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AUSTRALIAN GUILD OF MUSIC AND EDUCATION

Page 2 Traditional Piano Classical Examination Syllabus | Australian Guild of Music Education

The GUILD

Music & Speech Education System Australian Guild of Music Education Inc – A0010797V

The Australian Guild, Music and Speech Education System can be broadly divided into two sections:

Public Examinations for music and speech/drama students from beginner to advanced (Licentiate andFellowship diplomas)

Tertiary Courses with Certificate, Diploma and Advanced Diploma courses for the music industry andBachelor of Music degree for advanced music training

The public examinations are administered by The Australian Guild of Music Education, Public ExaminationsDivision. These examinations cover practical music, music performance, music theory, practical speech anddrama, speech and drama theory, oral communication, spoken language development and choric speaking.The printed syllabi for each type of examination, together with a wide-ranging series of publications forms acomprehensive instructional system to aid teachers in developing the skills of their students. The examinationsprovide recognition for the student’s work and teacher recognition is achieved through the Australian GuildTeachers Register.

The Creative Skills and Higher Educations programs covering courses in music to Certificate IV (CUS40101),Diploma (CUS50101) and Advanced Diploma (CUS60101) and Bachelor of Music degree (V0004629) areprovided by the Australian Guild of Music Education, Tertiary Course Division. The AGMED is a RegisteredTraining Organisation approved to deliver these courses in all States of Australia. All the courses are on theNational Qualifications Register and may be completed by distance education. Video-tapes and DVDs ensurethat students everywhere receive “live” instruction. Tapes and DVDs of tutorial centre sessions are dispatcheddirectly to remote students together with written material.

In the Higher Education Program Bachelor of Music degree, articulation agreements may be arranged withother Universities for students who wish to continue their studies beyond a first degree. The Bachelor course,like the others, may be completed by distance education, the Kooyong campus and video material providing theappropriate contact between tutors and students.

Al l enquir ies to: AUSTRALIAN GUILD OF MUSIC EDUCATION INCPublic Examination Division

Austra lian Guild Conservatorium, 451 Glenferr ie RoadKOOYONG VIC 3144AUSTRALIA ph/fax +613 98223111

[email protected] www.guildmusic.edu.au

VERSION CONTROL

Reference: 20-0-7 (20090515)Change

Book Volume Edition Date

20 0 7 20090515 Minor adjustments20 0 6 20090224 Lists updated, AGMS updated to AGMED, publishers section deleted,

new cover updated

20 0 5 19970101 Lists updated

20 0 4 19920131 New works added to lists

20 0 3 19890801 Revision incorporating previous amendments/additions/supplements

20 0 2 19880201 Incorporates all amendments/additions. Supplement issued Jan 89

20 0 1 19840501 First separate publication of Pianoforte Syllabus, Amendments/additions each year up to 1987

PHOTOCOPYING PROHIBITED

All rights reserved. No part of this publication may be reproduced, arranged, stored in a retrieval system or transmitted in any form or

by any means, manual, mechanical, photographic, chemical, electronic or otherwise, without the prior permission of the Australian Guildof Music Education Inc (A0010797V).

Copyright 2004 by Australian Guild of Music Education IncThe moral rights of the authors are asserted.

mailto:[email protected]:[email protected]://www.guildmusic.edu.au/http://www.guildmusic.edu.au/http://www.guildmusic.edu.au/mailto:[email protected]


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AUSTRALIAN GUILD OF MUSIC EDUCATION(Incorporating the AGMS)

GUILDThe Australian Guild of music Education is an music education body dedicated entirely to Distant Education and Tertiary CoursesAGMED (Conservatorium and Faculty of Music) and the AGMED (Public Examination sector) which caters for public examinations in

music.

The GUILD encompasses both bodies.

The Australian Guild of Music and Speech was/is primarily an examining body in the fields of music andspeech.

HISTORICAL INFORMATION

The AGMED was formed in 1969 and has Syllabi in all traditional areas. The Guild was the first body to evolvean Electronic Organ Syllabus, a Digital Keyboard Syllabus, a Modern Piano Syllabus and modern Woodwind,Brass and Guitar Syllabi. These modern syllabi have all been very successful. The Guild still unequivocallyleads in these areas.

The AGMED (Public examination sector) through an Australia wide system of graded examinations aims to

develop music and speech education and skills by promoting uncompromising standards of education in both performing and teaching. To that end, all AGMED Syllabi whether traditional or contemporary have beenformulated to promote those ideals. AGMED Syllabi have been innovatively enhanced to allow candidates andteachers full access to a large selection of works in order to progress to their full potential. AGMED Syllabioffer the concept of OWN CHOICE in any List and in any practical subject area on the basis that no one person

is the same as another.Many different physical, mental and emotional factors sometimes cause the withdrawal of a candidate’s musicalinterest when confronted with an uncompromising selection of works, as so often happens in many syllabi.

The official Syllabi of the AGMD are designed to meet the needs of private Teachers, Professional Musicians

and Educational Institutions, as well as to cater for those whose desire is to persue the study and practice of theirart chiefly for its aesthetic and spiritual values, if not for professional reasons. Because of the character of the

AGMED constitution as revealed in the ‘Articles of Association’ the body is particularly suited for such a purpose. Therefore their Lists will be found to be comprehensive, catering for the academically minded, the performing artist and for those who seek recreation, cultured self expression and the development of a

rewarding and satisfying professional life.

The AGMED conducts many thousands of practical and theory examinations every year throughout Australia,Singapore, Malaysia and in Sabah and Sarawak in Borneo. Malaysia has centres in Kuala Lumpa, Ipoh (North),

Penang (Nth West) as well as in the Eastern areas of the country. Additionally, Sabah across the China Sea in North Borneo at Copa, Kinabalu is also a very strong base of Guild activity. Brunei is another successful

Centre. An initiative to commence examinations in mainland China is already under way.

PUBLICATIONS OUT OF PRINT It is inevitable in any Contemporary Syllabus that publications change

and some will go out of print within a space of time. This is unfortunate but a circumstance over which we haveno control.

TERTIARY PROFESSIONAL COURSES

In addition the Guild offer a complete music program to the dedicated student and can offer either by Distanceor attendance a range of professional courses in music all fully accredited.

VET Level courses include Certificate 1-1V, Diploma and Advanced Diploma. The new government Fee Help

scheme is expected to be available in mid year for Diploma and Advanced Diploma students

Higher Education Bachelor of Music program is available and offers immediate access to Government FEEHELP. This is not Means Tested.

AUSTUDY is available for all courses.Contact the Guild office 03 9822 3111 or the Dean Mobile 0412 327 665, or write to Guild

451 Glenferrie Road, Kooyong Victoria 3122 AUSTRALIA, or visit our WEB SITE www.guildmusic.edu.au

http://www.guildmusic.edu.au/http://www.guildmusic.edu.au/http://www.guildmusic.edu.au/


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INDEX

TRADITIONAL CLASSICAL PIANOFORTE

SYLLABUS.

INDEX. Page 4

EXAMI NATION GUIDE. Page 5

STEP EXAMI NATIONS .Step One. Page 16

Step Two. Page 19

Step Three. Page 21

GRADE EXAMINATIONS .Grade One. Page 24

Grade Two. Page 28

Grade Three. Page 33

Grade Four. Page 38

Grade Five. Page 43

Grade Six. Page 48

Grade Seven. Page 53

Proficiency. (Grade Eight) Page 59

DIPLOMA EXAMINATIONS .Associate. Page 65

Licentiate. (Performer) Page 69

Licentiate. (Teacher) Page 73

Fellowship Diploma. Page 75

The currency of this Syllabus is unlimited. It is expected that it will be constantly upgraded.

In its present form, this Syllabus has been authorized by the Australian Guild of Music Education.Prepared for the Guild by:-

Dr. Ivan Holmes. (Ph.D. JCU)Mrs Glen Varney. (Melbourne) Grad.Dip Mus. FAGM. LRAM.

Jeffrey Wood. B.Mus. (Guild)

Mrs Greta Grybaitis. (Canberra)

Ms Diane Vrcic (Perth)


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EXAMINATION GUIDE

1. EXERCISES. Steps 1. 2. 3. Grades 1. 2. Candidates only need to select ONE for performance.

*************************************************************

2. Guild Step Examinations. ) " 16.Guild Grade Examinations. ) " 24.

3. Supplementary Student Book. " 05.4. Examination Music. " 06.5. Guild Examinations. " 06.6. Own Choice Music. " 06.7 Memorization. " 06.8. Performance. " 06.9. Technical Control. " 06.

10. Sustaining Pedal. " 06.11 Chord Progressions. " 07.12. Chords. " 07.13. Contemporary Chords. " 07.14. Sight Reading. " 07.15. Assessment. " 08.16. Gradings. (Assessment) " 08.17. Theory Requirements for Practical Examinations. " 08.18. Scales and Arpeggios. " 08.19. Recommended Minimum Tempi for Scales and Arpeggios. " 09.

20. Scale requirements for all Steps and Grades. " 09.21. Arpeggio requirements for all Steps and Grades. " 11.

22. Chord Requirements for all Pianoforte Examinations. " 12.23. Description of Contemporary Chord Symbols. " 13.24. Chord Progressions " 14.

*************************************************************

2. PIANOFORTE STEPS (See Page 16 and GRADE Examinations See Page 24)

Examination books for Steps 1. 2 and 3 and for Grades 1. 2. 3. and 4 have been published by Guild

Publishing Inc. Each is a self-contained book which can be used for entry to the appropriate public Stepexamination in either Classical Piano, Contemporary Piano, Digital Piano or Electronic Keyboards. The

books have been compiled from the most popular pieces preferred by teachers and students and are availablethrough the Guild Office and also at selected retail outlets. It is important to note that any student using oneof these Guild Step or Grade Books will not require the Supplementary Student Book. (See Item 3).

3. SUPPLEMENTARY STUDENT BOOK.

This outstanding and essential Pianoforte Supplementary Student Book includes all necessary technicalrequirements for every examination from Step One through to the Proficiency Certificate. The book is validfor all Pianoforte examinations and Keyboards (See Item 2) and contains all Scales, Arpeggios and chordsrequired in Guild examinations. In addition, informative notes about Chords, Chord Symbols, ChordProgressions, Technical Exercises, Rhythms and a new and extensive article on Improvisation are also

included.NOTE:- This book is a Guild publication and is only available from the Guild Office. It is essential thatevery student has a personal copy of this Supplementary Student book for practice and for his or her own ex-

amination use. The book is copyrighted and photo copies of individual pages are not to be used.


