ViolinSYLLABUS / 2013 EDITION Message from the President The Royal Conservatory of Music was founded in 1886 with the idea that a single institution could bind the people of a nation together with the common thread of shared musical experience. More than a century later, we continue to build and expand on this vision. Today, The Royal Conservatory is recognized in communities across North America for outstanding service to students, teachers, and parents, as well as strict adherence to high academic standards through a variety of activities—teaching, examining, publishing, research, and community outreach. Our students and teachers benefit from a curriculum based on more than 125 years of commitment to the highest pedagogical objectives. The strength of the curriculum is reinforced by the distinguished College of Examiners—a group of fine musicians and teachers who have been carefully selected from across Canada, the United States, and abroad for their demonstrated skill and professionalism. A rigorous examiner apprenticeship program, combined with regular evaluation procedures, ensures consistency and an examination experience of the highest quality for candidates. As you pursue your studies or teach others, you become not only an important partner with The Royal Conservatory in the development of creativity, discipline, and goal- setting, but also an active participant, experiencing the transcendent qualities of music itself. In a society where our day-to-day lives can become rote and routine, the human need to find self-fulfillment and to engage in creative activity has never been more necessary. The Royal Conservatory will continue to be an active partner and supporter in your musical journey of self-expression and self-discovery. Dr. Peter C. Simon President Contents Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Register for an Examination . . . . . . . . 78 What’s New? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Contact Us . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Examination Regulations Examinations Offered . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Examination Procedures . . . . . . . . . . . . . . . . . . . . . . . . 79 Credits and Refunds for Missed Examinations . . . . . . . 79 About Us Candidates with Special Needs . . . . . . . . . . . . . . . . . . . 80 The Royal Conservatory . . . . . . . . . . . . . . . . . . . . . . . . . 5 Examination Results . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 The Royal Conservatory Examinations . . . . . . . . . . . . . . 5 Table of Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 The Frederick Harris Music Co., Limited . . . . . . . . . . . . 5 Supplemental Examinations . . . . . . . . . . . . . . . . . . . . . 83 Split Grade 10 Practical Examinations . . . . . . . . . . . . . 83 Practical Examination Certificates . . . . . . . . . . . . . . . . . 83 Examination Requirements Medals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Certificate Program Overview . . . . . . . . . . . . . . . . . . . . . 6 School Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Theory Examinations . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 RESPs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Co-requisites and Prerequisites . . . . . . . . . . . . . . . . . . . . 8 Editions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Examination Repertoire . . . . . . . . . . . . . . . . . . . . . . . . . 9 Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Repertoire Substitutions . . . . . . . . . . . . . . . . . . . . . . . . 10 Thematic Catalogues . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Orchestral Excerpts . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Technical Requirements . . . . . . . . . . . . . . . . . . . . . . . . 11 Resources General Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Grade-by-Grade Requirements General Reference Works . . . . . . . . . . . . . . . . . . . . . . . 90 Preparatory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Violin Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Grade 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Grade 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Frequently Asked Questions Grade 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Practical Examinations . . . . . . . . . . . . . . . . . . . . . . . . . 94 Grade 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Theory Co-requisites . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Grade 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Grade 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Grade 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Practical Examination Day Grade 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Checklist for Candidates Grade 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Grade 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Before You Leave Home . . . . . . . . . . . . . . . . . . . . . . . . . 96 ARCT in Violin Performance . . . . . . . . . . . . . . . . . . . . . 73 Points to Remember . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Teacher’s ARCT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 What to Expect from a Violin Examination . . . . . . . . . . 96 After the Examination . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Keyboard Harmony. Senior Getting Started 4 . Percussion. French Horn. Tuba. Harpsichord. ON Canada M5S 1W2 Examinations Offered Practical Examinations Accordion. • Orchestral Excerpts now include chamber music repertoire. Analysis Musicianship Examinations Junior. Piano. • Candidates in Grade 10 have the opportunity to split the examination into two separate segments. Contact Us • Phone: 416-408-5019 or toll-free 1-800-461-6058 • Fax: 416-408-3151 273 Bloor Street West Toronto. and D repertoire in Grades 7 to 10. Violin. Double Bass.ca to register for an examination or for further information concerning official Royal Conservatory programs. • Technical Requirements have been revised. History. Clarinet. Intermediate. Harmony. Recorder. Saxophone. Viola. C. Voice Theory Examinations Rudiments.rcmusic. Getting Started What’s New? • Preparatory examinations are now graded. Harp. Flute. Trumpet. Visit www. Cello.examinations. Guitar. Bassoon. • There is a specific memory mark deduction for Lists A. Oboe. Speech Arts and Drama. Trombone. • Only one etude is required for Grade 7. • The marking scheme for Technical Requirements has been revised for Grades 7 to 10. Counterpoint. Organ. and the Conservatory Theatre. • Learning Through the Arts® supports excellence in public education programs by using the arts to enhance learning.ca to its curricula. Lawrence String • Martin Beaver • Diana Krall Quartet • Measha Brueggergosman • Gordon Lightfoot • Teresa Stratas • Adrienne Clarkson • Lois Marshall • Shania Twain • Bruce Cockburn • Sarah McLachlan • Jon Vickers • Naida Cole • Jon Kimura Parker The Royal Conservatory Examinations The Royal Conservatory provides a recognized standard of musical success through an effectively sequenced course of study and individual student examinations. performances. Mazzoleni Concert Hall in historic Ihnatowycz Hall. Limited As The Royal Conservatory’s publishing division. Professional development and training continues throughout each www. Read about the College The College of Examiners of Examiners. music classes. from preparatory to advanced grades. • The Royal Conservatory Music Development Program promotes and expands musical activity in the United States and makes the study of music a central part of the lives of all Americans. • The Performing Arts Division programs superb performances and events in The Royal Conservatory’s three venues: Koerner Hall. examiner’s career to ensure consistent examination standards across North America. Providing the definitive standard of excellence in music education through Visit rcmusic. and private lessons for people of all ages and stages of musical literacy. The Frederick Harris Music Co. including Examiners are highly trained professional musicians and theorists from across North America. and teacher education programs. Notable alumni include: • David Foster • Oscar Peterson • Randy Bachman • Glenn Gould • Adrianne Pieczonka • Isabel Bayrakdarian • Angela Hewitt • Paul Shaffer • Russell Braun • Norman Jewison • St. rcmusic. history of The Royal Conservatory. examiner biographies.. comprehensive training for promising young musicians aged nine to eighteen. voice. • The Royal Conservatory School provides acclaimed early childhood music education programs. All examiners complete an Examiner Apprenticeship Program before being admitted to the at College of Examiners. The Royal learn more about the Conservatory has had a substantial impact on the lives of millions of people globally.. Over 100. Limited produces The Royal Conservatory’s renowned Syllabi and related teaching and examining materials for individual instruments.000 examinations are conducted annually in 260 communities across Canada.About Us The Royal Conservatory The Royal Conservatory is one of the largest and most respected music education institutions in the world. and theoretical subjects. Additional programs of The Royal Conservatory are delivered through the following divisions: • The Glenn Gould School provides professional training in music for gifted young artists at the undergraduate and graduate levels. 5 About Us .examinations. examinations.ca The Frederick Harris Music Co. • The Young Artists Performance Academy provides supportive. or Analysis. Internationally recognized diplomas are awarded for successful completion of the ARCT practical examination and the required co-requisite examinations in theory and piano. any two of: Advanced Performance Harmony/Advanced Keyboard Harmony. Candidates may enter the Certificate Program at any practical grade from Preparatory to Grade 10. Intermediate Harmony/Intermediate Keyboard Harmony. Grade 8 Piano For current information concerning Teacher’s ARCT requirements. or Counterpoint. any two of: Advanced Harmony/Advanced Keyboard Harmony.rcmusic. Examination Requirements Certificate Program Overview A progressive assessment program for every examination candidate Internationally recognized certificates are awarded for successful completion of each practical grade and the required co-requisite theory examination(s). Basic Rudiments Grade 6 Violin Grade 6 Violin. History 1: An Overview Grade 10 Violin Grade 10 Violin. Examination Requirements 6 . History 3: 19th Century to Present. Intermediate Rudiments Grade 7 Violin Grade 7 Violin. or Analysis. Advanced Rudiments. Certificates Examinations Required Preparatory Violin Preparatory Violin Grade 1 Violin Grade 1 Violin Grade 2 Violin Grade 2 Violin Grade 3 Violin Grade 3 Violin Grade 4 Violin Grade 4 Violin Grade 5 Violin Grade 5 Violin. and 3). History 3: 19th Century to Present. Advanced Rudiments Grade 8 Violin Grade 8 Violin. please visit www. Advanced Rudiments Grade 9 Violin Grade 9 Violin. The following table summarizes the examinations required for each certificate. History 2: Middle Ages to Classical Diploma Examinations Required ARCT in Violin ARCT in Violin Performance.ca. 2. or Counterpoint. Advanced Rudiments. Grade 6 Piano Teacher’s ARCT Teacher’s ARCT (Parts 1. Basic Harmony/Basic Keyboard Harmony. History 1: An Overview. accompaniment. accompaniment. composers. harmonic and structural analysis in major and minor keys or Basic Keyboard Harmony (20 minutes) – Melodic improvisation. elementary four-part and melodic writing Basic Harmony (3 hours) – Four-part writing. score reading Analysis (3 hours) Analysis – Advanced harmonic and structural analysis of musical forms History 1: An Overview (3 hours) – Introduction to styles. melodic transposition. order to receive Practical Examination Certificates. keyboard-style harmonization. and music of the Medieval. Renaissance. Rococo. and Classical periods History 3: 19th Century to Present (3 hours) – Styles. keyboard-style harmonization. candidates must complete the required theory examinations in requirements. C-clef reading Counterpoint (3 hours) – Composition and analysis of simple counterpoint in Baroque style Advanced Harmony (3 hours) – Advanced harmonic and contrapuntal techniques or Advanced Keyboard Harmony (30 minutes) – Melodic improvisation. composers.Theory Examinations See the current Essential Tools for Musical Development edition of the Theory • Violin candidates are encouraged to begin theory and piano studies as early as Syllabus for detailed possible. Overview of Theoretical Subjects The following table lists all of the written theory examinations in the Certificate Program with brief details. non-chord tones. keyboard-style harmonization. melodic transposition. melodic and orchestral transposition. figured bass. and music of the Romantic era to the present 7 Examination Requirements . composers. modulation. melodic composition. and music from 1600 to the present History 2: Middle Ages to Classical (3 hours) History – Styles. accompaniment. Baroque. theory examination • Beginning at Grade 5. Subject Theory Examination Title Preparatory Rudiments (1 hour) – Building blocks of music notation Basic Rudiments (1 hour) – Elements of music for the beginner Rudiments Intermediate Rudiments (2 hours) – Continuation of basic rudiments Advanced Rudiments (2 hours) – Continuation of intermediate rudiments and preparation for harmony Introductory Harmony (2 hours) – Chord symbols. harmonic analysis. modulation. including the length of the examination and a summary description of the content. harmonic and structural analysis Intermediate Harmony (3 hours) – Four-part writing and melodic composition in major and minor keys. harmonic and structural analysis of musical forms Harmony and or Counterpoint Intermediate Keyboard Harmony (25 minutes) – Melodic improvisation. ca. C C or Analysis History 1: An Overview C C P P History 2: Middle Ages to Classical C P P History 3: 19th Century to Present C C Grade 10 Practical P P Grade 6 Piano C Grade 8 Piano C Alternative Examinations Basic Keyboard Harmony C (can be substituted for Basic Harmony) Intermediate Keyboard Harmony C P P (can be substituted for Intermediate Harmony) Advanced Keyboard Harmony C C (can be substituted for Advanced Harmony) Junior Musicianship (can be substituted for Grade 8 Ear C Tests) Intermediate Musicianship (can be substituted for C Grade 9 Ear Tests) Senior Musicianship (can be substituted for Grade 10 C C and Teacher’s ARCT Ear Tests) Examination Requirements 8 . ARCT in Teacher’s Grade 5 6 7 8 9 10 Performance ARCT Required Examinations (C = Co-requisite P = Prerequisite) Basic Rudiments C Intermediate Rudiments C Advanced Rudiments C C C C P P Basic Harmony C Intermediate Harmony C P P Any two of: Advanced Harmony. it is recommended that students complete Introductory Harmony prior to Basic Harmony. Candidates must complete prerequisite examinations at least one session prior to attempting the ARCT in Violin Performance. and two of the following three examinations: Advanced Harmony/Advanced Keyboard Harmony. Candidates for the ARCT in Violin Performance or the Teacher’s ARCT will be required to complete the following theory examinations: History 3: 19th Century to Present. or Counterpoint. or Counterpoint. Preparing for a Theory Examination • Theory examinations test music theory and knowledge of music history in a formal classroom setting. it is recommended that students complete Preparatory Rudiments prior to Basic Rudiments. Candidates for the ARCT in Violin Performance must complete co-requisite theory examinations and the Grade 6 Piano examination before or within five years of the original practical examination to be eligible for the Diploma. generally with a written examination.. Similarly. However.rcmusic. Co-requisites and Prerequisites The following table summarizes all the co-requisite and prerequisite examinations required to obtain certificates for Grades 5 to 10 and diplomas for the ARCT in Violin Performance or the Teacher’s ARCT. are published annually by The Frederick Harris Music Co. There are no prerequisite or co-requisite theory examinations for Preparatory to Grade 4. or Analysis. The selection of these examinations and the order in which they are taken is at the discretion of the candidate. Limited to aid with examination preparation. available at music retailers. For up-to-date information on the Teacher’s ARCT please consult www. • Official Examination Papers. according to genre or stylistic period. Information given for each item includes: • the composer • the title of the selection • the larger work of which the selection is a part (where applicable) • an anthology or collection in which the selection can be found (where applicable) • performance directions (where applicable) indicating the section(s) of a work to be prepared • the publisher of a suggested edition (where applicable) Names of publishers are indicated by an assigned abbreviation. 2013 Edition lists the repertoire for violin examinations. Grade 1. and Grade 2 List A: Pieces in a Slower Tempo List B: Pieces in a Faster Tempo Grade 3 List A: Repertoire in Baroque and Classical Styles List B: Traditional and Romantic Repertoire List C: Repertoire Composed After 1930 Grade 4 List A: Concertos. Grade 6.Examination Repertoire The Violin Syllabus. candidates are encouraged to choose a balanced and varied examination program that includes a variety of musical styles and keys. 86 for a list of publishers with their abbreviations. Airs variés. Syllabus Repertoire Lists At each grade. and Fantasias List B: Sonatas and Sonatinas List C: Concert Repertoire List D: Unaccompanied Repertoire Grade 9 List A: Concertos and Airs variés List B: Sonatas and Sonatinas List C: Concert Repertoire List D: Unaccompanied Repertoire of Johann Sebastian Bach Grade 10 List A: Concertos List B: Sonatas List C: Concert Repertoire List D: Unaccompanied Repertoire of Johann Sebastian Bach 9 Examination Requirements . Airs variés. The repertoire for each grade is divided into lists. Sonatinas. and Fantasias List B: Repertoire in Baroque Style List C: Concert Repertoire Grade 5. Preparatory. and Grade 7 List A: Concertos. Please see p. and Fantasias List B: Sonatas and Sonatinas List C: Concert Repertoire Grade 8 List A: Concertos. Recorded accompaniment is not permitted. Collaborative pianists are permitted in the examination room only while they are playing accompaniments for the candidate. Repertoire substitutions for Violin fall under the following categories. and D that are performed with music. 2013 Edition. and no extra marks will be awarded for memorization. The repertoire substitution must normally be chosen from the corresponding List of the grade immediately above the candidate’s official grade. unless stated otherwise in the Violin Syllabus. proceed. three marks are awarded for each repertoire selection from Lists A and C performed by memory. For example. with the exception of List B selections. six marks are awarded for the memorization of repertoire. NOTE: No Syllabus substitution is allowed for Grade 10 List D repertoire. a Grade 5 List A selection may be performed in place of a Grade 4 List A selection. • In Grades 5 and 6. and no extra marks will be awarded for memorization. Repertoire Substitutions Violin candidates at Grades 1 through ARCT have the option of substituting one repertoire selection at each examination with a selection of their own choice. Candidates must provide their own collaborative pianist. Examination Requirements 10 . Memory At Preparatory through Grade 6. candidates should observe da capo and dal segno signs. At Grade 7 through ARCT. No other instruments are permitted. Candidates must provide their own collaborative pianist Accompaniment in order for the All selections requiring accompaniment must be performed with piano accompaniment examination to only. • A memory mark deduction of 10% per repertoire selection will be made for pieces from Lists A. • Repeat signs should be observed only if indicated in the Violin Syllabus. C. which do not need to be memorized. • Three marks are awarded for each repertoire selection performed by memory in Preparatory and Grades 1 and 2. candidates are expected to perform all repertoire by memory. 2013 Edition or in Violin Series. List B selections need not be performed by memory. Please note that the performance of repertoire substitutions chosen from a higher grade will be evaluated at the standard of the higher grade. • Two marks are awarded for each repertoire selection performed by memory in Grades 3 and 4. • List B selections need not be performed by memory. 2013 Edition. Syllabus Substitutions Candidates in Grade 1 through 10 may substitute one repertoire selection from the grade immediately above without prior approval. ARCT in Violin Performance List A: Concertos List B: Sonatas List C: Concert Repertoire List D: Unaccompanied Repertoire Da Capo Signs and Repeats • When performing repertoire in an examination. or four-note chords. please consult the listings for each grade. No marks will be awarded for technical tests that are not performed from memory. or the upper two notes of three. and double stops) must be played from memory. and no extra marks will be awarded for memorization. Approval of such selections is based on the suitability of the style and the level of difficulty of the substitute composition. (Photocopies used for this purpose should be marked “For Approval Only”.rcmusic. Candidates are advised to prepare an alternate work in case the request is denied. please consult the listings for each grade.ca) by the examination registration deadline. 2013 Edition: Orchestral Excerpts. Non-Syllabus substitutions are not permitted for List D selections. For further details on examination requirements for orchestral excerpts.) Any published music submitted will be returned to the candidate along with the approval form. 2013 Edition: Violin Technique and Etudes (Preparatory–4 and 5–8). For further details on examination requirements for etudes. Technical Requirements Etudes A selection of etudes for Preparatory though Grade 8 is published in Violin Series. NOTE: In Grades 8. For further details on examination requirements for technical tests. The substitute repertoire selection must be of comparable length and musical quality to selections in the specified List. and ARCT. Etudes need not be memorized and no extra marks will be awarded for memorization. 2013 Edition are included in Violin Series. Orchestral excerpts need not be memorized.” candidates should play the upper note only. • Please note that marks will be deducted from the final examination mark for any unapproved Non-Syllabus substitution or for any Syllabus substitution that does not follow the guidelines provided above. please consult the listings for each grade. 10.Non-Syllabus Substitutions Requiring Approval Violin candidates may apply to substitute one repertoire selection not listed in the Violin Syllabus. Candidates wishing to include a substitute selection on their examination programs must complete an Examination Substitute Piece Request Form (available at www. • Bring the approved Examination Substitute Piece Request Form to your examination and give it to the examiner. arpeggios. 2013 Edition: Violin Technique and Etudes (Preparatory–4 and 5–8). Alternatively. candidates may select the specified passages from standard violin orchestral parts. Candidates are expected to play chords as they would in an orchestral setting. Technical Tests Complete technical tests for levels Preparatory through Grade 8 are published in Violin Series. these copies will be destroyed once a decision has been made. Technical tests (scales. Unless specifically marked “non divisi. 2013 Edition with a work that is comparable in style and difficulty. examinations. 9. Orchestral Excerpts All orchestral excerpts listed in the Violin Syllabus. • Send the completed form together with the appropriate fee and a copy of the substitute piece to The Royal Conservatory Examinations. 11 Examination Requirements . • One. it should be limited to final tonic notes. 2013 Edition. • Three-octave scales from Grades 5 through 8 may be played with either of the following patterns. The tempo should be compatible with the required number of notes per bow. or the Carl Flesch patterns. a clear and sonorous tone.and two-octave scales must be played with the patterns shown in the Violin Syllabus. Pattern A–Galamian Pattern Pattern B Examination Requirements 12 . General Instructions • The examiner will choose a representative sampling of items on the technical requirements list. Candidates in Grades 9 and 10 may use either of the following patterns. • Metronome speeds are intended as a guideline. • The fingering shown in Violin Series. 