Bowed Strings

BowedStrings

2012–2015

Syllabus

Bowed Strings Syllabus 2012 cover.qxp:Layout 1 15/6/11 15:14 Page 2

SYLLABUS UPDATES: 2012

New requirements for graded exams

• Natural minor scale At Grades 1 and 2 only, candidates for any instrument may

present the natural minor form for their set minor scale(s)

in place of the harmonic or melodic form (as applicable).

For further details, see www.abrsm.org/naturalminor

• Violin new set pieces; revised scale and sight-reading requirements

• Viola

• Cello revised scale and sight-reading requirements only

• Double Bass

These new requirements are valid from 1 January 2012.

The set pieces, scale and sight-reading requirements for all other subjects (including Jazz) remain unchanged.

Other information

The requirements for all other syllabuses – Prep Tests, Diplomas, Music Medals, Performance Assessment, Ensembles and Choral Singing – remain unchanged.

Overlap information

In the first year of any new Practical syllabus, ABRSM offers an overlap period in which candidates may perform set pieces from the preceding syllabus. Details for 2012:

Set pieces (Violin only)

• Candidates may play pieces from the preceding syllabus as follows:UK & Republic of Ireland – until the end of Period A (spring exams) 2012 All other countries – until 31 December 2012

• All the pieces must be from the same syllabus – candidates may not perform a mixture of pieces from old and new syllabuses.

Scale and sight-reading requirements (Violin, Viola, Cello and Double Bass)

• There is no overlap period for scale and sight-reading requirements: the revised requirements take effect for all candidates worldwide from 1 January 2012.

Syllabus updates: 2013–2016 – see inside back cover

BOWED STRINGS SYLLABUS 2012–2015

CONTENTS

Syllabus updates inside covers

Using this booklet 3

New for bowed strings in 2012 3

Welcome to ABRSM 4

Introducing ABRSM syllabuses 5

ABRSM Bowed strings exams

Bowed strings syllabus requirements 6

Scale and arpeggio patterns 8

Exam music and performance requirements 10

• Violin 11

• Viola 22

• Cello 34

• Double Bass 46

Aural Tests 58

Other ABRSM exams

Theory of Music 64

Practical Musicianship 68

Other assessments 75

Additional information

Accreditation (UK) 76

Obtaining exam music 77

© 2011 by The Associated Board of the Royal Schools of Music All the syllabus information in this booklet, including repertoire and scale lists, is the copyright of ABRSM. No syllabus listing may be reproduced or published without the permission of ABRSM.

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USING THIS BOOKLET

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

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

• Exam Information & Regulations (published annually)• These Music Exams – contains practical advice for candidates, teachers

and parents

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

In this booklet the syllabuses for bowed strings are listed, grade by grade, on pp. 11–57. Please note that the lifespan of each individual syllabus is marked at the top of each Grade 1 page. There are also some important syllabus requirements featured on pp. 6–10.

Other information in this booklet includes advice on obtaining exam music and a list of contact details for publishers.

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

NEW FOR BOWED STRINGS IN 2012

This syllabus booklet contains new set pieces for Violin as well as revised scale and sight-reading requirements for Violin, Viola, Cello and Double Bass.

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

• the inclusion of the minor modifications introduced to some Aural tests in 2011

• updates to publication details

This syllabus booklet will last until the next changes to the syllabuses for bowed strings come into force in 2016, i.e. new set pieces for Violin, Viola and Cello. Any updates during this period – e.g. changes to publication details or other minor corrections – will be posted at www.abrsm.org/exams.

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WELCOME TO ABRSM

ABRSM supports music teaching and learning throughout the world. We motivate musical achievement and encourage the development of well-rounded musicians through our authoritative exams, the professional development of teachers, and a wide range of published resources.

By delivering our exams rigorously and consistently we set the worldwide gold standard in music assessment, with over 600,000 people, in over 90 countries, choosing to take them each year.

As part of our commitment to excellence in music education, we provide a rich range of materials, from albums for the earliest stages of learning to scholarly editions of standard repertoire. Our online presence includes Soundjunction – an award- winning site for music learning. We support the professional development of teachers through our innovative courses and online learning resources.

To build on our 120 years inspiring generations of musicians, we provide charitable donations, scholarships and sponsorships, as well as acting as an advocate for music education. We do all we can to give music education a voice in public life because we believe music has the power to change lives.

ABRSM has the authority of four of the UK’s leading conservatoires: the Royal Academy of Music, Royal College of Music, Royal Conservatoire of Scotland and Royal Northern College of Music.

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

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INTRODUCING ABRSM SYLLABUSES

The long-lasting success of ABRSM in supporting instrumental and vocal teachers and learners can be attributed to a number of factors. Significant among these is our collaborative approach to syllabus development, in which the views of a wide range of teachers is sought, alongside those of our examiners and specialist panels. This ensures that our syllabuses are relevant and accessible to all, no matter which teach-ing and learning approaches are adopted. A syllabus is, after all, a set of requirements for assessment purposes and not an instrumental or vocal curriculum.

Repertoire selection is another important factor, because experiencing the finest music is at the heart of musical training; it sustains and motivates all developing musicians. In each repertoire list we aim to produce a harmonious blend of styles and moods (as well as technical elements), so that the choices are broad and varied enough to suit all tastes while setting appropriate demands at each level. All syllabuses are supported by publications, recordings or other resources.

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

• a policy of using highly qualified and trained ‘generalist’ examiners, who work to transparent, easily understood criteria

• rigorous quality-assurance provisions that ensure consistent and reliable standards in all areas of our work

• a proven track record of reliable exam delivery and administration

Graded exams are available for more than 30 instruments, singing, jazz, ensembles, practical musicianship and music theory. They support a framework for life-long learning in music, without restrictions on age, length of study, or the requirement that candidates are taught in schools or other centres.

Many students will start with the Prep Test, a simple and positive assessment at the pre-Grade 1 level, and then work through the eight grades, but we do not impose a set pattern. For students who progress beyond Grade 8 we offer professional diplomas (DipABRSM, LRSM and FRSM) in three subject areas: performing, directing and teaching. For younger learners, Music Medals offer a set of fun, rewarding and accredited assessments supported by award-winning repertoire. They introduce essential musical skills and inspire developing musicians to play and enjoy music together.

ABRSM exams give the developing musician a set of worthwhile and motivational goals to work for. They provide the opportunity of performing high-quality music and developing all-round musicianship through a range of supporting activities. Measuring yourself against international benchmarks can be daunting, but we do all we can to make the experience a pleasurable one. The glow of achievement which exam success brings makes all that effort worthwhile.

Nigel ScaifeSyllabus Director

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BOWED STRINGS SYLLABUS REQUIREMENTS

InstrumentsCandidates are required to perform on acoustic instruments (electric instruments are not permitted).

Tuning-upIn Grades 1–5 the teacher or accompanist may tune the candidate’s instrument (or advise on tuning) before the exam begins. The examiner will not do so. In Grades 6–8 candidates must tune their instrument themselves.

Music stands and stoolsAll ABRSM Centres provide a music stand, but candidates are welcome to bring their own if they prefer. Candidates should provide their own stool if required.

Programme planningCandidates should use their discretion in their choice of three pieces to present a contrasted and balanced programme. One piece must be chosen from each of the three lists in each grade (A, B and C).

AccompanimentA live piano accompaniment is required for all pieces, except those which are published as studies or unaccompanied works and those Double Bass List C pieces marked ‘solo’. Candidates must provide their own accompanist, who may remain in the exam room only while engaged in accompanying. The candidate’s teacher may act as accompanist; under no circumstances will the examiner do so.

Tuttis and cadenzasAccompanists should make cuts to extensive orchestral tuttis in concerto (or similar) movements. Cadenzas should not be played unless specified in the syllabus.

Fingering and bowingCandidates are not compelled to adhere to the fingering or bowing marks indicated in the music: any good practical fingering and bowing will be accepted. In Violin and Viola Grades 1 and 2, candidates are not expected to play in any but the first position; Cello and Double Bass pieces in these grades may include very simple changes of position. By Grade 4, candidates are expected to have begun exploring position changes matching the demands and style of the music.

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

Scales and arpeggiosExaminers will usually ask for at least one of each type of scale/arpeggio etc. required at each grade, as well as aiming to hear a balance of separately-bowed and slurred requirements. When asking for requirements, examiners will specify only:• the key (including minor form – harmonic or melodic – in the Grade 6–8 scales)

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• separate bows or slurred (except for where the requirements are to be prepared with separate bows only – e.g. Grade 1 arpeggios)

All scales and arpeggios should:• be played from memory• be played from the lowest possible tonic/starting note, unless the syllabus

indicates otherwise• ascend and descend according to the specified range

Bowing will generally dictate the tempi of slurred scales and arpeggios. Separately-bowed requirements should be played briskly, using no more than half the bow length. For guidance, suggested minimum speeds are given in the books of scale requirements published for all bowed strings by ABRSM.

Any practical fingering that produces a good result will be accepted.

For major and minor scales (and double-stop scales in parallel sixths/octaves) candidates may choose between two rhythm patterns: even notes or long tonic. Arpeggios, dominant and diminished sevenths are required in root position only. All dominant sevenths must finish by resolving on the tonic.

Examples of scale/arpeggio etc. patterns found in this syllabus are given on pp. 8–9.

Sight-readingThe sight-reading tests are without accompaniment. Candidates will be given a short interval of up to half a minute in which to look through and, if they wish, try out any part of the test before they are required to perform it for assessment. The main parameters for the sight-reading tests for each subject are outlined in this syllabus, grade by grade; once introduced, these parameters apply for all subsequent grades (albeit with a logical progression of difficulty). Books of specimen sight-reading tests are published for all bowed strings by ABRSM.

Performance and assessmentWhen marking, examiners will be assessing not only the accuracy of notes and rhythm, but also other elements inherent in a good performance, including intona-tion, production and quality of tone, bowing and finger action, posture, suitable choice of tempo, and expression and phrasing. Further details of assessment criteria are given in These Music Exams, available free of charge from music retailers and from www.abrsm.org/exams.

Marking schemeSchedule of maximum marks for all grades:

Pieces: 1 30 2 30 3 30Scales and arpeggios 21Sight-reading 21Aural tests 18

Total 150

Bowed strings syllabus requirements

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SCALE AND ARPEGGIO PATTERNS

The examples below clarify patterns found in this syllabus. Reference should be made to the appropriate syllabus pages for the full requirements for each instrument.

Rhythm patterns for scales

For major and minor scales (all grades) candidates may choose between two rhythm patterns: even notes or long tonic. (Chromatic scales should be played with even notes at all grades.)

even notes or long tonic

Slurring patterns for scales


Natural minor scale

Dominant seventh (resolving on tonic)

Double-stop scales

In broken steps

in sixths:

in octaves:

in thirds:

44 Š Š Š Š Š Š Š Š etc.44 Š Š Š Š Š Š Š Š Š etc.

2 quavers:2 beats:7 notes:

44 Š Š Š Š Š Š Š Š Š etc.

78Š Š Š Š Š Š Š Š etc.

44 Š Š Š Š Š Š Š Š etc.

V # ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆA ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ B ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ

V 24 Š Š Š Š Š Š Š Š Š r

V bb 44 Š Š ‰‰ Š Š ‰‰ etc.Š Š ‰‰ Š Š ‰‰ etc.

V bb 44 Š Š ‰‰ Š Š ‰‰ etc.

Š Š ‰‰ Š Š ‰‰etc.

V ## 44 Š Š ‰‰ Š Š ‰‰ etc.Š Š ‰‰ Š Š ‰‰ etc.

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Scale and arpeggio patterns

V bbb 44 ŠŠ ŠŠ ŠŠ ŠŠ ŠŠ etc. V bbb 44 ŠŠ ŠŠ ŠŠ ŠŠ ŠŠ ŠŠ ŠŠ ŠŠ etc.

V ## 44 ŠŠ ŠŠ ŠŠ ŠŠ ŠŠ etc. V ## 44 ŠŠ ŠŠ ŠŠ ŠŠ ŠŠ ŠŠ ŠŠ ŠŠetc.

B 24 Š Š Š Š Š Š Š Š Š Š Š B 34 Š Š Š Š Š Š Š Š Š Š Š r r

Bb 44 Š Š Š Š Š Š Š Š Š Š Š Š Šetc.

Bb 44 Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š r q

Bb 68 Š Š Š Š Š Š Š Š Š Š Š Š Š . r.

B# 44 Š Š Š Š Š Š Š Š Š etc.Š Š Š Š Š Š Š Š Š Š Š Š Š etc. Š Š Š Š Š Š Š Š q

B# 68 Š Š Š Š Š Š Šetc. V Š Š Š Š Š Š Š Š Š Š etc.

B Š Š Š Š Š Š Š .

Double-stop scales (cont.)

In parallel even notes or long tonic

in sixths:

in octaves:

Patterns for Double Bass only

Scales to a sixtheven notes or long tonic

Scales to a twelfth


Arpeggios to a twelfth

Scale in broken thirds

Scale in running thirds

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EXAM MUSIC AND PERFORMANCE REQUIREMENTS(extracted from the Exam Information & Regulations booklet, which should be read in conjunction with this syllabus)

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

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

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

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

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

f Candidates may use any edition (in- or out-of-print or downloadable) of the pieces listed in the syllabus, except where a specific arrangement or transcription is indicated. The editions quoted in the syllabus are given for guidance only and are not obligatory.

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

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

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

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

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

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VIOLIN (Subject Code: 03)

This syllabus is valid for 2012–2015. It includes new set pieces as well as revised scale and sight-reading requirements. The next revision of the set pieces will come into force in 2016.

Violin GRADE 1

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

LIST A1 Arbeau Mattachins, arr. Huws Jones Violin Exam Pieces 2012–2015,2 Handel Menuet (from Music for the Royal Fireworks, HWV 351), arr. Salter Grade 1 (ABRSM) 3 Mozart German Dance: from K. 605 No. 3, arr. Cohen

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4 Anon. 17th-century English The Duke of Lorraine’s March. Violin Star 2, arr. Huws Jones (ABRSM: piano accomp. published separately)

5 T. Arne Allegro (from The Fairy Prince). No. 32 from Violin Playtime, Book 2, arr. de Keyser (Faber) 6 Purcell Rondeau. P. 47 from Superstart Violin (The Complete Method), arr. Cohen (Faber: piano accomp. published

separately)

LIST B 1 Brahms Sandmännchen (Little Sandman), arr. Salter 2 Edward Huws Jones The Boat to Inverie Violin Exam Pieces 2012–2015, Grade 1 (ABRSM)3 Dacre Daisy Bell, arr. Mumford

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4 Kathy and David Blackwell The Old Castle. No. 39 from Fiddle Time Joggers, arr. Blackwell (OUP: piano accomp. published separately)

5 Holst Jupiter Theme (from The Planets). Classical Pieces for Violin, arr. van Rompaey (De Haske) 6 Sullivan The Merryman and his Maid. Piece by Piece 2 for Violin, arr. Nelson (Boosey & Hawkes)

LIST C1 Gray and Sigman Pennsylvania 6-5000 2 Margery Dawe Russia – Gopak: No. 5 from Travel Tunes Violin Exam Pieces 2012–2015, Grade 1 (ABRSM)3 Janáček Dvoják (Couple Dance), arr. Faltus

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4 Peter Martin Hoe Down: from Little Suite No. 3 (Stainer & Bell H205) 5 Sheila Nelson Fiddler’s Fancy: No. 19 from Right from the Start – Violin (Boosey & Hawkes)6 Trad. Greek Arcadian Dance (violin melody) (lower line only in col legno; open E string on final note). The Greek

Fiddler, arr. Huws Jones (Boosey & Hawkes)

SCALES AND ARPEGGIOS*: from memory; for further details (incl. examples) see pp. 6–9

range bowing requirements rhythm patternScalesD, A majors†; E natural minorG major

1 oct.2 oct.

separate bows and slurred (2 quavers to a bow)

even notes or long tonic, at candidate’s choice

ArpeggiosD, A majors†; E minor G major

1 oct.2 oct.

separate bows "

even notes "

SIGHT-READING*: a four-bar piece in 44 or 34 , or a six-bar piece in 24 , in D or A majors, in 1st position (no

use of G string). All notes separately bowed. Simple dynamics (f, F, p), note values (h q q q q q q q) and rests (Œ). See also p. 7.

AURAL TESTS FOR THE GRADE*: see pp. 58 and 59

* Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests) † Starting on open strings

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Violin GRADE 2


LIST A1 Handel March by Mr Handel2 A. Holborne The Honeysuckle, arr. Huws Jones Violin Exam Pieces 2012–2015, Grade 2 (ABRSM) 3 Járdányi French Troubadour Song

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4 Byrd Wolsey’s Wilde. Piece by Piece 2 for Violin, arr. Nelson (Boosey & Hawkes) 5 Lully Gavotte. No. 12 from Festive Baroque – Violin, arr. van Beringen (De Haske) 6 Mozart Little Song (from Nannerl’s Notebook). No. 3 from Magical Mozart, arr. Watkin (Fentone)

LIST B1 Schubert Heidenröslein (Little Briar-Rose), D. 257, arr. ABRSM2 Rossini Theme from William Tell, arr. Cohen Violin Exam Pieces 2012–2015, 3 Trad. Irish Londonderry Air, arr. Huws Jones

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Grade 2 (ABRSM)

4 Haydn Theme from ‘Kaiserquartett’, Op. 76 No. 3. Classical Pieces for Violin, arr. van Rompaey (De Haske) 5 Mendelssohn Venetian Gondola Song. Violin Star 3, arr. Huws Jones (ABRSM: piano accomp. published

separately)6 Weber March of the Hunters (from Der Freischütz) (double-stop optional). No. 7 from The Young Violinist’s

Repertoire, Book 3, arr. de Keyser and Waterman (Faber)

LIST C1 Abe Schwartz Sher, arr. Wolfgram (observing repeat) Violin Exam Pieces 2012–2015, 2 Szelényi School Break: No. 6 from 24 Easy Little Concert Pieces Grade 2 (ABRSM) 3 Trad. Jamaican Mango Walk, arr. Nelson 4 Edward Huws Jones Haley’s Comet. Violin Star 3, arr. Huws Jones (ABRSM: piano accomp. published separately) 5 Trad. American Groundhog (exclamations optional ). O Shenandoah! for Violin, arr. Waterfield and Beach (Faber)6 John Williams Hedwig’s Theme (from Harry Potter and the Sorcerer’s Stone). Easy Popular Movie Instrumental

Solos, Violin, Level 1 (Alfred 28165)


range bowing requirements rhythm patternScalesC, F majors; G, D minors† G, A, Bb majors (minors natural, harmonic or melodic, at candidate’s choice)

1 oct.2 oct.



ArpeggiosC, F majors; G, D minors† G, A, Bb majors

1 oct.2 oct.

separate bows "

even notes "

SIGHT-READING*: an eight-bar piece, time and key signatures as Grade 1, with the addition of G major and E natural minor. Further use of 1st position. Notes separately bowed or with simple two-note slurs. Addition of P, ‘hairpins’ (cresc./dim.), dotted minim, and minim rest. See also p. 7.



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Violin GRADE 3


LIST A1 Anon. 14th-century Italian La Rotta, arr. Huws Jones 2 Corelli Gavotta: 4th movt from Sonata in F, Op. 5 No. 10 Violin Exam Pieces 2012–2015, Grade 3 (ABRSM)3 Mozart An Chloë, K. 524, arr. Salter

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4 J. S. Bach Gavotte (from BWV 1012). No. 1 from The Young Violinist’s Repertoire, Book 3, arr. de Keyser and Waterman (Faber)

5 Handel Hornpipe (from Water Music). No. 26 from Fiddle Time Sprinters, arr. Blackwell (OUP: piano accomp. published separately)

6 Hasse Bourrée. No. 7 from Festive Baroque – Violin, arr. van Beringen (De Haske)

LIST B1 Paganini Theme from Le streghe (The Witches), Op. 8, arr. Suzuki Violin Exam Pieces 2012–2015, 2 Schubert Ständchen (Serenade): from Schwanengesang, D. 957, arr. Davies Grade 3 (ABRSM)3 Schumann Träumerei (Reverie): No. 7 from Kinderscenen, Op. 15, arr. Salter

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4 Bridge Lullaby (No. 3 from Four Short Pieces) (Stainer & Bell H473: Lullaby published with Spring Song) 5 Carolan Carolan’s Air (violin melody). Jigs, Reels & Hornpipes, arr. Huws Jones or The Fiddler Playalong

Collection 1, arr. Huws Jones (Boosey & Hawkes) 6 Reinecke Without Care. Concert Repertoire for Violin, arr. Cohen (Faber)

LIST C1 I. Berlin Puttin’ on the Ritz, arr. Cohen 2 Michael Zev Gordon Joshi’s Dance Violin Exam Pieces 2012–2015, Grade 3 (ABRSM)3 Járdányi Hungarian Dance

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4 Neil Mackay Twilight Tango: from A Tuneful Introduction to the Third Position (Stainer & Bell 1857: piano accomp. published separately, H419)

5 Trad. Build that Wall. No. 1 from Up-Grade! Violin Grades 2–3, arr. Wedgwood (Faber) 6 Trad. Spiritual Wade in the Water. No. 30 from Fiddle Time Sprinters, arr. Blackwell (OUP: piano accomp.

published separately)


range bowing requirements rhythm patternScalesAb, Eb, E majorsBb, D majors; A, D minors (minors harmonic or melodic, at candidate’s choice)

1 oct.2 oct.



