© Copyright 2004 The Frederick Harris Music Co., Limited All Rights Reserved
2004 Edition
Double bassSyllabus
Table of Contents The Royal Conservatory of Music2
TechnicalRequirements . . . . . . . . . . . . . . . . 18IntroductoryGrade . . . . . . . . . . . . . . . . . . . . 19Grade1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21Grade2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Grade3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Grade4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29Grade5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Grade6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35Grade7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Grade8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43Grade9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47Grade10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Performer’sARCT . . . . . . . . . . . . . . . . . . . . . 57Teacher’sARCT . . . . . . . . . . . . . . . . . . . . . . . 61
Section 3 — Practical examinationS
MessagefromthePresident . . . . . . . . . . . . . . . 4Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
RCMExaminationsatwww .rcmexaminations .org . . . . . . . . . . . . . 5
ApplicationForms . . . . . . . . . . . . . . . . . . . . . . 6ApplicationProcedureandDeadlineDates . . . 6ExaminationSchedules . . . . . . . . . . . . . . . . . . 6ExaminationCentres . . . . . . . . . . . . . . . . . . . . 7FeeExtensionsandRefunds . . . . . . . . . . . . . . 7ExaminationResults . . . . . . . . . . . . . . . . . . . . 8TheExaminer’sEvaluation . . . . . . . . . . . . . . . 8TheoryExaminations:Prerequisites
andCo-requisites . . . . . . . . . . . . . . . . . . . . 8
ARCTExaminations . . . . . . . . . . . . . . . . . . . . 9CreditsforMusicianship . . . . . . . . . . . . . . . . 10CertificatesandDiplomas . . . . . . . . . . . . . . . 10SecondarySchoolMusicCredits . . . . . . . . . . 11RegisteredEducationSavingsPlan(RESP)
Eligibility . . . . . . . . . . . . . . . . . . . . . . . . . 11GoldandSilverMedals . . . . . . . . . . . . . . . . . 11
Table of Contents
Section 1 — General information
ExaminationRepertoire . . . . . . . . . . . . . . . . . 12Da capoSignsandRepeats . . . . . . . . . . . . . 12Memory . . . . . . . . . . . . . . . . . . . . . . . . . . 12SyllabusRepertoireLists . . . . . . . . . . . . . . 12Editions . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Availability . . . . . . . . . . . . . . . . . . . . . . . . 12AnthologiesandCollections . . . . . . . . . . . 13OrchestralExcerpts . . . . . . . . . . . . . . . . . . 13CopyrightandPhotocopying . . . . . . . . . . . 13
RepertoireSubstitutions . . . . . . . . . . . . . . . . 13SubstitutionsfromtheDouble Bass Syllabus13SubstitutionsRequiringApproval . . . . . . . 13OwnChoiceSubstitutions . . . . . . . . . . . . . 14
ExaminationProcedures . . . . . . . . . . . . . . . . 14TableofMarks . . . . . . . . . . . . . . . . . . . . . . . . 15ClassificationofMarks . . . . . . . . . . . . . . . . . . 15SupplementalExaminations . . . . . . . . . . . . . 16Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . 17
NamesofPublishers . . . . . . . . . . . . . . . . . 17OtherAbbreviationsandSymbols . . . . . . . 17
Section 2 — examination requirementS
Double Bass Syllabus Table of Contents 3
Rudiments . . . . . . . . . . . . . . . . . . . . . . . . . . . 64Harmony,KeyboardHarmony, Counterpoint,andAnalysis . . . . . . . . . . . . 64
MusicHistory . . . . . . . . . . . . . . . . . . . . . . . . 65Musicianship . . . . . . . . . . . . . . . . . . . . . . . . . 65ClassificationofTheoryMarks . . . . . . . . . . . . 65
Section 4 — theory examinationS
SightReadingandEarTraining . . . . . . . . . . . 66OfficialExaminationPapers . . . . . . . . . . . . . . 66GeneralReferenceWorks . . . . . . . . . . . . . . . 66DoubleBassAnthologies . . . . . . . . . . . . . . . . 67DoubleBassCollections . . . . . . . . . . . . . . . . . 67DoubleBassStudiesandMethodBooks . . . . . 68
DoubleBassOrchestralExcerptsBooks . . . . . 69DoubleBassReferenceandPedagogyBooks . 69AssociationsandWebsites . . . . . . . . . . . . . . . 70Periodicals . . . . . . . . . . . . . . . . . . . . . . . . . . . 70SourcesofDoubleBassMusic . . . . . . . . . . . . 70
Section 5 — biblioGraPhy
the Second century . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71
TheRoyalConservatoryofMusicwasfoundedin1886withtheideathatasingleinstitutioncouldbindthepeopleofanationtogetherwiththecommonthreadofsharedmusicalexperience .Morethanacenturylater,TheRoyalConservatoryofMusichasachievedthisdream .TheRoyalConservatoryofMusicisrecognizedincommunitiesthroughoutNorthAmericaforoutstandingservicetostudents,teachers,andparents,aswellasastrictadherencetohighacademicstandardsthroughavarietyofactivities—teaching,examining,publishing,research,andcommunityoutreach .
Studentsandteachersbenefitfromacurriculumbasedonmorethanahundredyearsofcommitmenttothehighestpedagogicalobjectives .ThestrengthofthecurriculumisreinforcedbythedistinguishedCollegeofExaminers—agroupoffinemusiciansandteachersdrawnfromdiversegeographiclocations .Arigorousexaminerapprenticeshipprogramcombinedwithregularevaluationproceduresensuresconsistencyandanexaminationexperienceofthehighestqualityforcandidates .
Asyoupursueyourstudiesorteachothers,youbecomenotonlyanimportantpartnerwithTheRoyalConservatoryofMusicinthedevelopmentofcreativity,discipline,andgoalsetting,butalsoanactiveparticipant,experiencingthetranscendentqualitiesofmusicitself .Inasocietywhereourday-to-daylivescanbecomeroteandroutine,thehumanneedtofindself-fulfilmentandtoengageincreativeactivityhasneverbeenmorenecessary .
Dr .PeterC .SimonPresident
Message from the President
Message from the President The Royal Conservatory of Music4
The2004editionoftheDouble Bass Syllabusrepresentstheworkofdedicatedteachers,performers,andexaminerswhoseassistanceisheregratefullyacknowledged .ThisSyllabusreplacesallpreviousdoublebasssyllabi,andformstheofficialrequirementsofTheRoyalConservatoryofMusicforthedoublebassexaminationsconductedbyRCMExaminations .
TheRCMExaminationsCertificateProgramfordoublebassconsistsoftwelvelevels:anintroductorylevel,tengradedlevels(Grades1through10),andanAssociateofTheRoyalConservatoryofMusic(ARCT)diploma .Eachlevelrepresentsasteppingstoneestablishedasalogicalassessmentpointforadevelopingmusician .
FivelevelsoftheoryexaminationsdescribedintheTheory Syllabus, 2002 editionaredesignedtocomplementpracticalstudiesandtoensureacomprehensiveknowledgeandunderstandingofvariousaspectsoftheory .TheoryexaminationsbeginattheGrade5practicallevelandincludethefollowingsubjects:rudiments,harmony,history,counterpoint,andanalysis .
RCMExaminationswelcomesexaminationapplicationsfromallinterestedindividuals .ApplicationsareacceptedbyRCMExaminationsontheunderstandingthatcandidatescomplywiththeproceduresandrequirementsoutlinedinthisSyllabus .
Formoreinformation,pleasevisitourwebsiteatwww .rcmexaminations .orgorcontact:RCMExaminations273BloorStreetWestToronto,OntarioCanadaM5S1W2
Visit the rcm examinations website for up-to-date information on the following topics:✔ feesanddatesforpracticalandtheoryexaminations✔ examinationcentres✔ secondaryschoolcreditformusicexaminations✔RCMpublications✔ themembersoftheRCMExaminationsCollegeofExaminers,withbiographiesandphotographs✔ theMusic Mattersnewsletterforteachers
a number of services are also available on-line, allowing candidates to:✔ completeandsubmitExaminationApplicationForms✔ verifythereceiptofexaminationapplications✔ verifythetime,date,andlocationofexaminations✔ lookupcurrentexaminationsessionresults✔ reviewscansofexaminer’scommentsforcurrentexaminations
in addition, teachers can monitor key information about their students, including:✔dailyupdatesonstudents’examinationregistrations✔ exactdatesandtimesofstudents’examinations✔ convenientone-pagesummariesofstudents’results✔ scannedcopiesofstudents’practicalexaminationmarkingforms✔unofficialtranscriptsofstudents’completeexaminationhistory
Preface
RCM Examinations at www.rcmexaminations.org
Double Bass Syllabus Preface 5
ExaminationApplicationFormsareavailableontheRCMExaminationswebsiteatwww .rcmexaminations .org,andatmusicretailersacrossCanada .• Anewexaminationapplicationformisissuedfor
eachacademicyear .Pleaseuseanapplicationdatedforthecurrentacademicyear(September1toAugust31) .
• Completeaseparateapplicationforeachpracticalandtheoryexamination .
• Eachexaminationapplicationmustbeaccompaniedbythecorrectexaminationfee .Examinationfeesarelistedontheapplicationform .Paymentis
acceptedbycheque,moneyorder,MasterCard,orVISA .
• Thereareprovisionsforcandidateswithspecialneeds .Fordetails,pleasecontactRCMExaminations .Inquiries must be received before the deadline date for applications.
• CandidateswishingtoincludeasubstituteselectionontheirexaminationsshouldcompleteanExaminationSubstitutePieceRequestFormandsubmititbeforetheapplicationdeadlinedate .(Formoreinformationaboutsubstitutepieces,see“RepertoireSubstitutions”onpp .13–14 .)
General Information The Royal Conservatory of Music6
Section 1 – General InformationaPPlication formS
• Applicationdeadlinedatesareprintedontheexaminationapplicationformandarealsoavailableatwww .rcmexaminations .org .DeadlinedatesgenerallyfallinearlyNovemberforthewintersession,inearlyMarchforthespringsession,andinearlyJuneforthesummersession .
• ApplicationformsmaybecompletedandsubmittedontheRCMExaminationswebsiteatwww .rcmexaminations .org .Paymentforon-lineapplicationsmustbemadebyVISAorMasterCard .
• Applicationformsmayalsobesubmittedbyfax .Paymentforfaxedapplicationsmustbemadebycreditcard .CurrentRCMExaminationsfaxnumbersareprintedontheexaminationapplicationform .
• Mailedapplicationspostmarkedafterthedeadlinedatewillnotbeaccepted .
• Please apply early to ensure a smooth registration .RCMExaminationscannotberesponsiblefordelaysinmaildelivery .Incompleteorincorrectapplicationswillbedelayedandsubjecttoaprocessingfee .
Pleaseaddresswritteninquiriesandapplicationformsto:
RCMExaminations273BloorStreetWestToronto,OntarioCanadaM5S1W2
aPPlication Procedure and deadline dateS
Examinationsaretypicallyheldaccordingtothefollowingapproximateschedule:
Practical examinationsWinter: twoweeksmid-JanuarySpring: firstthreeweeksofJuneSummer: twoweeksmid-August
theory examinationsWinter: thesecondFridayandfollowingSaturday
inDecemberSpring: thesecondFridayandfollowingSaturday
inMaySummer: aFridayandfollowingSaturdayin
mid-August
examination ScheduleS
Please note that an application may not be withdrawn after it has been received by RCM Examinations.
Double Bass Syllabus General Information 7
RCMExaminationsestablishesandmaintainslocalexaminationcentresacrossCanadaandtheUnitedStates .Thelocationofthesecentresdependsbothondemandandontheavailabilityofappropriatefacilities .Thereisalistofexaminationcentresontheapplicationformandatwww .rcmexaminations .org .
Asenior-levelexaminerwillbeassignedforGrade10andARCTexaminations .Ifthereareinsufficientseniorcandidatesinaparticularcentretowarrantsendingasenior-levelexaminer,seniorcandidateswhohaveappliedtobeexaminedatthatcentrewillbenotified .Suchcandidatesmaychoosetotaketheirexaminationatthenearestcentrewhereasenior-levelexaminerisavailable .
examination centreS
OncereceivedbyRCMExaminations,anapplicationmaynotbewithdrawn .Nofeeextensions(i .e .,creditnotes)orrefundsaregrantedforcandidateswhofailtoappearfortheirexaminations .FeeextensionswillnotbegrantedifRCMExaminationsisunabletoaccommodateaspecialrequest .Therearenoacademicpenaltiesformissedexaminations .
Feeextensionsorrefundswillnotbegrantedexceptundertwospecificconditionsasdescribedbelow .Ineithercase,candidatesmustapplyinwritingforfeeextensionsorrefundswithintwoweeksfollowingtheexaminationdateandsubmittheappropriatesupportingdocumentation .• Candidateswhoareunabletotakeanexamination
formedical reasonsmustsubmittheirexaminationtimetableandaphysician’scertificate .
• Candidateswhoareunabletotakeanexaminationbecauseofadirect conflict with a school examinationmustsubmittheirexaminationtimetableandaletterfromaschoolofficialonofficialletterhead .
Candidateswhoareunabletotakeanexaminationformedicalreasonsorbecauseofadirecttimeconflictwithaschoolexaminationareeligibleto
requesteither afeeextensionforthefullamountoftheexaminationfeeorarefundof50percentoftheirexaminationfee .
fee extensions Feeextensionsforthefullamountoftheexaminationfeearevalidforone yearfromthedateofthemissedexamination .Candidatesmustusetheirfeeextensionwithinthisperiod .Toredeemafeeextension,candidatesmayapplyon-lineatwww .rcmexaminations .orgtohavethecreditautomaticallyappliedtoanewapplication .Alternatively,candidatesmaysubmitthecreditnote(alongwithanyincreaseintheexaminationfee)withanapplicationonpaper .Please note that fee extensions are not transferable.
fee refundsCandidateswhoknowatthetimethattheyapplyforafeeextensionthattheywillnotbeabletomakeuseofthecreditwithintheone-yearperiodmayinsteadapplyforarefundof50percentoftheexaminationfee .Please note that fee refunds must be requested within two weeks following the date of the missed examination.
fee extenSionS and refundS
examination timetablesIndividualexaminationschedulesareavailableontheRCMExaminationswebsiteatwww .rcmexaminations .org .Approximatelythreeweekspriortotheexaminationdate,allapplicantswillreceive,bymail,anexaminationreceiptandatimetableconfirmingthedate,time,andlocationoftheirexaminations .• Checktheinformationonyourexamination
timetableandinformRCMExaminationsimmediatelyoferrorsinnameoraddress .
• Listallrepertoiretobeperformedatyourexaminationonthereversesideofyourexaminationtimetableandbringitwithyoutotheexamination .
• Ifyouknowthatyouwillbeunabletoattendyourexamination,pleasecontactyourRCMExaminationsCentreRepresentativeimmediately .(ThenameoftheRCMExaminationsCentreRepresentativeisprintedonthebottomofthetimetable .)Please note: Candidates may not exchange examination times with other candidates.
examination ScheduleS continued
General Information The Royal Conservatory of Music8
IndividualexaminationresultsareavailableontheRCMExaminationswebsiteatwww .rcmexaminations .org .
Please note that results will not be given by telephone.
• Practicalexaminationcandidatesmayreviewascanoftheoriginalreportoftheexamineron-lineinthe“ExaminationResults”sectionoftheRCM
Examinationswebsite .(Pleaseseep .15fordetailsonthegradingofdoublebassexaminations .)
• Teachersmayreviewscansoftheexaminer’sreportsforalltheirstudentson-lineinthe“TeacherServices”sectionoftheRCMExaminationswebsite .
• Duplicatemarksandtranscriptsareavailableuponwrittenrequestandpaymentoftherequisitefee .
examination reSultS
Theexaminer’swrittenevaluationofapracticalexaminationisintendedtoexplain,ingeneralterms,howthefinalgradewascalculatedandtoassistthecandidateinsubsequentmusicstudies .• Examinationmarksreflecttheexaminer’s
evaluationofthecandidate’sperformanceduringtheexamination .
• Examinationmarksdonotreflectpreviously
demonstratedabilitiesandskills,nordotheyreflecttheexaminer’sestimationofthecandidate’spotentialforfuturedevelopment .
• Resultsofoneexaminationdonotinanywayprejudicethecandidate’sresultsinsubsequentexaminations .
• Appealsonpracticalexaminationswillnotbeconsidered .
the examiner’S eValuation
InordertoreceiveacertificateordiplomaforapracticalexaminationforGrades5toARCT,candidatesmustalsocompletespecificRCMExaminationstheoryexaminations .• Theoryco-requisitesmustbecompletedbeforeor
withinfiveyearsaftertherespectivesessionofthepracticalexamination .Candidates are strongly advised to complete their theoretical work before, or at the same time as, their practical examination .
• ForGrade10andARCT,thefive-yeartimelimitforcompletionoftheoryco-requisitesiscomputedfromthedateoftheoriginalpracticalexamination,notfromthedateofanysubsequentsupplementalexaminations .
• CandidatesmustcompletetheirARCTprerequisitesbeforeapplyingforanARCTpracticalexamination .CandidatesmaynotcompletetheirARCTprerequisitesinthesamesessioninwhichtheytake
theirARCTpracticalexamination .(Pleasenotethatteachersmayreviewtheexaminationhistoriesofcandidateswhohavetakenanexaminationinthecurrentacademicyearon-lineinthe“TeacherServices”sectionofwww .rcmexaminations .org .Thisserviceallowsteacherstoconfirmthecompletionofprerequisitesandco-requisites .)
• Therearenoprerequisite or co-requisitetheoryexaminationsforcandidatesapplyingforpracticalexaminationsintheIntroductoryGradeandGrades1to4 .
• Thereareno prerequisitetheoryexaminationsforcandidatesapplyingforpracticalexaminationsinGrades5to10 .
• FormoreinformationregardingRCMExaminationstheoryexaminationspleasereferto“TheoryExaminations”onpp .63–64ofthisSyllabusandthecurrentRCMTheory Syllabus .
theory examinationS: PrerequiSiteS and co-requiSiteS
Double Bass Syllabus General Information 9
CandidatesapplyingforPerformer’sorTeacher’sARCTexaminationsmusthavecompletedaGrade10practicalexaminationwitheitheratotalmarkofatleast75or aminimumof70percentineachsectionofthepracticalexamination .CandidatesmustalsohavecompletedallGrade10theoryco-requisiteswithatotalmarkofatleast60percentoneachtheoryexamination .
teacher’s arct examinationsCandidatesapplyingfortheTeacher’sARCTexaminationarestronglyadvisedtohaveatleastoneyearofpracticalteachingexperience .
TheTeacher’sARCTDiplomawillbeawardedonlytocandidates18yearsofageorolder .
TheARCTTeacher’sexaminationconsistsofthreeparts:
Part1:PerformanceofRepertoire,OrchestralExcerpts,TechnicalRequirements,EarTests,andSightReading
Part2:Viva VoceexaminationPart3:Writtenexamination
Parts1and2constitutethepracticalportionoftheARCTexaminationandarethereforetakenduringa
practicalexaminationsession .Part3,awrittenexamination,istakenduringatheoryexaminationsession .
CandidatesmaychoosetotakeallthreepartsoftheTeacher’sARCTexaminationatonesession,ortheymaytakethepartsatdifferentsessions .Thepartsmaybetakeninanyorder,butallthreepartsmustbecompletedwithinaperiodoftwoyears .
Second arct diplomasTheTeacher’sandPerformer’sARCTexaminationsmaynotbeattemptedatthesamesession .• CandidateswhohavepassedtheTeacher’sARCT
examinationmayobtainaPerformer’sdiplomabytakingtheentirePerformer’sARCTexamination .
• CandidatesfortheTeacher’sARCTwhohavepassedthePerformer’sexaminationwillbeexemptfromtheRepertoireandOrchestralExcerptssectionsoftheTeacher’sARCTpracticalexamination .TheremainingsectionsoftheTeacher’sARCTpracticalexamination(i .e .,theTechnicalRequirements,EarTests,andSightReadingsectionsofPart1andallofPart2)mustbetakeninasinglesession,withinfiveyearsofthedateofthePerformer’sARCTpracticalexamination .
arct examinationS
Practical certificates theory Prerequisites theory co-requisites and diplomas
Introductory none noneGrades1to4 none noneGrade5 none PreliminaryRudimentsGrade6 none Grade1RudimentsGrade7 none Grade2RudimentsGrade8 none Grade2Rudiments IntroductoryHarmony(optional)Grade9 none Grade2Rudiments Grade3HarmonyorGrade3KeyboardHarmony Grade3HistoryGrade10 none Grade2Rudiments Grade3History Grade4HarmonyorGrade4KeyboardHarmony Grade4HistoryARCT Grade2Rudiments Grade4Counterpoint Grade3History Grade5HarmonyandCounterpoint Grade4Harmony orGrade5KeyboardHarmony orGrade4KeyboardHarmony Grade5History Grade4History Grade5Analysis
theory examinationS: PrerequiSiteS and co-requiSiteS continued
General Information The Royal Conservatory of Music10
ExaminationsinMusicianshiphavebeendevelopedtotestastudent’sabilityinsightsingingandrecognitionofscales,chords,andintervals .(Formoreinformationontheseexaminations,pleaseseep .65andthecurrentTheory Syllabus .)CandidatesmaychoosetosubstitutetheirMusicianshipexaminationmarkfortheEarTestsectionoftheGrades8,9,and10andTeacher’sARCTpracticalexaminations .Themarkswillbeassignedonaproratabasis .
musicianship Practical Grade minimum markJunior Grade8 60Intermediate Grade9 60Senior Grade10and 70 Teacher’sARCT
• CandidatesmusthavepassedtherelevantMusicianshipexaminationatleastoneexaminationsessionbeforethegradedpracticalexamination .
