Piano aoe oe = Pe Ot Ee, = Tine tah etal por aa She gee nent gla ae aA Scanned with CamScannerSe London College of Music Examinations Piano 2018-2020 Grade 2 Ah fe Scanned with CamScanner™~ rade 2, Recital Grade 2 and Lelaure Play Grade 2 Tes ot handbooks, primarily Intended for candidates considering taking Pu ‘At eandidates must bring thelr own copy of the relevant handbook This handbook le part ofa progressive ser London College of Musle examinations in plano. tothe exam, Candidates must alto refer tothe current sylabus- Syllabus valldty Ta hendbook evel fr examinations trom Spring 2018 to Winter 2020, Further ntormation Iocan exam or view the current syllabus, please visit the LCM Examinations webs Editorial guidance crore iapu hasbeen kept toa minimum order to reproduce the composer’ ntentions as cleery ex posi Extorai nates ae avaiable to download trom the LCM Examinations website, detaling ery additions. Metronome markings and ngerings have been glven as ana to dovelopin your own interpretations they have been included for guidence and do not have tobe followed in the exam. ‘The use ofthe sustaining pedal. perticulrly in the higher grades, has been taken for granted and onl indicated when ts requred fore specfc elect. Uness specified, the pedal merkings given are for guidance only, a8 the ne ofthe podal depends to large extent on the cheracteritics of the piano, the acoustics ofthe room, andthe Interpretation of the piece. Repeats Performance of repests is atthe cendidete’s diteretion. In general, repeats should be Included, but longer repeats lor example, the full exposition of a sonate form movement) should net be played. Da Capo and Dal Seano signs mutt be observed. Plano: Grade 2 Catalogue number: L305 |SMN:$79-0-5701-2177-9 (© 2017 University of West London, LCM Publications Compiled by Wiliem Alexander, David Duncan, lor Flint, Tony Pegler, Lizzie Moore a cmp by Wan in 1 Pegler, Lizzie Moore and Philip Aldred Performance notes by Melanie Spanswick end Kirsten Johnson Biographical information by Faye Crabtree Musi and text setting by Maxwell Knight Cover design by Lovers (Original artwork by Joe Cruz Printad and bound by Halstan & Co, LCM Examinations emesuw.scaik g Scanned with CamScannerOontents GRADE2 TECHNICAL WORK Scales, broken chords and arpeggios 4 Study 40 PERFORMANCE UsTA Minuet in G minor: Christian Petzold n Fanfare: Francois Couperin 4 Courtly Dance: Margery McHale 16 usTB A Little Song: Dmitry Kabalevsky 8 The Lonely Traveller: Evelyn Glennie 20 Watermark: Louise Chamberlain 2 usTC ‘The Somersault King: Mike Schoenmehl 24 Homework Blues: Pam Wedgwood 26 Celebration: Anne Crosby Gaudet 28 DISCUSSION 30 SIGHT READING 32 AURAL TESTS 34 Scanned with CamScannerREQUIREMENTS: Scales TECHNICAL WORK * Contrary motion scoles © Chromatic scale, hands separately SCALES, BROKEN * Broken chords, hands separately CHORDS AND + Arpeggios, hands separately | ARPEGGIOS Candidates are to prepare either all of the following sca, broken chords and arpeggios, or the study (page 10). Scales, broken chords and arpeggios are to be performed Jegato, from memory. Scales: G, D, A, Eand F major 2 octaves ‘A, Eand D minor (harmonic or melodic) + Hands separately and together * Recommended tempo: J = 72 a i. The 1% » Scanned with CamScannerAmajor E major F major Scanned with CamScannerE harmonic minor E melodic minor ae 2b atete Fitts 2 2 14 = SS : co 3 3 veep uetth eet tie —— . T at D harmonic minor : i ee pirate tit ao 6 3 ok Sas SSS oS ry 1 ‘ sears ite 648 2 tte 3: ae ie ===: === ? —— +7 i D melodic minor 23 a4 fs ===] <————— = z sao epgbe ‘i 4 Tre aes mt hes Scanned with CamScannerContrary motion scales: Cand G major ecemyes ‘* Recommended tempo: J = 72 C major G major : Chromatic scale, Beginning on D hands separately: + Recommended tempo: J = 72 4 octave Scanned with CamScannerBroken chords, G and F major D and E minor hands separately: Patterns as written = 40 (J =60) «Recommended tempo: D minor RH Scanned with CamScannerEminor Arpeggios, C major hands separately: Arainer: 2 octaves ‘* Recommended tempo: J= 60 C major Aminor Scanned with CamScannerTechnical work: Study Witches and Wizards Christine Donkin With spirit 4.