6

BOWED STRINGS SYLLABUS REQUIREMENTS

Instruments
Candidates are required to perform on acoustic instruments (electric instruments
are not permitted).
Tuning-up
In Grades 15 the teacher or accompanist may tune the candidates instrument (or
advise on tuning) before the exam begins. The examiner will not do so. In Grades
68 candidates must tune their instrument themselves.
Music stands and stools
All ABRSM Centres provide a music stand, but candidates are welcome to bring their
own if they prefer. Candidates should provide their own stool if required.
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).
Accompaniment
A live piano accompaniment is required for all pieces, except those which are
published as studies or unaccompanied works and those Double Bass List C pieces
marked solo. Candidates must provide their own accompanist, who may remain in
the exam room only while engaged in accompanying. The candidates teacher may
act as accompanist; under no circumstances will the examiner do so.
Tuttis and cadenzas
Accompanists should make cuts to extensive orchestral tuttis in concerto (or similar)
movements. Cadenzas should not be played unless specifed in the syllabus.
Fingering and bowing
Candidates are not compelled to adhere to the fngering or bowing marks indicated
in the music: any good practical fngering and bowing will be accepted. In Violin and
Viola Grades 1 and 2, candidates are not expected to play in any but the frst position;
Cello and Double Bass pieces in these grades may include very simple changes of
position. By Grade 4, candidates are expected to have begun exploring position
changes matching the demands and style of the music.
Vibrato
Candidates should have acquired some skill in vibrato by Grade 5.
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 separately-bowed and slurred
requirements. When asking for requirements, examiners will specify only:
the key (including minor form harmonic or melodic in the Grade 68 scales)
7
separate bows or slurred (except for where the requirements are to be prepared
with separate bows only e.g. Grade 1 arpeggios)
All scales and arpeggios should:
be played from memory
be played from the lowest possible tonic/starting note, unless the syllabus
indicates otherwise
ascend and descend according to the specifed range
Bowing will generally dictate the tempi of slurred scales and arpeggios. Separately-
bowed requirements should be played briskly, using no more than half the bow
length. For guidance, suggested minimum speeds are given in the books of scale
requirements published for all bowed strings by ABRSM.
Any practical ngering that produces a good result will be accepted.
For major and minor scales (and double-stop scales in parallel sixths/octaves)
candidates may choose between two rhythm patterns: even notes or long tonic.
Arpeggios, dominant and diminished sevenths are required in root position only. All
dominant sevenths must nish by resolving on the tonic.
Examples of scale/arpeggio etc. patterns found in this syllabus are given on pp. 89.
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 main
parameters for the sight-reading tests for each subject are outlined in this syllabus,
grade by grade; once introduced, these parameters apply for all subsequent grades
(albeit with a logical progression of difculty). Books of specimen sight-reading tests
are published for all bowed strings 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 intona-
tion, production and quality of tone, bowing and nger action, posture, suitable
choice of tempo, and expression and phrasing. Further details of assessment criteria
are given in These Music Exams, available free of charge from music retailers and from
www.abrsm.org/exams.
Marking scheme
Schedule of maximum marks for all grades:
Pieces: 1 30
2 30
3 30
Scales and arpeggios 21
Sight-reading 21
Aural tests 18
Total 150
Bowed strings syllabus requirements
46
DOUBLE BASS (Subject Code: 06)
The set pieces in this syllabus are valid from 2010 until further notice. The scale and sight-reading
requirements have been revised and take efect from 1 January 2012.
Double Bass GRADE 1
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C. Pieces in rst position
are indicated by , those in half position by , while the remaining pieces can be played in either position:
LIST A
1 Anon. Estonian Lament to the Moon (in either key)
Time Pieces for Double Bass, Vol. 1, arr. Slatford (ABRSM)
2 Blow Gavott (from Musicks Hand-maid)

3 Anon. German The More the Merrier. No. 67 from Ready Steady Go, arr. Elliott (Bartholomew 502: piano
accomp. published separately, 502a)
4 Shinichi Suzuki Allegretto. No. 11 from Suzuki Bass School, Vol. 1, Revised Edition (AlfredSummy-Birchard
0370S: piano accomp. published separately, 0372S)
5 Trad. John Grumlie, arr. Elliott. P. 25 from The Essential String Method, Double Bass Book 3 (Boosey & Hawkes:
piano accomp. published separately)
6 Trad. Peruvian Dance Tune. Amazing Solos for Double Bass, arr. Schoeld (Boosey & Hawkes)
LIST B
1 Catherine Elliott Carnival Waltz. P. 4 from The Essential String Method, Double Bass Book 3 (Boosey & Hawkes:
piano accomp. published separately)
2 Tony Osborne Bass Bridges of Paris or Alpen Song: No. 14 or No. 18 from The Really Easy Bass Book (Faber)
3 Michael Rose Ballad II
Time Pieces for Double Bass, Vol. 1, arr. Slatford (ABRSM)
4 Schumann A Little Piece (from Op. 68)

5 Taki Moon Over the Ruined Castle. No. 8 from Suzuki Bass School, Vol. 2, Revised Edition (AlfredSummy-
Birchard 0371S: piano accomp. published separately, 0374S)
6 Tchaikovsky Old French Song, arr. Nelson. P. 27 from The Essential String Method, Double Bass Book 4 (Boosey
& Hawkes: piano accomp. published separately)
LIST C
1 Anon. Corn Rigs Quadrille
2 Steve Berry A Little Blue (without improvisation)
Time Pieces for Double Bass, Vol. 1,

3 T. Morley Now is the month of Maying (in either key)

arr. Slatford (ABRSM)
4 I. Carroll Gigue: from Five Simple Pieces (Stainer & Bell 2310)
5 Tony Osborne And Y Not: No. 22 from The Really Easy Bass Book (Faber)
6 Regner Lied des Schlafes: No. 5 from Kontra-Spass (Schott KBB 11)
7 Trad. Hatikvah, arr. Elliott. P. 22 from The Essential String Method, Double Bass Book 3
(Boosey & Hawkes: piano accomp. published separately)

solo or accomp.
accomp.
solo or accomp.
accomp.
accomp.
accomp.
solo or accomp.
47
Double Bass GRADE 1
SCALES AND ARPEGGIOS
*
: from memory; for further details (incl. examples) see pp. 69
Group 1 (rst position) or Group 2 (half position), at candidates choice

range bowing requirements rhythm pattern

GROUP 1
Scales
C, D majors
G major; A natural minor
a 6th
1 oct.
separate bows and slurred
(2 quavers to a bow)
even notes or long tonic,
at candidates choice
Arpeggios
G major; A minor 1 oct. separate bows even notes
GROUP 2
Scales
C major
F, B
b
majors; A natural minor
a 6th
1 oct.
separate bows and slurred
(2 quavers to a bow)
even notes or long tonic,
at candidates choice
Arpeggios
F, B
b
majors; A minor 1 oct. separate bows even notes
SIGHT-READING
*
: 1st or half position, at candidates choice