ArpeggiosAb, Eb, E majorsBb, D majors; A, D minors

1 oct.2 oct.

separate bows and slurred (3 notes to a bow)

even notes "

Chromatic scaleStarting on D † 1 oct. separate bows even notes

SIGHT-READING*: an eight-bar piece, time and key signatures as Grade 2, with the addition of C, F, Bb

majors and A, D, G minors. Further use of 1st position. Occasional accidentals (within minor keys only). Dotted rhythms, semiquavers and ties may be encountered. Pizzicato (at end of piece only) and staccato may be included. Increasing use of dynamics, rests and slurs. See also p. 7.


* Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests) † Starting on open string

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Violin GRADE 4


LIST A1 Anon. 13th-century French Estampie royal, arr. Huws Jones Violin Exam Pieces 2012–2015, Grade 42 Leclair Musette: 3rd movt from Sonata in G, Op. 1 No. 8, arr. David (ABRSM) 3 McGibbon Adagio: 1st movt from Sonata No. 5 in C minor

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4 Corelli Allemanda: 2nd movt from Sonata in F, Op. 5 No. 10. Corelli 12 Sonatas, Op. 5, Vol. 2 (Schott ED 4381)5 J. Gibbs Aria and Variation 3: from Sonata in D minor, Op. 1 No. 1. Sheila M. Nelson’s Baroque Violinist (Boosey)6 F. M. Veracini Largo e nobile: 1st movt from Sonata No. 1 in F (1716). Veracini 12 Sonatas for Recorder/Flute/

Violin, Vol. 1 (Peters EP 4965a)

LIST B 1 C.-A. de Bériot Mélodie: from Méthode de violon, Op. 102, arr. Dezaire and van Rompaey Violin Exam Pieces2 Dvořák Scherzo: 3rd movt from Sonatina in G, Op. 100 2012–2015, 3 Neil Mackay Ambleside: from A Tuneful Introduction to the Third Position

¸˝˛ Grade 4 (ABRSM)

4 C. Dancla Rondo (from Introduction and Rondo): No. 12 from Petite école de la mélodie, Op. 123, Vol. 2 (Schott ED 749) or First Repertoire for Violin, arr. Cohen (Faber)

5 Kreisler Sicilienne: from Sicilienne and Rigaudon (in the style of Francoeur) (published separately: Schott BSS 29024 ) or Fritz Kreisler Repertoire (Vol. 1) (Schott ED 8658)

6 A. Thomas Gavotte (from Mignon). No. 9 from Suzuki Violin School, Vol. 2 (Alfred—Summy-Birchard 0146S: piano accomp. published separately, 30098)

LIST C1 David Matthews An Alpine Tune 2 Christopher Norton King Boogie: No. 6 from The Christopher Norton Concert Violin Exam Pieces 2012–2015, Collection for Violin Grade 4 (ABRSM)3 Trad. klezmer Congratulations to the Bridegroom and Bride, arr. Cravitz

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4 Kabalevsky Scherzo, arr. Sorokin. No. 18 from Kabalevsky Album Pieces (Peters EP 4783) 5 Trad. Bosnian The Sultan’s Throne (violin melody). Sevdah, arr. Huws Jones and Velagić (Boosey & Hawkes) 6 Pam Wedgwood Falling: from After Hours – Violin (Faber)


range bowing requirements rhythm patternScalesAb, B, C, E majors; G, B, C minors (minors harmonic or melodic, at candidate’s choice)

2 oct. separate bows and slurred (2 beats to a bow)


ArpeggiosAb, B, C, E majors; G, B, C minors 2 oct. separate bows and slurred

(3 notes to a bow)even notes

Dominant sevenths (resolving on tonic)In the keys of C and D § 1 oct. separate bows even notes

Chromatic scalesStarting on A and E ‡ 1 oct. separate bows and slurred


SIGHT-READING*: a piece of around eight bars in length, time and key signatures as Grade 3, with the addition of 6

8 and Eb major. Shifts between 1st and 3rd positions may be encountered. Occasional chromatic notes. Anacrusis, hooked bowing, accents and pause signs may be included. See also p. 7.


§ Starting on open string G and bottom A, respectively ‡ Starting on bottom A and E, respectively

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

15

Violin GRADE 5


LIST A1 Corelli Corrente: 2nd movt from Sonata in D minor, Op. 5 No. 7 Violin Exam Pieces 2012–2015, Grade 52 Handel Allegro: 4th movt from Sonata in A, HWV 361, Op. 1 No. 3 (ABRSM) 3 Telemann Andante: 1st movt from Sonata in F, TWV 41:F4

¸˝˛

4 Albinoni Allegro: 4th movt from Sonata in D minor, Op. 6 No. 4. Albinoni Trattenimenti armonici per camera, Op. 6, Sonatas 1–4 (Kunzelmann GM 335a or European Music Archive EMA106 )

5 J. S. Bach Bourrée I and II (from BWV 1009) (without DC ). No. 7 from Suzuki Violin School, Vol. 3 (Alfred —Summy-Birchard 0148S: piano accomp. published separately, 30099)

6 Vivaldi Largo: 2nd movt from Concerto in F minor, ‘L’Inverno’ (Winter), Op. 8 No. 4, RV 297. Vivaldi The Four Seasons (Bärenreiter BA 6994a) or Sheila M. Nelson’s Baroque Violinist (Boosey & Hawkes)

LIST B1 Carse Gavotte Violin Exam Pieces 2012–2015, 2 Rieding Pastorale, Op. 23 No. 1 Grade 5 (ABRSM)3 C. Dancla Petit air varié: No. 7 from Petite école de la mélodie, Op. 123, Book 2

¸˝˛

4 Dvořák Valse, Op. 54 No. 4. No. 7 from Universal Violin Album, Vol. 3, arr. Kolman (Universal 17857) 5 Pleyel Andante: from Sonatina in Bb, Op. 48 No. 4. First Repertoire for Violin, arr. Cohen (Faber)6 Reger Romanze in G (Breitkopf & Härtel EB 3420)

LIST C1 Brian Chapple For Latin Lovers2 Kadosa Slow and Fast Violin Exam Pieces 2012–2015, Grade 5 (ABRSM)3 Trad. Greek Kozanis, arr. Huws Jones

¸˝˛

4 George Perlman Hora-Hatikva: 1st movt from Israeli Concertino (De Haske) 5 Szelényi Little Rhapsody: No. 12 from 24 Easy Little Concert Pieces, Vol. 1 (Editio Musica Budapest Z.2648)6 Hugh Wood Bagatelle. Spectrum for Violin: 16 Contemporary Pieces (ABRSM)


range bowing requirements rhythm patternScalesDb, Eb, F majors; B, C# , E minors G, A majors; G, A minors (minors harmonic or melodic, at candidate’s choice)

2 oct.3 oct.

separate bows and slurred (2 beats to a bow)


ArpeggiosDb, Eb, F majors; B, C# , E minors G, A majors; G, A minors

2 oct.3 oct.


even notes "

Dominant sevenths (resolving on tonic)In the key of Bb

In the keys of C and D 1 oct.2 oct.


even notes "

Diminished seventhsStarting on G and D † 1 oct. separate bows even notes

Chromatic scalesStarting on G, A and Bb 2 oct. separate bows and slurred


(continued overleaf )


16

Violin GRADE 5

SIGHT-READING*: a piece of around eight to sixteen bars in length, time and key signatures as Grade 4, with the addition of E, Ab majors and B, C minors. Highest note E (e"' ): shifts as required to cover this range. Simple chords may be included (at end of piece only). Changes between arco and pizzicato, simple syncopation and a slowing of tempo at the end may be encountered. See also p. 7.


Violin GRADE 6

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


LIST A1 Foulis Allegro moderato: 3rd movt from Sonata No. 2 in F Violin Exam Pieces2 J. Stamitz Minuetto: 3rd movt from Sonata in D, Op. 6 No. 5 2012–2015, Grade 6 3 F. M. Veracini Giga: 3rd movt from Sonata accademica in E minor, Op. 2 No. 8

¸˝˛ (ABRSM)

4 Handel Allegro: 2nd movt from Sonata in D minor, HWV 359a. Handel Complete Works for Violin and Basso Continuo (Bärenreiter BA 4226)

5 McGibbon Largo and Allegro: 1st and 2nd movts from Sonata No. 3 in E minor. Orpheus Caledonius, Vol. 1 (Hardie Press)

6 Vivaldi Preludio–Largo: 1st movt from Sonata in A minor, Op. 2 No. 12. Vivaldi 12 Sonatas, Op. 2, Vol. 2 (Schott ED 4213)

LIST B 1 Brahms Hungarian Dance, Book 1 No. 5, arr. Forbes Violin Exam Pieces 2012–2015,2 Ireland Bagatelle (double-stopping optional) Grade 6 (ABRSM)3 Schumann Zart und mit Ausdruck: No. 1 from Fantasiestücke, Op. 73

¸˝˛

4 Debussy En bateau (from Petite Suite), trans. Choisnel (mute optional) (Durand)5 Ten Have Bolero, Op. 11. Music from the Romantic Era: Recital Pieces for Violin and Piano, Grades 4 to 7

(Bosworth BOE005012)6 Seitz Allegro moderato: 1st movt from Concerto No. 5 in D, Op. 22. No. 2 from Suzuki Violin School, Vol. 4

(Alfred —Summy-Birchard 0150S: piano accomp. published separately, 32089)

LIST C1 Grappelli Flonville 2 Head Irish Idyll Violin Exam Pieces 2012–2015, Grade 6 (ABRSM)3 Trad. American Grey Eagle (unaccompanied)

¸˝˛

4 Albéniz Tango (No. 2 from España, Op. 165), arr. Forbes (published separately: OUP) 5 Mollenhauer The Boy Paganini (complete) (LH pizz. may be bowed). Solos for Young Violinists, Vol. 2, arr. Barber

(Alfred—Summy-Birchard 0989 )6 Trad. Hungarian Verbunk and Friss: Invitation to the Dance. Gypsy Jazz, Intermediate Level, arr. Waterfield and

Kraemer (Faber)


17

Violin GRADE 6


range bowing requirements rhythm patternScalesC, Eb, F# majors & minorsG, Bb majors & minors (minors harmonic or melodic, as directed by the examiner)

2 oct.3 oct.



ArpeggiosC, Eb, F# majors & minors

G, Bb majors & minors

2 oct.

3 oct.

separate bows and slurred (6 notes to a bow) separate bows and slurred (3 notes to a bow)

even notes even notes

Dominant sevenths (resolving on tonic)In the keys of C, Eb and F 2 oct. separate bows and slurred


Diminished seventhsStarting on G, Bb and C 2 oct. separate bows and slurred


Chromatic scalesStarting on G, Bb and C 2 oct. separate bows and slurred


Double-stop scale (in broken steps) In sixths, in Bb major 1 oct. see p. 8 see p. 8

SIGHT-READING*: a piece of around twelve to sixteen bars in length, time and key signatures as Grade 5, with the addition of 98 ,

54 and 58 and C# minor. Highest note E (e"' ): shifts as required to cover this range.

Further use of chords. A slowing of tempo within the piece followed by an a tempo may be encountered, as may triplet rhythms. See also p. 7.


18

Violin GRADE 7



LIST A1 J. S. Bach Adagio: 1st movt from Sonata in G, BWV 10212 Hume A Soldier’s Resolution, arr. Huws Jones Violin Exam Pieces 2012–2015, 3 Vivaldi Allegro: 1st movt from Concerto in A minor, Op. 3 No. 6, RV 356 Grade 7 (ABRSM) (violin to play in tuttis)

¸ÓÏ˛

4 Biber Aria and Variations: final movt from Sonata No. 5 in E minor. Biber Eight Violin Sonatas (Alfred—Kalmus K09193)

5 Mozart Allegro con spirito: 1st movt from Sonata in G, K. 301. No. 1 from Mozart Sonatas for Piano and Violin, Vol. 1 (Henle 77) or Mozart Complete Works for Piano and Violin, Vol. 1 (Bärenreiter BA 5761)

6 Telemann Allemanda–Largo: 1st movt from Sonata in D, TWV 41:D1. No. 2 from Telemann Six Sonatas (Schott ED 4221) or Baroque Violin Pieces, Book 4 (ABRSM)

LIST B 1 Moszkowski Spanischer Tanz: No. 2 from Spanische Tänze, Op. 12, arr. Scharwenka Violin Exam Pieces2 Schubert Allegro vivace: 3rd movt from Sonatina in D, Op. 137 No. 1, D. 384 2012–2015, Grade 73 Tchaikovsky Mélodie: No. 3 from Souvenir d’un lieu cher, Op. 42

¸˝˛ (ABRSM)

4 Kreisler Schön Rosmarin (published separately: Schott BSS 29030) or Fritz Kreisler Repertoire (Vol. 1) (Schott ED 8658)

5 Massenet Méditation (from Thaïs), arr. Nichols (Peters EP 7510) 6 Schumann Lebhaft, leicht: No. 2 from Fantasiestücke, Op. 73 (with repeats) (Henle 421 or Peters EP 2366b)

LIST C1 Bartók Bagpipers: 1st movt from Sonatina, trans. Gertler Violin Exam Pieces2 Korngold Mummenschanz (Masquerade): from Much Ado About Nothing, Op. 11 2012–2015, Grade 73 A. Morley Reverie

¸˝˛ (ABRSM)

4 Grainger, arr. Kreisler Molly on the Shore (Schott BSS 31240) 5 Hindemith Ruhig bewegt: 1st movt from Sonata in E (Schott ED 2455) 6 Thea Musgrave The Egrets have Landed. Spectrum for Violin: 16 Contemporary Pieces (ABRSM)


19

Violin GRADE 7


range bowing requirements rhythm patternScalesF, F# majors & minorsA, B, D majors & minors (minors harmonic or melodic, as directed by the examiner)

2 oct.3 oct.



ArpeggiosF, F# majors & minors

A, B, D majors & minors

2 oct.

3 oct.


even notes even notes

Dominant sevenths (resolving on tonic)In the keys of G and Bb

In the keys of D and E2 oct.3 oct.


even notes "

Diminished seventhsStarting on D and FStarting on A and B

2 oct.3 oct.


even notes "

Chromatic scalesStarting on D and FStarting on A and B

2 oct.3 oct.


even notes "

Double-stop scales (in broken steps)In sixths, in G and Bb majors In octaves, in D major

1 oct.1 oct.

see p. 8 "

see p. 8 "

SIGHT-READING*: a piece of around sixteen to twenty bars in length, time and key signatures as Grade 6, with the addition of 78 and 74 and F# minor. Highest note G (g"'): shifts as required to cover this range. Occasional use of left-hand pizzicato may be encountered. See also p. 7.


20

Violin GRADE 8



LIST A1 J. S. Bach Allegro assai: 3rd movt from Concerto in E, BWV 1042 (violin to play in tuttis) (Peters EP 4593 or

Henle 670)2 J. S. Bach Allemanda or Giga: 1st or 4th movt from Partita No. 2 in D minor for Solo Violin, BWV 1004.

Bach Three Sonatas and Three Partitas for Solo Violin, BWV 1001–1006 (Bärenreiter BA 5116) 3 Beethoven Rondo–Allegro ma non troppo: 4th movt from Sonata in F, Op. 24 (‘Spring’). No. 5 from Beet-

hoven Sonatas for Piano and Violin, Vol. 1 (Henle 7 )4 Haydn Finale–Presto: 3rd movt from Concerto in C, Hob. VIIa/1 (Peters EP 4322)5 Mozart Molto allegro: 1st movt from Sonata in A, K. 526. No. 15 from Mozart Sonatas for Piano and Violin,

Vol. 3 (Henle 79) or Mozart Complete Works for Piano and Violin, Vol. 2 (Bärenreiter BA 5762)6 J. B. G. Neruda Allegro moderato: 1st movt from Sonata in A minor. No. 3 from Bohemian Violin Sonatas,

Vol. 1 (Henle 334)7 Vivaldi Danza pastorale: 3rd movt from Concerto in E, ‘La Primavera’ (Spring), Op. 8 No. 1, RV 269 (violin

to play in tuttis). Vivaldi The Four Seasons (Bärenreiter BA 6994a) (or published separately: Peters EP 9055a)

LIST B 1 Brahms Andante tranquillo: 2nd movt from Sonata in A, Op. 100 (Wiener Urtext UT 50012)2 Bruch Nos 5, 6 and 7: from Schwedische Tänze, Op. 63, Vol. 1 (Simrock EE3110)3 C. Dancla Resignation, Op. 59. Singing Violin, Book 3, arr. Doleżal (PWM 8575)4 Grieg Allegretto quasi andantino: 2nd movt from Sonata in F, Op. 8 (Peters EP 1340)5 Janáček Dumka. Janáček Works for Violin and Piano (Bärenreiter BA 9508)6 Schumann Rasch und mit Feuer: No. 3 from Fantasiestücke, Op. 73 (with repeats) (Henle 421 or Peters EP

2366b) 7 Schumann Allegretto: 2nd movt from Sonata in A minor, Op. 105. Schumann Sonatas for Piano and Violin,

Op. 105, 121 (Peters EP 2367) or Schumann Sonatas for Violin and Piano, Vol. 1 (Wiener Urtext UT 50237)

LIST C1 Alwyn Allegro e grazioso: 1st movt from Sonatina (Stainer & Bell H471)2 Debussy Allegro vivo: 1st movt from Sonata (Henle 410 or Durand )3 Hindemith Langsam–Sehr lebhaft: 2nd movt from Sonata in E (Schott ED 2455)4 Kodály Adagio (Editio Musica Budapest Z.768) 5 Kreutzer Étude No. 30 in Bb: from 42 Études ou Caprices (Peters EP 284) 6 Sibelius No. 4: from Danses champêtres, Op. 106 (published separately: Hansen WH19410) 7 John Williams Remembrances: from Three Pieces from Schindler’s List (observing printed cadenza) (MCA)


21

Violin GRADE 8


range bowing requirements rhythm patternScalesAb, C, Db, Eb, E majors G# , C, C# , Eb, E minors (minors harmonic or melodic, as directed by the examiner)

3 oct.3 oct.



ArpeggiosAb, C, Db, Eb, E majors G# , C, C# , Eb, E minors

3 oct.3 oct.


even notes "

Dominant sevenths (resolving on tonic)In the keys of Db, F, Ab and A 3 oct. separate bows and slurred


Diminished seventhsStarting on C, Eb and EStarting on Ab

2 oct.3 oct.


even notes "

Chromatic scalesStarting on C, Eb and EStarting on Ab

2 oct.3 oct.


even notes "

Double-stop scales (in parallel )In octaves, in D major and G minor (harmonic or melodic, as directed by the examiner)In sixths, in Eb major

1 oct.

2 oct.

separate bows

separate bows


"Double-stop scale (in broken steps)In thirds, in Bb major 2 oct. see p. 8 see p. 8

SIGHT-READING*: a piece of around sixteen to twenty-four bars in length, time and key signatures as Grade 7, with the addition of 18

2 , B, Db majors and F minor. Highest note A (a"' ): shifts as required to cover this range. Acceleration of tempo, simple ornaments and 8va may be encountered. See also p. 7.


22

VIOLA (Subject Code: 04)

The set pieces in this syllabus are valid for 2008–2015. The scale and sight-reading requirements have been revised and take effect from 1 January 2012. The next revision of the set pieces will come into force in 2016.

Candidates may play on a violin strung as a viola.

Viola GRADE 1


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

¸˝˛ Harris (ABRSM)

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

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

5 Jean Hotteterre Cotillon. No. 7 from Early Music for Viola, arr. Brodszky (Editio Musica Budapest Z.4293)6 T. Morley Now is the month of Maying. No. 13 from First Repertoire for Viola, Book 1, arr. Wilkinson and Hart

(Faber)

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

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

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

LIST C1 Baklanova March. No. 12 from First Repertoire for Viola, Book 1, arr. Wilkinson and Hart (Faber)2 Margery Dawe Russia – Gopak: No. 5 from Travel Tunes for Viola (Cramer: piano accomp. published separately)3 Paul Harris Viola Joke! Time Pieces for Viola, Vol. 1, arr. Bass and Harris (ABRSM)4 Trad. Dance to your daddy. No. 13 from Piece by Piece 1 for Viola, arr. Nelson (Boosey & Hawkes)5 Trad. What Shall We Do With the Drunken Sailor? No. 2 from Play It Again – Viola, arr. Scott (Faber)6 John Widger Over the Bridge: No. 2 from Viola Jazz, Rock ’n’ Bow (Spartan Press SP406)


range bowing requirements rhythm patternScalesG, D majors†; A natural minorC major

1 oct.2 oct.



