Qualification Specification: Practical Music
Bowed Strings from 2024
Contents
1. Introduction
About ABRSM
About this qualification specification 
About our Practical Music qualificationsRegulation and UCAS points (UK)
Regulation (Europe)
Regulation (Rest of world)

3
3
4
4
6
8
8

2. Practical Grades
9Syllabuses9
Exam Regulations9
Malpractice and maladministration
9
Entry requirements
10
Exam booking
10
Access (for candidates with specific needs)
10
Diversity10
Exam content
10
In the exam
11
Special consideration
11
3. Bowed Strings Practical Grades Syllabus from 2024
12
Introducing the syllabus
12
Practical Grades: requirements and information
12• Instruments12• Pieces13• Scales and arpeggios
15• Sight-reading22• Aural tests
22
Violin Syllabus25
Viola Syllabus45
Cello Syllabus63
Double Bass Syllabus84
Aural test requirements

102© 2023 by The Associated Board of the Royal Schools of MusicAll the syllabus information in this document, including repertoire and scale lists, is the copyright of
ABRSM. No syllabus listing may be reproduced or published without the permission of ABRSM.

4. Assessment, marking & infringements
Assessment objectives
Mark allocation

110
110
114

Result categories
114
Synoptic assessment
114
Awarding114
Infringements115
Marking criteria
115
5. After the exam
Results118
Appeals and feedback
118
6. Other assessments
Bowed Strings Prep Test
119
Performance Grades 
121Music Theory
122
Practical Musicianship123
ARSM124
DipABRSM, LRSM, FRSM
125
Exam programme & running order form

126

1. Introduction
About ABRSMAt ABRSM we aim to support learners and teachers in every way we can. One way we do this isthrough the provision of high quality and respected music qualifications. These exams provide
clear goals, reliable and consistent marking, and guidance for future learning and, with backing
from four Royal Schools of Music in the UK, are valued and trusted around the world.
We offer qualifications and assessments for a range of instruments (including singing) andgenres, as well as for Music Theory and Practical Musicianship. Our syllabuses are based on coremusical skills – listening, performing, reading, writing, musical knowledge and understanding, andimprovising. Together these skills give learners a good foundation for their musical development
and a range of different musical activities.
Taking an exam is an exciting challenge with many benefits for learners and we do everything we
can to make the experience positive and rewarding. We work closely with specialists, teachersand examiners to provide syllabuses of the highest quality with a wide variety of pieces andsongs to choose from. We train our expert examiners to ensure that all candidates are rewarded
and recognised for their musical achievements during the assessment. Using our clear, easyto-understand marking criteria examiners can assess all candidates reliably, objectively andconsistently. Finally, candidates receive a mark form containing valuable feedback, with acelebratory certificate for everyone who passes.
We hope our syllabuses inspire and support your music learning or teaching and wish you every
success for your musical journey!
Our mission
Our mission is to enrich lives by inspiring musical achievement around the world. We do this inpartnership with four Royal Schools of Music: Royal Academy of Music, Royal College of Music,
Royal Northern College of Music and Royal Conservatoire of Scotland.
We are passionate about music, its value as an art form and the importance of music education.
We believe that being involved with music gives people unique, positive experiences with lifelong benefits.
We offer face-to-face and digital exams, sheet music, recordings, apps and courses for students andteachers across the world. As a charity our donations encompass a range of grants, scholarships,
awards, prizes and bursaries for organisations and individuals. All promote music education andsupport achievement, progression, creativity, diversity, inclusion, sustainability and leadership inmusic education.
Who we are
We are the Associated Board of the Royal Schools of Music (ABRSM), a company registered inEngland and Wales (company registration number 1926395) and a registered charity (charity
registration number 292182). Our registered office is at 4 London Wall Place, London EC2Y 5AU.
Find out more at www.abrsm.org.

3

1. Introduction

Practical Grades

About this qualification specification
What it covers
This specification provides all the relevant requirements and information teachers, candidates,
parents and organisations need in order to prepare for the following qualifications in the subjects
and grades covered in Section 3:• ABRSM Entry Level Award in Practical Music (Initial Grade) (Entry 3)• ABRSM Level 1 Award in Practical Music (Grades 1, 2 and 3)• ABRSM Level 2 Certificate in Practical Music (Grades 4 and 5)• ABRSM Level 3 Certificate in Practical Music (Grades 6, 7 and 8).
It also provides information on how the exams will be assessed, their learning outcomes, andregulated qualification details.
Further details, as well as administrative information about the exams, are given in ABRSM’s
Exam Regulations (www.abrsm.org/examregulations) which should be read before making an
exam booking.
Validity of this specification
This specification is valid from 1 January 2024 until further notice.
We may update this specification from time to time, but will not make changes to the syllabus(Section 3) other than in exceptional circumstances. In such cases, advance notice of any changes
will be posted on our website, as will advance notice of any planned syllabus refreshes. The latest
version of this specification will be available from www.abrsm.org/exams.

About our Practical Music qualifications
Qualification objectives
Our Practical Music qualifications are designed for learners to demonstrate a combination of
performance and other all-round musical skills and knowledge. Each grade is progressive andrepresents a new challenge for the learner, providing motivation and structure to develop andhone their musical skills.
Exams allow learners to receive formal recognition of the level of mastery they have achieved, andfeedback to support their learning journey. Practical Music qualifications further allow learners
to be rewarded and recognised for their skills in performing pieces as well as technique, notation,
listening and musical perception.
Who the qualifications are for
These qualifications are intended for learners who are interested in developing and demon­strating
their all-round musical skills. Learners may be entered at any age, but those entering for a Grade6, 7 or 8 must fulfil the prerequisite detailed on page 10.
Every effort has been made to feature a broad range of repertoire to suit and appeal to candidatesof different ages, backgrounds and interests. We are committed to providing fair access to ourassessments by putting in place access arrangements and reasonable adjustments for candidates
with specific needs.
Structure
Each Practical Music qualification has been carefully designed to assess all-round musicalskills – technique, notation reading, listening and musical perception – as well as knowledge,4Practical Grades

1. Introduction

understanding and creativity. At all grades, these creative skills are demonstrated through playingof repertoire and by completing the supporting tests. Collectively, these skills enable candidates toprogress to higher grades, further education, employment and other qualifications in the creativearts sector.
Candidates are required to play three Pieces from set repertoire lists and a selection of technicalwork, and to respond to an unseen Sight-reading test and a series of Aural tests. Marks for eachcomponent are differently weighted (the three Pieces are the same) and are awarded to eachcomponent individually.
Progression route
ABRSM Practical Music qualifications are available from Grade 1 to Grade 8, and in some subjects
from Initial Grade. Each grade progresses from the previous in their level of demand. The syllabus
in Section 3 of this specification details the grades available for individual subjects. It is not arequirement for any candidate to complete one grade before moving on to the next although there
is a prerequisite for entering a Grade 6, 7 or 8 exam (see below).
Practical Music qualifications embed from the earliest grades the importance of developing a wide
range of musicianship skills, including performing repertoire and technical work, and responding
to previously unseen Sight-reading and Aural tests.
Practical Music candidates may, during their learning journey, wish to focus on their performanceskills and progress across to our Music Performance suite of qualifications. These qualifications
are designed for learners to demonstrate a combination of key performance-related skills suchas instrumental technique and control, musical interpretation, communication, and delivery. Eachgrade is progressive and represents a new challenge for the learner, providing motivation andstructure to hone and refine their performance skills. Music Performance qualifications further
allow learners to be rewarded and recognised for their skills in delivering a whole performance,
communicating musically over a sustained programme.
The nature of both sets of qualifications makes them an ideal platform from which to progress
to ABRSM’s diploma offer, beginning with the performance-only ARSM. ARSM gives candidates
greater flexibility and responsibility in programme building as well as providing further opportunity
to develop performance technique and interpretative skills while extending their repertoire.
Through a combination of live and written components, candidates at DipABRSM (Music
Performance), and the higher LRSM and FRSM levels, demonstrate their performance,
communication and research skills, as well as their musical knowledge and understanding.
DipABRSM progresses to LRSM level and LRSM to FRSM. Further details of these can be foundin Section 6 of this specification and at www.abrsm.org/diplomas.
Prerequisite
We believe that a thorough understanding of the elements of music is essential for a full andsatisfying performance at the higher grades. Our Music Theory graded exams assess candidates
on their ability to identify, use and manipulate musical symbols, to study extracts and to answer
questions about the elements of music. We also offer Practical Musicianship exams where, indeveloping their musicianship skills, candidates gain the understanding as well as the expressive
and interpretative skills needed to master the musical language of the repertoire they are learning.
A pass at ABRSM Grade 5 or above is required in either Music Theory, Practical Musicianship or
any Practical Music solo Jazz instrument before learners can enter for a Grade 6, 7 or 8 Practical
Music or Music Performance exam.
5

1. Introduction

Practical Grades

Regulation and UCAS points (UK)Our regulators
ABRSM Practical Music, Music Performance and Music Theory grades, and higher-level
qualifications (diplomas) are regulated in the UK by:• Office of Qualifications and Examinations Regulation (Ofqual)• Qualifications Wales• Council for Curriculum, Examinations and Assessment (CCEA Regulation)
For further information, see www.abrsm.org/regulation.
The Regulated Qualifications Framework (RQF)
All our regulated qualifications can be found on the RQF. There are nine qualification levels in theframework, labelled in order of difficulty from Entry Level to Level 8. For further information, visit
https://register.ofqual.gov.uk.
Entry to higher education
In the UK, ABRSM’s Grades 6 to 8 in Practical Music and Music Performance can contributetowards entry into higher education through the allocation of UCAS points; the table below shows
the UCAS Tariff value of these grades. For further information visit www.ucas.com.
Qualification/Level

Pass

Merit

Distinction

Grade 68

1012Grade 7

12

14

16

Grade 8

18

24

30

Regulated qualification details
Qualification titles
The table below shows the regulated titles and qualification numbers of our Practical Music
qualifications. Further information can be found at https://register.ofqual.gov.uk.

6

Qualification
NumberQualification Title

603/6405/1

ABRSM Entry Level Award in Practical Music (Initial Grade) (Entry 3)

603/6406/3

ABRSM Level 1 Award in Practical Music (Grade 1)

603/6407/5

ABRSM Level 1 Award in Practical Music (Grade 2)

603/6408/7

ABRSM Level 1 Award in Practical Music (Grade 3)

603/6409/9

ABRSM Level 2 Certificate in Practical Music (Grade 4)

603/6410/5

ABRSM Level 2 Certificate in Practical Music (Grade 5)

603/6411/7

ABRSM Level 3 Certificate in Practical Music (Grade 6)

603/6412/9

ABRSM Level 3 Certificate in Practical Music (Grade 7)

603/6413/0

ABRSM Level 3 Certificate in Practical Music (Grade 8)

Practical Grades

1. Introduction

Qualification size
The table below describes the size of the Practical Music qualifications by showing the amountof time that a candidate would typically need to spend preparing for them:• Under the guidance of a teacher (Guided Learning Hours);• Under the guidance of a teacher and time spent preparing independently (Total Qualification
Time);

and:• The assigned credit value (which denotes the size of the qualification).
Level

Guided Learning Hours*(GLH)

Total Qualification Time*(TQT)

Credits

Initial Grade

8

40

4

Grade 112

60

6Grade 218

90

9Grade 3

18

120

12

Grade 4

24

150

15

Grade 5

24

180

18

Grade 6

36

220

22

Grade 7

48

270

27

Grade 8

54

320

32

* The Guided Learning Hours and Total Qualification Time are estimates of the average amount of time that it might take acandidate to prepare for these qualifications, and should be used as guidance only; it is recognised that there will be variancedependent on each individual’s level of experience and ability.

71. Introduction

Practical Grades

Regulation (Europe)
The European Qualifications Framework (EQF) is an overarching framework that links thequalifications of different countries together and allows for comparison and translation. The EQF
has eight levels across which qualifications can be mapped. The levels do not correspond directlywith the UK’s Regulated Qualifications Framework (RQF), although they are similar.
The following table shows the level of each of ABRSM’s Practical Music qualifications on the RQF
and the EQF.
Qualification

RQF Level

EQF Level

Initial Grade

Entry Level (Level 3)

Level 1

Level 1

Level 2

Level 2

Level 3

Level 3

Level 4

Grade 1
Grade 2
Grade 3
Grade 4
Grade 5
Grade 6
Grade 7
Grade 8Regulation (Rest of world)
Information on how ABRSM exams are recognised in individual countries can be found at www.
abrsm.org/regulation.

Qualification title referencing
The qualifications covered by this specification are:

• ABRSM Entry Level Award in Practical Music (Initial Grade) (Entry 3)• ABRSM Level 1 Award in Practical Music (Grades 1, 2 and 3)• ABRSM Level 2 Certificate in Practical Music (Grades 4 and 5)• ABRSM Level 3 Certificate in Practical Music (Grades 6, 7 and 8).
For ease of reading, ‘Practical Grade(s)’ is used in place of the full qualification titles throughout
the remainder of this document. Similarly, when referring to our other suite of graded performance
exams, ‘Performance Grade(s)’ is used in place of the full qualification titles.

82. Practical Grades
Syllabuses
Syllabus validity
The Bowed Strings Practical Grades Syllabus is valid for exams from 1 January 2024 until further
notice.
Syllabus amendments
Any updates to the syllabus – e.g. changes to publication details or other minor corrections orclarifications – will be posted at www.abrsm.org/syllabuscorrections.
Syllabus overlap
In the first year of any revised Practical Grades syllabus, we offer an overlap period where
candidates may play specific requirements from the preceding syllabus. Information on the lengthof the overlap period and the requirements that it applies to is given at www.abrsm.org/overlap.
Bowed Strings candidates worldwide may play their three pieces from the 2020–2023 Bowed
Strings Syllabus until 31 December 2024. All pieces must be from the same syllabus – candidates
may not present a mixture from old and new syllabuses.
The next syllabus
At the time of publication of this document, the next revision of the Bowed Strings Practical
Grades Syllabus has not been scheduled. Advance notice of any planned changes will be posted
at www.abrsm.org/syllabusupdates.

Exam Regulations
When preparing for an exam, it is important to read ABRSM’s Exam Regulations, which set out
the rules for completing the exams listed in this specification. This information is available atwww.abrsm.org/examregulations.

Malpractice and maladministration
We are committed to inspiring achievement in music. Our qualifications are used by thousandsof people to support their music learning or teaching. Many people also use them when applying
to study at further and higher education institutions. It is therefore vital that our qualifications
remain a valuable and reliable measure of a candidate’s skills and knowledge. We take any formof malpractice or maladministration very seriously.

• Malpractice is defined as any act that compromises or is an attempt to compromise theassessment process, the integrity of any qualification or the validity of a result or certificate. This
also includes any act that damages our reputation or credibility as an awarding organisation.
• Maladministration is defined as any act that breaches the regulations through a mis­managementof administrative processes, particularly where such a breach could compromise the integrityof a qualification or assessment.

Applicants and candidates must follow the requirements set out in the relevant specification,
Exam Regulations and all other ABRSM policies about the delivery of our exams. In cases whereapplicants or candidates have committed malpractice, a sanction or penalty may be given. Further
information about our Malpractice and Maladministration Policy can be found at www.abrsm.
org/policies.
92. Practical Grades

Practical Grades

Entry requirements
There are nine grades of Practical Grades exams for each bowed strings instrument. Candidates
may be entered for any grade at any age. They do not need to have taken any earlier grade(s) in
the same instrument. To enter for a Grade 6, 7 or 8 exam, candidates must already have passed
one of the following:• ABRSM Grade 5 (or above) in Music Theory• ABRSM Grade 5 (or above) in Practical Musicianship• ABRSM Grade 5 in any Practical Grades solo Jazz instrument
For full details, including a list of accepted alternatives, see www.abrsm.org/prerequisite.

Exam booking
Details of exam dates, locations, fees and how to book an exam are available online at www.
abrsm.org/exambooking.

Access (for candidates with specific needs)
We are committed to providing fair access to our assessments for candidates with specificneeds by putting in place access arrangements and reasonable adjustments. There are a rangeof alternative tests and formats for Practical Grades. The Fair Access Guidelines are available atwww.abrsm.org/specificneeds. Where a candidate’s needs are not covered by the guidelines,
each case is considered individually. Further information is available from the Access Co-ordinator(accesscoordinator@abrsm.ac.uk) or from www.abrsm.org/specificneeds.

Diversity
A number of pieces that have been included in some ABRSM syllabuses are now recognised
as being problematic for a range of reasons. The most prominent of these are pieces with links
to slavery, minstrel shows, or that come from other forms of entertainment that include racial
prejudices and inappropriate stereotypes prevalent at that time. Many of these pieces havebecome part of the musical canon and global public consciousness without any real understanding or knowledge of their problematic history. As a result, they have been widely used inteaching, in publications and on exam syllabuses. These pieces are offensive and inappropriate,both when they originated and now, and are not a reflection of ABRSM’s values.
As we all continue to educate ourselves in this area, we at ABRSM are becoming more aware andsensitive to these problematic associations and are committed to promoting music that reflects
the values of a modern, fair and diverse society as we move forward.
ABRSM is committed to creating greater diversity, equality and inclusion in the field of music and
we are actively working to achieve this across the organisation. Our Diversity Statement, and regular updates on progress, can be accessed at www.abrsm.org/diversity-statement.

Exam content
Practical Grades for Bowed Strings consist of six components – three Pieces, Scales and arpeggios,
Sight-reading and Aural tests. Information on how marks are allocated is given on page 114.
10

Practical Grades 

2. Practical Grades

In the exam
Examiners
Generally, there will be one examiner in the exam room for Practical Grades; however a second
examiner may be present for training or quality assurance purposes.
Examiners may ask to look at the candidate’s or accompanist’s (where applicable) copy of themusic before or after the performance of a piece; a separate copy is not required.
Examiners may stop the performance of a piece when they have heard enough to make a judgment.
Order of the exam
The individual Practical Grades exam components may be taken in any order, at the candidate’s
choice, although it is preferable for accompanied pieces/duets (where applicable) to be performed
consecu­tively at the beginning of the exam.
Tuning: At Initial Grade to Grade 5, the teacher or accompanist may tune the candidate’s
instrument (or advise on tuning) before the exam begins. At Grades 6 to 8, candidates musttune their instruments themselves. Examiners are unable to help with tuning.
Seating: Double Bass candidates should provide their own stool if required. A chair/stool will be
provided for cello candidates at ABRSM public venues.
Music stands: All ABRSM public venues provide a music stand, but candidates are welcome tobring their own if they prefer. The examiner will be happy to help adjust the height or position of
the stand.
Instruments
ABRSM Public Venues provide an upright or grand piano. Candidates, other than pianists, must
provide their own instrument (and any other equipment, e.g. footstools). Further detail on
instruments is given in Section 3 of this specification.
Exam timings
The timings in the table below show the approximate length of each Practical Grades Bowed
Strings exam in minutes, including the candidate’s entry and exit, and time for the examiner tofinish the mark form between exams. Examiners may take more or less time than the given timings.
GradeTime (in mins)

Initial
Grade

Grade
1

Grades2&3

Grades
4&5

Grade
6

Grade
7

Grade
8

12

12

14

17

20

25

30

Special consideration
Special consideration is given to candidates who suffer temporary illness, injury or indisposition,or adverse circumstances at or near the time of the assessment that are beyond the candidate’scontrol. This will not result in an adjustment to marks and will not change the assessment criteria
applied by the examiner for the exam. Please refer to our Special Consideration Policy at www.
abrsm.org/policies.

113. Bowed Strings Practical Grades Syllabus from 2024
Introducing the syllabus
There are new set pieces in the Bowed Strings Practical Grades Syllabus from 2024.

• The repertoire lists have been refreshed rather than fully revised and include a mixture of new
and retained pieces• There is a greater choice of repertoire than before, with extended lists featuring music by amore diverse range of composers.

The Scales and arpeggios, Sight-reading and Aural test requirements stay the same as thepreceding syllabus.
Some key exam information has also been updated or clarified, including in the wider Qualification
Specification.

Practical Grades: requirements and information
This syllabus is valid from 1 January 2024 until further notice.
This section provides a summary of the most important points that teachers and candidates
need to know when taking ABRSM Practical Grades for Bowed Strings. Further details, as well as
administrative information about the exams, are given in ABRSM’s Exam Regulations (availableat www.abrsm.org/examregulations) which should be read before booking an exam.

Instruments
Candidates are required to perform on acoustic instruments (electric instruments are notallowed). Any size of instrument may be used; Viola candidates may play on a violin strung as
a viola. Examiners apply the marking criteria (which include the assessment of pitch, tone andmusical shaping) to assess musical outcomes without reference to the specific attributes of the
instrument.

12

Practical Grades 

3. Bowed Strings Practical Grades Syllabus from 2024

PiecesMusicians learn to play an instrument to explore and perform repertoire, which is why pieces
are at the core of the exam – candidates are asked to present three at each grade. The syllabus
repertoire is organised into three lists that explore different traditions and styles, dating fromthe Renaissance period to the present day.
Choosing one piece from each list gives candidates the opportunity to play a balanced selection
and demonstrate a range of skills. In this syllabus, the pieces are broadly grouped into lists by
the characteristics of the music:• List A pieces are generally faster moving and require technical agility• List B pieces are more lyrical and invite expressive playing• List C pieces reflect a wide variety of musical traditions, styles and characters.
At Initial Grade to Grade 3, there are opportunities to play duets. This is an activity that often
occurs in lessons for beginners and helps build a strong sense of musical awareness as well as
secure rhythm and pulse.
We hope that by offering this variety in the syllabus, candidates will find inspiring music thatthey enjoy learning and performing.
Programme planning: Candidates must choose one piece from each of the three lists (A, B and
C)*. In the exam, they should inform the examiner which pieces they are performing, and they
are welcome to use the form on page 126 for this purpose.
Every effort has been made to feature a broad range of repertoire to suit and appeal to candidatesof different ages, backgrounds and interests. Certain pieces may not be suitable for every
candidate for technical reasons, other pieces may not be suitable because of wider context(historical, cultural, subject matter, lyrics if an arrangement of a song, etc.). Pieces should be
carefully considered for their appropriateness to each individual, which may need consultation
between teachers and parents/carers. Teachers and parents/carers should also exercise caution
when allowing younger candidates to research pieces online: www.nspcc.org.uk/onlinesafety.
The repertoire lists are the same as for ABRSM Performance Grades. Candidates intending on
taking both qualifications at the same grade may find their musical development benefits frompreparing different pieces for each.
Accompaniment: A live piano or string (where the option is listed) accompaniment is required
for all pieces, except those which are published as studies or unaccompanied works (these aremarked SOLO in the syllabus list).
At Initial Grade to Grade 3, candidates may perform some or all of their pieces with a string
accompaniment. Pieces that are published as duets (or with string accompaniment only) aremarked DUET in the syllabus list. Candidates must play the upper part unless the syllabus specifies
otherwise. Pieces that are published with piano and string accompaniment options are marked
DUET/PIANO in the syllabus list, and may be performed with either accompaniment in the exam.
Candidates must provide their own accompanist(s), who can only be in the exam room whileaccompanying. The candidate’s teacher may accompany (examiners will not). If necessary, an
accompanist may simplify any part of the accompaniment, as long as the result is musical.
Recorded accompaniments are not allowed.
* Candidates must choose at least one accompanied piece.

13

3. Bowed Strings Practical Grades Syllabus from 2024

Practical Grades

Exam music & editions: Wherever the syllabus includes an arrangement or transcription(appearing as ‘arr.’ or ‘trans.’ in the repertoire lists), the edition listed in the syllabus must be
used. For all other pieces, editions are listed for guidance only and candidates may use any editionof their choice. This includes editions that are downloaded. Information on sourcing exam music
is given on page 14.
Interpreting the score: Printed editorial suggestions such as fingering, bowing, metronome marks,
realisation of ornaments, etc. do not need to be strictly observed. Whether the piece contains
musical indications or not, candidates are encouraged to interpret the score in a musical andstylistic way. Examiners’ marking will be determined by how control of pitch, time, tone, shapeand performance contributes to the overall musical outcome.
Vibrato: The use and control of vibrato, and its effect on tone and shape, will be taken into accountby examiners, who will be assessing the overall musical outcome. Pieces that are heavily reliant
on vibrato for their full musical effect tend not to appear in the syllabus before around Grade 5.
Repeats: Unless the syllabus specifies differently, all da capo and dal segno indications must be
followed but other repeats (including first-time bars) should not be played unless they are very
short (i.e. a few bars).
Ossias: Where an ossia (alternative musical line or note) occurs in the music, candidates may
choose either option unless the repertoire list specifies differently.
Cadenzas & tuttis: Cadenzas should not be played unless the syllabus specifies differently.
Accompanists should cut lengthy orchestral tutti sections.
Performing from memory: Candidates may perform any of their pieces from memory; if doing so,they must make sure that a copy of the music is available for the examiner to refer to. No extra
marks are directly awarded for playing from memory.
Page-turns: Examiners will be understanding if a page-turn causes a lack of continuity during apiece, and this will not affect the marking. Candidates (and accompanists) may use an extra copyof the music or a photocopy of a section of the piece (but see ‘Photocopies’ below) to help with
page-turns. Candidates and accompanists at Grades 6 to 8 may bring a page-turner to the exam
if there is no solution to a particularly awkward page-turn (prior permission is not required; theturner may be the candidate’s teacher). Examiners are unable to help with page-turning.
Photocopies & downloads: Performing from unauthorised photocopies (or other kinds of copies)
or illegal downloads of copyright music is not allowed. In the UK, copies may be used in certain
limited circumstances – for full details, see the MPA’s Code of Fair Practice at www.mpaonline.
org.uk/mpa-guidelines. In all other cases, application should be made to the copyright holder
before any copy is made, and evidence of permission should be brought to the exam.
Candidates and Applicants are expected to act within the law with regard to copyright. ABRSM
may withhold the exam result where we have evidence of an illegal copy (or copies) being used.
Sourcing exam music: Exam music is available from music retailers and online, including at the
ABRSM music shop: www.abrsm.org/shop. Every effort has been made to make sure that the
publications listed will be available for the duration of the syllabus. We advise candidates to
get their music well before the exam in case items are not kept in stock by retailers. Non-exam
related questions about the music (e.g. editorial, availability) should be addressed to the relevantpublisher: contact details are listed at www.abrsm.org/publishers.
14

Practical Grades 

3. Bowed Strings Practical Grades Syllabus from 2024

Scales and arpeggios
Playing scales and arpeggios is important for building strong technical skills such as reliable
finger movement, hand position, co-ordination and fingerboard fluency. It also helps to develop
pitch and interval awareness, familiarity with keys and their related patterns, and control oftone. This leads to greater confidence and security when sight-reading, learning new pieces andperforming – from a score or from memory, as a solo musician or with others.
Memory: All requirements must be played from memory.
Range: All requirements must be played from the lowest possible tonic/starting note unless thesyllabus specifies differently. They must ascend and descend according to the specified range(and pattern).
Rhythm: For most major and minor scales (and double-stop scales in parallel sixths/octaves)candidates may choose between two rhythm patterns: even notes or long tonic. The scale to afifth (Initial Grade) must be played in even notes.
Patterns: Arpeggios and dominant sevenths are required in root position only. All dominantsevenths must finish by resolving on the tonic. Examples of scale/arpeggio etc. patterns foundin this syllabus are given on pages 16–17. Fully notated versions of the requirements are
published by ABRSM.
Fingering: Candidates may use any fingering that produces a successful musical outcome.
Speed: Bowing will generally dictate the tempi of slurred scales and arpeggios. Separately-bowedrequirements should be played briskly, using no more than half the bow length. The speeds on
pages 18–21 are given as a general guide.
In the exam: Initial Grade candidates must play all three requirements when asked for their scales.
The examiner will prompt the keys/ranges where necessary.
At Grades 1 to 8, examiners will usually ask for at least one of each scale/arpeggio (etc.) type.
They will ask for majors followed by minors within each type, and also ask to hear a balance ofthe separately-bowed and slurred requirements. When asking for requirements, examiners will
specify:• the key* (including minor form – harmonic or melodic – in the Grades 6 to 8 scales) or thestarting note• separate bows or slurred (except for where the requirements are to be prepared with separatebows only – e.g. Grade 1 arpeggios).

* Where keys at Grades 6 to 8 are listed enharmonically – D - /C + and A - /G + – the examiner will
use the flat spelling when asking for major keys and the sharp spelling for minor keys.
Supporting publications: Books of the requirements are published by ABRSM. Purchasing thesebooks is not a requirement.

15

3. Bowed Strings Practical Grades Syllabus from 2024

Practical Grades

Scale and arpeggio patterns
The examples below clarify patterns and ranges found in this syllabus. The full requirements foreach instrument and grade are listed on the relevant syllabus pages. See also page 15.

Rhythm patterns for scales
For major scales (all grades) and minor scales (Grades 1 to 8), candidates may choose between
two rhythm patterns: even notes or long tonic. (Chromatic scales must always be played witheven notes.)even notes

long tonicorœ etc.
4etc.
4œœœœœœœœ

4etc.
4 œ œ œ œ œ œ œ œ etc.

Slurring patterns for scales
even notes
2 quavers:
2 beats:
7 notes:long tonicor4
4 œ œ œ œ œ œ œ œ œ etc.
etc.

44 œ œ œ œ œ œ œ œ etc.
etc.

7
etc.
8 œ œ œ œ œ œ œ œ etc.

Natural minor scale

V#ww w w w w w w w w w w w w w
Awwwwwwwwwwwwwww

Bwwwwwwwwwwwwwww

Scale to a fifth

Dominant seventh (resolving on tonic)

V # 42 œ œ œ œ œ œ œ œ œ Œ

V 42 œ œ œ œ œ œ œ œ œ Œ

Double-stop scales
In broken steps
in sixths:
in octaves:in thirds:
16

V bb 44 œ œ ‰‰V ## 44 œ œ ‰‰V bb 44 œ œ ‰

‰
œ ‰
œ ‰
œ ‰
œ

œ œ

‰

‰‰
œ ‰
∑ œ ‰
œ œ ‰
∑
œ

etc.

∑

etc.

etc.

œ

‰‰
œ ‰
œ ‰
œ œ ‰
œ

œ

etc.

∑

etc.

∑

etc.

∑

Practical Grades 

3. Bowed Strings Practical Grades Syllabus from 2024

Double-stop scales (cont.)
In parallel
even notesin sixths:

in octaves:or

V bbb 44 œœ œœ œœ œœ œœ
V ## 44 œœ œœ œœ œœ œœ

etc.
etc.

etc.
etc.

long tonic

V bbb44 œœ œœ œœ œœ œœ œœ œœ œœ#V # 44 œ œœ œœ œœ œœ œœ œœ œœ
œ

etc.
etc.

etc.
etc.

Patterns for Double Bass only
Scales to a sixth
even notes		Borœ œ œ œ œ œ œ
24œ œ œ œlong tonic

B 43 œ œ œ œ œ œ œ œ œ œ œ Œ Œ

Scales to a twelfth
even notes

B b 44 œ œ œ œ œ œ œ œ œ œ œ œ œ

or
etc.
etc.

long tonic

B b 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó

Arpeggios to a twelfth

B b 68 œ œ œ œ œ œ œ œ œ œ œ œ œ™ Œ ™

Scale in broken thirds

B# 44 œ œ œ œ œ œ œ œ œetc.

œœœœœœœœ œœœœœ

etc.

etc.

Vœ œ œ œ œ œ œ œ œ œetc.

œœœœ œœœœÓ

Scale in running thirds

B# 68 œ œ œ œ œ œ œ

B œ œ œ œ œ œ œ™

17

3. Bowed Strings Practical Grades Syllabus from 2024

Practical Grades

Scale and arpeggio speeds
The following speeds are given as a general guide:

VIOLIN

Grade/Speed *pattern

ScalesArpeggios
Chromatic scales

iiq
iiiq / iiq /jjjjjqDom. & Dim. 7ths*

iiiq

Double-stop scales(in broken steps)

q_ q hDouble-stop scales(in parallel)

q iq iiiq* Dim 7ths from Grade 518iiiq orq iq iiiq

iiiq orInitial

1

2

3

4

5

6

7

8

q = 46q = 52q = 58

q = 63q = 69q = 80q = 92

q = 104

q = 120e = 104e = 116q . = 40q . = 42q . = 44q . = 46q . = 48

q . = 50

q = 63q = 69q = 80q . = 60

e = 104e = 120

q = 63q = 66q = 69q = 72

q = 76q = 92

q = 104

q = 120
q = 72

3. Bowed Strings Practical Grades Syllabus from 2024

Practical Grades

The following speeds are given as a general guide:

VIOLA

Grade/Speed *pattern

ScalesArpeggios
Chromatic scales

iiiq orq iq iiiq
iiq
iiiq / iiq /jjjjjqDom. & Dim. 7ths*

iiiq

Double-stop scales(in broken steps)

q_ q hDouble-stop scales(in parallel)

q iq iiiq

iiiq orInitial

1

2

3

4

5

6

7

8

q = 42

q = 48q = 54

q = 58

q = 63q = 72

q = 84q = 96q = 112e = 96e = 108e = 112e = 116q . = 40q . = 42q . = 44q . = 46q = 58

q = 63q = 72q . = 56e = 96e = 112q = 58

q = 60q = 63q = 66q = 69q = 84q = 96q = 112
q = 66* Dim 7ths from Grade 519

3. Bowed Strings Practical Grades Syllabus from 2024

Practical Grades

The following speeds are given as a general guide:

CELLO

Grade/Speed *pattern

ScalesArpeggios
Chromatic scales

iiq
iiiq / iiq /jjjjjqDom. & Dim. 7ths*

iiiq

Double-stop scales(in broken steps)

q_ q hDouble-stop scales(in parallel)

q iq iiiq* Dim 7ths from Grade 520iiiq orq iq iiiq

iiiq orInitial

1

2

3

4

5

6

7

8

e = 76

q = 44

q = 50q = 54

q = 58

q = 63q = 72

q = 84q = 100

e = 88e = 100

e = 104e = 108e = 112e = 116q . = 40q . = 42q = 54

q = 58

q = 63q . = 48e = 84e = 100

q = 54

q = 56q = 58

q = 60q = 63q = 72

q = 84q = 100
q = 603. Bowed Strings Practical Grades Syllabus from 2024

Practical Grades

The following speeds are given as a general guide:

DOUBLE BASS

Grade/Speed *pattern

Scalesiiiq orq iq iiiq

Arpeggios

iiiq / iiq

Chromatic scales

iiq / iiiq

Dom. & Dim. 7ths*

iiiq

Scale in broken andrunning thirds ◆i_ii_q / i) iq

Double-stop scales(in broken steps)

q_ q hInitial

1

2

3

4

5

6

7

8

e = 76

q = 40q = 42

q = 44

q = 46q = 50q = 56q = 63q = 76

q = 40q = 42

q = 44e = 92e = 100

e = 104e = 108e = 112e = 88e = 92e = 100

q = 56q . = 42q . = 50

q = 46q = 50q = 52q = 54

q = 56q . = 50

q = 56
q = 84q = 100* Dim 7ths from Grade 5◆ Scale in broken thirds (Grade 6) and in running thirds (Grade 8)21

3. Bowed Strings Practical Grades Syllabus from 2024

Practical Grades

Sight-reading
Sight-reading is a valuable skill with many benefits. Learning to sight-read helps to develop quick
recognition of keys, tonality and common rhythm patterns. Strong sight-reading skills makelearning new pieces quicker and easier, and also help when making music with others, so thatplaying in an ensemble becomes more rewarding and enjoyable.
About the test: Candidates will be asked to play a short unaccompanied piece of music that they
have not seen before. They will be given half a minute to look through and, if they wish, try out allor any part of the test before they are asked to play it for assessment.
Parameters: The table on page 23 shows the elements that are introduced at each grade.
Fingering: Any fingering shown on the test is for guidance only. Candidates are welcome to use
any fingering that produces a successful musical outcome.
Supporting publications: For practice purposes, sample sight-reading tests are published by
ABRSM. Purchasing these books is not a requirement.
Blind or partially-sighted candidates: Blind or partially-sighted candidates may choose analternative test (Braille memory or Aural repetition) in place of the standard test, if requested at
the time of booking the exam. Further information is available at www.abrsm.org/specificneeds.

Aural tests
Listening lies at the heart of music-making and the ability to hear how music works helps withall aspects of musical development. Aural skills help with gauging the sound and balance ofplaying, keeping in time and playing with a sense of rhythm and pulse. These skills also help todevelop a sense of pitch, musical memory and the ability to spot mistakes.
About the test: Full details of the Aural tests are given on pages 102–109.
Supporting publications: For practice purposes, sample Aural tests are published by ABRSM.
Examples of the tests are given in Specimen Aural Tests and Aural Training in Practice. Purchasingthese books is not a requirement.
Deaf or hearing-impaired candidates: Deaf or hearing-impaired candidates may choose
alternative tests in place of the standard tests, if requested at the time of booking theexam. Further information, including the syllabus for the alternative tests, is available atwww.abrsm.org/specificneeds.

