grade 4 focus on piano - wordpress.com · contemporary classical music with indie rock. set in a...
TRANSCRIPT
lcme 11
Piano
Grade 4
Cat
alog
ue n
umbe
r: L
L307
© 2
017
Uni
vers
ity o
f Wes
t Lon
don,
LC
M P
ublic
atio
ns
9 790570 121793
ISMN 979-0-5701-2179-3 For syllabuses and further information please contact:
LCM ExaminationsUniversity of West LondonSt Mary’s RoadLondon, W5 5RF
+44 (0)20 8231 [email protected]
LONDON COLLEGE OF MUSIC’s 2018–2020 Piano syllabus gives more choice to learners than ever before. With exam options to suit every individual and a wide selection of performable repertoire at each grade, LCM is committed to enabling everyone to learn and play the music they enjoy. Key features of the new syllabus include a wider range of musical genres and more pieces by living composers, alongside an ongoing commitment to core piano repertoire.
London College of Music handbooks contain all of the material that is needed to take an LCM exam in a single publication — a wide selection of pieces, all of the required technical work, and guidance and examples for the supporting tests.
LONDON COLLEGE OF MUSIC EXAMINATIONS are held in centres throughout the UK and overseas. A broad range of subjects is offered in music and in drama and communication, catering for candidates of all levels — from introductory examinations for beginners through graded exams to professional diplomas in performing, teaching, composition and research.
FOCUS ON PIANO
In this, the first in a new series taking a look at some
of the highlights from our new piano syllabus, Melanie
Spanswick explores Rachel Grimes’ Bloodroot, from
the Grade 7 handbook
Features
LCME Issue 2 v4.indd 11 18/07/2018 12:14
12 lcme
PIANO: GRADE 7, LIST C
Bloodroot
OverviewBloodroot, from the American composer Rachel Grimes’ Book of Leaves, is a hauntingly beautiful gem, juxtaposing contemporary classical music with indie rock. Set in A minor, exuding distinctly minimalist overtones, the piece begins with a sweeping improvisatory passage, before introducing patterned melodic material. A gradual crescendo and thickening texture drives the music forward to the climactic point, followed by a reflective coda. Bloodroot necessitates several important piano techniques: a smooth touch, strong outer fingers (fourth and fifth), a relaxed rotational or circular wrist motion and the ability to play combinations of notes altogether (or double notes).
Bars 1 to 4: Clear articulation, sparkling semiquaversThe opening phrases (Example 1) demand even, rapid passage-work. Once fingering is secure, concentrate on the right hand. For practice purposes, work at slow speeds, employing a heavy touch on every single note, using the fingers optimally, delving to the bottom of the key bed.
To play with a full rich sound, try to support the fingers; em-ploying a relaxed wrist and arm, using arm weight behind each note at slow speeds. This will help to develop finger strength and promote a smooth, equal tone. By thinking of notes as separate entities and paying attention to the subsequent release of the keys, clarity will eventually be implemented. Avoid any physical stiffness or locking-up of the hand or wrist by ‘letting go’ of taut muscles or tendons after each note has been played (whilst still keeping the key depressed). This feeling will be similar to releasing a clenched fist. Observe finger movements; aim to keep the joints of each finger fully engaged (not collapsing), with the fingertips making a strong connection to the key. Avoid surface playing or skimming over the top during this stage. For rhythmical note placing, try counting out loud, perhaps in semiquaver (or even demisemiquaver) beats for accuracy, and take care not to rush.
Piano technique is a gargantuan subject and one which can feel overwhelming. How can the skills to play certain pieces be acquired without first toiling through exercises and studies?
You can assimilate various techniques simply by working at them in a detailed, focused manner within selected pieces. Over time, these will feel comfortable and assured, and the skills can then be applied to a host of other works.
