p�ano

chnical work Level 1

Preliminary to Grade .

<� I r_J

Sharp keys

,l.'l

-J,j,

-J,j,

-J,j, lt

fl J,j, +t J,j, +t J,j, +t IL J,j, +t 11

"""" _,.

-
'"'
t)

,-_ -.-.. �--

�1�1 --
 Emajor c# minor

" -

,,
- �-

" -
Bmajor G#minor

" -

,_ 11

c# major A#minor

- ,_ �-- -
l I '

Flat keys

,l.'l

,.. ,..I

..I

'

-fl ..I

...

...

..I

..I
C

� II'

10 AMEB

sca.it,t; str11ct11:res
Formation of the major scale (for example, C major)
tone tone semitone tone tone tone semitone

lower tetrachord

Formation of the minor scale (for example, A minor)

Natural

upper tetrachord

tone

semitone

tone tone

,..se.m..it-o.n.e.,

tone tone

- , I

0 II 0
0 -e-
II

tone

semitone

tone tone

,..se.m..it-o.n.e.,

aug2nd semitone

' a II 0

# -e-
II

Melodic
ascending
4 ''

tone

lower tetrachord

semitone

upper tetrachord

tone tone tone tone semitone

0 11 #o # -e- II
lower tetrachord upper tetrachord

descending

tone tone semitone

tone tone semitone tone

go a ,

II II

upper tetrachord lower tetrachord

lf"t ,,f''l!, -;,;; � 'll ij� t c. v�4;,1,n--- .h .t_'fu n d-_-. _;i
ffl"' ; n~ 1":!;"-hecl ,<" d;;Ji,,r "Tu..�t� h 1" �tr ...,. ct: rflil r "�'
s
dL/P !lf Jl.P�.!\!.,'/l.fil. s,1/j .\'l,.!;_ i,' '4,,,'11 -,,.JLlt' --..J\'
 bJL,,uU.!i.l", A ,::)_ .!l_,vJ3/4. "t::_lJll,,l}i 'l'--- li,,,,,.,,
- .,'!!. .,,.-\,
Formation of the dominant seventh (for example, of C) minor seventh
a "> II a a

0 a Ct ''
v1

a II

Formation of the diminished seventh (for example, of C)

diminished seventh

major minor minor 3rd 3rd 3rd

minor 3rd

minor 3rd

minor 3rd

AMEB 11

Level I
PRELIMINARY

All technical exercises must be prepared for examination. Candidates may read from
the music when presenting technical exercises for examination. The written
fingerings for technical exercises must be observed..
Candidates must prepare all scales. All scales must be presented from memory for
examination purposes. Candidates may alter the written fingerings for scales,
provided a logical and systematic approach is adopted.

TECHNICAL EXERCISES {PA - PB)

Exercise PA

Exercise PB

for the development of a stable hand shape:

(i) Hide and seek (right hand)
(ii) Gone again! (left hand)
for smooth passing of the thumb:
{i) This little piggy {right hand)
(ii) Off to market (left hand)
SCALES {P.I - P.8)
Scales C major - one octave
A natural minor - one octave
A harmonic minor - one octave G major - one octave
E natural minor - one octave
E harmonic minor - one octave
Scales in contrary motion C major - one octave
A harmonic minor - one octave

AMEB 13

TECHNICAL EXERCISES
Exercise PA - (i) Hide and seek (right hand) and (ii) Gone again! (left hand)
Exercises for the development of a stable hand shape. Candidates must prepare both
(i) and (ii) for examination.

Purpose
� To develop and maintain a stable and comfortable hand shape.
� To move quickly and accurately up and down the keyboard while maintaining a
relaxed and secure hand shape.
'--- ,.,,.x��=--- --- "'w.-,....,.,.,,.-,. _, ...,,.,..,,,,. _

(i)

Playfully J = 112 - 126

3

Hide and seek

(Right hand)
I

IJ ? ; J J r II
mp

(ii)
Cheerfully J = 112 - 126

Gone again!
(Lefthand)

2=1 r r

IC LL r r I :if55 I

I J-. J II

I 4 3 I
mp

5 r 5 I 5
mf

Important things to aim for

� When you shift to a new position, use your thumb as a guide. If the thumb can
position itself securely, the rest of the hand will follow.
� When shifting, try to move your hand in a straight line and to travel quickly, so
that you have plenty of time to prepare for the next group. Maintain a relaxed hand
shape during the shift.
� Play dearly and evenly, listening carefully as you go.
� Play with the marked dynamics to make the music sound more interesting and
expressive.

Try this first (optional: not for examination)

1. AlloW both arms to hang loosely by your sides. 1here should be no feeling of
tightness - just let them hang.
2. Without tightening, bring your right hand up to the keyboard with you:r thuriib
resting lightly 6Vet arty white key and the other fingers finding their place on
adjoining white keys. Dont play anything, just���.� position your hand comfortably
on the surface of the keys..�.
3. � K:eep this hand shape as yotr'glideslowly up and down the white notes of th
keyboard, feeling the key
surfaces as you go. .
4. Do the same with the left hand.