22Practical Grades 

3. Bowed Strings Practical Grades Syllabus from 2024

Sight-reading parameters
The tables on pages 23–24 show the elements that are introduced at each grade. These
parameters are presented cumulatively, i.e. once introduced they apply for all later grades(gradually progressing in difficulty). See also page 22.
Length(bars)Time

Other features that may be included

4

4 ⁄4

6

2 ⁄4

Grade 14

3 ⁄4

Grade 28

• 1st position• q and iq note values; Î rests• notes separately bowed• mf• h and iiiq note values• f and p• Double Bass: 1st or half position, at candidate’s choice• h . ; rests• simple two-note slurs• mp ; cresc. and dim. hairpins• Double Bass: 1st position only
• accidentals (within minor keys)• q . e and q a . a i ; simple semiquaver patterns; ä rests• tied notes• staccato; pizzicato (at end)
• Double Bass: half or 1st position, at examiner’s choice• shifts between:• Violin & Viola: 1st and 3rd positions• Cello: 1st and 4th positions• Double Bass: half, 1st and 3rd positions (no more than two

InitialGrade 3

Grade 4

c. 8

6⁄8



positions per test)

Grade 5c. 8–16

Grade 6c. 12–16

9⁄8
5⁄8
5 ⁄4

Grade 7c. 16–20

7⁄ 8
7⁄4

Grade 8c. 16–24

12 ⁄ 8• chromatic notes• anacrusis• hooked bowing• tenuto, accents• pause sign
• pp and ff• shifts as required to cover range• simple syncopation• changes between arco and pizzicato• slowing of tempo (at end)
• Violin, Viola & Cello: simple chords (at end)
• triplet patterns• slowing of tempo followed by a tempo• Viola: treble clef
• Double Bass: simple chords (at end)
• Violin & Viola: left-hand pizzicato• Cello & Double Bass: tenor clef
• acceleration of tempo• simple ornaments• Violin: 8va sign
• Cello: left-hand pizzicato• Cello & Double Bass: treble clef23

3. Bowed Strings Practical Grades Syllabus from 2024

Practical Grades

KEYS
MAJORS
minors *Violin

Viola

Cello

Double Bass ◆Initial Grade

D, A

G, D

G, D

G, D

—

—

—

Grade 2

G
e

C
a

C
a

C, G, Da

Grade 3

C, F, B a, d, g

F, B -, E d, g, c

A, F, B d, g

F, B bGrade 4

E-

A

Ec

A
e, d

Grade 5

E, A b, c

E, A e, f +

e

g

c+

f

—

Ec

f+

b, c +

E, A b, f

E
f+

Grade 8B, D fB, D -f+

Af

RANGES §Violin

Viola

Cello

Double Bass

Initial Graded′–g′, a′–d″g–c′, d′–g′G–c, d–g

g–b, d–f +Grade 1

d′–a″

g–d″

G–d′

d–b or F–f ◊Grade 2

g–a″

c–d″

C–d′

E–b

Grade 3

g–b″

c–e″

C–d′

E–b

Grade 4

g–d‴

c–g″

C–g′

E–d′

Grade 5

g–e‴

c–a″

C–a′

E–e′

Grade 6

g–e‴

c–a″

C–a′

E–g′

Grade 7

g–g‴

c–b″

C–b - ′

E–a′

Grade 8

g–a‴

c–c‴

C–d″

E–c″

Grade 1

Grade 6
Grade 7* Minors – natural form at Grade 2, any form from Grade 3◆ Keys cumulative from Grade 2◊ 1st or half position, at candidate’s choice§ Ranges are presented using the Helmholtz system, i.e.:

?
w w

B′

24

C

w w
B

c

w
b

&

w
c′

w w
b′

c″

w w
b″

w

c‴ b‴

G, D or F, B - ◊Violin

Practical Grades Violin
fromfrom
2024
2024

Practical Grades

INITIAL GRADE
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
COMPOSERA

1PIECE / WORK / ARRANGER

Lloyd Coleman Happy Hippo Hop

PUBLICATION (PUBLISHER)

Violin Exam Pack from 2024, Initial Grade (ABRSM)

2 Trad. English

The Old Woman and the Pedlar, arr. Bullard

Violin Exam Pack from 2024, Initial Grade (ABRSM)

3 Trad. Welsh

Pwt ar y Bys, arr. Gritton

Violin Exam Pack from 2024, Initial Grade (ABRSM)

Knickerbocker Glory (No. 10 from Waggon
Hugh Colledge Wheels)

Katherine & Hugh Colledge: Waggon Wheels for Violin(Boosey & Hawkes)

4 Katherine &5 Cutter

Little March, arr. K. & C. Sassmannshaus

Violin Recital Album, Vol. 1 (Bärenreiter)

ending at b. 20 DUET/PIANO
6 Stanley

Sweet Eyed Sue (No. 9 from New Tunes for
Strings, Book 1) with repeat using bowing variation 1

7 Trad.

Big Ben, arr. Davey, Hussey & Sebba

Fletcher

Stanley Fletcher: New Tunes for Strings, Violin Book 1(Boosey & Hawkes)

DUET/PIANO

Abracadabra Violin (Third Edition) (Collins Music)

DUET/PIANO

8 Trad.

Secret Agents, arr. Davey, Hussey & Sebba

Abracadabra Violin (Third Edition) (Collins Music)

with repeat DUET/PIANO
9 Trad.

Go Tell Aunt Rhody, arr. Suzuki DUET/PIANOSuzuki Violin School, Vol. 1 (Alfred)

10 Wohlfart

Polka, arr. Nelson

Piece by Piece 1 for Violin (Boosey & Hawkes)

11 S. Nelson

Marzipan March (Theme)

The Essential String Method, Violin Book 2 (Boosey &Hawkes)12 Vivaldi

Autumn (from The Four Seasons), arr. K. & D.
Blackwell DUET/PIANO

Violin Mix 1 (ABRSM)

13 Mark Wilson

Oh, What a Day!

No. 38 from Mark Wilson & Paul Wood: Stringtastic
Beginners for Violin (Faber)& Paul WoodB

1

AltheaThe Knights’ Pavane
Talbot-Howard

2 Bob Dylan

Blowin’ in the Wind, arr. Iles

Violin Exam Pack from 2024, Initial Grade (ABRSM)

3 Trad. French

Au clair de la lune, arr. Bullard

Violin Exam Pack from 2024, Initial Grade (ABRSM)

4 Kathy & David Peace Garden* DUET/PIANO

Fiddle Time Joggers (OUP)

5 Trad.

Fiddle Time Joggers (OUP)

Blackwell

AmericanThe Mocking Bird, arr. K. & D. Blackwell
DUET/PIANO

6 Thomas

Footprints in the Snow

Vamoosh Violin, Book 1 (Vamoosh)7 Huws Jones

Gone for Good (No. 12 from Ten O’Clock Rock)Huws Jones: Ten O’Clock Rock for Violin (Boosey &Hawkes)8 S. Nelson

I am a River

The Essential String Method, Violin Book 2 (Boosey &Hawkes)9 S. Nelson

Over the Moon

Piece by Piece 1 for Violin (Boosey & Hawkes)

10 S. Nelson

Swingalong ‘E’ version DUET/PIANO

P. 16 from Tetratunes for Violin (Boosey & Hawkes)

11 Thomas

Rolling Hills

Vamoosh Violin, Book 1 (Vamoosh)

12 Mark Wilson

Music for a Rainy Day

No. 27 from Mark Wilson & Paul Wood: Stringtastic
Beginners for Violin (Faber)

13 David

Sad Sandy

Easy Tunes for Tamariki for Violin (Wellington Branch
IRMTNZ)

Gregory

Gregory& Paul Wood
WoodcockC

Violin Exam Pack from 2024, Initial Grade (ABRSM)

Crunch Time

Violin Exam Pack from 2024, Initial Grade (ABRSM)

2 Christopher

Grizzly Bear (No. 5 from The Microjazz Violin
Collection 1)

Violin Exam Pack from 2024, Initial Grade (ABRSM)

3 Trad. German

Kuckuck, Kuckuck, ruft’s aus dem Wald,arr. Blackwell

Violin Exam Pack from 2024, Initial Grade (ABRSM)

1

Nancy Litten
NortonAccompaniment(s) published separately, see www.abrsm.org/syllabusclarifications* Previously named ‘Chinese Garden’25Violin from 2024 Initial Grade

COMPOSER

Practical Grades

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

4 Kathy & David Rhythm Fever DUET/PIANO

Fiddle Time Joggers (OUP)

Blackwell

5 Thomas

Walk on Mars! slides optional; with DC, as in accomp. Vamoosh Violin, Book 1 (Vamoosh)6 AnitaHave a Cup of Tea (from Bread and Butter
Pudding)

7 Huws Jones

Ten O’Clock Rock (No. 9 from Ten O’Clock Rock) Huws Jones: Ten O’Clock Rock for Violin(Boosey & Hawkes)

8 Caroline

Jungle Footprints (from Jackaroo)

Gregory

Hewitt-Jones& Caroline
LumsdenLumsden& Pam
Wedgwood

9 Trad. German

Lumsden & Hewitt-Jones: Bread and Butter Pudding(Musicland)

Lumsden & Wedgwood: Jackaroo for Violin (Faber)scream optional

Pit a Pat Rain, arr. K. & C. Sassmannshaus

Violin Recital Album, Vol. 1 (Bärenreiter)

DUET/PIANO

10 Peter Wilson

Bow Rock (No. 4 from Stringpops 1)

Wilson & Ranger: Stringpops 1 for Violin (Faber)

11 Ross CareyIn MayEasy Tunes for Tamariki for Violin (Wellington Branch
IRMTNZ)

12 Jessica

Witches’ Waltz DUET/PIANO

Flexi Violin, Book 1 (Faber)

13 Trad.

Let us chase the squirrel, arr. K. & D. Blackwell

Violin Mix 1 (ABRSM)

O’Leary
American

SCALES: from memory; for further details (including examples) see pages 15, 16–17 & 18


RANGE

REQUIREMENTS

1 oct.

separate bows;
even notes or long tonic, at candidate’s choicea 5thseparate bows;
even notes

SCALES

D, A majors

starting on open strings

E minor starting on bottom E

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 103

26

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

Practical Grades

Violin from 2024

GRADE 1
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

SanchoThe Sword Knott (from Minuets, Cotillons andCountry Dances)

Violin Exam Pieces from 2024, Grade 1 (ABRSM)

2 J. S. Bach

Mer hahn en neue Oberkeet, arr. Salter

Violin Exam Pieces from 2024, Grade 1 (ABRSM)

3 Trad. Irish

The Wind that Shakes the Barley, arr. Litten

Violin Exam Pieces from 2024, Grade 1 (ABRSM)

4 Arbeau

Mattachins, arr. Huws Jones

Encore Violin, Book 1 (ABRSM)

1

5 Kathy & David Patrick’s Reel DUET/PIANO

Fiddle Time Joggers (OUP)

6 CarseMinuet (from The Fiddler’s Nursery)

Carse: The Fiddler’s Nursery for Violin (Stainer & Bell)

7 ThomasSinfonia DUET/PIANO

Vamoosh Violin, Book 1.5 (Vamoosh)8 Purcell

Rigadoon, arr. Nelson with repeat

Piece by Piece 1 for Violin (Boosey & Hawkes)

9 Suzuki

Andantino DUET/PIANOSuzuki Violin School, Vol. 1 (Alfred)

10 Trad. Irish

John Ryan’s Polka, arr. Huws Jones DUET/PIANO

Violin Star 2 (ABRSM)

Chevalier’s Rondeau (from String Quartet,
Saint-Georges Op. 1 No. 3), arr. K. & D. Blackwell DUET/PIANO

Violin Mix 1 (ABRSM)

Blackwell

Gregory

11 Chevalier de
12 EveAn Old World Minuet

Violin Music By Women, A Graded Anthology, Vol. 1
Beginning (Sleepy Puppy Press)

13 Trad.

Rasa Sayang, arr. Harris & O’Leary DUET/PIANO

Flexi Violin, Book 1 (Faber)

Hungerford
Indonesian

B

Moonrise (No. 1 from A Fairy Ring)

Violin Exam Pieces from 2024, Grade 1 (ABRSM)

2 Trad. Scottish

An Coineachan, arr. Bullard

Violin Exam Pieces from 2024, Grade 1 (ABRSM)

3 Trad. Yiddish

Tumbalalaika, arr. Gritton

Violin Exam Pieces from 2024, Grade 1 (ABRSM)

1

B. Shore

4 Kathy & David Rocking Horse DUET/PIANO

Fiddle Time Joggers (OUP)

5 Katherine &Full Moon (No. 22 from Waggon Wheels)

Katherine & Hugh Colledge: Waggon Wheels for Violin(Boosey & Hawkes)

6 Lehár

Waltz (from The Merry Widow), arr. Huws Jones Going Solo for Violin (Faber) or
The Best of Grade 1 Violin (Faber)BlackwellHugh Colledge

7 Rodgers &Edelweiss (from The Sound of Music), arr. Davey, Abracadabra Violin (Third Edition) (Collins Music)
Hammerstein Hussey & Sebba DUET/PIANO

8 Schubert

Cradle Song, arr. Nelson DUET

Tunes You Know 1 for Violin Duet (Boosey & Hawkes)

9 Trad.

The Leaving of Liverpool, arr. Huws JonesThe Seafaring Fiddler (Boosey & Hawkes)

violin melody DUET/PIANO
10 Trad. English

A North Country Lass, arr. Huws Jones

Violin Star 2 (ABRSM)

DUET/PIANO

11 Carse

Song Without Words

Carse: First String Tunes (Stainer & Bell)

12 A.

Cavatine

I Love My Violon (Leduc)13 Sitt

First Solo, arr. Harris & O’Leary DUET/PIANO

Flexi Violin, Book 1 (Faber)

Mendelssohn

C

1

Barbera, Hanna The Flintstones, arr. Iles
& Curtin

Violin Exam Pieces from 2024, Grade 1 (ABRSM)

2 Peter Martin

Hoe Down (from Little Suite No. 3)

Violin Exam Pieces from 2024, Grade 1 (ABRSM)

3 Trad. Zulu

Siyahamba, arr. Iles

Violin Exam Pieces from 2024, Grade 1 (ABRSM)

4 Klaus Badelt & He’s a Pirate (from Pirates of the Caribbean:

Top Hits from TV, Movies & Musicals for Violin(Alfred)5 Thomas

Vamoosh Violin, Book 1 (Vamoosh)Hans Zimmer The Curse of the Black Pearl), arr. Galliford &Neuburg with repeat; ending 1st beat of b. 22
Gregory

Fiery Fiddler with repeats

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications
Accompaniment printable from companion CD

27

Violin from 2024 Grade 1

COMPOSER

Practical Grades

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

6 Huws Jones

SharksGoing Solo for Violin (Faber) or
The Best of Grade 1 Violin (Faber)

7 Trad. Chinese

Jasmine Flower (No. 4), arr. O’Leary SOLO

No. 4 from 80 Graded Studies for Violin, Book 1 (Faber)

8 Trad. Czech

Rocking, arr. Nelson DUET

Tunes You Know 1 for Violin Duet (Boosey & Hawkes)

9 Judith Bell

Minor Groove

Easy Tunes for Tamariki for Violin (Wellington Branch
IRMTNZ)

10 Mary Cohen

Gliding Along at the Octopus Ball (No. 9 fromSuperstudies for Violin, Book 1)

Mary Cohen: Superstudies for Violin, Book 1 (Faber)

11 Flanders &The Hippopotamus, arr. K. & D. Blackwell

Violin Mix 2 (ABRSM)

12 R. & R.

Supercalifragilisticexpialidocious (from Mary
Poppins), arr. K. & D. Blackwell

Violin Mix 1 (ABRSM)

13 Trad.

Casey Jones, arr. Huws Jones

Violin Star 2 (ABRSM)

Swann

ShermanAmerican

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 18


RANGE

REQUIREMENTS

1 oct.

separate bows or slurred (2 quavers to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

SCALES

D, A majors

starting on open strings

E natural minor
G major2 oct.

ARPEGGIOS

D, A majors
E minor
G majorstarting on open strings

1 oct.
2 oct.

separate bows;
even notes

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 103

28

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

Practical Grades

Violin from 2024

GRADE 2
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

T. Anderson

Da Rod to Moreview (from The Tom Anderson
Collection, Vol. 1) SOLO

Violin Exam Pieces from 2024, Grade 2 (ABRSM)

2 F. Couperin

Gavotte (from Les Nations, Premier ordre (‘La
Françoise’), arr. Salter with first repeat

Violin Exam Pieces from 2024, Grade 2 (ABRSM)

3 Beethoven

Écossaise in G, WoO 23, arr. Salter

Violin Exam Pieces from 2024, Grade 2 (ABRSM)

4 J. S. Bach

Musette, arr. Suzuki

Suzuki Violin School, Vol. 2 (Alfred)

5 Boismortier

Rigaudon, arr. Mohrs DUET

Duets for Fun: Violins (Schott)

6 FingerAir, arr. Mohrs trill optional

My First Concert for Violin (Schott)

7 Haydn

Minuet and Trio, arr. Nelson without DC

Piece by Piece 1 for Violin (Boosey & Hawkes)

8 G. B. Martini

Gavotte, arr. de Keyser & Waterman

The Best of Grade 2 Violin (Faber) or
The Young Violinist’s Repertoire, Book 1 (Faber)

9 Trad. Irish

Red-Haired Boy, arr. Huws Jones
violin melody DUET/PIANOThe Fiddler Playalong Violin Collection 2(Boosey & Hawkes) orJigs, Reels & Hornpipe (Boosey & Hawkes)

Soldier’s Joy, arr. Nelson DUET

Tunes You Know 2 for Violin Duet (Boosey & Hawkes)

1

10 Trad. Scottish
11 Chevalier deRondeau Theme (from Sonata for Flute andSaint-Georges Harp), arr. K. & D. Blackwell

B

12 Komorowski

Study in A (from 38 Etudes for Violin),
arr. Dezaire

Selected Studies 1 (De Haske Hal Leonard)

13 Mozart

Papageno’s Song (from The Magic Flute),arr. Spearing & Cohen

Rondo Theme/Papageno’s Song (from Superstart Violin
Level 2) (Faber)1Rodgers &Climb Ev’ry Mountain (from The Sound of
Hammerstein Music), arr. Iles

Violin Exam Pieces from 2024, Grade 2 (ABRSM)

2 L. Cohen

Hallelujah, arr. Iles

Violin Exam Pieces from 2024, Grade 2 (ABRSM)

3 Shruthi

Lake of Ice

Violin Exam Pieces from 2024, Grade 2 (ABRSM)

4 Katherine &Weeping Willow (No. 10 from Fast Forward)

Katherine & Hugh Colledge: Fast Forward for Violin(Boosey & Hawkes)

5 Edward Jones

Glwysen, arr. Huws Jones violin melody

The Fiddler Playalong Violin Collection 2(Boosey & Hawkes) or
The Celtic Fiddler (Boosey & Hawkes)

Rajasekar
Hugh Colledge

DUET/PIANO

6 Mozart

Theme (from Sonata in A, K. 331, 1st movt),
arr. Gazda & Clark grace notes optional DUET

Compatible Duets for Strings, Vol. 2: Violin (Carl Fischer)

7 Offenbach

Barcarolle (from The Tales of Hoffmann),arr. Gregory with repeats

Vamoosh Violin, Book 2 (Vamoosh)8 Tchaikovsky

Waltz (from The Sleeping Beauty), arr. Cohen

Superpieces (Faber) or
The Best of Grade 2 Violin (Faber)

9 Trad. North

Simple Gifts, arr. Waterfield & Beach

The Best of Grade 2 Violin (Faber) or
O Shenandoah! for Violin (Faber)

10 Trad.

Greensleeves, arr. Nelson DUET

Tunes You Know 1 for Violin Duet (Boosey & Hawkes)

11 Bacewicz

Lullaby

Bacewicz: Easy Pieces, Book 1 (PWM)

12 Trad.

Through My Window, arr. Kraemer

The Best of Grade 2 Violin (Faber)

13 TrottEspressivo, arr. Cooper DUET

No. 26 from Trott: Easy and Progressive Violin Duets(Sleepy Puppy Press)

AmericanHungarianC

Violin Mix 2 (ABRSM)

Little Dance (No. 12 from First String Tunes)

Violin Exam Pieces from 2024, Grade 2 (ABRSM)

2 Craig Utting

Black Cat Rag

Violin Exam Pieces from 2024, Grade 2 (ABRSM)

3 Trad. Jiangsu

Lady Meng Jiang, arr. Stock SOLO

Violin Exam Pieces from 2024, Grade 2 (ABRSM)

1

Carse

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications
Digital only edition, available from publisher’s website

29

Violin from 2024 Grade 2

COMPOSER

Practical Grades

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

4 Arlen &We’re off to see the wizard (from The Wizard of Abracadabra Violin (Third Edition) (Collins Music)
Oz), arr. Davey, Hussey & Sebba DUET/PIANO

5 Bartók

Play Song (No. 9 from 44 Duos) DUETHarburg

Bartók: 44 Duos for Two Violins, Vol. 1 (Universal)

6 Kathy & David Jacob’s Dance DUET/PIANO

Fiddle Time Sprinters (OUP)

7 Thomas

Smooth Operator

Vamoosh Violin, Book 2 (Vamoosh)8 Ferdinand

Gypsy Dance ending at b. 47 DUET/PIANO

Violin Recital Album, Vol. 2 (Bärenreiter)

9 Trad.

Jack Tar, arr. Huws Jones violin melody

The Seafaring Fiddler (Boosey & Hawkes)

Blackwell
Gregory
Seitz

DUET/PIANO

10 PamSiberian Galop

The Best of Grade 2 Violin (Faber) or
Up-Grade! Violin Grades 1–2 (Faber)

11 African-

I want to be ready, arr. K. & D. Blackwell

Violin Mix 2 (ABRSM)

12 Stéphanie

Toulouse Tango (from Carnet de voyage)

I Love My Violon (Leduc)13 Trad. Spanish

Bolero, arr. K. & D. Blackwell DUET/PIANO

Fiddle Time Sprinters (OUP)

Wedgwood
AmericanSpiritual
Pons

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 18


RANGE

REQUIREMENTS

G, D minors starting on open strings(natural or harmonic or melodic, at candidate’s
choice)1 oct.

separate bows or slurred (2 quavers to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

G, A, B - majors

2 oct.

SCALESC, F majors

ARPEGGIOS

C, F majors
G, D minors

starting on open strings

G, A, B - majors

1 oct.
2 oct.

separate bows;
even notes

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 104

30

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

Practical Grades

Violin from 2024

GRADE 3
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

B

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Trad.
AmericanBlackberry Blossom, arr. Huws Jones

Violin Exam Pieces from 2024, Grade 3 (ABRSM)

2 Telemann

Loure (from Suite in G, TWV 11:21)

Violin Exam Pieces from 2024, Grade 3 (ABRSM)

3 Baklanova

Reigen (No. 2 from Acht Leichte Stücke)Violin Exam Pieces from 2024, Grade 3 (ABRSM)

4 Boyce

Gavotte (3rd movt from Symphony No. 4 in F,
Op. 2 No. 4), arr. WadeThe Young Symphonist, Vol. 2 (Clifton Edition)

5 Holmstad

Lett på fot (Light-footed) with 1st repeat
SOLO

Holmstad: Gamle danser blir som nye(Norsk Musikforlag)

6 Kling

March, arr. Gazda & Clark DUET

Compatible Duets for Strings, Vol. 2: Violin (Carl Fischer)

7 F. Küchler

Allegro assai (3rd movt from Concertino in D,
Op. 15)

F. Küchler: Concertino in D, Op. 15 (Bosworth)

8 Mascitti

Gavotta (4th movt from Sonata in E minor, Op. 2 Baroque Violin Pieces, Book 1 (ABRSM)
No. 10)9 Mozart

Duo (from 12 Duos, K. 487), arr. de Keyser &Waterman DUETThe Young Violinist’s Repertoire, Book 3 (Faber)

10 Telemann

Bourrée (from Wedding Divertissement)

The Best of Grade 3 Violin (Faber)

11 Barthélemon

Rondo alla Hornpipe (from Keyboard Sonata,
Op. 3), arr. K. & D. Blackwell

Violin Mix 3 (ABRSM)

12 Chaminade

Gavotte, arr. Harris & O’Leary DUET/PIANO

Flexi Violin, Book 2 (Faber)

13 Seydel

MinuetViolin Music By Women, A Graded Anthology, Vol. 1
Beginning (Sleepy Puppy Press)

Sleep Song (from Hänsel und Gretel),arr. Robjohns

Violin Exam Pieces from 2024, Grade 3 (ABRSM)

2 Jay Ungar

Ashokan Farewell, arr. Blackwell

Violin Exam Pieces from 2024, Grade 3 (ABRSM)

3 C. Dancla

Rédowa de Wallerstein (No. 3 from Le mélodiste, Violin Exam Pieces from 2024, Grade 3 (ABRSM)
Op. 86)4 BizetHabanera (from Carmen), arr. K. & D. Blackwell

1

1

Humperdinck

Fiddle Time Sprinters (OUP)

DUET/PIANO

5 G. Concone

Andante pastorale, arr. Gazda & Clark DUET

Compatible Duets for Strings, Vol. 2: Violin(Carl Fischer)

6 Gebirtig

Moishele Mayn Fraynd, arr. Rowlands

Klezmer Fiddle Tunes (Schott)

7 Barbara Heller Lalai – A Lullaby to Awaken You?, arr. Mohrs

My First Concert for Violin (Schott)

8 Elton John &Can You Feel the Love Tonight? (from The Lion
King), arr. Galliford & Neuburg

Top Hits from TV, Movies & Musicals for Violin(Alfred)9 Papini

Theme and Variations 1 and 2 (from Theme andVariations), trans. Applebaum

Solos for Young Violinists, Vol. 1 (Alfred)

Tim Rice

10 Friedrich Seitz Adagio (2nd movt from Student Concerto No. 2

in G, Op. 13)

Friedrich Seitz: Student Concerto No. 2 in G, Op. 13(Bärenreiter)

11 African-

Wade in the Water, arr. K. & D. Blackwell

Fiddle Time Sprinters (OUP)

AmericanSpiritual

12 Jennifer

Lost (from Modern Mosaics)

Jennifer Bowman: Modern Mosaics for Violin (80 Days
Publishing)

13 Trad. Irish

Last Rose of Summer DUET/PIANO

Flexi Violin, Book 2 (Faber)

BowmanC

DUET/PIANO

1

G. & I.
I got plenty o’ nuttin’ (from Porgy and Bess),
Gershwin,arr. Blackwell
D. & D. Heyward

2 N. Mackay

Rebecca – A Rumba (No. 4 from Four Modern
Dance Tunes)

Violin Exam Pieces from 2024, Grade 3 (ABRSM)

Violin Exam Pieces from 2024, Grade 3 (ABRSM)

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications
Accompaniment printable from companion CD

31

Violin from 2024 Grade 3

COMPOSER

Practical Grades

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

3 James B.

A Shanty for Ludwig

Violin Exam Pieces from 2024, Grade 3 (ABRSM)

4 Bartók

Pillow Dance (No. 14 from 44 Duos) DUET

Bartók: 44 Duos for Two Violins, Vol. 1 (Universal)

5 L. Bernstein

I feel pretty (from West Side Story), arr. Wastall

Session Time for Strings: Violin (Boosey & Hawkes)

Wilsonsolo part
6 Katherine &Stiffkey Blues (No. 21 from Shooting Stars)

Katherine & Hugh Colledge: Shooting Stars for Violin(Boosey & Hawkes)

7 C. Dancla

Chasse du jeune Henry (No. 17 from 36 études
mélodiques et faciles, Op. 84) SOLO

C. Dancla: 36 Melodious and Easy Studies, Op. 84(Schott)

8 Grechaninov

The Joker (No. 3 from Early Morning, Op. 126a)

The Young Violinist’s Repertoire, Book 3 (Faber)

9 Thomas

VamooseVamoosh Violin, Book 2 (Vamoosh)10 S. Nelson

Toad in the Hole without improvisation

Technitunes for Violin (Boosey & Hawkes)

Hugh Colledge

Gregory

DUET/PIANO

11 Ewa Iwan

Flea (from Musical Journeys, Book 1)

Ewa Iwan: Musical Journeys for Violin, Book 1 (PWM)

12 Trad. Ukrainian Halya carries water, arr. Stephen & Rowlands

Violin Mix 3 (ABRSM)

DUET/PIANO

13 Roland

OrzabalMad World (arr.)

Pop Performance Pieces for Violin (Chester)

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 18


RANGE

REQUIREMENTSSCALES

A -, E -, E majors

1 oct.

B -, D majors
A, D minors(harmonic or melodic, at candidate’s choice)2 oct.

separate bows or slurred (2 quavers to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

ARPEGGIOS

A -, E -, E majors
B -, D majors
A, D minors

1 oct.
2 oct.

separate bows or slurred (3 notes to a bow), at
examiner’s choice;even notes

CHROMATIC SCALE

starting on D open string

1 oct.

separate bows;
even notes

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 104

32

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

Practical Grades

Violin from 2024

GRADE 4
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Bacewicz

Prelude (from Easy Pieces, Book 1)

Violin Exam Pieces from 2024, Grade 4 (ABRSM)

2 Trad.

Ragtime Annie, arr. Huws Jones

Violin Exam Pieces from 2024, Grade 4 (ABRSM)

3 A. Veracini

Vivace (4th movt from Sonata in G minor, Op. 3
No. 7) with first repeat

Violin Exam Pieces from 2024, Grade 4 (ABRSM)

4 Anon. ItalianTrotto, arr. Huws JonesThe Young Violinist’s Early Music Collection (Faber)

5 Beethoven

Menuetto (from Serenade No. 1 in D, Op. 8),
arr. Nagy

Introduction to the Great Composers (Bärenreiter)

6 Weber

Allegramente (from Rondo, Op. 3 No. 6),
arr. Nagy

Introduction to the Great Composers (Bärenreiter)

7 HandelRondeau (from Sonata in E minor, Op. 5 No. 3),
arr. Forbes

First Violin, Book 3 (ABRSM)

8 L. Mozart

Presto (3rd movt from Symphony in G),
arr. WadeThe Young Symphonist, Vol. 2 (Clifton Edition)

9 PurcellRondeau (from Abdelazar), arr. Cohen

Encore Violin, Book 2 (ABRSM) or
The Best of Grade 4 Violin (Faber)

10 N. Sokolovsky

Menuett

Small Concert Pieces, Vol. 1 (EMB Zeneműkiadó)

11 Anon. French

Estampie royal, arr. Huws Jones

The Early Music Fiddler (Boosey & Hawkes)

12 J. Gibbs

Aria and Variation 1 (from Sonata in D minor,
Op. 1 No. 1), arr. Nelson

Sheila M. Nelson’s Baroque Violinist (Boosey & Hawkes)

13 Rachel Laurin

The Sugar Shack (from Three Canadian Scenes,
Op. 104)

Lyrical Violin Legends (Allegro)

The Legend of Ashitaka (from Princess
Mononoke), arr. Shimazu

Violin Exam Pieces from 2024, Grade 4 (ABRSM)

2 F. Price

The Deserted Garden

Violin Exam Pieces from 2024, Grade 4 (ABRSM)

3 Holst

Ländler, arr. Salter

Violin Exam Pieces from 2024, Grade 4 (ABRSM)

4 Y. Bowen

MelodyFirst Violin, Book 3 (ABRSM)

5 Bridge

Spring Song (No. 2 from Four Short Pieces,
H. 104)

Bridge: Spring Song and Lullaby (Stainer & Bell)

6 CarseChant de l’escarpoletteClassic Carse, Book 2 (Stainer & Bell)1

AmericanB

C

1

Joe Hisaishi

7 J. P. E. Martini Plaisir d’amour, arr. Danbé

J. P. E. Martini: Plaisir d’amour (Schott)

8 Martinů

Andante (No. 3 from Four Intermezzos, H. 261)

Martinů: Intermezzo (Bärenreiter Praha)

9 Mendelssohn

Andante con moto (2nd movt from Symphony
No. 4, ‘The Italian’, Op. 90), arr. WadeThe Young Symphonist, Vol. 2 (Clifton Edition)

10 Trad. Breton

Lament, arr. Huws Jones violin melody

The French Fiddler (Boosey & Hawkes)

11 Toivo Kuula

Morning Song, arr. North

Lyrical Violin Legends (Allegro)

12 Schubert

Romanze, arr. Nagy

Introduction to the Great Composers (Bärenreiter)

13 J. S. Skinner

The Cradle Song

Alastair Hardie’s Compliments to ‘The King’(Hardie Press)

Butterfly (from Musical Journeys, Book 1)

Violin Exam Pieces from 2024, Grade 4 (ABRSM)

2 Lagye

Danse espagnole, Op. 102

Violin Exam Pieces from 2024, Grade 4 (ABRSM)

3 Bart Howard

Fly me to the moon, arr. Iles

Violin Exam Pieces from 2024, Grade 4 (ABRSM)

4 Gebirtig

Avreml der Marvikher, arr. Rowlands

Klezmer Fiddle Tunes (Schott)

5 Hadjiev

Rondino, arr. de Keyser & Waterman

The Best of Grade 4 Violin (Faber)

6 Kabalevsky

The Clowns, arr. de Keyser & Waterman

The Young Violinist’s Repertoire, Book 3 (Faber)

1

Ewa Iwan

7 D. Obijalska & Gadabout Cat (from Fiddling Notes)

M. Wawruk

Accompaniment printable from companion CD

Obijalska & Wawruk: Fiddling Notes (PWM)

33

Violin from 2024 Grade 4

COMPOSER

Practical Grades

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

8 G. M.

La cumparsita, arr. Huws Jones violin melody

The Fiddler Playalong Violin Collection 2(Boosey & Hawkes) or
The Tango Fiddler (Boosey & Hawkes)

9 J. S. Skinner

MacPherson’s Blade

Alastair Hardie’s Compliments to ‘The King’(Hardie Press)

10 Trad. Russian

Chubchik, arr. Stephen with final repeat SOLO

Russian Fiddle Tunes (Schott)

11 African-

Joshua fit the battle of Jericho, arr. Blackwell

Solo Time for Violin, Book 1 (OUP)

12 C. Bohm

Valse Lente (No. 2 from Moments musicaux,
Op. 380)

Encore Violin, Book 2 (ABRSM)

13 Christopher

King Boogie (No. 6 from The Christopher Norton
Concert Collection)

The Christopher Norton Concert Collection for Violin(Boosey & Hawkes)

Rodríguez

AmericanSpiritual

NortonSCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 18


RANGE

REQUIREMENTS

2 oct.

separate bows or slurred (2 beats to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

2 oct.

separate bows or slurred (3 notes to a bow), at
examiner’s choice;even notes

1 oct.

separate bows;
even notes

1 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

SCALES

A -, B, C, E majors
G, B, C minors(harmonic or melodic, at candidate’s choice)
ARPEGGIOS

A -, B, C, E majors
G, B, C minors
DOMINANT SEVENTHS (resolving on tonic)

in the key of C starting on open string G
in the key of D starting on bottom A
CHROMATIC SCALES

starting on A bottom A
starting on E bottom E

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 105

34

Practical Grades

Violin from 2024

GRADE 5
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

COMPOSERPIECE / WORK / ARRANGER

Corrette

Giga (from Sonata in D, Op. 25 No. 5), arr. Jones Violin Exam Pieces from 2024, Grade 5 (ABRSM)

2 attrib. Handel

Allegro (2nd movt from Sonata in F, Op. 1 No. 12, Violin Exam Pieces from 2024, Grade 5 (ABRSM)
HWV 370)

3 Jean Baptiste

Giga (4th movt from Sonata in G minor, Op. 5
No. 6)

Violin Exam Pieces from 2024, Grade 5 (ABRSM)

4 J. C. Bach

Presto (3rd movt from Symphony No. 4),
arr. WadeThe Young Symphonist, Vol. 3 (Clifton Edition)

5 Boyce

Allegro (1st movt from Symphony No. 4 in F),
arr. WadeThe Young Symphonist, Vol. 3 (Clifton Edition)

6 J. S. Bach

Bereite dich, Zion (from Weihnachtsoratorium,
BWV 248), arr. K. & D. Blackwell

Bach for Violin (OUP)

7 Gossec

Tambourin, arr. Nelson

Sheila M. Nelson’s Classical Violinist (Boosey &Hawkes)8 Joachim

Café classique (No. 5 from Coffee & Violin)

Joachim Johow: Coffee & Violin (Schott)

9 Senaillé

Allegro (spiritoso) (4th movt from Sonata No. 4
in D minor)

Senaillé: Sonata in D minor (OUP or Schott)

10 Leclair

Allegro (2nd movt from Sonata in B minor, Op. 2 Französische Violinmusik der Barockzeit 2 (Henle)
No. 11)11 Mascitti

Giga

12 Telemann

Allegro (2nd movt from Sonata in G, TWV 41:G1) Telemann: 6 Sonatas for Violin (Schott)

13 Vivaldi

Allemanda (2nd movt from Sonata in F, RV 20
Op. 2)

Vivaldi: 12 Sonatas for Violin, Op. 2 Book 1 (Schott) orBaroque Violin Pieces, Book 3 (ABRSM)

Romance (No. 1 from Two Romances)

Violin Exam Pieces from 2024, Grade 5 (ABRSM)

1

Loeillet

Johow

B

1

AndréeGrade by Grade, Violin Grade 5 (Boosey & Hawkes) or
Sheila M. Nelson’s Baroque Violinist (Boosey &Hawkes)mute optional
2 Trad. Shanxi

Leaving Home, arr. Long SOLO

Violin Exam Pieces from 2024, Grade 5 (ABRSM)

3 Sherwin &A Nightingale Sang in Berkeley Square, arr. Iles

Violin Exam Pieces from 2024, Grade 5 (ABRSM)

4 Bridge

Cradle Song, H. 96

Bridge: Three Pieces for Violin (Faber) or
The Best of Grade 5 Violin (Faber)

5 Ireland

Berceuse

Ireland: Berceuse for Violin (Stainer & Bell)

6 attrib. Paradis

Sicilienne, arr. Dushkin

Paradis: Sicilienne for Violin or Cello (Schott) or
Encore Violin, Book 3 (ABRSM)

7 Pergolesi

Siciliano

Small Concert Pieces, Vol. 1 (EMB Zeneműkiadó)

8 RiedingAndante sostenuto (2nd movt from Concertino
in G, Op. 24)

Rieding: Concertino in G, Op. 24 (Bosworth)

9 Shostakovich

Elegie, arr. Fortunatov

Shostakovich: Albumstücke (Peters or Sikorski)

10 Tchaikovsky

Waltz (from Serenade for Strings),
arr. Huws Jones

Going Solo for Violin (Faber)

11 Branscombe

An Old Love Tale, Op. 21 No. 1, arr. Cooper
mute and sul G optional

Violin Music By Women: A Graded Anthology, Vol. 3
Intermediate 2 (Sleepy Puppy Press)

12 Sally

Danza del Anhelo

Lyrical Violin Legends (Allegro)

13 Joe Hisaishi

Departure (from Kiki’s Delivery Service),arr. Shimazu

Joe Hisaishi: Studio Ghibli Songs for Violin,
Easy-Intermediate (Yamaha)

Maschwitz

Greenaway

C

PUBLICATION (PUBLISHER)

1

Barbara Arens Tango Habanera

2 Tailleferre

Moderato (1st movt from Sonatine)

Violin Exam Pieces from 2024, Grade 5 (ABRSM)
Violin Exam Pieces from 2024, Grade 5 (ABRSM)

35

Violin from 2024 Grade 5

COMPOSER

Practical Grades

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

3 HilleCzardas (No. 3 from Hungarian Sketches, Op. 23) Violin Exam Pieces from 2024, Grade 5 (ABRSM)

4 Diana Burrell

The Secrets of the Dark Pool in the Pine Forest

Diana Burrell: The Secrets of the Dark Pool in the Pine
Forest (UMP)

5 Kodály

Intermezzo (from Háry János), arr. Kolman

Universal Violin Album, Vol. 3 (Universal)

6 Timothy &Cossack Dance

Gypsy Jazz: Intermediate Level (Faber) or
The Best of Grade 5 Violin (Faber)

7 Lavildevan

Sugar with Cinnamon, arr. K. & D. Blackwell

Solo Time for Violin, Book 2 (OUP)

8 Trad. Klezmer

Hava Nagila, arr. Stephen & Rowlands

Klezmer Fiddle Tunes (Schott)NatashaKraemer

9 Richard Wade Barn Dance (from Way Out West)

Richard Wade: Way Out West (Queen’s Temple
Publications)

10 Joe Hisaishi

A Town with an Ocean View (from Kiki’s Delivery Joe Hisaishi: Studio Ghibli Songs for Violin, Intermediate
Service), arr. Shimazu(Yamaha)11 Ewa Iwan

Tarantella (from Musical Journeys, Book 1)

12 Perlman

Hora-Hatikvah (1st movt from Israeli Concertino) Perlman: Israeli Concertino (Boosey & Hawkes)

13 Marceli

Spanish Dance

Popławski

Ewa Iwan: Musical Journeys for Violin, Book 1 (PWM)
Marceli Popławski: Easy Pieces for Violin (PWM)

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 18


RANGE

REQUIREMENTSSCALES

D -, E -, F majors
B, C +, E minors(harmonic or melodic, at candidate’s choice)2 oct.

