Percussion Syllabus

Table of Contents

Message from the President ...... 4 RCM Examinations at Preface ...... 5 www.rcmexaminations.org ...... 5

SECTION 1 — GENERAL INFORMATION

Application Forms ...... 6 ARCT Examinations ...... 9 Application Procedure and Deadlines ...... 6 Credits for Musicianship ...... 10 Examination Schedules ...... 6 Certificates and Diplomas ...... 10 Examination Centres ...... 7 Secondary School Music Credits ...... 11 Fee Extensions and Refunds ...... 7 Registered Education Savings Plan (RESP) Examination Results ...... 8 Eligibility ...... 11 The Examiner’s Evaluation ...... 8 Gold and Silver Medals ...... 12 Theory Examinations: Prerequisites and Co-requisites ...... 8

SECTION 2 — EXAMINATION REQUIREMENTS

Examination Repertoire ...... 13 Examination Procedures ...... 15 Da capo Signs and Repeats ...... 13 Instruments, Sticks, and Mallets ...... 15 Memory ...... 13 Music ...... 15 Syllabus Repertoire Lists ...... 13 Accompanists ...... 16 Editions ...... 13 Candidates with Special Needs ...... 16 Availability ...... 14 Table of Marks ...... 16 Anthologies and Collections ...... 14 Classification of Marks ...... 17 Orchestral Excerpts ...... 14 Supplemental Examinations ...... 17 Copyright and Photocopying ...... 14 Abbreviations ...... 19 Repertoire Substitutions ...... 14 Names of Publishers ...... 19 Substitutions from the Percussion Syllabus . . .14 Other Abbreviations and Symbols ...... 20 Substitutions Requiring Approval ...... 15 Own Choice Substitutions ...... 15 SECTION 3 — PRACTICAL EXAMINATIONS

Technical Requirements ...... 21 Grade 6 ...... 38 Rudiments ...... 22 Grade 8 ...... 43 Table of Rudiments by Grade ...... 25 Grade 9 ...... 49 Grade 1 ...... 26 Grade 10 ...... 55 Grade 2 ...... 29 Performer’s ARCT ...... 61 Grade 4 ...... 34 Teacher’s ARCT ...... 65

SECTION 4 — THEORY EXAMINATIONS

Rudiments ...... 69 Music History ...... 70 Harmony, Keyboard Harmony, Musicianship ...... 70 Counterpoint, and Analysis ...... 69 Classification of Theory Marks ...... 70

SECTION 5 — BIBLIOGRAPHY

General Resources ...... 71 Orchestral Excerpts ...... 74 Sight Reading and Ear Training ...... 71 Rudiments and Rhythm Dictionaries . . . . .74 Official Examination Papers ...... 71 Reference and Pedagogy ...... 74 Reference Works ...... 71 Associations and Websites ...... 75 Percussion Resources ...... 72 Sources of Percussion Music ...... 75 Snare Drum ...... 72 Drum Set ...... 73 Mallet Instruments ...... 73 Timpani ...... 73

THE SECOND CENTURY ...... 76 Message from the President

The Royal Conservatory of Music was founded in 1886 with the idea that a single institution could bind the people of a nation together with the common thread of shared musical experience. More than a century later, The Royal Conservatory of Music has achieved this dream. The Royal Conservatory of Music is recognized in communities throughout North America for outstanding service to students, teachers, and parents, as well as a strict adherence to high academic standards through a variety of activities—teaching, examining, publishing, research, and community outreach.

Students and teachers benefit from a curriculum based on more than a hundred years of commitment to the highest pedagogical objectives. The strength of the curriculum is reinforced by the distinguished College of Examiners—a group of fine musicians and teachers carefully selected from across Canada, the United States, and abroad for their demonstrated skill and professionalism. A rigorous examiner apprenticeship program combined with regular evaluation procedures ensures consistency and an examination experience of the highest quality for candidates.

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

Dr. Peter C. Simon President

4 Message from the President The Royal Conservatory of Music Preface

The 2005 edition of the Percussion Syllabus represents the work of dedicated teachers, performers, and examiners whose assistance is here gratefully acknowledged. This Syllabus replaces all previous percussion syllabi, and forms the official requirements of The Royal Conservatory of Music for percussion examinations conducted by RCM Examinations. The RCM Examinations Certificate Program for percussion consists of eight levels: seven graded levels (Grades 1, 2, 4, 6, 8, 9, 10), and an Associate of The Royal Conservatory of Music (ARCT) diploma. Each level represents a stepping-stone established as a logical assessment point for a developing musician. Five levels of theory examinations described in the current RCM Theory Syllabus are designed to complement practical studies and to ensure a comprehensive knowledge and understanding of various aspects of theory. Required theory examinations begin at the Grade 6 practical level and include the following subjects: rudiments, harmony, history, counterpoint, and analysis. RCM Examinations welcomes examination applications from all interested individuals. Applications are accepted by RCM Examinations on the understanding that candidates comply with the procedures and requirements outlined in this Syllabus . For more information, please visit our website at www.rcmexaminations.org or contact: RCM Examinations 5865 McLaughlin Road, Unit 4 Mississauga, Ontario Canada L5R 1B8 RCM Examinations at www.rcmexaminations.org

Visit the RCM Examinations website for up-to-date information on the following topics: fees and dates for practical and theory examinations examination centres secondary school credit for music examinations RCM-authored publications the members of the RCM Examinations College of Examiners, with biographies the Music Matters newsletter for teachers A number of services are also available on-line, allowing candidates to: complete and submit Examination Application Forms verify the receipt of examination applications verify the time, date, and location of examinations look up current examination session results review scans of examiner’s comments for current examinations In addition, teachers can monitor key information about their studios, including: daily updates on students’ examination registrations exact dates and times of students’ examinations convenient one-page summaries of students’ results scanned copies of students’ practical examination marking forms unofficial transcripts of students’ complete examination histories

Percussion Syllabus Preface 5 Section 1 – General Information

APPLICATION FORMS

Examination Application Forms are available at Examination fees are listed on the application form. www.rcmexaminations.org, at music retailers across Payment is accepted by cheque, money order, Canada, from the RCM Examinations Centre MasterCard, or VISA. Representative in your area, and from RCM • There are provisions for candidates with special Examinations. needs. For details, please contact RCM • A new examination application form is issued for Examinations. Inquiries must be received before the each academic year. Please use an application dated application deadline. for the current academic year (i.e., September 1 to • Candidates wishing to include a substitute selection August 31). on their examination should complete an • Complete a separate application for each practical Examination Substitute Piece Request Form and and theory examination. submit it before the application deadline. (For more • Each examination application must be information about substitute selections, see accompanied by the correct examination fee. “Repertoire Substitutions” on pp. 14–15.)

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

APPLICATION PROCEDURE AND DEADLINES

• Application deadlines are printed on the • Mailed applications postmarked after the deadline examination application form and are also available will not be accepted. at www.rcmexaminations.org. Deadlines generally • Please apply early to ensure a smooth registration . fall in early November for the winter session, in RCM Examinations cannot be responsible for delays early March for the spring session, and in early June in mail delivery. Incomplete or incorrect for the summer session. applications will be delayed and subject to a • Application forms may be completed and submitted processing fee. at www.rcmexaminations.org. Payment for on-line applications must be made on-line by MasterCard Please address written inquiries and application or VISA. forms to: • Application forms may also be submitted by fax. RCM Examinations Payment for faxed applications must be made by 5865 McLaughlin Road, Unit 4 MasterCard or VISA. Current RCM Examinations Mississauga, Ontario fax numbers are printed on the examination Canada L5R 1B8 application form.

EXAMINATION SCHEDULES

Examinations are typically held according to the Theory Examinations following approximate schedule: Winter: the second Friday and following Saturday in December Practical Examinations Spring: the second Friday and following Winter: two weeks mid-January Saturday in May Spring: first three weeks of June Summer: a Friday and following Saturday Summer: two weeks mid-August in mid -August

6 General Information The Royal Conservatory of Music EXAMINATION SCHEDULES continued

Examination Timetables • If you know that you will be unable to attend your Individual examination schedules are available at examination, please contact your RCM www.rcmexaminations.org. Examinations Centre Representative immediately. • Check the information on your examination (The name of the RCM Examinations Centre timetable and inform RCM Examinations Representative is printed on the bottom of the immediately of errors in name or address. timetable.) Please note that candidates may not • List all repertoire to be performed at your exchange examination times with other candidates. examination on the reverse side of your examination timetable and bring it with you to the examination.

EXAMINATION CENTRES

RCM Examinations establishes and maintains local A senior-level examiner will be assigned for Grade 10 examination centres across Canada. The location of and ARCT examinations. If there are insufficient these centres depends both on demand and on the senior candidates in a particular centre to warrant availability of appropriate facilities. There is a list of sending a senior-level examiner, senior candidates examination centres on the application form and at who have applied to be examined at that centre will www.rcmexaminations.org. be notified. Such candidates may choose to take their examination at the nearest centre where a senior-level examiner is available.

FEE EXTENSIONS AND REFUNDS

Once received by RCM Examinations, an application must submit their examination timetable and a may not be withdrawn. No fee extensions (i.e., credit letter from a school official on official letterhead. notes) or refunds are granted for candidates who fail to appear for their examinations. Fee extensions will Fee Extensions not be granted if RCM Examinations is unable to Fee extensions for the full amount of the examination accommodate a special request. There are no fee are valid for one year from the date of the missed academic penalties for missed examinations. examination. Candidates must use their fee extension within this period. To redeem a fee extension, Fee extensions or refunds will not be granted except candidates may apply on-line at under two specific conditions. Candidates who are www.rcmexaminations.org to have the credit unable to take an examination for medical reasons or automatically applied to a new application. Please because of a direct time conflict with a school note that fee extensions are not transferable and may not examination are eligible to request either a fee be extended further. extension for the full amount of the examination fee or a refund of 50 percent of their examination fee. Fee Refunds Candidates must apply in writing for fee extensions or Candidates who know at the time that they apply for refunds within two weeks following the examination a fee extension that they will not be able to make use date and submit the following documentation: of the credit within the one-year period may instead • Candidates who are unable to take an examination apply for a refund of 50 percent of the examination for medical reasons must submit their examination fee. Please note that fee refunds must be requested within timetable and a physician’s certificate. two weeks following the date of the missed examination. • Candidates who are unable to take an examination because of a direct conflict with a school examination

Percussion Syllabus General Information 7 EXAMINATION RESULTS

Individual examination results are available at • Duplicate marks and transcripts are available upon www.rcmexaminations.org. written request and payment of the requisite fee. • Teachers may review scans of the examiners’ Please note that results will not be given by telephone. reports for all their students on-line in the • Candidates may review a scan of the original “Teacher Services” section of the RCM examiner’s report on-line in the “Examination Examinations website. Results” section of the RCM Examinations website. • Teachers may review unofficial transcripts for all (Please see p. 16 for details on the grading of their students’ examinations on-line in the percussion examinations.) “Teacher Services” section of the RCM Examinations website.

THE EXAMINER’S EVALUATION

The examiner’s written evaluation of a practical demonstrated abilities and skills, nor do they examination is intended to explain, in general terms, reflect the examiner’s estimation of the candidate’s how the final grade was calculated and to assist the potential for future development. candidate in subsequent music studies. • Results of one examination do not in any way • Examination marks reflect the examiner’s prejudice the candidate’s results in subsequent evaluation of the candidate’s performance during examinations. the examination. • Appeals on practical examinations will not be • Examination marks do not reflect previously considered.

THEORY EXAMINATIONS: PREREQUISITES AND CO-REQUISITES

In order to receive a certificate or diploma for a they take their ARCT practical examination. practical examination for Grades 6 to ARCT, Teachers may visit the “Teacher Services” section of candidates must also complete specific RCM the RCM Examinations website to review the Examinations theory examinations. examination histories of candidates who have • Theory co-requisites must be completed before or taken an examination in the current academic year. within five years after the respective session of the This service allows teachers to confirm the practical examination. Candidates are strongly completion of prerequisites and co-requisites. advised to complete their theoretical work before, or at • There are no prerequisite or co-requisite theory the same time as, their practical examination. examinations for candidates applying for practical • For Grade 10 and ARCT, the five-year time limit examinations for Grades 1, 2, or 4. for completion of theory co-requisites is computed • There are no prerequisite theory examinations for from the date of the original practical examination, candidates applying for practical examinations in not from the date of any subsequent supplemental Grades 6 to 10. examinations. • For more information regarding RCM • Candidates must complete their ARCT Examinations theory examinations, please refer to prerequisites before applying for an ARCT practical “Theory Examinations” on pp. 69–70 of this examination. Candidates may not complete their Syllabus and the current RCM Theory Syllabus . ARCT prerequisites in the same session in which

8 General Information The Royal Conservatory of Music THEORY EXAMINATIONS: PREREQUISITES AND CO-REQUISITES continued

Practical Certificates Theory Prerequisites Theory Co-requisites and Diplomas Grade 1 none none Grade 2 none none Grade 4 none none Grade 6 none Grade 1 Rudiments Grade 8 none Grade 2 Rudiments Introductory Harmony (optional) Grade 9 none Grade 2 Rudiments Grade 3 Harmony or Grade 3 Keyboard Harmony Grade 3 History Grade 10 none Grade 2 Rudiments Grade 3 History Grade 4 Harmony or Grade 4 Keyboard Harmony Grade 4 History ARCT Grade 2 Rudiments Grade 4 Counterpoint Grade 3 History Grade 5 Harmony and Counterpoint or Grade 4 Harmony or Grade 4 Grade 5 Keyboard Harmony Keyboard Harmony Grade 5 History Grade 4 History Grade 5 Analysis

ARCT EXAMINATIONS

Candidates applying for Performer’s or Teacher’s The ARCT Teacher’s examination consists of ARCT examinations must have completed a Grade 10 three parts: practical examination with either a total mark of at Part 1: Performance of Repertoire, Orchestral least 75 or a minimum of 70 percent in each section Excerpts, Technical Requirements, of the practical examination. Candidates must also Ear Tests, and Sight Reading have completed all Grade 10 theory co-requisites Part 2: Viva Voce Examination with a total mark of at least 60 percent on each Part 3: Written Examination theory examination. Parts 1 and 2 constitute the practical portion of the ARCT examination and are therefore taken during a Teacher’s ARCT Examinations practical examination session. Part 3, a written Candidates applying for the Teacher’s ARCT examination, is taken during a theory examination examination are strongly advised to have at least one session. year of practical teaching experience. Candidates may choose to take all three parts of the The Teacher’s ARCT Diploma will be awarded only to Teacher’s ARCT examination at one session, or they candidates eighteen years of age or older. may take the parts at different sessions. The parts may be taken in any order, but all three parts must be completed within a period of two years.

Percussion Syllabus General Information 9 ARCT EXAMINATIONS continued

Second ARCT Diplomas the Repertoire and Orchestral Excerpts sections of The Teacher’s and Performer’s ARCT examinations the Teacher’s ARCT practical examination. The may not be attempted at the same session. remaining sections of the Teacher’s ARCT practical • Candidates who have passed the Teacher’s ARCT examination (the Technical Requirements, Ear examination may obtain a Performer’s diploma by Tests, and Sight Reading sections of Part 1 and all of taking the entire Performer’s ARCT examination. Part 2) must be taken in a single session, within five • Candidates for the Teacher’s ARCT who have passed years of the date of the Performer’s ARCT practical the Performer’s examination will be exempt from examination.

CREDITS FOR MUSICIANSHIP

Examinations in Musicianship have been developed • Candidates must have passed the relevant to test a student’s ability in sight singing and Musicianship examination at least one examination recognition of scales, chords, and intervals. (For more session before the graded practical examination. information on these examinations, please see p. 70 • Candidates who wish to be exempted from the Ear and the current RCM Theory Syllabus .) Candidates Test section of their practical examination must may choose to substitute their Musicianship submit both a request in writing and a photocopy examination mark for the Ear Test section of the of their Musicianship examination results to RCM Grades 8, 9, and 10, and Teacher’s ARCT practical Examinations. Such requests must be included with the examinations. The marks will be assigned on a pro examination application. rata basis.

Musicianship Practical Grade Minimum Mark Junior Grade 8 60 Intermediate Grade 9 60 Senior Grade 10 and 70 Teacher’s ARCT

CERTIFICATES AND DIPLOMAS

Certificates are awarded to successful candidates in • Grade 10 practical certificates are awarded when the spring and the fall. minimum requirements have been completed, • Certificates for practical examinations in Grades 6 whether or not prerequisite marks for an ARCT to 9 will be awarded once the candidate has examination have been obtained. successfully completed the theory co -requisites for • ARCT diplomas will be awarded to candidates at the respective grade. the annual Convocation ceremony or forwarded • Certificates for theory examinations will be awarded immediately following Convocation. Candidates for each theory grade upon successful completion may not use the designation “ARCT” before of all examinations for that theory grade. Convocation.

