Viola Syllabus Abrsm

BOWED STRINGS SYLLABUS REQUIREMENTS
Instruments
Candidates are required to perform on acoustic instruments (electric instruments
are not permitted).
Tuning-up
In Grades 15 the teacher or accompanist may tune the candidates instrument (or
advise on tuning) before the exam begins. The examiner will not do so. In Grades
68 candidates must tune their instrument themselves.
Music stands and stools
All ABRSM Centres provide a music stand, but candidates are welcome to bring their
own if they prefer. Candidates should provide their own stool if required.
Programme planning
Candidates should use their discretion in their choice of three pieces to present a
contrasted and balanced programme. One piece must be chosen from each of the
three lists in each grade (A, B and C).
Accompaniment
A live piano accompaniment is required for all pieces, except those which are
published as studies or unaccompanied works and those Double Bass List C pieces
marked solo. Candidates must provide their own accompanist, who may remain in
the exam room only while engaged in accompanying. The candidates teacher may
act as accompanist; under no circumstances will the examiner do so.
Tuttis and cadenzas
Accompanists should make cuts to extensive orchestral tuttis in concerto (or similar)
movements. Cadenzas should not be played unless specified in the syllabus.
Fingering and bowing
Candidates are not compelled to adhere to the fingering or bowing marks indicated
in the music: any good practical fingering and bowing will be accepted. In Violin and
Viola Grades 1 and 2, candidates are not expected to play in any but the first position;
Cello and Double Bass pieces in these grades may include very simple changes of
position. By Grade 4, candidates are expected to have begun exploring position
changes matching the demands and style of the music.
Vibrato
Candidates should have acquired some skill in vibrato by Grade 5.
Scales and arpeggios
Examiners will usually ask for at least one of each type of scale/arpeggio etc. required
at each grade, as well as aiming to hear a balance of separately-bowed and slurred
requirements. When asking for requirements, examiners will specify only:
the key (including minor form harmonic or melodic in the Grade 68 scales)
6
Bowed strings syllabus requirements
separate bows or slurred (except for where the requirements are to be prepared
with separate bows only e.g. Grade 1 arpeggios)
All scales and arpeggios should:
be played from memory
be played from the lowest possible tonic/starting note, unless the syllabus
indicates otherwise
ascend and descend according to the specified range
Bowing will generally dictate the tempi of slurred scales and arpeggios. Separatelybowed requirements should be played briskly, using no more than half the bow
length. For guidance, suggested minimum speeds are given in the books of scale
requirements published for all bowed strings by ABRSM.
Any practical fingering that produces a good result will be accepted.
For major and minor scales (and double-stop scales in parallel sixths/octaves)
candidates may choose between two rhythm patterns: even notes or long tonic.
Arpeggios, dominant and diminished sevenths are required in root position only. All
dominant sevenths must finish by resolving on the tonic.
Examples of scale/arpeggio etc. patterns found in this syllabus are given on pp. 89.
Sight-reading
The sight-reading tests are without accompaniment. Candidates will be given a short
interval of up to half a minute in which to look through and, if they wish, try out any
part of the test before they are required to perform it for assessment. The main
parameters for the sight-reading tests for each subject are outlined in this syllabus,
grade by grade; once introduced, these parameters apply for all subsequent grades
(albeit with a logical progression of difficulty). Books of specimen sight-reading tests
are published for all bowed strings by ABRSM.
Performance and assessment
When marking, examiners will be assessing not only the accuracy of notes and
rhythm, but also other elements inherent in a good performance, including intonation, production and quality of tone, bowing and finger action, posture, suitable
choice of tempo, and expression and phrasing. Further details of assessment criteria
are given in These Music Exams, available free of charge from music retailers and from
www.abrsm.org/exams.
Marking scheme
Schedule of maximum marks for all grades:
Pieces: 1
30
2
30
3
30
Scales and arpeggios
21
Sight-reading 21
Aural tests
18
Total
150
7
VIOLA (Subject Code: 04)

The set pieces in this syllabus are valid for 20082015. The scale and sight-reading requirements have
been revised and take effect from 1 January 2012. The next revision of the set pieces will come into force
in 2016.
Candidates may play on a violin strung as a viola.
Viola GRADE 1
THREE PIECES: one chosen by the candidate from each of the three Lists, A, Band C:
LIST A
1 J. S. Bach Alle Menschen mssen sterben, BWV 262 Time Pieces for Viola, Vol. 1, arr. Bass and
2 Purcell Riggadoon (from The Second Part of Musicks Hand-maid) Harris (ABRSM)
3 Kathy and David BlackwellPatricks Reel.No. 41 from Viola Time Joggers, arr. Blackwell (OUP: piano accomp.
published separately)
4 Handel Finale from the Water Music.No. 13 from Viola Time Runners, arr. Blackwell (OUP: piano accomp.
5 Jean HotteterreCotillon.No. 7 from Early Music for Viola, arr. Brodszky (Editio Musica Budapest Z.4293)
6 T. Morley Now is the month of Maying. No. 13 from First Repertoire for Viola, Book 1, arr. Wilkinson and Hart
(Faber)
LIST B
1 Kathy and David BlackwellRocking Horse.No. 40 from Viola Time Joggers, arr. Blackwell (OUP: piano accomp.
2 BrucknerEvening Hymn.No. 16 from First Repertoire for Viola, Book 1, arr. Wilkinson and Hart (Faber)
3 Harry DacreDaisy Bell.No. 11 from Play It Again Viola, arr. Scott (Faber)
4 Dvok Larghetto: 2nd movt from Sonatina in G, Op. 100. Time Pieces for Viola, Vol. 1, arr. Bass and Harris
(ABRSM)
5 Elgar Andante: No. 1 from Six Very Easy Pieces, Op. 22, arr. Pope (Bosworth BOE003913)
6 Grechaninov Morning Stroll: No. 1 from In aller Frhe, Op. 126b (Schott ED 8757)
LIST C
1 BaklanovaMarch.No. 12 from First Repertoire for Viola, Book 1, arr. Wilkinson and Hart (Faber)
2 Margery Dawe Russia Gopak: No. 5 from Travel Tunes for Viola (Cramer: piano accomp. published separately)
3 Paul HarrisViola Joke!Time Pieces for Viola, Vol. 1, arr. Bass and Harris (ABRSM)
4 Trad. Dance to your daddy. No. 13 from Piece by Piece 1 for Viola, arr. Nelson (Boosey & Hawkes)
5 Trad. What Shall We Do With the Drunken Sailor? No. 2 from Play It Again Viola, arr. Scott (Faber)
6 John Widger Over the Bridge: No. 2 from Viola Jazz, Rock n Bow (Spartan Press SP406)
SCALES AND ARPEGGIOS*: from memory; for further details (incl. examples) see pp. 69
Scales
G, D majors; A natural minor
C major
Arpeggios
G, D majors; A minor
C major
range
bowing requirements
rhythm pattern
1 oct.
2 oct.
separate bows and slurred