G, A majors
G, A minors(harmonic or melodic, at candidate’s choice)3 oct.

separate bows or slurred (2 beats to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

ARPEGGIOS

D -, E -, F majors
B, C +, E minors
G, A majors
G, A minors

2 oct.
3 oct.

separate bows or slurred (3 notes to a bow), at
examiner’s choice;even notes

DOMINANT SEVENTHS (resolving on tonic)

in the key of B -1 oct.

in the keys of C and D

2 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

1 oct.

separate bows;
even notes

DIMINISHED SEVENTHS

starting on G open string
starting on D open string
CHROMATIC SCALES

starting on G, A and B -2 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 106

36

Accompaniment printable from companion CDPractical Grades

Violin from 2024

GRADE 6
PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a Practical
Grades solo Jazz instrument. For alternatives, see www.abrsm.org/prerequisite.
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

B

C

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Bonporti

Giga (3rd movt from Invention in B -, Op. 10
No. 5)

Violin Exam Pieces from 2024, Grade 6 (ABRSM)

2 Vivaldi

Allegro (2nd movt from Sonata in G minor,
RV 28)

Violin Exam Pieces from 2024, Grade 6 (ABRSM)

3 BizetToreador Song (from Carmen), arr. Blackwell

Violin Exam Pieces from 2024, Grade 6 (ABRSM)

4 J. S. Bach

Auch mit gedämpften, schwachen Stimmen(from Cantata, BWV 36), arr. K. & D. Blackwell

Bach for Violin (OUP)

5 Beethoven

Andante and Variations 1 and 6 (from Andante
and Variations, WoO 44b), arr. Isserlis

Beethoven: Andante con variazioni, for Violin (Faber)

6 CorelliAllegro (4th movt from Sonata in C, Op. 5 No. 3) Corelli: Violin Sonatas, Op. 5, Vol. 1 (Wiener Urtext) orCorelli: 12 Sonatas, Op. 5, Vol. 1 (Schott)

7 Geminiani

Affettuoso and Allegro (3rd and 4th movts from Italian Violin Music of the Baroque Period, Vol. 1 (Henle)
Sonata in C, Op. 4 No. 3)

8 J. Stamitz

Minuetto–Minore–Altro (3rd movt from
Sonata in D, Op. 6 No. 5)

Bohemian Violin Sonatas, Vol. 1 (Henle)

9 Telemann

Adagio and Allegro assai (1st and 2nd movts
from Sonatina in A, TWV 41:A2)

Telemann: Six Sonatinas (Amadeus) or
Violinissimo: Concertino (Schott)

10 Vivaldi

Preludio and Allemanda (1st and 2nd movts
from Sonata in B -, Op. 5 No. 3, RV 33)

Vivaldi: Four Sonatas, Op. 5 Nos. 1–4 (European Music
Archive)

11 Foulis

Allegro (1st movt from Sonata No. 3 in E)

Foulis: Six Sonatas for Violin (Hardie Press)

12 Grétry

Tambourin

Suzuki Violin School, Vol. 8 (Alfred)

13 F. M. Veracini

Giga (3rd movt from Sonata Accademica in
E minor, Op. 2 No. 8)

F. M. Veracini: Sonata Accademica in E minor (Peters)

Burleigh

Andante (No. 1 from Southland Sketches)

Violin Exam Pieces from 2024, Grade 6 (ABRSM)

1

1

mute optional
2 ElgarChanson de nuit, Op. 15 No. 1

Violin Exam Pieces from 2024, Grade 6 (ABRSM)

3 Pejačević

Romance

Violin Exam Pieces from 2024, Grade 6 (ABRSM)

4 L. Boulanger

Nocturne

Encore Violin, Book 3 (ABRSM)

5 C. A. Gibbs

The Silent Pool (No. 3 from Three Pieces for
Violin)C. A. Gibbs: The Silent Pool (Chester)

6 Nigel Hess

Theme (from Ladies in Lavender)

Nigel Hess: Theme from Ladies in Lavender for Violin(Faber)7 Kreisler

Andantino in the Style of Martini

Kreisler: Andantino in the Style of Martini (Schott)

8 Shostakovich

Romanze in D, arr. Fortunatov

No. 7 from Shostakovich: Albumstücke (Peters or
Sikorski)

9 Tacchinardi

Romance (No. 11 from Dodici miniature)

Tacchinardi: Dodici miniature, Book 2 (Dohr)

10 Mel Bonis

Andante religioso (No. 1 from Trois pièces)Mel Bonis: 3 Pieces for Violin (Lemoine)

11 Debussy

En bateau (No. 1 from Petite Suite),trans. Choisnel mute optional

Debussy: En bateau for Violin (Durand)

12 Mozart

Andante (from Piano Sonata in C, K. 545),
arr. Blackwell

Solo Time for Violin, Book 2 (OUP)

13 Pergolesi

AriettaSinging Violin, Vol. 3 (PWM)

1Marga Richter Moderato (No. 1 from Three Pieces)

Violin Exam Pieces from 2024, Grade 6 (ABRSM)

2 J. S. Skinner

The Deil amang the Tailors

Violin Exam Pieces from 2024, Grade 6 (ABRSM)

3 Trott

In a Spanish Garden

Violin Exam Pieces from 2024, Grade 6 (ABRSM)

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

37

Violin from 2024 Grade 6

COMPOSER

Practical Grades

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

4 C. Bohm

Bolero (No. 9 from Albumblätter)

C. Bohm: Bolero (Simrock) or
Encore Violin, Book 3 (ABRSM)

5 Szelényi

Youngsters’ Dance (No. 19 from 24 Easy Little
Concert Pieces)

Encore Violin, Book 3 (ABRSM) or
Szelényi: 24 Easy Little Concert Pieces, Vol. 2(EMB Zeneműkiadó)

6 Mistowski

Hornpipe

Mistowski: Hornpipe (Chester)

7 Nölck

Hungarian Dance, Op. 196 No. 5

Sheila M. Nelson’s Romantic Violinist (Boosey &Hawkes)8 RiedingAllegro (3rd movt from Concertino in G, Op. 24)

Rieding: Concertino in G, Op. 24 (Bosworth)

9 Trad. RussianBlack Eyes, arr. Waterfield

Gypsy Jazz: Intermediate Level (Faber)

10 Pauline

Berceuse (No. 3 from Six morceaux)Pauline Viardot: Six morceaux (Hildegard)

11 Barns

Canzonetta

Barns: Selected Short Pieces (Sleepy Puppy Press)

12 Christopher

Cycling, arr. Jennings

Christopher Norton: Microjazz Expansions for Violin(Boosey & Hawkes)

13 Bright ShengDream Song (No. 1 from Three Fantasies)

Bright Sheng: Three Fantasies (Hal Leonard–Schirmer)

Viardot

NortonSCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 18


RANGE

REQUIREMENTSSCALES

C, E -, F+ majors and minors(minors harmonic and melodic)

2 oct.

G, B - majors and minors(minors harmonic and melodic)

3 oct.

separate bows or slurred (7 notes to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

ARPEGGIOS

C, E -, F+ majors and minors

2 oct.

separate bows or slurred (6 notes to a bow), at
examiner’s choice;even notes

G, B - majors and minors

3 oct.

separate bows or slurred (3 notes to a bow), at
examiner’s choice;even notes

2 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

2 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

2 oct.

separate bows or slurred (6 notes to a bow), at
examiner’s choice;even notes

1 oct.

see page 16

DOMINANT SEVENTHS (resolving on tonic)

in the keys of C, E - and F

DIMINISHED SEVENTHS

starting on G, B - and C

CHROMATIC SCALES

starting on G, B - and C

DOUBLE-STOP SCALE IN BROKEN STEPS

in sixths, in B - major

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 107

38

Practical Grades

Violin from 2024

GRADE 7
PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a Practical
Grades solo Jazz instrument. For alternatives, see www.abrsm.org/prerequisite.
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

1

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

J. Gibbs

Allemande (2nd movt from Sonata in D minor,
Op. 1 No. 1)

Violin Exam Pieces from 2024, Grade 7 (ABRSM)

2 Albinoni

Allegro assai (2nd movt from Sonata in B -, Op. 6 Violin Exam Pieces from 2024, Grade 7 (ABRSM)
No. 12) b. 6 and b. 44 lower two notes in chord optional

3 Telemann

Vivace (2nd movt from Fantasia No. 9 in B minor, Violin Exam Pieces from 2024, Grade 7 (ABRSM)
TWV 40:22) SOLO

4 Beethoven

Rondo: Allegro (3rd movt from Sonata in D,
Op. 12 No. 1)

Beethoven: Sonata in D, Op. 12 No. 1 (Schott) or
Beethoven: Sonatas for Piano and Violin, Vol. 1 (Henle)

5 Haydn

Allegro (3rd movt from Concerto in G,
Hob. VIIa:4)

Haydn: Violin Concerto in G, Hob. VIIa:4 (Henle) or
Haydn: Concerto No. 2 in G, Hob. VIIa:4 (Schott)

6 Schubert

Allegro moderato (1st movt from Sonata in
A minor, Op. 137 No. 2, D. 385)

Schubert: Three Sonatinas, Op. 137 (Peters) or
Schubert: Sonatas for Piano and Violin (Wiener Urtext)

7 Tartini

Adagio and Allegro (3rd and 4th movts from
Sinfonia in C)

Italian Violin Music of the Baroque Period, Vol. 1 (Henle)

8 A. Veracini

Largo and Vivace (1st and 2nd movts from
Sonata in B -, Op. 3 No. 6)

Italian Violin Music of the Baroque Period, Vol. 1 (Henle)

9 Telemann

Grave and Allegro (3rd and 2nd movts from
Fantasia No. 1 in B -, TWV 40:14) SOLO

Telemann: 12 Fantasias for Violin Solo (Bärenreiter orWiener Urtext)

10 Vivaldi

Sonata in G, Op. 2 No. 8, RV 23 complete*

Pp. 13–14 from Violinissimo: La Follia (Schott)

11 Chevalier deAllegro (1st movt from Sonata No. 3 in G Minor,
Saint-Georges Op. 1b)

B

Chevalier de Saint-Georges: Three Sonatas for Violin,
Op. 1(b) (Artaria)

12 M. Clements

Avalanche SOLO

13 Mozart

Allegro (1st movt from Sonata in E minor, K. 304 Mozart: Sonatas for Piano and Violin, Vol. 1 (Henle) or(300c))
Mozart: Sonatas for Violin & Piano: The Mannheim, Paris,
Salzburg Sonatas (Bärenreiter)
Allegretto non troppo, Op. 84

Violin Exam Pieces from 2024, Grade 7 (ABRSM)

2 Sarasate

Playera (No. 1 from Spanische Tänze, Op. 23)

Violin Exam Pieces from 2024, Grade 7 (ABRSM)

3 BarnsMorceau (from Two Compositions)

Violin Exam Pieces from 2024, Grade 7 (ABRSM)

4 A. Beach

Lento espressivo, Op. 125

A. Beach: Lento espressivo, Op. 125 (Hildegard)

5 Chaminade

Andantino (No. 1 from Trois morceaux, Op. 31)

Chaminade: Trois morceaux, Op. 31 (Masters Music
Publications)

6 N. Paganini

Cantabile

N. Paganini: Cantabile (Ricordi or Universal UE7014) or
Sheila M. Nelson’s Romantic Violinist (Boosey &Hawkes)7 John Rutter

Lament for the Holy City

John Rutter: Lament for the Holy City (OUP)

8 Sibelius

Romance (No. 2 from Four Pieces, Op. 78)

Sibelius: Romance, Op. 78 No. 2 (Hansen)

1

Mel Bonis

Bluegrass Fiddle Styles (Music Sales)

9 H. Wieniawski Romance: Andante non troppo (2nd movt

from Concerto No. 2 in D minor, Op. 22)

H. Wieniawski: Concerto No. 2 in D minor, Op. 22(PWM or Peters)

octaves in bb. 56–58 optional
10 S. Coleridge-

Cavatina (No. 2 from Suite de Pièces, Op. 3)

11 C. Dancla

Air Varié on a Theme by Donizetti, Op. 89 No. 4 Sheila M. Nelson’s Romantic Violinist (Boosey &Hawkes)complete

12 Glazunov

Meditation, Op. 32

Glazunov: Méditation (Carl Fischer) or
Glazunov: Meditation for Violin (Belaieff)

13 Smetana

Moderato (No. 1 from Aus der Heimat), arr. SittSmetana: Aus Der Heimat (Peters)

Taylor* For further information, see www.abrsm.org/syllabusclarifications

S. Coleridge-Taylor: Suite de Pièces (Schott)39

Violin from 2024 Grade 7

C

Practical Grades

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Arensky

Sérénade (No. 2 from Four Pieces, Op. 30)

Violin Exam Pieces from 2024, Grade 7 (ABRSM)

2 F. Price

Elfentanz

Violin Exam Pieces from 2024, Grade 7 (ABRSM)

3 Hubay

Bolero (No. 3 from Cinq morceaux
caractéristiques, Op. 51)

Violin Exam Pieces from 2024, Grade 7 (ABRSM)

4 GardelPor una cabeza, arr. Birtel

Gardel: Por una cabeza, for Violin (Dohr)

5 Glazunov

Sérénade espagnole, arr. Kreisler

Glazunov: Sérénade espagnole, for Violin (Schott)

6 Grainger

Molly on the Shore, arr. Kreisler

Grainger: Molly on the Shore for Violin (Schott)

7 Stephen

The Mad Tea Party

Stephen Hough: The Mad Tea Party (Weinberger)

8 Joplin

The Chrysanthemum, arr. Förster

Joplin: Six Ragtimes for Violin, Vol. 1 (Kunzelmann)

9 Lutosławski

Recitative e arioso

Lutosławski: Recitativo e arioso (Chester)

10 Brahms

Hungarian Dance No. 7

Sheila M. Nelson’s Romantic Violinist (Boosey &Hawkes)11 Moszkowski

Con moto (No. 3 from Spanische Tänze, Op. 12),arr. Scharwenka

Moszkowski: Spanish Dances (Peters)

1

Hough

12 Claire Scholes Knees Up Mambo

Violin Music By Women: A Graded Anthology, Vol. 3
Intermediate 2 (Sleepy Puppy Press)

13 J. S. Skinner

Alastair Hardie’s Compliments to ‘The King’ (Hardie
Press)

Back to the Hills, arr. Hardie

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 18


RANGE

REQUIREMENTSSCALESF, F+ majors and minors(minors harmonic and melodic)

2 oct.

A, B, D majors and minors(minors harmonic and melodic)

3 oct.

separate bows or slurred (7 notes to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

ARPEGGIOS

F, F+ majors and minors

2 oct.

separate bows or slurred (6 notes to a bow), at
examiner’s choice;even notes

A, B, D majors and minors

3 oct.

separate bows or slurred (3 notes to a bow), at
examiner’s choice;even notesin the keys of G and B -2 oct.

in the keys of D and E

3 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

DOMINANT SEVENTHS (resolving on tonic)

DIMINISHED SEVENTHS

starting on D and F

2 oct.

starting on A and B

3 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

CHROMATIC SCALES

starting on D and F

2 oct.

starting on A and B

3 oct.

separate bows or slurred (12 notes to a bow), at
examiner’s choice;even notes

1 oct.

see page 16

DOUBLE-STOP SCALES IN BROKEN STEPS

in sixths, in G and B - majors
in octaves, in D major

40

Practical Grades

Violin from 2024 Grade 7

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 108

41

Violin from 2024

Practical Grades

GRADE 8
PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a Practical
Grades solo Jazz instrument. For alternatives, see www.abrsm.org/prerequisite.
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
Candidates must choose at least one accompanied piece.
A

1

COMPOSERPIECE / WORK / ARRANGER

Dauvergne

Allegro (4th movt from Sonata in E, Op. 2 No. 11) Violin Exam Pieces from 2024, Grade 8 (ABRSM)

PUBLICATION (PUBLISHER)

2 Mozart

Allegro con spirito (1st movt from Sonata No. 6,
K. 306)

Violin Exam Pieces from 2024, Grade 8 (ABRSM)

3 Nardini

Allegro moderato (1st movt from Concerto in
E minor), arr. Hauser

Violin Exam Pieces from 2024, Grade 8 (ABRSM)

4 J. S. Bach

Allemanda (1st movt from Partita No. 2 in
D minor, BWV 1004) SOLO

J. S. Bach: Three Sonatas and Three Partitas, BWV 1001–
1006 (Bärenreiter)

5 J. S. Bach

1st movt (from Concerto in A minor, BWV 1041)

J. S. Bach: Concerto in A minor, BWV 1041 (Henle or
Bärenreiter)

violin to play in tuttis
6 Beethoven

Allegro vivace (3rd movt from Sonata in G,
Op. 30 No. 3)

Beethoven: Sonatas for Piano and Violin, Vol. 2 (Henle)

7 CorelliVivace, Adagio and Allegro (3rd, 4th and 5th
movts from Sonata in F, Op. 5 No. 4)

Corelli: Violin Sonatas, Op. 5, Vol. 1 (Wiener Urtext) orCorelli: 12 Sonatas, Op. 5, Vol. 1 (Schott)ornamentation in 4th movt optional
8 KammelTempo giusto (3rd movt from Sonata in A, Op. 10 Bohemian Violin Sonatas, Vol. 1 (Henle)
No. 2) bb. 44–45, 102–3 & 110–111 may be separately
bowed

B

9 Mozart

Largo–Allegro (1st movt from Sonata in B -,K. 454)

Mozart: Sonatas for Piano and Violin, Vol. 3 (Henle) or
Mozart: Complete Works for Piano and Violin, Vol. 2(Bärenreiter)

10 Schreivogel

Larghetto and Vivace (2nd and 1st movts from
Sonata in E - )Schreivogel: Sonata in E - (Edition HH)

11 Haydn

Allegro moderato (1st movt from Concerto in G,
Hob. VIIa:4)

Haydn: Concerto No. 2 in G, Hob. VIIa/4 (Peters)

12 Stravinsky

Introduzione and Serenata (1st and 2nd movts Stravinsky: Suite Italienne for Violin (Boosey & Hawkes)
from Suite Italienne), trans. Stravinsky & Dushkin

13 Vivaldi

Allegro (1st movt from Concerto in E, ‘La
Primavera’, Op. 8 No. 1, RV 269)

Vivaldi: Concerto in E, Op. 8 No. 1 ‘Spring’ (Peters)

Romance, Op. 23

Violin Exam Pieces from 2024, Grade 8 (ABRSM)

2 S. Coleridge-

African Dance No. 2 (from Four African Dances,Op. 58)Violin Exam Pieces from 2024, Grade 8 (ABRSM)

3 Suk

Un poco triste (No. 3 from Four Pieces, Op. 17)

Violin Exam Pieces from 2024, Grade 8 (ABRSM)

4 Albéniz

Tango, Op. 165 No. 2, arr. Kreisler

Albéniz: Tango for Violin, arr. Kreisler (Schott) or
Fritz Kreisler Repertoire (Schott)

5 Brahms

Presto agitato (4th movt from Sonata No. 3 in
D minor, Op. 108)

Brahms: Sonata in D minor, Op. 108 (Bärenreiter) or
Brahms: Sonata for Piano and Violin, Op. 108(Wiener Urtext)

6 LaloAndante (4th movt from Symphonie espagnole,
Op. 21)

Lalo: Symphonie espagnole, Op. 21 (Peters or Henle)

7 Florentine

Chant (3rd movt from Suite pour violon, Op. 50) Florentine Mulsant: Suite pour violon, Op. 50
SOLO(Furore Verlag)

8 Saint-Saëns

Élégie, Op. 143

Saint-Saëns: Élégie, Op. 143 (Durand)

9 Tchaikovsky

Canzonetta: Andante (2nd movt from
Concerto in D, Op. 35)

Tchaikovsky: Violin Concerto in D, Op. 35 (Peters) or
Three Romantic Violin Concertos (G. Schirmer)

10 Trad. Hebrew

Hatikvah, arr. Andrew

Hatikvah (Hal Leonard)

1

A. Beach
TaylorMulsant42

Practical Grades

COMPOSER

Violin from 2024 Grade 8

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

11 Chaminade

Romanza (No. 2 from Trois morceaux, Op. 31)

Chaminade: Trois morceaux, Op. 31 (Masters Music
Publications)

12 Grieg

Allegretto tranquillo (2nd movt from Sonata in
G, Op. 13)

Grieg: Sonata in G, Op. 13 (Peters)

13 John Williams Remembrances (from Schindler’s List)
observing printed cadenzaC

D’un matin de printemps

Violin Exam Pieces from 2024, Grade 8 (ABRSM)

2 Reena Esmail

Varsha SOLO

Violin Exam Pieces from 2024, Grade 8 (ABRSM)

3 Drdla4 Bartók

Mazurka No. 2, Op. 23
Violin Exam Pieces from 2024, Grade 8 (ABRSM)
Buciumeana, Poargă românească and Mărunțel Bartók: Romanian Folk Dances for Violin (Boosey &(Nos. 4, 5 and 6 from Romanian Folk Dances),
Hawkes or Universal)
trans. Székely

5 Chen Yi

Fisherman’s SongChen Yi: Fisherman’s Song (Presser)

6 Finzi

Hornpipe rondo (3rd movt from Concerto for
Violin)Finzi: Violin Concerto (Boosey & Hawkes) or
The Boosey and Hawkes Violin Anthology(Boosey & Hawkes)

7 G. & I.

It ain’t necessarily so (from Porgy and Bess),trans. Heifetz

Porgy and Bess Selections for Violin (Faber)

8 ten Have

Allegro brillant, Op. 19

ten Have: Allegro brillant, Op. 19 (Bosworth) or
Solos for Young Violinists, Vol. 4 (Alfred)

9 Joby Talbot

November: Eleven (from Once Around the Sun)

Joby Talbot: November: Eleven for Violin (Chester)1

L. Boulanger

John Williams: Three Pieces from Schindler’s List
(Wise)

Gershwin &Heywardwith repeat SOLO
10 Bacewicz

Polish Caprice SOLO

Bacewicz: Polish Caprice (PWM)

11 Helen Grime

Romance for Violin

Helen Grime: Romance for Violin (Chester)

12 V. Monti

CzardasV. Monti: Czardas for Violin (Ricordi or Peters)

13 Ravel

Blues–Moderato (2nd movt from Violin Sonata
No. 2)Ravel: Sonate pour Violon (Durand)

Exam requirements continue on page 44

43

Violin from 2024 Grade 8

Practical Grades

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 18


RANGE

REQUIREMENTS

3 oct.

separate bows or slurred (7 notes to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

3 oct.

separate bows or slurred (9 notes to a bow), at
examiner’s choice;even notes

3 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

starting on C, E - and E

2 oct.

starting on A -3 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

SCALESA -/G +, C, D -/C +, E -, E majors and minors(minors harmonic and melodic)
ARPEGGIOS

A -/G +, C, D -/C +, E -, E majors and minors

DOMINANT SEVENTHS (resolving on tonic)

in the keys of D -, F, A - and A

DIMINISHED SEVENTHS

CHROMATIC SCALES

starting on C, E - and E

2 oct.

starting on A -3 oct.

separate bows or slurred (12 notes to a bow), at
examiner’s choice;even notes

DOUBLE-STOP SCALES IN PARALLEL

in octaves, in D major
in octaves, in G minor (harmonic and melodic)
in sixths, in E - major

1 oct.
2 oct.

separate bows;
even notes or long tonic, at candidate’s choice

DOUBLE-STOP SCALE IN BROKEN STEPS

in thirds, in B - major

2 oct.

see page 16

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 109

44

ViolaPractical Grades from
2024
Viola from2024

Practical Grades

INITIAL GRADE
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

VivaldiAutumn (from The Four Seasons, Op. 8),
arr. K. & D. Blackwell

Viola Exam Pack from 2024, Initial Grade (ABRSM)

2 Trad. English

The Old Woman and the Pedlar, arr. Bullard

Viola Exam Pack from 2024, Initial Grade (ABRSM)

3 Trad. Welsh

Pwt ar y Bys, arr. Gritton

Viola Exam Pack from 2024, Initial Grade (ABRSM)

1

4 Kathy & David Beach Holiday

Viola Time Starters (OUP)

5 Kathy & David More Mini Mozart with repeat using bowing
Blackwell
variation 2

No. 68 from Viola Time Starters (OUP)

6 Katherine &Katherine & Hugh Colledge: Waggon Wheels for Viola(Boosey & Hawkes)

Blackwell

Knickerbocker Glory (No. 10 from Waggon
Hugh Colledge Wheels)

7 Cutter

Little March, arr. C. & K. Sassmannshaus

Viola Recital Album, Vol. 1 (Bärenreiter)

ending at b. 20 DUET/PIANO
8 Trad. German

Lightly Row, arr. C. & K. Sassmannshaus

Viola Recital Album, Vol. 1 (Bärenreiter)

ending at b. 16 DUET/PIANO
9 Trad.

Go Tell Aunt Rhody, arr. Suzuki, Stuen-Walker & Suzuki Viola School, Vol. 1 (Alfred)trans. Preucil DUET/PIANO

10 Trad.

Secret Agents, arr. Davey, Hussey & Sebba

Abracadabra Viola (Third Edition) (Collins Music)

with repeat DUET/PIANO
11 Kathy & David City Lights DUET/PIANO

Viola Time Joggers (OUP)

12 S. Nelson

Choo chug-a-chug ‘E’ version DUET/PIANO

P. 22 from Tetratunes for Viola (Boosey & Hawkes)

13 Mark Wilson

Oh, What a Day!

No. 38 from Mark Wilson & Paul Wood: Stringtastic
Beginners for Viola (Faber)Blackwell& Paul WoodB

1

AltheaThe Knights’ Pavane
Talbot-Howard

2 Taki

New Year, arr. Litten

Viola Exam Pack from 2024, Initial Grade (ABRSM)

3 Trad. French

Au clair de la lune, arr. Bullard

Viola Exam Pack from 2024, Initial Grade (ABRSM)

4 Kathy & David Rowing Boat DUET/PIANO

Viola Time Joggers (OUP)

5 Katherine &Waterfall (No. 9 from Waggon Wheels)

Katherine & Hugh Colledge: Waggon Wheels for Viola(Boosey & Hawkes)

6 Thomas

Footprints in the Snow

Vamoosh Viola, Book 1 (Vamoosh)7 Huws Jones

Gone for Good (No. 12 from Ten O’Clock Rock)Huws Jones: Ten O’Clock Rock for Viola (Boosey &Hawkes)8 S. Nelson

I am a River

The Essential String Method, Viola Book 2 (Boosey &Hawkes)9 S. Nelson

Swingalong ‘E’ version DUET/PIANO

P. 16 from Tetratunes for Viola (Boosey & Hawkes)

10 Trad. French

French Folk Song, arr. Suzuki & trans. Preucil

Suzuki Viola School, Vol. 1 (Alfred)

11 Katherine &Hills and Dales (No. 11 from Waggon Wheels)

Katherine & Hugh Colledge: Waggon Wheels for Viola(Boosey & Hawkes)

12 JemimaLadybird Laze with repeat

Jemima Oosthuizen: Bees in the Belfry for Viola (WildMusic Publications)

13 Mark Wilson

Music for a Rainy Day

No. 27 from Mark Wilson & Paul Wood: Stringtastic
Beginners for Viola (Faber)

Crunch Time

Viola Exam Pack from 2024, Initial Grade (ABRSM)

Let us chase the squirrel, arr. K. & D. Blackwell

Viola Exam Pack from 2024, Initial Grade (ABRSM)

BlackwellHugh Colledge
Gregory

Hugh Colledge
Oosthuizen& Paul WoodC

Viola Exam Pack from 2024, Initial Grade (ABRSM)

1

Nancy Litten

2 Trad.

AmericanAccompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

45

Viola from 2024 Initial Grade

COMPOSER
3 Trad. German

Practical Grades

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Kuckuck, Kuckuck, ruft’s aus dem Wald,arr. Blackwell

Viola Exam Pack from 2024, Initial Grade (ABRSM)

4 Kathy & David Rhythm Fever DUET/PIANO

Viola Time Joggers (OUP)

Blackwell

5 Thomas

Walk on Mars! slides optional; with DC, as in accomp. Vamoosh Viola, Book 1 (Vamoosh)6 AnitaHave a Cup of Tea (from Bread and Butter
Pudding)

Lumsden & Hewitt-Jones: Bread and Butter Pudding(Musicland)

7 Huws Jones

Ink-Spot (No. 11 from Ten O’Clock Rock)Huws Jones: Ten O’Clock Rock for Viola (Boosey &Hawkes)8 Huws Jones

Ten O’Clock Rock (No. 9 from Ten O’Clock Rock) Huws Jones: Ten O’Clock Rock for Viola (Boosey &Hawkes)9 Caroline

Jungle Footprints (from Jackaroo)

Gregory

Hewitt-Jones& Caroline
LumsdenLumsden& Pam
Wedgwood

Lumsden & Pam Wedgwood: Jackaroo for Viola (Faber)scream optional

10 Trad. German

Pit a Pat Rain, arr. C. & K. Sassmannshaus

Viola Recital Album, Vol. 1 (Bärenreiter)

DUET/PIANO

11 Kathy & David In the Groove DUET/PIANO

Viola Time Joggers (OUP)

12 Celia Cobb &On the Go (No. 5 from Cool Beans) DUET

Celia Cobb & Naomi Yandell: Cool Beans Viola Duets(Stainer & Bell)13 Paul Harris

Dance of the Broken Bridge

Viola Basics (Faber)Blackwell

Naomi Yandell& Jessica
O'Leary

SCALES: from memory; for further details (including examples) see pages 15, 16–17 & 19


RANGE

REQUIREMENTS

1 oct.

separate bows;
even notes or long tonic, at candidate’s choicea 5thseparate bows;
even notes

SCALESG, D majors

starting on open strings

A minor starting on bottom A

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 103

46

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

Practical Grades

Viola from 2024

GRADE 1
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
COMPOSERA

1PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Kathy & David Patrick’s Reel DUET/PIANOBlackwell

Viola Time Joggers (OUP)

2 ByrdLa Volta (from Fitzwilliam Virginal Book),arr. Lamb & MeredithMore Time Pieces for Viola, Vol. 1 (ABRSM)

3 J. Clarke

Minuet, arr. Brodszky

Early Music for Viola (EMB Zeneműkiadó)

4 LosyBourrée, arr. Brodszky

Early Music for Viola (EMB Zeneműkiadó)

5 Katherine &Polka Dots (No. 15 from Waggon Wheels)

Katherine & Hugh Colledge: Waggon Wheels for Viola(Boosey & Hawkes)

6 HandelMenuet (from Music for the Royal Fireworks,
HWV 351), arr. Salter

Starters for Viola (ABRSM)

7 Purcell

Rigadoon, arr. Nelson with repeat

Piece by Piece 1 for Viola (Boosey & Hawkes)

8 Trad.

Dance to your daddy, arr. Nelson

Piece by Piece 1 for Viola (Boosey & Hawkes)

9 SuzukiAllegretto, trans. Preucil & arr. Stuen-Walker

Suzuki Viola School, Vol. 1 (Alfred)Hugh Colledge

DUET/PIANO

10 Trad. English

London Bridge, arr. Sparke

Starter Solos for Viola (Anglo Music)

11 Celia Cobb &Pony Trek (No. 5 from Top Banana)

Celia Cobb & Naomi Yandell: Top Banana for Viola(Stainer & Bell)

Naomi Yandell

12 Chevalier deChevalier’s Rondeau (from String Quartet, Op. 1
Saint-Georges No. 3), arr. K. & D. Blackwell DUET/PIANO

13 Sancho

B

1

Beethoven

Viola Mix 1 (ABRSM)*

Gavotta, arr. K. & D. Blackwell DUET/PIANO

Viola Mix 1 (ABRSM)*

Hymn to Joy (from Symphony No. 9),
arr. Wilkinson & Hart

First Repertoire for Viola, Book 1 (Faber)

2 Kathy & David Rocking Horse DUET/PIANO

Viola Time Joggers (OUP)

3 Katherine &Full Moon (No. 22 from Waggon Wheels)

Katherine & Hugh Colledge: Waggon Wheels for Viola(Boosey & Hawkes)

4 Katherine &On the Wing (No. 25 from Waggon Wheels)

Katherine & Hugh Colledge: Waggon Wheels for Viola(Boosey & Hawkes)

5 ElgarPomp and Circumstance March No. 4 (fromOp. 39), arr. Lamb & MeredithMore Time Pieces for Viola, Vol. 1 (ABRSM)

6 Eleanor

Melody (No. 3 from Tunes for my Viola)

Murray & Brown: Tunes for my Viola (Boosey & Hawkes)

7 Christopher

Hebridean Song (No. 11 from Microjazz forStarters) upper note optional in b. 21

Christopher Norton: Microjazz for Starters for Viola(Boosey & Hawkes)

BlackwellHugh Colledge
Hugh Colledge

Murray &Sebastian
Brown
Norton8 Rodgers &Edelweiss (from The Sound of Music), arr. Davey, Abracadabra Viola (Third Edition) (Collins Music)
Hammerstein Hussey & Sebba DUET/PIANO

9 Philip Sparke

Modal Melody

Starter Solos for Viola (Anglo Music)

10 Trad. Scottish

Skye Boat Song, arr. K. & D. Blackwell

String Time Starters for Viola (OUP)

with repeats DUET/PIANOC

Rumba (No. 3 from Dance Duets) DUET

Mary Cohen: Dance Duets for Viola (Faber)

2 Thomas

Fiery Fiddler with repeats

Vamoosh Viola, Book 1 (Vamoosh)3 Jim Henson &Muppet Show Opening, arr. Lawrance

Winners Galore for Viola (Brass Wind)

4 Huws Jones

Hen-Coop Rag, trans. Lamb & MeredithMore Time Pieces for Viola, Vol. 1 (ABRSM)

5 Alan Menken

Under The Sea (from The Little Mermaid),
arr. Lamb & MeredithMore Time Pieces for Viola, Vol. 1 (ABRSM)

1Mary Cohen
Gregory

Sam Pottle& AshmanAccompaniment(s) published separately, see www.abrsm.org/syllabusclarifications* Available from September 2023

47

Viola from 2024 Grade 1

COMPOSER

Practical Grades

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

6 S. Nelson

Flag Dance

Piece by Piece 1 for Viola (Boosey & Hawkes)

7 Christopher

Popular Song (No. 14 from Microjazz for Starters) Christopher Norton: Microjazz for Starters for Viola(Boosey & Hawkes)

8 Trad.

What shall we do with the drunken sailor?,arr. Scott

Play it Again for Viola (Faber)

9 Trad.

Yankee Doodle, arr. Sparke

Starter Solos for Viola (Anglo Music)

10 Celia Cobb &Tango Waltz (No. 12 from Cool Beans) DUET

Celia Cobb & Naomi Yandell: Cool Beans Viola Duets(Stainer & Bell)

NortonAmericanNaomi Yandell

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 19


RANGE

REQUIREMENTS

1 oct.

separate bows or slurred (2 quavers to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

SCALESG, D majors

starting on open strings

A natural minor
C major2 oct.

