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CHAMINADE

HASSELMANS
TOURNIER
STRINGS MACONCHY
SYLLABUS CORELLI
Bowed Strings | Harp
BACH
Qualification specifications
for graded exams 2020–2023 NORTON
ARENS
BERNSTEIN
WILKINSON
SUBRAMANIAM
BOULANGER
COHEN
GRANDJANY
BEACH
KREISLER
NELSON
VIVALDI
CARSE
RAE
WHAT’S CHANGED?
This syllabus features the following changes from the 2016–2019 syllabus:
◗◗ Repertoire lists refreshed and extended at all levels, encompassing a wide range of genres
and styles
◗◗ Duets introduced at Initial to Grade 3 for violin, viola, cello and double bass
◗◗ New graded repertoire books for violin, featuring a varied selection of accompanied and
unaccompanied pieces and duets
◗◗ Increased flexibility of repertoire choice, with pieces divided into groups at Grades 6–8 only
◗◗ Violin candidates can perform a piece/set listed for Scottish traditional fiddle at the same grade
◗◗ A new orchestral extracts option at Grades 6–8 for pedal harp
◗◗ An information and regulations section is no longer included in this syllabus — this information
can be found at trinitycollege.com/music-regulations

KEEP UP TO DATE
Please check trinitycollege.com/strings to make sure you are using the current version of the
syllabus and for the latest information about our Strings exams.

OVERLAP ARRANGEMENTS
This syllabus is valid from 1 January 2020. The 2016–2019 syllabus will remain valid until
31 December 2020, giving a one year overlap. During this time, candidates may present
pieces and technical work from the 2016–2019 or the 2020–2023 syllabus, but not both.
Candidates should indicate which syllabus they are presenting on the appointment form
handed to the examiner at the start of the exam.
STRINGS
SYLLABUS
Bowed Strings | Harp
Qualification specifications
for graded exams 2020–2023

Trinity College London


trinitycollege.com
Charity number England & Wales | 1014792
Charity number Scotland | SC049143
Patron | HRH The Duke of Kent KG
Chief Executive | Sarah Kemp
Copyright © 2019 Trinity College London
Published by Trinity College London
Online edition, July 2019

1
Contents
3 / Welcome

4 / Introduction to Trinity’s graded music exams

9 / Learning outcomes and assessment criteria

11 / About the exam

16 / Exam guidance: Pieces

20 / Exam guidance: Technical work

23 / Exam guidance: Supporting tests

36 / Exam guidance: Marking

44 / Violin

77 / Scottish Traditional Fiddle

113 / Viola

150 / Cello

190 / Double Bass

221 / Harp

278 / Policies

280 / Publishers and UK specialist suppliers

284 / Trinity publications

285 / Strings resources

Trinity accepts entries for its exams on the condition that candidates conform to the
requirements of the appropriate syllabus. Any amendments to the requirements will
be published and advertised via our website and in subsequent imprints.

2
Welcome

Welcome
Welcome to Trinity College London’s Strings syllabus, containing details of graded exams from
Initial to Grade 8 for bowed strings and harp. It offers the choice and flexibility to allow string
players to perform to their strengths, and aims to reflect and support a range of teaching
approaches: pieces chosen from books including Trinity’s Take Your Bow series acknowledge
mixed-group strings teaching, while a range of popular tutor books and respected teaching
programmes is also featured at early grades.

Welcome
Build authentic skills
Our technical work and supporting tests are specially designed to develop the skills that
are specific to your instrument. A combination of bowing exercises and performance-led
studies, along with orchestral extracts, develops essential and authentic skills and techniques
progressively through the grades.
Explore varied repertoire
Discover pieces across a variety of styles and genres, showcasing a diverse range of composers
including an increased number of female and contemporary writers. Our repertoire has been
refreshed at all levels, with the addition of duets at lower grades to encourage and develop
ensemble performance skills.
Benefit from industry expertise
The syllabus and supporting books have been created in consultation with leading strings
specialists. You can access videos and articles produced to support teaching and learning at
trinitycollege.com/strings-resources, and join us online and on social media to find out when
new resources are available.
We hope you enjoy exploring the music on offer in this syllabus and we wish you every success
in your exams and in your wider music-making.

ABOUT TRINITY COLLEGE LONDON


Trinity College London is a leading international exam board and independent education
charity that has been providing assessments around the world since 1877. We specialise in the
assessment of communicative and performance skills covering music, drama, combined arts and
English language. With over 850,000 candidates a year in more than 60 countries worldwide,
Trinity qualifications are specifically designed to help students progress. Our aim is to inspire
teachers and learners through the creation of assessments that are enjoyable to prepare for,
rewarding to teach and that develop the skills needed in real life.
At the heart of Trinity’s work is the belief that effective communicative and performance skills
are life enhancing, know no boundaries and should be within reach of us all. We exist to promote
and foster the best possible communicative and performance skills through assessment, content
and training that is innovative, personal and authentic.

3
Introduction to Trinity’s graded music exams

Introduction to Trinity’s
graded music exams
OBJECTIVE OF THE QUALIFICATIONS ASSESSMENT AND MARKING
Trinity’s graded music exams provide a Trinity’s graded music exams are assessed by
structured yet flexible framework for progress, an external examiner trained and moderated
which enables learners to demonstrate by Trinity. Examiners provide marks and
their own musical personality and promotes comments for each component of the exam
enjoyment in music performance. using the assessment criteria on pages 38–43.
The exams assess music performance, The exams are marked out of 100. Candidates’
technical ability and responses to set results correspond to different attainment
musical tests through face-to-face practical levels as follows:
assessment. They offer learners of any age the
opportunity to measure their development as Mark Attainment level
performers against a series of internationally
understood benchmarks, taking them from 87–100 DISTINCTION
beginner level to the point where they can
progress to higher education in music, or 75–86 MERIT
enter for Trinity’s performance diplomas.
60–74 PASS

WHO THE QUALIFICATIONS ARE FOR 45–59 BELOW PASS 1


Trinity’s graded music exams are open to all
0–44 BELOW PASS 2
learners, with no age restrictions or other
limitations. There is no requirement to have See pages 36–43 for further information
passed lower grades, theory exams or other about how the exams are marked.
qualifications, although the grades represent
a system of progressive mastery and the
outcomes for each level assume confidence
in the requirements of previous grades.
Repertoire selection and other exam content
is designed to appeal to learners of all ages
and backgrounds, reflecting the diversity
of candidates.
Trinity is committed to making its exams
accessible to all, and each candidate is
treated individually when considering how
assessments can be adapted for those
with special needs. Find out more at
trinitycollege.com/music-csn

4
Introduction to Trinity’s graded music exams

DURATION OF STUDY (TOTAL QUALIFICATION TIME)


All regulated qualifications are assigned a total qualification time. This should be used as guidance
only. Total qualification time is an estimate of the average time a candidate spends with a teacher
(guided learning hours) added to the average time spent learning independently. It is recognised
that the amount of time needed to commit to a qualification will be dependent on each individual’s
level of experience.
Guided learning hours Independent learning hours Total qualification time
(GLH) (ILH) (TQT) (hours)
Initial 8 32 40

Grade 1 12 48 60

Introduction
Grade 2 18 72 90

Grade 3 18 102 120

Grade 4 24 126 150

Grade 5 24 156 180

Grade 6 36 184 220

Grade 7 48 222 270

Grade 8 54 266 320

RECOGNITION AND UCAS POINTS WHERE THE QUALIFICATIONS


Trinity College London is an international COULD LEAD
exam board regulated by Ofqual (Office While for some learners graded music exams
of Qualifications and Examinations represent a personal goal or objective,
Regulation) in England, CCEA Regulation they can also be used as a progression
in Northern Ireland and by Qualifications route towards:
Wales. Various arrangements are in
◗◗ D
 iplomas in performing and teaching
place with governmental education
offered by Trinity or by other awarding
authorities worldwide.
organisations
In the UK, Grades 6–8 are eligible for UCAS ◗◗ Music courses at conservatoires and
(Universities and Colleges Admissions Service) universities, for which Grade 8 is often
points for those applying to colleges and specified as an entry requirement
universities, as follows:
◗◗ Employment opportunities in music
Grade 6 and the creative arts
UCAS POINTS
PASS 8 | MERIT 10 | DISTINCTION 12
Grade 7
UCAS POINTS
PASS 12 | MERIT 14 | DISTINCTION 16
Grade 8
UCAS POINTS
PASS 18 | MERIT 24 | DISTINCTION 30
5
Introduction to Trinity’s graded music exams

HOW TO ENTER FOR AN EXAM OTHER QUALIFICATIONS OFFERED


BY TRINITY
Exams can be taken at Trinity’s public
exam centres, which are available After Grade 8 or the Advanced Certificate
throughout the world. Details are available classical music exams, candidates can
at trinitycollege.com/worldwide, and progress to diplomas at Associate (ATCL),
candidates should contact their local Licentiate (LTCL) and Fellowship (FTCL)
Trinity representative for more information. levels. These assess higher skills in
performance, teaching and theory. Find out
Alternatively, in the UK, schools and private more at trinitycollege.com/music-diplomas
teachers with sufficient candidates may apply
for an exam visit. Details are available at We also offer:
trinitycollege.com/exam-visit ◗◗ Graded, certificate and diploma
qualifications in drama-related subjects
TRINITY QUALIFICATIONS THAT ◗◗ English language qualifications
COMPLEMENT THE STRINGS
QUALIFICATIONS ◗◗ Teaching English qualifications
Trinity’s music qualifications offer flexible ◗◗ Arts Award (only available in
progression routes from beginner to advanced certain countries)
levels in a range of musical styles. All are Specifications for all these qualifications
designed to help candidates develop as can be downloaded from trinitycollege.com
musicians according to their individual needs
as learners.
Graded music exams assess a broad range of
musicianship skills, including performance, while
certificate exams focus entirely on performance,
including separate marks for presentation skills.
Find more information about certificate exams
at trinitycollege.com/music-certificates
Trinity’s graded Rock & Pop exams are
available for bass, drums, guitar, keyboards
and vocals. Find out more at trinityrock.com
Candidates can enter any combination
of graded or certificate exams, and do not
need to pass any particular level in order
to proceed to a higher level.
Theory exams are available from Grade 1 to
support learners to develop their understanding
of the technical language of music. However,
no theory qualifications or other prerequisites
are required to enter graded or certificate
exams at any level. Find out more at
trinitycollege.com/theory

6
Introduction to Trinity’s graded music exams

REGULATED LEVELS OF TRINITY’S MUSIC QUALIFICATIONS

RQF* EQF** Classical Rock Theory Solo Group


Level Level & Jazz & Pop & Written Certificates† Certificates†

7 7 FTCL

6 6 LTCL LMusTCL

Introduction
4 5 ATCL AMusTCL

Grade 8 Grade 8 Grade 8 Advanced Advanced

3 4 Grade 7 Grade 7 Grade 7

Grade 6 Grade 6 Grade 6

Grade 5 Grade 5 Grade 5 Intermediate Intermediate


2 3
Grade 4 Grade 4 Grade 4

Grade 3 Grade 3 Grade 3 Foundation Foundation

1 2 Grade 2 Grade 2 Grade 2

Grade 1 Grade 1 Grade 1

Entry
1 Initial Initial
Level 3

* Regulated Qualifications Framework in England and Northern Ireland


** European Qualifications Framework
† Not RQF or EQF regulated

7
Introduction to Trinity’s graded music exams

REGULATED TITLES AND QUALIFICATION NUMBERS


FOR GRADED MUSIC EXAMS

Regulated title Qualification


number

Initial
TCL Entry Level Award in Graded Examination in Music Performance 601/0812/5
(Initial) (Entry 3)

Grade 1
TCL Level 1 Award in Graded Examination in Music Performance 501/2042/6
(Grade 1)

Grade 2
TCL Level 1 Award in Graded Examination in Music Performance 501/2041/4
(Grade 2)

Grade 3
TCL Level 1 Award in Graded Examination in Music Performance 501/2043/8
(Grade 3)

Grade 4
TCL Level 2 Certificate in Graded Examination in Music Performance 501/2044/X
(Grade 4)

Grade 5
TCL Level 2 Certificate in Graded Examination in Music Performance 501/2045/1
(Grade 5)

Grade 6
TCL Level 3 Certificate in Graded Examination in Music Performance 501/2097/9
(Grade 6)

Grade 7
TCL Level 3 Certificate in Graded Examination in Music Performance 501/2098/0
(Grade 7)

Grade 8
TCL Level 3 Certificate in Graded Examination in Music Performance 501/2099/2
(Grade 8)

8
Learning outcomes and assessment criteria

Learning outcomes
and assessment criteria

Learning outcomes and assessment criteria


INITIAL–GRADE 3
(Initial = RQF Entry Level 3, Grades 1–3 = RQF Level 1)

LEARNING OUTCOMES ASSESSMENT CRITERIA


The learner will: The learner can:

1. Apply skills, knowledge and understanding to present


1.1 
Perform music in a performances that demonstrate careful preparation, musical
variety of styles set awareness and the beginning of thoughtful interpretation
for the grade
Perform with general security of pitch and rhythm, and with
1.2 
attention given to dynamics and articulation
Maintain a reasonable sense of continuity in performance
1.3 
and convey the mood of music in a variety of styles

2.
Demonstrate technical Demonstrate familiarity with the fundamentals of
2.1 
ability on an instrument instrumental command
through responding to 2.2 Demonstrate technical control and facility within set tasks
set technical demands

3. Recognise and respond to simple elements of music in a


3.1 
Respond to set practical context
musicianship tests
3.2 Demonstrate basic aural and musical awareness

9
Learning outcomes and assessment criteria

GRADES 4–5
(RQF Level 2)

LEARNING OUTCOMES ASSESSMENT CRITERIA


The learner will: The learner can:

1. Support their intentions in musical performance


1.1 
Perform music in a
Demonstrate an understanding of music that allows a
1.2 
variety of styles set
degree of personal interpretation in performance
for the grade
1.3 Perform with general accuracy, technical fluency and
musical awareness to convey musical character in a variety
of styles

2.
Demonstrate technical Demonstrate a developing instrumental command
2.1 
ability on an instrument
through responding to 2.2 Demonstrate technical control and facility within set tasks
set technical demands

3. Recognise and respond to elements of music in a


3.1 
Respond to set practical context
musicianship tests
3.2 Demonstrate aural and musical awareness

GRADES 6–8
(RQF Level 3)

LEARNING OUTCOMES ASSESSMENT CRITERIA


The learner will: The learner can:

1. Integrate their musical skills, knowledge and understanding


1.1 
Perform music in a in performance
variety of styles set
Present secure and sustained performances that demonstrate
1.2 
for the grade
some stylistic interpretation
Perform with general accuracy, technical fluency and musical
1.3 
awareness to communicate musically in a variety of styles

2.
Demonstrate technical Demonstrate instrumental command
2.1 
ability on an instrument 2.2 Demonstrate technical control across the full compass of
through responding to the instrument/voice within set tasks
set technical demands

3. 3.1 
Recognise and respond to musical features in a practical context
Respond to set
musicianship tests 3.2 Demonstrate musical and stylistic awareness

10
About the exam

About the exam


Each exam has three sections: pieces, technical work and supporting tests. There are slightly
different requirements depending on the level of the exam.

PIECES TECHNICAL WORK SUPPORTING TESTS


Choose three pieces, Bowed strings: a bowing A combination of two tests
each worth 22 marks. exercise, followed by either from sight reading, aural,
scales, arpeggios & technical improvisation and musical
exercises or studies (Grades knowledge, depending on
1–5)/orchestral extracts grade and candidate choice.
(Grades 6–8).
Harp: either scales, arpeggios
and exercises or studies or
orchestral extracts (Grades
6–8 only).

About the exam


PIECES
66 MARKS

TECHNICAL
WORK
14 MARKS

SUPPORTING
TESTS
20 MARKS

11
About the exam

EXAM STRUCTURE AND MARK SCHEME: BOWED STRINGS

Initial–Grade 5 Maximum Grades 6–8 Maximum


marks marks

PIECE 1 22 PIECE 1 22

PIECE 2 22 PIECE 2 22

PIECE 3 22 PIECE 3 22

TECHNICAL WORK* 14 TECHNICAL WORK 14

◗◗ Bowing exercise ◗◗ Bowing exercise


◗◗ Either scales, arpeggios & technical exercises ◗◗ Either scales, arpeggios & technical exercises
or studies or orchestral extracts

SUPPORTING TESTS 20 SUPPORTING TEST 1 10

Any TWO of the following: ◗◗ Sight reading


◗◗ Sight reading
◗◗ Aural
◗◗ Improvisation SUPPORTING TEST 2 10
◗◗ Musical knowledge
ONE of the following:
◗◗ Aural
◗◗ Improvisation

TOTAL 100 TOTAL 100

12 * At Initial level, bowed strings candidates perform scales only


About the exam

EXAM DURATIONS: BOWED STRINGS


Exams are designed to include sufficient time for setting up and presenting all components,
and overall durations are as follows:

Initial Grade 1 Grade 2


11 mins 13 mins 13 mins

About the exam


Grade 3 Grade 4 Grade 5
13 mins 18 mins 18 mins

Grade 6 Grade 7 Grade 8


23 mins 23 mins 28 mins

13
About the exam

EXAM STRUCTURE AND MARK SCHEME: HARP

Initial–Grade 5 Maximum Grades 6–8 Maximum


marks marks

PIECE 1 22 PIECE 1 22

PIECE 2 22 PIECE 2 22

PIECE 3 22 PIECE 3 22

TECHNICAL WORK 14 TECHNICAL WORK 14

◗◗ Either scales, arpeggios & exercises ◗◗ Either scales, arpeggios & exercises
or studies or studies
or orchestral extracts (pedal harp only)

SUPPORTING TESTS 20 SUPPORTING TEST 1 10

Any TWO of the following: ◗◗ Sight reading


◗◗ Sight reading
◗◗ Aural
◗◗ Improvisation SUPPORTING TEST 2 10
◗◗ Musical knowledge
ONE of the following:
◗◗ Aural
◗◗ Improvisation

TOTAL 100 TOTAL 100

14
About the exam

EXAM DURATIONS: HARP


Exams are designed to include sufficient time for setting up and presenting all components,
and overall durations are as follows:

Initial Grade 1 Grade 2


13 mins 15 mins 15 mins

About the exam


Grade 3 Grade 4 Grade 5
15 mins 20 mins 20 mins

Grade 6 Grade 7 Grade 8


25 mins 25 mins 30 mins

ORDER OF THE EXAM: BOWED STRINGS AND HARP


Candidates can choose the order of the sections of their exam, and should indicate their
preferred order on their appointment form. This should be given to examiners at the start
of the exam. If no preference is indicated, pieces are heard first in Bowed Strings exams,
and technical work is heard first in Harp exams.

15
Exam guidance: Pieces

Exam guidance: Pieces


◗◗ Violin candidates may perform a piece/set
from any group of the Scottish traditional
fiddle list at the same grade in place of one
of the listed pieces. A maximum of one
unaccompanied or Scottish traditional fiddle
PIECES item may be played.
66 MARKS
Harp
◗◗ Candidates choose three pieces from the
list. Pieces by at least two composers must
be played. Candidates may perform an own
composition in place of one of the listed
pieces (see pages 18–19).
CHOOSING PIECES
Bowed strings PERFORMANCE AND INTERPRETATION
◗◗ Candidates play three pieces in their exam, ◗◗ Candidates should prepare all pieces in full
chosen as below. unless stated otherwise in this syllabus.
— Initial–Grade 3: Candidates choose ◗◗ Candidates should observe repeats of
three pieces from the list. One of a few bars, but longer repeats should
these pieces may be a duet. Only one not be played unless stated otherwise
unaccompanied piece may be played. in this syllabus.
Pieces by at least two composers must be ◗◗ All da capo and dal segno instructions
played. Candidates may perform an own should be observed.
composition in place of one of the listed
pieces (see pages 18–19). ◗◗ Candidates are not required to play
cadenzas unless stated otherwise in
— Grades 4–5: Candidates choose this syllabus.
three pieces from the list. Only one
unaccompanied piece may be played. ◗◗ Bowed Strings candidates are expected
Pieces by at least two composers must be to use vibrato from Grade 5 onwards, as
played. Candidates may perform an own stylistically appropriate.
composition in place of one of the listed ◗◗ Candidates are encouraged to use
pieces (see pages 18–19). appropriate ornamentation, particularly
— Grades 6–8: Pieces are divided into at Grades 6–8. Ornamentation in Trinity’s
two groups: group A and group B. exam publications is given as a guide.
Candidates choose at least one piece However, any appropriate stylistic
from each group. The third piece may be interpretation will be accepted.
chosen from either group or may be the ◗◗ All tempo and performance markings
candidate’s own composition (see pages should be observed (eg allegro, rall, cresc.).
18–19). Only one unaccompanied piece Metronome marks are given as a guide
may be played. Pieces by at least two but do not need to be observed exactly, as
composers must be played. long as the style and character of the piece
◗◗ Candidates taking Grades 6–8 Violin or is maintained.
Viola may choose to play one piece on the ◗◗ Candidates may perform any or all of their
other instrument from the same grade. pieces from memory if they wish. However,
All technical work and supporting tests this is not compulsory and no additional
must be taken on the main instrument. marks are given for this.

16
Exam guidance: Pieces

TUNING ◗◗ Candidates may also use a single accompanist


◗◗ Candidates are responsible for tuning their playing a different instrument, for example
own instruments. accordion or drum, but this should be notified
to Trinity’s central office at the time of entry.
◗◗ Up to and including Grade 5, the teacher
◗◗ Pieces must be performed from the listed
or accompanist may assist with tuning.
publications, as in some cases there are
At Grades 6–8, candidates must tune their
significant variations between editions.
instruments without assistance.
See page 280 for details of publishers
and distributors.
INSTRUMENTS
Bowed strings ACCOMPANIMENTS AND PAGE TURNS
◗◗ Electronic instruments may not be used. ◗◗ Candidates are responsible for providing
their own accompanists.
Harp ◗◗ Apart from for Scottish Traditional Fiddle
exams, pieces that are published with an
◗◗ Pedal harp requirements are based on an accompaniment may not be performed
instrument with 46 or 47 strings. unaccompanied. Performance without
◗◗ Non-pedal harp requirements and lever accompaniment will be subject to penalty
settings are based on an instrument with or invalidation.
34 strings, tuned to Eb. Non-pedal harps ◗◗ Accompaniments must be performed as
tuned to other keys may be used as long as printed, without giving additional help to

Exam guidance: Pieces


all lever settings and changes are adjusted candidates (for example by doubling the
accordingly. Lever settings are given only solo line).
when these are in addition to, or contrary
to, the key signature. ◗◗ Accompaniments on instruments other than
piano must be approved by Trinity before
◗◗ Where harps of either type lack higher or the day of the exam. Please note that non-
lower strings, pragmatic solutions will be piano accompaniments can be approved
accepted within reason, as long as these only if musically appropriate (eg where
do not lessen the level of technical demand. the published piano accompaniment is an
arrangement of a part written for a different
Scottish traditional fiddle instrument). In all cases, accompaniment
must be provided on a single instrument.
◗◗ Candidates should use a modern violin
playing position, resting the instrument ◗◗ Where accompaniments feature long
introductions or endings, these should
under their chin.
be shortened if possible in a way that is
◗◗ Candidates may use ornamentation and musically appropriate.
fiddle nuances if musically appropriate. ◗◗ Difficult page turns may be overcome
◗◗ Vibrato should be used to warm tone and by photocopying the relevant pages.
colour notes, especially in the slower tunes Page turners may assist the accompanist
at Grade 5 and above. at Grades 6–8.
◗◗ Dynamic variation is expected in the slow ◗◗ Accompanists and their page turners may
tunes and may be appropriate at the only remain in the exam when required.
quicker tempos. ◗◗ Candidates may use a backing track or
◗◗ Candidates may use a piano accompanist recording of the piano accompaniment
except where pieces are specified as in exams up to and including Grade 3.
unaccompanied. Alternatively, they may From Grade 4 onwards the accompaniment
perform entirely unaccompanied even must be performed live in the exam.
where pieces include a piano part. Please note that although all of Trinity’s
graded violin exam books contain backing
tracks, these must not be used in exams at
Grades 4–8.
17
Exam guidance: Pieces

◗◗ Recorded accompaniments need not be ◗◗ If candidates are performing pieces not


commercial products, but must be of a contained in Trinity’s graded exam books,
good quality and must not change the they will need to provide a photocopy as a
difficulty of the piece (eg by including reference for the examiner. Photocopies will
the solo part where it is not included be kept by the examiner and destroyed after
in the piano accompaniment). the exam. Our examiners will have a copy of
the repertoire contained in Trinity’s graded
◗◗ Where recorded accompaniments are used, violin books.
candidates must provide and operate their
own playback equipment. Equipment must ◗◗ Where music has been downloaded,
produce a good sound quality at an adequate candidates must bring proof of purchase or
volume. Contact should be made with details of the website where it was accessed
the centre well in advance to confirm the for the examiner’s reference.
arrangements (power supply, equipment
insurance, etc), which must be agreed with DUETS
Trinity’s local representative. All electrical
◗◗ Violin, Viola, Cello and Double Bass candidates
devices must comply with health and safety at Initial to Grade 3 may include a maximum
requirements in the country where the exam of one duet in their programme.
is taking place.
◗◗ Candidates should play the upper part (unless
MUSIC AND COPIES stated otherwise in this syllabus). The lower
part must be performed in the exam by a
◗◗ Candidates should obtain the music for their teacher, another adult or student, and may
exam in good time before entering for the not be pre-recorded.
exam, and they must bring it with them on
the day of the exam. OWN COMPOSITION
◗◗ We publish selected pieces for violin in ◗◗ Candidates can choose to perform an
our graded exam books. Recommended own composition as one of their pieces.
editions for other pieces are listed Own composition pieces will be assessed
in this syllabus, but candidates may in the same way as the listed repertoire.
perform from any reliable edition which Marks are not awarded for the quality of
has not been shortened or otherwise the composition.
simplified. Editions containing inauthentic
performance directions are not acceptable. ◗◗ Own compositions must be comparable
If a particular edition must be used, this is in technical and musical demand to the
pieces listed for the same grade. Examples
indicated in the syllabus. Product codes for
of compositional techniques that may be
publications are included where available.
used at each level are listed in each grade
◗◗ We take copyright infringement seriously section of this syllabus, and candidates
and require candidates to ensure their can use the sample openings available at
music comes from a legitimate source. trinitycollege.com/strings-resources
Guidelines are available in the UK Music ◗◗ Own compositions may be accompanied
Publishers Association’s Code of Fair or unaccompanied.
Practice, available at mpaonline.org.uk.
Candidates must comply with copyright ◗◗ A typeset or handwritten copy of the
and other intellectual property laws in the composition must be given to the examiner at
country where the exam is taking place. the beginning of the exam. At Initial to Grade 5,
own compositions may be notated in any easily
◗◗ In accordance with the MPA Code of Fair readable form, including graphic score or lead-
Practice, candidates must produce original sheet. At Grades 6–8 they must be notated on
copies of all pieces to be performed at the a stave. Marks will be deducted if notation is
exam, even if pieces have been memorised, incomplete or inaccurate, or if the performance
handwritten or typeset. Pieces where no varies significantly from the notation.
original copy has been provided might be
awarded no marks. ◗◗ Own compositions should be candidates’ own
unaided work, although teachers may offer
guidance as necessary.
18
Exam guidance: Pieces

PARAMETERS AND EXAMPLES OF COMPOSITIONAL TECHNIQUES FOR OWN COMPOSITIONS

Grade Duration Examples of composition techniques

◗◗ Use of different rhythmic values


Initial 0.5–1 minute(s) ◗◗ Clear melodic line
◗◗ Use of keys listed for Initial technical work
◗◗ Dynamic contrast
approx.
Grade 1 ◗◗ Simple syncopation or other rhythmic feature
1 minute
◗◗ Use of keys listed for Grade 1 technical work
◗◗ Use of different articulations
Grade 2 1–1.5 minute(s) ◗◗ Simple melodic ornamentation
◗◗ Use of keys listed for Grade 2 technical work
◗◗ Form showing clear sections, eg ABA
Grade 3 1.5–2 minutes ◗◗ Melodic range of one octave or more
◗◗ Use of keys listed for Grade 3 technical work
◗◗ Tempo changes
Grade 4 2–3 minutes ◗◗ Use of a variety of different articulations
◗◗ Use of keys listed for Grade 4 technical work

Exam guidance: Pieces


◗◗ Chromaticism
Grade 5 2–3 minutes ◗◗ Use of semiquaver passages
◗◗ Use of keys listed for Grade 5 technical work
◗◗ More advanced use of form, eg theme and variations
◗◗ Extensive range
Grade 6 3–4 minutes
◗◗ More advanced melodic ornamentation
◗◗ Use of any key
◗◗ Modulation
Grade 7 3–4 minutes ◗◗ Use of irregular time signatures
◗◗ Use of any key
◗◗ Wide range of expressive techniques
◗◗ Creative use of form
Grade 8 3.5–5 minutes ◗◗ Extended techniques, wide range, chromaticism
and rhythmic variation
◗◗ Use of any key

OBTAINING MUSIC FOR THE EXAM


◗◗ All publications listed in this syllabus can be ordered at trinitycollege.com/shop or your
local music shop.
◗◗ Trinity publishes graded exam books for violin, as well as scales & arpeggios books,
sight reading books and aural test books. See page 284 for more information.
◗◗ Details of the publishers listed in this syllabus can be found on pages 280–283.
◗◗ Trinity cannot guarantee that music will always be in stock with local suppliers. Candidates
and teachers should always check with the publisher before it is assumed that any item has
gone out of print.
19
Exam guidance: Technical work

Exam guidance: Technical work

This section of the exam


TECHNICAL WORK supports the development of
technical skills by assessing
14 MARKS candidates’ performance in a
range of technical work options.

BOWED STRINGS
All candidates (except at Initial) begin the technical work section by performing a bowing exercise.
They then choose one of the following options:
◗◗ Scales, arpeggios & technical exercises
◗◗ Studies (Grades 1–5) or orchestral extracts (Grades 6–8)

Bowing exercises
The following table gives more information about the bowing exercises at Grades 1–8:
Grade Bowing exercise description

For sustained sound throughout both the bow stroke and the bow changes.
Grade 1 ◗◗ Candidates play one of the Grade 1 scales with two separate crotchets on each degree
of the scale, one down bow and one up bow.

For bow distribution. Whole bows should be used for the crotchets and half bows for the
quavers, with sustained tone throughout.
Grade 2 ◗◗ Candidates play one of the Grade 2 scales with the rhythm œ œ œ on each degree of
the scale (using separate bows). The exercise may end with an additional long note
on the tonic.

For quicker, repeated bow strokes. The notes should be played from the middle of the bow,
with even strokes.
Grade 3
◗◗ Candidates play one of the Grade 3 scales with four semiquavers on each degree of
the scale. The exercise may end with an additional long note on the tonic.

For further bow distribution. This should be played with an even bow speed and
sustained tone.
Grade 4
◗◗ Candidates play one of the Grade 4 scales with the rhythm    on each degree of
the scale. The exercise may end with an additional long note on the tonic.

◗◗ Candidates play one of the Grade 5 scales using a martelé bow stroke, between the
middle and the point of the bow. Immediately after the initial ‘bite’ or pressure accent,
Grade 5 the pressure must be released. The bow then moves quickly, but does not leave the string.
Each stroke should end before applying pressure for the next ‘bite’ at the start
of the new stroke. This will result in an inevitable small silence between each note.
20
Exam guidance: Technical work

◗◗ Candidates play one of the Grade 6 scales with each note of the scale played as two
spiccato quavers. The bow should start off the string and leave the string after every
Grade 6
note, creating a small ‘saucer’ or ‘smile’ shape over the string, and touching the string
at the lowest point of the ‘saucer’ or ‘smile’ shape.

◗◗ Candidates play one of the Grade 7 scales using hooked bowing, as in the following
example. The bow should stop before each semiquaver, and the separation should be
heard clearly.
Grade 7 ≥ ≥ ≤ ≤ ≥ ≥ ≤ ≤
œ- ™ œ. œ- ™ œ. œ- ™ œ. œ- ™ œ. etc

◗◗ C andidates prepare one of the scales set for Grade 8 with the bowings from Grades 5, 6
Grade 8
and 7. Examiners choose one of these bowings to hear in the exam.

Scales, arpeggios & technical exercises Studies (Grades 1–5)


Learning scales and arpeggios is an important Studies are specially composed short pieces
part of developing technical focus, strength and designed to demonstrate and develop key areas
agility, and melodic skills. of technique through performance. Keys of the
studies match those of the scales and arpeggios
Candidates prepare the scales and arpeggios
required for the grade.
set for the grade, and play a selection as

Exam guidance: Technical work


requested by the examiner. Technical exercise(s) Candidates should prepare all three studies
are also played. listed for the grade, two of which are played in
the exam. One is chosen by the candidate and
◗◗ All scales and arpeggios are to be performed
one by the examiner.
ascending then descending.
◗◗ Studies may be played either from memory
◗◗ All scales, arpeggios and technical exercises
or using the music.
must be played from memory.
◗◗ Studies are included in the Scales, Arpeggios
◗◗ All scales and arpeggios should be performed
& Studies books.
without vibrato.
◗◗ A minimum pace is indicated, increasing
Orchestral extracts (Grades 6–8)
gradually grade by grade.
At Grades 6–8, candidates can demonstrate
◗◗ Scales may be played either starting with a
technique through performing extracts selected
long tonic, or in even notes.
from a range of orchestral works.
◗◗ At Grades 1–5, candidates should play the
Candidates should prepare three extracts, two
scale followed by the arpeggio. At Grades
of which are played in the exam. One is chosen
6–8, candidates should play the major scale,
by the candidate and one by the examiner.
major arpeggio and dominant 7th starting on
that note in succession (major tonal centres) ◗◗ Extracts may be played either from memory
or the melodic minor scale, harmonic minor or using the music.
scale and minor arpeggio in succession
(minor tonal centres).
◗◗ Full details of scale patterns are given in the
Scales, Arpeggios & Studies books.
◗◗ Articulation patterns for scales and arpeggios
are available free from trinitycollege.com/
strings-resources

21
Exam guidance: Technical work

HARP Studies
Candidates perform one of the Studies are specially composed short pieces
following options: designed to demonstrate and develop key
areas of technique through performance.
◗◗ Scales, arpeggios & exercises
Candidates should prepare all three studies
◗◗ Studies listed for the grade, two of which are played in
◗◗ Orchestral extracts (Grades 6–8 pedal the exam. One is chosen by the candidate and
harp only) one by the examiner.
◗◗ Studies may be played either from memory
Scales, arpeggios & exercises or using the music.
Learning scales and arpeggios is an important
part of developing technical focus, strength Orchestral extracts
and agility, and melodic skills. At Grades 6–8, pedal harp candidates
Candidates prepare the scales and arpeggios can demonstrate technique through
set for the grade, and play a selection as performing extracts selected from a
requested by the examiner. Exercises are range of orchestral works.
also played. Candidates should prepare all three extracts
◗◗ All scales and arpeggios are to be listed for the grade, two of which are played in
performed ascending then descending. the exam. One is chosen by the candidate and
one by the examiner.
◗◗ All scales and arpeggios must be played
from memory. ◗◗ Extracts may be played either from memory
or using the music.
◗◗ A minimum pace is indicated, increasing
gradually grade by grade.
Further information about specific technical
◗◗ Exercises may be played either from work requirements for each grade is given in
memory or using the music. the relevant sections of this syllabus.
◗◗ Candidates should prepare all three
exercises listed for the grade, two of which
are played in the exam. One is chosen by
the candidate and one by the examiner.

22
Exam guidance: Supporting tests

Exam guidance: Supporting tests


SIGHT READING
◗◗ This test assesses candidates’ ability to
perform a previously unseen musical
extract, at a level approximately two grades
SUPPORTING lower than the exam being taken. Our sight
reading pieces are designed to be musically
TESTS
intuitive and natural, preparing candidates
20 MARKS for performance contexts.
◗◗ Candidates are given 30 seconds to study
the test before performing it, during
which time they may practise any or all
of it aloud. Examiners do not mark this
preparation period.
◗◗ Examples of sight reading tests may be
This section of the exam supports the found in Trinity’s Sound at Sight series,
development of broader musical skills available from trinitycollege.com/shop
by assessing candidates in two different or from your local music shop.
supporting tests.
◗◗ Technical expectations for the tests are
At Initial to Grade 5, candidates choose given in the tables on pages 24–26. Lists are
two supporting tests from four options: cumulative, meaning that tests may also
◗◗ Sight reading include requirements from lower grades.

Exam guidance: Supporting tests


◗◗ Aural
◗◗ Improvisation
◗◗ Musical knowledge
At Grades 6–8, all candidates are assessed
in sight reading, and choose either aural or
improvisation for their second supporting test.
This flexibility is designed to allow candidates
to demonstrate their musical skills in different
ways, while recognising that sight reading is an
important skill at higher grades.

23
Exam guidance: Supporting tests

SIGHT READING PARAMETERS

Time signatures* Note and rest values* Dynamics & tempi*

Initial 24 q  h moderato, m f

Grade 1 f, p

h.  w  _
Grade 2 3 ties
allegretto

Grade 3 e  Œ  _ m p , andante

Grade 4 q.  ‰ cresc., decresc.

Grade 5 6 x  (groups of 2 and 4) rall., rit.

dotted quaver/dotted
Grade 6 8 quaver semiquaver
accel.

Grade 7 9 triplets use of mute

2
2
Grade 8 changing time duplets
signatures

24
Exam guidance: Supporting tests

SIGHT READING PARAMETERS


Articulation, positions, shifts

Violin, Scottish
traditional fiddle & viola* Cello* Double bass* Harp*

hands separately;
separate bows, open strings only, no jumps across strings
range of a 5th

separate bows, within first position, range of a 5th range of a 9th

two-note slurs but not across strings (down bow and up bow) hands together

three-note slurs or
three-note slurs or two two notes across two-note slurs,
notes across strings, strings, mixed finger ½ and 1st positions, simple pedal changes†
mixed finger patterns patterns, backwards no extensions
extensions

slurs up to four notes, three-note slurs,


slurs up to four notes,
accents and staccato, 3rd position, accents
accents and staccato, more pedal changes†
pizzicato, forward and staccato, pizzicato,
pizzicato
extensions simple shifts

Exam guidance: Supporting tests


more mixed bowing more mixed bowing
more mixed bowing
styles, trills, octave styles, trills, octave
styles, trills, octave two-note chords
harmonics, simple harmonics, ½ string
harmonics
shifts harmonic, 4th position

shifts, spiccato, double more complex shifts, double stops including


three-note chords,
stops including an double stops including an open string, 5th
arpeggiando
open string an open string and 6th positions

double stops
more awkward shifts,
including an open
including those requiring simple thumb position lever changes‡
string, simple thumb
2nd position
position implied by 

près de la table, pedal


double stops including two
double stops in 1st changes not indicated†,
stopped notes tenor clef
position, tenor clef lever changes not
(but not in sequences)
indicated‡

* Cumulative — tests may also include requirements from preceding grade(s)


† Pedal harp
‡ Non-pedal harp
25
Exam guidance: Supporting tests

SIGHT READING PARAMETERS

Violin &
Scottish
traditional
fiddle* Viola* Cello* Double bass* Harp*

Initial Open strings only C major

Grade 1 G, D, A major C, G, D major G, D major F major

Grade 2 C, A major

C major F major F, Bb major F, Bb major Bb† major


Grade 3
D, A minor D, A minor D, A, G minor A, G minor A, D‡ minor

F, Bb major Bb, Eb major A major


D, B minor D, A major
Grade 4 E, G minor E, G minor E, B minor
accidentals E†, D† minor
accidentals accidentals accidentals

Eb major A major Eb major E major Bb‡ major


Grade 5
C, B minor B, C minor F# minor E minor G†minor

E, Ab major E, Ab major E, Ab major Eb major


Grade 6
F, F# minor F, F# minor C minor C minor

B, Db major B, Db major Ab major A major


Grade 7
C# minor C#, F minor F, F# minor F minor

all keys
B major appropriate to
Grade 8 all major and minor keys
C# minor tuning of the
harp

* Cumulative — tests may also include requirements from preceding grade(s)


† Pedal harp
26 ‡ Non-pedal harp
Exam guidance: Supporting tests

AURAL ◗◗ Candidates are then given 30 seconds’


This test supports the development of preparation time, during which they may
candidates’ abilities in musical perception and prepare for their improvisation aloud.
understanding by requiring them to recognise ◗◗ The test then follows. The examiner plays the
musical features by ear (for example metre and stimulus again, and candidates join after the
pulse, pitch, performance characteristics). introduction, improvising for the specified
All questions are based on a single musical number of repeats. Candidates should aim
example played at the piano by the examiner. to improvise in a way that complements the
At most grades, candidates are asked to musical style of the stimulus.
describe various features of the music such
as dynamics, articulation, texture and style. Motivic stimulus
Candidates are not required to sing. This option requires candidates to improvise
Practice tests can be found in Trinity’s solo in response to a short melodic fragment.
Aural Tests from 2017 books, available from
trinitycollege.com/shop or from your local ◗◗ Candidates are given a notated melodic
music shop. fragment, which the examiner plays twice
on the piano for candidates’ reference.
◗◗ Candidates are then given 30 seconds’
IMPROVISATION
preparation time, during which they may
Improvisation can develop creative prepare for their improvisation aloud.
musicianship skills that unlock a variety
◗◗ The test then follows. Candidates should aim
of musical styles and technical ability.
to improvise within the specified duration
Our tests are designed to introduce
range and may begin by quoting the stimulus
teachers and candidates to improvisation
directly, developing their improvisation from
gradually, creatively and with a range of
there. However, they are not required to
supporting resources.
quote the stimulus directly, and may instead
This test assesses candidates’ ability develop their improvisation from ideas taken

Exam guidance: Supporting tests


to improvise fluently, coherently and from the stimulus such as a small group of
creatively in response to a musical stimulus. notes or an interval. Responses must use the
Candidates choose a stimulus from the given time signature.
following three options, indicating their
choice of stimulus on the appointment form: Harmonic stimulus
◗◗ Stylistic This option requires candidates to improvise
◗◗ Motivic solo in response to a chord sequence.
◗◗ Harmonic ◗◗ Candidates are given a notated chord
sequence, including chord symbols, which
Further guidance and example tests are
the examiner plays twice on the piano for
available at trinitycollege.com/supporting-tests
candidates’ reference.
◗◗ Candidates are then given 30 seconds’
Stylistic stimulus preparation time, during which they may
This option requires candidates to improvise prepare for their improvisation aloud.
over a notated piano part played by ◗◗ The test then follows. Candidates should
the examiner. improvise for the specified number of
◗◗ Candidates are given a stimulus which repeats, following the chord sequence.
includes the notated piano part and chord Responses should contain melodic/
symbols. The stimulus begins with a two-bar rhythmic interest.
introduction played by the examiner alone,
followed by a further section over which Parameters
candidates must improvise for a specified
number of repeats. Technical expectations for the tests are given
in the tables on the following pages. Lists are
◗◗ The examiner plays the stimulus twice for cumulative, meaning that tests may also
candidates’ reference, without repeats. include requirements from lower grades.

27
Exam guidance: Supporting tests

Stylistic stimulus

Initial Grade 1 Grade 2 Grade 3

Length of
2 bars 2 bars 2 bars 2 bars
introduction

Length of
improvised 4 bars 4 bars 4 bars 4 bars
section

Times
improvised
1 2 2 2
section
is played

Total to
4 bars 8 bars 8 bars 8 bars
improvise

Time signatures* 4 3

D, Bb major
Keys* C major F, G major A minor
D, E minor

Number of
1 1 1 1
chords per bar

I, IV, V I, ii, IV, V


Chords I, V I, V
i, iv, V i, iib5, iv, V

Styles and march, fanfare, tango, waltz,


speeds* lullaby moderato andante allegretto

28 * Cumulative — tests may also include requirements from preceding grade(s)


Exam guidance: Supporting tests

Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

2 bars 2 bars 2 bars 2 bars 2 bars

4 bars 4 bars 8 bars 8 bars 8 bars

3 3 2 2 2

12 bars 12 bars 16 bars 16 bars 16 bars

Exam guidance: Supporting tests


5
2 6 1 9 4

G, B minor A, Eb major F#, C minor E, Ab major C#, F minor

1 up to 2 up to 2 up to 2 up to 2

I, ii, IV, V, vi I, ii, iii, IV, V, vi all chords


I, ii, IV, V I, ii, IV, V, vi
i, iib5, iv, V, VI i, iib5, III, iv, V, VI 7ths, 9ths
i, iib5, iv, V i, iib5, iv, V, VI
7ths 7ths suspensions

adagio, grazioso, agitato, gigue, impressionistic,


allegro vivace nocturne grave irregular dance

29
Exam guidance: Supporting tests

Motivic stimulus

Initial Grade 1 Grade 2 Grade 3

Length of
2 bars 2 bars 2 bars 2 bars
stimulus

Length of
4–6 bars 4–8 bars 6–8 bars 6–8 bars
response

Time
signatures* 4 3

Rhythmic minims,
quavers dotted notes ties
features* crotchets

Articulation* staccato

up to
Intervals* major 3rd perfect 4th perfect 5th
minor 3rd

D, Bb major
Keys* C major F, G major A minor
D, E minor

30 * Cumulative — tests may also include requirements from preceding grade(s)


Exam guidance: Supporting tests

Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

2 bars 2 bars 1 bar 1 bar 1 bar

8–12 bars 8–12 bars 12–16 bars 12–16 bars 12–16 bars

5
2 6 1 9 4

triplets,
syncopation semiquavers
duplets

Exam guidance: Supporting tests


accents slurs acciaccaturas sfz

augmented
minor 6th, 4th, minor 7th, all up to
octave
major 6th diminished major 7th major 10th
5th

G, B minor A, Eb major F#, C minor E, Ab major C#, F minor

31
Exam guidance: Supporting tests

Harmonic stimulus

Initial Grade 1 Grade 2 Grade 3

Length of chord
4 bars 4 bars 4 bars 4 bars
sequence

Times chord
sequence 1 2 2 2
is played

Total to
4 bars 8 bars 8 bars 8 bars
improvise

Number of
1 1 1 1
chords per bar

Chords I, V I, V I, IV, V I, ii, IV, V

Keys: Violin
& Scottish D major D, E, A major
traditional fiddle

Keys: Viola D major D, G, A major

Keys: Cello C major C, D, G major

Keys: Double bass C major C, D, G major

Keys: Harp C major C, F, G major

32
Exam guidance: Supporting tests

Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

4 bars 4 bars 8 bars 8 bars 8 bars

3 3 2 2 2

12 bars 12 bars 16 bars 16 bars 16 bars

1 1 1 1 1

I, ii, IV, V I, ii, iii, IV, V, vi all chords


i, iv, V i, iv, V, VI i, iib5, iv, V i, iib5, III, iv, V, VI 7ths, 9ths

Exam guidance: Supporting tests


7ths 7ths suspensions

C, D, E, F, G, A, Bb major
C#, E, F#, A, B minor
A, B, C#, D, E, F#, G minor

C, D, E, F, G, A, Bb major
D, E, F#, A, B minor
A, B, C#, D, E, F#, G minor

C, D, Eb, F, G, A, Bb major
D, E, F#, A, B minor
A, B, C, D, E, F#, G minor

C, D, E, F, G, A, Bb major
D, E, F#, A, B minor
A, B, C#, D, E, F#, G minor

C, F, G, Bb, D, Eb, A major


A, D, E, G, B minor
A, D, E, G, B, C, F# minor

33
Exam guidance: Supporting tests

MUSICAL KNOWLEDGE Examiners then choose a second piece for


(Initial–Grade 5 only) the remaining questions. Candidates’ musical
scores should be free of annotations that
This test encourages learners to understand
might aid their responses. Examiners usually
the wider musical context of the pieces
point to the relevant part of the score
they play, as well as to develop their
when asking questions. Candidates can use
knowledge of notation and their instrument.
American terms (eighth note, half note, etc)
Examiners ask carefully graded questions
as an alternative to English terms (quaver,
based on candidates’ chosen pieces.
minim, etc).
Questions refer to the solo line only.
The following table gives example questions
In the exam, candidates choose which piece
and responses.
they would like to be asked about first.

