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Teacher DevelopmentCurriculum & Lesson Planning © ABRSM 2019
Violin Syllabus 2020–2023
Pathways through the
BOWED STRINGS SYLLABUS 2020–2023
THEMED REPERTOIRE Initial Grade Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8
The importance of melody: These pieces demand increasing awareness of shape and a refined control of melodic projection and balance with accompaniment.
B1 Katherine & Hugh Colledge, Waterfall (No. 9 from Waggon Wheels)
B8 Sheila Nelson, I am a River
B9 Sheila Nelson, Over the Moon
B1 Bartók, Round Dance (No. 17 from For Children, Vol. 1), arr. Davies
B5 Katherine & Hugh Colledge, Full Moon (No. 22 from Waggon Wheels)
B6 Lehár, Waltz (from The Merry Widow), arr. Huws Jones
A4 J. S. Bach, Musette, arr. Suzuki
B1 Mahler, Theme (from Symphony No. 1, 3rd movt), arr. Gritton
B4 Katherine & Hugh Colledge, Weeping Willow (No. 10 from Fast Forward)
B5 Edward Jones, Glwysen, arr. Huws Jones
B3 Rieding, Andante (2nd movt from Concerto in B minor, Op. 35)
B7 Barbara Heller, Lalai - A Lullaby to Awaken You?, arr. Mohrs
C2 Rachel Stott, Shadow Wizard
B2 C. Dancla, Romance (No.8 from Petite école de la mélodie, Op. 123, Book 2)
B5 Bridge, Spring Song (No.2 from Four Short Pieces, H.104)
B7 J. P. E. Martini,Plaisir d’amour, arr. Danbé
B9 Mendelssohn, Andante con moto (2nd movt from Symphony No.4, ‘The Italian’,Op. 90), arr. Wade
B10 Trad. Breton Lament, arr. Huws Jones
B3 Tchaikovsky Chanson triste (No.2 from 12 morceaux, Op. 40) arr. Bullard
B4 Bridge, Cradle Song, H. 96
B10 Tchaikovsky, Waltz (from Serenade for Strings), arr. Huws Jones
C4 Diana Burrell, The Secrets of the Dark Pool in the Pine Forest
B2 Gluck, Melody (from Orphée et Eurydice), arr. Kreisler
B6 C. A. Gibbs, The Silent Pool (No. 3 from Three Pieces for Violin)
B8 Kreisler, Andantino in the Style of Martini
B9 Shostakovich, Romanze in D, arr. Fortunatov
B10 Tacchinardi, Romance (No. 11 from Dodici miniature)
B3 Hensel, Adagio
B4 A. Beach, Lento espressivo, Op. 125
B6 N. Paganini, Cantabile
B8 John Rutter, Lament for the Holy City
B9 Sibelius, Romance (No. 2 from Four Pieces, Op. 78)
B1 C. - A. de Bériot, Adagio (2nd movt from Concerto No. 9 in A minor, Op.104)
B3 Fauré, Andante, Op. 75
B8 Saint-Saëns, Élégie, Op. 143
Rhythmic accuracy and articulation: These pieces require precise rhythmic detail, in order to project an authentic, characterful interpretation.
A1 Sheila Nelson, Fish Cakes and Apple Pie
A4 Katherine & Hugh Colledge, Knickerbocker Glory (No. 10 from Waggon Wheels)
C1 Kathy & David Blackwell, In the Groove
C7 Edward Huws Jones, Ten O’Clock Rock (No. 9 from Ten O’Clock Rock)
A4 Arbeau, Mattachins, arr. Huws Jones
A10 Trad. Irish, John Ryan’s Polka, arr. Huws Jones
C1 N. Mackay, Tango (No. 2 from Four Modern Dance Tunes)
C2 Trad. What shall we do with the drunken sailor?, arr. Bullard
A1 Mozart, Allegretto (from Clarinet Quintet, K. 581, 4th movt),arr. Scott-Burt
B2 Trad. Chinese, Bamboo in the Breeze, arr. Huws Jones
C1 Katherine & Hugh Colledge, The Ceilidh (No. 20 from Fast Forward)
C10 Pam Wedgewood, Siberian Galop
A1 Handel, La réjouissance (4th movt from Music for the Royal Fireworks, HWV 351), arr. ABRSM
A3 attrib. Mozart, Contredanse (No. 1 from 12 contredanses, K. 269b), trans. Jones
A8 Mascitti, Gavotta (4th movt from Sonata in E minor, Op. 2 No. 10)
A10 Telemann, Bourée (from Wedding Divertissement)
C3 Ros Stephen, Relaxing in Rio (No. 3 from Violin Globetrotters)
A3 G. Saint-George, Giga (6th movt from L’ancien régime, Deuxième petite suite, Op.60)
C1 C. Bohm,Petite rhapsodie hongroise (No. 12 from Novelletten), adapted K. & D. Blackwell
C5 Hadjiev, Rondino, arr. de Keyser & Waterman
C6 Kabalevsky, The Clowns, arr. de Keyser & Waterman
C9 J. S. Skinner, MacPherson’s Blade
A1 Corelli,Folia (Theme and selected variations from Sonata in D minor,Op. 5 No. 12)
A3 Vivaldi, Allegro (1st movt from Concerto in G,Op. 3 No. 3 RV 310)
A7 Gossec, Tambourin, arr. Nelson
C2 Britten, Night Song and Pantomime (from The Little Sweep, Op. 45), arr. Blackwell
A1 Handel, Allegro (2nd movt from Sonata in D, HWV 371)
A2 McGibbon, Largo and Allegro (1st and 2nd movts from Sonata No. 3 in E minor)
C4 C.Bohm, Bolero (No. 9 from Albumblätter)
C5 Szelényi, Youngsters’ Dance (No. 19 from 24 Easy Little Concert Pieces)
C7 Nölck, Hungarian Dance, Op.196 No. 5
A2 Mangean, Andante grazioso andAllegro (1st and 2nd movts from Sonata in E minor, Op. 4 No. 2)
A4 Beethoven, Rondo: Allegro (3rd movt from Sonata in D, Op. 12 No.1)
B2 Rachmaninoff, Vocalise (No. 14 from 14 Songs, Op. 34), arr. Birtel
C1 Bridge, Moto Perpetuo (No. 3 from Three Dances, H.4)
C2 Musorgsky, Gopak (from Sorochintsï Fair), arr. Carse
A2 F. M. Veracini, Allegro (1st mov’t from Sonata in E minor, Op. 2 No.8)
A5 J. S. Bach, 1st movt (from Concerto in A minor, BWV 1041)
C4 Bartók, Buciumeana, Poargă românească andMărunţel (Nos. 4, 5 and 6 from Romanian Folk Dances), trans. Székely
C9 ten Have, Allegro brillant, Op. 19
BOWED STRINGS SYLLABUS 2020–2023 PATHWAYS THROUGH THE VIOLIN SYLLABUS
THEMED REPERTOIRE Initial Grade Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8
The importance of melody: These pieces demand increasing awareness of shape and a refined control of melodic projection and balance with accompaniment.
