Violin syllabus PDF

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AUSTRALIAN GUILD OF MUSIC EDUCATION

Violin Examination Syllabus | Australian Guild of Music Education

The GUILD Music & Speech Education System

Australian Guild of Music Education Inc – A0010797V

The Australian Guild, Music and Speech Education System can be broadly divided into two sections:

Public Examinations for music and speech/drama students from beginner to advanced (Licentiate and Fellowship diplomas)

Tertiary Courses with Certificate, Diploma and Advanced Diploma courses for the music industry and Bachelor of Music degree for advanced music training

The public examinations are administered by The Australian Guild of Music Education, Public Examinations Division. These examinations cover practical music, music performance, music theory, practical speech and drama, speech and drama theory, oral communication, spoken language development and choric speaking. The printed syllabi for each type of examination, together with a wide-ranging series of publications forms a comprehensive instructional system to aid teachers in developing the skills of their students. The examinations provide recognition for the student’s work and teacher recognition is achieved through the Australian Guild Teachers Register.

The Creative Skills and Higher Educations programs covering courses in music to Certificate IV (CUS40109), Diploma (CUS50109) and Advanced Diploma (CUS60109) and Bachelor of Music degree (V13940) are provided by the Australian Guild of Music Education, Tertiary Course Division. The AGME is a Registered Training Organisation approved to deliver these courses in all States of Australia. All the courses are on the National Qualifications Register and may be completed by distance education. Video-tapes and DVDs ensure that students everywhere receive “live” instruction. Tapes and DVDs of tutorial centre sessions are dispatched directly to remote students together with written material.

In the Higher Education Program Bachelor of Music degree, articulation agreements may be arranged with other Universities for students who wish to continue their studies beyond a first degree. The Bachelor course, like the others, may be completed by distance education, the Kooyong campus and video material providing the appropriate contact between tutors and students.

All enquiries to: AUSTRALIAN GUILD OF MUSIC EDUCATION INC Public Examination Division Australian Guild Conservatorium, 451 Glenferrie Road KOOYONG VIC 3144 ph/fax +613 98223111

AUSTRALIA [email protected]

www.guildmusic.edu.au

VERSION CONTROL Reference: 20-0-4 (20120423)

Change Book Volume Edition Date

20 0 2 20031015 Re-written. Violon Cello and Double Bass supplement added.

20 0 3 20090414 Updated Cover page, changed AGMS to AGME.

20 0 4 20120423 Update to all steps, grades and proficiency sections

PHOTOCOPYING PROHIBITED

All rights reserved. No part of this publication may be reproduced, arranged, stored in a retrieval system or transmitted in any form or by

any means, manual, mechanical, photographic, chemical, electronic or otherwise, without the prior permission of the Australian Guild of

Music Education Inc (A0010797V).

Copyright 2004 by Australian Guild of Music Education Inc The moral rights of the authors are asserted.

mailto:[email protected]

http://www.guildmusic.edu.au/


Violin Examination Syllabus | Australian Guild of Music Education

VIOLIN SYLLABUS.

CONTENTS

AIMS OF THE SYLLABUS. Page 1.

IMPORTANT NOTES. " 1.

1. General Care of the Violin and Bow. " 1.

2. Specific Violin Care. " 1.

3. Care of the Bow. " 2.

4. Guild Violin Exercise and Sight Reading Book. " 2.

5. Unaccompanied Playing. " 2.

6. Assessment. " 2.

7. Memorization. " 3.

8. Own Choice Examination Music. " 3.

9. Scales and Arpeggios. " 3.

10. Advice to Students. " 3.

11. Photo copying of Music. " 4.

12. Guild Public Examinations. " 4.

13. Performance Examinations. " 4.

REFERENCE BOOKS. " 4.

1. Violin Technique. " 4.

2. Violin. General. " 5.

3. Violin Interpretation. " 5.

4. Rudiments. " 5.

5. General Reading. " 7.

INTRODUCTORY EXAMINATIONS. " 7.

1. Step One. " 7.

2. Step Two. " 9.

3. Step Three. " 10.

GRADE EXAMINATIONS. " 13.

1. Grade One. " 13.

2. Grade Two. " 14.

3. Grade Three. " 16.

4. Grade Four. " 18.

5. Grade Five. " 20.

6. Grade Six. " 22.

7. Grade Seven. " 24.

8. Proficiency. " 27.

DIPLOMA EXAMINATIONS. " 26.

1. Associate Diploma. AAGM. " 30.

2. Associate Diploma. TD. AAGM.TD. " 33.

3. Licentiate Diploma. LAGM. " 35.

4. Licentiate Diploma. TD. LAGM.TD. " 39.

5. Fellowship Diploma. FAGM. " 41.

6. Fellowship Diploma Alternative. FAGM. " 41.


Page 1 Violin Examination Syllabus | Australian Guild of Music Education

VIOLIN SYLLABUS.

AIMS OF THE SYLLABUS.

To develop individual musicianship to the limits of natural talent.

To develop creative ability.

To support individual self-esteem.

To provide Academic recognition for disciplined endeavour.

To provide a series of graded studies to achieve the above aims.

To provide a qualified independent assessment of a student's progress.

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IMPORTANT NOTES TO BE READ IN CONJUNCTION WITH THIS SYLLABUS.

This new edition of the Guild Violin Syllabus provides a series of examinations beginning at Preparatory level

(Step One) and thence through Steps Two and Three, Grades One to Seven, Proficiency Certificate and the

Diploma Division.

The selected music in this syllabus is very comprehensive for all levels.

But lists from the Old Syllabus for Proficiency, Associate and Licentiate Diplomas have been included for ease of

selection if "Own Choice" concession is required. (Refer to Item 8. Page 3.)

The overall syllabus is based on progressive technical and musical development, the acquisition of a worthwhile

repertoire of works and the building of a sound foundation in musicianship. All of the work is carefully graded,

and teachers preparing students for these examinations, which provide for a wide range of abilities, will have a

very useful outline upon which to develop their lessons.

1. GENERAL CARE OF YOUR VIOLIN AND BOW.

Keep both the Instrument and the Bow in the case when they are not being used.

Do not leave either in direct sunlight, or in a car in the hot sun, or on a table through which the sun, shining

through glass, can have a very harmful effect.

When purchasing a Violin and Bow, you are recommended to seek the opinion of a qualified professional

player. It is important that you select not only the very best quality instrument which you can afford, but also

the correct size. This can easily be gauged for a particular individual by holding out the left arm horizontally

from the shoulder with the violin held under the arm with the instrument's base at the armpit. The fingers of

the left hand should be able to easily curve around the scroll.

2. SPECIFIC VIOLIN CARE.

Always keep the Violin clean. Carefully remove all resin dust and any other marks such as finger imprints

etc. Occasionally polish your violin with a recommended Violin polish.

Unless your chin is comfortable when playing, your concentration is disturbed. So, make sure that your

instrument has a good chin rest, and exercise great care when adjusting it.

Always use a complete set of matched strings for best results. If you have trouble in lining them up over the

bridge, or if the pegs are stiff and almost unyielding, then seek the opinion of a professional player or the

services of a qualified instrument maker or repairer.

If using metal strings, adjusters should be used. But be cautioned:- use them with great care.

Finally. Look to the bridge of your instrument. Make certain hat it is always vertical. Any adjustment

should be made very carefully.



3. CARE OF THE BOW.

Do not succumb to the temptation to over-tighten.

Always remember to loosen the bow after use.

Be sparing with the use of resin.

Broken hairs should never be pulled out. Always carry a small pair of scissors in your case.

If your Bow needs re-hairing, then have it repaired as required. Make certain that you always have a full

width ribbon of hair for contact with the string.

4. GUILD VIOLIN EXERCISE AND SIGHT READING BOOK.

These exercises have been specially written and are examinable up to and inclusive of Grade TWO in the

Technical Work section of an examination. It must be remembered that these exercises are part of a planned

process of technical development, and as such, should always be played by the student prior to all practice and

playing periods. No exercise should be played through as if it were a piece of music. The student must always

be conscious of what is happening and must think deeply and carefully to obtain the utmost benefit. An exercise

prepares the fingers, hands, muscles, mind and technique for adequate control of the music, which of course, in its

turn, must then be carefully practiced. It is important to note that all Bowing and Fingering should be logical so

that the end result is both musical and satisfying. The Guild does not recommend any one particular school of

bowing or fingering. There are no short cuts. Exercises are important and they must always be an integral part

of every daily practice session. The Examiner will ask for one or two in the examination.

NOTE:- It is therefore essential that every student has a personal copy of the Guild Exercise Book for practice

and for examination use. Photo copies of individual pages are not to be used. Examiners will not look

favourably upon this practice.

5. UNACCOMPANIED PLAYING.

Some of the recommended music in the examination Lists, apart from the Studies, does not have or require a

written pianoforte accompaniment. Candidates should not be deterred from presenting music of this nature for

examination. Indeed, unaccompanied playing is not only recommended but it is often a reflection of the

necessary style..

6. ASSESSMENT.

In the examination assessment of candidates, Examiners will carefully consider the following points:-

Poise, musical control and co-ordination.

Style, tone and interpretation.

Technical control of the Bow. Preparation and arm attitude.

The ability of the candidate to employ the concept of economy of movement in muscular control. No

excessive or wasteful movement.

7. MEMORIZATION.

Although not demanded in an examination until the candidate is at Diploma level, it is nevertheless good training

for students and teachers to be aware of the benefits to be derived from playing from memory. Style, skill and

confidence often develop considerably when this is done.

8. OWN CHOICE.

The 'OWN CHOICE' concession is built into most Lists, but should not be lightly used where there are extensive

listed works to choose from, as the Syllabus is quite comprehensive and should cater for all requirements.

However, it is recognised that certain publications can be very difficult to obtain, and that new suitable

publications are quite often produced. It is then that the 'OWN CHOICE' concession becomes quite valid,

particularly in the lower grades.

From Step ONE to Grade TWO inclusive, teachers need NOT refer to the Guild for approval for any substituted

work. But if doubt exists as to the standard and suitability of the chosen OWN CHOICE work, then it is

advisable to request approval from the Guild. It is essential from GRADE THREE onwards that all substituted



work be approved by the Guild. A copy of the work should be sent, together with return postage, otherwise an

answer may not be received. If approved, the own choice work will be given the Guild stamp and dated. The

candidate's name and level of examination will be recorded, which means that the work can only be used for that

particular examination by that particular candidate. This must be done at least 6 weeks before the date of the

examination.

9. SCALES and ARPEGGIOS.

The given lists for each Step or Grade are very comprehensive to allow a candidate's full technical development

to be occur. Not all the scales and arpeggios listed are required for the examination but are expected to be

known. The candidate is requested to make a selection and hand the list to the examiner when entering the

examination room. The minimum suggested tempo is always given with each Step or Grade. Fluency, accuracy

and clarity of all scale and arpeggio requirements is essential. Students are advised not to be satisfied with

uneven and careless playing as poor bowing and control affects the playing and examination result considerably.

Any recognised standard edition of scales and arpeggios may be used. Suggested fingering in the Guild

Exercise Book for each scale and arpeggio are not mandatory. However, candidates must observe the

recommended tempi and the indicated bowings. This is an ESSENTIAL requirement.

10. ADVICE TO STUDENTS.

Candidates must provide their own accompanist who may remain in the examination room only whilst

performing that task. The teacher may act as accompanist, but not the Examiner, except in the case of an

accompanied sight reading test. The tuning of the instrument is entirely the responsibility of the candidate,

the accompanist or the teacher. The Examiner must not assist in this task.

Candidates must bring their own music stand to the examination room.

Candidates should be very sure that their preparation has been thorough for the examination, and that they

have a reliable pianist. All too often a candidate's performance is marred and spoilt by poor and inefficient

accompanying. Remember to allow plenty of time for those very necessary rehearsals with your pianist.

Also remember that under the stress and tension of the examination room, poor or inadequate preparation

shows up very quickly. So, know your work very thoroughly.

11. PHOTO-COPIED MUSIC.

Federal Government legislation is very specific about the photo copying of copyright publications. This applies

to most printed and published music. The Guild, in common with other Educational Institutions, prefers clearly

and legally printed music. Photo copies can sometimes be very illegible, and this certainly is not in a candidate's

best interests.

12. GUILD PUBLIC EXAMINATIONS.

These provide an excellent goal for both professionally minded and amateur students in their musical studies.

The examinations give a sense of purpose and direction and can be undertaken in addition to other musical

activities, as they are not meant to be the only musical event in a student's year. But rather, they are meant to

contribute towards the student's overall musical development.

13. PERFORMANCE EXAMINATIONS.

The Performance examination is basically a performance assessment as no pre-requisites in addition to sight

reading, aural (ear tests) or general knowledge etc are required.

The actual performance is recommended to occupy approximately 3-4/5ths of the equivalent Step or Grade

examination time. It is permissible to perform more than one item in any List if necessary to achieve the

required time. Notification of the selected program is NOT REQUIRED by the GUILD.

PROGRAM. Candidates are free to choose their own program and can include their own composition(s) if

desired. Candidates can elect to have supporting artists as part of their program. Backing tapes and/or

other collaborative support can also be used if required.



But well contrasted examination Lists are essential for assessment. It is necessary for the candidate to

prepare a small folio for the examiner with an explanation and listing of the works to be performed. This

is essential as often candidates perform their own compositions in examinations of this nature. Performance

Levels, examination times and marking details are in the Guild 2004 Handbook. (Section 2a. Item 6. Page

16)

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REFERENCE BOOKS.

NOTE:-

For a full comprehensive listing for all instruments, please refer to the Guild Handbook.

The following titles are intended to be a basic reference point for teachers and students. Many other excellent

books are available which do not appear in this list. It is realised that some editions listed may be difficult to

obtain or may be out of print. But they are included, as many are quite possibly in private possession or

obtainable in Public or Regional Libraries.

1. VIOLIN TECHNIQUE.

A New Approach to Violin Playing. K.Havas. Bosworth.

Bowing Technique. Op.50. Casorti. Carl Fischer.N.Y.

Complete Scales and Arpeggios for Violin. Carrodus Ed. Fry. Hammond.

Comprehensive Scale Manual. H.Wesseley. Augener.

Contempory Violin Technique. Galamian-Neumann.Galaxy.NY.

Dictionary of Bowing and Tonal Techniques for Strings. M.Lorrin. Hansen.

Modern Technique of Violin Bowing. Berkley. Chappell.

Scale Studies. J.Hrimaly. Augener.

Scale System for Violin. Carl Flesch. Fischer.

School of Velocity. Op.74. Dancla. Fischer.

School of Violin Technique. Bks. 1.2.3. Schradieck. Fischer.

The Art of Violin Playing. Vol.1 & 2. Carl Flesch. Fischer.

The Masters of the Violin. 12 Volumes of Studies. M.Crickboom. Schott,Brussels.

The Principles of Violin Fingering. Yampolski. OUP.