Parameters* Sample question Sample answer

What is the pitch name


Pitch names G
of this note?

How many beats are


Note durations Two
there for this note?

Initial Clefs, stave, barlines What is this sign? A treble clef

Identify key/time
What is this called? A time signature
signatures

Basic musical terms


What is this called? A pause mark
and signs

Note values What is this note value? A quaver

Explain key/time Four crotchet beats


What does 4 mean?
signatures in a bar

Notes on ledger lines What is the name of this note? Bb


Grade 1
Musical terms What is the meaning
Go back to the start
and signs of da capo?

Parts of the
What is this part called? A bridge
instrument

34 * Cumulative — tests may also include requirements from preceding grade(s)


Exam guidance: Supporting tests

Metronome marks,
72 crotchet beats
grace notes Explain the sign d = 72
per minute
and ornaments

Intervals What is the interval between


Grade 2 A 3rd
(numerical only) these notes?

Show me a good left hand Candidate


Basic posture
position for your instrument demonstrates

What is the relative major/


Relative major/minor D minor
minor of this piece?

Scale/arpeggio What pattern of notes do


A scale
Grade 3 pattern you see here?

How might you warm up By playing a selection


Warm up in preparation for playing of scales and arpeggios
this piece? in related keys

Modulation to closely What key does this music


A minor
related keys change to?

Tonic/dominant triads Name the notes of the tonic triad C, E, G

Exam guidance: Supporting tests


Grade 4 What is the interval between
Intervals (full names) Perfect 5th
these notes?

Show me the most Here [candidate


Technical challenges challenging part of this indicates], because
piece and tell me why of the awkward leaps

Candidate identifies
Comment on the style style of piece and gives
Musical style
of this piece examples of stylistic
features

Candidate suggests
How does this piece reflect the a musical period and
Musical period
period in which it was written? gives examples of how
Grade 5 the music reflects this

Candidate describes
form of piece and
Musical structures Describe the form of this piece
identifies relevant
sections

Name the notes of the


Subdominant triads F, A, C
subdominant triad

35
Exam guidance: Marking

Exam guidance: Marking


HOW THE EXAM IS MARKED HOW THE PIECES ARE MARKED
Examiners give comments and marks for each Each piece is awarded three separate marks
section of the exam, up to the maximums corresponding to three specific musical
listed in the tables on pages 12 and 14. It is not components, allowing candidates to receive
necessary to pass all sections or any particular precise feedback about specific aspects of
section in order to achieve a pass overall. their performance. These marks combine
The total mark for the exam corresponds to to give a total mark for the piece.
different attainment levels as follows:
The three components are:
Total mark Attainment level Fluency & accuracy
The ability to perform fluently, with a stable
87–100 DISTINCTION pulse and with an accurate realisation of
the notation.
75–86 MERIT
Technical facility
60–74 PASS The ability to control the instrument
effectively, covering the various technical
45–59 BELOW PASS 1
demands of the music.
0–44 BELOW PASS 2 Communication & interpretation
The interpretation of the music and the way
the performance conveys a sense of stylistic
understanding and audience engagement.
Marks are awarded for these components to
form a maximum total mark for each piece
as follows:

Max. mark
for each piece Component

7 FLUENCY & ACCURACY

7 TECHNICAL FACILITY

COMMUNICATION
8
& INTERPRETATION

TOTAL MARK FOR


22
EACH PIECE

36
Exam guidance: Marking

The total marks awarded for each piece


correspond to the attainment levels as follows:

Total mark
for each piece Attainment level

19–22 DISTINCTION

16–18 MERIT

13–15 PASS

10–12 BELOW PASS 1

3–9 BELOW PASS 2

Exam guidance: Marking

37
Exam guidance: Marking

HOW THE PIECES ARE MARKED

Examiners use the criteria below to decide on the mark:

7 MARKS 6 MARKS 5 MARKS

Fluency An excellent sense A very good sense A good sense of


& accuracy of fluency with of fluency with only fluency though
secure control of momentary insecurities with occasional
pulse and rhythm. in control of pulse inconsistencies in
and rhythm. control of pulse
A very high degree
and rhythm.
of accuracy in notes. A high degree of
accuracy in notes — A good degree of
slips not significant. accuracy in notes
despite some slips.

7 MARKS 6 MARKS 5 MARKS

Technical The various technical The various technical The various technical
facility demands of the music demands of the music demands of the
fulfilled to a very fulfilled with only music fulfilled for
high degree. momentary insecurities. the most part.
An excellent level A very good level of A good level of tone
of tone control. tone control despite control though with
minimal blemishes. occasional lapses.

8 MARKS 7 MARKS 6 MARKS

Communication An excellent level of A very good level of A good level of stylistic


& stylistic understanding stylistic understanding understanding though
interpretation with keen attention to with most performance occasional performance
performance details. details realised. details omitted.
Highly effective Effective communication Communication and
communication and interpretation overall. interpretation mostly
and interpretation. effective.

38
Exam guidance: Marking

4 MARKS 3 MARKS 1–2 MARKS

A generally reliable sense Only a limited sense of Little or no sense of fluency


of fluency though with fluency with a lack of — control of pulse and
some inconsistencies and basic control of pulse rhythm not established.
stumbles in the control of and rhythm.
Accuracy in notes very
pulse and rhythm.
Accuracy in notes limited with many errors
A reasonable degree of sporadic, with errors of substance.
accuracy in notes despite becoming intrusive.
a number of errors.

4 MARKS 3 MARKS 1–2 MARKS

The various technical The technical demands of Many or all of the


demands of the music the music often not managed. technical demands of
generally managed despite the music not managed.
The performance lacks a
some inconsistencies.
basic level of tone control. Significant flaws 
A basic level of tone control in tone control.
despite some insecurity.

5 MARKS 3–4 MARKS 1–2 MARKS Exam guidance: Marking


A reasonable level of Stylistic understanding Stylistic understanding
stylistic understanding generally lacking with not apparent with little
though some performance limited realisation of or no realisation of
details omitted. performance details. performance details.
Communication and Communication and Communication and
interpretation basically interpretation inconsistent. interpretation ineffective.
reliable though with
some lapses.

39
Exam guidance: Marking

HOW TECHNICAL WORK IS MARKED

Examiners use the criteria below to decide on the mark:

DISTINCTION MERIT
13–14 MARKS 11–12 MARKS

Scales & arpeggios An excellent or very A good sense of fluency


good sense of fluency and accuracy with
and accuracy. occasional errors.
A very high degree of A good degree of
technical control. technical control.
Prompt responses. Prompt responses overall.

Studies, exercises and An excellent or very A good sense of fluency


orchestral extracts good sense of fluency and accuracy with
and accuracy. occasional errors.
A very high degree of A good degree of
technical control. technical control.
Keen attention to Good attention to
performance details performance details and
and musical character. musical character overall.

40
Exam guidance: Marking

PASS BELOW PASS 1 BELOW PASS 2


9–10 MARKS 6–8 MARKS 1–5 MARKS

A generally reliable sense Limited or very limited Little or no sense of


of fluency and accuracy fluency and accuracy with fluency and accuracy
despite a number of errors. errors becoming intrusive. with many errors.
A reasonable degree of An inconsistent degree An unreliable degree
technical control despite of technical control. of technical control.
some inconsistences.
Hesitancy in responses Uncertain responses with
Generally prompt responses and restarts. many restarts and/or items
despite some hesitancy and/ not offered.
or restarts.

A generally reliable sense of Limited or very limited Little or no sense of


fluency and accuracy despite fluency and accuracy with fluency and accuracy
a number of errors. errors becoming intrusive. with many errors.
A reasonable degree of An inconsistent degree An unreliable degree
technical control despite of technical control. of technical control.
some inconsistences.
Limited attention to Little or no attention to
Some attention to performance details performance details and
performance details and musical character. musical character.
and musical character.

Exam guidance: Marking

41
Exam guidance: Marking

HOW SUPPORTING TESTS ARE MARKED

Examiners use the criteria below to decide on the mark:

DISTINCTION MERIT
9–10 MARKS 8 MARKS

Sight reading An excellent or very good A good sense of fluency


sense of fluency with though with occasional
secure control of pulse, inconsistencies in control of
rhythm and tonality. pulse, rhythm and tonality.
A very high degree of A good degree of accuracy
accuracy in notes, with in notes despite some
musical detail realised. slips, with some musical
detail realised.

Aural An excellent or very good A good degree of aural


degree of aural perception perception in the majority
in all aspects. of aspects.
Confident and prompt Mostly confident and
responses. prompt responses.

Musical knowledge An excellent or very good A good degree of musical


degree of musical knowledge knowledge in the majority
in all aspects. of aspects.
Confident and prompt Mostly confident and
responses. prompt responses.

Improvisation An excellent or very good A good sense of musical


sense of musical structure, structure, based on the
based on the stimulus, stimulus, delivered with
delivered with a high level a good level of fluency.
of fluency.
A creative and imaginative
A highly creative and response overall.
imaginative response.

42
Exam guidance: Marking

PASS BELOW PASS 1 BELOW PASS 2


6–7 MARKS 4–5 MARKS 1–3 MARKS

A generally reliable sense Only a limited sense of Little or no sense of fluency


of fluency though with fluency with a lack of basic — control of pulse, rhythm
some inconsistencies and control of pulse, rhythm and tonality not established.
stumbles in the control of and tonality.
Accuracy in notes very
pulse, rhythm and tonality.
Accuracy in notes sporadic limited with no attention
A reasonable degree of with no attention to to musical detail.
accuracy in notes despite musical detail.
a number of errors and
with little attention to
musical detail.

A generally reliable degree A limited or very limited aural Unreliable aural perception
of aural perception perception with some lack of in the majority or all aspects.
in most aspects though precision in most aspects.
Very hesitant or uncertain/
with some imprecision.
Hesitant or uncertain missing responses.
Generally confident and responses.
prompt responses though
with occasional hesitation
or uncertainty.

A generally reliable degree A limited or very limited Unreliable musical knowledge


of musical knowledge in degree of musical knowledge in the majority or all aspects.
most aspects. in most aspects.
Very hesitant or uncertain/ Exam guidance: Marking
Generally confident and Hesitant or uncertain missing responses.
prompt responses though responses.
with occasional hesitation
or uncertainty.

A generally reliable sense of A limited or very limited Musical structure only


musical structure, based on sense of musical structure, partially or not apparent,
the stimulus, delivered with with little relation to the with no relation to the
a reasonable level of fluency stimulus, delivered with some stimulus, and fluency
despite occasional lapses. hesitations and stumbles often compromised.
in fluency.
Some element of creativity Little or no creativity or
and imagination in the A lack of creativity and imagination in the response.
response. imagination in the response.

43
Violin: Initial to Grade 5

Violin: Initial to Grade 5


EXAM DURATION EXAM STRUCTURE
The Initial exam lasts The Grade 1 exam The Initial to Grade 5 exams contain the following:
11 minutes lasts 13 minutes
Maximum
marks

PIECE 1 22

PIECE 2 22
The Grade 2 exam The Grade 3 exam
lasts 13 minutes lasts 13 minutes
PIECE 3 22

TECHNICAL WORK* 14

◗◗ Bowing exercise
The Grade 4 exam The Grade 5 exam
lasts 18 minutes lasts 18 minutes ◗◗ Either scales, arpeggios & technical exercise(s)
or studies

SUPPORTING TESTS 20

Any TWO of the following:


◗◗ Sight reading
◗◗ Aural
◗◗ Improvisation
◗◗ Musical knowledge

TOTAL 100

44 * At Initial level, candidates perform scales only


Violin: Initial

Violin: Initial
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Only one
duet may be chosen. Pieces by at least two composers must be played. An own composition or a
piece from either group on the Initial Scottish traditional fiddle list may be played instead of one
listed piece. A maximum of one unaccompanied or Scottish traditional fiddle item may be played.

Violin: Initial
See pages 16–19 for further guidance.

Composer Piece Book Publisher


ARBEAU, arr. Violin Exam Pieces
1. Sword Dance Trinity TCL019189
K & D BLACKWELL 2020–2023: Initial
Calypso Time†
2. K & D BLACKWELL Fiddle Time Joggers OUP 9780193386778
or Chinese Garden†
Violin Exam Pieces
3. K & D BLACKWELL Happy Go Lucky Trinity TCL019189
2020–2023: Initial
More Mini Mozart†
(candidate plays theme
4. K & D BLACKWELL Fiddle Time Starters OUP 9780193365841
then chooses one
of the rhythm variations)
Bossy Boots or Clockwork
5. COBB & YANDELL Clown or On the Ranch Take Your Bow Violin Trinity TCL018045
or Sad Smile
Violin Exam Pieces
6. K & H COLLEDGE Bell-ringers Trinity TCL019189
2020–2023: Initial
Violin Exam Pieces
7. K & H COLLEDGE Knickerbocker Glory Trinity TCL019189
2020–2023: Initial
Oom-pah Band
8. K & H COLLEDGE Stepping Stones Boosey M060079481
or See-saw
Violin Exam Pieces
9. CORRETTE Fanfare Trinity TCL019189
2020–2023: Initial
Raise the Bar Violin:
10. DAWE France — Folk Song Trinity TCL015822
Initial–Grade 2
Violin Exam Pieces
11. DRYER-BEERS Swinging Along* Trinity TCL019189
2020–2023: Initial
Violin Exam Pieces
12. GOLDBERG Overture (duet) Trinity TCL019189
2020–2023: Initial
Menuet (from Music
HANDEL, Violin Exam Pieces
13. for the Royal Fireworks) Trinity TCL019189
arr. TRORY 2020–2023: Initial
(duet)
Marching Band† (duet or
14. HUWS JONES piano accomp) or Where’s Red Parrot, Green Parrot Faber 0571511716
my Wellies?† (duet)
LUMSDEN &
15. Trick, Treat or Tango Witches’ Brew Peters EP7676
ATTWOOD

* Unaccompanied † Accompaniment published separately


= Pieces in Trinity’s graded exam books 45
Violin: Initial

16. MURRAY & TATE My Fairy Swing Tunes for My Violin Boosey M060039065

17. NELSON Mad as a Hatter Piece by Piece 1 Boosey M060087899

Raise the Bar Violin:


18. ROSE Reverie Trinity TCL015822
Initial–Grade 2

19. TRAD., arr. COHEN Li’l Liza Jane* Bags of American Folk Faber 0571534163

20 TRAD., arr. NELSON Drink to Me Only Piece by Piece 1 Boosey M060087899

21. WILKINSON Aquila Constellations Set 1 Trinity TCL019158

Violin Exam Pieces


22. WILSON On Parade Trinity TCL019189
2020–2023: Initial

TECHNICAL WORK

Candidates prepare scales, as shown below. See page 21.


All requirements are in Trinity’s book Violin Scales, Arpeggios & Studies from 2016.

SCALES (from memory)


All one octave, with the indicated rhythmic pattern on each note (minimum tempo: q = 92).

◗◗ G major

  etc
     
etc.
           
◗◗ D major

                   etc
etc.

◗◗ A major
   
              
etc
etc.

46 * Unaccompanied = Pieces in Trinity’s graded exam books


Violin: Initial

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
◗◗ Aural on a stimulus chosen from the following
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge

Violin: Initial
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level lower than the exam being taken.
See pages 23–26 for the requirements Musical knowledge
and parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the violin.
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.
The aural test requirements for Initial
are below.

Aural questions

Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing,


three times stressing the strong beat
Melody only
Listen to the melody once Identify the dynamic as forte or piano
4 bars
Major key Identify the articulation as legato
Listen to the melody once
or staccato
2
Listen to the first three
Identify the highest or lowest note
notes of the melody once

47
Violin: Grade 1

Violin: Grade 1
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Only one
duet may be chosen. Pieces by at least two composers must be played. An own composition or a
piece from any group on the Grade 1 Scottish traditional fiddle list may be played instead of one
listed piece. A maximum of one unaccompanied or Scottish traditional fiddle item may be played.
See pages 16–19 for further guidance.

Composer Piece Book Publisher

ANON., arr. The Young Violinist’s


1. Noel nouvelet Faber 0571516696
HUWS JONES Early Music Collection

J S BACH, Aria (from The Classical Music for Children:


2. Schott ED21906
arr. MOHRS Peasant Cantata) 25 Easy Pieces

BARTÓK, The Two Roses (from Violin Exam Pieces


3. Trinity TCL019196
arr. DAVIES For Children, book 2) 2020–2023: Grade 1

Violin Exam Pieces


4. K & D BLACKWELL Chase in the Dark (duet) Trinity TCL019196
2020–2023: Grade 1

5. K & D BLACKWELL The Old Castle† Fiddle Time Joggers OUP 9780193386778

Chicken Reel
6. BURGOYNE Take the Stage Boosey M060092664
or Tango

7. COBB & YANDELL Busy Bee Take Your Bow Violin Trinity TCL018045

Violin Exam Pieces


8. COHEN Hoedown (duet) Trinity TCL019196
2020–2023: Grade 1

9. COHEN Saturday Night Stomp* Superstudies book 2 Faber 0571514502

10. K & H COLLEDGE Full Moon Waggon Wheels Faber M060079467

11. K & H COLLEDGE Singapore Sunset Fast Forward Boosey M060090790

12. DAVIES Priddy Fair Folk Roots Boosey M060129520

Violin Exam Pieces


13. DRYER-BEERS Jeremiah’s Waltz* Trinity TCL019196
2020–2023: Grade 1

* Unaccompanied † Accompaniment published separately


48 = Pieces in Trinity’s graded exam books
Violin: Grade 1

Raise the Bar Violin:


14. LOVELL & REEKS Scherzino Trinity TCL015822
Initial–Grade 2

LUMSDEN Violin Exam Pieces


15. Flash of Light’ning Trinity TCL019196
& ATTWOOD 2020–2023: Grade 1

LUMSDEN
16. Fly High, Pterodactyl Jurassic Blue Faber 0571521592
& WEDGWOOD

17. MACKAY Cha-cha Four Modern Dance Tunes Stainer 2118A

Violin Exam Pieces

Violin: Grade
18. MILÁN Pavane Trinity TCL019196
2020–2023: Grade 1

Minuet (from First


Raise the Bar Violin:
19. MOZART Viennese Sonatina Trinity TCL015822
Initial–Grade 2
after K. 439b)

Violin Exam Pieces


20. NORTON Up the Mountain Trinity TCL019196
2020–2023: Grade 1
1
SCHUBERT,
21. Ecossaise (duet) Violin Playing book 2 Waveney WAV002
arr. TRORY

22. SUBRAMANIAM Bird and a Dog, no. 19* Pieces, Studies, Ragas Trinity TCL019165

TRAD.,
Violin Exam Pieces
23. arr. COBB Jasmine Flower Trinity TCL019196
2020–2023: Grade 1
& YANDELL

TRAD.,
24. Home on the Range* Bags of American Folk Faber 0571534163
arr. COHEN

TRAD., arr.
25. The British Grenadiers Violin Playtime book 3 Faber 0571508731
DE KEYSER

TRAD., arr. The Witch’s Broomstick


26. The French Fiddler Boosey M060120572
HUWS JONES (piano accomp)

TRAD., Napoleon Crossing


27. Violin Playing book 2 Waveney WAV002
arr. TRORY the Alps (duet)

Violin Exam Pieces


28. WILSON Lights Out Trinity TCL019196
2020–2023: Grade 1

= Pieces in Trinity’s graded exam books * Unaccompanied 49


Violin: Grade 1

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
All requirements are in Trinity’s book Violin Scales, Arpeggios & Studies from 2016.

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 1 scales, freely chosen from the list, with two separate
crotchets on each degree of the scale, one down bow and one up bow. (q = 66)

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISE (from memory) —
Candidates play the scale followed by the arpeggio. Examiners select from the following:

starting on 3rd scales separate bows


◗◗ C and G major
finger or slurred in pairs
with a long tonic
one octave
(upper tonic may be
repeated); arpeggios min. tempo:
◗◗ D and A major separate bows only q = 88
starting on the
open string
first five notes
◗◗ D minor (scale only) ascending and separate bows only
descending

Technical exercise (from memory) (q = 50–75):


Open strings
        
   
 

Or
3. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.

The Limping Rabbit


1.  for tone and phrasing

A Cheeky Hamster
2.  for mixed articulation and bowing styles

At the Ranch
3.  for double stops and contrasts

50
Violin: Grade 1

SUPPORTING TESTS

Candidates choose TWO of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements

Violin: Grade
perform a previously unseen musical extract and parameters.
at a level lower than the exam being taken.
See pages 23–26 for the requirements Musical knowledge
and parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the violin.
Candidates answer questions based on a single Questions are based on candidates’ chosen 1
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.
The aural test requirements for Grade 1
are below.

Aural questions

Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing,


three times stressing the strong beat

Melody only i) Identify the dynamic as forte or piano


Listen to the melody once ii) Identify the articulation as legato
4 bars or staccato

Major key Listen to the first two bars Identify the last note as higher or lower
of the melody once than the first note
23
Listen to the melody twice,
with a change of rhythm or Identify where the change occurs
pitch in the second playing

51
Violin: Grade 2

Violin: Grade 2
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Only one
duet may be chosen. Pieces by at least two composers must be played. An own composition or
a piece/set from any group on the Grade 2 Scottish traditional fiddle list may be played instead
of one listed piece. A maximum of one unaccompanied or Scottish traditional fiddle item may be
played. See pages 16–19 for further guidance.

Composer Piece Book Publisher


1. ARENS Doric Dance Twelve Pieces Trinity TCL019141
J S BACH,
2. Aria, BWV 515/a (duet) Violin Duos for Beginners EMB Z.8307
arr. VIGH
BAKLANOVA, The Young Violinist’s
3. Romance Faber 0571506577
arr. DE KEYSER Repertoire book 2
4. CARROLL Singhalese Dancer The Enchanted Isle Forsyth FCW15
5. CARSE At Dusk The Fiddler’s Nursery Stainer 1926
6. COHEN Allegro* or Waltz* Bags of Style Faber 0571532616
7. K & H COLLEDGE Head-in-the-clouds Shooting Stars Boosey M060103438
8. K & H COLLEDGE The Ceilidh Fast Forward Boosey M060090790
Violin Exam Pieces
9. FINGER Air Trinity TCL019202
2020–2023: Grade 2
Chorus (from Judas Raise the Bar Violin:
10. HANDEL Trinity TCL015822
Maccabaeus) Initial–Grade 2
HAYDN,
11. German Dance (duet) Violin Playing book 2 Waveney WAV002
arr. TRORY
Violin Exam Pieces
12. KOEPPEN Swingin’ Strings Trinity TCL019202
2020–2023: Grade 2
Grab the Slippery Toad!
LUMSDEN &
13. or Search for the Magical, Wizard’s Potion Peters EP7678
ATTWOOD
Mystery Maze
MOZART, The Young Violinist’s
14. Mailied (May Song) Faber 0571506186
arr. DE KEYSER Repertoire book 1
Violin Exam Pieces
15. NORTON In the Quiet House Trinity TCL019202
2020–2023: Grade 2
Menuet (adapted from
PETZOLD, Clavierbüchlein der Anna Violin Exam Pieces
16. Trinity TCL019202
arr. CORNICK Magdalena Bach, 2020–2023: Grade 2
BWV Anh. 114)
Rondo in D Raise the Bar Violin:
17. PLEYEL Trinity TCL015822
(from Duo, op. 8 no. 5) Initial–Grade 2
SCHENK, Violin Exam Pieces
18. Bourrée (duet) Trinity TCL019202
arr. VIGH 2020–2023: Grade 2
Coleg y Brifysgol
SHAW, Violin Exam Pieces
19. Abertawe (University Trinity TCL019202
arr. PHILLIPS 2020–2023: Grade 2
College Swansea)*

52 = Pieces in Trinity’s graded exam books * Unaccompanied


Violin: Grade 2

Violin Exam Pieces


20. STEPHEN Dublin Time Trinity TCL019202
2020–2023: Grade 2
21. SUBRAMANIAM Mahati Song, no. 20* Pieces, Studies, Ragas Trinity TCL019165
TRAD., In the Evening (piano
22. The French Fiddler Boosey M060120572
arr. HUWS JONES accomp)
TRAD., The Leaving of Violin Exam Pieces
23. Trinity TCL019202
arr. HUWS JONES Liverpool (duet) 2020–2023: Grade 2
TRAD.,
24. The Mason’s Apron Jigs, Reels and Hornpipes Boosey M060124044
arr. HUWS JONES
25. WILKINSON Leo Constellations Set 1 Trinity TCL019158
Violin Exam Pieces
26. WILSON At Work Trinity TCL019202
2020–2023: Grade 2

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.

Violin: Grade
All requirements are in Trinity’s book Violin Scales, Arpeggios & Studies from 2016.

1. BOWING EXERCISE (from memory)


Candidates play one of the Grade 2 scales, freely chosen from the list, with the rhythm d D
on each degree of the scale, separate bows. The exercise may end with an additional long
note on the tonic (d D d). (q = 80) 2
Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISE (from memory) —
Candidates play the scale followed by the arpeggio. Examiners select from the following:

◗◗ G major two octaves

◗◗ C and F major scales separate


starting bows or slurred min. tempi:
on the A in pairs with scales
◗◗ D major
string in 3rd a long tonic; q = 58
one octave position arpeggios arpeggios
separate bows d· = 40
◗◗ E and D minor only
(candidate choice of either
in 1st position
natural or harmonic or melodic
minor)
Technical exercise (from memory) (q = 50–75):
Octaves and sixths


             
     

= Pieces in Trinity’s graded exam books * Unaccompanied 53


Violin: Grade 2

Or
3. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.
1. 
A Scaly Experience for tone and phrasing
2. Arpeggio Antics for mixed articulation and bowing styles
3. Double Trouble for double stops and contrasts

SUPPORTING TESTS

Candidates choose TWO of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
◗◗ Aural on a stimulus chosen from the following
◗◗ Improvisation three options:
◗◗ Musical knowledge ◗◗ Stylistic
◗◗ Motivic
Sight reading ◗◗ Harmonic
After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for the Musical knowledge
requirements and parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural
as their knowledge of notation and the violin.
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.
The aural test requirements for Grade 2
are below.

Aural questions

Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing,


three times stressing the strong beat

Melody only i) D
 escribe the dynamics, which will
vary during the melody
Listen to the melody once
4 bars ii) Identify the articulation as legato
or staccato
Major or minor key
Identify the last note as higher or lower
Listen to the melody once
than the first note
23
Listen to the melody twice, i) Identify where the change occurs
with a change of rhythm or
pitch in the second playing ii) Identify the change as rhythm or pitch

54
Violin: Grade 3

Violin: Grade 3
PIECES
Candidates play a balanced programme of three pieces, chosen from the list below. Only one
duet may be chosen. Pieces by at least two composers must be played. An own composition or
a set from any group on the Grade 3 Scottish traditional fiddle list may be played instead of one
listed piece. A maximum of one unaccompanied or Scottish traditional fiddle item may be played.
See pages 16–19 for further guidance.

Composer Piece Book Publisher


Donwell Abbey or Fat Cat
1. ARENS Twelve Pieces Trinity TCL019141
Boogie or Rondo Furioso
Summy-Birchard
2. J S BACH Gavotte in G minor† Suzuki Violin School vol 3
0148S
BIZET, arr.
3. Habanera (from Carmen)† Fiddle Time Sprinters OUP 9780193386792
K & D BLACKWELL
4. K & D BLACKWELL Wild West† Fiddle Time Sprinters OUP 9780193386792
5. COHEN Quite a Character! (duet) More Technique Takes Off! Faber 0571524842
6. COHEN Magic Carpet Ride* Superstudies book 2 Faber 0571514502

Violin: Grade
Violin Exam Pieces
7. DRYER-BEERS Marlow’s Tune* Trinity TCL019219
2020–2023: Grade 3
HANDEL,
8. La Réjouissance (duet) Violin Playing book 3 Waveney WAV003
arr. TRORY
HOOK, Violin Exam Pieces
9. Country Dance Trinity TCL019219
arr. LAMBERT 2020–2023: Grade 3
10. HOWELLS ‘Chosen’ Tune Three Pieces, op. 28 Stainer H405
Sleep Song (from 3
11. HUMPERDINCK First Solo Pieces book 1 Schott ED11473
Hansel and Gretel)
Violin Exam Pieces
12. KROLL Donkey Doodle Trinity TCL019219
2020–2023: Grade 3
13. MACKAY Rebecca (A Rumba) Four Modern Dance Tunes Stainer 2118A
Violin Exam Pieces
14. McDOWALL Sunday on Fifth Avenue Trinity TCL019219
2020–2023: Grade 3
Kontretanz, KV 534 Violin Exam Pieces
15. MOZART Trinity TCL019219
(Das Donnerwetter) 2020–2023: Grade 3
MOZART, Classical and Romantic
16. Polonaise OUP 9780193564893
arr. FORBES Pieces book 2
Violin Exam Pieces
17. SAUNDERS Maracas Beach Trinity TCL019219
2020–2023: Grade 3
SCHUBERT, The Young Violinist’s
18. German Dance Faber 0571508197
arr. DE KEYSER Repertoire book 4
Violin Exam Pieces
19. SOPPER Blue Sky (duet) Trinity TCL019219
2020–2023: Grade 3
SPIRITUAL, arr.
20 Wade in the Water† Fiddle Time Sprinters OUP 9780193386792
K & D BLACKWELL
Manodharma (Solo),
21. SUBRAMANIAM Pieces, Studies, Ragas Trinity TCL019165
no. 12*

* Unaccompanied † Accompaniment published separately


= Pieces in Trinity’s graded exam books 55
Violin: Grade 3

Raise the Bar Violin:


22. TARTINI Sarabande Trinity TCL015839
Grades 3–5
TRAD., arr. HUWS Violin Exam Pieces
23. Sarajevo divno mjesto Trinity TCL019219
JONES & VELAGIC 2020–2023: Grade 3
Violin Exam Pieces
24. TRORY March in C (duet) Trinity TCL019219
2020–2023: Grade 3
WEINBERGER, arr. Polka (from Schwanda, Raise the Bar Violin:
25. Trinity TCL015839
ARNELL & ROKOS the Bagpiper) Grades 3–5

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
All requirements are in Trinity’s book Violin Scales, Arpeggios & Studies from 2016.

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 3 scales, freely chosen from the list, with four semiquavers on
each degree of the scale. The exercise may end with an additional long note on the tonic. (q = 60)

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) —
Candidates play the scale followed by the arpeggio. Examiners select from the following:

starting on the open


◗◗ D major
two octaves string
◗◗ A major
scales separate
starting on the D string bows min. tempi:
◗◗ F major
one octave in 2nd position or slurred in scales
◗◗ Eb major pairs with a long
q = 66
tonic; arpeggios
◗◗ A minor separate bows arpeggios
(candidate choice of either two octaves or slurred three q. = 44
harmonic or melodic minor) notes to a bow
◗◗ G minor 7ths
(candidate choice of either starting on the D string q = 76
harmonic or melodic minor)
one octave
◗◗ Dominant 7th in the key of G starting on D
separate bows
◗◗ Dominant 7th in the key of A starting on E

Technical exercises (from memory) (q = 60):

a) Chromatic phrase to be played with separate bows, starting on the D string


 1 - 1 2 - 2

          

b) Octaves, sixths and thirds


     
        

56 = Pieces in Trinity’s graded exam books


Violin: Grade 3

Or
3. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.
1. 
Changing Weather for tone and phrasing
2. Flamingos in the Park for mixed articulation and bowing styles
3. On a Swing for double stops and contrasts

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

Violin: Grade
After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for Musical knowledge
sight reading parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the violin. 3
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.
The aural test requirements for Grade 3
are below.

Aural questions

Parameters Task Requirement

Clap the pulse on the second playing,


Listen to the melody twice
stressing the strong beat
Melody only Listen to the melody once Identify the tonality as major or minor
4 bars Listen to the first two notes of Identify the interval by number only
the melody once (second, third, fourth, fifth or sixth)
Major or minor
key Study a copy of the melody
(provided in treble, alto or bass i) 
Identify in which bar the change
34 clef as appropriate), and listen to has occurred
it once as written and once with ii) Identify the change as rhythm or pitch
a change of rhythm or pitch

57
Violin: Grade 4

Violin: Grade 4
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Pieces
by at least two composers must be played. An own composition or a set from any group on the
Grade 4 Scottish traditional fiddle list may be played instead of one listed piece. A maximum
of one unaccompanied or Scottish traditional fiddle item may be played. See pages 16–19 for
further guidance.

Composer Piece Book Publisher


Silent Film Rag
1. ARENS Twelve Pieces Trinity TCL019141
(including repeat)
Badinerie (from
J S BACH, arr.
2. Orchestral Suite Bach for Violin OUP 9780193519015
K & D BLACKWELL
no. 2, BWV 1067)
La captive (no. 1 from
Violin Exam Pieces
3. BEACH Three Compositions, Trinity TCL019226
2020–2023: Grade 4
op. 40)
Violin Exam Pieces
4. BOISMORTIER Gigue* Trinity TCL019226
2020–2023: Grade 4
5. COHEN ‘Howdy!’ Hoedown* More Technique Takes Off! Faber 0571524842
CORELLI, Sarabanda (from Violin Exam Pieces
6. Trinity TCL019226
arr. CORNICK Sonata VIII, op. 5) 2020–2023: Grade 4
Allegro (3rd movt Violin Exam Pieces
7. CORRETTE Trinity TCL019226
from Sonata in D minor) 2020–2023: Grade 4
DANCLA, arr. Boléro (from Petite
8. Solo Time for Violin book 2 OUP 9780193404786
K & D BLACKWELL Fantaisie — Boléro)
DESMOND,
9. Take Five Jazz, Blues & Ragtime Boosey M060124228
arr. HUWS JONES
GRIEG, Solveig’s Song (from
10. Concert Repertoire for Violin Faber 0571524400
arr. COHEN Peer Gynt Suite)
Raise the Bar Violin:
11. HADJIEV Rondino Trinity TCL015839
Grades 3–5
MAZAS, arr. Rondo (from 12 Violin
12. Solo Time for Violin book 2 OUP 9780193404786
K & D BLACKWELL Duos, op. 38)
Lied ohne Worte (Song
13. MENDELSSOHN Schott BSS30959
Without Words) in Bb
MENDIZÁBAL,
14. A la luz de los faroles The Tango Fiddler Boosey M060115806
arr. HUWS JONES
ORTIZ, Violin Exam Pieces
15. Passamezzo Trinity TCL019226
arr. HUWS JONES 2020–2023: Grade 4
Furiant (from Raise the Bar Violin:
16. SMETANA Trinity TCL015839
The Bartered Bride) Grades 3–5
Schott ED13379 (piano
Argentinian Tango and Folk
17. STEPHEN Milonga Pampeana† part published separately
Tunes for Violin
as single piece: ED13692)
STRAUSS,
18. Fireproof! The Viennese Fiddler Boosey M060113055
arr. HUWS JONES

* Unaccompanied † Accompaniment published separately


58 = Pieces in Trinity’s graded exam books
Violin: Grade 4

19. SUBRAMANIAM Ballad, no. 4 Pieces, Studies, Ragas Trinity TCL019165


Violin Exam Pieces
20. TAILOR El choclo Trinity TCL019226
2020–2023: Grade 4
Allegro (from Largo
21. TELEMANN & Allegro from Baroque Violinist Boosey M060102028
Sonata in G)
TRAD., arr. Violin Exam Pieces
22. The Crystal Spring Trinity TCL019226
K & D BLACKWELL 2020–2023: Grade 4
Gavotta (from Sonata Violin Exam Pieces
23. VIVALDI Trinity TCL019226
in A, op. 5 no. 2, RV 30) 2020–2023: Grade 4
24. WILKINSON Indus Constellations Set 1 Trinity TCL019158

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
All requirements are in Trinity’s book Violin Scales, Arpeggios & Studies from 2016.

1. BOWING EXERCISE (from memory)


  
Candidates play one of the Grade 4 scales, freely chosen from the list, with the rhythm <INSERon
each degree of the scale. The exercise may end with an additional long note on the tonic. (q· = 50)
Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) —
Candidates play the scale followed by the arpeggio. Examiners select from the following:
◗◗ C and Bb major two octaves

Violin: Grade
scales
starting on the separate bows
◗◗ E major one octave A string in 4th or slurred two
position crotchet beats
min. tempi:
◗◗ C and Bb minor to a bow;
arpeggios scales
(candidate choice of either two octaves
harmonic or melodic minor) separate bows q = 76

◗◗ E minor starting on the


or slurred
three notes to
arpeggios 4
(candidate choice of either A string in 4th q. = 48
a bow
harmonic or melodic minor) position 7ths
◗◗ Dominant 7th in the key of C one octave starting on G separate bows q = 76
◗◗ Dominant 7th in the key of D starting on A or slurred four
◗◗ Dominant 7th in the key of Eb starting on Bb notes to a bow
◗◗ Chromatic scale starting on open D separate bows
Technical exercises (from memory) (q = 84):
a) Octaves
        
       
b) D major phrase
 0

           


0 1 2 3 4 3 2 1

= Pieces in Trinity’s graded exam books 59


Violin: Grade 4

Or
3. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.
Chromatic Cascade
1.  for tone and phrasing
Twinkling Tango
2.  for mixed articulation and bowing styles
Noughts and Crossings
3.  for double stops and contrasts

SUPPORTING TESTS
Candidates choose two of the following: Improvisation
◗◗ Sight reading Candidates perform an improvisation based
◗◗ Aural on a stimulus chosen from the following
◗◗ Improvisation three options:
◗◗ Musical knowledge ◗◗ Stylistic
◗◗ Motivic
Sight reading ◗◗ Harmonic
After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for Musical knowledge
sight reading parameters.
Candidates answer questions assessing their
Aural understanding of the pieces performed, as well
as their knowledge of notation and the violin.
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.
The aural test requirements for Grade 4
are below.

Aural questions

Parameters Task Requirement

Clap the pulse on the second playing,


Listen to the piece twice
stressing the strong beat
i) Identify the tonality as major or minor
Harmonised
Listen to the piece twice ii) Identify the final cadence as perfect
4 bars or imperfect
Identify the interval as minor or major
Major or Listen to the first two notes of the
second, minor or major third, perfect
melody once
minor key fourth or fifth, minor or major sixth
Study a copy of the melody i) Identify the bar in which the change
46 (provided in treble, alto or bass clef of rhythm occurred
as appropriate), and listen to it once
as written and once with a change ii) Identify the bar in which the change
of rhythm and a change of pitch of pitch occurred

60
Violin: Grade 5

Violin: Grade 5
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Pieces
by at least two composers must be played. An own composition or a set from any group on the
Grade 5 Scottish traditional fiddle list may be played instead of one listed piece. A maximum
of one unaccompanied or Scottish traditional fiddle item may be played. See pages 16–19 for
further guidance.
Composer Piece Book Publisher
ABREU, arr. Violin Exam Pieces
1. Tico-tico no fuba Trinity TCL019233
HUWS JONES 2020–2023: Grade 5
(Somewhere) Over the
ARLEN, Violin Exam Pieces
2. Rainbow (from The Trinity TCL019233
arr. ILES 2020–2023: Grade 5
Wizard of Oz)
J S BACH /
Solos for Young Violinists Summy-Birchard
3. GOUNOD, Ave Maria
vol 3 0990
arr. BARBER
J S BACH, arr. Allegro (from Trio Sonata
4. Bach for Violin OUP 9780193519015
K & D BLACKWELL no. 1 for Organ, BWV 525)
BERNSTEIN, West Side Story
5. I Feel Pretty Boosey M051106486
arr. PARMAN Instrumental Solos: Violin
Perpetuo mobile Violin Exam Pieces
6. BÖHM Trinity TCL019233
(no. 6 from Little Suite) 2020–2023: Grade 5
7. CARSE Gavotte Classic Carse book 2 Stainer H355
8. COHEN Catch Me If You Can* Technique Takes Off! Faber 0571513077
Allegro (final movt from Violin Exam Pieces
9. CORELLI Trinity TCL019233
Sonata no. 3 in C) 2020–2023: Grade 5

Violin: Grade
Grave (1st movt from Sonata
10. CORELLI Violin Sonatas, op. 5, vol 1 Wiener UT50235
no. 1 in D) (original version)
DEBUSSY, arr. La fille aux cheveux de lin
11. Solo Time for Violin book 2 OUP 9780193404786
K & D BLACKWELL (from Preludes book 1)
Violin Exam Pieces
12. FAURÉ Berceuse Trinity TCL019233
2020–2023: Grade 5
Allegro (2nd movt from
13. HANDEL
Sonata no. 6 in E)
Sonatas vol 2 Peters EP4157B 5
Character Study no. 6
Violin Exam Pieces
14 . HERTEL (Theme and Variations Trinity TCL019233
2020–2023: Grade 5
I & II only)*
15. IRELAND Bagatelle Braydeston BP041
16. MASCITTI Giga Baroque Violinist Boosey M060102028
Violin Exam Pieces
17. MURDOCH Scottish Fantasy Trinity TCL019233
2020–2023: Grade 5
Russian Fantasia no. 2 Raise the Bar Violin:
18. PORTNOFF Trinity TCL015839
in D minor Grades 3–5
SAMMARTINI, Eta Cohen Violin Method
19. Canto Amoroso Novello NOV140107
arr. ELMAN book 4
20. TACCHINARDI Romance Dodici Miniature vol 2 Dohr 17506

= Pieces in Trinity’s graded exam books * Unaccompanied 61


Violin: Grade 5

21. VITALI Bergamasca per la lettera B* Partita sopra diverse Sonate Doblinger DM1240
22. WEDGWOOD Survivor After Hours Faber 0571523560
WEILL, Ballad (from The Raise the Bar Violin:
23. Trinity TCL015839
arr. FRENKEL Threepenny Opera) Grades 3–5
Violin Exam Pieces
24. WILSON Arioso Trinity TCL019233
2020–2023: Grade 5

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
All requirements are in Trinity’s book Violin Scales, Arpeggios & Studies from 2016.

1. BOWING EXERCISE (from memory)


Candidates play one of the Grade 5 scales, freely chosen from the list, with a martelé bow stroke.
(q = 88)
Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) —
Candidates play the scale followed by the arpeggio. Examiners select from the following:
◗◗ G major scales separate bows or
slurred two crotchet beats
◗◗ G minor three
to a bow; arpeggios separate
(candidate choice of either octaves
bows or slurred three notes
harmonic or melodic minor) to a bow
◗◗ B, E and Ab major scales separate bows min. tempi:
or slurred two crotchet beats scales
◗◗ B, E and G# minor to a bow; arpeggios separate q = 80
(candidate choice of either bows or slurred six notes to
harmonic or melodic minor) arpeggios
a bow
q. = 54
◗◗ Chromatic scales starting on G and A two octaves
7ths
◗◗ Dominant 7th in the key of C, separate bows q = 72
starting on G or slurred two crotchet
beats to a bow
◗◗ Dominant 7th in the key of Db,
starting on Ab
◗◗ Diminished 7th starting on D one octave separate bows
Technical exercises (from memory) (q = 104):
a) C major in thirds

  
         
b) Bb major in sixths
b4 œ ˙ œ ˙ œ ˙ œ ˙ œ ˙
& b 4 œ œ ˙˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ
œ ˙
˙
c) D major scale on one string
 0 1 2 1
1 2
4   1
3

          
3 2 2

2 1 2 1 0
   

62 = Pieces in Trinity’s graded exam books * Unaccompanied


Violin: Grade 5

Or
3. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.
G–Whizz
1.  for tone and phrasing
A Latin Adventure
2.  for mixed articulation and bowing styles
Swallows Gliding
3.  for double stops and contrasts

SUPPORTING TESTS
Candidates choose two of the following: Improvisation
◗◗ Sight reading Candidates perform an improvisation based
◗◗ Aural on a stimulus chosen from the following
◗◗ Improvisation three options:
◗◗ Musical knowledge ◗◗ Stylistic
◗◗ Motivic
Sight reading ◗◗ Harmonic
After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for the Musical knowledge
requirements and parameters.
Candidates answer questions assessing their
Aural understanding of the pieces performed, as well
as their knowledge of notation and the violin.
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.
The aural test requirements for Grade 5

Violin: Grade
are below.

Aural questions
Parameters Task Requirement

i) 
Clap the pulse on the second playing, stressing
Listen to the piece twice the strong beat 5
ii) Identify the time signature
Harmonised i) 
Identify the changing tonality
Listen to the piece twice ii) Identify the final cadence as perfect, plagal,
8 bars imperfect or interrupted

Major or Identify the interval as minor or major second,


Listen to two notes from the
minor key minor or major third, perfect fourth or fifth, minor
melody line played consecutively
or major sixth, minor or major seventh, or octave

2346 Study a copy of the piece, and i) 


Identify the bar in which the change of
listen to it once as written and rhythm occurred
once with a change of rhythm
and a change of pitch (both ii) Identify the bar in which the change of
changes in the melody line) pitch occurred

63
Violin: Grades 6–8

Violin: Grades 6–8


EXAM DURATION EXAM STRUCTURE
The Grade 6 exam The Grade 7 exam The Grade 6–8 exams contain the following:
lasts 23 minutes lasts 23 minutes
Maximum
marks

PIECE 1 22

PIECE 2 22
The Grade 8 exam
lasts 28 minutes
PIECE 3 22

TECHNICAL WORK 14

◗◗ Bowing exercise
◗◗ Either scales, arpeggios & technical exercises
or orchestral extracts

SUPPORTING TEST 1 10

◗◗ Sight reading

SUPPORTING TEST 2 10

ONE of the following:


◗◗ Aural
◗◗ Improvisation

TOTAL 100

64
Violin: Grade 6

Violin: Grade 6
PIECES
Candidates perform a balanced programme of three pieces chosen from the lists below,
containing at least one piece from each group. Pieces by at least two composers must be played.
An own composition or a set from any group on the Grade 6 Scottish traditional fiddle list may
be played instead of one listed piece. One piece may be played on viola, chosen from the Grade 6
viola list. A maximum of one unaccompanied or Scottish traditional fiddle item may be played.
See pages 16–19 for further guidance.

Composer Piece Book Publisher

Group A
Presto (from Divertimento
1. HAYDN Classical Violinist Boosey M060102035
no. 20)
˚
2. MARTINU Madrigal Stanza no. 1 Five Madrigal Stanzas Schirmer GS23440
Violin Exam Pieces
3. MAZAS Etude, op. 36 no. 8* Trinity TCL019240
2020–2023: Grade 6
Violin Exam Pieces
4. NÖLCK Hungarian Dance, op. 196 no. 5 Trinity TCL019240
2020–2023: Grade 6
Menuetto and Trio (3rd movt
5. SCHUBERT from Sonatina in A minor, 3 Sonatinas, op. 137 Peters EP11099
op. 137 no. 2, DV 385)
SICA, arr. Violin Exam Pieces
6. Tarantelle napolitaine Trinity TCL019240
LAMBERT 2020–2023: Grade 6
Siciliana & Allegro (from
7. STANLEY Baroque Violinist Boosey M060102028
Sonata in A minor, op. 4 no. 1)
Raise the Bar Violin:
8. TELEMANN Presto (from Fantasia no. 10)* Trinity TCL015846
Grades 6–8
Allegro (1st movt from Violin Exam Pieces
9. TESSARINI Trinity TCL019240
Concerto in D) 2020–2023: Grade 6
Allemanda (2nd movt
Four Sonatas, op. 5
10. VIVALDI from Sonata in B minor, EMA 101
nos. 1–4
op. 5 no. 4, RV 35) Violin: Grade
Court Herald, no. 6 or The Tenor Horn
11. WIGGINS Studio M050012054
Song from the High Hills, no. 7 Player’s Debut

Group B
Violin Exam Pieces
1. BOULANGER Nocturne Trinity TCL019240
2020–2023: Grade 6 6
Slavonic Dance no. 10, Raise the Bar Violin:
ˇ
2. DVORÁK Trinity TCL015846
op. 72 no. 2 Grades 6–8
Violin Exam Pieces
3. ELGAR Mot d’amour, op. 13 no. 1 Trinity TCL019240
2020–2023: Grade 6
4. ILES Des Vendanges Jazz in Autumn OUP 9780193407671
5. KREISLER Liebesleid (Love’s Sorrow) Schott BSS29029
Violin Exam Pieces
6. KREISLER Syncopation Trinity TCL019240
2020–2023: Grade 6

= Pieces in Trinity’s graded exam books * Unaccompanied 65


Violin: Grade 6

Allegro (from Sonata in D,


7. LECLAIR Baroque Violinist Boosey M060102028
op. 1 no. 10)
Andante (2nd movt Violin Exam Pieces
8. MAYER Trinity TCL019240
from Violin Sonata in Eb) 2020–2023: Grade 6
Hora-Hatikvah The Boosey & Hawkes
9. PERLMAN Boosey M051105328
(from Israeli Concerto) Violin Anthology
PIAZZOLLA,
10. arr. HUWS Vuelvo al sur The Tango Fiddler Boosey M060115806
JONES
11. TOSELLI Serenata, op. 6 Delrieu DF98

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
The scales, arpeggios & technical exercises are in Trinity’s book Violin Scales, Arpeggios & Studies
from 2016.
The orchestral extracts are in The Orchestral Violinist book 2, ed. Rodney Friend (published by
Boosey & Hawkes M060115967).