2013 Edition: Violin Technique and Etudes is recommended but not compulsory. controlled rhythm. Any logical fingering pattern is acceptable. If used. and precise intonation. 2013 Edition. • Vibrato is not recommended. provided they are played with the required number of notes per bow as stipulated in the Violin Syllabus. 1 FAB) Huws Jones. Whole steps and half steps should be well defined. Pieces in a Slower Tempo rhythmic pulse. 3) one selection from List A 27 Twelve Miniatures WAT. Paul Bullets used to denote selections for examination Violin Playtime. Violet Preparatory Requirements Marks Three Little Studies for Violin and Piano CMC Repertoire 60 l Waltz (no. Harold Playback 5 Excursions for Violin FHM Total possible marks (pass = 60) 100 u In Ancient Times Theory Co-requisite Blachford. Good posture and hand set-up are Traditional important factors. Paul de Keyser in The Young Violinist’s Repertoire. 9 for important l Waterfall information regarding this section of the examination. 1 ALF) Archer. 1 B&H) l Up the Scale 13 Preparatory . There should be evidence of a steady. de Keyser. Richard Rodney – arpeggios Up Bow. Edward The Really Easy Violin Book FAB l Dinosaur Plod Norton. Basil’s l one selection u Poème u selection is found in Violin Series. Revised Edition. Coulthard. Revised Etudes: one etude from the Syllabus list 15 Edition. Christopher Microjazz Violin Collection. Thomas H. 1 FAB purposes: l The Bells of St. Technical Requirements 30 l Long. Jean u The Climb Up Mount Royal (in A La Jeunesse Candidates must prepare two contrasting selections by two CMC) different composers: one from List A and one from List B. Frank None u Berceuse FHM Colledge. Down Bow NOV l Serenade Ear Tests 10 Clapback 5 Birston. l Go Tell Aunt Rhody (in Suzuki Violin School. Philip Preparatory Violin Repertoire FHM u Canon (arr. Katherine.Grade-by-Grade Requirements Preparatory Candidates at the Preparatory level are expected to exhibit developing bow control and some understanding List A of bow division. 2013 Edition: Hayes. CMC one selection from List B 27 u On Tiptoe Memory (3 marks per repertoire selection) 6 Bayly. and Hugh Colledge Waggon Wheels B&H l Goldfish Bowl Repertoire u Nightingale Please see “Examination Repertoire” on p. Long Ago (in Suzuki Violin School. 1 ALF) Technical Tests 15 – scales Bennett. 1. 11) The Really Easy Violin Book FAB l G String Ländler (no. 1 B&H u Flag Dance Telfer. Christine u Konopě (The Old City) (transc. important information regarding this section of the Revised Edition. Paul Violin Playtime Studies FAB Ethridge. and Robert S. Frost l I’m Crazybusy. Nancy l Over the Moon Leading a Dog’s Life CMC l Time for a Nap Rose. 1 ALF) Bullets used to denote selections for examination Barratt. Konstantin Fortunatov in Kabalevsky: Adventures in Violinland. Little Children (in Suzuki Violin School. 9) l Spine Chiller l The Little Jester (no. Jean l Birdsong (no. arr. 13) u Tap Dance l Tick Tock Quavers (no. 1 FAB) Preparatory 14 . 1) Coulthard. 7) Janáček. 1F GIV Albumstücke PET) u Aren’t You Glad? u Marching Notes Krasev. 11 for l O Come. 3. Gerald E. Revised Edition. 1 ALF) examination. 1 KJO u The Old Jalopy u D Scale Waltz → with repeat Avsharian. Jean l Robots Rocking at the Microchip Ball (no. A. 2 FHM) de Keyser. Akiko Kinney FHM) u Playing Ball (arr. Donkin. 1) Kabalevsky. Edition. 1 ALF) Traditional l May Song (in Suzuki Violin School. Harold Excursions for Violin FHM Anderson. 5) u The Subway Train FHM l The Bouncing Ball (no. u Song Piece by Piece. Shirley u Peter (transc. Katherine.Rose. and Hugh Colledge Fun with Basics: Children’s Music Series CHD Waggon Wheels B&H l one of nos. Edward l Galloping Arpeggios (no. Leoš. 1 Technical Requirements ALF) Please see “Technical Requirements” on p. Mary l Polka Dots Superstudies for Violin 1 FAB u Blast Off! (no. Michael u March List B Suzuki. 7 l Bell-ringers u Knickerbocker Glory Cohen. u Pony Trot (in The Young Violinist’s Repertoire. 5) l Let’s Play (in The Encore Series for Violin & Piano. Shin’ichi Pieces in a Faster Tempo l Allegro (in Suzuki Violin School. Dmitri Givens. Revised Edition. Carol purposes: Bravo! Violin B&H l one selection l Round Dance u selection is found in Violin Series. Sheila M. I’m Tired All for Strings: A Comprehensive String Method. Leoš Faltus in Get Fiddlin’! FHM Mährische Tänze für Violine und Klavier UNI) l Beaver Mines (no. Stephen Chatman FHM) Etudes l Song of the Wind (in Suzuki Violin School. Evelyn Colledge. Michael Nelson. u The Old Woman and The Peddler (arr. 12) Huws Jones. Revised Candidates must prepare one etude from the following list. 2013 Edition: Violin u Quirk Technique and Etudes Preparatory–4 FHM Birston. Scales Keys Range Tempo Bowing Major D. arr. Paul l The Laughing Fit Improve Your Scales!. and play the melody twice on the piano. A 1 octave start on open string = 60 Arpeggios Major D. 1–2 FAB l Lovely Melody l Acrobatic Armadillos l The Mountain Train l Delicate Dance l On My Toes u Dragon Drama! l The Riveter RT. based on the first three notes of a major scale. Zav. Time Signatures Approximate Length two to four measures Example only Playback Candidates will be asked to play back a melody on the violin. l Two of Us Fiddleworks. Beginning Note Keys Approximate Length tonic D. A 1 octave start on open string = 60 Ear Tests Clapback Candidates will choose to either clap or tap the rhythm of a short melody after the examiner has played it twice on the piano. 2B GIV Harris.Adventures in Violinland. 1 FHM u Cripple Creek Technical Tests Please see “Technical Tests” on p. A major four notes Example only 15 Preparatory . The examiner will name the key. Candidates must play scales and arpeggios from memory. 11 for important information regarding this section of the examination. play the tonic triad once. Katherine. no. Excursions for Violin FHM u March of the Elephants Grade 1 Requirements Marks Carse. and Romuald Twardowski Technical Requirements 30 At the Zoo BAR Etudes: two etudes from the Syllabus list 15 l The Bear (Der Bär) Technical Tests 15 – scales Colledge. one from List A and one from List B. 6) Traditional l All Through the Night (arr. legato. Edward The Really Easy Violin Book FAB List A l Skye Pieces in a Slower Tempo Kabalevsky. rhythmic pulse. Thomas Dunhill in Fiddler’s Choice. Jean Playback 5 u Grandfather Tells a Witch Story u A Song for Bedtime (in A La Jeunesse CMC) Total possible marks (pass = 60) 100 Theory Co-requisite Cui. Ede Zathureczky. Bartók Béla slurs. Tonality Birston. Christine Gale FHM) u The Plucky Snake l On the Wing (arr. Dmitri Twenty Pieces for Violin and Piano. BOS different composers. 1 ALF) l A Canzonet (arr. Adam Repertoire 60 Fiddle Fancies S&B one selection from List A 27 l Bluebell Chimes one selection from List B 27 u Sweet Sorrow Memory (3 marks per repertoire selection) 6 Cofalik. 2013 Edition: Violin School. Henry for Young Violinists. Kathleen Wood FHM) l one selection l Chorus from Judas Maccabaeus (in Suzuki Violin u selection is found in Violin Series. Paulette. 1) Bullets used to denote selections for examination Handel. 80 SCH. Rezso Song and Dance (in Violin Music for Beginners. Barbara Barber in Solos Lawes. Paul de Keyser and Fanny Waterman in The Young Violinist’s Repertoire. 1 EMB) l complete Grade 1 16 . Harold should be well centered. u Andante in C Major (no. 9 for important l The Sasquatch information regarding this section of the examination. 8 in For Children of a steady. 22 FAB. Edward Candidates must prepare two contrasting selections by two Six Very Easy Pieces in the First Position. u The Tooth Fairy Elgar. 3 FAB) Donkin. George Frideric purposes: u Air from Rinaldo (arr. Tone should be clear and (Gyermekeknek) EMB) some variety in dynamic levels should be present. Revised Edition. arr.Grade 1 Candidates in Grade 1 should be able to play whole bows. and Hugh Colledge – arpeggios Waggon Wheels B&H l Bow Ties! – double stops l Full Moon Ear Tests 10 Clapback 5 Coulthard. Carol Barratt in Bravo! Violin B&H) Sugár. Antoni. op. and staccato strokes. 2 Popp. There should be evidence l Andante (arr. SIK u A Song (no. u Un Canadien errant (The Wandering Canadian) (arr. Christine Repertoire Costume Party FHM Please see “Examination Repertoire” on p. op. 2 ALF) Repertoire 1 FHM Huws Jones. César None u From My Homeland (arr. 1 ABR) David Duke in The Encore Series for Violin & Piano. 11 for Elgar. Sheila M. Edward Telfer. op. BWV 822 (arr. 5) in Bravo! Violin B&H) Lumsden. 10) l Contredanse (in Violin Playtime. 2 FAB) l Games (no. 1 ALF) Matz. 80 SCH. op. Neil l Jig Four Modern Dance Tunes S&B Bach. 2 (arr. Carol Barratt. Revised Edition. Shin’ichi l Allegretto (in Suzuki Violin School. Ede Zathureczky. 1 Donkin. Revised Edition. 5 in For Tunes for My Violin B&H Children (Gyermekeknek) EMB) l The Gypsy Fiddler Carse. 3) l Minuet (attr. Caroline. and Hugh Colledge l The Happy Farmer (arr. Leoš. Shin’ichi Fleming. 22 FAB. 2) 17 Grade 1 . 2 B&H l Dance Steps l Dance of the Minor Thirds l Minuet l Merry Go Round Cofalik. 1 ALF) l Hallowe’en u Soldier’s March. no. CMC Mackay. op. Robert l Andantino (in Suzuki Violin School. no. SIK u Caterpillar! Caterpillar! (arr. arr. 1 B&H l A Bumpkin’s Dance u Whirlpool Waltz l At Dawn Piece by Piece. 68. Katherine. Revised Edition. Rudolph Bartók Béla A Spring Day – Seven Short Pieces l Allegro non troppo (arr. Ede Zathureczky. Eleanor. l Allegretto in C Major (no. Leoš Faltus in Pieces in a Faster Tempo Mährische Tänze für Violine und Klavier UNI) Kabalevsky. Christopher At the Zoo BAR Microjazz Violin Collection. and Phyllis Tate u Dance (Táncdal) (arr. u March (no.Suzuki. arr. William Duncombe. Edward important information regarding this section of the Six Very Easy Pieces in the First Position. in Eight Wizard’s Potion PET Miniatures from the Allen Ash Manuscript FHM) u Dizzy Lizzy Lightweight Archer. and Ben Attwood l Untitled Reel 1 (arr. The Fiddler’s Nursery S&B Piece by Piece. FHM) l Singapore Sunset → with repeat Waggon Wheels B&H u Lollipop Man Suzuki. 1 in l With Friends UMP For Children (Gyermekeknek) EMB) Murray. Nancy The Really Easy Violin Book FAB If Flowers Could Speak CMC l Boogie l The Lonely Sunflower u Pipe and Tabor Janáček. Johann Sebastian u Cha-Cha l Minuet 1 from Suite in G Minor. Robert Colledge. Fast Forward B&H Revised Edition. Christine ALF) Costume Party FHM u The Cowboy l The Magician Technical Requirements l The Pirate Please see “Technical Requirements” on p. and Romuald Twardowski Norton. BOS examination. 1 B&H l The Kangaroo (Das Känguru) u Snooker Table l Two Little Donkeys (Zwei kleine Esel) Schumann. Akiko Kinney FHM) l Dance Song (no. Antoni. List B u Moravian Dance (Dymák) (transc. Dmitri Anonymous Twenty Pieces for Violin and Piano. John Beckwith. Violet l Jump Slimy Toad Twelve Miniatures WAT. in → omit repeat Suzuki Violin School. 1 l Scotty Lad CMC ALF) Huws Jones. in Suzuki Violin School. no. Adam Nelson. D 1 octave start on open string Arpeggios Major G 2 octaves Major C 1 octave = 69 Minor A. 1 ALF l Legato Leaps (no. Christine u The Sulky Sailor Candidates must prepare two technically contrasting etudes from the following list.Etudes Gale. 2) variation) Donkin. 2013 Edition: Violin Technique and Etudes Preparatory–4 FHM for required patterns. 7 l Rocking Rowboats (no. 6) l Space Walk (no. 25) Suzuki. Refer to Violin Series. Candidates must play all scales. Baird Knechtel) u l Chugging Along (no. 2013 Edition: Violin Improve Your Scales!. arpeggios. set 1 ABR Superstudies for Violin. 11 for important information regarding this section of the examination. 2 B&V u Gliding Along at the Octopus Ball (no. 2 FAB Vioolmethode. Scales Keys Range Tempo Bowing Major G 2 octaves C 1 octave = 69 Harmonic Minor A. 2B GIV Bullets used to denote selections for examination purposes: u Tuning Up! l one selection Harris. 4) Metz. 10) Suzuki Violin School. Mary Elementary Progressive Studies. Paul Romberg. 2013 Edition: Violin Technique and Etudes Preparatory–4 FHM. 1. Paul u selection is found in Violin Series. and double stops from memory. D 1 octave start on open string Double Stops* Exercise on Open Strings = 69 *See Violin Series. 8) l Perpetual Motion in A Major (with sixteenth-note l The See-Saw (no. 2) Ready to Go? CMC u Nojack (no. Christine l Perpetual Motion in D Major (with sixteenth-note Get Fiddlin’! FHM variation) l Athabasca (no. Louis Superstudies for Violin. Givens. Ramin Melodious Etudes in First Position FIS u The Little Eel (no. 2. Shirley Adventures in Violinland. Grade 1 18 . 1 FAB l one of nos. 14) u Little Red Sportscar Entezami. 9) l no. Nancy l Crowsnest Pass (no. Shin’ichi l Courageous Crotchets (no. Revised Edition. Herbert Cohen. 5) Telfer. Bernhard Heinrich Violin Playtime Studies FAB Andante (arr. 48 de Keyser. 1–2 FAB Technique and Etudes Preparatory—4 FHM l Amusement Arcade l Apish Antics Anonymous l Gentle Genie u Bow Division FHM Kinsey. 9) Technical Tests Please see “Technical Tests” on p. A. 14) l Etude (with sixteenth-note variation) l Puppet on Two Strings (no. The melody may contain repeated notes and a leap of a 3rd. Time Signatures Approximate Length three to four measures Example only 1 2 Playback Candidates will be asked to play back a melody on the violin.Ear Tests Clapback Candidates will choose to either clap or tap the rhythm of a short melody after the examiner has played it twice on the piano. play the tonic triad once. A major four notes Example only 1 2 19 Grade 1 . The examiner will name the key. and play the melody twice on the piano. Beginning Note Keys Approximate Length tonic D. based on the first three notes of a major scale. Johan Repertoire 2 FHM u Mélodie (arr.Grade 2 Barnes. Bayly. 3. BWV 808 (arr. Violet Hook. BOS Candidates must prepare two contrasting selections by two l Andante in A Minor (no. 3) different composers. op. Alfred Moffat in Old Fiddle Pieces. Tone should be clear and Bartók. 19) l Melody (no. Béla some variety in dynamic levels should be present. 2 purposes: FHM) l one selection u selection is found in Violin Series. Christine Costume Party FHM Repertoire l The Acrobat Please see “Examination Repertoire” on p. Memory (3 marks per repertoire selection) 6 OTT) Technical Requirements 30 Bennett. 2013 Edition: Violin Halvorsen. 2 ALF) Repertoire 60 one selection from List A 27 Beethoven. and Hugh Colledge – double stops Fast Forward B&H Ear Tests 10 l Snake Charmer Clapback 3 u Wondering Intervals 3 Shooting Stars B&H Playback 4 u The Misty Isle Total possible marks (pass = 60) 100 Coulthard. Milton Candidates in Grade 2 should be able to play in all parts of Three Folk Dances CMC the bow with good control and should be able to execute u Folk Dance No. 2 slurs. Katherine. legato. 4 in For Children (Gyermekeknek) 3rd positions and tonality should be well centred in both EMB) major and minor keys. 3 OTT) Bach. CMC l In Church for Young Players. Edward information regarding this section of the examination. Down Bow NOV Technical Tests 15 l A Little Elegy – scales u A Quiet Conversation – arpeggios Colledge. 14) Grade 2 20 . Ede steps and half steps should be clearly defined in 1st and Zathureczky. James l Tempo di menuetto (arr. Donald List A The Bell Boy Suite FHM Pieces in a Slower Tempo u Prelude: “Calling Mr. 22 FAB. Jean Bullets used to denote selections for examination u Cradle Song (in The Encore Series for Violin & Piano. Long Ago (with variation) (in Suzuki Violin School. 2 ALF) u Dreamers (no. 9 for important Elgar. no. 2 FHM) Donkin. Grade 2 Requirements Marks l Long. one from List A and one from List B. Dmitri l Musette from English Suite No. Revised Edition. Richard Rodney Etudes: two etudes from the Syllabus list 15 Up Bow. and staccato strokes. op. in Twenty Pieces for Violin and Piano. Revised Edition. Whole l Chanson du Vagabond (Betyár Nóta) (arr. Thomas H. Johann Sebastian Kabalevsky. Ludwig van one selection from List B 27 l Abschied (arr. Eccles” u Aria and Bourrée Archer. u Andantino in G Major (no. 80 SCH. 4) Ethridge. Warren Mould FHM) Heins. SIK Suzuki Violin School. Six Very Easy Pieces in the First Position. Jean Theory Co-requisite l A Little Sorrow (in The Encore Series for Violin & None Piano. Alfred Moffat in Old Masters Twelve Miniatures WAT. op. 1 ALF) Lumsden. George Frideric in The Young Violinist’s Repertoire. in Suzuki Violin School. 1 ALF) Mackay. William u Minuet and Trio. CMC Revised Edition. BOS l Dance of the Peonies l Allegretto in G Major (no. Robert Pieces in a Faster Tempo l Singer Man CMC Girard. Losy. David u Mélodie antique française (Old French Song) from u Motorcycles (in The Encore Series for Violin & Piano. op. 114 (Christian u Flash of Light’ning Petzold: attr. and Cello. 5) u Allegro in C Major (no. and Ben Attwood l Minuet 3 (Minuet in G Major) from Notenbuch der Wizard’s Potion PET Anna Magdalena Bach. Anthony Traditional l Le soleil luit pour tout le monde BIL l Maytime (arr. op. l Strike It Lucky! Revised Edition. Edward If Flowers Could Speak CMC Six Very Easy Pieces in the First Position. 8) Bach. l Polka (no. Caroline. Antoni. from Sonata in F Major for Oboe and Basso Archer. 6) List B Fleming. 12 BMC Donkin. 22 FAB. Nicolas Colledge. Pyotr Il’yich Duke. and Phyllis Tate u Five-a-Side Tunes for My Violin B&H l Look Lively l Song of the Roads De Fesch.Laoureux. in Suzuki EMB) Violin School. Christine Donkin FHM) u Tango Cofalik. attr. 13) Brown. Judith McIvor FHM) u Shooting Stars B&H Murray. 2 Album pour enfants (arr. BWV Anh. Carl Philipp Emanuel Twenty Pieces for Violin and Piano. Alfred Moffat in Old Masters for Baryton. Jean-Philippe u The Dancer l Two Sarabandes from Premier livre de pièces de clavecin Fall Fair FHM (arr. Johann Anton [Jan Antonín] l Minuet 2 (Minuet in G Major). Revised Edition. Twelve Miniatures WAT. J. Dmitri Bach. Eleanor. Johann Sebastian. in Ten Little Classics FIS) u Skipping and Hopping (no. 2 ALF) l Waltzing Haydn. in Suzuki Violin School. Neil Clarke. Hob. and Romuald Twardowski At the Zoo BAR l The Beavers (Die Biber) 21 Grade 2 . Willem l The Swan l Esperanza (arr. FHM) Young Players. Jeremiah Four Modern Dance Tunes S&B u Minuet from Choice Lessons for the Harpsichord or l Rebecca Spinet (arr. XI:34 (arr. and Hugh Colledge l Petite Berceuse FRB Fast Forward B&H u The Ceilidh McDougall. SIK l Marche. Barbara l Hornpipe Tall Ships (arr. 80 SCH. Nancy Elgar. Constance Seely. BWV Anh. 3 OTT) Kabalevsky. 116 (arr. Handel. Viola. 122 (arr.S. from Notenbuch der l Bourrée (arr. Violet Continuo. FHM) FHM) Telfer. Ferenc Brodzsky in Old Music for Violin Anna Magdalena Bach. Paul de Keyser and Fanny Waterman. Robert OTT) Twelve Easy Pieces. BWV Anh. HWV 363 (arr. Alfred Moffat in Old Fiddle Pieces Pracht. Bach and arr. Katherine. Alfred Moffat in Old Fiddle Pieces OTT) u Fall Fair Tchaikovsky. from Divertimento in D Major for l Two Matelottes (arr. Christine l Romance Costume Party FHM Rameau. Franz Joseph Babell. 3 FAB) l Bourrée. Louis Please see “Technical Requirements” on p. 5 u Saturday Night Stomp Suzuki. 12. 9. Zav. Kathleen Wood FHM) Givens. 16 Technical Requirements Metz. Revised Edition ALF Violin Playtime Studies FAB l Perpetual Motion in G Major. 10. arr. 5) l one of nos. Franz l Trumpet Tune (no. 1 FIS Superstudies for Violin. 12) Repertoire. Janice Tucker Bullets used to denote selections for examination The ABCs of Violin for The Absolute Beginner FIS purposes: l Bobbing for Apples Jig (no. 27) Wohlfahrt. 17) l Wandering u Gym (no. 3D GIV) etudes from the following list. 4 FAB l Gypsy Dance (in The Young Violinist’s Repertoire. from Der Freischütz (in Suzuki Violin School. 9 Grade 2 22 . 40 examination. 14. → play in 3rd position Rhoda. Revised Edition. 3D GIV Shostakovich. Herbert Elementary Progressive Studies. from Les petits riens. 3 l Drifting FAB) l Flamingo l Hunters’ Chorus. 2 or no. 1–2 FAB Shostakovich: Albumstücke PET) l Arietta l Greyhound Weber. Dmitri l Spend Your Bow Wisely l Kleiner Marsch (arr. K 10 (arr. op. 1 FHM Cohen. Bernhard Heinrich Technique and Etudes Preparatory–4 FHM Twenty-seven Etudes for Strings GVT u Sailing (arr. Paul u Hurdy-Gurdy (arr. Hans l Donkey Riding Studies for Violin. 3rd Position (with l German Folk-Song (no. 1 SCH u Study in F Major (no. 45. 4) u Waltz in D Major. 8) → play in 3rd position Pracht. Konstantin Fortunatov in Shostakovich: Albumstücke PET) Harris. set 1 ABR l one of nos. 26) sixteenth-note variation. Richard Etudes u Listen to the Mockingbird (arr. no. unaccompanied) l March (no. 2) → play with given fingering Schubert. 13. Yaakov u Hongrois (Hungarian) Shifting: Thirty Progressive Studies for Violinists FHM → observe repeat in Trio only l Country Dance (no. 12 BMC Geringas. Milburn. 1 (arr. Wolfgang Amadeus Donkin. Shirley Givens in Candidates must prepare two technically contrasting Adventures in Violinland. u Charlie Is My Darling FHM Fiddleworks. 2013 Edition: Violin Romberg. Robert Twelve Easy Pieces. D 420. 1. 11 for Vioolmethode 2 B&V important information regarding this section of the l one of nos. 4 FAB) u Pancake Peak (no. 21. 18) Sixty Studies for Violin. A. op.Mozart. Mary l Road to Lisdoonvarna Scaley Monsters for Violin FAB Sitt. Baird Knechtel) Traditional RT. 8. op. 2 FAB l no. Shirley Adventures in Violinland. Shin’ichi de Keyser. Paul Position Etudes. 32. Carl Maria von Improve your Scales!. Franz l Hide and Seek (no. Konstantin Fortunatov in Improve your Scales!. 29) u Rowing on the Lake (no. Christine l Pantomime. 77) l one selection u selection is found in Violin Series. 2 ALF) Kinsey. Paul de Get Fiddlin’! FHM Keyser and Fanny Waterman in The Young Violinist’s l Osoyoos (no. 2. A 1 octave start on open string = 88 Major F 1 octave = 80 D 1 octave in 3rd position start on A string = 100 Arpeggios Major G. A 2 octaves = 80 Minor G. A Melodic Minor G. Ear Tests Clapback Candidates will choose to either clap or tap the rhythm of a short melody after the examiner has played it twice on the piano.Technical Tests Please see “Technical Tests” on p. 2013 Edition: Violin Technique and Etudes Preparatory–4 FHM. 11 for important information regarding this section of the examination. Candidates must play all scales. 2013 Edition: Violin Technique and Etudes Preparatory–4 FHM for required patterns. arpeggios. Scales Keys Range Tempo Bowing Major G. Time Signatures Approximate Length four measures Example only 1 2 23 Grade 2 . Refer to Violin Series. A 2 octaves = 80 Harmonic Minor G. and double stops from memory. A Major F 1 octave = 80 D 1 octave in 3rd position start on A string = 60 Double Stops* Exercise on A and E Strings = 80 *See Violin Series. and play the melody twice on the piano. The examiner will play the first note once on the piano. Beginning Note Keys Approximate Length tonic or dominant G. Above a Given Note major 3rd perfect 5th Playback Candidates will be asked to play back a melody on the violin. The examiner will name the key. or Candidates may choose to sing or hum the following intervals.Intervals Candidates will be asked to identify the following intervals. play the tonic triad once. The melody may contain one or more leaps of a 3rd. based on the first five notes of a major scale. The examiner will play each interval once in broken form on the piano. D. A major five notes Example only 1 2 Grade 2 24 . 3 ALF) Montéclair. Johann Sebastian. Technical Tests 10 BWV Anh. 3 ALF) Etudes: two etudes from the Syllabus list 10 u Musette. Memory (2 marks per repertoire selection) 6 l Minuet. Ferdinand three different composers. in Suzuki Violin School. Michel Pignolet de l Two Minuets (in Position Pieces for Violin and Piano. u 1st movement Lully. Concertino in G Major. Johann Georg encouraged at this level. Revised Edition. Kathleen Wood FHM) – scales – arpeggios Becker. and List A detaché. l Bourrée and Menuett Candidates must prepare three contrasting selections by Küchler. Bach and Technical Requirements 20 arr. Paul Jenkins FHM) Grade 3 Requirements Marks Arne. 9 for important Players. op. 2 FAB) 25 Grade 3 . Revised Edition. Revised Edition. including the ability to shift between positions with accuracy and fluency. op. 114 (Christian Petzold: attr. from Notenbuch der Anna Magdalena Bach. u Minuetto and Trio in D Major. from Notenbuch der Anna Magdalena Bach. 2013 Edition: Violin Martini. François-Joseph None l Gavotte (in Suzuki Violin School. including staccato. 