f-s

Rrforrnance notes
ruA
JSHI Prefude and Fugue in E majol BWV 854 (from Ihe Wett-Tempered Ctavier book t)6
D Satattt Sonata in C, K 5.13,'Pastorale' 12
Itltfrr Rondo (2nd movt from Sonafina in A major, op. 59 no.1) 16
CErnV Feodora (from Album 6l6gant des dames pianisfes, op. 804) 24
Br-tfr No. 2 from 5x Dances in Bulqarian Rhythm (from Mikrokosrnos, Sz.jO7, vol 6) a
GROI,P B
Jandcet Nelze Domluvit! (Lost for wordsl) (no. 6 from on an overgrown path) 3
Granados Andaluza (no. 5 from Danzas espafro/as) A
Beach Scottish Legend (no.I f rom lyyo Pieces, op. s4) 40
Joplin The Cascades 42
Gershwin Prelude n0.2.. . . 46
Dring Blue Air (from Colour Suife) 50
Sciarra Romance 54

Exercises 57
Scales and arpeggios. 63

Pfease refer to the Piano Syllabus 2021-2023 for details on all sections of the exam.
Check trinitycollege.com/piano to make sure you are using the current version.

Summary of exam requirements

PIECES
Candidates perform a balanced programme of three pieces, chosen from the complete list in the syllabus and containing at least one
piece from each group. See the back cover of this book for alternative exam repertoire published by Trinity. An
own composition may be
played instead of one of the listed pieces,

TECHNICAL WORK
Candidates prepare 1. Scales, 2. Arpeggios and 3. Exercises

SUPPORTING TESTS
Candidates prepare:
- Sight reading
- Aural or improvisation

) Sight reading examples can be found in Siqhf Readinq Piano: Grades 6-8 (TCL O2O5O2) (available late 2O2O)
) Practice aural tests can be found in Aural resfs book 2 (Grades 6-g) from 2017 (rcL ol5g15)
) A range of resources to support teaching and learning is available at trinitycollege.com/piano-resources
) For guidance on improvisation, please visit trinitycollege.com/supporting-tests or refer to the syllabus

The repertoire in this book can also be used for Trinity's submission exams.
Please check trinitycollege.com/submission-exa ms fo r more detai ls.
TRINITY
COLLEGE LONDON PRESS

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lrJ F
F-
PIANO Xi
21 pieces plus exercises for
Trinity College London
exams 2021-2023

