Ab RSM Double Bass Complete 12

BOWED STRINGS REQUIREMENTS AND INFORMATION
This section provides a summary of the most important points that teachers and candidates need
to know when taking ABRSM bowed strings exams. Further details, as well as administrative
information relating to the exams, are given in ABRSMs Information & Regulations (available at www.abrsm.org/regulations) which should be read before an exam booking is made.
Entering for an exam

Eligibility: There are eight grades of exam for each subject and candidates may be
entered in any grade irrespective of age and without previously having taken any
other grade in the same subject. Candidates for a Grade 6, 7 or 8 exam must already
have passed ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship
or a solo Jazz subject; for full details, including a list of accepted alternatives, see
Regulation 1d at www.abrsm.org/regulations.
Access: ABRSM endeavours to make its exams as accessible as possible to all candidates,
regardless of sensory impairments, learning difficulties or particular physical needs.
There is a range of alternative tests and formats as well as sets of guidelines for
candidates with particular access needs (see www.abrsm.org/specificneeds). Where
a candidates needs are not covered by the guidelines, each case is considered on
an individual basis. Further information is available from the Access Co-ordinator
(accesscoordinator@abrsm.ac.uk).
Exam booking: Details of exam dates, locations, fees and how to book an exam are
available online at www.abrsm.org/exambooking.
Instruments
Candidates are required to perform on acoustic instruments (electric instruments
are not permitted). Any size of instrument may be used. Examiners apply the marking
criteria (which include the assessment of pitch, tone and musical shaping) to assess
musical outcomes without reference to the specific attributes of the instrument.
Elements of the exam

All ABRSM graded bowed strings exams comprise the following elements: three
Pieces; Scales and arpeggios; Sight-reading; and Aural tests. In all grades, marks are
allocated as follows:
Pieces: 1
2
3
Scales and arpeggios
Sight-reading
Aural tests
Total
6
30
30
30
21
21
18
150
Bowed strings requirements and information
Marking scheme: 100 marks are required for a Pass, 120 for a Merit and 130 for
a Distinction. A Pass in each individual section is not required to pass overall. See
pp. 8889 for the marking criteria used by examiners.
Pieces
Programme planning: Candidates must choose one piece from each of the three lists
(A, B and C) in each grade. In the exam, they should inform the examiner which
pieces they are performing, and they are welcome to use the form on p. 91 for this
purpose.
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 accompanying. The candidates teacher may
act as accompanist (examiners will not). If necessary, the accompanist may simplify
any part of the piano accompaniment, provided the result is musically satisfactory.
Exam music & editions: Wherever the syllabus includes an arrangement or transcription, the edition listed in the syllabus must be used in the exam; in all such cases
the abbreviation arr. or trans. appears in the syllabus entry. For all other pieces,
the editions quoted in the syllabus are given for guidance only and candidates may
use any edition of their choice (in- or out-of-print or downloadable). Information on
obtaining exam music is given on p. 10.
Interpreting the score: Printed editorial suggestions such as fingering, bowing,
metronome marks, realization of ornaments etc. need not be strictly observed.
Whether the piece contains musical indications or not, candidates are always
encouraged to interpret the score in a stylistically appropriate manner. Ultimately,
examiners marking will be determined by consideration of pitch, time, tone, shape
and performance, and how control of these contributes to the overall musical
outcome.
Vibrato: The use and control of vibrato, and its effect on tone and shape, will be
taken into account by examiners, who will be assessing the overall musical outcome.
Pieces whose full musical effect is heavily reliant on vibrato tend not to appear in the
syllabus before around Grade 5.
Repeats: All da capo and dal segno indications should be observed but all other
repeats (including first-time bars) should be omitted unless they are very brief (i.e.
of a few bars) or unless the syllabus specifies otherwise.
Cadenzas & tuttis: Cadenzas should not be played unless the syllabus specifies otherwise. Lengthy orchestral tutti sections should be cut.
Performing from memory: Candidates are free to perform any of their pieces from
memory; in such cases they must ensure that a copy of the music is available for the
examiner to refer to if necessary. No additional marks are awarded for playing from
memory.
7
Page-turns: Examiners will be understanding if a page-turn causes a lack of continuity

during a piece, and this will not affect the marking. A variety of solutions for
awkward page-turns exists, including the use of an additional copy of the music
or a photocopy of a section of the piece (but see Photocopies below). In cases
where candidates believe there is no solution to a particularly awkward page-turn,
they may apply to bring a page-turner to the exam. The request must be made to
the Syllabus Department (syllabus@abrsm.ac.uk) no later than the closing date for
entry, and details of the piece, edition and nature of the difficulty should be given.
If permission is granted, a confirmation letter will be issued which must be taken to
the exam as verification. Examiners are unable to help with page-turning. In a Grade
8 exam, a candidates accompanist is permitted to bring a page-turner to assist with
page-turns in the piano part (prior permission is not required).
Photocopies: Performing from unauthorized photocopies (or other kinds of copies)
of copyright editions is not allowed. ABRSM may withhold the exam result where
it has evidence of an illegal copy (or copies) being used. In the UK, copies may be
used in certain limited circumstances for full details, see the MPAs Code of Fair
Practice at www.mpaonline.org.uk. In all other cases, application should be made to
the copyright holder before any copy is made, and evidence of permission received
should be brought to the exam.
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)
or the starting note
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 (and pattern)