ArpeggiosG, D majors†; A minor C major

1 oct.2 oct.

separate bows "

even notes "

SIGHT-READING*: a four-bar piece in 44 or 34 , or a six-bar piece in 24 , in G or D majors, in 1st position (no

use of C string). All notes separately bowed. Simple dynamics (f, F, p), note values (h q q q q q q q) and rests (Œ). See also p. 7.



23

Viola GRADE 2


LIST A1 Arne Under the Greenwood Tree (from As You Like It). Time Pieces for Viola, Vol. 1, arr. Bass and Harris (ABRSM)2 J. S. Bach Gavotte (from Cello Suite No. 6, BWV 1012). No. 3 from Schott Viola Album, trans. Dodd 3 Purcell Rondeau (from The Fairy Queen). No. 1 from

¸˝˛ (Schott ED 10900 )

4 Besard Ballet. No. 1 from Early Music for Viola, arr. Brodszky (Editio Musica Budapest Z.4293 )5 Charpentier Prelude from Te Deum. No. 24 from Viola Time Runners, arr. Blackwell (OUP: piano accomp.

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

LIST B1 Elgar Allegretto: No. 5 from Six Very Easy Pieces, Op. 22, arr. Pope (Bosworth BOE003913)2 Grechaninov Homesickness: No. 2 from In aller Frühe, Op. 126b (Schott ED 8757)3 Schubert Entracte (from Rosamunde). Time Pieces for Viola, Vol. 1, arr. Bass and Harris (ABRSM)4 Trad. The Ash Grove. No. 19 from Play It Again – Viola, arr. Scott (Faber)5 Trad. North American Simple Gifts. O Shenandoah! for Viola, arr. Waterfield and Beach (Faber)6 Weber Waltz. No. 18 from First Repertoire for Viola, Book 2, arr. Wilkinson and Hart (Faber)

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

¸˝˛ (ABRSM)

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

accomp. published separately)5 Trad. Irish Roaring Jelly. No. 14 from Piece by Piece 2 for Viola, arr. Nelson (Boosey & Hawkes)6 John Widger Just String Along: No. 5 from Viola Jazz, Rock ’n’ Bow (Spartan Press SP406)


range bowing requirements rhythm patternScalesF, Bb majors; C, G minors† C, D, Eb majors (minors natural, harmonic or melodic, at candidate’s choice)

1 oct.2 oct.



ArpeggiosF, Bb majors; C, G minors† C, D, Eb majors

1 oct.2 oct.

separate bows "

even notes "

SIGHT-READING*: an eight-bar piece, time and key signatures as Grade 1, with the addition of C major and A natural minor. Further use of 1st position. Notes separately bowed or with simple two-note slurs. Addition of P, ‘hairpins’ (cresc./dim.), dotted minim, and minim rest. See also p. 7.



24

Viola GRADE 3


LIST A1 Anon. (attrib. J. S. Bach) Minuetto arpeggiando (BWV Anh. II 116). No. 7 from Basic Bach for the Young Violist,2 C. P. E. Bach (formerly attrib. J. S. Bach) March in G (H. 1.1). arr. Arnold (Viola World) No. 4 from

¸ÓÏ˛

3 attrib. Henry VIII Pastime with Good Company (viola melody) (incl. second verse). The Fiddler Playalong Viola Collection, arr. Huws Jones (Boosey & Hawkes)

4 Mozart German Dance, K. 600 No. 2. Viola Music for Beginners, arr. Loy (Editio Musica Budapest Z.14155)5 Telemann Gavotte. No. 6 from First Repertoire for Viola, Book 3, arr. Wilkinson and Hart (Faber)6 Trad. French Noël nouvelet. Time Pieces for Viola, Vol. 1, arr. Bass and Harris (ABRSM)

LIST B1 Anon. Spiritual Were You There? No. 15 from First Repertoire for Viola, Book 3, arr. Wilkinson and Hart (Faber)2 Beethoven Sonatina (from Anh. 5 No. 1). The Young Violist, Vol. 2, arr. Arnold (Viola World)3 Carolan Lord Inchiquin. Amazing Solos for Viola, arr. Harrison (Boosey & Hawkes)4 Grechaninov On Winter’s Eve: No. 6 from In aller Frühe, Op. 126b (Schott ED 8757)5 Grieg Arietta (from Lyric Pieces, Op. 12). Time Pieces for Viola, Vol. 1, arr. Bass and Harris (ABRSM)6 Tchaikovsky Rococo Theme (from Op. 33). No. 11 from Schott Viola Album, trans. Dodd (Schott ED 10900)

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

Wastall (Boosey & Hawkes: piano accomp. published separately)3 Holst Theme from ‘Jupiter’ (from The Planets). Time Pieces for Viola, Vol. 1, arr. Bass and Harris (ABRSM)4 Sheila M. Nelson Toad in the Hole (upper line). Technitunes for Viola, arr. Nelson (Boosey & Hawkes: piano

accomp. published separately)5 Richard Rodgers Oh What a Beautiful Morning (from Oklahoma). No. 6 from First Repertoire for Viola, Book 2,

arr. Wilkinson and Hart (Faber)6 Trad. Israeli Mayim, Mayim. Amazing Solos for Viola, arr. Harrison (Boosey & Hawkes)


range bowing requirements rhythm patternScalesDb, Ab, A majorsEb, G majors; D, G minors (minors harmonic or melodic, at candidate’s choice)

1 oct.2 oct.



ArpeggiosDb, Ab, A majorsEb, G majors; D, G minors

1 oct.2 oct.


even notes "

Chromatic scaleStarting on G † 1 oct. separate bows even notes

SIGHT-READING*: an eight-bar piece, time and key signatures as Grade 2, with the addition of F, Bb, Eb

majors and D, G, C minors. Further use of 1st position. Occasional accidentals (within minor keys only). Dotted rhythms, semiquavers and ties may be encountered. Pizzicato (at end of piece only) and staccato may be included. Increasing use of dynamics, rests and slurs. See also p. 7.



25

Viola GRADE 4


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

Birchard 18400X)4 Marais Caprice. No. 18 from L’Alto classique, Vol. B (Combre P03580)5 Pepusch Allegro: 4th movt from Sonata in D minor, arr. Dinn (Schott ED 11262)6 Purcell Hallelujah (from ‘O God, thou art my God’). Time Pieces for Viola, Vol. 2, arr. Bass and Harris

(ABRSM)

LIST B1 Brahms Dimanche (Sonntag, Op. 47 No. 3). No. 2 from L’Alto classique, Vol. B (Combre P03580)2 Gounod Ave Maria. No. 13 from

¸˝˛

3 Haesche Marguerite Waltz. Solos for Young Violists, Vol. 1, ed. Barber (Alfred—Summy-Birchard 18400X)4 Haydn Poco adagio (from ‘Emperor’ Quartet). No. 19 from First Repertoire for Viola, Book 3, arr. Wilkinson

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

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

NOV090750) 2 Walter Donaldson Makin’ Whoopee (viola melody) (with repeat) The Fiddler Playalong Viola Collection, arr. 3 G. M. Rodríguez La Cumparsita (viola melody)

¸˝˛ Huws Jones (Boosey & Hawkes)

4 Ferguson Jig: from Five Irish Folk Tunes (ABRSM)5 Joplin New Rag or Maple Leaf Rag. Joplin Ragtime Favourites – Viola, arr. Cowles (Fentone)6 Roger Roche Chant pastoral (Combre P03562)


range bowing requirements rhythm patternScalesDb, E, F, A majors; C, E, F minors (minors harmonic or melodic, at candidate’s choice)



ArpeggiosDb, E, F, A majors; C, E, F minors 2 oct. separate bows and slurred


Dominant sevenths (resolving on tonic)In the keys of F and G § 1 oct. separate bows even notes

Chromatic scalesStarting on D and A ‡ 1 oct. separate bows and slurred


SIGHT-READING*: a piece of around eight bars in length, time and key signatures as Grade 3, with the addition of 6

8 and A major. Shifts between 1st and 3rd positions may be encountered. Occasional chromatic notes. Anacrusis, hooked bowing, accents and pause signs may be included. See also p. 7.


§ Starting on open string C and bottom D, respectively ‡ Starting on bottom D and A, respectively


26

Viola GRADE 5


LIST A1 J. S. Bach A Merry Tune (from Peasant Cantata, BWV 212). No. 4 from Baroque Pieces for Viola, arr. Forbes (OUP) 2 Corelli Prelude. No. 19 from L’Alto classique, Vol. B (Combre P03580)3 R. Farnaby Nobodye’s Gigge. Chester String Series, Viola Book 2, arr. Radmall (Chester CH00399)4 Gossec Tambourin (with repeats). Time Pieces for Viola, Vol. 2, arr. Bass and Harris (ABRSM)5 Handel Allegro: 4th movt from Sonata in G minor, Op. 1 No. 6, trans. Pilkington (Stainer & Bell H244)6 Veracini Largo. Music for Viola III, arr. Szeredi (Editio Musica Budapest Z.13397)

LIST B1 Bridge Berceuse. Bridge Four Pieces for Viola and Piano (Faber) 2 Fauré Après un rêve. Music for Viola III, arr. Szeredi (Editio Musica Budapest Z.13397)3 German The English Rose. Romantic Melodies, arr. Otty (SJ Music)4 Mascagni Intermezzo sinfonico (from Cavalleria rusticana) Bratschissimo, arr. Jánosi (Bosworth BOE4403)5 Toselli Serenata

¸˝˛

6 Mozart Bei Männern, welche Liebe fühlen (from The Magic Flute). Time Pieces for Viola, Vol. 2, arr. Bass and Harris (ABRSM)

LIST C1 Richard Rodney Bennett Buskin: No. 2 from Six Country Dances, arr. Leigh Jacobs (Novello NOV090750) 2 Rebecca Clarke I’ll Bid My Heart Be Still or Chinese Puzzle. Clarke Shorter Pieces for Viola and Piano (OUP)3 Joplin Rag Time Dance or Fig Leaf Rag. Joplin Ragtime Favourites – Viola, arr. Cowles (Fentone)4 Sitt Tarantella, Op. 26 No. 12, arr. Arnold (Viola World )5 Trad. American Boston Fancy. No. 16 from Solos for the Viola Player, arr. Doktor (Schirmer GS32926)6 Weill September Song (from Knickerbocker Holiday). Time Pieces for Viola, Vol. 2, arr. Bass and Harris (ABRSM)


range bowing requirements rhythm patternScalesF, A, Bb majors; D, E, F# , A minors C major; C minor (minors harmonic or melodic, at candidate’s choice)

2 oct.3 oct.



ArpeggiosF, A, Bb majors; D, E, F# , A minors C major; C minor

2 oct.3 oct.


even notes "

Dominant sevenths (resolving on tonic)In the key of Eb

In the keys of F and G 1 oct.2 oct.


even notes "

Diminished seventhsStarting on C and G † 1 oct. separate bows even notes

Chromatic scalesStarting on C, D and Eb 2 oct. separate bows and slurred



27

Viola GRADE 5

SIGHT-READING*: a piece of around eight to sixteen bars in length, time and key signatures as Grade 4, with the addition of E, Ab majors and E, F# minors. Highest note A (a 0): shifts as required to cover this range. Simple chords may be included (at end of piece only). Changes between arco and pizzicato, simple syncopation and a slowing of tempo at the end may be encountered. See also p. 7.


28

Viola GRADE 6



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

Three Sonatas for Viola da Gamba (Viola), BWV 1027–1029 (Bärenreiter BA 5186) 2 J. S. Bach Courante: 3rd movt from Cello Suite No. 1 in G, BWV 1007. Bach Six Cello Suites, trans. Rowland-

Jones (Peters EP 7489) or trans. Forbes (Chester CH01401)3 Caix d’Hervelois La Marche du Czar. No. 17 from L’Alto classique, Vol. C (Combre P04438)4 Handel Andante larghetto and Allegro: 1st and 2nd movts from Sonata in G minor, Op. 1 No. 6, trans.

Pilkington (Stainer & Bell H244)5 A. Stamitz Adagio: 2nd movt from Viola Concerto No. 3 in G (Breitkopf & Härtel EB 6654)6 Telemann Cantabile and Allegro: 1st and 2nd movts from Sonata in E minor for Viola da Gamba, TWV 41:e5.

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

LIST B1 Albéniz Tango. No. 12 from L’Alto classique, Vol. C (Combre P04438)2 Bridge Serenade. Bridge Four Pieces for Viola and Piano (Faber) 3 Joachim No. 1: from Hebrew Melodies for Viola, Op. 9 (lower octave optional in bb. 58–59) (IMC 3272 or Musica

Rara 1828) 4 Kiel No. 3: from Three Romances for Viola, Op. 69 (Kunzelmann GM 101 or Musica Rara 1570)5 Schumann No. 4: from Märchenbilder for Viola, Op. 113 (Henle 632 or Peters EP 2372)6 Wolf Verborgenheit (Renunciation). No. 12 from Solos for the Viola Player, arr. Doktor (Schirmer GS32926)

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

NOV090750) 2 Rebecca Clarke Lullaby (p. 2). Clarke Shorter Pieces for Viola and Piano (OUP)3 Dancla Fantasia – La Cenerentola, Op. 86 No. 7, trans. Barber. Solos for Young Violists, Vol. 2, ed. Barber

(Alfred—Summy-Birchard 18590X)4 B. Hummel Finale–Vivace: 3rd movt from Sonatina for Viola No. 1, Op. 35b (Simrock EE2948)5 Roger Roche and Pierre Doury Entrée: No. 1 from Sous le chapiteau (Combre C4636 )6 Vaughan Williams Carol: No. 2 from Suite for Viola, Group 1 (OUP)


29

Viola GRADE 6


range bowing requirements rhythm patternScalesDb(C#), F# , Ab(G#) majors & minorsC, D majors & minors (minors harmonic or melodic, as directed by the examiner)

2 oct.3 oct.



ArpeggiosDb(C#), F# , Ab(G#) majors & minors

C, D majors & minors

2 oct.

3 oct.


even notes

even notes

Dominant sevenths (resolving on tonic)In the keys of F, F# and G 2 oct. separate bows and slurred


Diminished seventhsStarting on C, C# and D 2 oct. separate bows and slurred


Chromatic scalesStarting on C, C# and D 2 oct. separate bows and slurred


Double-stop scale (in broken steps) In sixths, in Eb major 1 oct. see p. 8 see p. 8


54 and 58 and F minor. Highest note A (a"): shifts as required to cover this range.

Further use of chords. Some passages in treble clef may be included. A slowing of tempo within the piece followed by an a tempo may be encountered, as may triplet rhythms. See also p. 7.


30

Viola GRADE 7



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

1027. Bach Three Sonatas for Viola da Gamba (Viola), BWV 1027–1029 (Bärenreiter BA 5186) 2 J. S. Bach Prélude: 1st movt from Cello Suite No. 1 in G, BWV 1007. Bach Six Cello Suites, trans. Rowland-

Jones (Peters EP 7489 ) or trans. Forbes (Chester CH01401)3 Bonporti Fantasia and Bizzarria: 3rd and 4th movts from Invenzione No. 3 in Bb, Op. 10 No. 3. Bonporti Two

Inventions for Viola, arr. Martos and Nagy (Kunzelmann GM 1195)4 Graun Adagio: 1st movt from Viola Sonata No. 1 in Bb (observing cadenza) (Breitkopf & Härtel EB 4173)5 C. Stamitz Adagio: 2nd movt from Viola Concerto in D, Op. 1 (Breitkopf & Härtel EB 5580)6 Telemann Recitativo and Arioso and Vivace: 3rd and 4th movts from Sonata in E minor for Viola da Gamba,

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

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

7725)2 Bridge Souvenir. Bridge 10 Pieces for Viola, Vol. 2, trans. Leigh Jacobs (Thames) 3 Kalliwoda No. 6: from Six Nocturnes for Viola, Op. 186 (Peters EP 2104) or Solos for Young Violists, Vol. 5, ed.

Barber (Alfred—Summy-Birchard 18830X)4 Kiel No. 2: from Three Romances for Viola, Op. 69 (Kunzelmann GM 101 or Musica Rara 1570)5 Schubert Adagio: 2nd movt from Arpeggione Sonata in A minor, D. 821 (arr. von Wrochem: Bärenreiter BA

5683) or No. 10 from Solos for the Viola Player, arr. Doktor (Schirmer GS32926) 6 Schumann No. 1: from Märchenbilder for Viola, Op. 113 (Henle 632 or Peters EP 2372)

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

for Young Violists, Vol. 5, ed. Barber (Alfred—Summy-Birchard 18830X) 2 Dimitrescu Village Dance Music for Viola III, arr. Szeredi (Editio Musica Budapest Z.13397)3 Zinzadse Georgian Dance

¸˝˛

4 Gershwin No. 2: from Three Preludes, arr. Arnold (Viola World)5 Roger Roche and Pierre Doury Les Clowns: No. 5 from Sous le chapiteau (Combre C4636) 6 Vaughan Williams Prelude: No. 1 from Suite for Viola, Group 1 (OUP)


31

Viola GRADE 7


range bowing requirements rhythm patternScalesF, G, Bb majors & minorsD, Eb majors & minors (minors harmonic or melodic, as directed by the examiner)

2 oct.3 oct.



ArpeggiosF, G, Bb majors & minors

D, Eb majors & minors

2 oct.

3 oct.


even notes

even notes

Dominant sevenths (resolving on tonic)In the keys of Ab, Bb and CIn the key of G

2 oct.3 oct.


even notes "

Diminished seventhsStarting on Eb, F and GStarting on D

2 oct.3 oct.


even notes "

Chromatic scalesStarting on Eb, F and GStarting on D

2 oct.3 oct.


even notes "

Double-stop scales (in broken steps)In sixths, in C and Eb majors In octaves, in G major

1 oct.1 oct.

see p. 8 "

see p. 8 "

SIGHT-READING*: a piece of around sixteen to twenty bars in length, time and key signatures as Grade 6, with the addition of 78 and 74 , B and C# minors. Highest note B (b"): shifts as required to cover this range. Further use of treble clef. Occasional use of left-hand pizzicato may be encountered. See also p. 7.


32

Viola GRADE 8



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

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

(Schott ED 10091)3 Bonporti Invenzione No. 6 in F minor, Op. 10 No. 6 (complete). Bonporti Two Inventions for Viola, arr. Martos

and Nagy (Kunzelmann GM 1195)4 Dittersdorf Allegro moderato: 1st movt from Viola Sonata in Eb (Hofmeister)5 Frescobaldi Toccata. Music for Viola III, arr. Szeredi (Editio Musica Budapest Z.13397)6 Mozart Theme with Variations (omitting Vars 3 & 5) from Divertimento in D, K. 334, trans. Szaleski (PWM

6167060)7 A. Stamitz Rondeau: 3rd movt from Viola Concerto in Bb (Schott VAB 29 )

LIST B1 Berlioz Sérénade (complete): 3rd movt from Harold en Italie, ed. Macdonald (Bärenreiter BA 5457a)2 Brahms Sonatensatz (Sonata Movement: Scherzo) in C minor, Op. posth., trans. Katims (IMC 440)3 Bruch Romance for Viola, Op. 85 (Schott VAB 6)4 Glazunov Elegie for Viola, Op. 44 (Belaieff BEL 200)5 Hummel Andantino con moto and Allegro non troppo: 2nd and 3rd movts from Fantasie for Viola

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

LIST C1 Leroy Anderson Fiddle-Faddle, arr. Arnold (Viola World) 2 Bloch Affirmation: 3rd movt from Suite Hébraïque (Schirmer GS28608) 3 Derek Bourgeois Caprice for Viola and Piano, Op. 119a (Brass Wind)4 Rebecca Clarke Morpheus for Viola and Piano (OUP)5 Paul Coletti From My Heart: from Three Pieces for Viola and Piano (OUP)6 Aaron Minsky The Flag Waver: from Three American Pieces for Unaccompanied Viola, trans. Dalton (OUP)7 Vaughan Williams Christmas Dance: No. 3 from Suite for Viola, Group 1 (OUP)


33

Viola GRADE 8


range bowing requirements rhythm patternScalesA, B majors & minorsDb(C#), Eb, E majors & minors (minors harmonic or melodic, as directed by the examiner)

2 oct.3 oct.



ArpeggiosA, B majors & minors

Db(C#), Eb, E majors & minors

2 oct.

