Brass from 2013

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Brass Syllabus 2013–2016

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23/05/2012 15:08

BRASS SYLLABUS 2013–2016 CONTENTS Syllabus updates

inside covers

Using this booklet

3

New for brass

3

Welcome to ABRSM

4

Introducing ABRSM syllabuses

5

ABRSM Brass exams Brass syllabus requirements

6

Exam music and performance requirements

8

• Horn 9 • Trumpet, Bb Cornet, Eb Soprano Cornet and Flugelhorn

18

• Trombone

40

• Bass Trombone

56

• Baritone and Euphonium

59

• Tuba

70

Pattern for whole-tone scales

85

Aural Tests

86

• Eb Horn

30

Other ABRSM exams Theory of Music

92

Practical Musicianship

96

Other assessments

103

Additional information Accreditation (UK)

104

Obtaining exam music

105

Exam programme & running order form

111

© 2012 by The Associated Board of the Royal Schools of Music All the syllabus information in this booklet, including repertoire and scale lists, is the copyright of ABRSM. No syllabus listing may be reproduced or published without the permission of ABRSM.

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USING THIS BOOKLET This syllabus booklet is designed to assist teachers, candidates, parents and organizations in preparing for ABRSM brass exams.

As well as reading this booklet, it is important to consult the following two resources: • Exam Information & Regulations (published annually) • T hese Music Exams – contains practical advice for candidates, teachers and parents The syllabus, together with the above two publications, constitutes ABRSM’s overall exam specification; all are available free of charge from music retailers and from www.abrsm.org/exams.

In this booklet the brass syllabuses are listed, grade by grade, on pp. 9–85. Please note that the lifespan of each individual syllabus is marked at the top of each Grade 1 page. There are also some important syllabus requirements featured on pp. 6–8.

Other information in this booklet includes advice on obtaining exam music and a list of contact details for publishers, as well as a blank exam programme & running order form for your convenience.

For information on current and future syllabus changes across all ABRSM subjects, see the syllabus updates on the inside front and back covers.

NEW FOR BRASS This syllabus booklet contains new set pieces for Horn, Eb Horn, Baritone/ Euphonium and Tuba.

The only other changes that have been made in this booklet are: • the inclusion of the natural form of the minor scale, which is now offered as an option in Grades 1 and 2 (see www.abrsm.org/naturalminor) • updates to information concerning UK accreditation • updates to publication details This syllabus booklet will last until the next changes to the brass syllabuses come into force in 2017, i.e. new set pieces for Trumpet and Trombone. Any updates during this period – e.g. changes to publication details or other minor corrections – will be posted at www.abrsm.org/exams.

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WELCOME TO ABRSM ABRSM supports music teaching and learning throughout the world. We motivate musical achievement and encourage the development of well-rounded musicians through our authoritative exams, the professional development of teachers, and a wide range of published resources.

By delivering our exams rigorously and consistently we set the worldwide gold standard in music assessment, with over 600,000 people, in over 90 countries, choosing to take them each year.

As part of our commitment to excellence in music education, we provide a rich range of materials, from albums for the earliest stages of learning to scholarly editions of standard repertoire. Our online presence includes Soundjunction – an awardwinning site for music learning. We support the professional development of teachers through our innovative courses and online learning resources.

To build on our 120 years inspiring generations of musicians, we provide charitable donations, scholarships and sponsorships, as well as acting as an advocate for music education. We do all we can to give music education a voice in public life because we believe music has the power to change lives.

ABRSM has the authority of four of the UK’s leading conservatoires: the Royal Academy of Music, Royal College of Music, Royal Conservatoire of Scotland and Royal Northern College of Music.

You can find out more about all of our activities at www.abrsm.org.

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INTRODUCING ABRSM SYLLABUSES The long-lasting success of ABRSM in supporting instrumental and vocal teachers and learners can be attributed to a number of factors. Significant among these is our collaborative approach to syllabus development, in which the views of a wide range of teachers is sought, alongside those of our examiners and specialist panels. This ensures that our syllabuses are relevant and accessible to all, no matter which teaching and learning approaches are adopted. A syllabus is, after all, a set of requirements for assessment purposes and not an instrumental or vocal curriculum.

Repertoire selection is another important factor, because experiencing the finest music is at the heart of musical training; it sustains and motivates all developing musicians. In each repertoire list we aim to produce a harmonious blend of styles and moods (as well as technical elements), so that the choices are broad and varied enough to suit all tastes while setting appropriate demands at each level. All syllabuses are supported by publications, recordings or other resources.

Other aspects of the exams contributing to ABRSM’s success include: • a policy of using highly qualified and trained ‘generalist’ examiners, who work to transparent, easily understood criteria • rigorous quality-assurance provisions that ensure consistent and reliable standards in all areas of our work • a proven track record of reliable exam delivery and administration Graded exams are available for more than 30 instruments, singing, jazz, ensembles, practical musicianship and music theory. They support a framework for life-long learning in music, without restrictions on age, length of study, or the requirement that candidates are taught in schools or other centres.

Many students will start with the Prep Test, a simple and positive assessment at the pre-Grade 1 level, and then work through the eight grades, but we do not impose a set pattern. For students who progress beyond Grade 8 we offer professional diplomas (DipABRSM, LRSM and FRSM) in three subject areas: performing, directing and teaching. For younger learners, Music Medals offer a set of fun, rewarding and accredited assessments supported by award-winning repertoire. They introduce essential musical skills and inspire developing musicians to play and enjoy music together.

ABRSM exams give the developing musician a set of worthwhile and motivational goals to work for. They provide the opportunity of performing high-quality music and developing all-round musicianship through a range of supporting activities.

Measuring yourself against international benchmarks can be daunting, but we do all we can to make the experience a pleasurable one. The glow of achievement which exam success brings makes all that effort worthwhile.

Nigel Scaife Syllabus Director 5

BRASS SYLLABUS REQUIREMENTS Programme planning Candidates should use their discretion in their choice of three pieces to present a contrasted and balanced programme. One piece must be chosen from each of the three lists in each grade (A, B and C).

Tuning-up Candidates must tune their instruments themselves at all grades. However, the teacher or accompanist may advise on tuning at Grades 1–5, if needed.

Music stands All ABRSM Centres provide a music stand, but candidates are welcome to bring their own if they prefer.

Accompaniment A live piano accompaniment is required for all pieces in List A and List B (except those which are published as unaccompanied works). Candidates must provide their own accompanist, who may remain in the exam room only while engaged in accompanying. The candidate’s teacher may act as accompanist; under no circumstances will the examiner do so. All List C pieces are to be performed unaccompanied.

Tuttis Accompanists should make cuts to extensive orchestral tuttis in concerto (or similar) movements.

Cadenzas Cadenzas should not be played unless specified in the syllabus.

Bass/treble clef For the purposes of administering the scale and sight-reading requirements, examiners will ask trombone, baritone, euphonium and tuba candidates whether they are bass- or treble-clef readers.

Scales and arpeggios Examiners will usually ask for at least one of each type of scale/arpeggio etc. required at each grade, as well as aiming to hear a balance of the specified articulations. When asking for requirements, examiners will specify only: • the key (including minor form – harmonic or melodic – in the Grade 6–8 scales) • the articulation All scales and arpeggios should: • be played from memory • begin from the lowest possible tonic/starting note unless otherwise specified in the syllabus* • ascend and descend according to the specified range

* Disregarding additional lower notes available to trombones with a trigger or to baritones, euphoniums and tubas with a 4th valve

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Brass syllabus requirements

• be played without undue accentuation and at a pace that is consistent with accuracy and distinctness Recommended minimum speeds are given online at www.abrsm.org/scalespeeds and in These Music Exams (available online or free of charge from music retailers).

They are also to be found in the books of scale requirements published for all brass subjects by ABRSM. For transposing instruments, the naming of scales applies to the notation, not the concert pitch; for example, D major for trumpet in B b will sound in C, not D. Arpeggios, dominant and diminished sevenths are required in root position only.

Sight-reading The sight-reading tests are without accompaniment. Candidates will be given a short interval of up to half a minute in which to look through and, if they wish, try out any part of the test before they are required to perform it for assessment. The same procedure applies to the transposition tests for Grades 6–8 horn and trumpet candidates. Books of specimen sight-reading tests are published for all brass subjects

by ABRSM. Performance and assessment When marking, examiners will be assessing not only the accuracy of notes and rhythm, but also other elements inherent in a good performance, including intonation, quality of tone, suitable choice of tempo, and expression and phrasing. Further details of assessment criteria are given in These Music Exams.

Marking scheme Schedule of maximum marks for all grades: Pieces: 1

2

3 Aural tests

Scales and arpeggios Sight-reading (& Transposition†) Total

30 30 30 18

21 21 150

† Horn & Trumpet Grades 6–8 Maximum marks: 12 for sight-reading, 9 for transposition (one combined mark will be recorded)

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EXAM MUSIC AND PERFORMANCE REQUIREMENTS (extracted from the Exam Information & Regulations booklet, which should be read in conjunction with this syllabus) a The individual sections of the exam may be attempted in any order, at the candidate’s choice (although, ideally, accompanied pieces should be performed consecutively). If an accompanied exam begins with any section other than the pieces, the steward should be advised in advance so that the accompanist can be summoned at the appropriate time. b Teachers and candidates are advised to pay close attention to the syllabus requirements on pp. 6–7, the instrument-specific requirements as well as to those indicated in the current lists of syllabus pieces. A ‘piece’ comprises all the music set under one number-heading in the syllabus lists (unless an option is specifically indicated). Therefore, a ‘piece’ may comprise more than one movement from a work or more than one item from an album. c Where appropriate, the initial tempo indication (or section title) of a piece/movement is listed in the syllabus. Where a piece/movement comprises more than one tempo indication (or section title), the whole piece/movement is still required to be played in the exam (unless otherwise indicated). d Candidates failing to observe specific syllabus requirements or regulations (i.e. performing a piece not listed in the syllabus, or not being prepared to perform the full extent of a piece as indicated in the syllabus) may be penalized, or, in certain cases, disqualified. e ABRSM offers a limited overlap period, during which pieces from the preceding syllabus may, under certain conditions, be performed (see syllabus updates on the inside front cover of this booklet). f Candidates may use any edition (in- or out-of-print or downloadable) of the pieces listed in the syllabus, except where a specific arrangement or transcription is indicated. The editions quoted in the syllabus are given for guidance only and are not obligatory. g Candidates may use their discretion regarding indications or markings (particularly editorial) in the music – e.g. metronome marks, fingering, phrasing, the interpretation of ornaments, etc. – which need not be strictly observed. Where no such indications are present in the music, candidates should use their discretion to achieve a musical performance. h Candidates should observe da capo and dal segno indications, but other repeats of more than a few bars should not be played in the exam, unless stipulated in the syllabus. i Performing from memory is optional. The examiner is at liberty to review a copy of the music before or after the performance of any piece; therefore, candidates performing from memory must ensure that a copy of the music is available for the examiner’s use. j Examiners may, at their discretion, stop the performance of any piece when they have heard enough to form a judgement. k The Copyright, Design and Patents Act 1988 (UK) does not permit the making or use of photocopies (or other kinds of copies) of copyright works. However, the UK Music Publishers’ Association’s Code of Fair Practice (available at www.mpaonline.org.uk) allows copies to be made in certain limited circumstances (such as a difficulty with a particular page-turn) but only if the copyright holder is listed in Appendix C of the Code. In all other cases, application should be made to the copyright holder before any copy is made. It is the Applicant’s responsibility to ensure that candidates act within the law with respect to the making and use of photocopies (or other copies). ABRSM reserves the right to withhold the exam result of any candidate where it has evidence of the use of an illegal copy (or copies) in connection with that exam.

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HORN (Subject Code: 13) This syllabus is valid from 2013 until further notice.

In Grades 1–3, this syllabus may be offered on a mini-horn in Bb or F. The accompanied pieces are published in F editions unless otherwise indicated. For those pieces not published in F, candidates may use manuscript transpositions of their parts if necessary.

Some List C pieces are published with transposition suggestions but in the exam they should be played in the written keys only.

Horn GRADE 1 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Beethoven Theme from Ninth Symphony. Winners Galore, arr. Lawrance (Brass Wind: & brass edition; F piano accomp. published separately) 2 Arthur Campbell Chorale. No. 3 from Horn Solos, Book 1, arr. Campbell (Faber) ?

3 Tom Davoren Romanza ¸ Shining Brass, Book 1 (ABRSM: & / brass edition; F piano accomp. published ˝ 4 Philip Sparke A Knight’s Tale ˛ separately) 5 Haydn German Dance. Time Pieces for Horn, Vol. 1, arr. Harris and Skirrow (ABRSM: F/E b edition) 6 Henry VIII Pastime with Good Company ¸ ˝ 10 Easy Tunes for Horn, arr. Humphries (Fentone F 486-401) ˛ 7 Susato La Mourisque 8 Trad. English Song of the Western Men ¸ ˝ Boosey Brass Method, Horn in F, Repertoire Book B (Boosey & Hawkes) ˛ 9 Trad. Japanese Koinobori LIST B

1 Bartók No. 3 from For Children, Vol. 1. Time Pieces for Horn, Vol. 1, arr. Harris and Skirrow (ABRSM: F/E b edn) 2 Lizzie Davis Mordred’s Castle: No. 2 from Hornets Nest (Brass Wind) 3 Tom Davoren Waltz for E. ¸ ? ˝ Shining Brass, Book 1 (ABRSM: & / brass edition; F piano accomp. published separately) 4 David A. Stowell Strollin’ ˛ 5 Peter Graham Moscow or Paris: No. 1 or No. 2 from Cityscapes for Horn in F (Gramercy Music) 6 Christopher Gunning Echoes or Sad Café. No. 4 or No. 7 from The Really Easy Horn Book, arr. Gunning and Pearson (Faber) 7 Ian Lowes Nightfall. Boosey Brass Method, Horn in F, Repertoire Book B (Boosey & Hawkes) 8 Rendall and Thomas Birdie Song. Winners Galore, arr. Lawrance (Brass Wind: & brass edition; F piano accomp. published separately) 9 Pam Wedgwood Hot Chilli or Cheeky Cherry: from Really Easy Jazzin’ About for French Horn (Faber) LIST C

1 Lizzie Davis Tiny Minuet: from Polished Brass (Brass Wind: & brass edition) 2 Jock McKenzie Pop or Sizhu: No. 1 or No. 2 from Dance to the Beat of the World (Con Moto: & brass edition) 3 Peter Meechan One, Two, Three! ¸ ? ˝ Shining Brass, Book 1 (ABRSM: & / brass edition) 4 Philip Sparke Puppet’s Dance ˛ 5 John Miller Hungarian Hoe-down or Supersonic Samurai: No. 3 or No. 14 from Simple Studies for Beginner Brass (Faber: & brass edition) 6 Mark Nightingale A Small Step or Fiesta Siesta: No. 1 or No. 2 from Easy Jazzy ’Tudes (Warwick Music: & brass edn) 7 Philip Sparke Modal Melody or Marching Home: No. 3 or No. 7 from Skilful Studies for Horn (Anglo Music AMP 099-401)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 87 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: C major; A minor (one octave, starting an octave above lowest tonic) Scales: in the above keys (minor in natural or harmonic or melodic form at candidate’s choice) Arpeggios: the common chords of the above keys for the range indicated SIGHT-READING*: a short piece in simple time within the keys, notes and overall range of the scale requirements set for this grade. Some accidentals, dotted and tied notes may be included. See also p. 7.

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Horn GRADE 2 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Arbeau Pavane (from Orchésographie). No. 11 from Horn Solos, Book 1, arr. Campbell (Faber) 2 Brahms St Anthony Chorale (from Variations on a Theme by Haydn, Op. 56a). Time Pieces for Horn, Vol. 1, arr.

Harris and Skirrow (ABRSM: F/E b edition) 3 Mozart Aria (from The Marriage of Figaro) ¸ Winners Galore, arr. Lawrance (Brass Wind: & brass edition; F piano ˝ ˛ accomp. published separately) 4 Trad. Welsh Calon Lân 5 Philip Sparke My Lady’s Pavan ¸ Shining Brass, Book 1 (ABRSM: & /? brass edition; F piano accomp. published ˝ 6 David A. Stowell A Walk in the Rain ˛ separately) 7 Trad. Welsh David of the White Rock. No. 3 from Going Solo – Horn, arr. Bissill and Campbell (Faber) 8 Trad. Welsh Men of Harlech. Winner Scores All, arr. Lawrance (Brass Wind: & brass edition; F piano accomp. published separately) 9 Peter Warlock Basse-Dance. Boosey Brass Method, Horn in F, Repertoire Book B (Boosey & Hawkes) LIST B

1 Lizzie Davis Dark Rider: No. 4 from Hornets Nest (Brass Wind) 2 Tom Davoren Hangin’ with Monti ¸ Shining Brass, Book 1 (ABRSM: &/? brass edition; F piano accomp. published ˝ ˛ separately) 3 Philip Sparke Tennessee Rag 4 Peter Graham Seville or Kyoto: No. 3 or No. 4 from Cityscapes for Horn in F (Gramercy Music) 5 Chris Norton A Dab Hand. Boosey Brass Method, Horn in F, Repertoire Book B (Boosey & Hawkes) 6 Trad. Spiritual Nobody Knows. No. 1 from Going Solo – Horn, arr. Bissill and Campbell (Faber) 7 Walton Song at Dusk (from Duets for Children). Time Pieces for Horn, Vol. 1, arr. Harris and Skirrow (ABRSM: F/E b edition) 8 Pam Wedgwood Easy Tiger or Keep Truckin’: from Really Easy Jazzin’ About for French Horn (Faber) 9 John Williams Somewhere in My Memory (from Home Alone). Winner Scores All, arr. Lawrance (Brass Wind: & brass edition; F piano accomp. published separately) LIST C

1 Lizzie Davis Tarantella: from Polished Brass (Brass Wind: & brass edition) 2 Jock McKenzie Calypso or Czardas: No. 11 or No. 20 from Dance to the Beat of the World (Con Moto: & brass edition) 3 Peter Meechan Haunted House ¸ ? ˝ Shining Brass, Book 1 (ABRSM: & / brass edition) 4 David A. Stowell High Street ˛ 5 John Miller Sabre Dance or Scottish Warrior: No. 16 or No. 21 from Simple Studies for Beginner Brass (Faber: & brass edition) 6 Mark Nightingale Ready, Aim, Fire! or The Nuthatch: No. 4 or No. 6 from Easy Jazzy ’Tudes (Warwick Music: & brass edition) 7 Philip Sparke The Big Apple or Tom’s Tune: No. 11 or No. 13 from Skilful Studies for Horn (Anglo Music AMP 099-401)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 87 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: Bb, C majors; B, D minors (one octave, starting an octave above lowest tonic) Scales: in the above keys (minors in natural or harmonic or melodic form at candidate’s choice) Arpeggios: the common chords of the above keys for the range indicated SIGHT-READING*: a short piece in simple time within the keys, notes and overall range of the scale requirements set up to and including this grade. Some accidentals, dotted and tied notes may be included.

See also p. 7.

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

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Horn GRADE 3 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Tom Davoren Rondo Olympia ¸ Shining Brass, Book 1 (ABRSM: & /? brass edition; F piano accomp. published ˝ ˛ separately) 2 Lucy Pankhurst Sicilienne 3 Handel See, the Conqu’ring Hero Comes (from Judas Maccabaeus) ¸ Time Pieces for Horn, Vol. 1, arr. Harris ˝ ˛ and Skirrow (ABRSM: F/E b edition) 4 Schumann Soldiers’ March (from Album for the Young, Op. 68) 5 Mendelssohn O for the Wings of a Dove. 10 Easy Tunes for Horn, arr. Humphries (Fentone F 486-401) 6 Tchaikovsky Humoresque in C. No. 9 from Going Solo – Horn, arr. Bissill and Campbell (Faber) 7 Tchaikovsky Reverie. Winner Scores All, arr. Lawrance (Brass Wind: & brass edition; F piano accomp. published separately) 8 Trad. English Greensleeves. No. 8 from ¸ Skilful Solos for F or E b Horn, arr. Sparke (Anglo Music AMP 192˝ 9 Vivaldi Spring.

No. 4 from ˛ 400: F/E b edition) LIST B

1 Bernstein America (from West Side Story). Winner Scores All, arr. Lawrance (Brass Wind: & brass edition; F piano accomp. published separately) 2 Richard Bissill Waltz to Take Away. No. 5 from Going Solo – Horn, arr. Bissill and Campbell (Faber) 3 Lizzie Davis En Cor: No. 7 from Hornets Nest (Brass Wind) 4 John Frith Broken Dreams ¸ Shining Brass, Book 1 (ABRSM: & /? brass edition; F piano accomp. published ˝ 5 Peter Meechan Purple Shade ˛ separately) 6 Peter Graham New York (grace note optional) or Vienna: No. 5 or No. 6 from Cityscapes for Horn in F (Gramercy Music) 7 Paul Harris Hunt the Horn. Time Pieces for Horn, Vol. 1, arr. Harris and Skirrow (ABRSM: F/E b edition) 8 Sidney Ramin Music to Watch Girls By ¸ ˝ Jazzed Up Too for F Horn, arr. Ramskill (Brass Wind) ˛ 9 Rodgers and Hart Blue Moon LIST C

1 Concone Study No. 1 or No. 3. Concone Studies for Horn in F, arr. Ashworth (Emerson E299a) 2 Lizzie Davis Horn of Wonder: from Polished Brass (Brass Wind: & brass edition) 3 Timothy Jackson How’s Tricks? ¸ ? ˝ Shining Brass, Book 1 (ABRSM: & / brass edition) 4 Peter Meechan Summer Sound ˛ 5 Jock McKenzie Halling: No. 28 from Dance to the Beat of the World (Con Moto: & brass edition) 6 Mark Nightingale Ermie’s Blues: No. 10 from Easy Jazzy ’Tudes (Warwick Music: & brass edition) 7 Philip Sparke Rondino or Classical Theme: No. 22 or No. 24 from Skilful Studies for Horn (Anglo Music AMP 099-401)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 88 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: C, E minors (one octave, starting an octave above lowest tonic) G, A majors; G minor (a twelfth, starting below stave) Scales: in the above keys (minors in harmonic or melodic form at candidate’s choice) Chromatic Scale: starting on C (one octave) Arpeggios: the common chords of the above keys for the ranges indicated SIGHT-READING*: a short piece in simple time within the keys, notes and overall range of the scale requirements set up to and including this grade. See also p. 7.

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Horn GRADE 4 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Bizet Theme from L’Arlésienne. No. 11 from Going Solo – Horn, arr. Bissill and Campbell (Faber) 2 Tom Davoren Beaufort Allegro ¸ Shining Brass, Book 2 (ABRSM: & /? brass edition; F piano accomp. published ˝ ˛ separately) 3 John Frith Jiggedy Jig 4 Grieg Solveig’s Song (from Peer Gynt). Great Winners, arr. Lawrance (Brass Wind: & brass edition; F piano accomp. published separately) 5 Humperdinck Evening Prayer (from Hänsel und Gretel). Time Pieces for Horn, Vol. 2, arr. Harris and Skirrow (ABRSM: F/E b edition) 6 Mendelssohn Nocturne (from A Midsummer Night’s Dream). No. 17 from ¸ Horn Solos, Book 1, arr. Campbell ˝ 7 Weber Huntsmen’s Chorus (from Der Freischütz).

No. 19 from ˛ (Faber) 8 Mozart Adagio.

No. 15 from ¸ Skilful Solos for F or E b Horn, arr. Sparke ˝ 9 Schubert Marche militaire (grace notes optional). No. 16 from ˛ (Anglo Music AMP 192-400: F/E b edition) LIST B

1 Richard Bissill Hymn of the High Plains. No. 7 from Going Solo – Horn, arr. Bissill and Campbell (Faber) 2 Jean-Michel Damase Berceuse, Op. 19 (Leduc AL 20897) 3 Lizzie Davis Taco Taco! or Zarabanda: No. 6 or No. 8 from Hornets Nest (Brass Wind) 4 Ron Goodwin 633 Squadron. Great Winners, arr. Lawrance (Brass Wind: & brass edition; F piano accomp. published separately) 5 Peter Graham Buenos Aires: No. 7 from Cityscapes for Horn in F (Gramercy Music) 6 Ronald Hanmer Arioso or Finale: 3rd or 4th movt from Suite for Horn (Emerson E31: F/E b edition) 7 Peter Meechan Way Down South ¸ Shining Brass, Book 2 (ABRSM: & /? brass edition; F piano accomp. published ˝ ˛ separately) 8 David A. Stowell Open Plains 9 Robert Ramskill In the Fast Lane. Jazzed Up Too for F Horn, arr. Ramskill (Brass Wind) LIST C

1 Concone Study No. 5. Concone Studies for Horn in F, arr. Ashworth (Emerson E299a) 2 Lizzie Davis Wipe Out: from Polished Brass (Brass Wind: & brass edition) 3 Tom Davoren Quiet Moment ¸ ? ˝ Shining Brass, Book 2 (ABRSM: & / brass edition) 4 Timothy Jackson Circulation ˛ 5 Jock McKenzie Tarantella: from Music Makes the World Go Around (Con Moto: & brass edition) 6 John Miller The Upward Slur or Articulation: No. 2 or No. 4 from Progressive Brass Studies (Faber: & brass edition) 7 Philip Sparke Penny Parade or One-part Invention: No. 34 or No. 36 from Skilful Studies for Horn (Anglo Music AMP 099-401)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 88 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: Bb major; A, B minors (a twelfth) E, F majors; F minor (two octaves) Scales: in the above keys (minors in harmonic or melodic form at candidate’s choice) Chromatic Scale: starting on A (a twelfth) Arpeggios: the common chords of the above keys for the ranges indicated Dominant Seventh: in the key of C (one octave) SIGHT-READING*: a short piece in simple or compound time within the keys, notes and overall range of the scale requirements set up to and including this grade. See also p. 7.

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

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Horn GRADE 5 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Beethoven Scherzo and Trio (from Septet, Op. 20) ¸ Time Pieces for Horn, Vol. 2, arr. Harris and Skirrow ˝ ˛ (ABRSM: F/E b edition) 2 Saint-Saëns Romance, Op. 36 3 Cherubini Sonata No. 1. Cherubini 2 Sonatas (Concert Etudes) (G. Schirmer GS33559) 4 Debussy En bateau.

No. 11 from ¸ ˝ Horn Solos, Book 2, arr. Campbell (Faber) 5 Handel Mirth admit me of thy crew. No. 12 from ˛ ?

6 John Frith Canzona ¸ Shining Brass, Book 2 (ABRSM: & / brass edition; F piano accomp. published ˝ 7 David A. Stowell Jam Bouree ˛ separately) 8 Ippolitov-Ivanov Cortège (from Caucasian Sketches). Undercover Hits for Horn in F, arr. Gout (Brass Wind) 9 Paradies Sicilienne, arr. Denwood (Emerson E474: F/E b edition) LIST B

1 Bernstein Psalm 23 (from Chichester Psalms). Time Pieces for Horn, Vol. 2, arr. Harris and Skirrow (ABRSM: F/E b edition) 2 Richard Bissill Calling All Cars (handstopping optional). Hornscape for Horn in F, arr. Bissill (Brass Wind) 3 Tom Davoren Lindy Hop! ¸ Shining Brass, Book 2 (ABRSM: & /? brass edition; F piano accomp. ˝ 4 Lucy Pankhurst Gone, Not Forgotten ˛ published separately) 5 W. Lloyd Webber Summer Pastures (Stainer & Bell H377) 6 Jim Parker Mapp and Lucia. The Music of Jim Parker for Horn in F (Brass Wind) 7 Philip Sparke March of the Toy Soldiers or Song of Farewell: No. 3 or No. 7 from Super Solos for F or E b Horn (Anglo Music AMP 265-400: F/E b edition) 8 John Williams Raiders March (from Raiders of the Lost Ark). Great Winners, arr. Lawrance (Brass Wind: & brass edition; F piano accomp. published separately) 9 Guy Woolfenden War Dance or Moonlight Rumba: from Horn Dances (Brass Wind) LIST C

1 Concone Study No. 11 or No. 18. Concone Studies for Horn in F, arr. Ashworth (Emerson E299a) 2 Lizzie Davis Hornpipe: from Polished Brass (Brass Wind: & brass edition) 3 Kopprasch Study No. 8 or No. 10: from 60 Selected Studies for French Horn, Book 1 (Carl Fischer or Hofmeister FH6014) 4 Jock McKenzie Fling: from Music Makes the World Go Around (Con Moto: & brass edition) 5 Peter Meechan Air ¸ ? ˝ Shining Brass, Book 2 (ABRSM: & / brass edition) 6 David A. Stowell Flennon Study (either version) ˛ 7 John Miller Prairie Song or March: No. 5 or No. 6 from Progressive Brass Studies (Faber: & brass edition)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 89 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: B b major (a twelfth) D, Eb, G majors; D, E, F # minors (two octaves) Scales: in the above keys (minors in harmonic or melodic form at candidate’s choice) Chromatic Scale: starting on F (two octaves) Arpeggios: the common chords of the above keys for the ranges indicated Dominant Seventh: in the key of C (two octaves) SIGHT-READING*: see p. 7.

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

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Richard Bissill My Lady Fair ¸ 2 John Frith Allegro Appassionato ˝ Principal Horn (ABRSM) 3 Timothy Jackson The Old Lancashire Hornpipe ˛ 4 Haydn Adagio: 2nd movt from Horn Concerto No. 2 in D (Boosey & Hawkes: F/D edition) 5 J. B. Loeillet Allegro (observing repeat): 2nd movt from Sonata for Horn, arr. Civil (Broadbent & Dunn 10220) 6 Mozart Allegro or Rondo–Allegro: 1st or 2nd movt from Horn Concerto No. 1 in D, K. 412/514 (Bärenreiter BA 5314-90: F/D edition) 7 Mozart Andante: 2nd movt from Horn Concerto No. 2 in E b, K. 417 (Bärenreiter BA 5311-90: F/E b edition) 8 R. Strauss Andante for Horn, Op. posth. (Boosey & Hawkes) 9 R. Strauss Andante: 2nd movt from Horn Concerto No. 1 in E b, Op. 11 (Universal UE 34725) LIST B

1 Richard Bissill Ghost Rider. Hornscape for Horn in F, arr. Bissill (Brass Wind) 2 Bozza En Irlande (Leduc AL 20930) 3 Dunhill Presto non troppo: No. 6 from Cornucopia, Op. 95 (Boosey & Hawkes) 4 John Frith Time Passing ¸ ˝ Principal Horn (ABRSM) 5 Timothy Jackson Loch Lomond ˛ 6 Hindemith Ruhig bewegt: 2nd movt from Horn Sonata (1939) (Schott ED 3642) 7 Richard Kershaw Night Ride (Broadbent & Dunn 13101) 8 Jim Parker The House of Eliott. The Music of Jim Parker for Horn in F (Brass Wind) 9 Guy Woolfenden Spanish Dance: from Horn Dances (Brass Wind) LIST C

1 J. S. Bach Bourrée I and II: 5th and 6th movts from Suite No. 3. J. S. Bach 6 Suites for Horn Solo, arr. Orval (Editions Marc Reift EMR 256) 2 Richard Bissill On Your Uppers ¸ ˝ Principal Horn (ABRSM) ˛ 3 John Frith Tarantella 4 Concone Study No. 17 or No. 25. Concone Studies for Horn in F, arr. Ashworth (Emerson E299a) 5 Kopprasch Study No. 13 or No. 21: from 60 Selected Studies for French Horn, Book 1 (Carl Fischer or Hofmeister FH6014) 6 Gunther Schuller Allegro vivace: No. 4 from Studies for Unaccompanied Horn (OUP) 7 Lowell E. Shaw No. 1: from Just Desserts – Frippery Style (The Hornists’ Nest)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 89 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: C, D b, F #, A b majors; C #, E b, G, A minors (two octaves) Scales: in the above keys (minors in both harmonic and melodic forms) Chromatic Scales: starting on E, F, F # and G (two octaves) Arpeggios: the common chords of the above keys for the range indicated Dominant Seventh: in the key of D (two octaves) Diminished Seventh: starting on G (two octaves) SIGHT-READING*: see p. 7.

TRANSPOSITION: candidates will be asked to transpose down a tone a short piece approximately equivalent to a Grade 4 sight-reading test. * Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests)

14

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

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Beethoven Allegro moderato: 1st movt from Horn Sonata in F, Op. 17 (Boosey & Hawkes or Henle HN 498) 2 Richard Bissill The Drawing Room. Hornscape for Horn in F, arr. Bissill (Brass Wind) 3 Glazunov Rêverie, Op. 24 (Belaieff BEL 343) 4 Gliere Intermezzo, Op. 35 No. 11. Gliere Four Pieces for Horn and Piano, Op. 35 (Hans Pizka) 5 Mozart Allegro or Allegro: 1st or 3rd movt from Horn Concerto No. 3 in E b, K. 447 (Bärenreiter BA 5312-90: F/E b edition) 6 Mozart Rondo–Allegro vivace: 3rd movt from Horn Concerto No. 4 in E b, K. 495 (Bärenreiter BA 5313-90: F/E b edition) 7 Reinecke Notturno, Op. 112 (Schott COR 9) 8 F. Strauss 3rd movt (starting at Fig. K): from Horn Concerto in C minor, Op. 8 (G. Schirmer GS33556) 9 F. Strauss Nocturno, Op. 7 (Universal UE 1368) LIST B

1 M. Arnold Andantino grazioso: 2nd movt from Horn Concerto No. 2, Op. 58 (Paterson PAT62001: F/E b edition) 2 Arnold Cooke Rondo in B b (Schott ED 10231) 3 Jean-Michel Damase Pavane variée (Lemoine) 4 John Frith Jousting. Principal Horn (ABRSM) 5 Armando Ghidoni Poésie et Gaîté (observing cadenza) (Leduc AL 29207) 6 Christopher Gibbs Meditation (Phylloscopus PP479) 7 Jan Koetsier Romanza, Op. 59 No. 2 (Editions Marc Reift EMR 240) 8 Prokofiev Morning Dance (from Romeo and Juliet). Hornscape for Horn in F, arr. Bissill (Brass Wind) 9 Guy Woolfenden Sword Dance: from Horn Dances (Brass Wind) LIST C

1 J. S. Bach Gigue: 7th movt from Suite No. 2. J. S. Bach 6 Suites for Horn Solo, arr. Orval (Editions Marc Reift EMR 256) 2 John Frith Olympic Spirit. Principal Horn (ABRSM) 3 B. Hummel Intermezzo: 2nd movt from Suite for Solo Horn in F, Op. 64 (Zimmermann ZM21270) 4 Kopprasch Study No. 16 or No. 33: from 60 Selected Studies for French Horn, Book 1 (Carl Fischer or Hofmeister FH6014) 5 de Pré No. 2: from 20 Études pour le cor grave (Billaudot GB2127) 6 Gunther Schuller Allegro moderato: No. 2 from Studies for Unaccompanied Horn (OUP) 7 Lowell E. Shaw No. 4 or No. 6: from Just Desserts – Frippery Style (The Hornists’ Nest)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 90 SCALES AND ARPEGGIOS*: from memory, to be played slurred, legato-tongued and staccato in the follow-­ ing­ keys: All keys, major and minor (two octaves; A and B b majors and minors both lower and upper two octaves) Scales: in the above keys (minors in both harmonic and melodic forms) Chromatic Scales: starting on any note (two octaves) Arpeggios: the common chords of the above keys for the range indicated Dominant Sevenths: in the keys of B, C, D b and D (two octaves) Diminished Sevenths: starting on C and A b (two octaves) SIGHT-READING*: see p. 7.

TRANSPOSITION: candidates will be asked to transpose down a tone a short piece approximately equivalent to a Grade 5 sight-reading test.

15

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

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 J. S. Bach Quoniam tu solus sanctus (from Mass in B minor) (solo line for Horn in D). Absolutely Horn, arr.