= 96-104 4 8 poco rit. 10 {© 2006 The Froderick Hori is Music Co, Toronto, Canada. All rights reserved Used with permision |. Used with per Scanned with CamScannerPerformance: List A Minuet in G minor Christian Petzold formerly BWV Anh. 115 About Christian Petzold was a German composer and organist. He was popular in his own time, working asa court organist, composer of chamber music and ‘music teacher in Dresden, as well as giving concert tours around Europe. Very few of his compositions have survived to the present day. ‘The Minuet in G minor is one of two minuets by Petzold that appear in the second Notebook for Anna ‘Magdalena Bach (1725). The pieces within the book ‘were mainly transcribed by Anna Magdalena (the wife of JS Bach), and include works by members of the Bach family and other composers of the time. Anna ‘was a professional singer, and often hosted musical evenings where family and friends would perform. ‘The Minuet in G minor, and its companion piece in G major, originated in a Suite for Harpsichord by Petzold, but for a long time both were attributed to Johann Sebastian Bach — it was not until the 1970 that Petzold was found to be the original composer. In performance A stately tempo will give this work the dance-like character expected of a minuet of this period. Contrasts between legato (played smoothly and usually written with slurs or phrase marks) and non- legato (detached) touch can be quite marked here, and fingers may need to adjust to the constant variation in articulation. The stur in bar 2 and similar places indicates a legato downward swoop, followed by a lift ‘on the third crotchet (best played with a lighter touch) ‘on beat 3. Imitation between the hands is a feature; quaver movement in the right hand, then the left. These will be effective ifthe same touch is used for both, with each quaver phrase (usually consisting of a four note pattern) played with a slightly deeper tone for characterisation. ‘Neat ornaments (the added note decorations which are marked above the notes in the score) and a stable, steady pulse will set this piece off perfectly. (Melanie Spanswick) (© 2017 Unversity of West London, LCM Publications ” Scanned with CamScannerMinuet in G minor from the Notebook, for Anna Magdalena Bach Christian pe told [J =ca, 116-126] tn ig es of 2124 o (aan Scanned with CamScannerScanned with CamScannerPerformance: List A Fanfare Francois Couperin from Pieces for Harpsichord, Book 1 About Francois Couperin was born into a long line of ‘composers and musicians; his father was the second Couperin to hold the position of organist at the church of St-Gervais-et-St-Protais in Paris and he taught his son from a young age. When Frangois turned 18 in 1686 he inherited his father’s role of organist at the church, and when he eventually retired in 1723 the role was passed on to his cousin Nicholas — the Couperin family held this position for over 170 years in total Frangois Couperin also worked as organist and court harpsichordist at King Louis XIV's palace in Versailles. Under a royal privilege granted by the king, Couperin was able to publish four volumes of harpsichord music; this Fanfare is taken from the second ordre (suite) in Book 1. After his retirement, his position of court musician was inherited by his daughter Marguerite-Antoinette, the first woman to hold that position. In performance ‘A delicate and rhythmic work set in the joyful and bright key of D major (prepare to play F# and Ct throughout). ‘The note patterns fit nicely under the hand, and notes often appear in related shapes (the first four bars are very similar to the second four, for example) — it is worth playing through hands separately, noting the patterns within each bar. Each musical line (both the left and right hand) needs colour and attention, therefore aim for similar phrasing and articulation in both hands. You could get creative with the dynamics here. Ornaments (added note decorations which are ‘marked above the notes) are an integral feature in this style. Try practising them separately and slowly, using 4 deep touch and firm fingers. When you come to play them in the piece (up to speed and much lighter), they should feel very controlled. (Melanie Spanswicl) (© 2017 University of West London, LCM Publications “ Scanned with CamScannerFanfare pour la suite de la Diane Francois Couperin (1668-1733) (J: = ca. 69-76] ve! a2 Ist timef 2nd time mp Ist time f | 2nd timemp ‘left hand ornament optional Scanned with CamScannerPerformance: List A Courtly Dance Margery McHale About Margery McHale was the daughter of Irish immi- grants to the United States; she lived and worked in Summit, New Jersey for most of her life, After gradu- ating from the Juilliard School of Music she worked as 4 piano teacher for many years and wrote a number of teaching pieces for children. Many of her works were published in the 