TCL021205e Piano Additional Pieces 2021-2023 Grade 4

04
G R A D E
PIANO
Nine additional pieces for ELGAR
Trinity College London
exams 2021–2023
Extended Edition ebook
MOZART
BADINGS
BURGMÜLLER
KIRNBERGER
GARDEL
BERTINI
MOORE
ARENS
This download is available exclusively as part of

Piano Exam Pieces Plus Exercises 2021–2023:
Grade 4 | Extended Edition
Prepared exclusively for elisa moreschi (elisamoreschi.mirana@gmail.com) Order: 22523

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04
G R A D E
PIANO
Nine additional pieces for
Trinity College London
exams 2021–2023
Extended Edition ebook
ISBN 978-0-85736-990-1
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
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Contents
Kirnberger Minuet in E major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Mozart Allegretto (from The London Sketchbook, K. 15hh) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Burgmüller Barcarolle, op. 100 no. 22 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Elgar Andantino (1st movt from Sonatina in G major, op. 36 no. 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Bertini Study in E minor op. 29, no. 14 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Gardel, arr. Farrington Por una cabeza . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Badings Ballo gaio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Moore Waltz mystique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Arens Tango passionis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Performance notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Metronome markings are given as a useful guide and are not definitive. Repeats of more than a few bars should be omitted in the exam unless
otherwise instructed, as indicated in this book. All da capo and dal segno instructions should be observed.
Please 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.
 other
publications
video and online
resources
The repertoire in this ebook can also be used for Trinity’s submission exams.
Please check trinitycollege.com/submission-exams for more details.

Contents Performance
notes
Minuet
Minuet in E major
Johann Philipp Kirnberger
(1721–1783)
#### 3 ˙ ™™
Festivo q = 126
˙˙ ™™ n˙ ™™ ˙˙ ™™™ œœœœœœ œœœ
œœœ œœœ
3 2 3 2 3
& 4 ˙˙ ™
1 2
˙˙ ™ œœœ
1 1 2
˙™ ˙
{ ? #### 43
f
œ 5
.
œœœœ œ œ.
œ. œ œ œ œ œ œ.
‰J œ.
œ. ˙˙ ™™
p
2
4
˙
1
œ
œ œ œ œ
3
# ## œ œ œ œ. œ. œ œ œ œ œ. œ. ˙ ™
œ œ. J œ ˙ œœ
8 2
&# ‰
1
œ.
4 4 3
œœœœ ˙™ ˙™
{
. œ. œ. œ f
? #### œ œ œ ˙™ ˙˙ ™™ n˙˙˙ ™™™ ˙˙ ™™
˙™ œœœœœœ œœœœœœ
1 3 5 5 4
4 1 3
#### œ 3 œœ œœ ˙ œ œ1 œ œ œ1 œ3 œ œ 4
™™ ™™ œ œ
15 4
3 1
& œœœ œ œ ˙™ #œ œ ˙
{ ? ####
œ œ
1 œ.
œ
œ. . œ
.
™™ ™™ ˙™
mf
œœœ
5 4
#œ œ
œ œ œ œ œ™ œœœ
1 3
#### 3 2 1 œ œ œ œ œ œ Ÿ˙
(1)
‰ œ nœ œ œ œ
21 4 3
& ‰ œ #œ œ œ œ œ œ ˙ Œ ˙˙ ™ œ
{
.
Œ p nœ
œ #œœ ˙™ ˙ œ œ œ
cresc.
? ####
œ
œ œ œ œ̇ œ #œœ œ œ ‰ œ. œ ˙ œ
1
2
. . 1 3 2 3
œ
#### 2 œ œ
‰ œ. œ œ œ œ ‰ œ. œ .œ œ. œ œ œ œ œ3 œ 2 œ 1 œ
27 4 4 4 3
œ
4 3
& #˙˙™ œ œ ˙™ ™™
{ ? #### ‰ œ.
œ œ œ œ #˙
1 2 3
œ
f
˙
˙
œœ
p
˙
˙
œœ œ œ œ
f
œ œ œ œ
œ œ ™™
# ## œ œ œ œ œ œ œ œ
(1) & #
Play the repeats in the exam.
© Copyright 2017 Trinity College London Press 3
notes
Allegretto
Allegretto
from The London Sketchbook, K 15hh Wolfgang Amadeus Mozart
Allegretto e = 130 (1756–1791)
3œ œ œ œ œ œ œ œ œ3 œ œ œ4 œ
3 5
& b8 œ œ œ œ
1
œ œ œ œ œ œ
{
mf
? 38 œ œ œ œ œ œ œ œ œ œ
b J œ œ Œ J
1 1 2 2 1
œ œ œ œ œ œ œ œ œ3 œ œ œ4
5
7 (1) 3
&b œ œ œ r
œ™ œ œ Œ œ
4
œ œ œ œ J
{ ?b œ œ
J
œ
œ ‰ œ
1
œ œ œ
1
œ
J
œ œ œ œ œ œ
U
œ œ #œ œ1 œ œ
14 Fine
œ
2
&b œ œ œ œ œ œ œ œ œ œ™ Œ
2 4
1
{ ?b œ œ œ
3
œ œ
œ œ œ
1 2
œ u
mp
Œ
œ
J
2
œ œ œ
1
œ œ #œ
5
œ1 œ œ œ.
œ œ œ
20
&b œ œ œ Œ œ œ. œ.
2
œ œ œ
2 3 1
{ ?b œ œ œ Œ
œ
J
2
œ œ œ
1
œ œ œ œ œ œ
2
cresc.
œ œ œ œ œ
1 3
œ. œ. œ. Ÿ
(2)
26
& b œ. ‰ œ. œ. œœœœ œ ‰
3
œ
3
œ.
2
{ ? b œ œ œ œ #œ nœ nœ #œ œ œ
œ
œ
œ œ #œ œ œ œ
œ
1 3 3 5 2
œ
œ œ
5
œ nœ œ œ
œ
1 3
(1) &b œ œ œ (2) &b œ œ œ
4 © Copyright 2017 Trinity College London Press

