TCL021229e Piano Additional Pieces 2021-2023 Grade 6 (Updated March 2023)

06
G R A D E
PIANO
Nine additional pieces for J S BACH
Trinity College London
exams from 2021
Extended Edition ebook
SHORE
RAMSKILL
KARGANOV
BÉRA-TAGRINE
SCHMITZ
BENDA
JONES
BYRD
This download is available exclusively as part of

Piano Exam Pieces Plus Exercises from 2021:
Grade 6 | Extended Edition
Prepared exclusively for Guido De Marco (guidodemarco@gmail.com) Order: 38935

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06
G R A D E
PIANO
Nine additional pieces for
Trinity College London
exams from 2021
Extended Edition ebook
ISBN 978-0-85736-992-5
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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form or by any means except as specifically permitted in writing by the publisher
or as allowed under the terms and conditions under which it was purchased.

Contents
GROUP A
Byrd Coranto (no. 218 from Fitzwilliam Virginal Book) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
J S Bach Prelude in D minor, BWV 935 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Benda Sonatina in Eb major��6
Jones Giga in A minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
GROUP B
Karganov Arabesque, op. 6 no. 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Schmitz Progression I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Ramskill Weaving a Spell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Béra-Tagrine Mazurka . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Walsh/Shore,
arr. Podgornov In Dreams (from The Lord of the Rings: The Fellowship of the Ring) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Performance notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
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
Group A
Coranto
No.Coranto CCXVIII
218 from Fitzwilliam Virginal Book William Byrd
(1540–1623)
q = 144 (1)
œj œ
(1)
˙æ
3
3 œ™æ
(1) 3
˙˙ œ œ
4
æ
1
nœœ
3
&4 œ ˙ #œ ˙ ˙ œ
{ ? 43 Œ
f
˙˙˙
1
2
4
œœ
œ
˙˙˙ œ
œ
1
4
˙˙ ™™
˙™
˙˙
˙
œœ
œ
œ˙ ™
2
4
œj œ
œ
æ œ™æ œj œ ˙æ æ
6 (2) 32 32
&œ ˙™ œ œ ˙™
4 3
˙ ˙˙ ™™ ˙ ˙˙ ™™
{
mp
˙™ ˙˙ ™™ ˙˙ ™™ œ ˙™ ˙˙ ™™
?œ ˙ œ̇™ œ œ œ ˙
˙™ ˙™ J ˙™
1 1
4 3
j æ œ œ œ
12
& ˙˙˙ œ #œæ œ œ œ œ œ œ™ œ œ

2
œ™ œ œ œ œ
1 4 3 1
œœ ™™
2
œ # œœ
{ ? ˙˙˙™™
™
mf
˙˙
˙
œ
œ
n ˙˙
1
2
œ
œ
1
3
˙˙ ™™
˙™
˙˙
˙
œœ
œ
œ œ œ œ œ3 œ1 œ5 œ œ œ œ ˙™ ˙˙ ™™ ˙˙˙ ™™
17
& œ ˙˙ ™™ ˙™ ™
{ ? ˙˙
1
3
œœ
œ
œœ
2
4
˙
˙
1
3
œœ œ œ œ œ
œ œ œ œ œ œ
2 3
œ œ œ œ œ œ œ
1 2
3
3 3
æ œ œ
22
&˙ œ œœ œ œ œ œ æ œ™ œ™ œ œ
32
œ œ œ œ œ œ æ J J
{
æ
p
œ œ œ œ œ œ ˙™ ˙˙ ™™ ˙œ ™ ˙™
? ˙˙™™ ˙™ œ ˙ œ
1
Œ
3
(1) & œ #œ œ œ etc. (2) & œœœœœœœœ etc.
2 © Copyright 2017 Trinity College London Press

j j
27
æ œ œ æ ˙™
& œ™ ˙ ˙ nœœ
3 3
#œ ™ #œ œ #œ ˙˙ ™™
{ œ̇
? ˙ ™™
2
3
5
˙
1
˙˙ ™™
˙ œ
˙˙
1
3
œœ
œ
˙˙
˙
1
2
4
œ
œ
1
4
˙˙ ™™
˙™
j j 3
æ œ œ œ™æ
32 32 32
& œ™ œ œ œ #˙æ
(2)
œ nœ œ œ œ œ
4
œ
3 2 1
# œœ #œ œ œ œ
{ ˙
? ˙™
1
4
œ
2
˙
˙
1
3
œ
œ
˙™
œ ˙
mf
˙˙ ™™
˙™
˙˙ ™™
˙™
œ œ œ œ œ œ œ œ3
37
œ œ
œ œ œ œ œ œ #œ #œ œ œ œ œ #œ #œ œ œæ
æ
1 2 1
&œ œ
1 1 3 23 3
{
mp
˙ œ ˙˙˙ œœ ˙˙˙ ™ œ ˙˙ ™™ ˙˙ œ
? ˙™ œ ™ ˙™ œ
1 2 1 1
4 2 3
4
œ æ œ œ œ œ æœ œ œ œ œ œ œ3 œ2 œ œ œ œ œ
42
&œ œ œ
3
œ
1 4 3 2 1
œ œ œ œ
3
{
mf
œœ ˙ œ
? ˙˙ ˙˙ ™™
˙™
˙™
˙™ ˙ œœ œ
˙˙
1 2
2 4
47
3 U
& ˙™ ˙˙˙™™™ ˙ ˙™ ˙˙
# ˙˙ ™™ # ˙˙ œ # ˙˙ ™™
{
#œ œ ˙ ˙
f
U
? ˙˙ œ œ œ œ #œ œ œ œ ˙˙ ™™ ˙˙ ™™ ˙˙
˙ œ œ œ ˙™ ˙™ ˙
2 3 1 4 1 œ
3
notes
Group A
Prelude in D minor
Praeludium
BWV 935 d-Moll Johann Sebastian Bach
(1685–1750)
µ
e = 126 (1)
3 œœ
œ œœœœœœ
1 2 3
& b8 œ #œ œ œ œ œ œ œ œ œ œ œœœ
3
œ œ œ™
3 3 3 5 3 1
{
œ œ
. .
? 38
b ∑ ∑ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ. ‰
2 3
œ.
(1 2 3 4 5)
œ 1 œ 2
œ œ œ b œ œ œ œ
7 3 2 1 2 3 4
3
&b œ œœœœœ œ œ œ œ œœœœ œœœœœœ

