(a) bowed strings pre new 22/7/09 13:29 page 1 bowed ... · a live piano accompaniment is required...

BOWED STRINGS SYLLABUS 2010–11

CONTENTS

Syllabus updates inside covers

Using this booklet 3

New for bowed strings 3

Welcome to ABRSM 4

Introducing ABRSM syllabuses 5

ABRSM Bowed strings exams

Bowed strings syllabus requirements 6

Examination music and performance requirements 8

• Violin 10

• Viola 22

• Cello 32

• Double Bass 42

Aural Tests 56

Other ABRSM exams

Theory of Music 61

Practical Musicianship 65

Other assessments 72

Additional information

Accreditation (UK) 73

Obtaining exam music 74

Exam programme & running order form 77

© 2009 by The Associated Board of the Royal Schools of Music

All the syllabus information in this booklet, including repertoire and scale lists, is the copyright of ABRSM. No syllabus listing may bereproduced or published without the permission of ABRSM.

(A) Bowed strings pre NEW 22/7/09 13:29

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USING THIS BOOKLET

This syllabus booklet is designed to assist teachers, candidates, parents andorganizations in preparing for ABRSM bowed strings exams.

As well as reading this booklet, it is important to consult the following tworesources:

• Examination Information & Regulations (published annually)

• These Music Exams – contains practical advice for candidates, teachers and

parents

The syllabus, together with the above two publications, constitutes ABRSM’soverall exam specification; all are available free of charge from music retailersand from www.abrsm.org/exams.

In this booklet the syllabuses for bowed strings are listed, grade by grade, onpp. 10–55. Please note that the lifespan of each individual syllabus is markedat the top of each Grade 1 page. There are also some important syllabusrequirements featured on pp. 6–8.

Other information in this booklet includes advice on obtaining exam musicand a list of contact details for publishers, as well as a blank exam programme& running order form for your convenience.

For information on current and future syllabus changes across all ABRSMsubjects, see the syllabus updates on the inside front and back covers.

NEW FOR BOWED STRINGS

This syllabus booklet contains new set pieces for Cello and Double Bass.Please note that the Double Bass List Cs now contain accompanied as well assolo pieces.

The only other changes that have been made in this booklet are:

• some design differences and reordering of information

• updates to publication details, where these have changed since the last

edition

This syllabus booklet will last until the next changes to the syllabuses forbowed strings come into force in 2012, i.e. new set pieces for Violin as well asrevised scale and sight-reading requirements for all bowed strings. Anyupdates during this period – e.g. changes to publication details or otherminor corrections – will be posted at www.abrsm.org/exams.

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WELCOME TO ABRSM

ABRSM supports music teaching and learning throughout the world. We motivate

musical achievement and encourage the development of well-rounded musicians

through our authoritative exams, the professional development of teachers, and a

wide range of published resources.

By delivering our exams rigorously and consistently we set the worldwide gold

standard in music assessment, with over 600,000 people, in over 90 countries, choosing

to take them each year.

As part of our commitment to excellence in music education, we provide a rich range

of materials, from albums for the earliest stages of learning to scholarly editions of

standard repertoire. Our online presence includes SoundJunction – an award-

winning site for music learning. We support the professional development of

teachers through our innovative courses and online learning resources.

To build on our 120 years inspiring generations of musicians, we provide charitable

donations, scholarships and sponsorships, as well as acting as an advocate for music

education. We do all we can to give music education a voice in public life because we

believe music has the power to change lives.

ABRSM has the authority of four of the UK’s leading conservatoires: the Royal

Academy of Music, Royal College of Music, Royal Northern College of Music and

Royal Scottish Academy of Music & Drama.

You can find out more about all of our activities at www.abrsm.org.

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INTRODUCING ABRSM SYLLABUSES

The long-lasting success of ABRSM in supporting instrumental and vocal teachers

and learners can be attributed to a number of factors. Significant among these is our

collaborative approach to syllabus development, in which the views of a wide range

of teachers is sought, alongside those of our examiners and specialist panels. This

ensures that our syllabuses are relevant and accessible to all, no matter which teach-

ing and learning approaches are adopted. A syllabus is, after all, a set of requirements

for assessment purposes and not an instrumental or vocal curriculum.

Repertoire selection is another important factor, because experiencing the finest

music is at the heart of musical training; it sustains and motivates all developing

musicians. In each repertoire list we aim to produce a harmonious blend of styles and

moods (as well as technical elements), so that the choices are broad and varied

enough to suit all tastes while setting appropriate demands at each level. All

syllabuses are supported by publications, recordings or other resources.

Other aspects of the exams contributing to ABRSM’s success include:

• a policy of using highly qualified and trained ‘generalist’ examiners, who work

to transparent, easily understood criteria

• rigorous quality-assurance provisions that ensure consistent and reliable

standards in all areas of our work

• a proven track record of reliable exam delivery and administration

Graded exams are available for more than 35 instruments, singing, jazz, ensembles,

practical musicianship and music theory. They support a framework for life-long

learning in music, without restrictions on age, length of study, or the requirement that

candidates are taught in schools or other centres.

Many students will start with the Prep Test, a simple and positive assessment at the

pre-Grade 1 level, and then work through the eight grades, but we do not impose a

set pattern. For students who progress beyond Grade 8 we offer professional diplomas

(DipABRSM, LRSM and FRSM) in three subject areas: performing, directing and

teaching. For younger learners, Music Medals offer a set of fun, rewarding and

accredited assessments supported by award-winning repertoire. They introduce

essential musical skills and inspire developing musicians to play and enjoy music

together.

ABRSM exams give the developing musician a set of worthwhile and motivational

goals to work for. They provide the opportunity of performing high-quality music

and developing all-round musicianship through a range of supporting activities.

Measuring yourself against international benchmarks can be daunting, but we do all

we can to make the experience a pleasurable one. The glow of achievement which

exam success brings makes all that effort worthwhile.

Nigel Scaife

Syllabus Director5


BOWED STRINGS SYLLABUS REQUIREMENTS

Instruments

Candidates are required to perform on acoustic instruments (electric instruments

are not permitted).

Programme planning

Candidates should use their discretion in their choice of three pieces to present a

contrasted and balanced programme. One piece must be chosen from each of the

three lists in each grade (A, B and C).

Tuning-up

In Grades 1–5 the teacher or accompanist may tune the candidate’s instrument (or

advise on tuning) before the exam begins. The examiner will not do so. In Grades

6–8 candidates must tune their instrument themselves.

Music stands and stools

All ABRSM Centres provide a music stand, but candidates are welcome to bring their

own if they prefer. Candidates should provide their own stool if required.

Accompaniment

A live piano accompaniment is required for all pieces, except those which are

published as studies or unaccompanied works and those Double Bass List C

pieces marked ‘solo’. Candidates must provide their own accompanist, who may remain

in the examination room only while engaged in accompanying. The candidate’s

teacher may act as accompanist; under no circumstances will the examiner do so.

Tuttis

Accompanists should make cuts to extensive orchestral tuttis in concerto (or similar)

movements.

Cadenzas

Cadenzas should not be played unless specified in the syllabus.

Fingering and bowing

Candidates are not compelled to adhere to the fingering or bowing marks indicated

in the music: any good practical fingering and bowing will be accepted. In Violin and

Viola Grades 1 and 2, candidates are not expected to play in any but the first

position, except in the scales and arpeggios where necessary; Cello and Double Bass

pieces in these grades may include very simple changes of position. By Grade 4,

candidates are expected to have begun exploring position changes matching the

demands and style of the music.

Vibrato

Candidates should have acquired some skill in vibrato by Grade 5.

6


Scales and arpeggios

Examiners will usually ask for at least one type of scale/arpeggio required at each

grade.

All scales and arpeggios should:

• be played from memory

• ascend and descend according to the specified range and pattern

Bowing will dictate the tempi of slurred scales and arpeggios. Separately bowed

requirements should be played briskly, using no more than half the bow length.

Books of scale requirements are published for all bowed strings by ABRSM.

Sight-reading

The sight-reading tests are without accompaniment. Candidates will be given a short

interval of up to half a minute in which to look through and, if they wish, try out any

part of the test before they are required to perform it for assessment. Books of

specimen sight-reading tests are published for all bowed strings by ABRSM.

Performance and assessment

When marking, examiners will be assessing not only the accuracy of notes and

rhythm, but also other elements inherent in a good performance, including intona-

tion, production and quality of tone, bowing and finger action, posture, suitable

choice of tempo, and expression and phrasing. Further details of assessment criteria

are given in These Music Exams, available free of charge from music retailers and from

www.abrsm.org/exams.

Marking scheme

Schedule of maximum marks for all grades:

Pieces: 1 30

2 30

3 30

Scales and arpeggios 21

Sight-reading 21

Aural tests 18

Total 150

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Bowed strings syllabus requirements


EXAMINATION MUSIC AND PERFORMANCE REQUIREMENTS(extracted from the Examination Information & Regulations booklet, which should be read inconjunction with this syllabus)

a The individual sections of the examination may be attempted in any order, at the candidate’schoice (although, ideally, accompanied pieces should be performed consecutively). If anaccompanied examination begins with any section other than the pieces, the steward shouldbe advised in advance so that the accompanist can be summoned at the appropriate time.

b Teachers and candidates are advised to pay close attention to the syllabus requirements onpp. 6–7, the instrument-specific requirements as well as to those indicated in the currentlists of syllabus pieces. A ‘piece’ comprises all the music set under one number-headingin the syllabus lists (unless an option is specifically indicated). Therefore, a ‘piece’ maycomprise more than one movement from a work or more than one item from an album.

c Where appropriate, the initial tempo indication (or section title) of a piece/movement islisted in the syllabus. Where a piece/movement comprises more than one tempo indica-tion (or section title), the whole piece/movement is still required to be played in the exam-ination (unless otherwise indicated).

d Candidates failing to observe specific syllabus requirements or regulations (i.e. performinga piece not listed in the syllabus, or not being prepared to perform the full extent of a pieceas indicated in the syllabus) may be penalized, or, in certain cases, disqualified.

e ABRSM offers a limited overlap period, during which pieces from the preceding syllabusmay, under certain conditions, be performed (see syllabus updates on the inside frontcover of this booklet).

f Candidates may use any edition of the pieces listed in the syllabus, except where a specificarrangement or transcription is indicated. The editions quoted in the syllabus are given forguidance only and are not obligatory.

g Candidates may use their discretion regarding indications or markings (particularly editorial)in the music – e.g. metronome marks, fingering, bowing, phrasing, the interpretation of ornaments, etc. – which need not be strictly observed. Where no such indications are presentin the music, candidates should use their discretion to achieve a musical performance.

h Candidates should observe da capo and dal segno indications, but other repeats of more thana few bars should not be played in the examination, unless stipulated in the syllabus.

i Performing from memory is optional. The examiner is at liberty to review a copy of themusic before or after the performance of any piece; therefore, candidates performing frommemory must ensure that a copy of the music is available for the examiner’s use.

j Examiners may, at their discretion, stop the performance of any piece when they haveheard enough to form a judgement.

k The Copyright, Design and Patents Act 1988 (UK) does not permit the making or use ofphotocopies (or other kinds of copies) of copyright works. However, the UK MusicPublishers’ Association’s Code of Fair Practice (available at www.mpaonline.org.uk) allowscopies to be made in certain limited circumstances (such as a difficulty with a particularpage-turn) but only if the copyright holder is listed in Appendix C of the Code. In all othercases, application should be made to the copyright holder before any copy is made. It is theApplicant’s responsibility to ensure that candidates act within the law with respect to themaking and use of photocopies (or other copies). ABRSM reserves the right to withholdthe examination result of any candidate where it has evidence of the use of an illegal copy(or copies) in connection with that examination.

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NOTES

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10

VIOLIN (Subject Code: 03)

This syllabus is valid for 2008–11. New set pieces as well as revised scale and sight-reading requirements

will take effect from 1 January 2012.

Violin GRADE 1

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C:

LIST A1 Anon. King George I’s March, arr. Huws Jones

2 M. Corrette Fanfare, arr. de Keyser and Waterman Selected Violin Exam Pieces 2008–2011, Grade 1 (ABRSM)3 Trad. English The Vicar of Bray, arr. de Keyser

4 Sheila M. Nelson Dance of the Minor Thirds. Piece by Piece 2 for Violin, arr. Nelson (Boosey & Hawkes/MDS)

5 Shinichi Suzuki Allegretto. No. 10 from Suzuki Violin School, Vol. 1 (Alfred—Summy-Birchard 0144S/FMDistribution: piano accomp. published separately, 30097)

6 Trad. To the Maypole. No. 6 from Violin Playtime, Book 3, arr. de Keyser (Faber)

LIST B1 Anon. Wondrous Love, arr. Waterfield and Beach Selected Violin Exam Pieces 2008–2011,2 Lehár Waltz: from Gold und Silber, arr. Huws Jones Grade 1 (ABRSM)3 David Stone Country Chimes: No. 17 from Let’s Play the Violin4 Dvorák Largo (Theme from ‘New World’ Symphony). Superstart Violin (The Complete Method), arr. Cohen

(previously Superstart Violin Levels 1 & 2) (Faber: piano accomp. published separately)5 Head In the Meadow. The Well-Tuned Fiddle, Book 1 (ABRSM )

6 Szelényi Playsong: No. 1 from 24 Easy Little Concert Pieces, Vol. 1 (Editio Musica Budapest Z.2648/FMDistribution)

LIST C1 Hilary Burgoyne Tango: No. 12 from Take the Stage 2 Edward Huws Jones Toodle-Pip: No. 18 from Ten O’Clock Rock

Selected Violin Exam Pieces 2008–2011,

3 Trad. Northumbrian Dance to your daddy, arr. NelsonGrade 1 (ABRSM)

4 Kathy and David Blackwell Chase in the Dark or Gypsy Dance (with repeat). No. 6 or No. 20† from Fiddle TimeRunners (OUP: piano accomp. published separately)

5 Margery Dawe Bohemia – Polka: No. 4 from More Travel Tunes – Violin (Cramer: piano accomp. publishedseparately)

6 Trad. American Turkey in the Straw. Superstart Violin (The Complete Method), arr. Cohen (previously SuperstartViolin Levels 1 & 2) (Faber: piano accomp. published separately)

SCALES AND ARPEGGIOS*: from memory, in the following keys:

D, A majors (one octave)

G major (two octaves)

Scales: in the above keys, starting on open strings:

(i) separate bows, as example below:

(ii) slurred, with two quavers to a bow, as example below:

Arpeggios: the common chords of the above keys for the ranges indicated, starting on open strings:

separate bows only, even notes, as example below:

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* Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests) † No. 21 in the 1998 edition

(B) Bowed strings 10-21 NEW 22/7/09 13:29

Violin GRADE 1

SIGHT-READING*: a short piece in simple time within the keys, notes and overall range of the scale

requirements set for this grade. Some accidentals, dotted and tied notes may be included. See also p. 7.

AURAL TESTS FOR THE GRADE*: see pp. 56 and 57

Violin GRADE 2


LIST A1 I. J. Pleyel Rondo: 3rd movt from Duo in D, Op. 8 No. 5,

arr. Hermann (lower note of chords in bars 42–3 optional) Selected Violin Exam Pieces 2008–2011, Grade 2 2 Anon. Kemp’s Jig, arr. Huws Jones (ABRSM)

3 Rameau Rigaudon, arr. de Keyser and Waterman

4 attrib. J. S. Bach Minuet in A (from Clavierbüchlein vor Anna Magdalena Bach). No. 5 from Classical andRomantic Pieces for Violin, Book 2, arr. Forbes (OUP)

5 G. B. Martini Gavotte. No. 5 from The Young Violinist’s Repertoire, Book 1, arr. de Keyser and Waterman (Faber)

6 Mozart Allegro (K. 3). Amazing Solos for Violin, arr. Harrison (Boosey & Hawkes/MDS)

LIST B1 Mancini and Mercer Moon River

2 Schumann Fröhlicher Landmann: No. 10 from Album für die Jugend, Op. 68,Selected Violin Exam Pieces

arr. Huws Jones2008–2011, Grade 2

3 Trad. Irish The Boys of Wexford, arr. Alwyn(ABRSM)

4 Anon. Be thou my vision. Step It Up! Violin Grades 1–3, arr. Chamberlain (Faber)

5 Edward Jones Glwysen (The Fairest One) (violin melody). The Celtic Fiddler or The Fiddler Playalong Collection 2,arr. Huws Jones (Boosey & Hawkes/MDS)

6 J. Strauss II Emperor Waltz, Op. 437 (upper violin part). Stringsongs for Violin, arr. Nelson (Boosey & Hawkes/MDS: piano accomp. published separately)

LIST C1 Katherine and Hugh Colledge Cossacks: No. 20 from Shooting Stars Selected Violin Exam Pieces2 Trad. Hungarian Through My Window, arr. Kraemer 2008–2011, Grade 23 Kathy and David Blackwell Caribbean Sunshine: No. 33 from Fiddle Time Runners (ABRSM)

4 A. Raichev Shepherd’s Song. No. 20 from The Young Violinist’s Repertoire, Book 1, arr. de Keyser and Waterman(Faber)

5 Trad. North American The Railroad Corral. O Shenandoah! for Violin, arr. Waterfield and Beach (Faber)6 Trad. Russian Kalinka. Superstart Violin (The Complete Method), arr. Cohen (previously Superstart Violin Levels

1 & 2) (Faber: piano accomp. published separately)


C, F majors; G, D, A minors (one octave)

G, A, Bb majors (two octaves)

Scales: in the above keys (minors in melodic or harmonic form at candidate’s choice):

(i) separate bows, as example in Grade 1

(ii) slurred, with two quavers to a bow, as example in Grade 1

Arpeggios: the common chords of the above keys for the ranges indicated: separate bows only, even notes,

as example in Grade 1


requirements set up to and including this grade. Some accidentals, dotted and tied notes may be included.

See also p. 7.


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Violin GRADE 3


LIST A1 Anon. Lord Cutt’s March Selected Violin Exam Pieces 2 Dowland Lady Hunsdon’s Puffe, arr. Huws Jones 2008–2011, Grade 3 (ABRSM)3 Beethoven German Dance, WoO 8 No. 1, arr. de Keyser and Waterman

4 Gossec Gavotte. No. 17 from Suzuki Violin School, Vol. 1 (Alfred—Summy-Birchard 0144S/FM Distribution: pianoaccomp. published separately, 30097)

5 Jacques Hotteterre Gavotte (la Meudon). Baroque Violinist, ed. Nelson (Boosey & Hawkes/MDS)

6 Pachelbel Canon. The Classic Experience – Violin, arr. Lanning (Cramer)

LIST B1 Chopin Grande valse brillante, Op. 18, arr. Cohen Selected Violin Exam Pieces 2008–2011, 2 Stephen Foster Jeanie with the Light Brown Hair, arr. Lanning Grade 3 (ABRSM)3 G. Puccini O mio babbino caro: from Gianni Schicchi, arr. Lanning

4 Piazzolla Chiquilín de Bachín (violin melody). The Tango Fiddler, arr. Huws Jones (Boosey & Hawkes/MDS)

5 Schumann The Two Grenadiers (Op. 49 No. 1). No. 7 from Suzuki Violin School, Vol. 2 (Alfred—Summy-Birchard 0146S/FM Distribution: piano accomp. published separately, 30098)

6 David Stone Berceuse: No. 5 from Eight Pieces in the Third Position (Novello NOV120051/Music Sales)

LIST C1 Anon. Old Joe Clark, arr. Waterfield and Beach Selected Violin Exam Pieces 2008–2011, Grade 32 Burwell and Parish Sweet Lorraine, arr. Huws Jones

(ABRSM)3 Michael Rose Rumba: No. 4 from A Sketchbook for Violin4 W. Kroll Donkey Doodle. Solos for Young Violinists, Vol. 1, ed. Barber (Alfred—Summy-Birchard 0988/FM

Distribution)

5 Szelényi The Little Chatter-Box: No. 8 from 24 Easy Little Concert Pieces, Vol. 1 (Editio Musica Budapest Z.2648/FM Distribution)

6 Trad. Mexican La Cucaracha. Abracadabra Violin, Book 2, arr. Alexander (Black: piano accomp. publ. separately)


E major; E minor (one octave)

G, A, Bb, D majors; G, A, D minors (two octaves)




Chromatic Scales: starting on open strings G, D and A (one octave): separate bows, even notes

Arpeggios: the common chords of the above keys for the ranges indicated:

(i) separate bows, even notes, as example in Grade 1

(ii) slurred, three notes to a bow, as example below:

Dominant Sevenths: in the keys of C, G and D (starting on open strings G, D and A and resolving on the

tonic) (one octave): separate bows, even notes, as example below:


requirements set up to and including this grade. See also p. 7.