• CandidateswhowishtobeexemptedfromtheEarTestsectionoftheirpracticalexaminationmustsubmitbotharequestinwritingandaphotocopyoftheirMusicianshipexaminationresultstoRCMExaminations .Suchrequestsmustbeincludedwiththeexaminationapplication .
creditS for muSicianShiP
Certificatesareawardedtosuccessfulcandidatesinthespringandthefall .• CertificatesforpracticalexaminationsinGrades5
to9willbeawardedoncethecandidatehassuccessfullycompletedthetheoryco-requisitesfortherespectivegrade .
• Certificatesfortheoryexaminationswillbeawardedforeachtheorygradeuponsuccessfulcompletionofallexaminationsforthatgrade .
• Grade10practicalcertificatesareawardedwhenminimumrequirementshavebeencompleted,whetherornotprerequisitemarksforanARCTexaminationhavebeenobtained .
• ARCTdiplomaswillbeawardedtocandidatesattheannualConvocationceremonyorforwardedimmediatelyfollowingConvocation .Candidatesmaynotusethedesignation“ARCT”beforeConvocation .
certificateS and diPlomaS
Practical certificates examinations requiredand diplomasIntroductoryDoubleBass IntroductoryDoubleBassGrade1DoubleBass Grade1DoubleBassGrade2DoubleBass Grade2DoubleBassGrade3DoubleBass Grade3DoubleBassGrade4DoubleBass Grade4DoubleBassGrade5DoubleBass Grade5DoubleBass,PreliminaryRudimentsGrade6DoubleBass Grade6DoubleBass,Grade1RudimentsGrade7DoubleBass Grade7DoubleBass,Grade2RudimentsGrade8DoubleBass Grade8DoubleBass,Grade2RudimentsGrade9DoubleBass Grade9DoubleBass,Grade2Rudiments,Grade3Harmonyor Grade3KeyboardHarmony, Grade3HistoryGrade10DoubleBass Grade10DoubleBass,Grade2Rudiments,Grade3History,Grade4HarmonyorGrade4 KeyboardHarmony,Grade4HistoryPerformer’sARCT Performer’sARCT,Grade2Rudiments,Grade3History,Grade4History,Grade4
Counterpoint,Grade5HarmonyandCounterpointor Grade5KeyboardHarmony,Grade5 History,Grade5Analysis,Grade6Piano
Teacher’sARCT Teacher’sARCT(Parts1,2,and3),Grade2Rudiments,Grade3History,Grade4History, Grade4Counterpoint,Grade5HarmonyandCounterpointor Grade5KeyboardHarmony, Grade5History,Grade5Analysis,Grade8Piano
theory certificates examinations required
PreliminaryTheory PreliminaryRudimentsGrade1Theory Grade1RudimentsGrade2Theory Grade2RudimentsGrade3Theory Grade3Harmonyor Grade3KeyboardHarmony,Grade3HistoryGrade4Theory Grade4HarmonyorGrade4KeyboardHarmony,Grade4History,Grade4CounterpointGrade5Theory Grade5HarmonyandCounterpointorGrade5KeyboardHarmony,Grade5History, Grade5Analysis
Double Bass Syllabus General Information 11
Inmanyschoolsystems,examinationsfromRCMExaminationsareacceptedascreditstowardsecondaryschoolgraduationdiplomas .Aprovince-by-provincelistofsecondaryschoolaccreditationformusicexaminationscanbefoundontheRCM
Examinationswebsiteatwww .rcmexaminations .org .CandidatesarealsoadvisedtoconsulttheirschoolprincipalorguidancecounsellorabouttheeligibilityofexaminationsfromRCMExaminationsforsecondaryschoolcreditanduniversityentrance .
Secondary School muSic creditS
RCMExaminationsawardsGoldMedalsandSilverMedalsforeverydisciplineexcepttheory .Medalsareawardedonthebasisofexaminationresults .Noapplicationisrequired .
Gold medalsGoldMedalsareawardedforeachacademicyear(i .e .,September1toAugust31)toboththeTeacher’sARCTandthePerformer’sARCTcandidateswhoobtainthehighestmarksineachofthefollowingdisciplines:piano,organ,accordion,strings,guitar,harp,brass,woodwinds,percussion,voice,andspeechartsanddrama .
eligibility for Gold medalsPerformer’sARCT• Candidatesmustobtainaminimumof85percent
inthepracticalexaminationandaminimumof70percentineachoftheco-requisitetheoryexaminations .
Teacher’sARCT• Candidatesmustobtainaminimumof85percent
inthepracticalexamination(Parts1and2combined),aminimumof70percentinthewrittenexamination(Part3),andaminimumof70percentineachoftheco-requisitetheoryexaminations .
• Candidatestakingthecompletepracticalexaminationinonesession(Parts1and2combined)andcandidatestakingthepracticalexaminationintwosessions(Parts1and2separately)arebotheligiblefortheGoldMedal .
• CandidateswithaPerformer’sARCTwhocompletetherequirementsfortheTeacher’sARCTinasinglesessionareeligiblefortheGoldMedal .
Silver medalsSilverMedalsareawardedforeachacademicyear(i .e .,September1toAugust31)ineachprovinceordesignatedregiontothecandidatesinGrades1to10whohaveobtainedthehighestmarksineachgradeanddiscipline .• Toqualifyfortheseawards,candidatesmusthave
obtainedatleast80percentinthepracticalexaminationandhavecompletedtheco-requisitetheoryexaminationsfortheirrespectivegrades .
Gold and SilVer medalS
CandidateswhohaveaRegisteredEducationSavingsPlan(RESP)maybeeligibletousethesefundstosupportprivatestudiesinmusicattheGrades9,10,
andARCTlevels .PleaseconsultyourRESPproviderfordetailedinformation .
reGiStered education SaVinGS Plan (reSP) eliGibility
Examination Requirements The Royal Conservatory of Music12
Section 2 – Examination Requirements
TheDouble Bass Syllabusliststherepertoirefordoublebassexaminations .Informationgivenforeachitemincludes:✔ thecomposer✔ thelargerworkofwhichtheselectionisapart
(whereapplicable)✔ thetitleoftheselection✔ ananthologyorcollectioninwhichtheselection
canbefound(whereapplicable)✔ performancedirections(whereapplicable,
indicatingwhichsectionormovementofaworkistobeprepared)
✔ thepublisherofasuggestededition(whereapplicable)
Namesofpublishersareindicatedbyanassignedabbreviation .Pleaseseep .17foralistofpublisherswiththeirabbreviations .
Da capo Signs and repeats• Whenperformingrepertoireatanexamination,
candidatesshouldobserveda caposigns .• Repeatsignsshouldordinarilybeignored .
memory• Memorizationofrepertoireisencouraged .• InGrades1to6,sixmarksareawardedfor
memorizationofrepertoire .• CandidatesforexaminationsinGrades7to10and
ARCTareexpectedtoperformrepertoirefromlistsA,C,andDfrommemory .Twomarksperrepertoireselectionwillbedeductedifmusicisused .SelectionsfromlistB(sonatas)neednotbememorized .
• StudiesandOrchestralExcerptsneednotbememorizedandnoextramarkswillbeawardedformemory .
• Technicaltests(scalesandarpeggios)mustbeplayedfrommemory .
Syllabus repertoire listsInGrades1to5,therepertoireconsistsofasinglelist .Candidatesshouldchoosecontrastingselectionsbydifferentcomposers .Candidatesareencouragedtochooseaprogramthatincludesavarietyofmusicalstyles,periods,andkeys .
InGrades6to10andARCT,therepertoireisdividedintoseverallistsaccordingtohistoricalstyleperiodandmusicalform .
Grade 6ListA:BaroquerepertoireListB:ClassicalrepertoireListC:Romanticand20th-centuryrepertoire
Grades 7 and 8ListA:BaroqueandClassicalrepertoireListB:SonatinasandsonatasListC:Romanticand20th-centuryrepertoire
Grades 9, 10, and ARCTListA:WorksforsolobassListB: SonatasListC:ConcertosListD:Concertpieces
Ineachgrade,candidatesareencouragedtochooseanexaminationprogramthatincludesavarietyofmusicalstyles,periods,andkeys .
editionsFormanyrepertoireitemsthesyllabuslistingincludesasuggestededition(indicatedbyanassignedpublisherabbreviation) .TheseeditionshavebeenchosenfortheirqualityorfortheiravailabilityinNorthAmerica .Wherenopublisherisindicated,studentsareencouragedtousethebesteditionavailable—thatis,theeditionthatbestreflectsthecomposer’sintentions .
Editorialmarkingsvaryfromeditiontoedition .Examinationmarkswillnotbedeductedforalteringtheseeditorialsuggestionsaslongastheresultingchangeismusicallyacceptable .
availabilityThecompilersofthisSyllabushavemadeeveryefforttoensurethatmostofthematerialslistedareinprintandeasilyavailableatleadingmusicretailersthroughoutNorthAmerica .Ifyouexperiencedifficultyinobtainingdoublebassmusicinyourcommunity,consultthelistofsuppliersonp .70 .
However,pleasenotethatthepublishingindustryischangingrapidly .Worksgooutofprint,and
examination rePertoire
Double Bass Syllabus Examination Requirements 13
examination rePertoire continued
copyrightsmovefromonefirmtoanother .Inaddition,therepertoirelistscontainafewworksthatarenolongerinprintbutthatteachersorstudentsmayhaveintheirpersonalcollections .Out-of-printitemsareindicatedinthelistsas“[op] .”Candidatesmayuseanout-of-printworkforexaminationpurposesprovidedtheycanobtainthepublishedwork .(Pleasesee“CopyrightandPhotocopying”below .)
anthologies and collections Ifexaminationselectionsarepublishedincollectionsofmusicbyonecomposerorinanthologiescontainingmusicbyanumberofcomposers,thetitlesofthesecollectionsoranthologiesareoftenincludedinthesyllabuslisting .Pleasenote,however,thatsuchindicationsarebynomeansexhaustive .Individualselectionsmayalsobefoundinothersources .• Inordertosavespace,sometitlesofanthologies
havebeenshortened .Forexample,Double Bass Album: Eleven Transcriptions in the First Position appearsinsyllabuslistingsasDouble Bass Album: Eleven Transcriptions .
• Thetitleofacollectioncontainingworksbyonlyonecomposerisprecededbythecomposer’sname(forexample:Beethoven: Albumstücke) .
• Thelistsofanthologies,collections,andstudiesintheBibliography(seepp .66–70)providesfullbibliographicinformationformostofthepublicationsidentifiedintherepertoirelists .
orchestral excerpts Candidatesmayselectthespecifiedpassagesfromstandarddoublebassorchestralparts;measurenumbersand/orrehearsallettersandnumbersforallexcerptsareincludedinthelistings .Alternatively,candidatesmayusepartsprintedinanthologiesofdoublebassorchestralparts .Detailsofselectedanthologiesaregivenforeachgrade .
copyright and PhotocopyingComposers,artists,editors,andpublishersrelyonsalesrevenuestocontributetotheirlivelihood .Photocopyingmusicdeprivesthecreatorsofduecompensation .
Please note that photocopied music will not be permitted in the examination room. Candidates who bring photocopies to the examination will not be examined .
Candidatesshouldbringallmusictobeperformedtotheexamination .Candidateswhowishtophotocopyonepageofaselectionforthepurposeoffacilitatingapageturnmaydosowithpermissionfromthepublisher .
rePertoire SubStitutionS
Substitutions from the Double Bass SyllabusCandidatesinGrades1–10maychoosetosubstituterepertoireselectionsorstudiesfromtheappropriatesectionoftheDouble Bass Syllabusaccordingtotheguidelinesprovidedinthefollowingtable .NopriorapprovalisrequiredforsubstitutionsfromtheDouble Bass Syllabus .PleasenotethatthesubstituteselectionmustbeperformedexactlyaslistedintheSyllabus .
Substitutions requiring approvalCandidatesmayrequestapprovaltosubstituteonerepertoireselectionnotlistedintheDouble Bass Syllabus .Approvalofsuchselectionsisbasedonthesuitabilityofthestyleandthelevelofdifficulty .
• ForGrades1to5examinations,thesubstituteselectionmayreplaceoneworkfromthelistofrepertoireselections .
• ForGrades6,7,and8examinations,thesubstituteselectionmayreplaceaworkinListsA,B,orC .
• ForGrades9,10,andARCTexaminations,thesubstituteselectionmayreplaceaworkfromListsA,B,C,orD .
CandidateswishingtoincludeasubstituteselectionontheirexaminationprogramsshouldcompleteanExaminationSubstitutePieceRequestForm(availableatwww .rcmexaminations .orgorfromRCMExaminations) .Please note that Examination Substitute Piece Request Forms must be received before the application deadline date.
Grade Substitutions repertoire Permitted Selection
Grades1to9 onerepertoire fromthecorresponding selection listofthenexthigher grade
Grade10 onerepertoire fromthecorresponding selection listoftheARCT examination
• Listall workstobeperformedattheexaminationontheExaminationSubstitutePieceRequestForm .Sendtheform,togetherwiththeappropriatefeeandacopyofthesubstituteselection,toRCMExaminations .(Photocopiesmadeforthispurposeshouldbemarked“ForApprovalOnly”;thesephotocopieswillbedestroyedonceanapprovaldecisionhasbeenmade .)Publishedmusicwillbereturnedalongwiththeapprovedform .
• BringtheapprovedExaminationSubstitutePieceRequestFormtoyourexaminationandgiveittotheexaminer .
• Candidatesareadvisedtoprepareanalternateworkincaseapprovalisdenied .Please note that marks will be deducted from the final examination mark for the use of an unapproved piece (other than an Own Choice Substitution).
own choice SubstitutionsForGrades9,10,andARCTexaminations,candidatesmaysubstituteonerepertoireselectionnotlistedinthisSyllabus. ThissubstituteworkmayreplaceaselectioninListD .• Thesubstituterepertoireselectionmustbeofequal
difficultyandmusicalqualitytoworksintheappropriatesyllabuslistforthatgradeandinstrument,anditmustbefromthesamehistoricalstyleperiod .
• Judgementshowninchoosingasubstituteselectionwillbeconsideredinthemarking .Forthisreason,RCMExaminationswillnotanswerquestionsorgiveadviceregardingOwnChoiceSubstitutions .Itistheresponsibilityoftheteachertoprovidetheappropriateadvice .
• Candidatesshouldclearlyindicatesuchsubstitutionsas“OwnChoice”onthelistofrepertoiretobehandedtotheexaminer .
Please note that no prior approval is required or provided for Own Choice Substitutions.
Examination Requirements The Royal Conservatory of Music14
rePertoire SubStitutionS continued
examination ProcedureS
Candidatesmustbereadytoperformatleastfifteenminutesbeforetheirscheduledtime .Please note that candidate examination times cannot be exchanged.
• Examinersarenotpermittedtoassistcandidatesintuningtheirinstruments .Ateacherorassistantshouldbeonhandtoassistcandidateswhocannottuneaccurately .
• Pageturnersandotherassistantsarenotpermittedintheexaminationroom .Waitingareasareprovidedforparents,teachers,andassistants .
• Tune-uproomscannotbeguaranteed .• Musicstandscannotbeguaranteed .
musicPleaselistallrepertoiretobeperformedonthereversesideofyourtimetableandbringthetimetabletotheexamination .
Candidatesshouldbringallmusictobeperformedtotheexamination(whetherornotselectionsarememorized) .Forworksrequiringaccompaniment,bringtwocopies:onefortheexaminerandonefortheaccompanist .Please note that photocopied music is not permitted in the examination room unless the
candidate has a letter of permission from the publisher.(Pleasesee“CopyrightandPhotocopying”onp .13 .)
accompanists• Candidatesmustprovidetheirownaccompanists .
Tapedaccompanimentsarenotpermitted .Candidates who do not provide an accompanist will not be examined.
• Accompanistsarepermittedintheexaminationroomonlywhiletheyareplayingaccompanimentsforthecandidate .
candidates with Special needsCandidateswithspecialneedsareaskedtoapplyinwritingtoRCMExaminationspriortotheexaminationapplicationdeadlineandgivedetailsconcerningtheirneeds .Eachcasewillbedealtwithindividually .
Candidateswithspecialneedsmayreceiveassistanceinandoutoftheexaminationroom,buthelpersmustremaininthewaitingareaduringtheactualexamination .
Double Bass Syllabus Examination Requirements 15
table of markS
claSSification of markS
notes:• NomarksaregivenfortheIntroductory
examination .Theexaminerwillprepareawrittencritiqueandallcandidateswillreceiveacertificateofaccomplishment .
• ToqualifyfortheARCTexamination,Grade10candidatesmustachieveeitheranoverallmarkof75oraminimumof70percentineachsectionoftheexamination .(Inthe“TableofMarks,”70-percentfiguresaregiveninparentheses .)
• Performer’sARCTcandidatesmustachieveanoverallmarkof70percentinordertopass .
• Teacher’sARCTcandidatesmustachieveeither anoverallmarkof75or aminimumof70percentineachsectionoftheexaminationinordertopass .(Inthe“TableofMarks,”70-percentfiguresaregiveninparentheses .)
• ThereisnomarkbreakdownfortheRepertoiresectionoftheTeacher’sARCTexamination .
Grade Grade Grades Grade Grade Grade Grade Grade teacher’s Performer’s 1 2 3-5 6 7 8 9 10 arct arct
repertoire 54 54 54 54 50 50 50 50 (35) 20(14) 80
ListA 27 27 18 18 18 18 15 15 20 ListB 27 27 18 18 18 18 15 15 (no mark 20 ListC – – 18 18 14 14 10 10 break- 20 ListD – – – – – – 10 10 down) 20
memory 6 6 6 6 – – – – – –
orchestral excerpts – – – – 10 10 10 10 (7) 10 (7) 20
technical requirements 30 30 20 20 20 20 20 20 (14) 10(7) – Studies 15 15 10 10 10 10 10 10 – –TechnicalTests 15 15 10 10 10 10 10 10 10 –
ear tests 10 10 10 10 10 10 10 10 (7) 10(7) – Metre – – – – – – – – 2 – Rhythm 5 3 3 2 2 – – – – – Intervals – 3 3 3 3 3 3 2 2 – Chords – – – 2 2 2 2 2 3 – Cadences – – – – – 2 2 3 – – Playback 5 4 4 3 3 3 3 3 3 –
Sight reading – – 10 10 10 10 10 10(7) 10(7) – SightReadingPiece – – 7 7 7 7 7 7 4+4 – SightClapping – – 3 3 3 3 3 3 2 –
Viva Voce 40 (a)PedagogicalPrinciples – – – – – – – – 10(7) – (b)AppliedPedagogy – – – – – – – – 30(21) –
totalS 100 100 100 100 100 100 100 100 100 100
*InGrades1to5,candidateschooserepertoireselectionsfromonelist .InGrades1and2,tworepertoireselectionsarerequired .InGrades3to5,threerepertoireselectionsarerequired .
Grades 1 to 10FirstClassHonourswithDistinction 90–100FirstClassHonours 80–89Honours 70–79Pass 60–69Grade10ARCTprerequisite 75overallor 70%ineachsection
Performer’s and teacher’s arctFirstClassHonourswithDistinction 90–100FirstClassHonours 80–89Honours 70–79Pass(Performer’s) 70Pass(Teacher’s) 75overallor 70%ineachsection
16
SupplementalexaminationsareofferedforanysectionexceptRepertoireofaGrade10orTeacher’sARCTpracticalexaminationforcandidateswhowishtoimprovetheirmarksinaparticularsectionofanexamination,accordingtothefollowingconditions:• Supplementalexaminationsaretakenduring
regularlyscheduledexaminationsessions .• Asupplementalexaminationcomprisesonlyone
section ofanexamination .SupplementalexaminationsarenotavailablefortheRepertoiresectionofanexamination .
• Candidatesmaytakeamaximumoftwo supplementalexaminationsforanycompleteexamination .
• Anysupplementalexaminationsmustbecompletedwithintwoyearsoftheoriginalexamination .
Please note that supplemental examinations are not offered for the Performer’s ARCT in double bass.
Grade 10InordertobeeligibletotakeasupplementalexaminationinGrade10,candidatesmusthaveattemptedthecompleteexaminationwithinthelasttwoyears,achievedaminimum total mark of 65,andobtainedat least 70 percentintheRepertoiresectionoftheexamination .
teacher’s arct InordertobeeligibletotakeasupplementalexaminationattheARCTlevel,candidatesmustachievetheminimummarksspecifiedinthefollowingtable .