Candidates are free to use any fingering that produces a successful musical outcome.
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. 1213.
Books of the scale requirements are published for all bowed strings subjects by
ABRSM.
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. The speeds on pp. 1415 are given as a general guide.
Sight-reading
Candidates will be asked to play a short unaccompanied piece of music which
they have not previously seen. They will be given up to half a minute in which to
look through and, if they wish, try out all or any part of the test before they are
required to play it for assessment. The main technical parameters are outlined
on each grade page of this syllabus; once introduced, these parameters apply for
all subsequent grades (albeit with a logical progression of difficulty). For practice
purposes, books of specimen sight-reading tests are published for all bowed string
subjects by ABRSM.
Aural tests
The requirements are the same for all subjects. Full details of the Aural tests are
given on pp. 6873.
In the exam
Examiners: Generally, there will be one examiner in the exam room; however, for
training and quality assurance purposes, a second examiner may sometimes be
present. Examiners may ask to look at the music before or after the performance
of a piece (a separate copy is not required: the candidates or accompanists copy
will suffice). Examiners may also decide to stop the performance of a piece when
they have heard enough to form a judgment. They will not issue, or comment on, a
candidates result; instead, the mark form (and certificate for successful candidates)
will be issued by ABRSM after the exam.
Tuning: In Grades 15, the teacher or accompanist may tune the candidates
instrument (or advise on tuning) before the exam begins. In Grades 68, candidates
must tune their instrument themselves. Examiners are unable to help with tuning.
Seating: Double bass candidates should provide their own stool if required. A chair/
stool will be provided for cello candidates.
Order of the exam: The individual sections of the exam may be undertaken in any
order, at the candidates choice, although it is always preferable for accompanied
pieces to be performed consecutively.
(continued overleaf)
Assessment
The tables on pp. 8889 show the marking criteria used by examiners. These criteria
(newly revised and amended) have been in use in exams from January 2014. In each
element of the exam, ABRSM operates the principle of marking from the required
pass mark positively or negatively, rather than awarding marks by deduction from the
maximum or addition from zero. In awarding marks, examiners balance the extent
to which the qualities and skills listed on pp. 8889 (broadly categorized by pitch,
time, tone, shape and performance) are demonstrated and contribute towards the
overall musical outcome.
Obtaining exam music

Exam music is available from music retailers as well as online, including at the
ABRSM music shop: www.abrsm.org/shop. Every effort has been made to ensure
that all the publications listed will remain available for the duration of the syllabus.
Candidates are advised to obtain their music well in advance of the exam in case of
any delays with items not kept in stock by retailers. Apart from queries relating to
exams, all enquiries about the music (e.g. editorial, availability) should be addressed
to the relevant publisher: contact details are listed at www.abrsm.org/publishers.
10
SCALE AND ARPEGGIO PATTERNS

The examples below clarify patterns found in this syllabus. Reference should be
made to the appropriate syllabus pages for the full requirements for each instrument.
Rhythm patterns for scales
For major and minor scales (all grades) candidates may choose between two rhythm
patterns: even notes or long tonic. (Chromatic scales should be played with even
notes at all grades.)
or
even notes
44
long tonic
44
etc.
etc.
Slurring patterns for scales

or
even notes
2 quavers:
2 beats:
7 notes:
44
87
long tonic
44
etc.
etc.
etc.
V#
A
Natural minor scale
Dominant seventh (resolving on tonic)
V 24 r
Double-stop scales
V bb 44
V ## 44
V bb 44
In broken steps
in sixths:
in octaves:
in thirds:
12
etc.
etc.
etc.
etc.
etc.
etc.
Scale and arpeggio patterns
Double-stop scales (cont.)

In parallel
V bbb 44
V ## 44
in sixths:
in octaves:
V bbb 44
V ## 44
or long tonic
even notes
etc.
etc.
etc.
etc.
Patterns for Double Bass only

Scales to a sixth
B 34 r r
B 24
or long tonic
even notes
Scales to a twelfth
B b 44
B b 44 r q
or long tonic
even notes
etc.
B b 68 . r.
Arpeggios to a twelfth
Scale in broken thirds
B# 44
B# 68
Scale in running thirds

etc.
etc.
etc.
etc.
q
B
.
13
Scale and arpeggio speeds
Grade / Speed
CELLO
Scales
pattern
q q q q or
q qq qqqq
q = 44
q = 50
q = 54
q = 58
q = 63
q = 72
qqq
Arpeggios
Chromatic scales
Double-stop scales
(in broken steps)
q q h
Double-stop scale
(in parallel)
q q q q or
q qq qqqq
q = 54
q. = 48 e = 84 e = 100
q = 54
q = 56
q = 58
q = 60
q = 72
q = 84 q = 100
q = 63
Grade / Speed
pattern
q q q q or
q qq qqqq
q = 40
q = 42
q = 44
q = 46
q = 50
q = 56
q = 63
q = 76
q = 40
q = 42
q = 44
e = 92 e = 100 e = 104 e = 108 e = 112
e = 88
e = 92 e = 100 q = 56
q. = 42 q. = 50
q = 46
q = 54
Arpeggios
qqqq/qqq
Chromatic scales
qqq/qqqq
qqqq/qqq
Double-stop scales
(in broken steps)
q q h
Scale in broken and

running thirds
qqqq
)
Dom. & Dim. 7ths *
* Dim. 7ths from Grade 5
q = 63
q = 60
DOUBLE BASS
Scales
q = 84 q = 100
q = 58
qqqq
e = 88 e = 100 e = 104 e = 108 e = 112 e = 116 q. = 40 q. = 42
qqqq/qqq/
qqqqqq
Dom. & Dim. 7ths *
q = 50
q = 52
q = 56
q = 56
q. = 50
q = 84 q = 100
Scale in broken thirds (Grade 6) and in running thirds (Grade 8)
15
DOUBLE BASS (Subject Code: 06)
from 2012
This syllabus for Double Bass is valid from 2012. The next edition will be published in July 2019. Advance
notice of any planned changes to the Double Bass requirements from 2020 will be available at
www.abrsm.org/doublebass from January 2019.
Double Bass GRADE 1

THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C. Pieces in first position
are indicated by , those in half position by , while the remaining pieces can be played in either position:
LIST A
1 Anon. Estonian Lament to the Moon (in either key)

Time Pieces for Double Bass, Vol. 1, arr. Slatford (ABRSM)
2 Blow Gavott (from Musicks Hand-maid)

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

4 Schumann A Little Piece (from Op. 68)
5 Taki Moon Over the Ruined Castle. No. 8 from Suzuki Bass School, Vol. 2, Revised Edition (AlfredSummyBirchard 0371S: piano accomp. published separately, 0374S)
6 Tchaikovsky Old French Song, arr. Nelson. P. 27 from The Essential String Method, Double Bass Book 4 (Boosey
& Hawkes: piano accomp. published separately)
LIST C
1 Anon. Corn Rigs Quadrille

Time Pieces for Double Bass, Vol. 1,
2 Steve Berry A Little Blue (without improvisation)
arr. Slatford (ABRSM)

3 T. Morley Now is the month of Maying (in either key)
4 I. Carroll Gigue: from Five Simple Pieces (Stainer & Bell 2310)
5 Tony Osborne And Y Not: No. 22 from The Really Easy Bass Book (Faber)
6 Regner Lied des Schlafes: No. 5 from Kontra-Spass (Schott KBB 11)
7 Trad. Hatikvah, arr. Elliott. P. 22 from The Essential String Method, Double Bass Book 3
(Boosey & Hawkes: piano accomp. published separately)
56
2015 by The Associated Board of the Royal Schools of Music
solo or accomp.
accomp.
solo or accomp.
accomp.
accomp.
accomp.
solo or accomp.
Double Bass GRADE 1
from 2012
SCALES AND ARPEGGIOS*: from memory; for further details (incl. examples) see pp. 89 and 1215
Group 1 (first position) or Group 2 (half position), at candidates choice
range
bowing requirements
rhythm pattern
GROUP 1
Scales
C, D majors
G major; A natural minor
a 6th
1 oct.
separate bows and slurred

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

at candidates choice
Arpeggios
G major; A minor
1 oct.
separate bows
even notes
a 6th
1 oct.


1 oct.
separate bows
even notes
or
GROUP 2
Scales
C major
F, B b majors; A natural minor
Arpeggios
F, B b majors; A minor
SIGHT-READING*: 1st or half position, at candidates choice. A four-bar piece in 44 or 34 , or a six-bar piece
in 24 , in G or D majors (no use of E and A strings) or F or B b majors (no use of G string). All notes
separately bowed. Simple dynamics (f, F, p), note values (h q q q q q q q) and rests (). See also p. 9.
AURAL TESTS FOR THE GRADE*: see pp. 68 and 69
The examiner will ask which Group/position

* Published by ABRSM (Scale requirements, Specimen Sight-Reading Tests, Specimen Aural Tests)
57
Double Bass GRADE 2
from 2012
THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C:
LIST A
1 attrib. J. S. Bach Musette (BWV Anh. II 126).

The Anna Magdalena Bach Notebook for Double Bass, arr.
P. 9 from
Elliott (Bartholomew 009: piano accomp. published
2 Petzold Minuet in D (BWV Anh. II 114).
separately, 009a)
P. 3 from
3 Boccherini Minuetto (from String Quartet, Op. 24 No. 4). Time Pieces for Double Bass, Vol. 1, arr. Slatford
(ABRSM )
4 Handel Gavotte, arr. Elliott (upper line). P. 10 from The Essential String Method, Double Bass Book 4 (Boosey
5 Trad. English Greensleeves, arr. Elliott. P. 26 from & Hawkes: piano accomp. published separately)
6 Mozart Passe-pied (observing repeats). No. 9 from La Contrebasse classique, Vol. A, arr. Dehant (Combre C05440)
LIST B
1 Beethoven Andante cantabile (from String Quartet, Op. 18 No. 5) Time Pieces for Double Bass, Vol. 1,
2 Michael Rose Ballad I

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

Vol. 1 (Yorke YE0022)
No. 73 from
4 Herz Galoppe

5 Giles Swayne Lazybones
6 Regner Maitanz: No. 2 from Kontra-Spass (Schott KBB 11)
7 Trad. March of the Kings, arr. Elliott. P. 25 from The Essential String Method, Double Bass
Book 4 (Boosey & Hawkes: piano accomp. published separately)
accomp.
solo
solo
accomp.
accomp.
accomp.
solo or accomp.
Scales
F, G, B b , D majors; A, B minors
(minors natural or harmonic,
at candidates choice)
Arpeggios
F, G, B b majors; A, B minors
range
bowing requirements
rhythm pattern
1 oct.


1 oct.
separate bows
even notes
SIGHT-READING*: an eight-bar piece, time signatures as Grade 1, in C, G, D majors or A natural minor,

