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AUSTRALIAN GUILD OF MUSIC AND EDUCATION

Traditional Piano Classical Examination Syllabus | Australian Guild of Music Education

The GUILD Music & Speech Education System

Australian Guild of Music Education Inc – A0010797V

The Australian Guild, Music and Speech Education System can be broadly divided into two sections:

Public Examinations for music and speech/drama students from beginner to advanced (Licentiate and Fellowship diplomas)

Tertiary Courses with Certificate, Diploma and Advanced Diploma courses for the music industry and Bachelor of Music degree for advanced music training

The public examinations are administered by The Australian Guild of Music Education, Public Examinations Division. These examinations cover practical music, music performance, music theory, practical speech and drama, speech and drama theory, oral communication, spoken language development and choric speaking. The printed syllabi for each type of examination, together with a wide-ranging series of publications forms a comprehensive instructional system to aid teachers in developing the skills of their students. The examinations provide recognition for the student’s work and teacher recognition is achieved through the Australian Guild Teachers Register.

The Creative Skills and Higher Educations programs covering courses in music to Certificate IV (CUS40101), Diploma (CUS50101) and Advanced Diploma (CUS60101) and Bachelor of Music degree (V0004629) are provided by the Australian Guild of Music Education, Tertiary Course Division. The AGMED is a Registered Training Organisation approved to deliver these courses in all States of Australia. All the courses are on the National Qualifications Register and may be completed by distance education. Video-tapes and DVDs ensure that students everywhere receive “live” instruction. Tapes and DVDs of tutorial centre sessions are dispatched directly to remote students together with written material.

In the Higher Education Program Bachelor of Music degree, articulation agreements may be arranged with other Universities for students who wish to continue their studies beyond a first degree. The Bachelor course, like the others, may be completed by distance education, the Kooyong campus and video material providing the appropriate contact between tutors and students.

All enquiries to: AUSTRALIAN GUILD OF MUSIC EDUCATION INC Public Examination Division Australian Guild Conservatorium, 451 Glenferrie Road KOOYONG VIC 3144 AUSTRALIA ph/fax +613 98223111 [email protected] www.guildmusic.edu.au

VERSION CONTROL Reference: 20-0-7 (20090515)

Change Book Volume Edition Date

20 0 7 20090515 Minor adjustments

20 0 6 20090224 Lists updated, AGMS updated to AGMED, publishers section deleted, new cover updated

20 0 5 19970101 Lists updated

20 0 4 19920131 New works added to lists

20 0 3 19890801 Revision incorporating previous amendments/additions/supplements

20 0 2 19880201 Incorporates all amendments/additions. Supplement issued Jan 89

20 0 1 19840501 First separate publication of Pianoforte Syllabus, Amendments/additions each year up to 1987

PHOTOCOPYING PROHIBITED All rights reserved. No part of this publication may be reproduced, arranged, stored in a retrieval system or transmitted in any form or

by any means, manual, mechanical, photographic, chemical, electronic or otherwise, without the prior permission of the Australian Guild

of Music Education Inc (A0010797V).

Copyright 2004 by Australian Guild of Music Education Inc The moral rights of the authors are asserted.

mailto:[email protected]

http://www.guildmusic.edu.au/



AUSTRALIAN GUILD OF MUSIC EDUCATION (Incorporating the AGMS)

GUILD

The Australian Guild of music Education is an music education body dedicated entirely to Distant Education and Tertiary Courses

AGMED (Conservatorium and Faculty of Music) and the AGMED (Public Examination sector) which caters for public examinations in

music.

The GUILD encompasses both bodies.

The Australian Guild of Music and Speech was/is primarily an examining body in the fields of music and

speech.

HISTORICAL INFORMATION

The AGMED was formed in 1969 and has Syllabi in all traditional areas. The Guild was the first body to evolve

an Electronic Organ Syllabus, a Digital Keyboard Syllabus, a Modern Piano Syllabus and modern Woodwind,

Brass and Guitar Syllabi. These modern syllabi have all been very successful. The Guild still unequivocally

leads in these areas.

The AGMED (Public examination sector) through an Australia wide system of graded examinations aims to

develop music and speech education and skills by promoting uncompromising standards of education in both

performing and teaching. To that end, all AGMED Syllabi whether traditional or contemporary have been

formulated to promote those ideals. AGMED Syllabi have been innovatively enhanced to allow candidates and

teachers full access to a large selection of works in order to progress to their full potential. AGMED Syllabi

offer the concept of OWN CHOICE in any List and in any practical subject area on the basis that no one person

is the same as another.

Many different physical, mental and emotional factors sometimes cause the withdrawal of a candidate’s musical

interest when confronted with an uncompromising selection of works, as so often happens in many syllabi.

The official Syllabi of the AGMD are designed to meet the needs of private Teachers, Professional Musicians

and Educational Institutions, as well as to cater for those whose desire is to persue the study and practice of their

art chiefly for its aesthetic and spiritual values, if not for professional reasons. Because of the character of the

AGMED constitution as revealed in the ‘Articles of Association’ the body is particularly suited for such a

purpose. Therefore their Lists will be found to be comprehensive, catering for the academically minded, the

performing artist and for those who seek recreation, cultured self expression and the development of a

rewarding and satisfying professional life.

The AGMED conducts many thousands of practical and theory examinations every year throughout Australia,

Singapore, Malaysia and in Sabah and Sarawak in Borneo. Malaysia has centres in Kuala Lumpa, Ipoh (North),

Penang (Nth West) as well as in the Eastern areas of the country. Additionally, Sabah across the China Sea in

North Borneo at Copa, Kinabalu is also a very strong base of Guild activity. Brunei is another successful

Centre. An initiative to commence examinations in mainland China is already under way.

PUBLICATIONS OUT OF PRINT It is inevitable in any Contemporary Syllabus that publications change

and some will go out of print within a space of time. This is unfortunate but a circumstance over which we have

no control.

TERTIARY PROFESSIONAL COURSES

In addition the Guild offer a complete music program to the dedicated student and can offer either by Distance

or attendance a range of professional courses in music all fully accredited.

VET Level courses include Certificate 1-1V, Diploma and Advanced Diploma. The new government Fee Help

scheme is expected to be available in mid year for Diploma and Advanced Diploma students

Higher Education Bachelor of Music program is available and offers immediate access to Government FEE

HELP. This is not Means Tested.

AUSTUDY is available for all courses.

Contact the Guild office 03 9822 3111 or the Dean Mobile 0412 327 665, or write to Guild

451 Glenferrie Road, Kooyong Victoria 3122 AUSTRALIA, or visit our WEB SITE www.guildmusic.edu.au

http://www.guildmusic.edu.au/



INDEX

TRADITIONAL CLASSICAL PIANOFORTE

SYLLABUS.

INDEX. Page 4

EXAMINATION GUIDE. Page 5

STEP EXAMINATIONS. Step One. Page 16

Step Two. Page 19

Step Three. Page 21

GRADE EXAMINATIONS. Grade One. Page 24

Grade Two. Page 28

Grade Three. Page 33

Grade Four. Page 38

Grade Five. Page 43

Grade Six. Page 48

Grade Seven. Page 53

Proficiency. (Grade Eight) Page 59

DIPLOMA EXAMINATIONS. Associate. Page 65

Licentiate. (Performer) Page 69

Licentiate. (Teacher) Page 73

Fellowship Diploma. Page 75

The currency of this Syllabus is unlimited. It is expected that it will be constantly upgraded.

In its present form, this Syllabus has been authorized by the Australian Guild of Music Education.

Prepared for the Guild by:-

Dr. Ivan Holmes. (Ph.D. JCU)

Mrs Glen Varney. (Melbourne) Grad.Dip Mus. FAGM. LRAM.

Jeffrey Wood. B.Mus. (Guild)

Mrs Greta Grybaitis. (Canberra)

Ms Diane Vrcic (Perth)



EXAMINATION GUIDE

1. EXERCISES. Steps 1. 2. 3. Grades 1. 2. Candidates only need to select ONE for performance.

*************************************************************

2. Guild Step Examinations. ) " 16.

Guild Grade Examinations. ) " 24.

3. Supplementary Student Book. " 05.

4. Examination Music. " 06.

5. Guild Examinations. " 06.

6. Own Choice Music. " 06.

7 Memorization. " 06.

8. Performance. " 06.

9. Technical Control. " 06.

10. Sustaining Pedal. " 06.

11 Chord Progressions. " 07.

12. Chords. " 07.

13. Contemporary Chords. " 07.

14. Sight Reading. " 07.

15. Assessment. " 08.

16. Gradings. (Assessment) " 08.

17. Theory Requirements for Practical Examinations. " 08.

18. Scales and Arpeggios. " 08.

19. Recommended Minimum Tempi for Scales and Arpeggios. " 09.

20. Scale requirements for all Steps and Grades. " 09.

21. Arpeggio requirements for all Steps and Grades. " 11.

22. Chord Requirements for all Pianoforte Examinations. " 12.

23. Description of Contemporary Chord Symbols. " 13.

24. Chord Progressions " 14.

*************************************************************

2. PIANOFORTE STEPS (See Page 16 and GRADE Examinations See Page 24)

Examination books for Steps 1. 2 and 3 and for Grades 1. 2. 3. and 4 have been published by Guild

Publishing Inc. Each is a self-contained book which can be used for entry to the appropriate public Step

examination in either Classical Piano, Contemporary Piano, Digital Piano or Electronic Keyboards. The

books have been compiled from the most popular pieces preferred by teachers and students and are available

through the Guild Office and also at selected retail outlets. It is important to note that any student using one

of these Guild Step or Grade Books will not require the Supplementary Student Book. (See Item 3).

3. SUPPLEMENTARY STUDENT BOOK.

This outstanding and essential Pianoforte Supplementary Student Book includes all necessary technical

requirements for every examination from Step One through to the Proficiency Certificate. The book is valid

for all Pianoforte examinations and Keyboards (See Item 2) and contains all Scales, Arpeggios and chords

required in Guild examinations. In addition, informative notes about Chords, Chord Symbols, Chord

Progressions, Technical Exercises, Rhythms and a new and extensive article on Improvisation are also

included.

NOTE:- This book is a Guild publication and is only available from the Guild Office. It is essential that

every student has a personal copy of this Supplementary Student book for practice and for his or her own ex-

amination use. The book is copyrighted and photo copies of individual pages are not to be used.



EXAMINATION GUIDE. Continued.

4. EXAMINATION MUSIC.

All of the chosen music provides a basis for a sound foundation and a pleasing repertoire. A few items in the

Examination Lists are published in a number of alternative versions. Care should be taken to ensure that the

correct standard for the specific grade level is used, as editions of the same work often differ markedly. It

should be remembered that no arrangement of any work in the Traditional Syllabus (including "Own

Choice) is acceptable for this examination. However, arrangements can be used in the Guild Contemporary

Piano Syllabus.

5. GUILD EXAMINATIONS.

AGMED examinations provide an excellent goal for students in their music studies. They give a sense of

purpose and direction and can be undertaken in addition to other music activities. They are not meant to be

the only event in a student's musical year. The report provides a reliable assessment of a candidate's progress

and contributes to the student's overall musical development.

6. OWN CHOICE REPERTOIRE FOR YOUR CONSIDERATION.

No Guild approval required for music from the given lists.

NOTE:- Also, you are free to choose any other work not listed which is suited to your student at that

particular examination level (this applies to Steps - Grade 2 only).

As an aid to individual student development, the above section is included in every Grade and Diploma List

throughout the entire Syllabus.

Teachers need not refer to the Guild for approval of a substituted work in these levels unless there is doubt as

to the standard of the chosen work. (applies to Steps to Grade 2 level only)

Teachers and candidates should be most careful to maintain adequate contrast in style and comparable

difficulty when selecting an "Own Choice" work under this provision.

For ‘Own Choice’ Grade 3 level and above - teachers should send a copy of the complete work with a

self addressed stamped envelope, stating the grade and which list (A, B, C or D) approval is requested,

to Greta Grybaitis at 35 Follett Street, Scullin, ACT, 2614.

7. MEMORY.

Although not a Step or Grade requirement, the playing of all music from memory is to be encouraged as

many benefits can be derived from playing from memory. Style, skill and confidence often develop

considerably in this way as the student's attention is not diverted by the need to continually look at the

printed page. Memory work is required in the Associate and Licentiate Diploma practical examinations.

8. PERFORMANCE.

The importance of personal style development should not be overlooked by teachers and students. This is in

accordance with the Guild's philosophy of developing self-esteem and personal skill. But, attention to

different styles and accuracy of music in general must not be neglected. It should always be borne in mind

that the music which has been chosen for the examination must be played with absolute precision and accu-

racy in respect of the demands of the period and of the composer's intentions. It is expected that teachers and

candidates will give careful consideration to the development of technical skill and musical ability so that the

necessary styling demands of the music be adequately met.

9. TECHNICAL CONTROL. Technical control of the Pianoforte is very important. The wrists must not sag. The correct hand, wrist, arm

and finger action is a basic technical requirement, and will always be commented upon in an Examiner's

Report if this technique is neglected.

10. THE SUSTAINING PEDAL. Pedalling is very important and should not be lightly dismissed by teachers or students. The correct seating

posture and position at the keyboard is essential as the incorrect or ineffective use of the sustaining pedal is

a frequent cause of unsatisfying performance at examinations. The feet should be flat on the floor and not

on the toes under the stool. The importance of having a sound knowledge of the mechanism, function and

technique of this essential aid, cannot be over-emphasized.




It must be remembered that the sustaining pedal is essential for good pianoforte playing and it should be

used from the earliest of levels. The not uncommon reference by students to the sustaining pedal as the 'loud

pedal', reflects a misconception that is not only confined to candidates. Indeed, some teachers either forbid

or severely restrict the use of this pedal because of the fear that the student, by keeping it depressed all the

time without due thought to the musical consequences of this action, will not only play loudly, but also blur

the harmonic or contrapuntal outline of the music.

But avoiding a problem does not resolve it. Students should be trained to 'listen' to their own playing, and if

this were done, over or under-use of the pedal would soon cease. The idea that the pedal(s) should be

avoided until the higher grades are reached is both musically and technically naive and unsound. Too much

pedal is an evil which can never be tolerated, but too little pedal is a greater evil, because it is too often

tolerated. The latter fault makes the pianoforte a somewhat expressionless instrument, often countering the

style, mood and content of the piece. Not until a pianist has reached an acceptable standard of pedal tech-

nique, can a claim of satisfactory mastery over the instrument be made.

Therefore, for the purpose of these examinations, the musical use of the pedal will be expected - especially

in Sight Reading exercises. Often, music does not have any pedal markings, but this editing is not to be

interpreted as an indication that the pedal is not to be used. Even in the music of Bach, judicious use of the

sustaining pedal to assist in holding notes for their required length, is acceptable. But, a developed pedalling

skill, together with great care is required in this practice as generally, pedalling is not recommended in the

music of this composer, for the polyphonic lines and textures are then blurred. The Examiner will expect a

reasonable degree of musical pedal control from the candidate commensurate with the Step, Grade or

Diploma level being attempted.

11. CHORD PROGRESSIONS.

(These Progressions are not required from memory, but it is advisable to play the progression from

memory if the student wishes to do so.)

These are examination requirements in the Pianoforte Syllabus first appearing at Grade Five level in this

Index on Page 42. Then Grade Six, Seven and Proficiency Certificate level. The chords generally used in

these progressions are basic triads and should be ideally played in pianoforte style or in four part vocal

harmony style.

However, until skill is developed, the chords can be played in any position in the right hand with the left

hand completing the chord with a Tonic octave. The purpose of these progressions is to develop a basic

knowledge of the importance of correct chord use in both practical and theoretical music. All chord

progressions for grades Five, Six, Seven and the Proficiency Certificate are given in detail in the

Supplementary Student Book.

12. CHORDS.

Candidates should know all of the chords which are listed for each grade, as the Examiner will always ask

for some of these. However, it is realized that there are many other chords used in the examination music

which candidates choose and which are not shown in the chord list in the Technical Work section of the ex-

amination requirement.

These additional chords are not examinable, but teachers should always make certain that their students are

thoroughly familiar with them. It is important to give the student this knowledge and skill so that adequate

individual development be not unduly retarded.

13. CONTEMPORARY CHORDS.

The student during the course of his/her development will often be confronted by Contemporary Chords.

See Item 23 Page 14 for an explanation of some of Contemporary chords generally in use by musicians.

14. SIGHT READING.

This essential skill will always be tested in an examination. The tests given will generally reflect the key

signature and technical requirements of the step or grade level being examined. Therefore it is necessary

for every teacher to insist that their students give a few minutes each day to the development of this skill.

Always train the student to look well ahead and to be ready for what is coming along.




15. ASSESSMENT.

In the examination assessment of candidates, examiners will carefully consider the following points:-

* Poise, musical control and co-ordination.

* Style, tone and interpretation.

* Effective use of the sustaining pedal.

* Technical control of the fingers, hands, wrists and arms.

* The ability of the candidate to employ the concept of economy of movement in muscular control at the

keyboard. No excessive or wasteful movement.

16. EXAMINATION GRADINGS. (ASSESSMENTS) The following gradings apply to all Guild Step, Grade and Proficiency examinations.

96-100. = High Distinction.

90-95. = Distinction.

85-89. = Honours.

80-84. = B+ Credit.

75-79. = B Credit.

70-74. = C+ Pass

65-69. = C Pass.

55-64. = D Marginal Pass. (No certificate issued.)

0-54. = NGS. (Not Grade Standard. No certificate issued.)

In addition, NGS is sometimes used by Examiners when marking any particular section in any examina-

tion. This is always an indication that much more work remains to be accomplished in this particular

area.

DIPLOMA EXAMINATIONS . (ASSESSMENTS)

96-100. = High Distinction.

90-95. = Distinction.

70-89. = Pass.

17. THEORY REQUIREMENTS FOR PRACTICAL EXAMINATIONS.

All practical examinations from Grade Three and above have an additional theory requirement. The

appropriate theory examination must be passed within three years of the practical examination or vice

versa before the practical examination certificate can be issued.

Grade Three Practical Additional requirement Grade One Theory

Grade Four Practical Additional requirement Grade Two Theory

Grade Five Practical Additional requirement Grade Three Theory

Grade Six Practical Additional requirement Grade Four Theory

Grade Seven Practical Additional requirement Grade Five Theory

Proficiency Additional requirement Grade Six Theory

Associate Additional requirement Grade Seven Theory

Associate TD. Additional requirement ) Grade Seven Theory

In addition. ) Teaching Principles

Licentiate P. Additional requirement Grade Eight Theory

Licentiate TD. Additional requirement ) Grade Eight Theory

In addition. ) Teaching Principles

18. SCALES and ARPEGGIOS.

The minimum suggested tempo is always given with each Step or Grade. Scales are based on FOUR

notes to the metronome marking.

Arpeggios are based on THREE notes to the given metronome indication but it is also advisable to

practice them in groups of FOURS at a similar and comfortable tempo.

Although not listed as examinable in grade requirements, students, in their own interests, should

nevertheless be familiar with all scales and arpeggios from previous grades. Examiners MAY

sometimes request a different scale from those listed to arrive at an appropriate decision.




* Fluency, accuracy and clarity of all scale and arpeggio requirements is essential. Students are advised

not to be satisfied with uneven and careless playing as poor control effects the playing and examination

result considerably.

* Reasonable tempo modifications are allowable, if necessary, in Grade Two and above, for the playing

of scales in contrary motion, 3rds, 6ths, 10ths, double octaves and staccato touch. But in every case, the

technical level of each grade should be duly regarded.

* Finger staccato touch (not a detached touch) is required in addition to the normal legato touch for scales

in Grade Two and above at the Examiner's discretion.

* Tonal gradation:- ppp - fff. Crescendo (ascending) and decrescendo (descending) is required for scales

from Grade Five and above:- again at the Examiner's discretion.

* Suggested scale and arpeggio speeds are listed in the technical section of each Step or Grade

examination. Rhythmic and notational accuracy in all scales and arpeggios must never be sacrificed for

uncontrolled speed in playing. Reasonable fluency in technical work is insisted upon in all Steps and

Grade examinations and plodding tempos should be guarded against.

* Any recognised standard edition of scales and arpeggios may be used. Correct fingering in all scales

and arpeggios is ESSENTIAL.

19. RECOMMENDED MINIMUM TEMPI.

SCALE tempo is FOUR crotchets to the given MM number. Faster tempi can be used if desired.

Step 1. One crotchet = MM 100.

Step 2. " " = MM 100.

Step 3. Four crotchets = MM 40.

Grade 1. " " = MM 54.

Grade 2. " " = MM 66.

Grade 3. " " = MM 76.

Grade 4. " " = MM 84.

Grade 5. " " = MM 96. (MM 84.)

Grade 7. " " = MM 108. (MM 92.)

Proficiency. " " = MM 112. (MM 96.)

20. STEPS and GRADES. Scale listing for Similar Motion and Contrary Motion.

The Grade requirements for Scales and Arpeggios are methodically planned for proper development.

All keys including enharmonic keys are effectively known by the time Grade Seven has been reached.

All scales and arpeggios in the Traditional Pianoforte, Contemporary Pianoforte, Digital Piano,

Electronic Keyboard correlate with the Electronic Organ.

In the Pianoforte Syllabus, similar motion scales and arpeggios to Grade Four inclusive, are either one

or two octaves. From Grade Five onwards, scales and arpeggios are to be played four octaves.

All scales from Grade One onwards are played both hands together. This list has been compiled for the

convenience of teachers.

STEP ONE. Major. C. G. Hands separate. One octave.

STEP TWO. Major. C. G. F. Hands separate. One octave.