Examination Requirements The Royal Conservatory of Music
SuPPlemental examinationS
Summary of Supplemental examination Policies
Grade 10 teacher’s arctToachievePassstanding 60%inordertoreceivecertificate 70%ineachsectionofPart1 oncetheoryco-requisitesarecomplete and 70%ineachsectionofPart2 and70%inPart3withina two- yeartimeperiod or overallmarkof75(Parts1and2 combined)and70%inPart3within atwo-year timeperiod
StandingtoproceedtoARCT 70%ineachsection or n/a overallmarkof75
Reasonsfortaking toreach70%standingineachsection toreach70%standingineachsectionsupplementalexamination or or toupgrademarkinonesectionthatis toupgrademarkinonesectionthatis alreadyat70% alreadyat70%
Eligibilityfortakinga 65%overallmarksupplementalexamination and n/aforGrade10 70%inRepertoiresection
Eligibilityfortakinga 70%inRepertoiresectionsupplementalexamination n/a forTeacher’sARCT,Part1
Eligibilityfortakinga 70%inineithertheViva VoceAsupplementalexamination n/a orforTeacher’sARCT,Part2 theViva VoceB
Numberofsupplemental two oneinPart1examinationsallowed oneinPart2
Timelimittocomplete twoyearsfromthedateofthe twoyearsfromthedateofthesupplementalexaminations originalexamination originalexamination
17
names of Publishers Thefollowingabbreviationsidentifypublishersthroughoutthelistsofrepertoireandstudies .Whennopublisheroreditionisindicatedforaspecificpiece,theworkisavailableinseveralstandardeditions .Formoreinformation,pleasesee“ExaminationRepertoire”onp .12 .
ABR AssociatedBoardofRoyalSchoolsofMusic (London)www.abrsm.ac.ukB&H Boosey&Hawkes(London,NewYork) www.boosey.comB&S Boccaccini&Spada(Rome,Italy) www.boccacciniespada.comBAR BärenreiterVerlag(Kassel,London, NewYork,Prague)www.baerenreiter.comBAT BartholomewBEL Belwin-MillsMusicCorporation (Miami,Florida)BIL ÉditionsBillaudot(Paris)www.billaudot.comBRH Breitkopf&Härtel(Wiesbaden) www.breitkopf.comCMC availablefromCanadianMusicCentre
(Toronto,Calgary,Vancouver,Montreal)www.musiccentre.ca
DEU DeutscherVerlagfürMusik(Leipzig)DOB LudwigDoblinger(Vienna) www.doblinger-musikverlag.atDUR DurandetCie(Paris)ESC ÉditionsMaxEschig(Paris)ETL Highland/EtlingPublishingFHMC FrederickHarrisMusicCompany (Mississauga,Ontario) www.frederickharrismusic.comFIS CarlFischer(NewYork) www.carlfischer.comGAX GalaxyMusicCorporation(NewYork) www.ecspublishing.comHEN Henle(Munich)www.henle.comHIG HighgatePressHOF F .Hofmeister(HofheimamTaunus)INT InternationalMusic(NewYork)KAL EdwinF .Kalmus(OpaLocka,Florida) www.kalmus-music.comKJO NeilA .KjosMusicCo .(SanDiego, California)www.kjos.com
LED AlphonseLeduc(Paris) www.alphonseleduc.comLIB LibenMusicPublishers(Cinncinnati,Ohio) www.liben.comMAS MastersMusicPublications(BocaRaton, Florida)www.masters-music.comMCA MCACanadaLtd .(Toronto)M&M McGinnis&MarxMusicPublishers (NewYork)OTT B .SchottsSöhne(Mainz,London) www.schott-music.comOUP OxfordUniversityPress(London,NewYork) www4.oup.co.uk/musicPET EditionPeters(FrankfurtamMain,Leipzig, NewYork)www.edition-peters.com RIC CasaRicordi(Milan)www.ricordi.comSCH G .Schirmer(NewYork)www.schirmer.comWAR WarnerBros .Publications(Miami,Florida) www.warnerbrospublications.comWEI JosefWeinbergerLtd .(London)www.josef- weinberger.co.ukYOR YorkeEdition(London)www.yorkedition.co.ukZIM ZimmermanPublications(Rochester,New York;Interlochen,Michigan)
other abbreviations and Symbolsarr . arrangedbyattr . attributedtobk booked . editedbytrans . translatedbytransc . transcribedbyno . number[op] outofprintop . opusp . pagepp . pagesrev . revisedvol . volume
• representsoneselectionforexaminationpurposes
→ partsorsectionsofworkstobeperformedatexaminations
Double Bass Syllabus Examination Requirements
abbreViationS
18
StudiesInallgrades,studiesneednotbememorizedandnoextramarkswillbeawardedformemory .Forcompletedetailsonexaminationrequirementsforstudies,pleaseconsultthelistingsforeachgrade .
technical testsForcompletelistsoftechnicaltests,pleaserefertothechartsforeachgrade .• Allscalesandarpeggiosaretobeplayedfrom
memory,ascendinganddescending,withtherequiredbowings .
• Intonation,tonequality,andfluencyareimportantfactorsintheevaluationofacandidate’sperformanceoftechnicaltests .
• Metronomemarkingsindicatesuggestedspeeds .• Dominant7thanddiminished7tharpeggiosare
listedaccordingtostarting note(ratherthankey)—forexample,thedominant7thonG,thediminished7thonFsharp .
three-octave Scales • CandidatesinGrades7and8mustplaythree-
octavescalesusingpattern“b”inthefollowingexample .
• CandidatesinGrades9and10mayuseanyoneofthethreepatterns .
Practical Examinations The Royal Conservatory of Music
Section 3 – Practical Examinationstechnical requirementS
Double Bass Syllabus Introductory Grade 19
Introductory Grade
rePertoire
Pleasesee“ExaminationRepertoire”onpp .12–13forimportantinformationregardingthissectionoftheexamination .
Candidatesshouldbepreparedtoplaytwocontrastingselectionsbydifferentcomposersfromthefollowinglist .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .Candidatesareencouragedtochooseaprogramthatincludesavarietyofmusicalstyles,periods,andkeys .
Traditional• french air(18th-centurytune,arr .GeraldE .
AndersonandRobertS .Frost,inSolos and Etudes 1KJO)
• Scarborough fair(Englishfolksong,arr .GeraldE .AndersonandRobertS .Frost,inSolos and Etudes 1KJO)
Anderson,GeraldE .• a Jazz Waltz (inSolos and Etudes 1KJO)• our School march (inSolos and Etudes 1KJO)• rambling (inSolos and Etudes 1KJO)• rainbow rhumba(inSolos and Etudes 1KJO)• Skipping along (inSolos and Etudes 1KJO)
Bach,JohannSebastian• a Joyful chorale(arr .JohnO’Reilly,inStrictly
Classics,vol .1ETL)
Brahms,Johannes• Go Proudly (arr .GeraldE .AndersonandRobertS .
Frost,inSolos and Etudes 1KJO)
Frost,RobertS .• autumn Sunrise(inSolos and Etudes 1KJO)
Herbert,Victor• Gypsy love Song (arr .JohnO’Reilly,inStrictly
Classics,vol .1ETL)
Müller,J .FrederickandHaroldRuschMüller-Rusch String Method,book2KJO• college Song (no .220)• humpty dumpty(no .228)• hickory dickory (no .229)• the mulberry bush (no .227)• Silent night (no .286)• there’s music in the air (no .237)
Offenbach,Jacques• cancan (arr .JohnO’Reilly
inStrictly Classics,vol .1ETL)
O’Reilly,JohnStrictly Strings Pop-Style Solos Bass,ETL• along the Way• candle dance• the oasis• tV (theme and Variations)
TheIntroductoryDoubleBassExaminationisintendedtogivebeginningbassstudentstheexperienceofplayingforanexaminerinanon-competitive,friendlyatmosphere .Nomarksaregiven,buttheexaminerwillprepareanencouraging,positivewrittencritique .Allcandidateswillreceiveacertificateofaccomplishment .
Introductory Grade The Royal Conservatory of Music20
Studies
Candidatesshouldbepreparedtoplaytwocontrastingstudiesfromthefollowinglist .Playtheupperpartonly,whereapplicable .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .
technical requirementS
Anderson,GeraldE .,andRobertS .FrostinSolos and Etudes 1KJO• one of etudes 1–7
Simandl,FranzNew Method for Double Bass,book1 FIS• no. 2(p .11)• no. 3(p .12)
technical tests
Allscalesandarpeggiosmustbeperformedfrommemory .Pleasesee“TechnicalRequirements”onp .18forimportantinformationregardingthissectionoftheexamination .Candidatesshouldbepreparedtoplaythefollowingscalesandarpeggios,ascendinganddescending .
ear teStS
rhythm
Candidateswillbeaskedtoclaportaptherhythmofashortmelodyafterithasbeenplayedtwicebytheexaminer . –time signatures:or
melody Playback
Candidateswillbeaskedtoplaybackafour-notemelody,eitherontheirowninstrumentoronthepiano .Themelodywillbebasedonthefirstthreenotesofamajorscaleandmaycontainoneormoreleapsofa3rd .Theexaminerwillnamethekey,playthetonictriadonce,andplaythemelodytwice . –beginning note:tonic –keys:Gmajor
SiGht readinG
SightreadingisnotrequiredintheIntroductoryGrade .
theory co-requiSiteS
None
ScalesMajor G,A 1octave =60
arpeggios Major G,A 1octave =60
Double Bass Syllabus Grade 1 21
Grade 1rePertoire
Pleasesee“ExaminationRepertoire”onpp .12–13forimportantinformationregardingthissectionoftheexamination .
Candidatesshouldbepreparedtoplaytwocontrastingselectionsbydifferentcomposersfromthefollowinglist .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .Candidatesareencouragedtochooseaprogramthatincludesavarietyofmusicalstyles,periods,andkeys .
Traditional• hatikva(inProgressive Repertoire for the Double
Bass,vol .2,p .11FIS)• Shepherd’s hey(no .5,inDouble Bass Solo Plus
OUP)
Bass Is Best,book1YOR• two of: CarolineEmery:PrettyPolly(no .57) CarolineEmeryandBryanKelly:Swinging(no .59) CarolineEmeryandJohnLeach:Knockingonthe
Door(no .65) traditional,arr .CarolineEmery:Bellringer,Pray
GiveUsSomePeace(no .80)
Beyer,Ferdinand• the bass fiddle Waltz(inString Festival Solos,vol .
1BEL)
Brian,Arthur• march of the Giants(inString Festival Solos,vol .1
BEL)
DeCoursey,RalphSix Easy PiecesBMI[op]• Soliloquy (no .2)• ostinato(no .3)
Handel,GeorgeFridericSarabande and Minuet(arr .SamuelApplebaum)BEL• minuet 1• minuet 2• Sarabande
Hässler,JohannWilhelm• a Stately dance(arr .inString Festival Solos,vol .1
BEL)
Heykens,Jonny• Serenade,op .21(no .5,inDouble Bass Solo Plus
OUP)
Kingman,Patricia• two Jovial dances(inString Festival Solos,vol .1
BEL)
Mahler,Gustav• canon on Frère Jacques, from Symphony no. 1
(no .4,arr .KeithHartley,inDouble Bass Solo,vol .1 OUP)
Pachelbel,Johann• canon(no .1,arr .KeithHartley,inDouble Bass Solo
PlusOUP)
Progressive Repertoire for the Double Bass,vol .1FIS• two of:
traditional,arr .GeorgeVance:Abschied/Farewell (p .26)traditional,arr .GeorgeVance:BobbyShaftoe (p .24)
traditional,arr .GeorgeVance:Go’WayOldMan (p .23)
traditional,arr .GeorgeVance:LightlyRow(p .20) traditional,arr .GeorgeVance:MusicBox(p .27) traditional,arr .GeorgeVance:ReubenandRachel
(p .18) traditional,arr .GeorgeVance:Twinkle,Twinkle,
LittleStar(p .17) JohannSebastianBach,arr .GeorgeVance:Sheep
MaySafelyGraze(p .28) WinstonJackBudrow:TheHappyBassPlayer
(p .33)
Grade 1 The Royal Conservatory of Music22
technical requirementS
Studies
Candidatesshouldbepreparedtoplaytwobulletedselectionsfromthefollowinglist .
Billé,IsaiaNew Method for Double Bass:part1–I[ER261]RIC• one of nos. 1–20 (pp .2–4)
Simandl,FranzNew Method for Double Bass,book1 FIS• exercises for the connection of the four Strings:
no. 1 and no. 2(p .9)
Slatford,Rodney(ed .)Yorke Studies for Double Bass,vol .1YOR• traditional, arr. John Walton: So early in the
morning(no .22)
technical tests
Allscalesandarpeggiosmustbeperformedfrommemory .Pleasesee“TechnicalRequirements”onp .000forimportantinformationregardingthissectionoftheexamination .Candidatesshouldbepreparedtoplaythefollowingscalesandarpeggios,ascendinganddescending .
ear teStS
rhythm
Candidateswillbeaskedtoclaportaptherhythmofashortmelodyafterithasbeenplayedtwicebytheexaminer .
– time signatures: or
melody Playback
Candidateswillbeaskedtoplaybackafour-notemelody,eitherontheirowninstrumentoronthepiano .Themelodywillbebasedonthefirstthreenotesofamajorscaleandmaycontainrepeatednotesandaleapofa3rd .Theexaminerwillnamethekey,playthetonictriadonce,andplaythemelodytwice . –beginning note:tonic,supertonic,ormediant – keys:C,F,orGmajor
SiGht readinG
SightreadingisnotrequiredinGrade1 .
theory co-requiSiteS
None
Scales Major B,C,F 1octave =60
arpeggios Major B,C,F 1octave =60
Double Bass Syllabus Grade 2 23
rePertoire
Pleasesee“ExaminationRepertoire”onpp .12–13forimportantinformationregardingthissectionoftheexamination .
Candidatesshouldbepreparedtoplaytwo contrastingselectionsbydifferentcomposersfromthefollowinglist .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .Candidatesareencouragedtochooseaprogramthatincludesavarietyofmusicalstyles,periods,andkeys .
Traditional• dargason(EnglishFolkTune)(no .8,arr .Keith
Hartley,inDouble Bass Solo PlusOUP)• Peruvian dance tune(arr .AngelaSchofield,in
Amazing Solos B&H)• Sakura(Japanesefolksong)(arr .GeorgeVance,in
Progressive Repertoire for the Double Bass,vol .2,p .8FIS)
• Song of the Volga boatmen(arr .GeorgeVance,inProgressive Repertoire for the Double Bass,vol .2,p .13FIS)
Bach,JohannSebastian• come, neighbours all,fromthePeasant Cantata,
BWV212(arr .AngelaSchofield,inAmazing SolosB&H)
Beethoven,Ludwigvan• ode to Joy,fromSymphonyno .9(no .7,arr .Keith
Hartley,inDouble Bass Solo,vol .1OUP)
Chopin,Frédéric• Grande valse brillante,op .18(arr .KeithHartley,
inDouble Bass Solo PlusOUP)
DeCoursey,RalphSix Easy PiecesBMI[op]• hippo march(no .1)andPlunkerama(no .4)
Deutschmann,Gerhard• menuett(arr .RodneySlatford,inYorke Solos for
Double BassYOR)
Eccles,John• minuet,fromAirs and Dances (arr .KeithHartley,
inDouble Bass Solo,vol .1OUP)
Elgar,Edward• theme from Pomp and circumstance(arr .inString
Festival Solos,vol .1BEL)
Lichner,Heinrich• dance of the Wooden Soldiers(inString Festival
Solos,vol .1BEL)
Mozart,Leopold• burleske(arr .JohnO’Reilly,inStrictly Strings,bk1,
ETL)
Mussorgsky,Modest• the Great Gate of kiev,fromPictures at an
Exhibition (no .1,arr .KeithHartley,inDouble Bass Solo,vol .1OUP)
Saint-Saëns,Camille• tortues,fromLe carnival des animaux(no .2,
arr .KeithHartley,inDouble Bass Solo,vol .1OUP)
Schumann,Robert• children’s Song,fromChildren’s Sonata,op .118,
no .1(arr .RodneySlatford,inYorke Solos for Double Bass YOR)
• Soldier’s march,fromAlbum for the Young,op .68(arr .KeithHartley,inDouble Bass Solo PlusOUP)
Strauss,Johann• Waltz – roses from the South,op .388(no .3,arr .
KeithHartley,inDouble Bass Solo,vol .1OUP)
Tchaikovsky,PyotrIl’yich• andante cantabile,fromStringQuartetno .1,
op .11(arr .KeithHartley,inDouble Bass Solo,1OUP)
Vance,George• Saraband(inProgressive Repertoire for the Double
Bass,vol .1,p .35FIS)
Grade 2
Grade 2 The Royal Conservatory of Music24
technical requirementS
Studies
Candidatesshouldbepreparedtoplaytwobulletedselectionsfromthefollowinglist .
Billé,IsaiaNew Method for Double Bass:part1–I[ER261]RIC• no. 29(p .6)• one of nos. 1–12(pp .11–13)
Simandl,FranzNew Method for Double Bass,book1FIS• no. 3 and no. 4(p .9)• no. 4(p .12)• no. 2(p .15)
Slatford,Rodney(ed .)Yorke Studies for Double Bass,vol .1YOR• adolphus c. White: Study in d minor(no .4)
technical tests
Allscalesandarpeggiosmustbeperformedfrommemory .Pleasesee“TechnicalRequirements”onp .18forimportantinformationregardingthissectionoftheexamination .Candidatesshouldbepreparedtoplaythefollowingscalesandarpeggios,ascendinganddescending .
ear teStS
rhythm
Candidateswillbeaskedtoclaportaptherhythmofashortmelodyafterithasbeenplayedtwicebytheexaminer . – time signatures:
or
Scales
Major A,D,E 1octave =72 and
Harmonicminor A,D,E
Melodicminor A,D,E
arpeggios
Major A,D,E 1octave =72
Minor A,D,E
Double Bass Syllabus Grade 2 25
intervals
Candidatesmaychooseto:(a)singorhumanyofthefollowingintervalsaftertheexaminerhasplayedthefirstnoteonce,OR(b)identifyanyofthefollowingintervalsaftertheexaminerhasplayedtheintervalonceinbrokenform . – above a given note:major3rd,perfect5th
melody Playback
Candidateswillbeaskedtoplaybackafive-notemelody,eitherontheirowninstrumentoronthepiano .Themelodywillbebasedonthefirstfivenotesofamajorscaleandmaycontainoneormoreleapsofa3rd .Theexaminerwillnamethekey,playthetonictriadonce,andplaythemelodytwice . – beginning note:tonicordominant – keys:C,F,orGmajor
SiGht readinG
SightreadingisnotrequiredinGrade2 .
theory co-requiSiteS
None
ear teStS continued
26 Grade 3 The Royal Conservatory of Music26
rePertoire
Pleasesee“ExaminationRepertoire”onpp .12–13forimportantinformationregardingthissectionoftheexamination .
Candidatesshouldbepreparedtoplaythree contrastingselectionsfromthefollowinglist .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .Candidatesareencouragedtochooseaprogramthatincludesavarietyofmusicalstyles,periods,andkeys .
Traditional• a-roving(arr .RodneySlatford,inYorke Studies for
Double Bass,vol .1GALAXY)• the british Grenadiers(arr .JohnWalton,inYorke
Studies for Double Bass,vol .1YOR)• fox and Goose(no .8,inProgressive Repertoire for
the Double Bass,vol .1,p .18FIS)• Go tell aunt rhody(no .9,inProgressive Repertoire
for the Double Bass,vol .1,p .21FIS)• the Jolly dutchman(arr .MerleIsaac)FIS• Strawberry fair(arr .JohnWalton,inYorke Studies
for Double Bass,vol .1YOR)
Bach,JohannSebastian• chorale(arr .IdaCarroll,inYorke Studies for Double
Bass,vol .1GALAXY)
Brahms,Johannes• lullaby,op .49,no .4(no .14,arr .KeithHartley,in
Double Bass Solo,vol .1OUP)
Dandrieu,Jean-François• Gavotte in rondo form(arr .LucasandGayle
Drew,inString Festival Solos,vol .1BEL)
Handel,GeorgeFrideric• march, fromJudas Maccabaeus(no .15,arr .Keith
Hartley,inDouble Bass Solo,vol .1OUP)• Sarabande and minuet(arr .inString Festival Solos,
vol .1BEL)
Lancen,Serge• Si j’étais bach(inYorke Solos for Double BassYOR)
Mendelssohn,Felix• Pilgrims’ march,fromSymphonyno .4(no .9,arr .
KeithHartley,inDouble Bass Solo,vol .1OUP)
Morley,Thomas• now is the month of maying(no .16,arr .Keith
Hartley,inDouble Bass Solo,vol .1OUP)
Mozart,WolfgangAmadeus• minuet,from12 Duets for Two Basset Horns,K487
(no .10,arr .KeithHartley,inDouble Bass Solo,vol .1OUP)
Pleyel,IgnaceJoseph• minuet(arr .inString Festival Solos,vol .1BEL)
Schubert,Franz• the trout(Variation3fromPianoQuintet,op .
114)(no .12,arr .KeithHartley,inDouble Bass Solo,vol .1OUP)
Schumann,Robert• the happy farmer,fromAlbum for the Young,op .
