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JS Bach - Partita No. 1 in B-flat Major (Menuets & Gigue, BWV 825)

This set of resources provides walkthroughs for movements from Bach's Partita No. 1 in B-flat Major (BWV 825) featured in the ABRSM examination syllabus. Menuets I and II (ABRSM Grade 6) make a beautiful contrasting pair of dances whereas the Gigue (ABRSM Grade 7) is unusual among Bach’s Gigues -... Read >>

Chopin - Nocturne in E-flat (Op. 9 No. 2)

Op. 9, no. 2

Frédéric Chopin’s Nocturne in E-flat Op. 9 No. 2, has long been a favourite of both pianists and audiences with it's richly-ornamented melody, supported by exquisite harmonies in the left hand. This From the Ground Up walk-through provides a detailed guide to learning this piece efficiently and with understanding and... Read >>

JS Bach - Sinfonia No.15 in B minor, BWV 801

ABRSM Grade 7 – A1

Bach’s aims for the Inventions and Sinfonias were to encourage composition (an understanding and appreciation of musical structure), to foster good playing in two and three parts (or voices), and above all "to arrive at a cantabile style of playing". Apart from good tone, a singing style relies on phrase shaping, an appropriate range of dynamics and colour, as well as articulation.... Read >>

JS Bach - Prelude & Fugue in B-flat Major (Book 1)

BWV866

Difficulty Prelude: 4 Fugue: 3 This video preview features a performance of the work, please log-in or subscribe to see full teaching video for this work. ... Read >>

Rameau - Fanfarinette and La Triomphante (from Suite in A minor)

Jean-Philippe Rameau was an important composer and theorist of the High Baroque. He wrote three books of very fine pieces for harpsichord - Fanfarinette and La Triomphante come from the Suite in A minor (third book), and are examples of character pieces with descriptive or fanciful titles typical of the French style. Fanfarinette derives from the word fanfaron (meaning “braggart”), and calls for light and graceful treatment. La Triomphante evokes a feeling of triumph and exuberance; experiment with a non-legato touch in the quavers and a stronger dynamic (f, dropping to a mf after the double bar line). Pedal is... Read >>

Schubert - Impromptu in G-Flat Major (Op. 90 No. 3)

Schubert’s Impromptu in G-flat major is part of the first set of impromptus composed shortly before his death in 1828. The piece showcases Schubert's mastery of maintaining a single texture throughout, with a lyrical melody in the upper voice, rippling triplet figures in the middle and a supportive bassline. In... Read >>

JS Bach - Prelude & Fugue in D Minor, BWV 875

BWV875

Difficulty Prelude: 3 Fugue: 3 ... Read >>

S. Coleridge-Taylor - Impromptu in B Minor (No. 2 from Two Impromptus)

ABRSM Grade 8 - B1

The title “Impromptu” is a generic term that carries little meaning other than a spontaneous approach on the part of the composer. Coleridge-Taylor’s Impromptu in B minor follows the A-B-A model of Schubert and Chopin’s forays into the form, the more florid outer sections contrasting with the song-like middle section. There are frequent tempo modifiers in the A sections that indicate rubato, but nothing in the B section. Here, the performer calls upon their musical instincts to allow phrases to move forwards and backwards, and to breathe naturally. Preview (please log-in or... Read >>

CPE Bach - Allegro Assai (1st mvt from Sonata in A major, Wq 55 no. 4)

CPE Bach’s Sonata in A, on Trinity’s Grade 8 alternative syllabus, is full of invention. In a style that is moving towards the Classical period spirit, this piece makes a great alternative to the standard Haydn or Mozart repertoire. Full of contrasts in dynamics and texture, this piece demands a lot of technical control and precision. In this walkthrough, I look at how CPE Bach embellishes some of the underlying harmonic progressions, often in two contrasting ways – as well as clarifying some of the ornamentation. Preview (please log-in or subscribe to... Read >>