œ
3
œ œ œ œ œ œ œ œ œ
œ
31
&b œ œ œ œ œ œ œ œ œ œ œ
1
4
œ œ œ œ
{? œ
b
mf
5
1
œ œ œ œ
J
2
œ
œ œ Œ
j
œ œ œ œ
œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ4
38 (3) 3
& b œr œ ‰ œ œ Œ j
1
œ œ œ œ œ œ œ
{?
b œ
1 œ
‰ œ
1
œ œ œ
œ
J
2
3
b œ bœ
b
b b bœ œ nœ
45
&b œ œ œ œ œ œ œ ‰ œ ‰ bœ œ œ nœ ‰
2 2
{?b œ œ
œ œ œ
1 2
œ
b
bb b
p
œœ ™™
2
4
≈ œ œ
5
nœ n œ nœ™
œ™ ≈ bœ bœ nœ
œ
b b œ2 nœ nœ1 œ bœ œ œ n œ nœ3 œ œ bœ œ
bœ
51
b
& b nœ œ nœ ‰
1 2
J J
{? bb b nœ
b
3
bœ
J
4
œ
1
j
nœ bœ
4
bœ bœ œ
5 1 2 1
œ™
œœ ™™ ≈ œ œ nœ n œ
5
bbb bœ2 œ œ bœ nœ nœ œ bœ3 œ œ1 2

57 D.C. al Fine
& b nœ ‰ œ nœ œ b
2
J nœ œ™
1
{? bb b nœ™
b
œ™ ≈ bœ bœ nœ
œ
nœ bœ
3
J
4
œ
5
œ nœ œ œ bœ œ
œ œ
1
œ b
(3) &b œœ œ
5
notes
Barcarolle
Barcarolle
op. 100 no. 22 Friedrich Burgmüller
(1806–1874)
Andantino quasi Allegretto q. = 63 4
U
bbb 6 5 ˙˙ ™™™
2
b
& 8œ œœ ™™™ œœ ™™™
3 2 1 1
œ œ ˙
{
œ œ œ™ œ œ œ™ œ
U
pp cresc. sf
? b b 68 œ œ œ œ œ™ œ™ ˙™
bb œ œ™ œ œ™ ˙™
1 4
2 3
nU
4
bb ˙˙ ™™ bœ œ œ œ™
2
œœ ™™™ nœœœ ™™™

5 1
&b b œ
1 3
œ œ œ œ™ œ ˙™
{
œ œ œ™
U
pp sf p dolce
œœ ™™ œ œ œ
cresc.
? bb b œ œ œ™ œ™ ˙™
œ œ™ œ œ œ j œ™
b œ™ œ
œ œ œ 1 3 2 3 œ5 4 2 1
rit. In tempo
b b œ œ œ œ œ™
10
&b b œ œ œ œ œ ‰ Œ™ œ™
2 2
1
{
p cantabile
œœ ‰ œœœ œœœ œ œ œ œœ œœ
dim.
œ™ œ ˙˙ ™™
? bb b œœ™™ œœ™ œ ˙™ ‰ œœ œœ ‰ œœ œ ‰ œ
b
b œ ™ œ œ 2 1 œ4 œ3 1 œ™ œ5 ™ œ œ œ
5 3
b œ œ
14
&b b œ œ ˙™ œ™
2 2
3 1
{ b
œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ n œœ œœ
? bb b ‰ ‰ ‰ ‰ ‰ ‰ ‰ œ ‰ œ œ ‰ œ œ ‰ œ
bbb œ œ œ œ nœ ˙™ œ œ œ œ œ œ3 œ5 œ4 œ
œ œ
19 2
œ
1 1 4 3
b œ™
2 3 3 2 1
& nœ ™
3
{ œœ œœ n œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œœ œœ œœ œœ
p
? bb b œ ‰ œ œ ‰ œ ‰ ‰ œœ ‰ œœ œœ ‰ œœ #œœ ‰ œœ œœ ‰ œœ œ ‰ œ œ ‰ œ
b