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Published by
Trinity College London Press Ltd
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 Performance notes
Prelude and Fugue in E major / J S Bach Page 6
Barooue
Contrapuntal
Passing musical lines between the hands
Johann Sebastian Bach's Well-Tempered C/avier is a
landmark work in the historv of music, and its title refers to a
tuning system that enables all keys to be played - a rarity in
Bach's day.
The Prelude is a lyrical and tuneful piece, with the principal
melodic line being allocated to the top of the right hand
for the majority of the piece. This is worth bearlng in
mind for balance, although you might also like to f ind
the places where lower parts interject - for example, the
second half of bars 8 and 9, where the left hand takes the
lead. To ref lect the lyrical style, a relatively /eqafo touch
might be appropriate, and this is likely to carry over into
the semiquaver passages in the Fugue. However, much of
the quaver writing here is more disjunct (eg bars 5-6 of
the Fugue), so you might prefer a slightly more forthright,
detached articulation. This would certainly fit with the
declamatory gesture of the f ugue subject, with a rest coming
only two notes into the themel
The Fugue has three voices, and as such the middle voice is
frequently passed between the hands. Take care over these
places where the hands 'take over' music written in the
other stave. lt's worth noting these are editorial suggestions,
not Bach's own - you might wish to alter some of these
allocations if you f ind solutions that suit your hands better.
There are many different ways to perform Bach convincingly
on a modern piano that it's well worth exploring a variety of
recordings by different pianists while learning this piece.
Sonata / D Scarlatti Page 12
Baroque/early Classical
Drone bass lines
Virtuosic stvle
Domenico Scarlatti was a highly original composer -
although he was born in the same year as J S Bach and
Handel, his style f requently pre-empts the Classical period,
and is full of fancy and creativity.
The 'Pastorale' title for this sonata refers to a depiction
of rural life - a commonly-used association in music of
the Baroque period and beyorld. In this piece, the primary
links are the simplicity of the'opening material (referring
to the supposed simplicity of life in the countryside) and
the numerous uses of drone basses, which are designed to
remind the listener of the drones of rustic bagpipes. In the
molto alleqro the music might also conjure up images of
dancing and revelry, accompanied by the drone of the pipes.
As is almost always the case with Scarlatti's works, you
might like to try to construct your own scenes, narrative or
mental images of what the music depicts, particularly as it
moves f rom one section to another. From the molto allegro
to the end, for example, the partying gets progressively more
extravagant, as the virtuosity levels increase for the player!
Evenness of the semiquavers is important here, especially
when they are present in both hands simultaneously, such as
bars 59-60,
Rhythmically, you might like to think of this last Presfo
section as one beat per bar - any subdivision into three
might be reserved for the closing bars, if you chose to slow
up for the final cadence. Equally effective might be to keep
the momentum going right up to the last chord.
As well as exploring some of Scarlatti's other keyboard
works (there are over 5OO keyboard sonatas!), you might like
to listen to some other pastoral-themed music, Beethoven's
Pastoral Symphony being an excellent starting point.
Rondo / Kuhlau Page'16
Early Classical
Negotiating large intervals
Balance between the hands
Rondo form is characterised by the f requent repetition of
one particular section of material, usually stated at the
opening. This example is marked Alleqro scherzando, and the
'cheerf ul, playf ul manner'this refers to is present throughout
this charming piece.
When learning and performing this piece, it's important to
keep in mind the musical 'glint in the eye' - a sense of the
cheeky nature of the material. This is conveyed to a large
degree by the dynamics, and particularly the sudden piano
markings. Perhaps you could think of some of them as
whispered asides, given by a character on stage in a play.
From a technical point-of-view, you might like to isoalate
the bars with large intervals in them to practise familiarity
with the distances involved:for example, the right hand
in bars 99-101. There are also some moments where the
balance between the hands needs consideration - for
example bars 61-69, where the busy, leqato semiquavers
could easily overwhelm the right-hand melody. As with any
rondo, it's also worth pointing out the risk of the return of
the original material heralding a faster tempo - be aware
of the danger of sounding like a relief to reach familiar
territory!
You might like to have a listen to the only other movement of
this Sonatina ('small sonata'), the precedin g Allegro.
 Feodora l:=--, Paqe
':3-3-i l -:. --s:
A:.ie,i^:: e;::: -: ,'. :^ - ^,rra use of tne pe:a,