B1 Katherine & Hugh Colledge,Waterfall (No. 9 from Waggon Wheels)
B8 Sheila Nelson,I am a River
B9 Sheila Nelson,Over the Moon
B1 Bartók, Round Dance (No. 17 from For Children, Vol. 1), arr. Davies
B5 Katherine & Hugh Colledge, Full Moon (No. 22 from Waggon Wheels)
B6 Lehár, Waltz (from The Merry Widow), arr. Huws Jones
A4 J. S. Bach, Musette, arr. Suzuki
B1 Mahler, Theme (from Symphony No.1, 3rd movt), arr. Gritton
B4 Katherine & Hugh Colledge, Weeping Willow (No. 10 from Fast Forward)
B5 Edward Jones, Glwysen, arr. Huws Jones
B3 Rieding, Andante (2nd movt from Concerto in B minor, Op. 35)
B7 Barbara Heller, Lalai - A Lullaby to Awaken You?, arr. Mohrs
C2 Rachel Stott, Shadow Wizard
B2 C. Dancla, Romance (No. 8 from Petite école de la mélodie, Op. 123, Book 2)
B5 Bridge, Spring Song (No. 2 from Four Short Pieces, H. 104)
B7 J. P. E. Martini, Plaisir d’amour, arr. Danbé
B9 Mendelssohn, Andante con moto (2nd movt from Symphony No. 4, ‘The Italian’, Op. 90), arr. Wade
B10 Trad. Breton Lament, arr. Huws Jones
B3 Tchaikovsky Chanson triste (No. 2 from 12 morceaux, Op. 40) arr. Bullard
B4 Bridge, Cradle Song, H. 96
B10 Tchaikovsky, Waltz (from Serenade for Strings), arr. Huws Jones
C4 Diana Burrell, The Secrets of the Dark Pool in the Pine Forest
B2 Gluck, Melody (from Orphée et Eurydice), arr. Kreisler
B6 C. A. Gibbs, The Silent Pool (No. 3 from Three Pieces for Violin)
B8 Kreisler, Andantino in the Style of Martini
B9 Shostakovich, Romanze in D, arr. Fortunatov
B10 Tacchinardi, Romance (No. 11 from Dodici miniature)
B3 Hensel, Adagio
B4 A. Beach, Lento espressivo, Op. 125
B6 N. Paganini, Cantabile
B8 John Rutter, Lament for the Holy City
B9 Sibelius, Romance (No. 2 from Four Pieces, Op. 78)
B1 C.-A. de Bériot, Adagio (2nd movt
from Concerto No. 9 in A minor, Op. 104)
B3 Fauré, Andante, Op. 75
B8 Saint-Saëns, Élégie, Op. 143
Rhythmic accuracy and articulation:These pieces require precise rhythmic detail, in order to project an authentic, characterful interpretation.
A1 Sheila Nelson, Fish Cakes and Apple Pie
A4 Katherine & Hugh Colledge,Knickerbocker Glory (No. 10 from WaggonWheels)
C1 Kathy & David Blackwell,In the Groove
C7 Edward Huws Jones, Ten O’Clock Rock (No. 9 from Ten O’Clock Rock)
A4 Arbeau, Mattachins, arr. Huws Jones
A10 Trad. Irish, John Ryan’s Polka, arr. Huws Jones
C1 N. Mackay, Tango (No.2 from Four Modern Dance Tunes)
C2 Trad. What shall we do with the drunken sailor?, arr. Bullard
A1 Mozart, Allegretto (from Clarinet Quintet,K. 581, 4th movt), arr. Scott-Burt
B2 Trad. Chinese, Bamboo in the Breeze, arr. Huws Jones
C1 Katherine & Hugh Colledge, The Ceilidh (No. 20 from Fast Forward)
C10 Pam Wedgewood, Siberian Galop
A1 Handel, La réjouissance (4th movt from Music for the Royal Fireworks, HWV 351), arr. ABRSM
A3 attrib. Mozart, Contredanse (No. 1 from 12 contredanses, K. 269b), trans. Jones
A8 Mascitti, Gavotta (4th movt from Sonata in E minor, Op. 2 No. 10)
A10 Telemann, Bourée (from Wedding Divertissement)
C3 Ros Stephen, Relaxing in Rio (No. 3 from Violin Globetrotters)
A3 G. Saint-George, Giga (6th movt from L’ancien régime, Deuxième petite suite, Op. 60)
C1 C. Bohm, Petite rhapsodie hongroise (No. 12 from Novelletten), adapted K. & D. Blackwell
C5 Hadjiev, Rondino, arr. de Keyser & Waterman
C6 Kabalevsky, The Clowns, arr. de Keyser & Waterman
C9 J. S. Skinner, MacPherson’s Blade
A1 Corelli, Folia (Theme and selected variations from Sonata in D minor, Op. 5 No. 12)
A3 Vivaldi, Allegro (1st movt from Concerto in G, Op. 3 No. 3 RV 310)
A7 Gossec, Tambourin, arr. Nelson
C2 Britten, Night Song and Pantomime (from The Little Sweep, Op. 45), arr. Blackwell
A1 Handel, Allegro (2nd movt from Sonata in D, HWV 371)
A2 McGibbon, Largo and Allegro (1st and 2nd movts from Sonata No. 3 in E minor)
C4 C. Bohm, Bolero (No. 9 from Albumblätter)
C5 Szelényi, Youngsters’ Dance (No. 19 from 24 Easy Little Concert Pieces)
C7 Nölck, Hungarian Dance, Op. 196 No. 5
A2 Mangean, Andante grazioso and Allegro (1st and 2nd movts from Sonata in E minor, Op. 4 No. 2)
A4 Beethoven, Rondo: Allegro (3rd movt from Sonata in D, Op. 12 No. 1)
B2 Rachmaninoff, Vocalise (No. 14 from 14 Songs, Op. 34), arr. Birtel
C1 Bridge, Moto Perpetuo (No. 3 from Three Dances, H. 4)
C2 Musorgsky, Gopak (from Sorochintsï Fair), arr. Carse
A2 F. M. Veracini, Allegro (1st movt from Sonata in E minor, Op. 2 No. 8)
A5 J. S. Bach, 1st movt (from Concerto in A minor, BWV 1041)
C4 Bartók, Buciumeana, Poargă românească and Mărunţel (Nos. 4, 5 and 6 from Romanian Folk Dances), trans. Székely
C9 ten Have, Allegro brillant, Op. 19
THEMED REPERTOIRE Initial Grade Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8Awareness of musical texture: These pieces require knowledge of how the string part and the accompaniment parts fit together and how to voice interdependent lines.