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EXAMINATION GUIDE. Continued.

4. EXAMINATION MUSIC.

All of the chosen music provides a basis for a sound foundation and a pleasing repertoire. A few items in theExamination Lists are published in a number of alternative versions. Care should be taken to ensure that thecorrect standard for the specific grade level is used, as editions of the same work often differ markedly. Itshould be remembered that no arrangement of any work in the Traditional Syllabus (including "Own

Choice) is acceptable for this examination. However, arrangements can be used in the Guild ContemporaryPiano Syllabus.

5. GUILD EXAMINATIONS.

AGMED examinations provide an excellent goal for students in their music studies. They give a sense of purpose and direction and can be undertaken in addition to other music activities. They are not meant to bethe only event in a student's musical year. The report provides a reliable assessment of a candidate's progressand contributes to the student's overall musical development.

6. OWN CHOICE REPERTOIRE FOR YOUR CONSIDERATION.

No Guild approval required for music from the given lists.

NOTE:- Also, you are free to choose any other work not listed which is suited to your student at that

particular examination level (this applies to Steps - Grade 2 only).

As an aid to individual student development, the above section is included in every Grade and Diploma Listthroughout the entire Syllabus.Teachers need not refer to the Guild for approval of a substituted work in these levels unless there is doubt asto the standard of the chosen work. (applies to Steps to Grade 2 level only)Teachers and candidates should be most careful to maintain adequate contrast in style and comparabledifficulty when selecting an "Own Choice" work under this provision.

For ‘Own Choice’ Grade 3 level and above - teachers should send a copy of the complete work with a

self addressed stamped envelope, stating the grade and which list (A, B, C or D) approval is requested,

to Greta Grybaitis at 35 Follett Street, Scullin, ACT, 2614.

7. MEMORY.Although not a Step or Grade requirement, the playing of all music from memory is to be encouraged asmany benefits can be derived from playing from memory. Style, skill and confidence often develop

considerably in this way as the student's attention is not diverted by the need to continually look at the printed page. Memory work is required in the Associate and Licentiate Diploma practical examinations.

8. PERFORMANCE.

The importance of personal style development should not be overlooked by teachers and students. This is in

accordance with the Guild's philosophy of developing self-esteem and personal skill. But, attention todifferent styles and accuracy of music in general must not be neglected. It should always be borne in mind

that the music which has been chosen for the examination must be played with absolute precision and accu-racy in respect of the demands of the period and of the composer's intentions. It is expected that teachers andcandidates will give careful consideration to the development of technical skill and musical ability so that thenecessary styling demands of the music be adequately met.

9. TECHNICAL CONTROL. Technical control of the Pianoforte is very important. The wrists must not sag. The correct hand, wrist, armand finger action is a basic technical requirement, and will always be commented upon in an Examiner'sReport if this technique is neglected.

10. THE SUSTAINING PEDAL. Pedalling is very important and should not be lightly dismissed by teachers or students. The correct seating posture and position at the keyboard is essential as the incorrect or ineffective use of the sustaining pedal is

a frequent cause of unsatisfying performance at examinations. The feet should be flat on the floor and noton the toes under the stool. The importance of having a sound knowledge of the mechanism, function and

technique of this essential aid, cannot be over-emphasized.


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It must be remembered that the sustaining pedal is essential for good pianoforte playing and it should beused from the earliest of levels. The not uncommon reference by students to the sustaining pedal as the 'loud pedal', reflects a misconception that is not only confined to candidates. Indeed, some teachers either forbidor severely restrict the use of this pedal because of the fear that the student, by keeping it depressed all thetime without due thought to the musical consequences of this action, will not only play loudly, but also blur

the harmonic or contrapuntal outline of the music.But avoiding a problem does not resolve it. Students should be trained to 'listen' to their own playing, and ifthis were done, over or under-use of the pedal would soon cease. The idea that the pedal(s) should beavoided until the higher grades are reached is both musically and technically naive and unsound. Too much pedal is an evil which can never be tolerated, but too little pedal is a greater evil, because it is too oftentolerated. The latter fault makes the pianoforte a somewhat expressionless instrument, often countering thestyle, mood and content of the piece. Not until a pianist has reached an acceptable standard of pedal tech-nique, can a claim of satisfactory mastery over the instrument be made.Therefore, for the purpose of these examinations, the musical use of the pedal will be expected - especiallyin Sight Reading exercises. Often, music does not have any pedal markings, but this editing is not to beinterpreted as an indication that the pedal is not to be used. Even in the music of Bach, judicious use of thesustaining pedal to assist in holding notes for their required length, is acceptable. But, a developed pedalling

skill, together with great care is required in this practice as generally, pedalling is not recommended in themusic of this composer, for the polyphonic lines and textures are then blurred. The Examiner will expect areasonable degree of musical pedal control from the candidate commensurate with the Step, Grade orDiploma level being attempted.

11. CHORD PROGRESSIONS.

(These Progressions are not required from memory, but it is advisable to play the progression from

memory if the student wishes to do so.)

These are examination requirements in the Pianoforte Syllabus first appearing at Grade Five level in thisIndex on Page 42. Then Grade Six, Seven and Proficiency Certificate level. The chords generally used in

these progressions are basic triads and should be ideally played in pianoforte style or in four part vocalharmony style.

However, until skill is developed, the chords can be played in any position in the right hand with the lefthand completing the chord with a Tonic octave. The purpose of these progressions is to develop a basicknowledge of the importance of correct chord use in both practical and theoretical music. All chord

progressions for grades Five, Six, Seven and the Proficiency Certificate are given in detail in the

Supplementary Student Book.

12. CHORDS.

Candidates should know all of the chords which are listed for each grade, as the Examiner will always ask

for some of these. However, it is realized that there are many other chords used in the examination musicwhich candidates choose and which are not shown in the chord list in the Technical Work section of the ex-

amination requirement.These additional chords are not examinable, but teachers should always make certain that their students arethoroughly familiar with them. It is important to give the student this knowledge and skill so that adequateindividual development be not unduly retarded.

13. CONTEMPORARY CHORDS.

The student during the course of his/her development will often be confronted by Contemporary Chords.See Item 23 Page 14 for an explanation of some of Contemporary chords generally in use by musicians.

14. SIGHT READING.

This essential skill will always be tested in an examination. The tests given will generally reflect the keysignature and technical requirements of the step or grade level being examined. Therefore it is necessaryfor every teacher to insist that their students give a few minutes each day to the development of this skill.

Always train the student to look well ahead and to be ready for what is coming along.


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15. ASSESSMENT.In the examination assessment of candidates, examiners will carefully consider the following points:-* Poise, musical control and co-ordination.* Style, tone and interpretation.* Effective use of the sustaining pedal.

* Technical control of the fingers, hands, wrists and arms.* The ability of the candidate to employ the concept of economy of movement in muscular control at the

keyboard. No excessive or wasteful movement.

16. EXAMINATION GRADINGS. (ASSESSMENTS) The following gradings apply to all Guild Step, Grade and Proficiency examinations.

96-100. = High Distinction.90-95. = Distinction.85-89. = Honours.80-84. = B+ Credit.75-79. = B Credit.70-74. = C+ Pass

65-69. = C Pass.55-64. = D Marginal Pass. (No certificate issued.)0-54. = NGS. (Not Grade Standard. No certificate issued.)In addition, NGS is sometimes used by Examiners when marking any particular section in any examina-tion. This is always an indication that much more work remains to be accomplished in this particulararea.

DIPLOMA EXAMINATIONS . (ASSESSMENTS)

96-100. = High Distinction.90-95. = Distinction.

70-89. = Pass.

17. THEORY REQUIREMENTS FOR PRACTICAL EXAMINATIONS.All practical examinations from Grade Three and above have an additional theory requirement. Theappropriate theory examination must be passed within three years of the practical examination or vice

versa before the practical examination certificate can be issued.Grade Three Practical Additional requirement Grade One TheoryGrade Four Practical Additional requirement Grade Two TheoryGrade Five Practical Additional requirement Grade Three TheoryGrade Six Practical Additional requirement Grade Four Theory

Grade Seven Practical Additional requirement Grade Five TheoryProficiency Additional requirement Grade Six Theory

Associate Additional requirement Grade Seven TheoryAssociate TD. Additional requirement ) Grade Seven Theory

In addition. ) Teaching PrinciplesLicentiate P. Additional requirement Grade Eight TheoryLicentiate TD. Additional requirement ) Grade Eight Theory

In addition. ) Teaching Principles

18. SCALES and ARPEGGIOS.

The minimum suggested tempo is always given with each Step or Grade. Scales are based on FOURnotes to the metronome marking.

Arpeggios are based on THREE notes to the given metronome indication but it is also advisable to practice them in groups of FOURS at a similar and comfortable tempo.Although not listed as examinable in grade requirements, students, in their own interests, should

nevertheless be familiar with all scales and arpeggios from previous grades. Examiners MAYsometimes request a different scale from those listed to arrive at an appropriate decision.


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EXAMINATION GUIDE. Continued. * Fluency, accuracy and clarity of all scale and arpeggio requirements is essential. Students are advised

not to be satisfied with uneven and careless playing as poor control effects the playing and examinationresult considerably.

* Reasonable tempo modifications are allowable, if necessary, in Grade Two and above, for the playingof scales in contrary motion, 3rds, 6ths, 10ths, double octaves and staccato touch. But in every case, thetechnical level of each grade should be duly regarded.

* Finger staccato touch (not a detached touch) is required in addition to the normal legato touch for scalesin Grade Two and above at the Examiner's discretion.

* Tonal gradation:- ppp - fff . Crescendo (ascending) and decrescendo (descending) is required for scalesfrom Grade Five and above:- again at the Examiner's discretion.

* Suggested scale and arpeggio speeds are listed in the technical section of each Step or Gradeexamination. Rhythmic and notational accuracy in all scales and arpeggios must never be sacrificed foruncontrolled speed in playing. Reasonable fluency in technical work is insisted upon in all Steps andGrade examinations and plodding tempos should be guarded against.

* Any recognised standard edition of scales and arpeggios may be used. Correct fingering in all scalesand arpeggios is ESSENTIAL.