3 in D Major (arr. Thomas A. in Suzuki Violin School. Revised Edition. Repertoire 60 l Melodie in G Major (arr. Giovanni Battista Repertoire 3 FHM l Gavotte (in Suzuki Violin School.S. Johann Adolph Two Dances (arr. one from List B. attr. Ludwig van Intervals 3 l Minuet in G Major. one from List A. Alfred Moffat in Old Masters one selection from List A 18 for Young Players. The development of vibrato is Albrechtsberger. 1 OTT) information regarding this section of the examination. 1 OTT) one selection from List B 18 one selection from List C 18 Bach. martelé. Alfred Moffat. in Old Masters for Young Please see “Examination Repertoire” on p. WoO 10. Revised Edition. 163. 2 purposes: ALF) l one selection u selection is found in Violin Series. 2nd. Anton Playing 7 Sonatina. J. 3 ALF) Ear Tests 10 Clapback 3 Beethoven. Playback 4 2 (arr. Jean-Baptiste Bullets used to denote selections for examination l Gavotte (in Suzuki Violin School. Revised Edition. from Symphony No. 1 ALF) Repertoire Hasse. no. Kathleen Total possible marks (pass = 60) 100 Wood FHM) Theory Co-requisite Gossec. no. 126 (arr. Secure intonation in 1st. and 3rd positions is Repertoire in Baroque and Classical Styles required. from Sechs Menuette. BWV Anh.Grade 3 Candidates in Grade 3 should be able to use a variety of bow strokes appropriately. 4 Clapping 3 u 2nd movement: Andante cantabile (arr. Jean – double stops l Gavotte (in Suzuki Violin School. 2 ALF) Sight Reading 10 Diabelli. 11 BOS and one from List C. Christine Donkin FHM) Fiddle & Fun in First Position HAL → play with fingering indicated u Gabby Ghost u Skye Boat Song (arr. 3 Acht leichte Stücke für Violine und Klavier PET FHM) u Mazurka (no. John Beckwith. Kathleen Wood FHM) l Sharmanka (in The Young Violinist’s Repertoire. 2 ALF) Telemann. Katherine. 62 BOS OTT) l Cavatina (no. 55. 80 SCH. Nathalia u A Sad Waltz (in The Encore Series for Violin & Piano. op. SIK u Wedding Tune. 3) Fall Fair FHM Blachford. in Suzuki Violin School. Méhul. Edvard Twenty Pieces for Violin and Piano. Hugh J. 2 FAB) Kabalevsky. 5 BER l Waltz Steps Fleming. Alfred Moffat in Old Paganini. Alfred Moffat in Old Fiddle Pieces Miniatures: Fifteen Pieces for Violin.Pepusch. Robert Dvořák. 24 (arr. 2 FAB) l The Two Grenadiers.” op. Robert OTT. 49. Violet l Untitled Reel 2 (arr. Frank u The Farmers’ Market u Minor Mode FHM l Midway Ride Brahms. CMC Miniatures from the Allen Ash Manuscript FHM) l Joyous Traditional Chase. op. Jean Baklanova. Jean-Delphin u Cossacks u Nocturne (In the Second Position) FHM u Moto perpetuo → play in 2nd position Coulthard. Dmitri Grieg. 3 l Under the Sea (in The Encore Series for Violin & Piano. 33 to 40 Donkin. in Suzuki Violin School. no. 2 FAB) List B List C Traditional and Romantic Repertoire Repertoire Composed After 1930 Anonymous Archer. George Fiddle Fancies S&B u Wallaby’s Lullaby. 4) (in The Young Violinist’s Repertoire. 1 (arr. McLean FHM) Colledge. Niccolò Fiddle Pieces OTT) l Theme. Ludwig l Theatermusik (arr. 4) l Little Waltz (no. Alfred Moffat. Johann Christoph Mendelssohn. 2 ALF) Steibelt. David l Waltz. Antonín l Berceuse CMC l From “Songs My Mother Taught Me. 15 (arr. 2 ALF) FHM) Carse. The Young Violinist’s Repertoire. no. op. in Suzuki l Pibroch (in The Encore Series for Violin & Piano. in Old Fiddle Pieces Schumann. FAB) 4 FHM) → observe repeat mm. Bruce u Nouvelle agréable (arr. from Walzer. 15) FHM) Khachaturian. no. TWV 41:F1 Tchaikovsky. Alfred Moffat in Old Fiddle Pieces OTT) Grade 3 26 . 4 l Whistler’s Tune CMC (in The Young Violinist’s Repertoire. Revised Edition. Georg Philipp Sonatina in F Major. Daniel l Divertimento (arr. 2 Violin School. Revised Edition. op. op. no. Revised Edition. Aram → play in 2nd position l The Little Horse (in Position Pieces for Violin and Piano. from Witches’ Dance (arr. 39. 17. Giuseppe l Mouvement d’une Sérénade (arr. Adam Fiala. Pyotr Il’yich u 3rd movement: Presto (arr. Kathleen Wood u On Holiday (no. Etienne 3 FAB) l Romance (arr. 2) Sammartini. op. Johannes Duke. Christine l Romance (no. and Hugh Colledge → play in 3rd position Shooting Stars B&H Alard. in Eight Twelve Miniatures WAT. 6) l Masque No. Peter Space Stringpops FAB Kayser. 3 or no. 11 or no. PET Violin Playtime Studies FAB l no. SCH. 3 Technical Requirements Kinsey. op. 4. Yaakov Shifting: Thirty Progressive Studies for Violinists FHM Persichetti. 16) Wizard’s Potion PET l Wild Horse (no. 18) Candidates must prepare two technically contrasting etudes from the following list. 18 important information regarding this section of the examination. 9 or no. 20 Sixty Studies for Violin. 35 l Allegro Brillante (no. 12 BMC l Round Dance (no. 1 FIS Cohen. 3 B&V Bullets used to denote selections for examination l no. 2. op. 8 purposes: Rapoport. William Donkin. Mary l no. Paul Forty Elementary Studies. Christine Three Violin Pieces in the First Position SCH Get Fiddlin’! FHM u Donkey Doodle (in Solos for Young Violinists. Neil Position Changing for the Violin OUP Etudes u The Fair Isle (no. 54 FIS. 37) 27 Grade 3 . op. 18) l Tarantella l Tag (no. 6. 9) Wohlfahrt. 4 Superstudies for Violin. 20) Lumsden. Herbert Elementary Progressive Studies. Givens. op. 10) l Grab the Slippery Toad! Entezami. 22) l Mosquito Creek (no. Metz. 45. Louis Vioolmethode. Franz de Keyser. 45. 30) Sixty Studies for Violin. Vincent l Aim and Shoot (no. 1) Shostakovich. 1. Christopher Melodious Etudes in First Position FIS Microjazz Violin Collection. 8) Trott. Heinrich Ernst l Space Walk Elementary and Progressive Studies for the Violin. 32. 1 u The First Skating Lesson (no. set 1 ABR Please see “Technical Requirements” on p. 2) l Tyrolean Air (no. Katharine l one selection u Kites FHM u selection is found in Violin Series. Hans Studies for the Violin. FIS l one of nos. 2. Dmitri u The Clockwork Doll.Kroll. 2 SCH u Study in B flat Major (no. 16. 7) l one of nos. Mackay. 3D GIV Albumstücke PET) u Who Has Seen the Wind? → play in 3rd position Wilson. 4) l one of nos. 3) l Perpetuum Mobile l Sadness (no. Konstantin Fortunatov. 31) l A Dramatic Episode l Fly Away Geringas. Shirley 69 (arr. 11) l Up and Down the Ladder (no. op. 5) Pracht. 2 B&H u The Fellow (no. 6. 1 ALF) l Kananaskis (no. 1 SCH l The Snake-Charmer’s Lament (no. 20 SCH. 1. Robert l King Counter (no. 99 EVO l Cradle Song (no. 14. and Ben Atwood l Simonette River (no. 7) Twelve Easy Pieces. op. in Shostakovich: Adventures in Violinland. 1 SCH u Study in G Major (no. op. Caroline. 8 u The Whirly Bird and the Hen (no. from Children’s Notebook. 8) Masques. 3) Melodious Double Stops. 11 for l no. 2013 Edition: Violin → play in 2nd position Technique and Etudes Preparatory–4 FHM Sitt. op. 7. 2 FAB l Fivepenny Waltz (no. Josephine l Hot Chocolate Treat (no. Ramin Norton. D 2 octaves = 88 Minor C. C. D Major F 1 octave in 2nd position = 60 Minor F Double Stops* Exercise on D and A Strings = 60 *See Violin Series. Ear Tests Clapback Candidates will choose to either clap or tap the rhythm of a short melody after the examiner has played it twice on the piano. Scales Keys Range Tempo Bowing Major B . 2013 Edition: Violin Technique and Etudes Preparatory–4 FHM for required patterns. D 2 octaves = 100 Harmonic and Melodic Minor C. arpeggios. C. 11 for important information regarding this section of the examination. D Major F Harmonic and 1 octave in 2nd position = 60 F Melodic Minor Chromatic 1 octave on D = 66 start on open string Arpeggios Major B . and double stops from memory. 2013 Edition: Violin Technique and Etudes Preparatory–4 FHM.Technical Tests Please see “Technical Tests” on p. Refer to Violin Series. Time Signatures Approximate Length four measures Example only 1 2 Grade 3 28 . Candidates must play all scales. Intervals Candidates will be asked to identify the following intervals. D. Difficulty Time Signatures Keys Positions Approximate Length Grade 1 repertoire G. articulation. Time Signatures Approximate Length four measures Example only 29 Grade 3 . The examiner will play the first note once on the piano. symbols ( ). or Candidates may choose to sing or hum the following intervals. based on the first five notes of a major scale. mediant. A major five to eight notes Example only 1 2 Sight Reading Playing Candidates will be asked to play a short melody at sight. . . Above a Given Note Below a Given Note major 3rd minor 3rd perfect 5th perfect 5th perfect octave Playback Candidates will be asked to play back a melody on the violin. This may contain dynamics ( . The melody may contain leaps of a 3rd and/or a 5th.). and bowing indications (two-note legato or staccato slurs). The examiner will play each interval once in broken form on the piano. Beginning Note Keys Approximate Length tonic. cresc.. The examiner will name the key. or dominant G. play the tonic triad once. dim. A major 1st eight to twelve measures Clapping Candidates will be asked to clap or tap a rhythm. A steady pulse and rhythmic precision are expected. and play the melody twice on the piano. D. . op. BOS l 1st movement Candidates must prepare three contrasting selections by u 3rd movement three different composers: one from List A. 15 BOS. 11) one selection from List B 18 l Fleuve du Tage (no. Charles Repertoire 60 Douze fantasies sur motifs favouris. Natalya Vladimirovna vibrato is expected at this level. Charlotte l one selection l Concertante in G Major FIS u selection is found in Violin Series. op. 2013 Edition: Violin Repertoire 4 FHM Steibelt. 35 BAR.A. op. Sonatinas. 9 for important Rieding. and Fantasias 4th positions is expected. Concerto in B Minor. 8) Grade 4 Requirements Marks Dancla. 12 BOS Etudes: two etudes from the Syllabus list 10 l 1st or 3rd movement Technical Tests 10 Concertino in the Style of Antonio Vivaldi. Eduard Sight Reading 10 u The Infant Paganini: Fantasia FIS Playing 7 Clapping 3 Perlman. 34 BOS Bullets used to denote selections for examination l 1st movement purposes: Ruegger. (in – scales Solos for Young Violinists. 33.Grade 4 Candidates in Grade 4 should be able to use a variety of bow strokes appropriately. Acht leichte Stücke für Violine und Klavier PET l Concertino (no. Concerto in D Major. op. Some Baklanova. op. Secure intonation in 1st to Concertos. l 3rd movement Concerto in G Major. 1 ALF) – arpeggios l 1st movement – double stops u 3rd movement Ear Tests 10 Millies. op. and detaché. List A staccato. no. 3) Memory (2 marks per repertoire selection) 6 Küchler. Ferdinand Technical Requirements 20 Concertino in D Major. Daniel Sonatine. op. Leo None Russian Fantasias BOS l Russian Fantasia No. 8) one selection from List C 18 l Rédowa de Wallerstein (no. including the ability to shift between positions with accuracy and fluency. Mozart (abridged) NOV Intervals 3 u 1st movement Playback 4 Mollenhauer. 36 BOS and one from List C. 1 u 1st movement Grade 4 30 . 2 in D Minor Repertoire l Russian Fantasia No. including brush strokes. 86 FIS one selection from List A 18 l Le cor des Alpes–Valse du Freischütz (no. 3 in A Minor Please see “Examination Repertoire” on p. Hans Mollenhauer Clapback 3 Concertino in the Style of W. one from List B. Oskar information regarding this section of the examination. George Concertino in A Minor (in Fun with Solos CHD) Total possible marks (pass = 60) 100 l 3rd movement Theory Co-requisite Portnoff. martelé. in Old Twenty Pieces for Violin and Piano. Johann Sebastian Suite for Violin and Piano BMC l Gavotte in G Minor (Gavotte en rondeau) from Suite l String Along in G Minor for Harpsichord. TWV 41:B2 Mendelssohn. Arcangelo no. Antonín Violinists. Revised Edition. 7. op. arr. James Edwin Darke ABR) l My Heart Is Devoted. arr. 1 ALF) u Soldatenmarsch (Soldier’s March) (no. 1 OTT) l Ping Pong (no.C. SIK Masters for Young Players. Christine Gale FHM) Manuscript FHM) Lully. 123. 5. 6) Concert Repertoire l Mosquito Dance (no. Rémi Bach. and basso continuo. l Polka (no. 10 ALF) u 4th movement: Gavotta (arr. l Allegro (no.C. Harold Hook. 5) (in Solos for Young Violinists. Klavier UNI) Revised Edition. Kelly in Irish u The Song of Twilight (in Position Pieces for Violin and Tunes. Nakada. Yoshinao 2 OSS) Japanese Festival l The Lark in the Clear Air (arr. op. 3 FAB) l Moto Perpetuo Barns. 5) 31 Grade 4 . 16) Sonatina No. 2 ABR) l Allegro non troppo. op. Dear Mary. 62 BOS List C l Conte sérieux (no. op. FHM) strings. Revised Edition. in Suzuki Violin School. in Eight Miniatures from the Allen Ash 447 (arr. Jean-Baptiste Kabalevsky. Constance Seely. 65 l March of the Pirates (no. George Frideric l Two Blues (in The Encore Series for Violin & Piano. 6) Brown in Ten Little Classics FIS and Solos for Young Dvořák. in Suzuki Violin School. 1 ALF) l Humoresque (from Humoresques for Piano. T. Natalya Vladimirovna Acht leichte Stücke für Violine und Klavier PET Nelson. 101. Charles u Giguetta from Sarabande con Partite. Notenbuch für l Historiette (no. Kathleen Wood FHM) Boccherini. from Sechs Kinderstücke. T. 2 l Two Minuets (arr. József Anonymous Vier leichte Stücke. HWV Beckwith. Alfred Moffat. op. to Thee (arr. 80 SCH. Dmitri l Gavotte and Musette (arr. Revised Edition. John u Sarabande from Keyboard Suite in D Minor. no. List B Bennett. 3) Traditional l Bán Chnoic Eireann O (arr. Ambroise no. Corelli. Kathleen Wood FHM) Ethridge. István Nagy in Leichte Stücke für Violine und l Gavotte from Mignon (arr. Johannes u Le faun (in Music for Strings LEE) Ten Easy Pieces. op. 2) (in The Young Violinist’s l Caprice Repertoire. from Leopold Mozart. in Suzuki Violin School. Ludwig Miniatures: Fifteen Pieces for Violin. Felix l Presto (in Baroque Violin Pieces. 1 OTT L’ultima Partita o Giguetta (arr. BWV 990. Luigi Aubert. 72. 6) Moving Up Again B&H u Fast Dance (Reigen) (no. 1 (arr. HWV 287 (arr. 4) Wolfgang (arr. Sheila M. Down Bow NOV Repertoire in Baroque Style u Merry-Go-Round Bloch. op. Jacques l Minuet (in Suzuki Violin School. op. Elma Doflein and Erich Doflein in ALF) Musik für Violine und Klavier. 2 in B flat Major. Kelly in Irish Tunes. 36 SDM u Bourrée. 3 Sonata in F Major. Ethel Palaschko. 2 OTT) Bouchard. 18) Telemann. 3 l Sarabande from Concerto in G Minor for oboe. 3 ALF) Dancla. 2 OSS) Piano PRE) → play in 4th position Baklanova. BWV 822. XVI: Petite école de la mélodie. Georg Philipp u Summer Song (no. Thomas. Richard Rodney Up Bow. Jean Handel. 2 ALF) Mendelssohn. 21) u Danse napolitaine (Neapolitan Dance) from Swan l Scherzino (no. no. 8 Sixty Studies for Violin. 22) Vier Leichte Vortragsstücke. 2013 Edition: Violin Technique and Etudes Preparatory—4 FHM RT. 20) l Ziguernermarsch (no. FHM) l Tongue Twister (no. op. 18. op. 45 OTT u Grasshopper (no. Ralph l Lesson 19 (no. 54 FIS. op. arr. 5 l Little Boat on the Sea (no. 3 FHM u Ostinelli’s Reel Cohen. 15) Rieding. 9) → with repeat l no. 4) Six Studies in English Folk-Song S&B Kayser. 10 or no. FIS l no. 4) l no. 1 FIS u The Mill Wheel (no. 30) Sechs Stücke. 10) l Menuetto (no. Elementary Progressive Studies. 19 Bullets used to denote selections for examination l Set 2. 23 BUT l March (no. Ernst l Barcarolle (no. 26 (in Studies in Lyricism for Violin FIS) u selection is found in Violin Series. 20 SCH. 28) Spies. 1 SCH u The Happy Wire-Haired Dachshund (no. Fiddleworks. 32. op. 1 ALF) l Lesson 17 (no. 29) Trott. 19) l At the Skating Rink (no. 60) u Melodious Double Stops (no. op. Robert Geringas. Carl l The Puppet Show. 3) Vaughan Williams. Ramin Trott. 25) Lake. 6 or no. Franz Forty Elementary Studies. PET l no. 31–37 (omit articulations) Grade 4 32 . 11) Studies for the Violin. op. 45. 3 WIL Violinists. op. Heinrich Ernst l Andante Tranquillo (no. 7 Entezami. 9) Tchaikovsky. op. 12) u Playing Ball (no. no. 5. 45. Pyotr Il’yich l A Pleasant Day (no.Schumann. 59) Wohlfahrt. 7 purposes: Panofka. Yaakov u Knecht Ruprecht (Knight Rupert) from Album für die Shifting: Thirty Progressive Studies for Violinists FHM Jugend. Josephine Grissen. op. 68 (arr. u Inch Worm → play with given fingering Etudes l Popsicles Candidates must prepare two technically contrasting Kinsey. Herbert etudes from the following list. 20 (arr. 4 or no. 5) FIS l Hop Scotch (no. 1 SCH u Study in F Major (no. op. 2 SCH l one of nos. SCH. 1 (in Solos for Young Learn With Tunes. Heinrich l one selection l no. no. 6) Elementary and Progressive Studies for the Violin. Zav. Hans l Magic Carpet Ride (no. 2 FAB Sitt. 11 for Easy Songs for Shifting in the First Five Positions ALF important information regarding this section of the l Gypsy Dance examination. Josephine Melodious Etudes in First Position FIS Melodious Double Stops. Mary Technique Takes Off!. Kathryn Bird Please see “Technical Requirements” on p. 6) Sixty Studies for Violin. Oskar l Lost in the Woods (no. FHM) l Agitation (no. 2) BOS l Old Dance (no. 2 ABR l Set 1. 13 Technical Requirements Kinnard. Candidates must play all scales. E Major E 1 octave in 4th position = 84 Minor E Dominant 7th of Major Keys G (starting on D). Time Signatures Approximate Length three to four measures Example only 1 2 33 Grade 4 . 1 octave A (starting on E) start on D string = 84 Diminished 7th of Minor Keys B (starting on A ). 1 octave E (starting on D ) start on open string = 84 Double Stops Major in Broken 6ths E 1 octave = 60 Ear Tests Clapback Candidates will choose to either clap or tap the rhythm of a short melody after the examiner has played it twice on the piano. E 2 octaves = 60 Harmonic and Melodic Minor B. and double stops from memory. B. E Major E Harmonic and 1 octave in 4th position = 84 E Melodic Minor Major B 1 octave on A string = 84 Chromatic 1 octave on E = 84 start on D string Arpeggios Major A .Technical Tests Please see “Technical Tests” on p. 2013 Edition: Violin Technique and Etudes Preparatory–4 FHM for required patterns. Scales Keys Range Tempo Bowing Major A . B. Refer to Violin Series. 11 for important information regarding this section of the examination. E = 96 2 octaves Minor B. arpeggios. and play the melody twice on the piano. tenuto markings. The examiner will play the first note once on the piano. Beginning Note Keys Approximate Length tonic. A major six notes Example only Sight Reading Playing Candidates will be asked to play a short melody at sight. A steady pulse and rhythmic precision are expected. play the tonic triad once. on the violin. based on the first five notes of a major scale. New features introduced at Grade 4 may include accidentals. G. Difficulty Time Signatures Keys Positions Approximate Length Grade 2 repertoire C. D. or dominant C. mediant. The examiner will name the key. G. D major 1st eight to twelve measures Clapping Candidates will be asked to clap or tap the rhythm of a melody.Intervals Candidates will be asked to identify the following intervals. and dynamic indications from to . or Candidates may choose to sing or hum the following intervals. Above a Given Note Below a Given Note major and minor 3rds minor 3rd perfect 4th perfect 5th perfect 5th perfect octave perfect octave Playback Candidates will be asked to play back a melody. F. Time Signatures Approximate Length four measures Example only Grade 4 34 . The examiner will play each interval once in broken form on the piano. SCH (in Suzuki Candidates must prepare three contrasting selections by Violin School. 22 BOS. 4 FIS Playing 7 l complete Clapping 3 Járdányi. 2 FIS Playback 4 l 1st movement (to end of p. 14 in G Major (in Solos for Young one selection from List A 17 Violinists. 3 BOS Please see “Examination Repertoire” on p. 10) – arpeggios u Plaisir d’amour (no. Concerto No. 12) l Les Puritains (no. 1 of violin part) Sight Reading 10 Concertino in G Major. 23. SCH l Air varié on a Theme by Pacini (no. op. Friedrich Concerto No. 13 BOS. Leo Basic Rudiments Russian Fantasias BOS l Russian Fantasia No. 8. FIS. no. 86 FIS Etudes: two etudes from the Syllabus list 10 l La Cenerentola (no. 7) Technical Tests 10 l Donna del Lago–Air suisse (no. l 3rd movement and one from List C. 9 for important information regarding this section of the examination. 6. Revised Edition. Airs variés. SCH (in Suzuki Violin School. Candidates should be able to Bacewicz. Pál Total possible marks (pass = 60) 100 l Concertino EMB Theory Co-requisite Portnoff.Grade 5 Candidates in Grade 5 should have a well-developed brush stroke and beginning collé and spiccato strokes. and Fantasias including the ability to shift between positions with accuracy and fluency. 5 in D Major. 2 in G Major. op. List A Secure intonation in 1st to 5th positions is expected. 9) Ear Tests 10 Clapback 3 Huber. 1) Technical Requirements 20 Douze fantasies sur motifs favouris. 89 OTT. Oskar u Air varié. 2 ALF) one selection from List B 20 one selection from List C 17 Dancla. Adolf Intervals 3 Concertino in G Major. Seitz. Concertos. Charles Memory (3 marks each for List A and List C) 6 Airs variés. 4 ALF) three different composers: one from List A. op. 1 in A Minor BOS Repertoire Rieding. op. Concertino PWM u 1st movement Grade 5 Requirements Marks Bériot. op. no. 4) – scales l Les noces de Figaro–Le crociato (no. Grażyna produce vibrato consistently with all fingers. no. op. 4 ALF) Bullets used to denote selections for examination l 1st movement purposes: l one selection u selection is found in Violin Series. Revised Edition. op. one from List B. Charles-Auguste de Repertoire 60 l Air varié No. 2013 Edition: Violin Repertoire 5 FHM 35 Grade 5 . Jean basso continuo EMB) u Fairy Tale (in The Encore Series for Violin & Piano. l Barn Dance René Colwell OTT) l 1st movement: Adagio and 2nd movement: Allegro Duke. 1 (in Easy Classical Sonatas for Violin and Piano u Rondino (in The Young Violinist’s Repertoire. (in Solos for Young Violinists. 8. 1 OTT Dolin. Kathleen Wood FHM) u Waltz from Lyric Pieces op. 2 Jenkinson. Ezra u 3rd movement: Air Polonais l Elfentanz (Danse des sylphes) BOS. William Coulthard. 5 in G Major (arr. 8 in E Minor l Bourrée from Suite for Cello No. TWV 41: E1 Wood FHM) u 1st movement: Affettuoso–Siciliano and 4th Grieg. Arcangelo Traditional 12 Sonate. Johann Baptist → with repeat Kurz und leichte Klavierstücke begleitet mit einer Violine Hadjiev. Jean Sonata in G Major. Domenico Sonata No. Revised Edition. 4 FHM) Scarlatti. K 81 (in 5 Sonate per violino e Ethridge. CMC l 1st movement: Adagio and 2nd movement: Allegro Donkin. 2 ABR) l Music on a Hebridean Folk Song (in The Encore Series for Violin & Piano. from Armide (arr. 2 (arr. Carl Maria von Jaque. List B List C Sonatas and Sonatinas Concert Repertoire Corelli. Christoph Willibald Sei Sonatine per Violino e Cembalo EMB u Musette and Air de ballet. Hans Sitt) → with all repeats (in Solos for the Violin Player HAL. István Homolya EMB) Adaskin. Carl l 1st movement: Preludio and 2nd movement: Allegro l Moto Perpetuo (from the “Third Suite” BMC) De Fesch. in Suzuki Violin School. Donald movement: Allegretto l Country Dance PRE Weber. 5 FHM) basso continuo EMB) l Reverie (in The Encore Series for Violin & Piano. Johann Sebastian Sonata No. 9 in A Major u Mazurka FHM l 1st movement: Preludio and 2nd movement: Giga Sonata No. SCH) Vanhal. no. 1 ALF) Grade 5 36 . 3 in G Major (arr. 5 in G Major. Christine l 3rd movement: Adagio and 4th movement: Allegro Fall Fair FHM Sonata No. 6 l 3rd movement: Grave and 4th movement: Allegro FHM) Sonata No. 4 FAB) EMB) u 1st movement: Cadenza-Siciliano and 2nd Heins. 5 FHM) Pepusch. 5 BAR. 11 in E Major Bohm. BWV l 1st movement: Preludio and 2nd movement: 1009 (arr. 10b HEN l Mouvement perpétuel IND Sonata No. Edvard movement: Allegro (arr. Samuel Sonata No. Johann Christoph Six Sonatas. 12. CMC l Largo and Allemanda (in Baroque Violin Pieces. Siegfried Pritsche PET. Rhené Six sonates progressives pour le pianoforte avec violon obligé. 3 in C Major. K 91 (in 5 Sonate per violino e l Gig (in The Encore Series for Violin & Piano. Kathleen Sonata in E Major. René Colwell OTT) u Little Sombrero BER. no. arr. 2 in E Minor. 7 in D Minor (arr. op. Georg Philipp Gluck. Michael Conway Baker) Sonata No. OTT u Ukrainian Folk Song (arr. 3 Allemanda ALF) l 3rd movement: Sarabanda and 4th movement: Giga Blachford. l Daussila BER op. 4 l 3rd movement: Grave and 4th movement: Allegro FHM) Telemann. Parashkev Sonata No. op. David l 3rd movement: Adagio and 4th movement: Allegro u Abracadabra (for Kathy Rapoport) (in The Encore Series for Violin & Piano. Murray l 1st movement: Preludio and 2nd movement: l Quiet Song CMC Corrente l 3rd movement: Sarabanda and 4th movement: Giga Bach. Frank Sonata No. 4 l On the March BER. op. Konstantin Grissen. 45. 2 B&H Griesdale. 6 ABR) l one of nos. Ludwig Geringas. 15. 11 for u Study in C Major (no. Josephine Melodious Double Stops. 