Violin Exam Pieces From 2024, ABRSM Grade 1, Violin Part
February 28, 2024 | Author: Anonymous | Category: N/A
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ABRSM Violin Exams Here are some key points to help you prepare for your Grade 1 exam. All requirements are valid from 1 January 2024 until further notice. More detailed information on the syllabus requirements can be found online at www.abrsm.org. ;,' ~
Practical Grades
Performance Grades
ABRSM Practical Grades are our long-standing qualifications that test all-round musical skills, demonstrated through the playing of repertoire (three Pieces) and completing supporting tests (Scales and arpeggios, Sight-reading, and Aural tests). The exams are face-to-face assessments led by an examiner and the six components can be taken in any order. See the Practical Grades syllabus for full details.
ABRSM Performance Grades are our newest graded music exams, introduced in 2020. They allow learners to focus on and showcase their performance sldlls. The exams are digital assessments using a video recording of the performance made in one continuous take (four Pieces, in any order). There is also an assessment of the Performance as a whole. See the Performance Grades syllabus for full details.
Pieces
(both Practical & Performance Grade)
This book contains nine pieces from ABRSM's Grade 1 Violin syllabus from 2024. You can choose from the pieces in this book and/or the other pieces set for the grade: a full list is on page 12. For a Practical Grade, you will need to play three pieces, one from each of the three syllabus lists (A, Band C). For a Performance Grade, you will need to play four pieces, one from each of the three syllabus lists (A, Band C) and a fourth of your own choice, which might also be from the lists. See the relevant syllabus (Practical or Performance) for full details of what is required when selecting and preparing pieces for your exam, including how to deal with repeats.
Performance as a whole
(Performance Grade only)
In a performance, you take your audience on a journey with you and it is important to engage and hold their attention from the first to the last note. For a Performance Grade, it is important to consider how your pieces are contrasted, the order in which they are presented and the different moods and characters they inhabit. After your performance is completed, the examiner will award a mark based on how well you delivered and sustained it as a coherent and convincing performance event, not just a series of individual pieces.
Scales and arpeggios
(Practical Grade only)
Learning scales and arpeggios helps you to build strong technical skills by developing reliable finger movement, hand position, co-ordination and fingerboard fluency. It also helps you to develop your musical understanding through familiarity with keys and their related patterns. You can find a complete list of scales and arpeggios required for Grade 1 Practical in the back of this book. For full details, please see the Practical Grades syllabus.
Sight-reading
(Practical Grade only)
Learning to sight-read helps you to develop quick recognition of keys, tonality and common rhythm patterns. It also helps you to learn to keep going even when you make mistakes, and work music out for yourself - which makes learning new pieces quicker and easier. In a Practical Grade, you will be asked to play a short piece of music that you have not seen before. You will be given half a minute to look through and, if you wish, try out all or any part of the test before the examiner asks you to play it for assessment. For the full parameters, please see the Practical Grades syllabus.
Aural tests
(Practical Grade only)
Aural skills enable you to assess the sound and balance of your playing, keep in time and play with a sense of rhythm and pulse. These sldlls also help you to develop your sense of pitch, your musical memory and to spot any mistakes. Please see the Practical Grades syllabus for full details of the tests, which will be given by the examiner from the piano.
Editorial guidance We have taken the pieces in this book from a variety of sources. Where appropriate, we have edited the pieces to help you prepare for your performance. We have added metronome markings (in square brackets) and ornament realisations. The fingering and bowing indications have been amended where necessary to ensure a consistent approach within the album. Details of other changes or suggestions are given in the footnotes. Fingering, bowing and editorial additions are for guidance only: you do not have to follow them in the exam.
Violin Exam Pieces
Name
/' "' ABRSM Grade 1 ·
Selected from the syllabus from 2024
Date of exam
Contents
page
LI ST A
I
Ignatius Sancho The Sword Knott: from Minuets, Cotillons and Country Dances
2
2
J. S. Bach Mer hahn en neue Oberkeet, arr. Salter
3
3
Trad. Irish The Wind that Shakes the Barley, arr. Litten
4
LI ST B
I
Bernard Shore Moonrise: No. 1 from A Fairy Ring
5
2
Trad. Scottish An Coineachan, arr. Bullard
6
3
Trad. Yiddish Tumbalalaika, arr. Gritton
7
LI ST C
I
Joseph Barbera, William Hanna & Hoyt Curtin The Flintstones, arr. Iles
8
2
Peter Martin Hoe Down: from Little Suite No. 3
9
3
Trad. Zulu Siyahamba, arr. Iles
10
Violin consultant: Philippa Bunting Footnote s: Philippa Bunting, Richard Jones (RJ) & Anthony Burton (AB)
The pieces listed above are just a selection of those on the syllabus that you can choose for your exam; the other options are listed on page 12.
