LOCAL CENTRE ELEMENTARY TO GRADE V 2017 PIANO ALBUM TEACHING NOTES We are excited about the new piano albums for 2017; the pieces have been carefully selected to include different styles, tempi, keys, moods, and characters, as well as encompassing material that will help to develop a variety of technical areas. As usual, I am offering herewith some general guidelines on how to approach each of the pieces. For a more in-depth analysis on the teaching of these pieces, and demonstration on how to overcome any technical challenges that may occur along the way, teachers may wish to benefit from the expertise of either Réamonn Keary, Anthony Byrne, or John O Conor in their teaching workshops. The 2017 piano books include a number of new works as well as some older material that has been tried and tested many times over the years, thus proving to be an invaluable part of every students musical diet. I believe that it is very important for teachers to explain details such as key signatures and time signatures from an early stage. Though the student may not be expected to answer questions about these details in the exam at the early grades, it will help their future understanding of these details if they are introduced from early on. A full list of the theory requirements for each grade is available at the beginning of each piano album; the 2015 2018 syllabus also lists the theory requirements for every grade. Try also to encourage the student to bring out the character of each piece; this will help them to understand the sentiment behind the music and will undoubtedly enrich their portrayal of the character and piece. Help is always at hand, so please do not hesitate to contact one of our three senior examiners if you have any doubts; we will do our best to assist you (RIAM: 01 6325300). I hope that you enjoy the selection of pieces, and I wish you well with your teaching. Lorna Horan Senior Examiner ELEMENTARY
Big Red Kangaroo Wendy Penny The contrast between staccato and legato is an important feature in the learning of this piece. The character is cheerful and the tempo should flow as the line moves from the right hand on line one to the left hand on line two. The two hands join together for the final line, but the right hand takes the melody while the left hand adopts a softer touch. The staccato notes can have bounce; the dotted minims should be held for 3 full beats each, and the suggested dynamics will help to bring this to life. The Skaters Pauline Hall A legato line is important to convey the character of skaters gliding across the ice. The right hand takes the melody for the opening eight bars; the left hand enters at bar 9, though the right hand continues to sing out the melody. A steady three beats in a bar is necessary to the overall momentum; the dynamic markings in brackets are suggested to encourage shaping of phrases and dynamic colour. Hide and Seek Trish Quinn This piece should be full of humour and fun encourage the student to sing the words and use them to capture the mischievous mood. The left hand is very soft throughout; almost a whisper. The dynamics for the right hand will help to add contrast and colour to the overall effect. A flowing feel of 4 beats in each bar will give this a very good overall shape. Toy Soldiers Tamara Niekludow This lively march should have a strict sense of four beats in each bar. The staccato crotchets will add energy to the character, while the quaver passages should be legato and even. The quaver passages can also be played with a lighter touch, otherwise they would have a tendency to sound laboured. The dynamics will add further character. Oranges and Lemons Pauline Hall This is a well-known melody; it needs a sprightly tempo and lively character but also needs great care to balance the two hands. The repeated quavers in bar 1 of the right-hand melody need care to ensure that both notes sound; the first note will be stronger as it falls on the first beat of the bar, but must be fully released before playing the note a second time (lighter on the second quaver!). The left-hand chords in bars 1 4 can be lightly played; from the final beat of bar 4 the left hand takes over the melody line, and the right hand becomes the accompaniment. The dynamic markings in brackets will help to shape the phrases. Up Early Joan Last There is interplay between the right and left hands in this jolly piece. The right hand opens with a confident melody line, which the left hand answers at bar 3. In bars 5 and 6, and again in bars 9 and 10, the melody runs from the left hand into the right hand; it is important to achieve a legato line and try to ensure an even touch in these bars, as one hand merges with the other. Dynamics will add further character, and the rit. at bar 12 will bring this to a suitable close. PRELIMINARY