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 6 scales, freely chosen from the list, with each note of the
scale played as two spiccato quavers. (q = 150)

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) —
Candidates prepare major and minor scales and arpeggios from the following tonal
centres, to be played with separate bows or slurred as requested by the examiner.
Examiners select from the following:

scales separate bows or slurred


four crotchet beats to a bow;
◗◗ A three octaves
arpeggios separate bows or min. tempi:
slurred three notes to a bow
scales
scales separate bows or slurred q = 96
four crotchet beats to a bow;
◗◗ F and Eb arpeggios
arpeggios separate bows or
slurred six notes to a bow q. = 63
two octaves 7ths
Plus:
separate bows or slurred two q = 96
◗◗ Chromatic scale starting on Bb
crotchet beats to a bow
◗◗ Diminished 7th starting on G

When examiners request a major tonal centre, candidates should play in succession the:
◗◗ Major scale
◗◗ Major arpeggio
◗◗ Dominant 7th starting on that note and resolving onto the tonic (to be prepared with
separate bows and slurred two crotchet beats to a bow)

66 = Pieces in Trinity’s graded exam books


Violin: Grade 6

When examiners request a minor tonal centre, candidates should play in succession the:
◗◗ Melodic minor scale
◗◗ Harmonic minor scale
◗◗ Minor arpeggio

Technical exercises (from memory) (q = 100):

a) D major in thirds
   
        
   
3 1 4 2

   

b) Eb major in sixths
  
   
 
    etc     etc
   
c) D major in octaves
   4  4     
    
   
1 1

           
d) E major scale on one string
2
  
1 2 1
4
2
3 
2

   2
3
 
1 1 2 1
 
1

     

Or
 RCHESTRAL EXTRACTS (music may be used) —
3. O
Candidates prepare three extracts in total: 1a or 1b, 2a or 2b, and 3a or 3b.
Candidates choose one extract to play first. Examiners then select one of the remaining two
prepared extracts to be performed.

Sibelius: Symphony no. 2, IV Finale (page 7, bar 1


1a. 
to 1st note of bar 25)
for tone and phrasing
Wagner: Die Meistersinger von Nürnberg, Overture
1b.  Violin: Grade
(page 24, bars 97–100)

2a. Beethoven: Egmont, Overture (page 39, bar 309


to 1st note of bar 317)
for bowing
2b. Copland: Appalachian Spring Suite (page 49, fig. 24
to 1st note of fig. 25)
6
3a. Beethoven: Egmont, Overture (page 39, bar 287
to 1st note of bar 301)
for left hand technique
3b. Stravinsky: Pulcinella Suite, 8b. Finale (page 35,
two bars before fig. 105 to fig. 107)

67
Violin: Grade 6

SUPPORTING TESTS

Candidates prepare: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural or improvisation
three options:

Sight reading ◗◗ Stylistic

After 30 seconds’ preparation time, candidates ◗◗ Motivic


perform a previously unseen musical extract ◗◗ Harmonic
at a level approximately two grades lower than
See pages 27–33 for the requirements
the exam being taken. See pages 23–26 for
and parameters.
sight reading parameters.

Aural
Candidates answer questions based on a single
musical example played on the piano by the
examiner. See page 27 for more information.
The aural test requirements for Grade 6
are below.

Aural questions

Parameters Task Requirement

i) Identify the time signature


Listen to the piece twice ii) Comment on the dynamics
iii) Comment on the articulation

Identify and comment on two other


Harmonised Listen to the piece twice
characteristics of the piece

8 bars Identify the key to which the music


modulates as subdominant, dominant
Major key Listen to the first four bars or relative minor
of the piece once
Answers may alternatively be given as
2 3 46 key names

Study a copy of the piece,


and listen to it twice with Locate and describe the changes
two changes to the as pitch or rhythm
melody line

68
Violin: Grade 7

Violin: Grade 7
PIECES
Candidates perform a balanced programme of three pieces chosen from the lists below,
containing at least one piece from each group. Pieces by at least two composers must be played.
An own composition or a set from any group on the Grade 7 Scottish traditional fiddle list may
be played instead of one listed piece. One piece may be played on viola, chosen from the Grade 7
viola list. A maximum of one unaccompanied or Scottish traditional fiddle item may be played.
See pages 16–19 for further guidance.

Composer Piece Book Publisher

Group A
Allegro (2nd movt from Sonata Six Sonatas vol 2,
1. J S BACH Bärenreiter BA5119
no. 4, BWV 1017) BWV 1017–1019
Three Sonatas and
Gigue (from Partita no. 3 in E,
2. J S BACH Three Partitas for Solo Bärenreiter BA5116
BWV 1006)*
Violin, BWV 1001–1006
Allegretto con variazioni: theme
and variations 1, 2 & 6 (3rd movt
3. BEETHOVEN Violin Sonatas vol 2 Peters EP3031b
from Sonata no. 6 in A major,
op. 30 no. 1)
COLERIDGE- Valse mauresque (no. 4 from Four Violin Exam Pieces
4. Trinity TCL019257
TAYLOR Characteristic Waltzes, op. 22) 2020–2023: Grade 7
Final Allegro (from Sonata, Italian Violin Music of
5. CORELLI Henle HN350
op. 5 no. 1) the Baroque Era vol 1
Air Varié on a Theme by
6. DANCLA Romantic Violinist Boosey M060102042
Donizetti, op. 89 no. 4
7. MOFFAT Intrada Schott ED11313
Rondeau-Allegro-Rondeau (3rd
8. MOZART Violin Sonatas vol 2 Henle HN78
movt from Sonata in Bb, KV 378)
Allegro (from Fantasie no. 7)* Violin Exam Pieces
9. TELEMANN Trinity TCL019257
(with 1st repeat) 2020–2023: Grade 7
Allegro (1st movt from Concerto Violin Exam Pieces
10. VIVALDI Trinity TCL019257
in D minor, op. 9 no. 8, RV 238) 2020–2023: Grade 7

Group B
Violin: Grade

Andante cantabile (2nd movt


1. ANDRÉE Furore 3810
from Sonata for Violin and Piano)
Violin Exam Pieces
2. BARNS L’escarpolette Trinity TCL019257
2020–2023: Grade 7
COHEN,
3. Hatikvah (the Hope) Queen’s Temple QT167
arr. ANDREW
DEBUSSY,
7
4. La plus que lente Durand DD00790300
arr. ROQUES
Anthology of
5. FAURÉ Andante, op. 75 Peters EP7515
Original Pieces

= Pieces in Trinity’s graded exam books * Unaccompanied 69


Violin: Grade 7

Violin Exam Pieces


6. FAURÉ Pièce Trinity TCL019257
2020–2023: Grade 7
GLAZUNOV, Violin Exam Pieces
7. Méditation, op. 32 Trinity TCL019257
arr. HEIFETZ 2020–2023: Grade 7
MASSENET,
8. Méditation (from Thaïs) UMP M224400861
trans. MARSICK
Raise the Bar Violin:
9. PÜTZ Twilight Dream Trinity TCL015846
Grades 6–8
RACHMANINOFF, Rhapsody on a Theme of Paganini,
10. Boosey M060115240
arr. YORK 18th Variation
Raise the Bar Violin:
11. RAFF Cavatina Trinity TCL015846
Grades 6–8
Gavotta con due variazioni The Boosey & Hawkes
12. STRAVINSKY Boosey M051105328
(from Suite Italienne) Violin Anthology
13. WILKINSON Apus or Perseus Constellations Set 1 Trinity TCL019158

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
The scales, arpeggios & technical exercises are in Trinity’s book Violin Scales, Arpeggios & Studies
from 2016.
The orchestral extracts are in The Orchestral Violinist book 2, ed. Rodney Friend (published by
Boosey & Hawkes M060115967).

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 7 scales, freely chosen from the list, with hooked bowing, as in
the following example. (q = 88)
# ≥ ≥ ≤ ≤ ≥ œ≥ -œ™ ≤ ≤.
& # œ™ œ -œ™ œ. œ™ œ
- . etc
- .
Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) —
Candidates prepare major and minor scales and arpeggios from the following tonal
centres, to be played with separate bows or slurred as requested by the examiner.
Examiners select from the following:
scales separate bows or
slurred four crotchet beats to min. tempi:
◗◗ B, Ab /G# and D three octaves a bow; arpeggios separate
scales
bows or slurred nine notes to
a bow q = 108
arpeggios
Plus:
separate bows or slurred six q. = 72
◗◗ Chromatic scales starting on notes to a bow
B and Ab two octaves 7ths
q = 108
◗◗ Diminished 7ths starting on separate bows or slurred two
B and G# crotchet beats to a bow

70 = Pieces in Trinity’s graded exam books


Violin: Grade 7

When examiners request a major tonal centre, candidates should play in succession the:
◗◗ Major scale
◗◗ Major arpeggio
◗◗ Dominant 7th starting on that note and resolving onto the tonic (to be prepared with
separate bows and slurred two crotchet beats to a bow)
When examiners request a minor tonal centre, candidates should play in succession the:
◗◗ Melodic minor scale
◗◗ Harmonic minor scale
◗◗ Minor arpeggio

Technical exercises (from memory) (q = 84):

a) Bb major in thirds (one octave)


b4
&b 4 œ ˙˙ œ œ ˙˙
etc
œ
b) Bb major in sixths (one octave)
      
    
         etc
etc.

c) D major in octaves (one octave)


    
      etc

Or
 RCHESTRAL EXTRACTS (music may be used) —
3. O
Candidates prepare three extracts in total: 1a or 1b, 2a or 2b, and 3a or 3b.
Candidates choose one extract to play first. Examiners then select one of the remaining two
prepared extracts to be performed.

Glinka: Russlan and Ludmilla, Overture (page 37,


1a. 
14 bars before fig. I to 1st note of 5 bars after fig. K)
Moussorgsky, orch. Ravel: Pictures at an Exhibition,
1b.  for tone and phrasing
6. Samuel Goldenberg and Schmuÿle (page 26,
entire extract)
Violin: Grade

2a. Beethoven: Egmont, Overture (page 38, bar 25 to


1st note of bar 58)
for bowing
2b. Stravinsky: Pulcinella Suite, 4. Tarantella (page 34,
5th bar of fig. 53 to 1st note of 2 bars before fig. 56)

3a. Rimsky-Korsakoff: Scheherazade, IV (page 20, 7th bar 7


of fig. M to fig. N) for left hand technique
3b. Sibelius: Symphony no. 2, III (page 6, bars 277–293)

71
Violin: Grade 7

SUPPORTING TESTS

Candidates prepare: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural or improvisation
three options:

Sight reading ◗◗ Stylistic

After 30 seconds’ preparation time, candidates ◗◗ Motivic


perform a previously unseen musical extract ◗◗ Harmonic
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for See pages 27–33 for the requirements and
sight reading parameters. parameters.

Aural
Candidates answer questions based on a single
musical example played on the piano by the
examiner. See page 27 for more information.
The aural test requirements for Grade 7
are below.

Aural questions

Parameters Task Requirement

i) Identify the time signature


Listen to the piece twice ii) Comment on the dynamics
iii) Comment on the articulation

Harmonised Identify and comment on two other


Listen to the piece twice
characteristics of the piece
8 bars
Identify the key to which the music
modulates as subdominant, dominant
Major or minor key Listen to the first four bars or relative key
of the piece once
2346 Answers may alternatively be given as
key names

Study a copy of the piece,


Locate and describe the changes
and listen to it twice with
as pitch (melody line only) or rhythm
three changes

72
Violin: Grade 8

Violin: Grade 8
PIECES
Candidates perform a balanced programme of three pieces chosen from the lists below,
containing at least one piece from each group. Pieces by at least two composers must be played.
An own composition or a set from any group on the Grade 8 Scottish traditional fiddle list may
be played instead of one listed piece. One piece may be played on viola, chosen from the Grade 8
viola list. A maximum of one unaccompanied or Scottish traditional fiddle item may be played.
See pages 16–19 for further guidance.

Composer Piece Book Publisher

Group A
Allegro (4th movt from Violin Exam Pieces
1. J S BACH Trinity TCL019264
Sonata no. 4, BWV 1017) 2020–2023: Grade 8
Allegro assai (3rd movt from
2. J S BACH Peters EP4593
Concerto in E, BWV 1042)
Three Sonatas and Three
Giga (from Partita no. 2 in
3. J S BACH Partitas for Solo Violin, Bärenreiter BA5116
D minor, BWV 1004)*
BWV 1001–1006
Divisions on a Ground Raise the Bar Violin:
4. BALTZAR Trinity TCL015846
(John Come Kiss Me Now)* Grades 6–8
Rondo (3rd movt from Sonata
5. BEETHOVEN Violin Sonatas vol 1 Peters EP3031a
no. 1 in D, op. 12 no. 1)
FINZI, Hornpipe Rondo (from Violin The Boosey & Hawkes
6. Boosey M051105328
ed. LITTLE Concerto) Violin Anthology
Rondalla aragonesa Violin Exam Pieces
7. GRANADOS Trinity TCL019264
(no. 6 from Danzas españolas) 2020–2023: Grade 8
Allegro moderato (1st movt
8. HAYDN from Concerto no. 2 in G, Peters EP9952
Hob VIIa:4) (without cadenza)
Presto (3rd movt from Violin Violin Exam Pieces
9. HAYDN Trinity TCL019264
Concerto in C, Hob VIIa:1) 2020–2023: Grade 8
Allegro molto e con brio
10. KABALEVSKY (1st movt from Violin Peters EP4618
Concerto in C, op. 48)
Allegro vivace (1st movt
11. MOZART Violin Sonatas vol 2 Wiener UT50033
from Sonata in C, KV 296)

Group B
Allegro e grazioso (1st movt Violin Exam Pieces
Violin: Grade

1. ALWYN Trinity TCL019264


from Sonatina) 2020–2023: Grade 8
Romanza (no. 2 from Violin Exam Pieces
2. CHAMINADE Trinity TCL019264
Trois morceaux, op. 31) 2020–2023: Grade 8
Danza rituelle du feu
3. DE FALLA Chester CH00367
(from El amor brujo)
Raise the Bar Violin:
4. ELGAR Bizarrerie Trinity TCL015846
Grades 6–8
8
= Pieces in Trinity’s graded exam books * Unaccompanied 73
Violin: Grade 8

Allegretto espressivo alla


5. GRIEG Romanza (2nd movt from Peters EP11313
Sonata no. 3 in C minor, op. 45)
6. KODÁLY Adagio EMB Z.768
7. SUK Un poco triste Four Pieces, op. 17 vol 2 Simrock EE763
Romanze Raise the Bar Violin:
8. WIENIAWSKI Trinity TCL015846
(from Violin Concerto no. 2) Grades 6–8
Three Pieces from
9. WILLIAMS Remembrances MCA AM934252
Schindler’s List
Violin Exam Pieces
10. WILSON Elegy for Solo Violin* Trinity TCL019264
2020–2023: Grade 8

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
The scales, arpeggios & technical exercises are in Trinity’s book Violin Scales, Arpeggios & Studies
from 2016.
The orchestral extracts are in The Orchestral Violinist book 2, ed. Rodney Friend (published by
Boosey & Hawkes M060115967).

1. BOWING EXERCISE (from memory)

Candidates choose one of the Grade 8 scales listed below. Examiners choose any one of the
specified bowings from Grades 5–7 and ask candidates to play the scale with that bowing.

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) —
Candidates prepare major and minor scales and arpeggios from the following tonal
centres, to be played with separate bows or slurred as requested by the examiner.
Examiners select from the following:

scales separate bows or


slurred three octaves to
a bow (one bow up and
one bow down, with a
◗◗ G, A, Bb, Db/C# and Eb three octaves min. tempi:
change of bow on the top scales
note); arpeggios separate
q· = 88
bows or slurred nine
notes to a bow arpeggios
q. = 88
Plus: 7ths
separate bows or slurred
◗◗ Chromatic scales starting on Bb, twelve notes to a bow q = 92
C and D two octaves
◗◗ Diminished 7ths starting on A#, separate bows or slurred
C and D eight notes to a bow

74 = Pieces in Trinity’s graded exam books * Unaccompanied


Violin: Grade 8

When examiners request a major tonal centre, candidates should play in succession the:
◗◗ Major scale
◗◗ Major arpeggio
◗◗ Dominant 7th starting on that note and resolving onto the tonic (to be prepared with
separate bows and slurred two crotchet beats to a bow)
When examiners request a minor tonal centre, candidates should play in succession the:
◗◗ Melodic minor scale
◗◗ Harmonic minor scale
◗◗ Minor arpeggio

Technical exercises (from memory) (q = 88):

a) Bb major in thirds (two octaves)


b4 œ œ
& b 4 œ œ œœ œœ œœ œœ œ œ
œ œ
etc

b) G major in sixths (two octaves)


    
        
    etc
etc.

c) D major in octaves (one octave)


# 4 œ œ œ œ œ œ œœ
& # 4 œœ œ œ œ œ œ œ etc

Or
 RCHESTRAL EXTRACTS (music may be used) —
3. O
Candidates prepare three extracts in total: 1a or 1b, 2a or 2b, and 3a or 3b.
Candidates choose one extract to play first. Examiners then select one of the remaining two
prepared extracts to be performed.

Mendelssohn: Symphony no. 4, III (page 2, bars


1a. 
126–160)
for tone and phrasing
Wagner: Die Meistersinger von Nürnberg, Overture
1b. 
(pages 24–25, bars 158–178)
2a. Brahms: Symphony no. 4, IV (page 15, bars 33–40
and bars 65–73)
for bowing
2b. Prokofieff: Romeo and Juliet Suite no. 1, V. Masks
(page 30, fig. 48 to end of extract)
Violin: Grade

3a. Glinka: Russlan and Ludmilla, Overture (page 36,


bar 21 to 7th bar of fig. A)
for left hand technique
3b. Moussorgsky, orch. Ravel: Pictures at an Exhibition,
3. Tuileries (page 26, entire extract)

8
75
Violin: Grade 8

SUPPORTING TESTS

Candidates prepare: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural or improvisation
three options:

Sight reading ◗◗ Stylistic

After 30 seconds’ preparation time, candidates ◗◗ Motivic


perform a previously unseen musical extract ◗◗ Harmonic
at a level approximately two grades lower than
See pages 27–33 for the requirements
the exam being taken. See pages 23–26 for
and parameters.
sight reading parameters.

Aural
Candidates answer questions based on a single
musical example played on the piano by the
examiner. See page 27 for more information.
The aural test requirements for Grade 8
are below.

Aural questions

Parameters Task Requirement

i) Identify the time signature


Harmonised Listen to the piece once ii) Comment on the dynamics
iii) Comment on the articulation
12–16 bars
Identify and comment on three other
Listen to the piece twice
Major or minor key characteristics of the piece

Study a copy of the piece,


23465 and listen to it twice with
Locate and describe the changes
as pitch or rhythm
three changes

76
Scottish Traditional Fiddle: Initial to Grade 5

Scottish Traditional Fiddle:


Initial to Grade 5
EXAM DURATION EXAM STRUCTURE
The Initial exam lasts The Grade 1 exam The Initial to Grade 5 exams contain the following:
11 minutes lasts 13 minutes
Maximum
marks

PIECE/SET 1 22

PIECE/SET 2 22
The Grade 2 exam The Grade 3 exam
lasts 13 minutes lasts 13 minutes
PIECE/SET 3 22

TECHNICAL WORK* 14

◗◗ Bowing exercise
The Grade 4 exam The Grade 5 exam
lasts 18 minutes lasts 18 minutes ◗◗ Either scales, arpeggios & technical exercise(s)
or studies

SUPPORTING TESTS 20

Any TWO of the following:


◗◗ Sight reading
◗◗ Aural
◗◗ Improvisation
◗◗ Musical knowledge

TOTAL 100

* At Initial level, candidates perform scales only 77


Scottish Traditional Fiddle: Initial

Scottish Traditional Fiddle: Initial


PIECES
Candidates perform a programme of three pieces chosen from the list below, containing at least
one piece from each group, using the listed publications. An own composition may be played
instead of one listed piece. See pages 16–19 for further guidance.

Piece Book Publisher

Group A — 4 metre

1. Coulter’s Candy The Scottish Folk Fiddle Tutor Taigh na Teud

2. Dinah A Flying Start for Strings vol 2 Flying Strings

3. Now the Day is Over A Flying Start for Strings vol 2 Flying Strings

4. Oats and Beans Crossing the Bridge* Taigh na Teud

5. The Jeelie Piece Song The Scottish Folk Fiddle Tutor Taigh na Teud

Group B — 3 metre

1. French Folk Song A Flying Start for Strings vol 2 Flying Strings

2. Lovely Stornoway The Scottish Folk Fiddle Tutor Taigh na Teud

3. The Fairy Lullaby The Scottish Folk Fiddle Tutor Taigh na Teud

4. Turalilea Crossing the Bridge* Taigh na Teud

TECHNICAL WORK

Candidates prepare scales, as shown below. See page 21.


All requirements are in Trinity’s book Violin Scales, Arpeggios & Studies from 2016.

SCALES (from memory)


All one octave, with the indicated rhythmic pattern on each note (minimum tempo: q = 92).

◗◗ G major

 
     
etc.
           

78 * Available as a download only


Scottish Traditional Fiddle: Initial

Scottish Traditional Fiddle: Initial


◗◗ D major

                   etc
etc.

◗◗ A major
       
         etc
etc.

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
◗◗ Aural on a stimulus chosen from the following
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic
Sight reading ◗◗ Harmonic
After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level lower than the exam being taken.
See pages 23–26 for sight reading parameters. Musical knowledge
Candidates answer questions assessing their
Aural
understanding of the pieces performed, as well
Candidates answer questions based on a single as their knowledge of notation and the fiddle.
musical example played on the piano by the Questions are based on candidates’ chosen
examiner. See page 27 for more information. pieces. See pages 34–35 for example questions
The aural test requirements for Initial and responses.
are below.

Aural questions

Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing,


Melody only three times stressing the strong beat

4 bars Listen to the melody once Identify the dynamic as forte or piano

Major key Identify the articulation as legato or


Listen to the melody once
staccato
23 Listen to the first three
Identify the highest or lowest note
notes of the melody once

79
Scottish Traditional Fiddle: Grade 1

Scottish Traditional Fiddle: Grade 1


PIECES
Candidates perform a programme of three pieces, one from each group, using the listed
publications. An own composition may be played instead of one listed piece. See pages 16–19
for further guidance.

Piece Book Publisher

Group A — Waltz

1. Dream Angus The First Ceilidh Collection Taigh na Teud

2. My Bonnie Lies over the Ocean The First Ceilidh Collection Taigh na Teud

3. Sound the Pibroch The First Ceilidh Collection Taigh na Teud

4. Westering Home The First Ceilidh Collection Taigh na Teud

5. Ye Banks and Braes The First Ceilidh Collection Taigh na Teud

Group B — March

1. A Man’s a Man The First Ceilidh Collection Taigh na Teud

2. Angus MacLeod The First Ceilidh Collection Taigh na Teud

3. Auld Lang Syne The First Ceilidh Collection Taigh na Teud

4. Bonnie Lass o’Fyvie (with repeat) The First Ceilidh Collection Taigh na Teud

5. Marie’s Wedding (with repeat) The First Ceilidh Collection Taigh na Teud

Group C — Reel

1. La russe The First Ceilidh Collection Taigh na Teud

2. Reel of Tullochgorum The First Ceilidh Collection Taigh na Teud

3. There Was a Lad The First Ceilidh Collection Taigh na Teud

4. This Is No My Ain Lassie The First Ceilidh Collection Taigh na Teud

5. White Cockade The First Ceilidh Collection Taigh na Teud

80
Scottish Traditional Fiddle: Grade 1

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.

Scottish Traditional Fiddle: Grade


All requirements are in Trinity’s book Violin Scales, Arpeggios & Studies from 2016.

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 1 scales, freely chosen from the list, with two separate
crotchets on each degree of the scale, one down bow and one up bow. (q = 66)

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISE (from memory) —
Candidates play the scale followed by the arpeggio. Examiners select from the following:

starting on 3rd scales separate bows


◗◗ C and G major or slurred in pairs
finger
with a long tonic
one octave
(upper tonic may be
◗◗ D and A major
repeated); arpeggios
separate bows only
min. tempo: 1
q = 88
starting on the
first five notes open string
◗◗ D minor (scale only) ascending and separate bows only
descending

Technical exercise (from memory) (q = 50–75):

Open strings
        
   

Or
3. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.

The Limping Rabbit


1.  for tone and phrasing

A Cheeky Hamster
2.  for mixed articulation and bowing styles

At the Ranch
3.  for double stops and contrasts

81
Scottish Traditional Fiddle: Grade 1

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level lower than the exam being taken.
See pages 23–26 for sight reading parameters. Musical knowledge
Candidates answer questions assessing their
Aural understanding of the pieces performed, as well
Candidates answer questions based on a single as their knowledge of notation and the fiddle.
musical example played on the piano by the Questions are based on candidates’ chosen
examiner. See page 27 for more information. pieces. See pages 34–35 for example questions
and responses.
The aural test requirements for Grade 1
are below.

Aural questions

Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing,


three times stressing the strong beat

Melody only i) Identify the dynamic as forte or piano


Listen to the melody once ii) Identify the articulation as legato
4 bars or staccato

Major or minor key Listen to the first two bars Identify the last note as higher or lower
of the melody once than the first note
23
Listen to the melody twice,
with a change of rhythm or Identify where the change occurs
pitch in the second playing

82
Scottish Traditional Fiddle: Grade 2

Scottish Traditional Fiddle: Grade 2


PIECES
Candidates perform three sets/pieces, one from each group, using the listed publications.
Dynamics (p, f, crescendo and decrescendo) should be included in the slow tunes only. An own
composition may be played instead of one listed piece/set. See pages 16–19 for further guidance.

Scottish Traditional Fiddle: Grade


Piece Book Publisher

Group A — Waltz and Polka/Hornpipe/Schottische/Jig


The Gentle Maiden The Second Ceilidh Collection Taigh na Teud
1.
The Corner House Jig The Second Ceilidh Collection Taigh na Teud
Gluss Ayre Leveneep Head Jamieson
2.
Ladlewell The Tom Anderson Collection vol 1 Hardie
Ordale Waltz Leveneep Head Jamieson
3.
Fear a’Phige (The Still Man) The Second Ceilidh Collection Taigh na Teud
Believe Me, These Endearing
The Second Ceilidh Collection Taigh na Teud
4. Young Charms
Jeanie’s Blue E’en The Second Ceilidh Collection Taigh na Teud 2
Group B — Air
1. Da Mill (unaccompanied) Traditional Scottish Fiddling Taigh na Teud
2. Love of the Isles The Music of Willie Hunter Shetland MHT
3. Michelle’s Air The Tom Anderson Collection vol 1 Hardie
4. Mrs Jamieson’s Favourite The Second Ceilidh Collection Taigh na Teud
5. The Hills of Lorne The First Ceilidh Collection Taigh na Teud

Group C — March and Reel


The Lovat Scouts The First Ceilidh Collection Taigh na Teud
1.
The Fairy Dance The First Ceilidh Collection Taigh na Teud
Tartan Bonnets The Shetland Violinist vol 1 (ed. Stove) Shetland Times
2.
Mrs MacLeod of Raasay The Second Ceilidh Collection Taigh na Teud
Mangaster Voe The Tom Anderson Collection vol 1 Hardie
3.
Corn Riggs The First Ceilidh Collection Taigh na Teud
The Uist Tramping Song The First Ceilidh Collection Taigh na Teud
4.
The Rakes of Mallow The First Ceilidh Collection Taigh na Teud

83
Scottish Traditional Fiddle: Grade 2

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
All requirements are in Trinity’s book Violin Scales, Arpeggios & Studies from 2016.

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 2 scales, freely chosen from the list, with the rhythm d D on
each degree of the scale, separate bows. The exercise may end with an additional long note on
the tonic (d D d ). (q = 80)

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISE (from memory) —
Candidates play the scale followed by the arpeggio. Examiners select from the following:

two
◗◗ G major
octaves

◗◗ C and F major
scales separate
starting
bows or slurred in min. tempi:
on the A
◗◗ D major pairs with a long scales q = 58
string in 3rd
tonic; arpeggios arpeggios q· = 40
one octave position
separate bows only

◗◗ E and D minor
(candidate choice of either
in 1st position
natural or harmonic or
melodic minor)

Technical exercise (from memory) (q = 50–75):

Octaves and sixths


  
          
     

Or
3. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.

1. 
A Scaly Experience for tone and phrasing

2. Arpeggio Antics for mixed articulation and bowing styles

3. Double Trouble for double stops and contrasts

84
Scottish Traditional Fiddle: Grade 2

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic

Scottish Traditional Fiddle: Grade


◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for Musical knowledge
sight reading parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the fiddle.
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.
The aural test requirements for Grade 2
are below. 2

Aural questions

Parameters Task Requirement

Listen to the melody three Clap the pulse on the third playing,
times stressing the strong beat

i) D
 escribe the dynamics, which will
Melody only
vary during the melody
Listen to the melody once
4 bars ii) Identify the articulation as legato
or staccato
Major or minor key
Identify the last note as higher or lower
Listen to the melody once
than the first note
23
Listen to the melody twice, i) Identify where the change occurs
with a change of rhythm or
pitch in the second playing ii) Identify the change as rhythm or pitch

85
Scottish Traditional Fiddle: Grade 3

Scottish Traditional Fiddle: Grade 3


PIECES
Candidates perform three sets of pieces, one from each group, using the listed publications.
Dynamic markings (p, mf, f, crescendo and decrescendo) should be included in the slow tunes
only. A minimum of one position change is required at this grade. An own composition may be
played instead of one listed set. See pages 16–19 for further guidance.

Piece Book Publisher

Group A — Waltz and Jig


Ceol na Fidhle — The Fiddle Music of the Scottish
The Dark Island Taigh na Teud
Highlands vols 1 & 2
1.
Ceol na Fidhle — The Fiddle Music of the Scottish
Wee Murdie Taigh na Teud
Highlands vols 1 & 2
New Year Waltz The Nineties Collection Hardie
2.
Jim Anderson’s Delight The Ronnie Cooper Collection Shetland MHT
Astryd’s Waltz The Nineties Collection Hardie
3.
The Jig Runrig The Nineties Collection Hardie
Calum’s Waltz The Nineties Collection Hardie
4.
Maureen’s Jig The Nineties Collection Hardie

Group B — Air and Hornpipe/Polka


The Setting Sun The Nineties Collection Hardie
1.
Clark’s Cases The Nineties Collection Hardie
Ceol na Fidhle — The Fiddle Music of the Scottish
The Flower of the Quern Taigh na Teud
Highlands vols 1 & 2
2.
Ceol na Fidhle — The Fiddle Music of the Scottish
Harvest Home Hornpipe Taigh na Teud
Highlands vols 1 & 2
Marni Swanson of the Grey Coast The Nineties Collection Hardie
3.
Kathleen Black’s Polka The Ronnie Cooper Collection Shetland MHT
Ceol na Fidhle — The Fiddle Music of the Scottish
The Wild Rose of the Mountain Taigh na Teud
Highlands vols 1 & 2
4.
Ceol na Fidhle — The Fiddle Music of the Scottish
The Belfast Hornpipe Taigh na Teud
Highlands vols 1 & 2

Group C — March and Reel


Ceol na Fidhle — The Fiddle Music of
The Barren Rocks of Aden Taigh na Teud
the Scottish Highlands vols 1 & 2
1.
Ceol na Fidhle — The Fiddle Music of
The High Road to Linton Taigh na Teud
the Scottish Highlands vols 1 & 2
Ceol na Fidhle — The Fiddle Music of
The Battle of Waterloo Taigh na Teud
the Scottish Highlands vols 1 & 2
2.
Ceol na Fidhle — The Fiddle Music of
Caddam Woods Taigh na Teud
the Scottish Highlands vols 1 & 2

86
Scottish Traditional Fiddle: Grade 3

The Headlands The Ronnie Cooper Collection Shetland MHT


3.
Katie Stammers The Ronnie Cooper Collection Shetland MHT
Iain MacPhail’s Compliments
The Nineties Collection Hardie
4. to the Late Chrissie Leatham
The Reunion Reel The Nineties Collection Hardie
Ceol na Fidhle — The Fiddle Music of
79th Farewell to Gibralter Taigh na Teud
5. the Scottish Highlands vols 1 & 2
Bunji’s Dilemma The Nineties Collection Hardie

TECHNICAL WORK

Scottish Traditional Fiddle: Grade


Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
All requirements are in Trinity’s book Violin Scales, Arpeggios & Studies from 2016.

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 3 scales, freely chosen from the list, with four semiquavers on
each degree of the scale. The exercise may end with an additional long note on the tonic. (q = 60)

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) —
Candidates play the scale followed by the arpeggio. Examiners select from the following:
starting on the
◗◗ D major
two octaves open string
◗◗ A major scales separate
starting on the bows
◗◗ F major D string in 2nd or slurred in min. tempi: 3
one octave position pairs with a scales
long tonic;
◗◗ Eb major q = 66
arpeggios
◗◗ A minor separate bows arpeggios
(candidate choice of either two octaves or slurred q. = 44
harmonic or melodic minor) three notes to
7ths
a bow
◗◗ G minor q = 76
starting on the D
(candidate choice of either
string
harmonic or melodic minor) one octave
◗◗ Dominant 7th in the key of G starting on D
separate bows
◗◗ Dominant 7th in the key of A starting on E

Technical exercises (from memory) (q = 60):

a) Chromatic phrase to be played with separate bows, starting on the D string


 1 - 1 2 - 2

          

b) Octaves, sixths and thirds


     
         

87
Scottish Traditional Fiddle: Grade 3

Or
3. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.

Changing Weather
1.  for tone and phrasing
2. Flamingos in the Park for mixed articulation and bowing styles
3. On a Swing for double stops and contrasts

SUPPORTING TESTS
Candidates choose two of the following: Improvisation
◗◗ Sight reading Candidates perform an improvisation based
◗◗ Aural on a stimulus chosen from the following
three options:
◗◗ Improvisation
◗◗ Musical knowledge ◗◗ Stylistic
◗◗ Motivic
Sight reading ◗◗ Harmonic
After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for Musical knowledge
sight reading parameters.
Candidates answer questions assessing their
Aural understanding of the pieces performed, as well
as their knowledge of notation and the fiddle.
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.
The aural test requirements for Grade 3
are below.

Aural questions
Parameters Task Requirement

Clap the pulse on the second playing,


Listen to the melody twice
stressing the strong beat

Harmonised Listen to the melody once Identify the tonality as major or minor

4 bars Listen to the first two notes of the Identify the interval by number only
melody once (second, third, fourth, fifth or sixth)
Major or
minor key Study a copy of the melody i) Identify in which bar the change
(provided in treble, alto or bass clef has occurred
34 as appropriate), and listen to it once
as written and once with a change ii) Identify the change as rhythm
of rhythm and a change of pitch or pitch

88
Scottish Traditional Fiddle: Grade 4

Scottish Traditional Fiddle: Grade 4


PIECES
Candidates perform three sets of pieces, one from each group, using the listed publications.
Dynamic markings (p, mf, f, crescendo and decrescendo) should be included in the slow tunes
only. A minimum of one position change is required at this grade. The performance should
include examples of acciaccaturas, which should be clearly marked on the copy of the music for
the examiner. An own composition may be played instead of one listed set. See pages 16–19 for
further guidance.

Piece Book Publisher

Group A — Waltz and Reel

The Sneug Waltz The Chris Stout Collection vol 1 Stout

Scottish Traditional Fiddle: Grade


1.
Lowrie’s Reel The Chris Stout Collection vol 1 Stout

Ceol na Fidhle — The Fiddle Music of the


The Hill of Lochiel Taigh na Teud
Scottish Highlands vols 1 & 2
2.
Ceol na Fidhle — The Fiddle Music of the
The Sound of Sleat Taigh na Teud
Scottish Highlands vols 1 & 2

Ivor and Eleanor’s Wedding The Music of Willie Hunter Shetland MHT
3.
Da Nort Rodd The Music of Willie Hunter Shetland MHT

The First Snow The Nineties Collection Hardie


4.
The Salvation The Nineties Collection Hardie

Group B — Air, Hornpipe and Jig 4


Lament for the Death of the
The Fiddle Music of Scotland Hardie
Rev Archie Beaton
1. The Newcastle Hornpipe The Fiddle Music of Scotland Hardie

The New Rigged Ship The Fiddle Music of Scotland Hardie

Lament of Flora MacDonald The Fiddle Music of Scotland Hardie

2. The Hawk Hornpipe The Fiddle Music of Scotland Hardie

Miss Stewart’s Fancy The Fiddle Music of Scotland Hardie

Hector the Hero The Fiddle Music of Scotland Hardie

The Rights of Man The Fiddle Music of Scotland Hardie


3.
Ceol na Fidhle — The Fiddle Music
The Earl of Dunmore Taigh na Teud
of the Scottish Highlands vols 1 & 2
89
Scottish Traditional Fiddle: Grade 4

Coilsfield House The Fiddle Music of Scotland Hardie

4. The Acrobat Hornpipe Scottish Fiddlers Session Tune Book Taigh na Teud

Balcomie House The Fiddle Music of Scotland Hardie

Group C — March, Strathspey and Reel

The Hamefarers Dance Band The Music of Willie Hunter Shetland MHT

Willie Hunter’s Compliments


1. The Music of Willie Hunter Shetland MHT
to Dan R MacDonald

Lorna’s Reel The Music of Willie Hunter Shetland MHT

Scott Skinner’s Compliments


The Fiddle Music of Scotland Hardie
to Dr MacDonald (with variation)

2. Highland Whisky The Fiddle Music of Scotland Hardie

The Hurdle Race The Fiddle Music of Scotland Hardie

Da Guiser’s March The Fiddle Music of Scotland Hardie

3. The Kirrie Kebbuck The Fiddle Music of Scotland Hardie

Miss Susan Cooper The Fiddle Music of Scotland Hardie

The Queen’s Welcome to Invercauld


The Scottish Violinist Taigh na Teud
(with variation)

4. Gallaton The Scottish Violinist Taigh na Teud

Peter Gray The Scottish Violinist Taigh na Teud

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
All requirements are in Trinity’s book Violin Scales, Arpeggios & Studies from 2016.

1. BOWING EXERCISE (from memory)

  
Candidates play one of the Grade 4 scales, freely chosen from the list, with the rhythm <INSERT>
on each degree of the scale. The exercise may end with an additional long note on the tonic.
(q· = 50)

90
Scottish Traditional Fiddle: Grade 4

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) —
Candidates play the scale followed by the arpeggio. Examiners select from the following:

◗◗ C and Bb major two octaves


starting on the scales separate
◗◗ E major one octave A string in 4th bows or slurred
position two crotchet
◗◗ C and Bb minor beats to a bow;
arpeggios min. tempi:
(candidate choice of either two octaves
separate bows scales
harmonic or melodic minor)
or slurred three q = 76
◗◗ E minor starting on the notes to a bow arpeggios
(candidate choice of either A string in 4th
harmonic or melodic minor) position q. = 48
7ths

Scottish Traditional Fiddle: Grade


◗◗ Dominant 7th in the key of C starting on G
separate bows q = 76
one octave
◗◗ Dominant 7th in the key of D starting on A or slurred four
notes to a bow
◗◗ Dominant 7th in the key of Eb starting on Bb
starting on
◗◗ Chromatic scale separate bows
open D

Technical exercises (from memory) (q = 84):

a) Octaves
        
       

b) D major phrase
 0
           


0 1 2 3 4 3 2 1
4
Or
3. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.

Chromatic Cascade
1.  for tone and phrasing
Twinkling Tango
2.  for mixed articulation and bowing styles
Noughts and Crossings
3.  for double stops and contrasts

91
Scottish Traditional Fiddle: Grade 4

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for Musical knowledge
sight reading parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the fiddle.
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.
The aural test requirements for Grade 4
are below.

Aural questions

Parameters Task Requirement

Clap the pulse on the second playing,


Listen to the piece twice
stressing the strong beat

i) Identify the tonality as major or minor


Listen to the piece twice ii) Identify the final cadence as perfect
Harmonised
or imperfect
4 bars
Identify the interval as minor or major
Listen to the first two notes of
Major or second, minor or major third, perfect
the melody once
minor key fourth or fifth, or minor or major sixth

46 Study a copy of the melody


i) Identify the bar in which the change
(provided in treble, alto or bass
clef as appropriate), and listen to of rhythm occurred
it once as written and once with ii) Identify the bar in which the change
a change of rhythm and a change of pitch occurred
of pitch

92
Scottish Traditional Fiddle: Grade 5

Scottish Traditional Fiddle: Grade 5


PIECES
Candidates perform three sets of pieces, one from each group, using the listed publications.
Dynamic markings (p, mf, f, crescendo and decrescendo) should be included in the slow tunes
only. A minimum of two position changes are required at this grade. The performance should
include examples of acciaccaturas, which should be clearly marked on the copy of the music for
the examiner. Contemporary set items are listed from slow to fast tempo, but may be performed
in any order. An own composition may be played instead of one listed set. See pages 16–19 for
further guidance.

Piece Book Publisher

Group A — Air, Hornpipe and Jig

Farewell to Whisky The Fiddle Music of Scotland Hardie

1. The Firth House The Caledonian Companion Hardie

Scottish Traditional Fiddle: Grade


Mrs McGee’s Reel A Fiddler’s Book of Scottish Jigs Hardie

Annie My Mother The Music of Willie Hunter Shetland MHT

2. Robertson Crescent The Music of Willie Hunter Shetland MHT

Bobby Crowe of Balmullo The Music of Willie Hunter Shetland MHT

The Nameless Lassie The Fiddle Music of Scotland Hardie

3. Liverpool Hornpipe The Caledonian Companion Hardie

Miss Dalrymple A Fiddler’s Book of Scottish Jigs Hardie

Margaret Ann Robertson Leveneep Head Jamieson

4. Crystal Fiddle Vidlin Voe Jamieson


5
Mrs Helen Jamieson Leveneep Head Jamieson

Group B — March, Strathspey and Reel

The Duke of Fife’s Welcome


The Scottish Violinist Taigh na Teud
to Deeside

1. McKenzie Hay The Fiddle Music of Scotland Hardie

The Spey in Spate The Fiddle Music of Scotland Hardie

93
Scottish Traditional Fiddle: Grade 5

Dumbarton Castle The Scottish Violinist Taigh na Teud

2. The Iron Man The Fiddle Music of Scotland Hardie

The Bungalow The Fiddle Music of Scotland Hardie

The Cameron Highlanders The Scottish Violinist Taigh na Teud

3. Earl Grey The Fiddle Music of Scotland Hardie

Davie Work The Scottish Violinist Taigh na Teud

Mr Michie (incl variations) The Fiddle Music of Scotland Hardie

4. Mrs Russell of Blackhall The Fiddle Music of Scotland Hardie

Carnie’s Canter The Fiddle Music of Scotland Hardie

Group C — Contemporary set

The Grimbergen Blonde (Reel) The Chris Stout Collection vol 1 Stout
1.
Chris Stout’s Compliments to the
The Chris Stout Collection vol 1 Stout
‘Bon Accord’ Ale House (Reel)

Garry Porch of Avernish (Strathspey) The Road to Errogie Taigh na Teud


2.
Trip to the Market (Reel) The Road to Errogie Taigh na Teud

Ben Williams of Tiree (Scottische) Ho-ro-gheallaidh vol 3 Taigh na Teud


3.
Janine’s Reel (Reel) Ho-ro-gheallaidh vol 3 Taigh na Teud

Kirsties (Schottische) Ho-ro-gheallaidh vol 3 Taigh na Teud


4.
Bulgarian Red (Reel) Ho-ro-gheallaidh vol 3 Taigh na Teud

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
All requirements are in Trinity’s book Violin Scales, Arpeggios & Studies from 2016.

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 5 scales, freely chosen from the list, with a martelé bow
stroke. (q = 88)

94
Scottish Traditional Fiddle: Grade 5

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) —
Candidates play the scale followed by the arpeggio. Examiners select from the following:

◗◗ G major scales separate bows


or slurred two crotchet beats
three
◗◗ G minor to a bow; arpeggios separate
octaves
(candidate choice of either bows or slurred three notes
harmonic or melodic minor) to a bow

◗◗ B, E and Ab major scales separate bows min. tempi:


or slurred two crotchet beats scales
◗◗ B, E and G# minor to a bow; arpeggios separate
q = 80
(candidate choice of either bows or slurred six notes
harmonic or melodic minor) to a bow arpeggios
q. = 54
◗◗ Chromatic scales starting on G two octaves
and A 7ths
separate bows q = 72
◗◗ Dominant 7th in the key of C,
or slurred two crotchet
starting on G
beats to a bow
◗◗ Dominant 7th in the key of Db,

Scottish Traditional Fiddle: Grade


starting on Ab

◗◗ Diminished 7th starting on D one octave separate bows

Technical exercises (from memory) (q = 104):

a) C major in thirds

  
         

b) Bb major in sixths
b4 œ ˙ œ ˙ œ ˙ œ ˙ œ ˙
& b 4 œ œ ˙˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ
œ ˙
˙

c) D major scale on one string


1 2
4   1
3 5
      
3 2 2

0 1 2 1 2 1 2 1 0
   
    

Or
3. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.

G-Whizz
1.  for tone and phrasing

A Latin Adventure
2.  for mixed articulation and bowing styles

Swallows Gliding
3.  for double stops and contrasts
95
Scottish Traditional Fiddle: Grade 5

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for Musical knowledge
sight reading parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the fiddle.
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.
The aural test requirements for Grade 5
are below.

Aural questions

Parameters Task Requirement

Clap the pulse on the second playing,


Listen to the piece twice
stressing the strong beat

i) Identify the tonality as major or minor


Listen to the piece twice ii) Identify the final cadence as perfect
Harmonised
or imperfect
8 bars
Identify the interval as minor or major
Major or Listen to two notes from the second, minor or major third, perfect
minor key melody line played consecutively fourth or fifth, minor or major sixth,
minor or major seventh, or octave
2346
Study a copy of the piece, and i) Identify the bar in which the change
listen to it once as written and of rhythm occurred
once with a change of rhythm
and a change of pitch (both ii) Identify the bar in which the change
changes in the melody line) of pitch occurred

96
Scottish Traditional Fiddle: Grades 6–8

Scottish Traditional Fiddle:


Grades 6–8
EXAM DURATION EXAM STRUCTURE
The Grade 6 exam The Grade 7 exam The Grade 6–8 exams contain the following:
lasts 23 minutes lasts 23 minutes
Maximum
marks

SET 1 22

SET 2 22
The Grade 8 exam
lasts 28 minutes
SET 3 22

TECHNICAL WORK 14

◗◗ Bowing exercise
◗◗ Either scales, arpeggios & technical exercises
or orchestral extracts

SUPPORTING TEST 1 10

◗◗ Sight reading

SUPPORTING TEST 2 10

ONE of the following:


◗◗ Aural
◗◗ Improvisation

TOTAL 100

97
Scottish Traditional Fiddle: Grade 6

Scottish Traditional Fiddle: Grade 6


PIECES
Candidates perform three sets of pieces, one from each group, using the listed publications.
They should display all bowing indications as marked and a full range of dynamics. Dynamics
are expected in the slow tunes and may be appropriate at the quicker tempos. Ornamentation as
written with additional acciaccaturas should be performed. A minimum of three position changes
or as required should be incorporated into the programme. All should be clearly marked on the
copy of the music for the examiner. Contemporary set items are listed from slow to fast tempo,
but may be performed in any order. An own composition may be played instead of one listed set.
See pages 16–19 for further guidance.