1950s and 60s in collections of pieces for young pianists, by leading publishers like Schirmer and the Theodore Presser Company. Courtly Dance appears in the book Jewels & Gems, an anthology of selected pieces from the Carl Fischer library. Court dances have a long history and many well known musical styles such as the pavane and the allemande originated in the dances of the royal courts during the Renaissance and Baroque eras, McHale's Courtly Dance evokes memories of the stately and Braceful dances of those eras. In performance Graceful phrasing and varied touch set the mood for this attractive courtly dance. Once you have played through the theme, focus on the passages with chords, and try to balance the sound. Make sure you depress cach note of the chord at the same time so that they sound together, and aim to weight your hand alittle towards the fourth and fifth fingers in the right hand — this will help to bring out the melody note a the top of each chord, Short, detached notes (staccato), especially in the tune, need not be too short or harsh; in this style you can give these a light, non-legato feel, so that the melody retains its lilting character. Moving into the relative minor key (D minot) at bar 9, observe the phrase marks and be sure to add the dynamics and musical markings, especially the poco rit. and molto rit. (a little slower and a lot slower). (Melanie Spanswick) oe Used with permission. Scanned with CamScannerCourtly Dance Ma ‘McHale Gracefully [J = ca. 116-124] ‘tasr-38) fie 4 Se 2 molto rit. me Scanned with CamScannerPerformance: List B A Little Song Dmitry Kabalevsky Op. 27 No.2 About A talented pianist from a young age, Kabalevsky was already teaching the piano in his mid-teens — his first pieces were written for his students to perform. He would maintain a dedication to teaching music throughout his life. Kabalevsky’s reputation as a composer slowly grew through the 1920s, but he truly made his name in 1928 with the premiere of his first piano concerto. He began teaching composition at the Moscow Conservatory in 1932, where he himself had been a student. ‘Asa composer he wrote in a variety of genres but largely stayed true to the style of music that was favoured by the ruling Communist Party of the period. In addition to his numerous pieces for children he also wrote many larger-scale works, including four symphonies, concertos for piano, violin and cello, and a number of operas. In performance ‘A Little Song needs to be played sensitively, giving time at the end of each phrase. Kabalevsky’s exploration of the key of E minor, in particular his use of descending thirds in the last two lines of the piece, creates a sense of questioning and sadness. Work on the balance between the hands, letting the melody sing out but also bringing out interesting harmonic nuances in the accompaniment. For example, in bar 4, the D? in the left hand can be poignant and provide colour. Dynamics and phrasing are key to conveying the mood. The piece opens quietly; in the second line the left hand takes the melody, mf, answering the opening phrase. The third line begins as the opening, sofily, but grows to forte by the fourth bar — give this climax time. Observe the subito piano in bar 13, followed by ‘complete silence in bar 15; make sure you give these two silent beats their full value, (Kirsten Johnson) (© Copyright 1946 by Boosey & Hawkes Music Publishers Ltd. 0 Scanned with CamScannerA Little Song from Thirty Children’s Pieces ‘Dmitry Kabalevsky ‘Andantino [J = ca. 80-88] qot-Ee) | canatile " péolce Scanned with CamScannerPerformance: List B The Lonely Traveller Evelyn Glennie About ‘he first person to ever build a career as a full time solo percussionist, Evelyn Glennie has performed at a number of landmark events, including the opening ceremony of the London Olympic Games in 2012 and the premiere of the first percussion concerto to feature at the BBC Proms, in 1992. Born in Aberdeenshire in Scotland, she started learning the piano at the family farm, before falling in love with percussion when she joined her school orchestra aged twelve. Since her debut in 1985 she hhas performed extensively all over the world; not only with orchestras but also with Brazilian samba bands, Japanese Kod6 drummers and pop artists, including Bjork. For a number of years Glennie has been dedicated to her mission to ‘teach the world to listen’ She began losing her hearing when she was eight and because of this she learned to use her whole body to feel the vibrations of sounds, causing