œ œ œ5 œ œ œ œ
b
& b bb œ œ œ œ œ œ œ œ œ œ
24 5
œ
1
œ™
3 1 2
nœ ™
3
{ b
œ œ œ œ œ œ
? bb b œœœ ‰ œœœ œœœ ‰ œœœ œœ ‰ œœ œœ ‰ œœ #œœœ ‰ œœœ œœ ‰ œœ œœJ ‰ ‰ œ ™
&
n œœ ™™
œ. œ. œ. œ nœ œ œj œ. œ. œ. œ œ œ œ œ œ œ œ œ œ3 nœ1 bœ2 œ™

poco rall. In tempo
b b œ nœ œ œ™
28
b
3 2
& b
1
{ œœœ œœœ œœ œœ
sf sf dim. p
b j ‰ œ ‰ œ
& b bb œœ ‰ ‰ bœœœ œœœ œœœ œœœ ‰ bœœœ œœœ œœœ œœœ ‰ Œ™ ∑ ?
œ
bbb ™ œ œ 2 1 œ4 œ 1 œ5 ™ œ3 œ œ œ œ œ1
5 3
œ œ œ œ œ œ™
33
b œ œ œ™
2 2
&
3 1
{ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ
cresc.
? bb b œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œœ ‰ œœ bœœ ‰ œœ œœ ‰ œœ œœ ‰ œœ
b
œ œ œ œ œ œ œ œ œ œ œ œ œ
lusingando
b b œ œ œ œ œ œ œ
38 5
3 1 3 2 1 2
œ œ œ
2 1 4
&b b œ œ™
1 2
œ œ
4
{ œ œ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œœ œ
p
? bb b œœœ ‰ œœœ œœ ‰ œœ œœ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œœ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
b
U
b œ
& b bb œ œ œ
43 perdendosi
‰ œ œ œ ™ œ œ œ ™ œœ ™™™ œœ ™™ ˙ ™™
œ™
{
œ œ œ ˙
œ œœ œœ
pp
U
? bb b œ ‰ œ œ ‰ œ œ œ œ œ œ œ™ œ™ ˙˙ ™™
b œ™ œ™
7
notes
Andantino
Sonatina
1st movt from Sonatina in G major, op. 36 no. 2 Edward Elgar
(1857–1934)
Andantino q = 80
#2 œ™ œ™ œ
5
œ œ
3 4 2
& 4œ œ œ J
1 2 1
{ ? # 42 ‰
p
œ
J
5
œ
3
œ œ
2
œ
œ
‰ œ
J
5
œ
3
œ
œ
1
œ œ
2
# œ2 œ œ™ œ™
5 2
œ œ
1
& ˙
4
J J
{ ?# œ œ #œ
5
œ
œ
4
œ
1
œ
2
œ
1
nœ˙
5
œ œ œ
œ
5
œ œ œ
#‰ œ œ™ œ œ
1 5
œ
9
œ #œ ™ ‰ #œJ
3 4
& œ œ
2 2
{
cresc. mf
œ #œ
2 1 2
œ œ œ
2 1 2
#œ
2 1
? # œ˙ œ˙ œ œ œ˙ œ œ œ˙ œ œ
5 5
5 5
largamente
^
œ2 œ™
5
# ‰™ œ œ2 œ5 œ œ ˙
13
& R #œ #œ œ™ J J
1 2 1
{
f
œ #œ œ œœ œœ # œœ ˙
?# œ œœ
J ‰ J ‰
3 1 2 1 3 1 2 1
5 4 4
# nœ œ œ œ
5
≈ œ œ œ
17 3
& ™™ -œ œ œ œ œ™ œ ‰
1 1
{ nœ
p
œ œ œ œœ œ œ
? # ™™ #œ ‰ ‰ #œœ ‰ œ ‰ ‰ #œJ
J J J J œ.
1 2 3 4 5 1 3 1 2
4 5 3 1