74. 2013 Edition: Violin Forty Elementary Studies. 1 FIS Bullets used to denote selections for examination l no. 62 BOS Shifting: Thirty Progressive Studies for Violinists FHM l Polonaise (no. 18 Cohen. 13. 8. 8–11 examination. Dmitri u Dance from Dances of the Dolls (arr. PET Etudes and Technique 5–8 FHM l no. op. 13) (in Studies in Lyricism for u Toy Soldiers’ March Violin FIS) Mendelssohn. Mary Sixty Studies for Violin. op. 1 SCH Etudes u Melodious Double Stops (no. Susan l Snow Dance Soundplay: Eight Character Pieces GRI u Jolly Rondo Shostakovich. 6. 19 Sitt. op. 12. 16. FIS Technique Takes Off!. 32. 23) l Love My Mum (no. 2 FIS l one selection u no.Kreisler. op. op. Fritz Concone. 5. Giuseppe Four Pieces for Violin and Piano FIS. Yaakov Miniatures: Fifteen Pieces for Violin. 26) Norton. 1 FIS Please see “Technical Requirements” on p. 11) Candidates must prepare two technically contrasting l one of nos. 18 etudes from the following list. Christopher Microjazz Violin Collection. Rowsby u Study in G Major (no. 12) l no. 13) l Hornpipe (in Fiddler’s Choice. 6) Elementary and Progressive Studies for the Violin. 45 → omit all repeats l Dragon Dance (no. 42) u The Bee’s Knees! (no. 10. Carl Fortunatov. 3 WIL l Lesson 21 (no. 4) 37 Grade 5 . 21 purposes: Fifty Easy Melodic Studies. FAB u Study in C Major (no. 12) important information regarding this section of the l one of nos. 20 SCH. Ralph Six Studies in English Folk-Song S&B Kayser. Hans Technical Requirements Studies for the Violin. 29 u selection is found in Violin Series. 54 SCH. op. 1) u Ballet Variation (no. Trott. MAS l Andante Cantabile (no. Wohlfahrt. 6) Vaughan Williams. Heinrich Ernst u Allegro Vivace (no. 74. 2 SCH. Franz Fifty Easy Melodic Studies. 7) l Looping the Loop (no. op. FIS Woof. in Shostakovich: Albumstücke PET) Learn With Tunes. 44 or no. on A 2 octaves = 76 Arpeggios Major A . arpeggios. E. B 1 octave = 72 Ear Tests Clapback Candidates will choose to either clap or tap the rhythm of a short melody after the examiner has played it twice on the piano. F Melodic Minor Major C 1 octave on A string = 84 Chromatic on G. 2 octaves of Minor Keys B (starting on A ) = 104 Double Stops Major in 6ths G. E. 2 octaves = 104 Major Keys D (starting on A) Diminished 7th A (starting on G ). and double stops from memory. Scales Keys Range Tempo Bowing Major G 3 octaves = 76 Major A . Time Signatures Approximate Length two to four measures Example 1 2 Grade 5 38 .Technical Tests Please see “Technical Tests” on p. 2013 Edition: Violin Technique and Etudes 5–8 FHM for required patterns. Candidates must play all scales. F or Harmonic and 2 octaves = 88 G . F 2 octaves = 120 Minor G . Refer to Violin Series. 11 for important information regarding this section of the examination. F Major C 1 octave on A string = 84 Dominant 7th of C (starting on G). E. E. New features introduced at Grade 5 may include pizzicato and arco markings. Time Signatures Approximate Length four measures Example only 39 Grade 5 . G. E major 1st. A. The examiner will name the key. or Candidates may choose to sing or hum the following intervals. based on the first five notes and the upper tonic of a major scale. play the tonic triad once. D. The examiner will play each interval once in broken form on the piano. The examiner will play the first note once on the piano. F. A major seven notes Example only Sight Reading Playing Candidates will be asked to play a short melody at sight. D. mediant.Intervals Candidates will be asked to identify the following intervals. 3rd sixteen measures repertoire Clapping Candidates will be asked to clap or tap the rhythm of a melody. and play the melody twice on the piano. G. A steady pulse and rhythmic precision are expected. Above a Given Note Below a Given Note major and minor 3rds major and minor 3rds perfect 4th perfect 5th perfect 5th major and minor 6ths perfect octave perfect octave Playback Candidates will be asked to play back a melody on the violin. Difficulty Time Signatures Keys Positions Approximate Length Grade 3 C. or dominant C. Beginning Note Keys Approximate Length tonic. Anatoli Concerto No. 2 in G Major. 4 ALF.Grade 6 Candidates in Grade 6 should have a well-developed brush stroke and be able to execute collé and spiccato List A strokes. BOS Total possible marks (pass = 60) 100 l 1st movement to Andante sostenuto Theory Co-requisite Concerto in G Major. 6. Secure intonation in 1st to 5th positions is Concertos. no. 9 for important l 1st movement information regarding this section of the examination. Revised Edition. op. 3. 2 ALF) Intervals 3 Portnoff. 22 BOS. 2 in A Major PET Technical Requirements 20 l 3rd movement: Allegro molto Etudes: two etudes from the Syllabus list 10 Technical Tests 10 Kymlicka. no. 6. op. 5 in D Major. Kathleen Wood FHM) Concerto in A Minor. Hermann Muller B&H) u selection is found in Violin Series. 1. Milan – scales Concertino Grosso CAN – arpeggios l 1st and 3rd movements – double stops Mollenhauer. 2 FIS one selection from List B 20 l 3rd movement one selection from List C 17 Memory (3 marks each for List A and List C) 6 Komorowski. (in Suzuki Violin School. no. 3. PET u 1st movement (arr. op. and Fantasias expected. 3. 89 OTT. op. SCH (in Suzuki Violin School. Vibrato should be firmly Dancla. op. Friedrich Concerto No. SCH variety of dynamic levels should be evident. op. op. 21 BAR. Charles established and used consistently where appropriate. 1 in D Major. 4 ALF. RV 356/F I:176 PET. 4) Grade 6 Requirements Marks l Air varié on a Theme by Mercadante (no. Telemann. Adolph one selection from List A 17 Student Concertino in G Major. u Air varié on a Theme by Rossini (no. 3 PET Bullets used to denote selections for examination l 1st movement purposes: Tessarini. 6) Repertoire 60 Huber. op. 3 (arr. Carlo l one selection Concerto in G Major. Eduard Ear Tests 10 u The Boy Paganini: Fantasia FIS (in Solos for Young Clapback 2 Violinists. and one from List C. no. Georg Philipp Concerto in G Major. Revised Edition. BAR) Candidates must prepare three contrasting selections by l 3rd movement three different composers: one from List A. RV 310 BAR. 13 BAR. 2013 Edition: Violin l 1st movement Repertoire 6 FHM Vivaldi. 3. Oskar Clapping 3 Concertino in A Minor (In Hungarian Style). 24 BOS Intermediate Rudiments l 3rd movement Seitz. Leo Chords 2 Concertino in A Minor. SCH Repertoire l 3rd movement Concerto No. one from List B. op. Airs variés. op. Concerto No. op. op. Antonio Concerto in G Major. BAR) l 1st or 3rd movement Grade 6 40 . 7 BOS. BOS. including the ability to shift between positions with accuracy and fluency. FIS. 2) l Air varié on a Theme by Donizetti (no. SCH Please see “Examination Repertoire” on p. no. A Airs variés. 14 BOS Playback 3 l 1st movement Sight Reading 10 Playing 7 Rieding. in The Violin: l Aucassin und Nicolette A Collection CHS) Massenet. 59 Four Pieces for Violin and Piano FIS. 1 in G Minor. Timothy u Invocation (Mélodie) from Les Erinnyes l Jota (in The Well-Tuned Fiddle. from Little Suite No. 3 ALF. George Bennett. 2 BOS l two contrasting movements Sonata No. Jean 6 Sonate da camera (transc. Bohuslav Bridge. 4 in G Major. Revised Edition. 3 in B Minor. 3 in F Major. Book II ABR) Perlman. TWV 41:D1 Donizetti. Carl l Perpetuo mobile. Francesco Twelve Sonatas. TWV 41:h1 in Romantic Violinist B&H) l 3rd movement: Andante and 4th movement: Vivace Drdla. op. 2 Sonata no. 16 (in The Violin Collection: Intermediate l 1st movement: Largo and 3rd movement: Allegro SCH) Willan. Murray Kreisler. Johann Christoph Coulthard. 4 ALF) Handel. 3) Telemann. in Suzuki Violin School. Robert Sonata No. in Classical Violinist List C B&H) Concert Repertoire Grainger. op. 4 FHM) Veracini. Georg Philipp Donkin. (in Solos Sonatas and Sonatinas for Young Violinists. HWV 370 BAR. PET (in ALF) Suzuki Violin School. Felix l two contrasting movements u Adoration PRE Martinů. César Sonata No. Richard Rodney Israeli Concertino B&H Six Country Dances l Nocturne l Buskin (no. Jules Baxter. 6 in F Minor Kaleidoscope. Gabriel Sonata No. op. 27. Walter Kolneder OTT) l Rustic Dance. from Little French Suite (in The Encore Sonata No. 6 ALF) Borowski. Gaetano l two contrasting movements l Non giova il sospirar (arr. TWV 41:G1 l Tarantella. 1 in B Minor Series for Violin & Piano. François-Joseph l Tambourin (arr. TWV 41:A1 Ethridge. David Gedge. Fritz u Daydreams CMC u Andantino in the Style of Martini FIS Arnold. 2) (in The Violin: A Collection CHS) 41 Grade 6 . 6 FHM) l two contrasting movements Sonata No. 3 (arr. Malcolm l Chanson Louis XIII et Pavane Four Scottish Dances. František Sonata No. Christine Six Sonatas (1715) OTT Fall Fair FHM Sonata No. Sheila Nelson. List B Bohm. George u 1st and 2nd movements u Hornpipe FHM l 3rd and 4th movements Cui. 2 in E Major CMC l Something for Margot CMC l Largo and Courante Gossec. HEN. Charles-Auguste de Bériot. 4 in D Minor Coutts. Percy l Molly on the Shore MAS Adaskin. no. 1. 2 PET Fauré. 6 FIS. Healey Fleming. Frank Sonatina BAR Three Pieces for Violin and Piano FAB u 2nd and 3rd movements u Berceuse (no. 6 in A Minor l Berceuse. 50 SIM l 1st and 4th movements l Musette (no. 2 in D Major. 1) Pepusch. 6 in A Major. op. Sonata No. op. MAS l Scottish Dance No. George Frideric l Sarabande in G Minor (in Solos for Young Violinists. TWV 41:g1 u Catch Me if You Can! l two contrasting movements Sonata No. Jean l two contrasting movements l Rondo brillante (in The Encore Series for Violin & Piano. Piazzolla, Astor Technical Requirements u Duo 1 (arr. Hywel Davies LIM) Please see “Technical Requirements” on p. 11 for Pishny-Floyd, Monte Keene important information regarding this section of the l Gavotte and Musette CMC examination. Rameau, Jean-Philippe l Gavotte (in Suzuki Violin School, 6 ALF) Etudes Reger, Max Candidates must prepare two technically contrasting l Romance BRH etudes from the following list. Rieding, Oskar Bullets used to denote selections for examination l Petite Ballade BOS purposes: Szelényi, István l one selection Twenty-four Easy Little Concert Pieces u selection is found in Violin Series, 2013 Edition: Violin u Youngsters’ Dance (no. 19) EMB; ABR Technique and Etudes 5–8 FHM Cohen, Mary Technique Takes Off!, FAB l Skater’s Waltz (no. 11) Dezaire, Nico Violin Positions 4 & 5 DHM l The Hunter l Rock ’n’ Roll Kreutzer, Rodolphe Quarante-deux études ou caprices INT u Étude No. 4 in C Major u Étude No. 2 in C Major l one of nos. 3, 5, 6 Kayser, Heinrich Ernst Elementary and Progressive Studies for the Violin, op. 20 SCH; FIS l no. 14 or no. 17 Mazas, Jacques-Féréol Études mélodiques et progressives, op. 36, book 1: Études spéciales SCH; INT u Étude spéciale (no. 3: Fermeté d’archet) l one of nos. 2, 5, 6, 10 Panofka, Heinrich l no. 38 (in Studies in Lyricism for Violin FIS) Trott, Josephine Melodious Double Stops, 1 SCH l one of nos. 17, 19–30 Melodious Double Stops, 2 SCH u Melodious Double Stops No. 1 l no. 9 or no. 11 Wohlfahrt, Franz Fifty Easy Melodic Studies, op. 74, 2 FIS u Study in D Major (no. 44) l no. 37 or no. 42 Sixty Studies for Violin, op. 45, 2 SCH u Study in A Minor (no. 47) l no. 43 or no. 50 Grade 6 42 Technical Tests Please see “Technical Tests” on p. 11 for important information regarding this section of the examination. Candidates must play all scales, arpeggios, and double stops from memory. Refer to Violin Series, 2013 Edition: Violin Technique and Etudes 5–8 FHM for required patterns. Scales Keys Range Tempo Bowing Major G, A Harmonic and 3 octaves G, A = 100 Melodic Minor or Major D Harmonic and 2 octaves C = 100 Melodic Minor Major D Harmonic and 1 octave on A string D = 88 Melodic Minor Chromatic on B , on B 2 octaves = 88 Arpeggios Major G, A 3 octaves Minor G, A = 54 Major D 2 octaves Minor C = 54 Major D 1 octave on A string Minor D = 88 Dominant 7th of F (starting on C), 2 octaves Major Keys G (starting on D) = 88 Diminished 7th of C (starting on B ), 2 octaves Minor Keys E (starting on D ) = 88 Double Stops Major in 3rds, 6ths, G, A 8ves 1 octave Harmonic Minor in = 76 G, A 3rds, 6ths, 8ves 43 Grade 6 Ear Tests Clapback Candidates will choose to either clap or tap the rhythm of a short melody after examiner has played it twice on the piano. Time Signatures Approximate Length two to four measures Example only 1 2 Intervals Candidates will be asked to identify the following intervals. The examiner will play each interval once in broken form on the piano. or Candidates may choose to sing or hum the following intervals. The examiner will play the first note once on the piano. Above a Given Note Below a Given Note major 2nd major and minor 3rds major and minor 3rds perfect 4th perfect 4th perfect 5th perfect 5th major and minor 6ths minor 6th perfect octave perfect octave Chords Candidates will be asked to identify the following chords after the examiner has played the chord once in solid (blocked) form, close position on the piano. Chords Position major and minor triads root position Playback Candidates will be asked to play back a melody on the violin, based on a complete major scale (tonic to tonic, mediant to mediant, or dominant to dominant). The examiner will name the key, play the tonic triad once, and play the melody twice on the piano. Beginning Note Keys Approximate Length tonic, mediant, or dominant C, G, D, A, E major nine notes Example only Grade 6 44 appoggiaturas.Sight Reading Playing Candidates will be asked to play a short melody at sight. and double stops.and right-hand pizzicato. 2nd. E major Grade 4 repertoire 1st. Time Signatures Approximate Length four measures Example only 45 Grade 6 . D minor Clapping Candidates will be asked to clap or tap the rhythm of a melody. E. A steady pulse and rhythmic precision are expected. 3rd sixteen to twenty measures A. left. A. G. New features introduced at Grade 6 may include natural harmonics. Difficulty Time Signatures Keys Positions Approximate Length C. F. D. 3) one selection from List B 20 l Air varié on a Theme by Weigl (no. op. Playing should show stylistic awareness.5) l Air varié on a Theme by Bellini (no. RV 317/F I:221 OTT. Fluency Concertos. Antonio Concerto in G Minor. Oskar Playback 3 Concerto in G Major. SCH Theory Co-requisite u 1st movement (abridged) (in Solos for Young Violinists. op. Friedrich Clapping 3 Concerto No. 6 ALF) Grade 7 Requirements Marks Dancla. 89 OTT. and Fantasias and accuracy up to 7th position is expected. Henry selections that are not memorized. 5 ALF) three different composers: one from List A. Charles Repertoire 50 Airs variés. 3 ALF) (The figures in parentheses for Lists A and C indicate the marks that will be deducted for Farmer. 3 in G Minor.5) Young Violinists. Advanced Rudiments 2 ALF) Stamitz. 2013 Edition: Violin Repertoire 7 FHM Grade 7 46 . Airs variés. 9 for important information regarding this section of the examination. Pietro – scales Concerto in E Minor AUG. 12 BAR. op. one from List B. 1 in D Major. l La Folia (arr. 12. INT – arpeggios l 1st movement – double stops Perlman. l 1st movement and one from List C.Grade 7 Candidates in Grade 7 should have a well-developed spiccato stroke and be able to play with a wide dynamic List A range. Bullets used to denote selections for examination purposes: l one selection u selection is found in Violin Series. op. no. in Suzuki Violin School. George Ear Tests 10 Israeli Concertino B&H Clapback 2 l 3rd movement: Fantasie-Recitative Intervals 3 Chords 2 Rieding. Benedetto Concerto in D Major OTT Technical Requirements 20 l 1st movement Etudes: one etude from the Syllabus list 8 Technical Tests 12 Nardini. 5) (in Solos for one selection from List C 15 (1. Anton Repertoire Concerto in G Major OTT l 1st movement Please see “Examination Repertoire” on p. Vivaldi. SCH l 1st movement Total possible marks (pass = 60) 100 Concerto No. 1. 7 BOS. 24 BOS l 1st movement (in Solos for Young Violinists. Arcangelo to support repertoire where appropriate. SCH one selection from List A 15 (1.) u Hope Told a Flattering Tale (in Romantic Violinist B&H) Orchestral Excerpts 10 one excerpt from the Syllabus list Marcello. FIS. Shin’ichi Suzuki. op. BOS. Candidates must prepare three contrasting selections by INT (in Suzuki Violin School. Revised Edition. 2 ALF) Sight Reading 10 Playing 7 Seitz. Vibrato should pass from finger to finger and be used consistently Corelli. Joseph Hector Mozart. from Orfeo ed Euridice (arr. 3 in D Major Camera. HEN School. HWV 368 BAR. from Ten Easy Pieces (transc. César Suzuki Violin School. 4 in D Major. Carl Sonata No. Hector l Première Danse Canadienne CMC 47 Grade 7 . 6 in C Major u 2nd movement: Fugato and 3rd movement: l 1st and 3rd movements Allemanda (arr. HEN Gluck. 16. 2. Johann Christian List C Sonata in D Major. 3) Eccles. Arcangelo l Evening in the Country. 2 in G Minor. 12) Sonata No. OTT (in Suzuki Violin Sonata in E Minor. 1 in D Major l 4th movement: Adagio and 5th movement: Allegro Bohm. Fritz Kreisler OTT and in Solos for Young Vivaldi. 5 in G Minor Three Pieces for Violin and Piano FAB l 3rd movement: Adagio and 4th movement: Vivace u Cradle Song (no. 3 in C Major Arabesken l 1st movement: Adagio and 2nd movement: Allegro u Introduction and Polonaise (no. RV 20/F XIII:32 l 1st and 2nd movements Gratton. no. Wolfgang Amadeus l Allegro (in G Major) BAR. 3 l Tempo di Minuetto (in Classical Violinist B&H) Bartók. 1 ZIM Concert Repertoire u 1st movement: Allegro assai and 2nd movement: Andante grazioso Barnes. 2 ALF) l 1st movement: Adagio and 2nd movement: Allegro Bridge. List B Weber. 1. Robert Schubert. Milton Benda. 4. McLean. PET (in Cui. Christoph Willibald l two contrasting movements l Mélodie (Dance of the Blessed Spirits). in Musica da Sonata No. K 304 BAR. HEN. OTT Tibor Fülep EMB) Sonata No. Hugh J. Antonio Violinists. HEN. 6 ALF) l 1st movement Fleming. 4 ALF) Sonata in F Major. PET Violin B&H) l 1st and 2nd movements l The Little Horses (Lullaby) (in Copland for Violin l 1st and 4th movements B&H) Sonata No. Franz l Recollections CMC Sonatina in D Major. 2) Sonata in G Minor INT (in Suzuki Violin School. Kathleen Wood) Bach. 6 ALF) Kaleidoscope. 10b HEN Sonata No. Carl Maria von Six sonates progressives pour le pianoforte avec violin obligé. Felix l Chanson du matin NOV Sonata in F Major (1820) BAR u Chanson de nuit NOV u 1st movement: Allegro Fiocco. 2 Handel. Sonatas and Sonatinas op. 50 SIM l two contrasting movements l Perpetuum mobile (no. 1 in F Major Anonymous l two contrasting movements Sonata in D Minor (arr. posth. 12 Sonate. 4 in F Major Young Violinists. PET u Scherzetto (no. 5 BAR. 22) l two contrasting movements Elgar. D 384 BAR. INT. HEN. 137. HWV 371 BAR. 12) FIS (in Solos for Sonata No. František Three Folk Dances CMC Sonata in A Minor l Folk Dance No. Frank Sonata No. Aaron l two contrasting movements Old American Songs. no. 6 in E Major. op. op. op. Béla Corelli. no. Edward Mendelssohn. op. 103 OUP) l 1st and 2nd movements l 1st movement: Preludio and 7th movement: Giga Sonata No. op. George Frideric l Ching-a-Ring Chaw (Minstrel Song) (in Copland for Sonata No. 8 ALF) Copland. HWV 373 BAR. no. Henry l Serenade (no. u Ausencias (arr. 40 (arr. Jean-Joseph Cassanéa de part of one excerpt from the following list. from Der Opernball. 1–97) Fortunatov in Shostakovich: Albumstücke PET) Toselli. 85 Symphony No. in The Fritz Kreisler Collection. Revised Solos for Young Violinists. PET demonstrates an understanding of the style and context u Spanischer Tänz No. 4 ALF) Elgar. SCH) Młynarski. Arthur includes measure numbers for reference. l A Dream CMC Potstock. 6 ALF) • All orchestral excerpts are included in Violin Series. from Cavalleria rusticana l Kujawiak (Mazurka) (COM) (arr.Heuberger. op. in Solos for Young Orchestral Excerpts Violinists. Revised Edition. Enrico l Serenade. examination purposes. from Sir John in Love (arr. 67 l Cavatina (no. Maria Theresia von l Sicilienne OTT (in Solos for Young Violinists. 5 in C Minor. Candidates Sonata No. 4 ALF) u Air de Ballet (in The Violinist’s Contest Album FIS) u Syncopation OTT (in The Fritz Kreisler Collection. Bright u 1st movement: mm. Astor Edition: Orchestral Excerpts FHM. For instructions regarding the performance of chords. op. Pietro Wieniawski. 1 is an important examination criterion. Ralph Järnefelt. u Berceuse CHS Michael Mullinar OUP) Kreisler. 5): mm. Ludwig van Six Morceaux. 5 ALF) l Rondino on a Theme by Beethoven FIS (in Solos for Wachs. 92–137 and 2nd movement: Three Fantasies for Violin and Piano SCH mm. FIS. Dmitri Messiah. 2 FIS) Weber. The Moszkowski. 3 ALF) Edition. 1–32 l Dream Song (no. 77–86. 3 ALF) Candidates should be prepared to play the first violin Mondonville. no. 11. 6 (arr. op. 6 (arr. William H. op. Edward Serenade for String Orchestra. HWV 56 l Spring Waltz. op. Music Kreisler in Favourite Encore Folio FIS) from the Romantic Era BOS) Vaughan Williams. Emil l Mazurka (arr. 3) EMB u 2nd movement: mm. 1–101 (first eighth note) Severn. George l Pavane pour une infante défunte OTT Carmen Suite No. Hywel Davies LIM) • Alternatively. Maurice Bizet. Joachim Beethoven. The list below Polson. Paul Young Violinists. 5 ALF) Mascagni. Fredric Fradkin BMC) Grade 7 48 . 15–48. 1) Handel. 106–114 Ravel. Henryk l Intermezzo sinfonico. op. Francesco Maria l Liebesleid FIS Sonata in D Minor l Menuet in the Style of Porpora OTT l Gigue (in Suzuki Violin School. op. 20 Sheng. 1 u Les Toréadors (no. Konstantin u Overture (“Symphony”): complete (mm. 3 ALF) Raff. Fritz Kreisler. 3 in G Major (in Solos for the Violin Player SCH) are encouraged to listen to and become familiar with l 4th movement: Tambourin the works from which these excerpts are taken. Armas l Fantasia on Greensleeves. 12. Edmund l Polish Dance FIS (in Solos for Young Violinists. Fritz Veracini. 2013 Piazzolla. 27. Richard Valdez. Fritz l Sérénade du tzigane (Gypsy Serenade) (arr. George Frideric Shostakovich. please see p. Charles Robert l Midnight Bells. Paradis. Barbara Barber. Carl Maria von l Tempo di Minuetto in the Style of Pugnani OTT (in l Country Dance (in Suzuki Violin School. Each bulleted item (u) represents one selection for l Souvenir de Sarasate FIS (in Solos for Young Violinists. candidates may use standard published orchestral parts for the specific excerpts. Moritz candidate’s ability to perform excerpts in a manner that Spanische Tänze. 2 FIS. 37 INT. INT u Division of the Bow in the Cantilena (no. Wolfgang Amadeus Bullets used to denote selections for examination Symphony No. 1–51 examination. 12 Etudes u 2nd movement (Canzonetta): mm. Hob. 1– 49 Candidates must prepare one etude from the following list. 36. 28 Polo. III:39 u 1st movement: mm. Amy Twelve Etude-Caprices in the Styles of the Great Composers ALF u In the Style of Beethoven (no. 29 in A Major. Enrico 30 Studi a Corde Doppie RIC l no. 11 in E Major l one of nos. Jacob Twenty-four Exercises. op. 8) u The Mordant (no. 1–59 Please see “Technical Requirements” on p. op. 1–7 Kayser. SCH l one of nos. 2 SCH u Melodious Double Stops (no. 49 in F Minor (“La passione”). 21. I:49 important information regarding this section of the u 2nd movement: mm. 13 Mazas. Felix String Quartet in E flat Major. Hob. 2013 Edition: Violin Technique and Etudes 5–8 FHM Barlowe. 9. Franz Joseph Technical Requirements String Quartet in C Major (“The Bird”). 33 Kreutzer. 6) Cohen.Haydn. Josephine Melodious Double Stops. 10 Trott. Jacques-Féréol Études mélodiques et progressives. Mendelssohn. Rodolphe Quarante-deux études ou caprices INT u Étude No. 15) l one of nos. op. 14 or no. FIS l no. 7–9. 17) l no. book 1: Études spéciales SCH. Mary Technique Flies High! FAB u Wild Fire Dont. 16 49 Grade 7 . K 201 purposes: u 1st movement: mm. op. 20 SCH. 17. Heinrich Ernst Elementary and Progressive Studies for the Violin. 11 for Symphony No. Mozart. 1–77 (beat 2) l one selection u selection is found in Violin Series. 3 octaves = 100 B (starting on A ) Double Stops Major in 3rds. 11 for important information regarding this section of the examination.C Harmonic and Melodic Minor 3 octaves = 120 G.B. arpeggios.B. 2013 Edition: Violin Technique and Etudes 5–8 FHM for required patterns. 6ths.C Ear Tests Clapback Candidates will choose to either clap or tap the rhythm of a short melody after the examiner has played it twice on the piano. Scales Keys Range Tempo Bowing Major A.C 3 octaves = 72 Minor G.C Harmonic Minor in 3rds. Refer to Violin Series.C Major Artificial Harmonics G 1 octave = 80 Chromatic on C. and 1 octave = 92 8ves B. 6ths.B. and 8ves B.B. Candidates must play all scales. and double stops from memory. on D 2 octaves = 108 Arpeggios Major A.Technical Tests Please see “Technical Tests” on p.C Dominant 7th of Major Keys D (starting on A). Time Signatures Approximate Length four measures Example only 1 2 Grade 7 50 . 