voice syllabus online

7/25/2019 Voice Syllabus Online

1/135

VoiceSYLLABUS EDITION


2/135

Table of Contents

Message from the President . . . . . . . . . . . . . . . . . . . 4

Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

RCM Examinations atwww.rcmexaminations.org . . . . . . . . . . . . . . . . . 5

SECTION 1 GENERAL INFORMATION

Application Forms . . . . . . . . . . . . . . . . . . . . . . . . . 6

Application Procedure and Deadline Dates . . . . . . . 6

Examination Schedules . . . . . . . . . . . . . . . . . . . . . . 6

Examination Centres . . . . . . . . . . . . . . . . . . . . . . . 7

Fee Extensions and Refunds . . . . . . . . . . . . . . . . . . 7

Examination Results . . . . . . . . . . . . . . . . . . . . . . . . 8

The Examiners Evaluation . . . . . . . . . . . . . . . . . . . 8

Theory Examinations: Prerequisites

and Co-requisites . . . . . . . . . . . . . . . . . . . . . . . . 8

ARCT Examinations . . . . . . . . . . . . . . . . . . . . . . . . 9

Credits for Musicianship . . . . . . . . . . . . . . . . . . . . 10

Certificates and Diplomas . . . . . . . . . . . . . . . . . . . 10

Secondary School Music Credits . . . . . . . . . . . . . . 11

Registered Education Savings Plan (RESP)Eligibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Gold and Silver Medals . . . . . . . . . . . . . . . . . . . . 12

SECTION 2 EXAMINATION REQUIREMENTS

Examination Repertoire . . . . . . . . . . . . . . . . . . . . 13

Transposition . . . . . . . . . . . . . . . . . . . . . . . . 13

Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Choice of Verses . . . . . . . . . . . . . . . . . . . . . . . 13

Da capo Signs and Repeats . . . . . . . . . . . . . . . 13

Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Accompaniment . . . . . . . . . . . . . . . . . . . . . . . 14

Syllabus Repertoire Lists . . . . . . . . . . . . . . . . . 14Musical Theatre Option in List C . . . . . . . . . . 14

The Voice Series, Third Edition . . . . . . . . . . . . . . 14

Editions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Availability . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Anthologies and Collections . . . . . . . . . . . . . . 15

Copyright and Photocopying . . . . . . . . . . . . . 15

Technical Requirements . . . . . . . . . . . . . . . . . . . . 15

Ear Tests and Sight Singing . . . . . . . . . . . . . . . . . 16

Repertoire Substitutions . . . . . . . . . . . . . . . . . . . . 16

Substitutions from the Voice Syllabus . . . . . . . 16

Substitutions Requiring Approval . . . . . . . . . . 16

Own Choice Substitutions . . . . . . . . . . . . . . . 16Examination Procedures . . . . . . . . . . . . . . . . . . . . 17

Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Accompanists . . . . . . . . . . . . . . . . . . . . . . . . . 17

Candidates with Special Needs . . . . . . . . . . . . 17Table of Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Classification of Marks . . . . . . . . . . . . . . . . . . . . . 18

Supplemental Examinations . . . . . . . . . . . . . . . . . 19

International Phonetic Alphabet (IPA) Symbols . . 20

Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Names of Publishers . . . . . . . . . . . . . . . . . . . . 25

Other Abbreviations and Symbols . . . . . . . . . 26

Abbreviations for Thematic Catalogues . . . . . 26

SECTION 3 PRACTICAL EXAMINATIONSIntroductory Grade . . . . . . . . . . . . . . . . . . . . . . . . 27

Grade 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Grade 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Grade 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Grade 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Grade 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Grade 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Grade 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Grade 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Grade 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Grade 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Performers ARCT . . . . . . . . . . . . . . . . . . . . . . . . . 96

Teachers ARCT . . . . . . . . . . . . . . . . . . . . . . . . . . 122


3/135

3Voice Syllabus

SECTION 4 THEORY EXAMINATIONS

Rudiments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Harmony, Keyboard Harmony,Counterpoint, and Analysis . . . . . . . . . . . . . . 127

Music History . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Musicianship . . . . . . . . . . . . . . . . . . . . . . . . . . . 128Classification of Theory Marks . . . . . . . . . . . . . . 128

SECTION 5 BIBLIOGRAPHY

General Resources . . . . . . . . . . . . . . . . . . . . . . . .129

Sight Singing and Ear Training . . . . . . . . . . . . 129

Official Examination Papers . . . . . . . . . . . . . . 129

Reference Works . . . . . . . . . . . . . . . . . . . . . . . 130

Vocal Resources . . . . . . . . . . . . . . . . . . . . . . . . . .130

Vocal Anthologies and Collections . . . . . . . . . 130

Reference Works on Vocal Music . . . . . . . . . . 132

Voice Production and Vocal Pedagogy . . . . . . 133

Language and Phonetics . . . . . . . . . . . . . . . . . 134

Videos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Journals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Associations . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Sources of Vocal Music . . . . . . . . . . . . . . . . . . . . 135


4/135

Message from the President

4 Message from the President The Royal Conservatory of Music

The Royal Conservatory of Music was founded in 1886 with the idea that a singleinstitution could bind the people of a nation together with the common thread ofshared musical experience. More than a century later, The Royal Conservatory of

Music has achieved this dream. The Royal Conservatory of Music is recognized incommunities throughout North America for outstanding service to students,teachers, and parents, as well as a strict adherence to high academic standardsthrough a variety of activitiesteaching, examining, publishing, research, andcommunity outreach.

Students and teachers benefit from a curriculum based on more than a hundredyears of commitment to the highest pedagogical objectives. The strength of thecurriculum is reinforced by the distinguished College of Examinersa group offine musicians and teachers carefully selected from across Canada, the UnitedStates, and abroad for their demonstrated skill and professionalism. A rigorousexaminer apprenticeship program combined with regular evaluation proceduresensures consistency and an examination experience of the highest quality for

candidates.

As you pursue your studies or teach others, you become not only an importantpartner with The Royal Conservatory of Music in the development of creativity,discipline, and goal setting, but also an active participant, experiencing thetranscendent qualities of music itself. In a society where our day-to-day lives canbecome rote and routine, the human need to find self-fulfilment and to engage increative activity has never been more necessary.

Dr. Peter C. SimonPresident


5/135

5PrefaceVoice Syllabus

Preface

RCM Examinations atwww.rcmexaminations.org

The 2005 edition of the Voice Syllabus represents the work of dedicated teachers,performers, and examiners whose assistance is here gratefully acknowledged. ThisSyllabus replaces all previous voice syllabi, and forms the official requirements of TheRoyal Conservatory of Music for voice examinations conducted by RCM Examinations.

The RCM Examinations Certificate Program for voice consists of twelve levels: anintroductory level, ten graded levels (Grades 1 through 10), and an Associate of TheRoyal Conservatory of Music (ARCT) diploma. Each level represents a stepping stoneestablished as a logical assessment point for a developing musician.

Five levels of theory examinations described in the current RCM Theory Syllabus aredesigned to complement practical studies and to ensure a comprehensive knowledge andunderstanding of various aspects of theory. Required theory examinations begin at theGrade 5 practical level and include the following subjects: rudiments, harmony, history,counterpoint, and analysis.

RCM Examinations welcomes examination applications from all interested individuals.Applications are accepted by RCM Examinations on the understanding that candidatescomply with the procedures and requirements outlined in this Syllabus.

For more information, please visit our website at www.rcmexaminations.org or contact:

RCM Examinations5865 McLaughlin Road, Unit 4Mississauga, OntarioCanada L5R 1B8

Visit the RCM Examinations website for up-to-date information on the following topics: fees and dates for practical and theory examinations examination centres secondary school credit for music examinations RCM publications the members of the RCM Examinations College of Examiners, with biographies and photographs the Music Matters newsletter for teachers

A number of services are also available on-line, allowing candidates to: complete and submit Examination Application Forms verify the receipt of examination applications

verify the time, date, and location of examinations look up current examination session results review scans of examiners comments for current examinations

In addition, teachers can monitor key information about their studios, including: daily updates on students examination registrations exact dates and times of students examinations convenient one-page summaries of students results scanned copies of students practical examination marking forms unofficial transcripts of students complete examination histories


6/135

Section 1 General Information

6 General Information The Royal Conservatory of Music

APPLICATION FORMS

Examination Application Forms are available atwww.rcmexaminations.org, at music retailers acrossCanada, from the RCM Examinations CentreRepresentative in your area, and from RCMExaminations. A new examination application form is issued for

each academic year. Please use an application datedfor the current academic year (i.e., September 1 to

August 31). Complete a separate application for each practical

and theory examination. Each examination application must be

accompanied by the correct examination fee.Examination fees are listed on the application form.

Payment is accepted by cheque, money order,MasterCard, or VISA.

There are provisions for candidates with specialneeds. For details, please contact RCMExaminations. Inquiries must be received before theapplication deadline.

Candidates wishing to include a substitute selectionon their examination should complete anExamination Substitute Piece Request Form andsubmit it before the application deadline. (Formore information about substitute selections,see Repertoire Substitutions on p. 16.)

APPLICATION PROCEDURE AND DEADLINE DATES

Application deadlines are printed on theexamination application form and are also availableat www.rcmexaminations.org. Deadlines generallyfall in early November for the winter session, inearly March for the spring session, and in early Junefor the summer session.

Application forms may be completed and submittedat www.rcmexaminations.org. Payment for on-lineapplications must be made by MasterCard or VISA.