in 1st position. Notes separately bowed or with simple two-note slurs. Addition of P, hairpins (cresc./
dim.), dotted minim, and minim rest. See also p. 9.
58
Double Bass GRADE 3
from 2012
LIST A
1 Azas Menuet. No. 22 from La Contrebasse classique, Vol. A, arr. Dehant (Combre C05440)
2 attrib. J. S. Bach First Minuet in D minor (BWV Anh. II 121) (observing 1st repeat). P. 9 from The Anna
Magdalena Bach Notebook for Double Bass, arr. Elliott (Bartholomew 009: piano accomp. published separately, 009a)
3 L. Couperin Menuet de Poitou (omitting DC)
Time Pieces for Double Bass, Vol. 1,
4 Lully Air and Chaconne (from Le bourgeois gentilhomme) arr. Slatford (ABRSM)
5 Gerhard Deutschmann Menuett and Trio. No. 9 from Yorke Solos for Double Bass, Vol. 1 (Yorke YE0087 )
6 Mozart Allegro (K. 3). No. 2 from Subterranean Solos, arr. Hartley (Bartholomew 006: piano accomp. published
separately, 006a)
LIST B
1 Grieg Norwegian Dance (Op. 35). No. 5 from Subterranean Solos, arr. Hartley (Bartholomew 006: piano accomp.
published separately, 006a)
2 Gurlitt Voyage de nuit. No. 20 from La Contrebasse classique, Vol. A, arr. Dehant (Combre C05440)
3 Sheila Joynes The Old Sea Dog. No. 52 from Bass is Best! Yorke Mini-Bass Book 2, arr. Emery and Barratt (Yorke
YE0098 )
4 John Merle Mummers (Danse grotesque). Festival Performance Solos String Bass (Carl Fischer BF5: piano
accomp. published separately, BF6)
5 Schumann Melody (from Op. 68). Time Pieces for Double Bass, Vol. 1, arr. Slatford (ABRSM)
6 Verdi Grand March (from Ada). Amazing Solos for Double Bass, arr. Schofield (Boosey & Hawkes)
LIST C
1 Aprile Solfeggio No. 3 (upper part) (ornaments optional). Time Pieces for Double Bass,
Vol. 1, arr. Slatford (ABRSM) ( with the published piano (not double bass) accomp.)
2 Frederick Boaden Prelude: 1st movt from Petite Suite (Yorke YEC47358 )
3 Teppo Hauta-aho Scott: 3rd movt from Jazz Sonatine [No. 1]. No. 1 from Hauta-aho
Pizzicato Pieces, Book 1 (Recital Music RM097 )
4 Mozart, trans. Hindemith O Iso ed Osiro. Hindemith Stcke fr Kontrabass solo
(Schott ED 8378 )
5 Tony Osborne Bassa Nova (pizz or arco or combination): No. 3 from Junior Jazz Book 1
(Recital Music RM037 )
6 Michael Rose Jumbo Rag: from A Sketchbook for Double Bass (ABRSM)
7 David Tutt Spanish Dance. No. 8 from Bass is Best! Yorke Mini-Bass Book 2, arr. Emery and
Barratt (Yorke YE0098 )
solo or accomp.
accomp.
solo
solo
accomp.
accomp.
accomp.
range
bowing requirements
rhythm pattern
1 oct.


Arpeggios
E, A, C, D majors; E, G, D minors
1 oct.

(2 notes to a bow)
even notes
Chromatic scale
Starting on A
1 oct.
separate bows
even notes
Scales
E, A, C, D majors; E, G, D minors
(minors harmonic or melodic,
SIGHT-READING*: an eight-bar piece, time and key signatures as Grade 2, with the addition of F, Bb
majors and B minor, in half or 1st position. Occasional accidentals (within minor keys only). Dotted
rhythms, semiquavers and ties may be encountered. Pizzicato (at end of piece only) and staccato may be
included. Increasing use of dynamics, rests and slurs. See also p. 9.
59
Double Bass GRADE 4
from 2012
LIST A
1 attrib. J. S. Bach Minuet in C (BWV Anh. II 116). P. 5 from The Anna Magdalena Bach Notebook for Double
Bass, arr. Elliott (Bartholomew 009: piano accomp. published separately, 009a) or No. 2 from Suzuki Bass School,
Vol. 3, Revised Edition (AlfredSummy-Birchard 0376S: piano accomp. published separately, 0377S )
2 J. S. Bach Gavotte and Musette, arr. Slatford. No. 20 from Yorke Solos for Double Bass, Vol. 1
3 Mozart A Little Melody, arr. Lska.

No. 23 from
(Yorke YE0087 )
4 Froberger Gigue (ornaments optional )
Time Pieces for Double Bass, Vol. 2, arr. Slatford
5 Handel Allegro (from Concerto grosso, Op. 6 No. 8) (ABRSM)

6 A. Thomas Gavotte (from Mignon). No. 7 from Subterranean Solos, arr. Hartley (Bartholomew 006: piano accomp.
published separately, 006a)
LIST B
1
2
3
4
5
6
Grieg Hunting Song (Op. 4 No. 4)

Time Pieces for Double Bass, Vol. 2, arr. Slatford
Mendelssohn Venetian Gondola Song (from Op. 57) (ABRSM)

Humperdinck Fiddlers Song (from Knigskinder). Amazing Solos for Double Bass, arr. Schofield (Boosey & Hawkes)
S. Lancen Si jtais Moussorgsky. No. 13 from Yorke Solos for Double Bass, Vol. 1 (Yorke YE0087 )
J. F. Mller Neapolitan Dance (Neil Kjos Music KJ15920 )
Michael Rose Reverie: from A Sketchbook for Double Bass (ABRSM)
LIST C
A. Benjamin Jamaican Rumba