19. RECOMMENDED MINIMUM TEMPI.

SCALE tempo is FOUR crotchets to the given MM number. Faster tempi can be used if desired.Step 1. One crotchet = MM 100.Step 2. " " = MM 100.Step 3. Four crotchets = MM 40.Grade 1. " " = MM 54.Grade 2. " " = MM 66.Grade 3. " " = MM 76.Grade 4. " " = MM 84.Grade 5. " " = MM 96. (MM 84.)

Grade 7. " " = MM 108. (MM 92.)Proficiency. " " = MM 112. (MM 96.)

20. STEPS and GRADES. Scale listing for Similar Motion and Contrary Motion.

The Grade requirements for Scales and Arpeggios are methodically planned for proper development.All keys including enharmonic keys are effectively known by the time Grade Seven has been reached.All scales and arpeggios in the Traditional Pianoforte, Contemporary Pianoforte, Digital Piano,Electronic Keyboard correlate with the Electronic Organ.In the Pianoforte Syllabus, similar motion scales and arpeggios to Grade Four inclusive, are either one

or two octaves. From Grade Five onwards, scales and arpeggios are to be played four octaves.All scales from Grade One onwards are played both hands together. This list has been compiled for the

convenience of teachers.

STEP ONE. Major. C. G. Hands separate. One octave.

STEP TWO. Major. C. G. F. Hands separate. One octave.

STEP THREE. Major. C. Hands together. One octave.Major. G. D. F. Hands separate. One octave.Harmonic Minor. A.

Contrary Motion.

Major. C. G. Hands together. One octave.

GRADE ONE. All Scales. Hands together.

Major. C. G. D. F. Two octaves.Harmonic Minor. A.


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EXAMINATION GUIDE. Continued. Melodic Minor. A.

Contrary Motion. Major. C. G. Two octaves.Harmonic Minor. A.

GRADE TWO. All Scales. Hands together.

Major. F. Bb. Two octaves.Harmonic Minor. D. E.Melodic Minor. D. E.

Contrary Motion.

Major. F. D. Two octaves.Harmonic Minor. D. E.

GRADE THREE. All Scales. Hands together.Major. A. E. B. Two octaves.Harmonic Minor. C. G.Melodic Minor. C. G.Contrary Motion.

Major. A. E. Two octaves.Harmonic Minor. C. G.

GRADE FOUR. All Scales. Hands together.Major. Bb. Eb. Two octaves.Harmonic Minor. F. B.Melodic Minor. F. B.Chromatic. C. C#.

Contrary Motion.

Major. Bb. Eb. Two octaves.

Harmonic Minor. F. B.

GRADE FIVE. All Scales. Hands together .Major. F#. Ab. Db. Four octaves.Harmonic Minor. Bb. Eb.

Melodic Minor. Bb. Eb.Chromatic. D. D#.

Contrary Motion.

Major. Ab. Db. Two octaves.Harmonic Minor. Bb. Eb.Staccato 3rds. C Major. Two octaves.Use 2nd and 4th fingers on C & E. Hands separate.

GRADE SIX. All Scales. Hands together. . Major. Gb. Cb. C#. Four octaves.

Harmonic Minor. C#. G#. D#.Melodic Minor. C#. G#. D#.

Chromatic. E. F.Contrary Motion.

Major. Gb. Cb. C#. Two octaves.Harmonic Minor. C#. G#. D#.Staccato 6ths. C Major. Two octaves.

Commence on E & C and using the thumb & fifth finger.Double Octaves. Eb Major. Two octaves.

C Harmonic Minor.

NOTE:- All similar motion Major scales including enharmonic keys arecompleted with this sixth grade.


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EXAMINATION GUIDE. Continued. GRADE SEVEN. All Scales. Hands together .

Major. Any Major scale. Four octaves.Harmonic Minor. F#. Ab. A#.Melodic Minor. F#. Ab. A#.Chromatic. F#. G. G#.Contrary Motion.

Major. F#. B. Eb. Two octaves.Harmonic Minor. F#. Ab. A#.Chromatic. F#. G. G#.3rds and 6ths. C. D. E. Major. Two octaves.

C. D. E. Harmonic Minor.Double Octaves. F. A. Major. Two octaves.

F. A. Harmonic Minor.

NOTE:- All similar motion Harmonic and Melodic Minor Scales includingenharmonic keys are completed with this grade.

PROFICIENCY. All Scales. Hands together.

(Grade Eight.) Major. Any Key. Four octaves.Harmonic Minor. Any Key.Melodic Minor. C#. G#. A#. D#.Chromatic. A. A#. B.Contrary Motion.

Major. Ab. Bb. F#. C#. Two octaves.Harmonic Minor. Eb. Db. B. G.Chromatic. A. A#. B.3rds. 6ths and 10ths. D. F. Bb. Major. Two octaves.

C. Eb. G. Harmonic Minor.Double Octaves. G. Ab. B. Major. Two octaves.

E. F#. G#. Harmonic Minor.

***********************************************************

21. STEPS and GRADES. ARPEGGIO LISTING. Similar Motion and Contrary Motion.

All arpeggios from Grade Three onwards are played both hands together. The following list has beencompiled for the convenience of teachers.

ARPEGGIO tempo is based on THREE notes to the same MM number. If a grouping of FOUR notesis desired, then choose a comfortable tempo in relation to the given three note MM number.Dominant and Diminished 7ths. The MM number is given in brackets.

STEP ONE. See Syllabus requirements.

STEP TWO. See Syllabus requirements.

STEP THREE. Hands Separate. See Syllabus requirements.Broken Chord Pattern. Three note groups. Ascending only.

Major. C . One octave.

GRADE ONE. Hands separate.Broken Chord Pattern. Three note groups. Ascending and descending.

Major. C. G. One octave.

GRADE TWO. Hands separate.

Broken Chord Pattern. Four note groups. Ascending and descending.Major. G. One octave.

Minor. D.


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EXAMINATION GUIDE. Continued. GRADE THREE. Hands separate for Rotary Broken Chords.

Rotary Broken Chords. Four note groups. Ascending and descending.Major. F. One octave.Minor. E.

Arpeggios. Hands together. Root position. Ascending & descending.Major. C. G. Two octaves.

Minor. A. E.

GRADE FOUR. Hands together . Root position. Ascending & descending.Major. F. Bb. Two octaves.Minor. D. G.

GRADE FIVE. Hands together. Root. position and 1st Inversion. Ascending & descending.Major. D. A. Four octaves.Minor. B. C.

GRADE SIX. Hands together. Root position and 1st Inversion. Ascending & descending.Major. E. Eb. Ab. Four octaves.

Minor. F. Eb. Bb.Dominant 7ths. In the keys of D. A. F. Four octaves.

Hands together. Root position. Ascending & descending.

GRADE SEVEN. Hands together. Root position. 1st & 2nd Inversions.Ascending & descending.Major. B. Db. Gb. Four octaves.Minor. C#. F#. G#.

Contrary Motion. Major. B. Two octaves.Minor. F#.

Dominant 7ths. In the keys of G. E. Bb. Four octaves.

Hands together. Root position. Ascending & descending.Diminished 7ths. In the keys of C. D. Four octaves.

Hands together. Root position. Ascending & descending.

PROFICIENCY CERTIFICATE. Hands together. Root position. 1st and 2nd Inversions.(Grade Eight) Ascending and descending.

Major. Cb. C#. F#. Four octaves.Minor. Ab. A#. D#.

Contrary Motion. Major. Cb. C#. F#. Two octaves.Minor. Ab. A#. D#.

Dominant 7ths. In the keys of F. F#. G. Four octaves.Hands together. Root position and all three inversions.

Diminished 7ths. In the keys of F. F#. G. Four octaves.Hands together. Root position and all three inversions.

***************************************************************

22. CHORD REQUIREMENTS. STEPS AND GRADES.Pianoforte, Digital Piano & Electronic Keyboards.

STEP ONE. C. G. Major. Right Hand. Any position.

Left Hand. Tonic octave or single note.STEP TWO.

C. F. G7. Right Hand. Any position.

Left Hand. Tonic octave or single note.STEP THREE.

C. G. G7. F. Am. Right Hand. Any position.Left Hand. Tonic octave or single note.


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EXAMINATION GUIDE. Continued. GRADE ONE.

` C. G. G7. F. Am. Dm. Right Hand. Any position.Left Hand. Tonic octave.

GRADE TWO.

C. G. D. F. Bb. C7. G7. F7. Am. Dm. Em. Right Hand. Any position.Left Hand. Tonic octave.

GRADE THREE.A. E. B. Cm. Fm. Gm. D7. Dm7. A7. Am7. Right Hand. Any position.

Left Hand. Tonic octave.The Examiner MAY also ask for any of the chords from previous grades as follows:-C. G. D. F. Bb. C7. G7. F7. Am. Dm. Em.

GRADE FOUR. Eb. Bb7. Cm7. Gm7. C6. G6. F6. Bb6. Right Hand. Any position.

Left Hand. Tonic octave.The Examiner MAY also ask for any of the chords from previous grades as follows:-C. G. D. A. E. B. F. Bb.Cm. Dm. Em. Fm. Gm. Am. C7. G7. D7. A7. F7. Am7. Dm7.

GRADE FIVE.

C Dim. G Dim. D Dim. A Dim. F Dim. Also written as Co.C Aug. G Aug. D Aug. A Aug. F Aug. " " " C+.Ab. D6. E6. A6. B6. Eb6. Ab6. Right Hand. Any position.

Left Hand. Tonic octave.The Examiner MAY also ask for any of the chords from previous grades as follows:-C. G. D. A. E. B. F. Bb. Eb.Cm. Dm. Em. Fm. Gm. Am. Am7. Cm7. Gm7. Dm7.C7. G7. D7. A7. F7. Bb7. C6. G6. F6. Bb6.

GRADE SIX.

ALL Major and Minor chords in all keys.CMaj7. GMaj7. DMaj7. AMaj7. FMaj7. BbMaj7. EbMaj7.E7. Eb7. Ab7. Em7. Bm7. Fm7. Bbm7. Right Hand. Any position.

Left Hand. Tonic octave.The Examiner MAY also ask for any of the chords from previous grades as follows:-C7. G7. D7. A7. F7. Bb7. Am7. Cm7. Gm7. Dm7.C6. D6. G6. A6. E6. B6 F6. Bb6. Eb6. Ab6.C Dim. G Dim. D Dim. A Dim. F Dim. Also written as Co.

C Aug. G Aug. D Aug. A Aug. F Aug. " " " C+.

