(G) HarpSyl 11-14(72-83) 9/6/10 15:28 Page 72 · PDF filePERCUSSION(Subject Code: 44): Syllabus requirements ... (Subject Code: 44): Syllabus requirements ... Graded Music for Snare

PERCUSSION (Subject Code: 44): Syllabus requirements

Syllabus validityThis syllabus is valid from 1990 until further notice.

Venues Percussion exams are held at Visits, i.e. premises provided by the Applicant and visited by the examiner. They may be held independently of other exams or as part of a larger Visit that includes other subjects/grades. For full details about Visits, see Reg. 7 in theExamination Information & Regulations, in particular the requirements to: • arrange for a steward to be present • provide a suitable piano for the Aural tests• provide transport for the examiner, if requested (without cost to ABRSM)

InstrumentsCandidates are required to perform on one tuned percussion instrument and, at their choice,either timpani or snare drum.Tuned percussionCandidates may play the requirements on:• xylophone• marimba• vibraphone (with motor off )• glockenspiel (Grades 1 and 2 only; the instrument’s range must be sufficient to cover the

range of the scale requirements and the chosen piece)TimpaniHand- or pedal-tuned drums may be used. The different roll notations should be played according to the guidelines contained in the exambooks published by ABRSM. Candidates may, if they wish, omit damping crotchet and qua-ver rests in Grades 1–3, although they should damp the longer rests and at the end of a pieceor study. From Grade 4, rests should be damped whenever feasible. In order to accommodatehand-tuned drums, tuning changes in the studies and pieces have been arranged to occur atpauses so they can be negotiated as smoothly as possible.Snare drumCandidates may use either traditional or matched grip. The different roll notations should beplayed according to the guidelines contained in the exam books published by ABRSM.

Teachers/candidates must ensure that the instruments are set up in advance of the exam so itcan begin at the scheduled time. Candidates are expected to use the correct sticks and malletsfor the instruments they have chosen to play.

Scales and arpeggios (Tuned percussion)Examiners will usually ask for at least one type of scale/arpeggio required at each grade.All scales and arpeggios should: • be played from memory • ascend and descend according to the specified range (and pattern) 72

(G) HarpSyl 11-14(72-83) 9/6/10 15:28 Page 72

PERCUSSION (Subject Code: 44): Syllabus requirements

Syllabus validityThis syllabus is valid from 1990 until further notice.

Venues Percussion exams are held at Visits, i.e. premises provided by the Applicant and visited by the examiner. They may be held independently of other exams or as part of a larger Visit that includes other subjects/grades. For full details about Visits, see Reg. 7 in theExamination Information & Regulations, in particular the requirements to: • arrange for a steward to be present • provide a suitable piano for the Aural tests• provide transport for the examiner, if requested (without cost to ABRSM)

InstrumentsCandidates are required to perform on one tuned percussion instrument and, at their choice,either timpani or snare drum.Tuned percussionCandidates may play the requirements on:• xylophone• marimba• vibraphone (with motor off )• glockenspiel (Grades 1 and 2 only; the instrument’s range must be sufficient to cover the

range of the scale requirements and the chosen piece)TimpaniHand- or pedal-tuned drums may be used. The different roll notations should be played according to the guidelines contained in the exambooks published by ABRSM. Candidates may, if they wish, omit damping crotchet and qua-ver rests in Grades 1–3, although they should damp the longer rests and at the end of a pieceor study. From Grade 4, rests should be damped whenever feasible. In order to accommodatehand-tuned drums, tuning changes in the studies and pieces have been arranged to occur atpauses so they can be negotiated as smoothly as possible.Snare drumCandidates may use either traditional or matched grip. The different roll notations should beplayed according to the guidelines contained in the exam books published by ABRSM.

Teachers/candidates must ensure that the instruments are set up in advance of the exam so itcan begin at the scheduled time. Candidates are expected to use the correct sticks and malletsfor the instruments they have chosen to play.