14 AMEB
� . ,.... � � �,.._,, ,.,.,.,._..,,,,h,-�'������---��� -,�, CCC.
����� ,-.,,,,,._..,,.,,.. ���-,.--��,, � ,.-,,',,,,...,>," W� ,,, -
- ,,�......, ,- ,..-., -- -�",,,,,, �..., ,� ,"�� ,..,.,w Af ,'��������--- � -
� ,,, ,, ,� ,ll'��"�'�-��'._._,_,,,,,,,,,,,'
E tra for experts .(optiomil: not foeri"111l a.tio11} . ..����.��.���..��.�..�..�
�.�.�... �. _� �.. ...�.��..�..�. ��� > . . .�...�..�.��.��.. ;:\)
Once you.have mastered ex rcise PA,try these�two ad tionaLexercises,tising!he qua
erteststo move the\�;!
hand into the new position,� � �.. �� : T _a rlsl..! .� ����/ j
....�. {Righthand) J1
With spirit Lt? 84- � � � �� � ������ '�j.

i � {o�.:�.�.��.�..�..����k.�.

'';.+.��.��.��.��.�:���..��

1
.,Jm.�..��.���;.��...

2.��������������.��1��.�.�r .��..�..���..�..I.

�1 ,.;.! �._�'

ft.J :,

Fp i. I .,�����,��l������.=.��f

-.p� I

. : ;_i.

..5.

, JJU)<.,��t J ,.,,2 ..

...

i"'!f ii
AMEB 15

Exercise PB - (i) This little piggy (right hand) and (ii) Off to market (left hand)
Exercises for smooth passing of the thumb. Candidates must prepare both (i) and
(ii) for examination.

Purpose
� To develop freedom and flexibility of the thumb as it moves under the hand.
To achieve absolute evenness of tone through ascending and descending position
shifts.
\ )

�"'

��-����

� � �

��- �-� P

(i) This little piggy

(Right hand)

& z id:J J j J
mf

j 1J
I
2 I 4 I 2
J J J lbr J J

I
- t2J j 11

(ii) Off to market

(Lefthand)
With purpose = 100 - 120
2= i r rr r �r: r r r I r r r r I r r r r 11r r r 11

I 2 I 2 I 2 I
"'!I

3 I 2 I

4 I 2 I 4 2 I

Important things to aim for

� Absolute evenness of tone as the thumb moves under the hand and as the hand
crosses over the thumb.
� Avoidance of any gaps or bumps in the sound.

16 AMEB

I i. the same with the left lia'rid: Notke'i:furt the ffi.ilii).bberidliisit

ttf<rves hl::i&sc� . i � �
3.�..Trf tt> mai11ta.hi a shnilcttt'eelirigwh iipfayirig' e two pi:'eparit6ry e:x:
i ises:�. ��
e:tt#t:�f@whlk\<
. ��.������ (Jli,ghiliaiii.l)'.� < -.�.�� >
. �..�.�..�. SriappnyJ= so -loo)�����.. . .. .. .. . . .........�.�..� ��
;, .. . . ��. � .r����.
..,tJJ?jass:;ra;I,;s:ai leSJAfwx�s 3 i

i . ���:�;;�;:<.:
i 1\1:y'bigJ f
(Lefthand):

1-�-�� 2
' 3 �.I. ,�3:}':'.i:>��2 ,,... 3 1 ... :.�3 :(,'f� , ,,,,,
I

AMEB 17

SCALES

Scales - hands separately

Each of these scales must be prepared with the following qualities.

Scale Number Page

Cmajor P.1
A natural minor P.2
A harmonic minor P.3
Gmajor P.4
E natural minor P.5
E harmonic minor P.6
\'-,,.,,.,., -

[ill C major - hands separately

Compass Dynamic

Articulation Minimum tempo

<

I I 2 1 3 2 1 2 3 1 2 I I 5
I P.2 \ A natural minor - hands separately

,-,

/} 1 2 3 1 2 3

4 5 4
I

3 2 1 3 2 1

" - -- - - - -

-- ,,

2 1 2
j P.3 j A harmonic minor - hands separately

18 AMEB

I P.4 I G major - hands separately

= 76
I P.5 I E natural minor - hands separately

I5 4 3 2 1 3 2 1 2 3 1 2 3 4
I5

I P.6 I E harmonic minor - hands separately

<

I 4 3 2 1 3 2 1 2 3 1 2 3 4
I5

AMEB 19

Scales - hands together in contrary motion

Each of these scales must be prepared with the following qualities.
Scale Number Page Compass Dynamic Articulation Minimum tempo

I P.7 I C major - hands together in contrary motion

I ..

1 2 3 1 2 3 4 5 4 3 2 1 3 2
1
I

1 2 3 1 2 I I I I 2 1 3 2 1

I P.8 I A harmonic minor - hands together in contrary motion

.J = 66

20 AMEB

GRADEi

All technical exercises must be prepared for examination. Candidates may read from
the music when presenting technical exercises for examination. The written
fingerings for technical exercises must be observed.
Candidates must prepare all scales. All scales must be presented from memory for
examination purposes. Candidates may alter the written fingerings for scales,
provided a logical and systematic approach is adopted.

