qualification specification: percussion from 2020 · qualification specification: percussion from...

© 2019 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.

Qualification Specification: Percussion from 2020Contents

1. Introduction 3

About ABRSM 3

About this qualification specification 4

About our Graded Exams in Music Performance 4

Regulation and UCAS points (UK) 5

2. Graded Exams in Music Performance 8

Syllabuses 8

Exam Regulations 8

Malpractice and maladministration 8

Entry requirements 9

Exam venues 9

Exam booking 9

Access (for candidates with specific needs) 9

Elements of the exam 9

In the exam 10

3. Percussion Syllabus from 2020 11

Introducing the syllabus 11

Grades 1–8: requirements and information 11

• Instruments 11

• Pieces 14

• Technical requirements 16

• Sight-reading 18

• Aural tests 19

Scale and arpeggio patterns 20

Scale and arpeggio speeds 22

Sight-reading parameters 23

Symbols used in the repertoire lists 26

Snare Drum Syllabus 27

Timpani Syllabus 35

Tuned Percussion Syllabus 43

Percussion (Combined) Syllabus 54

Aural test requirements 74

4. Assessment and marking 82

Assessment objectives 82

Mark allocation 86

Result categories 86

Marking criteria 86

5. After the exam

Results 91

Concerns about the exam 91

Appeals and feedback 91

6. Other assessments

Music Theory 92

Practical Musicianship 93

ARSM 94

DipABRSM, LRSM, FRSM 95

Exam programme & running order form 97

Index 111

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About ABRSMAt ABRSM we aim to support learners and teachers in every way we can. One way we do this is through our graded music exams. These assessments provide clear goals, reliable and consistent marking, and guidance for future learning. They are a tried and tested way to inspire musical achievement and, with backing from four Royal Schools of Music in the UK, are valued and trusted around the world.

We offer graded music exams for a range of instruments (including singing) and genres, as well as for Music Theory and Practical Musicianship. The syllabuses are based on core musical skills – listening, performing, reading, writing, musical knowledge and understanding, and improvising. Together these skills give learners a good foundation for their musical development and a range of different musical activities.

Taking an exam is an exciting challenge with many benefits for learners. There’s the boost to motivation which comes from working towards an exam. There’s an opportunity to discover and perform some fantastic music and to build new skills. And there’s the sense of achievement which comes from successfully reaching a musical goal.

We do everything we can to make the exam experience positive and rewarding. We work closely with specialists, teachers and examiners to provide syllabuses of the highest quality with a wide variety of pieces and songs to choose from. We train our friendly, expert examiners to help candidates do their best in their exams. Using our clear, easy-to-understand marking criteria examiners can assess all candidates reliably, objectively and consistently. Finally, candidates receive a mark form containing valuable feedback, with a celebratory certificate for everyone who passes.

Whether you’re a learner or teacher, we hope the syllabus inspires and supports your music learning or teaching. We wish you every success for your musical journey!

Our mission ABRSM’s mission is to inspire musical achievement. We do this in partnership with four Royal Schools of Music: Royal Academy of Music, Royal College of Music, Royal Northern College of Music and Royal Conservatoire of Scotland.

We are passionate about music, its value as an art form and the importance of music education. We believe that being involved with music gives people unique, positive experiences with life-long benefits.

Through our world-leading assessments, books and resources we provide people worldwide with the tools they need to teach, learn, make and enjoy music. Our scholarships, donations, sponsorship and partnerships create opportunities for people of all ages to discover music and fulfil their potential. Everything we do is designed to support learners and teachers on their musical journey.

Who we are We are the Associated Board of the Royal Schools of Music (ABRSM), a company registered in England and Wales (company registration number 1926395) and a registered charity (charity registration number 292182). Our registered office is at 4 London Wall Place, London EC2Y 5AU.

Find out more at www.abrsm.org.

1. Introduction

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1. Introduction

About this qualification specification What this specification covers This qualification specification covers all the relevant syllabus requirements as well as useful information including regulated qualification details, assessment objectives, learning outcomes and marking criteria. It is designed to help teachers, candidates, parents and organisations when preparing for a Graded Exam in Music Performance in the subjects covered in Section 3.

Further details, as well as administrative information about the exams, are given in ABRSM’s Exam Regulations (www.abrsm.org/examregulations) which should be read before making an exam booking.

Validity of this specification This specification is valid from 1 January 2020 until further notice.

We may update this specification from time to time, but will not make changes to the syllabus (Section 3) other than in exceptional circumstances. In such cases, advance notice of any changes will be posted on our website. The latest version of this specification will be available from www.abrsm.org/exams.

About our Graded Exams in Music Performance Qualification objectives Graded Exams in Music Performance are designed as a progressive route for learners develop-ing their skills in musical performance. Each grade represents a new challenge for the learner, providing motivation and structure to develop and hone musical skills. Exams allow learners to receive formal recognition of the level of mastery they have achieved, and feedback to sup-port their learning journey.

Who the qualifications are for Candidates may be entered for Graded Exams in Music Performance at any age. Candidates entering for Grades 6–8 must fulfil the prerequisite detailed on page 9. Every effort has been made to feature a broad range of repertoire to suit and appeal to candidates of different ages, backgrounds and interests. We are committed to providing all candidates with fair access to our assessments by putting in place access arrangements and reasonable adjustments.

Progression route ABRSM Graded Exams in Music Performance are available from Initial Grade to Grade 8. The syllabus in Section 3 of this specification details the grades available for individual subjects.

Each Graded Exam in Music Performance has been carefully designed to test the underpinning knowledge and understanding required for practical music performance. These creative skills are presented through the technical control of an instrument, interpretation of repertoire, and supporting tests. Collectively, these skills enable a candidate to progress to higher grades and other qualifications in the creative arts sector.

Graded Exams in Music Performance are designed to be progressive in their level of demand from Initial Grade through to Grade 8. It is not a requirement for any candidate to complete one before moving on to the next.

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1. Introduction

We believe that a thorough understanding of the elements of music is essential for a full and satisfying performance at the higher grades. Our Graded Exams in Music Theory assess candi-dates on their ability to identify, use and manipulate musical symbols, to complete extracts and to answer questions about the elements of music. We also offer Practical Musicianship exams where, in developing their musicianship skills, candidates gain the understanding as well as the expressive and interpretative skills needed to master the musical language of the reper-toire they are learning. A pass at ABRSM Grade 5 or above is required in either Music Theory, Practical Musicianship or a solo Jazz instrument before candidates can enter for Grades 6, 7 and 8 Graded Exams in Music Performance.

Candidates who successfully complete Grade 8 can progress on to one of ABRSM’s higher-level qualifications, initially the ARSM and DipABRSM diplomas. The performance-only ARSM diploma bridges the gap between Grade 8 and DipABRSM (Music Performance), providing candidates with an opportunity to develop their performance technique and interpretative skills, while focusing on programme building and extending their repertoire. Through a combi-nation of live and written components, candidates at DipABRSM (Music Performance), and the higher LRSM and FRSM levels, demonstrate their performance, communication and research skills, as well as their musical knowledge and understanding. DipABRSM and LRSM progress to the next level. Further details of these can be found in Section 6 of this specification and at www.abrsm.org/diplomas.

Regulation and UCAS points (UK)Our regulatorsABRSM Graded Exams in Music Performance, Music Theory, and higher-level qualifications (diplomas) are regulated in the UK by:

• Office of Qualifications and Examinations Regulation (Ofqual) • Qualifications Wales • Council for Curriculum, Examinations and Assessment (CCEA Regulation)

For further information, see www.abrsm.org/regulation.

The Regulated Qualifications Framework (RQF)All our regulated qualifications can be found on the RQF. There are nine qualification levels in the framework, labelled in order of difficulty from Entry Level to Level 8. For further informa-tion, visit https://register.ofqual.gov.uk.

Entry to higher educationIn the UK, ABRSM’s Grade 6–8 Graded Exams in Music Performance can contribute towards entry into higher education through the allocation of UCAS points; the table below shows the UCAS Tariff value of these grades. For further information visit www.ucas.com.

Qualification/Level Pass Merit Distinction

Grade 6 8 10 12

Grade 7 12 14 16

Grade 8 18 24 30

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1. Introduction

Regulated qualification detailsQualification titles The table below shows the regulated titles and qualification numbers of our Graded Exams in Music Performance. Further information can be found at https://register.ofqual.gov.uk.

Qualification Number

Qualification Title

603/4690/5 ABRSM Entry Level Award in Graded Examination in Music Performance (Initial Grade) (Entry 3)

501/2150/9 ABRSM Level 1 Award in Graded Examination in Music Performance (Grade 1)



501/2151/0 ABRSM Level 2 Certificate in Graded Examination in Music Performance (Grade 4)





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1. Introduction

Qualification size The table below describes the size of the Graded Exams in Music Performance qualifications by showing the amount of time that a candidate would typically need to spend preparing for them:

• Under the guidance of a teacher (Guided Learning Hours); • Under the guidance of a teacher and time spent preparing independently (Total Qualification

Time);

and:

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

Level Guided Learning Hours* (GLH)

Total Qualification Time* (TQT)

Credits

Initial Grade 8 40 4

Grade 1 12 60 6

Grade 2 18 90 9

Grade 3 18 120 12

Grade 4 24 150 15

Grade 5 24 180 18

Grade 6 36 220 22

Grade 7 48 270 27

Grade 8 54 320 32

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

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2. Graded Exams in Music PerformanceSyllabusesSyllabus validity The Percussion Syllabus is valid for graded exams from 1 January 2020 until further notice.

Syllabus amendments Any updates to the syllabus – e.g. changes to publication details or other minor corrections or clarifications – will be posted at www.abrsm.org/syllabuscorrections.

Syllabus overlap In the first year of any revised Graded Exam in Music Performance syllabus, we offer an overlap period where candidates may play specific requirements from the preceding syllabus. Information on the length of the overlap period and the requirements that it applies to is given at www.abrsm.org/overlap.

Candidates will be able to take exams using the Percussion (from 1990) Syllabus until 31 December 2020. All exam requirements must be from the same syllabus – candidates may not present a mixture of requirements (i.e. pieces or supporting tests) from old and new syllabuses.

The next syllabusAt the time of publication of this booklet, the next revision of the Percussion Syllabus had not been scheduled. Advance notice of any planned changes to the Percussion Syllabus (including syllabus overlap information) will be posted at www.abrsm.org/percussion.

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

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

• Malpractice is defined as any act which compromises or is an attempt to compromise the assessment process, the integrity of any qualification or the validity of a result or certificate. This also includes any act which damages our reputation or credibility as an awarding organisation.

• Maladministration is defined as any act which breaches the regulations through a mismanagement of administrative processes, particularly where such a breach could compromise the integrity of a qualification or assessment.

Applicants and candidates must follow the requirements set out in the relevant syllabus, Exam Regulations and all other ABRSM policies about the delivery of our exams. In cases where applicants or candidates have committed malpractice, a sanction or penalty may be given.

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2. Graded Exams in Music Performance

Further information about our Malpractice and Maladministration Policy can be found at www.abrsm.org/policies.

Entry requirementsThere are eight grades of exam for each percussion subject. Candidates may be entered for any grade at any age. They do not need to have taken any earlier grade(s) in the same subject. To enter for a Grade 6, 7 or 8 exam, candidates must already have passed ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a solo Jazz instrument; for full details, including a list of accepted alternatives, see www.abrsm.org/prerequisite.

Exam venuesPercussion exams are held as a Visit (i.e. where a venue is provided by the Applicant and visited by the examiner). They may be held independently of other exams or as part of a larger Visit that includes other subjects/grades. The percussion instruments and any seating must be set up before the exam’s scheduled time. For full details about Visits, see ABRSM’s Exam Regulations at www.abrsm.org/examregulations, in particular the requirement to provide a suitable piano for the Aural tests.

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

Access (for candidates with specific needs)We are committed to providing all candidates with fair access to our assessments by putting in place access arrangements and reasonable adjustments. There are a range of alternative tests and formats as well as guidelines for candidates with specific needs (see www.abrsm.org/specificneeds). Where a candidate’s needs are not covered by the guidelines, each case is considered individually. Further information is available from the Access Coordinator ([email protected]) or from www.abrsm.org/specificneeds.

Elements of the examGraded Exams in Music Performance for percussion consist of Pieces, Technical requirements, Sightreading and Aural tests. Information on how marks are allocated to each element is given on page 86.

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2. Graded Exams in Music Performance

In the examExaminersGenerally, there will be one examiner in the exam room; however a second examiner may be present for training or quality assurance purposes.

Examiners may ask to look at the candidate’s or accompanist’s copy of the music before or after the performance of a piece; a separate copy is not required.

Examiners may stop the performance of a piece when they have heard enough to make a judgment.

Order of the exam The individual sections of the exam may be taken in any order, at the candidate’s choice, although it is preferable for accompanied pieces (where applicable) to be performed consecutively at the beginning of the exam.

Exam timingsThe timings in the table below show the approximate length of each percussion exam in minutes, including the candidate’s entry and exit, any tuning time and time for the examiner to finish the mark form between exams. Examiners may take more or less time than the given timings.

Grade Initial Grade*

Grade 1

Grades 2 & 3

Grades 4 & 5

Grade 6

Grade 7

Grade 8

Time (in mins) 12 12 14 17 20 25 30

* Initial Grade not available for percussion

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3. Percussion Syllabus from 2020Introducing the syllabusOur new Percussion Syllabus is designed to offer a flexible approach to percussion assessment. There are exams at Grades 1–8 in Snare Drum, Timpani and Tuned Percussion as individual, standalone subjects. We also offer a Percussion (Combined) exam at Grades 1–8 to allow candidates to demonstrate their skills in all three subjects.

Key features:

• Newly-commissioned repertoire by leading percussion composers alongside established favourites

• A choice of at least ten pieces per subject per grade• Accompanied (by both piano and percussion) and solo options for all subjects• Multi-percussion options in the Snare Drum repertoire lists from Grade 3 • Completely revised Sight-reading requirements for all subjects• Specially-commissioned studies for Snare Drum and Timpani• Publications to support all aspects of the new syllabus

The Aural tests stay the same as the preceding syllabus. All other requirements have been revised.

Grades 1–8: requirements and informationThis syllabus is valid from 2020 until further notice.

This section provides a summary of the most important points that teachers and candidates need to know when taking ABRSM graded percussion exams. Further details, as well as administrative information about the exams, are given in ABRSM’s Exam Regulations (available at www.abrsm.org/examregulations) which should be read before making an exam booking.

InstrumentsCandidates are required to perform on acoustic instruments (digital instruments are not allowed). Examiners apply the marking criteria (which include the assessment of pitch, tone, and musical shaping) to assess musical outcomes without reference to the specific attributes of the instrument.

Sticks/mallets: Candidates are expected to use the correct sticks and mallets for the instru-ments they have chosen to play. Tuned Percussion pieces that require four mallets are shown by 4M in the repertoire lists.

Range information: In this document, range/pitch information is presented using the Helmholtz system, i.e.:

B′ C B c b c′ b′ c″ b″ c ‴ b ‴

?

&

ww

ww

w

w

ww

ww

w

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3. Percussion Syllabus from 2020

Snare DrumInstruments: In Snare Drum exams at Grades 1–5, it is possible for candidates to complete an exam playing a snare drum only. In Snare Drum exams at Grades 6–8, candidates must play at least one piece for multi-percussion.

In Percussion (Combined) exams at all grades, it is possible for candidates to complete the Snare Drum elements playing a snare drum only.

All pieces and studies should be played with the snares on unless marked otherwise in the music.

Multi-percussion: There are pieces for multi-percussion included in the repertoire lists for Snare Drum from Grade 3. These are marked MULTI in the repertoire lists, where details of the instruments required in addition to the snare drum are also shown.

TimpaniNumber of drums: The minimum number of drums required depends on whether the candidate is taking a Timpani exam or a Percussion (Combined) exam. The table below shows the mini-mum number of drums required for each option. All other pieces are for two drums.