Scales and arpeggios (Tuned percussion)Examiners will usually ask for at least one type of scale/arpeggio required at each grade.All scales and arpeggios should: • be played from memory • ascend and descend according to the specified range (and pattern) 72

(G) HarpSyl 11-14(72-83) 9/6/10 15:28 Page 72

• be played without undue accentuation and at a pace that is consistent with accuracy anddistinctness

• be played with the repeat indications (as printed in the syllabus) duly noted and observed

Accompanied pieces (Tuned percussion)In all grades, a selection of the tuned percussion exam pieces published by ABRSM are pro-vided with optional piano accompaniments. If choosing to play these pieces accompanied,candidates must provide their own accompanist, who may remain in the exam room only whileengaged in accompanying. The candidate’s teacher may act as accompanist; under no circum-stances will the examiner do so. For any of the tuned percussion pieces, candidates are free touse a piano accompaniment contained in any other published edition, provided it matches themain features and extent of the solo part.

Tuning (Timpani)Tuning in Grades 1 and 2 may be done by the teacher (the examiner will not do so). In all othergrades candidates must tune the timpani themselves. Candidates should also provide their owntuning forks or other pitch sources, and these may be used only before the beginning of eachstudy or piece.

Sight-reading The examiner will direct candidates to play a test either for tuned percussion or for the otherinstrument being used in the exam.Candidates will be given a short interval of up to half a minute in which to look through and, ifthey wish, try out any part of the sight-reading test before they are required to perform it forassessment. Specimen sight-reading tests are included in the exam books published by ABRSM.

Aural testsThe standard aural tests as set for all other Practical subjects will be given, but candidates maychoose to play (instead of clap) the pulse-clapping test (Grades 1–3) if they prefer.

Performance and assessmentWhen marking, examiners will be assessing not only the accuracy of notes and rhythm, butalso other elements inherent in a good performance, including quality of touch, variety andgradation of tone, suitable choice of tempo, and expression, phrasing and accent. Furtherdetails of assessment criteria are given in These Music Exams, available free of charge frommusic retailers and from www.abrsm.org/exams.

Marking schemeSchedule of maximum marks for all grades:

Tuned percussionScales and arpeggios 21Piece 1 30

Timpani or Snare drumStudy 30Piece 2 30

Sight-reading 21Aural tests 18Total 150

73

Percussion syllabus requirements

(G) HarpSyl 11-14(72-83) 9/6/10 15:28 Page 73

Percussion GRADE 1All candidates are required to perform on one tuned percussion instrument and, at their choice, either timpani or snare drum.

TUNED PERCUSSIONSCALES AND ARPEGGIOS: from memory, in the following keys:

C, G, F majors; A, E, D minors (one octave)Scales: in the above keys (minors in melodic or harmonic form at candidate’s choice):i(i) with a crotchet beat on the tonic, as example below:

(ii) even notes, as example below:

Arpeggios: the common chords of the above keys:i(i) even notes, as example below:

(ii) even notes with repeated tonic, as example below:

ONE PIECE (or set combination): chosen by the candidate from the following list:1 Anon. American Shaker melody ‘Simple Gifts’2 Anon. John Brown’s Body

andAnon. Deck the hall with boughs of holly

3 Anon. Men of Harlech*and

S. C. Foster Oh! Susanna*4 Anon. Waltzing Matilda

andHook The Lass of Richmond Hill

5 Haydn Scherzo: from Sonata in F, Hob. XVI/9*

TIMPANISTUDY: No. 1 as published for the grade. Graded Music for Timpani, Book 1 (ABRSM)

ONE PIECE: chosen by the candidate from the following list:1 March Past2 Fanfare3 Allegretto4 Prelude

Graded Music for Timpani, Book 1 (ABRSM)⎫⎩⎧⎭

Graded Music for Tuned Percussion, Book 1 (ABRSM)

⎫⎪⎪⎪⎪⎩⎧⎪⎪⎪⎪⎪⎭

74

* Published with optional piano accompaniment † Specimen Sight-Reading Tests included in the Graded Music books

§ Specimen Aural Tests published by ABRSM

(G) HarpSyl 11-14(72-83) 9/6/10 15:28 Page 74



C, G, F majors; A, E, D minors (one octave)Scales: in the above keys (minors in melodic or harmonic form at candidate’s choice):i(i) with a crotchet beat on the tonic, as example below:

(ii) even notes, as example below:

Arpeggios: the common chords of the above keys:i(i) even notes, as example below:

(ii) even notes with repeated tonic, as example below:

ONE PIECE (or set combination): chosen by the candidate from the following list:1 Anon. American Shaker melody ‘Simple Gifts’2 Anon. John Brown’s Body

andAnon. Deck the hall with boughs of holly

3 Anon. Men of Harlech*and

S. C. Foster Oh! Susanna*4 Anon. Waltzing Matilda

andHook The Lass of Richmond Hill

5 Haydn Scherzo: from Sonata in F, Hob. XVI/9*


ONE PIECE: chosen by the candidate from the following list:1 March Past2 Fanfare3 Allegretto4 Prelude



⎫⎪⎪⎪⎪⎩⎧⎪⎪⎪⎪⎪⎭

74



(G) HarpSyl 11-14(72-83) 9/6/10 15:28 Page 74

Percussion: GRADE 1

SNARE DRUMSTUDY: No. 1 as published for the grade. Graded Music for Snare Drum, Book 1 (ABRSM)

ONE PIECE: chosen by the candidate from the following list:1 Marking Time2 On Parade3 Stick together4 Two Step5 Tempo Timekeeper6 Step lightly

SIGHT-READING†: a short piece in simple time, either for tuned percussion or the other instrument offered bythe candidate, as directed by the examiner. The test for tuned percussion will be within the keys, notes andoverall range of the scale requirements set for the grade. Some accidentals, dotted and tied notes may beincluded. See also p. 73.

AURAL TESTS FOR THE GRADE§: see pp. 98 and 99

Graded Music for Snare Drum, Book 1 (ABRSM)

⎫⎪⎩⎧⎪⎭

75

(G) HarpSyl 11-14(72-83) 9/6/10 15:28 Page 75



D, Bb majors; B, G minors (one octave)Scales: in the above keys (minors in melodic or harmonic form at candidate’s choice):i(i) with a crotchet beat on the tonic, as example in Grade 1(ii) even notes, as example in Grade 1Arpeggios: the common chords of the above keys:i(i) even notes, as example in Grade 1(ii) even notes with repeated tonic, as example in Grade 1

ONE PIECE (or set combination): chosen by the candidate from the following list:1 Anon. The Ash Grove

andH. C. Work Marching through Georgia

2 J. S. Bach Menuet in G, BWV Anh.116*3 Bizet ‘Je vais danser en votre honneur’: from Carmen

andSullivan ‘Poor wand’ring one’: from The Pirates of Penzance

4 Handel Bourrée: from Music for the Royal Fireworks5 Léhar Gold and Silver Waltz, Op. 75*

andJohann Strauss Beliebte Annen-Polka, Op. 137*


ONE PIECE: chosen by the candidate from the following list:1 Step Three2 Alla Marcia3 Contrasts4 Rondino


ONE PIECE: chosen by the candidate from the following list:1 Beat it out2 Mind the Accent3 Three Step4 Ben marcato5 Flam and Drag

SIGHT-READING†: a short piece in simple time, either for tuned percussion or the other instrument offered bythe candidate, as directed by the examiner. The test for tuned percussion will be within the keys, notes andoverall range of the scale requirements set up to and including this grade. Some accidentals, dotted and tiednotes may be included. See also p. 73.



⎫⎪⎩⎧⎪⎭


Graded Music for Tuned Percussion, Book 1(ABRSM)

⎫⎪⎪⎪⎪⎪⎩⎧⎪⎪⎪⎪⎪⎭

76



(G) HarpSyl 11-14(72-83) 9/6/10 15:28 Page 76



D, Bb majors; B, G minors (one octave)Scales: in the above keys (minors in melodic or harmonic form at candidate’s choice):i(i) with a crotchet beat on the tonic, as example in Grade 1(ii) even notes, as example in Grade 1Arpeggios: the common chords of the above keys:i(i) even notes, as example in Grade 1(ii) even notes with repeated tonic, as example in Grade 1

ONE PIECE (or set combination): chosen by the candidate from the following list:1 Anon. The Ash Grove

andH. C. Work Marching through Georgia

2 J. S. Bach Menuet in G, BWV Anh.116*3 Bizet ‘Je vais danser en votre honneur’: from Carmen

andSullivan ‘Poor wand’ring one’: from The Pirates of Penzance

4 Handel Bourrée: from Music for the Royal Fireworks5 Léhar Gold and Silver Waltz, Op. 75*

andJohann Strauss Beliebte Annen-Polka, Op. 137*


ONE PIECE: chosen by the candidate from the following list:1 Step Three2 Alla Marcia3 Contrasts4 Rondino