. A four-bar piece in
4
4
or
3
4
, or a six-bar piece
in
2
4
, in G or D majors (no use of E and A strings) or F or B
b
majors (no use of G string). All notes
separately bowed. Simple dynamics (f, F, p), note values (h q q q q q q q) and rests (

). See also p. 7.
AURAL TESTS FOR THE GRADE
*
: see pp. 58 and 59
or
The examiner will ask which Group/position
* Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests)
48
Double Bass GRADE 2
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C:
LIST A
1 attrib. J. S. Bach Musette (BWV Anh. II 126).
P. 9 from
The Anna Magdalena Bach Notebook for Double Bass, arr.
2 Petzold Minuet in D (BWV Anh. II 114).
Elliott (Bartholomew 009: piano accomp. published
P. 3 from

separately, 009a)
3 Boccherini Minuetto (from String Quartet, Op. 24 No. 4). Time Pieces for Double Bass, Vol. 1, arr. Slatford
(ABRSM)
4 Handel Gavotte, arr. Elliott (upper line). P. 10 from The Essential String Method, Double Bass Book 4 (Boosey
5 Trad. English Greensleeves, arr. Elliott. P. 26 from

& Hawkes: piano accomp. published separately)

6 Mozart Passe-pied (observing repeats). No. 9 from La Contrebasse classique, Vol. A, arr. Dehant (Combre C05440)
LIST B
1 Beethoven Andante cantabile (from String Quartet, Op. 18 No. 5) Time Pieces for Double Bass, Vol. 1,
2 Michael Rose Ballad I

arr. Slatford (ABRSM)

3 Rodgers & Hammerstein Edelweiss (from The Sound of Music). No. 50 from Abracadabra Double Bass, Book 1,
arr. Lillywhite et al. (Black: piano accomp. published separately)
4 Schubert Two German Dances, arr. Nelson (omitting DC). P. 23 from The Essential String Method, Double Bass
Book 4 (Boosey & Hawkes: piano accomp. published separately)
5 Schumann The Merry Peasant (The Happy Farmer). P. 18 (arr. Elliott) from The Essential String Method,
Double Bass Book 4 (Boosey & Hawkes: piano accomp. published separately) or No. 7 from Suzuki Bass School, Vol. 2,
Revised Edition (AlfredSummy-Birchard 0371S: piano accomp. published separately, 0374S)
6 Weber Ecossaise (upper line, observing repeats). P. 7 from Technitunes for Double Bass, arr. Nelson and Elliott
(Boosey & Hawkes: piano accomp. published separately)
LIST C
1 Arlen & Harburg Were of to see the Wizard (from The Wizard of Oz). No. 70 from Abra -
cadabra Double Bass, Book 1, arr. Lillywhite et al. (Black: piano accomp. published separately)
2 Christopher Field Ladye Broomleigh Her Pavane.
No. 45 from Yorke Studies for Double Bass,
3 Trad. Scottish Ye Banks and Braes, arr. Slatford. Vol. 1 (Yorke YE0022)
No. 73 from

4 Herz Galoppe
Time Pieces for Double Bass, Vol. 1, arr. Slatford (ABRSM)
5 Giles Swayne Lazybones

6 Regner Maitanz: No. 2 from Kontra-Spass (Schott KBB 11)
7 Trad. March of the Kings, arr. Elliott. P. 25 from The Essential String Method, Double Bass
Book 4 (Boosey & Hawkes: piano accomp. published separately)
SCALES AND ARPEGGIOS
*
: from memory; for further details (incl. examples) see pp. 69
range bowing requirements rhythm pattern
Scales
F, G, B
b
, D majors; A, B minors
(minors natural or harmonic,
at candidates choice)
1 oct. separate bows and slurred
(2 quavers to a bow)
even notes or long tonic,
at candidates choice
Arpeggios
F, G, B
b
majors; A, B minors 1 oct. separate bows even notes
SIGHT-READING
*
: an eight-bar piece, time signatures as Grade 1, in C, G, D majors or A natural minor,
in 1st position. Notes separately bowed or with simple two-note slurs. Addition of P, hairpins (cresc./
dim.), dotted minim, and minim rest. See also p. 7.
AURAL TESTS FOR THE GRADE
*
: see pp. 58 and 59
accomp.
solo
solo
accomp.
accomp.
accomp.
solo or accomp.
* Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests)
49
Double Bass GRADE 3
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C:
LIST A
1 Azas Menuet. No. 22 from La Contrebasse classique, Vol. A, arr. Dehant (Combre C05440)
2 attrib. J. S. Bach First Minuet in D minor (BWV Anh. II 121) (observing 1st repeat). P. 9 from The Anna
Magdalena Bach Notebook for Double Bass, arr. Elliott (Bartholomew 009: piano accomp. published separately, 009a)
3 L. Couperin Menuet de Poitou (omitting DC) Time Pieces for Double Bass, Vol. 1,
4 Lully Air and Chaconne (from Le bourgeois gentilhomme)

arr. Slatford (ABRSM)