A7 Trad. Big Ben, arr. Davey, Hussey & Sebba
B4 Kathy & David Blackwell, Chinese Garden
C9 Trad. German, Pit a Pat Rain, arr. K. & C. Sassmannhaus
A1 Haydn, German Dance (No. 8 from 12 German Dances, Hob. IX:10) arr. Salter
A3 Peter Martin, Hornpipe (No. 2 from Little Suite No. 3)
B3 Trad. Scottish, Sky Boat Song, arr. Gritton
A2 C. Petzold, Menuet in G, BWV Anh. II 114, arr. Huws Jones
B9 Trad. North American, Simple Gifts, arr. Waterfield & Beach
C3 Trad. Hungarian, Hol háltál az éjjel cinegemadár? (Where did you sleep last night little bird?) (No. 5 from Tíz Könnyű Hegedű-Zongoradarab), arr. Szervánszky
B1 Fauré, Theme from Berceuse (from Dolly, Op. 56), arr. Blackwell
B2 Piazzolla & H. Ferrer, Chiquilín de Bachín, arr. Huws Jones
B10 Friedrich Seitz, Adagio (2nd movt from Student Concerto No. 2 in G, Op. 13)
A9 Purcell, Rondeau (from Abdelazar) arr. Cohen
B3 Grieg, Solveigs sang (from Peer Gynt, Suite No. 2, Op. 55), arr. Blackwell
A10 N. Sokolovsky, Menuett
B1 Jacob, Elegy
B6 attrib. Paradis, Sicilienne, arr. Dushkin
C6 Timothy & Natasha Kraemer, Cossack Dance
C9 Trad. Klezmer, Hava Nagila, arr. Stephen & Rowlands
B4 L. Boulanger, Nocturne
B5 Elgar, Chanson de nuit, Op. 15 No.1
C1 Genzmer, Allegro (4th movt from Sonatine No. 1, GeWV 225)
C8 Rieding, Allegro (3rd movt from Concertino in G, Op. 24)
C9 Trad. Russian, Black Eyes, arr. Waterfield
A3 Mozart, Allegro di molto (1st movt from Sonata in A, K. 305)
A5 Haydn, Allegro (3rd movt from Concerto in G, Hob. VIIa:4)
B1 G.Cassadó, Sérénade
B7 Sarasate, Playera (No.1 from Spanish Dances,Op. 23)
B10 H. Wieniawski, Romance: Andante non troppo (2nd movt from Concerto No. 2 in D minor, Op. 22)
C4 Gardel, Por una cabeza, arr. Birtel
A1 Mendelssohn, Allegro (3rd movt from Concerto in D minor)
A3 Vivaldi, Allegro (1st movt from Concerto in F, ‘L’autunno’, Op. 8 No. 3 RV 293)
B2 Bloch, Vidui (No.1 from Baal Shem (Three Pictures of Chassidic Life)
B6 Lalo, Andante (4th movt from Symphonie espagnole, Op. 21)
B9 Tchaikovsky, Canzonetta: Andante (2nd movt from Concerto in D, Op. 35)
C1 Chaminade, Capriccio, Op. 18
C3 C. C. White, Levee Dance
C8 G. & I. Gerswhin & Heyward, It ain’t necessarily so (from Porgy and Bess), trans. Heifetz
Solos, Duets and Popular Pieces: These pieces require an unaccompanied confidence of line, or a sense and understanding of ensemble.
A5 Cutter, Little March, arr. K. & C. Sassmannhaus
A8 Trad. Secret Agents, arr. Davey, Hussey & Sebba
B10 Sheila Nelson, Swingalong
C3 Trad. Jamaican, Hill and gully rider, arr. Bullard
B7 Rodgers & Hammerstein, Edelweiss (from The Sound of Music), arr. Davey, Hussey & Sebba
B8 Schubert, Cradle Song, arr. Nelson
C3 R. & R. Sherman, Chitty Chitty Bang Bang (from Chitty Chitty Bang Bang), arr. Iles
C6 Edward Huws Jones, Sharks
C9 Trad. Chinese, Jasmine Flower (No. 4), arr. O’Leary
B10 Trad. Greensleeves, arr. Nelson
C4 Arlen & Harburg, We’re off to see the wizard (from The Wizard of Oz) arr. Davey, Hussey & Sebba
C5 Bartók, Play Song (No. 9 from 44 Duos)
A5 Holmstad, Lett på fot (Light-footed)
B8 Elton John & Tim Rice, Can You Feel The Love Tonight? (from The Lion King), arr. Galliford & Neuberg
C1 N. Brown & A. Freed, Singin’ in the Rain, arr. Iles
C5 L. Bernstein, I feel pretty (from West Side Story), arr. Wastall
B1 Bart, Where is Love? (from Oliver!), arr. Iles
C2 Farrés, Quizás, quizás, quizás, arr. Huws Jones
C3 Pam Wedgewood, Sometime Maybe (No. 8 from Jazzin’ About)
C1 Nikki Iles, Hay Barn Blues
C3 Trad. Chinese, Bamboo Stem and Jasmine Flower, arr. Stock
C10 Richard Wade, Barn Dance (from WayOut West)
B1 Cui, Orientale (No.9 from Kaleidoscope, Op.50)
B7 Nigel Hess, Theme (from Ladies in Lavender)
C2 Suzanne Lundeng, Kela, arr. Bendisken
A1 J. S. Bach Gigue (from Partita No. 3 in E, BWV 1006)
C3 Thea Musgrave, The Egrets have Landed
C7 Stephen Hough, The Mad Tea Party
C8 Hubay, Bolero (No.3 from Cinq morceaux caractéristiques,Op.51)
A4 J. S. Bach, Allemanda (1st movt from Partita No. 2 in D minor, BWV 1004)
B7 Florentine Mulsant, Chant (3rd movt from Suite pour violon,Op. 50)
C2 Trad. Japanese Sakura, arr. Kaneko Millar
C10 Joby Talbot, November: Eleven (from Once Around the Sun)
BOWED STRINGS SYLLABUS 2020–2023 PATHWAYS THROUGH THE VIOLIN SYLLABUS
THEMED REPERTOIRE Initial Grade Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8Awareness of musical texture:These pieces require knowledge of how the string part and the accompaniment parts fit together and how to voice interdependent lines.