Bissill (Brass Wind) 2 Beethoven Poco adagio, quasi andante and Rondo–Allegretto moderato: 2nd and 3rd movts from Horn Sonata in F, Op. 17 (Boosey & Hawkes or Henle HN 498) 3 Donizetti Concerto for Horn (complete), arr. Leloir (Billaudot GB1907) 4 John Frith The Pearl. Principal Horn (ABRSM) 5 Gliere Andante: 2nd movt from Horn Concerto, Op. 91 (Hans Pizka or Sikorski–Boosey & Hawkes) 6 Hutschenruijter Romanze, Op. 12 (Compusic XCOM305: E b edition) 7 Mozart Allegro or Rondo–Allegro: 1st or 3rd movt from Horn Concerto No. 2 in E b, K. 417 (Bärenreiter BA 5311-90: F/E b edition) 8 Saint-Saëns Morceau de Concert, Op. 94 (cutting Figs 3–4 and 10–11) (Durand) 9 Steup Allegro brillante: 1st movt from Sonata No. 11 in E b (Compusic XCOM309: E b edition) 10 R. Strauss Allegro or Rondo–Allegro: 1st or 3rd movt from Horn Concerto No. 1 in E b, Op. 11 (Universal UE 34725) LIST B

1 Alan Abbott Alla Caccia (Weinberger) 2 Richard Bissill By Jupiter! Principal Horn (ABRSM) 3 York Bowen Moderato espressivo: 1st movt from Horn Sonata in E b, Op. 101 (Emerson E165) 4 Bozza En forêt, Op. 40 (Leduc AL 19955) 5 Büsser Cantecor, Op. 77 (Leduc AL 23101) 6 John Frith Vivo: 3rd movt from Horn Sonata (Emerson E538) 7 Hindemith Lebhaft: 3rd movt from Horn Sonata (1939) (Schott ED 3642) 8 Jan Koetsier Scherzo Brillante, Op. 96 (Editions Marc Reift EMR 267) 9 Trygve Madsen Allegro: 1st movt from Horn Sonata, Op. 24 (Musikk-Huset) 10 Gilbert Vinter Hunter’s Moon (Boosey & Hawkes) LIST C

1 Jeffrey Agrell Romp for solo horn (special effects optional) (Editions Marc Reift EMR 2040) 2 J. S. Bach Gigue: 7th movt from Suite No. 3. J. S. Bach 6 Suites for Horn Solo, arr. Orval (Editions Marc Reift EMR 256) 3 Derek Bourgeois Presto: No. 8 from Fantasy Pieces for Horn (Brass Wind) 4 B. Hummel Finale (flutter-tonguing optional): 4th movt from Suite for Solo Horn in F, Op. 64 (Zimmermann ZM21270) 5 Kopprasch Study No. 14: from 60 Selected Studies for French Horn, Book 1 (Carl Fischer or Hofmeister FH6014) 6 Bernhard Krol Laudatio for solo horn (Simrock EE 2962) 7 de Pré No. 13: from 20 Études pour le cor grave (Billaudot GB2127) 8 Lowell E. Shaw No. 12: from Just Desserts – Frippery Style (The Hornists’ Nest)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 91

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

16

Horn GRADE 8 SCALES AND ARPEGGIOS*: from memory, to be played slurred, legato-tongued and staccato in the follow-­ ing­ keys: A, B b, B majors; A, B b, B minors (three octaves) All other keys, major and minor (two octaves) Scales: in the above keys (minors in both harmonic and melodic forms) Chromatic Scales: starting on any note (two octaves) Whole-Tone Scales: starting on B and C (two octaves), as example given on p. 85 Arpeggios: the common chords of the above keys for the ranges indicated Dominant Sevenths: in all keys (two octaves) Diminished Sevenths: starting on G, A b and A (two octaves) SIGHT-READING*: see p. 7.

TRANSPOSITION: candidates will be asked to transpose down a tone a short piece approximately equivalent to a Grade 6 sight-reading test.

17

TRUMPET, Bb CORNET, Eb SOPRANO CORNET and FLUGELHORN (Subject Codes: 14, 20, 21 and 22)

This syllabus is valid for 2010–2016. The next revision of the set pieces will come into force in 2017.

The pieces set in this syllabus may be played on any of the above four instruments. All the pieces are published for instruments in B b unless otherwise indicated. Some pieces may be offered on a trumpet in C, D, E b or E where the syllabus indicates a published edition for these tunings (or where other suitable editions are available).

E b Soprano Cornet: Candidates should ensure that the piano accompaniments are suitably transposed where necessary. In Grades 1 and 2, E b Soprano Cornet candidates may choose their List A and/or B pieces from the Grades 1 and 2 lists set for E b Horn (see pp. 30–31).

Related instrument option: Candidates for any of the above four instruments (Trumpet, B b Cornet, E b Soprano Cornet, Flugelhorn) have the option of playing one piece on one of the other three instruments (there is no advantage to be gained over other candidates in taking this option). All other requirements must be performed using the instrument on which the candidate has entered.

Trumpet, Cornet and Flugelhorn GRADE 1 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Arne Water parted from the sea. The Trumpet Volunteer, arr. Wiggins (Kevin Mayhew) 2 Bull Brunswick’s Toy. Bravo! Trumpet, arr. Barratt (Boosey & Hawkes) 3 Handel March. First Repertoire for Trumpet, arr. Calland (Faber) 4 Handel Minuet (from Water Music)

¸ ˝ Time Pieces for Trumpet, Vol. 1, arr. Harris and Wallace (ABRSM) 5 Telemann Allegretto (from Fantasia No. 4) ˛ 6 L. Mozart Burlesque, arr. Nolan. Belwin Master Solos, Trumpet Easy (Vol. 1), arr. Snell (Alfred–Belwin EL03401; piano accomp. published separately, EL03388) 7 Susato Ronde. No. 7 from First Book of Trumpet Solos, arr. Wallace and Miller (Faber) 8 Susato Ronde. P. 34 from Trumpet Basics, arr. Miller (Faber; piano accomp. published separately) 9 Trad. English The Barley Break. The Magic Trumpet, arr. Hare (Boosey & Hawkes) LIST B

1 Carol Barratt Modal Lament. Bravo! Trumpet, arr. Barratt (Boosey & Hawkes) 2 Bernstein One Hand, One Heart (from West Side Story). Easy Winners, arr. Lawrance (Brass Wind: & brass edition; piano accomp. published separately) 3 arr. Maxwell Olé! (A and B sections). No. 2 from Football Crazy – Trumpet, arr. Maxwell (Spartan Press SP840) 4 J. Strauss II The Blue Danube ¸

˝ First Repertoire for Trumpet, arr. Calland (Faber) ˛ 5 Trad. La Bamba 6 Trad. English The Foggy, Foggy Dew. The Trumpet Volunteer, arr. Wiggins (Kevin Mayhew) 7 Trad. Russian Kalinka (observing repeat). P. 26 from ¸ Trumpet Basics, arr. Miller (Faber; piano accomp. ˝ 8 Pam Wedgwood Your first hit single.

P. 35 from ˛ published separately) 9 Pam Wedgwood Hot Chilli: from Really Easy Jazzin’ About for Trumpet (Faber) LIST C

1 Keith Amos Band of Gold or Speaking of Lily: No. 10 or No. 12 from 24 Carat Gold (CMA Publications 273) 2 Deborah Calland Lullaby or Ready, Steady, Go!: from Top Brass (Stainer & Bell H371) 3 Edward Gregson Little Minuet or Hungarian Dance: No. 3 or No. 4 from 20 Supplementary Tunes for Beginner Brass (Brass Wind: & brass edition) 4 Rob Hudson Come Along: No. 1 from 30 Modern Studies for Trumpet (Universal UE 21316) 5 Andrew and Martin Hurrell Stepping Out or Kkontroll: No. 5 or No. 10 from Study Brass, Vol. 1 (Sunshine Music SUN111) 6 Mark Nightingale A Small Step or Fiesta Siesta: No. 1 or No. 2 from Easy Jazzy ’Tudes (Warwick Music: & brass edition) 7 Philip Sparke Marching Home: No. 7 from Skilful Studies for Trumpet, Cornet, Flugel Horn or Tenor Horn (Anglo Music AMP 098-401)

18

Trumpet, Cornet and Flugelhorn GRADE 1 AURAL TESTS FOR THE GRADE*: see pp. 86 and 87 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: C major; A minor (one octave) Scales: in the above keys (minor in natural or harmonic or melodic form at candidate’s choice) Arpeggios: the common chords of the above keys for the range indicated SIGHT-READING*: a short piece in simple time within the keys, notes and overall range of the scale requirements set for this grade. Some accidentals, dotted and tied notes may be included. See also p. 7.

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

19

Trumpet, Cornet and Flugelhorn GRADE 2 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 C. P. E. Bach March. Time Pieces for Trumpet, Vol. 2, arr. Harris and Wallace (ABRSM) 2 J. S. Bach O Jesulein süss (O Sweet Child Jesus). No. 16 from ¸ First Book of Trumpet Solos, arr. Wallace and ˝ 3 Clarke Minuet.

No. 10 from ˛ Miller (Faber) 4 Daquin Processional, arr. Tyndall ¸ Belwin Master Solos, Trumpet Easy (Vol. 1), arr. Snell (Alfred–Belwin ˝ ˛ EL03401; piano accomp. published separately, EL03388) 5 Telemann Bourée 6 Diabelli Ländler (from Processional Fanfare) ¸

˝ Time Pieces for Trumpet, Vol. 1, arr. Harris and Wallace (ABRSM) ˛ 7 Adolf Müller March 8 Nicholas Hare Variations on ‘Goe from My Window’ ¸ ˝ The Magic Trumpet, arr. Hare (Boosey & Hawkes) ˛ 9 Henry VIII Helas Madame LIST B

1 M. Arnold Cornish Dance. P. 47 from ¸

˝ Trumpet Basics, arr. Miller (Faber; piano accomp. published separately) 2 Pam Wedgwood Flashback. P. 60 from ˛ 3 Carol Barratt Hampton ‘Swing’ or Fivepins. Bravo! Trumpet, arr. Barratt (Boosey & Hawkes) 4 Bartók Play (from For Children, Vol. 1). Time Pieces for Trumpet, Vol. 1, arr. Harris and Wallace (ABRSM) 5 Rory Boyle Nerves of Steel: No. 2 from Metal Pieces (ABRSM) 6 Tony Cliff Game Over. Fingerprints – Trumpet (Faber) 7 arr. Maxwell When the … go marching in (A and B sections). No. 8 from Football Crazy – Trumpet, arr.

Maxwell (Spartan Press SP840) 8 Trad. Scottish Skye Boat Song. The Magic Trumpet, arr. Hare (Boosey & Hawkes) 9 Pam Wedgwood Easy Tiger or Buttercup: from Really Easy Jazzin’ About for Trumpet (Faber) LIST C

1 Keith Amos Topsy Turvy: No. 16 from 24 Carat Gold (CMA Publications 273) 2 Lizzie Davis Geared Up: from Polished Brass (Brass Wind: & brass edition) 3 Rob Hudson Serenade or Lullaby: No. 5 or No. 7 from 30 Modern Studies for Trumpet (Universal UE 21316) 4 Andrew and Martin Hurrell Soviet Reunion or Rustic Dance: No. 18 or No. 21 from Study Brass, Vol. 1 (Sunshine Music SUN111) 5 Mark Nightingale The Nuthatch or The Stinger: No. 6 or No. 9 from Easy Jazzy ’Tudes (Warwick Music: & brass edition) 6 James Rae Study No. 31 or No. 33: from Jazz Trumpet Studies (Faber) 7 Philip Sparke Norwegian Mood: No. 8 from Skilful Studies for Trumpet, Cornet, Flugel Horn or Tenor Horn (Anglo Music AMP 098-401)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 87 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: Bb, D majors; A, D minors (one octave) Scales: in the above keys (minors in natural or harmonic or melodic form at candidate’s choice) Arpeggios: the common chords of the above keys for the range indicated SIGHT-READING*: a short piece in simple time within the keys, notes and overall range of the scale requirements set up to and including this grade. Some accidentals, dotted and tied notes may be included.

See also p. 7.

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

20

Trumpet, Cornet and Flugelhorn GRADE 3 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Anon. English Gathering Peascods. Bravo! Trumpet, arr. Barratt (Boosey & Hawkes) 2 M.-A. Charpentier Second Air de Trompette. Time Pieces for Trumpet, Vol. 3, arr. Harris and Wallace (ABRSM) 3 Clarke Trumpet Tune. Time Pieces for Trumpet, Vol. 2, arr. Harris and Wallace (ABRSM) 4 G. Farnaby Giles Farnaby’s Dreame. No. 2 from Second Book of Trumpet Solos, arr. Wallace and Miller (Faber) 5 Handel Minuet in D (from Music for the Royal Fireworks) (observing repeats) or Hornpipe (from Water Music).

An English Wedding, arr. Denwood (Emerson E443) 6 Mátyás Kovács Tempo di Marcia. No. 17 from Cornet (Trumpet) Music for Beginners, arr. Borst and Bogár (Editio Musica Budapest Z.6625) 7 Trad. English Greensleeves. No. 8 from ¸ Skilful Solos for Trumpet, Cornet or Flugelhorn, arr. Sparke ˝ 8 Vivaldi Spring.

No. 4 from ˛ (Anglo Music AMP 191-400) 9 Trad. What shall we do with the drunken sailor? or Blow the Man Down. Songs from the Sea, arr. Mawby (Kevin Mayhew) LIST B

1 Euday L. Bowman Twelfth Street Rag. P. 61 from Trumpet Basics, arr. Miller (Faber; piano accomp. published separately) 2 Alan Bullard Sentimental Serenade: No. 5 from Circus Skills for Trumpet (Spartan Press SP640) 3 Ruth Byrchmore The Procession. Fingerprints – Trumpet (Faber) 4 Foster Jeannie with the light brown hair. No. 6 from The Young Soloist for B b Instruments, Vol. 4, arr. Newsome (Studio Music) 5 Rob Hudson Down Home Blues: from Easy Blue Trumpet (Universal UE 21263) 6 Joplin Augustan Club Waltz. Time Pieces for Trumpet, Vol. 2, arr. Harris and Wallace (ABRSM) 7 József Karai Game of Tag. No. 16 from Cornet (Trumpet) Music for Beginners, arr. Borst and Bogár (Editio Musica Budapest Z.6625) 8 arr. Maxwell We shall not be moved (A and B sections). No. 5 from Football Crazy – Trumpet, arr. Maxwell (Spartan Press SP840) 9 JenŐ Takács Old Mississippi (ignoring ossia): No. 2 from Trumpet-Studio II, Op. 99 (Doblinger 5730: B b/C edn) LIST C

1 Lizzie Davis Karaoke Kick Start (in G) or Tap Dance (in G minor): P. 7 from Polished Brass (Brass Wind: & brass edition) 2 Robert Getchell Study No. 72 or No. 76: from Second Book of Practical Studies for Cornet and Trumpet (Alfred– Belwin EL00305) 3 Rob Hudson Lucky’s Blues: No. 8 from 30 Modern Studies for Trumpet (Universal UE 21316) 4 Andrew and Martin Hurrell A Minor Piece or Donky Derby: No. 8 or No. 9 from Study Brass, Vol. 2 (Sunshine Music SUN112) 5 Mark Nightingale Cinnamon Tea: No. 12 from Easy Jazzy ’Tudes (Warwick Music: & brass edition) 6 James Rae Study No. 37 or No. 43: from Jazz Trumpet Studies (Faber) 7 Philip Sparke Rondino or Classical Theme: No. 22 or No. 24 from Skilful Studies for Trumpet, Cornet, Flugel Horn or Tenor Horn (Anglo Music AMP 098-401)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 88 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: Eb, E majors; C, E minors (one octave) A major (a twelfth) Scales: in the above keys (minors in harmonic or melodic form at candidate’s choice) Chromatic Scale: starting on C (one octave) Arpeggios: the common chords of the above keys for the ranges indicated SIGHT-READING*: a short piece in simple time within the keys, notes and overall range of the scale requirements set up to and including this grade. See also p. 7.

21

Trumpet, Cornet and Flugelhorn GRADE 4 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Arban Vois-tu la neige qui brille? (Do You See the Glistening Snow?). No. 4 from Second Book of Trumpet Solos, arr. Wallace and Miller (Faber) 2 Byrd Ye Souldiers’ Dance. No. 1 from ¸ Trumpet Solos, Vol. 1, Tudor Trumpet Tunes, arr. Barsham and Jones ˝ 3 G. Farnaby Tower Hill.

No. 3 from ˛ (Chester CH55287) 4 M.-A. Charpentier Prelude. Time Pieces for Trumpet, Vol. 3, arr. Harris and Wallace (ABRSM) 5 Clarke Gigue. First Repertoire for Trumpet, arr. Calland (Faber) 6 Handel Bourrée (from Music for the Royal Fireworks). An English Wedding, arr. Denwood (Emerson E443) 7 Purcell Lilliburlero (observing repeats). No. 3 from Trumpet Solos, Vol. 2, The Age of Purcell, arr. Barsham and Jones (Chester CH55288) 8 Purcell Trumpet Tune, called The Cebell. No. 5 from Old English Trumpet Tunes, Book 1, arr. Lawton (OUP) 9 Tchaikovsky Mélodie antique française (Old French Song). No. 18 from First Book of Trumpet Solos, arr.

Wallace and Miller (Faber) LIST B

1 Ned Bennett Twilight in Paris ¸

˝ Fingerprints – Trumpet (Faber) ˛ 2 Elissa Milne Go-Goanna 3 Rory Boyle Bold as Brass: No. 6 from Metal Pieces (ABRSM) 4 Alan Bullard Trick Cyclist or Russian Galop: No. 6 or No. 8 from Circus Skills for Trumpet (Spartan Press SP640) 5 Dvořák Humoresque. Time Pieces for Trumpet, Vol. 3, arr. Harris and Wallace (ABRSM) 6 Foster De Camptown Races. No. 3 from The Young Soloist for B b Instruments, Vol. 4, arr. Newsome (Studio Music) 7 Adam Gorb Saltarello (mute optional): from A Blast from the Past (Brass Wind) 8 Rob Hudson Low Down Blues: from Easy Blue Trumpet (Universal UE 21263) 9 Allen Vizzutti Timbuktu: from Explorations (De Haske Hal Leonard; piano accomp. published separately) LIST C

1 Derek Bourgeois No. 3 or No. 4: from Ace of Trumpets (Brass Wind) 2 Lizzie Davis Smart Card (in E): P. 13 from Polished Brass (Brass Wind: & brass edition) 3 Robert Getchell Study No. 88 or No. 97: from Second Book of Practical Studies for Cornet and Trumpet (Alfred– Belwin EL00305) 4 Rob Hudson Even So or Dance of the Brigands: No. 11 or No. 13 from 30 Modern Studies for Trumpet (Universal UE 21316) 5 Mark Nightingale Blues for Big-Ears: No. 15 from Easy Jazzy ’Tudes (Warwick Music: & brass edition) 6 James Rae Study No. 44 or No. 48: from Jazz Trumpet Studies (Faber) 7 Philip Sparke Shepherd’s Song or Ursa Minor: No. 33 or No. 35 from Skilful Studies for Trumpet, Cornet, Flugel Horn or Tenor Horn (Anglo Music AMP 098-401)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 88 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: F major; F minor (one octave) A b, B b majors; A, B minors (a twelfth) Scales: in the above keys (minors in harmonic or melodic form at candidate’s choice) Chromatic Scale: starting on B b (a twelfth) Arpeggios: the common chords of the above keys for the ranges indicated SIGHT-READING*: a short piece in simple or compound time within the keys, notes and overall range of the scale requirements set up to and including this grade. See also p. 7.

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

22

Trumpet, Cornet and Flugelhorn GRADE 5 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Anon. Marche. No. 13 from Second Book of Trumpet Solos, arr. Wallace and Miller (Faber) 2 J. S. Bach Aria (Bist du bei mir), arr. Fitzgerald. Classic Festival Solos, Trumpet Vol. 2 (Alfred–Belwin EL03887; piano accomp. published separately, EL03888) 3 Clarke The Prince of Denmark’s March. No. 9 from ¸

˝ Old English Trumpet Tunes, Book 1, arr. Lawton (OUP) 4 Greene Trumpet Tune.

No. 10 from ˛ 5 Diabelli Andantino cantabile: 1st movt from Sonatina, Op. 151 No. 1, trans. Varasdy and Orbán (Editio Musica Budapest Z.13271) 6 Gibbons Coranto (ending at Fig. D): No. 2 from Suite of Keyboard Pieces for Trumpet, arr. Cruft (Stainer & Bell 2588: B b/C edition) 7 Hansen Andante con espressione: 2nd movt from Sonata for Cornet, Op. 18 (Hansen WH13213) 8 Hansen Romance for Trumpet/Cornet (Hansen WH10137) 9 Laue Allegro: 3rd movt from Trumpet Concerto (Brass Wind) LIST B

1 Bizet Aragonaise (from Carmen)

¸ ˝ Take Another Ten – Trumpet, arr. Hudson (Universal UE 21198) 2 Grieg Album Leaf (from Lyric Pieces, Op. 12) ˛ 3 Donizetti Prelude, Act II: from Don Pasquale. Essential Repertoire for Trumpet, arr. Jones and Boustead (Universal UE 12962) 4 Bryan Kelly Miss Slight (Spinster of this Parish): No. 4 from Whodunnit – Suite for Trumpet (Stainer & Bell H442) 5 John McCabe P. B. Blues: No. 3 from Dances for Trumpet (Novello NOV120530) 6 Paradies Sicilienne, arr. Snell (observing lower line in b. 26) (Rakeway Music) 7 Prokofiev Kijé’s Wedding (from Lieutenant Kijé), arr. Maganini (Edition Musicus) 8 Saint-Saëns Softly Awakes My Heart (from Samson and Delilah) (ending at Tempo I ), arr. Sparke for Cornet or Trumpet (Studio Music) 9 Pam Wedgwood Sliding Doors: from After Hours – Trumpet (Faber) LIST C

1 Arban Andante con spirito in E b: No. 9, P. 106 from Cornet Method (Boosey & Hawkes) 2 Derek Bourgeois No. 8 or No. 10: from Ace of Trumpets (Brass Wind) 3 Nigel Clarke Ryedale or Processional: from Featuring Rhythm (Brass Wind: & brass edition) 4 Lizzie Davis Hornpipe: from Polished Brass (Brass Wind: & brass edition) 5 Rob Hudson Scherzo or Cakewalk: No. 20 or No. 24 from 30 Modern Studies for Trumpet (Universal UE 21316) 6 Kopprasch Adagio: No. 15 from 60 Studies for Trumpet, Book 1 (IMC 2104) 7 James Rae Study No. 61: from Jazz Trumpet Studies (Faber)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 89 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: B b, D b majors; B b, C # minors (a twelfth) G, A b majors; G minor (two octaves) Scales: in the above keys (minors in harmonic or melodic form at candidate’s choice) Chromatic Scale: starting on C (a twelfth) Arpeggios: the common chords of the above keys for the ranges indicated Dominant Seventh: in the key of C (two octaves) SIGHT-READING*: see p. 7.

23

Trumpet, Cornet and Flugelhorn GRADE 6 PREREQUISITE FOR ENTRY: Grade 5 (or above) in Theory of Music, Practical Musicianship or any solo Jazz subject.

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Diabelli Rondo–Allegretto: 3rd movt from Sonatina, Op. 151 No. 1, trans. Varasdy and Orbán (Editio Musica Budapest Z.13271) 2 Gibbons The King’s Juell: No. 4 from Suite of Keyboard Pieces for Trumpet, arr. Cruft (Stainer & Bell 2588: B b/C edition) 3 Handel Allegro: 2nd movt from Sonata (in A b), Op. 1 No. 11. No. 2 from Handel Two Sonatas, trans. Varasdy and Orbán (Editio Musica Budapest Z.13933) 4 Hansen Allegro con brio: 1st movt from Sonata for Cornet, Op. 18 (Hansen WH13213) 5 Hansen Scherzo for Cornet (Hansen WH10138) 6 Haydn Andante: 2nd movt from Trumpet Concerto in E b, Hob. VIIe/1 (Henle HN 456 or Universal HM 223: B b/E b edition) 7 L. Otto Adagio or Rondo–Allegro grazioso: 2nd or 3rd movt from Trumpet Concerto in E b (Brass Wind: B b/E b edition) 8 Purcell Pomposo and Presto: 1st and 3rd movts from Sonata for Trumpet (IMC 2089: B b/C edition) 9 Reger Romance, trans. Piguet (Breitkopf & Härtel EB 4763) LIST B

1 Bozza Lied for Trumpet (Leduc AL25404: B b/C edition) 2 Arthur Butterworth Berceuse: from Fanfare and Berceuse. No. 3 (P. 5) from Contemporary Music for Trumpet (Boosey & Hawkes) 3 Dvořák Rusalka’s Song to the Moon (from Rusalka). Available in the album: Shepherd’s Song, arr. Wilson (Winwood Music 0084) 4 Adam Gorb Tucket: from A Blast from the Past (Brass Wind) 5 Hubeau Sarabande: 1st movt from Sonata for Trumpet (Durand: B b/C edition) 6 Bryan Kelly Colonel Glib (Retired) or The Chase: No. 3 or No. 6 from Whodunnit – Suite for Trumpet (Stainer & Bell H442) 7 Larsson Allegro Moderato or Allegro risoluto: 1st or 3rd movt from Concertino for Trumpet, Op. 45 No. 6 (Gehrmans Musikförlag CG5138U) 8 John McCabe Jigaudon: No. 7 from Dances for Trumpet (Novello NOV120530) 9 Cecilia McDowall Winter Landscape with Skaters: from Framed (Brass Wind) LIST C

1 Arban Andantino in B b: No. 9, P. 117 from Cornet Method (Boosey & Hawkes) 2 Derek Bourgeois No. 15 or No. 16: from Ace of Trumpets (Brass Wind) 3 Brandt Animato alla Polacca: No. 23 from 34 Studies for Trumpet (IMC 1391) 4 Nigel Clarke Russian Picture: from Featuring Rhythm (Brass Wind: & brass edition) 5 Rob Hudson Ivan’s Lament or Funketude: No. 25 or No. 26 from 30 Modern Studies for Trumpet (Universal UE 21316) 6 Kopprasch Allegro vivace or Maestoso: No. 21 or No. 28 from 60 Studies for Trumpet, Book 1 (IMC 2104) 7 Allen Vizzutti Tarantella or Bulgarian Bounce: from 20 Dances for Trumpet (De Haske Hal Leonard)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 89

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

24

Trumpet, Cornet and Flugelhorn GRADE 6 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: All instruments: D major; C minor (a twelfth) F #, A majors; G #, A minors (two octaves) B b instruments: B b major; B b minor (two octaves) E b Cornet: B b major; B b minor (a twelfth) Scales: in the above keys (minors in both harmonic and melodic forms) Chromatic Scales: starting on F #, G, A b and A (two octaves) Arpeggios: the common chords of the above keys for the ranges indicated Dominant Seventh: in the key of D (two octaves) Diminished Seventh: starting on G (two octaves) SIGHT-READING*: see p. 7.

TRANSPOSITION: Trumpet candidates only will be asked to transpose up a tone a short piece approximately equivalent to a Grade 4 sight-reading test.

25

Trumpet, Cornet and Flugelhorn GRADE 7 PREREQUISITE FOR ENTRY: Grade 5 (or above) in Theory of Music, Practical Musicianship or any solo Jazz subject.

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Boyce Trumpet Voluntary. No. 13 from Old English Trumpet Tunes, Book 1, arr. Lawton (OUP) 2 John Golland Ballade for Cornet, Op. 72 No. 1 (Studio Music) 3 Handel Adagio and Allegro (observing 8 va in bb. 21–26): 1st and 2nd movts from Sonata (in B b), Op. 1 No. 5.

No. 1 from Handel Two Sonatas, trans. Varasdy and Orbán (Editio Musica Budapest Z.13933) 4 Handel Let the Bright Seraphim (from Samson) (omitting DC). Handel & Bach Arias for D or E b Trumpet or Soprano Cornet, arr. Cranmer (ABRSM: D/E b edition) 5 Hansen Allegro con anima: 3rd movt from Sonata for Cornet, Op. 18 (Hansen WH13213) 6 J. N. Hummel Andante: 2nd movt from Trumpet Concerto (Kevin Mayhew: B b/E b edition or Boosey & Hawkes: B b edition) 7 Küffner Polonaise, Op. 126 (observing cadenza) (Kunzelmann GM 1623) 8 Ropartz Andante et Allegro (Edition Musicus) 9 Zubiaurre Audition Piece for Trumpet or Cornet (Brass Wind) LIST B

1 Alexandre Aroutiounian Aria or Scherzo: No. 1 or No. 2 from Aria et Scherzo (Leduc AL27205) 2 Barat Fantaisie in Eb for Cornet or Trumpet (Leduc AL21923: B b/C edition) 3 Bizet Overture: from Carmen Suite, arr. Calland (Stainer & Bell H454) 4 Bozza Badinage (Leduc AL20712: B b/C edition) 5 Iván Eröd Enjoying Life. No. 8 from Contemporary Music for Trumpet (Boosey & Hawkes) 6 Gabaye Boutade (Leduc AL21761: B b/C edition) 7 Adam Gorb Fughetta: from A Blast from the Past (Brass Wind) 8 Hubeau Intermède ( fluttertonguing optional): 2nd movt from Sonata for Trumpet (Durand: B b/C edition) 9 Trygve Madsen Allegretto conversante or Andante con moto or Vivace: 1st or 2nd or 3rd movt from Sonata for Trumpet, Op. 90 (Musikk-Huset) LIST C

1 Arban Allegro moderato: No. 12 from 14 Studies for Cornet (Boosey & Hawkes) also available in Arban Cornet Method (Boosey & Hawkes) 2 Derek Bourgeois Presto: No. 3 from Fantasy Pieces for Trumpet (Brass Wind) 3 Brandt Marziale: No. 2 from 34 Studies for Trumpet (IMC 1391) 4 Rob Hudson Shostakofievity: No. 28 from 30 Modern Studies for Trumpet (Universal UE 21316) 5 Kopprasch Allegro: No. 34 from 60 Studies for Trumpet, Book 1 (IMC 2104) 6 Longinotti Etude-Ostinato or Hexaphonic Study (ignoring the mute option): No. 6 or No. 8 from 12 Studies in Classical and Modern Style for Trumpet (IMC 2404) 7 Allen Vizzutti Funk (ignoring lower notes in bb. 17, 30 & 31): from 20 Dances for Trumpet (De Haske Hal Leonard)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 90

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

26

Trumpet, Cornet and Flugelhorn GRADE 7 SCALES AND ARPEGGIOS*: from memory, to be played slurred, legato-tongued and staccato in the follow-­ ing­ keys: B b instruments: C, D b, D, E b, E, F majors; C, C #, D, E b, E, F minors (a twelfth) All other keys, major and minor (two octaves) E b Cornet: B b, B, C, D b, D majors; B b, B, C, C #, D minors (a twelfth) F #, G, A b, A majors; F #, G, G #, A minors (two octaves) Scales: in the above keys (minors in both harmonic and melodic forms) Chromatic Scales: starting on any note F #–B (E b Cornet: F #–A) (two octaves) Arpeggios: the common chords of the above keys for the ranges indicated Dominant Sevenths: in the keys of C, D b and E b (E b Cornet: C and D b) (two octaves) Diminished Sevenths: starting on A b and A (two octaves) SIGHT-READING*: see p. 7.

TRANSPOSITION: Trumpet candidates only will be asked to transpose up a tone a short piece approximately equivalent to a Grade 5 sight-reading test.

27

Trumpet, Cornet and Flugelhorn GRADE 8 PREREQUISITE FOR ENTRY: Grade 5 (or above) in Theory of Music, Practical Musicianship or any solo Jazz subject.

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 J. S. Bach Mighty Lord and King All Glorious (from Christmas Oratorio). Handel & Bach Arias for D or E b Trumpet or Soprano Cornet, arr. Cranmer (ABRSM: D/E b edition) 2 Glazunov Albumblatt (Belaieff BEL 508: B b edition or Editions Marc Reift EMR 643: B b/C edition) 3 Handel Overture, Aire (Menuetto) and March (Bourrée): from Suite in D (Musica Rara MR 1225: B b/D edition) 4 Haydn Allegro or Finale–Allegro: 1st or 3rd movt from Trumpet Concerto in E b, Hob. VIIe/1 (Henle HN 456 or Universal HM 223: B b/E b edition) 5 J. N. Hummel Allegro con spirito: 1st movt from Trumpet Concerto (Kevin Mayhew: B b/E b edition or Boosey & Hawkes: B b edition) 6 J. N. Hummel Theme (Allegretto) and Vars 1–4 (ending at b. 124): from Introduction, Thème et Variations, Op. 102, trans. Jevtic for E b Trumpet (Billaudot GB5347: E b edition) 7 W. Lloyd Webber Andante comodo, Allegro vigoroso and Allegro vivace: 1st, 2nd and 4th movts from Suite in F (Stainer & Bell H394) 8 Neruda Allegro (observing cadenza) or Vivace (observing cadenza): 1st or 3rd movt from Trumpet Concerto in E b (Musica Rara MR 1817a or Brass Wind: B b/E b edition) 9 Thomé Fantaisie for Cornet or Trumpet (Leduc AL22754) 10 Denis Wright Allegro (observing cadenza): 1st movt from Concerto for Cornet (Studio Music) LIST B

1 Eric Ball Woodland Song for Flugelhorn or Cornet (observing cadenza) (G & M Brand) 2 Barat Andante et Scherzo (Leduc AL21324: B b/C edition) 3 Bellstedt Napoli (arr. Brand: G & M Brand) or available in the album Shepherd’s Song, arr. Wilson (Winwood Music 0084) 4 Defossez Recitativo e Allegro (Andel: B b/C edition) 5 William Himes Tarantella: 3rd movt from Concertino for Flugelhorn (Studio Music) 6 Höhne Slavonic Fantasy (observing cadenzas) (Editions Marc Reift EMR 6123H: B b/C edition or Bote & Bock: B b edition) 7 Hubeau Spiritual: 3rd movt from Sonata for Trumpet (Durand: B b/C edition) 8 Ravel Pièce en forme de Habanera, trans. Caens (Leduc AL29163: B b/C edition) 9 Philip Sparke Allegro con brio: 3rd movt from Concerto for Trumpet or Cornet (Studio Music) 10 Joseph Turrin Escapade for E b Cornet/E b Trumpet/B b Piccolo Trumpet (observing cadenza) (Winwood Music 0099P: E b/B b Piccolo edition) LIST C

1 Arban Allegro: No. 10 from 14 Studies for Cornet (Boosey & Hawkes) also available in Arban Cornet Method (Boosey & Hawkes) 2 Sally Beamish Fanfare for Solo Trumpet (Warwick Music) 3 Derek Bourgeois Slow Waltz or Allegro: No. 4 or No. 8 from Fantasy Pieces for Trumpet (Brass Wind) 4 Brandt Allegro ma non troppo or Scherzo: No. 4 or No. 31 from 34 Studies for Trumpet (IMC 1391) 5 John Cheetham Concoctions for Solo Trumpet: any four movts (Tenuto Publications) 6 Herbert L. Clarke Allegro moderato in C or Allegro misterioso in B b minor: No. 1 or No. 4 from Characteristic Studies for the Cornet (Carl Fischer) 7 Longinotti Etude (in form of a cadenza): No. 1 from 12 Studies in Classical and Modern Style for Trumpet (IMC 2404) 8 Allen Vizzutti Polka: from 20 Dances for Trumpet (De Haske Hal Leonard)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 91

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

28

Trumpet, Cornet and Flugelhorn GRADE 8 SCALES AND ARPEGGIOS*: from memory, to be played slurred, legato-tongued and staccato in the following­ keys: B b instruments: D b, D, E b, E, F majors; C #, D, E b, E, F minors (a twelfth) All other keys, major and minor (two octaves) E b Cornet: B, C, D b, D, E b majors; B, C, C #, D, E b minors (a twelfth) F #, G, A b, A, B b majors; F #, G, G #, A, B b minors (two octaves) Scales: in the above keys (minors in both harmonic and melodic forms) Chromatic Scales: starting on any note F #–C (E b Cornet: F #–B b) (two octaves) Whole-Tone Scales: starting on B and C (E b Cornet: A and B b) (two octaves), as example given on p. 85 Arpeggios: the common chords of the above keys for the ranges indicated Dominant Sevenths: B b instruments: in the keys of B, C, D b, D, E b, E and F (two octaves) E b Cornet: in the keys of B, C, D b, D and E b (two octaves) Diminished Sevenths: starting on A b, A and B b (two octaves) SIGHT-READING*: see p. 7.