TECHNICAL EXERCISES {IA - IC)

Exercise IA

Exercise IB Exercise IC

for broken triads:

(i) A flying leap (right hand)
(ii) A running jump (left hand)
for contrapuntal playing:
Waiting for the bell
for flexibility (rotation of the forearm):
(i) Running on empty (right hand)
(ii) Tanking it up! (left hand)

SCALES (1.1 - 1.11)

Scales G major - two octaves
E natural minor - two octaves
E harmonic minor - two octaves
F major - two octaves
D natural minor - two octaves
D harmonic minor - two octaves
Scales in contrary motion C major - two octaves
A harmonic minor - two octaves G major - two octaves
E harmonic minor - two octaves
Chromatic scale Commencing on G - one octave

AMEB 21

TECHNICAL EXERCISES

(i) A flying leap

(Right hand)

Playfully = 72 - 88
4�1(5[4 1

5
-----------2 1 3 5 r

f E
3 3 3
mp
 g II
(ii) A running jump
(Lefthand)
Merrily = 72 - 88

r:- 3 7
2=�1

r r r3 7 3 r r

1 3 5 1
mf

1 2 5 2

p 1nif

Important things to aim for

� Flow through each pattern with a relaxed hand.
� Always try to prepare the shape of the hand for what is to come.
� Play the dynamic contours as written.

22 AMEB

� .�.TrythiS]i.rst(opti. n.21 :j1 tfor:. min ti6-)

.� .. :) : i.. .. .��.....-..
:/>� .�� ...,.���� :�,......������..���;�_.�_ \,:.....< >?)

L , ,Play this exercise slowly, eithe�r�hands together ,or hands separately, using
the fingering indi ted. You - ( J
can use the right (sustaimng) pedal if you wish..' _ - _ - � -_ �
- >?j'
!
.�.. �1J i
/j:J
);::1
:: .�..����� :�::,�:;:: ,:< i �. tt... /� .� .. '��.� ..,...
;fi;ga;a/ta- >.;J GiE ;;�=?J ir 93; Jia 1iJ1r'" "]

2='',r ? rdBtt6t
: ;. ..... .. ��: >.

�.��_ ........�.. �"�:ct Jt a

!�K!;!'rt Jr 'rl)J,, ,}Cl
� , ,,

��2-...�ttj,\i ariiep ttt:i:ri d fricilig t.ili JHi?f:\/-:/;:-0 ��

t_,��.�.�., ..,,._..,...0.���:,�. �..���.� >
�a�;;./������.��.�.��.�............�.�� .....��.���� ��.� ��� < ..-.:?: \ ..
(: ;L\iL�<�����--yiih.���ifY:{ .'.i':: ): ii'k J
AMEB 23

. .....,,_.....,. v,

,,_._-.-�-�--��'���-� �' '',...,.,...., ,.., .. �---�-""'-.,.

'

I
l � To coordinate the hands successfully when each carries an independent
melodic line.
l_.:... To apply independent dynamic shaping to ea_ch_h_an_d-�--=----- --
Waiting for the bell
A little impatiently .I. = ca 68

'

mp
Important things to aim for
� Listen to how the two hands combine, making sure one does not dominate the other.
They are both equally important.
� Be alert to those places where one hand releases while the other holds.

.,,,.........-""'����,..,..."� .> -�����cc-� .,.,..._.,.,.,,,..,... -

! Exercise 1C - (i) Running on empty (right hand) and (ii) Tanking it up! (left
hand)
Exercises for flexibility (rotation of the forearm). Candidates must prepare both
(i) and (ii) for examination.

Purpose
� To apply small but free 'rocking' (rotary) movements of the forearm to assist the
fingers through patterns of alternating intervals.
� While keeping the fingers close to the key, to maintain a feeling of freedom and
flexibility in the hand and arm as the forearm rocks gently to and fro.

(i)

In a hurry J = 108 - 120

Running on empty
(Right hand)

' I nJ}j j j J I jd Jj Jj jj I j-J j j j j j J IiJJD t II

mp - =======

(ii)

With a sense of urgency J = 108 - 120

Tanking it up!
(Lefthand)

2= I U J .J J J JJ I J-JJJ J J J .J IJ J J .J J J JJ I J J J J J l II
54535251 51413141 54535251 5
mp

24 AMEB

Important things to aim for

� Maintain a feeling of relaxation in the forearm as it rocks.
� Allow the rotary movement to contribute to the playing of the larger intervals
(fourths and bigger), producing a fttll, clear tone (the fingers still play an
important role so don't let them become floppy).

��� .��.����"'�"Y'����������N>"Y:,.'"'"'=>� :-,- ., -�������������������� ������=-

���������. � � �- ,.,_.,,,vr�' """'''"'"" ,,��,�,,�,.,.,,,..>,m= ..�
�,.,,�����������--==<- h �,�,...._. ,.-=="=< --�>'�>���'>���� - "-
��""���"" ,,,�����������..-,.,....www-�--.�.�c,.c ,, ���� --- ' � , , ,
_,,.._.,.," � � "- .....
Tfytb.is tirst(opnonai:n tfor :x::i1llinationJ ..�. ��. � �� (_:)
.I .��� =!r it;i :t l';::;ti! :i t,t6&tt / ti<1
2�.�. ��:PJ:k ?!itt!t!f= tuf! i:,'!:1!tn1i::!! 'f!esit::= },';1;;:.�j
���... handsrelaxed. . . . . . . .. .. . . �1����1!
}� 1i:f 1; f}t551ti Etif!t$ lti; 1
4��1'fvf! tll !i0tf ! t1flo fteti]!ttR ' t:::Tui ��I.1
their keys.� � � � .>
: < : . (Jlightl.t d). ���\I
r .J il
2=2.

t
� .f. 5

F � f

( �:ljait<l)�.�..�.��;��.�.��..
< 5

.........-",;,,;.,,i.;;,,a>.;;,,,;E ?Tsei�.��.���������.....:���"?..:�.:2:..
2Jhl!...{?iliLE2L�/48:;J

AMEB 25

SCALES

Scales - hands separately and together in similar motion

Each of these scales must be prepared with the following qualities.

