Bowed Strings

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Bowed

Strings

2012–2015

Syllabus

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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

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

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BOWED STRINGS SYLLABUS 2012–2015

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:

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4

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.

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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 learnteach-ing 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

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6

BOWED STRINGS SYLLABUS REQUIREMENTS

Instruments

Candidates are required to perform on acoustic instruments (electric instruments

are not permitted).

Tuning-up

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

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

6–8 candidates must tune their instrument themselves.

Music stands and stools

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

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

Programme planning

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

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

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

Accompaniment

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

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

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

the 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 cadenzas

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

movements. Cadenzas should not be played unless specified in the syllabus.

Fingering and bowing

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

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

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

Cello and Double Bass pieces in these grades may include very simple changes of

position. By Grade 4, candidates are expected to have begun exploring position

changes matching the demands and style of the music.

Vibrato

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

Scales and arpeggios

Examiners 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:

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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-reading

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

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

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

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

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

intona-tion, production and quality of tone, bowing and finger acintona-tion, 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.

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8

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

even notes or long tonic

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 ŠŠŠŠŠŠŠŠ Š

etc. 2 quavers: 2 beats: 7 notes:

44 ŠŠŠŠŠŠŠŠ Š

etc.

78 Š Š Š Š Š Š Š Š

etc.

44 Š ŠŠŠŠŠŠ Š

etc.

V# ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ

A 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 2

4 Š Š Š Š Š Š Š Š Š r

Vbb4

4 Š Š ‰‰ Š Š ‰‰

etc.

Š Š ‰‰ Š Š ‰‰

etc.

Vbb4

4 Š Š ‰‰ Š Š ‰‰

etc.

Š Š ‰‰ Š Š ‰‰

etc.

V##4

4 Š Š ‰‰ Š Š ‰‰

etc.

Š Š ‰‰ Š Š ‰‰

etc.

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Scale and arpeggio patterns

Vbbb4

4 ŠŠ ŠŠ ŠŠ ŠŠ ŠŠ

etc.

Vbbb4

₄

ŠŠ ŠŠ ŠŠ ŠŠ ŠŠ ŠŠ ŠŠ

ŠŠ

etc.

V##4

4 Š

Š ŠŠ ŠŠ ŠŠ ŠŠ

etc.

V##4

₄

ŠŠ ŠŠ ŠŠ ŠŠ ŠŠ

ŠŠ ŠŠ ŠŠ

etc.

B

₂₄

_{ŠŠŠŠ ŠŠŠŠ ŠŠŠ}

B

₃₄

_{Š ŠŠŠŠ Š ŠŠŠŠ Š r r}

Bb4

4 Š Š Š Š Š Š Š Š Š Š Š Š Š

etc.

Bb4

4 Š ŠŠŠŠŠŠ ŠŠŠŠŠŠŠŠ Š ŠŠŠŠŠŠ Š r q

Bb6

8 ŠŠŠŠŠŠ ŠŠŠŠŠŠ Š. r.

B#

ŠŠŠŠŠŠŠŠ ŠŠŠŠŠ

_{ŠŠŠŠ ŠŠŠŠq}

Double-stop scales (cont.)

In parallel

even notes or long tonic

in sixths:

in octaves:

Patterns for Double Bass only

Scales to a sixth

Scales to a twelfth

Arpeggios to a twelfth

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10

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 secindica-tion 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 A

1 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

¸ ˝ ˛

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

¸ ˝ ˛

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 C

1 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

¸ ˝ ˛

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 pattern Scales

D, A majors†_{; E natural minor}

G major

1 oct. 2 oct.

separate bows and slurred (2 quavers to a bow)

even notes or long tonic, at candidate’s choice Arpeggios D, A majors†_{; E minor} G major 1 oct. 2 oct. separate bows " even notes "

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Violin GRADE 2

LIST A

1 Handel March by Mr Handel

2 A. Holborne The Honeysuckle, arr. Huws Jones Violin Exam Pieces 2012–2015, Grade 2 (ABRSM)

3 Járdányi French Troubadour Song

¸ ˝ ˛

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 B

1 Schubert Heidenröslein (Little Briar-Rose), D. 257, arr. ABRSM

2 Rossini Theme from William Tell, arr. Cohen Violin Exam Pieces 2012–2015, 3 Trad. Irish Londonderry Air, arr. Huws Jones

¸ ˝

˛ 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 C

1 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)

C, F majors; G, D minors†

G, A, B

b

majors

(minors natural, harmonic or

melodic, at candidate’s choice)

1 oct. 2 oct.

even notes or long tonic, at candidate’s choice Arpeggios C, F majors; G, D minors† G, A, B

b

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.