3
4 2 3 4
{ ? b ‰ œ. œ. œ.
4
œ.
‰
3
.
.œ œ . œ. œ .
œ
.
œ œ.
3
œ. .
œ. œ
. b œ.
œ
1 2
œ. . .
œ. œ
. 2 œ bœ œ œ œ œ
. .œ œ œ. œ. œ. œ œ. œ œ
13
&b œ œ. œ œ nœ œ
4
2 3 4 1
{ ?b
œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ.
3 1
œ œ œ
1 3
.
œ. œ œ. nœ. .
œ
T
(2)
œœœœœœ m
bœ œ œ œ nœ œ œ œ œ œ œ œ j
19 2 4 2 2 5
&b œ. œ ™
œ œ œj œ ™™
3 3 1
œ œ™
{ ?b
. .
œ œ œ.
1 2
œ. œ. œ.
5
œœœœœœ œœœœœ
œ
1 2
œ œ œ œ œ œ œ ™œ
≈ œœœ ™
1
J
™
3 2
&b œ œ œ œ œ &b œ œ œ œ œ œ œ œ
6
(1) (2)
1 2 3

25
œ3 œ œ œ œ œ œ œ œ œ œ œ œ3 œ œ œ œ œ œ3 œ œ œ œ œ #œ3 œ œ œ
& b ™™ œ
{
? ™™
b
œ.
.
œ
œ. œ. . œ.
œ œ. nœ.
œ. œ.
2
. œ.
œ œ œ œ bœ œ œ
2 4 2 3 3
œ. œ. bœ3. œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ
30 2 1
&b
3
{
? œ œ œ
b œ œ œ œ œ œ œ œ #œ œ œ œ
3 1 2 1 2 2 1 3
œ œ œ
3
#œ.
3
œ. œ. œ.
2
œ.
œ.
2
35 2
œ œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ œ œ #œ
b J
1
& œœ œ œ
2
#œ œ œ
{ .
?b œ
1
œ.
œ.
2
œ.
1
œ.
4
#œ. œ #œ œ œ œ œ
2
#œ nœ œ œ œ œ nœ
3
2 1
1 2 3
œ œ
œ œ.
œ œ œ œ œ œ #œ2. œ.
40 2 3
b nœ œ œ œ œ œ nœ œ #œ
2
&
1 3
J J
{
? b œ #œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ #œ œ œ œ œ #œ.
3 2
œ œ
3 2 1
3
œ.
œ.
œ œ œ #œ œ œ . #œ. œ œ œ
45 3 4 2
&b œ œ œ œ œ œ™ ™™
4 5 3 3 1
{
?b œ œ œ œ œ œ œ
œ œ œ œ œ
œ
5
3
œ œ œ™ œ
≈
1
œ œ
œJ
™™
5
notes
Group A
Sonatina
Sonatinain in
EbEmajor
flat
Georg Anton Benda
(1722–1795)
Allegretto e = 160
bb 3 œ4 œ œ3 œ œ œ œ œ5
2
b œ œ
2 3
& 8J œ œ œ œ œ œ
{ ? bb 38 ‰
b
f
œœ
1
3
‰
œ
œ ‰ nœ
œ
T
‰ ‰
œ
2
œ bœ
T
‰
mj
(1)
b 3 œ j j œ5 j
6 (2) # #
&b b œ œ
1
œ œ œ ‰ nœ nœ œ
2
œ œ #œ
3 3
{ ? bb œ
b
œ
‰
œ
œ
œœ
2
4
J
œ
œ ‰ ‰
p
‰ nœ
J
4
œ
f
bb œ #œ3 œ œ œ3 nœ œ œ nœ œ œ œ U
11 3
b œ J œ œ ™ nœ œ œ
1
& nœ
{ U
p f
œ œœ œœ œœ
? bb ‰ ‰ #œJ ‰ ‰ ‰ ‰
b
2
4
b U œ œ
5
œœ
16
œ ™ nœ œ™ nœœ
4 4
& b b nœ ‰ ≈™ œ
1 3
œ
1 2
œ œ™ œ J
{ f p
? bb U œ œ #œ
b ∑ œ ‰ ‰ J
5 2 1 3
20
b
5
m§
j
2 4 3
& b b œœ nbœœ ‰ ‰ j ‰ ‰
3
œœ
1 1 2
œœ œœ œœ œœ ™™ œœ
{
. .
? bb œ œ ‰ œ ‰ ‰ œ #œ ‰ œ j ‰ ‰
b œ œ
4 3
b b
4 3 2 1
(1) &b b œ œ œ (2) & b b œ œ #œ œ

