ABRSM have a new piano syllabus!

It is refreshing to have some lovely new teaching

materials, and the new books are filled with great pieces for young players. Each of
the pieces requires a different skill set from your students, and I have explored the
characteristics of each piece here. There are pointers with regards to context,
techniques to focus on, how to get those extra marks, and suggestions for further
listening.

What You Will Need

When working towards Grade 1, I would recommend each student purchases the
following three books:

 An ABRSM Grade 1 piano book

 A Paul Harris sightreading book
 A Paul Harris scales book

A Look At The Pieces

Aria in F – J.C.Bach
A sweet introduction to baroque music, young students may enjoy the balanced and
memorable phrasing. The scalic patterns in the right hand fit nicely under the hand,
and may help students to learn and remember F major scale (the slightly trickier of
them all).

Context

The youngest son of J.S.Bach, Johann Christian was just a child when he wrote this
Aria. This gives it a lovely simplicity, and students could imagine this piece as an
accompaniment to their favourite game, to ensure a lightness and innocence. An
‘Aria’ is an expressive melody. It is now taken to mean a piece which is sung, but this
wasn’t always the case – many baroque arias are instrumental. It may be useful for the
student to sing through the melody anyway, or perhaps play it on another instrument
where applicable, to get a natural sense of the rise and fall of the phrasing.

Techniques to focus on

Ornamentation – This may be a student’s first experience of trills, and it is important

for them to understand why they are used, and how we interpret them. Practise trilling
and turning on different notes of the scale, and using different fingers, to get them
used to the idea. Playing them with a metronome may help to keep them steady, as
young players often interpret them as a sign to speed up!

Articulation – The articulation is very clearly laid out in this piece, with wedges used
to show staccatos and light accents, and slurs used regularly. Students may find the
idea of using different articulations in each hand challenging, and it is worth
addressing this while learning. Try playing scales, or more familiar pieces, with one
hand staccato and the other legato. When this becomes easier, try calling out when to
‘switch’ mid-piece!

Aiming higher

 Make sure phrasing is clear and balanced, but resist the temptation to add rests
between phrases. Finish with ‘feminine endings’, so we do not hear accents on
the last note of phrases
 Observe the dynamic markings carefully, and ensure an energetic and bold
ending

Further listening

 J.C.Bach – ‘Cara, la dolce fiamma’ from Adriano in Siria

 J.C.Bach – ‘Seufzer, Tranen, Hummer, Not’, 3rd Movement from Concerto in
E-flat for Oboe, Strings and Harpsichord
 C.P.E.Bach – ‘I. Andantino’ from Keyboard Sonata in F Major

Canaries – Anon.
A lightly dancing piece, with an excellent chance for students to become accustomed
to 6/8 time. They will enjoy the buoyancy of this piece, as well as the catchy melody,
which is repeated and echoed several times throughout.

Context

Although the composer of Canaries is unknown, it appeared in a French and Scottish

lutebook in 1627. Lute music tends to be arpeggiac and free-voiced, as no voice could
be articulated any louder than another, and notes did not sustain above others. This
needs to be carefully considered when playing a piano transcription, in order to keep
the music light, and without too much voice-leading. The canary originated from the
Canary Islands. It is a small yellow-green bird, with a fair twittering sound – this can
help young students to achieve the lightness required.

Techniques to focus on

6/8 – Counting 6 quavers to a bar may be the simplest way to begin counting this
piece, but it should quickly be felt a 2-in-a-bar, to prevent it from sounding laboured.
Try playing through some familiar nursery rhymes, to get used to the lilting quality of
6/8 time. Good examples include: Girls and boys come out to play, Pop goes the
weasel, Humpty Dumpty. You could even try making up your own words to
accompany Canaries if it helps to secure the rhythm in the student’s mind.

Mordants – These 2 little mordants are quite tricky, as they need to be played without
any disturbance to the melody. Return to your nursery rhymes, and try adding
mordants in at appropriate places. The key here is for students not to overthink them,
but to hear them as part of the melody. I would suggest learning them immediately,
rather than adding them in after the tune has been secured.
Aiming higher

 The dynamics are very specific, and change quite frequently – make sure there
is a real distinction between them all, and that each dynamic marking is
sustained until the next one
 Be careful not to unnecessarily accent the staccato right hand notes – keep
them light and nimble

Further listening

 John Dowland – Lady Hunsdon’s Puffe

 William Byrd – La Volta

La donna è mobile – Verdi

This well-known piece is sure to be popular! Even those students not familiar with the
opera Rigoletto, will be sure to have heard this in many other contexts. It is
deceivingly difficult however, with lots of changing hand positions, and a real
independence required in both hands.

Context

Sung at the start of the 3rd Act of Rigoletto, the Duke performs this in Sparafucile’s
inn. Following Gilda’s declaration that she loves him so much she would die for him,
the Duke (having already betrayed her) sings of how fickle women can be. His
melody has a sense of comedy about it, but its consequence is actually quite tragic.