Whether you are taldng an AB RSM Practical or Performance Grade, pieces are at the heart of your exam; after all, playing an instrument is all about exploring, performing, and learning through repertoire. While this book contains nine pieces in a range of styles, the full syllabus has a wealth of other exciting repertoire that we encourage you to explore - to find pieces that really inspire you, that you connect with musically and will enjoy learning, and that will allow you to perform to your very best. The full syllabus also includes duets, to give you another musical option. You can pick a mixture of pieces from this book and the wider lists if you like - you just need to have one piece from each list, A, B and C. If you are taldng a Performance Grade, you also need to prepare a fourth piece which is entirely your own choice. Here you have even more freedom to choose music that really speaks to you, that you want to communicate to others, and that successfully completes your programme. It can be from the syllabus lists, or somewhere else entirely. Just be sure to check the 'Selecting Repertoire' section of the Performance Grades syllabus for important requirements and options for the own-choice piece (like standard and minimum length) and the programme of four pieces overall. Finally, you need to decide what order to play your pieces in and how you, the performer, will take your audience from the very first to the very last note, including moving from one piece to another, so that the performance forms a complete musical journey.
The separate syllabuses are available at www.abrsm.org. Whether taldng a Practical or Performance Grade, enjoy exploring the possibilities on offer!
First published in 2023 by ABRSM (Publishing) Ltd, a wholly owned subsidiary of ABRSM, 4 London Wall Place, London EC2Y SAU, United Kingdom © 2023 by The Associated Board of the Royal Schools of Music Distributed worldwide by Oxford University Press
Unauthorised photocopying is illegal All rights reserved. No part of this publication may be reproduced, recorded or transmitted in any form or by any means without the prior permission of the copyright owner.
Music origination by Moira Roach Cover by Kate Benjamin, James Pike & Andy Potts, with thanks to Sutton Music Service Printed in England by Page Bros (Norwich) Ltd, on materials from sustainable sources. Pl5900
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The Sword Knott from Minuets, Cati/Ions and Country Dances
Ignatius Sancho
Edited by and continuo real isation by Richard Jones
(1729-80)
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Born on a slave ship, Ignatius Sancho was a British composer and writer of African descent. As a child, he was taken to London and forced to
work as a slave for three wealthy sisters in Greenwich. His education was encouraged by the 2nd Duke of Montagu in whose house he was later employed. Sancho eventually became an independent shopkeeper, but he campaigned for the abolition of slavery throughout his life. The pieces in this collection are intended to be danced to, as Sancho's instructions show. RJ Source: Minuets, Cotillons & Country Dances for the Violin, Mandolin, German Flute & Harpsichord (London: Printed for the Author, n .d. [1775]). All dynamics are editorial suggestions only, as are the slurs in bars 1, 2 and 9. ©
2023 by The Associated Board of the Royal Schools of Music
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Mer hahn en neue Oberkeet
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This is the opening duet of the 'Peasant Cantata', BWV 212, written in 1742 to celebrate the arrival of a new lord of the manor of two villages near Leipzig, Germany. A farmer and his wife Mieke are swapping jokes and the mood is light-hearted. Much of the character of this piece comes with the dynamic contrasts between the strong f passages and the gentler p ones. Establish each from the first note, choosing the weight and speed of the bow accordingly. © 1978 by The Associated Board of the Royal Schools of Music Adapted from Violin Examination Pieces 1979 and 1980, Grade 1 (ABRSM)
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The Wind that Shakes the Barley
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This rousing, upbeat tune comes from Ireland. In the Irish fiddle tradition, tunes are shared when people come together and are often adapted over time. Smooth, clean string crossing is an important sldll for a fiddler so see how neat you can make the leap from the last note of bar 5 to the first note in bar 6. © 2023 by The Associated Board of the Royal Schools of Music
AB 4095
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Moonrise
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No. 1 from A Fairy Ring Bernard Shore (1896-1985)
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The moon has different meanings in different cultures but is always regarded as special and symbolic, just like the sun. Moonrise, or the moment the moon becomes visible over the horizon, sets the scene for the magical happenings that follow in this suite. The composer Bernard Shore started his musical journey as an organist. Then, in a remarkable demonstration of musical resilience, after he lost two fingers on his right hand fighting in World War I, he turned to the viola and a career as a soloist and chamber and orchestral musician. © Copyright 1928 Stainer & Bell Ltd, 23 Gruneisen Road, London N3 lLS, ill(, www.stainer.co.uk Reprinted by permission.
