STRINGS SYLLABUS Bowed Strings | Harp

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

DIGITAL ASSESSMENT: DIGITAL GRADES AND DIPLOMAS To provide even more choice and flexibility in how Trinity’s regulated qualifications can be achieved, digital assessment is available for all our classical, jazz and Rock & Pop graded exams, as well as for ATCL and LTCL music performance diplomas. This enables candidates to record their exam at a place and time of their choice and then submit the video recording via our online platform to be assessed by our expert examiners. The exams have the same academic rigour as our face-to-face exams, and candidates gain full recognition for their achievements, with the same certificate and UCAS points awarded as for the face-to-face exams. Find out more at trinitycollege.com/dgd

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

OVERLAP ARRANGEMENTS This syllabus is valid from 1 January 2020. The 2016–2019 syllabus will remain valid until 31 July 2021. During this overlap period, candidates may present pieces and technical work from the 2016–2019 or the 2020–2023 syllabus, but not both. Candidates should indicate which syllabus they are presenting on the appointment form handed to the examiner at the start of the exam. STRINGS SYLLABUS Bowed Strings | Harp

Qualification specifications for graded exams 2020–2023

Charity number England & Wales: 1014792 Charity number Scotland: SC049143 Patron: HRH The Duke of Kent KG Chief Executive: Sarah Kemp trinitycollege.com Copyright © 2019 Trinity College London Published by Trinity College London Online edition, February 2021

1 Contents

3 / Welcome

4 / Introduction to Trinity’s graded music exams

9 / Learning outcomes and assessment criteria

11 / About the exam

16 / Exam guidance: Pieces

20 / Exam guidance: Technical work

23 / Exam guidance: Supporting tests

36 / Exam guidance: Marking

44 / Violin

77 / Scottish Traditional Fiddle

113 / Viola

150 / Cello

190 / Double Bass

221 / Harp

278 / Policies

280 / Publishers and UK specialist suppliers

284 / Trinity publications

285 / Strings resources

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

2 Welcome Welcome

Welcome to Trinity College London’s Strings syllabus, containing details of graded exams from Initial to Grade 8 for bowed strings and harp. It offers the choice and flexibility to allow string players to perform to their strengths, and aims to reflect and support a range of teaching approaches: pieces chosen from books including Trinity’s Take Your Bow series acknowledge mixed-group strings teaching, while a range of popular tutor books and respected teaching programmes is also featured at early grades. Welcome Build authentic skills Our technical work and supporting tests are specially designed to develop the skills that are specific to your instrument. A combination of bowing exercises and performance-led studies, along with orchestral extracts, develops essential and authentic skills and techniques progressively through the grades. Explore varied repertoire Discover pieces across a variety of styles and genres, showcasing a diverse range of composers including an increased number of female and contemporary writers. Our repertoire has been refreshed at all levels, with the addition of duets at lower grades to encourage and develop ensemble performance skills. Benefit from industry expertise The syllabus and supporting books have been created in consultation with leading strings specialists. You can access videos and articles produced to support teaching and learning at trinitycollege.com/strings-resources, and join us online and on social media to find out when new resources are available. We hope you enjoy exploring the music on offer in this syllabus and we wish you every success in your exams and in your wider music-making.

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

3 Introduction to Trinity’s graded music exams Introduction to Trinity’s graded music exams

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

WHO THE QUALIFICATIONS ARE FOR 45–59 BELOW PASS 1 Trinity’s graded music exams are open to all 0–44 BELOW PASS 2 learners, with no age restrictions or other limitations. There is no requirement to have See pages 36–43 for further information passed lower grades, theory exams or other about how the exams are marked. qualifications, although the grades represent a system of progressive mastery and the outcomes for each level assume confidence in the requirements of previous grades. Repertoire selection and other exam content is designed to appeal to learners of all ages and backgrounds, reflecting the diversity of candidates. Trinity is committed to making its exams accessible to all, and each candidate is treated individually when considering how assessments can be adapted for those with special needs. Find out more at trinitycollege.com/music-csn

4 Introduction to Trinity’s graded music exams

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

Grade 1 12 48 60 Introduction

Grade 2 18 72 90

Grade 3 18 102 120

Grade 4 24 126 150

Grade 5 24 156 180

Grade 6 36 184 220

Grade 7 48 222 270

Grade 8 54 266 320

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

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

6 Introduction to Trinity’s graded music exams

REGULATED LEVELS OF TRINITY’S MUSIC QUALIFICATIONS

RQF* EQF** Classical Rock Theory Solo Group Level Level & Jazz & Pop & Written Certificates† Certificates†

7 7 FTCL

6 6 LTCL LMusTCL

ATCL AMusTCL Introduction 4 5 Certificate for Music Educators (Trinity CME) Grade 8 Grade 8 Grade 8 Advanced Advanced

3 4 Grade 7 Grade 7 Grade 7

Grade 6 Grade 6 Grade 6

Grade 5 Grade 5 Grade 5 Intermediate Intermediate 2 3 Grade 4 Grade 4 Grade 4

Grade 3 Grade 3 Grade 3 Foundation Foundation

1 2 Grade 2 Grade 2 Grade 2

Grade 1 Grade 1 Grade 1

Entry 1 Initial Initial Level 3

* Regulated Qualifications Framework ** European Qualifications Framework † Not RQF or EQF regulated

7 Introduction to Trinity’s graded music exams

REGULATED TITLES AND QUALIFICATION NUMBERS FOR GRADED MUSIC EXAMS

Regulated title Qualification number

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

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

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

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

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

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

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

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

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

8 Learning outcomes and assessment criteria

Learning outcomes Learning outcomes and assessment criteria and assessment criteria

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

LEARNING OUTCOMES ASSESSMENT CRITERIA The learner will: The learner can:

1. 1.1 Apply skills, knowledge and understanding to present Perform music in a performances that demonstrate careful preparation, musical variety of styles set awareness and the beginning of thoughtful interpretation for the grade 1.2 Perform with general security of pitch and rhythm, and with attention given to dynamics and articulation 1.3 Maintain a reasonable sense of continuity in performance and convey the mood of music in a variety of styles

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

3. 3.1 Recognise and respond to simple elements of music in a Respond to set practical context musicianship tests 3.2 Demonstrate basic aural and musical awareness

9 Learning outcomes and assessment criteria

GRADES 4–5 (RQF Level 2)

LEARNING OUTCOMES ASSESSMENT CRITERIA The learner will: The learner can:

1. 1.1 Support their intentions in musical performance Perform music in a 1.2 Demonstrate an understanding of music that allows a variety of styles set degree of personal interpretation in performance for the grade 1.3 Perform with general accuracy, technical fluency and musical awareness to convey musical character in a variety of styles

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

3. 3.1 Recognise and respond to elements of music in a Respond to set practical context musicianship tests 3.2 Demonstrate aural and musical awareness

GRADES 6–8 (RQF Level 3)

LEARNING OUTCOMES ASSESSMENT CRITERIA The learner will: The learner can:

1. 1.1 Integrate their musical skills, knowledge and understanding Perform music in a in performance variety of styles set 1.2 Present secure and sustained performances that demonstrate for the grade some stylistic interpretation 1.3 Perform with general accuracy, technical fluency and musical awareness to communicate musically in a variety of styles

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

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

10 About the exam About the exam

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

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

PIECES 66 MARKS

TECHNICAL WORK 14 MARKS

SUPPORTING TESTS 20 MARKS

11 About the exam

EXAM STRUCTURE AND MARK SCHEME: BOWED STRINGS

Initial–Grade 5 Maximum Grades 6–8 Maximum marks marks

PIECE 1 22 PIECE 1 22

PIECE 2 22 PIECE 2 22

PIECE 3 22 PIECE 3 22

TECHNICAL WORK* 14 TECHNICAL WORK 14

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

SUPPORTING TESTS 20 SUPPORTING TEST 1 10

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

TOTAL 100 TOTAL 100

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

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

Initial Grade 1 Grade 2 11 mins 13 mins 13 mins About the exam

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

Grade 6 Grade 7 Grade 8 23 mins 23 mins 28 mins

13 About the exam

EXAM STRUCTURE AND MARK SCHEME: HARP

Initial–Grade 5 Maximum Grades 6–8 Maximum marks marks

PIECE 1 22 PIECE 1 22

PIECE 2 22 PIECE 2 22

PIECE 3 22 PIECE 3 22

TECHNICAL WORK 14 TECHNICAL WORK 14

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

SUPPORTING TESTS 20 SUPPORTING TEST 1 10

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

TOTAL 100 TOTAL 100

14 About the exam

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

Initial Grade 1 Grade 2 13 mins 15 mins 15 mins About the exam

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

Grade 6 Grade 7 Grade 8 25 mins 25 mins 30 mins

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

15 Exam guidance: Pieces Exam guidance: Pieces

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

16 Exam guidance: Pieces

TUNING ◗ Candidates may also use a single accompanist ◗ Candidates are responsible for tuning their playing a different instrument, for example own instruments. accordion or drum, but this should be notified to Trinity’s central office at the time of entry. ◗ Up to and including Grade 5, the teacher ◗ Pieces must be performed from the listed or accompanist may assist with tuning. publications, as in some cases there are At Grades 6–8, candidates must tune their significant variations between editions. instruments without assistance. See page 280 for details of publishers and distributors. INSTRUMENTS Bowed strings ACCOMPANIMENTS AND PAGE TURNS ◗ Electronic instruments may not be used. ◗ Candidates are responsible for providing their own accompanists. Harp ◗ Apart from for Scottish Traditional Fiddle exams, pieces that are published with an ◗ Pedal harp requirements are based on an accompaniment may not be performed instrument with 46 or 47 strings. unaccompanied. Performance without ◗ Non-pedal harp requirements and lever accompaniment will be subject to penalty settings are based on an instrument with or invalidation. 34 strings, tuned to Eb. Non-pedal harps ◗ Accompaniments must be performed as tuned to other keys may be used as long as printed, without giving additional help to Exam guidance: Pieces all lever settings and changes are adjusted candidates (for example by doubling the accordingly. Lever settings are given only solo line). when these are in addition to, or contrary to, the key signature. ◗ Accompaniments on instruments other than piano must be approved by Trinity before ◗ Where harps of either type lack higher or the day of the exam. Please note that non- lower strings, pragmatic solutions will be piano accompaniments can be approved accepted within reason, as long as these only if musically appropriate (eg where do not lessen the level of technical demand. the published piano accompaniment is an arrangement of a part written for a different Scottish traditional fiddle instrument). In all cases, accompaniment must be provided on a single instrument. ◗ Candidates should use a modern violin ◗ playing position, resting the instrument Where accompaniments feature long introductions or endings, these should under their chin. be shortened if possible in a way that is ◗ Candidates may use ornamentation and musically appropriate. fiddle nuances if musically appropriate. ◗ Difficult page turns may be overcome ◗ Vibrato should be used to warm tone and by photocopying the relevant pages. colour notes, especially in the slower tunes Page turners may assist the accompanist at Grade 5 and above. at Grades 6–8. ◗ Dynamic variation is expected in the slow ◗ Accompanists and their page turners may tunes and may be appropriate at the only remain in the exam when required. quicker tempos. ◗ Candidates may use a backing track or ◗ Candidates may use a piano accompanist recording of the piano accompaniment except where pieces are specified as in exams up to and including Grade 3. unaccompanied. Alternatively, they may From Grade 4 onwards the accompaniment perform entirely unaccompanied even must be performed live in the exam. where pieces include a piano part. Please note that although all of Trinity’s graded violin exam books contain backing tracks, these must not be used in exams at Grades 4–8.

17 Exam guidance: Pieces

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

PARAMETERS AND EXAMPLES OF COMPOSITIONAL TECHNIQUES FOR OWN COMPOSITIONS

Grade Duration Examples of composition techniques

◗ Use of different rhythmic values Initial 0.5–1 minute(s) ◗ Clear melodic line ◗ Use of keys listed for Initial technical work ◗ Dynamic contrast approx. Grade 1 ◗ Simple syncopation or other rhythmic feature 1 minute ◗ Use of keys listed for Grade 1 technical work ◗ Use of different articulations Grade 2 1–1.5 minute(s) ◗ Simple melodic ornamentation ◗ Use of keys listed for Grade 2 technical work ◗ Form showing clear sections, eg ABA Grade 3 1.5–2 minutes ◗ Melodic range of one octave or more ◗ Use of keys listed for Grade 3 technical work ◗ Tempo changes Grade 4 2–3 minutes ◗ Use of a variety of different articulations ◗ Use of keys listed for Grade 4 technical work Exam guidance: Pieces ◗ Chromaticism Grade 5 2–3 minutes ◗ Use of semiquaver passages ◗ Use of keys listed for Grade 5 technical work ◗ More advanced use of form, eg theme and variations ◗ Extensive range Grade 6 3–4 minutes ◗ More advanced melodic ornamentation ◗ Use of any key ◗ Modulation Grade 7 3–4 minutes ◗ Use of irregular time signatures ◗ Use of any key ◗ Wide range of expressive techniques ◗ Creative use of form Grade 8 3.5–5 minutes ◗ Extended techniques, wide range, chromaticism and rhythmic variation ◗ Use of any key

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

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

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

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

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

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

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

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

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

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

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

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

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

21 Exam guidance: Technical work

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

22 Exam guidance: Supporting tests Exam guidance: Supporting tests

SIGHT READING ◗ This test assesses candidates’ ability to perform a previously unseen musical extract, at a level approximately two grades SUPPORTING lower than the exam being taken. Our sight reading pieces are designed to be musically TESTS intuitive and natural, preparing candidates 20 MARKS for performance contexts. ◗ Candidates are given 30 seconds to study the test before performing it, during which time they may practise any or all of it aloud. Examiners do not mark this preparation period. ◗ Examples of sight reading tests may be This section of the exam supports the found in Trinity’s Sound at Sight series, development of broader musical skills available from trinitycollege.com/shop by assessing candidates in two different or from your local music shop. supporting tests. ◗ Technical expectations for the tests are At Initial to Grade 5, candidates choose given in the tables on pages 24–26. Lists are two supporting tests from four options: cumulative, meaning that tests may also ◗ Sight reading include requirements from lower grades. Exam guidance: Supporting tests ◗ Aural ◗ Improvisation ◗ Musical knowledge At Grades 6–8, all candidates are assessed in sight reading, and choose either aural or improvisation for their second supporting test. This flexibility is designed to allow candidates to demonstrate their musical skills in different ways, while recognising that sight reading is an important skill at higher grades.

23 Exam guidance: Supporting tests

SIGHT READING PARAMETERS Articulation, positions, shifts

Violin, Scottish Time signatures* Note and rest values* Dynamics & tempi* traditional fiddle & viola* Cello* Double bass* Harp*

hands separately; Initial moderato, separate bows, open strings only, no jumps across strings 2 4 q h mf range of a 5th

Grade 1 f , p separate bows, within first position, range of a 5th range of a 9th

_ Grade 2 h. w  allegretto two-note slurs but not across strings (down bow and up bow) hands together 3 ties

three-note slurs or three-note slurs or two two notes across two-note slurs, notes across strings, strings, mixed finger ½ and 1st positions, simple pedal changes† Grade 3 Œ _ m p , andante e  mixed finger patterns patterns, backwards no extensions extensions

slurs up to four notes, three-note slurs, slurs up to four notes, accents and staccato, 3rd position, accents accents and staccato, more pedal changes† Grade 4 cresc., decresc. pizzicato, forward and staccato, pizzicato, q. ‰ pizzicato extensions simple shifts

more mixed bowing more mixed bowing more mixed bowing styles, trills, octave styles, trills, octave Grade 5 groups of 2 and 4) rall., rit. styles, trills, octave two-note chords 6 ( harmonics, simple harmonics, ½ string x harmonics shifts harmonic, 4th position

shifts, spiccato, double more complex shifts, double stops including dotted quaver/dotted three-note chords, Grade 6 accel. stops including an double stops including an open string, 5th 8 quaver semiquaver arpeggiando open string an open string and 6th positions

double stops more awkward shifts, including an open Grade 7 triplets use of mute including those requiring simple thumb position lever changes‡ 9 string, simple thumb 2nd position position implied by 

près de la table, pedal 2 double stops including two 2 double stops in 1st changes not indicated†, Grade 8 duplets stopped notes tenor clef changing time position, tenor clef lever changes not (but not in sequences) signatures indicated‡

24 Exam guidance: Supporting tests

SIGHT READING PARAMETERS Articulation, positions, shifts

Violin, Scottish Time signatures* Note and rest values* Dynamics & tempi* traditional fiddle & viola* Cello* Double bass* Harp*

hands separately; Initial moderato, separate bows, open strings only, no jumps across strings 2 4 q h mf range of a 5th

Grade 1 f , p separate bows, within first position, range of a 5th range of a 9th

_ Grade 2 h. w  allegretto two-note slurs but not across strings (down bow and up bow) hands together 3 ties

slurs up to four notes, three-note slurs, slurs up to four notes, accents and staccato, 3rd position, accents accents and staccato, more pedal changes† Grade 4 ‰ cresc., decresc. pizzicato, forward and staccato, pizzicato, q. pizzicato Exam guidance: Supporting tests extensions simple shifts

près de la table, pedal double stops including two double stops in 1st changes not indicated†, Grade 8 duplets stopped notes tenor clef changing time position, tenor clef lever changes not (but not in sequences) signatures indicated‡

* Cumulative — tests may also include requirements from preceding grade(s) † Pedal harp ‡ Non-pedal harp 25 Exam guidance: Supporting tests

SIGHT READING PARAMETERS

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

Initial Open strings only C major

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

Grade 2 C, A major

C major F major F, Bb major F, Bb major Bb† major Grade 3 D, A minor D, A minor D, A, G minor A, G minor A, D‡ minor

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

Eb major A major Eb major E major Bb‡ major Grade 5 C, B minor B, C minor F# minor E minor G†minor

E, Ab major E, Ab major E, Ab major Eb major Grade 6 F, F# minor F, F# minor C minor C minor

B, Db major B, Db major Ab major A major Grade 7 C# minor C#, F minor F, F# minor F minor

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

* Cumulative — tests may also include requirements from preceding grade(s) † Pedal harp 26 ‡ Non-pedal harp Exam guidance: Supporting tests

AURAL ◗ Candidates are then given 30 seconds’ This test supports the development of preparation time, during which they may candidates’ abilities in musical perception and prepare for their improvisation aloud. understanding by requiring them to recognise ◗ The test then follows. The examiner plays the musical features by ear (for example metre and stimulus again, and candidates join after the pulse, pitch, performance characteristics). introduction, improvising for the specified All questions are based on a single musical number of repeats. Candidates should aim example played at the piano by the examiner. to improvise in a way that complements the At most grades, candidates are asked to musical style of the stimulus. describe various features of the music such as dynamics, articulation, texture and style. Motivic stimulus Candidates are not required to sing. This option requires candidates to improvise Practice tests can be found in Trinity’s solo in response to a short melodic fragment. Aural Tests from 2017 books, available from trinitycollege.com/shop or from your local ◗ Candidates are given a notated melodic music shop. fragment, which the examiner plays twice on the piano for candidates’ reference. IMPROVISATION ◗ Candidates are then given 30 seconds’ preparation time, during which they may Improvisation can develop creative prepare for their improvisation aloud. musicianship skills that unlock a variety of musical styles and technical ability. ◗ The test then follows. Candidates should aim Our tests are designed to introduce to improvise within the specified duration teachers and candidates to improvisation range and may begin by quoting the stimulus gradually, creatively and with a range of directly, developing their improvisation from supporting resources. there. However, they are not required to quote the stimulus directly, and may instead This test assesses candidates’ ability develop their improvisation from ideas taken Exam guidance: Supporting tests to improvise fluently, coherently and from the stimulus such as a small group of creatively in response to a musical stimulus. notes or an interval. Responses must use the Candidates choose a stimulus from the given time signature. following three options, indicating their choice of stimulus on the appointment form: Harmonic stimulus ◗ Stylistic This option requires candidates to improvise ◗ Motivic solo in response to a chord sequence. ◗ Harmonic ◗ Candidates are given a notated chord Further guidance and example tests are sequence, including chord symbols, which available at trinitycollege.com/supporting-tests the examiner plays twice on the piano for candidates’ reference. ◗ Stylistic stimulus Candidates are then given 30 seconds’ preparation time, during which they may This option requires candidates to improvise prepare for their improvisation aloud. over a notated piano part played by ◗ the examiner. The test then follows. Candidates should improvise for the specified number of ◗ Candidates are given a stimulus which repeats, following the chord sequence. includes the notated piano part and chord Responses should contain melodic/ symbols. The stimulus begins with a two-bar rhythmic interest. introduction played by the examiner alone, followed by a further section over which Parameters candidates must improvise for a specified number of repeats. Technical expectations for the tests are given in the tables on the following pages. Lists are ◗ The examiner plays the stimulus twice for cumulative, meaning that tests may also candidates’ reference, without repeats. include requirements from lower grades.

27 Exam guidance: Supporting tests

Stylistic stimulus

Initial Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

Length of 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars introduction

Length of improvised 4 bars 4 bars 4 bars 4 bars 4 bars 4 bars 8 bars 8 bars 8 bars section

Times improvised 1 2 2 2 3 3 2 2 2 section is played

Total to 4 bars 8 bars 8 bars 8 bars 12 bars 12 bars 16 bars 16 bars 16 bars improvise

5 Time signatures* 4 3 2 6 1 9 4

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

Number of 1 1 1 1 1 up to 2 up to 2 up to 2 up to 2 chords per bar

I, ii, IV, V, vi I, ii, iii, IV, V, vi all chords I, IV, V I, ii, IV, V I, ii, IV, V I, ii, IV, V, vi Chords I, V I, V i, iib5, iv, V, VI i, iib5, III, iv, V, VI 7ths, 9ths i, iv, V i, iib5, iv, V i, iib5, iv, V i, iib5, iv, V, VI 7ths 7ths suspensions

Styles and march, fanfare, tango, waltz, adagio, grazioso, agitato, gigue, impressionistic, speeds* lullaby moderato andante allegretto allegro vivace nocturne grave irregular dance

28 * Cumulative — tests may also include requirements from preceding grade(s) Exam guidance: Supporting tests

Initial Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

Length of 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars introduction

Length of improvised 4 bars 4 bars 4 bars 4 bars 4 bars 4 bars 8 bars 8 bars 8 bars section

Times improvised 1 2 2 2 3 3 2 2 2 section is played

Total to 4 bars 8 bars 8 bars 8 bars 12 bars 12 bars 16 bars 16 bars 16 bars improvise Exam guidance: Supporting tests

5 Time signatures* 4 3 2 6 1 9 4

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

Number of 1 1 1 1 1 up to 2 up to 2 up to 2 up to 2 chords per bar

Styles and march, fanfare, tango, waltz, adagio, grazioso, agitato, gigue, impressionistic, speeds* lullaby moderato andante allegretto allegro vivace nocturne grave irregular dance

29 Exam guidance: Supporting tests

Motivic stimulus

Initial Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

Length of 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 1 bar 1 bar 1 bar stimulus

Length of 4–6 bars 4–8 bars 6–8 bars 6–8 bars 8–12 bars 8–12 bars 12–16 bars 12–16 bars 12–16 bars response

Time 5 signatures* 4 3 2 6 1 9 4

Rhythmic minims, triplets, quavers dotted notes ties syncopation semiquavers features* crotchets duplets

Articulation* staccato accents slurs acciaccaturas sfz

augmented up to minor 6th, 4th, minor 7th, all up to Intervals* major 3rd perfect 4th perfect 5th octave minor 3rd major 6th diminished major 7th major 10th 5th

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

30 * Cumulative — tests may also include requirements from preceding grade(s) Exam guidance: Supporting tests

Initial Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

Length of 2 bars 2 bars 2 bars 2 bars 2 bars 2 bars 1 bar 1 bar 1 bar stimulus

Length of 4–6 bars 4–8 bars 6–8 bars 6–8 bars 8–12 bars 8–12 bars 12–16 bars 12–16 bars 12–16 bars response

Time 5 signatures* 4 3 2 6 1 9 4

Rhythmic minims, triplets, quavers dotted notes ties syncopation semiquavers features* crotchets duplets Exam guidance: Supporting tests

Articulation* staccato accents slurs acciaccaturas sfz

augmented up to minor 6th, 4th, minor 7th, all up to Intervals* major 3rd perfect 4th perfect 5th octave minor 3rd major 6th diminished major 7th major 10th 5th

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

31 Exam guidance: Supporting tests

Harmonic stimulus

Initial Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

Length of chord 4 bars 4 bars 4 bars 4 bars 4 bars 4 bars 8 bars 8 bars 8 bars sequence

Times chord sequence 1 2 2 2 3 3 2 2 2 is played

Total to 4 bars 8 bars 8 bars 8 bars 12 bars 12 bars 16 bars 16 bars 16 bars improvise

Number of 1 1 1 1 1 1 1 1 1 chords per bar

I, ii, IV, V I, ii, iii, IV, V, vi all chords Chords I, V I, V I, IV, V I, ii, IV, V i, iv, V i, iv, V, VI i, iib5, iv, V i, iib5, III, iv, V, VI 7ths, 9ths 7ths 7ths suspensions

Keys: Violin C, D, E, F, G, A, Bb major & Scottish D major D, E, A major C#, E, F#, A, B minor # # traditional fiddle A, B, C , D, E, F , G minor

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

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

C, D, E, F, G, A, Bb major Keys: Double bass C major C, D, G major D, E, F#, A, B minor A, B, C#, D, E, F#, G minor

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

32 Exam guidance: Supporting tests

Initial Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

Length of chord 4 bars 4 bars 4 bars 4 bars 4 bars 4 bars 8 bars 8 bars 8 bars sequence

Times chord sequence 1 2 2 2 3 3 2 2 2 is played

Total to 4 bars 8 bars 8 bars 8 bars 12 bars 12 bars 16 bars 16 bars 16 bars improvise

Number of 1 1 1 1 1 1 1 1 1 chords per bar

I, ii, IV, V I, ii, iii, IV, V, vi all chords Chords I, V I, V I, IV, V I, ii, IV, V i, iv, V i, iv, V, VI i, iib5, iv, V i, iib5, III, iv, V, VI 7ths, 9ths Exam guidance: Supporting tests 7ths 7ths suspensions

Keys: Violin C, D, E, F, G, A, Bb major & Scottish D major D, E, A major C#, E, F#, A, B minor # # traditional fiddle A, B, C , D, E, F , G minor

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

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

C, D, E, F, G, A, Bb major Keys: Double bass C major C, D, G major D, E, F#, A, B minor A, B, C#, D, E, F#, G minor

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

33 Exam guidance: Supporting tests

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

Parameters* Sample question Sample answer

What is the pitch name Pitch names G of this note?

How many beats are Note durations Two there for this note?

Initial Clefs, stave, barlines What is this sign? A treble clef Identify key/time What is this called? A time signature signatures

Basic musical terms What is this called? A pause mark and signs

Note values What is this note value? A quaver

Explain key/time Four crotchet beats What does mean? signatures 4 in a bar

Notes on ledger lines What is the name of this note? Bb Grade 1 Musical terms What is the meaning Go back to the start and signs of da capo?

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

34 * Cumulative — tests may also include requirements from preceding grade(s) Exam guidance: Supporting tests

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

Intervals What is the interval between Grade 2 A 3rd (numerical only) these notes?

Show me a good left hand Candidate Basic posture position for your instrument demonstrates

What is the relative major/ Relative major/minor D minor minor of this piece?

Scale/arpeggio What pattern of notes do A scale Grade 3 pattern you see here?

How might you warm up By playing a selection Warm up in preparation for playing of scales and arpeggios this piece? in related keys

Modulation to closely What key does this music A minor related keys change to?

Tonic/dominant triads Name the notes of the tonic triad C, E, G Exam guidance: Supporting tests What is the interval between Grade 4 Intervals (full names) Perfect 5th these notes?

Show me the most Here [candidate Technical challenges challenging part of this indicates], because piece and tell me why of the awkward leaps

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

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

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

Name the notes of the Subdominant triads F, A, C subdominant triad

35 Exam guidance: Marking Exam guidance: Marking

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

Max. mark for each piece Component

7 FLUENCY & ACCURACY

7 TECHNICAL FACILITY

COMMUNICATION 8 & INTERPRETATION

TOTAL MARK FOR 22 EACH PIECE

36 Exam guidance: Marking

The total marks awarded for each piece correspond to the attainment levels as follows:

Total mark for each piece Attainment level

19–22 DISTINCTION

16–18 MERIT

13–15 PASS

10–12 BELOW PASS 1

3–9 BELOW PASS 2 Exam guidance: Marking

37 Exam guidance: Marking

HOW THE PIECES ARE MARKED

Examiners use the criteria below to decide on the mark:

7 MARKS 6 MARKS 5 MARKS 4 MARKS 3 MARKS 1–2 MARKS

Fluency An excellent sense A very good sense A good sense of A generally reliable sense Only a limited sense of Little or no sense of fluency & accuracy of fluency with of fluency with only fluency though of fluency though with fluency with a lack of — control of pulse and secure control of momentary insecurities with occasional some inconsistencies and basic control of pulse rhythm not established. pulse and rhythm. in control of pulse inconsistencies in stumbles in the control of and rhythm. Accuracy in notes very and rhythm. control of pulse pulse and rhythm. A very high degree Accuracy in notes limited with many errors and rhythm. of accuracy in notes. A high degree of A reasonable degree of sporadic, with errors of substance. accuracy in notes — A good degree of accuracy in notes despite becoming intrusive. slips not significant. accuracy in notes a number of errors. despite some slips.

7 MARKS 6 MARKS 5 MARKS 4 MARKS 3 MARKS 1–2 MARKS

Technical The various technical The various technical The various technical The various technical The technical demands of Many or all of the facility demands of the music demands of the music demands of the demands of the music the music often not managed. technical demands of fulfilled to a very fulfilled with only music fulfilled for generally managed despite the music not managed. The performance lacks a high degree. momentary insecurities. the most part. some inconsistencies. basic level of tone control. Significant flaws An excellent level A very good level of A good level of tone A basic level of tone control in tone control. of tone control. tone control despite control though with despite some insecurity. minimal blemishes. occasional lapses.

8 MARKS 7 MARKS 6 MARKS 5 MARKS 3–4 MARKS 1–2 MARKS

Communication An excellent level of A very good level of A good level of stylistic A reasonable level of Stylistic understanding Stylistic understanding & stylistic understanding stylistic understanding understanding though stylistic understanding generally lacking with not apparent with little interpretation with keen attention to with most performance occasional performance though some performance limited realisation of or no realisation of performance details. details realised. details omitted. details omitted. performance details. performance details. Highly effective Effective communication Communication and Communication and Communication and Communication and communication and interpretation overall. interpretation mostly interpretation basically interpretation inconsistent. interpretation ineffective. and interpretation. effective. reliable though with some lapses.

38 Exam guidance: Marking

Examiners use the criteria below to decide on the mark:

7 MARKS 6 MARKS 5 MARKS 4 MARKS 3 MARKS 1–2 MARKS

39 Exam guidance: Marking

HOW TECHNICAL WORK IS MARKED

Examiners use the criteria below to decide on the mark:

DISTINCTION MERIT PASS BELOW PASS 1 BELOW PASS 2 13–14 MARKS 11–12 MARKS 9–10 MARKS 6–8 MARKS 1–5 MARKS

Scales & arpeggios An excellent or very A good sense of fluency A generally reliable sense Limited or very limited Little or no sense of good sense of fluency and accuracy with of fluency and accuracy fluency and accuracy with fluency and accuracy and accuracy. occasional errors. despite a number of errors. errors becoming intrusive. with many errors. A very high degree of A good degree of A reasonable degree of An inconsistent degree An unreliable degree technical control. technical control. technical control despite of technical control. of technical control. some inconsistencies. Prompt responses. Prompt responses overall. Hesitancy in responses Uncertain responses with Generally prompt responses and restarts. many restarts and/or items despite some hesitancy and/ not offered. or restarts.

Studies, exercises and An excellent or very A good sense of fluency A generally reliable sense of Limited or very limited Little or no sense of orchestral extracts good sense of fluency and accuracy with fluency and accuracy despite fluency and accuracy with fluency and accuracy and accuracy. occasional errors. a number of errors. errors becoming intrusive. with many errors. A very high degree of A good degree of A reasonable degree of An inconsistent degree An unreliable degree technical control. technical control. technical control despite of technical control. of technical control. some inconsistencies. Keen attention to Good attention to Limited attention to Little or no attention to performance details performance details and Some attention to performance details performance details and and musical character. musical character overall. performance details and musical character. musical character. and musical character.

40 Exam guidance: Marking

Examiners use the criteria below to decide on the mark:

DISTINCTION MERIT PASS BELOW PASS 1 BELOW PASS 2 13–14 MARKS 11–12 MARKS 9–10 MARKS 6–8 MARKS 1–5 MARKS

41 Exam guidance: Marking

HOW SUPPORTING TESTS ARE MARKED

Examiners use the criteria below to decide on the mark:

DISTINCTION MERIT PASS BELOW PASS 1 BELOW PASS 2 9–10 MARKS 8 MARKS 6–7 MARKS 4–5 MARKS 1–3 MARKS

Sight reading An excellent or very good A good sense of fluency A generally reliable sense Only a limited sense of Little or no sense of fluency sense of fluency with though with occasional of fluency though with fluency with a lack of basic — control of pulse, rhythm secure control of pulse, inconsistencies in control of some inconsistencies and control of pulse, rhythm and tonality not established. rhythm and tonality. pulse, rhythm and tonality. stumbles in the control of and tonality. Accuracy in notes very pulse, rhythm and tonality. A very high degree of A good degree of accuracy Accuracy in notes sporadic limited with no attention accuracy in notes, with in notes despite some A reasonable degree of with no attention to to musical detail. musical detail realised. slips, with some musical accuracy in notes despite musical detail. detail realised. a number of errors and with little attention to musical detail.

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

Musical knowledge An excellent or very good A good degree of musical A generally reliable degree A limited or very limited Unreliable musical knowledge degree of musical knowledge knowledge in the majority of musical knowledge in degree of musical knowledge in the majority or all aspects. in all aspects. of aspects. most aspects. in most aspects. Very hesitant or uncertain/ Confident and prompt Mostly confident and Generally confident and Hesitant or uncertain missing responses. responses. prompt responses. prompt responses though responses. with occasional hesitation or uncertainty.

Improvisation An excellent or very good A good sense of musical A generally reliable sense of A limited or very limited Musical structure only sense of musical structure, structure, based on the musical structure, based on sense of musical structure, partially or not apparent, based on the stimulus, stimulus, delivered with the stimulus, delivered with with little relation to the with no relation to the delivered with a high level a good level of fluency. a reasonable level of fluency stimulus, delivered with some stimulus, and fluency of fluency. despite occasional lapses. hesitations and stumbles often compromised. A creative and imaginative in fluency. A highly creative and response overall. Some element of creativity Little or no creativity or imaginative response. and imagination in the A lack of creativity and imagination in the response. response. imagination in the response.

42 Exam guidance: Marking

Examiners use the criteria below to decide on the mark:

DISTINCTION MERIT PASS BELOW PASS 1 BELOW PASS 2 9–10 MARKS 8 MARKS 6–7 MARKS 4–5 MARKS 1–3 MARKS

Musical knowledge An excellent or very good A good degree of musical A generally reliable degree A limited or very limited Unreliable musical knowledge degree of musical knowledge knowledge in the majority of musical knowledge in degree of musical knowledge in the majority or all aspects. Exam guidance: Marking in all aspects. of aspects. most aspects. in most aspects. Very hesitant or uncertain/ Confident and prompt Mostly confident and Generally confident and Hesitant or uncertain missing responses. responses. prompt responses. prompt responses though responses. with occasional hesitation or uncertainty.

43 Violin: Initial to Grade 5 Violin: Initial to Grade 5

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

PIECE 1 22

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

TECHNICAL WORK* 14

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

SUPPORTING TESTS 20

Any TWO of the following: ◗ Sight reading ◗ Aural ◗ Improvisation ◗ Musical knowledge

TOTAL 100

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

Composer Piece Book Publisher

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

* Unaccompanied † Accompaniment published separately * At Initial level, candidates perform scales only = Pieces in Trinity’s graded exam books 45 Violin: Initial

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

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

Raise the Bar Violin: 18. ROSE Reverie Trinity TCL015822 Initial–Grade 2

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

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

21. WILKINSON Aquila Constellations Set 1 Trinity TCL019158

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

TECHNICAL WORK

Candidates prepare scales, as shown below. See page 21. All requirements are in Trinity’s book Violin Scales, Arpeggios & Studies from 2016.

SCALES (from memory) All one octave, with the indicated rhythmic pattern on each note (minimum tempo: = 92). q ◗ G major

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

 etcetc.                   ◗ A major

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

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

SUPPORTING TESTS

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

◗ Stylistic Violin: Initial ◗ Musical knowledge ◗ Motivic

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

Aural questions

Parameters Task Requirement

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

* Unaccompanied = Pieces in Trinity’s graded exam books 47 Violin: Grade 1 Violin: Grade 1 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. Only one duet may be chosen. Pieces by at least two composers must be played. An own composition or a piece from any group on the Grade 1 Scottish traditional fiddle list may be played instead of one listed piece. A maximum of one unaccompanied or Scottish traditional fiddle item may be played. See pages 16–19 for further guidance.