3 octaves = 100 E (starting on B ) Diminished 7th of Minor Keys B (starting on A ). grace notes. Beginning Note Keys Approximate Length tonic. B minor 51 Grade 7 . B . and spiccato. A major Grade 5 repertoire 1st to 4th sixteen to twenty measures A. G. F. Difficulty Time Signatures Keys Positions Approximate Length C.Intervals Candidates will be asked to identify the following intervals. D. The examiner will play each interval once in broken form on the piano. or Candidates may choose to sing or hum the following intervals. E major nine notes Example only Sight Reading Playing Candidates will be asked to play a short melody at sight. Above a Given Note Below a Given Note major and minor 2nds major and minor 3rds major and minor 3rds perfect 4th perfect 4th perfect 5th perfect 5th major and minor 6ths minor 6th major 7th perfect octave perfect octave Chords Candidates will be asked to identify the following chords after the examiner has played the chord once in solid (blocked) form. mediant to mediant. mediant. play the tonic triad once. The examiner will name the key. triple stops. or upper tonic C. and play the melody twice on the piano. New features introduced at Grade 7 may include trills. dominant. A. based on a complete major scale (tonic to tonic. Chords Position major and minor triads root position dominant 7th root position Playback Candidates will be asked to play back a melody on the violin. The examiner will play the first note once on the piano. close position on the piano. or dominant to dominant). D. D. E. G. Time Signatures Approximate Length four measures Example only Grade 7 52 . A steady pulse and rhythmic precision are expected.Clapping Candidates will be asked to clap or tap the rhythm of a melody. 1) – double stops l Norma (no. 7 EMA l two contrasting movements 53 Grade 8 . C. op. Sonatas and Sonatinas Bullets used to denote selections for examination Adaskin. as long stylistic awareness. Anatoli Concerto No. 15 BOS. one from List C. and ricochet strokes. Candidates are encouraged to select repertoire in a variety of keys and tempos. with no more than two works from the same era (for example. SCH from List A. Charles-Auguste de Cadences 2 Concerto in B Minor. 1 (for solo violin) CMC l one selection l 1st movement: Andante) u selection is found in Violin Series. no. 6. 32 PET Playback 3 l 1st movement Sight Reading 10 l 3rd movement: Rondo Russe Playing 7 Haydn. 4 in D Major. and one from l 1st movement List D. any cadenza is acceptable. one from List B. 4) Intervals 3 u La Straniera (no. 1 in E Minor PET u 1st movement (with cadenza) Repertoire Seitz. 20 Introductory Harmony (recommended) Komarowski. FIS. Johann Sebastian D indicate the marks that will be deducted for Concerto in A Minor. Fluency and accuracy up to 7th as the examiner is provided with an original copy of the position are expected. VIIa:4 (ed. 2013 Edition: Violin l 2nd movement: Adagio Repertoire 8 FHM Albinoni.) Violin School. BWV 1041 BAR. op. spiccato. and it is equivalent in difficulty to the standard to finger and be used consistently to support repertoire cadenza for that work.5) Accolay. Murray purposes: Sonata No. 2) Chords 2 Bériot. Jean-Baptiste one selection from List B 15 l Concerto in A Minor. Samuel Dushkin OTT) l 1st movement Etudes: one etude from the Syllabus list 8 Technical Tests 12 Dancla. 12 BAR. 118 FIS – arpeggios l I Montecchi e I Capuletti (no. Ferdinand Küchler Total possible marks (pass = 60) 100 HEN) Theory Co-requisites u 1st movement (with cadenza by Franz Beyer) Advanced Rudiments → begin at m. op. Franz Joseph Clapping 3 Concerto in G Major. Playing should show Unless otherwise noted. Johann Technical Requirements 20 Concerto in G major (arr. Friedrich Candidates must prepare four contrasting selections: one Concerto No. INT (in Suzuki selections that are not memorized. op. Airs variés. 7 ALF) l 1st movement Orchestral Excerpts 10 two contrasting excerpts from the Syllabus list Benda. 3) Ear Tests 10 l La Somnambula (no. Charles – scales Airs variés. Hob. only two selections from List B the Baroque era).Grade 8 Candidates in Grade 8 should have well developed Please note that cadenzas are required where indicated. Vibrato should pass from finger music. List A Grade 8 Requirements Marks Concertos. 3 ALF) one selection from List D 10 (1) (The figures in parentheses for Lists A. Tomaso Sonata in D Major. INT (in Solos one selection from List C 10 (1) for Young Violinists. and Fantasias Repertoire 50 one selection from List A 15 (1. and Bach. where appropriate. op. sautillé. Derek E. HEN. 11 (in Sonatina in G Minor. op. George Frideric Elgar. 1 in A Major. Willem ten l 1st and 2nd movements u Allegro brillant. Vittorio l 1st movement: Preludio and 2nd movement: l Csárdás RIC. BG17 PET.Sonata in G Minor. Antonín d’Ambrosio. 19 FIS l 1st and 4th movements Healey. Arcangelo l Cortège (no. 5 BAR. Franz l Gartenszene from Viel Lärmen um nichts. Gary 12 Sonate. HWV 361 BAR.P. 1) Sonata No. op. Fritz l La gitana FIS Tartini. in Solos for Young Violinists. Aleksandr l 1st and 2nd movements u Albumblatt (transc. André Gertler EMB) Boulanger. Jean-François Gonzales MPB) l 1st and 4th movements Sonata No. 3. and 6 l 1st or 2nd movement Korngold. Lous-Claude u 2nd movement: Larghetto and 3rd movement: Molto l Le coucou from Premier livre de pièces de clavecin (arr. OTT (in Solos for Young Violinists. vivace Györgyi Répássy EMB) Elsner. 5 ALF) ZAN Monti. posth. BG18 l 1st movement: Andante affettuoso and 3rd Martinů. no. 7 (Realizzazione di Federico Mompellio) UMP. Claude Sonata in F Major. (in Solos for Young Violinists. EMA List C l 1st and 2nd movements Concert Repertoire Bartók. 6. op. 1 in D Major. 2. Giuseppe l Liebesfreud FIS 12 Sonate e una pastorale. BC12 l Andante (no. 7 ALF) Glazunov. Alfredo Sonatina in G Major. Erich Wolfgang Schubert. 2) 12 Sonate. CMC Dvořák. Allemanda BAR) Grade 8 54 . 1 in A Major. 5. 2. Arthur Hartmann u 1st movement: Allegro DUR) Handel. 2 OTT. 4) Presto assai Massenet. HEN. 3) l 1st movement: Largo andante and 3rd movement: l Poco allegro (no. 1 u Schön Rosmarin FIS Sonata No. BA14 MAS l Sicilienne and Rigaudon in the Style of Francoeur l 1st movement: Grave and 3rd movement: Presto FIS. FIS. Wolfgang Amadeus Six Epigrams CMC Sonata in G Major. HWV 372 BAR. K 293a (301) BAR. Alexander Allegro assai l Lullaby CMC Sonata No. 100 BAR. PET (in l Salut D’Amour OTT Suzuki Violin School. 1 PWM l La fille aux cheveux de lin (transc. BD13 u Dance CMC l 3rd movement: Affettuoso and 4th movement: Levkovich. Béla Sonatina (transc. 4 in G Major. from Thaïs PET (transc. OTT l Nocturne (no. 6 in C Major. op. M. Mozart. KAL l 1st movement: Grave and 2nd movement: Fuga Kulesha. Antonio l Méditation. no. op. FIS l Canzonetta (in Romantic Violinist B&H) l 1st movement: Allegro risoluto and 2nd movement: Larghetto Daquin. 2 ZAN Song and Dance Sonata No. op. Bohuslav movement: Allegro Intermezzo BAR Sonata No. Jules Vivaldi. no. Claude l 1st movement: Grave and 5th movement: Allegro l Danse villageoise BER. Józef Debussy. 10. 6 in A Major Champagne. 5 ALF) Sonata No. op. 137. 5 in A Major. Marsick Sonata op. op. Lili l 1st movement: Bagpipers and 2nd movement: Bear Deux Morceaux SCH (in Violinmusik von Komponistinnen Dance OTT) Corelli. HEN l 1st and 2nd movements Kreisler. no. op. D 408 Vier Stücke OTT) BAR. Edward Sonata No. HEN l nos. 2 in G Major. PET Have. 5 ALF. op.Morley. in Shostakovich: Albumstücke PET) Sibelius. 7 in E flat Major. op. BWV 1004 BAR. from Ovod (The Gadfly). 34. TWV 40:20 Violinist B&H) u 1st movement: Dolce l 2nd movement: Allegro Schubert. 2 (arr. Angela List D l Rêverie for Violin and Piano NOV Unaccompanied Repertoire Morlock. Bedřich From the Homeland (Z domoviny) BAR u 1st movement: Moderato Wieniawski. Willem l Chant sans paroles (arr. 3 Senaillé. 97 (arr. Fritz Kreisler OTT) l Romance No. François Fantasia No. Georg Philipp Ries. op. 82. op. 12 in A Minor. op. from Waldscenen. Robert l 1st movement: Moderato l Vogel als Prophet. Leopold Auer ZIM) Drei Romanzen. 81 l Rondino (no. Pablo de l 1st movement: Largo l Playera (Spanish Dance. HEN u 6th movement: Bourrée Perrault. Alfred Moffat OTT) Shostakovich. Dmitri u Romance. Franz Anton Twelve Fantasias for Violin BAR. 1) l Mazurka (Le ménétrier) (no. HEN Spanische Tänze. INT l Perpetuum mobile. 2) EMB Willeke. TWV 40:25 Schumann. 5) (in Romantic Fantasia No. 94 PET l Romance No. no. 2) Partita No. Jean Five Pieces. op. op. 5 FIS Fantasia No. no. op. 9) EMB Fantasia No. op. 3 in E Major. 19 PWM. Jocelyn l Dervish CMC Bach. Jean-Baptiste l Les polichinelles (arr. Michel Brunet l 7th movement: Gigue u Solitude BER Telemann. 2) B&H Smetana. Henryk Two Mazurkas. MAS. 23. 13 l 2nd movement: Spirituoso u Die Biene (no. 7 l 2nd movement: Vivace (transc. 1 in B flat Major. TWV 40:14 Sarasate. no. TWV 40:21 Bagatelles. 8 in E Major. Moritz Partita No. 2 in D Minor. Konstantin Fortunatov. 12 PET u 4th movement: Giga l Spanischer Tänz (no. Fritz Kreisler in Favorite Encore Folio FIS) 55 Grade 8 . BWV 1006 BAR. PET u Mazurka (Obertass) (no. Johann Sebastian Moszkowski. 2013 Edition: Violin • Alternatively. 11. 49–74. 2 u 3rd movement: mm. INT Symphony No. 34: Staccato) u 14th movement (Final): mm. op. 30: Ronde Villageoise) u 1st movement: mm. 1–84 and 4th movement: l one of nos. SCH u 3rd movement: mm. 28 Haydn. SCH Holberg Suite. 53–92 l one of nos. 29–83 (beat 1) Études mélodiques et progressives. The candidate’s ability Etudes to perform excerpts in a manner that demonstrates an Candidates must prepare one etude from the following list. candidates may use standard published Technique and Etudes 5–8 FHM orchestral parts for the specific excerpts. 40 u Caprice in B flat Major (no. 1–12. 11 for of two contrasting excerpts by two different composers important information regarding this section of the from the following list. 35. BWV 1048 Divertimento No. Candidates are encouraged examination. understanding of the style and context is an important examination criterion. 94 in G Major (“Surprise”). 23 Grade 8 56 . 25 in G Minor. to listen to and become familiar with the works from which these excerpts are taken. For instructions regarding the Bullets used to denote selections for examination performance of chords please see p. 5) u 1st movement (Prelude): mm. purposes: • All orchestral excerpts are included in Violin Series. 33. 18 RIC. Federigo Grieg. 39 Polo. 37 INT. K 183 u Étude spéciale (no. 15 or no. 6) movement (Air): mm. 1–29 l one of nos. Jacques-Féréol u 1st movement: mm. Franz Joseph Kreutzer. 16. op. u Polonaise and Trio mm. K 421 Mazas. 12 in A Minor Mozart. 36. 36. 1–25 Fiorillo. u selection is found in Violin Series. Camille brillantes SCH. 8–12 mm. Edvard Étude de violon formant 36 caprices. op. 1–24. op. 14–17 String Quartet in D Minor. The list below includes measure numbers for reference. op. 3 INT. 1–30 and 4th u Caprice in E flat Major (no. 10. 3 in G Major. 2 in D Major. Ludwig van Dont. 3. 107–114 u Étude No. Enrico 30 Studi a Corde Doppie RIC l no. 2) Campagnoli. Barlowe. Amy Twelve Etude-Caprices in the Styles of the Great Composers Each bulleted item (u) represents one selection for ALF examination purposes. Rodolphe Symphony No. KMA Brandenburg Concerto No. Wolfgang Amadeus l one of nos. 1–41 and 3rd movement: Études mélodiques et progressives. u In the Style of Bach (no. INT Le carnaval des animaux u Étude brillante (no. Bartolomeo Bach. book 1: Études Menuetto and Trio (complete) spéciales SCH. op.Orchestral Excerpts Technical Requirements Candidates should be prepared to play the first violin part Please see “Technical Requirements” on p. op. book 2: Études Saint-Saëns. Hob. 2013 l one selection Edition: Orchestral Excerpts FHM. Jacob Symphony No. Johann Sebastian 7 Divertimenti. 36 Twenty-four Exercises. I:94 Quarante-deux études ou caprices INT u 2nd movement: mm. 24–35 (beat 1) → play in 2nd position Beethoven. 1–18 (second eighth note). C . arpeggios. D 3 octaves = 138 Harmonic and Melodic Minor B. Candidates must play all scales. on A. 6ths. D Major Artificial Harmonics A. D Dominant 7th of Major Keys D (starting on A ). on B 3 octaves = 120 Arpeggios Major B. C . C (starting on B ). 2013 Edition: Violin Technique and Etudes 5–8 FHM for required patterns.Technical Tests Please see “Technical Tests” on p. B 1 octave = 108 Chromatic on G. A Harmonic Minor in 3rds. D . 8ves 2 octaves = 72 G. 3 octaves = 108 F (starting on C) Diminished 7th of Minor Keys A (starting on G ). Refer to Violin Series. 11 for important information regarding this section of the examination. D 3 octaves = 84 Minor B. 6ths. and double stops from memory. A Melodic Minor in 3rds. 8ves G. Scales Keys Range Tempo Bowing Major B. = 108 3 octaves C (starting on B ) Double Stops Major in 3rds. 8ves G. E (starting on B). D . A 1 octave = 72 57 Grade 8 . 6ths. Chords Position major and minor triads root position dominant 7th root position diminished 7th root position Cadences Candidates will be asked to identify the following cadences by name or symbols. close position on the piano.Ear Tests Intervals Candidates will be asked to identify the following intervals. Above a Given Note Below a Given Note major and minor 2nds major 2nd major and minor 3rds major and minor 3rds perfect 4th perfect 4th perfect 5th perfect 5th major and minor 6ths minor 6th minor 7th major 7th perfect octave perfect octave Chords Candidates will be asked to identify the following chords after the examiner has played the chord once in solid (blocked) form. Name of Cadence Symbols perfect or authentic V–I plagal IV–I Example only Grade 8 58 . The examiner will play each interval once in broken form on the piano. The examiner will play the tonic chord once. or Candidates may choose to sing or hum the following intervals. The examiner will play the first note once on the piano. and then twice play a short phrase ending in a cadence. G. B . G. Time Signatures Approximate Length four measures Example only 59 Grade 8 . B. C minor Clapping Candidates will be asked to clap or tap the rhythm of a melody. play the tonic triad once. D. mediant. D. and play the melody twice on the piano. A. or upper tonic C. and artificial harmonics. E major nine notes Example only Sight Reading Playing Candidates will be asked to play a short melody at sight. Beginning Note Keys Approximate Length tonic.Playback Candidates will be asked to play back a melody on the violin. D. Difficulty Time Signatures Keys Positions Approximate Length C. E major Grade 6 repertoire 1st to 5th sixteen to twenty measures A. A. The examiner will name the key. F. dominant. A steady pulse and rhythmic precision are expected. E. mordants. approximately one octave in range. New features introduced at Grade 8 may include chromatic passages. G. and one from l 2nd and 3rd movement List D. Franz Joseph Etudes: one etude from the Syllabus list 8 Concerto No. K 216 BAR. and it is equivalent in difficulty to the standard varied vibrato is expected. K 211 BAR. 7 in G Major. op. 9 in A Minor. l Air varié (in Classical Violinist B&H) Candidates must prepare four contrasting selections: one Concerto No.Grade 9 Please note that cadenzas are required where indicated. 9 for important Rode. Giovanni Battista Concerto No. 7 in A Minor. Viotti. 13 SCH. PET. INT Cadences 2 l 1st movement (with cadenza) and 2nd movement Playback 3 (with cadenza) Sight Reading 10 Concerto in D Major. any cadenza is acceptable. INT Playing 7 l 1st movement (with cadenza) and 2nd movement Clapping 3 (with cadenza) Total possible marks (pass = 60) 100 Concerto in G Major. only two selections from the Baroque era). K 207 BAR. 23 in G Major PET Each bulleted item (l) represents one selection for l 1st movement (with cadenza) and 2nd movement examination purposes. VIIa:1 HEN. op. singing tone with an expressive and the music. 104 PET l 1st and 2nd movements Orchestral Excerpts 10 l 2nd and 3rd movements two contrasting excerpts from the Syllabus list Technical Requirements 20 Haydn. Candidates are encouraged to select repertoire in a variety of keys and tempos. op. 7 BOS Repertoire l complete Please see “Examination Repertoire” on p. 16 PET one selection from List D 10 (1) l 1st movement (to first tutti) (The figures in parentheses for Lists A. A mature. 8 in E Minor. Candidates in Grade 9 should be able to execute all bow Unless otherwise indicated. 76 FIS D indicate the marks that will be deducted for l 1st movement selections that are not memorized. 1 in C Major Hob. with no more than two works Concerto No. PET. (with cadenza) Grade 9 60 . one from List C. op. 9 SCH. op. Wolfgang Amadeus Chords 2 Concerto in B flat Major. Playing should exhibit stylistic cadenza for that work. PET l 1st and 2nd movements from the same era (for example. 13 in D Major FIS Ear Tests 10 l 1st and 2nd movements Intervals 3 Mozart. and Concerto No. 5 BUT l complete Concerto in E Minor. as strokes and maintain control and security in any long as the examiner is provided with an original copy of position. C. INT l 1st movement (with cadenza) and 2nd movement from List A. Grade 9 Requirements Marks List A Repertoire 50 Concertos one selection from List A 15 (1. Charles-Auguste de one selection from List C 10 (1) Concerto No. Rodolphe – double stops Concerto No. 1 in D Major. PET Technical Tests 12 l 1st movement (with cadenza) and 2nd movement – scales (with cadenza) – arpeggios Kreutzer. awareness. Pierre information regarding this section of the examination.5) one selection from List B 15 Bériot. Oskar History 1: An Overview Concerto in D Major.) Concerto No. INT l 1st movement (with cadenza) and 2nd movement Theory Co-requisites (with cadenza) Advanced Rudiments Basic Harmony or Basic Keyboard Harmony Rieding. op. PET. one from List B. op. no. 1 HEN l 1st movement l 1st movement Sonata in A Major. RIC l Concerto No. 9 SCH l Canzone. K 296 BAR. Leon Rocques DUR) Schubert. 47 FIS Sonata in F Major. 50 BAR. 4 in F Minor (L’inverno). Nicolo l Sonata in E Minor. RIC (in Suzuki Violin School. Aaron l Vieux Poème (Old Poem) (in Copland for Violin B&H) Paganini. HEN l 3rd movement Copland. Franz Sonatina in A Minor. Max l 1st movement l Kol Nidre. Ludwig van Sonata No. RV 269 Bg10 OTT. Fritz Kreisler FIS) MAS Girón. Ottorino Adaskin. op. 33 FIS Sonata in F Major. K376 BAR. 12 INT Debussy. op. 1 OTT l Humoreska (in Violinmusik von Komponistinnen OTT) l 1st movement l Polish Caprice for Violin Solo PWM Leclair. CMC l two contrasting movements l 3rd movement Willan. 1 PWM l 2nd and 3rd movements Albeniz. 137. Wolfgang Amadeus l Moto Perpetuo B&H Sonata in C Major. 1 in E Minor BER. op. l Concerto No. 1. 10. 38 (in Samuel Barber: Music for Violin l two contrasting movements and Piano SCH) McIntyre David Beethoven. 11. RV 297 Sonata in E Minor. 12. Healey Beethoven. posth. no. 2 in G Minor (L’estate). 2. Isaac l Malagueña (arr. Claude l La plus que lent (arr. op. 1 in E Major (La primavera). D 385 BAR. op. op. no. 2. K 374d (376) BAR: HEN l Hungarian Dance No. 3. Giuseppe Il cimento dell’armonia e dell’inventione. op. op. op. HEN Bruch. op. Joseph Elsner. op. 3 in F Major (L’autunno). op. SCH l two contrasting movements Bridge. HEN l 1st and 2nd movements 61 Grade 9 . Józef l Hebrew Melody. Ludwig van Sonata No. 8 BAR Sonata in G Minor (“Didone Abbandonata”).Vivaldi. no. Paul Bacewicz. no. 5 from Hungarian Dances WoO l 1st movement 1 (arr. 165. 10. Joseph Joachim FIS) Sonata in F Major. 8 INT. Johannes Sonata in F Major. 8 ALF) List B l 1st and 2nd movements Sonatas and Sonatinas Vivaldi. no. op. no. op. op. 24 HEN Concert Repertoire l 1st movement Achron. no. op. Arsenio l Mallorca. Antonio Tartini. Francesco Maria l Concerto No. RV 10/F XII: 6 (transc. 12. RV 315 l 1st and 2nd movements l Concerto No. K 374e (377) BAR. 2 INT (arr. CMC Sonata in D Major. no. RV 293 Veracini. Jean Marie Barber. Frank Mozart. Samuel l complete Dushkin OTT) Hindemith. Grażyna Sonata in E flat Major. HEN l 1st movement Brahms. Samuel Sonata in D Major. Murray Respighi RIC) Sonatine baroque for solo violin RIC. from Three Spanish Dances MAS Sonata IV for Violin and Piano CMC l Tango in D Major. Antonio Sonata in D Major. 2 HEN List C l 1st movement Sonata in F Major (“Spring”). 1 for Violin and Piano (1993) CMC l Romance in F Major. 1) INT examination purposes. BWV 1004 BAR. 46. 80–158 Grade 9 62 . 3 in C Major. 75 BAR. 1. Hector l Siciliana l Quatrième danse canadienne BER. 34 l Romance. op. Benjamin The Young Person’s Guide to the Orchestra: Variations and Svendsen. 2 and op. from The Fairy’s Kiss B&H Symphony No. Sarasate. Johann Sebastian FIS) Partita No. from op. op. 3 in E Major. of two contrasting excerpts by two different composers FIS from the following list. Shostakovich. 5) performance of chords please see p. 34 Beethoven. 17 ALF. Johan Fugue on a Theme of Henry Purcell. Fritz which these excerpts are taken. no. Wolfgang Amadeus • All orchestral excerpts are included in Violin Series. Antonín l Mélodie. The list below Violinists. For instructions regarding the l Spanischer Tänz (no. 72. 1–103 and 4th movement: mm. 11. 9 String Quartet No. Ludwig van l two contrasting nos. 8. op. 4 MAS to perform excerpts in a manner that demonstrates an Moszkowski. 2. op. 2013 l Rondo in C Major. no. Pablo de Each bulleted item (u) represents one selection for l Malagueña (Danse espagnole. 4). 2 in D Minor. 2 BER. HEN Gratton. Sophie-Carmen l Allemande Ten Caprices CMC l Corrente l Caprice No.Dvořák. 41–86 l Ballad. op. 1–54 Tchaikovsky. Patricia Blomfield Suite No. op. 3 in G Major. HEN l Allegro assai Holt. Suk. no. no. 6. Moritz understanding of the style and context is an important Spanische Tänze. BWV 1006 BAR. Leopold l Gavotte en rondeau l Alt-Wien. 22 u 2nd movement: pickup to mm. Candidates are encouraged to listen to and become familiar with the works from Kreisler. 26 PET. SIM l one piece Britten. 32 SCH. op. 2 FIS) Sebastian Bach l Slavonic Dance No. 1 l Sarabanda Partita No. Rachmaninoff. 1 in G Minor. CMC Sonata No. 14 INT (in Solos for Young orchestral parts for the specific excerpts. Igor u 4th movement: pickup to mm. op. op. HEN Godowsky. Dmitri Nine Preludes. 1 (arr. op. BWV 1001 BAR. op. CMC l two contrasting movements Orchestral Excerpts Hubay. op. Fritz Kreisler in The Fritz Kreisler Collection. 3 FIS. HEN Romantic Pieces. arr. 5. 1 in B Minor. 1–46. no. 1 in C Major. from Triakontameron (arr. Jascha Heifetz l Loure FIS) Sonata No. 1 in G Minor. op. candidates may use standard published l Vocalise. no. 34. 42. Jenö Candidates should be prepared to play the first violin part l Hejre Kati (Scènes de la Csárda no. Sergei • Alternatively. The candidate’s ability l Romance. Mozart. Joseph 1–47 (first sixteenth note) Four Pieces. K 373 BAR. 8 (arr. 21. op. HEN l Courante l two pieces Partita No. BWV 1002 BAR. 72. pickup to mm. from op. in The Unaccompanied Repertoire of Johann Fritz Kreisler Collection. BWV 1005 BAR. INT Serenade for Strings in E Major. 12 examination criterion. INT Edition: Orchestral Excerpts FHM. 4 in C Minor. Fritz Kreisler. 2 Bach. Antonín List D l Slavonic Dance No. Pyotr Il’yich Dvořák. 21 u 3rd movement: mm. 6 ALF) includes measure numbers for reference. 18 Stravinsky. HEN Eckhardt-Gramatté. FIS u Variation M: mm. Haydn. Charles mm. 8 Technical Requirements Fiorillo. Rodolphe Quarante-deux études ou caprices INT Etudes l one of nos. Each bulleted item (l) represents one selection for 24 Caprices FIS. I:104 (“London”) 7 Divertimenti. on C. 13–24 La gazza ladra u Overture: pickup to mm. 4 or no. 3 octaves = 60 A (starting on E ) Diminished 7th of Minor Keys D (starting on C ).C in 3rds. 104 in D Major. 5. Candidates must play all scales. and double stops from memory. K 550 l Allemande u 1st movement: mm. Kreutzer. Hob. 22. Bartolomeo Symphony No. F 3 octaves = 92 Minor E . 17–64 and 2nd movement: Divertimento No. op. 18–26 Candidates must prepare one etude from the following Rode. KMA u 1st movement: mm. 11 for l one of nos. E. 8ves 63 Grade 9 .C Harmonic and Melodic Minor 2 octaves = 84 B. Wolfgang Amadeus Divertimento No. E. 42–56 l Siciliano l Menuetto and Trio Mozart. 8. 7. 3 Symphony No. E (starting on D ). 31 important information regarding this section of the examination. G (starting on D). Pierre list. arpeggios. op. 37 INT. INT examination purposes. 18 RIC. A 2 octaves = 84 Chromatic on B. 1–8. 62–114 20 Études brillantes et caractéristiques. 