GRADE SEVEN.

Major, minor, sixth, seventh, major seventh, minor seventh, diminished and augmentedchords in all keys. Right Hand. Any position.

Left Hand. Tonic octave.

PROFICIENCY. Major, minor, sixth, seventh, major seventh and ninth, minor seventh and ninth, diminishedand augmented chord. Familiarity with chords in all keys is essential.

Right Hand. Any position.Left Hand. Tonic octave.

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23. DESCRIPTION OF CONTEMPORARY CHORD SYMBOLS.

Although this listing is given in the key of C, the same construction and symbol applies to all keys.

23.1 SINGLE LETTER is always a Major or a Minor chord. (Triad)e.g. C or CMaj = C E G. Cm = C Eb G.

23.2. SEVENTH CHORD is always the major triad and a minor 7th. This chord is traditionallyknown as the Dominant 7th of the key to which it belongs. In this case, the key of F.

e.g. C7 = C E G Bb.

23.3. MINOR SEVENTH CHORD is always the minor triad and minor 7th.e.g. Cm7 = C Eb G Bb.

23.4. MAJOR SEVENTH CHORD is always the major triad and major 7th.e.g. CMaj7 = C E G B. GMaj7 = G B D F#.

23.5. DIMINISHED CHORD is always every 3rd semitone.

e.g. Cdim or Co = C Eb Gb. Co7 = C Eb Gb Bbb.

23.6. AUGMENTED CHORD is always a major 3rd and Augmented 5th.e.g. Caug or C+ = C E G#.

Caug7 or C+7 = C E G# B or Bb.

23.7. A SIXTH CHORD is an added major 6th to a major or a minor triad.e.g. C6 = C E G A.

Cm6 = C Eb G A.Bb6 = Bb D F G.

Bbm6 = Bb Db F G.

23.8. NINTH CHORD. Contemporary ninth chords always use a Major 9th interval from the rootnote. There are several types of ninth chords. Refer to one of the many chord bookscommercially available. e.g. CMaj7(9) or CMaj9 = C E G B D.

C9 = C E G Bb D.


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EXAMINATION GUIDE. Continued. 24. CHORD PROGRESSIONS.

These are examinable from Grade Five onwards in the Pianoforte, Modern Pianoforte and Digital KeyboardSyllabi. It is recommended that teachers extend their student’s skills and use these progressions (or similar

ones) at earlier examination levels if possible. The aim is to develop a sound knowledge of the use of chordswhich will be of vital assistance in both the practical and theoretical areas of music education. Refer to gradeexamination requirements.

SIMPLE PROGRESSIONS

a) 1 V 1 Perfect Cadence. (V – 1) See example No 1.

b) 1 1c V 1 Perfect Cadence. The cadential 6/4. See example No 2.

c) 1 1V 1 Plagal Cadence. (1V – 1)

d) 1 V V1 Interrupted Cadence. (V – V1)

e) 1 1V 1 V Imperfect Cadence. (1 – V)

COMMONLY USE CHORD PROGRESSIONS.

The below listed chord progressions are all in the key of C Major. It is recommended that as students develop familiarity, they transpose the progressions into other keys.

E.g. G. D. F. Bb Major and also the relative Minor keys. It is also important that they try to use the

progressions in either four part vocal harmony (for theory examination development) or in pianofortestyle. NOTE:- ‘b’ = 1st inversion. ‘c’ = 2nd inversion of the chord. In the early stages, chords can be used in any inversion, but always aim for a smooth change. Where

‘b’ is indicated, always place the 1st inversion note (3rd of the chord) in the Bass. E.g. Chord 11 (Two)in the key of C = D F A. The 1st inversion = F A D. Place the ‘F’ in the Bass. (Try not to double thebass note of a 1st inversion chord when using 1b, 1Vb and Vb.)

a) 1 1V V 1 b) 1 11b 1c V 1

c) 1 11b V V1 1V V 1 d) 1 1V 1b 11b 1c V7 1

e) 1 V1 11b V 1b 1V 1 f) 1 111b V1 1V 11b V7 1

ADVANCED DESCENDING SCALE CHORDAL PROGRESSION.

C B A G F E D C See the working below. (Ex. 3.)1 E7 Am A7 Dm Am D7 G7 1 (See page 14 for explanation of chord symbols

Ex. 3. Example of common chord progression in four part vocal harmony. Don’t hesitate to use different note

values to make the progression and rhythm more interesting. Add passing notes to give movement.


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INTRODUCTORY. CLASSICAL SYLLABUS EXAMINATIONS.STEP 1.

STEP 11.

STEP 111.

These rudimentary examinations are intended to ensure that sound technical foundations are laid and also toaccustom very young students to examination conditions and demands. No 'system' is insisted upon and any

recognized fingering pattern, scale book or basic Tutor is acceptable in the examination work submitted.The work in these examinations should not be played excessively quickly, nor yet be unduly retarded. Ex-aminers will watch for correct hand positions and for a developing finger technique. Accuracy and clarity of

tone are important, so therefore a flat finger action, together with all unnecessary hand and arm movementsshould be eliminated. Remember that a relaxed economy of movement should always be the aim. Specialattention should be given to finger release and to the passing under of the thumb when playing scales andexercises. Co-ordination and precision of control between the hands must be encouraged and constantlycorrected by the teacher. Indeed, everything must be closely supervised to ensure the correct development of

good habits. A sound technique, Legato tone and finger action need to be cultivated right from the beginning.Also, it is important not to neglect essential development in the control of the sustaining pedal in these early

stages of a student's musical life.

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STEP ONE. Examination time. 10 MinutesMinimum pass mark. C 65

PLEASE NOTE:- A self-contained STEP ONE EXAMINATION BOOK is available from the Guild

Office and is recommended for this examination.

All examination music and technical requirements are included in this publication.

TECHNICAL WORK. Scales and Chords from memory. 20 Marks

SCALES. Major. C. G. One octave.Similar motion. Legato touch. Ascending and descending.Hands separate. Scale speed. One crotchet = MM 100.

CHORDS. Major. C. G.Right Hand. Any position of the triad.Left Hand. Single tonic note or octave.

EXERCISES. The Candidate will select any ONE for performance. See Item 1 Page 5.

PERFORMANCE. Three Lists required. A. B. C. Memory work is encouraged, but is not essential.OWN CHOICE Select One piece only

Any of the following works or those of a similar standard may be selected for thisStep One Examination. No Guild approval required. (See Item 6. Page 6.)

GUILD STEP ONE BOOK - The following List A, B and C titles are those published in this book.

LIST A. Five Finger Study. ‘Frere Jacques’. Traditional. 15 Marks Children's Song. Louis Kohler.The Happy Bee. Ivan Holmes.Study. Op 599. No 3. Carl Czerny.Study. Op 137. No 1. Book No 1. Henri Bertini. (Arr.Holmes)

Quaver Study. ) Both as one. Dulcie Holland.March of the Soldier Ants. ). Dulcie Holland.March in C. ) Both as one. Daniel Turk.Bagatelle in G. ). Daniel Turk. (Arr.Holmes)

LIST B. Au Clair de la Lune. (Five finger melody) Traditional. 20 Marks

Lullaby of the Birds. Gail Smith.


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STEP ONE EXAMINATION CONTINUED.

Allegretto. Cornelius Gurlitt.A Short Walk. Gail Smith.Easy Walking. Ivan Holmes.Little Minuet. Anon.

LIST C. Ode to Joy. (9th

Symphony Theme) Beethoven. (Arr.) 20 Marks Echoes. Christinne Patton.The Sheep on the Downs. Thomas Dunhill.Circus Waltz. Anon. Teacher.A Waltz for Gumnuts. Dulcie Holland.Candy Town. Genevieve Lake.

OTHER REPERTOIRE FOR YOUR CONSIDERATION. – Pieces not found in the above publication.

LIST A. Study. One selection required. 15 Marks. First Instructor. Op 599. Studies. No 1. 3. 5. 6. Allans MusicChoose any two of the following. Pages 5 to 8 A Dozen A Day Book 1 Primary

Cartwheels, Walking, Running, The Splits,Jumping, Hopping on the Right Foot,Hopping on the Left Foot, Skipping,Deep Breathing,OR:

Choose any one of the following:

Dinosaur Dance. Sonya Visser.Time Travellers Bk 1 C-MatFanfare. Primary Level 1. Accent PublishingHigh Tea Accent On Keys Level 1 Accent Pub.Ode to Hipno or Fantasy On Aura Lee Bradley Eustace Hipno C-Mat Pub.

Upside Down Margaret Goldston., Musical Tales Bk 1

LIST B. One selection required. 20 Marks. Getting It Together Accent On Keys Level 1 Accent Pub. Heel and Toe Encore On Keys Level 2 Accent Pub.

Millenium or Jingle Blues Bradley Eustace. Hipno C-Mat Pub.It’s a Small World Popular Piano Solos Level1. Hal LeonardTerry The Pteranodon Sonya Visser. Time Travellers Bk 1The Old Mill or Soaring. Recital Book Level 1B.

Alfred’s Basic Piano Library

LIST C. One selection required. 20 Marks.

No 2. Valse. Six Children's Pieces. Shostakovich Dmitri (1906-1975)Acrobats in the Trees Margaret Goldston Musical Tales Bk 1Bean Stalk Rag or Dolphins Encore On Keys Level 2 Accent Pub.Jurassic Jig. Sonya Visser. Time Travellers Bk 1Monkey Mates Primary Level 1 Accent Pub.

The Donkey Alfred’s Basic Piano Library Level 1A Through the Woods John Thompson Easiest Piano Course Bk 1Twinkle Snap Bradley Eustace Hipno C- Mat Pub.

SIGHT READING. 10 Marks.

To orally read notes for up to four bars from the Treble Stave. The Examiner will use one of the examination pieces presented and will point to each note. Note values not required.


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STEP ONE EXAMINATION CONTINUED.

EAR TESTS. 8 Marks.

RHYTHM. To clap or tap a short two bar phrase played twice by the Examiner. No note value smaller than acrotchet.

PITCH. To state which is the higher or lower of two notes played consecutively by the Examiner in theimmediate range above Middle C. Not less than an OCTAVE apart.

First time: f forte. Second time: p piano.

GENERAL KNOWLEDGE. 7 Marks.

The candidate will be asked to identify and name the Brace, Bar lines, Double Bar-line, Stave or Staff, Clefs,Semibreves, Minims and Crotchets, as found in the repertoire.