Proje ciior' of a meiooic line
CarlCzerny is best known these days for his exercises to
develop technique, and this example achieves the same aim
in the context of a rather beautif ul piece.
This movement is in effect a study for the development of
a singing legato in the right hand, with a sfaccafo left-hand
accompaniment. Following the canfablle direction for the
right hand is crucial - you might imagine actually singing
this line, and you'll find that the phrase markings perfecily
align with where you'd need to breathe. In the left hand,
Czerny indicates that the sfaccafo marking is to apply until
otherwise shown - which isn't entirely clear. Certainly, on
the second page there's an argument for a more teqato
approach f rom bar 27, and bar 30 surely compels the player
to use the sustaining pedal or grow an extra fingerl
In general, you might consider hardly using the pedal at all
in the opening section, some light use on the second page,
and then perhaps rather more from bar 35, albeit with very
frequent changes here to keep the claritv of the lines. As
ever with pedaling, your ears are the best guide.
lf you haven't already come across them, do consider using
some of Czerny's well-known exercises and studies for
the piano as part of your practice routine. Many of them
are beautiful pieces in their own right - it isn't all scales
and arpeggiosl
No. 2 f rom 5x Dances in Bulqarian Rhythm lBart6k page 2g
lrregular time signature
Asymmetrical, Bulgarian rhythm
Precise articulation
These six dances come from the final volume of Bart6k's
Mikrokosmos - his set of piano pieces that progress in
diff iculty. These dances are dedicated to the English pianist
Harriet Cohen.
The distinctive Bulgarian rhythm divides each bar into two
groups of 2 and one group of 3, generating a rhythmic
energy that hits the ground running. Bart6k is precise with
different levels of articulation: the initial forte in bar 4, where
the melody starts, is bright and confident, but you can also
leave plenty in reserve for more aggressive moments later in
the piece.
The section from bar 24 is marked martetl. (martellando),
which means it is'hammered out'and so will require more
punch - the hands will likely need to start from higher up.
More lyrical passages, such as that beginning at bar 16, have
less rhythmic accentuation, but still require the distinctive
rhythm to be continued throughout.
Look at other pieces f rom Bart6k's Mikrokosmos, which
explore technique, as well as folk and modernist elements,
24 lre,ze Domiu yitl D:-a ?'
v:'c'-9 iE -;-^ ^:^^-
:lne S,qlatufeS
Cross-staff notation
On an Overqrown Path comprises 13 piano pieces. Tne :i: :
comes from a Moravian wedding song, the bride lamentinc:
'The path to my mother3 has become overqrown with clo,,'e-
All these pieces cast memories and moods.
'Lost for Wordsl' is a highly emotional piece conveying bii::-
disappointment. The expression is extremely important
and this is shown through contrasting sections that shifi
suddenly between different moods, which nevertheless ' :,',
naturallV into each other.
You could imagine someone is singing this folk song in a '-::
tempo:even though there are lots of odd time signatur:s.
they sound natural and free in performance. There is sc-:
f lexibility with speed, especially over long phrases, y,,hic. a-=
indicated with a slur. You might want to leave plenty of spa:=
as though breathing, to bring resonance and add to the
yearning, fol k-like atmosphere.
Dynamics are also involved in casting this mood. The mezz:
forfe opening is conf ident, but softer lyrical passages,
beginning at bars B and 29, also require f ull expression.
The dynamic marking of piano is primarily an indication ci
emotion, rather than simply volume.
Listening to different recordings of 'Lost for Words' (often
called 'Words Fail!') will help vou make f inal decisions on
tempo, dynamics and articulation, although you will also
need to discuss these with vour teacher.
Andaluza / Granados Page 34
Inf luence of guitar playing
Changing time signatures
Spanish folk style
The Spanish composer Enrique Granados composed his
Spanlsh Dances in l89O and they are some of the most
famous examples of his Spanish nationalstyle.'Andaluza'
depicts the southern region of Spain.
This dance has a passionate temperament with an intensi:,
that invites the performer to go for dynamic contrasts y,,iti
gusto. The pedalling will require some experimentation in
order to allow both clarity and richness of tone.
An intriguing challenge in this piece is replicating the pta,,^;
style of the Classical guitar. The driving rhythm contains
three elements:a down-beat emphasis on low notes, up-
beat chords and a melody that sings out over the top.
The tonal balance shared between the hands is therefore
pivotal and performers might want to practise playing the
melody and accompaniment separately, ensuring that th:
accompaniment is supportive. Just like a guitar, 16i5 ;Ir,rlr-
sounds resonant and natural, rather than disiointed.
I :-. -=-:a ,=' -- -:- :: :-=:---: -= ---: --^=s:
=-- =
;,:-=:: ,: a-'3S:S :-::-- -; r S:iS: l'Ta,:-3:-.':SpeC a
'r- :'3 flc,ris:ss :na: cnaracierise Spanish dances.