Clear, even

Clear, even

J = 76, two notes

J = 76, two notes

G major - hands separately and together in similar motion

E natural minor - hands separately and together in similar motion

E harmonic minor - hands separately and together in similar motion

26 AMEB

F major - hands separately and together in similar motion

D natural minor - hands separately and together in similar motion

D harmonic minor - hands separately and together in similar motion

AMEB 27

C major - hands together in contrary motion

A harmonic minor - hands together in contrary motion

G major - hands together in contrary motion

28 AMEB

I 1.10I E harmonic minor - hands together in contrary motion

Chromatic scale - hands separately

This scale must be prepared with the following qualities.
Chromatic scale Number Page Compass Dynamic Articulation
Minimum tempo

Commencing on G 1.11 One octave Clear, even

legato

.J = 76, two notes per beat

I1.11I Chromatic scale commencing on G - hands separately

f� Exttaforexperts{option I:11.otfo.L xami tion{/.>>. /S �<...�.� .�.�...�

1. S eif you caH playthe G chto1n tic scale with bdlli hand :t gethet.��
2. .� try.adrromaticscale corrifuendrigonc orb.

\,...

� ���,.c..,S,..,. .� ��.. �w.-,.,��.���� �. ..: �-�- ,;.. ",y .,.cc..,00= �

,_., > .. ! ��,,,..,,.,,.::,-?--�-cc- �,., ... cc,......cc,cc f ., �
�,., "'-'"""�% - � "y"" ; - ~ � _-.,..._�,,,.;.kk,...
AMEB 29

GRADE2

All technical exercises must be prepared for examination. Candidates may read from
the music when presenting technical exercises for examination. The written
fingerings for technical exercises must be observed.
Candidates must prepare all scales. All scales must be presented from memory for
examination purposes. Candidates may alter the written fingerings for scales,
provided a logical and systematic approach is adopted.

TECHNICAL EXERCISES (2A - 2C)

Exercise 2A

Exercise2B Exercise2C

for thumb passing:

(i) Thumb driving (right hand)
(ii) Bass driver (left hand)
for contrapuntal playing:
Too tame to tango
for broken chords:
(i) Take the slow train (right hand)
(ii) Back track (left hand)

SCALES (2.1 - 2.12)

Scales D major - two octaves
B natural minor - two octaves
B harmonic minor - two octaves BP major - two octaves
G natural minor - two octaves
G harmonic minor - two octaves G melodic minor - two octaves
Scales in contrary motion G major - two octaves
E harmonic minor - two octaves
F major - two octaves
D harmonic minor - two octaves
Chromatic scale Commencing on D - two octaves
AMEB 31

TECHNICAL EXERCISES

Exercise 2A - (i) Thumb driving (right hand) and (ii) Bass driver (left hand)
Exercises for thumb passing. Candidates must prepare both (i) and (ii) for
examination.
Purpose
� To achieve a clear, even legato every time the thumb passes under the hand and
every time the hand crosses over the thumb.
� To move the hand and arm calmly and evenly, with no sudden or large movements of
the elbow.

(i)

With swing(I) J_= 88 - _10.0

Thumb driving
(Right hand)
;----------------

' 2 JI J J
mp

1J J J qJ J I J J J 1J J
2 I

II

(ii) Bass driver

(Lefthand)
With swing(l)J = 88 - 100
,.,----------
tr 2C r !r gr
1 2 3 4 I
mf

4 2 1 3 1 3 I 2 3

4 2 1 4 3 2 1

mp ========-
(1) n=,--3-;,

Try this first (optional: not for examination)

1. With the right hand alone, play a C majot scale slowly and smoothly o er two
odaves, ascending then
descending. Use the following three fingering patterns:
a. 121212 etc. (the top C will be played by 1)
b. 123123123 etc. (the top C will be played by 3)
c. .� 123412341 etc. (the top C will be played by 3)
Listen closely to ensure that everything is clear, smooth and even, and concentrate
on movingthe thumb into position as early as you can. Try to avoid any sudden or
awkward movements of the elbow.
2. Repeat with the left hand, des ending thenasceriding, starting on middle c:��

32 AMEB

With attitude! J = 100 - 108

Too tame to tango

p 2 1
I 5 2 1
p

5 I2 1 1 3 4

AMEB 33

Exercise 2C - (i) Take the slow train (right hand) and (ii) Back track (left hand)
Exercises for broken chords. Candidates must prepare both (i) and (ii) for
examination.

Purpose
� To play broken chord patterns with secure hand shapes and confident, timely
shifts from one position to the next.