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 3

LIST A

1 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

¸ ˝ ˛

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.

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

LIST B

1 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

¸ ˝ ˛

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 C

1 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

¸ ˝ ˛

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.

A

b

, E

b

, E majors

B

b

, D majors; A, D minors

(minors harmonic or melodic,

at candidate’s choice)

1 oct. 2 oct.

even notes or long tonic, at candidate’s choice Arpeggios A

b

, E

b

, E majors B

b

, D majors; A, D minors 1 oct. 2 oct.

separate bows and slurred (3 notes to a bow)

even notes "

Chromatic scale

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Violin GRADE 4

LIST A

1 Anon. 13th-century French Estampie royal, arr. Huws Jones _{Violin Exam Pieces 2012–2015, Grade 4}

2 _{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

¸ ˝ ˛

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 Pieces

2 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 C

1 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

¸ Ó Ï ˛ 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)

A

b

, B, C, E majors; G, B, C minors

2 oct. separate bows and slurred

(2 beats to a bow)

even notes or long tonic, at candidate’s choice

Arpeggios

A

b

, 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 scales

Starting on A and E ‡ _{1 oct.} _{separate bows and slurred}

(4 notes to a bow)

even notes

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

addition of₆₈and E

b

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)

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Violin GRADE 5

LIST A

1 Corelli Corrente: 2nd movt from Sonata in D minor, Op. 5 No. 7 _{Violin Exam Pieces 2012–2015, Grade 5}

2 _{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 B

1 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 B

b

, Op. 48 No. 4. First Repertoire for Violin, arr. Cohen (Faber) 6 Reger Romanze in G (Breitkopf & Härtel EB 3420)

LIST C

1 Brian Chapple For Latin Lovers

2 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)

D

b

, E

b

, F majors; B, C

#

, E minors G, A majors; G, A minors (minors harmonic or melodic,

2 oct. 3 oct.

separate bows and slurred (2 beats to a bow)

even notes or long tonic, at candidate’s choice Arpeggios D

b

, E

b

, F majors; B, C

#

, E minors G, A majors; G, A minors 2 oct. 3 oct.

even notes "

In the key of B

b

In the keys of C and D

1 oct. 2 oct.

even notes "

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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, A

b

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 A

1 Foulis Allegro moderato: 3rd movt from Sonata No. 2 in F Violin Exam Pieces 2 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 C

1 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)

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Violin GRADE 6

C, E

b

, F

#

majors & minors G, B

b

majors & minors (minors harmonic or melodic,

as directed by the examiner)

2 oct. 3 oct.

Arpeggios

C, E

b

, F

#

majors & minors G, B

b

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

In the keys of C, E

b

and F 2 oct. separate bows and slurred

(4 notes to a bow)

even notes

Diminished sevenths

Starting on G, B

b

and C 2 oct. separate bows and slurred

(4 notes to a bow)

even notes

Starting on G, B

b

and C 2 oct. separate bows and slurred

(6 notes to a bow)

even notes

Double-stop scale (in broken steps)

In sixths, in B

b

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 9

8 , 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.

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18

Violin GRADE 7

Jazz subject.

LIST A

1 J. S. Bach Adagio: 1st movt from Sonata in G, BWV 1021

2 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) ¸

Ó Ï ˛

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 Pieces

2 Schubert Allegro vivace: 3rd movt from Sonatina in D, Op. 137 No. 1, D. 384 2012–2015, Grade 7 3 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 C

1 Bartók Bagpipers: 1st movt from Sonatina, trans. Gertler Violin Exam Pieces 2 Korngold Mummenschanz (Masquerade): from Much Ado About Nothing, Op. 11 2012–2015, Grade 7

3 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)

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Violin GRADE 7

F, F

#

majors & minors A, B, D majors & minors (minors harmonic or melodic,

2 oct. 3 oct.