Composer Piece Book Publisher

ANON., arr. The Young Violinist’s 1. Noel nouvelet Faber 0571516696 HUWS JONES Early Music Collection

J S BACH, Aria (from The Classical Music for Children: 2. Schott ED21906 arr. MOHRS Peasant Cantata) 25 Easy Pieces

BARTÓK, The Two Roses (from Violin Exam Pieces 3. Trinity TCL019196 arr. DAVIES For Children, book 2) 2020–2023: Grade 1

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

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

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

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

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

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

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

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

12. DAVIES Priddy Fair Folk Roots Boosey M060129520

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

* Unaccompanied † Accompaniment published separately 48 = Pieces in Trinity’s graded exam books Violin: Grade 1

Raise the Bar Violin: 14. LOVELL & REEKS Scherzino Trinity TCL015822 Initial–Grade 2

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

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

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

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

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

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

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

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

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

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

TRAD., arr. The Witch’s Broomstick 26. The French Fiddler Boosey M060120572 HUWS JONES (piano accomp)

TRAD., Napoleon Crossing 27. Violin Playing book 2 Waveney WAV002 arr. TRORY the Alps (duet)

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

* Unaccompanied † Accompaniment published separately = Pieces in Trinity’s graded exam books = Pieces in Trinity’s graded exam books * Unaccompanied 49 Violin: Grade 1

TECHNICAL WORK

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

1. BOWING EXERCISE (from memory)

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

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

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

Technical exercise (from memory) (q = 50–75): Open strings                  

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

1. The Limping Rabbit for tone and phrasing

2. A Cheeky Hamster for mixed articulation and bowing styles

3. At the Ranch for double stops and contrasts

50 Violin: Grade 1

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

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

Melody only i) Identify the dynamic as forte or piano Listen to the melody once ii) Identify the articulation as legato 4 bars or staccato

Major key Listen to the first two bars Identify the last note as higher or lower of the melody once than the first note 2 3 Listen to the melody twice, with a change of rhythm or Identify where the change occurs pitch in the second playing

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

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

52 = Pieces in Trinity’s graded exam books * Unaccompanied Violin: Grade 2

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

TECHNICAL WORK

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

1. BOWING EXERCISE (from memory)

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

◗ G major two octaves

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

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

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

= Pieces in Trinity’s graded exam books * Unaccompanied 53 Violin: Grade 2

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

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

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

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

Melody only i) Describe the dynamics, which will vary during the melody Listen to the melody once 4 bars ii) Identify the articulation as legato or staccato Major or minor key Identify the last note as higher or lower Listen to the melody once than the first note 2 3 Listen to the melody twice, i) Identify where the change occurs with a change of rhythm or pitch in the second playing ii) Identify the change as rhythm or pitch

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

Composer Piece Book Publisher Donwell Abbey or Fat Cat 1. ARENS Twelve Pieces Trinity TCL019141 Boogie or Rondo Furioso Summy-Birchard 2. J S BACH Gavotte in G minor† Suzuki Violin School vol 3 0148S BIZET, arr. 3. Habanera (from Carmen)† Fiddle Time Sprinters OUP 9780193386792 K & D BLACKWELL 4. K & D BLACKWELL Wild West† Fiddle Time Sprinters OUP 9780193386792 5. COHEN Quite a Character! (duet) More Technique Takes Off! Faber 0571524842 6. COHEN Magic Carpet Ride* Superstudies book 2 Faber 0571514502 Violin: Grade Violin Exam Pieces 7. DRYER-BEERS Marlow’s Tune* Trinity TCL019219 2020–2023: Grade 3 HANDEL, 8. La Réjouissance (duet) Violin Playing book 3 Waveney WAV003 arr. TRORY HOOK, Violin Exam Pieces 9. Country Dance Trinity TCL019219 arr. LAMBERT 2020–2023: Grade 3 10. HOWELLS ‘Chosen’ Tune Three Pieces, op. 28 Stainer H405 Sleep Song (from 3 11. HUMPERDINCK First Solo Pieces book 1 Schott ED11473 Hansel and Gretel) Violin Exam Pieces 12. KROLL Donkey Doodle Trinity TCL019219 2020–2023: Grade 3 13. MACKAY Rebecca (A Rumba) Four Modern Dance Tunes Stainer 2118A Violin Exam Pieces 14. McDOWALL Sunday on Fifth Avenue Trinity TCL019219 2020–2023: Grade 3 Kontretanz, KV 534 Violin Exam Pieces 15. MOZART Trinity TCL019219 (Das Donnerwetter) 2020–2023: Grade 3 MOZART, Classical and Romantic 16. Polonaise OUP 9780193564893 arr. FORBES Pieces book 2 Violin Exam Pieces 17. SAUNDERS Maracas Beach Trinity TCL019219 2020–2023: Grade 3 SCHUBERT, The Young Violinist’s 18. German Dance Faber 0571508197 arr. DE KEYSER Repertoire book 4 Violin Exam Pieces 19. SOPPER Blue Sky (duet) Trinity TCL019219 2020–2023: Grade 3 SPIRITUAL, arr. 20 Wade in the Water† Fiddle Time Sprinters OUP 9780193386792 K & D BLACKWELL Manodharma (Solo), 21. SUBRAMANIAM Pieces, Studies, Ragas Trinity TCL019165 no. 12*

* Unaccompanied † Accompaniment published separately = Pieces in Trinity’s graded exam books 55 Violin: Grade 3

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

TECHNICAL WORK

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

1. BOWING EXERCISE (from memory)

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

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

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

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

a) Chromatic phrase to be played with separate bows, starting on the D string 1 - 1 2 - 2             b) Octaves, sixths and thirds                  

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

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

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

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

Clap the pulse on the second playing, Listen to the melody twice stressing the strong beat Melody only Listen to the melody once Identify the tonality as major or minor 4 bars Listen to the first two notes of Identify the interval by number only the melody once (second, third, fourth, fifth or sixth) Major or minor key Study a copy of the melody (provided in treble, alto or bass i) Identify in which bar the change 3 4 clef as appropriate), and listen to has occurred it once as written and once with ii) Identify the change as rhythm or pitch a change of rhythm or pitch

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

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

* Unaccompanied † Accompaniment published separately 58 = Pieces in Trinity’s graded exam books Violin: Grade 4

19. SUBRAMANIAM Ballad, no. 4 Pieces, Studies, Ragas Trinity TCL019165 Violin Exam Pieces 20. TAILOR El choclo Trinity TCL019226 2020–2023: Grade 4 Allegro (from Largo 21. TELEMANN & Allegro from Baroque Violinist Boosey M060102028 Sonata in G) TRAD., arr. Violin Exam Pieces 22. The Crystal Spring Trinity TCL019226 K & D BLACKWELL 2020–2023: Grade 4 Gavotta (from Sonata Violin Exam Pieces 23. VIVALDI Trinity TCL019226 in A, op. 5 no. 2, RV 30) 2020–2023: Grade 4 24. WILKINSON Indus Constellations Set 1 Trinity TCL019158

TECHNICAL WORK

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

1. BOWING EXERCISE (from memory) Candidates play one of the Grade 4 scales, freely chosen from the list, with the rhythm

◗ C and Bb major two octaves Violin: Grade scales starting on the separate bows ◗ E major one octave A string in 4th or slurred two position crotchet beats min. tempi: ◗ C and Bb minor to a bow; scales (candidate choice of either two octaves arpeggios = 76 harmonic or melodic minor) separate bows q or slurred ◗ E minor starting on the arpeggios 4 three notes to (candidate choice of either A string in 4th q. = 48 a bow harmonic or melodic minor) position 7ths ◗ Dominant 7th in the key of C one octave starting on G separate bows q = 76 ◗ Dominant 7th in the key of D starting on A or slurred four ◗ Dominant 7th in the key of Eb starting on Bb notes to a bow ◗ Chromatic scale starting on open D separate bows Technical exercises (from memory) (q = 84): a) Octaves                   b) D major phrase 0                   0 1 2 3 4 3 2 1 * Unaccompanied † Accompaniment published separately = Pieces in Trinity’s graded exam books = Pieces in Trinity’s graded exam books 59 Violin: Grade 4

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

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

Aural questions

Parameters Task Requirement

Clap the pulse on the second playing, Listen to the piece twice stressing the strong beat

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

Study a copy of the melody i) Identify the bar in which the change 4 6 (provided in treble, alto or bass clef of rhythm occurred as appropriate), and listen to it once as written and once with a change ii) Identify the bar in which the change of rhythm and a change of pitch of pitch occurred

60 Violin: Grade 5 Violin: Grade 5 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. Pieces by at least two composers must be played. An own composition or a set from any group on the Grade 5 Scottish traditional fiddle list may be played instead of one listed piece. A maximum of one unaccompanied or Scottish traditional fiddle item may be played. See pages 16–19 for further guidance. Composer Piece Book Publisher ABREU, arr. Violin Exam Pieces 1. Tico-tico no fuba Trinity TCL019233 HUWS JONES 2020–2023: Grade 5 (Somewhere) Over the ARLEN, Violin Exam Pieces 2. Rainbow (from The Trinity TCL019233 arr. ILES 2020–2023: Grade 5 Wizard of Oz) J S BACH / Solos for Young Violinists Summy-Birchard 3. GOUNOD, Ave Maria vol 3 0990 arr. BARBER J S BACH, arr. Allegro (from Trio Sonata 4. Bach for Violin OUP 9780193519015 K & D BLACKWELL no. 1 for Organ, BWV 525) BERNSTEIN, West Side Story 5. I Feel Pretty Boosey M051106486 arr. PARMAN Instrumental Solos: Violin Perpetuo mobile Violin Exam Pieces 6. BÖHM Trinity TCL019233 (no. 6 from Little Suite) 2020–2023: Grade 5 7. CARSE Gavotte Classic Carse book 2 Stainer H355 8. COHEN Catch Me If You Can* Technique Takes Off! Faber 0571513077 Allegro (final movt from Violin Exam Pieces 9. CORELLI Trinity TCL019233 Sonata no. 3 in C) 2020–2023: Grade 5 Violin: Grade Grave (1st movt from Sonata 10. CORELLI Violin Sonatas, op. 5, vol 1 Wiener UT50235 no. 1 in D) (original version) DEBUSSY, arr. La fille aux cheveux de lin 11. Solo Time for Violin book 2 OUP 9780193404786 K & D BLACKWELL (from Preludes book 1) Violin Exam Pieces 12. FAURÉ Berceuse Trinity TCL019233 2020–2023: Grade 5 Allegro (2nd movt from 13. HANDEL Sonatas vol 2 Peters EP4157B Sonata no. 6 in E) 5 Character Study no. 6 Violin Exam Pieces 14 . HERTEL (Theme and Variations Trinity TCL019233 2020–2023: Grade 5 I & II only)* 15. IRELAND Bagatelle Braydeston BP041 16. MASCITTI Giga Baroque Violinist Boosey M060102028 Violin Exam Pieces 17. MURDOCH Scottish Fantasy Trinity TCL019233 2020–2023: Grade 5 Russian Fantasia no. 2 Raise the Bar Violin: 18. PORTNOFF Trinity TCL015839 in D minor Grades 3–5 SAMMARTINI, Eta Cohen Violin Method 19. Canto Amoroso Novello NOV140107 arr. ELMAN book 4 20. TACCHINARDI Romance Dodici Miniature vol 2 Dohr 17506

= Pieces in Trinity’s graded exam books * Unaccompanied 61 Violin: Grade 5

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

TECHNICAL WORK

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

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

Technical exercises (from memory) (q = 104): a) C major in thirds                b) Bb major in sixths bb4 œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ & 4 œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ c) D major scale on one string 1 2 3 0 1 2 1 2 3 4 2 1 2 1 2 1 0                      

62 = Pieces in Trinity’s graded exam books * Unaccompanied Violin: Grade 5

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

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

Aural questions Parameters Task Requirement

i) Clap the pulse on the second playing, stressing Listen to the piece twice the strong beat 5 ii) Identify the time signature Harmonised i) Identify the changing tonality Listen to the piece twice ii) Identify the final cadence as perfect, plagal, 8 bars imperfect or interrupted Identify the interval as minor or major second, Major or Listen to two notes from the minor or major third, perfect fourth or fifth, minor minor key melody line played consecutively or major sixth, minor or major seventh, or octave 2 3 4 6 Study a copy of the piece, and i) Identify the bar in which the change of listen to it once as written and rhythm occurred once with a change of rhythm and a change of pitch (both ii) Identify the bar in which the change of changes in the melody line) pitch occurred

63 * Unaccompanied

Violin: Grades 6–8 Violin: Grades 6–8

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

PIECE 1 22

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

TECHNICAL WORK 14

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

SUPPORTING TEST 1 10

◗ Sight reading

SUPPORTING TEST 2 10

ONE of the following: ◗ Aural ◗ Improvisation

TOTAL 100

64 * Unaccompanied

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

Composer Piece Book Publisher

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

Group B Violin Exam Pieces 1. BOULANGER Nocturne Trinity TCL019240 2020–2023: Grade 6 Slavonic Dance no. 10, Raise the Bar Violin: 2. DVORÁK Trinity TCL015846 op. 72 no. 2 Grades 6–8 6 Violin Exam Pieces 3. ELGARˇ Mot d’amour, op. 13 no. 1 Trinity TCL019240 2020–2023: Grade 6 4. ILES Des Vendanges Jazz in Autumn OUP 9780193407671 5. KREISLER Liebesleid (Love’s Sorrow) Schott BSS29029 Violin Exam Pieces 6. KREISLER Syncopation Trinity TCL019240 2020–2023: Grade 6 Allegro (from Sonata in D, 7. LECLAIR Baroque Violinist Boosey M060102028 op. 1 no. 10)

= Pieces in Trinity’s graded exam books * Unaccompanied 65 Violin: Grade 6

Andante (2nd movt Violin Exam Pieces 8. MAYER Trinity TCL019240 from Violin Sonata in Eb) 2020–2023: Grade 6 Hora-Hatikvah The Boosey & Hawkes 9. PERLMAN Boosey M051105328 (from Israeli Concerto) Violin Anthology PIAZZOLLA, 10. arr. HUWS Vuelvo al sur The Tango Fiddler Boosey M060115806 JONES 11. TOSELLI Serenata, op. 6 Delrieu DF98

TECHNICAL WORK

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

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 6 scales, freely chosen from the list, with each note of the scale played as two spiccato quavers. (q = 150) Either 2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) — Candidates prepare major and minor scales and arpeggios from the following tonal centres, to be played with separate bows or slurred as requested by the examiner. Examiners select from the following:

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

66 = Pieces in Trinity’s graded exam books Violin: Grade 6

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

Technical exercises (from memory) (q = 100): a) D major in thirds 3 1 4 2                          b) Eb major in sixths

  etc     etc               c) D major in octaves 1 4 1 4                                d) E major scale on one string

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

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

1a. Sibelius: Symphony no. 2, IV Finale (page 7, bar 1 to 1st note of bar 25) for tone and phrasing

1b. Wagner: Die Meistersinger von Nürnberg, Overture Violin: Grade (page 24, bars 97–100)

2a. Beethoven: Egmont, Overture (page 39, bar 309 to 1st note of bar 317) for bowing 2b. Copland: Appalachian Spring Suite (page 49, fig. 24 to 1st note of fig. 25) 6 3a. Beethoven: Egmont, Overture (page 39, bar 287 to 1st note of bar 301) for left hand technique 3b. Stravinsky: Pulcinella Suite, 8b. Finale (page 35, two bars before fig. 105 to fig. 107)

67 Violin: Grade 6

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

i) Identify the time signature Listen to the piece twice ii) Comment on the dynamics iii) Comment on the articulation

Identify and comment on two other Listen to the piece twice Harmonised characteristics of the piece

8 bars Identify the key to which the music modulates as subdominant, dominant Major key Listen to the first four bars or relative minor of the piece once Answers may alternatively be given as 2 3 4 6 key names

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

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

Composer Piece Book Publisher

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

Group B Violin: Grade Andante cantabile (2nd movt 1. ANDRÉE Furore 3810 from Sonata for Violin and Piano) Violin Exam Pieces 2. BARNS L’escarpolette Trinity TCL019257 2020–2023: Grade 7 COHEN, Hal Leonard 3. Hatikvah (the Hope) arr. ANDREW HL00358885 DEBUSSY, 7 4. La plus que lente Durand DD00790300 arr. ROQUES Anthology of 5. FAURÉ Andante, op. 75 Peters EP7515 Original Pieces

= Pieces in Trinity’s graded exam books * Unaccompanied 69 Violin: Grade 7

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

TECHNICAL WORK

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 7 scales, freely chosen from the list, with hooked bowing, as in the following example. (q = 88) ≤ ≥ ≥ ≤ ≤ ## ≥ ≥ ≤ œ- œ. etc & œ œ -œ™ œ. ™ œ-™ œ. -™ . Either 2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) — Candidates prepare major and minor scales and arpeggios from the following tonal centres, to be played with separate bows or slurred as requested by the examiner. Examiners select from the following:

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

70 = Pieces in Trinity’s graded exam books Violin: Grade 7

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

Technical exercises (from memory) (q = 84): a) Bb major in thirds (one octave)

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

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

1a. Glinka: Russlan and Ludmilla, Overture (page 37, 14 bars before fig. I to 1st note of 5 bars after fig. K) 1b. Moussorgsky, orch. Ravel: Pictures at an Exhibition, for tone and phrasing 6. Samuel Goldenberg and Schmuÿle (page 26, entire extract) Violin: Grade

2a. Beethoven: Egmont, Overture (page 38, bar 25 to 1st note of bar 58) for bowing 2b. Stravinsky: Pulcinella Suite, 4. Tarantella (page 34, 5th bar of fig. 53 to 1st note of 2 bars before fig. 56)

3a. Rimsky-Korsakoff: Scheherazade, IV (page 20, 7th bar 7 of fig. M to fig. N) for left hand technique 3b. Sibelius: Symphony no. 2, III (page 6, bars 277–293)

71 Violin: Grade 7

SUPPORTING TESTS

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

Sight reading ◗ Stylistic After 30 seconds’ preparation time, candidates ◗ Motivic perform a previously unseen musical extract ◗ Harmonic at a level approximately two grades lower than the exam being taken. See pages 23–26 for See pages 27–33 for the requirements and sight reading parameters. parameters.

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

Aural questions

Parameters Task Requirement

i) Identify the time signature Listen to the piece twice ii) Comment on the dynamics iii) Comment on the articulation

Identify and comment on two other Harmonised Listen to the piece twice characteristics of the piece 8 bars Identify the key to which the music modulates as subdominant, dominant Major or minor key Listen to the first four bars or relative key of the piece once 2 3 4 6 Answers may alternatively be given as key names

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

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

Composer Piece Book Publisher

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

Group B

Allegro e grazioso (1st movt Violin Exam Pieces Violin: Grade 1. ALWYN Trinity TCL019264 from Sonatina) 2020–2023: Grade 8 Romanza (no. 2 from Violin Exam Pieces 2. CHAMINADE Trinity TCL019264 Trois morceaux, op. 31) 2020–2023: Grade 8 Danza rituelle du feu 3. DE FALLA Chester CH00367 (from El amor brujo) Raise the Bar Violin: 4. ELGAR Bizarrerie Trinity TCL015846 Grades 6–8 8 = Pieces in Trinity’s graded exam books * Unaccompanied 73 Violin: Grade 8

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

TECHNICAL WORK

1. BOWING EXERCISE (from memory)

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

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

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

74 = Pieces in Trinity’s graded exam books * Unaccompanied Violin: Grade 8

Technical exercises (from memory) (q = 88): a) Bb major in thirds (two octaves)

b4 œ œ etc &b 4 œ œ œ œ œ œ œ œ œ œ b) G major in sixths (two octaves)

     etc.          etc      c) D major in octaves (one octave) œ œ # œ œ œ œ œ #4 œ œ œ œ œ etc & 4 œ œ œ œ

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

(page 30, fig. 48 to end of extract) Violin: Grade

3a. Glinka: Russlan and Ludmilla, Overture (page 36, bar 21 to 7th bar of fig. A) for left hand technique 3b. Moussorgsky, orch. Ravel: Pictures at an Exhibition, 3. Tuileries (page 26, entire extract)

8 75 Violin: Grade 8

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

i) Identify the time signature Harmonised Listen to the piece once ii) Comment on the dynamics iii) Comment on the articulation 12–16 bars Identify and comment on three other Listen to the piece twice Major or minor key characteristics of the piece Study a copy of the piece, Locate and describe the changes 2 3 4 6 5 and listen to it twice with as pitch or rhythm three changes

76 Scottish Traditional Fiddle: Initial to Grade 5 Scottish Traditional Fiddle: Initial to Grade 5

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

PIECE/SET 1 22

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

TECHNICAL WORK* 14

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

SUPPORTING TESTS 20

Any TWO of the following: ◗ Sight reading ◗ Aural ◗ Improvisation ◗ Musical knowledge

TOTAL 100

* At Initial level, candidates perform scales only 77 Scottish Traditional Fiddle: Initial Scottish Traditional Fiddle: Initial

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

Piece Book Publisher

Group A — 4 metre 1. Coulter’s Candy The Scottish Folk Fiddle Tutor Taigh na Teud

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

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

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

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

Group B — 3 metre

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

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

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

4. Turalilea Crossing the Bridge* Taigh na Teud

TECHNICAL WORK

Candidates prepare scales, as shown below. See page 21. All requirements are in Trinity’s book Violin Scales, Arpeggios & Studies from 2016.

SCALES (from memory) All one octave, with the indicated rhythmic pattern on each note (minimum tempo: = 92). q ◗ G major

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

78 * Available as a download only Scottish Traditional Fiddle: Initial Scottish Traditional Fiddle: Initial

◗ D major

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

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

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

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

4 bars Listen to the melody once Identify the dynamic as forte or piano Identify the articulation as legato or Major key Listen to the melody once staccato 2 3 Listen to the first three Identify the highest or lowest note notes of the melody once

79 Scottish Traditional Fiddle: Grade 1 Scottish Traditional Fiddle: Grade 1

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

Piece Book Publisher

Group A — Waltz

1. Dream Angus The First Ceilidh Collection Taigh na Teud

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

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

4. Westering Home The First Ceilidh Collection Taigh na Teud

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

Group B — March

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

2. Angus MacLeod The First Ceilidh Collection Taigh na Teud

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

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

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

Group C — Reel

1. La russe The First Ceilidh Collection Taigh na Teud

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

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

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

5. White Cockade The First Ceilidh Collection Taigh na Teud

80 Scottish Traditional Fiddle: Grade 1

TECHNICAL WORK

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

1. BOWING EXERCISE (from memory)

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

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

starting on 3rd scales separate bows ◗ C and G major finger or slurred in pairs with a long tonic one octave (upper tonic may be repeated); arpeggios ◗ D and A major min. tempo: 1 separate bows only = 88 q starting on the first five notes open string ◗ D minor (scale only) ascending and separate bows only descending

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

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

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

1. The Limping Rabbit for tone and phrasing

2. A Cheeky Hamster for mixed articulation and bowing styles

3. At the Ranch for double stops and contrasts

81 Scottish Traditional Fiddle: Grade 1

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

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

Melody only i) Identify the dynamic as forte or piano Listen to the melody once ii) Identify the articulation as legato 4 bars or staccato

Major or minor key Listen to the first two bars Identify the last note as higher or lower of the melody once than the first note 2 3 Listen to the melody twice, with a change of rhythm or Identify where the change occurs pitch in the second playing

82 Scottish Traditional Fiddle: Grade 2 Scottish Traditional Fiddle: Grade 2

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

Piece Book Publisher

Group A — Waltz and Polka/Hornpipe/Schottische/Jig The Gentle Maiden The Second Ceilidh Collection Taigh na Teud 1. The Corner House Jig The Second Ceilidh Collection Taigh na Teud Gluss Ayre Leveneep Head Jamieson 2. Ladlewell The Tom Anderson Collection vol 1 Hardie Ordale Waltz Leveneep Head Jamieson 3. Fear a’Phige (The Still Man) The Second Ceilidh Collection Taigh na Teud Believe Me, These Endearing The Second Ceilidh Collection Taigh na Teud 4. Young Charms Jeanie’s Blue E’en The Second Ceilidh Collection Taigh na Teud 2

Group B — Air 1. Da Mill (unaccompanied) Traditional Scottish Fiddling Taigh na Teud 2. Love of the Isles The Music of Willie Hunter Shetland MHT 3. Michelle’s Air The Tom Anderson Collection vol 1 Hardie 4. Mrs Jamieson’s Favourite The Second Ceilidh Collection Taigh na Teud 5. The Hills of Lorne The First Ceilidh Collection Taigh na Teud

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

83 Scottish Traditional Fiddle: Grade 2

TECHNICAL WORK

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

1. BOWING EXERCISE (from memory)

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

two ◗ G major octaves

◗ C and F major

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

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

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

Octaves and sixths

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

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

1. A Scaly Experience for tone and phrasing

2. Arpeggio Antics for mixed articulation and bowing styles

3. Double Trouble for double stops and contrasts

84 Scottish Traditional Fiddle: Grade 2

SUPPORTING TESTS

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

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

Aural questions

Parameters Task Requirement

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

Listen to the melody twice, i) Identify where the change occurs with a change of rhythm or pitch in the second playing ii) Identify the change as rhythm or pitch

85 Scottish Traditional Fiddle: Grade 3 Scottish Traditional Fiddle: Grade 3

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

Piece Book Publisher

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

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

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

86 Scottish Traditional Fiddle: Grade 3

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

TECHNICAL WORK Scottish Traditional Fiddle: Grade

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

1. BOWING EXERCISE (from memory)

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

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

Technical exercises (from memory) (q = 60): a) Chromatic phrase to be played with separate bows, starting on the D string

1 - 1 2 - 2             b) Octaves, sixths and thirds

                

87 Scottish Traditional Fiddle: Grade 3

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

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

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

Aural questions Parameters Task Requirement

Clap the pulse on the second playing, Listen to the melody twice stressing the strong beat

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

4 bars Listen to the first two notes of the Identify the interval by number only melody once (second, third, fourth, fifth or sixth) Major or minor key Study a copy of the melody i) Identify in which bar the change (provided in treble, alto or bass clef has occurred 3 4 as appropriate), and listen to it once as written and once with a change ii) Identify the change as rhythm of rhythm and a change of pitch or pitch

88 Scottish Traditional Fiddle: Grade 4 Scottish Traditional Fiddle: Grade 4

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

Piece Book Publisher

Group A — Waltz and Reel

The Sneug Waltz The Chris Stout Collection vol 1 Stout Scottish Traditional Fiddle: Grade 1. Lowrie’s Reel The Chris Stout Collection vol 1 Stout

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

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

The First Snow The Nineties Collection Hardie 4. The Salvation The Nineties Collection Hardie

Group B — Air, Hornpipe and Jig 4

Lament for the Death of the The Fiddle Music of Scotland Hardie Rev Archie Beaton

1. The Newcastle Hornpipe The Fiddle Music of Scotland Hardie

The New Rigged Ship The Fiddle Music of Scotland Hardie

Lament of Flora MacDonald The Fiddle Music of Scotland Hardie

2. The Hawk Hornpipe The Fiddle Music of Scotland Hardie

Miss Stewart’s Fancy The Fiddle Music of Scotland Hardie

Hector the Hero The Fiddle Music of Scotland Hardie

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

Coilsfield House The Fiddle Music of Scotland Hardie

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

Balcomie House The Fiddle Music of Scotland Hardie

Group C — March, Strathspey and Reel

The Hamefarers Dance Band The Music of Willie Hunter Shetland MHT

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

Lorna’s Reel The Music of Willie Hunter Shetland MHT

Scott Skinner’s Compliments The Fiddle Music of Scotland Hardie to Dr MacDonald (with variation)

2. Highland Whisky The Fiddle Music of Scotland Hardie

The Hurdle Race The Fiddle Music of Scotland Hardie

Da Guiser’s March The Fiddle Music of Scotland Hardie

3. The Kirrie Kebbuck The Fiddle Music of Scotland Hardie

Miss Susan Cooper The Fiddle Music of Scotland Hardie

The Queen’s Welcome to Invercauld The Scottish Violinist Taigh na Teud (with variation)

4. Gallaton The Scottish Violinist Taigh na Teud

Peter Gray The Scottish Violinist Taigh na Teud

TECHNICAL WORK

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

1. BOWING EXERCISE (from memory)

90 Scottish Traditional Fiddle: Grade 4

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

◗ C and Bb major two octaves

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

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

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

                  b) D major phrase 0                   4 0 1 2 3 4 3 2 1

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

1. Chromatic Cascade for tone and phrasing

2. Twinkling Tango for mixed articulation and bowing styles

3. Noughts and Crossings for double stops and contrasts

91 Scottish Traditional Fiddle: Grade 4

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

Clap the pulse on the second playing, Listen to the piece twice stressing the strong beat

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

4 6 Study a copy of the melody (provided in treble, alto or bass i) Identify the bar in which the change clef as appropriate), and listen to of rhythm occurred it once as written and once with ii) Identify the bar in which the change a change of rhythm and a change of pitch occurred of pitch

92 Scottish Traditional Fiddle: Grade 5 Scottish Traditional Fiddle: Grade 5

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

Piece Book Publisher

Group A — Air, Hornpipe and Jig

Farewell to Whisky The Fiddle Music of Scotland Hardie

1. The Firth House The Caledonian Companion Hardie Scottish Traditional Fiddle: Grade Mrs McGee’s Reel A Fiddler’s Book of Scottish Jigs Hardie

Annie My Mother The Music of Willie Hunter Shetland MHT

2. Robertson Crescent The Music of Willie Hunter Shetland MHT

Bobby Crowe of Balmullo The Music of Willie Hunter Shetland MHT

The Nameless Lassie The Fiddle Music of Scotland Hardie

3. Liverpool Hornpipe The Caledonian Companion Hardie

Miss Dalrymple A Fiddler’s Book of Scottish Jigs Hardie

Margaret Ann Robertson Leveneep Head Jamieson 4. Crystal Fiddle Vidlin Voe Jamieson 5 Mrs Helen Jamieson Leveneep Head Jamieson

Group B — March, Strathspey and Reel

The Duke of Fife’s Welcome The Scottish Violinist Taigh na Teud to Deeside

1. McKenzie Hay The Fiddle Music of Scotland Hardie

The Spey in Spate The Fiddle Music of Scotland Hardie

93 Scottish Traditional Fiddle: Grade 5

Dumbarton Castle The Scottish Violinist Taigh na Teud

2. The Iron Man The Fiddle Music of Scotland Hardie

The Bungalow The Fiddle Music of Scotland Hardie

The Cameron Highlanders The Scottish Violinist Taigh na Teud

3. Earl Grey The Fiddle Music of Scotland Hardie

Davie Work The Scottish Violinist Taigh na Teud

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

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

Carnie’s Canter The Fiddle Music of Scotland Hardie

Group C — Contemporary set

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

Garry Porch of Avernish (Strathspey) The Road to Errogie Taigh na Teud 2. Trip to the Market (Reel) The Road to Errogie Taigh na Teud

Ben Williams of Tiree (Scottische) Ho-ro-gheallaidh vol 3 Taigh na Teud 3. Janine’s Reel (Reel) Ho-ro-gheallaidh vol 3 Taigh na Teud

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

TECHNICAL WORK

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

1. BOWING EXERCISE (from memory)

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

94 Scottish Traditional Fiddle: Grade 5

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

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

◗ B, E and Ab major scales separate bows min. tempi: or slurred two crotchet beats scales ◗ B, E and G# minor to a bow; arpeggios separate = 80 (candidate choice of either bows or slurred six notes q harmonic or melodic minor) to a bow arpeggios q. = 54 ◗ Chromatic scales starting on G two octaves and A 7ths separate bows q = 72 ◗ Dominant 7th in the key of C, or slurred two crotchet starting on G beats to a bow Scottish Traditional Fiddle: Grade ◗ Dominant 7th in the key of Db, starting on Ab ◗ Diminished 7th starting on D one octave separate bows

Technical exercises (from memory) (q = 104): a) C major in thirds

               b) Bb major in sixths

bb4 œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ & 4 œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ c) D major scale on one string

1 2 3 0 1 2 1 2 3 4 2 1 2 1 2 1 0 5                      

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

1. G-Whizz for tone and phrasing

2. A Latin Adventure for mixed articulation and bowing styles

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

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

Clap the pulse on the second playing, Listen to the piece twice stressing the strong beat

i) Identify the tonality as major or minor Listen to the piece twice Harmonised ii) Identify the final cadence as perfect or imperfect 8 bars Identify the interval as minor or major Major or Listen to two notes from the second, minor or major third, perfect minor key melody line played consecutively fourth or fifth, minor or major sixth, minor or major seventh, or octave 2 3 4 6 Study a copy of the piece, and i) Identify the bar in which the change listen to it once as written and of rhythm occurred once with a change of rhythm and a change of pitch (both ii) Identify the bar in which the change changes in the melody line) of pitch occurred

96 Scottish Traditional Fiddle: Grades 6–8 Scottish Traditional Fiddle: Grades 6–8

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

SET 1 22

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

TECHNICAL WORK 14

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

SUPPORTING TEST 1 10

◗ Sight reading

SUPPORTING TEST 2 10

ONE of the following: ◗ Aural ◗ Improvisation

TOTAL 100

97 Scottish Traditional Fiddle: Grade 6 Scottish Traditional Fiddle: Grade 6

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

Piece Book Publisher

Group A — Slow Air, March, Strathspey and Reel

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

Group B — Slow Strathspey, Hornpipe and Jig

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

98 Scottish Traditional Fiddle: Grade 6

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

Group C — Set by a given composer

Composer — Willie Hunter:

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

Composer — Tom Anderson:

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

Composer — Marie Fielding:

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

Composer — J Scott Skinner: 6

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

99 Scottish Traditional Fiddle: Grade 6

TECHNICAL WORK

1. BOWING EXERCISE (from memory)

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

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

100 Scottish Traditional Fiddle: Grade 6

Technical exercises (from memory) (q = 100): a) D major in thirds 3 1 4 2                          b) Eb major in sixths   etc     etc               c) D major in octaves 1 4 1 4                                d) E major scale on one string 1 2 2 2 1 2 1 1 4 3 1   2 3 2 1                   

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

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

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

101 Scottish Traditional Fiddle: Grade 6

SUPPORTING TESTS

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

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

Aural questions

Parameters Task Requirement

i) Identify the time signature Listen to the piece twice ii) Comment on the dynamics iii) Comment on the articulation

Identify and comment on two other Harmonised Listen to the piece twice characteristics of the piece 8 bars Identify the key to which the music Major or modulates as subdominant, dominant minor key Listen to the first four bars of or relative minor the piece once 2 3 4 6 Answers may alternatively be given as key names

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

102 Scottish Traditional Fiddle: Grade 7 Scottish Traditional Fiddle: Grade 7

Piece Book Publisher

Group A — Slow Air, March, Strathspey and Reel

Chapel Keithack The Fiddle Music of Scotland Hardie

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

The Marquis of Tullybardine The Fiddle Music of Scotland Hardie

Miss Laura Andrew The Fiddle Music of Scotland Hardie

Ceol na Fidhle — The Fiddle Music The Balkan Hills Taigh na Teud of the Scottish Highlands vols 1 & 2 Scottish Traditional Fiddle: Grade 2. Tullochgorum The Fiddle Music of Scotland Hardie

The Flowers of Edinburgh The Caledonian Companion Hardie (incl variation)

Fyvie Castle The Scottish Violinist Taigh na Teud

McLean of Pennycross The Fiddle Music of Scotland Hardie 3. Tulchan Lodge The Fiddle Music of Scotland Hardie

The Left–Handed Fiddler The Fiddle Music of Scotland Hardie

Niel Gow’s Lament for the The Fiddle Music of Scotland Hardie Death of his Second Wife

The Athole Highlanders’ The Fiddle Music of Scotland Hardie 4. Farewell to Loch Katrine 7

Ballochmyle Brig The Scottish Violinist Taigh na Teud

The £10 Fiddle The Fiddle Music of Scotland Hardie

103 Scottish Traditional Fiddle: Grade 7

Group B — Slow Strathspey, Hornpipe and Jig

Mrs Garden of Troup The Fiddle Music of Scotland Hardie

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

Light and Airy The Fiddle Music of Scotland Hardie

The Beauty of the North The Fiddle Music of Scotland Hardie

2. Princess Beatrice The Fiddle Music of Scotland Hardie

Dumfries House The Fiddle Music of Scotland Hardie

Lady Boswell of Auchinleck The Fiddle Music of Scotland Hardie

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

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

Mackworth The Fiddle Music of Scotland Hardie

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

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

Group C — Set by a given composer

Composer — Nathaniel Gow:

Nathaniel Gow’s Lament for the The Caledonian Companion Hardie Death of his Brother (Slow air)

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

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

Composer — Peter Milne:

Berryden Cottage (Strathspey) The Fiddle Music of Scotland Hardie

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

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

104 Scottish Traditional Fiddle: Grade 7

Composer — J Scott Skinner:

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

The Smith’s a Gallant Fireman The Fiddle Music of Scotland Hardie (Strathspey) 3. The Auld Wheel (Reel) The Fiddle Music of Scotland Hardie

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

TECHNICAL WORK

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

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 7 scales, freely chosen from the list, with hooked bowing, as in the following example. (q = 88) ≤ ≥ ≥ ≤ ≤ ## ≥ ≥ ≤ œ- œ. etc & œ œ -œ™ œ. ™ œ-™ œ. -™ . Either Scottish Traditional Fiddle: Grade 2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) — Candidates prepare major and minor scales and arpeggios from the following tonal centres, to be played with separate bows or slurred as requested by the examiner. Examiners select from the following:

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

105 Scottish Traditional Fiddle: Grade 7

Technical exercises (from memory) (q = 84): a) Bb major in thirds (one octave):

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

     etc      

1a. Glinka: Russlan and Ludmilla, Overture (page 37, 14 bars before fig. I to 1st note of five bars after fig. K) 1b. Moussorgsky, orch. Ravel: Pictures at an Exhibition, for tone and phrasing 6. Samuel Goldenberg and Schmuÿle (page 26, entire extract)

2a. Beethoven: Egmont, Overture (page 38, bar 25 to 1st note of bar 58) for bowing 2b. Stravinsky: Pulcinella Suite, 4. Tarantella (page 34, 5th bar of fig. 53 to 1st note of two bars before fig. 56)

3a. Rimsky-Korsakoff: Scheherazade, IV (page 20, 7th bar of fig. M to fig. N) for left hand technique 3b. Sibelius: Symphony no. 2, III (page 6, bars 277–293)

106 Scottish Traditional Fiddle: Grade 7

SUPPORTING TESTS

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

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

Aural questions

Parameters Task Requirement

i) Identify the time signature Scottish Traditional Fiddle: Grade Listen to the piece twice ii) Comment on the dynamics iii) Comment on the articulation

Harmonised Identify and comment on two other Listen to the piece twice characteristics of the piece 8 bars Major or Identify the key to which the music minor key modulates as subdominant, dominant Listen to the first four bars of or relative minor the piece once 2 3 4 6 Answers may alternatively be given as key names

Study a copy of the piece, and Locate and describe the changes as pitch listen to it twice with three changes (melody line only) or rhythm 7

107 Scottish Traditional Fiddle: Grade 8 Scottish Traditional Fiddle: Grade 8

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

Piece Book Publisher

Group A — Slow Air, March, Strathspey and Reel

Back to the Hills The Scottish Violinist Taigh na Teud

Balmoral Castle (with all variations) The Caledonian Companion Hardie 1.

The Marquis of Huntly’s Farewell The Caledonian Companion Hardie

The Hurricane The Scottish Violinist Taigh na Teud

Ossian The Fiddle Music of Scotland Hardie

King Robert the Bruce The Caledonian Companion Hardie 2. Athole Brose The Caledonian Companion Hardie

The Deil Amang the Tailors The Scottish Violinist Taigh na Teud (with all variations)

The Valley of Silence The Fiddle Music of Scotland Hardie

Ceol na Fidhle — The Fiddle Music of Millbank Cottage Taigh na Teud the Scottish Highlands vols 1 & 2 3. Pittengardener’s Rant The Caledonian Companion Hardie

The Devil and the Dirk The Caledonian Companion Hardie

Sir William Wallace The Caledonian Companion Hardie

MacPherson’s Blade The Scottish Violinist Taigh na Teud 4. William Duguid Fyvie The Caledonian Companion Hardie

Dr Gordon’s Stables The Scottish Violinist Taigh na Teud

108 Scottish Traditional Fiddle: Grade 8

Group B — Slow Strathspey, Hornpipe and Jig

The Glories of ‘The Star’ The Caledonian Companion Hardie

1. Madam Neruda The Caledonian Companion Hardie

The Marchioness of Huntly’s The Caledonian Companion Hardie Favorite Jig

The Dean Brig o’Edinburgh The Caledonian Companion Hardie

2. Banks The Caledonian Companion Hardie

Miss Sally Hunter of Thurston The Fiddle Music of Scotland Hardie

J O Forbes of Course The Fiddle Music of Scotland Hardie

3. Haslam’s Hornpipe The Caledonian Companion Hardie

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

The Shakins o’the Pocky The Caledonian Companion Hardie

4. Madame Vanoni The Caledonian Companion Hardie

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

Group C — Set by a given composer

Composer — Gideon Stove:

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

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

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

Composer — J Scott Skinner:

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

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

Gladstone (Reel) The Fiddle Music of Scotland Hardie

8 109 Scottish Traditional Fiddle: Grade 8

Composer — William Marshall:

Mrs Major L Stewart of the Island The Fiddle Music of Scotland Hardie of Java (Air)

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

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

TECHNICAL WORK

1. BOWING EXERCISE (from memory)

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

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

110 Scottish Traditional Fiddle: Grade 8

Technical exercises (from memory) (q = 88): a) Bb major in thirds (two octaves):

b4 œ œ etc &b 4 œ œ œ œ œ œ œ œ œ œ b) G major in sixths (two octaves):

     etc. etc               c) D major in octaves (one octave): œ œ # œ œ œ œ œ #4 œ œ œ œ œ etc & 4 œ œ œ œ

prepared extracts to be performed. Scottish Traditional Fiddle: Grade

1a. Mendelssohn: Symphony no. 4, III (page 2, bars 126–160) 1b. Wagner: Die Meistersinger von Nürnberg, Overture for tone and phrasing (pages 24–25, bars 158–178)

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

SUPPORTING TESTS

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

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

Aural questions

Parameters Task Requirement

i) Identify the time signature Harmonised Listen to the piece once ii) Comment on the dynamics iii) Comment on the articulation 12–16 bars Identify and comment on three other Major or Listen to the piece twice minor key characteristics of the piece 2 3 4 6 5 Study a copy of the piece, and Locate and describe the changes as listen to it twice with three changes pitch or rhythm

112 Viola: Initial to Grade 5 Viola: Initial to Grade 5

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

PIECE 1 22

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

TECHNICAL WORK* 14

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

SUPPORTING TESTS 20

Any TWO of the following: ◗ Sight reading ◗ Aural ◗ Improvisation ◗ Musical knowledge

TOTAL 100

* At Initial level, candidates perform scales only 113 Viola: Initial Viola: Initial PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. Only one duet may be chosen. Only one unaccompanied piece may be chosen. Pieces by at least two composers must be played. An own composition may be played instead of one listed piece. See pages 16–19 for further guidance.