5 Gerhard Deutschmann Menuett and Trio. No. 9 from Yorke Solos for Double Bass, Vol. 1 (Yorke YE0087)
6 Mozart Allegro (K. 3). No. 2 from Subterranean Solos, arr. Hartley (Bartholomew 006: piano accomp. published
separately, 006a)
LIST B
1 Grieg Norwegian Dance (Op. 35). No. 5 from Subterranean Solos, arr. Hartley (Bartholomew 006: piano accomp.
published separately, 006a)
2 Gurlitt Voyage de nuit. No. 20 from La Contrebasse classique, Vol. A, arr. Dehant (Combre C05440)
3 Sheila Joynes The Old Sea Dog. No. 52 from Bass is Best! Yorke Mini-Bass Book 2, arr. Emery and Barratt (Yorke
YE0098 )
4 John Merle Mummers (Danse grotesque). Festival Performance Solos String Bass (Carl Fischer BF5: piano
accomp. published separately, BF6)
5 Schumann Melody (from Op. 68). Time Pieces for Double Bass, Vol. 1, arr. Slatford (ABRSM)
6 Verdi Grand March (from Ada). Amazing Solos for Double Bass, arr. Schoeld (Boosey & Hawkes)
LIST C
1 Aprile Solfeggio No. 3 (upper part) (ornaments optional). Time Pieces for Double Bass,
Vol. 1, arr. Slatford (ABRSM) ( with the published piano (not double bass) accomp.)
2 Frederick Boaden Prelude: 1st movt from Petite Suite (Yorke YEC47358 )
3 Teppo Hauta-aho Scott: 3rd movt from Jazz Sonatine [No. 1]. No. 1 from Hauta-aho
Pizzicato Pieces, Book 1 (Recital Music RM097 )
4 Mozart, trans. Hindemith O Iso ed Osiro. Hindemith Stcke fr Kontrabass solo
(Schott ED 8378 )
5 Tony Osborne Bassa Nova (pizz or arco or combination): No. 3 from Junior Jazz Book 1
(Recital Music RM037 )
6 Michael Rose Jumbo Rag: from A Sketchbook for Double Bass (ABRSM)
7 David Tutt Spanish Dance. No. 8 from Bass is Best! Yorke Mini-Bass Book 2, arr. Emery and
Barratt (Yorke YE0098 )
SCALES AND ARPEGGIOS
*
: from memory; for further details (incl. examples) see pp. 69
range bowing requirements rhythm pattern
Scales
E, A, C, D majors; E, G, D minors
(minors harmonic or melodic,
at candidates choice)
1 oct. separate bows and slurred
(2 quavers to a bow)
even notes or long tonic,
at candidates choice
Arpeggios
E, A, C, D majors; E, G, D minors 1 oct. separate bows and slurred
(2 notes to a bow)
even notes
Chromatic scale
Starting on A 1 oct. separate bows even notes
SIGHT-READING
*
: an eight-bar piece, time and key signatures as Grade 2, with the addition of F, B
b

majors and B minor, in half or 1st position. Occasional accidentals (within minor keys only). Dotted
rhythms, semiquavers and ties may be encountered. Pizzicato (at end of piece only) and staccato may be
included. Increasing use of dynamics, rests and slurs. See also p. 7.
AURAL TESTS FOR THE GRADE
*
: see pp. 58 and 60
solo or accomp.
accomp.
solo
solo
accomp.
accomp.
accomp.
50
Double Bass GRADE 4
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C:
LIST A
1 attrib. J. S. Bach Minuet in C (BWV Anh. II 116). P. 5 from The Anna Magdalena Bach Notebook for Double
Bass, arr. Elliott (Bartholomew 009: piano accomp. published separately, 009a) or No. 2 from Suzuki Bass School,
Vol. 3, Revised Edition (AlfredSummy-Birchard 0376S: piano accomp. published separately, 0377S )
2 J. S. Bach Gavotte and Musette, arr. Slatford. No. 20 from Yorke Solos for Double Bass, Vol. 1
3 Mozart A Little Melody, arr. Lska. No. 23 from

(Yorke YE0087 )
4 Froberger Gigue (ornaments optional ) Time Pieces for Double Bass, Vol. 2, arr. Slatford
5 Handel Allegro (from Concerto grosso, Op. 6 No. 8)

(ABRSM)
6 A. Thomas Gavotte (from Mignon). No. 7 from Subterranean Solos, arr. Hartley (Bartholomew 006: piano accomp.
published separately, 006a)
LIST B
1 Grieg Hunting Song (Op. 4 No. 4) Time Pieces for Double Bass, Vol. 2, arr. Slatford
2 Mendelssohn Venetian Gondola Song (from Op. 57)

(ABRSM)
3 Humperdinck Fiddlers Song (from Knigskinder). Amazing Solos for Double Bass, arr. Schoeld (Boosey & Hawkes)
4 S. Lancen Si jtais Moussorgsky. No. 13 from Yorke Solos for Double Bass, Vol. 1 (Yorke YE0087 )
5 J. F. Mller Neapolitan Dance (Neil Kjos Music KJ15920 )
6 Michael Rose Reverie: from A Sketchbook for Double Bass (ABRSM)
LIST C
1 A. Benjamin Jamaican Rumba
Time Pieces for Double Bass, Vol. 2, arr. Slatford (ABRSM)
2 Kabalevsky Cavalryman (from Op. 27)

3 Frederick Boaden Elegy: 2nd movt from Petite Suite (Yorke YEC47358 )
4 Bottesini Study No. 4 or No. 9: from Method for Double Bass, Part 1 (Yorke YE0076 )
5 Christopher Field Hornpipe: No. 4 from Mock Baroque. No. 108/4 from Yorke Studies for Double
Bass, Vol. 2 (Yorke YE0086 )
6 Teppo Hauta-aho Allegro moderato: 1st movt from Jazz Sonatine No. 2 (Recital Music RM333 )
7 Regner Der Clown tritt auf: No. 8 from Kontra-Spass (Schott KBB 11 )
SCALES AND ARPEGGIOS
*
: from memory; for further details (incl. examples) see pp. 69
range bowing requirements rhythm pattern
Scales
E, F, G, A majors; E, G, A minors
(minors harmonic or melodic,
at candidates choice)
a 12th separate bows and slurred
(2 quavers to a bow)
even notes or long tonic,
at candidates choice
Arpeggios
E, F, G, A majors; E, G, A minors a 12th separate bows and slurred
(3 notes to a bow)
even notes
Dominant sevenths (resolving on tonic)
In the keys of A and B
b
1 oct. separate bows even notes
Chromatic scales
Starting on G and B 1 oct. separate bows and slurred
(3 notes to a bow)
even notes
SIGHT-READING
*
: a piece of around eight bars in length, time and key signatures as Grade 3, with the
addition of
6
8
, A major, E and D minors. Shifts between half, 1st and 3rd positions may be encountered
(but no more than two positions per test). Occasional chromatic notes. Anacrusis, hooked bowing, accents
and pause signs may be included. See also p. 7.
AURAL TESTS FOR THE GRADE
*
: see pp. 58 and 60
* Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests)
accomp.
accomp.
accomp.
solo
solo
solo
accomp.
51
Double Bass GRADE 5
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C:
LIST A
1 Corelli Sarabanda (Largo): 3rd movt from Sonata in D minor [C minor], trans. Zimmermann (IMC 1766 )
2 attrib. Giovannino Adagio and Aria staccata e allegra: 1st and 2nd movts from Sonata in A minor (Yorke YE0008 )
3 Handel Bourree. No. 8 from Suzuki Bass School, Vol. 3, Revised Edition (AlfredSummy-Birchard 0376S: piano
accomp. published separately, 0377S)
4 S. Paxton Allegretto: 1st movt from Sonata in D, Op. 3 No. 2, trans. Elliott (Bartholomew 005)
5 Rameau Dance. No. 68 from Bass is Best! Yorke Mini-Bass Book 2, arr. Emery and Barratt (Yorke YE0098 )
6 Rameau Le Lardon and La Boiteuse. Time Pieces for Double Bass, Vol. 2, arr. Slatford (ABRSM)
LIST B
1 Faur Autumn (Op. 18 No. 3)
Time Pieces for Double Bass, Vol. 2, arr. Slatford (ABRSM)
2 Spohr Allegro (from String Quartet, Op. 4 No. 2)