10 General Information The Royal Conservatory of Music CERTIFICATES AND DIPLOMAS continued

Practical Certificates Examinations Required and Diplomas Grade 1 Percussion Grade 1 Percussion Grade 2 Percussion Grade 2 Percussion Grade 4 Percussion Grade 4 Percussion Grade 6 Percussion Grade 6 Percussion, Grade 1 Rudiments Grade 8 Percussion Grade 8 Percussion, Grade 2 Rudiments Grade 9 Percussion Grade 9 Percussion, Grade 2 Rudiments, Grade 3 Harmony or Grade 3 Keyboard Harmony, Grade 3 History Grade 10 Percussion Grade 10 Percussion, Grade 2 Rudiments, Grade 3 History, Grade 4 Harmony or Grade 4 Keyboard Harmony, Grade 4 History Performer’s ARCT Performer’s ARCT, Grade 2 Rudiments, Grade 3 History, Grade 4 History, Grade 4 Counterpoint, Grade 5 Harmony and Counterpoint or Grade 5 Keyboard Harmony, Grade 5 History, Grade 5 Analysis, Grade 6 Piano Teacher’s ARCT Teacher’s ARCT (Parts 1, 2, and 3), Grade 2 Rudiments, Grade 3 History, Grade 4 History, Grade 4 Counterpoint, Grade 5 Harmony and Counterpoint or Grade 5 Keyboard Harmony, Grade 5 History, Grade 5 Analysis, Grade 8 Piano Theory Certificates Examinations Required Preliminary Rudiments Preliminary Rudiments Grade 1 Theory Grade 1 Rudiments Grade 2 Theory Grade 2 Rudiments Grade 3 Theory Grade 3 Harmony or Grade 3 Keyboard Harmony, Grade 3 History Grade 4 Theory Grade 4 Harmony or Grade 4 Keyboard Harmony, Grade 4 History, Grade 4 Counterpoint Grade 5 Theory Grade 5 Harmony and Counterpoint or Grade 5 Keyboard Harmony, Grade 5 History, Grade 5 Analysis

SECONDARY SCHOOL MUSIC CREDITS

In many school systems, examinations from RCM Examinations website at www.rcmexaminations.org. Examinations are accepted as credits toward Candidates are also advised to consult their school secondary school graduation diplomas. A province- principal or guidance counsellor about the eligibility by-province list of secondary school accreditation for of examinations from RCM Examinations for music examinations can be found on the RCM secondary school credit and university entrance.

REGISTERED EDUCATION SAVINGS PLAN (RESP) ELIGIBILITY

Candidates who have a Registered Education Savings Grade 10, and ARCT levels. Please consult your RESP Plan (RESP) may be eligible to use these funds to provider for more information. support private studies in music at the Grade 9,

Percussion Syllabus General Information 11 GOLD AND SILVER MEDALS

RCM Examinations awards Gold Medals and Silver combined), a minimum of 70 percent in the Medals for every discipline except theory. Medals are written examination (Part 3), a minimum of 70 awarded on the basis of examination results. No percent in each of the co-requisite theory application is required. examinations, and a minimum of 60 percent in the co-requisite piano examination. Gold Medals • Candidates taking the complete practical Gold Medals are awarded for each academic year examination in one session (Parts 1 and 2 (i.e., September 1 to August 31) to both the Teacher’s combined) and candidates taking the practical ARCT and the Performer’s ARCT candidates who examination in two sessions (Parts 1 and 2 obtain the highest marks in each of the following separately) are both eligible for the Gold Medal. disciplines: accordion, brass, guitar, harp, organ, • Candidates who use the Performer’s ARCT in place percussion, piano, speech arts and drama, strings, of the Performance of Repertoire section of the voice, and woodwinds. Teacher’s ARCT are still eligible for the Gold Medal. Eligibility for Gold Medals Performer’s ARCT Silver Medals • Candidates must obtain a minimum of 85 percent Silver Medals are awarded for each academic year in the practical examination, a minimum of 70 (i.e., September 1 to August 31) in each province or percent in each of the co-requisite theory designated region to the candidates in Grades 1 to 10 examinations, and a minimum of 60 percent in the who have obtained the highest marks in each grade co-requisite piano examination. and discipline. • To qualify for these awards, candidates must have Teacher’s ARCT obtained at least 80 percent in the practical • Candidates must obtain a minimum of 85 percent examination and have completed the co-requisite in the practical examination (Parts 1 and 2 theory examinations for their respective grades.

12 General Information The Royal Conservatory of Music Section 2 – Examination Requirements

EXAMINATION REPERTOIRE

The Percussion Syllabus lists the repertoire for Grade 1 percussion examinations. Information given for each List A: Snare Drum (pedal bass drum required) item includes: List B: Mallet Instruments the composer the larger work of which the selection is a part Grade 2 (where applicable) List A: Snare Drum (pedal bass drum required) the title of the selection List B: Mallet Instruments an anthology or collection in which the selection Grade 4 can be found (where applicable) List A: Snare Drum performance directions (where applicable) List B: Mallet Instruments indicating the section(s) or movement(s) of a work List C: Drum Set to be prepared the publisher of a suggested edition (where Grades 6 and 8 applicable) List A: Snare Drum Names of publishers are indicated by an assigned List B: Mallet Instruments abbreviation. Please see p. 19 for a list of publishers List C: Drum Set with their abbreviations. List D: Timpani

Da capo Signs and Repeats Grades 9 and 10 • When performing repertoire at an examination, List A: Snare Drum candidates should observe da capo signs. List B: Mallet Instruments • Repeat signs should ordinarily be ignored. List C: Drum Set List D: Timpani Memory List E: Multiple Percussion Set-Ups • Memorization of repertoire is encouraged. • In Grades 1 to 6, six marks are awarded for ARCT memorization of repertoire. List A: Multiple Percussion Set-Ups • Candidates for examinations in Grades 8 to 10 List B: Mallet Instruments and ARCT are expected to perform repertoire from List C: Drum Set List B from memory. List D: Timpani • Studies and Orchestral Excerpts need not be memorized. Editions • Technical tests (scales and arpeggios) must be For many repertoire items, the Percussion Syllabus played from memory. listing includes a suggested edition (indicated by an assigned publisher abbreviation). These editions have Syllabus Repertoire Lists been chosen for their quality or for their availability The repertoire for each grade is divided into several in North America. Where no publisher is indicated, lists, according to instruments. Candidates are students are encouraged to use the best edition encouraged to choose a program that includes a available—the edition that best reflects the variety of musical styles, periods, and keys. composer’s intentions. Editorial markings vary from edition to edition. Examination marks will not be deducted for altering these editorial suggestions as long as the resulting change is musically acceptable.

Percussion Syllabus Examination Requirements 13 EXAMINATION REPERTOIRE continued

Availability Classroom Instruction for the Beginning Mallet Player The compilers of this Syllabus have made every effort appears in syllabus listings as Simple Steps to to ensure that most of the materials listed are in print Keyboard Percussion. and easily available at leading music retailers • The lists of anthologies, collections, and studies in throughout North America. If you experience the “Bibliography” (see pp. 71–75) provides full difficulty in obtaining percussion music in your bibliographic information for most of the community, consult “Sources of Percussion Music” publications identified in the repertoire lists. on p. 75. Orchestral Excerpts However, please note that the publishing industry Candidates may select the specified passages from changes rapidly. Works go out of print, and copyrights standard percussion orchestral parts; measure move from one firm to another. In addition, the numbers and/or rehearsal letters and numbers for all repertoire lists contain a few works that are no longer excerpts are included in the listings. Alternatively, in print but that teachers or students may have in candidates may use parts printed in anthologies of their personal collections. Out-of-print items are percussion orchestral parts. Details of selected indicated in the lists as “ [OP ].” Candidates may use an anthologies are given for each grade. out-of-print work for examination purposes provided they can obtain the published work. (Please see Copyright and Photocopying “Copyright and Photocopying” below.) Composers, artists, editors, and publishers rely on sales revenues to contribute to their livelihood. Anthologies and Collections Photocopying music deprives the creators of due If a repertoire selection is published in a collection of compensation. a composer’s music or in an anthology containing music by a number of composers, the title of the Please note that photocopied music will not be permitted collection or anthology is usually included in the in the examination room. Candidates who bring Percussion Syllabus listing. Individual selections may photocopies to the examination will not be examined . also be found in other sources. Candidates should bring all music to be performed to • In order to save space, the titles of some the examination. Candidates who wish to photocopy anthologies have been shortened. For example, one page of a selection for the purpose of facilitating Anthony J. Cirone’s Simple Steps to Keyboard a page turn may do so with permission from the Percussion: A Complete Method for Individual or publisher.

REPERTOIRE SUBSTITUTIONS

Substitutions from the Percussion Syllabus following guidelines. No prior approval is required for Candidates in Grades 1 to 10 may choose to substitutions from the Percussion Syllabus . Please note substitute a repertoire selection from the appropriate that the substitute selection must be performed section of the Percussion Syllabus according to the exactly as listed in the Percussion Syllabus .

Grade Substitutions Permitted Repertoire Selection Grades 1 to 9 one repertoire selection from the corresponding list of the next higher grade Grade 10 one repertoire selection from the corresponding list of the ARCT examination

14 Examination Requirements The Royal Conservatory of Music REPERTOIRE SUBSTITUTIONS continued

Substitutions Requiring Approval • Candidates are advised to prepare an alternate work Candidates may request approval to substitute one in case the request is denied. Please note that marks repertoire selection not listed in the Percussion will be deducted from the final examination mark for Syllabus . Approval of such selections is based on the the use of an unapproved piece (other than an Own suitability of the style and the level of difficulty. Choice Substitution). • In Grades 1 to 4, the substitute selection may replace one work from the list of repertoire Own Choice Substitutions selections. For Grades 9, 10, and ARCT examinations, • In Grades 6 and 8, the substitute selection may candidates may substitute one repertoire selection not replace a work in Lists A, B, or C. listed in this Syllabus. • In Grades 9, 10, and ARCT, the substitute selection • The substitute work may replace a selection in may replace a work from Lists A, B, C, or D. Lists A, B, C, D, or E. • The substitute repertoire selection must be of equal Candidates wishing to include a substitute selection difficulty and musical quality to works in the on their examination programs should complete an appropriate syllabus list for that grade and Examination Substitute Piece Request Form (available instrument. at www.rcmexaminations.org). Please note that • Judgement shown in choosing a substitute selection Examination Substitute Piece Request Forms must be will be considered in the marking. For this reason, received before the application deadline. RCM Examinations will not answer questions or • List all works to be performed at the examination give advice regarding Own Choice Substitutions. It on the Examination Substitute Piece Request Form. is the responsibility of the teacher to provide the Send the form, together with the appropriate fee appropriate advice. and a copy of the substitute piece, to RCM • Candidates should clearly indicate such Examinations. (Photocopies used for this purpose substitutions as “Own Choice” on the list of should be marked “For Approval Only”; these repertoire to be handed to the examiner. photocopies will be destroyed once a decision has been made.) Published music will be returned Please note that no prior approval is required or provided along with the approved form. for Own Choice Substitutions. • Bring the approved Examination Substitute Piece Request Form to your examination and give it to the examiner.

EXAMINATION PROCEDURES

Candidates must be ready to perform at least fifteen • Page-turners and other assistants are not permitted minutes before their scheduled time. Please note that in the examination room. Waiting areas are candidate examination times cannot be exchanged. provided for parents, teachers, and assistants. • The availability of music stands cannot be Instruments, Sticks, and Mallets guaranteed. • Candidates should bring any sticks and mallets they require to the examination. Music • RCM Examinations will make every effort to hold • Please list all repertoire to be performed on the percussion examinations in facilities where reverse side of your timetable and bring the percussion instruments are supplied. However, timetable to the examination. candidates may be asked to supply their own • Candidates should bring all music to be performed percussion instruments. to the examination, whether or not selections are

Percussion Syllabus Examination Requirements 15 EXAMINATION PROCEDURES continued

memorized. For works requiring accompaniment, • Accompanists are permitted in the examination bring two copies: one for the examiner and one for room only while they are playing accompaniments the accompanist. Please note that photocopied music is for the candidate. not permitted in the examination room unless the candidate has a letter of permission from the publisher. Candidates with Special Needs (Please see “Copyright and Photocopying” on p. 14.) • Candidates with special needs are asked to apply in writing to RCM Examinations prior to the Accompanists examination application deadline and give details • Most of the repertoire listed in this Syllabus is for concerning their needs. Each case will be dealt with solo percussion, but some repertoire selections individually. include piano accompaniment. Repertoire • Candidates with special needs may receive selections that require accompaniment must be assistance in and out of the examination room, but performed with an accompaniment. Candidates helpers must remain in the waiting area during the must provide their own accompanists. Taped actual examination. accompaniments are not permitted. Candidates who do not provide an accompanist will not be examined.

TABLE OF MARKS

Grade Grade Grade Grade Grade Grade Grade Teacher’s Performer’s 12468910 ARCT ARCT Repertoire 54 54 54 54 50 50 50 (35) 20 (14) 80 List A 27 27 18 14 14 10 10 20 List B 27 27 18 14 14 10 10 (no mark 20 List C ——18 13 11 10 10 breakdown) 20 List D ———13 11 10 10 20 List E —————10 10 — Memory 6666— —— —— Orchestral Excerpts ————10 10 10 (7) 10 (7) 20 Technical Requirements 30 30 20 20 20 20 20 (14) 10 (7) — Studies 15 15 10 10 10 10 10 10 Technical Tests 15 15 10 10 10 10 10 — Ear Tests 10 10 10 10 10 10 10 (7) 10 (7) — Metre ——————— 2 Rhythm 5332———— Intervals —3 33 33 2 2 Chords ———2 2 2 2 3 Cadences ————2 2 3 — Playback 5443333 3 Sight Reading ——10 10 10 10 10 (7) 10 (7) — Sight Reading 77 7774 + 4 Sight Clapping 33 333 2 Viva Voce ——————— 40 — (a) Pedagogical Principles 10 (7) (b) Applied Pedagogy 30 (21) TOTALS 100 100 100 100 100 100 100 100 100

16 Examination Requirements The Royal Conservatory of Music Notes • In all grades, the mark for Technical Tests covers • Teacher’s ARCT candidates must achieve either an the performance of Rudiments, scales, chords, overall mark of 75 or a minimum of 70 percent in arpeggios, accessories, drum set, and Latin each section of the examination in order to pass. rhythms. (In the “Table of Marks,” 70-percent figures are • To qualify for the ARCT examination, Grade 10 given in parentheses.) candidates must achieve either an overall mark • There is no mark breakdown for the Repertoire of 75 or a minimum of 70 percent in each section section of the Teacher’s ARCT examination. of the examination. (In the “Table of Marks,” 70-percent figures are given in parentheses.) • Performer’s ARCT candidates must achieve an overall mark of 70 in order to pass.

CLASSIFICATION OF MARKS

Grades 1 to 10 Performer’s and Teacher’s ARCT First Class Honours First Class Honours with Distinction 90–100 with Distinction 90–100 First Class Honours 80–89 First Class Honours 80–89 Honours 70–79 Honours 70–79 Pass 60–69 Pass (Performer’s) 70 Grade 10 ARCT prerequisite 75 overall or Pass (Teacher’s) 75 overall or 70% in each section 70% in each section

SUPPLEMENTAL EXAMINATIONS

Supplemental examinations are offered for any Grade 10 section, except Repertoire, of a Grade 10 or Teacher’s In order to be eligible to take a supplemental ARCT practical examination for candidates who wish examination in Grade 10, candidates must have to improve their mark in a particular section of an attempted the complete examination within the last examination, according to the following conditions: two years, achieved a minimum total mark of 65 , and • Supplemental examinations are taken during obtained at least 70 percent in the Repertoire section regularly scheduled examination sessions. of the examination. • A supplemental examination comprises only one section of an examination. Teacher’s ARCT • Supplemental examinations are not available for In order to be eligible to take a supplemental the Repertoire section of an examination. examination at the ARCT level, candidates must • Candidates may take a maximum of two achieve the minimum marks specified in the supplemental examinations per complete following table. examination. • Any supplemental examinations must be Please note that supplemental examinations are not completed within two years of the date of the offered for the Performer’s ARCT in Percussion. original examination.