68(inProgressive Repertoire for the Double Bass,vol .1,p .31FIS)
Vance,George• country dance(inProgressive Repertoire for the
Double Bass,vol .1,p .25FIS)• irlandais(inProgressive Repertoire for the Double
Bass,vol .1,p .34FIS)
Grade 3
27Double Bass Syllabus Grade 3 27
Billé,IsaiaNew Method for Double Bass:part1–I[ER261]RIC• no. 31 (p .6)• one of nos. 1–3 (pp .14–15)• one of nos. 1–15 (pp .16–19)
Simandl,FranzNew Method for Double Bass,book1FIS• one of nos. 5–7(p .10)• no. 1(p .15)
Slatford,Rodney(ed .)Yorke Studies for Double Bass,vol .1YOR• traditional, arr. rodney Slatford: the croydon
frisk(no .5)
• traditional, arr. John Walton: barbara allen(no .23)
• traditional, arr. John Walton: begone dull care (no .39)
• traditional, arr. John Walton: the rat catcher’s daughter(no .47)
• marie dare: a minor major Study(no .50)• theodore michaelis: bowing exercise in 3/4
(no .10)• theodore michaelis: bowing exercise in 4/4
(no .19)• thomas tallis, arr. rodney Slatford: canon
(no .53)• arthur Sullivan: orchestral Study(no .18)• adolphus c. White: chromatic Study(no .100)
technical requirementS
Studies
Candidatesshouldbepreparedtoplaytwobulletedselectionsfromthefollowinglist .
technical tests
Allscalesandarpeggiosmustbeperformedfrommemory .Pleasesee“TechnicalRequirements”onp .18forimportantinformationregardingthissectionoftheexamination .Candidatesshouldbepreparedtoplaythefollowingscalesandarpeggios,ascendinganddescending .
ear teStS
rhythm
Candidateswillbeaskedtoclaportaptherhythmofashortmelodyafterithasbeenplayedtwicebytheexaminer . – time signatures:or
Scales
Major A,B,G 1octave =80 and
Harmonicminor A,B,G
Melodicminor A,G
arpeggios
Major A,B,G 1octave =80
Minor A,B,G
Grade 3 The Royal Conservatory of Music28
intervals
Candidatesmaychooseto:(a)singorhumanyofthefollowingintervalsaftertheexaminerhasplayedthefirstnoteonce,OR(b)identifyanyofthefollowingintervalsaftertheexaminerhasplayedtheintervalonceinbrokenform . – above a given note:major3rd,perfect5th,andperfectoctave – below a given note:minor3rd,perfect5th
melody Playback
Candidateswillbeaskedtoplaybackafive-notemelody,eitherontheirowninstrumentoronthepiano .Themelodywillbasedonthefirstfivenotesofamajorscaleandmaycontainskipsofa3rdora5th .Theexaminerwillnamethekey,playthetonictriadonce,andplaythemelodytwice . – beginning notes:tonicormediant – keys:C,F,G,orDmajor
SiGht readinG
Candidateswillbeaskedto:1 .PlayasimpleshortmelodyapproximatelyequalindifficultytorepertoireofaGrade1level .2 .Claportaptherhythmofamelodyin
time .Asteadypaceandrhythmicaccentuationareexpected .
theory co-requiSiteS
None
ear teStS continued
Double Bass Syllabus Grade 4 29
rePertoire
Pleasesee“ExaminationRepertoire”onpp .12–13forimportantinformationregardingthissectionoftheexamination .
Candidatesshouldbepreparedtoplaythree contrastingselectionsbydifferentcomposersfromthefollowinglist .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .Candidatesareencouragedtochooseaprogramthatincludesavarietyofmusicalstyles,periods,andkeys .
Bach,JohannSebastian• Gavotte and musette(arr .RodneySlatford,in
Yorke Solos for Double BassYOR)• my heart ever faithful,fromCantata68(no .21,
arr .KeithHartley,inDouble Bass Solo,vol .1OUP;arr .RodneySlatford,inYorke Solos for Double Bass YOR)
• of flowers the fairest, fromthePeasantCantata,BWV212(arr .IdaCarroll,inYorke Studies for Double BassYOR)
Chopin,Frédéric• maiden’s Wish,op .74,no .1(arr .Frederick
Zimmerman)FIS
DeCoursey,RalphSix Easy PiecesBMI[op]• Gigue(no .5)• nautch dance(no .6)
Dvor̆ák,Antonín• largo, fromSymphonyNo .9,“FromtheNew
World”(no .22,arr .KeithHartley,inDouble Bass Solo,1OUP)
Fauré,Gabriel• berceuse, fromDolly Suite,op .56(no .18,arr .
KeithHartley,inDouble Bass Solo,vol .1OUP)
Gossec,François• tambourin(arr .KeithHartley,inDouble Bass Solo
Plus OUP)
Grieg,Edvard• norwegian dance,op .35(arr .KeithHartley,in
Double Bass Solo PlusOUP)
Lancen,Serge• Si j’étais mussorgsky(inYorke Solos for Double Bass
YOR)
Láska,Gustav• chiarimna(inYorke Solos for Double BassYOR)• romanza(inYorke Solos for Double BassYOR)• Scherzo-Polka(inYorke Solos for Double Bass YOR)
Mozart,WolfgangAmadeus• a little melody(arr .GustavLáska,inYorke Solos
for Double BassYOR)
Nicks,GeoffA Dog’s Life(inYorke Solos for Double Bass YOR)• the Great tail chase
Paganini,Niccolò• moto perpetuo(arr .GeorgeVance,inProgressive
Repertoire for the Double Bass,vol .2,p .15FIS)
Rameau,Jean-Philippe• rigaudon(arr .GeorgeVance,inProgressive
Repertoire for the Double Bass,vol .2,p .20FIS)
Schubert,Franz• entr’acte, fromIncidentalMusictoRosamunde(no .
6,arr .KeithHartley,inDouble Bass Solo,vol .1OUP)
Sibelius,Jean• finlandia,op .26,no .7(no .19,arr .KeithHartley,
inDouble Bass Solo,vol .1OUP)
Tchaikovsky,PyotrIl’yich• andante(Variation6fromRococo Variations,op .
33)(no .25,arr .KeithHartley,inDouble Bass Solo,vol .1OUP)
• old french Song,fromAlbum for the Young,op .39(no .17,arr .KeithHartley,inDouble Bass Solo,vol .1OUP)
Weber,CarlMariavon• invitation to the dance(arr .KeithHartley,in
Double Bass Solo PlusOUP)
Grade 4
Grade 4 The Royal Conservatory of Music30
technical requirementS
Studies
Candidatesshouldbepreparedtoplaytwobulletedselectionsfromthefollowinglist .
Billé,IsaiaNew Method for Double Bass:part1–I[ER261]RIC• one of nos. 18–62 (pp .22–43)New Method for Double Bass:part1–III[ER263]RIC• one of nos. 1–7 (pp .4–8)
Simandl,FranzNew Method for Double BassFIS• no. 5(p .12)• exercises in the half and i Position, nos. 1–4
(pp .13–14)
technical tests
Allscalesandarpeggiosmustbeperformedfrommemory .Pleasesee“TechnicalRequirements”onp .18forimportantinformationregardingthissectionoftheexamination .Candidatesshouldbepreparedtoplaythefollowingscalesandarpeggios,ascendinganddescending .
ear teStS
rhythm
Candidateswillbeaskedtoclaportaptherhythmofashortmelodyafterithasbeenplayedtwicebytheexaminer . – time signatures:or
intervals
Candidatesmaychooseto:(a)singorhumanyofthefollowingintervalsaftertheexaminerhasplayedthefirstnoteonce,OR(b)identifyanyofthefollowingintervalsaftertheexaminerhasplayedtheintervalonceinbrokenform . – above a given note:majorandminor3rd,perfect4th,5th,andoctave – below a given note:minor3rd,perfect5th,andoctave
Scales
Major A,D,E 1octave =96 and
Harmonicminor A,D,E
Melodicminor A,D,E
arpeggios
Major D,E 1octave =96
Minor D,E
Double Bass Syllabus Grade 4 31
melody Playback
Candidateswillbeaskedtoplaybackasix-notemelody,eitherontheirowninstrumentoronthepiano .Themelodywillbasedonthefirstfivenotesofamajorscale .Theexaminerwillnamethekey,playthetonictriadonce,andplaythemelodytwice . – beginning notes:tonic,mediant,ordominant – keys:C,F,G,orDmajor
SiGht readinG
Candidateswillbeaskedto:1 .PlayasimpleshortmelodyapproximatelyequalindifficultytorepertoireofaGrade2level .2 .Claportaptherhythmofamelodyin
ortime .Asteadypaceandrhythmicaccentuationareexpected .
theory co-requiSiteS
None
ear teStS continued
Grade 5 The Royal Conservatory of Music32
Traditional• the Gift to be Simple(Shakersong)(no .27,
arr .KeithHartley,inDouble Bass Solo,vol .1OUP)• Greensleeves(no .30,arr .KeithHartley,inDouble
Bass Solo,vol .1OUP)• morris dance – english country dance
(arr .KeithHartley,inDouble Bass Solo Plus OUP)
Bach,JohannSebastian• Gavotte(arr .FrederickZimmerman)FIS• Jesu Joy of man’s desiring,fromCantata147
(no .29,arr .KeithHartley,inDouble Bass Solo,vol .1OUP)
• minuet, fromAnna Magdalena Book(arr .KeithHartley,inDouble Bass Solo,1OUP)
Beethoven,Ludwigvan• minuet[MinuetinGWoO10/2](no .36,arr .Keith
Hartley,inDouble Bass Solo,vol .1OUP)
Bernstein,Leonard• america,fromWest Side Story (arr .Angela
Schofield,inAmazing SolosB&H)• cool,fromWest Side Story(arr .AngelaSchofield,
inAmazing SolosB&H)
Bizet,Georges• minuet, fromL’arlésienne suite no. 2 (no .33,
arr .KeithHartley,inDouble Bass Solo,vol .1OUP)
Deutschmann,Gerhard• march (arr .RodneySlatford,inYorke Solos for
Double BassYOR)
Glière,Reinhold• russian Sailor’s dance,fromThe Red Poppy
(arr .MerleIsaac)FIS
Handel,GeorgeFrideric• the harmonious blacksmith,fromHarpsichord
SuiteNo .5(no .20,arr .KeithHartley,inDouble Bass Solo,vol .1OUP)
• march,fromScipio(arr .KeithHartley,inDouble Bass Solo,vol .1OUP)
• Sarabande,fromConcertoinFminor(arr .RobertM .Barr)DOB
• Where’er you Walk,fromSemele(no .28,arr .KeithHartley,inDouble Bass Solo,vol .1OUP)
Haydn,FranzJoseph• andante,fromTrumpetConcerto,HobVIIe:1
(no .32,arr .KeithHartley,inDouble Bass Solo,vol .1OUP)
Holst,Gustav• Jupiter,fromThe Planets(arr .KeithHartley,in
Double Bass Solo PlusOUP)
Janác̆ek,Leos̆• three moravian folk Songs(arr .Angela
Schofield,inAmazing SolosB&H)
Purcell,Henry• rondeau,fromA Midsummer Night’s Dream
(arr .KeithHartley,inDouble Bass Solo PlusOUP)• When i am laid in earth,fromDido and Aeneas
(no .31,arr .KeithHartley,inDouble Bass Solo,vol .1OUP)
Tchaikovsky,PyotrIl’yich• andantino,fromSymphonyNo .4(no .24,
arr .KeithHartley,inDouble Bass Solo,vol .1OUP)
Thomas,Ambroise• Gavotte,fromMignon(arr .KeithHartley,inDouble
Bass Solo PlusOUP)
Turetzky,Bertram• Suite from the 18th centuryM&M
Warlock,Peter• basse danse,fromCapriol Suite(arr .Angela
Schofield,inAmazing SolosB&H;arr .KeithHartley,inDouble Bass Solo Plus OUP)
rePertoire
Pleasesee“ExaminationRepertoire”onpp .12–13forimportantinformationregardingthissectionoftheexamination .
Candidatesshouldbepreparedtoplaythree contrastingselectionsbydifferentcomposersfromthefollowinglist .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .Candidatesareencouragedtochooseaprogramthatincludesavarietyofmusicalstyles,periods,andkeys .
Grade 5
Double Bass Syllabus Grade 5 33
technical requirementS
Studies
Candidatesshouldbepreparedtoplaytwocontrastingstudiesfromthefollowinglist .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .
technical tests
Allscalesandarpeggiosmustbeperformedfrommemory .Pleasesee“TechnicalRequirements”onp .18forimportantinformationregardingthissectionoftheexamination .Candidatesshouldbepreparedtoplaythefollowingscalesandarpeggios,ascendinganddescending .
ear teStS
rhythm
Candidateswillbeaskedtoclaportaptherhythmofashortmelodyafterithasbeenplayedtwicebytheexaminer . – time signatures:or
Scales
Major E,F,G 2octaves =60 and
Harmonicminor E,F,G
Melodicminor E,F,G
arpeggios
Major E,F,G 2octaves =112 and
Minor E,F,G
Billé,IsaiaNew Method for Double Bass:part1–I[ER261]RIC• one of nos. 63–107 (pp .44–69)New Method for Double Bass:part1–III[ER263]RIC• one of nos. 8–17
Rabbath,FrançoisNouvelle technique de la contrebasse,vol .1LED• etude 1(p .13)• etude 2(p .16)
Simandl,FranzNew Method for Double Bass,book1FIS• no. 2 or no. 3(p .43)• no. 6 or no. 7(p .20)• nos. 1–4(pp .16–17)
Slatford,Rodney(ed .)Yorke Studies for Double Bass,vol .1YOR• traditional, arr. John Walton: Paddy Whack(no .
66)• traditional, arr. John Walton: Polly Put the kettle
on(no .65)• traditional, arr. John Walton: it Was a lover and
his lass(no .27)• christopher W. field: lord brumleigh, his
alman,fromBroomleigh Suite(no .71)• theodore michaelis: G minor arpeggio and
bowing exercises(no .28)• anthony Scelba: bariolage(no .26)• anthony Scelba: martelé(no .62)• anthony Scelba: Spiccato(no .64)• arthur Sullivan, arr. rodney Slatford: bowing
exercises: crossing Strings (1)(no .61)• arthur Sullivan, arr. rodney Slatford: bowing
exercises: crossing Strings (2)(no .72)
Grade 5 The Royal Conservatory of Music34
intervals
Candidatesmaychooseto:(a)singorhumanyofthefollowingintervalsaftertheexaminerhasplayedthefirstnoteonce,OR(b)identifyanyofthefollowingintervalsaftertheexaminerhasplayedtheintervalonceinbrokenform . – above a given note:majorandminor3rdsand6ths,perfect4th,5th,andoctave – below a given note:majorandminor3rds,perfect5th,andoctave
melody Playback
Candidateswillbeaskedtoplaybackamelodyofapproximatelysevennotes,eitherontheirowninstrumentoronthepiano .Themelodywillbebasedonthefirstfivenotesandtheuppertonicofamajorscale .Theexaminerwillnamethekey,playthetonictriadonce,andplaythemelodytwice . beginning notes:tonic,mediant,ordominant keys: G,D,orAmajor
SiGht readinG
Candidateswillbeaskedto:1 .PlayamelodyapproximatelyequalindifficultytorepertoireofaGrade3level .2 .Claportaptherhythmofashortmelodyin,,ortime .Asteadypaceandrhythmicaccentuationare
expected .
theory co-requiSiteS
PreliminaryRudiments
ear teStS continued
Double Bass Syllabus Grade 6 35
Bach,JohannSebastian• Sheep may Safely Graze,fromCantata208
(no .34,arr .KeithHartley,inDouble Bass Solo,vol .1OUP)
Bach for the Young Bass PlayerMCA• air,fromFrenchSuiteno .2(no .10)• hymn – Wie voll ist mir,fromtheAnna Magdalena
Bach Notebook(no .2)
• minuet,fromFrenchSuiteNo .2(no .4)• musette,BWVAnh126,fromtheAnna Magdalena
Bach Notebook(no .3)
Bach,WilhelmFriedmann• allegro(inProgressive Repertoire for the Double Bass,
vol .2,p .31FIS)
rePertoire
Pleasesee“ExaminationRepertoire”onpp .12–13forimportantinformationregardingthissectionoftheexamination .
Candidatesshouldbepreparedtoplaythree selectionsbydifferentcomposers:onefromListA,onefromListB,andonefromListC .Candidatesareencouragedtochooseaprogramthatincludesavarietyofmusicalstyles,periods,andkeys .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .
liSt a: baroque repertoire
liSt b: classical repertoire
Beethoven,Ludwigvan• Sonatina[no .2ofZwei Klaviersonatinen,Anh5]
(no .50,arr .KeithHartley,inDouble Bass Solo,vol .1OUP)
Gossec,François• Gavotte(arr .MerleIsaac,inProgressive Repertoire
for the Double Bass,vol .3,p .8FIS)
Haydn,FranzJoseph• rondo all’ongarese,fromPianoTrioinGmajor
(no .37,arr .KeithHartley,inDouble Bass Solo,vol .1OUP)
Rossini,Gioacchino• tyrolean dance(arr .KeithHartley,inDouble Bass
Solo PlusOUP)
liSt c: romantic and 20th-century repertoire
Bizet,Georges• toreador’s Song,fromCarmen(no .39,arr .Keith
Hartley,inDouble Bass Solo,vol .1OUP)
Brahms,Johannes• St. anthony choral,fromHaydnVariations
(no .40,arr .KeithHartley,inDouble Bass Solo,vol .1OUP)
• Waltz,op .39,no .15(arr .GeorgeVance,inProgressive Repertoire for the Double Bass,vol .2,p .42FIS)
Delibes,Leo• Valse,fromCoppélia,act1,no .1(no .44,arr .Keith
Hartley,inDouble Bass Solo,vol .1OUP)
Deutschmann,Gerhard• the fairground(inYorke Solos for Double Bass
YOR)
Fauré,Gabriel• Pavanne,op .50(no .43,arr .KeithHartley,in
Double Bass Solo,vol .1OUP)
Kreisler,Fritz• Praeludium after Pugnani(no .49,arr .Keith
Hartley,inDouble Bass Solo,vol .1OUP)
Mascagni,Pietro• intermezzo,fromCavalleria Rusticana(no .38,
arr .KeithHartley,inDouble Bass Solo,vol .1OUP)
Grade 6
Grade 6 The Royal Conservatory of Music36
Mendelssohn,Felix• nocturne,fromA Midsummer Night’s Dream
(no .41,arr .KeithHartley,inDouble Bass Solo,1OUP)
Moszkowski,Moritz• Spanish dance,no .2,op .12(arr .KeithHartley,in
Double Bass Solo PlusOUP)
Poulenc,Francis• mouvement perpétuel no. 1(arr .KeithHartley,in
Double Bass Solo PlusOUP)
Radcliffe,Philip• Prelude in e minorYOR
Schumann,Robert• Wild rider,fromAlbum for the Young,op .68
(arr .HalRobinsonandGeorgeVance,inProgressive Repertoire for the Double Bass,vol .3,p .12FIS)
Toselli,Enrico• Serenata(arr .KeithHartley,inDouble Bass Solo
PlusOUP)
Tutt,David• improvisation(inYorke Solos for Double BassYOR)
Walton,John• a deep Song(arr .LucasDrew)YOR
Waud,J .P .• novelette(arr .RodneySlatford,inYorke Solos for
Double BassYOR)
technical requirementS
Studies
Candidatesshouldbepreparedtoplaytwocontrastingstudiesfromthefollowinglist .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .
Billé,IsaiaNew Method for Double Bass:part1–I[ER261]RIC• one study fromno .76(p .53)totheendofthe
book
Rabbath,FrançoisNouvelle technique de la contrebasse,vol .1LED• etude 3• etude 4• etude 5
Simandl,FranzNew Method for Double BassFIS• exercise in 4ths(p .58)• exercise in 5ths(p .61)• exercise in 6ths(p .64)• exercise in 7ths(p .66)• exercise in octaves(p .67)• nos. 1–3(pp .55–56)
Slatford,Rodney(ed .)Yorke Studies for Double Bass,vol .1YOR• traditional, arr. rodney Slatford: What can the
matter be?(no .107)• traditional, arr. John Walton: caller herrin’
(no .31)• marie dare: Semiquaver Study(no .112)• marie dare: Study in d major(no .80)• christopher W. field: Gigue,fromBroomleigh
Suite(no .117)• James hook, arr. rodney Slatford: the lass of
richmond hill(no .115)• theodore michaelis: a flat major arpeggio and
bowing exercise(no .106)• e. Pederzani: little Study(no .114)• rodney Slatford: mock Scotch(no .109)• david Walter: happy blues(no .81)
liSt c: romantic and 20th-century repertoire continued
Double Bass Syllabus Grade 6 37
technical tests
Allscalesandarpeggiosmustbeperformedfrommemory .Pleasesee“TechnicalRequirements”onp .18forimportantinformationregardingthissectionoftheexamination .Candidatesshouldbepreparedtoplaythefollowingscalesandarpeggios,ascendinganddescending .