3 oct.


even notes

even notes

Dominant sevenths (resolving on tonic)In the key of D In the keys of F# , Ab and A

2 oct.3 oct.


even notes "

Diminished seventhsStarting on Eb, E and AStarting on C#

2 oct.3 oct.


even notes "

Chromatic scalesStarting on Eb, E and AStarting on C#

2 oct.3 oct.


even notes "

Double-stop scales (in parallel )In octaves, in G major and C minor (harmonic or melodic, as directed by the examiner)In sixths, in Ab major

1 oct.

2 oct.

separate bows

separate bows


"Double-stop scale (in broken steps)In thirds, in Eb major 2 oct. see p. 8 see p. 8


2 , B and Db majors. Highest note C (c"' ): shifts as required to cover this range. Acceleration of tempo and simple ornaments may be encountered. See also p. 7.


34

‡ Top note not repeated (in contrast to preceding syllabus)


CELLO (Subject Code: 05)

The set pieces in this syllabus are valid for 2010–2015. The scale and sight-reading requirements have been revised and take effect from 1 January 2012. The next revision of the set pieces will come into force in 2016.

Cello GRADE 1


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

piano accomp. published separately, 0480S)2 Blow Air. More Time Pieces for Cello, Vol. 1, arr. Bruce and Wells (ABRSM) 3 Handel Minuet (from Music for the Royal Fireworks). Time Pieces for Cello, Vol. 1, arr. Black and Harris (ABRSM)4 Mozart Chorale. No. 12 from Violoncello Music for Beginners 1, arr. Lengyel and Pejtsik 5 Neidhart von Reuenthal May Song. No. 1 from

¸˝˛ (Editio Musica Budapest Z.6312)

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

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

0479S: piano accomp. published separately, 0480S)2 Adam Carse Dance Steps: from The Fiddler’s Nursery (Stainer & Bell H434) 3 Fauré Berceuse (from Dolly, Op. 56). More Time Pieces for Cello, Vol. 1, arr. Bruce and Wells (ABRSM) 4 Schubert Ländler. No. 26 from Piece by Piece 1 for Cello, arr. Nelson (Boosey & Hawkes)5 Schubert Lullaby. No. 19 from Violoncello Music for Beginners 1, arr. Lengyel and Pejtsik (Editio Musica Budapest

Z.6312)6 Tchaikovsky Chanson russe (from Album for the Young). Time Pieces for Cello, Vol. 1, arr. Black and Harris (ABRSM)

LIST C1 James MacMillan March: No. 1 from Northern Skies (Boosey & Hawkes) 2 Elissa Milne Ten Toads. Fingerprints – Cello (Faber) 3 R. Sugár Old Hungarian Folk Song. No. 27 from Violoncello Music for Beginners 1, arr. Lengyel and Pejtsik

(Editio Musica Budapest Z.6312)4 Billy Taylor I wish I knew More Time Pieces for Cello, Vol. 1, arr. Bruce and Wells (ABRSM) 5 Trad. Congolese Banaha

¸˝˛

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


range bowing requirements rhythm patternScalesG, D majors†; A natural minorC major

1 oct.2 oct.


even notes‡ or long tonic, at candidate’s choice

ArpeggiosG, D majors†; A minor C major

1 oct.2 oct.

separate bows "

even notes "

SIGHT-READING*: a four-bar piece in 44 or 34 , or a six-bar piece in 24 , in G or D majors, in 1st position (no

use of C string). All notes separately bowed. Simple dynamics (f, F, p), note values (h q q q q q q q) and rests (Œ). See also p. 7.


35

Cello GRADE 2


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

Z.6312)2 J. S. Bach Minuet No. 2. No. 17 from Suzuki Cello School, Vol. 1, Revised Edition (Alfred—Summy-Birchard 0479S:

piano accomp. published separately, 0480S)3 Dowland Come again, sweet love doth now invite. More Time Pieces for Cello, Vol. 1, arr. Bruce and Wells (ABRSM)4 Hasse Bourrée (from Two Dances). No. 12 from Repertoire Album for Cello and Piano, arr. Friss (Editio Musica

Budapest Z.5958)5 T. Morley Now is the month of Maying. Time Pieces for Cello, Vol. 2, arr. Black and Harris (ABRSM) 6 Mozart Quadrille. No. 28 from Violoncello Music for Beginners 2, arr. Lengyel and Pejtsik (Editio Musica Budapest

Z.6748)

LIST B1 Adam Carse A Bumpkin’s Dance: from The Fiddler’s Nursery (Stainer & Bell H434) 2 Marie Dare Serenade (Schott ED 10738) 3 Donizetti Bella siccome un angelo (from Don Pasquale) More Time Pieces for Cello, Vol. 1, 4 Tchaikovsky Rococo Theme (from Variations on a Rococo Theme, Op. 33)

¸˝˛ arr. Bruce and Wells (ABRSM)

5 Schubert Serenade (An den Mond). No. 12 from Easy Classics for Cello, Book 1, arr. Forbes (OUP)6 Schumann A Distant Land (Op. 15 No. 1). No. 2 from

¸˝˛

LIST C1 Katherine and Hugh Colledge Hornpipe: No. 20 from Fast Forward for Cello and Piano (Boosey & Hawkes)2 Caroline Lumsden and Ben Attwood Grab the slippery toad!: from Wizard’s Potion for Cello and Piano (Peters

EP 7679) 3 Henry Mancini The Pink Panther. More Time Pieces for Cello, Vol. 1, arr. Bruce and Wells (ABRSM) 4 A. Ridout No. 4: from Bagatelles (Schott ED 11046)5 Sándor Szokolay Bagpipe Song: No. 2 from Small Suite. No. 28/2 from Violoncello Music for Beginners 1, arr.

Lengyel and Pejtsik (Editio Musica Budapest Z.6312) or No. 7/2 from Repertoire Album for Cello and Piano, arr. Friss (Editio Musica Budapest Z.5958)

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


range bowing requirements rhythm patternScalesF, A, Bb majors; G, D minors† C, G majors (minors natural, harmonic or melodic, at candidate’s choice)

1 oct.2 oct.



ArpeggiosF, G, A, Bb majors; G, D minors† C major

1 oct.2 oct.

separate bows "

even notes "

SIGHT-READING*: an eight-bar piece, time and key signatures as Grade 1, with the addition of C major and A natural minor. Further use of 1st position. Notes separately bowed or with simple two-note slurs. Addition of P, ‘hairpins’ (cresc./dim.), dotted minim, and minim rest. See also p. 7.



36

Cello GRADE 3


LIST A1 Anon. English Watkins’ Ale (cello melody). The Fiddler Playalong Cello Collection, arr. Huws Jones (Boosey & Hawkes)2 F. Couperin Sarabande l’unique More Time Pieces for Cello, Vol. 1, arr. Bruce and Wells (ABRSM)3 D. Gallo Moderato (from Trio Sonata No. 1)

¸˝˛

4 Haydn Innocence (from Op. 53 No. 1). No. 8 from Easy Classics for Cello, Book 1, arr. Forbes (OUP) 5 Lully Gavotte and Musette (omitting da capo). First Repertoire for Cello, Book 2, arr. Legg and Gout (Faber) 6 Muffat Bourrée (I and II, omitting da capo). No. 16 from Violoncello Music for Beginners 2, arr. Lengyel and

Pejtsik (Editio Musica Budapest Z.6748)

LIST B1 Beethoven Ich liebe dich. Time Pieces for Cello, Vol. 2, arr. Black and Harris (ABRSM) 2 Earnshaw Tarantella (Stainer & Bell H467) 3 Edward Jones Glwysen (The Fairest One) (cello melody). The Fiddler Playalong Cello Collection, arr. Huws Jones

(Boosey & Hawkes)4 W. Lloyd Webber Siciliano: 3rd movt from A Lyric Suite (Stainer & Bell 2302) 5 Katharine Lovell The Swing (No. 1 of Three Summer Sketches) (Braydeston Press BP050) 6 Smetana Vltava (from Má vlast). More Time Pieces for Cello, Vol. 1, arr. Bruce and Wells (ABRSM)

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

Jones (Boosey & Hawkes) 2 Denza Funiculì, funiculà. More Time Pieces for Cello, Vol. 1, arr. Bruce and Wells (ABRSM) 3 Matthew Hindson Zig zag. Fingerprints – Cello (Faber) 4 Prokofiev Two Themes from Peter and the Wolf. Classic Experience Encores – Cello (Cramer) 5 Hilary Tann Lullaby ( for solo cello). Spectrum for Cello (ABRSM) 6 Trad. Hungarian Folksong. First Repertoire for Cello, Book 1, arr. Legg and Gout (Faber)


range bowing requirements rhythm patternScalesA major; C, A minorsD, F, G majors; D minor (minors harmonic or melodic, at candidate’s choice)

1 oct.2 oct.



ArpeggiosA major; C, A minorsD, F, G majors; D minor

1 oct.2 oct.


even notes "

Chromatic scaleStarting on D † 1 oct. separate bows even notes

SIGHT-READING*: an eight-bar piece, time and key signatures as Grade 2, with the addition of A, F, Bb majors and D, G minors. Further use of 1st position. Occasional accidentals (within minor keys only). Dotted rhythms, semiquavers and ties may be encountered. Pizzicato (at end of piece only) and staccato may be included. Increasing use of dynamics, rests and slurs. See also p. 7.



37

Cello GRADE 4


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

Summy-Birchard 0483S: piano accomp. published separately, 0484S)2 Boyce Minuet (from Concerto Grosso in B minor). Time Pieces for Cello, Vol. 3, arr. Black and Harris (ABRSM)3 attrib. Henry VIII Pastime with Good Company (cello melody) (incl. second verse). The Fiddler Playalong Cello

Collection, arr. Huws Jones (Boosey & Hawkes)4 S. Paxton Allegretto: 1st movt from Sonata in D, Op. 3 No. 2. First Repertoire for Cello, Book 2, arr. Legg and

Gout (Faber) or (published separately: Schott ED 11057 )5 Perti Sonata in A minor: complete (upper part). 9 Sonate facili (Editio Musica Budapest Z.14110 ) 6 attrib. Stradella Pietà, Signore. More Time Pieces for Cello, Vol. 2, arr. Bruce and Wells (ABRSM)

LIST B1 Bizet Entr’acte (from Carmen). More Time Pieces for Cello, Vol. 2, arr. Bruce and Wells (ABRSM) 2 W. Lloyd Webber Allegro: 2nd movt from A Lyric Suite (Stainer & Bell 2302 ) 3 Romberg Schwedisch. No. 8 from Classical Pieces for the Beginning, Vol. 2, arr. Such (Schott ED 4919 ) 4 James Scott Skinner The Flower of the Quern (cello melody) (upper line only). The Fiddler Playalong Cello

Collection, arr. Huws Jones (Boosey & Hawkes)5 Tchaikovsky Humoreske. Time Pieces for Cello, Vol. 3, arr. Black and Harris (ABRSM)6 C. Webster Scherzo. No. 4 from Suzuki Cello School, Vol. 3, Revised Edition (Alfred—Summy-Birchard 0483S:

piano accomp. published separately, 0484S )

LIST C1 Ruth Byrchmore NYPD TV ( for solo cello). Fingerprints – Cello (Faber)2 Grainger Shepherd’s Hey. More Time Pieces for Cello, Vol. 2, arr. Bruce and Wells (ABRSM)3 Richard Kershaw Jumbo-Rumba: No. 3 from Six Elephant Dances (Studio Music)4 Michael Radanovics Keep Cool: No. 3 from Jazzy Cello 1 (Universal 16553 ) 5 Squire Minuet, Op. 19 No. 3 (Stainer & Bell 2286 ) 6 Trad. Mrs McLeod’s Reel (cello melody) (with repeat). The Fiddler Playalong Cello Collection, arr. Huws Jones

(Boosey & Hawkes )


range bowing requirements rhythm patternScalesEb, F, A, Bb majors; C, D, G minors (minors harmonic or melodic, at candidate’s choice)



ArpeggiosEb, F, A, Bb majors; C, D, G minors 2 oct. separate bows and slurred


Dominant sevenths (resolving on tonic)In the keys of G and C § 1 oct. separate bows even notes

Chromatic scalesStarting on D and G § 1 oct. separate bows and slurred


SIGHT-READING*: a piece of around eight bars in length, time and key signatures as Grade 3, with the addition of 68 , Eb major and C minor. Shifts between 1st and 4th positions may be encountered. Occasional chromatic notes. Anacrusis, hooked bowing, accents and pause signs may be included. See also p. 7.


§ Starting on bottom D and on open string G, respectively


38

Cello GRADE 5


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

Birchard 0483S: piano accomp. published separately, 0484S)2 Handel Scherza, infida (from Ariodante). More Time Pieces for Cello, Vol. 2, arr. Bruce and Wells (ABRSM)3 Haydn Allegro. Lost Melodies, arr. Stutschewsky (Universal 10627 ) 4 W. Koch Thema and Bourrée: from Kleine Suite im alten Stil for Solo Cello (Doblinger DOBL3707 )5 Pergolesi Nina. No. 11 from Violoncello Music for Beginners 3, arr. Pejtsik (Editio Musica Z.14037 )6 Picinetti Allegro or Allegro (omitting DC ): 2nd or 4th movt from Sonata in C (Bärenreiter BA 6963 )

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

¸˝˛ (ABRSM)

3 Sibelius Andantino in C. Sibelius Three Early Pieces for Cello and Piano (Fennica Gehrman) 4 Tchaikovsky Air de danse napolitaine. No. 38 from Violoncello Music for Beginners 3, arr. Pejtsik (Editio Musica

Budapest Z.14037 )5 Tchaikovsky Chanson triste, Op. 40 No. 2 (arr. Palaschko: Schott ED0 2415 ) or Cello & Piano 2, arr. Pejtsik

(Editio Musica Budapest Z.14637 )6 Trowell Humoresque or Chanson villageoise: No. 10 or No. 11 from 12 Morceaux faciles, Op. 4, Book 4 (Schott

ED 11213 )

LIST C1 Jonathan Dove Prayer-wheel. Spectrum for Cello (ABRSM)2 Jacob Robots’ March More Time Pieces for Cello, Vol. 2, arr. Bruce and Wells (ABRSM)3 Joplin Easy Winners

¸˝˛

4 James MacMillan Sabre Dance: No. 6 from Northern Skies (Boosey & Hawkes)5 David Matthews Danny’s Dance. Fingerprints – Cello (Faber)6 Michael Radanovics On the Ground: No. 5 from Jazzy Cello 1 (Universal 16553 )


range bowing requirements rhythm patternScalesEb, E, Ab, A majors; E, G, A minors C major (minors harmonic or melodic, at candidate’s choice)

2 oct.3 oct.



ArpeggiosEb, E, Ab, A majors; E, G, A minors C major

2 oct.3 oct.


even notes "

Dominant sevenths (resolving on tonic)In the key of Bb

In the keys of F and G 1 oct.2 oct.


even notes "

Diminished seventhsStarting on C and G † 1 oct. separate bows even notes

Chromatic scalesStarting on C, C# and D 2 oct. separate bows and slurred



39

Cello GRADE 5

SIGHT-READING*: a piece of around eight to sixteen bars in length, time and key signatures as Grade 4, with the addition of E minor. Highest note A (a' ): shifts as required to cover this range. Simple chords may be included (at end of piece only). Changes between arco and pizzicato, simple syncopation and a slowing of tempo at the end may be encountered. See also p. 7.


40

Cello GRADE 6



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

(Bärenreiter BA 3963 )2 De Fesch Allemanda (Allegro): 2nd movt from Sonata in D minor, Op. 13 No. 4 (upper part) (Bärenreiter BA 3962 )3 D. Gabrielli Grave and Allegro: 1st and 2nd movts from Sonata in A. D. Gabrielli Complete Works for Violon-

cello (Bärenreiter HM 279 )4 Loeillet Gavotte und Musette. No. 2 from Melodies by Old Masters for Young Cellists, Vol. 2, arr. Rapp (Schott ED

5533 )5 B. Marcello Largo and Allegro: 1st and 2nd movts from Sonata in F, Op. 2 No. 1 (separately: Peters EP 7393 )

or Marcello Six Sonatas (Peters EP 4647 )6 Vivaldi Largo and Allegro: 1st and 2nd movts from Sonata in E minor, RV 40. Vivaldi Two Sonatas for Violoncello

(RV 40 & RV 46 ) (Bärenreiter BA 6995c) or Vivaldi Complete Sonatas for Violoncello (Bärenreiter BA 6995)

LIST B1 Bridge Berceuse (1901): No. 1 from Four Pieces for Cello and Piano (Faber)2 Cui Orientale, Op. 50 No. 9, trans. Kurtz (IMC 3236 )3 Dunkler Theme from Caprice hongroise. More Time Pieces for Cello, Vol. 2, arr. Bruce and Wells (ABRSM)4 Reger Romance in G, trans. Klengel (Breitkopf & Härtel EB 3421) 5 Romberg Andante: 2nd movt from Sonata in C, Op. 43 No. 2 (IMC 1207 )6 Verhey Idylle, Op. 37 (Broekmans & Van Poppel 1845 )

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

(ABRSM)2 Bartók Joc cu bâtă and Buciumeana: Nos 1 and 4 from Romanian Folk Dances, trans. Silva (Universal 13265 )3 Gavin Bryars With Miriam by the River. Spectrum for Cello (ABRSM)4 B. Hummel Presto: 3rd movt from Kleine Suite, Op. 19a (Simrock EE 2954 )5 Julian Jacobson Hip Hip Bourrée Unbeaten Tracks – Cello (Faber)6 Olli Mustonen Frogs Dancing on Water Lilies

¸˝˛

41

Cello GRADE 6


range bowing requirements rhythm patternScalesF, B majors & minorsC, D majors & minors (minors harmonic or melodic, as directed by the examiner)

2 oct.3 oct.



Scale in thumb positionD major† 1 oct. separate bows even notes or long tonic,

at candidate’s choice

ArpeggiosF, B majors & minorsC, D majors & minors

2 oct.3 oct.


even notes

Dominant sevenths (resolving on tonic)In the keys of F, G, Bb and E 2 oct. separate bows and slurred


Diminished seventhsStarting on C, D, F and B 2 oct. separate bows and slurred


Chromatic scalesStarting on C, D, F and B 2 oct. separate bows and slurred


Double-stop scale (in broken steps) In sixths, in C major 1 oct. see p. 8 see p. 8


54 and 58 . Highest note A (a'): shifts as required to cover this range. Further use of

chords. A slowing of tempo within the piece followed by an a tempo may be encountered, as may triplet rhythms. See also p. 7.


† Starting with thumb on D string:


42

Cello GRADE 7



LIST A1 J. C. F. Bach Rondeaux: 2nd movt from Sonata in G (Bärenreiter BA 3745 )2 J. S. Bach Allemande: 2nd movt from Suite No. 1 in G, BWV 1007. Bach Six Suites for Violoncello Solo

(Bärenreiter BA 320 or Peters EP 238 or Peters (Urtext) EP 9054 )3 J. S. Bach Es ist vollbracht (from St John Passion). More Time Pieces for Cello, Vol. 2, arr. Bruce and Wells

(ABRSM)4 Boni Largo and Allegro: 1st and 2nd movts from Sonata in C, Op. 1 No. 10 (Schott CB 53 ) 5 Haydn Andante. Lost Melodies, arr. Stutschewsky (Universal 10627 )6 Vivaldi Largo and Allegro: 1st and 2nd movts from Sonata in F, RV 41. Vivaldi Complete Sonatas for Violoncello

(Bärenreiter BA 6995 )

LIST B1 Goltermann Andantino: 2nd movt from Concerto No. 4 in G, Op. 65 (IMC 1606 ) 2 Granados Orientale, Op. 37 No. 2, trans. Piatigorsky (IMC 655 ) 3 Klengel Andante: 2nd movt from Concertino No. 1 in C, Op. 7 (Breitkopf & Härtel EB 2938 ) 4 Mendelssohn Allegretto scherzando: 2nd movt from Sonata No. 2 in D, Op. 58 (Henle 668 or IMC 3310 )5 Moeran Prelude (Novello NOV120091 )6 Squire Humoresque, Op. 26 (Stainer & Bell H382 )

LIST C1 Janáček Allegro: No. 3 from Pohádka. Janáček Works for Violoncello and Piano (Bärenreiter BA 9509 )2 Járdányi Sonatina: complete (Editio Musica Budapest Z.6528 )3 Korngold Serenade from Der Schneemann (Universal 2761 )4 Aaron Minsky The Train Whistle: No. 1 from 10 American Cello Etudes (OUP) 5 Ravel Pièce en forme de habanera, trans. Bazelaire (Leduc AL24862 ) 6 Ulrich Schultheiss Deux par deux. Collection Panorama – Violoncelle 2 (Billaudot GB4151 )

43

Cello GRADE 7


range bowing requirements rhythm patternScalesDb, Eb, E, F majors C# , Eb, E, F minors (minors harmonic or melodic, as directed by the examiner)

3 oct.3 oct.