Timpani exam

(Pieces, Study & Sight-reading)

Percussion (Combined) exam

(Piece, Study & Sight-reading)

Percussion (Combined) exam

(Piece & Sight-reading)

Grades 1–4 2 2 2

Grade 5 3 3 2

Grade 6 3 3 3

Grade 7 4 4 3

Grade 8 4 4 4

Some pieces from Grade 4 require more drums than indicated above (the maximum number is three drums at Grades 4 and 5 and four drums at Grades 6–8). Pieces that need three or four drums are shown in the repertoire lists by 3D and 4D , respectively.

Types of drums: Hand- or pedal-tuned drums may be used. However, hand-tuned drums are only appropriate if retuning does not interrupt the musical flow of a piece. Pieces that require a retune are indicated in the repertoire lists by RETUNE and those that require at least one pedal drum by PED .

Damping: At Grades 1 and 2, all rests of crotchet value or longer should be damped. From Grade 3, all quaver rests should also be damped. From Grade 4, rests should be damped when-ever feas ible, and from Grade 5, candidates should also damp with regard to the harmonic consider ations of the piece.

Sticking: Any combination of sticking is allowed, e.g. leading with either hand, double strokes, swinging over, crossing over, etc.

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Tuning: At Grades 1 and 2, the teacher or accompanist may tune the candidate’s timpani (or advise on tuning) before the exam begins. At Grades 3–8, candidates must tune the timpani themselves. Timpanists should provide their own fixed-pitch sources, and these may only be used before the beginning of each piece or study. Examiners are unable to help with tuning.

At Grades 1 and 2, all Timpani requirements may be played on A and D (or any interval of a perfect 4th) regardless of their written pitches. Any accompaniments should be transposed appropriately. From Grade 3, all music should be played as written.

Tuned PercussionInstruments: Any one or more of the following instruments may be used in exams:

• xylophone• marimba• vibraphone• glockenspiel (Grades 1 and 2 only)

Pieces: At Grades 1–5, candidates may play any piece on any instrument listed above. At Grades 6–8, candidates must play the pieces on the instrument (or one of the instruments) specified in the repertoire lists - XYL xylophone, MAR marimba, VIB vibraphone.

Candidates must not alter a piece at any grade to suit the range of an instrument (unless indicated in the music).

Other tests: The Scales and arpeggios (when applicable) must be played on a single instrument from those listed above. The Sight-reading may be played on the same or a different instrument. In both cases, the range of the instrument used must cover the requirements set.

Percussion (Combined)Candidates taking a Percussion (Combined) exam are required to:

• play one piece for each of Snare Drum, Timpani and Tuned Percussion • play the technical requirements for either Snare Drum, Timpani or Tuned Percussion, at

their choice • have instruments available which meet the minimum requirements for the Sight-reading

for Snare Drum, Timpani and Tuned Percussion. The subject for the test will be chosen by the examiner.

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Pieces

Musicians learn to play an instrument to explore and perform repertoire, which is why pieces are at the core of the exam – candidates are asked to present three at each grade.

The syllabus repertoire and requirements explore different traditions and styles and provide candidates with the opportunity to choose a balanced selection and demonstrate a range of skills.

All subjects offer pieces that require an accompaniment, as interacting with other musicians is an important musical skill. There are also opportunities to choose solo pieces and develop confidence with unaccompanied playing. These opportunities increase at higher grades to reflect contemporary percussion repertoire.

We hope that by offering this variety in the syllabus, candidates will find inspiring music that they enjoy learning and performing.

Programme planning: For Snare Drum, Timpani and Tuned Percussion exams, candidates must choose three pieces from the repertoire list for that subject, including at least one piece marked in the repertoire list at certain grades (see table below). Up to two pieces by the same composer may be played.

For Percussion (Combined) exams, candidates must choose one piece from each of the three lists (A – Snare Drum, B – Timpani and C – Tuned Percussion), including at least one piece marked in the syllabus at Grades 1–3 (see table below). Up to two pieces by the same com-poser may be played.

Subject Grades Type of pieces required (minimum of 1)

Marked in syllabus

Snare Drum Grades 1–3 accompanied (by piano or percussion)

and or

Grades 6–8 for multi-percussion and MULTI

Timpani Grades 1–3 accompanied (by piano or percussion)

and or

Grades 6–8 requires retuning and RETUNE

Tuned Percussion

Grades 1–3 accompanied (by piano or percussion)

and or

Grades 8 requires 4 mallets and 4M

Percussion (Combined)

Grades 1–3 accompanied (by piano or percussion)

and or

Candidates may play two or three pieces marked , if they wish.

In the exam, candidates should tell the examiner which pieces they are performing, and they are welcome to use the forms on pages 97–109 for this.

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Every effort has been made to feature a broad range of repertoire to suit and appeal to candi dates of different ages, backgrounds and interests. Certain pieces may not be suitable for every candidate for technical reasons or because of wider context (historical, cultural, subject matter, etc.). Pieces should be carefully considered for their appropriateness to each individual, which may need consultation between teachers and parents/guardians. Teachers and parents/guardians should also exercise caution when allowing younger candidates to research pieces online: www.nspcc.org.uk/onlinesafety.

Accompaniment: A live piano or percussion (where the option is listed) accompaniment is required for all pieces marked with or in the syllabus. Recorded accompaniments are not allowed.

At Grades 1–3, candidates must perform at least one piece with accompaniment (piano or percussion). There is no accompaniment requirement at Grades 4–8. There is no upper limit to the number of accompanied pieces that can be played at any grade.

Pieces that are published as duets (or with percussion accompaniment only) are marked in the repertoire lists; candidates must play the upper part. Pieces that are published with piano and percussion accompaniment options are marked or in the repertoire lists, and may be performed with either accompaniment in the exam. Details of the percussion instruments that are required to accompany each piece are also given in the repertoire lists.

Candidates must provide their own accompanist(s), who can only be in the exam room while accompanying. The candidate’s teacher may accompany but examiners will not. If necessary, an accompanist may simplify any part of the accompaniment, as long as the result is musical.

Pieces accompanied by percussion must be played on a separate instrument from the candidate’s.

Exam music & editions: Wherever the syllabus includes an arrangement or transcription (appearing as ‘arr.’ or ‘trans.’ in the repertoire lists), the edition listed in the syllabus must be used in the exam. For all other pieces, editions are listed for guidance only and candidates may use any edition of their choice (in- or out-of-print or downloadable). Information on sourcing exam music is given on page 16.

Interpreting the score: Printed editorial suggestions such as sticking, metronome marks, etc. do not need to be strictly observed. Whether the piece contains musical indications or not, candi-dates are encouraged to interpret the score in a musical and stylistic way. The marks awarded will be determined by how control of pitch, time, tone, shape and performance contributes to the overall musical outcome.

Repeats: Unless the syllabus specifies differently, all da capo and dal segno indications should be followed but other repeats (including first-time bars) should not be played unless they are very short (i.e. a few bars).

Cadenzas & tuttis: Cadenzas should not be played unless the syllabus specifies differently. Accompanists should cut lengthy orchestral tutti sections.

Performing from memory: Candidates may perform any of their pieces from memory; if doing so, they must make sure that a copy of the music is available for the examiner to refer to. No extra marks are awarded for playing from memory.

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Page-turns: Examiners will be understanding if a page-turn causes a lack of continuity during a piece, and this will not affect the marking. Candidates (and accompanists) may use an extra copy of the music or a photocopy of a section of the piece (but see ‘Photocopies’ below) to help with page-turns. Candidates and accompanists at Grades 6–8 may bring a page-turner to the exam if there is no solution to a particularly awkward page-turn (prior permission is not required; the turner may be the candidate’s teacher). Examiners are unable to help with page-turning.

Photocopies: Performing from unauthorised photocopies (or other kinds of copies) of copy-right editions is not allowed. ABRSM may withhold the exam result where we have evidence of an illegal copy (or copies) being used. In the UK, copies may be used in certain limited circumstances – for full details, see the MPA’s Code of Fair Practice at www.mpaonline.org.uk. In all other cases, application should be made to the copyright holder before any copy is made, and evidence of permission should be brought to the exam.

Sourcing exam music: Exam music is available from music retailers and online, including at the ABRSM music shop: www.abrsm.org/shop. Every effort has been made to make sure that the publications listed will be available for the duration of the syllabus. We advise candidates to get their music well before the exam in case items are not kept in stock by retailers. Non-exam related questions about the music (e.g. editorial, availability) should be addressed to the relevant publisher: contact details are listed at www.abrsm.org/publishers.

Technical requirementsIn this section of the exam, candidates prepare the following:

Subject Technical requirements

Snare Drum Studies

Timpani Studies

Tuned Percussion Scales and arpeggios

Percussion (Combined) One of the following, at the candidate’s choice:

• Studies (Snare Drum)• Studies (Timpani)• Scales and arpeggios (Tuned Percussion)

The examiner will ask which the candidate has chosen.

Study (Snare Drum)

Studies are an important way to develop technical skills such as stick control, balance between hands, fluency and articulation. They also help to develop tone, pulse and dynamic control, and familiarity with rudimental patterns. This leads to greater confidence and security when sight-reading, learning new pieces and performing – from a score or from memory, as a solo musician or with others.

About the test: Candidates prepare two studies at each grade and examiners will request which one is to be played in the exam. Each Study is based on a set of rudiments; these are listed on the sheet music.

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Sheet music: The studies are published online at www.abrsm.org/percussion as a free downloadable PDF that can be printed and used in the exam. They are also published by ABRSM in the books of Percussion Exam Pieces & Studies (for Grades 1–5) and Percussion Studies (for Grades 6–8). Purchasing these books is not a requirement.

Memory: There is no requirement to play the Study from memory.

Sticking: Candidates may use any sticking that produces a successful musical outcome.

Study (Timpani)

Studies are an important way to develop technical skills such as fluency, balance between hands, moving between drums, retuning/pedalling and articulation. They also help to develop tone, pulse, dynamic control and interval awareness. This leads to greater confidence and security when sight-reading, learning new pieces and performing – from a score or from memory, as a solo musician or with others.

About the test: Candidates prepare two studies at each grade and examiners will request which one is to be played in the exam.

Sheet music: The studies are published online at www.abrsm.org/percussion as a free downloadable PDF that can be printed and used in the exam. They are also published by ABRSM in the books of Percussion Exam Pieces & Studies (for Grades 1–5) and Percussion Studies (for Grades 6–8). Purchasing these books is not a requirement.

Memory: There is no requirement to play the Study from memory.

Sticking: Candidates may use any sticking that produces a successful musical outcome.

Scales and arpeggios (Tuned Percussion)

Playing scales and arpeggios is important for building strong technical skills such as reliable hand movement and position, co-ordination and fluency. It also helps to develop pitch and interval awareness, and familiarity with keys and their related patterns. This leads to greater confidence and security when sight-reading, learning new pieces and performing – from a score or from memory, as a solo musician or with others.

Memory: All requirements should be played from memory.

Ranges: Candidates are free to start at any octave, provided the required ranges are covered. All requirements should ascend and descend according to the specified range (and pattern).

Patterns: Arpeggios and dominant sevenths are required in root position only. All dominant sevenths should finish by resolving on the tonic. Scales in thirds should begin with the tonic as the lower note, while scales in sixths should begin with the tonic as the upper note. Examples of scale/arpeggio, etc. patterns found in this syllabus are given on pages 20–21.

Instruments: Requirements may be played on any of the instruments listed on page 13 as long as they can cover the full range set. Scales played on the vibraphone should be played without pedal.

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Sticking: All requirements except those in thirds, in sixths and in octaves should be played hand to hand. Candidates may lead with either hand.

Speeds: The speeds on page 22 are given as a general guide.

In the exam: Examiners will usually ask for at least one of each scale/arpeggio (etc.) type. They will ask for majors followed by minors within each type. When asking for requirements, exam-iners will specify the key or the starting note only.

Supporting publications: Books of the requirements are published by ABRSM. Purchasing these books is not a requirement.

Sight-reading

Sight-reading is a valuable skill with many benefits. Learning to sight-read helps to develop quick recognition of keys, tonality and common rhythm patterns. Strong sight-reading skills make learning new pieces quicker and easier, and also help when making music with others, so that playing in an ensemble becomes more rewarding and enjoyable.

About the test: Candidates will be asked to play a short unaccompanied piece of music which they have not seen before. They will be given half a minute to look through and, if they wish, try out all or any part of the test before they are asked to play it for assessment.

Parameters: The tables on pages 23–25 show the elements that are introduced at each grade.

Instruments: In this section of the exam, the instrument requirements are as follows:

Subject Technical requirements

Snare Drum • the test must be played with the snares on• no additional instruments will be required at any grade

Timpani • the number of drums required at each grade is listed in the parameters on page 24

Tuned Percussion • the test may be played on any of the instruments listed on page 13

• the instrument chosen must meet the range requirements for the grade as listed in the parameters on page 25

Percussion (Combined) • instruments as described in all three rows above must be available in the exam room

• the examiner will choose whether the test is to be played on Snare Drum, Timpani or Tuned Percussion

Supporting publications: For practice purposes, sample Sight-reading tests are published by ABRSM in Percussion Sight-Reading, Grades 1–5 and Grades 6–8. Purchasing these books is not a requirement.

Blind or partially-sighted candidates: Blind or partially-sighted candidates may choose an alternative test (Braille memory or Aural repetition) in place of the standard test, if requested at the time of entry. Further information is available at www.abrsm.org/specificneeds.

19


Aural tests

Listening lies at the heart of music-making and the ability to hear how music works helps with all aspects of musical development. Aural skills help with gauging the sound and balance of playing, keeping in time and playing with a sense of rhythm and pulse. These skills also help to develop a sense of pitch, musical memory and the ability to spot mistakes.

About the test: The requirements are the same for all four subjects. Full details of the Aural tests are given on pages 74–81.

Supporting publications: For practice purposes, sample Aural tests are published by ABRSM. Examples of the tests are given in Specimen Aural Tests and Aural Training in Practice. Purchasing these books is not a requirement.

Deaf or hearing-impaired candidates: Deaf or hearing-impaired candidates may choose alter-native tests in place of the standard tests, if requested at the time of entry. Further information, including the syllabus for the alternative tests, is available at www.abrsm.org/specificneeds.

20


Scale and arpeggio patterns

The examples below clarify patterns found in this syllabus. The full requirements for Tuned Percussion and Percussion (Combined) at each grade are listed on the relevant syllabus pages. See also pages 17–18.

SCALES ARPEGGIOSone octave (and similarly, two octaves) one octave (and similarly, two octaves)

Vœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Vœ

œœ

œ

œœ

œ ™

CHROMATIC SCALESone octave (and similarly, two octaves)

Vœ œb œ= œb œ= œ œ# œ œb œ= œb œ= œ œ œb œ œb œ œ# œ= œ œb œ œb œ

DOMINANT SEVENTHS (resolving on tonic) DIMINISHED SEVENTHone octave (and similarly, two octaves) one octave (and similarly, two octaves)

V ###œ

œœ

œ œ œœ

œ œ

V

œœ

œœb œ œb

œœ

œ

SCALES IN THIRDStwo octaves

V ##etc. V ##

etc. V ##œœ œœ œœ œœ œœ

œœ

œœ

œœ œœ œœ

œœ

œœ

œœ

œœ

œœ

V ##

etc. V ##etc. V ##

œœ œœ œœ œœ œœ

œœ

œœ

œœ œœ œœ

œœ

œœ

œœ

œœ

œœ

V ##

etc. V ##etc. V ##

œœ œœ œœ œœ œœ

œœ

œœ

œœ œœ œœ

œœ

œœ

œœ

œœ

œœ

SCALES IN OCTAVES SCALES IN SIXTHS one octave one octave

V betc.

œ

œ

œ

œ

V bbbbb etc.