ARPEGGIOS

G, D majors
A minorC majorstarting on open strings

1 oct.
2 oct.

separate bows;
even notes

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 103

48

Practical Grades

Viola from 2024

GRADE 2
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

J. S. Bach

Rondeau (from Orchestral Suite in B minor,
BWV 1067), arr. Lamb & MeredithMore Time Pieces for Viola, Vol. 1 (ABRSM)

2 J. S. Bach

Minuet No. 3, arr. Suzuki & trans. Preucil

Suzuki Viola School, Vol. 1 (Alfred)3 Besard

Ballet, arr. Brodszky

Early Music for Viola (EMB Zeneműkiadó)

4 M.-A.

Prelude (from Te Deum), arr. K. & D. Blackwell

Viola Time Runners (OUP)

1

Charpentier

DUET/PIANO

5 Kenneth Jones BourréeMarch, arr. C. & K. Sassmannshaus DUET/PIANO Viola Recital Album, Vol. 2 (Bärenreiter)

7 G. B. Martini

Gavotte, arr. Wilkinson & Hart

First Repertoire for Viola, Book 2 (Faber)

8 Weber

Waltz, arr. Wilkinson & Hart

First Repertoire for Viola, Book 2 (Faber)

9 Trad.

Hornpipe, arr. Lawrance

Winners Galore for Viola (Brass Wind)

10 Trad. Irish

Red-Haired Boy, arr. Huws Jones viola melody

The Fiddler Playalong Viola Collection (Boosey &Hawkes)

DUET/PIANO

11 Chevalier deRondeau Theme (from Sonata for Flute andSaint-Georges Harp), arr. K. & D. Blackwell

12 Christoph

Sassmannshaus& Melissa Lusk

B

1

Felipe Bajo

Viola Mix 2 (ABRSM)*

Tip Toe DUET/PIANO

Viola Recital Album, Vol. 2 (Bärenreiter)

Habañera, arr. Wilkinson & Hart

First Repertoire for Viola, Book 2 (Faber)

2 Kathy & David Farewell to Skye DUET/PIANOBlackwell

Viola Time Sprinters (OUP)

3 A. Clarke

Dark-Haired Marie (No. 2 from Four Love Songs), A. Clarke: Four Love Songs (SJ Music)
arr. Otty piano to end at b. 24

4 Katherine &The Misty Isle (No. 7 from Shooting Stars)

Katherine & Hugh Colledge: Shooting Stars for Viola(Boosey & Hawkes)

5 ElgarAndantino (No. 4 from Very Easy Melodious
Exercises in the First Position, Op. 22)

Elgar: Six Very Easy Pieces in the First Position, Op. 22(Bosworth)

6 Edward Jones

Glwysen, arr. Huws Jones viola melody
DUET/PIANOThe Fiddler Playalong Viola Collection (Boosey &Hawkes)7 Reinecke

Primula veris (No. 2 from Zehn kleine stücke,Op. 213), arr. Kreuzer grace notes optional

Reinecke: Ten Little Pieces for Viola and Piano, Op. 213(Schott)

8 Schubert

To Music, D. 547, arr. Lamb & MeredithMore Time Pieces for Viola, Vol. 1 (ABRSM)

9 Tchaikovsky

Old French Song (No. 16 from Album pourenfants, Op. 39), arr. Salter

Starters for Viola (ABRSM)

10 Trad. North

Simple Gifts, arr. Waterfield & BeachO Shenandoah! for Viola (Faber)

Hugh Colledge

American11 Barbara Arens The Sorceress (from Viola Collection I)

Barbara Arens: Viola Collection I (Barbara Arens)

12 A. Beach

Pierrot and Pierrette (from Children’s Carnival,
Op. 25), arr. K. & D. Blackwell

Viola Mix 2 (ABRSM)*

13 Celia Cobb &Daydreamer (No. 11 from Top Banana)

Celia Cobb & Naomi Yandell: Top Banana for Viola(Stainer & Bell)

Naomi YandellC

New Pieces for Viola, Book 1 (ABRSM)

6 Krogmann

1

Arlen &
Harburg

2 Bartók

We’re off to see the wizard (from The Wizard of Abracadabra Viola (Third Edition) (Collins Music)
Oz), arr. Davey, Hussey & Sebba DUET/PIANOPlay Song (No. 9 from 44 Duos), trans. Maurice& Bigelow DUET

3 Kathy & David Jacob’s Dance DUET/PIANOBlackwell

Bartók: 44 Duets for Two Violas (EMB Zeneműkiadó)
Viola Time Sprinters (OUP)

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications
Digital only edition, available from publisher’s website* Available from September 2023

49

Viola from 2024 Grade 2

COMPOSER

Practical Grades

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

4 Katherine &Morris Dancers (No. 3 from Shooting Stars)

Katherine & Hugh Colledge: Shooting Stars for Viola(Boosey & Hawkes)

5 Thomas

Smooth Operator

Vamoosh Viola, Book 2 (Vamoosh)6 LaubachSoldier’s March, arr. C. & K. Sassmannshaus

Viola Recital Album, Vol. 2 (Bärenreiter)

Hugh Colledge with repeat
Gregory

lower note in double stops optional DUET/PIANO
7 Philip Sparke

Pony and Trap

Skilful Solos for Viola (Anglo Music)

8 Stravinsky

Shrove-Tide Fair Themes (from Petrushka),arr. Lamb & MeredithMore Time Pieces for Viola, Vol. 1 (ABRSM)

9 Trad.

Mango Walk, arr. Nelson

Piece by Piece 2 for Viola (Boosey & Hawkes)

10 Trad.

Old Joe Clark, arr. Waterfield & BeachO Shenandoah! for Viola (Faber)

11 Hannah M.

Rainy Daze (from Kansas Memories Suite),arr. Cooper

Viola Music By Women – A Graded Anthology, Vol. 1(Sleepy Puppy Press)

12 Celia Cobb &Cool Beans (No. 14 from Cool Beans) DUET

Celia Cobb & Naomi Yandell: Cool Beans Viola Duets(Stainer & Bell)

13 Stéphanie

Espièglerie

I Love My Alto (Leduc)14 Trad. Ugandan Dipidu, arr. K. & D. Blackwell

Viola Mix 2 (ABRSM)*

AmericanBartelNaomi Yandell
Pons

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 19


RANGE

REQUIREMENTS

C, G minors starting on open strings(natural or harmonic or melodic, at candidate’s
choice)1 oct.

separate bows or slurred (2 quavers to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

C, D, E - majors

2 oct.

SCALESF, B - majors

ARPEGGIOS

F, B - majors
C, G minors

starting on open strings

C, D, E - majors

1 oct.
2 oct.

separate bows;
even notes

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 104

50

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications* Available from September 2023

Practical Grades

Viola from 2024

GRADE 3
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Biber

Presto (from Battalia, C. 61), arr. Lamb &MeredithMore Time Pieces for Viola, Vol. 1 (ABRSM)

2 M. Franck

Intrada (1st movt from Suite de danses),arr. Sturzenegger

M. Franck: Suite de danses (Editions Marc Reift)

3 HandelMinuet No. 3 in F, trans. Applebaum

String Festival Solos for Viola, Vol. 2 (Alfred)

4 Jean Baptiste

Loeillet

Cantabile (1st movt from Sonata in C,
Op. 3 No. 1), arr. Sturzenegger

Jean Baptiste Loeillet: Sonata for Viola (Editions Marc
Reift)

5 Mozart

German Dance, K. 600 No. 2, arr. Loy

Viola Music for Beginners (EMB Zeneműkiadó)

6 Mozart

Minuet in D, arr. Preucil

Suzuki Viola School, Vol. 3 (Alfred)

7 S. Paxton

Sonata, arr. Gregory

Vamoosh Viola, Book 3 (Vamoosh)8 Trad. English

English Folk Song, arr. C. & K. Sassmannshaus

Viola Recital Album, Vol. 3 (Bärenreiter)

1

lower note optional in bb. 9, 13 & 24 DUET/PIANO
9 VoltiPas redouble, arr. C. & K. Sassmannshaus

Viola Recital Album, Vol. 3 (Bärenreiter)

DUET/PIANO

10 Vivaldi

At the Hearth (Winter from The Four Seasons),arr. Arnold trills optional

The Young Violist, Vol. 2 (Viola World)

11 Celia Cobb &Kazotsky Kick (No. 19 from Top Banana)

Celia Cobb & Naomi Yandell: Top Banana for Viola(Stainer & Bell)12 F. Price

Rabbit Foot, arr. K. & D. Blackwell

Viola Mix 3 (ABRSM)*

13 Winn

A Picture (No. 3 from From the Carolina Hills,
Op. 15), arr. Cooper

Viola Music By Women – A Graded Anthology, Vol. 1(Sleepy Puppy Press)

Daphne Baker Mist at Dawn (No. 2 from Jungle Adventures)

Daphne Baker: Jungle Adventures for Viola (Spartan
Press)

Naomi YandellB

1

2 BizetHabanera (from Carmen), arr. K. & D. Blackwell

Viola Time Sprinters (OUP)

DUET/PIANO

3 G. Concone

Andante pastorale, arr. Gazda & Clark DUET

Compatible Duets for Strings, Vol. 2: Viola (Carl Fischer)

4 Patsy Gritton

Floating (No. 1 from Character Pieces, Book 1)

Patsy Gritton: Character Pieces, Book 1 (SJ Music)

5 Jacob

When Autumn Comes

New Pieces for Viola, Book 1 (ABRSM)

6 Mendelssohn

Song without Words, Op. 30 No. 3, arr. Birtel

Classical Highlights for Viola (Schott)

7 Reinecke

Bitte (No. 4 from Zehn kleine stücke, Op. 213),
arr. Kreuzer

Reinecke: Ten Little Pieces for Viola and Piano, Op. 213(Schott)

8 RiedingAndante (2nd movt from Concerto in E minor,
Op. 35), trans. Sassmannshaus

Rieding: Concerto in B minor, Op. 35 (Bärenreiter)

9 Howard Shore In Dreams (from The Lord of the Rings: The

Classic Movie Instrumental Solos for Viola (Alfred)

10 Tchaikovsky

Waltz (from The Sleeping Beauty, Op. 66),
arr. Lamb & MeredithMore Time Pieces for Viola, Vol. 1 (ABRSM)

11 Jennifer

Waiting (No. 12 from Modern Mosaics)

Jennifer Bowman: Modern Mosaics for Viola (80 Days
Publishing)

12 Carreño

Mi Teresita, arr. K. & D. Blackwell

Viola Mix 3 (ABRSM)*

13 Winn

The Sunshine Lad (No. 4 from From the Carolina Viola Music By Women – A Graded Anthology, Vol. 1
Hills, Op. 15), arr. Cooper(Sleepy Puppy Press)

Fellowship of the Ring), arr. Galliford, Neuburg &Edmondson

BowmanC

1

BartókPillow Dance (No. 14 from 44 Duos),trans. Maurice & Bigelow DUET

Bartók: 44 Duets for Two Violas (EMB Zeneműkiadó)

2 Kathy & David Wild West DUET/PIANO

Viola Time Sprinters (OUP)

3 Katherine &Katherine & Hugh Colledge: Shooting Stars for Viola(Boosey & Hawkes)

BlackwellHugh Colledge

Stiffkey Blues (No. 21 from Shooting Stars)

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications* Available from September 2023

51

Viola from 2024 Grade 3

COMPOSER

Practical Grades

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

4 G. & I.

I got plenty o’ nuttin’ (from Porgy and Bess),arr. Lamb & MeredithMore Time Pieces for Viola, Vol. 1 (ABRSM)

5 Huws Jones

Banana Skin (No. 5 from Got those Position
Blues?)

Huws Jones: Got those Position Blues? (Faber)

6 S. Nelson

Toad in the Hole

Technitunes for Viola (Boosey & Hawkes)

Gershwin,
D. & D. Heyward

without improvisation DUET/PIANO
7 E. Pütz

Blue Waltz, arr. Birtel grace notes optional

Classical Highlights for Viola (Schott)

8 Philip Sparke

Could You Repeat That?

Skilful Solos for Viola (Anglo Music)

9 Trad. Klezmer

Hevenu Shalom Alechem, arr. Przystaniak DUET That’s Klezmer for Clarinets or Violas: Viola parts (Peters
EP11109B)

10 C. Webster

Scherzo, trans. Gerald

Solos for Young Violists, Vol. 1 (Alfred)

11 Trad. Trinidad

I Let Her Go Go, arr. A. & J. Oosthuizen DUET

Duets for Improvers for Two Violas (Wild Music
Publications)& Tobago

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 19


RANGE

REQUIREMENTSSCALES

D -, A -, A majors

1 oct.

E -, G majors
D, G minors(harmonic or melodic, at candidate’s choice)2 oct.

separate bows or slurred (2 quavers to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

ARPEGGIOS

D -, A -, A majors
E -, G majors
D, G minors

1 oct.
2 oct.

separate bows or slurred (3 notes to a bow), at
examiner’s choice;even notes

CHROMATIC SCALE

starting on G open string

1 oct.

separate bows;
even notes

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 104

52

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

Practical Grades

Viola from 2024

GRADE 4
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

B

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Anon.

Chanson favorite d’Henri IV, arr. Bass & Harris

Time Pieces for Viola, Vol. 2 (ABRSM)

2 Dittersdorf

German Dance, arr. Doktor

Solos for the Viola Player (G. Schirmer)

3 Flackton

Siciliana (3rd movt from Sonata No. 4 in C minor, Flackton: Sonata No. 4 in C minor, Op. 2 No. 8 (Schott)Op. 2 No. 8)4 B. MarcelloAllegretto (4th movt from Sonata in E minor),trans. Marchet

B. Marcello: Sonata in E minor for Viola (Stainer & Bell)5 B. MarcelloAllegretto, arr. Slokar & Luy

B. Marcello: Adagio–Largo–Allegretto (Editions Marc
Reift)

6 MouretRondeau (from Premier suite de fanfares),arr. Lamb & MeredithMore Time Pieces for Viola, Vol. 2 (ABRSM)

7 PurcellRondeau (from Abdelazar), arr. Arkell

Purcell: Rondeau from ‘Abdelazar’ for Viola (Fentone)

8 Rameau

Riguadon, trans. Applebaum

String Festival Solos for Viola, Vol. 2 (Alfred)

9 RiedingAllegro moderato (1st movt from Concerto in
E minor, Op. 35), trans. Sassmannshaus

Rieding: Concerto in B minor, Op. 35 (Bärenreiter)

10 Tchaikovsky

March (from The Nutcracker Suite, Op. 71a),arr. Nelson

Piece by Piece 2 for Viola (Boosey & Hawkes)

1

1

Timothy Baxter Idyll
How beautiful are the feet (from Messiah,
HWV 56), arr. Lamb & MeredithMore Time Pieces for Viola, Vol. 2 (ABRSM)

3 VerdiChorus of the Hebrew Slaves (from Nabucco),arr. Lamb & MeredithMore Time Pieces for Viola, Vol. 2 (ABRSM)

4 Haydn

Poco adagio (from String Quartet, ‘Emporer’,Op. 76 No. 3), arr. Wilkinson & Hart

First Repertoire for Viola, Book 3 (Faber)

5 MacDowellTo a Wild Rose (No. 1 from Woodland Sketches,
Op. 51), arr. Birtel

MacDowell: To a Wild Rose, Op. 51/1 (Schott) or
Classical Highlights for Viola (Schott)

6 J. P. E Martini

Plaisir d’amour, arr. Maganini

Concert Album for Viola (Edition Musicus)

7 Schubert

The Trout, Op. 32, D. 550, arr. Bass & Harris

Time Pieces for Viola, Vol. 2 (ABRSM)

8 Schumann

Träumerei (No. 7 from Kinderscenen, Op. 15),arr. Loy

Viola Music for Beginners (EMB Zeneműkiadó)

9 Tartini

Sarabanda, arr. Loy

Viola Music for Beginners (EMB Zeneműkiadó)

10 Shostakovich

Romance (from The Gadfly, Op. 97), arr. Otty

Shostakovich: Romance from ‘The Gadfly’, Op. 97(SJ Music)

11 Wendy

Introspection (No. 7 from So Here We Are Again) Wendy Edwards Beardall-Norton: So Here We Are Again
for Viola (80 Days Publishing)

12 Chaminade

Canzonetta (No. 3 from Album des enfants,
Op. 123), arr. Spence

Chaminade: Six Pieces from Opus 123 (Piper)

Paprika (Csárdás)

Baratto: Paprika (Csárdás) for Viola (Editions Marc Reift)

Edwards
Beardall-NortonC

New Pieces for Viola, Book 2 (ABRSM)

2 Handel1

Baratto2 Timothy Baxter Alla greco

New Pieces for Viola, Book 2 (ABRSM)

3 Farrés

The Fiddler Playalong Viola Collection (Boosey &Hawkes)Quizás, quizás, quizás, arr. Huws Jones
viola melody

4 G. M.

La cumparsita, arr. Huws Jones viola melody

The Fiddler Playalong Viola Collection (Boosey &Hawkes)5 GardelPor una cabeza, arr. Lamb & MeredithMore Time Pieces for Viola, Vol. 2 (ABRSM)

6 Patsy Gritton

Drama Queen (No. 3 from Character Pieces,Book 2)

Patsy Gritton: Character Pieces, Book 2 (SJ Music)

7 Leonardi

Capriccio Polka

Viola Recital Album, Vol. 4 (Bärenreiter)

Rodríguez

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

53

Viola from 2024 Grade 4

COMPOSER

Practical Grades

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

8 Prokofiev

March (from Musiques d’enfants, Op. 65),
arr. Wilkinson & Hart

First Repertoire for Viola, Book 3 (Faber)

9 Philip Sparke

March of the Toy Soldiers (No. 3 from Super
Solos)

Philip Sparke: Super Solos for Viola (Anglo Music)

10 John Williams Cantina Band (from Star Wars Episode IV: A New Classic Movie Instrumental Solos for Viola (Alfred)Hope), arr. Galliford, Neuburg & Edmondson

11 Trad. Shaanxi

Driving the Mule Team, arr. Long SOLO

A Set of Chinese Folk Songs for Solo Viola (OUP)

12 Trott

The Puppet Show

I Love My Alto (Leduc)

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 19


RANGE

REQUIREMENTS

2 oct.

separate bows or slurred (2 beats to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

2 oct.

separate bows or slurred (3 notes to a bow), at
examiner’s choice;even notes

1 oct.

separate bows;
even notes

1 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

SCALES

D -, E, F, A majors
C, E, F minors(harmonic or melodic, at candidate’s choice)
ARPEGGIOS

D -, E, F, A majors
C, E, F minors
DOMINANT SEVENTHS (resolving on tonic)

in the key of F starting on open string C
in the key of G starting on bottom D
CHROMATIC SCALES

starting on D bottom D
starting on A bottom A

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 105

54

Practical Grades

Viola from 2024

GRADE 5
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

1

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

J. S. Bach

Gigue (from Cello Suite No. 1 in G, BWV 1007),
trans. Rowland-Jones or trans. Forbes SOLO

J. S. Bach: Six Cello Suites (Peters or Chester)Jesu, Joy of Man’s Desiring (from Cantata,
BWV 147), arr. Birtel

Classical Highlights for Viola (Schott)

2 J. S. Bachupper line only in bb. 24–32 & bb. 52–60

B

3 CorelliGiga (from Violin Sonata, Op. 5 No. 9), arr. Lamb More Time Pieces for Viola, Vol. 2 (ABRSM)& Meredith

4 Haydn

Hungarian Rondo (from Piano Trio, Hob. XV:25), More Time Pieces for Viola, Vol. 2 (ABRSM)
arr. Lamb & Meredith

5 HandelAndante (1st movt from Concerto in B - ),trans. Arnold

Handel: Concerto in B - (Viola World)

6 M. Marais

La mariée, arr. Classens

L’Alto classique, Vol. C (Combre)

7 B. MarcelloAllegro (2nd movt from Sonata in E minor), trans. B. Marcello: Sonata in E minor for Viola (Stainer & Bell)
Marchet

8 Portnoff

Finale: Allegretto (3rd movt from Concertino,
Op. 13), trans. Forti

9 Telemann

Gigue (7th movt from Suite in D), arr. Bergmann Telemann: Suite in D (Schott)& Forbes viola to play in tuttis

10 Vivaldi

Allegro (4th movt from Sonata No. 1 in B -,RV 47), arr. K. & D. Blackwell

11 Chaminade

Gavotte (No. 5 from Album des enfants, Op. 123), Chaminade: Six Pieces from Opus 123 (Piper)arr. Spence

Portnoff: Concertino for Viola, Op. 13 (Billaudot)

Solo Time for Viola, Book 2 (OUP)

BridgeCradle Song (trans.)

Bridge: Four Pieces for Viola (Faber)

2 Chopin

Tristesse, arr. Classens

L’Alto classique, Vol. C (Combre)

3 Rhian SamuelHarmonium (No. 5 from Time out of Time)

Rhian Samuel: Time out of Time for Viola (Stainer & Bell)4 Schumann

Dedication (No. 1 from Myrthen, Op. 25),
arr. Lamb & MeredithMore Time Pieces for Viola, Vol. 2 (ABRSM)

5 J. Sulzer

Sarabande, Op. 8, arr. Tertis

A Second Lionel Tertis Album (Weinberger)

6 Trad. Irish

Old Irish Air, arr. Tertis C string optional in

A Second Lionel Tertis Album (Weinberger)1

bb. 20–29
7 Tárrega

Recuerdos de la Alhambra, arr. Birtel

8 Tchaikovsky

Chanson triste (No. 2 from 12 morceaux, Op. 40), Chester Music for Viola (Chester)arr. Forbes

9 Trad. Scottish

Afton Water, arr. K. & D. Blackwell

Solo Time for Viola, Book 2 (OUP)

10 Trad. Scottish

I’ll Bid My Heart Be Still, arr. Clarke

R. Clarke: Shorter Pieces for Viola (OUP)

11 AndréeRomance (No. 1 from Two Romances),
Andrée: Two Romances for Violin (Viola) (Schott)arr. B. & S. Kalinowsky sul G optional, mute optional

12 Branscombe

An Old Love Tale, Op. 21 No. 1, arr. Cooper
sul G optional

Viola Music By Women – A Graded Anthology, Vol. 3(Sleepy Puppy Press)

Leaving Home, arr. Long SOLO

A Set of Chinese Folk Songs for Solo Viola (OUP)

Slovak Peasant’s Dance, trans. Váczi

Bartók: An Evening in the Village & Slovak Peasant’sDance (EMB Zeneműkiadó)

2 R. R. Bennett

Buskin (No. 2 from Six Country Dances),arr. Jacobs

R. R. Bennett: Six Country Dances for Viola (Novello)

3 Grieg

Puck (No. 3 from Lyric Pieces, Op. 71),arr. K. & D. Blackwell

Solo Time for Viola, Book 2 (OUP)

4 B. Hummel

Allegro (1st movt from Kleine Suite, Op. 19c)

B. Hummel: Kleine Suite for Viola, Op. 19c (Simrock)5 Joplin

The Entertainer, arr. Birtel

Joplin: Three Ragtimes for Viola (Schott)

13 Trad. Shanxi

CClassical Highlights for Viola (Schott)1

Bartók55

Viola from 2024 Grade 5

COMPOSER

Practical Grades

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

6 Claude-Henry Ballade de Théophile

Claude-Henry Joubert: Ballade de Théophile (Editions
Robert Martin)

7 Prokofiev

The Montagues and the Capulets (from Romeoand Juliet, Op. 64), arr. Lamb & MeredithMore Time Pieces for Viola, Vol. 2 (ABRSM)

8 Trad.

Boston Fancy, arr. Doktor

Solos for the Viola Player (G. Schirmer)

9 Villoldo

El Choclo, arr. Tailor

Villoldo: El Choclo for Viola (Editions Marc Reift)

10 Weill

September Song (from Knickerbocker Holiday),arr. Bass & Harris

Time Pieces for Viola, Vol. 2 (ABRSM)

JoubertAmerican

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 19


RANGE

REQUIREMENTSSCALES

F, A, B - majors
D, E, F+, A minors(harmonic or melodic, at candidate’s choice)2 oct.

C majorC minor(harmonic or melodic, at candidate’s choice)3 oct.

separate bows or slurred (2 beats to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

ARPEGGIOS

F, A, B - majors
D, E, F+, A minors
C majorC minor2 oct.
3 oct.

separate bows or slurred (3 notes to a bow), at
examiner’s choice;even notes

DOMINANT SEVENTHS (resolving on tonic)

in the key of E -1 oct.

in the keys of F and G

2 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

1 oct.

separate bows;
even notes

DIMINISHED SEVENTHS

starting on C open string
starting on G open string
CHROMATIC SCALES

starting on C, D and E -2 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 106

56

Practical Grades

Viola from 2024

GRADE 6
PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a Practical
Grades solo Jazz instrument. For alternatives, see www.abrsm.org/prerequisite.
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

J. S. Bach

Menuet 1 and Menuet 2 (from Cello Suite
No. 1 in G, BWV 1007), trans. Rowland-Jones ortrans. Forbes SOLO

J. S. Bach: Six Cello Suites (Peters or Chester)2 Caix

La marche du Czar, arr. Classens

L’Alto classique, Vol. C (Combre)

3 LeclairTambourin, arr. Classens

L’Alto classique, Vol. C (Combre)

4 HandelHandel: Sonata in G minor, Op. 1 No. 6 (Stainer & Bell)
Andante larghetto and Allegro (1st and 2nd
movts from Sonata in G minor, Op. 1 No. 6), trans.
Pilkington

5 Robin Ireland

Allegro (from Étude No. 2) starting at b. 39

1d’Hervelois

Robin Ireland: Concert Etudes for Viola (Clifton Edition)

SOLO

B

C

6 Kalliwoda

Notturno No. 2 (from Six Nocturnes, Op. 186)

7 Senaillé

Allegro (2nd movt from Sonata in G minor, Op. 5 Senaillé: Sonata in G minor, Op. 5 No. 9 (Stainer & Bell)No. 9), arr. Morgan

8 Telemann

Allegro (2nd movt from Sonata in A minor,
TWV 41:a6)

Telemann: Sonata in A minor for Viola (Schott) or
Telemann: Two Sonatas for Viola da Gamba or Viola(Essercizii Musici) (Amadeus)

9 Telemann

Allegro (2nd movt from Concerto in G,
TWV 51:G9)

Telemann: Concerto in G, TWV 51:G9 (Bärenreiter)

10 Vivaldi

Allegro (1st movt from Concerto in G minor,
RV 417), arr. Bársony & Nagy

Vivaldi: Concerto in G minor, RV 417 (EMB Zeneműkiadó)

1

Albéniz

Kalliwoda: Six Nocturnes for Viola, Op. 186 (Peters) or
Concert Pieces for Viola (Bärenreiter)

Tango (No. 2 from España, Op. 165), arr. Classens L’Alto classique, Vol. C (Combre)

2 Brahms

Andante (from String Sextet No. 1, Op. 18),
arr. Lamb & MeredithMore Time Pieces for Viola, Vol. 2 (ABRSM)

3 R. Clarke

LullabyP. 2 from R. Clarke: Shorter Pieces for Viola (OUP)

4 FauréBerceuse, Op. 16, arr. Sassmannshaus

Concert Pieces for Viola (Bärenreiter)

5 Viotti

Andante, arr. Ritter

Concert Pieces for Viola (Bärenreiter)

6 Joachim

No. 1 (from Hebräische Melodien, Op. 9)
lower 8ve optional in bb. 58–59

Joachim: Hebrew Melodies for Viola, Op. 9 (IMC orBreitkopf & Härtel)

7 Mendelssohn

Song without Words, Op. 38 No. 2, arr. Forbes

P. 11 from Chester Music for Viola (Chester)

8 Schubert

Ave Maria, Op. 52 No. 6, arr. Birtel

Classical Highlights for Viola (Schott)

9 SchumannNo. 4 (from Märchenbilder, Op. 113)

Schumann: Märchenbilder for Viola, Op. 113 (Peters orHenle)

10 Schweikert

Romanze, trans. La-Deur

Schweikert: Romanze for Cello (Violin/Viola)(Furore Verlag)

11 C. Schumann

Allegretto (No. 2 from Three Romances, Op. 22), C. Schumann: Three Romances for Viola, Op. 22 (Robertarr. B. & S. Kalinowsky
Lienau)Berceuse (No. 2 from Three Pieces, Op. 40),trans. Grant

A. Beach: Three Pieces for Viola, Op. 40 (Spartan Press)

2 Beethoven

Rondo, WoO 41, arr. Forbes

Beethoven: Rondo for Viola, WoO 41 (Schott)

3 R. R. Bennett

The Czar of Muscovy (No. 6 from Six Country
Dances), arr. Jacobs

R. R. Bennett: Six Country Dances for Viola (Novello)

4 C. Dancla

Fantasia – La Cenerentola, Op. 86 No. 7,trans. Barber

Solos for Young Violists, Vol. 2 (Alfred)1

A. Beach57

Viola from 2024 Grade 6

COMPOSER

Practical Grades

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

5 Patsy Gritton

Presto for Frankie (No. 2 from Character Pieces,Book 3)Patsy Gritton: Character Pieces, Book 3 (SJ Music)

6 A. H. Hill

Novelette with repeat

A. H. Hill: Two Pieces for Viola (Stainer & Bell)7 B. Hummel

Presto (3rd movt from Kleine Suite, Op. 19c)

B. Hummel: Kleine Suite for Viola, Op. 19c (Simrock)8 Pascal Proust

Avril

Pascal Proust: Avril (De Haske)

9 Vaughan

Carol (No. 2 from Suite for Viola, Group 1)

Vaughan Williams: Suite for Viola (OUP)

Williams

10 Weill & Brecht Mack the Knife (from The Threepenny Opera),More Time Pieces for Viola, Vol. 2 (ABRSM)

11 Elaine Fine

Windy Nights (No. 5 from A Violist’s Garden of
Verses)Elaine Fine: A Violist’s Garden of Verses (IMSLP)

12 Joplin

The Easy Winners, arr. Birtel

Joplin: Three Ragtimes for Viola (Schott)

13 TrottIn a Spanish Garden, arr. Cooper

Viola Music By Women – A Graded Anthology, Vol. 3(Sleepy Puppy Press)

arr. Reiter

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 19


RANGE

REQUIREMENTSSCALES

D -/C +, F+, A -/G + majors and minors(minors harmonic and melodic)

2 oct.

C, D majors and minors(minors harmonic and melodic)

3 oct.

separate bows or slurred (7 notes to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

ARPEGGIOS

D -/C +, F+, A -/G + majors and minors

2 oct.

separate bows or slurred (6 notes to a bow), at
examiner’s choice;even notes

C, D majors and minors

3 oct.

separate bows or slurred (3 notes to a bow), at
examiner’s choice;even notes

2 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

2 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

2 oct.

separate bows or slurred (6 notes to a bow), at
examiner’s choice;even notes

1 oct.

see page 16

DOMINANT SEVENTHS (resolving on tonic)

in the keys of F, F+ and G

DIMINISHED SEVENTHS

starting on C, C + and D

CHROMATIC SCALES

starting on C, C + and D

DOUBLE-STOP SCALE IN BROKEN STEPS

in sixths, in E - major

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 107

58

Practical Grades

Viola from 2024

GRADE 7
PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a Practical
Grades solo Jazz instrument. For alternatives, see www.abrsm.org/prerequisite.
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

attrib.
J. C. BachAllegro molto ma maestoso (1st movt from
Cello Concerto in C minor), arr. Casadesus

J. C. Bach: Concerto in C minor for Viola (Salabert)

2 J. S. Bach

Gigue (from Cello Suite No. 2 in
D minor, BWV 1008), trans. Rowland-Jones ortrans. Forbes SOLO

J. S. Bach: Six Cello Suites (Peters or Chester)

3 Bonporti

Fantasia and Bizzarria (3rd and 4th movts from Bonporti: Two Inventions for Viola (Kunzelmann)
Invenzione in B -, Op. 10 No. 3), arr. Martos &Nagy

4 Caix

La Chambor (Allemande), trans. Marchet

Caix d’Hervelois: La Chambor (Allemande) (IMC)

5 Grazioli

1st movt (from Sonata in F), arr. Marchet or
arr. Tertis

Grazioli: Sonata in F (Stainer & Bell) or
A Second Lionel Tertis Album (Weinberger)

6 Haydn

Divertimento (3rd movt), trans. Piatigorsky

Solos for Young Violists, Vol. 3 (Alfred)

7 Robin Ireland

Classical (from Étude No. 3) SOLO

Robin Ireland: Concert Etudes for Viola (Clifton Edition)

8 Telemann

Overture (1st movt from Suite in D),
arr. Bergmann & Forbes viola to play in tutti

Telemann: Suite in D (Schott)

9 Vivaldi

Largo and Allegro (1st and 2nd movts from
Sonata No. 4 in B -, RV 45), trans. Primrose

Vivaldi: Six Sonatas for Viola (IMC)

10 Weber

Theme and Variations 1, 2 and 3 (from
Variationen über das österreichische Volkslied‘A Schüsserl und a Reind’rl’)

Weber: Variationen für Viola (Peters)

1d’Hervelois

B

C

1

Bloch

Processional (from Meditation and Processional) Bloch: Meditation and Processional (G. Schirmer)

2 Bridge

Pensiero

Bridge: Two Pieces for Viola (Stainer & Bell)3 Coates

Ballad, Op. 13

A Second Lionel Tertis Album (Weinberger)

4 Barbara Heller Sonnenhut (No. 10 from Klangblumen)

Barbara Heller: Klangblumen (Schott)

5 Hensel

Adagio, arr. B. & S. Kalinowsky

Hensel: Adagio for Viola (Furore Verlag)

6 A. H. Hill

Poem

A. H. Hill: Two Pieces for Viola (Stainer & Bell)

7 Rachmaninoff

Vocalise (No. 14 from 14 Songs, Op. 34),trans. Silverthorne

Rachmaninoff: Vocalise for Viola, Op. 34 No. 14 (Boosey& Hawkes)

8 Schubert

Adagio (2nd movt from Arpeggione Sonata in
Schubert: Sonata in A minor ‘Arpeggione’ for Viola,
A minor, D. 821), arr. von Wrochem or arr. Doktor D. 821 (Bärenreiter) or
Solos for the Viola Player (G. Schirmer)

9 SchumannNo. 1 (from Märchenbilder, Op. 113)

Schumann: Märchenbilder for Viola, Op. 113 (Peters orHenle)

10 Tchaikovsky

Passionate Confession, arr. Bullard

More Time Pieces for Viola, Vol. 2 (ABRSM)

11 Le Beau

Träumerei (No. 2 from Drei Stücke, Op. 26)

Le Beau: Drei Stücke, Op. 26 (Furore Verlag)

12 Perkinson

LamentPerkinson: Lament for Viola (LKM)

13 SwainSong at Evening upper notes in bb. 51–52

Viola Music By Women – A Graded Anthology, Vol. 3(Sleepy Puppy Press)

BartókAn Evening in the Village, trans. Váczi

Bartók: An Evening in the Village & Slovak Peasant’sDance (EMB Zeneműkiadó)

2 Colin Cowles

Blues Variations

Colin Cowles: Blues Variations for Viola (Clifton Edition)

3 Dimitrescu

Village Dance, arr. Szeredi-Saupe

Music for Viola III (EMB Zeneműkiadó)

4 Genzmer

Molto vivace e sempre marcato (3rd movt from Genzmer: Sonatine for Viola (Peters)
Sonatine for Viola)

159

Viola from 2024 Grade 7

COMPOSER

Practical Grades

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

5 Amanda

Lullaby (No. 1 from For Sydney) SOLO

Amanda Harberg: For Sydney (Presser)

6 Hindemith

Meditation

Hindemith: Meditation for Viola (Schott)

7 HusaElegie (2nd movt from Suite, Op. 5)

Husa: Suite for Viola, Op. 5 (AMP)

8 Bryan Kelly

Allegro (1st movt from Sonatina for Viola)

Bryan Kelly: Sonatina for Viola (Clifton Edition)

9 KielNo. 3 (from Drei Romanzen, Op. 69)

Kiel: Three Romances, Op. 69 (Kunzelmann or Musica
Rara)

10 Vaughan

Prelude (No. 1 from Suite for Viola, Group 1)

Vaughan Williams: Suite for Viola (OUP)

11 Elaine Fine

I am also fond of lonely islands SOLO

Elaine Fine: I am also fond of lonely islands (IMSLP)Harberg

Williams

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 19


RANGE

REQUIREMENTSSCALESF, G, B - majors and minors(minors harmonic and melodic)

2 oct.

D, E - majors and minors(minors harmonic and melodic)

3 oct.

separate bows or slurred (7 notes to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

ARPEGGIOS

F, G, B - majors and minors

2 oct.

separate bows or slurred (6 notes to a bow), at
examiner’s choice;even notes

D, E - majors and minors

3 oct.

separate bows or slurred (3 notes to a bow), at
examiner’s choice;even notesin the keys of A -, B - and C

2 oct.

in the key of G

3 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

DOMINANT SEVENTHS (resolving on tonic)

DIMINISHED SEVENTHS

starting on E -, F and G

2 oct.

starting on D

3 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

CHROMATIC SCALES

starting on E -, F and G

2 oct.

starting on D

3 oct.

separate bows or slurred (12 notes to a bow), at
examiner’s choice;even notes

1 oct.

see page 16

DOUBLE-STOP SCALES IN BROKEN STEPS

in sixths, in C and E - majors
in octaves, in G major

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 108

60

Practical Grades

Viola from 2024

GRADE 8
PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a Practical
Grades solo Jazz instrument. For alternatives, see www.abrsm.org/prerequisite.
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

B

C

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

J. S. BachPrelude (from Cello Suite No. 2 in D minor,
BWV 1008), trans. Rowland-Jones ortrans. Forbes SOLO

J. S. Bach: Six Cello Suites (Peters or Chester)

2 J. S. Bach

Vivace (1st movt from Sonata No. 3 in G minor,
BWV 1029)

J. S. Bach: Three Sonatas for Viola da Gamba (Viola),
BWV 1027–1029 (Bärenreiter or Henle)

3 Grazioli

2nd and 3rd movts (from Sonata in F),
arr. Marchet or arr. Tertis

Grazioli: Sonata in F (Stainer & Bell) or
A Second Lionel Tertis Album (Weinberger)

4 HandelAllegro (3rd movt from Concerto in B - ),trans. Arnold

Handel: Concerto in B - (Viola World)

5 Hoffmeister

Rondo (3rd movt from Concerto in D)

Hoffmeister: Concerto in D (Peters or Henle)

6 Schubert

Sonata Movement, D. 471, arr. Forbes

Schubert: Sonata Movement for Viola (Stainer & Bell)7 A. Stamitz

Rondeau (3rd movt from Concerto in B - )A. Stamitz: Concerto in B - (Schott)

8 Telemann

Adagio (Dolce) and Allegro (1st and 2nd movts Telemann: 12 Fantasias For Unaccompanied Viola (Viola
World) orfrom Fantasia No. 7 in A -, TWV 40:20) SOLO
Telemann: 12 Fantaisies, TWV 40:14–40:25 (Billaudot)

9 Telemann

Lento and Allegro (1st and 2nd movts from
Cello Sonata in D, TWV 41:D6), trans. Vieland

1

Telemann: Sonata in D, TWV 41:D6 (IMC)

10 Zelter

Allegro con fuoco (1st movt from Concerto in E - ) Zelter: Concerto in E - (Kunzelmann)

11 Naji Hakim

Toccata No. 2 SOLO

Naji Hakim: Toccata No. 2 for Viola (UMP)

12 U. Kay

Allegro (2nd movt from Sonata for Viola)

U. Kay: Sonata for Viola (American Composers
Alliance)

Sérénade (3rd movt from Harold en Italie),arr. Macdonald

Berlioz: Harold en Italie (Bärenreiter)

2 BlochMeditation (from Meditation and Processional)

Bloch: Meditation and Processional (G. Schirmer)

3 Brahms

Andante un poco adagio (2nd movt from Sonata Brahms: Two Sonatas, Op. 120 (Peters or Henle)in F minor, Op. 120 No. 1)

4 FauréElégie, Op. 24, trans. Katmis or arr. SzerediSaupe

Fauré: Elegy for Viola, Op. 24 (IMC) orMusic for Viola III (EMB Zeneműkiadó)

5 Glazunov

Elégie, Op. 44

Glazunov: Élégie, Op. 44 (Belaieff or Henle)

6 Joachim

No. 3 (from Hebräische Melodien, Op. 9)

Joachim: Hebrew Melodies for Viola, Op. 9 (IMC orBreitkopf & Härtel)

7 Kapustin

Largo (2nd movt from Sonata, Op. 69)

Kapustin: Sonata for Viola, Op. 69 (Schott)

8 Mendelssohn

Adagio: Allegro (1st movt from Sonata in
C minor)Mendelssohn: Sonata in C minor (IMC or Henle)

9 Tchaikovsky

Melodia (No. 3 from Souvenir d’un lieu cher,Op. 42), arr. Ducrocq

Tchaikovsky: Melodia for Viola (Billaudot)

10 Villa-Lobos

Aria (Cantilena) (from Bachianas brasileirasNo. 5), arr. Primrose

Villa-Lobos: Bachianas brasileiras No. 5 for Viola (AMP)

11 C. Schumann

Andante molto (No. 1 from Three Romances,Op. 22), arr. B. & S. Kalinowsky

C. Schumann: Three Romances for Viola, Op. 22 (Robert
Lienau)1

Berlioz

Fiddle-Faddle, arr. Arnold

L. Anderson: Fiddle-Faddle (Viola World)

2 A. Beach

Mazurka (No. 3 from Three Pieces, Op. 40),trans. Grant

A. Beach: Three Pieces for Viola, Op. 40 (Spartan Press)

3 N. Boulanger

Pièce no. 3 en C + mineur (from Trois pièces)(trans.)N. Boulanger: Three Pieces for Viola (Leduc)4 Britten

Reflection

Britten: Reflection (Faber)

1

L. Anderson

61Viola from 2024 Grade 8

COMPOSER

Practical Grades

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

5 R. Clarke

Morpheus

R. Clarke: Morpheus (OUP)

6 HusaMarciale (3rd movt from Suite, Op. 5)

Husa: Suite for Viola, Op. 5 (AMP)

7 Robin Ireland

Metre Change Study 1 (from Étude No. 9) SOLO

Robin Ireland: Concert Etudes for Viola (Clifton Edition)

8 Reger

Molto vivace (4th movt from Suite No. 1 in
G minor, Op. 131d) SOLO

Reger: Three Suites for Solo Viola, Op. 131d (Peters)

9 Rimsky-

The Bumble-Bee, arr. Szeredi-Saupe

Music for Viola III (EMB Zeneműkiadó)

10 Vaughan

Christmas Dance (No. 3 from Suite for Viola,
Group 1)

Vaughan Williams: Suite for Viola (OUP)

11 Le Beau

Polonaise (No. 3 from Drei Stücke, Op. 26)

Le Beau: Drei Stücke, Op. 26 (Furore Verlag)

12 Rainier

Allegro Ricercare (1st movt from Sonata for
Viola)

Rainier: Sonata for Viola (Schott)Korsakov
Williams

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 19


RANGE

REQUIREMENTSSCALES

A, B majors and minors(minors harmonic and melodic)

2 oct.