Kabalevsky Cavalryman (from Op. 27)
Frederick Boaden Elegy: 2nd movt from Petite Suite (Yorke YEC47358 )
Bottesini Study No. 4 or No. 9: from Method for Double Bass, Part 1 (Yorke YE0076 )
Christopher Field Hornpipe: No. 4 from Mock Baroque. No. 108/4 from Yorke Studies for Double
Bass, Vol. 2 (Yorke YE0086 )
6 Teppo Hauta-aho Allegro moderato: 1st movt from Jazz Sonatine No. 2 (Recital Music RM333 )
7 Regner Der Clown tritt auf: No. 8 from Kontra-Spass (Schott KBB 11 )
1
2
3
4
5
accomp.
accomp.
accomp.
solo
solo
solo
accomp.
Scales
E, F, G, A majors; E, G, A minors
Arpeggios
E, F, G, A majors; E, G, A minors
range
bowing requirements
rhythm pattern
a 12th


a 12th

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

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

1 oct.
In the keys of A and B b
Chromatic scales
Starting on G and B
1 oct.
SIGHT-READING*: a piece of around eight bars in length, time and key signatures as Grade 3, with the
addition of 68 , A major, E and D minors. Shifts between half, 1st and 3rd positions may be encountered
(but no more than two positions per test). Occasional chromatic notes. Anacrusis, hooked bowing, accents
and pause signs may be included. See also p. 9.
60
Double Bass GRADE 5
from 2012
LIST A
1 Corelli Sarabanda (Largo): 3rd movt from Sonata in D minor [C minor], trans. Zimmermann (IMC 1766 )
2 attrib. Giovannino Adagio and Aria staccata e allegra: 1st and 2nd movts from Sonata in A minor (Yorke YE0008 )
3 Handel Bourree. No. 8 from Suzuki Bass School, Vol. 3, Revised Edition (AlfredSummy-Birchard 0376S: piano
accomp. published separately, 0377S)
4 S. Paxton Allegretto: 1st movt from Sonata in D, Op. 3 No. 2, trans. Elliott (Bartholomew 005)
5 Rameau Dance. No. 68 from Bass is Best! Yorke Mini-Bass Book 2, arr. Emery and Barratt (Yorke YE0098 )
6 Rameau Le Lardon and La Boiteuse. Time Pieces for Double Bass, Vol. 2, arr. Slatford (ABRSM)
LIST B
Faur Autumn (Op. 18 No. 3)

Spohr Allegro (from String Quartet, Op. 4 No. 2)
Massenet Mlodie (Op. 10), arr. Zimmermann Festival Performance Solos String Bass (Carl Fischer BF5:
Trad. The Jolly Dutchman, arr. Isaac

piano accomp. published separately, BF6 )
Chester Minkler A Gaelic Melody. No. 11 from Suzuki Bass School, Vol. 3, Revised Edition (AlfredSummyBirchard 0376S: piano accomp. published separately, 0377S)
6 Pascal Proust Le bon barbu rond (Combre C06174 )
1
2
3
4
5
LIST C
1 L. Bernstein Cool (from West Side Story). Amazing Solos for Double Bass, arr. Schofield
(Boosey & Hawkes )
2 Bottesini Study No. 18 or No. 32: from Method for Double Bass, Part 1 (Yorke YE0076 )
3 Tyrone Brown Walking Song (p. 14 only, observing 1st repeat): from Compositions for Bass
(Mel Bay)
4 I. Carroll Polish Mazurka or Cuban Rumba: from Five National Dances (Stainer & Bell H290 )
5 Miles Davis So What, arr. Swaim. No. 10 from Suzuki Bass School, Vol. 3, Revised Edition
(AlfredSummy-Birchard 0376S: piano accomp. published separately, 0377S )
6 Ray Henderson Black Bottom. Time Pieces for Double Bass, Vol. 2, arr. Slatford (ABRSM)
7 L. Shitte tude. No. 63 from Bass is Best! Yorke Mini-Bass Book 2, arr. Emery and Barratt
(Yorke YE0098 )
accomp.
solo
solo
accomp.
accomp.
accomp.
solo or accomp.
Scales
E b , G majors
F, B b , C majors; F, B b , C minors
Arpeggios
E b , G majors
F, B b , C majors; F, B b , C minors

In the keys of F and A b
Diminished sevenths
Starting on E and A
Chromatic scales
Starting on D and E b
range
bowing requirements
rhythm pattern
1 oct.
a 12th

(2 beats to a bow)

1 oct.
a 12th

(3 notes to a bow)
even notes
"
1 oct.

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

(3 notes to a bow)
even notes
(continued overleaf )
Starting one octave above bottom G
61
Double Bass GRADE 5
from 2012
SIGHT-READING*: a piece of around eight to sixteen bars in length, time and key signatures as Grade 4,
with the addition of G minor. Highest note E (e' ): shifts as required to cover this range. Changes between
arco and pizzicato, simple syncopation and a slowing of tempo at the end may be encountered. See also
p. 9.
Double Bass GRADE 6

PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or any
solo Jazz subject. For alternatives, see www.abrsm.org/prerequisite.
LIST A
1 Capuzzi Rondo (Allegro): 3rd movt from Concerto in D (Yorke YE0011 )