Piece Book Publisher

Group A — Slow Air, March, Strathspey and Reel


Bovoglies Plaid The Fiddle Music of Scotland Hardie
Ceol na Fidhle — The Fiddle Music
Father John MacMillan of Barra Taigh na Teud
1. of the Scottish Highlands vols 1 & 2
The Laird of Drumblair The Fiddle Music of Scotland Hardie
Angus Campbell The Fiddle Music of Scotland Hardie
Miss Graham of Inchbrackie The Fiddle Music of Scotland Hardie
Donald MacLean’s Farewell to Oban The Caledonian Companion Hardie
2.
The Marchioness of Huntly (Marshall) The Fiddle Music of Scotland Hardie
The Marquis of Huntly (Milne) The Fiddle Music of Scotland Hardie
Lament for Sir Harry Lumsden,
The Fiddle Music of Scotland Hardie
Bart of Achindoir
Ceol na Fidhle — The Fiddle Music
3. Mrs H L MacDonald of Dunach Taigh na Teud
of the Scottish Highlands vols 1 & 2
Forbes Morrison The Fiddle Music of Scotland Hardie
Bonnie Banchory The Fiddle Music of Scotland Hardie
Rose Acre The Fiddle Music of Scotland Hardie
Ceol na Fidhle — The Fiddle Music
Sprig of Ivy Taigh na Teud
4. of the Scottish Highlands vols 1 & 2
South of the Grampians The Fiddle Music of Scotland Hardie
John McNeil The Fiddle Music of Scotland Hardie

Group B — Slow Strathspey, Hornpipe and Jig


The Braes of Auchtertyre The Fiddle Music of Scotland Hardie
1. King Herring The Shetland Violinist vol 1 (ed. Stove) Shetland Times
Newcastle Bridge The Fiddle Music of Scotland Hardie

98
Scottish Traditional Fiddle: Grade 6

Lady Charlotte Campbell


The Fiddle Music of Scotland Hardie
(Mackintosh)
2.
The Trumpet The Caledonian Companion Hardie
Mrs Trotter of Castlelaw’s Reel A Fiddler’s Book of Scottish Jigs Hardie
Whistle o’er the Lave o’t The Fiddle Music of Scotland Hardie
3. The Forth Brig The Scottish Violinist Taigh na Teud
Miss Barbara Hay’s Favourite A Fiddler’s Book of Scottish Jigs Hardie
J F Dickie’s Delight The Fiddle Music of Scotland Hardie
4. Wards Hornpipe The Scottish Violinist Shetland Times
Perth Races A Fiddler’s Book of Scottish Jigs Hardie

Group C — Set by a given composer

Composer — Willie Hunter:


Leaving Lerwick Harbour (Air) The Music of Willie Hunter Shetland MHT
Billy’s Welcome to Cannon Park
The Music of Willie Hunter Shetland MHT
(Hornpipe)
1.
Peerie Willie (Reel) The Music of Willie Hunter Shetland MHT
The Cape Breton Visit to Shetland The Music of Willie Hunter Shetland MHT
(Reel)

Scottish Traditional Fiddle: Grade


Composer — Tom Anderson:
Lament for Lowrie o’da Lea (Air) The Tom Anderson Collection vol 1 Hardie
Violet Tulloch’s Hornpipe (Hornpipe) Ringing Strings Taigh na Teud
2.
The Bjeorgs (Reel) The Tom Anderson Collection vol 1 Hardie
Pottinger’s Reel (Reel) The Fiddle Music of Scotland Hardie

Composer — Marie Fielding:


Manus McGuire (Air) A Collection of Original Compositions book 1 Fielding
Master Scott MacCuish (March) A Collection of Original Compositions book 1 Fielding
3.
PJ’s PJs (Reel) A Collection of Original Compositions book 1 Fielding
Mumbai (Reel) A Collection of Original Compositions book 1 Fielding

Composer — J Scott Skinner: 6


The Duchess Tree (Air) The Scottish Violinist Taigh na Teud
Corgarff Castle (March) The Scottish Violinist Taigh na Teud
4.
Mrs Chree (Strathspey) The Caledonian Companion Hardie
Mary Walker (Reel) The Scottish Violinist Taigh na Teud

99
Scottish Traditional Fiddle: Grade 6

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
The scales, arpeggios & technical exercises are in Trinity’s book Violin Scales, Arpeggios & Studies
from 2016.
The orchestral extracts are in The Orchestral Violinist book 2, ed. Rodney Friend (published by
Boosey & Hawkes M060115967).

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 6 scales, freely chosen from the list, with each note of the
scale played as two spiccato quavers. (q = 150)

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) —
Candidates prepare major and minor scales and arpeggios from the following tonal
centres, to be played with separate bows or slurred as requested by the examiner.
Examiners select from the following:

scales separate bows or slurred


four crotchet beats to a bow;
◗◗ A three octaves
arpeggios separate bows or
min. tempi:
slurred three notes to a bow
scales
scales separate bows or slurred q = 96
four crotchet beats to a bow;
◗◗ F and Eb arpeggios
arpeggios separate bows or
slurred six notes to a bow q. = 63
two octaves 7ths
Plus:
◗◗ Chromatic scale starting on Bb separate bows or slurred two q = 96
crotchet beats to a bow
◗◗ Diminished 7th starting on G

When examiners request a major tonal centre, candidates should play in succession the:
◗◗ Major scale
◗◗ Major arpeggio
◗◗ Dominant 7th starting on that note and resolving onto the tonic (to be prepared with
separate bows and slurred two crotchet beats to a bow)
When examiners request a minor tonal centre, candidates should play in succession the:
◗◗ Melodic minor scale
◗◗ Harmonic minor scale
◗◗ Minor arpeggio

100
Scottish Traditional Fiddle: Grade 6

Technical exercises (from memory) (q = 100):


a) D major in thirds
   
        
   
3 1 4 2

   

b) Eb major in sixths
  
   
 
    etc     etc
   
c) D major in octaves
   4  4     
    
   
1 1

           
d) E major scale on one string
2
  
1 2 1
4
2
3 
2

   2
3
 
1 1 2 1
 
1

     

Or
 RCHESTRAL EXTRACTS (music may be used) —
3. O
Candidates prepare three extracts in total: 1a or 1b, 2a or 2b, and 3a or 3b.
Candidates choose one extract to play first. Examiners then select one of the remaining two
prepared extracts to be performed.

Scottish Traditional Fiddle: Grade


Sibelius: Symphony no. 2, IV Finale
1a. 
(page 7, bar 1 to 1st note of bar 25)
for tone and phrasing
Wagner: Die Meistersinger von Nürnberg,
1b. 
Overture (page 24, bars 97–100)

2a. Beethoven: Egmont, Overture


(page 39, bar 309 to 1st note of bar 317)
for bowing
2b. Copland: Appalachian Spring Suite
(page 49, fig. 24 to 1st note of fig. 25)

3a. Beethoven: Egmont, Overture


(page 39, bar 287 to 1st note of bar 301)
for left hand technique
3b. Stravinsky: Pulcinella Suite, 8b. Finale
(page 35, two bars before fig. 105 to fig. 107) 6

101
Scottish Traditional Fiddle: Grade 6

SUPPORTING TESTS

Candidates prepare: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural or improvisation
three options:

Sight reading ◗◗ Stylistic

After 30 seconds’ preparation time, candidates ◗◗ Motivic


perform a previously unseen musical extract ◗◗ Harmonic
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for See pages 27–33 for the requirements
sight reading parameters. and parameters.

Aural
Candidates answer questions based on a single
musical example played on the piano by the
examiner. See page 27 for more information.
The aural test requirements for Grade 6
are below.

Aural questions

Parameters Task Requirement

i) Identify the time signature


Listen to the piece twice ii) Comment on the dynamics
iii) Comment on the articulation

Harmonised Identify and comment on two other


Listen to the piece twice
characteristics of the piece
8 bars
Identify the key to which the music
Major or modulates as subdominant, dominant
minor key Listen to the first four bars of or relative minor
the piece once
2346 Answers may alternatively be given as
key names

Study a copy of the piece, and


Locate and describe the changes as
listen to it twice with two changes
pitch or rhythm
to the melody line

102
Scottish Traditional Fiddle: Grade 7

Scottish Traditional Fiddle: Grade 7


PIECES
Candidates perform three sets of pieces, one from each group, using the listed publications.
They should display all bowing indications as marked and a full range of dynamics. Dynamics
are expected in the slow tunes and may be appropriate at the quicker tempos. Ornamentation as
written with additional acciaccaturas should be performed. A minimum of three position changes
or as required should be incorporated into the programme. All should be clearly marked on the
copy of the music for the examiner. Contemporary set items are listed from slow to fast tempo,
but may be performed in any order. An own composition may be played instead of one listed set.
See pages 16–19 for further guidance.

Piece Book Publisher

Group A — Slow Air, March, Strathspey and Reel

Chapel Keithack The Fiddle Music of Scotland Hardie

Ceol na Fidhle — The Fiddle Music


The Conundrum Taigh na Teud
of the Scottish Highlands vols 1 & 2
1.
Glenlivet The Fiddle Music of Scotland Hardie

The Marquis of Tullybardine The Fiddle Music of Scotland Hardie

Miss Laura Andrew The Fiddle Music of Scotland Hardie

Ceol na Fidhle — The Fiddle Music


The Balkan Hills Taigh na Teud
of the Scottish Highlands vols 1 & 2

Scottish Traditional Fiddle: Grade


2.
Tullochgorum The Fiddle Music of Scotland Hardie

The Flowers of Edinburgh


The Caledonian Companion Hardie
(incl variation)

Fyvie Castle The Scottish Violinist Taigh na Teud

McLean of Pennycross The Fiddle Music of Scotland Hardie


3.
Tulchan Lodge The Fiddle Music of Scotland Hardie

The Left–Handed Fiddler The Fiddle Music of Scotland Hardie

Niel Gow’s Lament for the


The Fiddle Music of Scotland Hardie
Death of his Second Wife

The Athole Highlanders’


4. Farewell to Loch Katrine
The Fiddle Music of Scotland Hardie 7
Ballochmyle Brig The Scottish Violinist Taigh na Teud

The £10 Fiddle The Fiddle Music of Scotland Hardie

103
Scottish Traditional Fiddle: Grade 7

Group B — Slow Strathspey, Hornpipe and Jig

Mrs Garden of Troup The Fiddle Music of Scotland Hardie

1. The High Level Hornpipe The Fiddle Music of Scotland Hardie

Light and Airy The Fiddle Music of Scotland Hardie

The Beauty of the North The Fiddle Music of Scotland Hardie

2. Princess Beatrice The Fiddle Music of Scotland Hardie

Dumfries House The Fiddle Music of Scotland Hardie

Lady Boswell of Auchinleck The Fiddle Music of Scotland Hardie

3. The Second Star Hornpipe The Fiddle Music of Scotland Hardie

Miss Campbell of Monzie A Fiddler’s Book of Scottish Jigs Hardie

Mackworth The Fiddle Music of Scotland Hardie

4. The Bee’s Wing Hornpipe The Fiddle Music of Scotland Hardie

Mrs Roy of Nenthorn’s Favourite A Fiddler’s Book of Scottish Jigs Hardie

Group C — Set by a given composer

Composer — Nathaniel Gow:

Nathaniel Gow’s Lament for the


The Caledonian Companion Hardie
Death of his Brother (Slow air)

Master Francis Sitwell (Strathspey) The Fiddle Music of Scotland Hardie


1.
Lady Mary Ramsay (Strathspey) The Fiddle Music of Scotland Hardie

Largo’s Fairy Dance (Tune and The Fiddle Music of Scotland Hardie
Variation 1) (Reel)

Composer — Peter Milne:

Berryden Cottage (Strathspey) The Fiddle Music of Scotland Hardie

The Countess of Crawford


The Fiddle Music of Scotland Hardie
(Slow strathspey)
2.
The Earl of Crawford (Reel) The Fiddle Music of Scotland Hardie

Gillan’s Reel (Reel) The Fiddle Music of Scotland Hardie

104
Scottish Traditional Fiddle: Grade 7

Composer — J Scott Skinner:

The Weeping Birches of Kilmorack (Air) The Fiddle Music of Scotland Hardie

The Smith’s a Gallant Fireman


The Fiddle Music of Scotland Hardie
(Strathspey)
3.
The Auld Wheel (Reel) The Fiddle Music of Scotland Hardie

The Bride’s Reel (Reel) The Fiddle Music of Scotland Hardie

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
The scales, arpeggios and technical exercises are in Trinity’s book Violin Scales, Arpeggios &
Studies from 2016.
The orchestral extracts are in The Orchestral Violinist book 2, ed. Rodney Friend (published by
Boosey & Hawkes M060115967).

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 7 scales, freely chosen from the list, with hooked bowing, as in
the following example. (q = 88)
# ≥ ≥ ≤ ≤ ≥ œ≥ -œ™ ≤ ≤.
& # œ™ œ -œ™ œ. œ™ œ
- . etc
- .

Either

Scottish Traditional Fiddle: Grade


2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) —
Candidates prepare major and minor scales and arpeggios from the following tonal
centres, to be played with separate bows or slurred as requested by the examiner.
Examiners select from the following:

scales separate bows or


slurred four crotchet beats
◗◗ B, Ab /G# and D three octaves to a bow; arpeggios separate min. tempi:
bows or slurred nine notes scales
to a bow q = 108
Plus: arpeggios
separate bows or slurred six
◗◗ Chromatic scales starting on q. = 72
notes to a bow
B and Ab
7ths
two octaves
q = 108
◗◗ Diminished 7ths starting on separate bows or slurred two
B and G# crotchet beats to a bow
7

105
Scottish Traditional Fiddle: Grade 7

When examiners request a major tonal centre, candidates should play in succession the:
◗◗ Major scale
◗◗ Major arpeggio
◗◗ Dominant 7th starting on that note and resolving onto the tonic (to be prepared with
separate bows and slurred two crotchet beats to a bow)
When examiners request a minor tonal centre, candidates should play in succession the:
◗◗ Melodic minor scale
◗◗ Harmonic minor scale
◗◗ Minor arpeggio

Technical exercises (from memory) (q = 84):

a) Bb major in thirds (one octave):


b4
&b 4 œ ˙˙ œ œ ˙˙
etc
œ
b) Bb major in sixths (one octave):
    
      
         etc
etc.

c) D major in octaves (one octave):


    
      etc

Or
 RCHESTRAL EXTRACTS (music may be used) —
3. O
Candidates prepare three extracts in total: 1a or 1b, 2a or 2b, and 3a or 3b.
Candidates choose one extract to play first. Examiners then select one of the remaining two
prepared extracts to be performed.

Glinka: Russlan and Ludmilla, Overture (page 37,


1a. 
14 bars before fig. I to 1st note of five bars after fig. K)
Moussorgsky, orch. Ravel: Pictures at an Exhibition,
1b.  for tone and phrasing
6. Samuel Goldenberg and Schmuÿle (page 26,
entire extract)

2a. Beethoven: Egmont, Overture (page 38, bar 25 to


1st note of bar 58)
for bowing
2b. Stravinsky: Pulcinella Suite, 4. Tarantella (page 34, 5th
bar of fig. 53 to 1st note of two bars before fig. 56)

3a. Rimsky-Korsakoff: Scheherazade, IV (page 20, 7th bar


of fig. M to fig. N) for left hand technique
3b. Sibelius: Symphony no. 2, III (page 6, bars 277–293)

106
Scottish Traditional Fiddle: Grade 7

SUPPORTING TESTS

Candidates prepare: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural or improvisation
three options:

Sight reading ◗◗ Stylistic

After 30 seconds’ preparation time, candidates ◗◗ Motivic


perform a previously unseen musical extract ◗◗ Harmonic
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for See pages 27–33 for the requirements
sight reading parameters. and parameters.

Aural
Candidates answer questions based on a single
musical example played on the piano by the
examiner. See page 27 for more information.
The aural test requirements for Grade 7
are below.

Aural questions

Parameters Task Requirement

i) Identify the time signature

Scottish Traditional Fiddle: Grade


Listen to the piece twice ii) Comment on the dynamics
iii) Comment on the articulation

Harmonised Identify and comment on two other


Listen to the piece twice
characteristics of the piece
8 bars
Major or Identify the key to which the music
minor key modulates as subdominant, dominant
Listen to the first four bars of or relative minor
the piece once
2346 Answers may alternatively be given as
key names

Study a copy of the piece, and Locate and describe the changes as pitch
listen to it twice with three changes (melody line only) or rhythm

107
Scottish Traditional Fiddle: Grade 8

Scottish Traditional Fiddle: Grade 8


PIECES
Candidates perform three sets of pieces, one from each group, from the listed publications.
They should display all bowing indications as marked and a full range of dynamics. Dynamics are
expected in the slow tunes and may be appropriate at the quicker tempos. Ornamentation as
written with additional acciaccaturas should be performed. A minimum of three position changes
or as required should be incorporated into the programme. All should be clearly marked on the
copy of the music for the examiner. Contemporary set items are listed from slow to fast tempo,
but may be performed in any order. An own composition may be played instead of one listed set.
See pages 16–19 for further guidance.

Piece Book Publisher

Group A — Slow Air, March, Strathspey and Reel

Back to the Hills The Scottish Violinist Taigh na Teud

Balmoral Castle (with all variations) The Caledonian Companion Hardie


1.

The Marquis of Huntly’s Farewell The Caledonian Companion Hardie

The Hurricane The Scottish Violinist Taigh na Teud

Ossian The Fiddle Music of Scotland Hardie

King Robert the Bruce The Caledonian Companion Hardie


2.
Athole Brose The Caledonian Companion Hardie

The Deil Amang the Tailors


The Scottish Violinist Taigh na Teud
(with all variations)

The Valley of Silence The Fiddle Music of Scotland Hardie

Ceol na Fidhle — The Fiddle Music of


Millbank Cottage Taigh na Teud
the Scottish Highlands vols 1 & 2
3.
Pittengardener’s Rant The Caledonian Companion Hardie

The Devil and the Dirk The Caledonian Companion Hardie

Sir William Wallace The Caledonian Companion Hardie

MacPherson’s Blade The Scottish Violinist Taigh na Teud


4.
William Duguid Fyvie The Caledonian Companion Hardie

Dr Gordon’s Stables The Scottish Violinist Taigh na Teud

108
Scottish Traditional Fiddle: Grade 8

Group B — Slow Strathspey, Hornpipe and Jig

The Glories of ‘The Star’ The Caledonian Companion Hardie

1. Madam Neruda The Caledonian Companion Hardie

The Marchioness of Huntly’s


The Caledonian Companion Hardie
Favorite Jig

The Dean Brig o’Edinburgh The Caledonian Companion Hardie

2. Banks The Caledonian Companion Hardie

Miss Sally Hunter of Thurston The Fiddle Music of Scotland Hardie

J O Forbes of Course The Fiddle Music of Scotland Hardie

3. Haslam’s Hornpipe The Caledonian Companion Hardie

Miss Mary Johnson’s Reel A Fiddler’s Book of Scottish Jigs Hardie

The Shakins o’the Pocky The Caledonian Companion Hardie

4. Madame Vanoni The Caledonian Companion Hardie

Mrs John Clark’s Delight A Fiddler’s Book of Scottish Jigs Hardie

Group C — Set by a given composer

Composer — Gideon Stove:

Gossip (Strathspey) The Shetland Violinist vol 1 (ed. Stove) Shetland Times

Jubilee (Hornpipe) The Shetland Violinist vol 1 (ed. Stove) Shetland Times
1. Scottish Traditional Fiddle: Grade
Da Bixtor Boys (Reel) The Shetland Violinist vol 1 (ed. Stove) Shetland Times

Da Bonxie (Reel) The Shetland Violinist vol 1 (ed. Stove) Shetland Times

Composer — J Scott Skinner:

Mrs Scott Skinner (Slow strathspey) The Fiddle Music of Scotland Hardie

Mathematician (Hornpipe) The Fiddle Music of Scotland Hardie


2.
Frank Gilruth (Hornpipe) The Fiddle Music of Scotland Hardie

Gladstone (Reel) The Fiddle Music of Scotland Hardie

8
109
Scottish Traditional Fiddle: Grade 8

Composer — William Marshall:

Mrs Major L Stewart of the Island


The Fiddle Music of Scotland Hardie
of Java (Air)

Craigellachie Brig (Strathspey) The Fiddle Music of Scotland Hardie


3.
Miss Cameron of Balvenie (Reel) The Fiddle Music of Scotland Hardie

Mrs Fraser of Cullen (Reel) The Fiddle Music of Scotland Hardie

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
The scales, arpeggios and technical exercises are in Trinity’s book Violin Scales, Arpeggios &
Studies from 2016.
The orchestral extracts are in The Orchestral Violinist book 2, ed. Rodney Friend (published by
Boosey & Hawkes M060115967).

1. BOWING EXERCISE (from memory)

Candidates choose one of the Grade 8 scales listed below. Examiners choose any one of the
specified bowings from Grades 5–7 and ask candidates to play the scale with that bowing.

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) —
Candidates prepare major and minor scales and arpeggios from the following tonal
centres, to be played with separate bows or slurred as requested by the examiner.
Examiners select from the following:

scales separate bows


or slurred three
octaves to a bow (one
bow up and one bow
down, with a change
◗◗ G, A, Bb, Db/C# and Eb three octaves min. tempi:
of bow on the top
scales
note); arpeggios
q· = 88
separate bows or
slurred nine notes to arpeggios
a bow q· = 88
Plus: separate bows or 7ths
◗◗ Chromatic scales starting on Bb, slurred twelve notes to q = 92
C and D a bow
two octaves
separate bows or
◗◗ Diminished 7ths starting on A#,
slurred eight notes to
C and D
a bow

110
Scottish Traditional Fiddle: Grade 8

When examiners request a major tonal centre, candidates should play in succession the:
◗◗ Major scale
◗◗ Major arpeggio
◗◗ Dominant 7th starting on that note and resolving onto the tonic (to be prepared with
separate bows and slurred two crotchet beats to a bow)
When examiners request a minor tonal centre, candidates should play in succession the:
◗◗ Melodic minor scale
◗◗ Harmonic minor scale
◗◗ Minor arpeggio

Technical exercises (from memory) (q = 88):

a) Bb major in thirds (two octaves):


b4 œ œ
& b 4 œ œ œœ œœ œœ œœ œ œ etc
œ œ
b) G major in sixths (two octaves):
    
        
    etc. etc

c) D major in octaves (one octave):


# 4 œ œ œ œ œ œ œœ
& # 4 œœ œ œ œ œ œ œ etc

Or
 RCHESTRAL EXTRACTS (music may be used) —
3. O
Candidates prepare three extracts in total: 1a or 1b, 2a or 2b, and 3a or 3b.
Candidates choose one extract to play first. Examiners then select one of the remaining two
prepared extracts to be performed.
Scottish Traditional Fiddle: Grade
Mendelssohn: Symphony no. 4, III (page 2, bars 126–160)
1a. 
Wagner: Die Meistersinger von Nürnberg, Overture
1b.  for tone and phrasing
(pages 24–25, bars 158–178)

2a. Brahms: Symphony no. 4, IV (page 15, bars 33–40 and bars
65–73)
for bowing
2b. Prokofieff: Romeo and Juliet Suite no. 1, V. Masks (page 30,
fig. 48 to end of extract)

3a. Glinka: Russlan and Ludmilla, Overture (page 36, bar 21


to 7th bar of fig. A)
for left hand technique
3b. Moussorgsky, orch. Ravel: Pictures at an Exhibition,
3. Tuileries (page 26, entire extract)

8
111
Scottish Traditional Fiddle: Grade 8

SUPPORTING TESTS

Candidates prepare: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural or improvisation
three options:

Sight reading ◗◗ Stylistic

After 30 seconds’ preparation time, candidates ◗◗ Motivic


perform a previously unseen musical extract ◗◗ Harmonic
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for See pages 27–33 for the requirements
sight reading parameters. and parameters.

Aural
Candidates answer questions based on a single
musical example played on the piano by the
examiner. See page 27 for more information.
The aural test requirements for Grade 8
are below.

Aural questions

Parameters Task Requirement

i) Identify the time signature


Harmonised Listen to the piece once ii) Comment on the dynamics
iii) Comment on the articulation
12–16 bars
Major or Identify and comment on three other
Listen to the piece twice
minor key characteristics of the piece

23465 Study a copy of the piece, and Locate and describe the changes as
listen to it twice with three changes pitch or rhythm

112
Viola: Initial to Grade 5

Viola: Initial to Grade 5


EXAM DURATION EXAM STRUCTURE
The Initial exam lasts The Grade 1 exam The Initial to Grade 5 exams contain the following:
11 minutes lasts 13 minutes
Maximum
marks

PIECE 1 22

PIECE 2 22
The Grade 2 exam The Grade 3 exam
lasts 13 minutes lasts 13 minutes
PIECE 3 22

TECHNICAL WORK* 14

◗◗ Bowing exercise
The Grade 4 exam The Grade 5 exam
lasts 18 minutes lasts 18 minutes ◗◗ Either scales, arpeggios & technical exercise(s)
or studies

SUPPORTING TESTS 20

Any TWO of the following:


◗◗ Sight reading
◗◗ Aural
◗◗ Improvisation
◗◗ Musical knowledge

TOTAL 100

* At Initial level, candidates perform scales only 113


Viola: Initial

Viola: Initial
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Only one
duet may be chosen. Only one unaccompanied piece may be chosen. Pieces by at least two
composers must be played. An own composition may be played instead of one listed piece.
See pages 16–19 for further guidance.

Composer Piece Book Publisher

ARBEAU, arr. Sword Dance


1. String Time Starters OUP 9780193411531
K & D BLACKWELL (viola I part)

City Lights† or Daydream†


or Happy Go Lucky†
2. K & D BLACKWELL or Rhythm Fever† Viola Time Joggers OUP 9780193221178
or Rowing Boat†
(duet or piano accomp)

More Mini Mozart,


no. 68† (candidate plays
3. K & D BLACKWELL Viola Time Starters OUP 9780193365827
theme then chooses one
of the rhythm variations)

Bossy Boots or Clockwork


4. COBB & YANDELL Clown or On the Ranch Take Your Bow Viola Trinity TCL018052
or Sad Smile

5. COHEN Rockets to the Rescue* Superstudies for Viola book 1 Faber 0571514227

Oom-pah Band
6. K & H COLLEDGE Stepping Stones Boosey M060087424
or See-saw

7. K & H COLLEDGE Waterfall Waggon Wheels Boosey M060135521

Lazy River
8. HAND Progressive Pieces for Viola Schott ED11259
(slurs not required)

LUMSDEN & Jungle Footprints


9. Jackaroo Faber 057152169X
WEDGWOOD (scream optional)

LUMSDEN &
10. Strong Iguanodon Jurassic Blue Faber 0571521797
WEDGWOOD

The Essential String


11. NELSON I Am a River† Boosey M060105081
Method book 2

Jonathan Rat
12. NELSON or Lullaby or Rainy Day Right from the Start Boosey M060074660
or Sail in a Pail

13. TERZIBASCHITSCH Der Kuckuck Violaträume Holzschuh VHR3428

14. TRAD., arr. COHEN Li’l Liza Jane* Bags of American Folk Faber 0571534171

114 * Unaccompanied † Accompaniment published separately


Viola: Initial

TRAD., A & C Black


15. Merrily We Roll Along Abracadabra Viola
arr. DAVEY 9781408114582

Old MacDonald†
TRAD.,
16. or The Grand Old Duke Vamoosh Viola book 1 Vamoosh VAM11
arr. GREGORY
of York†

TRAD.,
17. Drink to Me Only Piece by Piece book 1 Boosey M060092626
arr. NELSON

Viola: Initial
TRAD., French Folk Song† The Essential String
18. Boosey M060105081
arr. NELSON or Moravian Carol† Method book 2

TRAD., arr. Pit a Pat Rain


19. Viola Recital Album vol 1 Bärenreiter BA8990
SASSMANNSHAUS (solo or duet)

TRAD., arr. Old MacDonald


20. Violaträume Holzschuh VHR3428
TERZIBASCHITSCH Had a Farm

WOHLFAHRT,
21. Polka Piece by Piece book 1 Boosey M060092626
arr. NELSON

TECHNICAL WORK

Candidates prepare scales, as shown below. See page 21.


All requirements are in Trinity’s book Viola Scales, Arpeggios & Studies from 2016.

SCALES (from memory)


All one octave, with the indicated rhythmic pattern on each note (minimum tempo: q = 92).

◗◗ C major
 
                  etc
etc.

◗◗ G major
                   etc
etc.

◗◗ D major
     
           
etc
etc.

† Accompaniment published separately 115


Viola: Initial

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
◗◗ Aural on a stimulus chosen from the following
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level lower than the exam being taken.
See pages 23–26 for the requirements Musical knowledge
and parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the viola.
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.
The aural test requirements for Initial
are below.

Aural questions

Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing,


three times stressing the strong beat
Melody only
Listen to the melody once Identify the dynamic as forte or piano
4 bars
Major key Identify the articulation as legato
Listen to the melody once
or staccato
2
Listen to the first three
Identify the highest or lowest note
notes of the melody once

116
Viola: Grade 1

Viola: Grade 1
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Only
one duet may be chosen. Only one unaccompanied piece may be chosen. Pieces by at least
two composers must be played. An own composition may be played instead of one listed piece.
See pages 16–19 for further guidance.

Composer Piece Book Publisher


ALTHAUS, March of the Little Soldiers
1. Viola Recital Album vol 1 Bärenreiter BA8990
arr. SASSMANNSHAUS (solo or duet)

Viola: Grade
ARLEN, A & C Black
2. We’re Off to See the Wizard Abracadabra Viola
arr. DAVEY 9781408114582
BEETHOVEN,
3. Ode to Joy† Vamoosh Viola book 1 Vamoosh VAM11
arr. GREGORY

Rocking Horse
4. K & D BLACKWELL Viola Time Joggers OUP 9780193221178
(duet or piano accomp)
5. COBB & YANDELL Busy Bee Take Your Bow Viola Trinity TCL018052
Blast Off!* Superstudies for Viola
1
6. COHEN Faber 0571514227
or Rocking Rowboats* book 1
7. COHEN Puttin’ on the Blue Check Shirt* Bags of American Folk Faber 0571534171
Song of the Norsemen Progressive Pieces for
8. HAND Schott ED11259
(slurs not required) Viola

HANDEL, arr. Finale (from the Water Music)
9. Viola Time Runners OUP 9780193221185
K & D BLACKWELL (duet or piano accomp)
Back-Scratcher†
10. HUWS JONES Ten O’Clock Rock Boosey M060097928
or Purry Slurry†
LUMSDEN &
11. Clever Compsognatus Jurassic Blue Faber 0571521797
WEDGWOOD
12. NELSON On the Ice or Promenade Piece by Piece book 1 Boosey M060092626
13. NORTON Popular Song or Snooker Table Microjazz for Starters Boosey M060082573
RODGERS, A & C Black
14. Edelweiss Abracadabra Viola
arr. DAVEY 9781408114582
15. TERZIBASCHITSCH Marsch der Gänse Violaträume Holzschuh VHR3428
16. THOMAS Simon’s Song Seven Easy Pieces Banks MT112
17. TRAD., arr. COHEN Home on the Range* Bags of American Folk Faber 0571534171
TRAD., A & C Black
18. Summer Is Icumen In Abracadabra Viola
arr. DAVEY 9781408114582

19. TRAD., arr. GREGORY Clown Dance Vamoosh Viola book 2 Vamoosh VAM12
Nyth y Gwcw (The Cuckoo’s
TRAD., Nest) (duet — candidate plays The Fiddler Playalong
20. Boosey M060117855
arr. HUWS JONES easy viola part, teacher plays Viola Collection
viola melody)
21. TRAD., arr. NELSON Dance to Your Daddy Piece by Piece book 1 Boosey M060092626
TRAD., arr.
22. Land of the Silver Birch O Shenandoah! Faber 0571522890
WATERFIELD & BEACH
23. WIDGER Over the Bridge Viola Jazz, Rock ‘n’ Bow Spartan SP406
24. WILKINSON & BASS Computer Games Viva Viola! Faber 0571512925

* Unaccompanied † Accompaniment published separately 117


Viola: Grade 1

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
All requirements are in Trinity’s book Viola Scales, Arpeggios & Studies from 2016.

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 1 scales, freely chosen from the list, with two separate
crotchets on each degree of the scale, one down bow and one up bow. (q = 66)

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISE (from memory) —
Candidates play the scale followed by the arpeggio. Examiners select from the following:

scales separate bows


starting on 3rd or slurred in pairs
◗◗ F and C major
finger with a long tonic
one octave
(upper tonic may be
repeated); arpeggios min. tempo:
◗◗ G and D major separate bows only q = 88
starting on
first five notes the open
◗◗ G minor (scale only) ascending and string separate bows only
descending

Technical exercise (from memory) (q = 50–75):

Open strings
   
    
 

 
 

Or
3. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.

The Limping Rabbit


1.  for tone and phrasing

A Cheeky Hamster
2.  for mixed articulation and bowing styles

At the Ranch
3.  for double stops and contrasts

118
Viola: Grade 1

SUPPORTING TESTS

Candidates choose TWO of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
and parameters.

Viola: Grade
perform a previously unseen musical extract
at a level lower than the exam being taken.
See pages 23–26 for the requirements Musical knowledge
and parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the viola.
Candidates answer questions based on a single Questions are based on candidates’ chosen 1
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.
The aural test requirements for Grade 1
are below.

Aural questions

Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing,


three times stressing the strong beat

Melody only i) Identify the dynamic as forte or piano


Listen to the melody once ii) Identify the articulation as legato
4 bars or staccato

Major key Listen to the first two bars Identify the last note as higher or lower
of the melody once than the first note
23
Listen to the melody twice,
with a change of rhythm or Identify where the change occurs
pitch in the second playing

119
Viola: Grade 2

Viola: Grade 2
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Only
one duet may be chosen. Only one unaccompanied piece may be chosen. Pieces by at least
two composers must be played. An own composition may be played instead of one listed piece.
See pages 16–19 for further guidance.

Composer Piece Book Publisher


J S BACH, Gavotte (from Cello
1. Viola Album Schott ED10900
arr. DODD Suite no. 6)
Edinburgh Walkways
2. BASS Viola Walkways Piper PPVA005
or London Walkways
3. R R BENNETT Fives or Work Song Up Bow, Down Bow Novello NOV120514
BRAHMS, arr. First Repertoire for Viola
4. Waltz, op. 39 no. 16 Faber 0571512941
WILKINSON & HART book 2
5. BYRD, arr. NELSON Wolsey’s Wilde Piece by Piece book 2 Boosey M060092640
CAMPAGNOLI, Presto, no. 24 (duet — Select Studies for the Viola
6. Stainer 7657B
ed. KREUZ candidate plays top part) book 2
CHARPENTIER,
7. Prelude† Vamoosh Viola book 2 Vamoosh VAM12
arr. GREGORY
8. K & H COLLEDGE Cakewalk Shooting Stars Boosey M060103452
9. K & H COLLEDGE The Ceilidh Fast Forward Boosey M060135439
Chasse du jeune Henry, 36 Melodious and Easy
10. DANCLA Schott ED9981
no. 17* Studies, op. 84
11. HANDEL, arr. NELSON Gavotte (from Suite no. 14) Piece by Piece book 2 Boosey M060092640
HAYDN/MAZAS, Andante, no. 21 (duet — Select Studies for the Viola
12. Stainer 7657A
ed. KREUZ candidate plays top part) book 1

13. HOLST, arr. GREGORY Jupiter Vamoosh Viola book 2 Vamoosh VAM12
† Fiedel-Max für Viola —
14. HOLZER-RHOMBERG Mazurka Holzschuh VHR3832
Der grosse Auftritt vol 3
Night on the River,
15. KABALEVSKY Viola Music for Beginners EMB 14155
op. 27 no. 4
MARTINI, arr. First Repertoire for Viola
16. Gavotte Faber 0571512941
WILKINSON & HART book 2
Moderato, no. 26 (duet —
MAZAS, Select Studies for the Viola
17. candidate plays top part; Stainer 7657A
ed. KREUZ book 1
ornamentation optional)
18. NELSON Willow Water Piece by Piece book 2 Boosey M060092640
PURCELL, Rondeau (from
19. Viola Album Schott ED10900
arr. DODD The Fairy Queen)
20. RAE Big Chief Sitting Bull (part 1) Viola Debut Universal UE21620
21. RAE The Guv’nor Play It Cool Universal UE21369
22. TERZIBASCHITSCH Sicilienne Violaträume Holzschuh VHR3428
23. THOMAS Matthew’s March Seven Easy Pieces Banks MT112

120 * Unaccompanied † Accompaniment published separately


Viola: Grade 2

TRAD., Red-Haired Boy (duet The Fiddler Playalong Viola


24. Boosey M060117855
arr. HUWS JONES or piano accomp) Collection
25. TRAD., arr. NELSON Mango Walk Piece by Piece book 2 Boosey M060092640
TRAD., arr. All the Pretty Little Horses
26. O Shenandoah! Faber 0571522890
WATERFIELD & BEACH or The Railroad Corral
27. WIDGER Walking the Fingerboard Viola Jazz, Rock ‘n’ Bow Spartan SP406
28. WILKINSON & BASS Banana Bay Viva Viola! Faber 0571512925

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
All requirements are in Trinity’s book Viola Scales, Arpeggios & Studies from 2016.

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 2 scales, freely chosen from the list, with the rhythm d D on

Viola: Grade
each degree of the scale, separate bows. The exercise may end with an additional long note on
the tonic (d D d). (q = 80)
Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISE (from memory) —
Candidates play the scale followed by the arpeggio. Examiners select from the following:

◗◗ C major
two 2
octaves

◗◗ F and Bb major scales separate min. tempi:


starting on the D bows or slurred in scales
◗◗ G major
string in 3rd position pairs with a long q = 58
one tonic; arpeggios arpeggios
◗◗ A and G minor octave separate bows only
q· = 40
(candidate choice of
in 1st position
either natural or harmonic
or melodic minor)

Technical exercise (from memory) (q = 50–75):


Octaves and sixths
    
     
 


 
 
 

Or
3. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.

1. 
A Scaly Experience for tone and phrasing
2. Arpeggio Antics for mixed articulation and bowing styles
3. Double Trouble for double stops and contrasts

121
Viola: Grade 2

SUPPORTING TESTS

Candidates choose TWO of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for the Musical knowledge
requirements and parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the viola.
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.
The aural test requirements for Grade 2
are below.

Aural questions

Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing,


three times stressing the strong beat

i) D
 escribe the dynamics, which will
Melody only vary during the melody
Listen to the melody once
4 bars ii) Identify the articulation as legato
or staccato
Major or minor key
Identify the last note as higher or lower
Listen to the melody once
than the first note
23
Listen to the melody twice, i) Identify where the change occurs
with a change of rhythm or
pitch in the second playing ii) Identify the change as rhythm or pitch

122
Viola: Grade 3

Viola: Grade 3
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Only
one duet may be chosen. Only one unaccompanied piece may be chosen. Pieces by at least
two composers must be played. An own composition may be played instead of one listed piece.
See pages 16–19 for further guidance.

Composer Piece Book Publisher


1. ADAM, arr. CLASSENS Hongroise L’Alto classique vol C Combre P04438
C P E BACH,
First Repertoire for Viola
2. arr. WILKINSON March Faber 057151295X
book 3
& HART
J S BACH, arr. Gavotte (from Cello
3. Solo Time for Viola book 1 OUP 9780193513280
K & D BLACKWELL Suite no. 6, BWV 1012)
BEETHOVEN,
4. Sonatina in G The Young Violist vol 2 Viola World VWP068
arr. ARNOLD
BIZET, arr. Habanera (from Carmen)†
5. Viola Time Sprinters OUP 9780193360815
K & D BLACKWELL (duet or piano accomp)

Viola: Grade
Wild West† (duet
6. K & D BLACKWELL Viola Time Sprinters OUP 9780193360815
or piano accomp)

7. Fivepenny Waltz* Superstudies for Viola


COHEN Faber 0571514510
or Heidi Hi!* book 2
Largo (from Concerto
8. CORELLI Viola Music for Beginners EMB 14155
Grosso, op. 6 no. 1)

9. DANCLA Moderato, no. 27*


36 Melodious and Easy
Schott ED9981
3
Studies, op. 84
DANCLA, arr. Petite fantaisie (from
10. Solo Time for Viola book 2 OUP 9780193513297
K & D BLACKWELL Petite fantaisie et boléro)
Fiedel-Max für Viola —
11. HOLZER-RHOMBERG Galopp† Holzschuh VHR3832
Der grosse Auftritt vol 3
ILYNSKY, arr.
12. Berceuse, op. 13 Violaträume Holzschuh VHR3428
TERZIBASCHITSCH
Allegro energico e sempre Three Pieces for Viola
13. JONES Schott ED11260
forte, no. 3 and Piano
Allegro assai (final movt
Bosworth
14. KÜCHLER from Concertino in G in
BOE004995
the style of Vivaldi, op. 15)
MAZAS, Andante, no. 27 (duet — Select Studies for the
15. Stainer 7657A
ed. KREUZ candidate plays top part) Viola book 1
16. MOZART German Dance, K. 600 no. 2 Viola Music for Beginners EMB 14155
17. NELSON Roaring Jelly Piece by Piece book 2 Boosey M060092640
18. NORTON Rough Justice Microjazz for Viola Boosey M060082436
OFFENBACH, Barcarolle (from
19. Vamoosh Viola book 2 Vamoosh VAM12
arr. GREGORY The Tales of Hoffmann)†
20. RAE Bruno’s Tune Play It Cool Universal UE21369

* Unaccompanied † Accompaniment published separately 123


Viola: Grade 3

RODGERS, arr. Oh What a Beautiful Morning First Repertoire for Viola


21. Faber 0571512941
WILKINSON & HART (from Oklahoma!) book 2
SATIE, arr.
22. La diva de l’Empire Solo Time for Viola book 1 OUP 9780193513280
K & D BLACKWELL
TELEMANN,
First Repertoire for Viola
23. arr. WILKINSON Gavotte Faber 057151295X
book 3
& HART
The Silver Leaves of the
TRAD., Poplar Tree and The Four The Fiddler Playalong —
24. Boosey M060117855
arr. HUWS JONES Corners of my Handkerchief Viola Collection
(duet or piano accomp)
25. TRAD., arr. NELSON Loch Lomond Piece by Piece book 2 Boosey M060092640
TRAD. SPIRITUAL,
First Repertoire for Viola
26. arr. WILKINSON Were You There? Faber 057151295X
book 3
& HART

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
All requirements are in Trinity’s book Viola Scales, Arpeggios & Studies from 2016.

1. BOWING EXERCISE (from memory)

Candidates should play one of the Grade 3 scales, freely chosen from the list, with four semiquavers
on each degree of the scale. The exercise may end with an additional long note on the tonic. (q = 60)

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) —
Candidates play the scale followed by the arpeggio. Examiners select from the following:
starting on the
◗◗ G major
two octaves open string
◗◗ D major
starting on the scales separate
◗◗ Bb major G string in 2nd bows or slurred
one octave min. tempi:
position in pairs with
a long tonic; scales
◗◗ Ab major arpeggios q = 66
◗◗ D minor separate bows arpeggios
(candidate choice of either two octaves or slurred three q· = 44
harmonic or melodic minor) notes to a bow
7ths
◗◗ C minor q = 76
starting on the G
(candidate choice of either
string
harmonic or melodic minor)
one octave
◗◗ Dominant 7th in the key of C starting on G
separate bows
◗◗ Dominant 7th in the key of D starting on A

124
Viola: Grade 3

Technical exercises (from memory) (q = 60):


a) Chromatic phrase to be played with separate bows, starting on the G string

      
2 - 2
1 - 1
    

b) Octaves, sixths and thirds


    
         
 

Or
3. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.

1. 
Changing Weather for tone and phrasing

2. Flamingos in the Park for mixed articulation and bowing styles

3. On a Swing for double stops and contrasts

Viola: Grade
3

125
Viola: Grade 3

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for Musical knowledge
sight reading parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the viola.
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.
The aural test requirements for Grade 3
are below.

Aural questions

Parameters Task Requirement

Clap the pulse on the second playing,


Listen to the melody twice
stressing the strong beat

Listen to the melody once Identify the tonality as major or minor


Melody only
Listen to the first two notes Identify the interval by number only
4 bars of the melody once (second, third, fourth, fifth or sixth)
Major or minor key
Study a copy of the melody
34 (provided in treble, alto or i) 
Identify in which bar the change has
bass clef as appropriate), and occurred
listen to it once as written
and once with a change of ii) Identify the change as rhythm or pitch
rhythm or pitch

126
Viola: Grade 4

Viola: Grade 4
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Only one
unaccompanied piece may be chosen. Pieces by at least two composers must be played. An own
composition may be played instead of one listed piece. See pages 16–19 for further guidance.

Composer Piece Book Publisher


Bourrée I (from Cello
J S BACH, trans.
1. Suite no. 3 in C, 6 Cello Suites, BWV 1007–1012 Peters EP7489
ROWLAND-JONES
BWV 1009)*

BARTÓK, An Evening at the Village


2. Slovak Peasant’s Dance EMB 5453
trans. KÁROLY & Slovak Peasant’s Dance

3. R R BENNETT All in a Garden Green Six Country Dances Novello NOV090750

BIZET, Farandole (from


4. The Classic Experience Cramer CRA90536
arr. LANNING L’Arlésienne Suite no. 2)

A CLARKE
5. (LOZANNE), Avelette Four Love Songs S J Music D1992–3
arr. OTTY

6. COHEN Magic Carpet Ride* Superstudies for Viola book 2 Faber 0571514510

Viola: Grade
Ching-a-Ring Chaw
7. COPLAND (from Old American Copland for Viola Boosey M051490561
Songs, Set 2)

CORELLI, Select Studies for the Viola


8. Tempo a piacere, no. 4* Stainer 7657C
arr. KREUZ book 3 4
Thème varié de l’Oratorio
36 Melodious and Easy
9. DANCLA ‘Judas Maccabaeus’, Schott ED9981
Studies, op. 84
no. 30*

DONALDSON, The Fiddler Playalong Viola


10. Makin’ Whoopee Boosey M060117855
arr. HUWS JONES Collection

Scherzo (3rd movt


ˇ
DVORÁK,
11. from Sonatina, op. 100) Viola World
ed. ARNOLD
(scherzo only — not trio)

ELGAR, Chanson de matin,


12. The Classic Experience Cramer CRA90536
arr. LANNING op. 15 no. 2

ELLINGTON,
13. It Don’t Mean a Thing Amazing Solos: Viola Boosey M060094156
arr. HARRISON

* Unaccompanied 127
Viola: Grade 4

GARDEL,
14. Tango por una Cabeza† Vamoosh Viola book 3 Vamoosh VAM13
arr. GREGORY

GOUNOD,
15. Ave Maria L’Alto classique vol B Combre P03580
arr. CLASSENS

Andante cantabile (2nd


16. B HUMMEL movt from Sonatina no. 2 Simrock M221108555
for Viola & Piano, op. 52b)

MOZART,
17. Allegro Amazing Solos: Viola Boosey M060094156
arr. HARRISON

18. PURCELL Sarabande & Hornpipe Airs and Dances PWM 6168

RAMEAU,
19. Rigaudon 1 and 2† Keytunes I Boosey M060071157
arr. NELSON

RODRÍGUEZ, The Fiddler Playalong Viola


20. La cumparsita Boosey M060117855
arr. HUWS JONES Collection

RUBINSTEIN,
21. Mélodie L’Alto classique vol C Combre P04438
arr. CLASSENS

SAINT-SAËNS,
First Repertoire for Viola
22. arr. WILKINSON L’éléphant Faber 057151295X
book 3
& HART

D SCARLATTI, Baroque Pieces for Viola


23. Sonata, Kp 34 OUP 9780193564640
arr. FORBES and Piano

SCHUBERT, Ballet Music


24. Keytunes I Boosey M060071157
arr. NELSON (from Rosamunde)†

TCHAIKOVSKY, March (from The


25. Piece by Piece book 2 Boosey M060092640
arr. NELSON Nutcracker Suite)

TRAD., arr.
26. Afton Water Solo Time for Viola book 2 OUP 9780193513297
K & D BLACKWELL

VAUGHAN WILLIAMS, Spurn Point and Young Summy-Birchard


27. Solos for Young Violists vol 4
arr. BARBER Henry the Poacher 18750X

128 † Accompaniment published separately


Viola: Grade 4

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
All requirements are in Trinity’s book Viola Scales, Arpeggios & Studies from 2016.