Snow White is Curious Leslie Fly The contrast between legato and staccato plays an important role in this charming piece. Try to avoid ending the legato phrases abruptly; aim to end each phrase gently. Try to avoid a heavy-handed approach to the staccato passages as this may spoil the elegant character. A small rit. in the final two bars would bring this to a tasteful close. Carefree Jack Daniel Gottlieb Türk The right hand takes the melody in this frisky little piece; the staccato notes can be light and crisp which will contrast well with the legato phrases. Dynamics are indicated to show the overall shape of the melody; the left hand accompaniment should lightly support the right hand melody. Swinging Along Joan Last Legato phrasing is essential to both hands in this piece. The left hand plays a dual role here; at times it plays the melody line (e.g. bars 3 and 4, 11 and 12), but at other times it is used more as an accompaniment figure and needs to balance more carefully with the right-hand melody. This can be taken at a jaunty pace and should be light-hearted in character. The final rit. happens four bars before the end; be careful not to get too slow too soon or it will arrive at a very cumbersome end. Night Prowler John McLachlan Key: Though it is not indicated in the key signature, the tonality of D minor is suggested The title of this piece suggests a creepy character, and the suggested minor tonality adds to the menacing effect. The left-hand articulation needs to be carefully observed; in particular the slurred notes, where the first note is joined to the second note, the second note is then lightly released. The crescendo/diminuendo markings and accent marks will add further interest. Love Song George Coulter The left hand takes the melody line in this sentimental piece, and should be singing throughout. By contrast, the right-hand chords must be very gentle, taking care to lift for each of the crotchet rests in between. Though the tempo indication is Slow, the piece still needs a continuous flow so try not to take this too literally. Clockwork Toys Joan Last Key: F Major As the title indicates, the counting must be clockwork-steady to give this piece the rhythmic exactness it requires. Interplay between the left and right hands plays an important role throughout, and care is needed to balance the hands. Sharp staccato notes and punctuated accents will add to the character. The rests in bars 12 14 need to be carefully counted. PRIMARY
The Irish Grasshopper Madeline Dring This is a lively piece with a vibrant, dance-like character; the 6/8 time signature indicates 2 dotted crotchet beats per bar so it needs a flowing pace, though not too fast or the quavers will become muddled. The right hand melody should sing out, while the left hand adopts a quieter tone. Add colour and shape to create musical interest. Summer Swing Arr. Pauline Hall Key: B flat Major A flowing 3 in a bar underlying a legato line will contribute to the tranquil character suggested by the composer. This is not overly excitable; imagine a lazy summer afternoon playing on a swing. The melody is in the right hand; aim to follow the contours of the line and shape the phrases accordingly. The poco rit. (poco: a little) and a touch of pedal in the final bars will bring this to a cheerful end. Forever Searching Alannah Finane Key: A Minor The right hand takes the melody in this piece, and a legato touch is predominantly used, with the exception of bar 7 where both hands play staccato. The composer has included many dynamic contrasts, so this piece should be rich with tonal colouring. Remember to observe the rit. signs (bars 8 and 12), and the pause mark in the final bar; the piece should not end abruptly. Con espressione: with expression. Play Song Béla Bartók Note that the left hand begins in the treble clef in this piece, and does not move to the bass clef until bar 12. The piece should have a graceful character and flow, with a slight rallentando in the final bars (poco: a little). The phrasing and dynamics are carefully planned by the composer and should therefore be closely observed. The right hand melody should sing, even when playing p. Hornpipe Arr. Pauline Hall Key: D Minor Traditionally, a hornpipe is a sailors dance, so this will be less elegant in character than a minuet; it should be played with energy and spirit. The staccato notes can be light and crisp which will add to the character; aim also for a confident tone and a sense of drive. A steady tempo is important nonetheless; watch out for the left hand taking over the melody in bar 12 as the right hand chords will need to be quieter at this point. Ducks in the Pond Joan Last Key: A Minor This is a fun piece; the quaver passages are divided between the left and right hands and need to be both legato and even in touch. By way of contrast the staccato crotchets should have vitality and bounce. The tempo does not need to be too fast, but the piece is playful in character. The student should aim to achieve contrast between the p and f dynamics marked throughout. The addition of pedal, as indicated will enhance the colour greatly; always keep the heel on the floor when pedalling. GRADE I