Application forms may also be submitted by fax.Payment for faxed applications must be made byMasterCard or VISA. Current RCM Examinationsfax numbers are printed on the examinationapplication form.

Mailed applications postmarked after the deadlinewill not be accepted.

Please apply early to ensure a smooth registration.RCM Examinations cannot be responsible for delaysin mail delivery. Incomplete or incorrectapplications will be delayed and subject to aprocessing fee.

Please address written inquiries and application forms to:

RCM Examinations5865 McLaughlin Road, Unit 4Mississauga, OntarioCanada L5R 1B8

EXAMINATION SCHEDULES

Examinations are typically held according to thefollowing approximate schedule:

Practical Examinations

Winter: two weeks mid-JanuarySpring: first three weeks of June

Summer: two weeks mid-August

Theory ExaminationsWinter: the second Friday and following

Saturday in DecemberSpring: the second Friday and following

Saturday in MaySummer: a Friday and following Saturday in

mid-August

Please note that an application may not be withdrawn after it has been received by RCM Examinations.

____________________________________________________________

Copyright 2011 The Frederi ck Har ri s Music Co., Limi ted. All Rights Reserved.


7/135

7General InformationVoice Syllabus

EXAMINATION CENTRES

RCM Examinations establishes and maintains localexamination centres across Canada. The location ofthese centres depends both on demand and on theavailability of appropriate facilities. There is a list of

examination centres on the application form and atwww.rcmexaminations.org.

A senior-level examiner will be assigned for Grade 10and ARCT examinations. If there are insufficientsenior candidates in a particular centre to warrantsending a senior-level examiner, senior candidates

who have applied to be examined at that centre willbe notified. Such candidates may choose to take theirexamination at the nearest centre where a senior-levelexaminer is available.

FEE EXTENSIONS AND REFUNDS

Once received by RCM Examinations, an applicationmay not be withdrawn. No fee extensions (i.e., creditnotes) or refunds are granted for candidates who failto appear for their examinations. Fee extensions will

not be granted if RCM Examinations is unable toaccommodate a special request. There are noacademic penalties for missed examinations.

Fee extensions or refunds will not be granted exceptunder the two specific conditions described below. Ineither case, candidates must apply in writing for feeextensions or refunds within two weeks following theexamination date and submit the followingsupporting documentation: Candidates who are unable to take an examination

for medical reasons must submit their examinationtimetable and a physicians certificate.

Candidates who are unable to take an examination

because of a direct conflict with a school examinationmust submit their examination timetable and aletter from a school official on official letterhead.

Candidates who are unable to take an examinationfor medical reasons or because of a direct timeconflict with a school examination are eligible to

request either a fee extension for the full amount ofthe examination fee ora refund of 50 percent of theirexamination fee.

Fee ExtensionsFee extensions for the full amount of the examinationfee are valid for one yearfrom the date of the missedexamination. Candidates must use their fee extensionwithin this period. To redeem a fee extension,candidates may apply on-line atwww.rcmexaminations.org to have the creditautomatically applied to a new application. Pleasenote that fee extensions are not transferable and may notbe extended further.

Fee RefundsCandidates who know at the time that they apply for

a fee extension that they will not be able to make useof the credit within the one-year period may insteadapply for a refund of 50 percent of the examinationfee. Please note that fee refunds must be requested withintwo weeks following the date of the missed examination.

EXAMINATION SCHEDULES continued

Examination TimetablesIndividual examination schedules are availableat www.rcmexaminations.org. Check the information on your examination

timetable and inform RCM Examinationsimmediately of errors in name or address.

List all repertoire to be performed at yourexamination on the reverse side of yourexamination timetable and bring it with youto the examination.

If you know that you will be unable to attend yourexamination, please contact your RCMExaminations Centre Representative immediately.(The name of the RCM Examinations CentreRepresentative is printed on the bottom of thetimetable.) Please note that candidates may not

exchange examination times with other candidates.

____________________________________________________________



8/135


EXAMINATION RESULTS

Individual examination results are available atwww.rcmexaminations.org.

Please note that results will not be given by telephone.

Candidates may review a scan of the originalexaminers report on-line in the Examination

Results section of the RCM Examinations website.(Please see pp. 1718 for details on the grading ofvoice examinations.)

Duplicate marks and transcripts are available uponwritten request and payment of the requisite fee.

Teachers may review scans of the examiners reportsfor all their students on-line in the TeacherServices section of the RCM Examinations website.

Teachers may review unofficial transcripts for all

their students examinations on-line in the TeacherServices section of the RCM Examinations website.

THE EXAMINERS EVALUATION

The examiners written evaluation of a practicalexamination is intended to explain, in general terms,how the final grade was calculated and to assist thecandidate in subsequent music studies. Examination marks reflect the examiners evaluation

of the candidates performance during theexamination.

Examination marks do not reflect previouslydemonstrated abilities and skills, nor do they reflect

the examiners estimation of the candidatespotential for future development.

Results of one examination do not in any wayprejudice the candidates results in subsequentexaminations.

Appeals on practical examinations will not beconsidered.

THEORY EXAMINATIONS: PREREQUISITES AND CO-REQUISITES

In order to receive a certificate or diploma for apractical examination for Grades 5 to ARCT,candidates must also complete specific RCMExaminations theory examinations.

Theory co-requisites must be completed before orwithin five years after the respective session of thepractical examination. Candidates are stronglyadvised to complete their theoretical work before, or atthe same time as, their practical examination.

For Grade 10 and ARCT, the five-year time limit forcompletion of theory co-requisites is computedfrom the date of the original practical examination,not from the date of any subsequent supplementalexaminations.

Candidates must complete their ARCT prerequisitesbefore applying for an ARCT practical examination.Candidates may not complete their ARCT

prerequisites in the same session in which they take

their ARCT practical examination. Teachers mayvisit the Teacher Services section of the RCMExaminations website to review the examinationhistories of candidates who have taken an

examination in the current accademic year. Thisservice allows teachers to confirm the completion ofprerequisites and co-requisites.

There are noprerequisite or co-requisite theoryexaminations for candidates applying for practicalexaminations in the Introductory Level and Grades1 to 4.

There are noprerequisite theory examinations forcandidates applying for practical examinations inGrades 5 to 10.

For more information regarding RCM Examinationstheory examinations, please refer to TheoryExaminations on pp. 127128 of this Syllabus and

the current RCM Theory Syllabus.

____________________________________________________________



9/135


THEORY EXAMINATIONS: PREREQUISITES AND CO-REQUISITES continued

ARCT EXAMINATIONS

Candidates applying for Performers or TeachersARCT examinations must have completed a Grade 10practical examination with either a total mark of atleast 75 or a minimum of 70 percent in each sectionof the practical examination. Candidates must alsohave completed all Grade 10 theory co-requisiteswith a total mark of at least 60 percent on eachtheory examination.

Teachers ARCT ExaminationsCandidates applying for the Teachers ARCTexamination are strongly advised to have at least one

year of practical teaching experience.The Teachers ARCT Diploma will be awarded only tocandidates eighteen years of age or older.

The ARCT Teachers examination consists of three parts:Part 1: Performance of Repertoire, Technical

Requirements, Ear Tests, and SightSinging

Part 2: Viva Voce ExaminationPart 3: Written Examination

Parts 1 and 2 constitute the practical portion of theARCT examination and are therefore taken during apractical examination session. Part 3, a writtenexamination, is taken during a theory examinationsession.

Candidates may choose to take all three parts of theTeachers ARCT examination at one session, or theymay take the parts at different sessions. The partsmay be taken in any order, but all three parts must becompleted within a period of two years.

Practical Certificates Theory Prerequisites Theory Co-requisitesand Diplomas

Introductory none none

Grades 1 to 4 none none

Grade 5 none Preliminary RudimentsGrade 6 none Grade 1 Rudiments

Grade 7 none Grade 2 Rudiments

Grade 8 none Grade 2 RudimentsIntroductory Harmony (optional)

Grade 9 none Grade 2 RudimentsGrade 3 Harmony or

Grade 3 Keyboard HarmonyGrade 3 History

Grade 10 none Grade 2 RudimentsGrade 3 History

Grade 4 Harmony orGrade 4 Keyboard Harmony

Grade 4 History

ARCT Grade 2 Rudiments Grade 4 CounterpointGrade 3 History Grade 5 Harmony and Counterpoint orGrade 4 Harmony or Grade 5 Keyboard Harmony

Grade 4 Keyboard Harmony Grade 5 HistoryGrade 4 History Grade 5 Analysis

____________________________________________________________



10/135


ARCT EXAMINATIONS continued

Second ARCT DiplomasThe Teachers and Performers ARCT examinationsmay not be attempted at the same session. Candidates who have passed the Teachers ARCT

examination may obtain a Performers diploma bytaking the entire Performers ARCT examination.

Candidates for the Teachers ARCT who have passedthe Performers examination will be exempt from

the Repertoire section of the Teachers ARCTpractical examination. The remaining sections ofthe Teachers ARCT practical examination (theTechnical Requirements, Ear Tests, and SightSinging sections of Part 1 and all of Part 2) must betaken in a single session, within five years of the

date of the Performers ARCT practical examination.

CREDITS FOR MUSICIANSHIP

Examinations in Musicianship have been developedto test a students ability in sight singing andrecognition of scales, chords, and intervals. (For moreinformation on these examinations, please see p. 128and the current RCM Theory Syllabus.) Candidatesmay choose to substitute their Musicianshipexamination mark for the Ear Test section of the

Grades 8, 9, and 10, and Teachers ARCT practicalexaminations. The marks will be assigned on a prorata basis.