(2 quavers to a bow)
even notes or long tonic,

at candidates choice
1 oct.
2 oct.
separate bows
"
even notes
"
3 , or a six-bar piece in 2 , in G or D majors, in 1st position (no

SIGHT-READING*: a four-bar piece in 44 or 4
4
use of C string). All notes separately bowed. Simple dynamics (f, F, p), note values (h q q q q q q q) and
rests (). See also p. 7.
AURAL TESTS FOR THE GRADE*: see pp. 58 and 59

* Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests)
22
Starting on open strings
Viola GRADE 2
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C:
LIST A
1 Arne Under the Greenwood Tree (from As You Like It).Time Pieces for Viola, Vol. 1, arr. Bass and Harris (ABRSM)
2 J. S. Bach Gavotte (from Cello Suite No. 6, BWV 1012). No. 3 from Schott Viola Album, trans. Dodd
3 Purcell Rondeau (from The Fairy Queen).

No. 1 from (Schott ED 10900)
4 BesardBallet.No. 1 from Early Music for Viola, arr. Brodszky (Editio Musica Budapest Z.4293)
5 Charpentier Prelude from Te Deum. No. 24 from Viola Time Runners, arr. Blackwell (OUP: piano accomp.
6 MartiniGavotte.No. 1 from First Repertoire for Viola, Book 2, arr. Wilkinson and Hart (Faber)
LIST B
1 Elgar Allegretto: No. 5 from Six Very Easy Pieces, Op. 22, arr. Pope (Bosworth BOE003913)
2 Grechaninov Homesickness: No. 2 from In aller Frhe, Op. 126b (Schott ED 8757)
3 Schubert Entracte (from Rosamunde).Time Pieces for Viola, Vol. 1, arr. Bass and Harris (ABRSM)
4 Trad. The Ash Grove. No. 19 from Play It Again Viola, arr. Scott (Faber)
5 Trad. North AmericanSimple Gifts.O Shenandoah! for Viola, arr. Waterfield and Beach (Faber)
6 WeberWaltz.No. 18 from First Repertoire for Viola, Book 2, arr. Wilkinson and Hart (Faber)
LIST C
1 Bartk Jeering Song (from For Children, Vol. 1) Time Pieces for Viola, Vol. 1, arr. Bass and Harris
(ABRSM)
2 Henry ManciniCharade
3 Trad. North American The Railroad Corral. O Shenandoah! for Viola, arr. Waterfield and Beach (Faber)
4 Trad. Irish The Irish Washerwoman (upper line).Technitunes for Viola, arr. Nelson (Boosey & Hawkes: piano
accomp. published separately)
5 Trad. IrishRoaring Jelly.No. 14 from Piece by Piece 2 for Viola, arr. Nelson (Boosey & Hawkes)
6 John Widger Just String Along: No. 5 from Viola Jazz, Rock n Bow (Spartan Press SP406)
Scales
F, B b majors; C, G minors
C, D, E b majors
(minors natural, harmonic or
melodic, at candidates choice)
Arpeggios
F, B b majors; C, G minors
C, D, E b majors
range
bowing requirements
rhythm pattern
1 oct.
2 oct.


1 oct.
2 oct.
separate bows
"
even notes
"
SIGHT-READING*: an eight-bar piece, time and key signatures as Grade 1, with the addition of C major
and A natural minor. Further use of 1st position. Notes separately bowed or with simple two-note slurs.
Addition of P, hairpins (cresc./dim.), dotted minim, and minim rest. See also p. 7.
23
Viola GRADE 3
LIST A
1 Anon. (attrib. J. S. Bach) Minuetto arpeggiando (BWV Anh. II 116).

No. 7 from Basic Bach for the Young Violist,
2 C. P. E. Bach (formerly attrib. J. S. Bach) March in G (H. 1.1).
arr. Arnold (Viola World)