German Dance Ludwig van Beethoven This is a graceful dance; a light, detached left-hand accompaniment underlies the right-hand melody, which gradually builds to a vibrant end. Be careful with the quaver passages that they do not become heavy and laboured; keep the finger work light and even for these travelling notes. Dynamics are indicated to add colour; the overall tempo should flow, not rush, and a slight ritardando in the final bars will bring this to a tasteful conclusion. Ambling Christopher Norton Key: F Major This jazzy piece needs a steady pace to ensure rhythmic accuracy. The tempo should not rush; a relaxed, happy character is the composer s intention. The articulation should be closely observed to add interest, and the staccato notes can have energy and bounce. Dynamics will add further dimension to the overall effect, with a singing right-hand melody. Minuet Henry Purcell Key: A Minor This is a stately dance; the character in this is more reserved in temperament than the German Dance (Beethoven), though a steady pulse and flowing pace are essential to the character of both dances. Here too, the left hand has an accompanying role; articulation is suggested for both right and left hands to add to the overall style. Occasional dynamics are also indicated to suggest colour and shape. Sonatina Antonio Diabelli This sonatina lies quite comfortably for the hands. The suggested articulation will suit the style well, and fitting dynamics are also included. The character is lively, though the pace should be steady. Aim to avoid heavy left-hand chords, and particular care should be taken to ensure light and even quavers in bars 17 to 21 (known as alberti bass ) so as not to overpower the righthand melodic line. The crescendo beginning at bar 21 will bring the piece to a triumphant finish. Boogie No 1 Gerald Martin Note the time signature in this piece: simple-duple (in this case, also called cut-common time ) indicates that there are 2 minim beats per bar; with this in mind the pace should be lively, with well punctuated rhythm to capture the boogie character. There is a tendency for the left hand to become overpowering in this piece, so try always to listen closely to the balance between the hands. Rattlesnake Rag Pauline Hall This lively piece needs energy and spirit. A steady tempo is needed; the quaver passages will add a sense of drive to the character, and the accented notes will add further definition. While mf, f and ff dynamics are indicated, it would be advisable to adopt a lighter touch for the quaver passages as these can become rather heavy and laboured. GRADE II
Romanze (Anh. 5) Ludwig van Beethoven This piece is charming and elegant, it should have a flowing 2 beats in each bar; this will help the performer to add natural shape to the phrases. The articulation detail needs to be carefully observed as it will help to create a stylistic performance. Dynamic detail is suggested to add expressive interest. The left-hand accompaniment should not overpower. Chant Christopher Norton A confident and flamboyant character will suit this piece; it needs a lively pace and strong rhythmic sense. The right hand moves between treble and bass clefs, and both hands cover a wide range of notes across the instrument so it will take careful planning to negotiate the various hand positions. A steady pulse is necessary; the staccato notes should be vibrant and this must end with conviction! Sad Memory Daniel Steibelt Key: A Minor This piece has the character of a sad lament; it should be played expressively, though not too slowly, as Andante (at a walking pace) suggests a sense of forward motion and flow. The right hand opens with the melody but the left hand briefly takes over from bars 17 20, so it is important to be aware of the balance between melody and accompaniment throughout. Suggestions of colour and shape are indicated; even as the piece comes to a close the mood is mournful, so a small rit. will bring this to a suitable close. Lesson in C Op 125 Antonio Diabelli This is exuberant, but elegant in character. The articulation detail is important and should be carefully studied as it will help to create a stylistically appropriate performance. The accents will help to add shape to the phrases, but these should not be forced or harsh. Much of the left hand is written in the treble clef, with the exception of bars 17 24. Dynamic contrasts and shaping of phrases will help to bring this to life. Minuet in G BWV Anh. 116 J S Bach This elegant dance requires a steady and flowing pace, as well as a steady pulse throughout. The quaver passages should be played with light and even finger work, and the suggested articulation markings will help to create an appropriate stylistic effect. Dynamics are suggested to help the student achieve an overall shape, and achieve some variety of tonal colour, though this is open to interpretation. Hopping Dmitri Kabalevsky This is an extremely lively piece and should be played with lots of energy. The left hand plays in the treble clef throughout and the articulation markings should be carefully followed; watch also that the chords in bars 9 to 16 are light and crisp. The right hand takes the melody; the semiquaver passages should be light and sparkling and the composer has indicated exactly how the notes should be articulated. Dynamics will add further musical interest and character. GRADE III
