SCALES (SIMILAR MOTION)

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1 Piano Scales Review - proposals for consultation (Nov 2017) Grade 1 proposals Range Requirements all legato C major 1 oct. hands together (even notes or long tonic*, at candidate s choice) G, F majors 2 oct. hands separately (even notes or long tonic*, at candidate s choice; LH may be played descending and ascending at candidate s choice) A, D minors (natural or harmonic or melodic, at candidate s choice) C major 1 oct. hands separately A minor BROKEN CHORDS F major hands separately, as current Grade 1 pattern D minor * long-tonic pattern for scales: pattern for broken chords: Explanatory notes for Grade 1 A one-octave similar-motion scale has been introduced, in place of the contrary-motion in the current syllabus, as the pattern is fundamental for later grades. This assumes that a C major hands-separately scale would be introduced by teachers at an earlier stage. One octave hands-separately arpeggios have been included. With no thumb-under required, this prepares the way well for Grade 2 and encourages good hand rotation in performance. To reduce the workload slightly from the current syllabus, the D major scale has been removed and the number of broken chords has been reduced (as the only thing which differentiates them is the starting note) by The Associated Board of the Royal Schools of Music Page 1 of 11

2 Grade 2 proposals Range Requirements all legato G, F majors 2 oct. hands together A, D minors (natural or harmonic or melodic, at candidate s choice) D, A, E majors 2 oct. (even notes or long tonic, at candidate s choice) hands separately (even notes or long tonic, at candidate s choice; LH may be played descending and ascending at candidate s choice) E and G minors (natural or harmonic or melodic, at candidate s choice) CONTRARY-MOTION SCALE C major 2 oct. hands beginning on the tonic in unison (even notes or long tonic, at candidate s choice) CHROMATIC SCALE beginning on D 1 oct. hands separately C major 2 oct. hands separately A minor BROKEN CHORDS G major E minor hands separately, same pattern as for Grade 1 (in 6/8) Explanatory notes for Grade 2 This establishes the principle where scales that were introduced hands separately in Grade 1 become hands together (only) while the new scale keys are introduced hands separately. C major, having already been covered hands together at Grade 1, becomes a contrary-motion scale here. E major hands separately is introduced here as preparation for the contrary motion version, with its mirror shaping, at Grade 3 (a grade later than in the current syllabus). Arpeggios introduced in Grade 1 are extended to two octaves here (still hands separately). Broken chords continue with the Grade 1 pattern (in 6/8). The current Grade 2 pattern (shown below) has proved difficult for smaller hands and so is not being used by The Associated Board of the Royal Schools of Music Page 2 of 11

3 Grade 3 proposals Range Requirements all legato D, A, F majors 2 oct. hands together E, G minors B, Bb, Eb majors 2 oct. (even notes only from this grade on) hands separately B, C minors CONTRARY-MOTION SCALES E major 2 oct. (even notes only from this grade on) hands beginning on the tonic in unison (even notes only from this grade on) CHROMATIC SCALE (SIMILAR MOTION) beginning on Ab 2 oct. hands separately CHROMATIC CONTRARY-MOTION SCALE beginning on D 1 oct. F major 2 oct. hands together A, D minors D, E, B, Eb majors 2 oct. hands separately G, C minors Explanatory notes for Grade 3 The long tonic and natural minor options offered to candidates at Grades 1 and 2 no longer apply at this or later grades. A contrary-motion chromatic scale is introduced (a grade earlier than in the current syllabus) by The Associated Board of the Royal Schools of Music Page 3 of 11

4 Grade 4 proposals Range Requirements G, D, A, B, Bb, Eb majors 2 oct. legato, hands together A, B, D, G, C minors Ab, Db majors 2 oct. legato, hands separately F#, C#, F minors STACCATO SCALE (SIMILAR MOTION) C major 2 oct staccato, hands separately SIMILAR & CONTRARY-MOTION SCALES * C, E majors 2 oct. legato (even notes or long tonic, at candidate s choice) CHROMATIC beginning on E, F 2 oct. legato, hands together CHROMATIC CONTRARY-MOTION SCALE beginning on Ab 2 oct. legato G, D, E, B, Eb majors 2 oct. legato, hands together E, G, C minors Bb, Ab, Db majors 2 oct. legato, hands separately B, F#, C# minors DOMINANT SEVENTH (resolving on tonic ) in the key of C 2 oct. legato, hands separately * Similar & contrary-motion scales (Russian pattern): or Dominant seventh resolving on the tonic: 2017 by The Associated Board of the Royal Schools of Music Page 4 of 11