ONE PIECE: chosen by the candidate from the following list:1 Beat it out2 Mind the Accent3 Three Step4 Ben marcato5 Flam and Drag

SIGHT-READING†: a short piece in simple time, either for tuned percussion or the other instrument offered bythe candidate, as directed by the examiner. The test for tuned percussion will be within the keys, notes andoverall range of the scale requirements set up to and including this grade. Some accidentals, dotted and tiednotes may be included. See also p. 73.



⎫⎪⎩⎧⎪⎭



⎫⎪⎪⎪⎪⎪⎩⎧⎪⎪⎪⎪⎪⎭

76



(G) HarpSyl 11-14(72-83) 9/6/10 15:28 Page 76



A, Eb majors; F#, C minors (one octave)Scales: in the above keys (minors in melodic or harmonic form at candidate’s choice):i(i) with a crotchet beat on the tonic, as example in Grade 1(ii) even notes, as example in Grade 1Arpeggios: the common chords of the above keys:i(i) even notes, as example in Grade 1(ii) even notes with repeated tonic, as example in Grade 1

ONE PIECE (or set combination): chosen by the candidate from the following list:1 Anon. Greensleeves

andAnon. The White Cockade

2 Anon. ‘Put up your dagger, Jamie’*and

Anon. Londonderry Air*3 J. S. Bach Menuet in D minor, BWV Anh.1324 Beethoven Minuet in G, WoO 10 No. 2*5 Delibes Waltz: from Coppelia6 J. L. Dussek Minuetto: from Sonatina in G, Op. 19 No. 17 Kevin Hathway 3 Short Pieces8 Hummel Gigue in D


ONE PIECE: chosen by the candidate from the following list:1 Maestoso and Allegro2 Mazurka3 Rondo vivace4 Galop


ONE PIECE: chosen by the candidate from the following list:1 Rhythmic Accents2 Slow Waltz3 Marche grandioso4 Five Stroke5 Flam Waltz6 Three Wheeler

SIGHT-READING†: a short piece in simple time, either for tuned percussion or the other instrument offered bythe candidate, as directed by the examiner. The test for tuned percussion will be within the keys, notes andoverall range of the scale requirements set up to and including this grade. See also p. 73.



⎫⎪⎪⎩⎧⎪⎪⎭



⎫⎪⎪⎪⎪⎪⎩⎧⎪⎪⎪⎪⎪⎭

77

(G) HarpSyl 11-14(72-83) 9/6/10 15:28 Page 77



E, Ab majors; C#, F minors (one octave)Scales: in the above keys (minors in melodic or harmonic form at candidate’s choice):i(i) with a crotchet beat on the tonic, as example in Grade 1(ii) even notes, as example in Grade 1Arpeggios: the common chords of the above keys:i(i) even notes, as example in Grade 1(ii) even notes with repeated tonic, as example in Grade 1

ONE PIECE: chosen by the candidate from the following list:1 Camidge Scherzando: from Sonata No. 1 in G2 Clementi Allegro: from Sonatina in C, Op. 36 No. 13 Gossec Gavotte4 Kevin Hathway Prelude5 Mozart Minuetto and Trio: from Eine kleine Nachtmusik, K. 525*6 Johann and Josef Strauss Pizzicato Polka*7 Tchaikovsky Dance of the Reeds: from The Nutcracker, Op. 71


ONE PIECE: chosen by the candidate from the following list:1 6/8 Variations2 Alleluia3 Waltz4 Prelude and Scherzo


ONE PIECE: chosen by the candidate from the following list:1 Mazurka2 Vienna Woods3 Amazing Grace Notes4 Rock steady5 Interrupted Waltz6 Con spirito7 Constant Quaver

SIGHT-READING†: a short piece in simple or compound time, either for tuned percussion or the other instru-ment offered by the candidate, as directed by the examiner. The test for tuned percussion will be within thekeys, notes and overall range of the scale requirements set up to and including this grade. See also p. 73.