A7 Trad.Big Ben, arr. Davey, Hussey & Sebba
B4 Kathy & David Blackwell,Chinese Garden
C9 Trad. German, Pit a Pat Rain, arr. K. & C. Sassmannhaus
A1 Haydn, German Dance (No. 8 from 12 German Dances, Hob. IX: 10) arr. Salter
A3 Peter Martin, Hornpipe (No. 2 from Little Suite No. 3)
B3 Trad. Scottish, Sky Boat Song, arr. Gritton
A2 C. Petzold, Menuet in G, BWV Anh. II 114, arr. Huws Jones
B9 Trad. North American, Simple Gifts, arr. Waterfield & Beach
C3 Trad. Hungarian, Hol háltál az éjjel cinegemadár? (Where did you sleep last night little bird?) (No. 5 from Tíz Könnyű Hegedű-Zongoradarab), arr. Szervánszky
B1 Fauré, Theme from Berceuse (from Dolly, Op. 56), arr. Blackwell
B2 Piazzolla & H. Ferrer, Chiquilín de Bachín, arr. Huws Jones
B10 Friedrich Seitz, Adagio (2nd movt from Student Concerto No. 2 in G, Op. 13)
A9 Purcell, Rondeau (from Abdelazar) arr. Cohen
B3 Grieg, Solveigs sang (from Peer Gynt, Suite No. 2, Op. 55), arr. Blackwell
A10 N. Sokolovsky, Menuett
B1 Jacob, Elegy
B6 attrib. Paradis, Sicilienne, arr. Dushkin
C6 Timothy & Natasha Kraemer, Cossack Dance
C9 Trad. Klezmer, Hava Nagila, arr. Stephen & Rowlands
B4 L. Boulanger, Nocturne
B5 Elgar, Chanson de nuit, Op. 15 No. 1
C1 Genzmer, Allegro (4th movt from Sonatine No. 1, GeWV 225)
C8 Rieding, Allegro (3rd movt from Concertino in G, Op. 24)
C9 Trad. Russian, Black Eyes, arr. Waterfield
A3 Mozart, Allegro di molto (1st movt from Sonata in A, K. 305)
A5 Haydn, Allegro (3rd movt from Concerto in G, Hob. VIIa:4)
B1 G. Cassadó, Sérénade
B7 Sarasate, Playera (No. 1 from Spanish Dances, Op. 23)
B10 H. Wieniawski, Romance: Andante non troppo (2nd movt from Concerto No. 2 in D minor, Op. 22)
C4 Gardel, Por una cabeza, arr. Birtel
A1 Mendelssohn, Allegro (3rd movt from Concerto in D minor)
A3 Vivaldi, Allegro (1st movt from Concerto in F, ‘L’autunno’, Op. 8 No. 3 RV 293)
B2 Bloch, Vidui (No. 1 from Baal Shem (Three Pictures of Chassidic Life)
B6 Lalo, Andante (4th movt from Symphonie espagnole, Op. 21)
B9 Tchaikovsky, Canzonetta: Andante (2nd movt from Concerto in D, Op. 35)
C1 Chaminade, Capriccio, Op. 18
C3 C. C. White, Levee Dance
C8 G. & I. Gerswhin & Heyward, It ain’t necessarily so (from Porgy and Bess), trans. Heifetz
Solos, Duets and Popular Pieces:These pieces require an unaccompanied confidence of line, or a sense and understanding of ensemble.
A5 Cutter, Little March, arr. K. & C. Sassmannhaus
A8 Trad. Secret Agents, arr. Davey, Hussey & Sebba
B10 Sheila Nelson, Swingalong
C3 Trad. Jamaican,Hill and gully rider, arr. Bullard
B7 Rodgers & Hammerstein, Edelweiss (from The Sound of Music), arr. Davey, Hussey & Sebba
B8 Schubert, Cradle Song, arr. Nelson
C3 R. & R. Sherman, Chitty Chitty Bang Bang ( from Chitty Chitty Bang Bang), arr. Iles
C6 Edward Huws Jones, Sharks
C9 Trad. Chinese, Jasmine Flower (No. 4), arr. O’Leary
B10 Trad. Greensleeves, arr. Nelson
C4 Arlen & Harburg, We’re off to see the wizard (from The Wizard of Oz) arr. Davey, Hussey & Sebba
C5 Bartók, Play Song (No. 9 from 44 Duos)
A5 Holmstad, Lett på fot (Light-footed)
B8 Elton John & Tim Rice, Can You Feel The Love Tonight? (from The Lion King), arr. Galliford & Neuberg
C1 N. Brown & A. Freed, Singin’ in the Rain, arr. Iles
C5 L. Bernstein, I feel pretty (from West Side Story), arr. Wastall
B1 Bart, Where is Love? (from Oliver!), arr. Iles
C2 Farrés, Quizás, quizás, quizás, arr. Huws Jones
C3 Pam Wedgewood, Sometime Maybe (No. 8 from Jazzin’ About)
C1 Nikki Iles, Hay Barn Blues
C3 Trad. Chinese, Bamboo Stem and Jasmine Flower, arr. Stock
C10 Richard Wade, Barn Dance (from Way Out West)
B1 Cui, Orientale (No. 9 from Kaleidoscope, Op. 50)
B7 Nigel Hess, Theme (from Ladies in Lavender)
C2 Suzanne Lundeng, Kela, arr. Bendisken
A1 J. S. Bach Gigue (from Partita No. 3 in E, BWV 1006)
C3 Thea Musgrave, The Egrets have Landed
C7 Stephen Hough, The Mad Tea Party
C8 Hubay, Bolero (No. 3 from Cinq morceaux caractéristiques, Op. 51)
A4 J. S. Bach, Allemanda (1st movt from Partita No. 2 in D minor, BWV 1004)
B7 Florentine Mulsant, Chant (3rd movt from Suite pour violon, Op. 50)
C2 Trad. Japanese Sakura, arr. Kaneko Millar
C10 Joby Talbot, November: Eleven (from Once Around the Sun)
Initial Grade Grade 1 Grade 2 Grade 3Fiddle Time Joggers (OUP)
B4: Chinese Garden B5: The Mocking BirdC4: Rhythm Fever
A5: Patrick’s Reel B4: Rocking Horse
Suzuki Violin School, Vol. 1 (Alfred)A9: Go Tell Aunt Rhody A9: Andantino
Katherine & Hugh Colledge: Waggon Wheels for Violin
A4: Knickerbocker Glory B5: Full Moon
Abracadabra Violin (Third Edition) (Collins Music)
A7: Big BenA8: Secret Agents
B7: Edelweiss C4: We’re off to see the wizard
Vamoosh Violin, Book 1 (Vamoosh)
B6: Footprints in the Snow C5: Walk on Mars
C5: Fiery Fiddler
Piece by Piece 1 for Violin (Boosey & Hawkes)A10: Polka B9: Over the Moon
A8: Rigadoon A7: Minuet and Trio
Violin Recital Album, Vol. 1 (Barenreiter)A5: Little MarchC9: Pit a Pat Rain
The Seafaring Fiddler (Boosey & Hawkes)
Edward Huws Jones: 10 O’Clock Rock for Violin (Boosey & Hawkes)
B9: The Leaving of Liverpool C9: Jack Tar
B7: Gone for GoodC7: Ten O’Clock Rock
Violin Star 2 (ABRSM)A10: John Ryan’s Polka B10: A North Country Lass
Tunes You Know 1 for Violin Duet (Boosey & Hawkes)
B8: Cradle SongC10: Rocking
B10: Greensleeves
Going Solo for Violin or The Best of Grade 1 (Faber)B6: Waltz C6: Sharks
Top Hits from TV, Movies & Musicals for Violin (Alfred)C4: He’s a Pirate B8: Can you Feel the Love Tonight?