Example 1:Bloodroot,
opening phrases
Example 2:Bars 3 and 4,
places to release any tension or stiffness in the hand and wrist
LCME Issue 2 v4.indd 12 18/07/2018 12:14
lcme 133
14
25
36
47
58
69
75
4
4&
44
11
44
4444
-
- 44
-
22
-
5
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑
œ
œœ
œœœœœœœœœ
œœœœ
œœœœœœœœ
œœœœœœœœœ ˙
64
Bloodrootfrom Book of Leaves
Rachel Grimes
{
{
{
{
{
{
mf
Take time for phrases, with rubato
° *° *
rit.
3
° *° *
f
Regular q = 96
5
° *° *° *
8
P sim.
11
14
4
4
4
4
&
LH
RH
U
LH
RH
U
?
&
44
11
44
44
44
44 22
5
?
11
4422 55 11 22
&
?
&
?
&- -
?
&
11 2211
-
3344
55
-
-
-
-
?
œ
œœ
œœ
RÔ
œ
œœ
œ‰ Ó
œ
œ
œœœ
RÔ
œ
œœœ
œ
œœ
® Ó
œ
œ
œ
œ
œ
œ
œ
œœ
œœœœœœœœœœœœœ
œœœœœœœœœœœœœœœœœ ˙
œ
œ
œ
œ
œœ
œ
œ
œ
œ
œ
œ
œ
J‰ Œ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
˙
˙
˙
˙
˙
˙
˙
w
w
w
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
w
w
w
˙
˙
˙ ˙
˙
˙
˙
˙
œ
œœœœœœœ
œœœœœœœœ
œœœœœœœœœœœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
˙
˙
˙ ˙
˙
˙˙
˙
˙
˙
œ
œœœ
œ
œ
œœ œ
œœœœœœœ
œ
œœœœœœœ
≈
œœœœœœœ
œ
œœœœœœœ
≈
œœœœœœœ
˙
˙
˙
˙
˙
˙
˙ ˙
˙
˙
˙ ˙
Once secure in a slow tempo, put the hands together and add speed, but continue to use a heavy touch. Identify key points in order to release muscles; for example in bars 3 and 4. The arrows (Example 2) mark possible spots to relax the hand when playing at speed. This is easier to implement as the hand makes a large but flexible movement whilst turning over the thumb (or whilst the thumb turns under the hand).
Try this slowly at first, creating small gaps (up to a second or two in length) to loosen or disengage the wrist; as it becomes accustomed to releasing its grip after playing groups of notes the breaks can be progressively shorter, until imper-ceptible. The suggested tenuto marks will help keep such a passage rhythmical.
After a period of practice, play up to tempo and lighten your finger touch to reveal sparkling, clear and even semi and demisemiquaver runs, as well as a more relaxed arm, wrist and hand.
64
Bloodrootfrom Book of Leaves
Rachel Grimes
{
{
{
{
{
{
mf
Take time for phrases, with rubato
° *° *
rit.
3
° *° *
f
Regular q = 96
5
° *° *° *
8
P sim.
11
14
4
4
4
4
&
LH
RH
U
LH
RH
U
?
&
44
11
44
44
44
44 22
5
?
11
4422 55 11 22
&
?
&
?
&- -
?
&
11 2211
-
3344
55
-
-
-
-
?
œ
œœ
œœ
RÔ
œ
œœ
œ‰ Ó
œ
œ
œœœ
RÔ
œ
œœœ
œ
œœ
® Ó
œ
œ
œ
œ
œ
œ
œ
œœ
œœœœœœœœœœœœœ
œœœœœœœœœœœœœœœœœ ˙
œ
œ
œ
œ
œœ
œ
œ
œ
œ
œ
œ
œ
J‰ Œ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
˙
˙
˙
˙
˙
˙
˙
w
w
w
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
w
w
w
˙
˙
˙ ˙
˙
˙
˙
˙
œ
œœœœœœœ
œœœœœœœœ
œœœœœœœœœœœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
˙
˙
˙ ˙
˙
˙˙
˙
˙
˙
œ
œœœ
œ
œ
œœ œ
œœœœœœœ
œ
œœœœœœœ
≈
œœœœœœœ
œ
œœœœœœœ
≈
œœœœœœœ
˙
˙
˙
˙
˙
˙
˙ ˙
˙
˙
˙ ˙
LCME Issue 2 v4.indd 13 18/07/2018 12:14
14 lcme
64
Bloodrootfrom Book of Leaves
Rachel Grimes
{
{
{
{
{
{
mf
Take time for phrases, with rubato
° *° *
rit.