2 Galliard Adagio and Allegro: 1st and 2nd movts from Sonata in D minor, trans. Drew. String Festival Solos,
Double Bass Vol. 2 (AlfredBelwin EL95110: piano accomp. published separately, EL95109 )
3 Giordani Larghetto. Two Eighteenth-Century Pieces, arr. Sterling (Stainer & Bell H468 )
4 B. Marcello Largo and Allegro: 3rd and 4th movts from Sonata in F, Op. 2 No. 1. Marcello Six Sonatas
(G. Schirmer GS26269 )
5 S. Paxton The Bush aboon Traquair (A Scots Air) and Vivace: 2nd and 3rd movts from Sonata in D, Op. 3
No. 2, trans. Elliott (Bartholomew 005)
6 Vivaldi Allegro: 4th movt from Sonata No. 1 in B b , RV 47. Vivaldi Complete Sonatas for Violoncello (Brenreiter
BA 6995) or (separately, trans. Zimmermann: IMC 2302 )
LIST B
1 Beethoven Sonatina. No. 6 from Solos for the Double Bass Player, arr. Zimmermann (G. Schirmer GS33083 )
2 Gabriel-Marie La Cinquantaine. No. 6 from Suzuki Bass School, Vol. 4 (AlfredSummy-Birchard 28359: piano
accomp. published separately, 28360 ) or (separately, arr. Elliott: Bartholomew 001)
3 Keper Romance: No. 1 from Romance and Rondo (Yorke YE0030 )
4 John Merle Caballero. Festival Performance Solos String Bass (Carl Fischer BF5: piano accomp. published
separately, BF6 )
5 Pascal Proust Arcades (Combre C05483 )
6 John Walton A Deep Song (Yorke YE0005 )
LIST C
1 L. Bernstein America (from West Side Story) (observing repeats). Amazing Solos for Double Bass,
arr. Schofield (Boosey & Hawkes )
3 Derek Bourgeois Allegro commodo: No. 3 from Fantasy Pieces for Double Bass (Brass Wind)
4 Gavin Bryars Room 42. Time Pieces for Double Bass, Vol. 2, arr. Slatford (ABRSM)
5 P. M. Dubois Le gai cascadeur (Le Rideau Rouge RR1068 )
6 Teppo Hauta-aho A Little Waltz (Pieni Valssi): from Teppos Tunes (Recital Music RM068 )
7 Sturm Andante and Moderato: Nos 3 and 4 from 110 Studies for String Bass, Op. 20, Vol. 1
(IMC 2079 )
62
accomp.
solo
solo
accomp.
accomp.
accomp.
solo
Cello GRADE 6
DoubleAND
Bass
GRADE 6*: from memory; for further details (incl. examples) see pp. 69from 2012
SCALES
ARPEGGIOS
bowing requirements
rhythm pattern
range
Scales
F, B majors & minors
2 oct. bowing
separate
bows and slurredrhythmeven
notes or long tonic,
requirements
pattern
range
C, Scales
D majors & minors
3 oct.
(2 beats to a bow)
(minors
melodic,
E, F, G,harmonic
A majors or
& minors
2 oct.
as(minors
directed
by the examiner)
harmonic
or melodic,
(2 beats to a bow)
as
directed
by
the
examiner)
Scale in thumb position
thumb position
Scale in
D major
D major
1 oct.
1 oct.
separate bows
separate bows
Arpeggios
Arpeggios
F, B
majors & minors
G, A majors
& minors
C, E,
D F,
majors
& minors
2 oct.
2 3oct.
oct.

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

2 oct.
In the keys of F, G, bB b and E
2 oct.
In the keys of A, B and C

even notes
or long tonic,
at candidates
choice

even notes
even notes
(4 notes to a bow)
(2 notes to a bow)
Diminished sevenths
Diminished sevenths
Starting
on C, D, F and B
Starting on E, F and G
2 oct.
2 oct.
separate bows and slurredeven notes

even notes
(4
notes
to
a
bow)
(2 notes to a bow)
Chromatic
Chromaticscales
scales
Starting
ononC,E,D,
F and
Starting
F and
G B
oct.
2 2oct.
separate
bows
slurredeven notes
even notes
separate
bows
andand
slurred
notes
a bow)
(4(6
notes
to to
a bow)
Double-stop
scalethirds
(in broken steps)
Scale in broken
In G
sixths,
major on p. 13 )
majorin
(asCexample
oct.
1 1oct.
see p.(2
8 notes to a bow)
slurred
see p. 8
even notes
SIGHT-READING**::aa piece
piece of
toto
sixteen
barsbars
in length,
time time
and key
signatures
as Grade
SIGHT-READING
of around
aroundtwelve
twelve
sixteen
in length,
and
key signatures
as5,Grade 5,
b major note
with
the
additionof
of 998,, 554 and
and 585 ,. E
and CAminor.
Highest
note G (g'to
): shifts
as
required
toFurther
cover use of
with
the
addition
Highest
(a'):
shifts
as
required
cover
this
range.
8 4
8
this range.
Simpleofchords
may
be included
(at followed
end of piece
A slowing
within theaspiece
chords.
A slowing
tempo
within
the piece
by only).
an a tempo
may of
betempo
encountered,
may triplet
followed
by
an
a
tempo
may
be
encountered,
as may triplet rhythms. See also p. 9.
rhythms. See also p. 7.
AURAL TESTS FOR THE GRADE**: see pp. 68 and 71
AURAL
TESTS FOR THE GRADE : see pp. 58 and 61
Starting
with
thumbon
onD
D string:
string:
Starting
with
thumb
* Published
ABRSM(Scale
(Scale requirements,
requirements, Specimen
Sight-Reading
Tests,
Specimen
Aural Aural
Tests) Tests)
* Published
byby
ABRSM
Specimen
Sight-Reading
Tests,
Specimen
63
41
Double Bass GRADE 7
from 2012
LIST A
1 Capuzzi Allegro: 1st movt from Concerto in D (Yorke YE0011 )