poco allargando
# -1 j
2
≈ œ œ œ œ
21 3
œ œ œ™ œ™
5 2
& œ œ œ œ œ
5 1 4
j
{
œ
œ œ nœ n œj
?# ‰ J œ
J ‰ nœœJ ‰ œœ ‰ #œœ ‰ œ œ œœ ‰
1 2 4 5 1
J J J
5
2
a tempo
# j œ™ j
œ™ œ
3 5 3
œ œ
25
œ
4 2 3
& œ̇ œ ‰ Œ œ̇ œ ‰ Œ
{
J J
œ. . œ.
?# ‰ œ. œ. œ. œ. œ. J .œ n œ œ. œ. œ.
J ‰ ‰ J J ‰
5 3 2 1 5
ten.
œ™
rit.
#œ œ œ œ
5
œ™ œ™
29 1
’
œ œ ≈ œ
2 2 3 2
& J J
{ œj
espress.
œ œ œ œ œ œ œ
?# œ œ #œ œ nœ˙ œ œ œ ‰
J
3 5 4 5
#
a tempo
j
33 5
& ‰ j ‰ œ œ
4
œ œ™
1
œ
2 1 3 2
œ œ™ œ œ œ
{
p 2 1 2 3 1 2 1
œ
5
?# œ œ œ œ œ œ nœ
5 5 5
œ ‰ œ œ œJ œ‰ œ œ œJ ‰œ œ
J #œ œJ ‰
largamente
# r j U
œ œ™
37
& ‰™ œ œ œ œ œ ˙ ™™
1 2 2 5
œ œ J
{
œ™
f p
?# œ #œ œ j œœ œœ œœ ˙
œ œœ ‰ ‰ ™™
J
3 1 2 1 1
4
9
notes
Study in E
Study in E minor
Minor Henri Bertini
op. 29, no. 14 Henri Bertini
(1798–1876)
#c œ œ œ #œ œ # œ œ
Allegro [q = 132]
5
œ œ
2 1
& ˙˙
2 5 4 1 3 1 1
˙ #œ #œœ
{
œ ˙ œ œ 3
3
f
? #c Œ Œ œ œ œ #œ œ #œ œ Œ
œ œ œ #œ œ #œ2 œ ˙˙
3
#œœ nnœœ
3
&
5 2 1
5 1
3 2
# œ 3 œ5 ˙5 #œ nœ
4
œ #œ nœ œ œœ
4 5 4 5 4 5
& #œ ˙˙ ˙
2
#œœ œ nœ œ #œ œ œ
{
œ
# œ
& # œ̇ n œ # œ Œ ? Œ œ œ œ #œ œ #œ #œ nœ œ nœ
œ œ œ #œ œ #œ œ
1 2
œ2 œ œ
œ 3 1 3 1
3 5
# œ œ œ
8
nœ̇
4
˙˙ ™ œ
5 4 5
& œœ ™™ œ œ
4 5 5 1 2
# œœ # œ œ œ nœ œ œ
{
œ œ 2 2 1
1 2 3 f
?# œ œ ™™ Œ œ
#œ œ œ œ #œ œ œ #œ œ Œ œ œ œ #œ œ #œ Œ
œ 5 2
5 2
œ5
# œ̇ #œ œ œ œ œ œ2 œ1 œ2 œ3 œ1 œ œ2 œ
11 5 5 4 3
œœ œ
5
& œœ œœ œ
4 3 2 1 1 1
œ œ # œ #œ
{
œ
fz p
?# œ œ œ œ œ œ œ
1 1
ff
œ & #œ
3 1 2 3 1
œ œ #œ œw œ #œ œ
2 1
œ œ #œ œ p œ5
O° ø ø ø R
# œ
14
œ œ œ œ œ
1 3 5 4
œ œ œ œ œ œ œ œ œ œ œ œ #œ ™™
5 2 2 1 4
&
2 3 5
# œœ # œ œ œœ
{
œ œ œ œ
ff œ œ 1
#
& Œ ? Œ œ Œ œ ™™
3 2
# œ˙ #œ œ œ œ œ
œ œ œ œ