œ

œ

œ

œ


21


BROKEN CHORDStwo octaves

V ##œœœ

œ

œœ

œœ

œ

œœœ

œœœ

œ œ

œœœ

œœœ

œ

œœ

œœ

œ

œœœ œ

SCALES IN BROKEN THIRDStwo octaves

V bbbbb etc. V bbbbb etc. V bbbbbœ

œ œœ

œœ œ

œ œ œœ œ

œ

œœ œ

œ œ

V bbbbb etc. V bbbbb etc. V bbbbb

œœ œ

œ

œœ œ

œ œ œœ œ

œ

œœ œ

œ œ

V bbbbb etc. V bbbbb etc. V bbbbb

œœ œ

œ

œœ œ

œ œ œœ œ

œ

œœ œ

œ œ

CHROMATIC SCALES IN MINOR THIRDStwo octaves

V etc. V etc. Vœœb

œœ=# œ

œbœœ=# œ

œ

œœ

## œœ

œœ

b œœ

œœ

bbœœ

œœ=# œ

œb= œœ# œ

œb=


œœ=# œ

œbœœ=# œ

œ

œœ

## œœ

œœ

b œœ

œœ

bbœœ

œœ=# œ

œb= œœ# œ

œb=


œœ=# œ

œbœœ=# œ

œ

œœ

## œœ

œœ

b œœ

œœ

bbœœ

œœ=# œ

œb= œœ# œ

œb=

CHROMATIC SCALES IN BROKEN MINOR THIRDStwo octaves

V etc. V etc. Vœ

œbœ# œ=

œ# œ# œœ œ= œ

œ= œœ#

œœ œ

V etc. V etc. Vœ

œbœ# œ=

œ# œ# œœ œ= œ

œ= œœ#

œœ œ

V etc. V etc. Vœ

œbœ# œ=

œ# œ# œœ œ= œ

œ= œœ#

œœ œ

WHOLE-TONE SCALEStwo octaves

Vœ# œ# œ# œ œ œ œ# œ# œ# œ œ œ œ# œ œ œ

œ# œ# œ# œ œ œœ# œ# œ#

22


Scale and arpeggio speedsG

rade

/Sp

eed

*

12

34

56

78

Scal

esq =

69

q = 8

0q =

88

q = 1

00q =

112

Arp

eggi

ose

= 10

0e

= 12

0q.

= 50

q. =

56q.

= 60

Ch

rom

atic

sca

les

q = 8

8q =

100

q = 1

12q =

120

Dom

. & D

im. 7

ths

q = 8

8q =

96

q = 1

12q =

120

q = 1

40

Scal

es in

3rd

s/br

oken

3rd

s,

6th

s, 8

ves

& w

hol

e-to

ne

scal

esq =

92

q = 1

26q =

138

Bro

ken

ch

ords

q = 1

12q =

160

q = 2

00

Ch

rom

atic

sca

les

in m

inor

3rd

s/br

oken

min

or 3

rds

q = 1

00q =

120

* A

ll sp

eed

s re

late

to th

e rh

yth

mic

gro

up

ing ii

iq ,

exce

pt fo

r ar

peg

gios

, wh

ere ii

q ap

plie

s.

The following speeds are given as a general guide:


23


Sight-reading parameters

The tables on pages 23–25 show the elements that are introduced at each grade. These parameters are presented cumulatively, i.e. once introduced they apply for all later grades (gradually progressing in difficulty). See also page 18.

Snare DrumAll tests are written on a five-line stave.

Length (bars)

Time Other features that may be included

Grade 1 4 4 ⁄ 4 3 ⁄ 4

• h q iq iiiq jjjq ijq jiq• Î• f and p6 2 ⁄ 4

Grade 2 • q . e• tied notes• ä• mf and cresc. hairpins• grace notes

Grade 3 3 ⁄ 8 • dotted quaver patterns• simple syncopation• rolls (r)• accents• mp and dim. hairpins

Grade 4 6 ⁄ 8 • anacrusis• triplets• pause signs

Grade 5 • slowing of tempo at end• ff and pp

Grade 6 9 ⁄ 8 5 ⁄ 8 5 ⁄ 4

• changes of time signature• slowing of tempo followed by a tempo

Grade 7 7 ⁄ 8 7 ⁄ 4

• demisemiquavers

Grade 8 max c. 28 12 ⁄ 8 • acceleration of tempo• playing on rim

Len

gth

s gr

ad

ual

ly in

crea

se


24


TimpaniNo retuning of drums is required within a test at any grade.

Length (bars)

Time Drums Other features that may be included

Grade 1 4 4 ⁄ 4 3 ⁄ 4

• 2 drums• in: A & d

• h q iq iiiq jjjq ijq jiq• Î• intervals of a perfect 4th• f and p

6 2 ⁄ 4

Grade 2 • w h . q . e• tied notes• cresc. hairpins

Grade 3 3 ⁄ 8 • 2 drums• from: G, A, c, d

• dotted quaver patterns• ä• intervals of a perfect 5th• rolls ( )• accents• mf and dim. hairpins

Grade 4 6 ⁄ 8 • anacrusis• grace notes• pause signs• mp

Grade 5 • 2 drums• from: F–f

• simple syncopation• slowing of tempo at end• fp rolls

Grade 6 9 ⁄ 8 5 ⁄ 8 5 ⁄ 4

• 2 or 3 drums • changes of time signature• triplets• swung style• intervals of a major/minor 2nd, 3rd, 6th & 7th,

and perfect 8ve• double stops• slowing of tempo followed by a tempo• ff and pp

Grade 7 7 ⁄ 8 7 ⁄ 4 C

• 3 drums

Grade 8 max c. 28 12 ⁄ 8 4 ⁄ 8

• duplets• acceleration of tempo

Len

gth

s gr

ad

ual

ly in

crea

se

25


Tuned PercussionAll tests are written on a single treble stave, with no more than two mallets required at any grade.

Length (bars)

Time Keys & Range Other features that may be included

Grade 1 4 4 ⁄ 4 3 ⁄ 4

• C, F majors• d′–g″

• h q iq iiiq• Î• f and mf6 2 ⁄ 4

Grade 2 • G major A minor

• q . e• tied notes• • mp and cresc. hairpins

Grade 3 3 ⁄ 8 • D minor• c′–c‴

• simple semiquaver patterns• dotted quaver patterns• ä• accidentals (within minor keys only)• rolls (r)• accents• p and dim. hairpins

Grade 4 6 ⁄ 8 • E - major B minor

• g–c‴

• anacrusis• chromatic notes• 2-note chords• pause signs

Grade 5 • B-, D, A majors G, E minors

• simple syncopation• slowing of tempo at end• ff and pp

Grade 6 9 ⁄ 8 5 ⁄ 8 5 ⁄ 4

• A-, E majors C, F+ minors

• f–d‴

• changes of time signature• triplets• swung style• grace notes• slowing of tempo followed by a tempo

Grade 7 7 ⁄ 8 7 ⁄ 4

• F, C+ minors

Grade 8 max c. 28 12 ⁄ 8 • D -, B majors• f–g‴

• acceleration of tempo

Len

gth

s gr

ad

ual

ly in

crea

se

26


Symbols used in the repertoire lists

The symbols explained in this table are used in the repertoire lists on the following pages. See pages 11–15 for further information.

All subjects

at least one of the marked pieces must be played

has piano accompaniment (required)

has percussion accompaniment (required)

or has piano and percussion accompaniment (one is required)

Snare Drum

MULTI for multi-percussion

Timpani

3D three drums required

4D four drums required

RETUNE contains retuning

PED requires pedal drum(s)

Tuned Percussion

4M four mallets required

MAR must be played on marimba

XYL must be played on xylophone

VIB must be played on vibraphone


27

Snare Drum from 2020Snare Drum from 2020

GRADE 1

THREE PIECES: chosen by the candidate from the List below; for further details see pages 14–16

Candidates must choose at least one piece marked

COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER)

1 Kevin Hathway

Tandem low tom

Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

2 William Edwards

Step ’n’ March Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

3 Jan Bradley Mind the Gap Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

4 David Hext Madison March Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

5 Zara Nunn Journeying Home from the Hills Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

6 Keith Bartlett Three and Easy?! (No. 42 from 50 Short Pieces for Snare Drum)

Keith Bartlett: 50 Short Pieces for Snare Drum (UMP)

7 Peter R. Birkby Fanfarette (from Dozens of Duets for Drums, Book 3)

unpitched percussion

Peter R. Birkby: Dozens of Duets for Drums, Book 3 (Peter R. Birkby)

8 Richard Charles

Chicken and Chips (from Beat This!) Richard Charles: Beat This! (Southern Percussion)

9 Jan Faulkner Charlie’s Caterpillar Jan Faulkner: Simply Seven (Southern Percussion)

10 Edward Freytag

Just a Little Bit Just Desserts (Row-Loff Productions)

STUDY: Study A and Study B must be prepared; for further details see pages 16–17

SIGHT-READING: a short piece of previously unseen music; for further details see pages 18 & 23

AURAL TESTS: given by the examiner from the piano; for further details see pages 74 & 75

with percussion accompaniment, as specified with piano accompaniment

28

Snare Drum from 2020

GRADE 2




1 Peter R. Birkby Fantastic Clock woodblock


2 Jan Bradley Smoothly Does It Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)

3 Damien Harron

March of the Octopus Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)

4 Kevin Hathway

Vector Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)

5 Alex Neal Swaggerit Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)

6 Keith Bartlett Fives Alive! (No. 44 from 50 Short Pieces for Snare Drum)


7 Gert Bomhof Father and Son (from 21 Solos for Snare Drum) Gert Bomhof: 21 Solos for Snare Drum (De Haske)

8 Richard Charles

Spicy Noodles (from Beat This!) snare drum

Richard Charles: Beat This! (Southern Percussion)

9 Edward Freytag

The Witch is Dead! Just Desserts (Row-Loff Productions)

10 James L. Moore

Du-Du-Bubba (No. 18 from Solo Time for the Intermediate Snare Drummer)

James L. Moore: Solo Time for the Intermediate Snare Drummer (Per-Mus Publications)





29


GRADE 3




1 William Edwards

Out of Line Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)

2 Rachel Gledhill

Jazz Waltz for Two MULTI low tom


3 Kevin Hathway

Stick Insect low tom


4 David Hext Tango Twister Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)

5 Zara Nunn Clock-watching Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)

6 Keith Bartlett Spanish Accents (No. 47 from 50 Short Pieces for Snare Drum)


7 Gert Bomhof Little March & Dance (from 21 Solos for Snare Drum)

Gert Bomhof: 21 Solos for Snare Drum (De Haske)

8 Edward Freytag

What a Drag! with repeats Just Desserts (Row-Loff Productions)

9 John Pollard Good Times (from Shazam!) John Pollard: Shazam! (Row-Loff Productions)

10 Wolfgang Sonntag

Alternativo (No. 1 from Magic Sticks) tenor drum

Wolfgang Sonntag: Magic Sticks (Zimmermann)



AURAL TESTS: given by the examiner from the piano; for further details see pages 74 & 76–77


30


GRADE 4



1 Alan Bullard Sarabande and Gigue Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)

2 Damien Harron

Gigue Gig MULTI cowbell & low tom


3 Kevin Hathway

Super Samba MULTI low tom


4 Cameron Sinclair

Marche Cassé Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)

5 Zara Nunn Dodging the Cracks in the Pavement Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)

6 Fred Albright Study No. 3 (from Contemporary Studies for the Snare Drum)

Fred Albright: Contemporary Studies for the Snare Drum (Alfred)

7 Ted Atkatz For Aaron (No. 3 from Tributes for Snare Drum) Ted Atkatz: Tributes for Snare Drum (Row-Loff Productions)

8 Richard Charles

Mickey (from Beat This!) MULTI 3 tom-toms (no snare drum)


9 Murray Houllif It’s Rudimental (No. 2 from Multiplicities) with D.C., without repeats MULTI tenor drum or small tom

Murray Houllif: Multiplicities (Kendor Music)

10 Weinberger The Phantom Drummer Solos for the Percussion Player (G. Schirmer)




with piano accompaniment

31


GRADE 5



1 Jan Bradley On-Off-On MULTI high bongo & low bongo


2 Peter R. Birkby Into a Vortex Percussion Exam Pieces & Studies from 2020, Grade 5 (ABRSM)

3 Rachel Gledhill

On a Mission Percussion Exam Pieces & Studies from 2020, Grade 5 (ABRSM)

4 Alex Neal Stamping Ground Percussion Exam Pieces & Studies from 2020, Grade 5 (ABRSM)

5 Cameron Sinclair

Vaya Puente MULTI cowbell


6 Ted Atkatz For Maurice (No. 18 from Tributes for Snare Drum)

Ted Atkatz: Tributes for Snare Drum (Row-Loff Productions)

7 Gert Bomhof Raggedy Rhythm (from 21 Solos for Snare Drum)


8 William Kraft Allemande (No. 1 from French Suite) MULTI high & low snare, field & tenor drum

William Kraft: French Suite for Percussion Solo (Presser)

9 John O’Reilly Introduction and Rondo Solos for the Percussion Player (G. Schirmer)

10 John Pollard Oh Well! (from Shazam!) MULTI muted tom, cymbal & cowbell

John Pollard: Shazam! (Row-Loff Productions)





32


GRADE 6

PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or any solo Jazz instrument. For alternatives, see www.abrsm.org/prerequisite.




1 Ted Atkatz For Fripp (No. 14 from Tributes for Snare Drum) Ted Atkatz: Tributes for Snare Drum (Row-Loff Productions)

2 Colgrass Allegro con spirito (No. 1 from Unaccompanied Solos for Snare Drum)

No. 1 from Colgrass: Six Unaccompanied Solos for Snare Drum (Alfred) or P. 4 from Solos for the Percussion Player (G. Schirmer)

3 John O’Reilly Fireworks MULTI 2 tom-toms, cymbal, bass drum with pedal

Solos for the Percussion Player (G. Schirmer)

4 Brett William Dietz

Abduction (No. 5 from Reflex) MULTI cowbell & high tom-tom

Brett William Dietz: Reflex (C. Alan Publications)

5 Murray Houllif Tribalism (No. 7 from Multiplicities) MULTI small, medium, large tom & cowbell


6 Jill Jarman New Orleans Sunrise Principal Percussion (ABRSM)

7 Keith Larson Study No. 25 (from Artistic Studies for Snare Drum)

Keith Larson: Artistic Studies for Snare Drum (C. Alan Publications)

8 David Mancini Celebration MULTI 4 concert tom-toms (no snare drum)

David Mancini: Celebration (Per-Mus Publications)

9 Wolfgang Sonntag

The Crazy Snare Drum (No. 19 from Magic Sticks) with repeats at bb. 4 & 28


10 Garwood Whaley

Essay for Snare Drum Garwood Whaley: Essay for Snare Drum (Meredith Music)





33


GRADE 7





1 W. Benson Cretan Dance (No. 1 from Three Dances for Solo Snare Drum)

W. Benson: Three Dances for Solo Snare Drum (Hal Leonard)

2 James Campbell

Taiko with repeats, without D.S. MULTI low, medium, high drum & cymbals (no snare drum)

Music for Multi-Percussion: A World View (Alfred)

3 Anthony J. Cirone

Study No. 32 (from Portraits in Rhythm) Anthony J. Cirone: Portraits in Rhythm (Alfred)

4 Guy G. Gauthreaux II

Movement IV (from American Suite) Guy G. Gauthreaux II: American Suite (Meredith Music)

5 Rachel Gledhill

Battercada MULTI 2 drums

Rachel Gledhill: Battercada (Southern Percussion)

6 William Kraft Prelude (Part 1 from English Suite) MULTI bass, tenor, field drum & bongos

William Kraft: English Suite (Alfred)

7 Clive Malabar Up Sticks Principal Percussion (ABRSM)

8 Cameron Sinclair

Zonal I MULTI bongos & tom-tom

Cameron Sinclair: Zonal I (Scottish Music Centre)

9 Wilcoxon The New Downfall (from Modern Rudimental Swing Solos) with repeats

Wilcoxon: Modern Rudimental Swing Solos (Ludwig Masters)

10 Wilcoxon Swinging the “26” (from Modern Rudimental Swing Solos)





34


GRADE 8





1 W. Benson Fox Trot and Fandango (Nos 2 and 3 from Three Dances for Solo Snare Drum)


2 Jan Bradley Dance for Five Drums (Abridged Version) with repeats MULTI 3 tom-toms & 2 boo-bams/bongos (no snare drum)

Jan Bradley: Dance for Five Drums (Jan Bradley)