(i) Take the slow train

(Right hand)
With a sense of forward motion ..I. = 52 - 60
5 5
a; I J ;Jr r r IF rf r= IS% iI V# S 2 I II
IPrGJ
mp
(ii) Backtrack
(Lefthand)
Keep that train moving!..I. = 52 - 60
Ehgffr) J J l(f r ?J J l@BJ l(flfi}� II

123543

212

4 � � 11..-..--1 532123

'"!I ================= - :: _.= ===============

Important things to aim for

� In the.first bar of each exercise, allow the changing fingers to lead you into
the new position for the second bar.
� In bars 3 and 4 of each exercise, allow your fifth finger to follow your other
fingers down (or up) after you have played it so that it is ready to commence the
next group.

Try this first (optional: not for examination)

1. In playing the exercise below,�make sure that, in the ascent, the thumb�is in
place by the time the fifth�.�. finger plays its note. On the way down, the fifth
finger can move into place as (or even before) the thumb plays its note. In this
way, you will always be prepared for what is coming next.
Be sure to observe the given fingering. Hold each crotchet for its full value,
joining it smoothly to the note that follows.

1Ec-J @J 1Tr
3 ..� 3
2. Apply the same principles of preparation to the left-hand version of the
exercise,

wr

EtrJ

-1JJ

34 AMEB

Extrafor experts (optional: not for examination)

In the right hand of this continuous broken-chord pattern, aim to have your thumb
in place for the next position by the time the fifth finger plays its note. In the
case of the left hand, you can move the fifth finger into position as your thumb
plays, or even a bit before. Play with each hand separately, preparing ahead
wherever you can.
AMEB 35

SCALES

Scales - hands separately and together in similar motion

Each of these scales must be prepared with the following qualities.
Scale Number Page Compass Dynamic Articulation Minimum tempo

G harmonic minor G melodic minor(l)

<1>Hands separately only

2.6
2.7
37 Two octaves Clear, even
37 legato
37

J = 84, two notes per beat

D major - hands separately and together in similar motion

n!f

B natural minor - hands separately and together in similar motion

B harmonic minor - hands separately and together in similar motion

36 AMEB

BP major - hands separately and together in similar motion

G natural minor - hands separately and together in similar motion

..J =84

G harmonic minor - hands separately and together in similar motion

..I= 84

G melodic minor - hands separately

..J =84

5 4 3 2 I 3 2 I 4 1 3 I 3 I
4 I 3 1

AMEB 37
( . �

. � ~�� � . ,

.. �� , -� ---w� �----�-<,vvy._,.. .,..,............

Scales - hands together in contrary motion

Each of these scales must be prepared with the following qualities.
Scale Number Page Compass Dynamic

Articulation Minimum tempo

Gmajor 2.8 38 Two octaves

E harmonic minor 2.9 38
F major 2.10 38 Two octaves
D harmonic minor 2.11 39

Clear, even
legato
Clear, even
legato

J = 66, two notes per beat

J = 66, two notes per beat

_,., - ,..,.,... ,,...,.,...,

G major - hands together in contrary motion

E harmonic minor - hands together in contrary motion

/ 2.10I F major - hands together in contrary motion

38 AMEB

I 2.11 / D harmonic minor - hands together in contrary motion

I2.12I Chromatic scale commencing on D - hands separately

1. Try the G melodic minor scale both hands togethet:in si1fill. motioxi.
��..� .� . � � .��� ..� ����
2. Choose one of the abbve scales atid playit as softlfas you Cail, whil nsili#ig
ev ry Ii01:e c:ili stiU be

AMEB 39

GRADE3

All technical exercises must be prepared for examination. Candidates may read from
the music when presenting technical exercises for examination. The written
fingerings for technical exercises must be observed.
Candidates must prepare all scales. All scales must be presented from memory for
examination purposes. Candidates may alter the written fingerings for scales,
provided a logical and systematic approach is adopted.

TECHNICAL EXERCISES (3A - 3C)

Exercise3A

Exercise 3B Exercise 3C

for the preparation of arpeggios:

(i) Whirlygig (right hand)
(ii) Wind whipper (left hand)
for tonal balance:
Alone
for wrist flexibility:
My special place

SCALES (3.1 - 3.13)

Scales A major - two octaves
p# natural minor - two octaves p# harmonic minor - two octaves EP major - two
octaves
C natural minor - two octaves
C harmonic minor - two octaves C melodic minor - two octaves
Scales in contrary motion D major - two octaves
B harmonic minor - two octaves BP major - two octaves
G harmonic minor - two octaves
Chromatic scale Commencing on A - two octaves Commencing on n#/EP - two octaves

40 AMEB

TECHNICAL EXERCISES

Exercise 3A - (i) Whirlygig (right hand) and (ii) Wind whipper (left hand)
Exercises for the preparation of arpeggios. Candidates must prepare both (i) and
(ii) for examination.

Purpose
� To achieve smoothness and tonal evenness during thumb passing and hand crossing
in arpeggio patterns.
� To apply expressive dynamic contours that reflect the rise and fall of the
melodic line. I

� ��

�,,

,.,

�-~

,..,)

(i) Whirlygig
(Right hand)

Gleefully .J. = 60 - 76 -
n r 2 4 I 2
2 .I. 2 I 2 i�

' '',,H2 ;4 E

1f E

l= E

mp ef

'pl�I,

..I

2 I 2 I
t

4 2 4 2
D Ir f r

IJ:1?2]. II

(ii) Wind whipper

(Lefthand)
Snappy and fun! .J. = 60 - 76

2\1�I,uG J

r f r

J } I J J ] B?r1.