Percussion Syllabus Examination Requirements 17 Summary of Supplemental Examination Policies

Grade 10 Teacher’s ARCT To achieve a pass standing 60% in order to receive certificate 70% in each section of Part 1 and once theory co-requisites are complete 70% in each section of Part 2 and 70% in Part 3 within a two-year time period, or overall mark of 75 in Parts 1 and 2 combined and 70% in Part 3 within a two-year time period

To achieve standing to 70% in each section, proceed to ARCT or — overall mark of 75

Reasons for taking a to reach 70% standing in each section, to reach 70% standing in each section, supplemental examination or or to upgrade mark in one section that is to upgrade mark in one section that is already at 70% already at 70%

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

Eligibility for taking a 70% in Repertoire section supplemental examination — for Teacher’s ARCT, Part 1

Eligibility for taking a 70% in either Viva Voce A or supplemental examination — Viva Voce B for Teacher’s ARCT, Part 2

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

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

18 Examination Requirements The Royal Conservatory of Music ABBREVIATIONS

Names of Publishers LGM Lawson Gould Music Publishers (New York) The following abbreviations identify publishers listed LED Alphonse Leduc (Paris) throughout the Percussion Syllabus . When no www.alphonseleduc.com publisher or edition is indicated for a specific piece: LUD Ludwig Music (Cleveland, Ohio) the work is available in several standard editions. For [email protected] more information, please see “Examination MEL Mel Bay Publications (Pacific, Missouri) Repertoire” on pp. 13–14. www.melbay.com MED Meridith Music (Galesville, Maryland) ALF Alfred Publishing (Van Nuys, California) www.meredithmusic.com www.alfred.com MFP Music for Percussion Inc. (Fort Lauderdale, AMP Associated Music Publishers (available Florida) through www.schirmer.com ) MOK Moeck Verlag www.moeck-music.de AWM Award Music Co. (136 West 46th Street, New MSU Mike Schuett (Calgary, Alberta) York, NY 10036, division of Henry Adler [email protected] Enterprises) MTP Mitchell Peters (Los Angeles, California) BAK M. Baker Publications (c/o Mostly Marimba) ONT Ongaku no Tomo Sha (Tokyo, Japan, dist. BEL Belwin-Mills Music Corporation (Miami, Theodore Presser) Florida) www.mpa.org OTT Schott Music International www.schott- BIM Birch Island Music Press (selling agent music.com Barnhouse Co., Oskaloosa, Iowa) PPP Paul Price Publications (Teaneck, New Jersey) CAH William Cahn (Bloomfield, New York) PER Permus Percussion Publications Inc. [email protected] (Columbus, Ohio) CHN James F. Chapin Publishing (St. Louis, PET Edition Peters (Frankfurt am Main, Leipzig, Missouri) www.jimchapin.com New York) www.edition-peters.com CMC available from Canadian Music Centre PRE Theodore Presser Company (Bryn Mawr, (Toronto, Calgary, Vancouver, Montreal) Pennsylvania) www.presser.com www.musiccentre.ca PIO Pioneer Editions (New York) DOB Les Éditions Doberman-Yppan (St. Nicolas, RUB Rubank Publications (Chicago, Illinois; QC) www.dobermaneditions.com Miami, Florida) FIS Carl Fischer (New York) www.carlfischer.com SAL Éditions Salabert (Paris, New York) HAL Hal Leonard Corporation (Milwaukee, SCH G. Schirmer Inc. (New York) Wisconsin) www.halleonard.com www.schirmer.com HEM Hendon Music (New York) SBM Shapiro-Bernstein Music Publishers (New HRK Honey Rock (Everett, Pennsylvania) York) www.shapirobernstein.com www.honeyrock.net SOU Southern Music Publishing Co. (San Antonio, INT International Music (New York) Texas) www.southernmusic.com JAE available from David Jaeger (105 Victor ST4 Studio 4 Music www.studio4music.com Avenue, Toronto, Ontario M4K 1A7) TYM Tymtech Music Productions (Mount Brydges, JER Jerona Music Corporation (Englewood, New Ontario) Jersey) www.mpa.com UNI Universal Edition Inc. (Vienna, London, New JRP JR Publications (c/o Charles Dumont & Son, York) www.universaledition.com Vorhees, New Jersey) WAR Warner/Chappell Music (New York) KEN Kendor Music Inc. (Delevan, New York) www.warnerchappell.com www.kendormusic.com WIM Wimbledon Music (Century City, California) KJO Neil A. Kjos Music Co. (San Diego, WIN Windsor Music Co. (Windsor, Connecticut ) California) www.kjos.com WOM Wolf-Mills KPP Keyboard Percussion Publications (Asbury XYM Xylomusic (Bob Becker, Toronto, Ontario) Park, New Jersey) www.mostlymarimba.com LAT Rick Latham Publishing Company www.ricklatham.com

Percussion Syllabus Examination Requirements 19 ABBREVIATIONS continued

Other Abbreviations and Symbols arr. arranged by attr. attributed to bk book ed. edited by trans. translated by transc. transcribed by mvt. movement no. number [OP ] out of print op. opus p. page pp. pages rev. revised vol. volume

• represents one selection for examination purposes → parts or sections of works to be performed at examinations

20 Examination Requirements The Royal Conservatory of Music Section 3 – Practical Examinations

TECHNICAL REQUIREMENTS

Studies Drum Rudiments In all grades, studies need not be memorized and no The drum rudiments are to percussionists what scales extra marks will be awarded for memory. For and long tones are to singers and other complete details on examination requirements for instrumentalists. The drummers’ heritage of musical studies, please consult the listings for each grade. technique, like that of a number of brass and woodwind instruments, can be traced back to the Technical Tests military band. One of the earliest written references For complete lists of technical tests, please refer to to drum rudiments appears in records dating from the charts for each grade. 1332 of the fife and drum guild in the city of Basel, • All scales, arpeggios, and chords are to be played in Switzerland. Military music instruction manuals from memory. Forms for each grade are given from the nineteenth century containing drum below. rudiments include the Robbins Drum and Fife • Tone quality and fluency are important factors in Instructor (1812) and the Bruce and Emmett manual the evaluation of a candidate’s performance of for the American military (1862). technical tests. A milestone in the history of rudiments occurred in • Metronome markings indicate suggested speeds. Chicago in 1933 when the National Association of Rudimental Drummers (NARD) was established at the American Legion National Convention. This new body standardized the twenty-six rudiments by which all corps drummers would be judged. In 1995, the Percussive Arts Society (PAS) issued the Forty International Drum Rudiments. Today, the drum rudiments, with their unique rhythmic word patterns (for example, pa-ra-did-dle or ra-ta-ma-cue ) are an important part of a drummer’s heritage and their study will result in well-developed technical facility.

How To Play Rudiments Rudiments are to be played slow (open) to fast (closed) to slow (open) and/or at an even moderate march tempo. “Open” could be described as bounce stroke, double bounce, one stroke one rebound, military style long roll, rudimental long roll, or clearly defined bounced thirty-second notes. “Closed” could be described as multiple bounce, buzz, concert style, crushed, burr, or press. Because the individual rudiments have their own notation, metre, and style, there are no metronome markings for these exercises. Start at a very slow tempo, and increase the speed very slowly until you reach the fastest tempo possible, maintaining maximum control throughout. Then gradually decrease the speed until you return to the starting tempo. The whole process should take between thirty and sixty seconds. Maintain a steady volume at a mezzo forte to forte level.

Percussion Syllabus Practical Examinations 21 RUDIMENTS

22 Practical Examinations The Royal Conservatory of Music RUDIMENTS continued

Percussion Syllabus Practical Examinations 23 RUDIMENTS continued

Reprinted by permission of the Percussive Arts Society, Inc., 701 NW Ferris, Lawton, OK 73507-5442; E-mail: [email protected]; Web: www.pas.org.

24 Practical Examinations The Royal Conservatory of Music TABLE OF RUDIMENTS BY GRADE

Rudiments Grade 1 Grade 2 Grade 4 Grade 6 Grade 8 Grade 9 Grade 10 1 Single stroke roll ••••••• 2 Single stroke four ••••••• 3 Single stroke seven ••••••• 4 Multiple bounce roll ••••••• 5 Triple stroke roll ••••••• 6 Double stroke open roll •••••• 7 Five stroke roll •••••• 8 Six stroke roll ••••• 9 Seven stroke roll ••••• 10 Nine stroke roll •••••• 11 Ten stroke roll •• 12 Eleven stroke roll •• 13 Thirteen stroke roll ••• 14 Fifteen stroke roll ••• 15 Seventeen stroke roll ••• 16 Single paradiddle ••••••• 17 Double paradiddle •••••• 18 Triple paradiddle •••••• 19 Single paradiddle-diddle ••• 20 Flam ••••••• 21 Flam accent ••••• 22 Flam tap •••••• 23 Flamacue ••••• 24 Flam paradiddle ••••• 25 Single flammed mill ••• 26 Flam paradiddle-diddle ••• 27 Pataflafla •••• 28 Swiss Army triplet • 29 Inverted flam tap • 30 Flam drag • 31 Drag •••••• 32 Single drag tap ••••• 33 Double drag tap •••• 34 Lesson 25 ••• 35 Single dragadiddle •• 36 Drag paradiddle no. 1 •••• 37 Drag paradiddle no. 2 •••• 38 Single ratamacue •••• 39 Double ratamacue •••• 40 Triple ratamacue •••• 41 Single stroke triplet ••••• 42 Three-stroke ruff (single stroke) •••• 43 Four-stroke ruff (single stroke) •••• 44 Five-stroke ruff (single stroke) ••• •

Percussion Syllabus Practical Examinations 25 Grade 1

Required Instruments : snare drum (pedal bass drum required), mallet instruments

Please see “Examination Procedures” on pp. 15–16 for important information regarding percussion instruments, sticks, and mallets used for percussion examinations.

REPERTOIRE

Please see “Examination Repertoire” on pp. 13–14 for important information regarding this section of the examination. Candidates should be prepared to play two contrasting selections by different composers: • one from List A • one from List B Each bulleted item ( •) represents one selection for examination purposes. Candidates are encouraged to choose a program that includes a variety of musical styles and periods.

LIST A: S nare Drum

Baker, Greg Brown, Thomas A. continued • Flamboyant BAK • Rudelmints • A Stitch In Time Brown, Thomas A. • Time Out Snare Drum: The Competition Collection SCH • Turbo Tubs • Flamery Flats • Way to Go • Hot Spot • Wriskit • Monkey Dance • Paradiddle Do Do Goldenberg, Morris • Rapper Upper • Sticks and Skins SBM • Ratama Cat • Roller Derby Harr, Haskell • Rough Ruff • Aquamarine WAR Schuett, Mike • The March MSU

26 Grade 1 The Royal Conservatory of Music LIST B: M allet Instruments

Traditional Satie, Eric • Humpty Dumpty (arr. Anthony Cirone, p. 19 in • Gymnopedie (arr. John O’Reilly, in Solos for the Simple Steps to Keyboard Percussion BEL) Percussion Player SCH) • London Bridge (arr. Anthony Cirone, p. 24 in → must be played with accompaniment Simple Steps to Keyboard Percussion BEL) • Old MacDonald (arr. Anthony Cirone, p. 27 in Schuett, Mike Simple Steps to Keyboard Percussion BEL) • Trolls MSU Brown, Thomas A. Mallet Percussion: The Competition Collection SCH • Haunted House • Monster Man • Prairie Pony • Rickshaw Riff • Walk Around

TECHNICAL REQUIREMENTS Please see “Technical Requirements” on p. 21 for important information regarding this section of the examination.

Studies Candidates should be prepared to play all bulleted items in the following list. Cirone, Anthony Reed, Ted Simple Steps to Keyboard Percussion BEL Progressive Steps to Syncopation for the Modern • Exercises 4 to 12 (p. 21) Drummer ALF • 20-Bar Exercise (p. 11) and 20-Bar Exercise Ludwig, William (p. 13) Drum Method , book 1 LUD → snare drum and pedal bass drum • March 6/8 (p. 34)

Technical Tests All technical tests must be performed from memory, smoothly, with maximum control, using alternate sticking whenever possible.

Rudiments For a complete list of drum rudiments, please see “Rudiments,” pp. 22–24. Candidates should be prepared to play the following rudiments at an even moderate march tempo, and in an open (slow) to close (fast) to open (slow) pattern.

no. 1: Single stroke roll no. 5: Triple stroke roll no. 2: Single stroke four no. 16: Single paradiddle no. 3: Single stroke seven no. 20: Flam no. 4: Multiple bounce roll

Percussion Syllabus Grade 1 27 TECHNICAL REQUIREMENTS continued

Scales and Arpeggios Candidates should be prepared to play the following scales and arpeggios, ascending and descending.

Scales Keys Range Tempo Articulation Major C, G, F Minor A, E, D 1 octave = 60 (harmonic and melodic ) Arpeggios Major C, G, F Minor A, E, D 1 octave = 40 (harmonic and melodic )

EAR TESTS Rhythm Candidates will be asked to sing, clap, or tap the rhythm of a short melody after it has been played twice by the examiner. – time signatures : or

Melody Playback Candidates will be asked to play back a four-note melody, either on a mallet instrument or on the piano. The melody will be based on the first three notes of a major scale and may contain repeated notes and a leap of a 3rd. The examiner will name the key, play the tonic triad once , and play the melody twice . – beginning note : tonic, supertonic, or mediant – keys : C, F, or G major

SIGHT READING Sight reading is not required in Grade 1.

THEORY CO-REQUISITES None

28 Grade 1 The Royal Conservatory of Music Grade 2

Required Instruments : snare drum (pedal bass drum required), mallet instruments

Please see “Examination Procedures” on pp. 15–16 for important information regarding percussion instruments, sticks, and mallets used for percussion examinations.

REPERTOIRE Please see “Examination Repertoire” on pp. 13–14 for important information regarding this section of the examination. Candidates should be prepared to play two contrasting selections by different composers: • one from List A • one from List B Each bulleted item ( •) represents one selection for examination purposes. Candidates are encouraged to choose a program that includes a variety of musical styles and periods.

LIST A: Snare Drum

Baker, Greg Feldstein, Sandy • Leaside March BAK • Circling (in Classic Festival Solos: Snare Drum , vol. 1 BEL) Barnett, Wally • The New Military (in Classic Festival Solos: Snare • Hum Drum (in Classic Festival Solos: Snare Drum , Drum , vol. 1 BEL) vol. 1 BEL) • One and Two (in Classic Festival Solos: Snare Drum , • March for a Different Drummer (in Classic Festival vol. 1 BEL) Solos: Snare Drum , vol. 1 BEL) • Picking Up Six (in Classic Festival Solos: Snare • Poppycock (in Classic Festival Solos: Snare Drum , Drum , vol. 1 BEL) vol. 1 BEL) • Up Beat Pete’s Suite (in Classic Festival Solos: Snare Goldenberg, Morris Drum , vol. 1 BEL) Modern School for Snare Drum WAR → complete • Etude in 6/8 (p. 48) • Whodunit (in Classic Festival Solos: Snare Drum , vol. 1 BEL) Hoey, Fred • Rhythm of the Bells (in Classic Festival Solos: Snare Berg, Sidney Drum , vol. 1 BEL) • Rolling Rhythm MFP Masoner, E.L. Cirone, Anthony J. • That’s Tough (in Classic Festival Solos: Snare Drum , Portraits in Rhythm BEL vol. 1 BEL) • Study no. 1 Ostling, Acton • First Competition WAR • Young Contestant WAR Prentice, Harold • Toyland Parade BEL

Percussion Syllabus Grade 2 29 LIST A: Snare Drum continued

Schinstine, William Schinstine, William continued Southern Special Drum Solos SOU • Simple Swingin’ (no. 28) • Stick with It (no. 1) • Rada-Ma-Bop (no. 29) • Southern Special (no. 2) • The Big Beat (no. 30) • Two Way March (no. 3) • Variety (no. 31) • Cut Rate – March (no. 4) • Time for a Change (no. 32) • Stick Waltz (no. 6) • A Bit of Whichcraft (no. 33) • Rig-a-ma-Roll (no. 7) • Doodler’s Delight (no. 9) Schuett, Mike • Rocket Rangers (no. 10) • Reminiscing MSU • Roll Call (no. 11) Sousa, John Philip • Turn About Is Fair Play (no. 12) • Dress Parade (based on “Stars and Stripes • Cream and Sugar Watlz (no. 14) Forever”) (arr. Fred Hoey, in Classic Festival Solos: • Popping Paradiddles (no. 15) Snare Drum , vol. 1 BEL) • P’s and Cues (no. 16) • Double Diddle (no. 17) Steffe, William • Cut and Dry, but Rough (no. 19) • Battle Hymn of the Republic (arr. Sandy Feldstein, • Three Ply (no. 20) in Classic Festival Solos: Snare Drum , vol. 1 BEL) • Blue Plate Special (no. 24) • “What a Drag” (no. 25) Wilcoxon, Charles S. (Charley) • Flamingo (no. 26) The All-American Drummer LUD • Wrap It Up (no. 27) • one of solos nos. 1, 2, 11, 12, 13, 17

LIST B: Mallet Instruments

Traditional Brown, Thomas A. continued • Yankee Doodle and Irish Washerwoman Simple Solos for Mallets BEL (pp. 32–33, arr. Morris Goldenberg, in Modern • Back Track School for Xylophone, Marimba, Vibraphone WAR) • Clock Work • On-The-Way Bach, Johann Sebastian • Sunset Song • Musette (arr. Anthony J. Cirone, p. 48 in Simple • Wish One Steps to Keyboard Percussion WAR) Goldenberg, Morris Bernstein, Leonard Modern School for Xylophone, Marimba, Vibraphone • Cool , from West Side Story (arr. John O’Reilly, in WAR Solos for the Percussion Player SCH) Three Short Melodies → must be played with accompaniment • I (Scherzo) and II (Allegro) (p. 27) Brown, Thomas A. Handel, George Frideric Mallet Percussion: The Competition Collection SCH • Sonata in F major (HWV 370, 2nd mvt.) (p. 10, • Clownin’ Around arr. Thomas McMillan, in Masterpieces for Marimba • Mr. Strut WAR) • Roller Coaster • Skittles • Wishing Waltz

30 Grade 2 The Royal Conservatory of Music TECHNICAL REQUIREMENTS Please see “Technical Requirements” on p. 21 for important information regarding this section of the examination.

