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JC Bach - Aria in F, BWV Anh. 131

ABRSM Grade 1 – A1

JC Bach's Aria in F is part of a new series on the ABRSM syllabus designed for youngsters, or elementary players. This series of articles provides a step-by-step (or phrase-by-phrase) approach to learning the piece thoroughly and securely, building a solid foundation for performance in an exam, or if you... Read >>

Handel - Sonatina in G, HWV 582

ABRSM Grade 3 – A1

Handel's Sonatina in G is part of a new series on the ABRSM syllabus designed for youngsters, or elementary players. This series of articles provides a step-by-step (or phrase-by-phrase) approach to learning the piece thoroughly and securely, building a solid foundation for performance in an exam, or if you are... Read >>

Chopin - Sostenuto in E flat

ABRSM Grade 5 – B1

Chopin's Sostenuto in E flat or Waltz in E flat was discovered as recently as 1941, by the Director of the Paris Conservatoire, Dr. Jacques Chailley. There are precious few works of Chopin that are suitable for the intermediate level pianist, so Grade V candidates will be extremely happy to... Read >>

Brahms - Intermezzo in A Minor (Op. 76 No. 7)

ABRSM Grade 8 – C2

Brahms’s sets of miniatures are among the best-loved shorter works for the piano. The Intermezzo in A minor, op. 76 no. 7, is currently on the ABRSM Grade VIII syllabus, and will pose several challenges for those who wish to master it. This walkthrough and Annotated Study Edition has a... Read >>

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 - Prelude in B Minor (Op. 28 No. 6)

Chopin’s dark, somber Prélude in B minor is much more difficult to play than it looks. The pedalling requires a lot of thought as Chopin gives us only three pedal markings, in those places where he wants special pedal effects that provide generous resonance. In other places, we must therefore be careful to pedal more sparingly and discreetly. The melodic interest is in the long LH rising and falling phrases, yet we clearly hear the tolling of bells in the RH repeated notes. There are some beautiful - and surprising - harmonic moments that you’ll need to savour in order... Read >>

Bruch - Moderato from Sechs Klavierstücke (Op. 12, No. 4)

Max Bruch’s delightful Moderato from Sechs Klavierstücke (Op. 12, No. 4 ) is set for ABRSM Grade 6, list B. The LH jumps need careful preparation. In this video I demonstrate in detail the techniques of quick cover, springboarding and selective landing to build up the necessary control and accuracy that will enable you to forget about the technical challenges posed by the LH and instead focus on the singing line above, and on creating a beautiful sound. Preview (please log-in or subscribe to see full video) ... Read >>

Beethoven - Ecossaise in E-Flat (No. 4 from Six Ecossaises, WoO 83)

A lively dance in 2/4 time, an ecossaise is actually the French word for “Scottish”! Flexibility in the right hand is necessary to avoid tension, and flexibility in the pulse (while not indicated in the score) is essential to bring grace and elegance at the start, and then some forward movement in the forte ending. Please sign-in to view the full video if you are already an Online Academy subscriber or click here to find out more about the Online Academy.... Read >>

Peter Gritton - Haunted House

ABRSM Initial Grade – C1

There is a repeated phrase in the left hand, the right hand playing something different each time. The challenge is to combine a legato touch in one hand with staccato in the other hand. This essential coordination skill can be acquired using an exercise of your own invention based on simple five-finger patterns. The chord at the end of the piece is arpeggiated slowly, as quietly as possible. It is helpful to put the pedal down in the half-bar rest before the chord. Hold the chord as long as you like, until the sound has died away. ... Read >>