Grade 3. nhs ahiSes Ham Piano Scales & Arpeggios Grade 3 wsbbiame Ley ANS]EMA (CIP) sie SFERSES. Ma MMARERERMARR fe. — aR: ARIPRAMEAL, 2001. 4 (2014. 6D) AMARA RRB SARS ISBN 978~7-108-09087-4 LOW 1. O38 m. OapF- sR AeeaTH WV. Dwz.16 PRRCKRI-BtR CIP ReNRE (2010) 19HDA REAR: E ip Reet: RE 26 Fa NMI RPM AMON A RURAE PARAL HOARE ()2008 Sema oes ERA PRUE COUN RASS RARER A ARB AEML ARS Rh mt Ord RNARERERMOR KE (SORTER RELA 9 see, 200010) npr mi een Fm Oye. co SRR RT BT ARNOT ALA OL Slot 8 Lae DUA ASR ams eo HERR KSEE Wes 4001~6.000 8 Heth, ILO RT RES AUBORMEI, MRR RARER, ie, (00) stim FAL, (00) sense ‘or, See, RE SERERER NL, cO1D) saLOEDAABaS ate KQEMASSLTSETAM, BOE SF ASE a IRATE ERE, GB SRA A DB A RAOBRAREL. SO BARU A EP SH RORS (OE, FM WERE. RES SPRAERMOP RE), TE, BARE Se 2, ATLA NTT AUEOUIR, A FMEA E Sok ELH, HATE RAO eR aH SUESTA, RED, HIRATA WR. RERB BEBHOERAHT FRE, Bk a REAR-EBECESERETRAOTE. & JETER AES RAIMI FAIL iE PRR. APO TRASH ARE, TER TERR SERA LET EE TRO ONBRAD savas. ePaat x WE LA ES Ee ee LAUTMEFER. ASEHAG METAR ESCHCHF+ AREHLERA HEY EOE SETLIST AE FANEROED, TERMED RMS ae it & Bh ENA A BENG, Av, SET LORAE AN, SHEN, HA ASTRA. SEAT RL “4/2” RRC. EAB ARREARS MASTER. SERBARRA ES BCA. (BRAN ASTERTTEH E PTET, RAE RAAT HM) eH FRSERARMRLR ORR. BEM FEN SEE TREMBLE, ABARAT HRSESE, © RENTER, BAREMORE © O45, Rk ee RER © RPE © KE, KHLRATAHAVHAH SSS © FEA RIA REED, dR PORES S. ALMSONP OSA, BERT ANT ae, ARSRORA SES CHASED, 4, SOAS AAT) CRAY AB ALLA AR ASABE we sbremorg ERIK, RARE RA Csi se sa, (2 8%)Piano Scales & Grade Arpeggios Why practise scales? ‘Welcome to this book of scales and arpeggios for Gnade 3 Piana. Scale practice plays an essential part indeveloping a pianists skis and time devoted to these exercises within each practic sation wil Improve keyboard fuency. Not only can maay areas of plano technique be developed through sale practice (cachas posture, hand position co-ordination, ‘balance between the hands and movement of the arm), ‘but the sense of key acl pattern acquired through familiarity with sales and arpeggios ha several ‘benefits it speeds up the learning of new pieces, develops evenness ofline and quality of tone builds aural awareness, and increases familiarity with the seogzephy ofthe piano. About this book ‘The printed pitches have been chosen primasily for cease of reading and the starting notes may not always ‘bein the inost appropriate or comfortable actave(). (Candidates ae therefore free to start in a different octave as long as the required range is covered. ‘The printed shythmic groupings are not compulsory: of oversiding importance fs thatthe requirements are played with rhythmic evenness and without undue accentuation, For the exam Tempo The piven metronome marks indicate minim recommended speeds and serve a5 a guide tothe expectations ofthe examiner. Experienced teachers will now what thei candidates are abe to achieve safely, ‘butt is importantto avold accurate bt laboured playing which shows tat the scele or arpeggio has been memorized but lacks the finger facility that fs such an imfortant part of developing technique, (©2008 by The Asse ard of he Royal Schoo of Masle Fingering ‘The suggested fingerings shown here are neither obligatory nor edaustive; any practical and systematic fingering which produces a good result ‘will be accepted inthe exam. Some alternative ingering is shown as follows: 4/3, The decision as to which fingering to adopt will depend on the size and shape ofthe player's hand, and candidates should experiment to find solutions that work for them. Examiners will not comment an the choice of fingering, unlese it interferes with the performance) On the day All requirements must be played from memory. The ‘eaminer will ask for at least one ofeach type of scale ‘or anpeggio required. ‘The examiner willbe looking for: a positive sense of hythm without undue accentuation + even, firm tone and a musical curve good legato ‘accurate and fluent realization ofthe different types of scales and arpeggios ‘convincing negotiation of echnical challenges such as smooth passage of the thumb and. hand co-ordination. Reference must abaysbe made to the als or the yarn which the eam istobe tenn case any changes have been mode othe requirements (Genera information onthe exam canbe fund in Exton yornation & gaaiony ana te guide or ance, teachers end parent, These Mase Eas, These and the sabas Alocumen ore brash onlne st wrewabesmrg 3 well es Bee ‘ot chege from ABESM loa prema,ABH (mason scates) 27S two osmvesy J = 80 UPR —PARERZE, FAB IBE (nds getter one octave apart and hands separately) AKA (A major) tease EAI (E major) 5 BAM (B major) \BAW (Bb major)AMA By (winor scates) Om seca Joep 1B: RIE ITERATE Gn meio orhrmonic fx acne’ choice) SRP RUT ABIES, BAPE and ogee one cctve apart and hands separately) BEAN (B minor melodic) t2s GHRAUINA (G minor melodic) * ptt $a 2 7 CAR MANM (C minor melodic) sas. a 2 sess 1y3ye b B (or) BABU (B minor harmonic) oye sad 2 aspz <3 Ra ary 7 2 G F078 (G minor harmonic) * CRUE (C minor harmonic) 5 24SLES Br (contraRy-MoTION scaLes) 2TVNE (wooeve) J = 80 RFMD (AFF) FEMABE (hands wogesher begioning on the key-note (onison)) AKI (A major) aes asd 2 i AFM (A minor harmonic) pesiaset ay - i ‘EEE (cunomatic scate) 2B coer) J = 80 BEB Conve veporatey) ANA THB (beginning on Ab) 24013242 She tebs AEE 2 143 145 201 3 1 #, Se ee eee foe ones cara aeeenee == a) ts a ss yg pe a [= iw) SS SS SS IAC FAB (beginning on C) ae aH) a caF (ARPEGGIOS) 2 NGE (mocetmes) J = 69 WFR —T A BESS (ands togetter one octave apart) AK (A major) . GIN (G minor) 23 eas a . 7? ae sass 3 oe a? * BFE Conds seperate) X18 (E major) én Gt ett fon. Hive CANA (C minor) ae @H) 4pea ¥ ae Oy i PSD See & Seige el I a¢