Composer Piece Book Publisher

ARBEAU, arr. Sword Dance 1. String Time Starters OUP 9780193411531 K & D BLACKWELL (viola I part)

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

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

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

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

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

7. K & H COLLEDGE Waterfall Waggon Wheels Boosey M060135521

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

LUMSDEN & Jungle Footprints 9. Jackaroo Faber 057152169X WEDGWOOD (scream optional)

LUMSDEN & 10. Strong Iguanodon Jurassic Blue Faber 0571521797 WEDGWOOD

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

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

13. TERZIBASCHITSCH Der Kuckuck Violaträume Holzschuh VHR3428

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

114 * Unaccompanied † Accompaniment published separately Viola: Initial

TRAD., A & C Black 15. Merrily We Roll Along Abracadabra Viola arr. DAVEY 9781408114582

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

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

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

TRAD., arr. Pit a Pat Rain 19. Viola Recital Album vol 1 Bärenreiter BA8990 SASSMANNSHAUS (solo or duet)

TRAD., arr. Old MacDonald 20. Violaträume Holzschuh VHR3428 TERZIBASCHITSCH Had a Farm

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

TECHNICAL WORK

Candidates prepare scales, as shown below. See page 21. All requirements are in Trinity’s book Viola Scales, Arpeggios & Studies from 2016.

SCALES (from memory) All one octave, with the indicated rhythmic pattern on each note (minimum tempo: = 92). q ◗ C major

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

◗ D major

          etc.etc        

† Accompaniment published separately 115 Viola: Initial

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

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

Composer Piece Book Publisher ALTHAUS, March of the Little Soldiers 1. Viola Recital Album vol 1 Bärenreiter BA8990 arr. SASSMANNSHAUS (solo or duet) Viola: Grade ARLEN, A & C Black 2. We’re Off to See the Wizard Abracadabra Viola arr. DAVEY 9781408114582 BEETHOVEN, 3. Ode to Joy† Vamoosh Viola book 1 Vamoosh VAM11 arr. GREGORY Rocking Horse† 4. K & D BLACKWELL Viola Time Joggers OUP 9780193221178 (duet or piano accomp) 5. COBB & YANDELL Busy Bee Take Your Bow Viola Trinity TCL018052 Blast Off!* Superstudies for Viola 1 6. COHEN Faber 0571514227 or Rocking Rowboats* book 1 7. COHEN Puttin’ on the Blue Check Shirt* Bags of American Folk Faber 0571534171 Song of the Norsemen Progressive Pieces for 8. HAND Schott ED11259 (slurs not required) Viola HANDEL, arr. Finale (from the Water Music)† 9. Viola Time Runners OUP 9780193221185 K & D BLACKWELL (duet or piano accomp) Back-Scratcher† 10. HUWS JONES Ten O’Clock Rock Boosey M060097928 or Purry Slurry† LUMSDEN & 11. Clever Compsognatus Jurassic Blue Faber 0571521797 WEDGWOOD 12. NELSON On the Ice or Promenade Piece by Piece book 1 Boosey M060092626 13. NORTON Popular Song or Snooker Table Microjazz for Starters Boosey M060082573 RODGERS, A & C Black 14. Edelweiss Abracadabra Viola arr. DAVEY 9781408114582 15. TERZIBASCHITSCH Marsch der Gänse Violaträume Holzschuh VHR3428 16. THOMAS Simon’s Song Seven Easy Pieces Banks MT112 17. TRAD., arr. COHEN Home on the Range* Bags of American Folk Faber 0571534171 TRAD., A & C Black 18. Summer Is Icumen In Abracadabra Viola arr. DAVEY 9781408114582 19. TRAD., arr. GREGORY Clown Dance† Vamoosh Viola book 2 Vamoosh VAM12 Nyth y Gwcw (The Cuckoo’s TRAD., Nest) (duet — candidate plays The Fiddler Playalong 20. Boosey M060117855 arr. HUWS JONES easy viola part, teacher plays Viola Collection viola melody) 21. TRAD., arr. NELSON Dance to Your Daddy Piece by Piece book 1 Boosey M060092626 TRAD., arr. 22. Land of the Silver Birch O Shenandoah! Faber 0571522890 WATERFIELD & BEACH 23. WIDGER Over the Bridge Viola Jazz, Rock ‘n’ Bow Spartan SP406 24. WILKINSON & BASS Computer Games Viva Viola! Faber 0571512925

* Unaccompanied † Accompaniment published separately 117 Viola: Grade 1

TECHNICAL WORK

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

1. BOWING EXERCISE (from memory)

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

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

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

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

Open strings                   

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

1. The Limping Rabbit for tone and phrasing

2. A Cheeky Hamster for mixed articulation and bowing styles

3. At the Ranch for double stops and contrasts

118 Viola: Grade 1

SUPPORTING TESTS

Candidates choose TWO of the following: Improvisation ◗ Sight reading Candidates perform an improvisation based on a stimulus chosen from the following ◗ Aural three options: ◗ Improvisation ◗ Stylistic ◗ Musical knowledge ◗ Motivic ◗ Sight reading Harmonic After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements Viola: Grade perform a previously unseen musical extract and parameters. at a level lower than the exam being taken. See pages 23–26 for the requirements Musical knowledge and parameters. Candidates answer questions assessing their understanding of the pieces performed, as well Aural as their knowledge of notation and the viola. Candidates answer questions based on a single Questions are based on candidates’ chosen 1 musical example played on the piano by the pieces. See pages 34–35 for example questions examiner. See page 27 for more information. and responses. The aural test requirements for Grade 1 are below.

Aural questions

Parameters Task Requirement

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

Melody only i) Identify the dynamic as forte or piano Listen to the melody once ii) Identify the articulation as legato 4 bars or staccato

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

Composer Piece Book Publisher J S BACH, Gavotte (from Cello 1. Viola Album Schott ED10900 arr. DODD Suite no. 6) Edinburgh Walkways 2. BASS Viola Walkways Piper PPVA005 or London Walkways 3. R R BENNETT Fives or Work Song Up Bow, Down Bow Novello NOV120514 BRAHMS, arr. First Repertoire for Viola 4. Waltz, op. 39 no. 16 Faber 0571512941 WILKINSON & HART book 2 5. BYRD, arr. NELSON Wolsey’s Wilde Piece by Piece book 2 Boosey M060092640 CAMPAGNOLI, Presto, no. 24 (duet — Select Studies for the Viola 6. Stainer 7657B ed. KREUZ candidate plays top part) book 2 CHARPENTIER, 7. Prelude† Vamoosh Viola book 2 Vamoosh VAM12 arr. GREGORY 8. K & H COLLEDGE Cakewalk Shooting Stars Boosey M060103452 9. K & H COLLEDGE The Ceilidh Fast Forward Boosey M060135439 Chasse du jeune Henry, 36 Melodious and Easy 10. DANCLA Schott ED9981 no. 17* Studies, op. 84 11. HANDEL, arr. NELSON Gavotte (from Suite no. 14) Piece by Piece book 2 Boosey M060092640 HAYDN/MAZAS, Andante, no. 21 (duet — Select Studies for the Viola 12. Stainer 7657A ed. KREUZ candidate plays top part) book 1 13. HOLST, arr. GREGORY Jupiter† Vamoosh Viola book 2 Vamoosh VAM12 Fiedel-Max für Viola — 14. HOLZER-RHOMBERG Mazurka† Holzschuh VHR3832 Der grosse Auftritt vol 3 Night on the River, 15. KABALEVSKY Viola Music for Beginners EMB 14155 op. 27 no. 4 MARTINI, arr. First Repertoire for Viola 16. Gavotte Faber 0571512941 WILKINSON & HART book 2 Moderato, no. 26 (duet — MAZAS, Select Studies for the Viola 17. candidate plays top part; Stainer 7657A ed. KREUZ book 1 ornamentation optional) 18. NELSON Willow Water Piece by Piece book 2 Boosey M060092640 PURCELL, Rondeau (from 19. Viola Album Schott ED10900 arr. DODD The Fairy Queen) 20. RAE Big Chief Sitting Bull (part 1) Viola Debut Universal UE21620 21. RAE The Guv’nor Play It Cool Universal UE21369 22. TERZIBASCHITSCH Sicilienne Violaträume Holzschuh VHR3428 23. THOMAS Matthew’s March Seven Easy Pieces Banks MT112

120 * Unaccompanied † Accompaniment published separately Viola: Grade 2

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

TECHNICAL WORK

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

1. BOWING EXERCISE (from memory)

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

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

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

                    

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

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

121 Viola: Grade 2

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

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

i) Describe the dynamics, which will Melody only vary during the melody Listen to the melody once 4 bars ii) Identify the articulation as legato or staccato Major or minor key Identify the last note as higher or lower Listen to the melody once than the first note 2 3 Listen to the melody twice, i) Identify where the change occurs with a change of rhythm or pitch in the second playing ii) Identify the change as rhythm or pitch

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

Composer Piece Book Publisher

1. ADAM, arr. CLASSENS Hongroise L’Alto classique vol C Combre P04438 C P E BACH, First Repertoire for Viola 2. arr. WILKINSON March Faber 057151295X book 3 & HART J S BACH, arr. Gavotte (from Cello 3. Solo Time for Viola book 1 OUP 9780193513280 K & D BLACKWELL Suite no. 6, BWV 1012) BEETHOVEN, 4. Sonatina in G The Young Violist vol 2 Viola World VWP068 arr. ARNOLD BIZET, arr. Habanera (from Carmen)† 5. Viola Time Sprinters OUP 9780193360815 K & D BLACKWELL (duet or piano accomp) Viola: Grade Wild West† (duet 6. K & D BLACKWELL Viola Time Sprinters OUP 9780193360815 or piano accomp) Fivepenny Waltz* Superstudies for Viola 7. COHEN Faber 0571514510 or Heidi Hi!* book 2 Largo (from Concerto CORELLI Viola Music for Beginners EMB 14155 8. Grosso, op. 6 no. 1) 36 Melodious and Easy 9. DANCLA Moderato, no. 27* Schott ED9981 3 Studies, op. 84 DANCLA, arr. Petite fantaisie (from 10. Solo Time for Viola book 2 OUP 9780193513297 K & D BLACKWELL Petite fantaisie et boléro) Fiedel-Max für Viola — 11. HOLZER-RHOMBERG Galopp† Holzschuh VHR3832 Der grosse Auftritt vol 3 ILYNSKY, arr. 12. Berceuse, op. 13 Violaträume Holzschuh VHR3428 TERZIBASCHITSCH Allegro energico e sempre Three Pieces for Viola JONES Schott ED11260 13. forte, no. 3 and Piano Allegro assai (final movt Bosworth 14. KÜCHLER from Concertino in G in BOE004995 the style of Vivaldi, op. 15) MAZAS, Andante, no. 27 (duet — Select Studies for the 15. Stainer 7657A ed. KREUZ candidate plays top part) Viola book 1 16. MOZART German Dance, K. 600 no. 2 Viola Music for Beginners EMB 14155 17. NELSON Roaring Jelly Piece by Piece book 2 Boosey M060092640 18. NORTON Rough Justice Microjazz for Viola Boosey M060082436 OFFENBACH, Barcarolle (from 19. Vamoosh Viola book 2 Vamoosh VAM12 arr. GREGORY The Tales of Hoffmann)† 20. RAE Bruno’s Tune Play It Cool Universal UE21369

* Unaccompanied † Accompaniment published separately 123 Viola: Grade 3

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

TECHNICAL WORK

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

1. BOWING EXERCISE (from memory)

Candidates should play one of the Grade 3 scales, freely chosen from the list, with four semiquavers on each degree of the scale. The exercise may end with an additional long note on the tonic. (q = 60) Either 2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) — Candidates play the scale followed by the arpeggio. Examiners select from the following:

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

124 Viola: Grade 3

Technical exercises (from memory) (q = 60): a) Chromatic phrase to be played with separate bows, starting on the G string - 1 - 1 2 2            b) Octaves, sixths and thirds

                 

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

1. Changing Weather for tone and phrasing

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

3. On a Swing for double stops and contrasts Viola: Grade

125 Viola: Grade 3

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

Clap the pulse on the second playing, Listen to the melody twice stressing the strong beat

Listen to the melody once Identify the tonality as major or minor Melody only Listen to the first two notes Identify the interval by number only 4 bars of the melody once (second, third, fourth, fifth or sixth) Major or minor key Study a copy of the melody 3 4 (provided in treble, alto or i) Identify in which bar the change has bass clef as appropriate), and occurred listen to it once as written and once with a change of ii) Identify the change as rhythm or pitch rhythm or pitch

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

Composer Piece Book Publisher

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

BARTÓK, An Evening at the Village 2. Slovak Peasant’s Dance EMB 5453 trans. KÁROLY & Slovak Peasant’s Dance

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

BIZET, Farandole (from 4. The Classic Experience Cramer CRA90536 arr. LANNING L’Arlésienne Suite no. 2)

A CLARKE 5. (LOZANNE), Avelette Four Love Songs S J Music D1992–3 arr. OTTY Viola: Grade 6. COHEN Magic Carpet Ride* Superstudies for Viola book 2 Faber 0571514510

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

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

DONALDSON, The Fiddler Playalong Viola 10. Makin’ Whoopee Boosey M060117855 arr. HUWS JONES Collection

Scherzo (3rd movt DVORÁK,ˇ 11. from Sonatina, op. 100) Viola World ed. ARNOLD (scherzo only — not trio)

ELGAR, Chanson de matin, 12. The Classic Experience Cramer CRA90536 arr. LANNING op. 15 no. 2

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

* Unaccompanied 127 Viola: Grade 4

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

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

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

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

18. PURCELL Sarabande & Hornpipe Airs and Dances PWM 6168

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

RODRÍGUEZ, The Fiddler Playalong Viola 20. La cumparsita Boosey M060117855 arr. HUWS JONES Collection

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

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

D SCARLATTI, Baroque Pieces for Viola 23. Sonata, Kp 34 OUP 9780193564640 arr. FORBES and Piano

SCHUBERT, Ballet Music 24. Keytunes I Boosey M060071157 arr. NELSON (from Rosamunde)†

TCHAIKOVSKY, March (from The 25. Piece by Piece book 2 Boosey M060092640 arr. NELSON Nutcracker Suite)

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

VAUGHAN WILLIAMS, Spurn Point and Young Summy-Birchard 27. Solos for Young Violists vol 4 arr. BARBER Henry the Poacher 18750X

128 † Accompaniment published separately Viola: Grade 4

TECHNICAL WORK

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

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

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

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

Technical exercises (from memory) (q = 84): a) Octaves 4                   b) G major phrase 0                  0 1 2 3 4 3 2 1 Or 3. STUDIES (music may be used) — Candidates prepare all three studies. Candidates choose one study to play first. Examiners then select one of the remaining two studies to be performed.

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

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

Clap the pulse on the second playing, Listen to the piece twice stressing the strong beat

i) Identify the tonality as major or minor Listen to the piece twice ii) Identify the final cadence as perfect Harmonised or imperfect

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

4 6 Study a copy of the melody (provided in treble, alto or i) Identify the bar in which the change bass clef as appropriate), and of rhythm occurred listen to it once as written ii) Identify the bar in which the change and once with a change of of pitch occurred rhythm and a change of pitch

130 Viola: Grade 5 Viola: Grade 5

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

Composer Piece Book Publisher

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

J S BACH, The Solo Cello Suites 2. Gigue (from Suite no. 1)* Chester CH01401 arr. FORBES arranged for Viola

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

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

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

ELGAR, 8. Sospiri, op. 70 Breitkopf EB4436 arr. KLENGEL Viola: Grade FAURÉ, 9. Après un rêve, op. 7 no. 1 Schott ED9962 arr. BIRTEL Siciliana and Variations (3rd 10. FLACKTON and 4th movts from Sonata Schott ED10957 no. 4 in C minor, op. 2 no. 8) GLUCK, 11. Melody (from Orfeo) Viola World VWP017 arr. ARNOLD 5 GLUCK, First Solos for the 12. Gavotte (from Don Juan) Schirmer GS33133 arr. DOKTOR Viola Player

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

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

HAYDN, arr. Solos for Young Summy-Birchard 15. Divertimento (3rd movt) PIATIGORSKY Violists vol 3 18670X

Allegro (1st movt from Little 16. B HUMMEL Simrock M221108579 Suite for Viola & Piano, op. 19c)

* Unaccompanied † Accompaniment published separately 131 Viola: Grade 5

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

Maestoso (1st movt from 18. B HUMMEL Sonatine no. 1 for Viola & Simrock M221100320 Piano, op. 35b)

Broadbent & Dunn 19. JOHNS Midnight Blue (omit piano intro) 12403

JOPLIN, Fig Leaf Rag 20. Ragtime Favourites Fentone F854 arr. COWLES or The Chrysanthemum

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

PROKOFIEV, Kijé’s Wedding (from 22. Musicus M696 arr. FORST Lieutenant Kijé Suite, op. 60)

23. PURCELL Canzonet Airs and Dances PWM 6168

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

First Solos for the 25. TCHAIKOVSKY Waltz Schirmer GS33133 Viola Player

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

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

TRAD., Shorter Pieces for 28. I’ll Bid My Heart Be Still OUP 9780193865990 arr. R CLARKE Viola and Piano

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

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

VIVALDI, Classical Pieces for Viola 31. Giga, op. 2 no. 2 Peters EP3853B arr. KLENGEL vol 2

132 Viola: Grade 5

TECHNICAL WORK

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

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 5 scales, freely chosen from the list, with a martelé bow stroke. (q = 88) Either 2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) — Candidates play the scale followed by the arpeggio. Examiners select from the following:

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

◗ E, A and Db major scales separate bows min. tempi: or slurred two crotchet beats scales ◗ E, A and C# minor to a bow; arpeggios separate (candidate choice of either bows or slurred six notes to d = 80 harmonic or melodic minor) a bow arpeggios d = 54 ◗ Chromatic scales starting on C two octaves · and D 7ths ◗ Dominant 7th in the key of F, separate bows d = 72 starting on C or slurred two crotchet beats to a bow ◗ Dominant 7th in the key of Gb, starting on Db ◗ Diminished 7th starting on G one octave separate bows Viola: Grade Technical exercises (from memory) (q = 104): a) F major in thirds               b) Eb major in sixths                 5                 c) G major scale on one string 1 2 4 3 2 0 1 2 1 2 3 1 2 1 2 1 0                     

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

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

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

i) Clap the pulse on the second playing, Listen to the piece twice stressing the strong beat ii) Identify the time signature

i) Identify the changing tonality Harmonised Listen to the piece twice ii) Identify the final cadence as perfect, plagal, imperfect or interrupted 8 bars Identify the interval as minor or major Major or Listen to two notes from the second, minor or major third, perfect minor key melody line played consecutively fourth or fifth, minor or major sixth, minor or major seventh, or octave 2 3 4 6 Study a copy of the piece, and i) Identify the bar in which the change listen to it once as written and of rhythm occurred once with a change of rhythm and a change of pitch (both ii) Identify the bar in which the change changes in the melody line) of pitch occurred

134 Viola: Grades 6–8 Viola: Grades 6–8

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

PIECE 1 22

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

TECHNICAL WORK 14

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

SUPPORTING TEST 1 10

◗ Sight reading

SUPPORTING TEST 2 10

ONE of the following: ◗ Aural ◗ Improvisation

TOTAL 100

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

Composer Piece Book Publisher

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

136 * Unaccompanied † Accompaniment published separately Viola: Grade 6

TELEMANN, Presto (4th movt from Suzuki Viola School Summy-Birchard 17. arr. PREUCIL Concerto in G)† vol 4 0244S VIVALDI, trans. Allegro (3rd movt from 18. BÁRSONY & EMB 12616 Concerto in G minor, RV 417) NAGY

Group B 1. R R BENNETT The Czar of Muscovy Six Country Dances Novello NOV090750 BRAHMS, Lionel Tertis: The Early 2. Minnelied Comus 105 arr. TERTIS Years book 1 Four Pieces for Viola 3. BRIDGE Élégie Faber 0571513271 and Piano Shorter Pieces for 4. R CLARKE Lullaby, p2 OUP 9780193865990 Viola and Piano DEBUSSY, 5. Rêverie Viola World VWP119 arr. ARNOLD ELGAR, Chanson de matin 6. Chanson de nuit, op. 15 no. 1 Novello NOV120854 arr. ARNOLD & Chanson de nuit GLAZUNOV, 7. Sérénade espagnole, op. 20 Jobert JJ06589 arr. GINOT 8. GRITTON Jazz-Dance Character Pieces book 3 S J Music D2006-2 Andante sostenuto (2nd movt 9. B HUMMEL from Little Suite for Viola & Simrock M221108579 Piano, op. 19c) IRELAND, Lionel Tertis: The Early 10. The Holy Boy Comus 106 arr. TERTIS Years book 2 Drei Stücke für Viola, 11. LE BEAU Träumerei Furore 3220 op. 26 L’Agréable (no. 1 from Summy-Birchard 12. MARAIS Suzuki Viola School vol 5 Four French Dances)† 0249SX REGER, 13. Scherzo, no. 4 Six Pieces, op. 47 Doblinger 03589 arr. WERDIN Langsam, mit melancholischem Viola: Grade Ausdruck (4th movt from 14. SCHUMANN Peters EP2372 Märchenbilder (Fairy Tale Pictures), op. 113) SIBELIUS, 15. Valse triste, op. 44 no. 1 Breitkopf EB2284 arr. HERMANN Moderato or Andante sostenuto Solos for Young Violists Summy-Birchard 16. SITT or Allegro (1st or 2nd or 3rd movt vol 4 18750X from Album Leaves, op. 39) 6 STRAVINSKY, Dance of the Princesses 17. Musicus M887 arr. FORST (from The Firebird) Lionel Tertis: The Early 18. TERTIS Sunset Comus 105 Years book 1 VAUGHAN Suite for Viola and 19. Carol (from Group 1) OUP 9780193694057 WILLIAMS Orchestra VAUGHAN 20. WILLIAMS, Fantasia on Greensleeves OUP 9780193593015 arr. FORBES † Accompaniment published separately 137 Viola: Grade 6

TECHNICAL WORK

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

1. BOWING EXERCISE (from memory)

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

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

138 Viola: Grade 6

Technical exercises (from memory) (q = 100): a) G major in thirds 2 3 1 4                        b) Ab major in sixths    etc   etc.etc               c) G major in octaves 4 4 1 1                                d) A major scale on one string 2 4 3 2 1 1 2 1 2 3 2 1 2 1 1                    

1a. Beethoven: Sinfonie Nr. 5, 2. Satz (page 10, first 10 bars of extract, upper part of divisi) for tone and phrasing 1b. Rossini: Der Barbier von Sevilla, Ouvertüre (page 35, bars 2–10 and bars 15–24)

2a. Humperdinck: Hänsel und Gretel, 1. Bild, 3. Szene (page 24, bars 88–97) for bowing 2b. Mozart: Die Zauberflöte, Ouvertüre (page 32, bar 27 to 1st note of bar 43) Viola: Grade 3a. Mahler: Sinfonie Nr. 5, 5. Satz: Rondo — Finale (page 27, bars 272–279) for left hand technique 3b. Mozart: Sinfonie Nr. 41, 4. Satz: Finale (page 31, bars 173–189)

139 Viola: Grade 6

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

i) Identify the time signature Listen to the piece twice ii) Comment on the dynamics iii) Comment on the articulation

Identify and comment on two other Listen to the piece twice Harmonised characteristics of the piece

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

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

Composer Piece Book Publisher

Group A J C BACH, Allegro molto ma maestoso (1st 1. Salabert SLB3920 arr. CASADESUS movt from Concerto in C minor) Adagio and Allegro (1st and 2nd movts) or Allegro (4th movt) Three Gamba Sonatas, 2. J S BACH Henle HN684 (from Gamba Sonata in D major, BWV 1027–1029 BWV 1028) Allegro ma non tanto (2nd movt Three Gamba Sonatas, 3. J S BACH from Gamba Sonata in G major, Henle HN684 BWV 1027–1029 BWV 1027) Allemande (2nd movt from Suite J S BACH, The Solo Cello Suites 4. no. 1 in G)* or Bourrées 1 & 2 Chester CH01401 arr. FORBES arranged for Viola (from Suite no. 3)* J S BACH, trans. Bourrées nos. 1 and 2 (from Cello 6 Cello Suites, 5. Peters EP7489 ROWLAND-JONES Suite no. 4 in Eb, BWV 1010)* BWV 1007–1012 6. BEACH, arr. GRANT Mazurka Three Pieces, op. 40 Spartan SP1389 BRAHMS, Hungarian Dances 7. Hungarian Dance no. 3 in F Peters EP7725 arr. FORBES nos. 1 & 3 CAIX D’HERVELOIS, 8. Allegro and Double La Chambor (Allemande) IMC 446 arr. MARCHET Pizzicato with the Left Hand, Etudes spéciales, 9. MAZAS Schirmer GS26257 no. 30* op. 36 book 1 MOZART, Summy-Birchard 10. Adagio and Rondo in D† Suzuki Viola School vol 6 arr. PREUCIL 0491S 11. REGER, arr. WERDIN Canon, no. 1 and Fuge, no. 6 Six Pieces, op. 47 Doblinger 03589 Viola: Grade Adagio (2nd movt from Sonata 12. SCHUBERT Bärenreiter BA5683 in A minor ‘Arpeggione’, D 821) Nicht schnell (1st movt from 13. SCHUMANN Märchenbilder (Fairy Tale Peters EP2372 Pictures), op. 113) Andante moderato (2nd movt 14. STAMITZ Breitkopf EB5580 from Concerto in D, op. 1) 7 Allegro moderato (2nd movt 15. VIVALDI Viola World VWP076 from Sonata in G) 16. WIENIAWSKI Rêverie PWM 7432

* Unaccompanied † Accompaniment published separately 141 Viola: Grade 7

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

TECHNICAL WORK

1. BOWING EXERCISE (from memory) Candidates play one of the Grade 7 scales, freely chosen from the list, with hooked bowing, as in the following example. (q = 88) ≥ ≥ ≤ ≤. # ≥ ≥ ≤ ≤ - œ. œ-™ œ B œ œ-™ œ. œ™ etc œ-™ . Either 2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) — Candidates prepare major and minor scales and arpeggios from the following tonal centres, to be played with separate bows or slurred as requested by the examiner. Examiners select from the following:

142 Viola: Grade 7

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

Technical exercises (from memory) (q = 84): a) Eb major in thirds (one octave) B b 4 etc b b4 œ œ ˙ œ œ ˙ b) Eb major in sixths (one octave)                 etc.etc       c) G major in octaves (one octave)

     etc.       etc

1a. Berlioz: Römischer Karneval, Ouvertüre (page 12, opening of extract to 1st note of penultimate line) for tone and phrasing 1b. Mozart: Die Hochzeit des Figaro, Ouvertüre (page 32, entire extract) 2a. Mahler: Sinfonie Nr. 5, 3. Satz: Scherzo (page 27, entire extract) 2b. Mendelssohn: Ein Sommernachtstraum, 1. Satz: Scherzo for bowing 7 (page 29, bars 70–93 and bars 135–138)

3a. Beethoven: Ouvertüre zu ‘Coriolan’ (page 11, bars 100–114) for left hand technique 3b. Schubert: Sinfonie Nr. 4, 4. Satz (page 36, bars 85–113) 143 Viola: Grade 7

SUPPORTING TESTS

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

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

Aural questions

Parameters Task Requirement

i) Identify the time signature Listen to the piece twice ii) Comment on the dynamics iii) Comment on the articulation

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

144 Viola: Grade 8 Viola: Grade 8 PIECES Candidates perform a balanced programme of three pieces chosen from the list below, containing at least one piece from each group. Only one unaccompanied piece may be chosen. Pieces by at least two composers must be played. An own composition may be played instead of one listed piece. One piece may be played on violin, chosen from the Grade 8 violin list. See pages 16–19 for further guidance.

Composer Piece Book Publisher

Group A J S BACH, Prelude (1st movt from The Solo Cello Suites 1. Chester CH01401 arr. FORBES Suite no. 2 in D minor)* arranged for Viola Two Romances, 2. BEETHOVEN Romance in F, op. 50 Peters EP2413 op. 40 & op. 50 7 Variations on BEETHOVEN, Theme and Variations 3. Mozart’s ‘Bei Männern’ Peters EP7049 arr. FORBES (except nos. 2 & 4) from The Magic Flute Largo and Allegro alla militaire 4. BOCCHERINI (1st and 2nd movts from IMC 821 Sonata no. 3 in G) Lamentevole and Balletto Two Inventions 5. BONPORTI (1st and 2nd movts from Kunzelmann GM1195 for Viola Invenzione sesta, op. 10 no. 6) Vivace (4th movt from Sonata 6. BRAHMS Wiener UT50015 in F minor, op. 120 no. 1) Rondeau allegretto (3rd movt 7. BRUNETTI Amadeus BP2464 from Sonata in D) Rondo ‘La chasse’ (3rd movt Solos for Young Summy-Birchard 8. CHANDOSHKIN from Concerto in C) Violists vol 5 18830X Romanian Peasant Dance, Solos for Young Summy-Birchard 9. DIMITRESCU op. 15 Violists vol 3 18670X Any two of: Andante Fifteen Characteristic 10. L FUCHS (no. 3)*, Giocoso (no. 4)*, OUP 9780193850125 Studies for Viola Allegro piacevole (no. 5)* Allegro molto (3rd movt 11. HANDEL Eschig ME1311 from Concerto in B minor) Allegro con spirito (1st movt HOFFMEISTER, 12. from Viola Concerto in Schott ED11247 ed. COPLAND Bb major) Allegro deciso and Andantino Viola: Grade 13. MACONCHY (2nd and 3rd movts from Chester CH55784 Five Sketches for Viola)* Short Detached Strokes and Etudes spéciales, 14. MAZAS Schirmer GS26257 Octaves, no. 23* op. 36 book 1 Air and Final (3rd and 4th 15. MILHAUD Heugel HE31119 movts from Sonata no. 1) 8 * Unaccompanied 145 Viola: Grade 8

Three American MINSKY, 16. Like Crazy* Pieces for OUP 9780193858459 trans. DALTON Unaccompanied Viola Theme with Variations (from MOZART, 17. Divertimento in D, K. 334) PWM 6167 arr. SZALESKI (except nos. 3 & 5) Rondeau (3rd movt from 18. STAMITZ Schott VAB29 Concerto in Bb major) Allegro moderato (1st movt 19. VANHALˇ Wollenweber WW42 from Sonata in F, op. 5 no. 3)

Group B Serenade (3rd movt 1. BERLIOZ Bärenreiter BA5457-90 from Harold in Italy) BRAHMS, Hungarian Dances 2. Hungarian Dance no. 1 Peters EP7725 arr. FORBES nos. 1 & 3 BRIDGE, There is a Willow Grows 3. Thames TH978297 arr. BRITTEN Aslant a Brook 4. R CLARKE Morpheus OUP 9780193864368 5. FAURÉ, arr. KATIMS Elegy, op. 24 IMC 896 Allegretto poco mosso 6. FRANCK Viola World VWP100111 (4th movt from Sonata in D) IBERT, 7. Aria Leduc AL18041 arr. NEUBERTH Drei Stücke für 8. LE BEAU Polonaise Furore 3220 Viola, op. 26 LISZT, Lionel Tertis: The 9. Liebestraum (Notturno no. 3) Comus 105 arr. TERTIS Early Years book 1 Allegro comodo (1st movt from 10. W LLOYD WEBBER Stainer H369 Sonatina for Viola and Piano) La Parisienne (no. 4 from 11. MILHAUD Heugel HE33329 4 Visages) Allegro moderato (1st movt 12. NARDINI IMC 1894 from Sonata in F minor) Allegro vivace e leggiero 13. RIVIER (3rd movt from Concertino Salabert SLB5844 for Viola) Allegro moderato (1st movt 14. SCHUBERT from Sonata in A minor Bärenreiter BA5683 ‘Arpeggione’, D 821) SVENDSEN, 15. Romance Peters EP9016A arr. KALINOWSKY 16. A R THOMAS Rainbow Bridge to Paradise* Nimbus NMP1044 VILLA-LOBOS, Aria (from Bachianas 17. Schirmer GS22443 arr. PRIMROSE Brasilieras no. 5) WIENIAWSKI, Romanza (from Concerto Viola World 18. arr. ARNOLD no. 2, op. 22) VWP100133

146 * Unaccompanied Viola: Grade 8

TECHNICAL WORK

1. BOWING EXERCISE (from memory)

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

scales separate bows or slurred three octaves to a bow (one bow up and one min. tempi: ◗ C, C#/Db, D, Eb and F three octaves bow down, with a change of bow on the top note); scales = 88 arpeggios separate bows or q. slurred nine notes to a bow arpeggios Plus: q. = 88 separate bows or slurred 12 ◗ Chromatic scales starting on notes to a bow 7ths E , F and G b two octaves q = 92 ◗ Diminished 7ths starting on separate bows or slurred D#, F and G eight notes to a bow

◗ Minor arpeggio Viola: Grade

8 147 Viola: Grade 8

Technical exercises (from memory) (q = 88): a) Eb major in thirds (two octaves) œ Bbb 4 œ œ œ œ œ œ etc b4 œ œ œ œ b) C major in sixths (two octaves) — follow Grade 7 example, but over two octaves c) G major in octaves (one octave) œ œ œ œ œ œ #4 œ œ œ œ œ etc B 4 œ œ œ œ œ Or 3. ORCHESTRAL EXTRACTS (music may be used) — Candidates prepare three extracts in total: 1a or 1b, 2a or 2b, and 3a or 3b. Candidates choose one extract to play first. Examiners then select one of the remaining two prepared extracts to be performed.

1a. Brahms: Variationen über ein Thema von Joseph Haydn, Variation 4 (page 17, entire extract) for tone and phrasing 1b. Strauss: Don Juan (page 40, first seven lines of extract)

2a. Prokofjew: Symphonie Classique, 4. Satz (page 34, from beginning of extract to 1st note of fig. 70) for bowing 2b. Tschaikowsky: Sinfonie Nr. 6, 1. Satz (page 42, bars 19–23 and bars 32–38)

3a. Bartók: Divertimento, 3. Satz (page 8, bars 192–221 and bars 460–475) for left hand technique 3b. Brahms: Sinfonie Nr. 3, 1. Satz (page 15, bars 187–201)

148 Viola: Grade 8

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

8 149 Cello: Initial to Grade 5 Cello: Initial to Grade 5

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

PIECE 1 22

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

TECHNICAL WORK* 14

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

SUPPORTING TESTS 20

Any TWO of the following: ◗ Sight reading ◗ Aural ◗ Improvisation ◗ Musical knowledge

TOTAL 100

150 * At Initial level, candidates perform scales only Cello: Initial Cello: Initial PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. Only one duet may be chosen. Only one unaccompanied piece may be chosen. Pieces by at least two composers must be played. An own composition may be played instead of one listed piece.

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

Composer Piece Book Publisher 1. ANON., arr. NELSON Sound for Us† Stringsongs for Cello Boosey M060039331 Beach Holiday† 2. K & D BLACKWELL Cello Time Starters OUP 9780193365834 or Hide and Seek† City Lights (piano accomp†) or In the Groove (duet† or piano accomp†) or Listen to 3. K & D BLACKWELL the Rhythm (duet† or piano Cello Time Joggers OUP 9780193220874 accomp†) or On the Prowl (piano accomp†) or Chopsticks for Two (duet†) BULL, GOODBORN 4. Daydreams† Team Strings Faber 0571528023 & DUCKETT Bossy Boots or Clockwork 5. COBB & YANDELL Clown or On the Ranch Take Your Bow Cello Trinity TCL018069 or Sad Smile Bell-ringers or Butterflies 6. K & H COLLEDGE Waggon Wheels Boosey M060087486 or Waterfall Footprints in the Snow† 7. GREGORY Vamoosh Cello book 1 Vamoosh VAM21 or Walk on Mars!† Back-Scratcher† or Gone 8. HUWS JONES Ten O’Clock Rock Boosey M060097935 for Good†or Ink-Spot† Casting a Spell or Hubble LUMSDEN & Bubble, Here Comes Trouble 9. Witches’ Brew Peters EP7677B ATTWOOD or Trick, Treat or Tango or Wilhelmina’s Cocktail Shop Chicken-Feed 10. NELSON Piece by Piece book 1 Boosey M060087912 or Over the Moon Three in a Bar 11. NELSON Right from the Start Boosey M060065743 (duet or piano accomp) A & C Black 12. SIMSON Halfway Down the Stairs Abracadabra Cello book 1 9780713663129 French Folk Song† Summy-Birchard 13. TRAD. Suzuki Cello School vol 1 or Go Tell Aunt Rhody† 0479S A & C Black 14. TRAD. Little Bird Abracadabra Cello book 1 9780713663129 Moravian Carol† or Twinkle The Essential String 15. TRAD. Boosey M060105135 Duet (top line only or duet) Method, Cello book 2

† Accompaniment published separately 151 Cello: Initial

TRAD., arr. BULL, 16. Who’s that Yonder?† Team Strings Faber 0571528023 GOODBORN & DUCKETT TRAD., Tunes You Know: Cello 17. Au clair de la lune (duet) Boosey M060085765 arr. NELSON book 1 WOHLFAHRT, 18. Polka Piece by Piece book 1 Boosey M060087912 arr. NELSON

TECHNICAL WORK

Candidates prepare scales, as shown below. See page 21. All requirements are in Trinity’s book Cello Scales, Arpeggios & Studies from 2016.