The Violinist's Handbook. Remsen Press. New York.

Violin. 6 Lessons with Yehudi Menuhin. Menuhin. Faber.

Violin Scales and Arpeggios. Bk.1 & 2. Forbes-Collins. Ass..Board.Lon.

Violin Technique. Mangeot. D.Dobson.

2. VIOLIN. GENERAL

A Violinist's Notebook. J.Szigeti. Duckworth.

An Encyclopedia of The Violin. A.Bachmann. Da Capo Press.NY.

Basic String Repairs. A.Burgan. OUP.

The First Year Violin Method. E.Cohen. Paxton & Co.

The History of Violin Playing. D.Boyden. OUP.

The Practical Guide to Violin Playing. H.Wessely. Williams.

The Violin. J.Wechsberg.Calder/Boyars.Lon.

The Violin and The Viola. S.Nelson. Benn.London.

The Violinists Handbook for Examinations. (Questions & Answers. John Fry. Hammond.

3. VIOLIN INTERPRETATION.

Foundations of Violin Playing and Musicianship. Kinsey. Longmans.

Harmony and its Application in Violin Playing. Norden.. Schirmer.

Principles of Violin Playing and Teaching. Galamain. Prentice-Hall.

String Playing in Baroque Music. R.Donington. Faber,London.



Violin Playing as I Teach It. L.Auer. Stokes.

4. RUDIMENTS.

A Dictionary of Musical Terms. Greenish. Williams.

A Student's Dictionary of Music. W.Lovelock. Bell.

Dictionary of Musical Terms. Baker. Allans.

General Knowledge for Music Students. W.Lovelock. Allans.

Hints on Working Rudiments Questions. Lovelock. Elkin.

Pocket Dictionary of Music. Collins.

Questions and Exercises on Rudiments of Music. J.A.Johnstone. Allans.

Rudiments of Music. Macpherson. Williams.

The Rudiments of Music. W.Lovelock. Bell.

5. GENERAL READING.

A History of Music. Forsyth. Macmillan.

A History of Western Music. D.J.Grout. Norton.

A Method of Aural Training. Three Books. Taylor. OUP.

Approach to Music.(0521095972) John Paynter. Cambridge.

Classic and Romantic Music. Blume. Faber.

Full Orchestra. Howes. Secker-Warburg.

Lives of Great Composers. Pelican.

Psychology For Musicians. Percy Buck. OUP.

The Book of Modern Composers. Ewen. Knopf.

The Concerto. Hill. Pelican.

The Golden Encycopedia of Music. Lloyd. Hamlyn.

The Growth of Music. Colles. OUP.

The Great Composers. Schonberg. Norton.

The Great Conductors. Schonberg. Simon & Schuster.

The Instruments of the Orchestra. E.Evans & H.Hind. B & H.

The Interpretation of Music. Dart. Hinrichsen.

The New Oxford Companion to Music. Arnold. 10th Edition. OUP.

The Progress of Music. Dyson. OUP.

The Pursuit of Music. W.Davies. Macmillan.

The Symphony. Hill. Pelican.

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INTRODUCTORY EXAMINATIONS.

STEP 1. Preparatory.

STEP 11. Elementary.

STEP 111. Preliminary.

These rudimentary examinations are intended to ensure that sound technical foundations are laid, and also to

accustom very young students to examination conditions and demands. No 'system' is insisted upon and any

recognised fingering pattern, scale book or basic Tutor is acceptable in the examination work submitted. The

work in these examinations should not be played excessively quickly, nor yet be unduly retarded. Examiners

will watch for correct positions and for a developing finger technique. Accuracy and clarity of tone are

important and special attention should be given to bowing technique. Co-ordination and precision of control

must be encouraged and constantly corrected by the teacher. Indeed, everything must be closely supervised to

ensure the correct development of good habits. A sound and reliable technique needs to be cultivated right from

the beginning. Remember that a relaxed economy of movement should always be the aim.

*****************************************************************

STEP ONE. PREPARATORY. Examination time. 10 Minutes.

Minimum pass mark. C 65.

1) TECHNICAL WORK (from memory) 20 marks

a) SCALES

1) G major (the first 5 notes descending from the note “g”)

(Example: d, c, b, a, g)

2) D major (the first 5 notes descending from the note “a”)

Separate bow for each note with a loud tone (minim = MM 50)

2) EXERCISES

Please refer to the Exercise Book.

The examiner will request one or two for performance.

3) SIGHT READING 10 marks To orally read notes for up to four bars from the Treble Stave. The examiner will use one of the examination

pieces presented and will point to each note. Note values not required.

4) EAR TESTS 8 marks Clap or tap a short two bar phrase played twice by the examiner. No note value smaller than a crotchet.

State which is the higher or lower of the two notes played consecutively by the examiner in the immediate

range above middle C (not less than an octave apart).

5) GENERAL KNOWLEDGE 7 marks The candidate will be asked to identify and name the brace, bar-lines, double bar-line, stave or staff, clefs,

semibreves, minims and crotchets as found in the repertoire.

6) PERFORMANCE (three lists required A, B and C)

Memory work is encouraged but is not essential in this examination.

a) LIST A (one selection required) 15 marks

1) First Book of Classical and Romantic Pieces (OUP, B & H)

a) No.3 Humming Bird.

b) No.5 Funeral March

c) No.12 A Little Dance.

d) No.144 Bow to Your Partner.

2) Learn to Play a Stringed Instrument by Ralph Matesky & Ardelle Womack (Alfred Music)



a) No.3 & 4 (page 9A) both as one

b) No.1 & 2 (page 11A) both as one

c) No.1 & 2 (page 17A) both as one

d) No.3, 4, 5 {page 17B) any two as one

3) More Tunes for My Violin (B & H, Allans)

a) No.2 As I Was in the Meadow by Hiller

b) No.4 Berceuse

4) String Builder (book 1) by Samuel Applebaum (Belwin Mill, Allans)

a) No 19. Bobby Shafto

b) No.20 Hot Cross Buns

c) No.22 Who is Thumkin (French Dance Song)

d) No.24 Old King Cole (Traditional)

e) No.115 Pizzicato "The Fourth Does the Picking"

f) No.116 Chop Sticks

5) Own choice (no Guild approval required)

b) LIST B (one selection required) 20 marks

1) First Book of Classical and Romantic Pieces (OUP, B & H)

a) Folk Tune by Mozart

b) Minuet from Flute Sonata No.4 in C) by J.S.Bach

c) Theme by Carl M Weber.

2) Suzuki Violin School (book 1)

a) Song of the Wind.

b) Gavotte by Gossec

c) Twinkle, Twinkle 1st & 2nd Variations

3) 12 Pieces For Violin and Piano by Eleanor Murray and Sebastian Brown (B & H)

a) No.1 Bourrée

b) No 2 Pastorale.

c) Own choice (no Guild approval required)

c) LIST C (one selection required) 20 marks

1) String Builder (book 1) by Samuel Applebaum (Belwin Mills, Allans)

a) No.65 The Space Ship

b) No.72 Thanksgiving Song

c) No.77 Smooth Sailing

d) No.78 Long Long Ago

e) No 81 The Quarter Rest and No.82 Thoughts of Christmas (both as one)

f) No.83 Good Morning

g) No.88 Watching the Sheep

h) No.90 Nelly Bly

i) No.134 An Overnight Hike by Wohlfahrt

j) No.140 The Spooks and No.141 In the Cave (both as one)

k) Own choice (no Guild approval required)

****************************************************************



STEP TWO. ELEMENTARY. Examination time. 10 Minutes.



a) SCALES

1) C major (the first 5 notes ascending from the note “c”)

(Example: c, d, e, f, g)

2) G (the first 5 notes ascending from the note “g”)

3) D (the first 5 notes ascending from the note “c”)

Separate bow for each note with a loud tone (minim = MM 50)

b) EXERCISES



2) SIGHT READING 10 marks A short simple phrase in simple time (generally consisting of minims)

3) EAR TESTS 8 marks Clap or tap a short two bar phrase played twice by the examiner. No note value smaller than a crotchet.

State which is the higher or lower of two notes played consecutively by the examiner in the immediate

range above middle C (not less than a fifth apart).

4) GENERAL KNOWLEDGE 7 marks Questions on rudiments as set for Step One as follows: the brace, bar-lines, double bar-line, stave or staff,

clefs, semibreves, minims and crotchets.

Also questions about simple time, the function of a dot after a note, a sharp, a flat and the natural sign,

simple dynamic signs as found in the examination music.




1) Course for Strings (book 1.) by Samuel Applebaum (Belwin)

a) Skip a Step.

b) No.120 Study for right hand pizzicato

2) Elementary Studies Op 54 by Wohlfahrt (Schirmer)

1, 6, 10


a) No.2 (page 31A)

.

b) No. 4 & 5 (page 33A) both as one.

c) No.1, 2, 3, 4, 5 (page 36A - 37A) any two of the five as one.

4) Progressive Studies (book 1) by Carse (Augener)

No.10, 11, 12 any one



1) Violin Method from Third to First position by Freda Dinn (Schott.10966)

a) No 50 The Happy Clown

b) The Vicar of Bray



c) Sur Le Pont De Nantes (French Folk Song)

d) Gavotte Facile by C. Ruegger (Rubank)


a) No.8 (page 34A), No.9A (page 35A) (both as one) (Alfred Music)

b) Pizzicato harmony for 'Jingle Bells'

3) Suzuki Violin School

a) Musette by J. S. Bach

b) March in D by C. P. E. Bach.

c) The Wonder Blossom by Beethoven



1) A Croon by Herbert Howell.

2) Meditation by F. T. Percival (Allans)

3) Romance by P. Buck.


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STEP THREE. PRELIMINARY EXAMINATION. Examination time. 15 Minutes.


NOTE: The Guild strongly recommends that the Preliminary Theory examination be passed in the same year as

this Preliminary Practical examination to prepare the students for the higher theory grades. This is not a pre-

requisite. For theory requirements see the Guild Handbook.


a) SCALES (one octave)

1) C major

2) G major

3) D major

4) A major

Separate whole bow for each note with a loud tone (minim = MM 50)

b) EXERCISES



2) SIGHT READING 10 marks A short simple phrase (the notes will be not shorter than a crotchet value). Either eight bars in common time;

- or eight bars or more in 2/4 time or 3/4 time, in the keys of C, G or F Major.

3) EAR TESTS 8 marks Clap or tap a short two bar phrase played twice by the examiner. Note values will not be shorter than a

crotchet.

State which is the higher or lower of any of the two notes played consecutively by the examiner, (not less

than a third apart). First time forte; within the octave above middle C - second time piano, within the octave

below middle C.

4) GENERAL KNOWLEDGE 7 marks Questions on rudiments as set for Step One and Step Two as follows: the brace, bar-lines, double bar-line,

stave or staff, clefs, semibreves, minims and crotchets.

Also questions about simple time, the function of a dot after a note, a sharp, a flat and the natural sign,

simple dynamic signs such as crescendo and decrescendo, diminuendo, p, mp, f , mf.

In addition, key signatures, triplets, tones and semitones and all signs and terms found in the examination

pieces.

The outline given is a guide to the candidate. The examiner may choose to ask any reasonable question

relative to the Step in order to reach an assessment.




1) The Really Easy Violin Book by (Faber)

a) No.4 Spine Chiller

b) No. 5 Javanese Gongs

c) No .9 Snakes and Ladders

2) Young Violinists Repertoire (book 1) (Faber)

a) No.10 Pony Trot





1) The Really Easy Violin Book (Faber)

a) No.7 Dinosaur Plod

b) No.8 Hen Party

c) No.12 The Chaffinch

2) Young Violinists Repertoire (book 1) (Faber)

a) No.2 Fanfare.



1) Abracadabra (book 1) (A & C Black, London)

a) Little Bird (page 10)

b) Andrew Mine, Jasper Mine (page 11)

c) Twinkle Twinkle (page 13)

d) Frere Jacques (page 20)

e) Baa Baa Black Sheep (page 22)

2) Microjazz for Starters (violin) (Boosey & Hawkes)

a) No.10 Rolling Along

3) The Fiddler’s Nursery (Stainer & Bell)

a) No. 7 Free from Care


*****************************************************************



GRADE EXAMINATIONS.

GRADE ONE EXAMINATION. Examination time. 15 Minutes.



the Grade One Practical examination to prepare the students for the higher theory grades. This is not a pre-


1) TECHNICAL WORK 20 marks (all technical work from memory, except exercises)

a) SCALES (one octave)

1) Major: C, G, E, F, Bb

2) Melodic Minor: G, E

Détaché or legato (crotchet = MM 72)

b) ARPEGGIOS (one octave)

1) Major: C, G, E, F, Bb

2) Minor: G, E

Separate whole bow for each note (crotchet = MM 72)

c) EXERCISES

Please refer to the Exercise Book under Grade One Exercises.


2) SIGHT READING 10 marks A short simple phrase with no note shorter than a crotchet; either eight bars in common time or eight bars

or more in 2/4 or 3/4 time, in the keys of C or G or F major. The candidate can use letter names, degree

names, solfa or intervals when answering.

3) EAR TESTS 8 marks

To clap a short two bars phrase played twice by the examiner. No note value than a quaver will be played.

Hum or sing and indentify any notes of the C major common chord.

4) GENERAL KNOWLEDGE 7 marks General questions based upon the music performed, including notes and rest values, staff, clefs,

accidentals, time and key signatures. Simple signs and terms found in the examination pieces.


relative to the grade in order to reach an assessment.

5) PERFORMANCE (Three lists required. A, B and C) 55 marks



1) Progressive Studies book 1 by Carse (Augener)

1, 2, 3, 7, 10.

2) Forty Studies opus 54 by Wohlfahrt (Peters, Schirmer)

1, 2, 3, 5, 6, 7, 10

3) Sixty Studies opus 45 book 1 by Wohlfahrt (Allans, UE)

1, 2, 4

4) Sixty Studies opus 45 book 2 by Wohlfahrt (Allans, UE)

31

5) Violin School by Hermann (Peters, B&H)

6, 7, 8, 9, 10 (choose any two as one)

6) Own choice. (No Guild approval required)




1) Young Violinists Repertoire book 1.( Faber)

No.4 March, No.5 Gavotte, No.6 Andante, No.13 Rigaudon

2) Violin Music for Beginners.(Editio Musica,Budapest)

Marcia by Sugár, French Troubadur Song by Járdányi

3) Violin School volume 2 by Suzuki

Chorus, Musette

d) Twenty Tunes for Beginners by Palmer &Best (Allans, OUP

Gavotte, Two Bourrées


c) LIST C (one selection required). 20 marks

1) Young Violinists Repertoire book 1.(Faber)

No.9 Pipers Tune, No.14 Waltz, No.15 Mailied. (May Song)

2) The Really Easy Violin book (Faber)

No.10 Skye, No.13 Troika

3) Violin School Volume 1 by Suzuki

Allegretto, Andantino

4) Young Violinists Repertoire book 1 (Faber)

9, 14, 15

5) Solos for Festival and Fun (MB, MMC)

Belle Nuit, Meadowlands, Valse from Coppelia


PERFORMANCE EXAMINATION (LEVEL ONE)

In addition of the normal grade examination, performance examination is also available for candidates who prefer

purely performance only; - no other technical works required.

