Видео

Already learning this thanks for the help

gg :)

Very good piece! And playing!

thank you so much! this really helped me visualize how the music was played. btw i chose this along with A:1 - Allegro, B:2 - Wind in the Willows, and C:2 - Scherzo :D

Wow wow wow wow

Wow can’t believe I’m first

I am on the grade 8 and this piece looks like a walk in the park.

Yeah I think is is next year I did grade 2 last year

Any chance you have tab for piano? I can't read sheet music at the moment lol

That was great to hear man thanks. Beautifully dreadful

Is this for next year?

Oh yh

TECHNICAL CONSIDERATIONS ABRSM’s recommended tempo for this piece is 120 bpm, as played in this video. Good contrast is needed between the opening right-hand legato phrases and left-hand staccato notes and accurate phrasing is essential, so be sure to use the slurs (curved lines) in the right-hand part as guidance. The Meno mosso, misterioso at bar 17 can be played less quickly - think of it as a rubato section intended to create a mysterious feel. I could have exploited this a little more.. hopefully you will! Tempo 1 is resumed at bar 25 to the end.

Plz upload grade 6 songs

TECHNICAL CONSIDERATIONS ABRSM’s recommended tempo for this piece is 116 bpm, as played in this video. A steady swing style is required in order to create a much-needed laid-back feel. The marking Rolling lazily, at the beginning, followed by the tempo 116 mark and small bracketed paired quavers = triplet crotchet / quaver indicates this. A generally legato (smooth) touch is required throughout in order to create the care-free slinky style needed, particularly in the left-hand accompanying part. Good control of crescendo and diminuendo (which occur frequently) is vital, as is observance of the occasional staccato markings and accents. The dreamier section at bar 17 can be played more rubato (loosely) until the return of the original motif in bar 25 onwards.

TECHNICAL CONSIDERATIONS ABRSM’s recommended tempo for this piece is 116 bpm, as played in this video. A good swing style is required in order to capture the Jazzy feel of this delightful composition. The marking Jazzy moderato, at the beginning, followed by the tempo 116 mark and small bracketed paired quavers = triplet crotchet / quaver indicates this. A legato (smooth) touch is required in most of the right-hand parts, but be sure to come off suddenly on the last quaver notes of the phrases marks / slurs, in order to create lightness, with a touch of ghostly sneakiness! The left-hand part by contrast is played staccato (short) most of the time - just watch for the occasional smoother moments, such as in bars 8, 10, 24, and the final bar, 28. Perfecting the ability to play a nice crescendo will be useful, as it’s a frequent feature of the dynamics of this piece and watch out for the accented notes, such as in bars 11, 14, 16, 18, 19, 27 and 28. Bar 11 also has only staccato notes in that entire bar so be careful not to slur any of those right-hand notes by mistake - its easily done! One mistake I made was playing a slightly rolled chord on the final chord - this is not required! (even though it sounds quite good!)

My exam piece too

when i play the d e f g a b flat c b flat fast like 144 i wads told to do it my fingers slips on wrong notes

5 years ago I remember listening to you playing this. Now I listen to it again and I am impressed by your performance again 🤍Thank you for all the effort you put into this piece ✨🫶🏻

dang not even july yet but 2025/26 pieces are already out

My favorite composer

😮😮😮😮😮😮

So excited to hear the rest of the grades!

-nice

*TECHNICAL CONSIDERATIONS* ABRSM’s recommended tempo is for this piece is 92 MINIM beats per minute - so this is equivalent to 184 crotchet bpm and is therefore quite fast! (As played in this video) The marking at bar 1: *“Expressively, with rubato”* suggests calmness, but with flexibility of tempo. I tended to only play _rubato on the 2nd page_ , around bar 20 where the *rit* . occurs, and also at bar 25 to the end. I based my performance on the composer Christopher Norton’s own performance of it on RUclips, where he barely uses any rubato, apart from at the above mentioned bars. That said, in an exam situation it might be worth aiming to play with more looseness of tempo than I did. A link to his performance is included in this description. ruclips.net/video/NAnlgk9nHVU/видео.html No pedal is required at the beginning.. indeed the marking _senza Ped_ . (without pedal) is clearly displayed on the first bar, under the first left-hand chord. Nice crisp staccato notes are needed, along with frequent contrasting legato (smooth) slurred notes. Sustain pedal enters at bar 9 and continues throughout the piece… just follow the pedal marking break points to get an idea of how to pedal that section correctly. Dynamics are straightforward.. just watch out for the above mentioned *_rits_* . and be sure to play the paused chord on the final bar.

2nd

Beautiful!