SCALES (from memory) All one octave, with the indicated rhythmic pattern on each note (minimum tempo: = 88). q ◗ C major

etc.   etc                  

◗ G major

 etc.etc                 

◗ D major

      etc.           etc

152 † Accompaniment published separately Cello: Initial

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

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

Composer Piece Book Publisher The Essential String 1. J S BACH Conversation Piece† Boosey M060105142 Method, Cello book 3 J S BACH, Chorale (from the Amazing Solos for Cello 2. Boosey M060094163 arr. HARRISON St Matthew Passion) and Keyboard BARTÓK, Midsummer Night 3. A Treasure Chest of Duos Schott ED21386 arr. PREUSSER Song (duet)

4. BAYLEY Long, Long Ago† Suzuki Cello School vol 1 Summy-Birchard 0479S

BEETHOVEN, 5. Ode to Joy† Vamoosh Cello book 1 Vamoosh VAM21 arr. GREGORY Patrick’s Reel (duet† or piano accomp†) or The Old Castle 6. K & D BLACKWELL (duet† or piano accomp†) Cello Time Joggers OUP 9780193220874 or Cello Time (duet† or piano accomp†) Start the Show† 7. K & D BLACKWELL Cello Time Runners OUP 9780193220850 or Spy Movie† Two Short Pieces for 8. CARSE A Little Reverie Stainer 2201 Cello & Piano A Fiddler’s Nursery for 9. CARSE Dance Steps Stainer H434 Cello and Piano Sassmannshaus Early 10. CHÉDEVILLE Rigadoon, p26 (duet) Bärenreiter BA8997 Start on the Cello vol 2

11. COBB & YANDELL Busy Bee Take Your Bow Cello Trinity TCL018069

12. K & H COLLEDGE At Harvest Time Fast Forward Boosey M060090837

13. GREGORY At the Ballet† Vamoosh Cello book 2 Vamoosh VAM22

14. GREGORY Fiery Fiddler† Vamoosh Cello book 1 Vamoosh VAM21

15. GREGORY Overture† Vamoosh Cello book 1.5 Vamoosh VAM24

HANDEL, Gavotte (duet or 16. Stringsongs for Cello Boosey M060039331 arr. NELSON piano accomp†) The Essential String 17. HOWARD The Lochmaddy Ferry Boosey M060105142 Method, Cello book 3

18. HUWS JONES Toodle-Pip† Ten O’Clock Rock Boosey M060097935

154 † Accompaniment published separately Cello: Grade 1

KÜFFNER, Violoncello Music 19. Ländler EMB Z.6312 arr. LENGYEL for Beginners book 1 Superstudies for Cello 20. LEGG The Swing* Faber 0571513786 book 1 LULLY, Violoncello Music 21. Air EMB Z.6312 arr. LENGYEL for Beginners book 1 LUMSDEN & Dizzy Lizzy Lightweight† 22. Wizard’s Potion Peters EP7679a ATTWOOD or Flash of Light’ning†

23. MacMILLAN March Northern Skies Boosey M060113451

Idle Cowboy (duet or piano 24. NELSON accomp†) or Rumba Time Stringsongs for Cello Boosey M060039331 Cello: Grade (duet or piano accomp†) Mad as a Hatter 25. NELSON Piece by Piece book 1 Boosey M060087912 or Whirlpool Waltz Hebridean Song The Microjazz Cello 26. NORTON Boosey M060110269 or Snooker Table Collection 1

† 27. PURCELL Rigadoon Suzuki Cello School vol 1 Summy-Birchard 0479S 1 A & C Black 28. RODGERS Edelweiss Abracadabra Cello book 1 9780713663129 SUGÁR, Violoncello Music 29. Old Hungarian Folk Song EMB Z.6312 arr. LENGYEL for Beginners book 1

30. SUZUKI Etude† Suzuki Cello School vol 1 Summy-Birchard 0479S

Sassmannshaus Early 31. SZERVANSKY Tempo giusto, page 9 (duet) Bärenreiter BA8998 Start on the Cello vol 3 The Essential String 32. TRAD. Pease Pudding Hot† Boosey M060105142 Method, Cello book 3 Bags of American Folk 33. TRAD., arr. COHEN Simple Gifts* Faber 057153418X for Cello TRAD., 34. Clown Dance† Vamoosh Cello book 2 Vamoosh VAM22 arr. GREGORY

35. TRAD., arr. HELLEN J’ai du bon tabac Double Act Mayhew 3611841

Session Tunes for Taigh na Teud 36. TRAD., arr. MARTIN Snug in a Blanket* Scottish Cellists 1871931045 Tunes You Know: Cello 37. TRAD., arr. NELSON Rocking (duet) Boosey M060085765 book 1 6 Pieces for Violoncello 38. TROWELL Arietta (in the First Position) Schott ED11214 and Piano, op. 5 Spring (from The Four VIVALDI, 39. Seasons) (duet — candidate Tunes for Two Mayhew 3611120 arr. TAMBLING plays top part) Slumber Song (duet — 40. WIGGINS Two’s Company, op. 157b Wiggins CW473E candidate plays top part)

* Unaccompanied † Accompaniment published separately 155 Cello: Grade 1

TECHNICAL WORK

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

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 1 scales, freely chosen from the list, with two separate crotchets on each degree of the scale, one down bow and one up bow. ( = 72) q

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

◗ C major two octaves scales separate bows or slurred in pairs with a long tonic (upper tonic may be repeated); arpeggios separate bows only min. tempo: ◗ D and G major one octave = 88 q

first five notes ascending ◗ G minor (scale only) separate bows only and descending

Technical exercise (from memory) (q = 92): Open strings

                

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

1. Back to Bach for tone and phrasing

2. Nursery Slopes for mixed articulation and bowing styles

3. The Sad Cowboy for cello techniques

156 Cello: Grade 1

SUPPORTING TESTS

Candidates choose TWO of the following: Improvisation ◗ Sight reading Candidates perform an improvisation based on a stimulus chosen from the following ◗ Aural three options: ◗ Improvisation ◗ Stylistic ◗ Musical knowledge ◗ Motivic ◗ Sight reading Harmonic See pages 27–33 for the requirements After 30 seconds’ preparation time, candidates Cello: Grade perform a previously unseen musical extract and parameters. at a level lower than the exam being taken. See pages 23–26 for the requirements Musical knowledge and parameters. Candidates answer questions assessing their understanding of the pieces performed, as well Aural as their knowledge of notation and the cello. Candidates answer questions based on a single Questions are based on candidates’ chosen 1 musical example played on the piano by the pieces. See pages 34–35 for example questions examiner. See page 27 for more information. and responses. The aural test requirements for Grade 1 are below.

Aural questions

Parameters Task Requirement

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

Melody only i) Identify the dynamic as forte or piano Listen to the melody once ii) Identify the articulation as legato 4 bars or staccato

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

Composer Piece Book Publisher ANON., Dona Nobis Pacem 1. Vamoosh Cello book 3 Vamoosh VAM23 arr. GREGORY (Give Us Peace)† March (from Notebook C P E BACH, 2. for Anna Magdalena Play Baroque! Stainer H479 arr. EAST Bach) BART, As Long As He Needs 3. Play Showtime Faber 0571518516 arr. LEGG & GOUT Me (from Oliver!) BARTÓK, Hungarian Song (duet) 4. A Treasure Chest of Duos Schott ED21386 arr. PREUSSER or Teasing Song (duet) BEETHOVEN, Gretels Warnung, Haydn-Mozart-Beethoven 5. arr. ERHART- Doblinger 33756 op. 75 no. 4 for Cello & Piano SCHWERTMANN Mean Street Chase† 6. K & D BLACKWELL or Mexican Fiesta† Cello Time Runners OUP 9780193220850 or Paris Café† BRÉVAL, Allegretto (no. 1 from 7. A Treasure Chest of Duos Schott ED21386 arr. PREUSSER 3 Easy Duets) (duet) 8. CARSE A Merry Dance Stainer 2202 A Fiddler’s Nursery for Cello 9. CARSE Free from Care Stainer H434 and Piano A CLARKE 10. (LOZANNE), Night Brings Me You Four Love Songs S J Music D1992-4 arr. OTTY Mellow Cello 11. K & H COLLEDGE Fast Forward Boosey M060090837 or The Ceilidh 12. K & H COLLEDGE The Misty Isle Shooting Stars Boosey M060103476 13. DARE Serenade Arietta Schott ED22353 14. GREGORY Sinfonia† Vamoosh Cello book 1.5 Vamoosh VAM24 Chorus (from Judas 15. HANDEL Suzuki Cello School vol 2 Summy-Birchard 0481S Maccabaeus)† 16. HASSE, arr. MOHRS Bourrée Easy Concert Pieces vol 1 Schott ED21705 HAYDN, Andante (from The 17. Easy Concert Pieces vol 3 Schott ED22216 arr. BIRTEL Surprise Symphony) 18. HELLER, arr. MOHRS Lalai Easy Concert Pieces vol 1 Schott ED21705 19. HOLST, arr. COWLES Jupiter’s Theme 14 Easy Tunes for Cello Fentone F829-400

158 † Accompaniment published separately Cello: Grade 2

HOOK, 20. Tempo di Menuetto Easy Concert Pieces vol 2 Schott ED21706 arr. RAPP & MOHRS The Essential String Method, 21. HOWARD Oliver’s Hornpipe* Boosey M060105159 Cello book 4 22. KEMMINER Los niños del tango Easy Concert Pieces vol 3 Schott ED22216 KROGMANN, arr. The Little Prince 23. Cello Recital Album vol 1 Bärenreiter BA8994 SASSMANNSHAUS (piano accomp) 24. LEGG Calypso* (without DC) Superstudies for Cello book 1 Faber 0571513786 LUMSDEN & 25. Triceratops Rocks Jurassic Blue Faber 0571521991 WEDGWOOD MANCINI & MERCER, 26. Moon River Short Cello Pieces Bosworth BOE005186 arr. DAVIES MOZART, arr. ERHART- Menuett, KV 164 (with Haydn-Mozart-Beethoven 27. Doblinger 33756 SCHWERTMANN trio but no DC) for Cello & Piano

MOZART, Violoncello Music for Cello: Grade 28. German Dance EMB Z.6312 arr. LENGYEL Beginners book 1 Dance of the Minor 29. NELSON Piece by Piece book 2 Boosey M060087929 Thirds Reel (duet) or Toad 30. NELSON Technitunes for Cello Boosey M060039638 in the Hole (duet) The Moon over the Ruined Castle† 31. TAKI Suzuki Cello School vol 2 Summy-Birchard 0481S 2 (NB only this edition may be used) All Through the Night† The Essential String Method, 32. TRAD. Boosey M060105159 or Jenny Jones† Cello book 4 33. TRAD., arr. COWLES Scarborough Fair 14 Easy Tunes for Cello Fentone F829-400 TRAD., 34. Parson’s Farewell Jigs, Reels and More Boosey M060112195 arr. HUWS JONES TRAD., The Pigeon on the Gate* Session Tunes for Scottish Taigh na Teud 35. arr. MARTIN or The Reconciliation* Cellists 1871931045 36. TRAD., arr. NELSON Loch Lomond Piece by Piece book 2 Boosey M060087929 TRAD., arr. Moo-lee-wha (piano 37. Cello Recital Album vol 1 Bärenreiter BA8994 SASSMANNSHAUS accomp) Greensleeves (duet — candidate plays top TRAD., 38. part) or Skye Boat Song Tunes for Two Mayhew 3611120 arr. TAMBLING (duet — candidate plays top part) Idylle (from 6 Easy 39. TROWELL Arietta Schott ED22353 Concert Pieces, op. 4) 40. WEBER Hunters’ Chorus† Suzuki Cello School vol 2 Summy-Birchard 0481S Hungarian Melody 41. WIGGINS (duet — candidate Two’s Company, op. 157b Wiggins CW473E plays top part) WILLIAMS, 42. Schindler’s List Short Cello Pieces Bosworth BOE005186 arr. DAVIES

* Unaccompanied † Accompaniment published separately 159 Cello: Grade 2

TECHNICAL WORK

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

1. BOWING EXERCISE (from memory)

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

◗ C major two octaves scales separate bows ◗ A, F and Bb major min. tempi: or slurred in pairs with scales = 58 ◗ G minor a long tonic; arpeggios q one octave arpeggios = 40 (candidate choice of either natural separate bows only q· or harmonic or melodic minor)

Technical exercise (from memory) (q = 75–100):

Fifths and sixths, starting on G, D and C strings

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

1. Summer on the Swings for tone and phrasing

2. When the Worm Met the Frog for mixed articulation and bowing styles

3. A Change of Scene for cello techniques

160 Cello: Grade 2

SUPPORTING TESTS

Candidates answer questions assessing their Cello: Grade understanding of the pieces performed, as well Aural as their knowledge of notation and the cello. Candidates answer questions based on a single Questions are based on candidates’ chosen musical example played on the piano by the pieces. See pages 34–35 for example questions examiner. See page 27 for more information. and responses. The aural test requirements for Grade 2 are below. 2

Aural questions

Parameters Task Requirement

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

i) Describe the dynamics, which will vary Melody only during the melody Listen to the melody once 4 bars ii) Identify the articulation as legato or staccato Major or minor key Identify the last note as higher or lower Listen to the melody once than the first note 2 3 Listen to the melody twice, i) Identify where the change occurs with a change of rhythm or pitch in the second playing ii) Identify the change as rhythm or pitch

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

Composer Piece Book Publisher Musette (from English Summy-Birchard 1. J S BACH Suzuki Cello School vol 2 Suite no. 3)† 0481S BART, Consider Yourself 2. Pops for Two: Cello Mayhew 3612205 arr. HELLEN (from Oliver!) (duet) Falling Leaves† or Overture: 3. K & D BLACKWELL Cello Time Sprinters OUP 9780193221154 A Baroque Celebration† BRAHMS, Zigeunerlied (Gipsy Song), Violoncello Music for 4. EMB Z.14037 arr. PEJTSIK no. 34 Beginners book 3 CAIX D’HERVELOIS, La Néapolitaine (from 5. Play Baroque! Stainer H479 arr. EAST Suite no. 2 in D) Summy-Birchard 6. CHENEY Budapesto Solos for Young Cellists vol 1 20810X A CLARKE You Brought My Heart 7. (LOZANNE), Four Love Songs S J Music D1992-4 the Sunshine arr. OTTY Cossacks or Stiffkey Blues 8. K & H COLLEDGE Shooting Stars Boosey M060103476 or Winter Wind First Repertoire for Cello 9. DACRE Daisy Bell Faber 0571516416 book 1 ELGAR, arr. 10. Andante† Cello Time Sprinters OUP 9780193221154 K & D BLACKWELL GAY, The Lambeth Walk 11. Play Showtime Faber 0571518516 arr. LEGG & GOUT (from Me and My Girl) Dance of the Blessèd GLUCK, arr. 12. Spirits (from Orpheus The Cello Playlist Schott ED13862 CARSON TURNER and Eurydice) Adios Amigo† 13. GREGORY Vamoosh Cello book 2 Vamoosh VAM22 or Rumba Cucumba† Free Wheeling† 14. GREGORY Vamoosh Cello book 3 Vamoosh VAM23 or Renaissance† HANDEL, arr. 15. Sarabande (duet) Cello Time Sprinters OUP 9780193221154 K & D BLACKWELL Ragtime, Serenade and 16. HEWITT-JONES Rumba Musicland M1033VC Rumba JOPLIN, The Entertainer (duet — 17. Tunes for Two Mayhew 3611120 arr. TAMBLING candidate plays top part) Sarabande (2nd movt from 18. KLENGEL Sonatina in C minor, op. 48 Best of Cello Classics Schott ED21998 no. 1)

162 † Accompaniment published separately Cello: Grade 3

KUMMER, 19. Etude (duet) A Treasure Chest of Duos Schott ED21386 arr. PREUSSER 20. LEGG Medieval Drone* Superstudies for Cello book 1 Faber 0571513786 Busy Bees (duet — candidate plays top part) or I was a Summy-Birchard 21. MOONEY Position Pieces Teenage Monster (duet — 0762 candidate plays top part) 22. L MOZART Etude, page 72 Early Start on the Cello vol 3 Bärenreiter BA8998 MOZART, 23. Komm, lieber Mai (duet) A Treasure Chest of Duos Schott ED21386 arr. PREUSSER OFFENBACH, Can-can† (play top line of 24. Vamoosh Cello book 3 Vamoosh VAM23 arr. GREGORY scale in chorus) OFFENBACH, Barcarolle (from 25. The Classic Experience Cramer 90537 arr. LANNING The Tales of Hoffmann) Theme from Witches’ Summy-Birchard 26. PAGANINI Suzuki Cello School vol 2 Dance† 0481S First Repertoire for Cello 27. PAXTON 1st movt (from Sonata no. 2) Faber 0571516424 book 2 PUCCINI, O mio babbino caro 28. The Cello Playlist Schott ED13862 arr. CARSON TURNER (from Gianni Schicchi) Cello: Grade PURCELL, Rondeau (from 29. Classical and Romantic Pieces OUP 9780193564718 arr. FORBES The Fairy Queen) REBIKOFF, 30. Chanson Triste Classical and Romantic Pieces OUP 9780193564718 arr. FORBES ROTA & KUSIK, Speak Softly Love (theme Bosworth 31. Short Cello Pieces arr. DAVIES from The Godfather) BOE005186 SCHUBERT, arr. 32. The Trout The Cello Playlist Schott ED13862 CARSON TURNER 3 SCHUBERT, 33. To Music Cello Canto Fentone F697-401 arr. DE SMET 3 STANLEY, arr. 34. Allegretto grazioso Easy Concert Pieces vol 3 Schott ED22216 MOFFAT & MOHRS TRAD., First Repertoire for Cello 35. Argentine Folk-song Faber 0571516424 arr. GOUT book 2 TRAD., First Repertoire for Cello 36. Tumbalaika Faber 0571516416 arr. GOUT book 1 TRAD., Amazing Solos for Cello Boosey 37. Stars, No Moon arr. HARRISON and Keyboard M060094163 Danny Boy TRAD., 38. or Star of the County Down Jigs, Reels and More Boosey M060112195 arr. HUWS JONES or The Keel Row TRAD., Dinkies* or Sleep Soond Session Tunes for Scottish Taigh na Teud 39. arr. MARTIN in da Mornin’* Cellists 1871931045 TRAD., 22 Traditional Tunes 40. Skye Boat Song Fentone F927-400 arr. SMITH for Cello & Piano 41. WEDGWOOD Hungarian Stomp Jazzin’ About Faber 0571513166 WILLIAMS, Star Wars Main 42. Pops for Two: Cello Mayhew 3612205 arr. HELLEN Theme (duet)

* Unaccompanied † Accompaniment published separately 163 Cello: Grade 3

TECHNICAL WORK

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

1. BOWING EXERCISE (from memory)

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

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

◗ G major scales separate two octaves ◗ D and F major bows or slurred in starting on the min. tempi: ◗ Eb major one octave pairs with a long C string tonic; arpeggios scales = 60 ◗ D minor separate bows q (candidate choice of either two octaves or slurred three arpeggios notes to a bow harmonic or melodic minor) q. = 40 starting on ◗ Dominant 7th in the key of C 7ths open G separate bows or q = 60 one octave starting on 1st slurred in pairs ◗ Dominant 7th in the key of G finger D on the C string Technical exercises (from memory): a) Chromatic phrase to be performed with separate bows (q = 60)            b) Fifths, sixths and octaves, starting on the open G, D and C strings (q = 76)                     

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

1. Take a Step Back for tone and phrasing

2. Think of the Moments for mixed articulation and bowing styles

3. Super Heroic for cello techniques

164 Cello: Grade 3

SUPPORTING TESTS

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

Aural questions 3 Parameters Task Requirement 3 Clap the pulse on the second playing, Listen to the melody twice stressing the strong beat

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

4 bars Listen to the first two notes Identify the interval by number only of the melody once (second, third, fourth, fifth or sixth) Major or minor key Study a copy of the melody i) Identify in which bar the change (provided in treble, alto or bass has occurred 3 4 clef as appropriate), and listen to it once as written and once with a ii) Identify the change as rhythm change of rhythm or pitch or pitch

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

Composer Piece Book Publisher ANON., Chorea Hungarica (from Violoncello Music 1. EMB Z.14037 arr. PEJTSIK the Lócsei tablature) for Beginners book 3 ANON., Saltus Hungaricus (from Violoncello Music 2. EMB Z.14037 arr. PEJTSIK the Mártonfi manuscript) for Beginners book 3 Summy-Birchard 3. J S BACH Gavotte in C minor† Suzuki Cello School vol 3 0483S Summy-Birchard 4. BEETHOVEN Minuet in G† Suzuki Cello School vol 3 0483S BERNSTEIN, Maria (from West Side Amazing Solos for Cello Boosey 5. arr. HARRISON Story) and Keyboard M060094163 BIZET, arr. Toreador Song 6. The Cello Playlist Schott ED13862 CARSON TURNER (from Carmen) Latin Nights† or Some 7. K & D BLACKWELL Cello Time Sprinters OUP 9780193221154 Day† or Russian Wedding† BOCK, If I Were a Rich Man 8. Play Showtime Faber 0571518516 arr. LEGG & GOUT (from Fiddler on the Roof) Fiddle Fancies for Cello 9. CARSE Waltz Steps Stainer H437 & Piano A CLARKE 10. (LOZANNE), Avelette Four Love Songs S J Music D1992-4 arr. OTTY 11. COHEN Village Bagpipes* Technique Takes Off! for Cello Faber 0571514200 Arietta (from Sonata in 12. DE FESCH Arietta Schott ED22353 D minor, op. 8 no. 3) GILBERT & ORY, Amazing Solos for Cello Boosey 13. Muskrat Ramble arr. HARRISON and Keyboard M060094163 14. GOSSEK, arr. RÉMY Gavotte (from Rosine) Cellowise Spartan SP898 15. GREGORY The Jammy Dodger† Vamoosh Cello book 3 Vamoosh VAM23 GRIEG, Norwegian Dance, Classical and Romantic OUP 16. arr. FORBES op. 35 no. 2 Pieces 9780193564718 Summy-Birchard 17. HANDEL Bourrée† Suzuki Cello School vol 2 0481S First Repertoire for Cello 18. HARRIS After the Ball is Over Faber 0571516424 book 2 19. JÄRNEFELT Berceuse Chester CH00305 LEHÁR, Waltz — Love Unspoken 20. Play Showtime Faber 0571518516 arr. LEGG & GOUT (from The Merry Widow)

166 * Unaccompanied † Accompaniment published separately Cello: Grade 4

LENNON & 21. McCARTNEY, Yesterday Wunschmelodien Holzschuh VHR3427 arr. TERZIBASCHITSCH LOEWE, I Could Have Danced All 22. Play Showtime Faber 0571518516 arr. LEGG & GOUT Night (from My Fair Lady) MARAIS, Caprice (from Pièces 23. Play Baroque! Stainer H479 arr. EAST de violes, 4e livre) MASCAGNI, Intermezzo (from 24. The Cello Playlist Schott ED13862 arr. CARSON TURNER Cavelleria rusticana) MENDELSSOHN, Song without Words in F, 25. Schott ED21278 arr. BIRTEL op. 30 no. 3 Grave and Balletto 26. PERTI (1st and 2nd movts from 9 Sonate facili EMB Z.14110 Sonata in A minor) RAMEAU, Rigaudon (from Pièces 27. Play Baroque! Stainer H479 arr. EAST de clavecin) RAMEAU, Violoncello Music for 28. Le Tambourin EMB Z.14037 arr. PEJTSIK Beginners book 3 SAINT-SAËNS, 29. Danse macabre The Cello Playlist Schott ED13862 arr. CARSON TURNER Bustling Boulevarde 30. SPRINGTHORPE Go with the Flow Mayhew 3612303 or Return to Aranjuez 31. SQUIRE Romance Stainer 2284 2nd movt (from First Repertoire for 32. TCHAIKOVSKY Faber 0571516424 Cello: Grade Symphony no. 5) Cello book 2 TCHAIKOVSKY, Violoncello Music for 33. Sweet Reverie EMB Z.14037 arr. PEJTSIK Beginners book 3 34. THIRAULT Petite histoire Billaudot GB3333 TRAD., Session Tunes for Scottish Taigh na Teud 35. Saratoga Hornpipe* arr. MARTIN Cellists 1871931045 TRAD., Three Northumbrian 4 36. Blow the Wind Southerly S J Music D1995-1 arr. WRIGHT Folk Songs Arioso (no. 7 from 12 37. TROWELL Best of Cello Classics Schott ED21998 morceaux façiles, op. 4) Allegro (1st movt from 38. VIVALDI Kunzelmann GM963 Concerto in C, RV 399) 39. VIVALDI, arr. GREGORY Winter† Vamoosh Cello book 3 Vamoosh VAM23 Summy-Birchard 40. WEBSTER Scherzo† Suzuki Cello School vol 3 0483S Hedwig’s Theme (from Selections from Harry Potter 41. WILLIAMS Harry Potter and the Alfred 29080 Instrumental Solos (Cello) Sorcerer’s Stone) May the Force Be with The Very Best of John 42. WILLIAMS You (from Star Wars: Williams Instrumental Alfred IFM0428CD The Empire Strikes Back) Solos (Cello) WILLIAMS, Raider’s March (from Bosworth 43. Short Cello Pieces arr. DAVIES Raiders of the Lost Ark) BOE005186

* Unaccompanied † Accompaniment published separately 167 Cello: Grade 4

TECHNICAL WORK

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

1. BOWING EXERCISE (from memory)

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

◗ A, Bb and Eb major scales separate bows or slurred two crotchet beats to a bow; ◗ C and G minor arpeggios (candidate choice of either separate bows min. tempi: harmonic or melodic minor) or slurred three scales two octaves notes to a bow = 69 q starting on arpeggios ◗ Dominant 7th in the key of F open C q. = 44 separate bows starting on 1st or slurred in 7ths ◗ Dominant 7th in the key of G finger D on the pairs q = 69 C string ◗ Dominant 7th in the key of Eb starting on Bb one octave starting on ◗ Chromatic scale separate bows open G

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

Octaves and sixths, starting on the open G, D and C strings

                   

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

1. Lament for tone and phrasing

2. Countdown for mixed articulation and bowing styles

3. Barcarolle for cello techniques

168 Cello: Grade 4

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

Clap the pulse on the second playing, Listen to the piece twice stressing the strong beat 4

i) Identify the tonality as major or minor Listen to the piece twice ii) Identify the final cadence as perfect Harmonised or imperfect

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

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

Composer Piece Book Publisher Largo and Allegro 1. ALDROVANDINI (1st and 2nd movts 9 Sonate facili EMB Z.14110 from Sonata in Bb)

2. ARNE, arr. EAST Air Play Baroque! Stainer H479

Montagnarde d’Auvergne (5th movt from Suite 3. BAZELAIRE Schott SF7936 Française sur des airs populaires, op. 114) Cool West Side Story Instrumental 4. BERNSTEIN Boosey M051106509 or I Feel Pretty Solos

Summy-Birchard 5. BOCCHERINI Minuet† Suzuki Cello School vol 3 0483S

6. BRIDGE Spring Song Stainer 2196

Prelude in B minor, Famous Transcriptions for 7. CHOPIN PWM 10382 op. 28 no. 6 Cello & Piano book 1

Prelude* 8. COHEN Technique Takes Off! For Cello Faber or Swirling Arabesques*

FLOTOW, 9. M’appari (Like a Dream) Cello Canto Fentone F697-401 arr. DE SMET

Summy-Birchard 10. GABRIEL-MARIE La Cinquantaine† Suzuki Cello School vol 3 0483S

I Got Rhythm 11. GERSHWIN Play Gershwin Faber 0571516238 or Summertime Andante quasi allegretto 12. GOLTERMANN (no. 1 from Trois romances Appassionato Schott ED22354 sans paroles, op. 90) Marche funèbre (from 13. GOLTERMANN Arietta Schott ED22353 Musical Pictures, op. 97)

HANDEL, Adagio (1st movt from Summy-Birchard 14. Solos for Young Cellists vol 4 arr. CHENEY Sonata in C major) 21110X

Summy-Birchard 15. JENKINSON Elfintanz Solos for Young Cellists vol 2 209X0

170 * Unaccompanied † Accompaniment published separately Cello: Grade 5

LLOYD WEBBER, 16. Memory (from Cats) Play Showtime Faber 0571518516 arr. LEGG & GOUT

17. MacMILLAN Sabre Dance Northern Skies Boosey M060113451

Allegro (from 6 Sonatas, 18. MARCELLO Peters EP4647 op. 2)

Lied ohne Worte in G, 19. MENDELSSOHN Cello & Piano II EMB Z.14637 op. 19 no. 4

20. MINSKY Gathering of the Tribes* Pop Goes the Cello OUP 9780193399389

Polska miniatura 21. MOSZKOWSKI Melodie, op. 18 no. 1 Eufonium EUF926 wiolonczelowa vol 1

MOZART, 22. Ave verum, K. 618 Classical Highlights Schott ED21584 arr. PALASCHKO

PERGOLESI, Summy-Birchard 23. Nina Solos for Young Cellists vol 2 arr. CHENEY 209X0

Stomping Boys (Blues) 24. PÜTZ Arietta Schott ED22353 (from 3 Short Stories) Andante grazioso ROMBERG, 25. (2nd movt from Sonata Best of Cello Classics Schott ED21998 arr. JANSEN in E minor, op. 38 no. 1) SHOSTAKOVICH, Romance (from 26. S J Music D1990-5 arr. OTTY The Gadfly, op. 97)

27. SQUIRE Minuet Stainer 2286 Cello: Grade

J STRAUSS I, 28. Radetzky March The Classic Experience Cramer 90537 arr. LANNING

TCHAIKOVSKY, Chanson triste, op. 40 29. Best of Cello Classics Schott ED21998 arr. DRATHS no. 2

TCHAIKOVSKY, Violoncello Music for 30. Neapolitan Dance Tune EMB Z.14037 arr. PEJTSIK Beginners book 3 5

12 morceaux façiles, op. 4 31. TROWELL Meditation, op. 4 no. 9 Schott ED11212 book 3

First Repertoire for Cello 32. VIVALDI Largo (from Sonata no. 3) Faber 0571516432 book 3 Fawkes the Phoenix Selections from Harry Potter 33. WILLIAMS (from Harry Potter and Alfred 29080 Instrumental Solos (Cello) the Chamber of Secrets)

* Unaccompanied 171 Cello: Grade 5

TECHNICAL WORK

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

1. BOWING EXERCISE (from memory)

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

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

three scales separate ◗ C major octaves bows or slurred two crotchet ◗ E and Ab major beats to a bow; arpeggios ◗ A and E minor two octaves separate bows (candidate choice of either or slurred three min. tempi: harmonic or melodic minor) notes to a bow scales = 69 in thumb with a down and q ◗ D major scale one octave position starting an up bow on arpeggios on the D string each note q. = 44 ◗ Chromatic scales starting on 7ths C and D separate bows q = 69 two octaves or slurred four ◗ Dominant 7th in the key of F starting on C notes to a bow ◗ Dominant 7th in the key of G starting on D starting on the G ◗ Diminished 7th starting on A one octave separate bows string, 1st finger

Technical exercise (from memory) (q = 112):

Octaves, sixths and thirds, starting on the open G, D and C strings

               

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

1. Ornamental Journey for tone and phrasing

2. Tarantella for mixed articulation and bowing styles

3. On the Slide for cello techniques

172 Cello: Grade 5

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

i) Clap the pulse on the second playing, Cello: Grade Listen to the piece twice stressing the strong beat ii) Identify the time signature

i) Identify the changing tonality Harmonised Listen to the piece twice ii) Identify the final cadence as perfect, plagal, imperfect or interrupted 8 bars 5 Identify the interval as minor or major Major or Listen to two notes from the second, minor or major third, perfect minor key melody line played consecutively fourth or fifth, minor or major sixth, minor or major seventh, or octave 2 3 4 6 Study a copy of the piece, and i) Identify the bar in which the change listen to it once as written and of rhythm occurred once with a change of rhythm and a change of pitch (both ii) Identify the bar in which the change changes in the melody line) of pitch occurred

173 Cello: Grades 6–8 Cello: Grades 6–8

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

PIECE 1 22

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

TECHNICAL WORK 14

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

SUPPORTING TEST 1 10

◗ Sight reading

SUPPORTING TEST 2 10

ONE of the following: ◗ Aural ◗ Improvisation

TOTAL 100

1 74 Cello: Grade 6 Cello: Grade 6 PIECES Candidates perform a balanced programme of three pieces chosen from the lists below, containing at least one piece from each group. Only one unaccompanied piece may be chosen. Pieces by at least two composers must be played. An own composition may be played instead of one listed piece. See pages 16–19 for further guidance.

Composer Piece Book Publisher

Group A

1. ALBRECHTSBERGER Scherzando Cello & Piano II EMB Z.14637

Allemande* or Menuets 1 Six Suites for Violoncello 2. J S BACH and 2* (from Suite no. 1 in G, Bärenreiter BA320 Solo, BWV 1007–1012 BWV 1007) BAZELAIRE, Bourrée d’Auvergne (from Solos for Young Cellists Summy-Birchard 3. arr. CHENEY Suite Française, op. 114) vol 4 21110X BRAHMS, 4. Hungarian Dance no. 5 Cellowise Spartan SP898 arr. RÉMY HANDEL, Allegro (4th movt from Solos for Young Cellists Summy-Birchard 5. arr. CHENEY Sonata in C major) vol 4 21110X

6. MACONCHY The Clock, no. 3 Divertimento Lengnick AL0186

7. MARAIS L’agréable Five Old French Dances Chester CH56366

The Train Whistle* Ten American Cello OUP 8. MINSKY or Broadway* Etudes 9780193858176 Allegro non troppo ROMBERG, 9. (1st movt from Sonata in Best of Cello Classics Schott ED21998 arr. JANSEN E minor, op. 38 no. 1)

Summy-Birchard Cello: Grade 10. SQUIRE Danse rustique, op. 20 no. 5† Suzuki Cello School vol 5 0267S

11. SUREDA & CASTILLO Bichitos de Luz, Tango 7 Argentinische Tangos Kunzelmann GM539

TRAD., Three Northumbrian 12. The Keel Row S J Music D1995-1 arr. WRIGHT Folk Songs Largo and Allegro (3rd and 13. VIVALDI 4th movts from Sonata no. 5 Best of Cello Classics Schott ED21998 6 in E minor, RV 40) VIVALDI, Concerto in D minor (from 14. Play Baroque! Stainer H479 arr. EAST L’estro armonico, op. 3 no. 6)

* Unaccompanied † Accompaniment published separately 175 Cello: Grade 6

Group B

1. J S BACH Air, BWV 1068/II Cello & Piano II EMB Z.14637

West Side Story Boosey 2. BERNSTEIN Somewhere Instrumental Solos M051106509 Supplication (no. 2 3. BLOCH Music for Cello & Piano Fischer 05482 from Jewish Life) BRAHMS, 4. Lovesong, op. 71 no. 5 Six Songs Simrock EE5197 arr. SALTER

5. CUI Orientale, op. 50 no. 9 Simrock EE3479

6. DAVIDOFF Romance sans paroles Schott ED11059

DURANTE, 7. Aria Learning the Tenor Clef Faber 0571519172 arr. LEGG & GOUT ELGAR, 8. Chanson de matin Learning the Tenor Clef Faber 0571519172 arr. LEGG & GOUT Angelic Song & Angelic Weinberger 9. HOUGH Angelic Song Dance M570056286 KREISLER, 10. Liebesleid (Love’s Sorrow) Classical Highlights Schott ED21584 arr. DRATHS

11. KUCHYNKA Canzonetta Recital RM086

12. MENDELSSOHN Song without Words, op. 109 Appassionato Schott ED22354

Marionetten-Walzer (Waltz of 13. NÖLCK Appassionato Schott ED22354 the Marionettes), op. 116 no. 2 Polska miniatura 14. NOSKOWSKI Melodie, op. 3 no. 1 Eufonium EUF926 wiolonczelowa vol 1 Summy-Birchard 15. PARADIS Sicilienne† Suzuki Cello School vol 7 0360S Fond Recollections, op. 64 Solos for Young Cellists Summy-Birchard 16. POPPER no. 1 vol 3 21030X Prière, op. 158 The Complete Shorter 17. SAINT-SAËNS Faber 0571518079 or Romance, op. 36 Works for Cello & Piano Zart und mit Ausdruck (no. 1 18. SCHUMANN Appassionato Schott ED22354 from Fantasiestücke, op. 73)

19. SIBELIUS Romance, op. 78 no. 2 Hansen WH17879

20. SQUIRE Gondoliera Stainer H485

VAUGHAN WILLIAMS, OUP 21. Fantasia on Greensleeves arr. FORBES 9780193593015

22. VIVALDI, arr. EAST Nulla in mundo pax sincera Play Baroque! Stainer H479

176 † Accompaniment published separately Cello: Grade 6

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21. The scales, arpeggios & technical exercise are in Trinity’s book Cello Scales, Arpeggios & Studies from 2016. The orchestral extracts are in Orchester Probespiel: Violoncello (published by Schott ED7853).

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 6 scales, freely chosen from the list, with each note of the scale played as two spiccato quavers. (q = 132)

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

three octaves scales separate bows or ◗ C (dominant 7th slurred two crotchet beats to two octaves) a bow; arpeggios separate bows or slurred three notes min. tempi: ◗ B and Eb two octaves to a bow scales = 76 Plus: q separate bows or slurred in arpeggios ◗ D major scale in thumb position, one octave pairs with a long tonic starting on the D string q. = 48 7ths ◗ Chromatic scales starting on q = 76 C# and Eb separate bows or slurred two two octaves ◗ Diminished 7ths starting on crotchet beats to a bow C and E

When examiners request a major tonal centre, candidates should play in succession the:

◗ Major scale Cello: Grade ◗ Major arpeggio ◗ Dominant 7th starting on that note and resolving onto the tonic (to be prepared with separate bows and slurred two crotchet beats to a bow) When examiners request a minor tonal centre, candidates should play in succession the: ◗ Melodic minor scale 6 ◗ Harmonic minor scale ◗ Minor arpeggio

177 Cello: Grade 6

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

Sixths in C major

                              

1a. Beethoven: Sinfonie Nr. 5, 2. Satz (page 8, first two lines only) for tone and phrasing 1b. Brahms: Konzert Nr. 2 für Klavier und Orchester, 3. Satz (page 45, bar 1 to 1st note of bar 17)

2a. Beethoven: Sinfonie Nr. 9, 4. Satz (page 10, bars 38–75) for bowing 2b. Bizet: Carmen, 1. Akt, Finale (page 14, fig. 171 to 7th bar of fig. 174)

3a. Mozart: Die Entführung aus dem Serail, 2. Akt, Nr. 11, Arie (page 47, beginning of extract to bar 47) for left hand technique 3b. Suppé: Dichter und Bauer, Ouvertüre (page 56, bars 16–31)

178 Cello: Grade 6

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

i) Identify the time signature Listen to the piece twice ii) Comment on the dynamics iii) Comment on the articulation

Identify and comment on two other Listen to the piece twice

Harmonised characteristics of the piece Cello: Grade

Study a copy of the piece, 6 and listen to it twice with Locate and describe the changes two changes to the as pitch or rhythm melody line

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

Composer Piece Book Publisher

Group A 1. ARUTIUNIAN Impromptu Zen-On 932006 Gigue* (from Suite no. 2 in D minor, BWV 1008) or Bourrées Six Suites for Violoncello 2. J S BACH Bärenreiter BA320 I and II* (from Suite no. 3 in C, Solo, BWV 1007–1012 BWV 1009) Allegro molto più tosto presto 3. BEETHOVEN (2nd movt from Sonata no. 2 Sonatas for Cello & Piano Henle HN894 in G minor, op. 5 no. 2) West Side Story 4. BERNSTEIN America Boosey M051106509 Instrumental Solos Summy-Birchard 5. BRÉVAL Rondo (from Concerto no. 2 in D)† Suzuki Cello School vol 6 0268S ECCLES, Largo and Corrente (1st and 2nd Summy-Birchard 6. Suzuki Cello School vol 7 arr. LIPKIN movts from Sonata in G minor)† 0360S Solo Cello Encore Series 7. GRISSOM Liberty* Endpin 59730001 vol 1 Angelic Song & Angelic Weinberger 8. HOUGH Angelic Dance Dance M570056286 Five Studies in Major and 9. KABALEVSKY Study no. 5, Scherzo* Peters EP4765 Minor, op. 67 Vivace (3rd movt from Concertino 10. KLENGEL Breitkopf EB3113 no. 3 in A minor, op. 46) 11. LEE Gavotte, op. 112 Best of Cello Classics Schott ED21998 12. MACONCHY Golubchik, no. 2 Divertimento Lengnick AL0186 Classical Pieces of the 13. MARTINI Gavotte des moutons Schott ED3678 17th & 18th Century OUP 14. MINSKY Sailing down the River* Ten American Cello Etudes 9780193858176 Allegro non tanto (3rd movt from Concerto in G minor) Kunzelmann 15. MONN (starting at upbeat to bar 31 GM140 and finishing at bar 170) Polska miniature 16. MOSZKOWSKI Russisch, op. 23 no. 1 Eufonium EUF926 wiolonczelowa vol 1 MOUSSORGSKY/ 17. Gopak (from Sorochintsky Fair) Cellowise 2 Spartan SP962 RACHMANINOFF

180 * Unaccompanied † Accompaniment published separately Cello: Grade 7

Gnomentanz (Gnomes’ Dance), 18. POPPER Popular Concert Pieces vol 1 EMB Z.12943 op. 50 no. 2 Collection Panorama 19. SCHULTHEISS Duex par deux Billaudot GB4151 Violoncelle vol 2 Solos for Young Cellists Summy-Birchard 20. SQUIRE Humoresque, op. 26 vol 3 21030X 21. SQUIRE Tarantella Stainer 2287 Largo and Allegro (3rd and 4th Complete Sonatas for Bärenreiter 22. VIVALDI movts from Sonata no. 6 in B , Violoncello and Basso b BA6995 RV 46) Continuo, RV 39-47

Group B Summy-Birchard 1. J S BACH Arioso (from Cantata 156)† Suzuki Cello School vol 5 0267S Sarabande* (4th movt from Six Suites for Violoncello 2. J S BACH Suite no. 2 in D minor, Bärenreiter BA320 Solo, BWV 1007–1012 BWV 1008) 3. BEETHOVEN Sonatina in C minor, Wo0 43a Appassionato Schott ED22354 BIZET, 4. Habanera (from Carmen) Dancing Cello PWM 10324 arr. HOFFMAN No. 2 in A minor (from 5. BOULANGER Heugel HE26534 Trois pièces) 6. CASSADÓ Sérénade Universal UE8131 CHAPLIN, Kunzelmann 7. Limelight Oh! That Cello! vol 2 arr. BECKMANN GM1250b Solos for Young Cellists Summy-Birchard 8. ELGAR Salut d’amour, op. 12 vol 5 212X0 Solos for Young Cellists Summy-Birchard 9. FAURÉ Sicilienne, op. 78 vol 3 21030X 10. FAURÉ, arr. BIRTEL Après un rêve Classical Highlights Schott ED21584 GRIEG, Sarabande (from the 11. Fentone F203-401 arr. GREY Holberg Suite) 12. HESS Theme from Ladies in Lavender Faber 0571537294 Andante (2nd movt from 13. KLENGEL Breitkopf EB2938 Concertino no. 1 in C, op. 7) Boosey Cello: Grade 14. RACHMANINOV Vocalise, op. 34 no. 14 M060112027 RUBINSTEIN, arr. Kunzelmann 15. Melodie, op. 3 no. 1 Saluts d’amour THOMAS-MIFUNE GM523 16. SAINT-SAËNS Le cygne (The Swan) Best of Cello Classics Schott ED21998 SKRJABIN, Preludi e altri pezzi 17. Prelude, op. 35 no. 2 Ricordi NR140539 trans. CAVUTO (Preludes and Other Pieces) 7 TCHAIKOVSKY, 18. Nocturne, op. 19 no. 4 Tchaikovsky for cello vol 2 Simrock EE5243 arr. FITZENHAGEN TRAD., Shorter Pieces for Cello OUP 19. I’ll Bid My Heart Be Still arr. R CLARKE & Piano 9780193866553

* Unaccompanied † Accompaniment published separately 181 Cello: Grade 7

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21. The scales, arpeggios and technical exercises are in Trinity’s book Cello Scales, Arpeggios & Studies from 2016. The orchestral extracts are in Orchester Probespiel: Violoncello (published by Schott ED7853).