The Fiddler Playalong Violin Collection 2 (Boosey & Hawkes)A9: Red-Haired BoyB5: Glwysen
Vamoosh Violin, Book 2 (Vamoosh)B7: BarcarolleC7: Smooth Operator
C9: Vamoose
Bartók: 44 Duos for Two Violins, Vol. 1 (Universal)C5: Play Song C4: Pillow Dance
Compatible Duets for Strings, Vol. 2: Violin (Carl Fischer)B6: Theme A6: March
B5: Andante pastorale
Fiddle Time Sprinters (OUP)C6: Jacob’s Dance B4: Habanera
My First Concert for Violin (Schott)A6: Air B7: Lalai - A Lullaby to Awaken You?The Best of Grade 2 (Faber)A8: Gavotte B8: WaltzB9: Simple Gifts C10: Siberian Galop
Klezmer Fiddle Tunes (Schott)B6: Moishele Mayn FrayndThe Young Violinist’s Repertoire, Book 3 (Faber)A9: DuoC8: The JokerThe Young Symphonist, Vol. 2 (Spartan Press)A4: Gavotte
BOOKS USED MORE THAN ONCE
Grade 4 Grade 5 Grade 6 Grade 7 Grade 8Klezmer Fiddle Tunes (Schott)
C4: Avreml der Marvikher C9: Hava Nagila
The Young Violinist’s Repertoire, Book 3 (Faber)
C6: The Clowns
The Young Symphonist, Vol. 2 (Spartan Press)A8: Presto
Small Concert Pieces, Vol. 1 (Editio Musica Budapest)
A10: Menuett B7: Siciliano
Going Solo for Violin (Faber)
B10: Waltz
The Best of Grade 4 (Faber)
A9: RondeauC5: Rondino
First Violin, Book 3 (ABRSM)
A7: RondeauB4: Melody
Introduction to the Great Composers (Bärenreiter)A5: MenuettoA6: Allegramente
The Fiddler Playalong Violin Collection 2 (Boosey and Hawkes)
C8: La cumparista
Bach for Violin (OUP)A6: Bereite dich, Zion A4: Auch mit gedämpften,
schwachen Stimmen
Rieding: Concertino in G, Op. 24 (Bosworth)B8: Andante sostenuto C8: Allegro
Shostakovich: Albumstücke (Peters or Sikorski)B9: Elegie B9: Romanze in D
Gypsy Jazz: Intermediate Level (Faber)C6: Cossack Dance C9: Black Eyes
Sheila M. Nelson’s Romantic Violinist (Boosey & Hawkes)C7: Hungarian Dance B6: Cantabile
B7: Playera
The Best of Grade 5 (Faber)B4: Cradle SongC6: Cossack Dance
The Young Symphonist, Vol. 3 (Spartan Press)
A4: PrestoA5: Allegro
Italian Violin Music of the Baroque Period, Vol. 1 (Henle)
A7: Affettuoso and Allegro A7: Adagio and Allegro A8: Largo and Vivace
Bohemian Violin Sonatas, Vol. 1 (Henle)A8: Minuetto-Minore-Altro A8: Tempo giusto
Encore Violin, Book 3 (ABRSM)
B6: Sicilienne B4: Nocturne C4: Bolero C5: Youngsters’ Dance
Corelli: Violin Sonatas, Op. 5, Vol. 1 (Wiener Urtext or Schott)
A6: Allegro A7: Vivace, Adagio and Allegro
Initial Grade Grade 1 Grade 2 Grade 3Fiddle Time Joggers (OUP)
B4: Chinese GardenB5: The Mocking BirdC4: Rhythm Fever
A5: Patrick’s ReelB4: Rocking Horse
Suzuki Violin School, Vol. 1 (Alfred)A9: Go Tell Aunt Rhody A9: Andantino
Katherine & Hugh Colledge: Waggon Wheels for Violin
A4: Knickerbocker Glory B5: Full Moon
Abracadabra Violin (Third Edition) (Collins Music)
A7: Big BenA8: Secret Agents
B7: Edelweiss C4: We’re off to see the wizard
Vamoosh Violin, Book 1 (Vamoosh)
B6: Footprints in the snowC5: Walk on Mars
C5: Fiery Fiddler
Piece by Piece 1 for Violin (Boosey & Hawkes)A10: PolkaB9: Over the Moon
A8: Rigadoon A7: Minuet and Trio
Violin Recital Album, Vol. 1 (Barenreiter)A5: Little MarchC9: Pit a Pat Rain
The Seafaring Fiddler (Boosey & Hawkes)
Edward Huws Jones: 10 O’Clock Rock for Violin (Boosey & Hawkes)
B9: The Leaving of Liverpool C9: Jack Tar, arr. Huws Jones
B7: Gone for GoodC7: Ten O’Clock Rock
Violin Star 2 (ABRSM)A10: John Ryan’s PolkaB10: A North Country Lass
Tunes You Know 1 for Violin Duet (Boosey & Hawkes)
B8: Cradle SongC10: Rocking, arr. Nelson
B10: Greensleeves
Going Solo for Violin or The Best of Grade 1 (Faber)B6: Waltz C6: Sharks
Top Hits from TV, Movies & Musicals for Violin (Alfred)C4: He’s a Pirate B8: Can you Feel the Love Tonight?