3^ccsing exactly tvhere to be liberal with tempo will be a
:naiter of feeling, but it is worth discussing this topic with
','our teacher. How fast or slow you take the middle section
f rom bar 32 will affect the balance between lightness of tone
and intensity.
Listening to different recordings on the piano and guitar,
as well as the other dances, will help you to determine your
own approach to the dance rhythm, expression and any
additional ornaments.
Scottish Legend / Beach ' Page
Scotch snaps
Scottish folk stvle
Chordal playing
The composer and pianist Amy Beach was the first
successful American female composer of large-scale
music.'scottish Legend'is written in a romantic style, while
depicting the landscape and culture of Scotland.
The rugged, full-bodied sound of this piece comes f rom
chordal playing. lt is worth spending time getting the
f ingering right f rom the beginning and you will want to have
f ull control over your f ingers, wrists and arms, not allowing
your hands to collapse. lt may be helpf ul to use f ingers 3
and 4 for many of the ornaments in this piece, to ensure
strength. A flexible wrist willalso help you achieve subtle
varieties of tone. lt is wise to avoid using the sustain pedal
in the early practice stages, ensuring that you can play
smoothlv without it.
The melody is essential - imagine the lyricism of a Celtic
folk song - but the challenge is playing this expressive
line with the weaker f ingers. Therefore, you may want to
practise playing the melody in isolation, placing your other
fingers where they need to be to achieve the necessary
tone balance.
It will be helpf ul to play through exercises and pieces that
target f inger strength and f lexibility such as etudes by
Czerny and you may also find Chopin to be rewarding.
The Cascades / Joplin Page 42
Ragtime
Syncopation
Octaves
Although not as well-known as 'The Maple Leaf Rag', this
piece by Scott Joplin is just as attractive and shares structural
and harmonic similarities. The piece is notable for its A-B-C
form, ending in a key far from the one in which it began.
'The Cascades' was composed on the occasion of the
World's Fair in St. Louis, USA, in 1904 and was inspired by
the waterfalls which flowed into a basin in the main hall
of the exhibition. Joplin portrays these with arpeggios,
scalic runs and spread chords (eg bars 9-12 and22)' and
ihroughout there is a sense of water splashing and rippling.
:: =- :.-:::^:-::-l -::=:--:::: :- -. -! - :- --
r
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technicat and artisiic challenges.
Ragtime is characterised by a strtct march metre ard
syncopation. Joplin said'never play Ragtime too fast', a::
here the challenge is in maintaining a sprightly tempo t','r Le
retaining clarity in the semiquavers, Good, secure f tngering
will assist in this. Use a normal diminished 7th arpeggio
fingering for bars11-12 and notice that the hands are a 6th
apart, rather than an octave. Although not marked, a surging
crescendo through these arpeggios will add drama,
The most technically challenging aspects are the octave
semiquaver f igures, in particular in the B section (f rom bar
40 43). Keep the hand relaxed and practise the octaves softly
to begin with. There are no pedal markings in this piece
and discreet use of the pedal will bring an authentically dry
sound. In terms of dynamic shadings, be led by both the
musical shape and phrasing, and the piquant harmonies.
Prelude No.2 / Gershwin Paqe 46
2Oth centurv
Jazz-inspired
Voicing
The music of American composer George Gershwin
successf ully spans both classical and popular genres, and his
works are inf used with the jazz idioms of the early part of
the twentieth centurv. He described his 'Prelude no' 2' as
'a b/ues lultaby'and the piece is built around the harmonies
of the blues scale. lt has a languid, melancholy mood,
emphasised by the steady ostinato bass and a seductive
melodv, reminiscent of 'summertime' from Gershwin's opera
Porgy and Bess.
The piece opens with a span of a 10th in the bass which some
players may f ind awkward. The chord can either be split or
the right hand takes the upper notes (also in bar 1O). Marked
teqato, a f lexible wrist and good fingering will allow you to
'walk' the hands around the chords. To enhance the bluesy
nature of the music the ornaments should be relaxed, rather
than in a strict classical stvle. The main challenge in the
right hand comes at bar 18 when the melody is expressed in
octaves with a meandering chromatic middle voice. Keep the
hand soft and the fingers close to the keys when playing the
octaves so that the hand does not become tense and tired.
The middle section, in F sharp major, is more upbeat in mood
and here the left hand takes the melody. Make the most
of the df. in bars 43-44 to prepare for the return of the
opening melody at bar 45.
Throughout the piece sensitive rubato, including delayed
entry on certain notes, and expressive dynamics contribute
to the languid mood. The tempo in the f inal ascent f rom bar
59 can be relaxed, with an atmospheric wash of pedal as the
music fades awav.
3-e: p:-6 qt I