5 5
b œ nœ œ œ œ œ œJ œœ bnœœ ‰ œ œ
5 1
œœ nœœ
25 3 2
&b b ≈ œ ‰ ‰
3
3 3
œ. œ
4 4
œ œ œ œ œ J
{
1 1 .
f 3 p
?b œ œ œ #œ œ œ ‰
bb ‰ ‰ J œ ‰
3 2 3
b mj œ™ œ œ œ œ œ™ œ œ
4
œ œ œ
30
& b b œœ œ™ ≈ œ œ nœ
1 1 3 3 1
nœ
3 3
œ™ œ œ œ™
{
œ 3 3
?b ‰ œ
f
œ ™™ œ
bb œ ‰ œ œ ‰
1
œ 1
3
b ≈ œ œ œ œ œ
34 4
b ‰ j ‰ œ
3
b nœ
4
&
2
œ œ œ œœ œœ œœ n œœœ n œœœ ™™
™ œœ J
{
3 3
nœ
f
œœ ™™ œ
p
? bb ‰ ‰ ‰ j
b œ œ œ. œ. œ. ‰ ‰
b bœ bœ ™ œ
39
œ
1 5
& b b ™™ bœ œ œ œœ
2
œ œ œ œ nœ nœ ™ œ
{
J
1
? bb ™™ œœ œ œ œ™ œ œ œ
p
nœ œ
b ‰ bœ ‰ œ ‰ œ™ J
1
3 5 2 5 2
b j œ
44 3 4 2
1
& b b œœ œœ nœœ œœ ‰
1
nœœ ™™ œ #œ
4
{
? bb
b
œ
œ
j ‰ œ
1
œ œ
j ‰
mf
‰
œœ
1
3
‰
œ
bœ ‰
œ
cresc.
œ ‰
7
m§ j
4
b œ™ œ œ œ œ œ œ #œ ™ œ n œ ™ œ
2
œ
50
nœœ
2
& b b #œ ™ œœ
1
œ #œJ œ nœ #nœœ ™™
J
{
1 1
œ œ œ nœ
f p f
? bb œ™ #œ nœ ™ œ œ œ #œ œ
J ‰ #œ œ
b J
4 1
5 2 4
œ T
œ j
3213
b ‰ nœ œ
55 3 5
&b b J œ œ œ œ bœ ‰
1
œ œ #œ œ nœ
2 1
œ
1
{
? bb œJ ‰
b
p
‰
œ
‰
œ
œ
1
4
‰
œœ
‰
œ
#œ ‰ ‰
œ #œ
œ œ
bb 2 j ‰ œ œ œ œ
61 5
b j œ bœ œ œ œ œ œ
’
& œ
3
œœ n œœ œœ J œ œ
{
. f
? bb œ œœ œ nœ œ œ
œ ‰
b ∑ ‰ œ ‰ œ ‰ ‰
mj m2 j m2 j
b œ œ œ j
67
&b b œ œ œ œ œ œ ‰ œ œ
5
œ
3
J œ œ
{
nœ œ
œ œ œœ œ p f
? b bœ ‰ œ ‰ œ J œ ‰ ‰ ‰ j ‰
bb œ œ
4
b œ œ œ œ œ U
œ œ œj œ3 œ œ3 U
73 4
& b b œJ nœ œ œ œ nœ nœ œ nœ ‰
5 4
3 2 1 2
œ J
{
#œ
p f
n œœ œœ œœ dim.
U
? bb ‰ ‰ j ‰ ‰ ‰ ‰ ∑
b nœ œ
4 2
4
8
4 3 3
b œ
79
œ bœ œ
1 1 1
& b b ≈™ ‰ ‰
3
œ ™ œ œ™ œ œ œ œœ
1
œ œ œ œ bœ .
{
œ œ™ œ œ.
f p
?b œ œ nœ œ œ œ
bb ‰ œ ‰ œ J ‰ ‰
œ 5 2
mb j
b j ≈ œ œ œ œ œ œJ œ œ œ œ œ œ œJ
84 2 4 3 3
3
& b b œœ œœ œœ ™™ œœ ‰ ‰
1 1 2
{
3 3
f
œ nœ œ j œ
?b ‰ ‰ œ œ ‰ ‰ œ ‰ ‰
bb
3 3 2
œœ3 mj
5
œœ
5
b œœ bbœœ œ™ œ œ
89 2 1
4
œœ
3
&b b ‰ ‰ ‰
1
œœ œœ
2
. . œœ œ™ œ
{ œ
p f
? bb nœ œ œ œ œ œœ
b J ‰ ‰ ‰ œ ‰
1 3 1
1
3
b œ
94 1
3 3 4
&b b ≈ œ œ œ œ œ œ œ œ™ œ ≈ œ œ œ œ œ
œ œ œ œj œœ œœœ
3 1 3 2
{
3 œ œ œ™
p
? bb œœ ™™ œ ‰ œœ ™™ œ ‰
b œ œ
1
2
b j j
98 1. 2.
&b b ‰ œœ œœœ œœœ ™™™ œœ ‰ œ ™™ œ ™ œœ ‰

4
J œœ ™™
{
? bb œ
b
2
‰ ‰ œ. œ. œ.
J
‰ ‰ ™™ ‰ œ
1 œ œ.
j ‰
9
notes
Group A Giga in A
Giga in Aminor
minor
Richard Jones
(d. 1744)
Fast, lively q. = 100
12 œ œ œ œ œ œ œ œ œ m
(1)
j œ ’ œ4
J œ œ œ œ œ œ œ
3
&8 J œ #œ œ J
4
{ ? 12
8‰
f (2nd time p)
œ™ œ™
3
∏∏∏∏∏
œœ ™™
œœ™™ Œ™ œ™ œ œ œ
J
1
œ œ
J œ
j
M
(2)
œœœœœœœœœœ œ œœœ j# œ #œ œ œ 2 #œ
œ œ œ œ3
3
‰ ‰ J œ œ œ œ
3 2
& #œ œ #œ œ™
5 2 5 3
{ ?
œ™ œ™ œ™ œ™ œ
œœ j j
J œ œ œ œ œ œ œ™
2 1 3
nœ ™ #œ ™
4
œ™
œ œ #œ œ œ œ #œ3 M m
‰ œ œ œ œ œ œ œj œ œ œ œ #œ #œ
43
#œ œ ‰ œ œ nœ ™ ‰ œœœœœ™
6 4
5
&
2
{ ? #œ #œ œ <n>œj œ
J 2
œ œ™
J œ
œ œ #œ ™
œ
œ #œ œ™
2
2
J
1 3
j
#œ œ #œ œj œœ™ œ <#>œœ ™ œ
3
j
m
(3)
6 12 œ œ
9
& œ œ œ #œ œ œ #œ œ œ œ œ 8 œ ™ œ ™ ™ œJ 8 #œ #œ œ œ œ œ œ œ
œ
1 2 1 3
™ ™
3 1 2 5
{
œ # œœ ™™ œœ
∏∏∏∏
œ
mp
œ™™ œ™ #œ ™ œ ™
? œ™ 6 œ™
8 ™ ™ ‰ 12 œ™
8
œ ™
œ
™ ™ œ™
4 1 4
œ4 3 œ œ
3
& œœœœ & œ œ &œ œ