D -/C +, E -, E majors and minors(minors harmonic and melodic)

3 oct.

separate bows or slurred (7 notes to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

ARPEGGIOS

A, B majors and minors

2 oct.

separate bows or slurred (6 notes to a bow), at
examiner’s choice;even notes

D -/C +, E -, E majors and minors

3 oct.

separate bows or slurred (9 notes to a bow), at
examiner’s choice;even notesin the key of D

2 oct.

in the keys of F+, A - and A

3 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

DOMINANT SEVENTHS (resolving on tonic)

DIMINISHED SEVENTHS

starting on E -, E and A

2 oct.

starting on C +3 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

CHROMATIC SCALES

starting on E -, E and A

2 oct.

starting on C +3 oct.

separate bows or slurred (12 notes to a bow), at
examiner’s choice;even notes

DOUBLE-STOP SCALES IN PARALLEL

in octaves, in G major
in octaves, in C minor (harmonic and melodic)
in sixths, in A - major

1 oct.
2 oct.

separate bows;
even notes or long tonic, at candidate’s choice

DOUBLE-STOP SCALE IN BROKEN STEPS

in thirds, in E - major

2 oct.

see page 16

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 109
62

CelloPractical Grades from2024
Cello from2024

Practical Grades

INITIAL GRADE
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Anon. 16th
century

La Bergamasca, arr. K. & D. Blackwell

Cello Exam Pack from 2024, Initial Grade (ABRSM)

2 Trad. Czech

Stamping Dance, arr. K. & D. Blackwell

Cello Exam Pack from 2024, Initial Grade (ABRSM)

3 Trad. English

The Old Woman and the Pedlar, arr. Bullard

Cello Exam Pack from 2024, Initial Grade (ABRSM)

4 Katherine &Butterflies (No. 5 from Waggon Wheels)

Katherine & Hugh Colledge: Waggon Wheels for Cello(Boosey & Hawkes)

1

Hugh Colledge

5 Katherine &Knickerbocker Glory (No. 11 from Waggon
Hugh Colledge Wheels)

6 Cutter

Little March, arr. Sassmannshaus

Katherine & Hugh Colledge: Waggon Wheels for Cello(Boosey & Hawkes)
Cello Recital Album, Vol. 1 (Bärenreiter)

ending at b. 20 DUET/PIANO
7 Stanley

Sweet Eyed Sue (No. 9 from New Tunes for
Strings, Book 1) with repeat using bowing variation 1

8 Trad.

Big Ben, arr. Passchier, Hussey & Sebba

Fletcher

Stanley Fletcher: New Tunes for Strings, Cello Book 1(Boosey & Hawkes)

DUET/PIANO

Abracadabra Cello (Third Edition) (Collins Music)

DUET/PIANO

9 Trad.

Go Tell Aunt Rhody, arr. Suzuki & MooneySuzuki Cello School, Vol. 1 (Alfred)

DUET/PIANO

10 Kathy & David City Lights DUET/PIANOCello Time Joggers (OUP)

11 O. Gibbons

The Woods So Wilde, arr. Harris & O’LearyNo. 51 from Cello Basics (Faber)

12 Mozart

Molto allegro (from String Quartet in G, K. 387)

No. 75 from Erste Klassiksammlung für Violoncello(Ricordi)

13 Mark Wilson

Oh, What a Day!

No. 38 from Wilson & Wood: Stringtastic Beginners for
Cello (Faber)

Blowin’ in the Wind, arr. Iles

Cello Exam Pack from 2024, Initial Grade (ABRSM)

Ladybird Laze (from Bees in the Belfry)

Cello Exam Pack from 2024, Initial Grade (ABRSM)

Blackwell& Paul WoodB

1

Bob Dylan

2 Jemima

Oosthuizen

with repeat

3 Althea

The Knights’ Pavane

Cello Exam Pack from 2024, Initial Grade (ABRSM)

Talbot-Howard

4 Alan Bullard

Far Away (from Party Time!) slurs optional

Alan Bullard: Party Time! for Cello (ABRSM)

5 Mary Cohen

Mrs Andantino Goes for a Walk (fromSuperduets, Book 2) DUET

Mary Cohen: Superduets for Cello, Book 2 (Faber)

6 Thomas

Footprints in the Snow

Vamoosh Cello, Book 1 (Vamoosh)7 Huws Jones

Gone for Good (No. 12 from Ten O’Clock Rock)Huws Jones: Ten O’Clock Rock for Cello (Boosey &Hawkes)8 S. Nelson

Over the Moon

Piece by Piece 1 for Cello (Boosey & Hawkes)

9 S. Nelson

Swingalong ‘E’ version DUET/PIANO

P. 16 from Tetratunes for Cello (Boosey & Hawkes)

10 Trad. French

French Folk Song, arr. Suzuki & MooneySuzuki Cello School, Vol. 1 (Alfred)

Gregory

DUET/PIANO

11 Celia Cobb &After the Storm (No. 4 from Cool Beans)
Naomi Yandell final note may be played as open A DUET

12 Thomas

Rolling Hills

Vamoosh Cello, Book 1 (Vamoosh)

13 Mark Wilson

Music for a Rainy Day

No. 27 from Wilson & Wood: Stringtastic Beginners for
Cello (Faber)

Square Dance (from Party Time!)

Cello Exam Pack from 2024, Initial Grade (ABRSM)

Crunch Time

Cello Exam Pack from 2024, Initial Grade (ABRSM)

Gregory& Paul WoodC

Cobb & Yandell: Cool Beans Cello Duets (Stainer & Bell)1

Alan Bullard

2 Nancy Litten

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

63

Cello from 2024 Initial Grade

COMPOSER
3 Trad. German

Practical Grades

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Kuckuck, Kuckuck, ruft’s aus dem Wald,arr. Blackwell

Cello Exam Pack from 2024, Initial Grade (ABRSM)

4 Kathy & David Off to School

Cello Time Starters (OUP)

Blackwell

5 Thomas

Walk on Mars! slides optional; with DC, as in accomp. Vamoosh Cello, Book 1 (Vamoosh)6 Huws Jones

Ten O’Clock Rock (No. 9 from Ten O’Clock Rock) Huws Jones: Ten O’Clock Rock for Cello (Boosey &Hawkes)Gregory

7 Caroline

Jungle Footprints (from Jackaroo)
Lumsden &scream optional
Pam Wedgwood

Lumsden & Wedgwood: Jackaroo for Cello (Faber)

8 S. Nelson

Alastair Arbuthnot Has No Hat

Piece by Piece 1 for Cello (Boosey & Hawkes)

9 Trad. German

Pit a Pat Rain, arr. Sassmannshaus DUET/PIANOCello Recital Album, Vol. 1 (Bärenreiter)

10 Peter Wilson

Bow Rock (No. 4 from Stringpops 1)

Peter Wilson: Stringpops 1 for Cello (Faber)

11 Kathy & David In the Groove DUET/PIANOCello Time Joggers (OUP)

12 Celia Cobb &On the Go (No. 5 from Cool Beans) DUET

Cobb & Yandell: Cool Beans Cello Duets (Stainer & Bell)

13 RosieLaser Kiwi Jive

Easy Tunes for Tamariki for Cello (Wellington Branch
IRMTNZ)Blackwell

Naomi Yandell
Langabeer

SCALES: from memory; for further details (including examples) see pages 15, 16–17 & 20


RANGE

REQUIREMENTS

1 oct.

separate bows;
even notes or long tonic, at candidate’s choicea 5thseparate bows;
even notes

SCALESG, D majors

starting on open strings

A minor starting on bottom A

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 103

64

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

Practical Grades

Cello from 2024

GRADE 1
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Lajos ÁcsBear’s Dance

Cello Exam Pieces from 2024, Grade 1 (ABRSM)

2 Arbeau

Branle des Sabots (from Orchésographie),arr. Black & Harris

Cello Exam Pieces from 2024, Grade 1 (ABRSM)

3 J. Clarke

Minuet (from Keyboard Suite in C minor),arr. Blackwell

Cello Exam Pieces from 2024, Grade 1 (ABRSM)

1

4 Kathy & David Patrick’s Reel DUET/PIANOCello Time Joggers (OUP)

5 Blow

Air, arr. Bruce & Wells

More Time Pieces for Cello, Vol. 1 (ABRSM)

6 Corrette

Minuet, arr. Thorp & Blackman
p. 6 version DUET/PIANO

P. 6 from A Flying Start for Strings, Cello Book 3(Flying Strings)

7 Purcell

Rigadoon, arr. Nelson with repeat

Piece by Piece 1 for Cello (Boosey & Hawkes)

8 Trad.

Dance to your daddy, arr. Nelson

Piece by Piece 1 for Cello (Boosey & Hawkes)

9 Janice Tucker

A Shakespeare PlayThe ABC’s of Cello, Book 1 (Carl Fischer)

10 Suzuki

Andantino, arr. Mooney DUET/PIANOSuzuki Cello School, Vol. 1 (Alfred)

11 Bartók

The Two Roses (No. 3 from For Children, Vol. 2),
arr. Davies

Bartók for Cello (Boosey & Hawkes)

12 Bréval

Moderato (No. 3 from Three Easy Duets) DUET

Duets for Fun: Cellos (Schott)

13 Suzuki

AllegroNo. 8 from Suzuki Cello School, Vol. 1 (Alfred)Song (No. 6 from The Mellow Cello)

Cello Exam Pieces from 2024, Grade 1 (ABRSM)

2 Christopher

Pitlochry (No. 15 from The Microjazz Cello
Collection 1)

Cello Exam Pieces from 2024, Grade 1 (ABRSM)

3 Trad. Scottish

Skye Boat Song, arr. Gritton

Cello Exam Pieces from 2024, Grade 1 (ABRSM)

4 T. H. Bayly

Long, Long Ago, arr. Suzuki & MooneySuzuki Cello School, Vol. 1 (Alfred)Blackwell

Rhoda

B

1

Jennifer
Andrews
Norton

DUET/PIANO

5 Kathy & David Rocking Horse DUET/PIANOBlackwell

6 CarseA Little Reverie

Carse: Two Short Pieces (Stainer & Bell)

7 Katherine &Full Moon (No. 22 from Waggon Wheels)

Katherine & Hugh Colledge: Waggon Wheels for Cello(Boosey & Hawkes)

8 Thomas

Alpine Waltz

Vamoosh Cello, Book 2 (Vamoosh)9 Lully

Ariette, arr. Feuillard

Le jeune violincelliste, Vol. 1A (Edition Delrieu)

10 Trad. English

Scarborough Fair, arr. Koeppen DUET/PIANOCello Method: Tune Book 1 (Schott)

11 FauréBerceuse (from Dolly, Op. 56), arr. Bruce &Wells

More Time Pieces for Cello, Vol. 1 (ABRSM)

12 Haydn

Poco adagio (from String Quartet, ‘Emperor’,Op. 76 No. 3), arr. Bruce & Wells

More Time Pieces for Cello, Vol. 1 (ABRSM)

13 Sugár

Old Hungarian Folk Song, arr. Lengyel & Pejtsik

No. 27 from Violoncello Music for Beginners, Vol. 1(EMB Zeneműkiadó)

BartókBaking Song (No. 1 from For Children, Vol. 1),
arr. Davies

Cello Exam Pieces from 2024, Grade 1 (ABRSM)

2 R. & R.

Supercalifragilisticexpialidocious (from Mary
Poppins), arr. K. & D. Blackwell

Cello Exam Pieces from 2024, Grade 1 (ABRSM)

3 Trad. Zulu

Siyahamba, arr. Iles

Cello Exam Pieces from 2024, Grade 1 (ABRSM)

4 Benoy &Victory March DUETThe First-Year Violoncello Method (Novello)

Hugh Colledge
GregoryC

Cello Time Joggers (OUP)

1

ShermanL. Burrowes

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

65

Cello from 2024 Grade 1

COMPOSER

Practical Grades

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

5 Alan Bullard

Hungarian Dance (from Party Time!)

Alan Bullard: Party Time! for Cello (ABRSM)

6 Katherine &Lollipop Man (No. 26 from Waggon Wheels)

Katherine & Hugh Colledge: Waggon Wheels for Cello(Boosey & Hawkes)

7 Thomas

Fiery Fiddler with repeats

Vamoosh Cello, Book 1 (Vamoosh)8 Huws Jones

Toodle-Pip (No. 18 from Ten O’Clock Rock)Huws Jones: Ten O’Clock Rock for Cello (Boosey &Hawkes)9 Trad.

Banaha, arr. Bruce & Wells

More Time Pieces for Cello, Vol. 1 (ABRSM)

Hugh Colledge
Gregory

Congolese

10 Celia Cobb &Cool Beans (No. 14 from Cool Beans)
Naomi Yandell stamping optional DUET

Cobb & Yandell: Cool Beans Cello Duets (Stainer & Bell)11 Ailbhe

Spring Parade (No. 8 from It’s a Cello Thing,Book 1)

Ailbhe McDonagh: It’s a Cello Thing, Book 1 (Boosey &Hawkes)12 Christopher

Snooker Table (No. 22 from The Microjazz Cello
Collection 1)

Christopher Norton: The Microjazz Cello Collection 1(Boosey & Hawkes)

13 Saint-Saëns

The Elephant (from The Carnival of the Animals), Time Pieces for Cello, Vol. 1 (ABRSM)
arr. Black & Harris

McDonagh
NortonSCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 20


RANGE

REQUIREMENTS

1 oct.

separate bows or slurred (2 quavers to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

SCALESG, D majors

starting on open strings

A natural minor
C major2 oct.

ARPEGGIOS

G, D majors
A minorC majorstarting on open strings

1 oct.
2 oct.

separate bows;
even notes

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 103

66

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

Practical Grades

Cello from 2024

GRADE 2
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

ParadisDa eben seinen Lauf vollbracht (from 12 Lieder
auf ihrer Reise in Musik gesetzt), arr. Wells

Cello Exam Pieces from 2024, Grade 2 (ABRSM)

2 Anon.

Italian Rant, arr. Black & Harris

Cello Exam Pieces from 2024, Grade 2 (ABRSM)

3 Trad. Irish

The Minstrel Boy, arr. Blackwell

Cello Exam Pieces from 2024, Grade 2 (ABRSM)

4 Anon.

Hornpipe, arr. Lengyel & Pejtsik

Violoncello Music for Beginners, Vol. 1(EMB Zeneműkiadó)

5 J. S. BachAir (from Mer hahn en neue Oberkeet, ‘PeasantCantata’, BWV 212), arr. Bruce & Wells

More Time Pieces for Cello, Vol. 1 (ABRSM)

6 Trad. Finnish

Taivas on sininen ja valkoinen (The Sky is Blue
and White), arr. Bruce & Wells

More Time Pieces for Cello, Vol. 1 (ABRSM)

7 J. S. Bach

Minuet No. 2, arr. Suzuki & Mooney DUET/PIANO Suzuki Cello School, Vol. 1 (Alfred)

8 HandelGavotte, arr. Erhart-Schwertmann DC to b. 8

1First Duet Album for Two Cellos (Doblinger)

DUET

B

9 Haydn

Minuet and Trio, arr. Nelson without DC

Piece by Piece 1 for Cello (Boosey & Hawkes)

10 Haydn

Finale: Scherzo, arr. Pejtsik DUET

Violoncello Duets, Vol. 1 (EMB Zeneműkiadó)

11 Handel

Hallelujah (from Messiah), arr. East

Play Baroque! (Stainer & Bell)12 Laubach

Soldier’s March, arr. Sassmannshaus DUET

Cello Recital Album, Vol. 1 (Bärenreiter)

13 Szokolay

Bagpipe Song (No. 2 from Small Suite),arr. Lengyel & Pejtsik

Violoncello Music for Beginners, Vol. 1(EMB Zeneműkiadó)

Hallelujah, arr. Iles

Cello Exam Pieces from 2024, Grade 2 (ABRSM)

Serenade

Cello Exam Pieces from 2024, Grade 2 (ABRSM)

1

L. Cohen

2 Dare3 Gerald Howard Balmy Days

Cello Exam Pieces from 2024, Grade 2 (ABRSM)

4 Katherine &Sweet Dreams (No. 13 from Fast Forward)

Katherine & Hugh Colledge: Fast Forward for Cello(Boosey & Hawkes)

5 Schlemüller

Lied (No. 1 from Six Easy Concert Pieces, Op. 12)

Cellissimo – Arietta (Schott) or
Schlemüller: Six Easy Concert Pieces for Cello, Op. 12(Schott)

6 Krogmann

The Little Prince, arr. Sassmannshaus

Cello Recital Album, Vol. 1 (Bärenreiter)& John York

Hugh Colledge

DUET/PIANO

7 Mancini &Moon River, arr. Davies

Short Cello Pieces (Bosworth)

8 Alan Menken

Beauty & the Beast, arr. Davies

Short Cello Pieces (Bosworth)

9 Trad.

Greensleeves, arr. Nelson DUET

Tunes You Know 1 for Cello Duet (Boosey & Hawkes)

10 Dvořák

Slavonic Dance, Op. 46 No. 8, arr. Bruce &Wells

More Time Pieces for Cello, Vol. 1 (ABRSM)

11 Thomas

An Arabian Night

Vamoosh Cello, Book 2 (Vamoosh)12 Ailbhe

Shifting Sands (No. 10 from It’s a Cello Thing,Book 1)

Ailbhe McDonagh: It’s a Cello Thing, Book 1 (Boosey &Hawkes)13 Beethoven

Irish Song, arr. Cole

Beethoven: Irish Song for Cello (Novello)

Funny Song

Cello Exam Pieces from 2024, Grade 2 (ABRSM)

2 Joplin

Paragon Rag, arr. Blackwell

Cello Exam Pieces from 2024, Grade 2 (ABRSM)

3 Caroline

Melted Mouse & Roasted Rat in Choc’late
Sauce (from Wizard’s Potion)

Cello Exam Pieces from 2024, Grade 2 (ABRSM)

Mercer& Ashman

Gregory

McDonaghC

1

ThomasHewitt Jones

Lumsden &Ben Attwood

slap and “Tsss!” optional

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

67

Cello from 2024 Grade 2

COMPOSER

Practical Grades

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

4 Anon.

Hi! Says the Blackbird, arr. Waterfield & BeachO Shenandoah! for Cello (Faber)

5 Arlen &We’re off to see the wizard (from The Wizard of Abracadabra Cello (Third Edition) (Collins Music)
Oz), arr. Passchier, Hussey & Sebba DUET/PIANO

AmericanHarburg

6 Kathy & David Mexican Fiesta DUET/PIANOCello Time Runners (OUP)

7 Mary Cohen

Hoe Down (No. 7 from Dance Duets) DUET

Mary Cohen: Dance Duets for Cello (Faber)

8 Katherine &The Ceilidh (No. 21 from Fast Forward)

Katherine & Hugh Colledge: Fast Forward for Cello(Boosey & Hawkes)

9 Thomas

Smooth Operator

Vamoosh Cello, Book 2 (Vamoosh)10 Tim Wells

Happy Places

More Time Pieces for Cello, Vol. 1 (ABRSM)

BlackwellHugh Colledge
Gregory

11 Kathy & David Paris Café DUET/PIANOCello Time Runners (OUP)

12 Joanna Borrett Lindy Hop Rock (No. 2 from Inspiration Cello!

Book 1) DUETJoanna Borrett: Inspiration Cello! Book 1 (United Music
Publishing)

13 Ailbhe

Pasta Dance (No. 14 from It’s a Cello Thing,Book 1)

Ailbhe McDonagh: It’s a Cello Thing, Book 1 (Boosey &Hawkes)Blackwell

McDonagh

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 20


RANGE

REQUIREMENTS

G, D minors starting on open strings(natural or harmonic or melodic, at candidate’s
choice)1 oct.

separate bows or slurred (2 quavers to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

C, G majors

2 oct.

SCALES

F, A, B - majors

ARPEGGIOS

F, G, A, B - majors
G, D minors
C majorstarting on open strings

1 oct.
2 oct.

separate bows;
even notes

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 104

68

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

Practical Grades

Cello from 2024

GRADE 3
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
Candidates must choose at least one accompanied piece.
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)Jean Baptiste
Loeillet

Largo (1st movt from Sonata in C, Op. 3 No. 1)

Cello Exam Pieces from 2024, Grade 3 (ABRSM)

2 S. Paxton

Allegro moderato (1st movt from Sonata in G,
Op. 3 No. 5)

Cello Exam Pieces from 2024, Grade 3 (ABRSM)

3 F. Price

Rabbit Foot, arr. K. & D. Blackwell

Cello Exam Pieces from 2024, Grade 3 (ABRSM)

4 Anon. French

Provençal Dance, arr. Doflein DUET

Cello Method: Tune Book 2 (Schott)

5 CirriMenuetto (3rd movt from Sonata in C)

Cirri: Cello Sonata in C (Schott) or
Cirri: Three Sonatas for Cello (Heinrichshofen) or
Cellissimo – Arietta (Schott)

6 D. Gallo

Moderato, arr. Bruce & Wells

More Time Pieces for Cello, Vol. 1 (ABRSM)

7 Gossec

Gavotte, arr. Suzuki & Mooney DUET/PIANOSuzuki Cello School, Vol. 2 (Alfred)

8 Mozart

Contretanz in D, arr. Baechi

Melodien Grosser Meister (Hug Zurich)

9 Trad. Scottish

De’il Among the Tailors, arr. Huws Jones

Jigs, Reels & More (Boosey & Hawkes)

1

SOLO/PIANO

B

10 Aubert

Tambourin I & II, arr. Harrison

Grade by Grade, Cello Grade 3 (Boosey & Hawkes)

11 Vivaldi

Autumn (from The Four Seasons), arr. Nelson

Grade by Grade, Cello Grade 3 (Boosey & Hawkes)

12 Haydn

Allegro, arr. J. & A. Oosthuizen DUET

P. 16 from Easy Classic Cello Duets (Wild Music
Publications)

13 Schetky

Allegretto (from Duetto in G, Op. 7/2) DUET

P. 74 from Duets for Fun: Cellos (Schott)

Ich liebe dich, WoO 123, arr. Black & Harris

Cello Exam Pieces from 2024, Grade 3 (ABRSM)

1

Beethoven

2 Trad. Peruvian Stars, No Moon, arr. Harrison

Cello Exam Pieces from 2024, Grade 3 (ABRSM)

3 Hubicki *The Swing (No. 1 from Three Summer Sketches)

Cello Exam Pieces from 2024, Grade 3 (ABRSM)

4 CarseAfloat (from The Fiddler’s Nursery), trans. Max

Carse: The Fiddler’s Nursery for Cello (Stainer & Bell)

5 Katherine &Miles Away (No. 17 from Shooting Stars)

Katherine & Hugh Colledge: Shooting Stars for Cello(Boosey & Hawkes)

6 Grechaninov

On Winter’s Eve, Op. 126b No. 6

Cellissimo – Arietta (Schott)

7 HolstJupiter (No. 4 from The Planets, Op. 32),
arr. Lanning

The Classic Experience for Cello (Cramer)

8 Edward Jones

Glwysen, arr. Huws Jones cello melody
DUET/PIANOThe Fiddler Playalong Cello Collection (Boosey &Hawkes)The Two Grenadiers, arr. Suzuki & MooneySuzuki Cello School, Vol. 2 (Alfred)Hugh Colledge

9 Schumann

DUET/PIANO

10 Smetana

Vltava (from Má vlast), arr. Bruce & Wells

More Time Pieces for Cello, Vol. 1 (ABRSM)

11 Jennifer

Romance (No. 3 from The Mellow Cello)

Jennifer Andrews: The Mellow Cello (Piper)

12 DareValse (from Serenade & Valse)

Dare: Serenade & Valse (Schott)

13 Trad. Yunnan

The Flowing Stream, arr. Long SOLO

A Set of Chinese Folk Songs for Cello (OUP)

The Girls of Kis-Szele and The Song of the
Drunkard (Nos. 35 and 36 from For Children,
Vol. 1), arr. Davies

Cello Exam Pieces from 2024, Grade 3 (ABRSM)

Chez le docteur, arr. Black & Harris

Cello Exam Pieces from 2024, Grade 3 (ABRSM)

AndrewsC

1

Bartók2 Satie

3 Hans Zimmer, He’s a Pirate (from Pirates of the Caribbean: The

Cello Exam Pieces from 2024, Grade 3 (ABRSM)

4 Katherine &Katherine & Hugh Colledge: Shooting Stars for Cello(Boosey & Hawkes)

Klaus Badelt & Curse of the Black Pearl), arr. Bullard
Geoff Zanelli
Hugh Colledge

Stiffkey Blues (No. 15 from Shooting Stars)

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications* Originally published under the name of Lovell

69

Cello from 2024 Grade 3

COMPOSER

Practical Grades

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

5 Thomas

VamooseVamoosh Cello, Book 2 (Vamoosh)6 Roy

Take It Easy (No. 4 from Let’s Swing)

Roy McCormack: Let’s Swing for Cello (Clifton Edition)

7 S. Nelson

Toad in the Hole without improvisation

Technitunes for Cello (Boosey & Hawkes)

Gregory

McCormack

DUET/PIANO

8 Ros Stephen

Transylvanian Stick Dance (No. 11 from Cello
Globetrotters) DUET/PIANORos Stephen: Cello Globetrotters (OUP)

9 J. Strauss II

Russian March, arr. Huws Jones cello melody;

The Fiddler Playalong Cello Collection (Boosey &Hawkes)with grace notes in b. 40 DUET/PIANO
10 Joanna Borrett Smugglers’ Return (No. 4 from Inspiration Cello!

Joanna Borrett: Inspiration Cello! Book 1 (United Music
Publishing)

11 Katherine &Cossacks (No. 13 from Shooting Stars)

Katherine & Hugh Colledge: Shooting Stars for Cello(Boosey & Hawkes) or
Grade by Grade, Cello Grade 3 (Boosey & Hawkes)

12 M. Simons

The Peanut Vendor, arr. Bruce & Wells

More Time Pieces for Cello, Vol. 1 (ABRSM)

13 Trad. Yunnan

A Horseherd’s Mountain Song, arr. Long

A Set of Chinese Folk Songs for Cello (OUP)

Book 1) DUET

Hugh Colledge

shouts optional SOLOSCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 20


RANGE

REQUIREMENTSSCALESA majorC, A minors(harmonic or melodic, at candidate’s choice)1 oct.

D, F, G majors
D minor(harmonic or melodic, at candidate’s choice)2 oct.

separate bows or slurred (2 quavers to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

ARPEGGIOS

A majorC, A minors
D, F, G majors
D minor1 oct.
2 oct.

separate bows or slurred (3 notes to a bow), at
examiner’s choice;even notes

CHROMATIC SCALE

starting on D open string

1 oct.

separate bows;
even notes

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 104

70

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications
Accompaniment printable from companion CDPractical Grades

Cello from 2024

GRADE 4
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Boyce

Minuet (from Concerto Grosso in B minor),arr. Black & Harris

Cello Exam Pieces from 2024, Grade 4 (ABRSM)

2 Lindeman

Tusenfryd (No. 2 from Four Piano Pieces, Op. 5),
arr. Blackwell

Cello Exam Pieces from 2024, Grade 4 (ABRSM)

3 Vivaldi

Allegro (1st movt from Concerto in C, RV 399)

Cello Exam Pieces from 2024, Grade 4 (ABRSM)

4 J. S. Bach

Menuett in D minor, arr. Pejtsik

Violoncello Music for Beginners, Vol. 3(EMB Zeneműkiadó)

5 Diabelli

Polonaise, arr. Pejtsik

Violoncello Music for Beginners, Vol. 3(EMB Zeneműkiadó)

6 CirriAllegro (1st movt from Sonata in C)

Cirri: Cello Sonata in C (Schott) or
Cirri: Three Sonatas for Cello (Heinrichshofen) or
Cellissimo – Arietta (Schott)

7 attrib.

Pastime with good company, arr. Huws Jones
cello melody; incl. 2nd verse

The Fiddler Playalong Cello Collection (Boosey &Hawkes)8 Rameau

Rigaudon (from Pièces de clavecin), arr. East

Play Baroque! (Stainer & Bell)9 Telemann

Air Trompette (from Der getreue Musikmeister),arr. East

Play Baroque! (Stainer & Bell)10 Ticciati

Les hirondelles de Couperin (No. 6 from Studies Ticciati: Studies in Style and Technique, Book 1 (OUP)
in Style and Technique, Book 1)

11 C. P. E. Bach

Polonaise (from Notebook for Anna Magdalena
Bach), arr. East

12 Beethoven

Come fill, fill, my good fellow, arr. Bruce & Wells More Time Pieces for Cello, Vol. 2 (ABRSM)

13 Handel

O Ruddier than the Cherry (from Acis andGalatea, HWV 49), arr. K. & D. Blackwell

Solo Time for Cello, Book 1 (OUP)

The Chengdu Hibiscus

Cello Exam Pieces from 2024, Grade 4 (ABRSM)

2 Nölck

Herbstblume (No. 6 from 10 Originalstücke,Op. 116) mute optional

Cello Exam Pieces from 2024, Grade 4 (ABRSM)

3 WolfWiegenlied

Cello Exam Pieces from 2024, Grade 4 (ABRSM)

1Henry VIII

B

1

ShantiJayasinha

4 Kathy & David Some Day

Cello Time Sprinters (OUP)

5 ElgarChanson de matin, arr. Lanning

The Classic Experience for Cello (Cramer)

6 Järnefelt

Berceuse upper line in bb. 48–56

Järnefelt: Berceuse (Chester)

7 Squire

Romance, Op. 5 No. 1

Squire: Romance (Stainer & Bell)

8 Trowell

Arioso (No. 7 from 12 morceaux faciles, Op. 4)

Trowell: Six Easy Concert Pieces, Op. 4/7–12 (Schott) orBest of Cello Classics (Schott)

9 Henry Wood

Tom Bowling (from Fantasia on British Sea
Songs), arr. Bruce & Wells

More Time Pieces for Cello, Vol. 2 (ABRSM)

10 T. A. Arne

Where the bee sucks

Grade by Grade, Cello Grade 4 (Boosey & Hawkes)

11 Bizet

Entr’acte (from Carmen), arr. Bruce & Wells

More Time Pieces for Cello, Vol. 2 (ABRSM)

12 A. Clarke

Avelette (No. 4 from Four Love Songs)

A. Clarke: Four Love Songs for Cello (SJ Music)

13 Ailbhe

The Journey (No. 9 from It’s a Cello Thing,Book 2)

Ailbhe McDonagh: It’s a Cello Thing, Book 2 (Boosey &Hawkes)Blackwell

McDonagh

C

Play Baroque! (Stainer & Bell)1

L. Bernstein & America (from West Side Story), arr. Schofield
Sondheim

Cello Exam Pieces from 2024, Grade 4 (ABRSM)

2 Turpin

The St Louis Rag, arr. Blackwell

Cello Exam Pieces from 2024, Grade 4 (ABRSM)

3 Pam

Sometime Maybe (No. 8 from Jazzin’ About)

Cello Exam Pieces from 2024, Grade 4 (ABRSM)

Wedgwood

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

71

Cello from 2024 Grade 4

COMPOSER

Practical Grades

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

4 Kathy & David Russian Wedding

Cello Time Sprinters (OUP)

5 BockIf I Were a Rich Man (from Fiddler on the Roof ),arr. Legg & GoutPlay Showtime for Cello (Faber)

6 G. Gershwin

Let’s Call the Whole Thing Off, arr. GoutPlay Gershwin for Cello (Faber)

7 Grainger

Shepherd’s Hey, arr. Bruce & Wells

More Time Pieces for Cello, Vol. 2 (ABRSM)

8 G. M.

La cumparsita, arr. Huws Jones cello melody

The Fiddler Playalong Cello Collection (Boosey &Hawkes)9 C. Webster

Scherzo, arr. Suzuki

Suzuki Cello School, Vol. 3 (Alfred)BlackwellRodríguez

10 Margery Dawe The Gipsy Fiddler (No. 44 from New Road toString Playing, Book 3) SOLO

Margery Dawe: New Road to String Playing, Book 3(Cramer)

11 R. Gilbert &Muskrat Ramble, arr. Harrison

Amazing Solos for Cello (Boosey & Hawkes)

12 Grieg

Norwegian Dance, Op. 35 No. 2, arr. Forbes

Classical and Romantic Pieces for Cello (OUP)

13 Leonardi

Tarantella, arr. Sassmannshaus

Cello Recital Album, Vol. 2 (Bärenreiter)

Kid Ory

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 20


RANGE

REQUIREMENTS

2 oct.

separate bows or slurred (2 beats to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

2 oct.

separate bows or slurred (3 notes to a bow), at
examiner’s choice;even notes

1 oct.

separate bows;
even notes

1 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

SCALES

E -, F, A, B - majors
C, D, G minors(harmonic or melodic, at candidate’s choice)
ARPEGGIOS

E -, F, A, B - majors
C, D, G minors
DOMINANT SEVENTHS (resolving on tonic)

in the key of G starting on bottom D
in the key of C starting on open string G
CHROMATIC SCALES

starting on D bottom D
starting on G open string

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 105

72

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

Practical Grades

Cello from 2024

GRADE 5
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Bazelaire

Bourrée d’Auvergne (No. 1 from Suite française,
Op. 114)

Cello Exam Pieces from 2024, Grade 5 (ABRSM)

2 B. G. Marcello Allegro (2nd movt from Sonata in E minor, Op. 2

Cello Exam Pieces from 2024, Grade 5 (ABRSM)

1

No. 2)

3 Ticciati

Fugue (No. 4 from Studies in Style and Technique, Cello Exam Pieces from 2024, Grade 5 (ABRSM)
Book 2)

4 B. Bernardi

Sonata in G minor upper part; complete

9 Sonate facili (EMB Zeneműkiadó)

5 Boccherini

Minuet, arr. Suzuki without DC

Suzuki Cello School, Vol. 3 (Alfred)

6 Bréval

Allegro (1st movt from Sonata No. 1 in C)

Bréval: Sonata No. 1 in C (Stainer & Bell) or
Bréval: Sonata in C, arr. Schroeder (IMC) orBest of Cello Classics (Schott)

7 Caldara

Presto (4th movt from Sonata in D)

Caldara: Sonata in D (Schott)

8 Haydn

Scherzando (1st movt from Trio in G,
Hob. XI:70), arr. Pejtsik

Cello & Piano 1 (EMB Zeneműkiadó)

9 S. Paxton

Allegro moderato (1st movt from Sonata in G,
Op. 3 No. 1), arr. Buschmann

S. Paxton: Two Sonatas from Op. 3 (Simrock)

10 J. S. BachAria in F (from Cantatas, BWV 208 andBWV 68), arr. K. & D. Blackwell

Solo Time for Cello, Book 2 (OUP)

11 Giuseppe

Allegro (2nd movt from Sonata in G minor, Op. 1
No. 6)

Three 18th-Century Sonatas for Cello (Faber)

ChinzerBC

12 Jonathan Dove Prayer-wheel

Spectrum for Cello (ABRSM)

13 Lully

GavotteSuzuki Cello School, Vol. 3 (Alfred)

Romance (No. 1 from Two Romances),arr. K. & D. Blackwell

Cello Exam Pieces from 2024, Grade 5 (ABRSM)

1

Andrée2 Dvořák

Humoresque (No. 7 from Humoresques, Op. 101), Cello Exam Pieces from 2024, Grade 5 (ABRSM)
arr. Bullard

3 Tchaikovsky

Waltz (from The Sleeping Beauty, Act I, Op. 66),
arr. Litten

Cello Exam Pieces from 2024, Grade 5 (ABRSM)

4 Borodin

Nocturne (from String Quartet No. 2),
arr. LanningClassic Experience Encores for Cello (Cramer)

5 Flotow

M’appari (from Martha), arr. B. & R. De Smet

Cello Canto (Fentone)

6 Goltermann

Marche funèbre (No. 2 from Sechs tonbilder,Op. 97)

Cellissimo – Arietta (Schott) orBest of Cello Classics (Schott)

7 Mendelssohn

Consolation, arr. Amsco

Cello Solos (Amsco)

8 Pergolesi

Nina, arr. Pejtsik

Violoncello Music for Beginners, Vol. 3 (EMB
Zeneműkiadó)

9 Schubert

Ständchen (from Schwanengesang), arr. Bruce& Wells

More Time Pieces for Cello, Vol. 2 (ABRSM)

10 Tchaikovsky

Chanson triste (No. 2 from 12 morceaux, Op. 40), Learning the Tenor Clef (Faber)arr. Legg & Gout

11 Bazelaire

Chanson de Bresse (No. 3 from Suite française,
Op. 114)

Bazelaire: Suite française, Op. 114 (Schott Freres) or
Solos for Young Cellists, Vol. 4 (Alfred–Summy-Birchard)

12 Bill Thorp

Wistaria

Grade by Grade, Cello Grade 5 (Boosey & Hawkes)

13 A. E. Walton

The Call of the Angelus, arr. Woodhouse

Grade by Grade, Cello Grade 5 (Boosey & Hawkes)

1

Goltermann

Schlechtes Wetter (No. 3 from Ernst und Scherz, Cello Exam Pieces from 2024, Grade 5 (ABRSM)
Op. 104)

2 Jacob

Robots’ March

Cello Exam Pieces from 2024, Grade 5 (ABRSM)

3 Michael

On the Ground (No. 5 from Jazzy Cello)

Cello Exam Pieces from 2024, Grade 5 (ABRSM)

Radanovics

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

73

Cello from 2024 Grade 5

COMPOSER

Practical Grades

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

4 Jonathan Cole Elegy

Spectrum for Cello (ABRSM)

5 G. Gershwin

Summertime (from Porgy and Bess), arr. GoutPlay Gershwin for Cello (Faber)

6 James

Sabre Dance (No. 6 from Northern Skies)

James MacMillan: Northern Skies (Boosey & Hawkes)

7 Trad. Irish

The Frieze Breeches, arr. Davis SOLO

Irish Folk Tunes for Cello (Schott)

8 Villoldo

El Choclo, arr. Speckert

Tango Classics for Cello (Bärenreiter)

9 Pam

Survivor (from After Hours)

Pam Wedgwood: After Hours for Cello (Faber)

10 Bartók

Sash Dance and In One Spot (Nos. 2 and 3 from Bartók for Cello (Boosey & Hawkes) or
Romanian Folk Dances), arr. Davies or trans. Silva Bartók: Romanian Folk Dances for Cello (Universal)

11 Grieg

Puck (from Lyric Pieces, Op. 71 No. 3),
arr. K. & D. Blackwell

Solo Time for Cello, Book 2 (OUP)

12 Joplin

Easy Winners, arr. Bruce & Wells

More Time Pieces for Cello, Vol. 2 (ABRSM)

13 NazarethOdeon, arr. Speckert

Tango Classics for Cello (Bärenreiter)

MacMillan

Wedgwood

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 20


RANGE

REQUIREMENTS

E, G, A minors(harmonic or melodic, at candidate’s choice)2 oct.