Examination time: 10 minutes.

Minimum pass: 65 marks

1) Performance: 90 marks Candidates are required to perform three contrasting pieces from the above List A, B and C.

Full mark for each piece is 30 marks.

2) Summary: 10 marks

Candidates are required to prepare a short information segment in a small portfolio about each piece being played.

This is given to the examiner when entering the examination room. In addition, this is also an opportunity for the

examiner to make overall comments about the candidate's musicality, technical control, presentation etc.

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GRADE TWO EXAMINATION. Examination time. 15 Minutes.



this Grade Two Practical examination to prepare the students for the higher theory grades. This is not a pre-



.

a) SCALES (Two octaves)

1) Major: C, G, A, Bb

2) Melodic Minor. G. A

a) Separate bows in upper half of bow (quaver = MM 96)

b) Four notes slurred using whole bow (quaver = MM 96)

b) ARPEGGIOS (Two octaves)

1) Major: C, G, A, Bb

2) Minor: G, A

Each note to be played with a full bow

c) EXERCISES

Please refer to the Exercise Book under Grade Two Exercises.


2) SIGHT READING 10 marks A short passage (note values will not be shorter than a crotchet also no accidentals). The keys used: C, G

and F major only. In either 4/4, 3/4 or 2/4 time

3) EAR TESTS 8 marks Clap or tap a four bar simple passage played twice by the Examiner in 2/4 time (minims, crotchets and

quavers).

Hum or sing and identify any two notes of the C major common chord. The examiner will first play the

chord as an arpeggio before playing the two notes within the compass middle C – C. The candidate can

use letter names, degree names, solfa or intervals (1, 3, 5, 8) when answering.

Hum or sing the tonic of a short descending or ascending phrase played by the examiner.

4) GENERAL KNOWLEDGE 7 marks General questions based upon the music performed. Terms, words and signs found in the music. Time

and key signatures, staccato, accent and all dynamic signs used in the examination pieces.

The outline given is a guide to the candidate. The examiner may choose to ask any reasonable

question relative to the grade in order to reach an assessment.

5) PERFORMANCE 55 marks (three lists required. A, B and C)



1) Foundation Studies Violin book 1 by Wohlfahrt (Allans, UE)

10, 13

2) Studies opus 20 by Kayser (Peters)

1, 3, 4, 5, 6, 7

3) Studies opus 45 book 1 by Wohlfahrt (Schirmer, Allans)

6, 17, 20

4) Studies opus 54 book 1 by Wohlfahrt (Peters, Fisher)

30, 31, 32




b) LIST B (One selection required). 20 marks

1) Old Masters for Young Players book 1 (Schott)

Liebeslied, Sarabande, Andante Cantabile, La Villageoise,

Two Minuets, Gavotte & Musette

2) Chesterian String Series volume 1 (Chester)

Gavotte, Two German Dances, The Lark

3) Young Violinists Repertoire Book 1 (Faber)

8, 11, 16, 17, 22

4) Suzuki Violin School volume 2 (Bosworth)

Hunter's Chorus, Long, Long Ago


c) LIST C (One selection required). 20 marks

1) Young Violinists Repertoire book 1 (Faber)

8, 11, 17, 22

2) Microjazz for Starters, Violin. (Boosey & Hawkes)

No.8 Rustic Dance No 12. Wind Up

3) Suzuki Violin School volume 1 (Bosworth)

Gavotte

4) Six Easy Pieces by Edward Elgar Faber)

1, 2, 3, 4, 6

5) Violin Method 1st to 3rd Position by Freda Dinn (Schott)

36, 37, 41


PERFORMANCE EXAMINATION (LEVEL TWO)


purely performance only; - no technical work required.

Examination time: 10 minutes



Full marks for each piece are 30 marks.





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GRADE THREE EXAMINATION. Examination time. 20 Minutes.


NOTE: The Guild strongly recommends that the Grade One Theory Examination be passed in the same year as

the Grade Three Practical examination to prepare the students for the higher theory grades. This is not a pre-



.

a) SCALES (two octaves)

1) Major: G, A, Bb, B, C, D

2) Melodic Minor: G, A, Bb, B, C, D

3) Harmonic Minor: G, A

a) Détaché (quaver = MM 132)

b) Four notes slurred (quaver = MM 132)

b) ARPEGGIOS (two octaves)

1) Major: G, A, Bb, B, C, D

2) Minor: G, A, Bb, B, C, D


b) Four notes slurred (quaver = MM 96)

c) EXERCISES

Please refer to the Exercise Book under Grade Three Exercises.


2) SIGHT READING 10 marks

An eight bars passage in 4/4, 3/4 or 2/4 time, in the keys of C, G or F major to be played at a moderate

speed (crotchet = MM 100) no accidentals Phrasing must be observed.


To clap or tap a simple four bar passage played twice by the examiner in 3/4 time. Crotchets, quavers and

dotted minims will be used.

Hum or sing and identify any of the first five notes of the major scale. The examiner will first play the

tonic chord of the selected scale, then the five notes (there will be not more than three sharps or three

flats) before playing one note and requesting the answer. The test will be given twice. The candidate can

use letter names, degree names, solfa or ntervals when answering.

Hum or sing and then identify as major or minor, a short diatonic phrase of 5 – 7 notes played twice by

the examiner. No dotted rhythm will be used.

4) GENERAL KNOWLEDGE 7 marks

General questions based upon the music performed. All terms, signs, time and key signatures used in the

examination music. In addition, questions on scale formation, tetra chords, tones and semitones.

The examiner may choose to ask any reasonable question relative to the grade in order to reach an

assessment.

5) PERFORMANCE 55 marks (three lists required A, B and C)



1) Progressive Studies book 1 by Adam Carse

5, 6, 8, 10


2, 3, 4, 5, 6


5



4) Studies. Opus 20 by Kayser

4

5) Sixty Studies. Opus 45 by Wohlfahrt

30, 31, 32, 34, 35

6) Studies opus 32 book 2 by Sitt (Fischer, Schirmer)

20, 22, 23, 24, 26, 27

7) Own choice (Guild approval required)


1) Chester String Series Volume 3 (Schott)

Aire Round, Nobodye’s Gigge, Trumpet Air and Jigg

2) Violin Series (Schott)

Andante cantabile

3) Chanson Louis XVIII in the style of Couperin by Kreisler (Schott)

4) Die Alte Geige (Universal)

Minuetto by Albrechtsberger

5) Suzuki Violin School (volume 3)

Gavotte by Martini, Minuet by Bach, Gavotte in g minor

6) Old Masters for Young Players book 1 (Schott)

Two Dances, Gavotte & Musette, Sarabanda, Rondo



1) 24 Easy Little Concert Pieces (book 2) (B&H)

Traumerei, Overture and Rondino, Polish Style


Two Grenadiers, Theme, Gavotte (from Mignon), Gavotte, Minuet

3) Let Us Have Music for Violin. (Volume 2) (Carl Fisher)

Hatikwah, None but the Lonely Heart

4) A Fairy’s Holiday (Allans)

5) Eight Pieces in 3rd Position by Stone (Novello)

Pastoral, Intermezzo

6) Entr’acte Gavotte by Thomas (Allans)

7) Chester String Series (volume.3) (Chester)

Romance by Schumann

8) Sonatina in G minor. 1st and 2nd movements by Carse (Augener)

9) Violin Series (Schott)

Variations on “Lulle Me Beyond Thee” by Pearson.


PERFORMANCE EXAMINATION (LEVEL THREE)











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GRADE FOUR EXAMINATION. Examination time. 20 Minutes.


NOTE: The Guild strongly recommends that the Grade Two Theory Examination be passed in the same year as

the Grade Four Practical examination to prepare the students for the higher theory grades and to meet RPL

requirements. For theory requirements see the Guild Handbook.


a) SCALES (two octaves)

1) Major: G, Ab, A, Bb, B

2) Melodic Minor: G, A, B

3) Harmonic Minor: G, A, B

a) Détaché (crotchet = MM 126)

b) Slurred one bar to a bow (crotchet = MM 126)

4) Chromatic G (commence on open G)

Slurred four notes to a bow (crotchet = MM 80)

b) ARPEGGIOS (two octaves)

1) Major: G, Ab, Bb, B

2) Minor: G, Bb


b) Slurred three notes to a bow (quaver = MM 96)

c) DOMINANT SEVENTH (two octaves)

1) Commence on G (in C)

2) Commence on A (in D)


b) Slurred four notes to a bow (quaver = MM 84)

d) DIMINISHED SEVENTH (two octaves)

1) Commence on G

2) Commence on Bb


b) Slurred four notes to a bow (quaver = MM 84)

e) EXERCISES

Please refer to the Exercise Book under Grade Four Exercises.


2) SIGHT READING 10 marks A twelve bar passage in either the key of G, D, F major or in A Minor, in 3/4, 4/4 or 6/8 time. Quavers

and occasional accidentals will be used.

3) EAR TESTS 8 marks Clap or tap a four bar passage played twice by the Examiner in 3/4 or 4/4 time. Dotted minims and dotted

crotchets will be used.

Hum or sing and identify any of the first six notes of the major scale. The examiner will first play the

tonic chord of the selected scale, then the six notes of the scale. Not more than four sharps or four flats,

before playing one note and requesting the answer. The test will be given twice. The candidate can use

either letter names, degree names, solfa or intervals when answering.

Hum or sing and then identify as major or minor, a short chromatic phrase of 5 to 7 notes played twice by

the examiner. Dotted rhythms may be used.

4) GENERAL KNOWLEDGE 7 marks General questions covering scale formation, tetra chords, tones and semitones, notation, rests, main keys

of the chosen examination pieces, time signatures, accents and syncopation. The terms and signs found in

the examination music. Binary Form, easy intervals above C, G and F (major 3rd, minor 3rd and perfect)

The outline given is a guide to the candidate.



The examiner may choose to ask any reasonable question relative to the grade in order to reach an

assessment.

5) PERFORMANCE (three lists required. A, B and C) 55 marks

Memory work is encouraged but is not essential for this examination.

a) LIST A (one selection required). 15 marks

1) Studies. Opus 20 by Kayser

1, 2, 3, 4, 6, 7, 8, 13, 28, 29, 32

2) Progressive Studies (book 3) by Carse

7, 9, 10, 12

3) Sixty Studies. Opus 45 by Wohlfahrt

38, 47, 49, 57, 58

4) Special Studies Opus 36 by Mazas

2

5) Fourteen Melodic Studies by Neil Mackay

4, 6



1) Sonatas Opus 5 by Corelli (Schott)

a) No.3 in C major 4th movement

b) No.6 in A major 3rd movement

c) No.8 in E minor 1st and 2nd movements

2) Sonata No.6 in G Major by J.C. Pepush

3) Sonata opus 2 No.8 in G major. 1st and 2nd movements by Vivaldi

4) Concerto. Opus 3 No.6 in A minor. 1st and 2nd movements by Vivaldi

5) Sonata in G minor. Largo and Allegro (Editio Musica.Budapest.Z8267)


a) Gavotte in D

b) Bourrée

7) Sonata in G KV56 Rondo by Mozart

8) Sonata in C KV60 2nd and 3rd movements by Mozart



1) Andantino in the Style of Martini by Kreisler

2) Chester String Series (book 3)

a) Waltz by Schubert.

b) Romance and Harvest Song (No.5 & 6) by Schumann

3) First Solo Pieces (book 2) Schott 12367

a) The Spinning Top opus 22 by Bizet

4) Londonderry Air by Anon (Traditional) (Carl Fischer)

5) Session Time for Strings (West Side Story by Bernstein) (B & H)

a) No 7. I Feel Pretty


a) Humoresque

b) Gavotte by Becker

7) Let Us Have Music for Violin (volume 2) (Carl Fisher)

a) Andantino

b) Melody in F

8) Sonata Miniature by Rueger. (Rubank)

a) . Air Antique




PERFORMANCE EXAMINATION (LEVEL FOUR)










examiner to make overall comments about the candidate’s musicality, technical control, presentation etc.

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GRADE FIVE EXAMINATION. Examination time. 20 Minutes.


NOTE: The Guild strongly recommends that the Grade Three Theory of music Examination with a minimum

mark of 70 be passed in the same year as this Grade Five Practical examination.

For theory requirements see the Guild Handbook.


a) SCALES (three octaves)

1) Major: G, A, Bb

2) Melodic Minor:. G, A, Bb

3) Harmonic Minor: G, A, Bb

. a) Détaché (crotchet = MM 144)

b) Slurred one bar to a bow (crotchet = MM 144)

c) Spiccato (dotted crotchet = MM 72)

4) Chromatic: Bb, (four notes slurred) (Minim = MM 60)

b) ARPEGGIOS (three octaves)

1) Major: G, A, Bb

2) Minor: G, A, Bb


b) Three notes slurred (quaver = MM 92)



2) Commence on Bb (in Eb)

Four notes slurred (minim = MM 54)


1) Commence on B

2) Commence on G


e) EXERCISES Please refer to the Exercise Book under Grade Five Exercises.


2) SIGHT READING 10 marks A passage will be played by the examiner in a major key of up to two sharps and two flats, or in a minor

key up to one sharp or flat. Using dotted rhythmic patterns, tied notes and simple modulations.

3) EAR TESTS 8 marks Clap or tap a four bar passage played twice by the examiner in simple or 6/8 time, no note shorter than a

quaver.

Hum or sing and identify any degree of the major scale. The examiner will first play the tonic chord of

the selected scale and then the entire scale (not more than five sharps or five flats), before playing one

note and requesting the answer. The test will be given twice. The candidate can use letter names, degree

names, solfa or intervals when answering.

Identify as major or minor a phrase played twice by the examiner also identify the end cadence as plagal

or perfect.

4) GENERAL KNOWLEDGE 7 marks General questions covering terms and signs found in the examination music also keys, modulations and

intervals including diminished and augmented above the notes D, A and Bb.



General questions will also be asked about time, and musical forms. The candidate has to be able to

demonstrate these forms in the examination pieces. Recognition of keys, tetra chords, perfect and plagal

cadences in the examination music presented.

The outline given is a guide to the candidate. The examiner may choose to ask any reasonable

question relative to the grade in order to reach an assessment.