3
° *° *
f
Regular q = 96
5
° *° *° *
8
P sim.
11
14
4
4
4
4
&
LH
RH
U
LH
RH
U
?
&
44
11
44
44
44
44 22
5
?
11
4422 55 11 22
&
?
&
?
&- -
?
&
11 2211
-
3344
55
-
-
-
-
?
œ
œœ
œœ
RÔ
œ
œœ
œ‰ Ó
œ
œ
œœœ
RÔ
œ
œœœ
œ
œœ
® Ó
œ
œ
œ
œ
œ
œ
œ
œœ
œœœœœœœœœœœœœ
œœœœœœœœœœœœœœœœœ ˙
œ
œ
œ
œ
œœ
œ
œ
œ
œ
œ
œ
œ
J‰ Œ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
˙
˙
˙
˙
˙
˙
˙
w
w
w
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
w
w
w
˙
˙
˙ ˙
˙
˙
˙
˙
œ
œœœœœœœ
œœœœœœœœ
œœœœœœœœœœœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
˙
˙
˙ ˙
˙
˙˙
˙
˙
˙
œ
œœœ
œ
œ
œœ œ
œœœœœœœ
œ
œœœœœœœ
≈
œœœœœœœ
œ
œœœœœœœ
≈
œœœœœœœ
˙
˙
˙
˙
˙
˙
˙ ˙
˙
˙
˙ ˙
Bars 5 to 20: Rotational wrist movement and the fourth and fifth fingerRotational or circular wrist motion encourages flexible movement and helps to guide fingers to the correct notes. These bars are similar in many respects to a Bach prelude (Example 3). The melody from bar 5 is played by the thumb (beats 1 and 3). Example 4 illustrates two possible fingerings. If the lower fingering is selected, the fourth and fifth will probably need extra practice, as they tend to be weaker — to achieve this apply a heavy finger touch as already discussed in bars 1 to 4.
Useful exercises for developing finger strength on the fourth and fifth fingers may include the addition of different accents or touches (Example 5). This can be applied from bar 5 to 20, but only practise in short bursts.
For precisely placed upper notes, allow the wrist to guide the fingers via a swift rotational motion. Move it sideways along the keyboard, with a slight circular, upward movement, towards the right, away from the body. Keep the wrist completely loose, but fingers should ideally remain firm.
Left hand chords are sometimes widespread. Redistribution may be beneficial, aided by swift wrist movement from the left to right, guiding the thumb into place (Example 6).
7
18
29
40
51
62
72
4
4&
11
22
33
33
44
44
55
11
22
33
33
44
44
55
etc.
∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
7
18
29
40
51
62
72
4
4&
Allow the wrist to move to the right with a circular movement
>
> >
> >
> >
-
.
- . -
.
.
>
.
etc.
∑ ∑ ∑ ∑
>
.
>
.
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
Example 3:Bars 5 to 7
Example 4:Bars 5 and 6, possible fingerings
Example 5:Bars 5 and 6, practising with
different accents of touches
Example 6:Bar 7, possible chord redistribution
for smaller hands
° °
11
22
33
44
55
66
77
84
4
4
?
