Double Bass 2020 Rev Sep 2020

 

Grades Initial–8 BOWED BOW ED STRING PRACTICAL GRADES: requirements and information This syllabus is valid for 2020–2023.

This section provides a summary of the most important points that teachers and candidates need to know when taking ABRSM Practical Grades for bowed string instruments. Further details, as well as administrative admini strative information about the exams, are given in ABRSM’s Exam Regulations (available at www.abrsm.org/examregulations) which should be read before making an exam booking.

Changes in the 2020–2023 2020 –2023 syllabus There are two main changes in this syllabus:

•

Initial Grade is introduced; this pre-Grade 1 exam follows the format of Grades 1–8 and is assessed using the same marking criteria Grades Initial–3. •  A string accompaniment option is offered for some pieces at Grades

Entering for an exam Eligibility: There are nine grades of exam for each instrument. Candidates may be entered for

any grade at any age and do not need to have taken other grade(s) on the same instrument. Candidates for a Grade 6, 7 or 8 exam must have already passed ABR ABRSM SM Grade 5 (or above) above) in Music Theory, Practical Musicianship Musicianship or a Practical Grades solo Jazz instrument; for full details, including a list of accepted alternatives, see www.abrsm.org/prerequisite.  Access:: ABRSM is committed to providing all candidates with fair access to its assessments  Access

by putting in place access arrangements and reasonable adjustments. There is a range of alternative tests and formats formats as well as guidelines for candidates with specific needs (see www. ww w. abrsm.org/specificneeds). abrsm.org/specificneeds ). Where a candidate’ candidate’ss needs are not covered by the guidelines, each eac h case is considered individually. Further information is available from the Access Co-ordinator ([email protected]). Exam booking: Details of exam dates, locations, fees and how to book an exam are available

online at www.abrsm.org/exambooking.

Instruments Candidates are required to perform on acoustic instruments (electric instruments are not allowed). Any size of instrument may be used; Viola candidates may play on a violin strung as a viola. Examiners apply the marking criteria (which include the assessment of pitch, tone and musical shaping) to assess musical outcomes without reference to the specific attributes of the instrument.

8

 

Bowed String Practical Grades: requirements and information

Elements of the exam  All ABRSM ABR SM Practical bowed string string exams consist of: three Pieces; Scales and arpeggios; Sightreading; and Aural tests. In all grades, marks are allocated as follows: Pieces : 1 2 3

30 30 30

Scales Scal es an and d arp arpeg eggi gios os 21 Sight-reading 21  Aural tests 18 Total

150

Marking scheme: Exams are marked out of 150. 100 marks are required for a Pass, 120 for a

Merit and 130 for a Distinction. Candidates do not need to pass each section to pass overall. See pp. 106–107 for the marking criteria used by examiners.

Pieces Musicians learn to play an instrument to explore and perform repertoire, which is why pieces

are at the core of the exam – candidates are asked to present three at each grade. The syllabus repertoire is organised into three lists which explore different traditions and styles, dating from the Renaissance period to the present day. Choosing one piece from each list gives candidates the opportunity to play a balanced selection and demonstrate a range of skills. In this syllabus, the pieces are broadly grouped into lists by the characteristics of the music:

• • •

List A pieces are generally faster moving and require technical agility  List B pieces are more lyrical and invite expressive playing List C pieces reflect a wide variety of musical traditions, styles and characters.

Most of the pieces require an accompaniment, as interacting with other musicians is an important musical skill, but there are also opportunities to choose solo pieces and develop confidence with unaccompanied playing.  We hope that that by offering this variety in the syllabus, candidates will find music that that inspires them and that they enjoy learning and performing. Programme planning: Candidates must choose one piece from each of the three lists (A, B

and C)*. In the exam, candidates should tell the examiner which pieces they are performing, and they are welcome to use the form on p. on p. 108 for 108 for this.

Every effort has been made to feature a broad range of repertoire to suit and appeal to candidates of different ages, backgrounds and interests. Certain pieces may not be suitable for every candidate for technical reasons or because of wider context (historical, cultural, subject matter of the larger work from which it is drawn, lyrics lyr ics if an arrangement of a song etc.). Pieces should be carefully considered for parents/guardians. their appropriateness to eachand individual, which mayshould need consultation between teachers and Teachers parents/guardians also exercise caution when allowing younger candidates to research pieces online: w online: ww w w.nspc w.nspcc. c. org.uk/onlinesafety . * Grade 8 Violin candidates must choose at least one accompanied piece (there are solo pieces on all three lists).

9

 

Bowed String Practical Grades: requirements and information

The repertoire lists are the same as for ABRSM A BRSM Performance Grades. Candidates may not present the same repertoire (in full or individual pieces) for the same grade of both qualifications, irrespective of when the exams are taken.  Accompaniment: A live piano or string (where (where the option is listed) accompaniment is required

for all pieces, except those which are published as studies or unaccompanied works (these are marked SOLO  in the syllabus list).  At Grades Initial–3, candidates may perform some or all all of their pieces with a string string accompaniment. Pieces that are published as duets (or with string accompaniment only) are marked DUET   in the syllabus list. Pieces that are published with piano and string accompaniment options are marked PF/VN , PF/VA , PF/VC , or PF/DB  in the syllabus list, and may be performed with either accompaniment in the exam. Candidates must provide their own accompanist(s), accompanist(s), who can only be in the exam room while accompanying. The candidate’s teacher may accompany (examiners will not). If necessary, an accompanist may simplify any part of the accompaniment, as long as the result is musical. Recorded accompaniments are not allowed. Exam music & editions: Wherever the syllabus includes an arrangement or transcription

(appearing as ‘arr.’ ‘arr.’ or ‘trans.’ in the syllabus list), the edition listed in the syllabus must be used in the exam. For all other pieces, editions are listed for guidance guidanc e only and candidates may use any edition of their choice (in- or out-of-print or downloadable). downloadable). Information on sourcing exam music is given on p. 13. 13. Interpreting the score: Printed editorial suggestions such as fingering, bowing, metronome

marks, realisation of ornaments etc. do not need to be strictly observed. Whether the piece contains musical indications or not, candidates are encouraged to interpret the score in a musical and stylistic way. Examiners’ marking will be determined by how control of pitch, time, tone, shape and performance contributes to the overall musical outcome.  Vibrato:  Vibra to: The use and control of vibrato, and its effect on tone and shape, will be taken into

account by examiners, who will be assessing the overall musical outcome. Pieces that are heavily reliant on vibrato for their full musical effect tend not to appear in the syllabus before around Grade 5. Repeats: Unless the syllabus specifies differently, all da capo and dal segno indications should

be followed but other repeats (including first-time bars) should not be played unless they are  very short (i.e. a few bars). bars). Cadenzas & tuttis: Cadenzas should not be played unless the syllabus specifies differently.

 Accompanists should cut lengthy orchestral orchestral tutti sections. Performing from memory: Candidates may perform any of their pieces from memory; if doing

so, they must make sure that a copy of the music is available for the examiner to refer to. No extra marks are awarded for playing from memory. Page-turns: Examiners will be understanding if a page-turn causes a lack of continuity during a

piece, and this will not no t affect the marking. Candidates (and accompanists) may use an extra copy of the music or a photocopy of a section of the piece (but see ‘Photocopies’ on p. 11 11)) to help with page-turns. Candidates and accompanists at Grades 6–8 may bring a page-turner to the exam if there is no solution to a particularly awkward page-turn (prior permission is not required; the turner may be the candidate’s teacher). Examiners are unable to help with page-turning. 10

 

Bowed String Practical Grades: requirements and information

Photocopies: Performing from unauthorised photocopies (or (or other kinds of copies) or illegal

downloads of copyright editions is not allowed. ABRSM ABR SM may withhold the exam result where it has evidence of an illegal copy (or copies) copies) being used. In the UK, U K, copies may be used us ed in certain limited circumstances – for full details, see the MPA MPA’’s Code of Fair Practice  at  at w ww.mpaon ww.mpaonline. line. org.uk. In all other cases, application should be made to the copyright holder before any copy is made, and evidence of permission should be brought to the exam.

Scales and arpeggios Playing scales and arpeggios is important for building strong technical skills such as reliable finger movement, hand position, co-ordination and fingerboard fluency. It also helps to develop tone, pitch and interval awareness, and familiarity with keys and their related patterns. This leads to greater confidence and security when sight-reading, learning new pieces and performing – from a score or from memory, as a solo musician or with others. Memory: All requirements should be played from memory. Range: All requirements should be played from the lowest possible tonic/starting note unless

the syllabus specifies differently. They should ascend and descend according to the specified range (and pattern). Rhythm: For most major and minor scales (and double-stop scales in parallel sixths/octaves) sixths/octaves) candidates may choose between two rhythm patterns: even notes or  long  long tonic. The scale to a

fifth (Initial Grade) Grade) should be played in even notes. Patterns: Arpeggios and dominant sevenths are required in root position only. All dominant

sevenths should finish by resolving on the tonic. Examples of scale/arpeggio etc. patterns found in this syllabus are given on pp. 14–15. Fully notated versions of the requirements are published publis hed by ABRSM. A BRSM. Fingering: Candidates may use any fingering that produces a successful musical outcome. Speed: Bowing will generally dictate the tempi of slurred scales and arpeggios. Separately-

bowed requirements should be played briskly, using no more than half the bow length. The speeds on pp. 16–19 are given as a general gene ral guide. In the exam: Initial Grade candidates should play all three requirements when asked for their scales. The examiner will prompt the keys/ranges where necessary.  At Grades 1–8, examiners will usually ask for at least one of each scale/arpeggio (etc.) (etc.) type. They will ask for majors followed by minors within each type, and also ask to hear a balance of the separately-bowed and slurred requirements. When asking for requirements, examiners  will specify:

• •

the key* (including minor form – harmonic or  melodic   melodic – in the Grade 6–8 scales) or the starting note separate bows or  slurred  slurred (except for where the requirements are to be prepared with separate bows only  –  – e.g. Grade 1 arpeggios).

* Where keys at Grades 6–8 are listed enharmonically – D - /C + and A - /G + – the examiner will use the flat spelling when asking for major keys and the sharp spelling for minor keys.

11

 

Bowed String Practical Grades: requirements and information

Sight-reading  Sight-reading is a valuable skill with many benefits. Learning to sight-read helps to develop quick recognition of keys, tonality and common rhythm patterns. Strong sight-reading skills make learning new pieces piece s quicker and easier, and also help when making music with others, so that playing in an ensemble becomes more rewarding and enjoyable. Candidates will be asked to play a short unaccompanied piece of music which they have not seen before. They will be given half a minute to look through and, if they the y wish, try out all or any part of the test before they are asked to play it for assessment. The tables on pp. 20–21 show the elements that are introduced at each grade. For practice purposes, sample sight-reading tests are published by ABRSM.

 Aural tests tests Listening lies at the heart of music-making and the ability to hear how music works helps with all aspects of musical development. Aural skills help with gauging the sound and balance of playing, keeping in time and playing with a sense of rhythm and pulse. These skills also help to develop a sense of pitch, musical memory and the ability to spot mistakes. The requirements are the same for all four instruments. Full details of the Aural tests are given on pp. 94–101.

In the exam Examiners: Generally, there will be one examiner in the exam room; however a second

examiner may be present for training and quality assurance purposes. Examiners may ask to look at the candidate’s or accompanist’s accompanist’s copy of the music before or after the performance of a piece; a separate copy is not required. Examiners may stop the performance perfor mance of a piece when they have heard enough to make a judgment. They will w ill not issue or discuss a candidate’ can didate’ss result; the mark form (and certificate for successful candidates) candidates) will be issued by ABRSM A BRSM after the exam. Order of the exam: The individual sections of the exam may be taken in any order, at the

candidate’s choice, although it is preferable for accompanied pieces to be performed consecutively at the beginning of the exam. Tuning: At Grades Initial–5, the teacher or accompanist may tune the candidate’s instrument

(or advise on tuning) before the exam begins. At Grades 6–8, candidates must tune their instruments themselves. Examiners are unable to help with tuning. Seating: Double Bass candidates should provide their own stool if required. A chair/stool chair/stool will

be provided for cello candidates at ABRSM public venues. Music stands: All ABRSM ABR SM public venues provide a music stand, but candidates are welcome to

bring their own if they the y prefer. prefer. The examiner will be happy to help adjust the height or position of the stand.

12

 

Bowed String Practical Grades: requirements and information

 Assessment The tables on pp. 106–107 show the marking criteria criter ia used by examiners. examine rs. Examiners mark up or down from the pass mark for each element by balancing the extent to which the qualities and skills listed on pp. 106–107 (broadly categorised by pitch, time, tone, shape and performance) are demonstrated and contribute towards the overall musical outcome.

Sourcing exam music

Exam music is available from music retailers retailers and online, including at the ABRSM ABR SM music shop:  ww  w w w.abrsm w.abrsm.org/shop .org/shop.. Every effort has been made to make make sure sure that that the the publications listed will be available for the duration of the syllabus. Candidates are advised to get their music well before the exam in case items are not kept in stock by retailers. Non-exam related questions about the music (e.g. (e.g. editorial, availability) should be addressed to the relevant publisher: contact details are listed at www.abrsm.org/publishers.

13

 

SCALE AND ARPEGGIO PATTE PATTERNS RNS The examples below clarify patterns found in this syllabus. The full requirements for each instrument and grade are listed on the relevant syllabus pages. See also p. 11. RHYTHM PATTERNS FOR SCALES

For major scales (all grades) and minor scales (Grades 1–8), candidates may choose between two rhythm patterns: even notes or   long tonic. (Chromatic scales should always be played  with even notes.) even notes   

or  

long tonic

etc.

etc.

 

 

SLURRING PATTERNS FOR SCALES

even notes 

   

or  

 

2 quavers: 2 beats: 7 notes:

etc.

œ œ œ œ œ œ œ

 

long tonic

œ

etc.

etc.

NATURAL MINOR SCALE

 

V  #

 

A 

B 

 

SCALE

V  #

to a fifth

œ œ œ œ

 

DOMINANT SEVENTH

œ œ œ œ

Œ

œ

 

V 

(resolving on tonic)

œ œ œ œ

œ œ œ œ

DOUBLE-STOP SCALES

In broken steps

in sixths:

 

in octaves:   in thirds:

14

 

V  bb V  ## V  bb

œ œ

œ œ

‰‰ ‰‰

    œ

  œ

œ

œ

‰‰ ‰‰

 

 

etc.

œ

œ  

 

etc.