The Fiddler Playalong Violin Collection 2 (Boosey & Hawkes)A9: Red-Haired BoyB5: Glwysen, arr. Huws Jones
Vamoosh Violin, Book 2 (Vamoosh)B7: BarcarolleC7: Smooth Operator
C9: Vamoose
Bartók: 44 Duos for Two Violins, Vol. 1 (Universal)C5: Play Song C4: Pillow Dance (No.14 from 44 Duos)
Compatible Duets for Strings, Vol. 2: Violin (Carl Fischer)B6: Theme A6: March
B5: Andante pastorale
Fiddle Time Sprinters (OUP)C6: Jacob’s Dance B4: Habanera
My First Concert for Violin (Schott)A6: Air B7: Lalai - A Lullaby to Awaken You?The Best of Grade 2 (Faber)A8: Gavotte B8: WaltzB9: Simple Gifts C10: Siberian Galop
Klezmer Fiddle Tunes (Schott)B6: Moishele Mayn FrayndThe Young Violinist’s Repertoire, Book 3 (Faber)A9: DuoC8: The JokerThe Young Symphonist, Vol. 2 (Spartan Press)A4: Gavotte
A8: Presto
The table below highlights pieces from the 2020–2023 Bowed Strings syllabus that have been set across multiple instruments. The shows the instrument lines that are compatible and can be played together using the same finger patterns. indicates there are some differences in the instrument line. indicates there are many differences in the instrument line. indicates the lines are an octave apart. The differences between the lines are usually melodic.
GRADE LIST COMPOSER, ARRANGER PIECE VIOLIN VIOLA CELLO DOUBLE BASSInitial A Cutter, arr. various Little March (different
key)Initial A Katherine & Hugh Colledge Knickerbocker Glory (different
key)Initial A Sheila Nelson Fish Cakes and Apple PieInitial A Stanley Fletcher Sweet Eyed SueInitial A Trad. American, arr. Huws Jones Old-TimerInitial A Trad. German, arr. various Lightly RowInitial A Trad., arr. various Big BenInitial A Trad., arr. various Secret AgentsInitial A Trad., arr. various Go Tell Aunt Rhody (different
key)Initial A Wohlfart, arr. Nelson Polka (different
key)Initial B Edward Huws Jones Gone for GoodInitial B Katherine & Hugh Colledge Waterfall (different
key)Initial B Sheila Nelson SwingalongInitial B Thomas Gregory Footprints in the SnowInitial B Thomas Gregory Silent FriendsInitial C Anita Hewitt-Jones & Caroline Lumsden Have a Cup of TeaInitial C Caroline Lumsden & Pam Wedgwood Jungle FootprintsInitial C Edward Huws Jones Ten O’Clock RockInitial C Kathy & David Blackwell Rhythm FeverInitial C Peter Martin Hop ScotchInitial C Peter Wilson Bow RockInitial C Thomas Gregory Walk on Mars!Initial C Trad. German, arr. various Pit a Pat Rain (different
key)Initial C Trad. Jamaican, arr. Bullard Hill and gully rider1 A Kathy & David Blackwell Patrick’s Reel (different key)1 A Purcell, arr. Nelson Rigadoon1 A Trad. Irish, arr. Huws Jones John Ryan’s Polka1 B Katherine & Hugh Colledge Full Moon (different
key)1 B Kathy & David Blackwell Rocking Horse1 C Thomas Gregory Fiery Fiddler1 C Trad. American, arr. K. & D. Blackwell Pick a Bale of Cotton (different
arrangement)1/2 A Carse Minuet (Grade 1) (Grade 2)1/2 B Rodgers & Hammerstein, arr. various Edelweiss (Grade 1) (Grade 1) (Grade 1) (Grade 2)2 A Trad. Irish, arr. Huws Jones Red-Haired Boy
2 B Trad. North American, arr. Waterfield & Beach
Simple Gifts
2 C Arlen & Harburg, arr. various We’re Off to See the Wizard2 C Thomas Gregory Smooth Operator2/3 B Edward Jones, arr. various Glwysen (Grade 2) (Grade 2) (Grade 3) (different
key)3 B G. Concone, arr. Gazda & Clarke Andante pastorale3 C Katherine & Hugh Colledge Stiffkey Blues (different
key)3 C Sheila Nelson Toad in the Hole3 C Thomas Gregory Vamoose
COMPATIBLE PIECES
Grades 1 –8 PiecesPitch Time Tone Shape Performance
Distinction27–30
Highly accurate notesand intonation
Fluent, with flexibilitywhere appropriateRhythmic character well conveyed
Well projectedSensitive use of tonalqualities
Expressive, idiomaticmusical shaping anddetail
AssuredFully committedVivid communication of character and style
Merit24–26
Largely accurate notesand intonation
Sustained, effectivetempoGood sense of rhythm
Mainly controlled andconsistentGood tonal awareness
Clear musical shaping,well-realised detail
PositiveCarrying musicalconvictionCharacter and stylecommunicated
Pass20–23
Generally correct notesSufficiently reliableintonation to maintaintonality
Suitable tempoGenerally stable pulseOverall rhythmicaccuracy
Generally reliableAdequate tonalawareness
Some realisation ofmusical shape and/ordetail
Generally secure, promptrecovery from slipsSome musicalinvolvement
Below Pass1 7–1 9
Frequent note errors Insufficiently reliableintonation to maintaintonality
Unsuitable and/oruncontrolled tempoIrregular pulseInaccurate rhythm
Uneven and/or unreliableInadequate tonalawareness
Musical shape and detailinsufficiently conveyed
Insecure, inadequaterecovery from slipsInsufficient musicalinvolvement
1 3–1 6 Largely inaccurate notesand/or intonation
Erratic tempo and/orpulse
Serious lack of tonalcontrol
Musical shape and detaillargely unrealised
Lacking continuityNo musical involvement
1 0–1 2 Highly inaccurate notesand/or intonation
Incoherent tempo and/orpulse
No tonal control No shape or detail Unable to continue for more than a shortsection
0 No work offered No work offered No work offered No work offered No work offered
Grades 1 –8 Scales and arpeggios Sight-reading*
Distinction1 9–21
Highly accurate notes/pitchFluent and rhythmicMusically shapedConfident response
Fluent, rhythmically accurateAccurate notes/pitch/keyMusical detail realisedConfident presentation
Merit1 7–1 8
Largely accurate notes/pitchMostly regular flowMainly even toneSecure response
Adequate tempo, usually steady pulseMainly correct rhythmLargely correct notes/pitch/keyLargely secure presentation
Pass1 4–1 6
Generally correct notes/pitch,despite errorsContinuity generally maintainedGenerally reliable toneCautious response
Continuity generally maintainedNote values mostly realisedPitch outlines in place, despite errorsCautious presentation
Below Pass1 1 –1 3
Frequent errors in notes and/or pitchLacking continuity and/or some itemsincompleteUnreliable toneUncertain response and/or someitems not attempted
Lacking overall continuityIncorrect note valuesVery approximate notes/pitch/keyInsecure presentation
7–1 0 Very approximate notes and/or pitchSporadic and/or frequently incompleteSerious lack of tonal controlVery uncertain response and/orseveral items not attempted
No continuity or incompleteNote values unrealisedPitch outlines absentVery uncertain presentation
0 No work offered No work offered
Grades 1 –8 Aural tests
Distinction1 7–1 8
Accurate throughoutMusically perceptiveConfident response
Merit1 5–1 6
Strengths significantly outweighweaknessesMusically awareSecure response
Pass1 2–1 4
Strengths just outweighweaknessesCautious response
Below Pass9–1 1
Weaknesses outweigh strengthsUncertain response
6–8 Inaccuracy throughoutVague response
0 No work offered
* Includes Transposition for Horn, Trumpet and Organ (Grades 6–8) and Figured bass realization forHarpsichord (Grades 4–8).