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* Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests)


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Violin GRADE 4


LIST A1 Anon. English Dance, arr. Huws Jones Selected Violin Exam Pieces 2008–2011,2 Nardini Andante cantabile: 2nd movt from Concerto in E minor Grade 4 (ABRSM)3 Foulis Allegro ma non troppo: 3rd movt from Sonata No. 5 in A

4 Gluck Dance (from Semiramide). Introduction to the Great Composers, arr. Nagy (Bärenreiter BA 8110b)

5 I. J. Pleyel Allegro: 1st movt from Duo in G, Op. 8 No. 2 (violin 1 part). Pleyel Six Little Duets, Op. 8, arr.Hermann (Schirmer GS25653/Music Sales)

6 Telemann Con contento: 1st movt from Concerto in D, TWV 51:D9. Telemann Three Concertos for Violin(Bärenreiter BA 5876a)

LIST B1 C. Bohm Valse lente: No. 2 from Moments musicaux, Op. 380 Selected Violin Exam Pieces 2008–2011, 2 Portnoff Russian Fantasia No. 3: from Miniature Fantasias Grade 4 (ABRSM)3 Rieding Allegro: 3rd movt from Concerto in G, Op. 34

4 Baklanova Mazurka (No. 4 from Eight Easy Pieces). No. 5 from The Young Violinist’s Repertoire, Book 3, arr. de Keyser and Waterman (Faber)

5 Dancla Valse: No. 2 from Petite école de la mélodie, Op. 123, Vol. 1 (Schott ED 748/MDS)

6 A. Rubinstein Romance, arr. Woof (ABRSM)

LIST C1 Hengeveld Slow-Fox Selected Violin Exam Pieces2 Shostakovich Clockwork Doll: from Children’s Notebook, Op. 69, arr. Fortunatov 2008–2011, Grade 43 G. M. Rodríguez La cumparsita, arr. Huws Jones (ABRSM)

4 Grechaninov Thieves and Policeman: No. 9 from In aller Frühe, Op. 126a (Schott ED 2142/MDS)

5 Joplin The Chrysanthemum. Joplin Ragtime Favourites – Violin, arr. Cowles (Fentone/De Haske)6 Nevaldo Veranes Estes indiferente (You are indifferent) (violin melody). The Latin-American Fiddler, arr.

Huws Jones (Boosey & Hawkes/MDS)


Ab, A, Bb, C, D majors; A, B, C, D minors (two octaves)



(ii) slurred, two beats to a bow, as example below:

Chromatic Scales: starting with first finger on A, E and B (one octave):

(i) separate bows, even notes

(ii) slurred, four notes to a bow

Arpeggios: the common chords of the above keys for the range indicated:


(ii) slurred, three notes to a bow, as example in Grade 3

Dominant Sevenths: in the keys of D, A and E (starting with first finger on A, E and B and resolving on the

tonic) (one octave):


(ii) slurred, four notes to a bow, as example below:

(continued overleaf )

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Violin GRADE 4

SIGHT-READING*: a short piece in simple or compound time within the keys, notes and overall range of

the scale requirements set up to and including this grade. See also p. 7.


14



15

Violin GRADE 5


LIST A1 Gossec Tambourin: from Le triomphe de la République, arr. Nelson Selected Violin Exam Pieces2 Vivaldi Allemanda: 2nd movt from Sonata in C minor, Op. 2 No. 7, RV 8 2008–2011, Grade 5 3 Mozart Bagatelle: German Dance, K. 600 No. 2, arr. Moffat (lowest note

(ABRSM)of chords in bars 25–8 optional)

4 Foulis Allegro moderato: 2nd movt from Sonata No. 1 in Eb. Foulis Six Sonatas for Violin and Keyboard(Scottish Music Publishing/Hardie Press)

5 Mascitti Giga. Baroque Violinist, ed. Nelson (Boosey & Hawkes/MDS)

6 Senaillé Allegro (spiritoso): 4th movt from Sonata No. 4 in D minor (from Quatrième livre de sonates) (OUParchive/Allegro)

LIST B1 Glier Romance: No. 3 from 12 Easy Pieces, Op. 45 Selected Violin Exam Pieces 2008–2011,2 Granados Andaluza: No. 5 from 12 danzas españolas, arr. Forbes Grade 5 (ABRSM)3 attrib. Paradis Sicilienne

4 Carse Menuet capricieux. Classic Carse, Book 2, ed. Cohen (Stainer & Bell H355)

5 Ireland Cavatina (Stainer & Bell H383)

6 Rieding Andante sostenuto: 2nd movt from Concertino in G, Op. 24 (Bosworth BOE003554/Music Sales)

LIST C1 Gál Cavatina: 2nd movt from Sonatina in Bb, Op. 71 No. 2

2 Trad. Gypsy Song of the Ghetto, arr. Huws Jones (lowest note of Selected Violin Exam Pieces 2008–2011, chord in penultimate bar optional) Grade 5 (ABRSM)

3 Richard Rodney Bennett Buskin: No. 2 from Six Country Dances4 Howard Blake Dance of the Snowmen: No. 3 from The Snowman suite for Violin and Piano, arr. Mather (Faber)5 Gordon Jacob Elegy. The Well-Tuned Fiddle, Book 2 (ABRSM)

6 Timothy and Natasha Kraemer Cossack Dance. Gypsy Jazz, Intermediate Level, arr. Waterfield and Kraemer (Faber)


Ab, B, C, E b, E majors; G#, B, C, E minors (two octaves)

G major; G minor (three octaves)



(ii) slurred, two beats to a bow, as example in Grade 4

Chromatic Scales: starting on G, A and Bb (two octaves):


(ii) slurred, four or six notes to a bow at candidate’s choice



(ii) slurred, six notes to a bow (two-octave arpeggios) and three notes to a bow (three-octave arpeggios)

Dominant Sevenths: in the keys of Bb (starting on F and resolving on the tonic) (one octave) and C and D

(starting on G and A and resolving on the tonic) (two octaves):


(ii) slurred, four notes to a bow, as example in Grade 4

Diminished Sevenths: starting on open strings G, D and A (one octave):

(i) separate bows, even notes, as for dominant sevenths

(ii) slurred, four notes to a bow, as for dominant sevenths

SIGHT-READING*: a short piece in simple or compound time in any one of the keys of the scale

requirements set up to and including this grade and up to fourth position. See also p. 7.


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16

Violin GRADE 6

PREREQUISITE FOR ENTRY: Grade 5 (or above) in Theory of Music, Practical Musicianship or any solo

Jazz subject.


LIST A1 Boccherini Allegro con vivacità: 1st movt from Guitar Quintet No. 6 in G, G. 450, Selected Violin Exam

arr. Huws Jones Pieces 2008–2011, 2 Handel Allegro: 4th movt from Sonata in D, HWV 371, Op. 1 No. 13 Grade 6 (ABRSM)3 Telemann Vivace: 1st movt from Sonatina No. 6 in F, TWV 41:F1 (observing repeats)

4 J. S. Bach Dolce: 1st movt from Sonata No. 2 in A, BWV 1015. Bach Six Sonatas for Violin and obbligatoHarpsichord, Vol. 1 (Bärenreiter BA 5118) or Bach The Music for Violin and Cembalo/Continuo, Vol. 1 (OUP archive/Allegro)

5 Mozart Adagio: 2nd movt from Concerto No. 1 in Bb, K. 207 (violin tacet in tuttis; omitting cadenza) (BärenreiterBA 4863a or Henle 706 or Henle 706/MDS or Kevin Mayhew)

6 Veracini Allegro: 4th movt from Sonata No. 1 in F (1716). Veracini 12 Sonatas for Recorder/Flute/Violin, Vol. 1(Peters EP 4965a)

LIST B1 Donizetti Non giova il sospirar, arr. de Bériot Selected Violin Exam Pieces 2008–2011, 2 Elgar Chanson de nuit, Op. 15 No. 1 Grade 6 (ABRSM)3 Kreisler Tempo di minuetto (in the style of Gaetano Pugnani)

4 Bohm Sarabande in G minor. Solos for Young Violinists, Vol. 2, ed. Barber (Alfred—Summy-Birchard 0989/FMDistribution)

5 Janácek Romance (Bärenreiter Praha H 7983/Bärenreiter)

6 Suk Melodie. Suk Compositions for Violin and Piano (Bärenreiter Praha H 7823/Bärenreiter)

LIST C1 Abreu Tico-Tico Bird in the Cornmeal, arr. Huws Jones Selected Violin Exam Pieces 2008–2011,2 L. Boulanger Nocturne Grade 6 (ABRSM)3 Szelényi Youngsters’ Dance: No. 19 from 24 Easy Little Concert Pieces4 Richard Rodney Bennett The Czar of Muscovy: No. 6 from Six Country Dances for Violin (Novello NOV950600/

Music Sales)5 Mary Cohen Skaters’ Waltz: No. 11 from Technique Takes Off! for Solo Violin (Faber)6 Shostakovich Romanze (in D). No. 7 from Shostakovich Albumstücke, arr. Fortunatov (Peters EP 4794)


Db, F, F# majors; C#, F, F# minors (two octaves)

A, Bb majors; A, Bb minors (three octaves)

Scales: in the above keys (minors in both melodic and harmonic forms):


2 octaves

3 octaves

(ii) slurred, seven notes to a bow, as example below:

⎫⎬⎭

⎫⎬⎭

⎫⎩⎧⎭



Violin GRADE 6

Chromatic Scales: starting on Ab, B and C (two octaves):






Dominant Sevenths: in the keys of C, D and E b (starting on G, A and Bb and resolving on the tonic) (two

octaves):



Diminished Sevenths: starting on G and A (two octaves):



Double Stop Scale: in sixths in the key of Bb major (one octave): rhythm and bowing in broken steps, as

example below:

SIGHT-READING*: see p. 7


17


Violin GRADE 7


Jazz subject.


LIST A1 J. S. Bach Presto: 4th movt from Sonata No. 2 in A, BWV 1015 Selected Violin Exam Pieces 2008–2 Biber Aria and Variations: from Sonata No. 3 in F 2011, Grade 7 (ABRSM)3 Haydn Presto: 3rd movt from Divertimento in G, Hob. V/20, arr. Nelson

4 attrib. Handel Adagio and Allegro: 1st and 2nd movts from Sonata in A, HWV 372, Op. 1 No. 14. HandelComplete Works for Violin and Basso Continuo (Bärenreiter BA 4226)

5 Mozart Allegro di molto: 1st movt from Sonata in A, K. 305. No. 5 from Mozart Sonatas for Piano and Violin,Vol. 1 (Henle 77 or Henle 77/MDS) or Mozart Complete Works for Piano and Violin, Vol. 1 (Bärenreiter BA 5761)

6 Vivaldi Presto: 3rd movt from Concerto in A minor, Op. 3 No. 6, RV 356 (violin to play in tuttis) (Peters EP3794 or Amadeus BP 2673/MDS)

LIST B1 Borowski Adoration

2 Brahms Hungarian Dance No. 2, arr. Klengel Selected Violin Exam Pieces 2008–2011, Grade 7 (ABRSM)

3 Sibelius Rondino: No. 2 from Five Pieces, Op. 81

4 Glazunov Meditation, Op. 32 (Belaieff BEL 194/MDS)

5 Kreisler Polichinelle: Sérénade (Schott BSS 30603/MDS)

6 Schubert Allegro moderato: 4th movt from Sonatina in G minor, Op. 137 No. 3, D. 408. Schubert Sonatinasfor Piano and Violin, Op. post. 137 (Henle 6 or Henle 6/MDS) or Schubert Sonatas for Piano and Violin (WienerUrtext UT 50004/MDS)

LIST C1 Korngold Gartenscene: from Much Ado About Nothing, Op. 11 Selected Violin Exam Pieces 2 Potstock Souvenir de Sarasate: Fantasia espagnole, Op. 15 (LH pizz. may be bowed) 2008–2011, Grade 73 Errollyn Wallen Woogie Boogie (ABRSM)

4 Bartók Nos 4 and 5: from Roumanian Folk Dances, trans. Székely (Universal 8474/MDS)

5 Kreutzer Étude No. 8 in E: from 42 Études ou Caprices (Peters EP 284)

6 Vaughan Williams Pastorale: from Romance and Pastorale (Curwen/Faber custom print)


G, Ab, B, D majors; G, G#, B, D minors (three octaves)



(ii) slurred, seven notes to a bow, as example in Grade 6

Chromatic Scales: starting on G, Ab, B and D (two octaves):


(ii) slurred, twelve notes to a bow



(ii) slurred, three or nine notes to a bow at candidate’s choice

Dominant Sevenths: in the keys of E and G (starting on B and D and resolving on the tonic) (two octaves)and C and Db (starting on G and Ab and resolving on the tonic) (three octaves):


(ii) slurred, four or eight notes to a bow at candidate’s choice

Diminished Sevenths: starting on Ab and A (two octaves) and G (three octaves):


(ii) slurred, four or eight notes to a bow at candidate’s choice, as for dominant sevenths

⎫⎬⎭

⎫⎬⎭

⎫⎬⎭

18



Violin GRADE 7

Double Stop Scales:

(i) in sixths in the keys of G and Bb majors (one octave): separate bows, even notes

(ii) in octaves in the key of D major (one octave): rhythm and bowing in broken steps, as example in Grade 6



19


20

Violin GRADE 8


Jazz subject.


LIST A1 Albinoni Allemanda (Larghetto) and Corrente (Allegro): 1st and 2nd movts from Sonata in G minor, So33.

Baroque Violin Pieces, Book 4, ed. Jones (ABRSM)

2 J. S. Bach Allegro assai: 3rd movt from Concerto in A minor, BWV 1041 (violin to play in tuttis) (Bärenreiter BA5189a or Henle 671 or Henle 671/MDS)

3 J. S. Bach Allegro assai: 4th movt from Sonata No. 3 in C for Solo Violin, BWV 1005, or Gavotte en Rondeau:

3rd movt from Partita No. 3 in E for Solo Violin, BWV 1006. Bach Three Sonatas and Three Partitas for SoloViolin, BWV 1001–1006 (Bärenreiter BA 5116)

4 Beethoven Allegro moderato: 1st movt from Sonata in G, Op. 96. No. 10 from Beethoven Sonatas for Pianoand Violin, Vol. 2 (Henle 8 or Henle 8/MDS)

5 Corelli Vivace, Adagio (ornamentation optional) and Allegro: 3rd, 4th and 5th movts from Sonata in F, Op. 5

No. 4. Corelli 12 Sonatas, Op. 5, Vol. 1 (Schott ED 4380/MDS)

6 Mozart Andante: 2nd movt from Sonata in Bb, K. 454. No. 13 from Mozart Sonatas for Piano and Violin, Vol. 3(Henle 79 or Henle 79/MDS) or Mozart Complete Works for Piano and Violin, Vol. 2 (Bärenreiter BA 5762)

7 Vivaldi Allegro: 1st movt from Concerto in E, Op. 3 No. 12, RV 265 (violin to play in tuttis) (Peters EP 4379)

LIST B1 Albéniz Pavana-Capricho, Op. 12 (UME/Music Sales)2 Delius Slow: 1st movt from Sonata No. 3. Delius Three Sonatas for Violin and Piano (Boosey & Hawkes/MDS)

3 Grieg Allegro animato: 3rd movt from Sonata in G, Op. 13 (Peters EP 2279)

4 Lalo Andante: 4th movt from Symphonie espagnole, Op. 21 (Peters EP 3797 or Henle 709 or Henle 709/MDS)

5 Schumann Mit leidenschaftlichem Ausdruck: 1st movt from Sonata No. 1 in A minor, Op. 105. SchumannSonatas for Piano and Violin, Op. 105, 121 (Peters EP 2367) or Schumann Sonatas for Violin and Piano, Vol. 1(Wiener Urtext UT 50237/MDS)

6 Stenhammar Sentimental Romance in A, Op. 28 No. 1. Stenhammar Two Sentimental Romances, Op. 28(Bosworth BOE100023/Music Sales)

7 Wieniawski Légende, Op. 17 (Schott ED0 5037/MDS or PWM 2401/MDS)

LIST C1 Bloch Affirmation: 3rd movt from Suite Hébraïque (Schirmer GS28608/Music Sales)

2 Falla Jota: 6th movt from Suite populaire espagnole, arr. Kochanski (Chester CH00430/Music Sales)3 Monti Czardas (Ricordi/UMP)

4 Rachmaninov Danse hongroise, Op. 6 No. 2. Rachmaninov Morceaux de Salon, Op. 6 (Boosey & Hawkes/MDS)

5 Johanna Senfter Elegie, Op. 13 No. 3. Female Composers: 13 Pieces for Violin and Piano (Schott ED 8132/MDS)

6 Shostakovich Frühlingswalzer (Spring Waltz). No. 6 from Shostakovich Albumstücke, arr. Fortunatov (Peters EP4794)

7 Stravinsky Introduzione (Allegro moderato) and Serenata (Larghetto): 1st and 2nd movts from Suiteitalienne, trans. Stravinsky and Dushkin (Boosey & Hawkes/MDS)


E b, E, F, F# majors; E b, E, F, F# minors (two octaves)

All other keys G–D inclusive, major and minor (three octaves)


(i) separate bows, even notes, as examples in Grade 6

(ii) slurred, even notes, two or three octaves to a bow according to range

Chromatic Scales: A, C, C #, E, F and F# (two octaves) and G (three octaves):





Violin GRADE 8



(ii) slurred, six notes to a bow (two-octave arpeggios) and three or nine notes to a bow at candidate’s

choice (three-octave arpeggios)

Dominant Sevenths: in the keys of D, E b, E and F (starting on A, Bb, B and C and resolving on the tonic)

(three octaves)


(ii) slurred, four or twelve notes to a bow at candidate’s choice

Diminished Sevenths: starting on Ab, A and Bb (three octaves)


(ii) slurred, four or twelve notes to a bow at candidate’s choice, as for dominant sevenths

Double Stop Scales:

(i) in sixths in the key of E b major (two octaves): separate bows, as example below:

(ii) in octaves in the keys of D major and G minor (both melodic and harmonic forms) (one octave):

separate bows, rhythm as for scale in sixths above

(iii) in thirds in the key of Bb major (two octaves): slurred bowing with repeated notes, as example below:



21


22

VIOLA (Subject Code: 04)

The set pieces in this syllabus are valid for 2008–15. Revised scale and sight-reading requirements will take

effect from 1 January 2012.

Candidates may play on a violin strung as a viola.