Scales in thumb positionD major & minor† (harmonic or melodic, as directed by the examiner)



ArpeggiosDb, Eb, E, F majors C# , Eb, E, F minors

3 oct.3 oct.


even notes "

Dominant sevenths (resolving on tonic)In the keys of F# , Ab, A and Bb 2 oct. separate bows and slurred


Diminished seventhsStarting on C# , Eb, E and F 2 oct. separate bows and slurred


Chromatic scalesStarting on C# , Eb, E and F 2 oct. separate bows and slurred


Double-stop scale (in broken steps)In sixths, in Eb major 1 oct. see p. 8 see p. 8

SIGHT-READING*: a piece of around sixteen to twenty bars in length, time and key signatures as Grade 6, with the addition of 78 and 74 , E, Ab majors and B, F minors. Highest note Bb (b b' ): shifts as required to cover this range. Some passages in tenor clef may be included. See also p. 7.




44

Cello GRADE 8



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

BA 320 or Peters EP 238 or Peters (Urtext) EP 9054 )2 J. S. Bach, trans. Fournier Chorale No. 1 in G minor. Bach Six Chorales, trans. Fournier (IMC 1981 )3 Boccherini Rondo, arr. Bazelaire (Leduc AL16769 ) 4 Caldara Andante and Allegro: 1st and 2nd movts from Sonata No. 1 in A. Caldara 16 Sonatas, Vol. 1

(Doblinger DM 1176 ) 5 F. Francoeur Largo cantabile and Gigue: 4th and 5th movts from Sonata in E (Schott CB 74 )6 Telemann Lento and Allegro: 1st and 2nd movts from Sonata in D, TWV 41:D6 (from Der getreue Musikmeister)

(Bärenreiter HM 13 ) or Cello & Piano 1, arr. Pejtsik (Editio Musica Budapest Z.14636 )7 Vivaldi Largo and Allegro poco: 1st and 2nd movts from Sonata in A minor, RV 44. Vivaldi Complete Sonatas

for Violoncello (Bärenreiter BA 6995 )

LIST B1 Arensky Chant triste, Op. 56 No. 3. Cello & Piano 2, arr. Pejtsik (Editio Musica Budapest Z.14637 ) 2 Beethoven Allegro moderato: 1st movt from Sonata in F (for Horn or Cello), Op. 17. Beethoven Sonatas for

Violoncello and Piano (Wiener Urtext UT 50247 ) or (separately: IMC 3153 ) 3 Brahms Allegretto quasi Menuetto: 2nd movt from Sonata in E minor, Op. 38 (Wiener Urtext UT 50039 or

Peters EP 3897a)4 Chopin Scherzo: 2nd movt from Sonata in G minor, Op. 65 (Henle 495 or Peters EP 1928 )5 Fauré Romance in A, Op. 69 (Hamelle HA9168 or IMC 3499 )6 Granados Madrigal in A minor (IMC 1884 )7 Saint-Saëns Allegro appassionato, Op. 43 (Durand or Schott CB 186 )

LIST C1 Bloch Jewish Song: No. 3 from From Jewish Life (separately: Carl Fischer B1971 ) or Bloch Music for Cello and

Piano (Carl Fischer O5482)2 Dunkler La fileuse, Op. 15 (PWM 9230 )3 Goens Tarantelle, Op. 24 (Editio Musica Budapest Z.13595 )4 Jacob Allegro vivace: 2nd movt from Sonata (Stainer & Bell 2237 )5 Aaron Minsky Truckin’ Through the South: No. 2 from 10 American Cello Etudes (OUP)6 Nin Sur un air de danse de Pablo Esteve: No. 4 from Quatre commentaires pour violoncelle et piano (Eschig )7 Prokofiev Moderato: 2nd movt from Sonata in C, Op. 119 (Peters EP 4710)

45

Cello GRADE 8


range bowing requirements rhythm patternScalesF# , G, Ab, A, Bb majors F# , G, G# , A, Bb minors (minors harmonic or melodic, as directed by the examiner)

3 oct.3 oct.



ArpeggiosF# , G, Ab, A, Bb majors F# , G, G# , A, Bb minors

3 oct.3 oct.


even notes "

Dominant sevenths (resolving on tonic)In the keys of B, C, Db, D and Eb 3 oct. separate bows and slurred

(4 notes to a bow) even notes

Diminished seventhsStarting on F# , G, Ab, A and Bb 2 oct. separate bows and slurred


Chromatic scalesStarting on F# , G, Ab, A and Bb 3 oct. separate bows and slurred


Double-stop scale (in parallel )In sixths, in C major 1 oct. separate bows even notes or long tonic,


Double-stop scales (in broken steps)In thirds, in G major† In octaves, in G major‡

1 oct.1 oct.

see p. 8 "

see p. 8 "


2 and F# minor. Highest note D (d" ): shifts as required to cover this range. Passages in tenor clef or treble clef may be included. Acceleration of tempo, simple ornaments and left-hand pizzicato may be encountered. See also p. 7.


† Starting on bottom G ‡ Starting one octave above bottom G


46

DOUBLE BASS (Subject Code: 06)

The set pieces in this syllabus are valid from 2010 until further notice. The scale and sight-reading requirements have been revised and take effect from 1 January 2012.

Double Bass GRADE 1

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C. Pieces in first position are indicated by †, those in half position by §, while the remaining pieces can be played in either position:

LIST A1 Anon. Estonian Lament to the Moon (in either key) Time Pieces for Double Bass, Vol. 1, arr. Slatford (ABRSM)2 Blow Gavott (from Musick’s Hand-maid)

¸˝˛

3 Anon. German The More the Merrier. No. 67 from Ready Steady Go, arr. Elliott (Bartholomew 502: piano accomp. published separately, 502a)

4 Shinichi Suzuki Allegretto. No. 11 from Suzuki Bass School, Vol. 1, Revised Edition (Alfred—Summy-Birchard 0370S: piano accomp. published separately, 0372S)

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

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

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

piano accomp. published separately)2 Tony Osborne Bass Bridges of Paris or Alpen Song†: No. 14 or No. 18 from The Really Easy Bass Book (Faber)3 Michael Rose Ballad II Time Pieces for Double Bass, Vol. 1, arr. Slatford (ABRSM)4 Schumann A Little Piece (from Op. 68)

¸˝˛

5 Taki Moon Over the Ruined Castle. No. 8 from Suzuki Bass School, Vol. 2, Revised Edition (Alfred—Summy-Birchard 0371S: piano accomp. published separately, 0374S)

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

LIST C1 Anon. Corn Rigs Quadrille 2 Steve Berry A Little Blue (without improvisation) Time Pieces for Double Bass, Vol. 1, 3 T. Morley Now is the month of Maying (in either key)

¸˝˛ arr. Slatford (ABRSM)

4 I. Carroll Gigue: from Five Simple Pieces (Stainer & Bell 2310)5 Tony Osborne And Y Not: No. 22 from The Really Easy Bass Book (Faber)6 Regner Lied des Schlafes: No. 5 from Kontra-Spass (Schott KBB 11)7 Trad. Hatikvah, arr. Elliott. P. 22 from The Essential String Method, Double Bass Book 3 (Boosey & Hawkes: piano accomp. published separately)

§†

†

†

†

§

†§

§

†

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

47

Double Bass GRADE 1

SCALES AND ARPEGGIOS*: from memory; for further details (incl. examples) see pp. 6–9 Group 1 (first position) or Group 2 (half position), at candidate’s choice†

range bowing requirements rhythm patternGROUP 1ScalesC, D majors G major; A natural minor

a 6th1 oct.



ArpeggiosG major; A minor 1 oct. separate bows even notes

GROUP 2ScalesC majorF, Bb majors; A natural minor

a 6th1 oct.



ArpeggiosF, Bb majors; A minor 1 oct. separate bows even notes

SIGHT-READING*: 1st or half position, at candidate’s choice†. A four-bar piece in 44 or 34 , or a six-bar piece in 2

4 , in G or D majors (no use of E and A strings) or F or Bb majors (no use of G string). All notes

separately bowed. Simple dynamics (f, F, p), note values (h q q q q q q q) and rests (Œ). See also p. 7.


or

† The examiner will ask which Group/position


48

Double Bass GRADE 2


LIST A1 attrib. J. S. Bach Musette (BWV Anh. II 126). P. 9 from The Anna Magdalena Bach Notebook for Double Bass, arr.

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

P. 3 from

¸ÓÏ˛ separately, 009a)

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

4 Handel Gavotte, arr. Elliott (upper line). P. 10 from The Essential String Method, Double Bass Book 4 (Boosey 5 Trad. English Greensleeves, arr. Elliott. P. 26 from

¸˝˛ & Hawkes: piano accomp. published separately)

6 Mozart Passe-pied (observing repeats). No. 9 from La Contrebasse classique, Vol. A, arr. Dehant (Combre C05440)

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


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

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

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

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

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

cadabra Double Bass, Book 1, arr. Lillywhite et al. (Black: piano accomp. published separately)2 Christopher Field Ladye Broomleigh Her Pavane. No. 45 from Yorke Studies for Double Bass, 3 Trad. Scottish Ye Banks and Braes, arr. Slatford. Vol. 1 (Yorke YE0022) No. 73 from

¸ÓÏ˛

4 Herz Galoppe Time Pieces for Double Bass, Vol. 1, arr. Slatford (ABRSM)5 Giles Swayne Lazybones

¸˝˛

6 Regner Maitanz: No. 2 from Kontra-Spass (Schott KBB 11)7 Trad. March of the Kings, arr. Elliott. P. 25 from The Essential String Method, Double Bass

Book 4 (Boosey & Hawkes: piano accomp. published separately)


range bowing requirements rhythm patternScalesF, G, Bb, D majors; A, B minors (minors natural or harmonic, at candidate’s choice)

1 oct. separate bows and slurred (2 quavers to a bow)


ArpeggiosF, G, Bb majors; A, B minors 1 oct. separate bows even notes

SIGHT-READING*: an eight-bar piece, time signatures as Grade 1, in C, G, D majors or A natural minor, in 1st position. Notes separately bowed or with simple two-note slurs. Addition of P, ‘hairpins’ (cresc./dim.), dotted minim, and minim rest. See also p. 7.


accomp.

solo

solo

accomp.accomp.accomp.solo or accomp.


49

Double Bass GRADE 3


LIST A1 Azaïs Menuet. No. 22 from La Contrebasse classique, Vol. A, arr. Dehant (Combre C05440)2 attrib. J. S. Bach First Minuet in D minor (BWV Anh. II 121) (observing 1st repeat). P. 9 from The Anna

Magdalena Bach Notebook for Double Bass, arr. Elliott (Bartholomew 009: piano accomp. published separately, 009a)3 L. Couperin Menuet de Poitou (omitting DC) Time Pieces for Double Bass, Vol. 1, 4 Lully Air and Chaconne (from Le bourgeois gentilhomme)


5 Gerhard Deutschmann Menuett and Trio. No. 9 from Yorke Solos for Double Bass, Vol. 1 (Yorke YE0087)6 Mozart Allegro (K. 3). No. 2 from Subterranean Solos, arr. Hartley (Bartholomew 006: piano accomp. published

separately, 006a)

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

published separately, 006a)2 Gurlitt Voyage de nuit. No. 20 from La Contrebasse classique, Vol. A, arr. Dehant (Combre C05440)3 Sheila Joynes The Old Sea Dog. No. 52 from Bass is Best! Yorke Mini-Bass Book 2, arr. Emery and Barratt (Yorke

YE0098 )4 John Merle Mummers (Danse grotesque). Festival Performance Solos – String Bass (Carl Fischer BF5: piano

accomp. published separately, BF6)5 Schumann Melody (from Op. 68). Time Pieces for Double Bass, Vol. 1, arr. Slatford (ABRSM)6 Verdi Grand March (from Aïda). Amazing Solos for Double Bass, arr. Schofield (Boosey & Hawkes)

LIST C1 Aprile Solfeggio No. 3 (upper part) (ornaments optional). Time Pieces for Double Bass, Vol. 1, arr. Slatford (ABRSM) († with the published piano (not double bass) accomp.)2 Frederick Boaden Prelude: 1st movt from Petite Suite (Yorke YEC47358 )3 Teppo Hauta-aho Scott: 3rd movt from Jazz Sonatine [No. 1]. No. 1 from Hauta-aho

Pizzicato Pieces, Book 1 (Recital Music RM097 )4 Mozart, trans. Hindemith O Iso ed Osiro. Hindemith Stücke für Kontrabass solo (Schott ED 8378 )5 Tony Osborne Bassa Nova (pizz or arco or combination): No. 3 from Junior Jazz Book 1

(Recital Music RM037 )6 Michael Rose Jumbo Rag: from A Sketchbook for Double Bass (ABRSM)7 David Tutt Spanish Dance. No. 8 from Bass is Best! Yorke Mini-Bass Book 2, arr. Emery and

Barratt (Yorke YE0098 )


range bowing requirements rhythm patternScalesE, A, C, D majors; E, G, D minors (minors harmonic or melodic, at candidate’s choice)

1 oct. separate bows and slurred (2 quavers to a bow)


ArpeggiosE, A, C, D majors; E, G, D minors 1 oct. separate bows and slurred


Chromatic scaleStarting on A 1 oct. separate bows even notes

SIGHT-READING*: an eight-bar piece, time and key signatures as Grade 2, with the addition of F, Bb majors and B minor, in half or 1st position. Occasional accidentals (within minor keys only). Dotted rhythms, semiquavers and ties may be encountered. Pizzicato (at end of piece only) and staccato may be included. Increasing use of dynamics, rests and slurs. See also p. 7.


solo or accomp.†

accomp.solo

solo

accomp.

accomp.accomp.

50

Double Bass GRADE 4


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

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

2 J. S. Bach Gavotte and Musette, arr. Slatford. No. 20 from Yorke Solos for Double Bass, Vol. 1 3 Mozart A Little Melody, arr. Láska. No. 23 from

¸˝˛ (Yorke YE0087 )

4 Froberger Gigue (ornaments optional ) Time Pieces for Double Bass, Vol. 2, arr. Slatford 5 Handel Allegro (from Concerto grosso, Op. 6 No. 8)

¸˝˛ (ABRSM)

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

LIST B1 Grieg Hunting Song (Op. 4 No. 4) Time Pieces for Double Bass, Vol. 2, arr. Slatford2 Mendelssohn Venetian Gondola Song (from Op. 57)

¸˝˛ (ABRSM)

3 Humperdinck Fiddler’s Song (from Königskinder). Amazing Solos for Double Bass, arr. Schofield (Boosey & Hawkes)4 S. Lancen Si j’étais … Moussorgsky. No. 13 from Yorke Solos for Double Bass, Vol. 1 (Yorke YE0087 ) 5 J. F. Müller Neapolitan Dance (Neil Kjos Music KJ15920 )6 Michael Rose Reverie: from A Sketchbook for Double Bass (ABRSM)

LIST C1 A. Benjamin Jamaican Rumba Time Pieces for Double Bass, Vol. 2, arr. Slatford (ABRSM)2 Kabalevsky Cavalryman (from Op. 27)

¸˝˛

3 Frederick Boaden Elegy: 2nd movt from Petite Suite (Yorke YEC47358 )4 Bottesini Study No. 4 or No. 9: from Method for Double Bass, Part 1 (Yorke YE0076 )5 Christopher Field Hornpipe: No. 4 from Mock Baroque. No. 108/4 from Yorke Studies for Double

Bass, Vol. 2 (Yorke YE0086 )6 Teppo Hauta-aho Allegro moderato: 1st movt from Jazz Sonatine No. 2 (Recital Music RM333 )7 Regner Der Clown tritt auf: No. 8 from Kontra-Spass (Schott KBB 11 )


range bowing requirements rhythm patternScalesE, F, G, A majors; E, G, A minors (minors harmonic or melodic, at candidate’s choice)

a 12th separate bows and slurred (2 quavers to a bow)


ArpeggiosE, F, G, A majors; E, G, A minors a 12th separate bows and slurred


Dominant sevenths (resolving on tonic)In the keys of A and Bb 1 oct. separate bows even notes

Chromatic scalesStarting on G and B 1 oct. separate bows and slurred


SIGHT-READING*: a piece of around eight bars in length, time and key signatures as Grade 3, with the addition of 68 , A major, E and D minors. Shifts between half, 1st and 3rd positions may be encountered (but no more than two positions per test). Occasional chromatic notes. Anacrusis, hooked bowing, accents and pause signs may be included. See also p. 7.



accomp. accomp. accomp. solosolo

soloaccomp.

51

Double Bass GRADE 5


LIST A1 Corelli Sarabanda (Largo): 3rd movt from Sonata in D minor [C minor], trans. Zimmermann (IMC 1766 )2 attrib. Giovannino Adagio and Aria staccata e allegra: 1st and 2nd movts from Sonata in A minor (Yorke YE0008 )3 Handel Bourree. No. 8 from Suzuki Bass School, Vol. 3, Revised Edition (Alfred—Summy-Birchard 0376S: piano

accomp. published separately, 0377S)4 S. Paxton Allegretto: 1st movt from Sonata in D, Op. 3 No. 2, trans. Elliott (Bartholomew 005)5 Rameau Dance. No. 68 from Bass is Best! Yorke Mini-Bass Book 2, arr. Emery and Barratt (Yorke YE0098 )6 Rameau Le Lardon and La Boiteuse. Time Pieces for Double Bass, Vol. 2, arr. Slatford (ABRSM)

LIST B1 Fauré Autumn (Op. 18 No. 3) Time Pieces for Double Bass, Vol. 2, arr. Slatford (ABRSM)2 Spohr Allegro (from String Quartet, Op. 4 No. 2)

¸˝˛

3 Massenet Mélodie (Op. 10), arr. Zimmermann Festival Performance Solos – String Bass (Carl Fischer BF5:4 Trad. The Jolly Dutchman, arr. Isaac

¸˝˛ piano accomp. published separately, BF6 )

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

6 Pascal Proust Le bon barbu rond (Combre C06174 )

LIST C1 L. Bernstein Cool (from West Side Story). Amazing Solos for Double Bass, arr. Schofield (Boosey & Hawkes )2 Bottesini Study No. 18 or No. 32: from Method for Double Bass, Part 1 (Yorke YE0076 )3 Tyrone Brown Walking Song (p. 14 only, observing 1st repeat): from Compositions for Bass (Mel Bay)4 I. Carroll Polish Mazurka or Cuban Rumba: from Five National Dances (Stainer & Bell H290 )5 Miles Davis So What, arr. Swaim. No. 10 from Suzuki Bass School, Vol. 3, Revised Edition (Alfred—Summy-Birchard 0376S: piano accomp. published separately, 0377S )6 Ray Henderson Black Bottom. Time Pieces for Double Bass, Vol. 2, arr. Slatford (ABRSM)7 L. Shitte Étude. No. 63 from Bass is Best! Yorke Mini-Bass Book 2, arr. Emery and Barratt (Yorke YE0098 )


range bowing requirements rhythm patternScalesEb, G† majors F, Bb, C majors; F, Bb, C minors (minors harmonic or melodic, at candidate’s choice)

1 oct.a 12th



ArpeggiosEb, G† majors F, Bb, C majors; F, Bb, C minors

1 oct.a 12th


even notes "

Dominant sevenths (resolving on tonic)In the keys of F and Ab 1 oct. separate bows and slurred


Diminished seventhsStarting on E and A 1 oct. separate bows even notes

Chromatic scalesStarting on D and Eb 1 oct. separate bows and slurred


accomp.

solosolo

accomp.accomp.

accomp.solo or accomp.

† Starting one octave above bottom G

(continued overleaf )

52

Double Bass GRADE 5

SIGHT-READING*: a piece of around eight to sixteen bars in length, time and key signatures as Grade 4, with the addition of G minor. Highest note E (e' ): shifts as required to cover this range. Changes between arco and pizzicato, simple syncopation and a slowing of tempo at the end may be encountered. See also p. 7.