Studies Candidates should be prepared to play the following studies: – one bulleted selection from Group 1 (snare drum studies) – all bulleted selections in either Group 2 (snare drum studies) or Group 3 (snare drum and pedal bass drum studies) – one bulleted selection from Group 4 (mallet instrument studies)

Group 1 (snare drum) Group 4 (mallet instrument) Ludwig, William Cirone, Anthony J. Drum Method , bk 1 LUD Simple Steps to Keyboard Percussion WAR • p. 42: no. 1 and no. 2 • Santa Lucia (traditional Neapolitan, p. 37) • Minuet (Johann Sebastian Bach, p. 41) Whaley, Garwood • The Blue Bells of Scotland (traditional Scottish, Fundamental Studies for Snare Drum MED p. 43) • one study • The Caissons Go Rolling Along (Edmund Louis Gruber, p. 45) Group 2 (snare drum) Goldenberg, Morris Modern School for Xylophone, Marimba, Vibraphone Goldenberg, Morris WAR Modern School for Snare Drum WAR • Melody V (p. 13) • Triple Meter Study VI (p. 15) • Melody IX (p. 14) • Flam Study II (p. 25) • Melody I (p. 15) • Roll Exercise in 2/4 (p. 44) • Melody II (p. 15) Whaley, Garwood Group 3 (snare drum and pedal bass drum) Fundamental Studies for Mallets MED Reed, Ted • Ludwig van Beethoven: Country Dance Progressive Steps to Syncopation for the Modern • Heinrich Lichner: Polonaise Drummer ALF • Leopold Mozart: Bourée • 16-Bar Exercise (p. 17) and 16-Bar Exercise • Wolfgang Amadeus Mozart: Minuet (p. 19) • Henry Purcell: Rigadoon

Technical Tests All technical tests must be performed from memory, smoothly, with maximum control, using alternate sticking whenever possible.

Percussion Syllabus Grade 2 31 TECHNICAL REQUIREMENTS continued

Rudiments For a complete list of drum rudiments, please see “Rudiments” on pp. 22–24. Candidates should be prepared to play the following rudiments at an even moderate march tempo, and in an open (slow) to close (fast) to open (slow) pattern.

no. 1: Single stroke roll no. 10: Nine stroke roll no. 2: Single stroke four no. 16: Single paradiddle no. 3: Single stroke seven no. 17: Double paradiddle no. 4: Multiple bounce roll no. 18: Triple paradiddle no. 5: Triple stroke roll no. 20: Flam no. 6: Double stroke open roll no. 22: Flam tap no. 7: Five stroke roll no. 31: Drag

Scales and Arpeggios Candidates should be prepared to play the following scales and arpeggios, ascending and descending.

Scales Keys Range Tempo Articulation b Major C, G, D, F, B Minor A, E, B, D, G 1 octave = 60 (harmonic and melodic ) Arpeggios b Major C, G, D, F, B Minor A, E, B, D, G 1 octave = 60 (harmonic and melodic )

EAR TESTS

Rhythm Candidates will be asked to sing, clap, or tap the rhythm of a short melody after it has been played twice by the examiner. – time signatures : or

32 Grade 2 The Royal Conservatory of Music EAR TESTS continued

Melody Playback Candidates will be asked to play back a five-note melody, either on a mallet instrument or on the piano. The melody will be based on the first five notes of a major scale and may contain one or more leaps of a 3rd. The examiner will name the key, play the tonic triad once , and play the melody twice . – beginning note : tonic or dominant – keys : C, F, or G major

SIGHT READING Sight reading is not required in Grade 2.

THEORY CO-REQUISITES None

Percussion Syllabus Grade 2 33 Grade 4

Required Instruments : snare drum, mallet instruments, drum set Please see “Examination Procedures” on pp. 15–16 for important information regarding percussion instruments, sticks, and mallets used for percussion examinations.

REPERTOIRE Please see “Examination Repertoire” on pp. 13–14 for important information regarding this section of the examination. Candidates should be prepared to play three contrasting selections by different composers: • one from List A • one from List B • one from List C Each bulleted item ( •) represents one selection for examination purposes. Candidates are encouraged to choose a program that includes a variety of musical styles and periods.

LIST A: Snare Drum

Traditional Pratt, John S. • Downfall of Paris (in Drummers Heritage FIS) • Drum Corps on Parade (in 14 Contest Solos BEL) → must be played with accompaniment Weinberger, Jaromir Goldenberg, Morris • Phantom Drummer (arr. John O’Reilly, in Solos for Modern School for Snare Drum WAR the Percussion Player SCH) • Etude in 9/8 (p. 50) → must be played with accompaniment

LIST B: Mallet Instruments

Anonymous 13th century Goldenberg, Morris • Estampe (arr. Linda Pimental and James Moore, in Modern School for Xylophone, Marimba, Vibraphone The Solo Marimbist, vol. 1 PER) WAR • two of Etudes I, II, III (pp. 62–63) Bayly, Thomas Haynes • Long, Long Ago (arr. Art Jolliff, in Solos for Offenbach, Jacques Marimba, Xylophone or Vibraphone BEL) • Barcarolle (arr. Linda Pimental and James Moore, in The Solo Marimbist, vol. 1 PER) Brown, Thomas A. • Sammy’s Samba (in Mallet Percussion: The Pimental, Linda Competition Collection BEL) • Meditation (in The Solo Marimbist, vol. 1 PER) Foster, Stephen Schinstine, William • Some Folks Do (arr. Art Jolliff, in Solos for • Tango in G (in Southern Special Marimba Solo SOU) Marimba, Xylophone or Vibraphone BEL)

34 Grade 4 The Royal Conservatory of Music REPERTOIRE continued

LIST C: Drum Set

Chapin, Jim Pickering, John Advanced Techniques for the Modern Drummer , vol. 1 Studio/Jazz Drum Cookbook MEL CHN • two of Solos nos. 1, 2, 3, 4 • Solo Exercise 1A (p. 8) → bass drum on four beats to the measure and Reed, Ted hi hat on beats two and four Progressive Steps to Syncopation for the Modern Drummer ALF Holmquist, Joe • 48-Bar Exercise (p. 29) Drum Set Etudes , bk 1 KJO → snare drum and pedal bass drum • one of nos. 1 to 20

TECHNICAL REQUIREMENTS Please see “Technical Requirements” on p. 21 for important information regarding this section of the examination.

Studies Candidates should be prepared to play all of the following studies:

Burns, Roy, and Sandy Feldstein Intermediate Drum Method BEL • Study using Flams and Accents (p. 32) and Roll Study no. 1 (p. 44) Handel, George Frideric • Impertinence (HWV 494) (arr. Garwood Whaley, in Fundamental Studies for Mallets MED)

Technical Tests All technical tests must be performed from memory, smoothly, with maximum control, using alternate sticking whenever possible.

Percussion Syllabus Grade 4 35 TECHNICAL REQUIREMENTS continued

Scales and Arpeggios Candidates should be prepared to play the following scales and arpeggios, ascending and descending.

Scales Keys Range Tempo Articulation b b b Major C, G, D, A, E, F, B , E , A # # Minor A, E, B, F , C , D, G, C, F 1 octave = 60 (harmonic and melodic ) Arpeggios b b b Major C, G, D, A, E, F, B , E , A # # Minor A, E, B, F , C , D, G, C, F 1 octave = 60 (harmonic and melodic )

EAR TESTS

Rhythm Candidates will be asked to sing, clap, or tap the rhythm of a short melody after it has been played twice by the examiner. – time signatures : or

Intervals Candidates may choose to: (a) sing or hum any of the following intervals after the examiner has played the first note once , OR (b) identify any of the following intervals after the examiner has played the interval once in broken form. – above a given note : major and minor 3rds, perfect 4th, 5th, and octave – below a given note : minor 3rd, perfect 5th, and octave

36 Grade 4 The Royal Conservatory of Music EAR TESTS continued

Melody Playback Candidates will be asked to play back a melody of approximately six notes, either on a mallet instrument or on the piano. The melody will be based on the first five notes of a major scale. The examiner will name the key, play the tonic triad once , and play the melody twice . – beginning note : tonic, mediant, or dominant – keys : C, F, G, or D major

SIGHT READING

1. Candidates will be asked to play a simple short melody approximately equal in difficulty to repertoire of a Grade 2 level. 2. Candidates will be asked to clap or tap the rhythm of a melody in or time. A steady pace and rhythmic accentuation are expected.

THEORY CO-REQUISITES None

Percussion Syllabus Grade 4 37 Grade 6

Required Instruments : snare drum, mallet instruments, drum set, timpani Please see “Examination Procedures” on pp. 15–16 for important information regarding percussion instruments, sticks, and mallets used for percussion examinations.

REPERTOIRE Please see “Examination Repertoire” on pp. 13–14 for important information regarding this section of the examination. Candidates should be prepared to play four contrasting selections by different composers: • one from List A • one from List B • one from List C • one from List D Each bulleted item ( •) represents one selection for examination purposes. Candidates are encouraged to choose a program that includes a variety of musical styles and periods.

LIST A: Snare Drum

Abel, Alan Pratt, John S. • Peach Grove Drummer LUD • Guidepost (in 14 Contest Solos for Snare Drum BEL) Delécluse, Jacques Prentice, Harold • Etude 22 (p. 42, in Méthode de Caisse-Claire LED) • Pass in Review (arr. Jack Lamb, in Classic Festival Solos: Snare Drum, vol. 2 BEL) Goldenberg, Morris Modern School for Snare Drum WAR Schinstine, William • Etude II (p. 47) • Eastman Etude (in 17 + l Percussion Pieces SOU) • Roll Exercise in 4/4 (p. 46) Kelly, A.H. • Newgulf Drummer RUB

LIST B: Mallet Instruments

Traditional Traditional continued • Amazing Grace (arr. Linda Pimental and James • Were You There (African American Spiritual) Moore, in Bar Percussion Notebook , vol. 2 PER) (arr. Linda Pimental and James Moore, in Bar • The Ash Grove (Welsh) (arr. Linda Pimental and Percussion Notebook , vol. 2 PER) James Moore, in Bar Percussion Notebook , vol. 2 • What Shall We Do with the Drunken Sailor PER) (arr. Linda Pimental and James Moore, in Bar • Aura Lee (arr. Linda Pimental and James Moore, in Percussion Notebook , vol. 2 PER) Bar Percussion Notebook , vol. 2 PER) • Yellow Rose of Texas (arr. Art Jolliff, in Solos for • Old English Dance (anonymous 14th century) Marimba BEL) (arr. Linda Pimental and James Moore, in Bar Percussion Notebook , vol. 2 PER) Bach, Johann Sebastian • The Water Is Wide (arr. Linda Pimental and James • Sonata for Flute (BWV 1035, 2nd mvt.) (p. 28, Moore, in Bar Percussion Notebook , vol. 2 PER) arr. Thomas McMillan, in Masterpieces for Marimba WAR)

38 Grade 6 The Royal Conservatory of Music LIST B: Mallet Instruments continued

Bartók, Béla Haydn, Franz Joseph • Dance of the Slovaks (arr. Linda Pimental and • London Trio (arr. Linda Pimental and James James Moore, in Bar Percussion Notebook , vol. 2 PER) Moore, in Bar Percussion Notebook , vol. 2 PER) • Folk Dance (arr. Linda Pimental and James Moore, in Bar Percussion Notebook , vol. 2 PER) Hopkins, John H., Jr • Miniature Piece (arr. Linda Pimental and James • We Three Kings (arr. Linda Pimental and James Moore, in Bar Percussion Notebook , vol. 2 PER) Moore, in Bar Percussion Notebook , vol. 2 PER) • Peasant Dance (arr. Linda Pimental and James Kabalevsky, Dmitri Moore, in Bar Percussion Notebook , vol. 2 PER) • The Galloping Comedians (arr. Morris Brahms, Johannes Goldenberg HAL) • Hungarian Dance no. 5 (arr. John B. Quick RUB) → must be performed with accompaniment → must be performed with accompaniment Marks, Godfrey [pseud. James Frederick Swift] Clementi, Muzio • Sailing, Sailing (arr. Art Jolliff, in Solos for Marimba • Sonatina , op. 36, no. 1 (arr. Garwood Whaley, in BEL) Fundamental Studies for Mallets MED) Mozart, Leopold d’Esposito, Salve • Minuet (arr. Linda Pimental and James Moore, in • Santa Lucia (arr. Art Jolliff, in Solos for Marimba, Bar Percussion Notebook , vol. 2 PER) Xylophone or Vibraphone BEL) Pimental, Linda Lorren Dinicu, Grigoras, and Jascha Heifetz Bar Percussion Notebook , vol. 2 PER • Hora Staccato (arr. Morris Goldenberg FIS) • Blue Zoo → must be performed with accompaniment • Solitude • Strolling in the Sunshine Goldenberg, Morris Modern School for Xylophone, Marimba, Vibraphone Prokofiev, Sergei WAR • Tarantella (arr. John O. O’Reilly, in Solos for the • Short Melody III (p. 28) Percussion Player SCH) → must be performed with accompaniment Grechaninov, Alexandr • Out for a Walk (arr. Linda Pimental and James Smetana, Bed r˘ich Moore, in Bar Percussion Notebook , vol. 2 PER) • The Moldau (arr. Linda Pimental and James Moore, in Bar Percussion Notebook , vol. 2 PER) Grieg, Edvard • In the Hall of the Mountain King , from the Peer Gynt Suite (arr. Linda Pimental and James Moore, in Bar Percussion Notebook , vol. 2 PER)

LIST C: Drum Set

Burns, Roy, and Sandy Feldstein Pickering, John Drum Set Music ALF Studio/Jazz Drum Cookbook MEL • Calypso Eclipsed (p. 8) • two selections from pp. 54–55 Chapin, Jim Vogel, Ken Advanced Techniques for the Modern Drummer CHN Drum Set Unlimited MEL • Solo Exercise IV-A • Mike’s Theme (pp. 2–3) Holmquist, Joe Drum Set Etudes , book 1 KJO • one of nos. 21 to 37

Percussion Syllabus Grade 6 39 LIST D: Timpani

Goodman, Saul O’Reilly, John Modern Method for Tympani BEL Solos for the Percussion Player SCH • Exercise 18 • Lament • Exercise 19 • Exercise 28 Price, Paul • Exercise 30 Timpani Solos MFP • one of nos. 6, 7, 8 McKenzie, Jack Six Graded Timpani Solos MFP Schinstine, William • one of nos. 3, 4, 5, 6 Timpendium SOU → must be performed with accompaniment Noak, Fred • Suite MFP

TECHNICAL REQUIREMENTS Please see “Technical Requirements” on p. 21 for important information regarding this section of the examination.

Studies Candidates should be prepared to play all bulleted selections in Group 1 plus one bulleted selection from Group 2.

Group 1 Group 2 Burns, Roy, and Sandy Feldstein Goodman, Saul Intermediate Drum Method BEL Modern Method for Tympani BEL • Study Using Ruffs and Accents (p. 36) • Exercises 57 and 58 (p. 60) • Flamboyant (p. 47) Hinger, Fred Goldenberg, Morris Technique for the Virtuoso Timpanist JER Modern School for Xylophone, Marimba, Vibraphone • no. 7 and no. 8 (p. 11) WAR • Preparation for Double Stops: I–IV (p. 29) • Studies in Double Stops: I–IV (p. 30) Reed, Ted Progressive Steps to Syncopation for the Modern Drummer ALF • Exercise One (p. 38) → snare drum part and pedal bass drum

40 Grade 6 The Royal Conservatory of Music TECHNICAL REQUIREMENTS continued

Technical Tests All technical tests must be performed from memory, smoothly, with maximum control, using alternate sticking whenever possible.

no. 1: Single stroke roll no. 23: Flamacue no. 2: Single stroke four no. 24: Flam paradiddle no. 3: Single stroke seven no. 27: Pataflafla no. 4: Multiple bounce roll no. 31: Drag no. 5: Triple stroke roll no. 32: Single drag tap no. 6: Double stroke open roll no. 33: Double drag tap no. 7: Five stroke roll no. 36: Drag paradiddle no. 1 no. 8: Six stroke roll no. 37: Drag paradiddle no. 2 no. 9: Seven stroke roll no. 38: Single ratamacue no. 10: Nine stroke roll no. 39: Double ratamacue no. 16: Single paradiddle no. 40: Triple ratamacue no. 17: Double paradiddle no. 41: Single stroke triplet no. 18: Triple paradiddle no. 42: Three-stroke ruff (single stroke) no. 20: Flam no. 43: Four-stroke ruff (single stroke) no. 21: Flam accent no. 44: Five-stroke ruff (single stroke) no. 22: Flam tap

Scales and Arpeggios Candidates should be prepared to play the following scales and arpeggios, ascending and descending.