STEP THREE. Major. C. Hands together. One octave.

Major. G. D. F. Hands separate. One octave.

Harmonic Minor. A.

Contrary Motion.

Major. C. G. Hands together. One octave.

GRADE ONE. All Scales. Hands together.

Major. C. G. D. F. Two octaves.

Harmonic Minor. A.




Melodic Minor. A.

Contrary Motion. Major. C. G. Two octaves.

Harmonic Minor. A.

GRADE TWO. All Scales. Hands together.

Major. F. Bb. Two octaves.

Harmonic Minor. D. E.

Melodic Minor. D. E.

Contrary Motion.

Major. F. D. Two octaves.


GRADE THREE. All Scales. Hands together.

Major. A. E. B. Two octaves.

Harmonic Minor. C. G.

Melodic Minor. C. G.

Contrary Motion. Major. A. E. Two octaves.


GRADE FOUR. All Scales. Hands together.

Major. Bb. Eb. Two octaves.

Harmonic Minor. F. B.

Melodic Minor. F. B.

Chromatic. C. C#.

Contrary Motion.



GRADE FIVE. All Scales. Hands together.

Major. F#. Ab. Db. Four octaves.

Harmonic Minor. Bb. Eb.

Melodic Minor. Bb. Eb.

Chromatic. D. D#.

Contrary Motion. Major. Ab. Db. Two octaves.


Staccato 3rds. C Major. Two octaves.

Use 2nd and 4th fingers on C & E. Hands separate.

GRADE SIX. All Scales. Hands together.

. Major. Gb. Cb. C#. Four octaves.

Harmonic Minor. C#. G#. D#.

Melodic Minor. C#. G#. D#.

Chromatic. E. F.

Contrary Motion.

Major. Gb. Cb. C#. Two octaves.


Staccato 6ths. C Major. Two octaves.

Commence on E & C and using the thumb & fifth finger.

Double Octaves. Eb Major. Two octaves.

C Harmonic Minor.

NOTE:- All similar motion Major scales including enharmonic keys are

completed with this sixth grade.




GRADE SEVEN. All Scales. Hands together.

Major. Any Major scale. Four octaves.

Harmonic Minor. F#. Ab. A#.

Melodic Minor. F#. Ab. A#.

Chromatic. F#. G. G#.

Contrary Motion.

Major. F#. B. Eb. Two octaves.



3rds and 6ths. C. D. E. Major. Two octaves.

C. D. E. Harmonic Minor.

Double Octaves. F. A. Major. Two octaves.

F. A. Harmonic Minor.

NOTE:- All similar motion Harmonic and Melodic Minor Scales including

enharmonic keys are completed with this grade.

PROFICIENCY. All Scales. Hands together.

(Grade Eight.) Major. Any Key. Four octaves.

Harmonic Minor. Any Key.

Melodic Minor. C#. G#. A#. D#.

Chromatic. A. A#. B.

Contrary Motion.

Major. Ab. Bb. F#. C#. Two octaves.

Harmonic Minor. Eb. Db. B. G.


3rds. 6ths and 10ths. D. F. Bb. Major. Two octaves.

C. Eb. G. Harmonic Minor.

Double Octaves. G. Ab. B. Major. Two octaves.

E. F#. G#. Harmonic Minor.

***********************************************************

21. STEPS and GRADES. ARPEGGIO LISTING. Similar Motion and Contrary Motion.

All arpeggios from Grade Three onwards are played both hands together. The following list has been

compiled for the convenience of teachers.

ARPEGGIO tempo is based on THREE notes to the same MM number. If a grouping of FOUR notes

is desired, then choose a comfortable tempo in relation to the given three note MM number.

Dominant and Diminished 7ths. The MM number is given in brackets.

STEP ONE. See Syllabus requirements.

STEP TWO. See Syllabus requirements.

STEP THREE. Hands Separate. See Syllabus requirements.

Broken Chord Pattern. Three note groups. Ascending only.

Major. C . One octave.

GRADE ONE. Hands separate.

Broken Chord Pattern. Three note groups. Ascending and descending.

Major. C. G. One octave.

GRADE TWO. Hands separate.

Broken Chord Pattern. Four note groups. Ascending and descending.

Major. G. One octave.

Minor. D.




GRADE THREE. Hands separate for Rotary Broken Chords.

Rotary Broken Chords. Four note groups. Ascending and descending.

Major. F. One octave.

Minor. E.

Arpeggios. Hands together. Root position. Ascending & descending.

Major. C. G. Two octaves.

Minor. A. E.

GRADE FOUR. Hands together. Root position. Ascending & descending.

Major. F. Bb. Two octaves.

Minor. D. G.

GRADE FIVE. Hands together. Root. position and 1st Inversion. Ascending & descending.

Major. D. A. Four octaves.

Minor. B. C.

GRADE SIX. Hands together. Root position and 1st Inversion. Ascending & descending.

Major. E. Eb. Ab. Four octaves.

Minor. F. Eb. Bb.

Dominant 7ths. In the keys of D. A. F. Four octaves.

Hands together. Root position. Ascending & descending.

GRADE SEVEN. Hands together. Root position. 1st & 2nd Inversions.Ascending & descending.

Major. B. Db. Gb. Four octaves.

Minor. C#. F#. G#.

Contrary Motion. Major. B. Two octaves.

Minor. F#.

Dominant 7ths. In the keys of G. E. Bb. Four octaves.


Diminished 7ths. In the keys of C. D. Four octaves.


PROFICIENCY CERTIFICATE. Hands together. Root position. 1st and 2nd Inversions.

(Grade Eight) Ascending and descending.

Major. Cb. C#. F#. Four octaves.

Minor. Ab. A#. D#.

Contrary Motion. Major. Cb. C#. F#. Two octaves.

Minor. Ab. A#. D#.

Dominant 7ths. In the keys of F. F#. G. Four octaves.

Hands together. Root position and all three inversions.

Diminished 7ths. In the keys of F. F#. G. Four octaves.

Hands together. Root position and all three inversions.

***************************************************************

22. CHORD REQUIREMENTS. STEPS AND GRADES.

Pianoforte, Digital Piano & Electronic Keyboards.

STEP ONE. C. G. Major. Right Hand. Any position.

Left Hand. Tonic octave or single note.

STEP TWO. C. F. G7. Right Hand. Any position.


STEP THREE.

C. G. G7. F. Am. Right Hand. Any position.





GRADE ONE.

` C. G. G7. F. Am. Dm. Right Hand. Any position.

Left Hand. Tonic octave.

GRADE TWO.

C. G. D. F. Bb. C7. G7. F7. Am. Dm. Em. Right Hand. Any position.


GRADE THREE.

A. E. B. Cm. Fm. Gm. D7. Dm7. A7. Am7. Right Hand. Any position.


The Examiner MAY also ask for any of the chords from previous grades as follows:-

C. G. D. F. Bb. C7. G7. F7. Am. Dm. Em.

GRADE FOUR. Eb. Bb7. Cm7. Gm7. C6. G6. F6. Bb6. Right Hand. Any position.



C. G. D. A. E. B. F. Bb.

Cm. Dm. Em. Fm. Gm. Am. C7. G7. D7. A7. F7. Am7. Dm7.

GRADE FIVE.

C Dim. G Dim. D Dim. A Dim. F Dim. Also written as Co.

C Aug. G Aug. D Aug. A Aug. F Aug. " " " C+.

Ab. D6. E6. A6. B6. Eb6. Ab6. Right Hand. Any position.



C. G. D. A. E. B. F. Bb. Eb.

Cm. Dm. Em. Fm. Gm. Am. Am7. Cm7. Gm7. Dm7.

C7. G7. D7. A7. F7. Bb7. C6. G6. F6. Bb6.

GRADE SIX.

ALL Major and Minor chords in all keys.

CMaj7. GMaj7. DMaj7. AMaj7. FMaj7. BbMaj7. EbMaj7.

E7. Eb7. Ab7. Em7. Bm7. Fm7. Bbm7. Right Hand. Any position.



C7. G7. D7. A7. F7. Bb7. Am7. Cm7. Gm7. Dm7.

C6. D6. G6. A6. E6. B6 F6. Bb6. Eb6. Ab6.



GRADE SEVEN.

Major, minor, sixth, seventh, major seventh, minor seventh, diminished and augmented

chords in all keys. Right Hand. Any position.


PROFICIENCY. Major, minor, sixth, seventh, major seventh and ninth, minor seventh and ninth, diminished

and augmented chord. Familiarity with chords in all keys is essential.

Right Hand. Any position.


*************************************************************




23. DESCRIPTION OF CONTEMPORARY CHORD SYMBOLS.

Although this listing is given in the key of C, the same construction and symbol applies to all keys.

23.1 SINGLE LETTER is always a Major or a Minor chord. (Triad)

e.g. C or CMaj = C E G. Cm = C Eb G.

23.2. SEVENTH CHORD is always the major triad and a minor 7th. This chord is traditionally

known as the Dominant 7th of the key to which it belongs. In this case, the key of F.

e.g. C7 = C E G Bb.

23.3. MINOR SEVENTH CHORD is always the minor triad and minor 7th.

e.g. Cm7 = C Eb G Bb.

23.4. MAJOR SEVENTH CHORD is always the major triad and major 7th.

e.g. CMaj7 = C E G B. GMaj7 = G B D F#.

23.5. DIMINISHED CHORD is always every 3rd semitone.

e.g. Cdim or Co = C Eb Gb. Co7 = C Eb Gb Bbb.

23.6. AUGMENTED CHORD is always a major 3rd and Augmented 5th.

e.g. Caug or C+ = C E G#.

Caug7 or C+7 = C E G# B or Bb.

23.7. A SIXTH CHORD is an added major 6th to a major or a minor triad.

e.g. C6 = C E G A.

Cm6 = C Eb G A.

Bb6 = Bb D F G.

Bbm6 = Bb Db F G.

23.8. NINTH CHORD. Contemporary ninth chords always use a Major 9th interval from the root

note. There are several types of ninth chords. Refer to one of the many chord books

commercially available. e.g. CMaj7(9) or CMaj9 = C E G B D.

C9 = C E G Bb D.




24. CHORD PROGRESSIONS.

These are examinable from Grade Five onwards in the Pianoforte, Modern Pianoforte and Digital Keyboard

Syllabi. It is recommended that teachers extend their student’s skills and use these progressions (or similar

ones) at earlier examination levels if possible. The aim is to develop a sound knowledge of the use of chords

which will be of vital assistance in both the practical and theoretical areas of music education. Refer to grade

examination requirements.

SIMPLE PROGRESSIONS

a) 1 V 1 Perfect Cadence. (V – 1) See example No 1.

b) 1 1c V 1 Perfect Cadence. The cadential 6/4. See example No 2.

c) 1 1V 1 Plagal Cadence. (1V – 1)

d) 1 V V1 Interrupted Cadence. (V – V1)

e) 1 1V 1 V Imperfect Cadence. (1 – V)

COMMONLY USE CHORD PROGRESSIONS.

The below listed chord progressions are all in the key of C Major. It is recommended that as students develop familiarity, they transpose the progressions into other keys.

E.g. G. D. F. Bb Major and also the relative Minor keys. It is also important that they try to use the progressions in either four part vocal harmony (for theory examination development) or in pianoforte style. NOTE:- ‘b’ = 1st inversion. ‘c’ = 2nd inversion of the chord.

In the early stages, chords can be used in any inversion, but always aim for a smooth change. Where ‘b’ is indicated, always place the 1st inversion note (3rd of the chord) in the Bass. E.g. Chord 11 (Two) in the key of C = D F A. The 1st inversion = F A D. Place the ‘F’ in the Bass. (Try not to double the bass note of a 1st inversion chord when using 1b, 1Vb and Vb.)

a) 1 1V V 1 b) 1 11b 1c V 1

c) 1 11b V V1 1V V 1 d) 1 1V 1b 11b 1c V7 1

e) 1 V1 11b V 1b 1V 1 f) 1 111b V1 1V 11b V7 1

ADVANCED DESCENDING SCALE CHORDAL PROGRESSION.

C B A G F E D C See the working below. (Ex. 3.)

1 E7 Am A7 Dm Am D7 G7 1 (See page 14 for explanation of chord symbols

Ex. 3. Example of common chord progression in four part vocal harmony. Don’t hesitate to use different note

values to make the progression and rhythm more interesting. Add passing notes to give movement.



INTRODUCTORY. CLASSICAL SYLLABUS EXAMINATIONS. STEP 1.

STEP 11.

STEP 111.

These rudimentary examinations are intended to ensure that sound technical foundations are laid and also to

accustom very young students to examination conditions and demands. No 'system' is insisted upon and any

recognized fingering pattern, scale book or basic Tutor is acceptable in the examination work submitted.

The work in these examinations should not be played excessively quickly, nor yet be unduly retarded. Ex-

aminers will watch for correct hand positions and for a developing finger technique. Accuracy and clarity of

tone are important, so therefore a flat finger action, together with all unnecessary hand and arm movements

should be eliminated. Remember that a relaxed economy of movement should always be the aim. Special

attention should be given to finger release and to the passing under of the thumb when playing scales and

exercises. Co-ordination and precision of control between the hands must be encouraged and constantly

corrected by the teacher. Indeed, everything must be closely supervised to ensure the correct development of

good habits. A sound technique, Legato tone and finger action need to be cultivated right from the beginning.

Also, it is important not to neglect essential development in the control of the sustaining pedal in these early

stages of a student's musical life.

*************************************************************

STEP ONE. Examination time. 10 Minutes

Minimum pass mark. C 65

PLEASE NOTE:- A self-contained STEP ONE EXAMINATION BOOK is available from the Guild

Office and is recommended for this examination.

All examination music and technical requirements are included in this publication.

TECHNICAL WORK. Scales and Chords from memory. 20 Marks

SCALES. Major. C. G. One octave.

Similar motion. Legato touch. Ascending and descending.

Hands separate. Scale speed. One crotchet = MM 100.

CHORDS. Major. C. G.

Right Hand. Any position of the triad.

Left Hand. Single tonic note or octave.

EXERCISES. The Candidate will select any ONE for performance. See Item 1 Page 5.

PERFORMANCE. Three Lists required. A. B. C. Memory work is encouraged, but is not essential.

OWN CHOICE Select One piece only Any of the following works or those of a similar standard may be selected for this

Step One Examination. No Guild approval required. (See Item 6. Page 6.)

GUILD STEP ONE BOOK - The following List A, B and C titles are those published in this book.

LIST A. Five Finger Study. ‘Frere Jacques’. Traditional. 15 Marks

Children's Song. Louis Kohler.

The Happy Bee. Ivan Holmes.

Study. Op 599. No 3. Carl Czerny.

Study. Op 137. No 1. Book No 1. Henri Bertini. (Arr.Holmes)

Quaver Study. ) Both as one. Dulcie Holland.

March of the Soldier Ants. ). Dulcie Holland.

March in C. ) Both as one. Daniel Turk.

Bagatelle in G. ). Daniel Turk. (Arr.Holmes)

LIST B. Au Clair de la Lune. (Five finger melody) Traditional. 20 Marks

Lullaby of the Birds. Gail Smith.



STEP ONE EXAMINATION CONTINUED.

Allegretto. Cornelius Gurlitt.

A Short Walk. Gail Smith.

Easy Walking. Ivan Holmes.

Little Minuet. Anon.

LIST C. Ode to Joy. (9th Symphony Theme) Beethoven. (Arr.) 20 Marks

Echoes. Christinne Patton.

The Sheep on the Downs. Thomas Dunhill.

Circus Waltz. Anon. Teacher.

A Waltz for Gumnuts. Dulcie Holland.

Candy Town. Genevieve Lake.

OTHER REPERTOIRE FOR YOUR CONSIDERATION. – Pieces not found in the above publication.

LIST A. Study. One selection required. 15 Marks.

First Instructor. Op 599. Studies. No 1. 3. 5. 6. Allans Music

Choose any two of the following. Pages 5 to 8 A Dozen A Day Book 1 Primary

Cartwheels, Walking, Running, The Splits,

Jumping, Hopping on the Right Foot,

Hopping on the Left Foot, Skipping,

Deep Breathing,

OR:

Choose any one of the following:

Dinosaur Dance. Sonya Visser.Time Travellers Bk 1 C-Mat

Fanfare. Primary Level 1. Accent Publishing

High Tea Accent On Keys Level 1 Accent Pub.

Ode to Hipno or Fantasy On Aura Lee Bradley Eustace Hipno C-Mat Pub.

Upside Down Margaret Goldston., Musical Tales Bk 1

LIST B. One selection required. 20 Marks.

Getting It Together Accent On Keys Level 1 Accent Pub.

Heel and Toe Encore On Keys Level 2 Accent Pub.

Millenium or Jingle Blues Bradley Eustace. Hipno C-Mat Pub.

It’s a Small World Popular Piano Solos Level1. Hal Leonard

Terry The Pteranodon Sonya Visser. Time Travellers Bk 1

The Old Mill or Soaring. Recital Book Level 1B.

Alfred’s Basic Piano Library

LIST C. One selection required. 20 Marks.

No 2. Valse. Six Children's Pieces. Shostakovich Dmitri (1906-1975)

Acrobats in the Trees Margaret Goldston Musical Tales Bk 1

Bean Stalk Rag or Dolphins Encore On Keys Level 2 Accent Pub.

Jurassic Jig. Sonya Visser. Time Travellers Bk 1

Monkey Mates Primary Level 1 Accent Pub.

The Donkey Alfred’s Basic Piano Library Level 1A

Through the Woods John Thompson Easiest Piano Course Bk 1

Twinkle Snap Bradley Eustace Hipno C- Mat Pub.

SIGHT READING. 10 Marks.

To orally read notes for up to four bars from the Treble Stave. The Examiner will use one of the examination

pieces presented and will point to each note. Note values not required.



STEP ONE EXAMINATION CONTINUED.

EAR TESTS. 8 Marks.

RHYTHM. To clap or tap a short two bar phrase played twice by the Examiner. No note value smaller than a

crotchet.

PITCH. To state which is the higher or lower of two notes played consecutively by the Examiner in the

immediate range above Middle C. Not less than an OCTAVE apart.

First time: f forte. Second time: p piano.

GENERAL KNOWLEDGE. 7 Marks.

The candidate will be asked to identify and name the Brace, Bar lines, Double Bar-line, Stave or Staff, Clefs,

Semibreves, Minims and Crotchets, as found in the repertoire.

*************************************************************



STEP TWO. Examination time. 10 Minutes


PLEASE NOTE:- A self-contained STEP TWO EXAMINATION BOOK is available from the Guild

Office and is recommended for this examination. All examination music and

technical requirements are included in this publication.

TECHNICAL WORK. Scales and Chords from memory. 20 Marks.

SCALES. Major. C. G. F. One octave.


Hands separate. Scale speed. One crotchet = MM 100.

CHORDS. Major. C. F. G7.


Left Hand. Single tonic note or octave.

EXERCISES. The Candidate will select any ONE for performance. See Item 1 Page 5.



Step Two Examination. No Guild approval required. (See Item 6. Page 6.)

GUILD STEP TWO BOOK - The following List A, B and C titles are those published in this book.

LIST A On My Skateboard. Gail Smith. 15 Marks

Mountain Song. Ferdinand Beyer.

Study. Op 139. No 4. Carl Czerny.

Study. Op 599. No 11 Carl Czerny.

The See Saw. Gail Smith.

Gum Trees in the Breeze. Dulcie Holland.

LIST B On the River Bank Thomas Dunhill. 20 Marks

Scherzo. Dimitri Kabalevsky.

Little Song. Christian Neefe.

Dance. Cornelius Gurlitt.

Drifting Down the River. Dulcie Holland.

A Song. Anton Diabelli.

LIST C Fanfare. Cornelius Gurlitt. 20 Marks

Cuckoo in the Forest. Ivan Holmes.

The Swan. Gail Smith.

Candy Clock. Genevieve Lake.

Ferris Wheel. Dulcie Holland.

The Hop Scotch Game. Gail Smith.


LIST A. Study. One selection required. 15 Marks

Czerny. Carl. First Instructor. Op 599.

No 13. 14. 15. 16. 17. 19. Allans Music

No 5. 31 Easy Exercises. Op 139. Allans Music

. Beyer. F. No 64. Study. Studies. Op 101. Peters Edition

OR:

Choose any one of the following.

Aquarium. Arr. Bradley Eustace. D’Groove. C- Mat

Dancing Bear or Follow the Leader. John Thompson. Easiest piano Course Bk 2

Egyptian Rap Sonya Visser. Time Travellers Bk 1. C-Mat

Raindrops Encore On Keys Level 3. Accent Publishing



STEP TWO EXAMINATION CONTINUED.

Recital in C Accent On Keys Level 1. Accent Pub.

Rondino. Margaret Goldston. Musical Miniatures

OR:

Choose any two of the following. Pages 10 to 18. Tip Toe Running, Jumping Rope, A Dozen a Day Book 1 Primary

Rocking, Ping Pong, Jump the River

LIST B. One selection required. 20 Marks

Bach. J.S. Children's Bach. Imp.354

Five Little Cannons. Any two as one.

Bartok. Bela. No 2. 3. 4. First Term at the Piano. Any one. Ed. Musico Budapest

OR:

Lightly Row or The Wishing Star John Thompson. Easiest Piano Course Bk 2

New World Symphony Arr. Accent On Keys Level 2. Primary Level 2

Rainbow Trout. Primary Level 2. Accent Publishing

Sad. Bradley Eustace. D’Groove. C-Mat

Scarborough Fair. Arr. Bradley Eustace. Hipno C –Mat

Brontosaurus Bounce. Sonya Visser. Time Travellers Bk 1.C-Mat

Up – Grade! No 2. 3 Pamela Wedgwood Faber Music Ltd.