C major3 oct.

separate bows or slurred (2 beats to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

SCALES

E -, E, A -, A majors

ARPEGGIOS

E -, E, A -, A majors
E, G, A minors
C major2 oct.
3 oct.

separate bows or slurred (3 notes to a bow), at
examiner’s choice;even notes

DOMINANT SEVENTHS (resolving on tonic)

in the key of B -1 oct.

in the keys of F and G

2 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

1 oct.

separate bows;
even notes

DIMINISHED SEVENTHS

starting on C open string
starting on G open string
CHROMATIC SCALES

starting on C, C + and D

2 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 106

74

Practical Grades

Cello from 2024

GRADE 6
PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a Practical
Grades solo Jazz instrument. For alternatives, see www.abrsm.org/prerequisite.
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

J. S. Bach

Menuet 1 and Menuet 2 (from Suite No. 1 in G,
BWV 1007) SOLO

J. S. Bach: Six Suites for Violoncello Solo (Bärenreiter orPeters or Peters Urtext)

2 Boismortier

Allemanda (1st movt from Sonata in G minor,
Op. 26 No. 5) upper part in single edn

Boismortier: Sonata in G minor, Op. 26 No. 5 (Schott) or
Famous Original Pieces for Violoncello and Piano(Schott)

3 B. MarcelloAllegro (4th movt from Sonata in C, Op. 2 No. 5) Famous Original Pieces for Violoncello and Piano(Schott) or B. Marcello: Six Sonatas, Op. 2 (Peters)

4 BoniAllegro (1st movt from Sonata in F, Op. 1 No. 5)

1

Cello & Piano 2 (EMB Zeneműkiadó)

ornamentation optional
5 De Fesch

Siciliano and Allemanda (1st and 2nd movts
from Sonata in D minor, Op. 8 No. 3)

De Fesch: Cello Sonatas, Op. 8 Nos. 4 & 3 (Peters) orBest of Cello Classics (Schott)

6 D. Gabrielli

Grave and Allegro (1st and 2nd movts from
Sonata in A)

D. Gabrielli: The Complete Works for Violoncello(Bärenreiter)

7 Jean Baptiste

Gavotte und Musette, arr. Rapp

Melodies by Old Masters for Young Cellists, Vol. 2(Schott)

8 Pergolesi

Allegro (2nd movt from Sinfonia in F)

Ten Italian Sonatas for Cello and Continuo (Ricordi)

9 A. Scarlatti

Allegretto (2nd movt from Sonata No. 2 in
C minor)A. Scarlatti: Three Sonatas for Cello (G. Schirmer)

10 Telemann

Largo and Allegro (3rd and 4th movts from
Sonata in D, TWV 41:D6)

Telemann: Sonata in D, TWV 41:D6 (Bärenreiter) or
Cello & Piano 1 (EMB Zeneműkiadó)

11 Lebrun

Allegro (from Sonata, Op. 1 No. 6), arr. K. & D.
Blackwell

Solo Time for Cello, Book 2 (OUP)

12 Mozart

Rondo (from Sonata for Bassoon and Cello,
K. 292), arr. K. & D. Blackwell

Solo Time for Cello, Book 2 (OUP)

13 Vivaldi

Largo and Allegro (1st and 2nd movts from
Sonata in E minor, RV 40)

Vivaldi: Two Sonatas RV 40 & RV 46 (Bärenreiter) or
Vivaldi: Complete Sonatas for Violoncello (Bärenreiter)

Cui

LoeilletB

Orientale (No. 9 from Kaleidoscope, Op. 50)

Cello Solos (Amsco)

2 Davidoff

Romance sans paroles, Op. 23

Davidoff: Romance sans paroles (Schott)

3 Goltermann

Notturno (No. 3 from Quatre morceaux
caractéristiques, Op. 43)

Cellissimo – Appassionato (Schott)

4 Grieg

Intermezzo, EG 115

Principal Cello (ABRSM)

5 attrib. Paradis

Sicilienne, arr. Dushkin or arr. Gout & Legg

Paradis: Sicilienne for Violin or Cello (Schott) or
Learning the Tenor Clef (Faber)

6 Romberg

Allegro non troppo (1st movt from Sonata in
E minor, Op. 38 No. 1), arr. Jansen

Romberg: Sonata in E minor, Op. 38 No. 1 (Dowani or
IMC) orSolos for Young Cellists, Vol. 3 (Alfred)1cello 1 part in Alfred edn
7 Saint-Saëns

Romance in F, Op. 36

Saint-Saëns: Romance, Op. 36 (IMC) or
P. 10 from Saint-Saëns: The Complete Shorter Works(Faber)8 Sibelius

Romance (No. 2 from Four Pieces, Op. 78)

Sibelius: Romance, Op. 78 No. 2 (Hansen)

9 Tchaikovsky

Valse sentimentale, Op. 51 No. 6, arr. Rose

Tchaikovsky: Valse Sentimentale, Op. 51 No. 6 (IMC) or
Cello & Piano 1 (EMB Zeneműkiadó)

10 Villa-Lobos

Song of the Black Swan

Steven Isserlis’s Cello World (Faber) or
Julian Lloyd Webber – Cello Song (Chester)

11 Aulin

Elegy, Op. 8 No. 3, arr. K. & D. Blackwell

Solo Time for Cello, Book 2 (OUP)75

Cello from 2024 Grade 6

COMPOSERC

Practical Grades

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

12 Carl Davis

Elegy

Unbeaten Tracks for Cello (Faber)

13 Horrocks

Irish Melody (from Irish Melody and Country
Dance, Op. 17/1)

Horrocks: Irish Melody (ABRSM)

2 Bartók

Spanish Dance (No. 1 from Serenade Basque)
Solos for Young Cellists, Vol. 3 (Alfred)
Joc cu bâtă and Buciumeana (Nos. 1 and 4 from Bartók: Romanian Folk Dances for Cello (Universal)
Romanian Folk Dances), trans. Silva

3 BuntingDance CapricePrincipal Cello (ABRSM)

4 Adriana

Pieza No. 1 (from Tres piezas en clave de tango)

Adriana Figueroa Mañas: Tres piezas en clave detango (Hildegard)

5 Glazunov

Sérénade espagnole (No. 2 from Deux morceaux, Glazunov: Sérénade espagnole, Op. 20 No. 2
Op. 20)(Belaieff or IMC)

6 Hindemith

Lebhaft (No. 3 from Drei leichte stücke)Cellissimo – Arietta (Schott)

7 Julian

Hip Hip Bourrée

Unbeaten Tracks for Cello (Faber)

8 Kabalevsky

March (No. 2 from Five Studies in Major andMinor) SOLO

Kabalevsky: Five Studies in Major and Minor, Op. 67(Peters) or
Kabalevsky: Five Etudes in Major and Minor Keys, Op. 68(Sikorski)

1

AdorianFigueroa
Mañas

Jacobson

9 Aaron Minsky Varsity Days (No. 1 from Pop Goes the Cello)

Aaron Minsky: Pop Goes the Cello (OUP)

SOLO

10 Squire

Danse rustique, Op. 20 No. 5

Squire: Danse rustique, Op. 20 No. 5 (Stainer & Bell)11 BlochSupplication (No. 2 from From Jewish Life)

Bloch: From Jewish Life (Carl Fischer)

12 Dunkler

Theme (from Caprice hongroise), arr. Bruce &Wells

More Time Pieces for Cello, Vol. 2 (ABRSM)

13 Lavildevan

Sugar with Cinnamon, arr. K. & D. Blackwell

Solo Time for Cello, Book 2 (OUP)

Exam requirements continue on page 77

76

Digital only edition, available from publisher’s website

Practical Grades

Cello from 2024 Grade 6

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 20


RANGE

REQUIREMENTSSCALESF, B majors and minors(minors harmonic and melodic)

2 oct.

C, D majors and minors(minors harmonic and melodic)

3 oct.

separate bows or slurred (2 beats to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

SCALE IN THUMB POSITION

D major1 oct.

separate bows;
even notes or long tonic, at candidate’s choice

F, B majors and minors

2 oct.

C, D majors and minors

3 oct.

separate bows or slurred (3 notes to a bow), at
examiner’s choice;even notes

starting with thumb on D string:

ARPEGGIOSDOMINANT SEVENTHS (resolving on tonic)

in the keys of F, G, B - and E

2 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

2 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

2 oct.

separate bows or slurred (6 notes to a bow), at
examiner’s choice;even notes

1 oct.

see page 16

DIMINISHED SEVENTHS

starting on C, D, F and B

CHROMATIC SCALES

starting on C, D, F and B

DOUBLE-STOP SCALE IN BROKEN STEPS

in sixths, in C major

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 107

77

Cello from 2024

Practical Grades

GRADE 7
PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a Practical
Grades solo Jazz instrument. For alternatives, see www.abrsm.org/prerequisite.
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Alborea

Adagio and Vivace (3rd and 4th movts from
Sonata in C)

Alborea: Sonata C-Dur (Doblinger)

2 J. C. F. Bach

Rondeaux (2nd movt from Sonata in G)

J. C. F. Bach: Sonata in G for Violoncello (Bärenreiter)

3 J. S. Bach

Bourrée 1 and Bourrée 2 (from Suite No. 3 in C,
BWV 1009) SOLO

J. S. Bach: Six Suites for Violoncello Solo (Bärenreiter orPeters or Peters Urtext)

4 Cervetto

Allo moderato (2nd movt from Sonata in
A minor, Op. 2 No. 5) upper part

Cervetto: Two Sonatas, Op. 2 Nos. 9 & 5 (Bärenreiter)

5 F. Couperin

Siciliène and Air de diable (2nd and 5th movts
from Pièces en concert)

F. Couperin: Pièces en concert (Leduc) or
Solos for Young Cellists, Vol. 5 (Alfred)

6 B. MarcelloAdagio and Allegro (1st and 2nd movts from
Sonata in G, Op. 2 No. 6)

B. Marcello: Six Sonatas, Op. 2 (Peters)

7 Platti

Adagio and Presto (3rd and 4th movts from
Sonata quarta)

Ten Italian Sonatas for Cello and Continuo (Ricordi)

8 Telemann

Scherzo, arr. Rapp

Melodies by Old Masters for Young Cellists, Vol. 2(Schott)

9 Ticciati

Toccata (No. 5 from Studies in Style andTechnique, Book 3) SOLO

Ticciati: Studies in Style and Technique, Book 3 (OUP)

10 Vivaldi

Allegro (2nd movt from Sonata in B -, RV 46)

Vivaldi: Two Sonatas, RV 40 & RV 46 (Bärenreiter) or
Vivaldi: Complete Sonatas for Violoncello (Bärenreiter)

11 Ailbhe

Busybody (No. 14 from It’s a Cello Thing, Book 2) Ailbhe McDonagh: It’s a Cello Thing, Book 2 (Boosey &Hawkes)12 S. Paxton

Allegro moderato (1st movt from Sonata in A,
Op. 1 No. 1)

S. Paxton: Sonata in A, Op. 1 No. 1 (Schott)

13 Vivaldi

Largo and Allegro (1st and 2nd movts from
Sonata No. 2 in F, RV 41)

Vivaldi: Complete Sonatas for Violoncello (Bärenreiter)

1

McDonagh

B

Andantino, Op. 21 No. 2a

L. Berkeley: Andantino for Cello, Op. 21 No. 2a (Chester)2 Borodin

Serenade in G, arr. Stutschewsky & Thaler

Borodin: Serenade in G (Peters)

3 FauréSicilienne, Op. 78

Fauré: Sicilienne, Op. 78 (Cramer) or
Cellissimo – Appassionato (Schott)

4 Mendelssohn

Lied ohne Worte, Op. 109

Mendelssohn: Song without Words, Op. 109 (Schott or
Bärenreiter) or
Cellissimo – Appassionato (Schott)

5 Saint-Saëns

Le cygne (from The Carnival of the Animals)

Cellissimo – Appassionato (Schott) or
Saint-Saëns: Le cygne, for Cello (Durand) orSaint-Saëns: The Complete Shorter Works (Faber)

1

L. Berkeley

6 Goltermann

78

Andantino (2nd movt from Concerto No. 4 in G,
Op. 65)
7 Lisznyai-Szabó Ősz (Autumn)

Goltermann: Concerto No. 4 in G, Op. 65 (IMC)

8 MoeranPreludeMoeran: Prelude for Cello (Novello)

9 Pachulski

Chanson triste (No. 3 from Trois morceaux,Op. 4)

Principal Cello (ABRSM)

10 Trad. Scottish

I’ll Bid My Heart Be Still, arr. Clarke

R. Clarke: Shorter Pieces for Cello (OUP)

11 Bridge

Serenade (from Four Pieces)

Bridge: Four Pieces for Cello (Faber)

Lisznyai-Szabó: Ősz (Autumn) (EMB Zeneműkiadó)

Practical Grades

COMPOSERC

Cello from 2024 Grade 7

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

12 Chopin

Largo (3rd movt from Cello Sonata in G minor,
Op. 65)Chopin: Cello Sonata in G minor, Op. 65/Polonaise in C,
Op. 3 (Peters) or
Chopin: Sonata for Violoncello in G minor, Op. 65 (Henle)

13 Klengel

Andante (2nd movt from Concertino No. 1 in C,
Op. 7)

Klengel: Cello Concertino No. 1 in C, Op. 7 (Breitkopf &Härtel)Poème (No. 2 from Serenade Basque)

Solos for Young Cellists, Vol. 3 (Alfred)

2 Arensky

Petite ballade, Op. 12 No. 1

Arensky: Petite ballade & Danse capricieuse, Op. 12(Fountayne Editions)

3 A. Beach

Berceuse, Op. 40 No. 2

A. Beach: Five Pieces for Cello and Piano (Hildegard)

4 Granados

Andaluza (No. 5 from 12 Danzas Españolas)1

Adorianfollowing main line

Granados: Danza Española No. 5, Andaluza for Cello(Unión Musical Ediciones)

5 Járdányi

Sonatina complete

Járdányi: Sonatina for Cello (EMB Zeneműkiadó)

6 Nicola LeFanu

Prelude SOLO

Spectrum for Cello (ABRSM)

7 Douglas

Freefall

Douglas Mason: Freefall for Violoncello (Recital Music)

Mason

8 Aaron Minsky The Train Whistle (No. 1 from Ten American

Aaron Minsky: Ten American Cello Etudes (OUP)

9 Musorgsky, arr. Gopak (from Sorochintsky Fair), arr. Rémy
Rachmaninoff with ossia in b. 43

Cellowise 2 (Clifton Edition)

10 Squire

Gavotte humoristique, Op. 6

Principal Cello (ABRSM)

11 Goltermann

Tarantelle (from Moderne Suite, Op. 122)

Goltermann: Moderne Suite, Op. 122 (IMSLP)

12 Walter Ernst

Latin for Alex

Walter Ernst Haberl: Latin for Alex (Universal)

13 Russell

Yar Tor SOLO

Russell Hepplewhite: Yar Tor for Solo Violoncello(Forton Music)

Cello Etudes) SOLO

HaberlHepplewhite

Exam requirements continue on page 80

79

Cello from 2024 Grade 7

Practical Grades

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 20


RANGE

REQUIREMENTS

3 oct.

separate bows or slurred (2 beats to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

1 oct.

separate bows or slurred (2 beats to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

3 oct.

separate bows or slurred (3 notes to a bow), at
examiner’s choice;even notes

2 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

2 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

2 oct.

separate bows or slurred (12 notes to a bow), at
examiner’s choice;even notes

1 oct.

see page 16

SCALES

D -/C +, E -, E, F majors and minors(minors harmonic and melodic)
SCALES IN THUMB POSITION

D major and minor
starting with thumb on D string:(minor harmonic and melodic)
ARPEGGIOS

D -/C +, E -, E, F majors and minors

DOMINANT SEVENTHS (resolving on tonic)

in the keys of F+, A -, A and B -DIMINISHED SEVENTHS

starting on C +, E -, E and F

CHROMATIC SCALES

starting on C +, E -, E and F

DOUBLE-STOP SCALE IN BROKEN STEPS

in sixths, in E - major

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 108

80

Practical Grades

Cello from 2024

GRADE 8
PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a Practical
Grades solo Jazz instrument. For alternatives, see www.abrsm.org/prerequisite.
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
Candidates must choose at least one accompanied piece.
A

1

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

J. C. F. BachAllegro (2nd movt from Sonata in A)

J. C. F. Bach: Sonata in A for Violoncello (Amadeus)

2 J. S. BachPrélude (from Suite No. 1 in G, BWV 1007) SOLO J. S. Bach: Six Suites for Violoncello Solo (Bärenreiter orPeters or Peters Urtext)

3 J. S. Bach

Adagio and Allegro (1st and 2nd movts from
Sonata No. 2 in D, BWV 1028)

Pp. 7–8 from J. S. Bach: Three Gamba Sonatas,
BWV 1027–1029 (Henle)

4 Boccherini

Rondo, trans. Bazelaire

Boccherini: Rondo (Leduc)5 H. Eccles

Präludium and Courante (1st and 2nd movts
from Sonata in G minor)

H. Eccles: Sonata in G minor (Schott)

6 Geminiani

Andante and Allegro (1st and 2nd movts from
Sonata in C, Op. 5 No. 3)

Geminiani: Six Sonatas for Cello, Op. 5, Vol. 1(UT Orpheus) or
Geminiani: Six Sonatas, Op. 5 (Peters)

7 M. G. Monn

Allegro (1st movt from Concerto in G minor),arr. Schoenberg

M. G. Monn: Concerto in G minor (Universal)

8 Telemann

Lento and Allegro (1st and 2nd movts from
Sonata in D, TWV 41:D6)

Telemann: Sonata in D, TWV 41:D6 (Bärenreiter) or
Cello & Piano 1 (EMB Zeneműkiadó)

9 Vivaldi

Allemanda (2nd movt from Sonata in G minor,
RV 42)

Vivaldi: Complete Sonatas for Violoncello (Bärenreiter)

10 Vivaldi

Allegro non molto (Andante) (1st movt from
Concerto in C minor, RV 401)

Vivaldi: Concerto in C minor, RV 401 (Ricordi)

11 Berteau,

Allegro (1st movt from Sonata in G)

Berteau: Sonata in G (IMC)

12 Goltermann

Alla Pollacca (No. 4 from Quatre morceaux
caractéristiques, Op. 48)

Principal Cello (ABRSM)

13 Vivaldi

Largo and Allegro poco (1st and 2nd movts
from Sonata in A minor, RV 44)

Vivaldi: Complete Sonatas for Violoncello (Bärenreiter)Arensky

Chant triste (No. 3 from Quatre morceaux,Op. 56), arr. Pejtsik

Cello & Piano 2 (EMB Zeneműkiadó)

2 BlochPrayer (No. 1 from From Jewish Life)

Bloch: Prayer for Cello (Carl Fischer) or
Bloch: Music for Cello and Piano (Carl Fischer)

3 Borowski

Adoration, arr. Wells

Principal Cello (ABRSM)

4 Bosanquet

Elégie in memoriam Joan Dickson

Bosanquet: Elégie for Cello (SJ Music)

5 Brahms

Allegretto quasi menuetto and Trio (2nd movt
from Sonata in E minor, Op. 38)

Brahms: Sonata in E minor, Op. 38 (Wiener Urtext orPeters)6 Delius

Romance

Delius: Works for Cello and Piano, Vol. 31c (Boosey &Hawkes)7 FauréElégie, Op. 24

Fauré: Elégie, Op. 24 (UMP)

8 Le Beau

Romanze, Op. 24 No. 1

Le Beau: Five Pieces for Violoncello, Op. 24 (Furore
Verlag)

9 W. Lloyd

Nocturne

W. Lloyd Webber: Nocturne (Stainer & Bell)10 Rachmaninoff

Andante (3rd movt from Sonata in G minor,
Op. 19)Rachmaninoff: Sonata in G minor, Op. 19 (Boosey &Hawkes)11 Granados

Madrigal in A minor

Granados: Madrigal in A minor (IMC)

formerly attrib.
G. B.
Sammartini

B

1

Webber81

Cello from 2024 Grade 8

COMPOSER
12 Liebmann

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Adagio ma non troppo (2nd movt from Sonata(1806), Op. 11)

Liebmann: Sonata for Cello, Op. 11 (Grancino)

13 Aaron Minsky October Waltz (No. 10 from Ten American

Cello Etudes) SOLO

C

Aaron Minsky: Ten American Cello Etudes (OUP)

Scherzo (2nd movt from Sonata in A, Op. 69)

Beethoven: Sonatas for Piano and Violoncello (Henle)

2 Capuis

Presto (3rd movt from Vª Sonata)

Capuis: Vª Sonata (Furore Verlag)

3 R. Clarke

Passacaglia on an Old English Tune

R. Clarke: Shorter Pieces for Cello (OUP)

4 Goens

Tarantelle, Op. 24

Goens: Tarantelle, Op. 24 (EMB Zeneműkiadó)

5 Hubicki

RigaudonPrincipal Cello (ABRSM)

6 Kapustin

Elegy, Op. 96

Kapustin: Elegy, Op. 96 (Schott)1

Beethoven

Practical Grades

7 Aaron Minsky Broadway (No. 3 from Ten American Cello Etudes) Aaron Minsky: Ten American Cello Etudes (OUP)
SOLO

8 Prokofiev

Montagues and Capulets (from Romeo andJuliet, Op. 64), arr. Rémy

Cellowise 2 (Clifton Edition)

9 Saint-Saëns

Allegro appassionato, Op. 43

Saint-Saëns: Allegro appassionato, Op. 43 (Durand or
Schott)10 Mark Summer Julie-O, arr. Cheney SOLO

Solos for Young Cellists, Vol. 5 (Alfred)

11 Goens

Scherzo, Op. 12

Suzuki Cello School, Vol. 8 (Alfred) or
Goens: Scherzo, Op. 12 (Alfred–Kalmus)

12 Perkinson

Calvary Ostinato (3rd movt from Lamentations – Perkinson: Lamentations – Black/Folk Song Suite (LKM)
Black/Folk Song Suite) SOLO

13 Piazzolla

Libertango, arr. Thomas-Mifune

Piazzolla for Cello (Kunzelmann)

Exam requirements continue on page 83

82

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

Practical Grades

Cello from 2024 Grade 8

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 20


RANGE

REQUIREMENTS

3 oct.

separate bows or slurred (7 notes to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

3 oct.

separate bows or slurred (3 notes to a bow), at
examiner’s choice;even notes

3 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

2 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

3 oct.

separate bows or slurred (12 notes to a bow), at
examiner’s choice;even notes

1 oct.

separate bows;
even notes or long tonic, at candidate’s choice

1 oct.

see page 16

SCALES

F+, G, A -/G +, A, B - majors and minors(minors harmonic and melodic)
ARPEGGIOS

F+, G, A -/G +, A, B - majors and minors

DOMINANT SEVENTHS (resolving on tonic)

in the keys of B, C, D -, D and E -DIMINISHED SEVENTHS

starting on F+, G, A -, A and B -CHROMATIC SCALES

starting on F+, G, A -, A and B -DOUBLE-STOP SCALE IN PARALLEL

in sixths, in C major
DOUBLE-STOP SCALES IN BROKEN STEPS

in thirds, in G major starting on bottom G
in octaves, in G major starting one octave above
bottom G

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 109

83

Double BassPractical Grades from2024
Practical
GradesDouble Bass from 2024

INITIAL GRADE
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

1

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Broekhuizen

Elsje Fiderelsje, arr. Blackwell

Double Bass Exam Pack from 2024, Initial Grade (ABRSM)

Stamping Dance, arr. K. & D. Blackwell

Double Bass Exam Pack from 2024, Initial Grade (ABRSM)

2 Trad. Czech

upper note in double stops optional
3 Trad. Swedish

The bear is sleeping, arr. K. & D. Blackwell

Double Bass Exam Pack from 2024, Initial Grade (ABRSM)

4 Catherine

Rondo Duo ending at b. 24 DUET/PIANOThe Essential String Method, Double Bass Book 2(Boosey & Hawkes)

5 Trad.

Twinkle Duet, arr. Elliott DUET/PIANOThe Essential String Method, Double Bass Book 2(Boosey & Hawkes)

6 Peter Furniss

Round and Round starting at letter B

No. 8 (not 8a) from In Concert: Brilliant Solos for
Beginner Bass (Da Capo)

7 Katrina

Twittering Sparrows (No. 7 from Feathered
Friends)

Katrina Gordon: Feathered Friends (Recital Music)

8 Trad.

Down by the station, arr. Elliott

Ready Steady Go (Bartholomew)

9 Trad.

The Jolly Miller, arr. Elliott

Ready Steady Go (Bartholomew)

10 Trad.

Miss Mary Mac, arr. Lillywhite, Marshall,
Hussey & Sebba DUET/PIANO

Abracadabra Double Bass, Book 1 (Collins Music)

Elliott

Gordon11 Margery Dawe Canada – Sleigh Ride (from More Travel Tunes)

Margery Dawe: Canada – Sleigh Ride (ABRSM) *12 S. Nelson

Fish Cakes and Apple Pie

S. Nelson: Fish Cakes and Apple Pie (ABRSM) *13 Christopher

New Toy (No. 9 from Microjazz for Starters)

Christopher Norton: New Toy (ABRSM) *NortonB

Blowin’ in the Wind, arr. Iles

Double Bass Exam Pack from 2024, Initial Grade (ABRSM)

2 Huws Jones

London Eye

Double Bass Exam Pack from 2024, Initial Grade (ABRSM)

3 Althea

The Knights’ Pavane

Double Bass Exam Pack from 2024, Initial Grade (ABRSM)

4 Catherine

Swan SongThe Essential String Method, Double Bass Book 2(Boosey & Hawkes)

5 Peter Furniss

So Slow

No. 7 (not 7a) from In Concert: Brilliant Solos for
Beginner Bass (Da Capo)

6 Katrina

Flight of the Swallows (No. 5 from Feathered
Friends)

Katrina Gordon: Feathered Friends (Recital Music)

7 Thomas

Footprints in the Snow

Vamoosh Double Bass, Book 1 (Vamoosh)8 S. Nelson

Lullaby (No. 12 from Right From the Start),
arr. Elliott slurs optional

S. Nelson: Right from the Start for Double Bass (Boosey& Hawkes)

9 S. Nelson

Swingalong ‘E’ version DUET/PIANO

P. 18 from Tetratunes for Double Bass (Boosey & Hawkes)

10 Trad. French

Au clair de la lune, arr. Lillywhite, Marshall,
Hussey & Sebba DUET/PIANO

Abracadabra Double Bass, Book 1 (Collins Music)

11 Thomas

Silent Friends

Thomas Gregory: Silent Friends (ABRSM) *12 Huws Jones

Gone for Good (No. 12 from Ten O’Clock Rock)Huws Jones: Gone for Good (ABRSM) *13 African-

All night, all day, arr. Iles

All night, all day (ABRSM) *1

Bob Dylan

Talbot-Howard
Elliott

GordonGregory

Gregory

AmericanSpiritualC

84

Huws Jones

Too Much Rosin!

Double Bass Exam Pack from 2024, Initial Grade (ABRSM)

2 Nancy Litten

Holiday Mood

Double Bass Exam Pack from 2024, Initial Grade (ABRSM)

3 Trad.

Old MacDonald, arr. Elliott

Double Bass Exam Pack from 2024, Initial Grade (ABRSM)

1

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications
Digital only edition, available from publisher’s website* Also available in Double Bass Exam Pack 2020–2023, Initial Grade (ABRSM)

Practical Grades

COMPOSER
4 Jan Faulkner

Double Bass from 2024 Initial Grade

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Bowling Along (No. 1 from First Bass)

Jan Faulkner: First Bass (Recital Music)

slurs optional
5 Jan Faulkner

Raggy Times (No. 4 from First Bass)

Jan Faulkner: First Bass (Recital Music)

6 Thomas

Walk on Mars! slides optional; observing DC,

Vamoosh Double Bass, Book 1 (Vamoosh)

Gregory

as in accomp.

7 S. Nelson

Don’t Bother Me (No. 13 from Right From theStart)S. Nelson: Right from the Start for Double Bass (Boosey& Hawkes)

8 S. Nelson

Manchester United ‘E’ version; with 1st repeat

P. 28 from Tetratunes for Double Bass (Boosey &Hawkes)

DUET/PIANO

9 S. Nelson

Off We Go! DUET/PIANOThe Essential String Method, Double Bass Book 1(Boosey & Hawkes)

10 T. Osborne

Russian Circus

The Really Easy Bass Book (Faber)

11 Huws Jones

Ten O’Clock Rock (No. 9 from Ten O’Clock Rock) Huws Jones: Ten O’Clock Rock (ABRSM) *12 Peter Wilson

Bow Rock (No. 4 from Stringpops 1)

Peter Wilson: Bow Rock (ABRSM) *SCALES: from memory; for further details (including examples) see pages 15, 16–17 & 21


RANGE

REQUIREMENTS

a 6th

separate bows;
even notes or long tonic, at candidate’s choicea 5thseparate bows;
even notes

SCALES

D, A majors

starting on open strings

E minor starting one octave above bottom E

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 103

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications
Digital only edition, available from publisher’s website* Also available in Double Bass Exam Pack 2020–2023, Initial Grade (ABRSM)

85

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Practical Grades

GRADE 1
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
For a list clarifying the pieces that are in first or half position, see www.abrsm.org/syllabusclarifications.
COMPOSERA

1

Early Start on the Double Bass, Vol. 2 (Bärenreiter)

Aria, arr. Close & Sassmannshaus DUET

Early Start on the Double Bass, Vol. 2 (Bärenreiter)

4 N. Chédeville

Gavotte, arr. Dehant

La Contrebasse classique, Vol. A (Combre)

5 Caroline

Knocking on the Door

Bass is Best! Yorke Mini-Bass Book 1 (Yorke)

6 Katrina

Penguin Parade (No. 6 from Feathered Friends)

Katrina Gordon: Feathered Friends (Recital Music)

7 T. Morley

Now is the month of Maying, arr. Slatford &Bullard in either key

Time Pieces for Double Bass, Vol. 1 (ABRSM)

8 C. Negri

Spagnoletta, arr. Magolt with repeats

Easy Concert Pieces for Double Bass, Vol. 1 (Schott)

9 S. Nelson

Fiddler’s Fancy (No. 19 from Right from the Start), S. Nelson: Right from the Start for Double Bass (Booseyarr. Elliott& Hawkes)

10 Suzuki

Allegretto

Suzuki Bass School, Vol. 1, Revised Edition (Alfred)

11 N. ChédevilleFanfare, arr. Elliott DUET

Grade by Grade, Double Bass Grade 1 (Boosey &Hawkes)12 de Montéclair Musette, arr. Elliott

Grade by Grade, Double Bass Grade 1 (Boosey &Hawkes)13 Trad.

At the Ballet, arr. Gregory

Vamoosh Double Bass, Book 2 (Vamoosh)Long, Long Ago, arr. Elliott

Ready Steady Go (Bartholomew)

2 Christine

Evening Star (No. 2 from Bass-Time Beginners)

Christine Donkin: Bass-Time Beginners (Recital Music)

3 Caroline

Sad Double Bass

Bass is Best! Yorke Mini-Bass Book 1 (Yorke)

4 Mahler

Canon on ‘Frère Jacques’, arr. Hartley DUET

Double Bass Solo 1, 2019 Edition (OUP)

5 Christopher

A Cool Day, arr. Elliott

Grade by Grade, Double Bass Grade 1 (Boosey &Hawkes)6 T. Osborne

Bass Bridges of Paris

The Really Easy Bass Book (Faber)

7 M. Reynolds

Morningtown Ride, arr. Lillywhite, Marshall,
Hussey & Sebba with repeat DUET/PIANO

Abracadabra Double Bass, Book 1 (Collins Music)

8 Michael Rose

Ballad IITime Pieces for Double Bass, Vol. 1 (ABRSM)

9 TakiMoon Over the Ruined Castle, arr. Suzuki

Suzuki Bass School, Vol. 2, Revised Edition (Alfred)

10 Trad.

Hatikvah, arr. Elliott

The Essential String Method, Double Bass Book 3(Boosey & Hawkes)

11 Mark Wilson

Light of the Moon

No. 34 from Wilson & Wood: Stringtastic Book 1 for
Double Bass (Faber)

1

T. H. Bayly
DonkinEmery & Roger
Steptoe

Norton& Paul Wood

A Little Blue without improvisation

Time Pieces for Double Bass, Vol. 1 (ABRSM)

2 I. Carroll

Gigue (from Five Simple Pieces)

I. Carroll: Five Simple Pieces (Stainer & Bell)

3 Peter Davey

Off to France in the Morning, arr. Lillywhite,
Marshall, Hussey & Sebba DUET/PIANO

Abracadabra Double Bass, Book 1 (Collins Music)

4 Swann

The Hippopotamus Song, arr. Lillywhite,
Marshall, Hussey & Sebba DUET/PIANO

Abracadabra Double Bass, Book 1 (Collins Music)

5 Christine

The Ogre’s Dance (No. 1 from Bass-Time
Beginners)

Christine Donkin: Bass-Time Beginners (Recital Music)

1

Steve BerryDonkin86

Ready Steady Go (Bartholomew)

3 Rathgeber

GordonC

PUBLICATION (PUBLISHER)

2 E. P. Chédeville March, arr. Close & Sassmannshaus DUET

Emery & John
Leach

B

PIECE / WORK / ARRANGER

Anon. German The More the Merrier, arr. Elliott

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

Practical Grades

COMPOSER

Double Bass from 2024 Grade 1

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

6 Catherine

Carnival Waltz

The Essential String Method, Double Bass Book 3(Boosey & Hawkes)

7 Thomas

Fiery Fiddler with repeats

Vamoosh Double Bass, Book 1 (Vamoosh)8 Huws Jones

Toodle-Pip (No. 18 from Ten O’Clock Rock),arr. Elliott

Grade by Grade, Double Bass Grade 1 (Boosey &Hawkes)

9 T. Osborne

And Y Not

The Really Easy Bass Book (Faber)

10 T. Osborne

Samba

The Really Easy Bass Book (Faber)

11 Jemima

Earwig Antics

Jemima Oosthuizen: Bees in the Belfry for Double Bass
(Wild Music Publications)Elliott

Gregory

Oosthuizen

12 Trad. Brazilian Mama Paquita

Grade by Grade, Double Bass Grade 1 (Boosey &Hawkes)13 Trad. Ukrainian Gopak, arr. Dawe

Grade by Grade, Double Bass Grade 1 (Boosey &Hawkes)SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 21
Group 1 (first position) or Group 2 (half position), at candidate’s choice – the examiner will ask which Group/
position
GROUP 1RANGE

REQUIREMENTS

a 6th

separate bows or slurred (2 quavers to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

SCALESC, D majors
G major
A natural minor

1 oct.

ARPEGGIOS

G majorA minor1 oct.

separate bows;
even notesRANGE

REQUIREMENTS

a 6th

separate bows or slurred (2 quavers to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choiceorGROUP 2
SCALES

C majorF, B - majors
A natural minor

1 oct.