3 Massenet Mlodie (Op. 10), arr. Zimmermann Festival Performance Solos String Bass (Carl Fischer BF5:
4 Trad. The Jolly Dutchman, arr. Isaac

piano accomp. published separately, BF6 )

5 Chester Minkler A Gaelic Melody. No. 11 from Suzuki Bass School, Vol. 3, Revised Edition (AlfredSummy-
Birchard 0376S: piano accomp. published separately, 0377S)
6 Pascal Proust Le bon barbu rond (Combre C06174 )
LIST C
1 L. Bernstein Cool (from West Side Story). Amazing Solos for Double Bass, arr. Schoeld
(Boosey & Hawkes )
2 Bottesini Study No. 18 or No. 32: from Method for Double Bass, Part 1 (Yorke YE0076 )
3 Tyrone Brown Walking Song (p. 14 only, observing 1st repeat): from Compositions for Bass
(Mel Bay)
4 I. Carroll Polish Mazurka or Cuban Rumba: from Five National Dances (Stainer & Bell H290 )
5 Miles Davis So What, arr. Swaim. No. 10 from Suzuki Bass School, Vol. 3, Revised Edition
(AlfredSummy-Birchard 0376S: piano accomp. published separately, 0377S )
6 Ray Henderson Black Bottom. Time Pieces for Double Bass, Vol. 2, arr. Slatford (ABRSM)
7 L. Shitte tude. No. 63 from Bass is Best! Yorke Mini-Bass Book 2, arr. Emery and Barratt
(Yorke YE0098 )
SCALES AND ARPEGGIOS
*
: from memory; for further details (incl. examples) see pp. 69
range bowing requirements rhythm pattern
Scales
E
b
, G

majors
F, B
b
, C majors; F, B
b
, C minors
(minors harmonic or melodic,
at candidates choice)
1 oct.
a 12th
separate bows and slurred
(2 beats to a bow)
even notes or long tonic,
at candidates choice
Arpeggios
E
b
, G

majors
F, B
b
, C majors; F, B
b
, C minors
1 oct.
a 12th
separate bows and slurred
(3 notes to a bow)
even notes

"
Dominant sevenths (resolving on tonic)
In the keys of F and A
b
1 oct. separate bows and slurred
(2 notes to a bow)
even notes
Diminished sevenths
Starting on E and A 1 oct. separate bows even notes
Chromatic scales
Starting on D and E
b
1 oct. separate bows and slurred
(3 notes to a bow)
even notes
accomp.
solo
solo
accomp.
accomp.
accomp.
solo or accomp.
Starting one octave above bottom G
(continued overleaf )
52
Double Bass GRADE 5
SIGHT-READING
*
: a piece of around eight to sixteen bars in length, time and key signatures as Grade 4,
with the addition of G minor. Highest note E (e' ): shifts as required to cover this range. Changes between
arco and pizzicato, simple syncopation and a slowing of tempo at the end may be encountered. See also
p. 7.
AURAL TESTS FOR THE GRADE
*
: see pp. 58 and 61
Double Bass 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 Capuzzi Rondo (Allegro): 3rd movt from Concerto in D (Yorke YE0011 )
2 Galliard Adagio and Allegro: 1st and 2nd movts from Sonata in D minor, trans. Drew. String Festival Solos,
Double Bass Vol. 2 (AlfredBelwin EL95110: piano accomp. published separately, EL95109 )
3 Giordani Larghetto. Two Eighteenth-Century Pieces, arr. Sterling (Stainer & Bell H468 )
4 B. Marcello Largo and Allegro: 3rd and 4th movts from Sonata in F, Op. 2 No. 1. Marcello Six Sonatas
(Schirmer GS26269 )
5 S. Paxton The Bush aboon Traquair (A Scots Air) and Vivace: 2nd and 3rd movts from Sonata in D, Op. 3
No. 2, trans. Elliott (Bartholomew 005)
6 Vivaldi Allegro: 4th movt from Sonata No. 1 in B
b
, RV 47. Vivaldi Complete Sonatas for Violoncello (Brenreiter
BA 6995) or (separately, trans. Zimmermann: IMC 2302 )
LIST B
1 Beethoven Sonatina. No. 6 from Solos for the Double Bass Player, arr. Zimmermann (Schirmer GS33083 )
2 Gabriel-Marie La Cinquantaine. No. 6 from Suzuki Bass School, Vol. 4 (AlfredSummy-Birchard 28359: piano
accomp. published separately, 28360 ) or (separately, arr. Elliott: Bartholomew 001)
3 Keper Romance: No. 1 from Romance and Rondo (Yorke YE0030 )
4 John Merle Caballero. Festival Performance Solos String Bass (Carl Fischer BF5: piano accomp. published
separately, BF6 )
5 Pascal Proust Arcades (Combre C5483 )
6 John Walton A Deep Song (Yorke YE0005 )
LIST C
1 L. Bernstein America (from West Side Story) (observing repeats). Amazing Solos for Double Bass,
arr. Schoeld (Boosey & Hawkes )
2 Bottesini Study No. 40 or No. 50: from Method for Double Bass, Part 1 (Yorke YE0076 )
3 Derek Bourgeois Allegro commodo: No. 3 from Fantasy Pieces for Double Bass (Brass Wind)
4 Gavin Bryars Room 42. Time Pieces for Double Bass, Vol. 2, arr. Slatford (ABRSM)
5 P. M. Dubois Le gai cascadeur (Le Rideau Rouge RR1068 )
6 Teppo Hauta-aho A Little Waltz (Pieni Valssi): from Teppos Tunes (Recital Music RM068 )
7 Sturm Andante and Moderato: Nos 3 and 4 from 110 Studies for String Bass, Op. 20, Vol. 1
(IMC 2079 )
accomp.
solo
solo
accomp.
accomp.
accomp.
solo
* Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests)
53
Double Bass GRADE 6
SCALES AND ARPEGGIOS
*
: from memory; for further details (incl. examples) see pp. 69
range bowing requirements rhythm pattern
Scales
E, F, G, A majors & minors
(minors harmonic or melodic,
as directed by the examiner)
2 oct. separate bows and slurred
(2 beats to a bow)
even notes or long tonic,
at candidates choice
Scale in thumb position
D major