⎫⎪⎪⎩⎧⎪⎪⎭



⎫⎪⎪⎩⎧⎪⎪⎭

78



(G) HarpSyl 11-14(72-83) 9/6/10 15:28 Page 78



E, Ab majors; C#, F minors (one octave)Scales: in the above keys (minors in melodic or harmonic form at candidate’s choice):i(i) with a crotchet beat on the tonic, as example in Grade 1(ii) even notes, as example in Grade 1Arpeggios: the common chords of the above keys:i(i) even notes, as example in Grade 1(ii) even notes with repeated tonic, as example in Grade 1

ONE PIECE: chosen by the candidate from the following list:1 Camidge Scherzando: from Sonata No. 1 in G2 Clementi Allegro: from Sonatina in C, Op. 36 No. 13 Gossec Gavotte4 Kevin Hathway Prelude5 Mozart Minuetto and Trio: from Eine kleine Nachtmusik, K. 525*6 Johann and Josef Strauss Pizzicato Polka*7 Tchaikovsky Dance of the Reeds: from The Nutcracker, Op. 71


ONE PIECE: chosen by the candidate from the following list:1 6/8 Variations2 Alleluia3 Waltz4 Prelude and Scherzo


ONE PIECE: chosen by the candidate from the following list:1 Mazurka2 Vienna Woods3 Amazing Grace Notes4 Rock steady5 Interrupted Waltz6 Con spirito7 Constant Quaver

SIGHT-READING†: a short piece in simple or compound time, either for tuned percussion or the other instru-ment offered by the candidate, as directed by the examiner. The test for tuned percussion will be within thekeys, notes and overall range of the scale requirements set up to and including this grade. See also p. 73.



⎫⎪⎪⎩⎧⎪⎪⎭



⎫⎪⎪⎩⎧⎪⎪⎭

78



(G) HarpSyl 11-14(72-83) 9/6/10 15:28 Page 78



B, Db majors; G#, Bb minors (one octave)G, F major scales only (two octaves)

Scales: in the above keys (minors in melodic or harmonic form at candidate’s choice):i(i) with a crotchet beat on the tonic, as example in Grade 1, but two-octave scales without repeat(ii) one-octave scales in even notes, as example in Grade 1; two-octave scales in even notes, as example

below:

Chromatic scale: starting on C, as example below (one octave):

Arpeggios: the common chords of the one-octave keys as set above:i(i) even notes, as example in Grade 1(ii) even notes with repeated tonic, as example in Grade 1Dominant sevenths: in the keys of C, G and F, as example below (one octave):

Diminished sevenths: starting on C, Eb, F# and A, even notes, as example below (one octave):

ONE PIECE: chosen by the candidate from the following list:1 Anon. 2 Scottish Dances: The De’il among the Tailors and Meg Merrilees2 J. S. Bach Invention No. 4 in D minor, BWV 7753 Clementi Allegretto: from Sonatina in G, Op. 36 No. 2*4 Dvořák Humoresque, Op. 101 No. 7*5 Gossec Tambourin: from Le Camp de Grand-Pré6 Schubert Moment Musical (Air Russe), Op. 94 No. 3, D. 780/37 Steibelt Rondo in G


ONE PIECE: chosen by the candidate from the following list:1 Sea Storm2 Beethoven Plus3 Marche Funèbre4 Fives and Threes

(continued overleaf )


Graded Music for Tuned Percussion,Book 3 (ABRSM)

⎫⎪⎪⎩⎧⎪⎪⎭

79

(G) HarpSyl 11-14(72-83) 9/6/10 15:28 Page 79

Percussion: GRADE 5


ONE PIECE: chosen by the candidate from the following list:1 Sophisticated Syncopation2 Radetsky3 Tarantella4 Alborada5 Allegro energico

SIGHT-READING†: a short piece in simple or compound time, either for tuned percussion or the other instru-ment offered by the candidate, as directed by the examiner. The test for tuned percussion will be in any oneof the keys of the scale requirements set up to and including this grade. See also p. 73.