Scales Keys Range Tempo Articulation Major all keys Minor all keys 2 octaves = 72 (harmonic and melodic ) Arpeggios Major all keys Minor all keys 2 octaves = 72 (harmonic and melodic )

Percussion Syllabus Grade 6 41 EAR TESTS

Rhythm Candidates will be asked to sing, clap, or tap the rhythm of a short melody after it has been played twice by the examiner. – time signatures : , , or

Intervals Candidates may choose to: (a) sing or hum any of the following intervals after the examiner has played the first note once , OR (b) identify any of the following intervals after the examiner has played the interval once in broken form. – above a given note : major 2nd, major and minor 3rds and 6ths, perfect 4th, 5th, and octave – below a given note : major and minor 3rds, minor 6th, perfect 4th, 5th, and octave

Chords Candidates will be asked to name any of the following chords after the examiner has played the chord once in solid form, close position: – major and minor triads in root position

Melody Playback Candidates will be asked to play back a melody of approximately nine notes, either on a mallet instrument or on the piano. The melody will be based on a complete major scale from tonic to tonic, mediant to mediant, or dominant to dominant. The examiner will name the key, play the tonic triad once, and play the melody twice . – beginning note : tonic, mediant, or dominant – keys : C, F, G, or D major

SIGHT READING 1. Candidates will be asked to play a melody approximately equal in difficulty to repertoire of a Grade 4 level. 2. Candidates will be asked to clap or tap the rhythm of a short melody in , , or time. A steady pace and rhythmic accentuation are expected.

THEORY CO-REQUISITES Grade 1 Rudiments

42 Grade 6 The Royal Conservatory of Music Grade 8

LIST A: Snare Drum

Buggert, Robert Goldenberg, Morris • Rolling Accents RUB Modern School for Snare Drum WAR • Etude in 7/4 (p. 65) Cirone, Anthony J. Portraits in Rhythm WAR Moore, James L. • one of nos. I to X • Connecticut Halftime FIS Delécluse, Jacques Schinstine, William Méthode de Caisse-Claire LED • Contrary Computer SOU • Etude 25 Twelve Studies for Snare Drum LED Whaley, Garwood • Etudes 1, 2, and 3 • Essay for Snare Drum MED Firth, Vic Wilcoxon, Charles S. (Charley) The Solo Snare Drummer FIS The All American Drummer LUD • one of nos. I to X • one solo from nos. 121–139 (pp. 62–80)

LIST B: Mallet Instruments

Bach, Johann Sebastian Bach, Johann Sebastian continued Six Suites for Unaccompanied Cello • Sonata (for flute) [BWV 1033, 3rd mvt] • Cello Suite No. 1 in G Major, BWV 1007 (use (pp. 26–27, arr. Thomas McMillan, in Masterpieces original cello score) for Marimba BEL) → one movement: play on marimba, one octave • Sonata (for flute) [BWV 1034, 2nd mvt] higher if necessary (pp. 30–31, arr. Thomas McMillan, in Masterpieces for Marimba BEL)

Percussion Syllabus Grade 8 43 LIST B: Mallet Instruments continued

Beethoven, Ludwig van Haydn, Joseph • Adagio Cantabile (arr. Art Jolliff) RUB [ OP ] • Gypsy Rondo (arr. Clifford Barnes) LUD [ OP ] → must be played with accompaniment → must be played with accompaniment Green, George Hamilton Larson, Keith Rags of George Hamilton Green (ed. Randy Eyles) MED • Suite Mexicana SOU • The Whistler → first or second movement → must be played with accompaniment Peters, Mitchell Gwin, Stephen • Sea Refractions MPT • True Lover’s Farewell SOU • Yellow after the Rain MPT Handel, George Frideric Schubert, Franz • Sonata (for violin), [HWV 371, 2nd mvt] • Ave Maria (arr. Ross Edwards) RUB (pp. 20–21, arr. Thomas McMillan, in Masterpieces → must be played with accompaniment for Marimba BEL) Spears, Jared • Caccia Caper BIM [ OP ]

LIST C: Drum Set

Burns, Roy, and Sandy Feldstein Latham, Rick Drum Set Music ALF Advanced Funk Studies LAT • Brush Fire (pp. 46–47) • Solo No. l Chapin, Jim O’Reilly, John Advanced Techniques for the Modern Drummer CHN Solos for the Percussion Player SCH • Solo Exercise IV C (p. 42) • Fireworks (pp. 16–17) Holmquist, Joe Vogel, Ken Drum Set Etudes, book 2 KJO Drum Set Unlimited MEL • one of nos. 1 to 10 • Nancy Loves to Dance (pp. 5–6)

LIST D: Timpani

Firth, Vic Hinger, Fred The Solo Timpanist FIS Solos for the Virtuoso Timpanist JER • I, II, or III • Diddles Goodman, Saul Schinstine, William • Ballad for the Dance BEL Tymp Tunes SOU Modern Method for Tympani WAR • Dresden Dance • Timpiana (p. 132) → must be played with drum set accompaniment Wuebold, Edward • Fantasy for Timpani and Piano MFP

44 Grade 8 The Royal Conservatory of Music ORCHESTRAL EXCERPTS Candidates should be prepared to play all the following orchestral excerpts. In addition, candidates are encouraged to listen to and be familiar with the works from which these excerpts are taken. Candidates may use standard published orchestral parts for the specific excerpts. Alternatively, candidates may use excerpts printed in the following anthologies: – Carroll, Raynor, ed. Orchestral Repertoire for Bass Drum and Cymbals. Pasadena, California: Batterie Music, 1997. – Carroll, Raynor, ed. Orchestral Repertoire for Tambourine, Triangle and Castanets. Pasadena, California: Batterie Music, 1998.

Bizet, Georges Tchaikovsky, Pyotr Il’yich • Carmen Suite No. 2 • Romeo and Juliet Fantasy Overture → tambourine: Danse bohême (no. 11), rehearsal → cymbals: rehearsal letter E to rehearsal letter F letter C to rehearsal letter F (in Carroll, Orchestral (in Carroll, Orchestral Repertoire for Bass Repertoire for Tambourine, Triangle and Castanets, Drum/Cymbals, p. 78) pp. 14–15) Dvo r˘ák, Antonín • Carnival Overture → tambourine: opening to rehearsal letter C (in Carroll, Orchestral Repertoire for Tambourine, Triangle and Castanets, p. 39)

TECHNICAL REQUIREMENTS Please see “Technical Requirements” on p. 21 for important information regarding this section of the examination.

Studies Candidates should be prepared to play all bulleted selections in Group 1 plus one bulleted selection from Group 2.

Group 1 Group 2 Burns, Roy, and Sandy Feldstein Goodman, Saul Intermediate Drum Method BEL Modern Method for Tympani BEL • Triple R (p. 57) • Melodies for the Pedal Tympani (p. 70) • Equal Eights (p. 58) Hinger, Fred Cirone, Anthony J. Timpani Technique for the Virtuoso Timpanist JER Portraits in Rhythm BRL • no. 9 and no. 10 (p. 12) • No. 13 (snare drum) Goldenberg, Morris Modern School for Xylophone, Marimba, Vibraphone WAR • Rhythmic Studies I–XII (pp. 44–45)

Percussion Syllabus Grade 8 45 TECHNICAL REQUIREMENTS continued

Technical Tests All technical tests must be performed from memory, smoothly, with maximum control, using alternate sticking whenever possible.

Rudiments For a complete list of drum rudiments, please see “Rudiments” on pp. 22–24. Candidates should be prepared to play the following rudiments at an even march tempo, and in an open (slow) to close (fast) to open (slow) pattern.

no. 1: Single stroke roll no. 22: Flam tap no. 2: Single stroke four no. 23: Flamacue no. 3: Single stroke seven no. 24: Flam paradiddle no. 4: Multiple bounce roll no. 25: Single flammed mill no. 5: Triple stroke roll no. 26: Flam paradiddle-diddle no. 6: Double stroke open roll no. 27: Pataflafla no. 7: Five stroke roll no. 31: Drag no. 8: Six stroke roll no. 32: Single drag tap no. 9: Seven stroke roll no. 33: Double drag tap no. 10: Nine stroke roll no. 34: Lesson 25 no. 13: Thirteen stroke roll no. 36: Drag paradiddle 1 no. 14: Fifteen stroke roll no. 37: Drag paradiddle 2 no. 15: Seventeen stroke roll no. 38: Single ratamacue no. 16: Single paradiddle no. 39: Double ratamacue no. 17: Double paradiddle no. 40: Triple ratamacue no. 18: Triple paradiddle no. 41: Single stroke triplet no. 19: Single paradiddle-diddle no. 42: Three-stroke ruff (single stroke) no. 20: Flam no. 43: Four-stroke ruff (single stroke) no. 21: Flam accent no. 44: Five-stroke ruff (single stroke)

Scales All scales must be performed from memory. Candidates should be prepared to play the following scales and arpeggios, ascending and descending.

Mallet Instrument Keys Range Tempo Articulation Major Minor (harmonic and melodic ) all keys 1 octave = 100 scales in solid 3rds and 8ves Timpani

Major scales F (below middle C) 1 octave = 100 (two drums: pedal one octave)

46 Grade 8 The Royal Conservatory of Music TECHNICAL REQUIREMENTS continued

Accessories

Percussion Syllabus Grade 8 47 EAR TESTS

Intervals Candidates may choose to: (a) sing or hum any of the following intervals after the examiner has played the first note once , OR (b) identify any of the following intervals after the examiner has played the interval once in broken form. – above a given note : major and minor 2nds, 3rds, and 6ths, minor 7th, perfect 4th, 5th, and octave – below a given note : major 2nd, major and minor 3rds, minor 6th, major 7th, perfect 4th, 5th, and octave

Chords Candidates will be asked to name any of the following chords after the examiner has played the chord once in solid form, close position: – major and minor triads in root position – dominant 7th and diminished 7th chords in root position

Cadences Candidates will be asked to identify, by name or symbols, any of the following cadences after the examiner has played the tonic chord once, and then has played a short phrase in a major or minor key ending with a cadence twice : – perfect (authentic, V-I) – plagal (IV-I)

Melody Playback Candidates will be asked to play back a melody of approximately nine notes, either on a mallet instrument or on the piano. The melody will be about an octave in range and will contain rhythmic figures that are slightly more difficult than those used in the rhythmic test for Grade 6. The examiner will name the key, play the tonic triad once, and play the melody twice . b – keys : C, G, D, F, or B major

SIGHT READING 1. Candidates will be asked to play a short composition equal in difficulty to repertoire of a Grade 6 level. 2. Candidates will be asked to clap or tap the rhythm of a melody in or time. A steady pace and rhythmic accentuation are expected.

THEORY CO-REQUISITES Grade 2 Rudiments Introductory Harmony (optional)

48 Grade 8 The Royal Conservatory of Music Grade 9

Required Instruments : snare drum, mallet instruments, drum set, timpani, multiple percussion set-ups Please see “Examination Procedures” on pp. 15–16 for important information regarding percussion instruments, sticks, and mallets used for percussion examinations.

REPERTOIRE Please see “Examination Repertoire” on pp. 13–14 for important information regarding this section of the examination. Candidates should be prepared to play five selections by different composers: • one from List A • one from List B • one from List C • one from List D • one from List E Each bulleted item ( •) represents one selection for examination purposes. Candidates are encouraged to choose a program that includes a variety of musical styles and periods.

LIST A: Snare Drum

Traditional Goldenberg, Morris Drummer’s Heritage FIS Modern School for Snare Drum WAR • Three Camps • Etude in 5/8 (p. 67) → must be played with accompaniment Heslip, Gerald Cappio, Art • Roxy KEN • The Charger PIO Pratt, John Cirone, Anthony The New Pratt Book PER Portraits in Rhythm WAR • Cider Jug • one of nos. 11 to 50 • The Conquering Legions of Rome • Hellcat Halftime Colgrass, Michael • Over, Under, and Out! • Six Unaccompanied Solos for Snare Drum SCH • Solo for George → one solo • Sound Off Delécluse, Jacques • Spitfire 12 Études pour caisse-claire LED • State Champion • Étude no. 11 • Trojan Horse • West Point Half Time Firth, Vic The Solo Snare Drummer FIS Wilcoxon, Charles S. (Charley) • one of nos. 11 to 24 • Lorraine Post Dug-Out LUD [ OP ]

Percussion Syllabus Grade 9 49 LIST B: Mallet Instruments

Abe, Keiko Pitfield, Thomas • Frogs ALF • Sonata for Xylophone PET • Memories of the Sea Shore OTT Saint-Saëns, Camille Bach, Johann Sebastian • Introduction and Rondo Capriccioso , op. 28 INT • Cello Suite No. 3 in C major , BWV 1009 → violin part only (use original score) (use original cello score) → Prelude and Gigue Stout, Gordon • Violin Partita No. 2 in D minor , BWV 1004 Etudes for Marimba , book 1 PPP (use original violin score) • one etude → Chaconne Zivkovic, Nebosjsa Kreisler, Fritz Ten Etudes for Percussion • Tambourin chinois , op. 3 (use violin score) BEL • Ilijas ST4 Musser, Claire O. • Etude, op. 6, no. 10 ST4

LIST C: Drum Set

Heslip, Gerald Houllif, Murray • Iguana Dance KEN Contemporary Drumset Solos KEN • Philly Holmquist, Joe Drum Set Etudes , bk 2 KJO • one of nos. 11 to 19

LIST D: Timpani

Bergamo, John Hinger, Fred • Four Pieces for Timpani LGM Solos for the Virtuoso Timpanist JER • Galop and Maestoso Firth, Vic • Solo Impression for Two Timpani FIS Jones, Daniel The Solo Timpanist FIS • Sonata for Three Unaccompanied Kettledrums • two of nos. IV, V, VI (1947) PET

LIST E: Multiple Percussion Set-Ups

Arcuri, Serge Heslip, Gerald • Chronaxie, ou, ce desert acharnement de • Delirium KEN couleur CMC Kraft, William Firth, Vic • French Suite for Solo Percussion WOM The Solo Snare Drummer FIS → one of: Allemande (1), Courante (2), Saraband • one of nos. 25 to 30 (3), Gigue (4) • Morris Dance Gray, D’Arcy • Polymetric Ostinatos TYM O’Reilly, John Solo for the Percussion Player SCH • Trinote

50 Grade 9 The Royal Conservatory of Music LIST E: Multiple Percussion Set-Ups continued

St-Marcoux, Micheline Coloumbe Truax, Barry • Trakadie CMC • Nautilus CMC

ORCHESTRAL EXCERPTS Candidates should be prepared to play all the following orchestral excerpts. In addition, candidates are encouraged to listen to and be familiar with the works from which these excerpts are taken. Candidates may use standard published orchestral parts for the specific excerpts. Alternatively, candidates may use excerpts printed in the following anthologies: – Goldenberg, Morris, ed. Classic Symphonies for Timpani . Milwaukee, Wisconsin: Hal Leonard, 1963. – Goldenberg, Morris. Modern School for Xylophone, Vibraphone, Marimba . Miami, Florida: Warner Bros. Publications, 1950, 2002.

Beethoven, Ludwig van Mozart, Wolfgang Amadeus • Symphony no. 1 • The Magic Flute → Menuetto: mm. 44–79 (in Goldenberg, Classic → Act 1, Finale: bells, m. 264 to end (in Symphonies for Timpani , p. 30) Goldenberg, Modern School for Xylophone, • Symphony no. 3 (“Eroica”) Vibraphone, and Marimba, p. 102) → Scherzo: mm. 427–452 (in Goldenberg, Classic • Symphony no. 39 in E flat major , K 543 Symphonies for Timpani , p. 36) → Adagio: mm. 1–6 (in Goldenberg, Classic • Symphony no. 5 Symphonies for Timpani , p. 25) → Allegro: mm. 374–395 (in Goldenberg, Classic • Symphony no. 41 in C major , K 551 (“Jupiter”) Symphonies for Timpani , p. 44) → Molto allegro (Finale): mm. 1–35 (in Goldenberg, Classic Symphonies for Timpani, p. 28) Kabalevsky, Dmitri • Colas Breugnon Suite Shostakovich, Dmitri → Overture: xylophone, rehearsal number 9 to • Polka from The Golden Age rehearsal number 12 and rehearsal number 36 → xylophone: rehearsal number 45 to rehearsal to rehearsal number 37 (in Goldenberg, Modern number 46 , and rehearsal number 55 to rehearsal School for Xylophone, Vibraphone, and Marimba, number 56 (in Goldenberg, Modern School for p. 113) Xylophone, Vibraphone, and Marimba, p. 113)

TECHNICAL REQUIREMENTS Please see “Technical Requirements” on p. 21 for important information regarding this section of the examination.