1 oct. separate bows even notes or long tonic,

at candidates choice
Arpeggios
E, F, G, A majors & minors 2 oct. separate bows and slurred
(3 notes to a bow)
even notes
Dominant sevenths (resolving on tonic)
In the keys of A, B
b
and C 2 oct. separate bows and slurred
(2 notes to a bow)
even notes
Diminished sevenths
Starting on E, F and G 2 oct. separate bows and slurred
(2 notes to a bow)
even notes
Chromatic scales
Starting on E, F and G 2 oct. separate bows and slurred
(4 notes to a bow)
even notes
Scale in broken thirds
G major (as example on p. 9 ) 1 oct. slurred (2 notes to a bow) even notes
SIGHT-READING
*
: a piece of around twelve to sixteen bars in length, time and key signatures as Grade 5,
with the addition of
9
8
,
5
4
and
5
8
, E
b
major and C minor. Highest note G (g' ): shifts as required to cover
this range. Simple chords may be included (at end of piece only). A slowing of tempo within the piece
followed by an a tempo may be encountered, as may triplet rhythms. See also p. 7.
AURAL TESTS FOR THE GRADE
*
: see pp. 58 and 61
Starting with thumb on D string:
* Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests)








54
Double Bass 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 Capuzzi Allegro: 1st movt from Concerto in D (Yorke YE0011 )
2 Corelli Preludio (Largo) and Giga (Allegro): 1st and 4th movts from Sonata in D minor [C minor], trans.
Zimmermann (IMC 1766 )
3 De Fesch Sarabande (Largo) and Minuet: 3rd and 4th movts from Sonata in G (IMC 2489 )
4 B. Marcello Largo and Allegro: 3rd and 4th movts from Sonata in G minor, Op. 2 No. 4. Marcello Six Sonatas
(Schirmer GS26269 ) or (separately: IMC 1661 )
5 Mozart Rondo (Tempo di minuetto): 3rd movt from Bassoon Concerto, K. 191, trans. Sankey (IMC 2421 )
6 Vivaldi Largo and Allegro: 1st and 2nd movts from Sonata No. 2 in F, RV 41. Vivaldi Complete Sonatas for Violon-
cello (Brenreiter BA 6995: low Cs and Ds may be adapted ) or (separately, trans. Zimmermann: IMC 2303 )
LIST B
1 Ratez Cantabile: No. 2 from Six pices caractristiques, Op. 46 (separately: Billaudot CC95 ) or Ratez Characteristic
Pieces, Book 1 (Recital Music RM189 )
2 Rossini Une larme (Recital Music RM303 )
3 Saint-Sens Aria Mon coeur souvre ta voix, arr. McTier (McTier Music MM 207 )
4 Vaughan Williams Romanza (observing 8
vas
): 2nd movt from Concerto for Bass Tuba (tuba edition: OUP)
5 Verdi Aria (from Rigoletto). No. 10 from Solos for the Double Bass Player, arr. Zimmermann (Schirmer GS33083 )
6 J. P. Waud Novelette. No. 35 from Yorke Solos for Double Bass, Vol. 1 (Yorke YE0087 )
LIST C
1 Bottesini Study No. 71 or No. 109: from Method for Double Bass, Part 1 (Yorke YE0076 )
2 Derek Bourgeois Pomposo or Tempo di valse: No. 2 or No. 4 from Fantasy Pieces for Double Bass
(Brass Wind)
3 Paul Breuer Allegro ma non troppo: 1st movt from Sonatine (Breitkopf & Hrtel BG 506 )
4 Teppo Hauta-aho Erkon Elegia (Recital Music RM104 )
5 Norman Hester The Bull Steps Out (Yorke YE0070 )
6 B. Hummel Allegro: 1st movt from Sonatina, Op. 69b (Simrock EE2989 )
7 Dennis Leogrande May I? (Spartan Press SP930 )
solo
solo
accomp.
solo
accomp.
accomp.
accomp.
55
Double Bass GRADE 7
SCALES AND ARPEGGIOS
*
: from memory; for further details (incl. examples) see pp. 69
range bowing requirements rhythm pattern
Scales
F
#
, A
b
(G
#
), B
b
, C majors & minors
(minors harmonic or melodic,
as directed by the examiner)
2 oct. separate bows and slurred
(2 beats to a bow)
even notes or long tonic,
at candidates choice
Scales in thumb position
D major & minor

(harmonic or
melodic, as directed by the examiner)
1 oct. separate bows and slurred
(2 beats to a bow)
even notes or long tonic,
at candidates choice
Arpeggios
F
#
, A
b
(G
#
), B
b
, C majors & minors 2 oct. separate bows and slurred
(3 notes to a bow)
even notes
Dominant sevenths (resolving on tonic)
In the keys of B, D
b
and E
b
2 oct. separate bows and slurred
(2 notes to a bow)
even notes
Diminished sevenths
Starting on F
#
, A
b
and B
b
2 oct. separate bows and slurred
(2 notes to a bow)
even notes
Chromatic scales
Starting on F
#
, A
b
and B
b
2 oct. separate bows and slurred
(6 notes to a bow)
even notes
Double-stop scale (in broken steps)
In thirds, in B
b
major 1 oct. see p. 8 see p. 8
SIGHT-READING
*
: a piece of around sixteen to twenty bars in length, time and key signatures as Grade
6, with the addition of
7
8
and
7
4
, E major and F
#
minor. Highest note A (a' ): shifts as required to cover
this range. Further use of chords. Some passages in tenor clef may be included. See also p. 7.
AURAL TESTS FOR THE GRADE
*
: see pp. 58 and 62
Starting with thumb on D string:
* Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests)