Viola GRADE 1


LIST A1 J. S. Bach Alle Menschen müssen sterben, BWV 262 Time Pieces for Viola, Vol. 1, arr. Bass and 2 Purcell Riggadoon (from The Second Part of Musick’s Hand-maid) Harris (ABRSM)

3 Kathy and David Blackwell Patrick’s Reel. No. 41 from Viola Time Joggers, arr. Blackwell (OUP: piano accomp.published separately)

4 Handel Finale from the Water Music. No. 13 from Viola Time Runners, arr. Blackwell (OUP: piano accomp.published separately)

5 Jean Hotteterre Cotillon. No. 7 from Early Music for Viola, arr. Brodszky (Editio Musica Budapest Z.4293/FMDistribution)

6 T. Morley Now is the month of Maying. No. 13 from First Repertoire for Viola, Book 1, arr. Wilkinson and Hart(Faber)

LIST B1 Kathy and David Blackwell Rocking Horse. No. 40 from Viola Time Joggers, arr. Blackwell (OUP: piano accomp.

published separately)2 Bruckner Evening Hymn. No. 16 from First Repertoire for Viola, Book 1, arr. Wilkinson and Hart (Faber)3 Harry Dacre Daisy Bell. No. 11 from Play It Again – Viola, arr. Scott (Faber custom print)4 Dvorák Larghetto: 2nd movt from Sonatina in G, Op. 100. Time Pieces for Viola, Vol. 1, arr. Bass and Harris

(ABRSM)

5 Elgar Andante: No. 1 from Six Very Easy Pieces, Op. 22, arr. Pope (Bosworth BOE003913/Music Sales)6 Grechaninov Morning Stroll: No. 1 from In aller Frühe, Op. 126b (Schott ED 8757/MDS)

LIST C1 Baklanova March. No. 12 from First Repertoire for Viola, Book 1, arr. Wilkinson and Hart (Faber)2 Margery Dawe Russia – Gopak: No. 5 from Travel Tunes for Viola (Cramer: piano accomp. published separately)3 Paul Harris Viola Joke! Time Pieces for Viola, Vol. 1, arr. Bass and Harris (ABRSM)

4 Trad. Dance to your daddy. No. 13 from Piece by Piece 1 for Viola, arr. Nelson (Boosey & Hawkes/MDS)

5 Trad. What Shall We Do With the Drunken Sailor? No. 2 from Play It Again – Viola, arr. Scott (Faber)6 John Widger Over the Bridge: No. 2 from Viola Jazz, Rock ’n’ Bow (Spartan Press SP406)


G, D majors (one octave)

C major (two octaves)

Scales: in the above keys starting on open strings:

(i) separate bows, as example in Violin Grade 1

(ii) slurred, with two quavers to a bow, as example in Violin Grade 1


separate bows only, even notes, as example in Violin Grade 1




⎫⎬⎭


(C) Bowed Strings 22-31 NEW 22/7/09 13:30

Viola GRADE 2


LIST A1 Arne Under the Greenwood Tree (from As You Like It). Time Pieces for Viola, Vol. 1, arr. Bass and Harris (ABRSM)

2 J. S. Bach Gavotte (from Cello Suite No. 6, BWV 1012). No. 3 from Schott Viola Album, trans. Dodd 3 Purcell Rondeau (from The Fairy Queen). No. 1 from (Schott ED 10900/MDS)

4 Besard Ballet. No. 1 from Early Music for Viola, arr. Brodszky (Editio Musica Budapest Z.4293/FM Distribution)

5 Charpentier Prelude from Te Deum. No. 24 from Viola Time Runners, arr. Blackwell (OUP: piano accomp.published separately)

6 Martini Gavotte. No. 1 from First Repertoire for Viola, Book 2, arr. Wilkinson and Hart (Faber)

LIST B1 Elgar Allegretto: No. 5 from Six Very Easy Pieces, Op. 22, arr. Pope (Bosworth BOE003913/Music Sales)2 Grechaninov Homesickness: No. 2 from In aller Frühe, Op. 126b (Schott ED 8757/MDS)

3 Schubert Entracte (from Rosamunde). Time Pieces for Viola, Vol. 1, arr. Bass and Harris (ABRSM)

4 Trad. The Ash Grove. No. 19 from Play It Again – Viola, arr. Scott (Faber custom print)5 Trad. North American Simple Gifts. O Shenandoah! for Viola, arr. Waterfield and Beach (Faber)6 Weber Waltz. No. 18 from First Repertoire for Viola, Book 2, arr. Wilkinson and Hart (Faber)

LIST C1 Bartók Jeering Song (from For Children, Vol. 1) Time Pieces for Viola, Vol. 1, arr. Bass and Harris 2 Henry Mancini Charade (ABRSM)

3 Trad. North American The Railroad Corral. O Shenandoah! for Viola, arr. Waterfield and Beach (Faber)4 Trad. Irish The Irish Washerwoman (upper line). Technitunes for Viola, arr. Nelson (Boosey & Hawkes/MDS:

piano accomp. published separately)5 Trad. Irish Roaring Jelly. No. 14 from Piece by Piece 2 for Viola, arr. Nelson (Boosey & Hawkes/MDS)

6 John Widger Just String Along: No. 5 from Viola Jazz, Rock ’n’ Bow (Spartan Press SP406)


F, Bb majors; C, G, D minors (one octave)

C, D, E b majors (two octaves)




Arpeggios: the common chords of the above keys for the ranges indicated: separate bows only, even notes,

as example in Violin Grade 1



See also p. 7.


⎫⎬⎭

⎫⎬⎭

23


24


Viola GRADE 3


LIST A1 Anon. (attrib. J. S. Bach) Minuetto arpeggiando (BWV Anh. II 116). Basic Bach for the Young

No. 7 from Violist, arr. Arnold (Viola2 C. P. E. Bach (formerly attrib. J. S. Bach) March in G (H. 1.1). World/Music Sales)

No. 4 from3 attrib. Henry VIII Pastime with Good Company (viola melody) (incl. second verse). The Fiddler Playalong Viola

Collection, arr. Huws Jones (Boosey & Hawkes/MDS)

4 Mozart German Dance, K.600 No. 2. Viola Music for Beginners, arr. Loy (Editio Musica Budapest Z.14155/FMDistribution)

5 Telemann Gavotte. No. 6 from First Repertoire for Viola, Book 3, arr. Wilkinson and Hart (Faber)6 Trad. French Noël nouvelet. Time Pieces for Viola, Vol. 1, arr. Bass and Harris (ABRSM)

LIST B1 Anon. Spiritual Were You There? No. 15 from First Repertoire for Viola, Book 3, arr. Wilkinson and Hart (Faber)2 Beethoven Sonatina (from Anh. 5 No. 1). The Young Violist, Vol. 2, arr. Arnold (Viola World/Music Sales)3 Carolan Lord Inchiquin. Amazing Solos for Viola, arr. Harrison (Boosey & Hawkes/MDS)

4 Grechaninov On Winter’s Eve: No. 6 from In aller Frühe, Op. 126b (Schott ED 8757/MDS)

5 Grieg Arietta (from Lyric Pieces, Op. 12). Time Pieces for Viola, Vol. 1, arr. Bass and Harris (ABRSM)

6 Tchaikovsky Rococo Theme (from Op. 33). No. 11 from Schott Viola Album, trans. Dodd (Schott ED 10900/MDS)

LIST C1 Joseph Gearen Big Foot Lou. No. 11 from First Repertoire for Viola, Book 3, arr. Wilkinson and Hart (Faber)2 Gershwin Summertime (from Porgy and Bess) (solo part). No. 8 from Session Time for Strings – Viola, arr.

Wastall (Boosey & Hawkes/MDS: piano accomp. published separately)3 Holst Theme from ‘Jupiter’ (from The Planets). Time Pieces for Viola, Vol. 1, arr. Bass and Harris (ABRSM)

4 Sheila M. Nelson Toad in the Hole (upper line). Technitunes for Viola, arr. Nelson (Boosey & Hawkes/MDS:piano accomp. published separately)

5 Richard Rodgers Oh What a Beautiful Morning (from Oklahoma). No. 6 from First Repertoire for Viola, Book 2,arr. Wilkinson and Hart (Faber)

6 Trad. Israeli Mayim, Mayim. Amazing Solos for Viola, arr. Harrison (Boosey & Hawkes/MDS)


A major; A minor (one octave)

C, D, E b, G majors; C, D, G minors (two octaves)




Chromatic Scales: starting on open strings, C, G and D (one octave): separate bows, even notes



(ii) slurred, three notes to a bow, as example in Violin Grade 3

Dominant Sevenths: in the keys of F, C and G (starting on open strings C, G and D and resolving on the

tonic) (one octave): separate bows, even notes, as example in Violin Grade 3




⎫⎩⎧⎭


Viola GRADE 4


LIST A1 Dittersdorf German Dance. No. 7 from Solos for the Viola Player, arr. Doktor (Schirmer GS32926/Music Sales)2 G. Farnaby Bonny Sweet Robin. Chester String Series, Viola Book 2, arr. Radmall (Chester CH00399/Music Sales)3 Hasse Two Dances, arr. Moffat (omitting da capo). Solos for Young Violists, Vol. 1, ed. Barber (Alfred—Summy-

Birchard 18400X/FM Distribution)

4 Marais Caprice. No. 18 from L’Alto classique, Vol. B (Combre P03580/UMP)

5 Pepusch Allegro: 4th movt from Sonata in D minor, arr. Dinn (Schott ED 11262/MDS)

6 Purcell Hallelujah (from ‘O God, thou art my God’). Time Pieces for Viola, Vol. 2, arr. Bass and Harris(ABRSM)

LIST B1 Brahms Dimanche (Sonntag, Op. 47 No. 3). No. 2 from L’Alto classique, Vol. B (Combre P03580/UMP)2 Gounod Ave Maria. No. 13 from3 Haesche Marguerite Waltz. Solos for Young Violists, Vol. 1, ed. Barber (Alfred—Summy-Birchard 18400X/FM

Distribution)

4 Haydn Poco adagio (from ‘Emperor’ Quartet). No. 19 from First Repertoire for Viola, Book 3, arr. Wilkinsonand Hart (Faber)

5 Pergolesi Arietta. Chester String Series, Viola Book 2, arr. Radmall (Chester CH00399/Music Sales)6 Schubert The Trout, Op. 32, D. 550. Time Pieces for Viola, Vol. 2, arr. Bass and Harris (ABRSM)

LIST C1 Richard Rodney Bennett All in a Garden Green: No. 1 from Six Country Dances, arr. Leigh Jacobs (Novello

NOV090750/Music Sales)

2 Walter Donaldson Makin’ Whoopee (viola melody) (with repeat) The Fiddler Playalong Viola Collection, arr. 3 G. M. Rodríguez La Cumparsita (viola melody) Huws Jones (Boosey & Hawkes/MDS)

4 Ferguson Jig: from Five Irish Folk Tunes (ABRSM)

5 Joplin New Rag or Maple Leaf Rag. Joplin Ragtime Favourites – Viola, arr. Cowles (Fentone/De Haske)6 Roger Roche Chant pastoral (Combre P03562/UMP)


Db, D, E b, F, G majors; D, E, F, G minors (two octaves)



(ii) slurred, two beats to a bow, as example in Violin Grade 4

Chromatic Scales: starting with first finger on D, A and E (one octave):




(i) separate bows, even notes, as example in Violin Grade 1

(ii) slurred, three notes to a bow, as example in Violin Grade 3

Dominant Sevenths: in the keys of G, D and A (starting with first finger on D, A and E and resolving on the



(ii) slurred, four notes to a bow, as example in Violin Grade 4




⎫⎬⎭

⎫⎬⎭

25


26

Viola GRADE 5


LIST A1 J. S. Bach A Merry Tune (from Peasant Cantata, BWV 212). No. 4 from Baroque Pieces for Viola, arr. Forbes (OUP)

2 Corelli Prelude. No. 19 from L’Alto classique, Vol. B (Combre P03580/UMP)

3 R. Farnaby Nobodye’s Gigge. Chester String Series, Viola Book 2, arr. Radmall (Chester CH00399/Music Sales)4 Gossec Tambourin (with repeats). Time Pieces for Viola, Vol. 2, arr. Bass and Harris (ABRSM)

5 Handel Allegro: 4th movt from Sonata in G minor, Op. 1 No. 6, trans. Pilkington (Stainer & Bell H244)

6 Veracini Largo. Music for Viola III, arr. Szeredi (Editio Musica Budapest Z.13397/FM Distribution)

LIST B1 Bridge Berceuse. Bridge Four Pieces for Viola and Piano (Faber)

2 Fauré Après un rêve. Music for Viola III, arr. Szeredi (Editio Musica Budapest Z.13397/FM Distribution)

3 German The English Rose. Romantic Melodies, arr. Otty (SJ Music)4 Mascagni Intermezzo sinfonico (from Cavalleria rusticana) Bratschissimo, arr. Jánosi (Bosworth BOE4403/5 Toselli Serenata Music Sales)6 Mozart Bei Männern, welche Liebe fühlen (from The Magic Flute). Time Pieces for Viola, Vol. 2, arr. Bass and

Harris (ABRSM)

LIST C1 Richard Rodney Bennett Buskin: No. 2 from Six Country Dances, arr. Leigh Jacobs (Novello NOV090750/Music

Sales)

2 Rebecca Clarke I’ll Bid My Heart Be Still or Chinese Puzzle. Clarke Shorter Pieces for Viola and Piano (OUP)

3 Joplin Rag Time Dance or Fig Leaf Rag. Joplin Ragtime Favourites – Viola, arr. Cowles (Fentone/De Haske)4 Sitt Tarantella, Op. 26 No. 12, arr. Arnold (Viola World/Music Sales)5 Trad. American Boston Fancy. No. 16 from Solos for the Viola Player, arr. Doktor (Schirmer GS32926/Music Sales)6 Weill September Song (from Knickerbocker Holiday). Time Pieces for Viola, Vol. 2, arr. Bass and Harris (ABRSM)

SCALES AND ARPEGGIOS*: from memory in the following keys:

Db, E, F, Ab, A majors; C#, E, F, A minors (two octaves)

C major; C minor (three octaves)



(ii) slurred, two beats to a bow, as example in Violin Grade 4

Chromatic Scales: starting on C, D and E b (two octaves)






Dominant Sevenths: in the keys of E b (starting on Bb and resolving on the tonic) (one octave) and F and G

(starting on C and D and resolving on the tonic) (two octaves):



Diminished Sevenths: starting on open strings C, G and D (one octave):




requirements set up to and including this grade and up to fourth position. See also p. 7.


⎫⎬⎭


27


Viola GRADE 6


Jazz subject.


LIST A1 J. S. Bach Adagio and Allegro: 1st and 2nd movts from Viola da Gamba Sonata No. 2 in D, BWV 1028. Bach

Three Sonatas for Viola da Gamba (Viola), BWV 1027–1029 (Bärenreiter BA 5186)

2 J. S. Bach Courante: 3rd movt from Cello Suite No. 1 in G, BWV 1007. Bach Six Cello Suites, trans. Rowland-Jones (Peters EP 7489) or trans. Forbes (Chester CH01401/Music Sales)

3 Caix d’Hervelois La Marche du Czar. No. 17 from L’Alto classique, Vol. C (Combre P04438/UMP)

4 Handel Andante larghetto and Allegro: 1st and 2nd movts from Sonata in G minor, Op. 1 No. 6, trans.

Pilkington (Stainer & Bell H244)

5 A. Stamitz Adagio: 2nd movt from Viola Concerto No. 3 in G (Breitkopf & Härtel EB 6654)

6 Telemann Cantabile and Allegro: 1st and 2nd movts from Sonata in E minor for Viola da Gamba, TWV 41:e5.

Music for Viola I, arr. Szeredi (Editio Musica Budapest Z.12846/FM Distribution)

LIST B1 Albéniz Tango. No. 12 from L’Alto classique, Vol. C (Combre P04438/UMP)

2 Bridge Serenade. Bridge Four Pieces for Viola and Piano (Faber)

3 Joachim No. 1: from Hebrew Melodies for Viola, Op. 9 (lower octave optional in bb. 58–59) (IMC 3272/MDS or

Musica Rara 1828/Breitkopf & Härtel)4 Kiel No. 3: from Three Romances for Viola, Op. 69 (Kunzelmann GM 101/Peters or Musica Rara 1570/Breitkopf &

Härtel)5 Schumann No. 4: from Märchenbilder for Viola, Op. 113 (Henle 632 or Henle 632/MDS or Peters EP 2372)

6 Wolf Verborgenheit (Renunciation). No. 12 from Solos for the Viola Player, arr. Doktor (Schirmer GS32926/Music Sales)

LIST C1 Richard Rodney Bennett The Czar of Muscovy: No. 6 from Six Country Dances, arr. Leigh Jacobs (Novello

NOV090750/Music Sales)

2 Rebecca Clarke Lullaby (p. 2). Clarke Shorter Pieces for Viola and Piano (OUP)

3 Dancla Fantasia – La Cenerentola, Op. 86 No. 7, trans. Barber. Solos for Young Violists, Vol. 2, ed. Barber(Alfred—Summy-Birchard 18590X/FM Distribution)

4 B. Hummel Finale–Vivace: 3rd movt from Sonatina for Viola No. 1, Op. 35b (Simrock EE2948/MDS)

5 Roger Roche and Pierre Doury Entrée: No. 1 from Sous le chapiteau (Combre C4636/UMP)

6 Vaughan Williams Carol: No. 2 from Suite for Viola, Group 1 (OUP)


F#, Bb, B majors; F#, Bb, B minors (two octaves)

C, D majors; C, D minors (three octaves)


(i) separate bows, even notes, as examples in Violin Grade 6

(ii) slurred, seven notes to a bow, as example in Violin Grade 6

Chromatic Scales: starting on C#, E and F (two octaves):








28

Viola GRADE 6

Dominant Sevenths: in the keys of F, G and Ab (starting on C, D and E b and resolving on the tonic) (two

octaves):



Diminished Sevenths: starting on C and D (two octaves)



Double Stop Scale: in sixths in the key of E b major (one octave): rhythm and bowing in broken steps, as

example in Violin Grade 6

SIGHT-READING*: (alto and treble clefs) see p. 7




Viola GRADE 7


Jazz subject.


LIST A1 J. S. Bach Andante and Allegro moderato: 3rd and 4th movts from Viola da Gamba Sonata No. 1 in G, BWV

1027. Bach Three Sonatas for Viola da Gamba (Viola), BWV 1027–1029 (Bärenreiter BA 5186)

2 J. S. Bach Prélude: 1st movt from Cello Suite No. 1 in G, BWV 1007. Bach Six Cello Suites, trans. Rowland-Jones (Peters EP 7489) or trans. Forbes (Chester CH01401/Music Sales)

3 Bonporti Fantasia and Bizzarria: 3rd and 4th movts from Invenzione No. 3 in Bb, Op. 10 No. 3. Bonporti TwoInventions for Viola, arr. Martos and Nagy (Kunzelmann GM 1195/Peters)

4 Graun Adagio: 1st movt from Viola Sonata No. 1 in Bb (observing cadenza) (Breitkopf & Härtel EB 4173)

5 C. Stamitz Adagio: 2nd movt from Viola Concerto in D, Op. 1 (Breitkopf & Härtel EB 5580)

6 Telemann Recitativo and Arioso and Vivace: 3rd and 4th movts from Sonata in E minor for Viola da Gamba,

TWV 41:e5. Music for Viola I, arr. Szeredi (Editio Musica Budapest Z.12846/FM Distribution)

LIST B1 Brahms Hungarian Dance No. 1 in D minor. Brahms Hungarian Dances Nos 1 and 3, arr. Forbes (Peters EP

7725)

2 Bridge Souvenir. Bridge 10 Pieces for Viola, Vol. 2, trans. Leigh Jacobs (Thames/Music Sales)

3 Kalliwoda No. 6: from Six Nocturnes for Viola, Op. 186 (Peters EP 2104) or Solos for Young Violists, Vol. 5, ed.Barber (Alfred—Summy-Birchard 18830X/FM Distribution)

4 Kiel No. 2: from Three Romances for Viola, Op. 69 (Kunzelmann GM 101/Peters or Musica Rara 1570/Breitkopf &Härtel)

5 Schubert Adagio: 2nd movt from Arpeggione Sonata in A minor, D. 821 (arr. von Wrochem: Bärenreiter BA5683) or No. 10 from Solos for the Viola Player, arr. Doktor (Schirmer GS32926/Music Sales)

6 Schumann No. 1: from Märchenbilder for Viola, Op. 113 (Henle 632 or Henle 632/MDS or Peters EP 2372)

LIST C1 Rebecca Clarke Passacaglia on an Old English Tune. Clarke Shorter Pieces for Viola and Piano (OUP) or Solos

for Young Violists, Vol. 5, ed. Barber (Alfred—Summy-Birchard 18830X/FM Distribution)

2 Dimitrescu Village DanceMusic for Viola III, arr. Szeredi (Editio Musica Budapest Z.13397/FM Distribution)

3 Zinzadse Georgian Dance

4 Gershwin No. 2: from Three Preludes, arr. Arnold (Viola World/Music Sales)5 Roger Roche and Pierre Doury Les Clowns: No. 5 from Sous le chapiteau (Combre C4636/UMP)

6 Vaughan Williams Prelude: No. 1 from Suite for Viola, Group 1 (OUP)


C, Db, D, E b majors; C, C#, D, E b minors (three octaves)




Chromatic Scales: starting on C, C#, E b and G (two octaves):





(ii) slurred, three or nine notes to a bow at candidate’s choice

Dominant Sevenths: in the keys of A and C (starting on E and G and resolving on the tonic) (two octaves)

and F and F# (starting on C and C# and resolving on the tonic) (three octaves):




⎫⎬⎭

29


Viola GRADE 7

Diminished Sevenths: starting on C# and D (two octaves) and C (three octaves):



Double Stop Scales:

(i) in sixths in the keys of C and E b majors (one octave): separate bows, even notes

(ii) in octaves in the key of G major (one octave): rhythm and bowing in broken steps, as example in

Violin Grade 6



Viola GRADE 8


Jazz subject.