ARPEGGIOS

F, B - majors
A minor1 oct.

separate bows;
even notes

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 103

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

87

Double Bass from 2024

Practical Grades

GRADE 2
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Beethoven

Ecossaise, arr. Elliott

Grade by Grade, Double Bass Grade 2 (Boosey &Hawkes)2 Trad. FrenchSong of the French Revolution, arr. Elliott

Grade by Grade, Double Bass Grade 2 (Boosey &Hawkes)3 Boccherini

Minuetto (from String Quartet in C, Op. 24
No. 4), arr. Slatford & Wells

Time Pieces for Double Bass, Vol. 1 (ABRSM)

4 C. Graupner

Bourrée, arr. Magolt

Easy Concert Pieces for Double Bass, Vol. 1 (Schott)

5 HandelGavotte, arr. Elliott DUET/PIANOThe Essential String Method, Double Bass Book 4(Boosey & Hawkes)

6 Trad.

Upon Paul’s Steeple, arr. Nelson

The Essential String Method, Double Bass Book 4(Boosey & Hawkes)

7 Schumann

The Merry Peasant (The Happy Farmer)
The Essential String Method, Double Bass Book 4(from Album for the Young, Op. 68), arr. Elliott or (Boosey & Hawkes) orarr. Suzuki
Suzuki Bass School, Vol. 2, Revised Edition (Alfred)

8 Mozart

Passe-pied, arr. Dehant with repeats

La Contrebasse classique, Vol. A (Combre)

9 C. Petzold

Minuet in D, BWV Anh. II 114, arr. Elliott

The Anna Magdalena Bach Notebook for Double Bass
(Bartholomew)

10 Schumann

Soldiers’ March (from Album for the Young,Op. 68), arr. Hartley DUET

Double Bass Solo 1, 2019 Edition (OUP)

11 Katherine &Carefree

Grade by Grade, Double Bass Grade 2 (Boosey &Hawkes)12 L. Mozart

Schwaben Tanz DUET

Grade by Grade, Double Bass Grade 2 (Boosey &Hawkes)13 S. Nelson

Drummer’s March, arr. Elliott DUET

Grade by Grade, Double Bass Grade 2 (Boosey &Hawkes)Largo (from Symphony No. 9, ‘From the New
World’), arr. Mohrs

Easy Concert Pieces for Double Bass, Vol. 1 (Schott)

2 Tchaikovsky

Swan Lake, arr. Mohrs

Easy Concert Pieces for Double Bass, Vol. 1 (Schott)

3 Katrina

Hungry Old Owl (No. 10 from Feathered Friends) Katrina Gordon: Feathered Friends (Recital Music)

4 G. Nicks

The Little Sailor

5 T. Osborne

Procession of Kings (No. 8 from The Double Bass T. Osborne: The Double Bass Sings (Piper)
Sings)

1

Hugh ColledgeB1DvořákGordon6 Rodgers &Edelweiss (from The Sound of Music),
Hammerstein arr. Lillywhite, Marshall, Hussey & Sebba

Yorke Solos for Double Bass, Vol. 1 (Yorke) or
Bass is Best! Yorke Mini-Bass Book 1 (Yorke)

Abracadabra Double Bass, Book 1 (Collins Music)

DUET/PIANO

7 Michael Rose

Ballad I

Grade by Grade, Double Bass Grade 2 (Boosey &Hawkes)9 Trad. English

Greensleeves, arr. Elliott

The Essential String Method, Double Bass Book 4(Boosey & Hawkes)

10 Trad. Welsh

All Through the Night, arr. Nelson DUET/PIANOThe Essential String Method, Double Bass Book 4(Boosey & Hawkes)

11 Katrina

Two-toed Sloth (No. 4 from Creature Comforts)

Katrina Gordon: Creature Comforts (Recital Music)

12 Trad. Kenyan

Sisi Watoto Tu Wakenya, arr. Hugh DUET

Grade by Grade, Double Bass Grade 2 (Boosey &Hawkes)S. Barlow

Gordon88

Time Pieces for Double Bass, Vol. 1 (ABRSM)

8 M. Stanfield & Friday’s Child, arr. Elliott

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

Practical Grades

C

1

Double Bass from 2024 Grade 2

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Arlen &
Harburg

We’re off to see the wizard (from The Wizard of Abracadabra Double Bass, Book 1 (Collins Music)
Oz), arr. Lillywhite, Marshall, Hussey & Sebba
DUET/PIANO

2 Keith Ramon

Granite, arr. Elliott

Grade by Grade, Double Bass Grade 2 (Boosey &Hawkes)3 James

Blues in D (No. 3 from Bow that Bass!)

James Cruttenden: Bow that Bass! (Recital Music)

Cole

Cruttenden

4 Caroline Emery Dinosaur Dance

Bass is Best! Yorke Mini-Bass Book 1 (Yorke)

5 RodneyWelsh Hungarian Dance lower part DUET

Bass is Best! Yorke Mini-Bass Book 1 (Yorke)

6 Thomas

Smooth Operator

Vamoosh Double Bass, Book 2 (Vamoosh)7 HerzGaloppe, arr. Slatford & Bullard

Time Pieces for Double Bass, Vol. 1 (ABRSM)

8 Giles Swayne

Lazybones

Time Pieces for Double Bass, Vol. 1 (ABRSM)

9 Christopher

The Caretaker (No. 7 from Microjazz for Double
Bass)

Christopher Norton: Microjazz for Double Bass (Boosey& Hawkes)

10 Trad.

March of the Kings, arr. Elliott SOLO/PIANOThe Essential String Method, Double Bass Book 4(Boosey & Hawkes)

11 Jan Faulkner

Charleston Caper (No. 1 from Second Bass)

Jan Faulkner: Second Bass (Recital Music)

12 Ailbhe

Dancing Ghoul

Grade by Grade, Double Bass Grade 2 (Boosey &Hawkes)13 Karen Street

Go for it!

Grade by Grade, Double Bass Grade 2 (Boosey &Hawkes)& Rodney
Slatford
Slatford
Gregory

NortonMcDonagh

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 21


RANGE

REQUIREMENTS

1 oct.

separate bows or slurred (2 quavers to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

1 oct.

separate bows;
even notes

SCALESF, G, B -, D majors
A, B minors(natural or harmonic, at candidate’s choice)
ARPEGGIOS

F, G, B - majors
A, B minors

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 104

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

89

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Practical Grades

GRADE 3
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

1

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

AprileSolfeggio No. 3, arr. Slatford & Bullard

Time Pieces for Double Bass, Vol. 1 (ABRSM)

ornamentation optional DUET/PIANO
2 L. Couperin

Menuet de Poitou, arr. Slatford & Wells

Time Pieces for Double Bass, Vol. 1 (ABRSM)

without DC
3 attrib.

First Minuet in D minor, BWV Anh. II 121,arr. Elliott with 1st repeat

The Anna Magdalena Bach Notebook for Double Bass
(Bartholomew)

4 Gerhard

Menuett and Trio

Yorke Solos for Double Bass, Vol. 1 (Yorke)

5 Diabelli

Scherzo, arr. Dehant

La Contrebasse classique, Vol. A (Combre)

6 Thomas

Big Dipper DUET/PIANO

Vamoosh Double Bass, Book 2 (Vamoosh)7 Haydn

Minuet and Trio, arr. Elliott

Grade by Grade, Double Bass Grade 3 (Boosey &Hawkes)8 Mozart

May Time, arr. Suzuki

Suzuki Bass School, Vol. 2, Revised Edition (Alfred)

9 VerdiGrand March (from Aïda), arr. Schofield

Amazing Solos for Double Bass (Boosey & Hawkes)

10 Warlock

Basse-Danse (from Capriol Suite),arr. K. & J. Hartley

Subterranean Solos (Bartholomew)

Andante grazioso, arr. Elliott DUET

Grade by Grade, Double Bass Grade 3 (Boosey &Hawkes)2 Edward Jones

Glwysen, arr. Huws Jones

Grade by Grade, Double Bass Grade 3 (Boosey &Hawkes)3 Borodin

Prince Igor, arr. Mohrs

Easy Concert Pieces for Double Bass, Vol. 1 (Schott)

4 Christine

Romance (No. 4 from Bass-Time Beginners)

Christine Donkin: Bass-Time Beginners (Recital Music)

5 Grieg

Norwegian Dance, arr. K. & J. Hartley

Subterranean Solos (Bartholomew)

6 Gurlitt

Voyage de nuit, arr. Dehant

La Contrebasse classique, Vol. A (Combre)

Ol’ Man River (from Show Boat), arr. Slatford &Hammerstein Bullard

Time Pieces for Double Bass, Vol. 1 (ABRSM)

J. S. Bach
Deutschmann

Gregory

B

1

Berbiguier

Donkin7 Kern &8 Alan Menken

Beauty and the Beast, arr. Lillywhite, Marshall,
Hussey & Sebba DUET/PIANO

Abracadabra Double Bass, Book 1 (Collins Music)

9 MerleMummers (Danse grotesque)Festival Performance Solos for String Bass (Carl Fischer)

10 T. Osborne

Russian Song (No. 11 from The Double Bass Sings) T. Osborne: The Double Bass Sings (Piper)

11 Jan Faulkner

Yodelling Song (No. 6 from Second Bass)

Jan Faulkner: Second Bass (Recital Music)

12 Katrina

Lowland Streaked Tenrec (No. 7 from Creature
Comforts)

Katrina Gordon: Creature Comforts (Recital Music)& Ashman

Gordon13 Sadie Harrison Theo’s Tears

C

Sadie Harrison: Theo’s Tears (UYMP)

Baklanova

Mazurka, arr. Close & Sassmannshaus

Early Start on the Double Bass, Vol. 3 (Bärenreiter)

2 Jan Faulkner

Rio Rumba (No. 8 from Second Bass)

Jan Faulkner: Second Bass (Recital Music)

3 Bogusław

Glissando Duet DUET

Early Start on the Double Bass, Vol. 2 (Bärenreiter)

4 Thomas

Rumba Cucumba

Vamoosh Double Bass, Book 2 (Vamoosh)5 Hauta-Aho

Scott (3rd movt from Jazz Sonatine No. 1) SOLO

Hauta-Aho: Pizzicato Pieces, Book 1 (Recital Music)

6 W. K. Lyons

Goblin’s Dance, arr. Suzuki

Suzuki Bass School, Vol. 2, Revised Edition (Alfred)

7 S. Nelson

Toad in the Hole without improvisation

Technitunes for Double Bass (Boosey & Hawkes)

1

FurtokGregory

DUET/PIANO

8 T. Osborne

Bassa Nova (No. 3 from Junior Jazz Book 1)

T. Osborne: Junior Jazz Book 1 (Recital Music)

pizz. or arco or combination90

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

Practical Grades

COMPOSER

Double Bass from 2024 Grade 3

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

9 Michael Rose

Jumbo Rag (from A Sketchbook for Double Bass)

Michael Rose: A Sketchbook for Double Bass (ABRSM)

10 Catherine

Wedding Day and Night

Grade by Grade, Double Bass Grade 3 (Boosey &Hawkes)11 Katrina

Solenodon (No. 8 from Creature Comforts)

Katrina Gordon: Creature Comforts (Recital Music)

12 Vera Gray

Steppe Dance

Grade by Grade, Double Bass Grade 3 (Boosey &Hawkes)13 Rona Porter

Boogie Boogaloo

Grade by Grade, Double Bass Grade 3 (Boosey &Hawkes)Elliott

GordonSCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 21


RANGE

REQUIREMENTS

1 oct.

separate bows or slurred (2 quavers to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

1 oct.

separate bows or slurred (2 notes to a bow), at
examiner’s choice;even notes

SCALES

E, A, C, D majors
E, G, D minors(harmonic or melodic, at candidate’s choice)
ARPEGGIOS

E, A, C, D majors
E, G, D minors
CHROMATIC SCALE

starting on A

1 oct.

separate bows;
even notes

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 104

91

Double Bass from 2024

Practical Grades

GRADE 4
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

COMPOSERPIECE / WORK / ARRANGER

J. S. Bach

March in G, arr. Suzuki

Suzuki Bass School, Vol. 2, Revised Edition (Alfred)

2 attrib.

Minuet in C, BWV Anh. II 116, arr. Elliott orarr. Suzuki

The Anna Magdalena Bach Notebook for Double Bass
(Bartholomew) or
Suzuki Bass School, Vol. 3, Revised Edition (Alfred)

3 Bottesini

Study No. 9 (from Metodo completo percontrabbasso) SOLO

Bottesini: Method for Double Bass, Part 1 (Yorke)

4 I. Carroll

French Bourrée (from Five National Dances for
Double Bass)

I. Carroll: Five National Dances for Double Bass (Stainer& Bell)5 Grieg

Hunting Song (No. 4 from Six Songs, Op. 4),
arr. Slatford & Wells

Time Pieces for Double Bass, Vol. 2 (ABRSM)

6 HandelAllegro (from Concerto Grosso, Op. 6 No. 8),
arr. Slatford & Wells

Time Pieces for Double Bass, Vol. 2 (ABRSM)

7 attrib.

Pastime with good company, arr. Huws Jones

Grade by Grade, Double Bass Grade 4 (Boosey &Hawkes)

8 KummerRondoletto con allegrezza, arr. Close &Sassmannshaus upper part; with piano accomp.

Early Start on the Double Bass, Vol. 3 (Bärenreiter)

9 A. Thomas

Gavotte (from Mignon), arr. K. & J. Hartley

Subterranean Solos (Bartholomew)

10 Trad.

Sailor’s Hornpipe, arr. Magolt

Easy Concert Pieces for Double Bass, Vol. 2 (Schott)Habanera (from Carmen), arr. Dehant

La Contrebasse classique, Vol. B (Combre)

2 F. Boaden

Elegy (2nd movt from Petite Suite)

F. Boaden: Petite Suite (Yorke)

3 Corelli

Largo affetuoso, arr. Mohrs

Easy Concert Pieces for Double Bass, Vol. 2 (Schott)

4 Christine

Serenade (No. 6 from Bass-Time Beginners)

Christine Donkin: Bass-Time Beginners (Recital Music)

5 S. Lancen

Berceuse for Baby Hippopotamus

S. Lancen: Berceuse for Baby Hippopotamus (Yorke)

6 S. Lancen

Si j’étais … Moussorgsky

Yorke Solos for Double Bass, Vol. 1 (Yorke)

7 Mozart

A Little Melody, arr. Láska

Yorke Solos for Double Bass, Vol. 1 (Yorke)

8 Mendelssohn

Venetian Gondola Song (from Sechs Lieder,
Op. 57), arr. Slatford & Wells

Time Pieces for Double Bass, Vol. 2 (ABRSM)

9 T. Osborne

Sweet Dreams (2nd movt from Suite for Eloise)

T. Osborne: Suite for Eloise (Recital Music)

10 Michael Rose

Reverie (from A Sketchbook for Double Bass)

Michael Rose: A Sketchbook for Double Bass (ABRSM)

11 Wendy

Sea Siren (No. 9 from So Here We Are Again)

Wendy Edwards Beardall-Norton: So Here We Are Again– Double Bass (80 Days Publishing)

1J. S. BachHenry VIII

B

1

Bizet

DonkinEdwards
Beardall-Norton

12 Florence Anna Siciliano

MaundersC

Sébastien Beliah: Pieces of Eight (Recital Music)

2 A. BenjaminJamaican Rumba, arr. Slatford & Wells

Time Pieces for Double Bass, Vol. 2 (ABRSM)

3 Kabalevsky

Cavalryman (from 30 Children’s Pieces, Op. 27),
arr. Slatford & Bullard

Time Pieces for Double Bass, Vol. 2 (ABRSM)

4 Hauta-Aho

Allegro moderato (1st movt from Jazz Sonatine
No. 2) SOLO

Hauta-Aho: Jazz Sonatine No. 2 (Recital Music)

5 DennisHey, Mon! (No. 6 from Eight Progressive Solos for Dennis Leogrande: Eight Progressive Solos for thethe Beginner Bassist)
Beginner Bassist (Clifton Edition)

6 James

Barn Dance (from Northern Skies)

Grade by Grade, Double Bass Grade 4 (Boosey &Hawkes)7 Rona Porter

Queen’s Park Rag bass spin optional

Grade by Grade, Double Bass Grade 4 (Boosey &Hawkes)

Leogrande
MacMillan

92

Florence Anna Maunders: Siciliano (ABRSM) *An Old-Time Rag (No. 4 from Pieces of Eight)

1

Sébastien
BeliahPUBLICATION (PUBLISHER)

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications
Digital only edition, available from publisher’s website* Available from August 2023

Practical Grades

COMPOSER
8 T. Osborne

Double Bass from 2024 Grade 4

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Jazz Rock (No. 6 from Junior Jazz Book 1)

T. Osborne: Junior Jazz Book 1 (Recital Music)

pizz. or arco or combination
9 Prokofiev

Troika (from Lieutenant Kijé Suite), arr. Schofield Amazing Solos for Double Bass (Boosey & Hawkes)

10 Schlemüller

Old Soldiers (March), Op. 12 No. 5, arr. Close &Sassmannshaus or arr. Price

Early Start on the Double Bass, Vol. 3 (Bärenreiter) or
Festival Performance Solos for String Bass (Carl Fischer)

11 Amit Anand

Pintoo’s Snow Dance

Amit Anand: Pintoo’s Snow Dance (ABRSM) *12 Natalie

London Wall BassNatalie Bleicher: London Wall Bass (ABRSM) *Bleicher

13 Wendy

Cheeky Cha-Cha (No. 2 from So Here We Are
Edwards
Again)
Beardall-Norton

14 Ailbhe

McDonaghBass Tango

Wendy Edwards Beardall-Norton: So Here We Are Again– Double Bass (80 Days Publishing)
Grade by Grade, Double Bass Grade 4 (Boosey &Hawkes)SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 21


RANGE

REQUIREMENTS

a 12thseparate bows or slurred (2 quavers to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choicea 12thseparate bows or slurred (3 notes to a bow), at
examiner’s choice;even notes

SCALES

E, F, G, A majors
E, G, A minors(harmonic or melodic, at candidate’s choice)
ARPEGGIOS

E, F, G, A majors
E, G, A minors
DOMINANT SEVENTHS (resolving on tonic)

in the keys of A and B -1 oct.

separate bows;
even notes

1 oct.

separate bows or slurred (3 notes to a bow), at
examiner’s choice;even notes

CHROMATIC SCALES

starting on G and B

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 105

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications
Digital only edition, available from publisher’s website* Available from August 2023

93

Double Bass from 2024

Practical Grades

GRADE 5
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

BottesiniStudy No. 25 (from Metodo completo percontrabbasso) SOLO

Bottesini: Method for Double Bass, Part 1 (Yorke)

2 Dittersdorf

German Dance, arr. Close & Sassmannshaus

Concert Pieces for Double Bass (Bärenreiter)

3 attrib.

Adagio and Aria staccata e allegra (1st and 2nd Giovannino: Sonata in A minor (Yorke)
movts from Sonata in A minor)

4 Christian

Hommage a Vivaldi

Christian Gouinguené: Hommage a Vivaldi (Leduc)5 HandelBourrée, arr. Suzuki

Suzuki Bass School, Vol. 3, Revised Edition (Alfred)

6 B. MarcelloLargo and Allegro (from Sonata, Op. 2 No. 1),
arr. Elliott

Grade by Grade, Double Bass Grade 5 (Boosey &Hawkes)7 S. Paxton

Allegretto (1st movt from Sonata in D, Op. 3
No. 2), trans. Elliott

S. Paxton: Sonata in D, Op. 3 No. 2 (Bartholomew)

8 PurcellRondeau (from A Midsummer Night’s Dream),arr. K. & J. Hartley

Subterranean Solos (Bartholomew)

9 Rameau

Le lardon and La boiteuse (from Pieces declavessin), arr. Slatford & Bullard

Time Pieces for Double Bass, Vol. 2 (ABRSM)

10 L. Shitte

Étude

Bass is Best! Yorke Mini-Bass Book 2 (Yorke)

Berceuse à Boby (No. 3 from Histoires decontrebasse)

P.-M. Dubois: Histoires de contrebasse, Vol. 1 (Billaudot)

2 Richard

No. 7 (from Dix petites concertudes)

Richard Dubugnon: Dix petites concertudes, Vol. 2(Billaudot)

3 FauréAutumn, Op. 18 No. 3, arr. Slatford & Bullard

Time Pieces for Double Bass, Vol. 2 (ABRSM)

4 Everett Gates

Night Song

Everett Gates: Night Song (Bartholomew)

5 Hauta-Aho

LullabyHauta-Aho: Teppo’s Tunes (Recital Music)

6 Liszt

Liebesträume, arr. Elliott

Grade by Grade, Double Bass Grade 5 (Boosey &Hawkes)7 Tchaikovsky

Chanson triste, arr. Elliott

Grade by Grade, Double Bass Grade 5 (Boosey &Hawkes)8 C. Minkler

A Gaelic Melody, arr. Suzuki

Suzuki Bass School, Vol. 3, Revised Edition (Alfred)

9 J. Reinagle

Andante (from Sonatine), arr. Mohrs &Schlichting

Easy Concert Pieces for Double Bass, Vol. 2 (Schott)

10 Trad.

The Jolly Dutchman, arr. Isaac

Festival Performance Solos for String Bass (Carl Fischer)

1

Giovannino
Gouinguené

B

1P.-M. Dubois

DubugnonC

1

Bernie, Pinkard Sweet Georgia Brown, arr. Swaim& K. Casey

Suzuki Bass School, Vol. 3, Revised Edition (Alfred)

2 Miles Davis

So What, arr. Swaim

Suzuki Bass School, Vol. 3, Revised Edition (Alfred)

3 L. Bernstein

Cool (from West Side Story), arr. Schofield

Amazing Solos for Double Bass (Boosey & Hawkes)

4 Glière

Russian Sailors’ Dance (from The Red Poppy),
arr. Isaac

Glière: Russian Sailors’ Dance (Carl Fischer)

5 Gounod

Funeral March of a Marionette,arr. Wilson-Dickson

Gounod: Funeral March of a Marionette (Forsyth)6 Henderson

Black Bottom, arr. Slatford & Bullard

Time Pieces for Double Bass, Vol. 2 (ABRSM)

7 A. H. Hill

Midnight CaperA. H. Hill: Four Pieces for Double Bass (Stainer & Bell)

8 Moszkowski

Spanish Dance No. 2 (from Op. 12),arr. K. & J. Hartley

Subterranean Solos (Bartholomew)

9 T. Osborne

Ba-Doo-Wah! (No. 1 from Junior Jazz Book 2)

T. Osborne: Junior Jazz Book 2 (Recital Music)

pizz. only
10 G. M.

Rodríguez

94

La cumparsita, arr. Huws Jones

Grade by Grade, Double Bass Grade 5 (Boosey &Hawkes)Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

Practical Grades

COMPOSER

Double Bass from 2024 Grade 5

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

11 Christine

So Far, So Good!

Christine Donkin: So Far, So Good! (Recital Music)

12 Katrina

Markhor (No. 2 from Creature Comforts)

Katrina Gordon: Creature Comforts (Recital Music)

DonkinGordon13 Florence Anna Boogie in the Bazaar

Florence Anna Maunders: Boogie in the Bazaar (ABRSM)*

Maunders

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 21


RANGE

REQUIREMENTSSCALESE - major
G major starting one octave above bottom G

1 oct.

F, B -, C majors
F, B -, C minors(harmonic or melodic, at candidate’s choice)a 12thseparate bows or slurred (2 beats to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

ARPEGGIOS

E - major
G major starting one octave above bottom G
F, B -, C majors
F, B -, C minors

1 oct.
a 12thseparate bows or slurred (3 notes to a bow), at
examiner’s choice;even notes

DOMINANT SEVENTHS (resolving on tonic)

in the keys of F and A -1 oct.

separate bows or slurred (2 notes to a bow), at
examiner’s choice;even notes

1 oct.

separate bows;
even notes

1 oct.

separate bows or slurred (3 notes to a bow), at
examiner’s choice;even notes

DIMINISHED SEVENTHS

starting on E and A
CHROMATIC SCALES

starting on D and E -SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 106

Digital only edition, available from publisher’s website* Available from August 2023

95

Double Bass from 2024

Practical Grades

GRADE 6
PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a Practical
Grades solo Jazz instrument. For alternatives, see www.abrsm.org/prerequisite.
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

BottesiniStudy No. 50 (from Metodo completo percontrabbasso) SOLO

Bottesini: Method for Double Bass, Part 1 (Yorke)

2 Capuzzi

Rondo: Allegro (3rd movt from Concerto in D)

Capuzzi: Concerto in D (Yorke)

3 C. Dancla

Polka (from Suite No. 1, Op. 123), arr. Close &Sassmannshaus

Concert Pieces for Double Bass (Bärenreiter)

4 De Fesch

Minuet I and Minuet II (from Sonata in D minor), De Fesch: Sonata in D minor (Hofmeister)arr. Siebach & Schlenker

5 Dragonetti

Sarabanda: Allegro (from Solo in D minor‘After Corelli’)Dragonetti: Solo in D minor (Doblinger)

6 Eisengräßer

Introduction and Theme and Variation 1 (from
Variations on a Favourite Styrian Folk Song)

Eisengräßer: Variations for Contra Bass on a Favourite
Styrian Folk-Song (Recital Music) or
Festival Performance Solos for String Bass (Carl Fischer)1treble clef notes may be played 8ve lower
7 attrib.

Staccato e arioso (3rd movt from Sonata in
A minor)

Giovannino: Sonata in A minor (Yorke)

8 B. MarcelloAdagio (Andante) and Allegro (1st and 4th
movts from Sonata in G, Op. 2 No. 6)

B. Marcello: Sonata in G (IMC) or
B. Marcello: Six Sonatas (G. Schirmer)

9 S. Paxton

The Bush aboon Traquair (A Scots Air) andVivace (2nd and 3rd movts from Sonata in D,
Op. 3 No. 2), trans. Elliott

S. Paxton: Sonata in D, Op. 3 No. 2 (Bartholomew)

10 Vivaldi

Largo (1st movt from Sonata No. 1 in B -, RV 47)

Vivaldi: Sonata No. 1 in B -, trans. Zimmermann (IMC) or
Vivaldi: Complete Sonatas for Violoncello (Bärenreiter) or
Vivaldi: Six Sonatas for Violoncello (Schott)

Giovannino

11 Virginia Dixon Trilling Waltz

B

Sonatina, arr. Zimmerman

Solos for the Double Bass Player (G. Schirmer)

2 J. F. Burgmüller Nocturne No. 1, arr. Heyes

J. F. Burgmüller: Nocturne No. 1 (Recital Music)

3 Gabriel-Marie La Cinquantaine, arr. Elliott or arr. Suzuki

Gabriel-Marie: La Cinquantaine (Bartholomew) or
Suzuki Bass School, Vol. 4 (Alfred)

4 Christian

AdagioChristian Gouinguené: Adagio (Leduc)5 KeÿperRomanceKeÿper: Romance and Rondo (Yorke) or
Concert Pieces for Double Bass (Bärenreiter)

6 L.

Menuett, arr. Close & Sassmannshaus

Concert Pieces for Double Bass (Bärenreiter)

1

Beethoven

Gouinguené

Mendelssohn

7 Anon.,Tre giorni, arr. Close & Sassmannshaus orformerly attrib. arr. Zimmermann
Pergolesiwith 1st repeat in Bärenreiter edn

C

96

Suzuki Bass School, Vol. 3, Revised Edition (Alfred)Concert Pieces for Double Bass (Bärenreiter) or
Festival Performance Solos for String Bass (Carl Fischer)

8 MerleCaballeroFestival Performance Solos for String Bass (Carl Fischer)

9 Madenski

Marzenie

Miniatures, Book 1 (Recital Music)

10 John Walton

A Deep SongJohn Walton: A Deep Song (Yorke)

1

D. Bourgeois

Allegro commondo (No. 3 from Fantasy Pieces for D. Bourgeois: Fantasy Pieces for Double Bass
Double Bass) SOLO
(Brass Wind)

2 Gavin Bryars

Room 42

Time Pieces for Double Bass, Vol. 2 (ABRSM)

3 I. Carroll

Fantasia in E minor (No. 1 from Three Pieces for
Double Bass)

I. Carroll: Three Pieces for Double Bass (Forsyth)4 V. Elliott

Odd Man Out

V. Elliott: Odd Man Out (Yorke)

5 Hauta-Aho

A Little Waltz (Pieni Valssi)

Hauta-Aho: Teppo’s Tunes (Recital Music)

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications

Practical Grades

COMPOSER

Double Bass from 2024 Grade 6

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

6 David Heyes

Tapio (No. 3 from Finnish Sketches) SOLODavid Heyes: Finnish Sketches (Recital Music)

7 A. H. Hill

The Jester

A. H. Hill: Four Pieces for Double Bass (Stainer & Bell)

8 Nölck

Tempo di ballo (from Petit album de concert),
arr. Close & Sassmannshaus

Concert Pieces for Double Bass (Bärenreiter)

9 Pascal Proust

Arcades

Pascal Proust: Arcades (Combre)

10 Villoldo

El Choclo, arr. Tailor

Villoldo: El Choclo for Contrabass (Editions Marc Reift)

11 Judith Bailey

Scherzino (No. 1 from Five Minatures)

Judith Bailey: Five Minatures for Double Bass (RecitalMusic)

12 I. Carroll

Bolero (No. 3 from Three Pieces for Double Bass)

I. Carroll: Three Pieces for Double Bass (Forsyth)13 Lourdes C.

Calle Ocho (8th Street) (No. 4 from Hispanic
Dances)Lourdes C. Montgomery: Hispanic Dances for Double
Bass (Recital Music)

Montgomery

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 21


RANGE

REQUIREMENTS

2 oct.

separate bows or slurred (2 beats to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

1 oct.

separate bows;
even notes or long tonic, at candidate’s choice

2 oct.

separate bows or slurred (3 notes to a bow), at
examiner’s choice;even notes

2 oct.

separate bows or slurred (2 notes to a bow), at
examiner’s choice;even notes

2 oct.

separate bows or slurred (2 notes to a bow), at
examiner’s choice;even notes

2 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

1 oct.

slurred (2 notes to a bow);even notes

SCALES

E, F, G, A majors and minors(minors harmonic and melodic)
SCALE IN THUMB POSITION

D majorstarting with thumb on D string:

ARPEGGIOS

E, F, G, A majors and minors

DOMINANT SEVENTHS (resolving on tonic)

in the keys of A, B - and C

DIMINISHED SEVENTHS

starting on E, F and G

CHROMATIC SCALES

starting on E, F and G

SCALE IN BROKEN THIRDS

G major (as example on page 15)

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 107

97

Double Bass from 2024

Practical Grades

GRADE 7
PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a Practical
Grades solo Jazz instrument. For alternatives, see www.abrsm.org/prerequisite.
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
Candidates must choose at least one accompanied piece.
A

COMPOSERPIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

Beethoven

Minuet, arr. Zimmerman

Solos for the Double Bass Player (G. Schirmer)

2 Capuzzi

Allegro (1st movt from Concerto in D)

Capuzzi: Concerto in D (Yorke)

3 Cimador

Allegro (3rd movt from Concerto in G)

Cimador: Concerto in G (Yorke)

4 Dragonetti

Waltz No. 3 (from 12 Waltzes) 8va optional SOLO Dragonetti: 12 Waltzes for Double Bass Solo (Henle)

5 Galliard

Allegro (2nd movt from Sonata in F)

Galliard: Sonata in F (IMC)

6 attrib.

Allegro (1st movt from Sonata in F)

Giovannino: Sonata in F (Yorke)

7 HandelAdagio and Allegro (1st and 2nd movts from
Viola da Gamba Sonata in C), arr. Heyes

Handel: Gamba Sonata in C (Recital Music)

8 B. MarcelloAdagio and Allegro (1st and 2nd movts from
Sonata in A minor, Op. 2 No. 3)

B. Marcello: Sonata in A minor (IMC) or
B. Marcello: Six Sonatas (G. Schirmer)

9 Telemann

Allegro (4th movt from Sonata in A minor,
TWV 41:a6), trans. Sankey

Telemann: Sonata in A minor (IMC)

10 Vivaldi

Largo and Allegro (1st and 2nd movts from
Sonata No. 2 in F, RV 41)

Vivaldi: Sonata No. 2 in F major, trans. Zimmermann(IMC) orVivaldi: Complete Sonatas for Violoncello (Bärenreiter) or
Vivaldi: Six Sonatas for Violoncello (Schott)1

Giovannino

low Cs & Ds may be adapted in cello edns
11 I. Carroll

Toccata (No. 2 from Three Pieces for Double Bass) I. Carroll: Three Pieces for Double Bass (Forsyth)12 Lourdes C.

Huapango (No. 2 from Hispanic Dances)

Lourdes C. Montgomery: Hispanic Dances for Double
Bass (Recital Music)

J. S. Bach

Largo (from BWV 1056), arr. Close &Sassmannshaus

Concert Pieces for Double Bass (Bärenreiter)

2 GlinkaSusanin’s Aria, arr. Rimsky-Korsakov

Glinka: Two Russian Arias (Recital Music)

3 Hegner

Romance

Hegner: Romance (Recital Music)

4 Jacob

Largo (2nd movt from A Little Concerto)

Jacob: A Little Concerto (Yorke)

5 PichlAndante molto (2nd movt from Concerto in C)

Pichl: Concerto in C (Bartholomew)

6 Ratez

Cantabile (No. 2 from Six pièces caractéristiques, Ratez: Six pièces caractéristiques, Op. 46: No. 2 Cantabile
Op. 46)(Billaudot) or
Ratez: Characteristic Pieces, Book 1 (Recital Music)

7 Rossini

Une larme

Rossini: Une larme (Recital Music)

8 Schumann

Träumerei, Op. 15 No. 7, arr. Heyes

Miniatures, Book 2 (Recital Music)

9 VerdiAria (from Rigoletto), arr. Zimmerman

Solos for the Double Bass Player (G. Schirmer)

10 J. P. Waud

Novelette

Yorke Solos for Double Bass, Vol. 1 (Yorke)

Montgomery

B

1

11 Sadie Harrison Flower of the Cherry – Robin’s Lullaby

Sadie Harrison: Flower of the Cherry – Robin’s Lullaby(UYMP)

12 F. Price

Adoration, arr. Elliott

F. Price: Adoration (Bartholomew)*

13 Mary Rae

On the Wind (No. 2 from Two Pieces for David)

Mary Rae: Two Pieces for David (Recital Music)

SOLO

C

Tempo di valse (No. 4 from Fantasy Pieces for
Double Bass) SOLO

D. Bourgeois: Fantasy Pieces for Double Bass
(Brass Wind)

2 Boguslaw

Concert Piece

Early Start on the Double Bass, Vol. 3 (Bärenreiter)

3 Hester

The Bull Steps Out

Hester: The Bull Steps Out (Yorke)

4 B. Hummel

Allegro (1st movt from Sonatina, Op. 69b)

B. Hummel: Sonatine, Op. 69b (Simrock)1

D. Bourgeois

Furtok98* Available from January 2024

Practical Grades

COMPOSER

Double Bass from 2024 Grade 7

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

5 Dennis

May I?

Dennis Leogrande: May I? (Clifton Edition)

6 Noskowski

Elegy Polonaise

Miniatures, Book 1 (Recital Music)

7 Armand

Chaconne

Solos for the Double Bass Player (G. Schirmer)

8 Simandl

Tempo di polacca, arr. Durkee

Suzuki Bass School, Vol. 4 (Alfred)

9 Bertram

Pacific Parables SOLO

Bertram Turetzky: Celebrations, Book 6 (Recital Music)

10 David Walter

The Elephant’s GavotteDavid Walter: The Elephant’s Gavotte (Yorke)

11 Lourdes C.

Colla Tempestada (No. 5 from Hispanic Dances) Lourdes C. Montgomery: Hispanic Dances for Double
Bass (Recital Music)

Leogrande

Russell

TuretzkyMontgomery

SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 21


RANGE

REQUIREMENTS

2 oct.

separate bows or slurred (2 beats to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

1 oct.

separate bows or slurred (2 beats to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

2 oct.

separate bows or slurred (3 notes to a bow), at
examiner’s choice;even notes

2 oct.

separate bows or slurred (2 notes to a bow), at
examiner’s choice;even notes

2 oct.

separate bows or slurred (2 notes to a bow), at
examiner’s choice;even notes

2 oct.

separate bows or slurred (6 notes to a bow), at
examiner’s choice;even notes

1 oct.

see page 16

SCALES

F+, A -/G +, B -, C majors and minors(minors harmonic and melodic)
SCALES IN THUMB POSITION

D major and minor
starting with thumb on D string:(minor harmonic and melodic)
ARPEGGIOS

F+, A -/G +, B -, C majors and minors

DOMINANT SEVENTHS (resolving on tonic)

in the keys of B, D - and E -DIMINISHED SEVENTHS

starting on F+, A - and B -CHROMATIC SCALES

starting on F+, A - and B -DOUBLE-STOP SCALE IN BROKEN STEPS

in thirds, in B - major

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 108

Accompaniment(s) published separately, see www.abrsm.org/syllabusclarifications
Digital only edition, available from publisher’s website

99

Double Bass from 2024

Practical Grades

GRADE 8
PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a Practical
Grades solo Jazz instrument. For alternatives, see www.abrsm.org/prerequisite.
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C; for further details see
pages 13–14
A

1

COMPOSERPIECE / WORK / ARRANGER

J. S. Bach

Courante (from Cello Suite No. 1 in C, BWV 1007), J. S. Bach: Solo-Suiten für Kontrabass, Suites 1–3 (Peters)
trans. Sterling SOLO

2 Cimador

Allegro (1st movt from Concerto in G)

Cimador: Concerto in G (Yorke)

3 De Fesch

Siciliano: Andante and Allemande (1st and 2nd
movts from Sonata in D minor), arr. Siebach &Schlenker

De Fesch: Sonata in D minor (Hofmeister)

4 Dragonetti

Waltz No. 6 (from 12 Waltzes) SOLO

Dragonetti: 12 Waltzes for Double Bass Solo (Henle)

5 attrib.

Adagio and Corrente: Allegro con spirito(3rd and 2nd movts from Sonata in G minor),trans. Zimmermann

H. Eccles: Sonata in G minor (IMC)

6 HandelAdagio and Allegro (1st and 2nd movts from
Sonata in C minor), arr. Zimmerman

Solos for the Double Bass Player (G. Schirmer)

7 Mozart

Allegro (1st movt from Bassoon Concerto, K. 191), Mozart: Bassoon Concerto in B -, K. 191 (IMC)trans. Sankey without 8va ad lib.; ending at b. 152

8 PichlAllegro moderato (1st movt from Concerto in C)

Pichl: Concerto in C (Bartholomew)

9 Telemann

Cantabile and Allegro (1st and 2nd movts
from Viola da Gamba Sonata in E minor,
TWV 41:e5), trans. Sankey

Telemann: Sonata in E minor (IMC)

10 Vivaldi

Largo and Allegro (1st and 2nd movts from
Sonata No. 3 in A minor, RV 43)

Vivaldi: Sonata No. 3 in A minor, trans. Zimmermann(IMC) orVivaldi: Complete Sonatas for Violoncello (Bärenreiter) or
Vivaldi: Six Sonatas for Violoncello (Schott)

H. Eccles

low Cs & Ds may be adapted in cello edns

B

Final de La somnambule, arr. Bottesini

Arias for Double Bass and Piano (Yorke)

2 BottesiniRêverie

Bottesini: Rêverie for Double Bass and Piano(Recital Music)

3 Dittersdorf

Adagio (2nd movt from Concerto No. 2)

Dittersdorf: Concertos for Double Bass (Yorke)

4 FauréSicilienne, Op. 78, arr. Close & Sassmannshaus

Concert Pieces for Double Bass (Bärenreiter)

5 Boguslaw

ElegieConcert Pieces for Double Bass (Bärenreiter)

6 C. Nielsen

Romanze (No. 1 from Fantasy Pieces, Op. 2),trans. Drew

C. Nielsen: Fantasy Pieces, Op. 2 (St. Francis Music
Publications)

7 Rachmaninoff

Vocalise (No. 14 from 14 Songs, Op. 34),
arr. Zimmerman

Solos for the Double Bass Player (G. Schirmer)

8 Sullivan

Idyll, arr. Frampton

Sullivan: Idyll (Four Bass Music)

9 Tartini

Adagio cantabile, Op. 65, trans. Drew

10 Tuláček

Chant d’amour (No. 3 from Three Pieces for
Double Bass and Piano)

Tartini: Adagio cantabile, Op. 65 (St. Francis Music
Publications)
Tuláček: Three Pieces for Double Bass and Piano(Recital Music)

11 A. Beach

La Captive, arr. Elliott

A. Beach: La Captive (Bartholomew)

12 Cervera-Bret

Nocturno

13 attrib. Paradis

Sicilienne, arr. Bethmann

Cervera-Bret: Nocturno for Double Bass and Piano(I Musicanti)
Paradis: Sicilienne for Double Bass (C. F. Schmidt)

Finale: Presto (No. 4 from Four Episodes)

Christopher Benstead: Four Episodes (Yorke)

1

Bellini

FurtokC

1

Christopher
Benstead

2 D. Bourgeois

100

PUBLICATION (PUBLISHER)

Allegro commodo (No. 8 from Fantasy Pieces for D. Bourgeois: Fantasy Pieces for Double Bass
Double Bass) SOLO
(Brass Wind)Practical Grades

COMPOSER

Double Bass from 2024 Grade 8

PIECE / WORK / ARRANGERPUBLICATION (PUBLISHER)

3 Miloslav

Capriccio No. 5 SOLO

Miloslav Gajdoš: Selected Works for Bass – Capriccios,
Solos, and Reflexes (Presser)

4 Gouffé

Concertino, Op. 10

Gouffé: Concertino, Op. 10 (Billaudot)

5 Gregora

Polka complete

Gregora: Polka (Recital Music)

6 Jacob

Allegro (3rd movt from A Little Concerto)

Jacob: A Little Concerto (Yorke)

Gajdoš

with printed cadenza
7 Bryan Kelly

Ariel (from Caliban and Ariel)

Bryan Kelly: Caliban and Ariel (Yorke)

8 Piazzolla

Kicho starting at Allegro

Piazzolla: Kicho (Tonos)

9 Semler-Collery Barcarolle et Chanson Bachique complete

Semler-Collery: Barcarolle et Chanson Bachique (Leduc)10 Bertram

Bertram Turetzky: Celebrations, Book 6 (Recital Music)

TuretzkyBlues for Ray SOLOSCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 15, 16–17 & 21


RANGE

REQUIREMENTSSCALES

B, D -/C +, D, E - majors and minors(minors harmonic and melodic)

2 oct.

