HARP (Subject Code: 08): Syllabus requirements

Syllabus validity This syllabus is valid from 2005 until further notice. Instruments This syllabus is for pedal and non-pedal harp at all grades. The requirements for pedal harp from Grade 4 are generally for instruments with a minimum of 46 strings. The requirements for non-pedal harp from Grade 3 are for instruments with E b tuning and with a minimum of 34 strings (highest acceptable pitch for bottom string: 6th-octave C). At Grades 1 and 2, three non-pedal harp tuning groups (C tuning, E b tuning and F tuning) are provided for. Tuning Candidates must bring their own instrument to the exam and ensure that it is properly tuned beforehand. Tuning adjustment is permitted during the exam, if necessary. Candidates will also be given sufcient time to make the necessary pedal/lever changes for scale requirements and pieces. The examiner will not assist with tuning. Music stands All ABRSM Centres provide a music stand, but candidates are welcome to bring their own if they prefer. Programme planning Candidates should use their discretion in their choice of three pieces to present a contrasted and balanced programme. One piece must be chosen from each of the three lists in each grade (A, B and C). Pieces marked * may be played by both pedal and non-pedal harpists, provided that the composers original pitches and rhythms are not omitted or altered in any way. Pieces marked must be played by pedal harpists only, while those marked must be played by non-pedal harpists only. For those publications where no distributor is listed in the syllabus, candidates are referred to the following harp retailers Morley, Pencerdd Cyf, Pilgrim, Salvi or Telynau Vining (see pp. 117119 for contact details). Scales and arpeggios Examiners will usually ask for at least one of each type of scale/arpeggio required at each grade. At Grades 1 and 2 examiners will ask non-pedal harp candidates which of the three groups of scales they have chosen. All scales and arpeggios should: be played from memory ascend and descend according to the specied range (and pattern) be played at a pace that achieves a good even tone, clear articulation and a vital and secure rhythmic structure Any practical and systematic ngering that produces a good result will be accepted. The scale requirements are published in separate books for pedal and non-pedal harp by Alaw (see p. 117).
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Harp syllabus requirements

Sight-reading Candidates will be given a short interval of up to half a minute in which to look through and, if they wish, try out any part of the sight-reading test before they are required to perform it for assessment. A book of specimen sight-reading tests for harp (pedal and non-pedal) is published by ABRSM. Performance and assessment When marking, examiners will be assessing not only the accuracy of notes and rhythm, but also other elements inherent in a good performance, including tone quality, tuning, balance, clarity, articulation, suitable choice of tempo and details of expression, phrasing and posture. Any practical and systematic ngering that produces a good result will be accepted. Further details of assessment criteria are given in These Music Exams, available free of charge from music retailers and from www.abrsm.org/exams. Marking scheme Schedule of maximum marks for all grades: Scales and arpeggios Pieces: 1 2 3 Sight-reading Aural tests Total

21 30 30 30 21 18 150

58

Harp GRADE 1
SCALES AND ARPEGGIOS: from memory, in the keys specied in one of the following groups chosen by the

Non-pedal Harp Group 1 C, G, D majors (one octave) Group 2 E b, B b, C majors (one octave) Group 3 F, C, G majors (one octave) Scales: in the above keys, with each hand separately Arpeggios: the common chords of the above keys in root position only, with each hand separately
THREE PIECES: one chosen by the candidate from each of the three lists, A, B and C: LIST A * 1 Bernard Andrs No. 1 from Asters (Hamelle HA009607/UMP) * 2 Anon. Bohemian The Jolly Peasant First Harp Book, arr. Paret (Lyra) * 3 Betty Paret Rondo * 4 Anon. Italian O Sanctissima. Fun from the First!, Vol. 2, arr. Milligan (Lyon & Healy/Salvi) * 5 Grandjany Little Waltz. No. 12 from First-Grade Pieces for Harp by Grandjany and * 6 Jane Weidensaul Midnight Stars or Barn Dance Memory. Weidensaul (Carl Fischer O4466/MDS) No. 13 or No. 15 from * 7 Soler Allegretto. Beginners Harp Book 1, arr. Schlomovitz (Salvi) LIST B * 1 Anon. Chinese The Purple Bamboo. Fun from the First!, Vol. 2, arr. Milligan (Lyon & Healy/Salvi) * 2 Fiona Clifton-Welker Charlotte in Spring, from Harping On, Book 1 (Clifton-Welker) * 3 Bonnie Goodrich Azaleas in Houston or Japanese Lanterns, from A Bouquet for Young Harpists (Bel Artes) * 4 David Gough and Danielle Perrett Donkey Ride, from Lift Off! (Beartramka) * 5 arr. Meinir Heulyn Three Blind Mice. No. 4 from 12 Easy Nursery Tunes for Young Harpists (Alaw) * 6 Anne Macdearmid Lullaby or The Merry-go-Round. Comunn na Clarsaich Folio 18 (Clarsach Society) * 7 David Watkins Berceuse: No. 2 from Six Pieces (Boosey & Hawkes/MDS) LIST C * 1 Dominig Bouchaud Coquillages (Shells) or A pas de fourmis (Ants Steps) or La balle (The Ball), from Harpe dor (Billaudot GB5993/UMP) * 2 Ank van Campen Tutor for the Celtic Harp: Etude No. 2 or No. 5 (Harmonia XHU2703/Spartan Press) * 3 Skaila Kanga Sound the Trumpets or The Glittering Ballroom: No. 8 or No. 10 from Minstrels Gallery (Maruka Music) * 4 Pozzoli 65 Piccoli Studi facili e progressivi, 1st Grade: No. 2 or No. 3 or No. 10. Grossi Metodo per Arpa, p. 91 or p. 97 (Ricordi/UMP) * 5 Tournier Les Tierces. No. 1 from Les Plaisirs de la Harpe, Vol. 1, ed. Gliot (Lemoine/FM Distribution) SIGHT-READING: see p. 58 AURAL TESTS FOR THE GRADE: see pp. 98 and 99

candidate: Pedal Harp C, G, D, F, B b majors (one octave)

* Pedal and non-pedal harp

Published by ABRSM (Specimen Sight-Reading Tests, Specimen Aural Tests)

59

Harp GRADE 2
SCALES AND ARPEGGIOS: from memory, in the keys specied in one of the following groups chosen by the

Non-pedal Harp Group 1 C, G, D, A majors; A, E minors (two octaves) Group 2 E b, B b, C, G majors; C, G minors (two octaves) Group 3 F, C, G, D majors; D, A minors (two octaves) Scales: in the above keys (minors in harmonic form only), with each hand separately, and hands together one octave apart Arpeggios: the common chords of the above keys in root position only: i) with each hand separately, and hands together one octave apart ii) divided between the hands, as example below:

candidate: Pedal Harp C, G, D, F, B b majors; A, E, D minors (two octaves)