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STEP TWO. Examination time. 10 MinutesMinimum pass mark. C 65

PLEASE NOTE:- A self-contained STEP TWO EXAMINATION BOOK is available from the Guild

Office and is recommended for this examination. All examination music and

technical requirements are included in this publication.

TECHNICAL WORK. Scales and Chords from memory. 20 Marks.

SCALES. Major. C. G. F. One octave.Similar motion. Legato touch. Ascending and descending.Hands separate. Scale speed. One crotchet = MM 100.

CHORDS. Major. C. F. G7.Right Hand. Any position of the triad.Left Hand. Single tonic note or octave.

EXERCISES. The Candidate will select any ONE for performance. See Item 1 Page 5.

PERFORMANCE. Three Lists required. A. B. C. Memory work is encouraged, but is not essential.

OWN CHOICE Select One piece only Any of the following works or those of a similar standard may be selected for thisStep Two Examination. No Guild approval required. (See Item 6. Page 6.)

GUILD STEP TWO BOOK - The following List A, B and C titles are those published in this book.

LIST A On My Skateboard. Gail Smith. 15 Marks Mountain Song. Ferdinand Beyer.Study. Op 139. No 4. Carl Czerny.Study. Op 599. No 11 Carl Czerny.The See Saw. Gail Smith.Gum Trees in the Breeze. Dulcie Holland.

LIST B On the River Bank Thomas Dunhill. 20 Marks Scherzo. Dimitri Kabalevsky.

Little Song. Christian Neefe.Dance. Cornelius Gurlitt.Drifting Down the River. Dulcie Holland.

A Song. Anton Diabelli.

LIST C Fanfare. Cornelius Gurlitt. 20 MarksCuckoo in the Forest. Ivan Holmes.The Swan. Gail Smith.

Candy Clock. Genevieve Lake.Ferris Wheel. Dulcie Holland.

The Hop Scotch Game. Gail Smith.


LIST A. Study. One selection required. 15 Marks

Czerny. Carl. First Instructor. Op 599. No 13. 14. 15. 16. 17. 19. Allans Music No 5. 31 Easy Exercises. Op 139. Allans Music

. Beyer. F. No 64. Study. Studies. Op 101. Peters Edition

OR:

Choose any one of the following.

Aquarium. Arr. Bradley Eustace. D’Groove. C- MatDancing Bear or Follow the Leader. John Thompson. Easiest piano Course Bk 2

Egyptian Rap Sonya Visser. Time Travellers Bk 1. C-MatRaindrops Encore On Keys Level 3. Accent Publishing


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STEP TWO EXAMINATION CONTINUED.

Recital in C Accent On Keys Level 1. Accent Pub.

Rondino. Margaret Goldston. Musical MiniaturesOR:

Choose any two of the following. Pages 10 to 18.

Tip Toe Running, Jumping Rope, A Dozen a Day Book 1 PrimaryRocking, Ping Pong, Jump the River

LIST B. One selection required. 20 Marks Bach. J.S. Children's Bach. Imp.354

Five Little Cannons. Any two as one.

Bartok. Bela. No 2. 3. 4. First Term at the Piano. Any one. Ed. Musico BudapestOR:

Lightly Row or The Wishing Star John Thompson. Easiest Piano Course Bk 2 New World Symphony Arr. Accent On Keys Level 2. Primary Level 2Rainbow Trout. Primary Level 2. Accent Publishing

Sad. Bradley Eustace. D’Groove. C-MatScarborough Fair. Arr. Bradley Eustace. Hipno C – Mat

Brontosaurus Bounce. Sonya Visser. Time Travellers Bk 1.C-Mat

Up – Grade! No 2. 3 Pamela Wedgwood Faber Music Ltd.Procession - Getting to Preliminary Edited by Elissa Milne Hal Leonard

LIST C. One selection required. 20 Marks Kabalevsky. Dmitri. (1904-1987). Twenty Four Little Pieces. Op. 39. B & H

No 1. A Little Tune. Any one. No 2. Polka. No 3. Marching.

OR:

Alley Cat or Eidelweiss. Popular Piano Solos level 2. Hal LeonardAmazing Grace. Arr. Bradley Eustace. D’Groove. C-MatCalypso Catfish. Sonya Visser. Time Travellers Bk 1. C-MatDisco Fever. Encore On Keys Level 3. Accent Publishing

Lady Bug Waltz. Martha Mier. Imagine Bk 1Little Tango. Margaret Goldston. Dance Miniatures Up – Grade! No 4. 11. 12 Pamela Wedgwood Faber Music Ltd.Valsette Greta Grybaitis [email protected]

SIGHT READING. 10 Marks

A short simple phrase for the Right Hand. 2 bars in 4/4 time or 4 bars in 3/4 time. Consisting of minims andcrotchets. All in the 5 finger position.

EAR TESTS. 8 Marks

RHYTHM. To clap or tap a short two bar phrase played twice by the Examiner. No note value smaller thana crotchet.PITCH. To state which is the higher or lower of two notes played consecutively by the Examiner in theimmediate range above Middle C. Not less than a FIFTH apart.First time: f forte. Second time: p piano.

GENERAL KNOWLEDGE. 7 Marks

Questions on rudiments as set for Step One as follows. The Brace, Bar-lines, Double Bar-line, Stave or Staff,Clefs, Semibreves, minims and Crotchets.In addition, simple time, the function of a dot after a note, a sharp, a flat and the natural sign. Simple dy-namic signs: crescendo, diminuendo, p, mp, f, mf, as found in the examination music.

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mailto:[email protected]:[email protected]:[email protected]


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STEP THREE. Examination time. 15 MinutesMinimum pass mark. C 65

PLEASE NOTE:- A self-contained STEP THREE EXAMINATION BOOK is available from the Guild

Office and is recommended for this examination. All examination music and

technical requirements are included in this publication.

TECHNICAL WORK. Scales and Chords from memory. 20 MarksSCALES. Major. C. Hands together. One octave.

Major. G. D. F. Hands separate. One octave.Harmonic Minor. A.Similar motion. Legato touch. Ascending and descending.Scale speed. Four crotchets = MM 40.Contrary Motion. Major. C. G. One octave.

BROKEN CHORDS. Major. C. One octave.Pattern. CEG. EGC. GCE. CEG.Fingering. R.H. 135. 125. 135. 135.

L.H. 531. 531. 521. 531.Ascending only. Hands separate. Three crotchets = MM 40.

CHORDS. C. G. G7. F. Am.Right Hand. Any position of the triad.Left Hand. Tonic octave or a single tonic note (small hand).

EXERCISES. The Candidate will select any ONE for performance.See Item 1 Page 5.


OWN CHOICE Select One piece only Any of the following works or those of a similar standard may be selected for this StepThree Examination. No Guild approval required. (See Item 6. Page 6.)

GUILD STEP THREE BOOK - The following List A, B and C titles are those published in this book.

LIST A. Study in G. Op 17. No 2. Felix Le Couppey 15 Marks Study in C. Op 599. No 12 Carl Czerny.

Study in C. Op 139. No 3. Carl Czerny.The Surf Rider. Gail Smith.Canon No 120. Konrad Kunz.Study in C. Op 65. Albert Loeschhorn.

LIST B. Allegretto in D. Cornelius Gurlitt. 20 Marks The Elephant Walk. Gail Smith.

The Sea Turtle. Gail Smith.Gavotte in G. Thomas Dunhill.Arioso. Daniel Turk.

LIST C. Swaying Palm Trees. Gail Smith 20 Marks

Floating on the Raft. Gail Smith.The Old Abbey. Thomas Dunhill.The Grandfather Clock. Cuthbert Harris.Hopping and Skipping. Bela Bartock.Donkey Trot. Dulcie Holland.


LIST A. Study. One selection required. 15 MarksBartok. Bela. Mikrokosmos. Vol 1. B & H

No 22. 26. 28. 29. 31. 33. 34. 36. (Canon at the Octave.) Any one.


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STEP THREE EXAMINATION CONTINUED.

Czerny. Carl.

No 3. 6. 9. 16. 17. 18. Op 139. 31 Easy Exercises. Allans Music No 12. Op 599. First Instructor. Allans Music

Duvernoy. F. Op 176. No 3. Elementary Studies. Allans Imp.143Le Couppey. Felix. Op 17. No 17. Elementary Studies. Allans Music

OR:

Choose any one from the following:From the Top. Achiever Level 1. AccentPrelude. Margaret. Goldston. Musical MiniaturesSakura. Bradley Eustace. Barzurk. C-MatThe Jolly Clown. Martha Mier. Imagine Book 1The Bean Bag Bull. C. Rollin. The Bean Bag ZooWillow Bend. Achiever Level 2. Accent

OR:Choose any two from the following: A Dozen a Day Bk 1 Primary. Pages 21- 31.

Bouncing a Ball,Fit as a Fiddle And Ready To GoJumping On A Sunny Cloudy Day

Skipping up A Hill

LIST B. One Selection required. 20 Marks Bach. J.S. Children's Bach. Imp.354

No 1. A Song of Resignation. Either one. No 2. A Little Air.

Dyson. George. Twelve Easy Piano Pieces. Imp.1026 No. 5. 7. 9. 10. 11. 12. Any one.

Handel. G.F. A Handel Album. Piano Solo. UE13040E No 2. Minuet. Any one.

No 3. Passepied. No 4. Menuet.

No 7. Menuet.Haydn. Joseph. Miniatures for Piano. Schirmer

No 1. 2. Either one.

Smith. Gail. Opus Three. Creative Keyboard. MB95062 No 1. The Rain Forest. Any one. No 16. Butterfly World.

OR:

Chim Chim Cheree Popular Piano Solos. Hal Leonard

Chinese Water Lilies. Martha Mier. Just Imagine ! Bk 1Indian Dance. Achiever Level 2. Accent Pub.

March Slav Achiever Level 2. Accent Pub.Monkey On A Carousel Martha Mier. Just Imagine! Bk 2Red Hot Boogie . Margaret Goldston. Musical MiniaturesUp – Grade! No 6 Pamela Wedgwood Faber Music Ltd. Promenade - Getting to Preliminary Ed. Elissa Milne Hal Leonard

Gavotta in C - Getting to Prelim. Ed. Elissa Milne Hal LeonardTribal Dance. Bradley Eustace. Barzurk C-Mat

LIST C. One Selection required. 20 Marks Bartok. Bela. First Term at the Piano. Ed. Musico Budapest

No 6. 7c. 10c. Any one.Dunhill. Thomas. First Year Pieces. EMI Allans

No 6. Where the Nodding Violet Grows. Any one.

