cee Piano Scales & Arpeggios (from 2009) Grade 8Piano Scales & grade Arpeggios Why practise scales? Welcome to this book of scales and arpeggios for Grade 8 Piano. Scale practice plays an essential part in developing a pianist's skills, and time devoted to these exercises within each practice session will improve keyboard fluency. Not only can many areas of piano technique be developed through scale practice (euch as posture, hand position, co-ordination, balance between the hands and movement of the arm), but the sense of key and pattern acquired through familiarity with scales and arpeggios has several benefits: it speeds up the learning of new pieces, develops evenness of line and quality of tone, builds aural awareness, and increases familiarity with the ‘geography of the piano. About this book ‘The requirements are printed in this book within a two-octave range, as finger patterns are sufficiently established within this compass and unnecessary duplication of information is avoided, ‘The printed pitches have been chosen primarily for case of reading and the starting notes may not always be in the most appropriate or comfortable oxtave(s) Candidates are therefore free to startin a different ‘octave as long as the required range is covered. The printed rhythmic groupings are not compulsory; of overriding importance is that the requirements are played with rhythmic evenness and without undue accentuation, For the exam Tempo The given metronome marks indicate minim recommended speeds and serve asa guide to the expectations of the examiner. Experienced teachers ‘will know what their candidates are able to achieve safely, but it is important to avoid accurate but laboured playing which shows that the scale or (© 2008 by The Associated Board of the Royal Schools of Music arpeggio has been memorized but lacks the finger facility that is such an important part of developing, technique. Fingering ‘The suggested fingerings shown here are neither obligatory nor exhaustive; any practical and systematic fingering which produces a good result will be accepted in the exam, Some alternative fingering is shown, either on a separate system or as follows 4/3. The decision as to which fingering to adopt will depend on the size and shape ofthe player’ shand, and candidates should experiment to find solutions that work for them. (Examiners will not comment on the choice of fingering, unless it interferes with the performance.) On the day All requirements must be played from memory. The examiner will ask for at least one of each type of scale or arpeggio required, and will aim to hear a balance of legato and staccato, as appropriate. ‘The examiner will be looking for: «a positive sense of rhythm without undue accentuation + even, firm tone and a musical curve ‘+ good legato and crisp staccato ‘accurate and fluent realization of the different types of scales and arpeggios * convincing negotiation of technical challenges such as smooth passage of the thumb and hand co-ordination. Reference must always be made tothe sylabus forthe yearn ‘which the exam isto be taken, in case any changes have been made tothe requirements ‘General information on the exam can be found in Examination Information & Regulations, and inthe guide for candidates, teachers and parents, These Music Exams, These andthe syllabus document are available online at www abesm org, as well as free of charge from music retailers, from ABRSM local representatives for from the Services Department, The Associated Board of the Royal Schools of Music, 4 Portland Place, London W1B ILU, United Kingdom.SCALES (minors in melodic and harmonic form) four octaves d = 88 legato or staccato as directed by the examiner hands together one octave apart and hands separately C major 7 see ite = 2 AB 3409AB 3409 3SCALES (cont.) four octaves J = 88 F major F minor melodic Eb major 3 4 AB 3409‘Ab major 3 AB 3409 5SCALES A THIRD APART four octaves 4 legato or staccato as directed by the examiner, hands together C major 3 oyseteat 1 C minor harmonic 3 to D minor harmonic rozdan 6 AB 3409Ft major (enharmonic Gb) 23? F minor harmonic Eb minor harmonic 4 a4 < 14 1? SS Se ae ers — se Tees wal - al )SCALES A THIRD APART (cont.) four octaves J = 63 Ab major C# minor harmonic (enharmonic Db) 5 ze 44 8 AB 3409SCALES A SIXTH APART four octaves 4 = 63 legato or staccato as directed by the examiner, hands together C major C minor harmonic i Re Tee The B minor harmonic AB 3409 9SCALES A SIXTH APART (cont.) four octaves J=63 F# major (enharmonic Gb) 10 AB 3409‘Ab major AB 3409, "LEGATO SCALES IN THIRDS two octaves ¢ = 52 hands separately major Bb major 4 ee esas his sete ter iise sana Th4ae pies ss sts ae is alternative fingering C major a4 5 2 3 $3313 Bbmajor a a gg seetidias bets t tes sida saesei iii ss: (Rit mg Fftsass, ae ass vancatidarapeebltareesaas 3 i un CHROMATIC SCALES A MINOR THIRD APART tour octaves J beginning on any notes named by the examiner legato or staccato as directed by the examiner, hands together ‘exampleCHROMATIC SCALE IN MINOR THIRDS two octaves J = 52 legato, hands separately beginning on A# and Ca 2 3 x ? b s_ a | WHOLE-TONE SCALE two octaves J = 88 legato, hands together one octave apart and hands separately beginning on E 2 3 AB 3409 BARPEGGIOS four octaves J = 66 in root position, first and second inversions legato, hands together one octave apart and hands separately C major 5 aug C minor 318 35 D major as 34g D minor z z an B major 2 2 “4 AB 3409B minor a 3 AB 3409 15ARPEGGIOS (cont.) four octaves J Eb major va a.) faa 1 sanZP a2 Ab major Tee 12g welee Db major (enharmonic C#) 5 C# minor (enharmonic Db) Z 16 AB 3409DOMINANT SEVENTHS four octaves J = 66 legato, hands together one octave apart and hands separately Key of C AB 3409 "7DOMINANT SEVENTHS (cont.) four octaves J = 66 Key of Eb 2 DIMINISHED SEVENTHS four octaves J = 66 beginning on any note named by the examiner legato, hands together one octave apart and hands separately beginning on A beginning on Bb (enharmonic Ad) 3 2 1g by 73 For practical purposes, the diminished sevenths are notated using some enharmonic equivalents 18 AB 3409beginning on B beginning on C beginning on C# (enharmonic Db) a1 2 ba #e b, beginning on D 2 AB 3409 19DIMINISHED SEVENTHS (cont.) beginning on E s 1 grate Ete beginning on F 3 1 4 8 beginning on Ab (enharmonic Ge) 41 2 3 be 2 bbe 3 Music origination by Barnes Music Engraving, East Sussex Printed in England by Caligraving Ltd, Thetford, Norfolk 20 AB 3409 four octaves J = 66 o7H0