No. 4 from
3 attrib. Henry VIII Pastime with Good Company (viola melody) (incl. second verse).The Fiddler Playalong Viola
Collection, arr. Huws Jones (Boosey & Hawkes)
4 Mozart German Dance, K. 600 No. 2. Viola Music for Beginners, arr. Loy (Editio Musica Budapest Z.14155)
5 TelemannGavotte.No. 6 from First Repertoire for Viola, Book 3, arr. Wilkinson and Hart (Faber)
6 Trad. FrenchNol nouvelet.Time Pieces for Viola, Vol. 1, arr. Bass and Harris (ABRSM)
LIST B
1 Anon. Spiritual Were You There? No. 15 from First Repertoire for Viola, Book 3, arr. Wilkinson and Hart (Faber)
2 Beethoven Sonatina (from Anh. 5 No. 1). The Young Violist, Vol. 2, arr. Arnold (Viola World)
3 CarolanLord Inchiquin.Amazing Solos for Viola, arr. Harrison (Boosey & Hawkes)
4 Grechaninov On Winters Eve: No. 6 from In aller Frhe, Op. 126b (Schott ED 8757)
5 Grieg Arietta (from Lyric Pieces, Op. 12). Time Pieces for Viola, Vol. 1, arr. Bass and Harris (ABRSM)
6 Tchaikovsky Rococo Theme (from Op. 33). No. 11 from Schott Viola Album, trans. Dodd (Schott ED 10900)
LIST C
1 Joseph Gearen Big Foot Lou. No. 11 from First Repertoire for Viola, Book 3, arr. Wilkinson and Hart (Faber)
2 Gershwin Summertime (from Porgy and Bess) (solo part).No. 8 from Session Time for Strings Viola, arr.
Wastall (Boosey & Hawkes: piano accomp. published separately)
3 Holst Theme from Jupiter (from The Planets).Time Pieces for Viola, Vol. 1, arr. Bass and Harris (ABRSM)
4 Sheila M. Nelson Toad in the Hole (upper line).Technitunes for Viola, arr. Nelson (Boosey & Hawkes: piano
accomp. published separately)
5 Richard Rodgers Oh What a Beautiful Morning (from Oklahoma).No. 6 from First Repertoire for Viola, Book 2,
arr. Wilkinson and Hart (Faber)
6 Trad. IsraeliMayim, Mayim.Amazing Solos for Viola, arr. Harrison (Boosey & Hawkes)
Scales
D b , A b , A majors
E b , G majors; D, G minors
(minors harmonic or melodic,
at candidates choice)
Arpeggios
D b , A b , A majors
E b , G majors; D, G minors
Chromatic scale
Starting on G
range
bowing requirements
rhythm pattern
1 oct.
2 oct.


1 oct.
2 oct.

(3 notes to a bow)
even notes
"
1 oct.
separate bows
even notes
SIGHT-READING*: an eight-bar piece, time and key signatures as Grade 2, with the addition of F, B b , E b
majors and D, G, C minors. Further use of 1st position. Occasional accidentals (within minor keys only).
Dotted rhythms, semiquavers and ties may be encountered. Pizzicato (at end of piece only) and staccato
may be included. Increasing use of dynamics, rests and slurs. See also p. 7.
24
Starting on open string
Viola GRADE 4
LIST A
1 DittersdorfGerman Dance.No. 7 from Solos for the Viola Player, arr. Doktor (Schirmer GS32926)
2 G. Farnaby Bonny Sweet Robin. Chester String Series, Viola Book 2, arr. Radmall (Chester CH00399)
3 Hasse Two Dances, arr. Moffat (omitting da capo).Solos for Young Violists, Vol. 1, ed. Barber (AlfredSummyBirchard 18400X)
4 MaraisCaprice.No. 18 from LAlto classique, Vol. B (Combre P03580)
5 Pepusch Allegro: 4th movt from Sonata in D minor, arr. Dinn (Schott ED 11262)
6 Purcell Hallelujah (from O God, thou art my God). Time Pieces for Viola, Vol. 2, arr. Bass and Harris
(ABRSM)
LIST B
1 Brahms Dimanche (Sonntag, Op. 47 No. 3). No. 2 from
LAlto classique, Vol. B (Combre P03580)

2 Gounod Ave Maria.
No. 13 from
3 HaescheMarguerite Waltz.Solos for Young Violists, Vol. 1, ed. Barber (AlfredSummy-Birchard 18400X)
4 Haydn Poco adagio (from Emperor Quartet). No. 19 from First Repertoire for Viola, Book 3, arr. Wilkinson
and Hart (Faber)
5 PergolesiArietta.Chester String Series, Viola Book 2, arr. Radmall (Chester CH00399)
6 Schubert The Trout, Op. 32, D. 550. Time Pieces for Viola, Vol. 2, arr. Bass and Harris (ABRSM)
LIST C
1 Richard Rodney Bennett All in a Garden Green: No. 1 from Six Country Dances, arr. Leigh Jacobs (Novello
NOV090750)
2 Walter Donaldson Makin Whoopee (viola melody) (with repeat) The Fiddler Playalong Viola Collection, arr.
Huws Jones (Boosey & Hawkes)

3 G. M. Rodrguez La Cumparsita (viola melody)
4 Ferguson Jig: from Five Irish Folk Tunes (ABRSM)
5 Joplin New Rag or Maple Leaf Rag. Joplin Ragtime Favourites Viola, arr. Cowles (Fentone)
6 Roger Roche Chant pastoral (Combre P03562)
Scales
D b , E, F, A majors; C, E, F minors
Arpeggios
D b , E, F, A majors; C, E, F minors
range
bowing requirements
rhythm pattern
2 oct.

(2 beats to a bow)

2 oct.

(3 notes to a bow)
even notes
separate bows
even notes

(4 notes to a bow)
even notes
Dominant sevenths (resolving on tonic)

1 oct.
In the keys of F and G
Chromatic scales
Starting on D and A
1 oct.
SIGHT-READING*: a piece of around eight bars in length, time and key signatures as Grade 3, with the
addition of 86 and A major. Shifts between 1st and 3rd positions may be encountered. Occasional
chromatic notes. Anacrusis, hooked bowing, accents and pause signs may be included. See also p. 7.
Starting on open string C and bottom D, respectively
Starting on bottom D and A, respectively
25
Viola GRADE 5
LIST A
1 J. S. Bach A Merry Tune (from Peasant Cantata, BWV 212). No. 4 from Baroque Pieces for Viola, arr. Forbes (OUP)
2 CorelliPrelude.No. 19 from LAlto classique, Vol. B (Combre P03580)
3 R. FarnabyNobodyes Gigge.Chester String Series, Viola Book 2, arr. Radmall (Chester CH00399)
4 Gossec Tambourin (with repeats).Time Pieces for Viola, Vol. 2, arr. Bass and Harris (ABRSM)
5 Handel Allegro: 4th movt from Sonata in G minor, Op. 1 No. 6, trans. Pilkington (Stainer & Bell H244)
6 VeraciniLargo.Music for Viola III, arr. Szeredi (Editio Musica Budapest Z.13397)
LIST B
1 BridgeBerceuse.Bridge Four Pieces for Viola and Piano (Faber)