Procession - Getting to Preliminary Edited by Elissa Milne Hal Leonard

LIST C. One selection required. 20 Marks

Kabalevsky. Dmitri. (1904-1987). Twenty Four Little Pieces. Op. 39. B & H

No 1. A Little Tune. Any one.

No 2. Polka. No 3. Marching.

OR:

Alley Cat or Eidelweiss. Popular Piano Solos level 2. Hal Leonard

Amazing Grace. Arr. Bradley Eustace. D’Groove. C-Mat

Calypso Catfish. Sonya Visser. Time Travellers Bk 1. C-Mat

Disco Fever. Encore On Keys Level 3. Accent Publishing

Lady Bug Waltz. Martha Mier. Imagine Bk 1

Little Tango. Margaret Goldston. Dance Miniatures

Up – Grade! No 4. 11. 12 Pamela Wedgwood Faber Music Ltd.

Valsette Greta Grybaitis [email protected]

SIGHT READING. 10 Marks

A short simple phrase for the Right Hand. 2 bars in 4/4 time or 4 bars in 3/4 time. Consisting of minims and

crotchets. All in the 5 finger position.

EAR TESTS. 8 Marks

RHYTHM. To clap or tap a short two bar phrase played twice by the Examiner. No note value smaller than

a crotchet.

PITCH. To state which is the higher or lower of two notes played consecutively by the Examiner in the

immediate range above Middle C. Not less than a FIFTH apart.


GENERAL KNOWLEDGE. 7 Marks

Questions on rudiments as set for Step One as follows. The Brace, Bar-lines, Double Bar-line, Stave or Staff,

Clefs, Semibreves, minims and Crotchets.

In addition, simple time, the function of a dot after a note, a sharp, a flat and the natural sign. Simple dy-

namic signs: crescendo, diminuendo, p, mp, f, mf, as found in the examination music.

*************************************************************




STEP THREE. Examination time. 15 Minutes


PLEASE NOTE:- A self-contained STEP THREE EXAMINATION BOOK is available from the Guild

Office and is recommended for this examination. All examination music and

technical requirements are included in this publication.

TECHNICAL WORK. Scales and Chords from memory. 20 Marks

SCALES. Major. C. Hands together. One octave.

Major. G. D. F. Hands separate. One octave.

Harmonic Minor. A.


Scale speed. Four crotchets = MM 40.

Contrary Motion. Major. C. G. One octave.

BROKEN CHORDS. Major. C. One octave.

Pattern. CEG. EGC. GCE. CEG.

Fingering. R.H. 135. 125. 135. 135.

L.H. 531. 531. 521. 531.

Ascending only. Hands separate. Three crotchets = MM 40.

CHORDS. C. G. G7. F. Am.


Left Hand. Tonic octave or a single tonic note (small hand).

EXERCISES. The Candidate will select any ONE for performance.

See Item 1 Page 5.


OWN CHOICE Select One piece only Any of the following works or those of a similar standard may be selected for this Step

Three Examination. No Guild approval required. (See Item 6. Page 6.)

GUILD STEP THREE BOOK - The following List A, B and C titles are those published in this book.

LIST A. Study in G. Op 17. No 2. Felix Le Couppey 15 Marks

Study in C. Op 599. No 12 Carl Czerny.

Study in C. Op 139. No 3. Carl Czerny.

The Surf Rider. Gail Smith.

Canon No 120. Konrad Kunz.

Study in C. Op 65. Albert Loeschhorn.

LIST B. Allegretto in D. Cornelius Gurlitt. 20 Marks

The Elephant Walk. Gail Smith.

The Sea Turtle. Gail Smith.

Gavotte in G. Thomas Dunhill.

Arioso. Daniel Turk.

LIST C. Swaying Palm Trees. Gail Smith 20 Marks

Floating on the Raft. Gail Smith.

The Old Abbey. Thomas Dunhill.

The Grandfather Clock. Cuthbert Harris.

Hopping and Skipping. Bela Bartock.

Donkey Trot. Dulcie Holland.



Bartok. Bela. Mikrokosmos. Vol 1. B & H

No 22. 26. 28. 29. 31. 33. 34. 36. (Canon at the Octave.) Any one.



STEP THREE EXAMINATION CONTINUED.

Czerny. Carl.

No 3. 6. 9. 16. 17. 18. Op 139. 31 Easy Exercises. Allans Music

No 12. Op 599. First Instructor. Allans Music

Duvernoy. F. Op 176. No 3. Elementary Studies. Allans Imp.143

Le Couppey. Felix. Op 17. No 17. Elementary Studies. Allans Music

OR:

Choose any one from the following:

From the Top. Achiever Level 1. Accent

Prelude. Margaret. Goldston. Musical Miniatures

Sakura. Bradley Eustace. Barzurk. C-Mat

The Jolly Clown. Martha Mier. Imagine Book 1

The Bean Bag Bull. C. Rollin. The Bean Bag Zoo

Willow Bend. Achiever Level 2. Accent

OR:

Choose any two from the following: A Dozen a Day Bk 1 Primary. Pages 21- 31.

Bouncing a Ball,

Fit as a Fiddle And Ready To Go

Jumping On A Sunny Cloudy Day

Skipping up A Hill

LIST B. One Selection required. 20 Marks

Bach. J.S. Children's Bach. Imp.354

No 1. A Song of Resignation. Either one.

No 2. A Little Air.

Dyson. George. Twelve Easy Piano Pieces. Imp.1026

No. 5. 7. 9. 10. 11. 12. Any one.

Handel. G.F. A Handel Album. Piano Solo. UE13040E

No 2. Minuet. Any one.

No 3. Passepied.

No 4. Menuet.

No 7. Menuet.

Haydn. Joseph. Miniatures for Piano. Schirmer

No 1. 2. Either one.

Smith. Gail. Opus Three. Creative Keyboard. MB95062

No 1. The Rain Forest. Any one.

No 16. Butterfly World.

OR:

Chim Chim Cheree Popular Piano Solos. Hal Leonard

Chinese Water Lilies. Martha Mier. Just Imagine ! Bk 1

Indian Dance. Achiever Level 2. Accent Pub.

March Slav Achiever Level 2. Accent Pub.

Monkey On A Carousel Martha Mier. Just Imagine! Bk 2

Red Hot Boogie . Margaret Goldston. Musical Miniatures

Up – Grade! No 6 Pamela Wedgwood Faber Music Ltd.

Promenade - Getting to Preliminary Ed. Elissa Milne Hal Leonard

Gavotta in C - Getting to Prelim. Ed. Elissa Milne Hal Leonard

Tribal Dance. Bradley Eustace. Barzurk C-Mat

LIST C. One Selection required. 20 Marks

Bartok. Bela. First Term at the Piano. Ed. Musico Budapest

No 6. 7c. 10c. Any one.

Dunhill. Thomas. First Year Pieces. EMI Allans

No 6. Where the Nodding Violet Grows. Any one.

No 8. A Song of Erin.

No 9. Gavotte in G.

No 10. A Sad Story.

Kabalevsky. Dmitri. (1904-1987) Twenty Four Little Pieces. B & H



STEP THREE EXAMINATION CONTINUED.

No 11. 12. 13. 15. 16. Op 39. Any one.

OR: Little Grey Owl Martha Mier. Just Imagine! Bk 1

Little White Church. Martha. Mier. Just imagine! Bk 2

Matador. Achiever Level 1. Accent

Motor Mania. Bradley Eustace. Barzurk.C-Mat

Raiders March. Popular Piano Solos 3 Hal Leonard

Rockin On. Bradley Eustace. D’Groove-CMat

Up – Grade! No 5. 8. 10. 19 Pamela Wedgwood Faber Music Ltd.

The Swinging Sioux - Getting to Prelim. Ed. Elissa Milne Hal Leonard

Jamaican Rumba Arr. Pauline Hall Oxford University Press

The following from ‘Getting to Prelim. - The New Mix’

The Good, the Bad, the Ugly. Ed. Elissa Milne Hal Leonard

In the Eyes of a Tiger. Ed. Elissa Milne Hal Leonard

Baby Elephant Walk Ed. Elissa Milne Hal Leonard

Circus Maximus Ed. Elissa Milne Hal Leonard


A short simple phrase for the Left Hand. 2 bars in 4/4 time or 4 bars in 3/4 time. Consisting of minims and

crotchets. All in the 5 finger position.

EAR TESTS. 8 Marks

RHYTHM. To clap or tap a short two bar phrase played twice by the Examiner. No note value smaller than

a crotchet.

PITCH. To state which is the higher or lower of two notes played consecutively by the Examiner. Not less

than an THIRD apart. Within the octave below Middle C.


NOTE: Ear tests in the three Step examinations are basically the same and are designed to cumulatively train

and reinforce the student's listening skills. This concept is further strengthened in the Grade One Ear Tests.


All rudiments as set for Steps One and Two as follows.

The Brace, Bar-lines, Double Bar-line, Stave or Staff, Clefs, Semibreves, Minims and Crotchets. Simple time,

the function of a dot after a note. Sharps, Flats and the Natural Sign. Simple dynamic signs:- crescendo. (cresc),

diminuendo. (dim), mp. f. mf. as found in the examination music.

In addition, signs and terms found in the examination pieces. Key and time signatures. Triplets, tones and

semitones.

The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question relative

to the grade in order to reach an assessment.

*************************************************************



GRADE ONE EXAMINATION. Examination time. 15 Minutes.

Minimum pass mark. C 65.

PLEASE NOTE:- A self-contained GRADE ONE EXAMINATION BOOK is available from the Guild



Please note:- List A, B and C titles immediately following this Technical Work section

are those which are published in the Grade One Book.

IMPORTANT:- If not already passed, the GUILD strongly recommends that the Preliminary Theory

Examination be passed in the same year as the Grade One Practical examination to prepare the candidate for the

demands of the higher theory grades. This is not a pre-requisite. See the Guild Handbook for details.

TECHNICAL WORK. All Technical Work except Exercises from memory. 20 Marks

Scales similar motion. Hands together. Legato touch. Ascending and descending.

Scale Tempo. Four crotchets MM 54.

SCALES ` Similar Motion

Major. C. G. D. F Two octaves.

Harmonic Minor. A.

Melodic Minor. A.

Contrary Motion From Unison.

Major. C. G. Two octaves.

Harmonic Minor. A.

BROKEN CHORDS.

Major. C. G. One octave.

Pattern. CEG. EGC. GCE. CEG.

GBD. BDG. DGB. GBD.

Fingering. R.H. 135. 125. 135. 135.

L.H. 531. 531. 521. 531.

Hands separate. Three note groups. Ascending & descending. Three crotchets = MM 54.

CHORDS. C. G. G7. F. Am. Dm.




See Item 1 Page 5.


OWN CHOICE Select One piece only Any of the following works or those of a similar standard may be selected for this Grade

One Examination. No Guild approval required. (See Item 6. Page 6.)

GUILD GRADE ONE BOOK - The following List A, B and C titles are those published in this book.

LIST A. Study in C. D. Brunner. 15 Marks

Study in D. Ferdinand Beyer.

Study in G. Arnold Krug.

Study. Op 63. No 1. "A Pleasant Morning." Jean Streabbog.

Study in C. Op 101. No 83. Rudolf Beyer.

Elementary Study. Op 176. No 5. J. Duvernoy.

LIST B. Rigaudon. Henry Purcell 20 Marks

Menuet. Georg Bohm.

Gavotte. Georg Telemann.

Air. J.S. Bach.

Easy March. Op 81. James Hook.

Sonatina. 1st Movement. Thomas Attwood.

Sonatine. Op 36. No 1. Muzio Clementi.



GRADE ONE EXAMINATION. Continued. LIST C. Day's End. Ivan Holmes 20 Marks

Tiahn's Tune. Faye Campion.

The Pebble Beach. Faye Campion.

Waltz. Mirrie Hill.

Ecossaise. Ludwig van Beethoven.

Entry of the Clowns. Wilfrid Holland.



Bartok. B. No. 4, Vivace Best Traditional Piano Etudes Bk 2 Alfred

Berens. H. Study in C. Allans

Beyer. F. Study in C.

Bertini. Henri. Elementary Studies. Book 1. Any Edition

No 1. 2. 12. 14. Op 137. Any one.

Burgmuller. Friedrich. 25 Progressive Studies. Imp.3

No 1. 2. 5. 11. 12. Op 100. Any one.

Czerny. Carl. No 23. 25. 27. 28. Op 599. First Instructor. Any one. Allans

No 8. 11. 12. 21. 24. 27.31. Op 139. Easy Exercises. Allans

No 10. 12. Op 777. Studies. Any one. Imp.542.

Duvernoy. F. Elementary Studies. Imp.142.

No 1. 4. 5. 6. Op 176. Any one.

Hall.P. Tarantella Piano Time Pieces 2 OUP

Kohler. Louis. No. 34. Study. Op 218.

Le Couppey. Felix. No 7. Study in C. Op 17. Allans

Lemoine. H. No 8. Study in G. Op 37. Allans

Couperin. The Cuckoo First Favorite Classic Solo, Bk 2 Alfred


Bach. Johann Sebastian. No 3. 4. 5. 6. Children's Bach. Any one. Imp.354

Musette. English Suite 3. BWV 808. Henle

Beethoven. Ludwig. Sonatina in G. 1st or 2nd Movements. Any Edition

Allemande Music Through Time, Bk 2 OUP

Clementi. Muzio. Sonatina. No 1. Op 36. 1st/2nd Mov. Peters Imp.17

Sonatina. No 3. Op 36. 2nd Mov. Peters Imp.17

Diabelli. Anton.

Sonatina. No 1. Op 151. 1st Mov. Imp.17

Duncombe. Trumpet Tune Masterpieces with Flair, Bk 1 Alfred

Handel. G.F. A Handel Album for Piano Solo. Univ.13040E

No 1. Menuett. Any one.

No 8. Impertinence.

No 9. Menuett.

No 13. Gavotte.

No 17. Menuett.

Minuett in D. Univ.13040

Suite in D Minor. Sarabande 11. Allans

Haydn. J. Rondo in Bb. Introduction to Pianistic Styles. Vol 2. Bourne



GRADE ONE EXAMINATION. Continued. Hook. James. A James Hook Album. Novello

No 3. Op 81. Gavotta.

No 4. Op 34. Tempo di Minuetto. Any one.

No 5. Quick March.

No 6. Allegro Moderato.

No 9. Op 81. Quick March.

Mozart. W.A. Mozart for Young Pianists. Alfred

Menuetto KV 1. KV 15C. Any one.

Minuet . KV 2.

Allegro KV 3.

Menuetto in C. KV 6.

Purcell. Minuett in D. Chester

Schubert. Ecossaise. Music Through Time. Book 2. OUP

Turk. Daniel. Introduction to Pianistic Styles. Vol 2. Bourne

The Silly Grasshoppers.

Getting to Grade One Book Minuet Ed. Elissa Milne Hal Leonard

Bouree Ed. Elissa Milne Hal Leonard

Dance Ed. Elissa Milne Hal Leonard

Adagio Ed. Elissa Milne Hal Leonard

Getting to Grade Two

Allegretto Ed. Elissa Milne Hal Leonard

Ecossaise in G Ed. Elissa Milne Hal Leonard


Bartok. Bela. B & H

No 24. 25. 30. 32. Mikrokosmos. Vol. 1. Any one.

No 1. 2. 3. 4. 5. 6. 9. Musical Cameos. For Children. B & H Allans

No 13(c). 14(b). First Term at the Piano. Either one. Ed. Musica Budapest

Bailey.Kerin Raggy Blues Jazzin Around 2 Bailey

Carter-Varney,Glen Kool Jazzy Tunes C-Mat

Ants in your Pants

Muffins for Free

Chapple,B Tango Lazy Days Chester

Grainger. Percy. Bristol Town. Bardic Edition

Gretchaninoff. Alexander. A Tale or Farewell. Op 98. Children's Book. Alfred IMC

Holland Dulcie. Five Everyday Pieces. Imp.1070

Bird in the Tree. Any one.

March Around Town.

Raindrops.

Hill. Mirrie. Imp.375

Fun in the Sun. Any except No 1.

Waltz. Child Fancies.

Hyde. Miriam. Graceful Dance. Children's Suite No 1. Chappell

Starry Night Little Sketch Book Warner

Kabalevsky. Dimitri. B & H

Country Dance. No 17. Op 39. 24 Little Pieces.

Hopping.

Kessler. M. Easy Piano Pieces. Book 3. Boston EMI

The Elephants.

Lowenstein. Children's Playtime Pieces. Imp.636

Mazurka. Twilight. Either one.

Milhaud. D. No 1. 3. 5. 6. 7. 9. 15. 17. Accueil Amical. Any one. Heugal



GRADE ONE EXAMINATION. Continued.

Milne. E Mozzie Pepperbox Jazz 1 Pepperbox Music

Rhyme Time Little Peppers Faber Music

Norton. Christopher Microjazz Collection 1 Boosey & Hawkes

A Short Walk

Ragtime

Stairway

Tut Tuttin

Schumann. Robert. Album for the Young. Allans Imp.1259

No.5. Op 68. A Little Piece.

Stravinsky. Soulima. Piano Music for Children. Vol 1. Anglo-Soviet

Carefree. On a Stroll. Any one.

Follow the Leader.

Shostakovitch. Dmitri. Six Children's Pieces. B & H

No 1. 2. 3. Any one.

Pamela Wedgwood Up – Grade! No 7. 13 Faber Music Ltd.

Getting to Grade One

Old Movie Man Ed. Elissa Milne Hal Leonard

Getting to Grade One - The New Mix

Russian Dance Ed. Elissa Milne Hal Leonard

SIGHT READING. 10 Marks A short simple phrase with no note shorter than a crotchet. Either 8 bars in common time, or 8 bars or more in

2/4 or 3/4 time. In the keys of C, G and F Major only. Hands separate.

EAR TESTS. 8 Marks

Rhythm. To clap or tap a short two bar phrase played twice by the Examiner. No note value smaller than a

quaver.

Intervals. To hum or sing and identify any note of the C Major common chord. The candidate can use either

letter names, degree names, sol fah or intervals (1.3.5.8) when answering.

Pitch. To state which is the higher or lower of any two notes played consecutively by the Examiner.

To hum or sing the TONIC at the end of a short unfinished descending melody played by the Examiner.

GENERAL KNOWLEDGE. 7 Marks General questions based upon the music performed. Including note and rest values, staff, clefs, accidentals, time

and key signatures. Simple signs and terms found in the examination pieces.



***************************************************************************



GRADE TWO EXAMINATION. Examination time. 15 Minutes


PLEASE NOTE: A self contained GRADE TWO EXAMINATION BOOK is available from the Guild


Please note:- List A, B and C titles immediately following this Technical Work section

are those which are published in the Grade Two Book.

IMPORTANT:- If not already passed, the GUILD strongly recommends that the Preliminary Theory

Examination be passed in the same year as the Grade Two Practical examination to prepare the candidate for the

demands of the higher theory grades. This is not a pre-requisite. (See the Guild Handbook for details.)

TECHNICAL WORK All Technical Work except Exercises from memory 20 Marks

Scales similar motion. Hands together. Ascending and descending.

Staccato touch at Examiner's discretion.

Scale Tempo. Four crotchets = MM 66.

SCALES. Similar Motion

Major F. Bb Two octaves.


Melodic Minor. D. E.

Contrary Motion From Unison.

Major. F. D. Two octaves.


BROKEN CHORDS.

Major. G. One octave.

Minor. D.

Pattern. GBDG. BDGB. DGBD. GBDG.

DFAD. FADF. ADFA. DFAD.

Fingering. R.H. 1235. 1245. 1245. 1235.

L.H. 5421. 5421. 5321. 5421.

Ascending and descending. Hands separate. Tempo. Four crotchets = MM 66.

CHORDS. C. G. D. F. Bb. C7. G7. F7. Am. Dm. Em.




See Item 1 Page 5.

PERFORMANCE. Three Lists are required. A. B. C. Memory work is encouraged but is not essential.


Two Examination. No Guild approval required. (See Item 6. Page 6.)

GUILD GRADE TWO BOOK - The following List A, B and C titles are those published in this book.

List A Study in A Minor. Henri Lemoine. 15 Marks

Study in F. Op 176. No 17. J.B. Duvernoy.

Etude In Bb. Op 24. No 3. Concone.

Study in D Major. Op 37. No 5. Henri Bertini.

Study in G. Op 139. No 25. Carl Czerny.

Harmonic Study in A Minor. Ivan Holmes.

List B Gavotte in G. G.F. Handel. 20 Marks

Minuet in G Major. Bach Notebook.

Rigaudon. W. Babell.

March in D. C.P.E. Bach.

Sonatina in C Major. Op 39. No 1. 1st Mov. Carl Reinecke.



GRADE TWO EXAMINATION Continued List C Melody. Op 68. No 1. Robert Schumann. 20 Marks

Alley Cat Can Can. Roderick MacFarlane.

Gentle Waves. Gail Smith.

Chocolate Soldiers. Gary Featherstone.

Hopscotch. Wilfrid Holland.

Thinking. Cesar Franck.



Bartok. Bela Mikrokosmos, Vol 3

No.77 Little Study Boosey & Hawkes

Bertini. Elementary Studies Bk. 1 Imp.19

No 3. 5. 6. 7. Op 137. Any one.

Burgmuller. Friedrich. 25 Progressive Studies. Any Edition

No 6. 7. 8. 10. 21. Op 100. Any one.