2 Corelli Preludio (Largo) and Giga (Allegro): 1st and 4th movts from Sonata in D minor [C minor], trans.
Zimmermann (IMC 1766 )
3 De Fesch Sarabande (Largo) and Minuet: 3rd and 4th movts from Sonata in G (IMC 2489 )
4 B. Marcello Largo and Allegro: 3rd and 4th movts from Sonata in G minor, Op. 2 No. 4. Marcello Six Sonatas
(G. Schirmer GS26269 ) or (separately: IMC 1661 )
5 Mozart Rondo (Tempo di minuetto): 3rd movt from Bassoon Concerto, K. 191, trans. Sankey (IMC 2421 )
6 Vivaldi Largo and Allegro: 1st and 2nd movts from Sonata No. 2 in F, RV 41. Vivaldi Complete Sonatas for Violoncello (Brenreiter BA 6995: low Cs and Ds may be adapted ) or (separately, trans. Zimmermann: IMC 2303 )
LIST B
1 Ratez Cantabile: No. 2 from Six pices caractristiques, Op. 46 (separately: Billaudot CC95 ) or Ratez Characteristic
Pieces, Book 1 (Recital Music RM189 )
2 Rossini Une larme (Recital Music RM303 )
3 Saint-Sens Aria Mon coeur souvre ta voix, arr. McTier (McTier Music MM 207 )
4 Vaughan Williams Romanza (observing 8vas): 2nd movt from Concerto for Bass Tuba (tuba edition: OUP)
5 Verdi Aria (from Rigoletto). No. 10 from Solos for the Double Bass Player, arr. Zimmermann (G. Schirmer GS33083 )
6 J. P. Waud Novelette. No. 35 from Yorke Solos for Double Bass, Vol. 1 (Yorke YE0087 )
LIST C
2 Derek Bourgeois Pomposo or Tempo di valse: No. 2 or No. 4 from Fantasy Pieces for Double Bass
(Brass Wind)
3 Paul Breuer Allegro ma non troppo: 1st movt from Sonatine (Breitkopf & Hrtel BG 506 )
4 Teppo Hauta-aho Erkon Elegia (Recital Music RM104 )
5 Norman Hester The Bull Steps Out (Yorke YE0070 )
6 B. Hummel Allegro: 1st movt from Sonatina, Op. 69b (Simrock EE 2989 )
7 Dennis Leogrande May I? (Spartan Press SP930 )
64
solo
solo
accomp.
solo
accomp.
accomp.
accomp.
Cello GRADE 6
DoubleAND
Bass
GRADE 7*: from memory; for further details (incl. examples) see pp. 69from 2012
SCALES
ARPEGGIOS
bowing requirements
rhythm pattern
range
Scales
2 oct. bowing
separate
bows and slurredrhythmeven
notes or long tonic,
requirements
pattern
range
C,Scales
D majors & minors
3 oct.
(2 beats to a bow)
# ), B b , C majors
(minors
or melodic,
F # , A b (Gharmonic
& minors
2 oct.
harmonic
or melodic,
(2 beats to a bow)
as(minors
directed
by the examiner)
as
directed
by
the
examiner)
Scale in thumb position
D Scales
majorin thumb position
D major & minor (harmonic or
melodic, as directed by the examiner)
Arpeggios
Arpeggios
# A b (G # ), B b , C majors & minors
C,FD, majors
& minors

even notes
or long tonic,
at candidates
choice
1 oct.
1 oct.
separate bows
(2 beats to a bow)
2 oct.
2 3oct.
oct.

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

2 oct.
In the keys of F, G, bB b andb E
2 oct.
In the keys of B, D and E

even notes
even notes
(4 notes to a bow)
(2 notes to a bow)
Diminished sevenths
Diminished sevenths
Starting
andBBb
b and
Startingon
onC,
F #D,
, AF
oct.
2 2oct.
separate
bows
slurredeven notes
even notes
separate
bows
andand
slurred
(4
notes
to
a
bow)
(2 notes to a bow)
Chromatic
Chromaticscales
scales
Starting
andBBb
b and
Startingon
onC,
F #D,
, AF
oct.
2 2oct.
separate
bows
slurredeven notes
even notes
separate
bows
andand
slurred
notes
a bow)
(6(6notes
to to
a bow)
Double-stop
steps)
Double-stopscale
scale(in
(in broken
broken steps)
b major
InIn
sixths,
thirds,ininCBmajor
oct.
1 1oct.
seep.p.
see
128
see p. see
12 p. 8
SIGHT-READING**:: aa piece
piece of
bars
in in
length,
time
andand
key key
signatures
as Grade
SIGHT-READING
of around
aroundsixteen
twelve to
totwenty
sixteen
bars
length,
time
signatures
as Grade 5,
7 and 75 , E major and F # minor. Highest note A (a' ): shifts as required to cover
6, with
the addition
with
the addition
of 98of, 548 and
48 . Highest note A (a'): shifts as required to cover this range. Further use of
this range.
Furtherofuse
of chords.
Some
in tenor clef
may
included.
See
also p. 9.
chords.
A slowing
tempo
within
thepassages
piece followed
by an
a be
tempo
may be
encountered,
as may triplet
rhythms. See also p. 7.
Starting
withthumb
thumbon
on D
D string:
string:
Starting
with
* Published
ABRSM(Scale
(Scale requirements,
requirements, Specimen
Sight-Reading
Tests,
Specimen
Aural Aural
Tests) Tests)
* Published
bybyABRSM
Specimen
Sight-Reading
Tests,
Specimen
65
41
Double Bass GRADE 8
from 2012
LIST A
1 Cimador Allegro: 1st movt from Concerto in G (Yorke YE0003 )