In these cases, of the total 21 marks, 1 2 are allocated to Sight-reading and 9 to Transposition (orF igured bass realization), and one combined mark is recorded.
MARKING CRITERIA (all instruments)
Pitch Time Tone Shape Performance
Marking criteria (all instruments)Grades 1 –8 Pieces
Pitch Time Tone Shape Performance
Distinction27–30
Highly accurate notesand intonation
Fluent, with flexibilitywhere appropriateRhythmic characterwell conveyed
Well projectedSensitive use of tonalqualities
Expressive, idiomaticmusical shaping anddetail
AssuredFully committedVivid communicationof character and style
Merit24–26
Largely accurate notesand intonation
Sustained, effectivetempoGood sense of rhythm
Mainly controlled andconsistentGood tonal awareness
Clear musical shaping,well-realised detail
PositiveCarrying musicalconvictionCharacter and stylecommunicated
Pass20–23
Generally correct notesSufficiently reliableintonation to maintaintonality
Suitable tempoGenerally stable pulseOverall rhythmicaccuracy
Generally reliableAdequate tonalawareness
Some realisation ofmusical shape and/ordetail
Generally secure, promptrecovery from slipsSome musicalinvolvement
Below Pass1 7–1 9
Frequent note errorsInsufficiently reliableintonation to maintaintonality
Unsuitable and/oruncontrolled tempoIrregular pulseInaccurate rhythm
Uneven and/orunreliableInadequate tonalawareness
Musical shape and detailinsufficiently conveyed
Insecure, inadequaterecovery from slipsInsufficient musicalinvolvement
1 3–1 6 Largely inaccurate notesand/or intonation
Erratic tempo and/orpulse
Serious lack of tonalcontrol
Musical shape and detaillargely unrealised
Lacking continuityNo musical involvement
1 0–1 2 Highly inaccurate notesand/or intonation
Incoherent tempo and/orpulse
No tonal control No shape or detail Unable to continuefor more than a shortsection
0 No work offered No work offered No work offered No work offered No work offered
Grades 1 –8 Scales and arpeggios Sight-reading*
Distinction1 9–21
Highly accurate notes/pitchFluent and rhythmicMusically shapedConfident response
Fluent, rhythmically accurateAccurate notes/pitch/keyMusical detail realisedConfident presentation
Merit1 7–1 8
Largely accurate notes/pitchMostly regular flowMainly even toneSecure response
Adequate tempo, usually steady pulseMainly correct rhythmLargely correct notes/pitch/keyLargely secure presentation
Pass1 4–1 6
Generally correct notes/pitch,despite errorsContinuity generally maintainedGenerally reliable toneCautious response
Continuity generally maintainedNote values mostly realisedPitch outlines in place, despite errorsCautious presentation
Below Pass1 1 –1 3
Frequent errors in notes and/or pitchLacking continuity and/or some itemsincompleteUnreliable toneUncertain response and/or someitems not attempted
Lacking overall continuityIncorrect note valuesVery approximate notes/pitch/keyInsecure presentation
7–1 0 Very approximate notes and/or pitchSporadic and/or frequently incompleteSerious lack of tonal controlVery uncertain response and/orseveral items not attempted
No continuity or incompleteNote values unrealisedPitch outlines absentVery uncertain presentation
0 No work offered No work offered
Grades 1 –8 Aural tests
Distinction1 7–1 8
Accurate throughoutMusically perceptiveConfident response
Merit1 5–1 6
Strengths significantly outweighweaknessesMusically awareSecure response
Pass1 2–1 4
Strengths just outweighweaknessesCautious response
Below Pass9–1 1
Weaknesses outweigh strengthsUncertain response
6–8 Inaccuracy throughoutVague response
0 No work offered
* Includes Transposition for Horn, Trumpet and Organ (Grades 6–8) and Figured bass realization forHarpsichord (Grades 4–8).
In these cases, of the total 21 marks, 1 2 are allocated to Sight-reading and 9 to Transposition (orF igured bass realization), and one combined mark is recorded.