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Fairy Lullaby
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An Coineachan
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This tune is from the Gaelic fiddle tradition, with its origins in Scotland. It tells a sad story that draws on the superstition that children could be snatched away by fairies, should their parents only turn their backs for a moment - to pick berries, in the case of this poor mother. The music's gently lilting quality is reminiscent of a cradle gently rocldng to and fro, soothing a child to sleep. © 2023 by The Associated Board of the Royal Schools of Music
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Tumbalalaika
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In this Jewish folksong, originally sung in Yiddish, a young man is thinking long into the night about a series of questions he wants answers to. The tune has appeared in many different contexts, including in a song by popular Greek singer Nana Mouskouri and in a heavy metal version. The crescendos and diminuendos in this arrangement shape the tune and help to bring out its beauty. © 2023 by The Associated Board of the Royal Schools of Music
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The Flintstones
Word s and music by Joseph Barbera (1911-2006), William Hanna (1910 - 2001) and Hoyt Curtin (1922 - 2000)
Arranged by Nikki lies
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The Flintstones was a cartoon series shown on American television from 1960 to 1966, and in re-runs and revivals after that, which became popular in many countries. It was set in the Stone Age, but featured a family behaving like a modern family. From 1962 to 1966, its opening and closing music was the song 'Flintstones, meet the Flintstones' . This was written by the m usical director of the Hanna-Barbera animation studio, Hoyt S. Curtin, in collaboration with Joseph Barbera and William Hanna. AB © 1960 Warner Tamerlane Publishing Corp. Warner Chappell North America Ltd, London, W8 5DA Reproduced by permission of Faber Music Ltd for Europe and Faber Music on behalf of Alfred Music for the rest of the world. All rights reserved.
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When you play a hoedown you are often playing for a party where people dance and celebrate their community coming together, to raise a barn for example, or bring in the harvest. The band for a hoedown would usually include banjos and basses, but it is the fiddle that holds the tune and this fast, energetic dance tune really gives the fiddler a chance to shine. Although the composer's metronome mark is d = 92, students may prefer a slower tempo, for example d = c.80. © Copyright 1984 Stainer & Bell Ltd, 23 Gruneisen Road, London N3 lLS, UK, www.stainer.co.uk Reprinted by permission.
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Siyahamba ,,,.
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Arranged by Nikki lies
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Siyahamba originated as a Zulu folksong and, as with many traditional tunes, developed over time in different arrangements and interpretations. At its heart is a sense of celebration and togetherness, supported by bold syncopated rhythms and a soaring tune. This arrangement comes to a thoughtful conclusion, with single plucked open strings in free time. © 2023 by The Associated Board of the Royal Schools of Music
AB 4095
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12
Violin Exams from 2024 Other pieces for Grade 1 Composer
A 4 Arbeau
Piece
Publication
Mattach in s, arr. Huws Jones
Encore Violin, Book 1 (ABRSM)
Patrick's Reel DUET/ PIANO
Fiddle Time Joggers COUP)(±)