TRANSPOSITION: Trumpet candidates only will be asked to transpose up a tone a short piece approximately equivalent to a Grade 6 sight-reading test.

29

E b HORN (Subject Code: 23)

This syllabus is valid from 2013 until further notice.

All the accompanied pieces are published in E b editions. Those pieces that are additionally issued with a part in F are indicated in the repertoire lists.

E b Horn GRADE 1

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Czerny Rise and Shine! ¸ ˝ Bravo! E b Tenor Horn, arr. Barratt (Boosey & Hawkes) ˛ 2 Haydn Minuet 3 Tom Davoren Romanza ¸ Shining Brass, Book 1 (ABRSM: & /? brass edition; E b piano accomp. published ˝ 4 Philip Sparke A Knight’s Tale ˛ separately) 5 Grieg Morning (from Peer Gynt) ¸ Winners Galore, arr. Lawrance (Brass Wind: & brass edition; E b piano ˝ 6 Trad. Cornish Cornish Floral Dance ˛ accomp. published separately) 7 Handel Minuet in C. No. 4 from The Really Easy Tenor Horn Book, arr. Pearson (Faber) 8 Trad. English Song of the Western Men ¸ Boosey Brass Method, E b Brass Band Instruments, Repertoire Book B ˝ ˛ (Boosey & Hawkes) 9 Trad. Japanese Koinobori LIST B

1 Carol Barratt Serenade. Bravo! E b Tenor Horn, arr. Barratt (Boosey & Hawkes) 2 Bernstein One Hand, One Heart (from West Side Story). Easy Winners, arr. Lawrance (Brass Wind: & brass edition; E b piano accomp. published separately) 3 Tom Davoren Waltz for E. ¸ Shining Brass, Book 1 (ABRSM: & /? brass edition; E b piano accomp. published ˝ 4 David A. Stowell Strollin’ ˛ separately) 5 Peter Graham Moscow or Paris: No. 1 or No. 2 from Cityscapes for E b Instrument (Gramercy Music: & /? edition) 6 Ian Lowes Nightfall ¸ Boosey Brass Method, E b Brass Band Instruments, Repertoire Book B ˝ 7 Chris Norton With Calm Purpose ˛ (Boosey & Hawkes) 8 Leslie Pearson Russian Dance or Lament. No. 1 or No. 3 from The Really Easy Tenor Horn Book, arr. Pearson (Faber) 9 Rendall and Thomas Birdie Song. Winners Galore, arr. Lawrance (Brass Wind: & brass edition; E b piano accomp. published separately) LIST C

1 Don Blakeson Flingaling: No. 2 from Smooth Groove for Horn in E b (Brass Wind) 2 Lizzie Davis Tiny Minuet: from Polished Brass (Brass Wind: & brass edition) 3 Peter Meechan One, Two, Three! ¸ ? ˝ Shining Brass, Book 1 (ABRSM: & / brass edition) ˛ 4 Philip Sparke Puppet’s Dance 5 John Miller Hungarian Hoe-down or See-saw: No. 3 or No. 8 from Simple Studies for Beginner Brass (Faber: & brass edition) 6 Mark Nightingale A Small Step or Fiesta Siesta: No. 1 or No. 2 from Easy Jazzy ’Tudes (Warwick Music: & brass edition) 7 Philip Sparke Morning Minuet or Leila’s Lament: No. 1 or No. 2 from Skilful Studies for Trumpet, Cornet, Flugel Horn or Tenor Horn (Anglo Music AMP 098-401)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 87 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: C major; A minor (one octave) Scales: in the above keys (minor in natural or harmonic or melodic form at candidate’s choice) Arpeggios: the common chords of the above keys for the range indicated SIGHT-READING*: a short piece in simple time within the keys, notes and overall range of the scale requirements set for this grade. Some accidentals, dotted and tied notes may be included. See also p. 7. * Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests)

30

E b Horn GRADE 2 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 F. Couperin Le Petit Rien. No. 7 from The Really Easy Tenor Horn Book, arr. Pearson (Faber) 2 Hook The Lass of Richmond Hill. Easy Winners, arr. Lawrance (Brass Wind: & brass edition; E b piano accomp. published separately) 3 Philip Sparke My Lady’s Pavan ¸ Shining Brass, Book 1 (ABRSM: & /? brass edition; E b piano accomp. ˝ 4 David A. Stowell A Walk in the Rain ˛ published separately) 5 Trad. O Waly, Waly. No. 2 from Going Solo –Tenor Horn, arr. Wallace and Pearson (Faber) 6 Trad. Irish The Minstrel Boy (observing repeat) ¸ Winner Scores All, arr. Lawrance (Brass Wind: & brass edition; ˝ ˛ E b piano accomp. published separately) 7 Trad. Welsh Men of Harlech 8 Trad. Latvian Harvest Time. Bravo! E b Tenor Horn, arr. Barratt (Boosey & Hawkes) 9 Peter Warlock Basse-Dance. Boosey Brass Method, E b Brass Band Instruments, Repertoire Book B (Boosey & Hawkes) LIST B

1 Carol Barratt Hampton Swing. Bravo! E b Tenor Horn, arr. Barratt (Boosey & Hawkes) 2 Lionel Bart Where is Love? (from Oliver). Easy Winners, arr. Lawrance (Brass Wind: & brass edition; E b piano accomp. published separately) 3 Tom Davoren Hangin’ with Monti ¸ Shining Brass, Book 1 (ABRSM: & /? brass edition; E b piano accomp. ˝ ˛ published separately) 4 Philip Sparke Tennessee Rag 5 Terry Gilkyson The Bare Necessities (from The Jungle Book). Winner Scores All, arr. Lawrance (Brass Wind: & brass edition; E b piano accomp. published separately) 6 Peter Graham Seville or Kyoto: No. 3 or No. 4 from Cityscapes for E b Instrument (Gramercy Music: & /? edition) 7 Geoffrey Kinder Saudades de Lisboa. Boosey Brass Method, E b Brass Band Instruments, Repertoire Book B (Boosey & Hawkes) 8 Leslie Pearson Moto perpetuo or Seven-Up. No. 5 or No. 9 from The Really Easy Tenor Horn Book, arr. Pearson (Faber) 9 John Wallace The Grinnermarch. No. 4 from Going Solo – Tenor Horn, arr. Wallace and Pearson (Faber) LIST C

1 Don Blakeson Senorita Rita or Sink It: No. 10 or No. 12 from Smooth Groove for Horn in E b (Brass Wind) 2 Lizzie Davis Jumping Jack Rap: from Polished Brass (Brass Wind: & brass edition) 3 Peter Meechan Haunted House ¸ ? ˝ Shining Brass, Book 1 (ABRSM: & / brass edition) 4 David A. Stowell High Street ˛ 5 John Miller Sabre Dance or Bulgarian Dance: No. 16 or No. 19 from Simple Studies for Beginner Brass (Faber: & brass edition) 6 Mark Nightingale The Nuthatch or The Stinger: No. 6 or No. 9 from Easy Jazzy ’Tudes (Warwick Music: & brass edition) 7 Philip Sparke Three-legged Race or Shalom!: No. 10 or No. 14 from Skilful Studies for Trumpet, Cornet, Flugel Horn or Tenor Horn (Anglo Music AMP 098-401)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 87 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: B b, D majors; A, D minors (one octave) Scales: in the above keys (minors in natural or harmonic or melodic form at candidate’s choice) Arpeggios: the common chords of the above keys for the range indicated SIGHT-READING*: a short piece in simple time within the keys, notes and overall range of the scale requirements set up to and including this grade. Some accidentals, dotted and tied notes may be included.

See also p. 7.

31

E b Horn GRADE 3 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Tom Davoren Rondo Olympia ¸ Shining Brass, Book 1 (ABRSM: & /? brass edition; E b piano accomp. published ˝ ˛ separately) 2 Lucy Pankhurst Sicilienne 3 Gluck Che farò. Great Winners, arr. Lawrance (Brass Wind: & brass edition; E b piano accomp. published separately) 4 Handel See, the Conqu’ring Hero Comes (from Judas Maccabaeus). Time Pieces for Horn, Vol. 1, arr. Harris and Skirrow (ABRSM: E b/F edition) 5 Leslie Pearson Basse Dance. No. 7 from ¸ ˝ Going Solo – Tenor Horn, arr. Wallace and Pearson (Faber) 6 Schubert The Trout.

No. 3 from ˛ 7 Philip Sparke Promenade. No. 7 from ¸ Skilful Solos for F or E b Horn, arr. Sparke (Anglo Music AMP 192-400: ˝ 8 Vivaldi Spring.

No. 4 from ˛ E b/F edition) 9 Tchaikovsky Reverie. Winner Scores All, arr. Lawrance (Brass Wind: & brass edition; E b piano accomp. published separately) LIST B

1 Acker Bilk Stranger on the Shore. Stranger on the A Train for E b Horn, arr. Iveson (Brass Wind) 2 Cy Coben Piano Roll Blues. Winner Scores All, arr. Lawrance (Brass Wind: & brass edition; E b piano accomp. published separately) 3 John Frith Broken Dreams ¸ Shining Brass, Book 1 (ABRSM: & /? brass edition; E b piano accomp. published ˝ 4 Peter Meechan Purple Shade ˛ separately) 5 Mark Goddard Swingin’: No. 1 from Party Pieces for Horn in E b (Spartan Press SP165) 6 Peter Graham New York (grace note optional) or Vienna: No. 5 or No. 6 from Cityscapes for E b Instrument (Gramercy Music: & /? edition) 7 H. Mancini Pink Panther. All Jazzed Up for E b Horn, arr. Wilson-Smith (Brass Wind) 8 Leslie Pearson Sunset Strip. No. 8 from Going Solo – Tenor Horn, arr. Wallace and Pearson (Faber) 9 Tom Springfield Georgy Girl. Great Winners, arr. Lawrance (Brass Wind: & brass edition; E b piano accomp. published separately) LIST C

1 Don Blakeson Metal Roses or Threepenny Piece: No. 23 or No. 25 from Smooth Groove for Horn in E b (Brass Wind) 2 Lizzie Davis Tap Dance (in G minor): P. 7 from Polished Brass (Brass Wind: & brass edition) 3 Timothy Jackson How’s Tricks? ¸ ? ˝ Shining Brass, Book 1 (ABRSM: & / brass edition) 4 Peter Meechan Summer Sound ˛ 5 John Miller Rubic Rumba or The Easy Easy Winners: No. 27 or No. 31 from Simple Studies for Beginner Brass (Faber: & brass edition) 6 Mark Nightingale Ermie’s Blues or Skipping: No. 10 or No. 11 from Easy Jazzy ’Tudes (Warwick Music: & brass edition) 7 Philip Sparke Classical Theme or Romance in C minor: No. 24 or No. 25 from Skilful Studies for Trumpet, Cornet, Flugel Horn or Tenor Horn (Anglo Music AMP 098-401)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 88 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: E b, E majors; C, E minors (one octave) A major (a twelfth) Scales: in the above keys (minors in harmonic or melodic form at candidate’s choice) Chromatic Scale: starting on C (one octave) Arpeggios: the common chords of the above keys for the ranges indicated SIGHT-READING*: a short piece in simple time within the keys, notes and overall range of the scale requirements set up to and including this grade. See also p. 7.

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

32

E b Horn GRADE 4 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Concone Andante sostenuto. Time Pieces for Horn, Vol. 2, arr. Harris and Skirrow (ABRSM: E b/F edition) 2 De Curtis Return to Sorrento, arr. Roberts (lower line in bb. 42–3) (Winwood Music: E b/B b edition) 3 John Frith Jiggedy Jig ¸ Shining Brass, Book 2 (ABRSM: & /? brass edition; E b piano accomp. published ˝ 4 Lucy Pankhurst Folk Song ˛ separately) 5 Grieg Norwegian Dance No. 2. Undercover Hits for Horn in E b, arr. Gout (Brass Wind) 6 Grieg Solveig’s Song (from Peer Gynt). Great Winners, arr. Lawrance (Brass Wind: & brass edition; E b piano accomp. published separately) 7 Handel How beautiful are the feet. Music for the Minster, arr. Green (Warwick Music: E b/F edition) 8 Leslie Pearson Pastoral Echoes. No. 9 from Going Solo – Tenor Horn, arr. Wallace and Pearson (Faber) 9 Schubert Marche militaire (grace notes optional). No. 16 from Skilful Solos for F or E b Horn, arr. Sparke (Anglo Music AMP 192-400: E b/F edition) LIST B

1 Eden Ahbez Nature Boy. Latino for Horn in E b, arr. Ramskill (Brass Wind) 2 Colin Cowles The Hornbeam Tree: No. 7 from Sound Your Horn! (Spartan Press SP742: E b/F edition) 3 Alberto Dominguez Frenesì. Great Winners, arr. Lawrance (Brass Wind: & brass edition; E b piano accomp. published separately) 4 John Frith Bragtime ¸ Shining Brass, Book 2 (ABRSM: & /? brass edition; E b piano accomp. ˝ 5 Peter Meechan Way Down South ˛ published separately) 6 Mark Goddard Hornpipe or Daydreams: No. 3 or No. 4 from Party Pieces for Horn in E b (Spartan Press SP165) 7 Peter Graham Buenos Aires: No. 7 from Cityscapes for E b Instrument (Gramercy Music: & /? edition) 8 Stephen Sondheim Send in the Clowns. A Little Light Music for Horn in E b, arr. Iveson (Brass Wind) 9 Philip Sparke At the Circus. No. 14 from Skilful Solos for F or E b Horn, arr. Sparke (Anglo Music AMP 192-400: E b/F edition) LIST C

1 Don Blakeson Western Skies: No. 29 from Smooth Groove for Horn in E b (Brass Wind) 2 Lizzie Davis Irish Jig: from Polished Brass (Brass Wind: & brass edition) 3 Tom Davoren Quiet Moment ¸ ? ˝ Shining Brass, Book 2 (ABRSM: & / brass edition) 4 Peter Meechan Reflections ˛ 5 Sigmund Hering No. 11 or No. 15: from 40 Progressive Etudes for Trumpet or Cornet (Carl Fischer) 6 Mark Nightingale Blues for Big-Ears or The Pink Pig: No. 15 or No. 19 from Easy Jazzy ’Tudes (Warwick Music: & brass edition) 7 Philip Sparke Shepherd’s Song or One-part Invention: No. 33 or No. 36 from Skilful Studies for Trumpet, Cornet, Flugel Horn or Tenor Horn (Anglo Music AMP 098-401)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 88 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: F major; F minor (one octave) A b, B b majors; A, B minors (a twelfth) Scales: in the above keys (minors in harmonic or melodic form at candidate’s choice) Chromatic Scale: starting on B b (a twelfth) Arpeggios: the common chords of the above keys for the ranges indicated SIGHT-READING*: a short piece in simple or compound time within the keys, notes and overall range of the scale requirements set up to and including this grade. See also p. 7.

33

E b Horn GRADE 5 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 S. Adams The Holy City, arr. Sparke (Studio Music) 2 Beethoven Romance (Op. 40). Slow Melody Books No. 2, arr. Wright (G & M Brand) 3 Elgar Salut d’amour. Classic SH, arr. Green (Brass Wind) 4 John Frith Caber Dance ¸ Shining Brass, Book 2 (ABRSM: & /? brass edition; E b piano accomp. published ˝ 5 David A. Stowell Jam Bouree ˛ separately) 6 Mendelssohn Song without Words (Op. 53 No. 2). Music for the Minster, arr. Green (Warwick Music: E b/F edition) 7 Leslie Pearson Valivid. No. 11 from Going Solo – Tenor Horn, arr. Wallace and Pearson (Faber) 8 Saint-Saëns Romance, Op. 36. Time Pieces for Horn, Vol. 2, arr. Harris and Skirrow (ABRSM: E b/F edition) 9 Saint-Saëns The Swan (from The Carnival of the Animals), arr. Hanmer (Studio Music: E b/F edition) LIST B

1 Colin Cowles Horn at Dawn: No. 8 from Sound Your Horn! (Spartan Press SP742: E b/F edition) 2 Mark Goddard Ragamuffin: No. 7 from Party Pieces for Horn in E b (Spartan Press SP165) 3 Peter Meechan Final Thought ¸ Shining Brass, Book 2 (ABRSM: & /? brass edition; E b piano accomp. ˝ 4 Lucy Pankhurst Gone, Not Forgotten ˛ published separately) 5 Leslie Pearson Tenor-hornpipe. No. 13 from Going Solo – Tenor Horn, arr. Wallace and Pearson (Faber) 6 Robert Ramskill Mambo. Latino for Horn in E b, arr. Ramskill (Brass Wind) 7 Sherwin and Maschwitz A Nightingale Sang in Berkeley Square. A Little Light Music for Horn in E b, arr.

Iveson (Brass Wind) 8 Philip Sparke March of the Toy Soldiers: No. 3 from Super Solos for F or E b Horn (Anglo Music AMP 265-400: E b/F edition) 9 Billy Strayhorn Take the A Train. Stranger on the A Train for E b Horn, arr. Iveson (Brass Wind) LIST C

1 Arban Andante con spirito in E b: No. 9, P. 106 from Cornet Method (Boosey & Hawkes) 2 Lizzie Davis Heads or Tails: from Polished Brass (Brass Wind: & brass edition) 3 Sigmund Hering No. 29 or No. 30: from 40 Progressive Etudes for Trumpet or Cornet (Carl Fischer) 4 Peter Meechan Air ¸ ? ˝ Shining Brass, Book 2 (ABRSM: & / brass edition) 5 David A. Stowell Flennon Study (either version) ˛ 6 Mark Nightingale Hillbilly or Passion Fruit Samba: No. 16 or No. 18 from Easy Jazzy ’Tudes (Warwick Music: & brass edition) 7 Philip Sparke Party Piece: No. 40 from Skilful Studies for Trumpet, Cornet, Flugel Horn or Tenor Horn (Anglo Music AMP 098-401)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 89 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: B b, D b majors; B b, C # minors (a twelfth) G, A b majors; G minor (two octaves) Scales: in the above keys (minors in harmonic or melodic form at candidate’s choice) Chromatic Scale: starting on C (a twelfth) Arpeggios: the common chords of the above keys for the ranges indicated Dominant Seventh: in the key of C (two octaves) SIGHT-READING*: see p. 7.

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

34

E b Horn GRADE 6 PREREQUISITE FOR ENTRY: Grade 5 (or above) in Theory of Music, Practical Musicianship or any solo Jazz subject.

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Albinoni Allegro finale: from Concerto, Op. 7 No. 3. Classic SH, arr. Green (Brass Wind) 2 Boyce 1st movt from Symphony No. 4. O Solo Mio for E b Horn, arr. Bissill (Brass Wind) 3 Elgar Chanson de matin, Op. 15 No. 2. E b Solo Book, arr. Wallace (Warwick Music) 4 Fauré Pie Jesu (from Requiem). Music for the Minster, arr. Green (Warwick Music: E b/F edition) 5 arr. Peter Graham Swedish Hymn. Gramercy Solo Album E b (Gramercy Music: & /? edition) 6 Handel La réjouissance and La paix (from Music for the Royal Fireworks). Time Pieces for Horn, Vol. 2, arr.

Harris and Skirrow (ABRSM: E b/F edition) 7 Handel Lascia ch’io pianga (from Rinaldo), arr. Fretwell (observing higher notes in ossia) (Prima Arts) 8 Mozart The Queen of the Night’s Aria (from The Magic Flute), arr. Golland (Kirklees Music) 9 Philip Sparke Little Overture or Moto Perpetuo: No. 1 or No. 6 from Super Solos for F or E b Horn (Anglo Music AMP 265-400: E b/F edition) LIST B

1 Richard Bissill Ghost Rider. Hornscape for Horn in E b, arr. Bissill (Brass Wind) 2 Hoagy Carmichael Stardust (not observing ossia). A Little Light Music for Horn in E b, arr. Iveson (Brass Wind) 3 Colin Cowles The Hornets’ Nest (ignoring alternative ending): No. 9 from Sound Your Horn! (Spartan Press SP742: E b/F edition) 4 Gareth Glyn Rumba: No. 1 from Star Turn for Horn in E b (Spartan Press SP366) 5 Peter Graham A Time for Peace. Gramercy Solo Album E b (Gramercy Music: & /? edition) 6 Hindemith Ruhig bewegt: 1st movt from Sonata for Alto Horn in E b (1943) (Schott ED 4635) 7 Bryan Kelly Scherzo: 4th movt from Concert Suite for Horn (G & M Brand: E b/F edition) 8 H. Mancini Moon River. Let’s Face the Music for Horn in E b, arr. Iveson (Brass Wind) 9 Philip Sparke Chicago Blues: No. 5 from Super Solos for F or E b Horn (Anglo Music AMP 265-400: E b/F edition) LIST C

1 Arban Andantino in B b: No. 9, P. 117 from Cornet Method (Boosey & Hawkes) 2 J. S. Bach, arr. Piper Study No. 20 in A minor: from The Well-Tempered Player (Winwood Music) 3 Alwyn Green Study No. 5: P. 29 from Tenor Horn Eurhythmics (Warwick Music) 4 Sigmund Hering No. 35 or No. 36: from 40 Progressive Etudes for Trumpet or Cornet (Carl Fischer) 5 Jock McKenzie Hornpipe or Mazurka: from Rhythms of Life (Con Moto: & brass edition) 6 Mark Nightingale On the Off-beat or Transposition Blues: No. 23 or No. 27 from Easy Jazzy ’Tudes (Warwick Music: & brass edition) 7 Philip Sparke Baroque Melody: No. 4 from Super Studies for Trumpet, Cornet, Flugel Horn or Tenor Horn (Anglo Music AMP 114-401)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 89 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: D major; C minor (a twelfth) F #, A, B b majors; G #, A, B b minors (two octaves) Scales: in the above keys (minors in both harmonic and melodic forms) Chromatic Scales: starting on F #, G, A b and A (two octaves) Arpeggios: the common chords of the above keys for the ranges indicated Dominant Seventh: in the key of D (two octaves) Diminished Seventh: starting on G (two octaves) SIGHT-READING*: see p. 7.

35

E b Horn GRADE 7 PREREQUISITE FOR ENTRY: Grade 5 (or above) in Theory of Music, Practical Musicianship or any solo Jazz subject.

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Albinoni Adagio. O Solo Mio for E b Horn, arr. Bissill (Brass Wind) 2 Anon. Song of the Seashore, arr. Catherall (observing cadenza, & upper line in ossias). The Gordon Higginbottom Collection (Kirklees Music) 3 J. N. Audoire An Irish Melody (ending at b. 133). No. 3 from Solos for E b Instruments (Salvationist Publishing) 4 Richard Bissill The Drawing Room ¸ ˝ Hornscape for Horn in E b, arr. Bissill (Brass Wind) 5 Ennio Morricone Gabriel’s Oboe ˛ 6 Boccherini Rondo–Allegro: 3rd movt from Concertino for E b or F Horn, arr. Müller (Obrasso Verlag: E b/F edition) 7 Mozart Rondo–Allegro vivace: 3rd movt from Horn Concerto No. 4 in E b, K. 495 (Bärenreiter BA 5313-90: E b/F edition) 8 Ravel Pavane pour une infante défunte, arr. Wilson (Winwood Music: E b/F edition) 9 Philip Sparke Scherzo Finale: No. 10 from Super Solos for F or E b Horn (Anglo Music AMP 265-400: E b/F edition) LIST B

1 Rube Bloom Give Me the Simple Life. O Solo Mio for E b Horn, arr. Bissill (Brass Wind) 2 Derek Bourgeois Allegro moderato or Variations: 1st or 2nd movt from Sonata for Tenor Horn, Op. 304 (Brass Wind) 3 Martin Ellerby Elegy: 2nd movt from Tenor Horn Concerto (Studio Music) 4 Ronald Hanmer Allegro brillante: from Arioso and Caprice for E b Horn (observing upper line in ossia) (G & M Brand) 5 Harbach and Kern Smoke Gets in Your Eyes. Let’s Face the Music for Horn in E b, arr. Iveson (Brass Wind) 6 Hugh Nash Demelza (Kirklees Music) 7 Prokofiev Morning Dance (from Romeo and Juliet). Hornscape for Horn in E b, arr. Bissill (Brass Wind) 8 Philip Sparke Capriccio for E b Cornet or E b Horn (G & M Brand) 9 Ray Steadman-Allen Glory to His Name (observing lower note in bb. 85–6). No. 6 from Solos for E b Instruments (Salvationist Publishing) LIST C

1 Arban Moderato: No. 6 from 14 Studies for Cornet (Boosey & Hawkes) also available in Arban Cornet Method (Boosey & Hawkes) 2 J. S. Bach, arr. Piper Study No. 11 in F or No. 21 in B b: from The Well-Tempered Player (Winwood Music) 3 Bergonzi Cantabile. No. 49 from 50 Classical Studies for Trumpet (Fentone F 555-401) 4 Alwyn Green Study No. 20: P. 57 from Tenor Horn Eurhythmics (Warwick Music) 5 Sigmund Hering No. 39 or No. 40: from 40 Progressive Etudes for Trumpet or Cornet (Carl Fischer) 6 Jock McKenzie Klezmer or Samba: from Rhythms of Life (Con Moto: & brass edition) 7 Philip Sparke Air or Leapfrog: No. 11 or No. 19 from Super Studies for Trumpet, Cornet, Flugel Horn or Tenor Horn (Anglo Music AMP 114-401)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 90

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

36

E b Horn GRADE 7 SCALES AND ARPEGGIOS*: from memory, to be played slurred, legato-tongued and staccato in the follow-­ ing­ keys: C, D b, D, E b, E, F majors; C, C #, D, E b, E, F minors (a twelfth) All other keys, major and minor (two octaves) Scales: in the above keys (minors in both harmonic and melodic forms) Chromatic Scales: starting on any note F # –B (two octaves) Arpeggios: the common chords of the above keys for the ranges indicated Dominant Sevenths: in the keys of C, D b and E b (two octaves) Diminished Sevenths: starting on A b and A (two octaves) SIGHT-READING*: see p. 7.

37

E b Horn GRADE 8 PREREQUISITE FOR ENTRY: Grade 5 (or above) in Theory of Music, Practical Musicianship or any solo Jazz subject.

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Bellini Concerto for Horn in E b, arr. Newsome (complete) (Studio Music) 2 Haydn Gypsy Rondo ¸ ˝ It’s a Classic, arr. Green (Brass Wind) ˛ 3 Monti Czardas 4 Peter Kneale Variations on a Welsh Theme for E b Horn (G & M Brand) 5 Erik Leidzen The Old Rustic Bridge (observing cadenza). No. 1 from Solos for E b Instruments (Salvationist Publishing) 6 Mendelssohn Andante: 2nd movt from Violin Concerto, arr. Hopkinson (Kirklees Music: movt published individually) 7 Mozart Allegro or Allegro: 1st or 3rd movt from Horn Quintet in E b, K. 407, trans. Bissill for Horn and Piano (Brass Wind) 8 arr. Reader Handel’s Hornpipe for E b Horn (observing cadenza) (Studio Music) 9 F. Strauss Introduction, Theme and Variations (omitting bb. 1–33 and 106–152) (Obrasso Verlag: E b/F edition) 10 R. Strauss Rondo–Allegro molto: 3rd movt from Horn Concerto No. 2 in E b (Boosey & Hawkes) LIST B

1 Eric Ball September Fantasy (Wright & Round) 2 Derek Bourgeois Allegro giocoso (observing upper line in ossia): 3rd movt from Sonata for Tenor Horn, Op. 304 (Brass Wind) 3 Robert Collinson Fantasy for Tenor Horn (horn tacet in bb. 88–94) (Kirklees Music) 4 Alan Fernie Caprice for E b Horn (observing cadenza) (Obrasso Verlag) 5 Hindemith Lebhaft: 2nd movt from Sonata for Alto Horn in E b (1943) (Schott ED 4635) 6 Newsome The Carousel (Studio Music) 7 Satie Jack in the Box. Classic SH, arr. Green (Brass Wind) 8 Otto M. Schwarz Cape Horn (cutting bb. 80–100) (Mitropa Music: E b/F edition) 9 Bram Wiggins Rhapsody for Tenor Horn (Kirklees Music) 10 Philip Wilby Concert Gallop (Winwood Music: E b/B b edition) LIST C

1 Arban Allegro moderato or Allegro: No. 1 or No. 9 from 14 Studies for Cornet (Boosey & Hawkes) also available in Arban Cornet Method (Boosey & Hawkes) 2 J. S. Bach, arr. Piper Study No. 5 in D or No. 15 in G: from The Well-Tempered Player (Winwood Music) 3 Bergonzi Allegro. No. 50 from ¸ ˝ 50 Classical Studies for Trumpet (Fentone F 555-401) 4 Kreutzer Allegro. No. 44 from ˛ 5 Derek Bourgeois Allegro vivace: No. 6 from Fantasy Pieces for Trumpet (Brass Wind) 6 Alwyn Green Study No. 12: P. 36 from Tenor Horn Eurhythmics (Warwick Music) 7 Jock McKenzie Krivo Horo or Rock: from Rhythms of Life (Con Moto: & brass edition) 8 Philip Sparke Swiss Mountain Air or Threes, Fives and Sevens: No. 21 or No. 26 from Super Studies for Trumpet, Cornet, Flugel Horn or Tenor Horn (Anglo Music AMP 114-401)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 91

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

38

E b Horn GRADE 8 SCALES AND ARPEGGIOS*: from memory, to be played slurred, legato-tongued and staccato in the follow-­ ing­ keys: D b, D, E b, E, F majors; C #, D, E b, E, F minors (a twelfth) All other keys, major and minor (two octaves) Scales: in the above keys (minors in both harmonic and melodic forms) Chromatic Scales: starting on any note F # –C (two octaves) Whole-Tone Scales: starting on B and C (two octaves), as example given on p. 85 Arpeggios: the common chords of the above keys for the ranges indicated Dominant Sevenths: in the keys of B, C, D b, D, E b, E and F (two octaves) Diminished Sevenths: starting on A b, A and B b (two octaves) SIGHT-READING*: see p. 7.

39

TROMBONE (Subject Code: 32) This syllabus is valid for 2010–2016. The next revision of the set pieces will come into force in 2017.

In Grades 1–3, this syllabus may be offered on an alto trombone (provided the piano accomp­animents are suitably transposed) or on an adapted instrument (of reduced size and/or weight, excluding instruments sounding an octave higher).

The repertoire lists indicate the clefs in which the pieces are published (? and/or & ). If necessary, candidates may use manuscript transpositions into treble or bass clef.

Examiners will ask candidates whether they are bass- or treble-clef readers.

Trombone GRADE 1 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Anon. Agincourt Song ¸ Time Pieces for Trombone, Vol. 1, arr. Harris ˝ 2 J. S. Bach Wer hat dich so geschlagen (from St Matthew Passion) ˛ and Miller (ABRSM: ? /& edition) 3 Anon. French Fais dodo (Goodnight, sleep tight!). Bravo! Trombone, arr. Barratt (Boosey & Hawkes: ? /& edition) 4 Diabelli The Joker ¸ ? ˝ The Magic Trombone, arr. Hare (Boosey & Hawkes: /& edition) 5 Trad. Russian Song of the Volga Boatmen ˛ 6 Bill Geldard Gavotte: No. 1 from Beginners Please! – Trombone (Winwood Music 0088: ? /& edition) 7 Humperdinck Evening Prayer (from Hansel and Gretel) ¸ Winner Scores All, arr. Lawrance (Brass Wind: ? (observing repeats) ˝ trombone edition or & brass edition; piano accomp. ˛ published separately) 8 Susato La Morisque 9 Tallis Canon. No. 8 from The Really Easy Trombone Book, arr. Gout (Faber: ? /& edition) LIST B

1 Django Bates Straight Forward ¸ ? ˝ Keynotes Album for Trombone (Brass Wind: or & editions) 2 Robert Ramskill Sand Dance ˛ 3 Mike Batt Bright Eyes ¸ Easy Winners, arr. Lawrance (Brass Wind: ? trombone edition or 4 Bernstein One Hand, One Heart ˝ & brass edition; piano accomp. published separately) ˛ (from West Side Story) 5 Bill Geldard Tango: No. 10 from Beginners Please! – Trombone (Winwood Music 0088: ? /& edition) 6 Mark Nightingale Monkey Business: No. 3 from Creature Comforts for Trombone (Warwick Music: ? or & editions) 7 Leslie Pearson Intrada. No. 3 from First Book of Trombone Solos, arr. Goodwin and Pearson (Faber: ? /& edition) 8 Philip Sparke Nice to See You Again. No. 1 from Skilful Solos for Trombone, arr. Sparke (Anglo Music AMP 193400: ? /& edition) 9 Hans Zimmer & Trevor Morris I’ve Got My Eye On You (from Pirates of the Caribbean). Winner Scores All, arr.

Lawrance (Brass Wind: ? trombone edition or & brass edition; piano accomp. published separately) LIST C

1 Derek Bourgeois Andante: No. 1 from Splinters of Bone, Op. 130 (Brass Wind: ? or & editions) 2 Endresen Moderato: No. 1 from Supplementary Studies for Trombone (Rubank: ? edition) 3 Edward Gregson Slow March: No. 4 from 20 Supplementary Tunes for Beginner Brass (Brass Wind: ? brass edition) 4 Edward Gregson Step by Step: No. 1 from 20 Supplementary Tunes for Beginner Brass (Brass Wind: & brass edition) 5 Mark Nightingale A Small Step: No. 1 from Easy Jazzy ’Tudes for Trombone(Warwick Music: ? or & editions) 6 Philip Sparke Marching Home: No. 7 from Skilful Studies for Trombone (Anglo Music AMP 100-401: ? /& edition) 7 Trad. The Cuckoo. Easy Winners, arr. Lawrance (Brass Wind: ? trombone edition or & brass edition)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 87

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

40

Trombone GRADE 1 SCALES AND ARPEGGIOS*: from memory, to be played both tongued and with legato tonguing in the fol­lowing­ keys: Bass clef: B b major; C minor (one octave) Treble clef: C major; D minor (one octave) Scales: in the above keys (minor in natural or harmonic or melodic form at candidate’s choice) Arpeggios: the common chords of the above keys for the range indicated

SIGHT-READING*: (bass or treble clef at candidate’s choice) a short piece in simple time within the keys, notes and overall range of the scale requirements set for this grade. Some accidentals, dotted and tied notes may be included. See also p. 7.

41

Trombone GRADE 2 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Anon. Albanian The Twenty-five Plaits or Sweety Little Sheep. Five Albanian Folk Songs, arr. Simaku (Emerson E290: ? /& edition) 2 W. F. Bach Air. Bravo! Trombone, arr. Barratt (Boosey & Hawkes: ? /& edition) 3 T. Morley Now is the month of maying ¸ Time Pieces for Trombone, Vol. 1, arr. Harris and Miller (ABRSM: ˝ ? ˛ /& edition) 4 Trad. The Blue Bells of Scotland 5 Mozart Andante grazioso (from Piano Sonata No. 12 in A). The Magic Trombone, arr. Hare (Boosey & Hawkes: ? /& edition) 6 Harold Nash Contentment or Joy: from Four Easy Pieces for Trombone (Paterson PAT60002: ? /& edition) 7 Pachelbel Saraband. No. 6 from First Book of Trombone Solos, arr. Goodwin and Pearson (Faber: ? /& edition) 8 Tchaikovsky Capriccio italien or Dance of the Mirlitons (from The Nutcracker). Winner Scores All, arr.