THREE PIECES: one chosen by the candidate from each of the three lists, A, B and C: LIST A * 1 Bernard Andrs No. 2 or No. 6 from Aquatintes (Hamelle HA009606/UMP) * 2 Anon. Scottish College Hornpipe. A Harpers Pleasure, arr. Mieras (Swanston Music) * 3 Anon. Welsh Dacw Mam yn Dwad (Here Comes Mother) or Can y Melinydd (The Millers Song) (harp 1 part): No. 3 or No. 6 from Or Dechrau (From the Beginning), arr. Heulyn (Alaw) * 4 J. S. Bach While Bagpipes Play Second Harp Book, arr. Paret (Lyra) * 5 J.-J. Rousseau Evening Song * 6 Mel Bonis Le Petit Mendiant (The Little Beggar). No. 7 from Les Plaisirs de la Harpe, Vol. 1, ed. Gliot (Lemoine/ FM Distribution) * 7 Grandjany Gigue: No. 2 from Petite Suite Classique (Carl Fischer O4788/MDS) * 8 Grandjany The See-Saw, from Little Harp Book (Carl Fischer O4636/MDS) * 9 Lucien Thomson Ebbing Tide or Song at Night (publ. separately: Thomson) LIST B * 1 Bartk In Phrygian Mode or In Yugoslav Mode: No. 2 or No. 3 from Mikrokosmos, arr. Marzuki (Boosey & Hawkes/ MDS) * 2 Geoffrey Burgon Dawn: No. 1 from Beginnings (Stainer & Bell H52) * 3 Fiona Clifton-Welker Goblin Rustle, from Harping On, Book 1 (Clifton-Welker) * 4 Monique Gabus Crpuscule sur le Lagon Les Plaisirs de la Harpe, Vol. 1, ed. Gliot (Twilight on the Lagoon). No. 13 from (Lemoine/FM Distribution) * 5 Yann Geslin Complainte (Lament). No. 12 from * 6 Grandjany Rverie: No. 1 from Trois petites Pices trs faciles, Op. 7 (Leduc AL20039/UMP) * 7 Stewart Green Mister Blisters March, p. 2 from Blistering Along! (Green) * 8 Skaila Kanga Hippopotamus Rag or Bedtime Blues or Swing Time: No. 27 or No. 28 or No. 29 from Minstrels Gallery (Maruka Music) * 9 Geoffrey Winters At Anchor or Celtic Rag: No. 6 or No. 8 from Journeys, Op. 80 (Simrock EE4019/MDS) LIST C * 1 Dominig Bouchaud Parapluie (Umbrella) or Le Crabe (The Crab), from Harpe dor (Billaudot GB5993/UMP) * 2 Ank van Campen Tutor for the Celtic Harp: Etude No. 8 or No. 11 (Harmonia XHU2703/Spartan Press) * 3 Skaila Kanga Mountain Stream or Garden of Dreams: No. 14 or No. 22 from Minstrels Gallery (Maruka Music) * 4 Pozzoli 65 Piccoli Studi facili e progressivi, 1st Grade: No. 13a or No. 13b; or 2nd Grade: No. 11 or No. 15. Grossi Metodo per Arpa, pp. 100, 116 or 122 (Ricordi/UMP) * 5 Phyllis Schlomovitz Ballerina. Beginners Harp Book 1, arr. Schlomovitz (Salvi) SIGHT-READING: see p. 58 AURAL TESTS FOR THE GRADE: see pp. 98 and 99

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Harp GRADE 3
Pedal Harp C, G, D, A, E, F, B b, E b majors; A, E, D, G, C minors (two octaves) Scales: in the above keys (minors in harmonic form only), with each hand separately, and hands together one octave apart Arpeggios: the common chords of the above keys in root position only: i) with each hand separately, and hands together one octave apart (two octaves) ii) divided between the hands, as example below (three octaves):
SCALES AND ARPEGGIOS: from memory, in the following keys:

Non-pedal Harp E b, B b, F, C, G, D majors; C, G, D, A, E minors (two octaves) Scales: in the above keys (minors in harmonic form only), with each hand separately, and hands together one octave apart Arpeggios: the common chords of the above keys in root position only: i) with each hand separately, and hands together one octave apart (two octaves) ii) divided between the hands, as example above (three octaves)
THREE PIECES: one chosen by the candidate from each of the three lists, A, B and C: LIST A * 1 Bernard Andrs Gavotte, from Automates (Hamelle HA009608/UMP) * 2 Anon. Welsh Llwyn Onn (The Ash Grove) (pp. 2022) Medieval to Modern, Vol. 2, ed. Milligan * 3 Bochsa Rondo Le Garon Volage, from Air and Rondo (pp. 46) (Lyon & Healy/Salvi) 4 J. S. Bach Minuet (from Sixth French Suite). Second Harp Book, arr. Paret (Lyra) * 5 Clarke Chaconne. No. 4 from Y Telynor Clasurol (The Classical Harpist), arr. Powell (Adlais) * 6 Handel Allegro or Sonatina. No. 5 or No. 6 from * 7 Skaila Kanga Country Dance: No. 2 from Miniatures (harp 1 part) (Alaw) 8 Koechlin Sicilienne. No. 23 from Les Plaisirs de la Harpe, Vol. 1, ed. Gliot (Lemoine/FM Distribution) * 9 Pssler Rondo. No. 3 from Short Pieces from the Masters, arr. Grandjany (Carl Fischer H64/MDS) LIST B * 1 Anon. Scottish A Bheairt-Fhioda (A Weaving Lilt). A Harpers Pleasure, arr. Mieras (Swanston Music) * 2 Bartk Triplets or Five-tone Scale: No. 11 or No. 12 from Mikrokosmos, arr. Marzuki (Boosey & Hawkes/MDS) 3 Delibes Solo for Harp. Two Original Pieces by Franck and Delibes, ed. Costello (OUP archive/Allegro) * 4 Grandjany Barcarolle: No. 3 from Trois petites Pices trs faciles, Op. 7 (may be played in C on non-pedal harp) (Leduc AL20039/UMP) * 5 Stewart Green Blistering Rock!, from Blistering Along! (Green) 6 Hasselmans Rouet: No. 2 from Trois petites Pices faciles (Durand/UMP) * 7 Susann McDonald Alpine Waltz Harp Solos, Vol. 3, by McDonald and Wood (Musicworks) 8 Linda Wood Russian Lullaby * 9 Buxton Orr No. 2 from Three Diatonic Preludes (OUP archive/Allegro) LIST C 1 Bochsa 40 Etudes Faciles, Op. 318, Book 1: No. 4 or No. 5 (Leduc AL20029/UMP) * 2 Ank van Campen Tutor for the Celtic Harp: Scale-Study No. 4, p. 47 (Harmonia XHU2703/Spartan Press) * 3 Jean-Michel Damase 10 Etudes Faciles et Progressives: No. 1 or No. 2 (Billaudot GB7090/UMP) * 4 Carlo Grossi Etude. No. 22 from Les Plaisirs de la Harpe, Vol. 1, ed. Gliot (Lemoine/FM Distribution) * 5 Pozzoli Studi di Media Difcolt: No. 1 (Ricordi/UMP) SIGHT-READING: see p. 58 AURAL TESTS FOR THE GRADE: see pp. 98 and 100
* Pedal and non-pedal harp Pedal harp only Published by ABRSM (Specimen Sight-Reading Tests, Specimen Aural Tests)

61

Harp GRADE 4
Pedal Harp C, G, D, A, E, F, B b, E b, A b majors; A, E, D, G, C, F minors (three octaves) Scales: in the above keys (A, E, D and G minors in harmonic form only, C and F minors in both melodic and harmonic forms), with each hand separately, and hands together one octave apart Arpeggios: the common chords of the above keys in root position and rst inversion: i) with each hand separately, and hands together one octave apart (three octaves) ii) divided between the hands, as example below (four octaves):
SCALES AND ARPEGGIOS: from memory, in the following keys:

Non-pedal Harp E b, B b, F, C, G, D, A, E majors; C, G, D, A, E minors (two octaves) Scales: in the above keys (minors in harmonic form only): i) with each hand separately, and hands together one octave apart ii) C and A minors in melodic form with RH only Arpeggios: the common chords of the above keys in root position and rst inversion: i) with each hand separately, and hands together one octave apart (two octaves) ii) divided between the hands, as example in Grade 3 (three octaves)
THREE PIECES: one chosen by the candidate from each of the three lists, A, B and C: LIST A * 1 Bernard Andrs Sarabande or Gaillarde, from Automates (Hamelle HA009608/UMP) 2 J. S. Bach Prelude in C, BWV 846: No. 1 from The Well-Tempered Clavier, Book 1. Second Harp Book, arr. Paret (Lyra) 3 J. S. Bach Prelude in C, BWV 846: No. 1 from The Well-Tempered Clavier, Book 1, arr. OFarrell (OFarrell) 4 Clementi Sonatina in C, Op. 36 No. 1: 1st movt, Allegro. Second Harp Book, arr. Paret (Lyra) 5 Clementi Sonatina in C, Op. 36 No. 1: 1st movt, Allegro. Composers in Georgian London, trans. Shaljean (Blue Crescent Music) 6 arr. Olivia Dussek Merch Megan (Megans Daughter) (Adlais) 7 Handel Sarabande. Second Harp Book, arr. Paret (Lyra) 8 Grandjany Gavotte: No. 3 from Petite Suite Classique (Carl Fischer O4788/MDS) 9 Kuhlau Theme and Variations. No. 23 from Panorama de la Harpe Celtique, arr. 10 Mozart Andante grazioso (from Piano Sonata, K. 331). No. 22 from Bouchaud (Editions Musicales 11 A. Scarlatti Minuetto. No. 19 from Transatlantiques/Music Sales) LIST B * 1 Bartk Merriment: No. 13 from Mikrokosmos, arr. Marzuki (Boosey & Hawkes/MDS) * 2 arr. Deborah Friou Scarborough Fair (Friou Music) * 3 Stewart Green Ragged Robin, from Flights of Fancy (Green) * 4 arr. Meinir Heulyn Oer the Sea to Skye: No. 6 from Famous Music for the Harp, Vol. 1 (Alaw) 5 arr. Meinir Heulyn Y Ferch o Blwy Penderyn (The Girl from Penderyn) or Ar Hyd y Nos (All Through the Night), from Telynor Llys a Chastell (Harpist of Court and Castle) (Adlais) * 6 Skaila Kanga Skating on Ice: No. 4 from Miniatures (harp 1 part) (Alaw) * 7 Alfredo Rolando Ortiz Waiting or The Harp Cha-cha-ch, from The International Rhythmic Collection, Vol. 1 (Aroy Music) * 8 Alfredo Rolando Ortiz Tango Triste or Carnaval Brasileiro, from The International Rhythmic Collection, Vol. 2 (Aroy Music) 9 Reni Angelus, from Feuillets dAlbum (Lemoine/FM Distribution) 10 Reni Conte de Nol: No. 1 from Six Pices Brves, 1st Suite (Leduc AL20157/UMP) * 11 arr. Ronald Stevenson Eriskay Love-Lilt, from Sounding Strings (UMP) 12 Linda Wood Two Guitars. Harp Solos, Vol. 4, by McDonald and Wood (Musicworks)

62

Harp: GRADE 4
LIST C * 1 Freddy Alberti 10 Etudes Progressives et Techniques: No. 3 or No. 8 (Hamelle HA009600/UMP) 2 Bochsa 40 Etudes Faciles, Op. 318, Book 1: No. 14 (Leduc AL20029/UMP) * 3 Louis Concone 30 Etudes Progressives, Op. 26, Book 1: No. 1 (Prlude) (Billaudot R3589/UMP) * 4 Jean-Michel Damase 10 Etudes Faciles et Progressives: No. 3 (Billaudot GB7090/UMP) 5 Jean-Michel Damase 12 Etudes pour Harpe: No. 1 (Lemoine/FM Distribution) 6 Pozzoli Studi di Media Difcolt: No. 11 or No. 14 (Ricordi/UMP) * 7 Phyllis Schlomovitz Butteries. Beginners Harp Book 1, arr. Schlomovitz (Salvi) SIGHT-READING: see p. 58 AURAL TESTS FOR THE GRADE: see pp. 98 and 100

* Pedal and non-pedal harp

Pedal harp only

Non-pedal harp only

Published by ABRSM (Specimen Sight-Reading Tests, Specimen Aural Tests)

63

Harp GRADE 5
SCALES AND ARPEGGIOS: from memory, in the following keys:

Pedal Harp all major and minor keys not involving double sharps or double ats (three octaves) Scales: in the above keys (minors in both melodic and harmonic forms), with each hand separately, and hands together one octave apart Arpeggios: the common chords of the above keys in root position and rst inversion (as well as in second inversion in C and F majors and minors): i) with each hand separately, and hands together one octave apart (three octaves) ii) divided between the hands, as example in Grade 4 (four octaves) Dominant Sevenths: in the keys of C, F, G and B b in root position only: i) with each hand separately, and hands together one octave apart, as example below (three octaves):

ii) divided between the hands, as example below (four octaves):

Non-pedal Harp E b, B b, F, C, G, D, A, E majors; C, G, D, A, E minors (two octaves) Scales: in the above keys (minors in harmonic form only): i) with each hand separately, and hands together one octave apart ii) C, D and A minors in melodic form with RH only Arpeggios: the common chords of the above keys in root position and rst inversion (as well as in second inversion in C and G majors and minors): i) with each hand separately, and hands together one octave apart (two octaves) ii) divided between the hands, as example in Grade 3 (three octaves) Dominant Sevenths: in the keys of C, F, G and B b in root position only: i) with each hand separately, and hands together one octave apart, as rst example above (two octaves) ii) divided between the hands, as example below (three octaves):

V 34 . B 3 { 4

* Pedal and non-pedal harp

Pedal harp only

Non-pedal harp only

Published by ABRSM (Specimen Sight-Reading Tests, Specimen Aural Tests)