6 Carse
Minuet (from The Fiddler's Nursery)
Carse: The Fiddler's Nursery for Violin (Stainer & Bell)
7 Thomas Gregory
Sinfonia DUET/ PIANO
Vamoosh Violin, Book 1.5 (Vamoosh) (±)
s
Kathy & David Blackwell
Piece by Piece 1 for Violin (Boosey & Hawkes)
with repeat
8 Purcell
Rigadoon, arr. Nelson
9 Suzuki
Andantino DUET/ PIANO
Suzuki Violin School, Vol. 1 (Alfred)(±)
10 Trad. Irish
John Ryan's Polka, arr. Huws Jones DUET/PIANO
Vio lin Star 2 (ABRSM) (±)
11 Chevalier de
Chevalier's Rondeau (from String Quartet, Op.1 No. 3), arr. K. & D. Blackwell DUET/ PIANO
Violin Mix 1 (ABRSM)
12 Eve Hunge rford
An Old World Minuet
Violin Mus ic By Women, A Graded Anthology, Vol. 1 Beginning (Sleepy Pupp y Press)
13 Trad . Indonesian
Rasa Sayang, arr. Harris & O'Leary DUET/PIANO
Flexi Vio lin, Book 1 ( Faber)
Saint-Georges
B 4 Kathy & David Rocking Horse DUET/ PIANO Blackwell 5 Katherine & Hugh Full Moon (No. 22 from Waggon Wheels) Colledge Waltz (from The Merry Widow), arr. Huws Jones 6 Lehar 7 Rodgers &
Hammerste in
Edel weiss (from The Sound of Music), arr. Davey, Hussey & Sebba DUET/PIANO
Fiddle Time Joggers COUP)(±) Katherine & Hugh Colledge: Waggon Wheels for Violin (Boosey & Hawkes) Going So lo for Violin ( Faber) or The Best of Grade 1 Violin (Faber) Abracadabra Violin (Third Edition) (Collins Music)(±) Tunes You Know 1 for Violin Duet (Boosey & Hawkes)
8 Schubert
Cradle Song, arr. Nelson DUET
9 Trad.
The Leaving of Liverpool , arr. Huws Jones
10 Trad. English
A North Country Lass, arr. Hu ws Jones DUET/ PIANO
Violin Star 2 (ABRSM) (±)
violin melody
The Seafaring Fiddler (Boosey & Hawkes)
DUET/ PIANO
C
11 Carse
Song Without Words
Carse: First String Tunes (Stainer & Bell)
12 A. Mendelssohn
Cavatine
I Love My Violon (Leduc)
13 Sitt
First So lo, arr. Harris & O'Leary DUET/PIANO
Flexi Violin, Book 1 ( Faber)
4 Klaus Badelt & Hans Zimmer
He's a Pirate (from Pirates of the Caribbean: The Curse of the Black Pearl), arr. Galliford & Neu burg with repeat; ending 1st beat of b. 22
Top Hits from TV, Movies & Musicals for Violin (Alfred) O
with repeats
5 Thomas Gregory
Fiery Fiddler
6 Huws Jones
Sharks
Vamoosh Violin, Book 1 (Vamoosh) (±)
7 Trad. Chinese
Jasmine Flower (No. 4), arr. O'Leary SO LO
No. 4 from 80 Graded Studies for Violin, Book 1 (Faber)
8 Trad. Czech
Rocking, arr. Nelson DUET
Tunes You Know 1 for Violin Duet (Boosey & Hawkes)
9 Judith Bell
Minor Groove
Easy Tunes for Tamariki for Violin (Wellington Branch IRMTNZ)
10 Mary Cohen
Gliding Along at the Octopus Ball (No. 9 from Superstudies for Violin, Book 1)
Mary Cohen: Superstudies for Violin, Book 1 (Faber)
Going Solo for Violin (Faber) or The Best of Grade 1 Viol in (Faber)
11 Flanders & Swann The Hippopotamus, arr. K. & D. Blackwell
Violin Mix 2 (AB RSM)
12 R. & R. Sherman
Supercalifragilisticexpialidocious (from Mary Poppins) , arr. K. & D. Blackwell
Violin Mix 1 (ABRSM)
13 Trad. American
Casey Jones, arr. Huws Jones
Violin Star 2 (AB RSM)(±)
(±) Accompan iment(s) published separately, see www.abrsm.org/syllabusclarifi ca tions 0 Accompaniment printable from companion CD
Scales and arpeggios
(Practical Grade only)
You will be asked for at least one of each type of scale and arpeggio, which should be played from memory. For details and examples, please see the syllabus. Scales
D, A majors
starting on open strings
1 oct. E natural minor G major
2 oct.
separate bows or slurred (2 quavers to a bow), at examiner's choice; even notes or long tonic, at candidate's choice
Arpeggios
D, A majors
starting on open strings
1 oct. Eminor Gmajor
2 oct.
separate bows; even notes
Violin Exam Pieces
Support material for ABRSM Violin exams
ISBN 978-1-78601-543-3
\WI ABRSM 9
781786 015433
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