1–48 Dont. 8ves B. 6ths. 42–49. SCH Please see “Technical Requirements” on p. 40 in G Minor. on D 3 octaves = 72 Arpeggios Major E . E. 4–11. 1–3. Scales Keys Range Tempo Bowing Major E . F | œ |œ Major Artificial Harmonics G. 3 octaves = 60 E (starting on D ) Double Stops Major in 3rds. Gioachino l one of nos. Jacob Twenty-four Exercises. E. 21. pickup to Dancla. 10 Technical Tests Please see “Technical Tests” on p. 73 EMB l no. l one of nos. 1 mm. 11 for important information regarding this section of the examination. 1–42 and 4th movement: mm. SCH Rossini. 6ths. op. F Harmonic and Melodic Minor 3 octaves = 84 E . Federigo 36 Etudes or Caprices INT. F Dominant 7th of Major Keys G (starting on D ). Franz Joseph Campagnoli. dominant. and then twice play a short phrase ending in a cadence. The examiner will play each interval once in broken form on the piano. or Candidates may choose to sing or hum the following intervals. Above a Given Note Below a Given Note any interval within the octave any interval within the octave except the augmented 4th/diminished 5th Chords Candidates will be asked to identify the following chords and their inversion or position after the examiner has played the chord once in solid (blocked) form. Chords Position major and minor triads root position. Beginning Note Keys Approximate Length tonic. The examiner will play the first note once on the piano. Name of Cadence Symbols perfect or authentic V–I plagal IV–I imperfect I–V Example only Playback Candidates will be asked to play back the upper part of a two-part phrase on the violin. The examiner will name the key. The examiner will play the tonic chord once. mediant. close position on the piano. and play the phrase twice on the piano. or upper tonic any major key two or three measures Example only Grade 9 64 . 1st inversion dominant 7th root position diminished 7th root position Cadences Candidates will be asked to identify the following cadences by name or symbols. play the tonic triad once.Ear Tests Intervals Candidates will be asked to identify the following intervals. Sight Reading Playing Candidates will be asked to play a short melody at sight. G. Difficulty Time Signatures Keys Positions Approximate Length Grade 7 C. and restez position indications. E. D. G. A steady pulse and rhythmic precision are expected. E . D. B . F. thirty- second notes. New features introduced at Grade 9 may include turns. C minor measures Clapping Candidates will be asked to clap or tap the rhythm of a melody. E major sixteen to twenty 1st to 6th repertoire A. A. B. Time Signatures Approximate Length four to six measures Example only 65 Grade 9 . 26 PET. any cadenza is acceptable. nuanced. one from List B. Candidates are encouraged to select repertoire in a Grade 10 Requirements Marks variety of keys and tempos. Samuel – double stops Concerto. should be sophisticated. op. (The figures in parentheses for Lists A. one from List C. “Classification of Marks” on p.5) the Baroque era). op. and D indicate the marks that will Please note that cadenzas are required where indicated. Syllabus list Technical Requirements 20 (14) List A Etudes: one etude from the Syllabus list 8 Concertos Technical Tests 12 – scales – arpeggios Barber. Playing Grade 10 standing for an ARCT examination application. 48 INT Clapping 3 l 1st and 2nd movements l 2nd movement and 3rd movement (complete) Total possible marks (pass = 60) 100 Theory Co-requisites Khachaturian. 8. bold parentheses indicate the minimum number of marks required to receive the equivalent of 70 percent. C. and “Supplemental Intonation should be precise. and one from List D. INT Cadences 3 l 1st and 2nd movements Playback 3 l 2nd and 3rd movements Sight Reading 10 (7) Kabalevsky. with no more than two works Repertoire 50 (35) from the same era (for example. op. with an expressive and varied vibrato. as memorized. only two selections from one selection from List A 15 (1. 21 SCH l 2nd and 3rd movements Grade 10 66 . 14 SCH l 1st movement (with cadenza) and 2nd movement Ear Tests 10 (7) Intervals 2 Bruch. and stylistically aware.Grade 10 Candidates in Grade 10 should be able to execute all bow Please see “Co-requisites and Prerequisites” on p. Dmitri Playing 7 Concerto in C Major. one selection from List B 15 one selection from List C 10 (1) Each bulleted item (l) represents one selection for one selection from List D 10 (1) examination purposes. Grade 10 candidates who wish to pursue an ARCT in Repertoire Violin Performance or a Teacher’s ARCT must achieve either an overall mark of 75 or a minimum of 70 percent Please see “Examination Repertoire” on p. Max Chords 2 Concerto in G Minor. and it is equivalent in difficulty to the standard two contrasting excerpts from the cadenza for that work. SCH. Figures in information regarding this section of the examination. strokes and maintain control and security in any position. Tone should be mature and Examinations” on p.) long as the examiner is provided with an original copy of Orchestral Excerpts 10 (7) the music. Candidates must prepare four contrasting selections: one from List A. be deducted for selections that are not Unless otherwise indicated. 83 for important details regarding soloistic. 81. op. Aram Advanced Rudiments Concerto in D Minor B&H Intermediate Harmony or Intermediate l 1st and 2nd movements Keyboard Harmony l 2nd and 3rd movements History 1: An Overview Lalo. Edouard History 2: Middle Ages to Classical Symphonie espagnole. 9 for important in each section of the Grade 10 examination. Violet l 1st and 2nd movements l Prelude and Allegro BER. 6 ALF) l complete Bax. 3 Sonata in E flat Major. op. 1 PET. Leopold Auer FIS) l 1st and 2nd movements Sonata in G Major. K 218 BAR. from Baal Shem FIS l 1st and 2nd movements Boulanger. Edvard Bériot. 162. Franz Concerto No. SCH l Scène de Ballet. 8. no. op. arr. Michael Conway Sonata in A Major. Charles-Auguste de Sonata in F Major. INT Bartók. op. Tomaso Antonio Vitali) l 1st and 2nd movements (ed. Ernest Sonata in C Minor. HEN l Soulmate for Solo Violin CMC l 1st and 2nd movements Copland. 115 PET l 1st movement (with cadenza) and 2nd movement l 1st and 2nd movements (with cadenza) l 2nd and 3rd movements Spohr. Joseph Joachim FIS) Mozart. 1 HEN FIS. Diethard Hellmann BAR. Johannes Hungarian Dances WoO 1 (arr. Murray l 1st and 2nd movements l Canzona and Rondo CMC Sonata in G Major. Léopold Charlier Sonata in A Major. Arnold Girón. op. op. 2 in D Minor. op. FIS l 1st and 2nd movements Bloch. Wolfgang Amadeus Prokofiev. Giovanni Battista l 1st and 2nd movements Concerto No. op. HEN. Lili Hindemith. HEN Grieg. 105. op. 9 in D Minor. Ludwig van l 3rd and 4th movements l Romance in G Major. 96 HEN Archer. Paul l D’un matin de printemps FAB. SCH l Nigun. 1 PET Viotti. 55 PET Schumann. Béla l 1st and 2nd movements l Hungarian Folk Songs (transc. 99 CMC l 1st and 2nd movements Sonata in G Major. Aaron l Hoe-down. no. posth. 3 PET. from Rodeo B&H 67 Grade 10 .Mozart. Tivadar Országh EMB) Buczynski. op. 23 HEN l Ciaccona in G Minor (attr. INT l The Flight of Aphrodite. Ludwig van Anonymous Sonata in A Minor. 40 BAR. Wolfgang Amadeus l one of nos. 45. HEN l 1st movement Chan. K 526 BAR. arr. 2. 100 HEN. op. no. D 574 BAR. Jean l 1st movement (with cadenza) and 2nd movement Sonata (1950) DOM. 30. Walter l Roumanian Folk Dances UNI (in Solos for Young Sonata (1979) CMC Violinists. CMC (with cadenza) l two contrasting movements List B List C Sonatas Concert Repertoire Beethoven. no. 30. SCH Sonata in C Major (1939) OTT l 1st and 2nd movements Brahms. no. op. 2 PET Sonata in A Major. Sergei Concerto in D Major. 22 in A Minor SCH Vallerand. op. 100 SCH. CMC Brahms. Ka Nin Sonata in A Major. op. 78 HEN. Johannes Baker. op. OTT l 1st and 2nd movements l 1st and 2nd movements Concerto No. Arsenio l Legend MAS Sonata breve CMC l 1st and 2nd movements Beethoven. Louis Schubert. op. K 481 BAR. op. Robert l 1st and 2nd movements Sonata in A Minor. INT Sonata. 3 HEN Adaskin. 1. Pyotr Il’yich Symphonie fantastique. op. op. FIS Sonata No. Ludwig van Sinding. 2013 l Five Melodies. HEN l Allemande and Double Eckhardt-Gramatté. FIS l Largo Kroll. INT Kreisler. op. Christian Symphony No. BWV 1002 BAR. 2 (arr. l Romanza Andaluza (Danse espagnole. 22. op. 9 in D Minor. HEN Five Episodes CMC l Adagio l three contrasting movements l Presto Sonata No. candidates may use standard published FIS) orchestral parts for the specific excerpts. 35 bis B&H Edition: Orchestral Excerpts FHM. 2 in A Minor. 10 INT u 2nd movement: mm. 1 in B Minor. Ottokar examination criterion. HEN l Caprice No. 26 PET 2nd movement (Un bal): pickup to mm. The candidate’s ability l Rondo in G Major. 3 in C Major. INT l Variations on a Theme of Corelli (in the Style of l Adagio Giuseppe Tartini) OTT. 17 FIS u 1st movement: mm. Anton von sixteenth note). Claude List D l Golliwogg’s Cake-walk (arr. Sophie-Carmen l Sarabande and Double Ten Caprices CMC l Tempo di bourrée and Double l Caprice No. For instructions regarding the l Moto perpetuo INT performance of chords please see p. FIS) understanding of the style and context is an important Novácek. to perform excerpts in a manner that demonstrates an Fritz Kreisler OTT. 257–302 l Four Pieces. Schumann. Antonín l Romance in F Minor. l March from Love for Three Oranges (arr. 11. BWV 1005 BAR. passions): mm. 41–70 Grade 10 68 . from Haffner Serenade. Fritz Bach. op. 1) INT Each bulleted item (u) represents one selection for examination purposes. op. Pablo de includes measure numbers for reference. op. 3 l Preludio Girón. 125 Suite in A Minor. op. no. Jascha Heifetz. BWV 1001 BAR. no. PET from the following list. op. 3–24 and l Sérénade mélancolique. 46. Wolfgang Amadeus which these excerpts are taken. William l Banjo and Fiddle SCH Lau. 2 FIS. in The Heifetz Collection. Hector Tchaikovsky. Moritz of two contrasting excerpts by two different composers l Guitarre. 1 FIS) Unaccompanied Repertoire of Johann Sebastian Bach Dvořák. no. Johann Sebastian Kreisler FIS) Partita No. Candidates are encouraged to listen to and become familiar with the works from Mozart. BWV 1003 BAR. pickup to mm. The list below Sarasate. 1–29. op. 2 Partita No. Robert l Dedication (in Auer Selected Pieces MUZ) Beethoven. 11 INT. HEN. 21–93 (beat 1) and 3rd l 1st and 2nd movements movement: mm. 45. 39–94 (first Webern. op.Debussy. BWV 1006 BAR. K 250 (arr. Fritz l Andante l Praeludium and Allegro (in the Style of Pugnani) l Allegro OTT. 2 PET u 1st movement (Rêveries. op. Prokofiev. 3 in E Major. 68 l Légende. 99–114 l 3rd and 4th movements Berlioz. SCH l Slavonic Dance in E Minor. Arsenio Sonata No. no. 14 l Scherzo. 42. 1 in C Minor. Kevin Orchestral Excerpts l Joy CMC Candidates should be prepared to play the first violin part Moszkowski. HEN. Sergei • All orchestral excerpts are included in Violin Series. 7 UNI Brahms. 1 in G Minor. Johannes Wieniawski. op. Jascha Heifetz • Alternatively. Henryk Symphony No. op. pickup to mm. op. 4 in A Major (“Italian”). KMH u 1st movement: mm. Each bulleted item (l) represents one selection for u Overture: mm.Dvořák. op. 11–24 Rovelli. 112–152 (beat 1) Please see “Technical Requirements” on p. 6. Felix examination. Pierre 24 Caprices FIS. 16 Gaviniès. Pyotr Il’yich Campagnoli. 85–117 and 4th movement: mm. Pietro The Art of the Violin: 24 Caprices for Solo Violin. op. Pietro 12 Caprices. 23–55. Rodolphe Quarante-deux études ou caprices INT l one of nos. 216– end examination purposes. 11 for important information regarding this section of the Mendelssohn. 90 u 1st movement: mm. 35 SCH. Antonín Technical Requirements String Quartet No. Tchaikovsky. 27–42 Locatelli. 4 in F Minor. 70–103 and 2nd l Finale movement: mm. 117– Dont. Bartolomeo Serenade for Strings. 6 or no. INT l one of nos. Carl Maria von Divertimento No. Pierre 24 Études (Matinées) PET. 3 RIC l any one Rode. J 306 l Finale u Overture: mm. op. op. 12 in F Major (“American”). Charles 20 Études brillantes et caractéristiques. 48 7 Divertimenti. 73 EMB l no. 36 l Bolero u 1st movement: pickup to mm. 91–138 Divertimento No. Divertimento No. 3 IMS l any one 69 Grade 10 . op 18 RIC. 6 Oberon. op. Symphony No. 9. INT l any one Kreutzer. 7. 20–96. INT l any one Dancla. 5 30–59 l Allegro Weber. 11–16. K 620 list. 4. 4 Symphony No. Wolfgang Amadeus Candidates must prepare one etude from the following Die Zauberflöte. Jacob 145 Etudes and Caprices. op. 1–36. 1–110 Etudes Mozart. 96 u 1st movement: pickup to mm. 11 for important information regarding this section of the examination. F Harmonic and Melodic Minor in 2 octaves = 104 3rds. 8ves D. F Major in Solid Fingered 8ves one key 1 octave (student’s alternate 1–3 and = 104 choice) 2–4 fingering Major in Solid 10ths one key 1 octave (student’s = 104 on A and E strings choice) Ear Tests Intervals Candidates will be asked to identify the following intervals. or Candidates may choose to sing or hum the following intervals. and double stops from memory. arpeggios. The examiner will play the first note once on the piano.Technical Tests Please see “Technical Tests” on p. The examiner will play each interval once in broken form on the piano. Above a Given Note Below a Given Note any interval within the octave any interval within the octave Grade 10 70 . 8ves D. 6ths. E. Scales Keys Range Tempo Bowing Major all keys 3 octaves = 90 Harmonic and Melodic Minor all keys Major Artificial Harmonics B | Harmonic and Melodic Minor Artificial Harmonics B 2 octaves = 84 œ |œ Chromatic on any note 3 octaves = 84 Arpeggios Major all keys Minor 3 octaves = 108 all keys Dominant 7th of Major Keys all keys 3 octaves = 72 Diminished 7th of Minor Keys all keys 3 octaves = 72 Double Stops Major in 3rds. 6ths. E. Candidates must play all scales. or upper tonic any major key two to four measures Example only 71 Grade 10 . 2nd inversion dominant 7th root position diminished 7th root position Cadences Candidates will be asked to identify by name or symbols the following cadences played within a single phrase. Chords Position major and minor four-note chords root position.Chords Candidates will be asked to identify the following chords and their inversion or position after the examiner has played the chord once in solid (blocked) form. The phrase may be in a major or minor key and may contain up to three cadences. close position on the piano. dominant. The examiner will play the tonic chord once. Name of Cadence Symbols perfect or authentic V(7) –I plagal IV–I imperfect I –V deceptive (interrupted) V (7) –VI Example only Playback Candidates will be asked to play back the lower part of a two-part phrase on the violin. The examiner will name the key. play the tonic triad once. and play the phrase twice on the piano. then play the phrase twice. Beginning Note Keys Approximate Length Tonic. 1st inversion. mediant. double sharps. including sul sixteen to twenty repertoire minor key string option measures Clapping Candidates will be asked to clap or tap the rhythm of a melody. New features introduced at Grade 10 may include cadenza-like passages. and changes of meter.Sight Reading Playing Candidates will be asked to play a short melody at sight. A steady pulse and rhythmic precision are expected. Time Signatures Approximate Length four to six measures Example only Grade 10 72 . double flats. Difficulty Time Signatures Keys Positions Approximate Length Grade 8 any major or any position. or style Keyboard Harmony History 1: An Overview History 2: Middle Ages to Classical The ARCT Examination Theory Co-requisites Please see “Co-requisites and Prerequisites” on p. and is evaluated as a concert performance. 81. 8. please see – one from List 1 (Orchestral Tutti Parts) 10 “Marking Criteria for Performance of Repertoire” on p. Excellence in Repertoire 80 every aspect of performance is expected. character. and “Supplemental And any two of: Examinations” on p. C. 83 for important details regarding the Advanced Harmony or Advanced Keyboard ARCT in Violin Performance examination.) Performance Diploma. Candidates are one selection from List A 20 (2) expected to perform with confidence. History 3: 19th Century to Present “Classification of Marks” on p. 81. Orchestral Excerpts 20 two excerpts from the Syllabus list For descriptions of performance marks. communicating the one selection from List B 20 essence of the music while demonstrating a command of one selection from List C 20 (2) the instrument. – one from List 2 (Concertmaster Solos and 10 An ARCT candidate’s performance of a work may receive a Chamber Music Repertoire) failing grade for any of the following reasons: Total possible marks (pass = 70) 100 • repeated breaks in continuity • substantial omissions Theory Prerequisites • lack of technical control Advanced Rudiments • textual inaccuracies Intermediate Harmony or Intermediate • inappropriate tempo. A detailed understanding of the stylistic one selection from List D 20 (2) and structural elements of each repertoire selection is (The figures in parentheses for Lists A. Candidates are Harmony strongly recommended to study for at least two years after Counterpoint passing the Grade 10 examination. Candidates must achieve an Honors standing D indicate the marks that will be deducted (70 percent) in order to be awarded an ARCT in Violin for selections that are not memorized. and expected. Analysis Piano Co-requisite Grade 6 Piano 73 ARCT in Violin Performance .ARCT in Violin Performance The ARCT in Violin Performance is the culmination of The ARCT in Violin Performance Requirements Marks Royal Conservatory Examinations Certificate Program. 5 in A Minor. 53 BAR. Jean Concerto in A Major. 1 in D Major. PET Brahms. Candidates are l Butterfly Lover’s Concerto (arr. INT l 1st and 2nd movements l 1st and 2nd movements l 3rd and 4th movements l 2nd and 3rd movements Conus. 4 in D Minor. Antonín Concerto in A Minor. Tchaikovsky. no. Max l 1st and 2nd movements Concerto in D Minor. Marjan Candidates must prepare four contrasting selections by l Affairs of the Heart CMC four different composers: one from List A. op. op. any cadenza is acceptable. INT The length of the performance must be between 40 and l 1st and 2nd movements 50 minutes. Niccolò Concerto No. 30. Felix l 1st and 2nd movements Concerto in E Minor. one from List C. as long l 1st movement (with cadenza) as the examiner is provided with an original copy of the l 2nd and 3rd movements music. 46 SCH. and it is equivalent in difficulty to the standard Vieuxtemps. Saint-Saëns. 2 HEN l 1st and 4th movements l two contrasting movements l 4th and 5th movements Sonata in E flat Major. Édouard Beethoven. INT Adaskin. op. 31 FIS. BOS. 1 (1946) CMC l 2nd and 3rd movements l 1st and 2nd movements Lalo. op. op. SCH Sonata in C Minor. Pyotr Il’yich Please note that cadenzas are required where indicated in Concerto in D Major. one from List Po. Johannes l 1st and 2nd movements Sonata in D Minor. Mozetich. 12. Prokofiev. op. 35 HEN. Claude Sonata in G Minor DUR. Note that the l 1st and 2nd movements selections in List B need not be memorized. op. 44. K 219 INT. Concerto No. Camille Concerto in B Minor. Sergei Concerto No. MAS. 6 SIM. BAR l Duo Sonata BER. op. 22 PET. 108 INT l 2nd and 3rd movements l two contrasting movements Mozart. In general. INT List B l 1st and 2nd movements Sonatas Dvořák. Guan Sheng You) expected to select repertoire in a variety of keys and tempos. Henri cadenza for that work. Henryk Scottish Fantasy in E flat Major. op. Concerto No. Liang Shan and Zhu Ying Tai B. John Concerto CMC Bruch. op. op. 21 HEN. no. Wolfgang Amadeus Coulthard. Unless otherwise indicated. 19 INT Each bulleted item (l) represents one selection for l 1st and 2nd movements examination purposes. 9 for important l 1st and 2nd movements information regarding this section of the examination. 2 in G Minor. representing at least three different historical eras. no. INT l 1st and 2nd movements Concertos and Fantasias Weinzweig. INT Please see “Examination Repertoire” on p. INT Concerto in D Minor. Jules Concerto in E Minor FIS. op. The examiner may stop the performance if it l 2nd and 3rd movements exceeds the allotted time. OTT. KAL the score. and one from List D. 61 SCH. op.Repertoire Paganini. Murray l 1st and 2nd movements Sonata No. 64 BAR. INT l 1st and 2nd movements List A Concerto No. 1 in D Major. op. 3 HEN Mendelssohn. PET l two contrasting movements ARCT in Violin Performance 74 . INT. 37 PET. Ludwig van Symphonie espagnole. 63 INT candidates should prepare the complete work. CMC l 1st and 2nd movements Debussy. 2 FIS l 1st and 2nd movements Wieniawski. op. op. FIS. Maurice l Tzigane BAR. HEN l Caprice viennois. 57 BAR l Sonata OUP. FIS l 1st and 2nd movements Brott. Arsenio l Rhapsody No. Grigoraş l 1st and 2nd movements l Hora Staccato (Roumanian) (arr. CMC l Vista BER. 3 FIS Sonata in D Major.Dolin. CMC l two contrasting movements Piazzolla. op. Harry Pentland. op. 2 (“The Phoenix”) CMC l La capricieuse. 17 FIS. Elizabeth Paganini. Niccolò l Sonata CMC l Moto Perpetuo INT Respighi. op. Wolfgang Amadeus Kreisler. Marjan l two contrasting movements l L’esprit chantant CMC Raum. 69 MAS Mozart. CMC l Rondo. op. BRH l 1st movement Falla. op. Manuel de l 2nd movement l Danse espagnole. CMC Sonata G Minor (“Devil’s Trill”) Bg5 OTT. CMC Kabalevsky. Dmitri l Sonata no. Barbara Sonata No. op. op. RIC l two contrasting movements l two contrasting movements (with cadenza) Dvořák. SCH l Burleska PWM l two contrasting movements Bartók. Andrew P. Sergei l Tambourin chinois. Edvard l Rêverie et caprice (Romance) BAR Sonata in G Major. CMC l two contrasting movements l two contrasting movements Somers. Jean Sonata in B Minor RIC Trois caprices PER. 11. SCH. 13 (1867) PET. Paul Sonata in D Major. op. from La vida breve (arr. 13 HEN. Gabriel List C Sonata in A Major. Fritz Morawetz. CMC l two contrasting movements Fauré. Igor l Prayer and Dance of Praise CMC Duo concertante B&H l two contrasting movements Ravel. 2 OTT Dinicu. 94a INT Mozetich. Giuseppe Sonata BER. Samuel Tartini. INT Concert Repertoire l two contrasting movements Franck. Jascha Heifetz FIS) MacDonald. Oskar Kreisler FIS) l Duo RIC. 2 BER. 1 (1956) AEN. op. no. Hector Grieg. DUR 75 ARCT in Violin Performance . 2 FIS l two contrasting movements l Recitative and Scherzo caprice FIS Prokofiev. Umińska Sonata in A Major HEN. 18 UNI l two contrasting movements Raum. John Sonata in F Major. Astor Strauss. Fritz Sonata in B flat Major. Elizabeth l Les ombres CMC Stravinsky. Edward Violin Sonata No. Alexander l Invocation and Dance CMC Hindemith. César Andrzejowski. op. K 454 BAR. Antonín Weinzweig. 1 B&H l Violin Sonata II (Three Invitations) CMC Berlioz. Béla Girón. Elgar. Ottorino Papineau-Couture. Richard l Le Grand Tango BEB Sonata in E flat Major. op. 153–177 Gruber. Sophie-Carmen Brahms. op. op. 30. 3rd. 1 in G Minor. 34 INT Zarzycki. 27 SCH l 1st.Robinovitch. op. 9. BWV 1001 BAR. 21. no. Henryk different composers: one from Group 1 and one from l Polonaise brillante in A Major. Ralph l The Lark Ascending OUP Vieuxtemps. Aleksander l Mazurka in G Major. H. INT performed without audio track) Sarasate. 83 BAR. Felix l Four Pieces for Solo Violin B&H Incidental Music to A Midsummer Night’s Dream. HEN Group 1 l Fugue Sonata No. 16 PET. Candidates are encouraged to listen to and l Polonaise in D Major. Christien l Introduction and Rondo capriccioso. 3 l Nocturne and Tarentella. 11 DOM. op. 28 l Wandering the Threshold of Delirium CMC (to be FIS. 13. 16. SCH. 26 PWM Vaughan Williams. The candidate’s ability to perform excerpts in a manner that demonstrates an understanding of the style Zarzycki. 115–135 ARCT in Violin Performance 76 . 11. op. André l Zigeunerweisen. Sid Hétu. HEN Orchestral Tutti Parts (First Violin) l Fugue Eckhardt-Gramatté. 98 l one of nos. Camille l Havanaise. 21 INT. op. Pablo de Paganini. 4 INT become familiar with the works from which these excerpts l Scherzo tarantella in G Minor. 2) INT Twenty-Four Caprices. 23. 26 PWM instructions regarding the performance of chords please see p. and 6th movements Sonata No. FIS are taken. 5–10 u 4th movement: mm. Partita No. 1 Szymanowski. 41–80. 1 PWM Sonata No. op. INT Ledroit. HEN examination purposes. CMC l Variations. op. Aleksander and context is an important examination criterion. no. 20 FIS. Niccolò l Habañera (Danse espagnole. Mendelssohn. SCH Group 2. op. no. SCH. For l Mazurka in G Major. op. HEN l Chaconne Each bulleted item (u) represents one selection for Sonata No. 1 EMB l Introduction and Tarantelle. Johann Sebastian includes measure numbers for reference. 18. 3 in C Major. op. 1 UNI. op. Unaccompanied Repertoire • Alternatively. 