64

Harp: GRADE 5
THREE PIECES: one chosen by the candidate from each of the three lists, A, B and C: LIST A 1 Anon. Pavane, trans. Salzedo Solos for the Harp Player, ed. Lawrence (Schirmer GS33075/Music Sales) 2 Corelli Sarabande, trans. Owens * 3 Anon. Variations sur un thme de Mozart, arr. Le Dentu: Theme & Vars 2, 5 & 6 only (Billaudot GB3163/UMP) 4 Arne Sonata No. 6 in G minor: 2nd movt, Presto (Gigue). Anthology of English Music for the Harp, Vol. 3, ed. Watkins (Stainer & Bell H141) * 5 Clementi Sonatina in C, Op. 36 No. 1: 2nd and 3rd movts, Andante and Vivace. Composers in Georgian London, trans. Shaljean (Blue Crescent Music) 6 J. L. Dussek Sonatina No. 2 in F: 2nd movt, Allegro. Dussek 6 Sonatines (Brenreiter Praha H 1748/Brenreiter) 7 arr. Meinir Heulyn Ymadawiad y Brenin (The Kings Departure), from Telynor Llys a Chastell (Harpist of Court and Castle) (Adlais) 8 Naderman Sonatina No. 2 in C minor: 1st movt, Allegro maestoso. Naderman 7 Sonates Progressives (Leduc AL20037/UMP) 9 OCarolan Concerto. No. 39 from Panorama de la Harpe Celtique, arr. Bouchaud (Editions Musicales Transatlantiques/Music Sales) 10 OCarolan Madam Cole or Lady Dillon. No. 2 or No. 12 from Sounding Harps, Book 3 (Cirde na Cruite) * 11 Scarlatti Sonata in C. No. 1 from Pices Classiques, Book 5, arr. Bouchaud (Billaudot GB4369/UMP) 12 arr. Florence Wilson Eilean a Cho (The Misty Island). Comunn na Clarsaich Folio 8 (Clarsach Society) LIST B * 1 Anon. Water is Wide. Treasures of the Celtic Harp, arr. Robertson (Mel Bay) 2 Lex van Delden Notturno (Lengnick/FM Distribution) * 3 Jeffrey Mayhew Fiskars from People and Places (Jeffrey Mayhew) 4 Jeffrey Mayhew El Colibri 5 Susann McDonald Nocturne. Harp Solos, Vol. 5, by McDonald and Wood (Musicworks) * 6 OCarolan Carolans Farewell to Music. The Irish Harp Book, ed. Larchet Cuthbert, p. 103 (Mercier Press) * 7 Anne-Marie OFarrell Prelude for Irish Harp (OFarrell) * 8 Buxton Orr No. 3 from Three Diatonic Preludes (OUP archive/Allegro) * 9 Alfredo Rolando Ortiz Noche de Fiesta, from The International Rhythmic Collection, Vol. 1 (Aroy Music) 10 Reni Au bord du ruisseau (Leduc/UMP) 11 Reni Esquisse, from Feuillets dAlbum (Lemoine/FM Distribution) 12 Carlos Salzedo Short Fantasy on a Catalan Carol, from Christmas Harp Collection (Boosey & Hawkes/MDS) 13 arr. Ronald Stevenson Harp of Gold and The Cockle-Gatherer, from Sounding Strings (UMP) 14 Tournier Prlude No. 1 in G b, from 4 Prludes, Op. 16 (Leduc/UMP) LIST C * 1 Freddy Alberti 10 Etudes Progressives et Techniques: No. 4 (Hamelle HA009600/UMP) 2 Bernard Andrs Prludes, Book 1: No. 1 or No. 3 (Hamelle HA009624/UMP) 3 Bochsa 40 Etudes Faciles, Op. 318, Book 1: No. 8 or No. 15 or No. 16 (Leduc AL20029/UMP) * 4 Louis Concone 30 Etudes Progressives, Op. 26, Book 1: No. 2 (Prlude in B b) (Billaudot R3589/UMP) * 5 Jean-Michel Damase 10 Etudes Faciles et Progressives: No. 4 or No. 5 (Billaudot GB7090/UMP) 6 Jean-Michel Damase 12 Etudes pour Harpe: No. 2 or No. 3 (Lemoine/FM Distribution) 7 Pozzoli Studi di Media Difcolt: No. 10 or No. 15 or No. 20 (Ricordi/UMP) * 8 Sor Etude No. 5. No. 27 from Panorama de la Harpe Celtique, arr. Bouchaud (Editions Musicales Transatlantiques/ Music Sales) SIGHT-READING: see p. 58 AURAL TESTS FOR THE GRADE: see pp. 98 and 101

65

Harp GRADE 6
PREREQUISITE FOR ENTRY: Grade 5 (or above) in Theory of Music, Practical Musicianship or any solo Jazz

subject.
SCALES AND ARPEGGIOS: from memory, in the following keys:

Pedal Harp all major and minor keys not involving double sharps or double ats (four octaves) Scales: in the above keys (minors in both melodic and harmonic forms), with each hand separately, and hands together one octave apart and a sixth apart Arpeggios: the common chords of the above keys in root position, rst and second inversions: i) with each hand separately, and hands together one octave apart ii) divided between the hands, as example in Grade 4 Dominant Sevenths: in all keys in root position and rst inversion: i) with each hand separately, and hands together one octave apart (three octaves) ii) divided between the hands, as example in Grade 5 (four octaves) Non-pedal Harp E b, B b, F, C, G, D, A, E majors; C, G, D, A, E minors (three/two octaves, as range permits) Scales: in the above keys (minors in harmonic form only): i) with each hand separately, and hands together one octave apart and a sixth apart ii) minors in melodic form with RH only (three octaves) Arpeggios: the common chords of the above keys in root position, rst and second inversions: i) with each hand separately, and hands together one octave apart ii) divided between the hands, as example in Grade 3 (three octaves) Dominant Sevenths: in the keys of C, F, G and B b in root position and rst inversion (three octaves): i) with each hand separately, and hands together one octave apart ii) divided between the hands, as non-pedal harp example in Grade 5
THREE PIECES: one chosen by the candidate from each of the three lists, A, B and C: LIST A 1 Anon. Irish Bean Dubh an Ghleanna (The Dark Woman of the Glen). No. 8 from Sounding Harps, Book 3 (Cirde na Cruite) 2 Anon. Irish Shule Aroon. Treasures of the Celtic Harp, arr. Robertson (Mel Bay) 3 J. C. Bach Presto. No. 3 from Pices Classiques, Book 5, arr. Bouchaud (Billaudot GB4369/UMP) 4 Blow Mortlacks Ground. Anthology of English Music for the Harp, Vol. 2, ed. Watkins (Stainer & Bell H140) 5 Cabezn Pavane and Variations. Spanish Masters of the 16th and 17th Century, ed. Zabaleta (Schott BSS 38512/ MDS) 6 J. L. Dussek Sonatina No. 6 in E b: complete. Dussek 6 Sonatines (Brenreiter Praha H 1748/Brenreiter) 7 Handel Gigue, arr. Thomas (Adlais) 8 T. C. Kelly Interlude. The Irish Harp Book, ed. Larchet Cuthbert, pp. 1168 (Mercier Press) 9 John Parry Sonata No. 1 in D: 1st movt, Allegro. Anthology of English Music for the Harp, Vol. 3, ed. Watkins (Stainer & Bell H141) 10 Rameau Tambourin, trans. Salzedo. Solos for the Harp Player, ed. Lawrence (Schirmer GS33075/Music Sales) 11 Scarlatti Sonata in A, Kp. 208, L. 238. Scarlatti 2 Sonatas, trans. Wooldridge (Lyon & Healy/Salvi)

* Pedal and non-pedal harp

Pedal harp only

Non-pedal harp only

Published by ABRSM (Specimen Sight-Reading Tests, Specimen Aural Tests)