2 Faur Aprs un rve. Music for Viola III, arr. Szeredi (Editio Musica Budapest Z.13397)
3 German The English Rose. Romantic Melodies, arr. Otty (SJ Music)
4 Mascagni Intermezzo sinfonico (from Cavalleria rusticana)
Bratschissimo, arr. Jnosi (Bosworth BOE4403)

5 ToselliSerenata
6 Mozart Bei Mnnern, welche Liebe fhlen (from The Magic Flute).Time Pieces for Viola, Vol. 2, arr. Bass and
Harris (ABRSM)
LIST C
1 Richard Rodney Bennett Buskin: No. 2 from Six Country Dances, arr. Leigh Jacobs (Novello NOV090750)
2 Rebecca Clarke Ill Bid My Heart Be Still or Chinese Puzzle. Clarke Shorter Pieces for Viola and Piano (OUP)
3 Joplin Rag Time Dance or Fig Leaf Rag. Joplin Ragtime Favourites Viola, arr. Cowles (Fentone)
4 Sitt Tarantella, Op. 26 No. 12, arr. Arnold (Viola World)
5 Trad. AmericanBoston Fancy.No. 16 from Solos for the Viola Player, arr. Doktor (Schirmer GS32926)
6 Weill September Song (from Knickerbocker Holiday).Time Pieces for Viola, Vol. 2, arr. Bass and Harris (ABRSM)
range
bowing requirements
rhythm pattern
2 oct.
3 oct.

(2 beats to a bow)

2 oct.
3 oct.

(3 notes to a bow)
even notes
"

1 oct.
In the key of E b
2 oct.
In the keys of F and G

(4 notes to a bow)
even notes
"
Diminished sevenths
Starting on C and G
1 oct.
separate bows
even notes
2 oct.

(4 notes to a bow)
even notes
Scales
F, A, B b majors; D, E, F # , A minors
C major; C minor
Arpeggios
F, A, B b majors; D, E, F # , A minors
C major; C minor
Chromatic scales
Starting on C, D and E b
26
Viola GRADE 5
SIGHT-READING*: a piece of around eight to sixteen bars in length, time and key signatures as Grade 4,
with the addition of E, A b majors and E, F # minors. Highest note A (a0): shifts as required to cover this
range. Simple chords may be included (at end of piece only). Changes between arco and pizzicato, simple
syncopation and a slowing of tempo at the end may be encountered. See also p. 7.
27
Viola GRADE 6
PREREQUISITE FOR ENTRY: Grade 5 (or above) in Theory of Music, Practical Musicianship or any solo
Jazz subject.
LIST A
1 J. S. BachAdagio and Allegro: 1st and 2nd movts from Viola da Gamba Sonata No. 2 in D, BWV 1028. Bach
Three Sonatas for Viola da Gamba (Viola), BWV 10271029 (Brenreiter BA 5186)
2 J. S. Bach Courante: 3rd movt from Cello Suite No. 1 in G, BWV 1007. Bach Six Cello Suites, trans. RowlandJones (Peters EP 7489) or trans. Forbes (Chester CH01401)
3 Caix dHervelois La Marche du Czar. No. 17 from LAlto classique, Vol. C (Combre P04438)
4 Handel Andante larghetto and Allegro: 1st and 2nd movts from Sonata in G minor, Op. 1 No. 6, trans.
Pilkington (Stainer & Bell H244)
5 A. Stamitz Adagio: 2nd movt from Viola Concerto No. 3 in G (Breitkopf & Hrtel EB 6654)
6 TelemannCantabile and Allegro: 1st and 2nd movts from Sonata in E minor for Viola da Gamba, TWV 41:e5.
Music for Viola I, arr. Szeredi (Editio Musica Budapest Z.12846)
LIST B
1 AlbnizTango.No. 12 from LAlto classique, Vol. C (Combre P04438)

2 BridgeSerenade.Bridge Four Pieces for Viola and Piano (Faber)
3 Joachim No. 1: from Hebrew Melodies for Viola, Op. 9 (lower octave optional in bb. 5859) (IMC 3272 or Musica
Rara 1828)
4 Kiel No. 3: from Three Romances for Viola, Op. 69 (Kunzelmann GM 101 or Musica Rara 1570)
5 Schumann No. 4: from Mrchenbilder for Viola, Op. 113 (Henle 632 or Peters EP 2372)
6 WolfVerborgenheit (Renunciation).No. 12 from Solos for the Viola Player, arr. Doktor (Schirmer GS32926)
LIST C
1 Richard Rodney Bennett The Czar of Muscovy: No. 6 from Six Country Dances, arr. Leigh Jacobs (Novello
NOV090750)
2 Rebecca ClarkeLullaby (p. 2).Clarke Shorter Pieces for Viola and Piano (OUP)
3 Dancla Fantasia La Cenerentola, Op. 86 No. 7, trans. Barber. Solos for Young Violists, Vol. 2, ed. Barber
(AlfredSummy-Birchard 18590X)
4 B. Hummel FinaleVivace: 3rd movt from Sonatina for Viola No. 1, Op. 35b (Simrock EE2948)
5 Roger Roche and Pierre Doury Entre: No. 1 from Sous le chapiteau (Combre C4636)
6 Vaughan Williams Carol: No. 2 from Suite for Viola, Group 1 (OUP)
28
Viola GRADE 6
range
bowing requirements
rhythm pattern
2 oct.
3 oct.

(7 notes to a bow)

Arpeggios
D b (C # ), F # , A b (G # ) majors & minors
2 oct.
even notes
C, D majors & minors
3 oct.

(6 notes to a bow)
(3 notes to a bow)
(4 notes to a bow)
even notes
Scales
D b (C # ), F # , A b (G # ) majors & minors
C, D majors & minors
as directed by the examiner)

2 oct.
In the keys of F, F # and G
even notes
Diminished sevenths
Starting on C, C # and D
2 oct.

(4 notes to a bow)
even notes
Chromatic scales
Starting on C, C # and D
2 oct.