1. BOWING EXERCISE (from memory)


  
Candidates play one of the Grade 4 scales, freely chosen from the list, with the rhythm <INSERT>
on each degree of the scale. The exercise may end with an additional long note on the tonic.
(q· = 50)
Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) —
Candidates play the scale followed by the arpeggio. Examiners select from the following:
◗◗ F and Eb major
scales separate
◗◗ F and Eb minor two octaves bows or slurred
(candidate choice of either two crotchet
harmonic or melodic minor) beats to a bow;
min. tempi:
◗◗ A major arpeggios
separate bows scales
starting on the
◗◗ A minor D string in 4th or slurred three q = 76
(candidate choice of either position notes to a bow arpeggios
harmonic or melodic minor) q. = 48
◗◗ Dominant 7th in the key of F one octave starting on C 7ths
separate bows
◗◗ Dominant 7th in the key of G starting on D or slurred four q = 76

Viola: Grade
notes to a bow
◗◗ Dominant 7th in the key of Ab starting on Eb
starting on
◗◗ Chromatic scale separate bows
open G

Technical exercises (from memory) (q = 84):

a) Octaves 4
      
          

b) G major phrase

   
0

        

0 1 2 3 4 3 2 1

Or
3. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.

Chromatic Cascade
1.  for tone and phrasing
Twinkling Tango
2.  for mixed articulation and bowing styles
Noughts and Crossings
3.  for double stops and contrasts
129
Viola: Grade 4

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for Musical knowledge
sight reading parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the viola.
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.
The aural test requirements for Grade 4
are below.

Aural questions

Parameters Task Requirement

Clap the pulse on the second playing,


Listen to the piece twice
stressing the strong beat

i) Identify the tonality as major or minor


Listen to the piece twice ii) Identify the final cadence as perfect
Harmonised or imperfect

4 bars Identify the interval as minor or major


Listen to the first two notes
second, minor or major third, perfect
of the melody once
Major or minor key fourth or fifth, minor or major sixth

46 Study a copy of the melody


i) Identify the bar in which the change
(provided in treble, alto or
bass clef as appropriate), and of rhythm occurred
listen to it once as written ii) Identify the bar in which the change
and once with a change of of pitch occurred
rhythm and a change of pitch

130
Viola: Grade 5

Viola: Grade 5
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Only one
unaccompanied piece may be chosen. Pieces by at least two composers must be played. An own
composition may be played instead of one listed piece. See pages 16–19 for further guidance.

Composer Piece Book Publisher


J S BACH, A Merry Tune (from the Baroque Pieces for
1. OUP 9780193564640
arr. FORBES Peasant Cantata, BWV 212) Viola and Piano

J S BACH, The Solo Cello Suites


2. Gigue (from Suite no. 1)* Chester CH01401
arr. FORBES arranged for Viola

J S BACH, Summy-Birchard
3. Gavotte in G minor† Suzuki Viola School vol 3
arr. PREUCIL 0243S

West Side Story


4. BERNSTEIN I Feel Pretty Boosey M051106493
Instrumental Solos: Viola

Four Pieces for Viola and


5. BRIDGE Berceuse or Cradle Song Faber 0571513271
Piano
Composers Series 7: First
Bosworth
6. CHAPPLE For Latin Lovers Collection for Viola and
BOE005033
Piano
ˇ
DVORÁK, Summy-Birchard
7. Humoresque† Suzuki Viola School vol 3
arr. PREUCIL 0243S

ELGAR,
8. Sospiri, op. 70 Breitkopf EB4436
arr. KLENGEL

Viola: Grade
FAURÉ,
9. Après un rêve, op. 7 no. 1 Schott ED9962
arr. BIRTEL
Siciliana and Variations (3rd
10. FLACKTON and 4th movts from Sonata Schott ED10957
no. 4 in C minor, op. 2 no. 8)
GLUCK,
11. Melody (from Orfeo) Viola World VWP017
arr. ARNOLD 5
GLUCK, First Solos for the
12. Gavotte (from Don Juan) Schirmer GS33133
arr. DOKTOR Viola Player

GRANADOS,
13. Spanish Dance no. 5: Andaluza Popular Pieces OUP 9780193566125
arr. FORBES

HANDEL,
14. 1st movt (from Concerto in Bb) Viola World VWP079
arr. ARNOLD

HAYDN, arr. Solos for Young Summy-Birchard


15. Divertimento (3rd movt)
PIATIGORSKY Violists vol 3 18670X

Allegro (1st movt from Little


16. B HUMMEL Simrock M221108579
Suite for Viola & Piano, op. 19c)

* Unaccompanied † Accompaniment published separately 131


Viola: Grade 5

Allegro maestoso or
Finale-Toccata (1st or 3rd movt
17. B HUMMEL Simrock M221108555
from Sonatina no. 2 for Viola &
Piano, op. 52b)

Maestoso (1st movt from


18. B HUMMEL Sonatine no. 1 for Viola & Simrock M221100320
Piano, op. 35b)

Broadbent & Dunn


19. JOHNS Midnight Blue (omit piano intro)
12403

JOPLIN, Fig Leaf Rag


20. Ragtime Favourites Fentone F854
arr. COWLES or The Chrysanthemum

MÉHUL,
21. Romance Solos for the Viola Player Schirmer GS32926
arr. DOKTOR

PROKOFIEV, Kijé’s Wedding (from


22. Musicus M696
arr. FORST Lieutenant Kijé Suite, op. 60)

23. PURCELL Canzonet Airs and Dances PWM 6168

SHOSTAKOVICH,
24. Romance (from The Gadfly) S J Music D1990-4
arr. OTTY

First Solos for the


25. TCHAIKOVSKY Waltz Schirmer GS33133
Viola Player

TCHAIKOVSKY,
26. Humoreske, op. 10 no. 2 Popular Pieces OUP 9780193566125
arr. FORBES

27. TELEMANN Courante (from Suite in D major) Schott ED10196

TRAD., Shorter Pieces for


28. I’ll Bid My Heart Be Still OUP 9780193865990
arr. R CLARKE Viola and Piano

TRAD.,
29. Boston Fancy Solos for the Viola Player Schirmer GS32926
arr. DOKTOR

TRAD. SPIRITUAL,
30. Were You There? Solos for the Viola Player Schirmer GS32926
arr. DOKTOR

VIVALDI, Classical Pieces for Viola


31. Giga, op. 2 no. 2 Peters EP3853B
arr. KLENGEL vol 2

132
Viola: Grade 5

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
All requirements are in Trinity’s book Viola Scales, Arpeggios & Studies from 2016.
1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 5 scales, freely chosen from the list, with a martelé bow stroke.
(q = 88)
Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) —
Candidates play the scale followed by the arpeggio. Examiners select from the following:
◗◗ C major scales separate bows or
◗◗ C minor slurred two crotchet beats to a
three octaves
(candidate choice of either bow; arpeggios separate bows
harmonic or melodic minor) or slurred three notes to a bow

◗◗ E, A and Db major scales separate bows min. tempi:


or slurred two crotchet beats
◗◗ E, A and C# minor scales
to a bow; arpeggios separate
(candidate choice of either bows or slurred six notes to d = 80
harmonic or melodic minor) a bow arpeggios
◗◗ Chromatic scales starting on C d·= 54
two octaves
and D 7ths
◗◗ Dominant 7th in the key of F, separate bows d = 72
starting on C or slurred two crotchet beats
to a bow
◗◗ Dominant 7th in the key of Gb,
starting on Db
◗◗ Diminished 7th starting on G one octave separate bows

Viola: Grade
Technical exercises (from memory) (q = 104):
a) F major in thirds
              

b) Eb major in sixths
         
                
 
 5
c) G major scale on one string
3 4 
2 3

     
1 2
 
1 2
 
0 1 2 1 1 2 1
   
2 0
   

Or
3. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.

C-Whizz
1.  for tone and phrasing
A Latin Adventure
2.  for mixed articulation and bowing styles
Swallows Gliding
3.  for double stops and contrasts 133
Viola: Grade 5

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for the Musical knowledge
requirements and parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the viola.
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.
The aural test requirements for Grade 5
are below.

Aural questions

Parameters Task Requirement

i) Clap the pulse on the second playing,


Listen to the piece twice stressing the strong beat
ii) Identify the time signature

i) Identify the changing tonality


Harmonised Listen to the piece twice ii) Identify the final cadence as perfect,
plagal, imperfect or interrupted
8 bars
Identify the interval as minor or major
Major or Listen to two notes from the second, minor or major third, perfect
minor key melody line played consecutively fourth or fifth, minor or major sixth,
minor or major seventh, or octave
2346
Study a copy of the piece, and i) Identify the bar in which the change
listen to it once as written and of rhythm occurred
once with a change of rhythm
and a change of pitch (both ii) Identify the bar in which the change
changes in the melody line) of pitch occurred

134
Viola: Grades 6–8

Viola: Grades 6–8


EXAM DURATION EXAM STRUCTURE
The Grade 6 exam The Grade 7 exam The Grade 6–8 exams contain the following:
lasts 23 minutes lasts 23 minutes
Maximum
marks

PIECE 1 22

PIECE 2 22
The Grade 8 exam
lasts 28 minutes
PIECE 3 22

TECHNICAL WORK 14

◗◗ Bowing exercise
◗◗ Either scales, arpeggios & technical exercises
or orchestral extracts

SUPPORTING TEST 1 10

◗◗ Sight reading

SUPPORTING TEST 2 10

ONE of the following:


◗◗ Aural
◗◗ Improvisation

TOTAL 100

135
Viola: Grade 6

Viola: Grade 6
PIECES
Candidates perform a balanced programme of three pieces chosen from the lists below,
containing at least one piece from each group. Only one unaccompanied piece may be chosen.
Pieces by at least two composers must be played. An own composition may be played instead
of one listed piece. One piece may be played on violin, chosen from the Grade 6 violin list.
See pages 16–19 for further guidance.

Composer Piece Book Publisher

Group A
Andante (3rd movt from
Three Gamba Sonatas,
1. J S BACH Gamba Sonata in D major, Henle HN684
BWV 1027–1029
BWV 1028)
Bourrée 1 (5th movt from
J S BACH, The Solo Cello Suites
2. Suite no. 4 in Eb)* or Menuetto Chester CH01401
arr. FORBES arranged for Viola
1 & 2 (from Suite no. 1 in G)*
Suzuki Viola School Summy-Birchard
3. BOHM Moto Perpetuo†
vol 5 0249SX
Bizzarria (4th movt from Two Inventions for
4. BONPORTI Kunzelmann GM1195
Invenzione terza, op. 10 no. 3) Viola
La Milanese (no. 1)†
CAIX
or Tambourin and Gavotte Suzuki Viola School
5. D’HERVELOIS, Summy-Birchard 0493
(nos. 4 and 6)† vol 7
arr. PREUCIL
(from Suite in A)
6. COHEN Sarabande with Variations* Technique Takes Off! Faber 0571514197
7. FIOCCO Allegro Viola World VWP015
Allegro (2nd movt from
8. FLACKTON Schott ED10115
Sonata in G major, op. 2 no. 6)
Character Pieces
9. GRITTON Presto for Frankie S J Music D2006-2
book 3
Andante larghetto and Allegro
HANDEL,
10. (1st and 2nd movts from Stainer H244
ed. PILKINGTON
Sonata in G minor, op. 1 no. 6)
LECLAIR,
11. Tambourin L’Alto classique vol C Combre P04438
arr. CLASSENS
La Matelotte and Le Basque
Suzuki Viola School Summy-Birchard
12. MARAIS (nos. 3 and 4 from Four
vol 5 0249SX
French Dances)†
1st and 2nd movts
13. MARCELLO IMC 2382
(from Sonata in E minor)
MARCELLO, Largo and Allegro (1st and 2nd Suzuki Viola School Summy-Birchard
14.
arr. PREUCIL movts from Sonata in G)† vol 5 0249SX
The Broad Stroke, no. 2* Etudes spéciales,
15. MAZAS Schirmer GS26257
or Various Bowings, no. 17* op. 36 book 1
MENDELSSOHN, Song Without Words, Chester Music for
16. Chester CH00817
arr. FORBES op. 38 no. 2 Viola

136 * Unaccompanied † Accompaniment published separately


Viola: Grade 6

TELEMANN, Presto (4th movt from Suzuki Viola School Summy-Birchard


17.
arr. PREUCIL Concerto in G)† vol 4 0244S
VIVALDI, trans.
Allegro (3rd movt from
18. BÁRSONY & EMB 12616
Concerto in G minor, RV 417)
NAGY

Group B
1. R R BENNETT The Czar of Muscovy Six Country Dances Novello NOV090750
BRAHMS, Lionel Tertis: The Early
2. Minnelied Comus 105
arr. TERTIS Years book 1
Four Pieces for Viola
3. BRIDGE Élégie Faber 0571513271
and Piano
Shorter Pieces for
4. R CLARKE Lullaby, p2 OUP 9780193865990
Viola and Piano
DEBUSSY,
5. Rêverie Viola World VWP119
arr. ARNOLD
ELGAR, Chanson de matin
6. Chanson de nuit, op. 15 no. 1 Novello NOV120854
arr. ARNOLD & Chanson de nuit
GLAZUNOV,
7. Sérénade espagnole, op. 20 Jobert JJ06589
arr. GINOT
8. GRITTON Jazz-Dance Character Pieces book 3 S J Music D2006-2
Andante sostenuto (2nd movt
9. B HUMMEL from Little Suite for Viola & Simrock M221108579
Piano, op. 19c)

10. IRELAND, The Holy Boy


Lionel Tertis: The Early
Comus 106
arr. TERTIS Years book 2
Drei Stücke für Viola,
11. LE BEAU Träumerei Furore 3220
op. 26
L’Agréable (no. 1 from Summy-Birchard
12. MARAIS Suzuki Viola School vol 5
Four French Dances)† 0249SX
REGER,
13. Scherzo, no. 4 Six Pieces, op. 47 Doblinger 03589
arr. WERDIN
Langsam, mit melancholischem
Ausdruck (4th movt from
Viola: Grade
14. SCHUMANN Peters EP2372
Märchenbilder (Fairy Tale
Pictures), op. 113)
SIBELIUS,
15. Valse triste, op. 44 no. 1 Breitkopf EB2284
arr. HERMANN
Moderato or Andante sostenuto
Solos for Young Violists Summy-Birchard
16. SITT or Allegro (1st or 2nd or 3rd movt
from Album Leaves, op. 39)
vol 4 18750X
6
STRAVINSKY, Dance of the Princesses
17. Musicus M887
arr. FORST (from The Firebird)
Lionel Tertis: The Early
18. TERTIS Sunset Comus 105
Years book 1
VAUGHAN Suite for Viola and
19. Carol (from Group 1) OUP 9780193694057
WILLIAMS Orchestra
VAUGHAN
20. WILLIAMS, Fantasia on Greensleeves OUP 9780193593015
arr. FORBES
† Accompaniment published separately 137
Viola: Grade 6

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
The scales, arpeggios & technical exercises are in Trinity’s book Viola Scales, Arpeggios &
Studies from 2016.
The orchestral extracts are in Orchester Probespiel: Viola (published by Schott ED7852).

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 6 scales, freely chosen from the list, with each note of the
scale played as two spiccato quavers. (q = 150)

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) —
Candidates prepare major and minor scales and arpeggios from the following tonal
centres, to be played with separate bows or slurred as requested by the examiner.
Examiners select from the following:

scales separate bows or slurred


three four crotchet beats to a bow;
◗◗ D
octaves arpeggios separate bows or
slurred three notes to a bow min. tempi:
scales
scales separate bows or slurred q = 96
four crotchet beats to a bow; arpeggios
◗◗ Bb and Ab/G#
arpeggios separate bows or q. = 63
slurred six notes to a bow
two octaves 7ths
q = 96
Plus:
◗◗ Chromatic scale starting on Eb separate bows or slurred two
crotchet beats to a bow
◗◗ Diminished 7th starting on C

When examiners request a major tonal centre, candidates should play in succession the:
◗◗ Major scale
◗◗ Major arpeggio
◗◗ Dominant 7th starting on that note and resolving onto the tonic (to be prepared with
separate bows and slurred two crotchet beats to a bow)
When examiners request a minor tonal centre, candidates should play in succession the:
◗◗ Melodic minor scale
◗◗ Harmonic minor scale
◗◗ Minor arpeggio

138
Viola: Grade 6

Technical exercises (from memory) (q = 100):

a) G major in thirds
               
1 2

  
3 4

 
b) Ab major in sixths
   
       etc     etc.etc
   
c) G major in octaves
    4  4       
    
1 1

           
d) A major scale on one string

4
2
 1 3 3
    2 2
2

 
1

2
1 1 
2

1

1

Or
 RCHESTRAL EXTRACTS (music may be used) —
3. O
Candidates prepare three extracts in total: 1a or 1b, 2a or 2b, and 3a or 3b.
Candidates choose one extract to play first. Examiners then select one of the remaining two
prepared extracts to be performed.

Beethoven: Sinfonie Nr. 5, 2. Satz (page 10, first 10 bars


1a. 
of extract, upper part of divisi)
for tone and phrasing
Rossini: Der Barbier von Sevilla, Ouvertüre (page 35,
1b. 
bars 2–10 and bars 15–24)

2a. Humperdinck: Hänsel und Gretel, 1. Bild, 3. Szene (page 24,


bars 88–97)
for bowing
2b. Mozart: Die Zauberflöte, Ouvertüre (page 32, bar 27 to 1st note
of bar 43)
Viola: Grade
3a. Mahler: Sinfonie Nr. 5, 5. Satz: Rondo — Finale (page 27,
bars 272–279) for left hand technique
3b. Mozart: Sinfonie Nr. 41, 4. Satz: Finale (page 31, bars 173–189)

139
Viola: Grade 6

SUPPORTING TESTS

Candidates prepare: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural or improvisation
three options:

Sight reading ◗◗ Stylistic

After 30 seconds’ preparation time, candidates ◗◗ Motivic


perform a previously unseen musical extract ◗◗ Harmonic
at a level approximately two grades lower than
See pages 27–33 for the requirements
the exam being taken. See pages 23–26 for
and parameters.
sight reading parameters.

Aural
Candidates answer questions based on a single
musical example played on the piano by the
examiner. See page 27 for more information.
The aural test requirements for Grade 6
are below.

Aural questions

Parameters Task Requirement

i) Identify the time signature


Listen to the piece twice ii) Comment on the dynamics
iii) Comment on the articulation

Identify and comment on two other


Harmonised Listen to the piece twice
characteristics of the piece

8 bars Identify the key to which the music


modulates as subdominant, dominant
Major key Listen to the first four bars or relative minor
of the piece once
Answers may alternatively be given as
2346 key names

Study a copy of the piece,


and listen to it twice with Locate and describe the changes
two changes to the as pitch or rhythm
melody line

140
Viola: Grade 7

Viola: Grade 7
PIECES
Candidates perform a balanced programme of three pieces chosen from the lists below,
containing at least one piece from each group. Only one unaccompanied piece may be chosen.
Pieces by at least two composers must be played. An own composition may be played instead
of one listed piece. One piece may be played on violin, chosen from the Grade 7 violin list.
See pages 16–19 for further guidance.

Composer Piece Book Publisher

Group A
J C BACH, Allegro molto ma maestoso (1st
1. Salabert SLB3920
arr. CASADESUS movt from Concerto in C minor)
Adagio and Allegro (1st and 2nd
movts) or Allegro (4th movt) Three Gamba Sonatas,
2. J S BACH Henle HN684
(from Gamba Sonata in D major, BWV 1027–1029
BWV 1028)
Allegro ma non tanto (2nd movt
Three Gamba Sonatas,
3. J S BACH from Gamba Sonata in G major, Henle HN684
BWV 1027–1029
BWV 1027)
Allemande (2nd movt from Suite
J S BACH, The Solo Cello Suites
4. no. 1 in G)* or Bourrées 1 & 2 Chester CH01401
arr. FORBES arranged for Viola
(from Suite no. 3)*
J S BACH, trans. Bourrées nos. 1 and 2 (from Cello 6 Cello Suites,
5. Peters EP7489
ROWLAND-JONES Suite no. 4 in Eb, BWV 1010)* BWV 1007–1012
6. BEACH, arr. GRANT Mazurka Three Pieces, op. 40 Spartan SP1389
BRAHMS, Hungarian Dances
7. Hungarian Dance no. 3 in F Peters EP7725
arr. FORBES nos. 1 & 3
CAIX D’HERVELOIS,
8. Allegro and Double La Chambor (Allemande) IMC 446
arr. MARCHET
Pizzicato with the Left Hand, Etudes spéciales,
9. MAZAS Schirmer GS26257
no. 30* op. 36 book 1
MOZART, Summy-Birchard
10. Adagio and Rondo in D† Suzuki Viola School vol 6
arr. PREUCIL 0491S
11. REGER, arr. WERDIN Canon, no. 1 and Fuge, no. 6 Six Pieces, op. 47 Doblinger 03589
Viola: Grade

Adagio (2nd movt from Sonata


12. SCHUBERT Bärenreiter BA5683
in A minor ‘Arpeggione’, D 821)
Nicht schnell (1st movt from
13. SCHUMANN Märchenbilder (Fairy Tale Peters EP2372
Pictures), op. 113)
Andante moderato (2nd movt
14. STAMITZ Breitkopf EB5580
from Concerto in D, op. 1)
Allegro moderato (2nd movt
7
15. VIVALDI Viola World VWP076
from Sonata in G)
16. WIENIAWSKI Rêverie PWM 7432

* Unaccompanied † Accompaniment published separately 141


Viola: Grade 7

Group B
Two Pieces for Viola
1. BRIDGE Pensiero Stainer H171
and Piano
Passacaglia on an Solos for Young Violists Summy-Birchard
2. R CLARKE
Old English Tune vol 5 18830X
3. COWLES Blues Variations Spartan SP386
ˇ
DVORÁK, Allegro (1st movt from
4. Viola World VWP058
arr. ARNOLD Sonatina, op. 100)
ELGAR, Chanson de matin
5. Chanson de matin, op. 15 no. 2 Novello NOV120854
arr. ARNOLD & Chanson de nuit
6. FAURÉ, arr. BUSSER Pavane Hamelle HA9143
GERSHWIN,
7. Prelude no. 2 Three Preludes Viola World VWP096
arr. ARNOLD
GRAINGER, The Sussex Mummer’s Solos for Young Violists Summy-Birchard
8.
arr. BARBER Christmas Carol vol 5 18830X
Meditation (no. 8 from
9. HINDEMITH Schott ED3684
Nobilissima Visione)
Allegretto semplice and Allegro
10. KIEL con passione (2nd and 3rd Kunzelmann GM101
movts from 3 Romances, op. 69)
Drei Stücke für Viola,
11. LE BEAU Nachtstück Furore 3220
op. 26
RACHMANINOV,
12. Vocalise, op. 34 no. 14 Boosey M060113246
arr. SILVERTHORNE
13. SATIE, arr. ARNOLD Gymnopédie no. 1 Viola World VWP117
Suite for Viola and
14. VAUGHAN WILLIAMS Prelude (from Group 1) OUP 9780193694057
Orchestra

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
The scales, arpeggios & technical exercises are in Trinity’s book Viola Scales, Arpeggios &
Studies from 2016.
The orchestral extracts are in Orchester Probespiel: Viola (published by Schott ED7852).

1. BOWING EXERCISE (from memory)


Candidates play one of the Grade 7 scales, freely chosen from the list, with hooked bowing, as in
the following example. (q = 88)
≥ ≥ ≤ ≤ -≥ ≥. -œ≤ ™ œ≤.
B # œ ™ œ. -œ ™ œ. œ ™ œ
- etc

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) —
Candidates prepare major and minor scales and arpeggios from the following tonal
centres, to be played with separate bows or slurred as requested by the examiner.
Examiners select from the following:

142
Viola: Grade 7

scales separate bows or slurred


four crotchet beats to a bow; min. tempi:
◗◗ E and Db/C# three octaves
scales
arpeggios separate bows or
slurred nine notes to a bow q = 108
Plus: arpeggios
separate bows or slurred six
◗◗ Chromatic scales starting on E notes to a bow q. = 72
and Db two octaves 7ths
◗◗ Diminished 7ths starting on separate bows or slurred two q = 108
E and C# crotchet beats to a bow
When examiners request a major tonal centre, candidates should play in succession the:
◗◗ Major scale
◗◗ Major arpeggio
◗◗ Dominant 7th starting on that note and resolving onto the tonic (to be prepared with
separate bows and slurred two crotchet beats to a bow)
When examiners request a minor tonal centre, candidates should play in succession the:
◗◗ Melodic minor scale
◗◗ Harmonic minor scale
◗◗ Minor arpeggio

Technical exercises (from memory) (q = 84):


a) Eb major in thirds (one octave)
B bbb 44 œ ˙˙ œ ˙˙
œ œ etc

b) Eb major in sixths (one octave)


    
     
        
etc
etc.

c) G major in octaves (one octave)


   
       etc
etc.

Or
 RCHESTRAL EXTRACTS (music may be used) —
3. O
Candidates prepare three extracts in total: 1a or 1b, 2a or 2b, and 3a or 3b.
Candidates choose one extract to play first. Examiners then select one of the remaining two
prepared extracts to be performed.
Viola: Grade

Berlioz: Römischer Karneval, Ouvertüre (page 12, opening


1a. 
of extract to 1st note of penultimate line)
for tone and phrasing
Mozart: Die Hochzeit des Figaro, Ouvertüre (page 32,
1b. 
entire extract)
2a. Mahler: Sinfonie Nr. 5, 3. Satz: Scherzo (page 27, entire extract)
2b. Mendelssohn: Ein Sommernachtstraum, 1. Satz: Scherzo for bowing 7
(page 29, bars 70–93 and bars 135–138)

3a. Beethoven: Ouvertüre zu ‘Coriolan’ (page 11, bars 100–114)


for left hand technique
3b. Schubert: Sinfonie Nr. 4, 4. Satz (page 36, bars 85–113)
143
Viola: Grade 7

SUPPORTING TESTS

Candidates prepare: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural or improvisation
three options:

Sight reading ◗◗ Stylistic

After 30 seconds’ preparation time, candidates ◗◗ Motivic


perform a previously unseen musical extract ◗◗ Harmonic
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for See pages 27–33 for the requirements and
sight reading parameters. parameters.

Aural
Candidates answer questions based on a single
musical example played on the piano by the
examiner. See page 27 for more information.
The aural test requirements for Grade 7
are below.

Aural questions

Parameters Task Requirement

i) Identify the time signature


Listen to the piece twice ii) Comment on the dynamics
iii) Comment on the articulation

Harmonised Identify and comment on two other


Listen to the piece twice
characteristics of the piece
8 bars
Identify the key to which the music
modulates as subdominant, dominant
Major or minor key Listen to the first four bars or relative key
of the piece once
2346 Answers may alternatively be given as
key names

Study a copy of the piece,


Locate and describe the changes
and listen to it twice with
as pitch (melody line only) or rhythm
three changes

144
Viola: Grade 8

Viola: Grade 8
PIECES
Candidates perform a balanced programme of three pieces chosen from the list below,
containing at least one piece from each group. Only one unaccompanied piece may be chosen.
Pieces by at least two composers must be played. An own composition may be played instead
of one listed piece. One piece may be played on violin, chosen from the Grade 8 violin list.
See pages 16–19 for further guidance.

Composer Piece Book Publisher

Group A
J S BACH, Prelude (1st movt from The Solo Cello Suites
1. Chester CH01401
arr. FORBES Suite no. 2 in D minor)* arranged for Viola
Two Romances,
2. BEETHOVEN Romance in F, op. 50 Peters EP2413
op. 40 & op. 50
7 Variations on
BEETHOVEN, Theme and Variations
3. Mozart’s ‘Bei Männern’ Peters EP7049
arr. FORBES (except nos. 2 & 4)
from The Magic Flute
Largo and Allegro alla militaire
4. BOCCHERINI (1st and 2nd movts from IMC 821
Sonata no. 3 in G)
Lamentevole and Balletto
Two Inventions
5. BONPORTI (1st and 2nd movts from Kunzelmann GM1195
for Viola
Invenzione sesta, op. 10 no. 6)
Vivace (4th movt from Sonata
6. BRAHMS Wiener UT50015
in F minor, op. 120 no. 1)
Rondeau allegretto (3rd movt
7. BRUNETTI Amadeus BP2464
from Sonata in D)
Rondo ‘La chasse’ (3rd movt Solos for Young Summy-Birchard
8. CHANDOSHKIN
from Concerto in C) Violists vol 5 18830X
Romanian Peasant Dance, Solos for Young Summy-Birchard
9. DIMITRESCU
op. 15 Violists vol 3 18670X
Any two of: Andante
Fifteen Characteristic
10. L FUCHS (no. 3)*, Giocoso (no. 4)*, OUP 9780193850125
Studies for Viola
Allegro piacevole (no. 5)*
Allegro molto (3rd movt
11. HANDEL Eschig ME1311
from Concerto in B minor)
Allegro con spirito (1st movt
HOFFMEISTER,
12. from Viola Concerto in Schott ED11247
ed. COPLAND
Bb major)
Allegro deciso and Andantino
Viola: Grade

13. MACONCHY (2nd and 3rd movts from Chester CH55784


Five Sketches for Viola)*
Short Detached Strokes and Etudes spéciales,
14. MAZAS Schirmer GS26257
Octaves, no. 23* op. 36 book 1
Air and Final (3rd and 4th
15. MILHAUD Heugel HE31119
movts from Sonata no. 1)
8
* Unaccompanied 145
Viola: Grade 8

Three American
MINSKY,
16. Like Crazy* Pieces for OUP 9780193858459
trans. DALTON
Unaccompanied Viola
Theme with Variations (from
MOZART,
17. Divertimento in D, K. 334) PWM 6167
arr. SZALESKI
(except nos. 3 & 5)
Rondeau (3rd movt from
18. STAMITZ Schott VAB29
Concerto in Bb major)

ˇ Allegro moderato (1st movt


19. VANHAL Wollenweber WW42
from Sonata in F, op. 5 no. 3)

Group B
Serenade (3rd movt
1. BERLIOZ Bärenreiter BA5457-90
from Harold in Italy)
BRAHMS, Hungarian Dances
2. Hungarian Dance no. 1 Peters EP7725
arr. FORBES nos. 1 & 3
BRIDGE, There is a Willow Grows
3. Thames TH978297
arr. BRITTEN Aslant a Brook
4. R CLARKE Morpheus OUP 9780193864368
5. FAURÉ, arr. KATIMS Elegy, op. 24 IMC 896
Allegretto poco mosso
6. FRANCK Viola World VWP100111
(4th movt from Sonata in D)
IBERT,
7. Aria Leduc AL18041
arr. NEUBERTH
Drei Stücke für
8. LE BEAU Polonaise Furore 3220
Viola, op. 26
LISZT, Lionel Tertis: The
9. Liebestraum (Notturno no. 3) Comus 105
arr. TERTIS Early Years book 1
Allegro comodo (1st movt from
10. W LLOYD WEBBER Stainer H369
Sonatina for Viola and Piano)
La Parisienne (no. 4 from
11. MILHAUD Heugel HE33329
4 Visages)
Allegro moderato (1st movt
12. NARDINI IMC 1894
from Sonata in F minor)
Allegro vivace e leggiero
13. RIVIER (3rd movt from Concertino Salabert SLB5844
for Viola)
Allegro moderato (1st movt
14. SCHUBERT from Sonata in A minor Bärenreiter BA5683
‘Arpeggione’, D 821)
SVENDSEN,
15. Romance Peters EP9016A
arr. KALINOWSKY
16. A R THOMAS Rainbow Bridge to Paradise* Nimbus NMP1044
VILLA-LOBOS, Aria (from Bachianas
17. Schirmer GS22443
arr. PRIMROSE Brasilieras no. 5)
WIENIAWSKI, Romanza (from Concerto Viola World
18.
arr. ARNOLD no. 2, op. 22) VWP100133

146 * Unaccompanied
Viola: Grade 8

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
The scales, arpeggios & technical exercises are in Trinity’s book Viola Scales, Arpeggios & Studies
from 2016.
The orchestral extracts are in Orchester Probespiel: Viola (published by Schott ED7852).

1. BOWING EXERCISE (from memory)

Candidates choose one of the Grade 8 scales listed below. Examiners choose any one of the
specified bowings from Grades 5–7 and ask candidates to play the scale with that bowing.

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) —
Candidates prepare major and minor scales and arpeggios from the following tonal
centres, to be played with separate bows or slurred as requested by the examiner.
Examiners select from the following:

scales separate bows or


slurred three octaves to a
bow (one bow up and one
min. tempi:
◗◗ C, C#/Db, D, Eb and F three octaves bow down, with a change of
bow on the top note); scales
arpeggios separate bows or q. = 88
slurred nine notes to a bow arpeggios
Plus: q. = 88
separate bows or slurred 12
◗◗ Chromatic scales starting on notes to a bow 7ths
Eb, F and G two octaves q = 92
◗◗ Diminished 7ths starting on separate bows or slurred
D#, F and G eight notes to a bow

When examiners request a major tonal centre, candidates should play in succession the:
◗◗ Major scale
◗◗ Major arpeggio
◗◗ Dominant 7th starting on that note and resolving onto the tonic (to be prepared with
separate bows and slurred two crotchet beats to a bow)
When examiners request a minor tonal centre, candidates should play in succession the:
◗◗ Melodic minor scale
◗◗ Harmonic minor scale
◗◗ Minor arpeggio
Viola: Grade

8
147
Viola: Grade 8

Technical exercises (from memory) (q = 88):

a) Eb major in thirds (two octaves)


B bbb 44 œ œœ œœ œœ œœ œœ œœ œœ
œ etc

b) C major in sixths (two octaves) — follow Grade 7 example, but over two octaves
c) G major in octaves (one octave)

œ œ œ œ œ œ œ œ
B # 44 œ œ œ œ œ œ œ œ etc

Or
 RCHESTRAL EXTRACTS (music may be used) —
3. O
Candidates prepare three extracts in total: 1a or 1b, 2a or 2b, and 3a or 3b.
Candidates choose one extract to play first. Examiners then select one of the remaining two
prepared extracts to be performed.

Brahms: Variationen über ein Thema von Joseph


1a. 
Haydn, Variation 4 (page 17, entire extract) for tone and phrasing
Strauss: Don Juan (page 40, first seven lines of extract)
1b. 

2a. Prokofjew: Symphonie Classique, 4. Satz (page 34,


from beginning of extract to 1st note of fig. 70)
for bowing
2b. Tschaikowsky: Sinfonie Nr. 6, 1. Satz (page 42,
bars 19–23 and bars 32–38)

3a. Bartók: Divertimento, 3. Satz (page 8, bars 192–221


and bars 460–475) for left hand technique
3b. Brahms: Sinfonie Nr. 3, 1. Satz (page 15, bars 187–201)

148
Viola: Grade 8

SUPPORTING TESTS

Candidates prepare: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural or improvisation
three options:

Sight reading ◗◗ Stylistic

After 30 seconds’ preparation time, candidates ◗◗ Motivic


perform a previously unseen musical extract ◗◗ Harmonic
at a level approximately two grades lower than
See pages 27–33 for the requirements
the exam being taken. See pages 23–26 for
and parameters.
sight reading parameters.

Aural
Candidates answer questions based on a single
musical example played on the piano by the
examiner. See page 27 for more information.
The aural test requirements for Grade 8
are below.

Aural questions

Parameters Task Requirement

i) Identify the time signature


Harmonised Listen to the piece once ii) Comment on the dynamics
iii) Comment on the articulation
12–16 bars
Identify and comment on three other
Listen to the piece twice
Major or minor key characteristics of the piece

Study a copy of the piece,


23465 and listen to it twice with
Locate and describe the changes
as pitch or rhythm
three changes
Viola: Grade

8
149
Cello: Initial to Grade 5

Cello: Initial to Grade 5


EXAM DURATION EXAM STRUCTURE
The Initial exam lasts The Grade 1 exam The Initial to Grade 5 exams contain the following:
11 minutes lasts 13 minutes
Maximum
marks

PIECE 1 22

PIECE 2 22
The Grade 2 exam The Grade 3 exam
lasts 13 minutes lasts 13 minutes
PIECE 3 22

TECHNICAL WORK* 14

◗◗ Bowing exercise
The Grade 4 exam The Grade 5 exam
lasts 18 minutes lasts 18 minutes ◗◗ Either scales, arpeggios & technical exercises
or studies

SUPPORTING TESTS 20

Any TWO of the following:


◗◗ Sight reading
◗◗ Aural
◗◗ Improvisation
◗◗ Musical knowledge

TOTAL 100

150 * At Initial level, candidates perform scales only


Cello: Initial

Cello: Initial
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Only
one duet may be chosen. Only one unaccompanied piece may be chosen. Pieces by at least
two composers must be played. An own composition may be played instead of one listed piece.
See pages 16–19 for further guidance.

Cello: Initial
Composer Piece Book Publisher
1. ANON., arr. NELSON Sound for Us† Stringsongs for Cello Boosey M060039331
Beach Holiday†
2. K & D BLACKWELL Cello Time Starters OUP 9780193365834
or Hide and Seek†
City Lights (piano accomp†)
or In the Groove (duet† or
piano accomp†) or Listen to
3. K & D BLACKWELL the Rhythm (duet† or piano Cello Time Joggers OUP 9780193220874
accomp†) or On the Prowl
(piano accomp†) or
Chopsticks for Two (duet†)
BULL, GOODBORN
4. Daydreams† Team Strings Faber 0571528023
& DUCKETT
Bossy Boots or Clockwork
5. COBB & YANDELL Clown or On the Ranch Take Your Bow Cello Trinity TCL018069
or Sad Smile
Bell-ringers or Butterflies
6. K & H COLLEDGE Waggon Wheels Boosey M060087486
or Waterfall
Footprints in the Snow†
7. GREGORY Vamoosh Cello book 1 Vamoosh VAM21
or Walk on Mars!†
Back-Scratcher† or Gone
8. HUWS JONES Ten O’Clock Rock Boosey M060097935
for Good†or Ink-Spot†
Casting a Spell or Hubble
LUMSDEN & Bubble, Here Comes Trouble
9. Witches’ Brew Peters EP7677B
ATTWOOD or Trick, Treat or Tango
or Wilhelmina’s Cocktail Shop
Chicken-Feed
10. NELSON Piece by Piece book 1 Boosey M060087912
or Over the Moon
Three in a Bar
11. NELSON Right from the Start Boosey M060065743
(duet or piano accomp)
A & C Black
12. SIMSON Halfway Down the Stairs Abracadabra Cello book 1
9780713663129
French Folk Song† Summy-Birchard
13. TRAD. Suzuki Cello School vol 1
or Go Tell Aunt Rhody† 0479S
A & C Black
14. TRAD. Little Bird Abracadabra Cello book 1
9780713663129
Moravian Carol† or Twinkle The Essential String
15. TRAD. Boosey M060105135
Duet (top line only or duet) Method, Cello book 2

† Accompaniment published separately 151


Cello: Initial

TRAD.,
arr. BULL,
16. Who’s that Yonder?† Team Strings Faber 0571528023
GOODBORN
& DUCKETT
TRAD., Tunes You Know: Cello
17. Au clair de la lune (duet) Boosey M060085765
arr. NELSON book 1
WOHLFAHRT,
18. Polka Piece by Piece book 1 Boosey M060087912
arr. NELSON

TECHNICAL WORK

Candidates prepare scales, as shown below. See page 21.


All requirements are in Trinity’s book Cello Scales, Arpeggios & Studies from 2016.

SCALES (from memory)


All one octave, with the indicated rhythmic pattern on each note (minimum tempo: q = 88).

◗◗ C major
 
            etc
etc.
     

◗◗ G major
      
            etc
etc.

◗◗ D major

                 
etc
etc.

152 † Accompaniment published separately


Cello: Initial

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
◗◗ Aural on a stimulus chosen from the following
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge

Cello: Initial
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level lower than the exam being taken.
See pages 23–26 for the requirements Musical knowledge
and parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the cello.
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.
The aural test requirements for Initial
are below.

Aural questions

Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing,


three times stressing the strong beat
Melody only
Listen to the melody once Identify the dynamic as forte or piano
4 bars
Major key Identify the articulation as legato
Listen to the melody once
or staccato
2
Listen to the first three
Identify the highest or lowest note
notes of the melody once

153
Cello: Grade 1

Cello: Grade 1
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Only
one duet may be chosen. Only one unaccompanied piece may be chosen. Pieces by at least
two composers must be played. An own composition may be played instead of one listed piece.
See pages 16–19 for further guidance.

Composer Piece Book Publisher


The Essential String
1. J S BACH Conversation Piece† Boosey M060105142
Method, Cello book 3
J S BACH, Chorale (from the Amazing Solos for Cello
2. Boosey M060094163
arr. HARRISON St Matthew Passion) and Keyboard
BARTÓK, Midsummer Night
3. A Treasure Chest of Duos Schott ED21386
arr. PREUSSER Song (duet)

4. BAYLEY Long, Long Ago† Suzuki Cello School vol 1 Summy-Birchard 0479S

BEETHOVEN,
5. Ode to Joy† Vamoosh Cello book 1 Vamoosh VAM21
arr. GREGORY
Patrick’s Reel (duet† or piano
accomp†) or The Old Castle
6. K & D BLACKWELL (duet† or piano accomp†) Cello Time Joggers OUP 9780193220874
or Cello Time (duet†
or piano accomp†)
Start the Show†
7. K & D BLACKWELL Cello Time Runners OUP 9780193220850
or Spy Movie†
Two Short Pieces for
8. CARSE A Little Reverie Stainer 2201
Cello & Piano
A Fiddler’s Nursery for
9. CARSE Dance Steps Stainer H434
Cello and Piano
Sassmannshaus Early
10. CHÉDEVILLE Rigadoon, p26 (duet) Bärenreiter BA8997
Start on the Cello vol 2

11. COBB & YANDELL Busy Bee Take Your Bow Cello Trinity TCL018069

12. K & H COLLEDGE At Harvest Time Fast Forward Boosey M060090837

13. GREGORY At the Ballet† Vamoosh Cello book 2 Vamoosh VAM22

14. GREGORY Fiery Fiddler† Vamoosh Cello book 1 Vamoosh VAM21

15. GREGORY Overture† Vamoosh Cello book 1.5 Vamoosh VAM24

HANDEL, Gavotte (duet or


16. Stringsongs for Cello Boosey M060039331
arr. NELSON piano accomp†)
The Essential String
17. HOWARD The Lochmaddy Ferry Boosey M060105142
Method, Cello book 3

18. HUWS JONES Toodle-Pip† Ten O’Clock Rock Boosey M060097935

154 † Accompaniment published separately


Cello: Grade 1

KÜFFNER, Violoncello Music


19. Ländler EMB Z.6312
arr. LENGYEL for Beginners book 1
Superstudies for Cello
20. LEGG The Swing* Faber 0571513786
book 1
LULLY, Violoncello Music
21. Air EMB Z.6312
arr. LENGYEL for Beginners book 1
LUMSDEN & Dizzy Lizzy Lightweight†
22. Wizard’s Potion Peters EP7679a
ATTWOOD or Flash of Light’ning†

23. MacMILLAN March Northern Skies Boosey M060113451

Idle Cowboy (duet or piano


24. NELSON accomp†) or Rumba Time Stringsongs for Cello Boosey M060039331
(duet or piano accomp†)

Cello: Grade
Mad as a Hatter
25. NELSON Piece by Piece book 1 Boosey M060087912
or Whirlpool Waltz
Hebridean Song The Microjazz Cello
26. NORTON Boosey M060110269
or Snooker Table Collection 1

27. PURCELL Rigadoon† Suzuki Cello School vol 1 Summy-Birchard 0479S


1
A & C Black
28. RODGERS Edelweiss Abracadabra Cello book 1
9780713663129
SUGÁR, Violoncello Music
29. Old Hungarian Folk Song EMB Z.6312
arr. LENGYEL for Beginners book 1

30. SUZUKI Etude† Suzuki Cello School vol 1 Summy-Birchard 0479S

Sassmannshaus Early
31. SZERVANSKY Tempo giusto, page 9 (duet) Bärenreiter BA8998
Start on the Cello vol 3
The Essential String
32. TRAD. Pease Pudding Hot† Boosey M060105142
Method, Cello book 3
Bags of American Folk
33. TRAD., arr. COHEN Simple Gifts* Faber 057153418X
for Cello
TRAD.,
34. Clown Dance† Vamoosh Cello book 2 Vamoosh VAM22
arr. GREGORY

35. TRAD., arr. HELLEN J’ai du bon tabac Double Act Mayhew 3611841

Session Tunes for Taigh na Teud


36. TRAD., arr. MARTIN Snug in a Blanket*
Scottish Cellists 1871931045
Tunes You Know: Cello
37. TRAD., arr. NELSON Rocking (duet) Boosey M060085765
book 1
6 Pieces for Violoncello
38. TROWELL Arietta (in the First Position) Schott ED11214
and Piano, op. 5
Spring (from The Four
VIVALDI,
39. Seasons) (duet — candidate Tunes for Two Mayhew 3611120
arr. TAMBLING
plays top part)
Slumber Song (duet —
40. WIGGINS Two’s Company, op. 157b Wiggins CW473E
candidate plays top part)

* Unaccompanied † Accompaniment published separately 155


Cello: Grade 1

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
All requirements are in Trinity’s book Cello Scales, Arpeggios & Studies from 2016.

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 1 scales, freely chosen from the list, with two separate
crotchets on each degree of the scale, one down bow and one up bow. (q = 72)

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISE (from memory) —
Candidates play the scale followed by the arpeggio. Examiners select from the following:

◗◗ C major two octaves


scales separate bows or slurred
in pairs with a long tonic
(upper tonic may be repeated);
arpeggios separate bows only min. tempo:
◗◗ D and G major one octave q = 88

first five notes ascending


◗◗ G minor (scale only) separate bows only
and descending

Technical exercise (from memory) (q = 92):


Open strings
   
  
   
  

Or
3. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.

1. Back to Bach for tone and phrasing

2. Nursery Slopes for mixed articulation and bowing styles

3. The Sad Cowboy for cello techniques

156
Cello: Grade 1

SUPPORTING TESTS

Candidates choose TWO of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
and parameters.

Cello: Grade
perform a previously unseen musical extract
at a level lower than the exam being taken.
See pages 23–26 for the requirements Musical knowledge
and parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the cello.
Candidates answer questions based on a single Questions are based on candidates’ chosen 1
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.
The aural test requirements for Grade 1
are below.