E, G majors and minors(minors harmonic and melodic)

3 oct.

separate bows or slurred (7 notes to a bow), at
examiner’s choice;even notes or long tonic, at candidate’s choice

ARPEGGIOS

B, D majors and minors

2 oct.

E, G majors and minors

3 oct.

separate bows or slurred (3 notes to a bow), at
examiner’s choice;even notes

DOMINANT SEVENTHS (resolving on tonic)

in the keys of A, C, E and G

2 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

2 oct.

separate bows or slurred (4 notes to a bow), at
examiner’s choice;even notes

2 oct.

separate bows or slurred (6 notes to a bow), at
examiner’s choice;even notes

1 oct.

see page 16

1 oct.

slurred (3 notes to a bow);even notes

DIMINISHED SEVENTHS

starting on E, G, B and D

CHROMATIC SCALES

starting on E, G, B and D

DOUBLE-STOP SCALE IN BROKEN STEPS

in thirds, in D major
SCALE IN RUNNING THIRDS

G major (as example on page 15)

SIGHT-READING: a short piece of previously unseen music; for further details see pages 22 & 23–24
AURAL TESTS: administered by the examiner from the piano; for further details see pages 102 & 109

Digital only edition, available from publisher’s website

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Aural test requirements
Included in all Practical Music graded exams*
Listening lies at the heart of all good music-making. Developing aural awareness is fundamental
to musical training because having a ‘musical ear’ impacts on all aspects of musicianship. Singing,both silently in the head and out loud, is one of the best ways to develop the ‘musical ear’. It
connects the internal imagining of sound, the ‘inner ear’, with the external creation of it, without
the necessity of mechanically having to ‘find the note’ on an instrument (important though thatconnection 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 ofthe learning experience.

In the exam
Aural tests are an integral part of all Practical Music graded exams.
The tests are given by the examiner from the piano. For any test that requires a sung response,
pitch rather than vocal quality is being assessed. 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 avowel), hummed or whistled (and at a different octave, if appropriate).
The information on pages 103–109 sets out the tasks that candidates will be asked to completein the exam.

Assessment
Some tests allow for a second attempt or for an additional playing by the examiner, if necessary.
The examiner will also be ready to prompt, where helpful, although this may affect the assessment.
Marks are not awarded for each individual test or deducted for mistakes; instead they reflect thecandidate’s overall response in this component. The marking criteria for the Aural tests are given
on page 117.

Supporting publications
For practice purposes, sample Aural tests are published by ABRSM. Examples of the tests for
Initial Grade to Grade 8 are given in Specimen Aural Tests. More examples for Grades 1 to 8 aregiven in Aural Training in Practice. Purchasing these books is not a requirement.

Deaf or hearing-impaired candidates
Deaf or hearing-impaired candidates may choose alternative tests in place of the standard tests,
if requested at the time of booking the exam. Further information, including the syllabus for thealternative tests, is available at www.abrsm.org/specificneeds.

102* A different set of tests apply to Jazz and Singing for Musical Theatre exams

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3. Bowed Strings Practical Grades Syllabus from 2024

INITIAL GRADE
A To clap the pulse of a piece played by the examiner. The examiner will start playing the passage, and the candidate should join in as soon as possible, clapping in time.
B To clap as ‘echoes’ the rhythm of two phrases played by the examiner. The phrases will be
two bars long, in three or four time, and consist of a melody line only. The examiner will countin two bars. After the examiner has played each phrase, the candidate should clap back therhythm as an ‘echo’ without a pause, keeping in time.
C To sing as ‘echoes’ two phrases played by the examiner. The phrases will be one bar long in
4/4 time. They will be in a major key, and within the range of tonic–mediant. First the examiner
will play the key-chord and the starting note (the tonic) and then count in two bars. After theexaminer has played each phrase, the candidate should sing back the echo without a pause,
keeping in time.
D To answer a question about one feature of a piece played by the examiner. Before playing,
the examiner will tell the candidate which feature the question will be about. It will be about
dynamics (loud/quiet) or articulation (smooth/detached).

GRADE 1
A To clap the pulse of a piece played by the examiner, and to identify whether it is in two timeor three time. The examiner will start playing the passage, and the candidate should join in assoon 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 tostate the time signature.
B To sing as ‘echoes’ three phrases played by the examiner. The phrases will be two bars long,in a major key, and within the range of tonic–mediant. First the examiner will play the key-chord
and the starting note (the tonic) and then count in two bars. After the examiner has playedeach phrase, the candidate should sing back the echo without a pause, keeping in time.
C To identify where a change in pitch occurs during a phrase played by the examiner. The
phrase will be two bars long, in a major key, and the change will affect only one of the notes.
First the examiner will play the key-chord and the tonic and then count in two bars. The
examiner will play the phrase twice, making the change in the second playing, after which
the candidate should state whether the change was near the beginning or near the end. If
necessary, the examiner will play both versions of the phrase again (although this may affectthe assessment).
D To answer questions about two features of a piece played by the examiner. Before playing,
the examiner will tell the candidate which two features the questions will be about. The firstwill be: dynamics (loud/quiet, or sudden/gradual changes); the second will be articulation(smooth/detached).

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GRADE 2
A To clap the pulse of a piece played by the examiner, and to identify whether it is in two timeor three time. The examiner will start playing the passage, and the candidate should join in assoon 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 tostate the time signature.
B To sing as ‘echoes’ three phrases played by the examiner. The phrases will be two bars long,in a major key, and within the range of tonic–dominant. First the examiner will play the keychord and the starting note (the tonic) and then count in two bars. After the examiner has
played each phrase, the candidate should sing back the echo without a pause, keeping in time.
C To identify a change in either pitch or rhythm during a phrase played by the examiner. The
phrase will be two bars long, in a major key. First the examiner will play the key-chord and thetonic 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 may affect the assessment).
D To answer questions about two features of a piece played by the examiner. Before playing,
the examiner will tell the candidate which two features the questions will be about. The firstwill 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).

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.
B To sing as ‘echoes’ three phrases played by the examiner. The phrases will be two bars long,in a major or minor key, and within the range of an octave. First the examiner will play the keychord and the starting note and then count in two bars. After the examiner has played eachphrase, the candidate should sing back the echo without a pause, keeping in time.
C To identify a change in either pitch or rhythm during a phrase played by the examiner. The
phrase will be up to four bars long, in a major or minor key. First the examiner will play the
key-chord and the tonic and then count in two bars. The examiner will play the phrase twice,
making the change in the second playing, after which the candidate should identify the change
by describing it, or singing/clapping. If necessary, the examiner will play both versions of thephrase again (although this may affect the assessment).
D To answer questions about two features of a piece played by the examiner. Before playing,
the examiner will tell the candidate which two features the questions will be about. The firstwill 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).
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GRADE 4
A To sing or play from memory a melody played twice by the examiner. The melody will bewithin the range of an octave, in a major or minor key with up to three sharps or flats. Firstthe examiner will play the key-chord and the starting note and then count in two bars. (If thecandidate chooses to play, the examiner will also name the key-chord and the starting note,as appropriate for the instrument. This option is only available to instruments pitched in C,
B -, E - or F.) If necessary, the examiner will play the melody again and allow a second attempt(although this may affect the assessment).
B To sing five notes from score in free time. The candidate may choose to sing from treble orbass clef. The notes will be within the range of a third above and below the tonic in the key ofC, F or G major. The test will begin and end on the tonic and will not contain intervals greaterthan a third. First the examiner will name and play the key-chord and the starting note. If
necessary, the examiner will help the candidate by playing and identifying the correct note
if any note is sung at the wrong pitch.
C (i) To answer questions about two features of a piece played by the examiner.  Before
playing, the examiner will tell the candidate which two features the questions will be about.
The first will be one of the following: dynamics, articulation, tempo, tonality; the second
will be character.
(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify
whether it is in two time, three time or four time. The examiner will play the extract twice(unharmonised), 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.

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GRADE 5
A To sing or play from memory a melody played twice by the examiner. The melody will bewithin the range of an octave, in a major or minor key with up to three sharps or flats. Firstthe examiner will play the key-chord and the starting note and then count in two bars. (If thecandidate chooses to play, the examiner will also name the key-chord and the starting note,as appropriate for the instrument. This option is only available to instruments pitched in C,
B -, E - or F.) If necessary, the examiner will play the melody again and allow a second attempt(although this may affect the assessment).
B To sing six notes from score in free time. The candidate may choose to sing from treble orbass clef. The notes will be within the range of a fifth above and a fourth below the tonic, ina major key with up to two sharps or flats. The test will begin and end on the tonic and will
not contain intervals greater than a third, except for the rising fourth from dominant to tonic.
First the examiner will name and play the key-chord and the starting note. If necessary, theexaminer will help the candidate by playing and identifying the correct note if any note is sungat the wrong pitch.
C (i) To answer questions about two features of a piece played by the examiner.  Before
playing, the examiner will tell the candidate which two features the questions will be about.
The first will be one of the following: dynamics, articulation, tempo, tonality, character; thesecond 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(unharmonised), 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.

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3. Bowed Strings Practical Grades Syllabus from 2024

GRADE 6
A To sing or play from memory the upper part of a two-part phrase played twice by theexaminer. The upper part will be within the range of an octave, in a major or minor key withup to three sharps or flats. First the examiner will play the key-chord and the starting note andthen count in two bars. (If the candidate chooses to play, the examiner will also name the keychord and the starting note, as appropriate for the instrument. This option is only available
to instruments pitched in C, B -, E - or F.) If necessary, the examiner will play the phrase again
and allow a second attempt (although this may affect the assessment).
B To sing a melody from score, with an accompaniment played by the examiner. The candidate
may choose to sing from treble or bass clef. The melody will be within the range of an octave,
in a major or minor key with up to three sharps or flats. First the examiner will name and play
the key-chord and the starting note and then give the pulse. A brief period of preparation will
follow during which the candidate may sing out loud. The examiner will play the key-chord
and the starting note again and then count in two bars. If necessary, the examiner will allow asecond attempt (although this may affect the assessment).
C To identify the cadence at the end of a phrase as perfect or imperfect. The phrase will be in a
major or minor key and will be played twice by the examiner. The chords forming the cadence
will be in root position. Before the first playing, the examiner will play the key-chord.
D (i) To answer questions about two features of a piece played by the examiner.  Before
playing, the examiner will tell the candidate which two features the questions will be about.
The first will be: texture or structure; the second will be one of the following: dynamics,
articulation, tempo, tonality, character, style and period, texture/structure.
(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(unharmonised), 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.

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GRADE 7
A To sing or play from memory the lower part of a two-part phrase played twice by theexaminer. The lower part will be within the range of an octave, in a major or minor key withup to three sharps or flats. First the examiner will play the key-chord and the starting note andthen count in two bars. (If the candidate chooses to play, the examiner will also name the keychord and the starting note, as appropriate for the instrument. This option is only available
to instruments pitched in C, B -, E - or F.) If necessary, the examiner will play the phrase again
and allow a second attempt (although this may affect the assessment).
B To sing the upper part of a two-part phrase from score, with the lower part played by theexaminer. The candidate may choose to sing from treble or bass clef. The upper part will bewithin the range of an octave, in a major or minor key with up to four sharps or flats. First theexaminer 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 may affect the assessment).
C (i) To identify the cadence at the end of a phrase as perfect, imperfect or interrupted. The
phrase will be in a major or minor key and will be played twice by the examiner. The chords
forming the cadence will be in root position. Before the first playing, the examiner will play
the key-chord.
(ii) To identify the two chords forming the above cadence. The chords will be limited to thetonic, 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 ina 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 lettername 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(unharmonised), 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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3. Bowed Strings Practical Grades Syllabus from 2024

GRADE 8A (i) To sing or play from memory the lowest part of a three-part phrase played twice by theexaminer. The lowest part will be within the range of an octave, in a major or minor key
with up to three sharps or flats. First the examiner will play the key-chord and the startingnote and then count in two bars. (If the candidate chooses to play, the examiner will alsoname the key-chord and the starting note, as appropriate for the instrument. This option is
only available to instruments pitched in C, B -, E - or F.) If necessary, the examiner will play
the phrase again and allow a second attempt (although this may 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 twiceby the examiner. The chords forming the cadence will be limited to the tonic (root position,
first or second inversions), supertonic (root position or first inversion), subdominant (rootposition), dominant (root position, first or second inversions), dominant seventh (rootposition) or submediant (root position). Before the first playing, the examiner will play
the key-chord.
(iii) To identify the three chords (including their positions) forming the above cadential
progression.  The chords will be limited to the tonic (root position, first or second
inversions), supertonic (root position or first inversion), subdominant (root position),dominant (root position, first or second inversions), dominant seventh (root position) or
submediant (root position). First the examiner will name and play the key-chord, thenplay the three chords in sequence, finally playing each chord individually, pausing for the
candidate to identify it. The candidate may answer using technical names (tonic, first
inversion, etc.), chord numbers (Ib, etc.) or letter names (C major in first inversion, etc.).
B To sing the lower part of a two-part phrase from score, with the upper part played by theexaminer. The candidate may choose to sing from treble or bass clef. The lower part will
be within the range of an octave, in a major or minor key with up to four sharps or flats.
First the examiner will name and play the key-chord and the starting note and then givethe 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 twobars. If necessary, the examiner will allow a second attempt (although this may affect theassessment).
C To identify whether the modulations at the end of two different passages are to the dominant,subdominant or relative minor/major. The first passage will begin in a major key and thesecond 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 theletter name of the new key. (* Minor-key passages may modulate to the dominant major orminor 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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4. Assessment, marking & infringements
Assessment objectives
The following tables describe the level of knowledge and skills required of candidates taking
Practical Grades. They also show the assessment objectives and corresponding marking criteriathat examiners use to assess the performances at each level. The full marking criteria used byexaminers are available on pages 116–117.

Initial Grade (RQF Entry Level 3)
Assessment objectives

Marking criteria

Learners will:

Learners can:Demonstrate musical skill, knowledge
and understanding through performing
repertoire of basic musical and technicaldemands, demonstrating control across therange of musical ingredients appropriate tosimple repertoire and awareness of basic
characteristic features and performance
conventions.

Perform basic repertoire with:• Reliable pitch and intonation• Stable rhythm at a suitable tempo• Reliable tonal control and awareness• Musical shape and detail• Communication of character and style

Demonstrate instrumental control andfamiliarity with prescribed note patterns
relevant to the instrument, through playing
prescribed technical requirements at basic
demand levels.

Perform specified basic technicalrequirements with:• Correct notes and secure continuity• Reliable tonal control

Demonstrate notational and listening skills
and understanding at basic demand levels
through responding to previously unseenmusic and prescribed aural tests.

110

Respond to simple musical notation with:• Overall security of notes, rhythm andcontinuity
Respond to simple piano-based musicalstimuli with:• Overall accuracy and reliable musicalperception

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4. Assessment, marking & infringements

Grades 1 to 3 (RQF Level 1)
Assessment objectives

Marking criteria

Learners will:

Learners can:Demonstrate musical skill, knowledge andunderstanding through performing repertoireof elementary musical and technicaldemands, demonstrating control across therange of musical ingredients appropriate tostraightforward repertoire and awarenessof elementary characteristic features andperformance conventions.

Perform elementary repertoire with:• Reliable pitch and intonation• Stable rhythm at a suitable tempo• Reliable tonal control and awareness• Musical shape and detail• Communication of character and style

Demonstrate instrumental control andfamiliarity with prescribed note patterns
relevant to the instrument, through playing
prescribed technical requirements atelementary demand levels.

Perform specified elementary technicalrequirements with:• Correct notes and secure continuity• Reliable tonal control

Demonstrate notational and listening skills
and understanding at elementary demandlevels through responding to previously
unseen music and prescribed aural tests.

Respond to straightforward musical notation
with:• Overall security of notes, rhythm andcontinuity
Respond to straightforward piano-based
musical stimuli with:• Overall accuracy and reliable musicalperception

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Grades 4 & 5 (RQF Level 2)
Assessment objectives

Marking criteria

Learners will:

Learners can:Demonstrate musical skill, knowledge andunderstanding through performing repertoireof intermediate musical and technicaldemands, demonstrating control across therange of musical ingredients appropriate
to moderately complex repertoire andawareness of comprehensive characteristicfeatures and performance conventions.

Perform intermediate repertoire with:• Reliable pitch and intonation• Stable rhythm at a suitable tempo• Reliable tonal control and awareness• Musical shape and detail• Communication of character and style

Demonstrate instrumental control andfamiliarity with prescribed note patterns
relevant to the instrument, through playing
prescribed technical requirements atintermediate demand levels.

Perform specified intermediate technicalrequirements with:• Correct notes and secure continuity• Reliable tonal control

Demonstrate notational and listening skills
and understanding at intermediate demandlevels through responding to previously
unseen music and prescribed aural tests.

112

Respond to moderately complex musicalnotation with:• Overall security of notes, rhythm andcontinuity
Respond to moderately complex piano-based
musical stimuli with:• Overall accuracy and reliable musicalperception

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4. Assessment, marking & infringements

Grades 6 to 8 (RQF Level 3)
Assessment objectives

Marking criteria

Learners will:

Learners can:Demonstrate musical skill, knowledge andunderstanding through performing repertoireof advanced musical and technical demands,
demonstrating control across the range ofmusical ingredients appropriate to complex
repertoire and awareness of sophisticatedcharacteristic features and performance
conventions.

Perform advanced repertoire with:• Reliable pitch and intonation• Stable rhythm at a suitable tempo• Reliable tonal control and awareness• Musical shape and detail• Communication of character and style

Demonstrate instrumental control andfamiliarity with prescribed note patterns
relevant to the instrument, through playing
prescribed technical requirements at
advanced demand levels.

Perform specified advanced technicalrequirements with:• Correct notes and secure continuity• Reliable tonal control

Demonstrate notational and listening skills
and understanding at advanced demandlevels through responding to previously
unseen music and prescribed aural tests.

Respond to complex musical notation with:• Overall security of notes, rhythm andcontinuity
Respond to complex piano-based musicalstimuli with:• Overall accuracy and reliable musicalperception

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Practical Grades

Mark allocation
Marks are allocated for each component of Practical Grades for Bowed Strings, as shown in thetable below:
Exam component

Maximum marks% of total markPiece 130

20%

Piece 230

20%

Piece 330

20%

Scales and arpeggios

21

14%

Sight-reading

21

14%

Aural tests

18

12%

Total

150

100%

Result categories
The result categories for Practical Grades are set as follows. A Pass in each component of theexam is not required to pass overall.
Result category

Mark band

Distinction

130–150

Merit

120–129

Pass

100–119

Below Pass

50–99

Synoptic assessment
Synoptic assessment is a form of assessment that requires candidates to demonstrate that they
can identify and effectively use a selection of skills, techniques, concepts and knowledge to carryout a key task. Practical Grades allow candidates to demonstrate their ability to draw together
different skills, knowledge and understanding – theory, notation, instrument control, listening
skills, creative interpretation – and apply these across the individual components of the exam.

Awarding
An examiner’s assessment of a piece or any other component will be based on the performance
given at that time towards the qualification for which the candidate has been entered. Prior
performances of the same pieces or other components will not be taken into account for thequalification, nor will marking appeals be accepted on that basis. The transfer of marks, at any
grade, between Practical Grades and Performance Grades is not permitted.

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Infringements
It is important that candidates, and those preparing them for exams, read and follow the exam
requirements as set out in the relevant Practical Grades syllabus (see Section 3). If theexam requirements are not met in any way, this could lead to a warning, mark deduction ordisqualification, at ABRSM’s discretion. Examples of infringements include:• Presenting repertoire not set on the syllabus for the grade.
• Presenting syllabus-listed repertoire, but not as specified (e.g. incorrect number of movements,
wrong combination of pieces/songs from lists).

• For instruments, playing the scale requirements from notation.
• For Singing and Singing for Musical Theatre, presenting an unaccompanied song that is too
short or too long.
The above list is not exhaustive.

Action is typically taken as follows:• Warnings, in the form of written correspondence, are applied to minor infringements (e.g. twopieces/songs from the same list). Repeat cases in subsequent exams may result in more severe
action being taken.
• Mark deductions from a component of the exam are applied to more serious cases (e.g.
presenting a piece/song that is not set on the syllabus) and may range from three marks to thefull marks available for the component.
• Disqualification is applied to cases where requirements are not fulfilled in a fundamental way(e.g. none of the pieces/songs performed have been selected from the ABRSM repertoire lists
for the grade).
Examiners report infringements to ABRSM who investigate and decide what action is to be taken.
It should be noted that infringements identified in exams may delay the release of the exam result.
ABRSM’s decision on any infringement is final. Prior acceptance of an infringement without penalty
does not set a precedent and appeals will not be accepted on this basis.

Marking criteria
The tables on pages 116–117 show the marking criteria used by examiners for Practical Grades
in Bowed Strings. Examiners mark up or down from the pass mark for each component by balancing
the extent to which the qualities and skills listed in the criteria (broadly categorised by pitch, time,tone, shape and performance) are demonstrated and contribute towards the overall musicaloutcome.

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Marking criteria
Grades
Initial to 8
Distinction
27–30

PiecesPitch● Highly accurate notes

and intonationTime● Fluent, with flexibility

where appropriate● Rhythmic character

well conveyed

Merit
24–26

● Largely accurate notes

and intonation● Sustained, effective

tempo● Good sense of rhythm

Tone● Well projected● Sensitive use of tonal

qualities● Mainly controlled andconsistent● Good tonal awareness

Shape● Expressive, idiomaticmusical shaping anddetail● Clear musical shaping,well-realised detail

Performance● Assured● Fully committed● Vivid communication ofcharacter and style● Positive● Carrying musicalconviction● Character and stylecommunicated

Pass
20–23

Below Pass
17–19

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● Generally correct notes● Sufficiently reliable

intonation to maintaintonality● Frequent note errors● Insufficiently reliable

intonation to maintaintonality● Suitable tempo● Generally stable pulse● Overall rhythmic● Generally reliable● Adequate tonal● Unsuitable and/or● Uneven and/or

accuracy

uncontrolled tempo● Irregular pulse● Inaccurate rhythm

awareness

unreliable● Inadequate tonal
awareness● Some realisation ofmusical shape and/or
detail● Musical shape anddetail insufficiently
conveyed● Generally secure, prompt

recovery from slips● Some musicalinvolvement● Insecure, inadequate

recovery from slips● Insufficient musicalinvolvement

13–16● Largely inaccurate notes ● Erratic tempo and/or● Serious lack of tonal● Musical shape and● Lacking continuity● No musical involvement

10–12● Highly inaccurate notes● Incoherent tempo● No tonal control● No shape or detail● Unable to continue for0● No work offered● No work offered● No work offered● No work offered● No work offered

and/or intonation

and/or intonation

pulse

and/or pulse

controldetail largely unrealised

more than a short section

Practical Grades 

4. Assessment, marking & infringements

Grades
Initial to 8

Scales and arpeggios

Distinction
19–21● Highly accurate notes/pitch● Fluent and rhythmic● Musically shaped● Confident response● Fluent, rhythmically accurate● Accurate notes/pitch/key● Musical detail realised● Confident presentation

Distinction
17–18● Accurate throughout● Musically perceptive● Confident response

Merit
17–18

● Largely accurate notes/pitch● Mostly regular flow
● Mainly even tone
● Secure response● Adequate tempo, usually steady pulse● Mainly correct rhythm● Largely correct notes/pitch/key● Largely secure presentation

Merit
15–16

● Strengths significantly

Pass
14–16

● Generally correct notes/pitch, despite errors● Continuity generally maintained● Generally reliable tone
● Cautious response● Continuity generally maintained● Note values mostly realised● Pitch outlines in place, despite errors● Cautious presentation

Pass
12–14

● Strengths just outweigh

Below Pass
11–13

● Frequent errors in notes and/or pitch● Lacking continuity and/or some items incomplete● Unreliable tone
● Uncertain response and/or some items not● Lacking overall continuity● Incorrect note values● Very approximate notes/pitch/key● Insecure presentation

Below Pass
9–11

● Weaknesses outweigh● Very approximate notes and/or pitch● Sporadic and/or frequently incomplete● Serious lack of tonal control● Very uncertain response and/or several items● No continuity or incomplete● Note values unrealised● Pitch outlines absent● Very uncertain presentation

6–8● Inaccuracy throughout● Vague response● No work offered● No work offered0● No work offeredattempted

7–10

not attempted0

Sight-reading

Grades
Initial to 8

Aural tests

outweigh weaknesses● Musically aware● Secure response

weaknesses● Cautious responsestrengths● Uncertain response

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5. After the exam
Results
All candidates receive a copy of their mark form; successful candidates also receive a certificatethat shows the qualification title as well as the subject and level that they have been examined in.
We aim to release results for Practical Grades in line with the schedules on our website at www.
abrsm.org/results; however, some results may take longer. Examiners will not issue or discussa candidate’s result; the mark form (and certificate for successful candidates) will be issued by
ABRSM after the exam. Unless otherwise requested at the time of booking, mark forms andcertificates are issued to the applicant, whose responsibility it is to pass them on to candidates.

Appeals and feedback
Appeals
If a candidate has received an unexpected exam result, this can be appealed by requesting a
Results Review. This process allows us to revisit the marks awarded by an examiner and, subject
to the outcome of the review, may result in a mark amendment.
Feedback
In addition to a Results Review, we also welcome feedback about other matters, such as theoverall exam experience or the mark form. All feedback is logged and plays a valuable part in ourcommitment to continuous improvement and quality assurance procedures.
For further information on our processes and deadlines for appealing a result, or submitting
feedback, please visit www.abrsm.org/send-exam-feedback.

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6. Other assessments
ABRSM’s other assessments for bowed strings are Music Medals, Prep Test, Performance Grades,
Performance Assessment, Ensembles and diplomas. Full information is available at www.abrsm.
org/exams.

Bowed Strings Prep Test
ABRSM’s Prep Test, presented in a relaxed and encouraging way, is an ideal introduction to theexam experience. It gives learners a goal to work towards and a certificate awarded on the day –something to be really proud of.
The Prep Test is designed to encourage the development of good musical and technical foundations.
It covers many of the elements beginners will be working on at this early stage, including pitch,time, tone, performance and musical perception.

Content
The Prep Test has four sections – Tunes, two Pieces, and Listening Games. See page 120.

Instruments
The Prep Test for bowed strings is available for Violin and Cello, (see page 120 for information
about availability for Viola and Double Bass).

Books
All the books mentioned on page 120 are published by ABRSM and are available from musicretailers as well as online, including at the ABRSM music shop: www.abrsm.org/shop.

Assessment
Immediate feedback is given at the end of the Prep Test in the form of positive comments and suggestions written on the certificate, which is handed to the candidate by the examiner. There is no
pass or fail, and no marks are awarded. The examiner’s comments will cover some of the following:• Sense of pitch• Sense of rhythm• Control of tone
• Listening skills and awarenessLearners who would prefer to take a marked assessment may wish to consider the Initial Grade.

Other information• The Prep Test takes about 10 minutes.
• ABRSM Public Venues provide a music stand and the examiner will be happy to help adjust theheight or position of the stand. A chair or stool will be provided for cello candidates. Double
bass candidates should provide their own stool if required.
• The teacher or accompanist may help tune the candidate’s instrument before the Prep Test
begins (examiners are unable to help with tuning).
• The Tunes should be performed from memory, but the two Pieces can be played from the music.
If either of the Pieces is played from memory, candidates should bring a copy of the music forthe examiner.
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6. Other assessments

Practical Grades• The examiner will be happy to play any piano accompaniments, in which case candidates
should bring the music with them. Alternatively, candidates can bring their own accompanist
if they prefer.
• Generally, there will be one examiner; however a second examiner may be present for training
and quality assurance purposes.
• Details of dates, locations, fees and how to book a Prep Test are available online at www.abrsm.
org/exambooking.
• ABRSM recognises that many learners start their musical journey by using an instrument
specially adapted for younger/smaller players. We welcome the use of these instruments in
the Prep Test in accordance with the details set out in our Adapted Instruments Policy, availableat www.abrsm.org/policies.
• Availability for other bowed strings instruments: The Prep Test is also available for Viola andDouble Bass. The assessment and overall structure of the test is the same, but some of thecontent differs. Candidates prepare short exercises, a specific solo set piece (there is a choice ofpiece, in first or half position, for Double Bass), an accompanied own-choice piece, and respondto three simple aural tests. The exercises, set piece and examples of the aural tests are in thePrep Test book for each instrument. The books are no longer in print; for up-to-date information
on how to obtain copies, see www.abrsm.org/syllabusclarifications.
Requirements

Publication (as applicable)

Tunes: three short exercises played
from memory
the Tunes are in:Violin Prep Test
Cello Prep TestFirst Piece: solo or accompanied
any one of the set pieces from:or

the relevant Prep Test bookany one piece from:

Party Time! for Violin (Michael Rose)
Party Time! for Cello (Alan Bullard)

Second Piece: accompanied
own-choice accompanied piece (c.16–24 bars)

any publication (or an unpublished piece)

Listening Games*: four listening gamesa) Clapping the beatb) Echoesc) Finding the notesd) What can you hear?

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examples are provided in
the relevant Prep Test book

* For deaf or hearing-impaired candidates, further information is available at www.abrsm.org/specificneeds

Practical Grades 

6. Other assessments

Performance Grades
ABRSM Performance Grades allow learners to focus on and showcase their performance skills.
They are available from Grade 1 to Grade 8, and in some subjects from Initial Grade. Candidates
may be entered for any grade at any age and do not need to have taken any earlier grade(s) in
the same subject. Full information, including the qualification specification, is available at www.
abrsm.org/performancegrades.

About Performance Grades
Each Performance Grade has been carefully designed to assess synoptically the underpinningknowledge and understanding required for music performance. These creative skills are presented
through the technical control of an instrument, interpretation of repertoire, and the delivery andsuccessful communication of a selected sustained programme of repertoire music. Collectively,
these skills enable candidates to progress to higher grades and other qualifications in the creativearts sector.
The exams are made up of five components:• four Pieces/Songs – three selected by candidates from set lists and one that is their own choice• an assessment of the performance as a whole
Marks for each component are equally weighted and are awarded to each component individually.
The exams are currently offered as digital assessments only. Candidates’ performances arevideo recorded in one continuous take and submitted to ABRSM for assessment. The candidate/
Applicant is responsible for organising a suitable venue and any equipment needed to run the exam.
Those entering for a Grade 6, 7 or 8 Performance Grades exam must first have passed ABRSM Grade
5 (or above) in Music Theory, Practical Musicianship or a Practical Grades solo Jazz instrument;
for full details, including a list of accepted alternatives, see www.abrsm.org/prerequisite.

1216. Other assessments

Practical Grades

Music Theory
ABRSM Music Theory exams are available for Grades 1 to 8. Candidates may be entered forany grade at any age and do not need to have taken any earlier grade(s). Further information isavailable at www.abrsm.org/theory and the qualification specification (including the full syllabus)
is available at www.abrsm.org/specifications.

About Music Theory
Developing musical literacy forms a key part of a rounded education for performers, composers
and listeners of all kinds. Understanding how written symbols relate to the elements of music,
and having the skills to interpret and translate them into sounds, empowers us to communicate
and experience music in a meaningful way.
ABRSM’s Music Theory grades give learners:• a knowledge of the notation of western music, including commonly used signs and terminology• an understanding of fundamental musical elements such as intervals, keys, scales and chords• an ability to apply theoretical knowledge and understanding to score analysis• skills in harmonic completion of extracts and melody writing (at Grades 6 to 8).
Candidates are assessed on their ability to identify, use and manipulate musical symbols, to study
extracts and to answer questions about the elements of music according to the parameters detailed
in the full syllabus at www.abrsm.org/theory.
The exams are available as online assessments at Grades 1 to 5 and paper-based assessments
at Grades 6 to 8.

Grade 5 as a prerequisite
We believe that a thorough understanding of the elements of music is essential for a full andsatisfying performance at the higher grades.
It is therefore an ABRSM requirement that candidates must provide evidence of a pass at ABRSM
Grade 5 or above in Music Theory, Practical Musicianship or a Practical Grades solo Jazz instrument
before they can enter for a Grade 6, 7 or 8 Practical Grades or Performance Grades exam.

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Practical Grades 

6. Other assessments

Practical Musicianship
ABRSM Practical Musicianship exams are available for Grades 1 to 8 and are open to singers andinstrumentalists. Candidates may be entered for any grade at any age and do not need to havetaken any earlier grade(s). The full syllabus is available at www.abrsm.org/practicalmusicianship.

About Practical Musicianship
Musicianship is a broad concept that covers a complex range of musical abilities. For the purposesof this syllabus, it is loosely defined as the ability to ‘think in sound’. This occurs when a musician
is able to produce music which they perceive internally and in the imagination, whether throughplaying by ear, singing, reading from notation, or through improvisation.
ABRSM’s Practical Musicianship grades encourage learners to develop their ability to ‘think insound’ and perform spontaneously. While Practical Grades and Performance Grades focus on
aspects of performance and/or supporting tests that are prepared in detail in advance, here theplaying (or singing) is in response to immediate challenges and stimuli, presented both aurally
and via notation.
The exams also cover the following key skills:• the ability to internalise music and to reproduce it• interpreting written music with a minimum of preparation• exploring the possibilities inherent in a short motif• the ability to detect differences between what is heard and what is written.
In developing their musicianship skills, learners will be gaining the understanding as well as theexpressive and interpretative skills needed to master the musical language of the repertoire they
are learning.

Grade 5 as a prerequisite
We believe that a thorough understanding of the elements of music is essential for a full andsatisfying performance at the higher grades.
It is therefore an ABRSM requirement that candidates must provide evidence of a pass at ABRSM
Grade 5 or above in Practical Musicianship, Music Theory or a Practical Grades solo Jazz instrument
before they can enter for a Grade 6, 7 or 8 Practical Grades or Performance Grades exam.

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6. Other assessments

Practical Grades

ARSM
The ARSM diploma is available to instrumentalists and singers of any age. It is the first of our
diploma qualifications and provides musicians with an opportunity to develop their performancetechnique and interpretative skills, while focusing on programme building and extending theirrepertoire.

Key features• Candidates present a balanced and varied programme, as follows:• the programme lasts 30 minutes• at least 20 minutes of the music is chosen from the repertoire list
• the remaining programme time may be made up of own-choice repertoire, of Grade 8 standardor above• There are no additional supporting tests or other requirements• There are two assessment methods available:• face-to-face – held at the same venues and during the same time periods as ABRSM’s Practical
Grades• digital – a video recorded performance submitted to ABRSM for assessment• ARSM is a letter-bearing qualification. Candidates awarded the diploma can use the letters ARSM
(Associate of the Royal Schools of Music) after their name.

Those entering for an ARSM diploma must first have passed ABRSM Grade 8 (or a listed
alternative). Full details of the exam and entry requirements are available in the qualification
specification at www.abrsm.org/arsmdiploma.
We update our syllabuses from time to time. Advance notice of any changes will be given atwww.abrsm.org/syllabusupdates. Please refer to the website for the most recent version of the
ARSM syllabus.

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Practical Grades 

6. Other assessments

DipABRSM, LRSM, FRSM (Music Performance)
These diplomas are available to instrumentalists and singers of any age. Through a combinationof live and written components, candidates demonstrate their performance, communication andresearch skills, as well as their musical knowledge and understanding. Each diploma serves as a
stepping stone to the next level.

Key features• Candidates:• present a recital programme• submit programme notes (DipABRSM & LRSM) or a written submission (FRSM)• undertake a viva voce, with questions covering the recital, programme notes/written
submission as well as other aspects of performance• perform a short piece of unaccompanied and previously unseen music after five minutes’
preparation time (quick study)• These diploma exams take place at specific venues and times of the year
• Each diploma is a letter-bearing qualification. Candidates awarded a diploma can use the letters
DipABRSM (Diploma of the Associated Board of the Royal Schools of Music), LRSM (Licentiateof the Royal Schools of Music) or FRSM (Fellowship of the Royal Schools of Music) after theirname as appropriate.

Those entering for one of these diplomas must fulfil a specific ABRSM prerequisite (or a listed
alternative). Full details of the exam and entry requirements are available at www.abrsm.org/
diplomas and the qualification specification is available at www.abrsm.org/specifications.
We update our syllabuses from time to time. Advance notice of any changes will be given atwww.abrsm.org/syllabusupdates. Please refer to the website for the most recent versions of the
diploma syllabuses.
Further diploma exams
DipABRSM, LRSM and FRSM diplomas are also available for Instrumental/Vocal Teaching andMusic Direction. Full details are available at www.abrsm.org/diplomas.
We are currently reviewing the diploma exams we offer and changes may be made during the
lifetime of this specification. Please refer to www.abrsm.org/diplomas for up-to-date information.

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Exam programme & running order form

Exam programme & running order
Name
Subject

Grade
Please write details of the items you are performing in your exam in the order you are presenting
them and hand this slip to the examiner. Best wishes for an enjoyable and successful exam!

Year of syllabus
List *

NumberComposer

Title

Singers only: unaccompanied traditional song:
Percussion (Combined) only: technical requirements on:* Leave blank for Snare Drum, Timpani and Tuned Percussion

09/19