Musicianship Practical Grade Minimum MarkJunior Grade 8 60Intermediate Grade 9 60Senior Grade 10 and 70

Teachers ARCT

Candidates must have passed the relevantMusicianship examination at least one examinationsession before the graded practical examination.

Candidates who wish to be exempted from the EarTest section of their practical examination mustsubmit both a request in writing and a photocopyof their Musicianship examination results to RCM

Examinations. Such requests must be included with theexamination application.

CERTIFICATES AND DIPLOMAS

Certificates are awarded to successful candidates inthe spring and the fall. Certificates for practical examinations in Grades 5

to 9 will be awarded once the candidate hassuccessfully completed the theory co-requisites forthe respective grade.

Certificates for theory examinations will be awardedfor each theory grade upon successful completionof all examinations for that theory grade.

Grade 10 practical certificates are awarded whenminimum requirements have been completed,whether or not prerequisite marks for an ARCTexamination have been obtained.

ARCT diplomas will be awarded to candidates atthe annual Convocation ceremony or forwardedimmediately following Convocation. Candidatesmay not use the designation ARCT beforeConvocation.

____________________________________________________________



11/135


CERTIFICATES AND DIPLOMAS continued

SECONDARY SCHOOL MUSIC CREDITS

In many school systems, examinations from RCMExaminations are accepted as credits towardsecondary school graduation diplomas. A province-by-province list of secondary school accreditation formusic examinations can be found at

www.rcmexaminations.org. Candidates are alsoadvised to consult their school principal or guidancecounsellor about the eligibility of examinations fromRCM Examinations for secondary school credit anduniversity entrance.

Practical Certificates Examinations Requiredand Diplomas

Introductory Voice Introductory Voice

Grade 1 Voice Grade 1 Voice




Grade 5 Voice Grade 5 Voice, Preliminary Rudiments

Grade 6 Voice Grade 6 Voice, Grade 1 Rudiments



Grade 9 Voice Grade 9 Voice, Grade 2 Rudiments, Grade 3 Harmony orGrade 3 Keyboard Harmony, Grade 3 History

Grade 10 Voice Grade 10 Voice, Grade 2 Rudiments, Grade 3 History, Grade 4 Harmonyor Grade 4 Keyboard Harmony, Grade 4 History

Performers ARCT Performers ARCT, Grade 2 Rudiments, Grade 3 History,Grade 4 History, Grade 4 Counterpoint, Grade 5 Harmony and Counterpointor Grade 5 Keyboard Harmony, Grade 5 History, Grade 5 Analysis,Grade 6 Piano

Teachers ARCT Teachers ARCT (Parts 1, 2, and 3), Grade 2 Rudiments,Grade 3 History, Grade 4 History, Grade 4 Counterpoint,Grade 5 Harmony and Counterpoint or Grade 5 Keyboard Harmony,Grade 5 History, Grade 5 Analysis, Grade 8 Piano

Theory Certificates Examinations Required

Preliminary Rudiments Preliminary Rudiments

Grade 1 Theory Grade 1 Rudiments

Grade 2 Theory Grade 2 RudimentsGrade 3 Theory Grade 3 Harmony or Grade 3 Keyboard Harmony, Grade 3 History

Grade 4 Theory Grade 4 Harmony or Grade 4 Keyboard Harmony, Grade 4 History,Grade 4 Counterpoint

Grade 5 Theory Grade 5 Harmony and Counterpoint or Grade 5 Keyboard Harmony, Grade 5History, Grade 5 Analysis

____________________________________________________________



12/135


GOLD AND SILVER MEDALSRCM Examinations awards Gold Medals and SilverMedals for every discipline except theory. Medals areawarded on the basis of examination results. Noapplication is required.

Gold MedalsGold Medals are awarded for each academic year (i.e.,September 1 to August 31) to both the Teachers

ARCT and Performers ARCT candidates who obtainthe highest marks in each of the following disciplines:accordion, brass, guitar, harp, organ, percussion,

piano, speech arts and drama, strings, voice, andwoodwinds.

Eligibility for Gold MedalsPerformers ARCT Candidates must obtain a minimum of 85 percent

in the practical examination and a minimum of 70percent in each of the co-requisite theoryexaminations and a minimum of 60 percent in theco-requisite piano examination.

Teachers ARCT Candidates must obtain a minimum of 85 percent

in the practical examination (Parts 1 and 2

combined), a minimum of 70 percent in the writtenexamination (Part 3), a minimum of 70 percent ineach of the co-requisite theory examinations, and aminimum of 60 percent in the co-requisite pianoexamination.

Candidates taking the complete practicalexamination (Parts 1 and 2 combined) andcandidates taking the practical examination in twosessions (Parts 1 and 2 separately) are eligible forthe Gold Medal.

Candidates who use the Performers ARCT in place

of the Performance of Repertoire section of theTeachers ARCT are eligible for the Gold Medal.

Silver MedalsSilver Medals are awarded for each academic year(i.e., September 1 to August 31) in each province ordesignated region to the candidates in Grades 1 to 10who have obtained the highest marks in each gradeand discipline. To qualify for these awards, candidates must have

obtained at least 80 percent in the practicalexamination and have completed the co-requisitetheory examinations for their respective grade.

REGISTERED EDUCATION SAVINGS PLAN (RESP) ELIGIBILITY

Candidates who have a Registered Education SavingsPlan (RESP) may be eligible to use these funds tosupport private studies in music at the Grade 9,

Grade 10, and ARCT levels. Please consult your RESPprovider for more information.

____________________________________________________________



13/135

13Examination RequirementsVoice Syllabus

Section 2 Examination RequirementsEXAMINATION REPERTOIRE

The Voice Syllabus lists the repertoire for voiceexaminations. Information given for each itemincludes:

the composer the larger work of which the selection is a part

(where applicable) the title of the selection an anthology or collection in which the selection

can be found (where applicable) performance directions (where applicable)

indicating the section(s) of a work to be prepared the publisher of a suggested edition (where

applicable)

Names of publishers are indicated by an assignedabbreviation. Please see pp. 2526 for a list ofpublishers with their abbreviations.

Transposition In the Introductory Level and Grades 1 to 8, songs

and vocalises may be transposed to any key to suitthe range of the candidates voice. In Grade 8,recitatives must be sung in the original key.

In Grades 9, 10, and ARCT, recitatives and ariasfrom cantatas, oratorios, and operas must be sungin the original key. Art songs may be sung in anykey. Vocalises may also be sung in any key.

LanguageCandidates are encouraged to sing repertoire in the

original language, and to be as familiar as possiblewith the meaning of the words.

In almost all cases, the original language is thelanguage of the text that was originally set by thecomposer. However, there are several notableexceptions to this rule. In all of these cases, versionsin two different languages are well established in therepertoire and academically justified: Selections from the two oratorios by Haydn (Die

Schpfung / The Creation and Die Jahreszeiten / TheSeasons) may be sung in either German or English.

Selections from the two oratorios by Mendelssohn

(Paulus / St. Paul and Elias / Elijah) may be sung ineither German or English. Selections from Glucks opera Orfeo ed Euridice may

be taken either from the original Italian version(1762) and sung in Italian, or the revised Frenchversion (1774) and sung in French.

Selections from the oratorio Die letzten Dinge / TheLast Judgement by Louis Spohr may be sung ineither German or English.

Selections from Vauxhall songs by Johann ChristianBach may be sung in either German or English.

There are a number of stipulations regardinglanguage for performance of repertoire, as follows. In the Introductory Level and Grades 1 to 4,

repertoire may be sung in any published language. In Grades 5 to 7, repertoire may be sung either in

the original language or in a published French orEnglish translation, but the candidates examinationprogram must include at least one song in alanguage other than English.

For the Grade 8 examination, the candidatesexamination program must include at least oneselection in English and at least two selections in alanguage other than English.

For the Grade 9 examination, the candidatesexamination program must include at least oneselection in English and selections in at least two ofthe following languages: French, German, Italian,Latin, Spanish.

For the Grade 10 and ARCT examinations, thecandidates examination program must include atleast one selection in English and selections in threeof the following five languages: French, German,Italian, Latin, Spanish.

Recitatives in Grades 8 to 10 must be sung in theoriginal language.

Opera and oratorio arias and recitatives for the

ARCT examination must be sung in the originallanguage. German selections from the Musical Theatre and

Operetta List may be performed in either Germanor English. Candidates who choose to sing inEnglish must use the translation or edition listed inthe Voice Syllabus. (For more information, please seeMusical Theatre Option in List C on p. 14.)

Choice of Verses This Syllabus does not specify a number or choice of

verses for folk songs or other strophic songs.Candidates should be prepared to sing their choice

of at least three verses of such songs. Candidates who choose selections from the VoiceSeries, Third Edition, must sing all the verses printedin the repertoire album.

Da capo Signs and Repeats When performing repertoire at an examination,

candidates should observe da capo signs. Repeat signs should ordinarily be ignored.

However, repeat signs in repertoire from the VoiceSeries, Third Edition should be observed unlessotherwise indicated.

____________________________________________________________



14/135

14 Examination Requirements The Royal Conservatory of Music

EXAMINATION REPERTOIRE continued

Memory For the Introductory Level and Grades 1 to 10,

candidates are expected to perform repertoire frommemory. For Grades 1 to 10, marks will bededucted for each piece not memorized.(Candidates may elect to perform a piece using the

music; the examination will still be graded, but thefinal mark will reflect a significant penalty forfailure to memorize.)

