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Oh dear, I', playing all the popular overplayed ones then?! Song of erin is too easy, I learnt it to finish within 2 hrs. Would like a challenge but Early one morning is pretty difficult in the Bass, and Kummer I can only play slowly, wouldnt want to make any mistakes in the exam so playing it safe.

I was going to play Early One Morning but I can't force myself to use the same fingers all the time in the bass so I make the odd slip. I think it could use a bit of pedal in places as well but I'd be worried about the examiner frowning upon me doing this.

I feel like I'm letting myself down a bit going for Song of Erin as it's probably far too easy, but then I'd rather do something I'm pretty sure I won't make a mistake on...

As for Kummer, I must be thick, as I have a nightmare trying to read two treble clefs... my brain is much happier reading Bass and Treble.

I think Kummer is a beautiful piece; very expressive. I've been working on it but still struggling with the basics. I suspect it's difficulty is not so much in the fingering, but more in trying to ensure you follow all the dynamic instructions. If I can crack this, I may well attempt it in the exam as it's shaping up to be my favourite from this section.

I think that's a good idea. I quite like it but need to get my head around the two treble clefs (this *should* be easier but it's not for some reason) I'm sure the examiners will be sick of hearing "Song of Erin" as mentioned above

Kummer is an interesting one ... I didn't expect any of my younger pupils to find it appealing, but one teenage boy on first hearing thought it was absolutely beautiful ('it's those chords!' ) - just shows how wrong you can be. He had in fact already done grade one, but wanted to learn it anyway. He played Early one Morning in the actual exam and enjoyed it.

One of the tricky aspects of Kummer is the part-playing in line 3, I think, and shaping the phrases to best effect.

Erin is certainly not difficult as far as playing the notes goes, but that melody needs to sing - not all players at this level can produce a really good legato cantabile.

Hi Maggie - what do you mean by part playing? I don't have the score in front of me; from memory there are quite a few silences (technical term?) in this line?

ah, sorry - part playing is where there are several strands of music going on at the same time, and (usually ) some notes are held while others move. Keeping this neat and clear is not the easiest thing to do.

Example - Kummer, bar 11.

First quaver in bar - four notes to play. Second quaver, upper RH note only moves; all other should hold.
Third quaver in bar - (from top) A moves to F, C still holding, G (LH) moves to A, E still holding.
Last quaver upper note in each hand holds, lower note in each hand moves. Ideally this needs to be virtually seamless, and certainly without gaps in the middle. It's quite easy to either loose something that needs to be held, or conversely to hold something that needs to give way. Fingering needs to be carefully worked out to make all this possible.

This all sounds rather clinical, and for sure the piece is much more than that, needing lots of shape and expression. But to make the most of the rich chords those held notes are vital - without them the harmony will be comparatively thin.

Hope this helps a bit, David.

Crikey!
Without the score, I think I know what you mean. I recall playing last night and thinking there were a few notes as you describe and that I really must have a think about how they should be played. It was the end of my session so I figured I'd take a look next time. I'll defintely re- read your note and examine the score. Come to think of it, I'll just print it right now....

Many thanks

I got my head around Kummer last night and I'm seriously thinking I will play this instead. I find that I have much more of an affinity for this piece than the others in the section. I really like it