2 4 I 2 I 2
mf

4 1 2 1 4 2 4 l 2

r I f c

_-j t rr

- f-- .
11

I 4 2 4 I 2 l 4 2

Important things to aim for

� Listen closely to ensure evenness whenever the hand position changes, being
especially careful to avoid any bumps or gaps in the sound.
� Apply the dynamics that are marked in order to increase the interest and
expressiveness of the exercise.
AMEB 41

Expressively J = 80 - 88

Alone

<

'� y ,. -

-- -

- --

- -- --

riten. 4

.- ,. -
5
p

- -
I I 2 1 2 1
ef

..,...
2 5

---,-,.
I1
4
p

Important things to aim for

� A clear, expressive melodic line, regardless of whether it appears in the right
hand or the left.
� Clear dynamic delineation between melody and accompaniment.

42 AMEB

AMEB 43

..,,f�. ... . ' .....-��� ---���� . ,. -�. ,....,....., ... , . .. ... ,..
. ...... ' ...., �-����

, Exercise 3C - My special place

Exercise for wrist flexibility.

[ Purpose ,
J: � The development of flexibility in the wrist.
\ � The production of a clear, sonorous tone in chord playing. 1
'\,.,,.,,,,,..,.,...,,,.,,...,.,.,.,.,,.,_,.,.,,.., ,.,,...,.,...,.,,.,m,..,_.,.,x,
n,-, ,,,..,.,..._,.,,., ..,.,.,.,,m,.,<,.,., ,,. ����� "'��'�'" ..,,.,..,.,.
---��m�"�u,�-�,m��-���"��- ��""':w,.._,._,..,.,,.,,.,.. --�>+� -- -�-�--
�����x-,�-,�.,.., ,/
My special place
Unhurried J = 72 - 88
5 5 5 5 5 5 4 3 5

f'l .i. 1 1 2 3
<

1�1 1 - .,

-
2 1 1�,

I ,._

--, r,
1 1
5 5

r,

I1 I1
5 5

12 I I
4 4

I1 I 2 I
5 4

,I -f'l ..i.. 1 1

5 5 5 2 5 5
2 3 11 I 1 I

- - -
<

-- --

L -.-_. �-

--,

r,
,,-

- -- --

1 1 I I I.2

I1 3

12. I

5 I 1
5 5 5

Important things to aim for

� Release each chord through a relaxed wrist just before the next is sounded (this
will sometimes leave a slight gap between the chords but that does not matter).
� Play with a flexible wrist and firm finger tips.
� Aim for a clear, rich, sonorous tone.
44 AMEB

3.

>� >J: :1���:c\

s...�. 5!ii 5ifi rii!: �it!l rili�
in preparation for the next drop. Yott may need to repeat a:riumber oftimes:tog tth
 the movements arid the sound productionWotkfog�th fX<>ti:can ttse p 9a1if you
#ish: ����
.. ��=� ,,;:

AMEB 45
46 AMEB

SCALES

Scales - hands separately and together in similar motion

Each of these scales must be prepared with the following qualities.
Scale Number Page Compass Dynamic Articulation Minimum tempo

48 Clear, even .I = 92, two notes 48

A major - hands separately and together in similar motion

.I =92

p# natural minor - hands separately and together in similar motion

.I= 92
p# harmonic minor - hands separately and together in similar motion

.1=92

AMEB 47

E major - hands separately and together in similar motion

C natural minor - hands separately and together in similar motion

C harmonic minor - hands separately and together in similar motion

C melodic minor - hands separately and together in similar motion

��.,--�~-�-��---�-���� ����--���---���--�--
� .,...... ........--.���," ... ...,., ......
����������� ......,....,.,....... ...,.,....- ...����.................---���
--,-,-,.--- ����-----���." .....
:!iy:1:�J:r:;:;J: =:&:i:; ftJ w dbili K. :-; ��
� 1.� ... Pick an'y of the scal s and start softly, tnakirig a tti5cehdo as you
ciScend ilitli-difflinuendoasybtid )�� .. .���-�l
scend. Be sure fokeep the speed e:x:actlythe safue:fhrough.<Jut. . _ .;
\ ..-.-..- c ,;;..::.-�;:::0:l'

48 AMEB

Scales - hands together in contrary motion

Each of these scales must be prepared with the following qualities.
Scale Number Page Compass Dynamic Articulation Minimum tempo
Dmajor 3.8 49 Two octaves Clear, even J = 80, two notes B harmonic minor
3.9 49 legato per beat
BP major 3.10 49 Two octaves Clear, even J = 80, two notes G harmonic minor
3.11 49 legato per beat

,,,.f

.. ��-����"�����><'-'""",..... ...,....,.,., """''"'"'"''"'";��- .....

,_,.,.._"-''""..�����-

D major - hands together in contrary motion

B harmonic minor - hands together in contrary motion

BP major - hands together in contrary motion

13.111 G harmonic minor - hands together in contrary motion

AMEB 49

Chromatic scales - hands separately and together

Each of these scales must be prepared with the following qualities.