Double Bass GRADE 6



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

Double Bass Vol. 2 (Alfred—Belwin EL95110: piano accomp. published separately, EL95109 )3 Giordani Larghetto. Two Eighteenth-Century Pieces, arr. Sterling (Stainer & Bell H468 )4 B. Marcello Largo and Allegro: 3rd and 4th movts from Sonata in F, Op. 2 No. 1. Marcello Six Sonatas

(Schirmer GS26269 )5 S. Paxton The Bush aboon Traquair (A Scots Air) and Vivace: 2nd and 3rd movts from Sonata in D, Op. 3

No. 2, trans. Elliott (Bartholomew 005)6 Vivaldi Allegro: 4th movt from Sonata No. 1 in B b, RV 47. Vivaldi Complete Sonatas for Violoncello (Bärenreiter

BA 6995) or (separately, trans. Zimmermann: IMC 2302 )

LIST B1 Beethoven Sonatina. No. 6 from Solos for the Double Bass Player, arr. Zimmermann (Schirmer GS33083 )2 Gabriel-Marie La Cinquantaine. No. 6 from Suzuki Bass School, Vol. 4 (Alfred—Summy-Birchard 28359: piano

accomp. published separately, 28360 ) or (separately, arr. Elliott: Bartholomew 001)3 Keÿper Romance: No. 1 from Romance and Rondo (Yorke YE0030 )4 John Merle Caballero. Festival Performance Solos – String Bass (Carl Fischer BF5: piano accomp. published

separately, BF6 )5 Pascal Proust Arcades (Combre C5483 )6 John Walton A Deep Song (Yorke YE0005 )

LIST C1 L. Bernstein America (from West Side Story) (observing repeats). Amazing Solos for Double Bass, arr. Schofield (Boosey & Hawkes )2 Bottesini Study No. 40 or No. 50: from Method for Double Bass, Part 1 (Yorke YE0076 )3 Derek Bourgeois Allegro commodo: No. 3 from Fantasy Pieces for Double Bass (Brass Wind)4 Gavin Bryars Room 42. Time Pieces for Double Bass, Vol. 2, arr. Slatford (ABRSM) 5 P. M. Dubois Le gai cascadeur (Le Rideau Rouge RR1068 )6 Teppo Hauta-aho A Little Waltz (Pieni Valssi): from Teppo’s Tunes (Recital Music RM068 )7 Sturm Andante and Moderato: Nos 3 and 4 from 110 Studies for String Bass, Op. 20, Vol. 1 (IMC 2079 )

accomp.

solosoloaccomp.accomp.accomp.solo


53

Double Bass GRADE 6


range bowing requirements rhythm patternScalesE, F, G, A majors & minors (minors harmonic or melodic, as directed by the examiner)



Scale in thumb positionD major† 1 oct. separate bows even notes or long tonic,


ArpeggiosE, F, G, A majors & minors 2 oct. separate bows and slurred


Dominant sevenths (resolving on tonic)In the keys of A, Bb and C 2 oct. separate bows and slurred


Diminished seventhsStarting on E, F and G 2 oct. separate bows and slurred


Chromatic scalesStarting on E, F and G 2 oct. separate bows and slurred


Scale in broken thirds G major (as example on p. 9 ) 1 oct. slurred (2 notes to a bow) even notes


54 and 58 , Eb major and C minor. Highest note G (g' ): shifts as required to cover

this range. Simple chords may be included (at end of piece only). A slowing of tempo within the piece followed by an a tempo may be encountered, as may triplet rhythms. See also p. 7.




54

Double Bass GRADE 7



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

Zimmermann (IMC 1766 )3 De Fesch Sarabande (Largo) and Minuet: 3rd and 4th movts from Sonata in G (IMC 2489 )4 B. Marcello Largo and Allegro: 3rd and 4th movts from Sonata in G minor, Op. 2 No. 4. Marcello Six Sonatas

(Schirmer GS26269 ) or (separately: IMC 1661 ) 5 Mozart Rondo (Tempo di minuetto): 3rd movt from Bassoon Concerto, K. 191, trans. Sankey (IMC 2421 )6 Vivaldi Largo and Allegro: 1st and 2nd movts from Sonata No. 2 in F, RV 41. Vivaldi Complete Sonatas for Violon-

cello (Bärenreiter BA 6995: low Cs and Ds may be adapted ) or (separately, trans. Zimmermann: IMC 2303 )

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

Pieces, Book 1 (Recital Music RM189 ) 2 Rossini Une larme (Recital Music RM303 )3 Saint-Säens Aria ‘Mon coeur s’ouvre à ta voix’, arr. McTier (McTier Music MM 207 )4 Vaughan Williams Romanza (observing 8vas): 2nd movt from Concerto for Bass Tuba (tuba edition: OUP)5 Verdi Aria (from Rigoletto). No. 10 from Solos for the Double Bass Player, arr. Zimmermann (Schirmer GS33083 )6 J. P. Waud Novelette. No. 35 from Yorke Solos for Double Bass, Vol. 1 (Yorke YE0087 )

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

(Brass Wind)3 Paul Breuer Allegro ma non troppo: 1st movt from Sonatine (Breitkopf & Härtel BG 506 )4 Teppo Hauta-aho Erkon Elegia (Recital Music RM104 )5 Norman Hester The Bull Steps Out (Yorke YE0070 )6 B. Hummel Allegro: 1st movt from Sonatina, Op. 69b (Simrock EE2989 )7 Dennis Leogrande May I? (Spartan Press SP930 )

solosolo

accomp.soloaccomp.accomp.accomp.

55

Double Bass GRADE 7


range bowing requirements rhythm patternScalesF# , Ab(G#), Bb, C majors & minors (minors harmonic or melodic, as directed by the examiner)



Scales in thumb positionD major & minor† (harmonic or melodic, as directed by the examiner)



ArpeggiosF# , Ab(G#), Bb, C majors & minors 2 oct. separate bows and slurred


Dominant sevenths (resolving on tonic)In the keys of B, Db and Eb 2 oct. separate bows and slurred


Diminished seventhsStarting on F# , Ab and Bb 2 oct. separate bows and slurred


Chromatic scalesStarting on F# , Ab and Bb 2 oct. separate bows and slurred


Double-stop scale (in broken steps)In thirds, in Bb major 1 oct. see p. 8 see p. 8

SIGHT-READING*: a piece of around sixteen to twenty bars in length, time and key signatures as Grade 6, with the addition of 78 and 74 , E major and F# minor. Highest note A (a' ): shifts as required to cover this range. Further use of chords. Some passages in tenor clef may be included. See also p. 7.




56

Double Bass GRADE 8



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

Zimmermann (IMC 1712 )3 Pergolesi Comodo and Presto: 1st and 4th movts from Sinfonia in F (separately, trans. Elliott: Bartholomew 010 )

or Three Sonatas for Double Bass and Piano (trans. Drew: University of Miami )4 Pichl Allegro moderato: 1st movt from Concerto in C (Bartholomew 007 )5 Tartini Adagio cantabile, trans. Drew (St Francis Music Publications )6 Telemann Lento and Allegro, or Lento and Allegro: 1st and 2nd, or 3rd and 4th movts from Sonata in D,

TWV 41:D6, trans. Sankey (IMC 2304 )7 Vivaldi Largo and Allegro, or Largo and Allegro: 1st and 2nd, or 3rd and 4th movts from Sonata No. 6 in Bb,

RV 46. Vivaldi Complete Sonatas for Violoncello (Bärenreiter BA 6995) or (separately, trans. Zimmermann: IMC 1473 )

LIST B1 Bellini, arr. Bottesini Final de La somnambule. No. 3 from Bottesini Arias for Double Bass and Piano (Yorke

YE0023 ) 2 Bottesini Rêverie in D (McTier Music MM 203 )3 Dittersdorf Adagio: 2nd movt from Concerto No. 2. Dittersdorf Concertos for Double Bass (Yorke YE0059 ) 4 Fauré Après un rêve, trans. Zimmermann (IMC 1740 )5 Gouffé Concertino, Op. 10 (Billaudot R19143 ) 6 Nielsen Romanze: No. 1 from Fantasy Pieces, Op. 2, trans. Drew (St Francis Music Publications )7 Tuláček Valse miniature. No. 2 from Tuláček Three Pieces for Double Bass and Piano (Recital Music RM021 )

LIST C1 Christopher Benstead Finale (Presto): No. 4 from Four Episodes (Yorke YE0085 )2 Bottesini Study No. 110 or No. 114: from Method for Double Bass, Part 1 (Yorke YE0076 ) 3 Derek Bourgeois Allegro pesante or Allegro commodo: No. 5 or No. 8 from Fantasy Pieces for

Double Bass (Brass Wind)4 Dragonetti No. 7 or No. 8: from 12 Waltzes (Henle 847 )5 Piazzolla Kicho (starting at Allegro) (Tonos)6 A. Reynolds Hornpipe (Bartholomew 004 )7 A. Ridout Grave: 1st movt from Concerto for Double Bass (Yorke YE0044 )8 Eric Scrève Sweet Bass Ballad (Combre C06547 )

accomp.solosolo

soloaccomp.accomp.accomp.accomp.

57

Double Bass GRADE 8


range bowing requirements rhythm patternScalesB, Db(C#), D, Eb majors & minorsE, G majors & minors (minors harmonic or melodic, as directed by the examiner)

2 oct.3 oct.



ArpeggiosB, D majors & minorsE, G majors & minors

2 oct.3 oct.


even notes "

Dominant sevenths (resolving on tonic)In the keys of A, C, E and G 2 oct. separate bows and slurred


Diminished seventhsStarting on E, G, B and D 2 oct. separate bows and slurred


Chromatic scalesStarting on E, G, B and D 2 oct. separate bows and slurred


Double-stop scale (in broken steps)In thirds, in D major 1 oct. see p. 8 see p. 8

Scale in running thirds G major (as example on p. 9 ) 1 oct. slurred (3 notes to a bow) even notes


2 , Ab major and F minor. Highest note C (c" ): shifts as required to cover this range. Passages in tenor clef or treble clef may be included. Acceleration of tempo and simple ornaments may be encountered. See also p. 7.



58

AURAL TESTS: included in the Practical exams for all subjects

Listening lies at the heart of all good music-making. Developing aural awareness is fundamental to musical training because having a ‘musical ear’ impacts on all aspects of musicianship. Singing, both silently in the head and out loud, is one of the best ways to develop the ‘musical ear’. It connects the internal imagining of sound, the ‘inner ear’, with the external creation of it, without the necessity of mechanically having to ‘find the note’ on an instrument (important though that connection is). By integrating aural activities in imaginative ways in the lesson, preparation for the aural tests within an exam will be a natural extension of what is already an essential part of the learning experience.

In the examAural tests are an integral part of all Practical graded exams.

The tests are administered by the examiner from the piano. For any test that requires a sung response, pitch rather than vocal quality is the object. The examiner will be happy to adapt to the vocal range of the candidate, whose responses may be sung to any vowel (or consonant followed by a vowel), hummed or whistled (and at a different octave, if appropriate).

AssessmentA number of tests allow for a second attempt or for an additional playing by the examiner, if necessary. Also, where there is hesitation on the part of the candidate, the examiner will be ready to prompt, if necessary. In any such cases, this will affect the assessment.

Further information on how the aural tests are assessed can be found in the guide for candidates, teachers and parents, These Music Exams, available to download from www.abrsm.org/exams.

Minor modifications (from 2011)This syllabus includes the minor modifications introduced to some aural tests in 2011.

Specimen testsExamples of the tests are given in new editions (from 2011) of Specimen Aural Tests and Aural Training in Practice, available for purchase from music retailers and from www.abrsm.org/shop.

Deaf or hearing-impaired candidates Deaf or hearing-impaired candidates may opt to respond to alternative tests in place of the standard tests, if requested at the time of entry. The syllabus for these tests is available free on request from ABRSM (E [email protected]). Examples of the alternative tests are available for purchase from Allegro Music (T +44 (0)1885 490375; E sales@ allegro.co.uk). The minor modifications (from 2011) do not affect the alternative aural tests.

59

Aural Tests GRADE 1

A To clap the pulse of a piece played by the examiner, and to identify whether it is in two time or three time. The examiner will start playing the passage, and the candidate should join in as soon as possible, clapping in time and giving a louder clap on the strong beats. The examiner will then ask whether the music is in two time or three time. The candidate is not required to state the time signature.

B To sing as ‘echoes’ three phrases played by the examiner. The phrases will be two bars long, in a major key, and within the range of tonic–mediant. First the examiner will play the key-chord and the starting note (the tonic) and then count in two bars. After the examiner has played each phrase, the candidate should sing back the echo without a pause, keeping in time.

C To identify where a change in pitch occurs during a phrase played by the examiner. The phrase will be two bars long, in a major key, and the change will affect only one of the notes. First the examiner will play the key-chord and the tonic and then count in two bars. The examiner will play the phrase twice, making the change in the second playing, after which the candidate should state whether the change was near the beginning or near the end. If necessary, the examiner will play both versions of the phrase again (although this will affect the assessment).

D To answer questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two features the questions will be about. The first will be: dynamics (loud/quiet, or sudden/gradual changes); the second will be articulation (smooth/detached).

Aural Tests GRADE 2

A To clap the pulse of a piece played by the examiner, and to identify whether it is in two time or three time. The examiner will start playing the passage, and the candidate should join in as soon as possible, clapping in time and giving a louder clap on the strong beats. The examiner will then ask whether the music is in two time or three time. The candidate is not required to state the time signature.

B To sing as ‘echoes’ three phrases played by the examiner. The phrases will be two bars long, in a major key, and within the range of tonic–dominant. First the examiner will play the key-chord and the starting note (the tonic) and then count in two bars. After the examiner has played each phrase, the candidate should sing back the echo without a pause, keeping in time.

C To identify a change in either pitch or rhythm during a phrase played by the examiner. The phrase will be two bars long, in a major key. First the examiner will play the key-chord and the tonic and then count in two bars. The examiner will play the phrase twice, making the change in the second playing, after which the candidate should identify the change by describing it, or singing/clapping. If necessary, the examiner will play both versions of the phrase again (although this will affect the assessment).

D To answer questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two features the questions will be about. The first will be one of the following: dynamics (loud/quiet, or sudden/gradual changes), articulation (smooth/detached); the second will be tempo (becoming slower/faster, or staying the same).

60

Aural Tests GRADE 3

A To clap the pulse of a piece played by the examiner, and to identify whether it is in two time, three time or four time. The examiner will start playing the passage, and the candidate should join in as soon as possible, clapping in time and giving a louder clap on the strong beats. The examiner will then ask whether the music is in two time, three time or four time. The candidate is not required to state the time signature.

B To sing as ‘echoes’ three phrases played by the examiner. The phrases will be two bars long, in a major or minor key, and within the range of an octave. First the examiner will play the key-chord and the starting note and then count in two bars. After the examiner has played each phrase, the candidate should sing back the echo without a pause, keeping in time.

C To identify a change in either pitch or rhythm during a phrase played by the examiner. The phrase will be up to four bars long, in a major or minor key. First the examiner will play the key-chord and the tonic and then count in two bars. The examiner will play the phrase twice, making the change in the second playing, after which the candidate should identify the change by describing it, or singing/ clapping. If necessary, the examiner will play both versions of the phrase again (although this will affect the assessment).

D To answer questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two features the questions will be about. The first will be one of the following: dynamics (loud/quiet, or sudden/gradual changes), articulation (smooth/detached), tempo (becoming slower/faster, or staying the same); the second will be tonality (major/minor key).

Aural Tests GRADE 4

A To sing or play from memory a melody played twice by the examiner. The melody will be within the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner will play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the melody again and allow a second attempt (although this will affect the assessment).

B To sing five notes from score in free time. The candidate may choose to sing from treble or bass clef. The notes will be within the range of a third above and below the tonic in the key of C, F or G major. The test will begin and end on the tonic and will not contain intervals greater than a third. First the examiner will name and play the key-chord and the starting note. If necessary, the examiner will help the candidate by playing and identifying the correct note if any note is sung at the wrong pitch.

C (i) To answer questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two features the questions will be about. The first will be one of the following: dynamics, articulation, tempo, tonality; the second will be character.

(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it is in two time, three time or four time. The examiner will play the extract twice (unharmonized), after which the candidate should clap back the rhythm. The examiner will then ask whether the music is in two time, three time or four time. The candidate is not required to state the time signature.

61

Aural Tests GRADE 5

A To sing or play from memory a melody played twice by the examiner. The melody will be within the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner will play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the melody again and allow a second attempt (although this will affect the assessment).

B To sing six notes from score in free time. The candidate may choose to sing from treble or bass clef. The notes will be within the range of a fifth above and a fourth below the tonic, in a major key with up to two sharps or flats. The test will begin and end on the tonic and will not contain intervals greater than a third, except for the rising fourth from dominant to tonic. First the examiner will name and play the key-chord and the starting note. If necessary, the examiner will help the candidate by playing and identifying the correct note if any note is sung at the wrong pitch.

C (i) To answer questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two features the questions will be about. The first will be one of the following: dynamics, articulation, tempo, tonality, character; the second will be style and period.


Aural Tests GRADE 6

A To sing or play from memory the upper part of a two-part phrase played twice by the examiner. The upper part will be within the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner will play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the phrase again and allow a second attempt (although this will affect the assessment).

B To sing a melody from score, with an accompaniment played by the examiner. The candidate may choose to sing from treble or bass clef. The melody will be within the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner will name and play the key-chord and the starting note and then give the pulse. A brief period of preparation will follow during which the candidate may sing out loud. The examiner will play the key-chord and the starting note again and then count in two bars. If necessary, the examiner will allow a second attempt (although this will affect the assessment).

C To identify the cadence at the end of a phrase as perfect or imperfect. The phrase will be in a major or minor key and will be played twice by the examiner. The chords forming the cadence will be in root position. Before the first playing, the examiner will play the key-chord.

D (i) To answer questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two features the questions will be about. The first will be: texture or structure; the second will be one of the following: dynamics, articulation, tempo, tonality, character, style and period, texture/structure.


62

Aural Tests GRADE 7

A To sing or play from memory the lower part of a two-part phrase played twice by the examiner. The lower part will be within the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner will play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the phrase again and allow a second attempt (although this will affect the assessment).

B To sing the upper part of a two-part phrase from score, with the lower part played by the examiner. The candidate may choose to sing from treble or bass clef. The upper part will be within the range of an octave, in a major or minor key with up to four sharps or flats. First the examiner will name and play the key-chord and the starting note and then give the pulse. A brief period of preparation will follow during which the candidate may sing out loud. The examiner will play the key-chord and the starting note again and then count in two bars. If necessary, the examiner will allow a second attempt (although this will affect the assessment).

C (i) To identify the cadence at the end of a phrase as perfect, imperfect or interrupted. The phrase will be in a major or minor key and will be played twice by the examiner. The chords forming the cadence will be in root position. Before the first playing, the examiner will play the key-chord.

(ii) To identify the two chords forming the above cadence. The chords will be limited to the tonic, subdominant, dominant, dominant seventh or submediant (all in root position). First the examiner will name and play the key-chord, then play the two chords as a pair. The candidate may answer using technical names (tonic, dominant, etc.), chord numbers (I, V, etc.) or letter names (C major, G major, etc.).

(iii) To identify whether the modulation at the end of a different passage is to the dominant, subdominant or relative minor. The passage, played once by the examiner, will begin in a major key. First the examiner will name and play the starting key-chord. The candidate may answer using technical names (dominant, subdominant, relative minor) or the letter name of the new key.

D (i) To answer questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two of the following features the questions will be about: dynamics, articulation, tempo, tonality, character, style and period, texture, structure.

(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it is in two time, three time, four time or 6/8 time. The examiner will play the extract twice (unharmonized), after which the candidate should clap back the rhythm. The examiner will then ask whether the music is in two time, three time, four time or 6/8 time.

63

Aural Tests GRADE 8

A (i) To sing or play from memory the lowest part of a three-part phrase played twice by the examiner. The lowest part will be within the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner will play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the phrase again and allow a second attempt (although this will affect the assessment).

(ii) To identify the cadence at the end of a continuing phrase as perfect, imperfect, interrupted or plagal. The phrase will be in a major or minor key and will be played twice by the examiner. The chords forming the cadence will be limited to the tonic (root position, first or second inversions), supertonic (root position or first inversion), subdominant (root position), dominant (root position, first or second inversions), dominant seventh (root position) or submediant (root position). Before the first playing, the examiner will play the key-chord.

(iii) To identify the three chords (including their positions) forming the above cadential progression. The chords will be limited to the tonic (root position, first or second inversions), supertonic (root position or first inversion), subdominant (root position), dominant (root position, first or second inversions), dominant seventh (root position) or submediant (root position). First the examiner will name and play the key-chord, then play the three chords in sequence, finally playing each chord individually, pausing for the candidate to identify it. The candidate may answer using technical names (tonic, first inversion, etc.), chord numbers (Ib, etc.) or letter names (C major in first inversion, etc.).

B To sing the lower part of a two-part phrase from score, with the upper part played by the examiner. The candidate may choose to sing from treble or bass clef. The lower part will be within the range of an octave, in a major or minor key with up to four sharps or flats. First the examiner will name and play the key-chord and the starting note and then give the pulse. A brief period of preparation will follow during which the candidate may sing out loud. The examiner will play the key-chord and the starting note again and then count in two bars. If necessary, the examiner will allow a second attempt (although this will affect the assessment).