5) PERFORMANCE (three lists required A, B and C) 55 marks



1) Forty-two Studies by Kreutzer

4, 5, 6, 10, 12

2) Special Studies opus 36 (book 1) by Mazas

1, 2, 3, 5, 6, 8, 9

3) Studies opus 20 by Kayser

7, 8, 12, 16, 17

4) Thirty Six Studies by Fiorillo

3, 15, 16

5) Studies Opus 45 (book 2) by Wohlfahrt

42, 43, 46, 47, 50, 53



1) Sonata No.2 for flute and Harpsichord by J. S. Bach

Sicilienne

2) Sonatas opus 5 by Corelli

a) No.9 in A major: Preludio and Giga

b) No.11 in E major: Vivace and Gavotta

3) Sonata E minor by Francoeur

1st movement

4) Sonatas for Violin and Harpsichord Opus 1 by Handel (Barenreiter)

a) No.3 in F major: 4th movement

b) No.4 in D major. 4th movement

c) No.6 in G minor. 4th movement

5) Sonata opus 137 by Schubert

a) No.1 in D major. 1st movement

b) No.3 in G minor. 1st movement

6) Sonatina by Werner (Editio Musica.Budapest.Z8267)

a) No.5 in G major: Allegro Assai

b) No.6 in F major: Allegro Assai


a) Gavotte by Bach

b) German Dance by Dittersdorf

8) Old Masters for Young Players (book 3) (Schott)

a) La Jeunesse by Jean Loillet

b) Matelotte by William Boyce

c) Sarabanda and Gavotte by Telemann



1) Old Masters for Young Players (book 3) (Schott)

a) Romance by Schubert

b) The Lotus Flower by Schumann

2) Chorale: Jesu, Joy of Man’s Desiring by Bach (OUP)

3) Sheep may Safely Graze by Forbes (OUP)

4) Serenade from string 4-et in F major Hob.III/17 by Haydn (Schirmer 02297½)

5) Chesterian Violin Series II. (Chester)



Norwegian Dance by Rebel

6) Serenade Opus 48 by Tchaikovsky (Fischer B.934)

Valse

7) Sonatina No.4 in F major by Telemann (Allans)

Vivace, Cantabile and Presto movements

8) Own choice. The chosen work must reflect the musical quality and the technical level of this

Grade. (Guild approval required)

PERFORMANCE EXAMINATION (LEVEL FIVE)


purely performance only; - no technical works required.








examiner to make overall comments about the candidate’s musicality, technical control, presentation etc.

*****************************************************************



GRADE SIX EXAMINATION. Examination time. 25 Minutes.

Minimum pass mark. C+70.


the Grade Six practical examination to prepare the students for the higher theory grades. This is not a pre-




1) Major: G, A, Bb

2) Harmonic minor: G, A, Bb

3) Melodic Minor: G, A, Bb

a) Détaché (dotted crotchet = MM 96)

b) Spiccato (dotted crotchet = MM 96)

c) Six notes slurred (dotted crotchet = MM 96)

4) Chromatic: Bb, B (two octaves)

Twelve notes slurred (minim = MM 84)


1) Major: G, A, Bb

2) Minor: G, A, Bb


b) Spiccato (quaver = MM 72)

c) Three notes slurred (quaver = MM 72)


1) Commence on A (in D)

2) Commence on D.(in G)



1) Commence on A

2) Commence on D


e) DOUBLE STOPS (two octaves)

1) G Major in 3rds or F major in 6ths (either one)

2) A Major In octaves

Separate bows (crotchet = MM 66)

d) ONE STRING SCALE (one octave)

Any major scale starting from open string up to 3rd position (ascending and

descending).

e) EXERCISES

Please refer to the Exercise Book under Grade Six Exercises.


2) SIGHT READING 7 marks A passage in a major key of up to three sharps and three flats; - or in a minor key up to two sharp or two

flats; (in simple or compound time) using semiquavers and syncopation.

3) EAR TESTS 7 marks Clap or tap a four bar passage played twice by the examiner in simple or 6/8 time. No note shorter than a

quaver.



Hum or sing and identify any two notes of the major scale. The examiner will first play the tonic chord of

the selected scale and then the entire scale, before playing one note and requesting the answer. The test

will be given twice. The candidate can use letter names, degree names, solfa or intervals when

answering.

Hum or sing the higher or lower of two notes played simultaneously by the examiner within the diatonic

scales of C-C. The key may be changed to accommodate the voice range.

Identify whether a phrase played by the examiner is in a major or a minor key. Also identify the cadence

at the end as plagal, perfect or interrupted.

Identify as major or minor, triads played by the examiner in root position. These will be played twice if

necessary.


General questions covering the form and structure found in the examination music of the selected pieces.

Advanced questions on intervals (including compound, inverted, diatonic and chromatic) ornaments and

abbreviations, terms, keys and modulations found in the examination music. Recognition of plagal,

perfect and interrupted cadences within the music performed. The outline given is a guide to the

candidate. The examiner may choose to ask any reasonable question relative to the grade in order to reach

an assessment.

5) PERFORMANCE (four lists required A, B, C and D)



1) 42 Studies by Kreutzer

8, 10, 11, 12, 16

2) Special Studies opus 36 (book 1) by Mazas

25, 26

3) Studies opus 36 (book 2) by Mazas

28, 36, 38, 39, 41

4) 36 Studies by Fiorillo

6, 7, 9, 10, 11, 12, 20, 21

5) Studies opus 20 by Kayser

27, 28, 29, 33



1) Sonata in G major (BWV 1021) 2nd or 4th movements by Bach (Bärenreiter)

2) Sonata opus 5 No.10 Sarabande and Giga by Corelli (Schott)

3) Sonata opus1 No.1 1st & 2nd movements by Geminiani (Bärenreiter)

4) Sonatas opus 1 by Handel (Barenreiter)

a) No.1 in A major 3rd & 4th movements

b) No.2 in G minor 1st & 2nd movements

c) No.2 in G minor 3rd & 4th movements

d) No.3 in F major 3rd & 4th movements

e) No.4 in D major 1st & 2nd movements

f) No.4 in D major 3rd & 4th movements

d) No.5 in A major 1st & 2nd movements

5) Sonata opus 137 by Schubert (Henle)

a) No 1 in D major 3rd movement

b) No.2 in A minor 1st movement

6) Concerto in A minor opus3 No.6 by Vivaldi (Peters)

a) First movement

b) Third movement

7) Sonata in E minor 1st movement KV304 by Mozart (Henle, Bärenreiter)





1) Air on G string by Bach (Schott)

2) Hungarian Dances by Brahms (Peters}

a) No 1 in G minor (edited by Paul Klengel)

b) No 2 in A minor (edited by Paul Klengel)

c) No 4 (0riginal No.5) in E minor (edited by Paul Klengel)

3) Fantasia on Greensleeves by Vaughan Williams (OUP)

4) Concerto. No.2 KV 211 1st movement by Mozart (no Cadenza required) (Peters)


a) Country Dance by Weber

b) Giga by Veracini

6) Chanson de Matin by Elgar (Novello)

7) Popular Pieces (arranged by Watson Forbes) (OUP)

a) Andaluza Spanish Dance No.5 by Granados

b) Gopak by Mussorgsky

c) Humoresque opus 10 No.2 by Tchaikovsky

d) Slumber Song opus 124 No.2 by Schumann

8) Sonatina in G minor opus 100 Finale movement by Dvorak

9) Sonatina in G minor opus D408 Finale movement by Schubert (Wiener Urtext)

10) Concertino opus 24 in G major 1st movement by Rieding (Bosworth)

11) Concertino opus 25 in D major 1st movement by Rieding (Bosworth)

12) Four English Sketches No 4 by Rowley (Williams)

13) Romance in F major opus 40 No 1.by Vieuxtemps (Carl Fischer)

14) 8) Own choice (Guild approval required)

d) LIST D (one selection required) 16 marks

1) Tartiniana Seconda (1957) by Dallapiccola (Suvini Zerboni)

a) No.2 Tempo di Bourrée

b) No.4 Presto

2) Five Little Pieces by Tucapsky (Robertson)

a) No.1 Polka

b) No.3 Valse

c) No.5 Caprice

3) Albumstücke by Shostakovich (Peters)

a) No.6 Frülingswalzer

b) No.7 Romanze

4) Ten Preludes opus 34 by Shostakovich (Peters)

a) No.5 Largo opus 34 No.17

b) No.6 Allegretto opus 34 No.18

c) No.7 Andantino opus 34 No. 19

5) Own choice: twentieth century composition with piano accompaniment (from 1950).

(Guild approval required)

PERFORMANCE EXAMINATION (LEVEL SIX)













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GRADE SEVEN EXAMINATION. Examination time. 40 Minutes.


NOTE: The Guild strongly recommends that the Grade Five Theory Examination with a minimum mark of 70 be

passed in the same year as this Grade Seven Practical examination. For theory requirements see the Guild

Handbook.



1) Major: B, C, E, F

2) Melodic minor: B, C, E, F

3) Harmonic minor: B, C, E, F

a) Détaché (dotted crotchet = MM 112)

b) Spiccato (dotted crotchet = MM 112)

c) Legato 21 notes to a bow (dotted crotchet = MM 112)

4) Chromatic: G, A, Bb


b) Spiccato (crotchet = MM 96)

c) Legato 21 notes to a bow (crotchet = MM 96)

.


1) Major: B, C, E, F

2) Minor: B, C, E, F


b) Spiccato (quaver = MM 96)

c) Slur nine notes to a bow (quaver = MM 92)

c) DOMINANT SEVENTH (three octaves)


2) Commence on C (in F)

3) Commence on D (in G)

Slur 12 notes to a bow (crotchet = MM 92)

d) DIMINISHED SEVENTH

1) Commence on G

2) Commence on Bb

3) Commence on D

Slur 12 notes to a bow (crotchet = MM 92)

e) DOUBLE STOPPING (two octaves)

1) Thirds: Bb major or A major (either one)

2) Sixths: F major or Eb major (either one)

3) Octaves: A major or D major (either one)

slur two chords to a bow (crotchet = MM 72)

d) EXERCISES Please refer to Grade 7 exercises in the Exercise Book. The examiner will request one

or two for performance.

2) SIGHT READING 7 marks

A passage in a major key of up to four sharps and four flats; - or in a minor key up to three harp

or three flats; - in simple or compound time. Modulations and accidentals may be expected.


Clap or tap a substantial four bar passage played twice by the examiner. Dotted crotchets, quavers and

semiquavers used.



The examiner will play the tonic chord of a suitable key and then play three notes consecutively within the

scale octave. The test will be given twice before the answer is requested. The candidate can use either: letter

names, degree names, sol-fa or intervals when answering.

Hum or sing the higher or lower notes of a major or minor triad played in root position by the Examiner.

Hum or sing a diatonic or chromatic phrase of 7 - 9 notes after it has been played twice by the examiner.

Identify the triads as major, minor, augmented or diminished, - the triads played by the examiner will be in

root position and will be played twice if necessary.


1) Background of the composers and of the works performed.

2) Questions covering the form and structure of the pieces played also keys and modulations.

3) Advanced questions on intervals including compound, inverted, diatonic and chromatic.

4) Recognition of cadences (perfect, plagal, imperfect and interrupted).






1) 24 Studies opus 37 by Dont

1, 4, 8

2) 42 Studies by Kreutzer

3, 6, 7, 14, 17, 20, 24, 35

3) 36 Studies by Fiorillo

5, 6, 21, 22

4) 24 Caprices by Rode

2, 6, 10, 18

5) Own choice. (Guild approval required)


1) Sonata in Bb major by Arne (OUP)

2) Sonata No.2 in A major BWV 1015 Bach 3rd movement (Bärenreiter)

3) Sonata No.6 in G major BWV 1019 by Bach 1st movement (Bärenreiter)

4) Sonata No.1 in D major by Corelli 1st & 3rd Movements (Schott)

5) Sonata No.1 in A major by Händel 1st & 2nd movements (Henle)

6) Sonata No.3 in F major by Händel 1st & 2nd movements (Henle)

7) Sonata No.1 in G major KV301 by Mozart 2nd & 3rd movements (Bärenreiter)

8) Sonata No.5 in A major KV305 by Mozart 2nd & 3rd movements (Bärenreiter)

9) Golden Sonata in G minor by Purcell 1st & 2nd movements (OUP)

10) Concerto in E major BWV1042 by Bach 2nd movement (Bärenreiter)

11) Concerto in A minor BWV1014 1st movement (Bärenreiter)

12) Concerto in G major Hob7A/4 by Haydn 1st or 2nd & 3rd movements (Bärenreiter)

13) Concerto No. 2 in Bb major KV207 by Mozart 1st or 2nd & 3rd movements Peters)

14) Concerto No.3 in G major KV216 by Mozart 1st or 2nd & 3rd movements (Peters)

15) Concerto No.23 in G major by Viotti 1st or 2nd & 3rd movements (Peters)

16) Concerto No.8 opus 13 in E minor by Rode 2nd movement (Peters)

NOTE: cadenzas are not required for the above concerto list.



1) .Melody opus 42 No. 3 by Tchaikovsky (IMC)

2) Playera opus 23 No.1 by Sarasate (Lengnick)

3) Liebesfreud by Kreisler (Schott)



4) Liebeslied by Kreisler (Schott.)

5) Romance sans Paroles opus 9 by Wieniawski (Schirmer)



Own choice: 20th century composition (from 1950) with piano accompaniment.


PERFORMANCE EXAMINATION (LEVEL SEVEN)











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PROFICIENCY EXAMINATION. Examination time. 45 Minutes.


NOTE:- The candidate must obtain a minimum pass mark of 70 in Grade Six (or higher) Theory of Music

Examination in the same year as this Proficiency practical examination.

1) TECHNICAL WORK 16 marks (All technical work from memory, except exercises)


1) Major: all keys

2) Harmonic minor: Ab, Bb, C#, F#

3) Melodic Minor: all keys



c) Twenty-one notes slurred (crotchet = MM 104)

4) Chromatic: G, A, Bb

Thirty-six notes slurred (crotchet = MM 96)

5) Double stopping (two octaves)

a) G major in 3rds or B melodic minor in 3rds. (either one)

b) F major in 6ths or G melodic minor in 6th (either one)

c) Bb major in octaves or G melodic minor in octaves (either one)

Two chords slurred (crotchet = MM 80)


1) Major: all keys

2) Minor: all keys



c) Nine notes slurred (crotchet = MM 104)

c) DOMINANT 7ths (three octaves)


2) Commence on Ab (in Db)

3) Commence on Bb (in Eb)

4) Commence on C (in F)

Twelve notes slurred (crotchet = MM 104)

d) DIMINISHED 7ths (three octaves)

1) Commence on B (of C)

2) Commence on C (of Db)

3) Commence on C# (of D

4) Commence on D (of Eb) .

Twelve notes slurred (crotchet = MM 104)

e) EXERCISES

Please refer to Grade 7 exercises in the Exercise Book.


2) SIGHT READING (7 marks)

A passage in a major or minor key of up to four sharps and four flats; - in simple or compound time.

Modulations and accidentals may be expected.

3) EAR TESTS (7 marks)

Clap or tap a four bar passage played twice by the examiner. Dotted rhythms and semiquavers will be used.

Hum or sing the middle or lower notes of a major or minor triad played in root position by the examiner.

Hum or sing a two bar phrase played twice by the examiner in a key to suit the candidate’s rage of voice.