(6 notes to a bow)
even notes
Double-stop scale (in broken steps)

In sixths, in E b major
1 oct.
see p. 8
see p. 8
SIGHT-READING*: a piece of around twelve to sixteen bars in length, time and key signatures as Grade 5,
9 , 5 and 5 and F minor. Highest note A (a" ): shifts as required to cover this range.
with the addition of 8
4
8
Further use of chords. Some passages in treble clef may be included. A slowing of tempo within the piece
followed by an a tempo may be encountered, as may triplet rhythms. See also p. 7.
29
Viola GRADE 7
Jazz subject.
LIST A
1 J. S. BachAndante and Allegro moderato: 3rd and 4th movts from Viola da Gamba Sonata No. 1 in G, BWV
1027. Bach Three Sonatas for Viola da Gamba (Viola), BWV 10271029 (Brenreiter BA 5186)
2 J. S. Bach Prlude: 1st movt from Cello Suite No. 1 in G, BWV 1007. Bach Six Cello Suites, trans. RowlandJones (Peters EP 7489) or trans. Forbes (Chester CH01401)
3 BonportiFantasia and Bizzarria: 3rd and 4th movts from Invenzione No. 3 in B b , Op. 10 No. 3. Bonporti Two
Inventions for Viola, arr. Martos and Nagy (Kunzelmann GM 1195)
4 Graun Adagio: 1st movt from Viola Sonata No. 1 in B b (observing cadenza) (Breitkopf & Hrtel EB 4173)
5 C. Stamitz Adagio: 2nd movt from Viola Concerto in D, Op. 1 (Breitkopf & Hrtel EB 5580)
6 Telemann Recitativo and Arioso and Vivace: 3rd and 4th movts from Sonata in E minor for Viola da Gamba,
TWV 41:e5. Music for Viola I, arr. Szeredi (Editio Musica Budapest Z.12846)
LIST B
1 Brahms Hungarian Dance No. 1 in D minor. Brahms Hungarian Dances Nos 1 and 3, arr. Forbes (Peters EP
7725)
2 BridgeSouvenir.Bridge 10 Pieces for Viola, Vol. 2, trans. Leigh Jacobs (Thames)
3 Kalliwoda No. 6: from Six Nocturnes for Viola, Op. 186 (Peters EP 2104) or Solos for Young Violists, Vol. 5, ed.
Barber (AlfredSummy-Birchard 18830X)
4 Kiel No. 2: from Three Romances for Viola, Op. 69 (Kunzelmann GM 101 or Musica Rara 1570)
5 Schubert Adagio: 2nd movt from Arpeggione Sonata in A minor, D. 821 (arr. von Wrochem: Brenreiter BA
5683) or No. 10 from Solos for the Viola Player, arr. Doktor (Schirmer GS32926)
6 Schumann No. 1: from Mrchenbilder for Viola, Op. 113 (Henle 632 or Peters EP 2372)
LIST C
1 Rebecca Clarke Passacaglia on an Old English Tune. Clarke Shorter Pieces for Viola and Piano (OUP) or Solos
for Young Violists, Vol. 5, ed. Barber (AlfredSummy-Birchard 18830X)
2 Dimitrescu Village Dance
Music for Viola III, arr. Szeredi (Editio Musica Budapest Z.13397)
3 Zinzadse Georgian Dance
4 Gershwin No. 2: from Three Preludes, arr. Arnold (Viola World)
5 Roger Roche and Pierre Doury Les Clowns: No. 5 from Sous le chapiteau (Combre C4636)
6 Vaughan Williams Prelude: No. 1 from Suite for Viola, Group 1 (OUP)
30
Viola GRADE 7
range
bowing requirements
rhythm pattern
2 oct.
3 oct.

(7 notes to a bow)

2 oct.

(6 notes to a bow)
(3 notes to a bow)
even notes

2 oct.
In the keys of A b , B b and C
3 oct.
In the key of G

(4 notes to a bow)
even notes
"
Diminished sevenths
Starting on E b , F and G
Starting on D
2 oct.
3 oct.

(4 notes to a bow)
even notes
"
Chromatic scales
Starting on E b , F and G
Starting on D
2 oct.
3 oct.

(12 notes to a bow)
even notes
"
Double-stop scales (in broken steps)

In sixths, in C and E b majors
In octaves, in G major
1 oct.
1 oct.
see p. 8
"
see p. 8
"
Scales
F, G, B b majors & minors
D, E b majors & minors
Arpeggios
F, G, B b majors & minors
D, E b majors & minors
3 oct.
even notes
SIGHT-READING*: a piece of around sixteen to twenty bars in length, time and key signatures as Grade
7 , B and C # minors. Highest note B (b"): shifts as required to cover this range.
6, with the addition of 78 and 4
Further use of treble clef. Occasional use of left-hand pizzicato may be encountered. See also p. 7.
31
Viola GRADE 8
Jazz subject.
LIST A
1 J. S. Bach Prlude: 1st movt from Cello Suite No. 3 in C, BWV 1009. Bach Six Cello Suites, trans. RowlandJones (Peters EP 7489) or trans. Forbes (Chester CH01401)
2 BeethovenAdagio or Allegretto alla Polacca: 2nd or 5th movt from Notturno for Viola and Piano, Op. 42
(Schott ED 10091)
3 Bonporti Invenzione No. 6 in F minor, Op. 10 No. 6 (complete).Bonporti Two Inventions for Viola, arr. Martos
and Nagy (Kunzelmann GM 1195)
4 Dittersdorf Allegro moderato: 1st movt from Viola Sonata in E b (Hofmeister)
5 FrescobaldiToccata.Music for Viola III, arr. Szeredi (Editio Musica Budapest Z.13397)
6 Mozart Theme with Variations (omitting Vars 3 & 5) from Divertimento in D, K. 334, trans. Szaleski (PWM
6167060)
7 A. Stamitz Rondeau: 3rd movt from Viola Concerto in B b (Schott VAB 29)
LIST B
1 Berlioz Srnade (complete): 3rd movt from Harold en Italie, ed. Macdonald (Brenreiter BA 5457a)
2 Brahms Sonatensatz (Sonata Movement: Scherzo) in C minor, Op. posth., trans. Katims (IMC 440)
3 Bruch Romance for Viola, Op. 85 (Schott VAB 6)
4 Glazunov Elegie for Viola, Op. 44 (Belaieff BEL 200)
5 Hummel Andantino con moto and Allegro non troppo: 2nd and 3rd movts from Fantasie for Viola
(Kunzelmann GM 164)
6 Joachim No. 2: from Hebrew Melodies for Viola, Op. 9 (IMC 3272 or Musica Rara 1828)
7 RollaAndante or Romance and Polacca: 2nd or 4th movt from Viola Sonata No. 2 in E b (Amadeus BP 824)
LIST C
1 Leroy Anderson Fiddle-Faddle, arr. Arnold (Viola World)