3 James Campbell

Engine Room MULTI bongos, 2 toms, bass drum & hand percussion (no snare drum)

James Campbell: Engine Room (Row-Loff Productions)

4 Stacey Duggan Popeye aerial flip optional Just Desserts (Row-Loff Productions)

5 Michael Lynch It’s About Time visual enhancement optional Just Desserts (Row-Loff Productions)


Movement II (from American Suite) with repeats

Guy G. Gauthreaux II: American Suite (Meredith Music)

7 Anthony Kerr Pontiac Principal Percussion (ABRSM)

8 Glenn Kotche Cave Dance without cuts MULTI foot pedal instrument

Glenn Kotche: Cave Dance (Alfred)

9 Alex Neal Gorymdaith MULTI tenor drum & pedal bass drum

Alex Neal: Gorymdaith (Southern Percussion)

10 Cameron Sinclair

Antrieb Cameron Sinclair: Antrieb (Scottish Music Centre)





35

Timpani from 2020Timpani from 2020

GRADE 1




1 Simon Archer March Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

2 Cameron Sinclair

Ceremonial Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

3 Andrea Vogler Yeti Dance Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

4 David Hext Tumbledown Mountain tenor drum or low tom


5 Ian Wright Baroque Notes Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

6 Carol Barratt Alpenstock Bravo! Percussion, Book 1 (Boosey & Hawkes)

7 Matthew Hardy

Majestic March play bb. 11–14 as written or snare drum

Concert and Audition Pieces for the Young Percussionist (Southern Percussion)

8 Hochrainer Etude No. 8 (from Etudes for Timpani, Vol. 1) Hochrainer: Etudes for Timpani, Vol. 1 (Doblinger)

9 Knauer Exercise No. 3 in C (from 85 Exercises for Timpani)

P. 3 No. 3 from Knauer: 85 Exercises for Timpani (Hofmeister)

10 Andrea Vogler Gilda’s Party low tom-tom

Andrea Vogler: Gilda’s Party (Southern Percussion)

STUDY: Study A and Study B must be prepared; for further details see page 17




36

Timpani from 2020

GRADE 2




1 Peter R. Birkby The Haunted Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)

2 Rachel Gledhill

Tribal Dance Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)

3 Andrew J. Smith

Space Race Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)

4 Andrea Vogler What’s for Tea Tonight? low tom


5 Nick Woud The Guard Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)

6 Carol Barratt Flight Past Bravo! Percussion, Book 2 (Boosey & Hawkes)

7 Gert Bomhof Fanfaria (No. 1 from Solo Pieces for Timpani) Gert Bomhof: Solo Pieces for Timpani (De Haske)

8 Jan Faulkner Ship Ahoy Jan Faulkner: Simply Seven (Southern Percussion)

9 Matthew Hardy

Waltz for Jan or vibraphone







37

Timpani from 2020

GRADE 3




1 Jan Bradley Arriving in Style snare drum or low tom


2 Lizzie Davis Waltz of the Warlocks Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)

3 Damien Harron

Tresillo Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)

4 Ian Wright Bouncing Beethoven Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)

5 Andrew J. Smith

Celebration Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)

6 Gert Bomhof Galop (No. 4 from Solo Pieces for Timpani) Gert Bomhof: Solo Pieces for Timpani (De Haske)

7 Kirk J. Gay Etude 6 (from Pedal to the Kettle) Kirk J. Gay: Pedal to the Kettle (Tapspace)

8 Matthew Hardy

Fiesta Concert and Audition Pieces for the Young Percussionist (Southern Percussion)

9 Murray Houllif Cowboy Town (No. 4 from Rhythmicity) Murray Houllif: Rhythmicity (Kendor Music)

10 Murray Houllif Hills of Home (No. 6 from Rhythmicity) with repeats

Murray Houllif: Rhythmicity (Kendor Music)





38

Timpani from 2020

GRADE 4



1 Adrian Bending

D ’n’ A Test Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)

2 Peter R. Birkby Fanfare and Procession Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)

3 Nick Woud Checkers 3D RETUNE


4 David Hext Dogfight Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)

5 Adrian Sutcliffe

Boil the Kettle Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)

6 Gert Bomhof Changing Meters I (No. 7 from Solo Pieces for Timpani)

Gert Bomhof: Solo Pieces for Timpani (De Haske)

7 Matthew Hardy

Cha Cha Challenge 3D



9 Murray Houllif Rock and Roll (No. 7 from Rhythmicity) with repeats 3D


10 Brian Slawson Copper Rocks (from Dynamic Solos for Timpani) 3D RETUNE

Brian Slawson: Dynamic Solos for Timpani (Alfred)





39

Timpani from 2020

GRADE 5



1 Alan Bullard Rising from the Deep 3D RETUNE


2 William Edwards

Conflict 3D


3 Rachel Gledhill

A Storm in a Teacup 3D PED RETUNE


4 Dani Howard R E V S 3D


5 Ian Wright Russian Galop RETUNE


6 Berlioz, arr.Matthew Hardy

Simply Fantastique with repeat 3D RETUNE


7 Knauer Exercise No. 20 in F (from 85 Exercises for Timpani) RETUNE or 3D


8 Muczynski Allegro moderato (No. 1 from Three Designs for Three Timpani, Op. 11 No. 2) 3D PED RETUNE

Muczynski: Three Designs for Three Timpani, Op. 11 No. 2 (G. Schirmer) or Solos for the Percussion Player (G. Schirmer)

9 Garwood Whaley

Statement for Timpani 3D

Garwood Whaley: Statement for Timpani (Meredith Music)

10 Nick Woud Study No. 5 (from Symphonic Studies for Timpani)

Nick Woud: Symphonic Studies for Timpani (De Haske)





40

Timpani from 2020

GRADE 6





1 Gert Bomhof Changing Meters II (No. 12 from Solo Pieces for Timpani) 3D


2 Bill Cahn Canzone (from Six Concert Pieces for Solo Timpani) 3D PED RETUNE

Bill Cahn: Six Concert Pieces for Solo Timpani (Meredith Music)

3 S. Fink Rockin’ Timpani (No. 8 from Solobook for Timpani, Vol. 1) 4D

S. Fink: Solobook for Timpani, Vol. 1 (Simrock)

4 George Frock Opening Toccata (No. 1 from Seven Solo Dances for the Advanced Timpanist) 4D

George Frock: Seven Solo Dances for the Advanced Timpanist (Southern Music)

5 Murray Houllif March Triumphant with repeats 4D PED RETUNE

Murray Houllif: March Triumphant (Kendor Music)

6 A. Ridout Movement I (from Sonatina for Timpani) 4D

A. Ridout: Sonatina for Timpani (Boosey & Hawkes)

7 Cameron Sinclair

Kontretanz (from 3 Tanzen) 3D PED RETUNE

Cameron Sinclair: 3 Tanzen (Scottish Music Centre)

8 Brian Slawson Paukenstein (from Dynamic Solos for Timpani) 3D PED RETUNE


9 Nick Woud First Call 3D RETUNE

Principal Percussion (ABRSM)

10 Nick Woud Study No. 20 (from Symphonic Studies for Timpani) 4D PED RETUNE





41

Timpani from 2020

GRADE 7





1 Bill Cahn Etude (from Six Concert Pieces for Solo Timpani) 4D


2 Raynor Carroll Prelude 4D PED RETUNE

Exercises, Etudes and Solos for the Timpani (Batterie Music)

3 Peter Evans Shades of Bartók 4D PED RETUNE

Peter Evans: Shades of Bartók (Southern Percussion)

4 Kirk J. Gay Rock of the 80’s (from Pedal to the Kettle) 4D PED RETUNE

Kirk J. Gay: Pedal to the Kettle (Tapspace)

5 Stravinsky, arr. Matthew Hardy

Rite of Passage with repeats 3D PED RETUNE


6 David Mancini Flower City Funk 4D PED RETUNE

David Mancini: Flower City Funk (Kendor Music)

7 A. Ridout Movement III (from Sonatina for Timpani) 4D


8 Cameron Sinclair

Feuertanz (from 3 Tanzen) 4D PED RETUNE


9 Nick Woud Study No. 9 (from The Timpani Challenge) 4D PED RETUNE

Nick Woud: The Timpani Challenge (Pustjens Percussion)

10 Ian Wright Spring Fever 4D RETUNE





42

Timpani from 2020

GRADE 8





1 John Beck Movement II (from Sonata for Timpani) 4D

John Beck: Sonata for Timpani (Boston Music Company)

2 E. Carter Saëta (No. 1 from Eight Pieces for Four Timpani) 4D

E. Carter: Eight Pieces for Four Timpani (AMP) or P. 28 from Solos for the Percussion Player (G. Schirmer)

3 Julian Fairbank

Proclamation 4D PED RETUNE

Julian Fairbank: Proclamation (Southern Percussion)

4 S. Fink Episode and Cadenza (Nos 4 and 6 from Solobook for Timpani, Vol. 2) 4D retune required between pieces


5 George Frock Beguine and Samba (No. 3 from Seven Solo Dances for the Advanced Timpanist) 4D PED RETUNE


6 Kirk J. Gay Bolt! (from Pedal to the Kettle) 4D PED RETUNE


7 Michael J. Rhodes

Scenes from an Ancient Battle 4D

Michael J. Rhodes: Scenes from an Ancient Battle (Studio 4 Music)

8 Cameron Sinclair

Neuertanz (from 3 Tanzen) 4D PED RETUNE




10 Nick Woud Variations 4D PED RETUNE





43

Tuned Percussion from 2020Tuned Percussion from 2020

GRADE 1




1 Lizzie Davis Tightrope Tricks (d′–g″)


2 Alex Neal Smooov (d′–g″)


3 Zara Nunn Tiptoe on the Ice (c′–f″)


4 Arthur C. Lipner

Morning Sunlight (b–c″) or marimba


5 Andrew J. Smith

The Soldier’s Return (d′–f″)


6 Anon. Dona nobis pacem, arr. Sewrey, Hans & Schneller (c′–d″)

Modern School for Mallet-Keyboard Instruments (Hal Leonard)

7 Peter R. Birkby Clocking On (from Dozens of Duets for Keyboard Percussion, Book 1) (g′–b″) separate tuned percussion

Peter Birkby: Dozens of Duets for Keyboard Percussion, Book 1 (Peter Birkby)

8 Jan Faulkner Crazy Cowboy (c′–c″)

Jan Faulkner: Simply Seven (Southern Percussion)

9 Nebojša Jovan Živković

Polka (No. 2 from My First Book for Xylophone and Marimba) (c′–a′) or marimba

Nebojša Jovan Živković: My First Book for Xylophone and Marimba (Gretel Verlag)


Walzer (No. 3 from My First Book for Xylophone and Marimba) without D.C. (c′–c″) or marimba


SCALES AND ARPEGGIOS: from memory; for further details (including examples) see pages 17–18 & 20–22

RANGE REQUIREMENTS

SCALES

C, F, G majors

1 oct. hand to hand; even notesA, D, E minors (natural or harmonic or melodic, at candidate’s choice)

ARPEGGIOS

C, F, G majors1 oct. hand to hand; even notes

A, D, E minors




44

Tuned Percussion from 2020

GRADE 2




1 Clive Malabar Sea Blues (c′–f″)


2 Alan Bullard Summer Sunshine (g′–b-″) separate tuned percussion


3 Cameron Sinclair

Turn the Key, Unlock the Door (c′–e″)


4 Alex Neal Blue Stix (c′–g″)


5 Andrew J. Smith

Winter’s Night (g′–g″)


6 attrib. J. S. Bach

Minuet in G, arr. Moore if glock: without rolls (d′–b″)

Bach for Marimba (Kendor Music)

7 J. S. Bach Polonaise, arr. Whaley with first repeat; if glock: without rolls (g–g″)

Fundamental Studies for Mallets (Joel Rothman Publications)

8 Tchaikovsky The New Doll, arr. Whaley without rolls (f ′–b-″)


9 Haydn Two German Dances, arr. Houllif without rolls (a–b″)

Melodic Mallets (Kendor Music)

10 David Hext Church Ope Waltz (c′–f″)

David Hext: Church Ope Waltz (Southern Percussion)


RANGE REQUIREMENTS

SCALES

F, G, B-, D majors

1 oct. hand to hand; even notesD, E, G, B minors (natural or harmonic or melodic, at candidate’s choice)

ARPEGGIOS

F, G, B-, D majors1 oct. hand to hand; even notes

D, E, G, B minors




45


GRADE 3




1 Alan Bullard Spring Awakening (e′–b″)


2 David Hext Spicy Sauce (c′–a″) untuned percussion


3 William Edwards

After Dark (c′–c‴)


4 Arthur C. Lipner

Swing Steps (c′–b-″)


5 Cameron Sinclair

Spiral (c′–c‴)


6 G. Bruce & D. Emmett

The Downfall of Paris, arr. Sewrey, Hans & Schneller (d′–b″)


7 Napier Raggedy Ragtime Rag, arr. Sewrey, Hans & Schneller with repeats (f ′–b-″)


8 Gounod Funeral March of a Marionette, arr. Balent (a–d″)

Classical Solos for Mallets (Ludwig Masters)

9 Mozart Allegro, arr. Whaley with first repeat (c″–c‴) separate tuned percussion

P. 33 from Musical Studies for the Intermediate Mallet Player (Meredith Music)


Holzschuh – Tanz (No. 11 from My First Book for Xylophone and Marimba) with repeats (a–e″) or marimba



RANGE REQUIREMENTS

SCALES

B-, D, E-, A majors2 oct. hand to hand; even notesG, B, C, F+ minors

(harmonic or melodic, at candidate’s choice)

CHROMATIC SCALE

starting on C 1 oct. hand to hand; even notes

ARPEGGIOS

B-, D, E-, A majors2 oct. hand to hand; even notes

G, B, C, F+ minors




46


GRADE 4



1 Alan Bullard Night Ride (c′–c‴)


2 William Edwards

Gladius (g+–g+″)


3 Rachel Gledhill

Star Gazing if mar/xyl: with ossias (g+–b″)


4 Zara Nunn Snow Day (c′–b-″)


5 Ney Rosauro Minor Journey (a–c‴)


6 J. S. Bach Two-Part Invention in A minor, arr. Sewrey, Hans & Schneller (g–c‴)


7 Joplin Rag Time Dance, arr. Cowles (g′–f ‴)

Joplin: Ragtime Favourites – Mallets (Fentone)

8 Pitfield Intermezzo (2nd movt from Sonata for Xylophone Solo) (g–e‴)

Pitfield: Sonata for Xylophone Solo (Peters)

9 Senaillé Allegro, arr. Weijmans (d′–b-″)

Masters on Marimba (De Haske)

10 Ivo Weijmans Tango per due (No. 12 from Mallet Minded) (g′–c‴) separate tuned percussion

Ivo Weijmans: Mallet Minded (De Haske)


RANGE REQUIREMENTS

SCALES

E-, A, A-, E majors2 oct. hand to hand; even notesC, F+, F, C+ minors


CHROMATIC SCALE

starting on C+ 2 oct. hand to hand; even notes

ARPEGGIOS

E-, A, A-, E majors2 oct. hand to hand; even notes

C, F+, F, C+ minors

DOMINANT SEVENTHS (resolving on tonic)

in the keys of A and E- 1 oct. hand to hand; even notes




47


GRADE 5



1 Damien Harron

Leap-Frog Funk (a-–e-‴)


2 Bernard Hughes

Habanera (a–e‴)


3 Jill Jarman Carnival (g–f ‴)


4 Zara Nunn Afternoon Sorcery (a-–c‴)


5 Ney Rosauro Brazilian Dance (g–e″) 4M


6 J. S. Bach Gigue (from Partita No. 3), arr. Whaley (a–b″)

Recital Pieces for Mallets (Meredith Music)

7 Breuer (and Anderson & Spivack)

Rag Doll Rag (from Harry Breuer’s Ragtime Solos) with grace notes (f +–f ‴)