',':l:-- :_:--:: -::

i^ ,:^ -
u--- ^
chord sequence in bars 28-30 and the;'na-:^ir =:-:-::
llc - _ _-=-=
=

Madeleine Drirq ,,, as an English composer who specialised
in miniatures and her Colour Suife comprises f ive pieces
each inspired by a particular colour.'Blue Air'has a dreamy,
bittersweet character, evocative of the music of George
Gershwin and Cole Porter in its bluesy harmonies and
nostalgic mood. This atmospheric piece has plenty of scope
for expressive playing and will suit a student with large
hands who is confident with syncopated and poly rhythms.
on the final paqe. Learn them carefulll, anc inen ei :r:*
relax to sound spontaneous and improvisatory. Al:nc -r- -::
specifically marked, you might like to experiment r,,,itn t-:
una corda (soft pedal) in the final bars (38-41).
Authors: Martin Ford, Owen Barton and Francesr,',' s:^

The introductory bars have an improvisatory quality and will

benefit from rubato. Aim for a steady Andante tempo in the
main body of the piece as this will enable you to manage all
the details, such as the ascending right-hand run in bar 32
and the semiquaver groups in bar 45.

The swung rhythms in the A section should feel relaxed, but

with a clear sense of the underlying metre. A 'lift and drop'
motion in the right hand, utilising the weight of the wrist,
will help create a languorous emphasis on the notes marked
tenuto. A relaxed hand is essential for playing the right-hand
chords to avoid tension and tiredness. Bigger chords, such as
in bar 25, can be arpeggiated.

There is a change in mood at bar 19 with the modulation,

and the dotted rhythm is replaced by triplet-crotchet chords
interspersed with chords in time. After an improvisatory
bridging section, the opening f igure is reprised, this
time in triplet-quaver chords with a swung left-hand
accompaniment. Allow the semiquaver groupings in bars 43
and 45 to feel spontaneous. Aim for an improvisatory feel in
the final bars with plenty of rubato and a wash of pedal.

Romance / Sciarra Page 54

Contemporary romantic
Pedal
Expression

It is no accident that'Romance'by ltalian composer Dario

Sciarra is marked 'quasi notturno' for this deeply expressive
piece shares many similarities with nocturnes by the master
of the form, Fryderyk Chopin - f rom the lyrical cantabile
melody to the undulating left-hand accompaniment and the
more f lorid middle section. Listen to a selection of Chopin's
nocturnes to give you a sense of the style and mood of this
music and to help you shape its expression.

do/ce e rubato is the direction at the beginning of the

music, encouraging you to play with a sweet tone and
some give-and-take in tempo (both elements found in
Chopin's nocturnes). A mobile wrist will assist in the left-
hand accompaniment and will avoid large stretches: use the
movement of the wrist to reposition the hand to reach the
upper notes and sustain these with the thumb for greater
resonance. A nimble left hand is usef ul in bars 14-16 to move
f rom the low minims to the chords in the treble.
Prelude and Fugue in E majol BWV gs4
from The Well-Tempered Clavien book l
Johann Sebastian Bacn
(16Bsl7s0)
Prelude ). = c.66

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 Sonata, K 513
'Pastorale'

Domenico Scarlatti
(1685-1757)
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Friedrich Kuhlau
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Allegro scherzando )=ll2

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Feodora
f rom Album el1qant des dames pianisfes, op. 804
Carl Czerny
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Allegretto moderato J = 80

Omit the repeats in the exam.

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No. 2 from Six Dances in Bulgarian Rhythm

from Mikrokosmos, Sz. lOZ ,.uor 6
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 Nelze Domluvit!
(Lost for Words!) - no. 6 from On an Overqrown Path

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Andaluza
no. 5 f rom Danzas espafro/as
Enrique Granados
(1867-1916)

Andantino, quasi Allegretto J = c.50

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Scottish Legend
no. 1 from Two Pieces, op. 5
Amy Beach
(1867-1944)
Lento con molto espressione J = 50-66 ed. Maurice Hinson
sempre cantabile
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41
.'': -: 5

The Cascades
Scott Joplin
(1868-1917)

Tempo di marcia ) -- c.72 I

-!f
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l2
I

-]- ?)a

42 Omit the repeats in the exam. O Copyright 2020 Trinity College London Press Ltd
2
i- ?+

43
rE
 P
f 2nd time)

p
(f 2nd time)

n Fine
Group B

Prelude no. 2
George Gershwin
(1898r937)

Andante con moto e poco rubato ):72-88

U
p Legato
,, *l | + t t

frd.Msim.adlib

#-
a)
LJJ

C tl' O +l

* Candidates with smaller hands may prefer to use their right hand to play the upper voice here and in the following
bars, or alternativly to spread the first chord. See also bars 10,14,23 and similar.