2 Bloch Affirmation: 3rd movt from Suite Hbraque (Schirmer GS28608)
3 Derek Bourgeois Caprice for Viola and Piano, Op. 119a (Brass Wind)
4 Rebecca Clarke Morpheus for Viola and Piano (OUP)
5 Paul Coletti From My Heart: from Three Pieces for Viola and Piano (OUP)
6 Aaron Minsky The Flag Waver: from Three American Pieces for Unaccompanied Viola, trans. Dalton (OUP)
7 Vaughan Williams Christmas Dance: No. 3 from Suite for Viola, Group 1 (OUP)
32
Viola GRADE 8
range
bowing requirements
rhythm pattern
2 oct.
3 oct.

(7 notes to a bow)

2 oct.

(6 notes to a bow)
(9 notes to a bow)
even notes

2 oct.
In the key of D
3 oct.
In the keys of F # , A b and A

(4 notes to a bow)
even notes
"
2 oct.
3 oct.

(4 notes to a bow)
even notes
"
2 oct.
3 oct.

(12 notes to a bow)
even notes
"
1 oct.
separate bows

2 oct.
separate bows
2 oct.
see p. 8
Scales
A, B majors & minors
D b (C # ), E b , E majors & minors
Arpeggios
A, B majors & minors
D b (C # ), E b , E majors & minors
Diminished sevenths
Starting on E b , E and A
Starting on C #
Chromatic scales
Starting on E b , E and A
Starting on C #
Double-stop scales (in parallel)

In octaves, in G major and C minor
(harmonic or melodic, as directed by
the examiner)
In sixths, in A b major
Double-stop scale (in broken steps)
In thirds, in E b major
3 oct.
even notes
"
see p. 8
SIGHT-READING*: a piece of around sixteen to twenty-four bars in length, time and key signatures as
Grade 7, with the addition of 182, B and D b majors. Highest note C (c"'): shifts as required to cover this
range. Acceleration of tempo and simple ornaments may be encountered. See also p. 7.
33
AURAL TESTS: included in the Practical exams for all subjects

Listening lies at the heart of all good music-making. Developing aural awareness is
fundamental to musical training because having a musical ear impacts on all
aspects of musicianship. Singing, both silently in the head and out loud, is one
of the best ways to develop the musical ear. It connects the internal imagining of
sound, the inner ear, with the external creation of it, without the necessity of
mechanically having to find the note on an instrument (important though that
connection is). By integrating aural activities in imaginative ways in the lesson,
preparation for the aural tests within an exam will be a natural extension of what is
already an essential part of the learning experience.
In the exam
Aural tests are an integral part of all Practical graded exams.
The tests are administered by the examiner from the piano. For any test that
requires a sung response, pitch rather than vocal quality is the object. The examiner
will be happy to adapt to the vocal range of the candidate, whose responses may be
sung to any vowel (or consonant followed by a vowel), hummed or whistled (and at
a different octave, if appropriate).
Assessment
A number of tests allow for a second attempt or for an additional playing by the
examiner, if necessary. Also, where there is hesitation on the part of the candidate,
the examiner will be ready to prompt, if necessary. In any such cases, this will affect
the assessment.
Marks are not awarded for each individual test nor deducted for mistakes but
reflect the candidates overall response in this section. The marking criteria for the
aural tests are given on p. 11.
Minor modifications (from 2011)
This syllabus includes the minor modifications introduced to some aural tests in
2011.
Specimen tests
Examples of the tests are given in new editions (from 2011) of Specimen Aural Tests
and Aural Training in Practice, available for purchase from music retailers and from
www.abrsm.org/shop.
Deaf or hearing-impaired candidates
Deaf or hearing-impaired candidates may opt to respond to alternative tests in
place of the standard tests, if requested at the time of entry. The syllabus for these
tests is available free on request from ABRSM (E accesscoordinator@abrsm.ac.uk).
Examples of the alternative tests are available for purchase from Allegro Music
(T +44 (0)1885 490375; E sales@allegro.co.uk). The minor modifications (from
2011) do not affect the alternative aural tests.
88
Aural Tests GRADE 1

A
To clap the pulse of a piece played by the examiner, and to identify whether it is in two time or
three time. The examiner will start playing the passage, and the candidate should join in as soon
as possible, clapping in time and giving a louder clap on the strong beats. The examiner will
then ask whether the music is in two time or three time. The candidate is not required to state
the time signature.
To sing as echoes three phrases played by the examiner. The phrases will be two bars long, in
a major key, and within the range of tonicmediant. First the examiner will play the key-chord
and the starting note (the tonic) and then count in two bars. After the examiner has played each
phrase, the candidate should sing back the echo without a pause, keeping in time.
To identify where a change in pitch occurs during a phrase played by the examiner. The phrase
will be two bars long, in a major key, and the change will affect only one of the notes. First the
examiner will play the key-chord and the tonic and then count in two bars. The examiner will
play the phrase twice, making the change in the second playing, after which the candidate should
state whether the change was near the beginning or near the end. If necessary, the examiner
will play both versions of the phrase again (although this will affect the assessment).
To answer questions about two features of a piece played by the examiner. Before playing, the
examiner will tell the candidate which two features the questions will be about. The first will be:
dynamics (loud/quiet, or sudden/gradual changes); the second will be articulation (smooth/
detached).
Aural Tests GRADE 2