Aural questions

Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing,


three times stressing the strong beat

Melody only i) Identify the dynamic as forte or piano


Listen to the melody once ii) Identify the articulation as legato
4 bars or staccato

Major key Listen to the first two bars Identify the last note as higher or lower
of the melody once than the first note
23
Listen to the melody twice,
with a change of rhythm or Identify where the change occurs
pitch in the second playing

157
Cello: Grade 2

Cello: Grade 2
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Only
one duet may be chosen. Only one unaccompanied piece may be chosen. Pieces by at least
two composers must be played. An own composition may be played instead of one listed piece.
See pages 16–19 for further guidance.

Composer Piece Book Publisher


ANON., Dona Nobis Pacem
1. Vamoosh Cello book 3 Vamoosh VAM23
arr. GREGORY (Give Us Peace)†
March (from Notebook
C P E BACH,
2. for Anna Magdalena Play Baroque! Stainer H479
arr. EAST
Bach)
BART, As Long As He Needs
3. Play Showtime Faber 0571518516
arr. LEGG & GOUT Me (from Oliver!)
BARTÓK, Hungarian Song (duet)
4. A Treasure Chest of Duos Schott ED21386
arr. PREUSSER or Teasing Song (duet)
BEETHOVEN,
Gretels Warnung, Haydn-Mozart-Beethoven
5. arr. ERHART- Doblinger 33756
op. 75 no. 4 for Cello & Piano
SCHWERTMANN
Mean Street Chase†
6. K & D BLACKWELL or Mexican Fiesta† Cello Time Runners OUP 9780193220850
or Paris Café†
BRÉVAL, Allegretto (no. 1 from
7. A Treasure Chest of Duos Schott ED21386
arr. PREUSSER 3 Easy Duets) (duet)
8. CARSE A Merry Dance Stainer 2202
A Fiddler’s Nursery for Cello
9. CARSE Free from Care Stainer H434
and Piano
A CLARKE
10. (LOZANNE), Night Brings Me You Four Love Songs S J Music D1992-4
arr. OTTY
Mellow Cello
11. K & H COLLEDGE Fast Forward Boosey M060090837
or The Ceilidh
12. K & H COLLEDGE The Misty Isle Shooting Stars Boosey M060103476
13. DARE Serenade Arietta Schott ED22353
14. GREGORY Sinfonia† Vamoosh Cello book 1.5 Vamoosh VAM24
Chorus (from Judas
15. HANDEL Suzuki Cello School vol 2 Summy-Birchard 0481S
Maccabaeus)†
16. HASSE, arr. MOHRS Bourrée Easy Concert Pieces vol 1 Schott ED21705
HAYDN, Andante (from The
17. Easy Concert Pieces vol 3 Schott ED22216
arr. BIRTEL Surprise Symphony)
18. HELLER, arr. MOHRS Lalai Easy Concert Pieces vol 1 Schott ED21705
19. HOLST, arr. COWLES Jupiter’s Theme 14 Easy Tunes for Cello Fentone F829-400

158 † Accompaniment published separately


Cello: Grade 2

HOOK,
20. Tempo di Menuetto Easy Concert Pieces vol 2 Schott ED21706
arr. RAPP & MOHRS
The Essential String Method,
21. HOWARD Oliver’s Hornpipe* Boosey M060105159
Cello book 4
22. KEMMINER Los niños del tango Easy Concert Pieces vol 3 Schott ED22216
KROGMANN, arr. The Little Prince
23. Cello Recital Album vol 1 Bärenreiter BA8994
SASSMANNSHAUS (piano accomp)
24. LEGG Calypso* (without DC) Superstudies for Cello book 1 Faber 0571513786
LUMSDEN &
25. Triceratops Rocks Jurassic Blue Faber 0571521991
WEDGWOOD
MANCINI & MERCER,
26. Moon River Short Cello Pieces Bosworth BOE005186
arr. DAVIES
MOZART, arr. ERHART- Menuett, KV 164 (with Haydn-Mozart-Beethoven
27. Doblinger 33756
SCHWERTMANN trio but no DC) for Cello & Piano
MOZART, Violoncello Music for
28. German Dance EMB Z.6312

Cello: Grade
arr. LENGYEL Beginners book 1
Dance of the Minor
29. NELSON Piece by Piece book 2 Boosey M060087929
Thirds
Reel (duet) or Toad
30. NELSON Technitunes for Cello Boosey M060039638
in the Hole (duet)
The Moon over the
31. TAKI
Ruined Castle†
Suzuki Cello School vol 2 Summy-Birchard 0481S
2
(NB only this edition
may be used)
All Through the Night† The Essential String Method,
32. TRAD. Boosey M060105159
or Jenny Jones† Cello book 4
33. TRAD., arr. COWLES Scarborough Fair 14 Easy Tunes for Cello Fentone F829-400
TRAD.,
34. Parson’s Farewell Jigs, Reels and More Boosey M060112195
arr. HUWS JONES
TRAD., The Pigeon on the Gate* Session Tunes for Scottish Taigh na Teud
35.
arr. MARTIN or The Reconciliation* Cellists 1871931045
36. TRAD., arr. NELSON Loch Lomond Piece by Piece book 2 Boosey M060087929
TRAD., arr. Moo-lee-wha (piano
37. Cello Recital Album vol 1 Bärenreiter BA8994
SASSMANNSHAUS accomp)
Greensleeves (duet —
candidate plays top
TRAD.,
38. part) or Skye Boat Song Tunes for Two Mayhew 3611120
arr. TAMBLING
(duet — candidate plays
top part)
Idylle (from 6 Easy
39. TROWELL Arietta Schott ED22353
Concert Pieces, op. 4)
40. WEBER Hunters’ Chorus† Suzuki Cello School vol 2 Summy-Birchard 0481S
Hungarian Melody
41. WIGGINS (duet — candidate Two’s Company, op. 157b Wiggins CW473E
plays top part)
WILLIAMS,
42. Schindler’s List Short Cello Pieces Bosworth BOE005186
arr. DAVIES

* Unaccompanied † Accompaniment published separately 159


Cello: Grade 2

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
All requirements are in Trinity’s book Cello Scales, Arpeggios & Studies from 2016.

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 2 scales, freely chosen from the list, with the rhythm d D on
each degree of the scale, separate bows. The exercise may end with an additional long note on
the tonic (d D d). (q = 80)

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISE (from memory) —
Candidates play the scale followed by the arpeggio. Examiners select from the following:

◗◗ C major two octaves


scales separate bows min. tempi:
◗◗ A, F and Bb major
or slurred in pairs with scales q = 58
◗◗ G minor one octave a long tonic; arpeggios
separate bows only arpeggios q· = 40
(candidate choice of either natural
or harmonic or melodic minor)

Technical exercise (from memory) (q = 75–100):

Fifths and sixths, starting on G, D and C strings


       
   

Or
3. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.

1. 
Summer on the Swings for tone and phrasing

2. When the Worm Met the Frog for mixed articulation and bowing styles

3. A Change of Scene for cello techniques

160
Cello: Grade 2

SUPPORTING TESTS

Candidates choose TWO of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for the Musical knowledge
requirements and parameters.
Candidates answer questions assessing their

Cello: Grade
understanding of the pieces performed, as well
Aural as their knowledge of notation and the cello.
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.
The aural test requirements for Grade 2
are below. 2

Aural questions

Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing,


three times stressing the strong beat

i) D
 escribe the dynamics, which will vary
Melody only during the melody
Listen to the melody once
4 bars ii) Identify the articulation as legato
or staccato
Major or minor key
Identify the last note as higher or lower
Listen to the melody once
than the first note
23
Listen to the melody twice, i) Identify where the change occurs
with a change of rhythm or
pitch in the second playing ii) Identify the change as rhythm or pitch

161
Cello: Grade 3

Cello: Grade 3
PIECES
Candidates play a balanced programme of three pieces, chosen from the list below. Only one
duet may be chosen. Only one unaccompanied piece may be chosen. Pieces by at least two
composers must be played. An own composition may be played instead of one listed piece.
See pages 16–19 for further guidance.

Composer Piece Book Publisher


Musette (from English Summy-Birchard
1. J S BACH Suzuki Cello School vol 2
Suite no. 3)† 0481S
BART, Consider Yourself
2. Pops for Two: Cello Mayhew 3612205
arr. HELLEN (from Oliver!) (duet)
Falling Leaves† or Overture:
3. K & D BLACKWELL Cello Time Sprinters OUP 9780193221154
A Baroque Celebration†
BRAHMS, Zigeunerlied (Gipsy Song), Violoncello Music for
4. EMB Z.14037
arr. PEJTSIK no. 34 Beginners book 3
CAIX D’HERVELOIS, La Néapolitaine (from
5. Play Baroque! Stainer H479
arr. EAST Suite no. 2 in D)
Summy-Birchard
6. CHENEY Budapesto Solos for Young Cellists vol 1
20810X
A CLARKE
You Brought My Heart
7. (LOZANNE), Four Love Songs S J Music D1992-4
the Sunshine
arr. OTTY
Cossacks or Stiffkey Blues
8. K & H COLLEDGE Shooting Stars Boosey M060103476
or Winter Wind
First Repertoire for Cello
9. DACRE Daisy Bell Faber 0571516416
book 1
ELGAR, arr.
10. Andante† Cello Time Sprinters OUP 9780193221154
K & D BLACKWELL
GAY, The Lambeth Walk
11. Play Showtime Faber 0571518516
arr. LEGG & GOUT (from Me and My Girl)
Dance of the Blessèd
GLUCK, arr.
12. Spirits (from Orpheus The Cello Playlist Schott ED13862
CARSON TURNER
and Eurydice)
Adios Amigo†
13. GREGORY Vamoosh Cello book 2 Vamoosh VAM22
or Rumba Cucumba†
Free Wheeling†
14. GREGORY Vamoosh Cello book 3 Vamoosh VAM23
or Renaissance†
HANDEL, arr.
15. Sarabande (duet) Cello Time Sprinters OUP 9780193221154
K & D BLACKWELL
Ragtime, Serenade and
16. HEWITT-JONES Rumba Musicland M1033VC
Rumba
JOPLIN, The Entertainer (duet —
17. Tunes for Two Mayhew 3611120
arr. TAMBLING candidate plays top part)
Sarabande (2nd movt from
18. KLENGEL Sonatina in C minor, op. 48 Best of Cello Classics Schott ED21998
no. 1)

162 † Accompaniment published separately


Cello: Grade 3

KUMMER,
19. Etude (duet) A Treasure Chest of Duos Schott ED21386
arr. PREUSSER
20. LEGG Medieval Drone* Superstudies for Cello book 1 Faber 0571513786
Busy Bees (duet — candidate
plays top part) or I was a Summy-Birchard
21. MOONEY Position Pieces
Teenage Monster (duet — 0762
candidate plays top part)
22. L MOZART Etude, page 72 Early Start on the Cello vol 3 Bärenreiter BA8998
MOZART,
23. Komm, lieber Mai (duet) A Treasure Chest of Duos Schott ED21386
arr. PREUSSER
OFFENBACH, Can-can† (play top line of
24. Vamoosh Cello book 3 Vamoosh VAM23
arr. GREGORY scale in chorus)
OFFENBACH, Barcarolle (from
25. The Classic Experience Cramer 90537
arr. LANNING The Tales of Hoffmann)
Theme from Witches’ Summy-Birchard
26. PAGANINI Suzuki Cello School vol 2
Dance† 0481S
First Repertoire for Cello
27. PAXTON 1st movt (from Sonata no. 2) Faber 0571516424
book 2
PUCCINI, O mio babbino caro
28. The Cello Playlist Schott ED13862
arr. CARSON TURNER (from Gianni Schicchi)
PURCELL, Rondeau (from

Cello: Grade
29. Classical and Romantic Pieces OUP 9780193564718
arr. FORBES The Fairy Queen)
REBIKOFF,
30. Chanson Triste Classical and Romantic Pieces OUP 9780193564718
arr. FORBES
ROTA & KUSIK, Speak Softly Love (theme Bosworth
31. Short Cello Pieces
arr. DAVIES from The Godfather) BOE005186

32.
SCHUBERT, arr.
CARSON TURNER
The Trout The Cello Playlist Schott ED13862 3
SCHUBERT,
33. To Music Cello Canto Fentone F697-401
arr. DE SMET
STANLEY, arr.
34. Allegretto grazioso Easy Concert Pieces vol 3 Schott ED22216
MOFFAT & MOHRS
TRAD., First Repertoire for Cello
35. Argentine Folk-song Faber 0571516424
arr. GOUT book 2
TRAD., First Repertoire for Cello
36. Tumbalaika Faber 0571516416
arr. GOUT book 1
TRAD., Amazing Solos for Cello Boosey
37. Stars, No Moon
arr. HARRISON and Keyboard M060094163
Danny Boy
TRAD.,
38. or Star of the County Down Jigs, Reels and More Boosey M060112195
arr. HUWS JONES
or The Keel Row
TRAD., Dinkies* or Sleep Soond Session Tunes for Scottish Taigh na Teud
39.
arr. MARTIN in da Mornin’* Cellists 1871931045
TRAD., 22 Traditional Tunes
40. Skye Boat Song Fentone F927-400
arr. SMITH for Cello & Piano
41. WEDGWOOD Hungarian Stomp Jazzin’ About Faber 0571513166
WILLIAMS, Star Wars Main
42. Pops for Two: Cello Mayhew 3612205
arr. HELLEN Theme (duet)

* Unaccompanied † Accompaniment published separately 163


Cello: Grade 3

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
All requirements are in Trinity’s book Cello Scales, Arpeggios & Studies from 2016.

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 3 scales, freely chosen from the list, with four semiquavers on each
degree of the scale. The exercise may end with an additional long note on the tonic. (q = 60)

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) —
Candidates play the scale followed by the arpeggio. Examiners select from the following:

◗◗ G major scales separate


two octaves bows
◗◗ D and F major
or slurred in
starting on the min. tempi:
◗◗ Eb major one octave pairs with a long
C string tonic; arpeggios scales
◗◗ D minor separate bows q = 60
(candidate choice of either two octaves or slurred three arpeggios
harmonic or melodic minor) notes to a bow
q. = 40
starting on 7ths
◗◗ Dominant 7th in the key of C
open G
separate bows or q = 60
one octave starting on 1st slurred in pairs
◗◗ Dominant 7th in the key of G finger D on the
C string
Technical exercises (from memory):

a) Chromatic phrase to be performed with separate bows (q = 60)


          

b) Fifths, sixths and octaves, starting on the open G, D and C strings (q = 76)
      
            

Or
3. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.

1. 
Take a Step Back for tone and phrasing
2. Think of the Moments for mixed articulation and bowing styles
3. Super Heroic for cello techniques

164
Cello: Grade 3

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for Musical knowledge
sight reading parameters. Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the cello.
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.

Cello: Grade
The aural test requirements for Grade 3
are below.

Aural questions
3
Parameters Task Requirement

Clap the pulse on the second playing,


Listen to the melody twice
stressing the strong beat

Melody only Listen to the melody once Identify the tonality as major or minor

4 bars Listen to the first two notes Identify the interval by number only
of the melody once (second, third, fourth, fifth or sixth)
Major or minor key
Study a copy of the melody i) 
Identify in which bar the change
(provided in treble, alto or bass
34 clef as appropriate), and listen to
has occurred
it once as written and once with a ii) Identify the change as rhythm
change of rhythm or pitch or pitch

165
Cello: Grade 4

Cello: Grade 4
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Only one
unaccompanied piece may be chosen. Pieces by at least two composers must be played. An own
composition may be played instead of one listed piece. See pages 16–19 for further guidance.

Composer Piece Book Publisher


ANON., Chorea Hungarica (from Violoncello Music
1. EMB Z.14037
arr. PEJTSIK the Lócsei tablature) for Beginners book 3
ANON., Saltus Hungaricus (from Violoncello Music
2. EMB Z.14037
arr. PEJTSIK the Mártonfi manuscript) for Beginners book 3
Summy-Birchard
3. J S BACH Gavotte in C minor† Suzuki Cello School vol 3
0483S
Summy-Birchard
4. BEETHOVEN Minuet in G† Suzuki Cello School vol 3
0483S
BERNSTEIN, Maria (from West Side Amazing Solos for Cello Boosey
5.
arr. HARRISON Story) and Keyboard M060094163
BIZET, arr. Toreador Song
6. The Cello Playlist Schott ED13862
CARSON TURNER (from Carmen)
Latin Nights† or Some
7. K & D BLACKWELL Cello Time Sprinters OUP 9780193221154
Day† or Russian Wedding†
BOCK, If I Were a Rich Man
8. Play Showtime Faber 0571518516
arr. LEGG & GOUT (from Fiddler on the Roof)
Fiddle Fancies for Cello
9. CARSE Waltz Steps Stainer H437
& Piano
A CLARKE
10. (LOZANNE), Avelette Four Love Songs S J Music D1992-4
arr. OTTY
11. COHEN Village Bagpipes* Technique Takes Off! for Cello Faber 0571514200
Arietta (from Sonata in
12. DE FESCH Arietta Schott ED22353
D minor, op. 8 no. 3)
GILBERT & ORY, Amazing Solos for Cello Boosey
13. Muskrat Ramble
arr. HARRISON and Keyboard M060094163
14. GOSSEK, arr. RÉMY Gavotte (from Rosine) Cellowise Spartan SP898
15. GREGORY The Jammy Dodger† Vamoosh Cello book 3 Vamoosh VAM23
GRIEG, Norwegian Dance, Classical and Romantic OUP
16.
arr. FORBES op. 35 no. 2 Pieces 9780193564718
Summy-Birchard
17. HANDEL Bourrée† Suzuki Cello School vol 2
0481S
First Repertoire for Cello
18. HARRIS After the Ball is Over Faber 0571516424
book 2
19. JÄRNEFELT Berceuse Chester CH00305
LEHÁR, Waltz — Love Unspoken
20. Play Showtime Faber 0571518516
arr. LEGG & GOUT (from The Merry Widow)

166 * Unaccompanied † Accompaniment published separately


Cello: Grade 4

LENNON &
21. McCARTNEY, Yesterday Wunschmelodien Holzschuh VHR3427
arr. TERZIBASCHITSCH
LOEWE, I Could Have Danced All
22. Play Showtime Faber 0571518516
arr. LEGG & GOUT Night (from My Fair Lady)
MARAIS, Caprice (from Pièces
23. Play Baroque! Stainer H479
arr. EAST de violes, 4e livre)
MASCAGNI, Intermezzo (from
24. The Cello Playlist Schott ED13862
arr. CARSON TURNER Cavelleria rusticana)
MENDELSSOHN, Song without Words in F,
25. Schott ED21278
arr. BIRTEL op. 30 no. 3
Grave and Balletto
26. PERTI (1st and 2nd movts from 9 Sonate facili EMB Z.14110
Sonata in A minor)
RAMEAU, Rigaudon (from Pièces
27. Play Baroque! Stainer H479
arr. EAST de clavecin)
RAMEAU, Violoncello Music for
28. Le Tambourin EMB Z.14037
arr. PEJTSIK Beginners book 3
SAINT-SAËNS,
29. Danse macabre The Cello Playlist Schott ED13862
arr. CARSON TURNER
Bustling Boulevarde
30. SPRINGTHORPE Go with the Flow Mayhew 3612303
or Return to Aranjuez
31. SQUIRE Romance Stainer 2284
2nd movt (from First Repertoire for
32. TCHAIKOVSKY Faber 0571516424
Symphony no. 5) Cello book 2

Cello: Grade
TCHAIKOVSKY, Violoncello Music for
33. Sweet Reverie EMB Z.14037
arr. PEJTSIK Beginners book 3
34. THIRAULT Petite histoire Billaudot GB3333
TRAD., Session Tunes for Scottish Taigh na Teud
35. Saratoga Hornpipe*
arr. MARTIN Cellists 1871931045

36.
TRAD.,
Blow the Wind Southerly
Three Northumbrian
S J Music D1995-1
4
arr. WRIGHT Folk Songs
Arioso (no. 7 from 12
37. TROWELL Best of Cello Classics Schott ED21998
morceaux façiles, op. 4)
Allegro (1st movt from
38. VIVALDI Kunzelmann GM963
Concerto in C, RV 399)
39. VIVALDI, arr. GREGORY Winter† Vamoosh Cello book 3 Vamoosh VAM23
Summy-Birchard
40. WEBSTER Scherzo† Suzuki Cello School vol 3
0483S
Hedwig’s Theme (from
Selections from Harry Potter
41. WILLIAMS Harry Potter and the Alfred 29080
Instrumental Solos (Cello)
Sorcerer’s Stone)
May the Force Be with The Very Best of John
42. WILLIAMS You (from Star Wars: Williams Instrumental Alfred IFM0428CD
The Empire Strikes Back) Solos (Cello)
WILLIAMS, Raider’s March (from Bosworth
43. Short Cello Pieces
arr. DAVIES Raiders of the Lost Ark) BOE005186

* Unaccompanied † Accompaniment published separately 167


Cello: Grade 4

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
All requirements are in Trinity’s book Cello Scales, Arpeggios & Studies from 2016.

1. BOWING EXERCISE (from memory)

  
Candidates play one of the Grade 4 scales, freely chosen from the list, with the rhythm <INSERT>
on each degree of the scale. The exercise may end with an additional long note on the tonic.
(q· = 50)

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISE (from memory) —
Candidates play the scale followed by the arpeggio. Examiners select from the following:

◗◗ A, Bb and Eb major scales separate


bows or slurred
two crotchet
beats to a bow;
◗◗ C and G minor
arpeggios
(candidate choice of either min. tempi:
separate bows
harmonic or melodic minor) scales
or slurred three
two octaves
notes to a bow q = 69
starting on arpeggios
◗◗ Dominant 7th in the key of F
open C q. = 44
separate bows
starting on 1st 7ths
or slurred in
◗◗ Dominant 7th in the key of G finger D on the q = 69
pairs
C string
◗◗ Dominant 7th in the key of Eb starting on Bb
one octave starting on
◗◗ Chromatic scale separate bows
open G

Technical exercise (from memory) (q = 100):

Octaves and sixths, starting on the open G, D and C strings

            
       

Or
3. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.

Lament
1.  for tone and phrasing
Countdown
2.  for mixed articulation and bowing styles
Barcarolle
3.  for cello techniques

168
Cello: Grade 4

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for Musical knowledge
sight reading parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the cello.
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.
The aural test requirements for Grade 4
are below.

Cello: Grade
Aural questions

Parameters Task Requirement

Clap the pulse on the second playing,


Listen to the piece twice
stressing the strong beat 4
i) Identify the tonality as major or minor
Listen to the piece twice ii) Identify the final cadence as perfect
Harmonised or imperfect

4 bars Identify the interval as minor or major


Listen to the first two notes
second, minor or major third, perfect
of the melody once
Major or minor key fourth or fifth, minor or major sixth

46 Study a copy of the melody


i) Identify the bar in which the change
(provided in treble, alto or
bass clef as appropriate), and of rhythm occurred
listen to it once as written ii) Identify the bar in which the change
and once with a change of of pitch occurred
rhythm and a change of pitch

169
Cello: Grade 5

Cello: Grade 5
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Only one
unaccompanied piece may be chosen. Pieces by at least two composers must be played. An own
composition may be played instead of one listed piece. See pages 16–19 for further guidance.

Composer Piece Book Publisher


Largo and Allegro
1. ALDROVANDINI (1st and 2nd movts 9 Sonate facili EMB Z.14110
from Sonata in Bb)

2. ARNE, arr. EAST Air Play Baroque! Stainer H479

Montagnarde d’Auvergne
(5th movt from Suite
3. BAZELAIRE Schott SF7936
Française sur des airs
populaires, op. 114)
Cool West Side Story Instrumental
4. BERNSTEIN Boosey M051106509
or I Feel Pretty Solos

Summy-Birchard
5. BOCCHERINI Minuet† Suzuki Cello School vol 3
0483S

6. BRIDGE Spring Song Stainer 2196

Prelude in B minor, Famous Transcriptions for


7. CHOPIN PWM 10382
op. 28 no. 6 Cello & Piano book 1

Prelude*
8. COHEN Technique Takes Off! For Cello Faber
or Swirling Arabesques*

FLOTOW,
9. M’appari (Like a Dream) Cello Canto Fentone F697-401
arr. DE SMET

Summy-Birchard
10. GABRIEL-MARIE La Cinquantaine† Suzuki Cello School vol 3
0483S

I Got Rhythm
11. GERSHWIN Play Gershwin Faber 0571516238
or Summertime
Andante quasi allegretto
12. GOLTERMANN (no. 1 from Trois romances Appassionato Schott ED22354
sans paroles, op. 90)
Marche funèbre (from
13. GOLTERMANN Arietta Schott ED22353
Musical Pictures, op. 97)

HANDEL, Adagio (1st movt from Summy-Birchard


14. Solos for Young Cellists vol 4
arr. CHENEY Sonata in C major) 21110X

Summy-Birchard
15. JENKINSON Elfintanz Solos for Young Cellists vol 2
209X0

170 * Unaccompanied † Accompaniment published separately


Cello: Grade 5

LLOYD WEBBER,
16. Memory (from Cats) Play Showtime Faber 0571518516
arr. LEGG & GOUT

17. MacMILLAN Sabre Dance Northern Skies Boosey M060113451

Allegro (4th movt from


18. MARCELLO Peters EP7394
Sonata no. 6 in G)

Lied ohne Worte in G,


19. MENDELSSOHN Cello & Piano II EMB Z.14637
op. 19 no. 4

20. MINSKY Gathering of the Tribes* Pop Goes the Cello OUP 9780193399389

Polska miniatura
21. MOSZKOWSKI Melodie, op. 18 no. 1 Eufonium EUF926
wiolonczelowa vol 1

MOZART,
22. Ave verum, K. 618 Classical Highlights Schott ED21584
arr. PALASCHKO

PERGOLESI, Summy-Birchard
23. Nina Solos for Young Cellists vol 2
arr. CHENEY 209X0

Stomping Boys (Blues)


24. PÜTZ Arietta Schott ED22353
(from 3 Short Stories)
Andante grazioso
ROMBERG,
25. (2nd movt from Sonata Best of Cello Classics Schott ED21998
arr. JANSEN
in E minor, op. 38 no. 1)
SHOSTAKOVICH, Romance (from
26. S J Music D1990-5
arr. OTTY The Gadfly, op. 97)

27. SQUIRE Minuet Stainer 2286

Cello: Grade
J STRAUSS I,
28. Radetzky March The Classic Experience Cramer 90537
arr. LANNING

TCHAIKOVSKY, Chanson triste, op. 40


29. Best of Cello Classics Schott ED21998
arr. DRATHS no. 2

TCHAIKOVSKY, Violoncello Music for


30.
arr. PEJTSIK
Neapolitan Dance Tune
Beginners book 3
EMB Z.14037
5
12 morceaux façiles, op. 4
31. TROWELL Meditation, op. 4 no. 9 Schott ED11212
book 3

First Repertoire for Cello


32. VIVALDI Largo (from Sonata no. 3) Faber 0571516432
book 3
Fawkes the Phoenix
Selections from Harry Potter
33. WILLIAMS (from Harry Potter and Alfred 29080
Instrumental Solos (Cello)
the Chamber of Secrets)

* Unaccompanied 171
Cello: Grade 5

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
All requirements are in Trinity’s book Cello Scales, Arpeggios & Studies from 2016.

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 5 scales, freely chosen from the list, with a martelé bow stroke.
(q = 88)

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISE (from memory) —
Candidates play the scale followed by the arpeggio. Examiners select from the following:

three scales separate


◗◗ C major
octaves bows or slurred
two crotchet
◗◗ E and Ab major beats to a bow;
arpeggios
◗◗ A and E minor two octaves separate bows
(candidate choice of either or slurred three min. tempi:
harmonic or melodic minor) notes to a bow scales
q = 69
in thumb with a down and
◗◗ D major scale one octave position starting an up bow on arpeggios
on the D string each note q. = 44
◗◗ Chromatic scales starting on 7ths
C and D separate bows q = 69
two octaves or slurred four
◗◗ Dominant 7th in the key of F starting on C
notes to a bow
◗◗ Dominant 7th in the key of G starting on D
starting on the G
◗◗ Diminished 7th starting on A one octave separate bows
string, 1st finger

Technical exercise (from memory) (q = 112):

Octaves, sixths and thirds, starting on the open G, D and C strings


         
     

Or
3. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.

Ornamental Journey
1.  for tone and phrasing

Tarantella
2.  for mixed articulation and bowing styles

On the Slide
3.  for cello techniques

172
Cello: Grade 5

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for the Musical knowledge
requirements and parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the cello.
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.
The aural test requirements for Grade 5
are below.

Aural questions

Parameters Task Requirement

i) Clap the pulse on the second playing,

Cello: Grade
Listen to the piece twice stressing the strong beat
ii) Identify the time signature

i) Identify the changing tonality


Harmonised Listen to the piece twice ii) Identify the final cadence as perfect,
plagal, imperfect or interrupted
8 bars 5
Identify the interval as minor or major
Major or Listen to two notes from the second, minor or major third, perfect
minor key melody line played consecutively fourth or fifth, minor or major sixth,
minor or major seventh, or octave
2346
Study a copy of the piece, and i) Identify the bar in which the change
listen to it once as written and of rhythm occurred
once with a change of rhythm
and a change of pitch (both ii) Identify the bar in which the change
changes in the melody line) of pitch occurred

173
Cello: Grades 6–8

Cello: Grades 6–8


EXAM DURATION EXAM STRUCTURE
The Grade 6 exam The Grade 7 exam The Grade 6–8 exams contain the following:
lasts 23 minutes lasts 23 minutes
Maximum
marks

PIECE 1 22

PIECE 2 22
The Grade 8 exam
lasts 28 minutes
PIECE 3 22

TECHNICAL WORK 14

◗◗ Bowing exercise
◗◗ Either scales, arpeggios & technical exercises
or orchestral extracts

SUPPORTING TEST 1 10

◗◗ Sight reading

SUPPORTING TEST 2 10

ONE of the following:


◗◗ Aural
◗◗ Improvisation

TOTAL 100

174
Cello: Grade 6

Cello: Grade 6
PIECES
Candidates perform a balanced programme of three pieces chosen from the lists below,
containing at least one piece from each group. Only one unaccompanied piece may be chosen.
Pieces by at least two composers must be played. An own composition may be played instead of
one listed piece. See pages 16–19 for further guidance.

Composer Piece Book Publisher

Group A

1. ALBRECHTSBERGER Scherzando Cello & Piano II EMB Z.14637

Allemande* or Menuets 1
Six Suites for Violoncello
2. J S BACH and 2* (from Suite no. 1 in G, Bärenreiter BA320
Solo, BWV 1007–1012
BWV 1007)
BAZELAIRE, Bourrée d’Auvergne (from Solos for Young Cellists Summy-Birchard
3.
arr. CHENEY Suite Française, op. 114) vol 4 21110X
BRAHMS,
4. Hungarian Dance no. 5 Cellowise Spartan SP898
arr. RÉMY
HANDEL, Allegro (4th movt from Solos for Young Cellists Summy-Birchard
5.
arr. CHENEY Sonata in C major) vol 4 21110X

6. MACONCHY The Clock, no. 3 Divertimento Lengnick AL0186

7. MARAIS L’agréable Five Old French Dances Chester CH56366

The Train Whistle* Ten American Cello OUP


8. MINSKY
or Broadway* Etudes 9780193858176
Allegro non troppo
ROMBERG,
9. (1st movt from Sonata in Best of Cello Classics Schott ED21998
arr. JANSEN
E minor, op. 38 no. 1)
Summy-Birchard
10. SQUIRE Danse rustique, op. 20 no. 5† Suzuki Cello School vol 5 Cello: Grade
0267S

11. SUREDA & CASTILLO Bichitos de Luz, Tango 7 Argentinische Tangos Kunzelmann GM539

TRAD., Three Northumbrian


12. The Keel Row S J Music D1995-1
arr. WRIGHT Folk Songs
Largo and Allegro (3rd and
13. VIVALDI 4th movts from Sonata no. 5 Best of Cello Classics Schott ED21998 6
in E minor, RV 40)
VIVALDI, Concerto in D minor (from
14. Play Baroque! Stainer H479
arr. EAST L’estro armonico, op. 3 no. 6)

* Unaccompanied † Accompaniment published separately 175


Cello: Grade 6

Group B

1. J S BACH Air, BWV 1068/II Cello & Piano II EMB Z.14637

West Side Story Boosey


2. BERNSTEIN Somewhere
Instrumental Solos M051106509
Supplication (no. 2
3. BLOCH Music for Cello & Piano Fischer 05482
from Jewish Life)
BRAHMS,
4. Lovesong, op. 71 no. 5 Six Songs Simrock EE5197
arr. SALTER

5. CUI Orientale, op. 50 no. 9 Simrock EE3479

6. DAVIDOFF Romance sans paroles Schott ED11059

DURANTE,
7. Aria Learning the Tenor Clef Faber 0571519172
arr. LEGG & GOUT
ELGAR,
8. Chanson de matin Learning the Tenor Clef Faber 0571519172
arr. LEGG & GOUT
Angelic Song & Angelic Weinberger
9. HOUGH Angelic Song
Dance M570056286
KREISLER,
10. Liebesleid (Love’s Sorrow) Classical Highlights Schott ED21584
arr. DRATHS

11. KUCHYNKA Canzonetta Recital RM086

12. MENDELSSOHN Song without Words, op. 109 Appassionato Schott ED22354

Marionetten-Walzer (Waltz of
13. NÖLCK Appassionato Schott ED22354
the Marionettes), op. 116 no. 2
Polska miniatura
14. NOSKOWSKI Melodie, op. 3 no. 1 Eufonium EUF926
wiolonczelowa vol 1
Summy-Birchard
15. PARADIS Sicilienne† Suzuki Cello School vol 7
0360S
Fond Recollections, op. 64 Solos for Young Cellists Summy-Birchard
16. POPPER
no. 1 vol 3 21030X
Prière, op. 158 The Complete Shorter
17. SAINT-SAËNS Faber 0571518079
or Romance, op. 36 Works for Cello & Piano
Zart und mit Ausdruck (no. 1
18. SCHUMANN Appassionato Schott ED22354
from Fantasiestücke, op. 73)

19. SIBELIUS Romance, op. 78 no. 2 Hansen WH17879

20. SQUIRE Gondoliera Stainer H485

VAUGHAN WILLIAMS, OUP


21. Fantasia on Greensleeves
arr. FORBES 9780193593015

22. VIVALDI, arr. EAST Nulla in mundo pax sincera Play Baroque! Stainer H479

176 † Accompaniment published separately


Cello: Grade 6

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
The scales, arpeggios & technical exercise are in Trinity’s book Cello Scales, Arpeggios &
Studies from 2016.
The orchestral extracts are in Orchester Probespiel: Violoncello (published by Schott ED7853).

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 6 scales, freely chosen from the list, with each note of the scale
played as two spiccato quavers. (q = 132)

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISE (from memory) —
Candidates prepare major and minor scales and arpeggios from the following tonal
centres, to be played with separate bows or slurred as requested by the examiner.
Examiners select from the following:

three octaves scales separate bows or


◗◗ C (dominant 7th slurred two crotchet beats to
two octaves) a bow; arpeggios separate
bows or slurred three notes min. tempi:
◗◗ B and Eb two octaves to a bow scales
q = 76
Plus:
separate bows or slurred in arpeggios
◗◗ D major scale in thumb position, one octave
pairs with a long tonic q. = 48
starting on the D string
7ths
◗◗ Chromatic scales starting on
q = 76
C# and Eb separate bows or slurred two
two octaves
◗◗ Diminished 7ths starting on crotchet beats to a bow
C and E

When examiners request a major tonal centre, candidates should play in succession the:
◗◗ Major scale Cello: Grade
◗◗ Major arpeggio
◗◗ Dominant 7th starting on that note and resolving onto the tonic (to be prepared with
separate bows and slurred two crotchet beats to a bow)
When examiners request a minor tonal centre, candidates should play in succession the:
◗◗ Melodic minor scale 6
◗◗ Harmonic minor scale
◗◗ Minor arpeggio

177
Cello: Grade 6

Technical exercise (from memory) (q = 100):

Sixths in C major
              
             

Or
 RCHESTRAL EXTRACTS (music may be used) —
3. O
Candidates prepare three extracts in total: 1a or 1b, 2a or 2b, and 3a or 3b.
Candidates choose one extract to play first. Examiners then select one of the remaining two
prepared extracts to be performed.

Beethoven: Sinfonie Nr. 5, 2. Satz (page 8,


1a. 
first two lines only)
for tone and phrasing
Brahms: Konzert Nr. 2 für Klavier und Orchester,
1b. 
3. Satz (page 45, bar 1 to 1st note of bar 17)

2a. Beethoven: Sinfonie Nr. 9, 4. Satz (page 10,


bars 38–75)
for bowing
2b. Bizet: Carmen, 1. Akt, Finale (page 14, fig. 171
to 7th bar of fig. 174)

3a. Mozart: Die Entführung aus dem Serail, 2. Akt,


Nr. 11, Arie (page 47, beginning of extract to
bar 47) for left hand technique
3b. Suppé: Dichter und Bauer, Ouvertüre (page 56,
bars 16–31)

178
Cello: Grade 6

SUPPORTING TESTS

Candidates prepare: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural or improvisation
three options:

Sight reading ◗◗ Stylistic

After 30 seconds’ preparation time, candidates ◗◗ Motivic


perform a previously unseen musical extract ◗◗ Harmonic
at a level approximately two grades lower than
See pages 27–33 for the requirements
the exam being taken. See pages 23–26 for
and parameters.
sight reading parameters.

Aural
Candidates answer questions based on a single
musical example played on the piano by the
examiner. See page 27 for more information.
The aural test requirements for Grade 6
are below.

Aural questions

Parameters Task Requirement

i) Identify the time signature


Listen to the piece twice ii) Comment on the dynamics
iii) Comment on the articulation

Identify and comment on two other


Harmonised Listen to the piece twice
characteristics of the piece Cello: Grade
8 bars Identify the key to which the music
modulates as subdominant, dominant
Major key Listen to the first four bars or relative minor
of the piece once
Answers may alternatively be given as
2346 key names

Study a copy of the piece,


6
and listen to it twice with Locate and describe the changes
two changes to the as pitch or rhythm
melody line

179
Cello: Grade 7

Cello: Grade 7
PIECES
Candidates perform a balanced programme of three pieces chosen from the lists below,
containing at least one piece from each group. Only one unaccompanied piece may be chosen.
Pieces by at least two composers must be played. An own composition may be played instead
of one listed piece. See pages 16–19 for further guidance.

Composer Piece Book Publisher

Group A
1. ARUTIUNIAN Impromptu Zen-On 932006
Gigue* (from Suite no. 2 in
D minor, BWV 1008) or Bourrées Six Suites for Violoncello
2. J S BACH Bärenreiter BA320
I and II* (from Suite no. 3 in C, Solo, BWV 1007–1012
BWV 1009)
Allegro molto più tosto presto
3. BEETHOVEN (2nd movt from Sonata no. 2 Sonatas for Cello & Piano Henle HN894
in G minor, op. 5 no. 2)
West Side Story
4. BERNSTEIN America Boosey M051106509
Instrumental Solos
Summy-Birchard
5. BRÉVAL Rondo (from Concerto no. 2 in D)† Suzuki Cello School vol 6
0268S
ECCLES, Largo and Corrente (1st and 2nd Summy-Birchard
6. Suzuki Cello School vol 7
arr. LIPKIN movts from Sonata in G minor)† 0360S
Solo Cello Encore Series
7. GRISSOM Liberty* Endpin 59730001
vol 1
Angelic Song & Angelic Weinberger
8. HOUGH Angelic Dance
Dance M570056286
Five Studies in Major and
9. KABALEVSKY Study no. 5, Scherzo* Peters EP4765
Minor, op. 67
Vivace (3rd movt from Concertino
10. KLENGEL Breitkopf EB3113
no. 3 in A minor, op. 46)
11. LEE Gavotte, op. 112 Best of Cello Classics Schott ED21998
12. MACONCHY Golubchik, no. 2 Divertimento Lengnick AL0186
Classical Pieces of the
13. MARTINI Gavotte des moutons Schott ED3678
17th & 18th Century
OUP
14. MINSKY Sailing down the River* Ten American Cello Etudes
9780193858176
Allegro non tanto (3rd movt
from Concerto in G minor) Kunzelmann
15. MONN
(starting at upbeat to bar 31 GM140
and finishing at bar 170)
Polska miniature
16. MOSZKOWSKI Russisch, op. 23 no. 1 Eufonium EUF926
wiolonczelowa vol 1
MOUSSORGSKY/
17. Gopak (from Sorochintsky Fair) Cellowise 2 Spartan SP962
RACHMANINOFF

180 * Unaccompanied † Accompaniment published separately


Cello: Grade 7

Gnomentanz (Gnomes’ Dance),


18. POPPER Popular Concert Pieces vol 1 EMB Z.12943
op. 50 no. 2
Collection Panorama
19. SCHULTHEISS Duex par deux Billaudot GB4151
Violoncelle vol 2
Solos for Young Cellists Summy-Birchard
20. SQUIRE Humoresque, op. 26
vol 3 21030X
21. SQUIRE Tarantella Stainer 2287
Largo and Allegro (3rd and 4th Complete Sonatas for
Bärenreiter
22. VIVALDI movts from Sonata no. 6 in Bb, Violoncello and Basso
BA6995
RV 46) Continuo, RV 39-47

Group B
Summy-Birchard
1. J S BACH Arioso (from Cantata 156)† Suzuki Cello School vol 5
0267S
Sarabande* (4th movt from
Six Suites for Violoncello
2. J S BACH Suite no. 2 in D minor, Bärenreiter BA320
Solo, BWV 1007–1012
BWV 1008)
3. BEETHOVEN Sonatina in C minor, Wo0 43a Appassionato Schott ED22354
BIZET,
4. Habanera (from Carmen) Dancing Cello PWM 10324
arr. HOFFMAN
No. 2 in A minor (from
5. BOULANGER Heugel HE26534
Trois pièces)
6. CASSADÓ Sérénade Universal UE8131
CHAPLIN, Kunzelmann
7. Limelight Oh! That Cello! vol 2
arr. BECKMANN GM1250b
Solos for Young Cellists Summy-Birchard
8. ELGAR Salut d’amour, op. 12
vol 5 212X0
Solos for Young Cellists Summy-Birchard
9. FAURÉ Sicilienne, op. 78
vol 3 21030X
10. FAURÉ, arr. BIRTEL Après un rêve Classical Highlights Schott ED21584
GRIEG, Sarabande (from the
11. Fentone F203-401
arr. GREY Holberg Suite)
12. HESS Theme from Ladies in Lavender Faber 0571537294
Andante (2nd movt from
13. KLENGEL Breitkopf EB2938
Concertino no. 1 in C, op. 7)
Boosey
Cello: Grade

14. RACHMANINOV Vocalise, op. 34 no. 14


M060112027
RUBINSTEIN, arr. Kunzelmann
15. Melodie, op. 3 no. 1 Saluts d’amour
THOMAS-MIFUNE GM523
16. SAINT-SAËNS Le cygne (The Swan) Best of Cello Classics Schott ED21998
SKRJABIN, Preludi e altri pezzi
17. Prelude, op. 35 no. 2 Ricordi NR140539
trans. CAVUTO (Preludes and Other Pieces)
7
TCHAIKOVSKY,
18. Nocturne, op. 19 no. 4 Tchaikovsky for cello vol 2 Simrock EE5243
arr. FITZENHAGEN
TRAD., Shorter Pieces for Cello OUP
19. I’ll Bid My Heart Be Still
arr. R CLARKE & Piano 9780193866553

* Unaccompanied † Accompaniment published separately 181


Cello: Grade 7

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
The scales, arpeggios and technical exercises are in Trinity’s book Cello Scales, Arpeggios &
Studies from 2016.
The orchestral extracts are in Orchester Probespiel: Violoncello (published by Schott ED7853).

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 7 scales, freely chosen from the list, with hooked bowing, as in
the following example. (q = 88)
≥ ≥ ≤ ≤
? b ≥ ≥ ≤ œ≤ œ™ œ -œ™ œ.
œ™ œ œ™ - .
- . - .
etc

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) —
Candidates prepare major and minor scales and arpeggios from the following tonal
centres, to be played with separate bows or slurred as requested by the examiner.
Examiners select from the following:

three scales separate bows or


octaves slurred four crotchet
◗◗ D, F and Db/C# (dominant beats to a bow; arpeggios
7ths two separate bows or slurred min. tempi:
octaves) three notes to a bow scales
q = 84
Plus: separate bows or slurred
◗◗ Chromatic scales starting on E and Db six notes to a bow chromatic
two octaves scales
separate bows or slurred q = 100
◗◗ Diminished 7ths starting on F and F# two crotchet beats to a
bow arpeggios
q. = 50
scales separate bows or
Plus the following in thumb position: 7ths
slurred two crotchet
◗◗ D major scale and arpeggio beats to a bow; q = 84
one octave
◗◗ D melodic minor scale and arpeggio arpeggios separate bows
or slurred three notes to
◗◗ D harmonic minor scale and arpeggio
a bow

When examiners request a major tonal centre, candidates should play in succession the:
◗◗ Major scale
◗◗ Major arpeggio
◗◗ Dominant 7th starting on that note and resolving onto the tonic (to be prepared with
separate bows and slurred two crotchet beats to a bow)
When examiners request a minor tonal centre, candidates should play in succession the:
◗◗ Melodic minor scale
◗◗ Harmonic minor scale
◗◗ Minor arpeggio

182
Cello: Grade 7

Technical exercises (from memory) (q = 120):

a) C major in sixths (one octave)


              
              
 etc etc
etc.

b) Bb major in thirds (one octave)


           
   
          
    
                   

Or
 RCHESTRAL EXTRACTS (music may be used) —
3. O
Candidates prepare three extracts in total: 1a or 1b, 2a or 2b, and 3a or 3b.
Candidates choose one extract to play first. Examiners then select one of the remaining two
prepared extracts to be performed.

Bruckner: Sinfonie Nr. 7, 1. Satz (page 16, entire extract)


1a. 
Tschaikowsky: Schwanensee, 2. Akt, Nr. 13 (page 57,
1b.  for tone and phrasing
beginning of extract to 1st note of bar 97)

2a. Brahms: Sinfonie Nr. 2, 2. Satz (page 16, entire extract)


2b. Tschaikowsky: Sinfonie Nr. 6, 2. Satz (page 30, bar 1 to for bowing
1st note of bar 15)

3a. Mozart: Die Hochzeit des Figaro, Ouvertüre (page 20,


entire extract)
for left hand technique
3b. Strauss: Don Juan (page 23, beginning of extract to
first note of 6th line)

Cello: Grade

183
Cello: Grade 7

SUPPORTING TESTS

Candidates prepare: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural or improvisation
three options:

Sight reading ◗◗ Stylistic

After 30 seconds’ preparation time, candidates ◗◗ Motivic


perform a previously unseen musical extract ◗◗ Harmonic
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for See pages 27–33 for the requirements and
sight reading parameters. parameters.

Aural
Candidates answer questions based on a single
musical example played on the piano by the
examiner. See page 27 for more information.
The aural test requirements for Grade 7
are below.

Aural questions

Parameters Task Requirement

i) Identify the time signature


Listen to the piece twice ii) Comment on the dynamics
iii) Comment on the articulation

Harmonised Identify and comment on two other


Listen to the piece twice
characteristics of the piece
8 bars
Identify the key to which the music
modulates as subdominant, dominant
Major or minor key Listen to the first four bars or relative key
of the piece once
2346 Answers may alternatively be given as
key names

Study a copy of the piece,


Locate and describe the changes
and listen to it twice with
as pitch (melody line only) or rhythm
three changes

184
Cello: Grade 8

Cello: Grade 8
PIECES
Candidates perform a balanced programme of three pieces chosen from the lists below,
containing at least one piece from each group. Only one unaccompanied piece may be chosen.
Pieces by at least two composers must be played. An own composition may be played instead of
one listed piece. See pages 16–19 for further guidance.