Lawrance (Brass Wind: ? trombone edition or & brass edition; piano accomp. published separately) 9 Verdi Anvil Chorus (from Il trovatore). Easy Winners, arr. Lawrance (Brass Wind: ? trombone edition or & brass edition; piano accomp. published separately) LIST B

1 Anon. Spiritual Go Down Moses ¸ ? ˝ Time Pieces for Trombone, Vol. 1, arr. Harris and Miller (ABRSM: /& edition) ˛ 2 Paul Harris Funny Bone 3 Bartók Slovakian Folk Tune. The Magic Trombone, arr. Hare (Boosey & Hawkes: ? /& edition) 4 Bernstein I feel pretty (from West Side Story) ¸ Easy Winners, arr. Lawrance (Brass Wind: ? trombone edition (observing repeats) ˝ or & brass edition; piano accomp. published separately) 5 Leslie Osborne and Simon May Eastenders ˛ 6 Bill Geldard Rumba: No. 9 from Beginners Please! – Trombone (Winwood Music 0088: ? /& edition) 7 Peter Lawrance Burlesque: No. 1 from Badinage for Trombone/Euphonium (Brass Wind: ? or & editions) 8 Mark Nightingale Ship of the Desert: No. 8 from Creature Comforts for Trombone (Warwick Music: ? or & editions) 9 Trad. Welsh Men of Harlech. Winner Scores All, arr. Lawrance (Brass Wind: ? trombone edition or & brass edition; piano accomp. published separately) LIST C

1 Derek Bourgeois Moderato: No. 8 from Splinters of Bone, Op. 130 (Brass Wind: ? or & editions) 2 Endresen Allegro moderato: No. 4 from Supplementary Studies for Trombone (Rubank: ? edition) 3 Edward Gregson A Bit Jazzy: No. 12 from 20 Supplementary Tunes for Beginner Brass (Brass Wind: ? brass edition) 4 Edward Gregson Pop Song: No. 13 from 20 Supplementary Tunes for Beginner Brass (Brass Wind: & brass edition) 5 Rob Hudson Melancholy Melody: No. 9 from 30 Modern Studies for Trombone (Universal UE 21317: ? edition) 6 Mark Nightingale Big Mama or The Nuthatch: No. 5 or No. 6 from Easy Jazzy ’Tudes for Trombone (Warwick Music: ? or & editions) 7 Philip Sparke Simple Scherzo or The Big Apple: No. 9 or No. 11 from Skilful Studies for Trombone (Anglo Music AMP 100-401: ? /& edition)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 87

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

42

Trombone GRADE 2 SCALES AND ARPEGGIOS*: from memory, to be played both tongued and with legato tonguing in the fol­lowing­ keys: Bass clef: A b, C majors; C, D minors (one octave) Treble clef: B b, D majors; D, E minors (one octave) Scales: in the above keys (minors in natural or harmonic or melodic form at candidate’s choice) Arpeggios: the common chords of the above keys for the range indicated

SIGHT-READING*: (bass or treble clef at candidate’s choice) a short piece in simple time within the keys, notes and overall range of the scale requirements set up to and including this grade. Some accidentals, dotted and tied notes may be included. See also p. 7.

43

Trombone GRADE 3 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Anon. Albanian The Blossoming Rose. Five Albanian Folk Songs, arr. Simaku (Emerson E290: ? /& edition) 2 Fauré Pavane. Easy Winners, arr. Lawrance (Brass Wind: ? trombone edition or & brass edition; piano accomp. published separately) 3 Hanmer Allegro moderato: No. 3 from Three Trombone Themes (Emerson E296: ? /& edition) 4 Haydn Rondino. Slide Show for Trombone, arr. Mowat (Brass Wind: ? or & editions) 5 Heinichen Adagio (from Sonata in D for bassoon). Time Pieces for Trombone, Vol. 2, arr. Harris and Miller (ABRSM: ? /& edition) 6 Humphries Sarabande (from Six Solos for a Violin and Base). Time Pieces for Trombone, Vol. 1, arr. Harris and Miller (ABRSM: ? /& edition) 7 Harold Nash March or Siciliano: from Four Solo Pieces for Trombone (Paterson PAT60004: ? /& edition) 8 Purcell Air. No. 2 from Festive Baroque for Trombone, arr. van Beringen (De Haske Hal Leonard: ? /& edition) 9 Trad. Catalan El desembre congelat and La Filoseta: 1st and 3rd movts from Suite: Creme Catalan. No. 18 from First Book of Trombone Solos, arr. Goodwin and Pearson (Faber: ? /& edition) LIST B

1 Alan Gout Boogie for ’bone. No. 10 from Going Solo – Trombone, arr. Gout (Faber: ? /& edition) 2 Richard Kershaw Lazing on the Beach: No. 5 from Lazy ’Bones for Trombone (Studio Music: ? /& edition) 3 Andrew Lloyd Webber Memory (from Cats). No. 11 from First Book of Trombone Solos, arr. Goodwin and Pearson (Faber: ? /& edition) 4 Alan Menken A Whole New World (from Aladdin). Great Winners, arr. Lawrance (Brass Wind: ? trombone edition or & brass edition; piano accomp. published separately) 5 Christopher Mowat The Parson’s Nose. Slide Show for Trombone, arr. Mowat (Brass Wind: ? or & editions) 6 Mark Nightingale I Woke Up this Mornin’…: No. 6 from Lucky Dip for Trombone (Warwick Music: ? /& edition) 7 Monty Norman James Bond Theme. Easy Winners, arr. Lawrance (Brass Wind: ? trombone edition or & brass edition; piano accomp. published separately) 8 Philip Sparke Alladale Aria. No. 10 from Skilful Solos for Trombone, arr. Sparke (Anglo Music AMP 193-400: ? /& edition) 9 Sullivan Take a pair of sparkling eyes (from The Gondoliers). Time Pieces for Trombone, Vol. 2, arr. Harris and Miller (ABRSM: ? /& edition) LIST C

1 Gerald Bordner Andante or Allegro: No. 19 or No. 20 from First Book of Practical Studies for Trombone (Alfred– Belwin EL00933: ? edition) 2 Derek Bourgeois Alla marcia: No. 6 from Splinters of Bone, Op. 130 (Brass Wind: ? or & editions) 3 Endresen March time: No. 9 from Supplementary Studies for Trombone (Rubank: ? edition) 4 Rob Hudson Lucky’s Blues: No. 8 from 30 Modern Studies for Trombone (Universal UE 21317: ? edition) 5 Mark Nightingale Ermie’s Blues or Cinnamon Tea: No. 10 or No. 12 from Easy Jazzy ’Tudes for Trombone (Warwick Music: ? or & editions) 6 Mark Nightingale The Software Stroll or J-Peg Cake-Walk: No. 3 or No. 6 from Jazz@Etudes for Trombone (Warwick Music: ? or & editions) 7 Philip Sparke Rondino: No. 22 from Skilful Studies for Trombone (Anglo Music AMP 100-401: ? /& edition)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 88

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

44

Trombone GRADE 3 SCALES AND ARPEGGIOS*: from memory, to be played both tongued and with legato tonguing in the fol­lowing­ keys: Bass clef: D, E b majors; D minor (one octave) A b major; G minor (a twelfth) Treble clef: E, F majors; E minor (one octave) B b major; A minor (a twelfth) Scales: in the above keys (minors in harmonic or melodic form at candidate’s choice) Chromatic Scale: Bass clef: starting on C (one octave) Treble clef: starting on D (one octave) Arpeggios: the common chords of the above keys for the ranges indicated

SIGHT-READING*: (bass or treble clef at candidate’s choice) a short piece in simple time within the keys, notes and overall range of the scale requirements set up to and including this grade. See also p. 7.

45

Trombone GRADE 4 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Baklanova Mazurka. Album of Selected Compositions for Trombone and Piano, Vol. 2 (Bärenreiter Praha H 6781: ? edition) 2 Boismortier Rigaudon (from Op. 40). Time Pieces for Trombone, Vol. 2, arr. Harris and Miller (ABRSM: ? /& edition) 3 Galliard Menuet alternat. (from Sonata No. 6 for Bassoon) (omitting DC), arr. Clark. No. 3 from Solos for the Trombone Player, arr. Smith (G. Schirmer GS33009: ? edition) 4 Gottschalk Hail Columbia. No. 1 from Second Book of Trombone Solos, arr. Goodwin and Pearson (Faber: ? /& edition) 5 Grieg Solveig’s Song (from Peer Gynt). Great Winners, arr. Lawrance (Brass Wind: ? trombone edition or & brass edition; piano accomp. published separately) 6 J. A. Hasse Bourrée. No. 7 from ¸ Festive Baroque for Trombone, arr. van Beringen (De Haske Hal Leonard: ˝ 7 Tartini Sarabande. No. 11 from ˛ ? /& edition) 8 Purcell Farewell (from Dido and Aeneas). The Green and Pleasant Trombone Book, arr. Mowat (Brass Wind: ? or & editions) 9 Warlock Basse Dance (from Capriol Suite). Slide Show for Trombone, arr. Mowat (Brass Wind: ? or & editions) LIST B

1 Richard Alder and Jerry Ross Hernando’s Hideaway. Latino for Trombone/Euphonium, arr. Ramskill (Brass Wind: ? or & editions) 2 Alan Gout Rough and Ready Rag. No. 9 from Going Solo – Trombone, arr. Gout (Faber: ? /& edition) 3 Paul Harris Rag and Bone Rag ¸ ? ˝ Time Pieces for Trombone, Vol. 2, arr. Harris and Miller (ABRSM: /& edition) ˛ 4 J. Strauss II Spring Waltz 5 Richard Kershaw Bone Idle or Siesta Time: No. 1 or No. 4 from Lazy ’Bones for Trombone (Studio Music: ? /& edition) 6 Peter Lawrance Dance: No. 3 from Badinage for Trombone/Euphonium (Brass Wind: ? or & editions) 7 Mark Nightingale The Music Box: No. 5 from Amusement Variations for Trombone (Warwick Music: ? or & editions) 8 Simon Proctor Steel Stomp: from Metal Bars for Trombone (Brass Wind: ? or & editions) 9 Philip Sparke Waltz with Variations. No. 13 from Skilful Solos for Trombone, arr. Sparke (Anglo Music AMP 193400: ? /& edition) LIST C

1 Gerald Bordner Marcato or Andante: No. 32 or No. 34 from First Book of Practical Studies for Trombone (Alfred–Belwin EL00933: ? edition) 2 Derek Bourgeois Allegro cantabile: No. 1 from Bone of Contention, Op. 112 (Brass Wind: ? or & editions) 3 Derek Bourgeois Allegro vivace: No. 10 from Splinters of Bone, Op. 130 (Brass Wind: ? or & editions) 4 Endresen Andante con moto: No. 11 from Supplementary Studies for Trombone (Rubank: ? edition) 5 Mark Nightingale Shutdown Samba: No. 17 from Jazz@Etudes for Trombone (Warwick Music: ? or & editions) 6 Philip Sparke Ursa Major: No. 37 from Skilful Studies for Trombone (Anglo Music AMP 100-401: ? /& edition) 7 Malcolm Weale Tempo di waltz: No. 11 from Challenging Brass (Winwood Music 0249: ? edition)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 88

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

46

Trombone GRADE 4 SCALES AND ARPEGGIOS*: from memory, to be played both tongued and with legato tonguing in the fol­lowing­ keys: Bass clef: D b major (one octave); E minor (starting an octave above lowest tonic) (one octave) A b, B b majors; G minor (a twelfth) Treble clef: E b major (one octave); F # minor (starting an octave above lowest tonic) (one octave) B b, C majors; A minor (a twelfth) Scales: in the above keys (minors in harmonic or melodic form at candidate’s choice) Chromatic Scale: Bass clef: starting on E b (one octave) Treble clef: starting on F (one octave) Arpeggios: the common chords of the above keys for the ranges indicated SIGHT-READING*: (bass or treble clef at candidate’s choice) a short piece in simple or compound time within the keys, notes and overall range of the scale requirements set up to and including this grade. See also p. 7.

47

Trombone GRADE 5 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 J. S. Bach March (from Anna Magdalena Bach Notebook). Bach for Trombone, arr. Mowat (Brass Wind: ? or & editions) 2 J. S. Bach Menuett.

No. 6 from ¸ Festive Baroque for Trombone, arr. van Beringen (De Haske Hal ˝ 3 Telemann Die Würde (Majesty). No. 1 from ˛ Leonard: ? /& edition) 4 Bessonnet Récitatif et Petit Allegro for Trombone (Billaudot GB3251: ? edition) 5 Mendelssohn If With All Your Hearts (from Elijah). Slow Melody Book No. 1, arr. Wright (G & M Brand: & edition) or First Solos for the Trombone (or Baritone) Player, trans. Smith (G. Schirmer GS33260: ? edition) 6 Mozart Agnus Dei (from Litaniae Lauretanae, K. 109). Time Pieces for Trombone, Vol. 2, arr. Harris and Miller (ABRSM: ? /& edition) 7 Mozart Píseň (Song). Album of Selected Compositions for Trombone and Piano, Vol. 2 (Bärenreiter Praha H 6781: ? edition) 8 Purcell Rondo (from Abdelazar) (observing repeats). Slide Show for Trombone, arr. Mowat (Brass Wind: ? or & editions) 9 Telemann Triste (Andante): 1st movt from Sonata in F minor (TWV 41:f1). No. 12 from Second Book of Trombone Solos, arr. Goodwin and Pearson (Faber: ? /& edition) or Telemann Sonata in F minor, arr. Mortimer (Editions Marc Reift EMR 288L: ? /& edition) LIST B

1 Francl Tempo di marcia (from Malá suita). Time Pieces for Trombone, Vol. 2, arr. Harris and Miller (ABRSM: ? /& edition) 2 Gershwin Let’s Call the Whole Thing Off. Slide Show for Trombone, arr. Mowat (Brass Wind: ? or & editions) 3 Alan Gout Blues for ’bone. No. 16 from Going Solo – Trombone, arr. Gout (Faber: ? /& edition) 4 Peter Lawrance Badinage: No. 6 from Badinage for Trombone/Euphonium (Brass Wind: ? or & editions) 5 Mark Nightingale The Rippling of the Waves or Samba Disa Winner: No. 11 or No. 14 from Lucky Dip for Trombone (Warwick Music: ? /& edition) 6 Simon Proctor Radium Rock: from Metal Bars for Trombone (Brass Wind: ? or & editions) 7 Řídky´ Marcia. Album of Selected Compositions for Trombone and Piano, Vol. 2 (Bärenreiter Praha H 6781: ? edition) 8 G. M. Rodríguez La cumparsita. Latino for Trombone/Euphonium, arr. Ramskill (Brass Wind: ? or & editions) 9 Allen Vizzutti The Orient: from The Enchanted Trombone (De Haske Hal Leonard: ? edition) LIST C

1 Derek Bourgeois Allegro moderato: No. 10 from Bone of Contention, Op. 112 (Brass Wind: ? or & editions) 2 Derek Bourgeois Allegro vivo or Maestoso: No. 20 or No. 21 from Splinters of Bone, Op. 130 (Brass Wind: ? or & editions) 3 Endresen Allegretto: No. 46 from Supplementary Studies for Trombone (Rubank: ? edition) 4 Rob Hudson Scherzo: No. 20 from 30 Modern Studies for Trombone (Universal UE 21317: ? edition) 5 Mark Nightingale Junk Email Blues: No. 18 from Jazz@Etudes for Trombone (Warwick Music: ? or & editions) 6 Philip Sparke Aria: No. 6 from Super Studies for Trombone (Anglo Music AMP 116-401: ? /& edition) 7 Malcolm Weale Poco allegro: No. 24 from Challenging Brass (Winwood Music 0249: ? edition)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 89

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

48

Trombone GRADE 5 SCALES AND ARPEGGIOS*: from memory, to be played both tongued and with legato tonguing in the fol­lowing­ keys: Bass clef: A major; C minor (a twelfth) F, F #, G majors; F, G minors (two octaves) Treble clef: B major; D minor (a twelfth) G, A b, A majors; G, A minors (two octaves) Scales: in the above keys (minors in harmonic or melodic form at candidate’s choice) Chromatic Scale: Bass clef: starting on F (two octaves) Treble clef: starting on G (two octaves) Arpeggios: the common chords of the above keys for the ranges indicated Dominant Seventh: Bass clef: in the key of B b (two octaves) Treble clef: in the key of C (two octaves) SIGHT-READING*: (bass or treble clef at candidate’s choice) see p. 7.

49

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

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 J. S. Bach Arioso (from Concerto in F minor). No. 7 from ¸ Solos for the Trombone Player, arr. Smith ˝ 2 Rachmaninov Vocalise (Op. 34 No. 14).

No. 13 from ˛ (G. Schirmer GS33009: ? edition) 3 J. S. Bach Sarabande (from French Suite No. 1) (observing repeats). Bach for Trombone, arr. Mowat (Brass Wind: ? or & editions) 4 Caldara Grave and Presto: 3rd and 4th movts from Sonata in D, arr. Bucher and Schnorr (Editions Marc Reift EMR 321: ? /& edition) 5 Emperor Joseph I Alme ingrate (Ungrateful Souls) (ending at b. 33) (Virgo: ? edition) 6 J. B. Loeillet Allegro non presto: 3rd movt from Sonata (in A b), arr. Sturzenegger (Editions Marc Reift EMR 307L: ? /& edition) 7 Pergolesi Aria (from La serva padrona). No. 7 from Second Book of Trombone Solos, arr. Goodwin and Pearson (Faber: ? /& edition) 8 Telemann Die Tapferkeit (Courage). No. 3 from Festive Baroque for Trombone, arr. van Beringen (De Haske Hal Leonard: ? /& edition) 9 Trad. English, arr. Grainger Lost Lady Found. The Green and Pleasant Trombone Book, arr. Mowat (Brass Wind: ? or & editions) LIST B

1 István Bogár Allegro moderato: 1st movt from Sonatina for Trombone (Editio Musica Budapest Z.13422: ? edition) 2 J. A. Greenwood The Acrobat (Wright & Round: ? /& edition) 3 H. Mancini Moon River. Let’s Face the Music for Trombone/Euphonium, arr. Iveson (Brass Wind: ? or & editions) 4 Christopher Mowat Bone Idyll. Slide Show for Trombone, arr. Mowat (Brass Wind: ? or & editions) 5 Jim Parker Fantango or Bone Shaker. Jazzed Up Too for Trombone, arr. Parker (Brass Wind: ? or & editions) 6 Ravel Song of the Comptois Clock (from L’enfant et les sortilèges). No. 14 from Second Book of Trombone Solos, arr. Goodwin and Pearson (Faber: ? /& edition) 7 A. Ridout Lento: 1st movt from Concertino for Trombone (Emerson E140a: ? edition) 8 Philip Sparke Rhode Island Rag. No. 20 from Skilful Solos for Trombone, arr. Sparke (Anglo Music AMP 193-400: ? /& edition) 9 Allen Vizzutti The Enchanted Trombone: from The Enchanted Trombone (De Haske Hal Leonard: ? edition) LIST C

1 Bordogni, trans. Rochut Allegro or Allegro: No. 5 or No. 16 from Melodious Etudes for Trombone, Book 1 (Carl Fischer: ? edition) 2 Derek Bourgeois Allegretto grazioso: No. 13 from Bone of Contention, Op. 112 (Brass Wind: ? or & editions) 3 Christopher Mowat Jauntily: No. 20 from Unlocking the Tenor Clef (Brass Wind: ? / B edition) 4 Mark Nightingale Broadband Bossa: No. 19 from Jazz@Etudes for Trombone (Warwick Music: ? or & editions) 5 Philip Sparke Marionette. No. 11 from ¸ ? ˝ Melodic Studies for Trombone (De Haske Hal Leonard: edition) 6 Allen Vizzutti Cancan.

No. 2 from ˛ 7 Philip Sparke Baroque Melody: No. 4 from Super Studies for Trombone (Anglo Music AMP 116-401: ? /& edition)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 89

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

50

Trombone GRADE 6 SCALES AND ARPEGGIOS*: from memory, to be played both tongued and with legato tonguing in the fol­lowing­ keys: Bass clef: B b, C majors; B b, C # minors (a twelfth) E, A b majors; F # minor (two octaves) Treble clef: C, D majors; C, E b minors (a twelfth) F #, B b majors; G # minor (two octaves) Scales: in the above keys (minors in both harmonic and melodic forms) Chromatic Scales: Bass clef: starting on G and A b (two octaves) Treble clef: starting on A and B b (two octaves) Arpeggios: the common chords of the above keys for the ranges indicated Dominant Seventh: Bass clef: in the key of C (two octaves) Treble clef: in the key of D (two octaves) Diminished Seventh: Bass clef: starting on F (two octaves) Treble clef: starting on G (two octaves)

SIGHT-READING*: (bass and tenor clef, or treble clef at candidate’s choice) see p. 7.

51

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

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 J. S. Bach Prelude in A b (from 48 Preludes and Fugues, Book 1). Bach for Trombone, arr. Mowat (Brass Wind: ? or & editions) 2 Bruckner Ave Maria, arr. Mortimer (Editions Marc Reift EMR 2027L: ? /& edition) 3 Caldara Adagio or Allegro: 1st or 2nd movt from Sonata in D, arr. Bucher and Schnorr (Editions Marc Reift EMR 321: ? /& edition) 4 Cesare La Hieronyma (Robert King MB418, arr. Smith or Editions Marc Reift EMR 322, arr. Schnorr: ? edition) 5 Corelli Preludio and Allemanda, or Sarabanda and Gigue: 1st and 2nd movts, or 3rd and 4th movts from Sonata in G minor, arr. Mortimer (Editions Marc Reift EMR 2070L: ? /& edition) 6 L. Mozart Allegro: 1st movt from Serenade for Trombone, arr. Clack (Winwood Music 0212: B /& edition) 7 Senaillé Allegro spiritoso (taking upper line in ossias): from Andante and Allegro spiritoso, arr. Mortimer (Editions Marc Reift EMR 293L: ? /& edition) 8 Shostakovich Moderato non troppo: No. 1 from Four Preludes, trans. Ostrander (Edition Musicus: ? edition) 9 Telemann Andante and Vivace: 3rd and 4th movts from Sonata in F minor (TWV 41:f1), arr. Mortimer (Editions Marc Reift EMR 288L: ? /& edition) LIST B

1 István Bogár Adagio and Rondo: 2nd and 3rd movts from Sonatina for Trombone (Editio Musica Budapest Z.13422: ? edition) 2 James Curnow Fantasy for Trombone (Winwood Music 0136P: ? /& edition) 3 Bruce Fraser Hellas (starting at Fig. E) (Studio Music: ? /& edition) 4 Harbach and Kern Smoke Gets in Your Eyes. Let’s Face the Music for Trombone/Euphonium, arr. Iveson (Brass Wind: ? or & editions) 5 Jacob Trombone Concertino (starting 2 bars before Fig. L and observing cadenza) (Emerson E105a: ? edition) 6 Don Lusher Concert Variations (G & M Brand: & edition) 7 Trygve Madsen Allegro: 3rd movt from Sonata for Trombone, Op. 139 (Musikk-Huset: ? edition) 8 Roy Newsome Tenor Trombone Rag (Studio Music: ? /& edition) 9 Jim Parker Dances with Bears. Jazzed Up Too for Trombone, arr. Parker (Brass Wind: ? or & editions) LIST C

1 Bordogni, trans. Rochut Andantino con moto: No. 9 from Melodious Etudes for Trombone, Book 1 (Carl Fischer: ? edition) 2 Derek Bourgeois Alla marcia: No. 15 from Bone of Contention, Op. 112 (Brass Wind: ? or & editions) 3 Rob Hudson Ivan’s Lament: No. 25 from 30 Modern Studies for Trombone (Universal UE 21317: ? edition) 4 Bertrand Moren Wild Dances. No. 18 from Melodic Studies for Trombone (De Haske Hal Leonard: ? edition) 5 Christopher Mowat Allegro moderato or Flowing: No. 29 or No. 30 from Unlocking the Tenor Clef (Brass Wind: ? / B edition) 6 Mark Nightingale Scart Stomp or Burn, Burn, Burn: No. 23 or No. 25 from Jazz@Etudes for Trombone (Warwick Music: ? or & editions) 7 Vobaron Allegretto agitato: No. 24 from 34 Etudes. P. 25 from Vobaron Studies for Trombone (Bärenreiter Praha H 2674: ? edition)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 90

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

52

Trombone GRADE 7 SCALES AND ARPEGGIOS*: from memory, to be played tongued, with legato tonguing and staccato in the following keys: Bass clef: B, C, D b, D, E b majors; B, C, C #, D, E b minors (a twelfth) All other keys, major and minor (two octaves) Treble clef: D b, D, E b, E, F majors; C #, D, E b, E, F minors (a twelfth) All other keys, major and minor (two octaves) Scales: in the above keys (minors in both harmonic and melodic forms) Chromatic Scales: Bass clef: starting on any note E–B b (two octaves) Treble clef: starting on any note F # –C (two octaves) Arpeggios: the common chords of the above keys for the ranges indicated Dominant Sevenths: Bass clef: in the keys of B and D b (two octaves) Treble clef: in the keys of D b and E b (two octaves) Diminished Sevenths: Bass clef: starting on G and A (two octaves) Treble clef: starting on A and B (two octaves) SIGHT-READING*: (bass and tenor clef, or treble clef at candidate’s choice) see p. 7.

53

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

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 A. Besozzi Larghetto: 3rd movt from Sonata in B b, arr. Slokar and Meyer (Editions Marc Reift EMR 315: B edition) 2 Büsser Pièce in E b for Trombone, Op. 33 (Leduc AL24699: ? edition) 3 Ferdinand David Marcia funebre (Andante) or Allegro maestoso: 2nd or 3rd movt from Concertino for Trombone, Op. 4 (Editions Marc Reift EMR 2064A: ? /& edition or IMC 2008: ? edition) 4 Guilmant Morceau symphonique (Concert Piece), Op. 88 (starting at Allegro moderato, b. 39) (Editions Marc Reift EMR 2006 or Brass Wind: ? /& edition) or No. 15 from Solos for the Trombone Player, arr. Smith (G. Schirmer GS33009: ? edition) 5 A. Jørgensen Romance for Trombone, Op. 21 (Hansen WH29516: ? edition) 6 B. Marcello Sonata No. 5 (in B b) (complete), arr. Mortimer (Editions Marc Reift EMR 2046L: ? /& edition) 7 Sachse Allegro maestoso (ending before Adagio): 1st movt from Concertino for Trombone (Simrock EE1171-1 or IMC 1436: ? edition) 8 Saint-Saëns Cavatine, Op. 144 (Brass Wind: ? /& edition or Durand: ? edition) 9 Smita Concertino in E b (ending at b. 105) (Editions BIM: ? edition) 10 Weber Romance for Trombone (Brass Wind: ? /& edition or Editions Marc Reift EMR 236: ? edition) LIST B

1 Tony Cliff Pastels and any one other movt: from Four Sketches for Trombone (Studio Music: ? /& edition) 2 Harold East Leisurely or With Vitality: 2nd or 3rd movt from Sonatina for Trombone (Ricordi: ? edition) 3 Larsson Preludium (Allegro pomposo): 1st movt from Concertino for Trombone, Op. 45 No. 7 (Gehrmans Musikförlag CG5139U: ? edition) 4 Florentin Morel Pièce in F minor for Trombone (Billaudot CC2460: ? edition) 5 Pryor Thoughts of Love (ending before Coda, at b. 189). Arthur Pryor Solos for Trombone (Carl Fischer: ? edition) or available separately (Carl Fischer: ? edition) 6 N. Rota Allegro giusto: 1st movt from Concerto for Trombone (Ricordi: ? edition) 7 Šulek Sonata ‘Vox Gabrieli’ (Editions Marc Reift EMR 294: ? edition) 8 Rob Wiffin Blue Jeans (Studio Music: ? /& edition) 9 Bram Wiggins Caprice for Trombone (starting at Adagietto, Fig. I) (Kirklees Music: & edition) 10 Gareth Wood Dance Sequence (starting at Romance–Lento) (G & M Brand: & edition) LIST C

1 Bordogni, trans. Rochut Allegro or Allegro moderato: No. 44 or No. 55 from Melodious Etudes for Trombone, Book 1 (Carl Fischer: ? edition) 2 Derek Bourgeois Adagio or Allegro energico: No. 5 or No. 7 from Fantasy Pieces for Trombone (Brass Wind: ? or & editions) 3 Douglas Court Reflections.

No. 8 from ¸ Melodic Studies for Trombone (De Haske Hal Leonard: ˝ 4 Jan Hadermann Introduction and Rap. No. 13 from ˛ ? edition) 5 Rob Hudson The Chase: No. 30 from 30 Modern Studies for Trombone (Universal UE 21317: ? edition) 6 Koechlin Monodie for Trombone, from Op. 213 (Billaudot GB7765: ? edition) 7 Philip Sparke Georgia’s Gigue or Threes, Fives and Sevens: No. 18 or No. 26 from Super Studies for Trombone (Anglo Music AMP 116-401: ? /& edition) 8 Vobaron Moderato grazioso: No. 37 from 40 Etudes. P. 72 from Vobaron Studies for Trombone (Bärenreiter Praha H 2674: ? edition)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 91

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

54

Trombone GRADE 8 SCALES AND ARPEGGIOS*: from memory, to be played tongued, with legato tonguing and staccato in the following keys: Bass clef: B, C, D b, D, E b majors; B, C, C #, D, E b minors (a twelfth) All other keys, major and minor (two octaves) Treble clef: D b, D, E b, E, F majors; C #, D, E b, E, F minors (a twelfth) All other keys, major and minor (two octaves) Scales: in the above keys (minors in both harmonic and melodic forms) Chromatic Scales: Bass clef: starting on any note E–B b (two octaves) Treble clef: starting on any note F #–C (two octaves) Whole-Tone Scales: Bass clef: starting on A and B b (two octaves), as example given on p. 85 Treble clef: starting on B and C (two octaves), as example given on p. 85 Arpeggios: the common chords of the above keys for the ranges indicated Dominant Sevenths: Bass clef: in the keys of A, B b, B, C, D b, D and E b (two octaves) Treble clef: in the keys of B, C, D b, D, E b, E and F (two octaves) Diminished Sevenths: Bass clef: starting on G, A b and A (two octaves) Treble clef: starting on A, B b and B (two octaves) SIGHT-READING*: (bass and tenor clef, or treble clef at candidate’s choice) see p. 7.

55

BASS TROMBONE (Subject Code: 33): Grades 6 to 8 only This syllabus is valid from 2010 until further notice.

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

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B, and C: LIST A

1 Beethoven Danse villageoise, arr. Goudenhooft (simplified version) (Billaudot GB4482) 2 Dukas Theme from The Sorcerer’s Apprentice. Power Bass – Solos for Bass Trombone, arr. Green (Brass Wind) 3 Handel Largo (either version): 3rd movt from Sonata in F, Op. 1 No. 12, trans. Yeo for Bass Trombone (IMC 3308) 4 Jacob V.I.P.: No. 1 from Cameos for Bass Trombone (Emerson E110a) 5 J. B. Loeillet Cantabile: 1st movt from Sonata (in A b), arr. Sturzenegger for Bass Trombone (Editions Marc Reift EMR 307N) 6 Patrick McCarty Andantino: 2nd movt from Sonata for Bass Trombone (Ensemble Publications) LIST B

1 Jean-Michel Defaye Danse profane: No. 2 from Deux Danses for Bass Trombone (Leduc AL25465) 2 Tom Dossett Scene 5: from Scenes for Bass Trombone (Warwick Music) 3 Tom Dossett Sweet Lullaby for Bass Trombone (Warwick Music) 4 Robert Eaves Introduction and Burlesque for Bass Trombone (starting 3 bars before Fig. 2) (G & M Brand) 5 Jonathan Warburton Almost Swing! for Bass Trombone (Warwick Music) 6 Guy Woolfenden Moving On for Bass Trombone (Warwick Music) LIST C

1 Bordogni, trans. Ostrander Andante cantabile: No. 3 from Melodious Etudes for Bass Trombone (Carl Fischer) 2 Andy Derrick Pomp Piece or An Air: No. 1 or No. 2 from Bass Bone Bonanza (Warwick Music) 3 Michael Eversden Allegro giocoso: No. 2 from 50 Studies for Bass Trombone (Warwick Music) 4 Grigoriev Maestoso: No. 6 from 24 Studies for Bass Trombone (IMC 3094) 5 Guy Warrack Grade 6 Study. Studies for Bass Trombone (ABRSM) 6 Weissenborn, arr. Lake Allegretto: No. 2 from 12 Studies for Bass Trombone (Neuschel Music)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 89 SCALES AND ARPEGGIOS*: from memory, to be played both tongued and with legato tonguing in the fol­lowing­ keys: A b major (a twelfth) C, D, E b majors; C #, D, E b minors (two octaves) Scales: in the above keys (minors in both harmonic and melodic forms) Chromatic Scales: starting on C and D b (two octaves) Arpeggios: the common chords of the above keys for the ranges indicated Dominant Seventh: in the key of A (two octaves) Diminished Seventh: starting on C (two octaves) SIGHT-READING*: see p. 7.

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

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

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 J. S. Bach Badinerie (observing 1st repeat), arr. Mortimer for Bass Trombone (Editions Marc Reift EMR 510N) 2 S. Leduc Andante (low B may be adapted), arr. Goudenhooft for Bass Trombone (Billaudot GB4139) 3 B. Marcello Largo and Allegro (lower line in ossias): 3rd and 4th movts from Sonata No. 5 (in B b), arr.

Mortimer for Bass Trombone (Editions Marc Reift EMR 2046N) 4 Saint-Saëns L’éléphant. Power Bass – Solos for Bass Trombone, arr. Green (Brass Wind) 5 Senaillé Allegro spiritoso: from Andante and Allegro spiritoso, arr. for Bass Trombone (Editions Marc Reift EMR 293A) 6 Vivaldi Allegro: 2nd movt from Sonata No. 1 in B b, arr. Mortimer for Bass Trombone (Editions Marc Reift EMR 323N) LIST B

1 Tom Dossett Furiant for Bass Trombone (Warwick Music) 2 Tom Dossett Caprice: from Trilogy for Bass Trombone (Warwick Music) 3 Pierre Gabaye Tubabillage (Leduc AL22765) 4 Semler-Collery Andantino cantabile or Allegretto con spirito: from Deux pièces brèves (Eschig) 5 Robert Spillman Andante: No. 1 from Two Songs (Edition Musicus) 6 Gareth Wood Toccata for Bass Trombone (Warwick Music) LIST C

1 Bordogni, trans. Ostrander Andantino con moto: No. 22 from Melodious Etudes for Bass Trombone (Carl Fischer) 2 Philip Cranmer Grade 7 Study. Studies for Bass Trombone (ABRSM) 3 Andy Derrick Show Piece: No. 6 from Bass Bone Bonanza (Warwick Music) 4 Michael Eversden Presto or Allegro: No. 5 or No. 6 from 50 Studies for Bass Trombone (Warwick Music) 5 Grigoriev Veloce: No. 9 from 24 Studies for Bass Trombone (IMC 3094) 6 Weissenborn, arr. Lake Allegretto grazioso (low B may be adapted): No. 5 from 12 Studies for Bass Trombone (Neuschel Music)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 90 SCALES AND ARPEGGIOS*: from memory, to be played tongued, with legato tonguing and staccato in the following keys: C, D b, D, E b, E, F majors; C, C #, D, E b, E, F minors (two octaves) All other keys, major and minor (a twelfth) Scales: in the above keys (minors in both harmonic and melodic forms) Chromatic Scales: starting on any note C–E b (two octaves) Arpeggios: the common chords of the above keys for the ranges indicated Dominant Sevenths: in the keys of F and G (two octaves) Diminished Sevenths: starting on C and D b (two octaves) SIGHT-READING*: see p. 7.