A
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.
a major key, and within the range of tonicdominant. First the examiner will play the key-chord
and the starting note (the tonic) and then count in two bars. After the examiner has played each
To identify a change in either pitch or rhythm during a phrase played by the examiner. The
phrase will be two bars long, in a major key. First the examiner will play the key-chord and the
tonic and then count in two bars. The examiner will play the phrase twice, making the change
in the second playing, after which the candidate should identify the change by describing it, or
singing/clapping. If necessary, the examiner will play both versions of the phrase again (although
this will affect the assessment).
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).
89
Aural Tests GRADE 3

A
To clap the pulse of a piece played by the examiner, and to identify whether it is in two time,
three time or four time. The examiner will start playing the passage, and the candidate should
join in as soon as possible, clapping in time and giving a louder clap on the strong beats. The
examiner will then ask whether the music is in two time, three time or four time. The candidate
is not required to state the time signature.
a major or minor key, and within the range of an octave. First the examiner will play the keychord and the starting note and then count in two bars. After the examiner has played each
To identify a change in either pitch or rhythm during a phrase played by the examiner. The
phrase will be up to four bars long, in a major or minor key. First the examiner will play the
key-chord and the tonic and then count in two bars. The examiner will play the phrase twice,
making the change in the second playing, after which the candidate should identify the change
by describing it, or singing/clapping. If necessary, the examiner will play both versions of the
phrase again (although this will affect the assessment).
one of the following: dynamics (loud/quiet, or sudden/gradual changes), articulation (smooth/
detached), tempo (becoming slower/faster, or staying the same); the second will be tonality
(major/minor key).
Aural Tests GRADE 4

A
To sing or play from memory a melody played twice by the examiner. The melody will be within
the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner
will play the key-chord and the starting note and then count in two bars. (If the candidate chooses
to play, the examiner will also name the key-chord and the starting note, as appropriate for the
instrument.) If necessary, the examiner will play the melody again and allow a second attempt
(although this will affect the assessment).
B To sing five notes from score in free time. The candidate may choose to sing from treble or bass
clef. The notes will be within the range of a third above and below the tonic in the key of C, F
or G major. The test will begin and end on the tonic and will not contain intervals greater than
a third. First the examiner will name and play the key-chord and the starting note. If necessary,
the examiner will help the candidate by playing and identifying the correct note if any note is
sung at the wrong pitch.
C (i) To answer questions about two features of a piece played by the examiner. Before playing, the
one of the following: dynamics, articulation, tempo, tonality; the second will be character.
( ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it is
in two time, three time or four time. The examiner will play the extract twice (unharmonized),
after which the candidate should clap back the rhythm. The examiner will then ask whether the
music is in two time, three time or four time. The candidate is not required to state the time
signature.
90
Aural Tests GRADE 5

A
To sing or play from memory a melody played twice by the examiner. The melody will be within
the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner
will play the key-chord and the starting note and then count in two bars. (If the candidate chooses
to play, the examiner will also name the key-chord and the starting note, as appropriate for the
instrument.) If necessary, the examiner will play the melody again and allow a second attempt
(although this will affect the assessment).
B To sing six notes from score in free time. The candidate may choose to sing from treble or bass
clef. The notes will be within the range of a fifth above and a fourth below the tonic, in a major
key with up to two sharps or flats. The test will begin and end on the tonic and will not contain
intervals greater than a third, except for the rising fourth from dominant to tonic. First the
examiner will name and play the key-chord and the starting note. If necessary, the examiner will
help the candidate by playing and identifying the correct note if any note is sung at the wrong
pitch.
C (i) To answer questions about two features of a piece played by the examiner. Before playing, the
one of the following: dynamics, articulation, tempo, tonality, character; the second will be style
and period.
(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it is
signature.
Aural Tests GRADE 6

A
To sing or play from memory the upper part of a two-part phrase played twice by the examiner.
The upper part will be within the range of an octave, in a major or minor key with up to three
sharps or flats. First the examiner will play the key-chord and the starting note and then count
in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and
the starting note, as appropriate for the instrument.) If necessary, the examiner will play the
phrase again and allow a second attempt (although this will affect the assessment).
B To sing a melody from score, with an accompaniment played by the examiner. The candidate
may choose to sing from treble or bass clef. The melody will be within the range of an octave, in
a major or minor key with up to three sharps or flats. First the examiner will name and play the
key-chord and the starting note and then give the pulse. A brief period of preparation will follow
during which the candidate may sing out loud. The examiner will play the key-chord and the
starting note again and then count in two bars. If necessary, the examiner will allow a second
attempt (although this will affect the assessment).
C To identify the cadence at the end of a phrase as perfect or imperfect. The phrase will be in a
major or minor key and will be played twice by the examiner. The chords forming the cadence
will be in root position. Before the first playing, the examiner will play the key-chord.
D (i) To answer questions about two features of a piece played by the examiner. Before playing, the
examiner will tell the candidate which two features the questions will be about. The first will be:
texture or structure; the second will be one of the following: dynamics, articulation, tempo, tonality,
character, style and period, texture/structure.
signature.
91
Aural Tests GRADE 7