LIST A1 J. S. Bach Prélude: 1st movt from Cello Suite No. 3 in C, BWV 1009. Bach Six Cello Suites, trans. Rowland-

Jones (Peters EP 7489) or trans. Forbes (Chester CH01401/Music Sales)2 Beethoven Adagio or Allegretto alla Polacca: 2nd or 5th movt from Notturno for Viola and Piano, Op. 42

(Schott ED 10091/MDS)

3 Bonporti Invenzione No. 6 in F minor, Op. 10 No. 6 (complete). Bonporti Two Inventions for Viola, arr. Martosand Nagy (Kunzelmann GM 1195/Peters)

4 Dittersdorf Allegro moderato: 1st movt from Viola Sonata in Eb (Hofmeister/Music Sales)5 Frescobaldi Toccata. Music for Viola III, arr. Szeredi (Editio Musica Budapest Z.13397/FM Distribution)

6 Mozart Theme with Variations (omitting Vars 3 & 5) from Divertimento in D, K. 334, trans. Szaleski (PWM6167060/MDS)

7 A. Stamitz Rondeau: 3rd movt from Viola Concerto in Bb (Schott VAB 29/MDS)

LIST B1 Berlioz Sérénade (complete): 3rd movt from Harold en Italie, ed. Macdonald (Bärenreiter BA 5457a)

2 Brahms Sonatensatz (Sonata Movement: Scherzo) in C minor, Op. posth., trans. Katims (IMC 440/MDS)

3 Bruch Romance for Viola, Op. 85 (Schott VAB 6/MDS)

4 Glazunov Elegie for Viola, Op. 44 (Belaieff BEL 200/MDS)

5 Hummel Andantino con moto and Allegro non troppo: 2nd and 3rd movts from Fantasie for Viola

(Kunzelmann GM 164/Peters)6 Joachim No. 2: from Hebrew Melodies for Viola, Op. 9 (IMC 3272/MDS or Musica Rara 1828/Breitkopf & Härtel)7 Rolla Andante or Romance and Polacca: 2nd or 4th movt from Viola Sonata No. 2 in Eb(Amadeus BP 824/MDS)

LIST C1 Leroy Anderson Fiddle-Faddle, arr. Arnold (Viola World/Music Sales)

2 Bloch Affirmation: 3rd movt from Suite Hébraïque (Schirmer GS28608/Music Sales)

3 Derek Bourgeois Caprice for Viola and Piano, Op. 119a (Brass Wind)

4 Rebecca Clarke Morpheus for Viola and Piano (OUP)

5 Paul Coletti From My Heart: from Three Pieces for Viola and Piano (OUP)

6 Aaron Minsky The Flag Waver: from Three American Pieces for Unaccompanied Viola, trans. Dalton (OUP)

7 Vaughan Williams Christmas Dance: No. 3 from Suite for Viola, Group 1 (OUP)

30



Viola GRADE 8


F, F#, G, Ab, A, Bb, B majors; F, F#, G, G#, A, Bb, B minors (two octaves)

All other keys C–E inclusive, major and minor (three octaves)



(ii) slurred, even notes, two or three octaves to a bow according to range

Chromatic Scales: starting on C#, D, E b, E and F (two octaves) and C (three octaves):





(ii) slurred, six notes to a bow (two-octave arpeggios) and three or nine notes to a bow at candidate’s

choice (three-octave arpeggios)

Dominant Sevenths: in the keys of F#, G, Ab and A (starting on C#, D, E b and E and resolving on the tonic)

(three octaves):


(ii) slurred, four or twelve notes to a bow at candidate’s choice

Diminished Sevenths: starting on C# and D (three octaves):


(ii) slurred, four or twelve notes to a bow at candidate’s choice, as for dominant sevenths

Double Stop Scales:

(i) in sixths in the key of Ab major (two octaves): separate bows, as example in Violin Grade 8

(ii) in octaves in the keys of G major and C minor (both melodic and harmonic forms) (one octave):

separate bows, as for scale in sixths above

(iii) in thirds in the key of E b major (two octaves): slurred bowing with repeated notes, as example in

Violin Grade 8



31


CELLO (Subject Code: 05)

The set pieces in this syllabus are valid for 2010–15. Revised scale and sight-reading requirements will take

effect from 1 January 2012.

Cello GRADE 1


LIST A1 J. S. Bach Minuet in C. No. 16 from Suzuki Cello School, Vol. 1, Revised Edition (Alfred—Summy-Birchard 0479S/

FM Distribution: piano accomp. published separately, 0480S)

2 Blow Air. More Time Pieces for Cello, Vol. 1, arr. Bruce and Wells (ABRSM)

3 Handel Minuet (from Music for the Royal Fireworks). Time Pieces for Cello, Vol. 1, arr. Black and Harris (ABRSM)

4 Mozart Chorale. No. 12 from Violoncello Music for Beginners 1, arr. Lengyel and Pejtsik5 Neidhart von Reuenthal May Song. No. 1 from (Editio Musica Budapest Z.6312/FM Distribution)

6 Purcell Minuet in G. No. 3 from Easy Classics for Cello, Book 1, arr. Forbes (OUP)

LIST B1 T. H. Bayly Long, Long Ago. No. 10 from Suzuki Cello School, Vol. 1, Revised Edition (Alfred—Summy-Birchard

0479S/FM Distribution: piano accomp. published separately, 0480S)

2 Adam Carse Dance Steps: from The Fiddler’s Nursery (Stainer & Bell H434)

3 Fauré Berceuse (from Dolly, Op. 56). More Time Pieces for Cello, Vol. 1, arr. Bruce and Wells (ABRSM)

4 Schubert Ländler. No. 26 from Piece by Piece 1 for Cello, arr. Nelson (Boosey & Hawkes/MDS)

5 Schubert Lullaby. No. 19 from Violoncello Music for Beginners 1, arr. Lengyel and Pejtsik (Editio Musica BudapestZ.6312/FM Distribution)

6 Tchaikovsky Chanson russe (from Album for the Young). Time Pieces for Cello, Vol. 1, arr. Black and Harris (ABRSM)

LIST C1 James MacMillan March: No. 1 from Northern Skies (Boosey & Hawkes/MDS)

2 Elissa Milne Ten Toads. Fingerprints – Cello (Faber)3 R. Sugár Old Hungarian Folk Song. No. 27 from Violoncello Music for Beginners 1, arr. Lengyel and Pejtsik

(Editio Musica Budapest Z.6312/FM Distribution)

4 Billy Taylor I wish I knew More Time Pieces for Cello, Vol. 1, arr. Bruce and Wells (ABRSM)

5 Trad. Congolese Banaha

6 Tim Wells Meditation or The Ghost: from Cello Scenes (Cramer)


G, D majors (one octave)


Scales: in the above keys, starting on open strings:

(i) separate bows, even notes, as the first example below

(ii) slurred, two notes to a bow or with two quavers to a bow, as examples below, at candidate’s choice:


separate bows only, even notes, as example below:




⎫⎬⎭

⎫⎬⎭

32

(D) Bowed strings 32-41 NEW 22/7/09 13:30

Cello GRADE 2


LIST A1 Anon. Hornpipe. No. 6 from Violoncello Music for Beginners 1, arr. Lengyel and Pejtsik (Editio Musica Budapest Z.6312/

FM Distribution)

2 J. S. Bach Minuet No. 2. No. 17 from Suzuki Cello School, Vol. 1, Revised Edition (Alfred—Summy-Birchard 0479S/FM Distribution: piano accomp. published separately, 0480S)

3 Dowland Come again, sweet love doth now invite. More Time Pieces for Cello, Vol. 1, arr. Bruce and Wells (ABRSM)

4 Hasse Bourrée (from Two Dances). No. 12 from Repertoire Album for Cello and Piano, arr. Friss (Editio MusicaBudapest Z.5958/FM Distribution)

5 T. Morley Now is the month of Maying. Time Pieces for Cello, Vol. 2, arr. Black and Harris (ABRSM)

6 Mozart Quadrille. No. 28 from Violoncello Music for Beginners 2, arr. Lengyel and Pejtsik (Editio Musica BudapestZ.6748/FM Distribution)

LIST B1 Adam Carse A Bumpkin’s Dance: from The Fiddler’s Nursery (Stainer & Bell H434)

2 Marie Dare Serenade (Schott ED 10738/MDS)

3 Donizetti Bella siccome un angelo (from Don Pasquale) More Time Pieces for Cello, Vol. 1, arr. 4 Tchaikovsky Rococo Theme (from Variations on a Rococo Theme, Op. 33) Bruce and Wells (ABRSM)

5 Schubert Serenade (An den Mond). No. 12 fromEasy Classics for Cello, Book 1, arr. Forbes (OUP)

6 Schumann A Distant Land (Op. 15 No. 1). No. 2 from

LIST C1 Katherine and Hugh Colledge Hornpipe: No. 20 from Fast Forward for Cello and Piano (Boosey & Hawkes/

MDS)

2 Caroline Lumsden and Ben Attwood Grab the slippery toad!: from Wizard’s Potion for Cello and Piano (PetersEP 7679)

3 Henry Mancini The Pink Panther. More Time Pieces for Cello, Vol. 1, arr. Bruce and Wells (ABRSM)

4 A. Ridout No. 4: from Bagatelles (Schott ED 11046/MDS)

5 Sándor Szokolay Bagpipe Song: No. 2 from Small Suite. No. 28/2 from Violoncello Music for Beginners 1, arr.Lengyel and Pejtsik (Editio Musica Budapest Z.6312/FM Distribution) or No. 7/2 from Repertoire Album for Cello andPiano, arr. Friss (Editio Musica Budapest Z.5958/FM Distribution)

6 Tim Wells Accurately Accented Accidental Accident: from Cello Scenes (Cramer)

SCALES AND ARPEGGIOS*: from memory:

Scales: in the following keys (minor in melodic or harmonic form at candidate’s choice):

F, A, Bb, D majors; D minor (one octave)

C, G majors (two octaves)


(ii) slurred, with two quavers to a bow, as the second example in Grade 1

Arpeggios: the common chords of the following keys: separate bows only, even notes, as example in Grade 1:

F, G, A, Bb, D majors; D minor (one octave)




See also p. 7.


⎫⎬⎭

⎫⎬⎭

33



Cello GRADE 3


LIST A1 Anon. English Watkins’ Ale (cello melody). The Fiddler Playalong Cello Collection, arr. Huws Jones (Boosey/MDS)

2 F. Couperin Sarabande l’uniqueMore Time Pieces for Cello, Vol. 1, arr. Bruce and Wells (ABRSM)

3 D. Gallo Moderato (from Trio Sonata No. 1)

4 Haydn Innocence (from Op. 53 No. 1). No. 8 from Easy Classics for Cello, Book 1, arr. Forbes (OUP)

5 Lully Gavotte and Musette (omitting da capo). First Repertoire for Cello, Book 2, arr. Legg and Gout (Faber)6 Muffat Bourrée (I and II, omitting da capo). No. 16 from Violoncello Music for Beginners 2, arr. Lengyel and

Pejtsik (Editio Musica Budapest Z.6748/FM Distribution)

LIST B1 Beethoven Ich liebe dich. Time Pieces for Cello, Vol. 2, arr. Black and Harris (ABRSM)

2 Earnshaw Tarantella (Stainer & Bell H467)

3 Edward Jones Glwysen (The Fairest One) (cello melody). The Fiddler Playalong Cello Collection, arr. Huws Jones(Boosey & Hawkes/MDS)

4 W. Lloyd Webber Siciliano: 3rd movt from A Lyric Suite (Stainer & Bell 2302)

5 Katharine Lovell The Swing (No. 1 of Three Summer Sketches) (Braydeston Press BP050/Music Sales)6 Smetana Vltava (from Má vlast). More Time Pieces for Cello, Vol. 1, arr. Bruce and Wells (ABRSM)

LIST C1 Anon. American Bluegrass Blackberry Blossom (cello melody). The Fiddler Playalong Cello Collection, arr. Huws

Jones (Boosey & Hawkes/MDS)

2 Denza Funiculì, funiculà. More Time Pieces for Cello, Vol. 1, arr. Bruce and Wells (ABRSM)

3 Matthew Hindson Zig zag. Fingerprints – Cello (Faber)4 Prokofiev Two Themes from Peter and the Wolf. Classic Experience Encores – Cello (Cramer)5 Hilary Tann Lullaby (for solo cello). Spectrum for Cello (ABRSM)

6 Trad. Hungarian Folksong. First Repertoire for Cello, Book 1, arr. Legg and Gout (Faber)


Scales: in the following keys (minors in melodic or harmonic form at candidate’s choice):

A, Bb majors; C, G minors (one octave)

C, D, F, G majors; D minor (two octaves)



Arpeggios: the common chords of the following keys:

F, A, Bb majors; C, G, D minors (one octave)

C, D, G majors (two octaves)


(ii) slurred, three notes to a bow, as example below:

Dominant Sevenths: in the keys of F, C and G (starting on open strings C, G and D and resolving on the

tonic) (one octave): separate bows, even notes, as example below:




⎫⎬⎭

34



Cello GRADE 4


LIST A1 Beethoven Minuet in G (omitting da capo). No. 5 from Suzuki Cello School, Vol. 3, Revised Edition (Alfred—

Summy-Birchard 0483S/FM Distribution: piano accomp. published separately, 0484S)

2 Boyce Minuet (from Concerto Grosso in B minor). Time Pieces for Cello, Vol. 3, arr. Black and Harris (ABRSM)

3 attrib. Henry VIII Pastime with Good Company (cello melody) (incl. second verse). The Fiddler Playalong CelloCollection, arr. Huws Jones (Boosey & Hawkes/MDS)

4 S. Paxton Allegretto: 1st movt from Sonata in D, Op. 3 No. 2. First Repertoire for Cello, Book 2, arr. Legg andGout (Faber) or (published separately: Schott ED 11057/MDS)

5 Perti Sonata in A minor: complete (upper part). 9 Sonate facili (Editio Musica Budapest Z.14110/FM Distr.)

6 attrib. Stradella Pietà, Signore. More Time Pieces for Cello, Vol. 2, arr. Bruce and Wells (ABRSM)

LIST B1 Bizet Entr’acte (from Carmen). More Time Pieces for Cello, Vol. 2, arr. Bruce and Wells (ABRSM)

2 W. Lloyd Webber Allegro: 2nd movt from A Lyric Suite (Stainer & Bell 2302)

3 Romberg Schwedisch. No. 8 from Classical Pieces for the Beginning, Vol. 2, arr. Such (Schott ED 4919/MDS)

4 James Scott Skinner The Flower of the Quern (cello melody) (upper line only). The Fiddler Playalong CelloCollection, arr. Huws Jones (Boosey & Hawkes/MDS)

5 Tchaikovsky Humoreske. Time Pieces for Cello, Vol. 3, arr. Black and Harris (ABRSM)

6 C. Webster Scherzo. No. 4 from Suzuki Cello School, Vol. 3, Revised Edition (Alfred—Summy-Birchard 0483S/FMDistribution: piano accomp. published separately, 0484S)

LIST C1 Ruth Byrchmore NYPD TV ( for solo cello). Fingerprints – Cello (Faber)2 Grainger Shepherd’s Hey. More Time Pieces for Cello, Vol. 2, arr. Bruce and Wells (ABRSM)

3 Richard Kershaw Jumbo-Rumba: No. 3 from Six Elephant Dances (Studio Music)4 Michael Radanovics Keep Cool: No. 3 from Jazzy Cello 1 (Universal 16553/MDS)

5 Squire Minuet, Op. 19 No. 3 (Stainer & Bell 2286)

6 Trad. Mrs McLeod’s Reel (cello melody) (with repeat). The Fiddler Playalong Cello Collection, arr. Huws Jones(Boosey & Hawkes/MDS)


E b, F, G, A, Bb majors; C, D, G minors (two octaves)



(ii) slurred, two beats to a bow, as example below:

Chromatic Scales: starting on open strings C, G and D (one octave): separate bows, even notes




Dominant Sevenths: in the keys of G and D (starting with first finger on D and A and resolving on the








Cello GRADE 5


LIST A1 Boccherini Minuet (omitting da capo). No. 3 from Suzuki Cello School, Vol. 3, Revised Edition (Alfred—Summy-

Birchard 0483S/FM Distribution: piano accomp. published separately, 0484S)

2 Handel Scherza, infida (from Ariodante). More Time Pieces for Cello, Vol. 2, arr. Bruce and Wells (ABRSM)

3 Haydn Allegro. Lost Melodies, arr. Stutschewsky (Universal 10627/MDS)

4 W. Koch Thema and Bourrée: from Kleine Suite im alten Stil for Solo Cello (Doblinger 03707/MDS)

5 Pergolesi Nina. No. 11 from Violoncello Music for Beginners 3, arr. Pejtsik (Editio Musica Z.14037/FM Distribution)

6 Picinetti Allegro or Allegro (omitting DC): 2nd or 4th movt from Sonata in C (Bärenreiter BA 6963)

LIST B1 Goltermann Prelude (from Modern Suite, Op. 122) More Time Pieces for Cello, Vol. 2, arr. Bruce and Wells 2 Schubert Ständchen (from Schwanengesang) (ABRSM)

3 Sibelius Andantino in C. Sibelius Three Early Pieces for Cello and Piano (Fennica Gehrman/MDS)

4 Tchaikovsky Air de danse napolitaine. No. 38 from Violoncello Music for Beginners 3, arr. Pejtsik (Editio MusicaBudapest Z.14037/FM Distribution)

5 Tchaikovsky Chanson triste, Op. 40 No. 2 (arr. Palaschko: Schott ED0 2415/MDS) or Cello & Piano 2, arr.Pejtsik (Editio Musica Budapest Z.14637/FM Distribution)

6 Trowell Humoresque or Chanson villageoise: No. 10 or No. 11 from 12 Morceaux faciles, Op. 4, Book 4 (SchottED 11213/MDS)

LIST C1 Jonathan Dove Prayer-wheel. Spectrum for Cello (ABRSM)

2 Jacob Robots’ MarchMore Time Pieces for Cello, Vol. 2, arr. Bruce and Wells (ABRSM)

3 Joplin Easy Winners

4 James MacMillan Sabre Dance: No. 6 from Northern Skies (Boosey & Hawkes/MDS)

5 David Matthews Danny’s Dance. Fingerprints – Cello (Faber)6 Michael Radanovics On the Ground: No. 5 from Jazzy Cello 1 (Universal 16553/MDS)


E b, E, F, Ab, A, Bb majors; C, D, G, A minors (two octaves)

C major (scale: three octaves; arpeggio: two octaves)




Chromatic Scales: starting on C, C# and D (two octaves):



Arpeggios: the common chords of the above keys (two octaves only):



Dominant Sevenths: in the keys of F and G (starting on C and D and resolving on the tonic) (two octaves):



Diminished Seventh: starting on D (one octave): separate bows, even notes, as example below:




⎫⎬⎭

⎫⎬⎭

36



Cello GRADE 6


Jazz subject.


LIST A1 Boismortier Moderato and Corrente: 1st and 2nd movts from Sonata in D, Op. 50 No. 3 (upper part)

(Bärenreiter BA 3963)

2 De Fesch Allemanda (Allegro): 2nd movt from Sonata in D minor, Op. 13 No. 4 (upper part) (Bärenreiter BA 3962)

3 D. Gabrielli Grave and Allegro: 1st and 2nd movts from Sonata in A. D. Gabrielli Complete Works for Violoncello(Bärenreiter HM 279)

4 Loeillet Gavotte und Musette. No. 2 from Melodies by Old Masters for Young Cellists, Vol. 2, arr. Rapp (Schott ED5533/MDS)

5 B. Marcello Largo and Allegro: 1st and 2nd movts from Sonata in F, Op. 2 No. 1 (separately: Peters EP 7393)

or Marcello Six Sonatas (Peters EP 4647)

6 Vivaldi Largo and Allegro: 1st and 2nd movts from Sonata in E minor, RV 40. Vivaldi Two Sonatas for Violoncello(RV 40 & RV 46) (Bärenreiter BA 6995c) or Vivaldi Complete Sonatas for Violoncello (Bärenreiter BA 6995)

LIST B1 Bridge Berceuse (1901): No. 1 from Four Pieces for Cello and Piano (Faber)2 Cui Orientale, Op. 50 No. 9, trans. Kurtz (IMC 3236/MDS)

3 Dunkler Theme from Caprice hongroise. More Time Pieces for Cello, Vol. 2, arr. Bruce and Wells (ABRSM)

4 Reger Romance in G, trans. Klengel (Breitkopf & Härtel EB 3421)

5 Romberg Andante: 2nd movt from Sonata in C, Op. 43 No. 2 (IMC 1207/MDS)

6 Verhey Idylle, Op. 37 (Broekmans & Van Poppel 1845/MDS)

LIST C1 F. Austin Captain Cockchafer (from The Fairy Ring). More Time Pieces for Cello, Vol. 2, arr. Bruce and Wells

(ABRSM)

2 Bartók Joc cu bata and Buciumeana: Nos 1 and 4 from Romanian Folk Dances, trans. Silva (Universal 13265/MDS)

3 Gavin Bryars With Miriam by the River. Spectrum for Cello (ABRSM)

4 B. Hummel Presto: 3rd movt from Kleine Suite, Op. 19a (Simrock EE 2954/MDS)

5 Julian Jacobson Hip Hip BourréeUnbeaten Tracks – Cello (Faber)

6 Olli Mustonen Frogs Dancing on Water Lilies


E, F#, Ab, B majors; E, F#, G#, B minors (two octaves)

C, D majors; C, D minors (three octaves)




Chromatic Scales: starting on C, C#, D and E b (two octaves):






Dominant Sevenths: in the keys of Bb and B (starting on F and F# and resolving on the tonic) (two octaves):



Diminished Sevenths: starting on C# and Ab (two octaves): separate bows, even notes, as example in Grade 5



⎫⎬⎭

˘

37


Cello GRADE 7


Jazz subject.