For the Performers and Teachers ARCTexaminations, memorization is compulsory.Candidates not performing from memory willreceive comments only; no marks will be awarded.Such performances do not qualify for examinationawards or diplomas.

Recitatives must be memorized. Vocalises and technical tests need not be

memorized.

Accompaniment All selections requiring accompaniment must beperformed with accompaniment.

Syllabus Repertoire ListsIn each grade, candidates are encouraged to choose abalanced examination program that includes a varietyof musical styles and keys. The repertoire for eachgrade is divided into several lists, according to formor stylistic period.

Grades 1 to 6List A: Folk songs and music composed before

1900List B: Music composed after 1900Grades 7 and 8

List A: Music composed or arranged before 1830List B: Music composed or arranged 18301900List C: Music composed or arranged after 1900

Grades 9 and 10List A: Music composed or arranged before 1830List B: Music composed or arranged 18301900List C, Part 1: Music composed or arranged after

1900List C, Part 2: Musical Theatre and Operetta

ARCT

List A: Music composed or arranged before 1830List B: Music composed or arranged 18301900List C, Part 1: Music composed or arranged after

1900List C, Part 2: Musical Theatre and OperettaList D: Opera ariasList E: Oratorio arias

The repertoire for the Grade 10 and ARCTexaminations is further subdivided into four sectionsaccording to voice type: soprano, contralto, tenor,and bass/baritone.

Repertoire from Lists A, B, and C may be chosenfrom the lists for any voice type and may betransposed to any key to suit the candidates voice.

Arias from Lists D and E must be selected from thecandidates voice type and sung in the original key.

Musical Theatre Option in List COperetta has been well established for more than acentury, and the art of American musical theatre is aperforming medium in which many classically trainedsingers choose to work. Many music schools haverecognized this by incorporating musical theatre intovocal and opera programs. In the earlier seniorgrades, such training also provides excellentpreparation, both vocally and dramatically, foroperatic singing. In the Voice Syllabus, 2005 Edition,musical theatre selections are introduced in Grade 9,by which time vocal students should be able tomanage the technical requirementsespecially with

regard to blending of the registersthat the genreoften demands. The musical theatre and operetta listsinclude repertoire from Gilbert and Sullivan operettasand traditional German operettas by Franz Lehr and

Johann Strauss Jr., as well as a wide variety of stylesof American musical theatre ranging from the early1920s to contemporary times. Most of the musical theatre and operetta listings in

the Voice Syllabus include an anthology that containsthe selection. Candidates must use either this anthologyor an original score for the operetta or musical.

Musical theatre selections must be chosen from theworks listed for the candidates voice type and sung

in the original key. German operetta selections may be performedeither in German or in an English translation (asoften performed in North America). Candidateswho choose to sing in English must use the editionlisted in the Voice Syllabus.

The Voice Series, Third EditionIn order to ensure the ready availability of high-quality examination materials, The Frederick HarrisMusic Co., Limited has published the Voice Series,Third Edition. This new edition includes nineRepertoire Albums (Introductory Level through Grade

8) and four books of vocalises and recitatives (forGrades 5 to 10). Songs and vocalises may betransposed to suit the voice of the candidate.Recitatives must be sung in the original key.

Wherever possible, songs are presented in theoriginal language. Most selections in a language otherthan English include either English words to be sungor a literal English translation printed below themusic. Recitatives are presented in the originallanguage only, and a literal English translation isprinted below the music.

____________________________________________________________



15/135


EXAMINATION REPERTOIRE continued

EditionsFor many repertoire items, the Voice Syllabus listingincludes a suggested edition (indicated by anassigned publisher abbreviation). These editions havebeen chosen for their quality or for their availabilityin North America. Where no publisher is indicated,

students are encouraged to use the best editionavailablethe edition that best reflects thecomposers intentions.

Editorial markings vary from edition to edition.Examination marks will not be deducted for alteringthese editorial suggestions as long as the resultingchange is musically acceptable.

AvailabilityThe compilers of this Syllabus have made everyeffort to ensure that most of the materials listed arein print and easily available at leading music retailersthroughout North America. If you experience

difficulty in obtaining vocal music in your community,consult Sources of Vocal Music on p. 135.

However, please note that the publishing industrychanges rapidly. Works go out of print, andcopyrights move from one firm to another. Inaddition, the repertoire lists contain a few items thatare no longer in print but that teachers or studentsmay have in their personal collections. Out-of-printitems are indicated in the lists as [OP]. Candidatesmay use an out-of-print work for examinationpurposes provided they can obtain the publishedwork. (Please see Copyright and Photocopying

below.)

Anthologies and CollectionsIf a repertoire selection is published in a collection ofthe composers music or in an anthology containingmusic by a number of composers, the title of thecollection or anthology is usually included in theVoice Syllabus listing. Individual selections may alsobe found in other sources. In order to save space, the titles of some anthologies

have been shortened. The list of Vocal Anthologies

on pp. 130132 gives full bibliographic details forall anthologies included in the repertoire lists, alongwith the shortened form of the title used in Syllabuslistings.

The words vol. and book have been omittedfrom the shortened titles. The number following the

title (for example, Opera Anthology, 2) indicates thevolume, book, or set number in which the selectioncan be found.

The titles of collections containing works by onlyone composer are preceded by the composers name(for example, Dowland: 50 Songs, 4). The majorexception to this rule is for titles of Lieder bycomposers such as Schubert, Schumann,Mendelssohn, Brahms, Wolf, and Mahler, andcomposers of French art songs such as Debussy,Duparc, and Faur. For these composers, thepublisher abbreviation(s) immediately following thetitle refer to the publisher(s) of standard collections

of vocal works for that composer. No titles orvolume numbers are given for these books.

Copyright and PhotocopyingComposers, artists, editors, and publishers rely onsales revenues to contribute to their livelihood.Photocopying music deprives the creators of duecompensation.

Please note that photocopied music will not be permittedin the examination room. Candidates who bring

photocopies to the examination will not be examined.

Candidates should bring all music to be performed tothe examination. Candidates who wish to photocopyone page of a selection for the purpose of facilitatinga page turn may do so with permission from thepublisher. The Frederick Harris Music Co., Limitedis pleased to grant permission to festival, recital, andexamination participants to photocopy one page fromFrederick Harris Music publications for the purposeof facilitating a page turn.

TECHNICAL REQUIREMENTS

Specific technical tests are given in the requirementsfor Grades 1 to 10 and the Teachers ARCTexaminations. Technical tests need not be memorized.Candidates will be provided with a copy of the

technical tests in the examination and will bepermitted to specify a preferred range. Candidates areexpected to sing exercises with clarity of vowels andaccuracy of pitch and rhythm.

____________________________________________________________



16/135


EAR TESTS AND SIGHT SINGING

When singing the required notes for the Rhythm,Intervals, and Scales sections of the Ear Tests and theSight Singing test, candidates are encouraged to useany system which enables them to produce thecorrect pitchesfor example, solfge (fixed do), tonicsol-fa (moveable do), numbers; candidates may also

use a neutral vowel (such as a).For the Rhythm section of the Ear Test and the SightSinging test, candidates are encouraged to beat onemeasure in the appropriate metre before beginning.

This will help them to establish the tempo and tokeep the rhythm accurate.

When singing the Scales test, candidates who chooseto use a moveable do system should use la as thetonic for minor scales.

harmonic minor scale in sol-fa syllables:la ti do re mi fa si la si fa mi re do ti la

melodic minor scale in sol-fa syllables:

la ti do re mi fi si la so fa mi re do ti la

REPERTOIRE SUBSTITUTIONS

Substitutions from the Voice SyllabusCandidates in Grades 1 to 10 may choose tosubstitute one repertoire selection from the VoiceSyllabus according to the following guidelines. Noprior approval is required for substitutions from theVoice Syllabus. A Grade 7 List C selection will be accepted for

Grade 6 List B. Grade 10 candidates may substitute a selection

from ARCT List A, List B, List C, Part 1, or List C,Part 2, but not from the Opera or Oratorio Lists.

Recitatives and vocalises may not be substituted.Please note that the substitute selection must beperformed exactly as listed in the Voice Syllabus.

Substitutions Requiring ApprovalCandidates may request approval to substitute onerepertoire selection not listed in the Voice Syllabus.

Approval of such selections is based on the suitabilityof the style and the level of difficulty. In Grades 1 to 6, the substitute selection may

replace a work in Lists A or B. In Grades 7 and 8, the substitute selection may

replace a work in Lists A, B, or C. In Grades 9, 10, and ARCT, the substitute selection

may replace a work in List A, List B, or List C, Part 2. For ARCT examinations, the substitute selection

may replace a work from Lists A, B, D, or E.

Candidates wishing to include a substitute selectionon their examination programs should complete an

Examination Substitute Piece Request Form (availableat www.rcmexaminations.org). Please note thatExamination Substitute Piece Request Forms must bereceived before the application deadline date. List all works to be performed at the examination

on the Examination Substitute Piece Request Form.

Send the form, together with the appropriate feeand a copy of the substitute piece, to RCMExaminations. (Photocopies used for this purposeshould be marked For Approval Only; thesephotocopies will be destroyed once a decision hasbeen made.) Published music will be returnedalong with the approved form.

Bring the approved Examination Substitute PieceRequest Form to your examination and give it tothe examiner.