28. 20 l Zapateado (Danse espagnole. op. Johannes Ten Caprices CMC Symphony No. op. INT l Improvisations I pour Violine Seul DOM. Karol l two contrasting movements l La fontaine d’Aréthuse. candidates may use standard published orchestral parts for the specific excerpts. op. Pyotr Il’yich l complete l Meditation. Henri Orchestral Excerpts l Rondino op. 1 FIS. 4 in E Minor. op. 42. 25 DOM. CMC Stravinsky. op.K. op. 43 INT l one of nos. 14. op. CMC Saint-Saëns. 21 u 1st movement (Scherzo): mm. no. no. 6 Tchaikovsky. 2 (in Masterpieces for Violin FIS) Candidates should be prepared to play two excerpts by Wieniawski. INT l Waltz-Scherzo. Jacques l Meditation CMC l Rondo varié pour violon seul. BWV 1005 BAR. 2013 Edition: Orchestral Excerpts FHM. BWV 1004 BAR. 32. 2 in D Minor. Eugène Suite Italienne B&H Six Sonatas. INT l complete Sonata No. List D • All orchestral excerpts are included in Violin Series. op. EMB Prévost. 2 in A Minor. l Fugue Sonata No. 2) INT. FIS. The list below Bach. Igor Ysaÿe. no. BWV 1003 BAR. 17–99. ca. Dmitri 5th movement (Fandano asturiano): mm. op. 25–36.Mozart. 10–34. 39 in E flat Major. 140–184 129–162 Rimsky-Korsakov. K 54 u 1st movement: mm. 1–41. 61–114 (beat 1) and 4th movement: mm. 31–66 (beat 2). 1–97 movement (Alborada): mm. Richard Verklärte Nacht. 14 in D Minor (“Death and the Maiden”). Richard Le Bourgeois Gentilhomme Suite. u Sanctus (Benedictus): mm. op. 14–18. 60 u 4th movement (Auftritt und Tanz der Schneider): pickup to mm. 42–57. 81–119 Tchaikovsky. 2 in C Major. 278–294. Franz String Quartet No. 401–421 8–9. 300–318 u mm. 35 Smetana. 47 51–61 u 1st movement: mm. op. 1–16. Pyotr Il’yich Swan Lake Suite u 4th movement (Scène): mm. 4 Don Juan. 61 u 1st movement (Alborada): mm. Symphony No. op. 29–30 (cadenza) (beat 1) Schoenberg. Robert Capriccio espagnol. 5. op. 25 Beethoven. 77 ARCT in Violin Performance . 1– 62 Schubert. op. 1 (“Classical”). 1–32 and 2nd movement: Missa solemnis.rcmusic. 26–90 and 4th movement: Concertmaster Solos and Chamber Music pickup to mm. 94–102 (beat 1) and 3rd The Bartered Bride movement: mm. 1–14. 20 u mm. 41–63 and 4th movement (Scena e canto gitano): solo cadenza and Shostakovich. Arnold Strauss. 1–78 Repertoire Prokofiev. D 810 u 1st movement: mm. op. Sergei Symphony No. please visit www. 110–134. 14–27. 35–56. pickup to mm. op. 1–20 (beat 1) and 4th movement: mm. 1–14. 254–277 (beat 1) Schéhérazade. Wolfgang Amadeus Group 2 Symphony No. Ludwig van u 1st movement: mm. Bedřich u 1st movement: mm. 55–72 and 3rd u 2nd movement (Scherzo): pickup to mm. op. Nicolai Schumann. 65–72 Teacher’s ARCT For current information on the Teacher’s ARCT requirements. 34 Symphony No. u Overture: mm. 687–end Strauss. 142–165 and 4th movement: mm. 123 mm. ca. Register for an Examination Examination Sessions and Registration Deadlines Login at Exact dates and deadlines can be found online.rcmusic. rcmusic. Register early to avoid disappointment. verify their examination schedules online three to four weeks after the Examination Scheduling registration deadline. are unable to attend an examination should contact the Centre Representative listed on their Examination Schedule. The program form must be filled out by the candidate and/or teacher. Teachers may verify their students’ examination schedules by visiting www.rcmusic. Candidates are asked to print the “Examination Program Form” using the “Examination Scheduling” feature. will not be mailed. All candidates may examinations. Examination candidates may check for their examination schedules online three to four Examination schedules weeks after the registration deadline. Register for an Examination 78 . Each examination centre has a local Examination Centre Representative who ensures that students and teachers have a successful examination experience. Current examinations fees may be found at www. and brought to the examination centre for presentation to the examiner.ca to register. Winter Session—register by early November • practical examinations take place in January • theory examinations take place in December Spring Session—register by early March • practical examinations take place in June • theory examinations take place in May Summer Session—register by early June • practical examinations take place in August • theory examinations take place in August Online Registration All registrations should be submitted using the online registration process.ca Late registrations are subject to an additional fee and may be denied. Examination Centres Examinations are conducted in more than 300 communities across North America. Examination Fees Examination fees must be paid at registration using a valid credit card. to register.examinations.ca. The Centre Representative may be able to provide an alternate appointment time. Visit www. examinations.rcmusic. Candidates who. for any reason. Standing or listening outside cell phones are strictly the examination room door is prohibited. accurately. and assistants. the availability of a tune- up room cannot be guaranteed. at the examiner’s discretion once an assessment has been made. and coats must be left in the area designated by the Centre Representative. • A music stand is available in most centres. Please contact the The Royal Conservatory Examinations Centre Representative if you are unable to attend the examination at the assigned time. Electronic devices. provide their own • Candidates are advised to bring an electronic tuner to the examination. in order for an • Examiners are not permitted to assist candidates in tuning their instruments. Please note that examination times cannot be exchanged among candidates. Recorded accompaniments are not permitted. • The examiner will choose a representative sampling of items on the technical requirements list. Collaborative at the examination. he or she should bring two original copies to the examination. pianists should play from an original. • Recording devices and cell phones are strictly prohibited in the examination room. published copy of all music to published copy of all be performed at the examination. Credits and Refunds for Missed Examinations Credits (formerly called “fee extensions”) and refunds are only granted in two specific situations. examination to A teacher or assistant should be on hand to assist candidates who cannot tune proceed. • Candidates must provide their own collaborative pianist in order for an examination Candidates must to proceed. • Candidates must provide the examiner with an original. teachers. with an original. (Please see “Copyright and Photocopying” on p. prohibited in the • The candidate’s performance of a repertoire selection or an etude may be interrupted examination room. • Photocopied music is not permitted in the examination room unless the candidate has a letter of permission from the publisher or website. Examination centres do not provide facilities for rehearsal with piano. Waiting areas are provided for parents. • Candidates are asked to list all repertoire and etudes to be performed on the Candidates must Examination Program Form and bring it to the examination for presentation to the provide the examiner examiner. The piano collaborative pianist provided for the examination will be tuned to A440. music to be performed • If the candidate is performing with music. • Although most examination centres have a tune-up room. notes. Candidates who are unable to attend an examination for medical reasons or because of a scheduling conflict with a school examination are eligible to request either an examination credit for the full amount of the examination fee or a fifty percent refund of the examination fee. one to play from and one to give to the examiner.Examination Regulations Examination Procedures Candidates must be ready to perform at least fifteen minutes before their scheduled time. Recording devices and • Page turners and other assistants are not permitted in the examination room. bags. 88). 79 Examination Regulations . books. published copy of the score. • Photo ID may be requested before candidates are admitted to the examination room. but the availability of a music stand cannot be guaranteed. Examination Credit An examination credit (formerly called a “fee extension”) may be applied to the fee of a future examination. are unable to attend an examination should contact the examination. Examination Results Candidates and teachers can access examination marks online within approximately four weeks of the examination date. Examination credits can be redeemed when the candidate registers for his or her next examination. Requests for examination credits or refunds must be made to The Royal Conservatory Examinations in writing and be accompanied by the following documentation: All requests must be • for medical reasons: a physician’s letter and the candidate’s examination schedule submitted by mail • for direct time conflicts with school examinations: a letter from a school official on school letterhead and the candidate’s Examination Schedule or fax within two weeks following the Candidates who.ca. Candidates with Special Needs Candidates with special needs should submit a Special Needs Request Form. Official transcripts are available upon written request to The Royal Conservatory Examinations and payment of the requisite fee. The credit will be automatically applied during the online registration process. www. Access to complete examination results. Requests for examination refunds or credits must be made to The Royal Conservatory Examinations in writing and be accompanied by the necessary documentation (see above).examinations. to The Royal Conservatory Examinations before the registration deadline.rcmusic. Please note that results will neither be Teachers may access their students’ examination results by visiting mailed nor provided by telephone. www. Please note that credits are not transferable and may not be extended beyond one year. for any reason. All requests must be submitted by mail or by fax within two weeks following the scheduled examination date. Each The Special Needs case will be assessed individually. Examination credits are valid for one year from the date of the original scheduled examination. by mail or by fax. with comments and marks.) Examination Regulations 80 . will be available no later than eight weeks after the examination date. Please note available online at that helpers must normally remain in the waiting area during the actual examination. received after this time will be denied.examinations. Requests Centre Representative listed on their Examination Schedule immediately.ca. Fee Refund Candidates who know at the time they are applying for a fee extension that they will not be able to make use of a credit within the one-year time period may instead apply for a refund of fifty percent of the examination fee. Request Form is Candidates may receive help in and out of the examination room if required. (The Official Transcript Request Form may be downloaded from the website. rcmusic. with room for further development of technical control and attention to musical details. which being a live performance. while demonstrating technical command. There are many errors. and a lack of attention to musical details. unresolved technical issues. and musical awareness. Although some aspects of the performance may show basic preparation. There may be occasional slips or lapses. and demonstrate technical security. and reflect some awareness of style and musical understanding. Honors: 70–79 This standing is awarded for performances that are generally secure and fluent. indicate careful preparation. Appeals are considered only in the event of a serious procedural irregularity. The examiner’s report explains how the final mark was calculated. There is quick recovery from any minor slips or brief lapses. The mark reflects the examiner’s evaluation of the candidate’s performance during the examination. and only upon completion of the official Appeals Process. view online results There may be slips or lapses. Fail: 50–59 The performance is a work in progress. slips.Interpreting Examination Results All candidates may access their complete. First Class Honors: 80–89 This standing is awarded for performances that are musically engaging. and convincing musical interpretation. cannot be reconstructed. show thoughtful preparation. and provides information to support candidates in their future musical development. Classification of Marks First Class Honors with Distinction 90–100 First Class Honors 80–89 Honors 70–79 Pass (Preparatory and Grades 1–10) 60 Marking Criteria for Performance of Repertoire First Class Honors with Distinction: 90–100 This standing is awarded for exceptional performances that are confident and communicative. insightful awareness of style.ca to This standing is awarded for performances that exhibit a basic level of preparation. a satisfactory performance requires more consistent fluency and attention to both musical elements and markings in the score. loss of continuity. Pass: 60–69 Login at rcmusic. and stumbles disturbing the continuity. The examiner’s report will identify areas that require further study and exploration. stylistic understanding. Marks Below 50 The performance is not yet ready for assessment due to insufficient preparation. official results (including examiners’ comments) online no later than eight weeks after the examination has taken place. 81 Examination Regulations . ” 70-percent figures are given in parentheses. Examination Regulations 82 . • Figures in bold parentheses indicate the minimum number of marks required to receive 70 percent. and D indicate the marks that will be deducted for selections that are not memorized.5) 20 (2) List B 27 27 18 20 20 20 15 15 20 List C – 18 17 17 15 (1. Table of Marks Prep– Grade Grades Grade Grade Grade Grades Grade ARCT in Violin Grade 1 2 3–4 5 6 7 8–9 10 Performance Repertoire 60 60 60 60 60 50 50 50 (35) 80 List A 27 27 18 17 17 15 (1.5) 15 (1.) • Candidates for the ARCT in Violin Performance must achieve an overall mark of 70 in order to pass. • To qualify for the ARCT examination. C. Grade 10 candidates must achieve either an overall mark of 75 or a minimum of 70 percent in each section of the examination.5) 15 (1. (In the “Table of Marks.5) 10 (1) 10 (1) 20 (2) List D – – – – – 10 (1) 10 (1) 20 (2) Memory 6 6 6 6 6 – – – – (3+3) (3+3) (2+2+2) (3+3) (3+3) Orchestral _ _ _ _ _ 10 10 10 (7) 20 Excerpts Technical 30 30 20 20 20 20 20 20 (14) – Requirements Etudes 15 15 10 10 10 8 8 8 – Technical Tests 15 15 10 10 10 12 12 12 – Ear Tests 10 10 10 10 10 10 10 10 (7) Clapback 5 3 3 3 2 2 – – – Intervals – 3 3 3 3 3 3 2 – Chords – – – – 2 2 2 2 – Cadences – – – – – – 2 3 – Playback 5 4 4 4 3 3 3 3 – Sight Reading – – 10 10 10 10 10 10 (7) – Playing – – 7 7 7 7 7 7 – Clapping – – 3 3 3 3 3 3 – TOTALS 100 100 100 100 100 100 100 100 100 • The figures in parentheses for Lists A. However. The division of material in the split Grade 10 examination cannot be altered. candidates may choose which segment to take first. • Supplemental Examinations must be taken within two years of the original Candidates in Grade examination. Technical Requirements. Each academic year. Grade 10 theory co- • Candidates in Grade 10 may repeat any two sections of a practical examination: requisites within five Repertoire. a candidate must receive a minimum mark of 80 percent in the practical examination. and Orchestral Excerpts. No application before Convocation. certificates are awarded after the theory co-requisites for that diplomas are awarded Grade have been successfully completed. gold medals are designation “ARCT” awarded to the candidates who achieve exceptional examination results. years of the original • To be eligible for a Supplemental Examination in Grade 10. Candidates Medals may not use the official The academic year runs from September to August. candidates must achieve a minimum mark of 65 overall. is required. candidates may choose to take the Grade 10 Violin examination in two separate segments: one consisting entirely of Repertoire. Theory co-requisites must be completed to candidates at the within five years of the original practical examination. Ear Tests. Gold Medals Gold medals are awarded by province or region to candidates in Preparatory and Grades 1 to 10 who receive the highest marks for their respective practical examination. and have completed all theory co-requisites for the respective Grade. practical examination. including Etudes and Technical Tests. 10 must complete the • Supplemental Examinations are given during regular examination sessions. or Sight Reading. Orchestral Excerpts. All theoretical co-requisites for the Grade 10 examination must be completed within five years of the initial Grade 10 practical examination segment. Sight Reading. Please note that ARCT Beginning in Grade 5.Supplemental Examinations Improve an Examination Mark Candidates seeking to improve their overall mark at the Grade 10 level may take one or more Supplemental Examinations. both segments of the split Grade 10 examination and any supplemental examinations must be completed within the two-year period. not any subsequent supplemental Split Grade 10 Practical Examinations examinations. To be eligible. Only candidates who take the complete Grade 10 examination (without the split) will be eligible to receive a Regional Gold Medal. Candidates for the split Grade 10 examination may schedule their examinations within the same session or in different sessions. 83 Examination Regulations . Practical Examination Certificates Certificates are awarded to candidates who successfully complete the requirements for their Grade. annual Convocation ceremony. Candidates for the split Grade 10 examination must complete all practical examination requirements within two years of the initial examination segment. the other consisting of Technical Requirements. however. as well as Ear Tests. Candidates who choose the split format must complete both segments before registering for any supplemental examinations. Beginning in the 2013–2014 academic year. the policies of provincial education ministries can be found online under “Candidate Recognition. Grade 10. RESPs Use of Education Funds for Music Studies Candidates who have a Registered Education Savings Plan (RESP) may be eligible to use these funds to support private studies in music at the Grade 9. To be eligible. To be eligible. ARCT Gold Medals A gold medal is awarded to the graduating ARCT in Violin Performance candidate who receives the highest mark across Canada for the practical examination. Basic Harmony or Basic Keyboard Harmony Intermediate Harmony or Intermediate Keyboard Harmony Advanced Harmony or Advanced Keyboard Harmony Counterpoint Analysis History 1: An Overview History 2: Middle Ages to Classical History 3: 19th Century to Present School Credits The Royal Conservatory Examinations results can sometimes be used as a credit toward high school graduation or toward university entrance. and/or ARCT levels.” Candidates are advised to discuss the eligibility of their examination results with their school principal or guidance counsellor. Candidates should consult their RESP providers for more information. a candidate must receive: • A minimum of 85 percent in the practical examination • A minimum of 70 percent in each theory co-requisite examination A gold medal for excellence in theory is also awarded to the graduating ARCT candidate who completes the theory examinations listed below with the highest average mark. Examination Regulations 84 . In Canada. Accreditation. a candidate must receive a minimum overall average of 80 percent for the eight examinations. com to find a listing of additional music retailers near you. This series includes nine volumes of Violin Repertoire (Preparatory through Grade 8) with compact discs.Editions For many repertoire items. Suzuki Violin School. or proof of legal. a number following a title indicates the number of the volume. The use of unauthorized photocopies for in the examination examination purposes constitutes copyright infringement as outlined in the Copyright room. free download. Limited has published the Violin Series. 2013 Edition In order to ensure the ready availability of high-quality examination materials. and other editorial markings vary from edition to edition. or set number in which a selection can be found (for example. The Frederick Harris Music Co. if a student has purchased an online edition or downloaded a free edition which is in the public domain.. If you experience difficulty in obtaining violin music in your community. Availability The Royal Conservatory Examinations has made every effort to ensure that the materials listed in the Violin Syllabus.. the Syllabus listing includes a suggested edition (indicated by an assigned publisher abbreviation). The Frederick Harris Music Co. These editions have been chosen for their quality and for their availability in North America. in the case of purchased editions. in the case of online editions in the public domain. Examination marks will not be deducted for altering these editorial suggestions as long as the resulting change is musically acceptable. two volumes of Violin Technique and Etudes (Preparatory–4. Grades 5–8). and one volume of Orchestral Excerpts (Grades 7–ARCT). and examination participants to photocopy single pages from its publications to facilitate a page turn. 85 Examination Regulations . bring unauthorized photocopies to the Candidates should bring all music to be performed to the examination. Revised Edition. These editions benefit from current scholarship and provide a reliable basis for study and performance. bowing. Additional information about federal copyright law is available online through the Copyright Board of Canada at www. The Violin Series. Candidates examination will not be who wish to photocopy one page of a selection to facilitate a page turn must do so with examined. The Royal Conservatory strongly encourages the use of modern editions. permission from the publisher. In order to save space. Anthologies and Collections If a repertoire selection is published in a collection of a composer’s music or in an anthology containing music by a number of composers.cb-cda. Fingering.gc.ca. 2013 Edition. Individual selections may also be found in other sources. Please note that Copyright and Photocopying photocopied music Federal and international copyright laws prohibit the use of photocopies without will not be permitted the permission of the publisher or website. book.frederickharrismusic. Candidates who Act of Canada. With this notice. 2). Limited grants permission to festival. recital. the words “volume” and “book” have usually been omitted. However. you may visit www. they must provide either proof of payment. the title of the collection or anthology is usually included in the Syllabus listing. 2013 Edition are in print and available at leading music retailers throughout North America. MUZ Muzyka Moscow AUG Augener & Co. Kalmus u selection is published in Violin KJO Neil A.. Inc.. the work is available in several standard editions. please see “Examination Repertoire” on p. transcribed by HEN G. When no publisher or edition is indicated for a specific piece.. number FRB Francesco Bongiovanni op. Thompson Music rev. LEE Leeds Music (Canada) ABR Associated Board of the Royal LIM Lime Green Music Schools of Music MAS Masters Music Publications AEN Aeneas Press MPB M. pp.. Kjos Music Company Series. Inc. edited by Limited m. Billaudot PRE Theodore Presser Company BMC Boston Music Company (Music PWM Polskie Wydawnictwo Muzyczne Sales) RIC G. ed. Publications CMC Canadian Music Centre Library WAT Waterloo Music Co. 2013 Edition FHM KMA Kevin Mayhew Examination Regulations 86 . NOV Novello B&H Boosey & Hawkes OSS Ossian B&V Broekmans & Van Poppel OTT Schott Music GmbH BAR Bärenreiter OUP Oxford University Press BEB Bèrben Edizioni Musicali PER Peer International BER Berandol Music PET Edition Peters BIL G. Schirmer Inc. arranged by FAB Faber Music Ltd. volume IMS IMSLP Petrucci Music Library IND École Vincent d’Indy l represents one selection for INT International Music examination purposes KAL Edwin F.. (Alfred) UMP United Music Publishers CHD Children’s Music Series UNI Universal Edition Inc. revised (Alfred) trans. Ricordi BOS Bosworth (Music Sales) S&B Stainer & Bell BRH Breitkopf & Härtel SCH G. CHS Chester Music Ltd. 2013 Edition. 