Bar 7
∑ ∑ ∑ ∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑ ∑ ∑
w
w
w
w
w
w
∏∏∏∏∏
œ
œ
œ™˙
™
LCME Issue 2 v4.indd 14 18/07/2018 12:14
lcme 15
Bars 21 to 28: Double notes Cascades of semiquavers signal the work’s apex (Example 7). When practis-ing double note passages, play the upper part alone at first, then the lower part (Example 8), developing a firm touch, using the intended fingering.
64
Bloodrootfrom Book of Leaves
Rachel Grimes
{
{
{
{
{
{
mf
Take time for phrases, with rubato
° *° *
rit.
3
° *° *
f
Regular q = 96
5
° *° *° *
8
P sim.
11
14
4
4
4
4
&
LH
RH
U
LH
RH
U
?
&
44
11
44
44
44
44 22
5
?
11
4422 55 11 22
&
?
&
?
&- -
?
&
11 2211
-
3344
55
-
-
-
-
?
œ
œœ
œœ
RÔ
œ
œœ
œ‰ Ó
œ
œ
œœœ
RÔ
œ
œœœ
œ
œœ
® Ó
œ
œ
œ
œ
œ
œ
œ
œœ
œœœœœœœœœœœœœ
œœœœœœœœœœœœœœœœœ ˙
œ
œ
œ
œ
œœ
œ
œ
œ
œ
œ
œ
œ
J‰ Œ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
˙
˙
˙
˙
˙
˙
˙
w
w
w
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
w
w
w
˙
˙
˙ ˙
˙
˙
˙
˙
œ
œœœœœœœ
œœœœœœœœ
œœœœœœœœœœœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
˙
˙
˙ ˙
˙
˙˙
˙
˙
˙
œ
œœœ
œ
œ
œœ œ
œœœœœœœ
œ
œœœœœœœ
≈
œœœœœœœ
œ
œœœœœœœ
≈
œœœœœœœ
˙
˙
˙
˙
˙
˙
˙ ˙
˙
˙
˙ ˙
65
Bloodrootfrom Book of Leaves
{
{
{
{
{
{
mf
Take time for phrases, with rubato
° *° *
rit.
3
° *° *
f
Regular q = 96
5
° *° *° *
8
P sim.
11
14
4
4
4
4
&
LH
RH
U
LH
RH
U
?
&
44
11
44
44
44
44 22
5
?
11
4422 55 11 22
&
?
&
?
&- -
?
&
11 2211
-
3344
55
-
-
-
-
?
œ
œœ
œœ
RÔ
œ
œœ
œ‰ Ó
œ
œ
œœœ
RÔ
œ
œœœ
œ
œœ
® Ó
œ
œ
œ
œ
œ
œ
œ
œœ
œœœœœœœœœœœœœ
œœœœœœœœœœœœœœœœœ ˙
œ
œ
œ
œ
œœ
œ
œ
œ
œ
œ
œ
œ
J‰ Œ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
˙
˙
˙
˙
˙
˙
˙
w
w
w
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
w
w
w
˙
˙
˙ ˙
˙
˙
˙
˙
œ
œœœœœœœ
œœœœœœœœ
œœœœœœœœœœœœœœœœ
œ
œœœœœœœ
œ
œœœœœœœ
˙
˙
˙ ˙
˙
˙˙
˙
˙
˙
œ
œœœ
œ
œ
œœ œ
œœœœœœœ
œ
œœœœœœœ
≈
œœœœœœœ
œ
œœœœœœœ
≈
œœœœœœœ
˙
˙
˙
˙
˙
˙
˙ ˙
˙
˙
˙ ˙
{
{
{
{
{
{
{
17
20
23
rit.
26
Subito — with suspended weight q = 7629
mf
rubato
35
rit.
41
&-
- -
?
&
-
22 33 11 22
33
11
33
11
44
22
11
?
44
&
44 55 44 55
44
55
11
44
22
?
33
&
33
11
44
22 11
11
44
22
11
55
33
11
?
33
11 33 22
&
mp -
?
