Foundations

Grade 1 — Both hands, working together

Hands-together playing begins. One hand holds a simple accompaniment while the other carries a melody. Thumb crossing enters with one-octave scales.

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What to expect at this grade

Grade 1 is the first real test of coordination. The pieces ask your hands to do different things simultaneously — typically a melody in the right hand and a simple bass in the left. This feels strange at first; the brain is learning something genuinely new.

The most important technical focus is scale fingering — learning the thumb-under movement that allows smooth one-octave scales without the hand bouncing. Most students find this awkward at first. Slow, deliberate practice is the only solution.

When you can play your pieces confidently at a steady tempo and your C major scale sounds even, hand over hand, without hesitation, your skill coverage for this grade is strong.

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Technical skills — what your hands and arms need to do

TechnicalFinger Independence — Hands Together

Coordinating two hands doing different things simultaneously. The left hand must not copy or interfere with the right.

Training exercises

Hanon exercises 1–10 (hands together, very slowly)

Czerny Op. 599 Nos. 7–20

Repertoire examples

Kabalevsky — A Little Joke, Op. 27 No. 13

Schumann — Melody, Op. 68 No. 1

Bartók — Children's Dance

TechnicalScale Technique — Thumb Crossing

The thumb-under technique that allows scales to continue beyond five fingers. The thumb passes silently under the hand while maintaining an even tone.

Training exercises

C major scale one octave — RH, very slowly, thumb under

G major scale — same approach

LH scales beginning on C and G

Repertoire examples

Clementi — Sonatina Op. 36 No. 1 (scale fragments)

Burgmüller — Arabesque, Op. 100 No. 2

Gurlitt — The Hunt, Op. 117 No. 15

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Musical skills — interpretation and expression

MusicalPhrase Shaping

Recognising two and four-bar phrases and ending them with a slight softening. Making the music breathe between phrases.

Training exercises

Mark phrase marks in pencil before playing

Sing phrases and match the piano sound to the voice

Repertoire examples

Schumann — Melody, Op. 68 No. 1

Gurlitt — The Hunt, Op. 117 No. 15

Kabalevsky — A Little Joke, Op. 27 No. 13

MusicalDynamic Contrast

Clear differences between forte and piano — not just louder and quieter but genuinely different characters.

Training exercises

Play any piece twice — once all forte, once all piano — then mix appropriately

Repertoire examples

Schumann — Melody, Op. 68 No. 1

Bartók — Children's Dance

Gurlitt — The Hunt, Op. 117 No. 15

Stepping stones

Accessible pieces to start with — manageable challenges that build confidence at this grade.

Melody, Op. 68 No. 1

R. Schumann

The Hunt, Op. 117 No. 15

C. Gurlitt

Grade benchmarks

If you can play these convincingly, you have genuinely mastered this grade.

A Little Joke, Op. 27 No. 13

D. Kabalevsky

Children's Dance

B. Bartók

Performance pieces

Worth learning beyond the exam — pieces that reward an audience and stay with you.

Arabesque, Op. 100 No. 2

J. F. Burgmüller

Sonatina Op. 36 No. 1 (1st mvt)

M. Clementi

Ready for the next step?

Grade 2 — Growing in two directions at once

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Scales	C and G major — one octave, hands separately
Arpeggios	Not required at this grade