No 8. A Song of Erin. No 9. Gavotte in G.

No 10. A Sad Story.Kabalevsky. Dmitri. (1904-1987) Twenty Four Little Pieces. B & H


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STEP THREE EXAMINATION CONTINUED.

No 11. 12. 13. 15. 16. Op 39. Any one.OR: Little Grey Owl Martha Mier. Just Imagine! Bk 1

Little White Church. Martha. Mier. Just imagine! Bk 2Matador. Achiever Level 1. AccentMotor Mania. Bradley Eustace. Barzurk.C-MatRaiders March. Popular Piano Solos 3 Hal Leonard

Rockin On. Bradley Eustace. D’Groove-CMatUp – Grade! No 5. 8. 10. 19 Pamela Wedgwood Faber Music Ltd.The Swinging Sioux - Getting to Prelim. Ed. Elissa Milne Hal Leonard Jamaican Rumba Arr. Pauline Hall Oxford University Press

The following from ‘Getting to Prelim. - The New Mix’ The Good, the Bad, the Ugly. Ed. Elissa Milne Hal Leonard In the Eyes of a Tiger. Ed. Elissa Milne Hal Leonard

Baby Elephant Walk Ed. Elissa Milne Hal Leonard Circus Maximus Ed. Elissa Milne Hal Leonard


A short simple phrase for the Left Hand. 2 bars in 4/4 time or 4 bars in 3/4 time. Consisting of minims andcrotchets. All in the 5 finger position.

EAR TESTS. 8 Marks

RHYTHM. To clap or tap a short two bar phrase played twice by the Examiner. No note value smaller thana crotchet.PITCH. To state which is the higher or lower of two notes played consecutively by the Examiner. Not lessthan an THIRD apart. Within the octave below Middle C.First time: f forte. Second time: p piano.

NOTE: Ear tests in the three Step examinations are basically the same and are designed to cumulatively train

and reinforce the student's listening skills. This concept is further strengthened in the Grade One Ear Tests.


All rudiments as set for Steps One and Two as follows.The Brace, Bar-lines, Double Bar-line, Stave or Staff, Clefs, Semibreves, Minims and Crotchets. Simple time,the function of a dot after a note. Sharps, Flats and the Natural Sign. Simple dynamic signs:- crescendo. (cresc),diminuendo. (dim), mp. f. mf. as found in the examination music.

In addition, signs and terms found in the examination pieces. Key and time signatures. Triplets, tones andsemitones.

The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question relativeto the grade in order to reach an assessment.

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GRADE ONE EXAMINATION. Examination time. 15 Minutes.Minimum pass mark. C 65.

PLEASE NOTE:- A self-contained GRADE ONE EXAM INATI ON BOOK is available from the Guild


Al l examination music and technical r equir ements are included in th is publi cation.

Please note:- List A, B and C titles immediately following this Technical Work section

are those which are published in the Grade One Book.

IMPORTANT:- If not already passed, the GUILD strongly recommends that the Preliminary Theory

Examination be passed in the same year as the Grade One Practical examination to prepare the candidate for thedemands of the higher theory grades. This is not a pre-requisite. See the Guil d Handbook for details.

TECHNICAL WORK. All Technical Work except Exercises from memory. 20 MarksScales similar motion. Hands together. Legato touch. Ascending and descending.

Scale Tempo. Four crotchets MM 54. SCALES ` Similar Motion

Major. C. G. D. F Two octaves.Harmonic Minor. A.

Melodic Minor. A.Contrary Motion From Unison.Major. C. G. Two octaves.

Harmonic Minor. A.BROKEN CHORDS.

Major. C. G. One octave.Pattern. CEG. EGC. GCE. CEG.

GBD. BDG. DGB. GBD.

Fingering. R.H. 135. 125. 135. 135.L.H. 531. 531. 521. 531.

Hands separate. Three note groups. Ascending & descending. Three crotchets = MM 54.CHORDS. C. G. G7. F. Am. Dm.




OWN CHOICE Select One piece only Any of the following works or those of a similar standard may be selected for this GradeOne Examination. No Guild approval required. (See Item 6. Page 6.)

GUILD GRADE ONE BOOK - The following List A, B and C titles are those published in this book.

LIST A. Study in C. D. Brunner. 15 Marks Study in D. Ferdinand Beyer.Study in G. Arnold Krug.Study. Op 63. No 1. "A Pleasant Morning." Jean Streabbog.Study in C. Op 101. No 83. Rudolf Beyer.Elementary Study. Op 176. No 5. J. Duvernoy.

LIST B. Rigaudon. Henry Purcell 20 Marks Menuet. Georg Bohm.Gavotte. Georg Telemann.

Air. J.S. Bach.Easy March. Op 81. James Hook.Sonatina. 1st Movement. Thomas Attwood.Sonatine. Op 36. No 1. Muzio Clementi.


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GRADE ONE EXAMINATION. Continued. LIST C. Day's End. Ivan Holmes 20 Marks

Tiahn's Tune. Faye Campion.The Pebble Beach. Faye Campion.Waltz. Mirrie Hill.Ecossaise. Ludwig van Beethoven.Entry of the Clowns. Wilfrid Holland.



Bartok. B. No. 4, Vivace Best Traditional Piano Etudes Bk 2 AlfredBerens. H. Study in C. AllansBeyer. F. Study in C.Bertini. Henri. Elementary Studies. Book 1. Any Edition No 1. 2. 12. 14. Op 137. Any one.

Burgmuller. Friedrich. 25 Progressive Studies. Imp.3 No 1. 2. 5. 11. 12. Op 100. Any one.

Czerny. Carl. No 23. 25. 27. 28. Op 599. First Instructor. Any one. Allans No 8. 11. 12. 21. 24. 27.31. Op 139. Easy Exercises. Allans No 10. 12. Op 777. Studies. Any one. Imp.542.

Duvernoy. F. Elementary Studies. Imp.142. No 1. 4. 5. 6. Op 176. Any one.

Hall.P. Tarantella Piano Time Pieces 2 OUPKohler. Louis. No. 34. Study. Op 218.Le Couppey. Felix. No 7. Study in C. Op 17. AllansLemoine. H. No 8. Study in G. Op 37. AllansCouperin. The Cuckoo First Favorite Classic Solo, Bk 2 Alfred

LIST B. One selection required. 20 Marks

Bach. Johann Sebastian. No 3. 4. 5. 6. Children's Bach. Any one. Imp.354Musette. English Suite 3. BWV 808. Henle

Beethoven. Ludwig. Sonatina in G. 1st or 2nd Movements. Any EditionAllemande Music Through Time, Bk 2 OUP

Clementi. Muzio. Sonatina. No 1. Op 36. 1st/2nd Mov. Peters Imp.17

Sonatina. No 3. Op 36. 2nd Mov. Peters Imp.17Diabelli. Anton.

Sonatina. No 1. Op 151. 1st Mov. Imp.17Duncombe. Trumpet Tune Masterpieces with Flair, Bk 1 AlfredHandel. G.F. A Handel Album for Piano Solo. Univ.13040E

No 1. Menuett. Any one. No 8. Impertinence. No 9. Menuett. No 13. Gavotte. No 17. Menuett.

Minuett in D. Univ.13040Suite in D Minor. Sarabande 11. Allans

Haydn. J. Rondo in Bb. Introduction to Pianistic Styles. Vol 2. Bourne


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GRADE ONE EXAMINATION. Continued. Hook. James. A James Hook Album. Novello

No 3. Op 81. Gavotta. No 4. Op 34. Tempo di Minuetto. Any one. No 5. Quick March. No 6. Allegro Moderato. No 9. Op 81. Quick March.

Mozart. W.A. Mozart for Young Pianists. AlfredMenuetto KV 1. KV 15C. Any one.Minuet . KV 2.Allegro KV 3.Menuetto in C. KV 6.

Purcell. Minuett in D. ChesterSchubert. Ecossaise. Music Through Time. Book 2. OUP

Turk. Daniel. Introduction to Pianistic Styles. Vol 2. BourneThe Silly Grasshoppers.

Getting to Grade One Book Minuet Ed. Elissa Milne Hal LeonardBouree Ed. Elissa Milne Hal Leonard

Dance Ed. Elissa Milne Hal LeonardAdagio Ed. Elissa Milne Hal Leonard

Getting to Grade Two

Allegretto Ed. Elissa Milne Hal LeonardEcossaise in G Ed. Elissa Milne Hal Leonard

LIST C. One selection required. 20 Marks

Bartok. Bela. B & H No 24. 25. 30. 32. Mikrokosmos. Vol. 1. Any one.

No 1. 2. 3. 4. 5. 6. 9. Musical Cameos. For Children. B & H Allans No 13(c). 14(b). First Term at the Piano. Either one. Ed. Musica Budapest

Bailey.Kerin Raggy Blues Jazzin Around 2 BaileyCarter-Varney,Glen Kool Jazzy Tunes C-Mat

Ants in your Pants

Muffins for FreeChapple,B Tango Lazy Days ChesterGrainger. Percy. Bristol Town. Bardic Edition

Gretchaninoff. Alexander. A Tale or Farewell. Op 98. Children's Book. Alfred IMC

Holland Dulcie. Five Everyday Pieces. Imp.1070Bird in the Tree. Any one.

March Around Town.Raindrops.

Hill. Mirrie. Imp.375Fun in the Sun. Any except No 1.Waltz. Child Fancies.

Hyde. Miriam. Graceful Dance. Children's Suite No 1. ChappellStarry Night Little Sketch Book Warner

Kabalevsky. Dimitri. B & HCountry Dance. No 17. Op 39. 24 Little Pieces.

Hopping.Kessler. M. Easy Piano Pieces. Book 3. Boston EMIThe Elephants.

Lowenstein. Children's Playtime Pieces. Imp.636Mazurka. Twilight. Either one.

Milhaud. D. No 1. 3. 5. 6. 7. 9. 15. 17. Accueil Amical. Any one. Heugal


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GRADE ONE EXAMINATION. Continued. Milne. E

Mozzie Pepperbox Jazz 1 Pepperbox MusicRhyme Time Little Peppers Faber Music

Norton. Christopher Microjazz Collection 1 Boosey & HawkesA Short WalkRagtime

StairwayTut Tuttin

Schumann. Robert. Album for the Young. Allans Imp.1259 No.5. Op 68. A Little Piece.