Scales
Major A,B,E* 2octaves =66 and
Melodicminor A,B
Harmonicminor A,B
arpeggios
Major A,B,E 2octaves =46 and
Minor A,B
Dominant7th Fmajor 2octaves =56 and (starting onC)
*E scalesaretobeplayedwiththesecondnotedroppinganoctave .
ear teStS
rhythm
Candidateswillbeaskedtoclaportaptherhythmofashortmelodyafterithasbeenplayedtwicebytheexaminer . – time signatures:,, or
intervals
Candidatesmaychooseto:(a)singorhumanyofthefollowingintervalsaftertheexaminerhasplayedthefirstnoteonce,OR(b)identifyanyofthefollowingintervalsaftertheexaminerhasplayedtheintervalonceinbrokenform . – above a given note:major2nd,majorandminor3rdsand6ths,perfect4th,5th,andoctave – below a given note:majorandminor3rds,minor6th,perfect4th,5th,andoctave
chords
Candidateswillbeaskedtonameanyofthefollowingchordsaftertheexaminerhasplayedthechordonceinsolidform,closeposition: – majorandminortriadsinrootposition
technical requirementS continued
Grade 6 The Royal Conservatory of Music38
melody Playback
Candidateswillbeaskedtoplaybackamelodyofapproximatelyninenotes,eitherontheirowninstrumentoronthepiano .Themelodywillbebasedonthecompletemajorscalefromtonictotonic,orfromdominanttodominant .Theexaminerwillnamethekey,playthetonictriadonce,andplaythemelodytwice . – beginning notes:tonic,mediant,ordominant – keys:C,G,D,orAmajor
SiGht readinG
Candidateswillbeaskedto:1 .PlayamelodyapproximatelyequalindifficultytorepertoireofaGrade4level .2 .Claportaptherhythmofashortmelodyin,, ortime .Asteadypaceandrhythmic
accentuationareexpected .
theory co-requiSiteS
Grade1Rudiments
ear teStS continued
Double Bass Syllabus Grade 7 39
AngelodeProsse• Petite bourrée(arr .ForestR .Etling,inSolo Time
for Strings,bk4ETL)
Bach,JohannSebastian• Jesu Joy of man’s desiring(arr .ForestR .Etling,in
Solo Time for Strings,bk4ETL)• minuet(arr .ForestR .Etling,inSolo Time for
Strings,bk4ETL)• minuet(no .8,inBach for the Young Bass Player
MCA)• Polonaise,fromtheAnna Magdalena Bach Notebook
(no .5inBach for the Young Bass Player MCA)• Sarabande,fromFrenchSuiteno .4(no .11,in
Bach for the Young Bass Player MCA)
Beethoven,Ludwigvan• minuetto(arr .ForestR .Etling,inSolo Time for
Strings,bk4ETL)
Corelli,Arcangelo• Sarabande(arr .FrederickZimmerman)FIS
Gabriel-Marie• la cinquantaine(arr .ForestR .Etling,inSolo Time
for Strings,bk4ETL)
Galliard,JohnErnest• adagio and allegro(arr .LucasDrewandSamuel
Applebaum,inString Festival Solos,vol .2BEL)
Giordani,Tommaso• aria(arr .ForestR .Etling,inSolo Time for Strings,
bk4ETL)
Gluck,ChristophWillibald• andante(arr .ForestR .Etling,inSolo Time for
Strings,bk4ETL)
Handel,GeorgeFrideric• largo,fromSerse(arr .FrederickZimmerman)FIS• march,fromScipione(arr .ForestR .Etling,inSolo
Time for Strings,bk4ETL)
Lamare,Tomasso• andantino(arr .ForestR .Etling,inSolo Time for
Strings,bk4ETL)
rePertoire
Pleasesee“ExaminationRepertoire”onpp .12–13forimportantinformationregardingthissectionoftheexamination .
Candidatesshouldbepreparedtoplaythree selectionsbydifferentcomposers:onefromListA,onefromListB,andonefromListC .Candidatesareencouragedtochooseaprogramthatincludesavarietyofmusicalstyles,periods,andkeys .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .
liSt a: baroque and classical repertoire
liSt b: Sonatinas and Sonatas
Andersen,ArthurOlaf• SonatinaFIS
Beethoven,Ludwigvan• Sonatina(arr .OscarZimmerman,inSolos for the
Double Bass Player SCH)
Luening,Otto• Sonata for Solo double bassHIG;GAX →twocontrastingmovements
Marcello,BenedettoSix SonatasSCH;INT• Sonata no. 1 in f major →twocontrastingmovements• Sonata no. 2 in e minor →twocontrastingmovements• Sonata no. 3 in a minor →twocontrastingmovements• Sonata no. 4 in G minor →two contrastingmovements• Sonata no. 5 in c major →twocontrastingmovements• Sonata no. 6 in G major →twocontrastingmovements
Grade 7
Grade 7 The Royal Conservatory of Music40
Bizet,Georges• entr’acte no. 2,fromCarmen(no .46,arr .Keith
Hartley,inDouble Bass Solo,vol .1OUP)
Dvor̆ák,Antonín• Symphony no. 8(arr .KeithHartley,inDouble Bass
Solo,vol .2OUP)
Grieg,Edvard• Solveig’s Song,fromPeer Gynt(arr .Angela
Schofield,inAmazing SolosB&H)
Mendelssohn,Felix• on Wings of Song(arr .ForestR .Etling,inSolo
Time for Strings,bk4ETL)
Saint-Saëns,Camille• elephant,fromCarnival of the AnimalsDUR;HEN
(inSolos for Double Bass,2OUP;Progressive Repertoire for the Double Bass,vol .3,bk4FIS)
Schubert,Franz• allegro vivace,fromoverturetoRosamunde(no .
45,arr .KeithHartley,inDouble Bass Solo,vol .1OUP)
Verdi,Guiseppe• agnus dei,fromRequiem(no .47,arr .Keith
Hartley,inDouble Bass Solo,vol .1OUP)• la donna è mobile,fromRigoletto(arr .Angela
Schofield,inAmazing SolosB&H)
Wagner,Richard• die meistersinger von nürnberg(arr .MerleIsaac)
FIS
liSt c: romantic and 20th-century repertoire
orcheStral excerPtS
Candidatesshouldbepreparedtoplaytwo ofthefollowingorchestralexcerpts .Inaddition,candidatesareencouragedtolistentoandbefamiliarwiththeworksfromwhichtheseexcerptsaretaken .Candidatesmayusepublishedorchestralpartsforthespecificexcerpts .Alternatively,candidatesmayuseexcerptsprintedinthefollowinganthologies:
Green,Barry .Advanced Techniques of Double Bass Playing .EditedbyPaulMartinPalomboandLucasDrew .Cincinnati:Piper,1976 .
Hartley,Keith .Double Bass Solo: A New Selection of Pieces from the Orchestral Repertoire, vol .2 .London:OxfordUniversityPress,1982 .
Zimmerman,Oscar,ed .The Complete Double Bass Parts of Thirty-Six Overtures .Interlochen,Michigan:ZimmermanPublications,1976 .
Advanced Techniques of Double Bass Playing• any two excerpts
Berlioz,Hector• King Lear →Andante non troppo lento ma maestoso:2measures
afterrehearsalnumber6to2measuresafterrehearsalnumber8(in:Hartley,Double Bass Solo,vol .2,no .7)(in:Hartley,Double Bass Solo,vol .2,no .7;ANDin:Zimmerman,Thirty-Six Overtures)
Bizet,Georges• Jeux d’enfants →Galop(in:Hartley,Double Bass Solo,vol .2,no .5)
Borodin,Alexander• Prince Igor →2measuresbeforerehearsalletterhto7
measuresbeforerehearsalletterk(in:Hartley,Double Bass Solo,vol .2,no .4)(in:Hartley,Double Bass Solo,vol .2,no .4;ANDin:Zimmerman,Thirty-Six Overtures)
Haydn,FranzJoseph• Symphony no. 6(“Lematin”)(in:Hartley,Double
Bass Solo,vol .2,no .23)(in:Doblinger,3rdmovement,rehearsalnumber35to42)
• Symphony no. 45(“Farewell”)(in:Hartley,Double Bass Solo,vol .2,no .17)(in:PhilharmoniaNo .592,UniversalEditon,rehearsalnumber56to68)
Holst,Gustav• The Perfect Fool(in:Hartley,Double Bass Solo,vol .
2,no .6)
Double Bass Syllabus Grade 7 41
Billé,IsaiaNew Method for Double Bass,part1–III[ER263]RIC• one of nos. 26–33
Rabbath,FrançoisNouvelle technique de la contrebasse,vol .1LED• etude 6• etude 7
Simandl,FranzNew Method for Double Bass,vol .1FIS• one exercise from pp. 70–77Thirty Etudes for the String BassFIS• one of nos. 1–6
Slatford,Rodney(ed .)Yorke Studies for Double Bass,vol .1YOR• adrian beers: Study in e flat major (no .130)• ludwig van beethoven: orchestral Study –
Symphony no. 4 (no .131,any two)• anthony Scelba: adagio (no .133)
Storch,JosefEmanuel,andJosefHrabeFifty-Seven Studies for String Bass,vol .1INT• one of nos. 1–7
technical requirementS
Studies
Candidatesshouldbepreparedtoplaytwocontrastingstudiesfromthefollowinglist .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .
technical tests
Allscalesandarpeggiosmustbeperformedfrommemory .Pleasesee“TechnicalRequirements”onp .18forimportantinformationregardingthissectionoftheexamination .Candidatesshouldbepreparedtoplaythefollowingscalesandarpeggios,ascendinganddescending .
Scales
Major C,F,B 2octaves =69 and
Harmonicminor C,F,B
Melodicminor C,F,B
Major F,E 3octaves
Harmonicminor F,E
Chromatic starting onG 2octaves =50
arpeggios
Major F,E 2octaves =50
Minor F,E
Major F 3octaves =46
Minor F
Dominant7th Bmajor 3octaves =56 (starting onF)
Diminished7th Gminor (starting onF)
Grade 7 The Royal Conservatory of Music42
ear teStS
rhythm
Candidateswillbeaskedtoclaportaptherhythmofashortmelodyafterithasbeenplayedtwicebytheexaminer . –time signatures:,, or
intervals
Candidatesmaychooseto:(a)singorhumanyofthefollowingintervalsaftertheexaminerhasplayedthefirstnoteonce,OR(b)identifyanyofthefollowingintervalsaftertheexaminerhasplayedtheintervalonceinbrokenform .
– above a given note:majorandminor2nds,3rds,and6ths,perfect4th,5th,andoctave– below a given note:majorandminor3rds,minor6th,major7th,perfect4th,5th,andoctave
chords
Candidateswillbeaskedtonameanyofthefollowingchordsaftertheexaminerhasplayedthechordonceinsolidform,closeposition: – majorandminortriadsinrootposition – dominant7thchordsinrootposition
melody Playback
Candidateswillbeaskedtoplaybackamelodyofapproximatelyninenotes,eitherontheirowninstrumentoronthepiano .Themelodywillbeaboutanoctaveinrangeandwillbebasedonacompletemajorscalefromtonictotonic,medianttomediant,ordominanttodominant .Theexaminerwillnamethekey,playthetonictriadonce,andplaythemelodytwice . – beginning notes:tonic,mediant,dominant, oruppertonic – keys:C,F,G,D,orAmajor
SiGht readinG
Candidateswillbeaskedto:1 .PlayashortcompositionequalindifficultytorepertoireofaGrade5level .2 .Claportaptherhythmofamelodyin,, , ortime .Asteadypaceandrhythmicaccentuationare
expected .
theory co-requiSiteS
Grade2Rudiments
Double Bass Syllabus Grade 8 43
Bach,JohannSebastian• bourrée,fromCelloSuiteNo .3inCmajor,BWV
1009(arr .OscarZimmerman,in Solos for the Double Bass Player SCH)
Bach for the Young Bass PlayerMCA• air,fromFrenchSuiteNo .2(no .7)• Prelude,BWV933,fromSix Little Preludes(no .12)
Drew,Lucas• Zodiac SuiteWAR →twocontrastingmovements
rePertoire
Pleasesee“ExaminationRepertoire”onpp .12–13forimportantinformationregardingthissectionoftheexamination .
Candidatesshouldbepreparedtoplaythree selectionsbydifferentcomposers:onefromListA,onefromListB,andonefromListC .Candidatesareencouragedtochooseaprogramthatincludesavarietyofmusicalstyles,periods,andkeys .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .
liSt a: Works for Solo double bass
liSt b: Sonatas and concertos
Antonietti,Giorgio• Sonata in G minor(ed .OscarZimmerman,in
Seven Baroque Sonatas ZIM) →twocontrastingmovements
Capuzzi,Antonio• concerto for double bass(orchestraltuning)
(ed .FrancisBaines)B&H →1stmovement
Gardoni,S .• Small Suite in classical Style(arr .Oscar
Zimmerman,inTen Solos for Double BassBEL)
Scarlatti,AlessandroThree SonatasSCH• Sonata no. 1 in d minor →twocontrastingmovements• Sonata no. 2 in c minor →twocontrastingmovements• Sonata no. 3 in c major →twocontrastingmovements
Vivaldi,Antonio• Sonata no. 3 in a minorINT;SCH →two contrastingmovements• Sonata no. 5 in e minorINT;SCH →twocontrastingmovements
liSt c: concert Pieces
Album of Ten Classical Pieces (ed .StuartSankey)• two of:
ErnestChausson:interlude,fromPoem of Love and the Sea(no .6)
FrançoisCouperin:l’épineuse(no .5)GeorgeFridericHandel:andante,fromFlute
Sonata,op .1,no .9(no .2)IgorStravinsky:Pastorale(no .3)GeorgPhilippTelemann:trumpet air(no .1)GeorgPhilippTelemann:Vivace,fromFlute
Sonata(no .4)
Chopin,Frédéric• largo,fromSonataforCelloandPiano,op .6(arr .
LucasDrew,inSolo Albums for Double Bass,vol .1WAR)
DeCoursey,Ralph• four miniaturesBMI[op] →anytwo
Elliott,Vernon• odd man outYOR
Grade 8
Grade 8 The Royal Conservatory of Music44
Gabriel-Marie• la cinquantaine(arr .GeorgeVance,inProgressive
Repertoire for the Double Bass,vol .3,p .16FIS)
Pergolesi,GiovanniBattista• tre giorni(arr .GeorgeVance,inProgressive
Repertoire for the Double Bass,vol .3,p .10FIS)
Rachmaninoff,Sergei• Vocalise,op .34,no .14(arr .OscarZimmerman,
inSolos for the Double Bass PlayerBEL)
Russell,Armand• buffo SetSCH →onemovement• chaconneSCH(arr .OscarZimmerman,inSolos for
the Double Bass PlayerSCH)
Thomas,Ambroise• Gavotte,fromMignon(arr .GeorgeVance,in
ProgressiveRepertoire for the Double Bass,vol .3,p .18FIS)
Bach,JohannSebastian• Violin concerto no. 2 →2ndmovement(Adagio):mm .1–15(in:Hartley,
Double Bass Solo,vol .2,no .18)(in:Hartley,Double Bass Solo,vol .2,no .18;ANDin:Zimmerman,Johann Sebastian Bach)
Bartók,Béla• romanian folk dances →Danceno .5(in:Hartley,Double Bass Solo,vol .2,
no .24)
Dvor̆ák,Antonín• Symphony no. 9,op .95(in:Zimmerman,
Romantic Symphonies) →1stmovement(complete)
Mahler,Gustav• Symphony no. 4 →1stmovement:2measuresafterrehearsal
number18torehearsalnumber19(in:Hartley,Double Bass Solo,vol .2,no .14;ANDin:Zimmerman,Mahler Symphonies 1 through 5)
Mozart,WolfgangAmadeus• requiem(in:Simandl,New Method for Double Bass,
p .106)
Saint-Saëns,Camille• Le carnaval des animaux →L’éléphant(in:Hartley,Double Bass Solo,vol .2,
no .9)
Wagner,Richard• Lohengrin →Preludetoact3(in:Hartley,Double Bass Solo,
vol .2,no .44)
liSt c: concert Pieces continued
orcheStral excerPtS
Candidatesshouldbepreparedtoplaytwoofthefollowingorchestralexcerpts .Inaddition,candidatesareencouragedtolistentoandbefamiliarwiththeworksfromwhichtheseexcerptsaretaken .Candidatesmayusepublishedorchestralpartsforthespecificexcerpts .Alternatively,candidatesmayuseexcerptsprintedinthefollowinganthologies:
Hartley,Keith .Double Bass Solo: A New Selection of Pieces from the Orchestral Repertoire,vol .2 .London:OxfordUniversityPress,1982 .
Simandl,Franz .New Method for Double Bass .ed .FrederickZimmerman .NewYork:CarlFischer,1987 .Zimmerman,Oscar,ed .The Complete Double Bass Parts of Johann Sebastian Bach .Interlochen,Michigan:
ZimmermanPublications,1975 .Zimmerman,Oscar,ed .The Complete Double Bass Parts of Mahler Symphonies (1 through 5) .Interlochen,
Michigan:ZimmermanPublications,1976 .Zimmerman,Oscar,ed .The Complete Double Bass Parts of Selected Romantic Symphonies .Interlochen,
Michigan:ZimmermanPublications,1975 .
technical tests
Allscalesandarpeggiosmustbeperformedfrommemory .Pleasesee“TechnicalRequirements”onp .18forimportantinformationregardingthissectionoftheexamination .Candidatesshouldbepreparedtoplaythefollowingscalesandarpeggios,ascendinganddescending .
Double Bass Syllabus Grade 8 45
Billé,IsaiaNew Method for Double Bass:part1–III[ER263]RIC• one of nos. 34–46
Rabbath,FrançoisNouvelle technique de la contrebasse,vol .2LED• etude 11• etude 12
Simandl,FranzNew Method for Double Bass,book1FIS• exercise in broken chords(pp .104–105)• legato exercises(p .101)• legato exercise on two strings,no .5(p .103)• no. 4 or no. 5(p .89)
Thirty Etudes for the String BassFIS• one of nos. 7–18
Storch,JosefEmanuel,andJosefHrabeFifty-Seven Studies for String Bass,vol .1INT• one of nos. 8–18
technical requirementS
Scales
Major A,D,D 2octaves =72 and
Harmonicminor A,D,D
Melodicminor A,D,D
Major G 3octaves
Harmonicminor G
Melodicminor G
Chromatic starting onA 2octaves =50
starting onE 3octaves
arpeggios
Major A,B 2octaves =52
Minor A,B
Major G 3octaves =50
Minor G
Dominant7th Cmajor 3octaves =48 (starting onG)
Diminished7th Aminor (starting onG)
Studies
Candidatesshouldbepreparedtoplaytwocontrastingstudiesfromthefollowinglist .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .
Grade 8 The Royal Conservatory of Music46
ear teStS
intervals
Candidatesmaychooseto:(a)singorhumanyofthefollowingintervalsaftertheexaminerhasplayedthefirstnoteonce,OR(b)identifyanyofthefollowingintervalsaftertheexaminerhasplayedtheintervalonceinbrokenform .
– above a given note:majorandminor2nds,3rds,and6ths,minor7th,perfect4th,5th,andoctave– below a given note:major2nd,majorandminor3rds,minor6th,major7th,perfect4th,5th,andoctave
chords
Candidateswillbeaskedtonameanyofthefollowingchordsaftertheexaminerhasplayedthechordonceinsolidform,closeposition: – majorandminortriadsinrootposition – dominant7thanddiminished7thchordsinrootposition
cadences
Candidateswillbeaskedtoidentify,bynameorsymbols,anyofthefollowingcadencesaftertheexaminerhasplayedthetonicchordonce,andthenhastwiceplayedashortphraseinamajororminorkeyendingwithacadence: – perfect(authentic,V-I) – plagal(IV-I)
melody Playback
Candidateswillbeaskedtoplaybackamelodyofapproximatelyninenotes,eitherontheirowninstrumentoronthepiano .ThemelodywillbeaboutanoctaveinrangeandwillcontainrhythmicfiguresthatareslightlymoredifficultthanthoseusedintherhythmictestforGrade7 .Theexaminerwillnamethekey,playthetonictriadonce,andplaythemelodytwice . – keys:C,F,G,D,orAmajor
SiGht readinG
Candidateswillbeaskedto:1 . PlayashortcompositionequalindifficultytorepertoireofaGrade6level .2 . Claportaptherhythmofamelodyin ortime .Asteadypaceandrhythmicaccentuationareexpected .
theory co-requiSiteS
Grade2RudimentsIntroductoryHarmony(optional)
Double Bass Syllabus Grade 9 47
Bach,JohannSebastian• cello Suite no. 1,BWV1007(arr .H .Samuel
Sterling)PET →Allemande
D’Andrieu,Jean-François• Prelude and allegro,fromSonatainGmajor
(arr .OscarZimmerman,inSolos for the Double Bass Player SCH)
Dragonetti,Domenico• Six Waltzes for double bass alone(ed .Bertram
Turetsky)M&M• Solo in e minor(ed .RandallShannon)YOR
rePertoire
Pleasesee“ExaminationRepertoire”onpp .12–13forimportantinformationregardingthissectionoftheexamination .