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 7 scales, freely chosen from the list, with hooked bowing, as in the following example. (q = 88) ≤ ≥ ≥ ≤ ≤ ? ≥ ≥ ≤ œ- œ. etc b œ œ -œ™ œ. ™ œ-™ œ. -™ . Either 2. SCALES, ARPEGGIOS & TECHNICAL EXERCISES (from memory) — Candidates prepare major and minor scales and arpeggios from the following tonal centres, to be played with separate bows or slurred as requested by the examiner. Examiners select from the following:

three scales separate bows or octaves slurred four crotchet ◗ D, F and Db/C# (dominant beats to a bow; arpeggios 7ths two separate bows or slurred min. tempi: octaves) three notes to a bow scales = 84 Plus: separate bows or slurred q ◗ Chromatic scales starting on E and Db six notes to a bow chromatic two octaves scales separate bows or slurred = 100 ◗ Diminished 7ths starting on F and F# two crotchet beats to a q bow arpeggios q. = 50 scales separate bows or Plus the following in thumb position: slurred two crotchet 7ths ◗ D major scale and arpeggio beats to a bow; = 84 one octave q ◗ D melodic minor scale and arpeggio arpeggios separate bows or slurred three notes to ◗ D harmonic minor scale and arpeggio a bow

182 Cello: Grade 7

Technical exercises (from memory) (q = 120): a) C major in sixths (one octave)                 etc           etc.etc        b) Bb major in thirds (one octave)                                                       

1a. Bruckner: Sinfonie Nr. 7, 1. Satz (page 16, entire extract) 1b. Tschaikowsky: Schwanensee, 2. Akt, Nr. 13 (page 57, for tone and phrasing beginning of extract to 1st note of bar 97)

2a. Brahms: Sinfonie Nr. 2, 2. Satz (page 16, entire extract) 2b. Tschaikowsky: Sinfonie Nr. 6, 2. Satz (page 30, bar 1 to for bowing 1st note of bar 15)

3a. Mozart: Die Hochzeit des Figaro, Ouvertüre (page 20, entire extract) for left hand technique 3b. Strauss: Don Juan (page 23, beginning of extract to first note of 6th line) Cello: Grade

183 Cello: Grade 7

SUPPORTING TESTS

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

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

Aural questions

Parameters Task Requirement

i) Identify the time signature Listen to the piece twice ii) Comment on the dynamics iii) Comment on the articulation

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

184 Cello: Grade 8 Cello: Grade 8 PIECES Candidates perform a balanced programme of three pieces chosen from the lists below, containing at least one piece from each group. Only one unaccompanied piece may be chosen. Pieces by at least two composers must be played. An own composition may be played instead of one listed piece. See pages 16–19 for further guidance.

Composer Piece Book Publisher

Group A Allegro molto ma maestoso Salabert 1. J C BACH (1st movt from Concerto in SLB00392200 C minor) BARTÓK, Romanian Folk Dances Boosey 2. Romanian Folk Dances arr. DAVIES nos. 1, 2, 5 and 6 M060132049 Andante — Allegro vivace 3. BEETHOVEN (1st movt from Sonata no. 4 Sonatas for Cello & Piano Henle HN894 in C, op. 102 no. 1) BERTEAU (formerly Allegro (1st movt from 4. IMC 2093 attrib. SAMMARTINI) Sonata in G) No. 3 in C# minor (from 5. BOULANGER Heugel HE26535 Trois pièces) Allegretto quasi Menuetto 6. BRAHMS (2nd movt from Sonata in Henle HN18 E minor, op. 38) 7. CASSADÓ Requiebros Schott ED1562 Collection Panorama 8. CHAYNES Improvisation à deux Billaudot GB4151 Violoncelle vol 2 Scherzo (2nd movt from Sonata, op. 65 & 9. CHOPIN Peters EP1928 Sonata in G minor, op. 65) Polonaise, op. 3 DE FALLA, Ritual Fire Dance 10. Ritual Fire Dance Chester CH00933 arr. PIATIGORSKY & Dance of Terror GARDEL, 11. Por una cabeza Tango Universal UE35261 arr. COLLATTI 12. GOLTERMANN Capriccio EMB Z.13889 Solo Cello Encore Series 13. GRISSOM Celtic Cello Set* Endpin 59730001 vol 1 Intermezzo (2nd movt 14. LALO Peters EP3799 from Concerto in D minor)

OUP Cello: Grade 15. MINSKY The Hipster* Pop Goes the Cello 9780193399389 Allegro (1st movt from 16. MONN Kunzelmann GM140 Concerto in G minor) MONTI, 17. Czardas Dancing Cello PWM 10324 arr. ŁUKASZEWSKI 18. POPPER Mazurka in C, op. 51 EMB Z.13634 8 * Unaccompanied 185 Cello: Grade 8

19. SAINT-SAËNS Allegro appassionato, op. 43 Appassionato Schott ED22354 Rasch und mit Feuer (no. 3 20. SCHUMANN Appassionato Schott ED22354 from Fantasiestücke, op. 73) SHOSTAKOVICH, Springtime Waltz Boosey 21. Two Pieces arr. ATOVMYAN (from Ballet Suite no. 2) M060024856

Group B ALBINONI, Kunzelmann 1. Adagio in G minor arr. THOMAS-MIFUNE GM1670 Prélude* (from Suite no. 1 Six Suites for Violoncello 2. J S BACH Bärenreiter BA320 in G, BWV 1007) Solo, BWV 1007–1012 3. BLOCH Prayer (no. 1 from Jewish Life) Music for Cello & Piano Fischer 05482 4. BRIDGE Mélodie Scherzo & Mélodie Faber 0571506720 5. CERVELLÓ Homenatge* Boileau 2986 CHAPLIN, Kunzelmann 6. Falling Star Oh! That Cello! vol 2 arr. BECKMANN GM1250b DVORÁK,ˇ Silent Woods ‘Klid’, 7. IMC 1741 arr. STUTCH op. 68 no. 5 Adagio (3rd movt from Cello 8. ELGAR Novello NOV081334 Concerto in E minor, op. 85) 9. FAURÉ Élégie, op. 24 Henle HN563 10. GLAZUNOV Song of the Minstrel, op. 71 Belaieff BEL205 Andante molto tranquillo Sonata in A minor, 11. GRIEG (2nd movt from Sonata in Henle HN790 op. 36 and Other Works A minor, op. 36) Adagio (2nd movt from 12. HAYDN Breitkopf EB2238 Concerto in D, Hob VIIb no. 2) MASSENET, 13. Méditation (from Thaïs) EMB Z.13635 arr. DELSART Adagio (2nd movt from 14. MONN Kunzelmann GM140 Concerto in G minor) MUFFAT, 15. Arioso Universal UE8285 arr. CASSADÓ Andante (3rd movt from 16. RACHMANINOV Boosey M060022197 Sonata in G minor, op. 19) RAVEL, Pavane pour une infante 17. Musicus M783 arr. MAGANINI défunte Kaddish (from Sounds 18. STUTSCHEWSKY Or-Tav 12025 from the Past) Song of Roxana (from 19. SZYMANOWSKI PWM 9195 King Roger) Preludio and Allemanda (1st Complete Sonatas for Bärenreiter 20. VIVALDI and 2nd movts from Sonata Violoncello and Basso BA6995 no. 9 in G minor, RV 42) Continuo, RV 39–47

186 * Unaccompanied Cello: Grade 8

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21. The scales, arpeggios & technical exercises are in Trinity’s book Cello Scales, Arpeggios & Studies from 2016. The orchestral extracts are in Orchester Probespiel: Violoncello (published by Schott ED7853).

1. BOWING EXERCISE (from memory)

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

scales separate bows or slurred four three octaves crotchet beats to a min. tempi: ◗ A, F#, Bb and Db/C# (dominant 7ths bow; arpeggios scales = 92 two octaves) separate bows or q slurred three notes to chromatic scales a bow q = 100 Plus: separate bows or arpeggios ◗ Chromatic scales starting on A, F#, slurred twelve notes = 50 Bb and Db to a bow q. two octaves 7ths separate bows or ◗ Diminished 7ths starting on A, F#, = 92 slurred two crotchet q Bb and C# beats to a bow

8 187 Cello: Grade 8

Technical exercises (from memory) (q = 120): a) Eb major in thirds (one octave)    etcetc.            b) C major in sixths (one octave)         etcetc.                c) G major in octaves (one octave)

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

1a. Puccini: Tosca, 3. Akt (pages 51–52, Cello I part, entire extract) for tone and phrasing 1b. Verdi: Missa da Requiem, Nr. 3, Offertorium (page 35, entire extract)

2a. Beethoven: Ballett ‘Die Geschöpfe des Prometheus’, Nr. 5 (page 44, bars 33–49) for bowing 2b. Rossini: Wilhelm Tell, Ouvertüre (page 53, entire extract)

3a. Strauss: Ariadne auf Naxos, Arie der Zerbinetta (page 53, entire extract) 3b. Verdi: Aida, 3. Akt (page 34, entire extract) for left hand technique

188 Cello: Grade 8

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

Cello: Grade

8 189 Double Bass: Initial to Grade 5 Double Bass: Initial to Grade 5

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

PIECE 1 22

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

TECHNICAL WORK* 14

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

SUPPORTING TESTS 20

Any TWO of the following: ◗ Sight reading ◗ Aural ◗ Improvisation ◗ Musical knowledge

TOTAL 100

190 * At Initial level, candidates perform scales and arpeggio phrases Double Bass: Initial Double Bass: Initial PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. Only Double Bass: Initial one duet may be chosen. Only one unaccompanied piece may be chosen. Pieces by at least two composers must be played. An own composition may be played instead of one listed piece. See pages 16–19 for further guidance.

Composer Piece Book Publisher ALLEN, GILLESPIE Essential Elements 2000: Hal Leonard 1. Ice Skating, no. 165 & HAYES Double Bass book 1 HL00868052 ANON., 2. Jolly Old St Nicholas, p16 Do It! Play Bass book 1 GIA G-M529 arr. FROSETH Abracadabra Double Bass A & C Black 3. BEETHOVEN Ode to Joy, no. 39† book 1 9780713670974 BULL, GOODBORN 4. Procession, p25† Team Strings Faber 0571528031 & DUCKETT Brown Bread, no. 33 (duet — Abracadabra Double A & C Black 5. CH candidate plays bottom part) Bass book 1 9780713670974 Bossy Boots or Clockwork Take Your Bow Double 6. COBB & YANDELL Clown or On the Ranch Trinity TCL018076 Bass or Sad Smile Dancing Partners† The Essential String 7. ELLIOTT or Let’s Have a Holiday† Method, Double Bass Boosey M060105180 or Seesaw† or Swan Song† book 2 8. FAULKNER Raggy Times First Bass Recital RM406 Vamoosh Double Bass 9. GREGORY Under the Coconut Tree† Vamoosh VAM31 book 1 Sassmannshaus Early 10. HEILBUT Little Peter Rabbit, p25* Start on the Double Bärenreiter BA9661 Bass vol 1 11. NELSON Lullaby or Rainy Day Right from the Start Boosey M060098178 The Really Easy Bass 12. OSBORNE Russian Circus Faber 0571511708 Book 13. RHODA China Sea† The ABC’s of Bass book 1 Fischer ABC25 William Tell Overture, Essential Elements ROSSINI, Hal Leonard 14. no. 190 (duet — candidate 2000: Double Bass arr. HIGGINS HL00868052 plays part B) book 1 Sassmannshaus Early 15. SASSMANNSHAUS We are on vacation, p28* Start on the Double Bärenreiter BA9661 Bass vol 1 Au clair de la lune, no. 23† Abracadabra Double A & C Black 16. TRAD. or Miss Mary Mac, no. 25† Bass book 1 9780713670974 Down by the Station† or TRAD., 17. Old MacDonald† or Stomping Ready Steady Go Bartholomew BMP502 arr. ELLIOTT Song† or The Jolly Miller†

* Unaccompanied † Accompaniment published separately 191 Double Bass: Initial

The Essential String TRAD., 18. Twinkle Duet† Method, Double Bass Boosey M060105180 arr. ELLIOTT book 2 TRAD., 19. Champaigne Branle, p11 Do It! Play Bass book 1 GIA G-M529 arr. FROSETH The Essential String TRAD., 20. Moravian Carol† Method, Double Bass Boosey M060105180 arr. NELSON book 2

TECHNICAL WORK

Candidates prepare scales and arpeggio phrases, as shown below. See page 21. All requirements are in Trinity’s book Double Bass Scales, Arpeggios & Studies from 2016.

SCALES (from memory) — To be performed with the indicated rhythmic pattern on each note (minimum tempo: = 112). q ◗ D major (to the 6th)                         

                  etc.  etc

◗ A major (to the 6th)                    

             etc.etc

ARPEGGIO PHRASES (from memory) — To be performed with the indicated rhythmic pattern on each note (minimum tempo: = 112). q ◗ D major (triad with added 6th)                                            

◗ A major (triad with added 6th)                                

192 † Accompaniment published separately Double Bass: Initial

SUPPORTING TESTS

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

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

Aural questions

Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing, Melody only three times stressing the strong beat Listen to the melody once Identify the dynamic as forte or piano 4 bars Identify the articulation as legato Major key Listen to the melody once or staccato

Listen to the first three 2 Identify the highest or lowest note notes of the melody once

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

Composer Piece Book Publisher J S BACH, The Essential String 1. Conversation Piece† Boosey M060105197 arr. NELSON Method, Double Bass book 3 BULL, GOODBORN 2. The Wizard, p43† Team Strings Faber 0571528031 & DUCKETT

3. COBB & YANDELL Busy Bee Take Your Bow Double Bass Trinity TCL018076

The Essential String Method, 4. ELLIOTT Carnival Waltz† Boosey M060105197 Double Bass book 3 5. EMERY & LEACH Knocking on the Door, no. 65 Bass is Best! book 1 Yorke YE0090 6. FAULKNER On the Water First Bass Recital RM406 7. FOSTER Oh, Susanna† The ABC’s of Bass Book 1 Fischer ABC25 8. GORDON Gander’s March Feathered Friends Recital RM413 9. GREGORY Fiery Fiddler†or Walk on Mars!† Vamoosh Double Bass book 1 Vamoosh VAM31 HAYDN, Papa Haydn Goes Walking and Bartholomew 10. Ready Steady Go arr. ELLIOTT any two other variations† BMP502 11. JOLLIFFE The Mighty Chieftain Comes Recital RM492 Abracadabra Double A & C Black 12. LEHAR Waltz, no. 63† Bass book 1 9780713670974 Eight Progressive Solos for 13. LEOGRANDE Down the Road Spartan SP1330 the Beginner Bassist 14. NELSON Fiddler’s Fancy Right from the Start Boosey M060098178 15. NORTON Grizzly Bear Microjazz for Double Bass Boosey M060085628 Bass Bridges of Paris or Bobby 16. OSBORNE The Really Easy Bass Book Faber 0571511708 Shaftoe Goes to New Orleans La Contrebasse classique 17. PURCELL Rigaudon Combre C05440 vol A 18. REGNER Lied des Schlafes, no. 5 Kontra-Spass Schott KBB11 19. ROE Who’s Knocking at My Door? Play-a-Day Thames TH978352 SAINT-SAENS, Bartholomew 20. A Baby Elephant† Ready Steady Go arr. ELLIOTT BMP502 Abracadabra Double A & C Black 21. SWANN The Hippopotamus Song, no. 53† Bass book 1 9780713670974 Sassmannshaus Early Start 22. TRAD. Countless Stars, p68* Bärenreiter BA9661 on the Double Bass vol 1 Secret Agents, no. 28 (duet — Abracadabra Double A & C Black 23. TRAD. candidate plays either part) Bass book 1 9780713670974

194 * Unaccompanied † Accompaniment published separately Double Bass: Grade 1

TRAD., The Essential String Method, 24. Hatikvah† Boosey M060105197 arr. ELLIOTT Double Bass book 3 TRAD., Bartholomew 25. Mattachins† Ready Steady Go arr. ELLIOTT BMP502 TRAD., 26. arr. EMERY In My Little Snuff-box, no. 48 Bass is Best! Book 1 Yorke YE0090 & HARPER TRAD., I Have a Bonnet† The Essential String Method,

27. Boosey M060105197 Double Bass: Grade arr. NELSON or Michael Finnegan† Double Bass book 3 TRAD., 28. There Was a Crooked Man Amazing Solos Boosey M060094170 arr. SCHOFIELD YARROW Puff the Magic Dragon, no. 64 Abracadabra Double Bass A & C Black 29. & UPTON (duet — candidate plays top part) book 1 9780713670974

TECHNICAL WORK

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

Candidates play the scale of G major (one octave). The scale should be played with two separate crotchets on each degree of the scale, one down bow and one up bow. ( = 72) q Either 2. SCALES & ARPEGGIO PHRASES (from memory)

Major keys — Candidates play the scale followed by the arpeggio phrase. Examiners select from the following:

scales separate bows or min. scale to 6th; arpeggio phrase ◗ A, C and D major slurred in pairs; arpeggio tempo: a major triad with added 6th phrases separate bows only = 88 q Minor keys — Candidates play the scale only. Examiners select from the following:

min. separate bows or slurred in ◗ A and D minor to flattened 6th tempo: pairs = 88 q Or 3. STUDIES (music may be used) — Candidates prepare all three studies. Candidates choose one study to play first. Examiners then select one of the remaining two studies to be performed.

1. Look Smart for tone and phrasing

2. Jolly Song for mixed articulation and bowing styles

3. Waltz for double bass techniques

† Accompaniment published separately 195 Double Bass: Grade 1

SUPPORTING TESTS

Candidates choose TWO of the following: Improvisation ◗ Sight reading Candidates perform an improvisation based on a stimulus chosen from the following ◗ Aural three options: ◗ Improvisation ◗ Stylistic ◗ Musical knowledge ◗ Motivic ◗ Sight reading Harmonic After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements perform a previously unseen musical extract and parameters. at a level lower than the exam being taken. See pages 23–26 for the requirements Musical knowledge and parameters. Candidates answer questions assessing their understanding of the pieces performed, as well Aural as their knowledge of notation and the double Candidates answer questions based on a single bass. Questions are based on candidates’ musical example played on the piano by the chosen pieces. See pages 34–35 for example examiner. See page 27 for more information. questions and responses. The aural test requirements for Grade 1 are below.

Aural questions

Parameters Task Requirement

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

Melody only i) Identify the dynamic as forte or piano Listen to the melody once ii) Identify the articulation as legato 4 bars or staccato

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

Composer Piece Book Publisher We’re Off to See the A & C Black 1. ARLEN Abracadabra Double Bass book 1 Wizard, no. 70† 9780713670974

Five Simple Pieces for Double Double Bass: Grade 2. CARROLL Prelude and Gigue Stainer 2310 Bass & Piano 3. CRUTTENDEN Bass Swing Bow that Bass! Recital RM511 4. DONKIN The Ogre’s Dance Bass-Time Beginners Recital RM410 5. EMERY Lionel’s Rhythm, no. 38 Bass is Best! book 2 Yorke YE0098 6. EMERY & SLATFORD Dinosaur Dance, no. 70 Bass is Best! book 1 Yorke YE0090 Hungry Old Owl 7. GORDON Feathered Friends Recital RM413 or Penguin Parade 8. GREGORY Smooth Operator† Vamoosh Double Bass book 2 Vamoosh VAM32 Rags, Boogies & Blues 9. HOAG The Half Position Rag Presser 114-40436 for Young Bassists 2 Pièces classiques pour 10. KOZELUCH Bernoise Billaudot GB3299 contrebasse vol 1A Part of Your World, A & C Black 11. MENKEN no. 74 (duet — candidate Abracadabra Double Bass book 1 9780713670974 plays top part) 12. NICKS The Little Sailor, no. 91 Bass is Best! book 1 Yorke YE0090 13. NORTON Mean Streets Microjazz for Double Bass Boosey M060085628 Alpen Song 14. OSBORNE or The Duke of York The Really Easy Bass Book Faber 0571511708 Joins the Navy The Anna Magdalena Bach Bartholomew 15. PETZOLD Minuet in G minor† Notebook for Double Bass BMP009 Nouvelle technique de la 16. RABBATH Divertimento no. 1 in C Leduc AL25437 contrabasse book 1 A & C Black 17. RODGERS Edelweiss, no. 50† Abracadabra Double Bass book 1 9780713670974 18. ROE Reflections Play-a-Day Thames TH978352 The Merry Peasant SCHUMANN, 19. (from Album for the Double Bass Solo 1 OUP 9780193222496 arr. HARTLEY Young, op. 68)† TCHAIKOVSKY, The Essential String Method, 20. Old French Song† Boosey M060105203 arr. NELSON Double Bass book 4 Cherry Blossoms† 21. TRAD. or Good Morning, The ABC’s of Bass book 2 Fischer ABC27 Merry Sunshine†

† Accompaniment published separately 197 Double Bass: Grade 2

TRAD., The Essential String Method, 22. March of the Kings† Boosey M060105203 arr. ELLIOTT Double Bass book 4 Simple Gifts, no. 192 TRAD., Essential Elements 2000: Hal Leonard 23. (duet — candidate plays arr. HIGGINS Double Bass book 1 HL00868052 top part) TRAD., De Haske 24. The British Grenadier Easy Double Bass arr. KERNEN DHP1043610-400 TRAD., De Haske 25. Peruvian Dance Tune Easy Double Bass arr. LEIRE DHP1043610-400 TRAD., Pour les jeunes contrebassistes 26. Le vieux roi, no. 21 Billaudot GB5978 arr. SALLES vol 1 The Essential String Method, 27. YORK Madeleine Dreaming† Boosey M060105203 Double Bass book 4

TECHNICAL WORK

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

1. BOWING EXERCISE (from memory)

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

◗ G, F and Bb major one octave scales separate bows or slurred in pairs; arpeggios min. tempi: separate bows only (highest scales = 60 q ◗ E and G minor to flattened 6th note of slurred scales may arpeggios = 36 q· be repeated)

Minor arpeggios should be performed according to the following pattern: ? œ œ œ œ œ œ œ™ Or 3. STUDIES (music may be used) — Candidates prepare all three studies. Candidates choose one study to play first. Examiners then select one of the remaining two studies to be performed.

1. Let Me Explain for tone and phrasing

2. Wait — a Minuet! for mixed articulation and bowing styles

3. Climbing Frame for double bass techniques

198 † Accompaniment published separately Double Bass: Grade 2

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

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

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

Composer Piece Book Publisher 1. CRUTTENDEN Rocking Rhumba Bow that Bass! Recital RM511 La Contrebasse classique 2. CZERNY Dans la vallée Combre C5716 vol B Yorke Solos vol 1: 3. DEUTSCHMANN Menuett (with trio) Yorke YE0087 35 Easy Pieces 4. EMERY Gypsy Song, no. 42 Bass is Best! book 2 Yorke YE0098 5. GREGORY Rumba Cucumba† Vamoosh Double Bass book 2 Vamoosh VAM32 GRIEG, Bartholomew 6. Norwegian Dance, op. 35† Subterranean Solos arr. HARTLEY BMP006 Pièces classiques pour 7. HANDEL Allegro Billaudot GB3299 contrebasse vol 1A HAYDN, The Essential String Method, 8. Dance for a Party† Boosey M060105203 arr. NELSON Double Bass book 4 Easy Bass Jazz with backing 9. HAYHURST The Bottom Line Spartan SP1127 tracks Rags, Boogies & Blues for 10. HOAG The Second Position Boogie Presser 114-40436 Young Bassists HOLDSTOCK, Calypso, no. 97 (duet — 11. Bass is Best! book 1 Yorke YE0090 arr. EMERY candidate plays top part) 12. JOYNES The Old Sea Dog, no. 52 Bass is Best! book 2 Yorke YE0098 Yorke Solos vol 1: 35 Easy 13. LÁSKA Strolling Along! Yorke YE0087 Pieces 14. MERLE Mummers† Festival Performance Solos Fischer BF5 Reel (top part)†or Toad 15. NELSON Technitunes Boosey M060090868 in the Hole (top part)†

16. NORTON Soft Drink Microjazz for Double Bass Boosey M060085628

Syncopated Swing (pizzicato 17. OSBORNE Junior Jazz book 1 Recital RM037 or arco) 18. REGNER Bitte nicht stolpern, no. 10 Kontra-Spass Schott KBB11 TRAD., Kelvin Grove, no. 114 (duet — 19. arr. HOHMANN- Bass is Best! book 1 Yorke YE0090 candidate plays top part) BARKER TRAD., The Essential String Method, 20. Camptown Races† Boosey M060105203 arr. NELSON Double Bass book 4 TRAD., The Lincolnshire Poacher 21. Technitunes Boosey M060090868 arr. NELSON (top part)†

200 † Accompaniment published separately Double Bass: Grade 3

22. TUTT Perpetuum Mobile, no. 98 Bass is Best! book 1 Yorke YE0090 23. WALTON Donkey Cart, no. 96 Bass is Best! book 1 Yorke YE0090 WARLOCK, Basse-Danse (from Bartholomew 24. Subterranean Solos arr. HARTLEY Capriol Suite)† BMP006 25. WOOD Country Dance Four Dances Peters EP71246

TECHNICAL WORK

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

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 3 scales, freely chosen from the list, with four semiquavers on each degree of the scale. The exercise may end with an additional long note on the tonic. (q = 60) Double Bass: Grade Either 2. SCALES, ARPEGGIOS & TECHNICAL EXERCISE (from memory) — Candidates play the scale followed by the arpeggio. Examiners select from the following:

◗ A, C and D major scales separate bows min. tempi: or slurred in pairs with ◗ A, D and G minor scales a long tonic; arpeggios (candidate choice of either = 69 separate bows only q harmonic or melodic minor) one octave arpeggios ◗ Dominant 7th in the key of D q. = 40 3 3 separate bows 7ths ◗ Chromatic scales starting q = 58 on A and G

Technical exercise (from memory) (q = 72): Fifths and sixths          

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

1. Bangers and Mash for tone and phrasing

2. Intermezzo for mixed articulation and bowing styles

3. El Sombrero for double bass techniques

† Accompaniment published separately 201 Double Bass: Grade 3

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

Clap the pulse on the second playing, Listen to the melody twice stressing the strong beat

Listen to the melody once Identify the tonality as major or minor Melody only Listen to the first two notes Identify the interval by number only 4 bars of the melody once (second, third, fourth, fifth or sixth) Major or minor key Study a copy of the melody 3 4 (provided in treble, alto or i) Identify in which bar the change bass clef as appropriate), and has occurred listen to it once as written and once with a change of rhythm ii) Identify the change as rhythm or pitch or pitch

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

Composer Piece Book Publisher The Anna Magdalena Bach Bartholomew 1. J S BACH (attr.) Polonaise in D minor† Notebook for Double Bass BMP009 The Little Horses (from 2. COPLAND Copland for Double Bass Boosey M060360239 Old American Songs set 2) Ballo Arioso e presto 3. GIOVANNINO (4th movt from Sonata Yorke YE0008 in A minor) GOSSEC, Bartholomew 4. Tambourin† Subterranean Solos arr. HARTLEY BMP006 Easy Bass Jazz with 5. HAYHURST Ol’ Orleans Spartan SP1127 backing tracks Yorke Solos vol 1: 6. LANCEN Si j’étais… Moussorgsky Yorke YE0087 35 Easy Pieces Double Bass: Grade Eight Progressive Solos 7. LEOGRANDE Cool Shoes Spartan SP1330 for the Beginner Bassist 8. MÜLLER Neapolitan Dance Kjos KJ15920 German Dance Boosey 9. NELSON Technitunes (top part)† M060090868 10. OSBORNE A Fun Day! Suite for Eloise Recital RM330 11. OSBORNE Brontosaurus Bop Jurassic Jazz Recital RM226 Chill-Out 12. OSBORNE Junior Jazz book 1 Recital RM037 (pizzicato or arco) 13. OSBORNE Lonesome & Blue Junior Jazz book 2 Recital RM081 4 14. OSBORNE Rockin’ Rag Recital Rags Recital RM083 15. REGNER Der Clown tritt auf, no. 8 Kontra-Spass Schott KBB11 Dance Preludes for Double 16. RIDOUT Andante, no. 3 Yorke YE0095 Bass or Cello and Piano Forward, March!, op. 14 no. Solos for the Young Bassist 17. SCHLEMÜLLER 6 or Our Soldiers March, Recital RM245 book 1 op. 12 no. 5 Pièces classiques pour 18. SCHUMANN Envoi Billaudot GB3300 contrebasse vol 2A 19. SHITTE Étude, no. 63 Bass is Best! book 2 Yorke YE0098 20. THOMAS, arr. HARTLEY Gavotte (from Mignon)† Subterranean Solos Bartholomew BM006 Pièces classiques pour 21. TRAD. Le Pastoureau Billaudot GB3300 contrebasse vol 2A VIVALDI, 22. Allegro, p13 Amazing Solos Boosey M060094170 arr. SCHOFIELD 23. WOOD Hippos Wallpaper Tales Peters EP71268 24. WOOD Pavane Four Dances Peters EP71246 † Accompaniment published separately 203 Double Bass: Grade 4

TECHNICAL WORK

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

1. BOWING EXERCISE (from memory)

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

◗ A, G and F major scales separate bows or slurred in pairs with a long tonic; to the 12th min. tempi: ◗ A and G minor arpeggios separate (candidate choice of either bows or slurred three scales harmonic or melodic minor) = 80 notes to a bow q arpeggios ◗ Dominant 7th in the key of C, starting on G q. = 48 separate bows or slurred in pairs 7ths ◗ Dominant 7th in the key of Bb, starting one octave on F q = 66

◗ Chromatic scales starting on C and D separate bows

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

Fourths, fifths and sixths

                    

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

1. Creeping About for tone and phrasing

2. Tea at the Palace for mixed articulation and bowing styles

3. Groovy Blues for double bass techniques

204 Double Bass: Grade 4

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

Clap the pulse on the second playing, Listen to the piece twice stressing the strong beat 4

i) Identify the tonality as major or minor Listen to the piece twice ii) Identify the final cadence as perfect Harmonised or imperfect

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

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

Composer Piece Book Publisher Study no. 18 1. BOTTESINI Method for Double Bass part 1 Yorke YE0076 or Study no. 40 2. CARROLL Cuban Rumba Five National Dances Stainer H290

3. DARE Menuet Yorke YE0012 Double Bass Collection: 4. DITTERSDORF German Dance Concert Pieces for Double Bärenreiter BA9696 Bass and Piano GLIÈRE, Russian Sailors’ Dance 5. Fischer B3394 arr. ISAAC (from The Red Poppy) 6. GODDARD Gerty Goat Scuffer Spartan SP1202 Latin Jazz (no. 1 from 7. HAUTA-AHO Pizzicato Pieces book 2 Recital RM163 Two Pieces for TDR)*‡ Berceuse for Baby 8. LANCEN Yorke YE0054 Hippopotamus Pièces classiques pour 9. MENDELSSOHN Romance sans paroles Billaudot GB4195 contrebasse vol 2B 10. MERLE Demetrius† Festival Performance Solos Fischer BF5 A Dog’s Life: Dog Tired Yorke Solos vol 1: 11. NICKS Yorke YE0087 and The Great Tail Chase 35 Easy Pieces 12. OSBORNE Faster than You Think!‡ Pizzicato All-Sorts Recital RM420 Allegretto (1st movt PAXTON, 13. from Sonata in D major, Bartholomew BMP005 trans. ELLIOTT op. 3 no. 2) Quodlibet (2nd movt from 14. PITFIELD Sonatina for Double Bass Yorke YE0029 and Piano) 15. PROUST Le bon barbu rond Combre C06174 Rondeau (from PURCELL, 16. A Midsummer Night’s Subterranean Solos Bartholomew BMP006 arr. HARTLEY Dream)† 17. RAMEAU Dance, no. 68 Bass is Best! book 2 Yorke YE0098 La Contrebasse classique 18. RIMSKY-KORSAKOV Mazurka Combre C5716 vol B 19. WOOD Teddy Bears Wallpaper Tales Peters EP71268

206 * Unaccompanied † Accompaniment published separately ‡ All pizzicato Double Bass: Grade 5

TECHNICAL WORK

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

1. BOWING EXERCISE (from memory)

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

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

◗ G major two octaves

◗ C and Bb major to the 12th scales separate bows or slurred two ◗ Eb major one octave crotchet beats to min. tempi: ◗ G minor a bow; arpeggios scales (candidate choice of either harmonic two octaves separate bows or = 88 q or melodic minor) slurred three notes chromatic to a bow ◗ C and Bb minor scales (candidate choice of either harmonic to the 12th · = 63 or melodic minor) q arpeggios separate bows = 54 ◗ Chromatic scales starting on Eb and G or slurred three q.

notes to a bow 7ths Double Bass: Grade q = 66 ◗ Dominant 7th in the key of F, starting on C one octave separate bows or slurred in pairs ◗ Dominant 7th in the key of Eb, starting on Bb

◗ Diminished 7ths starting on C and Bb separate bows

Technical exercise (from memory) (q = 92–108):

Broken thirds in C major                   5

              

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

1. Victorian Elegance for tone and phrasing 2. Spicy Goulash for mixed articulation and bowing styles 3. Get With It! for double bass techniques 207 Double Bass: Grade 5

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

i) Clap the pulse on the second playing, Listen to the piece twice stressing the strong beat ii) Identify the time signature

208 Double Bass: Grades 6–8 Double Bass: Grades 6–8

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

PIECE 1 22

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

TECHNICAL WORK 14

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

SUPPORTING TEST 1 10

◗ Sight reading

SUPPORTING TEST 2 10

ONE of the following: ◗ Aural ◗ Improvisation

TOTAL 100

209 Double Bass: Grade 6 Double Bass: Grade 6 PIECES Candidates perform a balanced programme of three pieces chosen from the lists below, containing at least one piece from each group. Only one unaccompanied piece may be chosen. Pieces by at least two composers must be played. Only one all pizzicato piece may be played. An own composition may be played instead of one listed piece. See pages 16–19 for further guidance. Composer Piece Book Publisher

Group A 1. CLUCAS Courante* or Gigue* Baroque Suite Recital RM141 2. ELLIOTT Odd Man Out Yorke YE0015 GIORDANI, 3. Larghetto Two Eighteenth-Century Pieces Stainer H468 arr. STERLING 4. GOUINGUENÉ Adagio Leduc AL25774 5. HAUTA-AHO A Little Waltz (Pieni Valssi) Teppo’s Tunes Recital RM068 MARCELLO, arr. Grave and Allegro (3rd and 6. IMC 1159 ZIMMERMANN 4th movts from Sonata no. 6 in G) 7. MERLE Caballero† Festival Performance Solos Fischer BF5 8. OSBORNE Ballad in Blue‡ Junior Jazz book 2 Recital RM081 Con moto (3rd movt from 9. RUSSELL Recital RM436 Lyric Sonata) The Elephant (from The 10. SAINT-SAËNS Henle HN730 Carnival of the Animals) 11. WALTON A Deep Song Yorke YE005

Group B Pièces classiques pour 1. BOCCHERINI Menuet Billaudot GB4195 contrebasse vol 2B 2. BOTTESINI Study no. 43 or Study no. 54 Method for Double Bass part 1 Yorke YE0076 3. CARROLL Fantasia in E minor Three Pieces for Double Bass Forsyth FCI01 4. DIABELLI Sonatine La Contrebasse classique vol B Combre C5716 GABRIEL-MARIE, Bartholomew 5. La Cinquantaine arr. ELLIOTT BMP001 6. GORDON Fine Day?* Fine Day? and Skerry Selkie Spartan SP929 Allegro sostenuto (3rd movt 7. HAUTA-AHO Recital RM333 from Jazz Sonatine no. 2)* 8. HAUTA-AHO Di-Ba-Dum*‡ Pizzicato Pieces book 1 Recital RM097 9. LÁSKA A la Hongroise Miniatures book 1 Recital RM113 Double Bass Collection: Tempo di Ballo (from Bärenreiter 10. NÖLCK Concert Pieces for Petit album de concert) BA9696 Double Bass and Piano 11. RATEZ Parade, op. 46 no. 1 Characteristic Pieces book 1 Recital RM189 Allegro ritmico and Andante 12. RUSSELL Recital RM243 (1st and 2nd movts from Buffo Set) 13. WALTER The Elephant’s Gavotte Yorke YE0038

210 * Unaccompanied † Accompaniment published separately ‡ All pizzicato Double Bass: Grade 6

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21. The scales, arpeggios and technical exercise are in Trinity’s book Double Bass Scales, Arpeggios & Studies from 2016. The orchestral extracts are in Orchester Probespiel: Kontrabass (published by Schott ED7854).

1. BOWING EXERCISE (from memory)

Candidates play one of the Grade 6 scales, freely chosen from the list, with each note of the scale played as two spiccato quavers. (q = 132) Either 2. SCALES, ARPEGGIOS & TECHNICAL EXERCISE (from memory) — Candidates prepare major and minor scales and arpeggios from the following tonal centres, to be played with separate bows or slurred as requested by the examiner. Examiners select from the following: scales separate bows or slurred two crotchet beats to a bow; ◗ A, E and F two octaves arpeggios separate bows or slurred three notes to a bow min. tempi: scales Plus: = 96 ◗ D major scale in thumb position with a down bow and an up bow q one octave arpeggios ◗ D melodic minor scale in on each note thumb position q. = 58 ◗ Chromatic scales starting on separate bows or slurred two 7ths E and F crotchet beats to a bow q = 72 two octaves ◗ Diminished 7ths starting on separate bows or slurred two E and F notes to a bow

When examiners request a major tonal centre, candidates should play in succession the: Double Bass: Grade ◗ Major scale ◗ Major arpeggio ◗ Dominant 7th starting on that note and resolving onto the tonic (to be prepared with separate bows and slurred two crotchet beats to a bow) When examiners request a minor tonal centre, candidates should play in succession the: ◗ Melodic minor scale ◗ Harmonic minor scale ◗ Minor arpeggio 6 Technical exercise (from memory) (q = 92–108): Broken thirds in G major (one octave) ?# etc œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

?# œ œ œ œ etc œ œ œ œ œ œ œ œ ˙ Ó

211 Double Bass: Grade 6

1. Brahms: Sinfonie Nr. 2, 4. Satz (page 15, bars 44–63) for tone and phrasing 2. Mozart: Die Zauberflöte, Ouvertüre (page 28, bars 33–53) for bowing 3. Beethoven: Sinfonie Nr. 5, 2. Satz (page 11, entire extract) for left hand technique

SUPPORTING TESTS

Candidates prepare: Improvisation ◗ Sight reading Candidates perform an improvisation based ◗ Aural or improvisation on a stimulus chosen from the following three options: Sight reading ◗ Stylistic After 30 seconds’ preparation time, candidates ◗ Motivic perform a previously unseen musical extract ◗ Harmonic at a level approximately two grades lower than the exam being taken. See pages 23–26 for See pages 27–33 for the requirements sight reading parameters. and parameters.