œ

œ œ

œ

‰

   

œ

œ

‰

œ

 

etc.

œ

‰‰ ‰‰ ‰

 

œ

œ

œ  

œ

 

œ

œ

‰‰ ‰‰ ‰

etc.

etc.

etc.

œ

Œ

 

Scale and arpeggio patterns

(cont.)

DOUBLE-STOP SCALES

In parallel even notes 

 

in sixths:

 

V  bbb

 

long tonic

V  bbb

etc.

 

  # V  #

in octaves:

or  

 

 

  # V  #

etc.

 etc.

 

 etc.

 

Patterns for Double Bass only  SCALES

to a sixth

even notes 

B   

œ

SCALES

œ

œ

or   œ

œ

œ

œ

œ

B  b

œ

B    œ œ œ œ œ œ œ œ œ œ œ Œ Œ

 

œ

to a twelfth

even notes   

œ

long tonic

or    

etc.

 

long tonic

Œ Ó

B  b  

ARPEGGIOS

to a twelfth

 

B  b  œ

œ œ œ œ œ œ œ œ œ œ œ œ 

Œ 

SCALE IN BROKEN THIRDS

B#

 

etc.

 

Ó

etc.

SCALE IN RUNNING THIRDS

 

B#

 

œ œ œ œ œ

 

œ etc.

V 

œ œ œ

 

œ œ œ œ œ œ

œ

etc.

B

œ œ œ

œ œ œ œ

 

15

 

Scale and arpeggio speeds

    8

    7

    6

    5     d    e    e    p     S     /     4    e     d    a    r     G     3

    2

    1    :    e     d     i    u    g     l    a    r    e    n    e    g    a    s    a    n    e    v     i    g    e    r    a    s     d    e    e    p    s    g    n     i    w    o     l     l    o     f    e     h     T

    l    a     i     i    t    n     I

   n    r    e    t    t    a    p

    6     7   =

      q

    3     6   =

      q

    6     5   =

      q

    0     5   =

      q

    6     4   =

      q

    4     4   =

      q

    2     4   =

    2     1     1   =

    0     5   =     .

    6     5   =

    8     0     1   =

    2     4   =     .

    4     5   =

    4     0     1   =

    6     5   =

    2     5   =

    0     0     1   =

    0     0     1   =

    0     5   =

    2     9   =

    2     9   =

    6     4   =

    4     4   =

    8     8   =

      e       q       q

      e       q       q

    0     0     1   =

      q

    4     8   =

      q     6     5   =

      q

      e       e       q

      e       e       q

      q       e     2     4   =

      q

    0     4   =

    0     4   =

      q

    6     7   =

      e    r       q    o      i

      q       i       i      i       i      q       i      i       q

      q       i       i     /       q       i       i       i

    S     S     A     B     E     L     B     U     O     D

      q

      e       q       q

      q

      q

    0     5   =     .

      q       i       i       i     /       q       i       i

      q       i       q       i       i     /       i       q       i       i       i       i     *

   s    e     l    a    c     S

   s    o     i    g    g    e    p    r     A

   s    s     h    e    t     l    a     7  .    c    s    m    c     i     i    t     D    a    m     &  .    o    m    r     h    o     C     D

      h       q        q

    d    s    n    e    a    ◆     l    )    s    n   s    a    e    d    c    s    p     k    i    r    p   e    t    o    o   s    r

    b    h    t    n   g     i    n     i    e     l    n    a   n    c     S   u    r

   n    t    s    e   -    k    e     l    o     b   r    u    b    o   n     D    i     (

    )     8    e     d    a    r     G     (    s     d    r     i     h    t    g    n     i    n    n    u    r    n     i     d    n    a     )     6    e     d    a    r     G     5    (    e    s     d    d    r    a    r    i     h     G      t    m   n    e    o     k    r     f    o    s    r     h    t     b    n     i    7  .     l    e    m     i    a    c     D    S     *    ◆

19

 

SIGHT-READING PARAMETERS The tables on pp. 20–21 show the elements that are introduced at each grade. These parameters are presented cumulatively, i.e. once introduced they apply for all later grades (gradually progressing in difficulty). See also p. 12.

Initial Grade

Length (bars)

Time

Other features that may be included

4

4 ⁄4

• 1st position  Œ

6

2 ⁄4

Grade 1

4

3 ⁄4

Grade 2

8

 

Grade 3

Grade 4

c. 8

• notes bowed  rests q  and separately iq note values; • mf  • h  and iiiq note values •  f  and  and p • Double Bass: 1st or  half  half position, at candidate’s choice • h .  ;  rests • simple two-note slurs • mp  ; cresc. and dim. hairpins • Double Bass: 1st position only  • accidental accidentalss (within minor keys) keys) • q .  e  and  and q  a semiquaver er patterns; ‰  rests . a i   i  ; simple semiquav • tied notes • staccato; pizzicato (at end) • Double Bass: half or  1st  1st position, at examiner’s choice • shifts between: • Violin & Viola: 1st and 3rd positions • Cello: 1st and 4th positions • Double Bass: half, 1st and 3rd positions (no more than two

6⁄8

positions per test) • chromatic notes • anacrusis • hooked bowing • tenuto, accents • pause sign •  pp and ff 

20

Grade 5

c. 8–16

Grade 6

c. 1  12 2–16

9 ⁄8 5⁄8 5 ⁄4

Grade 7

c. 1  16 6 –20

7⁄ 8 7⁄4

Grade 8

c. 1  16 6 –24

12 ⁄ 8

• • • • • • • • • • • • • • • •

shifts as required to cover range simple syncopation changes between arco and pizzicato slowing of tempo (at end) Violin, Viola & Cello: simple chords (at end) triplet patterns slowing of tempo followed by a tempo Viola: treble clef  Double Bass: simple chords (at end) Violin & Viola: left-hand pizzicato Cello & Double Bass: tenor clef 

acceleration of tempo simple ornaments Violin: 8va sign Cello: left-hand pizzicato Cello & Double Bass: treble clef 

 

Sight-reading parameters

KEYS MAJORS minors *

 Violin

Viola

Cello

Double Bass ◆

Initial Grade

D, A

G, D

G, D

G, D

—

—

—

Grade 2

G e

C a

C a

C, G, D a

Grade 3

C, F, B -  a, d, g

F, B -, E -  d, g, c

 A, F, B -  d, g

F, B -  b

Grade 4

E - 

A

E -  c

 A e, d

Grade 5

E, A -  b, c

E, A -  e, f + 

e

  g

Grade 1

Grade 6

  c + 

Grade 7 Grade 8

—

E -  c

E, A -  b, f 

E f + 

f + 

 A -  f 

Cello

Double Bass

G – c , d– g

g–b, d–f + 

″

G–d

′

d–b or  F–f  F–f ◊

″

C–d

′

E–b

c–e

″

C–d

′

E–b

c–g

″

C–g

′

E–d

f 

  f + 

b, c + 

B, D -  f 

B, D - 

RANGES §

 Violin

Viola

Initial Grade

d –g , a –d

Grade 1

d –a

g–d

Grade 2

g–a

c–d

Grade 3

g–b

Grade 4

g–d

Grade 5 Grade 6

g–e g–e

Grade 7 Grade 8 * ◆  ◊  § 

 

′

′

′

′

g–c , d –g

″

′

″

″

″

‴

‴

G, D or  F,  F, B - ◊

′

′

″

‴

c–a c–a

g–g

‴

c–b

g–a

‴

c–c

C–a C–a

″

′

E–e E–g

′

″

C–b -

‴

C–d

″

′

′

′

′

E–a

′

E–c

″

Minors – natura naturall form at Grade 2, any form from Grade 3 Keys cumulative from Grade 2  1st or or half position, position, at candidate’s candidate’s choice  Ranges are presented using the Helmholtz Helmholtz system, i.e.:

 

w ww

B′

C

B

w w c

b

w c′

w w w w w

b′

c″

b″

c‴  

b‴  

21

 

Double Bass

Double Bass 2020–2023

Practical Grades

(updated2020–2023 September 2020)

INITIAL GRADE THREE PIECES: one chosen by the candidate from each of the three Lists, A , B and C; for further details see

pages 9–11 COMPOSER

A

1 2

5 6

Pete Pe terr Fur Furni niss ss Ro Roun und d and and Roun Round d 

7

Katrina Gordon Trad. Trad. Trad.

4

8 9 10

1 2 3 4 5 6 7

New Toy (No. 9 from Microjazz for Starters) Rondo Duo 

upper part; ending at b. 24 

Twinkle Duet, arr. Elliott 

upper part  

PF/DB

PF/DB

starting at letter B

Twittering Sparrows (No. 7 from Feathered Friends) Down by the station, arr. Elliott The Jolly Miller, arr. Elliott Miss Mary Mac, arr. Lillywhite, Marshall, Hussey & Sebba Silent Friends

(ABRSM) Double Bass Exam Pack 2020–2023, Initial Grade (ABRSM) The Essential String Method, Double Bass Book 2 (Boosey & Hawkes) The Essential String Method, Double Bass Book 2 (Boosey & Hawkes) No. 8 (not 8a) from In Concert: Brilliant Solos for Beginner Bass (Da Capo) Katrina Gordon: Feathered Friends (Recital Music) Ready Steady Go (Bartholomew) Ready Steady Go (Bartholomew)  Abracadabra  Abrac adabra Double Bass, Bass, Book Book 1 (Collins (Collins Music Music))

PF/DB

Thomas Gregory  Edward Huws Gone for Good (No. 12 from Ten O’Clock Rock ) Jones Trad. Spiritual All night, all day, arr. Iles Catherine Elliott Peter Furniss

Swan Song

Katrina Gordon Thomas

Flight of the Swallows (No. 5 from Feathered Friends) Footprints in the Snow

So Slow

9

Gregory  Sheila She ila Nelson Nelson Lullab Lullabyy (No. (No.12 from from Right From the Start ), ), arr. Elliott  slurs optional  Sheil Sh eilaa Ne Nelso lson n Sw Swing ingalo along ng  ‘E’ version  PF/DB

10

Trad. Tra d. French French

1 2

Edward Huws Ten O’Clock O’Cloc k Rock (No. 9 from Ten O’Clock Rock ) Jones Peter Pe ter Ma Marti rtin n Ho Hop p Scot Scotch ch (N (No. o. 2 fro from m Child’s Play )

3

Peter Pe ter Wi Wilso lson n

Bow Bo w Rock Rock (N (No. o. 4 fro from m Stringpops 1)

4

Jan Faulkner

Bowling Along Al ong (No. 1 from First Bass) 

8

C

PUB LICATION (PUBLISH ER)

Margery Marge ry Dawe Canad Canadaa – Sleigh Sleigh Ride (fro (from m More Travel Tunes) Double Double Bass Bass Exam Exam Pack Pack 2020–202 2020–2023, 3, Initial Initial Grad Gradee (ABRSM) Sheila Nelson Fish Cakes and Apple Pie Double Bass Exam Pack 2020–2023, Initial Grade Christopher Norton Catherine Elliott Trad.

3

B

PI ECE / WORK / ARR ANGER

Au clair clair de de la lune, lune, arr arr.. Lillywh Lillywhite, ite, Ma Marsha rshall, ll, Hussey & Sebba PF/DB

Double Bass Exam Pack 2020–2023, Initial Grade (ABRSM) Double Dou ble Bass Bass Exam Pa Pack ck 2020 2020–202 –2023, 3, Initi Initial al Grad Gradee (ABRSM) Double Bass Exam Pack 2020–2023, Initial Grade (ABRSM) The Essential String Method, Double Bass Book 2 (Boosey & Hawkes) No. 7 (not 7a) from In Concert : Brilliant Solos for Beginner Bass (Da Capo) Katrina Gordon: Feathered Friends (Recital Music) Vamoosh Double Bass, Book 1 (Vamoosh) Sheila Nelson: Right from the Start for Double Bass (Boosey & Hawkes) P. 18 from Tetratunes for Double Bass (Boosey & Hawkes)  Abracadabra  Abrac adabra Double Bass, Bass, Book Book 1 (Collins (Collins Music Music)) Double Bass Exam Pack 2020–2023, Initial Grade (ABRSM) Double Bass Exam Pack 2020–2023, Initial Grade (ABRSM) Double Bass Exam Pack 2020–2023, Initial Grade (ABRSM) Jan Faulkner: First Bass (Recital Music)

slurs optional  5 6

76

Jan Fau Jan Faulkn lkner er Ra Raggy ggy Time imess (No. (No. 4 from from First Bass) Thomas  Walk on Mars! Mars!  slides optional; observing DC, Gregory  as in accomp.

Jan Faulkner: First Bass (Recital Music)  Vamoosh  V amoosh Double Double Bass, Bass, Book Book 1 (Vamoosh (Vamoosh))

 Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

 

Practical Grades (updated

COMPOSER

7 8

September 2020) 

Double Bass 2020–2023 Initial Grade

PI ECE / WORK / ARR ANGER

PUB LICATION (PUBLISH ER)

Sheila She ila Nelson Nelson Don’t Don’t Bother Bother Me (No (No..13 from from Right From the Start ) Sheil Sh eilaa Nelson Nelson Ma Manch nchest ester er Unite United d  ‘E’ version; with 1st repeat   PF/DB

9

Sheila Nelson Off We Go!

