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  • ABRSM 2017-18 Piano Pieces Gr8

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    ABRSM 2017-18 Piano Pieces Gr8

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    ABRSM 2017-18 Piano Pieces Gr8

    Direitos autorais:

    © All Rights Reserved
    Baixe no formato PDF ou leia online no Scribd
    Sinalizar o conteúdo como inadequado
    9K visualizações60 páginas

    ABRSM 2017-18 Piano Pieces Gr8

    Enviado por

    adralph
    ABRSM 2017-18 Piano Pieces Gr8

    Direitos autorais:

    © All Rights Reserved
    Baixe no formato PDF ou leia online no Scribd
    Sinalizar o conteúdo como inadequado
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    Piano Exam Pieces 2017 «2018 TN Piano Exam Pieces ABRSM Grade 8 Selected from the 2017 & 2018 syllabus Oise 1 (site) fe Piano Exam Pieces ABRSM Grade 8 Selected from the 2017 & 2018 syllabus Date of exam Contents Eeltor for ABRSM: Richard Jones Lista 1 Johann Sebastian Bach Gigue: seventh movement from French Suite No.SinG,BWV8I16 2 2 George Frideric Handel Fugue in B flat, HWV 607: No.3 from Six Fugues or Voluntarys 6 3. Rodion Konstantinovich Shehedrin Prelude and Fugue in A minor: No.2 from. 24 Preludes and Fugues 10 uste 1 Ludwig van Beethoven Rondo: third movement from Sonata in E, Op. No.1 16 2 Wolfgang Amadeus Mozart Allegto: first movement from Sonata in C, K.279 2 3 Joseph Haydn Presto: first movement from Sonata in E minor, Hob. XVI:34 30 ust 1 Miguel Astor Adriana: No.1 from Valses enezolanos 36 2. Johannes Brahms Intermezzo in A minor: No.7 from Claviestlcke, Op.76 a 3 Peixun Chen Selling Sundry Goods: No.1 from Four Piano Pieces based on Cantonese Melodies, Op.5 4 4 Aaron Copland Jazzy: No.’ from Three Moods 8 5 Claude Debussy Doctor Grads ad Pamasstim: No.1 from Children’s Corner 31 6 Lars-BrikcLarsson Allegvo: frst movement from Sonatina No. 3, Op. 41 56 Other pieces for Grade 8 usta 4 Hach Prelude and Fugue in D minor, BWV 875: No.6 fom .S. Bach, The Well-Tomperad Clavier, Part2 (ABRSM) 5 Hindemith Inecudivi and Fuga deci in D at: P. 5 rom LudusToualis(Schow or P44 from Ludus Tonalis, (lanes Urex) 16 Lekew Fughets form Sonata fr iano, Fron Romantie Rperiir Level 2 Faber) 7 Reicha Fugue No. I: rom 36 Fugues, Op. 38 Barenreter) {8 D,Searlath Sonata in E, Kp. 162 (1.21). Seudat, 3 Sonaras for KeyDoand (renee) oF No, 31 from The Scholars ‘Searle 3 (Nowell) ust G.PLE. Hach Allegro: 3d movt fom Sonata in 4, Wa, 55/4. No.5 from C.P-F. Bach, Pio Works Vo. (Universal Beethoven Allegro: Ist mow from Sonata in F minor Op.2No. 1. Sonata published individually (ABRSM or Basthoven, ‘he 35 Plano Sonatas Nol. | (ABRSM) or Encore, Book 4(ABRSM) Cramer Largo sssi-illegeoaptto: st movt fom Sonata in C, Op. 22 No.2 (Edition HH) Morar Allegro in B fa K,400,No3 fam Mozart, Mature Plano Pec (ABRSW) “Zine Allgeo con bro: st move from Zink, Sonata No.8 in G minor (Elion HAD) sre Terkeley Prelude No.5: rom Six Preludes fr Plano, Op.28 (Chester ‘Chopin Mazurka in iat, Op.59 No.2. No.37 rom Chop, Mazurkas (Henle) ox No. 37 om Chopin, Mazurkas{ABRSM) Gersiin Liza. Mest George Gershwin a he Keyboard Faber 10 Medtner lille: No.1 from Three Arabasques,Op.7 (Simrock) Mendelssohn Song without Words, Op. 67 No.4, No. 4 rom Mendelssohn, Songs withou Words (ABRSM) 12 Paderewskd Nocturne, Op. 16 No.4 (Wills) or The Most