Musette in D J S Bach (1650 1759) Key: D Major A musette is a dance-like piece; a typical feature would be a drone bass which is said to suggest bagpipe music, as seen throughout this piece with the left-hand broken octaves. It has a lively character, with articulation and dynamic suggestions to bring out the energy and colour required. Be mindful that the left-hand octaves do not become overpowering. Remember also to observe the Da Capo indication and return to the opening to repeat as far as Fine. Miniature Railway Anthony Hedges (1931) Key: A Minor Articulation markings are quite specific in this piece, therefore attention to detail is central to the character. Vivace (in a lively, brisk manner) suggests a flowing pace, but a steady pulse throughout is important. Listen carefully to the balance between the two hands, and add dynamic contrast for further embellishment. A Little Song Aram Khachaturian (1903 1978) Key: C Minor Legato pedalling is an important feature of this piece, to sustain the melody line. As indicated in bar 2, a cantabile touch (in a singing style) is also very important to the character of this beautiful melody. It should be very expressive in character; dynamics are indicated to help add necessary colour and dimension. The accompaniment should be very gentle. Rondo (Sonatina in F, Anh. 5) Ludwig van Beethoven (1770 1827) Key: F Major This is the final movement of Beethoven s Sonatina in F; it has a spirited character and a lively allegro tempo is indicated. The articulation suggestions will help to add energy to this; the left hand should not overpower the right-hand melody, and light finger work should be employed for the semiquaver passages. The middle section should contrast as the line becomes more legato and cantabile, and the right hand should sing expressively. Dynamic indications are suggested and will help to add shape and musical interest. Razzle Dazzle Ailbhe McDonagh (1982) The rhythmic indication is important to the character and must be observed throughout. A flowing pace and singing melody line are needed in this. Take care that the left-hand chords (on the second beat of each bar) do not sound too loudly they should not intrude on the righthand melody. Phrasing and dynamics are clearly illustrated and will enhance the vibrant character of this piece. Flamenco William Gillock (1917 1993) Key: C Minor A flamenco is a type of Spanish dance and rhythmic punctuation is essential to the character. The dynamic markings vary from p to ff, so the performer should demonstrate a wide range of tonal colour. The middle section should contrast in character: poco meno mosso (a little less movement) indicates that the tempo can relax a little, and a cantabile tone is indicated to sing the melody expressively before moving back to the original tempo and character at bar 40. From bar 47 to the end a crescendo and accelerando is indicated; try to make these gradual as there are a further 15 bars to the end and this can easily get out of control. Grade IV
Aria (Partita in G) Georg Philipp Telemann (1681 1767) ; Relative: E Minor Articulation is an important feature of all Baroque music, and the suggestions indicated in this piece will help to achieve a stylistic approach as well as an elegant character. The tempo is not overly fast; a suitable metronome mark is indicated. Occasional dynamics are also indicated which will add shape and colour. Andante in A Henri Bertini (1798 1876) Key: A Major; Relative: F sharp Minor This is a charming piece; simple but elegant in character. The left-hand alberti accompaniment should be played legato and requires a light touch so as not to overpower the singing righthand melody. Andante (at a walking pace) indicates a feeling of movement, so try to achieve a sense of flow. The melody requires colour and expression to create a musically interesting character. The middle section (bar 17) moves into the key of A minor and at this point the righthand melody changes to passages of quaver movement which require a lighter touch but can be shaped according to the contours of the phrases. The opening subject (return to A Major) is reintroduced at bar 37. A Brief Tango Christopher Norton (1953) Key: D minor; Relative: F Major As the title suggests, this is a dance. Known for its dramatic character and rhythmic punctuation the character of the tango is important to remember when performing this piece. A left-hand dotted rhythm underpins the opening melodic idea in the right hand and a steady pulse is essential to the character. The rhythmic values will need careful study and the dynamics will add to the overall effect. The D.S. al Coda must be observed; at the end of bar 17 the player should return to bar 2 and play up to the end of bar 7, and finally move to the final bar, marked coda. Morning Prayer Pyotr Ilich Tchaikovsky (1840 1893) ; Relative: E Minor A serene and gentle character will be appropriate to this reflective piece. The tempo is steady and not too fast; from bars 16 21 the left-hand accompaniment repeats the note G very softly so it is a good idea to