Commencing on n#/EP 3.13 50

legato

per beat

13.121 Chromatic scale commencing on A - hands separately and together

J = 92
13.131 Chromatic scale commencing on o#/EP - hands separately and together

50 AMEB

GRADE4

All technical exercises must be prepared for examination. Candidates may read from
the music when presenting technical exercises for examination. The written
fingerings for technical exercises must be observed.
Candidates must prepare all scales and arpeggios. All scales and arpeggios must be
presented from memory for examination purposes. Candidates may alter the written
fingerings for scales and arpeggios, provided a logical and systematic approach is
adopted.

TECHNICAL EXERCISES {4A - 4C)

Exercise4A Exercise4B

Exercise4C

for agility through changing hand shapes:

Winter winds
for broken chords:
(i) Catch me if you can (right hand)
(ii) Skater chaser (left hand)
for finger staccato:
(i) Finger picker (right hand)
(ii) Ticky tacky (left hand)

SCALES and ARPEGGIOS (4.1 - 4.20)

Scales

Scales (staccato)

Scales in contrary motion

Chromatic scales Arpeggios

E major - four octaves

c# natural minor - four octaves c# harmonic minor - four octaves c# melodic minor -
four octaves AP major - four octaves
F natural minor - four octaves
F harmonic minor - four octaves F melodic minor - four octaves
AP major - four octaves
F melodic minor - four octaves
A major - two octaves
p# harmonic minor - two octaves EP major - two octaves
C harmonic minor - two octaves
Commencing on E - four octaves Commencing on G#/AP - four octaves
E major - four octaves E minor - four octaves AP major - four octaves AP minor -
four octaves

AMEB 51

TECHNICAL EXERCISES

Breathlessly flowing = 42 - 56

Winter winds

Important things to aim for

� Try to prepare for each hand shape and to develop an awareness of when and how
you need to move between them.
� Aim to produce a clear, even tone, listening especially to ensure that there are
no gaps or rhythmic irregularities when the hand shifts occur.

52 AMEB

Exercise 4B - (i) Catch me if you can (right hand) and (ii) Skater chaser (left
hand)
Exercises for broken chords. Candidates must prepare both (i) and (ii) for
examination.

Purpose
� To develop fluency in playing broken chord figures with alternating contours.
� To explore a combination of finger work and forearm rotation as a means of
achieving clarity and facility in passages of alternating contours.
,l

(i) Catch me if you can

(Right hand)
Merrily .I = 54 - 66

- - ���c>� �/,,.

5L23

1 3 2 5 5 5 5

4uff I J 4j j J j J 1

r4 r4 f r

1h r i

1 s4 3

J r
mf ===-

f r

r f

4 �cf[f) 5 4 1 fjj
(ii) Skater chaser
(Lefthand)
Enthusiastically!.I = 54 - 66
,,--

mf 2 5
2=�n(GE F [ r [ F

1 4 1 4
II

===1==3
Important things to aim for
� A clear, round tone.

=2==5-4

-5-2=3==1=============

� An even delivery of all the semiquavers.

� Accurate performance of dynamics.

AMEB 53

�"".....,���-..,.- .,..,,.., ,.,."'''"'" ,, , ,., .�,_,,.,.,.. ,..

Try this'firsf(optional: ne>i for exaumfation) . :
.� I.� With your righthand tn�a comfortable playing position, placeit dri
aflatrurl'ace; WhiJ.e keeping fillgers i 2, 3 and 4 in contactwith the surface,
gently rock the forearm from side to side ,so that the thwnb�arid I '�the fifth
finger move withit. Allow each to lift:a centimetre or so above th surface before
moving back I
in the other direction. .�� �' .. ��� �� . �� �,. , � '� � �
. .�
,. :2�.,����Playthe�foll Wilig exercise with eath-hand'.separately.,Keep�if qriifo
slo\\7a.ttlculctrly:when using 2:s iI and.I.;.4, expe im�enfwith applying
the�tockingaction described above; Keep the actu l mc:rve:ttteritqtiite ����!�
small but try to feel free in the hand and the arm. Repeating eacffpattern
co'ritibuou.sly.a number'of i)
times will help make if feelnatural. � ��

�..�� i1#l.!fil)Jut��+J)JJt 1

,.D fcttf r IF' Cr f,1��

����:J�.. ����

. 2' 1o.� gJJi Jf:ffJiJt�I

������_�

� Extra tor.experts�<optionai: 1101::tor exammation) � ihe���exerd

e�J>elow'is��hJse<i�,��9 ,a p* s ie.from�.���the.tt bars lI0.;.114).Itis a good
eifuiple:of how basic:te
, . .. : _. .. .�..: .,. : ..:' . ,. . . . .��..: ..� . ;_ ..� -�.. .. .�
. :. . ...' .�....,.: �.. ' .:,,.�.' �. .... : ; .' ._�... ,. �_...:�� ..

54 AMEB

Exercise 4C - (i) Finger picker (right hand) and (ii) Ticky tacky (left hand)
Exercises for finger staccato. Candidates must prepare both (i) and (ii) for
examination.