[Blank page to facilitate page turns]
11
notes
PorUna
Por una cabeza
Cabeza
Arr. Farrington Carlos Gardel
(1890–1935)
### 2
Moderate tango q = c. 60
& 4Œ j ‰ Œ ‰ œ œ ‰ œ nœ œ œ
3
#œ œ œ œ
2 1 2 3 2 1 2 3
œœ œ œ #œ œ œ œ
{
.
mp
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notes
Ballo gaio
Ballo gaio
Henk Badings
Presto scherzando q. = 96 (1907–1987)
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notes
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Waltz Mystique
Ray Moore
(b. 1939)
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notes
Tango Passionis
Tango passionis
Barbara Arens
Allegro q = 134 (b. 1960)
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Performance notes
Contents
Kirnberger Minuet in E major page 3 unedited Urtext is a gift for experimenting with aspects of articulation
and dynamic, matching both to mood and character, developing
What an unusual term ‘festivo’ is, conjuring up thoughts of holidays and
your imagination and technique along the way. Here decisions about
festivities, which suits the character of this cheerful minuet very well.
articulation have been made for you, but it is good to know that they
The suggested tempo is challenging, given all the articulation detail to
are editorial — the original pencil score has no such markings.
negotiate, but appropriate, and particularly necessary as repeats are
requested for the exam. Kirnberger was one of J S Bach’s students and Mozart was of course a child prodigy and it is apt that this
a composer more known for his academic writing, both in musical style London Sketchbook found its way, probably through Mozart’s wife, to
and in his theoretical studies, but there is little sign of that academicism another child prodigy, Felix Mendelssohn, whose family later gave it to
here. Instead we have a celebration of E major and its related keys, with a library in Berlin.
motifs formed from fragments of scales and broken chords.
A good starting point will be to visit these keys, practising scales Burgmüller Barcarolle, op. 100 no. 22 page 6
and arpeggios in E, A and B majors. Try playing with different
The gondola is tethered to a post, gently rocking in the water. First one,
articulations too, perhaps four notes slurred at a time, or five slurred
then another tourist steps in; the gondolier casts off, and serenades the
and one staccato (as in bar 5). We need to examine the score with a
couple as they sail down the Grand Canal in Venice.
toothcomb: there are several quavers at the ends of bars that need
separate articulation; many places where the hands play different Small adjusting wrist movements with fingers close to the keys will help
articulations; and check the penultimate bar, as the pattern changes to achieve the legato and diminuendo for the rocking gondola in the
and is likely to catch pianists out. Crotchets that are unmarked are up first two bars. Wait for the boat to steady itself after those first three
to you — probably separated, but not as short as those with staccato chords — try to avoid counting the pause, instead listening to the sound
dots. The energy and joy must not be lost in p; keep the fingers active. and judging when is the precise right moment to re-start the pianissimo
There’s a saying for singers, sing softly but speak loudly, and you want rocking. The second pause, moving to an unexpected C major, will be
something like that here — a stage whisper perhaps. With the many even longer, the crescendo more intense, with the LH acciaccatura
black notes in this key, there are moments of tricky fingering. What adding impact to the climax without interfering rhythmically with
is suggested is generally good, but remember it is not illegal to use a the melodic progression from C to En in the top voice. The chords
thumb on a black note. For instance, I would play both the A and G# will benefit from being pedalled, and some pedalling in the following
either side of the barline, bars 5–6, with a thumb, maintaining a good dolce bars will help the couple get comfortable on their cushions. The
hand position for the ensuing quavers. Lastly Kirnberger has been serenade itself is probably accompanied by guitar or lute and if you do
fairly even-handed with his distribution of melodic material, so give the add some pedal to soften the edges of the chords, keep it discreet and
LH its fair share of the limelight. be sure to separate them from each other, giving space in the texture
for the serenade to project easily.
Allegretto (from This barcarolle comes from a book of studies and it is the singing of the
main melody that is being practised here, keeping the LH supportive,
Mozart The London Sketchbook, K 15hh) page 4
but in the background. Your fingering should be comfortable, allowing
Wolfgang Amadeus wrote this when he was eight years old. He and the weight of the arm to be carried from note to note. Check that wrists
his sister Nannerl were in London with their father and it is thought are flexible and above all listen to the sound, imagining it carrying gently
that the collection of pieces known as The London Sketchbook were over the water. A real staccato in bars 28 & 29 (does the boat bump the
composed while Leopold had a serious throat infection and the children side of the canal here?), but keep the sforzando within the subdued
were forbidden from playing the piano and disturbing their father. The dynamic. The penultimate lusingando, ‘coaxing’, phrase brings us back to
pieces were written in pencil (very blunt and difficult to decipher in the bank and as the gondolier ties his boat back to the post, perhaps he
some cases) and contain the odd mistake or inconsistency. Here we see discovers, perdendosi, that the couple have fallen asleep. A beautifully
that the RH F in bar 16 is a dotted crotchet, merely a crotchet in bar 46, structured piece, attractive, imaginative and pedagogically sound.
but a dotted crotchet again in bar 62. Should they really be different? I
doubt very much that Mozart would have minded either way, but a little
variety is seldom a bad thing. Elgar Andantino (1st movt from Sonatina) page 8
The LH semiquavers in the D minor section will need careful practice This is the first movement of a two-movement sonatina written for
to flow confidently. I’m not fond of using dotted rhythms as they Elgar’s niece. Tender, wistful, almost hesitant in places, yet also full of
tend to develop jerky movements, but you could instead try stopping Elgarian warmth and generosity. There are several performances on
every 4 notes, changing the note you start on, making sure those four YouTube, and the one by John Ogden is particularly beautiful, if a little
notes are smooth and comfortable under the hand. I also like working slower than advised here.
backwards: play the last two semiquavers in bar 28, ending on the G in It is difficult to teach the sense of style needed for such a piece
bar 29. Then add the previous two notes, then the whole of bar 28, then — the rubato, the handling of the largamentes, allowing the music
from the last two in bar 27, etc. You can also play it literally backwards, space to speak. I recommend listening to other works by Elgar, the
which really checks that you know the fingering and precisely where Enigma Variations, the cello concerto, maybe the Sea Pictures or some
the hand has to be. of the symphonies. He has come to represent something quintessentially
Bar 30 is a conundrum: was this a mistake of Mozart’s, asking the RH to English, which is often linked to both reticence and nobility, but Elgar is
hold the D, whilst restriking it with the LH, or was he perhaps imagining also a masterly orchestrator. All of those elements are here: notice how
an instrument with two keyboards? Either way, we need to find a the orchestration is different at the return of the theme in bar 25, with
solution and I suggest restriking it with the RH and then holding it as the added pizzicatos and a sustained note in the horn; there is hesitation
LH plays the rest of the descending scale. Other solutions are possible! in the small phrases in bars 33–36, a gathering of confidence before
the heartfelt largamente melody finally finds the courage to sing with