Czerny. Carl. No 30. 39. 41. 43. Op 599. First Instructor. Any one. Allans

No 19. 20. 25. 31. Op 139. Easy Exercises. Any one. Allans

No 21. 22. Op 777. Studies. Either one. Imp.542

Daquin. Noel. The Joy of French Piano Music Music Sales

Duvernoy. F. No 9. 12. 13. 16. 17. 18. Op 176. Elementary Studies. Imp.142

No 1. 2. 6. Op 120. Elementary Studies. Imp.144

Grybaitis, Greta

Minor Major Finger Study [email protected] (to order)

Heller. Stephen. No 12. Op 125. Study in D. Allans

Hyde. Miriam. Study in F. Allans

Kabalevsky,D 24 Little Pieces Boosey & Hawkes

No 19 Op 39, Prelude

Vivace Best Traditional Piano Etudes Bk 2 Alfred

Kessler. M. Builders. P 10. Easy Piano Pieces. Book 3. Boston. EMI

Kohler. Louis. Book 1. Allans

No 1. 2. 5. 6. 18 in C. Op 50. Any one.

Lemoine. Studies. Allans

No 3. 20. 24. 27. 30. Op 37. Any one.

Loeschhorn. Albert. Studies. Allans-Imp.542

No 8. 16. 25. 42 in E. Op 65. Any one.

Olson. L. Piano Etudes. Book 2. Alfred

No 2. 6. 7. 11. 12. 17. Any one.

The Joy of Recital Time Night Journey Yorktown Music Press


Bach. C.P.E. Allegro in G. Allans

Bach. J.S.

No 8. 12. 13. 14. Children's Bach. Any one. Imp.354

No 2. in C Major. 12 Small Preludes.

No 3. in C Minor.

Beard. K. No 7. 10 Two Part Inventions. Boston EMI

Beethoven. Ludwig. Sonatinas for Young Pianists. Allans

Sonatina in F. 1st or 2nd Movements. Albert Imp.17

Sonatina in G. 1st Movement.




GRADE TWO EXAMINATION. Continued

Biehl. Sonatina in C. No 1. Op 130. 1st or 2nd Mov. Imp.728

Clementi. Muzio. Sonatina. No 2. Op 36. 1st Movement. Peters

Diabelli. Anton. Sonatina. No 3. Op 168. 1st & 2nd Mov. Peters

Gurlitt.C Easy Original Pieces for Beg. Bosworth Germany

Bolero. Melodious Masterpieces Bk 1 Alfred

Longing No 11 Op 140.

Handel. G.F. No 5. Menuett. A Handel Album for Piano Solo. Univ.13040E

No 10. Gavotte.

Gavotte in G Minor. An Introduction to His Works. Alfred

Haydn. F.J. Twelve Easy Pieces for Piano Solo. U157

No 5. Adagio Cantabile.

No 6. Vivace.

No 12. Andante con moto.

Hob XV1/9. Scherzo in F. Sonatinas for the Young Pianist. Albert 518

Hob IX:3. 12 Menuette. Dances for Piano. Urtext

No 1. 5. Minuet & Trio. Either one.

Hook. James. A James Hook Album. Ed. Barsham-Elkin

No 14. Allegro. Any one.

No 17. Allegro Moderato.

No 18. Tempo di Minuetto.

No 19. Allegretto.

Hunten. Rondino in G. Op 21. Imp.17

Kuhlau. Freidrich. Sonatina in C. No 1. Op 55. 1st or 2nd Mov. . Imp.17

Sonatina No 2. Op 55. 1st Movement.

Liszt.F La Cloche Sonne All Music Publishing

Mozart. W.A. Andante in F. Classic Album. Imp.351

KV315a. Menuets and Trios. Any one. Allans Henle

Pleyel. J. - Andre. A. Sonatine in C. Allans B.9591

Scarlatti. Domenico. Minuet in E Minor. Schirmer

The Joy of Recital Time Contredanse Yorktown Music Press

LIST C. One selection required. 20 Marks.

Bartok. Bela. Musical Cameos. For Children. B & H-Allans

Vol. 1. No 10. 11. 17. Any one.

Vol. 2. No 8. 7. Any one.

Bailey.K Jazzin Around 2 Bailey

Two Part Intention

Little Song

Carter-Varney.Glen Kool Jazzy Tunes C-Mat

Top Dog Ted

Waltz for Lu Lu ( Version 1 )

Dunhill. Thomas. No 2. 3. A Tiny Suite. Allans


Gretchaninoff. A. Lullaby. Op 98. Children's Book. Alfred

Hill. Mirrie. Child Fancies. Imp.375

Flowers in the Breeze. Any one.

Gavotte.

The Rippling Waters.



GRADE TWO EXAMINATION Continued

Holland. Dulcie. Selection of pieces Imp. 1069

Around the Town. Any one.

Flags in the Breeze.

Kabalevsky. Dimitri. No 1. A Little Song. 15 Children's Pieces. B & H

No 20. The Clown. 24 Children's Pieces. Either one. B & H

No 23. Waltz.

Khachaturian. Aram. Pictures of Childhood. Anglo-Soviet Press


Kullak. No 2. Op 4. Witches' Dance.

Lovelock. W. Here and There. Imp.970

No 4. 5. 6. 7. 8. Any one

Lowenstein. Children's Playtime Pieces. Allans

By the River. Hollyhocks. Any one.

Plantation Days. Ship Ahoy.

Mier.M Jazz, Rags &Blues Bk 1 Alfred

Ragtime Do Si Do

Norton.C. Microstyles 1 Boosey & Hawkes

In the Bag

Down South

Pamela Wedgwood Up – Grade! No 14. 18 Faber Music Ltd.

Rowley. Alec. No 1. 2. Outward Bound. Either one. B & H


No 1. 2. 3. 6. 16. Op 68.

Sibelius Jean. Valsette. Op 40. Pensees lyriques. Breitkopf

Sitsky. Larry. Korean Mirror Song. Australian Piano Music. Vol. 1. Currency Press

Takacs. Jeno. Double Dozen for Small Fingers.

Fandango. Snake Charmer. Any one.

Spanish Donkey Driver. Universal

Tcherepnine. No 1. 5. 11. Episodes. Any one. Heugel

Tschaikowsky. P. Op 39. Album for the Young. Allans

No 5. March of the Tin Soldiers. Any one

No 8. Waltz

No 9. New Doll.

The Joy of Recital Time Gypsy Tango Yorktown Music Press

Easy Little Peppers Groovy Movie Elissa Milne Faber Music Ltd.

Mozzie Elissa Milne Faber Music Ltd.

Starlight Elissa Milne Faber Music Ltd.

Cat’s Whiskers Elissa Milne Faber Music Ltd.

Getting to Grade One The New Mix

Tango - Ed. Elissa Milne Hal Leonard

Mexican Hat Dance Ed. Elissa Milne Hal Leonard

Getting to Grade Two

Tango (Habanera) Ed. Elissa Milne Hal Leonard

Chagrin d’enfant Ed. Elissa Milne Hal Leonard

Fiesta Ed. Elissa Milne Hal Leonard

Getting to Grade Three

Blues in Two Ed. Elissa Milne Hal Leonard

Petite Valse Francaise Ed. Elissa Milne Hal Leonard


A short passage with no note shorter than a crotchet and with no accidentals. Hands together. In the keys of C.

G. F Major only. In either 4/4, 3/4 or 2/4 time.



GRADE TWO EXAMINATION Continued

EAR TESTS. 8 Marks

Rhythm To clap or tap a four bar simple passage played twice by the Examiner in 2/4 time.

Undotted minims, crotchets and quavers.

Intervals To hum or sing and identify any two notes of the C Major common chord. The Examiner will first

play the chord as an arpeggio before playing the two notes within the compass Middle C - C. The candidate can

use either letter names, degree names, solfa or intervals (1.3.5.8) when answering.

Pitch. To hum or sing the tonic of a short descending or ascending phrase played by the Examiner.


General questions based upon the music performed. Terms, words and signs found in the music. Time and key

signatures, staccato, accent, and all dynamic signs used in the examination pieces.



**************************************************************



GRADE THREE EXAMINATION. Examination time. 20 Minutes.

Minimum pass mark. C 65.

PLEASE NOTE:- A self-contained GRADE THREE EXAMINATION BOOK is available from the Guild



List A, B and C titles immediately following this Technical Work section are those

which are published in the Grade Three Book.

ADDITIONAL REQUIREMENT. A minimum PASS of C 65 marks in First Grade Theory of Music is

necessary for this Grade Three Examination. For requirements, see Item 17 Page 8.

TECHNICAL WORK. All Technical Work except Exercises from memory. 20 Marks

Scales similar motion. Hands together. Ascending and descending. Staccato touch at Examiner's discretion.

Scale Tempo. Four crotchets = MM 76.

SCALES Similar Motion Major. A. E. B. Two octaves.


Melodic Minor. C. G.

Contrary Motion From unison.

Major. A. E. Two octaves.


ROTARY BROKEN CHORDS. Major. F. Four note groups. One octave.

Minor. E. Four note groups.

Pattern. FCAF. AFCA. CAFC. FCAF.

EBGE. GEBG. BGEB. EBGE.

Fingering. R.H. 1325. 1425. 1425. 1325.

L.H. 5241. 5241. 5231. 5241.

Ascending and descending. Hands separate.

ARPEGGIOS. Major. C. G. Two octaves.

Minor. A. E.

Hands together. Root position. Ascending and descending.

Minimum Tempo. Three crotchets = MM 76.

CHORDS. A. E. B. Cm. Fm. Gm. D7. Dm7. A7. Am7.




C. G. D. F. Bb. C7. G7. F7. Am. Dm. Em.



Three Examination. Guild approval required. (See Item 6. Page 6.)

GUILD GRADE THREE BOOK - The following List A, B and C titles are those published in this book.

LIST A. Etude. Op 24. No 8. J. Concone 15 Marks

Study. Op 66. No 25. Albert Loeschhorn.

Study. Op 176. No 24. Duvernoy.

Study. Op 45. No 2. Stephen Heller.

Study. Op 100. No 6. Henri Bertini

LIST B. Allegro. W.Friedemann Bach.

Sonatina in G Major. Moderato and Romanze Ludwig van Beethoven.

Sonatina Op 36. No 2. Allegretto. 3rd Movement. Muzio Clementi.

Sonatina in C Major. Allegro Moderato. 1st Mov. Tobias Haslinger.



GRADE THREE EXAMINATION Continued

LIST C. Hunting Song. Op 68. No 7. Robert Schumann. 20 Marks

Wild Horseman. Op 68. No 8. Robert Schumann.

Waltz. Op 12. No 13. Edvard Grieg.

Blues Ballad. Roderick MacFarlane.

Jake's Song. Opus 4. No 6. Gail Smith.

Bolero-Ballade. Cornelius Gurlitt.

Album Leaf. Op 7. Theodor Kirchner



Berens. H. No 6. Op 88. Study in A Minor. Allans

Bertini. Henri. No 5. 7. 8. 11. 13. 17. Op 29. Studies. Any one. Any Edition

No 6. 12. 13. 14. 15. Op 100. 25 Studies. Any one. Imp.135

No 16. 18. Op 100. 25 Studies. Any one. Imp.135

Burgmuller. Friedrich. No 1. 7. Op 109. 18 Characteristic Studies. Any one. Allans 3B

No 14. 15. 16. 17. Op 100. 25 Progressive Studies. Any one. Imp.3

No 20. 22. 23. 24. 25. Op 100.

Czerny. Carl. No 50. 55. 61. 63. 85. Op 599. First Instructor. Any one. Allans

No 12. Op 100. Studies. Allans

No 42. Op 139. Study in D. Allans

Dunhill. T. Study in C. Allans

Duvernoy. F. No 19. 24. 25 in F. Op 176. Elementary Studies. Imp.142

No 3. 4. 5. 8. Op 120. Elementary Studies. Imp.144

Heller. Stephen. Studies.

No 2. Op 45. Alfred

No 1. 3. 4. 5. 7. Op 47. Any one. Peters

No 15 in E Minor. 16. 23. Op 47. Any one. Peters

Hyde. Miriam. Study In A Minor. Allans

Staccato Study in the Dorian Mode. Allans

Le Couppey. Felix. No 2. Op 20. Study in C. Allans

Lemoine. Studies. Allans

No 7. Op 37. Study in G. Allans


No 34. Op 37. Study in E Minor.

Loeschhorn. Albert. Studies. Allans Imp.542

No 19. Op 65. Study in D.

No 35. Op 65. Study in Bb. Allans

Lovelock. W. No 1. 2. 5. Tuneful Technique. Any one. Allans

Study in G. Allans

Mayer. C. No 13. Op 340. Study in E Minor. Allans

Olson. L. No 8. 9. 13. 16. Etudes Book 2. Alfred

Smith. Gail. Creative Keyboard. Opus Four. MMC. MB95063

No 4. Allegretto. (Fresh Air).



GRADE THREE EXAMINATION. Continued

LIST B One selection required. 20 Marks

Bach. C.P.E. Polonaise in G Minor. Allans

Allegro. W113/1. Allans

Bach. Johann Sebastian. No 17. 18. 19. Children's Bach. Any one. Imp.354

No 8. Prelude in F. Twelve Small Preludes

Beard. K. No 8. 9. 10 Two Part Inventions. Either one. Boston EMI

Beethoven. Ludwig. No 9. Op 119. Bagatelle in A Minor.

No 1. 2. Waltz. Allans

Sonatina in F. Complete. Sonatina Album. Imp.17

Sonatina in G. Complete.

Clementi. Muzio. Sonatina. No 1. Op 37. 2nd & 3rd Mov. Imp.14

Sonatina. No 3. Op 36. 1st Movement. Allans

Czerny. Carl. Sonatina. Op 163. Complete. Allans Imp

Diabelli. Anton. Sonatina. No 5 Op 168. 1st Movement. Imp.17

Sonatina. No 5. Op 214. Complete. Allans Peters

Dussek. Jan.

Sonatina. No 1. Op 20. 1st or 2nd Mov. Imp.17

Gurlitt. Cornelius.

Sonatina. No 4. Op 214. 1st and 2nd Mov. Allans

Handel. G.F. Minuet. F Major. Page 24. An Introduction to His Keyboard Works. Alfred

Air. Bb Major. Page 25.

Sonatina. G Major. Page 26.

Sonatina in Bb. Allans

No 1. 1st Movement. Easy Piano Pieces. Peters Hinrichsen 3

No 6. Sarabande. A Handel Album for Piano Solo. UE13040E

No 15. Courante

No 16. Gigue.

Haslinger. T. Sonatine in C. Allans

Haydn. F.J. No 1. 7. 8. 10. 11. Twelve Easy Pieces for Piano Solo. Univ.157

Allegro in F. Allans

Sonata. Hob XVI/9. Scherzo. Allans

Kuhlau. Friedrich.

Sonatina. No.2. Op 5. Last Movement. Imp.17

Lichner. H. Sonatina. No 1. Op 4. 1st Movement. Allans

Mozart. W.A. Mozart for Young Pianists. Albert

Allegro in C. KV6. Allans

Rondeau in F. Allans

Purcell. Henry. Hornpipe in E Minor. Classic Album. Imp.351

Purcell. Henry. Henry Purcell and His Contemporaries. Hinrichsen 9

No 2. 3. 6. 7. 8. 9. 10. 12. Any one.

Purcell. D. Hornpipe in D Minor. Chester

Scarlatti. Domenico. Sixty Sonatas. Vol 2. Schirmer 1775

Sonata No XXX1V.

Telemann. G.P. Aria in G.

The Joy of Recital Time Variations on an Austrian Folk Song Yorktown Music Press



GRADE THREE EXAMINATION. Continued LIST C One selection required. 20 Marks

Adams. Witches in the Wind. Allans

Bailey. Kerin. Serenity. Winter Sun. Six Sketches. Either one.Bailey Music. S.A.

Bartok. Bela. No 19. 25. 32 Piano Pieces. Either one. B & H

No 2. Ten Easy Pieces for Piano. Allans

Carter-Varney. Kool Jazzy Tunes C- Mat

Ted’s Big Blast

Chua. Scenes from Childhood Allans

Midnight Snack.

Chopin. F. No 5. Op 7. Mazurka Imp.1075

Grieg. E. No 2. 4. 7 Op 12. Lyric Pieces. Any one. Imp.9

Hill. Mirrie. Child Fancies. Imp.375

Big Black Spider. Any one

The Fairies Minuet.

March of the Toy Soldiers.

Holland. Dulcie. Look in the Mirror. Lucky Dip. EMI

Hyde. Miriam. A Wishing Song. Allans

Bubbling Brook. Allans

Kabalevsky. Dimitri. No 7. Toccatina. 15 Children's Pieces. B & H Allans

Khachaturian. A. No 3. Pictures of Childhood. Anglo-Soviet Press

Lovelock. W. The Spinning Wheel. Albert

Mozart. W.A. No 12. Andantino Klavierstucke. Peters NR4240a

Norton.Christopher. Microstyles for Keyboard 2 Boosey & Hawkes

Bubble Gum Any one

Misty Day

Plus Fives

Sunny Side Up

Feelin’ Lazy

The Mechanics Rag

Rowley. Alec. Miniature Dance Suite. B & H

No 2. 3. 4. 5. Any one.

Schumann. Robert. Album for the Young. Allans Imp.1259. Breitkopf

No 7. Op 68. Hunter's Song.

No 8. Op 68. The Wild Horseman.

No 20. Op 68. Rustic Song.

No 4. Op 124. Waltz.

Sculthorpe. Peter. Two Easy Pieces. Faber

Left Bank Waltz. Sea Chant. Either one.

Shostakovich. Dimitri. Dance. Dances of Dolls. B & H

Takacs. Jeno. Double Dozen for Small Fingers.

Christmas Song. Saltarello. Either one.

The Joy of Recital Time Mountain Dance Yorktown Music Press

Valse Impromptu Yorktown Music Press

Getting to Grade Three

The Sea is Angry Edited by Elissa Milne Hal Leonard

Frollicky Rollicky Wind Edited by Elissa Milne Hal Leonard

Romanze Edited by Elissa Milne Hal Leonard

Lucky Duck Edited by Elissa Milne Hal Leonard

SIGHT READING. 10 Marks A passage of 8 bars in 4/4, 3/4 or 2/4 time, in the keys of C, G or F Major. To be played by both hands

at the moderate speed of one crotchet = MM 100. No accidentals. But phrasing must be observed.



GRADE THREE EXAMINATION Continued

EAR TESTS. 8 Marks Rhythm To clap or tap a simple four bar passage played twice by the Examiner in 3/4 time. Crotchets,

quavers and dotted minims will be used.

Intervals To hum or sing and identify any of the first FIVE notes of the major scale. The Examiner will

first play the tonic chord of the scale selected, then the five notes of the scale. (Not more than 3 sharps

or 3 flats.), before playing one note and requesting the answer. The test will be given twice.

The candidate can use either letter names, degree names, solfa or intervals (1.2.3.4.5) when answering.

Tonality. To hum or sing and then identify as major or minor, a short diatonic phrase of 5-7 notes

played twice by the Examiner. No dotted rhythms used.

GENERAL KNOWLEDGE. 7 Marks General questions based on the music performed. All terms, signs, time signatures and key signatures

used in the chosen examination music. In addition, questions on scale formation, tetrachords, tones and

semitones.

The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question

relative to the grade in order to reach an assessment.

*****************************************************************



GRADE FOUR EXAMINATION. Examination time. 20 Minutes


PLEASE NOTE:- A self-contained GRADE FOUR EXAMINATION BOOK is available from the Guild



List A, B and C titles immediately following this Technical Work section are those

which are printed in the Grade Four Book.

ADDITIONAL REQUIREMENT. A minimum PASS of C 65 marks in Second Grade Theory of Music is

necessary for this Grade Four Examination. For requirements, see Item 17 Page 8.

TECHNICAL WORK. All Technical Work. 20 Marks

Scales similar motion. Hands together. Ascending and descending. Staccato touch at

Examiner's discretion. Scale Tempo. Four crotchets = MM 84.


Major. Bb. Eb. Two octaves


Melodic Minor. F. B.

Chromatic. C. C#.

Contrary Motion. From unison.



ARPEGGIOS. Major. F. Bb. Two octaves.

Minor. D. G.

Ascending and descending. Root position only.

Hands together. Minimum Tempo. Three crotchets = MM 84.

CHORDS. Eb. Bb7. Cm7. Gm7. C6. G6. F6. Bb6.




C. G. D. A. E. B. F. Bb.

Cm. Dm. Em. Fm. Gm. Am. C7. G7. D7. A7. F7. Am7. Dm7.



Four Examination. Guild approval required. (See Item 6. Page 6.)

GUILD GRADE FOUR BOOK - The following List A, B and C titles are those published in this book.

LIST A. Study. Op 299. No 2. Carl Czerny. 15 Marks

Study. Op 45. No 5. Stephen Heller.

Study. Op 120. No 7. Duvernoy.

Study. No 2 in A Minor. Dmitri Kabalevsky.

Study. Op 66. No 21. Albert Loeschhorn.

Study. Op 100. No 18. Henri Bertini.

LIST B. Sonatina in C. 1st Movement. W.A.Mozart. 20 Marks Sonatina in F. 1st Movement. Gustav Merkel.

Allegro. Johann Krebs.

Preludium 1 in C. J.S.Bach

Courante. G.F.Handel.

Solfeggio in G Minor. C.P.E.Bach.

Sonatine Op 36 No. 3. 1st, 2nd and 3rd movement Clementi

LIST C. Ring Dance. Op 36. No 4. Niels Gade. 20 Marks

Dragon Train. Glen Carter- Varney.