10

Tony Osborne Russian Circus

PF/DB

Sheila Nelson: Right from the Start for Double Bass (Boosey & Hawkes) P. 28 from Tetratunes for Double Bass (Boosey & Hawkes) The Essential String Method, Double Bass Book 1 (Boosey The Real& lyHawkes) Easy Bass Book (Faber)

SCALES: from memory; for further details (including examples) see pages 11, 14–15 & 19  

R A NGE

REQUIREMENTS

SCALES

D, A majors E minor

starting on open strings 

starting one octave above bottom E 

a 6th a 5th

separate bows; even notes or  long  long tonic, at candidate’s choice separate bows; even notes

SIGHT-READING: a short piece of previously unseen music; for further details see pages 12 & 20–21 AURAL TESTS: administered by the examiner from the piano; for further details see pages 94 & 95

77

 

Double Bass 2020–2023

Practical Grades

(updated September 2020)

GRADE 1 THREE PIECES: one chosen by the candidate from each of the three Lists, A , B and C; for further details see

pages 9–11 For a list clarifying the pieces that are in first or half position, see www.abrsm.org/syllabusclarifications. COMPOSER

A

9

 Anon. The More the Merrier, arr. Elliott German E. P. P. Chédeville March, arr. arr. Close & Sassmannshaus  upper part   DUET Rat athg hgeb eber er Aria Ar ia,, arr arr.. Clo Close se & Sas Sassm sman anns nsha haus us  upper part   DUET N. Chédeville Gavotte, arr. Dehant Caroline Knocking on the Door Emery & John Leach Katrina Penguin Parade (No. 6 from Feathered Friends) Gordon T. Mor Morle leyy Now is th thee mon month th of Mayi ying ng,, arr arr.. Sla Slatf tfor ord d& Bullard  in either key  C. Ne Negri Spagnoletta, ar arr. Ma Magolt  with repeats  Sheila She ila Nelson Nelson Fid Fiddler’ dler’ss Fancy Fancy (No. (No. 19 from Right from the

10

Suzuki

1

T. H. Bayly Christine Donkin Caroline Emery & Roger Steptoe Mahler

1 2 3 4 5

6 7 8

B

2 3

4 5 6 7 8 9 10

C

Early Start on the Double Bass, Vol. 2 (Bärenreiter) La Contrebasse classique, Vol. A (Combre) Bass is Best! Yorke Mini-Bass Book 1 (Yorke) Katrina Kat rina Gordon Gordon:: Feather Feathered ed Friends Friends (Recita (Recitall Music Music)) Time Pieces for Double Bass, Vol. 1 (ABRSM) Easy Concert Pieces for Double Bass, Vol. 1 (Schott) Sheila Nelson: Right from the Start for Double Bass

Long, Long Ago, arr. Elliott Evening Star (No. 2 from Bass Bass-Time Time Beginne Beginners rs)

Ready Steady Go (Bartholomew) Christin Chri stinee Donkin: Donkin: Bas Basss-Ti Time me Beginn Beginners ers (Reci (Recital tal Musi Music) c)

Sad Double Bass

Bass is Best! Yorke Mini-Bass Book 1 (Yorke)

Canon on on ‘F ‘Frère Ja Jacques’, ar arr. Hartley   upper part   DUET  A Cool Day, Day, adapted adapted Elliott Elliott

Double Bass Solo 1, 2019 Edition (OUP)

Christopher Norton Tony Osborne Bass Bridges of Paris M. Reyno Reynolds lds Mor Morning ningtown town Ride Ride,, arr arr. Lilly Lillywhit white, e, Ma Marsh rshall, all, Hussey & Sebba  with repeat   PF/DB Michael Rose Ballad II Taki Moon Over the Ruined Castle, arr. Suzuki Trad. Hatikvah, arr. Elliott

Swann

5

Christine Donkin Catherine Elliott Thomas Fiery Fiddler  with repeats  Gregory  Edward Huws Toodle-Pip (No. 18 from Ten O’Clock Rock ), ), Jones arr. Elliott

8

Early Start on the Double Bass, Vol. 2 (Bärenreiter)

(Boosey & Hawkes) Suzuki Bass School, Vol. 1, Revised Edition (Alfred)

4

7

Ready Steady Go (Bartholomew)

Allegretto

3

6

PUB LICATION (PUBLISH ER)

Start ), ), arr. Elliott

Steve Be Berry I. Carroll Peter Pe ter Dav Davey ey

1 2

78

PI ECE / WORK / ARR ANGER

A Li Little Bl Blue  without improvisation Gigue (from Five Simple Pieces) Off to Fr Franc ancee in the the Morni Morning, ng, arr arr.. Lillyw Lillywhi hite, te, Marshall, Hussey & Sebba PF/DB The Hippopotamus Song, arr. Lillywhite, Marshall, Hussey & Sebba PF/DB The Ogre’s Dance (No. 1 from Bass Bass-Time Time  Beginners  Beginn ers) Carnival Waltz

Grade by by Grade, Grade, Double Double Bass Bass Grade 1 (Boosey (Boosey & Hawkes) The Really Easy Bass Book (Faber)  Abracadabra  Abrac adabra Double Bass, Bass, Book Book 1 (Collins (Collins Music Music)) Time Pieces for Double Bass, Vol. 1 (ABRSM) Suzuki Bass School, Vol. 2, Revised Edition (Alfred) The Essential String Method, Double Bass Book 3 (Boosey & Hawkes) Time Pieces for Double Bass, Vol. 1 (ABRSM) I. Carroll: Five Simple Pieces (Stainer & Bell)  Abracadabra  Abrac adabra Double Bass, Bass, Book Book 1 (Collins (Collins Music Music))  Abracadabra  Abrac adabra Double Bass, Bass, Book Book 1 (Collins (Collins Music Music)) Christine Donkin: Bass-Time Beginners (Recital Music) The Essential String Method, Double Bass Book 3 (Boosey & Hawkes)  Vamoosh  V amoosh Double Double Bass, Bass, Book Book 1 (Vamoosh (Vamoosh)) Grade by Grade, Double Bass Grade 1 (Boosey & Hawkes)

 Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

 

Practical Grades (updated

COMPOSER

September 2020) 

Double Bass 2020–2023 Grade 1

PI ECE / WORK / ARR ANGER

PUB LICATION (PUBLISH ER)

Tony Osborne And Y Not Tony Osborne Samba

9 10

The Really Easy Bass Book (Faber) The Really Easy Bass Book (Faber)

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 11, 14–15 & 19

Group 1 (first position) or  Group  Group 2 (half position), at candidate’ candidate’ss choice – the examiner e xaminer will ask which Group/ position G RO U P 1  

R A NGE

REQUIREMENTS

a 6th

separate bows or  slurred  slurred (2 quavers to a bow), at examiner’s choice; even notes or  long  long tonic, at candidate’s choice

SCALES

C, D majors G major  A natural natural minor minor

1 oct.

ARPEGGIOS

G major  A minor

1 oct.

separate bows; even notes

R A NGE

REQUIREMENTS

a 6th

separate bows or  slurred  slurred (2 quavers to a bow), at examiner’s choice; even notes or  long  long tonic, at candidate’s choice

or 

G RO U P 2   SCALES

C major F, B - majors  A natural natural minor minor

1 oct.

ARPEGGIOS

F, B - majors  A minor

1 oct.

separate bows; even notes

SIGHT-READING: a short piece of previously unseen music; for further details see pages 12 & 20–21 AURAL TESTS: administered by the examiner from the piano; for further details see pages 94 & 95

79

 

Double Bass 2020–2023

Practical Grades

(updated September 2020)

GRADE 2 THREE PIECES: one chosen by the candidate from each of the three Lists, A , B and C; for further details see

pages 9–11 A

B

COMPOSER

PI ECE / WORK / ARR ANGER

PUB LICATION (PUBLISH ER)

1

Beethoven

Ecossaise, arr. Elliott

2

Trad Tr ad.. Fre Frenc nch h

Song So ng of th thee Fre Frenc nch h Rev Revol olut utio ion, n, ar arrr. Ell Ellio iott tt

Grade by Grade, Double Bass Grade 2 (Boosey & Hawkes) Grad Gr adee by by Gra Grade de,, Dou Doubl blee Bas Basss Gra Grade de 2 (Bo (Boos osey ey &

3

Boccherini

4 5

C. Graupner Handel

Minuetto (from String Quartet in C , Op. 24 No. 4), arr. Slatford & Wells Bourrée, arr. Magolt Gavotte, arr. Elliott  upper part   PF/DB

6

Trad.

Upon Paul’s Steeple, arr. Nelson

7

Schu Sc huma mann nn

8 9

Mozart C. Pet etzo zold ld

The Mer The Merry ry Pea Peasa sant nt (T (The he Ha Happ ppyy Far Farme merr) (from Album for the Young  Young , Op. 68), arr. arr. Elliott Elliot t or  arr.  arr. Suzuki Passe-pied, arr. Dehant  with repeats  Min inu uet in D, BWV BWV An Anh h. II 11 114, 4, ar arrr. Ell Ellio iott tt

10

Sch chu umann

 Album for the Young  Young , SOp. old ol d68), ier ers ’ Mar Mr.arch ch (fey  rom   upper part  68 ),sarr ar Hartl Hartley    DUET

Double Bass Solo 1, 2019 Edition (OUP)

1

Dvořák 

Easy Concert Pieces for Double Bass, Vol. 1 (Schott)

2

Tchaikovsky Katrina Gordon G. Nicks

Largo (from Symphony No. 9, ‘From the New World’ ), arr. Mohrs Swan Lake, arr. Mohrs Hungry Old Owl (No.10 from Feathered Friends) The Little Sailor

3 4 5 6 7

C

Easy Concert Pieces for Double Bass, Vol. 1 (Schott) The Essential String Method, Double Bass Book 4 (Boosey & Hawkes) The Essential String Method, Double Bass Book 4 (Boosey & Hawkes) The Essential String Method, Double Bass Book 4 (Boosey & Hawkes) or   Suzuki Bass School, Vol. 2, Revised Edition (Alfred) La Contrebasse classique, Vol. A (Combre) Thee An Th Anna na Magd gdal alen enaa Bac ach h Not oteb eboo ookk for for Do Dou ubl blee Bas Basss (Bartholomew)

Easy Concert Pieces for Double Bass, Vol. 1 (Schott) Katrina Gordon: Feathered Friends (Recital Music) Yorke Solos for Double Bass, Vol. 1 (Yorke) or   Bass is Best! Yorke Mini-Bass Book 1 (Yorke) Tony Osborne: The Double Bass Sings (Piper)

Tony Osborne Osborne Processi Procession on of Kings Kings (No. (No. 8 from The Double  Bass Sings Sings) Rodgers & Edelweiss (from The Sound of Music ), ),  Abracadabra Double Bass,  Abracadabra Bass, Book Book 1 (Collins (Collins Music Music)) Hammerstein arr. Lillywhite, Marshall, Hussey & Sebba PF/DB Michael Rose Ballad I Time Pieces for Double Bass, Vol. 1 (ABRSM)

9

M. Stanfield & Friday’s Child, adapted Elliott S. Barlow  Trad. English Greensleeves, arr. Elliott

10

Trad. Tr ad. Wels elsh h

1

 Arlen & Harburg

8

Hawkes) Time Pieces for Double Bass, Vol. 1 (ABRSM)

Grade by Grade, Double Bass Grade 2 (Boosey & Hawkes) The Essential String Method, Double Bass Book 4 (Boosey & Hawkes) All Th Thro roug ugh h the the Ni Nigh ght, t, arr arr.. Nels Nelson on  upper part   The Essential String Method, Double Bass Book 4 PF/DB (Boosey & Hawkes)

 We’re off to see the wizard  We’re wizard (from (from The Wizard of  Abrac  Abracadabra adabra Double Bass, Bass, Book Book 1 (Collins (Collins Music Music)) Oz ), ), arr. Lillywhite, Marshall, Hussey & Sebba PF/DB

2 3 4

5

80

Keith Ramon Granite, adapted Elliott Cole James Blues in D (No. 3 from Bow that Bass!  Bass! ) Cruttenden Caroline Emery   Dinosaur Dance & Rodney Slatford Rodney  Welsh Hung Hungarian arian Dance Dance  lower part   DUET Slatford

Grade by Grade, Double Bass Grade 2 (Boosey & Hawkes) James Cruttenden: Bow that Bass! (Recital Music) Bass is Best! Yorke Mini-Bass Book 1 (Yorke) Bass is Best! Yorke Mini-Bass Book 1 (Yorke (Yorke))

 Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

 

Practical Grades (updated

September 2020) 

Double Bass 2020–2023 Grade 2

COMPOSER

PI ECE / WORK / ARR ANGER

PUB LICATION (PUBLISH ER)

Smooth Operator

Vamoosh Double Bass, Book 2 (Vamoosh)

9

Thomas Gregory  Herz Giles Swayne Christopher

10

Norton Trad Tr ad..

 Bass)

6 7 8

Galoppe, arr. Slatford & Bullard Time Pieces for Double Bass, Vol. 1 (ABRSM) Lazybones Time Pieces for Double Bass, Vol. 1 (ABRSM) The Caretaker (No. 7 from Microjazz for Double Christopher Norton: Microjazz for Double Bass (Boosey & Hawkes) Thee Es Th Esse sent ntia iall St Stri ring ng Met etho hod, d, Do Dou ubl blee Bas asss Bo Book ok 4 (Boosey & Hawkes)

Mar arch ch of th thee Kin ings gs,, ar arrr. El Elli liot ottt SOLO OR PF ACCOMP.

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 11, 14–15 & 19  

R A NGE

REQUIREMENTS

SCALES

F, G, B -, D majors  A, B minors (natural or  harmonic,  harmonic, at candidate’s choice)

1 oct.

separate bows or  slurred  slurred (2 quavers to a bow), at examiner’s choice; even notes or  long  long tonic, at candidate’s choice

1 oct.

separate bows; even notes

ARPEGGIOS

F, G, B - majors  A, B minors

SIGHT-READING: a short piece of previously unseen music; for further details see pages 12 & 20–21 AURAL TESTS: administered by the examiner from the piano; for further details see pages 94 & 96

81

 

Double Bass 2020–2023

Practical Grades

(updated September 2020)

GRADE 3 THREE PIECES: one chosen by the candidate from each of the three Lists, A , B and C; for further details see

pages 9–11 A

COMPOSER

PI ECE / WORK / ARR ANGER

PUB LICATION (PUBLISH ER)

1

 Aprile

Time Pieces for Double Bass, Vol. 1 (ABRSM)

2

L. Coup Couperi erin n

Solfeggio No.3, arr. arr. Slatford Slatford & Bullard Bullard  upper part; ornamentation optional   PF/DB Menu Me nuet et de de Poito Poitou, u, arr arr.. Slatf Slatfor ord d & Well Wellss 

Time Pieces for Double Bass, Vol. 1 (ABRSM)

without DC  3 4 5 6 7

attrib. J. S. Bach Gerhard Deutschmann Diabelli Thomas Gregory  Haydn

Mozart 9  V  Verdi erdi 10  War  Warlock lock 8

B

The Anna Magdalena Bach Notebook for Double Bass (Bartholomew) Yorke Solos for Double Bass, Vol. 1 (Yorke)

Scherzo, arr. Dehant Big Dipper  upper part  

La Contrebasse classique, Vol. A (Combre) Vamoosh Double Bass, Book 2 (Vamoosh)

PF/DB

Minuet and Trio, arr. Elliott

Berb Be rbig igu uie ierr

2

Edward Jones Glwysen, arr. Huws Jones

Borodin 4 Christine Donkin 5 Grieg 6 Gurlitt 7 Kern & Hammerstein 8  Alan Menken Menken & Ashman 9 Merle 10 Tony Osborne Osborne 1 2 3

Bakla lan nova Jan Ja n Fau Faulkn lkner er S. Fo Foste sterr

Grade by Grade, Double Bass Grade 3 (Boosey & Hawkes) Suzuki Bass School, Vol. 2, Revised Edition (Alfred) Amaz Am azin ingg So Solo loss fo forr Dou Doubl blee Bas Basss (Bo (Boos osey ey & Ha Hawk wkes es)) Subterranean Solos (Bartholomew)

May Time, arr. Suzuki Grand March (fro (from m Aïda), ar arrr. Sc Scho hofie field ld Basse-Danse Basse-D anse (from (from Capriol Suite ), ), arr. K. & J. Hartley 

1

3

C

First Minuet in D minor, BWV Anh. II 121, arr. Elliott  with 1st repeat  Menuett and Trio

  azio Anda An dant ntee graz gr ioso so,, arr arr. Elli Elliot ottt 

upper part  

DUET

Prince Igor, arr. Mohrs Romance (No. 4 from Bass Bass-Time Time Beginne Beginners rs) Norwegian Dance, arr. K. & J. Hartley Voyage de nuit, arr. Dehant Ol’ Man River (from Show Boat ), ), arr. Slatford & Bullard Beauty and the Beast, arr. Lillywhite, Marshall, Hussey & Sebba  upper part   PF/DB Mummers (Danse grotesque) Russian Russi an Song (No. (No.11 from The Double Bass Sings) Mazurka, ar arrr. Clo Closse & Sass ssm manns nsh haus Rio Ri o Rum Rumba ba (No (No.. 8 from from Second Bass) Camp Ca mptow town n Ra Races ces,, arr arr.. Ne Nelso lson n SOLO OR PF ACCOMP.