46 O Copyright 2020 Trinity College London Press Ltd

-3-----t

/-->

L-
 Largamente con moto (a tempo)

34

slH{il
14,) -t
11 ???Z ttr't-
| | I
r_-3
-,1

rit. Tempo I
43
-- A
s-*F{tlTe ---7

Q)
pp
e tfru 7t legato
A ll'

*Optional version: reverse hands until the end of bar 44.

This section is sometimes performed with occasional light swing ad lib.

48
f

49
Grcup B

Blue Air
f rom Colour Suife
Madeleine Dring
(1923-1977)

rit. Rua- - - -l
Andante ) = ee-le A Blues - expressive

,-l-1 r-3-

Copyright O 1963 Josef Weinberger Limited. Reproduced by permission of the copyright owners
 rJ

ten.
tu
n il,?

trl
 move on poco rit.

222
JJ
cresc. ,, dim'

t3_T
,' 3' t3 t3'

move on - -
-i r-3----

L3r i3' rJ
t3' r'31 t

-j

a tempo primo

52
 >>
56

=,
g

:> poco rit.

Group B

Romance
Dario Sciarra
(b.1990)

Lento, quasi notturno J:50

legato
confd.

pp----

trA @ Copyright 2O2O Trinity College London Press Ltd

 l tempo

i5 ,[J C'
--
a
P-

Piimosso J=69

rit.

o bt qnt #-t frl+ "4 -

"r
+r

\b+ 'b"+ l'+

cresc. dim.

55
 --
tJlr

a tempo

3 N
J

a tempo

pp

56
 Exercises
1a. PgfSUaSiOh - tone, batance and voicino

@ Copyright 2020 Trinity College London Press Ltd 57

1b. EffeCtUOSO - tone, batance and voicino
Atmospheric .J = 56

fp). r

*depress silently

58 O Copyright 2020 Trinity College London Press Ltd

2a. A Big ROmance - co-ordination
Andantecantabile J=76

con 9d.

pp
?:
\,

@ COpyright 2020 Trinity College London Press Ltd 59

2b. Stage Lights - co-ordination

>
tr ryp

Qe). t

,!f21

3
confd.

fp). t

ou O Copyright 2020 Trinity College London Press Ltd

3a. That MariaChi TOUch - finqer &,,,,,risr strenqth and f texiDili:',,
Presto ,'= 288 G : 96)
I ? f\ t r\ t\ t

O Copyright 2020 Trinity College London Press Ltd C

3b. WeSt Side StOfeyS - finser & wrist strensth and ftexibitity
Vivace ).:94

-J-J \_-=-- \J

\_t<-
f"J
2

62 O Copyright 2020 Trinity College London Press Ltd

 Scales and arpeggios
The fingering given in this book is offered as a recommendation only. Any other logical system of fingering is
acceptable provided that it is consistent and allows an even execution of the requirements.

Please note that the recommended speeds are a guide to what can be expected at each level. For the purposes
of fulfilling exam criteria, accuracy, fluency and evenness of touch and tone should be regarded as equally
important aspects of technical competence.

All four-octave scales and arpeggios have been shown here as two octaves to demonstrate recommended
fingering. Four octaves must be played in the exam where specified in the syllabus.