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

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Bruch Theme from Kol Nidrei ¸ Power Bass – Solos for Bass Trombone, arr. Green ˝ 2 Saint-Saëns Allegro appassionato (low B may be adapted) ˛ (Brass Wind) 3 Harold East 2nd movt: from Sonatina for Bass Trombone (Ricordi) 4 Guilmant Morceau symphonique, Op. 88 (starting at Allegro moderato, b. 39) (Editions Marc Reift EMR 2007) 5 Vivaldi Andante and Allegro, or Largo and Allegro: 1st and 2nd movts, or 3rd and 4th movts from Sonata No. 2 in F, arr. Mortimer for Bass Trombone (Editions Marc Reift EMR 324N) 6 Weber Romance for Bass Trombone (Brass Wind) LIST B

1 Roger Boutry Tubaroque (Leduc AL21635) 2 Stephen Dodgson Alla Polacca: 4th movt from Concerto for Bass Trombone (Neuschel Music) 3 Tom Dossett Carousel Song for Bass Trombone (Warwick Music) 4 Tom Dossett Gaillarde (observing cadenza): from Trilogy for Bass Trombone (Warwick Music) 5 Jan Koetsier Allegro Maestoso for Bass Trombone Op. 58 No. 2 (Editions Marc Reift EMR 216) 6 Richard Lieb Concertino Basso (observing cadenza) (Carl Fischer) LIST C

1 Bordogni, trans. Ostrander Allegretto: No. 19 from Melodious Etudes for Bass Trombone (Carl Fischer) 2 Michael Eversden Allegro (low Bs may be adapted) and Con animo: No. 36 and No. 37 from 50 Studies for Bass Trombone (Warwick Music) 3 Grigoriev Allegretto and Allegretto: No. 14 and No. 18 from 24 Studies for Bass Trombone (IMC 3094) 4 Malcolm Macdonald Grade 8 Study. Studies for Bass Trombone (ABRSM) 5 Jérôme Naulais Bien rythmé or Gigue: No. 12 or No. 20 from Etudes variées sur la virtuosité, le style et le rythme for Bass Trombone, Vol. 1 (Billaudot GB6555) 6 Weissenborn, arr. Lake Allegro vivace (low Bs may be adapted): No. 12 from 12 Studies for Bass Trombone (Neuschel Music)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 91 SCALES AND ARPEGGIOS*: from memory, to be played tongued, with legato tonguing and staccato in the following keys: C, D b, D, E b, E, F, F #, G majors; C, C #, D, E b, E, F, F #, G minors (two octaves) All other keys, major and minor (a twelfth) Scales: in the above keys (minors in both harmonic and melodic forms) Chromatic Scales: starting on any note B–E b (two octaves) Whole-Tone Scales: starting on D and E b (two octaves), as example given on p. 85 Arpeggios: the common chords of the above keys for the ranges indicated Dominant Sevenths: in the keys of E, F, F #, G and A b (two octaves) Diminished Sevenths: starting on C, D b and D (two octaves) SIGHT-READING*: see p. 7.

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

58

BARITONE and EUPHONIUM (Subject Codes: 24 and 35) This syllabus is valid from 2013 until further notice.

This syllabus is suitable for three-valved instruments at all grades. For those pieces containing notes that require a 4th valve (and where an ossia is not published), candidates may adapt the affected passages.

The repertoire lists indicate the clefs in which the pieces are published (? and/or & ). If necessary, candidates may use manuscript transpositions into treble or bass clef.

Examiners will ask candidates whether they are bass- or treble-clef readers.

Baritone and Euphonium GRADE 1 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 J. S. Bach Chorale from St Matthew Passion. Boosey Brass Method, Repertoire Book B (Boosey & Hawkes: ? trombone edition or & B b Brass Band Instruments edition) 2 Czerny Rise and Shine ¸ ? ˝ Bravo! Euphonium, arr. Barratt (Boosey & Hawkes: /& edition) 3 Trad. Scottish The Night Visiting Song ˛ 4 Tom Davoren Romanza ¸ Shining Brass, Book 1 (ABRSM: ? /& brass edition; B b piano accomp. published ˝ 5 Philip Sparke A Knight’s Tale ˛ separately) 6 Grieg Morning (from Peer Gynt) ¸ Winners Galore, arr. Lawrance (Brass Wind: ? trombone edition or & brass ˝ 7 Trad. Cornish Cornish Floral Dance ˛ edition; B b piano accomp. published separately) 8 Trad. English The Barley Break. The Magic Trombone, arr. Hare (Boosey & Hawkes: ? /& edition) 9 Trad. Spiritual All Night, All Day. Easy Winners, arr. Lawrance (Brass Wind: ? trombone edition or & brass edition; B b piano accomp. published separately) LIST B

1 Keith Amos Morris Miler: No. 5 from The Eddie Stobart Collection for Trombone/Euphonium (CMA Publications: ? /& edition) 2 Carol Barratt Shortcake-Walk. Bravo! Euphonium, arr. Barratt (Boosey & Hawkes: ? /& edition) 3 Bernstein One Hand, One Heart (from West Side Story). Easy Winners, arr. Lawrance (Brass Wind: ? trombone edition or & brass edition; B b piano accomp. published separately) 4 Tom Davoren Waltz for E. ¸ Shining Brass, Book 1 (ABRSM: ? /& brass edition; B b piano accomp. published ˝ 5 David A. Stowell Strollin’ ˛ separately) 6 Peter Graham Moscow or Paris: No. 1 or No. 2 from Cityscapes for B b Instrument (Gramercy Music: ? /& edition) 7 Rendall and Thomas Birdie Song. Winners Galore, arr. Lawrance (Brass Wind: ? trombone edition or & brass edition; B b piano accomp. published separately) 8 Trad. American When the Saints. The Magic Trombone, arr. Hare (Boosey & Hawkes: ? /& edition) 9 Trad. Zulu Siyahamba. Boosey Brass Method, Repertoire Book B (Boosey & Hawkes: ? trombone edition or & B b Brass Band Instruments edition) LIST C

1 Edward Gregson Thoughtful Prelude: No. 1 from 20 Supplementary Tunes for Beginner Brass (Brass Wind: ? brass edition) 2 Edward Gregson Step by Step: No. 1 from 20 Supplementary Tunes for Beginner Brass (Brass Wind: & brass edition) 3 Jock McKenzie Baksimba or Rumba: No. 4 or No. 5 from Dance to the Beat of the World (Con Moto: ? or & brass editions) 4 Peter Meechan One, Two, Three! ¸ ? ˝ Shining Brass, Book 1 (ABRSM: /& brass edition) ˛ 5 Philip Sparke Puppet’s Dance 6 Mark Nightingale A Small Step or Fiesta Siesta: No. 1 or No. 2 from Easy Jazzy ’Tudes (Warwick Music: ? euphonium edition or & brass edition) 7 Philip Sparke Ticker Tape Parade or Lullaby: No. 5 or No. 6 from Skilful Studies for Baritone or Euphonium (Anglo Music AMP 101-401: ? /& edition)

(continued overleaf )

59

Baritone and Euphonium GRADE 1 AURAL TESTS FOR THE GRADE*: see pp. 86 and 87 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: Bass clef: B b major; G minor (one octave) Treble clef: C major; A minor (one octave) Scales: in the above keys (minor in natural or harmonic or melodic form at candidate’s choice) Arpeggios: the common chords of the above keys for the range indicated SIGHT-READING*: (bass or treble clef at candidate’s choice) a short piece in simple time within the keys, notes and overall range of the scale requirements set for this grade. Some accidentals, dotted and tied notes may be included. See also p. 7.

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

60

Baritone and Euphonium GRADE 2 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Nicholas Hare Variations on ‘Goe from My Window’. The Magic Trombone, arr. Hare (Boosey & Hawkes: ? /& edition) 2 Mozart Aria (from The Marriage of Figaro) ¸ Winners Galore, arr. Lawrance (Brass Wind: ? trombone edition or & ˝ ˛ brass edition; B b piano accomp. published separately) 3 Trad. English Portsmouth 4 Philip Sparke My Lady’s Pavan ¸ Shining Brass, Book 1 (ABRSM: ? /& brass edition; B b piano accomp. ˝ 5 David A. Stowell A Walk in the Rain ˛ published separately) 6 Trad. Irish Avenging and Bright. Boosey Brass Method, Repertoire Book B (Boosey & Hawkes: ? trombone edition or & B b Brass Band Instruments edition) 7 Trad. Irish Football Crazy. Winner Scores All, arr. Lawrance (Brass Wind: ? trombone edition or & brass edition; B b piano accomp. published separately) 8 Trad. Latvian Harvest Time ¸ ? ˝ Bravo! Euphonium, arr. Barratt (Boosey & Hawkes: /& edition) 9 Trad. 16th-century Staines Morris ˛ LIST B

1 Carol Barratt and Karl Jenkins Brava Bossa Nova! Bravo! Euphonium, arr. Barratt (Boosey & Hawkes: ? /& edn) 2 Bartók Slovakian Folk Tune. The Magic Trombone, arr. Hare (Boosey & Hawkes: ? /& edition) 3 Tom Davoren Hangin’ with Monti ¸ Shining Brass, Book 1 (ABRSM: ? /& brass edition; B b piano accomp. ˝ ˛ published separately) 4 Philip Sparke Tennessee Rag 5 Howard Goodall Blackadder Theme. Winners Galore, arr. Lawrance (Brass Wind: ? trombone edition or & brass edition; B b piano accomp. published separately) 6 Peter Graham Seville or Kyoto: No. 3 or No. 4 from Cityscapes for B b Instrument (Gramercy Music: ? /& edition) 7 Geoffrey Kinder Saudades de Lisboa. Boosey Brass Method, Repertoire Book B (Boosey & Hawkes: ? trombone edition or & B b Brass Band Instruments edition) 8 Andrew Lloyd Webber Love Changes Everything (from Aspects of Love). Winner Scores All, arr. Lawrance (Brass Wind: ? trombone edition or & brass edition; B b piano accomp. published separately) 9 arr. Ramskill Cockles and Mussels. All Jazzed Up for Trombone or Euphonium, arr. Ramskill (Brass Wind: ? or & editions) LIST C

1 Edward Gregson Song or Rhythmic Prelude: No. 5 or No. 8 from 20 Supplementary Tunes for Beginner Brass (Brass Wind: ? brass edition) 2 Edward Gregson Pop Song or Justin’s March: No. 13 or No. 14 from 20 Supplementary Tunes for Beginner Brass (Brass Wind: & brass edition) 3 Jock McKenzie Klezmer or Calypso: No. 9 or No. 11 from Dance to the Beat of the World (Con Moto: ? or & brass editions) 4 Peter Meechan Haunted House ¸ ? ˝ Shining Brass, Book 1 (ABRSM: /& brass edition) ˛ 5 David A. Stowell High Street 6 Mark Nightingale Big Mama or The Sleuth: No. 5 or No. 7 from Easy Jazzy ’Tudes (Warwick Music: ? euphonium edition or & brass edition) 7 Philip Sparke Allegheny Aria or Soldier’s Song: No. 15 or No. 19 from Skilful Studies for Baritone or Euphonium (Anglo Music AMP 101-401: ? /& edition)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 87 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: Bass clef: A b, C majors; G, C minors (one octave) Treble clef: B b, D majors; A, D minors (one octave) Scales: in the above keys (minors in natural or harmonic or melodic form at candidate’s choice) Arpeggios: the common chords of the above keys for the range indicated SIGHT-READING*: (bass or treble clef at candidate’s choice) a short piece in simple time within the keys, notes and overall range of the scale requirements set up to and including this grade. Some accidentals, dotted­and tied notes may be included. See also p. 7.

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Baritone and Euphonium GRADE 3 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Brahms Love Song (from Op. 52) ¸ The Magic Trombone, arr. Hare (Boosey & ˝ 2 Elgar Pomp and Circumstance (Theme from March No. 4) ˛ Hawkes: ? /& edition) 3 Tom Davoren Rondo Olympia ¸ Shining Brass, Book 1 (ABRSM: ? /& brass edition; B b piano accomp. published ˝ ˛ separately) 4 Lucy Pankhurst Sicilienne 5 trans. Fitzgerald Finale: 5th movt from English Suite for Euphonium(Presser: ? /& edition) 6 Gluck Che farò. Great Winners, arr. Lawrance (Brass Wind: ? trombone edition or & brass edition; B b piano accomp. published separately) 7 Philip Sparke Promenade. No. 7 from Skilful Solos for Baritone or Euphonium, arr. Sparke (Anglo Music AMP 194-400: ? /& edition) 8 Tchaikovsky Reverie. Winner Scores All, arr. Lawrance (Brass Wind: ? trombone edition or & brass edition; B b piano accomp. published separately) 9 Trad. The Ash Grove (ending at b. 61). No. 1 from The Young Soloist for B b Instruments, Vol. 4, arr. Newsome (Studio Music: & edition) LIST B

?

1 Bernstein America (from West Side Story) ¸ Winner Scores All, arr. Lawrance (Brass Wind: trombone edition ˝ 2 Andrew Lloyd Webber Close Every Door to Me ˛ or & brass edition; B b piano accomp. published separately) 3 Foster Jeannie with the light brown hair. No. 6 from The Young Soloist for B b Instruments, Vol. 4, arr. Newsome (Studio Music: & edition) 4 John Frith Broken Dreams ¸ Shining Brass, Book 1 (ABRSM: ? /& brass edition; B b piano accomp. published ˝ 5 Peter Meechan Purple Shade ˛ separately) 6 Peter Graham New York (grace note optional) or Vienna: No. 5 or No. 6 from Cityscapes for B b Instrument (Gramercy Music: ? /& edition) 7 Jacob No. 3: from Four Little Pieces for Trumpet/Cornet (Emerson E13: & edition) 8 Alan Menken A Whole New World (from Aladdin). Great Winners, arr. Lawrance (Brass Wind: ? trombone edition or & brass edition; B b piano accomp. published separately) 9 Robert Ramskill Chicago Sunset. All Jazzed Up for Trombone or Euphonium, arr. Ramskill (Brass Wind: ? or & edns) LIST C

1 Edward Gregson Moto Perpetuo: No. 11 from 20 Supplementary Tunes for Beginner Brass (Brass Wind: & brass edn) 2 Timothy Jackson How’s Tricks? ¸ ? ˝ Shining Brass, Book 1 (ABRSM: /& brass edition) 3 Peter Meechan Summer Sound ˛ 4 Jock McKenzie Bossa Nova: No. 33 from Dance to the Beat of the World (Con Moto: ? or & brass editions) 5 Mark Nightingale Skipping or Cinnamon Tea: No. 11 or No. 12 from Easy Jazzy ’Tudes (Warwick Music: ? euphonium edition or & brass edition) 6 Philip Sparke My Country or Tyrolean Tune: No. 26 or No. 27 from Skilful Studies for Baritone or Euphonium (Anglo Music AMP 101-401: ? /& edition) 7 Richard Warren No. 3: from 12 Progressive Short Studies for Brass Instruments (Con Moto: ? /& brass edition)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 88 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: Bass clef: D b, D majors; B b, D minors (one octave) G major (a twelfth) Treble clef: E b, E majors; C, E minors (one octave) A major (a twelfth) Scales: in the above keys (minors in harmonic or melodic form at candidate’s choice) Chromatic Scale: Bass clef: starting on B b (one octave) Treble clef: starting on C (one octave) Arpeggios: the common chords of the above keys for the ranges indicated SIGHT-READING*: (bass or treble clef at candidate’s choice) a short piece in simple time within the keys, notes and overall range of the scale requirements set up to and including this grade. See also p. 7.

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Baritone and Euphonium GRADE 4 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Charpentier Prelude to Te Deum (observing lower line in ossia) ¸ Savoir Faire for Trombone/Euphonium, arr. ˝ ˛ Mowat (Brass Wind: ? or & editions) 2 Saint-Saëns L’éléphant 3 Tom Davoren Beaufort Allegro ¸ Shining Brass, Book 2 (ABRSM: ? /& brass edition; B b piano accomp. published ˝ ˛ separately) 4 Lucy Pankhurst Folk Song 5 Delius Serenade.

No. 8 from ¸ ? ˝ Going Solo – Trombone/Euphonium, arr. Gout (Faber: /& edition) 6 Mussorgsky The Old Castle. No. 14 from ˛ 7 trans. Fitzgerald Aria: 2nd movt from English Suite for Euphonium (Presser: ? /& edition) 8 Grieg Solveig’s Song (from Peer Gynt). Great Winners, arr. Lawrance (Brass Wind: ? trombone edition or & brass edition; B b piano accomp. published separately) 9 Mozart Adagio. No. 15 from Skilful Solos for Baritone or Euphonium, arr. Sparke (Anglo Music AMP 194-400: ? /&) LIST B

1 Keith Amos Crunch Corner or The Bittoms: No. 15 or No. 20 from The Eddie Stobart Collection for Trombone/ Euphonium (CMA Publications: ? /& edition) 2 Alberto Dominguez Frenesì ¸ Great Winners, arr. Lawrance (Brass Wind: ? trombone edition or & brass edition; ˝ 3 Ron Goodwin 633 Squadron ˛ B b piano accomp. published separately) 4 John Frith Bragtime ¸ Shining Brass, Book 2 (ABRSM: ? /& brass edition; B b piano accomp. published ˝ 5 David A. Stowell Open Plains ˛ separately) 6 Jacob No. 1 or No. 2 or No. 4: from Four Little Pieces for Trumpet/Cornet (Emerson E13: & edition) 7 Kander & Ebb Cabaret. Stranger on the A Train for Trombone/Euphonium, arr. Iveson (Brass Wind: ? or & edns) 8 Peter Lawrance Aubade or Dance: No. 2 or No. 3 from Badinage for Trombone/Euphonium (Brass Wind: ? or &) 9 Philip Sparke Thinking of You. No. 17 from Skilful Solos for Baritone or Euphonium, arr. Sparke (Anglo Music AMP 194-400: ? /& edition) LIST C

1 Keith Amos No. 2 or No. 6: from 12 Miniatures for Solo Euphonium (CMA Publications: ? /& edition) 2 Timothy Jackson Circulation ¸ ? ˝ Shining Brass, Book 2 (ABRSM: /& brass edition) 3 Peter Meechan Reflections ˛ 4 Jock McKenzie Rumba or Rock: from Music Makes the World Go Around (Con Moto: ? or & brass editions) 5 Mark Nightingale Blues for Big-Ears or The Shout: No. 15 or No. 17 from Easy Jazzy ’Tudes (Warwick Music: ? euphonium edition or & brass edition) 6 Philip Sparke Shepherd’s Song or Ursa Major: No. 33 or No. 37 from Skilful Studies for Baritone or Euphonium (Anglo Music AMP 101-401: ? /& edition) 7 Richard Warren No. 7: from 12 Progressive Short Studies for Brass Instruments (Con Moto: ? /& brass edition)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 88 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: Bass clef: E b major; E b minor (one octave) F #, A b majors; G, A minors (a twelfth) Treble clef: F major; F minor (one octave) A b, B b majors; A, B minors (a twelfth) Scales: in the above keys (minors in harmonic or melodic form at candidate’s choice) Chromatic Scale: Bass clef: starting on A b (a twelfth) Treble clef: starting on B b (a twelfth) Arpeggios: the common chords of the above keys for the ranges indicated SIGHT-READING*: (bass or treble clef at candidate’s choice) a short piece in simple or compound time within the keys, notes and overall range of the scale requirements set up to and including this grade. See also p. 7. * Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests)

63

Baritone and Euphonium GRADE 5 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Bizet Chanson bohème. Great Winners, arr. Lawrance (Brass Wind: ? trombone edition or & brass edition; B b piano accomp. published separately) 2 Fauré Après un rêve ¸ Savoir Faire for Trombone/Euphonium, arr. Mowat (Brass Wind: ˝ 3 Gounod Marche funèbre d’une marionnette ˛ ? or & editions) 4 John Frith Caber Dance ¸ Shining Brass, Book 2 (ABRSM: ? /& brass edition; B b piano accomp. published ˝ 5 David A. Stowell Jam Bouree ˛ separately) 6 Mendelssohn On Wings of Song, arr. De Smet. The Classical Euphonium (De Haske Hal Leonard: ? /& edition; piano accomp. published separately) 7 Offenbach Barcarolle (from The Tales of Hoffmann), arr. Mead (Studio Music: ? /& edition) 8 Paradies Sicilienne, arr. Snell (observing lower line in b. 26) (Rakeway Music: ? or & editions) 9 Ernest Young Cantilena and An English Tune: Nos 2 and 5 from Five Pieces for Brass (G & M Brand: ? /& edn) LIST B

1 Bernie, Pinckard & Casey Sweet Georgia Brown. Stranger on the A Train for Trombone/Euphonium, arr. Iveson (Brass Wind: ? or & editions) 2 June Emerson Summer Morning or On the Prom: No. 1 or No. 3 from Summer Suite (Emerson E359: ? /& edition) 3 Gershwin Let’s Call the Whole Thing Off. Slide Show for Trombone, arr. Mowat (Brass Wind: ? or & editions) 4 Peter Meechan Final Thought ¸ Shining Brass, Book 2 (ABRSM: ? /& brass edition; B b piano accomp. ˝ 5 Lucy Pankhurst Gone, Not Forgotten ˛ published separately) 6 Mark Nightingale The Viennese Dwarf: No. 8 from Lucky Dip for Euphonium (Warwick Music: ? /& edition) 7 George Shearing Lullaby of Birdland. Big Chillers for Trombone/Euphonium, arr. Ledbury (Brass Wind: ? or &) 8 Philip Sparke Song of Farewell: No. 7 from Super Solos for Baritone or Euphonium (Anglo Music AMP 267-400: ? /& edition) 9 John Williams Raiders March (from Raiders of the Lost Ark). Great Winners, arr. Lawrance (Brass Wind: ? trombone edition or & brass edition; B b piano accomp. published separately) LIST C

1 Keith Amos No. 3: from 12 Miniatures for Solo Euphonium (CMA Publications: ? /& edition) 2 John Frith Lament ¸ ? ˝ Shining Brass, Book 2 (ABRSM: /& brass edition) 3 David A. Stowell Flennon Study (either version) ˛ 4 Soichi Konagaya Daydream. New Concert Studies for Euphonium, Vol. 2 (De Haske Hal Leonard: ? or & editions) 5 Jock McKenzie Fling: from Music Makes the World Go Around (Con Moto: ? or & brass editions) 6 Mark Nightingale Hillbilly or The Turkey: No. 16 or No. 22 from Easy Jazzy ’Tudes (Warwick Music: ? euphonium edition or & brass edition) 7 Richard Warren No. 12: from 12 Progressive Short Studies for Brass Instruments (Con Moto: ? /& brass edition)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 89 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: Bass clef: A b, B majors; G #, B minors (a twelfth) F, F # majors; F minor (two octaves) Treble clef: B b, D b majors; B b, C # minors (a twelfth) G, A b majors; G minor (two octaves) Scales: in the above keys (minors in harmonic or melodic form at candidate’s choice) Chromatic Scale: Bass clef: starting on B b (a twelfth) Treble clef: starting on C (a twelfth) Arpeggios: the common chords of the above keys for the ranges indicated Dominant Seventh: Bass clef: in the key of B b (two octaves) Treble clef: in the key of C (two octaves) SIGHT-READING*: (bass or treble clef at candidate’s choice) see p. 7.

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Baritone and Euphonium GRADE 6 PREREQUISITE FOR ENTRY: Grade 5 (or above) in Theory of Music, Practical Musicianship or any solo Jazz subject.

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 B. Marcello Largo and Allegro: 1st and 2nd movts from Sonata No. 1 in F (IMC 1978, arr. Ostrander: ? edition or Editions Marc Reift EMR 2043M, arr. Mortimer: & edition or Studio Music, arr. Mead: ? /& edition) 2 Mendelssohn Hear My Prayer. Available in the album: Hear My Prayer, arr. Childs (Prima Vista Musikk: ? /& edition) 3 Purcell Sound the Trumpet, arr. Wiggins ¸ The Classical Euphonium (De Haske Hal Leonard: ? /& edition; ˝ 4 Schubert Marche militaire No. 1, arr. Grey ˛ piano accomp. published separately) 5 Saint-Saëns Danse macabre. Savoir Faire for Trombone/Euphonium, arr. Mowat (Brass Wind: ? or & editions) 6 Philip Sparke Little Overture: No. 1 from Super Solos for Baritone or Euphonium (Anglo Music AMP 267-400: ? /& edition) 7 Stradella Andantino, arr. Ball (G & M Brand: ? /& edition) 8 Wagner Walter’s Prize Song (from The Mastersingers). Wagner Three Operatic Arias, arr. Wright (G & M Brand: & edition) 9 Ernest Young Intermezzo: 2nd movt from Euphonium Sonata (G & M Brand: ? /& edition) LIST B

1 Keith Amos Dragon Dance: No. 1 from Dragon Dance (CMA Publications: ? /& edition) 2 Andrew Blyth Compelled by Love. No. 11 from The Derick Kane Euphonium Album (Salvationist Publishing: ? /& edition) 3 Peter Graham A Time for Peace. Gramercy Solo Album B b (Gramercy Music: ? /& edition) 4 Reginald Heath Andante and Scherzo for Euphonium/Baritone (G & M Brand: ? /& edition) 5 Peter Lawrance Andante and Badinage: Nos 5 and 6 from Badinage for Trombone/Euphonium (Brass Wind: ? or & editions) 6 Christopher Mowat Bone Idyll. Slide Show for Trombone, arr. Mowat (Brass Wind: ? or & editions) 7 Mark Nightingale From Ragtime to Riches: No. 13 from Lucky Dip for Euphonium (Warwick Music: ? /& edition) 8 Philip Sparke Chicago Blues: No. 5 from Super Solos for Baritone or Euphonium (Anglo Music AMP 267-400: ? /& edition) 9 Fats Waller Ain’t misbehavin’. Big Chillers for Trombone/Euphonium, arr. Ledbury (Brass Wind: ? or & editions) LIST C

1 Keith Amos No. 9 or No. 10: from 12 Miniatures for Solo Euphonium (CMA Publications: ? /& edition) 2 Alwyn Green Study No. 5: P. 30 from Euphonium Eurhythmics (Warwick Music: ? or & editions) 3 Peter Graham A Bach Invention ¸ New Concert Studies for Euphonium, Vol. 2 (De Haske Hal ˝ 4 André Waignein Comme dans une tarantelle ˛ Leonard: ? or & editions) 5 Jock McKenzie Mazurka or Jota: from Rhythms of Life (Con Moto: ? or & brass editions) 6 Mark Nightingale On the Off-beat or Transposition Blues: No. 23 or No. 27 from Easy Jazzy ’Tudes (Warwick Music: ? euphonium edition or & brass edition) 7 Allen Vizzutti Cowboy Dance: from 20 Dances for Euphonium (De Haske Hal Leonard: ? or & editions)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 89

(continued overleaf )

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

65

Baritone and Euphonium GRADE 6 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: Bass clef: C major; B b minor (a twelfth) E, G, A b majors; F #, G, G # minors (two octaves) Treble clef: D major; C minor (a twelfth) F #, A, B b majors; G #, A, B b minors (two octaves) Scales: in the above keys (minors in both harmonic and melodic forms) Chromatic Scales: Bass clef: starting on E, F, F # and G (two octaves) Treble clef: starting on F #, G, A b and A (two octaves) Arpeggios: the common chords of the above keys for the ranges indicated Dominant Seventh: Bass clef: in the key of C (two octaves) Treble clef: in the key of D (two octaves) Diminished Seventh: Bass clef: starting on F (two octaves) Treble clef: starting on G (two octaves) SIGHT-READING*: (bass or treble clef at candidate’s choice) see p. 7.

Baritone and Euphonium GRADE 7 PREREQUISITE FOR ENTRY: Grade 5 (or above) in Theory of Music, Practical Musicianship or any solo Jazz subject.

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 J. S. Bach Allegretto: 1st movt from Sonate en Trio No. 1, BWV 525, arr. Fritsch for Euphonium (Billaudot G 7777B: ? /& edition) 2 J. S. Bach Sinfonia, arr. Hesford ¸ The Classical Euphonium (De Haske Hal Leonard: ? /& edition; piano accomp. ˝ 3 Chabrier España, arr. De Smet ˛ published separately) 4 Bizet Menuet, arr. Norbury.

No. 13 from ¸ The Derick Kane Euphonium Album ˝ 5 Trad. My love is like a red, red rose, arr. Downie. No. 3 from ˛ (Salvationist Publishing: ? /& edition) 6 Elgar Salut d’amour, arr. Childs. Available in the album: Monti’s Czardas (Winwood Music: ? /& edition) 7 B. Marcello Adagio and Allegro: 1st and 2nd movts from Sonata No. 3 in A minor, arr. Mortimer (observing semiquavers in ossias in Allegro) (Editions Marc Reift EMR 2032M: ? /& edition) 8 Philip Sparke Scherzo Finale: No. 10 from Super Solos for Baritone or Euphonium (Anglo Music AMP 267-400: ? /& edition) 9 Ernest Young Allegro giocoso and Romanza, or Romanza and Allegro Scherzando: 1st and 2nd movts, or 2nd and 3rd movts from Euphonium Suite (G & M Brand: ? /& edition) LIST B

1 Paolo Baratto Euphonissimo (Editions BIM: & edition) 2 James Curnow Rhapsody for Euphonium (Winwood Music: ? /& edition) 3 Peter Graham The Holy Well (Gramercy Music: ? /& edition) 4 Harbach and Kern Smoke Gets in Your Eyes. Let’s Face the Music for Trombone/Euphonium, arr. Iveson (Brass Wind: ? or & editions) 5 Joseph Horovitz Lento: 2nd movt from Euphonium Concerto (Novello NOV120387: ? /& edition) 6 Rodney Newton The Riders of Rohan. Childs’ Choice (Winwood Music: ? /& edition) 7 Rodney Newton Allegro energico, or Chaconne and Molto vivace: 1st movt, or 2nd and 3rd movts from Sonata Brevis (Prima Vista Musikk: ? /& edition) 8 Goff Richards Midnight Euphonium (observing cadenza) (Studio Music: ? /& edition) 9 Philip Sparke Song for Ina (Studio Music: ? /& edition) * Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests)

66

Baritone and Euphonium GRADE 7 LIST C

1 Arban Moderato: No. 6 from 14 Studies for Cornet (Boosey & Hawkes: & edition) also available in Arban Cornet Method (Boosey & Hawkes: & edition) 2 Derek Bourgeois Presto: No. 3 from Fantasy Pieces for Euphonium (Brass Wind: ? or & editions) 3 Alwyn Green Study No. 20: P. 58 from Euphonium Eurhythmics (Warwick Music: ? or & editions) 4 Soichi Konagaya Lamentoso. New Concert Studies for Euphonium, Vol. 2 (De Haske Hal Leonard: ? or & editions) 5 Jock McKenzie Salsa or Dixieland: from Rhythms of Life (Con Moto: ? or & brass editions) 6 Allen Vizzutti Funk (ignoring lower notes in bb. 17, 30 & 31): from 20 Dances for Euphonium (De Haske Hal Leonard: ? or & editions) 7 Philip Wilby Tarantella: Piazza San Marco (No. 3 from Partita Veneziana). Advanced Concert Studies for Euphonium (De Haske Hal Leonard: ? or & editions)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 90 SCALES AND ARPEGGIOS*: from memory, to be played slurred, legato-tongued and staccato in the follow-­ ing­ keys: Bass clef: B b, B, C, D b, D, E b majors; B b, B, C, C #, D, E b minors (a twelfth) All other keys, major and minor (two octaves) Treble clef: C, D b, D, E b, E, F majors; C, C #, D, E b, E, F minors (a twelfth) All other keys, major and minor (two octaves) Scales: in the above keys (minors in both harmonic and melodic forms) Chromatic Scales: Bass clef: starting on any note E–A (two octaves) Treble clef: starting on any note F # –B (two octaves) Arpeggios: the common chords of the above keys for the ranges indicated Dominant Sevenths: Bass clef: in the keys of B b, B and D b (two octaves) Treble clef: in the keys of C, D b and E b (two octaves) Diminished Sevenths: Bass clef: starting on F # and G (two octaves) Treble clef: starting on A b and A (two octaves) SIGHT-READING*: (bass or treble clef at candidate’s choice) see p. 7.

67

Baritone and Euphonium GRADE 8 PREREQUISITE FOR ENTRY: Grade 5 (or above) in Theory of Music, Practical Musicianship or any solo Jazz subject.

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 J. S. Bach 2nd and 3rd movts from Sonate en Trio No. 1, BWV 525, arr. Fritsch for Euphonium (Billaudot G 7777B: ? /& edition) 2 Capuzzi Andante and Rondo, arr. Childs and Wilby for Euphonium (Winwood Music: ? /& edition) 3 Elgar Romance, Op. 62, trans. Wilson for Euphonium (Winwood Music: ? /& edition) 4 Handel Adagio and Allegro (from Sonata in E), trans. Fitzgerald for Euphonium (Presser: ? /& edition) 5 Mozart Allegro (Rondo): from Adagio and Rondo, arr. Childs and Wilby for Euphonium (Winwood Music: ? /& edition) 6 Rachmaninov Vocalise, trans. Mead for Euphonium (Studio Music: ? /& edition) 7 Rossini Largo al Factotum (from The Barber of Seville), arr. Childs. Available in the album: Monti’s Czardas (Winwood Music: ? /& edition) 8 Rossini Prelude, Theme and Variations, arr. Newsome for Euphonium (starting at Fig. C) (Obrasso Verlag: ? /& edition) 9 Schumann Allegro vivace: from Adagio and Allegro, Op. 70, arr. Johnson for Euphonium (Brass Wind: ? /& edition) 10 Ernest Young Pentalude and Scherzando: 1st and 3rd movts from Euphonium Sonata (G & M Brand: ? /& edition) LIST B

1 Darrol Barry Con moto or Scherzando: 1st or 3rd movt from Concerto for Baritone (Studio Music: ? /& edition) 2 Peter Graham Whirlwind. Gramercy Solo Album B b (Gramercy Music: ? /& edition) 3 Alwyn Green Euphoria for Euphonium (observing cadenza) (Brass Wind: ? /& edition) 4 Joseph Horovitz Moderato or Con moto: 1st or 3rd movt from Euphonium Concerto (Novello NOV120387: ? /& edition) 5 Karl Jenkins Romanza: 2nd movt from Euphonium Concerto (Boosey & Hawkes: ? /& edition) 6 Goff Richards Pilatus (Mountain Air) for Euphonium (observing cadenza) (Obrasso Verlag: ? /& edition) 7 Antony Roper 1st movt: from Sonata for Euphonium (Studio Music: ? /& edition) 8 Philip Sparke Moderato e energico: 1st movt from Euphonium Concerto (Studio Music: ? /& edition) 9 Philip Sparke Rhapsody for B b Baritone (Studio Music: ? /& edition) 10 Philip Wilby Concert Gallop (Winwood Music: ? /& edition) LIST C

1 Arban Allegro or Allegro: No. 9 or No. 10 from 14 Studies for Cornet (Boosey & Hawkes: & edition) also available in Arban Cornet Method (Boosey & Hawkes: & edition) 2 Derek Bourgeois Allegro energico or Allegro: No. 8 or No. 9 from Fantasy Pieces for Euphonium (Brass Wind: ? or & editions) 3 Douglas Court The Chase ¸ New Concert Studies for Euphonium, Vol. 2 (De Haske Hal Leonard: ? or & ˝ 4 Otto M. Schwartz Flying Tongue ˛ editions) 5 Alwyn Green Study No. 12: P. 37 from Euphonium Eurhythmics (Warwick Music: ? or & editions) 6 Jan Hadermann El Moncayo. Advanced Concert Studies for Euphonium (De Haske Hal Leonard: ? or & editions) 7 Jock McKenzie Syrto or Rock: from Rhythms of Life (Con Moto: ? or & brass editions) 8 Allen Vizzutti Polka: from 20 Dances for Euphonium (De Haske Hal Leonard: ? or & editions)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 91

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

68

Baritone and Euphonium GRADE 8 SCALES AND ARPEGGIOS*: from memory, to be played slurred, legato-tongued and staccato in the follow-­ ing­ keys: Bass clef: B, C, D b, D, E b majors; B, C, C #, D, E b minors (a twelfth) All other keys, major and minor (two octaves) Treble clef: D b, D, E b, E, F majors; C #, D, E b, E, F minors (a twelfth) All other keys, major and minor (two octaves) Scales: in the above keys (minors in both harmonic and melodic forms) Chromatic Scales: Bass clef: starting on any note E–B b (two octaves) Treble clef: starting on any note F # –C (two octaves) Whole-Tone Scales: Bass clef: starting on A and B b (two octaves), as example given on p. 85 Treble clef: starting on B and C (two octaves), as example given on p. 85 Arpeggios: the common chords of the above keys for the ranges indicated Dominant Sevenths: Bass clef: in the keys of A, B b, B, C, D b, D and E b (two octaves) Treble clef: in the keys of B, C, D b, D, E b, E and F (two octaves) Diminished Sevenths: Bass clef: starting on F #, G and A b (two octaves) Treble clef: starting on A b, A and B b (two octaves) SIGHT-READING*: (bass or treble clef at candidate’s choice) see p. 7.