5 GRADE 4 cont. Explanatory notes for Grade 4 A hands-separately staccato scale is introduced (three grades earlier than in the current syllabus). The Russian pattern, combining similar and contrary motion is also introduced. An even notes or long tonic option is proposed for this pattern. A hands-separately dominant seventh is introduced, matching the grade of introduction for other instruments. The dominant sevenths are also proposed to resolve on the tonic to encourage greater understanding of the harmonic function of the chord and also matching the approach that has already been applied to other instrumental syllabuses. More keys are featured than on the current Grade 4 syllabus; this better prepares for the appearance of all keys in Grade by The Associated Board of the Royal Schools of Music Page 5 of 11

6 Grade 5 proposals Range Requirements C, Bb, Ab, Db majors 2 oct. legato, hands together B, F#, C#, C, F minors F#/Gb major 2 oct. legato, hands separately G#, Bb, Eb minors STACCATO G, A, E, F majors 2 oct staccato, hands separately E, G minors CONTRARY-MOTION SCALES A, D harmonic minors 2 oct. legato SIMILAR & CONTRARY-MOTION SCALES D, B, Eb majors 2 oct. legato: see example for Grade 4 CHROMATIC beginning on A, F#, Eb 2 oct. legato, hands together CHROMATIC CONTRARY-MOTION SCALE beginning on C 2 oct. legato C, G, D, A, E, B, F, Bb, Eb, Ab, Db majors 2 oct. legato, hands together A, E, B, F#, C#, D, G, C, F minors F#/Gb major 2 oct. legato, hands separately G#, Bb, Eb minors DOMINANT SEVENTHS (resolving on tonic) in the keys of G, F 2 oct. legato, hands separately DIMINISHED SEVENTH beginning on G 2 oct legato, hands separately Explanatory notes for Grade 5 Three octave requirements (as required in the current Grade 5 syllabus) are replaced by two octaves; the three octave range is not used at any grade. All keys are required in some form across the scale types and also the arpeggios. A hands-separately diminished seventh is introduced (a grade earlier than in the current syllabus), matching the grade of introduction for other instruments. The first minor-key contrary-motion is set here (as opposed to Grade 3 in the current syllabus). As minor-key contrarymotion scales can be quite challenging, just some of them have been proposed, introduced slowly, from this grade on by The Associated Board of the Royal Schools of Music Page 6 of 11

7 Explanatory notes for Grades 6 8 All keys are covered across the different scales at each of these grades, just as at Grade 5 this is a change from the current syllabus where all keys are tested at Grade 6 and then only a selection at Grades 7 and 8. All regular minor scales are required in harmonic and melodic forms (as in the current syllabus). For arpeggios, all keys are spread across Grades 6 8. Only six keys are required at each grade, covering each possible fingering pattern each time (since C=F=G, Db=Eb=Ab, D=E=A and a=d=e, c=f=g, c#=f#=g#). First inversions are introduced at Grade 7 and second inversions at Grade 8. Similarly, all keys are covered across Grades 6 8 for dominant sevenths and all starting notes are covered across Grades 7 & 8 for diminished sevenths. Grade 6 proposals Range Requirements G, A, E, F#/Gb, F, Bb, Ab, Db majors 4 oct. legato, hands together E, F#, C#, G#, G, Bb, Eb minors (harmonic and melodic) STACCATO C, D, B, Eb majors 4 oct staccato, hands together A, B, D, C, F minors (harmonic and melodic) CONTRARY-MOTION SCALES E, G harmonic minors 2 oct. legato SIMILAR & CONTRARY-MOTION SCALES G, A, F, Db majors 2 oct. legato: see example for Grade 4 CHROMATIC beginning on G, B, Bb, Db 4 oct. legato, hands together CHROMATIC CONTRARY-MOTION SCALES beginning on D# (LH) and F# (RH) 2 oct. legato beginning on E (LH) and G (RH) WHOLE-TONE SCALE beginning on E 2 oct. legato, hands separately C, D, B, F#/Gb, Bb, Db majors 4 oct. legato, hands together A, B, G#, C, Bb, Eb minors DOMINANT SEVENTHS (resolving on tonic) in the keys of C, G, D, F 4 oct. legato, hands together DIMINISHED SEVENTHS beginning on F#, G, G# 4 oct. legato, hands separately Explanatory notes for Grade 6 To consolidate the work at Grade 5, all keys are covered here in similar motion (either legato or staccato), but extended to 4 octaves and minors are required in both harmonic and melodic forms. A hands-separately whole-tone scale is introduced at this grade (two earlier than in the current syllabus). A selection of major and minor arpeggios and the three dominant sevenths introduced up to Grade 5 are consolidated here all extended to 4 octaves. The dominant seventh in D (same pattern as in G) is also added. The staccato scale in thirds from the current syllabus is removed by The Associated Board of the Royal Schools of Music Page 7 of 11