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

Aural questions

Parameters Task Requirement

i) Identify the time signature Listen to the piece twice ii) Comment on the dynamics iii) Comment on the articulation Harmonised Identify and comment on two other Listen to the piece twice 8 bars characteristics of the piece Identify the key to which the music modulates as Major key Listen to the first four bars subdominant, dominant or relative minor of the piece once Answers may alternatively be given as key names 2 3 4 6 Study a copy of the piece, Locate and describe the changes as pitch and listen to it twice with two or rhythm changes to the melody line

212 Double Bass: Grade 7 Double Bass: Grade 7

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

Composer Piece Book Publisher

Group A Harlequin’s Dance 1. HARRISON Harlequinade Recital RM506 for Columbine 2. HAUTA-AHO Erkon Elegia* Recital RM104 3. HEGNER Romance Recital RM028 4. KELLY Caliban Caliban and Ariel Yorke YE0065 Adagio (2nd movt from 5. KOHAUT Yorke YE0094 Concerto for Double Bass) 6. NOSKOWSKI Elegy Polonaise Miniatures book 1 Recital RM113 7. OSBORNE Count Me In!‡ Junior Jazz book 2 Recital RM081 8. RATEZ Cantabile, op. 46 no. 2 Characteristic Pieces book 1 Recital RM189 ROSSINI, 9. Une larme (A Tear) Recital RM303 arr. HEYES 10. RUSSELL Divergent Dances Recital RM458 SAINT-SAËNS, Aria ‘Mon coeur 11. McTier MM207 arr. McTIER s’ouvre à ta voix’ Yorke Solos vol 1: 12. WAUD Novelette Yorke YE0087 35 Easy Pieces

Group B

1. J S BACH Gavotte in G minor† Festival Performance Solos Fischer BF5 Double Bass: Grade 2. BEETHOVEN Tema con variazioni La Contrebasse classique vol B Combre C05716 Allegro ma non troppo 3. BREUER Breitkopf BG506 (1st movt from Sonatine) 4. CARROLL Toccata Three Pieces for Double Bass Forsyth FCI01 Andante con moto 5. CLUCAS Recital RM295 (2nd movt from Sonatina) Double Bass Collection: 6. FURTOK Concert Piece Concert Pieces for Bärenreiter BA9696 Double Bass and Piano Allegro and Andante 7 7. GALLIARD teneramente (2nd and 3rd IMC 1152 movts from Sonata in G) Broadbent & Dunn 8. JOHNS Deeply Blue‡ 12407

* Unaccompanied † Accompaniment published separately ‡ All pizzicato 213 Double Bass: Grade 7

9. LEOGRANDE May I? Spartan SP930 Adagio and Allegro MARCELLO, arr. 10. (1st and 2nd movts from IMC 1050 ZIMMERMANN Sonata no. 2 in E minor) Rondo: tempo di minuetto (3rd movt from Bassoon MOZART, 11. Concerto in Bb, K. 191) IMC 2421 arr. SANKEY (bar 42 played 8va higher; bar 135 optional 8va higher)

12. OSBORNE Mixed Feelings‡ Pizzicato All-Sorts Recital RM420 SULLIVAN, 13. Idyll Four Bass arr. FRAMPTON

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21. The scales, arpeggios & technical exercises are in Trinity’s book Double Bass Scales, Arpeggios & Studies from 2016. The orchestral extracts are in Orchester Probespiel: Kontrabass (published by Schott ED7854).

1. BOWING EXERCISE (from memory)

scales separate bows or slurred two crotchet beats min. tempi: ◗ D, F# and Bb to a bow; arpeggios separate bows or slurred scales = 104 three notes to a bow q two octaves arpeggios separate bows or slurred = 60 ◗ Chromatic scales starting on Bb and F# two crotchet beats to a q. bow 7ths = 76 separate bows or slurred q ◗ Diminished 7ths starting on Bb and F# two notes to a bow

214 ‡ All pizzicato Double Bass: Grade 7

Technical exercises (from memory) a) Broken thirds in Bb major (q = 120):      etc             

     etc            b) Running thirds in Bb major (q. = 60):                                                  

Or 3. ORCHESTRAL EXTRACTS (music may be used) — Candidates prepare the following three extracts. Candidates choose one extract to play first. Examiners then select one of the remaining two extracts to be performed. Double Bass: Grade 1a. Beethoven: Sinfonie Nr. 9, 4. Satz (page 14, beginning for tone and phrasing of extract to bar 47)

2a. Weber: Euryanthe, Ouvertüre (page 56, bars 164–185) for bowing

3a. Mozart: Sinfonie Nr. 40, 1. Satz (page 22, bars 114–134) for left hand technique

215 Double Bass: Grade 7

SUPPORTING TESTS

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

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

Aural questions

Parameters Task Requirement

i) Identify the time signature Listen to the piece twice ii) Comment on the dynamics iii) Comment on the articulation

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

216 Double Bass: Grade 8 Double Bass: Grade 8 PIECES Candidates perform a balanced programme of three pieces chosen from the lists below, containing at least one piece from each group. Only one unaccompanied piece may be chosen. Pieces by at least two composers must be played. An own composition may be played instead of one listed piece. See pages 16–19 for further guidance.

Composer Piece Book Publisher

Group A 1. BENSTEAD Lament, no. 3 Four Episodes Yorke YE0085 2. BOTTESINI Rêverie in D McTier MM203 3. CHAPUIS Choral Recital RM188 Adagio (2nd movt from Concerto 4. DITTERSDORF Concertos for Double Bass Yorke YE0059 no. 2) (without cadenza) Double Bass Collection: Bärenreiter 5. FAURÉ Sicilienne, op. 78 Concert Pieces for Double BA9696 Bass and Piano Double Bass Collection: Bärenreiter 6. FURTOK Elegie Concert Pieces for Double BA9696 Bass and Piano Solos for the Double Bass 7. GEISSEL Adagio Schirmer GS33083 Player 8. GOUFFÉ Concertino, op. 10 Billaudot R19143 9. HAUTA-AHO Miniature Recital RM391 Allegro (1st movt from 10. KOHAUT Yorke YE0094 Concerto for Double Bass) NIELSEN, 11. Romance Fantasy Pieces, op. 2 AMP 103 arr. KORDA RAMEAU, Two Eighteenth-Century 12. Tambourin Stainer H468 arr. STERLING Pieces Characteristic Pieces 13. RATEZ Scherzo, op. 46 no. 5 Recital RM190 book 2 Berceuse or Chant d’amour Three Pieces for Double 14. TULÁCEKˇ Recital RM021 or Valse miniature Bass & Piano

VERDI, Arias for Double Bass Double Bass: Grade 15. Air d’il Trovatore Yorke YE0023 arr. BOTTESINI & Piano 16. WILSON Aria Da Capo Recital RM484

Group B

1. A BEN EZRA Can’t Stop Running Ezra

2. BENSTEAD Finale, no. 4 Four Episodes Yorke YE0085 Allegro con brio (3rd movt 3. BREUER Breitkopf BG506 from Sonatine) 8 217 Double Bass: Grade 8

4. CIMADOR Allegro (1st movt from Concerto in G) Yorke YE0003 Allegro maestoso (1st movt from 5. DRAGONETTI Recital RM346 Concerto in C major) 6. DRAGONETTI Waltz no. 7* or Waltz no. 11* 12 Waltzes Henle HN847 Corrente and Adagio (2nd and 3rd 7. ECCLES IMC 1712 movts from Sonata in G minor) Variations on a Favourite Syrian Festival Performance 8. EISENGRÄSSER Fischer BF5 Folk Song (without var 1, 2 & 3)† Bass Solos 9. GAJDOŠ Capriccio no. 5* Selected Works for Bass Presser 414-41178 Adagio and Allegro (1st and 2nd Solos for the Double 10. HANDEL Schirmer GS33083 movts from Sonata in C minor) Bass Player 11. JACOB Introduction and Scherzo A Little Concerto Yorke YE0032 12. KEŸPER Rondo Romance and Rondo Yorke YE0030 Bartholomew 13. LORENZETTI Gavotte BMP003 14. OSBORNE Blues with a Swing Moving On Again! Recital RM419 PERGOLESI, Comodo and Allegro (1st and 2nd Bartholomew 15. arr. ELLIOTT movts from Sinfonia in F major) BMP010 PICHL, Allegro moderato (1st movt Bartholomew 16. ed. ELLIOTT from Concerto in C major) BMP007 QUANTZ, Adagio and Allegro (1st and 2nd 17. Recital RM320 ed. RUSSELL movts from Sonata in G major) Bartholomew 18. REYNOLDS Hornpipe BMP004 Rondo — Allegretto (3rd movt from 19. ROMBERG IMC 3097 Sonata in E minor, op. 38 no. 1) Largo and Allegro (1st and 2nd VIVALDI, trans. 20. movts from Sonata no. 3 in A minor, IMC 1474 ZIMMERMANN RV 43)

TECHNICAL WORK

Candidates prepare section 1. and either section 2. or section 3. See pages 20–21. The scales, arpeggios and technical exercises are in Trinity’s book Double Bass Scales, Arpeggios & Studies from 2016. The orchestral extracts are in Orchester Probespiel: Kontrabass (published by Schott ED7854).

1. BOWING EXERCISE (from memory)

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

218 * Unaccompanied † Accompaniment published separately Double Bass: Grade 8

three octaves scales separate bows or min. tempi: ◗ G (dominant 7th slurred four crotchet scales two octaves) beats to a bow; arpeggios = 112 separate bows or slurred q chromatic scales ◗ Ab/G#, B and C three notes to a bow q = 80 ◗ Chromatic scales starting on separate bows or slurred arpeggios two octaves G, Ab, B and C six notes to a bow q. = 66 7ths ◗ Diminished 7ths starting on separate bows or slurred G, Ab, B and C two notes to a bow q = 84

Technical exercises (from memory): a) Broken thirds in C major (one octave) (h = 76) 1 4 2 0 1 2 1 4 1 4 1 2           etc.etc         b) Broken thirds in F major (two octaves) (h = 76)

  etc.etc                  c) Running thirds in G major on the G string (one octave) — see Grade 7 example (q· = 60)

1. Verdi: Othello, 4. Akt (page 44, entire extract) for tone and phrasing

2. Stravinsky: Pulcinella-Suite, 7. Satz (page 60, for bowing fig. 85 to bar before fig. 89, without repeat)

3. Schubert: Sinfonie Nr. 8, 3. Satz: Scherzo for left hand technique (pages 30–31, bar 105 to 1st note of bar 145) 8 219 Double Bass: Grade 8

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

i) Identify the time signature Listen to the piece once ii) Comment on the dynamics Harmonised iii) Comment on the articulation 12–16 bars Identify and comment on three other Listen to the piece twice Major or minor key characteristics of the piece Study a copy of the piece, Locate and describe the changes 2 3 4 6 5 and listen to it twice with as pitch or rhythm three changes

220 Harp/Pedal Harp/Non-Pedal Harp: Initial to Grade 5 Harp/Pedal Harp/Non-Pedal Harp: Initial to Grade 5

EXAM DURATION EXAM STRUCTURE The Initial exam lasts The Grade 1 exam The Initial to Grade 5 exams contain the following: 13 minutes lasts 15 minutes Maximum marks

PIECE 1 22

PIECE 2 22 The Grade 2 exam The Grade 3 exam lasts 15 minutes lasts 15 minutes PIECE 3 22

TECHNICAL WORK 14

The Grade 4 exam The Grade 5 exam ◗ Either scales, arpeggios & exercises lasts 20 minutes lasts 20 minutes or studies

SUPPORTING TESTS 20

Any TWO of the following: ◗ Sight reading ◗ Aural ◗ Improvisation ◗ Musical knowledge

TOTAL 100

221 Harp: Initial Harp: Initial PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. Pieces by at least two composers must be played. An own composition may be played instead of one listed piece. All of the listed pieces are playable on either pedal or non-pedal harp. See pages 16–19 for further guidance. Composer Piece Book Publisher CLIFTON- Lullaby 1. Harping On book 1 Clifton-Welker WELKER or Skaters 2. DUNSTONE Ace Café Harpo One Creighton SD1001 3. DUNSTONE The Rocking Horse Harpo Two Creighton SD1002 Pulling Strings on the 4. EVANS Tilly’s Dance (bars 1–16) Evans Clarsach book 1 Chop-Chop! or Donkey Ride 5. GOUGH Lift-Off! Beartramka or Games in the Playground First-Grade Pieces 6. GRANDJANY Three O’Clock Fischer 04466 for Harp Brian Boru’s March or Fly in the Soup or Grace and Favour Traditional Irish Harp 7. HARBISON or Ten Green Bottles or The Tutor for Junior Janet Harbison 1005 A-B-C Song or There Stands Beginners a Lady or This Old Man King Henry’s Dance or March 8. KANGA of the Wooden Soldiers Minstrel’s Gallery Maruka or Queen Mary’s Lullaby

9. MacDEARMID To and Fro First Steps (Folio 21) Clarsach Society Fa, Sol, La, Doh Harp Olympics: 10. McDONALD MusicWorks or Lullaby Preliminary Round 11. PERNEL Petits pas or Pleurs de joie Les Amuse-Bouches La Harpe Libre Magical Animals on the 12. ROTHSTEIN Glow Worm Rothstein Harp 13. ROTHSTEIN The Mistle Thrush A Walk in the Forest Rothstein Little Harper 14. SCHLOMOVITZ Beginner’s Harp Book 1 Salvi or Japanese Sunset Taigh na Teud 15. STRACHAN Sneachd (Gentle Snow) A’ Cheud Cheum 1871931029 TRAD., arr. Twelve Easy Pieces for 16. An Dro Cornwall Harp Centre DEERE-JONES Celtic or Traditional Harp TRAD., Lazy Mary 17. Fun from the First vol 1 Lyon & Healy arr. MILLIGAN or Round Dance TRAD., The Very Small Harp 18. Clog Bransle Radford arr. RADFORD Book TRAD., 19. Au clair de la lune Harp from the Start Pentland arr. ROBERTSON TRAD., Melody Beginning at the Harp 20. Lovelace arr. THOMSON or We Dance vol 1 222 Harp: Initial

TECHNICAL WORK

Candidates prepare either section 1. or section 2. See page 22. The exercises and studies are in Trinity’s book Harp Studies & Exercises from 2013.

Either 1. SCALES, ARPEGGIOS & EXERCISES Harp: Initial Scales & arpeggios (from memory) Examiners select from the following:

Scales: ◗ C major divided between ◗ A minor one octave hands min. tempo: (candidate choice of either = 60 harmonic or natural minor)  (one note per mf Arpeggios: quaver) ◗ C major to the 5th hands separately ◗ A minor

Exercises (music may be used) — Candidates prepare all three exercises. Candidates choose one exercise to play first. Examiners then select one of the remaining two exercises to be performed. a. 1. Swinging for arpeggio patterns b. 2. Small Scissors for playing in thirds c. 3. Big Scissors for playing in sixths

Or 2. STUDIES (music may be used) — Candidates prepare all three studies. Candidates choose one study to play first. Examiners then select one of the remaining two studies to be performed. a. 31. Bears in a Cage b. 33. Fanfare c. 34. Rodeo

223 Harp: Initial

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

224 Harp: Grade 1 Harp: Grade 1 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. Pieces by at least two composers must be played. An own composition may be played instead of one listed piece. Unless indicated otherwise, all of the listed pieces are playable on either pedal or non-pedal harp. See pages 16–19 for further guidance. Composer Piece Book Publisher

1. CLIFTON-WELKER Raindrops for Rachel Harping On book 1 Clifton-Welker

Panorama de la harpe Transatlantiques Harp: Grade 2. CORRI Marche celtique TR001761 Day Dreaming Twelve Easy Pieces for Cornwall Harp 3. DEERE-JONES or The Young Horse Reel Celtic or Traditional Harp Centre 4. DUNSTONE A Trifle Harpo Two Creighton SD1002 5. DUNSTONE Fairy Dust Harpo One Creighton SD1001 Pulling Strings on the 6. EVANS The Ferris Wheel Evans Clarsach book 1 1 7. GOUGH Kangaroos Lift-Off! Beartramka 8. GRANDJANY Little Waltz First-Grade Pieces for Harp Fischer 04466 HUMPERDINCK, There Stands a Little Man 9. Fun from the First vol 1 Lyon & Healy arr. MILLIGAN (from Hansel and Gretel) 10. LEWIS Ripples Melodic Moments Goodmusic GM226 Fiesta! (Cuirmeachd) or Beginner’s Choice 11. MacDEARMID The Merry-Go-Round Clarsach Society (Folio 18) (A’ dol mun cuairt)

12. MacDEARMID On Parade or The Elfin Piper First Steps (Folio 21) Clarsach Society Dreamy Little Cow Harp Olympics: 13. McDONALD MusicWorks or Lady Bug Preliminary Round Twelve Impressions on A Red Waltz* or Bird Discussion* 14. OWENS Pedal Patterns for Young Lyon & Healy or Sunday Morning* Harpists 15. PARET Rondo First Harp Book Lyra 16. PERNEL Sorbet pistache Les Amuse-Bouches La Harpe Libre 17. PERNEL Vers les nuages Autre chose for lever harp La Harpe Libre PRAETORIUS, Kim Robertson Celtic Harp 18. Spagnoletta Mel Bay 95345 arr. ROBERTSON Solos 19. ROBERTSON Ocean Waves Harp from the Start Pentland 20. ROSE Jack and the Giant The Enchanted Harp Lyra 21. ROTHSTEIN All the Way Home A Walk in the Forest Rothstein Bhalsa an Teuda Geal Puirt Ùra (New Tunes Taigh na Teud 22. THOMSEN (The White String Waltz) for Harp): Beginners 9781906804077 23. TOURNIER Les tierces Les plaisirs de la harpe vol 1 Lemoine HL25266 TRAD., Twelve Easy Pieces for Cornwall Harp 24. Cantigo no. 100 arr. DEERE-JONES Celtic or Traditional Harp Centre TRAD., 25. The Ash Grove Mixed Doubles Spartan SP1285 arr. GREEN

* Pedal harp only 225 Harp: Grade 1

TRAD., Taigh na Teud 26. Oran na Maighdinn Mhara Scottish Harp arr. HEWAT 1871931037 TRAD., Tuireadh Iain Ruaidh Lullabies, Airs and 27. Clarsach Society arr. JACKSON (Red John’s Lament) Dances vol 1 (Folio 40) TRAD., 28. The Northern Princess Fun from the First vol 1 Lyon & Healy arr. MILLIGAN TRAD., 29. The Purple Bamboo Fun from the First vol 2 Lyon & Healy arr. MILLIGAN TRAD., Soraidh Slàn Le Fionnairidh 30. Mist Covered Mountains Alaw arr. SINCLAIR (Farewell to Fuinary) Barn Dance Memory 31. WEIDENSAUL First-Grade Pieces for Harp Fischer 04466 or Midnight Stars

TECHNICAL WORK

Candidates prepare either section 1. or section 2. See page 22. The exercises and studies are in Trinity’s book Harp Studies & Exercises from 2013.

Either 1. SCALES, ARPEGGIOS & EXERCISES Scales & arpeggios (from memory) Examiners select from the following:

Scales: ◗ G and F major ◗ D and E minor min. tempo: (candidate choice of either = 60 one octave hands separately e harmonic or natural minor) (one note per mf quaver) Arpeggios: ◗ G and F major ◗ D and E minor

Exercises (music may be used) — Candidates prepare all three exercises. Candidates choose one exercise to play first. Examiners then select one of the remaining two exercises to be performed. a. 4. Zebra Crossing for turning under and over loudly b. 5. Why did the Chicken Cross the Road? for turning under and over softly c. 6. Stilts for playing octaves in one hand

226 Harp: Grade 1

SUPPORTING TESTS

Candidates choose TWO of the following: Improvisation ◗ Sight reading Candidates perform an improvisation based on a stimulus chosen from the following ◗ Aural three options: ◗ Improvisation ◗ Stylistic ◗ Musical knowledge ◗ Motivic ◗ Sight reading Harmonic After 30 seconds’ preparation time, candidates See pages 27–33 for the requirements Harp: Grade perform a previously unseen musical extract and parameters. at a level lower than the exam being taken. See pages 23–26 for the requirements Musical knowledge and parameters. Candidates answer questions assessing their understanding of the pieces performed, as well Aural as their knowledge of notation and the harp. Candidates answer questions based on a single Questions are based on candidates’ chosen 1 musical example played on the piano by the pieces. See pages 34–35 for example questions examiner. See page 27 for more information. and responses. The aural test requirements for Grade 1 are below.

Aural questions

Parameters Task Requirement

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

Melody only i) Identify the dynamic as forte or piano Listen to the melody once ii) Identify the articulation as legato 4 bars or staccato

Major key Listen to the first two bars Identify the last note as higher or lower of the melody once than the first note 2 3 Listen to the melody twice, Or with a change of rhythm or Identify where the change occurs 2. STUDIES (music may be used) — Candidates prepare all three studies. pitch in the second playing Candidates choose one study to play first. Examiners then select one of the remaining two studies to be performed. a. 35. A Grand Event b. 37. Chimes Across the Fields c. 39. Rocking Horse

227 Harp: Grade 2 Harp: Grade 2 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. Pieces by at least two composers must be played. An own composition may be played instead of one listed piece. Unless indicated otherwise, all of the listed pieces are playable on either pedal or non-pedal harp. See pages 16–19 for further guidance.

Composer Piece Book Publisher

1. ANDRÈS No. 2 or no. 4 Charades Hamelle HA009609

2. ANDRÈS No. 2 or no. 6 Aquatintes Hamelle HA009606 ANON., Kim Robertson Celtic 3. Kalenda Maya Mel Bay 95345 arr. ROBERTSON Harp Solos BARTÓK, 4. In Yugoslav Mode, no. 3 Mikrokosmos for Harp Boosey M060011931 arr. MARZUKI 5. BOUCHARD Le parapluie Harpe d’Or Billaudot GB5993

6. CLIFTON-WELKER Frogs Harping On book 2 Clifton-Welker

7. CLIFTON-WELKER Goblin Rustle Harping On book 1 Clifton-Welker DHUGLAS, An Cala Seimh Lullabies, Airs & Dances 8. Clarsach Society arr. NAPIER (The Peaceful Harbour) vol 1 (Folio 40) 9. DUNSTONE Leaving Harpo Three Creighton SD1003

10. DUNSTONE The Faded Flower Harpo Two Creighton SD1002 Deep Sea Diving 11. GOUGH Lift-Off! Beartramka or Into Space 12. GRANDJANY Gigue Petite suite classique Fischer 04788 Rêverie Trois petites pièces très 13. GRANDJANY Leduc AL20039 or Nocturne faciles, op. 7 14. GRANDJANY The See-saw Little Harp Book Fischer 04636 HAYDN, Andante (from the 15. First Harp Book Lyra arr. PARET ‘Surprise’ Symphony) 16. HOLÝ Dolly’s Cradle Song In Toyland, op. 30 Lyra

17. KANGA Sunshine Valley Minstrel’s Holiday Maruka LEE, Early English Pieces 18. Variations Lyra arr. LAWRENCE for the Beginner Monastery Bells 19. LEWIS Echoes of Olden Times Goodmusic GM222 or Troubadour Early French Pieces for 20. LULLY Minuet Lyra the Beginner

228 Harp: Grade 2

Copy Cat or O Dear, 21. MacDEARMID First Steps (Folio 21) Clarsach Society What Can the Matter Be?

22. MAROS Notturno Suite for Harp EMB Z.7390 A Selection from NORTON, Country Ballad Microjazz Collection 1 23. 80 Days arr. BENNETT or Stairway arranged for harp or lever harp Twelve Impressions on 24. OWENS Dance of the Little Fish* Pedal Patterns for Young Lyon & Healy Harpists O’Carolan’s Air 25. PARET First Harp Book Lyra or The Foggy Dew 26. PERNEL En grappes Les Amuse-Bouches La Harpe Libre Autre chose for lever 27. PERNEL La coccinelle La Harpe Libre Harp: Grade harp 28. ROSE Peter Rabbit The Enchanted Harp Lyra Butterfly or The 29. ROTHSTEIN Animals on the Harp Rothstein Frolicking Lambs 30. THOMSON Ebbing Tide Lovelace

31. THOMSON Song at Night Lovelace 2 TRAD., Early One Morning 32. Traditional Treasures Gabriel arr. BENNETT or Scarborough Fair Twelve Easy Pieces for TRAD., Over the Hills and Far 33. Celtic Cornwall Harp Centre arr. DEERE-JONES Away or The Mayflower or Traditional Harp TRAD., 34. Schlaf Mein Kleiner Harfenspiel Preissler JP6208 arr. HÖLLER Se Gaol a Bhobain Fionnlagh (Finlay Is His TRAD., 35. Father’s Darling) or A’ Cheud Cheum Taigh na Teud 1871931029 arr. MARTIN Thig am Bàta, Hug-o (The Boat Will Come) TRAD., 36. Arrane Ghelby More Tunes to Treasure Swanston arr. MIERAS TRAD., The Britches Full 37. Harp from the Start Pentland arr. ROBERTSON of Stitches TRAD., Bàigh Na Hearadh 38. Mist Covered Mountains Alaw arr. SINCLAIR (Bays of Harris) TRAD., Seallaibh curaidh Puirt Ùra (New Tunes for Taigh na Teud 39. arr. THOMSEN Eòghain Harp): Beginners 9781906804077 40. VERDELL A Cloudy Day Songs of Four Seasons Broekmans BP1924 First-Grade Pieces for 41. WEIDENSAUL El número uno Fischer 04636 Harp

* Pedal harp only 229 Harp: Grade 2

TECHNICAL WORK

Candidates prepare either section 1. or section 2. See page 22. The exercises and studies are in Trinity’s book Harp Studies and Exercises from 2013.

Either 1. SCALES, ARPEGGIOS & EXERCISES

Scales & arpeggios (from memory) Examiners select from the following:

Scales: ◗ Bb and D major ◗ G and B minor (candidate choice of either min. tempo: harmonic or natural minor except = 70 non-pedal harp B minor which two octaves hands together e (one note per f or p should be natural minor only) quaver) Arpeggios: ◗ Bb and D major ◗ G and B minor

Exercises (music may be used) — Candidates prepare all three exercises. Candidates choose one exercise to play first. Examiners then select one of the remaining two exercises to be performed. a. 7. Oceans Eight for arpeggio patterns in inversions b. 8. Sliding Down for sliding the thumb c. 9. Hard as Nails for use of the fingernail

230 Harp: Grade 2

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

Listen to the melody Clap the pulse on the third playing, Or three times stressing the strong beat 2. STUDIES (music may be used) — Candidates prepare all three studies. i) Describe the dynamics, which will vary Candidates choose one study to play first. Examiners then select one of the remaining Melody only during the melody two studies to be performed. Listen to the melody once 4 bars ii) Identify the articulation as legato or staccato a. 41. Hymn Major or minor key Identify the last note as higher or lower Listen to the melody once b. 42. Sailing the Isles than the first note 2 3 c. 48. Scales in the Mountains (pedal harp) / 47. Scales in the Desert (non-pedal harp) Listen to the melody twice, i) Identify where the change occurs with a change of rhythm or pitch in the second playing ii) Identify the change as rhythm or pitch

231 Harp: Grade 3 Harp: Grade 3 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. Pieces by at least two composers must be played. An own composition may be played instead of one listed piece. Unless indicated otherwise, all of the listed pieces are playable on either pedal or non-pedal harp. See pages 16–19 for further guidance.

Composer Piece Book Publisher 1. ANDRÈS Gavotte Automates Hamelle HA009608 2. ANDRÈS No. 10† Les petits pas Lemoine HL26985 ANON., Kim Robertson Celtic 3. Lauda to Sta. Maddalena Mel Bay 95345 arr. ROBERTSON Harp Solos BARON, Broken String 4. Air, no. 7 Suite in C major trans. WARD BSP002 5. BURGON First Man* Beginnings Stainer H52 CAMIDGE, Early English Pieces 6. Christ-Church Bells Lyra arr. LAWRENCE for the Beginner CLEMENTI, 7. 1st movt (from Sonatina)* Second Harp Book Lyra trans. PARET Autumn Skies or Boats on 8. CLIFTON-WELKER the Solent or Fairground Harping On book 2 Clifton-Welker or Harp Break or Lanterns Pulling Strings on the 9. EVANS The Sleeping Child Evans Clarsach book 1 Lieder und Tänze für 10. FRANZL Der Vorderkaiserfeldner Preissler JP6201/1 die Volksharfe The Scottish Harp Anthology 11. GILCHRIST Hospitality of Jane† Pentland vol 1: Elementary 12. GOUGH Cuckoo Clock Lift-Off! Beartramka GOUNOD, 13. Les Pifferari† Medieval to Modern vol 2 Lyon & Healy ed. MILLIGAN Trois petites pièces 14. GRANDJANY Barcarolle Leduc AL20039 très faciles, op. 7 15. GREEN Blistering Rock! Blistering Along! Spartan SP1281 GRUBNER, Twelve Jazzy 16. arr. ROBINSON Silent Night Pedal Sliders Christmas Songs & WHITING Lieder und Tänze für 17. HAUN Gemütlicher Ländler Preissler JP6201/1 die Volksharfe The Scottish Harp Anthology 18. HEWAT Redesmouth Mill† Pentland vol 2: Intermediate 19. HOLÝ Colombine or Harlequin In Toyland, op. 30 Lyra Coconut Joe or Magic Dreams or Party Time Rag 20. KANGA or We’re at the Seaside, Minstrel’s Holiday Maruka We’re at the Sea or When We’re Swimming Along

232 * Pedal harp only † Non-pedal harp only Harp: Grade 3

Blue Sky and Long Grass 21. LEWIS Melodic Moments Goodmusic GM226 or Shepherd’s Tune Contemplation 22. LEWIS Contemplation and Comedy Goodmusic GM223 or Gentle Interlude 23. LEWIS Tibby Telor Echoes of Olden Times Goodmusic GM222

24. MacDEARMID Hoe Down Party Pieces (Folio 23) Clarsach Society Harp Solos: Graded Recital 25. McDONALD Serenade* MusicWorks M18 Pieces vol 2 Chant A Selection from Microjazz NORTON, 26. or Reggae Collection 2 arranged for 80 Days arr. BENNETT or Sunset harp or lever harp Cross-over A Selection from Microjazz NORTON, 27. or New Confidence Collection 1 arranged for 80 Days arr. BENNETT or Walking Together harp or lever harp 28. PHILLIPS No. 1 or no. 4 Le jardin secret d’elodie Combre 5136 PLEYEL, Kleine Werke alter Meister 29. Allegretto Preissler JP6204 arr. ZINGEL für die Harfe 30. RODGERS Skylark Stainer H495 31. ROSE The Clock and the Mouse The Enchanted Harp Lyra

32. ROSETTY Samba Rosa Groovy Harping Together XYZ 1411 Harp: Grade 33. ROTHSTEIN Seagull Animals on the Harp Rothstein The Dance of Danny’s 34. ROTHSTEIN Magical Animals on the Harp Rothstein Dragon Beethoven at School Sketches for Harpist 35. SALZEDO (on non-pedal harp: Presser 464-00053 Beginners to be played in Bb major) 36. SALZEDO On Stilts Short Stories in Music vol 2 Lyra 3 3 Processional or The Clock Tiny Tales for Harpist 37. SALZEDO Lyra Maker’s Shop Beginners vol 2 A Cheerful Piece for a 38. SIMPSON Pedal Harp World Beartramka Wintry January Afternoon* TRAD., Gillean an Dròbhair (The Taigh na Teud 39. Scottish Harp arr. HEWAT Drover’s Lads) 1871931037 TRAD., Song of Alsace 40. Nine Folk Melodies Lyra arr. OWENS or Steal Away TRAD., 41. Londonderry Air Lyra arr. PARET TRAD., 42. The Streets of Dublin Harp from the Start Pentland arr. ROBERTSON TRAD., UMP 43. The Christ Child’s Lullaby Sounding Strings arr. STEVENSON 9790224402476 Bog Braon don tSeanduine TRAD., 44. (Warm a Drop for the Sounding Harps book 1 Cairde na Cruite arr. YEATS Baby)† A Harmonic Waltz WHITING & 45. or Interrupted Blues Easy Jazz & Blues Pedal Sliders ROBINSON or Jazz Lullaby

* Pedal harp only † Non-pedal harp only 233 Harp: Grade 3

TECHNICAL WORK

Candidates prepare either section 1. or section 2. See pages 20–21. The exercises and studies are in Trinity’s book Harp Studies & Exercises from 2013.

Either 1. SCALES, ARPEGGIOS & EXERCISES Scales & arpeggios (from memory) Examiners select from the following: Scales: ◗ Eb and A major ◗ C minor (non-pedal harp only) or F minor (pedal harp only) (candidate choice of either hands together min. tempo: harmonic or melodic minor) (melodic minor = 80 two octaves e or scale on non-pedal (one note per f p ◗ Eb major contrary motion starting harp RH only) quaver) from single Eb string

Arpeggios: ◗ Eb and A major ◗ C and F minor

Exercises (music may be used) — Candidates prepare all three exercises. Candidates choose one exercise to play first. Examiners then select one of the remaining two exercises to be performed. a. 10. Popcorn for staccato playing b. 11. Bluesy for étouffés in the left hand c. 12. Sliding Up for sliding the 4th finger

234 Harp: Grade 3

SUPPORTING TESTS

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

examiner. See page 27 for more information. and responses. Harp: Grade The aural test requirements for Grade 3 are below.

Aural questions 3 Parameters Task Requirement

Clap the pulse on the second playing, Listen to the melody twice stressing the strong beat

Or Melody only Listen to the melody once Identify the tonality as major or minor 2. STUDIES (music may be used) — Candidates prepare all three studies. Listen to the first two notes Identify the interval by number only 4 bars Candidates choose one study to play first. Examiners then select one of the remaining two of the melody once (second, third, fourth, fifth or sixth) studies to be performed. Major or minor key Study a copy of the melody a. 44. The Watermill (provided in treble, alto or i) Identify in which bar the change 3 4 bass clef as appropriate), and has occurred b. 49. Camel Ride listen to it once as written and once with a change of rhythm ii) Identify the change as rhythm or pitch c. 52. Goldfish or pitch

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

Composer Piece Book Publisher Menuets 1 and 2 (from Cello J S BACH, Suite no. 1, BWV 1007) or Cello Suites vol 1: Suites 1–2 1. Billaudot GB8517 trans. CHEFSON Menuets 1 and 2 (from Cello (BWV 1007–1008) Suite no. 2, BWV 1008) BARON, Broken String 2. Minuet, no. 3 Suite in C major trans. WARD BSP002 BARTÓK, Boosey 3. Triplets, no. 11 Mikrokosmos for Harp arr. MARZUKI M060011931 CHAVARRI, 4. El viejo castillo moro Lyra trans. GRANDJANY Andantino poco allegretto UT Orpheus 5. DALVIMARE (2nd movt from Sonata, MAG252 op. 2 no. 1) DELIBES, Solos for Lever or 6. Flower Duet (from Lakmé) Avondale AvP105 arr. VOLPÉ BLIGH Pedal Harp DELIBES, Solo for Harp — Morceau à Franck & Delibes: Two 7. Allegro/OUP ed. COSTELLO déchiffrer Original Pieces for Harp Ah! vous dirai-je maman DESARGUS, First Easy–Medium 8. (Twinkle, Twinkle, Little Morley 500296 ed. WATKINS Grade Volume Star) Andante con moto (1st movt from Sonatina Bärenreiter Praha 9. DUSSEK no. 1 in C) or Andante Six Sonatines for Harp H1748 grazioso (1st movt from Sonatina no. 2 in F) FRANCK, Franck & Delibes: Two 10. Solo for Harp — Allegretto Allegro/OUP ed. COSTELLO Original Pieces for Harp 11. FRANÇOIS Ragtime Easy Swing Billaudot GB7382 12. GRANDJANY Arabesque Lyra 13. GRANDJANY Noël provençal, op. 24 Lyra 14. HAMZELOU Persian Dance Pedal Harp World Beartramka HANDEL, 15. Air varié Medieval to Modern vol 1 Lyon & Healy ed. MILLIGAN 16. HASSELMANS Rêverie Trois petites pièces faciles Durand 453300 Durand 17. HASSELMANS Sérénade mélancolique Feuilles d’Automne DF00565100 Papierblume (Paper Klangblumen 18. HELLER Flower), no. 7 or Ackerwinde Schott ED21020 (Musical Flowers) (Bindweed), no. 12

236 Pedal Harp: Grade 4

The Smell of Honeysuckle or Suite: In the Garden, 19. HIGGINSON The Stream that Bounds the Fagus op. 173 Garden or Wild Roses HOLST, arr. Twelve Jazzy Christmas 20. In the Bleak Midwinter Pedal Sliders ROBINSON & WHITING Songs 21. HUI Hommage à Krumpholz Pedal Harp World Beartramka 22. JAMES Alice or The Pool of Tears Alice in Wonderland La Harpe Blanche Home Time or Minstrel’s 23. KANGA Minstrel’s Holiday Maruka Farewell to the Holiday Romance (2nd movt from Broekmans 24. KRUMPHOLZ Sonata in Bb major) BRP933 KUHNAU, Menuet and Sarabande Baroque and Classic 25. Lyon & Healy ed. PRATT (both to be played) Pieces for Harp Strawberry Moon 26. LLYR Creighton SM0573 (Lleuad Mefus) 27. MAROS Naenia Suite for Harp EMB Z.7390 MAYER, First Easy–Medium 28. Romance in B minor Morley 500296 ed. WATKINS Grade Volume Harp Solos: Graded 29. McDONALD Nocturne MusicWorks M21 Recital Pieces vol 5 MILAN, Baroque and Classic 30. Pavana Lyon & Healy Pedal Harp: Grade ed. PRATT Pieces for Harp Duet A Selection from NORTON, 31. or Samba Microjazz Collection 2 80 Days arr. BENNETT or Washing Blues arranged for harp 32. PETRA-BASACOPOL The Bear Baloo The Jungle Book Lyra PIERPONT, arr. Twelve Jazzy Christmas 33. Jingle Bells Pedal Sliders ROBINSON & WHITING Songs Allegretto grazioso Broekmans 34. PITFIELD (1st movt from Sonatina) BP1450 35. RENIÉ Angelus Feuillets d’album Lemoine HL19302 4 Grand-mère raconte 36. RENIÉ Leduc AL19922 une histoire Twelve Jazzy Christmas 37. ROBINSON & WHITING The Elf Factory Pedal Sliders Songs 38. ROSETTY Bossa Boy or Jazzy Joe Jazzy Harping Together XYZ 1392 Magical Animals on 39. ROTHSTEIN Unicorn Rothstein the Harp Short Stories in Music 40. SALZEDO Pirouetting Music Box Lyra vol 2 41. SIMPSON A Nostalgic Piece for May Pedal Harp World Beartramka Libellenflug 42. STADLER Spirit of Harp Doblinger D35843 (The Dragonfly) TRAD., arr. Twelve Jazzy Christmas 43. Coventry Carol Pedal Sliders ROBINSON & WHITING Songs The Travel Journal of a TRAD., Hong Kong Harp 44. Purple Bamboo Melody Western Harpist in the arr. STICKNEY Chamber Chinese Garden 237 Pedal Harp: Grade 4

TECHNICAL WORK

Candidates prepare either section 1. or section 2. See page 22. The exercises and studies are in Trinity’s book Harp Studies & Exercises from 2013.