66

Harp: GRADE 6
LIST B 1 Britten Interlude: No. 7 from A Ceremony of Carols, Op. 28 (harp part: Boosey & Hawkes/MDS) 2 Paul Lewis Blue Fiver: No. 3 from Saturday Night Jazz Suite (Goodmusic) 3 Henry Mancini Moon River. No. 2 from All-Time Jazz Favourites, arr. Kanga (Alaw) 4 Daniel McNulty Berceuse. The Irish Harp Book, ed. Larchet Cuthbert, pp. 1667 (Mercier Press) 5 OCarolan Planxty Johnston. No. 13 from Sounding Harps, Book 3 (Cirde na Cruite) 6 arr. Anne-Marie OFarrell Don Oche d i mBeithil (The Night in Bethlehem) (OFarrell) 7 Alfredo Rolando Ortiz Danza de Luzma (advanced version, p. 54), from The International Rhythmic Collection, Vol. 1 (Aroy Music) 8 Alfredo Rolando Ortiz Tu Ventana (advanced version, p. 38) or The Buttery Trees, from The International Rhythmic Collection, Vol. 2 (Aroy Music) 9 Carlos Salzedo Polka, from Suite of Eight Dances (Lyon & Healy/Salvi) 10 arr. John Thomas Bugeilior Gwenith Gwyn (Watching the Wheat) (Adlais) 11 Tournier Les Enfants la Crche de Nol, from 3 Images, 2nd Suite, Op. 31 (Lemoine/FM Distribution) 12 Tournier Prlude No. 3 in E b or Prlude No. 4 in G b, from 4 Prludes, Op. 16 (Leduc AL20062/UMP) LIST C * 1 Freddy Alberti 10 Etudes Progressives et Techniques: No. 5 or No. 6 (Hamelle HA009600/UMP) 2 Bochsa 50 Etudes, Op. 34, Book 1: No. 1 or No. 2 (Leduc AL20022/UMP) * 3 Louis Concone 30 Etudes Progressives, Op. 26, Book 1: No. 5 (Prlude in B b) (Billaudot R3589/UMP) * 4 Jean-Michel Damase 10 Etudes Faciles et Progressives: No. 7 or No. 10 (Billaudot GB7090/UMP) 5 Jean-Michel Damase 12 Etudes pour Harpe: No. 5 or No. 6 (Lemoine/FM Distribution) 6 Dizi 48 Etudes, Book 1: No. 7 (Lemoine/FM Distribution) * 7 Heller Etude in C, Op. 45 No. 1. Etudes for Concert or Celtic Harp, ed. Shaljean (Blue Crescent Music) 8 Pozzoli Studi di Media Difcolt: No. 12 or No. 21 (Ricordi/UMP) * 9 Bonnie Shaljean Prelude in A minor, from 12 Preludes for Concert or Celtic Harp (Blue Crescent Music) SIGHT-READING: see p. 58 AURAL TESTS FOR THE GRADE: see pp. 98 and 101

67

Harp GRADE 7
PREREQUISITE FOR ENTRY: Grade 5 (or above) in Theory of Music, Practical Musicianship or any solo Jazz

subject.
SCALES AND ARPEGGIOS: from memory, in the following keys:

Pedal Harp all major and minor keys not involving double sharps or double ats (four octaves) Scales: in the above keys (minors in both melodic and harmonic forms): i) with each hand separately, and hands together one octave apart, a sixth apart and a tenth apart ii) in contrary motion (minors in harmonic form only), starting one octave apart (two octaves) Arpeggios: the common chords of the above keys in root position, rst and second inversions: i) with each hand separately, and hands together one octave apart ii) divided between the hands, as example in Grade 4 Dominant Sevenths: in all keys in root position, rst and second inversions: i) with each hand separately, and hands together one octave apart ii) divided between the hands, as example in Grade 5 iii) in the narrow position, divided between the hands (in root position only), as example below:

Non-pedal Harp E b, B b, F, C, G, D, A, E majors; C, G, D, A, E minors (three/two octaves, as range permits) Scales: in the above keys (minors in harmonic form only): i) with each hand separately, and hands together one octave apart and a sixth apart ii) minors in melodic form with RH only (three octaves) iii) in contrary motion (minors in harmonic form only), starting one octave apart (one octave) Arpeggios: the common chords of the above keys in root position, rst and second inversions: i) with each hand separately, and hands together one octave apart ii) divided between the hands, as example in Grade 3 (three octaves) Dominant Sevenths: in the keys of C, F, G and B b in root position, rst and second inversions (three octaves): i) with each hand separately, and hands together one octave apart ii) divided between the hands, as non-pedal harp example in Grade 5 iii) in the narrow position, divided between the hands (in root position only), as example above (three octaves)
THREE PIECES: one chosen by the candidate from each of the three lists, A, B and C: LIST A 1 Anon. Irish Miss Browns Fancy. Treasures of the Celtic Harp, arr. Robertson (Mel Bay) 2 Arne Sonata No. 7 in A: 1st and 2nd movts, Allegro and Andante. Anthology of English Music for the Harp, Vol. 3, ed. Watkins (Stainer & Bell H141) 3 J. L. Dussek Sonata in C minor, Op. 2 No. 3: any two movements (Schott BSS 38511/MDS) 4 Handel Passacaglia, arr. Bon (Leduc AL20028/UMP) 5 Handel Theme and Variations (Schott ED 4913/MDS) 6 Edward Jones Pant Corlan yr Wyn (The Hollow of the Lambsfold): No. 3 from Clasuron Edward Jones (Edward Jones Classics), ed. Heulyn (Alaw) 7 P. J. Mayer Sonata in G minor, Op. 3 No. 6: 1st and 2nd movts, Andante and Un poco Allegro (Schott ED 5394/MDS) 8 Naderman Sonatina No. 7 in C: Prlude and Allegro brillante poco moderato. Naderman 7 Sonates Progressives (Leduc AL20037/UMP) 9 Anne-Marie OFarrell Chorale Variations on Deus Meus Adiuva Me (OFarrell) 10 John Parry Sonata No. 2 in G: any two movements. Parry 4 Sonatas, ed. Williams (Salvi) 11 Carlos Salzedo Menuet or Siciliana, from Suite of Eight Dances (Lyon & Healy/Salvi) * 12 Scarlatti Sonata in A minor, Kp. 61, L. 136. No. 3 from Pices Classiques, Book 6, arr. Bouchaud 13 Sweelinck Bergamasca (omitting Vars 3, 4 & 5). No. 5 from (Billaudot GB5635/UMP) * 14 Bonnie Shaljean The Seven Joys (Blue Crescent Music)

68

Harp: GRADE 7
LIST B 1 Alwyn Crpuscule (Lengnick/FM Distribution) 2 Falla Danse du Corregidor. No. 1 from Falla Three Pieces, arr. Watkins (Chester CH55056/Music Sales) 3 Field Nocturne in D minor. Anthology of English Music for the Harp, Vol. 4, ed. Watkins (Stainer & Bell H142) 4 Glinka Nocturne (Salvi) 5 Hasselmans Prire (Salabert/UMP) * 6 Deborah Henson-Conant Nataliana (Golden Cage Music) * 7 arr. Meinir Heulyn Pedair Waltz o Gymru (Four Welsh Waltzes): No. 1 from Gwledd Geltaidd (A Celtic Feast), Vol. 1 (Alaw) 8 Ibert Scherzetto: No. 2 from Six Pices (Leduc AL18087/UMP) 9 Skaila Kanga Les Saisons de la Harpe: any two movements (Alaw) 10 William Mathias Improvisations for Harp, Op. 10: any two movements (OUP) 11 Sergiu Natra Sonatina for Harp: any two movements (Israel Music Institute) 12 Alfredo Rolando Ortiz Cocorn (advanced version, p. 29) from The International Rhythmic Collection, 13 Alfredo Rolando Ortiz Danza Cubana Vol. 2 (Aroy Music) 14 John Rutter Interlude from Dancing Day (harp part: OUP) 15 Gerard Victory No. 3, Allegro assai, from Three Pieces for the Irish Harp. The Irish Harp Book, ed. Larchet Cuthbert, pp. 1414 (Mercier Press) 16 David Watkins Nocturne or Fire Dance, from Petite Suite (UMP) LIST C 1 J. S. Bach, arr. Grandjany Etudes for Harp: No. 9 (Carl Fischer O4819/MDS) 2 Jean-Michel Damase 12 Prludes pour Harpe: Allegretto (pp. 46) or Allegro vivace (pp. 811) (Lemoine/FM Distribution) 3 Desserre 3 Etudes: No. 1 in C b or No. 3 in G b (Les Nouvelles ditions Mridian) 4 Dizi 48 Etudes, Book 1: No. 2 or No. 5 or No. 10 (Lemoine/FM Distribution) * 5 Moszkowski Etude in C, Op. 91 No. 11 Etudes for Concert or Celtic Harp, ed. Shaljean (Blue Crescent Music) 6 Viner Etude and Shaljean Etude after Viner 7 arr. Kim Robertson Glenlivet or Moving Cloud. Treasures of the Celtic Harp, arr. Robertson (Mel Bay) * 8 Bonnie Shaljean Prelude in C or Prelude in B b, from 12 Preludes for Concert or Celtic Harp (Blue Crescent Music) 9 Tournier Etude de Concert Au Matin (Leduc AL20007/UMP) 10 Zabel Marguerite au Rouet, Op. 19 (Adlais) SIGHT-READING: see p. 58 AURAL TESTS FOR THE GRADE: see pp. 98 and 102