Harry Breuer’s Ragtime Solos (Meredith Music)

8 Humperdinck Evening Prayer, arr. Pimental & Moore (c–a‴) 4M

The Solo Marimbist, Vol. 2 (Per-Mus Publications)

9 Arthur C. Lipner

Second Wind (Abridged Version) (from Places to Visit) (f–d‴)

Arthur C. Lipner: Places to Visit (Southern Percussion)

10 Pitfield Reel (3rd movt from Sonata for Xylophone Solo) (g–e‴) 4M


11 Chris Stock “Jasmine” on the Breeze (from Cross Sticks) (f +–f ‴) 4M

Chris Stock: Cross Sticks (Woodsmoor Press)


RANGE REQUIREMENTS

SCALES

A-, E, D-, B, F+ majors2 oct. hand to hand; even notesF, C+, B-, G+, E- minors


CHROMATIC SCALE

starting on A- 2 oct. hand to hand; even notes

ARPEGGIOS

A-, E, D-, B, F+ majors2 oct. hand to hand; even notes

F, C+, B-, G+, E- minors


in the keys of A- and E 1 oct. hand to hand; even notes

DIMINISHED SEVENTH

starting on B 1 oct. hand to hand; even notes




48


GRADE 6




1 J. S. Bach Prelude (from Partita No. 3 for Violin Solo), arr. Sewrey, Hans & Schneller (g+–e‴) MAR/XYL


2 J. S. Bach Prélude (from Suite No. 1 in G, BWV 1007), trans. Stevens (C–g′) MAR 4M

J. S. Bach: Six Suites for Marimba (Keyboard Percussion Publications)

3 Chris Baron Mucho Gusto (b–e‴) MAR


4 G. H. Green Jovial Jasper (g+–e‴) XYL

George Hamilton Green’s Xylophone Rags (Meredith Music)

5 Arthur C. Lipner

Caribé Vibe (Abridged Version) (from Places to Visit) (f–f ‴) VIB 4M


6 Miyoshi Tender Talk (No. 1 from Conversation: Suite for Marimba) with repeats (c′–b‴) MAR 4M

Modern Japanese Marimba Pieces 2 (Ongaku)

7 Ney Rosauro My Dear Friend (from Vibes Etudes and Songs) (f +–e‴) VIB 4M

Ney Rosauro: Vibes Etudes and Songs (2nd edition) (Pro Percussao)

8 Ney Rosauro Prelúdio No. 1 Mi menor (from Three Preludes for Solo Marimba) with repeats, without D.S. (go to 5th bar of coda) (A–g‴) MAR 4M

Ney Rosauro: Three Preludes for Solo Marimba (Pro Percussao)

9 Cameron Sinclair

Tarantella (d–d-‴) MAR/XYL

Cameron Sinclair: Tarantella (Scottish Music Centre)


Johnny’s Shuffle (from Funny Marimba, Book 2) (G–b″) MAR 4M

Nebojša Jovan Živković: Funny Marimba, Book 2 (Gretel Verlag)


Macedonia with repeats (f–b-″) MAR

Nebojša Jovan Živković: Macedonia (Studio 4 Music)


49

Tuned Percussion from 2020 Grade 6


RANGE REQUIREMENTS

SCALES IN THIRDS

D, F, A-, B majors2 oct. even notes

D, F, G+, B harmonic minors

SCALES IN OCTAVES

D, F, G+, B melodic minors 1 oct. even notes

CHROMATIC SCALE

starting on E 2 oct. hand to hand; even notes

BROKEN CHORDS

D, F, A-, B majors2 oct. hand to hand; even notes, as example on page 21

D, F, G+, B minors


in the keys of D, F, A- and B 2 oct. hand to hand; even notes

DIMINISHED SEVENTH

starting on D 2 oct. hand to hand; even notes



50


GRADE 7




1 J. S. Bach Presto (from Sonata in G minor), arr. Moore (g–d‴) MAR/XYL/VIB


2 J. S. Bach Sarabande (from Partita No. 2), arr. Whaley (g–b-″) MAR/VIB 4M



Waltz in Ragtime (from Harry Breuer’s Ragtime Solos) (f +–g‴) MAR/XYL/VIB


4 Pius Cheung Prelude in G minor (A–g‴) MAR 4M

Pius Cheung: Prelude in G minor (Pius Cheung)

5 Daquin Cou-Cou, arr. E. & I. Finkel (b–d‴) XYL

Ian Finkel’s Classical Encores for Xylophone and Piano (Southern Percussion)

6 Dinicu, trans. Heifetz

Hora staccato, arr. Goldenberg (g–e-‴) XYL

Dinicu & Heifetz: Hora staccato (Carl Fischer)

7 Michael Zev Gordon

Folkish (f–f ‴) MAR/XYL/VIB


8 G. H. Green Triplets (c′–f ‴) XYL


9 David Hext No. 4 (from Four Graded Pieces for Multi-Mallet Marimba) (A–d‴) MAR 4M

David Hext: Four Graded Pieces for Multi-Mallet Marimba (Southern Percussion)

10 Ney Rosauro Baião (No. 1 from Suite popular brasileira) with repeats (d–g‴) MAR 4M

Ney Rosauro: Suite popular brasileira (Music for Percussion)

11 Éric Sammut Hombre d’août with repeats (A–a″) MAR 4M

Éric Sammut: Hombre d’août (Billaudot)


Il canto dei gondolieri (from Funny Marimba, Book 2) (F–d‴) MAR 4M



51



RANGE REQUIREMENTS

SCALES IN BROKEN THIRDS

D-, E, G, B- majors2 oct. hand to hand; as example on page 21

C+, E, G, B- harmonic minors

SCALES IN OCTAVES

C+, E, G, B- melodic minors 1 oct. even notes

SCALES IN SIXTHS

D-, E, G, B- majors1 oct. even notes


CHROMATIC SCALES IN MINOR THIRDS

starting on F/A- 2 oct. even notes

starting on B-/D-

BROKEN CHORDS

D-, E, G, B- majors2 oct. hand to hand; even notes, as example on page 21

C+, E, G, B- minors


in the keys of D-, E, G and B- 2 oct. hand to hand; even notes

DIMINISHED SEVENTH




52


GRADE 8





1 Keiko Abe Frogs (c–g‴) MAR 4M

Keiko Abe: Frogs (Studio 4 Music)

2 J. S. Bach Fugue (from Sonata in A minor), arr. Moore (g–d‴) MAR 4M



Joplin on Wood (from Harry Breuer’s Ragtime Solos) (f–e-‴) XYL


4 Michael Burritt

Sara’s Song (C–c‴) MAR 4M

Michael Burritt: Sara’s Song (Keyboard Percussion Publications)

5 Ross Edwards No. 1 (from Marimba Dances) (d–d‴) MAR

Ross Edwards: Marimba Dances (Australian Music Centre)

6 Ross Edwards No. 3 (from Marimba Dances) (c +–c +‴) MAR 4M


7 George H. Geldard

Tween Heather and Sea complete (f +′–g‴) XYL

George H. Geldard: Tween Heather and Sea (Oertel Musikverlag)

8 Anthony Kerr Exact Change Please (f–e‴) VIB 4M


9 Kreisler Tambourin chinois, arr. Green (g–b-‴) XYL

Kreisler: Tambourin chinois (Carl Fischer)

10 Igor Lešnik First Toy (No. 1 from Midnight Pieces) with printed cadenza (f–e‴) VIB 4M

Igor Lešnik: Midnight Pieces (Zimmermann)

11 Ney Rosauro Greeting (1st movt from Concerto [No. 1] for Marimba) with repeats; cut bb. 91–98 (A–c″″) MAR 4M

Ney Rosauro: Concerto [No. 1] for Marimba (Pro Percussao)

12 Éric Sammut Spiral 2 (from Three Spirals) with repeat (A–e-‴) MAR 4M

Éric Sammut: Three Spirals (Keyboard Percussion Publications)

13 Emmanuel Séjourné

Nancy (E–e‴) MAR 4M

Emmanuel Séjourné: Nancy (PM Europe Publications)

14 Gordon Stout Mexican Dance No. 1 (from Two Mexican Dances for Marimba) with final repeat (c–b‴) MAR 4M

Gordon Stout: Two Mexican Dances for Marimba (Studio 4 Music)

15 Trad. The Absent-Minded Woman, arr. Daughtrey (f +–e‴) XYL

The Celtic Xylophone, Book 1 (C. Alan Publications)


53



RANGE REQUIREMENTS


C, E-, F+, A majors2 oct. hand to hand; as example on page 21

C, E-, F+, A harmonic minors

SCALES IN OCTAVES

C, E-, F+, A melodic minors 1 oct. even notes

SCALES IN SIXTHS

C, E-, F+, A majors1 oct. even notes


CHROMATIC SCALES IN BROKEN MINOR THIRDS

starting on C2 oct. hand to hand; as example on page 21

starting on F+

WHOLE-TONE SCALES

starting on F+ 2 oct. hand to hand; even notes

starting on A

BROKEN CHORDS

C, E-, F+, A majors2 oct. hand to hand; even notes, as example on page 21

C, E-, F+, A minors


in the keys of C, E-, F+ and A 2 oct. hand to hand; even notes

DIMINISHED SEVENTH




54

Percussion (Combined) from 2020 Percussion (Combined) from 2020

GRADE 1

THREE PIECES: one chosen by the candidate from each of the three Lists, A (Snare Drum), B (Timpani) and C (Tuned Percussion); for further details see pages 14–16


SNARE DRUM


1 Kevin Hathway

Tandem low tom


2 William Edwards

Step ’n’ March Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

3 Jan Bradley Mind the Gap Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

4 David Hext Madison March Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

5 Zara Nunn Journeying Home from the Hills Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

6 Keith Bartlett Three and Easy?! (No. 42 from 50 Short Pieces for Snare Drum)


7 Peter R. Birkby Fanfarette (from Dozens of Duets for Drums, Book 3)

unpitched percussion

Peter R. Birkby: Dozens of Duets for Drums, Book 3 (Peter R. Birkby)

8 Richard Charles

Chicken and Chips (from Beat This!) Richard Charles: Beat This! (Southern Percussion)

9 Jan Faulkner Charlie’s Caterpillar Jan Faulkner: Simply Seven (Southern Percussion)

10 Edward Freytag

Just a Little Bit Just Desserts (Row-Loff Productions)

TIMPANI


1 Simon Archer March Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

2 Cameron Sinclair

Ceremonial Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

3 Andrea Vogler Yeti Dance Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

4 David Hext Tumbledown Mountain tenor drum or low tom


5 Ian Wright Baroque Notes Percussion Exam Pieces & Studies from 2020, Grade 1 (ABRSM)

6 Carol Barratt Alpenstock Bravo! Percussion, Book 1 (Boosey & Hawkes)

7 Matthew Hardy

Majestic March play bb. 11–14 as written or snare drum



9 Knauer Exercise No. 3 in C (from 85 Exercises for Timpani)


10 Andrea Vogler Gilda’s Party low tom-tom

Andrea Vogler: Gilda’s Party (Southern Percussion)

A

B


55

Percussion (Combined) from 2020 Grade 1

TUNED PERCUSSION


1 Lizzie Davis Tightrope Tricks (d′–g″)


2 Alex Neal Smooov (d′–g″)


3 Zara Nunn Tiptoe on the Ice (c′–f″)


4 Arthur C. Lipner

Morning Sunlight (b–c″) or marimba


5 Andrew J. Smith

The Soldier’s Return (d′–f″)


6 Anon. Dona nobis pacem, arr. Sewrey, Hans & Schneller (c′–d″)


7 Peter R. Birkby Clocking On (from Dozens of Duets for Keyboard Percussion, Book 1) (g′–b″) separate tuned percussion

Peter Birkby: Dozens of Duets for Keyboard Percussion, Book 1 (Peter Birkby)

8 Jan Faulkner Crazy Cowboy (c′–c″)

Jan Faulkner: Simply Seven (Southern Percussion)


Polka (No. 2 from My First Book for Xylophone and Marimba) (c′–a′) or marimba



Walzer (No. 3 from My First Book for Xylophone and Marimba) without D.C. (c′–c″) or marimba


TECHNICAL REQUIREMENTS: one of the following options, chosen by the candidate• Snare Drum – Study A and Study B• Timpani – Study A and Study B• Tuned Percussion – Scales and arpeggios (see below)

For further details see pages 16–18


RANGE REQUIREMENTS

SCALES

C, F, G majors

1 oct. hand to hand; even notesA, D, E minors (natural or harmonic or melodic, at candidate’s choice)

ARPEGGIOS

C, F, G majors1 oct. hand to hand; even notes

A, D, E minors

SIGHT-READING: a short piece of previously unseen music. The examiner will choose to give either a Snare Drum, Timpani or Tuned Percussion test. For further details see pages 18 & 23–25


C

56

Percussion (Combined) from 2020

GRADE 2



SNARE DRUM


1 Peter R. Birkby Fantastic Clock woodblock


2 Jan Bradley Smoothly Does It Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)

3 Damien Harron

March of the Octopus Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)

4 Kevin Hathway

Vector Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)

5 Alex Neal Swaggerit Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)

6 Keith Bartlett Fives Alive! (No. 44 from 50 Short Pieces for Snare Drum)


7 Gert Bomhof Father and Son (from 21 Solos for Snare Drum) Gert Bomhof: 21 Solos for Snare Drum (De Haske)

8 Richard Charles

Spicy Noodles (from Beat This!) snare drum


9 Edward Freytag

The Witch is Dead! Just Desserts (Row-Loff Productions)

10 James L. Moore

Du-Du-Bubba (No. 18 from Solo Time for the Intermediate Snare Drummer)

James L. Moore: Solo Time for the Intermediate Snare Drummer (Per-Mus Publications)

TIMPANI


1 Peter R. Birkby The Haunted Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)

2 Rachel Gledhill

Tribal Dance Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)

3 Andrew J. Smith

Space Race Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)

4 Andrea Vogler What’s for Tea Tonight? low tom


5 Nick Woud The Guard Percussion Exam Pieces & Studies from 2020, Grade 2 (ABRSM)

6 Carol Barratt Flight Past Bravo! Percussion, Book 2 (Boosey & Hawkes)

7 Gert Bomhof Fanfaria (No. 1 from Solo Pieces for Timpani) Gert Bomhof: Solo Pieces for Timpani (De Haske)

8 Jan Faulkner Ship Ahoy Jan Faulkner: Simply Seven (Southern Percussion)

9 Matthew Hardy

Waltz for Jan or vibraphone



A

B


57


TUNED PERCUSSION


1 Clive Malabar Sea Blues (c′–f″)


2 Alan Bullard Summer Sunshine (g′–b-″) separate tuned percussion


3 Cameron Sinclair

Turn the Key, Unlock the Door (c′–e″)


4 Alex Neal Blue Stix (c′–g″)


5 Andrew J. Smith

Winter’s Night (g′–g″)


6 attrib. J. S. Bach

Minuet in G, arr. Moore if glock: without rolls (d′–b″)


7 J. S. Bach Polonaise, arr. Whaley with first repeat; if glock: without rolls (g–g″)


8 Tchaikovsky The New Doll, arr. Whaley without rolls (f ′–b-″)


9 Haydn Two German Dances, arr. Houllif without rolls (a–b″)

Melodic Mallets (Kendor Music)

10 David Hext Church Ope Waltz (c′–f″)

David Hext: Church Ope Waltz (Southern Percussion)




RANGE REQUIREMENTS

SCALES

F, G, B-, D majors

1 oct. hand to hand; even notesD, E, G, B minors (natural or harmonic or melodic, at candidate’s choice)

ARPEGGIOS

F, G, B-, D majors1 oct. hand to hand; even notes

D, E, G, B minors



C

58


GRADE 3



SNARE DRUM


1 William Edwards

Out of Line Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)