Stravinsky. Soulima. Piano Music for Children. Vol 1. Anglo-SovietCarefree. On a Stroll. Any one.Follow the Leader.

Shostakovitch. Dmitri. Six Children's Pieces. B & H No 1. 2. 3. Any one.

Pamela Wedgwood Up – Grade! No 7. 13 Faber Music Ltd.

Getting to Grade One

Old Movie Man Ed. Elissa Milne Hal Leonard

Getting to Grade One - The New MixRussian Dance Ed. Elissa Milne Hal Leonard

SIGHT READING. 10 Marks A short simple phrase with no note shorter than a crotchet. Either 8 bars in common time, or 8 bars or more in2/4 or 3/4 time. In the keys of C, G and F Major only. Hands separate.

EAR TESTS. 8 Marks Rhythm. To clap or tap a short two bar phrase played twice by the Examiner. No note value smaller than aquaver.Intervals. To hum or sing and identify any note of the C Major common chord. The candidate can use eitherletter names, degree names, sol fah or intervals (1.3.5.8) when answering.

Pitch. To state which is the higher or lower of any two notes played consecutively by the Examiner.To hum or sing the TONIC at the end of a short unfinished descending melody played by the Examiner.

GENERAL KNOWLEDGE. 7 Marks General questions based upon the music performed. Including note and rest values, staff, clefs, accidentals, timeand key signatures. Simple signs and terms found in the examination pieces.

The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question relative

to the grade in order to reach an assessment.

***************************************************************************


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GRADE TWO EXAMINATION. Examination time. 15 MinutesMinimum pass mark. C 65

PLEASE NOTE: A self contained GRADE TWO EXAM INATION BOOK is available from the Guild


Please note:- List A, B and C titles immediately following this Technical Work sectionare those which are published in the Grade Two Book.

IMPORTANT:- If not already passed, the GUILD strongly recommends that the Preliminary TheoryExamination be passed in the same year as the Grade Two Practical examination to prepare the candidate for thedemands of the higher theory grades. This is not a pre-requisite. (See the Guild H andbook f or details .)

TECHNICAL WORK All Technical Work except Exercises from memory 20 MarksScales similar motion. Hands together. Ascending and descending.Staccato touch at Examiner's discretion.Scale Tempo. Four crotchets = MM 66.

SCALES. Similar MotionMajor F. Bb Two octaves.

Harmonic Minor. D. E.Melodic Minor. D. E.

Contrary Motion From Unison.Major. F. D. Two octaves.Harmonic Minor. D. E.

BROKEN CHORDS.

Major. G. One octave.Minor. D.Pattern. GBDG. BDGB. DGBD. GBDG.

DFAD. FADF. ADFA. DFAD.

Fingering. R.H. 1235. 1245. 1245. 1235.L.H. 5421. 5421. 5321. 5421.

Ascending and descending. Hands separate. Tempo. Four crotchets = MM 66.CHORDS. C. G. D. F. Bb. C7. G7. F7. Am. Dm. Em.



PERFORMANCE. Three Lists are required. A. B. C. Memory work is encouraged but is not essential.

OWN CHOICE Select One piece only Any of the following works or those of a similar standard may be selected for this GradeTwo Examination. No Guild approval required. (See Item 6. Page 6.)

GUILD GRADE TWO BOOK - The following List A, B and C titles are those published in this book.

List A Study in A Minor. Henri Lemoine. 15 Marks Study in F. Op 176. No 17. J.B. Duvernoy.Etude In Bb. Op 24. No 3. Concone.Study in D Major. Op 37. No 5. Henri Bertini.Study in G. Op 139. No 25. Carl Czerny.Harmonic Study in A Minor. Ivan Holmes.

List B Gavotte in G. G.F. Handel. 20 Marks Minuet in G Major. Bach Notebook.

Rigaudon. W. Babell.March in D. C.P.E. Bach.Sonatina in C Major. Op 39. No 1. 1st Mov. Carl Reinecke.


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GRADE TWO EXAMINATION Continued List C Melody. Op 68. No 1. Robert Schumann. 20 Marks

Alley Cat Can Can. Roderick MacFarlane.Gentle Waves. Gail Smith.Chocolate Soldiers. Gary Featherstone.Hopscotch. Wilfrid Holland.Thinking. Cesar Franck.



Bartok. Bela Mikrokosmos, Vol 3 No.77 Little Study Boosey & Hawkes

Bertini. Elementary Studies Bk. 1 Imp.19 No 3. 5. 6. 7. Op 137. Any one.

Burgmuller. Friedrich. 25 Progressive Studies. Any Edition No 6. 7. 8. 10. 21. Op 100. Any one.

Czerny. Carl.

No 30. 39. 41. 43. Op 599. First Instructor. Any one. Allans No 19. 20. 25. 31. Op 139. Easy Exercises. Any one. Allans No 21. 22. Op 777. Studies. Either one. Imp.542

Daquin. Noel. The Joy of French Piano Music Music SalesDuvernoy. F. No 9. 12. 13. 16. 17. 18. Op 176. Elementary Studies. Imp.142 No 1. 2. 6. Op 120. Elementary Studies. Imp.144

Grybaitis, Greta

Minor Major Finger Study [email protected] (to order)Heller. Stephen. No 12. Op 125. Study in D. AllansHyde. Miriam. Study in F. AllansKabalevsky,D 24 Little Pieces Boosey & Hawkes

No 19 Op 39, PreludeVivace Best Traditional Piano Etudes Bk 2 Alfred

Kessler. M. Builders. P 10. Easy Piano Pieces. Book 3. Boston. EMIKohler. Louis. Book 1. Allans

No 1. 2. 5. 6. 18 in C. Op 50. Any one.Lemoine. Studies. Allans

No 3. 20. 24. 27. 30. Op 37. Any one.Loeschhorn. Albert. Studies. Allans-Imp.542

No 8. 16. 25. 42 in E. Op 65. Any one.Olson. L. Piano Etudes. Book 2. Alfred

No 2. 6. 7. 11. 12. 17. Any one.The Joy of Recital Time Night Journey Yorktown Music Press

LIST B. One selection required. 20 Marks

Bach. C.P.E. Allegro in G. AllansBach. J.S.

No 8. 12. 13. 14. Children's Bach. Any one. Imp.354 No 2. in C Major. 12 Small Preludes. No 3. in C Minor.

Beard. K . No 7. 10 Two Part Inventions. Boston EMIBeethoven. Ludwig. Sonatinas for Young Pianists. Allans

Sonatina in F. 1st or 2nd Movements. Albert Imp.17

Sonatina in G. 1st Movement.

mailto:[email protected]:[email protected]:[email protected]


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GRADE TWO EXAMINATION. Continued

Biehl. Sonatina in C. No 1. Op 130. 1st or 2nd Mov. Imp.728

Clementi. Muzio. Sonatina. No 2. Op 36. 1st Movement. Peters

Diabelli. Anton. Sonatina. No 3. Op 168. 1st & 2nd Mov. Peters

Gurlitt.C Easy Original Pieces for Beg. Bosworth GermanyBolero. Melodious Masterpieces Bk 1 AlfredLonging No 11 Op 140.

Handel. G.F. No 5. Menuett. A Handel Album for Piano Solo. Univ.13040E No 10. Gavotte.Gavotte in G Minor. An Introduction to His Works. Alfred

Haydn. F.J. Twelve Easy Pieces for Piano Solo. U157 No 5. Adagio Cantabile. No 6. Vivace. No 12. Andante con moto.Hob XV1/9. Scherzo in F. Sonatinas for the Young Pianist. Albert 518

Hob IX:3. 12 Menuette. Dances for Piano. Urtext No 1. 5. Minuet & Trio. Either one.

Hook. James. A James Hook Album. Ed. Barsham-Elkin No 14. Allegro. Any one. No 17. Allegro Moderato. No 18. Tempo di Minuetto. No 19. Allegretto.

Hunten. Rondino in G. Op 21. Imp.17

Kuhlau. Freidrich. Sonatina in C. No 1. Op 55. 1st or 2nd Mov. . Imp.17

Sonatina No 2. Op 55. 1st Movement.Liszt.F La Cloche Sonne All Music Publishing

Mozart. W.A. Andante in F. Classic Album. Imp.351KV315a. Menuets and Trios. Any one. Allans Henle

Pleyel. J. - Andre. A. Sonatine in C. Allans B.9591Scarlatti. Domenico. Minuet in E Minor. SchirmerThe Joy of Recital Time Contredanse Yorktown Music Press

LIST C. One selection required. 20 Marks.

Bartok. Bela. Musical Cameos. For Children. B & H-Allans

Vol. 1. No 10. 11. 17. Any one.Vol. 2. No 8. 7. Any one.

Bailey.K Jazzin Around 2 BaileyTwo Part IntentionLittle Song

Carter-Varney.Glen Kool Jazzy Tunes C-MatTop Dog TedWaltz for Lu Lu ( Version 1 )

Dunhill. Thomas. No 2. 3. A Tiny Suite. Allans No 2. 3. Either one.

Gretchaninoff. A. Lullaby. Op 98. Children's Book. Alfred

Hill. Mirrie. Child Fancies. Imp.375

Flowers in the Breeze. Any one.Gavotte.

The Rippling Waters.


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GRADE TWO EXAMINATION ContinuedHolland. Dulcie. Selection of pieces Imp. 1069

Around the Town. Any one.Flags in the Breeze.

Kabalevsky. Dimitri. No 1. A Little Song. 15 Children's Pieces. B & H No 20. The Clown. 24 Children's Pieces. Either one. B & H

No 23. Waltz.Khachaturian. Aram. Pictures of Childhood. Anglo-Soviet Press No 1. 2. 4. Any one.

Kullak. No 2. Op 4. Witches' Dance.Lovelock. W. Here and There. Imp.970 No 4. 5. 6. 7. 8. Any one

Lowenstein. Children's Playtime Pieces. AllansBy the River. Hollyhocks. Any one.Plantation Days. Ship Ahoy.

Mier.M Jazz, Rags &Blues Bk 1 AlfredRagtime Do Si Do

Norton.C. Microstyles 1 Boosey & Hawkes

In the BagDown South

Pamela Wedgwood Up – Grade! No 14. 18 Faber Music Ltd.Rowley. Alec. No 1. 2. Outward Bound. Either one. B & HSchumann. Robert. Album for the Young. Allans Imp.1259 No 1. 2. 3. 6. 16. Op 68.