* Pedal and non-pedal harp

Pedal harp only

Non-pedal harp only

Published by ABRSM (Specimen Sight-Reading Tests, Specimen Aural Tests)

69

Harp GRADE 8
PREREQUISITE FOR ENTRY: Grade 5 (or above) in Theory of Music, Practical Musicianship or any solo Jazz

subject.
SCALES AND ARPEGGIOS: from memory, in the following keys:

Pedal Harp all major and minor keys not involving double sharps or double ats (four octaves) Scales: in the above keys (minors in both melodic and harmonic forms): i) with each hand separately, and hands together one octave apart, a sixth apart and a tenth apart ii) in contrary motion (minors in harmonic form only), starting one octave apart, a sixth apart and a tenth apart (two octaves) Arpeggios: the common chords of the above keys in root position, rst and second inversions: i) with each hand separately, and hands together one octave apart ii) divided between the hands, as example in Grade 4 iii) in the narrow position, divided between the hands (in root position only), as example below:

Dominant Sevenths: in all keys in root position, rst, second and third inversions: i) with each hand separately, and hands together one octave apart ii) divided between the hands, as example in Grade 5 iii) in the narrow position, divided between the hands (in root position only), as example in Grade 7 Diminished Sevenths: starting on C #, F # and G #: i) with each hand separately, and hands together one octave apart ii) divided between the hands, as example below:

Non-pedal Harp E b, B b, F, C, G, D, A, E majors; C, G, D, A, E minors (three/two octaves, as range permits) Scales: in the above keys (minors in harmonic form only): i) with each hand separately, and hands together one octave apart and a sixth apart ii) minors in melodic form with RH only (three octaves) iii) in contrary motion (minors in harmonic form only), starting one octave apart, a third apart and a sixth apart (one octave) Arpeggios: the common chords of the above keys in root position, rst and second inversions: i) with each hand separately, and hands together one octave apart ii) divided between the hands, as example in Grade 4 (four/three octaves, as range permits) iii) in the narrow position, divided between the hands (in root position only), as example above (three octaves) Dominant Sevenths: in the keys of C, F, G and B b in root position, rst, second and third inversions: i) with each hand separately, and hands together one octave apart (three octaves) ii) divided between the hands, as second pedal harp example in Grade 5 (four octaves) iii) in the narrow position, divided between the hands (in root position only), as example in Grade 7 (four octaves) Diminished Sevenths: starting on C#, F# and G#: i) with each hand separately, and hands together one octave apart (three octaves) ii) divided between the hands, as example above (four octaves)
* Pedal and non-pedal harp Pedal harp only Non-pedal harp only Published by ABRSM (Specimen Sight-Reading Tests, Specimen Aural Tests)

b #b # b VC # # b b #b { B C # b # #

70

Harp: GRADE 8
THREE PIECES: one chosen by the candidate from each of the three lists, A, B and C: LIST A 1 Gabriel Currington Millennium Hope. Lever Harp 2000, ed. Perrett and Gough (Beartramka) 2 J. L. Dussek Sonata in E b, Op. 34 No. 1: 1st movt, Allegro brillante. Dussek 2 Grandes Sonates (Salvi) * 3 S. Dussek The Garland of Love, ed. Shaljean (Blue Crescent Music) 4 Barbara Giuranna Sonatina: 1st movt, Allegretto con fantasia (Ricordi/UMP) 5 Glinka Variations on a Theme of Mozart (version No. 1 for harp) (Salvi) * 6 Handel Air and Variations (The Harmonious Blacksmith). No. 6 from Pices Classiques, Book 6, arr. Bouchaud (Billaudot GB5635/UMP) 7 Handel Concerto in B b, Op. 4 No. 6, HWV 294 (unaccompanied): 1st and 2nd movts, Andante allegro and Larghetto (pedal harp solo part: Brenreiter BA 8347) 8 Handel Concerto in B b, Op. 4 No. 6, HWV 294 (unaccompanied): 1st and 2nd movts, Andante allegro and Larghetto (non-pedal harp edition by Le Dentu: Billaudot GB3320/UMP) 9 Handel, arr. Grandjany Prelude and Toccata. Grandjany Music for the Harp (Associated Music Publishers/Music Sales) 10 Anne-Marie OFarrell The Knappogue Medley (OFarrell) 11 Piern Impromptu-Caprice, Op. 9 (Leduc AL10381/UMP) 12 Respighi Siciliana, trans. Grandjany (Ricordi/UMP) 13 Rodrigo Concierto de Aranjuez: 2nd movt, Adagio con passione, trans. Hurst (Safari Publications) 14 Carlos Salzedo Gavotte and Tango, from Suite of Eight Dances (Lyon & Healy/Salvi) 15 Scarlatti Sonata in D, Kp. 430, L. 463. Scarlatti Three Sonatas, ed. Owens (Lyon & Healy/Salvi) 16 Bonnie Shaljean Fantasia on a Sonata by Cardon (Blue Crescent Music) 17 David Watkins Prelude, from Petite Suite (UMP) 18 Aristid von Wurtzler Variations on a Theme of Corelli (omitting Vars 4 & 5) (General Music Publishing Company) LIST B 1 York Bowen Arabesque (Goodwin & Tabb/Music Sales) 2 Henri Bsser Pice de Concert, Op. 32 (observing both cuts) (Leduc AL13879/UMP) 3 Marius Flothuis Pour le tombeau dOrphe, Op. 37 (Donemus) 4 Eugene Goossens Ballade No. 2, from 2 Ballades (Leduc AL22974/UMP) (limited availability) 5 David Gough Rag-Bag Lever Harp 2000, ed. Perrett and Gough (Beartramka) 6 Danielle Perrett After Debussy 7 Jess Guridi Viejo Zortzico (UME 19549/Music Sales) 8 Hasselmans Valse de Concert (Combre/UMP) 9 Anne Macdearmid Sea Rapture (Macdearmid) 10 Daniel McNulty Fantasia and Rondo. The Irish Harp Book, ed. Larchet Cuthbert, pp. 1635 and pp. 16871 (Mercier Press) * 11 Alfredo Rolando Ortiz Milonga para amar (advanced version, p. 52), from The International Rhythmic Collection, Vol. 2 (Aroy Music) 12 Richard Rodgers My Favourite Things. No. 3 from All-Time Jazz Favourites, arr. Kanga (Alaw) 13 Roussel Impromptu, Op. 21 (Durand/UMP) * 14 Bonnie Shaljean Slow Train (Blue Crescent Music) 15 Tailleferre Sonata: 3rd movt, Perpetuum mobile (Peermusic/Music Sales) LIST C 1 J. S. Bach, arr. Grandjany Etudes for Harp: No. 1 or No. 12 (Carl Fischer O4819/MDS) * 2 Beethoven Mandolin Sonatina in C. Beethoven for Harp, trans. Shaljean (Blue Crescent Music) 3 Desserre 3 Etudes: No. 2 in E b (Les Nouvelles Editions Mridian) 4 Dizi 48 Etudes, Book 1: No. 21 or No. 23 or No. 24 (Lemoine/FM Distribution) 5 Prokoev Prelude in C, Op. 12 No. 7 (Forberg/Peters) 6 Kim Robertson Boundless. Treasures of the Celtic Harp, arr. Robertson (Mel Bay) 7 Nino Rota Toccata, from Sarabanda e Toccata (Ricordi/UMP) 8 Eric Schmidt 6 Etudes: No. 6 (Leduc AL21326/UMP) * 9 Bonnie Shaljean Prelude in D minor or Prelude in F, from 12 Preludes for Concert or Celtic Harp (Blue Crescent Music) 10 David Snell Toccata Lever Harp 2000, ed. Perrett and Gough (Beartramka) 11 Nigel Springthorpe Rondo 12 John Thomas Selected Studies: No. 2 in Bb minor or No. 4 in Gb (Adlais) 13 Zabel 3 Grand Concert Etudes: No. 1 in E b (Zimmermann/MusT or Zimmermann/MDS) SIGHT-READING: see p. 58 AURAL TESTS FOR THE GRADE: see pp. 98 and 103