Identify triads as major or minor when played in root position or 1st inversion by the examiner.

Name the cadences in a passage played by the examiner in a major key, with slight pauses at the cadence

points. The passage will consist of a four phrase melody of which only the four cadences will be harmonized.

4) GENERAL KNOWLEDGE (6 marks)

Questions about the works performed in List B, C and D: background of the composers, period

of music, musical form, keys, modulations and cadences.

The outline given is a guide to the candidate. The Examiner may choose to ask any reasonable question





1) Forty-Two Studies by Kreutzer (Peters, Belwin)

7, 13, 34, 35, 38

2) Thirty-Six Studies by Fiorillo (IMC, Belwin)

9, 10, 20, 23, 26, 28, 34, 29

3) Twenty-Four Caprices by Rode (Peters, IMC)

1, 2, 3, 4, 5, 8, 9

4) Twenty-four Etudes and Caprice opus 35 by Dont

2, 5, 3, 13



1) Sonata No.2 in A major BWV 1015 by Bach 1st and 2nd movements (Bärenreiter)

2) Partita No.2 in D minor BWV 1004 by Bach Allemanda and Corrente (Bärenreiter)

3) Partita No.3 in E major BWV 1006 by Bach Bouree and Gigue (Bärenreiter)

4) Sonatina opus 100 in G major by Dvorak 1st movement (Lengnick)

5) Sonata No.1 in G major KV301by Mozart 1st movement (Bärenreiter)

6) Sonata No 5 in A major KV305 by Mozart 1st movement (Bärenreiter)

7) Concert Sonata opus 8 No.2 in E minor 1st and 2nd movements (Peters)

8) Legend opus 17 by Wieniawski (Peters)



1) Concerto No. 2 in E major BWV 1042 by Bach 1st movements (Bärenreiter)

2) Concerto in C major Hob7A/1 by Haydn 1st movement (Peters)

. 3) Concerto in E minor opus 64 by Mendelssohn 2nd movement (Peters)

. 4) Concerto No. 5 in A major KV219 by Mozart 1st movement (Peters)

5) Concerto No. 4 in D major KV218 1st movement (Schott Urtext)

6) Concerto opus 9 No. 7 in A minor by Rode 1st movement (IMC)

7) Concerto No.22 in A minor by Viotti 1st movement (Schott)

NOTE: no cadenzas are required for the above list!



1) Three Fantastic Dances No.2 or No.3 by Shostakovich (B & H)

2) Aus der Heimat by Smetana 1st movement (Peters)

3) La Fille aux Cheveaux de Lin by Debussy (Durand)

4) La plus que lente by Debussy (Durand)

5) Piece en forme d’Habanera by Ravel (Allans

6) Six Solos by Leonard No.1 or No.2 (Billaudot)

7) Spanish Dance by Granados/Kreisler (Schott)

8) Own choice: a twentieth century composition with piano accompaniment.




PERFORMANCE EXAMINATION



LEVEL Eight



1) Performance: 80 marks Candidates are required to perform four contrasting pieces from the above List A, B and C.

Full marks for each piece are 20 marks.





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DIPLOMA EXAMINATIONS.

ASSOCIATE DIPLOMA, (VIOLIN PERFORMER) AAGM(P)

Pre-requisite: Guild Proficiency Certificate.

The candidates cannot enter for this Associate Diploma within 12 months of receiving the Proficiency Certificate.

This examination consists of two parts, 1) Theoretical and 2) Practical.

[Please note that this Associate Diploma is a pre-requisite examination for the Guild Licentiate Diploma (P).

General conditions are as for all other Guild Diploma Examinations.]

1) THEORETICAL

All candidates must obtain a minimum pass of 70 marks in the Guild Grade 7 (or higher) Theory of Music

Examination. No exemption can be granted from this condition. The examination must be passed within a three

year period of the first entry for the practical examination.

2) PRACTICAL. (Examination time: 50 Minutes)

A concert standard of performance will be expected. A recital program of at least 30 minutes duration is

mandatory. It is therefore possible that the candidate will find it necessary to select more than one work from a

List to provide a program of the required length. At least one work has to be performed from memory. Any

additional memory work is optional.

LIST A (one selection required) (20 Marks)

a) Sonata No.1 in B minor BWV 1014 (3rd & 4th movements) by J.S. Bach Bärenreiter

b) Sonata No.6 in G major. BWV 1019 (4th & 5th movements) by J. S. Bach Bärenreiter

c) Sonata opus 12 No.1 in D major (3rd movement) by Ludwig van Beethoven Henle

d) Sonata opus 12 No.2 in A major (3rd movement) by Ludwig van Beethoven Henle

e) Sonata in C minor opus 45 (3rd movement) by Edward Grieg Peters

f) Sonata in Bb major KV 454 (1st & 2nd movements) by W. A. Mozart Bärenreiter

g) Sonata in Eb major KV 481 (1st movement) by W. A. Mozart Bärenreiter

h) Sonata in A major opus 162 D.574 (1st movement) by Franz Schubert IMC

i) Sonata opus 1 No.10 in G minor (2nd & 3rd movements) by Giuseppe Tartini Carisch

j) Concert Sonata opus 8 No.2 in E minor (last movement) by F. M. Veracini Peters

k) Own choice. (Guild approval required)

LIST B (one selection required) (20 Marks)

a) Concerto No 1 opus 26 (1st and 2nd movements) by Max Bruch Peters

b) Concerto No 7 in G major by Charles de Beriot Peters

c) Concerto No 4 in D major. KV218 (2nd and 3rd movements) by W. A. Mozart Schott

d) Concerto No 5 in A major. KV219 (2nd and 3rd movements) by W. A. Mozart Bärenreiter

e) Concerto opus 64 in E minor (1st and 2nd movements) by Felix Mendelssohn Peters

f) Concerto opus 48 in G minor (1st and 2nd movements) by Dmitry Kabalewski Sikorski

g) Concerto No.7 opus 9 in A minor (1st movement) by Pierre Rode Peters

h) Concerto No 9 in A minor (2nd & 3rd movements) by Charles de Beriot Fischer

i) Concerto No 22 in A minor (1st & 2nd movements Giovanni Battista Viotti Fischer

j) Own choice. (Guild approval required)

LIST C (one selection require) (20 Marks)

a) Prelude No 5 or 6 (from 10 Preludes) by Dmitry Shostakovich Boosey

b) Hungarian Dances (any one) by Johannes Brahms arranged by Joseph Joachim Lengnick

c) Malaguena opus 21 No.1 by Pablo Sarasate IMC



d) Romance in F opus 11 by Antonin Dvorak Lengnick

e) Romanza Andaluza opus 22 No.1 by Pablo de Sarasate IMC

f) Sicilienne and Rigaudon by Fritz Kreisler Schott

g) Spanish Dances opus 23 No.1 or No.6 by Pablo de Sarasate Lengnick

h) Swedish Dances No.5 or No.6 by Max Bruch Peters

i) Own choice: one twentieth century composition (post 1950) with piano accompaniment.


LIST D (one selection required) (20 Marks)

a) Partita No.1 BWV 1002 in B minor Allemanda & Double by J. S. Bach Bärenreiter

b) Partita No.2 BWV 1004 in D minor Sarabanda and Giga by J. S. Bach Bärenreiter

c) Partita No.3 BWV 1006 in E major. Preludio & Loure by J. S. Bach Bärenreiter

d) Sonata No.1 BWV 1001 in G minor Siciliana and Presto by J. S. Bach Bärenreiter

e) Sonata No.2 BWV 1003 in A minor Andante & Allegro by J. S. Bach Bärenreiter

f) Sonata No.3 BWV 1005 in C major Largo & Allegro assai by J. S. Bach Bärenreiter

g) Own choice: one unaccompanied composition. (Guild approval required)

.

SIGHT READING (7 Marks)

At a standard commensurate with this Diploma

EAR TEST (7 Marks)

1) To clap or tap the rhythm of a four bar passage played twice by the Examiner. (Dotted rhythms,

semiquavers and triplets will be used in simple time or in 6/8 time. The candidate will also be asked to

state the time signature and to name the value of the notes in any portion of the passage played separately.

2) To recognise and name intervals formed by two notes played together within an octave.

3) To recognise and name: major, minor, augmented and diminished triads played by the examiner in root

position or in first inversion.

4) To recognise and name the four cadences in a passage played twice by the examiner with short pauses

at the end of each cadence point. The key will be stated and the tonic chord will be sounded before the

passage is played.

GENERAL KNOWLEDGE (6 Marks)

Questions will be asked about the background of the composers, the works performed, the period of the

music, keys, modulations, cadences, musical form and the musical characteristics of the works

performed.


relative to this examination in order to reach an assessment.

*****************************************************************



ASSOCIATE DIPLOMA. TEACHER. AAGM(TD).

ASSOCIATE DIPLOMA, (VIOLIN TEACHER) AAGM(TD)

Pre-requisite: Guild Proficiency Certificate.

The candidates cannot enter for this Associate Diploma within 12 months of receiving the Proficiency Certificate.


The candidates for this examination should have attained the age of 17 years by the date of the examination. It is

recommended that considerable personal development occurs before entering for this Diploma. Candidates must

have maturity and have had extensive teaching experience.

The candidate has to demonstrate teaching ability over a wide musical background in reference from the earliest

levels through to Proficiency level. Therefore a comprehensive understanding and knowledge of the teaching

technique and repertoire is absolutely essential.

1) THEORETICAL

a) The candidate must obtain a minimum pass of 70 marks in the Guild Grade 7 (or higher) Theory of

Music Examination. No exemption can be granted from this condition. The examination must be passed

within a three year period of the first entry for the practical examination.

b) The candidate must obtain a minimum pass of 70 marks in the Guild Associate Teaching Principles

Paper. The Teaching Principles paper is a written extension of the below Viva Voce examination and no

exemption can be granted from these conditions. This examination must be passed within a three year

period of the first entry for the practical examination.

VIVA VOCE: (26 Marks)

This section of the examination requires that the candidate has a wide, active and general musical

background and also has the ability to demonstrate the various skills required for teaching the violin.

o Explain and demonstrate how you would teach violin and bow holding positions and left hand

contact with the instrument.

o Comment on how you would organise the initial 3 lessons for a beginner.

o Demonstrate your knowledge of a suitable repertoire used for the different grades.

o Explain and demonstrate the technique of bowing, shifting, fingering and the general principles

applicable to violin teaching, including tone production and intonation.

2) PRACTICAL. (Examination time: 50 Minutes)

The playing skills for this Violin Teacher’s Associate Diploma need not be as technically brilliant as for

the Performer’s Diploma, but must be reliable and allow the candidate to display considerable skill and

expertise.

Four lists required A, B, C and D.

A recital program of at least 20 to 25 minutes duration is mandatory. It is therefore possible that the

candidate may find it necessary to select more than one work from a List to provide a program of the

required length. The pieces as shown in the Associate Violin Performer’s Lists can be used or these can be

replaced with works of a similar standard and style if desired. It is not required to perform any of the

chosen pieces from memory. It is necessary to submit the planned program of Associate Violin Teacher’s

Diploma to the Guild for approval.



LIST C (one selection required) (15 Marks)



LIST D (one selection required) (15 Marks)


Same test as for the Associate Performer.

EAR TEST (7 Marks)

Same test as for Associate Performer.

GENERAL KNOWLEDGE

This is Included in the demonstration of teaching principles in the “Viva Voce”.

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LICENTIATE DIPLOMA, (VIOLIN PERFORMER) LAGM(P

Pre-requisite: The Associate Diploma (Violin Performer) however, other Diplomas of recognised equal status

may be accepted at the discretion of the Music Director of the Guild and the Committee. Documentary evidence

in this case must then be submitted with the entry form.

The candidate for this Licentiate examination must have attained the age of 17 years by the date of the

examination. The candidate cannot enter for this Licentiate Diploma within 12 months of receiving the Associate

Diploma.


1) THEORETICAL

The candidate must obtain a minimum pass of 70 marks in the Guild Grade 7 (or higher) Theory of Music

Examination. No exemption can be granted from this condition. The examination must be passed within a

three year period of the first entry for the practical examination.

2) PRACTICAL (Examination time: 60 Minutes)

A concert standard of performance will be expected.

A recital program of at least 40 minutes duration is mandatory. It is therefore possible that the candidate

will find it necessary to select more than one work from a List to provide a program of the required

length.

At least one work must be performed from memory. Any additional memory work by the candidate is

optional

Four lists required A, B, C and D.


a) Sonata No.1opus 78 in G major (1st & 2nd movements) by Johannes Brahms Henle

b) Sonata No.1opus 78 in G major (2nd & 3rd movements) by Johannes Brahms Henle

c) Sonata in Eb major KV481 (2nd & 3rd movements) by W.A. Mozart Bärenreiter

d) Sonata in Eb major KV 481 (1st movement) by W. A. Mozart Bärenreiter

e) Sonata opus 12 No.3 in Eb major (1st & 2nd movements) by Ludwig van Beethoven Henle

f) Sonata opus 30 No.2 in C minor (3rd & 4th movements) by Ludwig van Beethoven Henle

g) Sonata in A major (1st & 2nd movements) by César Franck Peters

h) Sonata in A major (2nd & 3rd movements) by César Franck Peters

i) Sonata in G minor (The Devil’s Trill) by Giuseppe Tartini Schirmer

j) Sonata in A major opus 162 D.574 (1st movement) by Franz Schubert IMC

k) Own choice. (Guild approval required)




a) Concerto opus 64 in E minor (2nd & 3rd movements) by Felix Mendelssohn Peters

b) Concerto opus 61 in D major (1st movement) by Ludwig van Beethoven IMC

c) Concerto opus 61 in D major (3rd movement) by Ludwig van Beethoven IMC

d) Concerto Opus 48 in G minor (2nd and 3rd movements) by Dmitry Kabalevsky Sikorski

e) Concerto (1st or 3rd movements) by Aram Khachaturian B & H

f) Concerto in A major KV219 (complete) by Wolfgang Amadeus Mozart Schirmer

g) Adagio in E major K261 and Rondo in C major K373 (both) by W. A Mozart Peters

h) Concerto No.1 in G minor Op 26 (2nd and 3rd movements) by Max Bruch IMC

i) Concerto No.4 in D minor (2nd movement & Finale) by Henry Vieuxtemps Peters

j) Concerto No.2 in D minor opus 22 (Finale) Henryk Wieniawski MC

k) Concerto No.3 in B minor opus 61 (last movement) by Camille Saint Saens Durand

l) Concerto. Op 104. No 9 (complete) by Charles de Beriót Peters

m) Own choice. (Guild approval required)

NOTE: Cadenzas are required for the above list.