56
Double Bass 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 Cimador Allegro: 1st movt from Concerto in G (Yorke YE0003 )
2 H. Eccles Adagio and Corrente (Allegro con spirito): 3rd and 2nd movts from Sonata in G minor, trans.
Zimmermann (IMC 1712 )
3 Pergolesi Comodo and Presto: 1st and 4th movts from Sinfonia in F (separately, trans. Elliott: Bartholomew 010 )
or Three Sonatas for Double Bass and Piano (trans. Drew: University of Miami )
4 Pichl Allegro moderato: 1st movt from Concerto in C (Bartholomew 007 )
5 Tartini Adagio cantabile, trans. Drew (St Francis Music Publications )
6 Telemann Lento and Allegro, or Lento and Allegro: 1st and 2nd, or 3rd and 4th movts from Sonata in D,
TWV 41:D6, trans. Sankey (IMC 2304 )
7 Vivaldi Largo and Allegro, or Largo and Allegro: 1st and 2nd, or 3rd and 4th movts from Sonata No. 6 in B
b
,
RV 46. Vivaldi Complete Sonatas for Violoncello (Brenreiter BA 6995) or (separately, trans. Zimmermann: IMC
1473 )
LIST B
1 Bellini, arr. Bottesini Final de La somnambule. No. 3 from Bottesini Arias for Double Bass and Piano (Yorke
YE0023 )
2 Bottesini Rverie in D (McTier Music MM 203 )
3 Dittersdorf Adagio: 2nd movt from Concerto No. 2. Dittersdorf Concertos for Double Bass (Yorke YE0059 )
4 Faur Aprs un rve, trans. Zimmermann (IMC 1740 )
5 Gouf Concertino, Op. 10 (Billaudot R19143 )
6 Nielsen Romanze: No. 1 from Fantasy Pieces, Op. 2, trans. Drew (St Francis Music Publications )
7 Tulek Valse miniature. No. 2 from Tulek Three Pieces for Double Bass and Piano (Recital Music RM021 )
LIST C
1 Christopher Benstead Finale (Presto): No. 4 from Four Episodes (Yorke YE0085 )
2 Bottesini Study No. 110 or No. 114: from Method for Double Bass, Part 1 (Yorke YE0076 )
3 Derek Bourgeois Allegro pesante or Allegro commodo: No. 5 or No. 8 from Fantasy Pieces for
Double Bass (Brass Wind)
4 Dragonetti No. 7 or No. 8: from 12 Waltzes (Henle 847 )
5 Piazzolla Kicho (starting at Allegro) (Tonos)
6 A. Reynolds Hornpipe (Bartholomew 004 )
7 A. Ridout Grave: 1st movt from Concerto for Double Bass (Yorke YE0044 )
8 Eric Scrve Sweet Bass Ballad (Combre C06547 )
accomp.
solo
solo
solo
accomp.
accomp.
accomp.
accomp.
57
Double Bass GRADE 8
SCALES AND ARPEGGIOS
*
: from memory; for further details (incl. examples) see pp. 69
range bowing requirements rhythm pattern
Scales
B, D
b
(C
#
), D, E
b
majors & minors
E, G majors & minors
(minors harmonic or melodic,
as directed by the examiner)
2 oct.
3 oct.
separate bows and slurred
(7 notes to a bow)
even notes or long tonic,
at candidates choice
Arpeggios
B, D majors & minors
E, G majors & minors
2 oct.
3 oct.
separate bows and slurred
(3 notes to a bow)
even notes