9. Henle Verlag vol. attributed to FHM The Frederick Harris Music Co. (Mayfair) COM Éditions Combre WIL Willis Music DHM DeHaske Music Publishing ZAN Zanibon DOM Les Éditions Doberman-Yppan ZIM Musikverlag Zimmerman DUR Durand et Cie Frankfurt ELK Elkin Co. attr. Simrock Publishers CHA Chappell & Co. measure (s) FIS Carl Fischer Music no. page(s) GVT Gordon V. Abbreviations Names of Publishers The following abbreviations identify publishers listed throughout the Violin Syllabus. For more information.P. opus GIV Givens Violinland p. WAR Warner Bros. mm. BUT Edition Butorac SIK Sikorski CAN Cantus Music SIM N. Music Publishers EMA European Music Archive (Spartan Other Abbreviations and Press) Symbols EMB Editio Musica Budapest EVO Evocation Publishing arr. Belaieff ALF Alfred Publishing Co. translated by HAL Hal Leonard Corporation transc. first published in 1862. D 810). He created a chronological catalogue in which these works are listed and numbered. “HWV” is an abbreviation for Handel Werke Verzeichnis. Hob. and may have been assigned by a publisher rather than the composer. zu Hallische Händel-Ausgabe (Kassel: Bärenreiter.) is a term used with a number to designate the position of a given work in the chronological sequence of works by the composer. “TWV” is an abbreviation for Telemann Werkverzeichnis. 2 in G Minor. gleichzeitig Suppl. these numbers are often an unreliable guide. George Frideric Handel Works by George Frideric Handel are identified by “HWV” numbers (for example. 1957–1971) divides Haydn’s works into a number of categories that are indicated by Roman numerals. Anthony van Hoboken was a Dutch musicologist. a thematic catalogue of Bach’s complete works originally compiled by the German music librarian Wolfgang Schmieder. Bach are identified by “BWV” numbers (for example. 4. Wolfgang Amadeus Mozart Works by Mozart are identified by “K” numbers (for example. His thematic catalogue. HWV 368). “K” stands for Köchel Verzeichnis. String Quartet in C Major (“The Bird”). These numbers were assigned by Otto Erich Deutsch (1883–1967) in his thematic catalogue of Schubert’s works. Ludwig Ritter von Köchel (1800–1877) was an Austrian professor of botany who devoted his retirement years to collecting all the known works by Mozart. Sonata No. K 183). Symphony No. Franz Joseph Haydn Works by Haydn are identified by Hoboken numbers (for example. B. 87 Examination Regulations . Kassell. However. “BWV” is the abbreviation for Bach-Werke-Verzeichnis. the short title of the Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach (Leipzig. Thematisches Verzeichnis seiner Werke in chronologischer Folge (Neue Schubert Ausgabe Serie VIII. Franz Schubert Works by Schubert are identified by “Deutsch” numbers (for example. III:39). Sometimes a single work will have conflicting opus numbers. 1978). For these reasons. BWV 1004). A number of the more important thematic catalogues are listed below. individual works by a number of composers are identified by numbers assigned in scholarly thematic catalogues. 25 in G Minor. were not always assigned opus numbers.Thematic Catalogues Opus Numbers and Catalogue Numbers “Opus” (op. Works in certain genres. Joseph Haydn: Thematisch-bibliographisches Werkverzeichnis (Mainz. String Quartet No. 1984)—was compiled by Martin Runke. compiled by Margaret and Walter Eisen. This thematic catalogue—Thematischer-Systematisches Verzeichnis seiner Werke: Telemann Werkverzeichnis (Kassel: Barenreiter. Johann Sebastian Bach Works by J.S. Partita No. Georg Philipp Telemann Works by Telemann are identified by “TWV” numbers (for example. 2 in D Minor. 1978–1986). is Händel-Handbuch. 1950). Bd. The full title for this thematic catalogue. TWV 41:F1). Sonata in F Major. such as operas. 14 in D Minor (“Death and the Maiden”). Schott. Antonio Vivaldi Works by Vivaldi are identified by “RV” numbers and/or by “F” numbers (for example, Concerto in A Minor, op. 3, no. 6, RV 356/F I:176). RV is an abbreviation for Ryom Verzeichnis. This thematic catalogue of Vivaldi’s works—Verzeichnis der Werke Antonio Vivaldis: kleine Ausgabe (Leipzig: Deutscher Verlag für Musik, 1974, 2nd ed. 1979) was compiled by Peter Ryom. The F numbers were assigned by Antonio Fanna in Opere strumentali di Antonio Vivaldi (1678–1741): catalogo numerico-tematico secondo la catalogazione Fanna (Milan, 1986). Anhang Some catalogue numbers include the prefix “Anh.” (for example, Notenbuch der Anna Magdalena Bach, BWV Anh. 114). “Anh.” is an abbreviation for Anhang, a German word meaning appendix or supplement. WoO Some catalogue numbers include the prefix “WoO” (for example, Sechs Menuette, WoO 10 by Ludwig van Beethoven). “WoO” is an abbreviation for Werk ohne Opuszahl (work without opus number). These numbers are used to designate works for which the composer did not assign an opus number. Examination Regulations 88 Resources The following texts are useful for reference, teaching, and examination preparation. No single text is necessarily complete for examination purposes, but these recommended reading and resource lists are an indispensable source of: • teaching tips for all ages and abilities • tips for interpretation of repertoire • tools for better sight reading • advice on fostering talent in young people • supplemental teaching material to support and enhance the Violin Syllabus, 2013 Edition General Resources Violin Series, 2013 Edition Violin Series, 2013 Edition: Violin Repertoire. 9 vols. (Preparatory–Level 8) with compact discs. Toronto, ON: The Frederick Harris Music Co., Limited, 2013. Violin Series, 2013 Edition: Violin Technique and Etudes. 2 vols. (Preparatory–4; 5–8). Toronto, ON: The Frederick Harris Music Co., Limited, 2013. Violin Series, 2013 Edition: Orchestral Excerpts (Levels 7–ARCT). Toronto, ON: The Frederick Harris Music Co., Limited, 2013. Sight Reading and Ear Training Berlin, Boris, and Andrew Markow. Ear Training for Practical Examinations: Melody Playback/Singback. 4 vols. (Levels 1–ARCT). Toronto, ON: The Frederick Harris Music Co., Limited, 1986–1988. ———. Ear Training for Practical Examinations: Rhythm Clapback/Singback. 3 vols. (Levels 1–7). Toronto, ON: The Frederick Harris Music Co., Limited, 1989–1991. Braaten, Brenda, and Crystal Wiksyk. Sound Advice: Theory and Ear Training (Levels 1–8) (Online audio tracks at www.soundadvicedirect.com). Toronto, ON: The Frederick Harris Music Co., Limited, 2005–2006. Harris, Paul. Improve your Sight-reading! A Workbook for Examinations. London: Faber, 1994. Hindemith, Paul. Elementary Training for Musicians. 2nd ed. London: Schott, 1974. Kember, John, Roger Smith, and Marguerite Wilkinson. Violin Sight-Reading. 2 vols. Mainz, Schott, 2006–2007. Martin, Joanne. I Can Read Music: A Note-reading Book for Violin Students. 2 vols. Van Nuys, CA: Alfred Publishing Co., Inc. First published Miami, FL: Summy-Birchard, 1991, 1997. Nelson, Sheila. Flip-A-Rhythm. 2 vols. London: Boosey & Hawkes, 1995. Schlosar, Carol. Comprehensive Ear Training, Professional Series 11 vols. (Levels 1–ARCT) (Book with CD). Toronto, ON: The Frederick Harris Music Co., Limited. First published Sicamous, BC: Keystroke Publishing, 1993. ———. Comprehensive Ear Training: Student Series. 11 compact discs (Levels 1−ARCT). Toronto, ON: The Frederick Harris Music Co., Limited. First published Sicamous, BC: Keystroke Publishing, 1998. 89 Resources Official Examination Papers The Royal Conservatory Examinations Official Examination Papers. 15 vols. Toronto, ON: The Frederick Harris Music Co., Limited, published annually. Basic Rudiments Intermediate Harmony Intermediate Rudiments Intermediate Keyboard Harmony Advanced Rudiments History 2: Middle Ages to Classical Introductory Harmony Counterpoint Basic Harmony Advanced Harmony Basic Keyboard Harmony Advanced Keyboard Harmony History 1: An Overview History 3: 19th Century to Present Analysis General Reference Works Burkholder, J. Peter, Donald J. Grout, and Claude V. Palisca. A History of Western Music. 8th ed. New York: Norton, 2009. Freymuth, Malva. Mental Practice and Imagery for Musicians. Boulder, CO: Integrated Musician’s Press, 1999. Green, Barry and W. Timothy Gallwey. The Inner Game of Music. New York: Doubleday, 1986. Horvath, Janet. Playing (Less) Hurt: An Injury Prevention Guide for Musicians. Milwaukee, WI: Hal Leonard, 2010. Kallmann, Helmut, Gilles Potvin, and Kenneth Winters, eds. Encyclopedia of Music in Canada. 2nd ed. Toronto, ON: University of Toronto Press, 1992. (Available online at www.thecanadianencyclopedia.com.) Kamien, Roger. Music: An Appreciation. 9th ed. New York: McGraw-Hill, 2008. Latham, Alison, ed. The Oxford Companion to Music. Oxford: Oxford University Press, 2002. Machlis, Joseph, and Kristine Forney. The Enjoyment of Music. 11th ed. New York: Norton, 2011. Paull, Barbara, and Christine Harrison. The Athletic Musician: A Guide to Playing Without Pain. Lanham, MD: Scarecrow Press, 1997. Randel, Don Michael, ed. The Harvard Biographical Dictionary of Music. Cambridge, MA: Harvard University Press, 1996. ———. The Harvard Dictionary of Music. 4th ed. Cambridge, MA: Belknap Press of Harvard University Press, 2003. Sadie, Stanley, ed. The New Grove Dictionary of Musical Instruments. 3 vols. London: Macmillan, 1993. Sadie, Stanley, and John Tyrell, eds. The New Grove Dictionary of Music and Musicians. 2nd ed., 29 vols. London: Macmillan, 2001. (Also available online.) Slonimsky, Nicolas, ed. emeritus. Baker’s Biographical Dictionary of Music and Musicians. Centennial ed. 6 vols. New York: Schirmer, 2001. Stolba, K. Marie. The Development of Western Music: A History. 3rd ed. Boston, MA: McGraw-Hill, 1998. Resources 90 Henry. Scale System. Sally. Contemporary Violin Technique. London: Bosworth. Thirty Progressive Excercises for the Violin (With Accompaniment of a Second Violin). Locatelli. 4 vols. 1992. Charles-Auguste de. 1966. Kassel: Bärenreiter: 2008. The Dounis Collection: Eleven Books of Studies for the Violin. Position Etudes. 1939. Demetrius. ———. Tartini. 9. Scales for Advanced Violinists. Harris. Etudes-Caprices. New York: G. Lauren Keiser Music Publishing. New York: G. The Art of Bowing for the Violin. CA: Neil A. 8. op. London: Faber Music. Pierre. Robert. The Complete Violin Technique Book. Paul. First published Miami. San Diego. Thirty-six Melodious and Easy Studies. 1901. Van Nuys. 1973. London: Faber Music. 2012. 20 Études brillantes et caractéristiques. 1980. Kjos Music Company. San Diego. Harvey S. London: Bosworth. Gaviniès. 4 vols. op.. Ivan. New York: G. Revised Edition. Giuseppe. London: Bosworth. 2005. 2. New York: Carl Fischer. Inc. Inc. FL: Summy-Birchard. Oxford: Oxford University Press. Schirmer. Fiddle Magic: 180 Technical Exercises for Violin. London: Bosworth. 84. op. Mainz: Schott. MO: Mel Bay. op. 1973. Galamian. Jacob. 1991. 1998. Flesch. Whistler. School of Bowing Technique. ———. Chicago. 2 vols. op.. CA: Alfred Publishing Co. Schradieck. 6 vols. Budapest: Editio Musica Budapest. ———. The Art of the Violin: 24 Caprices for Solo Violin. ON: The Frederick Harris Music Co.. ———. New York: International Music. ———. School of Violin Technique. 1928. 2011. Etudes-Caprices. 1920. Bauer. Barbara. Dancla. Inc. Cohen. 1986. New York: Galaxy Music Corp. Sassmannshaus. John. Mary. New York: International Music. CA: Alfred Publishing Co. 1988. Early Start on the Violin. Van Nuys. ———. Dont. New York: G. School of Violin Technique. 38. Introducing the Positions. 2005. Schirmer. The First Thirty Concert Studies for the Violin. Aaron. 1967. Skelton. 1996. Wieniawski. op. First published Miami. op. Schirmer. 2 vols. Minsky. New York: Carl Fischer. CA: Neil A. Scale Studies for Violin. Violin Studies: Preparatory Trill Studies. London: Faber Music. 1944–46. 2 vols. 3. Violin Study Time. Carl. Kjos Music Company. Paul. ———. de Keyser.Violin Resources Etudes and Technique Barber. op. Violin Studies: Preparatory Studies in Double-Stopping. 1998. 4 vols. 18. 1901. op. op. Suzuki. 1967. Facsimile reprint.. London: Bosworth. 1955. Bériot. Kurt. ———. Henryk. New York: G. Ševčík Otakar. Jan. String Rhythms. 1926. 16–21. Schirmer. 10. Ten American Violin Etudes. ———. Tonalization. Scaley Monsters. IL: Rubank Publications. Peters. Toronto. Progressive Scale Studies for Violin. 1909. op. Violin Studies: Changes of Position and Preparatory Scale Exercises. 91 Resources . O’Reilly. 1. 1901.. Schirmer. 1901. 7. Charles. CA: Alfred Publishing Co. Van Nuys. Dounis. Hrimaly. 123. Limited. 6 vols. 1901. 1994. 73. opp. 1963. Improve Your Scales! 4 vols. 1974. op. Shinichi. Milan: Ricordi. Analytical Studies and Exercises. 2011. New York: International Music.. 1967. 24 études (matinées). Pietro. FL: Summy-Birchard. Pacific. Simon. David Dodge. 2008. Trans. New York: Carl Fischer.. New York. 2004. Inc. 2012. Orchestral Bowings and Routines. A New Approach to Violin Playing. Prill. The Art of Violin Playing. London: Gerald Duckworth. 2000. The Magic of Matsumoto: The Suzuki Method of Education. History. Richard. FL: Summy-Birchard. 2012. 1964. The Suzuki Violin Method in American Music Education. Havas. Pauly. 1970. 1995. Donington. 1999. Alberto A. Ed. London: Dover. Reinhard G. 1990. 10 vols. Courvoisier. CD Sheet Music. The New Grove Violin Family. Ltd. 1991. Test Pieces for Orchestral Auditions. Robert. OR: Amadeus Press. Violin Playing As I Teach It. 1989. The Twelve Lesson Course in a New Approach to Violin Playing. New York: Exposition Press. 1985. ———. 2010. Kassel: Bärenreiter. Eric Rosenblith. and ed.. CA: ETC Publications. Pierre. Masses. American String Teachers Association. CO: Suzuki Association of the Americas. Dictionary of Bowing and Pizzicato Terms. Ed. Miami. Flesch. The Orchestral Violinist’s Companion. Fingerboard Geography for Violin. An Encyclopedia of the Violin. Scales: Scales and Scale Studies for the Violin. 2007. The Technique of Violin Playing: The Joachim Method. Violin Reference Works Arditti. Milton. Evelyn. London: Bosworth. Basics: 300 Exercises & Practice Routines for the Violin. London: Stainer & Bell. 1921. Walter. 1994. Irvine and Robert Platz. Distributed by Alfred Publishing Co. and Kenneth Sarch. London: Dover. American String Teachers Association. ———. Appleton. 1972. Johann Sebastian. 1975. ed. Joel. Inc. 2 vols. and ed.. 1957. Evanston. Orchestral Excerpts from Symphonic Works: For Violin. Shinichi Suzuki: The Man and His Life. Violin Solos from the Sacred Cantatas. Karl. London: Peters Edition Limited. Orchestral Performance. Christopher. Gingold. MI: Shar Products. IL: Northwestern University Press. Goldberg. Barber. CA: Alfred Publishing Co. London: Faber and Faber. String Playing in Baroque Music. Boerries. Ivan. Passions and Oratorios. Barenreiter. Trans. Wulfhurst. 1944.. The Violin Column. The Art of Practising the Violin. Clifford A. Rev. Galamian. 2 vols. FL: Summy- Birchard. Barbara Jackson. ———. London: Oxford University Press. Kendall. Mainz: Schott. 3rd ed. 1965. Barrett. 2012. The Techniques of Violin Playing.. Principles of Violin Playing and Teaching. Resources 92 . 1998. Auer. Portland. 1961. W. The Orchestral Musician’s CD-ROM Library. Bach. 4th ed. 1980. 1957. New York: D. 1970. Green. London: Faber and Faber. 1997.. Orchestral Excerpts from the Symphonic Repertoire. ed. Carolyn M. Barbara. 1996. Kató. 2006. Hermann. 1960. History of Violin Playing from its Origins to 1761. Orchestral Excerpts Adey. Kolneder. 1953–1962. 2 vols. John. London: Peters Edition Limited.. Kassel: Barenreiter. ed. Trans. Robert. Violin Master Works and Their Interpretation. Martin. 2012. Boyden. Josef. Leopold. Cook. New York: International. Van Nuys. 1995.H. London: Dover. 2008. Rev. 2003. Miami. Norton and Co. Carl. Baillot. Ann Arbor. New York: International. and Music. Elizabeth A. 1998. Oxford: Clarendon Press. ———. Martin Wolfhurst. 1937. London: Dover. Boulder. Bachmann. Louise Goldberg. 1929. 1984. ———. Berman. 1975.W. Distributed by Alfred Publishing Co. 2013. 1985. et al. The Art of the Violin.. Inc. 2010. London: Peters Edition Limited. Palm Springs. 1983. London: Bosworth. Suzuki Education in Action. Karin. Gerle. Strauss. The Amadeus Book of the Violin: Construction. 1977. 3 vols. Practice: 250 Step-by-step Practice Methods for the Violin. Fischer. 1951. 1976.com Music Teachers National Association (MTNA): www. William. London: Dover. and Students. Auer. Ah. 1987.nl 93 Resources . Van Nuys. The Cambridge Companion to the Violin.violinexcerpts.musiccentre.ca Mimi Zweig String Pedagogy: www. 1981. Toronto.. Editha Knocker. 2nd ed. London: Faber Music.com Canadian Federation of Music Teachers’ Associations (CFMTA): www. Ed. Kriesler and Others. 2006. Szigeti. ———.com Suzuki Association of the Americas: www. Robin. Treatise of the Fundamental Principles of Violin Playing. Ottó and Mihály Nemessuri. Menuhin. Ability Development From Age Zero. ———. London: Collet’s. FL: Summy-Birchard.M.org The Violin Community: www. London: Dover.violinmasterclass. Violin: Six Lessons with Yehudi Menuhin. Rosenblith. Kyoko Selden. Where Love Is Deep: The Writings of Shinichi Suzuki. Paul. Cambridge: Cambridge University Press. Craig. 1982. Violin Mastery: Interviews with Heifetz. Stowell. Man and Talent: Search into the Unknown. Web Resources Alliance for Canadian New Music Projects (ACNMP): www.acnmp. Miami.stringpedagogy.com Violin Online: www.mtna. New York: Carl Fischer. London: Oxford University Press. Jack M. Szende. American String Teachers Association. Journey Down the Kreisler Highway: Reflections on the Teachings of Shinichi Suzuki. Leopold. FL: Summy-Birchard. Martens. 1998. Portland.. MO: Talent Education Journal Press. 1984. Basic Principles of Violin Playing. Shinichi. 1998. Louis. ———. OR: Amadeus Press. 1981. A Violinist’s Notebook. 1971. Katharine. London: Gerald Duckworth. Oxford: Oxford University Press. Trans. ed. Violin for Dummies. IL: Western Springs School of Talent Education. CA: Alfred Publishing Co. Ann Arbor. 1985. Young Children’s Talent Education and Its Method. Miami. Violin and Keyboard: the Duo Repertoire: from the 17th Century to Mozart. Miami. 1983. 1990. FL: Summy-Birchard. Timmerman.ca American String Teachers Association (ASTA): www. You Play the Violin…: Thoughts along the Path to Musical Artistry. Frederick H. Trans. Urbana.cfmta. 1969. ———. ———. Lorraine Fink. The Teaching of Action in String Playing. The Principles of Violin Fingering. 2nd ed. Loft. 1967.com The Violin Lab: www. Suzuki. Edward.org The Sassmannshaus Tradition for Violin Playing: www. St. Knoxville. 1996. The Physiology of Violin Playing. FL: Summy-Birchard. Memphis. Inc.violinonline. ———. 2010..com Violinist in Balance: www. TN: Kingston Ellis Press. The Suzuki Violinist. Pernecky. Yampolsky. 1971. First published Miami. 2000. IL: Illinois String Research Associates. Yehudi. Teaching From the Balance Point: A Guide for Suzuki Parents.org Canadian Music Centre (CMC): www. Abram. Teaching the Fundamentals of Violin Playing.violinlab. 1979.suzukiassociation.org National Association for Music Education (NAfME): www.nafme. Szigeti on the Violin. Western Springs.violinistinbalance.Kreitman. 2 vols. Starr. Eric. I. Nurtured By Love: A New Approach to Education. TN: Ivory Palaces Music. MI: Shar Products.astaweb. Rolland. Inc. 1964. 2010. 1992. Rapoport. ON: Wiley. 1959. 2003.violinist. Distributed by Alfred Publishing Co. 2012. Mozart. Joseph. 1974.com Violin Excerpts: www. Teachers. How do I choose the best edition for a piece? The best editions often have minimal editorial markings. Can I photocopy a page of music to facilitate a page turn? You may photocopy a single page once you have obtained permission from the publisher. 2013 Edition. etudes. or speech arts and drama. Limited grants permission to festival. These editions. Should candidates follow repeat signs? Da capo markings? Candidates should observe da capo markings at an examination performance. With this notice.. however. The Frederick Harris Music Co. A compact disc is included with the purchase of each Violin Repertoire book. often called Urtext. Why are teachers and parents not allowed in the room during practical examinations? Practical examinations provide a unique opportunity for candidates to perform in a highly focused. without distraction. Frequently Asked Questions Practical Examinations What is a practical examination? A practical examination is an assessment of repertoire. repeat signs should be observed if indicated in a footnote below the music in the Violin Series. and examination participants to photocopy single pages from their publications to facilitate a page turn. ask your music retailer for suggestions. Some music retailers can obtain authorized photocopies through a special online service. 2013 Edition or if indicated in the Violin Syllabus. technique. ear training. recital. voice. Frequently Asked Questions 94 . one-on-one environment. and sight reading for a musical instrument. Contact information for most publishers can be found online or obtained from a music retailer. If you are unsure about the best edition. How can I obtain permission to photocopy an out-of-print selection that I find in a library or receive from a teacher? Contact the publisher to request permission to make an authorized photocopy. 2013 Edition includes compact discs containing piano accompaniments for Violin Repertoire from Preparatory to Grade 8. are available from most music retailers. Repeat signs should usually be ignored. Where can I find recordings of examination repertoire? Violin Series. . Do I have to take theory examinations if I don’t need a violin examination certificate? You may take a violin examination at any grade except ARCT without fulfilling theory requirements.What do I do if I have an emergency situation on the day of my examination and I need to cancel? Contact the Examination Centre Representative listed on your Examination Schedule by phone as soon as possible. May. Theory Co-requisites What is a theory co-requisite? A theory co-requisite is a theory examination that must be completed before or within five years of the practical examination if the candidate wishes to receive a certificate for the practical examination. Where can I find sample theory examination papers? Official Examination Papers are published annually by The Frederick Harris Music Co. 95 Frequently Asked Questions . Limited to aid with examination preparation. Candidates are encouraged to begin theory studies as early as possible. Editions for three academic years are available at any given time and may be purchased from your local music retailer. Each book includes three examinations from the previous December. Candidates must complete prerequisite examinations in theory at least one session prior to attempting the ARCT in Violin Performance or the Teacher’s ARCT. and August examination sessions plus an additional examination created for extra practice. If you later decide that you would like to receive a certificate. you have five years from the date of the violin examination to fulfill the theory requirements. • Photocopied music is prohibited unless authorized by the publisher. • An objective assessment of your performance of repertoire. books. • Electronic devices. etudes. ___ Mark the pieces being performed with a paper clip or a “sticky note. ___ Bring original copies of all the music being performed in the examination. bags. • The undivided attention of an examiner. professional atmosphere. and teachers must wait in the designated waiting area. other family members.ca) approximately eight weeks after the examination. • Recording devices are strictly prohibited in the examination room. • The examiner’s written evaluation online within eight weeks of the examination. and coats must be left in the area designated by the Centre Representative. friends. rcmusic. • The performance of repertoire may be interrupted by the examiner when an assessment has been made. Points to Remember • Photo ID may be requested before a candidate is admitted to the examination room.” ___ Bring an additional copy of any repertoire you are not performing from memory. Practical Examination Day Checklist for Candidates Before You Leave Home ___ Plan to arrive 15 minutes early. technique. ear tests. ___ Complete your Examination Program Form. What to Expect from a Violin Examination • A friendly. • Standing and listening outside the examination room door is prohibited. notes. Practical Examination Day Checklist for Candidates 96 .examinations. • Parents. and sight reading. After the Examination Access your examination marks and examiner comments through the “Examination Results” link on the Royal Conservatory Examinations website (www.