⎫⎪⎩⎧⎪⎭

80



(G) HarpSyl 11-14(72-83) 9/6/10 15:28 Page 80

Percussion: GRADE 5


ONE PIECE: chosen by the candidate from the following list:1 Sophisticated Syncopation2 Radetsky3 Tarantella4 Alborada5 Allegro energico

SIGHT-READING†: a short piece in simple or compound time, either for tuned percussion or the other instru-ment offered by the candidate, as directed by the examiner. The test for tuned percussion will be in any oneof the keys of the scale requirements set up to and including this grade. See also p. 73.



⎫⎪⎩⎧⎪⎭

80



(G) HarpSyl 11-14(72-83) 9/6/10 15:28 Page 80


PREREQUISITE FOR ENTRY: Grade 5 (or above) in Theory of Music, Practical Musicianship or any solo Jazzsubject.


F#, C# majors; Eb minor (one octave)D, Bb major scales only; B, G minor scales only (two octaves)

Scales: in the above keys (minors in melodic or harmonic form at candidate’s choice):i(i) with a crotchet beat on the tonic, as example in Grade 1, but two-octave scales without repeat(ii) one-octave scales in even notes, as example in Grade 1; two-octave scales in even notes, as example in

Grade 5Chromatic scales: starting on any natural, as example in Grade 5 (one octave)Arpeggios: the common chords of the one-octave keys as set above:i(i) even notes, as example in Grade 1(ii) even notes with repeated tonic, as example in Grade 1Dominant sevenths: in the keys of D, A, Bb and Eb, as example in Grade 5 (one octave)Diminished sevenths: starting on Db, E, G and Bb, as example in Grade 5 (one octave)

ONE PIECE: chosen by the candidate from the following list:1 J. S. Bach Invention No. 10 in G, BWV 7812 Handel Allegro: from Sonata in F, Op. 1 No. 12*3 Joplin Maple Leaf Rag*4 Mendelssohn Song without Words, Op. 102 No. 35 Johann Strauss Radetsky March, Op. 2286 Telemann Vivace: from Fantasia No. 5 in F (1st Dozen)


ONE PIECE: chosen by the candidate from the following list:1 Unsquare Dance2 Square Dance3 Diversions4 Scherzoid


ONE PIECE: chosen by the candidate from the following list:1 Malvern March2 Con anima3 Fanfare and Dance4 Waltz Variations5 Midsummer Dream6 Con forza

SIGHT-READING†: a piece either for tuned percussion or the other instrument offered by the candidate, asdirected by the examiner. See also p. 73.



⎫⎪⎪⎩⎧⎪⎪⎭



⎫⎪⎪⎩⎧⎪⎪⎭

81

(G) HarpSyl 11-14(72-83) 9/6/10 15:28 Page 81



TUNED PERCUSSIONSCALES AND ARPEGGIOS: from memory:Scales: in all keys, major and minor (minors in melodic or harmonic form at candidate’s choice) (twooctaves):i(i) with a crotchet beat on the tonic, as example in Grade 1, but without repeat(ii) even notes, as example in Grade 5Chromatic scales: starting on any accidental, as example in Grade 5 (one octave)Arpeggios: the common chords of all keys, major and minor (two octaves):i(i) even notes, as example below:

(ii) broken chords, as example below:

Dominant sevenths: in the keys of E, B, Ab and Db, as example in Grade 5 (one octave)Diminished sevenths: starting on D, F, Ab and B, as example in Grade 5 (one octave)

ONE PIECE: chosen by the candidate from the following list:1 J. S. Bach Bourrée anglaise: from Flute Sonata in A minor, BWV 10132 Handel Allegro: from Sonata in E, Op. 1 No. 153 Joplin The Favourite and Ragtime Two Step4 Kreisler Liebesfreud*5 Johann Strauss Thunder and Lightning Polka, Op. 3246 Vivaldi Presto: from Concerto in A minor, Op. 3 No. 6*


ONE PIECE: chosen by the candidate from the following list:1 Tchaikovsky Plus2 Conflict in Verona3 Impulse4 Soliloquy


ONE PIECE: chosen by the candidate from the following list:1 Contemporary Patterns2 Scherzo Caprice3 Light Infantry4 Allegro giocoso5 Prelude and Scherzo