2 Rachel Gledhill

Jazz Waltz for Two MULTI low tom


3 Kevin Hathway

Stick Insect low tom


4 David Hext Tango Twister Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)

5 Zara Nunn Clock-watching Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)

6 Keith Bartlett Spanish Accents (No. 47 from 50 Short Pieces for Snare Drum)


7 Gert Bomhof Little March & Dance (from 21 Solos for Snare Drum)


8 Edward Freytag

What a Drag! with repeats Just Desserts (Row-Loff Productions)

9 John Pollard Good Times (from Shazam!) John Pollard: Shazam! (Row-Loff Productions)

10 Wolfgang Sonntag

Alternativo (No. 1 from Magic Sticks) tenor drum


TIMPANI


1 Jan Bradley Arriving in Style snare drum or low tom


2 Lizzie Davis Waltz of the Warlocks Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)

3 Damien Harron

Tresillo Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)

4 Ian Wright Bouncing Beethoven Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)

5 Andrew J. Smith

Celebration Percussion Exam Pieces & Studies from 2020, Grade 3 (ABRSM)

6 Gert Bomhof Galop (No. 4 from Solo Pieces for Timpani) Gert Bomhof: Solo Pieces for Timpani (De Haske)

7 Kirk J. Gay Etude 6 (from Pedal to the Kettle) Kirk J. Gay: Pedal to the Kettle (Tapspace)

8 Matthew Hardy

Fiesta Concert and Audition Pieces for the Young Percussionist (Southern Percussion)

9 Murray Houllif Cowboy Town (No. 4 from Rhythmicity) Murray Houllif: Rhythmicity (Kendor Music)

10 Murray Houllif Hills of Home (No. 6 from Rhythmicity) with repeats


A

B


59


TUNED PERCUSSION


1 Alan Bullard Spring Awakening (e′–b″)


2 David Hext Spicy Sauce (c′–a″) untuned percussion


3 William Edwards

After Dark (c′–c‴)


4 Arthur C. Lipner

Swing Steps (c′–b-″)


5 Cameron Sinclair

Spiral (c′–c‴)


6 G. Bruce & D. Emmett

The Downfall of Paris, arr. Sewrey, Hans & Schneller (d′–b″)


7 Napier Raggedy Ragtime Rag, arr. Sewrey, Hans & Schneller with repeats (f ′–b-″)


8 Gounod Funeral March of a Marionette, arr. Balent (a–d″)

Classical Solos for Mallets (Ludwig Masters)

9 Mozart Allegro, arr. Whaley with first repeat (c″–c‴) separate tuned percussion

P. 33 from Musical Studies for the Intermediate Mallet Player (Meredith Music)


Holzschuh – Tanz (No. 11 from My First Book for Xylophone and Marimba) with repeats (a–e″) or marimba





RANGE REQUIREMENTS

SCALES

B-, D, E-, A majors2 oct. hand to hand; even notesG, B, C, F+ minors


CHROMATIC SCALE


ARPEGGIOS

B-, D, E-, A majors2 oct. hand to hand; even notes

G, B, C, F+ minors



C

60


GRADE 4


SNARE DRUM


1 Alan Bullard Sarabande and Gigue Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)

2 Damien Harron

Gigue Gig MULTI cowbell & low tom


3 Kevin Hathway

Super Samba MULTI low tom


4 Cameron Sinclair

Marche Cassé Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)

5 Zara Nunn Dodging the Cracks in the Pavement Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)

6 Fred Albright Study No. 3 (from Contemporary Studies for the Snare Drum)

Fred Albright: Contemporary Studies for the Snare Drum (Alfred)

7 Ted Atkatz For Aaron (No. 3 from Tributes for Snare Drum) Ted Atkatz: Tributes for Snare Drum (Row-Loff Productions)

8 Richard Charles

Mickey (from Beat This!) MULTI 3 tom-toms (no snare drum)


9 Murray Houllif It’s Rudimental (No. 2 from Multiplicities) with D.C., without repeats MULTI tenor drum or small tom


10 Weinberger The Phantom Drummer Solos for the Percussion Player (G. Schirmer)

TIMPANI


1 Adrian Bending

D ’n’ A Test Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)

2 Peter R. Birkby Fanfare and Procession Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)

3 Nick Woud Checkers 3D RETUNE


4 David Hext Dogfight Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)

5 Adrian Sutcliffe

Boil the Kettle Percussion Exam Pieces & Studies from 2020, Grade 4 (ABRSM)

6 Gert Bomhof Changing Meters I (No. 7 from Solo Pieces for Timpani)


7 Matthew Hardy

Cha Cha Challenge 3D



9 Murray Houllif Rock and Roll (No. 7 from Rhythmicity) with repeats 3D


10 Brian Slawson Copper Rocks (from Dynamic Solos for Timpani) 3D RETUNE


A

B


61


TUNED PERCUSSION


1 Alan Bullard Night Ride (c′–c‴)


2 William Edwards

Gladius (g+–g+″)


3 Rachel Gledhill

Star Gazing if mar/xyl: with ossias (g+–b″)


4 Zara Nunn Snow Day (c′–b-″)


5 Ney Rosauro Minor Journey (a–c‴)


6 J. S. Bach Two-Part Invention in A minor, arr. Sewrey, Hans & Schneller (g–c‴)


7 Joplin Rag Time Dance, arr. Cowles (g′–f ‴)

Joplin: Ragtime Favourites – Mallets (Fentone)

8 Pitfield Intermezzo (2nd movt from Sonata for Xylophone Solo) (g–e‴)


9 Senaillé Allegro, arr. Weijmans (d′–b-″)

Masters on Marimba (De Haske)

10 Ivo Weijmans Tango per due (No. 12 from Mallet Minded) (g′–c‴) separate tuned percussion

Ivo Weijmans: Mallet Minded (De Haske)




RANGE REQUIREMENTS

SCALES

E-, A, A-, E majors2 oct. hand to hand; even notesC, F+, F, C+ minors


CHROMATIC SCALE


ARPEGGIOS

E-, A, A-, E majors2 oct. hand to hand; even notes

C, F+, F, C+ minors


in the keys of A and E- 1 oct. hand to hand; even notes



C

62


GRADE 5


SNARE DRUM


1 Jan Bradley On-Off-On MULTI high bongo & low bongo


2 Peter R. Birkby Into a Vortex Percussion Exam Pieces & Studies from 2020, Grade 5 (ABRSM)

3 Rachel Gledhill

On a Mission Percussion Exam Pieces & Studies from 2020, Grade 5 (ABRSM)

4 Alex Neal Stamping Ground Percussion Exam Pieces & Studies from 2020, Grade 5 (ABRSM)

5 Cameron Sinclair

Vaya Puente MULTI cowbell


6 Ted Atkatz For Maurice (No. 18 from Tributes for Snare Drum)

Ted Atkatz: Tributes for Snare Drum (Row-Loff Productions)

7 Gert Bomhof Raggedy Rhythm (from 21 Solos for Snare Drum)


8 William Kraft Allemande (No. 1 from French Suite) MULTI high & low snare, field & tenor drum

William Kraft: French Suite for Percussion Solo (Presser)

9 John O’Reilly Introduction and Rondo Solos for the Percussion Player (G. Schirmer)

10 John Pollard Oh Well! (from Shazam!) MULTI muted tom, cymbal & cowbell

John Pollard: Shazam! (Row-Loff Productions)

TIMPANI


1 Alan Bullard Rising from the Deep 3D RETUNE


2 William Edwards

Conflict 3D


3 Rachel Gledhill

A Storm in a Teacup 3D PED RETUNE


4 Dani Howard R E V S 3D


5 Ian Wright Russian Galop RETUNE


6 Berlioz, arr.Matthew Hardy

Simply Fantastique with repeat 3D RETUNE


7 Knauer Exercise No. 20 in F (from 85 Exercises for Timpani) RETUNE or 3D


8 Muczynski Allegro moderato (No. 1 from Three Designs for Three Timpani, Op. 11 No. 2) 3D PED RETUNE

Muczynski: Three Designs for Three Timpani, Op. 11 No. 2 (G. Schirmer) or Solos for the Percussion Player (G. Schirmer)

9 Garwood Whaley

Statement for Timpani 3D

Garwood Whaley: Statement for Timpani (Meredith Music)

10 Nick Woud Study No. 5 (from Symphonic Studies for Timpani)


A

B


63


TUNED PERCUSSION


1 Damien Harron

Leap-Frog Funk (a-–e-‴)


2 Bernard Hughes

Habanera (a–e‴)


3 Jill Jarman Carnival (g–f ‴)


4 Zara Nunn Afternoon Sorcery (a-–c‴)


5 Ney Rosauro Brazilian Dance (g–e″) 4M


6 J. S. Bach Gigue (from Partita No. 3), arr. Whaley (a–b″)



Rag Doll Rag (from Harry Breuer’s Ragtime Solos) with grace notes (f +–f ‴)


8 Humperdinck Evening Prayer, arr. Pimental & Moore (c–a‴) 4M

The Solo Marimbist, Vol. 2 (Per-Mus Publications)

9 Arthur C. Lipner

Second Wind (Abridged Version) (from Places to Visit) (f–d‴)


10 Pitfield Reel (3rd movt from Sonata for Xylophone Solo) (g–e‴) 4M


11 Chris Stock “Jasmine” on the Breeze (from Cross Sticks) (f +–f ‴) 4M

Chris Stock: Cross Sticks (Woodsmoor Press)

TECHNICAL REQUIREMENTS: one of the following options, chosen by the candidate• Snare Drum – Study A and Study B• Timpani – Study A and Study B• Tuned Percussion – Scales and arpeggios (see next page)




C

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64



RANGE REQUIREMENTS

SCALES

A-, E, D-, B, F+ majors2 oct. hand to hand; even notesF, C+, B-, G+, E- minors


CHROMATIC SCALE

starting on A- 2 oct. hand to hand; even notes

ARPEGGIOS

A-, E, D-, B, F+ majors2 oct. hand to hand; even notes

F, C+, B-, G+, E- minors


in the keys of A- and E 1 oct. hand to hand; even notes

DIMINISHED SEVENTH

starting on B 1 oct. hand to hand; even notes

65


GRADE 6



SNARE DRUM


1 Ted Atkatz For Fripp (No. 14 from Tributes for Snare Drum) Ted Atkatz: Tributes for Snare Drum (Row-Loff Productions)

2 Colgrass Allegro con spirito (No. 1 from Unaccompanied Solos for Snare Drum)

No. 1 from Colgrass: Six Unaccompanied Solos for Snare Drum (Alfred) or P. 4 from Solos for the Percussion Player (G. Schirmer)

3 John O’Reilly Fireworks MULTI 2 tom-toms, cymbal, bass drum with pedal

Solos for the Percussion Player (G. Schirmer)

4 Brett William Dietz

Abduction (No. 5 from Reflex) MULTI cowbell & high tom-tom

Brett William Dietz: Reflex (C. Alan Publications)

5 Murray Houllif Tribalism (No. 7 from Multiplicities) MULTI small, medium, large tom & cowbell


6 Jill Jarman New Orleans Sunrise Principal Percussion (ABRSM)

7 Keith Larson Study No. 25 (from Artistic Studies for Snare Drum)

Keith Larson: Artistic Studies for Snare Drum (C. Alan Publications)

8 David Mancini Celebration MULTI 4 concert tom-toms (no snare drum)

David Mancini: Celebration (Per-Mus Publications)

9 Wolfgang Sonntag

The Crazy Snare Drum (No. 19 from Magic Sticks) with repeats at bb. 4 & 28


10 Garwood Whaley

Essay for Snare Drum Garwood Whaley: Essay for Snare Drum (Meredith Music)

TIMPANI


1 Gert Bomhof Changing Meters II (No. 12 from Solo Pieces for Timpani) 3D


2 Bill Cahn Canzone (from Six Concert Pieces for Solo Timpani) 3D PED RETUNE


3 S. Fink Rockin’ Timpani (No. 8 from Solobook for Timpani, Vol. 1) 4D


4 George Frock Opening Toccata (No. 1 from Seven Solo Dances for the Advanced Timpanist) 4D


5 Murray Houllif March Triumphant with repeats 4D PED RETUNE

Murray Houllif: March Triumphant (Kendor Music)

6 A. Ridout Movement I (from Sonatina for Timpani) 4D


7 Cameron Sinclair

Kontretanz (from 3 Tanzen) 3D PED RETUNE


A

B

Grade 6 continues overleaf with piano accompaniment

66



8 Brian Slawson Paukenstein (from Dynamic Solos for Timpani) 3D PED RETUNE


9 Nick Woud First Call 3D RETUNE




TUNED PERCUSSION


1 J. S. Bach Prelude (from Partita No. 3 for Violin Solo), arr. Sewrey, Hans & Schneller (g+–e‴) MAR/XYL


2 J. S. Bach Prélude (from Suite No. 1 in G, BWV 1007), trans. Stevens (C–g′) MAR 4M

J. S. Bach: Six Suites for Marimba (Keyboard Percussion Publications)

3 Chris Baron Mucho Gusto (b–e‴) MAR


4 G. H. Green Jovial Jasper (g+–e‴) XYL


5 Arthur C. Lipner

Caribé Vibe (Abridged Version) (from Places to Visit) (f–f ‴) VIB 4M


6 Miyoshi Tender Talk (No. 1 from Conversation: Suite for Marimba) with repeats (c′–b‴) MAR 4M

Modern Japanese Marimba Pieces 2 (Ongaku)

7 Ney Rosauro My Dear Friend (from Vibes Etudes and Songs) (f +–e‴) VIB 4M

Ney Rosauro: Vibes Etudes and Songs (2nd edition) (Pro Percussao)

8 Ney Rosauro Prelúdio No. 1 Mi menor (from Three Preludes for Solo Marimba) with repeats, without D.S. (go to 5th bar of coda) (A–g‴) MAR 4M

Ney Rosauro: Three Preludes for Solo Marimba (Pro Percussao)

9 Cameron Sinclair

Tarantella (d–d-‴) MAR/XYL

Cameron Sinclair: Tarantella (Scottish Music Centre)


Johnny’s Shuffle (from Funny Marimba, Book 2) (G–b″) MAR 4M



Macedonia with repeats (f–b-″) MAR

Nebojša Jovan Živković: Macedonia (Studio 4 Music)





C


67



RANGE REQUIREMENTS

SCALES IN THIRDS

D, F, A-, B majors2 oct. even notes

D, F, G+, B harmonic minors

SCALES IN OCTAVES

D, F, G+, B melodic minors 1 oct. even notes

CHROMATIC SCALE

starting on E 2 oct. hand to hand; even notes

BROKEN CHORDS

D, F, A-, B majors2 oct. hand to hand; even notes, as example on page 21

D, F, G+, B minors


in the keys of D, F, A- and B 2 oct. hand to hand; even notes

DIMINISHED SEVENTH

starting on D 2 oct. hand to hand; even notes

68


GRADE 7



SNARE DRUM


1 W. Benson Cretan Dance (No. 1 from Three Dances for Solo Snare Drum)


2 James Campbell

Taiko with repeats, without D.S. MULTI low, medium, high drum & cymbals (no snare drum)

Music for Multi-Percussion: A World View (Alfred)

3 Anthony J. Cirone

Study No. 32 (from Portraits in Rhythm) Anthony J. Cirone: Portraits in Rhythm (Alfred)


Movement IV (from American Suite) Guy G. Gauthreaux II: American Suite (Meredith Music)

5 Rachel Gledhill

Battercada MULTI 2 drums

Rachel Gledhill: Battercada (Southern Percussion)

6 William Kraft Prelude (Part 1 from English Suite) MULTI bass, tenor, field drum & bongos

William Kraft: English Suite (Alfred)

7 Clive Malabar Up Sticks Principal Percussion (ABRSM)

8 Cameron Sinclair

Zonal I MULTI bongos & tom-tom

Cameron Sinclair: Zonal I (Scottish Music Centre)

9 Wilcoxon The New Downfall (from Modern Rudimental Swing Solos) with repeats


10 Wilcoxon Swinging the “26” (from Modern Rudimental Swing Solos)


TIMPANI


1 Bill Cahn Etude (from Six Concert Pieces for Solo Timpani) 4D


2 Raynor Carroll Prelude 4D PED RETUNE

Exercises, Etudes and Solos for the Timpani (Batterie Music)