&
3
3 3
?
&
∑
?
p
œ
œœœœœœœ
≈
œœœœœœœ
œ
œœœœœœœ
≈
œœœœœœœ
œ
œœœœœœœ
≈
œœœœœœœ
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙ ˙
œ
œœœœœœœ
≈
œœœœœœœ
œœœœœœœœœ
œœœœœ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œ
œœ
œ
œ
œœ
œ
œ
œœ
œ
œ
œœ
˙
˙
˙
œ
œ
œœœœœœœœœœœœ
œ
œ
œ
œœœœœœœœœœœœœœ
œ
œ
œœ
œ
œ
œœ
œ
œ
œœ
œ
œ
œœ
œ
œ
œœ
œ
œ
œœ
œ
œ
œœ
œ
œ
œœ
œ
œ
œ
œœ
œ
œ
œœ
œ
œ
œœ
œ
œ
œœ
œ
œ
œœœœœœœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œœœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œœ
œ
œ
œœ
œ
œ
œœ
œ
œ
œœ
œ
œ
œœ
œœœœœœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œœœœœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œœœœœœ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œœœ
œ
™™™™œœœ
œ
™™™™ Œ
œ
œœ
œœ
™œ
œœ
œœ œ
Œ
œ
œœ
œ
™™™™œ
œœ
œ
™™™™ ‰ ≈
œ
r
œ
œ
œœ
œ
œ
œœ
˙
˙
˙˙
Œ
œ
œ
œœ ™œ
œœ
œ œ
Œ
œœ
œ
œ
™™™™œœ
œ
œ
™™™™Œ
˙
˙˙
˙
˙
˙
˙˙
˙
˙
˙
˙
˙
˙
˙ ˙
œ
œ
œœ œ ™
˙
˙
˙˙
Œ
œœ
œœ
™™™™œœ
œœ
™™™™Œ
œœ
œ
œ
™™™™œœ
œ
œ
™™™™‰
œ
J
œ
œ
œ
œ œ
œ
œ
œ
œ
œ
œ
j
œ
œ
œ
Ó
œœ
œ
œ
™™™™œœ
œ
œ
™™™™‰ ≈
œ
R
œ
œ
œ™œ
œ
œ
œ
Ó
˙
˙ ˙
˙
˙ ˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
œœ
œ
œœ
™œœ
œ
œ
œœ
œ
œ
˙˙
˙
˙
œœ
œ
œ
™™™™œœ
œ
œ
™™™™Œ
œœ
œœ
™œ
œœ
œ Ó
œœ
œ
™™™œœ
œ
™™™Œ
œœ
œ
œ
™™™™œœ
œ
œ
™™™™Œ
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙ ˙
˙
Ó
These practice methods can be applied to a wide variety of piano pieces. They will prove fundamental when establishing a strong piano technique.
Example 7:Bars 26 to 28
Example 8:Bar 28, practising the upper and lower lines in the right hand separately
Melanie Spanswick is a pianist, teacher, author, writer, adjudicator, presenter and composer. She is the author of many of the performance notes in our current piano handbooks.
Bloodroot, from Rachel Grimes’ Book of Leaves, is included in our current Grade 7 piano handbook, available to buy from our online shop: lcmmusicshop.uwl.ac.uk
When combining both parts, play the top line with a full sound and the bottom silently — placing the fingers on the notes but not depressing the key, and then vice versa, for exact coordination. Note patterns in three parts, like those in bar 27, may need similar isolated work too.
Figurations in the right hand at bar 23 will benefit from a quick wrist movement (akin to turning a door knob) in order to place the fifth finger rhythmically.
6
17
28
39
50
61
71
4
4&
Bar 28
Upper line
∑
Lower line
∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
œœœœœœœœœœœœœœœœ
œœœœœœœœœœœœœœœœ
LCME Issue 2 v4.indd 15 18/07/2018 12:14