No pedal is required; it wasn’t in general use until much later than this. certainty. Pedal throughout will add depth to the sound, being careful
There are decisions to make about dynamic. For instance in bars 17–24 though not to sustain through rests, and both analyse and hear where
you will probably alternate between highlighting the RH for two bars, the appoggiaturas occur and shape accordingly. Bar 6, bar 10, bar 12…
then the answering LH, and of course with so many repetitions of the listen for the difference in meaning between the two notes as tension
main theme it would be entirely appropriate to vary the tone, perhaps turns into resolution, as the sound diminishes and the bar relaxes. The
finding a lighter colour for the reprise after the D minor section. The LH fifth finger has an important role, sustaining some of the bass notes,
20
Contents
playing them with slightly more weight than the other accompanying Henk, or Hendrik, Badings was a largely self-taught Dutch composer,
notes. The acciaccatura in bar 23 is short, but lyrical, heightening the who died relatively recently in 1987. Despite writing many large scale
expression in the allargando. No repeat in the exam. orchestral works, probably most of us have only come across his
compositions on the exam syllabuses. A shame — there is wit and craft
in this miniature.
Bertini Study in E minor Page 10
This is a study in rhythmic evenness and finger control of fast triplet
patterns, which both hands are required to execute with equal skill. The Moore Waltz mystique page 16
tempo is lively and the mood turbulent. This mystical waltz has a fetching, rather forlorn theme that fits well
Make sure both hands sound precisely together at the beginning and under the fingers and should be quickly learnt. The harmonies are well
end of the slurred triplet groups (ie bars 1–2), and taper the phrase chosen; the descending semitone bass is undoubtedly a cliché, but it
off so we hear a very clear diminuendo. Crotchets not under a phrase nevertheless works well, and the foray into the Neapolitan major on the
mark should be detached (assume a staccato touch). The slurs in bars second page is particularly memorable. The challenge is in the variable
8 and 16 apply to the triplets only; the crotchet above will be short. articulation of the waltz accompaniment, changing from the first bar,
Pay careful attention to the part writing in the RH in bars 11–12; insist whose slur throws the stress on to the second beat of the bar, to bar
that long notes are held and shorter notes released. Avoid a crescendo 5, where a sustained bass rings below detached second and third beat
through bar 14 — the ff at bar 15 needs to be sudden and dramatic. chords, to bar 10, which is neither one nor the other.
The central section moves into major territory and the dynamic comes up
Gardel from the opening p to a more richly coloured mf. A good response to
arr. Farrington Por una cabeza page 12 this change of mood would be to add in some pedalling, avoiding blurring
the melody, but enabling the accompanying chords to sustain and add
This is the first of two tangos in this selection, based on an original warmth and support. The rests in bar 27 signify a link back to the opening
song for which Carlos Gardel wrote the music, Alfredo Le Pera the material, and this would be a good place to play senza ped. again as we
words. Por una Cabeza refers to a horse winning a race ‘by a head’ and approach the return of E minor. The ritardando in bar 30 will help ease
the words talk of the singer’s love for gambling and women…perhaps back into the recapitulation. Experiment with playing the thirds in the
one not to research too closely! In both the sung versions and the first four bars divided between the hands and in bars 37–39 you could try
arrangements for violin that abound on the internet there are many playing thirds in the LH, leaving the RH able to project the top line more
portamenti and many distortions of the rhythm. But for exam purposes easily as you fade to pp. Do observe the short repeat in performance.
keep the rhythms in the first section precise, not allowing the dotted
rhythms to sag, but perhaps allow a little more leeway in the chorus, the
A minor, with broad triplets more pleadingly lyrical above the tango bass. Arens Tango passionis page 17
Everyone has their own method for teaching two against three, as we Barbara Arens has a piece in Grade 3 as well and once again it is
have on the second page here. Nice cuppa tea is a firm favourite, and possible to watch a YouTube clip of the composer herself performing
understanding the maths behind the combination, actually drawing this passionate tango. However, she does not stick exactly to the
the beat divided into the common denominator six, the second quaver version published here, with some added sixths in places and some
fitting in between the second and third triplets, helps some learning pedalling over rests. There is a long debate to be had over being
styles enormously. Before playing the notes here, practise the rhythms meticulously faithful to the score or faithful to the spirit of score, and
on something much easier. Remember to use the arm to help with the you could argue that listening to a composer’s performance is evidence
thirds, a small impulse ensuring good synchronisation. Then add the every bit as strong as the score itself. However, the score will be the
foot into the mix…and of course, the character — this is quite rich and primary source material for examiners and my advice would be to play
impassioned. A tricky few bars! In the first section use the wrist to help what is written there rather than what you hear on YouTube.
shape the RH phrases, small adjusting movements negotiating the
Arens asks us to pedal with discretion. Use the pedal to enrich the
black notes and ensuring that the fifth and sixth semiquavers taper
sound, and to join what would otherwise be unjoinable, particularly the
effectively. There’s a real tension between the upright exactness of
repeated sixths in bars 13, 17 & 19. Keep the integrity of the LH staccato
the LH and the more shapely, weaving RH. In a way this represents an
as it occurs in bar 2; that is what gives this tango its straight-backed
aspect of the dance, with the man generally leading, whilst his partner
poise. As in Gardel’s tango above, there is a subtle contrast between
often has the more fancy footwork. Not an easy choice, but very
the more flexible, lyrical top part, and the firmness and rigour of the
satisfying when played well. rhythmic interjections. Keep the LH close to the keys — jumping too high
for the staccatos will make them sound looser, which is not what you
Badings Ballo gaio page 15 are listening for here. More instruments seem to join in from bar 9; use
the arm to find a full, deep sound on the sixths. The unusual ritardando
Coming in at around 30 seconds, this will give examiners little time to then accelerando leads to a forte repeat of the opening. Take care not
write, so be prepared to wait before your next piece! Dynamics are f to shout here, easily done as you return to the middle of the keyboard.
or p, with one crescendo. During that crescendo the first notes of the Instead make an effective crescendo and end with elan, fortissimo.
bars are marked with accents, so listen for those increasing in volume
as well. The p is both times accompanied by leggiero, so use a lighter
touch, a gentler staccato than in the f sections, where the sound wants
to be firm and direct. Imagine finger tips made of different materials — a
crisp, starched linen for the f and a softer silk for the p. The marcato
in bar 6 seems to relate to the LH, encouraging you to bring it more
into focus for its solo motif, and notice that there is no crescendo at the
end. Stay piano, if anything fading as you climb up the keyboard, with
that very disconcerting overlapping of hands and phrases. The final
chords, which are not marked staccato, are a final wink to the audience
— despite the quasi-pompous opening, the whole thing has really been a
piece of fun, a merry dance.
21
Publications available from trinitycollege.com/shop or your local music retailer
Contents
NEW Sight Reading Piano