3
(1) (2) & œ #œ œ œ (3) or
3 2 3 2 1 3

12
œ œ
4
œ œ œ œ j œ 1j 1 œ j œ œ œ œ œ œ œ œ
œ
4 5
œ ‰ ‰ J œ œ
4
& œ œ œ œ œ œ J œ œ œ J
4
{
? œ™ Œ™ œ
3
œ œ œ œ œ™
J
mf
œ™ œ™ œ™ œœ™™ œ œ œ™
J
œ
2
œ
J
M4 M4
M m œ™
#
œ nœ œ œ œ œ œ4 œ œ# ™ œ #œ #œ œ3 œ œ
1 4
œ
15
&œ œ œ œ œ™
œ œ
‰ ‰ J œœœ œ
3 4
{
? œ™
dim.
1
œ™ œœœœœœ œ
3
mp
j
œœœœœ
™
cresc.
œ™
œ™
3
mf
œ œ œ œ™ ’œ
œ J3
œ5 œ5 œ 2 œ5 œ œ
œ nœ œœ 2 œ j
œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ
( )
J J œœ
18 5 4 1 5 2 1 2 ’5
& J J J œ
{
f mp
œ™
dim.
j ™ œ™ œ™ œ™
? œ™ ‰ ‰ œJ nœ ™ ‰ ‰ œ œ œ™ œ™ Œ™
œ œ™ 1
M
Ÿ Ÿ
(4)
nœ œ œ œ œ œ œ œ™
œœ œ nœj œ™ œ œ œ
21 32
#
œ
3 2
’
& #œ #œ œ œ œ œ œ #œ œœœ
3
œ™
{
?
œ™
Œ™ Œ™ #œ2 ™ œ œœ
J
1
j j
œ
œ œ3 œ œ4 œ 1
p
œœ ™™ œœ™™
3
œœ ™™
1
3
œœ™™
24
Ÿ m
32
œ
4
#œ œœ ™ œ œœ ™™
j ‰
5
?
& œ nœ œ œ œ œ œ
3 3 2 4 3
œ™ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ
{
œ œœœ
? œœ ™™ œœ™™ œœ ™™ œ™ œ™ œ™
#œ ™ œ™ œ™
œ™ œ™ œ ™™
1
3
1
3
3 1
œ
3 2
(4) &œ œ œ œ œ œ
11
notes
Group B
Arabesque
Arabesque
op. 6 no. 4 Genary Karganov
(1858–1890)
Moderato con espressione (e rubato) q = 96
#3 >4 >3
& 4Œ ˙ Œ b˙ Œ
4
˙ œ œ œ œ j œ
3 2 5 1
{
> œ œ
bœ
p dolce mf
œ œ b œ œ œ
? # 43 œ œ bœ œ œ œ œ ˙
œ5 ˙ 2 1
œ5 ˙ 2 1 2
œ5 ˙ 1 3 1 1
°
4 2
ø ø ø
2
# >2 œ™ j . >
œ. œ. œ œ ˙™
5
& ˙ ˙ Œ
2 2
{
œ
p mp pp
?# œ œ œ #œ œ œ œ œ œ œ œ œ
œ œ ‰ œ
œ5 ˙ œ #œ5 ˙ 1 3
œ˙
5 2 1
2 5
P simile
>
dolciss.
#Œ j 3
9
˙ œ™ Œ
5 4
& œ œ. œ. #œ. œ. œ. ˙- ˙
4 2 3
{
p mp pp
œ œ œ œ #œ œ œ œ œ œ
?# œ œ˙ #œ œ œ ‰ œ
œ˙ 5 3 1 2 œ˙ œ2 1 2 1
5
>˙5 .
# œ™
3 5 4
#œ œœ œ œ #œ œ #œ œœ
5
˙ ˙
13 1 1
& Œ Œ
4 2 j 2
J ˙
{
.
œ œ œ #œ œ
mf p pp
?# œ œ œ œ œ œ œ
œ5 ˙ œ˙ œ œ œ ‰ œ
2 1
2 5 2 1
2 œ˙ 2 1 3
# n˙5
œ œ ≈ œ ˙
17 5
& Œ œ
2 1
j
#˙ œ #œ ™
1 3
2 1
œ
{
pp p
œ œ œ œ
espress.
œ œ œ œ œ
?# œ nœ ‰ œ œ #œ œ˙ œ 1 ‰ œ
nœ5 ˙ 2 1 2 2 5 12 2
5 3

# b>˙
œ œ ≈ œ ˙
21 2 5 3
& Œ
1 2
œ
2 1
j
1
˙ œ œ™ œ
{ œ œ œ œ
p
œ œ œ
ppp una corda
?# œ œ œ ‰ œ œ œ œ ‰ œ œ
œ5 ˙ 1 3
œ5 ˙ 2 1
U3
2
>˙5 rit.
U
# nœ ™
5 5
bœ œ ≈ #œ
3
œ̇ nœ
25
#œœ
1 1 2
& Œ ˙˙™
4 1
#œ
2
{
u u pp
f cresc.
œ˙ ™ b œ 3 bU
mp
U
bœ œ n œ̇ n œ
f
˙
p
?# œ b œ bœ œ bœ b œ œœ #œ
bœ bœ ˙ œ ˙
œ
b œ˙ ™ bœ bœ
bœ
œœ
bœ u
°
3 2 4
ø ø ø
#Œ > >
29 a tempo
& ˙ Œ b˙ Œ ˙ œ œ œ œ j œ
{
> œ œ
œ œ bœ b œ œ
p mf
œ
?# œ œ bœ œ œ œ œ ˙
œ˙ œ˙ œ˙
P simile
# >2 nœ. œ. #œ3. nœ4. >

33
˙ œ ˙™ ˙ Œ
& œ.
{
œ
p pp
œ œ œ œ œ œ œ œ œ
mp
?# œ #œ œ œ
œ˙ œ #œ˙ 3
œ˙ œ ‰ œ
1
# >
dolciss.
j
37
& Œ ˙ œ™ œ œ. œ. #œ. œ. œ. ˙ ˙ Œ
{
>
nœ
p mp pp
œ œ œ œ œ œ œ œ œ
?# œ œ œ˙ œ œ ‰ œ
œ˙ 5 1 2
œ˙ œ
2 2
U
3 1
>˙ Œ
#Œ
41 2 ten. rall.
œ. œ ≈ œ ˙™ œ
4
& œ™ ˙
3
{
p (l.h.) u
2
. œ. œ.
mf
œ bœ œ
pp
œ œ œ
dim.
? # œ˙ œ œ œ œ œ
œ˙ œ ‰
° smorzando
5 1
2 3 2
1
13
Contents
Progression I Performance
notes
Group B
Progression I
Manfred Schmitz
q = 190 (1939–2014)
4 5
j ‰ œj Œ #œœ
2 2 3
& C œœ ‰ œœœ Œ #œœœ w w

1 1 1
w
w œœ œœ w
>œ w
{
. . > . .
mf
?C 1
œ. œ. œ. œ. œ. œ œ œ œ œ >œ. œ. œ. œ. œ. œ œ œ œ œ
> > > œ > > œ
G*
G G G 1
5
G G G 1
5
“”
>œ >œ5 œ
œ œ œ1 œ2. œ œ >˙
5
j
5 1 2
& œœ ‰ œœœ Œ #œœœ

5 1
˙˙˙ œ œ œ œ œ ™™
2
{
. . > > .
? ™™
œ. œ. œ. œ. œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
G > G > G > >1 . >1 . >1 >4
°
1 5 1 5 5
$
j j
9 4
& ™™ œ ‰ œœ Œ #œœœ ‰ œœœ Œ #œœœ