Candidates are advised to prepare an alternate workin case the request is denied. Please note that markswill be deducted from the final examination mark forthe use of an unapproved piece (other than an OwnChoice Substitution).

Own Choice SubstitutionsFor Grades 9, 10, and ARCT examinations,candidates may substitute one repertoire selection notlisted in this Syllabus. The substitute work may replace a selection in List

C, Part 1. The substitute repertoire selection must be of equal

difficulty and musical quality to works in theappropriate syllabus list for that grade, and must befrom the same historical style period.

Judgement shown in choosing a substitute selectionwill be considered in the marking. For this reason,RCM Examinations will not answer questions orgive advice regarding Own Choice Substitutions. Itis the responsibility of the teacher to provide the

appropriate advice. Candidates should clearly indicate such

substitutions as Own Choice on the list ofrepertoire to be handed to the examiner.

Please note that no prior approval is required or providedfor Own Choice Substitutions.

____________________________________________________________



17/135


EXAMINATION PROCEDURES

Candidates must be ready to perform at leastfifteen minutes before their scheduled time. Please notethat candidate examination times cannot be exchanged. The availability of warm-up rooms cannot be

guaranteed. The availability of music stands cannot be

guaranteed. Candidates may bring a bottle of water into theexamination room.

The candidates performance may be interrupted atthe examiners discretion when an assessment hasbeen reached.

Page turners and other assistants are not permittedin the examination room. Waiting areas areprovided for parents, teachers, and assistants.

Music Please list all repertoire to be performed on your

timetable and bring the timetable to the

examination. Candidates should bring all music to be performed tothe examination, whether or not selections arememorized. For works requiring accompaniment,bring two copies: one for the examiner and one forthe accompanist. Please note that photocopied music isnot permitted in the examination room unless the

candidate has a letter of permission from the publisher.(Please see Copyright and Photocopying on p. 15.)

Accompanists Candidates must provide their own accompanists.

Taped accompaniments are not permitted.

Candidates who do not provide an accompanist will notbe examined. All selections requiring accompaniment must be

performed with piano accompaniment only. Noother instruments are permitted.

Accompanists are permitted in the examinationroom only while they are playing accompanimentsfor the candidate.

Candidates with Special Needs Candidates who have special needs are asked to

apply in writing to RCM Examinations prior to theexamination application deadline and give details

concerning their needs. Each case will be dealt withindividually. Candidates with special needs may receive

assistance in and out of the examination room, buthelpers must remain in the waiting area during theactual examination.

TABLE OF MARKS

Grades Grade Grade Grade Grade Grade Grade14 5 6 7 8 9 10

Repertoire 75 60 55 55 55 55 55 (39)Vocal production 35 25 25 25 25 20 20Diction 10 10 5 5 5 Presentation 30 25 25 25 20 25 25Recitatives 5 10 10

Technical 10 15 20 20 20 20 20 (14)RequirementsVocalises 5 10 10 10 10 10Technical Tests 10 10 10 10 10 10 10

Ear Tests 10 15 15 15 15 15 15 (11)Melody 6 5 4 4

Rhythm 5 6 6 Intervals 5 6 6 5 4 4 4Chords 3 3 4 2 2 2Scales 2 2 2Cadences 2 3 3

Sight Singing 5 10 10 10 10 10 10 (7)Pitch 2.5 5 5 5 5 4 4Rhythm 2.5 5 5 5 5 4 4Musicality 2 2

TOTALS 100 100 100 100 100 100 100

____________________________________________________________



18/135


TABLE OF MARKS continued

Notes The Introductory Voice Examination is intended to

give beginning students the experience ofperforming for an examiner in a non-competitive,friendly atmosphere. No marks are given, but theexaminer will prepare an encouraging, positive

written critique. All candidates will receive acertificate of accomplishment.

In Grades 1 to 4, Vocal production includesintonation, rhythm, and phrasing. Dictionincludes accuracy of vowel formation and

projection of consonants. Presentation includesdeportment, expression, memory, and overallperformance.

In Grades 5 to 8, Vocal production includes tonequality, breath control, intonation, and rhythm.Diction includes accuracy of vowel formation and

projection of consonants. Presentation includesdeportment, style, interpretation, memory, andoverall performance.

In Grades 9 and 10, Vocal production includestone quality, breath control, intonation, rhythm,accuracy of vowel formation, and projection ofconsonants. Presentation includes deportment,style, interpretation, memory, and overallperformance.

For the ARCT Examination, Vocal production,Diction, and Presentation are not markedseparately. Aspects of performance such as tonequality, breath control, intonation, rhythm,

deportment, style, interpretation, and memory areall taken into consideration in the marking ofRepertoire.

To qualify for the ARCT examination, Grade 10candidates must achieve eitheran overall mark of75 or a minimum of 70 percent in each category ofthe examination. (In the Table of Marks, 70percent figures are given in parentheses.)

Performers ARCT candidates must achieve aminimum overall mark of 70 in order to pass.

Teachers ARCT candidates must achieve eitheranoverall mark of 75 or a minimum of 70 percent ineach section of the examination in order to pass.

(In the Table of Marks, 70 percent figures aregiven in parentheses.) There is no mark breakdown for the repertoire

section of the Teachers ARCT examination.

Teachers PerformersARCT ARCT

Repertoire 30 (21) 100Art songs and cantata arias 60Opera arias 20

Oratorio arias 20Technical Requirements 10 (7)

Ear Tests 10 (7)Melody 2 Intervals 2 Chords 2 Scales 2 Cadences 2

Sight Singing 10 (7) Pitch 4 Rhythm 4 Musicality 2

Viva Voce 40 (a) Pedagogical Principles 10 (7) (b) Applied Pedagogy 20 (14) (c) Vocal Literature 10 (7)

TOTALS 100 100

CLASSIFICATION OF MARKS

Grades 1 to 10First Class Honours with Distinction 90100First Class Honours 8089

Honours 7079Pass 6069Grade 10 ARCT prerequisite 75 overall or

70% in eachsection

Performers and Teachers ARCTFirst Class Honours with Distinction 90100First Class Honours 8089

Honours 7079Pass (Performers) 70Pass (Teachers) 75 overall or

70% in eachsection

____________________________________________________________



19/135


SUPPLEMENTAL EXAMINATIONS

Supplemental examinations are offered for anysection except Repertoire of a Grade 10 or Teachers

ARCT practical examination for candidates who wishto improve their marks in a particular section of anexamination, according to the following conditions: Supplemental examinations are taken during

regularly scheduled examination sessions. A supplemental examination comprises only onesection of an examination.

Supplemental examinations are not available for therepertoire section of an examination.

Candidates may take a maximum of twosupplemental examinations for any completeexamination.

Any supplemental examinations must be completedwithin two years of the original examination.

Grade 10In order to be eligible to take a supplementalexamination in Grade 10, candidates must haveattempted the complete examination within the lasttwo years, achieved a minimum total mark of 65, andobtained at least 70 percent in the Repertoire section

of the examination.

Teachers ARCTIn order to be eligible to take a supplementalexamination at the ARCT level, candidates mustachieve the minimum marks specified in thefollowing table.

Please note that supplemental examinations are notoffered for the Performers ARCT in voice.

Grade 10 Teachers ARCT

To achieve a pass standing 60% in order to receive 70% in each section of Part 1 andcertificate once theory 70% in each section of Part 2 andco-requisites are complete 70% in Part 3 within a two-year time period,

oroverall mark of 75 in Parts 1 and 2combined and 70% in Part 3 within atwo-year time period

To achieve standing to proceed 70% in each section,to ARCT or

overall mark of 75Reasons for taking a to reach 70% standing in to reach 70% standing in each section,supplemental examination each section, or

or to upgrade mark in one section that isto upgrade mark in one already at 70%section that is already at 70%

Eligibility for taking a overall mark of 65%,supplemental examination and for Grade 10 70% in Repertoire section

Eligibility for taking a 70% in Repertoire sectionsupplemental examination for Teachers ARCT, Part 1

Eligibility for taking a 70% in at least one of the three sectionssupplemental examination for of the Viva Voce examinations:Teachers ARCT, Part 2 A: Pedagogical Principles

B: Applied PedagogyC: Vocal Literature

Number of supplemental two one in Part 1examinations allowed one in Part 2

Time limit to complete two years from the date of two years from the date of thesupplemental examinations the original examination original examination

Summary of Supplemental Examination Policies

____________________________________________________________



20/135


INTERNATIONAL PHONETIC ALPHABET (IPA) SYMBOLS

INTERNATIONALPHONETIC

ALPHABET(IPA)SYMBOLS

ThischartoftheInternationalPh

oneticAlphabetisintendedasabasic

guidetoassistteachersandstudentsindevelopingcorrectvowelandconson

antsoundsfor

English,French,German,Italian,

Latin,andSpanishvowelsandconsonants.Pleasenotethatthisdoesnotad

dresstheinfinitevarietyofsoundcom

binationsfound

inthesixlanguagesrepresentedb

elow,nordoesitincludespecificdialectsandolderformsoftheselanguages.FormoreinformationonIPAanddictionasappliedto

theseandotherlanguages,please

seetheLanguageandPhoneticssectionoftheBibliographyonp.134.V

owelstobesungintechnicalexercises

areidentifiedby

anasterisk(*).

