1s ABRSM $h = ali Snieilsz aH Piano Scales & Broken Chords Grade 1 wesbdbameRe-HERLMMEL (CIP) Bi FRSA HK / ROE RARER lt. — AOR: ABE RMMERL, 201. 4 (2014, 7=RFT) RELATE ARR ALT AT IE ISBN 978-7-108-04080-8 1. OM 1. OR H. Dasa AcE ASTRA IV. Dyoo.16 PUSEAIE-a CIP BABES (2010) $5 168820 g KERR: Ee tetst: ME 2 USEERE RAR ASR OMT! TC, RESRERFRE ORT A A) ABATE (OME RBA TARARRE PRACCIN REALTEK RG ARE RAINE ARB RHR REAKT REEMA R RS LRM RERTIATTT 96-5 sau, 100010) npr. pi. com en E-salemey pene, om ct seer aR eM SOSA ATANES one OF LSA PEER A BOLT AERA Ne 400-5200 sh, LEO MLE a AMANITA SERER. (010) eon Arab (00) SLtoct SOT, SORIA, ARTERIES. (10) LOO2) s SO SMALE BR ANGERS TODLAAE—-REN SAM. EB FANTASIE EMR OR ERERY HEA, HERR AS HOT A aS RTT, RH SOA CTL ET RPRSHHOHAG (RH. FV, MEMS, RESPROEAOER), HA, BRO Ser RPAGK, TLS AA UR, BE BRAT: REAR Ah ABU. eR SROOTESHR MRTED ESAT BULK, RRS BPPAMAREAT ETRE, Bib BAD BAER AAALEAERET RATE. ATER BORA BPS IHEP, ALLE ieee wae. WAPITRRSEFLEOM, EELA TLRSAERRAE FEE PRO DMBAA aes. RE BE WLAN RE, a, RAWOELER, HBBMA AHH DEChCHH:, HREME RS HEH SERIE AND ALE OARS, aN RARAPOREA , TPOE DEA sett. it Sh REET A ARI, HE FARE, BATRA ER A, ABBA, BBR) SURARTR. UR ARTIS HFHANSER, SENBARRMES ABH Heth. (BURSA AMINE ETRY, BRACE T HERR, ) RA FRSRASRLA RMSE. HREM FHT MERRIE — LBB, AUBAUT RRB, : © eH, MaTEARe © 55, AMAT RR © rane © RT, Ria SoH a0 © FEA MRI RHHETS, naR HHO ARPURAS. ALORA TORRAS, CHATRRER WAR teh, ARANEA EER CHU RSB, Fh, ROTATOR CERAM) SMI, LRA KARR ATCLEE Ewa abesm org FERRER, RAIS ATS safteshse toe, (= i)Piano Scales & Grade Broken Chords Why practise scales? ‘Welcome to this book of scales and broken chords for Grade 1 Fiano. Seale practice plays an essential par in developing a pianist's skills and time devoted to these ceercisee within each practice session will improve keyboard fluency. Not only can many areas of piano ‘technique be developed through scale practice (sich as posture, hand position, co-ordination, balance between the hands and movement ofthe arm), but the sense of key and pattern acquired through familiarity ‘ith seales and broken chords has several benefits: it speeds up the learning fnew pieces, develops ‘evenness of ine and quality of tone, builds aur awareness, and increases familiarity with the seography ofthe piano. About this book ‘The printed pitches have been chosen primarily for cease of reading and the starting notes may not always bein the most appropriate or comfortable octave(). Candidates are therefore free to stat ina different ‘octave as long as the required range is covered. ‘The printed rhythmic groupings are not compulsory; ‘of oversiding importance is that the requirements are played with rhythmic evenness and without undue accentuation. For the exam Tempo ‘The given metronome marks indicate minimum recommended speeds and serve as a guide othe expectations of the examines. Experienced teachers will know what their candidates are able to achieve safely, ‘butt s important to avoid accurate but laboured playing which shows that the scale or broken chord has been memorized but lacks the finger facility thats such an important pat of developing technique. (©:8 by The Associated Board of the Raya Schools af Muss Fingering ‘The suggested fingerings shown here are neither ‘obligatory nor exhaustive; any practical and systematic fingering which produces a good result ‘willbe accepted in the exam, The decision as to which fingering to adopt will depend on the size and shape ‘ofthe player's hand, and candidates should experiment {o find solutions that work for them. (Examiners will not comment on the choice of fingering, unless it interferes with the performance.) On the day All requirements must be played from memory. The ‘examiner will ask for atleast one of each type of scale or broken chore required. ‘The examiner will be looking for: ‘+a positive sense of shythm without undue accentuation ‘+ even, firm tone and a musical curve = good legato accurate and fiuent realization of the different types of scales and broken chords ‘convincing negotiation of technical challenges such as smooth passage of the thumb and. hand co-ordination. ‘Reference mast always be made othe syllabus forthe year in ‘which the cam isto be take, in case any Changes have been ‘made the requirments. General information on the exam can be fund in Exanatior “formation &Regnstins and inthe guide for candidates, Acachers and parents, Tse Musi Fete Thess and the eysus document art avatabe online at wwwabran ong 28 wel as fe of charge om ABRSM lal epresntativesAVAZ BY (mason scates) TARE (wo octaves) J = 60 SPEDE (LEP AEDT DEA) (ents spel etn tives cia’ cs) Ci (C major) : ec 3 ‘ a ftte 3 z ai iw ee a tat SS ae ze aw) otra 3: lon ee S12 se 3 ae aH GA (G major) ——S =a Eteee. 5, 5DAW © major) : oh pis ey eS SS SESS FAITH (F major) ae zt rere tec (or) 4 Ai 402AG By anor scates) 2TASE wo octaves) J = 60 L274 EEE ERR ADEAN HE Ga melaic or harmonic fom a cancdate's choice) SPR CAPSTONE) cds separaely Qf hand aermaives at cance’ oie) Atte) ¥8 (A minor melodic), ae uy ete asics : Ledbe & ryzyz de pe plete rier a gS » SSS 7 % haa fte Feesay 31 ays 2% OE up == SSS aa erieet Te ‘ i Dite#t/hiA (D minor melodic) 234 2s aH) T2d 1s B (or) ae cw)B (or) AAUP (A minor harmonic) DFA (O minor harmonic) ae ay ze aw iy ec eiers et ont (or) sere bs pte fe at SSeS ae } 2S S6Ss = Fo ——— ZI) BY (CONTRARY-MOTION SCALE) PRUE CIE) FERGIE [hands togetder beginning on the key-no¥e (onison)) TTPIVE (ove ectave) J = 60 CAB (C major) AB 3402S)f#EALGXZ (BROKEN CHORDS) peer SY FW hands separately) GIB (G major) fat? ae an FA‘8 (F major) a GH) ae aH) RRL BETRSERRHL, (Nowe thar doteed crotchets should be given thelr fll valve) gum 7AshiBl (A minor) ae ay DAN (D minor) ae RH) aa aH) B3402