Studies Candidates must be prepared to play all the studies in the following list. Bizet, Georges Liszt, Franz • Entr’acte from Carmen (tambourine) (ed. Morris • Piano Concerto no. 1 in E flat major (triangle) Goldenberg, exercise 28, p. 101 in Modern School (ed. Morris Goldenberg, exercise 34, p. 101 in for Snare Drum WAR) Modern School for Snare Drum WAR) Cirone, Anthony Portraits in Rhythm BEL • no. 15 (snare drum, p. 17)

Percussion Syllabus Grade 9 51 TECHNICAL REQUIREMENTS continued

Technical Tests All technical tests must be performed from memory, smoothly, with maximum control, using alternate sticking whenever possible.

no. 1: Single stroke roll no. 22: Flam tap no. 2: Single stroke four no. 23: Flamacue no. 3: Single stroke seven no. 24: Flam paradiddle no. 4: Multiple bounce roll no. 25: Single flammed mill no. 5: Triple stroke roll no. 26: Flam paradiddle-diddle no. 6: Double stroke open roll no. 27: Pataflafla no. 7: Five stroke roll no. 31: Drag no. 8: Six stroke roll no. 32: Single drag tap no. 9: Seven stroke roll no. 33: Double drag tap no. 10: Nine stroke roll no. 34: Lesson 25 no. 11: Ten stroke roll no. 35: Single dragadiddle no. 12: Eleven stroke roll no. 36: Drag paradiddle no. 1 no. 13: Thirteen stroke roll no. 37: Drag paradiddle no. 2 no. 14: Fifteen stroke roll no. 38: Single ratamacue no. 15: Seventeen stroke roll no. 39: Double ratamacue no. 16: Single paradiddle no. 40: Triple ratamacue no. 17: Double paradiddle no. 41: Single stroke triplet no. 18: Triple paradiddle no. 42: Three-stroke ruff (single stroke) no. 19: Single paradiddle-diddle no. 43: Four-stroke ruff (single stroke) no. 20: Flam no. 44: Five-stroke ruff (single stroke) no. 21: Flam accent

Scales and Chords Scales and chords must be performed from memory.

Timpani Keys Range Tempo Articulation

Chromatic scale starting on F 1 octave = 100 Mallet Instrument Solid four-note chords all major and minor chords (using four mallets) within the octave, in semitone 1 octave = 100 progression (see example)

52 Grade 9 The Royal Conservatory of Music TECHNICAL REQUIREMENTS continued

Drum Set Candidates must be prepared to demonstrate the following beats. For reference, see Mike Davis, Basic Beats for the Working Drummer (Miami, Florida: Warner Bros. Publications, 1974). • Shuffle • Cha-Cha-Cha • Rhumba • Samba • Bossa Nova

EAR TESTS

Intervals Candidates may choose to: (a) sing or hum any of the following intervals after the examiner has played the first note once , OR (b) identify any of the following intervals after the examiner has played the interval once in broken form. – above a given note : any interval within the octave – below a given note : any interval within the octave except a diminished 5th (augmented 4th)

Chords Candidates will be asked to name any of the following chords after the examiner has played the chord once in solid form, close position. – major and minor triads in root position and first inversion. Candidates must identify the quality of the triad (major or minor) and name the inversion. – dominant 7th and diminished 7th chords in root position

Percussion Syllabus Grade 9 53 EAR TESTS continued

Cadences Candidates will be asked to identify, by name or by symbol, any of the following cadences in major or minor keys. The examiner will play the tonic chord once, and then play a short phrase ending with a cadence twice . – perfect (authentic, V-I) – plagal (IV-I) – imperfect (I-V)

Melody Playback Candidates will be asked to play back the upper part of a two-part phrase in any major key, either on a mallet instrument or on the piano. The examiner will name the key, play the tonic triad once , and play the phrase twice .

SIGHT READING 1. Candidates will be asked to play a composition approximately equal in difficulty to repertoire of a Grade 7 level. 2. Candidates will be asked to clap or tap the rhythm of a melody in or time. A steady pace and rhythmic accentuation is expected.

THEORY CO-REQUISITES Grade 2 Rudiments Grade 3 Harmony or Grade 3 Keyboard Harmony Grade 3 History

54 Grade 9 The Royal Conservatory of Music Grade 10

Required Instruments : snare drum, mallet instruments, drum set, timpani, multiple percussion set-ups, Latin instruments Please see “Theory Examinations: Prerequisites and Co-requisites” on p. 8, “ARCT Examinations” on p. 9, “Classification of Marks” on p. 17, and “Supplemental Examinations” on p. 17 for important details regarding Grade 10 standing for an ARCT examination application. Please see “Examination Procedures” on pp. 15–16 for important information regarding percussion instruments, sticks, and mallets used for percussion examinations.

LIST A: Snare Drum

Goldenberg, Morris Wilcoxon, Charles S. (Charley) Modern School for Snare Drum WAR Modern Rudimental Swing Solos LUD • Etude 7/8 (p. 68) • Battin’em Out • Three Camps with Variations Heslip, Gerald The All American Drummer LUD • Boardwalk KEN • Solo no. 129, Solo no. 130, and Solo no. 131 Schinstine, William Adventures in Solo Drumming SOU • Rudimental Solos → one solo

LIST B: Mallet Instruments

Bach, Johann Sebastian Gipson, Richard Partitas and Sonatas for Violin Solo , BWV 1001–1006 • Monograph IV ST4 • one partita or one sonata (use original violin score) Johnson, Charles Leslie → complete • Dill Pickles (arr. Robert Becker KPP) • Violin Concerto in A minor , BWV 1041 → must be played with accompaniment → movements 1 and 3 (arr. for xylophone by Morris Goldenberg, pp. 94–99, in Modern School for Xylophone, Vibraphone, and Marimba WAR)

Percussion Syllabus Grade 10 55 LIST B: Mallet Instruments continued

Musser, Claire O. Tchaikovsky, Pyotr Il’yich • Etude, op. 11, no. 4 ST4 Album for the Young (arr. Leigh Howard Stevens) ST4; • Prelude, op. 11, no. 3 ST4 ALF • Sweet Dreams (no. 1) • The Hobby Horse (no. 2) • Waltz (no. 3) • The Doll’s Burial (no. 4) • The New Doll (no. 5) • Mazurka (no. 6) • Song of the Lark (no. 7) • Nursery Tale (no. 8)

LIST C: Drum Set

Heslip, Gerald Houllif, Murray • Whose Kit Is This? PER; KEN Contemporary Drumset Solos KEN • Samba-Ly Holmquist, Joe Drum Set Etudes , bk 3 KJO • one etude

LIST D: Timpani

Cahn, William Lepak, Alexander • Raga no. 1 CAH; WIM Thirty-two Solos for Timpani WIN • one solo Firth, Vic • Solo Impression for Three Timpani FIS Piché, Jean → must be played with accompaniment • Steal the Thunder CMC Hinger, Fred D. Solos for the Virtuoso Timpanist JER • Opus One • Theme Based on Harry Janos

LIST E: Multiple Percussion Set-Ups

Feldman, Morton Kulesha, Gary • King of Denmark PET • Angels (for marimba and tape) CMC Hatch, Peter Lang, David A. • Lagtime CMC • Anvil Chorus NOV Kraft, William • English Suite AWM → one movement: Prelude, Allemande, Courante, Sarabande, Bourrée I, Bourrée II, Gigue

56 Grade 10 The Royal Conservatory of Music ORCHESTRAL EXCERPTS Candidates should be prepared to play all the following orchestral excerpts. In addition, candidates are encouraged to listen to and be familiar with the works from which these excerpts are taken. Candidates may use standard published orchestral parts for the specific excerpts. Alternatively, candidates may use excerpts printed in the following anthologies: – Goldenberg, Morris, ed. Classic Symphonies for Timpani . Milwaukee, Wisconsin: Hal Leonard, 1963. – Goldenberg, Morris, ed. Romantic Symphonies for the Timpani . New York: Hal Leonard, 1963. – Goldenberg, Morris. Modern School for Xylophone, Vibraphone, Marimba . Miami, Florida: Warner Bros. Publications, 1950, 2002.

Beethoven, Ludwig van • Symphony no. 8 Khachaturian, Aram → 4th movement, Allegro vivace : rehearsal letter K • Gayne Ballet Suite to end (in Goldenberg, Classic Symphonies for → xylophone: Dance of the Rose Maidens and Timpani, p. 55) Sabre Dance (in Morris Goldenberg, Modern • Symphony no. 9 Solos for Xylophone, Vibraphone, and Marimba, → 2nd movement, Molto vivace : rehearsal letter F pp. 117–118) to rehearsal letter H (in Morris Goldenberg, Classic Symphonies for Timpani, p. 60) Tchaikovsky, Pyotr Il’yich • Symphony no. 4 Brahms, Johannes → 1st movement: rehearsal letter T to rehearsal • Symphony no. 1 letter V (in Morris Goldenberg, Romantic → 4th movement, Più allegro : m. 391 to end Symphonies for the Timpani, p. 72) (in Goldenberg, Romantic Symphonies for the Timpani, p. 39) Gershwin, George • Porgy and Bess → Overture: xylophone, mm. 4–19 (in Goldenberg, Modern Solos for Xylophone, Vibraphone, and Marimba, pp. 122–123)

TECHNICAL REQUIREMENTS Please see “Technical Requirements” on p. 21 for important information regarding this section of the examination.

Studies Candidates should be prepared to play all bulleted selections in Group 1 and one bulleted selection in Group 2.

Group 1: Timpani and Mallet Instrument Group 2: Snare Drum Bach, Johann Sebastian Delécluse, Jacques Twenty Bach Chorales for Mallets (arr. Murray Houliff Keiskleiriana , vol. 1 LED MFP) • no. 1 • one chorale Whaley, Garwood, and Joseph M. Mooney Hinger, Fred Rhythmic Patterns of Contemporary Music JRP [ OP ] Technique for the Virtuoso Timpanist JER • page 39 or page 65 • Study no. 1, pp. 15–16

Percussion Syllabus Grade 10 57 TECHNICAL REQUIREMENTS continued

Technical Tests All technical tests must be performed from memory, smoothly, with maximum control, using alternate sticking whenever possible.

Rudiments For a complete list of drum rudiments, please see “Rudiments” on pp. 22–24. Candidates should be prepared to play the following rudiments at a moderate even march tempo, and in an open (slow) to close (fast) to open (slow) pattern. no. 1: Single stroke roll no. 23: Flamacue no. 2: Single stroke four no. 24: Flam paradiddle no. 3: Single stroke seven no. 25: Single flammed mill no. 4: Multiple bounce roll no. 26: Flam paradiddle-diddle no. 5: Triple stroke roll no. 27: Pataflafla no. 6: Double stroke open roll no. 28: Swiss Army triplet no. 7: Five stroke roll no. 29: Inverted flam tap no. 8: Six stroke roll no. 30: Flam drag no. 9: Seven stroke roll no. 31: Drag no. 10: Nine stroke roll no. 32: Single drag tap no. 11: Ten stroke roll no. 33: Double drag tap no. 12: Eleven stroke roll no. 34: Lesson 25 no. 13: Thirteen stroke roll no. 35: Single dragadiddle no. 14: Fifteen stroke roll no. 36: Drag paradiddle no. 1 no. 15: Seventeen stroke roll no. 37: Drag paradiddle no. 2 no. 16: Single paradiddle no. 38: Single ratamacue no. 17: Double paradiddle no. 39: Double ratamacue no. 18: Triple paradiddle no. 40: Triple ratamacue no. 19: Single paradiddle-diddle no. 41: Single stroke triplet no. 20: Flam no. 42: Three-stroke ruff (single stroke) no. 21: Flam accent no. 43: Four-stroke ruff (single stroke) no. 22: Flam tap no. 44: Five-stroke ruff (single stroke)

Chords Chords must be performed from memory, on a mallet instrument, using four mallets.

Solid Four-note chords Progression Range Tempo Articulation

Dominant 7ths (solid) all inversions in all major keys 1 octave = 80

58 Grade 10 The Royal Conservatory of Music TECHNICAL REQUIREMENTS continued

Drum Set: Four-measure Breaks Candidates should be prepared to play four measures of a jazz swing beat in , followed by a four-measure improvised solo, and repeat this process four times. tempo: = 160 – 200

Latin Rhythms Candidates should be prepared to demonstrate basic patterns on congas, bongos, or timbales. For reference, see Thomas A. Brown, Afro-Latin Rhythm Dictionary (Van Nuys, California: Alfred Publishing, 1992).

EAR TESTS

Intervals Candidates may choose to: (a) sing or hum any of the following intervals after the examiner has played the first note once , OR (b) identify any of the following intervals after the examiner has played the interval once in broken form. – above a given note : any interval within the octave – below a given note : any interval within the octave

Chords Candidates will be asked to name any of the following four-note chords after the examiner has played the chord once in solid form, close position. – major and minor four-note chords in root position, first inversion, and second inversion. Candidates must identify the quality of the chord (major or minor) and name the inversion. – dominant 7th and diminished 7th chords in root position

Cadences Candidates will be asked to identify, by name or by symbols, any of the following cadences when played in a simple phrase. The examiner will play the tonic chord once and then play the phrase twice . The phrase may be in a major or minor key and contain up to three cadences. – perfect (authentic, V-I) – plagal (IV-I) – imperfect (I-V) – deceptive (V-VI)

Melody Playback Candidates will be asked to play back the lower part of a two-part phrase in any major key, either on a mallet instrument or on the piano. The examiner will name the key, play the tonic triad once, and play the phrase twice .

Percussion Syllabus Grade 10 59 SIGHT READING

1. Candidates will be asked to play a composition approximately equal in difficulty to repertoire of a Grade 8 level. 2. Candidates will be asked to clap or tap the rhythm of a melody in or time. A steady pace and rhythmic accentuation is expected.

THEORY CO-REQUISITES

Grade 2 Rudiments Grade 3 History Grade 4 Harmony or Grade 4 Keyboard Harmony Grade 4 History

60 Grade 10 The Royal Conservatory of Music Performer’s ARCT

The ARCT Examination Please see “Theory Examinations: Prerequisites and Co-requisites” on p. 8, “ARCT Examinations” on p. 9, “Classification of Marks” on p. 17, and “Supplemental Examinations” on p. 17 for important details regarding the application for an ARCT examination. Candidates are strongly recommended to study for at least two years after passing the Grade 10 examination. The ARCT diploma is the culmination of the RCM Examinations Certificate Program. The Performer’s ARCT examination will be evaluated as a concert performance. Excellence in every aspect of performance is expected. Candidates must achieve an Honours standing (70 percent) in order to be awarded an ARCT diploma.

Policy Regarding Pass and Failure If a candidate is able to preserve the continuity of a performance of a work despite a small break in concentration, a passing mark will not be precluded.

The candidate’s performance of a work may receive a failing grade for any of the following reasons: • lack of stylistic awareness • repeated interruptions in the continuity • substantial omissions • textual inaccuracies • complete breakdown of the performance

Marking Criteria First Class Honours with Distinction: 90–100 Only truly exceptional candidates achieve this category. Candidates must demonstrate complete technical command and perform with a confident, masterful style. These candidates clearly demonstrate an authentic personal performance spark. First Class Honours: 85–89 Candidates present a truly engaging and intelligent performance, displaying technical polish and finesse, definite and apt characterization, and a sense of spontaneity. First Class Honours: 80–84 Candidates are technically solid and demonstrate sensitivity, intelligence, and talent. They are well prepared and able to execute the examination requirements thoughtfully and confidently. Honours: 70–79 Candidates exhibit thorough and careful preparation and demonstrate some interpretive skills. Repertoire is presented with overall command and accuracy. There is awareness and general security in technical elements.

REPERTOIRE Please see “Examination Repertoire” on pp. 13–14 for important information regarding this section of the examination. Candidates should be prepared to play four selections: one from List A, one from List B, one from List C, and one from List D. Candidates are encouraged to choose a varied and balanced program. Each bulleted item ( •) represents one selection for examination purposes. The length of the performance must be between 40 and 50 minutes. The examination program must include at least one work that is accompanied. Please note that the examiner may stop the performance if it exceeds the allotted time.