Composer Piece Book Publisher

Group A
Allegro molto ma maestoso
Salabert
1. J C BACH (1st movt from Concerto in
SLB00392200
C minor)
BARTÓK, Romanian Folk Dances Boosey
2. Romanian Folk Dances
arr. DAVIES nos. 1, 2, 5 and 6 M060132049
Andante — Allegro vivace
3. BEETHOVEN (1st movt from Sonata no. 4 Sonatas for Cello & Piano Henle HN894
in C, op. 102 no. 1)
BERTEAU (formerly Allegro (1st movt from
4. IMC 2093
attrib. SAMMARTINI) Sonata in G)
No. 3 in C# minor (from
5. BOULANGER Heugel HE26535
Trois pièces)
Allegretto quasi Menuetto
6. BRAHMS (2nd movt from Sonata in Henle HN18
E minor, op. 38)
7. CASSADÓ Requiebros Schott ED1562
Collection Panorama
8. CHAYNES Improvisation à deux Billaudot GB4151
Violoncelle vol 2
Scherzo (2nd movt from Sonata, op. 65 &
9. CHOPIN Peters EP1928
Sonata in G minor, op. 65) Polonaise, op. 3
DE FALLA, Ritual Fire Dance
10. Ritual Fire Dance Chester CH00933
arr. PIATIGORSKY & Dance of Terror
GARDEL,
11. Por una cabeza Tango Universal UE35261
arr. COLLATTI
12. GOLTERMANN Capriccio EMB Z.13889
Solo Cello Encore Series
13. GRISSOM Celtic Cello Set* Endpin 59730001
vol 1
Intermezzo (2nd movt
14. LALO Peters EP3799
from Concerto in D minor)
OUP
15. MINSKY The Hipster Pop Goes the Cello
Cello: Grade

9780193399389
Allegro (1st movt from
16. MONN Kunzelmann GM140
Concerto in G minor)
MONTI,
17. Czardas Dancing Cello PWM 10324
arr. ŁUKASZEWSKI
18. POPPER Mazurka in C, op. 51 EMB Z.13634
8
* Unaccompanied 185
Cello: Grade 8

19. SAINT-SAËNS Allegro appassionato, op. 43 Appassionato Schott ED22354


Rasch und mit Feuer (no. 3
20. SCHUMANN Appassionato Schott ED22354
from Fantasiestücke, op. 73)
SHOSTAKOVICH, Springtime Waltz Boosey
21. Two Pieces
arr. ATOVMYAN (from Ballet Suite no. 2) M060024856

Group B
ALBINONI, Kunzelmann
1. Adagio in G minor
arr. THOMAS-MIFUNE GM1670
Prélude* (from Suite no. 1 Six Suites for Violoncello
2. J S BACH Bärenreiter BA320
in G, BWV 1007) Solo, BWV 1007–1012
3. BLOCH Prayer (no. 1 from Jewish Life) Music for Cello & Piano Fischer 05482
4. BRIDGE Mélodie Scherzo & Mélodie Faber 0571506720
5. CERVELLÓ Homenatge* Boileau 2986
CHAPLIN, Kunzelmann
6. Falling Star Oh! That Cello! vol 2
arr. BECKMANN GM1250b
ˇ
DVORÁK, Silent Woods ‘Klid’,
7. IMC 1741
arr. STUTCH op. 68 no. 5
Adagio (3rd movt from Cello
8. ELGAR Novello NOV081334
Concerto in E minor, op. 85)
9. FAURÉ Élégie, op. 24 Henle HN563
10. GLAZUNOV Song of the Minstrel, op. 71 Belaieff BEL205
Andante molto tranquillo
Sonata in A minor,
11. GRIEG (2nd movt from Sonata in Henle HN790
op. 36 and Other Works
A minor, op. 36)
Adagio (2nd movt from
12. HAYDN Breitkopf EB2238
Concerto in D, Hob VIIb no. 2)
MASSENET,
13. Méditation (from Thaïs) EMB Z.13635
arr. DELSART
Adagio (2nd movt from
14. MONN Kunzelmann GM140
Concerto in G minor)
MUFFAT,
15. Arioso Universal UE8285
arr. CASSADÓ
Andante (3rd movt from
16. RACHMANINOV Boosey M060022197
Sonata in G minor, op. 19)
RAVEL, Pavane pour une infante
17. Musicus M783
arr. MAGANINI défunte
Kaddish (from Sounds
18. STUTSCHEWSKY Or-Tav 12025
from the Past)
Song of Roxana (from
19. SZYMANOWSKI PWM 9195
King Roger)
Preludio and Allemanda (1st Complete Sonatas for
Bärenreiter
20. VIVALDI and 2nd movts from Sonata Violoncello and Basso
BA6995
no. 9 in G minor, RV 42) Continuo, RV 39–47

186 * Unaccompanied
Cello: Grade 8

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
The scales, arpeggios & technical exercises are in Trinity’s book Cello Scales, Arpeggios &
Studies from 2016.
The orchestral extracts are in Orchester Probespiel: Violoncello (published by Schott ED7853).

1. BOWING EXERCISE (from memory)

Candidates choose one of the Grade 8 scales listed below. Examiners choose any one of the
specified bowings from Grades 5–7 and ask candidates to play the scale with that bowing.

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) —
Candidates prepare major and minor scales and arpeggios from the following tonal
centres, to be played with separate bows or slurred as requested by the examiner.
Examiners select from the following:

scales separate bows


or slurred four
three octaves crotchet beats to a min. tempi:
◗◗ A, F#, Bb and Db/C# (dominant 7ths bow; arpeggios scales
two octaves) separate bows or q = 92
slurred three notes to chromatic scales
a bow
q = 100
Plus: separate bows or arpeggios
◗◗ Chromatic scales starting on A, F#, slurred twelve notes
q. = 50
Bb and Db to a bow
two octaves 7ths
separate bows or
◗◗ Diminished 7ths starting on A, F#, q = 92
slurred two crotchet
Bb and C#
beats to a bow

When examiners request a major tonal centre, candidates should play in succession the:
◗◗ Major scale
◗◗ Major arpeggio
◗◗ Dominant 7th starting on that note and resolving onto the tonic (to be prepared with
separate bows and slurred two crotchet beats to a bow)
When examiners request a minor tonal centre, candidates should play in succession the:
◗◗ Melodic minor scale
◗◗ Harmonic minor scale
◗◗ Minor arpeggio
Cello: Grade

8
187
Cello: Grade 8

Technical exercises (from memory) (q = 120):

a) Eb major in thirds (one octave)


  
      
   etc
etc.

b) C major in sixths (one octave)


        
         
  etc
etc.

c) G major in octaves (one octave)


     
    etc
etc.

Or
 RCHESTRAL EXTRACTS (music may be used) —
3. O
Candidates prepare three extracts in total: 1a or 1b, 2a or 2b, and 3a or 3b.
Candidates choose one extract to play first. Examiners then select one of the remaining two
prepared extracts to be performed.

Puccini: Tosca, 3. Akt (pages 51–52, Cello I part,


1a. 
entire extract)
for tone and phrasing
Verdi: Missa da Requiem, Nr. 3, Offertorium
1b. 
(page 35, entire extract)

2a. Beethoven: Ballett ‘Die Geschöpfe des Prometheus’,


Nr. 5 (page 44, bars 33–49)
for bowing
2b. Rossini: Wilhelm Tell, Ouvertüre (page 53,
entire extract)

3a. Strauss: Ariadne auf Naxos, Arie der Zerbinetta


(page 53, entire extract)
3b. Verdi: Aida, 3. Akt (page 34, entire extract) for left hand technique

188
Cello: Grade 8

SUPPORTING TESTS

Candidates prepare: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural or improvisation
three options:

Sight reading ◗◗ Stylistic

After 30 seconds’ preparation time, candidates ◗◗ Motivic


perform a previously unseen musical extract ◗◗ Harmonic
at a level approximately two grades lower than
See pages 27–33 for the requirements
the exam being taken. See pages 23–26 for
and parameters.
sight reading parameters.

Aural
Candidates answer questions based on a single
musical example played on the piano by the
examiner. See page 27 for more information.
The aural test requirements for Grade 8
are below.

Aural questions

Parameters Task Requirement

i) Identify the time signature


Harmonised Listen to the piece once ii) Comment on the dynamics
iii) Comment on the articulation
12–16 bars
Identify and comment on three other
Listen to the piece twice
Major or minor key characteristics of the piece

Study a copy of the piece,


23465 and listen to it twice with
Locate and describe the changes
as pitch or rhythm
three changes
Cello: Grade

8
189
Double Bass: Initial to Grade 5

Double Bass: Initial to Grade 5


EXAM DURATION EXAM STRUCTURE
The Initial exam lasts The Grade 1 exam The Initial to Grade 5 exams contain the following:
11 minutes lasts 13 minutes
Maximum
marks

PIECE 1 22

PIECE 2 22
The Grade 2 exam The Grade 3 exam
lasts 13 minutes lasts 13 minutes
PIECE 3 22

TECHNICAL WORK* 14

◗◗ Bowing exercise
The Grade 4 exam The Grade 5 exam
lasts 18 minutes lasts 18 minutes ◗◗ Either scales, arpeggios & technical exercises
or studies

SUPPORTING TESTS 20

Any TWO of the following:


◗◗ Sight reading
◗◗ Aural
◗◗ Improvisation
◗◗ Musical knowledge

TOTAL 100

190 * At Initial level, candidates perform scales and arpeggio phrases


Double Bass: Initial

Double Bass: Initial


PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Only

Double Bass: Initial


one duet may be chosen. Only one unaccompanied piece may be chosen. Pieces by at least
two composers must be played. An own composition may be played instead of one listed piece.
See pages 16–19 for further guidance.

Composer Piece Book Publisher


ALLEN, GILLESPIE Essential Elements 2000: Hal Leonard
1. Ice Skating, no. 165
& HAYES Double Bass book 1 HL00868052
ANON.,
2. Jolly Old St Nicholas, p16 Do It! Play Bass book 1 GIA G-M529
arr. FROSETH
Abracadabra Double Bass A & C Black
3. BEETHOVEN Ode to Joy, no. 39†
book 1 9780713670974
BULL, GOODBORN
4. Procession, p25† Team Strings Faber 0571528031
& DUCKETT
Brown Bread, no. 33 (duet — Abracadabra Double A & C Black
5. CH
candidate plays bottom part) Bass book 1 9780713670974
Bossy Boots or Clockwork
Take Your Bow Double
6. COBB & YANDELL Clown or On the Ranch Trinity TCL018076
Bass
or Sad Smile
Dancing Partners† The Essential String
7. ELLIOTT or Let’s Have a Holiday† Method, Double Bass Boosey M060105180
or Seesaw† or Swan Song† book 2
8. FAULKNER Raggy Times First Bass Recital RM406
Vamoosh Double Bass
9. GREGORY Under the Coconut Tree† Vamoosh VAM31
book 1
Sassmannshaus Early
10. HEILBUT Little Peter Rabbit, p25* Start on the Double Bärenreiter BA9661
Bass vol 1
11. NELSON Lullaby or Rainy Day Right from the Start Boosey M060098178
The Really Easy Bass
12. OSBORNE Russian Circus Faber 0571511708
Book
13. RHODA China Sea† The ABC’s of Bass book 1 Fischer ABC25
William Tell Overture, Essential Elements
ROSSINI, Hal Leonard
14. no. 190 (duet — candidate 2000: Double Bass
arr. HIGGINS HL00868052
plays part B) book 1
Sassmannshaus Early
15. SASSMANNSHAUS We are on vacation, p28* Start on the Double Bärenreiter BA9661
Bass vol 1
Au clair de la lune, no. 23† Abracadabra Double A & C Black
16. TRAD.
or Miss Mary Mac, no. 25† Bass book 1 9780713670974
Down by the Station† or
TRAD.,
17. Old MacDonald† or Stomping Ready Steady Go Bartholomew BMP502
arr. ELLIOTT
Song† or The Jolly Miller†

* Unaccompanied † Accompaniment published separately 191


Double Bass: Initial

The Essential String


TRAD.,
18. Twinkle Duet† Method, Double Bass Boosey M060105180
arr. ELLIOTT
book 2
TRAD.,
19. Champaigne Branle, p11 Do It! Play Bass book 1 GIA G-M529
arr. FROSETH
The Essential String
TRAD.,
20. Moravian Carol† Method, Double Bass Boosey M060105180
arr. NELSON
book 2

TECHNICAL WORK

Candidates prepare scales and arpeggio phrases, as shown below. See page 21.
All requirements are in Trinity’s book Double Bass Scales, Arpeggios & Studies from 2016.

SCALES (from memory) —


To be performed with the indicated rhythmic pattern on each note (minimum tempo: q = 112).

◗◗ D major (to the 6th)


                        

                    etc.
etc

◗◗ A major (to the 6th)


          
       
              etc
etc.

ARPEGGIO PHRASES (from memory) —


To be performed with the indicated rhythmic pattern on each note (minimum tempo: q = 112).

◗◗ D major (triad with added 6th)


                          

                   

◗◗ A major (triad with added 6th)


        
       

192 † Accompaniment published separately


Double Bass: Initial

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following

Double Bass: Initial


◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level lower than the exam being taken.
See pages 23–26 for the requirements Musical knowledge
and parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the double
Candidates answer questions based on a single bass. Questions are based on candidates’
musical example played on the piano by the chosen pieces. See pages 34–35 for example
examiner. See page 27 for more information. questions and responses.
The aural test requirements for Initial
are below.

Aural questions

Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing,


three times stressing the strong beat
Melody only
Listen to the melody once Identify the dynamic as forte or piano
4 bars
Major key Identify the articulation as legato
Listen to the melody once
or staccato
2
Listen to the first three
Identify the highest or lowest note
notes of the melody once

193
Double Bass: Grade 1

Double Bass: Grade 1


PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Only one
duet may be chosen. Only one unaccompanied piece may be chosen. Pieces by at least two
composers must be played. An own composition may be played instead of one listed piece.
See pages 16–19 for further guidance.

Composer Piece Book Publisher


J S BACH, The Essential String
1. Conversation Piece† Boosey M060105197
arr. NELSON Method, Double Bass book 3
BULL, GOODBORN
2. The Wizard, p43† Team Strings Faber 0571528031
& DUCKETT

3. COBB & YANDELL Busy Bee Take Your Bow Double Bass Trinity TCL018076

The Essential String Method,


4. ELLIOTT Carnival Waltz† Boosey M060105197
Double Bass book 3
5. EMERY & LEACH Knocking on the Door, no. 65 Bass is Best! book 1 Yorke YE0090
6. FAULKNER On the Water First Bass Recital RM406
7. FOSTER Oh, Susanna† The ABC’s of Bass Book 1 Fischer ABC25
8. GORDON Gander’s March Feathered Friends Recital RM413
9. GREGORY Fiery Fiddler†or Walk on Mars!† Vamoosh Double Bass book 1 Vamoosh VAM31
HAYDN, Papa Haydn Goes Walking and Bartholomew
10. Ready Steady Go
arr. ELLIOTT any two other variations† BMP502
11. JOLLIFFE The Mighty Chieftain Comes Recital RM492
Abracadabra Double A & C Black
12. LEHAR Waltz, no. 63†
Bass book 1 9780713670974
Eight Progressive Solos for
13. LEOGRANDE Down the Road Spartan SP1330
the Beginner Bassist
14. NELSON Fiddler’s Fancy Right from the Start Boosey M060098178
15. NORTON Grizzly Bear Microjazz for Double Bass Boosey M060085628
Bass Bridges of Paris or Bobby
16. OSBORNE The Really Easy Bass Book Faber 0571511708
Shaftoe Goes to New Orleans
La Contrebasse classique
17. PURCELL Rigaudon Combre C05440
vol A
18. REGNER Lied des Schlafes, no. 5 Kontra-Spass Schott KBB11
19. ROE Who’s Knocking at My Door? Play-a-Day Thames TH978352
SAINT-SAENS, Bartholomew
20. A Baby Elephant† Ready Steady Go
arr. ELLIOTT BMP502
Abracadabra Double A & C Black
21. SWANN The Hippopotamus Song, no. 53†
Bass book 1 9780713670974
Sassmannshaus Early Start
22. TRAD. Countless Stars, p68* Bärenreiter BA9661
on the Double Bass vol 1
Secret Agents, no. 28 (duet — Abracadabra Double A & C Black
23. TRAD.
candidate plays either part) Bass book 1 9780713670974

194 * Unaccompanied † Accompaniment published separately


Double Bass: Grade 1

TRAD., The Essential String Method,


24. Hatikvah† Boosey M060105197
arr. ELLIOTT Double Bass book 3
TRAD., Bartholomew
25. Mattachins† Ready Steady Go
arr. ELLIOTT BMP502
TRAD.,
26. arr. EMERY In My Little Snuff-box, no. 48 Bass is Best! Book 1 Yorke YE0090
& HARPER
TRAD., I Have a Bonnet† The Essential String Method,
27. Boosey M060105197
arr. NELSON or Michael Finnegan† Double Bass book 3

Double Bass: Grade


TRAD.,
28. There Was a Crooked Man Amazing Solos Boosey M060094170
arr. SCHOFIELD
YARROW Puff the Magic Dragon, no. 64 Abracadabra Double Bass A & C Black
29.
& UPTON (duet — candidate plays top part) book 1 9780713670974

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
All requirements are in Trinity’s book Double Bass Scales, Arpeggios & Studies from 2016.
1
1. BOWING EXERCISE (from memory)

Candidates play the scale of G major (one octave). The scale should be played with two separate
crotchets on each degree of the scale, one down bow and one up bow. (q = 72)

Either
2. SCALES & ARPEGGIO PHRASES (from memory)

Major keys — Candidates play the scale followed by the arpeggio phrase. Examiners select from
the following:

scales separate bows or min.


scale to 6th; arpeggio phrase
◗◗ A, C and D major slurred in pairs; arpeggio tempo:
a major triad with added 6th
phrases separate bows only q = 88

Minor keys — Candidates play the scale only. Examiners select from the following:

min.
separate bows or slurred in
◗◗ A and D minor to flattened 6th tempo:
pairs
q = 88

Or
3. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.

1. Look Smart for tone and phrasing

2. Jolly Song for mixed articulation and bowing styles

3. Waltz for double bass techniques

† Accompaniment published separately 195


Double Bass: Grade 1

SUPPORTING TESTS

Candidates choose TWO of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level lower than the exam being taken.
See pages 23–26 for the requirements Musical knowledge
and parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the double
Candidates answer questions based on a single bass. Questions are based on candidates’
musical example played on the piano by the chosen pieces. See pages 34–35 for example
examiner. See page 27 for more information. questions and responses.
The aural test requirements for Grade 1
are below.

Aural questions

Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing,


three times stressing the strong beat

Melody only i) Identify the dynamic as forte or piano


Listen to the melody once ii) Identify the articulation as legato
4 bars or staccato

Major key Listen to the first two bars Identify the last note as higher or lower
of the melody once than the first note
23
Listen to the melody twice,
with a change of rhythm or Identify where the change occurs
pitch in the second playing

196
Double Bass: Grade 2

Double Bass: Grade 2


PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Only
one duet may be chosen. Only one unaccompanied piece may be chosen. Pieces by at least
two composers must be played. An own composition may be played instead of one listed piece.
See pages 16–19 for further guidance.

Composer Piece Book Publisher


We’re Off to See the A & C Black
1. ARLEN Abracadabra Double Bass book 1
Wizard, no. 70† 9780713670974
Five Simple Pieces for Double
2. CARROLL Prelude and Gigue Stainer 2310

Double Bass: Grade


Bass & Piano
3. CRUTTENDEN Bass Swing Bow that Bass! Recital RM511
4. DONKIN The Ogre’s Dance Bass-Time Beginners Recital RM410
5. EMERY Lionel’s Rhythm, no. 38 Bass is Best! book 2 Yorke YE0098
6. EMERY & SLATFORD Dinosaur Dance, no. 70 Bass is Best! book 1 Yorke YE0090
Hungry Old Owl
7. GORDON Feathered Friends Recital RM413
or Penguin Parade
8. GREGORY Smooth Operator† Vamoosh Double Bass book 2 Vamoosh VAM32
Rags, Boogies & Blues
9. HOAG The Half Position Rag
for Young Bassists
Presser 114-40436 2
Pièces classiques pour
10. KOZELUCH Bernoise Billaudot GB3299
contrebasse vol 1A
Part of Your World,
A & C Black
11. MENKEN no. 74 (duet — candidate Abracadabra Double Bass book 1
9780713670974
plays top part)
12. NICKS The Little Sailor, no. 91 Bass is Best! book 1 Yorke YE0090
13. NORTON Mean Streets Microjazz for Double Bass Boosey M060085628
Alpen Song
14. OSBORNE or The Duke of York The Really Easy Bass Book Faber 0571511708
Joins the Navy
The Anna Magdalena Bach Bartholomew
15. PETZOLD Minuet in G minor†
Notebook for Double Bass BMP009
Nouvelle technique de la
16. RABBATH Divertimento no. 1 in C Leduc AL25437
contrabasse book 1
A & C Black
17. RODGERS Edelweiss, no. 50† Abracadabra Double Bass book 1
9780713670974
18. ROE Reflections Play-a-Day Thames TH978352
The Merry Peasant
SCHUMANN,
19. (from Album for the Double Bass Solo 1 OUP 9780193222496
arr. HARTLEY
Young, op. 68)†
TCHAIKOVSKY, The Essential String Method,
20. Old French Song† Boosey M060105203
arr. NELSON Double Bass book 4
Cherry Blossoms†
21. TRAD. or Good Morning, The ABC’s of Bass book 2 Fischer ABC27
Merry Sunshine†

† Accompaniment published separately 197


Double Bass: Grade 2

TRAD., The Essential String Method,


22. March of the Kings† Boosey M060105203
arr. ELLIOTT Double Bass book 4
Simple Gifts, no. 192
TRAD., Essential Elements 2000: Hal Leonard
23. (duet — candidate plays
arr. HIGGINS Double Bass book 1 HL00868052
top part)
TRAD., De Haske
24. The British Grenadier Easy Double Bass
arr. KERNEN DHP1043610-400
TRAD., De Haske
25. Peruvian Dance Tune Easy Double Bass
arr. LEIRE DHP1043610-400
TRAD., Pour les jeunes contrebassistes
26. Le vieux roi, no. 21 Billaudot GB5978
arr. SALLES vol 1
The Essential String Method,
27. YORK Madeleine Dreaming† Boosey M060105203
Double Bass book 4

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
All requirements are in Trinity’s book Double Bass Scales, Arpeggios & Studies from 2016.

1. BOWING EXERCISE (from memory)


Candidates play the scale of D major (one octave) with the rhythm d D on each degree of the
scale, separate bows. The exercise may end with an additional long note on the tonic (d D d).
(q = 80)
Either
2. SCALES & ARPEGGIOS (from memory) —
Candidates play the scale followed by the arpeggio. Examiners select from the following:

◗◗ G, F and Bb major one octave scales separate bows or


slurred in pairs; arpeggios min. tempi:
separate bows only (highest scales q = 60
◗◗ E and G minor to flattened 6th note of slurred scales may arpeggios q· = 36
be repeated)

Minor arpeggios should be performed according to the following pattern:


? œ œ œ œ œ
œ œ™
Or
3. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.

1. 
Let Me Explain for tone and phrasing

2. Wait — a Minuet! for mixed articulation and bowing styles

3. Climbing Frame for double bass techniques

198 † Accompaniment published separately


Double Bass: Grade 2

SUPPORTING TESTS

Candidates choose TWO of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.

Double Bass: Grade


at a level approximately two grades lower than
the exam being taken. See pages 23–26 for the Musical knowledge
requirements and parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the double
Candidates answer questions based on a single bass. Questions are based on candidates’
musical example played on the piano by the chosen pieces. See pages 34–35 for example
examiner. See page 27 for more information. questions and responses.
The aural test requirements for Grade 2
are below. 2

Aural questions

Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing,


three times stressing the strong beat

i) D
 escribe the dynamics, which will
Melody only vary during the melody
Listen to the melody once
4 bars ii) Identify the articulation as legato
or staccato
Major or minor key
Identify the last note as higher or lower
Listen to the melody once
than the first note
23
Listen to the melody twice, i) Identify where the change occurs
with a change of rhythm or
pitch in the second playing ii) Identify the change as rhythm or pitch

199
Double Bass: Grade 3

Double Bass: Grade 3


PIECES
Candidates play a balanced programme of three pieces, chosen from the list below. Only one
duet may be chosen. Only one unaccompanied piece may be chosen. Pieces by at least two
composers must be played. An own composition may be played instead of one listed piece.
See pages 16–19 for further guidance.

Composer Piece Book Publisher


1. CRUTTENDEN Rocking Rhumba Bow that Bass! Recital RM511
La Contrebasse classique
2. CZERNY Dans la vallée Combre C5716
vol B
Yorke Solos vol 1:
3. DEUTSCHMANN Menuett (with trio) Yorke YE0087
35 Easy Pieces
4. EMERY Gypsy Song, no. 42 Bass is Best! book 2 Yorke YE0098
5. GREGORY Rumba Cucumba† Vamoosh Double Bass book 2 Vamoosh VAM32
GRIEG, Bartholomew
6. Norwegian Dance, op. 35† Subterranean Solos
arr. HARTLEY BMP006
Pièces classiques pour
7. HANDEL Allegro Billaudot GB3299
contrebasse vol 1A
HAYDN, The Essential String Method,
8. Dance for a Party† Boosey M060105203
arr. NELSON Double Bass book 4
Easy Bass Jazz with backing
9. HAYHURST The Bottom Line Spartan SP1127
tracks
Rags, Boogies & Blues for
10. HOAG The Second Position Boogie Presser 114-40436
Young Bassists
HOLDSTOCK, Calypso, no. 97 (duet —
11. Bass is Best! book 1 Yorke YE0090
arr. EMERY candidate plays top part)
12. JOYNES The Old Sea Dog, no. 52 Bass is Best! book 2 Yorke YE0098
Yorke Solos vol 1: 35 Easy
13. LÁSKA Strolling Along! Yorke YE0087
Pieces
14. MERLE Mummers† Festival Performance Solos Fischer BF5
Reel (top part)†or Toad
15. NELSON Technitunes Boosey M060090868
in the Hole (top part)†

16. NORTON Soft Drink Microjazz for Double Bass Boosey M060085628

Syncopated Swing (pizzicato


17. OSBORNE Junior Jazz book 1 Recital RM037
or arco)
18. REGNER Bitte nicht stolpern, no. 10 Kontra-Spass Schott KBB11
TRAD.,
Kelvin Grove, no. 114 (duet —
19. arr. HOHMANN- Bass is Best! book 1 Yorke YE0090
candidate plays top part)
BARKER
TRAD., The Essential String Method,
20. Camptown Races† Boosey M060105203
arr. NELSON Double Bass book 4
TRAD., The Lincolnshire Poacher
21. Technitunes Boosey M060090868
arr. NELSON (top part)†

200 † Accompaniment published separately


Double Bass: Grade 3

22. TUTT Perpetuum Mobile, no. 98 Bass is Best! book 1 Yorke YE0090
23. WALTON Donkey Cart, no. 96 Bass is Best! book 1 Yorke YE0090
WARLOCK, Basse-Danse (from Bartholomew
24. Subterranean Solos
arr. HARTLEY Capriol Suite)† BMP006
25. WOOD Country Dance Four Dances Peters EP71246

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
All requirements are in Trinity’s book Double Bass Scales, Arpeggios & Studies from 2016.

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 3 scales, freely chosen from the list, with four semiquavers on each
degree of the scale. The exercise may end with an additional long note on the tonic. (q = 60)

Double Bass: Grade


Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISE (from memory) —
Candidates play the scale followed by the arpeggio. Examiners select from the following:

◗◗ A, C and D major scales separate bows min. tempi:


or slurred in pairs with scales
◗◗ A, D and G minor a long tonic; arpeggios
(candidate choice of either
separate bows only q = 69
harmonic or melodic minor)
one octave arpeggios
◗◗ Dominant 7th in the key of D q. = 40
separate bows 7ths
3
◗◗ Chromatic scales starting q = 58
on A and G

Technical exercise (from memory) (q = 72):


Fifths and sixths

        

Or
3. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.

1. 
Bangers and Mash for tone and phrasing

2. Intermezzo for mixed articulation and bowing styles

3. El Sombrero for double bass techniques

† Accompaniment published separately 201


Double Bass: Grade 3

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for Musical knowledge
sight reading parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the double
Candidates answer questions based on a single bass. Questions are based on candidates’
musical example played on the piano by the chosen pieces. See pages 34–35 for example
examiner. See page 27 for more information. questions and responses.
The aural test requirements for Grade 3
are below.

Aural questions

Parameters Task Requirement

Clap the pulse on the second playing,


Listen to the melody twice
stressing the strong beat

Listen to the melody once Identify the tonality as major or minor


Melody only
Listen to the first two notes Identify the interval by number only
4 bars of the melody once (second, third, fourth, fifth or sixth)
Major or minor key
Study a copy of the melody
34 (provided in treble, alto or i) 
Identify in which bar the change
bass clef as appropriate), and has occurred
listen to it once as written and
once with a change of rhythm ii) Identify the change as rhythm or pitch
or pitch

202
Double Bass: Grade 4

Double Bass: Grade 4


PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Only one
unaccompanied piece may be chosen. Pieces by at least two composers must be played. An own
composition may be played instead of one listed piece. See pages 16–19 for further guidance.

Composer Piece Book Publisher


The Anna Magdalena Bach Bartholomew
1. J S BACH (attr.) Polonaise in D minor†
Notebook for Double Bass BMP009
The Little Horses (from
2. COPLAND Copland for Double Bass Boosey M060360239
Old American Songs set 2)
Ballo Arioso e presto
3. GIOVANNINO (4th movt from Sonata Yorke YE0008
in A minor)
GOSSEC, Bartholomew
4. Tambourin† Subterranean Solos
arr. HARTLEY BMP006
Easy Bass Jazz with
5. HAYHURST Ol’ Orleans Spartan SP1127
backing tracks
Yorke Solos vol 1:
6. LANCEN Si j’étais… Moussorgsky Yorke YE0087
35 Easy Pieces

Double Bass: Grade


Eight Progressive Solos
7. LEOGRANDE Cool Shoes Spartan SP1330
for the Beginner Bassist
8. MÜLLER Neapolitan Dance Kjos KJ15920
German Dance Boosey
9. NELSON Technitunes
(top part)† M060090868
10. OSBORNE A Fun Day! Suite for Eloise Recital RM330
11. OSBORNE Brontosaurus Bop Jurassic Jazz Recital RM226
Chill-Out
12. OSBORNE Junior Jazz book 1 Recital RM037
(pizzicato or arco)
13. OSBORNE Lonesome & Blue Junior Jazz book 2 Recital RM081 4
14. OSBORNE Rockin’ Rag Recital Rags Recital RM083
15. REGNER Der Clown tritt auf, no. 8 Kontra-Spass Schott KBB11
Dance Preludes for Double
16. RIDOUT Andante, no. 3 Yorke YE0095
Bass or Cello and Piano
Forward, March!, op. 14 no.
Solos for the Young Bassist
17. SCHLEMÜLLER 6 or Our Soldiers March, Recital RM245
book 1
op. 12 no. 5
Pièces classiques pour
18. SCHUMANN Envoi Billaudot GB3300
contrebasse vol 2A
19. SHITTE Étude, no. 63 Bass is Best! book 2 Yorke YE0098
20. THOMAS, arr. HARTLEY Gavotte (from Mignon)† Subterranean Solos Bartholomew BM006
Pièces classiques pour
21. TRAD. Le Pastoureau Billaudot GB3300
contrebasse vol 2A
VIVALDI,
22. Allegro, p13 Amazing Solos Boosey M060094170
arr. SCHOFIELD
23. WOOD Hippos Wallpaper Tales Peters EP71268
24. WOOD Pavane Four Dances Peters EP71246
† Accompaniment published separately 203
Double Bass: Grade 4

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
All requirements are in Trinity’s book Double Bass Scales, Arpeggios & Studies from 2016.

1. BOWING EXERCISE (from memory)

  
Candidates play one of the Grade 4 scales, freely chosen from the list, with the rhythm <INSERT>
on each degree of the scale. The exercise may end with an additional long note on the tonic.
(q· = 50)

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISE (from memory) —
Candidates play the scale followed by the arpeggio. Examiners select from the following:

◗◗ A, G and F major scales separate bows


or slurred in pairs
with a long tonic;
◗◗ A and G minor to the 12th min. tempi:
arpeggios separate
(candidate choice of either bows or slurred three scales
harmonic or melodic minor) notes to a bow q = 80
arpeggios
◗◗ Dominant 7th in the key of C, starting on
G q. = 48
separate bows or
slurred in pairs 7ths
◗◗ Dominant 7th in the key of Bb, starting one octave
on F q = 66

◗◗ Chromatic scales starting on C and D separate bows

Technical exercise (from memory) (q = 84):

Fourths, fifths and sixths

            
  

Or
3. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.

Creeping About
1.  for tone and phrasing
Tea at the Palace
2.  for mixed articulation and bowing styles
Groovy Blues
3.  for double bass techniques

204
Double Bass: Grade 4

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for Musical knowledge
sight reading parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the double
Candidates answer questions based on a single bass. Questions are based on candidates’
musical example played on the piano by the chosen pieces. See pages 34–35 for example
examiner. See page 27 for more information. questions and responses.

Double Bass: Grade


The aural test requirements for Grade 4
are below.

Aural questions

Parameters Task Requirement

Clap the pulse on the second playing,


Listen to the piece twice
stressing the strong beat 4
i) Identify the tonality as major or minor
Listen to the piece twice ii) Identify the final cadence as perfect
Harmonised or imperfect

4 bars Identify the interval as minor or major


Listen to the first two notes
second, minor or major third, perfect
of the melody once
Major or minor key fourth or fifth, minor or major sixth

46 Study a copy of the melody


i) Identify the bar in which the change
(provided in treble, alto or
bass clef as appropriate), and of rhythm occurred
listen to it once as written ii) Identify the bar in which the change
and once with a change of of pitch occurred
rhythm and a change of pitch

205
Double Bass: Grade 5

Double Bass: Grade 5


PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Only one
unaccompanied piece may be chosen. Pieces by at least two composers must be played. Only one
all pizzicato piece may be played. An own composition may be played instead of one listed piece.
See pages 16–19 for further guidance.

Composer Piece Book Publisher


Study no. 18
1. BOTTESINI Method for Double Bass part 1 Yorke YE0076
or Study no. 40
2. CARROLL Cuban Rumba Five National Dances Stainer H290

3. DARE Menuet Yorke YE0012


Double Bass Collection:
4. DITTERSDORF German Dance Concert Pieces for Double Bärenreiter BA9696
Bass and Piano
GLIÈRE, Russian Sailors’ Dance
5. Fischer B3394
arr. ISAAC (from The Red Poppy)
6. GODDARD Gerty Goat Scuffer Spartan SP1202
Latin Jazz (no. 1 from
7. HAUTA-AHO Pizzicato Pieces book 2 Recital RM163
Two Pieces for TDR)*‡
Berceuse for Baby
8. LANCEN Yorke YE0054
Hippopotamus
Pièces classiques pour
9. MENDELSSOHN Romance sans paroles Billaudot GB4195
contrebasse vol 2B
10. MERLE Demetrius† Festival Performance Solos Fischer BF5
A Dog’s Life: Dog Tired Yorke Solos vol 1:
11. NICKS Yorke YE0087
and The Great Tail Chase 35 Easy Pieces
12. OSBORNE Faster than You Think!‡ Pizzicato All-Sorts Recital RM420
Allegretto (1st movt
PAXTON,
13. from Sonata in D major, Bartholomew BMP005
trans. ELLIOTT
op. 3 no. 2)
Quodlibet (2nd movt from
14. PITFIELD Sonatina for Double Bass Yorke YE0029
and Piano)
15. PROUST Le bon barbu rond Combre C06174
Rondeau (from
PURCELL,
16. A Midsummer Night’s Subterranean Solos Bartholomew BMP006
arr. HARTLEY
Dream)†
17. RAMEAU Dance, no. 68 Bass is Best! book 2 Yorke YE0098
La Contrebasse classique
18. RIMSKY-KORSAKOV Mazurka Combre C5716
vol B
19. WOOD Teddy Bears Wallpaper Tales Peters EP71268

206 * Unaccompanied † Accompaniment published separately ‡ All pizzicato


Double Bass: Grade 5

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
All requirements are in Trinity’s book Double Bass Scales, Arpeggios & Studies from 2016.

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 5 scales, freely chosen from the list, with a martelé bow
stroke. (q = 88)

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISE (from memory) —
Candidates play the scale followed by the arpeggio. Examiners select from the following:

◗◗ G major two octaves

◗◗ C and Bb major to the 12th scales separate


bows or slurred two
◗◗ Eb major one octave min. tempi:
crotchet beats to
◗◗ G minor a bow; arpeggios scales
(candidate choice of either harmonic two octaves separate bows or q = 88
or melodic minor) slurred three notes
chromatic
◗◗ C and Bb minor to a bow
scales
(candidate choice of either harmonic to the 12th q· = 63
or melodic minor)
arpeggios
separate bows
◗◗ Chromatic scales starting on Eb and G or slurred three q. = 54
notes to a bow 7ths

Double Bass: Grade


◗◗ Dominant 7th in the key of F, starting on C one octave q = 66
separate bows or
◗◗ Dominant 7th in the key of Eb, starting on Bb slurred in pairs

◗◗ Diminished 7ths starting on C and Bb separate bows

Technical exercise (from memory) (q = 92–108):

Broken thirds in C major


               
 
5
              

Or
3. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.

Victorian Elegance
1.  for tone and phrasing
Spicy Goulash
2.  for mixed articulation and bowing styles
Get With It!
3.  for double bass techniques
207
Double Bass: Grade 5

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for the Musical knowledge
requirements and parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the double
Candidates answer questions based on a single bass. Questions are based on candidates’
musical example played on the piano by the chosen pieces. See pages 34–35 for example
examiner. See page 27 for more information. questions and responses.
The aural test requirements for Grade 5
are below.

Aural questions

Parameters Task Requirement

i) Clap the pulse on the second playing,


Listen to the piece twice stressing the strong beat
ii) Identify the time signature

i) Identify the changing tonality


Harmonised Listen to the piece twice ii) Identify the final cadence as perfect,
plagal, imperfect or interrupted
8 bars
Identify the interval as minor or major
Major or Listen to two notes from the second, minor or major third, perfect
minor key melody line played consecutively fourth or fifth, minor or major sixth,
minor or major seventh, or octave
2346
Study a copy of the piece, and i) Identify the bar in which the change
listen to it once as written and of rhythm occurred
once with a change of rhythm
and a change of pitch (both ii) Identify the bar in which the change
changes in the melody line) of pitch occurred

208
Double Bass: Grades 6–8

Double Bass: Grades 6–8


EXAM DURATION EXAM STRUCTURE
The Grade 6 exam The Grade 7 exam The Grade 6–8 exams contain the following:
lasts 23 minutes lasts 23 minutes
Maximum
marks

PIECE 1 22

PIECE 2 22
The Grade 8 exam
lasts 28 minutes
PIECE 3 22

TECHNICAL WORK 14

◗◗ Bowing exercise
◗◗ Either scales, arpeggios & technical exercises
or orchestral extracts

SUPPORTING TEST 1 10

◗◗ Sight reading

SUPPORTING TEST 2 10

ONE of the following:


◗◗ Aural
◗◗ Improvisation

TOTAL 100

209
Double Bass: Grade 6

Double Bass: Grade 6


PIECES
Candidates perform a balanced programme of three pieces chosen from the lists below, containing
at least one piece from each group. Only one unaccompanied piece may be chosen. Pieces by
at least two composers must be played. Only one all pizzicato piece may be played. An own
composition may be played instead of one listed piece. See pages 16–19 for further guidance.
Composer Piece Book Publisher

Group A
1. CLUCAS Courante* or Gigue* Baroque Suite Recital RM141
2. ELLIOTT Odd Man Out Yorke YE0015
GIORDANI,
3. Larghetto Two Eighteenth-Century Pieces Stainer H468
arr. STERLING
4. GOUINGUENÉ Adagio Leduc AL25774
5. HAUTA-AHO A Little Waltz (Pieni Valssi) Teppo’s Tunes Recital RM068
MARCELLO, arr. Grave and Allegro (3rd and
6. IMC 1159
ZIMMERMANN 4th movts from Sonata no. 6 in G)
7. MERLE Caballero† Festival Performance Solos Fischer BF5
8. OSBORNE Ballad in Blue‡ Junior Jazz book 2 Recital RM081
Con moto (3rd movt from
9. RUSSELL Recital RM436
Lyric Sonata)
The Elephant (from The
10. SAINT-SAËNS Henle HN730
Carnival of the Animals)
11. WALTON A Deep Song Yorke YE005

Group B
Pièces classiques pour
1. BOCCHERINI Menuet Billaudot GB4195
contrebasse vol 2B
2. BOTTESINI Study no. 43 or Study no. 54 Method for Double Bass part 1 Yorke YE0076
3. CARROLL Fantasia in E minor Three Pieces for Double Bass Forsyth FCI01
4. DIABELLI Sonatine La Contrebasse classique vol B Combre C5716
GABRIEL-MARIE, Bartholomew
5. La Cinquantaine
arr. ELLIOTT BMP001
6. GORDON Fine Day?* Fine Day? and Skerry Selkie Spartan SP929
Allegro sostenuto (3rd movt
7. HAUTA-AHO Recital RM333
from Jazz Sonatine no. 2)*
8. HAUTA-AHO Di-Ba-Dum*‡ Pizzicato Pieces book 1 Recital RM097
9. LÁSKA A la Hongroise Miniatures book 1 Recital RM113
Double Bass Collection:
Tempo di Ballo (from Bärenreiter
10. NÖLCK Concert Pieces for
Petit album de concert) BA9696
Double Bass and Piano
11. RATEZ Parade, op. 46 no. 1 Characteristic Pieces book 1 Recital RM189
Allegro ritmico and Andante
12. RUSSELL Recital RM243
(1st and 2nd movts from Buffo Set)
13. WALTER The Elephant’s Gavotte Yorke YE0038

210 * Unaccompanied † Accompaniment published separately ‡ All pizzicato


Double Bass: Grade 6

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
The scales, arpeggios and technical exercise are in Trinity’s book Double Bass Scales, Arpeggios
& Studies from 2016.
The orchestral extracts are in Orchester Probespiel: Kontrabass (published by Schott ED7854).

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 6 scales, freely chosen from the list, with each note of the
scale played as two spiccato quavers. (q = 132)

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISE (from memory) —
Candidates prepare major and minor scales and arpeggios from the following tonal
centres, to be played with separate bows or slurred as requested by the examiner.
Examiners select from the following:
scales separate bows or slurred
two crotchet beats to a bow;
◗◗ A, E and F two octaves
arpeggios separate bows or
slurred three notes to a bow min. tempi:
scales
Plus:
q = 96
◗◗ D major scale in thumb position with a down bow and an up bow
one octave arpeggios
◗◗ D melodic minor scale in on each note
thumb position q. = 58

◗◗ Chromatic scales starting on separate bows or slurred two 7ths


E and F crotchet beats to a bow q = 72
two octaves
◗◗ Diminished 7ths starting on separate bows or slurred two
E and F notes to a bow

When examiners request a major tonal centre, candidates should play in succession the:

Double Bass: Grade


◗◗ Major scale
◗◗ Major arpeggio
◗◗ Dominant 7th starting on that note and resolving onto the tonic (to be prepared with
separate bows and slurred two crotchet beats to a bow)
When examiners request a minor tonal centre, candidates should play in succession the:
◗◗ Melodic minor scale
◗◗ Harmonic minor scale
◗◗ Minor arpeggio
6
Technical exercise (from memory) (q = 92–108):
Broken thirds in G major (one octave)
?# œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ etc

?# œ œ œ œ Ó
etc œ œ œ œ œ œ œ œ ˙

211
Double Bass: Grade 6

Or
 RCHESTRAL EXTRACTS (music may be used) —
3. O
Candidates prepare the following three extracts.
Candidates choose one extract to play first. Examiners then select one of the remaining two
extracts to be performed.

Brahms: Sinfonie Nr. 2, 4. Satz (page 15, bars 44–63)


1.  for tone and phrasing
Mozart: Die Zauberflöte, Ouvertüre (page 28, bars 33–53)
2.  for bowing
Beethoven: Sinfonie Nr. 5, 2. Satz (page 11, entire extract)
3.  for left hand technique

SUPPORTING TESTS

Candidates prepare: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
◗◗ Aural or improvisation on a stimulus chosen from the following
three options:
Sight reading ◗◗ Stylistic
After 30 seconds’ preparation time, candidates ◗◗ Motivic
perform a previously unseen musical extract
◗◗ Harmonic
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for See pages 27–33 for the requirements
sight reading parameters. and parameters.

Aural
Candidates answer questions based on a single
musical example played on the piano by the
examiner. See page 27 for more information.
The aural test requirements for Grade 6
are below.

Aural questions

Parameters Task Requirement

i)  Identify the time signature


Listen to the piece twice ii) Comment on the dynamics
iii) Comment on the articulation
Harmonised
Identify and comment on two other
Listen to the piece twice
8 bars characteristics of the piece

Identify the key to which the music modulates as


Major key Listen to the first four bars subdominant, dominant or relative minor
of the piece once
Answers may alternatively be given as key names
2346
Study a copy of the piece,
Locate and describe the changes as pitch
and listen to it twice with two
or rhythm
changes to the melody line

212
Double Bass: Grade 7

Double Bass: Grade 7


PIECES
Candidates perform a balanced programme of three pieces chosen from the lists below, containing
at least one piece from each group. Only one unaccompanied piece may be chosen. Pieces by
at least two composers must be played. Only one all pizzicato piece may be played. An own
composition may be played instead of one listed piece. See pages 16–19 for further guidance.

Composer Piece Book Publisher

Group A
Harlequin’s Dance
1. HARRISON Harlequinade Recital RM506
for Columbine
2. HAUTA-AHO Erkon Elegia* Recital RM104
3. HEGNER Romance Recital RM028
4. KELLY Caliban Caliban and Ariel Yorke YE0065
Adagio (2nd movt from
5. KOHAUT Yorke YE0094
Concerto for Double Bass)
6. NOSKOWSKI Elegy Polonaise Miniatures book 1 Recital RM113
7. OSBORNE Count Me In!‡ Junior Jazz book 2 Recital RM081
8. RATEZ Cantabile, op. 46 no. 2 Characteristic Pieces book 1 Recital RM189
ROSSINI,
9. Une larme (A Tear) Recital RM303
arr. HEYES
10. RUSSELL Divergent Dances Recital RM458
SAINT-SAËNS, Aria ‘Mon coeur
11. McTier MM207
arr. McTIER s’ouvre à ta voix’
Yorke Solos vol 1:
12. WAUD Novelette Yorke YE0087
35 Easy Pieces

Group B
1. J S BACH Gavotte in G minor† Festival Performance Solos Fischer BF5 Double Bass: Grade
2. BEETHOVEN Tema con variazioni La Contrebasse classique vol B Combre C05716
Allegro ma non troppo
3. BREUER Breitkopf BG506
(1st movt from Sonatine)
4. CARROLL Toccata Three Pieces for Double Bass Forsyth FCI01
Andante con moto
5. CLUCAS Recital RM295
(2nd movt from Sonatina)
Double Bass Collection:
6. FURTOK Concert Piece Concert Pieces for Bärenreiter BA9696
Double Bass and Piano

7. GALLIARD
Allegro and Andante
teneramente (2nd and 3rd IMC 1152
7
movts from Sonata in G)
Broadbent & Dunn
8. JOHNS Deeply Blue‡
12407

* Unaccompanied † Accompaniment published separately ‡ All pizzicato 213


Double Bass: Grade 7

9. LEOGRANDE May I? Spartan SP930


Adagio and Allegro
MARCELLO, arr.
10. (1st and 2nd movts from IMC 1050
ZIMMERMANN
Sonata no. 2 in E minor)
Rondo: tempo di minuetto
(3rd movt from Bassoon
MOZART,
11. Concerto in Bb, K. 191) IMC 2421
arr. SANKEY
(bar 42 played 8va higher;
bar 135 optional 8va higher)

12. OSBORNE Mixed Feelings‡ Pizzicato All-Sorts Recital RM420


SULLIVAN,
13. Idyll Four Bass
arr. FRAMPTON

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
The scales, arpeggios & technical exercises are in Trinity’s book Double Bass Scales, Arpeggios
& Studies from 2016.
The orchestral extracts are in Orchester Probespiel: Kontrabass (published by Schott ED7854).