LIST A1 J. C. F. Bach Rondeaux: 2nd movt from Sonata in G (Bärenreiter BA 3745)

2 J. S. Bach Allemande: 2nd movt from Suite No. 1 in G, BWV 1007. Bach Six Suites for Violoncello Solo(Bärenreiter BA 320 or Peters EP 238 or Peters (Urtext) EP 9054)

3 J. S. Bach Es ist vollbracht (from St John Passion). More Time Pieces for Cello, Vol. 2, arr. Bruce and Wells(ABRSM)

4 Boni Largo and Allegro: 1st and 2nd movts from Sonata in C, Op. 1 No. 10 (Schott CB 53/MDS)

5 Haydn Andante. Lost Melodies, arr. Stutschewsky (Universal 10627/MDS)

6 Vivaldi Largo and Allegro: 1st and 2nd movts from Sonata in F, RV 41. Vivaldi Complete Sonatas for Violoncello(Bärenreiter BA 6995)

LIST B1 Goltermann Andantino: 2nd movt from Concerto No. 4 in G, Op. 65 (IMC 1606/MDS)

2 Granados Orientale, Op. 37 No. 2, trans. Piatigorsky (IMC 655/MDS)

3 Klengel Andante: 2nd movt from Concertino No. 1 in C, Op. 7 (Breitkopf & Härtel EB 2938)

4 Mendelssohn Allegretto scherzando: 2nd movt from Sonata No. 2 in D, Op. 58 (Henle 668 or Henle 668/MDSor IMC 3310/MDS)

5 Moeran Prelude (Novello NOV120091/Music Sales)6 Squire Humoresque, Op. 26 (Stainer & Bell H382)

LIST C1 Janácek Allegro: No. 3 from Pohádka. Janácek Works for Violoncello and Piano (Bärenreiter BA 9509)

2 Járdányi Sonatina: complete (Editio Musica Budapest Z.6528/FM Distribution)

3 Korngold Serenade from Der Schneemann (Universal 2761/MDS)

4 Aaron Minsky The Train Whistle: No. 1 from 10 American Cello Etudes (OUP)

5 Ravel Pièce en forme de habanera, trans. Bazelaire (Leduc AL24862/UMP)

6 Ulrich Schultheiss Deux par deux. Collection Panorama – Violoncelle 2 (Billaudot GB4151/UMP)


Db, D, E, F majors; C #, D, E, F minors (three octaves)




Chromatic Scales: starting on E, F#, G and Ab (two octaves):






Dominant Sevenths: in the keys of F#, G, A and Bb (starting on C#, D, E and F and resolving on the tonic)

(two octaves):



Diminished Sevenths: starting on C#, D and F (two octaves):



38



Cello GRADE 7

Double Stop Scale: in sixths in the key of C major (one octave): rhythm and bowing in broken steps, as

example below:

SIGHT-READING*: (bass and tenor clefs) see p. 7


39


Cello GRADE 8


Jazz subject.


LIST A1 J. S. Bach Prélude: 1st movt from Suite No. 1 in G, BWV 1007. Bach Six Suites for Violoncello Solo (Bärenreiter

BA 320 or Peters EP 238 or Peters (Urtext) EP 9054)

2 J. S. Bach, trans. Fournier Chorale No. 1 in G minor. Bach Six Chorales, trans. Fournier (IMC 1981/MDS)

3 Boccherini Rondo, arr. Bazelaire (Leduc AL16769/UMP)

4 Caldara Andante and Allegro: 1st and 2nd movts from Sonata No. 1 in A. Caldara 16 Sonatas, Vol. 1(Doblinger DM 1176/MDS)

5 F. Francoeur Largo cantabile and Gigue: 4th and 5th movts from Sonata in E (Schott CB 74/MDS)

6 Telemann Lento and Allegro: 1st and 2nd movts from Sonata in D, TWV 41:D6 (from Der getreue Musikmeister)(Bärenreiter HM 13) or Cello & Piano 1, arr. Pejtsik (Editio Musica Budapest Z.14636/FM Distribution)

7 Vivaldi Largo and Allegro poco: 1st and 2nd movts from Sonata in A minor, RV 44. Vivaldi Complete Sonatasfor Violoncello (Bärenreiter BA 6995)

LIST B1 Arensky Chant triste, Op. 56 No. 3. Cello & Piano 2, arr. Pejtsik (Editio Musica Budapest Z.14637/FM

Distribution)

2 Beethoven Allegro moderato: 1st movt from Sonata in F (for Horn or Cello), Op. 17. Beethoven Sonatas forVioloncello and Piano (Wiener Urtext UT 50247/MDS) or (separately: IMC 3153/MDS)

3 Brahms Allegretto quasi Menuetto: 2nd movt from Sonata in E minor, Op. 38 (Wiener Urtext UT 50039/MDSor Peters EP 3897a)

4 Chopin Scherzo: 2nd movt from Sonata in G minor, Op. 65 (Henle 495 or Henle 495/MDS or Peters EP 1928)

5 Fauré Romance in A, Op. 69 (Hamelle HA9168/UMP or IMC 3499/MDS)

6 Granados Madrigal in A minor (IMC 1884/MDS)

7 Saint-Saëns Allegro appassionato, Op. 43 (Durand/UMP or Schott CB 186/MDS)

LIST C1 Bloch Jewish Song: No. 3 from From Jewish Life (separately: Carl Fischer CF 1206014/MDS) or Bloch Music for

Cello and Piano (Carl Fischer CF 10859/MDS)

2 Dunkler La fileuse, Op. 15 (PWM 9230/MDS)

3 Goens Tarantelle, Op. 24 (Editio Musica Budapest Z.13595/MDS)

4 Jacob Allegro vivace: 2nd movt from Sonata (Stainer & Bell 2237)

5 Aaron Minsky Truckin’ Through the South: No. 2 from 10 American Cello Etudes (OUP)

6 Nin Sur un air de danse de Pablo Esteve: No. 4 from Quatre commentaires pour violoncelle et piano (Eschig/UMP)

7 Prokofiev Moderato: 2nd movt from Sonata in C, Op. 119 (Peters EP 4710)


E b, G, A, Bb, B majors; E b, G, A, Bb, B minors (three octaves)




Chromatic Scales: starting on E b, G, A, Bb and B (three octaves):






40



41

Cello GRADE 8

Dominant Sevenths: in the keys of Ab, C, D, E b and E (starting on E b, G, A, Bb and B and resolving on the

tonic) (two octaves):



Diminished Sevenths: starting on E b, G and B (two octaves):



Double Stop Scales:

(i) in sixths in the key of C major (one octave): slurred bowing with repeated notes, as example below:

(ii) in octaves in the key of A major (one octave): rhythm and bowing in broken steps, as example below:

(iii) in thirds in the key of F major (one octave): rhythm and bowing in broken steps, as example below:

SIGHT-READING*: (bass, tenor and treble clefs) see p. 7



DOUBLE BASS (Subject Code: 06)

The set pieces in this syllabus are valid from 2010 until further notice. Revised scale and sight-reading

requirements will take effect from 1 January 2012.

Double Bass GRADE 1

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C. Pieces in first position

are indicated by †, those in half position by §, while the remaining pieces can be played in either position:

LIST A1 Anon. Estonian Lament to the Moon (in either key)

Time Pieces for Double Bass, Vol. 1, arr. Slatford (ABRSM)‡2 Blow Gavott (from Musick’s Hand-maid) �3 Anon. German The More the Merrier. No. 67 from Ready Steady Go, arr. Elliott (Bartholomew 502: piano

accomp. published separately, 502a)

4 Shinichi Suzuki Allegretto. No. 11 from Suzuki Bass School, Vol. 1, Revised Edition (Alfred—Summy-Birchard0370S/FM Distribution: piano accomp. published separately, 0372S)

5 Trad. John Grumlie, arr. Elliott. P. 25 from The Essential String Method, Double Bass Book 3 (Boosey & Hawkes/MDS: piano accomp. published separately)

6 Trad. Peruvian Dance Tune. Amazing Solos for Double Bass, arr. Schofield (Boosey & Hawkes/MDS)

LIST B1 Catherine Elliott Carnival Waltz. P. 4 from The Essential String Method, Double Bass Book 3 (Boosey & Hawkes/

MDS: piano accomp. published separately)2 Tony Osborne Bass Bridges of Paris or Alpen Song†: No. 14 or No. 18 from The Really Easy Bass Book (Faber)3 Michael Rose Ballad II

Time Pieces for Double Bass, Vol. 1, arr. Slatford (ABRSM)‡4 Schumann A Little Piece (from Op. 68) �5 Taki Moon Over the Ruined Castle. No. 8 from Suzuki Bass School, Vol. 2, Revised Edition (Alfred—Summy-

Birchard 0371S/FM Distribution: piano accomp. published separately, 0374S)

6 Tchaikovsky Old French Song, arr. Nelson. P. 27 from The Essential String Method, Double Bass Book 4 (Boosey& Hawkes/MDS: piano accomp. published separately)

LIST C1 Anon. Corn Rigs Quadrille

2 Steve Berry A Little Blue (without improvisation)Time Pieces for Double Bass, Vol. 1,

3 T. Morley Now is the month of Maying(in either key) � arr. Slatford (ABRSM)‡

4 I. Carroll Gigue: from Five Simple Pieces (Stainer & Bell 2310)

5 Tony Osborne And Y Not: No. 22 from The Really Easy Bass Book (Faber)6 Regner Lied des Schlafes: No. 5 from Kontra-Spass (Schott KBB 11/MDS)

7 Trad. Hatikvah, arr. Elliott. P. 22 from The Essential String Method, Double Bass Book 3 (Boosey & Hawkes/MDS: piano accomp. published separately)

SCALES AND ARPEGGIOS*: from memory, in the keys specified in one of the following groups chosen by

the candidate:

GROUP I: Bb major; A minor (one octave)

GROUP II: G major; B minor (one octave)

Scales: in the keys of the chosen group above (minor in harmonic form only): separate bows, rhythm as

second example in Cello Grade 1

Arpeggios: the common chords of the keys in the chosen group above for the range indicated: separate

bows, even notes, as example in Cello Grade 1




42

§

†

†

†

†

§

†

§

§

†

* Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests) ‡ Available December 2009

solo or accomp.accomp.solo or accomp.accomp.accomp.accomp.solo or accomp.

(E) Bowed Strings 42-80 NEW 22/7/09 13:30

Double Bass GRADE 2


LIST A1 attrib. J. S. Bach Musette (BWV Anh. II 126).

P. 9 from The Anna Magdalena Bach Notebook for Double Bass, arr.

2 Petzold Minuet in D (BWV Anh. II 114).Elliott (Bartholomew 009: piano accomp. published

P. 3 from separately, 009a)

3 Boccherini Minuetto (from String Quartet, Op. 24 No. 4). Time Pieces for Double Bass, Vol. 1, arr. Slatford(ABRSM)‡

4 Handel Gavotte, arr. Elliott (upper line). P. 10 from The Essential String Method, Double Bass Book 4 (Boosey & 5 Trad. English Greensleeves, arr. Elliott. P. 26 from � Hawkes/MDS: piano accomp. published separately)6 Mozart Passe-pied (observing repeats). No. 9 from La Contrebasse classique, Vol. A, arr. Dehant (Combre C05440/

UMP)

LIST B1 Beethoven Andante cantabile (from String Quartet, Op. 18 No. 5) Time Pieces for Double Bass, Vol. 1, 2 Michael Rose Ballad I � arr. Slatford (ABRSM)‡

3 Rodgers & Hammerstein Edelweiss (from The Sound of Music). No. 50 from Abracadabra Double Bass, Book 1,arr. Lillywhite et al. (Black: piano accomp. published separately)

4 Schubert Two German Dances, arr. Nelson (omitting DC). P. 23 from The Essential String Method, Double BassBook 4 (Boosey & Hawkes/MDS: piano accomp. published separately)

5 Schumann The Merry Peasant (The Happy Farmer). P. 18 (arr. Elliott) from The Essential String Method,Double Bass Book 4 (Boosey & Hawkes/MDS: piano accomp. published separately) or No. 7 from Suzuki Bass School,Vol. 2, Revised Edition (Alfred—Summy-Birchard 0371S/FM Distribution: piano accomp. published separately, 0374S)

6 Weber Ecossaise (upper line, observing repeats). P. 7 from Technitunes for Double Bass, arr. Nelson and Elliott(Boosey & Hawkes/MDS: piano accomp. published separately)

LIST C1 Arlen & Harburg We’re off to see the Wizard (from The Wizard of Oz). No. 70 from Abra-

cadabra Double Bass, Book 1, arr. Lillywhite et al. (Black: piano accomp. published separately)2 Christopher Field Ladye Broomleigh Her Pavane.

No. 45 from Yorke Studies for Double Bass, Vol. 13 Trad. Scottish Ye Banks and Braes, arr. Slatford. (Yorke YE0022/Spartan Press)

No. 73 from4 Herz Galoppe

Time Pieces for Double Bass, Vol. 1, arr. Slatford (ABRSM)‡5 Giles Swayne Lazybones �6 Regner Maitanz: No. 2 from Kontra-Spass (Schott KBB 11/MDS)

7 Trad. March of the Kings, arr. Elliott. P. 25 from The Essential String Method, Double BassBook 4 (Boosey & Hawkes/MDS: piano accomp. published separately)


F, Bb majors; E, A minors (one octave)

Scales: in the above keys (minors in harmonic form only):

(i) separate bows, rhythm as second example in Cello Grade 1

(ii) slurred, with two quavers to a bow, as example in Cello Grade 1

Arpeggios: the common chords of the above keys for the range indicated: separate bows, even notes, as

example in Cello Grade 1




⎫⎩⎧⎭

⎫⎩⎧⎭

43

accomp.

solo

solo

accomp.accomp.accomp.solo or accomp.


Double Bass GRADE 3


LIST A1 Azaïs Menuet. No. 22 from La Contrebasse classique, Vol. A, arr. Dehant (Combre C05440/UMP)

2 attrib. J. S. Bach First Minuet in D minor (BWV Anh. II 121) (observing 1st repeat). P. 9 from The AnnaMagdalena Bach Notebook for Double Bass, arr. Elliott (Bartholomew 009: piano accomp. published separately, 009a)

3 L. Couperin Menuet de Poitou (omitting DC) Time Pieces for Double Bass, Vol. 1, 4 Lully Air and Chaconne (from Le bourgeois gentilhomme) � arr. Slatford (ABRSM)‡

5 Gerhard Deutschmann Menuett and Trio. No. 9 from Yorke Solos for Double Bass, Vol. 1 (Yorke YE0087/SpartanPress)

6 Mozart Allegro (K. 3). No. 2 from Subterranean Solos, arr. Hartley (Bartholomew 006: piano accomp. publishedseparately, 006a)

LIST B1 Grieg Norwegian Dance (Op. 35). No. 5 from Subterranean Solos, arr. Hartley (Bartholomew 006: piano accomp.

published separately, 006a)

2 Gurlitt Voyage de nuit. No. 20 from La Contrebasse classique, Vol. A, arr. Dehant (Combre C05440/UMP)

3 Sheila Joynes The Old Sea Dog. No. 52 from Bass is Best! Yorke Mini-Bass Book 2, arr. Emery and Barratt (YorkeYE0098/Spartan Press)

4 John Merle Mummers (Danse grotesque). Festival Performance Solos – String Bass (Carl Fischer BF5/MDS:piano accomp. published separately, BF6)

5 Schumann Melody (from Op. 68). Time Pieces for Double Bass, Vol. 1, arr. Slatford (ABRSM)‡

6 Verdi Grand March (from Aïda). Amazing Solos for Double Bass, arr. Schofield (Boosey & Hawkes/MDS)

LIST C1 Aprile Solfeggio No. 3 (upper part) (ornaments optional). Time Pieces for Double Bass,

Vol. 1, arr. Slatford (ABRSM)‡

2 Frederick Boaden Prelude: 1st movt from Petite Suite (Yorke YEC47358/Spartan Press)3 Teppo Hauta-aho Scott: 3rd movt from Jazz Sonatine [No. 1]. No. 1 from Hauta-aho

Pizzicato Pieces, Book 1 (Recital Music RM097/Spartan Press)4 Mozart, trans. Hindemith O Iso ed Osiro. Hindemith Stücke für Kontrabass solo

(Schott ED 8378/MDS)

5 Tony Osborne Bassa Nova (pizz or arco or combination): No. 3 from Junior Jazz Book 1(Recital Music RM037/Spartan Press)

6 Michael Rose Jumbo Rag: from A Sketchbook for Double Bass (ABRSM)

7 David Tutt Spanish Dance. No. 8 from Bass is Best! Yorke Mini-Bass Book 2, arr. Emery andBarratt (Yorke YE0098/Spartan Press)


Scales: in the keys specified in one of the following groups chosen by the candidate (minors in melodic orharmonic form at candidate’s choice):

GROUP I: F, G, A, Bb majors; A, B minors (one octave)

GROUP II: G, A, D majors; G, A, D minors (one octave)



(iii) pizzicato

Arpeggios: the common chords of the keys specified in the group corresponding with that chosen by the

candidate above for the range indicated:

GROUP I: F, G, A, Bb majors; E, F#, B minors (one octave)

GROUP II: G, A, D majors; G, A, D minors (one octave)

(i) separate bows, even notes, as example in Cello Grade 1

(ii) pizzicato

44

solo or accomp.†

accomp.solo

solo

accomp.

accomp.accomp.

† With the published piano (not double bass) accompaniment



Double Bass GRADE 3

Dominant Seventh: in the key of D (starting on A and resolving on the tonic) (one octave):


(ii) pizzicato




45


46

Double Bass GRADE 4


LIST A1 attrib. J. S. Bach Minuet in C (BWV Anh. II 116). P. 5 from The Anna Magdalena Bach Notebook for Double

Bass, arr. Elliott (Bartholomew 009: piano accomp. published separately, 009a) or No. 2 from Suzuki Bass School, Vol. 3, Revised Edition (Alfred—Summy-Birchard 0376S/FM Distribution: piano accomp. published separately, 0377S)

2 J. S. Bach Gavotte and Musette, arr. Slatford. No. 20 from Yorke Solos for Double Bass, Vol. 13 Mozart A Little Melody, arr. Láska. No. 23 from � (Yorke YE0087/Spartan Press)4 Froberger Gigue (ornaments optional) Time Pieces for Double Bass, Vol. 2, arr. Slatford 5 Handel Allegro from Concerto grosso (Op. 6 No. 8) � (ABRSM)‡

6 A. Thomas Gavotte (from Mignon). No. 7 from Subterranean Solos, arr. Hartley (Bartholomew 006: piano accomp.published separately, 006a)

LIST B1 Grieg Hunting Song (Op. 4 No. 4)

Time Pieces for Double Bass, Vol. 2, arr. Slatford (ABRSM)‡2 Mendelssohn Venetian Gondola Song (from Op. 57) �3 Humperdinck Fiddler’s Song (from Königskinder). Amazing Solos for Double Bass, arr. Schofield (Boosey &

Hawkes/MDS)

4 S. Lancen Si j’étais … Moussorgsky. No. 13 from Yorke Solos for Double Bass, Vol. 1 (Yorke YE0087/Spartan Press)

5 J. F. Müller Neapolitan Dance (Neil Kjos Music KJ15920/Music Sales)6 Michael Rose Reverie: from A Sketchbook for Double Bass (ABRSM)

LIST C1 A. Benjamin Jamaican Rumba

Time Pieces for Double Bass, Vol. 2, arr. Slatford (ABRSM)‡2 Kabalevsky Cavalryman (from Op. 27) �3 Frederick Boaden Elegy: 2nd movt from Petite Suite (Yorke YEC47358/Spartan Press)4 Bottesini Study No. 4 or No. 9: from Method for Double Bass, Part 1 (Yorke YE0076/Spartan Press)5 Christopher Field Hornpipe: No. 4 from Mock Baroque. No. 108/4 from Yorke Studies for Double

Bass, Vol. 2 (Yorke YE0086/Spartan Press)6 Teppo Hauta-aho Allegro moderato: 1st movt from Jazz Sonatine No. 2 (Recital Music RM333/

Spartan Press)7 Regner Der Clown tritt auf: No. 8 from Kontra-Spass (Schott KBB 11/MDS)


the candidate:

GROUP I: Ab, C, Db majors; G#, C, C# minors (one octave)

GROUP II: C, D, E majors; C, D, E minors (one octave)

Scales: in the keys of the chosen group above (minors in melodic or harmonic form at candidate’s choice):



(iii) pizzicato

Chromatic Scales: starting on open strings A and E (one octave):


(ii) pizzicato

Arpeggios: the common chords of the keys in the chosen group above for the range indicated:


(ii) slurred, three notes to a bow, as example in Cello Grade 3

(iii) pizzicato

Dominant Seventh: in the key of F (starting on C and resolving on the tonic) (one octave):


(ii) pizzicato


accomp.accomp.accomp.solosolo

solo

accomp.