1. Scales (from memory) - Examiners select from the following:

F{, Eb and B major
lfor ngfor p
F{, Eb and B harmonic and melodic minor mtn. or crescendof leqato or
four octaves hands together
)=14o diminuendo sraccato
Chromatic scale in similar motion starting on F#, Eb and B (p-f-p)
R mei^r c.Ala in ?r.1<
mtn.
C harmonic minor scale in 3rds J=80 ,!f /egafo only two octaves hands separatelV

2. Arpeggios (from memory, in similar motion unless specif ied otherwise) - Examiners select from the following:
Ff, Eb and B major

F{, Eb and B minor leqato or

lfornforp four octaves
Diminished 7th starting on F+, Eb and B mtn. or crescendol
hands together
Dominant 7th in the keys of F#, Eb and B )=12o diminuendo
(p-f-p)
Eb major contrary motion
teqarc IWO OCIAVCS
F{ minor contrary motion

Ff, major scale (four octaves)

Ff, major arpeggio (four octaves)

63
Eb major scale (four octaves)

Eh major arpeggio (four octaves)

Eh major arpeggio in contrary motion (two octaves)

B major scale (four octaves)

64
B major arpeggio (four octaves)
1

Ff, minor scale: harmonic (four octaves)

Ff, minor scale: melodic (four octaves)

F# minor arpeggio (four octaves)

A5
Ff minor arpeggio in contrary motion (two octaves)
4

Eb minor scale: harmonic (four octaves)

Eb minor scale: melodic (four octaves)

Eb minor arpeggio (four octaves)

66
B minor scale: harmonic (four octaves)

B minor scale: melodic (four octaves)

B minor arpeggio (four octaves)

1

Chromatic scale starting on Ffi, Eb and B (four octaves), for example:

bc -b =ti

67
B major scale in thirds - hands separately (two octaves)

Right hand

Left hand

C harmonic minor scale in thirds - hands separately (two octaves)

Righthand ^ , s ?5 d

Left hand

Diminished 7th starting on F# (four octaves)

212341

Diminished 7th starting on Eb (four octaves)

z3r2l41
Diminished 7th starting on B (four octaves)

Dominant 7th in the key of Ff (four octaves)

Dominant 7th in the key of Eh (four octaves)

Dominant 7th in the key of B (four octaves)

69
 ''t-:

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Audio track list Recording credits

1 Prelude and Fugue in E major Pianists: Yulia Chaplina (tracks 1,2,1s,22-24),
2 Sonata lrina Lyakhovskaya (tracks 3, 4, lo),
3 Rondo Clare Clements (track s),
4 Feodora Linda Nottingham (tracks 6,20),
5 No. 2 rom srx Dances in Bulqarian Rhythm
f
Peter wild (tracks 7' 12-18'21'25-27)'
John York (tracks 8' e' ll)
6 Nelze Domluviil (Lost for words!)
7 Andaluza Tracks l-4, 6,1o,12,1e-27:
8 Scottish Legend Recording producers: Ken Blair, Sebastian Forbes
9 The Cascades Recording engineer: Will Anderson
lO
.tl
prelude no.2 Audio editors: Charlie Hembrow, Will Anderson,
Ken Blair
Blue Air
12 RomanCe Tracks 1-4, 6,1o,12i

13 Exercise 1a _ persuasion Recorded at All Saints' Church, East Finchley,

London' January 2020
14 Exercise 1b - Effectuoso Piano tuner: Niqel Polmear, Steinwav & Sons
15 Exercise 2a- A Big Romance -

16 Exercise 2b - Stage Lights rracks le-27:

j7 Exercise 3a _ That Mariachi Touch Recorded at Snape Maltings, Suffolk, January 2017
Piano tuner: Graham cooke
1g Exercise 3b - west side Storey,
1g ebook - Fanfarinette and La triomphante H:'I[:? bv oti Middteton at Reat Wortd Studios.
20 ebook - Prelude in G major February ZdZO
21 ebook - Moderato Audio editor: Charlie Hembrow
22 ebook - Allegro
rracks5'7-e'll:
23 ebook - lntermezzo in B minor
z4 eoooK - Mtnstrets.,:-- Recorded and engineered by Mark Rogers at
The Menuhin Hall
25 ebook - Eregy
26 ebook - Allegretto A bmp production for Trinity College London Press
27 ebook - Remote Xianggelila bmp-recording'co'uk

Piano2O2l-2O23 Grade 8 (ext) ISBN 978-0-85736-936-9