A
To sing or play from memory the lower part of a two-part phrase played twice by the examiner.
The lower part will be within the range of an octave, in a major or minor key with up to three
sharps or flats. First the examiner will play the key-chord and the starting note and then count in
two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the
starting note, as appropriate for the instrument.) If necessary, the examiner will play the phrase
again and allow a second attempt (although this will affect the assessment).
B To sing the upper part of a two-part phrase from score, with the lower part played by the
examiner. The candidate may choose to sing from treble or bass clef. The upper part will be
within the range of an octave, in a major or minor key with up to four sharps or flats. First the
examiner will name and play the key-chord and the starting note and then give the pulse. A brief
period of preparation will follow during which the candidate may sing out loud. The examiner
will play the key-chord and the starting note again and then count in two bars. If necessary, the
examiner will allow a second attempt (although this will affect the assessment).
C(i) To identify the cadence at the end of a phrase as perfect, imperfect or interrupted. The phrase
will be in a major or minor key and will be played twice by the examiner. The chords forming
the cadence will be in root position. Before the first playing, the examiner will play the key-chord.
(ii) To identify the two chords forming the above cadence. The chords will be limited to the tonic,
subdominant, dominant, dominant seventh or submediant (all in root position). First the
examiner will name and play the key-chord, then play the two chords as a pair. The candidate
may answer using technical names (tonic, dominant, etc.), chord numbers (I, V, etc.) or letter
names (C major, G major, etc.).
(iii) To identify whether the modulation at the end of a different passage is to the dominant,
subdominant or relative minor. The passage, played once by the examiner, will begin in a major
key. First the examiner will name and play the starting key-chord. The candidate may answer
using technical names (dominant, subdominant, relative minor) or the letter name of the new
key.
D (i) To answer questions about two features of a piece played by the examiner. Before playing, the
examiner will tell the candidate which two of the following features the questions will be about:
dynamics, articulation, tempo, tonality, character, style and period, texture, structure.
in two time, three time, four time or 6/8 time. The examiner will play the extract twice
(unharmonized), after which the candidate should clap back the rhythm. The examiner will then
ask whether the music is in two time, three time, four time or 6/8 time.
92
Aural Tests GRADE 8

A (i) To sing or play from memory the lowest part of a three-part phrase played twice by the examiner.
The lowest part will be within the range of an octave, in a major or minor key with up to three
sharps or flats. First the examiner will play the key-chord and the starting note and then count
in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and
the starting note, as appropriate for the instrument.) If necessary, the examiner will play the
phrase again and allow a second attempt (although this will affect the assessment).
(ii) To identify the cadence at the end of a continuing phrase as perfect, imperfect, interrupted or
plagal. The phrase will be in a major or minor key and will be played twice by the examiner.
The chords forming the cadence will be limited to the tonic (root position, first or second
inversions), supertonic (root position or first inversion), subdominant (root position), dominant
(root position, first or second inversions), dominant seventh (root position) or submediant (root
position). Before the first playing, the examiner will play the key-chord.
(iii) To identify the three chords (including their positions) forming the above cadential progression.
The chords will be limited to the tonic (root position, first or second inversions), supertonic
(root position or first inversion), subdominant (root position), dominant (root position, first or
second inversions), dominant seventh (root position) or submediant (root position). First the
examiner will name and play the key-chord, then play the three chords in sequence, finally playing
each chord individually, pausing for the candidate to identify it. The candidate may answer using
technical names (tonic, first inversion, etc.), chord numbers (Ib, etc.) or letter names (C major
in first inversion, etc.).
B To sing the lower part of a two-part phrase from score, with the upper part played by the
examiner. The candidate may choose to sing from treble or bass clef. The lower part will be
within the range of an octave, in a major or minor key with up to four sharps or flats. First the
examiner will name and play the key-chord and the starting note and then give the pulse. A brief
period of preparation will follow during which the candidate may sing out loud. The examiner
will play the key-chord and the starting note again and then count in two bars. If necessary, the
examiner will allow a second attempt (although this will affect the assessment).
C To identify whether the modulations at the end of two different passages are to the dominant,
subdominant or relative minor/major. The first passage will begin in a major key and the second
will begin in a minor key; each passage will be played once by the examiner. Before playing each
passage, the examiner will name and play the starting key-chord. The candidate may answer using
technical names (dominant*, subdominant, relative minor/major) or the letter name of the new
key. (* Minor-key passages may modulate to the dominant major or minor but the candidate is
only required to specify dominant in such cases.)
D To describe the characteristic features of a piece played by the examiner. After hearing the piece,
the candidate should describe any notable features (such as texture, structure, character, style
and period, etc.). The examiner will prompt the candidate with questions only if this becomes
necessary.
93

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BOWED STRINGS SYLLABUS REQUIREMENTS

Bowed strings syllabus requirements

VIOLA (Subject Code: 04)

separate bows and slurred

even notes or long tonic,

3 , or a six-bar piece in 2 , in G or D majors, in 1st position (no

AURAL TESTS FOR THE GRADE*: see pp. 58 and 59

Starting on open strings

3 Purcell Rondeau (from The Fairy Queen).

separate bows and slurred

even notes or long tonic,

Starting on open strings

1 Anon. (attrib. J. S. Bach) Minuetto arpeggiando (BWV Anh. II 116).

separate bows and slurred

even notes or long tonic,

separate bows and slurred

Starting on open string

1 Brahms Dimanche (Sonntag, Op. 47 No. 3). No. 2 from

LAlto classique, Vol. B (Combre P03580)

Huws Jones (Boosey & Hawkes)

separate bows and slurred

even notes or long tonic,

separate bows and slurred

separate bows and slurred

Dominant sevenths (resolving on tonic)

Starting on open string C and bottom D, respectively

Starting on bottom D and A, respectively

1 BridgeBerceuse.Bridge Four Pieces for Viola and Piano (Faber)

separate bows and slurred

even notes or long tonic,

separate bows and slurred

Dominant sevenths (resolving on tonic)

separate bows and slurred

separate bows and slurred

Starting on open strings

1 AlbnizTango.No. 12 from LAlto classique, Vol. C (Combre P04438)

separate bows and slurred

even notes or long tonic,

C, D majors & minors

separate bows and slurred

Dominant sevenths (resolving on tonic)

separate bows and slurred

separate bows and slurred

Double-stop scale (in broken steps)

separate bows and slurred

even notes or long tonic,

separate bows and slurred

Dominant sevenths (resolving on tonic)

separate bows and slurred

separate bows and slurred

separate bows and slurred

Double-stop scales (in broken steps)

1 Leroy Anderson Fiddle-Faddle, arr. Arnold (Viola World)

separate bows and slurred

even notes or long tonic,

separate bows and slurred

Dominant sevenths (resolving on tonic)

separate bows and slurred

separate bows and slurred

separate bows and slurred

even notes or long tonic,

Double-stop scales (in parallel)