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 7 scales, freely chosen from the list, with hooked bowing, as in
the following example. (q = 88)
≥ ≥ ≤ ≤
? b ≥ ≥ ≤ œ≤ œ™ œ -œ™ œ. etc
œ™ œ œ™ . - .
- . -

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) —
Candidates prepare major and minor scales and arpeggios from the following tonal
centres, to be played with separate bows or slurred as requested by the examiner.
Examiners select from the following:

scales separate bows or


slurred two crotchet beats
min. tempi:
◗◗ D, F# and Bb to a bow; arpeggios
separate bows or slurred scales
three notes to a bow q = 104
two octaves arpeggios
separate bows or slurred
◗◗ Chromatic scales starting on Bb and F# two crotchet beats to a q. = 60
bow 7ths
q = 76
separate bows or slurred
◗◗ Diminished 7ths starting on Bb and F#
two notes to a bow

214 ‡ All pizzicato


Double Bass: Grade 7

When examiners request a major tonal centre, candidates should play in succession the:
◗◗ Major scale
◗◗ Major arpeggio
◗◗ Dominant 7th starting on that note and resolving onto the tonic (to be prepared with
separate bows and slurred two crotchet beats to a bow)
When examiners request a minor tonal centre, candidates should play in succession the:
◗◗ Melodic minor scale
◗◗ Harmonic minor scale
◗◗ Minor arpeggio

Technical exercises (from memory)

a) Broken thirds in Bb major (q = 120):


         
        etc

  
    
 etc      

b) Running thirds in Bb major (q. = 60):


                        

           
           

Or
 RCHESTRAL EXTRACTS (music may be used) —
3. O
Candidates prepare the following three extracts.
Candidates choose one extract to play first. Examiners then select one of the remaining two
extracts to be performed. Double Bass: Grade
Beethoven: Sinfonie Nr. 9, 4. Satz (page 14, beginning
1a. 
for tone and phrasing
of extract to bar 47)

2a. Weber: Euryanthe, Ouvertüre (page 56, bars 164–185) for bowing

3a. Mozart: Sinfonie Nr. 40, 1. Satz (page 22, bars 114–134) for left hand technique

215
Double Bass: Grade 7

SUPPORTING TESTS

Candidates prepare: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural or improvisation
three options:

Sight reading ◗◗ Stylistic

After 30 seconds’ preparation time, candidates ◗◗ Motivic


perform a previously unseen musical extract ◗◗ Harmonic
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for See pages 27–33 for the requirements and
sight reading parameters. parameters.

Aural
Candidates answer questions based on a single
musical example played on the piano by the
examiner. See page 27 for more information.
The aural test requirements for Grade 7
are below.

Aural questions

Parameters Task Requirement

i) Identify the time signature


Listen to the piece twice ii) Comment on the dynamics
iii) Comment on the articulation

Harmonised Identify and comment on two other


Listen to the piece twice
characteristics of the piece
8 bars
Identify the key to which the music
modulates as subdominant, dominant
Major or minor key Listen to the first four bars or relative key
of the piece once
2346 Answers may alternatively be given
as key names

Study a copy of the piece,


Locate and describe the changes
and listen to it twice with
as pitch (melody line only) or rhythm
three changes

216
Double Bass: Grade 8

Double Bass: Grade 8


PIECES
Candidates perform a balanced programme of three pieces chosen from the lists below,
containing at least one piece from each group. Only one unaccompanied piece may be chosen.
Pieces by at least two composers must be played. An own composition may be played instead
of one listed piece. See pages 16–19 for further guidance.

Composer Piece Book Publisher

Group A
1. BENSTEAD Lament, no. 3 Four Episodes Yorke YE0085
2. BOTTESINI Rêverie in D McTier MM203
3. CHAPUIS Choral Recital RM188
Adagio (2nd movt from Concerto
4. DITTERSDORF Concertos for Double Bass Yorke YE0059
no. 2) (without cadenza)
Double Bass Collection:
Bärenreiter
5. FAURÉ Sicilienne, op. 78 Concert Pieces for Double
BA9696
Bass and Piano
Double Bass Collection:
Bärenreiter
6. FURTOK Elegie Concert Pieces for Double
BA9696
Bass and Piano
Solos for the Double Bass
7. GEISSEL Adagio Schirmer GS33083
Player
8. GOUFFÉ Concertino, op. 10 Billaudot R19143
9. HAUTA-AHO Miniature Recital RM391
Allegro (1st movt from
10. KOHAUT Yorke YE0094
Concerto for Double Bass)
NIELSEN,
11. Romance Fantasy Pieces, op. 2 AMP 103
arr. KORDA
RAMEAU, Two Eighteenth-Century
12. Tambourin Stainer H468
arr. STERLING Pieces
Characteristic Pieces
13. RATEZ Scherzo, op. 46 no. 5 Recital RM190
book 2
Berceuse or Chant d’amour Three Pieces for Double
ˇ
14. TULÁCEK Recital RM021
or Valse miniature Bass & Piano
VERDI, Arias for Double Bass
15. Air d’il Trovatore Yorke YE0023
Double Bass: Grade

arr. BOTTESINI & Piano


16. WILSON Aria Da Capo Recital RM484

Group B
1. A BEN EZRA Can’t Stop Running Ezra

2. BENSTEAD Finale, no. 4 Four Episodes Yorke YE0085


Allegro con brio (3rd movt
3. BREUER Breitkopf BG506
from Sonatine)
8
217
Double Bass: Grade 8

4. CIMADOR Allegro (1st movt from Concerto in G) Yorke YE0003


Allegro maestoso (1st movt from
5. DRAGONETTI Recital RM346
Concerto in C major)
6. DRAGONETTI Waltz no. 7* or Waltz no. 11* 12 Waltzes Henle HN847
Corrente and Adagio (2nd and 3rd
7. ECCLES IMC 1712
movts from Sonata in G minor)
Variations on a Favourite Syrian Festival Performance
8. EISENGRÄSSER Fischer BF5
Folk Song (without var 1, 2 & 3)† Bass Solos
9. GAJDOŠ Capriccio no. 5* Selected Works for Bass Presser 414-41178
Adagio and Allegro (1st and 2nd Solos for the Double
10. HANDEL Schirmer GS33083
movts from Sonata in C minor) Bass Player
11. JACOB Introduction and Scherzo A Little Concerto Yorke YE0032
12. KEŸPER Rondo Romance and Rondo Yorke YE0030
Bartholomew
13. LORENZETTI Gavotte
BMP003
14. OSBORNE Blues with a Swing Moving On Again! Recital RM419
PERGOLESI, Comodo and Allegro (1st and 2nd Bartholomew
15.
arr. ELLIOTT movts from Sinfonia in F major) BMP010
PICHL, Allegro moderato (1st movt Bartholomew
16.
ed. ELLIOTT from Concerto in C major) BMP007
QUANTZ, Adagio and Allegro (1st and 2nd
17. Recital RM320
ed. RUSSELL movts from Sonata in G major)
Bartholomew
18. REYNOLDS Hornpipe
BMP004
Rondo — Allegretto (3rd movt from
19. ROMBERG IMC 3097
Sonata in E minor, op. 38 no. 1)
Largo and Allegro (1st and 2nd
VIVALDI, trans.
20. movts from Sonata no. 3 in A minor, IMC 1474
ZIMMERMANN
RV 43)

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21.
The scales, arpeggios and technical exercises are in Trinity’s book Double Bass Scales, Arpeggios
& Studies from 2016.
The orchestral extracts are in Orchester Probespiel: Kontrabass (published by Schott ED7854).

1. BOWING EXERCISE (from memory)

Candidates choose one of the Grade 8 scales listed below. Examiners choose any one of the
specified bowings from Grades 5–7 and ask candidates to play the scale with that bowing.

Either
2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) —
Candidates prepare major and minor scales and arpeggios from the following tonal
centres, to be played with separate bows or slurred as requested by the examiner.
Examiners select from the following:

218 * Unaccompanied † Accompaniment published separately


Double Bass: Grade 8

three octaves scales separate bows or min. tempi:


◗◗ G (dominant 7th slurred four crotchet scales
two octaves) beats to a bow; arpeggios q = 112
separate bows or slurred
chromatic scales
◗◗ Ab/G#, B and C three notes to a bow
q = 80
◗◗ Chromatic scales starting on separate bows or slurred arpeggios
G, Ab, B and C two octaves six notes to a bow q. = 66
7ths
◗◗ Diminished 7ths starting on separate bows or slurred
G, Ab, B and C two notes to a bow q = 84

When examiners request a major tonal centre, candidates should play in succession the:
◗◗ Major scale
◗◗ Major arpeggio
◗◗ Dominant 7th starting on that note and resolving onto the tonic (to be prepared with
separate bows and slurred two crotchet beats to a bow)
When examiners request a minor tonal centre, candidates should play in succession the:
◗◗ Melodic minor scale
◗◗ Harmonic minor scale
◗◗ Minor arpeggio

Technical exercises (from memory):

a) Broken thirds in C major (one octave) (h = 76)


1 1  1 4 2
 1  
4 4
   
0 2
 
1 2

  etc
etc.

b) Broken thirds in F major (two octaves) (h = 76)


        
       
  etc
etc.

c) Running thirds in G major on the G string (one octave) — see Grade 7 example (q· = 60)

Or
 RCHESTRAL EXTRACTS (music may be used) —
3. O
Candidates prepare the following three extracts.
Candidates choose one extract to play first. Examiners then select one of the remaining two
extracts to be performed.
Double Bass: Grade

Verdi: Othello, 4. Akt (page 44, entire extract)


1.  for tone and phrasing

Stravinsky: Pulcinella-Suite, 7. Satz (page 60,


2. 
for bowing
fig. 85 to bar before fig. 89, without repeat)

Schubert: Sinfonie Nr. 8, 3. Satz: Scherzo


3. 
for left hand technique
(pages 30–31, bar 105 to 1st note of bar 145)
8
219
Double Bass: Grade 8

SUPPORTING TESTS

Candidates prepare: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural or improvisation
three options:

Sight reading ◗◗ Stylistic

After 30 seconds’ preparation time, candidates ◗◗ Motivic


perform a previously unseen musical extract ◗◗ Harmonic
at a level approximately two grades lower than
See pages 27–33 for the requirements
the exam being taken. See pages 23–26 for
and parameters.
sight reading parameters.

Aural
Candidates answer questions based on a single
musical example played on the piano by the
examiner. See page 27 for more information.
The aural test requirements for Grade 8
are below.

Aural questions

Parameters Task Requirement

i) Identify the time signature


Listen to the piece once ii) Comment on the dynamics
Harmonised
iii) Comment on the articulation
12–16 bars
Identify and comment on three other
Listen to the piece twice
Major or minor key characteristics of the piece

Study a copy of the piece,


23465 and listen to it twice with
Locate and describe the changes
as pitch or rhythm
three changes

220
Harp/Pedal Harp/Non-Pedal Harp: Initial to Grade 5

Harp/Pedal Harp/Non-Pedal Harp:


Initial to Grade 5
EXAM DURATION EXAM STRUCTURE
The Initial exam lasts The Grade 1 exam The Initial to Grade 5 exams contain the following:
13 minutes lasts 15 minutes
Maximum
marks

PIECE 1 22

PIECE 2 22
The Grade 2 exam The Grade 3 exam
lasts 15 minutes lasts 15 minutes
PIECE 3 22

TECHNICAL WORK 14

The Grade 4 exam The Grade 5 exam ◗◗ Either scales, arpeggios & exercises
lasts 20 minutes lasts 20 minutes or studies

SUPPORTING TESTS 20

Any TWO of the following:


◗◗ Sight reading
◗◗ Aural
◗◗ Improvisation
◗◗ Musical knowledge

TOTAL 100

221
Harp: Initial

Harp: Initial
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Pieces by
at least two composers must be played. An own composition may be played instead of one listed
piece. All of the listed pieces are playable on either pedal or non-pedal harp. See pages 16–19 for
further guidance.
Composer Piece Book Publisher
CLIFTON- Lullaby
1. Harping On book 1 Clifton-Welker
WELKER or Skaters
2. DUNSTONE Ace Café Harpo One Creighton SD1001
3. DUNSTONE The Rocking Horse Harpo Two Creighton SD1002
Pulling Strings on the
4. EVANS Tilly’s Dance (bars 1–16) Evans
Clarsach book 1
Chop-Chop! or Donkey Ride
5. GOUGH Lift-Off! Beartramka
or Games in the Playground
First-Grade Pieces
6. GRANDJANY Three O’Clock Fischer 04466
for Harp
Brian Boru’s March or Fly in
the Soup or Grace and Favour Traditional Irish Harp
7. HARBISON or Ten Green Bottles or The Tutor for Junior Janet Harbison 1005
A-B-C Song or There Stands Beginners
a Lady or This Old Man
King Henry’s Dance or March
8. KANGA of the Wooden Soldiers Minstrel’s Gallery Maruka
or Queen Mary’s Lullaby
9. MacDEARMID To and Fro First Steps (Folio 21) Clarsach Society
Fa, Sol, La, Doh Harp Olympics:
10. McDONALD MusicWorks
or Lullaby Preliminary Round
11. PERNEL Petits pas or Pleurs de joie Les Amuse-Bouches La Harpe Libre
Magical Animals on the
12. ROTHSTEIN Glow Worm Rothstein
Harp
13. ROTHSTEIN The Mistle Thrush A Walk in the Forest Rothstein
Little Harper
14. SCHLOMOVITZ Beginner’s Harp Book 1 Salvi
or Japanese Sunset
Taigh na Teud
15. STRACHAN Sneachd (Gentle Snow) A’ Cheud Cheum
1871931029
TRAD., arr. Twelve Easy Pieces for
16. An Dro Cornwall Harp Centre
DEERE-JONES Celtic or Traditional Harp
TRAD., Lazy Mary
17. Fun from the First vol 1 Lyon & Healy
arr. MILLIGAN or Round Dance
TRAD., The Very Small Harp
18. Clog Bransle Radford
arr. RADFORD Book
TRAD.,
19. Au clair de la lune Harp from the Start Pentland
arr. ROBERTSON
TRAD., Melody Beginning at the Harp
20. Lovelace
arr. THOMSON or We Dance vol 1
222
Harp: Initial

TECHNICAL WORK

Candidates prepare either section 1. or section 2. See page 22.


The exercises and studies are in Trinity’s book Harp Studies & Exercises from 2013.

Either 
1. SCALES, ARPEGGIOS & EXERCISES

Harp: Initial
Scales & arpeggios (from memory)
Examiners select from the following:

Scales:
◗◗ C major
divided between
◗◗ A minor one octave
hands min. tempo:
(candidate choice of either
 = 60
harmonic or natural minor)
(one note per mf

Arpeggios: quaver)
◗◗ C major to the 5th hands separately
◗◗ A minor

Exercises (music may be used) — Candidates prepare all three exercises.


Candidates choose one exercise to play first. Examiners then select one of the remaining two
exercises to be performed.

1. Swinging
a.  for arpeggio patterns

2. Small Scissors
b.  for playing in thirds

3. Big Scissors
c.  for playing in sixths

Or
2. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.

31. Bears in a Cage


a. 

33. Fanfare
b. 

34. Rodeo
c. 

223
Harp: Initial

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
◗◗ Aural on a stimulus chosen from the following
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level lower than the exam being taken.
See pages 23–26 for the requirements Musical knowledge
and parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the harp.
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.
The aural test requirements for Initial
are below.

Aural questions

Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing,


three times stressing the strong beat
Melody only
Listen to the melody once Identify the dynamic as forte or piano
4 bars
Major key Identify the articulation as legato
Listen to the melody once
or staccato
2
Listen to the first three
Identify the highest or lowest note
notes of the melody once

224
Harp: Grade 1

Harp: Grade 1
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Pieces by
at least two composers must be played. An own composition may be played instead of one listed
piece. Unless indicated otherwise, all of the listed pieces are playable on either pedal or non-pedal
harp. See pages 16–19 for further guidance.
Composer Piece Book Publisher
1. CLIFTON-WELKER Raindrops for Rachel Harping On book 1 Clifton-Welker
Panorama de la harpe Transatlantiques
2. CORRI Marche

Harp: Grade
celtique TR001761
Day Dreaming Twelve Easy Pieces for Cornwall Harp
3. DEERE-JONES
or The Young Horse Reel Celtic or Traditional Harp Centre
4. DUNSTONE A Trifle Harpo Two Creighton SD1002
5. DUNSTONE Fairy Dust Harpo One Creighton SD1001
Pulling Strings on the
6. EVANS The Ferris Wheel
Clarsach book 1
Evans
1
7. GOUGH Kangaroos Lift-Off! Beartramka
8. GRANDJANY Little Waltz First-Grade Pieces for Harp Fischer 04466
HUMPERDINCK, There Stands a Little Man
9. Fun from the First vol 1 Lyon & Healy
arr. MILLIGAN (from Hansel and Gretel)
10. LEWIS Ripples Melodic Moments Goodmusic GM226
Fiesta! (Cuirmeachd) or
Beginner’s Choice
11. MacDEARMID The Merry-Go-Round Clarsach Society
(Folio 18)
(A’ dol mun cuairt)
12. MacDEARMID On Parade or The Elfin Piper First Steps (Folio 21) Clarsach Society
Dreamy Little Cow Harp Olympics:
13. McDONALD MusicWorks
or Lady Bug Preliminary Round
Twelve Impressions on
A Red Waltz* or Bird Discussion*
14. OWENS Pedal Patterns for Young Lyon & Healy
or Sunday Morning*
Harpists
15. PARET Rondo First Harp Book Lyra
16. PERNEL Sorbet pistache Les Amuse-Bouches La Harpe Libre
17. PERNEL Vers les nuages Autre chose for lever harp La Harpe Libre
PRAETORIUS, Kim Robertson Celtic Harp
18. Spagnoletta Mel Bay 95345
arr. ROBERTSON Solos
19. ROBERTSON Ocean Waves Harp from the Start Pentland
20. ROSE Jack and the Giant The Enchanted Harp Lyra
21. ROTHSTEIN All the Way Home A Walk in the Forest Rothstein
Bhalsa an Teuda Geal Puirt Ùra (New Tunes Taigh na Teud
22. THOMSEN
(The White String Waltz) for Harp): Beginners 9781906804077
23. TOURNIER Les tierces Les plaisirs de la harpe vol 1 Lemoine HL25266
TRAD., Twelve Easy Pieces for Cornwall Harp
24. Cantigo no. 100
arr. DEERE-JONES Celtic or Traditional Harp Centre
TRAD.,
25. The Ash Grove Mixed Doubles Spartan SP1285
arr. GREEN

* Pedal harp only 225


Harp: Grade 1

TRAD., Taigh na Teud


26. Oran na Maighdinn Mhara Scottish Harp
arr. HEWAT 1871931037
TRAD., Tuireadh Iain Ruaidh Lullabies, Airs and
27. Clarsach Society
arr. JACKSON (Red John’s Lament) Dances vol 1 (Folio 40)
TRAD.,
28. The Northern Princess Fun from the First vol 1 Lyon & Healy
arr. MILLIGAN
TRAD.,
29. The Purple Bamboo Fun from the First vol 2 Lyon & Healy
arr. MILLIGAN
TRAD., Soraidh Slàn Le Fionnairidh
30. Mist Covered Mountains Alaw
arr. SINCLAIR (Farewell to Fuinary)
Barn Dance Memory
31. WEIDENSAUL First-Grade Pieces for Harp Fischer 04466
or Midnight Stars

TECHNICAL WORK

Candidates prepare either section 1. or section 2. See page 22.


The exercises and studies are in Trinity’s book Harp Studies & Exercises from 2013.

Either 
1. SCALES, ARPEGGIOS & EXERCISES
Scales & arpeggios (from memory)
Examiners select from the following:

Scales:
◗◗ G and F major
◗◗ D and E minor min. tempo:
(candidate choice of either e = 60
harmonic or natural minor) one octave hands separately mf
(one note per
quaver)
Arpeggios:
◗◗ G and F major
◗◗ D and E minor

Exercises (music may be used) — Candidates prepare all three exercises.


Candidates choose one exercise to play first. Examiners then select one of the remaining two
exercises to be performed.
a. 4. Zebra Crossing for turning under and over loudly
b. 5. Why did the Chicken Cross the Road? for turning under and over softly
c. 6. Stilts for playing octaves in one hand

Or
2. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining
two studies to be performed.
a. 35. A Grand Event
b. 37. Chimes Across the Fields
c. 39. Rocking Horse

226
Harp: Grade 1

SUPPORTING TESTS

Candidates choose TWO of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
and parameters.

Harp: Grade
perform a previously unseen musical extract
at a level lower than the exam being taken.
See pages 23–26 for the requirements Musical knowledge
and parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the harp.
Candidates answer questions based on a single Questions are based on candidates’ chosen 1
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.
The aural test requirements for Grade 1
are below.

Aural questions

Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing,


three times stressing the strong beat

Melody only i) Identify the dynamic as forte or piano


Listen to the melody once ii) Identify the articulation as legato
4 bars or staccato

Major key Listen to the first two bars Identify the last note as higher or lower
of the melody once than the first note
23
Listen to the melody twice,
with a change of rhythm or Identify where the change occurs
pitch in the second playing

227
Harp: Grade 2

Harp: Grade 2
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Pieces by
at least two composers must be played. An own composition may be played instead of one listed
piece. Unless indicated otherwise, all of the listed pieces are playable on either pedal or non-pedal
harp. See pages 16–19 for further guidance.

Composer Piece Book Publisher

1. ANDRÈS No. 2 or no. 4 Charades Hamelle HA009609

2. ANDRÈS No. 2 or no. 6 Aquatintes Hamelle HA009606


ANON., Kim Robertson Celtic
3. Kalenda Maya Mel Bay 95345
arr. ROBERTSON Harp Solos
BARTÓK,
4. In Yugoslav Mode, no. 3 Mikrokosmos for Harp Boosey M060011931
arr. MARZUKI
5. BOUCHARD Le parapluie Harpe d’Or Billaudot GB5993

6. CLIFTON-WELKER Frogs Harping On book 2 Clifton-Welker

7. CLIFTON-WELKER Goblin Rustle Harping On book 1 Clifton-Welker


DHUGLAS, An Cala Seimh Lullabies, Airs & Dances
8. Clarsach Society
arr. NAPIER (The Peaceful Harbour) vol 1 (Folio 40)
9. DUNSTONE Leaving Harpo Three Creighton SD1003

10. DUNSTONE The Faded Flower Harpo Two Creighton SD1002


Deep Sea Diving
11. GOUGH Lift-Off! Beartramka
or Into Space
12. GRANDJANY Gigue Petite suite classique Fischer 04788
Rêverie Trois petites pièces très
13. GRANDJANY Leduc AL20039
or Nocturne faciles, op. 7
14. GRANDJANY The See-saw Little Harp Book Fischer 04636
HAYDN, Andante (from the
15. First Harp Book Lyra
arr. PARET ‘Surprise’ Symphony)
16. HOLÝ Dolly’s Cradle Song In Toyland, op. 30 Lyra

17. KANGA Sunshine Valley Minstrel’s Holiday Maruka


LEE, Early English Pieces
18. Variations Lyra
arr. LAWRENCE for the Beginner
Monastery Bells
19. LEWIS Echoes of Olden Times Goodmusic GM222
or Troubadour
Early French Pieces for
20. LULLY Minuet Lyra
the Beginner

228
Harp: Grade 2

Copy Cat or O Dear,


21. MacDEARMID First Steps (Folio 21) Clarsach Society
What Can the Matter Be?

22. MAROS Notturno Suite for Harp EMB Z.7390


A Selection from
NORTON, Country Ballad Microjazz Collection 1
23. 80 Days
arr. BENNETT or Stairway arranged for
harp or lever harp
Twelve Impressions on
24. OWENS Dance of the Little Fish* Pedal Patterns for Young Lyon & Healy
Harpists
O’Carolan’s Air
25. PARET First Harp Book Lyra
or The Foggy Dew
26. PERNEL En grappes Les Amuse-Bouches La Harpe Libre
Autre chose for lever
27. PERNEL La coccinelle La Harpe Libre

Harp: Grade
harp
28. ROSE Peter Rabbit The Enchanted Harp Lyra
Butterfly or The
29. ROTHSTEIN Animals on the Harp Rothstein
Frolicking Lambs
30. THOMSON Ebbing Tide Lovelace

31. THOMSON Song at Night Lovelace 2


TRAD., Early One Morning
32. Traditional Treasures Gabriel
arr. BENNETT or Scarborough Fair
Twelve Easy Pieces for
TRAD., Over the Hills and Far
33. Celtic Cornwall Harp Centre
arr. DEERE-JONES Away or The Mayflower
or Traditional Harp
TRAD.,
34. Schlaf Mein Kleiner Harfenspiel Preissler JP6208
arr. HÖLLER
Se Gaol a Bhobain
Fionnlagh (Finlay Is His
TRAD.,
35. Father’s Darling) or A’ Cheud Cheum Taigh na Teud 1871931029
arr. MARTIN
Thig am Bàta, Hug-o
(The Boat Will Come)
TRAD.,
36. Arrane Ghelby More Tunes to Treasure Swanston
arr. MIERAS
TRAD., The Britches Full
37. Harp from the Start Pentland
arr. ROBERTSON of Stitches
TRAD., Bàigh Na Hearadh
38. Mist Covered Mountains Alaw
arr. SINCLAIR (Bays of Harris)
TRAD., Seallaibh curaidh Puirt Ùra (New Tunes for Taigh na Teud
39.
arr. THOMSEN Eòghain Harp): Beginners 9781906804077
40. VERDELL A Cloudy Day Songs of Four Seasons Broekmans BP1924
First-Grade Pieces for
41. WEIDENSAUL El número uno Fischer 04636
Harp

* Pedal harp only 229


Harp: Grade 2

TECHNICAL WORK

Candidates prepare either section 1. or section 2. See page 22.


The exercises and studies are in Trinity’s book Harp Studies and Exercises from 2013.

Either 
1. SCALES, ARPEGGIOS & EXERCISES

Scales & arpeggios (from memory)


Examiners select from the following:

Scales:
◗◗ Bb and D major
◗◗ G and B minor
(candidate choice of either
min. tempo:
harmonic or natural minor except
e = 70
non-pedal harp B minor which two octaves hands together f or p
(one note per
should be natural minor only)
quaver)
Arpeggios:
◗◗ Bb and D major
◗◗ G and B minor

Exercises (music may be used) — Candidates prepare all three exercises.


Candidates choose one exercise to play first. Examiners then select one of the remaining
two exercises to be performed.

a. 7. Oceans Eight for arpeggio patterns in inversions

b. 8. Sliding Down for sliding the thumb

c. 9. Hard as Nails for use of the fingernail

Or
2. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining
two studies to be performed.

a. 41. Hymn

b. 42. Sailing the Isles

c. 48. Scales in the Mountains (pedal harp) / 47. Scales in the Desert (non-pedal harp)

230
Harp: Grade 2

SUPPORTING TESTS

Candidates choose TWO of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for the Musical knowledge
requirements and parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well

Harp: Grade
Aural as their knowledge of notation and the harp.
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.
The aural test requirements for Grade 2
are below. 2

Aural questions

Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing,


three times stressing the strong beat

i) D
 escribe the dynamics, which will vary
Melody only during the melody
Listen to the melody once
4 bars ii) Identify the articulation as legato
or staccato
Major or minor key
Identify the last note as higher or lower
Listen to the melody once
than the first note
23
Listen to the melody twice, i) Identify where the change occurs
with a change of rhythm or
pitch in the second playing ii) Identify the change as rhythm or pitch

231
Harp: Grade 3

Harp: Grade 3
PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Pieces
by at least two composers must be played. An own composition may be played instead of one
listed piece. Unless indicated otherwise, all of the listed pieces are playable on either pedal or
non-pedal harp. See pages 16–19 for further guidance.

Composer Piece Book Publisher


1. ANDRÈS Gavotte Automates Hamelle HA009608
2. ANDRÈS No. 10† Les petits pas Lemoine HL26985
ANON., Kim Robertson Celtic
3. Lauda to Sta. Maddalena Mel Bay 95345
arr. ROBERTSON Harp Solos
BARON, Broken String
4. Air, no. 7 Suite in C major
trans. WARD BSP002
5. BURGON First Man* Beginnings Stainer H52
CAMIDGE, Early English Pieces
6. Christ-Church Bells Lyra
arr. LAWRENCE for the Beginner
CLEMENTI,
7. 1st movt (from Sonatina)* Second Harp Book Lyra
trans. PARET
Autumn Skies or Boats on
8. CLIFTON-WELKER the Solent or Fairground Harping On book 2 Clifton-Welker
or Harp Break or Lanterns
Pulling Strings on the
9. EVANS The Sleeping Child Evans
Clarsach book 1
Lieder und Tänze für
10. FRANZL Der Vorderkaiserfeldner Preissler JP6201/1
die Volksharfe
The Scottish Harp Anthology
11. GILCHRIST Hospitality of Jane† Pentland
vol 1: Elementary
12. GOUGH Cuckoo Clock Lift-Off! Beartramka
GOUNOD, †
13. Les Pifferari Medieval to Modern vol 2 Lyon & Healy
ed. MILLIGAN
Trois petites pièces
14. GRANDJANY Barcarolle Leduc AL20039
très faciles, op. 7
15. GREEN Blistering Rock! Blistering Along! Spartan SP1281
GRUBNER,
Twelve Jazzy
16. arr. ROBINSON Silent Night Pedal Sliders
Christmas Songs
& WHITING
Lieder und Tänze für
17. HAUN Gemütlicher Ländler Preissler JP6201/1
die Volksharfe
The Scottish Harp Anthology
18. HEWAT Redesmouth Mill† Pentland
vol 2: Intermediate
19. HOLÝ Colombine or Harlequin In Toyland, op. 30 Lyra
Coconut Joe or Magic
Dreams or Party Time Rag
20. KANGA or We’re at the Seaside, Minstrel’s Holiday Maruka
We’re at the Sea or When
We’re Swimming Along

232 * Pedal harp only † Non-pedal harp only


Harp: Grade 3

Blue Sky and Long Grass


21. LEWIS Melodic Moments Goodmusic GM226
or Shepherd’s Tune
Contemplation
22. LEWIS Contemplation and Comedy Goodmusic GM223
or Gentle Interlude
23. LEWIS Tibby Telor Echoes of Olden Times Goodmusic GM222
24. MacDEARMID Hoe Down Party Pieces (Folio 23) Clarsach Society
Harp Solos: Graded Recital
25. McDONALD Serenade* MusicWorks M18
Pieces vol 2
Chant A Selection from Microjazz
NORTON,
26. or Reggae Collection 2 arranged for 80 Days
arr. BENNETT
or Sunset harp or lever harp
Cross-over A Selection from Microjazz
NORTON,
27. or New Confidence Collection 1 arranged for 80 Days
arr. BENNETT
or Walking Together harp or lever harp
28. PHILLIPS No. 1 or no. 4 Le jardin secret d’elodie Combre 5136
PLEYEL, Kleine Werke alter Meister
29. Allegretto Preissler JP6204
arr. ZINGEL für die Harfe
30. RODGERS Skylark Stainer H495
31. ROSE The Clock and the Mouse The Enchanted Harp Lyra
32. ROSETTY Samba Rosa Groovy Harping Together XYZ 1411

Harp: Grade
33. ROTHSTEIN Seagull Animals on the Harp Rothstein
The Dance of Danny’s
34. ROTHSTEIN Magical Animals on the Harp Rothstein
Dragon
Beethoven at School
Sketches for Harpist
35. SALZEDO (on non-pedal harp: Presser 464-00053
Beginners
to be played in Bb major)
36. SALZEDO On Stilts Short Stories in Music vol 2 Lyra 3
Processional or The Clock Tiny Tales for Harpist
37. SALZEDO Lyra
Maker’s Shop Beginners vol 2
A Cheerful Piece for a
38. SIMPSON Pedal Harp World Beartramka
Wintry January Afternoon*
TRAD., Gillean an Dròbhair (The Taigh na Teud
39. Scottish Harp
arr. HEWAT Drover’s Lads) 1871931037
TRAD., Song of Alsace
40. Nine Folk Melodies Lyra
arr. OWENS or Steal Away
TRAD.,
41. Londonderry Air Lyra
arr. PARET
TRAD.,
42. The Streets of Dublin Harp from the Start Pentland
arr. ROBERTSON
TRAD., UMP
43. The Christ Child’s Lullaby Sounding Strings
arr. STEVENSON 9790224402476
Bog Braon don tSeanduine
TRAD.,
44. (Warm a Drop for the Sounding Harps book 1 Cairde na Cruite
arr. YEATS
Baby)†
A Harmonic Waltz
WHITING &
45. or Interrupted Blues Easy Jazz & Blues Pedal Sliders
ROBINSON
or Jazz Lullaby

* Pedal harp only † Non-pedal harp only 233


Harp: Grade 3

TECHNICAL WORK

Candidates prepare either section 1. or section 2. See pages 20–21.


The exercises and studies are in Trinity’s book Harp Studies & Exercises from 2013.

Either 
1. SCALES, ARPEGGIOS & EXERCISES
Scales & arpeggios (from memory)
Examiners select from the following:
Scales:
◗◗ Eb and A major
◗◗ C minor (non-pedal harp only)
or F minor (pedal harp only)
(candidate choice of either
hands together min. tempo:
harmonic or melodic minor)
(melodic minor e = 80
two octaves f or p
scale on non-pedal (one note per
◗◗ Eb major contrary motion starting
harp RH only) quaver)
from single Eb string

Arpeggios:
◗◗ Eb and A major
◗◗ C and F minor

Exercises (music may be used) — Candidates prepare all three exercises.


Candidates choose one exercise to play first. Examiners then select one of the remaining two
exercises to be performed.

a. 10. Popcorn for staccato playing

b. 11. Bluesy for étouffés in the left hand

c. 12. Sliding Up for sliding the 4th finger

Or
2. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.

a. 44. The Watermill

b. 49. Camel Ride

c. 52. Goldfish

234
Harp: Grade 3

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for Musical knowledge
sight reading parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the harp.
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.

Harp: Grade
The aural test requirements for Grade 3
are below.

Aural questions
3
Parameters Task Requirement

Clap the pulse on the second playing,


Listen to the melody twice
stressing the strong beat

Melody only Listen to the melody once Identify the tonality as major or minor

Listen to the first two notes Identify the interval by number only
4 bars
of the melody once (second, third, fourth, fifth or sixth)
Major or minor key Study a copy of the melody
(provided in treble, alto or i) 
Identify in which bar the change
34 bass clef as appropriate), and has occurred
listen to it once as written and
once with a change of rhythm ii) Identify the change as rhythm or pitch
or pitch

235
Pedal Harp: Grade 4

Pedal Harp: Grade 4


PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Pieces by
at least two composers must be played. An own composition may be played instead of one listed
piece. See pages 16–19 for further guidance.

Composer Piece Book Publisher


Menuets 1 and 2 (from Cello
J S BACH, Suite no. 1, BWV 1007) or Cello Suites vol 1: Suites 1–2
1. Billaudot GB8517
trans. CHEFSON Menuets 1 and 2 (from Cello (BWV 1007–1008)
Suite no. 2, BWV 1008)
BARON, Broken String
2. Minuet, no. 3 Suite in C major
trans. WARD BSP002
BARTÓK, Boosey
3. Triplets, no. 11 Mikrokosmos for Harp
arr. MARZUKI M060011931
CHAVARRI,
4. El viejo castillo moro Lyra
trans. GRANDJANY
Andantino poco allegretto
UT Orpheus
5. DALVIMARE (2nd movt from Sonata,
MAG252
op. 2 no. 1)
DELIBES, Solos for Lever or
6. Flower Duet (from Lakmé) Avondale AvP105
arr. VOLPÉ BLIGH Pedal Harp
DELIBES, Solo for Harp — Morceau à Franck & Delibes: Two
7. Allegro/OUP
ed. COSTELLO déchiffrer Original Pieces for Harp
Ah! vous dirai-je maman
DESARGUS, First Easy–Medium
8. (Twinkle, Twinkle, Little Morley 500296
ed. WATKINS Grade Volume
Star)
Andante con moto
(1st movt from Sonatina
Bärenreiter Praha
9. DUSSEK no. 1 in C) or Andante Six Sonatines for Harp
H1748
grazioso (1st movt from
Sonatina no. 2 in F)
FRANCK, Franck & Delibes: Two
10. Solo for Harp — Allegretto Allegro/OUP
ed. COSTELLO Original Pieces for Harp
11. FRANÇOIS Ragtime Easy Swing Billaudot GB7382
12. GRANDJANY Arabesque Lyra
13. GRANDJANY Noël provençal, op. 24 Lyra
14. HAMZELOU Persian Dance Pedal Harp World Beartramka
HANDEL,
15. Air varié Medieval to Modern vol 1 Lyon & Healy
ed. MILLIGAN
16. HASSELMANS Rêverie Trois petites pièces faciles Durand 453300
Durand
17. HASSELMANS Sérénade mélancolique Feuilles d’Automne
DF00565100
Papierblume (Paper
Klangblumen
18. HELLER Flower), no. 7 or Ackerwinde Schott ED21020
(Musical Flowers)
(Bindweed), no. 12

236
Pedal Harp: Grade 4

The Smell of Honeysuckle or


Suite: In the Garden,
19. HIGGINSON The Stream that Bounds the Fagus
op. 173
Garden or Wild Roses
HOLST, arr. Twelve Jazzy Christmas
20. In the Bleak Midwinter Pedal Sliders
ROBINSON & WHITING Songs
21. HUI Hommage à Krumpholz Pedal Harp World Beartramka
22. JAMES Alice or The Pool of Tears Alice in Wonderland La Harpe Blanche
Home Time or Minstrel’s
23. KANGA Minstrel’s Holiday Maruka
Farewell to the Holiday
Romance (2nd movt from Broekmans
24. KRUMPHOLZ
Sonata in Bb major) BRP933
KUHNAU, Menuet and Sarabande Baroque and Classic
25. Lyon & Healy
ed. PRATT (both to be played) Pieces for Harp
Strawberry Moon
26. LLYR Creighton SM0573
(Lleuad Mefus)
27. MAROS Naenia Suite for Harp EMB Z.7390
MAYER, First Easy–Medium
28. Romance in B minor Morley 500296
ed. WATKINS Grade Volume
Harp Solos: Graded
29. McDONALD Nocturne MusicWorks M21
Recital Pieces vol 5
MILAN, Baroque and Classic
30. Pavana Lyon & Healy

Pedal Harp: Grade


ed. PRATT Pieces for Harp
Duet A Selection from
NORTON,
31. or Samba Microjazz Collection 2 80 Days
arr. BENNETT
or Washing Blues arranged for harp
32. PETRA-BASACOPOL The Bear Baloo The Jungle Book Lyra
PIERPONT, arr. Twelve Jazzy Christmas
33. Jingle Bells Pedal Sliders
ROBINSON & WHITING Songs
Allegretto grazioso Broekmans
34. PITFIELD
(1st movt from Sonatina) BP1450
35. RENIÉ Angelus Feuillets d’album Lemoine HL19302
4
Grand-mère raconte
36. RENIÉ Leduc AL19922
une histoire
Twelve Jazzy Christmas
37. ROBINSON & WHITING The Elf Factory Pedal Sliders
Songs
38. ROSETTY Bossa Boy or Jazzy Joe Jazzy Harping Together XYZ 1392
Magical Animals on
39. ROTHSTEIN Unicorn Rothstein
the Harp
Short Stories in Music
40. SALZEDO Pirouetting Music Box Lyra
vol 2
41. SIMPSON A Nostalgic Piece for May Pedal Harp World Beartramka
Libellenflug
42. STADLER Spirit of Harp Doblinger D35843
(The Dragonfly)
TRAD., arr. Twelve Jazzy Christmas
43. Coventry Carol Pedal Sliders
ROBINSON & WHITING Songs
The Travel Journal of a
TRAD., Hong Kong Harp
44. Purple Bamboo Melody Western Harpist in the
arr. STICKNEY Chamber
Chinese Garden 237
Pedal Harp: Grade 4

TECHNICAL WORK

Candidates prepare either section 1. or section 2. See page 22.


The exercises and studies are in Trinity’s book Harp Studies & Exercises from 2013.

Either 
1. SCALES, ARPEGGIOS & EXERCISES
Scales & arpeggios (from memory)
Examiners select from the following:

Scales:
◗◗ Ab and E major
◗◗ C# and F# minor
(harmonic and melodic minor)
min. tempo:
e = 90
◗◗ Ab major contrary motion two octaves hands together f or p
(one note per
starting from single Ab string
quaver)
Arpeggios:
◗◗ Ab and E major
◗◗ C# and F# minor

Exercises (music may be used) — Candidates prepare all three exercises.


Candidates choose one exercise to play first. Examiners then select one of the remaining two
exercises to be performed.

a. 13. A Bit Jazzy for étouffés and pedal/lever glissandi

b. 14. Rocking Chair for finger articulation and thumb placing

c. 15. PDLT for près de la table

Or
2. STUDIES (music may be used) — Candidates prepare all three studies.
Candidates choose one study to play first. Examiners then select one of the remaining two
studies to be performed.

a. 53. Shining Scales

b. 55. Cool Dude

c. 60. Elizabeth’s Revel

238
Pedal Harp: Grade 4

SUPPORTING TESTS

Candidates choose two of the following: Improvisation


◗◗ Sight reading Candidates perform an improvisation based
on a stimulus chosen from the following
◗◗ Aural
three options:
◗◗ Improvisation
◗◗ Stylistic
◗◗ Musical knowledge
◗◗ Motivic

Sight reading ◗◗ Harmonic

After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements
perform a previously unseen musical extract and parameters.
at a level approximately two grades lower than
the exam being taken. See pages 23–26 for Musical knowledge
sight reading parameters.
Candidates answer questions assessing their
understanding of the pieces performed, as well
Aural as their knowledge of notation and the harp.
Candidates answer questions based on a single Questions are based on candidates’ chosen
musical example played on the piano by the pieces. See pages 34–35 for example questions
examiner. See page 27 for more information. and responses.
The aural test requirements for Grade 4

Pedal Harp: Grade


are below.

Aural questions

Parameters Task Requirement

Clap the pulse on the second playing,


Listen to the piece twice
stressing the strong beat 4
i) Identify the tonality as major or minor
Listen to the piece twice ii) Identify the final cadence as perfect
Harmonised or imperfect
4 bars Identify the interval as minor or major
Listen to the first two notes
second, minor or major third, perfect
Major or minor key of the melody once
fourth or fifth, minor or major sixth

46 Study a copy of the melody


(provided in treble, alto or i) Identify the bar in which the change
bass clef as appropriate), and of rhythm occurred
listen to it once as written ii) Identify the bar in which the change
and once with a change of of pitch occurred
rhythm and a change of pitch

239
Non-Pedal Harp: Grade 4

Non-Pedal Harp: Grade 4


PIECES
Candidates perform a balanced programme of three pieces, chosen from the list below. Pieces by
at least two composers must be played. An own composition may be played instead of one listed
piece. See pages 16–19 for further guidance.

Composer Piece Book Publisher


ANON., Pièces anciennes pour
1. Romance Leduc AL27187
arr. ROLLIN harpe celtique
BACKOFEN, Kleine Werke alter
2. Theme varie Preissler JP6204
arr. KOPP Meister für die Harfe
BARON,
3. Minuet, no. 3 Suite in C major Broken String BSP002
trans. WARD
BARTÓK,
4. Triplets, no. 11 Mikrokosmos for Harp Boosey M060011931
arr. MARZUKI
Panorama de la harpe Transatlantiques
5. BUTTSTEDT Menuet
celtique TR001761
DALZA, Kim Robertson Celtic
6. Paduana alla Venetiana Mel Bay 95345
arr. ROBERTSON Harp Solos
7. Early French Pieces
DANDRIEU Gavotte in Rondo Form Lyra
for the Beginner
DELIBES, Solos for Lever or
8. Flower Duet (from Lakmé) Avondale AvP105
arr. VOLPÉ BLIGH Pedal Harp
9. FRANÇOIS Ragtime Easy Swing Billaudot GB7382
Lieder und Tänze für
10. FRANZL Im schönen Kaisertal Preissler JP6201/1
die Volksharfe
La pagode de l’harmonie
céleste or Paysage au
11. GABUS Images de Chine Billaudot GB4019
bord de l’eau
or Un français à Pékin
12. GREEN Lullaby — for Wendy Blistering Along! Spartan SP1281
13. GREEN Ragged Robin Flights of Fancy Spartan SP1282
Papierblume Klangblumen
14. HELLER Schott ED21020
(Paper Flower), no. 7 (Musical Flowers)
Taigh na Teud
15. HEWAT Lindsey Grace Johnson Scottish Harp
1871931037
Procession or Dolly’s
16. HOLÝ In Toyland, op. 30 Lyra
Dance
17. JAMES Alice or The Pool of Tears Alice in Wonderland La Harpe Blanche
Home Time or Minstrel’s
18. KANGA Minstrel’s Holiday Maruka
Farewell to the Holiday
19. LEWIS Lament for a Castle Echoes of Olden Times Goodmusic GM222
Laurel & Hardy Contemplation and
20. LEWIS Goodmusic GM223
or Charlie Chaplin Comedy
Feet First A Selection from
NORTON,
21. or Highly Strung Microjazz Collection 3 80 Days
arr. BENNETT
or Ostinato arranged for lever harp

240
Non-Pedal Harp: Grade 4

PIERPONT,
Twelve Jazzy
22. arr. ROBINSON Jingle Bells Pedal Sliders
Christmas Songs
& WHITING
Grand-mère raconte
23. RENIÉ Leduc AL19922
une histoire
The Scottish Harp
24. ROBERTSON The Angels’ Share Anthology vol 2: Pentland
Intermediate
Bossa Boy
25. ROSETTY Jazzy Harping Together XYZ 1392
or Jazzy Joe
Magical Animals on the
26. ROTHSTEIN Unicorn
Harp
Rothstein

Chimes Tiny Tales for Harpist


27. SALZEDO Lyra
or The Dandy Beginners vol 2
Adventures for Lever
28. SCOTT Gecko Dance Astute AM100-03
Harp vol 1
Libellenflug
29. STADLER Spirit of Harp Doblinger D35843
(The Dragonfly)
TRAD.,
30. Greensleeves Traditional Treasures Gabriel
arr. BENNETT
Steps to Excellence:

Non-Pedal Harp: Grade


TRAD.,
31. Kand Khoa Kin Kroy World Traditional Music Creighton
arr. BZHEZHINSKA
for Harp
TRAD., Classical Tunes for Irish
32. Princess Augusta Broekmans BP1507
arr. CAMPBELL Harp vol 2
TRAD.,
33. Skye Boat Song Mixed Doubles Spartan SP1285
arr. GREEN
TRAD.,
34. Ar Hyd y Nos Aros Alaw
arr. JENKINS
The Scottish Harp
TRAD.,
35. The Battle of the Boyne Anthology vol 2: Pentland
arr. LE GOVIC
Intermediate

TRAD.,
Bruach Na Carraige Baine
(At the Edge
4
36. Harp from the Start Pentland
arr. ROBERTSON of the White Rock)
or I Shall Not Go to Bed
TRAD., Kim Robertson
37. Roving Galway Boy Mel Bay 95345
arr. ROBERTSON Celtic Harp Solos
TRAD.,
38. Eriskay Love-Lilt Sounding Strings UMP 9790224402476
arr. STEVENSON
TRAD., Classical Tunes for Irish
39. Spinning Song from Lewis Broekmans BP1507
arr. VAN CAMPEN Harp vol 2
TRAD., A Tapestry of Scottish
40. O Thistle of Scotland Clarsach Society
arr. WILSON