Candidatesshouldbepreparedtoplayfour selectionsbydifferentcomposers:onefromListA,onefromListB,onefromListC,andonefromListD .Candidatesareencouragedtochooseaprogramthatincludesavarietyofmusicalstyles,periods,andkeys .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .
liSt b: Sonatas
liSt a: double bass Solos
Boccherini,Luigi• Sonata no. 2 in G major(arr .LucasDrew)WAR
Dvor̆ák,Antonín• Sonatina in G major,op .100(arr .LucasDrew)
MAS
Fesch,Willemde• Sonata in G major(arr .StuartSankey)INT
Handel,GeorgeFrideric• Sonata in c major(arr .HomerMensch)INT →two contrastingmovements• Sonata no. 4 in d major(ed .StuartSankey)INT →twocontrastingmovements
Romberg,Bernhard• Sonata,op .38,no .1INT;B&B →twocontrastingmovements
Vivaldi,AntonioSix Sonatas(arr .LucasDrew)INT;SCH• Sonata no. 1 in b flat major →twocontrastingmovements• Sonata no. 2 in f major →twocontrastingmovements• Sonata no. 4 in b flat major →twocontrastingmovements• Sonata no. 6 in b flat major →twocontrastingmovements
liSt c: concertos
Cimadoro[Cimador],GiovanniBattista• concerto in G major for double bass and Piano
(arr .RodneySlatford)YOR →1stmovement
Mozart,WolfgangAmadeus• bassoon concerto,K191(transc .StuartSankey)
INT →1stmovement
Pichl,Wenzel• concerto for double bass(ed .OscarZimmerman)
ZIM;concerto in d major(arr .HeinzHerrmann)HOF →1stmovement
Vivaldi,Antonio• concerto,op .3,no .6,fromViolinConcertoinA
minor(arr .OscarZimmerman,inSolos for the Double Bass Player SCH)
• concerto in e minor(arr .FrançoisRabbath)LIB;LED
• concerto in f major,op .3,no .9(arr .FrançoisRabbath)LIB
Grade 9
Grade 9 The Royal Conservatory of Music48
Beethoven,Ludwigvan• Symphony no. 3(“Eroica”) →3rdmovement(ScherzouptoTrio):letterdfor
15measures(alsoin:Zimmerman,Beethoven’s Nine Symphonies,p .28;ANDin:Simandl,New Method for Double Bass,bk1,p .109)
OR →1stmovement(Allegro con brio):11measuresafter
Gto4measuresbeforeh,20measuresafter
itok,13measuresafterkto5measuresafterl(alsoin:Zimmerman,Beethoven’s Nine Symphonies,pp .112–114;ANDin:Simandl,New Method for Double Bass,bk1,pp .20–21)
• Symphony no. 5 →1stmovement:beginatlettercfor10measures
and5measuresafterefor6measures(alsoin:Hartley,Double Bass Solo,vol .2,no .15;ANDin:Zimmerman,Beethoven’s Nine Symphonies,p .53)
liSt d: concert Pieces
Bozza,Eugène• allegro et finaleLED
Elgar,EdwardTwo Songs,op .15(arr .FrankProto)LIB• chanson de matin• chanson de nuit
Fauré,Gabriel• Sicilienne,op .78(arr .FrederickZimmerman)INT
Foley,Daniel• reciprocal accordCMC
Keyper,FranzAlj• romance and rondoYOR(inProgressiveRepertoire
for the Double Bass,vol .3,p .33FIS)
Klein,Lothar• four for oneCMC
Lorenziti,A .• Gavotte(ed .EdouardNanny)LED;inProgressive
Repertoire for the Double Bass,vol .3,p .24FIS)
Massenet,Jules• meditation,fromThais(arr .LucasDrew)WAR
Medins,Jecabs• Valse(arr .LucasDrew,inSolo Albums for Double
Bass,1WAR)
Prokofiev,Sergei• romance,fromLieutenant Kije Suite(arr .Oscar
Zimmerman,inSolos for the Double Bass Player SCH)
Tuthill,Burnet• Zim Stuck(arr .OscarZimmerman,inTen Solos for
Double BassWAR)
orcheStral excerPtS
Candidatesshouldbepreparedtoplaythreeofthefollowingorchestralexcerpts .Inaddition,candidatesareencouragedtolistentoandbefamiliarwiththeworksfromwhichtheseexcerptsaretaken .Candidatesmayusestandardpublishedorchestralpartsforthespecificexcerpts .Alternatively,candidatesmayuseexcerptsprintedinthefollowinganthologies:
Hartley,Keith .Double Bass Solo: A New Selection of Pieces from the Orchestral Repertoire,vol .2 .London:OxfordUniversityPress,1982 .
Simandl,Franz .New Method for Double Bass .ed .FrederickZimmerman .NewYork:CarlFischer,1987 .Zimmerman,Oscar,ed .The Complete Double Bass Parts of Beethoven’s Nine Symphonies .Interlochen,Michigan:
ZimmermanPublications,1975 .Zimmerman,Oscar,ed .The Complete Double Bass Parts, Romantic Symphonies .Interlochen,Michigan:
ZimmermanPublications,1975 .Zimmerman,Oscar,ed .The Complete Double Bass Parts, Brahms .Interlochen,Michigan:Zimmerman
Publications,1975 .Zimmerman,Oscar,ed .The Complete Double Bass Parts, Mahler Symphonies 1–5 .Interlochen,Michigan:
ZimmermanPublications,1975 .Zimmerman,Oscar,ed .The Complete Double Bass Parts, Mozart, Haydn and Weber .Interlochen,Michigan:
ZimmermanPublications,1975 .Zimmerman,Oscar,ed .The Complete Double Bass Parts, Tschaikowsky .Interlochen,Michigan:Zimmerman
Publications,1975 .
Double Bass Syllabus Grade 9 49
Billé,IsaiaNew Method for Double Bass:part1–III[ER263]RIC• one of nos. 1–10(pp .11–13)
Drew,LucasThe Etude Book for Double BassistsMAS• one study from pp. 36–66
Kreutzer,RodolpheEighteen Studies for the String Bass(ed .FrederickZimmerman)INT• one of nos. 1–4
Montanari,CarloFourteen Studies for Double BassINT• one of nos. 1–5
Rabbath,FrançoisNouvelle technique de la contrebasse,vol .3LED• one etude
Simandl,FranzThirty Etudes for the String BassFIS• one of nos. 19–30
Storch,JosefEmanuel,andJosefHrabeFifty-Seven Studies for String Bass,vol .2INT• one of nos. 1–12
orcheStral excerPtS continued
Berlioz,Hector• Symphonie fantastique →3rdmovement:rehearsalnumber41to4
measuresafterrehearsalnumber42 (alsoin:Hartley,Double Bass Solo,vol .2,no .16;ANDin:Zimmerman,Romantic Symphonies)
Brahms,Johannes• Academic Festival Overture: L’istesso tempo, un poco
maestoso: 9 measuresafterdto6measuresbeforee,3measuresafterkto13measuresafterk,5measuresbeforelto2measuresafterl(alsoin:Simandl, New Method for Double Bass, bk1,p .125;ANDin:Zimmerman, Brahms)
Haydn,FranzJoseph• Symphony no. 8(“Lesoir”)3rdmovement:
rehearsalnumber37to82(in:Hartley,Double Bass Solo,vol .2,no .34)
Mahler,Gustav• Symphony no. 1 →3rdmovement:3measuresafterrehearsal
number1 to2measuresafterrehearsalnumber2(alsoin:Hartley,Double Bass Solo,vol .2,no .28;ANDin:Zimmerman,Mahler Symphonies 1–5,p .8)
Mozart,WolfgangAmadeus• The Marriage of Figaro →Overture:mm .1–7,11measuresbefore
rehearsalletterbuntilb,16measuresbeforerehearsalletterduntil6measuresbefored(also
in:Simandl,New Method for Double Bass,bk1,no .31;ANDin:Zimmerman,Mozart, Haydn and Weber,pp .3–4)
Shostakovich,Dmitri• Violin concertono. 1 →4thmovementBurlesca:rehearsalnumber96to
98(in:Hartley,Double Bass Solo,vol .2,no .31)
Tchaikovsky,PyotrIl’yich• Marche slave,op .31:8measuresbeforePiù mosso
for6measures(alsoin:Simandl,New Method for Double Bass,bk1,p .128;ANDin:Zimmerman,Tschaikowsky,p .67)
Verdi,Giuseppe• Rigoletto →Act2:Andante mossoto12measuresbeforethe
end(alsoin:Hartley,Double Bass Solo,vol .2,no .29;ANDin:Simandl,New Method for Double Bass,bk1,p .122)
Weber,CarlMariavon• overture to Euryanthe:5measuresafterbtoc,
TempoIassai moderato to2measuresbeforeh,7measuresafterhto6measuresbeforek,10measuresaftermtolettern(alsoin:Simandl,New Method for Double Bass,bk1,p .119;ANDin:Zimmerman,Mozart, Haydn and Weber,pp .126–129)
Weinberger,Jaromír• Schwanda, the Bagpiper →Fugue(in:Hartley,Double Bass Solo,vol .2,no .20)
Studies
Candidatesmustbepreparedtoplaytwocontrastingstudiesfromthefollowinglist .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .
Grade 9 The Royal Conservatory of Music50
ear teStS
intervals
Candidatesmaychooseto:(a)singorhumanyofthefollowingintervalsaftertheexaminerhasplayedthefirstnoteonce,OR(b)identifyanyofthefollowingintervalsaftertheexaminerhasplayedtheintervalonceinbrokenform . – above a given note:anyintervalwithintheoctave – below a given note:anyintervalwithintheoctaveexceptadiminished5th(augmented4th)
chords
Candidateswillbeaskedtonameanyofthefollowingchordsaftertheexaminerhasplayedthechordonceinsolidform,closeposition . – majorandminortriadsinrootpositionandfirstinversion:Candidatesmustidentifythequalityofthe
triad(majororminor)andnametheinversion . – dominant7thanddiminished7thchordsinrootposition
technical tests
Allscalesandarpeggiosmustbeperformedfrommemory .Pleasesee“TechnicalRequirements”onp .18forimportantinformationregardingthissectionoftheexamination .Candidatesshouldbepreparedtoplaythefollowingscalesandarpeggios,ascendinganddescending .
Scales
Major A,B,G 3octaves =84 and
Harmonicminor A,B,G
Melodicminor A,B,G
Chromatic starting onG 3octaves =52
arpeggios
Major A,B,G 3octaves =54
Minor A,B,G
Dominant7th Amajor 3octaves =50 (starting onE)
Diminished7th Fminor (starting onE)
technical requirementS
Double Bass Syllabus Grade 9 51
cadences
Candidateswillbeaskedtoidentify,bynameorbysymbolanyofthefollowingcadencesinmajororminorkeys .Theexaminerwillplaythetonicchordonce,andthenplayasimplephrasecontainingacadencetwice . – perfect(authentic,V-I) – plagal(IV-I) – imperfect(I-V)
melody Playback
Candidateswillbeaskedtoplaybacktheupperpartofatwo-partphraseinanymajorkey,eitherontheirowninstrumentoronthepiano .Theexaminerwillnamethekey,playthetonictriadonce,andplaythephrasetwice .
SiGht readinG
Candidateswillbeaskedto:1 .PlayacompositionapproximatelyequalindifficultytorepertoireofaGrade7level .2 .Claportaptherhythmofamelodyin or time .Asteadypaceandrhythmicaccentuationisexpected .
theory co-requiSiteS
Grade2RudimentsGrade3HarmonyorGrade3KeyboardHarmonyGrade3History
ear teStS continued
Grade 10 The Royal Conservatory of Music52
Bach,JohannSebastian• adagio,fromtheOrganToccatainC(arr .
FrederickZimmerman)INT• aria(“AirfortheGstring”),fromOrchestralSuite
no .3inDmajor,BWV1068(arr .FrederickZimmerman)INT
• cello Suite no. 2 in d minor,BWV1008(arr .H .SamuelSterling)PET
→Praeludium• recitative(transc .OscarZimmerman,inTen Solos
for Double BassZIM)
Dragonetti,Domenico• adagio and rondo in c major(ed .AdrianMann)
YOR
Pleasesee“TheoryExaminations:PrerequisitesandCo-requisites”onp .8,“ARCTExaminations”onp .9,“ClassificationofMarks”onp .15,and“SupplementalExaminations”onp .16forimportantdetailsregardingGrade10standingforanARCTexaminationapplication .
rePertoire
Pleasesee“ExaminationRepertoire”onpp .12–13forimportantinformationregardingthissectionoftheexamination .
Candidatesshouldbepreparedtoplayfourselectionsbydifferentcomposers:onefromListA,onefromListB,onebyfromListC,andonefromListD .Candidatesareencouragedtochooseaprogramthatincludesavarietyofmusicalstyles,periods,andkeys .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .
liSt a: double bass Solos
liSt b: Sonatas
Beethoven,Ludwigvan• Sonata in G (or a) major(arr .fromHornSonata,
op .17,byFrankProto)LIB →two contrastingmovements
Bréval,Jean-BaptisteSébastien• Sonata in c majorINT;BAT →twocontrastingmovements
Eccles,Henry• Sonata in G minor(transc .FrederickZimmerman)
INT →twocontrastingmovements
Galliard,JohnErnest• Sonata in f majorINT →twocontrastingmovements
Handel,GeorgeFrideric• Sonata in c major(arr .OscarZimmerman,inSolos
for the Double Bass PlayerSCH)
Telemann,GeorgPhilipp• Sonata in a minor(arr .StuartSankey)INT →twocontrastingmovements
liSt c: concertos
Ameller,André• concertino for String bass and PianoINT
Boda,John• concertino(arr .OscarZimmerman,inTen Solos for
Double Bass WAR)
Bottesini,Giovanni• concerto no. 1 in b minorINT;BRH;ZIM →1stmovement• concerto no. 2 in b minor(ed .Oscar
Zimmerman,inSolos for the Double BassSCH) →Andante
Grade 10
Double Bass Syllabus Grade 10 53
liSt c: concertos continued
liSt d: concert Pieces
Bloch,ErnestJewish Life• Prayer(no .1)(arr .HansKindler)FIS;INT
Bottesini,Giovanni• arias for double bass and PianoYOR• elegy for double bass and PianoLIB;KAL• reverieINT
Bruch,Max• kol nidrei(arr .StuartSankey)INT;(arr .Lucas
Drew,inSolo Albums for Double Bass,1WAR)
Fauré,Gabriel• elégie,op .24(arr .HomerMensch)INT
Felice,John• from quasimodo SundayYOR
Franchi,C .• introduction and tarantelle(inSolos for the Double
Bass PlayerSCH)
Glière,Reinhold• intermezzo,op .9,no .1(arr .Frederick
Zimmerman)INT
Koussevitzky,Serge• chanson triste,op .2PET;INT• Valse miniature,op .1,no .2PET;INT
Stern,Max• Sonnet and dance for unaccompanied double
bass(inTen Solos for Double BassZIM)
Tchaikovsky,PyotrIl’yich• barcarolle,op .37a,no .6(arr .Frederick
Zimmerman)INT• Valse sentimentale,op .51(arr .Oscar
Zimmerman,inTen Solos for Double BassZIM)
Weinzweig,John• refrainsCMC
orcheStral excerPtS
Candidatesshouldbepreparedtoplayfour orchestralexcerpts:twofromGroup1(onebyeachcomposer)andtwofromGroup2 .Inaddition,candidatesareencouragedtolistentoandbefamiliarwiththeworksfromwhichtheseexcerptsaretaken .Candidatesmayusestandardpublishedorchestralpartsforthespecificexcerpts .Alternatively,candidatesmayuseexcerptsprintedinthefollowinganthologies:
Green,Barry .Advanced Techniques of Double Bass Playing .Ed .PaulMartinPalomboandLucasDrew .Cincinnati:Piper,1976 .
Hartley,Keith .Double Bass Solo: A New Selection of Pieces from the Orchestral Repertoire,vol .2 .London:OxfordUniversityPress,1982 .
Petracchi,Francesco,ed .Simplified Higher Technique for Double Bass .London:YorkeEdition,1982 .Simandl,Franz .New Method for Double Bass .ed .FrederickZimmerman .NewYork:CarlFischer,1987 .Zimmerman,Oscar,ed .The Complete Double Bass Parts, Strauss Tone Poems.Interlochen,Michigan:
ZimmermanPublications,1975 .
Dittersdorf,KarlDittersvon• concerto in d major(arr .KlausTrumpf)HOF →1stmovement• concerto no. 1 in d major(ed .RodneySlatford)
YOR →1stmovement• concerto no. 2 in d major(ed .RodneySlatford)
YOR →1stmovement
Dragonetti,Domenico• concerto in a major(ed .EdouardNannyand
StuartSankey)INT →1stmovementHoffmeister,FranzAnton• concertino no. 2(arr .StuartSankey)INT →1stand2ndmovements• concerto no. 1HOF;HEN →1stmovement
Jacobs,Gordon• a little concerto(arr .RodneySlatford)YOR
Grade 10 The Royal Conservatory of Music54
Beethoven,Ludwigvan• Symphony no. 1 →1stmovement:12measuresbeforebto24
measuresafterb(in:Zimmerman,Beethoven’s Nine Symphonies)
• Symphony no. 5 →3rdmovement:openingto5measuresaftera,
46measuresafterato23measuresafterb(in:Zimmerman,Beethoven’s Nine Symphonies)
Mozart,WolfgangAmadeus• Symphony no. 35 in d major(“Haffner”),K385 →1stmovement:openingto16measuresaftera; AND →4thmovement:openingtoa,6measuresbefore
btod(bothin:Zimmerman,Mozart, Haydn and Weber)
• Symphony no. 39 in e flat major,K543 →1stmovement:14measuresbeforeatoc; AND →4thmovement:23measuresbeforectoc(both
in:Zimmerman,Mozart, Haydn and Weber)
GrouP 1
Beethoven,Ludwigvan• Symphony no. 9 →4thmovement:Presto toAllegro assai beforea
(alsoin:Hartley,Double Bass Solo,vol .2,no .21;ANDin:Zimmerman,Beethoven’s Nine Symphonies,p .117)
Berlioz,Hector• Roman Carnival Overture:rehearsalnumber7 to
8,5measuresafter9to2measuresafter11,3measuresbefore13to13,6measuresafter19to6measuresbefore20 (alsoin:Simandl,New Method for Double Bass,bk1,pp .120–121;ANDin:Zimmerman,Thirty-Six Overtures,p .27)
Britten,Benjamin• The Young Person’s Guide to the Orchestra
→Variationhtoi:Comminciando lento ma poco a poco accel. (in:Hartley,Double Bass Solo,vol .2,no .25)
Mussorgsky,Modest• Tableaux d’une exposition →“SamuelGoldenbergandSchmyule”
(in:Petracchi,Simplified Higher Technique for Double Bass;
OR →excerptsin:Hartley,Double Bass Solo,vol .2,
no .27)
Stravinsky,Igor• Pulcinella Suite →Vivo(alsoin:Hartley,Double Bass Solo,vol .2,
no .32)
Strauss,Richard• Don Juan:3measuresafterfto9measuresbefore
G(in:Hartley,Double Bass Solo,vol .2,no .35;ANDin:Zimmerman,Strauss Tone Poems,p .4)
Tchaikovsky,PyotrIl’yichSymphony no. 4 →1stmovement:4measuresafterbtoc,rehearsal
letterPtoq →4thmovement:8measuresbeforehtoh
(in:Zimmerman,Tschaikowsky,pp .3and6)
Verdi,Guiseppe• Otello →Act4(alsoin:Hartley,Double Bass Solo,vol .2,
no .30;ANDin:Simandl,New Method for Double Bass,bk1,p .121)
GrouP 2
Double Bass Syllabus Grade 10 55
technical tests
Allscalesandarpeggiosmustbeperformedfrommemory .Pleasesee“TechnicalRequirements”onp .000forimportantinformationregardingthissectionoftheexamination .Candidatesshouldbepreparedtoplaythefollowingscalesandarpeggios,ascendinganddescending .
ear teStS
intervals
Candidatesmaychooseto:(a)singorhumanyofthefollowingintervalsaftertheexaminerhasplayedthefirstnoteonce,OR(b)identifyanyofthefollowingintervalsaftertheexaminerhasplayedtheintervalonceinbrokenform .
– above a given note:anyintervalwithintheoctave – below a given note:anyintervalwithintheoctave
Scales
Major A,B,F 3octaves =88 and
Harmonicminor A,B,F
Melodicminor A,B,F
Chromatic starting onA 3octaves =54
arpeggios
Major B,F 3octaves =56
Minor B,F
Dominant7th Dmajor 3octaves =52 (starting onA)
Diminished7th Bminor (starting onA)
Billé,IsaiaNew Method for Double Bass:part1–IVRIC• one of nos. 1–20(pp .18–38)
Kreutzer,RodolpheEighteen Studies for String Bass (ed .FrederickZimmerman)INT• one of nos. 6–11
Montanari,CarloFourteen Studies for Double BassINT• one of nos. 6–10
Petracchi,FrancescoSimplified Higher Technique for Double BassYOR• no. 9(p .15)
Simandl,FranzNew Method for Double Bass,book2FIS• one concert study from pp. 75–79 • one etude from nos. 1–9(pp .18–37)
Storch,JosefEmanuel,andJosefHrabeFifty-Seven Studies for String Bass,vol .2INT• one of nos. 13–17
technical requirementS
Studies
Candidatesmustbepreparedtoplaytwocontrastingstudiesfromthefollowinglist .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .
Grade 10 The Royal Conservatory of Music56
chords
Candidateswillbeaskedtonameanyofthefollowingfour-notechordsaftertheexaminerhasplayedthechordonceinsolidform,closeposition . – majorandminorfour-notechordsinrootposition,firstinversion,andsecondinversion .Candidates
mustidentifythequalityofthechord(majororminor)andnametheinversion . – dominant7thanddiminished7thchordsinrootposition
cadences
Candidateswillbeaskedtoidentify,bynameorbysymbols,anyofthefollowingcadencesinashortexcerpt .Theexcerptmaybeinamajororminorkeyandcontainuptothreecadences .Theexaminerwillplaythetonicchordonce,andthenplaytheexcerpttwice . – perfect(authentic,V-I) – plagal(IV-I) – imperfect(I-V) – deceptive(V-VI)
melody Playback
Candidateswillbeaskedtoplaybackalowerpartofatwo-partphraseinanymajorkey,eitherontheirowninstrumentoronthepiano .Theexaminerwillnamethekey,playthetonictriadonce,andplaythephrasetwice .