The Watchman's Song. Op 12. No 3. Edvard Greig.



GRADE FOUR EXAMINATION Continued

For Children. Bk 1. No 21. Bela Bartok.

Polka. Op 39. Peter Tschaikowsky.

Reaper's Song. Op 68. No 18. Robert Schumann.



Bartok.B. Mikrokosmos Vol. 3 Boosey & Hawkes

Study in Chords No 69.

Bertini. Henri. Studies. Imp.9

No 2. 4. 14. 16 in E Min. Op 29. Any one.

No 17. Op 29. Any one.

Burgmuller. Friedrich. 18 Characteristic Studies. Allans 3B

No 2. 3. 6. 14. Op 109. Any one.

Czerny. Carl. No 91. Op 139. Study in B. Allans

No 118. Op 261. Study in E. Allans

No 1. 2. 3. 4. Op 299. School of Velocity. Imp.2

No 3. 5. 6 (In A). 8. 10. 19. Op 636. Studies. Any one. Imp.134

No 1. 3. 7. 11 (In G). Op 849. Studies. Any one. Allans

No 15. 16. Op 849. Studies. Any one. Allans

Duvernoy. F. No 7. Op 120. Elementary Studies. Imp.144

Heller. Stephen. No 3. 5. 6. 8. 10. Op 45. Studies. Any one. Heller

No 1. 10. 11 (In B Min.). Op 46. Studies. Any one. Schirmer

No 23. Op 46. Studies. Any one. Schirmer

No 18. 19. 24. Op 47. Studies. Any one. Peters


Hoey.D. Phrygian. Five Moods in Five Modes Allans

Hunten. Franz. Study in E Minor. Allans

Kabalevsky. Dimitri. Selective Piano Pieces for Children. Allans

No 2. Study in A Minor.

No 7. Op 20. Study in C. Allans


Lemoine. Op 37. Studies. Belwin

No 28 in C. 31 in G Minor. Any one.

No 35. 37 in C. 44. 45. Any one.

Loeschhorn. Albert. No 47. Op 65. Study in Eb.

Le Couppey. Felix. No 3. Op 20. Study in F. Any one. Allans

No 7. Op 20. Study in C.


Stamaty. C. Study in C. Allans


Arne. Thomas. Sonata No 6. Gigue. Allans

Bach. Carl .Phillip Emanuel. Solfeggietto. Allans

Sonata in E. Wq.59. No 1. 2nd Movement. Allans

Bach. Johann Sebastian. Allemande. Short Works. Bach for Young Pianists. Albert

French Suite 2. BWV 813.Air. Menuet. In C Minor. ` Either one. Peters Henle Allans

French Suite 3. BWV 814. Minuet.

French Suite 4. Air.

French Suite 5. BWV 816. Air. Gavotte. Either one.

French Suite 6. BWV 817. Gavotte.

Small Prelude. BWV 940. Alberts

Small Prelude. BWV 930. Alberts



GRADE FOUR EXAMINATION Continued

Small Preludes. BWV 935. BWV 937. Either one. Alberts

No 3. D Minor. BWV 934. 6 Little Preludes. Either one. Allans

No 5 in E Major. 12 Small Preludes. Alberts

No 1. 4. Two Part Inventions. Either one. Alberts. Alfred. Imp.7

No 1. Prelude. 48 Preludes and Fugues. Book 1 Any Edition

Beethoven. Ludwig. Bagatelle in F. No 3. Op 33. Sieben (Seven) Bagatelle. HV20. Henle

Rondo in C. Allans

No 7. 8. 9. 11. 13. Waltzes. Any one. Allans

Clementi. Muzio. Sonatina. No 2. Op 37. 1st Movement. Imp.14

Sonatina. No 1. Op 38. 1st Movement. Imp.14

Diabelli. Anton. Sonatina. No 3. Op 151. 1st Movement in F. Allans

Sonatina. No 4. Op 168. Allegro in Bb. Allans

Sonatina. No 5 Op 168. Masterwork Classics. Level 6. 416. Alfred

Dussek. Jan. Sonatinas. For Young Pianists.

No 4. Op 20. 1st Movement. Albert

Sonatina in A Minor.

Handel. G.F.

Courante in F. Sonatinas For Young Pianists.

No 3. D Minor. BWV 934. 6 Little Preludes. Either one. Allans

No 5 in E Major. 12 Small Preludes. Alberts

No 1. 4. Two Part Inventions. Either one. Alberts. Alfred. Imp.7

Haydn. J. Sonatinas for Young Pianists.

Sonata in Bb. Hob XVI/2. Minuet & Trio. Allans

Sonata. Hob XVI/11. 1st & 2nd Mov. Alberts.

No 9. Twelve Easy Pieces for Piano Solo. Univ.157

Kuhlau. Frederick. Sonatina in F. No 4. Op 55. Last Mov. Imp.728

Sonatina. No 5. Op 55. 1st Mov. Allans Imp.42

Mozart. W.A.

Eine Kleine Nachtmusik. 3rd Movement. Peters

Rondo in F. No 3. Allans B9515

Sonata in Eb. K282. 2nd Mov. 1 & 11. Allans

Sonata in C. K545. 2nd Mov. or Rondo. Either Movement. Allans

Pachelbel. Johann. Fuga. Allans

Purcell. Henry. Purcell and His Contemporaries. Hinrichsen.9

No 4. 16. Either one

Scarlatti. Domenico. Sixty Sonatas. Vol 1. Sonata No XX111. Schirmer 1774

Sixty Sonatas. Vol 2. Sonata No XLV111. Schirmer 1775


Bartok. Bela.

No 21. Vol 1. For Children. B & H

No 13. Musical Cameos. Imp.496

No 3. Ten Easy Pieces For Piano. Allans

Peasant Dance. Mikrokosmos. Vol 5. B & H

No 97. 115. Vol 4. Mikrokosmos.

Bailey.K. Disco Kid. Jazzin Around Bailey

Brandman.M Blue Interlude Three Sketches Jazzem/Encore

Carter-Varney.G Kool Shades of Blue C-Mat

Klues for Blues. Kool Piano C-Mat

The Lonely Doll

Chopin. Frederick. Mazurka No 1 in Bb. Op 7. Imp. 1075

Chua.S. The Hunt. Scenes from Childhood Allans



GRADE FOUR EXAMINATION. Continued

De Cairos - Rego

La Cascade

Gade. Ring Dance. Piano Classics. Vol 2. Allans

Grieg. Edvard. No 3. Watchman's Song. Lyric Pieces. Allans

No 5. Folk Song.

No 2. Op 43. Breitkopf

No 2. Waltz. Op 12. Allans

No 4. Fairy's Dance. Op 12. Allans

Hill. Alfred. Loose Leaves. Allans

No 3. 4. 5. 6. 7. 8. Any one.

Hines.E. The Stanley Steamer. Rags to Jazz Amsco

Ilinsky. Berceuse. Piano Classics. Book 1. Allans

Jensen. Intermezzo. No 9. Op 33. (Posthumous)

Kabalevsky. Dramatic Scene in F Minor.

Kabalevsky. No 3. 12. 14. 15. 15 Children's Pieces.Any one.

Khatchaturian. Aram. The Little Horse. Pictures of Childhood. B & H

Mendelssohn. Felix. No 2. Op 72. Piece for Children. Allans


A Spy Story

Give Away

Rhapsody Microstyles 4 Boosey & Hawkes

Ragtime

Give It Time

Cha Cha

A Chromatic

O’Hearn.A. Bagatelle. In A Jazz Groove Kjos

Prokofiev. Tatantelle Op 65. Musique d'enfants. B & H

Schmitz.M. Blues & Boogie Woogie Piano Brietkopf

Memory Blues

Shostakovitch. Dmitri. Dances of the Dolls. 7 Pieces for Piano. B & H

Romance. No 3. Any one.

Hurdy Gurdy No 6.

Clockwork Doll. No 7.

Tschaikowsky. P. Children's Album. Peters Allans 188

Polka. Op 39. Any one.

Song of the Lark. No 22. Op 39.

Chanson Triste. No 2. Op 48. Allans

The Joy of Recital Time Serenade Yorktown Music Press

Festival Rondo Yorktown Music Press


A twelve bar passage in either the key of G. D. F Major or in A Minor in 3/4, 4/4 or 6/8 time. Both hands

together. Quavers and occasional accidentals will be used.

EAR TESTS. 8 Marks

Rhythm. To clap or tap a four bar passage played by the Examiner in 3/4 or 4/4 time. Dotted minims and

dotted crotchets may be used.

Intervals. To hum or sing and identify any of the first SIX notes of the major scale. The Examiner will first

play the tonic chord of the scale selected, then the six notes of the scale. (Not more than 4 sharps or 4 flats.),

before playing one note and requesting the answer. The test will be given twice. The candidate can use either

letter names, degree names, solfa or intervals (1.2.3.4.5.6.) when answering.

Tonality. To hum or sing and then identify as major or minor, a short chromatic phrase of 5 - 7 notes played

twice by the Examiner. Dotted rhythms may be used.



GRADE FOUR EXAMINATION. Continued


General questions covering scale formation, tetrachords, tones and semitones, notation, rests, main keys of

the chosen pieces, time signatures, accents and syncopation. The terms and signs found in the examination

pieces. Binary Form. Easy intervals above C. G and F. (Major 3rd, Minor 3rd and Perfect.)



**************************************************************



GRADE FIVE EXAMINATION. Examination time. 20 Minutes


ADDITIONAL REQUIREMENT. A minimum PASS of C 65 marks in Third Grade Theory of Music is

necessary for this Grade Five Examination. For requirements, see Item 17 Page 8.

TECHNICAL WORK. All Technical Work except Chord Progressions from memory. 20 Marks

Scales similar motion. Hands together. Ascending and descending. Staccato touch

and gradation of tone (Crescendo ascending and decrescendo descending) is required

at Examiner's discretion. Scale Tempo. Four crotchets = MM 92.


Major. F#. Ab. Db. Four octaves.


Melodic Minor. Bb. Eb.

Chromatic. D. D#.


Major. Ab. Db. Two octaves.


Staccato 3rds Major. C. Two octaves.

Use the 2nd and 4th fingers on C & E. Hands separate.

ARPEGGIOS. Major. D. A. Four octaves.

Minor. C. B.

Ascending and descending.

Hands together. Root position and 1st Inversion.


CHORDS. C Dim. G Dim. D Dim. A Dim. F Dim. Also written as Co.


Ab. D6. E6. A6. B6. Eb6. Ab6.



The Examiner MAY also ask for any of the chords from previous grades as follows:

C. G. D. A. E. B. F. Bb. Eb.

Cm. Dm. Em. Fm. Gm. Am. Am7. Cm7. Gm7. Dm7.

C7. G7. D7. A7. F7. Bb7. C6. G6. F6. Bb6.

CHORD PROGRESSION. The Examiner will ask for ONE only. (Memory playing is not required.)

1 1V V 1. Perfect cadence progression.

1 1V 1. Plagal cadence progression.

In the key of C Major or C Minor.

Primary Triads only. Refer to Item 11. Page 7.

PERFORMANCE. Three Lists required. A. B. C.

Memory work is encouraged, but is not essential.


Grade Five Examination. Guild approval required. (See Item 6. Page 6.)

REPERTOIRE FOR YOUR CONSIDERATION.

No Guild approval required for music from the following lists. Also, you are free to choose any other work suited

to your student at this examination level. Guild approval required. (See Item 6. Page 6.)


Berens. Op 61. Studies. Belwin

No. 8. 12. 13. Any one.



GRADE FIVE EXAMINATION Continued

Bertini. Henri. No 3. 12. 20. Op 29. Studies. Any one. Imp.9

Study in A. No 28. Op 32. Allans

Burgmuller. Friedrich. No 3.4 Op 107 Allans

No 4. 5. 9. 18 Op 109. Characteristic Studies. Any one. Allans

13 (Thunderstorm). 15. Either one.

Czerny. Carl. No 5. 6. 7. 9. 10. 17. Op 299. School of Velocity. Peters 2411 Imp.2

No 1. 3. 5. 10. 16. Op 718. Studies. Any one. Allans 9

No 18. 20. 21. 23. Op 849. Peters 2611 Allans

Duvernoy. J. No 9 or 11. Op 120. School of Mechanism. Allans

Heller. S. No 7. 12. 13. 18. 19. 24. Op 45. Studies. Any one. Peters 3561a

No 7. 8. Op 46. Studies. Either one. Peters 3562 Schirmer

No 18. 19. 24. Op 47. Studies. Any one. Peters

Hyde. Miriam. Study for Scales and Staccato. Allans

Kabalevsky. Dimitri. Study in F. Op 27. Book 2. 10 Children's Pieces. Allans Leeds

Koehler. Louis. Op 195. Study in E Minor. Allans

Loeschhorn. Albert. No 46. Op 65. Study in A. Belwin


Bach. J.S. 48 Preludes and Fugues. Any Edition

French Suite 2. C Minor. Allemande or Courante. BWV 813. Henle

French Suite 3. Allemande in B Minor. BWV 814. Henle

French Suite 5. G Major. Courante. BWV 816. Henle

French Suite 6. G Major. Allemande or Courante. BWV 817. Henle

English Suite 1. Bourree No 1 or 2.

Giguetta. BWV 990. Sarabande con Partite in C. Allans

Prelude. No 9 in E Major. 48 Preludes and Fugues.

No 3. 5. 6. 7. 8. 9. 10. 11. 12 Two Part Inventions. Any one. Any Edition Allans 7

Beethoven. Ludwig.Van. Any one.

Bagatelle. No 3. Op 119. Henle Verlag

Fur Elise. Allans

Sonata. No 1. Op 2. Minuet and Trio. Any Edition

Sonata. No 2. Op 2. Scherzo and Trio.

Sonata. No 3. Op 2. Minuet and Trio.

Sonata. No 1. Op 14. Allegretto. 2nd Mov.

Sonata. No 1. Op 14. First or 2nd Mov.

Sonata. No 2. Op 49. 1st or 2nd Mov. Allans

Sonatina in F Minor. No 2. Any Edition.

Waltzes. No 14. 15. Either one. Allans

Clementi. Muzio. Sonatina No 1. Op 37.Andantino only. In E Flat. Allans

Sonatina No 6. Op 36. 1st or 2nd Movements. Allans

Corelli. Arcangelo. 24 Pieces. Vol 1. Belwin

Giga in D Minor. Either one.

Pastorale in G.

Couperin. Francois. Clavichord Pieces. Vol 1. Belwin 3317

Le Reveille.

Handel. G.F. Sonata in A. Breitkopf

Suite No 14. In G. Allegro. Peters Breitkopf 6797

Toccata. Page 30. An Introduction to His Keyboard Works. Alfred Publ

No 7. Easy Piano Pieces.




Haydn. J. Sonata. Hob 34. No 2. Finale in E Minor. Any Edition

Sonata. Hob XVI/G1. In G. Allegro. Allans

Sonata. Hob XVI/7. Complete. Allans

Sonata. Hob XVI/9. Complete. Allans

Kuhlau. Daniel. Sonatina. No 1. Op 20. 1st & 2nd Mov. Allans

Kuhnau. Johann. Prelude. Partita No 3. Allans

Mozart. W.A. Sonata. K280. F Major. Adagio. Any Edition

Sonata. K282. G Major. Minuets 1 and 11.

Sonata. K330. C Major. Andante Cantabile. 2nd Mov.

Sonata. K331. A Major. Minuet and Trio. 2nd Mov.

Sonata. K545. C Major. Allegro. 1st Mov.

Sonata. K355. Menuett. Allans

Sonatina No 1 in C. 1st & 2nd Mov. Alberts Allans

Sonatina No 2 in A. 1st & 2nd Mov. Alberts Allans

Sonatina No 3 in D. 1st & 2nd Mov. Alberts Allans

Sonatina No 4 in Bb. 2nd & 3rd Mov. Alberts Allans

Sonatina No 5 in F. 1st & 2nd Mov. Alberts Allans

Sonatina No 6 in C. 1st & 2nd Mov. Alberts Allans

Purcell. Henry. Henry Purcell and His Contemporaries.

No 9. Hinrichsen.

No 1. Prelude.

Rameau. Jean. Gigue en Rondeau. E minor. Pieces de Clavecin. Heugel IMC

Scarlatti. Domenico. Sonata No 1. Sixty Sonatas. Vol 1. Schirmer 1774

Sonata No XXX111. Sixty Sonatas. Vol 2. Schirmer 1775

Telemann. G. Three Dozen Fantasies. Barenreiter

No 1. Allegro.

Zipoli. Domenico. Gavotta. Suite in B Minor. Allans


Agnew. Roy. Merry-Go-Round. Youthful Fancies. Allans

Albeniz. Isaac. Tango. Op 12. * Allans

Bailey. Kerin. Toccatina. Six Sketches. Bailey

Bartok. .

No 1. Rumanian Folk Dances. Allans


Benjamin. A. March. No 2. Three Fantasies. Allans

Brumby. Colin. No 1. Arlecchino. Harlequinade. Fentone

No 2. Columbina.

No 3. Il Dottore Gratiano.

No 4. Pulcinella.

Burgmuller. Freidrich. Piano Classic Vol 3 Allans

Rondo Alla Turca.

Carter-Varney.G Kool Piano C-Mat

Prelude Noosa Waters

Chua.S. Scenes from Childhood Allans

Night Walker

The Last Voyage




Chopin. Frederick.

Mazurka. Op posth. No 2. Op 68. Allans

Mazurka. No 3. Op 68. (Posthumous.) Allans

No 1. 2. Op 17. Any one. Imp.1075

No 1. Op 24.

Eustace.Bradley Fusion C-Mat

Prelude

Grieg. Edvard. Poetic Tone Pictures. Allans

No 1. 5. 6 Op 3. Any one.

Hutchens. Frank. Two Little Birds. Allans

Hyde. Miriam. Reverie. Allans

Ibert. Giddy Girl. Allans

Khachaturian. Aram. Pictures from Childhood Anglo Soviet Press


Liszt. Franz. Consolation. No 1. Imp.154.

Mendelssohn. Felix. Songs Without Words. Peters Schirmer Allans

No 4. 6. Op 19. Any one.

No 9. 12. Op 30. Any one.

Neilson. C. Mignon. Op 3. No 4. Five Piano Pieces. Allans


Oriental Flower

Omnibus

Heavy Work

Poulenc. Francis. No 6. Suite Francaise. Allans 1110

Prokofiev. Serge. No 10. Op 22. Vision Fugitive. Allans

Satie. Erik. No 1. 2. 3. 3 Sarabandes. Any one. Allans

Schubert. Franz. Piano Classics. Vol 3. Allans

Scherzo in Bb. No 27. Op Post.


Fantastic Dance. No 5. Op 124. Allans

No 17. 27. 28. 30. Op 68. Scenes From Childhood. Either one. Breitkop -Imp.34

No 2. 11. Op 15. Scenes From Childhood. Either one. Breitkop -Imp.34

No 3. 6. 8. Op 82. Woodland (Forest) Scenes. Peters Henle Allans

Scott. Cyril. Danse Negre. No 5. Op 58. Elkin

Scriabin. Alexander. Eight Pieces. Ed.H. Geehl B & H

Impromptu a la Maxur.

Sculthorpe. Peter. Snow and Moon. Snow, Moon and Fowers. Allans

Shostakovitch. Dmitri. Six Children's Pieces. B & H

Lyrical Waltz. No 19. Op 34. Prelude. Either one. B & H

Vallier. John. Helford Woods. Cornish Sketches for Piano Solo. Cramer Music. MMC.

Waller.T. Rags to Jazz Amsco Publications

Mighty Fine

The Joy of Recital Time Witches Dance. Yorktown Music Press

SIGHT READING. 10 Marks A passage in a Major key up to two sharps and two flats, or in a minor key up to one sharp or flat. Using

dotted rhythmic patterns, tied notes, chords and simple modulations.

EAR TESTS. 8 Marks

Rhythm. To clap or tap a four bar passage played twice by the Examiner in simple or 6/8 time. No note

shorter than a quaver.




Intervals. To hum or sing and identify any degree of the major scale. The Examiner will first play the tonic

chord of the scale selected, then the entire scale. (Not more than 5 sharps or 5 flats.), before

playing one note and requesting the answer. The test will be given twice. The candidate can use either letter

names, degree names, solfa or intervals (1.2.3.4.5.6.7.8.) when answering.

Pitch. To hum or sing the higher of two notes played simultaneously by the Examiner within the diatonic

scale octave C-C. The key may be changed to accommodate voice range.

Tonality and Cadence. To identify whether a phrase played by the Examiner is in a major or a minor key,

and if the end cadence is Plagal (1V-1) or Perfect (V-1).

GENERAL KNOWLEDGE. 7 Marks General questions covering terms and signs found in the examination pieces, keys and modulations, intervals

including diminished and augmented above the notes D, A and B Flat. Time and accent. Binary and Ternary

form. To be able to demonstrate these forms in the examination pieces. Scale formation and tetrachords. To

recognize Perfect and Plagal cadence examples in the examination music presented.



******************************************************************************



GRADE SIX EXAMINATION. Examination time. 30 Minutes

Minimum pass mark. C+ 70

ADDITIONAL REQUIREMENT. A minimum PASS of C+ 70 marks in Fourth Grade Theory of Music is

necessary for this Grade Six Examination. For requirements, see Item 17 Page 8.

TECHNICAL WORK. All Technical Work from memory. 16 Marks



at Examiner's discretion.

Scale Minimum Tempo. Four crotchets = MM 96.

SCALES. Similar Motion Four Octaves

Major. Gb. Cb. C#.


Melodic Minor. C#. G#. D#.