Percussion Syllabus Performer’s ARCT 61 LIST A: Multiple Percussion Set-Ups

Cahn, William Nguyen Thien-Dao • Nara CAH • May SAL • Partita CAH Stockhausen, Karlheinz Delécluse, Jacques • Zyklus UNI [ OP ] • Cinq pièces brèves LED → must be played with accompaniment Tomasi, Henri • Concert asiatique LED Hatch, Peter • When Do They Is Not The Same As Why Do Vivier, Claude They CMC • Cinque chansons DOB; CMC Ishii, Maki Xenakis, Iannis • Thirteen Drums, op. 66 MOK • Psappha SAL Kulesha, Gary • Toccata for Percussion and Tape CMC

LIST B: Mallet Instruments

Abe, Keiko Miki, Minoru • Michi MFP • Marimba Spiritual ONT Burritt, Michael Musser, Claire O. • October Night LUD • Prelude , op. 11, no. 7 ST4 Burton, Gary Naito, Akemi • Solo: The Sunset Bell LUD • Memory of the Woods HRK Creston, Paul Smadbeck, Paul • Concertino for Marimba SCH • Rhythm Song KPP → must be played with accompaniment Southam, Ann Green, George Hamilton • Alternate Currents CMC • Cross Corners (arr. Robert Becker) KPP → must be played with accompaniment Stevens, Leigh Howard • Rhythmic Caprice KPP Hovhaness, Alan • Fantasy on Japanese Wood Prints PET Stout, Gordon → must be played with accompaniment • Two Mexican Dances for Marimba ST4 [ OP ] Jaeger, David Tanaka, Toshimitsu • Lyrics for Solo Marimba JAE • Two Movements for Marimba ONT Louie, Alexina Thomas, Andrew • Cadenzas for Clarinet and Percussion CMC • Merlin SCH Mackey, Steven • See Ya Thursday HEM

62 Performer’s ARCT The Royal Conservatory of Music LIST C: Drum Set

Candidates should be prepared to perform one selection in a combo setting (for example, piano, bass, and drums). The music should be chosen from standard jazz classics (32 measure) or from Latin, fusion, or contemporary repertoire. This selection should consist of two or three repetitions and should include an improvised 32-measure solo featuring the drum set. Performance time should be approximately 5 minutes. Repertoire examples may include, but are not limited to, the following: Bruebeck, Dave Evans, Bill • Blue Ronda à la Turk • Waltz for Debby Corea, Chick Jobim, Carlos A. • Crystal Silence • One Note Samba Desmond, Paul Monk, Thelonius • Take Five • Straight, No Chaser Ellington, Duke • Don’t Get Around Much Anymore • It Don’t Mean a Thing • I’m Beginning to See the Light

LIST D: Timpani

Carter, Elliott Carter, Elliott continued Eight Pieces for Four Timpani AMP • Improvisation • Adagio • March • Canaries • Moto Perpetuo • Canto • Recitative • Saeta

ORCHESTRAL EXCERPTS Candidates should be prepared to play all the following orchestral excerpts in both Group 1 and Group 2. In addition, candidates are encouraged to listen to and be familiar with the works from which these excerpts are taken. Candidates may use standard published orchestral parts for the specific excerpts. Alternatively, candidates may use excerpts printed in the following anthologies: – Abel, Alan, ed. 20th Century Orchestra Studies for Percussion . New York: G. Schirmer, 1970. – Abel, Alan, ed. 20th Century Orchestra Studies for Timpani . New York: G. Schirmer, 1970.

Group 1: Timpani Stravinsky, Igor • Le sacre du printemps / The Rite of Spring Bernstein, Leonard m. 189 to end (in Alan Abel, 20th Century • Candide → Orchestra Studies for Timpani, pp. 66–67) → Overture: mm. 1–4; mm. 189–201 (in Alan Abel, 20th Century Orchestra Studies for Timpani, pp. 8–10)

Hindemith, Paul • Symphonic Metamorphosis → 5 measures after rehearsal letter S to rehearsal letter T; 5 measures after rehearsal letter V to rehearsal letter W (in Alan Abel, 20th Century Orchestra Studies for Timpani, p. 23)

Percussion Syllabus Performer’s ARCT 63 ORCHESTRAL EXCERPTS continued

Group 2: Percussion Strauss, Richard • Don Juan Dukas, Paul glockenspiel: 4 measures before rehearsal letter • Sorcerer’s Apprentice → D to 14 measures after rehearsal letter D; → glockenspiel: 3 measures after rehearsal number 8 measures before rehearsal letter Q to 3 measures 17 vif (in 1) to 3 measures before rehearsal after rehearsal letter Q (in Alan Abel, 20th Century number 20 ; rehearsal number 22 to rehearsal Orchestra Studies for Percussion ) number 24 (in Alan Abel: 20th Century Orchestra Studies for Percussion, p. 21) Kodály, Zoltán • Hary Janos Suite → xylophone: fourth measure of VI Alla marcia to rehearsal number 1; rehearsal number 7 for 8 measures; rehearsal number 10 to end (in Alan Abel: 20th Century Orchestra Studies for Percussion, pp. 34–35)

THEORY PREREQUISITES Grade 2 Rudiments Grade 3 History Grade 4 Harmony or Grade 4 Keyboard Harmony Grade 4 History

THEORY CO-REQUISITES Grade 4 Counterpoint Grade 5 Harmony and Counterpoint or Grade 5 Keyboard Harmony Grade 5 History Grade 5 Analysis

PIANO CO-REQUISITE Grade 6 Piano

64 Performer’s ARCT The Royal Conservatory of Music Teacher’s ARCT

The Teacher’s ARCT will be awarded only to candidates 18 years of age or older.

Please see “Theory Examinations: Prerequisites and Co-requisites” on p. 8, “ARCT Examinations” on p. 9, “Classification of Marks” on p. 17, and “Supplemental Examinations” on p. 17 for important details regarding the application for an ARCT examination. Candidates are strongly recommended to study for at least two years after passing the Grade 10 examination and to have at least one year of teaching experience.

TEACHER’S ARCT PART 1: Performance of Repertoire, Orchestral Excerpts, Technical Requirements, Ear Tests, and Sight Reading

REPERTOIRE Please see “Examination Repertoire” on pp. 13–14 for important information regarding this section of the examination. Candidates should be prepared to play two selections from the repertoire listed for the Performer’s ARCT examinations: one from List A and one from List B. Candidates are encouraged to choose a program that includes a variety of musical styles and periods.

ORCHESTRAL EXCERPTS Candidates should be prepared to play all the orchestral excerpts listed for the Performer’s ARCT examination in both Group 1 (by Leonard Bernstein, Paul Hindemith, and Igor Stravinsky), and Group 2 (by Paul Dukas, Zoltán Kodály, and Richard Strauss).

TECHNICAL REQUIREMENTS

Studies Candidates should be prepared to play the studies as listed for the Grade 10 examination.

EAR TESTS

Metre Candidates will be asked to identify the time signatures ( , , , or ) of four-measure passages. The examiner will play each passage once .

Percussion Syllabus Teacher’s ARCT 65 EAR TESTS continued

Intervals Candidates may choose to: (a) sing or hum the intervals listed below after the examiner has played the first note once , OR (b) identify the intervals listed below after the examiner has played the interval once in broken form. – above a given note : any interval within a major 9th – below a given note : any interval within an octave

Chords Candidates will be asked to identify, by chord symbols or names, the chords used in a four-measure phrase in a major key. The phrase will begin with a tonic chord and may include chords on the first, second, fourth, fifth, and sixth degrees of the scale. The final cadence may contain a cadential six-four chord and/or a dominant 7th chord.

The examiner will play the tonic chord once and then play the phrase twice in a slow to moderate tempo. During the second playing, the candidate will name each chord after it has been played by the examiner.

Melody Playback Candidates will be asked to play back both parts of a two-part phrase in any major key together, either on a mallet instrument or on the piano. The examiner will name the key, play the tonic triad once, and play the phrase twice .

SIGHT READING 1. Candidates will be asked to play at sight a given passage approximately equal in difficulty to repertoire of a Grade 9 level. 2. Candidates will be asked to play at sight a passage equal in difficulty to repertoire of a Grade 6 level, demonstrating in performance and orally the musical features and characteristics of the piece. 3. Candidates will be asked to clap or tap the rhythm of a melody. A steady pace and rhythmic accentuation are expected.

66 Teacher’s ARCT The Royal Conservatory of Music TEACHER’S ARCT PART 2: Viva Voce Examination

A: Pedagogical Principles This part of the examination will test the candidate’s knowledge of the principles of playing percussion instruments, including: – rhythm and metre – dynamics and phrasing – prevention of injury – instrument care and cleaning – mallet choices – mallet grips (including Musser, Burton, Stevens, and traditional cross-grip) – mounting a new mylar timpani head – mounting a new calf-skin head – purchase of percussion instruments

B: Applied Pedagogy Teaching Repertoire For this section of the examination, candidates should prepare repertoire and studies according to the requirements for percussion examinations for Grades 1, 2, 4, 6, and 8 in the Percussion Syllabus, 2005 Edition. Candidates should be prepared to suggest drills and exercises to help a student meet challenges encountered in the requirements for these examinations and to discuss the suitability and purpose of the material in a student’s development. Candidates should also be able to discuss stylistic differences between repertoire of the Baroque, Classical, Romantic, and 20th-century periods as applicable to the percussion instruments.

TEACHER’S ARCT PART 3: Teacher’s ARCT Written Examination Examination length: 3 hours Passing mark: 70 percent

Candidates should be prepared to discuss the following topics: – the history and construction of percussion instruments and their evolution and uses throughout history – the development of orchestral, chamber, and solo percussion repertoire – teaching materials and general solo percussion repertoire – requirements for percussion examinations as listed in the Percussion Syllabus, 2005 Edition – accepted theories and techniques of musical pedagogy – books, periodicals, and reference materials relating to percussion instruments – notable percussion performers, both past and present

In their answers to examination questions, candidates will be expected to demonstrate familiarity with a variety of suitable teaching material for all levels from beginner to Grade 8. Candidates may be asked to add editorial markings to a short passage of percussion music, including articulations, dynamics, phrasing, expression marks (Italian terms), and stickings. The title and tempo of the composition will be given. Candidates may be asked to write several short exercises designed to correct common technical problems encountered by percussion students. For a reading list and reference material, please see “Bibliography” on pp. 71–75.

Percussion Syllabus Teacher’s ARCT 67 THEORY PREREQUISITES Grade 2 Rudiments Grade 3 History Grade 4 Harmony or Grade 4 Keyboard Harmony Grade 4 History

THEORY CO-REQUISITES Grade 4 Counterpoint Grade 5 Harmony and Counterpoint or Grade 5 Keyboard Harmony Grade 5 History Grade 5 Analysis

PIANO CO-REQUISITE Grade 8 Piano

68 Teacher’s ARCT The Royal Conservatory of Music Section 4 – Theory Examinations

Theory examinations are given in the subjects listed below. Please refer to the current RCM Theory Syllabus for detailed information on theory examinations and recommended textbooks. All theory co-requisites must be completed before or within five years after the respective session of the practical examination to which they apply. Extensions will not be granted. Candidates are strongly advised to complete their theoretical work before, or at the same time as, their practical examination. (Please see p. 8 for a list of theory prerequisites and co-requisites.)

RUDIMENTS

Preliminary Rudiments Grade 2 Rudiments Elements of music for the beginner. Preliminary and Grade 1 Rudiments with the – One-hour examination. addition of foundation material necessary to the study of harmony. Grade 1 Rudiments – Two-hour examination. A continuation of Preliminary Rudiments for students with more music reading experience. – Two-hour examination.

HARMONY, KEYBOARD HARMONY, COUNTERPOINT, AND ANALYSIS

Introductory Harmony Grade 4 Keyboard Harmony A continuation of Grade 2 Rudiments with the The material of Grade 4 Harmony at the keyboard. introduction of elementary four-part writing and This examination may be substituted for Grade 4 melodic composition in major keys, chord Harmony in fulfilment of certificate requirements. symbols, and non-chord tones. – Three-hour examination. Grade 4 Counterpoint Simple two-part counterpoint in Baroque style; Grade 3 Harmony invertible counterpoint at the octave and the 15th. The fundamentals of four-part writing in major Completion of Grades 3 and 4 Harmony is keys; melodic composition; harmonic and strongly advised. structural analysis in major and minor keys. – Three-hour examination. Familiarity with material of Grade 2 Rudiments is strongly advised. Grade 5 Harmony and Counterpoint – Three-hour examination. Advanced harmonic and intermediate contrapuntal techniques (for two voices). Completion of Grades Grade 3 Keyboard Harmony 3 and 4 Harmony and Grade 4 Counterpoint is The material of Grade 3 Harmony at the keyboard. strongly advised. This examination may be substituted for Grade 3 – Three-hour examination. Harmony in fulfilment of certificate requirements. Grade 5 Keyboard Harmony Grade 4 Harmony The material of Grade 5 Harmony and Intermediate four-part writing and melodic Counterpoint at the keyboard. This examination composition in major and minor keys; modulation; may be substituted for Grade 5 Harmony and harmonic and structural analysis; musical forms. Counterpoint in fulfilment of certificate Completion of Grade 3 Harmony is strongly advised. requirements. – Three-hour examination.

Percussion Syllabus Theory Examinations 69 HARMONY, KEYBOARD HARMONY, COUNTERPOINT, AND ANALYSIS continued

Grade 5 Analysis Advanced harmonic and structural analysis of musical forms based on the material of Grades 3 and 4 Harmony, and Grade 5 Harmony and Counterpoint, as well as short post-1900 compositions. – Three-hour examination.

MUSIC HISTORY

Grade 3 History Grade 5 History An overview of styles, composers, and music of the Styles, composers, and music of the 19th and 20th Baroque, Classical, and Romantic periods, and the centuries, including Canadian music. 20th century. – Three-hour examination. – Three-hour examination.

Grade 4 History Music of the Medieval, Renaissance, Baroque, and Classical periods, with emphasis on the development of musical genres and forms. – Three-hour examination.

MUSICIANSHIP

At the option of candidates, these examinations may be substituted for the Ear Tests requirements for Grades 8 to 10 and ARCT practical examinations.

Junior Musicianship Senior Musicianship Singing and/or identification of scales, intervals, Singing and/or identification of scales, intervals, and chords; aural analysis of simple harmonic and chords; aural analysis of harmonic progressions; singing back and sight singing of progressions to the Grade 4 Harmony level; simple rhythms and melodies. To be used with singing back and sight singing of rhythms and Grade 8 practical examinations. melodies. To be used with Grade 10 practical examinations and/or ARCT; the minimum Intermediate Musicianship acceptable mark is 70 percent. Singing and/or identification of scales, intervals, and chords; aural analysis of harmonic progressions; singing back and sight singing of rhythms and melodies. To be used with Grade 9 practical examinations.

CLASSIFICATION OF THEORY MARKS

First Class Honours with Distinction 90–100 First Class Honours 80–89 Honours 70–79 Pass 60–69

70 Theory Examinations The Royal Conservatory of Music Section 5 – Bibliography

The following texts are useful for reference, teaching, and examination preparation. No single text is necessarily complete for examination purposes.

GENERAL RESOURCES

Sight Reading and Ear Training

Bennett, Elsie, and Hilda Capp. Sight Reading and Ear Mississauga, Ontario: Frederick Harris Music, Tests . 10 vols. Mississauga, Ontario: Frederick 2002. Harris Music, 1968–1970. Berlin, Boris, and Warren Mould. Basics of Ear Berlin, Boris, and Andrew Markow. Ear Training for Training . (Levels 8 to ARCT.) Miami, Florida: Practical Examinations: Melody Playback/Singback . Warner Bros. Publications. First published 4 vols. (Level 1 to ARCT). Mississauga, Ontario: Toronto: Gordon V. Thompson Music, 1968. Frederick Harris Music, 1986–1988. Berlin, Boris, and Warren Mould. Rhythmic Tests for Berlin, Boris, and Andrew Markow. Ear Training for Sight Reading . (Levels 8 to ARCT.) Miami, Florida: Practical Examinations: Rhythm Clapback/Singback . Warner Bros. Publications. First published 3 vols. (Levels 1 to 7). Mississauga, Ontario: Toronto: Gordon V. Thompson Music, 1969. Frederick Harris Music, 1989–1991. Harris, Paul. Improve your Sight-reading! A Workbook Berlin, Boris, and Andrew Markow. Four Star Sight for Examinations. London: Faber Music, 1994. Reading and Ear Tests . Ed. Scott McBride Smith. Hindemith, Paul. Elementary Training for Musicians . 11 vols. Rev. ed. Introductory to Level 10). London: Schott, 1974.

Official Examination Papers

Official Examination Papers . 15 vols. Mississauga, Grade 4 Harmony Ontario: Frederick Harris Music, published annually Grade 4 Keyboard Harmony and available several years: Grade 4 History Preliminary Rudiments Grade 4 Counterpoint Grade 1 Rudiments Grade 5 Harmony and Counterpoint Grade 2 Rudiments Grade 5 Keyboard Harmony Introductory Harmony Grade 5 History Grade 3 Harmony Grade 5 Analysis Grade 3 Keyboard Harmony Grade 3 History Individual ARCT Teacher’s Written Examination papers are also available upon request.