4 5 6 7 8

Boguslaw Furtok  Thomas Gregory  Teppo Hauta-Aho  W. K. Lyons Lyons Sheil Sh eilaa Nelso Nelson n

Glissando Duet 

upper part  

DUET

Subterranean Solos (Bartholomew) La Contrebasse classique, Vol. A (Combre) Time Pieces for Double Bass, Vol. 1 (ABRSM)  Abracadabra  Abrac adabra Double Bass, Bass, Book Book 1 (Collins (Collins Music Music)) Festival Performance Solos: String Bass (Carl Fischer) Tony Osborne: The Double Bass Sings (Piper) Early Sta tart rt on th the Do Dou uble Bass, Vo Vol. 3 (Bären enrreite terr) Jan Faulkner: Second Bass (Recital Music) Thee Ess Th Essen entia tiall Str Strin ingg Me Metho thod, d, Dou Double ble Ba Bass ss Boo Bookk 4 (Boosey & Hawkes) Early Start on the Double Bass, Vol. 2 (Bärenreiter)

Rumba Cucumba

Vamoosh Double Bass, Book 2 (Vamoosh)

Scott (3rd movt from Jazz  Jazz-Sona -Sonatine tine [No. [No.1] )

Teppo Hauta-Aho: Pizzicato Pieces, Book 1 (Recital Music) Suzuki Bass School, School, Vol. Vol. 2, Revised Revised Edition Edition (Alfred) (Alfred) Technitunes for Double Bass (Boosey & Hawkes)

SOLO

Goblin’s Dance, Goblin’s Dance, arr. arr. Suzuki Suzuki Toa oad d in the the Hole Hole  upper part; without improvisation 

9

Grade by Grade, Double Bass Grade 3 (Boosey & Hawkes) Grade by Grade, Double Bass Grade 3 (Boosey & Hawkes) Easy Concert Pieces for Double Bass, Vol. 1 (Schott) Chri Ch rist stin inee Don Donki kin: n: Ba Bass ss--Tim imee Beg Begin inne ners rs (R (Rec ecit ital al Mus usic ic))

PF/DB

Tony Osborne Osbor ne Bassa Nova (No. 3 from Juni  Junior or Jazz Jazz Book 1) 

Tony Osborne: Junior Jazz Book 1 (Recital Music)

 pizz. or arc o or combinatio combin ation n 10

82

Mich Mi chael ael Ro Rose se Ju Jumb mbo o Rag Rag (fr (from om A Sketchbook Sketchbook for Double Double Bass Bass) Micha Michael el Rose: A Sketchbook Sketchbook for Double Double Bass (ABRSM) (ABRSM)  Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

 

Practical Grades (updated

September 2020) 

Double Bass 2020–2023 Grade 3

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 11, 14–15 & 19  

R A NGE

REQUIREMENTS

SCALES

E, A, C, D majors E, G, D minors (harmonic or  melodic,  melodic, at candidate’s choice)

1 oct.

separate bows or  slurred  slurred (2 quavers to a bow), at examiner’s choice; even notes or  long  long tonic, at candidate’s choice

1 oct.

separate bows or  slurred  slurred (2 notes to a bow), at examiner’s choice; even notes

ARPEGGIOS

E, A, C, D majors E, G, D minors CHROMATIC CHROMA TIC SCALE

starting on A

1 oct.

separate bows; even notes

SIGHT-READING: a short piece of previously unseen music; for further details see pages 12 & 20–21 AURAL TESTS: administered by the examiner from the piano; for further details see pages 94 & 96–97

83

 

Double Bass 2020–2023

Practical Grades

(updated September 2020)

GRADE 4 THREE PIECES: one chosen by the candidate from each of the three Lists, A , B and C; for further details see

pages 9–11 A

B

COMPOSER

PI ECE / WORK / ARR ANGER

PUB LICATION (PUBLISH ER)

2

J. S. Bach attrib. J. S. Bach

March in G, arr. Suzuki Minuet in C, BWV Anh. II 116, arr. Elliott or   arr. Suzuki

Suzuki Bass School, Vol. 2, Revised Edition (Alfred) The Anna Magdalena Bach Notebook for Double Bass (Bartholomew) or  

3

Bottesini

4

I. Carroll

5

Grieg

6

Handel

7 8

attrib. Henry VIII Kummer

Study No. 9 (from Metodo completo per contrabbasso) SOLO French Bourrée (from Five National Dances for Double Bass) Hunting Song (No. 4 from Six Songs, Op. 4), arr. Slatford & Wells Allegro (from Concerto Grosso, Op. 6 No. 8), arr. Slatford & Wells Pastim Pa stimee with good good company company,, arr. arr. Huws Huws Jones Jones

9

 A. Thomas

10

Trad. Bizet F. Boaden Corelli Christine Donkin S. Lancen S. Lancen Mozart Mendels Men delssohn sohn

1

1 2 3 4 5 6 7 8 9 10

C

1 2 3

Sailor’s Hornpipe, arr. Magolt Habanera (from Carmen), arr. Dehant Elegy (2nd movt from Petite Suite ) Largo affetuoso, arr. Mohrs Serenade (No. 6 from Bass Bass-Time Time Beginne Beginners rs)

Easy Concert Pieces for Double Bass, Vol. 2 (Schott) La Contrebasse classique, Vol. B (Combre) F. Boaden: Petite Suite (Yorke) Easy Concert Pieces for Double Bass, Vol. 2 (Schott) Chri Ch rist stin inee Don Donki kin: n: Ba Bass ss--Tim imee Beg Begin inne ners rs (R (Rec ecit ital al Mus usic ic)) S. Lancen: Berceuse for Ba Baby Hippopotamus (Y (Yorke) Yorke Solos for Double Bass, Vol. 1 (Yorke) Yorke Solos for Double Bass, Vol. 1 (Yorke) Time Pieces for Double Bass, Vol. 2 (ABRSM) Tony Osbor Osborne: ne: Suite Suite for for Eloise Eloise (Reci (Recital tal Music Music)) Michael Rose: A Sketchbook for Double Bass (ABRSM)

Jamaican Rumba, Jamaican Rumba, arr arr.. Slatford Slatford & Wells Wells Cavalr lryyman (fr (from 30 Children’ Child ren’ss Pieces , Op. 27), arr. Slatford & Bullard  Allegro moderato (1s (1stt movt from from Jaz  Jazzz Sonatine Sonatine No. 2 ) SOLO Hey, Mon! (No. 6 from Eight Progressive Solos  for the Beginner Beginner Bassis Bassist  t ) Barn Dance (from Northern Skies)

Time Pieces for for Double Bass, Vol. 2 (ABRSM) (ABRSM) Time Pieces for Double Bass, Vol. 2 (ABRSM)

8

Tony Osborne Osbor ne Jazz Rock (No. 6 from Jun  Junior ior Jazz Jazz Book 1) 

6

Grade by Grad Grade Grade, e, Double Double Bass Bass Grade Grade 4 (Boosey (Boosey & Hawkes) Early Start on the Double Bass, Vol. 3 (Bärenreiter)

Séba Sé bast stie ien n Beli Beliah: ah: Pi Piec eces es of of Eigh Eightt (Rec (Recit ital al Mus Music ic))

7

5

Time Pieces for Double Bass, Vol. 2 (ABRSM)

 An Old-Time Old-Time Rag (No. (No. 4 from Pieces of Eight )

Teppo Hauta-Aho Dennis Leogrande James MacMillan Ron onaa Por Porte terr

4

I. Carroll: Five National Dances for Double Bass (Stainer & Bell) Time Pieces for Double Bass, Vol. 2 (ABRSM)

Ron ondo dole lett tto o co con all alleg egrrezz zzaa, ar arr. Clo Closse & Sassmannshaus  upper part; with piano accomp. Gavotte Gavo tte (from (from Mignon), ar arrr. K. & J. Har Hartl tley ey Subt Su bter erra rane nean an So Solo loss (Ba (Bart rtho holo lome mew w)

Berceuse fo for Baby Hippopotamus Si j’étais … Moussorgsky A Little Melody, arr. Láska Venet enetian ian Gondo Gondola la Song Song (fro (from m Sechs Lieder , Op. 57), arr. Slatford & Wells Tony O Osborne sborne Sweet Dreams (2nd movt from from Suite for Eloise ) Michael Rose Reverie (from A Sketchbook Sketchbook for Double Double Bass Bass) Sébastien Beliah  A. Benjamin Kabale levvsk skyy

Suzuki Bass School, Vol. 3, Revised Edition (Alfred) Bottesini: Method for Double Bass, Part 1 (Yorke)

Que ueen en’’s Par Parkk Rag Rag 

bass spin optional 

Teppo Hauta-Aho: Jazz Sonatine No. 2 (Recital Music) Dennis Leogrande: Eight Progressive Solos for the Beginner Bassist (Spartan Press) Grade by Grade, Double Bass Grade 4 (Boosey & Hawkes) Grade by Grade, Double Bass Grade 4 (Boosey & Hawkes) Tony Osborne: Junior Jazz Book 1 (Recital Music)

 pizz. or arc o or combinatio combin ation n

84

9

Prokofiev

10

Schlemü Schl emüller ller

Troika (from Lieutenant Kijé Suite ), ),  Amazing Solos for Double Double Bass Bass (Boosey (Boosey & Hawkes Hawkes)) arr. Schofield Old Soldie Soldiers rs (Marc (March) h),, Op. Op.12 No. No. 5, arr arr. Close Close & Early Start on the Double Bass, Vol. 3 (Bärenreiter) or   Sassmannshaus or  arr.  arr. Price Festival Performance Solos: String Bass (Carl Fischer)

 Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

 

Practical Grades (updated

September 2020) 

Double Bass 2020–2023 Grade 4

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 11, 14–15 & 19  

R A NGE

REQUIREMENTS

SCALES

E, F, G, A majors E, G, A minors (harmonic or  melodic,  melodic, at candidate’s choice)

a 12th

separate bows or  slurred  slurred (2 quavers to a bow), at examiner’s choice; even notes or  long  long tonic, at candidate’s choice

a 12th

separate bows or  slurred  slurred (3 notes to a bow), at examiner’s choice; even notes

ARPEGGIOS

E, F, G, A majors E, G, A minors DOMINANT SEVENTHS (resolving on tonic)

in the keys of A and B - 

1 oct.

separate bows; even notes

1 oct.

separate bows or  slurred  slurred (3 notes to a bow), at examiner’s choice; even notes

CHROMATIC CHROMA TIC SCALES

starting on G and B

SIGHT-READING: a short piece of previously unseen music; for further details see pages 12 & 20–21 AURAL TESTS: administered by the examiner from the piano; for further details see pages 94 & 97

85

 

Double Bass 2020–2023

Practical Grades

(updated September 2020)

GRADE 5 THREE PIECES: one chosen by the candidate from each of the three Lists, A , B and C; for further details see

pages 9–11 A

COMPOSER

PI ECE / WORK / ARR ANGER

PUB LICATION (PUBLISH ER)

1

Bottesini

Bottesini: Method for Double Bass, Part 1 (Yorke)

2

Ditt Di tter ersd sdor orff

Study No. 25 (f (from Metodo completo per contrabbasso) SOLO Germ Ge rman an Dan Dance ce,, arr arr. Clos Closee & Sass Sassma mann nnsh shau auss

3

6

attrib. Giovannino Christian Gouinguené Handel B. Marcello

7

S. Paxton

8

Purcell

9

Rameau

10

L. Shitte

1

6

P.-M. Dub Dubois ois Ber Berceus ceusee à Boby Boby (N (No. o. 3 from from Histoires de contrebasse ) Richard No. 7 (from Dix petites concertudes) Dubugnon Fauré Autumn, Op. 18 No No. 3, ar arr. Sla Slatf tfo ord & Bull llaard Everett Gates Night Song Teppo Lullaby Hauta-Aho Liszt Liebesträume, arr. Elliott

7

Tchaikovsky

Chanson triste, arr. Elliott

8 9

C. Minkler J. Re Reinagle

10

Trad.