Chromatic. E. F.


Major. Gb. Cb. C#. Two octaves.


Staccato Sixths Major. C. Two octaves.

Use the thumb and 5th fingers on E & C. Hands together.

Double Octaves Major. Eb. Two octaves.

Harmonic Minor C.

Hands together.

ARPEGGIOS Major. E. Eb. Ab. Four octaves.

Minor. Bb. F. Eb. Four Octaves


Hands together. Root position and 1st Inversion.


Dominant Sevenths In the keys of: D. A. F. Four octaves.

Hands together. Root position only. Similar motion.

Ascending and descending. Minimum Tempo. Four crotchets = MM 84.

CHORDS. ALL Major and Minor chords in all keys.

CMaj7. GMaj7. DMaj7. AMaj7. FMaj7. BbMaj7. EbMaj7.

E7. Eb7. Ab7. Em7. Bm7. Fm7. Bbm7.




C7. G7. D7. A7. F7. Bb7. Am7. Cm7. Gm7. Dm7.

C6. D6. G6. A6. E6. B6 F6. Bb6. Eb6. Ab6.



CHORD PROGRESSION. The Examiner will ask for ONE only.

Memory playing is not required. Primary Triads only.

Refer to Item 24.1. Page 15.

1 IV V7 1. Perfect Cadence progression.

1 V 1 1V 1. Plagal Cadence progression.

In the key of E Major or F Minor.



SIXTH GRADE EXAMINATION Continued

PERFORMANCE. Four Lists required. A. B. C. D.



Six Examination. Guild approval required. (See Item 6. Page 6.)





Bertini. Henri. No 18. 22. 23. 24. Op 29. Studies. Any one. Peters Imp.9

No 8. 9. Op 32. Studies. Either one. Belwin

No 6. Op 36. Studies. Imp.9A

Study in C Minor. Selected Studies. Grades 5-7. Allans 1182

Burgmuller. Friedrich. No 10. (La Velocite) 11. Op 109. Studies. Any one. Peters Schirmer Allans

No 12. 16. 17. 18. Op 109. Studies. Any one. Peters Schirmer Allans

No 1. 2. 6. 10. 11 Op 107 Studies. Allans

Clementi. Muzio. Study No 1. 9. Vol 780. Gradus ad Parnassum. Either one. Arr.Tausig Schirmer

Study in D Minor. No 53. Allans Schirmer

Cramer-Bulow. Piano Studies. Any volume Augener Peters

Czerny. Carl. No 8. 11. 12. 13. 14. Op 299. School of Velocity. Peters Schirmer Imp.2

No 18. 21. 24. 25. 29. Any one.

No 3. 17. 20. Op 718. Studies. Any one. Schirmer Allans 9

No 15. 25. Op 849. Studies. Any one. Peters Alfred

Heller. Stephen. No 15. 16. 20. 21. Op 45. Studies. Any one. Peters Alfred

No 12. 18. 21. 24. 26. Op 46. Studies. Any one. Peters Schirmer 177

Loeschhorn. Albert.

Staccato Study. No 22. Op 66. Allans

Study in A Minor. No 10. Op 139. Allans

Moszkowski. Moritz. Op 91. Studies. Leduc

Book 1. No 4. 5 (In B Flat.) Either one.

Book 2. No 12. 15. Either one.

LIST B. One selection required. 16 Marks 16 Marks.

Bach. C.P.E.

Sonata in A Minor. Allegro. 1st Mov. W57/2. Allans

Bach. Johann Christian. Sonata No 4. Op 17. In G. Allegro. Allans

Sonata No 4. Vol 1. Presto Assai. 10 Sonatas. Peters

Bach. Johann Sebastian. Enlish Suite. No 2. A Minor. Bourree No 1.

Enlish Suite. No 3. Sarabande or Gigue. BWV 808. Allans Henle Schirmer

English Suite. No 4. Gigue.

French Suite. No 3. B Minor. Gigue or Bouree 11. BWV 814. Henle Peters Schirmer

French Suite. No 5. G Major. Allemande or Gigue. BWV 816

No 2. 13. Two Part Inventions. Either one. Imp.7

No 4. 5. 6. 11. 14. 15. Three Part Inventions. Any one. Peters Alfred

Any Prelude. 48 Preludes and Fugues. Book 1. Any edition Except:- No 1. 2. 6. 9. 10. 11.

Bach. W.F. Fughetta in D. Allans



GRADE SIX EXAMINATION Continued

Daquin. The Cuckoo. Piano Classics. 1. Allans

Handel. G.F. Suite No 2 in F. Allegro. Belwin

Suite No 3 in D Minor. Courante. BWV 808. Belwin

Suite No 4 in E Minor. Courante. Belwin

Suite No 7 in G Minor. Allegro. Belwin

Suite No 8 in F Minor. Allemande or Gigue. Henle Belwin

Suite No 10. D Minor. Gigue. Belwin

Suite in Bb. Corrente. Allans

No 9. 12. Album of 14 Easy Pieces. Bagatelle. No 2. Op 33. Bagatelles. Henle Augener

Sonata. No 1. F Minor. Op 2. 1st Mov. Any Edition.

LIST C. One selection required. 16 Marks 16 Marks.

Beethoven.L.Van.

Bagatelle. No 2. Op 33. Bagatelles. Henle Augener

Bagatelle. No 1. Op 119. Schirmer

Bagatelle. No 5. Op 126.

Rondo in A major WoO49 Any edition

Sonata. No 1 in F Minor. Op.2. 1st Mov. Any Edition.

Sonata. Op 7. 3rd Mov. Allegro and Minore.

Sonata. No 3. Op 10. Minuet and Trio.

Sonata. No 2. Op 14. Last Movement. Scherzo. Assai Allegro

Sonata. Op 22. 3rd Mov. Minuetto and Minore.

Sonata. Op 26. Scherzo and Trio.

Sonata. No 3. Op 31. 3rd Mov. Minuetto and Trio.

Sonata. No 1. Op 49. Complete.

Sonata No 2. Op 49. Allegro ma non troppo, 1st Mov. Any edition

Sonata. Op 79. 1st Mov.

Sonatina. No 1. In Eb. Rondo Vivace.

Sonatina in C. Six Sonatinas. Allans

9 Variations on a Theme of Paisiello. Henle

Clementi. Muzio. Sonata. No 4. Op 36. 1st and 2nd Mov. Allans

Haydn. Joseph. Sonata. Hob XV1/32. Finale - Presto. Henle

Sonata. Hob XV1/47. Finale - Tempo di Minuetto.

Kuhlau. Friedrich. Sonatina. No 3. Op 88. Complete. Peters

Mozart. W.A.

Fantasia in D Minor. K397. Allans

Six Variations in G on a theme of Salieri. K180. Allans

Sonata. K279. C Major. 1st Mov. Any Edition.

Sonata. K310. A Minor. Last Mov.

Sonata. K311. D Major 1st Mov.

Sonata. K330. C Major. 3rd Mov. Schirmer

No 13. KV 312. Klavierstucke. Peters NR4240a

No 17. Romanze. KV 205.

LIST D. One selection required. 16 Marks 16 Marks.

Albeniz. Isaac. Op 165 Espana EMI

Malaguena

Bailey.K. Jazzin Around Bailey

Melissa’s Mood or Miss Miles Either one




Bartok. Bela. No 135. Perpetuum Mobile. Mikrokosmos. Vol V. Allans

No 6 or 7. Roumanian Christmas Carols. Allans


Bonsor.B Jazzy Piano 2 Universal

Feelin’ Good

Brumby. Colin. No 6. Il Capitano. Harlequinade. Fentone

Benjamin. Arthur. Jamaican Rhumba. Boosey & Hawkes

Carter-Varney.G. Kool Piano C-Mat

Glider in the Sky

Chopin. F. Mazurka. No 1. Op 6. Imp.1075

Mazurka. No 4. Op 17.


Mazurka. No 2. Op 30. Allans

Mazurka. No 2. Op 41. Allans

Prelude. No 15 in D Flat. Op 28. Allans

Preludes. No 4. 6. Either one. Imp.170

Waltz. No 1. Op 69. Allans

Chua. S You Dirty Rat. Gangster Suite Allans

Debussy.C. The Children’s Corner Suite Allans

The Little Shepherd

. Le petit negre

Eustace.B. Ragazzi C-Mat

Greensleeves

Ferguson. Five Bagatelles Boosey & Hawkes

Bagatelle No. 3.

Field. J. Eight Nocturnes Vol. 42

Nocturne No.5 in B Flat Allans

Granados.E. Spanish Dances Schirmer

No 5. Op. 37. Andaluza

Grybaitis. Greta Impromptu in G minor [email protected]

Grieg. E. Allans

No. 3. Op 71. Puck from Lyric Pieces

No 4. Op 54. Nocturne from Lyric Pieces Allans

No 5. Op 54. Scherzo from Lyric Pieces Allans

Hutchens Frank Evening. Allans

Hyde. Miriam Woodland Sketch Allans

Ibert. Jacques. No 1X. Histoires. Leduc

Kabalevsky.D. Sonata in C 1st Mov. B & H

Liszt.F. Consolation No. 4 Allans

Mac Dowell.E Essential Keyboard Repertoire Vol 5 Alfred

The Brook No. 2 Op 32.

Mendelssohn.F. Songs Without Words Schirmer Peters Allans

No. 1 in E major Op. 19.

No. 11. Op. 30.

No. 18 Op. 38.

No. 19. 20. 22. Op. 53. Any one

Norton.C. Latin Preludes Boosey & Hawkes

No. 2. Samba Rock Preludes Boosey & Hawkes

No. 6. Blue Sneakers

Palmgren. Selim A Night in May or The Swan Either one Augner

Schubert.F. No 2 in D flat. Two Scherzi





Schumann.R. Scenes from Childhood Allans

No 5 or 10 Op 15. Either one

No 3 Op 12. Fantasy Pieces Allans

Scriabine. Alexander. Mazurka in F# Minor. * 8 Pieces. Ed.Geehl Ashdown

Prelude. No 1. Op 9. Allans

Prelude. No 2. 4. 6. Op 11. 24 Preludes. Vol 4. Either one.

Solal. M. Jazz Preludes

Prelude No 1 or 2 Either one

No. 50. 54. 59. Jazz-Solal 111. Any one

Taylor. Coleridge. Op 74. Scenes from an Imaginary Ballet Any Scene Imp.606


A passage in a Major key up to three sharps or three flats, or in a Minor key up to two sharps or flats. In

either simple or compound time. Using semiquavers and syncopation.

EAR TESTS. 7 marks

Rhythm. To clap or tap a four bar passage played twice by the Examiner in simple or 6/8 time. No note

shorter than a quaver in moderate tempo.

Intervals.To hum or sing and identify any two notes of the major scale. The Examiner will first play the

tonic chord of the scale selected, then the entire scale. (Not more than 6 sharps or 6 flats.), before playing

the two notes and requesting the answer. The test will be given twice. The candidate can use either letter

names, degree names, solfa or intervals (1.2.3.4.5.6.7.8) when answering.

Pitch. To hum or sing the higher or lower of two notes played simultaneously by the Examiner within the

diatonic scale octave C-C. The key may be changed to accommodate voice range.

Tonality and Cadence. To identify whether a phrase played by the Examiner is in a major or a minor key,

and if the end cadence is Plagal (1V-1), Perfect (V-1) or Interrupted (V-VI)

Harmony. To identify as MAJOR or MINOR, triads played in root position by the Examiner. These will be

played twice if necessary.

GENERAL KNOWLEDGE. 6 Marks Questions covering the form and structure of the selected pieces. Advanced questions on intervals, including

compound, inverted, diatonic or chromatic. Ornaments and abbreviations, terms, keys and modulations

found in the chosen examination music. Knowledge of, and recognition of Plagal, Perfect and Interrupted

cadences within the examination music performed.



*************************************************************



GRADE SEVEN EXAMINATION. Examination Time. 40 Minutes

Minimum pass mark. C+70

ADDITIONAL REQUIREMENT. A minimum PASS of C+ 70 marks in Fifth Grade Theory of Music is

necessary for this Grade Seven Examination. For requirements, see Item 17 Page 8.




at Examiner's discretion. Scale Minimum Tempo. Four crotchets = MM 108.

SCALES. Similar Motion Four Octaves

Major. Any key.


Melodic Minor. F#. Ab. A#.


Contrary Motion

Major F#. Eb. B



3rds and 6ths.

Major. C. D. E.

Harmonic Minor. C. D. E.

Double Octaves

Major F. A Two Octaves

Harmonic Minor. F. A. (K/B One Octave)

All scales hands together.

ARPEGGIOS. Major B Db. Gb. Four Octaves

Minor C#.F#.G#

Ascending and descending hands together

Root position 1st and 2nd Inversions

Contrary Motion . From Unison. Two Octaves

Major B

Minor F#

Minimum tempo. Three crotchets = MM 108

Dominant 7ths

In the keys of G. E. Bb Four Octaves

Root position only. Similar motion.

Diminished 7ths In the keys of C. D.

Root position only. Similar motion

Minimum Tempo. Four crotchets = MM 92

CHORDS. Major, minor, sixth, seventh, major seventh, minor seventh, diminished and

augmented chords in all keys.




1 IV 1c V7 1. Cadential 6/4 progression.

1 1b 1V 1. Plagal Cadence progression.

1 11b V7 VI. Interrupted cadence progression.

In the key of Db Major or F# Minor. Triads only. Refer to Item 24. Page 15.



GRADE SEVEN EXAMINATION. Continued.




Grade Seven Examination. Guild approval required. (See Item 6. Page 6.)





Berens. Studies. Book 2. Imp.1182

Study in A Minor. No 32.Op 61.

Clementi. Muzio. Gradus and Parnassum. Arr.Tausig. Schirmer

No 9. 12. 17. 23. 24. Book 1. Peters

No 28. 31. Book 2. Peters

No 65. Book 3. Peters

Czerny. Carl. Study in C Minor. No 9.Op 755. Any one study. Peters Schirmer. Allans9

Studies. Op 740. Any one study. Peters Schirmer. Allans9

No 31. 34. 35. Op 299. School of Velocity. Peters Imp.2

No 36. 38. 40.

Duvernoy. No.19. Op 61. Study in D Minor. Allans 1182

Fischer. F.E. No 3. Op 11. Study in C. Allans

Heller. Stephen. No 29. Op 46. Studies. Schirmer 177

Hyde. Miriam. Study in A Minor. Allans

Liszt.Franz. No.9 Op 1. Allegro Grazioso Henle

Loeschhorn. No 32. Op 66. Selected Studies. Grades 5-7. Allans 1182

Moscheles. Ignaz. Op 70. Any one study in the book. Studies. Allans

No 17. Op 90. Study in Eb. Allans

Moszkowski. Moritz. Twenty Little Studies. Leduc

No 8. 10. 11. 14. 16. Op 91. Book 2. Any one.

No 17. 18. 19. Op 91. Book 2. Any one.

LIST B. 16 Marks

Bach. Johann Christian. Prestissimo. No 5. Op 5. From Sonata

Bach. Johann Sebastian.

English Suite. No 3. Allemande and Gigue. BWV 808. Henle

English Suite. No 4. Prelude. Any Edition

English Suite. No 5. Prelude in E Minor. Henle

Partita. No 1. Prelude and Allamande in Bb. Book 1. Any Edition

Partita. No 5. Preamulum in G. BWV 829 Henle

Toccata. BWV 914 Allans

Prelude & Fugue complete. 48 Preludes and Fugues.

No 2. 5. 6. 16. 21. Book 1. Any one complete.

No 2. 7. 9. 15. Book 2.

Clementi. Muzio. Sonata in Bb. No 2. Op 24. 1st Mov. Allegro con Brio. Schirmer Henle Allans

Couperin. Francois. Le Tic-Toc-Choc. Harlequin in the Streets. Durand

Handel. G.F. Fantasia in C. Kalmus Peters

No 3. Belwin

No 8. In F Minor. Prelude and Fugue. Peters Henle Verlag

No 5. Theme & Variations. Harmonious Blacksmith. Alfred

No 3 in D Minor. Suite. Presto. Henle Peters




Paradisi. Pietro.

Sonata in D. No 10. Sonatas. Book 2. Schott 6121

Taccata in A.

Scarlatti. Domenico. Capriccio in E Major. Allans

No 2. In G Major. Sonata. Longo 388. Book 1. Dover. Kalmus

No 7. In A Minor. Sonata. Longo 379.

No 40. In G Major. Sonata. Longo 290. Book 2.

No 51. In Bb Major. Sonata. Longo 497.

Sonata. L422. K141. In D Minor.

Sonata. L381. K438. In F.

Sonata. L104. K159. In C.

Scarlatti.D. Sonata. L360. K22. In C Minor.

Sonata. L430. K531. In E.

Sonata. L129. K201. In G.

Sonatas. V11. V111. XV111. Sixty Sonatas. Vol 1. Schirmer 1774

LIST C. 16 Marks

Beethoven. Ludwig. No 1. Op 51. Rondo in C. Henle Peters

No 3 & 4 or 5 & 6. Op 126. Six Bagatelles. Henle Peters

Six Easy Variations. G Major. Henle Schott 0292

No 1. Op 2. Sonata. Last Mov. Henle

Sonata. Op 7. 2nd Mov. Henle

No 1. Op 10. Sonata. 1st or 3rd Mov. Any Edition

No 2. Op 10. Sonata. 1st Mov.

Pathetique. Op 13. Sonata. 2nd or 3rd Mov.

No 1. Op 14. Sonata. 1st or Last Mov. Henle Peters



Sonata Op 79. Last Mov. Henle Peters

Clementi. Muzio.

No 2. F# Minor. Op 26. 1st Mov. Schirmer

Haydn. J. Sonata. Hob XVI/27. In G. 1st & 2nd Mov.

Sonata. Hob XVI/35. In C. 1st & 2nd Mov.

Sonata. Hob XVI/36. In C# Minor. 1st Mov. Henle

Sonata. Hob XIV/37. In D. 1st Mov. Any Edition

Fantasie in C. Hob XV11/4. Henle Peters

Hummel. Rondo in E Flat. Op 1. Allans

Mozart. W.A. Adagio in B Minor. K540. Henle Peters

No 11. Andante. KV 616. Klavierstucke. Peters NR4240a

No 14. Allegro. KV 400 (372a)

Six Variations on an Allegretto. KV54. Allans

Sonata. K331. In A Major. 1st Mov. Henle Peters

Sonata. K280. In F Major. 1st Mov. Any Edition

Sonata. K330. In C Major. 1st Mov. Schirmer

Sonata. K332. In F Major. 1st Mov. Mozart

Sonata. K333. In Bb Major. 1st or Last Mov.

Sonata. K576. In D Major. 1st or Last Mov.

Variations. K265. On 'Ah! Vous dirai-je maman'. Henle Alfred.




LIST D. 16 Marks

Bartok. Bela. No 149. 150. Mikrokosmos. Vol 6. Either one. B & H

Sonatina for Piano. 1st or 3rd Movement. Schirmer

Bagatelle. No 2. Op 6. B & H

Barratt.C Pattern Preludes Boosey & Hawkes

Etude

Fantasia. Fantasy Preludes Boosey & Hawkes

Bartok. Bela EMB

Sonatina for Piano 1st Mov.

Bonsor.B. Jazzy Piano 2 Universal

Willie Wagglesticks Walkabout

Dreamy

Brahms Johannes

Intemezzo Op76. No 4. In B Flat. Peters Henle Allans

Bridge. Frank. No 3. Three Sketches. B & H

Carter-Varney.Glen The Artamidae C-Mat

Dancing Girl Kool Piano C-Mat

Chabrier.A. No 7. Pieces Pittoresque.

Chopin. F. Mazurka. No 1. Op 33.




Nocturne. No 3. Op 15. In G Minor. Henle Peters Alfred

Nocturne. No 2. Op 32. In Ab.

Nocturne. No 1. Op 55. In F Minor. Henle Peters Alfred

Polonaise. No 2. Op 40. In C Minor. Allans

Preludes. No 15. Op 28. Any one. Allans

Preludes. No.21 in Bb. Op 28. Any one. Allans

Preludes. No. 22. Op 28. Any one. Allans

Prelude. Op 45. In C#. Alfred

Waltz No 2 . Op 34. in A Minor. Allans

Debussy. Claude. Golliwog's Cake-walk. Children's Corner Suite. Peters Alfred

Clair de Lune. Suite Bergamasque. Schirmer Peters

Prelude. No 8. Girl With the Flaxen Hair. Henle Peters Allans

Prelude. No 12. Minstrels.

Reverie. Peters

Evans. Lindley. Vignette. Paling

Eustace.Bradley. Spiritus C-Mat

Bali Spirit

Ragazzi A Tribute To Dianna C-Mat

Ferguson. No 2. Five Bagatelles. B & H

Grieg. Edvard. Schirmer

No 1. Op 38. Lyric Pieces. Any one.

No 1. Op 43. (Butterfly.)

No 2. Op 47.

No 3. Op 54. March of the Dwarfs. Peters

Hutchins Frank. At The Bathing Pool. EMI Publishing

Ibert. Jacques.

Le Cage de Cristal. V111. Histoires. Leduc

The Little White Donkey. Allans

Kodaly. Zoltan. No 8. Op 3. Piano Piece. Allans

Koelling. Carl. Rhapsodie Mignonne. Op 410. Allans




Le Gallienne. Dorian.

Jinker Ride. Allans

Nocturne. Allans

Liadow. Anatol. Leduc

The Music Box. Op 32.

Liszt. Franz. No 5 or 6 Consolations. Either one Peters Allans

Mendelssohn Felix. Songs Without Words. Peters

Op 19. No 3. Hunting Song. Either one.