let the tempo of these bars dictate the overall tempo of the piece. Legato phrasing is important, and the upper notes of each right-hand chord should be more pronounced to ensure that the melody line sings through. Dynamics are indicated, and will add shape and overall effect. Anastasia Ailbhe McDonagh (1982) Key: F sharp Minor; Relative: A Major Aim to feel a sense of one-in-a-bar to achieve an appropriate flow to this piece; the suggested metronome mark is desirable, though it can be taken at a slightly more careful tempo. Legato phrasing is central to the character, and the legato pedalling indicated will help to sustain each phrase. The right hand takes the melody and each 4-bar phrase is clearly indicated; the suggested dynamics will help the performer to shape each phrase accordingly. A slight ritardando from bar 24 to the end would bring this to a tasteful conclusion. Novelette Dmitri Kabalevsky (1904 1987) Key: D Minor; Relative: F Major
The tempo is not particularly fast, but there should be a feeling of two-in-a-bar to adhere to the compound duple time signature. Pedal is essential to the character of this piece, and it would be impossible to achieve a legato line without the sustaining pedal. Cantabile tone is very important, and dynamic markings range from ppp to ff so a wide range of colour should be explored to enhance the expressive character. GRADE V Arietta Op 12 Edvard Grieg (1843 1907) Key: E flat Major; Relative: C Minor This beautiful piece is an excellent learning tool for developing Cantabile touch in the right hand 4 th and 5 th fingers. There are a number of layers within the texture of this piece; the long sustained notes in the bass, the continuous semiquaver movement which passes between left/right hands throughout, and the melodic line which lies above. To knit all of this together, the piece must be pedalled. The semiquavers need to be carefully controlled to ensure that right and left hands are balanced, and that they do not interrupt or overpower the overriding melody. The piece needs to have a gentle flow, with phrasing and colour to complement the character. Bagatelle Op 119 No 1 Ludwig van Beethoven (1770 1827) Key: G Minor; Relative: B flat Major Elegance and poise are central to the character of this piece; with this in mind the staccato notes can be gently detached. The middle section, which moves to the key of E flat Major is more legato and lyrical in character; the pedal marks suggested in this area will add colour to the texture and will also help to sustain a legato line. The opening theme returns at bar 37 though the material is developed this time, and both melody and accompaniment fall into a quaver movement; take care at this point that the pulse remains the same and that the finger work does not become laboured. Observe the right-hand slurs in bars 45 51. Notice also the tenuto markings from bars 53 56 (right hand) and bars 59 63 (left hand); these notes require a slight definition as this builds to a climax at bar 63. As the ending dies away be sure to hold onto the final chord for a suitable length of time so as not to break the mood too soon. Little Prelude in C Minor J S Bach (1685 1750) Key: C Minor; Relative: E flat Major A flowing pace is important to keep the quavers moving in this prelude. The style is elegant; the right-hand quavers can be legato, while the left-hand crotchets can be soft and detached. The suggested shaping and tonal colouring will help to add musical interest and give direction to the phrases Romanian Dance No 1 Béla Bartók (1881 1945) Key: A minor; Relative: C Major True to character, Bartók has been very detailed with his markings; tempo indications, articulation, dynamics and pedal have been indicated throughout, and will help to shape this piece. Remember also that it is a dance and it is important to convey that character in performance. Mister Trumpet Man William Gillock (1917 1993) ; Relative A Minor
A confident style and strong rhythmic sense are important to the character of this piece; try to picture a brass band playing the chords, while a solo trumpet sings out the melody line with exuberance and panache. The triplet and dotted rhythms need to be clearly defined, and the accents will add further sharpness to the overall effect. Dynamics are suggested to add contrast, but mind that the f and ff passages do not become harsh and aggressive. To be played with swagger! Sonatina Op 36 No 3, 1 st Movt Muzio Clementi (1752 1832) ; Relative: A Minor A jubilant sense of character and lively pace will help to bring this sonatina movement to life. The semiquaver passages need to be very tidy in delivery; these passages will need isolated practise to develop an even sound and touch; as the tempo increases the fingers can lighten. The articulation suggested is well suited to the style, and dynamics will also enhance the performance. The left hand should never become too heavy or intrusive; it remains a continuous but understated support to the right-hand melody throughout. The staccato notes indicated can be light and crisp throughout, to contrast with the lyrical legato lines.