Purpose
� To achieve a light, controlled finger staccato.
] � To maintain a calm, relaxed hand when playing staccato patterns. ,J
',.,...,. ,--�,.���--�-��--�"����--� ---� -- -- -~- ,...-.v..,..A>,..,.�v,._,,, ..�
_...,,,_.,_..,,...,,. ,--��-���-�����y��--- ----- --�---,-- _,,M,_,..,Y- ._,._ -/

(i) Finger picker

(Right hand)
Playfully = ca 50 - 60
,M, 3 3 3 3 S-4 3 2 I I 2 2 3 1
2 3 2 I 3 2 4 3 4 5
utnI '1#1!/� � � $ Q $ J. J. O J fO Q I r r C L t [ f r t t f Cf E II

'
(ii) Ticlcytacky
(Lefthand)
Spirited and fun = ca 50 - 60

Important things to aim for

� Play lightly, trying to keep the hand calm and relaxed.
� Despite the staccato markings, avoid trying to play too short (a light, natural
separation is all that is required).
� Allow each key to be released without moving your hand away from the keyboard.
� The idea is to keep the fingers quite close to the keys so that the hand remains
calm and the fingertips are ready for what comes next.

AMEB 55

Try this fitst(optiorial: noffor e:x:a:11d11ation) -

-1-.-.�_�Piay these repeated noteslightI-y Ild with ai-elaxed liand, ttsfugthe
firigerlrig pattern 5432[.1:hottgh the
� .t 1?!f;1t!.: EJi$t E 1 1FEJl !it''

56 AMEB

Exfra ftif'expe:rfs(optic:foal: not''forexamination) �.

Try these two exercises which require finger cha.ngesp each of the repeated� btes;\
Rehe!l:p1ji f
(Right h#td)
,.��� .� � �.�.�.��� .��� �.. .��� .�� :< . ...�.�.� .��..
. ..��. ..� ii
@Kttt #-Ffttt�J�JWtt n�,FFI{f WE pz�s.g a ijj����11!
AMEB 57

SCALES and ARPEGGIOS ,,,

Scales - hands separately and together in similar motion
Each of these scales must be prepared with the following qualities.

ScaleNumberPageCompassDynamicArticulationMinimum tempoEmajor4.158

I
1

Scales are printed over a range of only two octaves to show the fingering pattern.
Candidates must present the scales with a compass of four octaves in examination.
In most cases, this will mean commencing one octave lower than written.

E major - hands separately and together in similar motion

.1=63 5

c# natural minor - hands separately and together in similar motion

.J = 63 3
c# harmonic minor - hands separately and together in similar motion

58 AMEB

c# melodic minor - hands separately and together in similar motion

AP major - hands separately and together in similar motion

.J = 63

F natural minor - hands separately and together in similar motion

.J = 63 4 1

F harmonic minor - hands separately and together in similar motion

.J = 63 4 1

F melodic minor - hands separately and together in similar motion

.J = 63 1
AMEB 59

Scales - hands separately and together in similar motion (staccato)

Each of these scales must be prepared with the following qualities.
Scale Number Page Compass Dynamic Articulation Minimum
tempo

AP major
F melodic minor
4.9
60 Four octaves Staccato J = 52, four notes
4.10 60 per beat
.)

Scales are printed over a range of only two octaves to show the fingering pattern.
Candidates must present the scales with a compass of four octaves in examination.
In most cases, this will
mean commencing one octave lower than written.

14.9 I AP major - hands separately and together in similar motion (staccato)

F melodic minor - hands separately and together in similar motion (staccato)

60 AMEB

Scales - hands together in contrary motion

Each of these scales must be prepared with the following qualities.
Scale Number Page Compass Dynamic Articulation Minimum tempo

A major 4.11 61 Clear, even J = 52, four notes

p# harmonic minor 4.12 61 legato per beat
EP major 4.13 61 Two octaves Clear, even J = 52, four notes C harmonic minor
4.14 61 legato per beat

j 4.n \ A major - hands together in contrary motion

J =52

14.12I p# harmonic minor - hands together in contrary motion

14.131 EP major - hands together in contrary motion

I4.14I C harmonic minor - hands together in contrary motion

AMEB 61

Chromatic scales - hands separately and together

Each of these scales must be prepared with the following qualities.
Chromatic scale Number Page Compass Dynamic Articulation
Minimum tempo

Commencing on E Commencing on G#/AP

4.15
4.16

62 Four octaves Clear, even

62 legato

J = 63, four notes per beat

Scales are printed over a range of only two octaves to show the fingering pattern.
Candidates must present the scales with a compass of four octaves in examination.
In most cases, this will mean commencing one octave lower than written.

14.151 Chromatic scale commencing on E - hands separately and together

14.16 j Chromatic scale commencing on G#/AP - hands separately and together

62 AMEB

Arpeggios - hands separately

Each of these arpeggios must be prepared with the following qualities.
Arpeggio Number Page Compass Dynamic Articulation Minimum
tempo
E major 4.17 63 Four octaves Clear, even .J = 76, two notes Eminor
4.18 63 legato per beat

Ab major 4.19 63 Four octaves Clear, even .J = 76, two notes

Ab minor 4.20 64 legato per beat

Arpeggios are printed over a range of only two octaves to show the fingering
pattern.
Candidates must present the arpeggios with a compass of four octaves in
examination. In most cases, this will mean commencing one octave lower than
written.

I4.17I E major - hands separately

14.18 J E minor - hands separately

14.191 Ab major - hands separately

.J = 76

AMEB 63

14.20I AP minor - hands separately

J= 76
64 AMEB