TECHNICAL CONSIDERATIONS ABRSM’s recommended tempo for this piece is 63 dotted minim beats per bar, which works out equivalent to 189 crotched beats per minute. Although a reasonably steady pulse is needed, this piece can be played with a little rubato (looseness of time) which is a typical characteristic of the style of the Romantic period. (1820 - 1900) The main considerations are keeping it legato (smooth) throughout and being careful to bring out the right hand melody above the accompanying left hand part. I chose to apply little dabs of sustain pedal on most of the bars - but that is not strictly required, nor expected at this grade and is more a matter of personal taste. . Watch out for the occasional accents in bars 3, 13, 19 and 27 and also the rit. (slowing down) from bar 29 until the end.

TECHNICAL CONSIDERATIONS ABRSM’s recommended tempo for this piece is 88 bpm, as played in this video. The words cantabile (in a singing style) and dolce (sweetly) appear at the beginning, so be sure to play in a gentle and calm manner. There is a subtle difference between the right hand melody played p (soft) and the left-hand part marked pp (very soft) so be careful to play the upper part slightly louder, so it sings out above. At bar 5 the overall contrast between parts continues, but with p in the right-hand part and mf (moderately loud) - at this point the melody is transferred to the left-hand and therefore it must sing out more than the accompanying right hand chords. At bar 9 the balance between parts is similar to the beginning, but watch out for the early missable cresc. marking at bar 10… building up until bar 12… then a sudden drop back down to p (soft) / pp (very soft) at bar 13. (The marking sub. at bar 13 is short for subito. (suddenly) The final three bars can be played a little louder and possibly slightly slower.

TECHNICAL CONSIDERATIONS ABRSM’s recommended tempo for this piece is 112 bpm, as played in this video. A nice smooth and calm feel is required throughout. Dynamics are straightforward and some pedalling might be effective to create a more floating and magical feel (pedalling once per bar could work well) There is a final slowing down at bar 29 (rit.) along with a gradual diminuendo / decrescendo until the final bar.

TECHNICAL CONSIDERATIONS ABRSM’s recommended tempo for this piece is 112 bpm and a good steady tempo is required throughout. Dynamics are straightforward, but just remember to play nice crisp staccato right-hand notes when required - this will make for a nice contrast with the smoother sounding left-hand accompanying part. Repeats are not required in the exam, apart from when you reach bar 28 (2nd time bar) where there is the marking D.C.al Fine - this means you must return to the beginning and play the first section one final time again from bar 1 again until ultimately finishing at bar 17. (marked Fine) This video actually contains two versions! - the first is the standard version most people would probably play in the exam, but the 2nd version is played notes inégales - where the quavers are actually played in unequal pairs in the French notes inégales style of the period. This is mentioned in the footnotes at the bottom of page 6 in the piano exam book and is demonstrated in the 2nd version on this video. To some listeners it might sound quite Jazzy!

W O W

I’m the first comment here 😂

K

Is this next year grade 2?

I’m playing idllye, presto and Allegro in f.

Like the background 😀

Played this song 2-3 years ago. Thanks for the help!

0:07

Cool :) btw I'm a fan

wait isn't it 2024 and 2025

🎉🎉🎉so good,LOVE This 😂😂❤

When you do grade 8 can you Upload A7 and B6

Batfink vibes

This really helped my son

This is an exceptional piano reduction and performance of this wonderful work for jazz orchestra. Thank you so much for this.

❤️❤️❤️❤️

TECHNICAL CONSIDERATIONS ABRSM’s recommended tempo for this piece is 120 bpm and a nice steady tempo is required, although a little rubato (looseness of time) will help it to feel relaxed and not too metronomic. Dynamics are relatively straightforward - aim to play the crescendos and diminuendos as musically as possible. This piece is a melody with accompaniment, so be careful not to let the left hand part overpower the somewhat delicate tune - this is a common danger in this type of music. Be sure to let the right hand part sing out above the accompaniment. If pedalling, be careful not to over do it.. just little dabs of pedal every so often should be enough. The closing bars don’t appear to have any rit. (slowing down) markings, although a slight easing off the tempo on bar 33 seems quite natural. Remember the final chord is held as a pause and that repeats are not required in the exam.

TECHNICAL CONSIDERATIONS ABRSM’s recommended tempo for this piece is 80 dotted crotchet bpm / 120 crotchet bpm. Once you have build up an ability to play the opening few bars slowly, you could practise this piece by setting a metronome to click at 220pbm and then play along to each of the quaver beats - this would then represent a constant flow of quaver notes. In addition to securing a steady tempo throughout, it is important to have good contrast between the opening staccato (detached) section from bars 1-4, followed by the legato (smooth) section in bars 5-8. (note the con Ped. (with pedal) direction on bar 5. Similar contrast is required during the remainder of the piece. Be careful to observe the poco rit. (slightly slowing) at bar 7, but it is fleeting and not too much needs to be made of it. The tempo then picks up again at bar 9, with a similar poco rit. to watch out for at bar 15. At bar 17 the treble clef appears in the left hand part, so be sure to play the correct notes! The marking Senza Ped. (without pedal) is also shown at bar 17 but this is fairly obvious anyway due to the staccato markings. Dynamics are straightforward, but remember to pause on the final chord.

me too!