47

Double Bass GRADE 4





48

Double Bass GRADE 5


LIST A1 Corelli Sarabanda (Largo): 3rd movt from Sonata in D minor [C minor], trans. Zimmermann (IMC 1766/

MDS)

2 attrib. Giovannino Adagio and Aria staccata e allegra: 1st and 2nd movts from Sonata in A minor (YorkeYE0008/Spartan Press)

3 Handel Bourree. No. 8 from Suzuki Bass School, Vol. 3, Revised Edition (Alfred—Summy-Birchard 0376S/FMDistribution: piano accomp. published separately, 0377S)

4 S. Paxton Allegretto: 1st movt from Sonata in D, Op. 3 No. 2, trans. Elliott (Bartholomew 005)

5 Rameau Dance. No. 68 from Bass is Best! Yorke Mini-Bass Book 2, arr. Emery and Barratt (Yorke YE0098/SpartanPress)

6 Rameau Le Lardon and La Boiteuse. Time Pieces for Double Bass, Vol. 2, arr. Slatford (ABRSM)‡

LIST B1 Fauré Autumn (Op. 18 No. 3)

Time Pieces for Double Bass, Vol. 2, arr. Slatford (ABRSM)‡2 Spohr Allegro (from String Quartet, Op. 4 No. 2)�3 Massenet Mélodie (Op. 10), arr. Zimmermann Festival Performance Solos – String Bass (Carl Fischer BF5/4 Trad. The Jolly Dutchman, arr. Isaac � MDS: piano accomp. published separately, BF6)

5 Chester Minkler A Gaelic Melody. No. 11 from Suzuki Bass School, Vol. 3, Revised Edition (Alfred—Summy-Birchard 0376S/FM Distribution: piano accomp. published separately, 0377S)

6 Pascal Proust Le bon barbu rond (Combre C06174/UMP)

LIST C1 L. Bernstein Cool (from West Side Story). Amazing Solos for Double Bass, arr. Schofield

(Boosey & Hawkes/MDS)

2 Bottesini Study No. 18 or No. 32: from Method for Double Bass, Part 1 (Yorke YE0076/Spartan Press)

3 Tyrone Brown Walking Song (p. 14 only, observing first repeat): from Compositions for Bass(Mel Bay)

4 I. Carroll Polish Mazurka or Cuban Rumba: from Five National Dances (Stainer & Bell H290)

5 Miles Davis So What, arr. Swaim. No. 10 from Suzuki Bass School, Vol. 3, Revised Edition(Alfred—Summy-Birchard 0376S/FM Distribution: piano accomp. published separately, 0377S)

6 Ray Henderson Black Bottom. Time Pieces for Double Bass, Vol. 2, arr. Slatford (ABRSM)‡

7 L. Shitte Étude. No. 63 from Bass is Best! Yorke Mini-Bass Book 2, arr. Emery and Barratt(Yorke YE0098/Spartan Press)


the candidate:

GROUP I: D, E b majors; D, E b minors (one octave)

E major; E minor (two octaves)

GROUP II: Ab, E b majors; G#, E b minors (one octave)

E major; E minor (two octaves)

Scales: in the keys of the chosen group above (minors in melodic or harmonic form at candidate’s choice):


(ii) slurred, two beats to a bow, as example in Cello Grade 4

(iii) pizzicato

Chromatic Scales: starting on open strings A and D (one octave) and E (two octaves):


(ii) pizzicato


accomp.

solo

solo

accomp.

accomp.

accomp.solo or accomp.


49

Double Bass GRADE 5

Arpeggios: the common chords of the keys in the chosen group above for the ranges indicated:


(ii) slurred, three notes to a bow, as example in Cello Grade 3

(iii) pizzicato

Dominant Seventh: in the key of A (starting on E and resolving on the tonic) (one octave):


(ii) pizzicato

Diminished Seventh: starting on A (one octave):


(ii) pizzicato





Double Bass GRADE 6


Jazz subject.


LIST A1 Capuzzi Rondo (Allegro): 3rd movt from Concerto in D (Yorke YE0011/Spartan Press)2 Galliard Adagio and Allegro: 1st and 2nd movts from Sonata in D minor, trans. Drew. String Festival Solos,

Double Bass Vol. 2 (Alfred—Belwin EL95110/FM Distribution: piano accomp. published separately, EL95109)

3 Giordani Larghetto. Two Eighteenth-Century Pieces, arr. Sterling (Stainer & Bell H468)

4 B. Marcello Largo and Allegro: 3rd and 4th movts from Sonata in F, Op. 2 No. 1. Marcello Six Sonatas(Schirmer GS26269/Music Sales)

5 S. Paxton The Bush aboon Traquair (A Scots Air) and Vivace: 2nd and 3rd movts from Sonata in D, Op. 3

No. 2, trans. Elliott (Bartholomew 005)

6 Vivaldi Allegro: 4th movt from Sonata No. 1 in Bb , RV 47. Vivaldi Complete Sonatas for Violoncello (BärenreiterBA 6995) or (separately, trans. Zimmermann: IMC 2302/MDS)

LIST B1 Beethoven Sonatina. No. 6 from Solos for the Double Bass Player, arr. Zimmermann (Schirmer GS33083/Music

Sales)2 Gabriel-Marie La Cinquantaine. No. 6 from Suzuki Bass School, Vol. 4 (Alfred—Summy-Birchard 28359/FM

Distribution: piano accomp. published separately, 28360) or (separately, arr. Elliott: Bartholomew 001)

3 Keÿper Romance: No. 1 from from Romance and Rondo (Yorke YE0030/Spartan Press)4 John Merle Caballero. Festival Performance Solos – String Bass (Carl Fischer BF5/MDS: piano accomp. published

separately, BF6)

5 Pascal Proust Arcades (Combre C5483/UMP)

6 John Walton A Deep Song (Yorke YE0005/Spartan Press)

LIST C1 L. Bernstein America (from West Side Story) (observing repeats). Amazing Solos for Double Bass,

arr. Schofield (Boosey & Hawkes/MDS)

2 Bottesini Study No. 40 or No. 50: from Method for Double Bass, Part 1 (Yorke YE0076/Spartan Press)3 Derek Bourgeois Allegro commodo: No. 3 from Fantasy Pieces for Double Bass (Brass Wind)

4 Gavin Bryars Room 42. Time Pieces for Double Bass, Vol. 2, arr. Slatford (ABRSM)‡

5 P. M. Dubois Le gai cascadeur (Le Rideau Rouge RR1068/UMP)

6 Teppo Hauta-aho A Little Waltz (Pieni Valssi): from Teppo’s Tunes (Recital Music RM068/Spartan Press)

7 Sturm Andante and Moderato: Nos 3 and 4 from 110 Studies for String Bass, Op. 20, Vol. 1

(IMC 2079/MDS)


F, F#, G majors; F, F#, G minors (two octaves)




(iii) pizzicato

Chromatic Scales: starting on F, F# and G (two octaves):



(iii) pizzicato

50


accomp.

solosoloaccomp.accomp.accomp.

solo


51

Double Bass GRADE 6


(i) separate bows, even notes, as example below

(ii) slurred, two notes to a bow, as example below:

(iii) pizzicato

Dominant Sevenths: in the keys of A and Bb (starting on E and F and resolving on the tonic) (two octaves):


(ii) pizzicato

Diminished Seventh: starting on E (two octaves):


(ii) pizzicato




52

Double Bass GRADE 7


Jazz subject.


LIST A1 Capuzzi Allegro: 1st movt from Concerto in D (Yorke YE0011/Spartan Press)2 Corelli Preludio (Largo) and Giga (Allegro): 1st and 4th movts from Sonata in D minor [C minor], trans.

Zimmermann (IMC 1766/MDS)

3 De Fesch Sarabande (Largo) and Minuet: 3rd and 4th movts from Sonata in G (IMC 2489/MDS)

4 B. Marcello Largo and Allegro: 3rd and 4th movts from Sonata in G minor, Op. 2 No. 4. Marcello Six Sonatas(Schirmer GS26269/Music Sales) or (separately: IMC 1661/MDS)

5 Mozart Rondo (Tempo di minuetto): 3rd movt from Bassoon Concerto, K. 191, trans. Sankey (IMC 2421/MDS)

6 Vivaldi Largo and Allegro: 1st and 2nd movts from Sonata No. 2 in F, RV 41. Vivaldi Complete Sonatas for Violon-cello (Bärenreiter BA 6995: low Cs and Ds may be adapted) or (separately, trans. Zimmermann: IMC 2303/MDS)

LIST B1 Ratez Cantabile: No. 2 from Six pièces caractéristiques, Op. 46 (separately: Billaudot CC95/UMP) or Ratez

Characteristic Pieces, Book 1 (Recital Music RM189/Spartan Press)

2 Rossini Une larme (Recital Music RM303/Spartan Press)3 Saint-Säens Aria ‘Mon coeur s’ouvre à ta voix’, arr. McTier (McTier Music MM 207)

4 Vaughan Williams Romanza (observing 8vas): 2nd movt from Concerto for Bass Tuba (tuba edition: OUP)

5 Verdi Aria (from Rigoletto). No. 10 from Solos for the Double Bass Player, arr. Zimmermann (Schirmer GS33083/Music Sales)

6 J. P. Waud Novelette. No. 35 from Yorke Solos for Double Bass, Vol. 1 (Yorke YE0087/Spartan Press)

LIST C1 Bottesini Study No. 71 or No. 109: from Method for Double Bass, Part 1 (Yorke YE0076/Spartan Press)2 Derek Bourgeois Pomposo or Tempo di valse: No. 2 or No. 4 from Fantasy Pieces for Double Bass

(Brass Wind)

3 Paul Breuer Allegro ma non troppo: 1st movt from Sonatine (Breitkopf & Härtel BG 506)

4 Teppo Hauta-aho Erkon Elegia (Recital Music RM104/Spartan Press)5 Norman Hester The Bull Steps Out (Yorke YE0070/Spartan Press)6 B. Hummel Allegro: 1st movt from Sonatina, Op. 69b (Simrock EE2989/MDS)

7 Dennis Leogrande May I? (Spartan Press SP930)


Ab, A, Bb majors; G#, A, Bb minors (two octaves)




(iii) pizzicato

Chromatic Scales: starting on G# and A (two octaves):



(iii) pizzicato




(iii) pizzicato


solosolo

accomp.soloaccomp.accomp.accomp.


53

Double Bass GRADE 7

Dominant Sevenths: in the keys of B and C (starting on F# and G and resolving on the tonic) (two octaves):


(ii) with two quavers slurred and two detached, as example below:

(iii) pizzicato

Diminished Sevenths: starting on F and F# (two octaves):


(ii) with two quavers slurred and two detached, as for dominant sevenths

(iii) pizzicato

SIGHT-READING*: (bass and tenor clefs) see p. 7



Double Bass GRADE 8


Jazz subject.


LIST A1 Cimador Allegro: 1st movt from Concerto in G (Yorke YE0003/Spartan Press)2 H. Eccles Adagio and Corrente (Allegro con spirito): 3rd and 2nd movts from Sonata in G minor, trans.

Zimmermann (IMC 1712/MDS)

3 Pergolesi Comodo and Presto: 1st and 4th movts from Sinfonia in F (separately, trans. Elliott: Bartholomew 010)

or Three Sonatas for Double Bass and Piano (trans. Drew: University of Miami/Fuller Music)4 Pichl Allegro moderato: 1st movt from Concerto in C (Bartholomew 007)

5 Tartini Adagio cantabile, trans. Drew (St Francis Music Publications/Fuller Music)6 Telemann Lento and Allegro, or Lento and Allegro: 1st and 2nd, or 3rd and 4th movts from Sonata in D,

TWV 41:D6, trans. Sankey (IMC 2304/MDS)

7 Vivaldi Largo and Allegro, or Largo and Allegro: 1st and 2nd, or 3rd and 4th movts from Sonata No. 6 in Bb ,

RV 46. Vivaldi Complete Sonatas for Violoncello (Bärenreiter BA 6995) or (separately, trans. Zimmermann: IMC1473/MDS)

LIST B1 Bellini, arr. Bottesini Final de La somnambule. No. 3 from Bottesini Arias for Double Bass and Piano (Yorke

YE0023/Spartan Press)2 Bottesini Rêverie in D (McTier Music MM 203)

3 Dittersdorf Adagio: 2nd movt from Concerto No. 2. Dittersdorf Concertos for Double Bass (Yorke YE0059/Spartan Press)

4 Fauré Après un rêve, trans. Zimmermann (IMC 1740/MDS)

5 Gouffé Concertino, Op. 10 (Billaudot R19143/UMP)

6 Nielsen Romanze: No. 1 from Fantasy Pieces, Op. 2, trans. Drew (St Francis Music Publications/Fuller Music)7 Tulácek Valse miniature. No. 2 from Tulácek Three Pieces for Double Bass and Piano (Recital Music RM021/

Spartan Press)

LIST C1 Christopher Benstead Finale (Presto): No. 4 from Four Episodes (Yorke YE0085/Spartan Press)2 Bottesini Study No. 110 or No. 114: from Method for Double Bass, Part 1 (Yorke YE0076/Spartan

Press)3 Derek Bourgeois Allegro pesante or Allegro commodo: No. 5 or No. 8 from Fantasy Pieces for

Double Bass (Brass Wind)

4 Dragonetti No. 7 or No. 8: from 12 Waltzes (Henle 847 or Henle 847/MDS)

5 Piazzolla Kicho (starting at Allegro) (Tonos)

6 A. Reynolds Hornpipe (Bartholomew 004)

7 A. Ridout Grave: 1st movt from Concerto for Double Bass (Yorke YE0044/Spartan Press)8 Eric Scrève Sweet Bass Ballad (Combre C06547/UMP)


All keys, E–C inclusive, major and minor (two octaves)




(iii) pizzicato, rhythm as second example in Cello Grade 1

Chromatic Scales: starting on any note E–C inclusive (two octaves):


(ii) slurred, six notes to a bow

(iii) pizzicato

54

accomp.solo

solo

soloaccomp.accomp.accomp.accomp.



Double Bass GRADE 8




(iii) pizzicato

Dominant Sevenths: in all keys A–F (starting on notes E–C and resolving on the tonic) (two octaves):


(ii) with two quavers slurred and two detached, as example in Grade 7

(iii) pizzicato

Diminished Sevenths: starting on G, G# and A (two octaves):


(ii) with two quavers slurred and two detached, as for dominant sevenths

(iii) pizzicato

SIGHT-READING*: (bass, tenor and treble clefs) see p. 7


55


AURAL TESTS: included in the Practical exams for all subjects

Listening lies at the heart of all good music-making. Developing aural awareness is

fundamental to musical training because having a ‘musical ear’ impacts on all

aspects of musicianship. Singing, both silently in the head and out loud, is one of the

best ways to develop the ‘musical ear’. It connects the internal imagining of sound,

the ‘inner ear’, with the external creation of it, without the necessity of mechanically

having to ‘find the note’ on an instrument (important though that connection is).

By integrating aural activities in imaginative ways in the lesson, preparation for the

aural tests within an exam will be a natural extension of what is already an essential

part of the learning experience.

In the exam

Aural tests are an integral part of all Practical graded exams.

The examiner will be ready to prompt, if necessary, where there is hesitation. For any

test that requires a sung response, pitch rather than vocal quality is the object. The

examiner will be happy to adapt to the vocal range of the candidate, whose responses

may be sung to any vowel (or consonant followed by a vowel), hummed or whistled

(and at a different octave, if appropriate).

Marking scheme

Information on how the aural tests are assessed can be found in the guide for

candidates, teachers and parents, These Music Exams, available to download from


Specimen tests

Examples of the tests are given in Specimen Aural Tests and Aural Training in Practice,available for purchase from music retailers and from www.abrsm.org/publications.

Deaf or hearing-impaired candidates

Deaf or hearing-impaired candidates may opt to respond to alternative tests in place

of the standard tests, if requested at the time of entry. The syllabus for these tests is

available free on request from ABRSM (E [email protected]).

Examples of the alternative tests are available for purchase from Allegro Music

(T +44 (0)1885 490375; E [email protected]).

Minor modifications (2011)

There will be minor modifications to some aural tests, taking effect worldwide from

1 January 2011. Full details will be available in July 2010 at www.abrsm.org/exams.

Revised editions of Specimen Aural Tests and Aural Training in Practice will also be

issued in mid-2010.

56


Aural Tests GRADE 1

Minor modifications (2011): see note on p. 56.

A To tap the pulse of a passage of music in 2 or 3 time played by the examiner. The examiner will

commence playing the passage, and the candidate will be expected to join in as soon as possible

by tapping the beat, stressing where the strong beat falls. The candidate will then be asked to state

whether it is in 2 or 3 time.

B To sing, as an echo, three short phrases limited to a range of three notes in a major key played

by the examiner. The echoes should follow each phrase in strict time without an intervening

pause. The key-chord and tonic will first be sounded and the pulse indicated.

C To recognize a rhythmic change to a two-bar phrase played twice by the examiner, with the

change being made in the second playing. Candidates will be required to recognize and tap or

describe the change. The pulse will first be indicated. The examiner will be prepared to play

both versions of the phrase a second time if necessary.

D To identify certain features of a piece played by the examiner. The features will be confined to

contrasted dynamics ( pp/ff ), gradation of tone (crescendo/diminuendo), and articulation (staccato/legato), of which the examiner will select one or two and advise the candidate accordingly before

playing the piece. Questions on the selected features will then follow. Candidates are encour-

aged to use Italian terms in their answers where appropriate.

Aural Tests GRADE 2


A To tap the pulse of a passage of music in 2 (including 68 ) or 3 time played by the examiner. The

examiner will commence playing the passage, and the candidate will be expected to join in as soon

as possible by tapping the beat, stressing where the strong beat falls. The candidate will then be

asked to state whether it is in 2 or 3 time.

B To sing, as an echo, three short phrases limited to a range of five notes in a major key played by

the examiner. The echoes should follow each phrase in strict time without an intervening pause.

The key-chord and tonic will first be sounded and the pulse indicated.

C To recognize a rhythmic or melodic change to a two-bar phrase in a major key played twice by

the examiner, with the change being made in the second playing. Candidates will be required

to recognize and tap, sing or describe the change. The key-chord and tonic will first be sounded

and the pulse indicated. The examiner will be prepared to play both versions of the phrase a

second time if necessary.


contrasted dynamics ( pp/ff ), gradation of tone (crescendo/diminuendo), articulation (staccato/legato), and recognition of tempo changes (rallentando/accelerando, etc.), of which the examiner

will select one or two and advise the candidate accordingly before playing the piece. Questions

on the selected features will then follow. Candidates are encouraged to use Italian terms in their

answers where appropriate.Aural

57


Aural Tests GRADE 3


A To tap the pulse of a passage of music in 2 (including 68), 3 (including 98) or 4 time played by the

examiner. The examiner will commence playing the passage, and the candidate will be expected

to join in as soon as possible by tapping the beat, stressing where the strong beat falls. The

candidate will then be asked to state whether it is in 2, 3 or 4 time.

B To sing, as an echo, three short phrases limited to a range of one octave in a major or minor key

played by the examiner. The echoes should follow each phrase in strict time without an inter-

vening pause. The key-chord and tonic will first be sounded and the pulse indicated.

C To recognize a rhythmic or melodic change to a four-bar phrase in a major or minor key played

twice by the examiner, with the change being made in the second playing. Candidates will be

required to recognize and tap, sing or describe the change. The key-chord and tonic will first be

sounded and the pulse indicated. The examiner will be prepared to play both versions of the

phrase a second time if necessary.


contrasted dynamics ( pp/ff ), gradation of tone (crescendo/diminuendo), articulation (staccato/legato), recognition of tempo changes (rallentando/accelerando, etc.), and recognition of major

and minor tonality, of which the examiner will select one or two and advise the candidate accord-

ingly before playing the piece. Questions on the selected features will then follow. Candidates

are encouraged to use Italian terms in their answers where appropriate.

Aural Tests GRADE 4


A To sing or play from memory a four-bar melody played twice by the examiner. The key-chord and

starting note will first be sounded and named, and the pulse indicated. A second attempt will be

allowed if necessary.