LIST C (one selection required (20 Marks)

a) Rondo in B minor. Opus 70 D895 by Franz Schubert Henle

b) Hungarian Dances No. 2 & 5 (both as one) by Brahms/ Joachim Butorac

c) Air with Variations opus 1 No.1 by Charles de Beriót Schott

d) La Capricieuse opus 17 by Edward Elgar Breitkopf

e) La Campanella opus 7 by Niccoló Paganini/Fritz Kreisler IMC

f) Slavonic Dances No.3 by Antonin Dvorak/Fritz Kreisler Lengnick

g) Praeludium and Allegro by Fritz Kreisler Schott

h) Polonaise opus 4 in A major by Henryk Wieniawski IMC

i) Polonaise in D opus 21 by Henryk Wieniawski IMC

j) Romantic Pieces opus 75 No. 2, No.3 or No.4 by Antonin Dvorak Simrock

k) Zigeunerweisen opus 20 No.1 or No.4 (either one) by Pablo de Sarasate Lengnick

l) Own choice. (Guild approval required)

LIST D (one selection required (20 Marks)

a) 24 Caprices opus 1 (No.13, and 14, both pieces) by Niccoló Paganini IMC

b) Sonata No.1 BWV 1001 in G minor (Adagio and Fuga) by J. S. Bach Bärenreiter

c) Sonata No.2 BWV 1003 in A minor (Grave & Fuga) by J.S. Bach Bärenreiter

d) Caprice Viennoise by Fritz Kreisler Schott

e) Elegy and Toccata by Lenox Berkeley Chester

f) Six Sonatas opus 27 (No.2) by Eugené Ysaye Schirmer

g) Sonata opus 44 in G major (all three movements) by P. Ben Haim Israeli Music Publication

h) Sonata opus 115 in D by Sergei Prokofiev B & H

i) Own choice (Guild approval required)


At a standard which is commensurate with this Diploma.

EAR TESTS (7 Marks)

To clap or tap a substantial four bar passage, with or without an anacrusis, played twice by the

examiner. Dotted rhythms, triplets and any time signature will be used. The candidate will

also be asked to state the time signature and to name the value of the notes in any portion of

the passage played separately.

To sing or play from memory the lower part of a passage in two part harmony consisting of

Four bars in simple time. The key will be stated and the key chord sounded. The examiner will

play the passage not more than three times.



To recognise and name major and minor triads played by the examiner in root position, first

or second inversion. Diminished and augmented triads will be played in root position only.

To recognise and name the four cadences in a passage played twice by the. The key will be

stated and the tonic chord will be sounded before the passage is played.

To recognise and name the modulations played by the examiner. There will be a short pause at

the end of each modulation. The passage will consist of 6 to 8 phrases, the tonic key will be

stated and the key chord sounded. The test will not be played more than three times.

GENERAL KNOWLEDGE (6 Marks)

Questions will be asked about the background of the composers, the works performed, the period of the

music, keys, modulations, cadences, musical form and the musical characteristics of the works

performed.


relative to this examination in order to reach an assessment.

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LICENTIATE DIPLOMA. TEACHER. LAGM(TD).

NOTE:- The practical examination as outlined for the Licentiate Performer examination is the basis for this

Diploma.

All candidates for this Diploma must at the date of entry hold the Associate Diploma of the Guild in the same

subject. However, the practical component of other Diplomas of recognised equal status MAY be accepted at the

discretion of the Guild Director of Music and Guild Committee approval. Documentary evidence in this case

must then be submitted with the entry form.

Candidates cannot enter for this Licentiate TD Diploma within 12 months of receiving the Associate Diploma.

Generally, candidates for this examination should have attained the age of 19 years by the date of the

examination. It is recommended that considerable personal development occurs before entering for this

Diploma. Candidates must have maturity and have had extensive teaching experience.

The examination is designed to demonstrate a teacher's ability over a wide musical background in reference to

teaching from the earliest levels through to Proficiency level. Therefore a comprehensive understanding and

knowledge of the teaching technique and repertoire in relation to the chosen instrument is absolutely essential.

This Licentiate Teachers Diploma examination consists of TWO parts, Practical and Theoretical.

PART ONE:- THEORETICAL. Two Papers. (Honours. 90 marks and above.)

Paper 1. All candidates must obtain a minimum pass of 70 marks in the Guild Grade V111 (or higher) Theory

of Music Examination.

Paper 2. All candidates must obtain a minimum pass of 70 marks in the Guild Licentiate Teaching Principles

Examination. These examinations must be passed within a three year period of the first entry for the PART TWO practical

examination. See the Guild Handbook for requirements.

PART TWO:- PRACTICAL. Examination Time. 60 Minutes.

Maximum marks 100. Honours. 90 Marks. Minimum Pass. 70 marks.

NO EXEMPTION can be granted from any part of this examination.

PERFORMANCE. Four Lists Required. A.B.C.D.

Candidates must provide their own music stand.

The full program must be representative of four different composers and styles. Complete works must be

performed.

The playing skills for this TD Diploma need not be as technically brilliant as for the Performer Diploma, but must

be reliable and allow the candidate to display considerable skill and expertise.

A recital program of at least 30 minutes duration is mandatory. It is therefore possible that the candidate will

find it necessary to select more than one work from a List to provide a program of the required length.

NOTE:- The listed pieces (including works from the Old Syllabus as shown) can be used or replaced with works

of a similar standard and style if desired. It is necessary to submit the planned Licentiate program to the Guild

for approval. Refer to 'OWN CHOICE'. Item 8. Page 3.

MEMORY. None required for this examination.

LIST A. 15 Marks.

Any Sonata by Bach. Handel, Veracini and Vivaldi

Own Choice. Guild approval required.

LIST B. 15 Marks.

Any Piece by Sarasate, Tschaikovsky and Wieniawski


LIST C. 15 marks. A twentieth century composition with piano accompaniment (from 1950). The Piece must have similar musical and

technical standard as the Lists A and B.


LIST D. 15 Marks.



Select from Licentiate Performer Lists.

OR


SIGHT READING. As for the Licentiate Performer. 7 Marks.

EAR TESTS. As for the Licentiate Performer. 7 Marks.

GENERAL KNOWLEDGE. Included in the demonstration of Teaching Principles.

PRACTICAL DEMONSTRATION OF TEACHING PRINCIPLES. 26 Marks.

This Viva Voce section of the LAGM(TD) examination requires that a candidate has a wide, active and general

musical background, and has the ability to demonstrate the various skills required in relation to the teaching of the

violin.

1. Candidates must submit a comprehensive teaching folio listing their teaching repertoire from Step One and

through the Grades to Proficiency level. Written comments attached to each work must clearly give an indication

that the candidate is aware of the musical requirements and technical difficulties in the listed works. They must

also include suggested practice methods to overcome both observed and potential faults.

2. The candidate will be required to give a demonstration lesson to the Examiners using material from the Guild

Violin Syllabus 2002, from and inclusive of Step One through to Proficiency level.

OR

Comment on how you would organise the initial 3 lessons for a beginner.

3. Candidates will be expected to demonstrate any technical work and exercises prescribed for the Violin

examinations in the Guild 2002 Syllabus. Also to discuss common student errors and to suggest means for their

correction.

4. Candidates will be asked to explain and demonstrate methods for the teaching of phrasing, interpretation and

style. To further discuss these aspects in relation to Violin technique. Such as how to teach violin and bow

holding positions and left hand contact with the instrument.

OR

Explain and demonstrate the technique of bowing, shifting, fingering and the general principles applicable to

violin teaching, including tone production and intonation.

5. The candidate will be aurally examined in the basic principles of performance and will be expected to discuss

and demonstrate the various techniques and control used by the Violin player.

6. Candidates will be asked to outline the reasons for Music Education and to discuss with the Examiners the

philosophy inherent in this concept.

7. General questions on the History of Music, music styles and different techniques used on the Violin in the

performance of these styles.

8. To demonstrate to the Examiner's satisfaction a comprehensive knowledge of the history and construction of

the Violin and its relationship to music and to the repertoire.

The outline given is a guide to the candidate. The Examiner nay choose to ask any reasonable question such

as those listed below, in order to reach an assessment.

NOTE: The Teaching Principles paper is a written extension of the above Viva Voce examination.

*****************************************************************



FELLOWSHIP DIPLOMA EXAMINATION (VIOLIN) FAGM.

Pre-requisite: Guild Licentiate Diploma of Four years standing.

The Guild’s Council approval is necessary for entry to the Fellowship Diploma. The applicant must be able to

demonstrate a long association with the Guild and an empathy with its philosophy.

(Please apply in writing to the Guild’s Director for details.).

This advanced qualification will be awarded for proven excellence or as an Honour for outstanding services to the

Guild.

a). Research Thesis of 50,000 words.

b). Composition of a major work.

c). A full Concert Performance. (Please see” Fellowship Alternative” below).

d). A long, outstanding teaching Career.

e). Original and unique innovation of outstanding importance within the Guild framework.

f). Sustained area of excellence in Music and Speech by which teachers and students throughout Australia will

benefit.

NOTE: It is mandatory in sections a, b, d, e and f for a supporting thesis or in section c performance notes have

to be written.

FELLOWSHIP ALTERNATIVE

PUBLIC PERFORMANCE DIPLOMA. Dip.PP.AGM.

[This examination can be taken instead of the Fellowship (FAGM)]

Four works required: one from each List A, B, C and D.

The listed pieces can be used or replaced with works of a similar standard and style. It is necessary to submit the

planned concert program to the Guild for approval.

LIST A

1) Sonata opus 30 No.2 in C minor (complete) by Beethoven Henle

2) Sonata opus 47 in A major (complete) by Beethoven Henle

3) Sonata opus 96 in G major (complete) by Beethoven Henle

4) Sonata Opus 108 No.3 in D minor (complete) by Brahms Henle

5) Sonata Pimpante (complete) by Rodrigo Max Eschig

6) Fantasia in C major opus posth. 159 D.934 by Schubert Henle

7) Sonata opus 121 in D minor (complete) by Schumann Peters

8) Sonata No. 2 opus 82 by Turina Salabert


LIST B 1) Concerto opus 61 in D major (2nd and 3rd movements) by Beethoven IMC

2) Concerto opus 77 in D major. 1st and 2nd movements) by Brahms IMC

3) Concerto opus 77 in D major (2nd & 3rd movements) by Brahms IMC

4) Scottish Fantasy opus 46 (2nd & 3rd movements) by Bruch Peters

5) Concerto No.3 Opus 61 in B minor (1st & 2nd movements) by Saint Saens IMC

6) Concerto No.3 Opus 61 in B minor (2nd & 3rd movements) by Saint Saens IMC

7) Concerto opus 35 in D major (1st & 2nd movements) by Tchaikovsky Peters

8) Concerto opus 35 in D major (2nd & 3rd movements) by Tchaikovsky Peters


NOTE: Cadenzas are required for the above list.



LIST C

1) Introduction and Rondo Capriccioso opus 28 by Saint Saens IMC

2) Havanaise opus 83 by Saint Saens IMC

3) Zigeunerweisen opus 20 by Sarasate Peters

4) Introduction and Tarantella opus 43 by Sarasate Carl Fischer

5) Scherzo Tarantella opus 16 by Wieniawski IMC

6) Polonaise de Concert opus 4 in D major by Wieniawski IMC

7) Own choice: a twentieth century composition with piano accompaniment (post 1950)


LIST D

1) Partita No.2 BWV 1004 in D minor Ciaconna by Bach Bärenreiter

2) Sonata. No.3 BWV 1005 in C major (Adagio & Fuga) by Bach Bärenreiter

3) Sonata opus 27 No.3 byYsaye Schott

4) Sonata opus 27 No.6 by Ysaye Schott


*****************************************************************



DOUBLE BASS SYLLABUS (This Syllabus is still being developed and at present is issued with the Violin Syllabus. Interested Teachers are invited to

make submissions/suggestions )

NOTE: Ear tests, General knowledge and Sight Reading apply to all examinations. Candidates should see

the requirements.

STEP ONE

Technical Work:

G Major scale One octave

Arpeggios G One octave.

LIST A

BELSHAW: Any two exercises Nos 1 to 15 from I Bags the Bass. Open Strings and Harmonics Vol 1 Currency

Press

ELLIOT Any two of Open Strings , Nos 1 to 4 from Ready, Steady, Go.(Bartholomew)

LIST B

BELSHAW: Any piece from I Bags the Bass. Open Strings and Harmonics Vol 1 Currency Press

OSBOURNE : Any one of Nos 1 or 2 from The Real Easy Bass Book (Faber)

From I Bags the Bass, Half Position Any tone of the following:

London Bridge

Wandering

March

LIST C

NORTON: from Microjazz for Double Bass (Boosey+Hawkes)

Grizzly Bear:

ELLIOT C from Ready Steady, Go (Bartholomew) No 5

From Bass is Best, Emery/Stratford.(Yorke) Any of the following:

Uncle Bob

Fat Ladies Waltz

Slow Dance

NOTE Candidates may nominate their own choice for any one list, provided it is of an approximate standard

STEP TWO

Technical Work:

Bb Major scale One octave

Arpeggios Bb One octave.

LIST A


Press

ELLIOT Any one of Open Strings , Nos 1 to 4 from Ready, Steady, Go.(Bartholomew)

SIMANDL F Any one of Exercises on the Four Strings in Various Rhythms, Nos 1 to 4 from New Method for

String Bass,Ptl, ed Sankey p7, (IMC)



LIST B

BELSHAW: Any two pieces from I Bags the Bass. Open Strings and Harmonics Vol 1 Currency Press

OSBOURNE : Any one of Nos 1 to 6 from from The Real Easy Bass Book (Faber)

RUSSELL Any one of Explorations No 1,2, 3 or 4 from Two Sets of Short Pieces for Double Bass and Piano

(Shawnee)

From, I Bags the Bass, Half Position Any two of the following:

RockingWallaby

Mattachins

AuClaire de la Lune

London Bridge

Wandering

March

LIST C


Double Quick or In Sombre Mood

ELLIOT C from Ready Steady, Go (Bartholomew) Either No 6 or 7

From Bass is Best, Emery/Stratford.(Yorke) Any two of the following:

Marching Double Bass.

Slow and Mysterious


STEP THREE

Technical Work:

G + Bb Major scales One octave

Arpeggios Either G + Bb One octave.

LIST A


Press

ELLIOT Any two of Open Strings , Nos 1 to 4 from Ready, Steady, Go.(Bartholomew)

SIMANDL F Any one of Exercises on the Four Strings in Various Rhythms, Nos 1 to 6 from New Method for

String Bass,Ptl, ed Sankey p7, (IMC)

LIST B

BELSHAW: Any four pieces from I Bags the Bass. Open Strings and Harmonics Vol 1 Currency Press

OSBOURNE : Any one of Nos 1 to 10 from from The Real Easy Bass Book (Faber)

RUSSELL Any two of Explorations No 1, 2 3 or 4 from Two Sets of Short Pieces for Double Bass and Piano

(Shawnee)

From I Bags the Bass, Half Position Any three of the following:

Rocking Wallaby

Mattachins

AuClaire de la Lune

London Bridge

Wandering



March

LIST C


Grizzly Bear: Double Quick: In Sombre Mood

ELLIOT C from Ready Steady, Go (Bartholomew) Any one of Nos 5 to 10

Evans C Any onefrom Basic Bass (Novello)

From Bass is Best, Emery/Stratford.(Yorke) Any two of the following:

Marching Double Bass.