A Gaelic Melody, arr. Suzuki Andante (f (from Sonatine ), ), arr. Mohrs & Schlichting The Jolly Dutchman, arr. Isaac

1

Bernie, Pinkard & K. Casey  Miles Davis L. Be Berrns nste teiin Glière

4 5

B

2 3 4 5

C

2 3 4 5 6 7 8 9

Conc Co ncer ertt Piec Pieces es for for Dou Doubl blee Bass Bass (Bä (Bäre renr nrei eite terr)

 Adagio and  Aria  Aria staccata e allegra (1st and  2nd  2nd Giovannino: Sonata in A minor (Yorke) movts from Sonata in A minor ) Hommage a Vivaldi Christian Gouinguené: Hommage a Vivaldi (Leduc) Bourrée, arr. Suzuki Largo and  Allegro  Allegro (from Sonata, Op. 2 No. 1), 1), arr. Elliott Allegretto (1st movt from Sonata in D , Op. 3 No. 2), trans. Elliott Ellio tt Midsummer Night’ Night’ss Dream Dream), Rondeau (from A Midsummer arr. K. & J. Hartley  Le lardon and  La  La boiteuse (from Pieces de clavessin), arr. Slatford & Bullard Étude

Sweet Ge Georgia Br Brown, arr. Sw Swaim

So What, arr. Swaim Coo ooll (from West Side Story ), ) , ar arrr. Sch Schofi ofiel eld d Russian Sailors’ Dance (from The Red Poppy ), ), arr. Isaac Gounod Funeral Ma March of of a Marionette, arr. Wilson-Dickson Henderson Black Bottom, arr. Slatford & Bullard  A. H. Hill Midnight Midnig ht Caper Caper Moszk Mo szkow owski ski Sp Spani anish sh Dance Dance No. No. 2 (from (from Op. Op.12 12), ), arr. K. & J. Hartley  Tony Osb Osborne orne Ba-DooBa-Doo-Wah! Wah! (No (No.. 1 from Juni  Junior or Jazz Jazz Book 2 ) 

Suzuki Bass School, Vol. 3, Revised Edition (Alfred) Grade by Grade, Double Bass Grade 5 (Boosey & Hawkes) S. Paxton: Sonata in D, Op. 3 No. No. 2 (Bartholomew) Subterranean Solos (Bartholomew) Time Pieces for Double Bass, Vol. 2 (ABRSM) Bass is Best! Yorke Mini-Bass Book 2 (Yorke) P.-M. Dubois: Histoires de contrebasse, Vol. 1 (Billaudot) Richard Dubugnon: Dix petites concertudes, Vol. 2 (Billaudot) Time Pi Piec ecees fo for Do Double Bass ss,, Vol Vol.. 2 (AB ABR RSM) Everett Gates: Night Song (Bartholomew) Teppo Hauta-Aho: Teppo’s Tunes (Recital Music) Grade by Grade, Double Bass Grade 5 (Boosey & Hawkes) Grade by Grade, Double Bass Grade 5 (Boosey & Hawkes) Suzuki Bass School, Vol. 3, Revised Edition (Alfred) Easy Concert Pieces for Double Bass, Vol. 2 (Schott) Festival Performance Solos: String Bass (Carl Fischer) Suzuki Bass Sc School, Vol. 3, Revised Ed Edition (A (Alfred) Suzuki Bass School, Vol. 3, Revised Edition (Alfred) Amaz Am azin ingg So Solo loss fo forr Dou Doubl blee Bas Basss (Bo (Boos osey ey & Haw Hawke kess) Glière: Russian Sailors’ Dance (Carl Fischer) Gounod: Funeral March of a Marionette (Forsyth) Time Pieces for Double Bass, Vol. 2 (ABRSM) A. H. Hill: Four Four Pieces Pieces for Double Double Bass Bass (Stainer (Stainer & Bell) Subterranean Solos (Bartholomew) Tony Osborne: Junior Jazz Book 2 (Recital Music)

 pizz. on ly  10

86

G. M. Rodríguez

La cumparsita, arr. Huws Jones

Grade by Grade, Double Bass Grade 5 (Boosey & Hawkes)

 Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

 

Practical Grades (updated

September 2020) 

Double Bass 2020–2023 Grade 5

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 11, 14–15 & 19  

R A NGE

REQUIREMENTS

SCALES

E - major G major starting one octave above bottom G  F, B -, C majors F, B -, C minors (harmonic or  melodic,  melodic, at candidate’s choice)

1 oct.

separate bows or  slurred  slurred (2 beats to a bow), at examiner’s choice;

a 12th

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

1 oct.

separate bows or  slurred  slurred (3 notes to a bow), at examiner’s choice; even notes

ARPEGGIOS

E - major G major starting one octave above bottom G  F, B -, C majors F, B -, C minors

a 12th

DOMINANT SEVENTHS (resolving on tonic)

in the keys of F and A - 

1 oct.

separate bows or  slurred  slurred (2 notes to a bow), at examiner’s choice; even notes

1 oct.

separate bows; even notes

1 oct.

separate bows or  slurred  slurred (3 notes to a bow), at examiner’s choice; even notes

DIMINISHED SEVENTHS

starting on E and A CHROMATIC CHROMA TIC SCALES

starting on D and E - 

SIGHT-READING: a short piece of previously unseen music; for further details see pages 12 & 20–21 AURAL TESTS: administered by the examiner from the piano; for further details see pages 94 & 98

87

 

Double Bass 2020–2023

Practical Grades

(updated September 2020)

GRADE 6 PREREQUISITE FOR ENTRY: ABRSM Grade 5

(or above) in Music Theory, Practical Musicianship or a Practical Grades solo Jazz instrument. For alternatives, see www.abrsm.org/prerequisite. THREE PIECES: one chosen by the candidate from each of the three Lists, A , B and C; for further details see

pages 9–11 COMPOSER

A

1

Bottesini

3

Capuzzi C. Dancla

4

De Fesch

5

Drag Dr agon onet etti ti

6

Eise Ei seng ngrä räße ßerr

7

attrib. Giovannino

8

B. Mar Marce cell llo o

9

S. Pax axto ton n

2

10  Vivald  Vivaldii

B

1 2 3 4 5

Christian Gouinguené Keÿper

L. Mendelssohn 7  Anon., formerly attrib. Pergolesi 8 Merle 9 Madenski 10 John Walton 1 2

PUB LICATION (PUBLISH ER)

Study No. 50 (f (from Metodo completo per

Bottesini: Method for Double Bass, Part 1 (Yorke)

contrabbasso)

SOLO

Rondo: Al Allegro (3rd mo movt fr from Concerto in D ) Polka (from Suite No.1, Op. 123), arr. Close & Sassmannshaus Minuet I and  Minuet  Minuet II (from Sonata in D minor ), ), arr. Siebach & Schlenker Sar arab aban anda da:: All Alleg egrro (fr from om Solo in D minor ‘After Corelli’ ) Intr In trod oduc ucti tion on and  Theme  Theme and  Variation  Variation 1 (from Variations on a Favourite Styrian Folk Song )  treble clef notes may be played 8ve lower  Staccato e arioso (3rd movt from Sonata in  A minor )

Capuzz Capu zzi: i: Co Conc ncer erto to in D (Y (Yor orke ke)) Concert Pieces for Double Bass (Bärenreiter) De Fesch: Sonata in D minor (Hofmeister) Dragonetti: Solo in D minor (Doblinger) Eisengräßer: Variations for Contra Bass on a Favourite Styrian Folk-Song (Recital Music) or   Festival Performance Solos: String Bass (Carl Fischer) Giovannino: Sonata in A minor (Yorke)

and  4th or   Ada dagi gio ofrom (And (A nda ante te)) and   Allegro  Allegro (1st6)  4th Sonata in G (G. (IMC) movts Sonata in G  , Op. 2 No. B. Marcello: Six Sonatas Schirmer) The Bus ush h abo boon on Tr Traq aqu uai airr (A Sc Scot otss Ai Airr) and   S. Paxton: Sonata in D, Op. 3 No. No. 2 (Bartholomew)  Vivace (2nd and  3rd  3rd movts from Sonata in D , Op. 3 No. 2), trans. Elliott Ellio tt Largo (1st movt from from Sonata No. 1 in B -, RV 47) Viv Vivaldi aldi:: Sonata Sonata No No..1 in B -, trans. Zimmermann (IMC) or    Vivaldi:: Complete  Vivaldi Complete Sonatas for Violoncello Violoncello (Bäre (Bärenreiter nreiter)) or  Vivaldi:  Vivaldi: Six Sonatas for Violoncello (Schott)

Beethoven Sonatina, arr. Zimmerman J. F. Burgmüller Nocturne No. 1, arr. Heyes Gabriel-Marie Gabrie l-Marie La Cinqua Cinquantaine, ntaine, arr arr.. Elliott Elliott or  arr.  arr. Suzu Suzuki ki

6

C

PI ECE / WORK / ARR ANGER

 Adagio Romance

Solos for the Double Bass Player (G. Schirmer) J. F. Burgmüller: Nocturne No. 1 (Recital Music) Gab abri riel el-M -Mar arie ie:: La Cin Cinqu quan anta tain inee (Bar (Barth thol olom omew ew)) or   Suzuki Bass School, Vol. 4 (Alfred) Christian Gouingue Gouinguené: né: Adagio Adagio (Leduc (Leduc))

Men enue uett tt,, arr arr.. Clo Close se & Sas Sassm sman anns nsha haus us

Keÿper: Romance and Rondo (Yorke) or   Concert Pieces for Double Bass (Bärenreiter) Conc Co ncer ertt Pie Piece cess for for Do Doub uble le Bas asss (B (Bär ären enrrei eite terr)

Tre giorni, arr. Close & Sassmannshaus or   arr. Zimmermann 

Concert Pieces for Double Bass (Bärenreiter) or   Festival Performance Solos: String Bass (Carl Fischer)

with 1st repeat in Bärenreiter edn

Caballero Marzenie A Deep Song

D. Bourgeois  Allegro commondo (No (No.. 3 from Fantasy Pieces  for Double Double Bass Bass) SOLO Gavin Bryars Room 42

Festival Performance Solos: String Bass (Carl Fischer) Miniatures, Book 1 (Recital Music) John Walton: A Deep Song (Yorke) D. Bourgeois: Fantasy Pieces for Double Bass (Brass Wind) Time Pieces for Double Bass, Vol. 2 (ABRSM)

3 4 5

88

I. Car arrroll  V.. Elliott  V Teppo Hauta-Aho

Fanta tasi siaaBass in E) min inor or (No. 1 from Three Pieces for I. Carroll: Three Pieces for Double Bass (Forsyth) Double Odd Man Man Out  A Little Waltz Waltz (Pieni (Pieni Valssi) Valssi)

V. Elliott: Odd Man Man Out (Yo (Yorke rke)) Teppo Hauta Hauta-Aho: -Aho: Teppo’ eppo’ss Tunes Tunes (Recital (Recital Music) Music)

 Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

 

Practical Grades (updated

COMPOSER

6 7 8 9

September 2020) 

Double Bass 2020–2023 Grade 6

PI ECE / WORK / ARR ANGER

PUB LICATION (PUBLISH ER)

David Davi d Heye Heyess  A. H. Hill Nölck

Tap apio io (N (No o. 3 from from Finnish Sketches) SOLO The Jester Jester Tempo di ballo (from Petit album de concert ), ), arr. Close & Sassmannshaus Pascal Proust Arcades

10  Villoldo

El Choclo, Choclo, arr. arr. Tailor Tailor

David Heyes: Finnish Sketches (Recital Music) A. H. Hill: Four Four Pieces Pieces for Double Double Bass Bass (Stainer (Stainer & Bell) Concert Pieces for Double Bass (Bärenreiter) Pascal Proust : Arcades (Combre) Villoldo: El Choclo for Contrabass Contrabass (Edition (Editionss Marc Marc Reift) Reift)

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 11, 14–15 & 19  

R AN G E

REQUIREMENTS

SCALES

E, F, G, A majors and minors (minors harmonic and  melodic)  melodic)

2 oct.

separate bows or  slurred  slurred (2 beats to a bow), at examiner’s choice; even notes or  long  long tonic, at candidate’s choice

1 oct.

separate bows; even notes or  long  long tonic, at candidate’s choice

2 oct.

separate bochoice; ws or  slurred  slurred (3 notes to a bow), at examiner’s even notes

2 oct.

separate bows or  slurred  slurred (2 notes to a bow), at examiner’s choice; even notes

2 oct.

separate bows or  slurred  slurred (2 notes to a bow), at examiner’s choice; even notes

2 oct.

separate bows or  slurred  slurred (4 notes to a bow), at examiner’s choice;

SCALE IN THUMB POSITION

D major starting with thumb on D string: ARPEGGIOS

E, F, G, A majors and minors DOMINANT SEVENTHS (resolving on tonic)

in the keys of A, B - a  an nd C

DIMINISHED SEVENTHS

starting on E, F and G

CHROMATIC SCALES

starting on E, F and G

even notes SCALE IN BROKEN THIRDS

G major (as example on page 15)

1 oct.

slurred (2 notes to a bow); even notes

SIGHT-READING: a short piece of previously unseen music; for further details see pages 12 & 20–21 AURAL TESTS: administered by the examiner from the piano; for further details see pages 94 & 99

89

 

Double Bass 2020–2023

Practical Grades

(updated September 2020)

GRADE 7 PREREQUISITE FOR ENTRY: ABRSM Grade 5

(or above) in Music Theory, Practical Musicianship or a Practical Grades solo Jazz instrument. For alternatives, see www.abrsm.org/prerequisite. THREE PIECES: one chosen by the candidate from each of the three Lists, A , B and C; for further details see

pages 9–11 A

1 2 3 4

COMPOSER

PI ECE / WORK / ARR ANGER

PUB LICATION (PUBLISH ER)

Beethoven Capuzzi Cimador Drago gone nett ttii

Minuet, arr. Zimmerman Allegro (1st movt from Concerto in D ) Allegro (3rd mo movt fr from Concerto in G ) Walt ltzz No. 3 (from 12 Waltzes)  8va optional  

Solos for the Double Bass Player (G. Schirmer) Capuzzi: Concerto in D (Yorke) Cimador: Concerto in G (Yorke) Dragonetti: 12 Waltzes for Double Bass Solo (Henle)

SOLO

7

Galliard attrib. Giovannino Handel

8

B. Marcello

9

Telemann

5 6

10  Vivald  Vivaldii

Allegro (2nd movt from Sonata in F )  Allegro (1st movt from from Sonata in F )

Galliard: Sonata in F (IMC) Giovannino: Sonata in F (Yorke)

Adagio and  Allegro  Allegro (1st and  2nd  2nd movts from Viola da Gamba Sonata in C ), ), arr. Heyes Adagio and  Allegro  Allegro (1st and  2nd  2nd movts from Sonata in A minor , Op. 2 No. 3) Allegro (4 (4th mo movt fr from Sonata in A minor , TWV 41:a6), trans. Sankey 

Handel: Gamba Sonata in C (Recital Music)

Largo and  Allegro  Allegro (1st and  2nd  2nd movts from Sonata No. 2 in F , RV 41) 