3 Peter Evans Shades of Bartók 4D PED RETUNE

Peter Evans: Shades of Bartók (Southern Percussion)

4 Kirk J. Gay Rock of the 80’s (from Pedal to the Kettle) 4D PED RETUNE


5 Stravinsky, arr. Matthew Hardy

Rite of Passage with repeats 3D PED RETUNE may be played on 4 drums without retune


6 David Mancini Flower City Funk 4D PED RETUNE

David Mancini: Flower City Funk (Kendor Music)

7 A. Ridout Movement III (from Sonatina for Timpani) 4D


8 Cameron Sinclair

Feuertanz (from 3 Tanzen) 4D PED RETUNE


9 Nick Woud Study No. 9 (from The Timpani Challenge) 4D PED RETUNE

Nick Woud: The Timpani Challenge (Pustjens Percussion)

10 Ian Wright Spring Fever 4D RETUNE


A

B


69


TUNED PERCUSSION


1 J. S. Bach Presto (from Sonata in G minor), arr. Moore (g–d‴) MAR/XYL/VIB


2 J. S. Bach Sarabande (from Partita No. 2), arr. Whaley (g–b-″) MAR/VIB 4M



Waltz in Ragtime (from Harry Breuer’s Ragtime Solos) (f +–g‴) MAR/XYL/VIB


4 Pius Cheung Prelude in G minor (A–g‴) MAR 4M

Pius Cheung: Prelude in G minor (Pius Cheung)

5 Daquin Cou-Cou, arr. E. & I. Finkel (b–d‴) XYL

Ian Finkel’s Classical Encores for Xylophone and Piano (Southern Percussion)

6 Dinicu, trans. Heifetz

Hora staccato, arr. Goldenberg (g–e-‴) XYL

Dinicu & Heifetz: Hora staccato (Carl Fischer)

7 Michael Zev Gordon

Folkish (f–f ‴) MAR/XYL/VIB


8 G. H. Green Triplets (c′–f ‴) XYL


9 David Hext No. 4 (from Four Graded Pieces for Multi-Mallet Marimba) (A–d‴) MAR 4M

David Hext: Four Graded Pieces for Multi-Mallet Marimba (Southern Percussion)

10 Ney Rosauro Baião (No. 1 from Suite popular brasileira) with repeats (d–g‴) MAR 4M

Ney Rosauro: Suite popular brasileira (Music for Percussion)

11 Éric Sammut Hombre d’août with repeats (A–a″) MAR 4M

Éric Sammut: Hombre d’août (Billaudot)


Il canto dei gondolieri (from Funny Marimba, Book 2) (F–d‴) MAR 4M






C

Grade 7 continues overleaf

70



RANGE REQUIREMENTS


D-, E, G, B- majors2 oct. hand to hand; as example on page 21


SCALES IN OCTAVES

C+, E, G, B- melodic minors 1 oct. even notes

SCALES IN SIXTHS

D-, E, G, B- majors1 oct. even notes


CHROMATIC SCALES IN MINOR THIRDS

starting on F/A- 2 oct. even notes

starting on B-/D-

BROKEN CHORDS

D-, E, G, B- majors2 oct. hand to hand; even notes, as example on page 21

C+, E, G, B- minors


in the keys of D-, E, G and B- 2 oct. hand to hand; even notes

DIMINISHED SEVENTH


71


GRADE 8



SNARE DRUM


1 W. Benson Fox Trot and Fandango (Nos 2 and 3 from Three Dances for Solo Snare Drum)


2 Jan Bradley Dance for Five Drums (Abridged Version) with repeats MULTI 3 tom-toms & 2 boo-bams/bongos (no snare drum)

Jan Bradley: Dance for Five Drums (Jan Bradley)

3 James Campbell

Engine Room MULTI bongos, 2 toms, bass drum & hand percussion (no snare drum)

James Campbell: Engine Room (Row-Loff Productions)

4 Stacey Duggan Popeye aerial flip optional Just Desserts (Row-Loff Productions)

5 Michael Lynch It’s About Time visual enhancement optional Just Desserts (Row-Loff Productions)


Movement II (from American Suite) with repeats

Guy G. Gauthreaux II: American Suite (Meredith Music)

7 Anthony Kerr Pontiac Principal Percussion (ABRSM)

8 Glenn Kotche Cave Dance without cuts MULTI foot pedal instrument

Glenn Kotche: Cave Dance (Alfred)

9 Alex Neal Gorymdaith MULTI tenor drum & pedal bass drum

Alex Neal: Gorymdaith (Southern Percussion)

10 Cameron Sinclair

Antrieb Cameron Sinclair: Antrieb (Scottish Music Centre)

TIMPANI


1 John Beck Movement II (from Sonata for Timpani) 4D

John Beck: Sonata for Timpani (Boston Music Company)

2 E. Carter Saëta (No. 1 from Eight Pieces for Four Timpani) 4D

E. Carter: Eight Pieces for Four Timpani (AMP) or P. 28 from Solos for the Percussion Player (G. Schirmer)

3 Julian Fairbank

Proclamation 4D PED RETUNE

Julian Fairbank: Proclamation (Southern Percussion)

4 S. Fink Episode and Cadenza (Nos 4 and 6 from Solobook for Timpani, Vol. 2) 4D retune required between pieces


5 George Frock Beguine and Samba (No. 3 from Seven Solo Dances for the Advanced Timpanist) 4D PED RETUNE


6 Kirk J. Gay Bolt! (from Pedal to the Kettle) 4D PED RETUNE


7 Michael J. Rhodes

Scenes from an Ancient Battle 4D

Michael J. Rhodes: Scenes from an Ancient Battle (Studio 4 Music)

8 Cameron Sinclair

Neuertanz (from 3 Tanzen) 4D PED RETUNE


A

B

Grade 8 continues overleaf with piano accompaniment

72





10 Nick Woud Variations 4D PED RETUNE


TUNED PERCUSSION


1 Keiko Abe Frogs (c–g‴) MAR 4M

Keiko Abe: Frogs (Studio 4 Music)

2 J. S. Bach Fugue (from Sonata in A minor), arr. Moore (g–d‴) MAR 4M



Joplin on Wood (from Harry Breuer’s Ragtime Solos) (f–e-‴) XYL


4 Michael Burritt

Sara’s Song (C–c‴) MAR 4M

Michael Burritt: Sara’s Song (Keyboard Percussion Publications)

5 Ross Edwards No. 1 (from Marimba Dances) (d–d‴) MAR


6 Ross Edwards No. 3 (from Marimba Dances) (c +–c +‴) MAR 4M


7 George H. Geldard

Tween Heather and Sea complete (f +′–g‴) XYL

George H. Geldard: Tween Heather and Sea (Oertel Musikverlag)

8 Anthony Kerr Exact Change Please (f–e‴) VIB 4M


9 Kreisler Tambourin chinois, arr. Green (g–b-‴) XYL

Kreisler: Tambourin chinois (Carl Fischer)

10 Igor Lešnik First Toy (No. 1 from Midnight Pieces) with printed cadenza (f–e‴) VIB 4M

Igor Lešnik: Midnight Pieces (Zimmermann)

11 Ney Rosauro Greeting (1st movt from Concerto [No. 1] for Marimba) with repeats; cut bb. 91–98 (A–c″″) MAR 4M

Ney Rosauro: Concerto [No. 1] for Marimba (Pro Percussao)

12 Éric Sammut Spiral 2 (from Three Spirals) with repeat (A–e-‴) MAR 4M

Éric Sammut: Three Spirals (Keyboard Percussion Publications)

13 Emmanuel Séjourné

Nancy (E–e‴) MAR 4M

Emmanuel Séjourné: Nancy (PM Europe Publications)

14 Gordon Stout Mexican Dance No. 1 (from Two Mexican Dances for Marimba) with final repeat (c–b‴) MAR 4M

Gordon Stout: Two Mexican Dances for Marimba (Studio 4 Music)

15 Trad. The Absent-Minded Woman, arr. Daughtrey (f +–e‴) XYL

The Celtic Xylophone, Book 1 (C. Alan Publications)





C


73



RANGE REQUIREMENTS


C, E-, F+, A majors2 oct. hand to hand; as example on page 21


SCALES IN OCTAVES

C, E-, F+, A melodic minors 1 oct. even notes

SCALES IN SIXTHS

C, E-, F+, A majors1 oct. even notes


CHROMATIC SCALES IN BROKEN MINOR THIRDS

starting on C2 oct. hand to hand; as example on page 21

starting on F+

WHOLE-TONE SCALES

starting on F+ 2 oct. hand to hand; even notes

starting on A

BROKEN CHORDS

C, E-, F+, A majors2 oct. hand to hand; even notes, as example on page 21

C, E-, F+, A minors


in the keys of C, E-, F+ and A 2 oct. hand to hand; even notes

DIMINISHED SEVENTH


74


Aural test requirements Included in all Graded Exams in Music Performance*

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 examAural tests are an integral part of all Graded Exams in Music Performance.

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

The information on pages 75–81 sets out the tasks that candidates will be asked to complete in the exam.

AssessmentSome tests allow for a second attempt or for an additional playing by the examiner, if necessary. The examiner will also be ready to prompt, where helpful, although this may affect the assessment.

Marks are not awarded for each individual test or deducted for mistakes; instead they reflect the candidate’s overall response in this section. The marking criteria for the Aural tests are given on page 89.

Supporting publicationsFor practice purposes, sample Aural tests are published by ABRSM. Examples of the tests for Grades Initial–8 are given in Specimen Aural Tests. More examples for Grades 1–8 are given in Aural Training in Practice. Purchasing these books is not a requirement.

Deaf or hearing-impaired candidatesDeaf or hearing-impaired candidates may choose alternative tests in place of the standard tests, if requested at the time of entry. Further information, including the syllabus for the alternative tests, is available at www.abrsm.org/specificneeds.

* A different set of tests apply to Jazz and Singing for Musical Theatre exams


75


INITIAL GRADE *

A To clap the pulse of a piece played by the examiner. The examiner will start playing the passage, and the candidate should join in as soon as possible, clapping in time.

B To clap as ‘echoes’ the rhythm of two phrases played by the examiner. The phrases will be two bars long, in three or four time, and consist of a melody line only. The examiner will count in two bars. After the examiner has played each phrase, the candidate should clap back the rhythm as an ‘echo’ without a pause, keeping in time.

C To sing as ‘echoes’ two phrases played by the examiner. The phrases will be one bar long in 4/4 time. They will be in a major key, and within the range of tonic–mediant. First the examiner will play the key-chord and the starting note (the tonic) and then count in two bars. After the examiner has played each phrase, the candidate should sing back the echo without a pause, keeping in time.

D To answer a question about one feature of a piece played by the examiner. Before playing, the examiner will tell the candidate which feature the question will be about. It will be about dynamics (loud/quiet) or articulation (smooth/detached).

GRADE 1

A To clap the pulse of a piece played by the examiner, and to identify whether it is in two 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 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.

C To identify where a change in pitch occurs during a phrase played by the examiner. The phrase will be two bars long, in a major key, and the change will affect only one of the notes. First the examiner will play the key-chord and the tonic and then count in two bars. The examiner will play the phrase twice, making the change in the second playing, after which the candidate should state whether the change was near the beginning or near the end. If necessary, the examiner will play both versions of the phrase again (although this may 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 first will be: dynamics (loud/quiet, or sudden/gradual changes); the second will be articulation (smooth/detached).

* Initial Grade not available for percussion

76


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 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.

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 may affect the assessment).

D To answer questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two features the questions will be about. The 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).

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 may affect the assessment).

77


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 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).

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 may 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 (unharmonised), after which the candidate should clap back the rhythm. The examiner will then ask whether the music is in two time, three time or four time. The candidate is not required to state the time signature.

Grade 3 cont.

78


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 may 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.


79


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 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 may affect the assessment).

B To sing a melody from score, with an accompaniment played by the examiner. The candidate may choose to sing from treble or bass clef. The melody will be within the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner will name and play the key-chord and the starting note and then give the pulse. A brief period of preparation will follow during which the candidate may sing out loud. The examiner will play the key-chord and the starting note again and then count in two bars. If necessary, the examiner will allow a second attempt (although this may affect the assessment).

C To identify the cadence at the end of a phrase as perfect or imperfect. The phrase will be in a major or minor key and will be played twice by the examiner. The chords forming the cadence will be in root position. Before the first playing, the examiner will play the key-chord.

D (i) To answer questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two features the questions will be about. The first will be: texture or structure; the second will be one of the following: dynamics, articulation, tempo, tonality, character, style and period, texture/structure.


80


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 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 may 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 may affect the assessment).

C (i) To identify the cadence at the end of a phrase as perfect, imperfect or interrupted. The phrase will be in a major or minor key and will be played twice by the examiner. The chords forming the cadence will be in root position. Before the first playing, the examiner will play the key-chord.

(ii) To identify the two chords forming the above cadence. The chords will be limited to 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 (unharmonised), after which the candidate should clap back the rhythm. The examiner will then ask whether the music is in two time, three time, four time or 6/8 time.

81


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 may affect the assessment).

(ii) To identify the cadence at the end of a continuing phrase as perfect, imperfect, interrupted or plagal. The phrase will be in a major or minor key and will be played 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 may 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.

82

4. Assessment and markingAssessment objectivesThe tables below describe the level of knowledge and skills required of candidates taking Graded Exams in Music Performance. They also show the assessment objectives and corresponding marking criteria that examiners use to assess the performances at each level. The full marking criteria used by examiners are available on pages 88–89.

Initial Grade (RQF Entry Level 3)

Assessment objectives Marking criteria

Learners will: Learners can:

Demonstrate musical skill, knowledge and understanding through performing repertoire of basic musical and technical demands, demonstrating control across the range of musical ingredients appropriate to simple repertoire and awareness of basic characteristic features and performance conventions.

Perform basic repertoire with: • Reliable pitch and intonation • Stable rhythm at a suitable tempo • Reliable tonal control and awareness• Musical shape and detail • Communication of character and style

Demonstrate instrumental control and familiarity with prescribed note patterns relevant to the instrument, through playing prescribed technical requirements at basic demand levels.

Perform specified basic technical require-ments with: • Correct notes and secure continuity • Reliable tonal control

Demonstrate notational and listening skills and understanding at basic demand levels through responding to previously unseen music and prescribed aural tests.

Respond to simple musical notation with: • Overall security of notes, rhythm and

continuity

Respond to simple piano-based musical stimuli with: • Overall accuracy and reliable musical

perception

83

4. Assessment and marking

Grades 1–3 (RQF Level 1)



Demonstrate musical skill, knowledge and understanding through performing reper-toire of elementary musical and technical demands, demonstrating control across the range of musical ingredients appropriate to straightforward repertoire and awareness of elementary characteristic features and per-formance conventions.

Perform elementary repertoire with:• Reliable pitch and intonation• Stable rhythm at a suitable tempo• Reliable tonal control and awareness• Musical shape and detail• Communication of character and style

Demonstrate instrumental control and familiarity with prescribed note patterns relevant to the instrument, through playing prescribed technical requirements at ele-mentary demand levels.

Perform specified elementary technical requirements with:• Correct notes and secure continuity• Reliable tonal control

Demonstrate notational and listening skills and understanding at elementary demand levels through responding to previously unseen music and prescribed aural tests.

Respond to straightforward musical nota-tion with:• Overall security of notes, rhythm and

continuity

Respond to straightforward piano-based musical stimuli with:• Overall accuracy and reliable musical

perception

84





Demonstrate musical skill, knowledge and understanding through performing reper-toire of intermediate musical and technical demands, demonstrating control across the range of musical ingredients appropriate to moderately complex repertoire and aware-ness of comprehensive characteristic fea-tures and performance conventions.

Perform intermediate repertoire with: • Reliable pitch and intonation • Stable rhythm at a suitable tempo • Reliable tonal control and awareness • Musical shape and detail • Communication of character and style

Demonstrate instrumental control and familiarity with prescribed note patterns relevant to the instrument, through playing prescribed technical requirements at inter-mediate demand levels.