IPASymbol

English

French

German

Italian

Latin

Sp

anish

FRONTVOWELS

[i]

frontclosedunrounded

free,b

eat,seize

libre,v

ille,vite

wieder,Liebe

filo,viaro

liber,i

rae

s,

ira,comi

[I]

fronthalf-openunrounded

gift,t

rip,city

mich,mit

[y]frontclosedrounded

lune,s

alut,s

ur

mde,Tr

[Y]fronthalf-openrounded

fhle,mssen,Glck

[e]fronthalf-closedunrounded

bl,anne

geben,mehr

fresco,re

te,t

ema

[]fronthalf-closedunrounded

get,bed,head

bte,m

me

denn,M

nner

bella,fer

ro,c

ielo

bonae,miserere

pero,q

ue,n

ene

[]fronthalf-closedrounded

bleudeux,p

eu

Fhn,h

hle

[]fronthalf-closedrounded

veuve,coeur,neuf

schpfe,Hlle

[]frontopenunrounded

flat,had,cat

[a]frontopen

plat,b

ateau,lac

Saft,Rast,Tasse

CENTRALVOWELS

[]centralneutralunrounded

banana,a

bout,l

emon

retour,p

remier

gesagt,b

itte

[]midcentralunroundedopen

thumb,but,enough

v

____________________________________________________________



21/135


INTERNATIONAL PHONETIC ALPHABET (IPA) SYMBOLS continued

IPASymbol

English

French

German

Italian

Latin

Sp

anish

VOWELS:BACK

[u]backclosedrounded

who,b

lue,soon

outr,genou,roue

Ruhe,genug

luna,a

zzurro,t

utto

perpetua,s

anctus

tab,c

ubo,msica

[]backclosedrounded

foot,p

ut,h

ood

muss,Brust

[o]backhalf-closedrounded

mt,b

eau,dme

Rose,Sohle

amore,do

ve,s

ospire

yo,o

caso,d

os

[]backhalf-openrounded

law,m

oss

mort,donner

Wonne,k

ommt

forza,sorte,u

omo

nobis,ora

[]backopenunrounded

odd,blonde

bas,pte,

ge

Haar,Vater,Abend

cara,p

asta,a

mare

tuba,a

nima

agua,t

aza

NASALVOWELS

[]

enfant,s

ans,vent

[]

ainsi,satin,p

lein

[]

bon,saison,o

mbre

[]

jeun,l

undi,b

run

DIPHTHONGS

[]

Hain,kein

[e]

aere,p

aesano

[ai]

fai,ahi

[i]

hay,paila,r

az

[]

bride,fly,n

ight

volaille,travailler

[o]

Maus

[a]backclosedrounded

cloud,cow

____________________________________________________________



22/135



IPASymbol

English

French

German

Italian

Latin

Sp

anish

DIPHTHONGScontinued

[u]

flauto,aurora

laudamus

causa

[e]

bay,rain

[ei]

dovei

reina,peine

[i]

lei,sei

[]

annoy,noise

[]

neu,Muse

[i]

vuoi

[o]

throw,g

o

[oi]

noi,voi

boina,voy

PLOSIVECONSONANTS

[p]voicelessbilabialstop

pope,p

en

pre,s

oupe

Pakt,K

alb

padre,pia

nta

propter,pie

peso,a

pelar

[b]voicedbilabialstop

bob,but

bon,robe

Bad,

ber,lieben

bambino,

baccio

libera,bonae

boca,v

aca,verde

[t]

voicelessalveolarstop

tote,t

wo

terre,vite

Tag,Held,und

fata,t

utto

,batti

Saboath,t

antum

toma,tinta,ritmo

[d]voicedalveolarstop

dead,d

o

dans,a

ide

dann,a

nders

cade,d

ad

o,diva

domine,adoremus

andar,danza

[k]voicelessvelarstop

coke,k

ick

sac,qui

kalt,Kind

occhio,c

he,c

anto

mecum,c

redo

casa,q

ue

[]voicedvelarstop

glug,g

et,b

ag

gare,b

ague

Gast,geben

gola,g

hiro,figura

gloria,e

rgo

gamba,g

usto

____________________________________________________________



23/135



IPASymbol

English

French

German

Italian

Latin

Sp

anish

NASALCONSONANTS

[m]voicedbilabialnasal

ma,miss,simmer

main,femme

Mutter,immer

madre,ra

mo,fame

sum,m

undi

am

ar,h

ombre,misa

[n]voicedalveolarnasal

nose,w

hen

nous,t

onne

Nase,Wonne

mano,naso,c

antare

nunc,n

e

nudo,i

nato

[]voicedvelarnasal

sang,r

ing,thing

lange,Angst

bianco,p

ongo

sanctus

bla

nco,ingls

[]palatalnasal

agneau,c

ognac

sogno,gn

occhi,ogni

agnus

pao,n

io,apa

FRICATIVECONSONANTS

[]voicedbilabialfricative

finis,f

avila

cabo,c

alvo,v

ive

[f]

voicelesslabiodentalfricative

fife,enough

feu,neuf

falsch,V

erein

falso,figlio

novum,v

ox

falso

[v]voicedlabiodentalfricative

valve,voice

vous,r

ve

Welt,wild

vedere,fa

vore,v

oce

[]voicelessdentalfricative

think,thing

caza(Castilian)

[]voiceddentalfricative

the,this

cada,m

ido,verdad

[s]

voicelessalveolarfricative

cease,pass

nation,tasse

Gross,H

aus

suono,ve

rso,sempre

sunt,t

uis

s,

cima,caso

[ts]voicelessalveolaraffricate

tsetse

Zeit,Schatz

pizza,zio,g

razie

gratia,o

rationem

[z]voicedalveolarfricative

zone,r

ose

maison,rose

See,S

uppe,U

nsinn

svago,casa

miserere,Jesu

rie

sgo,isla,r

asgar

[dz]voicedalveolaraffricate

adds

mezzo,a

zzuro,zefiro

Lazaro

[]voicelessalveo-palatalfricative

sure,s

how

chat,t

ache

Sprache,S

chiff,S

tadt

scendo,s

cena

excelsis

[]voicelessalveo-palatalaffricate

chase,picture

Deutsche

bacio,cie

lo,d

olce

lucis

mucho,c

hoza

[]voicedalveo-palatalfricative

vision,p

leasure

jour,g

ilet

[]voicelesspalatalfricative

ich,Mdchen,n

icht

____________________________________________________________



24/135



IPASymbol

English

French

German

Italian

Latin

Sp

anish

FRICATIVECONSONANTScontinued

[]voicedpalatalfricative

yate,a

yuda

[x]voicelessvelarfricative

Buch,auch,N

acht

reja,b

ajo,gelatino

[]voicedvelarfricative

alg

o,vago,f

uego

[]voicedalveo-palatalaffricate

judge,gin

giorno,g

ente,o

ggi

[h]voicelessglottalfricative

happy,ham

hop

Hand,erhaben

GLIDEANDLATERALCONSONANTS

[w]voicedlabio-velarglide

war,w

eather,w

hen

quoi,o

ui,h

uile

qui,buono,guerra

huero,hueso

[j]

voicedpalatalglide

yellow,y

es

papillon,yeux,bie

n

jeder,ja

piede,occhio,p

iacere

cujus,judicare

yerba,cayo,p

iedad

[]roundedfrontglide

nuit,pluie,suis

[l]

alveolarlateralliquid

leaf,l

eft

lent,s

ol

rastlos,still

lungo,dolore

luce,t

ollis

largo,h

otel,m

ulta

[]palatallateral

famiglia,gli,figlio

fallo,v

alle,l

lano

[]velarizeddentallateral

milk,s

ell

alg

a(Catalan)

[]voicedalveolarretroflex

royal,race

[]alveolarflap

venir,hiver

Reich,F

arb

amore,mare,fiero

gloria,s

emper

remo,hablar,c

aro

[]alveolartrill

rapide,r

uban

morte,te

rra,rosa

terra,regina

rey,mire,hierro

[]uvulartrill

Paris,rue

(inspokendialogue

andcabaretsongs)

ry

____________________________________________________________



25/135


ABBREVIATIONS

ABR Associated Board of the Royal Schools ofMusic (London) www.abrsmpub.co.uk

ACH Ascherberg, Hopwood & Crew (London)ALF Alfred Publishing Company www.alfred.comALK Alberta KeysAMP Associated Music Publishers (through

www.schirmer.com)AMS AMSCOARN Edward Arnold Inc.ASH Edwin Ashdown Ltd.ASP Ashley Publications Inc. (Carlstadt, New

Jersey)AUG AugenerB&H Boosey & Hawkes (London, New York)

www.boosey.comBAR Brenreiter Verlag (Kassel, London, New

York, Prague) www.baerenreiter.comBEL Belwin-Mills Music Corporation (Miami,

Florida) www.mpa.orgBER Berandol MusicBMC Boston Music Co.BNK Banks Music Publications (York, U.K.)

www.banksmusicpublications.cwc.netBOG Bongiovanni (Bologna)BOS Bosworth & Co. Ltd.BRH Breitkopf & Hrtel (Wiesbaden)

www.breitkopf.comCDM Conservatorio de musica (Uruguay)CHA Chappell Music Canada Ltd.CHD Choudens (Paris)CHE J. & W. Chester Ltd.CMC available from Canadian Music Centre

(Toronto, Calgary, Vancouver, Montreal)www.musiccentre.ca

CRA J.B. CramerCUR J. Curwen & SonsCVR Classical Vocal Reprint (New York)DCP Da Capo Press (New York)DEN Dent & SonsDIT Oliver Ditson CompanyDOB Doberman

DOV Dover Publications (New York)www.doverpublications.com

DUR Durand et Cie (Paris)EAS Aeneas Publications (Toronto)ECS E.C. Schirmer (Boston) www.ecspublishing.comELK Elkin and Co.EMI Screen Gems/EMIESC ditions Max Eschig (Paris)EVO Elkan-Vogel Inc. (Bryn Mawr, Pennsylvania)FAB Faber Music Ltd. (London)

www.fabermusic.com

FCO Franco ColomboFHM Frederick Harris Music Co., Limited

(Mississauga, Ontario)www.frederickharrismusic.com

FID Fiddleback Music Publishing Co. (New York)FIS Carl Fischer (New York) www.carlfischer.comFOE Foetisch (Lausanne)FRA Frangipani PressGAL Galliard Ltd.GLO Glocken Verlag (London)

www.josef-weinberger.com/glockenGVT Gordon V. Thompson Music (Warner Bros.