5 1
˙˙˙ œ œ œ ˙˙˙
2 1 4
œ œœ. œ œ œ œ
{
œ. œ. > . >
? ™™
œ. œ. œ œ œ œ œ œ
œ. œ. œ œ œ œ œ œ
G*> G > simile
G
>œ5
œ œ œ1 >œ5 œ
4
j
13
œ œ œ œ
5 2
& œœ ‰ œœœ Œ #œœœ œ œ œ œ œ Œ

5 5 1
˙˙˙ ™™
3 1 1 2 1
œ œ
{
. . > > >. >
? ™™
œ œ œ œ œ. #œ. œ. #œ.
œ œ œ œ œ #œ œ #œ
> > > >
Do not play the repeats in the exam.
14 © 2000 by Deutscher Verlag für Musik Leipzig

17
j œ j j
œ œœ œœ œ œ œ œ œ œœ ‰ œœ Œ œœ œœ œ œ œ œ œ œœ ‰ œœ Œ
2
‰
& œœ œ Œ œœ
5
™ œ
1 1
™ œ. œ. œ œ. œ.
>œ œ >œ œ >œ
{
. .
f
? ™™
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ
>
œ
> >œ œ
> œ
>
œ
> >œ œ
> œ
>
œ
>
G*
to Coda last time Ø

>œ5 1 >
1.
2.
œœœ œœœ 1
D. S. al Coda
œ
22 4
& œœœ œ œ œ œ œ œœœ Œ œ œ œ œ œ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

5 5 5 1 1 3
1 4 1 3 1 4 1
{
>. > > œœ
? œ. œ. œ. ™™ w w
#œ. œ. #œ.
>œ œ
> œ
> #œ œ #œ w> w
> > >
°
25
Ø Coda
&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
4 1 3 4 1 3
1 4 1 3 1 3 1 1 4 1 3 1 3 1
œ œ œ œ œ œ œ œ
{
> œ. > œ.
? Œ Œ
w ˙™ w ˙™
w> ˙™ w> ˙™
° * ° *
>œ. >œ. “>” >œ.

29
œ.
&œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ Œ œ
4 1 3
œ œ
1 4 1 3 1 4 1 2
{
> œ œ œ. œ.
> >
?
w w œ œ Œ œ œ Œ œ œ
w> w> œ œ œ œ œ œ
>. >. >. >. >. >.
° *° *
15
[Blank page to facilitate page turns]
16
Group B Weaving a Spell

Weaving a Spell
notes
Robert Ramskill
(b. 1950)
. n>œ. œ. œ. n>œ. œ. nœ.

Dancing q = 240
### 3 œœÆ Œ œœÆ œœÆ œ. œ
2
1 4
& 4 ∑ ∑
{
f
œœÆ œœÆ œœÆ œœÆ

? ### 43 Œ ∑ Œ ∑ nœ. œ Œ Œ
& nnœ. œ Œ Œ
> >
$ misterioso,
### >œ. #œ. >4. . . œ. œ œ œ œ œ œ

7 delicato
œ. œ œ nœ
n
4
˙™ œ
5
&
2
. ˙˙ ™™ ˙˙ ™™ œœ
{ &
###
œœ
>.
Œ Œ
n œ. œ
>
Œ Œ? ˙
mp
œ
˙
œ
˙
œ
˙
p
œ
˙
œ
### 2 1 . œ œ œ. œ. œ œ œ œ œ œ .
14
& nœ. œ. œ ˙ nœ. œ. œ œ œ œ

2 3
{
.
? ### ˙ œ œ ˙ œ œ ˙ œ œ
˙ ˙ ˙
###
œ. œ. œ.
20
œ
1 2 1 5 5
& ˙™ œ. œ nœ œ.
2 1 2
˙™ œ œ œ
{
œ
? ### ˙ œ œ
˙
œ œœ. Œ nœœ. œœ.
˙ œ œ Œ œ Œ
© Copyright 2017 Trinity College London Press 17

###
26
5
& j œ œ. œ j .
1 2 1 3 4
œ œ œ œ œ. œ. œ
{
œ™ œ™ œ. œ œ. n ˙˙ ™™
. mf
? ### nœœ. œœ. nœœ. ˙™ œ œ œ nœ

œ Œ œ Œ œ Œ ˙™ . œ. œ. .
5 2 1
To Coda Ø
###
32 2nd time
Œ Œ œ. ˙˙ ™™ Œ Œ ∑
&
œ. œ. .œ œ. œ. œ.
{
œ.
. . . nœ œ .
? ### Œ œ œ. nœ. Œ Œ œ. nœ œ œ œ
œ
œ. . œ. œ. . Œ
1 3 2 3
### ˙˙˙ Œ nn˙˙˙