Sibelius Jean. Valsette. Op 40. Pensees lyriques. Breitkopf

Sitsky. Larry. Korean Mirror Song. Australian Piano Music. Vol. 1. Currency Press

Takacs. Jeno. Double Dozen for Small Fingers.

Fandango. Snake Charmer. Any one.Spanish Donkey Driver. Universal

Tcherepnine. No 1. 5. 11. Episodes. Any one. HeugelTschaikowsky. P. Op 39. Album for the Young. Allans No 5. March of the Tin Soldiers. Any one

No 8. Waltz No 9. New Doll.

The Joy of Recital Time Gypsy Tango Yorktown Music Press

Easy Little Peppers Groovy Movie Elissa Milne Faber Music Ltd.

Mozzie Elissa Milne Faber Music Ltd.Starlight Elissa Milne Faber Music Ltd.

Cat’s Whiskers Elissa Milne Faber Music Ltd.Getting to Grade One The New Mix

Tango - Ed. Elissa Milne Hal LeonardMexican Hat Dance Ed. Elissa Milne Hal Leonard

Getting to Grade Two

Tango (Habanera) Ed. Elissa Milne Hal LeonardChagrin d’enfant Ed. Elissa Milne Hal LeonardFiesta Ed. Elissa Milne Hal Leonard

Getting to Grade Three

Blues in Two Ed. Elissa Milne Hal Leonard

Petite Valse Francaise Ed. Elissa Milne Hal Leonard


A short passage with no note shorter than a crotchet and with no accidentals. Hands together. In the keys of C.

G. F Major only. In either 4/4, 3/4 or 2/4 time.


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GRADE TWO EXAMINATION Continued

EAR TESTS. 8 Marks

Rhythm To clap or tap a four bar simple passage played twice by the Examiner in 2/4 time.Undotted minims, crotchets and quavers.Intervals To hum or sing and identify any two notes of the C Major common chord. The Examiner will first

play the chord as an arpeggio before playing the two notes within the compass Middle C - C. The candidate canuse either letter names, degree names, solfa or intervals (1.3.5.8) when answering.Pitch. To hum or sing the tonic of a short descending or ascending phrase played by the Examiner.


General questions based upon the music performed. Terms, words and signs found in the music. Time and keysignatures, staccato, accent, and all dynamic signs used in the examination pieces.

The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question relativeto the grade in order to reach an assessment.

**************************************************************


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GRADE THREE EXAMINATION. Examination time. 20 Minutes.Minimum pass mark. C 65.

PLEASE NOTE:- A self-contained GRADE THREE EXAMINATI ON BOOK is available from the Guild


Al l examination music and technical requirements are included in th is publication.

List A, B and C titles immediately following this Technical Work section are those

which are published in the Grade Three Book.

ADDITIONAL REQUIREMENT. A minimum PASS of C 65 marks in First Grade Theory of Music is

necessary for this Grade Three Examination. For requirements, see Item 17 Page 8.

TECHNICAL WORK. All Technical Work except Exercises from memory. 20 Marks

Scales similar motion. Hands together. Ascending and descending. Staccato touch at Examiner's discretion.Scale Tempo. Four crotchets = MM 76.

SCALES Similar Motion Major. A. E. B. Two octaves.

Harmonic Minor. C. G.Melodic Minor. C. G.

Contrary Motion From unison.Major. A. E. Two octaves.Harmonic Minor. C. G.

ROTARY BROKEN CHORDS. Major. F. Four note groups. One octave.Minor. E. Four note groups.Pattern. FCAF. AFCA. CAFC. FCAF.

EBGE. GEBG. BGEB. EBGE.

Fingering. R.H. 1325. 1425. 1425. 1325.L.H. 5241. 5241. 5231. 5241.Ascending and descending. Hands separate.

ARPEGGIOS. Major. C. G. Two octaves.Minor. A. E.Hands together. Root position. Ascending and descending.Minimum Tempo. Three crotchets = MM 76.

CHORDS. A. E. B. Cm. Fm. Gm. D7. Dm7. A7. Am7.Right Hand. Any position.Left Hand. Tonic octave.The Examiner MAY also ask for any of the chords from previous grades as follows:-C. G. D. F. Bb. C7. G7. F7. Am. Dm. Em.


OWN CHOICE Select One piece only Any of the following works or those of a similar standard may be selected for this GradeThree Examination. Guild approval required. (See Item 6. Page 6.)

GUILD GRADE THREE BOOK - The following List A, B and C titles are those published in this book.

LIST A. Etude. Op 24. No 8. J. Concone 15 Marks Study. Op 66. No 25. Albert Loeschhorn.Study. Op 176. No 24. Duvernoy.Study. Op 45. No 2. Stephen Heller.Study. Op 100. No 6. Henri Bertini

LIST B. Allegro. W.Friedemann Bach.Sonatina in G Major. Moderato and Romanze Ludwig van Beethoven.Sonatina Op 36. No 2. Allegretto. 3rd Movement. Muzio Clementi.Sonatina in C Major. Allegro Moderato. 1st Mov. Tobias Haslinger.


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GRADE THREE EXAMINATION ContinuedLIST C. Hunting Song. Op 68. No 7. Robert Schumann. 20 Marks

Wild Horseman. Op 68. No 8. Robert Schumann.Waltz. Op 12. No 13. Edvard Grieg.Blues Ballad. Roderick MacFarlane.Jake's Song. Opus 4. No 6. Gail Smith.Bolero-Ballade. Cornelius Gurlitt.

Album Leaf. Op 7. Theodor Kirchner



Berens. H. No 6. Op 88. Study in A Minor. Allans

Bertini. Henri. No 5. 7. 8. 11. 13. 17. Op 29. Studies. Any one. Any Edition No 6. 12. 13. 14. 15. Op 100. 25 Studies. Any one. Imp.135 No 16. 18. Op 100. 25 Studies. Any one. Imp.135

Burgmuller. Friedrich. No 1. 7. Op 109. 18 Characteristic Studies. Any one. Allans 3B No 14. 15. 16. 17. Op 100. 25 Progressive Studies. Any one. Imp.3 No 20. 22. 23. 24. 25. Op 100.

Czerny. Carl. No 50. 55. 61. 63. 85. Op 599. First Instructor. Any one. Allans No 12. Op 100. Studies. Allans No 42. Op 139. Study in D. Allans

Dunhill. T. Study in C. Allans

Duvernoy. F. No 19. 24. 25 in F. Op 176. Elementary Studies. Imp.142 No 3. 4. 5. 8. Op 120. Elementary Studies. Imp.144

Heller. Stephen. Studies. No 2. Op 45. Alfred No 1. 3. 4. 5. 7. Op 47. Any one. Peters

No 15 in E Minor. 16. 23. Op 47. Any one. PetersHyde. Miriam.

Study In A Minor. AllansStaccato Study in the Dorian Mode. Allans

Le Couppey. Felix. No 2. Op 20. Study in C. AllansLemoine. Studies. Allans No 7. Op 37. Study in G. Allans

No 23. Op 37. Study in G. Allans No 34. Op 37. Study in E Minor.

Loeschhorn. Albert. Studies. Allans Imp.542 No 19. Op 65. Study in D. No 35. Op 65. Study in Bb. Allans

Lovelock. W. No 1. 2. 5. Tuneful Technique. Any one. AllansStudy in G. Allans

Mayer. C. No 13. Op 340. Study in E Minor. AllansOlson. L. No 8. 9. 13. 16. Etudes Book 2. AlfredSmith. Gail. Creative Keyboard. Opus Four. MMC. MB95063 No 4. Allegretto. (Fresh Air).


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GRADE THREE EXAMINATION. Continued

LIST B One selection required. 20 Marks

Bach. C.P.E. Polonaise in G Minor. AllansAllegro. W113/1. Allans

Bach. Johann Sebastian.

No 17. 18. 19. Children's Bach. Any one. Imp.354 No 8. Prelude in F. Twelve Small Preludes

Beard. K. No 8. 9. 10 Two Part Inventions. Either one. Boston EMI

Beethoven. Ludwig. No 9. Op 119. Bagatelle in A Minor. No 1. 2. Waltz. AllansSonatina in F. Complete. Sonatina Album. Imp.17Sonatina in G. Complete.

Clementi. Muzio. Sonatina. No 1. Op 37. 2nd & 3rd Mov. Imp.14Sonatina. No 3. Op 36. 1st Movement. Allans

Czerny. Carl.

Sonatina. Op 163. Complete. Allans ImpDiabelli. Anton.

Sonatina. No 5 Op 168. 1st Movement. Imp.17Sonatina. No 5. Op 214. Complete. Allans Peters

Dussek. Jan.

Sonatina. No 1. Op 20. 1st or 2nd Mov. Imp.17

Gurlitt. Cornelius.

Sonatina. No 4. Op 214. 1st and 2nd Mov. Allans

Handel. G.F. Minuet. F Major. Page 24. An Introduction to His Keyboard Works. Alfred

Air. Bb Major. Page 25.Sonatina. G Major. Page 26.

Sonatina in Bb. Allans No 1. 1st Movement. Easy Piano Pieces. Peters Hinrichsen 3 No 6. Sarabande. A Handel Album for Piano Solo. UE13040E

No 15. Courante No 16. Gigue.

Haslinger. T. Sonatine in C. Allans

Haydn. F.J. No 1. 7. 8. 10. 11. Twelve Easy Pieces for Piano Solo. Univ.157

Allegro in F. AllansSonata. Hob XVI/9. Scherzo. Allans

Kuhlau. Friedrich.

Sonatina. No.2. Op 5. Last Movement. Imp.17Lichner. H. Sonatina. No 1. Op 4. 1st Movement. AllansMozart. W.A. Mozart for Young Pianists. Albert

Allegro in C. KV6. Allans

Rondeau in F. AllansPurcell. Henry. Hornpipe in E Minor. Classic Album. Imp.351Purcell. Henry. Henry Purcell and His Contemporaries. Hinrichsen 9 No 2. 3. 6. 7. 8. 9. 10. 12. Any one.

Purcell. D. Hornpipe in D Minor. Chester

Scarlatti. Domenico. Sixty Sonatas. Vol 2. Schirmer 1775Sonata No XXX1V.

Telem

traditional piano syllabus|12

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