B To sing five notes from score in free time within the range of a third above and below the tonic in

the key of C, F or G major. The test will begin and end on the tonic and will not contain any

intervals greater than a third. The examiner will play and name the key-chord and tonic, and, if

necessary, play each note after it has been attempted. Candidates may choose to sing the test

from the treble or bass clef.

C1 To identify certain features of a piece played by the examiner. The features will be confined to

contrasted dynamics ( pp/ff ), gradation of tone (crescendo/diminuendo), articulation (staccato/legato), recognition of tempo changes (rallentando/accelerando, etc.), recognition of major and

minor tonality, and general perception of the character of the piece, of which the examiner will

select one or two and advise the candidate accordingly before playing the piece. Questions on the

selected features will then follow. Candidates are encouraged to use Italian terms in their

answers where appropriate.

C2 To clap the rhythm of a short extract played twice by the examiner from the above piece and

state whether it is in 2, 3 or 4 time.

58


Aural Tests GRADE 5


A To sing or play from memory a short melody played twice by the examiner. The key-chord and

starting note will first be sounded and named, and the pulse indicated. A second attempt will be

allowed if necessary.

B To sing six notes from score in free time within the range of a fifth above and a fourth below the

tonic in any major key up to two sharps or flats. The test will begin and end on the tonic and will

not contain any intervals greater than a third, except for the rising fourth from dominant to

tonic. The examiner will play and name the key-chord and tonic, and, if necessary, play each

note after it has been attempted. Candidates may choose to sing the test from the treble or bass

clef.

C1 To identify certain features of a piece played by the examiner. The features will be confined to

contrasted dynamics ( pp/ff ), gradation of tone (crescendo/diminuendo), articulation (staccato/legato), recognition of tempo changes (rallentando/accelerando, etc.), recognition of major and

minor tonality, and general perception of texture, rhythm, form, style and period, of which the

examiner will select one or two and advise the candidate accordingly before playing the piece.

Questions on the selected features will then follow. Candidates are encouraged to use Italian

terms in their answers where appropriate.

C2 To clap the rhythm of a short extract played twice by the examiner from the above piece and

state whether it is in 2, 3 or 4 time.

Aural Tests GRADE 6


A To sing or play from memory the upper part of a two-part phrase played twice by the examiner.

The key-chord and starting note will first be sounded and named, and the pulse indicated.

A second attempt will be allowed if necessary.

B To sing a short melody from score, with an accompaniment played by the examiner, in any major

or minor key up to three sharps or flats. The key-chord and starting note will first be sounded

and the pulse indicated. Candidates may choose to sing the test from the treble or bass clef.


C To identify the cadence at the end of a phrase, played twice by the examiner, as perfect or imper-

fect, and to state whether it is in a major or minor key. The key-chord will first be sounded.

D1 To answer questions on the features of a piece played by the examiner, including the general per-

ception of texture, form (including phrase structure), style and period, of which the examiner

will select one or two and advise the candidate accordingly before playing the piece. Candidates

will be expected to use Italian terms in their answers where appropriate.

D2 To clap the rhythm of a short extract played twice by the examiner from the above piece and

state whether it is in 2, 3, or 4 time.

59


Aural Tests GRADE 7


A To sing or play from memory the lower part of a two-part phrase played twice by the examiner.



B To sing a short melody from score, accompanied by a lower part played by the examiner, in any

major or minor key up to four sharps or flats. The key-chord and starting note will first be

sounded and the pulse indicated. Candidates may choose to sing the test from the treble or bass

clef. A second attempt will be allowed if necessary.

C1 To identify a cadence at the end of a phrase, played twice by the examiner, as perfect, imperfect

or interrupted. The key-chord will first be sounded.

C2 To identify the two chords forming the above cadence as tonic, subdominant, dominant,

dominant seventh or submediant in root position, or tonic in second inversion. Candidates may

alternatively use the equivalent roman notation. The key-chord will first be sounded and each

chord will be played again.

C3 To identify whether a short passage, played once by the examiner, beginning in a major key

modulates to its dominant, subdominant, or relative minor. The key-chord will first be sounded

and named. Candidates may alternatively state the letter name of the new key.

D1 To answer questions on the features of a piece played by the examiner, including the general per-

ception of texture, form (including phrase structure), style and period, of which the examiner

will select one or two and advise the candidate accordingly before playing the piece. Candidates

will be expected to use Italian terms in their answers where appropriate.

D2 To clap the rhythm of a short extract played twice by the examiner from the above piece and

state whether it is in 2, 3, 4 or 68 time.

Aural Tests GRADE 8


A1 To sing or play from memory the lowest part of a short three-part phrase played twice by the

examiner. The key-chord and starting note will first be sounded and named, and the pulse

indicated. A second attempt will be allowed if necessary.

A2 To identify the cadence at the end of a further (following) phrase, played twice by the examiner,

as perfect, imperfect, interrupted or plagal. The key-chord will first be sounded.

A3 To identify up to four chords in the above cadential progression, played twice by the examiner, as

tonic (root position, first or second inversions), supertonic (root position or first inversion), sub-

dominant (root position), dominant (root position, first or second inversions), dominant seventh

(root position), or submediant (root position). Candidates may alternatively use the equivalent

roman notation. The key-chord will first be sounded.

B To sing a short melody from score, accompanied by a higher part played by the examiner, in any

major or minor key up to four sharps or flats. The key-chord and starting note will first be

sounded and the pulse indicated. Candidates may choose to sing the test from the treble or bass clef.


C To identify two modulations, each played once by the examiner, beginning in a major or minor

key. The passages may modulate to the dominant (including dominant minor if in a minor key),

subdominant, relative minor or major, or (from a major key only) to the supertonic minor.

Candidates will also be required to name the new keys. In each instance the key-chord will first be

sounded and the key named.

D To discuss matters relating to any of the musical features of a piece played by the examiner.

60


THEORY OF MUSIC (Subject Code: 99)

Developing literacy with the tonal language forms a key part of a rounded education

for performers, composers and listeners of all kinds. An understanding of how

written symbols relate to the elements of music, and having the skills to interpret and

translate them into sounds, empowers us to communicate and experience music in

a meaningful way. Without knowledge of notation it is impossible for classical

musicians to access their repertoire with ease or to rehearse together; and this

repertoire could not be heard at all had composers not been able to write it down.

So, music theory is a very practical subject that is completely entwined with

performance and composition.

ABRSM’s Theory of Music exams give students opportunities to acquire:

• a knowledge of the notation of western music, including the signs and terminol-

ogy commonly employed

• an understanding of fundamental musical elements such as intervals, keys, scales

and chords

• skill in constructing balanced rhythmic patterns or completing given melodic or

harmonic structures

• an ability to apply theoretical knowledge and understanding to score analysis

Candidates are assessed on their ability to identify, use and manipulate conventional

musical symbols, to complete extracts and to answer questions relating to the

elements of music according to the grade-by-grade parameters detailed on the

following pages.

Grade 5 as a prerequisite

A longstanding ABRSM benchmark is that a pass at Grade 5 or above in Theory of

Music must be obtained before candidates can enter for Grades 6, 7 or 8 Practical

exams. We believe that a thorough understanding of the elements of music is

essential for a full and satisfying performance at these higher grades. (Grade 5 in

Practical Musicianship or any solo Jazz subject also fulfils this prerequisite.)

Marking scheme

Theory exams are marked out of a total of 100, with 66 marks required for a Pass, 80

for a Merit and 90 for a Distinction.

Past papers

Copies of the question papers set in ABRSM’s Theory exams for each of the

preceding five years are available for purchase from music retailers and from

www.abrsm.org/publications. Model answers for papers from 2007 for all grades are

also available (and for 2006 at Grades 1–5).

61


Theory GRADE 1

1 Note values of semibreve, minim, crotchet, quaver and semiquaver, and their equivalent rests

(candidates may use the terms ‘whole note’, ‘half note’, etc.). Tied notes. Single-dotted notes and

rests.

2 Simple time signatures of 24

34

44 , bar-lines and the grouping of the notes listed above within these

times. Composition of a two-bar rhythm in answer to a given rhythm starting on the first beat of a

bar.

3 The stave. Treble (G) and bass (F) clefs. Names of notes on the stave, including middle C in both

clefs. Sharp, flat and natural signs, and their cancellation.

4 Construction of the major scale, including the position of the tones and semitones. Scales and key

signatures of the major keys of C, G, D and F in both clefs, with their tonic triads (root position),

degrees (number only), and intervals above the tonic (by number only).

5 Some frequently used terms and signs concerning tempo, dynamics, performance directions and

articulation marks. Simple questions will be asked about a melody written in either treble or bass

clef.

Theory GRADE 2

As in Grade 1, with the addition of:

1 Simple time signatures of 22

32

42

38 and the grouping of notes and rests within these times.

Triplets, and triplet note groups with rests. Questions will include the composition of simple four-

bar rhythms starting on the first beat of the bar and using a given opening.

2 Extension of the stave to include two ledger lines below and above each stave.

3 Construction of the minor scale (harmonic or melodic at candidate’s choice, but candidates will

be expected to know which form they are using). Scales and key signatures of the major keys of

A, Bb and E b, and the minor keys of A, E and D, with their tonic triads (root position), degrees

(number only), and intervals above the tonic (by number only).

4 More terms and signs in common use.

Theory GRADE 3

As in preceding grades, with the addition of:

1 Compound time signatures of 6898


The demisemiquaver (32nd note) and its equivalent rest. Questions will include the composition

of a simple four-bar rhythm which may start on an upbeat.

2 Extension of the stave beyond two ledger lines. The transposition of a simple melody from the

treble clef to the bass clef, or vice versa, at the octave.

3 Scales and key signatures of all major and minor keys up to and including four sharps and flats,

including both harmonic and melodic forms of minor scales, with their tonic triads (root

position), degrees (number only), and intervals above the tonic (number and type).

4 More terms and signs. The simple questions about a melody may include one on its phrase

structure.

62


Theory GRADE 4


1 All simple and compound duple, triple and quadruple time signatures, and the grouping of notes

and rests within these times. The breve and its equivalent rest. Double-dotted notes and rests.

Duplets. Questions will include the composition of a four-bar rhythm or (at candidate’s choice)

the composition of a rhythm to given words.

2 Alto clef (C clef centred on 3rd line). The identification of notes in the alto clef in any of the keys

set for this grade (see below), and the transcription at the same pitch of a simple melody from the

treble or the bass clef to the alto clef, and vice versa. Double sharp and double flat signs, and their

cancellation. Enharmonic equivalents.

3 Scales and key signatures of all major and minor keys up to and including five sharps and flats,

with both forms of minor scales. Technical names for the notes of the diatonic scale (tonic, super-

tonic, etc.). Construction of the chromatic scale. All intervals, not exceeding an octave, between

any two diatonic notes in any of the keys set for this grade.

4 The identification and writing of triads (root position) on the tonic, subdominant and dominant

notes in any of the keys set for this grade. The recognition of 53 (root position) chords on the

tonic, subdominant and dominant notes in any of the keys set for this grade (the harmonic form

of the scale will be used in minor keys).

5 More terms and signs, including the recognition and naming (but not writing out) of the trill,

turn, upper and lower mordent, acciaccatura and appoggiatura. Questions about a passage of

music will include simple related questions about standard orchestral instruments.

Theory GRADE 5


1 Irregular time signatures of 54

74

58


Irregular divisions of simple time values.

2 Tenor clef (C clef centred on 4th line). The identification of notes in the four clefs in any of the

keys set for this grade (see below), and the transposition at the octave of a simple melody from any

clef to another. The writing at concert pitch of a melody notated for an instrument in Bb, A or F,

and vice versa (the interval of transposition up or down will be given). The writing in open score,

using treble and bass clefs, of a passage for SATB written on two staves, and vice versa.

3 Scales and key signatures of all major and minor keys up to and including six sharps and flats. All

simple and compound intervals from any note.

4 The identification of the 5363 and 64 forms of the tonic, supertonic, subdominant and dominant

chords in any of the keys set for this grade. The identification of the progression 6453 (Ic-V) on the

dominant note in any of the keys set for this grade. The choice of suitable chords, using any

recognized method of notation, at cadential points of a simple melody in the major key of C, G,

D or F.

5 The composition of a simple melody of not more than eight bars, using a given opening and

writing for a specific instrument (some choice will be given) or, at the candidate’s choice, the

composition of a melody to given words. Appropriate performing directions relating to tempo,

dynamics and articulation will be required.

6 More terms and signs. The recognition of ornaments, including the replacement of written-out

ornamentation with the appropriate signs, but not vice versa. Questions about a passage of music

written for voices or instruments appropriate to the grade will include questions on the types of

voice and names of instruments, the clefs they use, instrument family groups and the basic way by

which they produce sound, as well as points of general musical observation designed to test the

candidate’s ability to apply theoretical knowledge to actual music.

63


Theory GRADE 6

As in preceding grades. The harmonic vocabulary expected will include: the use of 53

63 and 64 chords

on any degree of the major or minor (harmonic and melodic) scale; the recognition of the dominantseventh chord in root position, first, second and third inversions, and the supertonic seventh chord inroot position and first inversion, in any major or minor key; and the figuring for all these chords. Anunderstanding of the principles of modulation and a knowledge of cadences, ornamentation andmelodic decoration (which might include passing notes, auxiliary notes, appoggiaturas, changingnotes and notes of anticipation) will also be expected. Questions will cover:

1 Writing specified chords for voices in four parts or for keyboard (at the candidate’s choice) abovea given bass part of about four bars.

2 The indication of suitable chords for the accompaniment of a diatonic melody of about eight barsin any key, using any recognized method of notation, or, at the candidate’s choice, the provisionof a bass to a given melody, adding figures to indicate the intended harmonies.

3 Composition of a melody for a specified instrument (a choice will be given), using a given opening.Modulation to the dominant, subdominant, relative major or relative minor may be required.

4 Questions on short extracts of music written for piano or in open score for voices or for any com-bination of instruments and/or voices, designed to test the candidate’s knowledge of the elementsand notation of music, including the realization of ornaments, the identification and notation ofunderlying harmonic structure, phrase structure, style, performance, and on the voices andinstruments for which the works were written.

Theory GRADE 7

As in preceding grades, with the addition of recognition of all diatonic secondary seventh chordsand their inversions, the Neapolitan sixth and the diminished seventh chords, and of all figurescommonly used by composers during the period c.1620–1790 to indicate harmonies above a basspart. Questions will cover:

1 The indication of chords and movement of the inner parts by figuring the bass in a passage in whichboth the melody and bass are given.

2 Rewriting a given passage to include appropriate suspensions and notes of melodic decoration.

3 Continuation of a given opening for solo instrument with keyboard accompaniment, which willbe given in full throughout the passage, by completing the solo part, or, at the candidate’s choice,composition of a melody for a specified instrument (a choice will be given) based on a givenprogression of chords or melodic figure.


Theory GRADE 8

As in preceding grades. The harmonic vocabulary expected will include all standard diatonic andchromatic chords. Questions will cover:

1 Continuation of a given opening of a passage from a Baroque trio sonata for two treble instru-ments and basso continuo. The basso continuo part will be given throughout and fully figured(but a realization for keyboard will not be required).

2 Completion of an outline of a short passage for keyboard. Some knowledge of the styles practisedby composers from the time of Haydn onwards will be assumed.

3 Continuation of a given opening of a melody for a specified instrument (a choice will be given).


64


PRACTICAL MUSICIANSHIP (Subject Code: 42)

Musicianship is a broad concept that covers a complex range of musical abilities. For

the purposes of this syllabus, it is loosely defined as the ability to ‘think in sound’.

This occurs when a musician is able to produce music which they perceive internally

and in the imagination, whether through playing by ear, singing, reading from

notation, or through improvisation.

ABRSM’s Practical Musicianship exams give students opportunities to develop their

ability to ‘think in sound’ and perform spontaneously. While the other graded exams

focus on aspects of performance that are prepared in detail in advance, here the

playing (or singing) is in response to immediate challenges and stimuli, presented

both aurally and via notation.

Grade by grade, the Practical Musicianship exams cover some of the key skills for the

rounded musician:

• the ability to internalize music and to reproduce it

• interpreting written music with a minimum of preparation

• exploring the possibilities inherent in a short motif

• the ability to detect differences between what is heard and what is written

In developing their musicianship skills, students will be gaining the understandings

as well as the expressive and interpretative skills needed to master the musical

language of the repertoire they are learning.

Grade 5 as a prerequisite

A pass at Grade 5 or above in Practical Musicianship (or in Theory of Music or any

solo Jazz subject) must be obtained before candidates can enter for Grades 6, 7 or 8

Practical exams. We believe that a thorough understanding of the elements of music

is essential for a full and satisfying performance at these higher grades.

Instruments

Practical Musicianship exams are open to singers as well as instrumentalists performing

on any instrument(s) included in the current range of subjects featured in ABRSM’s

syllabuses. Singing candidates will be expected to play certain parts of the exam on an

instrument (either the piano provided or any other instrument of their choice).

In the exam

Approximately one minute of preparation time is allowed for the following tests:

• singing/playing at sight

• improvising (from Grade 4)

• transposing at sight

• realizing a figured bass

For any test that requires a sung response, pitch rather than vocal quality is the

object. The examiner will be happy to adapt to the vocal range of the candidate,

whose responses may be sung to any vowel (or consonant followed by a vowel),

hummed or whistled (and at a different octave, if appropriate).

65


Practical Musicianship

Marking scheme

The examiner will award an overall grading, rather than a mark, on the following basis:

A Pass with Distinction

B Pass with Merit

C Pass

F Failure to reach the standard required to pass

Specimen tests

Examples of the tests are given in Specimen Tests: Practical Musicianship and

Musicianship in Practice, available for purchase from music retailers and from

www.abrsm.org/publications.

Practical Musicianship GRADE 1

A To tap, as an echo, the rhythm-pattern of two two-bar phrases in simple time played by the exam-

iner. The echoes should follow each phrase in strict time without an intervening pause.

B To sing, as an echo, two two-bar phrases in simple time played by the examiner. The echoes should

follow each phrase in strict time without an intervening pause.

C To play from memory, on an instrument chosen by the candidate, a two-bar melody played twice

by the examiner. The key-chord will first be sounded and the starting note appropriate to the

candidate’s instrument will be named.

D To sing at sight a four-bar melody in 24 time to a simple accompaniment played by the examiner.


E To improvise with voice or instrument, at the choice of the candidate, a two-bar answering phrase

to a two-bar phrase played by the examiner. The key-chord and the starting note appropriate to

the candidate’s voice or chosen instrument will first be sounded and named. The answering

phrase should follow in strict time after the examiner has played the opening phrase. A second

attempt will be allowed.

F To recognize, from the printed score, the three or four changes made to pitch and note values in

a melody played twice by the examiner. The candidate will be required to point to and explain

the differences. The key-chord will be sounded before the melody is played.


A To sing, as an echo, two two-bar phrases in simple time played by the examiner, whilst

continuously tapping a repeated rhythm pattern (i.e. an ostinato) previously indicated by the

examiner. The echoes should follow each phrase in strict time without an intervening pause.

B To play from memory, on an instrument chosen by the candidate, a two-bar melody played twice



C To sing at sight a four-bar melody in 24 or 3

4 time to a simple accompaniment played by the examiner.


D To improvise with voice or instrument, at the choice of the candidate, a two-bar answering phrase

to a two-bar phrase played by the examiner. The key-chord and the starting note appropriate to




66



E To recognize, from the printed score, the three or four changes made to pitch and note values in

a melody played twice by the examiner. The candidate will be required to point to and explain

the differences. The key-chord will be sounded before the melody is played.


A To sing, as an echo, two two-bar phrases in simple time played by the examiner, whilst

continuously tapping a repeated rhythm pattern (i.e. an ostinato) previously indicated by the

examiner. The echoes should follow each phrase in strict time without an intervening pause.

B To play from memory, on an instrument chosen by the candidate, a two-bar melody played twice



C To sing at sight a four-bar melody in 24

34

44 or 6

8 time to an accompaniment played by the

examiner. The key-chord and starting note will first be sounded and named, and the pulse indicated.

D To improvise with voice or instrument, at the choice of the candidate, a four-bar answering phrase

to a four-bar phrase played by the examiner. The key-chord and the starting note appropriate to




E To recognize, from the printed score, the four changes made to pitch, note and rest values and

dynamics in a melody played twice by the examiner. The candidate will be required to point to

and explain the differences. The key-chord will be sounded before the melody is played.


A To sing and play from memory a four-bar melody in 24 or 3

4 time. The key-chord and starting note

will first be sounded and named. The examiner will play the melody twice and the candidate will

be required to sing the melody from memory. The examiner will then play the melody a third

time and the candidate will be required to play the melody on an instrument of his/her choice.

The examiner will choose a key and pitch suitable for the instrument.