C To identify whether the modulations at the end of two different passages are to the dominant, subdominant or relative minor/major. The first passage will begin in a major key and the second will begin in a minor key; each passage will be played once by the examiner. Before playing each passage, the examiner will name and play the starting key-chord. The candidate may answer using technical names (dominant*, subdominant, relative minor/major) or the letter name of the new key. (* Minor-key passages may modulate to the dominant major or minor but the candidate is only required to specify ‘dominant’ in such cases.)

D To describe the characteristic features of a piece played by the examiner. After hearing the piece, the candidate should describe any notable features (such as texture, structure, character, style and period, etc.). The examiner will prompt the candidate with questions only if this becomes necessary.

64

THEORY OF MUSIC (Subject Code: 99)

Developing literacy with the tonal language forms a key part of a rounded education for performers, composers and listeners of all kinds. An understanding of how written symbols relate to the elements of music, and having the skills to interpret and translate them into sounds, empowers us to communicate and experience music in a meaningful way. Without knowledge of notation it is impossible for classical musicians to access their repertoire with ease or to rehearse together; and this repertoire could not be heard at all had composers not been able to write it down. So, music theory is a very practical subject that is completely entwined with performance and composition.

ABRSM’s Theory of Music exams give students opportunities to acquire:• aknowledgeofthenotationofwesternmusic,includingthesignsandterminol

ogy commonly employed• anunderstandingoffundamentalmusicalelementssuchasintervals,keys,scales

and chords • skillinconstructingbalancedrhythmicpatternsorcompletinggivenmelodicor

harmonic structures • anabilitytoapplytheoreticalknowledgeandunderstandingtoscoreanalysis

Candidates are assessed on their ability to identify, use and manipulate conventional musical symbols, to complete extracts and to answer questions relating to the elements of music according to the grade-by-grade parameters detailed on the following pages.

Grade 5 as a prerequisiteA longstanding ABRSM benchmark is that a pass at Grade 5 or above in Theory of Music must be obtained before candidates can enter for Grades 6, 7 or 8 Practical exams. We believe that a thorough understanding of the elements of music is essential for a full and satisfying performance at these higher grades. (Grade 5 in Practical Musicianship or any solo Jazz subject also fulfils this prerequisite.)

Marking schemeTheory exams are marked out of a total of 100, with 66 marks required for a Pass, 80 for a Merit and 90 for a Distinction.

Past papersCopies of the question papers set in ABRSM’s Theory exams for each of the preceding five years are available for purchase from music retailers and from www.abrsm.org/shop. Model answers for papers for the same period are also available.

65

Theory GRADE 11 Note values of semibreve, minim, crotchet, quaver and semiquaver, and their equivalent rests

(candidates may use the terms ‘whole note’, ‘half note’, etc.). Tied notes. Single-dotted notes and rests.

2 Simple time signatures of 24 3

4 44 , bar-lines and the grouping of the notes listed above within these

times. Composition of a two-bar rhythm in answer to a given rhythm starting on the first beat of a bar.

3 The stave. Treble (G) and bass (F) clefs. Names of notes on the stave, including middle C in both clefs. Sharp, flat and natural signs, and their cancellation.

4 Construction of the major scale, including the position of the tones and semitones. Scales and key signa tures of the major keys of C, G, D and F in both clefs, with their tonic triads (root position), degrees (num ber only), and intervals above the tonic (by number only).

5 Some frequently used terms and signs concerning tempo, dynamics, performance directions and articula tion marks. Simple questions will be asked about a melody written in either treble or bass clef.

Theory GRADE 2 As in Grade 1, with the addition of:

1 Simple time signatures of 22 3

2 42 3

8 and the grouping of notes and rests within these times. Triplets, and triplet note groups with rests. Questions will include the composition of simple four-bar rhythms starting on the first beat of the bar and using a given opening.

2 Extension of the stave to include two ledger lines below and above each stave.

3 Construction of the minor scale (harmonic or melodic at candidate’s choice, but candidates will be expected to know which form they are using). Scales and key signatures of the major keys of A, Bb and Eb, and the minor keys of A, E and D, with their tonic triads (root position), degrees (number only), and intervals above the tonic (by number only).

4 More terms and signs in common use.

Theory GRADE 3 As in preceding grades, with the addition of:

1 Compound time signatures of 68 9

8 182 and the grouping of notes and rests within these times. The

demisemiquaver (32nd note) and its equivalent rest. Questions will include the composition of a sim ple four-bar rhythm which may start on an upbeat.

2 Extension of the stave beyond two ledger lines. The transposition of a simple melody from the treble clef to the bass clef, or vice versa, at the octave.

3 Scales and key signatures of all major and minor keys up to and including four sharps and flats, including both harmonic and melodic forms of minor scales, with their tonic triads (root position), degrees (number only), and intervals above the tonic (number and type).

4 More terms and signs. The simple questions about a melody may include one on its phrase structure.

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1 All simple and compound duple, triple and quadruple time signatures, and the grouping of notes and rests within these times. The breve and its equivalent rest. Double-dotted notes and rests. Duplets. Questions will include the composition of a four-bar rhythm or (at candidate’s choice) the composition of a rhythm to given words.

2 Alto clef (C clef centred on 3rd line). The identification of notes in the alto clef in any of the keys set for this grade (see below), and the transcription at the same pitch of a simple melody from the treble or the bass clef to the alto clef, and vice versa. Double sharp and double flat signs, and their cancellation. Enharmonic equivalents.

3 Scales and key signatures of all major and minor keys up to and including five sharps and flats, with both forms of minor scales. Technical names for the notes of the diatonic scale (tonic, supertonic, etc.). Construction of the chromatic scale. All intervals, not exceeding an octave, between any two diatonic notes in any of the keys set for this grade.

4 The identification and writing of triads (root position) on the tonic, subdominant and dominant notes in any of the keys set for this grade. The recognition of 5

3 (root position) chords on the tonic, subdominant and dominant notes in any of the keys set for this grade (the harmonic form of the scale will be used in minor keys).

5 More terms and signs, including the recognition and naming (but not writing out) of the trill, turn, upper and lower mordent, acciaccatura and appoggiatura. Questions about a passage of music will include sim ple related questions about standard orchestral instruments.


1 Irregular time signatures of 54 7

4 58 7

8 and the grouping of notes and rests within these times. Irregu lar divi sions of simple time values.

2 Tenor clef (C clef centred on 4th line). The identification of notes in the four clefs in any of the keys set for this grade (see below), and the transposition at the octave of a simple melody from any clef to another. The writing at concert pitch of a melody notated for an instrument in Bb, A or F, and vice versa (the interval of transposition up or down will be given). The writing in open score, using treble and bass clefs, of a passage for SATB written on two staves, and vice versa.

3 Scales and key signatures of all major and minor keys up to and including six sharps and flats. All simple and compound intervals from any note.

4 The identification of the 53

63 and 6

4 forms of the tonic, supertonic, subdominant and dominant chords in any of the keys set for this grade. The identification of the progression 6

4 53 (Ic-V) on the

dominant note in any of the keys set for this grade. The choice of suitable chords, using any recognized method of notation, at cadential points of a simple melody in the major key of C, G, D or F.

5 The composition of a simple melody of not more than eight bars, using a given opening and writing for a specific instrument (some choice will be given) or, at the candidate’s choice, the composition of a melody to given words. Appropriate performing directions relating to tempo, dynamics and articulation will be required.

6 More terms and signs. The recognition of ornaments, including the replacement of written-out ornamen tation with the appropriate signs, but not vice versa. Questions about a passage of music written for voices or instruments appropriate to the grade will include questions on the types of voice and names of instru ments, the clefs they use, instrument family groups and the basic way by which they produce sound, as well as points of general musical observation designed to test the candidate’s ability to apply theoretical knowledge to actual music.

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Theory GRADE 6 As in preceding grades. The harmonic vocabulary expected will include: the use of 5

3 63 and 6

4 chords on any degree of the major or minor (harmonic and melodic) scale; the recognition of the dominant seventh chord in root position, first, second and third inversions, and the supertonic seventh chord in root position and first inversion, in any major or minor key; and the figuring for all these chords. An understanding of the principles of modulation and a knowledge of cadences, ornamentation and melodic decoration (which might include passing notes, auxiliary notes, appoggiaturas, changing notes and notes of anticipation) will also be expected. Questions will cover:

1 Writing specified chords for voices in four parts or for keyboard (at the candidate’s choice) above a given bass part of about four bars.

2 The indication of suitable chords for the accompaniment of a diatonic melody of about eight bars in any key, using any recognized method of notation, or, at the candidate’s choice, the provision of a bass to a given melody, adding figures to indicate the intended harmonies.

3 Composition of a melody for a specified instrument (a choice will be given), using a given opening. Modulation to the dominant, subdominant, relative major or relative minor may be required.

4 Questions on short extracts of music written for piano or in open score for voices or for any com-bination of instruments and/or voices, designed to test the candidate’s knowledge of the elements and notation of music, including the realization of ornaments, the identification and notation of underlying harmonic struc ture, phrase structure, style, performance, and on the voices and instruments for which the works were written.

Theory GRADE 7 As in preceding grades, with the addition of recognition of all diatonic secondary seventh chords and

their inversions, the Neapolitan sixth and the diminished seventh chords, and of all figures commonly used by composers during the period c.1620–1790 to indicate harmonies above a bass part. Questions will cover:

1 The indication of chords and movement of the inner parts by figuring the bass in a passage in which both the melody and bass are given.

2 Rewriting a given passage to include appropriate suspensions and notes of melodic decoration.3 Continuation of a given opening for solo instrument with keyboard accompaniment, which will be

given in full throughout the passage, by completing the solo part, or, at the candidate’s choice, composition of a melody for a specified instrument (a choice will be given) based on a given progression of chords or melodic figure.

4 Questions on short extracts of music written for piano or in open score for voices or for any com-bination of instruments and/or voices, designed to test the candidate’s knowledge of the elements and notation of music, including the realization of ornaments, the identification and notation of underlying harmonic structure, phrase structure, style, performance, and on the voices and instruments for which the works were written.

Theory GRADE 8 As in preceding grades. The harmonic vocabulary expected will include all standard diatonic and chro-

matic chords. Questions will cover:1 Continuation of a given opening of a passage from a Baroque trio sonata for two treble instru ments

and basso continuo. The basso continuo part will be given throughout and fully figured (but a realization for keyboard will not be required).

2 Completion of an outline of a short passage for keyboard. Some knowledge of the styles practised by com posers from the time of Haydn onwards will be assumed.

3 Continuation of a given opening of a melody for a specified instrument (a choice will be given).4 Questions on short extracts of music written for piano or in open score for voices or for any

com bination of instruments and/or voices, designed to test the candidate’s knowledge of the elements and notation of music, including the realization of ornaments, the identification and notation of underlying har monic structure, phrase structure, style, performance, and on the voices and instruments for which the works were written.

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PRACTICAL MUSICIANSHIP (Subject Code: 42)

Musicianship is a broad concept that covers a complex range of musical abilities. For the purposes of this syllabus, it is loosely defined as the ability to ‘think in sound’. This occurs when a musician is able to produce music which they perceive internally and in the imagination, whether through playing by ear, singing, reading from notation, or through improvisation.

ABRSM’s Practical Musicianship exams give students opportunities to develop their ability to ‘think in sound’ and perform spontaneously. While the other graded exams focus on aspects of performance that are prepared in detail in advance, here the playing (or singing) is in response to immediate challenges and stimuli, presented both aurally and via notation.

Grade by grade, the Practical Musicianship exams cover some of the key skills for the rounded musician:• theabilitytointernalizemusicandtoreproduceit• interpretingwrittenmusicwithaminimumofpreparation• exploringthepossibilitiesinherentinashortmotif• theabilitytodetectdifferencesbetweenwhatisheardandwhatiswritten

In developing their musicianship skills, students will be gaining the understandings as well as the expressive and interpretative skills needed to master the musical language of the repertoire they are learning.

Grade 5 as a prerequisiteA pass at Grade 5 or above in Practical Musicianship (or in Theory of Music or any solo Jazz subject) must be obtained before candidates can enter for Grades 6, 7 or 8 Practical exams. We believe that a thorough understanding of the elements of music is essential for a full and satisfying performance at these higher grades.

InstrumentsPractical Musicianship exams are open to singers as well as instrumentalists perform ing on any instrument(s) included in the current range of subjects featured in ABRSM’s syllabuses. Singing candidates will be expected to play certain parts of the exam on an instrument (either the piano provided or any other instrument of their choice).

In the examApproximately one minute of preparation time is allowed for the following tests: • singing/playingatsight• improvising(fromGrade4)• transposingatsight• realizingafiguredbassFor any test that requires a sung response, pitch rather than vocal quality is the object. The examiner will be happy to adapt to the vocal range of the candidate, whose responses may be sung to any vowel (or consonant followed by a vowel), hummed or whistled (and at a different octave, if appropriate).

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Marking schemeThe examiner will award an overall grading, rather than a mark, on the following basis:A Pass with DistinctionB Pass with MeritC PassF Failure to reach the standard required to pass

Specimen testsExamples of the tests are given in Specimen Tests: Practical Musicianship and Musicianship in Practice, available for purchase from music retailers and from www.abrsm.org/shop.

Practical Musicianship GRADE 1

A To tap, as an echo, the rhythm-pattern of two two-bar phrases in simple time played by the exam iner. The echoes should follow each phrase in strict time without an intervening pause.

B To sing, as an echo, two two-bar phrases in simple time played by the examiner. The echoes should follow each phrase in strict time without an intervening pause.

C To play from memory, on an instrument chosen by the candidate, a two-bar melody played twice by the examiner. The key-chord will first be sounded and the starting note appropriate to the candidate’s instru ment will be named.

D To sing at sight a four-bar melody in 24 time to a simple accompaniment played by the examiner. The

key-chord and starting note will first be sounded and named, and the pulse indicated.

E To improvise with voice or instrument, at the choice of the candidate, a two-bar answering phrase to a two-bar phrase played by the examiner. The key-chord and the starting note appropriate to the candidate’s voice or chosen instrument will first be sounded and named. The answering phrase should follow in strict time after the examiner has played the opening phrase. A second attempt will be allowed.

F To recognize, from the printed score, the three or four changes made to pitch and note values in a melody played twice by the examiner. The candidate will be required to point to and explain the differences. The key-chord will be sounded before the melody is played.


A To sing, as an echo, two two-bar phrases in simple time played by the examiner, whilst continuously tap ping a repeated rhythm pattern (i.e. an ostinato) previously indicated by the examiner. The echoes should follow each phrase in strict time without an intervening pause.

B To play from memory, on an instrument chosen by the candidate, a two-bar melody played twice by the examiner. The key-chord will first be sounded and the starting note appropriate to the candidate’s instru ment will be named.

C To sing at sight a four-bar melody in 24 or 3

4 time to a simple accompaniment played by the examiner. The key-chord and starting note will first be sounded and named, and the pulse indicated.

D To improvise with voice or instrument, at the choice of the candidate, a two-bar answering phrase to a two-bar phrase played by the examiner. The key-chord and the starting note appropriate to the candidate’s voice or chosen instrument will first be sounded and named. The answering phrase should follow in strict time after the examiner has played the opening phrase. A second attempt will be allowed.

E To recognize, from the printed score, the three or four changes made to pitch and note values in a melody played twice by the examiner. The candidate will be required to point to and explain the differences. The key-chord will be sounded before the melody is played.

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A To sing, as an echo, two two-bar phrases in simple time played by the examiner, whilst continuously tap ping a repeated rhythm pattern (i.e. an ostinato) previously indicated by the examiner. The echoes should follow each phrase in strict time without an intervening pause.

B To play from memory, on an instrument chosen by the candidate, a two-bar melody played twice by the examiner. The key-chord will first be sounded and the starting note appropriate to the candidate’s instru ment will be named.

C To sing at sight a four-bar melody in 24 3

4 44 or 6

8 time to an accompaniment played by the examiner. The key-chord and starting note will first be sounded and named, and the pulse indicated.

D To improvise with voice or instrument, at the choice of the candidate, a four-bar answering phrase to a four-bar phrase played by the examiner. The key-chord and the starting note appropriate to the candidate’s voice or chosen instrument will first be sounded and named. The answering phrase should follow in strict time after the examiner has played the opening phrase. A second attempt will be allowed.

E To recognize, from the printed score, the four changes made to pitch, note and rest values and dynamics in a melody played twice by the examiner. The candidate will be required to point to and explain the diff erences. The key-chord will be sounded before the melody is played.


A To sing and play from memory a four-bar melody in 24 or 3

4 time. The key-chord and starting note will first be sounded and named. The examiner will play the melody twice and the candidate will be required to sing the melody from memory. The examiner will then play the melody a third time and the candidate will be required to play the melody on an instrument of his/her choice. The examiner will choose a key and pitch suitable for the instrument.

B To sing at sight the lower part of a two-part passage of two bars’ length while the examiner plays the upper part. The key-chord and starting note will first be sounded and named, and the pulse indicated.

C To sing at sight a short melody in 24 3

4 44 or 6

8 time to an accompaniment played by the examiner. The key-chord and starting note will first be sounded and named, and the pulse indicated.

D To improvise with voice or instrument, at the choice of the candidate, an extension to the given opening of a short melody over a simple accompaniment played by the examiner. The implied harmonic scheme will be confined to chords of the tonic and dominant. The candidate will be given a part showing the melody in different keys and with different clefs to accommodate the full range of instruments. A second attempt will be allowed. Keyboard candidates should be prepared to play an octave higher than written.

E To recognize, from the printed score, the four changes (which may include pitch, rhythm, dynam ics and tempo) in a short piano piece played twice by the examiner. Changes to notes and rhythm will be confined to the melodic line. The candidate will be required to point to and explain the differences.

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A To sing and play from memory a four-bar melody in 24 3

4 44 or 6

8 time. The key-chord and starting note will first be sounded and named. The examiner will play the melody twice and the candidate will be required to sing the melody from memory. The examiner will then play the melody a third time and the candidate will be required to play the melody on an instrument of his/her choice. The examiner will choose a key and pitch suitable for the instrument.

B The candidate may choose to:

1 transpose at sight on the chosen instrument a four-bar melody up or down a tone or semitone. A key suitable for the candidate’s instrument will be given.

or

2 sing at sight the lower part of a four-bar phrase while the examiner plays the upper part. The key-chord and starting note will first be sounded and named, and the pulse indicated.

C To sing or play at sight, at the choice of the candidate, a short melody including the realization of dynam ics, simple ornamentation (except when the test is sung) and the more common marks of expression. Candidates will be allowed a preliminary attempt before being assessed. The key-chord and starting note will first be sounded if the test is sung, and words will be provided (but need not be used).

D The candidate may choose to:

1 improvise with voice or instrument, at the choice of the candidate, an extension to a mel ody over an accompaniment played by the examiner. The implied harmonic scheme will be con fined to chords of the tonic, dominant, subdominant and supertonic of major keys of not more than two sharps or two flats. The candidate will be given a part showing the melody in different keys and with different clefs to accommodate the full range of instruments. A second attempt will be allowed. Keyboard candidates should be prepared to play an octave higher than written.

or

2 improvise at the keyboard an accompaniment to a given melody which will be annotated with chord symbols. The harmonic scheme will be within the limitations stated in test D1 above. A suggested (but optional) opening will be provided. The examiner will play the mel ody, if requested to do so, while the candidate plays the accompaniment, or the candidate may incorp orate the melody in the accomp animent. Candidates will be given credit for the effective use of inversions of the chords. A second attempt will be allowed.

E To perform a short free improvisation based on a given motif or interval chosen by the examiner. The examiner will look for imaginative use of the given material, effective use of the voice or instrument and a sense of structure.

F To recognize, from the printed score, the five changes (which may include pitch, rhythm, dynam ics, tempo, articulation and phrasing) in a short piano piece played twice by the examiner. Changes to notes and rhythm will be confined to the melodic line. The candidate will be required to point to and explain the differences.

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A To sing and play from memory a short melody. The key-chord and start ing note will first be sounded and named. The examiner will play the melody twice and the can didate will be required to sing the melody from memory. The examiner will then play the melody a third time and the candidate will be required to play the melody on an instrument of his/her choice. The examiner will choose a key and pitch suitable for the instrument.


1 transpose at sight on the chosen instrument a melody (no longer than eight bars) up or down a tone or semitone. A key suitable for the candidate’s instrument will be given.

or

2 sing at sight the lower part of a passage (no longer than eight bars) while the examiner plays the upper part. The key-chord and starting note will first be sounded and named, and the pulse indicated.

C To sing or play at sight, at the choice of the candidate, a melody including the realization of dynamics, simple ornamentation (except when the test is sung) and the more common marks of expression. Candidates will be allowed a preliminary attempt before being assessed. The key-chord and starting note will first be sounded if the test is sung, and words will be provided (but need not be used).