38
& Œ ˙˙ Œ n˙˙ Œ ˙˙˙ Œ ˙˙ Œ

˙ ˙
{
˙
f
˙ œ n˙ ™
? ### ˙ œ n˙ ™ ˙ œ ˙™
4 4
### Œ n˙˙˙
& Œ n˙˙˙
˙˙ Œ n˙˙˙ ˙˙ ˙˙
44
Œ ˙ Œ ˙ Œ ˙
{
mp
œ ˙ œ ˙ œ œ œ œ ˙
? ### n˙ œ ˙ œ
1 2 4 2
### ˙˙ ™™ ˙™
n˙˙˙ ™™
˙™
50
™ ˙˙ ™™˙ œ
& n˙ ™ n˙˙ ™™ #œ ˙
{ Œ ˙˙ Œ ˙
f
? ### œ œ œ œ nœ œ œ œ œ ˙™ ˙™ b˙ ™ ˙
3 4 4 5
18
### œ œ nœ
56
& ˙ œ n˙ ™ n˙ œ b˙ nœ
1
{ Œ ˙
? ### ˙ ™ n ˙
4
Œ
b˙ ™ n ˙˙
5
Œ
n˙ ™ b ˙˙
3
Œ ˙
<#>˙ ™ b ˙
4
Œ ˙
n˙ ™ b ˙
4
61
### œœ œœ. ˙ nœ ˙ œ œ ˙ <#>œ
& Œ nœ nœ
{
? ### œ.
5
œ.
Œ & ˙
1
nœ
2
˙
3
nœ œ nœ œ ˙™
D.S. al Coda
### nœ œ œ nœ œ œ
66
& nœ #œ œ nœ œ nœ
{###
& ˙˙ ™™
nn˙˙ ™
™ ?
˙˙ ™™
n˙˙ ™™
Ø CODA
###
70
& Œ Œ nœ nœ œ œ nœ œ nœ #œ œ nœ œ
4 4 4 4
œ. œ œ. ˙ œ.
{
nœ nœ
f
? ### ˙ œ. nœ œ œ. ˙ œ. ˙˙
nnœœ
˙˙
nnœœ
. . ˙™
### . . œ. œ œ U
˙™
œ. œ œ
75
& .œ œ. œ.
1 3 4
œ #œ œ nœ œ nœ
{
? ### ˙
˙ nœœ
cresc.
5 2
nœ
œ. œ. .
1
&
œ. œ
.
nœ. œ
œ. .
nœ.
ff
U
Œ ˙˙
19
Contents Mazurka Performance
notes
Group B
Mazurka
Nathalie Béra-Tagrine
(b. 1960)
>œ.
Avec panache q = 138
3 œ. ™ œ5 œ3. ™ œ3 2. >œ2 œ œ œ ‰ J ‰ œ œ œ œ œ. ‰ œ
œ j
œ ‰ ˙
1
&b4 œ J . J
{
> >
>œ. œ. >œ. >œ.
3
f
œœ. œœ. œœ. œœ # œœ œœ œœ. œœ
? 43 Œ œ. œ œ œ. œ .œ œ
b œ.
1 1
° ° ° °
2 2
4 4
œ. ™ œ œ. ™ œ œ. . .
œ3 œ nœ œ œ œJ ‰ œJ ‰
5
&b J ‰ ˙ ˙ œ
{
>
œœ. œœ. . . . # œœ.
p sub.
? b œ. œ œ .œ nœœœ œœœ œœ
œ Œ #œœœ Œ
œ
1
° ° °
2
4
œ j nœ
œ ‰ #œ œ œ œ œ œ
2 1 2 1 3⁀1
œ #œ
9 1 1
œ #œ
3 2 3 3 2
b œ nœ ‰ œ
1 3 3
& œ 2 œ œ œ œ œ œ œ œ #œ œ œ œ
2 1
{ . . .3 .
3
. . . .
3 3 3 3 3
œœ œœ œœ œœ
? b œ˙™ # œœ œœ œ˙ ™ #œ
œ˙™ œ
œœ
œ˙ ™
°
3 4
ø ø ø
5 5
>œ
b -œœ ’ 3 1 3 1 2 3 1 2 3
3
œ œ œ #œ œ œ œ #œ œ œ œ
1
œ b œ œ nœ
13
2
& b œ Œ œ
# œ œ #œ œ œ #œ nœ #œ
{
3 3 3 3 3 >
mf
. . . >. f p mf
œœ œœ #-œœ Œ .
? b œ˙™ #œœ œœ œ˙ ™ œ Œ #œœœ Œ
3 4 1
2
œ.
° °
4
ø ø
20 © Van de Velde, Paris. All rights reserved