B To sing at sight the lower part of a two-part passage of two bars’ length while the examiner plays

the upper part. The key-chord and starting note will first be sounded and named, and the pulse

indicated.

C To sing at sight a short melody in 24

34

44 or 6

8 time to an accompaniment played by the examiner.


D To improvise with voice or instrument, at the choice of the candidate, an extension to the given

opening of a short melody over a simple accompaniment played by the examiner. The implied

harmonic scheme will be confined to chords of the tonic and dominant. The candidate will be

given a part showing the melody in different keys and with different clefs to accommodate the full

range of instruments. A second attempt will be allowed. Keyboard candidates should be prepared

to play an octave higher than written.

E To recognize, from the printed score, the four changes (which may include pitch, rhythm, dynam-

ics and tempo) in a short piano piece played twice by the examiner. Changes to notes and rhythm

will be confined to the melodic line. The candidate will be required to point to and explain the

differences.

67



A To sing and play from memory a four-bar melody in 24

34

44 or 6

8 time. The key-chord and starting

note will first be sounded and named. The examiner will play the melody twice and the candidate

will be required to sing the melody from memory. The examiner will then play the melody

a third time and the candidate will be required to play the melody on an instrument of his/her

choice. The examiner will choose a key and pitch suitable for the instrument.

B The candidate may choose to:

1 transpose at sight on the chosen instrument a four-bar melody up or down a tone or semitone.

A key suitable for the candidate’s instrument will be given.

or

2 sing at sight the lower part of a four-bar phrase while the examiner plays the upper part. The

key-chord and starting note will first be sounded and named, and the pulse indicated.

C To sing or play at sight, at the choice of the candidate, a short melody including the realization of

dynamics, simple ornamentation (except when the test is sung) and the more common marks of

expression. Candidates will be allowed a preliminary attempt before being assessed. The key-

chord and starting note will first be sounded if the test is sung, and words will be provided (but

need not be used).

D The candidate may choose to:

1 improvise with voice or instrument, at the choice of the candidate, an extension to a melody

over an accompaniment played by the examiner. The implied harmonic scheme will be con-

fined to chords of the tonic, dominant, subdominant and supertonic of major keys of not more

than two sharps or two flats. The candidate will be given a part showing the melody in different

keys and with different clefs to accommodate the full range of instruments. A second attempt

will be allowed. Keyboard candidates should be prepared to play an octave higher than written.

or

2 improvise at the keyboard an accompaniment to a given melody which will be annotated with

chord symbols. The harmonic scheme will be within the limitations stated in test D1 above.

A suggested (but optional) opening will be provided. The examiner will play the melody, if

requested to do so, while the candidate plays the accompaniment, or the candidate may incorp-

orate the melody in the accompaniment. Candidates will be given credit for the effective use

of inversions of the chords. A second attempt will be allowed.

E To perform a short free improvisation based on a given motif or interval chosen by the examiner.

The examiner will look for imaginative use of the given material, effective use of the voice or

instrument and a sense of structure.

F To recognize, from the printed score, the five changes (which may include pitch, rhythm, dynam-

ics, tempo, articulation and phrasing) in a short piano piece played twice by the examiner.

Changes to notes and rhythm will be confined to the melodic line. The candidate will be required

to point to and explain the differences.

68



A To sing and play from memory a short melody. The key-chord and starting note will first be

sounded and named. The examiner will play the melody twice and the candidate will be required

to sing the melody from memory. The examiner will then play the melody a third time and the

candidate will be required to play the melody on an instrument of his/her choice. The examiner

will choose a key and pitch suitable for the instrument.


1 transpose at sight on the chosen instrument a melody (no longer than eight bars) up or down

a tone or semitone. A key suitable for the candidate’s instrument will be given.

or

2 sing at sight the lower part of a passage (no longer than eight bars) while the examiner plays

the upper part. The key-chord and starting note will first be sounded and named, and the pulse

indicated.

C To sing or play at sight, at the choice of the candidate, a melody including the realization of

dynamics, simple ornamentation (except when the test is sung) and the more common marks of

expression. Candidates will be allowed a preliminary attempt before being assessed. The key-

chord and starting note will first be sounded if the test is sung, and words will be provided (but

need not be used).


1 improvise with voice or instrument, at the choice of the candidate, an extension to a melody

over an accompaniment played by the examiner. The implied harmonic scheme will be con-

fined to chords of the tonic, dominant, subdominant, supertonic and dominant seventh of

major keys of not more than two sharps or two flats. The candidate will be given a part showing

the melody in different keys and with different clefs to accommodate the full range of instru-

ments. A second attempt will be allowed. Keyboard candidates should be prepared to play an

octave higher than written.

or

2 improvise at the keyboard an accompaniment to a given melody which will be annotated with

chord symbols. The harmonic scheme will be within the limitations stated in test D1 above.

A suggested (but optional) opening will be provided. The examiner will play the melody, if

requested to do so, while the candidate plays the accompaniment, or the candidate may incorp-

orate the melody in the accompaniment. Candidates will be given credit for the effective use

of inversions of the chords. A second attempt will be allowed.

E To perform a short free improvisation based on a given motif, interval or texture (e.g. flutter-

tonguing, tremolo, glissando, vocalization or the use of a specific chord cluster for keyboard

players) chosen by the examiner. The examiner will look for imaginative use of the given mater-

ial, effective use of the voice or instrument and a sense of structure.

F To recognize, from the printed score, the five changes (which may include pitch, rhythm, dynam-

ics, tempo, articulation and phrasing) in a short piano piece played twice by the examiner.

The candidate will be required to point to and explain the differences.

69




sounded and named. The examiner will play the melody twice (the first time in harmonized form,

then the melody only) and the candidate will be required to sing the melody from memory. The

examiner will then play the test a third time and the candidate will be required to play the melody

on an instrument of his/her choice. The examiner will choose a key and pitch suitable for the

instrument. Candidates who choose to play the piano for this test will be expected to play the

melody with the harmonies in outline.



any interval up to and including a minor third. A key suitable for the candidate’s instrument

will be given.

or

2 sing at sight the middle or lower part of a passage of three-part harmony (no longer than 12

bars) while the examiner plays the other two parts. The key-chord and starting note will first be

sounded and named, and the pulse indicated.

C To sing or play at sight, at the choice of the candidate, a passage of music including the realization

of dynamics, ornamentation (except when the test is sung), marks of expression, articulation and

phrasing. Candidates will be allowed a preliminary attempt before being assessed. The key-chord

and starting note will first be sounded if the test is sung, and words will be provided (but need not

be used). The examiner will accompany singers and instrumentalists (other than keyboard

players, guitarists and harpists) for the performance.


1 continue a given two-bar melodic opening, which will be in late 17th- or early 18th-century style,

to make eight bars in all. The candidate may opt to sing or play this test. If the test is sung, a key

suitable for the candidate’s voice will be chosen.

or

2 realize a short figured bass passage at the keyboard. Chords will be limited to 5363

64 and 75

3

in any

major or minor key up to and including two sharps or two flats.

E To perform a short free improvisation based on a given poem using voice or instrument.

Candidates whose first language is not English may choose to base their improvisation on a given

reproduction of a painting. The improvisation should last no longer than two minutes, and will be

assessed for its relevance to the mood of the poem (or painting) and for its musical structure.

Candidates who opt to sing this test may choose whether or not to use the words.

F To answer basic questions about an extract from a score (provided by the examiner) of a cham-

ber work written between 1700 and 1850 for no more than four players. Questions may refer to

keys, harmonic framework, instrumentation, style and structure.

70




sounded and named. The examiner will play the melody twice (the first time in harmonized form,

then the melody only) and the candidate will be required to sing the melody from memory. The

examiner will then play the test a third time and the candidate will be required to play the melody

on an instrument of his/her choice. The examiner will choose a key and pitch suitable for the

instrument. Candidates who choose to play the piano for this test will be expected to play the

melody with the harmonies in outline.



any interval up to and including a major third. A key suitable for the candidate’s instrument

will be given.

or

2 sing at sight the middle or lower part of a passage of a three-part motet while the examiner plays

the other two parts. The C (alto) clef may be used. The key-chord and starting note will first be

sounded and named, and the pulse indicated.

C To sing or play at sight, at the choice of the candidate, a passage of music including the realization

of dynamics, ornamentation (except when the test is sung), marks of expression, articulation and

phrasing. Candidates will be allowed a preliminary attempt before being assessed. The key-chord

and starting note will first be sounded if the test is sung, and words will be provided (but need not

be used). The examiner will accompany singers and instrumentalists (other than keyboard

players, guitarists and harpists) for the performance.


1 continue a given two-bar melodic opening to make eight bars in all. The candidate may opt to

sing or play this test. If the test is sung, a key suitable for the candidate’s voice will be chosen.

or

2 realize a short figured bass passage at the keyboard. Chords will be limited to 5363

64

753

653

643

and 642in any major or minor key up to and including two sharps or two flats.

E To perform a short free improvisation based on a given poem using voice or instrument.

Candidates whose first language is not English may choose to base their improvisation on a given

reproduction of a painting. The improvisation should last no longer than two minutes, and will

be assessed for its relevance to the mood of the poem (or painting) and for its musical structure.

Candidates who opt to sing this test may choose whether or not to use the words.

F To answer basic questions about an extract from a score (provided by the examiner) of a work for

voice and instruments. Questions may refer to keys, harmonic framework, style, structure and

aspects of the use of the voice or instruments.

71


OTHER ASSESSMENTS

The following syllabuses are available free of charge from music retailers and from:


Piano: Grades 1–8

Singing: Grades 1–8

Woodwind: Grades 1–8

• Descant Recorder (Grades 1–5 only), Treble Recorder, Flute, Oboe, Clarinet,

Bassoon, Saxophone (Soprano, Alto, Tenor, Baritone)

Brass: Grades 1–8

• Horn, Trumpet, Cornet (Bb and Eb), Flugelhorn, Eb Horn, Trombone,

Bass Trombone (Grades 6–8 only), Baritone, Euphonium, Tuba (Eb, F, Bb and C)

Harpsichord, Organ, Guitar, Harp, Percussion & Ensembles

• Harpsichord (Grades 4–8), Organ (Grades 2–8), Guitar (Grades 1–8), Harp (Grades

1–8), Percussion (Grades 1–8), Ensembles (Primary, Intermediate, Advanced)

Jazz

• Flute, Clarinet, Sax, Trumpet, Cornet, Flugelhorn, Trombone, Piano (Grades 1–5),

Jazz Ensembles (Initial, Intermediate, Advanced)

Available in the UK, Ireland, Australia, New Zealand, Malaysia (Kuala Lumpur andPenang only), Singapore, USA (New York only) and Canada (Manitoba only)

Prep Test

• Piano, Violin, Viola, Cello, Double Bass, Guitar, Descant Recorder, Flute, Oboe,

Clarinet, Bassoon, Saxophone (Eb and Bb), Horn, Trumpet, Cornet, Flugelhorn,

Eb Horn, Trombone, Baritone, Euphonium, Singing

Designed as a positive assessment, without marks being awarded, in preparation for the Grade 1 exams

Choral Singing

• Initial, Intermediate, Advanced

Available in the UK and at certain international centres

Performance Assessment

• Available for all subjects featured in ABRSM’s graded exam syllabuses

Designed as a positive assessment, without marks being awarded, for adult candidates of 21years or over, and those of any age who have already passed Grade 8 or whose specific needsmean they are unable to access graded music exams; own-choice programme

Diplomas: DipABRSM, LRSM, FRSM

• Music Performance, Music Direction, Instrumental/Vocal Teaching

Three levels of award (Diploma, Licentiate, Fellowship) forming a progressive assessmentframework for a wide range of musicians

Music Medals

• Assessments for younger learners that introduce essential musical skills and encourage

playing together Available in the UK only72


ACCREDITATION (UK)

ABRSM graded exams for Theory of Music, individual instruments and singing

(excluding Practical Musicianship) are accredited in England by the Office of

the Qualifications and Examinations Regulator (Ofqual) and the corresponding

regulatory authorities in Wales (DCELLS) and Northern Ireland (CCEA). They are

part of the National Qualifications Framework (NQF). They have also been approved

under Section 96 of the Learning and Skills Act 2000.

ABRSM Exam Title NQF Level NQF Title Accreditation No.

Practical Grades 1–3 1 Music Performance 100/0783/0

Practical Grades 4 & 5 2 Music Performance 100/0784/2

Practical Grades 6–8 3 Music Performance 100/0785/4

Theory of Music Grades 1–3 1 Music Literacy 100/0786/6

Theory of Music Grades 4 & 5 2 Music Literacy 100/0787/8

Theory of Music Grades 6–8 3 Music Literacy 100/0788/X

ABRSM exams are listed on the National Database of Accredited Qualifications –

www.accreditedqualifications.org.uk.

Ofqual has been launched as the new independent regulator of qualifications, exams

and tests in England. The legal status of Ofqual is being established through

legislation with the intention that it will be accountable to the UK Parliament and

that a clear separation will be made between its role in ensuring that qualifications

are fair and accurate and that of the Qualifications and Curriculum Authority (QCA,

which is to become the Qualifications and Curriculum Development Agency). Until

this legislation is passed, Ofqual is legally part of the QCA.

Ofqual is working with DCELLS, CCEA and others to establish a new framework for

qualifications in England, Wales and Northern Ireland – the Qualifications and

Credit Framework (QCF).

Further information about accreditation can be found at www.ofqual.gov.uk.

73


OBTAINING EXAM MUSIC

Every effort has been made to ascertain that all the music listed in this syllabus book-

let will remain available for the duration of each of the syllabuses.

All the listed titles should be available from music retailers worldwide. However, in

case of difficulty obtaining any title, please contact:

• ABRSM’s referral service, Chamberlain Music (T +44 (0)1428 658806; F +44 (0)1428

658807; E [email protected]; www.chamberlainmusic.com/abrsm)

• the individual publishers/distributors listed below

Please note that ‘custom print’ or ‘print on demand’ titles may not be kept in stock

by all music retailers and can take longer to arrive than other titles.

All titles published by ABRSM featured in this booklet will remain in print for the

duration of each of the syllabuses. ABRSM titles are available from music retailers

worldwide or, in case of difficulty, via our website: www.abrsm.org/publications.

Please note that ABRSM does not supply any music from the other publishers/

distributors listed below.

Publishers/DistributorsABRSM: 24 Portland Place, London W1B 1LU, UK; T +44 (0)20 7636 5400; F +44 (0)20 7467

8833; E [email protected]; www.abrsm.org/publications

Alfred Publishing Co. (UK) Ltd: Burnt Mill, Elizabeth Way, Harlow, Essex, CM20 2HX, UK; T +44 (0)1279 828960; F +44 (0)1279 828990; E [email protected]; www.alfreduk.com

Allegro Music: 43 The Hop Pocket Craft Centre, New House Farm, Bishops Frome,Worcestershire, WR6 5BT, UK; T +44 (0)1885 490375; F +44 (0)1885 490615; E [email protected]; www.allegro.co.uk

Bärenreiter Ltd: Burnt Mill, Elizabeth Way, Harlow, Essex, CM20 2HX, UK; T +44 (0)1279828930; F +44 (0)1279 828931; E [email protected]; www.baerenreiter.com

Bartholomew Music Publications: 105 Bartholomew Road, London NW5 2AR, UK; T/F +44 (0)20 7267 0437; E [email protected]; www.bartholomewmusic.co.uk

A. & C. Black (Publishers) Ltd: 37 Soho Square, London W1D 3QZ, UK; T +44 (0)20 77580200; E [email protected]; www.acblack.com

Boosey & Hawkes Music Publishers Ltd: see MDS

Brass Wind Publications: 4 St Mary’s Road, Manton, Oakham, Rutland, LE15 8SU, UK; T/F+44 (0)1572 737409; E [email protected]; www.brasswindpublications.co.uk

Breitkopf & Härtel: 30 Mill Road, Dymchurch, Romney Marsh, Kent, TN29 0NZ, UK; T +44(0)1303 870037; F +44 (0)1303 870097 or Sales Dept, P.O. Box 1103, D-65219 Taunusstein,Germany; E [email protected]; www.breitkopf.com

Chester Music: see Music Sales

Cramer Music Ltd: 23 Garrick Street, London WC2E 9RY, UK; T +44 (0)20 7240 1612; F +44 (0)20 7240 2639; E [email protected]; www.cramermusic.co.uk

74


De Haske Music (UK) Ltd: Fleming Road, Earlstrees, Corby, Northants., NN17 4SN, UK; T +44 (0)1536 260981; F +44 (0)1536 401075; E [email protected]; www.dehaske.com

Faber Music Ltd: Bloomsbury House, 74–77 Great Russell Street, London WC1B 3DA, UK; T +44 (0)20 7908 5310; F +44 (0)20 7908 5339; E [email protected]; www.fabermusic.com

FM Distribution: Burnt Mill, Elizabeth Way, Harlow, Essex, CM20 2HX, UK; T +44 (0)1279828989; F +44 (0)1279 828990; E [email protected]; www.fabermusic.com

Fuller Music: Strathmashie House, Laggan Bridge, Scottish Highlands, PH20 1BU, UK; T +44(0)1540 664940; F +44 (0)1528 544771; E [email protected]; www.FullerMusic.co.uk

Hardie Press: 35 Mountcastle Terrace, Edinburgh EH8 7SF, UK; T/F +44 (0)131 657 2097; E [email protected]; www.hardiepress.co.uk

G. Henle Verlag: Forstenrieder Allee 122, D-81476 München, Germany; E [email protected];www.henle.de or see MDS

Kevin Mayhew Publishers: Buxhall, Stowmarket, Suffolk, IP14 3BW, UK; T +44 (0)1449737978; F +44 (0)1449 737834; E [email protected]; www.kevinmayhew.com

McTier Music: E [email protected] (publisher moving address at time of publicationbut can be contacted via e-mail)

MDS – Music Distribution Services Ltd: 7–12 Raywood Office Complex, Leacon Lane,Charing, Ashford, Kent, TN27 0EN, UK; T +44 (0)1233 712233; F +44 (0)1233 714948; E [email protected]

Mel Bay Music Ltd: Office 2.05 Argentum, 2 Queen Caroline Street, London W6 9DX, UK; T +44 (0)20 8323 8010; F +44 (0)20 8323 8306; E [email protected]; www.melbay.com

Music Sales Ltd: Newmarket Road, Bury St Edmunds, Suffolk, IP33 3YB, UK; T +44 (0)1284702600; F +44 (0)1284 768301; E [email protected]; www.musicsales.com

Novello & Co. Ltd: see Music Sales

OUP – Oxford University Press: Music Department, Great Clarendon Street, Oxford OX26DP, UK; T +44 (0)1865 355067; F +44 (0)1865 355060; E [email protected];www.oup.com

Peters Edition Ltd: 2–6 Baches Street, London N1 6DN, UK; T +44 (0)20 7553 4000; F +44 (0)20 7490 4921; E [email protected]; www.editionpeters.com

G. Ricordi & Co. (London) Ltd: see UMP

G. Schirmer Inc.: see Music Sales

Schott & Co. Ltd: see MDS

SJ Music: 23 Leys Road, Cambridge CB4 2AP, UK; T +44 (0)1223 314771; F +44 (0)1223560353; E [email protected]; www.sjmusicpublications.co.uk

Spartan Press Music Publishers Ltd: Strathmashie House, Laggan Bridge, Scottish Highlands,PH20 1BU, UK; T +44 (0)1528 544770; F +44 (0)1528 544771; E [email protected];www.SpartanPress.co.uk

Stainer & Bell Ltd: P.O. Box 110, Victoria House, 23 Gruneisen Road, London N3 1DZ, UK;T +44 (0)20 8343 3303; F +44 (0)20 8343 3024; E [email protected]; www.stainer.co.uk

Studio Music Co.: Cadence House, Eaton Green Road, Luton, Bedfordshire, LU2 9LD, UK; T +44 (0)1582 432139; F +44 (0)1582 731989; E [email protected]; www.studio-music.co.uk

Tonos Music GmbH: Holzhofallee 15, 64295 Darmstadt, Germany; T +49 (6151) 3904-0; F +49 (6151) 3904-90; E [email protected]; www.tonosmusic.com

75

Publishers/Distributors


UMP – United Music Publishers Ltd: 33 Lea Road, Waltham Abbey, Essex, EN9 1ES, UK; T +44 (0)1992 703110; F +44 (0)1992 703189; E [email protected]; www.ump.co.uk

Universal Edition: see MDS

76

DO NOTPHOTOCOPY

© MUSIC

DO NOTPHOTOCOPY

© MUSIC

Publishers/Distributors


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78


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80

Printed in England by Headley Brothers Ltd, The Invicta Press, Ashford, Kent


(a) bowed strings pre new 22/7/09 13:29 page 1 bowed ... · a live piano accompaniment is required...

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