Op 102. No 46. The Sigh.

Norton. Christopher Latin Preludes No. 6 or 7 Boosey & Hawkes

Rock Preludes No.V11 Sunshine Piece Boosey & Hawkes

Poulenc. Francis. Three Novelettes. Chester

No 1. In C Major. Either one.

No 3. In E Minor.

Valse. Schott 6011/11

Prokofiev. Serge. Visions Fugitives. B & H

No 1 & 2. 6 & 10. 16 & 17. Any one/Group.

Rachmaninoff. Serge. Prelude. No 2. Op 3. Allans

Ravel. Maurice. Sonatine. 2nd Mov. Allans Dover

Reger. Max. Humoresque. No 1. Op 20. Five Humoresques. Univ.1173

Schubert. Franz. Impromptu. No 2. Op 142. Henle Peters Allans

Impromptu. No 2. Op 142. Henle Peters Allans

Impromptu. No 2. Op 142. Henle Peters Allans

Sonata in A Minor. Op 42 (D845). Moderato. Allans

Sonata in C Minor. D958. Adagio Allans

Schumann. Robert. Forest Scenes. Op 82. Peters Henle Allans

Arabesque. Op 18. Either one.

The Prophet Bird. Heslton Flora.


A passage in a Major key up to four sharps or four flats, or in a Minor key up to three sharps or three flats. In

any simple or compound time. Modulations and accidentals must be expected.

EAR TESTS. 7 Marks

RHYTHM clap or tap a substantial four bar passage played twice by the Examiner. Dotted crotchet,

quavers and semiquavers used.

INTERVALS. The Examiner will play the Tonic chord of a suitable key and then play three notes

consecutively within the scale octave. The test will be given twice before the answer is requested. The

candidate can use either letter names, degree names, solfa or intervals (1.2.3.4.5.6.7.8) when answering.

PITCH. To hum or sing the higher or lower notes of a Major or Minor Triad played in Root position by the

Examiner.

To hum or sing a phrase of 7 - 9 notes, either diatonic or chromatic after it has been played twice by the

Examiner.

HARMONY. To identify as Major, Minor, Augmented or Diminished, Triads played in Root position by the

Examiner.





1. Background of the composers and of the works performed.

2. Questions covering the form and structure of the pieces played. Keys and modulations.

3. Advanced questions on intervals including compound, inverted, diatonic and chromatic.

4. Cadences. Perfect, Plagal, Imperfect and Interrupted. Knowledge of, and recognition within the

examination music performed.



****************************************************



PROFICIENCY (GRADE EIGHT) EXAMINATION.

IMPORTANT:- This examination, which consists of TWO parts, (Practical and Theoretical), is a pre-requisite

examination for entry into the ASSOCIATE DIPLOMA.

PART ONE. THEORETICAL. A minimum PASS of C+ 70 marks in Sixth Grade Theory of Music is

necessary for this Proficiency Examination. For requirements, see Item 17 Page 8.

PART TWO. PRACTICAL. Examination Time. 40 Minutes.

Minimum pass mark. C+70.




at Examiner's discretion. Scale Minimum Tempo. Four crotchets = MM 112.

SCALES. All scales. Hands together.

Major. Any key. Four octaves

Harmonic Minor Any key.

Melodic Minor. C#. G#. A#. D#.


CONTRARY MOTION. From unison.

Major. Ab. Bb. F#. C#. Two octaves.

Harmonic Minor. Eb. Db. B. G.


3rds, 6ths and 10ths. Similar motion.

Major. D. F. Bb. Two octaves.

Harmonic Minor. C. Eb. G.

DOUBLE OCTAVES. Similar motion.

Major. G. Ab. B. Two octaves.

Harmonic Minor. E. F#. G#.

ARPEGGIOS. Major. Cb. C#. F#. Four octaves.

Minor. Ab. A#. D#.


Hands together. Root position. 1st and 2nd Inversions.

Contrary Motion. From unison.

Major. Cb. C#. F#. Two octaves.

Minor. Ab. A#. D#.

Minimum tempo. Three crotchets = MM 112.

DOMINANT 7ths. Similar motion.

In the keys of F. F#. G. Four octaves.

Hands together. Root position and all Inversions.

DIMINISHED 7ths. Similar motion.

In the keys of F. F#. G. Four octaves.

Hands together. Root position and all Inversions.

Minimum tempo. Four crotchets = MM 96.

CHORDS. Major, minor, sixth, seventh, major seventh and ninth, minor seventh and ninth, diminished

and augmented chord. Familiarity with chords in all keys is essential.




1 VI IIb 1c V7 I. Cadential 6/4 progression.

I IIb Ic V7 VI. Interrupted cadence progression.

I V7c 1b 1V 1. Plagal Cadence progression.

In either Eb or Db Major or in F or Bb Minor.

Primary Triads only. Refer to Item 24. Page 5.



PROFICIENCY (GRADE EIGHT) EXAMINATION Continued.




Eight (Proficiency) Examination. Guild approval required. (See Item 6. Page 6.)





Bach. J.S. Any edition

No 5. BWV 816. French Suite. Courante. Sarabande. Bourree. All three.

No 6. BWV 817. French Suite. Allamande and Courante. Both.

No 5. BWV 810, English Suite. Prelude. Allemande. Courante. All Three.

No 5. BWV 810. English Suite. Sarabande and Gigue. Both.

No 6. BWV 811. English Suite. Prelude. (Lento. Adagio and Allegro.)

No 6. BWV 811. English Suite. Sarabande and Gigue. Both.

No 1. BWV 825. Partita. Courante and Sarabande. Both.

No 2. BWV 826. Partita In C Minor. Courante and Sarabande. Both.

Courante and Rondeaux. Both.

Allamande & Capriccio. Both.

No 3. BWV 827. Partita. Fantasia.

No 3. BWV 827. Partita. Sarabande and Burlesca. Both.

No 4. BWV 828. Partita. Sarabande and Gigue. Both.

Prelude and Fugue in B. BWV 868.

Prelude & Fugue complete. 48 Preludes and Fugues.

No 1. 9. 10. 11. 13. 14. 17. 18. 22. 23. Book 1. Any one.

No 24. Book 2.

Handel. G.F.

No 4. In E Minor. Suite. Fugue.

No 8. In F Minor. Suite . Prelude and Fugue.

Kuhnau. Johann.

Allemande, Sarabande and Gigue. Partita 111 of Seven Partitas.

Liszt.F.

No.6, S136 Op 1, Etude, (EMB)

No 12, S16 Op 1, Etude, (EMB)

Moscheles.I.

No. 4, 5, 8, 11, or 13 Op 70 Studies. Twenty Four Studies for Piano Schirmer

Moskowski.M.

No.2 Op 72 Etude de Virtuosite in G minor. Recital Gems, book 2 Alfred

Scarlatti. Domenico.

Sonata No XXV and XXX. Sixty Sonatas. Vol 1. Both. Schirmer 1774

Sonatas No XL1X and L. Sixty Sonatas. Vol 2. Both. Schirmer 1775

Sonatas No L111 and L1V. Both.

Schumann ( Wieck),C.

Prelude and Fugue in B flat, Op 16 Romantische klaviermusik Barenreiter


Beethoven. Ludwig.

Rondo a Capriccio in G. Op 129. Any edition.

No 2. Rondo in G. Op 51.

No 2. Sonata. Op 2. 1st Movement.

Sonata. Op 7. 1st Movement.

No 1. Sonata. Op 10. Last Movement.






Sonata. Op 22. 1st or 4th Movements.

Sonata. Op 26. Last Movement.



Sonata. Op 28. 1st Movement.

No 1. Sonata. Op 31. 1st Movement.

No 2. Sonata. Op 31. First Movement.

No 3. Sonata. Op 31. Second & Third Movements.

Sonata. Op 79. Complete.

Clementi. Muzio.

No 1. Capriccio. Op 34.

No 3. Sonata. Op 7. G Min. Complete Henle

No 6. Sonata. Op 13. Complete. Henle

Haydn. J.

Sonata. Hob XV1/34. E Min. 1st & 2nd Movements.

Sonata. Hob XV1/42.

Sonata. Hob XV1/48. In C. 1st Movement.

Sonata. Hob XV1/50. In C. 1st & 2nd Movements.

Hummel. Johann.

La Galante. Rondeau Brilliant. Op 120.

Rondo in Eb. Op 11. Allans

Mozart. W.A.

Fantasia in C Minor. K396. Any edition.

Rondo in D Major. K485. Henle Peters

Rondo in A Minor. K511. Henle

Sonata. K283. 2nd and 3rd Movements.

Sonata. K284. 1st or Last Movement.

Sonata in C Major. K309. 1st Movement.

Sonata in A Minor. K310. 1st Movement.

Sonata. K330. 2nd & 3rd Movements.

Sonata in C Minor. K457. 1st Movement.

Sonata in F Major. K533. 1st Movement. Henle Peters

Sonata in Bb. K570. 1st & 2nd Movements.

Schubert. Franz.

Sonata in Eb. Op 122. 1st Movement.

Sonata in A Minor. Op 143. 1st Movement.

LIST C. 16 Marks Brahms. Johannes.

No 1. Op 10. Ballade in D Minor. Edward. Breitkopf

No 3. Op 116. Capriccio in G Minor.

No 7. Op 116. Capriccio in D Minor.

No 3. Op 10. Intermezzo in B Minor. IMC

No 6. Op 76. Intermezzo. Henle

No 7. Op 76. Intermezzo in A Minor.

No 4. Op 116. Intermezzo in Eb. Peters IMC

No 6. Op 116. Intermezzo in E. IMC

No 1. Op 117. Intermezzo in C# Minor.

No 2. Op 118. Intermezzo.

No 1. Op 119. Intermezzo in B Minor. IMC

Chopin. Frederick.

No 6. Op 10. Etude.

No 2. Op 25. Etude in F Minor.

Etudes. F Minor (1) or Ab (2) Three Posthumous Etudes. Henle

Impromptu in Ab. Op 29.

No 2. Op 20. Impromptu in Eb.




No 4. Op 7. Mazurka in Ab. Peters Henle

No 4. Op 24. Mazurka. Allans

No 3. Op 50. Mazurka. Henle Allans

No 3. Op 63. Mazurka in C# Minor. Henle

No 1. Op 32. Nocturne in B Major.

No 1. Op 37. Nocturne in G Minor. Peters Henle

No 2. Op 37. Nocturne.

No 13. Op 28. Prelude in F#. Henle

No 3. Op 70. Valse in Db Henle

Field. John. No 8. Nocturne in Eb. Schirmer

Greig. Edvard. Lyric Pieces. Peters Dover

No 5. Op 40. Rigaudon.

No 6. Op 43. To the Spring.

No 6. Op 65. Wedding Day.

Faure. Gabriel. No 4. Op 103. Prelude in F. Peters 9560a

Liszt. Franz.

No 2 in E. No 3 in Db. Consolation. Either one. Peters Allans 154

No 1. Valse Oubliee in F#. Schott

Mendelssohn. Felix.

No 4. Op 67. Songs Without Words.

No 6. Op 38. Duetto.

No 2. Op 16. Scherzo. Three Fantasias. Dover

No 3. Op 16. The Rivulet.

Rachmaninoff. Serge.

No 3. Op 23. Prelude in D Minor.

No 6. Op 23. Prelude in Eb Major.

No 10. Op 23. Prelude in Gb Major.

No 12. Op 32. Prelude in C# MInor.

Ravel. Maurice. Sonatine. 1st Movement.

Schubert. Franz.

No 3. Op 90. Impromptu in Gb. Peters Allans Augener

No 3. Op 142. Impromptu in Bb.

No 4. Op 94. Moments Musical in C# Min. Peters Henle

Schumann. Robert.

Novelette in D Minor. Op 21. Henle

No 2. Op 28. Romance in F#. Henle Universal

No 1. Op 12. Des Abends. Fantasiestuche. Henle Schirmer Allans 263

No 8. Op 82. Hunting Song. Forest Scenes. Henle Peters

No 9. Op 82. Abschied. Henle

No 4 in Eb Minor. Op 26. Faschingsschwank. Schirmer Henle

Blumenstuck. Op 19. Henle

Sibelius. Jean. Romance in Db.

Tschaikowsky. Peter. The Seasons. Peters

June. Barcarolle. Op 37b.

LIST D. 16 Marks Albeniz. Isaac. Iberia Suite. Belwin

No 4. Op 232. Cordoba. Cantos de Espana.

No 1. Evocation.

No 5. Op 232. Sequidillas. Chants Espagnoles. UME

Berkley. Lennox. Six Preludes. Chester

No 5. Prelude

Bridge. Frank. Rosemary. B & H

Britten. Benjamin. Night Piece. (Notturno.) B & H

Bartok. Bela.

No 142. 148. 151. 153. Mikrokosmos. Vol 6. Any One Universal




No 1. 5. Romanian Dances. Both as one.

No 4. 6. Both as one.

Carter-Varney G. The Golden Gecko Summer Dreaming C-Mat

Sonic Fantasy Recital Collection C-Mat

Chabrier. Alexis. Pieces Pittoresque. IMC


Copland. Aaron.

The Cat and Mouse. Scherzo Humoresque. Durand

Debussy. Claude.

Arabesque. No 1 in E Major or No 2. Schirmer. Peters Henle Allans

La Plus que Lente. Suite Bergamasqe. Henle Durand

Sarabande. Pour le Piano. Peters

No 1. 2. 6. Preludes. Book 1. Peters

No 5. Preludes. Book 2.

Hyde. Miriam. The Poplar Avenue. Allans

Water Nymph. Allans

Ireland. John. The Darkened Valley. Augener

The Island Spell. Augener

Kabalevsky. Dimitri.

No 1. Op 13. Sonatina. 1st or 2nd Movements. B & H

No 2. Op 13. Sonatine. 4th Movement. Sikorski B & H

Kodaly. Z. No 3. Op 3. Piano Piece. Allans

Martin. F. No 1. 2. 6. Preludes. Universal

Gopak. 3rd Russian Album. * Imp 520

Norton, C. No.3. Prelude Rock Preludes B & H

Poulenc. Francis.

No 3. Impromptu Album of Six Pieces. Chester

Novelette in Bb Minor. Three Novelettes. Chester.

Pastourelle. Heugal

Pastorale. Three Pieces. Heugal

No 3. Movements Perpetuals. Chester

Prokofief. Serge.

No 7. Op 12. Prelude. Benjamin Schauer

No 9. Op 12. Scherzo Humoristique Benjamin Schauer

No 3. Op 12. Rigaudon. B & H

Ravel. Maurice. Rigaudon. No 1V.Le Tombeau de Couperin.

Sculthorpe. Peter.

Sonatine for Piano. 1st & 2nd Movs or 3rd Mov. Chappell Leeds

Sinding. Christian. Rustle of Spring. Peters Alfred

Sitsky. Larry.

Prelude & Fugue. Sonatina Formalis. Allans

Scriabin. Alexander.

Two Pieces. Op 57. Both works.

Shostakovitch. Dmitri

Fantastic Dances. Three Fantastic Dances. Any one. Sikorski

No 5. Prelude 24 Preludes. B & H Kalmus IMC

Solal.M.

No. 3. 6. Jazz preludes Either One B & H

No. 50. 54. 58. 59. Jazz-Solal 111. Any One B & H

Webern. Anton.

Piano Piece. Op Posth. Klavierstucke. Universal


A substantial modulatory passage of up to four sharps or four flats, either in a Major or a Minor key. In any

simple or compound time. Fluency expected.




EAR TESTS. 7 Marks

RHYTHM. To clap or tap a substantial four bar passage played twice by the Examiner. Dotted rhythms and

semiquavers will be used.

PITCH. To hum or sing the middle or lower note of a major or minor triad played in root position by the

Examiner.

To hum or sing a two bar phrase played twice by the Examiner in a key to suit the candidate. Either

chromatic or diatonic, including one or two quaver groups.

HARMONY. To identify a Triad as Major or Minor when played in root position or 1st inversion by the

Examiner.

CADENCES. To name the cadences in a passage in a major key, played by the Examiner, with slight pauses

at the cadence points. The passage will consist of a four phrase melody of which only the four cadences will

be harmonised.


1. Background of the composers and of the works performed. Period from which the music derives.

2. Questions on Form, Keys, Modulation, Cadences and the musical characteristics of the examination

music performed.

*************************************************************



DIPLOMA EXAMINATIONS. (Traditional Syllabus).

ASSOCIATE DIPLOMA. Pre-requisite. AGMED Proficiency Certificate.

NOTE:- Candidates cannot enter for this Associate Diploma within 12 months of receiving the Proficiency

Certificate.

Generally, the minimum age for entry is 15 years. However, the AGMED Council has the power to waive this

limitation. A written application must be addressed to the AGMED Council for this to be considered.

Conditions are as for all other AGMED Diploma Examinations. Refer to the AGMED Handbook.

This examination, which consists of TWO parts, Practical and Theoretical, is a pre-requisite examination for the

AGMED Licentiate Diploma.

PART ONE:- THEORETICAL. Distinction. 90 marks and above.

Theory of Music Examination. All candidates must obtain a minimum pass of 70 marks in the AGMED Grade Seven (or higher)

No exemption can be granted from this condition.

The examination must be passed within a three year period of the first entry for the PART TWO

practical examination. (Or in the reverse order.) See Item 17 Page 8.

PART TWO:- PRACTICAL. Examination Time. 50 Minutes

Maximum marks 100. Distinction. 90 Marks. Minimum Pass. 70 Marks

No exemption can be granted from any part of this examination.


* The full program must be representative of four different composers and styles. Complete works must be

performed. A concert standard of performance will be expected.

* A recital program of at least 30 minutes duration is mandatory. It is therefore possible that the candidate

may find it necessary to select more than one work from a List to provide a program of the required length.

* The listed pieces can be used or replaced with works of a similar standard and style. It is necessary to

submit the planned Associate program to the AGMED for approval. (See Item 6. Page 6.)

* MEMORY. At least ONE LIST is to be performed from memory. Any additional memory work by the

candidate is optional.

* OWN CHOICE - 1 piece from the below lists. Guild approval not required. NOTE: Pieces not listed but of

similar standard must be approved by the Guild, please follow the requirements listed in item 6 on page 6.




LIST A. 20 Marks


Italian Concerto. 1st Mov. BWV 791. Any Edition

No 3. English Suite.BWV 808. Prelude.

No 4. English Suite Complete.

No 2. 3. 4. French Suite. Complete. Any one.

No 1 in Bb Major. Partita Complete.

No 2 in C Minor. Partita. BWV 826. Sinfonia.

No 4 in D Major. Partita. BWV 828. Overture.

No 6 in E Minor. Partita. BWV 830. Toccata.

Prelude & Fugue Complete. 48 Preludes and Fugues.

No 15. 19. Book 1. Any one.

No 1. 3. 6. 11. 12. 19. 20. Book 2.

Handel. G.F.

No 3 in Bb. Grand Fugue Peters PC4

No 4 in B Minor. Grand Fugue

No 13 in Bb. Suite. Allemande. Courante. Sarabande. Gigue.



ASSOCIATE DIPLOMA EXAMINATION. Continued.

Scarlatti. Domenico. Sonata X1 and X11. Sixty Sonatas. Vol 1. Both as one. Schirmer 1774

Sonata No XXX1 & XXX11. Sixty Sonatas. Vol 2. Both as one. Schirmer 1775

LIST B. Unless otherwise indicated, complete sonatas are to be performed. 20 Marks

Beethoven. Ludwig.

No 1. Sonata Op 1.

No 2. Sonata in A Major. Op 2.

No 1. Sonata in C Minor. Op 10.

No 2. Sonata in F Major. Op 10.

Sonata in C Minor. Op 13.

No 1. Sonata in E Major. Op 14.

No 2. Sonata in G Major. Op 14.

Sonata in Bb Major. Op 22.

No 1. Sonata in Eb Major. Op 27.

No 2. Sonata in C# Minor. Op 27.

No 1. Sonata in G Major. Op 31.

No 2. Sonata in D Minor. Op 31.

Sonata in F Major. Op 54.

Sonata in F# Major. Op 78.

Sonata in E Minor. Op 90.

Clementi. Muzio.

No 4. Sonata in Eb. Op 12. Peters 146

Haydn. Joseph.

Sonata in F Major. Hob XV1/23.

Sonata in B Minor. Hob XVI/32.

Sonata in E Minor. Hob XV1/34.

Sonata in C Major. Hob XV1/50.

Sonata in Eb Major. Hob XVI/52.

Mozart. W.

Fantasia in C Minor. K475. Any Edition

Sonata in F Major. K280.

Sonata in A Minor. K310.

Sonata in A Major. K331.



Sonata in B Flat Major. K281.

Schubert. Franz.

Sonata in A Major. Op 120. DV664. Henle

Sonata in Eb Major. Op 122. DV568. Henle

Sonata in A Minor. Op 143. DV784. Henle

Sonata in B MAjor. Op 147. DV575. Henle

Sonata in A Minor. Op 164. DV537. Henle

LIST C. 20 Marks Brahms. Johannes.

Capriccio in D Minor. Op 116. Henle

Intermezzo. Op 116. Any one except No 4. Allans

No 2 Intermezzo in Bb Minor. Op 117.

. No 1. Intermezzo. Op 118. Peters

No 2. Intermezzo in E Minor. Op 119.

No 2. Rhapsody in G Minor. Op 79. IMC Breitkopf

Chopin. F.

Berceuse. Op 57. Henle

No 3. Ecossaises. Op 72. Henle

Etudes. (Any except:-Op 10. No 6. Op 25. No 2. Posthumous. No 1 & 2) Schirmer

Impromptu in F# Major. Op 36. Any edition.