69

TUBA (Subject Code: 34) This syllabus is valid from 2013 until further notice.

This syllabus may be offered on an E b, F, B b or C tuba. The syllabus is suitable for three-valved instruments at all grades. For those pieces containing notes that require a 4th valve (and where an ossia is not published), candidates may adapt the affected passages.

The pieces set on this syllabus may be played on any of the above four tubas. Candidates may adapt passages or transpose parts and/or accompaniments as necessary for their instrument (NB many of the syllabus pieces are biased towards E b tuba).

The repertoire lists indicate publication details, including clefs and where piano accompaniments are published separately. In addition, for pieces marked ‡ , further information about the publications (including where parts/accompaniments are issued in different keys) is available at: www.abrsm.org/tuba.

Examiners will ask candidates whether they are bass- or treble-clef readers.

Tuba GRADE 1 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

?

1 Tom Davoren Romanza ¸ Shining Brass, Book 1 (ABRSM: /& brass edition; piano accomps published ˝ 2 Philip Sparke A Knight’s Tale ˛ separately) ‡ 3 Gurlitt Andante (from First Steps, Op. 82). P. 29 from Learn as You Play Tuba, arr. Wastall (Boosey & Hawkes: ? edition; piano accomp. published separately) 4 Jock McKenzie Baroque Dreams. P. 17 from The Jock McKenzie Tutor Book for Young Brass Players (Book 1) (Con Moto: ? tuba edition or & brass edition; piano accomp. published separately) ‡ 5 Offenbach Can-can ¸ Winners Galore, arr. Lawrance (Brass Wind: ? tuba edition or & brass edition; ˝ 6 Trad. Russian Dance ˛ piano accomp. published separately) ‡ 7 Trad. Kum Ba Yah, arr. Johnson. No. 4 from 1st Recital Series (Curnow Music: ? tuba edition or E b bass edition or B b bass edition; piano accomp. published separately) ‡ 8 Trad. Spiritual All Night, All Day. Easy Winners, arr. Lawrance (Brass Wind: ? tuba edition or & brass edition; piano accomp. published separately) ‡ 9 Bram Wiggins Bisons and Buffaloes: No. 4 from Preludes for Pachyderms for Tuba (G & M Brand: ?/E b & edition) LIST B

1 Bernstein One Hand, One Heart (from West Side Story). Easy Winners, arr. Lawrance (Brass Wind: ? tuba edition or & brass edition; piano accomp. published separately) ‡ 2 Douglas Coombes Trotting Tuba. Keynotes Album for E b Bass/Tuba (Brass Wind: ? or E b & editions) ‡ 3 Tom Davoren Waltz for E. ¸ Shining Brass, Book 1 (ABRSM: ? /& brass edition; piano accomps published ˝ 4 David A. Stowell Strollin’ ˛ separately) ‡ 5 Peter Graham Moscow or Paris: No. 1 or No. 2 from Cityscapes (Gramercy Music: E b ? /& edition or B b ? /& edition) ‡ 6 Timothy Johnson Carnival. No. 6 from 1st Recital Series (Curnow Music: ? tuba edition or E b bass edition or B b bass edition; piano accomp. published separately) ‡ 7 Jock McKenzie Latin Masters. P. 19 from The Jock McKenzie Tutor Book for Young Brass Players (Book 1) (Con Moto: ? tuba edition or & brass edition; piano accomp. published separately) ‡ 8 Rendall and Thomas Birdie Song. Winners Galore, arr. Lawrance (Brass Wind: ? tuba edition or & brass edition; piano accomp. published separately) ‡ 9 John Ridgeon Hide and Seek. Gregson and Ridgeon Nine Miniatures for E b Bass/Tuba (Brass Wind: ? or E b & editions)

‡ See www.abrsm.org/tuba for further publication details * Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests)

70

Tuba GRADE 1Tuba1GRADE 1 Tuba GRADE LIST C LIST C

LIST C

?Wind: ? tuba ?b tuba b bassor &E &E & E b bass edition) 1 Don 1Blakeson Mister No.Mister 3 from Groove (Brass Wind: tuba(Brass edition or bass edition) Don Blakeson Mister Freddie: No. 3Smooth from No. Smooth Groove (Brass edition or edition) 1 DonFreddie: Blakeson Freddie: 3 from Smooth Groove Wind: edition ?/ E b?/ 2 Timothy Jackson2Jackson Gently or Deliberately: No.or2Deliberately: orNo. No.24orfrom Etudes (Onyx Brass Publishing: E bBrass 2 Timothy Gently or Deliberately: No.No. 4Adverbial from Adverbial Etudes (Onyx Brass(Onyx Publishing: Timothy Jackson Gently 2 or No. 4 from Adverbial Etudes Publishing: Eb ? / ?edition) b ? / & or & edition /F C &?edition B b ? / B edition C b??/or / F ?oredition) B C ? / F ? edition) ? or &Wind: ? or & editions) 3 Stuart 3 Johnson Stuart Johnson Tuba Ceremony: Tuba Ceremony: No. 1 from No. 1The from Tuneful The 1Tuneful Tuba Tuba Wind: (Brass?

Wind: or &(Brass editions) editions) 3 Stuart Johnson Tuba Ceremony: No. from(Brass The Tuneful Tuba 4 Peter4Meechan Peter Meechan Two, One, Three!

Two, Three!

4One, Peter Meechan One, Two, ¸ ¸ Three! ¸ ? ? ? & & & Brass, Book Brass, 1 (ABRSM: Book 1Brass, (ABRSM: / brass /edition) brass edition) Book 1 (ABRSM: / brass edition) ˝ Shining ˝ Shining ˝ Shining ˛ ˛Dance ˛ 5 Philip 5 Sparke Philip Sparke Puppet’s Puppet’s Dance 5 Philip SparkeDance Puppet’s ? ? tuba 6 Mark6Nightingale Mark Nightingale A Small AStep Small or Step Fiesta Siesta: Fiesta No. Siesta: orNo. No.1Siesta: 2orfrom No.No. 2Easy from Jazzy Easy ’Tudes (Warwick ’Tudes (Warwick Music: Music: tuba 6 Mark Nightingale A or Small Step or1Fiesta 1 or No. 2Jazzy from Easy Jazzy ’Tudes (Warwick Music: ? tuba & brass & brass edition or edition or edition) edition) edition or & brass edition) ? ? Music: ?

7 Philip 7 Sparke Philip Sparke Bluebird’s Bluebird’s Ballad or Ballad Dance or of Dance the Dolls: oforthe No. Dolls: 38ofNo. orthe No. 38 or 40 No. from Starter from Studies Starter (Anglo Studies Music: (Anglo Music: 7 Philip Sparke Bluebird’s Ballad Dance Dolls: No.40 38 or No. 40 from Starter Studies (Anglo ‡E b/B b bass ‡ edition) ‡ b bass b/Bedition) b bass tuba edition tuba or edition E b/Btuba or E edition or edition)

AURALAURAL TESTSTESTS FOR THE FOR GRADE*: THE GRADE*: seeTHE pp.see 86 pp. and86 87and 87 86 and 87 AURAL TESTS FOR GRADE*: see pp.

SCALES SCALES AND ARPEGGIOS*: AND ARPEGGIOS*: from memory, from memory, to from be played tomemory, be played bothto slurred both slurred and both tongued andslurred tongued in the following intongued the following keys: SCALES AND ARPEGGIOS*: be played and in thekeys: following ke b ETuba: b major; Bass clef Bass E b clef Tuba: EBass CTuba: minor CE bminor (one octave) (one octave) clefEEb bmajor; major; C minor (one octave) Bass clef Bass F Tuba: clef FBass FTuba: major; F major; D minor DFminor (one octave) (one octave) clef F Tuba: major; D minor (one octave) bB b major; Bass clef Bass B b clef Tuba: BBass Tuba: GTuba: minor G (one octave) (one octave) clefBBb bmajor; B bminor major; G minor (one octave) Treble Treble clef (allclef Tubas) (all Tubas) and andclef bass C Tuba: clef C Tuba: major; CC major; ATuba: minor ACminor (one octave) (one octave) Treble clefbass (all Tubas) andCbass clef major; A minor (one octave) Scales:Scales: in the above in the keys above (minor keys (minor in natural in natural or harmonic or or melodic melodic form ator form candidate’s at candidate’s choice) choice) choice) Scales: in the above keys (minor in harmonic natural or or harmonic melodic form at candidate’s Arpeggios: Arpeggios: the common the common chords of the above of the keys above forkeys theabove for range thekeys indicated range Arpeggios: thechords common chords of the for indicated the range indicated

SIGHT-READING*: SIGHT-READING*: (bass or(bass treble or clef treble at candidate’s clef candidate’s choice) choice) a shortapiece short inpiece simple in simple time within time within the keys, the within keys, the ke SIGHT-READING*: (bass or at treble clef at candidate’s choice) a short piece in simple time notes and notes overall and notes overall rangeand of range the of scale the requirements scaleofrequirements set requirements for set thisfor grade. thisset grade.

Some accidentals, Some accidentals, dotted dotted and tied anddotted tied and tie overall range the scale for this grade.

Some accidentals, notes may notes bemay included. be included.

See also p. also 7. p. See 7. also p. 7. notes may be See included.

71

71

7

Tuba GRADE 2 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Craig Alan Soliloquy for Tuba. No. 2 from 1st Recital Series (Curnow Music: ? tuba edition or E b bass edition or B b bass edition; piano accomp. published separately) ‡ 2 Grétry Air (from Richard Coeur de Lion). P. 44 from Learn as You Play Tuba, arr. Wastall (Boosey & Hawkes: ? edition; piano accomp. published separately) 3 Hook The Lass of Richmond Hill. Easy Winners, arr. Lawrance (Brass Wind: ? tuba edition or & brass edition; piano accomp. published separately) ‡ 4 Jock McKenzie Gentle River. P. 28 from The Jock McKenzie Tutor Book for Young Brass Players (Book 1) (Con Moto: ? tuba edition or & brass edition; piano accomp. published separately) ‡ 5 Paul Mealor A Little Waltz or Pastoral: No. 3 or No. 4 from Bass Impressions (Con Moto: ? / E b & / B b & edition) 6 Mozart Aria (from The Marriage of Figaro). Winners Galore, arr. Lawrance (Brass Wind: ? tuba edition or & brass edition; piano accomp. published separately) ‡ ?

7 Philip Sparke My Lady’s Pavan ¸ Shining Brass, Book 1 (ABRSM: /& brass edition; piano accomps published ˝ 8 David A. Stowell A Walk in the Rain ˛ separately) ‡ 9 Bram Wiggins The Unhappy Hippo: No. 5 from Preludes for Pachyderms for Tuba(G & M Brand: ?/E b & edition) LIST B

Tuba

1 Lionel Bart Where is Love? (from Oliver). Easy Winners, arr. Lawrance (Brass Wind: ? tuba edition or & brass edition; piano accomp. published separately) ‡ 2 James Curnow Tuba Dances. No. 10 from 1st Recital Series (Curnow Music: ? tuba edition or E b bass edition or B b bass edition; piano accomp. published separately) ‡ 3 Tom Davoren Hangin’ with Monti ¸ Shining Brass, Book 1 (ABRSM: ? /& brass edition; piano accomps published ˝ ˛ separately) ‡ 4 Philip Sparke Tennessee Rag 5 Howard Goodall Blackadder Theme. Winners Galore, arr. Lawrance (Brass Wind: ? tuba edition or & brass edition; piano accomp. published separately) ‡ 6 Peter Graham Seville or Kyoto: No. 3 or No. 4 from Cityscapes (Gramercy Music: E b ? /& edition or B b ? /& edition) ‡ 7 Jock McKenzie The Chase (omitting DC). P. 30 from The Jock McKenzie Tutor Book for Young Brass Players (Book 1) (Con Moto: ? tuba edition or & brass edition; piano accomp. published separately) ‡ 8 Christopher Norton Make Mine a Tuba. P. 45 from Learn as You Play Tuba, arr. Wastall (Boosey & Hawkes: ? edition; piano accomp. published separately) 9 John Ridgeon Prelude or March. Gregson and Ridgeon Nine Miniatures for E b Bass/Tuba (Brass Wind: ? or E b GRADE 1Tuba GRADE 1 & editions)

LIST C LIST C 1 Don Blakeson LIST CChickpea or Sink It: No. 11 or No. 12 from Smooth Groove (Brass Wind: ? tuba edition or & E b ? tuba(Brass bass edition) 1 Don Blakeson Mister No.Mister 3 from Smooth No. Groove (Brass Wind:Groove editionWind: or & E?b tuba bass edition edition)or & E b bass edition) 1 DonFreddie: Blakeson Freddie: 3 from Smooth ? / Publishing: 2 Timothy Longingly Gracefully: No. 48 from or No. 92from Adverbial Etudes (Onyx Brass Publishing: E b ? / E b ? / 2 Timothy Jackson2Jackson Gently or Deliberately: No.or2Deliberately: or No. Adverbial Etudes (Onyx Brass Publishing: E bBrass Timothy Jackson or Gently No. or No. 4 from Adverbial Etudes (Onyx ?edition) b ? / & or & edition /F C &?edition edition / F ?oredition) B b ? / B C b??/or B C ? / F ? edition) 3 Johnson Stuart Johnson Lament: 31from The (Brass Wind: oror&&editions) 3 Stuart Tuba Ceremony: No. from TheTuneful Tuneful (Brass Wind:?? editions) 3 Stuart JohnsonNo. Tuba Ceremony: No. Tuba 1Tuba from The Tuneful Tuba (Brass Wind: ? or & editions)

Peter Meechan Haunted 4 Peter4Meechan Two, Three!House 4One, Peter Meechan One, Two, Three! ¸ ¸ ¸ ? 1/&(ABRSM: ? /Book ? /& brass edition) & brass 1 (ABRSM: brass edition) Brass,Brass, Book 1Book (ABRSM: edition) Brass, ˝ Shining ˝ Shining ˝ Shining ˛ Dance ˛ ˛ 5 Sparke David A.Puppet’s High Street 5 Philip 5Stowell PhilipDance Sparke Puppet’s ? tuba Mark Nightingale Ready, orStep Big Mama: No. or No. 51 from Easy Jazzy ’Tudes (Warwick Music: ? Music: tuba ? tuba 6 Mark6Nightingale A Small Step orAim, Fiesta Siesta: No. or No. 2 4from Easy Jazzy (Warwick Music: 6 Mark Nightingale AFire!

Small or1Fiesta Siesta: No. or No.’Tudes 2 from Easy Jazzy ’Tudes (Warwick & brass & brass edition or edition) edition) edition or edition or & brass edition) ? (Anglo ? ?or b/B b bass 7 Philip Bluebird’s BalladBallad: orBluebird’s Dance the Dolls: No.Studies 38oforthe No. 40 from Starter Studies (Anglo Music: 7 Philip Sparke Ballad or Dance Dolls: No. 38 No. 40 from Studies 7 Sparke Philip Sparke Baroque No.of46 from Starter (Anglo Music: tuba edition or EStarter edition) ‡ Music: b bass tuba edition or E b/Btuba edition) edition or ‡E b/B b bass edition) ‡

AURAL TESTS FOR THE GRADE*: see pp. 86 and 87 AURAL TESTS FOR THE GRADE*: seeTHE pp. GRADE*: 86 and 87see pp. 86 and 87 AURAL TESTS FOR

SCALES AND ARPEGGIOS*: from memory, to from be played bothto slurred and both tongued in the following SCALES AND ARPEGGIOS*: memory, be played slurred and tonguedkeys: in the following ke Bass clef E b Tuba: E b major; minorE b(one octave) Bass clef E bCTuba: major; C minor (one octave) Bass clef F Tuba: Bass F major; minorF(one octave) clef D F Tuba: major; D minor (one octave) bGTuba: Bass‡clef B b Tuba: B b major; minor octave) Bass clefforBfurther B b(one major; G minor (one octave) See www.abrsm.org/tuba publication details Treble clef (all Tubas) and bass clef C Tuba: C major; minorC(one octave) Treble clef (all Tubas) and bass clef CATuba: major; A minor (one octave) * Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests) Scales: in the above keys in (minor in natural or harmonic or melodic form atorcandidate’s choice) Scales: the above keys (minor in natural or harmonic melodic form at candidate’s choice) 72 Arpeggios: the common chords the above keys of forthe theabove rangekeys indicated Arpeggios: the of common chords for the range indicated

Tuba GRADE 2 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: Bass clef E b Tuba: D b, F majors; C, F minors (one octave) Bass clef F Tuba: E b, G majors; D, G minors (one octave) Bass clef B b Tuba: A b, C majors; G, C minors (one octave) Treble clef (all Tubas) and bass clef C Tuba: B b, D majors; A, D minors (one octave) Scales: in the above keys (minors in natural or harmonic or melodic form at candidate’s choice) Arpeggios: the common chords of the above keys for the range indicated SIGHT-READING*: (bass or treble clef at candidate’s choice) a short piece in simple time within the keys, notes and overall range of the scale requirements set up to and including this grade. Some accidentals, dotted­and tied notes may be included. See also p. 7.

73

Tuba GRADE 3 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Tom Davoren Rondo Olympia ¸ Shining Brass, Book 1 (ABRSM: ? /& brass edition; piano accomps published ˝ ˛ separately) ‡ 2 Lucy Pankhurst Sicilienne 3 Fauré Pavane. Easy Winners, arr. Lawrance (Brass Wind: ? tuba edition or & brass edition; piano accomp. published separately) ‡ 4 Jacob In Folk-song Style: No. 5 from Six Little Tuba Pieces (Emerson E118: ?/E b & edition) 5 Jock McKenzie Alpine Vista. P. 38 from The Jock McKenzie Tutor Book for Young Brass Players (Book 1) (Con Moto: ? tuba edition or & brass edition; piano accomp. published separately) ‡ 6 Paul Mealor At the Carnival or A Prayer to Sunrise: No. 1 or No. 2 from Bass Impressions (Con Moto: ? / E b & / B b & edition) 7 Morley It Was a Lover and His Lass. Winner Scores All, arr. Lawrance (Brass Wind: ? tuba edition or & brass edition; piano accomp. published separately) ‡ 8 Schumann The Merry Peasant (from Album for the Young). P. 62 from Learn as You Play Tuba, arr. Wastall (Boosey & Hawkes: ? edition; piano accomp. published separately) 9 Bram Wiggins Jumbo’s Jaunt or Whales: No. 7 or No. 8 from Preludes for Pachyderms (G & M Brand: ?/E b & edition) LIST B

1 Craig Alan Polonaise for Polar Bears. No. 5 from 1st Recital Series (Curnow Music: ? tuba edition or E b bass edition or B b bass edition; piano accomp. published separately) ‡ 2 Bogár Quick Dance. P. 62 from Learn as You Play Tuba, arr. Wastall (Boosey & Hawkes: ? edition; piano accomp. published separately) 3 Andrew Duncan The Old Steam Railway: No. 2 from A Haworth Suite (The Music Company: ? / E b & / B b & edition) ?

4 John Frith Broken Dreams ¸ Shining Brass, Book 1 (ABRSM: /& brass edition; piano accomps published ˝ 5 Peter Meechan Purple Shade ˛ separately) ‡ 6 Andrew Lloyd Webber The Music of the Night or Close Every Door to Me. Winner Scores All, arr. Lawrance (Brass Wind: ? tuba edition or & brass edition; piano accomp. published separately) ‡ 7 Jock McKenzie Friday Rag or Absolutely Tango’ed. P. 37 or P. 49 from The Jock McKenzie Tutor Book for Young Brass Players (Book 1) (Con Moto: ? tuba edition or & brass edition; piano accomp. published separately) ‡ 8 Monty Norman James Bond Theme. Easy Winners, arr. Lawrance (Brass Wind: ? tuba edition or & brass edition; piano accomp. published separately) ‡ 9 Weill Mack the Knife. Big Chillers for Tuba/E b Bass, arr. Ledbury (Brass Wind: ? or E b & editions)

LIST C Tuba GRADE 1Tuba GRADE 1

1 Don Blakeson American Smoothie or Red Chilli Sauce: No. 8 or No. 18 from Smooth Groove (Brass Wind: ? tuba edition or & E b bass edition) LIST C 2 Timothy LIST Jackson C How’s Tricks? ¸ ? /& brass edition) ˝ Shining Brass, Book 1 (ABRSM: ? tuba ˛Freddie: 1 Don 3Blakeson Mister No. 3 from Smooth No. Groove (Brass Wind:Groove editionWind: or & E?b tuba bass edition edition)or & E b bass edition) Peter Meechan Summer Sound 1 DonFreddie: Blakeson Mister 3 from Smooth (Brass ? / Publishing: 2 Timothy Jackson2Jackson Gently or Deliberately: No.or2Deliberately: or No. Adverbial Etudes (Onyx Brass Publishing: E bBrass 4 Timothy Agitatedly Cheekily: No. 124orfrom No. 13 2from Adverbial Etudes (Onyx Brass(Onyx Publishing: Eb ? / Timothy Jackson orGently No. or No. 4 from Adverbial Etudes Eb ? / ? b ? / & or & edition /F C &?edition C b??/or edition) B b ? / B edition / F ?oredition) B C ? / F ? edition) ? & editions) 3 Stuart Tuba Ceremony: Wind: oror&(Brass editions) 5 Johnson Stuart Johnson Jim’s Tune:No. No.1 5from fromThe TheTuneful Tuneful Tuba(Brass (Brass Wind:?

3 Stuart Johnson Tuba Ceremony: No. 1Tuba from The Tuneful Tuba Wind: ? or & editions) 4 Peter6Meechan Two, Three! Blues Mark Nightingale Ermie’s or Skipping: from Easy Jazzy ’Tudes (Warwick Music: ? tuba 4One, Peter Meechan One, Two, Three! No. ¸ ¸ 10 or No. 11 ? ? & brass 1 (ABRSM: edition) /& brass edition) Brass, /Book 1 (ABRSM: ˝ Shining Brass, Book ˝ Shining ˛ ˛ 5 Philip Sparke Puppet’s Dance edition or 5& brass Philipedition) Sparke Puppet’s Dance ? tuba ? ? tuba 6 Mark7Nightingale A Small StepTune or Fiesta No.or1Mountains: or No.Siesta: 2 from Easy Jazzy (Warwick Music: Philip Sparke Tyrolean or InSiesta: theStep Black No. 271or No. 28 from Skilful Studies (Anglo Music: 6 Mark Nightingale A Small Fiesta No. or No.’Tudes 2 from Easy Jazzy ’Tudes (Warwick Music: & brass ‡ edition) edition or edition brass edition) tuba edition or E b/Borb &bass edition) ? (Anglo Music: ?

7 Philip Sparke Bluebird’s Ballad orBluebird’s Dance of Ballad the Dolls: No. 38oforthe No. 40 from Starter Studies (Anglo Music: 7 Philip Sparke or Dance Dolls: No. 38 or No. 40 from Starter Studies b bass tuba edition or E b/Btuba edition) edition or ‡E b/B b bass edition) ‡

AURAL TESTS FOR THE GRADE*: see pp. 86 and 88

AURAL TESTS FOR THE GRADE*: seeTHE pp. GRADE*: 86 and 87see pp. 86 and 87 AURAL TESTS FOR

SCALES AND ARPEGGIOS*: from memory, to from be played bothto slurred and both tongued in the following SCALES AND ARPEGGIOS*: memory, be played slurred and tonguedkeys: in the following ke Bass clef E b Tuba: E b major; minorE b(one octave) Bass clef E bCTuba: major; C minor (one octave) Bass‡clef F Tuba: Bass F major; minorpublication octave) clefforD F further Tuba: F(one major; D minor (one octave) See www.abrsm.org/tuba details Bass clef B b Tuba: B b major; minor octave) Bass clef B bGTuba: B b(one major; G minor (one octave) * Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests) Treble clef (all Tubas) and C Tuba: C major; minorC(one octave) Treble clefbass (all clef Tubas) and bass clef CATuba: major; A minor (one octave) 74 Scales: in the above keys in (minor in natural or harmonic or melodic form atorcandidate’s choice) Scales: the above keys (minor in natural or harmonic melodic form at candidate’s choice) Arpeggios: the common chords the above keys of forthe theabove rangekeys indicated Arpeggios: the of common chords for the range indicated

Tuba GRADE 3 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: Bass clef E b Tuba: F #, G majors; E b, G minors (one octave) C major (a twelfth) Bass clef F Tuba: A b, A majors; F, A minors (one octave) D major (a twelfth) Bass clef B bTuba: D b, D majors; Bb, D minors (one octave) G major (a twelfth) Treble clef (all Tubas) and bass clef C Tuba: E b, E majors; C, E minors (one octave) A major (a twelfth) Scales: in the above keys (minors in harmonic or melodic form at candidate’s choice) Chromatic Scale: Bass clef E b Tuba: starting on E b (one octave) Bass clef F Tuba: starting on F (one octave) Bass clef B b Tuba: starting on B b (one octave) Treble clef (all Tubas) and bass clef C Tuba: starting on C (one octave) Arpeggios: the common chords of the above keys for the ranges indicated SIGHT-READING*: (bass or treble clef at candidate’s choice) a short piece in simple time within the keys, notes and overall range of the scale requirements set up to and including this grade. See also p. 7.

75

Tuba GRADE 4 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 2 3 4 5 6 7 8 9

Charpentier Prelude to Te Deum ¸ ? ˝ Savoir Faire for Tuba/E b Bass, arr. Mowat (Brass Wind: or E b & editions) ‡ ˛ Saint-Saëns L’éléphant Tom Davoren Beaufort Allegro ¸ Shining Brass, Book 2 (ABRSM: ? /& brass edition; piano accomps published ˝ ˛ separately) ‡ John Frith Jiggedy Jig Grieg Solveig’s Song (from Peer Gynt ). Great Winners, arr. Lawrance (Brass Wind: ? tuba edition or & brass edition; piano accomp. published separately) ‡ Jacob Restful Prelude: No. 1 from Six Little Tuba Pieces (Emerson E118: ?/E b & edition) Lully Gavotte.

No. 10 from ¸ ? ˝ First Solos for the Tuba Player, arr. Wekselblatt (G. Schirmer: edition) Rameau La Villageoise. No. 12 from ˛ Mozart Papageno’s Song (from The Magic Flute). From Vivaldi to Fats Waller for Tuba, arr. Ramskill (Brass Wind: ? or E b & editions)

LIST B

1 Elmer Bernstein Great Escape March ¸ Great Winners, arr. Lawrance (Brass Wind: ? tuba edition or & brass ˝ ˛ edition; piano accomp. published separately) ‡ 2 Ron Goodwin 633 Squadron 3 Andrew Duncan Flying a Kite over Haworth Moor: No. 1 from A Haworth Suite (The Music Company: ? / E b & / B b & edition) 4 Mark Goddard Daydreams: No. 4 from Party Pieces (Spartan Press: ? or E b & or B b & editions) 5 Edward Gregson Folk Song. Gregson and Ridgeon Nine Miniatures for E b Bass/Tuba (Brass Wind: ? or E b & editions) 6 Herman Hupfeld As Time Goes By. Big Chillers for Tuba/E b Bass, arr. Ledbury (Brass Wind: ? or E b & editions) 7 Kahn and Donaldson That’s My Baby. A Little Light Music for Tuba, arr. Iveson (Brass Wind: ? or E b & editions) 8 Peter Meechan Way Down South ¸ Shining Brass, Book 2 (ABRSM: ? /& brass edition; piano accomps published ˝ Tuba GRADE 1Tuba GRADE ˛ separately) ‡ 9 David A. Stowell Open Plains

1

LIST C

& editions) Derek Bourgeois Majestic or Pompous: from Per Tuba ad Astra (Brass Wind: ? or LIST C LIST C Tom Davoren Quiet Moment ¸ 1 Don Blakeson Mister No.Mis 3 1 DonFreddie: Blakeson ? & ˝ Shining Brass, Book 2 (ABRSM: / brass edition) Timothy Jackson Circulation ˛ 2 Timothy Jackson2 Gently or Deliberat Timothy Jackson G ? ? ? ? ? / & or & bedition /F & edition Timothy Jackson Delicately: No. 15 from Adverbial Etudes (Onyx Brass Publishing: E edition B b // B C b /or edition) B or C ? / F ? edition) 3 Stuart Johnson 3 Tuba Ceremony: Stuart JohnsonNo. Tu 5 Stuart Johnson Ragtime Tuba: No. 6 from The Tuneful Tuba (Brass Wind: ? or &4editions) Peter Meechan 4One, Two, Three! On Peter Meechan ¸ ˝S ? tuba ˛ 6 Mark Nightingale The Shout or The Pink Pig: No. 17 or No. 19 from Easy Jazzy 5’Tudes (Warwick Philip Sparke Music: Puppet’s Dance 5 Philip Sparke Pup edition or & brass edition) 6 Mark Nightingale A Small Step or Fie 6 Mark Nightingale ? tubaor & brass edi 7 Philip Sparke Penny Parade or Hungarian Dance: No. 34 or No. 38 from Skilful Studies Music: edition(Anglo or & brass edition) edition 7 Philip Sparke Bluebird’s Ballad orBlue Da 7 Philip Sparke edition or E b/B b bass edition) ‡ b bass tuba edition or E b/Btuba edition) edition or ‡E b/B

1 2 3 4

AURAL TESTS FOR THE GRADE*: see pp. 86 and 88

AURAL TESTS FOR THE GRADE*: se AURAL TESTS FOR

SCALES AND ARPEGGIOS*: from me SCALES AND ARPE Bass clef E b Tuba: E b major; min Bass clef E bCTuba Bass clef F Tuba: Bass F major; minor clef D F Tuba: Bass clef B b Tuba: B b major; min Bass clef B bGTuba Treble clef (all Tubas) and Treble clefbass (all cle Tu Scales: in the above keys in (minor in na Scales: the above Arpeggios: the common chords th Arpeggios: the of comm

SIGHT-READING*: (bass or treble cle SIGHT-READING*: notes and overallnotes rangeand of the scalera overall notes may be included.

See also p. 7. notes may be includ ‡ See www.abrsm.org/tuba for further publication details * Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests)

76

Tuba GRADE 4 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: Bass clef E b Tuba: A b major; G # minor (one octave) B, D b majors; C, D minors (a twelfth) Bass clef F Tuba: B b major; B b minor (one octave) D b, E b majors; D, E minors (a twelfth) Bass clef B b Tuba: E b major; E b minor (one octave) F #, A b majors; G, A minors (a twelfth) Treble clef (all Tubas) and bass clef C Tuba: F major; F minor (one octave) A b, B b majors; A, B minors (a twelfth) Scales: in the above keys (minors in harmonic or melodic form at candidate’s choice) Chromatic Scale: Bass clef E b Tuba: starting on D b (a twelfth) Bass clef F Tuba: starting on E b (a twelfth) Bass clef B b Tuba: starting on A b (a twelfth) Treble clef (all Tubas) and bass clef C Tuba: starting on B b (a twelfth) Arpeggios: the common chords of the above keys for the ranges indicated SIGHT-READING*: (bass or treble clef at candidate’s choice) a short piece in simple or compound time within the keys, notes and overall range of the scale requirements set up to and including this grade. See also p. 7.

77

Tuba GRADE 5 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Byron Adams Intrada or Intermezzo: 1st or 2nd movt from Suite on Old Nautical Airs for Tuba (Editions BIM: ? edition) ?

2 John Frith Canzona ¸ Shining Brass, Book 2 (ABRSM: /& brass edition; piano accomps published ˝ 3 David A. Stowell Jam Bouree ˛ separately) ‡ 4 Gounod Marche funèbre d’une marionnette. Savoir Faire for Tuba/E b Bass, arr. Mowat (Brass Wind: ? or E b & editions) ‡ 5 Grieg In the Hall of the Mountain King (from Peer Gynt). No. 6 from First Solos for the Tuba Player, arr.

Wekselblatt (G. Schirmer: ? edition) 6 Jacob Scottish: No. 6 from Six Little Tuba Pieces (Emerson E118: ?/E b & edition) 7 Saint-Saëns Le cygne (The Swan), arr. Wyss. The Thomas Wyss Tuba Collection (Kirklees Music: E b & edition) 8 Vaughan Williams Nos 2 and 6: from Six Studies in English Folksong (Stainer & Bell H174: ? edition; piano accomp. published separately, H47 ) 9 Vivaldi Largo from ‘Winter’. From Vivaldi to Fats Waller for Tuba, arr. Ramskill (Brass Wind: ? or E b & editions) LIST B

?

1 Tom Davoren Lindy Hop! ¸ Shining Brass, Book 2 (ABRSM: /& brass edition; piano accomps published ˝ 2 Peter Meechan Final Thought ˛ separately) ‡ 3 Andrew Duncan A Lazy Summer’s Day at Brontë Falls: No. 3 from A Haworth Suite (The Music Company: ? / E b & / B b & edition) 4 Gordon and Warren Chatanooga Choo Choo. A Little Light Music for Tuba, arr. Iveson (Brass Wind: ? or E b & editions) 5 Edward Gregson Habanera and Ragtime. Gregson and Ridgeon Nine Miniatures for E b Bass/Tuba (Brass Wind: ? or E b & editions) 6 Don Haddad Allegro con brio: 3rd movt from Suite for Tuba (Shawnee Press: ? edition) 7 Cole Porter Night and Day. Big Chillers for Tuba/E b Bass, arr. Ledbury (Brass Wind: ? or E b & editions) 8 Simon Proctor Bakerloo Boogie: from Take the Tube for Tuba/E b Bass (Brass Wind: ? or E b & editions) ?

Tuba GRADE 1Tuba GRADE 9 Alec Wilder Effie Goes Folk Dancing: 5th movt from Suite No. 1 (‘Effie Suite’) for Tuba (Margun Music: edition) LIST C

LIST C

1

LIST C

1 Blazhevich No. 10: from 70 Studies for B b Tuba, Vol. 1 (Robert King MB273: ? edition) 1 Don Blakeson Mister No.Miste 3 fr 1 DonFreddie: Blakeson 2 Derek Bourgeois Joyful: from Per Tuba ad Astra (Brass Wind: ? or & editions) 2 Timothy Jackson2 Gently or Deliberatel Timothy Jackson Ge ? ? ? ? ? ? b / &or & edition /F & edition 3 Timothy Jackson Creepily: No. 18 from Adverbial Etudes (Onyx Brass Publishing: E edition C b /or edition) Bb / B B or C C ? / F ? edition) 3 Stuart Johnson 3 Tuba Ceremony: Stuart JohnsonNo. Tub1 4 Stuart Johnson Wagner Tubas: No. 8 from The Tuneful Tuba (Brass Wind: ? or4& Peter editions) Meechan 4One, Two, Three! One Peter Meechan ¸ ˝ Sh ˛ 5 Peter Meechan Air 5 Philip Sparke Puppet’s 5 PhilipDance Sparke Pupp ¸ ? ˝ Shining Brass, Book 2 (ABRSM: /& brass edition) 6 David A. Stowell Flennon Study (either version) ˛ 6 Mark Nightingale A Small Step or Fiest 6 Mark Nightingale A & brass 7 Mark Nightingale Passion Fruit Samba or The Turkey: No. 18 or No. 22 from Easy Jazzy or ’Tudes (Warwick Music: edition edition) edition or & brass editi ? tuba edition or & brass edition) 7 Philip Sparke Bluebird’s Ballad orBlueb Dan 7 Philip Sparke b bass tuba edition or E b/Btuba edition) edition or ‡E b/B b

AURAL TESTS FOR THE GRADE*: see pp. 86 and 89

AURAL TESTS FOR THE GRADE*: seeT AURAL TESTS FOR

SCALES AND ARPEGGIOS*: from mem SCALES AND ARPEG Bass clef E b Tuba: E b major; mino Bass clef E bCTuba: Bass clef F Tuba: Bass F major; minorF clef D F Tuba: Bass clef B b Tuba: B b major; mino Bass clef B bGTuba: Treble clef (all Tubas) and Treble clefbass (all clef Tub Scales: in the above keys in (minor in natk Scales: the above Arpeggios: the common chords the Arpeggios: the of comm

SIGHT-READING*: (bass or treble clef( SIGHT-READING*: notes and overall range of the scaleran re notes and overall * Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests) notes may be included.