Either 1. SCALES, ARPEGGIOS & EXERCISES Scales & arpeggios (from memory) Examiners select from the following:

Scales: ◗ Ab and E major ◗ C# and F# minor (harmonic and melodic minor) min. tempo: = 90 ◗ Ab major contrary motion two octaves hands together e or (one note per f p starting from single Ab string quaver) Arpeggios: ◗ Ab and E major ◗ C# and F# minor

Exercises (music may be used) — Candidates prepare all three exercises. Candidates choose one exercise to play first. Examiners then select one of the remaining two exercises to be performed. a. 13. A Bit Jazzy for étouffés and pedal/lever glissandi b. 14. Rocking Chair for finger articulation and thumb placing c. 15. PDLT for près de la table

238 Pedal Harp: Grade 4

SUPPORTING TESTS

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

The aural test requirements for Grade 4 Pedal Harp: Grade are below.

Aural questions

Parameters Task Requirement

Clap the pulse on the second playing, Listen to the piece twice stressing the strong beat Or 4 2. STUDIES (music may be used) — Candidates prepare all three studies. i) Identify the tonality as major or minor Candidates choose one study to play first. Examiners then select one of the remaining two Listen to the piece twice ii) Identify the final cadence as perfect studies to be performed. Harmonised or imperfect

4 bars Identify the interval as minor or major Listen to the first two notes a. 53. Shining Scales second, minor or major third, perfect of the melody once Major or minor key fourth or fifth, minor or major sixth b. 55. Cool Dude Study a copy of the melody c. 60. Elizabeth’s Revel 4 6 (provided in treble, alto or i) Identify the bar in which the change bass clef as appropriate), and of rhythm occurred listen to it once as written ii) Identify the bar in which the change and once with a change of of pitch occurred rhythm and a change of pitch

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

Composer Piece Book Publisher ANON., Pièces anciennes pour Romance Leduc AL27187 1. arr. ROLLIN harpe celtique BACKOFEN, Kleine Werke alter 2. Theme varie Preissler JP6204 arr. KOPP Meister für die Harfe BARON, 3. Minuet, no. 3 Suite in C major Broken String BSP002 trans. WARD BARTÓK, 4. Triplets, no. 11 Mikrokosmos for Harp Boosey M060011931 arr. MARZUKI Panorama de la harpe Transatlantiques 5. BUTTSTEDT Menuet celtique TR001761 DALZA, Kim Robertson Celtic 6. Paduana alla Venetiana Mel Bay 95345 arr. ROBERTSON Harp Solos Early French Pieces 7. DANDRIEU Gavotte in Rondo Form Lyra for the Beginner DELIBES, Solos for Lever or Flower Duet (from Lakmé) Avondale AvP105 8. arr. VOLPÉ BLIGH Pedal Harp 9. FRANÇOIS Ragtime Easy Swing Billaudot GB7382 Lieder und Tänze für 10. FRANZL Im schönen Kaisertal Preissler JP6201/1 die Volksharfe La pagode de l’harmonie céleste or Paysage au 11. GABUS Images de Chine Billaudot GB4019 bord de l’eau or Un français à Pékin 12. GREEN Lullaby — for Wendy Blistering Along! Spartan SP1281 13. GREEN Ragged Robin Flights of Fancy Spartan SP1282 Papierblume Klangblumen 14. HELLER Schott ED21020 (Paper Flower), no. 7 (Musical Flowers) Taigh na Teud 15. HEWAT Lindsey Grace Johnson Scottish Harp 1871931037 Procession or Dolly’s 16. HOLÝ In Toyland, op. 30 Lyra Dance 17. JAMES Alice or The Pool of Tears Alice in Wonderland La Harpe Blanche Home Time or Minstrel’s 18. KANGA Minstrel’s Holiday Maruka Farewell to the Holiday 19. LEWIS Lament for a Castle Echoes of Olden Times Goodmusic GM222 Laurel & Hardy Contemplation and 20. LEWIS Goodmusic GM223 or Charlie Chaplin Comedy Feet First A Selection from NORTON, 21. or Highly Strung Microjazz Collection 3 80 Days arr. BENNETT or Ostinato arranged for lever harp

240 Non-Pedal Harp: Grade 4

PIERPONT, Twelve Jazzy 22. arr. ROBINSON Jingle Bells Pedal Sliders Christmas Songs & WHITING Grand-mère raconte 23. RENIÉ Leduc AL19922 une histoire The Scottish Harp 24. ROBERTSON The Angels’ Share Anthology vol 2: Pentland Intermediate Bossa Boy 25. ROSETTY Jazzy Harping Together XYZ 1392 or Jazzy Joe Magical Animals on the ROTHSTEIN Unicorn Rothstein 26. Harp Chimes Tiny Tales for Harpist 27. SALZEDO Lyra or The Dandy Beginners vol 2 Adventures for Lever 28. SCOTT Gecko Dance Astute AM100-03 Harp vol 1 Libellenflug 29. STADLER Spirit of Harp Doblinger D35843 (The Dragonfly) TRAD., 30. Greensleeves Traditional Treasures Gabriel arr. BENNETT

Steps to Excellence: Non-Pedal Harp: Grade TRAD., 31. Kand Khoa Kin Kroy World Traditional Music Creighton arr. BZHEZHINSKA for Harp TRAD., Classical Tunes for Irish Princess Augusta Broekmans BP1507 32. arr. CAMPBELL Harp vol 2 TRAD., 33. Skye Boat Song Mixed Doubles Spartan SP1285 arr. GREEN TRAD., 34. Ar Hyd y Nos Aros Alaw arr. JENKINS The Scottish Harp TRAD., 35. The Battle of the Boyne Anthology vol 2: Pentland arr. LE GOVIC Intermediate Bruach Na Carraige Baine 4 TRAD., (At the Edge 36. Harp from the Start Pentland arr. ROBERTSON of the White Rock) or I Shall Not Go to Bed TRAD., Kim Robertson 37. Roving Galway Boy Mel Bay 95345 arr. ROBERTSON Celtic Harp Solos TRAD., 38. Eriskay Love-Lilt Sounding Strings UMP 9790224402476 arr. STEVENSON TRAD., Classical Tunes for Irish 39. Spinning Song from Lewis Broekmans BP1507 arr. VAN CAMPEN Harp vol 2 TRAD., A Tapestry of Scottish 40. O Thistle of Scotland Clarsach Society arr. WILSON Tunes vol 3 (Folio 44) 41. TURNER Skegness Rock Lever Harp World Beartramka 42. VERDELL Trees in Spring Songs of Four Seasons Broekmans BP1924 YOUNG, Early English Pieces for 43. The Prince’s March Lyra arr. LAWRENCE the Beginner

241 Non-Pedal Harp: Grade 4

TECHNICAL WORK

Candidates prepare either section 1. or section 2. See page 22. The exercises and studies are in Trinity’s book Harp Studies & Exercises from 2013.

Either 1. SCALES, ARPEGGIOS & EXERCISES Scales & arpeggios (from memory) Examiners select from the following:

Scales: ◗ E or Ab major* major and ◗ G and D minor harmonic minor (harmonic and melodic minor) scales: hands together min. tempo: ◗ E major contrary motion starting from two melodic minor = 90 e f or p single E string or Ab major contrary octaves scales: RH only (one note per motion starting from single Ab string* quaver)

Arpeggios: ◗ E or Ab major* hands together ◗ G and D minor

Exercises (music may be used) — Candidates prepare all three exercises. Candidates choose one exercise to play first. Examiners then select one of the remaining two exercises to be performed.

a. 13. A Bit Jazzy for étouffés and pedal/lever glissandi

b. 14. Rocking Chair for finger articulation and thumb placing

c. 15. PDLT for près de la table

* Candidate’s choice depending on tuning of instrument — chosen key must be stated 242 on appointment form Non-Pedal Harp: Grade 4

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

Clap the pulse on the second playing, Listen to the piece twice stressing the strong beat 4 Or i) Identify the tonality as major or minor 2. STUDIES (music may be used) — Candidates prepare all three studies. Listen to the piece twice ii) Identify the final cadence as perfect Candidates choose one study to play first. Examiners then select one of the remaining two Harmonised or imperfect studies to be performed. 4 bars Identify the interval as minor or major Listen to the first two notes second, minor or major third, perfect a. 53. Shining Scales of the melody once Major or minor key fourth or fifth, minor or major sixth b. 55. Cool Dude 4 6 Study a copy of the melody c. 60. Elizabeth’s Revel (provided in treble, alto or i) Identify the bar in which the change bass clef as appropriate), and of rhythm occurred listen to it once as written ii) Identify the bar in which the change and once with a change of of pitch occurred rhythm and a change of pitch

* Candidate’s choice depending on tuning of instrument — chosen key must be stated on appointment form 243 Pedal Harp: Grade 5 Pedal Harp: Grade 5 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. Pieces by at least two composers must be played. An own composition may be played instead of one listed piecee. See pages 16–19 for further guidance.

Composer Piece Book Publisher

1. ANDRÈS Calembredaine Hamelle HA09753 Collection attributed to Grétry: ANON., Marche du Huron Ah! Vous dirai-je Maman and 2. Harpiana GU101 ed. PIANA (in Eb major, p23) Other Classical Variations and Marches ANON., An Anthology of English Music 3. Watkins Ale Stainer H139 ed. WATKINS for the Harp vol 1: 1550–1650 J S BACH, Sleepers Awake 4. Solos for Lever or Pedal Harp Avondale AvP105 arr. VOLPÉ BLIGH (Wachet Auf) Allemande or Sarabande J S BACH, Cello Suites vol 1: Suites 1–2 5. (from Cello Suite no. 1, Billaudot GB8517 trans. CHEFSON (BWV 1007–1008) BWV 1007) 6. BARON, trans. WARD Bourée, no. 5 Suite in C major Broken String BSP002 BARTÓK, 7. Merriment, no. 13 Mikrokosmos for Harp Boosey M060011931 arr. MARZUKI 8. BURGON Nocturne 1 or Nocturne 3 Three Nocturnes Chester CH55172 CABEZÓN, Spanish Masters of the 9. Pavane and Variations Schott BSS38512 ed. ZABALETA 16th and 17th Century CORELLI, 10. Gigue Lyra trans. SALZEDO Allegro non tanto Bärenreiter Praha 11. DUSSEK (2nd movt from Six Sonatines for Harp H1748 Sonatina no. 3 in G) Pièces brèves contemporaines 12. GARTENLAUB Air Durand RID737 pour harpe vol 3 Les cerisiers en fleurs, 13. GRANDJANY Lyra op. 41 HANDEL, Passacaglia (Theme 14. Lyra trans. PARET and Variations) 15. HASSELMANS Confidence, op. 24 Durand DF00431500 16. HASSELMANS Menuet, op. 34 Lyra HENDERSON, 17. Bye Bye Blackbird Vanderbilt arr. FELL 18. HENSON-CONANT Nataliana Golden Cage Children’s Thoughts 19. HOLÝ An Evening at Home, op. 24 Harpiana RR111 or Youngsters at Play Fabio’s Harp 20. JAMES La harpe blanche La Harpe Blanche or The Furry Purr 244 Pedal Harp: Grade 5

21. MAROS Rondo Suite for Harp EMB Z.7390 MARPURG, Baroque and Classic Pieces 22. The Little Rope Dancer Lyon & Healy ed. PRATT for Harp Harp Solos: Graded Recital 23. McDONALD Toccata (Sabre Dance) MusicWorks M20 Pieces vol 4 Rondoletto allegretto (2nd movt from Sonatina no. 1 in Eb) or Prelude and allegro (1st movt from Sept sonates progressives, 24. NADERMAN Leduc AL20037 Sonatina no. 2 in C minor) op. 92 or Allegretto (2nd movt from Sonatina no. 2 in C minor) PEERSON, An Anthology of English Music 25. The Fall of the Leafe Stainer H139 ed. WATKINS for the Harp vol 1: 1550–1650 The Monkey Folk Bandar- Log and The Man Cub 26. PETRA-BASACOPOL The Jungle Book Lyra Mowgli (both to be played) POENITZ, Die Spieldose 27. Drei leichte Stücke, op. 29 Harpiana RR129 ed. PIANA (The Music Box) Au bord du ruisseau 28. RENIÉ Leduc AL20018 (from Six pièces) 29. RENIÉ Esquisse Feuillets d’album Lemoine HL19302 30. ROSSINI Allegro brillante Andantino et Allegro brillante Bärenreiter BA10541

31. ROTHSTEIN Dance of the Young Swan Rothstein Pedal Harp: Grade 32. ROTHSTEIN Fairy (pedal harp version) Magical Animals on the Harp Rothstein 33. SALZEDO At Church or Goldfish Short Stories in Music vol 2 Lyra 34. SALZEDO Seguidilla Suite of Eight Dances Lyon & Healy 35. TOURNIER Prélude 1 or Prélude 3 Quatre préludes, op. 16 Leduc AL20062 Soupir Deux petites pièces brèves 36. TOURNIER Eschig ME8268 or Offrande et faciles The Travel Journal of a TRAD., The Girl from Ali Hong Kong Harp 37. Western Harpist in the arr. STICKNEY Mountain Chamber 5 Chinese Garden TRAD., arr. WHITING 38. Greensleeves Intermediate Jazz & Blues Pedal Sliders & ROBINSON 39. VAN DELDEN Notturno Lengnick 40. VOLPÉ BLIGH Ralph and Thelma Solos for Lever or Pedal Harp Avondale AvP105 WAGENFEIL, Baroque and Classic Pieces 41. Ricercata Lyon & Healy ed. PRATT for Harp A Walk in the Park or WHITING & Dentist Blues (in F Molar) 42. Intermediate Jazz & Blues Pedal Sliders ROBINSON or Modal Blues or Strut Your Stuff Blues

245 Pedal Harp: Grade 5

TECHNICAL WORK

Candidates prepare either section 1. or section 2. See page 22. The exercises and studies are in Trinity’s book Harp Studies & Exercises from 2013.

Either 1. SCALES, ARPEGGIOS & EXERCISES

Scales & arpeggios (from memory) Examiners select from the following:

Scales: ◗ Db and B major three ◗ Bb and Eb minor octaves (harmonic and melodic minor) ◗ G harmonic minor contrary two motion starting from single min. tempo: octaves hands = 100 G string e together (one note per f or p quaver) Arpeggios: root position ◗ Db and B major and first three ◗ Bb and Eb minor inversion octaves

◗ Diminished 7th starting on B

Exercises (music may be used) — Candidates prepare all three exercises. Candidates choose one exercise to play first. Examiners then select one of the remaining two exercises to be performed. a. 16. 4, 3, 2, Strong! for finger strengthening, evenness and articulation b. 17. Impressive Twiddles for mordents c. 18. Waterfall for cantabile right thumb

246 Pedal Harp: Grade 5

SUPPORTING TESTS

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

Aural questions Pedal Harp: Grade

Parameters Task Requirement

i) Clap the pulse on the second playing, Listen to the piece twice stressing the strong beat ii) Identify the time signature

i) Identify the changing tonality Harmonised Listen to the piece twice ii) Identify the final cadence as perfect, plagal, imperfect or interrupted 8 bars 5 Or 2. STUDIES (music may be used) — Candidates prepare all three studies. Identify the interval as minor or major Major or Listen to two notes from the second, minor or major third, perfect Candidates choose one study to play first. Examiners then select one of the remaining two minor key melody line played consecutively fourth or fifth, minor or major sixth, studies to be performed. minor or major seventh, or octave 2 3 4 6 Study a copy of the piece, and a. 57. Spooky Strings i) Identify the bar in which the change listen to it once as written and of rhythm occurred b. 62. The Elegant Drawing Room once with a change of rhythm and a change of pitch (both ii) Identify the bar in which the change of pitch occurred c. 67. An Ornamental Tune changes in the melody line)

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

Composer Piece Book Publisher

ARNE, 1. Presto, no. 4 Pièces classiques vol 5 Billaudot GB4369 ed. BOUCHAUD J S BACH, Sleepers Awake Solos for Lever or Pedal 2. Avondale AvP105 arr. VOLPÉ BLIGH (Wachet Auf) Harp BARON, 3. Bourée, no. 5 Suite in C major Broken String BSP002 trans. WARD Wild Strings UKHA Jazz 4. DEARNLEY The Moving House Rag and Pop Harp Collection PoppyHarp 2018 Pulling Strings on the 5. EVANS Journey to Perth Evans Clarsach book 1 GIACCHINO, Up (theme from 6. Sylvia Woods arr. WOODS Disney-Pixar’s Up) A Little Lower Than A Little Lower Than 7. GREEN Spartan SP1287 the Angels the Angels and Harpbeat Panorama de la harpe Transatlantiques 8. HANDEL Petite sonate celtique TR001761 Twelve Musical Clock HAYDN, 9. Allegro moderato, no. 4 Pieces for the Non-Pedal Lyra arr. DIEBEL Harp Fabio’s Harp 10. JAMES La harpe blanche La Harpe Blanche or The Furry Purr Panorama de la harpe Transatlantiques 11. KUHLAU Thème et variations celtique TR001761 The Scottish Harp Locked Up Harps/ 12. MARSHALSAY Anthology vol 2: Pentland Locked Out Harpers... Intermediate Panorama de la harpe Transatlantiques 13. O’CAROLAN Concerto celtique TR001761 Variations on the O’CAROLAN, 14. Scottish Air ‘When She Baroque Delights Harp & Hobbit arr. ASNI Cam Ben’ O’CAROLAN, Kim Robertson Celtic 15. Carolan’s Draught Mel Bay 95345 arr. ROBERTSON Harp Solos Fairy (non-pedal harp Magical Animals on the 16. ROTHSTEIN Rothstein version) Harp Marionas (from Luz 17. RUIZ DE RIBAYAZ Baroque Delights Harp & Hobbit y norte musical)

248 Non-Pedal Harp: Grade 5

Tiny Tales for Harpist 18. SALZEDO Frère Jacques Lyra Beginners vol 2 Adventures for Lever 19. SCOTT Caribbean Daydreams Astute AM100-03 Harp vol 1 Panorama de la harpe Transatlantiques 20. SOR Study no. 5 celtique TR001761 21. SPRINGTHORPE Carol Lever Harp World Beartramka Dance of the Sandpiper 22. STADLER New Shoots — Old Roots Doblinger D35842 (Celtic harp version, p8) Steps to Excellence: TRAD., arr. 23. John Anderson World Traditional Music Creighton BZHEZHINSKA for Harp TRAD., Arrane y Chlean Claasagh vol 1: Manx 24. March Hair MHP003 arr. HAIR or Graih Foalsey Music For Celtic Harp Hiraeth (Longing) or TRAD., Huna Blentyn (Sleep, Gwledd Geltaidd (A 25. Alaw arr. HEULYN My Baby) or Lisa Lân Celtic Feast book) vol 1 (Fair Lisa) TRAD., Taigh na Teud 26. Sgian Dubh Scottish Harp arr. HEWAT 1871931037 TRAD., 27. Valentin-Boarischer Harfenspiel Preissler JP6208 arr. HOLLER TRAD., Mac Og an Iarla Ruaidh A Tapestry of Scottish

28. Clarsach Society Non-Pedal Harp: Grade arr. JACKSON (The Earl’s Son) Tunes vol 3 (Folio 44) An Cuala Sibh mar TRAD., A Tapestry of Scottish 29. Thachair Dhuinn Clarsach Society arr. MIERAS Tunes vol 3 (Folio 44) (Culloden Day) TRAD., Derwentwater 30. More Tunes to Treasure Swanston arr. MIERAS or On a Bank of Flowers TRAD., Now Bank and Brae 31. Tunes to Treasure Swanston arr. MIERAS are Claithed in Green Paddy Fahy’s Jig TRAD., The O’Farrell Collection 32. and The Heather Jig O’Farrell arr. O’FARRELL vol 1: Irish Dance Music (both to be played) TRAD., 33. The Sligo Fancy Three Irish Pieces Lyra 5 arr. OWENS 34. TROTTER Chili Pepper Rag A Taste of Texas Afghan 94063 Scenes from the 35. TROTTER The Pink Coyote Afghan 94050 Southwest Häussler: Theme Variations on Mozart’s 36. VAN CAMPEN Ascribed to Mozart Harmonia HU3268 Joseph Häussler Theme with Variations 37. VERDELL When It’s Raining Songs of Four Seasons Broekmans BP1924 Solos for Lever or 38. VOLPÉ BLIGH Ralph and Thelma Avondale AvP105 Pedal Harp Intermediate Jazz 39. WHITING & ROBINSON Wibbly Waltz Pedal Sliders & Blues 249 Non-Pedal Harp: Grade 5

TECHNICAL WORK

Candidates prepare either section 1. or section 2. See page 22. The exercises and studies are in Trinity’s book Harp Studies & Exercises from 2013.

Either 1. SCALES, ARPEGGIOS & EXERCISES

Scales & arpeggios (from memory) Examiners select from the following:

harmonic Scales: minors: hands three ◗ A, D and G minor together octaves (harmonic and melodic minor) melodic minors: RH only

◗ G harmonic minor contrary min. tempo: two motion starting from single = 100 octaves e G string (one note f or p per quaver) Arpeggios: root three ◗ A and D minor position octaves hands together and first ◗ G minor inversion two octaves ◗ Diminished 7th starting on B

Exercises (music may be used) — Candidates prepare all three exercises. Candidates choose one exercise to play first. Examiners then select one of the remaining two exercises to be performed. a. 16. 4, 3, 2, Strong! for finger strengthening, evenness and articulation b. 17. Impressive Twiddles for mordents c. 18. Waterfall for cantabile right thumb

250 Non-Pedal Harp: Grade 5

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

i) Clap the pulse on the second playing, Listen to the piece twice stressing the strong beat ii) Identify the time signature

i) Identify the changing tonality Harmonised Listen to the piece twice ii) Identify the final cadence as perfect, plagal, imperfect or interrupted 8 bars 5 Identify the interval as minor or major Major or Listen to two notes from the second, minor or major third, perfect Or minor key 2. STUDIES (music may be used) — Candidates prepare all three studies. melody line played consecutively fourth or fifth, minor or major sixth, minor or major seventh, or octave Candidates choose one study to play first. Examiners then select one of the remaining two 2 3 4 6 studies to be performed. Study a copy of the piece, and i) Identify the bar in which the change listen to it once as written and of rhythm occurred once with a change of rhythm a. 57. Spooky Strings and a change of pitch (both ii) Identify the bar in which the change of pitch occurred b. 62. The Elegant Drawing Room changes in the melody line) c. 67. An Ornamental Tune

251 Pedal Harp/Non-Pedal Harp: Grades 6–8 Pedal Harp/Non-Pedal Harp: Grades 6–8

EXAM DURATION EXAM STRUCTURE The Grade 6 exam The Grade 7 exam The Grade 6–8 exams contain the following: lasts 25 minutes lasts 25 minutes Maximum marks

PIECE 1 22

PIECE 2 22 The Grade 8 exam lasts 30 minutes PIECE 3 22

TECHNICAL WORK 14

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

SUPPORTING TEST 1 10

◗ Sight reading

SUPPORTING TEST 2 10

ONE of the following: ◗ Aural ◗ Improvisation

TOTAL 100

252 Pedal Harp: Grade 6 Pedal Harp: Grade 6 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. Pieces by at least two composers must be played. An own composition may be played instead of one listed piece. See pages 16–19 for further guidance.

Composer Piece Book Publisher J S BACH, Prelude in C minor for Lute, La lyre d’Orphée vol 2: 1. Harpiana ES104 ed. PIANA BWV 999 Bach and His World J S BACH, Prélude or Courante (from Cello Suites vol 1: Suites 2. Billaudot GB8517 trans. CHEFSON Cello Suite no. 1, BWV 1007) 1–2 (BWV 1007-1008) J S BACH, 3. Etude no. 3 Etudes for Harp Fischer 04819 trans. GRANDJANY 4. BLEICHER Harp Ascending Pedal Harp World Beartramka A Ceremony of Carols, Boosey 5. BRITTEN Interlude for Harp op. 28 M060014123 An Anthology of English BYRD, 6. Pavana Music for the Harp vol 1: Stainer H139 ed. WATKINS 1550–1650 Menuet Ecossais: Presto (3rd Ut Orpheus 7. DALVIMARE movt from Sonata, op. 2 no. 1) MAG252 Cornwall Harp 8. DEERE-JONES Loch Coruisk Rhapsody Centre 9. FRANÇOIS Sweet Horsefood Ballad Happy Hours Billaudot GB7383 Le roseau or Divin calme 10. GODEFROID Pensées musicales book 1 Harpiana HR101 or Hymne à la paix Durand 11. GRANDJANY Automne DF01130000 Pedal Harp: Grade Prélude no. 1 or Prélude no. 2 12. GRANDJANY Préludes Salabert EMS4192 or Prélude no. 3 13. HASSELMANS Nocturne, op. 43 Lyra 14. KANGA Susann’s Song Harp Songbook Maruka Lemoine 15. LAMPEL Orientale HL29040 Meditation on a 16. LANE Goodmusic GM122 Medieval Carol Two Little Bites at the 17. LANE Streets and Avenues Goodmusic GM162 6 Big Apple 18. LEWIS Cocktail Blues Decospherics Goodmusic GM124 MANCINI, 19. The Pink Panther Vanderbilt arr. CAUFFMAN An Anthology of English MORLEY, 20. Alman Music for the Harp vol 1: Stainer H139 ed. WATKINS 1550–1650

253 Pedal Harp: Grade 6

Allegro moderato fieramente 7 sonates progressives, 21. NADERMAN (1st movt from Sonatina Leduc AL20037 op. 92 no. 3 in Bb) Wild Strings UKHA 22. NORTON Song for Jo Jazz and Pop Harp PoppyHarp Collection 2018 23. OMER The Forest of White Leaves Pedal Harp World Beartramka PARISH ALVARS, 24. Moderato, no. 6 12 Favorite Airs Harpiana RR117 ed. PIANA Lied ohne Worte (Song 25. POSSE Without Words) 5 kleine Characterstücke Harpiana RR134 or Wellenspiel (Playing Waves) 26. ROTHSTEIN Solitude Three Moods Rothstein 27. SALZEDO Chanson dans la nuit Lyra 28. SALZEDO Menuet Suite of Eight Dances Lyon & Healy Schirmer 29. SALZEDO Song in the Night Method for the Harp GS32807 SCARLATTI, 30. Sonata in A, K. 208 Two Sonatas Lyon & Healy trans. WOOLDRIDGE 31. SIMPSON An October Waltz Pedal Harp World Beartramka 32. SNELL Bizarre Waltz Modus MM290 Dance of the Sandpiper 33. STADLER New Shoots — Old Roots Doblinger D35842 (pedal harp version, p50) 34. TAYLOR Shadows in the Mist Pedal Harp World Beartramka 35. TOURNIER Berceuse Lyra

36. TOURNIER Prélude 2 or Prélude 4 Quatre préludes, op. 16 Leduc AL20062 Or TRAD., Cornwall Harp 37. Cascaron 2. STUDIES (music may be used) — Candidates prepare all three studies. arr. DEERE-JONES Centre Candidates choose one study to play first. Examiners then select one of the remaining two The Travel Journal of a TRAD., Hong Kong Harp 38. Jasmine Flower Western Harpist in the studies to be performed. arr. STICKNEY Chamber Chinese Garden a. 61. Reflections Solos for Lever or 39. VOLPÉ BLIGH Fall in Vancouver Avondale AvP105 Pedal Harp b. 68. Middle of the Irish Sea Taffs Well Latin Quarter c. 70. A Firm Fist 40. WHITING & ROBINSON Intermediate Jazz & Blues Pedal Sliders or Tea at the Ritz Or TECHNICAL WORK 3. ORCHESTRAL EXTRACTS (music may be used) — Candidates prepare all three extracts. Candidates prepare either section 1. or section 2. or section 3. See page 22. Candidates choose one extract to play first. Examiners then select one of the remaining two extracts to be performed. The exercises and studies are in Trinity’s book Harp Studies & Exercises from 2013. The orchestral extracts are in Orchester Probespiel: Harp (published by Schott ED7856). a. Franck: Sinfonie d-Moll, 2. Satz (page 22) for chords and voicing Bruckner: Sinfonie Nr. 8, 3. Satz: Adagio Either b. for arpeggios (pages 16–17) 1. SCALES, ARPEGGIOS & EXERCISES c. Ravel: Klavierkonzert G-Dur, 1. Satz (page 31) for harmonics and glissandos Scales & arpeggios (from memory) Examiners select from the following:

254 Pedal Harp: Grade 6

Scales: ◗ Gb and C# major four octaves ◗ Ab minor (harmonic and melodic minor)

◗ Gb major contrary motion two starting from single Gb string octaves min. tempo: hands = 110 Arpeggios: root e f, mf or p position together (one note per ◗ Gb and C# major and first quaver) ◗ Ab minor inversion four octaves ◗ Dominant 7ths in the keys of root Gb, C# and Ab* position

◗ Diminished 7th starting on C#

Exercises (music may be used) — Candidates prepare all three exercises. Candidates choose one exercise to play first. Examiners then select one of the remaining two exercises to be performed a. 19. Put it Back for staccato by replacing fingers b. 20. Smooth as Silk for legato thirds sliding right-hand thumb c. 21. Identical Twins for clearly articulated repeated notes using harmonics

Or 2. STUDIES (music may be used) — Candidates prepare all three studies.

Candidates choose one study to play first. Examiners then select one of the remaining two Pedal Harp: Grade studies to be performed. a. 61. Reflections b. 68. Middle of the Irish Sea c. 70. A Firm Fist Or 3. ORCHESTRAL EXTRACTS (music may be used) — Candidates prepare all three extracts. Candidates choose one extract to play first. Examiners then select one of the remaining two extracts to be performed. 6 a. Franck: Sinfonie d-Moll, 2. Satz (page 22) for chords and voicing Bruckner: Sinfonie Nr. 8, 3. Satz: Adagio b. for arpeggios (pages 16–17) c. Ravel: Klavierkonzert G-Dur, 1. Satz (page 31) for harmonics and glissandos

* Rhythm and fingering patterns available from trinitycollege.com/strings-resources 255 Pedal Harp: Grade 6

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

i) Identify the time signature Listen to the piece twice ii) Comment on the dynamics iii) Comment on the articulation

Identify and comment on two other Listen to the piece twice Harmonised characteristics of the piece

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

256 Non-Pedal Harp: Grade 6 Non-Pedal Harp: Grade 6 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. Pieces by at least two composers must be played. An own composition may be played instead of one listed piece. See pages 16–19 for further guidance.

Composer Piece Book Publisher J C BACH, 1. Presto, no. 3 Pièces classiques vol 5 Billaudot GB4369 ed. BOUCHARD Laura Laura, Cascatelle, 2. CHALLAN Leduc AL28778 or Promenade a Marly Promenade a Marly Carnival and Les Early French Pieces 3. F COUPERIN moissonneurs Lyra for the Beginner (both to be played) 4. DE BRAAL Sarabande, no. 14 De kleine harp Donemus 03554 Cornwall Harp 5. DEERE-JONES Loch Coruisk Rhapsody Centre Wild Strings UKHA Jazz 6. DOR-GROOT Bregar’s Guitar and Pop Harp Collection PoppyHarp 2018 DUSSEK, Kim Robertson Celtic 7. Sonatina no. 3 Mel Bay 95345 arr. ROBERTSON Harp Solos Pulling Strings on the 8. EVANS Bedging Evans Clarsach book 1 GODEFROID, 9. Étude, no. 8 Pièces classiques vol 5 Billaudot GB4369 ed. BOUCHARD Non-Pedal Harp: Grade 10. HENSON-CONANT Nataliana Golden Cage Taigh na Teud 11. HEWAT Skyedancing Scottish Harp 1871931037 HOPKINS, arr. Twelve Jazzy 12. We Three Kings Pedal Sliders ROBINSON & WHITING Christmas Songs 13. LEWIS Harping On Jazz-n-Jive Goodmusic GM224 The Scottish Harp Pipe Major Donald MacLean 14. MacLEOD Anthology vol 3: Pentland of Lewis (with all repeats) Advanced MUDARRA, Pièces anciennes pour 15. Fantasia Leduc AL27187 ed. ROLLIN harpe celtique A Selection from 6 NORTON, 16. Love Song Microjazz Collection 3 80 Days arr. BENNETT arranged for lever harp La Balade Autre chose for 17. PERNEL La Harpe Libre or Jigs advanced lever harp Kim Robertson Celtic 18. ROBERTSON Bailey’s Fancy Mel Bay 95345 Harp Solos 19. SNELL Bizarre Waltz Modus MM518

257 Non-Pedal Harp: Grade 6

20. STEVENSON In a French Style Old School 21. STEVENSON Silverado Squatters Old School No. 3 (from Three Haikai 22. SUTTON-ANDERSON Level Harp World Beartramka for Lever Harp) Tiodhlac Mo Sheanmhar Puirt Ùra (New Tunes Taigh na Teud 23. THOMSEN (Granny’s Parting Gift) for Harp): Advanced 9781906804091 TRAD., Cornwall Harp 24. Cascaron arr. DEERE-JONES Centre TRAD., Traditional Tunes Cornwall Harp 25. The Parting arr. DEERE-JONES from Cornwall Centre TRAD., Friou 26. To Drive the Winter Cold Away arr. FRIOU 9781480353237 TRAD., Claasagh vol 1: Manx March Hair 27. Car ny Ferrishyn arr. HAIR Music For Celtic Harp MHP003 Famous Music for the TRAD., 28. Myfanwy Harp vol 1: Traditional Alaw arr. HEULYN Tunes 29. TRAD., arr. HURRELL The Skylark A Circle of Harps Afghan 91002 TRAD., Jig set (Roaring Jelly — Off The Clarsach Collection 30. Marsharp MHM104 arr. MARSHALSAY She Goes — The Price of a Pig) vol 3: Advanced TRAD., Harps at Hamnavoe 31. Tunes to Treasure Swanston arr. MIERAS or Lochaber No More TRAD., An Oíche Úd i m Beithil 32. O’Farrell arr. O’FARRELL (The Night in Bethlehem) 33. VERDELL Wild Horses Songs of Four Seasons Broekmans BP1924 Solos for Lever or 34. VOLPÉ BLIGH Fall in Vancouver Avondale AvP105 Pedal Harp Dances, no. 6 (lever harp 35. WATKINS A Garland for the Harp Adlais 207 version) Cross Currents (from Four 36. WRIGHT Level Harp World Beartramka East Coast Sketches)

TECHNICAL WORK

Candidates prepare either section 1. or section 2. See page 22. The exercises and studies are in Trinity’s book Harp Studies and Exercises from 2013. Or 2. STUDIES (music may be used) — Candidates prepare all three studies. Either Candidates choose one study to play first. Examiners then select one of the remaining two 1. SCALES, ARPEGGIOS & EXERCISES studies to be performed. Scales & arpeggios (from memory) a. 61. Reflections Examiners select from the following: b. 68. Middle of the Irish Sea

c. 71. Two into One

258 Non-Pedal Harp: Grade 6

Scales: three octaves ◗ D major hands together ◗ Bb major two octaves

◗ D and A minor hands together (harmonic and three octaves (harmonic), RH melodic minor) only (melodic)

◗ D major contrary motion starting on single D string ◗ A harmonic minor two octaves min. tempo: contrary motion starting = 110 e f, mf on single A string (one note or p per quaver) Arpeggios: root position, ◗ D major three octaves first and ◗ D and A minor second hands together inversions ◗ Bb major two octaves

root position ◗ Dominant 7th in the key and first of Eb* inversion three octaves ◗ Diminished 7th starting on C#

Exercises (music may be used) — Candidates prepare all three exercises. Non-Pedal Harp: Grade Candidates choose one exercise to play first. Examiners then select one of the remaining two exercises to be performed. a. 19. Put it Back for staccato by replacing fingers b. 20. Smooth as Silk for legato thirds sliding right-hand thumb c. 21. Identical Twins for clearly articulated repeated notes using harmonics

Or 2. STUDIES (music may be used) — Candidates prepare all three studies. Candidates choose one study to play first. Examiners then select one of the remaining two 6 studies to be performed. a. 61. Reflections b. 68. Middle of the Irish Sea c. 71. Two into One

* Rhythm and fingering patterns available from trinitycollege.com/strings-resources 259 Non-Pedal Harp: Grade 6

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

i) Identify the time signature Listen to the piece twice ii) Comment on the dynamics iii) Comment on the articulation

Identify and comment on two other Listen to the piece twice Harmonised characteristics of the piece

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

260 Pedal Harp: Grade 7 Pedal Harp: Grade 7 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. Pieces by at least two composers must be played. An own composition may be played instead of one listed piece. See pages 16–19 for further guidance.

Composer Piece Book Publisher AHBEZ, arr. 1. Nature Boy Contemporary Sounds Pedal Sliders ROBINSON & WHITING Ganagobie: suite Hamelle 2. ANDRÈS Sous les chênes verts pour harpe HA09754 ANON., 3. Spanish Dance from Cusco, Peru Lyra trans. GRANDJANY J S BACH, Two Part Invention no. 14 in Bb, La lyre d’Orphée vol 2: 4. Harpiana ES104 ed. PIANA BWV 785 Bach and His World J S BACH, Prélude or Sarabande (from Cello Suites vol 1: Suites 5. Billaudot GB8517 trans. CHEFSON Cello Suite no. 2, BWV 1008) 1–2 (BWV 1007-1008) J S BACH, 6. Etude no. 7 Etudes for Harp Fischer 04819 trans. GRANDJANY 7. L BERKELEY Nocturne Stainer H144 Allegro brillante (1st movt from Sonata no. 2 in B flat major) or 8. BOCHSA 3 Sonates progressives Harpiana GU103 Allegro vivace doloroso (1st movt from Sonata no. 3 in C minor) CORNELIUS, 9. Christkind Pedal Harp World Beartramka arr. SPRINGTHORPE An Anthology of English CROFT, 10. Sarabande on a Ground Music for the Harp vol 2: Stainer H140 arr. WATKINS 1650–1750 11. DAVIDSON Abercairney Suite PWM 10276 DEBUSSY, 12. Première arabesque Durand 674700 trans. RENIÉ DIZI, Andantino (2nd movt Pedal Harp: Grade 13. Durand DF14811 ed. NORDMANN from Grande Sonate) Any two movts from Sonata 14. DUSSEK Schott BSS38511 in C minor, op. 2 no. 3 Spiritoso (no. 1 from Cwmni Cyhoeddi 15. EMLYN Perlau yn y Glaw) Gwynn 16. FAURÉ, trans. KAHN Berceuse de Dolly Lyra 17. FINKO The Harp of King David Harpiana GU105 GALLÉS, 18. Sonata in C minor Lyra trans. ZABALETA 7 La Laura or Les abeilles 19. GODEFROID Pensées musicales book 1 Harpiana HR101 or Mystérieux vallon 20. GRANDJANY Impromptu, op. 33 Lyra

261 Pedal Harp: Grade 7

21. GRANDJANY Old Chinese Song, op. 23 Lyra Variation on the Londonderry 22. GRANDJANY Lyra Air, op. 20 Cradle Song (2nd movt 23. GREEN Spartan SP1286 from Sonata for Harp) 24. HASSELMANS Chanson de mai, op. 40 Durand DF5298 25. HASSELMANS Lamento, op. 23 Durand DF4314 26. HASSELMANS Prélude no. 2 Trois préludes, op. 53 Lyra 27. HOVHANESS Nocturne, op. 20 no. 1 Peters EP66026 A Walk in the Park and Streets Two Little Bites at 28. LANE Goodmusic GM162 and Avenues (both to be played) the Big Apple 29. LEWIS Moonlight in Montmartre Postcards from Paris Goodmusic GM115 Three Improvisations, OUP 30. MATHIAS Any two improvisations op. 10 9780193577596 Allegro maestoso (1st movt from Sonatina no. 5 in F) or Allegro 7 sonates progressives, 31. NADERMAN Leduc AL20037 brillante poco moderato (1st op. 92 movt from Sonatina no. 7 in C) Study on a Subject with 32. NADERMAN Méthode de harpe vol 2 Billaudot GB1690 8 Diatonical Notes 1st and 2nd movts (from Israel Music 33. NATRA Sonatina for Harp) Institute Weinberger 34. PATTERSON Changing Chameleon Lizards, op. 111 M570056910 ROBINSON, 35. Blues on the Mynd Contemporary Sounds Pedal Sliders ed. WHITING Short Stories in 36. SALZEDO Skipping Rope Lyra Music vol 2 SCARLATTI, 37. Sonata in D major Three Sonatas Lyon & Healy ed. OWENS SCARLATTI, 38. Sonata in F minor, K. 239 Two Sonatas Lyon & Healy trans. WOOLDRIDGE Wild Strings UKHA 39. SNELL Blues for Harp Jazz and Pop Harp PoppyHarp Collection 2018 40. SNELL Golden Moments Modus MM252 41. SPRINGTHORPE Mary’s Lullaby Pedal Harp World Beartramka Bohemian Waltz or Dear to My 42. STADLER Heart (only once through and Spirit of Harp Doblinger D35843 straight to coda) or Take a Break Zimmermann 43. TEDESCHI Pattuglia Spagnuola, op. 32 ZM16130 TELEMANN (formerly Gigue (from Suite in La lyre d’Orphée vol 2: 44. attrib. J S BACH), Harpiana ES104 A major, BWV 824) Bach and His World ed. PIANA

262 Pedal Harp: Grade 7

TELEMANN, Fantasie (incl Adagio section Baroque and Classic 45. Lyon & Healy ed. PRATT and da capo) Pieces for Harp Lemoine 46. TOURNIER Berceuse Russe, op. 40 HL22529 47. TOURNIER Étude de concert ‘Au matin’ Leduc AL20007 TRAD., arr. ROBINSON 48. Danny Boy (Londonderry Air) Contemporary Sounds Pedal Sliders & WHITING VILLA-LOBOS, trans. Preludio (from Bachianas 49. Lyon & Healy RAYAN-FORERO Brasileiras no. 4) Fire Dance or Nocturne 50. WATKINS Petite suite UMP or Prelude

TECHNICAL WORK

Candidates prepare either section 1. or section 2. or section 3. See page 22. The exercises and studies are in Trinity’s book Harp Studies & Exercises from 2013. The orchestral extracts are in Orchester Probespiel: Harp (published by Schott ED7856).