Perform specified intermediate technical requirements with: • Correct notes and secure continuity • Reliable tonal control

Demonstrate notational and listening skills and understanding at intermediate demand levels through responding to previously unseen music and prescribed aural tests.

Respond to moderately complex musical notation with: • Overall security of notes, rhythm and

continuity

Respond to moderately complex piano-based musical stimuli with: • Overall accuracy and reliable musical

perception

85





Demonstrate musical skill, knowledge and understanding through performing rep-ertoire of advanced musical and technical demands, demonstrating control across the range of musical ingredients appropri-ate to complex repertoire and awareness of sophisticated characteristic features and performance conventions.

Perform advanced repertoire with: • Reliable pitch and intonation • Stable rhythm at a suitable tempo • Reliable tonal control and awareness • Musical shape and detail • Communication of character and style

Demonstrate instrumental control and familiarity with prescribed note patterns relevant to the instrument, through play-ing prescribed technical requirements at advanced demand levels.

Perform specified advanced technical requirements with: • Correct notes and secure continuity • Reliable tonal control

Demonstrate notational and listening skills and understanding at advanced demand levels through responding to previously unseen music and prescribed aural tests.

Respond to complex musical notation with: • Overall security of notes, rhythm and

continuity

Respond to complex piano-based musical stimuli with: • Overall accuracy and reliable musical

perception

86


Mark allocationMarks are allocated for each element of percussion exams, as shown in the table below:

Exam section Maximum marks % of total mark

Piece 1 30 20%

Piece 2 30 20%

Piece 3 30 20%

Technical requirements 21 14%

Sight-reading 21 14%

Aural tests 18 12%

Total 150 100%

Result categoriesThe result categories for Graded Exams in Music Performance are set as follows. A Pass in each section of the exam is not required to pass overall.

Result category Mark band

Distinction 130–150

Merit 120–129

Pass 100–119

Below Pass 50–99

Marking criteriaThe tables on pages 88–89 show the marking criteria used by examiners in percussion exams. Examiners mark up or down from the pass mark for each element by balancing the extent to which the qualities and skills listed in the criteria (broadly categorised by pitch, time, tone, shape and performance) are demonstrated and contribute towards the overall musical outcome.

87

Notes

88


Marking criteriaG

rade

s In

itial

–8 *

Piec

es

Pitc

h Ti

me

Tone

Shap

e Pe

rfor

man

ce

Dis

tinct

ion

27–3

0

●H

ighl

y ac

cura

te n

otes

an

d in

tona

tion

●

Flue

nt, w

ith fl

exib

ility

w

here

app

ropr

iate

●

Rhyt

hmic

cha

ract

er

wel

l con

veye

d

●

Wel

l pro

ject

ed

●Se

nsiti

ve u

se o

f ton

al

qual

ities

●

Expr

essi

ve, i

diom

atic

m

usic

al s

hapi

ng a

nd

deta

il

●

Ass

ured

●

Fully

com

mitt

ed

●V

ivid

com

mun

icat

ion

of

char

acte

r and

sty

le

Mer

it24

–26

●

Larg

ely

accu

rate

not

es

and

into

natio

n

●Su

stai

ned,

effe

ctiv

e te

mpo

●

Goo

d se

nse

of rh

ythm

●

Mai

nly

cont

rolle

d an

d co

nsis

tent

●

Goo

d to

nal a

war

enes

s

●

Clea

r mus

ical

sha

ping

, w

ell-r

ealis

ed d

etai

l

●Po

sitiv

e

●Ca

rryi

ng m

usic

al

conv

ictio

n

●Ch

arac

ter a

nd s

tyle

co

mm

unic

ated

Pass

20–2

3

●G

ener

ally

cor

rect

not

es

●Su

ffici

ently

relia

ble

into

natio

n to

mai

ntai

n to

nalit

y

●

Suita

ble

tem

po

●G

ener

ally

sta

ble

puls

e

●O

vera

ll rh

ythm

ic

accu

racy

●

Gen

eral

ly re

liabl

e

●A

dequ

ate

tona

l aw

aren

ess

●

Som

e re

alis

atio

n of

m

usic

al s

hape

and

/or

deta

il

●

Gen

eral

ly s

ecur

e, p

rom

pt

reco

very

from

slip

s

●So

me

mus

ical

in

volv

emen

t

Belo

w P

ass

17–1

9

●Fr

eque

nt n

ote

erro

rs

●In

suffi

cien

tly re

liabl

e in

tona

tion

to m

aint

ain

tona

lity

●

Uns

uita

ble

and/

or

unco

ntro

lled

tem

po

●Irr

egul

ar p

ulse

●

Inac

cura

te rh

ythm

●

Une

ven

and/

or

unre

liabl

e

●In

adeq

uate

tona

l aw

aren

ess

●

Mus

ical

sha

pe a

nd

deta

il in

suffi

cien

tly

conv

eyed

●

Inse

cure

, ina

dequ

ate

reco

very

from

slip

s

●In

suffi

cien

t mus

ical

in

volv

emen

t

13–1

6

●La

rgel

y in

accu

rate

not

es

and/

or in

tona

tion

●

Erra

tic te

mpo

and

/or

puls

e

●Se

rious

lack

of t

onal

co

ntro

l

●M

usic

al s

hape

and

de

tail

larg

ely

unre

alis

ed

●La

ckin

g co

ntin

uity

●

No

mus

ical

invo

lvem

ent

10–1

2

●H

ighl

y in

accu

rate

not

es

and/

or in

tona

tion

●

Inco

here

nt te

mpo

an

d/or

pul

se

●N

o to

nal c

ontr

ol

●N

o sh

ape

or d

etai

l

●U

nabl

e to

con

tinue

for

mor

e th

an a

sho

rt s

ectio

n

0

●N

o w

ork

offer

ed

●N

o w

ork

offer

ed

●N

o w

ork

offer

ed

●N

o w

ork

offer

ed

●N

o w

ork

offer

ed

* Ini

tial G

rade

not

ava

ilabl

e fo

r per

cuss

ion

Inst

rum

ent c

riter

ia te

mpl

ated

for s

ylla

bus

page

s fro

m 2

020


89

4. Assessment and markingG

rade

s In

itial

–8 *

Scal

es a

nd a

rpeg

gios

/Stu

dy

Sigh

t-re

adin

g G

rade

s In

itial

–8 *

Aur

al te

sts

Dis

tinct

ion

19–2

1

●H

ighl

y ac

cura

te n

otes

/pitc

h

●Fl

uent

and

rhyt

hmic

●

Mus

ical

ly s

hape

d

●Co

nfide

nt re

spon

se

●

Flue

nt, r

hyth

mic

ally

acc

urat

e

●A

ccur

ate

note

s/pi

tch/

key

●

Mus

ical

det

ail r

ealis

ed

●Co

nfide

nt p

rese

ntat

ion

Dis

tinct

ion

17–1

8

●A

ccur

ate

thro

ugho

ut

●M

usic

ally

per

cept

ive

●

Confi

dent

resp

onse

Mer

it17

–18

●

Larg

ely

accu

rate

not

es/p

itch

●

Mos

tly re

gula

r flow

●

Mai

nly

even

tone

●

Secu

re re

spon

se

●

Ade

quat

e te

mpo

, usu

ally

ste

ady

puls

e

●M

ainl

y co

rrec

t rhy

thm

●

Larg

ely

corr

ect n

otes

/pitc

h/ke

y

●La

rgel

y se

cure

pre

sent

atio

n

Mer

it15

–16

●

Stre

ngth

s si

gnifi

cant

ly

outw

eigh

wea

knes

ses

●

Mus

ical

ly a

war

e

●Se

cure

resp

onse

Pass

14–1

6

●G

ener

ally

cor

rect

not

es/p

itch,

des

pite

err

ors

●

Cont

inui

ty g

ener

ally

mai

ntai

ned

●

Gen

eral

ly re

liabl

e to

ne

●Ca

utio

us re

spon

se

●

Cont

inui

ty g

ener

ally

mai

ntai

ned

●

Not

e va

lues

mos

tly re

alis

ed

●Pi

tch

outli

nes

in p

lace

, des

pite

err

ors

●

Caut

ious

pre

sent

atio

n

Pass

12–1

4

●St

reng

ths

just

out

wei

gh

wea

knes

ses

●

Caut

ious

resp

onse

Belo

w P

ass

11–1

3

●Fr

eque

nt e

rror

s in

not

es a

nd/o

r pitc

h

●La

ckin

g co

ntin

uity

and

/or s

ome

item

s in

com

plet

e

●U

nrel

iabl

e to

ne

●U

ncer

tain

resp

onse

and

/or s

ome

item

s no

t at

tem

pted

●

Lack

ing

over

all c

ontin

uity

●

Inco

rrec

t not

e va

lues

●

Very

app

roxi

mat

e no

tes/

pitc

h/ke

y

●In

secu

re p

rese

ntat

ion

Belo

w P

ass

9–11

●

Wea

knes

ses

outw

eigh

st

reng

ths

●

Unc

erta

in re

spon

se

7–10

●

Very

app

roxi

mat

e no

tes

and/

or p

itch

●

Spor

adic

and

/or f

requ

ently

inco

mpl

ete

●

Serio

us la

ck o

f ton

al c

ontr

ol

●Ve

ry u

ncer

tain

resp

onse

and

/or s

ever

al it

ems

not a

ttem

pted

●

No

cont

inui

ty o

r inc

ompl

ete

●

Not

e va

lues

unr

ealis

ed

●Pi

tch

outli

nes

abse

nt

●Ve

ry u

ncer

tain

pre

sent

atio

n

6–8

●

Inac

cura

cy th

roug

hout

●

Vagu

e re

spon

se

0

●N

o w

ork

offer

ed

●N

o w

ork

offer

ed0

●

No

wor

k off

ered

* Ini

tial G

rade

not

ava

ilabl

e fo

r per

cuss

ion

Notes

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5. After the examResultsAll successful candidates receive a copy of the mark form and a certificate that shows the subject and level that they have been examined in. We aim to release results for Graded Exams in Music Performance approximately one month after the exam date; however, some results may take longer. Examiners will not issue or discuss a candidate’s result; the mark form (and certificate for successful candidates) will be issued by ABRSM after the exam. Unless otherwise requested during entry, mark forms and certificates are posted to the applicant named on the entry form, whose responsibility it is to pass them on to candidates.

Concerns about the examIf the candidate has any concerns about the way the exam was conducted, the applicant has seven days from the date of the exam to let us know by phone or email, or by using the online form at www.abrsm.org/examconcerns. This will enable us to investigate the matter before the results are issued.

Appeals and feedbackSpecific guidance for questions about results and appeals is available on our website. We also welcome feedback about other matters. All feedback is logged and plays a valuable part in our quality assurance procedures. Specific guidance, and Appeal and Feedback forms, can be found at www.abrsm.org/examconcerns.

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6. Other assessmentsABRSM’s other assessments for percussionists are Performance Assessment, Ensembles and diplomas. Full information is available at www.abrsm.org/exams.

Music TheoryABRSM Graded Exams in Music Theory are available for Grades 1–8. Candidates may be entered for any grade at any age and do not need to have taken any earlier grade(s). Further information is available at www.abrsm.org/theory and the qualification specification (including the full syllabus) is available at www.abrsm.org/specifications.

About Music TheoryDeveloping musical literacy forms a key part of a rounded education for performers, composers and listeners of all kinds. Understanding how written symbols relate to the elements of music, and having the skills to interpret and translate them into sounds, empowers us to communicate and experience music in a meaningful way.

ABRSM’s Graded Exams in Music Theory give learners:

• a knowledge of the notation of western music, including commonly used signs and terminology

• an understanding of fundamental musical elements such as intervals, keys, scales and chords• an ability to apply theoretical knowledge and understanding to score analysis• skills in harmonic completion of extracts and melody writing (at Grades 6–8).

Candidates are assessed on their ability to identify, use and manipulate musical symbols, to complete extracts and to answer questions relating to the elements of music according to the parameters detailed in the full syllabus at www.abrsm.org/theory.

Grade 5 as a prerequisiteWe believe that a thorough understanding of the elements of music is essential for a full and satisfying performance at the higher grades.

It is therefore a longstanding ABRSM requirement that candidates must provide evidence of a pass at ABRSM Grade 5 or above in Music Theory, Practical Musicianship or any solo Jazz instrument before they can enter for Grades 6, 7 or 8 Practical exams.

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Practical MusicianshipABRSM graded exams in Practical Musicianship are available for Grades 1–8 and are open to singers and instrumentalists. Candidates may be entered for any grade at any age and do not need to have taken any earlier grade(s). The full syllabus is available at www.abrsm.org/practicalmusicianship.

About Practical MusicianshipMusicianship 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 graded exams in Practical Musicianship encourage learners to develop their ability to ‘think in sound’ and perform spontaneously. While the other practical 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.

The exams also cover the following key skills:

• the ability to internalise music and to reproduce it• interpreting written music with a minimum of preparation• exploring the possibilities inherent in a short motif• the ability to detect differences between what is heard and what is written.

In developing their musicianship skills, learners will be gaining the understanding as well as the expressive and interpretative skills needed to master the musical language of the repertoire they are learning.

Grade 5 as a prerequisiteWe believe that a thorough understanding of the elements of music is essential for a full and satisfying performance at the higher grades.

It is therefore a longstanding ABRSM requirement that candidates must provide evidence of a pass at ABRSM Grade 5 or above in Practical Musicianship, Music Theory or any solo Jazz instrument before they can enter for Grades 6, 7 or 8 Practical exams.

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ARSMThe ARSM diploma is available to instrumentalists and singers of any age. Bridging the gap between Grade 8 and DipABRSM (Music Performance), it provides musicians with an opportunity to develop their performance technique and interpretative skills, while focusing on programme building and extending their repertoire.

Key features• Candidates present a balanced and varied programme, as follows:

• the programme lasts 30 minutes• at least 20 minutes of the music is chosen from the repertoire list• the remaining programme time may be made up of own-choice repertoire, of Grade 8

standard or above• There are no additional supporting tests or other requirements• ARSM exams take place at the same venues and time periods as ABRSM’s Graded Exams

in Music Performance• ARSM is a letter-bearing qualification. Candidates awarded the diploma can use the

letters ARSM (Associate of the Royal Schools of Music) after their name.

Those entering for an ARSM diploma must first have passed ABRSM Grade 8 (or a listed alternative). Full details of the exam and entry requirements are available at www.abrsm.org/arsmdiploma.

We update our syllabuses from time to time. Advance notice of any changes will be given at www.abrsm.org/exams. Please refer to the website for the most recent version of the ARSM syllabus.

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DipABRSM, LRSM, FRSM (Music Performance)These diplomas are available to instrumentalists and singers of any age. Through a combination of live and written components, candidates demonstrate their performance, communication and research skills, as well as their musical knowledge and understanding. Each diploma serves as a stepping stone to the next level.

Key features• Candidates:

• present a recital programme• submit programme notes (DipABRSM & LRSM) or a written submission (FRSM) • undertake a viva voce, with questions covering the recital, programme notes/written

submission as well as other aspects of performance• perform a short piece of unaccompanied and previously unseen music after five minutes’

preparation time (quick study)• These diploma exams take place at specific venues and times of the year• Each diploma is a letter-bearing qualification. Candidates awarded a diploma can use the

letters DipABRSM (Diploma of the Associated Board of the Royal Schools of Music), LRSM (Licentiate of the Royal Schools of Music) or FRSM (Fellowship of the Royal Schools of Music) after their name as appropriate.

Those entering for one of these diplomas must fulfil a specific ABRSM prerequisite (or a listed alternative). Full details of the exam and entry requirements are available at www.abrsm.org/diplomas.

We update our syllabuses from time to time. Advance notice of any changes will be given at www.abrsm.org/exams. Please refer to the website for the most recent versions of the diploma syllabuses.

Further diploma examsDipABRSM, LRSM and FRSM diplomas are also available for Instrumental/Vocal Teaching and Music Direction. Full details are available at www.abrsm.org/diplomas.