See also p. 7. notes may be include ‡ See www.abrsm.org/tuba for further publication details

78

Tuba GRADE 5 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: Bass clef E b Tuba: D b, E majors; C #, E minors (a twelfth) B b, B majors; B b minor (two octaves) Bass clef F Tuba: E b, F # majors; E b, F # minors (a twelfth) C, D b majors; C minor (two octaves) Bass clef B b Tuba: A b, B majors; G #, B minors (a twelfth) F, F # majors; F minor (two octaves) Treble clef (all Tubas) and bass clef C Tuba: B b, D b majors; B b, C # minors (a twelfth) G, A b majors; G minor (two octaves) Scales: in the above keys (minors in harmonic or melodic form at candidate’s choice) Chromatic Scale: Bass clef E b Tuba: starting on E b (a twelfth) Bass clef F Tuba: starting on F (a twelfth) Bass clef B b Tuba: starting on B b (a twelfth) Treble clef (all Tubas) and bass clef C Tuba: starting on C (a twelfth) Arpeggios: the common chords of the above keys for the ranges indicated Dominant Seventh: Bass clef E b Tuba: in the key of E b (two octaves) Bass clef F Tuba: in the key of F (two octaves) Bass clef B b Tuba: in the key of B b (two octaves) Treble clef (all Tubas) and bass clef C Tuba: in the key of C (two octaves) SIGHT-READING*: (bass or treble clef at candidate’s choice) see p. 7.

79

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

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Arban The Carnival of Venice. No. 17 from ¸ First Solos for the Tuba Player, arr. Wekselblatt (G. Schirmer: ˝ 2 Schumann The Happy Farmer. No. 2 from ˛ ? edition) 3 Berlioz Air gai ¸ 4 B. Marcello Largo and Allegro Ó Concert and Contest Collection for Tuba, arr. Voxman Ï (Rubank: ? edition; piano accomp. published separately) 5 Rimsky-Korsakov Andante cantabile (from Concerto) ˛ (observing cadenza) 6 Jacob Hornpipe or Bourree: No. 2 or No. 4 from Tuba Suite (Boosey & Hawkes: ? edition) 7 Mozart Romanza (only): from Horn Concerto No. 4. No. 4 from Classics for Tuba, arr. Woods and Death (Studio Music: ?/E b & edition) 8 Saint-Saëns Danse macabre. Savoir Faire for Tuba/E b Bass, arr. Mowat (Brass Wind: ? or E b & editions) ‡ 9 Vivaldi Allegro (from Sonata No. 3), arr. Swanson (Alfred–Belwin BWI00473: ? edition) LIST B

1 Nigel Clarke Fighting Windmills: from Sketches from Don Quixote for Tuba (Brass Wind: ? or E b & editions) 2 Tony Cliff Low-down Blues or Demented Waltz: No. 1 or No. 3 from Suite Syncopation (Winwood Music: ?/E b & edition) 3 Peter Davis Stomp: No. 2 from Two Character Pieces for Tuba (Warwick Music: ?/E b & edition) 4 Walter Hartley Aria for Tuba (Elkan-Vogel: ? edition) 5 Hindemith Allegro assai: 2nd movt from Sonata for Bass Tuba (Schott ED 4636: ? edition) 6 Jim Parker Soldier, Soldier. The Music of Jim Parker for Tuba/E b Bass (Brass Wind: ? or E b & editions) 7 Simon Proctor Circle Line Dance: from Take the Tube for Tuba/E b Bass (Brass Wind: ? or E b & editions) 8 John Sweden Waltz La Souterraine (Warwick Music: ?/E b & edition) 9 Fats Waller Ain’t Misbehavin’. Big Chillers for Tuba/E b Bass, arr. Ledbury (Brass Wind: ? or E b & editions) LIST C

1 Blazhevich No. 11 or No. 14: from 70 Studies for B b Tuba, Vol. 1 (Robert King MB273: ? edition) 2 Derek Bourgeois Happy: from Per Tuba ad Astra (Brass Wind: ? or & editions) 3 Jonathan Cranston Moderato: No. 2 from Ten Progressive Studies for Tuba (Con Moto: ? /& edition) 4 Jock McKenzie Hornpipe or Mazurka: from Rhythms of Life (Con Moto: ? tuba edition or & brass edition) 5 Mark Nightingale On the Off-beat or Transposition Blues: No. 23 or No. 27 from Easy Jazzy ’Tudes (Warwick Music: ? tuba edition or & brass edition) 6 Piet Swerts Tuba Rag ¸ Performance Studies for Tuba (De Haske Hal Leonard: ? (tuba in C) edition or ˝ 7 Jan Van der Roost Saudade ˛ & (bass BC/TC) edition) ‡

AURAL TESTS FOR THE GRADE*: see pp. 86 and 89

‡ See www.abrsm.org/tuba for further publication details * Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests)

80

Tuba GRADE 6 SCALES AND ARPEGGIOS*: from memory, to be played both slurred and tongued in the following keys: Bass clef E b Tuba: F major; E b minor (a twelfth) A, C, D b majors; B, C, C # minors (two octaves) Bass clef F Tuba: G major; F minor (a twelfth) B, D, E b majors; C #, D, E b minors (two octaves) Bass clef B b Tuba: C major; B b minor (a twelfth) E, G, A b majors; F #, G, G # minors (two octaves) Treble clef (all Tubas) and bass clef C Tuba: D major; C minor (a twelfth) F #, A, B b majors; G #, A, B b minors (two octaves) Scales: in the above keys (minors in both harmonic and melodic forms) Chromatic Scales: Bass clef E b Tuba: starting on A, B b, B and C (two octaves) Bass clef F Tuba: starting on B, C, D b and D (two octaves) Bass clef B b Tuba: starting on E, F, F # and G (two octaves) Treble clef (all Tubas) and bass clef C Tuba: starting on F #, G, A b and A (two octaves) Arpeggios: the common chords of the above keys for the ranges indicated Dominant Seventh: Bass clef E b Tuba: in the key of F (two octaves) Bass clef F Tuba: in the key of G (two octaves) Bass clef B b Tuba: in the key of C (two octaves) Treble clef (all Tubas) and bass clef C Tuba: in the key of D (two octaves) Diminished Seventh: Bass clef E b Tuba: starting on B b (two octaves) Bass clef F Tuba: starting on C (two octaves) Bass clef B b Tuba: starting on F (two octaves) Treble clef (all Tubas) and bass clef C Tuba: starting on G (two octaves) SIGHT-READING*: (bass or treble clef at candidate’s choice) see p. 7.

81

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

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

1 Byron Adams Hornpipe: 4th movt from Suite on Old Nautical Airs for Tuba(Editions BIM: ? edition) 2 Anon. Hornpipe. No. 14 from First Solos for the Tuba Player, arr. Wekselblatt (G. Schirmer: ? edition) 3 Handel Andante and Allegro, arr. Wyss. The Thomas Wyss Tuba Collection (Kirklees Music: E b & edition) 4 Massenet Meditation (from Thäis), arr. Meador (Warwick Music: ?/E b & edition) 5 Mozart Rondo (only): from Horn Concerto No. 4. No. 4 from Classics for Tuba, arr. Woods and Death (Studio Music: ?/E b & edition) 6 Senaillé Introduction and Allegro spiritoso, arr. Catelinet (Hinrichsen H853: ? / E b & / B b & edition) 7 Tcherepnin Andante, Op. 64 (Belaieff BEL 223: ? edition) 8 Trad., arr. Steadman-Allen Dashing Away with the Smoothing Iron (Winwood Music: ?/E b & edition) 9 Vaughan Williams Romanza: 2nd movt from Concerto for Bass Tuba (OUP: ? edition) LIST B

1 Andrew Duncan A Cat and Mouse Chase Down Haworth Main Street!: No. 4 from A Haworth Suite (The Music Company: ? / E b & / B b & edition) 2 Arthur Frackenpohl Variations for Tuba (‘The Cobbler’s Bench’) (observing cadenza) (Shawnee Press: ? edition) 3 John Frith Tuba Treat (Camden Music: ?/E b & edition) 4 Hindemith Allegro pesante: 1st movt from Sonata for Bass Tuba (Schott ED 4636: ? edition) 5 Joseph Horovitz Andante: 2nd movt from Tuba Concerto (Studio Music: ?/E b & edition) 6 Leroy Ostransky Serenade and Scherzo. Concert and Contest Collection for Tuba, arr. Voxman (Rubank: ? edition; piano accomp. published separately) 7 Simon Proctor Ulloco or Oca: from Tuber Music (Brass Wind: ? or E b & editions) 8 Philip Sparke A Song for Susie (Anglo Music AMP 211-401: ?/E b & edition) 9 Alec Wilder Effie Chases a Monkey and Effie Falls in Love: 1st and 2nd movts from Suite No. 1 (‘Effie Suite’) for Tuba (Margun Music: ? edition) LIST C

1 Blazhevich No. 15 or No. 20: from 70 Studies for B b Tuba, Vol. 1 (Robert King MB273: ? edition) 2 Derek Bourgeois Allegro moderato or Commodo: No. 1 or No. 4 from Fantasy Pieces for Tuba (Brass Wind: ? or & editions) 3 Derek Bourgeois Convivial: from Per Tuba ad Astra (Brass Wind: ? or & editions) 4 Jonathan Cranston Andante or Allegro: No. 8 or No. 9 from Ten Progressive Studies for Tuba (Con Moto: ? /& edition) 5 Jock McKenzie Dixieland or Samba: from Rhythms of Life (Con Moto: ? tuba edition or & brass edition) 6 Bertrand Moren Bagatelle ¸ Performance Studies for Tuba (De Haske Hal Leonard: ? (tuba in C) edition or ˝ 7 Jan Van der Roost Allegria ˛ & (bass BC/TC) edition) ‡

AURAL TESTS FOR THE GRADE*: see pp. 86 and 90

‡ See www.abrsm.org/tuba for further publication details * Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests)

82

Tuba GRADE 7 SCALES AND ARPEGGIOS*: from memory, to be played slurred, legato-tongued and staccato in the follow­ing­ keys: Bass clef E b Tuba: E b, E, F, F #, G, A b majors; E b, E, F, F #, G, G # minors (a twelfth) All other keys, major and minor (two octaves) Bass clef F Tuba: F, F #, G, A b, A, B b majors; F, F #, G, G #, A, B b minors (a twelfth) All other keys, major and minor (two octaves) Bass clef B b Tuba: B b, B, C, D b, D, E b majors; B b, B, C, C #, D, E b minors (a twelfth) All other keys, major and minor (two octaves) Treble clef (all Tubas) and bass clef C Tuba: C, Db, D, Eb, E, F majors; C, C #, D, Eb, E, F minors (a twelfth) All other keys, major and minor (two octaves) Scales: in the above keys (minors in both harmonic and melodic forms) Chromatic Scales: Bass clef E b Tuba: starting on any note A–D (two octaves) Bass clef F Tuba: starting on any note B–E (two octaves) Bass clef B b Tuba: starting on any note E–A (two octaves) Treble clef (all Tubas) and bass clef C Tuba: starting on any note F #–B (two octaves) Arpeggios: the common chords of the above keys for the ranges indicated Dominant Sevenths: Bass clef E b Tuba: in the keys of E b, E and F # (two octaves) Bass clef F Tuba: in the keys of F, F # and A b (two octaves) Bass clef B b Tuba: in the keys of B b, B and D b (two octaves) Treble clef (all Tubas) and bass clef C Tuba: in the keys of C, D b and E b (two octaves) Diminished Sevenths: Bass clef E bTuba: starting on B and C (two octaves) Bass clef F Tuba: starting on D b and D (two octaves) Bass clef B b Tuba: starting on F # and G (two octaves) Treble clef (all Tubas) and bass clef C Tuba: starting on A b and A (two octaves) SIGHT-READING*: (bass or treble clef at candidate’s choice) see p. 7.

83

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

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A

J. S. Bach Minuet and Badinerie. No. 1 from ¸ Classics for Tuba, arr. Woods and Death (Studio Music: ˝ Brahms Hungarian Dance No. 5. No. 3 from ˛ ?/E b & edition) J. S. Bach Vivace from a Cello Suite, arr. Wyss ¸ The Thomas Wyss Tuba Collection (Kirklees Music: ˝ Paganini Variations on a Theme by Rossini, arr. Wyss ˛ E b & edition) Capuzzi Andante and Rondo, arr. Catelinet (Hinrichsen H1474: ? / E b & / B b & edition) Edouard Chappot Lento and Allegretto: 2nd and 3rd movts from Concerto for Tuba (Editions Marc Reift EMR 2034: ? edition) 7 James Curnow Fantasia for Tuba (Curnow Music: ?/E b & edition) 8 Handel Adagio and Allegro: 1st and 2nd movts from Sonata in C minor, Op. 1 No. 8, arr. Foster (observing upper line in ossias) (Warwick Music: ?/E b & edition) 9 Michael Hopkinson Allegro moderato or Allegro giocoso (observing cadenzas): 1st or 3rd movt from Concerto for Tuba (‘Concerto Euphonique’) (Kirklees Music: E b & edition) 10 Vaughan Williams Finale–Rondo alla tedesca (observing cadenza): 3rd movt from Concerto for Bass Tuba (OUP: ? edition) 1 2 3 4 5 6

LIST B

1 John Frith Hailstorm for Tuba (Warwick Music: ?/E b & edition) 2 Edward Gregson Allegro giocoso (observing cadenza on p. 9 ): 3rd movt from Tuba Concerto (Novello NOV120484: ? edition) 3 Hindemith Variationen–Moderato, commodo: 3rd movt from Sonata for Bass Tuba (Schott ED 4636: ? edition) 4 Joseph Horovitz Allegro: 1st movt from Tuba Concerto (Studio Music: ?/E b & edition) 5 Monti Csardas, arr. Reift (Editions Marc Reift: ? or E b & or B b & editions) 6 William Presser Capriccio for Tuba (Presser: ? edition) 7 Simon Proctor Ysano: from Tuber Music (Brass Wind: ? or E b & editions) 8 Corrado Saglietti Adagio and Allegro con spirito: 2nd and 3rd movts from Concerto for Tuba (mute optional) (Editions BIM: ? edition) 9 Philip Sparke Allegro: 2nd movt from Tuba Concerto (Anglo Music AMP 187-401: ?/E b & edition) 10 Tomasi Être ou ne pas être (Monologue d’Hamlet) (Leduc AL23327: ? edition) LIST C

1 M. Arnold Fantasy for Tuba, Op. 102 (Faber: ? edition) 2 Blazhevich No. 27 or No. 32: from 70 Studies for B b Tuba, Vol. 1 (Robert King MB273: ? edition) 3 Derek Bourgeois Allegro moderato e pesante or Allegro moderato: No. 5 or No. 6 from Fantasy Pieces for Tuba (Brass Wind: ? or & editions) 4 Derek Bourgeois Complex: from Per Tuba ad Astra (Brass Wind: ? or & editions) 5 Jonathan Cranston Moderato: No. 10 from Ten Progressive Studies for Tuba (Con Moto: ? /& edition) 6 Martin Ellerby El Patricko Latino (La Danza ¸ Performance Studies for Tuba (De Haske Hal Leonard: Cubana) ˝ ? (tuba in C) edition or & (bass BC/TC) edition) ‡ 7 Kees Schoonenbeek You Can Count on It! ˛ 8 Jock McKenzie Krivo Horo or Rock: from Rhythms of Life (Con Moto: ? tuba edition or & brass edition)

AURAL TESTS FOR THE GRADE*: see pp. 86 and 91

‡ See www.abrsm.org/tuba for further publication details * Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests)

84

Tuba GRADE 8 SCALES AND ARPEGGIOS*: from memory, to be played slurred, legato-tongued and staccato in the follow-­ ing­ keys: Bass clef E b Tuba: E, F, F #, G, A b majors; E, F, F #, G, G # minors (a twelfth)

All other keys, major and minor (two octaves) Bass clef F Tuba: F #, G, A b, A, B b majors; F #, G, G #, A, B b minors (a twelfth) All other keys, major and minor (two octaves) Bass clef B b Tuba: B, C, D b, D, E b majors; B, C, C #, D, E b minors (a twelfth) All other keys, major and minor (two octaves) Treble clef (all Tubas) and bass clef C Tuba: D b, D, E b, E, F majors; C #, D, E b, E, F minors (a twelfth) All other keys, major and minor (two octaves) Scales: in the above keys (minors in both harmonic and melodic forms) Chromatic Scales: Bass clef E b Tuba: starting on any note A–E b (two octaves) Bass clef F Tuba: starting on any note B–F (two octaves) Bass clef B b Tuba: starting on any note E–B b (two octaves) Treble clef (all Tubas) and bass clef C Tuba: starting on any note F #–C (two octaves) Whole-Tone Scales: Bass clef E bTuba: starting on D and E b (two octaves) ¸ Bass clef F Tuba: starting on E and F (two octaves) Ó as example given Bass clef B b Tuba: starting on A and B b (two octaves) Ï below Treble clef (all Tubas) and bass clef C Tuba: starting on B and C (two octaves) ˛ Arpeggios: the common chords of the above keys for the ranges indicated Dominant Sevenths: Bass clef E b Tuba: in the keys of D, E b, E, F, F #, G and A b (two octaves) Bass clef F Tuba: in the keys of E, F, F #, G, A b, A and B b (two octaves) Bass clef B b Tuba: in the keys of A, B b, B, C, D b, D and E b (two octaves) Treble clef (all Tubas) and bass clef C Tuba: in the keys of B, C, D b, D, E b, E and F (two octaves) Diminished Sevenths: Bass clef E bTuba: starting on B, C and D b (two octaves) Bass clef F Tuba: starting on D b, D and E b (two octaves) Bass clef B b Tuba: starting on F #, G and A b (two octaves) Treble clef (all Tubas) and bass clef C Tuba: starting on A b, A and B b (two octaves) SIGHT-READING*: (bass or treble clef at candidate’s choice) see p. 7.

PATTERN FOR WHOLE-TONE SCALES (all subjects) Two octaves

85

AURAL TESTS: included in the Practical exams for all subjects Listening lies at the heart of all good music-making. Developing aural awareness is fundamental to musical training because having a ‘musical ear’ impacts on all aspects of musicianship. Singing, both silently in the head and out loud, is one of the best ways to develop the ‘musical ear’. It connects the internal imagining of sound, the ‘inner ear’, with the external creation of it, without the necessity of mechanically having to ‘find the note’ on an instrument (important though that connection is). By integrating aural activities in imaginative ways in the lesson, preparation for the aural tests within an exam will be a natural extension of what is already an essential part of the learning experience.

In the exam Aural tests are an integral part of all Practical graded exams.

The tests are administered by the examiner from the piano. For any test that requires a sung response, pitch rather than vocal quality is the object. The examiner will be happy to adapt to the vocal range of the candidate, whose responses may be sung to any vowel (or consonant followed by a vowel), hummed or whistled (and at a different octave, if appropriate).

Assessment A number of tests allow for a second attempt or for an additional playing by the examiner, if necessary. Also, where there is hesitation on the part of the candidate, the examiner will be ready to prompt, if necessary. In any such cases, this will affect the assessment.

Further information on how the aural tests are assessed can be found in the guide for candidates, teachers and parents, These Music Exams, available to download from www.abrsm.org/exams.

Minor modifications (from 2011) This syllabus includes the minor modifications introduced to some aural tests in 2011.

Specimen tests Examples of the tests are given in new editions (from 2011) of Specimen Aural Tests and Aural Training in Practice, available for purchase from music retailers and from www.abrsm.org/shop.

Deaf or hearing-impaired candidates Deaf or hearing-impaired candidates may opt to respond to alternative tests in place of the standard tests, if requested at the time of entry. The syllabus for these tests is available free on request from ABRSM (E accesscoordinator@abrsm.ac.uk).

Examples of the alternative tests are available for purchase from Allegro Music (T +44 (0)1885 490375; E sales@allegro.co.uk). The minor modifications (from 2011) do not affect the alternative aural tests.

86

Aural Tests GRADE 1 A

B

C

D

To clap the pulse of a piece played by the examiner, and to identify whether it is in two time or three time. The examiner will start playing the passage, and the candidate should join in as soon as possible, clapping in time and giving a louder clap on the strong beats. The examiner will then ask whether the music is in two time or three time. The candidate is not required to state the time signature.

To sing as ‘echoes’ three phrases played by the examiner. The phrases will be two bars long, in a major key, and within the range of 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 played each phrase, the candidate should sing back the echo without a pause, keeping in time.

To identify where a change in pitch occurs during a phrase played by the examiner. The phrase will be two bars long, in a major key, and the change will affect only one of the notes. First the examiner will play the key-chord and the tonic and then count in two bars. The examiner will play the phrase twice, making the change in the second playing, after which the candidate should state whether the change was near the beginning or near the end. If necessary, the examiner will play both versions of the phrase again (although this will affect the assessment).

To answer questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two features the questions will be about. The first will be: dynamics (loud/quiet, or sudden/gradual changes); the second will be articulation (smooth/ detached).

Aural Tests GRADE 2 A

B

C

D

To clap the pulse of a piece played by the examiner, and to identify whether it is in two time or three time. The examiner will start playing the passage, and the candidate should join in as soon as possible, clapping in time and giving a louder clap on the strong beats. The examiner will then ask whether the music is in two time or three time. The candidate is not required to state the time signature.

To sing as ‘echoes’ three phrases played by the examiner. The phrases will be two bars long, in a major key, and within the range of tonic–dominant. First the examiner will play the key-chord and the starting note (the tonic) and then count in two bars. After the examiner has played each phrase, the candidate should sing back the echo without a pause, keeping in time.

To identify a change in either pitch or rhythm during a phrase played by the examiner. The phrase will be two bars long, in a major key. First the examiner will play the key-chord and the tonic and then count in two bars. The examiner will play the phrase twice, making the change in the second playing, after which the candidate should identify the change by describing it, or singing/clapping. If necessary, the examiner will play both versions of the phrase again (although this will affect the assessment).

To answer questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two features the questions will be about. The first will be one of the following: dynamics (loud/quiet, or sudden/gradual changes), articulation (smooth/ detached); the second will be tempo (becoming slower/faster, or staying the same).

87

Aural Tests GRADE 3 A

B

C

D

To clap the pulse of a piece played by the examiner, and to identify whether it is in two time, three time or four time. The examiner will start playing the passage, and the candidate should join in as soon as possible, clapping in time and giving a louder clap on the strong beats. The examiner will then ask whether the music is in two time, three time or four time. The candidate is not required to state the time signature.

To sing as ‘echoes’ three phrases played by the examiner. The phrases will be two bars long, in a major or minor key, and within the range of an octave. First the examiner will play the keychord and the starting note and then count in two bars. After the examiner has played each phrase, the candidate should sing back the echo without a pause, keeping in time.

To identify a change in either pitch or rhythm during a phrase played by the examiner. The phrase will be up to four bars long, in a major or minor key. First the examiner will play the key-chord and the tonic and then count in two bars. The examiner will play the phrase twice, making the change in the second playing, after which the candidate should identify the change by describing it, or singing/clapping. If necessary, the examiner will play both versions of the phrase again (although this will affect the assessment).

To answer questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two features the questions will be about. The first will be one of the following: dynamics (loud/quiet, or sudden/gradual changes), articulation (smooth/ detached), tempo (becoming slower/faster, or staying the same); the second will be tonality (major/minor key).

Aural Tests GRADE 4 A

To sing or play from memory a melody played twice by the examiner. The melody will be within the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner will play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the melody again and allow a second attempt (although this will affect the assessment).

B To sing five notes from score in free time. The candidate may choose to sing from treble or bass clef. The notes will be within the range of a third above and below the tonic in the key of C, F or G major. The test will begin and end on the tonic and will not contain intervals greater than a third. First the examiner will name and play the key-chord and the starting note. If necessary, the examiner will help the candidate by playing and identifying the correct note if any note is sung at the wrong pitch.

C (i) To answer questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two features the questions will be about. The 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 (unharmonized), after which the candidate should clap back the rhythm. The examiner will then ask whether the music is in two time, three time or four time. The candidate is not required to state the time signature.

88

Aural Tests GRADE 5 A

To sing or play from memory a melody played twice by the examiner. The melody will be within the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner will play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the melody again and allow a second attempt (although this will affect the assessment).

B To sing six notes from score in free time. The candidate may choose to sing from treble or bass clef. The notes will be within the range of a fifth above and a fourth below the tonic, in a 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, 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, character; the second will be style and period. (ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it is in two time, three time or four time. The examiner will play the extract twice (unharmonized), after which the candidate should clap back the rhythm. The examiner will then ask whether the music is in two time, three time or four time. The candidate is not required to state the time signature.

Aural Tests GRADE 6 To sing or play from memory the upper part of a two-part phrase played twice by the examiner.

The upper part will be within the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner will play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the phrase again and allow a second attempt (although this will affect the assessment).

B To sing a melody from score, with an accompaniment played by the examiner. The candidate may choose to sing from treble or bass clef. The melody will be within the range of an octave, in a major or minor key with up to three sharps or 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 a second attempt (although this will affect the assessment).

C To identify the cadence at the end of a phrase as perfect or imperfect. The phrase will be in a major or minor key and will be played twice by the examiner. The chords forming the cadence will be in root position. Before the 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 (unharmonized), after which the candidate should clap back the rhythm. The examiner will then ask whether the music is in two time, three time or four time. The candidate is not required to state the time signature.

A

89

Aural Tests GRADE 7 To sing or play from memory the lower part of a two-part phrase played twice by the examiner.

The lower part will be within the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner will play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the phrase again and allow a second attempt (although this will affect the assessment).

B To sing the upper part of a two-part phrase from score, with the lower part played by the examiner. The candidate may choose to sing from treble or bass clef. The upper part will be within the range of an octave, in a major or minor key with up to four sharps or 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 a second attempt (although this will affect the assessment).

C(i) To identify the cadence at the end of a phrase as perfect, imperfect or interrupted. The phrase will be in a major or minor key and will be played twice by the examiner. The chords forming the cadence will be in root position. Before the 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 the tonic, subdominant, dominant, dominant seventh or submediant (all in root position). First the examiner will name and play the key-chord, then play the two chords as a pair. The candidate may answer using technical names (tonic, dominant, etc.), chord numbers (I, V, etc.) or letter names (C major, G major, etc.). (iii) To identify whether the modulation at the end of a different passage is to the dominant, subdominant or relative minor. The passage, played once by the examiner, will begin in a major key. First the examiner will name and play the starting key-chord. The candidate may answer using technical names (dominant, subdominant, relative minor) or the letter name of the new key.

D (i) To answer questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two of the following features the questions will be about: dynamics, articulation, tempo, tonality, character, style and period, texture, structure. (ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it is in two time, three time, four time or 6/8 time. The examiner will play the extract twice (unharmonized), after which the candidate should clap back the rhythm. The examiner will then ask whether the music is in two time, three time, four time or 6/8 time.

A

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Aural Tests GRADE 8 A (i) To sing or play from memory the lowest part of a three-part phrase played twice by the examiner.

The lowest part will be within the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner will play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the phrase again and allow a second attempt (although this will affect the assessment). (ii) To identify the cadence at the end of a continuing phrase as perfect, imperfect, interrupted or plagal. The phrase will be in a major or minor key and will be played twice by the examiner.

The chords forming the cadence will be limited to the tonic (root position, 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). 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, then play 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 the examiner. The candidate may choose to sing from treble or bass clef. The lower part will be within the range of an octave, in a major or minor key with up to four sharps or 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 a second attempt (although this will affect the assessment).

C To identify whether the modulations at the end of two different passages are to the dominant, subdominant or relative minor/major. The first passage will begin in a major key and the second will begin in a minor key; each passage will be played once by the examiner. Before playing each passage, the examiner will name and play the starting key-chord. The candidate may answer using technical names (dominant*, subdominant, relative minor/major) or the letter name of the new key. (* Minor-key passages may modulate to the dominant major or minor but the candidate is only required to specify ‘dominant’ in such cases.)

D To describe the characteristic features of a piece played by the examiner. After hearing the piece, the candidate should describe any notable features (such as texture, structure, character, style and period, etc.). The examiner will prompt the candidate with questions only if this becomes necessary.

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THEORY OF MUSIC (Subject Code: 99) Developing literacy with the tonal language forms a key part of a rounded education for performers, composers and listeners of all kinds. An understanding of 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. Without knowledge of notation it is impossible for classical musicians to access their repertoire with ease or to rehearse together; and this repertoire could not be heard at all had composers not been able to write it down.

So, music theory is a very practical subject that is completely entwined with performance and composition.

ABRSM’s Theory of Music exams give students opportunities to acquire: • a knowledge of the notation of western music, including the signs and terminol­ ­ogy commonly employed • a n understanding of fundamental musical elements such as intervals, keys, scales and chords • skill in constructing balanced rhythmic patterns or completing given melodic or harmonic structures • an ability to apply theoretical knowledge and understanding to score analysis Candidates are assessed on their ability to identify, use and manipulate conventional musical symbols, to complete extracts and to answer questions relating to the elements of music according to the grade-by-grade parameters detailed on the following pages.

Grade 5 as a prerequisite A longstanding ABRSM benchmark is that a pass at Grade 5 or above in Theory of Music must be obtained before candidates can enter for Grades 6, 7 or 8 Practical exams. We believe that a thorough understanding of the elements of music is essential for a full and satisfying performance at these higher grades. (Grade 5 in Practical Musicianship or any solo Jazz subject also fulfils this prerequisite.)

Marking scheme Theory exams are marked out of a total of 100, with 66 marks required for a Pass, 80 for a Merit and 90 for a Distinction.

Past papers Copies of the question papers set in ABRSM’s Theory exams for each of the preceding five years are available for purchase from music retailers and from www. abrsm.org/shop. Model answers for papers for the same period are also available.

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Theory GRADE 1 1 Note values of semibreve, minim, crotchet, quaver and semiquaver, and their equivalent rests (candidates may use the terms ‘whole note’, ‘half note’, etc.). Tied notes. Single-dotted notes and rests.

2 Simple time signatures of 24 34 44 , bar-lines and the grouping of the notes listed above within these times. Composition of a two-bar rhythm in answer to a given rhythm starting on the first beat of a bar.

3 The stave. Treble (G) and bass (F) clefs. Names of notes on the stave, including middle C in both clefs. Sharp, flat and natural signs, and their cancellation.

4 Construction of the major scale, including the position of the tones and semitones. Scales and key signa­tures of the major keys of C, G, D and F in both clefs, with their tonic triads (root position), degrees (num­ber only), and intervals above the tonic (by number only).

5 Some frequently used terms and signs concerning tempo, dynamics, performance directions and articula­tion marks. Simple questions will be asked about a melody written in either treble or bass clef.

Theory GRADE 2 As in Grade 1, with the addition of: 1 Simple time signatures of 22 32 42 38 and the grouping of notes and rests within these times. Triplets, and triplet note groups with rests. Questions will include the composition of simple four-bar rhythms starting on the first beat of the bar and using a given opening.

2 Extension of the stave to include two ledger lines below and above each stave.

3 Construction of the minor scale (harmonic or melodic at candidate’s choice, but candidates will be expected to know which form they are using). Scales and key signatures of the major keys of A, B b and E b, and the minor keys of A, E and D, with their tonic triads (root position), degrees ­(number only), and intervals above the tonic (by number only).

4 More terms and signs in common use.

Theory GRADE 3 As in preceding grades, with the addition of: 1 Compound time signatures of 68 98 182 and the grouping of notes and rests within these times. The demisemiquaver (32nd note) and its equivalent rest. Questions will include the composition of a sim­ple four-bar rhythm which may start on an upbeat.

2 Extension of the stave beyond two ledger lines. The transposition of a simple melody from the treble clef to the bass clef, or vice versa, at the octave.

3 Scales and key signatures of all major and minor keys up to and including four sharps and flats, including both harmonic and melodic forms of minor scales, with their tonic triads (root position), degrees (number only), and intervals above the tonic (number and type).

4 More terms and signs. The simple questions about a melody may include one on its phrase structure.

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Theory GRADE 4 As in preceding grades, with the addition of: 1 All simple and compound duple, triple and quadruple time signatures, and the grouping of notes and rests within these times. The breve and its equivalent rest. Double-dotted notes and rests.

Duplets. Questions will include the composition of a four-bar rhythm or (at candidate’s choice) the composition of a rhythm to given words.

2 Alto clef (C clef centred on 3rd line). The identification of notes in the alto clef in any of the keys set for this grade (see below), and the transcription at the same pitch of a simple melody from the treble or the bass clef to the alto clef, and vice versa. Double sharp and double flat signs, and their cancellation. Enharmonic equivalents.

3 Scales and key signatures of all major and minor keys up to and including five sharps and flats, with both forms of minor scales. Technical names for the notes of the diatonic scale (tonic, supertonic, etc.). Construction of the chromatic scale. All intervals, not exceeding an octave, between any two diatonic notes in any of the keys set for this grade.

4 The identification and writing of triads (root position) on the tonic, subdominant and dominant notes in any of the keys set for this grade. The recognition of 53 (root position) chords on the tonic, subdominant and dominant notes in any of the keys set for this grade (the harmonic form of the scale will be used in minor keys).

5 More terms and signs, including the recognition and naming (but not writing out) of the trill, turn, upper and lower mordent, acciaccatura and appoggiatura. Questions about a passage of music will include sim­ple related questions about standard orchestral instruments.

Theory GRADE 5 As in preceding grades, with the addition of: 1 Irregular time signatures of 54 74 58 78 and the grouping of notes and rests within these times.

Irregu­lar divi­sions of simple time values.

2 Tenor clef (C clef centred on 4th line). The identification of notes in the four clefs in any of the keys set for this grade (see below), and the transposition at the octave of a simple melody from any clef to another. The writing at concert pitch of a melody notated for an instrument in B b, A or F, and vice versa (the interval of transposition up or down will be given). The writing in open score, using treble and bass clefs, of a passage for SATB written on two staves, and vice versa.

3 Scales and key signatures of all major and minor keys up to and including six sharps and flats. All simple and compound intervals from any note.

4 The identification of the 53 63 and 64 forms of the tonic, supertonic, subdominant and dominant chords in any of the keys set for this grade. The identification of the progression 64 53 (Ic-V) on the dominant note in any of the keys set for this grade. The choice of suitable chords, using any recognized method of notation, at cadential points of a simple melody in the major key of C, G, D or F. 5 The composition of a simple melody of not more than eight bars, using a given opening and writing for a specific instrument (some choice will be given) or, at the candidate’s choice, the composition of a melody to given words. Appropriate performing directions relating to tempo, dynamics and articulation will be required.

6 More terms and signs. The recognition of ornaments, including the replacement of written-out ornamen­tation with the appropriate signs, but not vice versa. Questions about a passage of music written for voices or instruments appropriate to the grade will include questions on the types of voice and names of instru­ments, the clefs they use, instrument family groups and the basic way by which they produce sound, as well as points of general musical observation designed to test the candidate’s ability to apply theoretical knowledge to actual music.

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Theory GRADE 6

1 2 3 4

As in preceding grades. The harmonic vocabulary expected will include: the use of 53 63 and 64 chords on any degree of the major or minor (harmonic and melodic) scale; the recognition of the dominant seventh chord in root position, first, second and third inversions, and the supertonic seventh chord in root position and first inversion, in any major or minor key; and the figuring for all these chords. An understanding of the principles of modulation and a knowledge of cadences, ornamentation and melodic decoration (which might include passing notes, auxiliary notes, appoggiaturas, changing notes and notes of anticipation) will also be expected. Questions will cover: Writing specified chords for voices in four parts or for keyboard (at the candidate’s choice) above a given bass part of about four bars.

The indication of suitable chords for the accompaniment of a diatonic melody of about eight bars in any key, using any recognized method of notation, or, at the candidate’s choice, the provision of a bass to a given melody, adding figures to indicate the intended harmonies.

Composition of a melody for a specified instrument (a choice will be given), using a given opening.

Modulation to the dominant, subdominant, relative major or relative minor may be required.

Questions on short extracts of music written for piano or in open score for voices or for any combination of instruments and/or voices, designed to test the candidate’s knowledge of the elements and notation of music, including the realization of ornaments, the identification and notation of underlying harmonic struc­ture, phrase structure, style, performance, and on the voices and ­instruments for which the works were written.

