2

rll!L It IS
C.J illegal
to make
unauthorized

Theme copies of thi s

copyright
music.

from Theme and Vari ations, Sonatina No. 4 in D

Thomas Attwood
(1765-1838)

Andante [J= c.108] 3 4

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Thomas Attwood was an English composer and organist who sang in the choir of the Chapel Royal from the age of nine. He studied in Naples
and then with Mozart in Vienna (1785-7). After his return to England, he became music tutor to the royal family and later organist of St Paul's
Cathedral, London, and composer to the Chapel Royal.
This piece is the theme from Attwood's Theme and Variations, and it illustrates his melodious style, which often seems to owe murh to ~lo, art.
When he was studying in Vienna, Mozart said of him: 'He partakes more of my style than any scholar I ever had; and I predict that lw will pn1w
a sound musician.'
Source: Easy Progressive Lessonsfi11geredfor Young Beginners 011 the Piano Forte or Harpsichord (London, c.1795). The icmpo 111ar~ is ,·di1orl.1I. 1111h,· 1111ghrnl. I•. ~I
is identical 10 b. 8 (the bass quavers lead into the first variation). All dynamics and slurs arc editorial suggestions only.
© J9113 by The Associated Board of the Royal Schools of Music
Adapted from A11wood: Easy Progressive Lesso11s, edited by Richard Jones (ABHSM)

AB 3903
,fl]n II is 3
C.J illegal
to make

Minuet in C
unauthorized
copies of this
copyright
music
from First Book of Progressive Lessons

William Duncombe
(fl. late 18th century)

[J = c. 120]

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Little is known of William Duncombe beyond the fact that he lived in London in the late 18th century and was organist of St Dunstan's, l lighgati·.
Many of his keyboard pieces are arrangements of existing music for other instruments, and in some cases by other composers. This 111i11111·1 has
a repeated-note theme (bb. 1-4) that sounds like a trumpet fanfare. The piece is in two sections (A and B, starting at bars I and 9), with till' first
returning at the end (b. 17); this is known as rounded binary form.
Source: First /look <
1 Progressi11e Lessonsfor the JJarpsichord and Piano Forte (London: J. Bland, t 770). All dynamics and slurs a1l' ,•d i1mial , 11gg,•, 1it1n, uuly
e.i ZIJI I! by The A,sociatcd Board of the Hoyal Schools of Music

AB 3903
 4 1fi!L It is
l7 illega l
to m ake
unauthorized
copies of this
Agincourt Song copyright
mu sic.

Anon. 15th- centu ry Eng lish

Arranged by Heather Hammond

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This famous 15th-century 'carol' celebra tes the victory of King HenryVofEngla nd over the Fren ch at the Ba ttle o f Agincou rt in 14 15. It is a strong
tune in the Dorian mode - that is, like D minor bu t with all white notes (though there is a B~ in b. 10). The words of th e first ve rse a rc:
Our king went forth to Normandy
With grace and might of chivalry.
The re God for him wrought m a rvellously,
Whe refore Engla nd may ca ll and c ry:
Deo gra tias.
© 201 8 by The Associa ted Board of the Royal Schools of Music
Re p rodu ced from P iano Star Grad e I , compiled a nd edited by David Blackwell a nd Karen Marshall

AB 3903
 Cradle Song 5
rlffi, It is
[.7 illegal
to make
unauthorized
copies of th,s
copyright
Wiegenlied lliJ
musK
No. 4 from Five Songs, Op. 49

Arranged by Nancy Litten Johannes Brahms

(1833-97)

Andante [J= c.80] 2

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The German composer Johannes Brahms settled in Vienna in 1868, and he remained there for the rest of his li[e. I le was a prolilir r<Hll\h1s,·1 ,,t
Lieder (songs). l fi s Funf Lieder (Five Songs), Op. 49 ( 1868), includes one of the best-known of all his songs: 'Wlegcnllcd' (C1adh- S"u~) I ht· ,.. xt
is from Des Knat1en Wunderlwm (The Youth's Magic Horn), which is a popular collection of German folk poc1ry.
In Hrahm~·s ' Lullaby', a~ it is usually called - originally for voice and piano, but here arranged for piano only 1111' 11•,·II k111>11·11 1>1,·l11d\ h

accompanied by a rocking lcft-han<l accompan iment.

r.1 WI,; hy'f lw Awirlatrd U11;1rd r,f 1l1e 1!11yul Sdw1J I~of Mush·
Hqll'1Jdu, ,·d lr11111 i'/11w1 Mix I, 1.11111pll1·d ,111d ,·tllti•d hy I/avid Illa<kwl'II (AIIHSM )