⎫⎪⎪⎩⎧⎪⎪⎭



⎫⎪⎩⎧⎪⎭

82



(G) HarpSyl 11-14(72-83) 9/6/10 15:28 Page 82



TUNED PERCUSSIONSCALES AND ARPEGGIOS: from memory:Scales: in all keys, major and minor (minors in melodic or harmonic form at candidate’s choice) (twooctaves):i(i) with a crotchet beat on the tonic, as example in Grade 1, but without repeat(ii) even notes, as example in Grade 5Chromatic scales: starting on any accidental, as example in Grade 5 (one octave)Arpeggios: the common chords of all keys, major and minor (two octaves):i(i) even notes, as example below:

(ii) broken chords, as example below:

Dominant sevenths: in the keys of E, B, Ab and Db, as example in Grade 5 (one octave)Diminished sevenths: starting on D, F, Ab and B, as example in Grade 5 (one octave)

ONE PIECE: chosen by the candidate from the following list:1 J. S. Bach Bourrée anglaise: from Flute Sonata in A minor, BWV 10132 Handel Allegro: from Sonata in E, Op. 1 No. 153 Joplin The Favourite and Ragtime Two Step4 Kreisler Liebesfreud*5 Johann Strauss Thunder and Lightning Polka, Op. 3246 Vivaldi Presto: from Concerto in A minor, Op. 3 No. 6*


ONE PIECE: chosen by the candidate from the following list:1 Tchaikovsky Plus2 Conflict in Verona3 Impulse4 Soliloquy


ONE PIECE: chosen by the candidate from the following list:1 Contemporary Patterns2 Scherzo Caprice3 Light Infantry4 Allegro giocoso5 Prelude and Scherzo


⎫⎪⎪⎩⎧⎪⎪⎭



⎫⎪⎩⎧⎪⎭

82



(G) HarpSyl 11-14(72-83) 9/6/10 15:28 Page 82

Percussion: GRADE 7





TUNED PERCUSSIONSCALES AND ARPEGGIOS: from memory:Scales: in all keys, major and minor (minors in melodic or harmonic form at candidate’s choice) (two octaves):i(i) with a crotchet beat on the tonic, as example in Grade 1, but without repeat(ii) even notes, as example in Grade 5Chromatic scales: starting on any note, as example in Grade 5 (two octaves)Arpeggios: the common chords of all keys, major and minor (two octaves):i(i) even notes, as example in Grade 7(ii) broken chords, as example in Grade 7Dominant sevenths: in all keys, as example in Grade 5, but with only one repeat (two octaves)Diminished sevenths: starting on any note, as example in Grade 5, but with only one repeat (two octaves)

ONE PIECE: chosen by the candidate from the following list:1 J. S. Bach Gigue: from Violin Partita No. 2 in D minor, BWV 10042 Bizet Danse Bohème: from Carmen3 George Botsford Black and White Rag*4 Kreisler Schön Rosmarin5 Monti Czardas6 Mozart Alla Turca: from Sonata in A, K. 331*7 Johann and Josef Strauss Pizzicato Polka8 Vivaldi Allegro: from Concerto in A minor, Op. 3 No. 6


ONE PIECE: chosen by the candidate from the following list:1 Bacchanale2 Modern Times3 Burlesque4 Waltz Variations


ONE PIECE: chosen by the candidate from the following list:1 Sicilienne2 Overture to Accents3 A Bar from Mars4 Scheherazadia



Graded Music for Snare Drum, Book 4 (ABRSM)⎫⎩⎧⎭



⎫⎪⎪⎩⎧⎪⎪⎪⎭

83

(G) HarpSyl 11-14(72-83) 9/6/10 15:28 Page 83

88

AURAL TESTS: included in the Practical exams for all subjects

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

In the examAural tests are an integral part of all Practical 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 the object. The examiner will be happy to adapt to the vocal range of the candidate, whose responses may be sung to any vowel (or consonant followed by a vowel), hummed or whistled (and at a different octave, if appropriate).

AssessmentA number of tests allow for a second attempt or for an additional playing by the examiner, if necessary. Also, where there is hesitation on the part of the candidate, the examiner will be ready to prompt, if necessary. In any such cases, this will affect the assessment.

Marks are not awarded for each individual test nor deducted for mistakes but reflect the candidate’s overall response in this section. The marking criteria for the aural tests are given on p. 11.