2 H. Eccles Adagio and Corrente (Allegro con spirito): 3rd and 2nd movts from Sonata in G minor, trans.
Zimmermann (IMC 1712 )
3 Pergolesi Comodo and Presto: 1st and 4th movts from Sinfonia in F (separately, trans. Elliott: Bartholomew 010 )
or Three Sonatas for Double Bass and Piano (trans. Drew: University of Miami )
4 Pichl Allegro moderato: 1st movt from Concerto in C (Bartholomew 007 )
5 Tartini Adagio cantabile, trans. Drew (St Francis Music Publications )
6 Telemann Lento and Allegro, or Lento and Allegro: 1st and 2nd, or 3rd and 4th movts from Sonata in D,
TWV 41:D6, trans. Sankey (IMC 2304 )
7 Vivaldi Largo and Allegro, or Largo and Allegro: 1st and 2nd, or 3rd and 4th movts from Sonata No. 6 in B b ,
RV 46. Vivaldi Complete Sonatas for Violoncello (Brenreiter BA 6995) or (separately, trans. Zimmermann: IMC
1473 )
LIST B
1 Bellini, arr. Bottesini Final de La somnambule. No. 3 from Bottesini Arias for Double Bass and Piano (Yorke
YE0023 )
2 Bottesini Rverie in D (McTier Music MM 203 )
3 Dittersdorf Adagio: 2nd movt from Concerto No. 2. Dittersdorf Concertos for Double Bass (Yorke YE0059 )
4 Faur Aprs un rve, trans. Zimmermann (IMC 1740 )
5 Gouff Concertino, Op. 10 (Billaudot R19143 )
6 Nielsen Romanze: No. 1 from Fantasy Pieces, Op. 2, trans. Drew (St Francis Music Publications )
7 Tulek Valse miniature. No. 2 from Tulek Three Pieces for Double Bass and Piano (Recital Music RM021 )
LIST C
1 Christopher Benstead Finale (Presto): No. 4 from Four Episodes (Yorke YE0085 )
3 Derek Bourgeois Allegro pesante or Allegro commodo: No. 5 or No. 8 from Fantasy Pieces for
Double Bass (Brass Wind)
4 Dragonetti No. 7 or No. 8: from 12 Waltzes (Henle HN 847 )
5 Piazzolla Kicho (starting at Allegro) (Tonos)
6 A. Reynolds Hornpipe (Bartholomew 004 )
7 A. Ridout Grave: 1st movt from Concerto for Double Bass (Yorke YE0044 )
8 Eric Scrve Sweet Bass Ballad (Combre C06547 )
66
accomp.
solo
solo
solo
accomp.
accomp.
accomp.
accomp.
Double Bass GRADE 8
from 2012
range
bowing requirements
rhythm pattern
2 oct.
3 oct.

(7 notes to a bow)

Arpeggios
B, D majors & minors
E, G majors & minors
2 oct.
3 oct.

(3 notes to a bow)
even notes
"

In the keys of A, C, E and G
2 oct.

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

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

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

In thirds, in D major
1 oct.
see p. 12
see p. 12
Scale in running thirds

G major (as example on p. 13 )
1 oct.
slurred (3 notes to a bow)
even notes
Scales
B, D b (C # ), D, E b majors & minors
E, G majors & minors
as directed by the examiner)
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 , A b major and F minor. Highest note C (c" ): shifts as required to cover
this range. Passages in tenor clef or treble clef may be included. Acceleration of tempo and simple
ornaments may be encountered. See also p. 9.
67
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. 89.
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.
68
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.
major key, and within the range of tonicdominant. First the examiner will play the key-chord and
the starting note (the tonic) and then count in two bars. After the examiner has played each phrase,
the candidate should sing back the echo without a pause, keeping in time.
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).
69
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.
major or minor key, and within the range of an octave. First the examiner will play the key-chord and
the starting note and then count in two bars. After the examiner has played each phrase, the
candidate should sing back the echo without a pause, keeping in time.
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).
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
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
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.
70
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
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
of the following: dynamics, articulation, tempo, tonality, character; the second will be style and
period.
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
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.
71
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
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.
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.
72
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
(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.
73

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BOWED STRINGS REQUIREMENTS AND INFORMATION

Entering for an exam

Elements of the exam

Bowed strings requirements and information

Bowed strings requirements and information

Page-turns: Examiners will be understanding if a page-turn causes a lack of continuity

Scales and arpeggios

be played from memory

ascend and descend according to the specified range (and pattern)

Bowed strings requirements and information

Bowed strings requirements and information

Obtaining exam music

SCALE AND ARPEGGIO PATTERNS

Slurring patterns for scales

Natural minor scale

Dominant seventh (resolving on tonic)

Scale and arpeggio patterns

Double-stop scales (cont.)

Patterns for Double Bass only

Scale in broken thirds

Scale in running thirds

Scale and arpeggio speeds

e = 92 e = 100 e = 104 e = 108 e = 112

Scale in broken and

Dom. & Dim. 7ths *

* Dim. 7ths from Grade 5

e = 88 e = 100 e = 104 e = 108 e = 112 e = 116 q. = 40 q. = 42

Dom. & Dim. 7ths *

Scale in broken thirds (Grade 6) and in running thirds (Grade 8)

DOUBLE BASS (Subject Code: 06)

Double Bass GRADE 1

1 Anon. Estonian Lament to the Moon (in either key)

2 Blow Gavott (from Musicks Hand-maid)

Time Pieces for Double Bass, Vol. 1, arr. Slatford (ABRSM)

1 Anon. Corn Rigs Quadrille

arr. Slatford (ABRSM)

2015 by The Associated Board of the Royal Schools of Music

Double Bass GRADE 1

separate bows and slurred

even notes or long tonic,

separate bows and slurred

even notes or long tonic,

The examiner will ask which Group/position

Double Bass GRADE 2

1 attrib. J. S. Bach Musette (BWV Anh. II 126).

2 Michael Rose Ballad I

3 Trad. Scottish Ye Banks and Braes, arr. Slatford.

Time Pieces for Double Bass, Vol. 1, arr. Slatford (ABRSM)

separate bows and slurred

even notes or long tonic,

SIGHT-READING*: an eight-bar piece, time signatures as Grade 1, in C, G, D majors or A natural minor,

2015 by The Associated Board of the Royal Schools of Music

Double Bass GRADE 3

separate bows and slurred

even notes or long tonic,

separate bows and slurred

Double Bass GRADE 4

3 Mozart A Little Melody, arr. Lska.

5 Handel Allegro (from Concerto grosso, Op. 6 No. 8) (ABRSM)