 Vivaldi: Sonata No. 2 in F major  Vivaldi: major,, trans. trans. Zimmermann Zimmermann (IMC) or    Vivaldi:: Complete  Vivaldi Complete Sonatas for Violoncello Violoncello (Bäre (Bärenreiter nreiter)) or  Vivaldi:  Vivaldi: Six Sonatas for Violoncello (Schott)

low Cs & Ds may be adapted in cello edns 

B

1

J. S. Bach

2

6

Glinka Hegner Jacob Pichl Ratez

7

Rossini

3 4 5

Schumann 9  V  Verdi erdi 10 J. P. Waud 8

C

1

D. Bou Bourg rgeoi eoiss

2

Boguslaw Furtok  Hester B. Humm mmel el Dennis Leogrande Noskowski  Armand

3 4 5 6 7 8 9 10

90

Russell Simandl Bertram Turetzky  David Walter

Largo (from BWV 1056 56)), arr arr.. Clo Close se & Sassmannshaus Susanin’s Aria, arr. Rimsky-Korsakov Romance Largo (2nd movt from A Little Concerto Concerto) Andante molto (2nd movt from Concerto in C ) Cantabile (No. 2 from Six pièces caractéristiques, Op. 46)

B. Marcello: Sonata in A minor (IMC) or   B. Marcello: Six Sonatas (G. Schirmer) Telemann: Sonata in A minor (IMC)

Concert Pieces for Double Bass (Bärenreiter)

Une larme

Glinka: Two Russian Arias (Recital Music) Hegner: Romance (Recital Music) Jacob: A Little Concerto (Yorke) Pichl Pi chl:: Conc Concert erto o in in C (Ba (Barth rtholo olomew mew)) Ratez: Six pièces caractéristiques, Op. 46: No. 2 Cantabile (Billaudot) or   Ratez: Characteristic Pieces, Book 1 (Recital Music) Rossini: Une larme (Recital Music)

Träumerei, Op.15 No. 7, arr. Heyes Aria (from (from Rigoletto), arr rr.. Zimmer erm man Novelette

Miniatures, Book 2 (Recital Music) Solo So loss for th thee Dou oub ble Bass Pla layyer (G. Sch chiirm rmer er)) Yorke Solos for Double Bass, Vol. 1 (Yorke)

Tem empo po di di valse valse (No. (No. 4 from from Fantasy Pieces for Double Bass) SOLO Concert Piece

D. Bourgeois: Fantasy Pieces for Double Bass (Brass Wind) Early Start on the Double Bass, Vol. 3 (Bärenreiter)

The Bull Steps Out Alle Al legr gro o (1s 1stt mo movt fr from om Sonatina, Op Op. 69b) May I?

Hester: The Bull Steps Out (Yorke) B. Hummel: Son onaati tine ne,, Op Op. 69b (S (Simroc ockk) Dennis Leogrande: May I? (Spartan Press)

Elegy Polonaise Chaconne

Miniatures, Book 1 (Recital Music) Solos for the Double Bass Player (G. Schirmer)

Tempo di polacca, arr. Durkee Pacific Parables SOLO

Suzuki Bass School, Vol. 4 (Alfred) Bertram Turetzky: Pacific Parables (Recital Music)

The Elephant’s Gavotte

David Walter: The Elephant’s Gavotte (Yorke)

 Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

 

Practical Grades (updated

September 2020) 

Double Bass 2020–2023 Grade 7

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 11, 14–15 & 19  

R AN G E

REQUIREMENTS

SCALES

F+, A -/G +, B -, C majors and minors (minors harmonic and  melodic)  melodic)

2 oct.

separate bows or  slurred  slurred (2 beats to a bow), at examiner’s choice; even notes or  long  long tonic, at candidate’s choice

1 oct.

separate bows or  slurred  slurred (2 beats to a bow), at examiner’s choice; even notes or  long  long tonic, at candidate’s choice

2 oct.

separate bows or  slurred  slurred (3 notes to a bow), at examiner’s choice; even notes

2 oct.

separate bows or  slurred  slurred (2 notes to a bow), at examiner’s choice; even notes

2 oct.

separate bochoice; ws or  slurred  slurred (2 notes to a bow), at examiner’s even notes

2 oct.

separate bows or  slurred  slurred (6 notes to a bow), at examiner’s choice; even notes

1 oct.

see page 14

SCALES IN THUMB POSITION

D major and minor starting with thumb on D string:

(minor harmonic and  melodic)  melodic) ARPEGGIOS

F+, A -/G +, B -, C majors and minors

DOMINANT SEVENTHS (resolving on tonic)

in the keys of B, D - and E - 

DIMINISHED SEVENTHS

starting on F+, A - and B -  CHROMATIC SCALES

starting on F+, A - and B - 

DOUBLE-STOP SCALE IN BROKEN STEPS

in thirds, in B - m  maajor

SIGHT-READING: a short piece of previously unseen music; for further details see pages 12 & 20–21 AURAL TESTS: administered by the examiner from the piano; for further details see pages 94 & 100

91

 

Double Bass 2020–2023

Practical Grades

(updated September 2020)

GRADE 8 PREREQUISITE FOR ENTRY: ABRSM Grade 5

(or above) in Music Theory, Practical Musicianship or a Practical Grades solo Jazz instrument. For alternatives, see www.abrsm.org/prerequisite. THREE PIECES: one chosen by the candidate from each of the three Lists, A , B and C; for further details see

pages 9–11 A

COMPOSER

PI ECE / WORK / ARR ANGER

PUB LICATION (PUBLISH ER)

1

J. S. Bach

J. S. Bach: Solo-Suiten für Kontrabass, Suites 1–3 (Peters)

2

Cimador De Fesch

Courante (from Cello Suite No.1 in C , BWV 1007), trans. Sterling SOLO Allegro (1st mo movt fr from Concerto in G ) Siciliano: Andante and  Allemande  Allemande (1st and  2nd  2nd movts from Sonata in D minor ), ), arr. Siebach & Schlenker Walt ltzz No. 6 (from 12 Waltzes) SOLO  Adagio and  Corrente:  Corrente: Allegro con spirito (3rd and  2nd  2nd movts from Sonata in G minor ), ), trans. Zimmermann Adagio and  Allegro  Allegro (1st and  2nd  2nd movts from Sonata in C minor ), ), arr. Zimmerman  Allegro (1st movt from from Bassoon Concer Concerto to, K. 191), 191), trans. t rans. Sankey   without 8va ad lib.; ending

3

5

Drago gone nett ttii attrib. H. Eccles

6

Handel

7

Mozart

4

Cimador: Concerto in G (Yorke) De Fesch: Sonata in D minor (Hofmeister) Dragonetti: 12 Waltzes for Double Bass Solo (Henle) H. Eccles: Sonata in G minor (IMC) Solos for the Double Bass Player (G. Schirmer) Mozart: Bassoon Concerto in B -, K. K .191 (IMC)

at b. 152  8 9

Pichl Telemann

10  Vivald  Vivaldii

Allegro moderato (1st movt from Concerto in C ) Cantabile and  Allegro  Allegro (1st and  2nd  2nd movts from Viola da Gamba Sonata in E minor , TWV 41:e5), trans. Sankey  Largo and  Allegro  Allegro (1st and  2nd  2nd movts from Sonata No. 3 in A minor , RV 43)  low Cs & Ds may be adapted in cello edns 

B

1 2 3 4 5

Final de La somnambule , arr. Bo Bottesini Rêverie

Arias for Double Bass an and Pi Piano (Yorke) Bottesini: Rêverie for Double Bass and Piano (Recital Music) Ada dagi gio o (2n 2nd d mo movt vt fr from om Concerto No. 2 ) Dittersdorf: Concertos for Double Bass (Yorke) Sic icil ilie ienn nne, e, Op Op.. 78 78,, arr arr.. Clo Close se & Sa Sass ssm man anns nsha haus us Co Conc ncer ertt Pie Piece cess for for Do Doub uble le Bas asss (B (Bär ären enrrei eite terr) Elegie Concert Pieces for Double Bass (Bärenreiter)

9 10

Tuláček 

Chant d’amour (No. 3 from Three Pieces for Double Bass and Piano)

Sullivan: Idyll (Four Bass Music) Tartini: Ad Adagio cantabile, Op Op. 65 (S (St. Fr Francis Mu Music Publications) Tuláček: Three Pieces for Double Bass and Piano (Recital Music)

1

Christopher Benstead D. Bour Bourgeo geois is

Finale: Presto (No. 4 from Four Episodes)

Christopher Benstead: Four Episodes (Yorke)

7 8

2 3 4 5

92

Ditter Ditt ersd sdor orff Fau auré ré Boguslaw Furtok  C. Nielsen

 Vivaldi: Sonata No. 3 in A minor  Vivaldi: minor,, trans. trans. Zimmermann Zimmermann (IMC) or    Vivaldi:: Complete  Vivaldi Complete Sonatas for Violoncello Violoncello (Bäre (Bärenreiter nreiter)) or  Vivaldi:  Vivaldi: Six Sonatas for Violoncello (Schott)

Romanze (N (No.1 fr from Fantasy Pieces, Op. 2), trans. Drew  Rachmaninoff Vocalise (No. Rachmaninoff (No.14 from 14 Songs, Op. 34), arr. Zimmerman Sullivan Idyll, arr. Frampton Tartini Adagio cantabile, Op Op. 65, tr trans. Dr Drew

6

C

Bellini Bottesini

Pichl: Concerto Pichl: Concerto in C (Barth (Bartholom olomew) ew) Telemann: Sonata in E minor (IMC)

Miloslav Gajdoš Gouffé Gregora

C. Nielsen: Fantasy Pieces, Op. 2 (St. Francis Music Publications) Solos for the Double Bass Player (G. Schirmer)

Allegr All egro o comm commodo odo (N (No. o. 8 from from Fantasy Pieces for D. Bourgeois: Fantasy Pieces for Double Bass Double Bass) SOLO (Brass Wind) Capriccio No. 5 SOLO Miloslav Gajdoš: Selected Works for Bass: Capriccios, Solos, and Reflexes (Presser) Concertino, Op.10 Gouffé: Concertino, Op.10 (Billaudot) Polka  complete  Gregora: Polka (Recital Music)

 

Practical Grades (updated

6

September 2020) 

Double Bass 2020–2023 Grade 8

COMPOSER

PI ECE / WORK / ARR ANGER

PUB LICATION (PUBLISH ER)

Jacob

Allegro (3rd movt from A Little Concerto Concerto) 

Jacob: A Little Concerto (Yorke)

with printed cadenza 7 8 9 10

Bry ryaan Kelly Piazzolla Semler-

Ariel (from Caliban and Ariel ) Kicho  starting at Allegro Barcarolle et Chanson Bachique 

Collery  Bertram Turetzky 

Blues for Ray

complete 

Bryan Kelly: Caliban and Ariel (Yorke) Piazzolla:: Kicho (Tonos) Piazzolla Semler-Collery: Barcarolle et Chanson Bachique (Leduc) Bertram Turetzky: Blues for Bass (Recital Music)

SOLO

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 11, 14–15 & 19  

R AN G E

REQUIREMENTS

SCALES

B, D -/C +, D, E - majors and minors (minors harmonic and  melodic)  melodic) E, G majors and minors (minors harmonic and  melodic)  melodic)

2 oct. 3 oct.

separate bows or  slurred  slurred (7 notes to a bow), at examiner’s choice; even notes or  long  long tonic, at candidate’s choice

B, D majors and minors

2 oct.

separate bows or  slurred  slurred (3 notes to a bow), at

E, G majors and minors

3 oct.

examiner’s even notes choice;

2 oct.

separate bows or  slurred  slurred (4 notes to a bow), at examiner’s choice; even notes

2 oct.

separate bows or  slurred  slurred (4 notes to a bow), at examiner’s choice; even notes

2 oct.

separate bows or  slurred  slurred (6 notes to a bow), at examiner’s choice; even notes

1 oct.

see page 14

1 oct.

slurred (3 notes to a bow); even notes

ARPEGGIOS

DOMINANT SEVENTHS (resolving on tonic)

in the keys of A, C, E and G

DIMINISHED SEVENTHS

starting on E, G, B and D

CHROMATIC SCALES

starting on E, G, B and D

DOUBLE-STOP SCALE IN BROKEN STEPS

in thirds, in D major SCALE IN RUNNING THIRDS

G major (as example on page 15)

SIGHT-READING: a short piece of previously unseen music; for further details see pages 12 & 20–21 AURAL TESTS: administered by the examiner from the piano; for further details see pages 94 & 101

93

 

AURAL TESTS: included

in all Practical Music graded exams*

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

 what is already an essential essential part of the learning experience. experience.

In the exam  Aural tests are are an integral part of all Practical Music Music graded exams. The tests are administered by the examiner from the piano. For any test that requires a sung response, pitch rather than vocal quality is being assessed. The examiner will be happy to adapt to the vocal range of the candidate, whose responses may be sung to any vowel (or (or consonant followed by a vowel), hummed or whistled (and at a different octave, if appropriate).

 Assessment Some tests allow for a second attempt or for an additional playing by the examiner, if necessary. The examiner will also be ready to prompt, where helpful, although this may affect the assessment. Marks are not awarded for each individual test or deducted for mistakes; instead they reflect the candidate’s overall response in this section. The marking criteria for the aural tests are given on p. 107.

Sample tests Examples of the tests for Grades Initial–8 are given in Specimen Aural Tests. More examples for Grades 1–8 are given in Aural Training Training in Practice  Practic e . These publications are available to buy from music retailers and from ww w w w.abrsm.or w.abrsm.org/shop g/shop..

Deaf or hearing-impaired candidates Deaf or hearing-impaired candidates may choose alternative tests in place of the standard tests, if requested at the time of entry. Further information, including the syllabus for the alternative tests, is available at ww w w w.abrsm.or w.abrsm.org/specificneeds. g/specificneeds.