her to perceive sound in a more holistic way. In performance A solitary traveller is beautifully depicted in the left hand melody of this melancholy piece. Set in G minor, it might be worth taking some time to explore the key, remembering the Bb and Eb, as well as the sharpened 7th (FA. Practise the left hand alone until it is really secure, and you can play it almost without looking. The melody takes some unexpected twists and turns, and careful preparation will help; for example, where the thumb turns under the hand, as well as the changes in hand position. ‘The right hand chords support the tune and would benefit from a legato approach, especially the top notes, which can ring out with a theme of their own. Crescendo and diminuendo markings are important, so add them in at the earliest opportunity, really listening to your playing. A small amount of sustaining pedal will add the appropriate resonance. (Melanie Spanswick) (© 2018 by Faber Music Ltd Reproduced from Perpetua! Motion - A Colleton for Young Pianists by permission of the publishes. Al rights reserved. 20 Scanned with CamScannerThe Lonely Traveller from Perpetual Motion Evelyn Glennie ‘Simple and lonely J = ca. 82 4 ' : 3 i ; a Scanned with CamScannerPerformance: List B Watermark Louise Chamberlain About Louise Chamberlain is a pseudonym that Pam Wedg- ‘wood used for her Step it Up! series. A pseudonym is an umbrella term for a name that a person only uses in some contexts or situations — such as performers’ stage names and ‘handles’ used by hackers. They are often adopted for the purpose of concealing the author's true identity, and there isa long tradition of women adopting male or unisex pen names when publishing their works in order to be taken seriously ina patriarchal society; examples include the com- poser Mel (Mélanie) Bonis and the author George Sand (born Amantine Dupin). Pen names are also used by authors who write in different genres and want to keep the work separate. The late-Victorian composer Sydney Smith, whose Tarantella is included in the current Grade 3 handbook, actually wrote under two pseudonyms, Paul Beaumont and Victor Delacour, in addition to publishing many pieces in his own name, In performance ‘There is plenty of harmonic interest in Watermark; with colourful added chromatic notes (notes which are not in the key), Such notes (the Df in the left hand in bar 6, for example), come alive when highlighted with that extra richness; you may also consider leaning on these notes for emphasis. Smoothness of touch will enable you to join the notes in the left hand, providing a continuous accompaniment; the dotted minims (which are often at the bottom of the harmony) should ideally be legato, therefore aim to hold them right until the end of the bar (whilst other notes play above). ‘The right hand melody has a certain jauntiness, characterised by different lengths of phrases. See if you can find the top of each and give it more definition, tapering off at the end of the phrase. Observe the rit. and add resonance with the sustaining pedal for a tranquil ending. (Melanie Spanswick) (© 2005 by Faber Music Lid Reproduced trom Step it Up! Piano Grades 1-2 by permission ofthe publishers, Al rights reserved, 22 Scanned with CamScannereo i... © Watermark Louise Chamberlain Gently lapping J=96 23 Scanned with CamScannerPerformance: List © The Somersault King Mike Schoenmehl About Mike Schoenmehl studied music education at the Johannes Gutenberg University in Mainz and began teaching piano and musical theory soon after. Passionate about jazz, Schoenmehl has played piano with the jazz and swing band Woog City Stompers ‘since 1976 and is also the leader of a quartet which plays bebop, Latin and funk. Schoenmeh! has been a lecturer at a number of institutions in Germany, including the Johannes Gutenberg University and the Frankfurter Musikwerkstatt. The Somersault King is taken from ‘Schoenmehl’ first published collection of teaching Pieces, Little Stories in Jazz. The book was published in the mid 1980s, with the aim of helping keep young people interested in learning the piano. The pieces are {intended ‘to provide a break from the seriousness of music essons, and to motivate the student who might be ina phase of classical fatigue’ ‘The Somersault king trom Lit ‘© SCHOTT MUSIC Main Roos 2 tories in Jazz by Mike Schoenmet Reproduced gO Mike Schoenmeh, Ed 748 In performance This piece is really fun to play, what with the King somersaulting all over the place at the end! ‘The left hand