CELLO scale requirements

GRADE 1 Scales G, D majors (one octave, starting on open strings)

A natural minor (one octave, as example below) C major (two octaves, starting on open string)

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

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

Arpeggios

Keys and ranges as for scales above

separate bows, even notes, as example below

Two main changes are suggested at this grade. An example of a minor-key scale is now

proposed, i) to reflect the fact that Grade 1 repertoire often features minor/modal pieces, and

ii) for conformity with the other ABRSM Grade 1 syllabuses. However, in order not to exceed finger patterns 1 and 2, the natural minor is suggested (the chosen example helpfully linking

to its relative major). Even notes, without the repeated top tonic, are now suggested as the

sole rhythmic pattern for scales, for conformity with the other bowed strings and to encourage good bow distribution, quality of sound and secure intonation from the outset.

CELLO scale requirements

GRADE 2

Scales (minors melodic or harmonic, at candidate’s choice)

F, A, Bb majors (one octave)

A, D minors (one octave) C, G majors (two octaves)

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

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

Arpeggios Keys and ranges as for scales above

separate bows, even notes, as example below

An additional minor key is proposed – A minor (melodic or harmonic) – for conformity with

the other bowed strings, where two minor keys are featured at this grade; this particular key also builds on the introduction of A natural minor at Grade 1. In compensation, D major is

removed, having already been featured in Grade 1. G major arpeggio is now proposed over two

octaves, so that all arpeggios correspond to the keys and ranges of the scales. As at Grade 1, even notes are suggested as the rhythmic pattern for scales.

CELLO scale requirements

GRADE 3

Scales (minors melodic or harmonic, at candidate’s choice)

A major (one octave)

C, G minors (one octave) D, F, G majors (two octaves)

D minor (two octaves)

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

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

Arpeggios Keys and ranges as for scales above

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

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

Chromatic scale Starting on open string D (one octave)

separate bows, even notes, as example below

An appreciable reduction in the workload is proposed at this grade. The C and Bb major

scales and arpeggios are no longer included, as they have already been featured in the preceding grades. Moreover, dominant sevenths are now postponed until Grade 4, although

the chromatic scale is brought forward to Grade 3, thus ensuring these two elements are

introduced at the same grades for all bowed strings. However, just one chromatic scale is

proposed, to avoid unnecessary duplication. As at Grade 2, scales are to be played with even

notes and all arpeggios are now set over the same range as the scales.

CELLO scale requirements

GRADE 4

Scales (minors melodic or harmonic, at candidate’s choice)

Eb, F, A, Bb majors (two octaves)

C, D, G minors (two octaves)

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

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

Arpeggios Keys and ranges as for scales above

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

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

Dominant sevenths (resolving on the tonic, as example below) In the key of C (starting on open string G) (one octave)

In the key of G (starting with first finger on D) (one octave)

separate bows, even notes, as example below

Chromatic scales Starting on D and G (one octave)

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

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

(cont.)

Cello scale requirements Grade 4 (cont.)

A more realistic workload is again proposed. One key (G major) is removed to avoid over-

duplication with earlier grades. Only two chromatic scales are set, but as the form is now introduced at Grade 3, slurred bowing becomes an additional requirement here and one of the

examples begins with a first finger. Similarly, of the two dominant sevenths, one starts on an

open string and the other with first finger, but slurred bowing for this form is now postponed until the next grade. Two rhythmic patterns are proposed for the conventional scales from this

grade onwards: i) separately bowed, using even notes (as in the proposed new Grades 1–3);

and ii) slurred, using the long-tonic pattern familiar from the current syllabus.

CELLO scale requirements

GRADE 5

Scales (minors melodic or harmonic, at candidate’s choice)

Eb, E, Ab, A majors (two octaves)

E, G, A minors (two octaves) C major (three octaves)

C minor (three octaves)

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

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

Arpeggios

Keys and ranges as for scales above

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

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

Dominant sevenths (resolving on the tonic, as examples below) In the key of Bb (starting on F) (one octave)

In the keys of F and G (starting on C and D respectively) (two octaves)

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

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

Diminished sevenths Starting on open strings C and G (one octave)

separate bows, even notes, as example below

(cont.)

Cello scale requirements Grade 5 (cont.)

Chromatic scales Starting on C, C# and D (two octaves)

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

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

A small number of changes to the keys at this grade is proposed in order to avoid over-

duplication from Grade 4. To compensate for the reduction in the number of keys, the

C major arpeggio is extended to cover the same three-octave range as the scale, paired now by C minor. An additional dominant seventh (over one octave) is set, in conformity with Violin

and Viola, and likewise there is one extra diminished seventh (both the examples beginning

on open strings). Slurred bowing for chromatic scales is simplified, with just one pattern set now.