œ. ™ œ œ. ™ œ . >œ .
œ œ œ œj ‰ œJ ‰ œ œ œ œ .
œ ‰ œ ‰ œ
17
&b J ˙ . J
{
>
>œ. œ. >œ. >œ.
3
f
œœ. œœ. œœ. œœ # œœ œœ œœ. œœ
? œ œ œ. œ .œ œ
b œ.
œ.
° ° ° °
œ. ™ œ5 œ. ™ œ œ. . . >œ2
œ œ nœ œ œ œJ ‰ œJ ‰
21
’
&b J ‰ ˙ ˙
{
? b œ.
°
œœ.
œ
œœ.
œ
°
. .
.œ nœœœ œœœ œœ
œ Œ
.
#œœœ # œœ.
°
œ. Œ
>œ. 1 œ
œ œ œ1 œ4
5
œ œ >œ. œ œ >œ. œ œ œ j ‰ J ‰ œ
4
œ
>œ œ œ œ1. ™ œ1
4
25
&b J ‰ J ‰ J ‰ ˙
1
œ.
{ >œ. . >œ.
3
ff
œœ. œœ. œœ. œœ # œœœ œœ œœ. mp
?b œ œ œ œ. œ œ. œ œ
œ.
œ. 2
° ° ° °
“”
. >
. œ nœ. ™ #œ œ™ œ œ. ™ œ œ. 1œ œ œ œ
5 5
b bœ ™ œ #œ. ™ œ œ. ™
29 1 4 2
1 2 1 1
& ˙˙
{
# œœ ˙
ff
.
?b œ #œœ œœ. œœ œœ Œ
sf
. œ œ. œ. œ5 œ œœ
œ. œ
œ
3 4
° ø ø ø ø °
21
notes
Group B
In
In Dreams
Dreams
from The Lord of the Rings: The Fellowship of the Ring
Arr. Podgornov
Howard Shore / Fran Walsh
Moderato q = 74
#4
(b. 1946 / b. 1959)
œ œ™ œœœ œ œ™ œœœ
& #4 œ œ œ œ œ
1 2
œ ˙ œ
{ mp legato
? ## 44 ‰ Œ
°
œ
œ œ œ
ø
œ œ
œ
ø
5
œ œ œ
2
˙
1 2 1
œ
ø
œ œ œ
ø
œ œ
“” œ œ
# œ œ œ œ œ J ‰
4
& #w œ œ œ̇ œ œ œ
2 3
œ œ œ œ̇ ˙™
{
˙ ˙ ˙
œ
œ œ ˙˙
L.H.
? ## ∑ ˙˙ ˙˙ ˙
œ ˙
ø ø ø ø ø
# œ
8
& # œ̇˙ œ̇
˙ œ ˙˙ œœœ œ œ œ̇˙
œ œ̇ œ ˙™ œ œ
{
˙ ˙ ˙ ˙
? ## ˙ ˙˙ ˙ ˙ ˙˙ ˙˙ ˙
˙ ˙ ˙ ˙˙ ˙
ø ø ø ø ø ø ø ø
##
3
‰
12
œ œ
2
& ˙˙˙ œ œ œ œ ẇ
1 1 2
œœ œœ œ̇˙ œ ˙ # ˙˙ œ œ ˙˙ œ
{
˙ n ˙˙ ˙˙
? ## ˙ ˙ n˙ #˙ ˙ ˙
˙ ˙ ˙˙ ˙ ˙
˙ ˙ ˙ ˙
# œ™ œ œ œ̇
16
& # ˙˙ œ œ
1 2 4
˙ œ ˙˙ œ̇œ œ œ ˙ẇ œ œ ˙˙ œ̇ œ
{
˙ œœ
? ## ˙ ˙˙ ˙ ˙˙ ˙
˙ ˙˙ ˙˙ ˙ ˙
˙ ˙
© 2001 NEW LINE TUNES (ASCAP) and SOUTH FIFTH AVENUE PUBLISHING (ASCAP)
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Performance notes
Contents
Coranto (no. 218 from in bar 24. Notice how Benda writes a varied repeat of the second
Byrd Fitzwilliam Virginal Book) page 2 theme, this time resolving into the dominant key in bar 31. The
development section (after the double bar) combines features of both
William Byrd was an English composer of the Renaissance period, first and second themes, touching on the minor keys of F and G. The
remembered for his church music, choral works, consort music and recapitulation (bar 63) obeys the rules of sonata form by presenting
pieces for keyboard. This Coranto is among his many contributions to the second subject material (from bar 79) in the home key.
an important collection of keyboard music from the late Elizabethan
and early Jacobean periods, known as The Fitzwilliam Virginal Book. The Allegretto marking tells us to move forwards while allowing time
A virginal (or virginals) is a rectangular type of harpsichord, smaller and for the expressive moments. Taper off phrase endings, short slurs
simpler in construction. The sound is produced by quills that pluck the and appoggiaturas beautifully, and take time over fermatas and other
strings, creating a crisp and incisive tone quality. special moments of repose (bars 24, 82). In keeping with the style of
the period sharp dotted rhythms can be broken, the dot becoming a
A Coranto is a type of triple-metre dance common in instrumental rest. This will certainly help with the shifts in position in bars 17 and 18,
music from the period (the title literally means ‘running’). This example etc. Make the most of all the contrasts in dynamics and texture, and feel
is lively in spirit, and needs to be articulated cleanly, especially the many changes in mood in character.
with regard to the ornaments (indicated here with diagonal slashes
through the note stems). It is advisable to practise the piece without
the ornaments at first, adding them in very lightly only when you Jones Giga in A minor page 10
have developed some fluency. Ornaments are played on the beat. Not much is known about the life of English baroque composer,
A non‑legato touch is best suited to this piece, with clear punctuation at Richard Jones. Like many of his contemporaries, he was overshadowed
the end of each phrase. Gently separate the longer notes and play the by the popularity of Handel whose music was all the rage in England at
running quaver passages cleanly, using a touch that is well articulated the time. In 1732 Jones produced six sets of Lessons for the Harpsichord
from the fingers. Chords may be arpeggiated quickly, holding on to or Spinet, which are charming suites of dance movements composed
each note by hand for the full duration. Composers in Byrd’s day did not for instructional purposes. The Giga (Jig) is the final movement of the
use phrase marks to show where the breathing places fell — see if you Fourth Lesson, featuring pieces in the key of A minor.
can find where each phrase ends and the next one begins. The dynamic
markings are editorial suggestions appropriate to the style when played A jig is a lively dance in compound meter, and in this example in 1
on the piano. No pedal is necessary. we need to feel the four main dotted crotchet beats in each bar. The
suggested articulations for the quaver groups really help the music to
dance; make a small separation between the note at the end of the slur
J S Bach Prelude in D minor, BWV 935 page 4 and the note that follows. Notes without any articulation markings may
Bach wrote a number of pieces for his own teaching purposes. be played legato or detached (slightly shorter than the written value),
The Prelude in D minor comes from a set of six familiarly known as the or a mixture of the two at the performer’s choice. For example, you
‘Little Preludes’. It is in the style of a two-part invention, a duet between might prefer to join the dotted crotchets in the LH (bars 3, 5, etc) and
the two hands in which both hands are of equal importance. detach the skipping crotchet-quaver patterns (RH bar 1; LH bar 2, etc)
for contrast and rhythmic variety. There is no one right way to do this;
The main subject (bar 1, etc) consists of three notes that move by experiment with touch and articulation until you find the way that suits
step followed by three notes that move by skip. It is effective to play you. Like the majority of dance movements from suites of this period,
the steps more legato and the skips more detached. Experiment with the Giga is in binary form. The music modulates to the dominant minor
mixing up legato and non-legato touches, allowing the line to breathe at key at the end of the first half, and returns to the home key via the
phrase ends. You will want to add subtle crescendo–diminuendo hairpins relative major (notice the cadence in C major in bar 15). All ornaments
to shape the semiquaver lines; quavers sound best when played with are to be played on the beat.
a bouncy staccato to bring out the dance quality of the piece. Fit the
right-hand ornaments (bars 4 and 23 together with the LH precisely
(ornaments come on the beat); isolate these two bars regularly in your Karganov Arabesque page 12
practice and work on them patiently. Begin your work at a slow tempo Genary Karganov was a Russian composer known for his instructional
with each hand separately before you put the hands together. Practise piano compositions. This delightful late Romantic Arabesque is full of
in very small sections of one bar, stopping on the first note of the next tender expression, demanding sensitivity of touch, timing, and pedalling
bar. Repeat two or three times in a row with full concentration so you as well as control of texture and balance between the hands.
form good habits and avoid errors. It is most important for eventual
security in performance that you organise a good fingering that Observe the rests in the right hand in bars 2 and 3, to keep the next
suits your hand, and stick to it each and every time you practise (the harmony clean and the composer’s breaks in the melodic line clear.
fingering given here is a guide only). Thereafter you can work in two- The minim note heads on the first beats in the left hand tell us to add a
and then four-bar units, progressing to larger sections. Even after you little more weight to the bass notes, playing the harmony notes lighter
can play the piece fluently with both hands it is advisable to play each and phrasing off at the end of the slur. Apart from bars 27 and 28
hand separately on occasion, listening for evenness in the semiquaver (where different pedalling is indicated) we hold the pedal for a whole
patterns as you shape and articulate the lines. bar, changing on the first note of the next bar (legato pedalling). Don’t
be confused by the staccato dots underneath the slurs (bars 6, 10, etc),
these markings tell us to play staccato in the hand but to keep the pedal
Benda Sonatina in Eb major page 6 down. Many composers in the Romantic period use this type of notation
Georg Benda was a prolific composer of the early Classical period, a for rubato effects and we may take our time over them. The same
Czech émigré who lived and worked in Germany. He wrote religious principle applies to the short right-hand rests (bar 19, etc); make the
works and melodramas in addition to much instrumental music, rest with your hand but continue to hold the pedal down. The dynamic
including 34 sonatinas for piano or harpsichord. The Sonatina in E flat contrasts are very important for expression. The ppp from bar 21
is a concise model of sonata form in miniature, an ideal preparation requires a very special colour and a dreamy effect; use the left pedal
for the sonatas of the Classical masters. The first subject is smoothly (una corda) for this, and take your time. Push forwards at the f in bar
flowing and gently expressive; the second subject (from bar 17) starts 25, and take a lot of time at the ritenuto in bar 27. Ritenuto tells us to
with an energetic, angular dotted theme that soon gives way to a slow down with immediate effect; the rallentando in the final bar tells us
drooping phrase and a mood of pathos at the interrupted cadence to slow gradually.
24
Contents
Schmitz Progression I page 14 Béra-Tagrine Mazurka page 20