94

* A different set of tests apply to Jazz and Singing for Musical Theatre exams

 

Aural tests

INITIAL GRADE A  To clap the pulse of a piece played played by the examiner. The examiner will start playing the

passage, and the candidate should join in as soon as possible, clapping in time. B  To clap as ‘echoes’ the rhythm of two phrases played by the exami examiner ner.. The phrases will

be two bars long, in three or four time, and consist of a melody line only. only . The examiner will count in two bars. After the examiner has played each phrase, the candidate should clap back the rhythm as an ‘echo’ ‘echo’ without a pause, keeping in time. C  To sing as ‘echoes’ two phrases played by the exam examiner. iner. The phrases will be one bar long in 4/4 time. They will be in a major key, and within the range of tonic–mediant. First the examiner will play the key-chord and the starting note (the tonic) and then count in two bars. After the examiner has played each phrase, the candidate should sing back the echo  without a pause, keeping in time. answer er a question about one feature feature of a piece played by the examiner. Before D  To answ

playing, the examiner will tell the candidate which feature the question will be about. It will be about dynamics (loud/quiet) or articulation (smooth/detached smooth/detached). ). GRADE 1 A  To clap the pulse pulse of a piece played by the examiner, and to identify identify whether it is in two

time or three time. ti me. The examiner will start playing the passage, and the candidate should  join in as soon as possible, clapping in time and giving a louder clap on the strong beats. The examiner will then ask whether the music is in two time or three time. The candidate is not  required  required to state the time signature. B  To sing as ‘echoes’ thr three ee phrases played by the examiner. The phrases will be two bars

long, in a major key, and within the range of tonic–mediant. First the examiner will play the key-chord and the starting note (the tonic) and then count in two bars. After the examiner has played each phrase, the candidate should sing back the echo without a pause, keeping in time. C  To identif identify y where a change in pitch occurs during durin g a phrase played by the examiner.

The phrase will be two bars long, in a major key, and the change will affect only one of the notes. First the examiner will play the key-chord and the tonic and then count in two bars. The examiner will play the phrase twice, making the change in the second playing, after  which the candidate should state whether the change was near the beginning or near the end. If necessary, the examiner will play both versions of the phrase again (although this may affect the assessment). answer er questions about two features features of a piece played by the examiner. Before D  To answ

playing, the examiner will tell the candidate which two features the questions will be about. The first will be: dynamics (loud/quiet, or sudden/gradual changes); the second will be articulation (s (smooth/detached) mooth/detached)..

95

 

Aural tests

GRADE 2 A  To clap the pulse pulse of a piece played by the examiner, and to identify identify whether it is in two

time or three time. ti me. The examiner will start playing the passage, and the candidate should  join in as soon as possible, clapping in time and giving a louder clap on the strong beats. The examiner will then ask whether the music is in two time or three time. The candidate is not  required  required to state the time signature. B  To sing as ‘echoes’ thr three ee phrases played by the examiner. The phrases will be two bars

long, in a major key, and within the range of tonic–dominant. First the examiner will play the key-chord and the starting note (the tonic) and then count in two bars. After the examiner has played each phrase, the candidate should sing back the echo without a pause, keeping in time.

C  To identif identify y a change in either pitch or rhyt rhythm hm during a phrase played by the exam examiner. iner.

The phrase will be two bars long, in a major key. First the examiner will play the key-chord and the tonic and then count in two bars. The examiner will play the phrase twice, making the change in the second playing, after which the candidate should identify the change by describing it, or singing/clapping. If necessary, the examiner will play both versions of the phrase again (although this may affect the assessment). D  To answer answ er questions about twocandidate featureswhich features of a piece playedthe by questions the examiner. playing, the examiner will tell the two features will beBefore about.

The first will be one  of  of the following: dynamics (loud/quiet, or sudden/gradual changes), articulation (smooth/detached); the second will be tempo (becoming slower/faster, or staying the same). GRADE 3 A  To clap the pulse pulse of a piece piece played by the examiner, and to identify identify whether it is in

two time, three time or four time. The examiner will start playing the passage, and the candidate should join in as soon as possible, clapping in time and giving a louder clap on the strong beats. The examiner will then ask whether the music is in two time, three time not 

or four time. The candidate is  required to state the time signature. B  To sing as ‘echoes’ thr three ee phrases played by the examiner. The phrases will be two bars long, in a major or minor key, and within the range of an octave. First the examiner will play the key-chord and the starting note and then count in two bars. After the examiner has played each phrase, the candidate should sing back the echo without a pause, keeping in time. identify y a change in either pitch or rhyt rhythm hm during a phrase played by the exam examiner. iner. C  To identif

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

96

 

Aural tests

Grade 3 cont.

D  To answ answer er questions about two features features of a piece played by the examiner. Before

playing, the examiner will tell the candidate which two features the questions will be about. The first will be one  of  of the following: dynamics (loud/quiet, or sudden/gradual changes), articulation (smooth/detached), (smooth/detached), tempo (becoming slower/faster, slower/faster, or staying the same) same);; the second will be tonality (ma (major/minor jor/minor key). GRADE 4 A  To sing or play from memory a melody played tw twice ice by the examiner. The melody will

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

bass clef. The notes will be within the range of a third above and below the tonic in the key of C, F or G major. major. The test will begin and end on the tonic toni c and will not contain intervals inter vals greater than a third. First the examiner will name and play the key-chord and the starting note. If necessary, the examiner will help the candidate by playing and identifying the correct note if any note is sung at the wrong pitch. C (i)  To answ answer er questions questions about two features of a piece played by the examiner. Before

playing, the examiner will tell the candidate which two features the questions will be about. The first will be one  of  of the following: dynamics, articulation, tempo, tonality; the second will be character. character.   (ii)  To clap the rhythm of the notes in an extract from the same piece, and to identif identify y

 whether it is in two time, three thr ee time or four four time. The examiner will play the extract twice (unharmonised), after which the candidate should clap back the rhythm. The examiner will then ask whether the music is in two time, three time or four time. The not 

candidate is

 required to state the time signature.

97

 

Aural tests

GRADE 5 A  To sing or play from memory a melody played tw twice ice by the examiner. The melody will

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

bass clef. The notes will be within w ithin the range of a fifth above and a fourth below the tonic, in a major key with up to two sharps or flats. The test will begin and end on the tonic and will not contain intervals inter vals greater than a third, except for the rising fourth from dominant to tonic. First the examiner will name and play the key-chord and the starting note. If necessary, the examiner will help the candidate by playing and identifying the correct note if any note is sung at the wrong pitch. C (i)  To answ answer er questions questions about two features of a piece played by the examiner. Before

playing, the examiner will tell the candidate which two features the questions will be about. The first will be one  of   of the following: dynamics, articulation, tempo, tonality, character; the second will be style and period.   (ii)  To clap the rhythm of the notes in an extract from the same piece, and to identif identify y

 whether it is in two time, three thr ee time or four four time. The examiner will play the extract twice (unharmonised), after which the candidate should clap back the rhythm. The examiner will then ask whether the music is in two time, three time or four time. The candidate is not  required  required to state the time signature.

98

 

Aural tests

GRADE 6 A  To sing or play from memory the upper  part  part of a two-part t wo-part phrase played twice by the

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

candidate may choose to sing from treble or bass clef. The melody m elody will be within the range of an octave, in a major or minor key ke y with up to three sharps or flats. First the examiner will name and play the key-chord and the starting note and then give the pulse. A brief period of preparation will follow during which the candidate may sing out loud. The examiner will play the key-chord and the starting note again and then count in two bars. If necessary, necessar y, the examiner will allow a second attempt (although this may affect the assessment). C  To identif identify y the cadence at the end of a phrase as perfect or imperfect imperfect.. The phrase will

be in a major or minor key and will be played twice by the examiner. The chords forming the cadence will be in root position. Before the first playing, the examiner will play the keychord. D (i)  To answ answer er questions questions about two features of a piece played by the examiner. Before

playing, the examiner will tell the candidate which two features the questions will be about. The first will be: texture or structure; the second will be one  of   of the following: dynamics, articulation, tempo, tonality, character character,, style and period, texture/ texture/structure. structure.   (ii)  To clap the rhythm of the notes in an extract from the same piece, and to identif identify y

 whether it is in two time, three thr ee time or four four time. The examiner will play the extract twice (unharmonised), after which the candidate should clap back the rhythm. The examiner will then ask whether the music is in two time, three time or four time. The candidate is not  required  required to state the time signature.

99

 

Aural tests

GRADE 7 A  To sing or play from memory the lower  part  part of a two-part t wo-part phrase played twice by the

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

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

The phrase will be in a major or minor key and will be played twice by the examiner. The chords forming the cadence will be in root position. Before the first playing, the examiner will play the key-chord.   (ii)  To identif identify y the two chords formin forming g the above cadence. The chords will be limited

to the tonic, subdominant, dominant, dominant seventh or submediant (all in root position). First the examiner will name and play the key-chord, then play the two chords as a pair. The candidate may answer using technical names (tonic, dominant, etc.), chord numbers (I, V, etc.) or letter names (C major, G major, etc.). identify y whether the modulation at the end of a different passage passa ge is to the   (iii)  To identif

dominant, subdominant subdomina nt or relative minor. The passage, played once by the examiner,  will begin in a major key. First the examiner will name and play the starting key-chord. The candidate may answer using technical names (dominant, subdominant, relative minor) or the letter name of the new key. D (i)  To answ answer er questions questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two of the following features the questions will be about: dynamics, articulation, tempo, tonality, character, style and period, texture, structure.   (ii)  To clap the rhythm of the notes in an extract from the same piece, and to identif identify y

 whether it is in i n two time, t ime, three th ree time, four fou r time or 6/8 time. The examiner will play the extract twice (unharmonised), after which the candidate should clap back the rhythm. The examiner will then ask whether the music is in two time, three time, four time or 6/8 time.

100

 

Aural tests

GRADE 8 A (i)  To sing or play from memory the lowest  part  part of a three-part phrase played twice

by the examiner. The lowest part will be within the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner will play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the phrase again and allow a second attempt (although (although this may affect affec t the assessment).   (ii)  To identify identify the cadence at the end of of a continuing continuing phrase as perfect, imperfect,

interrupted or plagal. The phrase will be in a major or minor key and will be played twice by the examiner. The chords forming the cadence will be limited to the tonic (root position, first or second inversions), supertonic (root position or first inversion), subdominant (root position), dominant (root position, first or second inversions), dominant seventh (root position) or submediant (root position). Before the first playing, the examiner will play the key-chord.   (iii)  To identif identify y the three chords (including their positions) forming the above cadential

progression. The chords will be limited to the tonic (root position, first or second inversions), inversions ), supertonic supe rtonic (root position or first inversion inversion), ), subdominant (r (root oot position), dominant (root position, first or second inversions), dominant seventh (root position) or submediant (root position). position). First the examiner will w ill name and play the key-chord, then play the three chords in sequence, finally playing each chord individually, pausing for the candidate to identify it. The candidate may answer using technical names (tonic, first inversion, etc.), chord numbers (Ib, etc.) or letter names (C major in first inversion, etc.). B  To sing the lower  part  part of a two-part phrase from score, with the upper part played by

the examiner. The candidate may choose to sing from treble or bass clef. The lower part  will be within the range of an octave, in a major major or minor key with up to four four sharps or flats. First the examiner will name and play the key-chord and the starting note and then give the pulse. A brief period of preparation will follow during which the candidate may sing out

loud. TheIfexaminer will play the key-chord and the starting note(although again andthis then count in two bars. necessary, the examiner will allow a second attempt may affect the assessment). C  To identify whether the modulations at the end of two different passages are

to the dominant, subdominant or relative minor/major. The first passage will begin in a major key and the second will begin in a minor key; each passage will be played once by the examiner. Before playing each passage, the examiner will name and play the starting key-chord. The candidate may answer using technical names (dominant*, subdominant, relative minor/major) or the letter name of the new key. (* Minor-key Minor-key passages may modulate to the dominant major or minor but the candidate is only required to specify ‘dominant’ in such cases. case s.)) D  To describe the characteristic features of of a piece played played by the examiner. examiner. After  After hearing

the piece, the candidate should describe any notable features (such as texture, structure, character, style and period, etc.). The examiner will prompt the candidate with questions only if this becomes necessary. 101

 

MARKING CRITERIA

     ●     ●

     ●

    e        P

     ●     ●     ●

    e     p     a       h        S

    l     i    a    t    e     d    c     i     d    t    a    n    a    m   g    o    i    n     i     d     i ,    p    a    e     h    v    s     i     l    s    a    s    c    e    r    i    s    p    x    u     E      m

 ,    g    n     i     l     i    p    a    a    t     h    e    s     d     l    a    c    d    e     i    s    s    i    u    l    m   a    e    r    r       l    a     l    e     l    e     C      w

   r    o     f     /    o    d    n    n    o    a     i    e    t    p    a    a    s    h     i     l    s    a    e    r    l    a    c    l    e    i     i    a    m   s    e    o    u    t     S      m    d

     ●

     ●

    e     c     n     a     m     r     o       f     r

    e     n     o        T

    e     m      i        T

   s    e      h    c     c    e      t     i      i     P      P

   s    8   –    e    l    a     d    i    a     i    r     t    n     G    I 106

   e     l    y     l    t    a    s    d    c     i    e    s     d    t    u    n    a    a    c    m   n    r    i    o    e    n    g     i    t    e    u    n    t    c    v    i    c     i    a     i    y    t    r    v    r    m     i    s    r    n    a    m     P    o    a    o    C     h    o       C      c      c

   t    p    m    o    r    s    p  ,     i    p    e    r    l    s    l    u    c    m   a    e    c    t    o    s    f    r    i    s    n    y    u    e     l    y     l    r    m   m    a    e    e    r    v    e    l    e    v    o    o    n    m    c    v    e     G    e    r     S    o     i        n

    f    o    n    o    e     i    t     l    a    y    c     d     i    t    s    e    n    d    t    t     i    u    n    m   m   a    r    m   m    e     d    o    t    e    c    c    c    r    o    a    u    r    y    d     i     l    s    a     l    v    s     A    u     i      h    c       F       V

     ●

    l    a    n    o    t     f    o     d    e    e    t    s    c    e    u     j    e    s    o    v    i    r    i    e    t    p    t     i     i     l    s    l     l    n    e    e    a    u     W       S      q

   s     d    n    s    a    e    n    e     d    e    r    a     l     l    w    o    r    a    t     l    n    t    a    o    n    c    n    e    o    t    t    y    s    d     l     i    n    s    o     i    a    n    o    o     M      c    G  