Benuiful Paderause (PWR 13 Poulene Improvisation No.7, Poulenc, 15 Improvisations Salaberd) 4 Rachmaninov Daisies. Rachmaninos Piano Campasitins VoL2 (Boosey & Hawkes) 15 Ravel Mesuet-No.5 rom Le tombenu de Couperin Peters or Durand) 1G Edwin Roxburgh Moonscape. Spectrum (ABRSM) a plod 2016 by ANISH ising) ante potacopyng tegn ase onan by hla ones wiuByavme sain a ABRSM,2¢Fenand acs, Aleve Nop hs publemton Corby kate Deming Any Poe ‘pon 10, Unies nn mmaycropofaced nerd orvnemita’” Pend Enland by isan Co Ld Asean, (able ty eAstocatel Bod of tetova Sook ofBlse Inanyformerbyanymeenrvahou the ‘dies on mates om susie soutes ‘Dituaed workdwide by Oxford Ulver Pras fg hfe tly Ci Gigue east Seventh movement from French Suite No. in G, BWV 816 3! young wife Anna Magdalena. They form the opening tems in her {Claverbiclin (Lite Keyboard Book) of 1722, though from which this Gigue is selected, was not completed till 1724 ater the family’s move from Cothen to Leipaig From that year onwards Bach made much use ofthe six sults for teaching purposes. ‘As often in Bach, the Gigue is designed asa three-part fugue in typical gique thm, built nto an overall binary dance form. The expesition (bb. 1-8) presents theee entries of the playful, vivacious subject (treble, middle, bass), combined with two countersubjecis (Bb. 7-8, RH). The remainder of the first half consists of motivic episodes interspersed with two subject ents in tae dominant key D (bb, 14 and 20), The second hatfisbuiltona fee inversion ofthe subject, which now enters in Oe opposite order (bass, middle, treble; bb. 25-88), combined with anew, highly characterful countersubject(b. 28, bass). bref episode leads to a second rising series of envi, modulating downwards through the cxele of sths: e~a-D~G bb. 38, 4,46, 49). The movement concludes with alow toni bass entry (b-52) plus a brief coda, Sources: autograph MS and pupils’ copies, Staatsbibliothek zu Beri, PreuBischer Kulturbesitz, Musms-Bach P224,P420 and P1221; Washington, [ibrar of Congress, ML96.B187 (© 19852 the ssoratd Bord ofthe Roy Seools of Mule Reproduced fam).S, Bac: Fence Sule BWV 812-17, died by Richard ones ABRSM) AB 3820 AB3e20 AB3020 aBaa20 Fugue in B flat eae HWV 607 No. 3 from Six Fugues or Voluntarys 6. F.Handet, (1885-17581 “Tis is Handel's keyboard ransciption ofan orchestal fugue from the Sinfonia to his Brockes Passion of 1715. The keyboard version probably dates from 1717/18, when Handel lived in London, under the patronage of the Duke of Chandos. n 1785 was published alongside other fugues from the Cannons years under the ttle Six Fugues or oluntarys forthe Organ or Harpscora ti “This piece is « double fugue in which the main subject is combined with a second subject of almost equal importance. Szeto treatment {overlapping entries) ofS (first subject and imitotive/sequential eatment of $I! (second subject) form the main substance ofthe fugue, and ‘thoy are already anticipated in the opening exposition (bb. 3-4 and §-10 respectively Ths exposition (bb, 1-17) contains hreeentries ofS in the ‘order treble, middle, bass ~each combined with St -plusan additonal entry inthe mile part (, 14. The modulatory middle section contains {our expositions in various keys, each opening witha setto on SI (bb. 25, 35, 46 and 53). The linking episodes are based largely on SI nal

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