AU 'J9(})
 6
lillL It IS
CJ illegal
to make

The Echo unauthorized

copies o f th is
copyright
music
No. 14 from Mayflowers, Op. 61

Theodor Oesten
(1813-70)

Pastorate [J = c.96]

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Theodor Oesten , a German composer and pianist, studied in Berlin and later became popular as a music teache r. He wrote a la rge numh1·r of
pia no pieces with attractive titles.
T h e ope ning motive recurs in b. 5, and then, in a varied form, in b. 9. For the echoes, the composer uses not only f !pp contrasts hu t also
tra n sposition to a higher octave. The performance direction 'Pastorale' suggests that these echoes take place in the countryside.
So urce: May -flowers... 25 short, very easy and amusing pieces/or the piano forte, Op. 6 1 (London: Robert Cocks & Co., 1050)
© 2004 by T h e Associated Board of the Roya l Schools of Music
Hcprod u ced from En core, Book I , com piled by Karen Marshall (ABRSM)
•

AB 3903
 t!lllh It is
CJ illegal
I rre ,
to rnake
unauthorize_d
copies of this
copyright
rnusic.
The Lonely Road
No. 6 from Work and Play
(®J
Felix Swinstead
(18 0-1959)
1
0 Andante [J = c. 108] - -;J
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Felix Swinstead was an English pianist and composer who studied at the Royal Academy of Music, London, where he was appointed professor of
piano in 1910. Before the First World War he gave many piano recitals in London and elsewhere. Most of his published works arc for the piano.
'The Lonely Hoad' is given a modal character by its G naturals (except in b. B). Its main motive (bb. I and 3) is played just once by the left ha11d
(b. 11 ) and recurs one last time in the coda (bb. 17- 18).
O l~)!i hy 'J he A,,ocia1cd Hoard of 1he Hoyal Schools of Music
llcproduccd from 'J'hrHna, I'. !J11nhill: Hrs/ Year l'icws and Felix Swins1ead: Work and Play(ABHSM)

AB 3903
 8 ril!L 1t is
Ci' illegal
to make
unauthorized
copies ol this

Happy Day copyright

music.

Ian King
(born 1962)

swmg
. • = c. 120 (n= ) ,,
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slow down 2 3
13 3

I King was a chorister at Hereford Cathedral, then studied music at Oxford University. He lives in Worcester, where he works as a coin poser,
~ her and pianist. Ian specializes in writing classical choral music, particularly sacred works, though he also writes foot-tapping tunes for 1··
11>
;: :ily folk band, as well as jazz piece~ for pupils. About this piece, the composer has written: ' Happy Day is a jaunty little tune which should 1>,·
played in a spirit of light-hearted fun.
© 2015 Ian King
[Link]

AB 3903
rfffi,, It is
U illegal
to rnake .
un a
uthorized
h.
copies of t ,s
copyright
Who Said Mice?
rnusic
from Cats

J.M. Last
(1908-2002)

Furtively [J = c.120]
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This is a musical portrait of cats on the prowl. The 'cat tune' is heard twice (bb. 1 and 9), with its second phrase (b. 5) varied the second time
(b. 13) so a~ to merge into a brief coda.
loan Last was an English mu~ic educator, pianist and composer who taught the piano for many years at the Royal Academy of Musk , I,0 11d1111.

O Copyright 1%4 ·1irn llawkin,/ J1,a n l.a'> I fatale

llscd by pcrmi, , ion. All 1·nqoirie, ah 11 u11his piece , huuld he addressed to timhawki11s100@[Link].

AB 3903
 rtllL It IS
D illegal
10 to make
unauthorized
copies of th,s

The Egyptian Level

copyright
music.

Kevin Wooding
(born 1964)

Egyptically [J = c. 11 6]

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This piece is selected from Spooky Piano Time: Terrifying_Pieces, Poems'. and Puzzles by Pauline_Hall and Kevin Wooding. Wooding was born in
Australia, but now works in Britain, teaching and composmg. Hts piece 1s prefaced by the following poem:
Mummies here, mummies there, Bandaged beasties from Khartoum,
Mummies in their underwear. Yes, Egyptians in this room.
Drinking coffee, eating pie, Although they may be eating pie,
Lying in sarcophagi. 1think that you had better fly...
No, not mothers (as you thought), For ravenous relics love to munch
But mummies of the other sort. And might mistake you for their lunch!

Wooding advises the player: 'To keep all those hungry mummies happy, you must make this piece as smooth and snaky as you possibly ra11!' 1ih'
scale he uses, with its augmented 2nd, Bb to C#, gives the piece a distinctly Middle Eastern character.
© 1997 Oxford University Press

Reproduced by permission. All righ1s reserved. 'The Egyptian Level' by Kevin Wooding is reproduced from Spooky Pia,io Time.

AB 3903