71

AURAL TESTS: included in the Practical exams for all subjects

Listening lies at the heart of all good music-making. Developing aural awareness is fundamental to musical training because having a musical ear impacts on all aspects of musicianship. Singing, both silently in the head and out loud, is one of the best ways to develop the musical ear. It connects the internal imagining of sound, the inner ear, with the external creation of it, without the necessity of mechanically having to nd the note on an instrument (important though that connection is). By integrating aural activities in imaginative ways in the lesson, preparation for the aural tests within an exam will be a natural extension of what is already an essential part of the learning experience. In the exam Aural tests are an integral part of all Practical graded exams. The tests are administered by the examiner from the piano. For any test that requires a sung response, pitch rather than vocal quality is the object. The examiner will be happy to adapt to the vocal range of the candidate, whose responses may be sung to any vowel (or consonant followed by a vowel), hummed or whistled (and at a different octave, if appropriate). Assessment A number of tests allow for a second attempt or for an additional playing by the examiner, if necessary. Also, where there is hesitation on the part of the candidate, the examiner will be ready to prompt, if necessary. In any such cases, this will affect the assessment. Marks are not awarded for each individual test nor deducted for mistakes but reect the candidates overall response in this section. The marking criteria for the aural tests are given on p. 11. Minor modications (from 2011) This syllabus includes the minor modications introduced to some aural tests in 2011. Specimen tests Examples of the tests are given in new editions (from 2011) of Specimen Aural Tests and Aural Training in Practice, available for purchase from music retailers and from www.abrsm.org/shop. Deaf or hearing-impaired candidates Deaf or hearing-impaired candidates may opt to respond to alternative tests in place of the standard tests, if requested at the time of entry. The syllabus for these tests is available free on request from ABRSM (E accesscoordinator@abrsm.ac.uk). Examples of the alternative tests are available for purchase from Allegro Music (T +44 (0)1885 490375; E sales@allegro.co.uk). The minor modications (from 2011) do not affect the alternative aural tests.

88

Aural Tests GRADE 1

A To clap the pulse of a piece played by the examiner, and to identify whether it is in two time or three time. The examiner will start playing the passage, and the candidate should join in as soon as possible, clapping in time and giving a louder clap on the strong beats. The examiner will then ask whether the music is in two time or three time. The candidate is not required to state the time signature. To sing as echoes three phrases played by the examiner. The phrases will be two bars long, in a major key, and within the range of tonicmediant. First the examiner will play the key-chord and the starting note (the tonic) and then count in two bars. After the examiner has played each phrase, the candidate should sing back the echo without a pause, keeping in time. To identify where a change in pitch occurs during a phrase played by the examiner. The phrase will be two bars long, in a major key, and the change will affect only one of the notes. First the examiner will play the key-chord and the tonic and then count in two bars. The examiner will play the phrase twice, making the change in the second playing, after which the candidate should state whether the change was near the beginning or near the end. If necessary, the examiner will play both versions of the phrase again (although this will affect the assessment). To answer questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two features the questions will be about. The rst will be: dynamics (loud/quiet, or sudden/gradual changes); the second will be articulation (smooth/ detached).

Aural Tests GRADE 2

A To clap the pulse of a piece played by the examiner, and to identify whether it is in two time or three time. The examiner will start playing the passage, and the candidate should join in as soon as possible, clapping in time and giving a louder clap on the strong beats. The examiner will then ask whether the music is in two time or three time. The candidate is not required to state the time signature. To sing as echoes three phrases played by the examiner. The phrases will be two bars long, in a major key, and within the range of tonicdominant. First the examiner will play the key-chord and the starting note (the tonic) and then count in two bars. After the examiner has played each phrase, the candidate should sing back the echo without a pause, keeping in time. To identify a change in either pitch or rhythm during a phrase played by the examiner. The phrase will be two bars long, in a major key. First the examiner will play the key-chord and the tonic and then count in two bars. The examiner will play the phrase twice, making the change in the second playing, after which the candidate should identify the change by describing it, or singing/clapping. If necessary, the examiner will play both versions of the phrase again (although this will affect the assessment). To answer questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two features the questions will be about. The rst will be one of the following: dynamics (loud/quiet, or sudden/gradual changes), articulation (smooth/ detached); the second will be tempo (becoming slower/faster, or staying the same).

89

Aural Tests GRADE 3

A To clap the pulse of a piece played by the examiner, and to identify whether it is in two time, three time or four time. The examiner will start playing the passage, and the candidate should join in as soon as possible, clapping in time and giving a louder clap on the strong beats. The examiner will then ask whether the music is in two time, three time or four time. The candidate is not required to state the time signature. To sing as echoes three phrases played by the examiner. The phrases will be two bars long, in a major or minor key, and within the range of an octave. First the examiner will play the keychord and the starting note and then count in two bars. After the examiner has played each phrase, the candidate should sing back the echo without a pause, keeping in time. To identify a change in either pitch or rhythm during a phrase played by the examiner. The phrase will be up to four bars long, in a major or minor key. First the examiner will play the key-chord and the tonic and then count in two bars. The examiner will play the phrase twice, making the change in the second playing, after which the candidate should identify the change by describing it, or singing/clapping. If necessary, the examiner will play both versions of the phrase again (although this will affect the assessment). To answer questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two features the questions will be about. The rst will be one of the following: dynamics (loud/quiet, or sudden/gradual changes), articulation (smooth/ detached), tempo (becoming slower/faster, or staying the same); the second will be tonality (major/minor key).