Theory GRADE 7

1 2 3

4

As in preceding grades, with the addition of recognition of all diatonic secondary seventh chords and their inversions, the Neapolitan sixth and the diminished seventh chords, and of all figures ­commonly used by composers during the period c.1620–1790 to indicate harmonies above a bass part. Questions will cover: The indication of chords and movement of the inner parts by figuring the bass in a passage in which both the melody and bass are given.

Rewriting a given passage to include appropriate suspensions and notes of melodic decoration.

Continuation of a given opening for solo instrument with keyboard accompaniment, which will be given in full throughout the passage, by completing the solo part, or, at the candidate’s choice, composition of a melody for a specified instrument (a choice will be given) based on a given ­progression of chords or melodic figure.

Questions on short extracts of music written for piano or in open score for voices or for any combination of instruments and/or voices, designed to test the candidate’s knowledge of the elements and notation of music, including the realization of ornaments, the identification and notation of underlying harmonic structure, phrase structure, style, performance, and on the voices and ­instruments for which the works were written.

Theory GRADE 8 1 2 3 4

As in preceding grades. The harmonic vocabulary expected will include all standard diatonic and chro­matic chords. Questions will cover: Continuation of a given opening of a passage from a Baroque trio sonata for two treble instruments and basso continuo. The basso continuo part will be given throughout and fully figured (but a realization for keyboard will not be required).

Completion of an outline of a short passage for keyboard. Some knowledge of the styles practised by com­posers from the time of Haydn onwards will be assumed.

Continuation of a given opening of a melody for a specified instrument (a choice will be given).

Questions on short extracts of music written for piano or in open score for voices or for any combination of instruments and/or voices, designed to test the candidate’s knowledge of the elements and notation of music, including the realization of ornaments, the identification and notation of underlying har­monic structure, phrase structure, style, performance, and on the voices and ­instruments for which the works were written.

95

PRACTICAL MUSICIANSHIP (Subject Code: 42) Musicianship is a broad concept that covers a complex range of musical abilities.

For the purposes of 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 through playing by ear, singing, reading from notation, or through improvisation.

ABRSM’s Practical Musicianship exams give students opportunities to develop their ability to ‘think in sound’ and perform spontaneously. While the other graded exams focus on aspects of performance that are prepared in detail in advance, here the playing (or singing) is in response to immediate challenges and stimuli, presented both aurally and via notation.

Grade by grade, the Practical Musicianship exams cover some of the key skills for the rounded musician: • the ability to internalize 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, students will be gaining the understanding as well as the expressive and interpretative skills needed to master the musical language of the repertoire they are learning.

Grade 5 as a prerequisite A pass at Grade 5 or above in Practical Musicianship (or in Theory of Music or any solo Jazz subject) must be obtained before candidates can enter for Grades 6, 7 or 8 Practical exams. We believe that a thorough understanding of the elements of music is essential for a full and satisfying performance at these higher grades.

Instruments Practical Musicianship exams are open to singers as well as instrumentalists perform­ing on any instrument(s) included in the current range of subjects featured in ABRSM’s syllabuses. Singing candidates will be expected to play certain parts of the exam on an instrument (either the piano provided or any other instrument of their choice).

In the exam Approximately one minute of preparation time is allowed for the following tests: • singing/playing at sight • improvising (from Grade 4) • transposing at sight • realizing a figured bass For any test that requires a sung response, pitch rather than vocal quality is the object. The examiner will be happy to adapt to the vocal range of the candidate, whose responses may be sung to any vowel (or consonant followed by a vowel), hummed or whistled (and at a different octave, if appropriate).

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Marking scheme The examiner will award an overall grading, rather than a mark, on the following basis: A Pass with Distinction B Pass with Merit C Pass F Failure to reach the standard required to pass Specimen tests Examples of the tests are given in Specimen Tests: Practical Musicianship and Musicianship in Practice, available for purchase from music retailers and from www. abrsm.org/shop.

New syllabus A new Musicianship syllabus is planned, and may be introduced before the expiry of this syllabus booklet. For updates, see www.abrsm.org/exams.

Practical Musicianship GRADE 1 A To tap, as an echo, the rhythm-pattern of two two-bar phrases in simple time played by the examiner.

The echoes should follow each phrase in strict time without an intervening pause.

B To sing, as an echo, two two-bar phrases in simple time played by the examiner. The echoes should follow each phrase in strict time without an intervening pause.

C To play from memory, on an instrument chosen by the candidate, a two-bar melody played twice by the examiner. The key-chord will first be sounded and the starting note appropriate to the candidate’s instru­ment will be named.

D To sing at sight a four-bar melody in 24 time to a simple accompaniment played by the examiner.

The key-chord and starting note will first be sounded and named, and the pulse indicated.

E To improvise with voice or instrument, at the choice of the candidate, a two-bar answering phrase to a two-bar phrase played by the examiner. The key-chord and the starting note appropriate to the candidate’s voice or chosen instrument will first be sounded and named. The answering phrase should follow in strict time after the examiner has played the opening phrase. A second attempt will be allowed.

F To recognize, from the printed score, the three or four changes made to pitch and note values in a melody played twice by the examiner. The candidate will be required to point to and explain the differences. The key-chord will be sounded before the melody is played.

Practical Musicianship GRADE 2 A To sing, as an echo, two two-bar phrases in simple time played by the examiner, whilst­ continuously tap­ ping a repeated rhythm pattern (i.e. an ostinato) previously indicated by the examiner. The echoes should follow each phrase in strict time without an intervening pause.

B To play from memory, on an instrument chosen by the candidate, a two-bar melody played twice by the examiner. The key-chord will first be sounded and the starting note appropriate to the candidate’s instru­ment will be named.

C To sing at sight a four-bar melody in 24 or 34 time to a simple accompaniment played by the examiner.

The key-chord and starting note will first be sounded and named, and the pulse indicated.

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Practical Musicianship GRADE 2 D To improvise with voice or instrument, at the choice of the candidate, a two-bar answering phrase to a two-bar phrase played by the examiner. The key-chord and the starting note appropriate to the candidate’s voice or chosen instrument will first be sounded and named. The answering phrase should follow in strict time after the examiner has played the opening phrase. A second attempt will be allowed.

E To recognize, from the printed score, the three or four changes made to pitch and note values in a melody played twice by the examiner. The candidate will be required to point to and explain the differences. The key-chord will be sounded before the melody is played.

Practical Musicianship GRADE 3 A To sing, as an echo, two two-bar phrases in simple time played by the examiner, whilst continuously tap­ ping a repeated rhythm pattern (i.e. an ostinato) previously indicated by the examiner. The echoes should follow each phrase in strict time without an intervening pause.

B To play from memory, on an instrument chosen by the candidate, a two-bar melody played twice by the examiner. The key-chord will first be sounded and the starting note appropriate to the candidate’s instru­ment will be named.

C To sing at sight a four-bar melody in 24 34 44 or 68 time to an accompaniment played by the examiner.

The key-chord and starting note will first be sounded and named, and the pulse indicated.

D To improvise with voice or instrument, at the choice of the candidate, a four-bar answering phrase to a four-bar phrase played by the examiner. The key-chord and the starting note appropriate to the candidate’s voice or chosen instrument will first be sounded and named. The answering phrase should follow in strict time after the examiner has played the opening phrase. A second attempt will be allowed.

E To recognize, from the printed score, the four changes made to pitch, note and rest values and dynamics in a melody played twice by the examiner. The candidate will be required to point to and explain the dif­ferences. The key-chord will be sounded before the melody is played.

Practical Musicianship GRADE 4 A To sing and play from memory a four-bar melody in 24 or 34 time. The key-chord and starting note will first be sounded and named. The examiner will play the melody twice and the candidate will be required to sing the melody from memory. The examiner will then play the melody a third time and the candidate will be required to play the melody on an instrument of his/her choice.

The examiner will choose a key and pitch suitable for the instrument.

B To sing at sight the lower part of a two-part passage of two bars’ length while the examiner plays the upper part. The key-chord and starting note will first be sounded and named, and the pulse indicated.

C To sing at sight a short melody in 24 34 44 or 68 time to an accompaniment played by the examiner.

The key-chord and starting note will first be sounded and named, and the pulse indicated.

D To improvise with voice or instrument, at the choice of the candidate, an extension to the given opening of a short melody over a simple accompaniment played by the examiner. The implied harmonic scheme will be confined to chords of the tonic and dominant. The candidate will be given a part showing the melody in different keys and with different clefs to accommodate the full range of instruments. A second attempt will be allowed. Keyboard candidates should be prepared to play an octave higher than written.

E To recognize, from the printed score, the four changes (which may include pitch, rhythm, dynamics and tempo) in a short piano piece played twice by the examiner. Changes to notes and rhythm will be confined to the melodic line. The candidate will be required to point to and explain the differences.

98

Practical Musicianship GRADE 5 A To sing and play from memory a four-bar melody in 24 34 44 or 68 time. The key-chord and starting note will first be sounded and named. The examiner will play the melody twice and the candidate will be required to sing the melody from memory. The examiner will then play the melody a third time and the candidate will be required to play the melody on an instrument of his/her choice.

The examiner will choose a key and pitch suitable for the instrument.

B The candidate may choose to: 1 transpose at sight on the chosen instrument a four-bar melody up or down a tone or semitone.

A key suitable for the candidate’s instrument will be given. or 2 sing at sight the lower part of a four-bar phrase while the examiner plays the upper part. The key-chord and starting note will first be sounded and named, and the pulse indicated.

C To sing or play at sight, at the choice of the candidate, a short melody including the realization of dynam­ics, simple ornamentation (except when the test is sung) and the more common marks of expression. Candidates will be allowed a preliminary attempt before being assessed. The keychord and starting note will first be sounded if the test is sung, and words will be p ­ rovided (but need not be used).

D The candidate may choose to: 1 improvise with voice or instrument, at the choice of the candidate, an extension to a mel­ody over an accompaniment played by the examiner. The implied harmonic scheme will be confined to chords of the tonic, dominant, subdominant and supertonic of major keys of not more than two sharps or two flats. The candidate will be given a part showing the melody in different keys and with different clefs to accommodate the full range of instruments. A second attempt will be allowed. Keyboard candidates should be prepared to play an octave higher than written. or 2 improvise at the keyboard an accompaniment to a given melody which will be annotated with chord symbols. The harmonic scheme will be within the limitations stated in test D1 above.

A suggested (but optional) opening will be provided. The examiner will play the mel­ ody, if requested to do so, while the candidate plays the accompaniment, or the candidate may incorp­ orate the melody in the accomp­animent. Candidates will be given credit for the effective use of inversions of the chords. A second attempt will be allowed.

E To perform a short free improvisation based on a given motif or interval chosen by the examiner.

The examiner will look for imaginative use of the given material, effective use of the voice or instrument and a sense of structure.

F To recognize, from the printed score, the five changes (which may include pitch, rhythm, dynamics, tempo, articulation and phrasing) in a short piano piece played twice by the examiner. Changes to notes and rhythm will be confined to the melodic line. The candidate will be required to point to and explain the differences.

99

Practical Musicianship GRADE 6 A To sing and play from memory a short melody. The key-chord and start­ing note will first be sounded and named. The examiner will play the melody twice and the can­didate will be required to sing the melody from memory. The examiner will then play the melody a third time and the candidate will be required to play the melody on an instrument of his/her choice. The examiner will choose a key and pitch suitable for the instrument.

B The candidate may choose to: 1 transpose at sight on the chosen instrument a melody (no longer than eight bars) up or down a tone or semitone. A key suitable for the candidate’s instrument will be given. or 2 sing at sight the lower part of a passage (no longer than eight bars) while the examiner plays the upper part. The key-chord and starting note will first be sounded and named, and the pulse indicated.

C To sing or play at sight, at the choice of the candidate, a melody including the realization of dynamics, simple ornamentation (except when the test is sung) and the more common marks of expression. Candidates will be allowed a preliminary attempt before being assessed. The key-chord and starting note will first be sounded if the test is sung, and words will be ­provided (but need not be used).

D The candidate may choose to: 1 improvise with voice or instrument, at the choice of the candidate, an extension to a mel­ody over an accompaniment played by the examiner. The implied harmonic scheme will be confined to chords of the tonic, dominant, subdominant, supertonic and dominant seventh of major keys of not more than two sharps or two flats. The candidate will be given a part showing the melody in different keys and with different clefs to accommodate the full range of instruments. A second attempt will be allowed. Keyboard candidates should be ­prepared to play an octave higher than written. or 2 improvise at the keyboard an accompaniment to a given melody which will be annotated with chord symbols. The harmonic scheme will be within the limitations stated in test D1 above.

A suggested (but optional) opening will be provided. The examiner will play the mel­ ody, if requested to do so, while the can­didate plays the accompaniment, or the candidate may incorp­ orate the melody in the accomp­animent. Candidates will be given credit for the effective use of inversions of the chords. A second attempt will be allowed.

E To perform a short free improvisation based on a given motif, interval or texture (e.g. fluttertonguing, tremolo, glissando, vocalization or the use of a specific chord cluster for keyboard players) chosen by the examiner. The examiner will look for imaginative use of the given material, effective use of the voice or instrument and a sense of structure.

F To recognize, from the printed score, the five changes (which may include pitch, rhythm, dynamics, tempo, articulation and phrasing) in a short piano piece played twice by the examiner. The candidate will be required to point to and explain the differences.

100

Practical Musicianship GRADE 7 A To sing and play from memory a short melody. The key-chord and starting note will first be sounded and named. The examiner will play the melody twice (the first time in harmonized form, then the melody only) and the candidate will be required to sing the melody from memory. The examiner will then play the test a third time and the candidate will be required to play the melody on an instrument of his/her choice. The examiner will choose a key and pitch suitable for the instrument.

Candidates who choose to play the piano for this test will be expected to play the melody with the har­monies in outline.

B The candidate may choose to: 1 transpose at sight on the chosen instrument a melody (no longer than eight bars) up or down any interval up to and including a minor third. A key suitable for the candidate’s instrument will be given. or 2 sing at sight the middle or lower part of a passage of three-part harmony (no longer than 12 bars) while the examiner plays the other two parts. The key-chord and starting note will first be sounded and named, and the pulse indicated.

C To sing or play at sight, at the choice of the candidate, a passage of music including the r­ ealization of dynamics, ornamentation (except when the test is sung), marks of expression, articu­lation and phrasing. Candidates will be allowed a preliminary attempt before being assessed. The key-chord and starting note will first be sounded if the test is sung, and words will be provided (but need not be used). The examiner will accompany singers and instru­mentalists (other than keyboard players, guitarists and harpists) for the performance.

D The candidate may choose to: 1 continue a given two-bar melodic opening, which will be in late 17th- or early 18th-century style, to make eight bars in all. The candidate may opt to sing or play this test. If the test is sung, a key suitable for the candidate’s voice will be chosen. or 2 realize a short figured bass passage at the keyboard. Chords will be limited to 53 63 64 and 75 in any major or minor key up to and including two sharps or two flats.

3 E To perform a short free improvisation based on a given poem using voice or instrument. Candidates whose first language is not English may choose to base their improvisation on a given reproduction of a painting. The improvisation should last no longer than two minutes, and will be assessed for its relevance to the mood of the poem (or painting) and for its musical structure. Candidates who opt to sing this test may choose whether or not to use the words.

F To answer basic questions about an extract from a score (provided by the examiner) of a cham­ber work writ­ten between 1700 and 1850 for no more than four players. Questions may refer to keys, harmonic frame­work, instrumentation, style and structure.

101

Practical Musicianship GRADE 8 A To sing and play from memory a short melody. The key-chord and starting note will first be sounded and named. The examiner will play the melody twice (the first time in harmonized form, then the melody only) and the candidate will be required to sing the melody from memory. The examiner will then play the test a third time and the candidate will be required to play the melody on an instrument of his/her choice. The examiner will choose a key and pitch suitable for the instrument.

Candidates who choose to play the piano for this test will be expected to play the melody with the har­monies in outline.

B The candidate may choose to: 1 transpose at sight on the chosen instrument a melody (no longer than eight bars) up or down any interval up to and including a major third. A key suitable for the candidate’s instrument will be given. or 2 sing at sight the middle or lower part of a passage of a three-part motet while the examiner plays the other two parts. The C (alto) clef may be used. The key-chord and starting note will first be sounded and named, and the pulse indicated.

C To sing or play at sight, at the choice of the candidate, a passage of music including the r­ ealiz­ation of dynamics, ornamentation (except when the test is sung), marks of expression, articulation and phrasing. Candidates will be allowed a preliminary attempt before being assessed. The key-chord and starting note will first be sounded if the test is sung, and words will be provided (but need not be used). The examiner will accompany singers and ­instrumentalists (other than keyboard players, guitarists and harpists) for the performance.

D The candidate may choose to: 1 continue a given two-bar melodic opening to make eight bars in all. The candidate may opt to sing or play this test. If the test is sung, a key suitable for the candidate’s voice will be chosen. or 2 realize a short figured bass passage at the keyboard. Chords will be limited to 53 63 64 75 65 64 and 64 in any major or minor key up to and including two sharps or two flats.

3 3 3 2 E To perform a short free improvisation based on a given poem using voice or instrument. Candidates whose first language is not English may choose to base their improvisation on a given reproduction of a painting. The improvisation should last no longer than two minutes, and will be assessed for its relevance to the mood of the poem (or painting) and for its musical structure. Candidates who opt to sing this test may choose whether or not to use the words.

F To answer basic questions about an extract from a score (provided by the examiner) of a work for voice and instruments. Questions may refer to keys, harmonic framework, style, structure and aspects of the use of the voice or instruments.

102

OTHER ASSESSMENTS The following syllabuses are available free of charge from music retailers and from: www.abrsm.org/exams.

Piano: Grades 1–8 Singing: Grades 1–8 Bowed Strings: Grades 1–8 • Violin, Viola, Cello, Double Bass Woodwind: Grades 1–8 • Descant Recorder (Grades 1–5 only), Treble Recorder, Flute, Oboe, Clarinet, Bassoon, Saxophone (Soprano, Alto, Tenor, Baritone) Harpsichord, Organ, Guitar, Harp, Percussion & Ensembles • Harpsichord (Grades 4–8), Organ (Grades 1–8), Guitar (Grades 1–8), Harp (Grades 1–8), Percussion (Grades 1–8), Ensembles (Primary, Intermediate, Advanced) Jazz • Flute, Clarinet, Sax, Trumpet, Cornet, Flugelhorn, Trombone, Piano (Grades 1–5), Jazz Ensembles (Initial, Intermediate, Advanced) Available in selected centres Prep Test • Piano, Violin, Viola, Cello, Double Bass, Guitar, Descant Recorder, Flute, Oboe, Clarinet, Bassoon, Saxophone (E b and B b), Horn, Trumpet, Cornet, Flugelhorn, E b Horn, Trombone, Baritone, Euphonium, Singing Designed as a positive assessment, without marks being awarded, in preparation for the Grade 1 exams Choral Singing • Initial, Intermediate, Advanced Available in the UK and at certain international centres Performance Assessment • Available for all subjects featured in ABRSM’s graded exam syllabuses Designed as a positive assessment, without marks being awarded, for adult candidates of 21 years or over, and those of any age who have already passed Grade 8 or whose specific needs mean they are unable to access graded music exams; own-choice programme Diplomas: DipABRSM, LRSM, FRSM • Music Performance, Music Direction, Instrumental/Vocal Teaching Three levels of award (Diploma, Licentiate, Fellowship) forming a progressive assessment framework for a wide range of musicians Music Medals • Assessments for younger learners that introduce essential musical skills and encourage playing together Available in the UK only 103

ACCREDITATION (UK) ABRSM graded exams for Theory of Music, individual instruments and singing (excluding Practical Musicianship) are accredited in England by the Office of the Qualifications and Examinations Regulator (Ofqual) and the corresponding regulatory authorities in Wales (DCELLS) and Northern Ireland (CCEA). They are part of the Qualifications and Credit Framework (QCF), a scheme for recognizing skills and qualifications in the UK education system.

Within the QCF, qualifications are organized according to difficulty (Level) and size (Credits), as illustrated below in relation to ABRSM graded exams: ABRSM Practical Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

QCF Level

QCF Credits

Level 1 Award Level 1 Award Level 1 Award Level 2 Certificate Level 2 Certificate Level 3 Certificate Level 3 Certificate Level 3 Certificate

6 9 12 15 18 22 27 32

Theory Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

Level 1 Award Level 1 Award Level 1 Award Level 2 Certificate Level 2 Certificate Level 3 Certificate Level 3 Certificate Level 3 Certificate

2 3 5 7 9 12 17 21

ABRSM exams are listed on the Register of Regulated Qualifications – http://register. ofqual.gov.uk.

Ofqual became the independent regulator of qualifications, exams and assessments in England on 1 April 2010. Further information about accreditation can be found at www.abrsm.org/accreditation and www.ofqual.gov.uk.

104

OBTAINING EXAM MUSIC Information for teachers, parents and candidates Exam music for ABRSM syllabuses is available from music retailers worldwide and online at the ABRSM music shop: www.abrsm.org/shop.

We have made every effort to ensure that all the music listed in our syllabuses will remain available for the duration of each syllabus.

Please note that ‘custom print’ or ‘archive’ titles may not be kept in stock by all music retailers and can take longer to arrive than other titles.

Contact details for publishers featured in this syllabus booklet are listed below.

Apart from queries specifically relating to ABRSM exams, all enquiries about exam music (e.g. editorial, availability) should be addressed to the relevant publisher.

Information for retailers Please note that publishers often have different distributors across the world. In the list below, only UK distributors are given (where applicable). For details of distribution in other parts of the world, please contact the publisher directly.

Contact details

Distributor (uk)

ABRSM: T +44 (0)20 7636 5400; F +44 (0)20 7467 8833; E marketing@abrsm. ac.uk; www.abrsm.org/shop

OUP

Alfred Music Publishing Co. (UK) Ltd: T +44 (0)1279 828960; F +44 (0)1279 828990; E music@alfreduk.com; www.alfreduk.com

FM Distribution

Andel: T +32 (0)59 70 32 22; F +32 (0)59 70 83 50; E info@andelmusic.be; www.andelmusic.be

UMP

Anglo Music Press: T +44 (0)20 7395 0380; F +44 (0)20 7900 1812; E sales@ dehaske.co.uk; www.dehaske.com

De Haske Hal Leonard

Bärenreiter Ltd (& Bärenreiter Praha): T +44 (0)1279 828930; F +44 (0)1279 828931; E info@barenreiter.co.uk; www.baerenreiter.com

FM Distribution

Belaieff: T +49 (0)6131 246 0; F +49 (0)6131 246 211; E belaieff@schott-music. com; www.belaieff-music.com

MDS

Billaudot: T +33 (0)1 47 70 14 46; F +33 (0)1 45 23 22 54; E vente@billaudot. com; www.billaudot.com

Boosey & Hawkes Music Publishers Ltd: T +44 (0)20 7054 7200; F +44 (0)20 7054 7290; E marketing@boosey.com; www.boosey.com

MDS

Bote & Bock: T +49 (0)30 25001300; F +49 (0)30 25001399; E marketing@ boosey.com www.boosey.com

MDS

G & M Brand Publications: see R. Smith Brass Wind Publications: T/F +44 (0)1572 737409; E sales@ brasswindpublications.co.uk; www.brasswindpublications.co.uk

Breitkopf & Härtel: T +49 (0)611 450 08 0; F +49 (0)611 450 08 59 61; E info@breitkopf.com; www.breitkopf.com

Broadbent & Dunn Ltd: T +44 (0)1304 825604; F +44 (0)870 1353567; E music@broadbent-dunn.com; www.broadbent-dunn.com

105

Publishers/Distributors

Contact details (cont.)

Distributor (uk)

Camden Music: T +44 (0)20 8977 3615; E info@camdenmusic.com; www. camdenmusic.com

Spartan Press

Chester Music: T +44 (0)20 7612 7400; F +44 (0)20 7612 7545; E music@ musicsales.co.uk; www.musicsales.com

Music Sales

CMA Publications: T/F +44 (0)1728 668273; E music@cma-publications.co.uk; www.cma-publications.co.uk

Compusic: see Spartan Press

Con Moto Publications UK: see Mostyn Music

Curnow: T +44 (0)20 7395 0380; F +44 (0)20 7900 1812; E sales@dehaske.co. uk; www.dehaske.com

De Haske Hal Leonard

De Haske Hal Leonard Ltd: T +44 (0)20 7395 0380; F +44 (0)20 7900 1812; E sales@dehaske.co.uk; www.dehaske.com

Doblinger: T +44 (0)20 7292 9166; F +44 (0)20 7292 9165; E connell@ universaledition.com; www.doblinger.at

MDS

Durand: T +44 (0)20 7395 0380; F +44 (0)20 7900 1812; E sales@dehaske.co.uk; www.dehaske.com

De Haske Hal Leonard

Editio Musica Budapest Ltd (Universal Music Publishing): T +36 1 2361 104; F +36 1 2361 101; E emb@emb.hu; www.emb.hu

FM Distribution

Edition Musicus: T/F +1 203 268 1522; E edmus@sbcglobal.net

MusT

Editions BIM: T +41 (0)21 909 1000; F +41 (0)21 909 1009; E order@editionsbim.com; www.editions-bim.com

Editions Marc Reift: T +41 (0)27 483 1200; F +41 (0)27 483 4243; E info@reift. ch; www.reift.ch

MusT

Elkan-Vogel: T +1 610 525 3636; F +1 610 527 7841; E sales@presser.com; www.presser.com

UMP

Emerson Edition Ltd: T +44 (0)1439 788324; F +44 (0)1439 788715; E sales@ juneemerson.co.uk; www.juneemerson.co.uk

Ensemble Publications: T +1 607 592 1778; F +1 607 273 4655; E enspub@aol. com

Emerson [specialist retailer]

Eschig: T +44 (0)20 7395 0380; F +44 (0)20 7900 1812; E sales@dehaske.co.uk; www.dehaske.com

De Haske Hal Leonard

Faber Music Ltd: T +44 (0)20 7908 5310; F +44 (0)20 7908 5339; E sales@ fabermusic.com; www.fabermusic.com

FM Distribution

Fentone: T +44 (0)20 7395 0380; F +44 (0)20 7900 1812; E sales@dehaske.co. uk; www.dehaske.com

De Haske Hal Leonard

Carl Fischer: T +1 212 777 0900; F +1 212 477 6996; E cf-info@carlfischer.com; www.carlfischer.com

MDS

FM Distribution: T +44 (0)1279 828989; F +44 (0)1279 828990; E sales@ fabermusic.com; www.fabermusic.com

Gehrmans Musikförlag AB: T +46 (0)8 6100600; F +46 (0)8 6100627; E info@ gehrmans.se; www.gehrmans.se

Gramercy Music: T/F +44 (0)161 486 1959; E info@gramercymusic.com; www.gramercymusic.com

106

Publishers/Distributors

Contact details (cont.)

Distributor (uk)

Hansen (Edition Wilhelm Hansen): T +44 (0)20 7612 7400; F +44 (0)20 7612 7545; E music@musicsales.co.uk; www.musicsales.com

Music Sales

G. Henle Verlag: T +49 (0)89 759 82 0; F +49 (0)89 759 82 40; E info@henle.de; www.henle.de

MDS

Hinrichsen: see Peters

Friedrich Hofmeister Musikverlag: T +49 (0)341 9600750; F +49 (0)341 9603055; E info@hofmeister-musikverlag.com; www.hofmeister-musikverlag.com

Music Sales

The Hornists’ Nest: T +1 716 626 9534; E landeshaw@gmail.com; www. hornistsnest.net

Emerson [specialist retailer]

IMC: T +44 (0)20 7292 9166; F +44 (0)20 7292 9165; E connell@ universaledition.com; www.internationalmusicco.com

MDS

Robert King: T +33 (0)1 42 96 89 11; F +33 (0)1 42 86 02 83; www. alphonseleduc.com

UMP

Kirklees Music: T +44 (0)1484 722855; F +44 (0)1484 723591; E sales@ kirkleesmusic.co.uk; www.kirkleesmusic.co.uk

Kunzelmann: T +41 (0)44 710 36 81; F +41 (0)44 710 38 17; E edition@ kunzelmann.com; www.kunzelmann.ch

Peters

Leduc: T +33 (0)1 42 96 89 11; F +33 (0)1 42 86 02 83; www.alphonseleduc.com

UMP

Lemoine: T +33 (0)1 30 90 56 36; F +33 (0)1 30 90 10 23; E info@henrylemoine.com; www.henry-lemoine.com

FM Distribution

Margun Music: T +1 800 962 8584; E info@shawneepress.com; www. shawneepress.com

Music Sales

Kevin Mayhew Publishers: T +44 (0)1449 737978; F +44 (0)1449 737834; E info@kevinmayhewltd.com; www.kevinmayhew.com

MDS (Music Distribution Services Ltd): T +49 (0)6131 505 100; F +49 (0)6131 505 115; E order@mds-partner.com; www.mds-partner.com

Mitropa Music: T +44 (0)20 7395 0380; F +44 (0)20 7900 1812; E sales@ dehaske.co.uk; www.dehaske.com

De Haske Hal Leonard

Mostyn Music: T +44 (0)161 304 7590; E orders@mostynmusic.com; www. mostynmusic.com

Musica Rara: see Breitkopf & Härtel

The Music Company (UK) Ltd: T +44 (0)845 68 08452; E orders@ TheMusicCompanyShop.com; www.TheMusicCompanyShop.com

Music Sales Ltd: T +44 (0)1284 702600; F +44 (0)1284 768301; E music@ musicsales.co.uk; www.musicsales.com

Musikk-Husets Forlag A/S: T +47 22825900; F +47 22825901; E oslo@musikkhuset.no; www.musikk-huset.no

MusT: T/F +44 (0)20 8341 4088; E info@music-trading.co.uk; www.musictrading.co.uk or www.tutti.co.uk

Neuschel Music: T +44 (0)1582 432139; F +44 (0)1582 731989; E sales@studiomusic.co.uk; www.studio-music.co.uk

Studio Music

Novello & Co. Ltd: T +44 (0)20 7612 7400; F +44 (0)20 7612 7545; E music@ musicsales.co.uk; www.musicsales.com

Music Sales

107

Publishers/Distributors

Contact details (cont.)

Distributor (uk)

Obrasso Verlag AG: T +41 (0)32 636 3727; F +41 (0)32 636 2644; E info@ obrasso.ch; www.obrasso.ch

Onyx Brass Publishing: T +44 7970 057649; E david@onyxbrasspublishing.com; www.onyxbrasspublishing.com

OUP (Oxford University Press): T +44 (0)1865 355067; F +44 (0)1865 355060; E music.enquiry.uk@oup.com; www.oup.com

Paterson’s Publications: T +44 (0)20 7612 7400; F +44 (0)20 7612 7545; E music@musicsales.co.uk; www.musicsales.com

Music Sales

Peters Edition Ltd: T +44 (0)20 7553 4000; F +44 (0)20 7490 4921; E sales@ editionpeters.com; www.editionpeters.com

Phylloscopus Publications: T +44 (0)1528 544770; F +44 (0)1528 544771; E enquiries@Phylloscopus.co.uk; www.Phylloscopus.co.uk

Spartan Press

Hans Pizka Edition: T +49 (0)89 903 95 48; F +49 (0)89 903 94 14; E hans@ pizka.de; www.pizka.de/Pizka-music.htm

Emerson [specialist retailer]

Presser: T +1 610 525 3636; F +1 610 527 7841; E sales@presser.com; www. presser.com

UMP

Prima Arts: see Mostyn Music

Prima Vista Musikk: E info@primavistamusikk.com; www.primavistamusikk.com

Salvationist Publishing

Rakeway Music: see Kirklees Music

G. Ricordi & Co. (London) Ltd: T +44 (0)20 7395 0380; F +44 (0)20 7900 1812; E sales@dehaske.co. uk; www.dehaske.com

De Haske Hal Leonard

Rubank: T +44 (0)20 7395 0380; F +44 (0)20 7900 1812; E sales@dehaske.co. uk; www.dehaske.com

De Haske Hal Leonard

Salvationist Publishing and Supplies: T +44 (0)1933 445445; F +44 (0)1933 445415; E mail_order@sp-s.co.uk; www.worldofbrass.com

G. Schirmer Inc.: T +44 (0)20 7612 7400; F +44 (0)20 7612 7545; E music@ musicsales.co.uk; www.musicsales.com

Music Sales

Schott Music Ltd: T +44 (0)20 7534 0740; F +44 (0)20 7534 0749; E marketing@schott-music.com; www.schott-music.com

MDS

Shawnee Press: T +1 800 962 8584; E info@shawneepress.com; www. shawneepress.com

Music Sales

Sikorski–Boosey & Hawkes Music Publishers Ltd: T +44 (0)20 7054 7200; F +44 (0)20 7054 7290; E marketing@boosey.com; www.boosey.com

MDS

Simrock: T +44 (0)20 7054 7200; F +44 (0)20 7054 7290; E marketing@boosey. com; www.boosey.com

MDS

R. Smith & Co.: T +44 (0)1933 445440; F +44 (0)1933 445441; E info@rsmith. co.uk; www.rsmith.co.uk

Spartan Press Music Publishers Ltd: T +44 (0)1528 544770; F +44 (0)1528 544771; E mail@SpartanPress.co.uk; www.SpartanPress.co.uk

Stainer & Bell Ltd: T +44 (0)20 8343 3303; F +44 (0)20 8343 3024; E post@ stainer.co.uk; www.stainer.co.uk

Studio Music Co.: T +44 (0)1582 432139; F +44 (0)1582 731989; E sales@ studio-music.co.uk; www.studio-music.co.uk

108

Publishers/Distributors

Contact details (cont.)

Distributor (uk)

Sunshine Music Company: see Spartan Press Tenuto Publications: T +1 610 525 3636; F +1 610 527 7841; E sales@presser. com; www.presser.com

UMP

UMP (United Music Publishers Ltd): T +44 (0)1992 703110; F +44 (0)1992 767682; E info@ump.co.uk; www.ump.co.uk

Universal Edition: T +44 (0)20 7292 9166; F +44 (0)20 7292 9165; E connell@ universaledition.com; www.universaledition.com

MDS

Virgo: T/F +44 (0)121 7785569; E virgohouse@aol.com; www.printed-music. com/virgo

Warwick Music Ltd: T +44 (0)24 7671 2081; F +44 (0)24 7671 2550; E sales@ warwickmusic.com; www.warwickmusic.com

Josef Weinberger: T +44 (0)20 7580 2827; F +44 (0)20 7436 9616; E general. info@jwmail.co.uk; www.josef-weinberger.com

FM Distribution

Winwood Music: T +44 (0)1296 655777; F +44 (0)1296 655778; E info@ winwoodmusic.com; www.winwoodmusic.com

Wright & Round: T +44 (0)1452 523438; F +44 (0)1452 385631; E sales@ wrightandround.com; www.wrightandround.com

Zimmermann: T +49 (0)69 9782866; F +49 (0)69 07828679; E info@ zimmermann-frankfurt.de; www.zimmermann-frankfurt.de

MusT or MDS

DO NOT PHOTOCOPY © MUSIC

DO NOT PHOTOCOPY © MUSIC

Printed and bound in the UK by Polestar Wheatons, Exeter

109

110

Number

List

11:47

Page 1 photocopied or detached for exams) (may be

Grade

Composer

Singers only:

Composer

Title

Title

04/09

Grades 6, 7 & 8 only

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!

Unaccompanied traditional song (all grades):

Number

List

Year of syllabus

Subject

Name

17/4/09

Exam programme & running order

exam programme slip:Layout 1

ABRSM is the exam board of the Royal Schools of Music. We are committed to actively supporting high-quality music-making, learning and development throughout the world, and to producing the best possible resources for music teachers and students.

Brass Syllabus 2013–2016

ABRSM 24 Portland Place London W1B 1LU United Kingdom

When you have finished with this syllabus please recycle it.

T +44 (0)20 7636 5400 F +44 (0)20 7637 0234 Textphone +44 (0)20 7637 2582 E abrsm@abrsm.ac.uk www.abrsm.org Registered as a Charity No. 292182

BrassSyllabus_v3AW.indd 1-2

23/05/2012 15:08