Uncle Bob

Fat Ladies Waltz

Slow and Mysterious

Slow Dance


GRADE ONE

Technical Work: Any recognized pattern of fingering is acceptable but memory playing essential

All parts of the Bow to be used.

Scales: G Bb + F One octave ascending and descedning

Arpeggios same material as for scales:

Exercises are not mandatory but desirable: Student nominates choice.(if presented)

Three lists are required: One piece from each of the three LISTS A B and C Candidates may apply for permission

to substitute for one list.

LIST A

KMENT 1, 2, 4 or 6 from Elementaretuden fur Kontrabass

SIMANDELF NolinC,pl6, Nolpl7,or No 3 p 18 from New Method for String Bass, ed Sankey (IMC).

WOLFAFRT N o 2 in G from "Studies singing Bass Player (Boston Music Co).

From I Bag the Bass: Half Position, Vol 2, Belshaw (Currency Press). Any three of the following

Lightly Row,

Gaelic Melody,

Climb the Mountain

Baby Baby Gently Sleep.

The Hare

Kamgaroo Hop

Basic Blues in Bb

LIST B

HASSLER JW Stately Dance, ed Applbaum

CHLEMULLER H. A Prayer (Fischer). From Double Bass Solos (OUP):

BEETHHOVEN Ode to Joy, No 7.'.

MUSSORSKY : The Great Gate of Kiev Nol

MAHLER Canon on Frere Jacques , Upper part only.

SAINT-SAENS Tortues No 2: From Double Bass Solo Plus (OUP): PACHELBEL. Canon, No 1.

TCHAIKOVSKY. La Mere Gigogne et les Polichinelles, No 3.



TRAD. Shepherd's Hey, No 2.

From I Bags the Bass: First Position, Vol 3, ed Belshaw (Currency Press).

Any Three of the following:

Bobby Shaftoe. Happy Giants. Sad Giants. Twinkle, Twinkle Little Star. Are You Sleeping.

Fire's Burning. The 'Saints'. Edwina's Song. Ode to Joy. Good King Wenceslas.

From The Really Easy Bass Book, arr Osborne (Faber):

Barcarolle. Baby Trout. Sur le pont d'Avignon. Bass Bridges of Paris.

LIST C

ELGAR, E. Pomp and Circumstance March, ed Applebaum (Shawnee).

ELLIOTT, C. Any one of No 16 to No 61 from Ready-Steady-Go (Bartholemew),

HALAHAN, G, No 1, 2 or 3 from Bagatelles (Yorke).

HEYKENS, J. Serenade, Op 21, No 5 from Double Bass Solo Plus (OUP). Piano accompaniment is required.

HOAG, C. The Half Position Rag from Rags, Boogies & Blues for Young Bassists (Presser).

NORTON, C. Pineapple Bounce or The Caretaker from Microjazz for Double Bass (Boosey & Hawkes).

ROE, B. Sunny morning, Finding my way, The old church, Bells or Evening from Play-a-day (Thames).

RUSSELL, A. Set Two (Half Position). Any two of Explorations, No 1, 2, 3 or 6 from Two Sets of Short Pieces

for Double Bass and Piano (Shawnee).

STEWART, R. Prelude or Waltz from Suite Double-Bass (Ricordi). From Bass is Best, Emery(Slatford (Yorke):

Rocking Slowly. Boating. Heffalumps Dance. Fingers

Forward. Cuckoo, From The Bass Project, Bk 1 (The Bass Project Inc, 2196 Old Ironside Court, Woodbridge,

Va, 22192, USA):

TRAD. Lightly Row, p 10. TRAD. Bobby Shaftoe, p 18. From The Really Easy Bass Book, arr Osborne

(Faber): Bobby Shaftoe goes to New Orleans. Jellied Eels

Foo-Yong. Remembering.

Section 111. Aural Tests, Sight Reading, General Knowledge

NOTE Candidates may nominate their own choice for any one list, provided it is of an approximate

standard

GRADE TWO

Section 1. Technical Work

Any recognised school of fingering is acceptable in all technical work. To be played from memory.

Scales

Major: A + , C . Melodic Minor: E, A, B. Any two. One octave ascending and descending MM Crotchet = 66

Bowing: (i) Legato (ii) Slurred two notes to a bow (repetition of the uppermost note is optional)

Arpeggios

Compass and keys as in scale requirements. Bowing: Separate bows, MM Crotchet = 66

Exercise

An exercise of the candidate's choice of at least eight bars demonstrating string crossing.

For example: STREICHER. My Way of Playing the Double Bass, Vol 2, p 12, last two lines, exercises on all 4

strings (Doblinger).

The exercise presented may be read from the music.

Three works required, one from each of Lists A, B and C,



LIST A. Studies

KMENT, J. No 5 or 60 from

Elernentaretuden fur Kontrabass (Hofheim).

MANDL, F. No 6 in D or No 7 in A from New Method for String Bass, ed Sankey, p 24 (IMC).

WOLFAHRT. No 19 in B from Studies for the Progressing Bass Player (Boston Music Co).

From I Bags the Bass: Half Position, Vol 2, ed Belshaw (Currency Press).

Any two of the following:

Rocking Rosie. Kookaburra. Wolli Waltz. Dingo Dance. Swinging. Three Blind Mice. Happy Birthday.

Michael Row the Boat Ashore. Leaping Lizards.

LIST B.

BACH, J.S. Musette from The Bass Project, Bk IV, p 6(The Bass Project Inc, 2196 Old Ironside Court,

Woodbridge, Va, 22192, USA).. BRAHMS, J. Chanson Populaire from Classical Pieces, Bk 2B (Billaudot)

GIOVANMNO (da Roma) 4"' or 5th movements of Sonata in A minor (Yorke).

MOZART, W.A. Allegro, KV 3 from Double Bass Solo Plus (OUP). OSBORNE. Alpen Song from The

Really Easy Bass Book (Faber). SCHLEMuLLER, H. Cradle Song (Fischer).

From Amazing Solos: Double Bass and Keyboard, ed Schofreld (Boosey & Hawkes):

TRAD. There Was a Crooked Man. TRAD. Green Gravel.

From Bass is Best:

Emery/Slatford (Yorke): Old MacDonald. Frere-Jacques. Lightly Row. Go Tell Aunt Rhody. From Classical

Pieces, Bk 2B (Billaudot): HANDEL. Gavotte. HOOK. Menuet. MOZART. Danse Allemande.

From Double Bass Solo (OUP): SCHUBERT'. Entr'acte, No 6. SCHUMANN. The Merry Peasant, No 5.

From I Bags the Bass: First Position, Vol 3, ed Belshaw (Currency Press).

Any Two of the following: St Antony Chorale. Kum Ba Ya. Row, Row, Row Your Boat. Hatikvah. What

Shall We Do? Blue Bells of Scotland. Pachelbel Canon. Auld Lang Syne. Old Folks at Home.

From Leichte Spielstiicke fiir Kontrabag and Klavier, I (VEB Deutscher Verlag fur Musik, Leipzig):

BEETHOVEN. Lied, p 3. MAHLER. Double Bass solo, 3rd movementt of First Symphony, p 4. TRAD. Der

Winter ist vergangen, p 4. ZELENKA. Andante, p 5. ECCLES. Menuett, p 8. HAYDN. Andante of

Symphony No 94, p 9.

LIST C.

ELLIOTT, C. Any one of No 62 to No 68 from Ready-Steady-Go (Bartholemew).

HOAG, C. The Half Position Boogie or The First Position Rag from Rags, Boogies and Blues for Young

Bassists (Presser).

NORTON, CA Quest, Mean Streets or Soft Drink from Miaojazz for Double Bass (Boosey & Hawkes).

ROE, B. Who's that knocking at my door? Question and answer, Reflections, Creepy-crawly or Tally-ho! from

Play-a-day (Thames).

STEWART, R. Ballad or Romance from Suite Double-Bass (Ricordi).

Emery/Slatford. Sad Double Bass from Bass is Best (Yorke).

From Double Bass Solo Plus (OUP): IVANOVICI. The Danube Waves. WARLOCK. Basse-Danse.

From The Bass Project, Bk II (The Bass Project Inc, 2196 Old Ironside Court, Woodbridge, Va, 22192, USA).

BUDROW. The Happy Bass Player, p 14.

TRAD. Music Box, p 7. From The Really Easy Bass Book, arr Osborne (Faber):

Samba. Polly put the Cha-Cha on.

The Duke of York joins the Navy. And Y Not.

Aural Tests, Sight Reading, General Knowledge See AGMS HAndbook


standard



THIRD GRADE Section I.

Technical Work

Any recognised school of fingering is acceptable in all technical work. To be played from memory. Scales

1. Major: D, E flat, A flat, D flat. Any two.One octave ascending and descending

2. Melodic Minor: C and E or D and G Any two. One octave ascending and descending

Bowing:

(i) Two notes slurred, two separate, MM Crotchet = 50

(ii) Four notes slurred, MM Crotchet = 46

Arpeggios

Compass and keys as in scale requirements.

Bowing: Separate bows, MN Crotchet = 76

Chromatic Scale: Commencing on A One octave ascending and descending

Bowing: Separate bows, Mb Crotchet = 76

Exercise

Any exercise selected by the candidate of at least eight bars demonstrating string crossing.

See (as a guide) STRETCHER. My Way of Plal Double Bass, Vol 2, p 7, first lines, or p 15, or an approved

alternative.

Three works required, one from each of Lists A, B and C,.

LIST A. Studies

For works in this list, positional playing essential (2nd.+ 4th positions to be used where possible).

BILLS. No 14 or 17 from Metodo per Contrabasso, Vol3,(Ricordi).

BOTTESINI, G. No 1 (bowing A) or No 5 (bowing B) from 20750 for the Double Bass (Stainer and Bell)

KMENT, J. No 3, 25 of 75 From Elernentaretuden fur Kontrabass (Hofheim).

RABBATH, F. Etude No 11 Or 12, from New Technique for Double Bass Bk II (Leduc).

SIMANDL, F. No 8, p 33 in A minor, p 46 from New Method for String Bass, ed Sanke

SIMANDL, F. No 1 or 2 from Etudes for the String Bass (Hischer)

BELSHAW, C. Any four of Nos 1 to 17 from I Bags FirstPosition, Vol 3 (Currency Press)

LIST B.

DRAGONETTI, D. Any one of Three Waltzes, ed Slatford (Y

EMERY/SLATFORD. Paddy Whack from Bass is Best (Yorke)

GIOVANNINO [da Roma] 12t or 21"1 Movements of Sonata in A (Yorke).

GLIERE, R. Russian Sailor Isaac (Fischer).

REINAGLE, J. No II from Classical Pieces, traps D (Belwin).

SAINT-SAENS, C. L'Elephant from Carnaval des Animaux, Garban (Durand) (The Bass Project, Bk V).

LIST C

CARROLL: Any two of the Five National Dances (Stainer)

DARE M Menuet (Yorke)

GRIEG E Norwegian Dance Op 35 No 12 from Double Bass Solo Plus (OUP)

HALAHAN. G. No 4 from Bagatelles (Yorke)

NORTON C. Snooker Table, Ambling or Changes from Nicrojazz for Double Bass (Boosey+Hawkes)

STEWART R. Pavane or Hornpipe from Suite for Double Bass. (Ricordi)

TRAD Amazing Grace.

NOTE Candidates may nominate their own choice for any one list, provided it is of an approximate standard.



VIOLONCELLO

STEP ONE

Technical Work

Scale of C Major one octave: Arpeggio C Major one octave

Three works required, one from each of Lists A, B and C

LIST A

From Enjoy Playing the Cello, ed Cracknell/Martindale (OUP):

Pattern 3, p 9 Pattern 4, p 9 and Russian Folk Dance, p 11.

Pattern l,p 14.

Pattern 2, p 16

From Sing Clap and Play Cello., ed Cox/Rickard (OUP):

Anthem, p 7.

From String Rhythms, O'REIILY (Kjos)

Apples (line 1)

Chocolate (lines 1)

Huckleberry (lines 1 )

From Suzuki Cello School, (Suzuki): Lightly Row, No 3.

LIST B

TICCIATI, N. March, No 3 and Quasi Corno, From Right from the Start, ed (Boosey & Hawkes): Three in a bar,

No 15.

From Piece by Piece, Bk 1, (Boosey & Hawkes): NELSON, S. Over the Moon,

LIST C

From Folk Tunes For The Young Cellist, arr Charles Krane (Spratt)

The Clown.

TRAD Drink to Me Only. From Violoncello Music for Beginners, Vol 1 ed, Pejtsik-Lengyel (EMB):

German Dance, No 3.(Anon)

Purcell: Rigaudon, No 4.


STEP TWO

Technical Work

Scales of C and G major and Arpeggios of C and G Major. One octave ascending and descending.


LIST A

From Enjoy Playing the Cello, ed Cracknell/Martindale (OUP): Pattern 3 Holland Carol, p 10. Pattern 4, Russian

Folk Dance, p 11. Pattern 1, p 14 and Blow the Man Down, p 14. Pattern 2, p 16 and Kookaburra's Song, p 17.

Pattern 3, Puff the Dragon, p 17. From Sing Clap and Play Cello., ed Cox/Rickard (OUP): Old German Melody,

p

From 60 Technical Exercises Cello, ed O'Reilly (Kjos): Any section, p 4 are notes slurred. Any section of Skip

and 7, separate bows. From String Rhythms, O'REIILY (Kjos)

I Like Pie, p 3.



I Like Chocolate Pie, p 4

Huckleberry

Butterscotch (lines 1 + 2, )or I Like Butterscotch Pie, p 7 From Suzuki Cello School, (Suzuki):. Lightly Row, or

No 3. Song of the Wind,

LIST B

TICCIATI, N. March, No 3 from The Young Cellist, Vol 1 (OUP).

From Right from the Start, ed (Boosey & Hawkes):

Fiddler's Fancy, No 19.

From Piece by Piece, Bk 1, (Boosey & Hawkes):

NELSON, S. Over the Moon,

LIST C

NORTON, C. Snakebite from Microjazz for Starters, Cello (Boosey & Hawkes).

From Cello Carol Time, ed Hubicki/Max (Faber): Jingle Bells, No 3.


The Little Fiddle.

From Violoncello Music for Beginners, Vol 1 ed, Pejtsik-Lengyel (EMB):

Purcell: Rigaudon, No 4. or Beethoven . Song, No 17.


standard

STEP THREE

Technical Work

Scales and Arpeggios as listed for Step Two plus A Harmonic Minor: C major two octaves. Three works

required, one from each of Lists A, B and C

LIST A

PIATTI, A. Ex 1, p 26, separate bows, to be played at a moderate tempo from Method for Cello, Bk I (Stainer).