     ●     ●

     ●

     ●

     ●

   e     l    t    a    a    s    p    c    u    i     i     l    q    s    e    s    u     d    m   t    a    m    o    n    n    f    r    t     i    n    e  ,    e     i    e    r    r    y    c    m    e    e    u    v    v    ffi    l    c    o    e    u    c    s    s    o    v     I    n    e    r     I    n     i        n

   t    n    e    m    e    y    v    t     l     i    u    o    n    v     i    n    t     i    n    l    a    o    c    c    i    g    s    n    u     i     k    c    m    o     L    a     N    

   n    o     i    r    t    o    c     f    e    e    s    u    t    n    r    o     i    t     h    n    s    o    c    a    n    o    a    t     h    e     l    t     b    r    a    e    n    o     U      m

    d    e    r    e     ff    o     k    r    o    w    o     N  

     ●

     ●     ●

     ●

     ●

    d    e    r    e     ff    o     k    r    o    w    o     N  

     ●

    l     i    a    t    e    d     d    e    y     d    e    v    n    a    n    c    e    o    p    y    a    l    t     h    n    s    e     l     i    a    c    c    ffi     i    s    u    u    s    n     M     i

    l     i    a    t    e     d     d    d    n    a    e    s     i    e    l    p    a    a    e    r     h    s    n     l    u    a    y    c     l     i    s    e    u    g    r    a     M     l  

    l     i    a    t    e     d    r    o    e    p    a     h    s    o     N  

     ●

     ●

     ●

     ●

     ●

   e     l     l     b    a    a     i    n     l    e    t    s    r    o    e    s    y     l    t     l    a    e    a    u    n    r    e    e    q    e    r    a    n    e    d    w     G    A   a

   e     l     b    a     i     l    e    r    n    l    u    a    r    n    o    o     /     d    t    e    s    n    a    t    a    s    u    e    n    n    q    e    e    e    v    r    e    d    a    a    n    n    w     U    I    a

    l    a    n    o    t     f    o     k    c    a     l    s    l    u    o    o    r    t     i    r    e    n    o     S      c

    l    o    r    t    n    o    c     l    a    n    o    t    o     N  

    d    e    r    e     ff    o     k    r    o    w    o     N  

     ●     ●

     ●     ●

     ●

     ●

     ●

    d    e    r    e     ff    o     k    r    o    w    o     N        ●

 

 

 

 

 

   y    t     i     l     i    e    r    e    t     b    t     i    c    a    x     i    a    r    e    r    a    d     fl    p    e    o     h    r    y     h    c    t     i    p    e    w    p    i    c    v    n  ,    a    m   o    t    e     h    c    r    n    t     l    e    y    l    e    h    u     h    e     l     F     w    R      w

   m     h    e    v    t    y     i    t     h    r    c    e     f    o     ff    e    e  ,    s     d    e    o    s    n    e    n     i    a    p    d    t    s    m   o    u    e    o     S      t     G  

   e    s     l    u    p    c    e    i     l    o    b    m    p    a    h    t    t    m    e    s    y     l    t     l    e    y     h    r    c    y    a     l    a    r     b    a    r    e    r    a    t    e    n     i    e    v    u    c    u    c     S     G     O          a

   r    o    m    o    p    m     h     /    t     d    e    t    e    y    n    s     h    a    d    l    r    e    u    e    l     l    p    e     l     b    a    t    o    l    r    r    r    a    t    a    t     i    n    u    u    c    u    o    c    s    c    g    a    n    n    e    r    r    n     U    u     I     I      

   r    o     /     d    n    a    o    p    m    e    t    c     i    e    t    s    a     l    r    r    u     E      p

   r    o     /     d    n    a    o    p    m    e    t    t    n    e    r    e     h    e    s    o    c    l    u    n     I     p

     ●

     ●

     ●     ●     ●

     ●

     ●

     ●

     ●

     ●

     ●     ●

   s    e    t    o    n    e    t    n    a    o    r    i    t    u    a    c    c    a    n    o    t    y    i    n     l     h     d    g     i     H   n    a

   s    e    t    o    n    e    t    a    n    r    i    o    u    t    c    a    c    a    n    t    y    o     l    n    e     i    g     d    r    a    n     L      a

   s    e    n    t     i    o    e    a    n    l    t    n     i    t     b    a    c    a     i    e     l    m    r    r    e    r    o    o    c    l    y    t    t    n    y     l    o    n     l     i    t    y    e    a     i    t    r     i     l    e    c    a    n    n    o    a    n    e    ffi    u    t    n    o     G     S     i    t    

   n    e    i    s    a    r    l    t     b    o    n    a     i    r     i    r     l    a    e    e    r    m    e    t     l    o    t    o    y    n    t    n    n    t     i    e    o     i    n    y    t    e    c    t     i     l    u    ffi   a    n    a    q    u    n    s    o    e    t    r    n    i    n    o     F    I    t

   s    e    t    o    n    e    n    t    a    o    r    i    t    u    a    c    n    c    a    o    t    n    i    n     i    y    r     l    o    e     /    g     d    r    a    n     L    a

   s    e    t    o    n    e    n    t    o     i    a    r    t    a    u    n    c    c    t    a    o    n    n    i     i    y    r     l    o     /     h     d    g     i     H   n    a  

    d    e    r    e     ff    o     k    r    o    w    o     N  

     ●

     ●

     ●     ●

     ●     ●

     ●

     ●

     ●

    3    s    2    s   –    a    0     P    2

   s    s    a     P    w    9    o    1     l    e   –     B    7     1

    6     1   –     3     1

    2     1   –     0     1

    0

 

   n    o     i     t    c    n    0     i     t     3    s   –     i     7     D    2

    6     t     i    r     2   –    e    4     M     2

 

 

 

 

Marking criteria

   s     t    s    e     t     l    a    r    u     A

   t    e    u    i    e    o    v    t    s     h    n    g    p    o    u    e    c    p    r    o    r    e    s    e     h    r    t    p    y     l    t    e    n     l    t    e    a    a     d    r    i    c    fi    u    s    c    c    u    n    o     A    M     C

   y    s     l    t    e    s    n    s    a    c    e    e    n    e     fi    r     i     k    a    s    n    a    g    e    w   n    o     i    s    w   a    p    s    h    l    y    s    e     l     h    g    t     i    a    r    g    e    i    c    e    r    n    s    u    w    e    t    r    t    u    u    c    e     S    o    M     S

    h    g     i    e    w    e    t    u    s    o    n    o    t    s    s    p    u    e    s    e     j    r    s    s    s    s     h    t    e    u    o    g    k    n     i    n    t    a    e    u    r    e    a    t     S    w    C

    h    g     i    e    e    s    w    n    t    u    o    o    p    s    s    e    r    e    s    n    s    i    s    e    h    t    t    n    g    a    r     k    e    n    a    c    e    e    r    n    t     W   s    U

   t    u    o     h    g    u    e    o    r    s     h    t    n    o    p    y    s    c    a    r    r    e    u    e    c    u    c    a    g    a    n    V     I

    d    e    r    e     ff    o     k    r    o    w    o     N

       ●        ●        ●

       ●

       ●

       ●

       ●        ●

       ●

   s    8   –    e    l    a     d    i    a     i    r     t    n     G    I

   n    o     i     t    c    n     i     t     8    s    1   –     i     D    7     1

   s    4    s    1    a   –     P    2     1

   s    s    a     P    w    o    1     l     1    e   –     B    9

    8   –     6

    0

   s    r    o    r    r    e     d    e    e    t    n     i     i    a     d    t    e    p    s     i    a    l    n     i    s    d    e  ,    n    m   a    e    e    r    o    c    y    y    l     l    a    i    t     l     l    a    t    a    p    t    r    n    e    s    n    o     i    e    n    s    s    m    e    e    g    s    e    n    r    e     i    y     l    t     l    u    t    p     i    u    s    u    a    u    o    i    v    n    o     i    t    e    t     h    t    n    o    c    t    u    a    o     i     C     N     P     C        

   y    e     k     /     h    c    t     i    p     i    y    t     /    e    n    u    s    n    s    t     i    o    t    e    o    n    i    t    n    l    u    a    e    o    t    t    a    c    v    a    n     l     l    e    e    m    a    s    t     i    r    x    o    o    e    e    r    v    n    r    p    o    t    p    e    r    g    c    p    e    a    n    r     i    r    y    u    c     k    o    e    r    c    c    s    e    a    n    V    I    n     L      I      

   e    n    t    o     l    p    d     i    e    t    a    m   e    t    n    o    s    n    e     i    c    l    s    n    a    e    e     i    s    r    r    e     b    r    o    n    a    p    n     i    s    y    a    t    u    e     i    t    n    r    u    s    e     i     l    e    n    l    u    t     i    t    a    u    c    n    v    o    n    u    o    c    e    y    t     h    c    t    r    o    o    i    e     N       N       P       V  

    d    e    r    e     ff    o     k    r    o    w    o     N  

     ●     ●     ●     ●

     ●     ●     ●     ●

     ●     ●     ●     ●

     ●

   e    t    e     l    p    m    t    o    c    o    n    n     i    s    m    s     h    e    c    t    t    m    e     i     i    t     i    p    e    r    e    m    o    m    o     /    s     d    o    s    r    n    o    a    r    o     /    s     d     /    e    n    t     d    a    o    n    n    a    e    s    y    n    i    t    n     i    u    e    o    s    r    i    n    n    p    s    o    t    o    r    t    e    r    n    r    d    e    o    e    n    e     l    t    c    b    i    t    n    g    t    a    a    p    e    i     i    r    n     l    u    k    e    e    m    q    r    c    e    c    e    n    n    t    t    a    r     F     L     U           U      a

   s    m    e    t     i     l    t    a    r     h    e    e    c    t     l    p    v    e     i    p    m    s    r    r    o    o    c    o     /     /    i    n     d     l     d    y    o    n    n    a    l    t    r    t    a    n    n    e    s    s    o    e    t    e    n    c    u    o    q    l    o    a    n    e    p    r    n     f    o    s    e    t    r    t    e    a    r    o     f     d     /     i    m    o    n     i    e     d    a    t    x    t     k    n    r    p    o    c    r    a    l    e    a    m    p    i    c    c    n    e    p    s     d    a    a    u    u    t    t    a    o    y    r    i    y    r    r    o    t    e    p    r    e    e    o     V       S       S       V      n

    d    e    r    e     ff    o     k    r    o    w    o     N  

   g    n     i     d    a    e    r       t     h    g     i     S

    t     i    r     6     1    e   –     5     M     1

   e    t    a    r    u    c     k    y    n    e    c     d    o    a    /     h    e     i    s    c    y     i    t     l     i     l    t    a     l    t    a    a    p    e     /    c    s    r    n    e     i    s     l     i    m   e    e    t    a    r     h    t    o    t    e    n    y     d    p    t     h    e    n     l    r    t    e  ,    a    a    t     d    r    c     i    n    s    fi    e    u    c    u    n    u    c    o     l     F    A    M     C  

 

       ●        ●

 

 

     ●     ●     ●     ●

   e    s     l    u    p    y     d    a    e    t    s

   y    e     k     /    n     h    o     l    y    c    t    t    a    p    i    t    a    m    i     /    n    u    s    e    s    h    e    t    s    u    y    t    e  ,     h    o    o    r    n    r    p    t    t    p    e    c    c    r    m    e    e    e    u    r    t    r    r    c    r    o    e    e    o    t    c    s    c    a    y    l    y     l    u    l    y    e    e    q    n    e    i    g    g    r     d    a    r    a    a     A    M     L    L  

 

 

 

     ●     ●     ●     ●

       ●

   s    r    o    r    r    e

   s    o     i    g    g    e    p    r    a     d    n    a    s    e     l    a    c     S

   s    8   –    e    l    a     d    i    a     i    r     t    n     G    I

       ●

    h    c    t     i    p     /    s    e    c    t     i    o    m    e    s    n    h    d    n    e    o    e    t    p    t    y    a    p    a    s    r    h     h    r    s    e    u    r    c     d    t    y    c     l     l    a    n    a    a    n    e    y    t    c    d     l     i    n     fi     h    e    s    g    l     i    u    u    n    o     H       F       M       C  

    h    c    t     i    p     /    s    e    t    o    w    n    o    e    e     fl    n    e    t    s    r    a    t    n    a    o    r    l    o    u    n    u    p    c    e    g    s    c    a    e    r    v    e    e    r    y    l    y    l    y    e     l    r    t    e    n    u    s     i    g    r    o    a    c    e    a     L      M       M       S  

   e    t     i    p    s    e    d     d  ,    e    n     h     i    c    t    a     i    t    p    n     i     /    a    s    e    t    m   e    o    l    y    n    o    t    e    n    l    a    t    e    s    r     l    c    e    b    n    e    r    a    o     i    r    n    p    e     l    s    o    e    e    c    g    r    r    y    t    y    y     i     l     l     l     l    u    a    s    u    a    n    r    i    r    e    i    e    o    t    t    n    n    n    e    o    e    u    a     G       C       G       C  

     ●     ●     ●     ●

     ●     ●     ●     ●

     ●     ●     ●     ●

     ●     ●     ●     ●

     ●     ●     ●     ●

     ●

   s    6    s    1   –    a     P    4     1

   s    s    a     P    w    3    o    1     l    e   –     B    1     1

    0     1   –     7

    0

   n    o     i     t    c    n    1     i     t     2    s   –     i     D    9     1

    t     i    r     8     1    e   –     7     M     1

107

 

   7    1     /     6    0

    )    s    m    a    x    e    r    o     f     d     h    e    c    a    t    e     d    r    o     d    e     i    p    o    c    o    t    o     h    p    e     b    y    a    m     (

   r    e     d    r    o    g    n     i    n    n    u    r     &    e    m    m    a    r    g    o    r    p      m    a    x     E

   g    n     i     t    n    e    !    s    m    e    r    a    p   x    e    e    l    r    f    a    u    u    s    o    s    y    e    r    c    c    e    u     d    r    s    o    d    e    n    a     h     t    l    e    n     i      b    a    m   y    o    e    a    j    x     d    n    a    e    r    e    r    n     G    u    a    o    r    y    o    n    f     i    g    s    e    n    h     i    s     i    m    r    w    o    t     f    r    s    e    e    p    B  .    e    r    r    a    e    n    u    i    o    m    y    a    s    x    e    m   e    e     t     i     h     t    e    t    o     h     t    p     f    i     l

   e    t    c    m    e    j    a     b     N    u     S

   e     l    t    i     T

   o    s    s     l     i     i    a    h     t     t    e    d     d   n    e    a     t     h     i    r    d    w   n    e    a    s      a    m    e    e     l     P    h     t

   r    e    s    o    p    m    o     C    s    u     b    a     l     l    y    s     f    o    r    a    e     Y

   r    e     b    m    u     N    t    s    i     L

108

   :    g    n    o    s     l    a    n    o    i    t     d    i    a    r    t     d    e    i    n    a    p    m    o    c    c    a    n    u    :    y     l    n    o    s    r    e    g     i    n     S