Publications)HAE Hnssler VerlagHAL Hal Leonard Corporation (Milwaukee,

Wisconsin) www.halleonard.comHAM Hamelle & CieHAN Wilhelm Hansen (Copenhagen)HEN G. Henle Verlag (Munich) www.henle.comHGL Hargail Music PressHGR Helen Greenberg (5 Canary Cres.,

Willowdale, ON M2K 1Y9)HLH HLH Music Pub. (New York)IND cole Vincent dIndyIRV Irmos vitale (Rio de Janeiro, Brazil)

JAY JaymarKAL Edwin F. Kalmus (Opa Locka, Florida)

www.kalmus-music.comKAP Kappa Music (Winnipeg)KJO Neil A. Kjos Music Co. (San Diego,

California) www.kjos.comKMA Kevin MayhewLAW Lawson-Gould Music PublishersLAY Layerle Publications (Geneseo, New York)LED Alphonse Leduc (Paris)

www.alphonseleduc.comLEE Leeds Music (Canada)LEN Alfred Lengnick & Co. (South Croyden,

England)LES Leslie Music Supply (Oakville, Ontario)MAR Edward B. Marks Music Corporation (New

York) www.ebmarks.comMAS Masters Music Publications (Boca Raton,

Florida) www.masters-music.comMEC Mercury Music CorporationMER Merion Music (Bryn Mawr, Pennsylvania)MYS Dr. D. Myska (Faculty of Music, University of

Western Ontario, London, ON N6A 3K7)NOV Novello & Co., Ltd.OTT B. Schotts Shne (Mainz, London)

www.schott-music.com

Names of PublishersThe following abbreviations identify publishers listed throughout the Voice Syllabus. When no publisher oredition is indicated for a specific piece, the work is available in several standard editions. For more information,please see Examination Repertoire on pp. 1315.

____________________________________________________________



26/135


ABBREVIATIONS continued

OUP Oxford University Press (London, New York)www.oup.co.uk/music

PAT Patersons Publications Ltd.PEP Les ditions Clermont PpinPER Peer International www.peermusic.comPET Edition Peters (Frankfurt am Main, Leipzig,

London, New York) www.edition-peters.comPRE Theodore Presser Company (Bryn Mawr,Pennsylvania) www.presser.com

PSM Peer-Southern Music Corp.PTL Joseph Patelson (New York)PWM Polskie Wydawnictwo Muzyczne (PWM)

Edition (Krakow)RBN Roberton PublicationsRIC Casa Ricordi (Milan) www.ricordi.comROB Robbins Music Corp.ROW R.D. RowRSC Royal School of Church MusicS&B Stainer & Bell (London)

SAL ditions Salabert (Paris, New York)SCH G. Schirmer Inc. (New York)www.schirmer.com

SCP Scarecrow Press (Lanham, Maryland)SEK Se-Kwang Music (Seoul, Korea)SHA Shawnee Press www.shawneepress.comSIM SimrockSOU Southern Music Publishing Co. (San Antonio,

Texas) www.southernmusic.comTHA Thames Publishing (distribution Novello)TMP Transcontinental Music Publications

(New York) www.etranscon.comTRE Tredwell

TRI Triune Music (Nashville)UME Unin Musicales Editiones (Madrid)UNI Universal Edition Inc. (Vienna, London, New

York) www.universaledition.comWAL Walton Music www.waltonmusic.comWAR Warner Bros. Publications

www.warnerbrospublications.comWAT Waterloo Music Co. Ltd.

www.waterloomusic.comWEI Josef Weinberger Ltd. (London)

www.josef-weinberger.co.ukWIT Witmark & Sons (New York)ZEN Zen-on

Other Abbreviations and Symbolsarr. arranged byattr. attributed tobk booked. edited bytrans. translated by

transc. transcribed byno. number[OP] out of printop. opusp. pagepp. pagesrev. revisedvol. volume* selection is published in the Voice Series,

Third Edition (Introductory Level throughGrade 8)

represents one selection for examinationpurposes

parts or sections of works to be performed atexaminations

Abbreviations for Thematic CataloguesBWV Wolfgang Schmieder. Thematisch-

systematisches Verzeichnis der musikalischenWerke von Johann Sebastian Bach (Leipzig,1950).

D Otto Erich Deutsch. Franz Schubert:Thematisches Verzeichnis seiner Werke (Kassel,1978).

Hob. Anthony von Hoboken.Joseph Haydn:Thematisch-bibliographisches Werkverzeichnis

(Mainz: Schott, 19571971).HWV Eisen, Margaret, and Walter Eisen. Hndel-Handbuch: gleichzeitig Suppl. zu HallischeHndel-Ausgabe (Kassel: Brenreiter,19781986).

K Kchel, Ludwig Ritter von. Chronologisch-thematisches Verzeichnis smtlicher TonwerkeWolfgang Amad Mozarts (Wiesbaden,Breitkopf & Hrtel, 1964).

Z Zimmerman, F.B. Henry Purcell 16591695:An Analytic Catalogue of His Music (London:Macmillan, 1963).

____________________________________________________________



27/135

27Introductory LevelVoice Syllabus

Introductory Level

REPERTOIRE

Candidates must be prepared to sing, from memory, two pieces by different composers from the following list.Each bulleted item () represents one selection for examination purposes. Compositions marked with an asterisk (*)are included in the Voice Series, Third Edition: Introductory (Mississauga, Ontario: Frederick Harris Music, 2005).Please see Examination Repertoire on pp. 1315 for important information regarding this section of theexamination.

The Introductory Voice Examination is intended to give candidates who are new to the examination system theexperience of singing for an examiner in a non-competitive and friendly atmosphere. No marks are given, butthe examiner will prepare brief written comments, the purpose of which will be to encourage candidates in theirmusical pursuits. All candidates will receive a certificate of accomplishment by mail following the examination.

Traditional Bohemian* Grandma, Grandpa (arr. Stephen Chatman

FHM)

Traditional English

* The Circus Clown (arr. Burton Lowell KurthLES)* One Man Shall Mow My Meadow (arr. Cecil J.

Sharp in 100 English Folksongs DOV)

Traditional French and French Canadian* la claire fontaine / The Sparkling Fountain

(arr. Pierre Gallant FHM)* Entre le boeuf et lne gris / Ox in His Stall

(nol, arr. Sydney Northcote in Clarendon Book ofUnison Songs for Juniors OUP)

* Jai du bon tabac / Grandpas Snuffbox(arr. Herbert Wiseman in Sixty Songs for LittleChildren OUP)

* Trois canards / Three Ducks (arr. ArthurMorrow in Chantons un peu BER)

Traditional Inuit* Song of the Seagull (arr. Hugh J. McLean FHM)

Traditional Italian* Linverno l passato / The Cuckoo (arr. Stephen

Chatman FHM)

Traditional Japanese and Korean* The Window, from 350 Songs for Children

(Korean melody SEK)* Yuki / Snow (Japanese childrens song, arr.

Stephen Chatman FHM)

Traditional Latin American

* Cancin de cuna / Cradle Song (Uruguayanlullaby song, arr. Stephen Chatman FHM)

Traditional West Indian* West Indian Lullaby (Trinidadian folk song, arr.

Sydney Northcote in The Clarendon Folk SongBooks, 1 OUP)

Barratt, Carol, and Karl Jenkins* The Polar Bear, fromAnimal Songs CHE

Belyea, W. Herbert* Monkeys, from The Zoo LES* Rabbits LES

Brook, Harry* Colours CUR

Crawley, Clifford* Elephants, from Two Circus Songs LES

Hampshire, Cyril* There Once Was a Puffin, from Five Unison

Songs LES

Helyer, Marjorie* The Ferryman NOV

Kasemets, Udo* The Monkeys and the Crocodile, from Five

Songs for Children BER

Kurth, Burton Lowell* A Cookie for Snip LES

Reinecke, Carl H.C.* Regenlied / Rain Song, from Kinderlieder 1

Smith, Lillian* Butterflies BNK

Vanderkloot DiChiera, Karen* When I Go Outside to Play FHM


There are no Technical Requirements, Ear Tests, or Sight Singing for the Introductory Voice Examination.

____________________________________________________________



28/135

Grade 1

28 Grade 1 The Royal Conservatory of Music

REPERTOIRE

Please see Examination Repertoire on pp. 1315 for important information regarding this section of the examination.

Candidates must be prepared to sing three songs from memory: one from List A one from List B one from List A or List B

Each bulleted item () represents one selection for examination purposes. Compositions marked with an asterisk(*) are included in the Voice Series, Third Edition: Repertoire 1 (Mississauga, Ontario: Frederick Harris Music,2005). Songs may be transposed to suit the compass of the candidates voice, and may be sung in any publishedlanguage.