Aural Tests GRADE 4

A To sing or play from memory a melody played twice by the examiner. The melody will be within the range of an octave, in a major or minor key with up to three sharps or ats. First the examiner will play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the melody again and allow a second attempt (although this will affect the assessment). B To sing ve notes from score in free time. The candidate may choose to sing from treble or bass clef. The notes will be within the range of a third above and below the tonic in the key of C, F or G major. The test will begin and end on the tonic and will not contain intervals greater than a third. First the examiner will name and play the key-chord and the starting note. If necessary, the examiner will help the candidate by playing and identifying the correct note if any note is sung at the wrong pitch. C (i) To answer questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two features the questions will be about. The rst will be one of the following: dynamics, articulation, tempo, tonality; the second will be character. ii) ( To clap the rhythm of the notes in an extract from the same piece, and to identify whether it is in two time, three time or four time. The examiner will play the extract twice (unharmonized), after which the candidate should clap back the rhythm. The examiner will then ask whether the music is in two time, three time or four time. The candidate is not required to state the time signature.

90

Aural Tests GRADE 5

A To sing or play from memory a melody played twice by the examiner. The melody will be within the range of an octave, in a major or minor key with up to three sharps or ats. First the examiner will play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the melody again and allow a second attempt (although this will affect the assessment). B To sing six notes from score in free time. The candidate may choose to sing from treble or bass clef. The notes will be within the range of a fth above and a fourth below the tonic, in a major key with up to two sharps or ats. The test will begin and end on the tonic and will not contain intervals greater than a third, except for the rising fourth from dominant to tonic. First the examiner will name and play the key-chord and the starting note. If necessary, the examiner will help the candidate by playing and identifying the correct note if any note is sung at the wrong pitch. C (i) To answer questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two features the questions will be about. The rst will be one of the following: dynamics, articulation, tempo, tonality, character; the second will be style and period. (ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it is in two time, three time or four time. The examiner will play the extract twice (unharmonized), after which the candidate should clap back the rhythm. The examiner will then ask whether the music is in two time, three time or four time. The candidate is not required to state the time signature.

Aural Tests GRADE 6

A To sing or play from memory the upper part of a two-part phrase played twice by the examiner. The upper part will be within the range of an octave, in a major or minor key with up to three sharps or ats. First the examiner will play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the phrase again and allow a second attempt (although this will affect the assessment). B To sing a melody from score, with an accompaniment played by the examiner. The candidate may choose to sing from treble or bass clef. The melody will be within the range of an octave, in a major or minor key with up to three sharps or ats. First the examiner will name and play the key-chord and the starting note and then give the pulse. A brief period of preparation will follow during which the candidate may sing out loud. The examiner will play the key-chord and the starting note again and then count in two bars. If necessary, the examiner will allow a second attempt (although this will affect the assessment). C To identify the cadence at the end of a phrase as perfect or imperfect. The phrase will be in a major or minor key and will be played twice by the examiner. The chords forming the cadence will be in root position. Before the rst playing, the examiner will play the key-chord. D (i) To answer questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two features the questions will be about. The rst will be: texture or structure; the second will be one of the following: dynamics, articulation, tempo, tonality, character, style and period, texture/structure. (ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it is in two time, three time or four time. The examiner will play the extract twice (unharmonized), after which the candidate should clap back the rhythm. The examiner will then ask whether the music is in two time, three time or four time. The candidate is not required to state the time signature.

91

Aural Tests GRADE 7

A To sing or play from memory the lower part of a two-part phrase played twice by the examiner. The lower part will be within the range of an octave, in a major or minor key with up to three sharps or ats. First the examiner will play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the phrase again and allow a second attempt (although this will affect the assessment). B To sing the upper part of a two-part phrase from score, with the lower part played by the examiner. The candidate may choose to sing from treble or bass clef. The upper part will be within the range of an octave, in a major or minor key with up to four sharps or ats. First the examiner will name and play the key-chord and the starting note and then give the pulse. A brief period of preparation will follow during which the candidate may sing out loud. The examiner will play the key-chord and the starting note again and then count in two bars. If necessary, the examiner will allow a second attempt (although this will affect the assessment). C(i) To identify the cadence at the end of a phrase as perfect, imperfect or interrupted. The phrase will be in a major or minor key and will be played twice by the examiner. The chords forming the cadence will be in root position. Before the rst playing, the examiner will play the key-chord. (ii) To identify the two chords forming the above cadence. The chords will be limited to the tonic, subdominant, dominant, dominant seventh or submediant (all in root position). First the examiner will name and play the key-chord, then play the two chords as a pair. The candidate may answer using technical names (tonic, dominant, etc.), chord numbers (I, V, etc.) or letter names (C major, G major, etc.). (iii) To identify whether the modulation at the end of a different passage is to the dominant, subdominant or relative minor. The passage, played once by the examiner, will begin in a major key. First the examiner will name and play the starting key-chord. The candidate may answer using technical names (dominant, subdominant, relative minor) or the letter name of the new key. D (i) To answer questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two of the following features the questions will be about: dynamics, articulation, tempo, tonality, character, style and period, texture, structure. (ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it is in two time, three time, four time or 6/8 time. The examiner will play the extract twice (unharmonized), after which the candidate should clap back the rhythm. The examiner will then ask whether the music is in two time, three time, four time or 6/8 time.

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Aural Tests GRADE 8

A (i) To sing or play from memory the lowest part of a three-part phrase played twice by the examiner. The lowest part will be within the range of an octave, in a major or minor key with up to three sharps or ats. First the examiner will play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the phrase again and allow a second attempt (although this will affect the assessment). (ii) To identify the cadence at the end of a continuing phrase as perfect, imperfect, interrupted or plagal. The phrase will be in a major or minor key and will be played twice by the examiner. The chords forming the cadence will be limited to the tonic (root position, rst or second inversions), supertonic (root position or rst inversion), subdominant (root position), dominant (root position, rst or second inversions), dominant seventh (root position) or submediant (root position). Before the rst playing, the examiner will play the key-chord. (iii) To identify the three chords (including their positions) forming the above cadential progression. The chords will be limited to the tonic (root position, rst or second inversions), supertonic (root position or rst inversion), subdominant (root position), dominant (root position, rst or second inversions), dominant seventh (root position) or submediant (root position). First the examiner will name and play the key-chord, then play the three chords in sequence, nally playing each chord individually, pausing for the candidate to identify it. The candidate may answer using technical names (tonic, rst inversion, etc.), chord numbers (Ib, etc.) or letter names (C major in rst inversion, etc.). B To sing the lower part of a two-part phrase from score, with the upper part played by the examiner. The candidate may choose to sing from treble or bass clef. The lower part will be within the range of an octave, in a major or minor key with up to four sharps or ats. First the examiner will name and play the key-chord and the starting note and then give the pulse. A brief period of preparation will follow during which the candidate may sing out loud. The examiner will play the key-chord and the starting note again and then count in two bars. If necessary, the examiner will allow a second attempt (although this will affect the assessment). C To identify whether the modulations at the end of two different passages are to the dominant, subdominant or relative minor/major. The rst passage will begin in a major key and the second will begin in a minor key; each passage will be played once by the examiner. Before playing each passage, the examiner will name and play the starting key-chord. The candidate may answer using technical names (dominant*, subdominant, relative minor/major) or the letter name of the new key. (* Minor-key passages may modulate to the dominant major or minor but the candidate is only required to specify dominant in such cases.) D To describe the characteristic features of a piece played by the examiner. After hearing the piece, the candidate should describe any notable features (such as texture, structure, character, style and period, etc.). The examiner will prompt the candidate with questions only if this becomes necessary.

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