"
Dominant sevenths (resolving on tonic)
In the keys of A, C, E and G 2 oct. separate bows and slurred
(4 notes to a bow)
even notes
Diminished sevenths
Starting on E, G, B and D 2 oct. separate bows and slurred
(4 notes to a bow)
even notes
Chromatic scales
Starting on E, G, B and D 2 oct. separate bows and slurred
(6 notes to a bow)
even notes
Double-stop scale (in broken steps)
In thirds, in D major 1 oct. see p. 8 see p. 8
Scale in running thirds
G major (as example on p. 9 ) 1 oct. slurred (3 notes to a bow) even notes
SIGHT-READING
*
: a piece of around sixteen to twenty-four bars in length, time and key signatures as
Grade 7, with the addition of
1
8
2
, A
b
major and F minor. Highest note C (c" ): shifts as required to cover
this range. Passages in tenor clef or treble clef may be included. Acceleration of tempo and simple
ornaments may be encountered. See also p. 7.
AURAL TESTS FOR THE GRADE
*
: see pp. 58 and 63
* Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests)
88
AURAL TESTS: included in the Practical exams for all subjects
Listening lies at the heart of all good music-making. Developing aural awareness is
fundamental to musical training because having a musical ear impacts on all
aspects of musicianship. Singing, both silently in the head and out loud, is one
of the best ways to develop the musical ear. It connects the internal imagining of
sound, the inner ear, with the external creation of it, without the necessity of
mechanically having to nd the note on an instrument (important though that
connection is). By integrating aural activities in imaginative ways in the lesson,
preparation for the aural tests within an exam will be a natural extension of what is
already an essential part of the learning experience.
In the exam
Aural tests are an integral part of all Practical graded exams.
The tests are administered by the examiner from the piano. For any test that
requires a sung response, pitch rather than vocal quality is the object. The examiner
will be happy to adapt to the vocal range of the candidate, whose responses may be
sung to any vowel (or consonant followed by a vowel), hummed or whistled (and at
a different octave, if appropriate).
Assessment
A number of tests allow for a second attempt or for an additional playing by the
examiner, if necessary. Also, where there is hesitation on the part of the candidate,
the examiner will be ready to prompt, if necessary. In any such cases, this will affect
the assessment.
Marks are not awarded for each individual test nor deducted for mistakes but
reect the candidates overall response in this section. The marking criteria for the
aural tests are given on p. 11.
Minor modications (from 2011)
This syllabus includes the minor modications introduced to some aural tests in
2011.
Specimen tests
Examples of the tests are given in new editions (from 2011) of Specimen Aural Tests
and Aural Training in Practice, available for purchase from music retailers and from
www.abrsm.org/shop.
Deaf or hearing-impaired candidates
Deaf or hearing-impaired candidates may opt to respond to alternative tests in
place of the standard tests, if requested at the time of entry. The syllabus for these
tests is available free on request from ABRSM (E accesscoordinator@abrsm.ac.uk).
Examples of the alternative tests are available for purchase from Allegro Music
(T +44 (0)1885 490375; E sales@allegro.co.uk). The minor modications (from
2011) do not affect the alternative aural tests.
89
Aural Tests GRADE 1
A To clap the pulse of a piece played by the examiner, and to identify whether it is in two time or
three time. The examiner will start playing the passage, and the candidate should join in as soon
as possible, clapping in time and giving a louder clap on the strong beats. The examiner will
then ask whether the music is in two time or three time. The candidate is not required to state
the time signature.
B To sing as echoes three phrases played by the examiner. The phrases will be two bars long, in
a major key, and within the range of tonicmediant. First the examiner will play the key-chord
and the starting note (the tonic) and then count in two bars. After the examiner has played each
phrase, the candidate should sing back the echo without a pause, keeping in time.
C To identify where a change in pitch occurs during a phrase played by the examiner. The phrase
will be two bars long, in a major key, and the change will affect only one of the notes. First the
examiner will play the key-chord and the tonic and then count in two bars. The examiner will
play the phrase twice, making the change in the second playing, after which the candidate should
state whether the change was near the beginning or near the end. If necessary, the examiner
will play both versions of the phrase again (although this will affect the assessment).
D To answer questions about two features of a piece played by the examiner. Before playing, the
examiner will tell the candidate which two features the questions will be about. The rst will be:
dynamics (loud/quiet, or sudden/gradual changes); the second will be articulation (smooth/
detached).
Aural Tests GRADE 2
A To clap the pulse of a piece played by the examiner, and to identify whether it is in two time or
three time. The examiner will start playing the passage, and the candidate should join in as soon
as possible, clapping in time and giving a louder clap on the strong beats. The examiner will
then ask whether the music is in two time or three time. The candidate is not required to state
the time signature.
B To sing as echoes three phrases played by the examiner. The phrases will be two bars long, in
a major key, and within the range of tonicdominant. First the examiner will play the key-chord
and the starting note (the tonic) and then count in two bars. After the examiner has played each
phrase, the candidate should sing back the echo without a pause, keeping in time.
C To identify a change in either pitch or rhythm during a phrase played by the examiner. The
phrase will be two bars long, in a major key. First the examiner will play the key-chord and 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).
D To answer questions about two features of a piece played by the examiner. Before playing, the
examiner will tell the candidate which two features the questions will be about. The rst will be
one of the following: dynamics (loud/quiet, or sudden/gradual changes), articulation (smooth/
detached); the second will be tempo (becoming slower/faster, or staying the same).
90
Aural Tests GRADE 3
A To clap the pulse of a piece played by the examiner, and to identify whether it is in two time,
three time or four time. The examiner will start playing the passage, and the candidate should
join in as soon as possible, clapping in time and giving a louder clap on the strong beats. The
examiner will then ask whether the music is in two time, three time or four time. The candidate
is not required to state the time signature.
B To sing as echoes three phrases played by the examiner. The phrases will be two bars long, in
a major or minor key, and within the range of an octave. First the examiner will play the key-
chord 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.
C To identify a change in either pitch or rhythm during a phrase played by the examiner. The
phrase will be up to four bars long, in a major or minor key. First the examiner will play the
key-chord and the tonic and then count in two bars. The examiner will play the phrase twice,
making the change in the second playing, after which the candidate should identify the change
by describing it, or singing/clapping. If necessary, the examiner will play both versions of the
phrase again (although this will affect the assessment).
D To answer questions about two features of a piece played by the examiner. Before playing, the
examiner will tell the candidate which two features the questions will be about. The rst will be
one of the following: dynamics (loud/quiet, or sudden/gradual changes), articulation (smooth/
detached), tempo (becoming slower/faster, or staying the same); the second will be tonality
(major/minor key).
Aural Tests GRADE 4
A To sing or play from memory a melody played twice by the examiner. The melody will be within
the range of an octave, in a major or minor key with up to three sharps or ats. First the examiner
will play the key-chord and the starting note and then count in two bars. (If the candidate chooses
to play, the examiner will also name the key-chord and the starting note, as appropriate for the
instrument.) If necessary, the examiner will play the melody again and allow a second attempt
(although this will affect the assessment).
B To sing ve notes from score in free time. The candidate may choose to sing from treble or bass
clef. The notes will be within the range of a third above and below the tonic in the key of C, F
or G major. The test will begin and end on the tonic and will not contain intervals greater than
a third. First the examiner will name and play the key-chord and the starting note. If necessary,
the examiner will help the candidate by playing and identifying the correct note if any note is
sung at the wrong pitch.
C (i) To answer questions about two features of a piece played by the examiner. Before playing, the
examiner will tell the candidate which two features the questions will be about. The rst will be
one of the following: dynamics, articulation, tempo, tonality; the second will be character.
(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it is
in two time, three time or four time. The examiner will play the extract twice (unharmonized),
after which the candidate should clap back the rhythm. The examiner will then ask whether the
music is in two time, three time or four time. The candidate is not required to state the time
signature.