Impromptu in Gb Major. Op 51. Henle

No 2. Mazurka in D. Op 33. Henle

No 1. Nocturne in Bb Minor. Op 9. Henle

No 2. Nocturne in E. Op 62. Allans 132

No 2. Nocturne in F# Minor. Op 48. Henle

No 1. Polonaise. Op 26.

Tarantelle. Op 43. Henle

No 1. Valse in Ab. Op 34. Henle

Faure. Gabriel.

No 2. Impromptu in F Minor. Op 31. Peters

Liszt. Franz. No 3. Liebestraum. (Loves Dream) Allans

Mendelssohn. Felix.

Andante and Rondo Capriccioso. Op 14. Dover

No 5. In F# Minor. Op 19. Songs Without Words. Schirmer. Peters Henle


No 5. Prelude in G Minor. Op 23.

No 1. Prelude in C Major. Op 32.

No 5. Prelude in G Major. Op 32.

No 10. Prelude. Op 32.

Schubert. Franz.

No 1. Impromptu. Op 90.

No 4. Impromptu. Op 90.

No.1. Impromptu. Op 142.

Schumann. Robert.

Allegro or Finale. Op 26. Faschingsschwank. Henle

Geschwindmarsch. Op 99.

No 2. Aufschwung. Op 12. Fantasiestucke. Peters Henle Breitkopf

Grillen.

No 1 in F. Novellette. Op 21. Henle Breitkopf

Tschaikowsky. Peter. The Seasons.

No 10. October. In Autumn. Op 37.

No 11. November. In the Troika. Op 37.

No 12. December. Christmas. Op 37.

LIST D. 20 Marks Albeniz. Isaac. Op 181 in Db. Sevillanas. Either one.

No 2. Serenade Espagnole. Op 165. Tango. (Transcription.) Schott

Bartok. Bela.

No 10. Bagatelle. Op 6. B & H

No 1. 2. 3. Three Burlesques. Any one. B & H

Benjamin. Arthur. Scherzino. Winthrop Rogers

Berkley. Lennox. Six Preludes. Chester.

No 2 and 3. Both as one.

Debussy. Claude. No 3. Serenade of the Doll. Children's Corner Suite. Peters Alfred

No 3. 5. No 10. Preludes. La Cathedrale Engloutie. Book 1. Peters Henle Allans

No 3. Preludes. Book 2. Peters Henle Allans

Delius. Frederick.

No 1. Prelude Three Preludes. OUP.

Farwell. Arthur. 51 Piano Pieces. Hal Leonard Publ.Schirmer.

No 3. Sourwood Mountain. Op 78.

Faure. Gabriel.

No 4. Barcarolle in Ab. Op 44. OUP

No 2. Impromptu. Op 31. 51 Piano Pieces. Hal Leonard Publ. Schirmer

No 4. Nocturne in Eb. Op 36. Hamelle

Farquhar. Capriccio from Partita. B & H

Gershwin. George. Three Preludes. Any One Warner Bros. B & H




Grybaitis, Greta. Dynamic Persuasion [email protected]

Hopkins. Sonatine. B & H

Hyde. Miriam. The Fountain. Allans

Milhaud. Darius. 3rd Mov. Suite for Piano. Durand

Suite pour le Piano. 3rd Movement. Durand

Poulenc. F. Presto. Suite pour le Piano. Chester

Prokofiev. Serge.

No 4. Gavotte in E Flat. Op 77. B & H

No 7. Prelude in C. Op 12. Schauer


Polichinelle. Allans 520

No 4. Prelude in D. Op 23. B & H

No 5. Prelude in G. Op 32. B & H

Ravel. Maurice. Schott

La Vallee des Cloches.

Sonatine. Last Movement. Durand IMC

Pavane. 51 Piano Pieces. Hal Leonard Publ. Schirmer.

Rawsthorne. Alan. No 1. 3. Bagatelles For Piano. Any one. OUP.


Prelude et Nocturne. For Left Hand.

No 11. Etude in Bb Minor. Op 8. Peters

No 1. Etude in C# Minor. Op 2. Dover

Shostakovitch. Dimitri. 24 Preludes and Fugues. Anglo Soviet Press.

Prelude & Fugue.

No 1. 2. 3. 4. 7. 22. Op 87. Any one.

Stravinsky. Igor. No 4. Op 7. Etude in F#.


At a standard commensurate with this Diploma.

EAR TESTS. 7 Marks

RHYTHM. To clap or tap a substantial four bar phrase played twice by the Examiner.

Dotted rhythms, semiquavers and triplets will be used. Simple time signatures or in 6/8 time. The candidate

will also be asked to state the time signature and to name the notes in any portion of the passage played sepa-

rately.

INTERVALS. To recognise and name intervals formed by two notes played together within the compass of

an octave.

HARMONY. To recognise and name Major, Minor, Augmented and Diminished Triads played by the

Examiner in Root position or in 1st Inversion.

CADENCES. To recognise and name the four cadences in a passage in simple chordal form, played twice

by the Examiner with short pauses at the end of each cadence point. The key will be stated and the tonic

chord will be sounded before the passage is played.


1. Background of the composers and of the works performed. The Period from which they derive.

2. Questions on the Form, Key, Modulations and the musical characteristics of the examination music

performed.



*************************************************************




LICENTIATE DIPLOMA. (PERFORMERS. LAGM(P).

NOTE:- Candidates cannot enter for this Licentiate Diploma within 12 months of receiving the Associate

Diploma. No item performed in the Associate Examination can be re-submitted for this examination.

PRE-REQUISITE.

All candidates for this Diploma must at the date of entry hold the Associate Diploma of the AGMED in the

same subject. However, the practical component of other Diplomas of equal status MAY be accepted at the

discretion of the AGMED Director of Music and AGMED Council approval. Documentary evidence should be

included with a written application to the AGMED Council for this to be considered. But in all cases, candidates

must successfully pass the AGMED Grade Eight Theory of Music examination to complete the requirements of

this Licentiate Diploma.

Generally, the minimum age for entry is 16 years. However, the AGMED Council has the power to waive this

limitation if evidence of unusual circumstances is presented.

This Licentiate Performers Diploma examination is in TWO PARTS.

Both parts must be passed with a minimum of 70 marks.

PART ONE:- THEORETICAL. Distinction. 90 marks and above.

All candidates must obtain a minimum pass of 70 marks in the AGMED Grade Eight (or higher)

Theory of Music Examination. No exemption can be granted from this condition. See Item 17 Page 8.

PART TWO:- PRACTICAL. Examination Time. 60 Minutes.

Maximum marks 100. Distinction. 90 Marks. Minimum pass. 70 Marks. Minimum Pass. 70 Marks.


PERFORMANCE. Four Lists required. A. B. C. D. Refer to 'Own Choice'.


performed. A concert standard of performance will be expected.

* A recital program of at least 40 minutes duration is mandatory. It is therefore possible that the candidate

may find it necessary to select more than one List work to provide a program of the required duration.

* The listed pieces can be used or replaced (Own Choice) with works of a similar standard and style. It is

necessary to submit the planned Licentiate program to the AGMED for approval. (See Item 6. Page 6.)

* The listed pieces can be used or replaced with works of a similar standard and style.

* MEMORY. At least ONE LIST is to be performed from memory. Any additional memory work by the

candidate is optional.

* OWN CHOICE - 1 piece from the below lists. Guild approval not required. NOTE: Pieces not listed but of

similar standard must be approved by the Guild, please follow the requirements listed in item 6 on page 6.




LIST A. Unless otherwise indicated, the complete work is to be performed. 20 Marks


Chromatic Fantasy and Fugue. BWV 903. Henle

Fantasia con Fuga No 2. BWV 904. In A Minor.

English Suites. (Except No 4.) Complete. Any one.

No 1. 6. French Suites. Complete. Either one.

Italian Concerto. BWV 791. Complete 3 Movements. Any Edition

No 2. Partita BWV 826. Complete.

No 3. Partita BWV 827. Complete.

No 4. Partita BWV 828. Overture and Allemande.

No 6. Partita Toccata and Allemande.

Prelude & Fugue complete. 48 Preludes and Fugues. Any Edition Henle Peters Schirmer

No. 3. 4. 7. 8. 12. 20. 24. Book 1. Any one.

No. 4. 5. 8. 10. 13. 14. 16. 17. 18. 21. 22. 23. Book 2.

Toccata in D. BWV 903.

Toccata in C Minor. BWV 911.

Toccata in D. BMW 912.



LICENTIATE DIPLOMA. (PERFORMERS.) LAGM(P). Continued.

Scarlatti. Domenico.

Sonata in D Minor. Longo 108.` Dover

Sonata in G. Longo 387.

Sonata No XV & XV11. Sixty Sonatas. Vol 1. Both. Schirmer 1774.

Sonata No XXV11 & V1. Both.

Sonata No XV11 & XX11. Both.

Sonata No X & X1X. Both.

LIST B. Unless otherwise indicated, the complete work is to be performed. 20 Marks

Beethoven. Ludwig.

No 3. Sonata in C Major. Op 2. Any Edition

Sonata in Eb Major. Op 7.

No 3. Sonata in Eb Major. Op 31.

Sonata in Eb Major. Op 81A. Les Adieux.

Sonata in C Major. Op 53. Waldstein.

Sonata in F Minor. Op 57. Appassionata.

Sonata in A Major. Op 101.

Sonata in E Major. Op 109.

Sonata in Ab Major. Op 110.

Sonata. Op 111.

32 Variations in C Minor.

33 Variations on a Waltz of Diabelli. Op 120.

Mozart. W.A.

Sonata in D Major. K576.

LIST C. 20 Marks

Brahms. Johannes.

No 3. Ballade. Op 118. Schirmer Dover Allans

Ballade in F Minor. No 4.

No 4. Rhapsodie in Eb. Op 119. Breitkopf

No 1. Rhapsody in B Minor. Op 79. IMC

Scherzo in Eb Minor. Op 4.

Scherzo in B Minor. Op 20.

Scherzo in Bb Minor. Op 31.

25 Variations and a Fugue on a theme by Handel.

Chopin. F.

Allegro de Concert. Op 46. Henle

Ballades. Any one. Henle

Barcarolle. Op 60. Augener Henle

Fantasie Impromptu. Op 66. Henle

Fantasie Polonaise. Op 61. Henle

Mazurkas. From Op 24 to Op 59 inclusive.

Any complete opus number to be counted as one work.

No 2. Nocturne. Op 27. Allans

No 1. Nocturne in C Minor. Op 48. Henle

No 1. Nocturne. Op 72.

Polonaise-Fantasie. Op 61. Henle

Scherzi. Any one. Henle

Sonata in B Minor. Op 58. The complete work. Any Edition

Sonata in Bb Minor. Op 35.

Valse in Ab. Op 42. Allans

Franck. Cesar. Prelude. Chorale. Fugue. All three. Hamelle

Granados. Enrique. The Lover and the Nightingale.

Grieg. Edvard. Sonata in E Minor. Op 7. Any edition Peters

Liszt. Franz.

La Campanella. Breitkopf



LICENTIATE DIPLOMA. (PERFORMERS). LAGM(P). Continued.

No 3. 11. Hungarian Rhapsodie Either one. Peters

Gnomenreigen. Two Concert Studies. Either one. Augener

La Leggierezza. 3 Concert Etudes. Peters

Waldesrauschen.

Mendelssohn. Felix.

Variations Seriuses. Op 54. Henle Belwin


No 2. Etude Tableauz in A Minor. Op 39. Belwin

No 3. Etude Tableau in C Minor. Op 33. B & H

No 7. Prelude in C Minor. Op 23. B & H

No 4. Prelude. in D Major. Op 23.

Schubert. Franz.

Sonata in D. DV850.

Sonata in Bb. DV960. Henle Belwin

Sonata in Bb. DV980. Henle Belwin

Sonata in G. DV894. Op 78. Schirmer. Henle

Schumann. Robert.

Abegg Variations. Op 1. Henle

Etudes Symphoniques. Henle

No 5. Fantasiestucke. Op 12. In der Nacht. Allans 263. Breitkopf

Sonata in G Minor. Op 22. Henle Belwin

Sonata in F# Minor. Henle

Toccata. Op 7.

Scriabin. Alexander. Valse. Op 38.

LIST D. 20 Marks Albeniz. Isaac.

Albaicin. Iberia. Book 3. Schott

Pavane Espagnole.

Bartok. Musiques Nocturne. Out of Doors Suite. Book 2. Universal

Bozza. E.Allegro de Concert. Leduc

Debussy. Claude.

L'Isle Joyeus. Durand

Danse. Peters

Etudes. Any except 1 or 7. Peters

No 4. Prelude Book 1. Les sons et les parfums. Durand

No 7. Prelude Book 1.Ce qu'a vu le vent d'Quest.

No 9. Prelude Book 1. La Serenade interropmue.

No 12. Prelude Toccata. From Suite for Piano. Book 2. Feux d'Artifice. Durand

Dohnanyi. Ernst.

No 6. Capriccio in F Minor. Op 28. EMB

Rhapsody in C Major.

Faure. Gabriel.

No 5. Barcarolle in F# Minor. Op 66.

No 8 Nocturne in Db.

Granados. Enrique. Allegro de Concerto. UME

Hindemith. Sonata No 2. Schott

Hyde. Miriam. Valley of the Rocks. Albert.

Ireland. John. Chelsea Reach. Augener

Sonata in E Minor. B & H

Khachaturian. Aram. Toccata. B & H

Loughlin. G. Toccata. Allans

Martin. F. No 8.Eight Preludes. Universal

Martinet.J. Piece pour Piano. Heugel

Poulenc. Francis. Toccata. Trois Pieces. Heugel

Prokofiev. Serge.

No 5. Sonata in C. B & H



LICENTIATE DIPLOMA. (PERFORMERS. LAGM(P). Continued.

No 6. 7. 8. Sonata Any one. B & H

Toccata in D Minor. Op 11. IMC


No 8. Prelude in A Minor. Op 32. B & H

Ravel. Maurice.

Jeux D'eaux.

Toccata. Le Tombeau de Couperin.

Ondine. Gaspard de la nuit. Allans Durand


No 5. Etude in C Sharp Minor. Op 42. Peters

No 1. Etude. Op 65. Forberg

No 2. Poem. Op 32.

No 10. Study in D Flat. Op 8. Peters

Sculthorpe. Peter. Mountains. Faber

Shostakovitch. Dimitri. No 10. 12 or 16. 24. Op 87. Preludes and Fugues. B & H

Sitsky. Larry. Fantasia in Memory of Egon Petri. Ricordi

Webern. A. Op 27. Variations. Universal


At a standard commensurate with this Diploma.

EAR TESTS. 7 Marks

RHYTHM. To clap or tap a substantial four bar phrase, with or without an anacrusis, played twice by the

Examiner. Dotted rhythms, triplets and any time signature will be used. The candidate will also be asked to

state the time signature and to name the note values in any portion of the passage played separately.

PITCH. To sing or play from memory the lower part of a passage in two part harmony consisting of four

bars in simple time. The key will be stated and the key chord sounded before being played not more than

three times by the Examiner.

HARMONY. To recognise and name Major and Minor Triads played in Root position, 1st Inversion and

2nd Inversion by the Examiner.

Diminished and Augmented Triads to be played in Root position only.

CADENCES. To recognise and name the four cadences in a passage played by the Examiner in Pianoforte

style. The key will be stated and the tonic chord sounded before the passage is played. Occasional inversion

of cadence will be used.

MODULATION. To recognise and name the modulations to related and nearly related keys in a passage in

four part harmony played by the Examiner with a short pause at the end of each modulatory phrase. The

passage will consist of 6 to 8 phrases, the tonic key will be stated and the key chord sounded. The test will

not be played more than three times.


1. Background of the composers and of the works performed. The Period from which they derive.

2. Questions on the Form, Key, Modulations and the musical characteristics of the examination music

performed.



*************************************************************



LICENTIATE DIPLOMA. (TEACHER). LAGM(TD).

NOTE:- Candidates cannot enter for this Licentiate Diploma within 12 months of receiving the Associate

Diploma. No piece performed in the Associate Examination can be re-submitted for this examination.

PRE-REQUISITE.

All candidates for this Diploma must at the date of entry hold the Associate Diploma of the AGMED in the

same subject. However, the practical component of other Diplomas of equal status MAY be accepted at the

discretion of the AGMED Director of Music and AGMED Council approval. Documentary evidence should be

included with a written application to the AGMED Council for this to be considered. But in all cases, candidates

must successfully pass both the AGMED Grade Eight Theory of Music and the Teaching Principles

examination to complete the requirements of this Licentiate Diploma.

It is recommended that considerable personal development occurs before entering for this Diploma. Candidates

must have maturity and extensive teaching experience.

Generally, the minimum age for entry is 19 years, but the AGMED Council has the power to waive this

limitation if evidence of unusual circumstances is presented.

This examination is designed to demonstrate a teacher's ability over a wide musical background in reference to

teaching from the earliest levels through to Grade Seven and Proficiency level. Therefore a very deep

understanding and knowledge of the teaching technique and repertoire in relation to the chosen instrument is ab-

solutely essential.

This Licentiate Teachers Diploma examination is in TWO PARTS. Both parts must be passed with a minimum

of 70 marks.

PART ONE:- THEORETICAL.

PAPER ONE.

The AGMED Grade Eight (or higher) Theory of Music Examination.

PAPER TWO.

Teaching Principles.

Pass mark in both papers. 70 marks. Distinction. 90 marks minimum in both papers. Both examinations must

be passed within a three year period of the first entry for the PART TWO practical examination. (or in the

reverse order.) See Item 17 Page 8 for requirements.

No exemption can be granted from this condition.

PART TWO:- PRACTICAL. Examination Time 75 Minutes.

Maximum marks 100. Distinction. 90 Marks. Minimum Pass. 70 Marks.




performed. A reasonable concert standard of performance will be expected.

* In addition to the examination, a practical practical demonstration of teaching principles is required.

* A recital program, to be selected from the Licentiate Lists A.B.C.D, is to be of at least 30 minutes duration.

It is therefore possible that the candidate may find it necessary to select more than one work from a List to

provide a program of the required length.

* The listed pieces can be used or replaced (Own Choice) with works of a similar standard and style. It is

necessary to submit the planned Licentiate program to the AGMED for approval. (See Item 6. Page 6.)

* MEMORY. Performance from memory by the candidate is optional in this examination.

See Licentiate Performer Lists in this Syllabus for suggested music.

LIST A. 15 Marks

LIST B. 15 Marks

LIST C. 15 Marks

LIST D. 15 Marks



LICENTIATE DIPLOMA. (TEACHER). LAGM(TD). Continued

SIGHT READING. 7 Marks EAR TESTS. 7 Marks


PRACTICAL DEMONSTRATION OF TEACHING PRINCIPLES. 20 Marks

* This section of the LAGM(TD) examination requires that a candidate has a wide, active and general musical

background, and has the ability to demonstrate the various skills required in relation to the teaching of the

chosen instrument or subject.

* Candidates must submit to the Examiners a comprehensive teaching folio listing their teaching repertoire

from the particular Syllabus from and inclusive of Steps, (If they are included in the Syllabus), Grade One

through to Proficiency level. Written comments attached to each work must clearly give an indication that

the candidate is aware of the musical requirements and technical difficulties in the listed works. Written

comments must include practice methods to overcome both observed and potential faults.

* The candidate will be required to give a demonstration lesson to the Examiners using material from the

particular Syllabus from and inclusive of Steps, (If they are included in the Syllabus), Grade One through to

Proficiency level.

* Candidates will be asked to explain and demonstrate methods for the teaching of phrasing, interpretation and

style. To further discuss these aspects in relation to the use of the chosen instrument or subject.

* Candidates will be expected to demonstrate any technical work and exercises prescribed for the particular

instrumental examination in the AGMED Syllabus. Also to discuss common student errors and to suggest

the means for their correction.

* THEORY.

The candidate will be aurally examined in the basic theoretical principles of teaching and performance.

* PRACTICAL.

The candidate will be expected to discuss and demonstrate the various techniques and control used on the

chosen instrument by the examination candidate.

* Candidates will be asked to outline the reasons for Music Education and to discuss with the Examiners the

philosophy inherent in this concept.

* General questions on the History of Music, musical styles and different techniques used on the chosen

instrument in the performance of these styles.

* To demonstrate to the Examiner's satisfaction a comprehensive knowledge of the history and construction of

the chosen instrument and its relationship to music and to the repertoire.

NOTE:- The Teaching Principles paper is a written extension of the above Viva Voce examination.

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FELLOWSHIP DIPLOMA F.Mus AGM RECITAL

CLASSICAL and CONTEMPORARY PIANO

A Full Concert Performance. Recital in Public

A Concert Program with extensive program Notes on the Works performed.

PRE-REQUISITE. AGMED Licentiate Diploma of Four years standing.

GUILD Council approval is necessary for entry to the Fellowship Diploma. The applicant must be able to

demonstrate a long association with the GUILD and an empathy with its philosophy. Apply in writing to the

GUILD Director for details.

This advanced qualification will be awarded in the following areas for proven excellence OR as an Honour for

outstanding services to the AGMED, and Music and Speech in particular.

a) Research Thesis. 50,000 words.

b) Composition. A major work.

c) A full Concert Performance.

d) A long, outstanding teaching Career.

e) An original and unique innovation of outstanding importance within the framework of the AGMED.

f) Any sustained area of excellence in Music and Speech by which teachers and students throughout

Australia will benefit.

NOTE: It is mandatory in sections b.c.d.e.f above for a supporting Thesis to be written.

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