SUCH, P. No 4 or 9 from New School of Cello Studies, Bk 1 (Stainer and Bell). From Enjoy Playing the Cello,

ed Cracknell/Martindale (OUP): Pattern 3, p 9 and Holland Carol, p 10. Pattern 4, p 9 and Russian Folk Dance,

p 11. Pattern 1, p 14 and Blow the Man Down, p 14. Pattern 2, p 16 and Kookaburra's Song, p 17. Pattern 3, p

16 and Puff 7 Dragon, p 17. Patterns 3 and 4, p 27 are Alouette, p 27. From Sing Clap and Play Cello., ed

Cox/Rickard (OUP):

Anthem, p 7. Old German Melody, p 7 Querm Pastores, p 15. Hymn Tune, p 19. From 60 Technical

Exercises Cello, ed O'Reilly (Kjos): Any two sections, p 4 are notes slurred. Any two sections of Skip and 7,

separate bows. From String Rhythms, O'REIILY (Kjos) Apples (line 1) and I Like Pie, p 3. Chocolate (lines 1

and 2 ) and I Like Chocolate Pie, p 4 Huckleberry (lines 1 and I Like Huckleberry Pie, p Gooseberry (lines 1 and

2) I Like Gooseberry Pie, p6

Butterscotch (lines 1 + 2, )and I Like Butterscotch Pie, p 7 From Suzuki Cello School, (Suzuki): French Folk

Song, No 2. Lightly Row, No 3. Song of the Wind, No 9.

LIST B

BLAKE, L & I. Furry Dance No l.or Bobby Chafteau, No 10 from the Really Easy Cello Book (Faber)

TICCIATI, N. March, No 3 and Quasi Corno, No 11 from The Young Cellist, Vol 1 (OUP). From Right from

the Start, ed (Boosey & Hawkes): Three in a bar, No 15. Fiddler's Fancy, No 19. Cowboy Tune, No 20.

From Piece by Piece, Bk 1, (Boosey & Hawkes): NELSON, S. Over the Moon, WOHLFART, K. Polka.

LIST C



NORTON, C. Snakebite or A Semtinel from Microjazz for Starters, Cello (Boosey & Hawkes).

From Cello Carol Time, ed Hubicki/Max (Faber): Good King Wenceslas, Jingle Bells, No 3.


The Clown.

The Little Fiddle.

From Piece by Piece, Bk 1, ed Nelson (Boosey+Hawkes): Hungarian Folk Song.

TRAD Drink to Me Only. From Violoncello Music for Beginners, Vol 1 ed, Pejtsik-Lengyel (EMB):

German Dance, No 3.(Anon)

Purcell: Rigaudon, No 4.

Beethoven . Song, No 17.

Sugar: Old Hungarian Folk Song,

Jardanyi: Moderate, No 29.


GRADE ONE

Technical Work

Scalesand Arpeggios : C, G, D, F, Major. A minor both forms. C major two octaves ascending and descending

Three pieces required, one from each of A, B and C.

LIST A

Kummer: F.A. Study in F.or .A. Study in D.

Saint Saens C. The Elephant. Any edition acceptable.

Guymer I Voices and Replies (AMC)

PIATTI A No 1, 2, 3, 8, 14, 24 or 26 from Method for Cello, Bk I

SUCH P. No 5, 13, 17, 18 or 19 from New School for Cello Studies, Bk lStainer+ Bel

From.Enjoy playing the Cello, ed Martindale (OUP):

Pattern 2,p 29 and Cradle Song, 30. p 35

Brahms p 30

Pattern 3, p 35 and A Tune by Mozart, p37.Rule Brittania, p 31. From Super Studies for Cello, Bk 1 Legg

(Faber) Feargals Lullaby, No 1., The Clwon, No2. in D, No 3a. Slow Waltza in in G, No 3b. The Swing, No 5

The TrainNo 4.

LIST B

BACH J S : March in G or Sarabande in C or March in D for the Cello (Schirmer).

BEETHOVEN, L. van. Bagatelle from Piece by Piece, Bk 2, ed Nelson (Boosey & Hawkes).

HOOK, J. Tempo di Menuetto from Old Master Melodies, Bk 1, ed Rapp (Schott),

TRADITIONAL. II est ne, le divin enfant, No 5 or Das Echo, No 10 from Classical Pieces for the Beginner, Bk

2, ed Such (Schott).

From Violoncello Music for Beginners, Vol I, ed Pejtsik-Lengyel (EMB): LULLY. Air, No 10. HAYDN.

Menuett, No 13. BENGRAF. Hungarian Dance, No 23.

From Cello Carol Time, ed Hubicki/Max (Faber): O come, all ye faithful, No 2. O come, little children, No 4.

We three kings of Orient are, No 6. Away in a

manger, No 7, 1st version. The Holly and the Ivy, No 8. Hark the herald angels sing, No 9.

From Piece by Piece, Bk I, ed Nelson (Boosey & Hawkes): HAYDN. Minuet and Trio. SCHUBERT. Landler.



From Suzuki Cello School, Vol 1 (Suzuki): PURCELL. Rigadoon. BACH. Minuet in C. BACH. Minuet,

No 2.

From Tortelier Cello, Bk 2 (Chester Music): March, No 12 (to include unaccompanied Allegro Moderate).

From The Young Cellist, Vol 1, Ticciati (OUP): No 7, Minuet. No 8, Polonaise (unaccompanied).

From The Young Cellist, Vol 2, Ticciati (OUP): No 1, Prelude. No 2, Largo. No 3, March. No 5, Minuet.

LIST C.

•GRECHANINOV. Morning Stroll.

WEBER, C.M. von. Waltz. HOLLAND, D. Elegy.

NORTON, C. A Fair Wind, A Popular Song, Snooker Table or A Bower from Microjazz for Starters, Cello

(Boosey & Hawkes). SCHUMANN, R. The Happy

Farmer from Suzuki Cello School,Vol 1 (Suzuki).

TROWELL, A. Menuet, No 4 or Gavotte, No 5 from 12 Morceaux Faciles, Bk 2 (Schott).

From Cello Pictures, Holland (EMI): Autumn Days, No 4. Lullaby, No 6. Tit for Tat, No 8. Doves, No 10.

Holidays, No 12.

From Folk Tunes For The Young Cellist, arr Charles Krane (Spratt):

Good Morning Gossip Joan. Russian Dance. Valentines. Cossack's Lament. The Treasure.

From Piece by Piece, Bk I, ed Nelson (Boosey & Hawkes): TRAD. Dance to Your Daddy. NELSON. The

First Waltz. NELSON. Flag Dance. NELSON.

Whirlpool Waltz.

From Piece by Piece, Bk 2, ed Nelson (Boosey & Hawkes)

SULLIVAN. The Merryman and His Maid. NELSON. Willow Water. TRAD. Mango Walk. TRAD. Loch

Lomond.

From Tortelier Cello, Bk 2 (Chester Music): Rondo, No 1 (to include unaccompanied Moderate). "Bonsoir

Copain", No 2 (to include unaccompanied Andante).

Kojo No Tsuki, No 7 (to include unaccompanied Andantino).

From Violoncello Music for Beginners, Vol I ed Pejtsik-Lengyel (EMB):

SCHUBERT. Lullaby, No 19. SCHUMANN. Military March, No 21.

SZOKOLAY. Sorrowful Song, in Small Suite, No 28.


GRADE TWO

Technical Work

Scales and Arpeggios: C,G,D, A Major A and E Minor Ascending and descending

Performance

Three works required, one from each of Lists A, B and C to be selected

LIST A.

BASLER-NOVSAK/STEIN. Bagpipe Tune & March.

• POPPER, D. Study in A.

• LEE, S. Study in G.

FEUILLARD, L. R. No 8, 9, 11 or 14 from Eludes du /eune Violoncelliste (Delrieu).

From Superstudies for Cello, Bk 1 Legg (Faber):

Spinning Top, No 6.



Firestations, No 7.

Rhumba, No 8,

Bouncing Beach Ball, No 11.

Ukranian Boat Song, No 13.

PIATTI, A. No 10, 11 or 29 from Method for Cello, Bk 1 (Stainer).

POPPER, D. No 1, 2, 5 or 7 from 15 Easy Studies (IMC).

SUCH, P. No 21, 25, 27 or 35 from New School of Cello Studies, Bk 1 (Stainer & Bell).

From Fun with Double-Stops for Young Cellists, Bk 1, ed Basler-Novsak/Stein (Simrock):

Allegro giocoso, No 7

Whip dance, No 13.

Game for your fingers, No 8.

LIST B

MOZART, W.A. Bagatelle. TICCIATI, N. Gavotte. CAMPRA, A. Passepied. Any edition.

BACH, J. S. Minuet in E minor or Gigue or Chorale from Bach for the Cello (Schirmer). TICCIATI, N.

Minuet, No 1 or Sarabande, No 2 from The Young Cellist, Vol 3 (OUP). From Old Master Melodies, Bk 1, ed

Rapp (Schott): HANDEL. Gavotte. RAMEAU. Two Sarabandes. TELEMANN. Gavotta.

STEIBELT. Un Ballo.

From Suzuki Cello School, Vol 2, revised editon (Suzuki):

BACH. Minuet No 3 (No 1). BACH. Minuet No 4 (No 3).

From Violoncello Music, Vol II, ed Pejtsik-hengyel (EMB):

MUFFAT, G. Bourree, No 16. BACH, J. S. Choral, No 22.

From Cello Carol Time ed Hubicki/Max (Faber):

Once in royal David's city, No 11. God rest you merry, gentlemen, No 12. The first Nowell, No 13.

LIST C.

HOLLAND, D. In Waltz Time.

SCHUBERT, F. Wiegenlied.

SZOKOLAY, S. Jumping Dance.

Any edition

GRIFFITHS, V. David of the White Rock (Music Sales).

MARTINU, B. No 1,2, 3 or 5 of Suite Miniature (Leduc).

SZOKOLAY, S. Bagpipe Song, No 28 (2) from Violoncello Music for Beginners, Vol I, ed Pejtsik-Lengyel

(EMB).

TCHAIKOVSKI, A. Lours s'est reveille, 2nd movt from Histoires de la grande for&, in Collection Panorama,

Bk 1 (Billaudot).

TROWELL, A. No 6, Petite Marche from 12 Morceaux Faciles (Schott).

WEBER, C.M. von. Hunters' Chorus from Suzuki Cello School, Vol 2, revised edition (Suzuki).

WEDGWOOD, P. Hungarian Stomp, No 2 or Ho Down - Show Down, No 4 from jazzin' About: Fun Pieces for

Cello and Piano (Faber).

From Torteiier Cello, Bk 2 (Chester Music):

Rhanouka, No 4 (To include unaccompanied Tempo di Marcia). Menuet, No 6 (To include unaccompanied

Tempo di Minuetto).



GRADE THREE

Section I. Technical Work

Scales and Arpeggios: G,C, D, A, E, Major. A, D and E minor both forms ascending and descending .


LIST A.

For works in this list, 2nd, 3rd and 4th positions to be used where applicable.

BASLER-NOVSAK/STEIN. Presto & The Regiment Marches Along the Road.

KUMMER, F.A. Study in G.

ROBERTS, G. Mice.

Any edition:

COHEN, M. Dormez-vous? from Technique Takes Off! (Faber).

FEUILLARD, L. R. No 3, 6, 10,24, 29, 35 or 40 from Etudes Du jeune Violoncellists (Delrieu).

PIATTI, A. Nos 1 and 2, or No 6, 10, 11, 29, 32, or 34 from Method for Cello, Bk II (Stainer).

SUCH, P. No 7, 19 or 28 from New School of Cello Studies, Bk 2 (Stainer & Bell).

From Fun with Double-Stops for Young Cellists, Bk 1, ed Basle rNovsak/Stein (Simrock):

Ring Dance, No 22. Rhythm for Two, No 24. Arioso and Winter Ade, Nos 9 and 10.

From Superstudies for Cello, Legg (Faber): On Tip Toes, Bk 1, No 14. Calypso, Bk 1, No 15. Medieval Drone,

Bk 1, No 16. Mini-Shift Waltz, Bk 2, No 2.

Intercity 125, Bk 2, No 3. Camden Cakewalk, Bk 2, No 5. One String Saunter, Bk 2, No 13.

LIST B.

TICCIATI, N. Bourree.

SCHUBERT, F. To Music.

CIRRI. Allegro.

AMEB Manual List:

BOCCHERINI, L. Minuet, .Suzuki Cello School, Vol 3

CIRRI, G. Sonata No 1 in C movt from Drei Sonaten (Heinrichshofen).

MATTHESON, J. Air from Old Master Melodies, Bk II, ed Rapp Schott

TARTINI, G. Sarabands from Masters for Young Players. 0436 (Schott 983).

TICCIATI, N. Minuet, No 6 from The Young Cellist, Vol 3 (OUP

From Old Master Melodies. B Rapp (Schott):

SAMMARTINI. Mouvement d.une Serenade.

STANLEY. Allegretto Grazioso

LIST C.

HOLLAND, D. Goblins.

GRECHANINOV. Twilight or OnWinter's Eve.

BARTOK, B. Studies 2 S 9.

Any editions

GRECHANINOV. SpassvoV Rauber and Gendarm, No 9, In Aller Fruhe (Schott).

GRIFFITHS, V. Londonderry Air (Music Sales).

GRIFFITHS, V. Waley Waley (Music Sales).

HINDEMITH, P. Anyone of Easy Pieces (Schott).

HOLLAND, D. Summers' End no 25 from Cello Pictures (EMI)

MARTINU, B. No 4, 6 orMiniature (Leduc).

MURGIER, J. Concert-etud e No 2 from Collection Panorarma (Billaudot).



TCHAIKOVSKI, P. Melodie de la Foret lointaine, 3rd movement from Histoires de la grande fbret, in Collection

Panorama, Bk 1 (Billaudpt

TORTELIER, P. La Patinern (to include unaccompaniment Allegro Giocoso) from Cello, Bk 2 (Chester Music)

WEBSTER, C. Scherzo, 10 Suzuki Cello School, Vo 1

WEDGWOOD, P. The Next Time N o5 from Jazzin About: (Fun Pieces for Cello and Piano (Faber).

From Suzuki Cello School,Vol 2, revised version (Suzuki)

PAGANINI. Theme fron Dance, No 9. SCHUMANN, The Two No 10.


EAR TESTS: (8 Marks)

See the Guild Handbook, or Violin syllabus

Sight Reading: (10 Marks)

See the Guild Handbook, or Violin syllabus

General Knowledge. (7 Marks)

See the Guild Handbook, or Violin syllabus.

The requirements as listed apply to all instrumental examinations:

MARKING: ALL GRADES:

Technical Work 20

LIST A 15

LIST B 20

LIST C 20

SUB SECTIONS 25

(Sight reading, 10, Ear tests 8, General Knowledge 7)

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