1 improvise with voice or instrument, at the choice of the candidate, an extension to a mel ody over an accompaniment played by the examiner. The implied harmonic scheme will be con fined to chords of the tonic, dominant, subdominant, supertonic and dominant seventh of major keys of not more than two sharps or two flats. The candidate will be given a part showing the melody in different keys and with different clefs to accommodate the full range of instru ments. A second attempt will be allowed. Keyboard candidates should be prepared to play an octave higher than written.

or

2 improvise at the keyboard an accompaniment to a given melody which will be annotated with chord symbols. The harmonic scheme will be within the limitations stated in test D1 above. A suggested (but optional) opening will be provided. The examiner will play the mel ody, if requested to do so, while the can didate plays the accompaniment, or the candidate may incorp orate the melody in the accomp animent. Candidates will be given credit for the effective use of inversions of the chords. A second attempt will be allowed.

E To perform a short free improvisation based on a given motif, interval or texture (e.g. flutter-tonguing, tremolo, glissando, vocalization or the use of a specific chord cluster for keyboard players) chosen by the examiner. The examiner will look for imaginative use of the given material, effective use of the voice or instrument and a sense of structure.

F To recognize, from the printed score, the five changes (which may include pitch, rhythm, dynam ics, tempo, articulation and phrasing) in a short piano piece played twice by the examiner. The candidate will be required to point to and explain the differences.

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A To sing and play from memory a short melody. The key-chord and starting note will first be sounded and named. The examiner will play the melody twice (the first time in harmonized form, then the melody only) and the candidate will be required to sing the melody from memory. The examiner will then play the test a third time and the candidate will be required to play the melody on an instrument of his/her choice. The examiner will choose a key and pitch suitable for the instrument. Candidates who choose to play the piano for this test will be expected to play the melody with the har monies in outline.


1 transpose at sight on the chosen instrument a melody (no longer than eight bars) up or down any interval up to and including a minor third. A key suitable for the candidate’s instrument will be given.

or

2 sing at sight the middle or lower part of a passage of three-part harmony (no longer than 12 bars) while the examiner plays the other two parts. The key-chord and starting note will first be sounded and named, and the pulse indicated.

C To sing or play at sight, at the choice of the candidate, a passage of music including the realization of dynamics, ornamentation (except when the test is sung), marks of expression, articu lation and phrasing. Candidates will be allowed a preliminary attempt before being assessed. The key-chord and starting note will first be sounded if the test is sung, and words will be provided (but need not be used). The examiner will accompany singers and instru mentalists (other than keyboard players, guitarists and harpists) for the performance.


1 continue a given two-bar melodic opening, which will be in late 17th- or early 18th-century style, to make eight bars in all. The candidate may opt to sing or play this test. If the test is sung, a key suitable for the candidate’s voice will be chosen.

or

2 realize a short figured bass passage at the keyboard. Chords will be limited to 53 6

3 64 and 7

53 in any

major or minor key up to and including two sharps or two flats.

E To perform a short free improvisation based on a given poem using voice or instrument. Candidates whose first language is not English may choose to base their improvisation on a given reproduction of a painting. The improvisation should last no longer than two minutes, and will be assessed for its relevance to the mood of the poem (or painting) and for its musical structure. Candidates who opt to sing this test may choose whether or not to use the words.

F To answer basic questions about an extract from a score (provided by the examiner) of a cham ber work writ ten between 1700 and 1850 for no more than four players. Questions may refer to keys, harmonic frame work, instrumentation, style and structure.

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A To sing and play from memory a short melody. The key-chord and starting note will first be sounded and named. The examiner will play the melody twice (the first time in harmonized form, then the melody only) and the candidate will be required to sing the melody from memory. The examiner will then play the test a third time and the candidate will be required to play the melody on an instrument of his/her choice. The examiner will choose a key and pitch suitable for the instrument. Candidates who choose to play the piano for this test will be expected to play the melody with the har monies in outline.


1 transpose at sight on the chosen instrument a melody (no longer than eight bars) up or down any interval up to and including a major third. A key suitable for the candidate’s instrument will be given.

or

2 sing at sight the middle or lower part of a passage of a three-part motet while the examiner plays the other two parts. The C (alto) clef may be used. The key-chord and starting note will first be sounded and named, and the pulse indicated.

C To sing or play at sight, at the choice of the candidate, a passage of music including the realiz ation of dynamics, ornamentation (except when the test is sung), marks of expression, articulation and phrasing. Candidates will be allowed a preliminary attempt before being assessed. The key-chord and starting note will first be sounded if the test is sung, and words will be provided (but need not be used). The examiner will accompany singers and instrumentalists (other than keyboard players, guitarists and harpists) for the performance.


1 continue a given two-bar melodic opening to make eight bars in all. The candidate may opt to sing or play this test. If the test is sung, a key suitable for the candidate’s voice will be chosen.

or

2 realize a short figured bass passage at the keyboard. Chords will be limited to 53 6

3 64 7

53 6

53

643 and 6

42 in

any major or minor key up to and including two sharps or two flats.

E To perform a short free improvisation based on a given poem using voice or instrument. Candidates whose first language is not English may choose to base their improvisation on a given reproduction of a painting. The improvisation should last no longer than two minutes, and will be assessed for its relevance to the mood of the poem (or painting) and for its musical structure. Candidates who opt to sing this test may choose whether or not to use the words.

F To answer basic questions about an extract from a score (provided by the examiner) of a work for voice and instruments. Questions may refer to keys, harmonic framework, style, structure and aspects of the use of the voice or instruments.

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OTHER ASSESSMENTS

The following syllabuses are available free of charge from music retailers and from: www.abrsm.org/exams.

Piano: Grades 1–8

Singing : Grades 1–8

Woodwind: Grades 1–8• Descant Recorder (Grades 1–5 only), Treble Recorder, Flute, Oboe, Clarinet,

Bassoon, Saxophone (Soprano, Alto, Tenor, Baritone)

Brass: Grades 1–8• Horn, Trumpet, Cornet (Bb and Eb), Flugelhorn, Eb Horn, Trombone,

Bass Trombone (Grades 6–8 only), Baritone, Euphonium, Tuba (Eb, F, Bb and C)

Harpsichord, Organ, Guitar, Harp, Percussion & Ensembles• Harpsichord (Grades 4–8), Organ (Grades 1–8), Guitar (Grades 1–8), Harp (Grades

1–8), Percussion (Grades 1–8), Ensembles (Primary, Intermediate, Advanced)

Jazz • Flute, Clarinet, Sax, Trumpet, Cornet, Flugelhorn, Trombone, Piano (Grades 1–5),

Jazz Ensembles (Initial, Intermediate, Advanced)Available in selected centres

Prep Test• Piano, Violin, Viola, Cello, Double Bass, Guitar, Descant Recorder, Flute, Oboe,

Clarinet, Bassoon, Saxophone (Eb and Bb), Horn, Trumpet, Cornet, Flugelhorn, Eb Horn, Trombone, Baritone, Euphonium, SingingDesigned as a positive assessment, without marks being awarded, in preparation for the Grade 1 exams

Choral Singing• Initial, Intermediate, Advanced

Available in the UK and at certain international centres

Performance Assessment• Available for all subjects featured in ABRSM’s graded exam syllabuses

Designed as a positive assessment, without marks being awarded, for adult candidates of 21 years or over, and those of any age who have already passed Grade 8 or whose specific needs mean they are unable to access graded music exams; own-choice programme

Diplomas: DipABRSM, LRSM, FRSM• Music Performance, Music Direction, Instrumental/Vocal Teaching

Three levels of award (Diploma, Licentiate, Fellowship) forming a progressive assessment framework for a wide range of musicians

Music Medals• Assessments for younger learners that introduce essential musical skills and encourage

playing together Available in the UK only

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ACCREDITATION (UK)

ABRSM graded exams for Theory of Music, individual instruments and singing (excluding Practical Musicianship) are accredited in England by the Office of the Qualifications and Examinations Regulator (Ofqual) and the corresponding regulatory authorities in Wales (DCELLS) and Northern Ireland (CCEA). They are part of the Qualifications and Credit Framework (QCF), a scheme for recognizing skills and qualifications in the UK education system.

ABRSM QCF Title Accreditation No.

PracticalGrade 1 Level 1 Award in Graded Examination in Music Performance 501/2150/9Grade 2 Level 1 Award in Graded Examination in Music Performance 501/2159/5Grade 3 Level 1 Award in Graded Examination in Music Performance 501/2160/1Grade 4 Level 2 Certificate in Graded Examination in Music Performance 501/2151/0Grade 5 Level 2 Certificate in Graded Examination in Music Performance 501/2152/2Grade 6 Level 3 Certificate in Graded Examination in Music Performance 501/2162/5Grade 7 Level 3 Certificate in Graded Examination in Music Performance 501/2166/2Grade 8 Level 3 Certificate in Graded Examination in Music Performance 501/2163/7

TheoryGrade 1 Level 1 Award in Graded Examination in Music Theory 501/2155/8Grade 2 Level 1 Award in Graded Examination in Music Theory 501/2156/XGrade 3 Level 1 Award in Graded Examination in Music Theory 501/2153/4Grade 4 Level 2 Award in Graded Examination in Music Theory 501/2157/1Grade 5 Level 2 Award in Graded Examination in Music Theory 501/2158/3Grade 6 Level 3 Certificate in Graded Examination in Music Theory 501/2167/4Grade 7 Level 3 Certificate in Graded Examination in Music Theory 501/2164/9Grade 8 Level 3 Certificate in Graded Examination in Music Theory 501/2165/0

ABRSM exams are listed on the Register of Regulated Qualifications – http:// register.ofqual.gov.uk.

Ofqual has been launched as the new independent regulator of qualifications, exams and tests in England. The legal status of Ofqual is being established through legisla-tion with the intention that it will be accountable to the UK Parliament and that a clear separation will be made between its role in ensuring that qualifications are fair and accurate and that of the Qualifications and Curriculum Authority (QCA, which is to become the Qualifications and Curriculum Development Agency). Until this legislation is passed, Ofqual is legally part of the QCA.

Further information about accreditation can be found at www.ofqual.gov.uk.

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OBTAINING EXAM MUSIC

Information for teachers, parents and candidates Exam music for ABRSM syllabuses is available from music retailers worldwide and online at the ABRSM music shop: www.abrsm.org/shop.

We have made every effort to ensure that all the music listed in our syllabuses will remain available for the duration of each syllabus.

Please note that ‘custom print’ or ‘archive’ titles may not be kept in stock by all music retailers and can take longer to arrive than other titles.

Contact details for publishers featured in this syllabus booklet are listed below. Apart from queries specifically relating to ABRSM exams, all enquiries about exam music (e.g. editorial, availability) should be addressed to the relevant publisher.

Information for retailersPlease note that publishers often have different distributors across the world. In the list below, only UK distributors are given (where applicable). For details of distri-bution in other parts of the world, please contact the publisher directly.

Contact details Distributor (UK)

ABRSM: T +44 (0)20 7636 5400; F +44 (0)20 7467 8833; E marketing@ abrsm.ac.uk; www.abrsm.org/shop

OUP

Alfred Music Publishing Co. (UK) Ltd: T +44 (0)1279 828960; F +44 (0)1279 828990; E [email protected]; www.alfreduk.com

FM Distribution

Amadeus: T +41 052 233 28 66; F +41 052 233 54 01; E info@ amadeusmusic.ch; www.amadeusmusic.ch

MDS

Bärenreiter Ltd (& Bärenreiter Praha): T +44 (0)1279 828930; F +44 (0)1279 828931; E [email protected]; www.baerenreiter.com Bartholomew Music Publications: T/F +44 (0)20 7267 0437; E info@ bartholomewmusic.co.uk; www.bartholomewmusic.co.uk

Belaieff: T +44 (0)20 7534 0740; F +44 (0)20 7534 0749; E [email protected]; www.belaieff-music.com

MDS

Billaudot: T +33 (0)1 47 70 14 46; F +33 (0)1 45 23 22 54; E vente@ billaudot.com; www.billaudot.com

UMP

A & C Black Publishers Ltd: T +44 (0)20 7758 0200; E [email protected]; www.acblack.com

Boosey & Hawkes Music Publishers Ltd: T +44 (0) 20 7054 7200; F +44 (0)20 7054 7290; E [email protected]; www.boosey.com

MDS

Bosworth: T +44 (0)20 7612 7400; F +44 (0)20 7612 7545; E music@ musicsales.co.uk; www.musicsales.com

Music Sales

Brass Wind Publications: T/F +44 (0)1572 737409; E sales@ brasswindpublications.co.uk; www.brasswindpublications.co.uk

Braydeston Press: T +44 (0)20 7612 7400; F +44 (0)20 7612 7545; E [email protected]; www.musicsales.com

Music Sales

78

Contact details (cont.) Distributor (UK)

Breitkopf & Härtel: T +44 (0)1945 882221; F +44 (0)1945 882222; E [email protected]; www.breitkopf.com

Broekmans & Van Poppel: T +44 (0)20 7292 9166; F +44 (0)20 7292 9173; E [email protected]; www.broekmans.com

MDS

Chester Music: T +44 (0)20 7612 7400; F +44 (0)20 7612 7545; E [email protected]; www.musicsales.com

Music Sales

Combre: T +33 (0)1 56 68 86 64; F + 33 (0)1 56 68 90 66; E info@ editions-combre.com; www.editions-combre.com

UMP

Cramer Music Ltd: T +44 (0)20 7240 1612; F +44 (0)20 7240 2639; E [email protected]; www.cramermusic.co.uk

De Haske Music (UK) Ltd: T +44 (0)1536 260981; F +44 (0)20 7900 1812; E [email protected]; www.dehaske.com

Doblinger: T +44 (0)20 7292 9166; F +44 (0)20 7292 9173; E connell@ universaledition.com; www.doblinger.at

MDS

Durand: T +33 (0)1 53 24 80 67; F +33 (0)1 53 24 80 69; E didier. [email protected]; www.durand-salabert-eschig.com

UMP

Editio Musica Budapest Ltd (Universal Music Publishing): T +36 1 2361 104; F +36 1 2361 101; E [email protected]; www.emb.hu

FM Distribution

Eschig: T +33 (0)1 53 24 80 67; F +33 (0)1 53 24 80 69; E didier. [email protected]; www.durand-salabert-eschig.com

UMP

European Music Archive: see Spartan Press

Faber Music Ltd: T +44 (0)20 7908 5310; F +44 (0)20 7908 5339; E [email protected]; www.fabermusic.com

FM Distribution

Fennica Gehrman: T +358 103871222; F + 358 103871221; E info @fennicagehrman.fi; www.fennicagehrman.fi

MDS

Fentone: see De Haske

Carl Fischer: T +1 212 777 0900; F +1 212 477 6996; E cf-info@ carlfischer.com; www.carlfischer.com

MDS

FM Distribution: T +44 (0)1279 828989; F +44 (0)1279 828990; E sales@ fabermusic.com; www.fabermusic.com

Fuller Music: T +44 (0)1540 664940; F +44 (0)1528 544771; E [email protected]; www.FullerMusic.co.uk

Hamelle: T +33 (0)1 42 96 89 11; F +33 (0)1 42 86 02 83; www.alphonseleduc.com

UMP

Hansen (Edition Wilhelm Hansen): T: +44 (0)20 7612 7400; F +44 (0)20 7612 7545; E [email protected]; www.musicsales.com

Music Sales

Hardie Press: T/F +44 (0)1875 815456; E [email protected]; www.hardiepress.co.uk

G. Henle Verlag: T +49 (89) 759 82 0; F +49 (89) 759 82 40; E info@ henle.de; www.henle.de

MDS

Publishers/Distributors

79


Friedrich Hofmeister Musikverlag: T +49 (0)341 9600750; F +49 (0)341 9603055; E [email protected]; www.hofmeister- musikverlag.com

Music Sales

IMC: T +44 (0)20 7292 9166; F +44 (0)20 7292 9173; E connell@ universaledition.com; www.internationalmusicco.com

MDS

Neil A. Kjos: T +1 858 270 9800; www.kjos.com Music Sales

Kunzelmann: T +41 44 710 36 81; F +41 44 710 38 17; E [email protected]; www.kunzelmann.ch

Peters

Leduc: T +33 (0)1 42 96 89 11; F +33 (0)1 42 86 02 83; www.alphonseleduc.com

UMP

Le Rideau Rouge: T +33 (0)1 53 24 80 67; F +33 (0)1 53 24 80 69; E [email protected]; www.durand-salabert-eschig.com

UMP

MCA: T +1 310 235 4700; F +1 310 235 4900; www.universalmusic publishing.com

Music Sales

McTier Music: T +44 (0)20 8560 1536; E [email protected]

MDS – Music Distribution Services Ltd: T +44 (0)1233 712233; F +44 (0)1233 714948; E [email protected]; www.mds-partner.com

Mel Bay Music Ltd: T +44 (0)20 8214 1222; F +44 (0)20 8214 1328; E [email protected]; www.melbay.com

Musica Rara: see Breitkopf & Härtel

Music Sales Ltd: T +44 (0)1284 702600; F +44 (0)1284 768301; E [email protected]; www.musicsales.com

Novello & Co. Ltd: T +44 (0)20 7612 7400; F +44 (0)20 7612 7545; E [email protected]; www.musicsales.com

Music Sales

OUP – Oxford University Press: T +44 (0)1865 355067; F +44 (0)1865 355060; E [email protected]; www.oup.com

Peters Edition Ltd: T +44 (0)20 7553 4000; F +44 (0)20 7490 4921; E [email protected]; www.editionpeters.com

PWM: T +44 (0)20 7292 9166; F +44 (0)20 7292 9173; E connell@ universaledition.com; www.pwm.com.pl

MDS

Recital Music: T +44 (0)1963 370051; E [email protected] Spartan Press

G. Schirmer Inc.: T +44 (0)20 7612 7400; F +44 (0)20 7612 7545; E [email protected]; www.musicsales.com

Music Sales

Schott Music Ltd: T +44 (0)20 7534 0740; F +44 (0)20 7534 0749; E [email protected]; www.schott-music.com

MDS

Simrock: T +44 (0)20 7054 7200; F +44 (0)20 7054 7290; E [email protected]; www.boosey.com

MDS

SJ Music: T +44 (0)1223 314771; F +44 (0)1223 560353; E sjmusic@ ntlworld.com; www.sjmusicpublications.co.uk

Spartan Press Music Publishers Ltd: T +44 (0)1528 544770; F +44 (0)1528 544771; E [email protected]; www.SpartanPress.co.uk


80


Stainer & Bell Ltd: T +44 (0)20 8343 3303; F +44 (0)20 8343 3024; E [email protected]; www.stainer.co.uk

St Francis Music Publications: www.stfrancismusic.com Fuller Music

Studio Music Co.: T +44 (0)1582 432139; F +44 (0)1582 731989; E [email protected]; www.studio-music.co.uk

Thames Publishing: T +44 (0)20 7612 7400; F +44 (0)20 7612 7545; E [email protected]; www.musicsales.com

Music Sales

Tonos Music oHG: T +49 7221 973700; F +49 7221 9737027; E [email protected]; www.tonosmusic.com

UMP – United Music Publishers Ltd: T +44 (0)1992 703110; F +44 (0)1992 703189; E [email protected]; www.ump.co.uk

Universal Edition: T +44 (0)20 7292 9166; F +44 (0)20 7292 9173; E [email protected]; www.universaledition.com

MDS

University of Miami Music Publications: T +1 818 784 8918; E [email protected]

Fuller Music

Viola World: T +1 518 583 7177; E [email protected]; www.violaworldpublications.com

Music Sales

Wiener Urtext: T +44 (0)20 7292 9166; F +44 (0)20 7292 9173; E [email protected]; www.wiener-urtext.com

MDS

Yorke Edition: T +44 (0)1328 823501; F +44 (0)1328 823502; E [email protected]; www.yorkedition.co.uk

Spartan Press

DO NOTPHOTOCOPY

© MUSIC

DO NOTPHOTOCOPY

© MUSIC


Printed in England by Headley Brothers Ltd, The Invicta Press, Ashford, Kent

DO NOTPHOTOCOPY

© MUSIC

See the ‘Other assessments’ page in this booklet for details of all syllabuses. To view and download information you can also visit: www.abrsm.org/exams

SYLLABUS UPDATES: 2013–2016

New requirements for graded exams in 2013 (issued July 2012)

• Piano

• Horn

• Eb Horn new set pieces

• Baritone/Euphonium

• Tuba


• Recorder (Descant & Treble)

• Flute

• Oboe new set pieces

• Clarinet

• Bassoon

• Saxophone (Alto/Baritone & Soprano/Tenor)


• Piano new set pieces

Any other syllabus revisions will be announced in 2012.


• Violin

• Viola new set pieces

• Cello

The above details are subject to change. For latest updates, see www.abrsm.org/exams

Documents

Bowed Strings