SiGht readinG
Candidateswillbeaskedto:1 .PlayacompositionapproximatelyequalindifficultytorepertoireofaGrade8level .2 .Claportaptherhythmofamelodyinortime .Asteadypaceandrhythmicaccentuationisexpected .
theory co-requiSiteS
Grade2RudimentsGrade3HistoryGrade4HarmonyorGrade4KeyboardHarmonyGrade4History
ear teStS continued
Double Bass Syllabus Performer’s ARCT 57
the arct examination
Pleasesee“TheoryExaminations:PrerequisitesandCo-requisites”onp .8,“ARCTExaminations”onp .9,“ClassificationofMarks”onp .15,and“SupplementalExaminations”onp .16forimportantdetailsregardinganapplicationforanARCTexamination .CandidatesarestronglyrecommendedtostudyforatleasttwoyearsafterpassingtheGrade10examination .
TheARCTdiplomaistheculminationoftheRCMExaminationsCertificateProgram .ThePerformer’sARCTexaminationwillbeevaluatedasaconcertperformance .Excellenceineveryaspectofperformanceisexpected .
CandidatesmustachieveanHonoursstanding(70percent)inordertobeawardedanARCTdiploma .
Policy regarding Pass and failure
Ifacandidateisabletopreservethecontinuityofaperformanceofaworkdespiteasmallbreakinconcentration,apassingmarkwillnotbeprecluded .Thecandidate’sperformanceofaworkmayreceiveafailinggradeforanyofthefollowingreasons .• lackofstylisticawareness• repeatedinterruptionsinthecontinuity• substantialomissions• textualinaccuracies• completebreakdownoftheperformance
marking criteria
First Class Honours with Distinction: 90–100Onlytrulyexceptionalcandidatesachievethiscategory .Candidatesmustdemonstratecompletetechnicalcommandandperformwithaconfident,masterfulstyle .Thesecandidatesclearlydemonstrateanauthenticpersonalperformancespark .
First Class Honours: 85–89Candidatespresentatrulyengagingandintelligentperformance,displayingtechnicalpolishandfinesse,definiteandaptcharacterization,andasenseofspontaneity .
First Class Honours: 80–84Candidatesaretechnicallysolidanddemonstratesensitivity,intelligence,andtalent .Theyarewellpreparedandabletoexecutetheexaminationrequirementsthoughtfullyandconfidently .
Honours: 70–79Candidatesexhibitthoroughandcarefulpreparationanddemonstratesomeinterpretiveskills .Repertoireispresentedwithoverallcommandandaccuracy .Thereisawarenessandgeneralsecurityintechnicalelements .
rePertoire
Pleasesee“ExaminationRepertoire”onpp .12–13forimportantinformationregardingthissectionoftheexamination .
Candidatesshouldbepreparedtoplayfour selectionsbydifferentcomposers:onefromListA,onefromListB,onefromListC,andonefromListD .Candidatesareencouragedtochooseavariedandbalancedprogram .Eachbulleteditem(•)representsoneselectionforexaminationpurposes .Thelengthoftheperformancemustbebetween40and50minutes .The examination program must include at least one work that is accompanied.Pleasenotethattheexaminermaystoptheperformanceifitexceedstheallottedtime .
Performer’s ARCT
Performer’s ARCT The Royal Conservatory of Music58
Bach,JohannSebastianSix Cello Suites,BWV1007–1012(arr .H .Samuel
Sterling)PET;(arr .StuartSankey)INT;(arr .MarkBernat)INT
• cello Suite no. 3 in c major,BWV1009 →Preludeand twoothermovements• cello Suite no. 4 in e flat major,BWV1010 →Preludeand twoothermovements• cello Suite no. 5 in c minor,BWV1011 →Preludeand twoothermovements• cello Suite no. 6 in d major,BWV1012 →Preludeand twoothermovements
Fryba,Hans• a Suite in the olden StyleWEI →Preludeand oneothermovement
Telemann,GeorgPhilipp• Sonata,TWV40:1(arr .StuartSankey)INT →onemovement
liSt b: Sonatas
Bach,JohannSebastian• Sonata for Viola da gamba no. 2 in d major,
BWV1028(arr .StuartSankey)INT →twocontrastingmovements
Birckenstock,JohannAdam• Sonate(arr .J .Delmas-Boussagol)LED →twocontrastingmovements
Boccherini,Luigi• Sonata no. 6 in a major(orchestraltuning)
(arr .StuartSankey)INT →1stand2ndmovements
Corelli,Arcangelo• Sonata in c minor,op .5,no .8(arr .Frederick
Zimmerman)INT →twocontrastingmovements
Franck,César• Sonata in a major(arr .StuartSankey)INT
Handel,GeorgeFrideric• Sonata in G minor(arr .FrederickZimmerman)INT →twocontrastingmovements
Hindemith,Paul• Sonata(1949)OTT →twocontrastingmovements
Mendelssohn,Felix• Sonata no. 2 in d major,op .58(ed .MarkBernat)
INT →onemovement
Misek,Adolf• Sonata in e minor,op .6INT;LIB;HOF →1stand2ndmovements
Schubert,Franz• Sonata in a minor(“Arpeggione”)(transc .Stuart
Sankey)INT →1stmovement
Sperger,JohannMatthias• Sonata in e major(ed .RudolfMalaric)DOB →1stand 2ndmovements
liSt c: concertos
Bottesini,Giovanni• concerto in f sharp minor for double bass
(ed .HeinzHerrmann)BRH →1stmovement• concerto no. 2 in a minor (orchestraltuning)
(ed .RodneySlatford)YOR →1stmovement
Hindle,Johann• concerto in b major(ed .RudolfMalaric)DOB →1stmovement
Koussevitzky,Serge• concerto,op .3PET;INT →twocontrastingmovements
liSt a: double bass Solos
Double Bass Syllabus Performer’s ARCT 59
liSt d: concert Pieces
Bottesini,Giovanni• allegretto capriccio à la chopin in f sharp
minorDOB• allegro di concerto(allaMendelssohn)(in
Bottesini: Ausgewälte Stücke für Kontrabass und KlavierDEU)
• capriccio di bravuraDOB• elegy in e minor(no .2)(in Bottesini: Ausgewälte
Stücke für Kontrabass und KlavierDEU)• elegy in e minor(no .3)(in Bottesini: Ausgewälte
Stücke für Kontrabass und KlavierDEU)• fantasia for double bass on “beatrice di tenda”
by bellini(arr .OscarZimmerman)INT• introduzione e gavotte, “nel cor più non mi
sento”(in Bottesini: Ausgewälte Stücke für Kontrabass und KlavierDEU)
• tarantella in a minor(arr .FrederickZimmerman)INT
Glière,Reinhold• Preludium,op .32,no .1(inGlière: Four Pieces /
Vier Stücke HOF)• Scherzo,op .32,no .2(inGlière: Four Pieces / Vier
Stücke HOF)
Hatzis,Christos• the birth of VenusCMC
Mannino,Franco• Sonatina tropicale per contrabbasso e pianoforte
B&S
Paganini,Niccolò• Variations on one String on a theme from Moses
by rossini(arr .StuartSankey)INT;(arr .OscarZimmerman)ZIM
Proto,Frank• a carmen fantasyLIB
Saint-Saëns,Camille• allegro appassionato,op .43(arr .StuartSankey)
INT
Schumann,Robert• fantasy Pieces,op .73(arr .MarkBernat)INT →anytwo
Simandl,Franz• tarantella,op .73INT
orcheStral excerPtS
Candidatesshouldbepreparedtoplaytheirchoiceoffour orchestralexcerpts:twofromGroup1andtwofromGroup2 .Thechosenexcerptsmustbeoffourdifferentcomposers .Inaddition,candidatesareencouragedtolistentoandbefamiliarwiththeworksfromwhichtheseexcerptsaretaken .Candidatesmayuseanyeditionofstandardorchestraldoublebassparts .Alternatively,candidatesmayusepartsprintedinthefollowinganthology .
Zimmerman,Oscar,ed .The Complete Double Bass Parts .10vols .Interlochen,Michigan:ZimmermanPublications,1970–1976 .
liSt c: concertos continued
Scontrino,Antonio• Grand concerto for double bass(ed .Oscar
Zimmerman)ZIM →twocontrastingmovements
Sperger,JohannMatthias• concerto in a minorDOB →1stmovement
Telemann,GeorgPhilipp• concerto in f minor(arr .StuartSankey)INT →twocontrastingmovements• concerto in G major(arr .StuartSankey)INT →twocontrastingmovements
Vanhal,JohannBaptist• konzert in d major(arr .KlausTrumf)HOF →1stand2ndmovements
Performer’s ARCT The Royal Conservatory of Music60
Beethoven,Ludwigvan• Symphony no. 7 →1stmovement:letterdtoletterG;letteritothe
fermata (in:Zimmerman,Beethoven’s Nine Symphonies)
Dvor̆ák,Antonín• carnival overture,op .92:9measuresafterato
14befored(in:Zimmerman,Thirty-Six Overtures)
Haydn,FranzJoseph• Symphony no. 88 →1stmovement:Allegrotorepeatafterlettera →4thmovement:letteratoletterc(bothin:
Zimmerman,Mozart, Haydn and Weber,pp .64,68–69)
Mahler,Gustav• Symphony no. 2 (“Resurrection”) →1stmovement:openingtorehearsalnumber2 →2ndmovement:rehearsalnumber6torehearsal
number8 →3rdmovement:1measurebeforerehearsal
number6(topline)to4measuresafterrehearsalnumber38 (in:Zimmerman,Mahler Symphonies 1–5)
Strauss,Richard• Don Juan,op .20:openingto2measuresbeforec,
letterfto4measuresbeforeG,7measuresafterotoS
• Ein Heldenleben,op .40 →rehearsalnumber9torehearsalnumber13;
rehearsalnumber51torehearsalnumber64;rehearsalnumber77to3measuresafterrehearsalnumber79
GrouP 1
GrouP 2
Brahms,Johannes• Symphony no. 2,op .73 →1stmovement:11measuresafterletterato
letterb;letteretoletterf,letterktoletterl →4thmovement:openingtoletterb
Mendelssohn,Felix• Symphony no. 4,op .90 →1stmovement:openingto16measuresafter
lettera;20measuresbeforelettercto3measuresbeforeletterd
→4thmovement:19measuresbeforeletterato4measuresafterletterb;letterctoletterd
Schubert,Franz• Symphony no. 9 in c major (“TheGreat”),D944 →3rdmovement:openingto7measuresafter
letterc →4thmovement:9measuresbeforeletterbto
letterc
Smetana,Bedr̆ich• overture to The Bartered Bride →openingtolettera
theory PrerequiSiteS
Grade2RudimentsGrade3HistoryGrade4HarmonyorGrade4KeyboardHarmonyGrade4History
theory co-requiSiteS
Grade4CounterpointGrade5HarmonyandCounterpointorGrade5KeyboardHarmonyGrade5HistoryGrade5Analysis
Double Bass Syllabus Teacher’s ARCT 61
Teacher’s ARCT TheTeacher’sARCTwillbeawardedonlytocandidates18yearsofageorolder .
Pleasesee“TheoryExaminations:PrerequisitesandCo-requisites”onp .8,“ARCTExaminations”onp .9,“ClassificationofMarks”onp .15,and“SupplementalExaminations”onp .16forimportantdetailsregardinganapplicationforanARCTexamination .CandidatesarestronglyrecommendedtostudyforatleasttwoyearsafterpassingtheGrade10examinationandtohaveatleastoneyearofteachingexperience .
teacher’S arct Part 1: Performance of repertoire, orchestral excerpts, technical requirements, ear tests, and Sight reading
rePertoire
Pleasesee“ExaminationRepertoire”onpp .12–13forimportantinformationregardingthissectionoftheexamination .
Candidatesshouldbepreparedtoplaythreeselections:oneeachfromtherepertoirelistsfortheGrade9,Grade10,andPerformer’sARCTexaminations .Theexaminationprogramshouldincludeaconcerto(firstmovementonly),asonata(two contrastingmovements),andaconcertpiece .Candidatesareencouragedtochooseaprogramthatincludesavarietyofmusicalstyles,periods,andkeys .
orcheStral excerPtS
CandidatesshouldbepreparedtoplayoneselectionfromtheorchestralpassageslistedforthePerformer’sARCTexamination .
technical requirementS
CandidatesshouldbepreparedtoplayanyoftheTechnicalTestslistedfortheGrade10examination .Pleasenotethatscalesandarpeggiosmustbeplayedfrommemory .
ear teStS
metre
Candidateswillbeaskedtoidentifythetimesignatures(,,,or)offour-measurepassages .Theexaminerwillplayeachpassageonce .
intervals
Candidatesmaychooseto:(a)singorhumtheintervalslistedbelowaftertheexaminerhasplayedthefirstnoteonce,OR(b)identifytheintervalslistedbelowaftertheexaminerhasplayedtheintervalonceinbrokenform .
– above a given note:anyintervalwithinamajor9th– below a given note:anyintervalwithinanoctave
chords
Candidateswillbeaskedtoidentify,bychordsymbolsornames(I,tonic;V,dominant;etc .)thechordsusedinafour-measurephraseinamajorkey .Thephrasewillbeginwithatonicchordandmayincludechordsonthefirst,
Teacher’s ARCT The Royal Conservatory of Music62
second,fourth,fifth,andsixthdegreesofthescale .Thefinalcadencemaycontainacadentialsix-fourchordand/oradominant7thchord .
Theexaminerwillplaythetonicchordonceandthenplaythephrasetwiceinaslowtomoderatetempo .Duringthesecondplaying,thecandidatewillnameeachchordafterithasbeenplayedbytheexaminer .
melody Playback
Candidateswillbeaskedtoplaybackbothpartsofatwo-partphraseinanymajorkeytogether,onthepiano .Theexaminerwillnamethekey,playthetonictriadonce,andplaythephrasetwice .
SiGht readinG
Candidateswillbeaskedto:1 . PlayatsightagivenpassageapproximatelyequalindifficultytorepertoireofaGrade9level .2 . PlayatsightapassageequalindifficultytorepertoireofaGrade5level,demonstratinginperformanceand
orallythemusicalfeaturesandcharacteristicsofthepiece .3 . Claportaptherhythmofamelody .Asteadypaceandrhythmicaccentuationareexpected .
teacher’S arct Part 2: Viva Voce examinationa: Pedagogical Principles
Thispartoftheexaminationwilltestthecandidate’sknowledgeoftheprinciplesofplayingthedoublebass–includingthepositionandactionofthefingers,handsandarms,andtheproductionoftone .Candidateswillbeexpectedtodemonstrateapracticalknowledgeofthetechnicaltools(suchasexercises,studies,scales,andarpeggios)necessaryforthedevelopmentofintonation,shifting,bowings,andtonequality .Candidatesmayalsobeaskedquestionsregardingtheconstructionofthedoublebass .
b: applied Pedagogy
teaching repertoire Forthissectionoftheexamination,candidatesshouldselectagroupofeighteenpiecesfromtherepertoirelistsintheDouble Bass Syllabus, 2004 edition(threeworksfromeachofGrades3to8) .Theselectionschosenfromeachindividualgradeshouldconstituteavariedandwellbalancedgroup .Alistoftheteachingrepertoiremustbegiventotheexaminer .
ear teStS continued
Double Bass Syllabus Teacher’s ARCT 63
Candidateswillbeaskedtoperformaselectionoftheseworksanddiscussteachingproblemsthatmaybeencountered,includingdetailsofstyleandinterpretation .Pleasenotethatthismusicneednotbememorized,buttheperformanceshouldbeatanhonourslevelforthegrade .
demonstration lessonTheexaminerwillselectandperformoneworkfromthecandidate’slistofteachingrepertoire .Thecandidatewillbeexpectedtodetecterrors(innotation,timevalues,rhythm,phrasing,interpretation,etc .)intheexaminer’sperformance,demonstratecorrections,andsuggestpracticestrategiestoaddresstheproblems .
teacher’S arct Part 3: teacher’s Written examination
Examinationlength:3hoursPassingmark:70percent
Candidatesshouldbepreparedtodiscussthefollowingtopics:– issueslikelytoariseinteachingintonation,rhythm,tone,shifting,bowingarticulations,phrasing,style
andinterpretation,sightreading,andeartraining– solutionsforcommontechnicalproblems– waysinwhichateachermayhelpastudenttodevelopconfidenceandconcentration– thehistoryofthedoublebassandperformancepracticesformusicoftheBaroque,Classical,andRomantic
periods
Intheiranswerstoexaminationquestions,candidateswillbeexpectedtodemonstratefamiliaritywithavarietyofsuitableteachingmaterialforalllevelsfrombeginnertoGrade8 .Candidatesshouldalsobepreparedtowriteseveralshortexercisesdesignedtocorrectcommontechnicalproblems .
Candidatesmaybeaskedtoaddeditorialmarkingstoashortpassageofdoublebassmusic,includingfingering,dynamics,phrasing,expressionmarkings(Italianterms),andsimpleornamentation .Thetitleandtempoofthecompositionwillbegiven .
Candidatesmaybeaskedtowriteshortexercisestocorrectcommontechnicalproblemsencounteredbydoublebassstudents .
Forareadinglistandreferencematerial,pleaseseethe“Bibliography”onpp .65–69 .
theory PrerequiSiteS
Grade2RudimentsGrade3HistoryGrade4HarmonyorGrade4KeyboardHarmonyGrade4History
theory co-requiSiteS
Grade4CounterpointGrade5HarmonyandCounterpointorGrade5KeyboardHarmonyGrade5HistoryGrade5Analysis
Piano co-requiSite
Grade8Piano
teacher’S arct Part 2: Viva Voce examination continued
Theory Examinations The Royal Conservatory of Music64
Preliminary rudimentsElementsofmusicforthebeginner .– One-hourexamination .
Grade 1 rudimentsAcontinuationofPreliminaryRudimentsforstudentswithmoremusicreadingexperience .– Two-hourexamination .
Grade 2 rudimentsPreliminaryandGrade1Rudimentswiththeadditionoffoundationmaterialnecessarytothestudyofharmony .– Two-hourexamination .
Theoryexaminationsaregiveninthesubjectslistedbelow .PleaserefertothecurrentRCMTheory Syllabusfordetailedinformationontheoryexaminationsandrecommendedtextbooks .
Alltheoryco-requisitesmustbecompletedbeforeorwithinfiveyearsaftertherespectivesessionofthepracticalexaminationtowhichtheyapply .Extensionswillnotbegranted .Candidatesarestronglyadvisedtocompletetheirtheoreticalworkbefore,oratthesametimeas,theirpracticalexamination .Pleaseseep .8foralistoftheoryco-requisitesandprerequisites .
rudimentS
harmony, keyboard harmony, counterPoint, and analySiS
introductory harmonyA continuation of Grade 2 Rudiments with theintroduction of elementary four-part writing andmelodiccompositioninmajorkeys,chordsymbols,andnon-chordtones .– Three-hourexamination .
Grade 3 harmonyThefundamentalsoffour-partwritingandmelodiccompositioninmajorkeys;harmonicandstructuralanalysisinmajorandminorkeys .FamiliaritywithmaterialofGrade2Rudimentsisstronglyadvised .– Three-hourexamination .
Grade 3 keyboard harmonyThematerialofGrade3Harmonyatthekeyboard .This examination may be substituted for Grade 3Harmonyinfulfilmentofcertificaterequirements .
Grade 4 harmonyIntermediate four-part writing and melodiccomposition in major and minor keys; modulation;harmonic and structural analysis; musical forms .CompletionofGrade3Harmonyisstronglyadvised .– Three-hourexamination .
Grade 4 keyboard harmonyThematerialofGrade4Harmonyatthekeyboard .This examination may be substituted for Grade 4Harmonyinfulfilmentofcertificaterequirements .
Grade 4 counterpointSimple two-part counterpoint in Baroque style;invertiblecounterpointattheoctaveandthe15th .CompletionofGrades3and4Harmonyisstronglyadvised .– Three-hourexamination .
Grade 5 harmony and counterpointAdvancedharmonicandintermediatecontrapuntaltechniques(fortwovoices) .CompletionofGrades3and4HarmonyandGrade4Counterpointisstronglyadvised .– Three-hourexamination .
Grade 5 keyboard harmonyThematerialofGrade5HarmonyandCounterpointatthekeyboard .ThisexaminationmaybesubstitutedforGrade5HarmonyandCounterpointinfulfilmentofcertificaterequirements .
Grade 5 analysisAdvancedharmonicandstructuralanalysisofmusicalformsbasedonthematerialofGrades3,4,and5HarmonyandCounterpoint,andincludingshortpost-1900compositions .– Three-hourexamination .
Section 4 – Theory Examinations
Double Bass Syllabus Theory Examinations 65
Grade 3 historyAnoverviewofstyles,composers,andmusicoftheBaroque,Classical,andRomanticeras,andthe20thcentury .– Three-hourexamination .
Grade 4 historyStyles, genres, and music of the Middle Ages,Renaissance,andtheBaroqueandClassicaleras .– Three-hourexamination .
Grade 5 historyStyles,composers,andmusicofthe19thand20thcenturies,includingCanadianmusic .– Three-hourexamination .
muSic hiStory
muSicianShiP
Attheoptionofcandidates,theseexaminationsmaybesubstitutedfortheEarTestsrequirementsforGrades8to10andARCTpracticalexaminations .