Reference Works

Donnington, Robert. The Interpretation of Early Music. Kamien, Roger. Music: An Appreciation . 5th ed. New New rev. ed. London: Faber Music, 1989. York: McGraw-Hill, 1992. Grout, Donald Jay and Claude V. Palisca. A History of Latham, Alison, ed. The Oxford Companion to Music . Western Music . 6th ed. New York: W.W. Norton, Oxford: Oxford University Press, 2002. 2001. Machlis, Joseph and Kristine Forney. The Enjoyment of Kallmann, Helmut, Gilles Potvin, and Kenneth Music . 9th ed. New York: W.W. Norton, 2003. Winters, eds. Encyclopedia of Music in Canada . Marcuse, Sibyl. Musical Instruments: A Comprehensive 2nd ed. Toronto: University of Toronto Press, Dictionary . New York: Doubleday, 1964. 1992 (available on-line at Randel, Don Michael, ed. The Harvard Biographical www.thecanadianencyclopedia.com). Dictionary of Music . Cambridge, Massachusetts: Harvard University Press, 1996.

Percussion Syllabus Bibliography 71 GENERAL RESOURCES continued

Randel, Don Michael, ed. The Harvard Dictionary of Slonimsky, Nicolas, and Laura Kuhn, eds. Baker’s Music . 4th ed. Cambridge, Massachusetts: Biographical Dictionary of Music and Musicians . Harvard University Press, 2003. Centennial ed. 6 vols. New York: G. Schirmer, Sadie, Stanley, ed. The New Grove Dictionary of Music 2001. and Musicians . 2nd ed., 29 vols. London: Stolba, K. Marie. The Development of Western Music: Macmillan, 2001. A History . 3rd ed. Boston, Massachusetts: Sadie, Stanley, ed. The New Grove Dictionary of Musical McGraw-Hill, 1998. Instruments . 3 vols. London: Macmillan, 1984.

PERCUSSION RESOURCES

Snare Drum

Brown, Thomas Alfred, ed. Snare Drum: The Lamb, Jack, ed. Classic Festival Solos: Snare Drum. Competition Collection: Graded Solos for the 2 vols. Miami, Florida: Belwin-Mills Publishing, Elementary-Intermediate Level . Miami, Florida: 1993. CPP/Belwin, 1992; New York: G. Schirmer. Ludwig, William. Drum Method Book 1. Cleveland, Burns, Roy, and Sandy Feldstein. Intermediate Drum Ohio: Ludwig Music. Method. Miami, Florida: Belwin-Mills Publishers, O’Reilly, John, ed. Solos for the Percussion Player, With 1967. Piano Accompaniment . New York: G. Schirmer, Cirone, Anthony J., ed. Portraits in Rhythm: Fifty 1971. Studies for Snare Drum. Miami, Florida: Pratt, John S. 14 Contest Solos for Snare Drum . Belwin-Mills Publishing, 1966. Melville, New York: Belwin-Mills Publishing, Cirone, Anthony J., ed. Simple Steps to Snare Drum: a 1959. [Includes Contest Solos for Snare Drum and complete method for individual or classroom Modern Contest Solos for Snare Drum. ] instruction for the beginning snare drummer with an Pratt, John S. Modern Contest Solos for Snare Drum . introduction to bass drum, cymbals, triangle and Melville, New York: Belwin-Mills Publishing, tambourine. Miami, Florida: CPP/Belwin, 1991. 1959, 1987. Davis, Mike. Basic Beats for the Working Drummer . Reed, Ted. Progressive Steps to Syncopation for the New York: Warner Bros. Publishing. Modern Drummer. Van Nuys, California: Alfred Delécluse, Jacques. Douze etudes pour caisse-claire/ Publishing, 1996. Twelve Studies for the Drum. Paris: Alphonse Schinstine, William Joseph. Adventures in Solo Leduc, 1964, 1998. Drumming: Twenty Snare Drum Solos . San Antonio, Delécluse, Jacques. Méthode de Caisse-Claire . Paris: Texas: Southern Music, 1961. Alphonse Leduc. Schinstine, William Joseph, ed. Southern Special Drum Fennell, Frederick, comp. The Drummers’ Heritage: A Solos . San Antonio, Texas: Southern Music. Collection of Popular Airs and Official U.S. Army Schinstine, William Joseph. 17 + l Percussion Pieces . Music for Fifes and Drums Combined with Similar San Antonio, Texas: Southern Music. Pieces for Field Trumpets, Cymbals, and Drums. Whaley, Garwood. Fundamental Studies for Snare New York: [n.p.]; Rochester, New York: Eastman Drum . New York: Joel Rothman, 1974; Galesville, School of Music, University of Rochester, 1956; Maryland: Meredith Music. New York: Carl Fischer, 1956. Wilcoxon, Charles S. (Charley). The All-American Firth, Vic. The Solo Snare Drummer: Advanced Etudes Drummer: 150 Rudimental Solos . Cleveland, Ohio: and Duets . New York: Carl Fischer, 1968. Ludwig Music, 1945. [solo No. 1 to solo No. Goldenberg, Morris. Modern School for Snare Drum. 131, then Wilcoxon’s 132nd, etc.] New York: Chappell, 1955: Miami, Florida: Wilcoxon, Charles S. (Charley). Modern Rudimental Warner Bros. Publications, 2002. Swing Solos. Cleveland, Ohio: Ludwig Music.

72 Bibliography The Royal Conservatory of Music PERCUSSION RESOURCES continued

Drum Set

Brown, Thomas Alfred. Drumset: The Competition Houllif, Murray. Contemporary Drumset Solos . Collection: Graded Solos for the Elementary- Delevan, New York: Kendor Music. Intermediate Level . Miami, Florida: CPP/Belwin, Latham, Rick. Advanced Funk Studies: Creative Patterns 1992. for the Advanced Drummer in the Styles of Today’s Burns, Roy, and Sandy Feldstein. Drum Set Music . Van Leading Funk Drummers . Los Angeles, California: Nuys, California: Alfred Publishing. Rick Latham Publishing, 1980. Chapin, Jim. Advanced Techniques for the Modern Pickering, John. Studio/Jazz Drum Cookbook . Pacific, Drummer. 2 vols . St. Louis, Missouri: James Missouri: Mel Bay Publications. Chapin Publishing. Vogel, Ken. Drum Set Unlimited. Pacific, Missouri: Holmquist, Joe. Drum Set Etudes. 2 vols. San Diego, Mel Bay Publications. California: Neil A. Kjos, 1991. Mallet Instruments

Brown, Thomas A., ed. Mallet Percussion: The McMillan, Thomas, ed. and arr. Masterpieces for Competition Collection . New York: G. Schirmer; Marimba , Miami, Florida: Warner Bros. Miami, Florida: Belwin-Mills Publishing. Publications, 1971. Brown, Thomas A., ed. Simple Solos for Mallets. Pimentel, Linda Lorren. Bar Percussion Notebook. Develan, New York: Kendor Music, 1981. 2 vols. Columbus, Ohio: Permus Publications, Cirone, Anthony J., ed. Simple Steps to Keyboard 1976. Percussion: A Complete Method for Individual or Pimental, Linda Lorren, and James L. Moore. Classroom Instruction for the Beginning Mallet The Solo Marimbist . 2 vols. Columbus, Ohio: Player. Miami, Florida: Belwin-Mills Publishing, Permus Publications, 1947, 1976. 1991. Schinstine, William Joseph, ed. Southern Special Goldenberg, Morris. Modern School for Xylophone, Marimba Solo . San Antonio, Texas: Southern Marimba, Vibraphone . Miami, Florida: Warner Music. Bros. Publications, 1950, 2002. Stout, Gordon. Etudes for Marimba Book 1 . Teaneck, Joliff, Art. Solos for Marimba, Xylophone or Vibraphone: New Jersey: Paul Price Publications. Two, Three, and Four Mallet Solos for the Advanced Whaley, Garwood, ed. Fundamental Studies for Mallets . Student. Miami, Florida: Belwin-Mills Publishing. Fort Lauderdale, Florida: J.R. Publications, 1974; Lamb, Jack, ed. Classic Festival Solos: Mallet Percussion . Fort Lauderdale, Florida: Meredith Music. 2 vols. Miami, Florida: Belwin-Mills Publishing, 1992. Timpani Firth, Vic. The Solo Timpanist: Twenty-Six Etudes . New Lepak, Alexander. Fifty Master Etudes for Timpani . York: Carl Fischer, 1963. Windsor, Connecticut: Windsor Music, 1999. Goodman, Saul. Modern Method for Tympani . New McKenzie, Jack H. Six Graded Timpani Solos. Fort York: Mills Music, 1948; Miami, Florida: Belwin Lauderdale, Florida: Music for Percussion, 1954. Mills. Price, Paul. Timpani Solos. Urbana, Illinois: Music for Hinger, Fred D. Solos for the Virtuoso Timpanist . np, Percussion. 1967; Hackensack, New Jersey: Jerona Music, Schinstine, William Joseph. Tymp Tunes: 19 pieces for 1981. two, three and four tympani, including a snare drum Hinger, Fred D. Technique for the Virtuoso Timpanist . and tympani duet and a piece for multiple percussion Hackensack, New Jersey: Jerona Music, 1981 . using four tympani . San Antonio, Texas: Southern Lepak, Alexander. Thirty-two Solos for Timpani . Music, 1970. Windsor, Connecticut: Windsor Music.

Percussion Syllabus Bibliography 73 PERCUSSION RESOURCES continued

Orchestral Excerpts

Abel, Alan, ed. 20th Century Orchestra Studies for Goldenberg, Morris, ed. Romantic Symphonies for the Percussion . New York: G. Schirmer, 1970. Timpani . Milwaukee, Wisconsin: Hal Leonard, Abel, Alan, ed. 20th Century Orchestra Studies for 1963. Timpani . New York: G. Schirmer, 1970. Goodman, Saul. Modern Method for Tympani . New Carroll, Raynor, ed. Orchestral Repertoire for Bass York: Mills Music, 1948; Miami, Florida: Belwin- Drum and Cymbals. Pasadena, California: Batterie Mills Publishing. Music, 1997. Hinger, Fred D. Solos for the Virtuoso Timpanist . [n.p.], Carroll, Raynor, ed. Orchestral Repertoire for the 1967; Hackensack, New Jersey: Jerona Music, Glockenspeil. Pasadena, California: Batterie Music, 1981. 1996. Hinger, Fred D. Technique for the Virtuoso Timpanist . Carroll, Raynor, ed. Orchestral Repertoire for the Snare Hackensack, New Jersey: Jerona Music, 1981 . Drum. Pasadena, California: Batterie Music, 1997. Lepak, Alexander. Fifty Master Etudes for Timpani . Carroll, Raynor, ed. Orchestral Repertoire for Windsor, Connnecticut: Windsor Music, 1999. Tambourine, Triangle and Castanets. Pasadena, Lepak, Alexander. Thirty-two Solos for Timpani . California: Batterie Music, 1998. Windsor, Connecticut: Windsor Music. Carroll, Raynor, ed. Orchestral Repertoire for the McKenzie, Jack H. Six Graded Timpani Solos. Fort Xylophone. Pasadena, California: Batterie Music, Lauderdale, Florida: Music for Percussion, 1954. 1998. Price, Paul. Timpani Solos. Urbana, Illinois: Music for Firth, Vic. The Solo Timpanist: Twenty-Six Etudes . New Percussion. York: Carl Fischer, 1963. Schinstine, William Joseph. Tymp Tunes: 19 pieces for Goldenberg, Morris, ed. Classic Symphonies for two, three and four tympani, including a snare drum Timpani . Milwaukee, Wisconsin: Hal Leonard, and tympani duet and a piece for multiple percussion 1963. using four tympani . San Antonio, Texas: Southern Music, 1970. Rudiments and Rhythm Dictionaries International Drum Rudiments : available from the Brown, Thomas A. Afro-Latin Rhythm Dictionary . Van Percussive Arts Society (www.pas.org) Nuys, California: Alfred Publishing, 1992. (http://www.pas.org/Publications/rudiments.html) Know Your Drum Rudiments – A Complete Listing . Columbus, Ohio: Permus Percussion Publications, 1984.

Reference and Pedagogy Blades, James. Percussion Instruments and Their History. Houghton, Steve, and Tom Warrington. Essential Revised edition. London: Faber and Faber, 1984. Styles – for the Drummer and Bassist: A Cross Cook, Gary. Teaching Percussion . 2nd ed. New York: Section of Styles as Played by Today’s Top Artists, G. Schirmer, 1997. book 2. Van Nuys, California: Alfred Publishing, Coxson, Mona. Some Straight Talk About the Music 1992. Business . 2nd ed. Toronto: CM Books, 1988. Lang, Morris, and Larry Spivack. Dictionary of Denov, Sam. The Art of Playing Cymbals: A Complete Percussion Terms as Found in the Symphonic Guide and Text for the Artistic Percussionist . New Repertoire . New York: Carl Fischer, 2000. York: Henry Adler, 1963. Richards, Cynthia V. How to Get Your Child to Gerard, Charley, and Marty Shellar. Salsa! The Rhythm Practice ... Without Resorting to Violence!! Provo, of Latin Music. New edition. Tempe, Arizona: Utah: Advance Publications, 1985. White Cliffs Media, 1998. Ward, Geoffrey C., and Ken Burns. Jazz: History of America’s Music. New York: Alfred A. Knopf, 2000.

74 Bibliography The Royal Conservatory of Music ASSOCIATIONS AND WEBSITES

Percussive Arts Society: a music service organization promoting percussion education, research, performance and appreciation throughout the world. www.pas.org

SOURCES OF PERCUSSION MUSIC

Royal Conservatory Music and Book Store 273 Bloor Street West Toronto, ON M5S 1W2 telephone: 416-585-2225, fax: 416-585-7801 toll-free: 1-866-585-2225

Canadian Music Centre 20 St. Joseph Street Toronto, ON M4Y 1J9 www.musiccentre.ca

Steve Weiss Music This on-line music service stocks more than 10,000 percussion titles including many items that are not available from general music stores. 2324 Wyandotte Road Willow Grove, PA 19090 U.S.A. telephone: 215-659-0100 fax: 215-659-1170, toll-free fax: 877-582-2494 www.steveweissmusic.com

Percussion Syllabus Bibliography 75 The Second Century

The curriculum and the examination system of The Royal Conservatory of Music are built on more than a century of commitment to the highest quality in the teaching and performing of music. Through the professional training program, the national examination system, and faculty of distinguished musicians, The Royal Conservatory of Music is recognized as the leading music-training force in Canada, and one of the most significant musical institutions in the Commonwealth.

The Royal Conservatory of Music (originally called the Toronto Conservatory of Music and incorporated in 1886) opened with an enrolment of 200 students and a staff of fifty teachers led by Edward Fisher. A decade later, when enrolment had grown to more than 1,000 students, the school moved to newly built facilities with a reception hall, offices, studios, classrooms, a lecture hall, and a concert hall. Additional studios, classrooms, and residences for out -of -town students were added over the next fifteen years. In 1898, the Conservatory established its first examination centres in several Ontario towns and opened branches in Toronto.

In 1913, following the death of Edward Fisher, Augustus Vogt, conductor of the Toronto Mendelssohn Choir, became Principal. Under Vogt’s leadership, new programs were developed. The number of examination centres was increased, and enrolment continued to grow. By 1926, there were nearly 7,500 students and over 16,000 examination candidates. In association with Sir Edmund Walker, President of the Conservatory, Vogt established closer ties with the University of Toronto. In 1921, administration of operations passed to a Board of Trustees responsible to the University.

Ernest MacMillan (later Sir Ernest MacMillan) was named Principal in 1926. He implemented professional performance training programs, including the Artist Diploma Program and The Royal Conservatory Opera School. When MacMillan resigned in 1942, the leadership of the Conservatory passed briefly in turn to Norman Wilks and Charles Peaker. Ettore Mazzoleni served as Principal from 1945 to 1968.

In 1947, a Royal Charter was granted to the Conservatory by King George VI in recognition of its wide influence. The institution was renamed The Royal Conservatory of Music. During the four postwar decades, The Royal Conservatory of Music continued to develop under the leadership of distinguished musicians such as Boyd Neel, David Ouchterlony, Ezra Schabas, Gordon Kushner, and Robert Dodson.

In 1991, The Royal Conservatory of Music re-established its independence from the University of Toronto, and Dr. Peter Simon was named President of the newly independent school. Over the next few years with the strengthening of teaching programs, RCM Examinations was expanded and the range of RCM materials published by The Frederick Harris Music Co., Limited increased. In addition, two new areas of development were established. The first, a research arm called the RCM Centre for Learning, has as its objective the exploration of new ways to teach music. The second, the RCM Teacher Services, is an association designed to support and assist independent music teachers with services and educational opportunities.

Now in its second century, and in association with thousands of dedicated teachers across the country, The Royal Conservatory of Music assists in the education of more than a quarter of a million students annually. With a renewed commitment to excellence in music education and performance, with strengthened ties to its communities, and with the development of new teaching methods and materials, The Royal Conservatory of Music welcomes the opportunity to serve the needs of society in the 21st century.

76 The Second Century The Royal Conservatory of Music