8 Grade 7 proposals Range Requirements LEGATO G, D, E, B, F, Eb majors 4 oct legato, hands together and separately A, E, C#, D, G, C, Bb minors (harmonic and melodic) STACCATO A, F#/Gb, Bb, Ab, Db majors 4 oct. staccato, hands together and separately F#, G#, Eb minors (harmonic and melodic) SCALES A 3RD APART G, D, E, B, Db majors 4 oct legato A, C#, D, G, Bb harmonic minors CONTRARY-MOTION SCALES B, F harmonic minors 2 oct. legato SIMILAR & CONTRARY-MOTION SCALES F#/Gb, Bb, Ab majors 2 oct. legato: see example for Grade 4 LEGATO SCALE IN 3RDS C major 2 oct legato, hands separately CHROMATIC SCALES A MINOR 3RD APART beginning on C (LH) and Eb (RH) 4 oct. legato beginning on C# (LH) and E (RH) beginning on D (LH) and F (RH) CHROMATIC CONTRARY-MOTION SCALES beginning on F (LH) and Ab (RH) 2 oct. legato beginning on G# (LH) and B (RH) WHOLE-TONE SCALE beginning on G 4 oct. legato, hands separately E, B, F#/Gb, F, Bb, Eb majors 4 oct. legato, hands together in root position B, F#, D, F, Bb, Eb minors E, B, F#/Gb, F, Bb, Eb majors 4 oct. legato, hands together in 1st inversion B, F#, D, F, Bb, Eb minors DOMINANT SEVENTHS (resolving on tonic) in the keys of A, E, Bb 4 oct. legato, hands together DIMINISHED SEVENTHS beginning on F#, G, G#, A, A#, B 4 oct. legato, hands together Explanatory notes for Grade 7 Every key is covered at least once across the legato, staccato and contrary-motion scales. Several are set a second time, either a 3rd apart or in the Russian pattern. Chromatic scales a minor 3rd apart are included (a grade earlier than in the current syllabus). The whole-tone scale is continued from Grade 6, still hands separately, but this time covering the second pattern. The previously set hands-separately diminished sevenths from Grades 5 and 6 (F#, G, G#) are consolidated here hands together and their first inversions (A, A#, B) are also set. The staccato scale in sixths from the current syllabus is removed by The Associated Board of the Royal Schools of Music Page 8 of 11

9 Grade 8 proposals Range Requirements A, F#/Gb, F, Eb, Ab majors 4 oct. legato and staccato; hands together and E, B, F#, C, F, Eb minors (harmonic and melodic) SCALES A 3RD APART F#/Gb, F, Ab majors 4 oct. separately legato and staccato B, F#, F harmonic minors SCALES A 6TH APART G, D, E, B, Bb, Db majors 4 oct. legato and staccato C#, D, G, Bb harmonic minors CONTRARY-MOTION SCALE G# harmonic minor 2 oct legato SIMILAR & CONTRARY-MOTION SCALES * Eb major 4 oct legato (even notes or long tonic, at candidate s A harmonic minor TWOS AGAINST THREES SCALE choice) C major 4 oct legato; duplets in RH, triplets in LH and triplets in RH, duplets in LH LEGATO SCALES IN 3RDS G, Bb majors 2 oct legato, hands separately CHROMATIC SCALES A MAJOR 6TH APART Beginning on Eb (LH) and C (RH) Beginning on E (LH) and C# (RH) Beginning on F (LH) and D (RH) Beginning on F# (LH) and D# (RH) 4 oct. legato and staccato WHOLE-TONE SCALES beginning on C, A 4 oct. legato, hands together G, A, B, F#, Bb, Ab majors 4 oct. legato, hands together in root position E, B, C#, G, Bb, Eb minors G, A, B, F#, Bb, Ab majors 4 oct. legato, hands together in 1st inversion E, B, C#, G, Bb, Eb minors G, A, B, F#, Bb, Ab majors 4 oct. legato, hands together in 2nd inversion E, B, C#, G, Bb, Eb minors DOMINANT SEVENTHS (resolving on tonic) in the keys of B, F#/Gb, Eb, Ab, Db 4 oct. legato, hands together DIMINISHED SEVENTHS beginning on C, C#, D, D#, E, F 4 oct. legato, hands together * see p. 11 for examples see p. 10 for examples Explanatory notes for Grade 8 All similar-motion, 3rd apart and 6th apart scales required legato and staccato here (as in the current syllabus). Every key is covered at least once across the scale requirements. The Russian pattern is extended to 4 octaves and one is proposed in a minor key. Two new patterns are introduced a twos against threes scale and chromatic scales a major 6th apart. Both whole-tone patterns are covered at this grade and are required hands together. The diminished sevenths not yet covered on the syllabus (C, C#, D and their first inversions D#, E, F) are set. The chromatic scale in minor thirds from the current syllabus is removed by The Associated Board of the Royal Schools of Music Page 9 of 11

10 GRADE 8 cont. Twos against threes scale: and 2017 by The Associated Board of the Royal Schools of Music Page 10 of 11

11 GRADE 8 cont. * Similar & contrary-motion scales (Russian pattern) 4 octaves: or 2017 by The Associated Board of the Royal Schools of Music Page 11 of 11

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