Trinity College London Press is proud to announce a new
progressive sight reading method, available late 2020.
Ten lessons per grade each lead step-by-step to a duet

to read from sight with the teacher, to encourage the
development of ensemble sight reading skills — whilst
this is not required in grade exams, it is vital in building
Initial–Grade 2 TCL 020482 ISBN 978-0-85736-925-3
confidence in sight reading.
Grades 3–5 TCL 020499 ISBN 978-0-85736-926-0
Grades 6–8 TCL 020502 ISBN 978-0-85736-927-7
Specimen tests are included at the end of each grade,
offering a wealth of practice opportunity and making
this a truly comprehensive package: everything you
need to prepare for the sight reading test in your exam.
Raise the Bar — Piano

Raise the Bar is an invaluable collection of graded pieces, enhanced with helpful teaching notes.
Each book contains an attractive and varied selection that will help pianists expand their repertoire and
discover more music from different styles and periods. Pieces from all grades are listed on the Trinity
Piano syllabuses for 2018–2020 and 2021–2023.
Initial–Grade 2 Grades 3–5 Grades 6–8

TCL 015372 TCL 015389 TCL 015395
ISBN 978-0-85736-492-0 ISBN 978-0-85736-493-7 ISBN 978-0-85736-494-4
Piano Dreams
Pieces by Anne Terzibaschitsch for beginner and intermediate pianists, weaving storytelling with music through
the use of programmatic text, imaginative titles and lively illustrations.
Solo Book 1 Solo Book 2 Duet Book 1 Duet Book 2

TCL 015334 TCL 015341 TCL 015358 TCL 015365
ISBN 978-0-85736-488-3 ISBN 978-0-85736-489-0 ISBN 978-0-85736-490-6 ISBN 978-0-85736-491-3
22
Contents
NEW Piano Exam Pieces Plus Exercises 2021–2023 | Extended Edition

◗ 21 exam pieces: 12 in the printed book plus nine
included as a downloadable ebook
◗ Performance notes for all 21 pieces
◗ New technical exercises
◗ Scales and arpeggios
◗ Downloadable audio for all 21 pieces
The new Extended Edition of Trinity's graded exam

books for Piano provides the candidate with a much
Initial TCL 020512 ISBN 978-0-85736-928-4
greater choice of repertoire than ever before, with 12 Grade 1 TCL 020529 ISBN 978-0-85736-929-1
pieces in the book and nine more in a downloadable Grade 2 TCL 020536 ISBN 978-0-85736-930-7
ebook. Each book has been compiled and edited by Grade 3 TCL 020543 ISBN 978-0-85736-931-4
leading piano educators and contains pieces from Grade 4 TCL 020550 ISBN 978-0-85736-932-1
Grade 5 TCL 020567 ISBN 978-0-85736-933-8
across a range of styles and periods, along with new Grade 6 TCL 020574 ISBN 978-0-85736-934-5
technical work exercises. Grade 7 TCL 020581 ISBN 978-0-85736-935-2
Grade 8 TCL 020598 ISBN 978-0-85736-936-9
Performance notes are included for all 21 pieces, and
duets are included up to Grade 3. For the first time, the scales and arpeggios for the grade are included in the
graded exam book (Extended Edition only). Downloadable demo recordings are included along with separate
part recordings for the duets, although separate CDs are available to purchase for those who prefer.
NEW Piano Exam Pieces Plus Exercises 2021–2023