Arpeggios

F, F

#

majors & minors A, B, D 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

In the keys of G and B

b

In the keys of D and E

2 oct. 3 oct.

separate bows and slurred

(4 notes to a bow) even notes " Diminished sevenths Starting on D and F Starting on A and B 2 oct. 3 oct.

separate bows and slurred (4 notes to a bow) even notes " Chromatic scales Starting on D and F Starting on A and B 2 oct. 3 oct.

even notes "

Double-stop scales (in broken steps)

In sixths, in G and B

b

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 7

8 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.

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20

Violin GRADE 8

Jazz subject.

LIST A

1 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 C

1 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 B

b

: 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)

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Violin GRADE 8

A

b

, C, D

b

, E

b

, E majors G

#

, C, C

#

, E

b

, E minors (minors harmonic or melodic,

3 oct. 3 oct.

even notes or long tonic, at candidate’s choice Arpeggios A

b

, C, D

b

, E

b

, E majors G

#

, C, C

#

, E

b

, E minors 3 oct. 3 oct.

even notes "

In the keys of D

b

, F, A

b

and A 3 oct. separate bows and slurred

(4 notes to a bow) even notes Diminished sevenths Starting on C, E

b

and E Starting on A

b

2 oct. 3 oct.

separate bows and slurred (4 notes to a bow) even notes " Chromatic scales Starting on C, E

b

and E Starting on A

b

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 E

b

major 1 oct. 2 oct. separate bows separate bows

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

Double-stop scale (in broken steps)

In thirds, in B

b

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 1₈2 , B, D

b

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.

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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 A

1 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.

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

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 B

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

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 C

1 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)

SCALES AND ARPEGGIOS*: from memory; for further details (incl. examples) see pp. 6–9 range bowing requirements rhythm pattern Scales

G, D majors†_{; A natural minor}

C major

1 oct. 2 oct.

even notes or long tonic, at candidate’s choice Arpeggios G, D majors†_{; A minor} C major 1 oct. 2 oct. separate bows " even notes "

SIGHT-READING*: a four-bar piece in ₄₄ or3₄, 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 qq qqqq) and

rests (Œ). See also p. 7.

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Viola GRADE 2

LIST A

1 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.

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

LIST B

1 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 C

1 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

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)

F, B

b

majors; C, G minors† C, D, E

b

majors

(minors natural, harmonic or

melodic, at candidate’s choice)

1 oct. 2 oct.

even notes or long tonic, at candidate’s choice Arpeggios F, B

b

majors; C, G minors† C, D, E

b

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.

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24

Viola GRADE 3

LIST A

1 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

¸ Ó Ï ˛

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 B

1 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 C

1 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

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)

D

b

, A

b

, A majors

E

b

, G majors; D, G minors

1 oct. 2 oct.

even notes or long tonic, at candidate’s choice Arpeggios D

b

, A

b

, A majors E

b

, G majors; D, G minors 1 oct. 2 oct.

even notes "

Chromatic scale

Starting 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, B

b

, E

b

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.

(27)

Viola GRADE 4

LIST A

1 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 B

1 _{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 C

1 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)

D

b

, E, F, A majors; C, E, F minors

(2 beats to a bow)

Arpeggios

D

b

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

(3 notes to a bow)

even notes

In the keys of F and G § _{1 oct.} _{separate bows} _{even notes}

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26

Viola GRADE 5

LIST A

1 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 B

1 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 C

1 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)

F, A, B

b

majors; D, E, F

#

, A minors C major; C minor

2 oct. 3 oct.

separate bows and slurred (2 beats to a bow)

even notes or long tonic, at candidate’s choice Arpeggios F, A, B

b

majors; D, E, F

#

, A minors C major; C minor 2 oct. 3 oct.

even notes "

In the key of E

b

In the keys of F and G

1 oct. 2 oct.

even notes "

Diminished sevenths

Starting on C and G † _{1 oct.} _{separate bows} _{even notes}

Starting on C, D and E

b

(4 notes to a bow)

even notes

(29)

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, A

b

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.

Bowed Strings

Bowed

Strings

2012–2015

Syllabus

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

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:

WELCOME TO ABRSM

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wide range of published resources.

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