LIST A: Folk songs and music composed before 1900

Traditional American

The Piglets Christmas (arr. Mary Goetze B&H) The Weather (arr. Benjamin Culli in26 Solos forYoung Singers HAL)

Traditional Canadian* Jesous Ahatonhia (arr. Healey Willan, from Two

Christmas Carols LES)* Mariann sen va-t-au moulin / Marianne Went

to the Mill (French Canadian folk song, arr.Claude Champagne FHM)

* Vive la canadienne / My Canadian Girl (FrenchCanadian folk song, arr. Hugh J. McLean FHM)

Traditional English and Scottish The Carrion Crow (arr. Adam Carse, from Four

Old Nursery Rhymes S&B) Farmyard Song (arr. Ralph Vaughan Williams inVaughan Williams: Collected Folksongs, 1 NOV)

Im Seventeen Come Sunday (arr. Cecil J. Sharpin Collected Folk Songs, 1 NOV; 100 EnglishFolksongs DOV)

* Skye Boat Song (arr. Malcolm Leonard Lawson,from Songs of the North CRA)

Where Have You Been All the Day? (arr. AdamCarse, from Four Old Nursery Rhymes S&B)

Traditional Finnish Hark to the Cuckoo (arr. Imogen Holst in

Nineteen European Folk Songs NOV [OP])

Traditional German* Ein Mnnlein Steht / There Stands a Little Man

(arr. Sir Ernest MacMillan inA Canadian SongBook DEN)

O I Did Climb a Tree Top (arr. Imogen Holst inNineteen European Folk Songs NOV [OP])

* Sandmnnchen / The Sandman (arr. JohannesBrahms, from [44] Volks-Kinderlieder, WoO 31B&H)

Traditional German continued

Schlaf, Kindlein, Schlaf / Cradle Song (arr.Johannes Brahms, from [44] Volks-Kinderlieder,WoO 31 B&H)

Traditional Icelandic Cradle Song (arr. W.H. Anderson, from Two

Icelandic Folk Songs LES)

Traditional Italian Cicerenella (arr. Will Earhart in Pathways of Song,

4 WIT)* Ma bella bimba / My Dancing Damsel (arr.

Donald Moore in Ready to Sing: FolksongsALF)

Traditional Japanese

* Sakura / Cherry Blossoms (arr. StephenChatman FHM)

Traditional Portuguese The White Chestnut Tree (arr. Imogen Holst in

Nineteen European Folk Songs NOV [OP])

Traditional Russian The Little Birch Tree (Russian folk song,

arr. Mary Goetze B&H)

Traditional Spanish* Una vez en el Mercado / One Day in the

Market (Basque folk song, arr. Eduardo ToldSoler UME)

Foster, Stephen Some Folks Do (in Stephen Foster SesquicentennialSongbookASP; Stephen Foster Songbook DOV)

Schumann, Robert Lied eines Schmiedes / A Blacksmiths Song,

op. 90, no. 1

____________________________________________________________



29/135

29Grade 1Voice Syllabus

LIST B: Music composed after 1900

Anderson, William Henry* The Spider Hunter, from The Western Song

Books, 1 LES Summer on the Prairie, from Four Seasonal Songs

LES

Archer, Violet

Eight Short Songs for Young Singers GVT any two of:The ClamGift WrappedGiraffesThe Happy GardenerThe Lazy Little HippoThe OwlThe Silent TurtleThe Zebra

Beckwith, JohnTen English Rhymes BER Doctor Foster

Robinson CrusoeBlair, Dean

* Bobsledding, from Six Playful SongsALK

Clark, Henry A. The Rose and the Butterfly LES

Crawley, Clifford* Little Leprechaun LES

The Penguin Dance LESCreatures Great and Small, 1 LES

* Dragons The Unicorn

Curwin, Clifford

A Country Walk

Drynan, MargaretSongs for Judith GVT Choosing Shoes Lullaby for Judith

Dunhill, Thomas F. The Curliest Thing LES Little Silver Fishes CRA

Fleming, Gordon M. The Red Caboose, from Five Primary Songs LES

Grundman, Clare* The Giraffe, from Zoo Illogical B&H

Head, Michael A Day in Town B&H [OP]

Ives, Charles Slow March PSM (in Ives: 114 Songs PER; Ives:

10 Songs PER)

Kasemets, UdoFive Songs for Children BER

* Eletelephony* Who Has Seen the Wind?

Kurth, Burton The Hilltop LES The Tired Moon LES

Milhaud, Darius

La pomme et lescargot / The Apple and theSnail, from Cinq chansons de Charles Vildrac,op. 67 SAL

Morgan, Hilda Little Lamb, Where Do You Sleep RBN

Nelson, Havelock Stay, Little Blackbird GVT [OP]

Ouchterlony, David* Some Day, from Three Songs for Very Young People

LES

Sharman, Cecil* The Wind, from Songs of Autumn BNK

Stravinsky, Soulima Le loup, from Chantefables PET

Telfer, Nancy* Lullaby LES

____________________________________________________________



30/135

30 Grade 1 The Royal Conservatory of Music

EAR TESTS

Please see p. 16 for important information regarding the performance of the Ear Tests and Sight Singing sectionsof the examination.

Rhythm

Candidates will be asked to sing, clap, or tap the rhythm of a short melody in24 or

34 time after it has been played

twice by the examiner. A steady pace with rhythmic accentuation is expected.

Intervals

Candidates will be asked to sing any of the following intervals above or below a given note: major 3rd perfect 4th perfect octave

The examiner will play the first note once, and the candidate will sing the interval. Candidates may sing the givennote before the requested interval.

SIGHT SINGING

Candidates will be asked to sing a simple unaccompanied melody of approximately four measures, in the key ofC major. The examiner will play a broken tonic chord and the starting note, allow the candidate a moment tolook over the music, and then repeat the chord and starting note.

THEORY CO-REQUISITES

None


Please see Technical Requirements on p. 15 for important information about this section of the examination.

Technical Tests

The candidate will be asked to sing the exercises shown below in various keys that are suitable to the compass ofthe candidates voice, using the vowels [a], [e], [i], [o], [u], or [y] as requested by the examiner. The exerciseswill be sung without accompaniment; the examiner will play the tonic. Pure vowel sound and accurate pitch andrhythm are expected.

____________________________________________________________



31/135

31Grade 2Voice Syllabus

Grade 2REPERTOIRE

Please see Examination Repertoire on pp. 1315 for important information regarding this section of the examination.

Candidates must be prepared to sing three songs from memory: one from List A one from List B one from List A or List B

Each bulleted item () represents one selection for examination purposes. Compositions marked with an asterisk(*) are included in the Voice Series, Third Edition: Repertoire 2 (Mississauga, Ontario: Frederick Harris Music, 2005).Songs may be transposed to suit the compass of the candidates voice, and may be sung in any published language.

LIST A: Folk songs and music composed before 1900

Traditional American* The Mocking Bird (arr. Mark Mrozinski FHM)

Traditional Austrian

Waltz Song (arr. Imogen Holst in NineteenEuropean Folk Songs NOV [OP])

Traditional Bohemian* Stesk / Lament (arr. Frank LaForge and Will

Earhart in Pathways of Song, 3 WAR)

Traditional Chassidic* Eileh Chamdah Libi / Faithful Friend

(arr. C. Davidson in Gates of Song: Music forShabbat TMP)

Traditional Danish William and Greta (arr. Gerald Cockshott, from

Three Songs for Boys RBN)

Traditional English Drink to Me Only with Thine Eyes (arr. RogerQuilter, fromArnold Book of Old Songs B&H)

Traditional French and French Canadian* Cadet Rouselle / Little Rouselle (arr. Herbert

Wiseman inA Second Sixty Songs for Little ChildrenOUP)

* Do viens-tu, bergre / Where, O Shepherdess(arr. Paul Creston in French-Canadian Folk SongsFCO)

Our Donkey (arr. Gerald Cockshott RBN)

Traditional German Marienwrmchen / Ladybug (arr. Johannes

Brahms, from [44] Volks-Kinderlieder,WoO 31B&H)

Traditional Hungarian The Cricket Takes a Wife (arr. Imogen Holst in

Nineteen European Folk Songs NOV [OP])* The Handsome Butcher (arr. Mtys Seiber,

from Three Hungarian Folk Songs CUR)

Traditional Icelandic Now the Cold Winter Days (arr. W.H.

Anderson, from Two Icelandic Folk Songs LES)

Traditional Israeli Hashivenu (Israeli folk song, arr. Doreen Rao

B&H)

version 1Traditional Italian

* Coraggio, ben mio / Courage, My Love(arr. Stephen Chatman FHM)

Dormi, dormi / Sweetly Slumber (arr. MaryGoetz B&H)

Traditional Ukrainian In the Garden (arr. W.H. Anderson, from Two

Ukrainian Folk Songs LES)

Traditional Welsh* Ar hyd y nos / All Through the Night

(arr. Hugh J. McLean FHM)

Burke, John* The Kelligrews Soiree (arr. Hugh J. McLean

FHM)

Campion, ThomasJack and Joan (in English Songs: Renaissance to

Baroque HAL)

Diack, J. Michael (arr.) My Little Pretty One (in 100 Best, 3 PAT)

Mozart, Wolfgang Amadeus* Sehnsucht nach dem Frhlinge / Longing for

Spring, K 596

Schubert, Franz* Liebhaber

voice syllabus online

Documents