◗ 12 exam pieces
◗ Performance notes
◗ New technical exercises
Graded books for Piano exams in 2021–2023. Each

book has been compiled and edited by leading piano
educators and contains 12 pieces from across a range
of styles and periods, along with new technical work
exercises. Performance notes are included for all
12 pieces in the book, and duets are included up to Initial TCL 020239 ISBN 978-0-85736-914-7
Grade 1 TCL 020246 ISBN 978-0-85736-915-4
Grade 3. Grade 2 TCL 020253 ISBN 978-0-85736-916-1
Grade 3 TCL 020260 ISBN 978-0-85736-917-8
Separate CDs are available to purchase, containing Grade 4 TCL 020277 ISBN 978-0-85736-918-5
demo recordings of all pieces and exercises in the Grade 5 TCL 020284 ISBN 978-0-85736-919-2
above Extended Edition, along with separate part Grade 6 TCL 020291 ISBN 978-0-85736-920-8
Grade 7 TCL 020307 ISBN 978-0-85736-921-5
recordings for the duets.
Grade 8 TCL 020314 ISBN 978-0-85736-922-2
Piano CDs 2021–2023 Piano Scales & Arpeggios

An alternative to the audio included with
Valid for the 2021–2023 syllabus.
the Extended Edition.
Initial TCL 021038 ISBN 978-0-85736-977-2
Grade 1 TCL 021045 ISBN 978-0-85736-978-9
Grade 2 TCL 021052 ISBN 978-0-85736-979-6
Grade 3 TCL 021069 ISBN 978-0-85736-980-2
Grade 4 TCL 021076 ISBN 978-0-85736-981-9
Grade 5 TCL 021083 ISBN 978-0-85736-982-6
Grade 6 TCL 021090 ISBN 978-0-85736-983-3
Grade 7 TCL 021106 ISBN 978-0-85736-984-0
Grade 8 TCL 021113 ISBN 978-0-85736-985-7
Initial–Grade 5 TCL 012982 ISBN 978-0-85736-344-2

Grades 6–8 TCL 012999 ISBN 978-0-85736-345-9
23
Contents
Theory of Music Workbooks

Grades 1–8
Grade 1 TG 006509 ISBN 978-0-85736-000-7
Grade 2 TG 006516 ISBN 978-0-85736-001-4
Grade 3 TG 006523 ISBN 978-0-85736-002-1
Grade 4 TG 006530 ISBN 978-0-85736-003-8
Grade 5 TG 006547 ISBN 978-0-85736-004-5
Grade 6 TG 007476 ISBN 978-0-85736-005-2
Grade 7 TG 007483 ISBN 978-0-85736-006-9
Grade 8 TG 007490 ISBN 978-0-85736-007-6
Aural Tests from 2017

Aural Test books for Trinity exams Grades 1–8 — includes CD
Book 1 (Initial–Grade 5) TCL 015808 ISBN 978-0-85736-535-4
Book 2 (Grades 6–8) TCL 015815 ISBN 978-0-85736-536-1
Student Practice Notebook

A diary (in A5 format) for instrumental and singing teachers to record student progress and
set goals. Also useful for parents guiding their child’s practice. Includes termly evaluation sheets,
useful hints and advice on practising, top tips on preparing for exams, and essential theory.
TCL 015310 ISBN 978-0-85736-487-6
Musicianship
A Handbook of Musical Knowledge TCL 001191 ISBN 978-0-85736-015-1
The Music Teacher's Handbook TCL 011602 ISBN 0 571 52330 7
Keyboard Musicianship Book 1 TCL 617002 ISBN 978-0-85736-010-6
Keyboard Musicianship Book 2 TCL 618009 ISBN 978-0-85736-011-3
Getting Started Series

Composition TCL 011381 ISBN 0 571 52236 X
Theory TCL 011404 ISBN 0 571 52195 9
Aural (book & CD) TCL 011374 ISBN 0 571 52137 1
Keyboard Musicianship TCL 011398 ISBN 0 571 52136 3
24

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(1) &b œ œ œ (2) &b œ œ œ

4 © Copyright 2017 Trinity College London Press

bbb bœ2 œ œ bœ nœ nœ œ bœ3 œ œ1 2

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6 © Copyright 2017 Trinity College London Press

œ. œ. œ. œ nœ œ œj œ. œ. œ. œ œ œ œ œ œ œ œ œ œ3 nœ1 bœ2 œ™

8 © Copyright 2017 Trinity College London Press

10 © Copyright 1998 Trinity College London Press

© Copyright 2015 by Boosey & Hawkes Music Publishers Ltd

& ‰ œœ œ œ œ œ #œœ #œ n#œœ œ œ œ œ ≈ J ‰

From Arcadia Vol. 1/ Leichte Klavierstücke by Henk Badings

© SCHOTT MUSIC, Mainz 15

16 © Copyright 2017 Trinity College London Press

From Piano Misterioso

NEW Sight Reading Piano

Ten lessons per grade each lead step-by-step to a duet

Raise the Bar — Piano

Initial–Grade 2 Grades 3–5 Grades 6–8

Solo Book 1 Solo Book 2 Duet Book 1 Duet Book 2

NEW Piano Exam Pieces Plus Exercises 2021–2023 | Extended Edition

The new Extended Edition of Trinity's graded exam

NEW Piano Exam Pieces Plus Exercises 2021–2023

Graded books for Piano exams in 2021–2023. Each

Piano CDs 2021–2023 Piano Scales & Arpeggios

Initial–Grade 5 TCL 012982 ISBN 978-0-85736-344-2

Theory of Music Workbooks

Aural Tests from 2017

Student Practice Notebook

Getting Started Series

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