91
Aural Tests GRADE 5
A To sing or play from memory a melody played twice by the examiner. The melody will be within
the range of an octave, in a major or minor key with up to three sharps or ats. First the examiner
will play the key-chord and the starting note and then count in two bars. (If the candidate chooses
to play, the examiner will also name the key-chord and the starting note, as appropriate for the
instrument.) If necessary, the examiner will play the melody again and allow a second attempt
(although this will affect the assessment).
B To sing six notes from score in free time. The candidate may choose to sing from treble or bass
clef. The notes will be within the range of a fth above and a fourth below the tonic, in a major
key with up to two sharps or ats. The test will begin and end on the tonic and will not contain
intervals greater than a third, except for the rising fourth from dominant to tonic. First the
examiner will name and play the key-chord and the starting note. If necessary, the examiner will
help the candidate by playing and identifying the correct note if any note is sung at the wrong
pitch.
C (i) To answer questions about two features of a piece played by the examiner. Before playing, the
examiner will tell the candidate which two features the questions will be about. The rst will be
one of the following: dynamics, articulation, tempo, tonality, character; the second will be style
and period.
(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it is
in two time, three time or four time. The examiner will play the extract twice (unharmonized),
after which the candidate should clap back the rhythm. The examiner will then ask whether the
music is in two time, three time or four time. The candidate is not required to state the time
signature.
Aural Tests GRADE 6
A To sing or play from memory the upper part of a two-part phrase played twice by the examiner.
The upper part will be within the range of an octave, in a major or minor key with up to three
sharps or ats. First the examiner will play the key-chord and the starting note and then count
in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and
the starting note, as appropriate for the instrument.) If necessary, the examiner will play the
phrase again and allow a second attempt (although this will affect the assessment).
B To sing a melody from score, with an accompaniment played by the examiner. The candidate
may choose to sing from treble or bass clef. The melody will be within the range of an octave, in
a major or minor key with up to three sharps or ats. First the examiner will name and play the
key-chord and the starting note and then give the pulse. A brief period of preparation will follow
during which the candidate may sing out loud. The examiner will play the key-chord and the
starting note again and then count in two bars. If necessary, the examiner will allow a second
attempt (although this will affect the assessment).
C To identify the cadence at the end of a phrase as perfect or imperfect. The phrase will be in a
major or minor key and will be played twice by the examiner. The chords forming the cadence
will be in root position. Before the rst playing, the examiner will play the key-chord.
D (i) To answer questions about two features of a piece played by the examiner. Before playing, the
examiner will tell the candidate which two features the questions will be about. The rst will be:
texture or structure; the second will be one of the following: dynamics, articulation, tempo, tonality,
character, style and period, texture/structure.
(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it is
in two time, three time or four time. The examiner will play the extract twice (unharmonized),
after which the candidate should clap back the rhythm. The examiner will then ask whether the
music is in two time, three time or four time. The candidate is not required to state the time
signature.
92
Aural Tests GRADE 7
A To sing or play from memory the lower part of a two-part phrase played twice by the examiner.
The lower part will be within the range of an octave, in a major or minor key with up to three
sharps or ats. First the examiner will play the key-chord and the starting note and then count in
two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the
starting note, as appropriate for the instrument.) If necessary, the examiner will play the phrase
again and allow a second attempt (although this will affect the assessment).
B To sing the upper part of a two-part phrase from score, with the lower part played by the
examiner. The candidate may choose to sing from treble or bass clef. The upper part will be
within the range of an octave, in a major or minor key with up to four sharps or ats. First the
examiner will name and play the key-chord and the starting note and then give the pulse. A brief
period of preparation will follow during which the candidate may sing out loud. The examiner
will play the key-chord and the starting note again and then count in two bars. If necessary, the
examiner will allow a second attempt (although this will affect the assessment).
C(i) To identify the cadence at the end of a phrase as perfect, imperfect or interrupted. The phrase
will be in a major or minor key and will be played twice by the examiner. The chords forming
the cadence will be in root position. Before the rst playing, the examiner will play the key-chord.
(ii) To identify the two chords forming the above cadence. The chords will be limited to the tonic,
subdominant, dominant, dominant seventh or submediant (all in root position). First the
examiner will name and play the key-chord, then play the two chords as a pair. The candidate
may answer using technical names (tonic, dominant, etc.), chord numbers (I, V, etc.) or letter
names (C major, G major, etc.).
(iii) To identify whether the modulation at the end of a different passage is to the dominant,
subdominant or relative minor. The passage, played once by the examiner, will begin in a major
key. First the examiner will name and play the starting key-chord. The candidate may answer
using technical names (dominant, subdominant, relative minor) or the letter name of the new
key.
D (i) To answer questions about two features of a piece played by the examiner. Before playing, the
examiner will tell the candidate which two of the following features the questions will be about:
dynamics, articulation, tempo, tonality, character, style and period, texture, structure.
(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it is
in two time, three time, four time or 6/8 time. The examiner will play the extract twice
(unharmonized), after which the candidate should clap back the rhythm. The examiner will then
ask whether the music is in two time, three time, four time or 6/8 time.
93
Aural Tests GRADE 8
A (i) To sing or play from memory the lowest part of a three-part phrase played twice by the examiner.
The lowest part will be within the range of an octave, in a major or minor key with up to three
sharps or ats. First the examiner will play the key-chord and the starting note and then count
in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and
the starting note, as appropriate for the instrument.) If necessary, the examiner will play the
phrase again and allow a second attempt (although this will affect the assessment).
(ii) To identify the cadence at the end of a continuing phrase as perfect, imperfect, interrupted or
plagal. The phrase will be in a major or minor key and will be played twice by the examiner.
The chords forming the cadence will be limited to the tonic (root position, rst or second
inversions), supertonic (root position or rst inversion), subdominant (root position), dominant
(root position, rst or second inversions), dominant seventh (root position) or submediant (root
position). Before the rst playing, the examiner will play the key-chord.
(iii) To identify the three chords (including their positions) forming the above cadential progression.
The chords will be limited to the tonic (root position, rst or second inversions), supertonic
(root position or rst inversion), subdominant (root position), dominant (root position, rst or
second inversions), dominant seventh (root position) or submediant (root position). First the
examiner will name and play the key-chord, then play the three chords in sequence, nally playing
each chord individually, pausing for the candidate to identify it. The candidate may answer using
technical names (tonic, rst inversion, etc.), chord numbers (Ib, etc.) or letter names (C major
in rst inversion, etc.).
B To sing the lower part of a two-part phrase from score, with the upper part played by the
examiner. The candidate may choose to sing from treble or bass clef. The lower part will be
within the range of an octave, in a major or minor key with up to four sharps or ats. First the
examiner will name and play the key-chord and the starting note and then give the pulse. A brief
period of preparation will follow during which the candidate may sing out loud. The examiner
will play the key-chord and the starting note again and then count in two bars. If necessary, the
examiner will allow a second attempt (although this will affect the assessment).
C To identify whether the modulations at the end of two different passages are to the dominant,
subdominant or relative minor/major. The rst passage will begin in a major key and the second
will begin in a minor key; each passage will be played once by the examiner. Before playing each
passage, the examiner will name and play the starting key-chord. The candidate may answer using
technical names (dominant*, subdominant, relative minor/major) or the letter name of the new
key. (* Minor-key passages may modulate to the dominant major or minor but the candidate is
only required to specify dominant in such cases.)
D To describe the characteristic features of a piece played by the examiner. After hearing the piece,
the candidate should describe any notable features (such as texture, structure, character, style
and period, etc.). The examiner will prompt the candidate with questions only if this becomes
necessary.