CELLO scale requirements

GRADE 6

Scales (minors both melodic and harmonic)

F, B majors (two octaves)

F, B minors (two octaves) C, D majors (three octaves)

C, D minors (three octaves)

(i) separate bows, even notes, as examples below, and

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

Arpeggios Keys and ranges as for scales above

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

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

Dominant sevenths (resolving on the tonic, as examples below)

In the keys of F, G, Bb and E (starting on C, D, F and B respectively) (two octaves)

(i) separate bows, even notes, as example below, and (ii) slurred, four notes to a bow, even notes, as example below

(cont.)

Cello scale requirements Grade 6 (cont.)

Diminished sevenths

Starting on C, D, F and B (two octaves)

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

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

Chromatic scales Starting on C, D, F and B (two octaves)

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

(ii) slurred, six notes to a bow, even notes, as example below

Double-stop scale (broken) In sixths in C major (one octave)

rhythm and bowing in broken steps, as example below

From Grade 6, the use of tonal centres becomes universally applied, so that the starting notes

for chromatic scales, dominant and diminished sevenths now match those for the scales and

arpeggios in each grade, creating a pedagogically holistic approach. (NB the examiner will

ask for the various elements individually and not by tonal centres.) Across Grades 6–8 all

major and minor keys are encountered (over two or three octaves). However, in order to

create a more progressive pathway in terms of workload across the final three grades, two

fewer tonal centres are now proposed at Grade 6.

Otherwise, as in Grade 5, only one bowing pattern is now set for slurred chromatic scales,

resulting in a more logical progression across the grades. Slurred bowing is added for

diminished sevenths while the double-stop scale in sixths (C major) is proposed to be moved from Grade 7 to here, bringing Cello into line with Violin and Viola.

CELLO scale requirements

GRADE 7

Scales (minors both melodic and harmonic)

Db, Eb, E, F majors (three octaves)

C#, Eb, E, F minors (three octaves)

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

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

Arpeggios Keys and ranges as for scales above

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

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

Dominant sevenths (resolving on the tonic, as examples below)

In the keys of Gb, Ab, A and Bb (starting on Db, Eb, E and F respectively) (two octaves)

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

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

Diminished sevenths Starting on Db, Eb, E and F (two octaves)

(i) separate bows, even notes, as example below, and (ii) slurred, four notes to a bow, even notes, as example below

(cont.)

Cello scale requirements Grade 7 (cont.)

Chromatic scales Starting on Db, Eb, E and F (two octaves)

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

(ii) slurred, twelve notes to a bow, even notes, as example below

Double-stop scales (broken) In thirds in F major (one octave) In sixths in Eb major (one octave)

rhythm and bowing in broken steps, as examples below

One tonal centre is changed at this grade, while a new key (Eb major) is proposed for the double-stop scale in sixths, since C major is now introduced at Grade 6. Additionally, the

double-stop scale in thirds (F major) is brought forward from Grade 8, again matching the

Violin and Viola syllabuses, where two types of double-stop scale are featured at this grade.

CELLO scale requirements

GRADE 8

Scales (minors both melodic and harmonic)

F#, G, Ab, A, Bb majors (three octaves)

F#, G, G#, A, Bb minors (three octaves)

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

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

Arpeggios Keys and ranges as for scales above

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

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

Dominant sevenths (resolving on the tonic, as examples below)

In the keys of B, C, Db, D and Eb (starting on F#, G, Ab, A and Bb respectively) (three octaves)

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

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

Diminished sevenths Starting on F#, G, G#, A and Bb (two octaves)

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

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

(cont.)

Cello scale requirements Grade 8 (cont.)

Chromatic scales Starting on F#, G, Ab, A, and Bb (three octaves)

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

(ii) slurred, twelve notes to a bow, even notes, as example below

Double-stop scales (together) In sixths in C major (one octave)

In thirds in F major (one octave)

separate bows, even notes, as examples below

Double-stop scale (broken) In octaves in A major (one octave)

rhythm and bowing in broken steps, as example below

Some tonal centres are changed here, as a result of the redistribution of all the keys across the final three grades. There are simplifications in the slurring patterns for dominant and

diminished sevenths, while the range of the former is increased to match the range of the

arpeggios, since they are based around the same fingering.

For consistency across the bowed strings, the double-stop scales already established for Cello

(sixths and thirds) are now to be played with separate bows, even notes. However, the double-

stop scale in octaves continues to be played in broken steps, as this marks its first appearance.