Tiêu đề Grade (2).pdf ✅

BÖHM HÄSSLER HEUMANN SZYMANOWSKA SUKONTAPATIPARK CROSLAND GUMBLEY PROKSCH YANDELL TANNER DONKIN NEEFE PIANO GRADE 02 12 pieces plus exercises for Trinity College London exams 2021–2023 Prepared exclusively for FSM EDUCATION PVT LTD ([email protected]) Order: 6504 Powered by TCPDF (www.tcpdf.org)
12 pieces plus exercises for Trinity College London exams 2021–2023 Now with performance notes PIANO 02 ISBN 978-1-80051-078-4 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 Cover photograph courtesy of Steinway & Sons 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. GRADE Prepared exclusively for FSM EDUCATION PVT LTD ([email protected]) Order: 6504 Powered by TCPDF (www.tcpdf.org)

3 Performance notes Minuet in G / Böhm Page 6 w Baroque w Minuet style w Playing groups of quavers evenly This charming minuet comes from a collection of pieces presented by the composer Johann Sebastian Bach to his second wife Anna Magdalena. Not all the works were composed by Bach himself, and the collection gives us an insight into the sort of music played at home during the eighteenth century. Judging the tempo correctly is often difficult when playing a minuet — neither too fast nor too slow! The metronome mark given here is helpful, and you might also like to think of the quavers in this piece being full of character and maybe even quite expressive, rather than particularly quick. The quaver groups are often used to lead into the next phrase or section of the piece eg the end of bars 4 and 13, and so you might like to think of them growing slightly in dynamic into the next bar. The exception is bar 17, where the quavers diminuendo through the bar. In order to keep these quavers even, you could practise them in a dotted rhythm a few times and then go back to the notated rhythm. Taking a broader look at the piece, why not look up the sort of costumes worn for dancing in the eighteenth century? Once you’ve seen them, imagine dancing in them yourself, and then picture this piece as the accompaniment for it! Minuets were a very popular form of composition in the Baroque and Classical periods. Often tuneful and elegant, see if you can find some by Bach or Mozart, and listen for the similarities with this piece. Allegro in C / Hässler Page 7 w Classical w Fanfare style w Clarity of articulation Johann Hässler was a German musician who travelled widely in Europe, spending time in London before eventually settling in Moscow. This lively and upbeat piece is suggestive of a fanfare — particularly the opening with its repeated notes and writing in thirds for the right hand. Perhaps you could imagine it played by a pair of trumpets, and aim for a similar bold tone on the piano. You might also like to think of the repeated notes in bars 1 and 3 as getting slightly louder as you go through the bar, so each note is slightly more important than the previous one. The left hand here isn’t marked legato or staccato, so if you aim for something between the two (ie slightly detached), you’ll be able to create a sense of energy and excitement right from the start of the piece. At the end of bar 10 there is an echo effect with the dynamics, before the energy builds again on the bottom line. Don’t forget to use your left hand to help drive the crescendo here, even though the right hand has the most notes to play! It would be a good idea to listen to some fanfares to get in the mood for this piece — even better if you can listen to some fanfare trumpets. Or for a piece with a very similar opening bar (and in the same celebratory mood), try Handel’s ’La Réjouissance’ from the Music for the Royal Fireworks. Canzonet / Neefe Page 8 w Classical w Expressive playing w Phrasing The composer of this piece, Neefe, is best known as being Beethoven’s piano teacher. ‘Canzonet’ is an unusual title, but indicates a short song-like work, which is also shown by the Italian term cantabile (‘in a singing style’) marked at the opening. You might like to imagine, or even try, singing the right-hand part. You’ll find that many of the phrase markings in this piece are only two bars long — this is clearest to see in the left hand. As a result, there are plenty of places to breathe when singing. You could think of these short phrases as arches, with the dynamic rising slightly towards the start of the second bar, and then fading away slightly towards the end of the bar. To add to the expressive character of the melody, you can use the repeated notes, with the second of each pair being the more important one. You might compare it to the way the text is set in songs, with the important words or syllables coinciding with the important beats in the music, particularly the first beat of a bar. With that song comparison in mind, imagine breathing between phrases and sections. Take your time, with plenty of space for that imaginary breath before starting the next phrase. You could even try taking a breath yourself in those places when practicing! Neefe’s teaching must have instilled an understanding and appreciation of this singing style of music in his pupil Beethoven, and it’s possible Beethoven himself played this piece when learning the piano. Have a listen to Beethoven’s ‘Bagatelle’ op. 119 no. 4 for a very similar style of piece. Mazurka / Szymanowska Page 9 w Early Romantic w Mazurka style (triple-time dance) w Grace notes Maria Szymanowska was a Polish composer and one of the first professional concert pianists. Her style paved the way for one of the most famous of all composers for the piano, also from Poland, Frédéric Chopin. The Mazurka is a traditional Polish dance-form, which is characterised by repetition, as in this example. Although the right hand has the melody and most of the interest in this piece, it’s worth getting the left-hand part going first. As well as getting used to the octave jumps in the first section, remember that in three time, the first beat of the Prepared exclusively for FSM EDUCATION PVT LTD ([email protected]) Order: 6504 Powered by TCPDF (www.tcpdf.org)