Junior musicianshipSingingand/oridentificationofscales,intervals,andchords;auralanalysisofsimpleharmonicprogressions;singingbackandsightsingingofsimplerhythmsandmelodies .TobeusedwithGrade8practicalexaminations .
intermediate musicianshipSingingand/oridentificationofscales,intervals,andchords;auralanalysisofharmonicprogressions;singingbackandsightsingingofrhythmsandmelodies .TobeusedwithGrade9practicalexaminations .
Senior musicianshipSingingand/oridentificationofscales,intervals,andchords;auralanalysisofharmonicprogressionstotheGrade4Harmonylevel;singingbackandsightsingingofrhythmsandmelodies .TobeusedwithGrade10practicalexaminationsand/orARCT;theminimumacceptablemarkis70percent .
claSSification of theory markS
FirstClassHonourswithDistinction 90–100FirstClassHonours 80–89Honours 70–79Pass 60–69
Bibliography The Royal Conservatory of Music66
Official Examination Papers .12vols .Mississauga,Ontario:FrederickHarrisMusic,publishedannuallyandavailableforseveralyears . Preliminary Rudiments Grade 1 Rudiments Grade 2 Rudiments Grade 3 Harmony Grade 3 History Grade 4 Harmony Grade 4 History Grade 4 Counterpoint Grade 5 Harmony and Counterpoint Grade 5 History Grade 5 Analysis ARCT Piano Teacher’s Written
IndividualARCTTeacher’sWrittenExaminationpapers(includingmodelquestionsandanswersdesignedtoassistARCTcandidatesinpreparingforViva Voceexaminations)arealsoavailableuponrequest .
Cambridge,Massachusetts:HarvardUniversityPress,1986 .
Sadie,Stanley,ed .The New Grove Dictionary of Music and Musicians .2ndedition,29vols .London:Macmillan,2001 .
Sadie,Stanley,ed .The New Grove Dictionary of Musical Instruments .3vols .London:Macmillan,1984 .
Slonimsky,Nicholas .Baker’s Biographical Dictionary of
Music and Musicians .8thed .NewYork:Schirmer,1992 .
Stolba,K .Marie .The Development of Western Music: A History .3rded .Boston:McGraw-Hill,1998 .
Section 5 – BibliographyThefollowingtextsareusefulforreference,teaching,andexaminationpreparation .Nosingletextisnecessarilycompleteforexaminationpurposes .
General reSourceS
Sight reading and ear training
official examination Papers
Bennett,Elsie,andHildaCapp .Sight Reading and Ear Tests .Books1–10 .Mississauga,Ontario:FrederickHarrisMusic,1968–1970 .
Berlin,Boris,andAndrewMarkow .Ear Training for Practical Examinations: Melody Playback/Singback(4parts);Rhythm Clapback/Singback(3parts) .Mississauga,Ontario:FrederickHarrisMusic,1986–1991 .
Berlin,Boris,andAndrewMarkow .Ed .ScottMcBrideSmith .Four Star Sight Reading and Ear Tests .IntroductorytoBook10 .Mississauga,Ontario:FrederickHarrisMusic,2002 .
Berlin,Boris,andWarrenMould .Rhythmic Tests for Sight Reading .Grades8toARCT .Miami:GordonV .ThompsonMusic(WarnerBros .Publications),1969 .
Berlin,Boris,andWarrenMould .Basics of Ear Training .Grades8toARCT .Miami:GordonV .ThompsonMusic(WarnerBros .Publications),1968 .
Harris,Paul .Improve your Sight-reading! A Workbook for Examinations.London:Faber .
Hindemith,Paul .Elementary Training for Musicians .London:Schott,1974 .
General reference Works
Double Bass Syllabus Bibliography 67
double baSS reSourceS
double bass anthologies
Anderson,GeraldE .,andRobertS .Frost .Solos and Etudes 1.SanDiego,California:NeilA .Kjos,1995 .
Applebaum,Samuel,andThomProcter,eds .String Festival Solos,vol .1 .[n .p .]:Belwin-Mills,1995 .
Applebaum,Samuel,andLucasDrew,eds .String Festival Solos,vol .2 .[n .p .]:Belwin-Mills,1995 .
Bach,Steve,andJohnO’Reilly .Pop-Style Solos,book1 .VanNuys,California:Highland/Etling,1997 .
Dillon,Jacquelyn,JamesKjelland,andJohnO’Reilly .Strictly Strings.3vols .VanNuys,California:Highland/Etling,1992 .
Emery,Caroline,andRodneySlatford,eds .Bass Is Best: Mini Bass.2vols .London:YorkeEdition,1988 .
Etling,ForestR .,ed .Solo Time for Strings: For String Class or Individual Instruction .4vols .VanNuys,California:Highland/Etling,1990 .
Gendron,DeniseA .,ed .Playing Right from the Start: A Sequential String Method .2books .Springfield,Massachusetts:DestinyPress,1993 .
Hartley,Keith,ed .Double Bass Solo .2vols .London:OxfordUniversityPress,1980,1982 .
Hartley,Keith,ed .Double Bass Solo Plus .London:OxfordUniversityPress,1990 .
Nanny,Édouard,ed .Les classiques de la contrebasse: Transcriptions classiques avec piano collationnées sur les textes originaux .Paris:Leduc[n .d .] .
Rabbath,François .Solos for the Double Bassist .Cincinnati:LibenMusicPublishers,1995 .
Sankey,Stuart,ed .Album of Ten Classical Pieces for String Bass and Piano .NewYork:International,1980 .
Schofield,Angela,ed .Amazing Solos for Double Bass and Keyboard .London:Boosey&Hawkes,1993 .
Slatford,Rodney,ed .Yorke Solos for Double Bass .London:YorkeEdition,1984 .
Vance,George,andConstanceCostanzi,eds .Progressive Repertoire for the Double Bass .3vols .NewYork:CarlFischer,2000 .
Zimmerman,Oscar,ed .andtransc .Seven Baroque Sonatas Transcribed for Double Bass .Rochester,NewYork:ZimmermanPublications,1972 .
Zimmerman,Oscar,ed .Solos for the Double Bass Player .NewYork:Schirmer,1966 .
Zimmerman,Oscar,ed .Ten Solos for Double Bass .Rochester,NewYork:ZimmermanPublications,1973 .
Arnold,Denis,ed .New Oxford Companion to Music .NewYork:OxfordUniversityPress,1994 .
Donnington,Robert .The Interpretation of Early Music.London:Faber,1989 .
Grout,DonaldJay .A History of Western Music .6thed .NewYork:W .W .Norton,2001 .
Kallmann,Helmut,GillesPotvin,andKennethWinters,eds .Encyclopedia of Music in Canada .2nded .Toronto:UniversityofTorontoPress,1992 .
Kamien,Roger .Music: An Appreciation .4thed .NewYork:McGraw-Hill,1988 .
Machlis,JosephandKristineForney .The Enjoyment of Music .9thed .NewYork:W .W .Norton,2003 .
Marcuse,Sibyl .Musical Instruments: A Comprehensive Dictionary .NewYork:Doubleday,1964 .
Randel,Don,ed .The Harvard Biographical Dictionary of Music .Cambridge,Massachusetts:HarvardUniversityPress,1996 .
Randel,Don,ed .New Harvard Dictionary of Music .
Bach,JohannSebastian .Bach for the Young Bass Player .TranscribedbyFrederickZimmerman .NewYork:MCAMusic,1967 .
Bach,JohannSebastian .Six Suites for String Bass .TranscribedbyMarcBernat .NewYork:International,1995 .
Bach,JohannSebastian .Suites for Solo Cello: Edition for Solo Double Bass.TranscribedbyH .SamuelSterling .London:Peters,1957 .
Marcello,Benedetto .Six Sonatas .NewYork:Schirmer,1973 .
double bass collections (musicbyonecomposer)
General reference Works continued
Bibliography The Royal Conservatory of Music68
Norton,Christopher .Microjazz for Double Bass: Twelve Pieces in Popular Styles for Double Bass and Piano .London:Boosey&Hawkes,1990,1991 .
Rose,Michael .A Sketchbook for Double Bass: Nine Moderately Easy Pieces with Piano Accompaniment.London:AssociatedBoardoftheRoyalSchoolsofMusic,1990 .
Vivaldi,Antonio .Six Sonatas for Double Bass and Piano .RealizedbyNikolaiGrauden,editedbyLucasDrew .NewYork:Schirmer,1959,1973 .
double bass Studies and method books
Billé,Isaia .New Method for Double Bass .7vols .Milan:Ricordi,1922 .
Billé,Isaia .24 Studi-capricci .Milan:Ricordi,1921,1980 .
Billé,Isaia .18 Studi in tutti i toni .Milan:Ricordi,1921 .Bottesini,Giovanni .Metodo completo per contrabbasso /
Method for Double Bass .Ed .RodneySlatford .2vols .London:YorkeEdition,1981–1982 .
Caimmi,Italo .La tecnica superiore del contrabbasso: Vente studi / Advanced Technique of the Double Bass: Twenty Studies .Milan:Ricordi,1924 .
Cuneo,AngeloFrancesco .Esercizi e studi per lettura a primi vista,op .114 .Milan:Ricordi .
Drew,Lucas,ed .The Etude Book for Double Bassists .BocaRaton,Florida:MastersMusic,1997 .
Findeisen,TheodoreA .Twenty-Five Technical Studies,op .14 .4vols .NewYork:International,1957 .
Gendron,DeniseA .,ed .Playing Right from the Start: A Sequential String Method .2books .Springfield,Massachusetts:DestinyPress,1993 .
Green,Barry .Advanced Techniques of Double Bass Playing .Ed .PaulMartinPalomboandLucasDrew .Cincinnati:Piper,1976 .
Kreutzer,Rodolphe .Eighteen Studies for the String Bass .TranscribedbyFranzSimandl,editedbyFrederickZimmerman .NewYork:International,1950 .
Montanari,Carlo .Fourteen Studies for Double Bass .Ed .HomerMensch .NewYork:International,1974 .
Müller,J .Frederick,andHaroldW .Rusch .Müller-Rusch String Method .SanDiego,California:NeilA .Kjos,1962 .
Nanny,Édouard,ed .Dix études caprices .Paris:Leduc,1931 .
Nanny,Édouard,ed .Études de Kreutzer et de Fiorillo .Paris:Leduc,1921 .
Nanny,Édouard,ed .Vingt études de virtousité .Paris:Leduc,1921 .
Nanny,Édouard,ed .Vingt-quatre pièces en forme d’études sur des traits de symphonies .Paris:Leduc .
Petracchi,Francesco .Simplified Higher Technique for Double Bass .London:YorkeEdition,1982 .
Proto,Frank .Twenty-one Modern Etudes for the Double Bass .Cincinnati,Ohio:LibenMusic,1984 .
Rabbath,François .Nouvelle technique de la contrebasse: Méthode complète et progressive.3vols .Paris:Leduc,1977–1984 .
Rollez,Jean-Marc .Double Bass Method .3vols .Paris:Billaudot .
Simandl,Franz .Gradus ad Parnassum: Twenty-four Studies for String Bass .Ed .FrederickZimmerman .2vols .NewYork:International,1957 .
Simandl,Franz .New Method for Double Bass .2vols .RevisedbyLucasDrew,editedbyFrederickZimmerman .NewYork:CarlFischer,1984,1987 .
Simandl,Franz .Thirty Etudes for the String Bass .NewYork:CarlFischer,1940 .
Slatford,Rodney,ed .Yorke Studies for Double Bass .2vols .London:YorkeEdition,1972 .
Storch,JosefEmanuelandJosefHrabe .Fifty-Seven Studies for String Bass .EditedbyFrederickZimmerman .2vols .NewYork:International,1948 .
Tartini,Giuseppe .The Art of Bowing Transcribed for Double Bass .EditedbyOscarG .Zimmerman .Rochester,NewYork:ZimmermanPublications,1984 .
Trumpf,Klaus .Bowing Techniques for the Double Bass .2vols .Leipzig:DeutscherVerlagfürMusik,1986 .
Zimmerman,Frederick .A Contemporary Concept of Bowing Technique for the Double Bass .NewYork:MCA,1966 .
Zimmerman,Robert,transc .anded .Bel Canto Basso: Melodic Studies for the Double Bass.Amarillo,Texas:ZimmermanPress[n .d .] .
double baSS reSourceS continued
69Double Bass Syllabus Bibliography
Benfield,Warren,ed .Twentieth-Century Orchestral Studies for the Double Bass .NewYork:Schirmer,1972 .
Green,Barry .Advanced Techniques of Double Bass Playing .Ed .PaulMartinPalomboandLucasDrew .Cincinnati:Piper,1976 .
Hartley,Keith .Double Bass Solo: A New Selection of Pieces from the Orchestral Repertoire, vol .2 .London:OxfordUniversityPress,1982 .
Simandl,Franz .New Method for Double Bass .Ed .FrederickZimmerman .NewYork:CarlFischer,1987 .
Zimmerman,Frederick,ed .Orchestral Excerpts from the Symphonic Repertoire .7vols .NewYork:International,1972 .
Zimmerman,Oscar,ed .The Complete Double Bass Parts of Beethoven: Nine Symphonies and Leonore No. 3 Overture .Interlochen,Michigan:ZimmermanPublications,1970 .
Zimmerman,Oscar,ed .The Complete Double Bass Parts of Mahler Symphonies (1 through 5) .Interlochen,Michigan:ZimmermanPublications,1976 .
Zimmerman,Oscar,ed .The Complete Double Bass Parts of Mendelssohn, Schubert and Schumann Symphonies .Interlochen,Michigan:ZimmermanPublications,1973 .
Zimmerman,Oscar,ed .The Complete Double Bass Parts of Orchestral Works of Brahms .Interlochen,Michigan:ZimmermanPublications,1971 .
Zimmerman,Oscar,ed .The Complete Double Bass Parts of Orchestral Works of Tchaikovsky.Interlochen,Michigan:ZimmermanPublications,1972 .
Zimmerman,Oscar,ed .The Complete Double Bass Parts of Selected Romantic Symphonies .Interlochen,Michigan:ZimmermanPublications,1975 .
Zimmerman,Oscar,ed .The Complete Double Bass Parts of Selected Works of J.S. Bach .Interlochen,Michigan:ZimmermanPublications,1974 .
Zimmerman,Oscar,ed .The Complete Double Bass Parts of Selected Works of Mozart, Haydn and Weber .Interlochen,Michigan:ZimmermanPublications,1970 .
Zimmerman,Oscar,ed .The Complete Double Bass Parts of Strauss Tone Poems .Interlochen,Michigan:ZimmermanPublications,1972 .
Zimmerman,Oscar,ed .The Complete Double Bass Parts of Thirty-Six Overtures .Interlochen,Michigan:ZimmermanPublications,1971 .
double bass orchestral excerpts books
double bass reference and Pedagogy books
Benfield,Warren,andJamesSeayDeanJr .The Art of Double Bass Playing .Evanston,Illinois:Summy-Birchard,1973 .
Brun,Paul .A New History of the Double Bass .VilleneuveD’Ascq,France:P .BrunProductions,2000 .
Elgar,Raymond .Introduction to the Double Bass .3rded .,rev .St .Leonards-on-Sea:RaymondElgar,1971 .
Elgar,Raymond .Looking at the Double Bass .St .Leonards-on-Sea:RaymondElgar,1967 .
Elgar,Raymond .More About the Double Bass .St .Leonards-on-Sea:RaymondElgar,1963 .
Gerle,Robert .The Art of Practicing the Violin: With Useful Hints for All String Players .London:Stainer&Bell,1983 .
Green,Barry,andW .TimothyGallway .The Inner Game of Music .GardenCity,NewYork:AnchorPress/Doubleday,1986 .
Grodner,Murray .The Comprehensive Catalog of Music, Books, Recordings, and Videos for the Double Bass .4thed .Littleton,Colorado:GrodnerPublications,2000 .
Planyavsky,Alfred .The Baroque Double Basse Violone .TranslatedbyJamesBarket .Lanham,Maryland:ScarecrowPress,1998 .
Zimmerman,Frederick .A Contemporary Concept of Bowing Technique for the Double Bass .NewYork:MCA,1966 .
double baSS reSourceS continued
Bibliography The Royal Conservatory of Music70
InternationalSocietyofBassists13140CoitRoad,Suite320,LB120Dallas,Texas75240-5737telephone:972-233-9107,ext .204fax:972-490-4219www .isbworldoffice .com
AmericanStringTeachersAssociation4153ChainBridgeRoadFairfax,Virginia22030telephone:703-279-2113fax:703-279-2114www .astaweb .com
associations and Websites
Periodicals
American String Teacher publishedquarterlyby: AmericanStringTeachersAssociation 1866RobertFultonDrive,Suite300 Reston,Virginia22091
Bass Line newsletteroftheInternationalSocietyofBassists,
publishedtwiceayear
Bass World triannualjournaloftheInternationalSocietyof
Bassists
The Strad (Strad Magazine) monthlyClassicalmusicmagazineforallstrings
enthusiasts subscriptionsavailablefrom: ClassicalMusicWorld SubscriptionsDepartment 200RenfieldStreet Glasgow,ScotlandG23PR UnitedKingdom www .thestrad .com
STRINGS eightissuesayearpublishedby: StringLetterPublishing,Inc . P .O .Box767 SanAnselmo,California94979 telephone:415-485-6946 fax:415-485-0831 www .stringsmagazine .com
Sources of double bass music
TheRoyalConservatoryMusicandBookStore 273BloorStreetWest Toronto,OntarioM5S1W2 telephone:416-585-2225 fax:416-585-7801
CanadianMusicCentre 20St .JosephStreet Toronto,OntarioM4Y1J9 www .musiccentre .ca
TheSoundPost 93GrenvilleStreet Toronto,OntarioM5S1B4 telephone:416-971-6990 fax:416-597-9923 toll-free:1-800-363-1512
SharMusicCompany (mailorderandInternetorder) toll-free:1-800-248-7427 www .sharmusic .com
LemurMusic P .O .Box1137 JanJuanCapistrano,California92693 telephone:949-493-8323 fax:949-493-8565 toll-free:1-800-246-BASS(2277) www .lemurmusic .com
double baSS reSourceS continued
Double Bass Syllabus The Second Century 71
ThecurriculumandtheexaminationsystemofTheRoyalConservatoryofMusicarebuiltonmorethanacenturyofcommitmenttothehighestqualityintheteachingandperformingofmusic .Throughtheprofessionaltrainingprogram,thenationalexaminationsystem,andafacultyofdistinguishedmusicians,TheRoyalConservatoryofMusicisrecognizedastheleadingmusic-trainingforceinCanadaandoneofthemostsignificantmusicalinstitutionsintheCommonwealth .
TheRoyalConservatoryofMusic(originallycalledtheTorontoConservatoryofMusicandincorporatedin1886)openedwithanenrolmentof200studentsandastaffoffiftyteachersledbyEdwardFisher .Adecadelater,whenenrolmenthadgrowntomorethan1,000students,theschoolmovedtonewfacilitieswithareceptionhall,offices,studios,classrooms,alecturehall,andaconcerthall .Additionalstudios,classrooms,andresidencesforout-of-townstudentswereaddedoverthenextfifteenyears .In1898,theConservatoryestablisheditsfirstexaminationcentresinseveralOntariotownsandopenedbranchesinToronto .
In1913,followingthedeathofEdwardFisher,AugustusVogt,conductoroftheTorontoMendelssohnChoir,becamePrincipal .UnderVogt’sleadership,newprogramsweredeveloped .Thenumberofexaminationcentreswasincreased,andenrolmentcontinuedtogrow .By1926,therewerenearly7,500studentsandover16,000examinationcandidates .InassociationwithSirEdmundWalker,PresidentoftheConservatory,VogtestablishedclosertieswiththeUniversityofToronto .In1921,administrationofoperationspassedtoaBoardofTrusteesresponsibletotheUniversity .
ErnestMacMillan(laterSirErnestMacMillan)wasnamedPrincipalin1926 .Heimplementedprofessionalperformancetrainingprograms,includingtheArtistDiplomaProgramandTheRoyalConservatoryOperaSchool .WhenMacMillanresignedin1942,theleadershipoftheConservatorypassedbrieflyinturntoNormanWilksandCharlesPeaker .EttoreMazzoleniservedasPrincipalfrom1945to1968 .
In1947,aRoyalCharterwasgrantedtotheConservatorybyKingGeorgeVIinrecognitionofitswideinfluence .TheinstitutionwasrenamedTheRoyalConservatoryofMusic .Duringthefourpostwardecades,theConservatorycontinuedtodevelopundertheleadershipofdistinguishedmusicianssuchasBoydNeel,DavidOuchterlony,EzraSchabas,GordonKushner,andRobertDodson .
In1991,TheRoyalConservatoryofMusicre-establisheditsindependencefromtheUniversityofToronto .Dr .PeterSimonwasnamedPresidentofthenewlyindependentschool .Teachingprogramswerestrengthened,therewasanincreaseinpedagogicalmaterialspublishedbyTheFrederickHarrisMusicCo .,Limited,andtheRCMCentreforLearningthroughtheArtswascreatedtoexplorenewwaysofteachingmusic .
Nowinitssecondcentury,andinassociationwiththousandsofdedicatedteachersacrossthecountry,TheRoyalConservatoryofMusicassistsintheeducationofmorethanaquarterofamillionstudentsannually .Witharenewedcommitmenttoexcellenceinmusiceducationandperformance,withstrengthenedtiestoitscommunities,andwiththedevelopmentofnewteachingmethodsandmaterials,TheRoyalConservatoryofMusicwelcomestheopportunitytoservetheneedsofsocietyinthe21stcentury .
The Second Century