chords could be learned fist; watch cut forthe changing notes and hand positions. steady, careful work will enable you to digest the patterns; try practising a bar at a time, stopping on the first beat of the following bar for continuity. A slightly detached touch might work for each chord. The right hand theme features triplets. For effective, even triplets, start by subdividing each crotchet beat into three, and counting each note of every triplet. Attention to rhythmic detail will pay dividends in the last line particularly, where rhythmical, even passagework will provide a very exciting ending. For perfect coordination during the last two bars Practise playing heavily, deep in to the keys with each finger, then lighten your touch. a (Melanie Spanswi asl f Scanned with CamScannerThe Somersault King Mike [J=ca. 126-138]* Schoenmehl 1 Sf Corterr V29T8s Sue is editionis one of many possible {The criginal score has no tempo marking or dynam ny mais 1p0 given here do not have to be followed. in * "erpetations ofthe piece, and the dynamics and Scanned with CamScannerPerformance: List C Homework Blues Pam Wedgwood About Growing up in the north of England, many of Pam Wedgwood's first musical experiences involved brass bands, and at school she learned to play tenor horn in the school band; some of her first pieces were written, for the band. She spent several years as a professional horn player, performing with the Royal Ballet Touring Orchestra and many other ensembles ata variety of venues in London, including the Royal Opera House. Having become more involved with coaching youth orchestras and instrumental teaching during the 1970s she started writing pieces for her students to play. Her first compositions were published in the mid 80s and today she is one of the UK's most successful composers of educational music, with over 200 published books, including It’s Never Too Late to Play Jazz and the Up-Grade! series, from which this piece is taken, In performance “The title might ring too close to home for some, but the piece is lively and entertaining! Left hand minims are best played legato, moving smoothly from one bass note to the next, with no gaps in the sound. ‘The right hand melody is in ‘swing rhythm’, which is written as a dotted rhythm here; this can be played exactly as written to begin with, but when secure, relax the dotted beat to the laidback blues sound of the triplet (the suggested J 2) feel of the metronome marking). Encourage the left hand dotted passages (bars 4 and 9) to punctuate those in the right; add a richer sound to these interjections. ‘The chords in bars 12-13 and 16-17 come alive with a bright, full tone, and the final chord should ideally be ‘spread’ with each note played fairly rapidly one after another, for a distinctly jazzy ending. (Melanie Spanswick) (©1995 by Faber Music Ltd Reproduced trom Up-Grade! Piano Grades 1-2 by permission ofthe publishers, 28 All ights reserved. Scanned with CamScannerHomework Blues Lazy tempo (J3=1 3) Ralieteen [/=ca. 96-108] 1 2 of * poco rit. 1" D.C. al Coda poco rit. 4 A Scanned with CamScannerCelebration Anne Crosby Gaudet About ‘Anne Crosby Gaudet is a composer and music teacher from Nova Scotia, Canada; she holds a Masters Degree in Piano Performance and Pedagogy from the University of Michigan. She is passionate about teaching music in a way that encourages learning through having fun and runs a Young Composers project from her piano studio, where she sets aside time to help young children compose, notate and perform their own music. She is also a skilled harp player and a Certified Clinical Musician; every week she plays the harp for patients in long-term care facilities with the aim of creating a relaxing and soothing environment. Cer Clinical Musicians are trained to match the pitch and tempo of environmental noise in a healthcare situation to reduce stress in patients. (©1996 The Frederick He ris Music Co. Limited, Te Alright reserved. Used with permissions nate” In performance Celebration should be played very rhythmically, Choose a tempo that you can maintain for the entire piece and keep a strong, steady pulse, slightly accentuating the first beat of each bar. The piece is a study in fifths, some staccato, others legato. Learn the piece first without pedal, keeping your fingers in the keys for the legato passages. Then ‘add the pedal, but only use it where marked. Practise your hand crossings carefully, dropping cn the note or chord from above rather than finding it first, In these bars the left