. Throughout this piece, the use of articulation is of essential, without its prominent use the music would not convey the motoric feeling yet imbued with an infectious quality.
Bulgarian Peasant Dance V. Stoyanov
This piece was present in the Grade 4 ABRSM syllabus 20 years ago. And with its rhythmic interest coupled with its sparse but robust character it is deservedly part of the syllabus again. The piece is reminiscent of some of Bartók’s dances. To a certain extent, there is a ‘question and answer’ aspect to the phrasing and the pieces commences and concludes with an ascending pattern. The rhythm is the most important characteristic of the music and the player must be careful to ensure that the time signature of 5/8 does not become 6/8 by waiting too long at the end of the bar. The accompaniment has a drone-like quality and the mercurial dynamics add drama and flair to the music.
Shenandoah Trad.
The trapper and his family. By Charles Deas - https://americangallery19th.wordpress.com//?s=charles+deas&search=Go, Public Domain, https://commons.wikimedia.org/w/index.php?curid=66027940
This song is sometimes called ‘Across the Wide Missouri’ and it appears to have originated by the fur traders travelling down the Missouri River in canoes. The lyrics of the song differ and one version is a sea-shanty. It is a gentle song that contains a degreee of longing. The melody of course, must always be to the fore, however the accompanying hand has an important role to play too by providing support and by helping to connect the melodic pieces and phrases. Here the player will need to feel comfortable in bringing out the melodic top notes of chords. The player must project a sense of simplicity and elegance throughout, so any use of pedalling and rubato must have a degree of restraint.
My personal favourites - the one that stands out for me is the Marche by Prokofiev.
Teasing Song Bartók
Worrisome Blues Martha Mier
Marche Prokofiev
Bulgarian Peasant Dance Stoyanov
Shenadoah Trad.