Woman is flighty

Like a feather in the wind,

She changes her voice and her mind.

Always sweet,

Pretty face,

In tears or in laughter, she is always lying.

Always miserable

Is he who trusts her,

He who confides in her his unwary heart!

Yet one never feels

Fully happy
Who on that bosom does not drink love!

Techniques to focus on

Dotted rhythms – it is very common for students to turn dotted quavers into triplet
quavers. Try dividing the beat into a very quick 4, so that they hold the dotted quaver
for 3, and the semiquaver for 1. Apply this rhythm to scales and, for more advanced
students, even practise reversing the rhythm. They will also need to be practised
alongside the triplets in this piece, to ensure that the triplet quavers remain even!

Slurs – the opening 8 bars as a very characteristic articulation in the left hand – a slur
followed by 2 staccato notes. It can be difficult to manage the slur, especially while
the right hand is playing staccato. Practise a drop-roll action, when the hand drops to
the piano before lifting off again. This can be practised over a variety of different
intervals, not just limited to the ones written, while the right hand lightly repeats its
notes over the top.

Aiming higher

 Ensure that the rests on the last line are carefully observed – don’t cut these
short
 Make the most of the rallentando in b.13-14 – this is an opportunity to really
portray the operatic nature of the piece

Further listening

 Verdi – ‘La donna è mobile’ from Rigoletto (full operatic score)

 Verdi – ‘Libiamo ne’ lieti calici’ from La Traviata
 Verdi – ‘Bella figlia dell’amore’ from Rigoletto

Bouncing Billy – Joan Last

An energetic and fun piece, which might appeal to students that still struggle with lots
of hands-together playing. There are lots of opportunity for expression within this,
and can definitely spark some discussion about who Billy is, and where he is
bouncing to!

Context

Joan Last was a 20th-century English composer, who taught piano at the Royal
Academy of Music. As such, much of her music has an intrinsic educational value. It
may be worth exploring other pieces from Take Your Pick to get used to her style, and
practise more of the techniques she employs here.

Techniques to focus on

Melody shifting between hands – Students at this level may have played lots of pieces
where a melody is in one hand, but may not have come across much music where it is
shared! The transitions between hands should always be seamless, with no aural
indication that it has shifted. Practise highlighting and playing just the melody,
without any accompanying notes, wherever it moves to.

Right hand in bass clef – The right hand plays in bass clef for the last 8 bars. This is a
relatively straightforward concept, but one that students may not have seen before.
Practise playing the bass part of other pieces they are familiar with, using the right
hand to do so. Also, spend lots of time working on the jump between the treble and
bass clef at b.25-26. On the stave, the pitch appears to go up, but actually goes down –
something that may be confusing at first.

Aiming higher

 Observe all expression marks really carefully, from dynamics to tempo

markings – and be sure not to slow down at the end!
 This should ideally have a feeling of 1-in-a-bar, so work on speeding this up
and not getting too weighed down with feeling 3 to each bar.

Further listening

 Joan Last – Sailing by Moonlight

 Joan Last – Champion of Champions
 Joan Last – March and Run

Gypsy Song – Bryan Kelly

This sad folk song is full of emotion, and will teach students a lot about interpretation.
The phrasing will require lots of attention, to create a cantabile sound, as will the
balance of the two hands.

Context

Another piece by a contemporary composer, Gypsy Song has a folklike simplicity to

it. It conjures images of a sad conversation between two people, which gradually
overlap more and more, and borrow sentiments from each other. It is taken from a
collection of 13 pieces, A Baker’s Dozen, all with enticing titles, to capture the
imagination of young players.

Techniques to focus on

Independent part playing – Each hand needs to project its melody clearly, with each
hand occasionally playing at different dynamic levels. It may be useful to do lots of
practise with the student playing/singing one voice, while the teacher plays/sings the
other. Try playing one hand staccato and the other legato, before swapping over.
Finally, try playing one hand forte and the other piano. This is a very difficult skill for
young players to master, but the sheer effort of it will help to achieve the desired
effect in this piece.

Phrasing – This piece features lots of detailed phrasing marks, which will require
some careful attention. In addition, each hand is phrased independently of the other in
the latter part of the piece. Exaggerate this phrasing in practise, with deliberate lifts
and breaks between them. If possible, singing or playing each phrase through on a
wind instrument will help to gain a stronger understanding of the sighing/breathing
nature of these short figures.

Aiming higher

 Be sure to set a really careful pulse at the start of the piece – don’t be tempted
to rush the opening quavers. Hear the semiquaver figures before you start, and
begin steadily to match it
 The tenuto marks in bb. 9-12 can be played very effectively by imagining a
slight increase in weight, rather than forcing accents. They should not be harsh
in sound.

Further listening

 Bizet – ‘The Gypsy Song’ from Carmen

 Vittorio Monti – Czardos
 Bortkiewicz – ‘Russian Peasant Girl’ from Marionettes