Manfred Schmitz was a German composer, pianist and teacher who Nathalie Béra-Tagrine is a French pianist and composer of educational
wrote jazz-inspired music for young pianists. Progression I comes from piano music. A mazurka is a lively folk dance in triple time that originated
his series, Mini Rock. in Poland, with strong accents on the second or third beats of the bar.
Chopin and Szymanowski wrote many; listening to a few examples would
The piece is full of interesting rhythmic effects, requiring considerable
make excellent background research for the study of this piece.
independence between the hands in syncopated patterns and the ability
to feel metrical shifts against a steady pulse. The time signature is / There are four eight-bar phrases, the first and third of which are
(alla breve), meaning there are two beats in a bar and not four. It might identical in notes and rhythm (the overall shape is ABAC). Articulate all
be helpful to get a preliminary sense of how the hands fit together by short slurs and longer phrase marks clearly; connect the notes under
tapping the rhythmic patterns on your knee or the closed lid of the the slur and ensure a sharp release on the last note. The pedalling
piano while counting the two beats of the bar out aloud. Notice there in this piece needs careful attention. There are two different types
are three different note lengths in the right-hand chords in bar 1, etc, of pedalling marked by the composer, legato and direct. In the direct
a staccato crotchet on the first beat followed by a staccato quaver pedals in the opening (bars 1–8, etc), put the pedal down together with
(lighter) and then a crotchet tied over the bar line to a semibreve. the hands, releasing sharply on the third beat. This separates the last
Accent the syncopation at the end of the bar as marked, keeping your beat in the left hand from the first beat in the next bar, but does not
left hand very steady. Articulate the quaver patterns clearly making always affect the legato connection in the right hand (for example,
sure they are even and controlled (the left-hand quavers in bar 2, etc make a legato connection in the right hand between bars 2 and 3, and
require careful control of the weaker 4th and 5th fingers). There is bars 4 and 5, etc). Play those notes marked with staccato dots short
a neat rhythmical effect in bars 6–8 and 14–16; three quaver groups even when the pedal is down; we hear articulation through the pedal
crossing the regular pulse. Enjoy this as you play! All accents can be and the staccato releases help us play rhythmically. We make a change
exaggerated for rhythmical effect. To preserve the crispness of the to legato pedalling from bar 9, meaning the foot comes up as the hands
staccatos and clarity in the articulations at the end of the short phrases, go down on the first beat of bar 10, etc. The lower stave from bar 9
pedal only where indicated. needs careful practice with the left hand alone. Notice the descending
line in dotted minims; the long notes should be played legato and the
crotchet chords staccato.
Ramskill Weaving a Spell page 17
Robert Ramskill was born in 1950. His compositional style combines
jazz influences with classical forms giving his music popular appeal. In Dreams (from The Lord of the
This charming waltz-like piece begins with a short introduction Walsh & Shore Rings: The Fellowship of the Ring) page 22
featuring major seconds on white keys. In Dreams is a song by Howard Shore originally written for the film
The left hand from bar 9 is in two-bar phrases; the pattern of rising The Lord of the Rings: The Fellowship of the Ring. This is an arrangement
and falling fifths evoking a gently lilting or swinging mood on top of for piano by Nicolai Podgornov from his Romantic Piano Album.
which the right hand sings and dances. Gently release the second A successful performance calls for the ability to shape and project
note of the two-note slurs in the melody line, and pay attention to all a melodic line in the top of the right hand while playing chords
marks of articulation. In the passage from bar 31 pass the line back and underneath more softly; a feeling for harmonic colour and control of
forth between the hands seamlessly with no lumps or bumps. The first pedal are also important requirements.
section (to bar 37) is in the Mixolydian mode (like a major scale but with The melody line is always on the top; for clarity and projection voice the
a flattened seventh; in this case A major with a Gn). right-hand chords to the top note (stems up), playing the underneath
At the start of the second section (from bar 38) the left hand has the notes (stems down) softer. Play changes of harmony softly when they
melody line; can you identify the chords in the right hand? They are occur underneath a sustained melody note (bars 7, 12, etc), making
mostly major or minor, but we find a major seventh chord in bar 50 and sure to hold on to the melody note so it is held in the new pedal. It is
a chord with a suspension in bar 53. Notice the change of texture at bar good practice to play the melody line while shadowing all the notes
54; the melody returns to the right hand, the left features a line in the underneath (touching the keys but aiming not to sound the notes);
outer fingers and a chord on the offbeat. Play the dotted minims more this is challenging at first but if you persist you will develop your chord
fully (connecting the notes as indicated by the phrase marks), touching voicing technique (a skill transferable to many other pieces). Enjoy the
in the chord lightly. Enjoy the cross rhythms the slurred quaver groups lovely change in colour when a long melody note is harmonised firstly
bring to the coda (the right hand feels like it is playing two dotted with one chord and then another; the E in bar 13, for example, is at first
crotchet beats in the bar against the three beats in the left hand). the fifth degree of the A major chord, then becoming the third degree
of the C major chord. The pedalling plan is to make legato changes with
each new harmony. Observe the longer pedals in bars 2, 4–5, 23 and 36.
25
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
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this is not required in grade exams, it is vital in building
Initial–Grade 2 TCL 020482 ISBN 978-0-85736-925-3
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Grades 3–5 TCL 020499 ISBN 978-0-85736-926-0
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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
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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
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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
26
Contents
Contents
NEW Piano Exam Pieces Plus Exercises from 2021 | 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 from 2021

◗ 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 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
27
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

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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
28

TCL021229e Piano Additional Pieces 2021-2023 Grade 6 (Updated March 2023)

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& ˙˙ œœ œœ œ̇˙ œ̇ œœ œ œœœ

Schmitz Progression I page 14 Béra-Tagrine Mazurka page 20

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

The new Extended Edition of Trinity's graded exam

NEW Piano Exam Pieces Plus Exercises from 2021

Graded books for Piano exams in 2021–2023. Each

Piano CDs 2021 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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