Minor modifications (from 2011)This syllabus includes the minor modifications introduced to some aural tests in 2011.

Specimen testsExamples of the tests are given in new editions (from 2011) of Specimen Aural Tests and Aural Training in Practice, available for purchase from music retailers and from www.abrsm.org/shop.

Deaf or hearing-impaired candidates Deaf or hearing-impaired candidates may opt to respond to alternative tests in place of the standard tests, if requested at the time of entry. The syllabus for these tests is available free on request from ABRSM (E [email protected]). Examples of the alternative tests are available for purchase from Allegro Music (T +44 (0)1885 490375; E [email protected]). The minor modifications (from 2011) do not affect the alternative aural tests.

89

Aural Tests GRADE 1A To clap the pulse of a piece played by the examiner, and to identify whether it is in two time or

three 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 or three time. The candidate is not required to state the time signature.

B To sing as ‘echoes’ three 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 identify where a change in pitch occurs during 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 will affect the assessment).

D To answer 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: dynamics (loud/quiet, or sudden/gradual changes); the second will be articulation (smooth/detached).

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

three 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 or three time. The candidate is not required to state the time signature.

B To sing as ‘echoes’ three 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 identify a change in either pitch or rhythm during a phrase played by the examiner. 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 will affect the assessment).

D To answer 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 the following: dynamics (loud/quiet, or sudden/gradual changes), articulation (smooth/detached); the second will be tempo (becoming slower/faster, or staying the same).

90

Aural Tests GRADE 3A To clap the pulse of a piece played by the examiner, and to 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 or four time. The candidate is not required to state the time signature.

B To sing as ‘echoes’ three 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.

C To identify a change in either pitch or rhythm during a phrase played by the examiner. 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 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 will affect the assessment).

D To answer 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 the following: dynamics (loud/quiet, or sudden/gradual changes), articulation (smooth/detached), tempo (becoming slower/faster, or staying the same); the second will be tonality (major/minor key).

Aural Tests GRADE 4A To sing or play from memory a melody played twice 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 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 will 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. The test will begin and end on the tonic and will not contain intervals 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 answer 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 the following: dynamics, articulation, tempo, tonality; the second will be character.

(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it is in two time, three time or four time. The examiner will play the extract twice (unharmonized), 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 to state the time signature.

91

Aural Tests GRADE 5A To sing or play from memory a melody played twice 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 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 will affect the assessment).

B To sing six 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 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 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 answer 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 the following: dynamics, articulation, tempo, tonality, character; the second will be style and period.


Aural Tests GRADE 6A To sing or play from memory the upper part of a two-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 attempt (although this will affect the assessment).

B To sing a melody from score, with an accompaniment played by the examiner. The candidate may choose to sing from treble or bass clef. 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 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 will affect the assessment).

C To identify the cadence at the end of a phrase as perfect or 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 key-chord.

D (i) To answer 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 the following: dynamics, articulation, tempo, tonality, character, style and period, texture/structure.


92

Aural Tests GRADE 7A To sing or play from memory the lower part of a two-part phrase played twice by the examiner.

The lower 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 this will affect the assessment).

B To sing the upper 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 or minor key with up to 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 will 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 identify the two chords forming 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.).

(iii) To identify whether the modulation at the end of a different passage is to the dominant, subdominant 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 answer 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 identify whether it is in two time, three time, four time or 6/8 time. The examiner will play the extract twice (unharmonized), 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.

93

Aural Tests GRADE 8A (i) To sing or play from memory the lowest 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 this will affect the assessment).

(ii) To identify the cadence at the end of a 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 identify 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), supertonic (root position or first inversion), subdominant (root position), dominant (root position, first or second inversions), dominant seventh (root position) or submediant (root position). First the examiner will 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 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 or minor key with up to 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 will 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 passages may modulate to the dominant major or minor but the candidate is only required to specify ‘dominant’ in such cases.)

D To describe the characteristic features of a piece played by the examiner. 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.

Documents

(G) HarpSyl 11-14(72-83) 9/6/10 15:28 Page 72 · PDF filePERCUSSION(Subject Code: 44): Syllabus requirements ... (Subject Code: 44): Syllabus requirements ... Graded Music for Snare