Either 1. SCALES, ARPEGGIOS & EXERCISES

Scales & arpeggios (from memory) Examiners select from the following: Scales: sixth apart ◗ Cb and F# major four (RH starting ◗ Bb and C# minor octaves on keynote) (harmonic and melodic minor) starting a ◗ Contrary motion scale of third apart two f or mf min. tempo: Cb major with LH on octaves or p or hands = 120 keynote e cresc./ together (one note per quaver) dim. Arpeggios: Pedal Harp: Grade (p – f – p) ◗ Cb and F# major root position, first ◗ Bb and C# minor and second four ◗ Dominant 7ths in the keys of inversions octaves Cb, F# and Bb* ◗ Diminished 7th starting on F#

* Rhythm and fingering patterns available from trinitycollege.com/strings-resources 263 Pedal Harp: Grade 7

Exercises (music may be used) — Candidates prepare all three exercises. Candidates choose one exercise to play first. Examiners then select one of the remaining two exercises to be performed. a. 22. Smooth and Wide for legato octaves with sliding thumb b. 23. Cross Fingers for cross-fingering 3–4 and 1–2 c. 24. More Cross Fingers for cross-fingering 2–4 and 1–3

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

a. 73. The Sea

b. 75. Weaving In and Out

c. 76. Paired Bells

Tschaikowsky: Der Nussknacker, 2. Akt, Nr. 12 a. for arpeggios (pages 54–55)

Bartók: Concerto for Orchestra, 4. Satz: for chords, independent voices and hands, b. Intermezzo interrotto (page 10) and pedalling

Britten: The Young Person’s Guide to the c. for chords, arpeggios and glissandos Orchestra, Variation I (pages 14–15)

264 Pedal Harp: Grade 7

SUPPORTING TESTS

Candidates prepare: Improvisation ◗ Sight reading Candidates perform an improvisation based on a stimulus chosen from the following ◗ Aural or improvisation three options: ◗ Sight reading Stylistic ◗ After 30 seconds’ preparation time, candidates Motivic perform a previously unseen musical extract ◗ Harmonic at a level approximately two grades lower than Or See pages 27–33 for the requirements the exam being taken. See pages 23–26 for and parameters. 2. STUDIES (music may be used) — Candidates prepare all three studies. sight reading parameters. Candidates choose one study to play first. Examiners then select one of the remaining two studies to be performed. Aural Candidates answer questions based on a single a. 73. The Sea musical example played on the piano by the examiner. See page 27 for more information. b. 75. Weaving In and Out The aural test requirements for Grade 7 c. 76. Paired Bells are below.

Or 3. ORCHESTRAL EXTRACTS (music may be used) — Candidates prepare all three extracts. Aural questions Candidates choose one extract to play first. Examiners then select one of the remaining two extracts to be performed. Parameters Task Requirement

Tschaikowsky: Der Nussknacker, 2. Akt, Nr. 12 i) Identify the time signature a. for arpeggios (pages 54–55) Listen to the piece twice ii) Comment on the dynamics iii) Comment on the articulation Bartók: Concerto for Orchestra, 4. Satz: for chords, independent voices and hands, b. Intermezzo interrotto (page 10) and pedalling Identify and comment on two other Harmonised Listen to the piece twice characteristics of the piece Britten: The Young Person’s Guide to the c. for chords, arpeggios and glissandos Orchestra, Variation I (pages 14–15) 8 bars Identify the key to which the music Pedal Harp: Grade Major or minor key modulates as subdominant, dominant Listen to the first four bars or relative key of the piece once Answers may alternatively be given as 2 3 4 6 key names

Study a copy of the piece, Locate and describe the changes and listen to it twice with as pitch (melody line only) or rhythm three changes 7

265 Non-Pedal Harp: Grade 7 Non-Pedal Harp: Grade 7 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. Pieces by at least two composers must be played. An own composition may be played instead of one listed piece. See pages 16–19 for further guidance.

Composer Piece Book Publisher

1. ANON. Aimable vainqueur Baroque Delights Harp & Hobbit

J B BACH, 2. Chaconne Pièces classiques vol 6 Billaudot GB5635 ed. BOUCHARD

J S BACH, 3. Presto Pièces classiques vol 6 Billaudot GB5635 ed. BOUCHARD

The O’Farrell Collection J S BACH, Prelude no. 1 in C major 4. vol 2: A Baroque O’Farrell trans. O’FARRELL or Prelude no. 3 in C minor Bouquet

5. DE BRAAL Allegretto, no. 17 De kleine harp Donemus 03554

6. DOUMANY Air or Earth or Spirit or Water The Elements Beartramka

Eighteenth Century HANDEL, Passacaille (from Keyboard Suite 7. Music arranged for Seaside arr. BRUNDAGE no. 7 in G minor, HWV 432) lever harp

8. HENSON-CONANT New Blues Golden Cage

9. LEMELAND Elégie EFM 1971

10. LEWIS Jive in Five Jazz-n-Jive Goodmusic GM224

Eighteenth Century LOEILLET, 11. Allemande (Toccata) Music arranged for Seaside arr. BRUNDAGE lever harp

12. MacDEARMID Sea Rapture Macdearmid

The Scottish Harp 13. MARSHALSAY Helen’s Farewell Anthology vol 3: Pentland Advanced Reels set (Andrew’s Smiles — The Clarsach Collection 14. MARSHALSAY Reel for Yatra — The Forth Bridge Marsharp MHM104 vol 3: Advanced Reel)

15. OWENS Spanish Elegy Six Pieces for Harp Lyra

266 Non-Pedal Harp: Grade 7

Dans la distance 16. PERNEL Les Amuse-Bouches La Harpe Libre or Une douce nuit

17. PURCELL Chaconne in F Baroque Delights Harp & Hobbit

Eighteenth Century SCARLATTI, 18. Sonata, K. 380 L 23 Music arranged for Seaside arr. BRUNDAGE lever harp Adventures for Lever 19. SCOTT Crepuscule Astute AM100-04 Harp vol 2

12 Preludes for Concert 20. SHALJEAN Prelude in A minor Blue Crescent or Celtic Harp

21. SOULE For a Music Box The Little Harp’s Delight Lyra

22. SPRINGTHORPE Idylle Lever Harp 2000 Beartramka

23. STADLER Away for a While or Scandinavia New Shoots — Old Roots Doblinger D35842

24. STEVENSON Mexican Monterey 80 Days

Steps to Excellence: TRAD., 25. She Moved through the Fair World Traditional Music Creighton arr. BZHEZHINSKA for Harp March, strathspeys & reel set TRAD., (Greenwoodside — Captain Horne The Clarsach Collection 26. Marsharp MHM104 arr. MARSHALSAY — Louden’s Bonnie Woods & vol 3: Advanced Braes — Jenny Dang the Weaver) TRAD., 27. The Twilight Star Hornpipe My Gentle Harp Cairde na Cruite arr. McGRATH

TRAD., Musical Priest and Fhear Kim Robertson Celtic

28. Mel Bay 95345 Non-Pedal Harp: Grade arr. ROBERTSON a’Bhata (both to be played) Harp Solos

TRAD., 29. Irish Whiskey New Shoots — Old Roots Doblinger D35842 arr. STADLER

30. VERDELL Mystic Forest Songs of Four Seasons Broekmans BP1924

Sunrise (from Four East 31. WRIGHT Lever Harp World Beartramka Coast Sketches)

267 Non-Pedal Harp: Grade 7

TECHNICAL WORK

Candidates prepare either section 1. or section 2. See page 22. The exercises and studies are in Trinity’s book Harp Studies & Exercises from 2013.

Either 1. SCALES, ARPEGGIOS & EXERCISES

Scales & arpeggios (from memory) Examiners select from the following: sixth apart Scales: hands (RH starting ◗ F and D major together on keynote) hands three together ◗ C and D minor octaves (harmonic (harmonic and minor), melodic minor) RH only f or mf min. tempo: (melodic or or = 120 p minor) e (one note cresc./ ◗ F major contrary motion two per quaver) dim. starting on single F string octaves (p – f – p) Arpeggios: root ◗ F and D major position, hands ◗ C and D minor first and three together ◗ Dominant 7ths in the keys of second octaves F, C and D* inversions ◗ Diminished 7th starting on F# Exercises (music may be used) — Candidates prepare all three exercises. Candidates choose one exercise to play first. Examiners then select one of the remaining two exercises to be performed. a. 22. Smooth and Wide for legato octaves with sliding thumb b. 23. Cross Fingers for cross-fingering 3–4 and 1–2 c. 24. More Cross Fingers for cross-fingering 2–4 and 1–3

268 * Rhythm and fingering patterns available from trinitycollege.com/strings-resources Non-Pedal Harp: Grade 7

SUPPORTING TESTS

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

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

Aural questions

Parameters Task Requirement

i) Identify the time signature Listen to the piece twice ii) Comment on the dynamics iii) Comment on the articulation

Identify and comment on two other Harmonised Listen to the piece twice Non-Pedal Harp: Grade characteristics of the piece 8 bars Identify the key to which the music Major or minor key modulates as subdominant, dominant Listen to the first four bars or relative key of the piece once Answers may alternatively be given as 2 3 4 6 key names Or 2. STUDIES (music may be used) — Candidates prepare all three studies. Study a copy of the piece, Locate and describe the changes and listen to it twice with as pitch (melody line only) or rhythm Candidates choose one study to play first. Examiners then select one of the remaining two three changes studies to be performed. a. 74. Turning & Trilliant 7 b. 75. Weaving In and Out c. 76. Paired Bells

269 Pedal Harp: Grade 8 Pedal Harp: Grade 8 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. Pieces by at least two composers must be played. An own composition may be played instead of one listed piece. See pages 16–19 for further guidance.

Composer Piece Book Publisher

Group A

1. ANDRÈS Le portail de Pierre Ganagobie: suite pour harpe Hamelle HA09754

Allegro (3rd movt from 2. C P E BACH Breitkopf 6593 Sonata in G major, Wq 139)

Gavotte (from English Suite no. 3 in G minor, BWV 808) or J S BACH, La Lyre d’Orphée vol 2: 3. Gigue (from Partita no. 1 in B Harpiana ES104 ed. PIANA Bach and His World flat major, BWV 825) or Two Part Invention no. 6, BWV 777

J S BACH, Gavotte en Rondeau OUP 4. ed. WILLIAMS (from Suite, BWV 1006a) 9780193553064

Courante and Gigue (from J S BACH, Cello Suite no. 1, BWV 1007) Cello Suites vol 1: Suites 1–2 5. Billaudot GB8517 trans. CHEFSON or Courante and Gigue (from (BWV 1007–1008) Cello Suite no. 2, BWV 1008)

6. BAKSA 1st movt (from Harp Sonata) Composers Library

Rondo (from Sonata 7. BOIELDIEU Lyra in G major)

Nocturne and Fugue 8. BRITTEN (3rd and 4th movts from Faber 0571503608 Suite for Harp, op. 83)

9. CHERTOK Harpicide at Midnight Around the Clock Salvi

Allegro grazioso (1st movt 10. DALVIMARE Ut Orpheus MAG252 from Sonata, op. 2 no. 1)

Harposphère 11. DAMASE Tango HSA11578

DEBUSSY, 12. Clair de lune Seaside trans. BRUNDAGE

13. DONCEANU Inscription on a Mast Lyra

14. FRANÇOIS Hot Cucumber Camac

An American in Paris GERSHWIN, Salvi Pop Harp Series 15. and Rhapsody in Blue Salvi arr. FELL vol 1: 1924–1931 (both to be played)

16. GILLMAN Carillon Suite im alten Stil Lyra

270 Pedal Harp: Grade 8

Variations on a Theme 17. GLINKA Lyra of Mozart

18. GODEFROID Etude de concert in Eb minor Salvi 19. GOMBAU Apunte Betico Harpiana HP103

20. GOUGH Ondine Beartramka

21. GURIDI Viejo Zortzico UME 19549

Any two movts from Bärenreiter 22. HANDEL Concerto in Bb, HWV 294 BA8347-71 23. HASSELMANS Ballade Lyra

Mässig schnell (1st movt 24. HINDEMITH Schott ED3644 from Sonata for Harp)

Allegro (1st movt from 25. HOVHANESS Harp Sonata, op. 127) Peters EP6042

LECUONA, 26. Malagueña (from Andalucia) Lyra arr. GRANDJANY

27. LEWIS Charleston Chic Decospherics Goodmusic GM124

28. LEWIS Left Bank Nocturne Postcards from Paris Goodmusic GM115

Canzone and Toccata 29. MORTARI Lyra (from Sonatina Prodigio)

Allegro disperato 7 sonates progressives, 30. NADERMAN (1st movt from Sonatina no. 6 Leduc AL20037 op. 92 in D minor)

Study on a Subject with 31. NADERMAN Méthode de harpe vol 2 Billaudot GB1690 12 Diatonical Notes

Allegro (1st movt from Sonata PARRY, Four New Sonatas for 32. no. 1 in D) or Allegro (1st movt Salvi ed. WILLIAMS the Harp from Sonata no. 2 in G)

33. PIERNÉ Impromptu-Caprice, op. 9 Leduc AL10381

RESPIGHI, 34. Siciliana Ricordi NR12113200 arr. GRANDJANY

Allegro assai (1st movt 35. RÖSSLER-ROSETTI Schott ED5438 from Sonate)

36. ROTHSTEIN Joy or Reminiscence Three Moods Rothstein Pedal Harp: Grade

37. STICKNEY The Dirty Laundry Rag OLGP

Les Anesses grises sur la Images Suites 3 and 4, 38. TOURNIER route d’El-Azib (from Suite Lemoine HL22354 op. 35 and op. 39 no. 3, op. 35)

TRAD., 39. O Tannenbaum OLGP arr. STICKNEY

Wild Strings UKHA Jazz and 40. WHITING Floresta Tropical PoppyHarp Pop Harp Collection 2018 8 271 Pedal Harp: Grade 8

TECHNICAL WORK

Candidates prepare either section 1. or section 2. or section 3. See page 22. The exercises and studies are in Trinity’s book Harp Studies and Exercises from 2013. The orchestral extracts are in Orchester Probespiel: Harp (published by Schott ED7856).

Either 1. SCALES, ARPEGGIOS & EXERCISES

Scales & arpeggios (from memory) Examiners select from the following: Or Scales: 2. STUDIES (music may be used) — Candidates prepare all three studies. sixth apart ◗ B and F# major (RH starting Candidates choose one study to play first. Examiners then select one of the remaining two ◗ # B, Eb and F minor on keynote) studies to be performed. (harmonic and melodic minor) four octaves min. tempo: tenth apart hands = 130 a. 77. Hommage e ◗ Eb major (LH starting together (one note on keynote) per quaver) b. 80. Very Cross Fingering

starting a c. 82. Incy Wincy Slider ◗ Contrary motion scale of third apart F# major with LH on keynote two f or mf octaves min. tempo: or p or starting with ◗ Scales in double thirds B major hands = 70 cresc./ keynote as e and B melodic minor* separately (one note dim. lower note per quaver) (p – f – p)

Arpeggios: root position, first and ◗ B, Eb and F# major second ◗ B, Eb and F# minor inversions min. tempo: root position, four hands = 130 e ◗ Dominant 7ths in the keys of first, second octaves together (one note B, Eb, E and Ab* and third per quaver) inversions

◗ Diminished 7ths starting on F# and B

272 * Fingering patterns available from trinitycollege.com/strings-resources Pedal Harp: Grade 8

Exercises (music may be used) — Candidates prepare all three exercises. Candidates choose one exercise to play first. Examiners then select one of the remaining two exercises to be performed. a. 25. Psychotriller for right hand trill and crossing left hand over right b. 27. Sliding Low for left hand legato sixths and octaves with sliding thumb c. 28. Hairy Slides for mordents and slides

Or 3. ORCHESTRAL EXTRACTS (music may be used) — Candidates prepare all three extracts. Candidates choose one extract to play first. Examiners then select one of the remaining two extracts to be performed. a. Verdi: Die Macht des Schicksals (The Force of for continuous arpeggios in right Destiny), Ouvertüre (pages 58–59) hand, and pedalling b. Berlioz: Symphonie Fantastique, 2. Satz: Un bal for arpeggios, broken arpeggios (pages 12–13) and scales c. Tschaikowsky: Schwanensee (Swan Lake), 2. Akt, for arpeggios and chords Nr. 13 (pages 52–53) Pedal Harp: Grade

8 273 Pedal Harp: Grade 8

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement

274 Non-Pedal Harp: Grade 8 Non-Pedal Harp: Grade 8 PIECES Candidates perform a balanced programme of three pieces, chosen from the list below. Pieces by at least two composers must be played. An own composition may be played instead of one listed piece. See pages 16–19 for further guidance.

Composer Piece Book Publisher 1. AYRES Vari8 Lever Harp 2000 Beartramka 2. BESSELL The Green Man Lever Harp 2000 Beartramka Harposphère 3. BOUCHAUD Any two movts from Discorde HSA11467 CLEMENTI, Sonatina in G, op. 36 no. 5 4. Composers in Georgian London Blue Crescent trans. SHALJEAN or Sonatina in D, op. 36 no. 6 5. CLIFTON-WELKER Dance Lever Harp 2000 Beartramka DEBUSSY, 6. Clair de Lune Seaside trans. BRUNDAGE 7. HANDEL, arr. THOMAS Arrival of the Queen of Sheba Alaw HAYDN, Nos. 8, 9, 10, 11 and 12 Twelve Musical Clock Pieces 8. Lyra arr. DIEBEL (all to be played) for the Non-Pedal Harp Harposphère 9. LARC’HANTEC Fantasmagories HSA11434 Dasson Ur Galon (A Heart’s 10. LE GOVIC Laridenn Nevez Luskadenn Echo)

11. MacDEARMID Tir-nan-og Macdearmid 12. MOOR No. 1: Allegretto Three Pieces for Lever Harp Beartramka O’CAROLAN, 13. Carolan’s Farewell to Music O’Farrell arr. O’FARRELL Latin American Harps: 14. ORTIZ Theme (from Suite to Luzma) Aroy History, Music & Techniques Una vez en la montaña (Once The International Rhythmic 15. ORTIZ Aroy in the Mountain) Collection vol 2 Roc’h Trevezel Autre chose for advanced 16. PERNEL La Harpe Libre or Seconde Gnossienne lever harp Billaudot 17. REMPP Loreleï

GB8912 Non-Pedal Harp: Grade Lines on the Map (with all The Scottish Harp: 18. RUTHERFORD Rutherford repeats) New Times & Tunes vol 2 D SCARLATTI, Sonata in A minor, K. 61 Billaudot 19. Pièces classiques vol 6 ed. BOUCHARD or Sonata in Bb major, K. 66 GB5635 Astute 20. SCOTT Gypsy Dance Adventures for Lever Harp vol 2 AM100-04 High Hat: a Jazz Interlude 21. SHALJEAN Blue Crescent for Concert or Celtic Harp Prelude in D major 12 Preludes for Concert 22. SHALJEAN or Prelude in E flat major Blue Crescent or Celtic Harp or Prelude in G minor 23. SNELL Toccata Lever Harp 2000 Beartramka 8 275 Non-Pedal Harp: Grade 8

24. SPRINGTHORPE Rondo or The Heart’s Journey Lever Harp 2000 Beartramka Thoir pog don losgann, a Puirt Ùra (New Tunes Taigh na Teud 25. THOMSEN Rosaidh! (Kiss the Toad, for Harp): Advanced 9781906804091 Rosie!) TRAD., El pájaro campana Latin American Harps: 26. Aroy arr. ORTIZ (The Bell Bird) History, Music & Techniques

TECHNICAL WORK Candidates prepare either section 1. or section 2. See page 22. The exercises and studies are in Trinity’s book Harp Studies & Exercises from 2013.

Either 1. SCALES, ARPEGGIOS & EXERCISES

Scales & arpeggios (from memory) Examiners select from the following:

Scales: sixth apart (RH starting ◗ G and Bb major on keynote) three tenth apart octaves min. tempo: ◗ E major (LH starting = 130 b hands together e on keynote) (one note per starting a quaver) ◗ Contrary motion scale third apart of Eb major with LH on keynote two f or mf ◗ Scales in double thirds: octaves hands min. tempo: starting with or p or A major or E major*, separately = 70 keynote as e cresc./dim. A melodic minor or (major), RH only (one note per lower note (p – f – p) E melodic minor* (melodic minor) quaver) Arpeggios: ◗ G, D and Eb major root position, ◗ G, E and A minor first, second min. tempo: and third three = 130 hands together e ◗ Dominant 7ths in the keys inversions octaves (one note per of G, E or A*, Bb and Eb** quaver) ◗ Diminished 7ths starting on F# and B Exercises (music may be used) — Candidates prepare all three exercises. Candidates choose one exercise to play first. Examiners then select one of the remaining two exercises to be performed. a. 26. Psychotriller for right hand trill and crossing left hand over right b. 27. Sliding Low for left hand legato sixths and octaves with sliding thumb c. 28. Hairy Slides for mordents and slides

* Candidate’s choice depending on tuning of instrument — chosen key must be stated on appointment form 276 ** Rhythm and fingering patterns available from trinitycollege.com/strings-resources Non-Pedal Harp: Grade 8

SUPPORTING TESTS

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

Aural questions

Parameters Task Requirement Non-Pedal Harp: Grade

277 Policies Policies

SAFEGUARDING AND CHILD PROTECTION DATA PROTECTION Trinity is fully committed to safeguarding Trinity is registered as a Data Controller with and protecting the candidates that we the Information Commissioner’s Office in work with. All posts, including examiners, the United Kingdom under data protection are subject to a safer recruitment process, legislation. Please see trinitycollege.com/ including the disclosure of criminal records data-protection for the most up-to-date and vetting checks. Our safeguarding policies information about Trinity’s data protection and procedures are regularly reviewed and procedures and policies. promote safeguarding and safer working practice across all parts of our work. CUSTOMER SERVICE Trinity is committed to providing a high-quality EQUAL OPPORTUNITIES service for all our users from initial enquiry Trinity is committed to providing equality of through to certification. Full details of our opportunity and treatment for all, and will not customer service commitment can be found unlawfully or unfairly discriminate directly or at trinitycollege.com/customer-service indirectly on the basis of any characteristic. QUALITY ASSURANCE REASONABLE ADJUSTMENT Please note that, for training/monitoring Trinity is committed to creating an inclusive purposes, it may, on occasion, be necessary environment where candidates with special for there to be more than one examiner in needs are able to demonstrate their skills the room. and feel welcomed. We aim to make our Trinity audio records and sometimes films exams accessible to all. We treat each exams for quality assurance and training learner individually when considering how purposes. In the case of filming, Trinity will we can achieve this aim, recognising that always seek permission from the candidate requirements vary. Candidates can be assured (or a parent or guardian) first. All recording that we do not compromise on the standard devices will be discreet and should not cause of marking or allow the quality of exams to be any distraction to candidates. affected in any way.

All provision is tailored to the particular EXAM INFRINGEMENTS needs of each candidate. In order to be most beneficial, as full an explanation as possible of All exam infringements (eg choosing an the required provision should be given. The need incorrect piece) will be referred directly and request for provision should be made on the to Trinity’s central office by the examiner. appropriate form available to download from Exam reports may be withheld until the trinitycollege.com/music-csn. For enquiries outcome of any referral has been considered please contact [email protected] by Trinity. Depending on the severity of the infringement, marks may be deducted or, in extreme cases, the exam may be invalidated.

278 Policies

MALPRACTICE RESULTS REVIEW AND APPEALS PROCEDURE Trinity requires its registered exam centres to report any suspected malpractice Anyone who wishes to question their exam by candidates, teachers or examiners. result should refer to trinitycollege.com/ In situations where a centre is found to be results-enquiry for full details of our results inadequate or to be guilty of malpractice, review and appeals process. either in terms of provision of facilities or in administration, the exam centre may be required to suspend all of its activities relating to Trinity exams until the cause of the problem Policies is identified and rectified, if appropriate. In extreme circumstances, the centre may have its registered status withdrawn. In the very rare cases or circumstances where a centre or individual may be suspected of malpractice, Trinity will aim to minimise any inconvenience caused to any affected candidate, and would like to thank candidates, teachers and centre staff for their kind co-operation in reporting any suspected incident of cheating, thereby assisting Trinity in upholding the quality and integrity of its exam process.

279 Publishers and UK specialist suppliers Publishers and UK specialist suppliers The following list covers all publications listed in this syllabus. Publisher abbreviations used in the repertoire lists are printed in bold. UK distributors are indicated where applicable. Publishers may have different local agents in other parts of the world who may be able to supply music more easily or quickly; please contact publishers directly for details.

80 DAYS AROY BLUE CRESCENT CAMAC

80 Days Publishing Aroy Music Blue Crescent Music Editions Camac 80dayspublishing.com aroymusic.com bluecrescentmusic.com Production camacharps.co.uk A & C BLACK ASTUTE BOILEAU CARISCH A & C Black Music Astute Music Ltd Editorial de Música acblack.com astute-music.com Boileau Carisch Music boileau-music.com carisch.com ADLAIS AVONDALE BOOSEY CHESTER Adlais Music Publishers The Avondale Press adlaismusicpublishers.co.uk theavondalepress.com Boosey & Hawkes Music Chester Music Ltd Publishers Ltd c/o De Haske AFGHAN BANKS boosey.com CLARSACH SOCIETY Afghan Press Banks Music Publications BOSWORTH afghanpressmusic.com banksmusicpublications. clarsachsociety.co.uk co.uk Bosworth & Co Ltd ALAW c/o De Haske CLIFTON-WELKER BÄRENREITER Alaw Music Publishing BRAYDESTON Fiona Clifton-Welker alawmusic.com Bärenreiter Ltd c/o Creighton baerenreiter.com Braydeston Press ALFRED c/o De Haske COMBRE BÄRENREITER PRAHA Alfred Music BREITKOPF Editions Combre alfred-music.co.uk baerenreiter.cz editions-combre.com c/o Faber c/o Bärenreiter Breitkopf & Härtel c/o Faber breitkopf.com ALLEGRO BARTHOLOMEW c/o MDS COMPOSERS LIBRARY

Allegro Music Bartholomew Music BROADBENT & DUNN c/o Presser allegro.co.uk Publications bartholomewmusic.co.uk Broadbent & Dunn Ltd COMUS AMADEUS broadbent-dunn.com BEARTRAMKA Comus Edition Amadeus Vertrieb BROEKMANS comusedition.com amadeusmusic.ch beartramka.com Broekmans & Van Poppel CORNWALL HARP AMP BELAIEFF broekmans.com CENTRE

Associated Music M P Belaieff BROKEN STRING cornwallharpcentre.co.uk Publishers c/o MDS c/o De Haske Broken String Productions CRAMER BILLAUDOT c/o lulu.com Cramer Music Ltd Gérard Billaudot Editeur CAIRDE NA CRUITE cramermusic.co.uk billaudot.com cairdenacruite.com 280 Publishers and UK specialist suppliers

CREIGHTON EMB FLYING STRINGS HARDIE Publishers and UK specialist suppliers

Creighton’s Collection Editio Musica Budapest Ltd flyingstrings.com The Hardie Press creighton-griffiths.co.uk emb.hu hardiepress.co.uk c/o Faber FORSYTH CWMNI CYHOEDDI HARMONIA GWYNN ENDPIN Forsyth Brothers Ltd

forsyths.co.uk Harmonia Cwmni Cyhoeddi Gwynn Endpin Music Publishing c/o De Haske Publishing Co c/o Ludwig FOUR BASS gwynn.co.uk HARP & HOBBIT ESCHIG Four Bass Music DE HASKE fourbassmusic.com Wellington: Harp & Hobbit

Editions Max Eschig c/o Spartan Press De Haske Hal Leonard Ltd durand-salabert-eschig. asni.net dehaske.com com FRIOU c/o De Haske HARP COLUMN DELRIEU Friou Music EUFONIUM c/o Creighton Harp Column Music Edition Delrieu harpcolumn.com edition-delrieu.com Eufonium Publishing FURORE House HARPIANA DOBLINGER eufonium.pl furore-verlag.de Editions Harpiana Musikverlag Doblinger EVANS GABRIEL Publications doblinger.at harpiana.com c/o MDS Elinor Evans Gabriel Music elinorevansmusic.co.uk janetbennett.co.uk HARPOSPHÈRE DOHR EZRA GIA Harposphère Edition Verlag Dohr harpebudin.com dohr.de Adam Ben Ezra GIA Publications Inc c/o MDS adambenezra.com giamusic.com HENLE

DONEMUS FABER GOLDEN CAGE G Henle Verlag

henle.de Donemus Publishing Faber Music Ltd c/o Creighton donemus.nl fabermusic.com HEUGEL GOODMUSIC DURAND FAGUS Editions Heugel

Goodmusic Music c/o De Haske Editions Durand Fagus Music Publishers durand-salabert-eschig.com fagus-music.com goodmusicpublishing.co.uk HOLZSCHUH c/o De Haske FENTONE HAL LEONARD Holzschuh Musikverlag EDWARD B MARKS holzschuh-verlag.de

Fentone Music Ltd De Haske Hal Leonard Ltd Edward B Marks Music c/o De Haske dehaske.com HONG KONG HARP Company CHAMBER ebmarks.com FIELDING HAMELLE Hong Kong Harp Chamber EFM Marie Fielding Editions Hamelle Music

mariefieldingmusic.com c/o De Haske harpchamber.com Editions Française de Musique FISCHER HANSEN IMC c/o Billaudot

Carl Fischer Music Edition Wilhelm Hansen International Music EMA carlfischer.com c/o De Haske Company

c/o MDS internationalmusicco.com European Music Archive c/o MDS c/o Spartan

281 Publishers and UK specialist suppliers

ISRAEL MUSIC LUDWIG MODUS PEDAL SLIDERS INSTITUTE Ludwig Masters Modus Music pedalsliders.com imi.org.il Publications modusmusic.org ludwigmasters.com PENTLAND JAMIESON c/o De Haske MORLEY Pentland Publishing Ronnie Jamieson LUSKADENN Clive Morley Harps Ltd ailierobertson.com c/o Shetland Times morleyharps.co.uk Luskadden Publications PETERS JANET HARBISON tristanlegovic.eu MUSICLAND Peters Edition Ltd janetharbisonharp.com LYON & HEALY Musicland Publications editionpeters.com musiclandpublications.com JOBERT lyonhealy.com PIPER MUSICUS Editions Jobert LY RA Piper Publications jobert.fr Edition Musicus piperpublications.co.uk c/o MusT KJOS Lyra Music Publications POPPYHARP c/o Vanderbilt MUSICWORKS Neil A Kjos Music poppyharp.com Company MACDEARMID musicworksharpeditions. kjos.com PREISSLER c/o Creighton com c/o De Haske MUST Musikverlag Josef KUNZELMANN MARCH HAIR Preissler

Music Trading Company preissler-verlag.de Edition Kunzelmann March Hair Publications tutti.co.uk kunzelmann.ch rachelhair.com PRESSER MARSHARP NIMBUS LA HARPE BLANCHE Theodore Presser

Marsharp Music Nimbus Music Publishing Company laharpeblanche.com marsharpmusic.com wyastone.co.uk/nmp presser.com LA HARPE LIBRE MARUKA PWM NOVELLO c/o Harp Column Maruka Music Novello & Co Ltd Polskie Wydawnictwo Muzyczne LEDUC c/o Alaw c/o De Haske pwm.com.pl

MAYHEW O’FARRELL c/o MDS Editions Alphonse Leduc alphonseleduc.com Kevin Mayhew Ltd Anne-Marie O’Farrell QUEEN’S TEMPLE c/o De Haske kevinmayhew.com c/o Creighton Queen’s Temple LEMOINE MCA OLD SCHOOL Publications

qtpublications.co.uk Editions Henry Lemoine Music Corporation of Old School Productions c/o Spartan henry-lemoine.com America savournastevenson.uk c/o Faber c/o De Haske RADFORD OLGP LENGNICK MCTIER c/o Morley Overdressed Late Guy Alfred Lengnick & Co McTier Music Productions RECITAL c/o De Haske c/o Spartan jazzharp.com Recital Music LOVELACE MDS OR-TAV recitalmusic.net

c/o Spartan William Lovelace Music Distribution Or-Tav Music Publications c/o Creighton Services Ltd ortav.com RICORDI mdslondon.co.uk OUP Casa Ricordi MEL BAY ricordi.it

Oxford University Press c/o De Haske Mel Bay Publications Inc oup.co.uk melbay.com 282 Publishers and UK specialist suppliers

ROTHSTEIN STOUT VANDERBILT

UK SPECIALIST Publishers and UK specialist suppliers SUPPLIERS suerothstein.co.uk Chris Stout Music Vanderbilt Music Company c/o Shetland Times vanderbiltmusic.com In case of any difficulty S J MUSIC in obtaining music, the SUMMY-BIRCHARD VIOLA WORLD sjmusicpublications.co.uk following specialist c/o Alfred Viola World Publications suppliers may be helpful: SALABERT violaworldpublications. SWANSTON com Editions Salabert BOWED STRINGS: durand-salabert-eschig. c/o Morley WAVENEY com FULLER MUSIC c/o De Haske SYLVIA WOODS Waveney Music Publishing Ltd 01540 664940 SALVI harpcenter.com violinplaying.com fullermusic.co.uk

SERENADE FOR Salvi, Lyon & Healy TAIGH NA TEUD WEINBERGER STRINGS c/o Morley

scotlandsmusic.com Josef Weinberger Ltd 01592 774654 SCHIRMER josef-weinberger.com THAMES serenade4strings.co.uk G Schirmer Inc WIENER c/o De Haske Thames Publishing c/o De Haske Wiener Urtext Edition SCOTTISH SCHOTT wiener-urtext.com TRADITIONAL TRANSATLANTIQUES c/o MDS FIDDLE: Schott Music Ltd schott-music.com Editions Musicales WOLLENWEBER HIGH LEVEL MUSIC Transatlantiques SEASIDE c/o De Haske Verlag Walter Wollenweber 01595 692618 jarmandi.de Seaside Press TRINITY seasidemusic.com XYZ HARP: Trinity College SHETLAND MHT London Press XYZ International CLIVE MORLEY HARPS trinitycollege.com c/o De Haske Shetland Music Heritage 01367 860493 Trust UME YORKE morleyharps.com c/o Shetland Times Unión Musical Ediciones Yorke Edition CREIGHTON’S SHETLAND TIMES c/o De Haske yorkedition.co.uk COLLECTION c/o Spartan The Shetland Times UMP 029 2039 7711 Bookshop ZEN-ON creighton-griffiths.co.uk shetlandtimes.co.uk/shop United Music Publishing Ltd ump.co.uk Zen-On Music SALVI MUSIC SIMROCK zen-on.co.jp UNIVERSAL c/o MDS 020 3002 4841 c/o MDS salvimusic.co.uk Universal Edition ZIMMERMANN SPARTAN (London) Ltd

universaledition.com Musikverlag Zimmermann Spartan Press Music musikverlag-zimmermann. Publishers Ltd UT ORPHEUS de spartanpress.co.uk c/o MDS Ut Orpheus Edizioni STAINER utorpheus.com

Stainer & Bell Ltd VAMOOSH stainer.co.uk Vamoosh Music vamooshmusic.com c/o Spartan

283 Trintity publications Trinity publications

The following Trinity publications support Take Your Bow this syllabus. All are available from Violin TCL 018045 trinitycollege.com/shop or from your Viola TCL 018052 local music shop. Cello TCL 018069 Violin Exam Pieces 2020–2023 Double Bass TCL 018076 Initial TCL 019189 Full Score TCL 018175 Grade 1 TCL 019196 Grade 2 TCL 019202 Scales, Arpeggios & Studies from 2016 Grade 3 TCL 019219 Violin TCL 014580 Grade 4 TCL 019226 Viola TCL 014597 Grade 5 TCL 019233 Cello TCL 014603 Grade 6 TCL 019240 Double Bass TCL 014610 Grade 7 TCL 019257 Grade 8 TCL 019264 Harp Studies & Exercises from 2013 Pedal & Non-Pedal Harp TCL 011800 Violin Exam Pieces 2020–2023 CDs

Initial & Grade 1 TCL 020048 Sound at Sight (sample sight reading tests) Grade 2 TCL 020055 Violin (Initial–Grade 3) TCL 011589 Grade 3 TCL 020062 Violin (Grades 4–8) TCL 011596 Grade 4 TCL 020079 Viola (Initial–Grade 8) TG 006967 Grade 5 TCL 020086 Cello (Initial–Grade 8) TCL 011503 Grade 6 TCL 020093 Double Bass (Initial–Grade 8) TG 008510 Grade 7 TCL 020109 Grade 8 TCL 020116 Specimen Aural Tests from 2017 The audio can also be streamed or downloaded from Book 1 (Initial–Grade 5) TCL 015808 Amazon Music, Google Play, iTunes, Spotify and other platforms. Book 2 (Grades 6–8) TCL 015815

Raise the Bar Violin Theory of Music Workbooks Book 1: Initial–Grade 2 TCL 015822 Grade 1 TG 006509 Book 2: Grades 3–5 TCL 015839 Grade 2 TG 006516 Book 3: Grades 6–8 TCL 015846 Grade 3 TG 006523 Grade 4 TG 006530 Additional Violin Repertoire Grade 5 TG 006547 Constellations Set 1 TCL 019158 Grade 6 TG 007476 (Garry Wilkinson) Grade 7 TG 007483 Pieces, Studies, Ragas TCL 019165 Grade 8 TG 007490 (L Subramaniam) Twelve Pieces (Barbara Arens) TCL 019141

284 Strings resources Strings resources

Join us online to access a range of resources to support teaching and learning at trinitycollege.com/strings-resources Discover online digital content, including videos and downloadable handouts from teachers and leading musicians, with advice and support on: ◗ Pieces, performance and technique ◗ Technical work

◗ Supporting tests Trinity publications For further help you can contact the music support team at Trinity’s central office at [email protected], or find the contact details of your local representative at trinitycollege.com/worldwide Strings resources

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