MARKING CRITERIA (all instruments)
© 201 3 by The Associated B oard of the Royal Schools of Music
Pitch Time Tone Shape Performance
Marking criteria for Jane (Witney).pdf 1 20/05/2019 16:57
Grades 1 –8 PiecesPitch Time Tone Shape Performance
Distinction27–30
Highly accurate notesand intonation
Fluent, with flexibilitywhere appropriateRhythmic characterwell conveyed
Well projectedSensitive use of tonalqualities
Expressive, idiomaticmusical shaping anddetail
AssuredFully committedVivid communicationof character and style
Merit24–26
Largely accurate notesand intonation
Sustained, effectivetempoGood sense of rhythm
Mainly controlled andconsistentGood tonal awareness
Clear musical shaping,well-realised detail
PositiveCarrying musicalconvictionCharacter and stylecommunicated
Pass20–23
Generally correct notesSufficiently reliableintonation to maintaintonality
Suitable tempoGenerally stable pulseOverall rhythmicaccuracy
Generally reliableAdequate tonalawareness
Some realisation ofmusical shape and/ordetail
Generally secure, promptrecovery from slipsSome musicalinvolvement
Below Pass1 7–1 9
Frequent note errorsInsufficiently reliableintonation to maintaintonality
Unsuitable and/oruncontrolled tempoIrregular pulseInaccurate rhythm
Uneven and/orunreliableInadequate tonalawareness
Musical shape and detailinsufficiently conveyed
Insecure, inadequaterecovery from slipsInsufficient musicalinvolvement
1 3–1 6 Largely inaccurate notesand/or intonation
Erratic tempo and/orpulse
Serious lack of tonalcontrol
Musical shape and detaillargely unrealised
Lacking continuityNo musical involvement
1 0–1 2 Highly inaccurate notesand/or intonation
Incoherent tempo and/orpulse
No tonal control No shape or detail Unable to continuefor more than a shortsection
0 No work offered No work offered No work offered No work offered No work offered
Grades 1 –8 Scales and arpeggios Sight-reading*
Distinction1 9–21
Highly accurate notes/pitchFluent and rhythmicMusically shapedConfident response
Fluent, rhythmically accurateAccurate notes/pitch/keyMusical detail realisedConfident presentation
Merit1 7–1 8
Largely accurate notes/pitchMostly regular flowMainly even toneSecure response
Adequate tempo, usually steady pulseMainly correct rhythmLargely correct notes/pitch/keyLargely secure presentation
Pass1 4–1 6
Generally correct notes/pitch,despite errorsContinuity generally maintainedGenerally reliable toneCautious response
Continuity generally maintainedNote values mostly realisedPitch outlines in place, despite errorsCautious presentation
Below Pass1 1 –1 3
Frequent errors in notes and/or pitchLacking continuity and/or some itemsincompleteUnreliable toneUncertain response and/or someitems not attempted
Lacking overall continuityIncorrect note valuesVery approximate notes/pitch/keyInsecure presentation
7–1 0 Very approximate notes and/or pitchSporadic and/or frequently incompleteSerious lack of tonal controlVery uncertain response and/orseveral items not attempted
No continuity or incompleteNote values unrealisedPitch outlines absentVery uncertain presentation
0 No work offered No work offered
Grades 1 –8 Aural tests
Distinction1 7–1 8
Accurate throughoutMusically perceptiveConfident response
Merit1 5–1 6
Strengths significantly outweighweaknessesMusically awareSecure response
Pass1 2–1 4
Strengths just outweighweaknessesCautious response
Below Pass9–1 1
Weaknesses outweigh strengthsUncertain response
6–8 Inaccuracy throughoutVague response
0 No work offered
* Includes Transposition for Horn, Trumpet and Organ (Grades 6–8) and Figured bass realization forHarpsichord (Grades 4–8).
In these cases, of the total 21 marks, 1 2 are allocated to Sight-reading and 9 to Transposition (orF igured bass realization), and one combined mark is recorded.
MARKING CRITERIA (all instruments)
Pitch Time Tone Shape Performance
Marking criteria (all instruments)Grades 1 –8 Pieces
Pitch Time Tone Shape Performance
Distinction27–30
Highly accurate notesand intonation
Fluent, with flexibilitywhere appropriateRhythmic characterwell conveyed
Well projectedSensitive use of tonalqualities
Expressive, idiomaticmusical shaping anddetail
AssuredFully committedVivid communicationof character and style
Merit24–26
Largely accurate notesand intonation
Sustained, effectivetempoGood sense of rhythm
Mainly controlled andconsistentGood tonal awareness
Clear musical shaping,well-realised detail
PositiveCarrying musicalconvictionCharacter and stylecommunicated
Pass20–23
Generally correct notesSufficiently reliableintonation to maintaintonality
Suitable tempoGenerally stable pulseOverall rhythmicaccuracy
Generally reliableAdequate tonalawareness
Some realisation ofmusical shape and/ordetail
Generally secure, promptrecovery from slipsSome musicalinvolvement
Below Pass1 7–1 9
Frequent note errorsInsufficiently reliableintonation to maintaintonality
Unsuitable and/oruncontrolled tempoIrregular pulseInaccurate rhythm
Uneven and/orunreliableInadequate tonalawareness
Musical shape and detailinsufficiently conveyed
Insecure, inadequaterecovery from slipsInsufficient musicalinvolvement
1 3–1 6 Largely inaccurate notesand/or intonation
Erratic tempo and/orpulse
Serious lack of tonalcontrol
Musical shape and detaillargely unrealised
Lacking continuityNo musical involvement
1 0–1 2 Highly inaccurate notesand/or intonation
Incoherent tempo and/orpulse
No tonal control No shape or detail Unable to continuefor more than a shortsection
0 No work offered No work offered No work offered No work offered No work offered
Grades 1 –8 Scales and arpeggios Sight-reading*
Distinction1 9–21
Highly accurate notes/pitchFluent and rhythmicMusically shapedConfident response
Fluent, rhythmically accurateAccurate notes/pitch/keyMusical detail realisedConfident presentation
Merit1 7–1 8
Largely accurate notes/pitchMostly regular flowMainly even toneSecure response
Adequate tempo, usually steady pulseMainly correct rhythmLargely correct notes/pitch/keyLargely secure presentation
Pass1 4–1 6
Generally correct notes/pitch,despite errorsContinuity generally maintainedGenerally reliable toneCautious response
Continuity generally maintainedNote values mostly realisedPitch outlines in place, despite errorsCautious presentation
Below Pass1 1 –1 3
Frequent errors in notes and/or pitchLacking continuity and/or some itemsincompleteUnreliable toneUncertain response and/or someitems not attempted
Lacking overall continuityIncorrect note valuesVery approximate notes/pitch/keyInsecure presentation
7–1 0 Very approximate notes and/or pitchSporadic and/or frequently incompleteSerious lack of tonal controlVery uncertain response and/orseveral items not attempted
No continuity or incompleteNote values unrealisedPitch outlines absentVery uncertain presentation
0 No work offered No work offered
Grades 1 –8 Aural tests
Distinction1 7–1 8
Accurate throughoutMusically perceptiveConfident response
Merit1 5–1 6
Strengths significantly outweighweaknessesMusically awareSecure response
Pass1 2–1 4
Strengths just outweighweaknessesCautious response
Below Pass9–1 1
Weaknesses outweigh strengthsUncertain response
6–8 Inaccuracy throughoutVague response
0 No work offered
* Includes Transposition for Horn, Trumpet and Organ (Grades 6–8) and Figured bass realization forHarpsichord (Grades 4–8).
In these cases, of the total 21 marks, 1 2 are allocated to Sight-reading and 9 to Transposition (orF igured bass realization), and one combined mark is recorded.
MARKING CRITERIA (all instruments)
© 201 3 by The Associated B oard of the Royal Schools of Music
Pitch Time Tone Shape Performance
Marking criteria for Jane (Witney).pdf 1 20/05/2019 16:57
MARKING CRITERIA (ALL INSTRUMENTS)
PITCH TIME TONE SHAPE PERFORMANCE
Violin Practice PartnerA fun way to get to know your exam pieces
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