hand is marked with downstems, the right hand with upstems. Pay close attention to the detailed dynamics from bar 9 onwards. Maintain the f right through the final three bars, finishing the piece with a flourish. (Kirsten Joh & Scanned with CamScannerCelebration Anne Crosby Gaudet Lots of energy! J = 126-152 8%) Scanned with CamScannerDISCUSSION REQUIREMENTS ; «short discussion with the examiner i jortunity to communi ve part of the exam provides an OPP piles This par tanding and interpretation ofthe pieces Performeg, ai your knowledge of musical fundamentals. , ‘The examiner will ask questions about the pieces performed in the exam. They will be looking for you to speak with ‘confidence and to be able to clearly articulate your answers, using appropriate vocabulary. The examiner will also ask questions about your knowledge and understanding of musical fundamentals. ‘The following page contains examples of the type of questions which may be asked at Grade 2. The current syllabus should be consulted for the full list of the requirements at this grade. Scanned with CamScanneroe Sample questions Which of the pieces that you played today is your favourite, ‘and why? ‘What is the mood of this piece? What does this symbol mean? (Examiner points to a crescendo hairpin in the music] What does this curved line joining two notes mean? (Examiner points to an example in the music] Can you explain the meaning of this time signature? [Examiner points to a time signature] What does /egato mean? Can you point to a dynamic marking in the music which ‘means to play loudly? ‘Some of the notes in this piece have dots over them, what does this mean? “ Scanned with CamScanneree SIGHT READING REGUIREMENTS « Performance of 2 shorty previously unseen piece of music ation time will be given, during which You ‘One minute of prepar parts of the test before performanc, 2. may study and try out te folowing are examples of the style and standard sight reading tests- lard of Grade 2 Example 4 OO a Scanned with CamScannerexample 2 Moderato J = 72 Example 3 Allegretto J = 88 Example 4 Andante = 76 Example 5 Gently flowing J = 92 Scanned with CamScannereee, MENTS :QUIRE! AURAL TESTS ae te «Test 2 (Pitch) ura tests are designed to assess Your listing abity : These f ‘and musicianship: 3 ples of Grade 2 aural tests. ‘The following are exe! a) Ashort harmonised passage will be played. You will be & ‘asked to identify the time signature as either 3 or 4 time. Test 1 b) You will then be asked to beat (conduct) time, with a clear conducting pattern, in time with the examiner's playing, as i they play the passage again. ©) The examiner will select one bar from the passage and play it in an unharmonised version. You will then be asked to identify and describe the note values (rhythmic values) in the bar. Sey ee ee ee, ee Scanned with CamScannerAndante Scanned with CamScanner‘= iner will play @ major or minor triad, fy, © ne of the notes from the chord. You wil be ay ™ Py entity which of the notes has been : to ring ether ‘bottom Middl OF LOPS ‘Doh ij Soh’, or ‘root, 3rd or Sth’ ) The will play the chord again and you wit bg The examiner ; 4 whether the triad is major or mines asked to st 4 5 6 ‘The key-chord of a major key will be played, and the key stated, followed by the first five notes of the scale in ascending order. The examiner will then play one of these notes again. You will be asked to identity the note, either with the letter name, tonic sol-fa name, or number (1, 2, 3, 4 or 5). ° The test will then be repeated in a different key. : === = Ene =] = ———— = = E Ss = = SS —= — Ss = % Scanned with CamScannerLONDON COLLEGE Pye eae Lat are) syllabus gives more choice to learners Rar a Lk With exam options to suit every PC CCU Rm Pela oe performable fe ren tm nen) is committed to enabling everyone to learn Puree pe eR aC features of the new syllabus Prete Radi UU bd of musical genres and more Petty TA Rall healt Pe ongoing commitment to core piano PL London College of Music handbooks contain all of Pee RR ew LCM exam in Pr oe wide selection of pieces, all rc Rua lka Pome e eu eu) Pe RLU supporting tests. Cera nd © 2017 University of West London, LCM Publications LONDON COLLEGE OF MUSIC EXAMINATIONS are held Pc eer er RRO aU Ree eM Teer) Pe yr music and in drama and Pee es umes UU Re Pt Peet cie ACL aed Baleel (LA) Pree Ce ele Ld in performing, teaching, composition and research. For syllabuses and further information please contact: cee TST Prony Ce ma Cee Cor lemeramegune 2k Scanned with CamScanner